Caleb Matton-Johnson - Research Booklet - Bower Studio 2020 by BowerStudio20

BOWER STUDIO 2020

INTRODUCTION

4-11

CONTENTS

ME BOWER KALKARINGI & GURINDJI

CULTURAL RESEACH

CLASSWORK

KALKARINGI

THE BUILD

DESIGN: CULTURAL CENTRE

PROPOSAL:

12-50

36-51

52-78

62-79

79-143

144-168

READINGS FILMS GOVERNMENT DOCUMENTS

DISCUSSIONS DOCOâ&#x20AC;&#x2122;S ART DISPLAYS

LOCATION HISTORY CONTEXT CULTURE

CONCEPT DESIGN PRE BUILDING

PRECEDNETS CONCULTATIONS SITE ANAYLSIS BRIEF CONCEPT DEVELOPMENT

FINAL PROPOSAL REFLECTIONS & FUTURE

1 2 3 4 5 6 7

INTRODUCTION

â&#x20AC;&#x153;We are all visitors to this time, this place. We are just passing through. Our purpose here is to observe, to learn, to grow, to love... and then we return home.â&#x20AC;? Australian Aboriginal Proverb

ABOUT ME

Hello, my name is Caleb I am currently in my first year of studies here at the university of Melbourne after completing my bachelorâ&#x20AC;&#x2122;s in architecture at Griffith University on the Gold Coast. I first came into knowledge of the Bower studio and its work in my final year of Undergrad, what drew me in was the studios way producing Architecture which was both beautiful yet pragmatic that addressed the place and person. Through this studio I am eager to learn more about the rich culture and history of Indigenous Australians and the Gurindji story

I have previously had the privilege of doing a project in Queensland, which was the highlight of my architectural first time I had an opportunity to work with an array groups. This experience caused me to think about design level, something the bower studio allowed me to continue

Cloncurry, a small town in central education at the time. It was the of small indigenous and community at a more humanistic and cultural to do.

Part of what attracted me to this studio in comparison to the other choices is the ability to actually apply design skills in a real and impactful way. I was also Interested into getting an experience and understanding of the actual building side of the architecture incorporated into this studio. Despite the Unfortunate circumstances due to the lack of travel due to Covid-19, The Bower experience is sure to open new ways of think and Opportunities.

KALKARINGI

Located within Gurindji Country in the Northern Teritory, Kalkaringi like all indigenous communities is home to its own unique culture and history. The town has become renowned part if Australian history through the Wave Hill walk off, where Vincent Lingiari led the Gurindji people in reclaiming their native land. Fifty years on from the walk off, the Gurindji people of Kalkaringi and Daguragu are still remembered for their role in the ongoing history of Aboriginal land rights and self-determination. To this day the Gurindji people have a strong connection to their rich culture and history, celebrating it through art and the yearly Freedom Day Festival.

KALKARINGI FROM THE AIR SOURCE : ALLAN LAURENCE, 2011 8

BOWER STUDIO 2020

Running Since 2008 Bower studio has an extensive history partnering and working alongside remote Indigenous communities In Australia and abroad. Bower studio believes in extensive community consultation, research and producing architectural resolutions which empower clients. Bower has been welcomed into Kalkaringi numerous times since 2014, completing multiple projects which include, the Wave Hill walk off pavilions that celebrate 50 years since the Gurindji walked off lord Vestyâ&#x20AC;&#x2122;s cattle station. 2020 Bower intentions to develop the Kalkaringi community center have unfortunately been sidelined due Current travel Restrictions, nevertheless this journal will outline my research and development in designing the Kalkaringi Cultural Centre. Working in such a community is an honor, thus it is crucial that care and consideration is made into understanding the specific nuances which make Kalkaringi what it is.

Bower Studio, 2016 10

CULTURAL RESEACH

Completely understanding Indigenous culture past and present is an impossible task, despite an immense amount of resources now available, Aboriginal culture is highly diverse and complex. Through the following sections I will attempt develop an understanding into more general Indigenous culture before turning my focus to the specific context within Kalkaringi. Each reading will be accompanied by a reflections which will form the basis of the Cultural Centre.

READING REFLECTION

Dark Emu Bruce Pascoe, 2014 Misconceptions by the British Australians on years prior to

and misinformation regarding the state of Australia before its Invasion are all to commonly held. Dark emu sets out to attempt to re-educate vast the civilisation that has occupied this country for thousands of western arrival.

Much of the book focuses on the agricultural practices used by Indigenous all across the country, that most people, Myself including, do not know about, Largely due to the absence in our education system. These ongoing myths were once used as justification for Terra Nullius and the disregard of Indigenous ways of living. The text looks into various of first hand accounts written by early western explorers, In these, we see how the English preconceptions of the aboriginal people as being a ‘uncivilised’ society blinded them from seeing the complex land management and social practice the aboriginal people had in place. These preconceptions have led to many people to still look down negatively upon aboriginal ways of being.

“Any country will have naysayers among its citizenry, be it regarding climate change, birth control, taxation, gun control, or speed limits; however, if the general population persists in hiding from obvious facts of history, we are destined to repeat the selective opinions of the colonists.”

REFLECTION

This text has caused me to analyse other texts in new light and to try to revaluate some of my own perceptions of Indigenous culture and question whether or not I have preconceptions which inhibit my understanding of aboriginal ways of life. The text also show the importance of creating place and opportunities for indigenous Australians to be able to tell their story without being impeded by outside forces.

Hand full of Sand Charlie Ward, 2016 A Hand Full of Sand tells the story of the Gurindji people and their lives before, during and after the renowned Wave hill walk-off in the sixties. I like, many people had a basic understanding of walk off before coming across this book, though reading the complex nature of the walk off had in the greater struggle for self-determination becomes clear. The walk off is often viewed as having a successful outcome when Gough Whitlam pored the sand though Vincent Lingiariâ&#x20AC;&#x2122;s hands in 1975, but for the Gurindji people this symbolic act could never make up for decades of forced mistreatment. This book has been an eye-opener for me in understanding the complexity in relationships Indigenous people and communities have with Governments and commercial organizations. Despite many white outsiders that have good intentions when working alongside indigenous people they end up doing more harm than good due to their severe lack of understanding of the wants and aboriginal people. The latter chapters of the book Ward introduces some the people and events still happening within the town in the present day.

REFLECTION

The Walk off and the events which surround it are clearly a significant and proud part of contemporary Gurindji culture, and the people of Kalkaringi still love to share it till this day. It is a must Include part of any cultural Centre proposal.

Photo: Vincent Lingiari accepts the Gurindji land handback from Gough Whitlam. Source: National Archives of Australia 17

Gunyah Goondie and Wurley Paul Memmott, 2007 Within this book Paul Memmott explores the rich and diverse history and application of aboriginal architecture across Australia, the text explores the nuances of traditional design practices. The book explores echoâ&#x20AC;&#x2122;s Bruce Pascoeâ&#x20AC;&#x2122;s Dark emu text by furthers the argument against the ideas that the pre-colonization indigenous population living in Australia were merely just a huntergather society. Memmott paints the picture that, the Aboriginal people of Australia designed and lived in well thought out pieces of architecture. In reading Gunyah Goondie and Wurley, it becomes clear the respect and understanding many aboriginal people have regarding the land. Each group crafted their shelters and camps to suit the specific climatic situation of their location, no two clans were alike, they respond to specific environments. This text was an excellent starting point into understanding the Aboriginal kinship and Interdomiciliary behaviours and how it may manifest within architecture. Further into the book, Memmott describes how these social behaviour practices have been unsuccessfully translated in contemporary architecture causing an array of issues including disuse.

REFLECTION

Understanding the Kinship law and avoidance practices is key to producing architectural outcomes which can be used at ease for the people of Kalkaringi. Men, Women, Kids and Adults all need to be thought of separately and spaces should allow for both separation and connection depending on the event taking place.

Traditional Indigenous housing Typologies, Gunyah Goondie and Wurley

The Australian Dream (essay) Stan Grant, 2016 Despite being the original Australians, Aboriginal people are still far behind that of the ‘white’ Australian in achieving the so-called Australian dream. Grant outlines the harsh realities faced by Indigenous people in Australia, going from a fruitful society for thousands of years too being classified as part of flora and fauna under British rule. The essay explores the stark reality that racism still prevalent throughout Australian society, despite its, manifestation most Australians are denial, and get unsettled and defensive when confronted about it. Australia’s Tendency to glaze over and ‘forget’ the suffering and mistreatment of Aboriginal people has severely Impeded the path forwards reconciliation (W.E.H Stanner).

“If we are to attempt to understand Indigenous philosophy it has to begin with the profound obligation to land.”

Despite Citizenship of Indigenous people only occurring a little over fifty years ago, many Australians believe that the wrongs done to aboriginal have been made up for and attribute the disadvantages they still face to only to themselves. Unlike other countries which have had similar racial histories, Australia seems to hide from its past, trying to hold on to the idea that those who did wrongs in the past were just victims of their times.

Kartiya are like Toyotas Kim Mahood, 2014 Reliving the past failures Christian missionaries, the Government and Charities continue the trend of sending ill-informed and undertrained workers into indigenous communities, in their attempts to solve complex systematic problems with quick simple fixes. In arriving in Indigenous townships, the Kartiya bring with them a false wave of optimism and long list of objectives they seek to achieve. By the end of their stay they are overwhelmed and out of the depth, thus leave half done projects, and broken promises of bettering the lives of the Indigenous people. Mahood, outlines the importance for people working in indigenous areas to understand the current social situation not just the history and general indigenous culture. Yes, many of the Traditional protocols may still be in place, but contemporary life in indigenous communities is always changing and as an outsider you must be able to work within this context.

“Kartiya are like Toyotas. When they break down, we get another one.”

Despite being in the minority Kartiya’s (white people) are disproportionally influential in what happen within remote indigenous communities. Relationships all too often get to the, ‘This vs Them’, and when this happens little of impactful value gets done. Kalkaringi

REFLECTION

As an outsider designing a building in Kalkaringi it will be important to engage thoughtfully with community before making any rushed design decisions, Understanding and Collaboration is the key. It is also good to understand that while architecture can play a role in addressing some of the communities wants and needs, it has its limitation and trying to reach to far in my proposal may lead to ill informed solutions to complex issues. 22

Kalkaringi Photo: James Neil 23

Sand Talk

The Dreaming

Tyson Yunkaporta, 2019

W.E.H Stanner, 1981

“if you don’t move with the land, the land will move you.” Indigenous ways of communication have been diminished as western thought patterns have taken rule. Western ways of communicating can make it almost impossible for an Indigenous person to fully translate their culture in modern Australia. A roadblock into understanding Indigenous ways of thinking is the language barrier, the English language is fundamentally different and incapable of translating no linear history. Indigenous thinking is focused in identifying past patterns which can be implemented in future situations. This bottom down approach is a contributor in the care Aboriginal people have with the land. Examining global systems though an Indigenous perspective can help produce new methods of thought, Traditional knowledge systems often come up when addressing issues but are rarely truly engaged past a tokenistic level, leaving wasted potential.

REFLECTION

Westerners have a complexity of tools over the indigenous ways of having a complexity of ideas, Aboriginal ways of thinking can allow new way of thinking that are nonlinear which allow for solutions normally not thought of. Aboriginal thinking is often to look at past patterns to apply to new problems

“One cannot ‘fix’ The Dreaming in time: it was, and is, everywhen” The secular lifestyles most Australians live greatly inhibits their ability to grasp a concept such as the ‘dreaming.’ The dreaming encompasses concepts of ident, meaning, law and non-linear time all of which challenge western notion of ontology. My biggest take away from the Dreaming is to design for an aboriginal client their mindset must be shifted from that of the white Australian, or at least be open to the fact that Indigenous philosophy may conflict with the status quo

REFLECTION

The Dreaming is key and connecting both past and present, a cultural centre which does not entrench itself within the dreaming will fail to true represent the client’s culture. The dreaming stories must be continuing and that is done primarily through spoken word, thus spaces must be made where this can happen fluently.

CULTURAL FILMS

The Australian Dream (film) Daniel Gordon & Stan Grant, 2019 Taking its name from Stan Grants earlier essay the Australian Dream, the documentary reconsiders the Australian dream through the perspective of AFL star Adam Goodes. The film outlines Goodes struggles to explore his Identity and understand what it means to be an Aboriginal man in contemporary Australia. Despite being the victim end of a racial attack on the field, much of the Australian public viewed Goodes as the aggressor in the situation, choosing to demonize him in his attempts to attempt to challenge racism he faced. We can learn more from the response of the racial attack than from the attack itself, the public’s response reveals average Australians insecurities when confronted by the realities that racism still exists in Australia and effects even those at the pinnacle of success. The Story of Adam Goodes Mother shows just how much the Stolen generation had on future generations with her attempts to supress her memories as a way of coping with the hardship she faced.

“Thousands of voices rose to hound an Indigenous man, a man who was told he wasn’t Australian, A man that was told he wasn’t ‘Australian of the Year,’ and they hounded that man into submission.”

Utopia

10 Canoes

Utopia John Pilger, 2014

Rolf De Heer & Peter Djigirr, 2006

John Pilger provides a confronting view into the lives of Aboriginal people living in remote indigenous communities, there is a sense of anger in the narration, as many of the issues have not improved for as long as Pilger has been documenting them. There is a strong sense of denial and suppression within many of the interviewees, with many Australians turning a blind eye to the issues.

10 Canoes shows us a snapshot into the life of and an aboriginal man and his relationships between his family and clan in Arnhem Land. With only the Narrator speaking English, the rest of the characters speak in native tongue. The film evokes a genuine feeling that you are being told a long-told story by an aboriginal elder. 10 canoes proves that Indigenous culture can be portrayed in a movie without resorting to using the stereotypes often present in mainstream films. We can see glimpses into the intricacies of Aboriginal kinship behaviors and laws, and the up most respect the people had in abiding by these laws. Ten Canoes has complex layers of moral teaching. The mythical story is told for Dayindi (played by Jamie Gulpilil) benefit, but the tribal story is told for the audienceâ&#x20AC;&#x2122;s benefit, to teach us all how to â&#x20AC;&#x153;live proper wayâ&#x20AC;?.

REFLECTION

Despite being one of the richest countries in the world, we have failed to fix the problems present in town like Utopia. Countless government initiatives and policies have wasted millions of dollars into remote towns proving that the lack money and resources are not responsible for the poverty

GOVERNMENT DOCUMNETS

Working With Aboriginal People

Engarging With Aboriginal People

Document produced by National Disability Services (NDS), WA.

In reference to Working with Aboriginal people by the NDS.

This resource’s purpose is to outline the general best practice principles in sensitively and effectively working with aboriginal Australians. This is a starting point, but every aboriginal person and group is different thus best practice should always be assessed case by case.

Key Points: -Acknowledgement of countries should always be done when appropriate.

General points:

- Try to learn about the specific group or Individual before meeting them. Understand wear they are coming from. The three most important aspects to aboriginal people are Family, spirituality and the land.

-Some communities can be made up from multiple different clan groups, thus have complex histories (example, Palm Island, QLD).

-Empower People-Clearly communicate and ensure all parties contribute and understand the conversation, keep people actively engaged throughout the entire process

- “Significant issues in the cultural identity of both Aboriginal and Torres Strait Islander people include family and kinship; recognition and respect as a distinctive people; relationship to land, sea and preservation of customs, laws and language.”

-Never make any commitments that you cannot fulfill.

-Ownership is often shared with the whole community, contrasting with western values.

-In planned meetings have a set goal and always seek to achieve it, don’t get sidetracked.

-land is fundamental to the wellbeing of aboriginal people and is heavily linked to spirituality.

- Try not to sit face to face with someone, can be intimidating, don’t make them fell trapped in a situation.

-Strong sense of community, Issues or deaths in a community can effect the group as a whole not just direct family members.

-Don’t prejudge people on looks or your own prejudices, “An Aboriginal person’s status is not based on appearance, self-image, money, education, or employment. It is based on their community standing and social status.”

-Informal conversations may produce better results as there will be less pressure

-Ask questions and give enough time for a proper response 30

The NT Intervention

legislation

To this current day there has been significate amounts of legislation that’s had a mostly negative affect on aboriginal people, with laws often reducing their basic human rights. Issues caused by legislation: -Welfare dependency and higher levels of unemployment -Lack of education, many especially in the older generations were prevented access to even basic levels of education, -Resentment towards the government and authorities, mistrust in outside forces willingness to help them due to past failed promises. -Destruction of Culture, with much of Indigenous culture being passed down through oral storytelling, when laws prevented this culture has often been lost for good -Language was lost, due to being highly discouraged or outright banned. -Separation of families, many aboriginal families have been torn apart with some not even knowing what group of people they traditionally come from due to the stolen generation. Can cause feelings of emptiness and cause them to question their identity. -reduced health and life spans, life expectancy 17 years (data:2001) lower than non-Indigenous people. -Feelings of shame. “Shame can be difficult to identify as some Aboriginal people, through years of learnt behaviour, can hide this emotion making it difficult to identify even with an acute understanding of body language.”

Northern Territory National Emergency Response Act, 2007 “The Intervention has touched the lives of all Aboriginal people living within the Northern territory.” The Act was Implemented by the Government in 2007 to attempt to stamp out child abuse within Indigenous communities throughout the northern territory. It included the government acquisition of Aboriginal townships, tight control over welfare, and banning of alcohol and Pornography in aboriginal communities. The Act has been highly controversial with the aboriginal population, many people agreed that the government should have stepped in to fight child abuse but saw the lack of results as failure in its original goal. The Interventions focus eventually moved to attempted to address poverty and the standard of living in Indigenous communities, another goal which ultimately had limited amounts of success. The government has been criticised for the lack of community consultation before implementing the new laws throughout the territory, many people were ill informed in what measures would be impacting them until they happened. Many people living in the communities effected felt like the measures taken in the Intervention have pushed them back in their struggle for land rights as the government took back significant control on their land. The laws also meant the government taking tenure over half the welfare payments of indigenous people.

The NT Intervention

The Intervention was clouded in racial undertones, as the policy seemed to target all Indigenous on the basis of their race and location, regardless if they had offended the problems that the policy was attempting to be addressed. The policy makers struggled to explain why the policy was different for non-indigenous people. The banning of Alcohol may have caused more issues than it has prevented with many people traveling long distances to obtain alcohol, resulting in people leaving their communities without the ability to return from major towns like Katherine and Alice springs.

Invervention Protest Source : ABC News

CLASSWORK

This Section will include Activities done within the bower Studio class environment. It will feature notes and reflections made through class with talks with other bower students and leaders. Also Included are the pre concept design task, The Cultural centres documentaries and Art space design.

CLASS DOCO’S

DOCO: CONSULTATION

DOCO: MEMORIAL LANDSCAPES

The two-way exchange of information between the design team and aboriginal people, is vital in creating successful projects, previously Indigenous ideas were often overlooked by designers resulting in buildings ill-suited for indigenous communities. Selfdetermination is vital. Two Methods, Top Down: when methods are done through government and organization policies and Bottom Up: when methods begin at the community engagement through working directly with locals

Landscapes are defined by specific historical and cultural events When producing a memorial space, it is vital that consideration goes into how the history is presented, and what biases can be at play. The location itself can have deep emotional connotations attached to it, these can both positive and negatively impact a memorial space.

Failures at the consultation stage can occur due to: -Incorrect assumptions and biases regarding community issues and ways of life -Lack of fulfilling promises resulting in mistrust,” what are you going to do for us?”. -Lack of cultural competency. Consideration must be made to address; Gender norms, avoidance relationships, sociospatial practices, all of which can be different from one community to another. Effective consultation should use the same fundamental principles but should be adjusted to suit the specifics of each situation. Informal consultation within communities can often be more effective than formal over the table meetings, as they can allow an individual to more comfortable in sharing their ideas.

REFLECTION

Good and clear Consultation is vital to the success of a project, Consultation can be more about finding out new ideas and issues than just answering a list of preset questions. Having an understanding and interest in the client before and meeting is crucial. In our case, due to the lack of face to the lack of face to face consultation, visuals will play an important role. 38

Niagara Place, tried to avoid using stereotypical indigenous symbolism instead used a series of subtle elements to create a culturally rich space. Begs the question into who the spaces are for, the Indigenous or the greater population. Australian examples like the bundian way example often use movement and pathways in the designs, this helps the user understand the history of the location but recreating the traditional way of moving through country. Bundian way Map

REFLECTION

Use of paths is evidently a clear way to represent a people whose culture evolves around the land and movement through it. For the Gurindji, the path could be used a s symbolic nod to the walk off, a journey deeply important to their history. Open end ended paths maybe the most appropriate solutions given the fact that unlike western history, Indigenous culture is not linear and does not have a fixed timeline of events. 39

DOCO: CULTURAL SPACES 1.

DOCO: CULTURAL SPACES 2.

In evaluating any cultural centre, considerations must be made into who is it designed for, the local community or the tourists. Internationally famous architects often miss the mark by producing flashy buildings with surface level cultural interpretations. Success can depend greatly on the projects goal, some centres may be successful in providing the greater population more knowledge regarding indigenous culture and history but fail in in improving the lives of the people thatâ&#x20AC;&#x2122;s culture is being represented. Cultural buildings are often too tokenistic significant community consultation is vital in producing architecture which fulfills the ongoing needs of Indigenous people. The Thread example in Senegal fulfills its concept to create a selfsufficient central hub in the community, with its pragmatic design, it does not seem out of place like other examples.

Thread, Senegal

Garma Cultural Knowledge Centre, NT Australia

There is a significant contrast in indigenous cultural buildings that are built for tourists compared to that which are designed for local community, commercially orientated buildings like that of in Uluru are built away from local townships Making them in accessible to the local community as they are built along tourist roads. The Uluru-Kata Tjuta cultural centre has amazing art and cultural displays for outsiders with no prior knowledge of the community or culture but does not have spaces for the locals to their do day to day activities. Lack of awareness around avoidance practices and traditional customs can lead to designing spaces that simply will not even be entered. Like with the International examples numerous Australian cultural centres also use fairly literal ways of representing Indigenous culture in an architectural form. This is seen in the Mowanjum community centres who is plan resembles that of a figures head. This approach can seem

REFLECTION

Successful projects find the balance between the local community and tourist, Kalk not being on a major tourist route encourages the need for any cultural building to be community first in design. Designs should not overly dictate the ongoing use, people will use the space in the ways they seem fit. 40

DOCO: CULTURAL Aditional Info

DOCO’S REFLECTION

“The community design process generated expectations of a place of genuine cultural exchange, economic development, and equal recognition – and, on this, it has largely failed to deliver. Instead there is a perception that Anangu culture has been packaged for the tourist market while broader social inequities remained”

All community orientated buildings must be evaluated in the post occupancy stage. The driving Factor in the Garma Cultural Knowledge centre's success was the broad community participation which allowed them to shape a piece of architecture which shared their personal story, without the obstruction of outside forces. By not falling into a tokenistic approach, the project has surpassed expectations, As a result of the 2020 Covid pandemic much of these centres that have been design with only designed for the tourist are most likely vacant as they do not have spaces appropriate for the use by the local town. A successful cultural centre should enrich the culture at all times of use and facilitate the ongoing progression of such culture.

Key takeaways from All Doco’s Good design always begins at the community consultation stage, bottom up design is vital in ensuring that the objectives of the design are understood before work begins. Its also crucial in understanding who a building is for, whether it be for the local people or tourists. Tourist centres can be successful in the sense they expand the publics knowledge on history and indigenous culture, but often fail in there attempts to create a community space alongside tourism. Architecture is limited in its abilities to solve much of the ongoing issues in indigenous communities. in both the Australian and international examples, designers were overambitious in their attempts to address long lists of issues and concerns, resulting in projects which did not live up to the promises made in the concept stage. Post occupancy evaluation of projects conducted in indigenous communities is essential, many examples look good on the surface level, but it is in the day to day operation that is important. “These case studies beg the question; how can architecture move beyond the stereotype; capture meaning and create an environment that is beneficial for all?”

ESQUISSE 1 - ARTSPACE

TASK

GROUPWORK IDEAS

The task is to create an Art display and storage device for the Karungkarni Art and Culture in Kalkaringi. The centre currently does not have the ability properly display a lot of art, thus much of the finished pieces are stacked up against each other along the walls.

Simple upright wall like display with rectangle cut-outs that pass though the design where art and artefacts can be displayed. The main material will be the semi permeable metal sheeting used in the previous Bower Studios extension to the outside of the Arts Centre, this will assist in creating a sense of cohesion.

Design considerations: -Protection against dust due to buildings lack of weather sealing -stop art from being stacked on top of each other to prevent damage. -movable through the building and outside for use during the annual Freedom Day festival -display art for visitors -Be buildable on site by local labour can still be seen through the partially permeable screen cladding. An initial issue with this design is the lack of solid protection against dust.

Initial ideas into the storage were also discussed and implemented by having sliding panels in either side of the design which can be used to store the art internally and then slid out to display the artwork. When in storage the art can still be seen through the partially permeable screen cladding. An initial issue with this design is the lack of solid protection against dust.

Group Model

Intial Sketches Current art Centre

SOLO DESIGN

DESIGN

For my design I wanted to create an art display which could be highly adjustable in order for it be adaptable to different day to day uses. The design consists of an A-Frame in which one is vertically aligned with the other on a slight angle, the two panels made out of thick plywood are then attached to a timber base on heavy duty caster wheels. Horizontal mounting rails cut into either side of the A-frame panels allow for one of 3 different modular brackets to be slid in and fixed. A simple gravity supported bracket made from timber would be used to support canvas artworks, these could easily be adjusted to suit all sizes of art in an array of arrangements. The rail system could also use to support 90-degree shelves and seats, these would be made from the metal sheeting from the other bower projects for the design connection. These would also allow for non-canvas-based artworks to be displayed. The Internal of the A-Frame would have space store art away from dust and water. Upright storage pegs would sperate the art, so they donâ&#x20AC;&#x2122;t damage each other whist being stored and allow for easy access. A shelf would also allow for various of other objects and materials to be stored.

Angled Side

Upright Side

MATERIALS

Art Canvis 20mm Plywood

Canvis

Internal

Hard Wood Framing

Shelf/Table

Seat Bracket

Metal screen (From Shade design)

Upright Storage Pegs

Heavy Duty Casters

MODEL

DISCUSSION AND FEEFLECTION 30/03/2020 Gernral Feedback from Penny: -Seating next to the art may not be appropriate and not structurally sound. -Much of the art painted on canvas is not stretched, thus the way of displaying the art in the brackets would not work in all cases. Need some form of hanging clip system to display much of the art. -Modularity good in being able to be adaptable to different sizes of art and also displaying non canvased art or artefacts on the horizontal table brackets. -The design being able to be moved by a forklift may help it in the event of a flood during the rainy season -If using artwork in the presentation of designs use local art, random indigenous art sourced online will look out of place for a drawing in the context of Kalkaringi. -Important to use materials easily to bring into a remote community as well as building techniques that can be done on site to construct the display. -Design may take up too much room in the building, could be edited to be partially dismantled when more space is needed in the building . -Currently some of the windows are not glazed resulting in wind having an effect on hanging of art, art may need to be properly fixed rather than just sitting in a bracket. The issue of a cross breeze can also create issues in hanging art from the ceiling framework.

KALKARINGI

This chapter the focus will now begin to home in onto Kalkaringi more specifically and seek to understand what makes Kalkaringi and Gurindji country so Unique. To grasp this intricacy of the town a more in-depth exploration into the history, dreaming and current day life will need to be made. Though I have made an attempt to understand the town and the people who make it, the lack of a site visit still leaves much to discover further down the road.

LOCATION

KALKARINGI

Location In Australia 54

Location In The Northern Teritory

Location

Daguragu

Kalkaringi

Gurindji country expands over the vast planes of the northern territory crossing the western Australian boarder. the communities of Kalkaringi and Daguragu are located along the Buntine Highway some 460km from Katherine. The settlements reside near to Wattie creek which feeds into The Victoria river, which floods annually during the wet season, runs south of the township. The two communities are separated by 10 minute drive down Daguragu road KALKARINGI FROM THE AIR SOURCE : ALLAN LAURENCE, 2011 56

CONTEXT

Kalkaringi Overview

Wave Hill WalkOff

As of 2016 ABS counts the population of Kalkaringi as 334, though this number like fluctuates regularly throughout the year, the data also suggest that upwards of 87% of the population identifies as Aboriginal of Torre Strait Islander. Elders formally changed the name to Kalkarigi in 1985, it was previously known as ‘Wave Hill Aboriginal Township.’ The town of Kalkaringi is freely accessible by outsiders whilst Daguragu entry is controlled by the traditional owners and permissions must be granted to visit. This has contributed to the fact that much of the government back infrastructure has been focussed in Kalkaringi. These facilities include, A school, Arts centre, police station, council office, Social club, Creche and more. The social club is a rare example of a licenced venue in the northern territory after the implementation of the Intervention. The intervention was also responsible for the Victoria Daly council taking on governmental responsibility and management of both Kalkaringi and Daguragu. Even Though both towns are made up predominately of Gurindji there are some issues in resentment between the two thus the people do not always interact with each other. Traditional culture is still present in the communities with Gurindji language still prevailing as the primary language spoken at home.

Shortly after the Invasion of Gurindji land, Wave hill cattle station was erected nearby to modern day Kalkaringi. Controlled by British Lord Vesty, The Gurindji people were made to work on their stolen land without fair pay. After the years of mistreatment and hardship, Vincent Lingiari, backed by his fellow Gurindji led an eight-year long strike to demand not wages, but the rights to their country. The poring sand though the hands of Vincent Lingiari by Gough Whitlam is seen as the symbolic end of the strike and start of Aboriginal land rights. Though it must be noted that books such as Charlie wards ‘A Handful of sand’ reveals the struggles of the Gurindji extends far past the hand over in the seventies. The walk-off, plays an important role in the histories of Kalkaringi and Daguragu, it played a pivotal role in Australia’s land rights conversation. The walk-off is now celebrated yearly by the community during the annual Freedom Day festival.

Image of the Guridji at Wave hill

Karungkarni Dreaming

Karungkarni Arts centre

This is an extract of Violet Wadrill story describing the Karungkarni dreaming, The Karungkarni hills are located south of the town and can be viewed from the future cultural centre site. Karungkarni is a very important Dreaming hill located just south of Kalkaringi. Karungkarni Art and Culture Aboriginal Corporation is named after this hill and many Gurindji children come from this place. Prospective mothers climb the hill and brush the two Dreaming boy and girl rocks with a branch. Sometimes in the evenings, you can see the Dreaming children playing near the Victoria River at the back of the Kalkaringi rubbish dump. Violet Wadrill was told the story of the Dreaming children by her motherâ&#x20AC;&#x2122;s sister, Ida Malyik. This version of the story was told at Jatpula

Established in 2001 The Karungkarni Arts centre is located along the southern end of town along the Buntine highway inside the old powerhouse. Named after the Child in a dreaming story the arts centre has become a hub for the town, being used for meetings, art, and ceremonies. The centre is a place of education and cultural learning, as is a place where different members of the community can interact with each other and visitors alike. All the towns art supplies sales and displays are done from inside the arts centre, along side the storage of existing art, artifacts, and cultural items. Penny Smith is the Current Centre Manager Unweather sealed and located within the flood plain means much of the important items present in the centre has to be moved or protect during seasonal weather events. The Hope is that with the completion of the Cultural centre the Arts centre can move much of the gallery and display/shop side of things out of the current site giving more room for storage and art making. In 2018 Bower studio completed a extension on the arts centre to improve its capability and give it a semi out door space.

THE BUILD

The following Pages will include the original planned build Bower 2020, Despite the unfortunate situation which has prevented the build from going ahead, plenty of work was put into the design pre Covid. This section will include an overview of the design, initial preparation alongside structural information provided by ARUP.

THE DESIGN

WHAT WE ARE BUILDING

In 2020 Bower studio will be working on the Kalkaringi Community Centre (Hub) the towns former health clinic which has been in disuse since the asbestos was stripped out of the internal walls and ceilings. Community consultation and planning started in August 2019, as well as a site visit conducted in February. We will be focusing on the external aspects of the building, developing strategies and design to address, landscaping, shading, place making and seating. Design of the Shade structure is completed but much of the landscaping and the production of a â&#x20AC;&#x2DC;desertâ&#x20AC;&#x2122; garden will done on site.

On site Consultation, Feb 2020 Photo by Annabelle Roper Current State of the Former health clinic Photos by Annabelle Roper

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SHADE STRUCTURE

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LANDSCAPE TO FUTURE DESIGN

TITLE:SITE PLAN TITLE: TITLE: PLAN SITESITE PLAN SCALE: 1:500 SCALE: 1:500 SCALE: 1:500

5 FEBRUARY 2020 DATE:19 2019 2020 DATE: 13JULY FEBRUARY DATE:

The main pre planned element of the design will be the shade structures, which are to be placed outside the community centre in the ‘desert’ garden. Shade structure provide informal spaces which can protect people from the harsh sun, but don’t enclose people like full buildings. The shade will come from the semi-permeable steel screens, the screens will be made using the same materials used in the previous Bower projects creating a connection between various projects already built and used within the town. The Screening material also gives a much more natural ‘tree’ like shadow than what would be produced using a solid material. Model used in the onsite consultation Photo by Annabelle Roper

Kalkaringi Kalkaringi Community Community Centre Community CentreCentre

Kalkaringi PROJECT: PROJECT: PROJECT:

THE DESIGN :ARUP

STRUCTURE

The 2020 Bower Studios build has been engineered by ARUP to ensure the projects design is structurally sound and is suitable for the conditions present in Kalkaringi. Rachel Ngu and Jorja Zanotto are the engineer leads in the design. Despite the seemingly simple design, the structures angled cantilever caused some issues in assuring the structure would be stable under load. The team at ARUP used a basic model to determine the projects feasibility before completing the final drawings. Due to the remote components had to be as light as possible for transport and construction. Due concrete taking 28days to fully set the pad footings will be precast with the fixed pointing points for the columns. Pads will be 700mm in height with 300mm inset into the ground.

The main structure consists of four â&#x20AC;&#x2DC;Zâ&#x20AC;&#x2122; shaped columns and two horizontal members. The central columns will take the largest portion of the load thus will be placed closer together and made from thicker steel (150x12EA rather than 150x10EA on the outer columns), as well as have an additional member welded inside them. This was done to reduce the weight of the individual elements for ease of construction.

Davids physical model

Collumn Diagram Source: ARUP

SCREENS

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Due to the permeable nature of the steel screens in the design most of the wind passes through the structure with minimal load. But to ensure as little wind load as possible the screens on the horizonal cantilever section were removed. Despite the reduced amount of screening, by using the physical model showed that there would still be sufficient shading.

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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010 Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au

Screen Materials: ARUP

Wind Diagram Source: ARUP

GSEducationalVersion

CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852

REVISION

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FRAME AND BASE PLATE DETAIL DETAIL DRAWINGS

Phil Smith 0406 224 866 gurindjicorporation@gmail.com

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PREPING THE CONTAINER

PREP: WEEK 1 The first week of preparation consisted of the arrival of both the shipping container and the steel structure and screening materials, Due to the size of the shipping container being used, much of the steel being used for the columns had to be cut to under a length of under 5.8 meters in order to fit into the container its self. It is also important to note that the design had to take into consideration that on site in Kalkaringi no large mechanical aids like forklifts and cranes could be used in the construction phase, so elements had to be of size and weight suitable for man handling.

REFLECTION

Kalkaringi being so isolated brings in the importance of both material selection and construction techniques. Materials selected should be maximized and waste should be kept as low as possible. By using standard lengths and spans in the architectural design off the shelf materials can easily be used in the construction. The use of the standard building practices will also assist in the amount of work the local Gurindji Corp labour can complete without outside specialist.

Steel being Cut and Packed Into container Photos by Annabelle Roper

KALKARINGI

Un fortunately due to the Pandemic that’s where the Building stops, Maybe another time…

DESIGN : CULTURAL CENTRE

This Chapter will be the implementation of what has been learnt so far to produce a design for the future Kalkaringi Cultural Centre. Starting with precedent studies and community consultation, concepts will pe produced that reflect the wants of the clients Class discussion, groupwork and additional research will be used to develop a design which fulfills the role of continuing the Gurindji story for years to come. The conclusion of this section will include the drawings which will sent to Kalkaringi for review.

SOLO PRECEDENT STUDY

GARMA CULTURAL KNOWLEDGE CENTRE

Architect: Simon Scally (build up Design) with community Partnership Location: North-East Arnhem Land, NT Year: 2014 Completed in 2014, the Garma Cultural Knowledge Centre located in Arnhem land, sets an architectural precedent based on two-way knowledge transfer, a long-established Yolngu practice of combining Indigenous customs with Outside mediums to create culturally rich spaces. The building is used as a learning and cultural function space as well as a hub for outside tourist. Entrance Ways. Source: Peter Eve

Floor Plan. Source: Peter Eve

KEY POINTS: -Architect used as a medium of translating the aspirations of the community clients, key features were added by the community rather than just having an outside architect project his ideas onto the design. -Designed to blend into the landscape, building is and extension to the respect the Yolngu people have to their country. Does not stick out and obstruct the landscape but celebrates it. -Simplicity in design, due to remoteness (700kmâ&#x20AC;&#x2122;s from Darwin) the design used prefab framework accompanied with locally milled stringy bark throughout the design - Shaped as an anchor to celebrate the history of the Yolngu peopleâ&#x20AC;&#x2122;s connection to trade with the people of the south pacific, commemorates the peopleâ&#x20AC;&#x2122;s ongoing relationships with the greater society. -perforated screens using laser cut star constellations lining the outside deck create dynamic, shadows creating spaces similar to sitting under a tree -Similar to the planned Kalkaringi Culture centre in the way in which it is primarily designed for the day to day use in the community but also is a significant piece of infrastructure during the yearly Garna festival, like the Kalkaringi building will be used for the Freedom day festival.

Plan addresses traditional socio-spatial avoidance strategies. Materials and Colours from surrounding landscape.

EAST PILBARA ARTS CENTRE

Architect: Officer Woods Architects Location: Newman, WA Year: 2016 Designed as part of a UWA Competition the East Pilbara Arts Centre, is located in Newman and small town 1200km from Perth, the original brief was to create a small building to show case local art and workspace for the Martumili artists. Instead the architects decided to supersize the brief into a large shed suitable of an array of extra cultural activities. The gallery and key spaces are fully enclosed inside a semi in/out flexible Source: Robert Firth space. Building exterior. Source: Peter Eve

KEY TAKE AWAYS: -Used subtle references to Indigenous culture and the landscape, avoided being overly tokenistic to indigenous culture. -Architecture not over the top, design focused in how the building would be used by the local community, did not attempt to become just an architectural landmark. -Separation in spaces, artists have private spaces divided from the public galleries. Allows the tourists not to overwhelm the people the building was designed for.

Flexiable Space.

-Flexible spaces, design Includes a large convertible space which allow the building to fulfill a number of other needs the small community has. -Architects knew the community would want more than the brief entailed, thus added spaces in which the community would require to ensure the buildings ongoing use. -open air spaces allow for outside connection whilst protecting the user from the elements. Semi transparent cladding allows natural light in even when completely closed.

Pass-through space

-Storage water tanks are used both as architectural features and as passive cooling elements in the main artistsâ&#x20AC;&#x2122; working area.

Source: Officer Woods Architects

KRAKANI LUMI

Architect: Taylor and Hind Architects Location: Bay of Fires, TAS Year: 2018 Krakani Lumi which means ‘place of rest’ is a standing camp located in Wukalina (Mount William National Park) in North east Tasmania. 8 years of research with the Aboriginal Land Council of Tasmania and UTAS was conducted to ensure the project was culturally sensitive and accurate to the history of the indigenous people of Tasmania. The Wukalina Walk is Australia’s only Aboriginal- owned and operated guided walking experience.

Source: Robert Firth

PRECEDENT CLASS DISCUSSION 06/04/2020 Precedent Presentation Discussion: -Focus on the ideas present in the precedents rather than the realized architecture -Use Simple diagrams to illustrate the successful elements in each precedent, text should be made into short bullet points with key words emphasised. -Diagrams should attempt to derive each idea to its simplest form, making the easy to understand. -Donâ&#x20AC;&#x2122;t want to present an idea in a way that leads the client into thinking you are just going to recreate the precedents in its original form -allow the clients of the project adequate time to dwell on the precedents, thought out answers are crucial in understanding the more complex issues at play within the project. -Understand the way the client intends to use the spaces, a negative reception to a precedent can be as powerful as a positive one

Form developed from Traditional architecture, but did not dirrecty copy the shape

-Format for presentation should be sharable in the community, allow all people to formulate their own opinions on the ideas presented. But be sure not to overstep the community leaders

GROUP PRECEDENT STUDY

GROUP PRECEDENT SELECTION

Bowali Visitor Centre (Jabiru, NT):

With Lexi, Andrew, and Emma. For our Group Precedent presentation, we decided it would be best comparing each of the precedents through 4 ideas; Experience, spaces, materials and displays. The precedents were picked as they have similar programs and locations to that of the future kalk Cultural Centre, Through our presentation we attempted to focus mainly on the ideas and not the architecture its self as to not project final solutions on the client at this early stage.

Experience: The central corridor of the building encourages the user to move through the building in fairly restricted direction with only small deviations, the user is less likely to overlap in their progression through the building. Spaces: Multiple pavilions allow them to be a large amount of semi outdoor covered spaces for the user to move through, though some areas are to thin for people to actually stop and relax in. Materiality: uses Natural materials to help the architecture to blend into the Environment. Rammed earth and local timber give a personal connection to its environment.

Precdents :

Displays: Uninterrupted linear galleries, nearly entirely indoors.

Bowali Visitor Centre Karijini Visitor (Jabiru, NT) Centre (WA)

East Pilbara Arts Centre (WA)

Karijini Visitor Centre (WA)

East Pilbara Arts Centre (WA):

Experience: Curved walls and open plan allow for the building to have organic movement, curved walls can create spaces without making new rooms.

Experience: All the gallery and enclosed spaces are grouped together, making it the focal point in which you move out from. Gallery is more tourist focused than the flexible community orientated spaces.

Spaces: The windowless walls are positioned is such a way that the openings can be used to frame specific views into the landscape. Though there is no outdoor or semi outdoor spaces. Very tourist orientated Materiality: The building uses Large Corten steel walls which blend into the red earth of the site, this helps to slightly soften the otherwise jarring â&#x20AC;&#x2DC;knife likeâ&#x20AC;&#x2122; walls which protrude from the building. Displays: small tight spaces that contrast with large open rooms, allow for both intimate and public displays spaces.

Spaces: Aside form the fixed enclosed spaces, the building is flexible and blends what is in and out. Though this may be hard to replicate due to the large scale of the building compared to what will be built in Kalkaringi. Materiality: In contrast to the other examples the building does not attempt to use materials and form to blend itself into the site. It uses contemporary materials which may increase the need for outside skilled labour in the construction. Display: All gallery spaces are together, has a traditional art gallery feel, very at contrast to the context with its white walls.

Talk With Phill Uluru-Kata Tjuta Cultural Centre (NT): Experiences: The separate and organic nature of the four pavilions allow the visitor to determine their own movement through the space. The nonlinear form of the space also allows for slow movement as the user curves around the spaces. Spaces: Building is focused on a central Courtyard space which has a desert garden which helps link the building to what it trying to talk about. Organic shape of the building creates plenty of spaces people can sit semiprivately.

24/03/2020 Phill and Penny, Discussion Notes: Gurindji Corp: -Private Enterprise ran by the community for the community. -All Profits go back into the town which is then invested into business, infrastructure and leisure activities for the community (Freedom Day Festival) -Plan the festivals The Social Club:

Materiality: Uses similar language to the Bowali example, tries to nestle itself into the land on which it sits on.

-The only place that can serve alcohol in the Town, Mid strength beers three hours a day. Partically introduced so the community had a controlled and safe location for drinking in an otherwise dry community.

Displays: Galleries separated but linked through pathways and outdoor courtyards. The user has choice into how they wish to move through the art and cultural displays.

-Currently fenced off and â&#x20AC;&#x2DC;jailâ&#x20AC;&#x2122; like, not family friendly and kids are not allowed in -Does not serve alcohol during the 5 days of the Freedom Day festival -Currently run by the council but is planned to be transferred back to the Gurindji Corp, will ensure profits feed into the direct community. -Visions for the club; make it more child friendly, have a non-drinking area so kids can be minded and can buy food (currently gets passed through the fence), Improve capacity for events and music, connect/relate it to the walk off track

Family Centre: -Town always need more accommodation for visitor and workers who come into the town for short periods of time. Currently no wear for medical staff to stay when running clinics in the town. -Will expand upon the facilities currently provided by the government run creche -Need for Confidential spaces as well as child minding spaces for kids while parents used the facility -Should have both formal spaces as well as Cultural Centre: -Site on a prime location in town on native title land. -Should also have some references to the people of Daguragu -Will some of the uses of the current art centre to a new space, giving the artists more space in the current location, also gives the town a place to store art out of the floods. -Penny’s vision includes; Art gallery & Storage, a space for cultural activities, Educational facilities and amenities for tourists. -Have both indoor and outdoor spaces to view films - Displays for artefacts and cultural pieces, possibly even a café for attracting tourist and have a ‘hang out’ place for locals. Kalkarigi country Photo, Bower, 2019

COMMUNITY CONSULTATION

TALK WITH PENNY SMITH 27/4/2020, From the precedent presentation: Penny preferred the floorplans which were more organic and fluid over the straight lines of the Linear plans such as the Bowali example, she views the curve shapes as being ‘softer’ to the user. Sharp edges make for spaces which people will not want to stop in. She also agreed that the building should be split up into separate spaces to help assist in dividing up both the user groups and use types, also assists in the buildings feeling of “openness.” It will be important that the building is well connected to the town with paths if the spaces are to be used by town people and visitors.

Penny as also noted there should be adequate gallery space for large pieces of art (3meter plus) canvas as well as space to exhibit large traveling exhibits once they return to community. The building will also become a place for children from the school to use to learn about culture and history as well as create new stories. Currently the arts centre is often the location for town meetings, the cultural centre should be them to replace this. The building should tell the stories of the greater area not just that specifically of Kalkaringi Spaces that Penny sees as important for a future Cultural Centre: o Admin Space o Sales and Reception o Gallery (Art, History, Artifacts, film, music) o Archival Space o Dance and performance space o Café/Coffee facilities REFLECTION It is clear that the Cultural centre will need to be the new hub/meeting place for the town, tt will become the place to be. Rectangular and linear style forms can be used grated that they are ‘softened by another element of the design. It will be important to understand how the user moves through the space, create spots where people stop, and gather are opportunities for cultural story telling. Through the precedent presentation it also became evident that the plan view can be deceptive, organic floor plans (Karajini) walls, may look good on plan but can still feel ‘sharp’ in use.

TALK WITH DR LYNDON OP. Consult with Dr Lyndon Ormond-Parker. Dr Lyndon Ormond-Parker is a Research fellow in the Indigenous design unit at the university of Melbourne, He is an Alyawarra man who worked in indigenous policy in the repreparations of aboriginal artifacts. Lyndon expressed that cultural and arts centres are ‘keeping Places’ that play an important role in the community in their ability to protect and display an array of items and artifacts. Should have multiple storage spaces, Men’s and Women’s business separated as well as private spaces for the viewing/ceremonies of such items. Having sperate Art making spaces for men/women and different clan groups is also optimal. Flexibility is also Important, often due to the lack of facilities in remote townships cultural/arts centres become hubs for the town greater needs, having spaces for only tourists will reduce the flexibility, tourists’ galleries should also be sperate to community spaces.

In terms architecture there are a number of points that are important; The building must not be hot, non-aircon breeze free spaces will be underused, must have shaded and non-shaded spaces. Enclosed spaces will not be used. Food facilities are a good way of bringing the greater community into the building to interact with each other. Lyndon also suggested that it may also be good to have some form of architectural element that can be a landmark making item, places the centre as a focal point in the town, but being to literal can cause political issues.

REFLECTION Having separated for different genders and groups is vital for the community to be able to use the building to preserve cultural traditions. The building should also have highly usable but undefined spaces which can be morphed to address the everchanging needs of the community. 100

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SITE ANALYSIS

SITE

The site for the proposed cultural centre is in a primary location within the entrance to the town, site is the first thing you see as you enter the town along the Buntine highway from Katherine after crossing the Victoria river. Cornered by both the Buntine highway which leads in to Kalkaringi and Daguragu road which leads to the Daguragu township the site presents the opportunity to connect both groups. Being centrally located means easy access to much of the town existing infrastructure and common areas. Also, in terms of outside visitors the close connection to shop and caravan park means easy access. The large site is currently mostly bare, with only a couple of existing trees and informal tracks/ roads which town goers use as quick routes to get across town. The site has direct line of site to the hill range south of the town, an important dreaming site

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Site from Above Photo; James Neil

SITE CONTOURS

CLIMATE: WINDS

The prevailing wind for Kalkaringi are from the South east of the town. The typical wind speeds are not an overwhelming issue, in fact breeze-based cooling will be important for the semi outdoor spaces required by the brief. On issue that must be addressed is the commonality of large dust storms hitting the site, during these storms there should be adequate space to store all equipment and art. It should also be noted that the direction the prevailing winds come from is also inline with the view of the surrounding hills which are an important view that the cultural centre must address in telling the Karungkarni dreaming.

Wind Rose Sourced: Willy Weather

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BRIEF

RAINFALL AND FLOODING

Like much of the northern territory the climate of Kalkaringi is heavily influenced by the monsoonal conditions in the late summer months. The average rainfall of the town is a little over 500mm but due to the large monsoonal storms much of the town can be flooded or even cut off when the Victoria river floods. Our site is fortunate to be on one off the higher points in the town out of the typical flood plane, though due to this it maybe come a much needed storage space in the event of a flood.

CLASS REFLECTIONS

25/03/2020 Notes from class discussion: -Simpler design have been more successful in the past, the community can relate to the easier and they seem less out of place in a small-town context. -Due to the lack of a Site visit and less consultation, Should create a design which is open for the community to engage and adjust to their needs. -protect against the elements, but does not need to be a completely climate-controlled space -Design Should be robust, have to withstand extreme heat, woods and plastics will not last especially in the exterior. -who is the building for? Like mentioned by Penny the Cultural centre should have its priority in the locals not the tourists who will ultimately only use the buildings for short periods of time. -Not just building the structure for the formal events and festivals, design for the day to day operations of the community, informal socializing and gambling will ultimately take place in the space and thus should be addressed.

REFLECTION Though earth works can be implemented on the site for the design proposal it is important to note that care is placed into ensuring that the water is not directed into new or existing buildings encouraging the flooding problem. Already small deviations in the ground plan can cause large muddy areas in the rainy season.

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-Avoidance strategies- donâ&#x20AC;&#x2122;t design spaces which make people feel trapped or they wont use it -Indoor, outdoor and in between spaces, how can these be mixed and what type of space is best for certain activities ?

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FINAL BRIEF

The Kalkaringi Culture Will primarily provide a series of spaces which allow for a common location for community interaction. The centre should spark joy in the lives of the Gurindji people by providing them a dedicated where cultural knowledge can be passed down form one generation to the next. The Architecture itself should be able to tell a story and become a conversation starter for the elders to tell their age long stories. Secondary the culture centre should also set out to become a place for tourists and outside people to learn and engage with the people of Kalkaringi. the culture centre should contribute to tourism and the economy through the display and sale of local art, sharing the Gurindji story, and potentially facilitating communication between tourists and Gurindji peoples

It is evident from Consultations with Phil, Penny Lyndon, and the bower class that the design of the cultural centre must be flexible and be able to company future growth and use cases. It is clear through the precedent studies that though the build may need address certain program it is better to design spaces are not fully defined and give the client the ability to choose where certain activities will take place. Programme The Following is a list of spaces that the culture centre should have some ability to facilitate: • • • • • • • • • • •

Information/tourist space/books and art sales Gurindji and Walk-Off history Language and Cultural learning spaces Outdoor cinema / Media space Private culture space, ceremony, artifacts Painting gallery (permanent and temporary collection) Workshop space, painting, and other arts in future? Archived photos, video, audio, and artefacts Kitchenette/café, for tourists and locals alike Talking spaces Casual spaces, for small groups and informal meetings

Photo: Bower, 2019 108

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Design to be broken up into three main spaces; Public for all tourist and visitor spaces, In between for Shared amenities such as bathrooms and the kitchenette, and Community for intimate spaces separated from the public.

CULTURAL CENTRE

coffee

, school

es ing

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IN-BETWEEN

-Gallery -Reception -Art Storage -Tourist information Facilities

-Toilets -CafĂŠ/Kitchen -Meeting Space -outdoor meeting and indoor meeting spaces

COMMUNITY

-Private Storage -Learning Spaces -Recording Studio -Art Making Spaces -Private display Photo: Bower, 2019

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CONCEPT

A CENTRAL MEETING PLACE

BREAKING UP THE FORM Form to be broken up from one central space into smaller sections to assist in splitting up the program in to public, community and between. With this being done more spaces are created increasing the possibilities regarding how one moves through the space. One must move through the outdoors more often, decreasing the detachment from the environment.

ONE CENTRALIZED BUILDING

Design to have a centralized meeting place, The pavilions placed in a U shape for a natural place to hold events and large gatherings.

MULTIPLE BUILDINGS OUTSIDE CONNECTS EACH

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IN TO OUT

USING THE GROUND PLANE

I am Interested in blending the in and out in my design, by including features which blur the boundaries of the outdoors a more seamless connection with the site can be have, as well as a design which does not feel enclosed and shut off. Raising the Platform allows for better views to the hill in the distance and more places to sit.

OUTSIDE

INSIDE

IN/OUT

OUT/IN

Adjusting the topography of the site to move people in a certain way and form places to gather.

OUTSIDE

CENTRALIZED MEETING PLACE FOR VISITORS AND THE COMMUNITY BLENDING THE OUTDOORS

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CONCEPT PLAN

CONCEPT AXO

The Initial floor plan follows the decentralized form previously shown with the 3 Pavilions main pavilions set around a central courtyard which has lowered ground plan creating a natural amphitheatre for community events and meetings. The Pavilions are connected by a large curing platform, this is done in an attempt to break up the rectangular pavilions, thus softening the edges of the centre. The fully enclosed spaces them self are separated under each pavilion increasing the amount of casual meeting places.

Roof cut-outs lined with corrugated poly carbonate will let light and shows into the covered areas, the tourists will enter the building from the south, From the highway while other entrances and paths will connect the building for the local community.

REFLECTION Having a lowered ground plane in the middle for the centralized meeting place may result in having issues in the flood season as water will have nowhere to dissipate. All the pavilions look the same, despite having different program there should be some thing that links them to a specific part of the Gurindji story.

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CONCEPT PRESEPCTIVES

Despite having a simple design layout the internals of the pavilions will have an complex overlaying of materials, creating for rich spaces with plenty of shadow Play VIEW INSIDE THE PAVILLIONS

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VIEW FROM COURTYARD

THE

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CONCEPT MODEL

VIEW INSIDE THE PAVILLIONS

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DESIGN DEVELOPMEMNENT

FINAL CONCEPT

After some weeks of development and revaluating it had become clear that the initial 3 pavilion U Shaped design was lacking the story and cultural connections needed from a Cultural centre in a town like Kalkaringi, in short the design lack a story. The building was trying too much to address the pragmatic side of the brief it had forgotten the role that it needed to play with the town. The new concept revolves around a main path which represents a move through country, the path is to represent Gurindji culture past present and future. The cultural path curves through the site and cuts through the pavilions, The points in which the path collides with the pavilions will become places in which the walker can stop to engage with a specific moment or event in the cultural story. Each pavilion cut will be tailored to start a different conversation, Elders like Jimmy will able to use the building in relaying the dreaming and history to the next generation.

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NEW PLAN

Open Aired Meeting Space

Art space and Bathrooms

Raised Platforms

The new floor plan layout also moves away from the overly defined, Public in between and community pavilion allocations. As the design is community orientated it seem unnecessary to label such spaces when the entirety of the program should be open to all use groups. This new layout also allows for more of the building to capture the views of the southern hills as none of pavilion block off each other The lockable space has also been reduced in instead a larger focus has been made into semi outdoor areas that can be more softly defined by either perforated brick or steel screen, apart from the necessary spaces like bathrooms and storage rooms much of the building has been left undefined to allow for any number of programmatic choices. The curving platforms have been kept from the original concept to help break up the rectilinear forms of the Pavilions and to give concrete surface which is not undercover.

Learning Areas

Gallery, shop and Infomation Facilites

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WHERE THE STORIES ARE TOLD.

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S UPDATED PLAN

The Plan has added 3 more paths into the design, connecting the historical cultural story to contemporary Kalkaringi and Daguragu. One path will connect the centre to the club, one to the arts centre and finally the last will be directed towards Daguragu. These came as a result of looking into the current state of the site which is already used as means to getting from A to B in the shortest way. These new paths also create new opportunities to have instances for interaction outside of the pavilions themselves. In the next couple of pages, the moments created by the paths cuts through the pavilions will be outlined. As well as ideas for interventions that can occur along the paths which lead into and away from the main site.

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CONCEPT: Roof Structure:

MOMENTS: RAMMED EARTH

The corner cut offs of the community and Fireplace pavilions will both feature large rammed earth walls; these walls will be made using different layers of soil collected from across Gurindji country. The Final form will have and array lays which each link up to a unique area. I hope this moment can be a conversation starter in talking about the link to country the Gurindji have. The original idea was only to have the larger Community pavilion with a cut out but was adjusted t cut through both as to link up with the previously mentioned Karungkarni dreaming.

With the new form of the plan, and intersecting paths of the pavilions the previously one-way skillion roof no long helps to push the narrative the concept is attempting to push. The new pavilion roofs will have a single opening above the point where the path intersects with the raised rectangular pavilion. This will further give the area focus as a gathering area as well as open up its self to the sky which in its self is connected to Gurindji dreaming.

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MOMENTS: Partiki Tree

MOMENTS:

Perforated Screens

Perforated Screens To be put up in the large cut off sections created by the paths, will help protect the space while not completely enclosing it, also give the artist more spaces to hang up art works and items. The overlapping will create dynamic shadows as the sun moves

The Gallery Pavilions path cut will feature a native Partiki Tree splitting the path in the pavilion. The Partiki tree is to be used as it will represent the original Partiki Tee found near Daguragu that was the place of the Sandy Moray meeting that was a catalyst in the Walk off movement. This was placed in the gallery pavilion as it is the largest and most likely to revive visitors.

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MOMENTS: FIRE PLACE

The Small Square pavilion off the Community pavilion will have a central round fire place, due to the complete openness of this pavilion, it will be open at all times and from consultation it is known that fire/BBQâ&#x20AC;&#x2122;s are a natural gathering builder.

Axo of Artist pavillions 134

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PATH INTERVENTIONS

The Central cultural path will be stone paved along the main area of the site where in pass through the pavilions, once it leaves this area it will turn into a dirt path which will become more defined through ongoing use. The following design interventions will be used to assist in creating this new path, they subconsciously direct people in directions even if the path is not defined on the ground plain

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MATERIALS

Through the Precedent discussions it was clear that the material selection plays a vital role in the atmosphere the building will have on once built. I have chosen to use materials which that will help to blend the building into the site. Through conversations with Phil and penny it is clear that the material language used by bower in the past is seeming liked by the community. The floor pads will be made using concrete coloured using the earth found in the area giving it a natural brown colour. Local Bricks have been made before in Daguragu, but it has been some time, these bricks used local soil giving them the colour of the site. Due to the possible labour increases in making bricks on site I intend to use a small amount of locally made bricks that will be blinded into outsourced bricks to give at least some of the red accents on the walls. It is clear from bowers previous Kalk Projects materials such as Perforated screens, and corrugated iron work well in creating a â&#x20AC;&#x2DC;honestâ&#x20AC;&#x2122; piece of design. Perforated materials allow for the division of spaces while not using glass will break. Visible structure should be encouraged. Materials like timber can only be used for internals as termites are an issue at the site structual elements should be made using steel.

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FINAL PRESENTATION STYLE

Considerations: To successfully portray the ideas developed for the cultural centre, it will be important that the drawings and presentation styles is suited for the Gurindji Client. People used in drawings should be people from the town or simple silhouettes, should resemble the demographics of the town itself. Any Trees and plants show resemble that of which are currently found and native to the Kalkaringi, any artwork used in drawings should also be that of which is painted in town. I will also intend to use images of Kalkaringi as the background to help the buildings feel at home in the community. In terms of drawing selection in, I have opted to try and focus my three-Dimensional views as snap shots of the proposal along the main path. I have moved away from using overhead Axonometric views and elevations as they do not accurately reflect how the building will actually viewed in completion

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PROPOSAL

FINAL CONCEPT DIAGRAMS

The Gurindji journey, past present and future

Stories of Culture, history and art.

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Places to tell and continue The Story

Linked to Contemporary culture

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Path to Daguragu

SITE AXO

Path to The Club

Gallery Pavillion

Artist Pavillion Fire Pavillion

Path to Town

Community Pavillion

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The Cultural Path

Path to Arts Centre

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STUCTURE EXPLODED AXO

DETAILED SECTION

Section of the Rammed earth corners, the Concrete cap corners will be hollowed waterproof membrane with rainwater tank in the centre, the tops of the rammed earth will be covered in corrugated iron sheets as to help protect it for water erosion. There is no need for insulation as the wall is not being used Tie Bars for an enclosed room.

1800 x 840mm Corrugated Iron Sheets

Steel Braket Corugated Iron

C10015 102 x 50 x 1.5mm Steel Purlins

Rammed Earth 75 x 75 x 4mm Steel Square Secion

Vertical Bars

Bars Hooked to footing Concrete Slab Sand

15mm Bar Stirrups Horizontal steel rebar

400 x 400mm reinforced concrete columns & Lentils

Concrete Footing

Rammed Wall Wall Section

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FLOOR PLAN

SITE PLAN

Club rag gu Da uR d.

School 4

2 1

5 8

BUNTINE HWY

Town Centre Shop

tine Bun

Y HW

Arts Centre 50m 50m

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100m 100m

200m 200m

N 5

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KEY 1. Indoor Learning space 2. Outdoor Learning space 3. Rammed Earth Pillar 4. Fire Pit 5. Kitchenette 6. Bathrooms 7. Artists space 8. Open gallery 9. Gallery 10. Shop/Office 11. Art Storage Space 12. Path turns dirt

PRESPECTIVES

View through Fire Pavilion

View to Artist Pavilion

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View Inside Artist Pavilion

View Inside Gallery Pavilion

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SECTIONS

Gallery Section Long

Gallery Section Short

2.5m

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10m

1.25m

20m

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2.5m

10m

PATH INTERVENTIONS

A Seat out of the Ground 162

Pathway Intersections 163

New Mounds in the Landscape 164

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REFLECTION

THE PROPOSAL

BOWER

Overall, I believe my proposal for the future Kalkaringi arts centre has been successful, but it will truly be up to the Gurindji people to decided whether it belongs in belongs in Kalkaringi. The lack of site visits and limited Community consultations made for a challenging project given the important role the cultural centre is play in the community. I believe that my final proposals provides the people of Kalkaringi a series of spaces which can be used to educate and expand the culture of the town and the country it sits apron. The flexible nature the open floor plans give will hopefully allow for the centre to morph itself onto the need and desires of the town as they seem fit. I am looking forward the feedback given by the Gurindji people.

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Despite the unfortunate circumstance of this semester Bower has still been a largely rewarding experience. I have enjoyed expanding my know ledge and understanding on Indigenous culture the role architecture can play in Indigenous communities. I am grateful for the effort many of the people in Kalkaringi have put into our helping us understand the community and develop our projects and it is a disappointing we were not able to do our part in building something for them. I am looking forward to a time where me and my fellow Bower classmates can head to kalk in person and get the true experience of the country.

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BIBLIOGRAPHY

Smith, Claire. "Designed Dreaming: Assessing The Relationship Between Style, Social Structure And Environment In Aboriginal Australia". Australian Archaeology 34, 1992 Memmott, Paul. Gunyah, Goondie+ Wurley: The Aboriginal Architecture Of Australia. 1st ed. Univ. of Queensland Press, 2007. Memmott, Paul. TAKE 2. 1st ed. Canberra: Royal Australian Institute of Architects, 2003. Peter Worsley and L. R. Hiatt, "Kinship And Conflict: A Study Of An Aboriginal Community In Northern Arnhem Land.", Man 2, no. 2 1967

Go-Sam, C. (2008). Indigenous Design Paradigms. Architecture AU. Available at: https://architectureau.com/articles/indigenous-design-paradigms/ Bingham, J. (2005) Aboriginal Art & Culture. 1st ed. Oxford: Raintree. Yunkaporta T. Sand Talk. Text Publishing; 2019. de Heer R. 10 Canoes.; 2006. Scrimgeour A. ‘Battlin’ for their rights’: Aboriginal activism and the Leper Line. Aboriginal History Journal. 2013 Smith S. The Tin Camp. [Brisbane]: University of Queensland; 1996.

Ward C. A Handful Of Sand. Sydney: Monash University Publishing; 2017. Stanner W, Manne R. The Dreaming & Other Essays. Collingwood, Vic.: Black Inc.; 2011. Pascoe B. Dark Emu.; 2014. Grant E, Greenop K, Refiti A, Glenn D. The Handbook Of Contemporary Indigenous Architecture. Adelaide D, Scott R, Heiss A. The Intervention.; 2008. Hokari M. From Wattie Creek to Wattie Creek: an oral historical approach to the Gurindji walk-off. Aboriginal History Journal. 2011 Grant S. The Australian Dream. Quarterly Essay; 2016.

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