Shalini Rautela - Research Booklet - Bower Studio 2020 by BowerStudio20

Bower Studio

Shalini Rautela Bower Studio 2020 1

I acknowledge the Traditional Custodians of the land on which I work and live, and recognise their continuing connection to land, water and community. I pay respect to Elders past, present and emerging. I would like to acknowledge that this booklet was concieved on the traditional lands of the Wurundjeri people of the Kulin nation. To the Gurindji People, I pay my respects, to their Elders past and present and to their contributions to the progression of Aboriginal land rights in Australia. This artwork was created through an abstracted of the Kalkarindji landscape 2

Contents 1. Bower Studio

Preparing for the build

Gurindji Country

Design Esquisses

Customs & Consultation

The Family Centre

The Body of Knowledge

...

Reflections throughout

Application for Bower Studio The Bower Studio has interested and inspired me since the moment I learned of its focus, ethos and practical nature. Moreover, the ongoing consultation Bower has with Indigenous communities through conversations and direct involvement is both exciting and empowering. Travelling to Kalkaringi would be an absolute privilege, given the historical significance of the land as the beginning of the Aboriginal land rights movement in Australia. The very nature of the modern built environment further dispossesses Indigenous people

from their land. I am excited to be involved in an architecture that attempts to create ties between architecture and the fading Australian vernacular, between Aboriginal people and non- Aboriginal people. I am ashamed by the ongoing repression that Indigenous people are subjected to in this country, and it is certainly my intention, where possible, to empower Indigenous Australians through my actions and architectural practice.

really passionate about. Having completed a pre-apprenticeship in carpentry prior to starting my masters, an ability to use physical construction as a component of the design process is really appealing.

Photo credit: Bowen, Bower student 2019

Bower studio is unique in its offering and radical in its delivery. Spending time in the Australian desert, connecting with the community and designing in a sensitive yet practical manner is what excites me.

In addition, the build and design component of the studio is something that Iâ&#x20AC;&#x2122;m 6

Photo credit: Bowen, Bower student 2019

Bower Studio

The Bower Studio The Bower Studio is an architecture design studio that links Indigenous community groups in remote Australia and Papua New Guinea with post graduate students and staff from the University of Melbourne. The studio works closely with community members, establishing close relationships and pursuing ongoing and sensitive consultation to ensure the aspirations of the community are met. In addition, the build and design component of the

Design Aesthetic

studio is something that Iâ&#x20AC;&#x2122;m really passionate about. Having completed a pre-apprenticeship in carpentry prior to starting my masters, an ability to use physical construction as a component of the design process is really appealing. Bower studio is unique in its offering and radical in its delivery. Spending time in the Australian desert, connecting with the community and designing in a sensitive yet practical manner is what excites me. 10

Bower Studio

The studio's name 'Bower'draws links to the Bowerbird, who constructs its nest from a collection of objects as well as the 'bough shelter' a common name for a shelter used by many Indigenous people. Both of these connections certainly adhere to the simple, yet timeless and robust aesthetic Bower studio brings to all of its projects. Due to the unforgiving environments the Studio designs for, the use of effective, 'Bulletproof' and unadorned structures are celebrated.

Ungalvanised black steel, perforated metal, rough sawn timber and exposed structural components characterise the designs. The importance of creating shadows through the use of perforated materials is something that is of particular significance to the communities and to the studios design objectives. The perforations in steel, particularly circles, are effective in simulating the natural dappled light one experiences from sitting underneath a tree.

In this way, the studio's designs celebrate the simplicity and beauty of nature, existing boldly within the landscape, rather than at odds with it.

Bower Studio

Previous Projects Bower Studios were initially invited into Kalkarindji in 2014 after completing several successful projects in remote Aboriginal communities across Australia. The first contributions of the studio were three bough shelters along the Walk-off track, a culturally significant passage of land that followed the trail of the Gurindji people’s strike for land rights. These pavilions were recognised internationally for their connection between country, landscape, culture and materiality. And continue to act as a motif to

inform future design projects. In 2018 the studio completed a renovation to the existing art centre which built on the approach which began with the walk off pavilions. Ongoing consultations with both Gurindji Aboriginal Corporation and the Karungkarni Arts centre have been a central part to this process. Leading on from this project the 2019 works saw the completion of ‘The Big Shady’ which was a large steel structure fitting with perforated steel, seating and cooking fireplaces.

The success and consideration of each of these projects alongside the cultivation of good community relationships has forged circumstances that have allowed conversations about the family centre, the cultural centre and the social club renovations to begin.

Bower Studio 12

Bower Studio 13

Gurindji Country

The Wave Hill Walk Off On the 23rd of August 1966, 200 Gurindji Stockmen, domestic workers and their families initiated a strike, led by Vincent Lingiari at Wave-hill cattle station. The strike followed more than 80 years of massacres, stolen children and poor living conditions for the local Aboriginal people. 9 years later, in August 1975, prime minister Gough Whitlam ceremonially returned a small portion of Gurindji land to its traditional owners by pouring soil into the hand of Vincent Lingiari. The Gurindji strike was instrumental in heightening the understanding of Indigenous land ownership in Australia, and was a catalyst for the passing of the Aboriginal Land Rights Act in 1976. It is also important to recognise that Wave Hill is a site of ongoing challenges for the Gurindji.The symbolism of the 'handback' portrays a victory for Indigenous people, though, legally, the 'victory' was anything but straightforward. nity and cattle station as they intended, the Gurindji landscape remained inextricably linked to white interventions.

The Wave-Hill site represents a history of complicated and conflicting stories for the Gurindji and for the wider Australian population. Ironically the commonplace view of the history associated with the site is largely positive. However, embedded in the landscape remains the emotions related to the ongoing struggle of the Gurindji and more holistically, the Aboriginal people and their quest to claim back country in Australia.

ded in the landscape remains the emotions related to the ongoing struggle of the Gurindji and more holistically, the Aboriginal people and their quest to claim back country in Australia.

At the time of the handback, most of the Elders were not literate and had little understanding of the ongoing development that would be required on their land. Rather than having an autonomous community and cattle station as they intended, the Gurindji landscape remained inextricably linked to white interventions. The Wave-Hill site represents a history of complicated and conflicting stories for the Gurindji and for the wider Australian population. Ironically the commonplace view of the history associated with the site is largely positive. However, embed-

Images: https://australianstogether.org.au/discover/australian-history/wave/

Gurindji Country

Gurindji Country 17

Contemporary Kalkarindji Given this history, contemporary Kalkarindji society operates with extreme pride and reverance for the past due to the suffering that their ancestors experienced for the community and for Aboriginal land rights. In May 2014 the federal court made a determination of Native title over the ownership of Kalkarindji in favour of the traditional owners, with the Gurindji Aboriginal Corporation becoming the prescribed body corporate for their land use area. The Gurindji Corporation are

involved in the decision making process for every external govenrment body or project that happens on their land. Alongside Kartiya Phil West, the Corporation has work closely with Bower studio in the past to realise projects from the findraising to the building stage. Phil West, who has been heavily involved in liasing with us this semester plays an important role in assiting the Corpo18

Karungkarni arts centre

rations in realising it goals for projects and funding. Prior to begginning our design project this semester, the corporation already had begun plans and funding applications to realise each of the three projects we have been working on: The family centre, the cultural centre and the revised social club.

Gurindji Country

The Karungkarni arts and cultural corporations is responsible for providing a space for Aboriginal people to allow a direct transmission of their culture to the wider Autralian community. Ran by Kartiya Penny Smith the centre provides an oppotunity for local employment, cultural activities, and a space for artists towork on and sell their art. As part of the previous Bpwer projects in 2018, rennovations and extensions of the arts centre saw a new pavillion being attached to its exterior.

Gurindji Country 19

Customs & Consultation

Covid & Online Consultations The students who attend Bower, are given an insight into the overwhelming amount of sensitivities and considerations when designing for clients from a vastly different culture. Generally, the design and build nature of the studio provides additional meaning and tangibility to the learning experience, though unfortunately this year we were unable to participate in these components due to COVID-19. Originally I was quite skeptical about the studio's ability to recreate this sense of connection to the community as well

as being able to maintain a sensitive consultation process whilst operating remotely. However, the process of online consultation via Zoom has in fact been fairly successful and engaging for the client and for us to acquire insight into the process of our designs. The very nature of online consultation makes it difficult for informal discussion, like chatting round the campfire or round the pool table at the social club. Similarly it does not allow one to understand body language, facial expressions, pauses and silence to 22

the fullest extent. Given that these gestures are extremely important mechanisms that allow humans to communicate with one another, makes it challenging to understand the aspirations of the client to the fullest extent. These components in conjunction with the vast cultural barriers and communicative nuances specific to Aboriginal culture created a novel situation for the studio, having to negotiate each consultation as best as possible with the insight we had. Being part of the Family center group, our consultation

process was with Quitaysha (Taysha) Frith, Daughter of Kalkarindji Elder, Roslyn Frith. Having had a University education Quitayshas ability to respond to the formalities of Zoom consultation meetings were rather successful. These components in conjunction with the vast cultural barriers and communicative nuances specific to Aboriginal culture created a novel situation for the studio, having to negotiate each consultation as best as possible with the insight we had.

Customs & Consultation 23

KINSHIP & AVOIDANCE PRACTICES

LANGUAGE GROUPS

Kinship systems define where people fit within an Aboriginal community. These vary geographically accross nations and communities but the principle remains. The strucure defines the roles and responsibilities for growing, raising and educating children. They also include the systems of moral and financial support.

There are 250 Aboriginal LAnguages and up to 600 dialects within the 300 Aboiginal nations. Since invasion many languages have been lost in the absence of teaching language netween generations. This impact of colonuialism has had a devestaing effect on what is tranditionally an oral culture

The family structure is intrinsically linked to the community and it govenrs a complex system of riles and obligations amoungst the community. These kinship ties are taught at an early age, children learn of thier connection with other people and where they fit in

THE DREAMING Dreaming a totem or the Dreaming: place from which his spirit came, or the existence of a custom or law of life, as causally due to dreaming, the dreaming cannot be fixed in time., as it was and is everywhere. (WEH Stanner)

Dave Foster, 300 Language groups for Australian geographic

TIME

SKIN NAMES

'Time as a continuum is a concept only hazily present in the Aboriginal mind. What might be called social time is, in a sense, 'bent' into cycles or circles.' (WEH Stanner) ‘Time exists in cycles and can be viewed through the lens of contempory time versus deep time. Deep time moves in cycles and stages of increase and renewal. For example, In Aboriginal culture every third generation then becomes the ‘youngest again’ to create complex and dynamic familial relationships, Contemporary time refers to a linear pattern embraced by western society. (Sandtalk) 25

The skin system is a method of subdividing the society into named categories which are related to one another through the kinship system. Most language groups use a section or subsection system with four or eight skin names. Gurindji society is divided into two moieties Jalmawuny and Warlawurruwuny. These two moieties provide the basis of ownership and management of the land. They are further divided into 8 skin groups that form the basis of kinship relations,

Customs & Consultation

Preface

At the beginning of semester I really had little understanding of culturally appropriate ways to begin to understand and engage with Aboriginal people. I am continually building upon this knowledge, but what comes with increased knowledge is increased confusion, via the ongoing realisation of the complexity of Aboriginal cultural customs and

Working with Aboriginal Communities

society. The next few articles exemplify preliminary points to consider in the context of understanding and designing for Aboriginal people. They are useful to consider before examining the contents of this document, but should be reflected upon in conjunction with the ongoing research in chapter.

The resource is a generalized guide about how to relate to and work with Aboriginal people. The main points taken away from this document include:

Customs & Consultation 26

»All recommendations about working with Aboriginal people should be considered as guides, especially considering that each community has their own language and cultural customs »Aboriginal people focus on the past and present, rather

than the future »The importance of family and extended family in their culture, ensuring to take this into account »The standard of health amongst Aboriginal people is the lowest in the nation »The 1905 Aborigines Act was designed to empower people, however what ended up doing was making Aboriginal people increasingly dependent on welfare which is an ongoing issue faced by communities today.

» The emphasis on the use of music and art to break the ice in tense office environments An Aboriginal person's social standing is not based on appearance, self image, money or education like white society, therefore it is hard to imagine that a material architecture is sufficeint to address any social problems that may be apparent. The site must be a site of social or cultural exchange - a facilitator.

Customs & Consultation

The Australian Indigenous Design Charter Indigenous led:

Ensure Indigenous representation creation in design practice is Indigenous led.

Self-determined:

respect for the rights of Indigenous peoples to oversee representation creation of their culture in design practice.

Community specific:

Ensure respect for the diversity of Aboriginal and Torres Strait Islander culture by following community specific cultural protocols.

Deep listening:

Ensure respectful, culturally specific, personal engagement behaviours for effective communication and courteous interaction are practiced.

Impact of design:

always consider the reception and implications of all designs so that they are respectful to Indigenous culture.

Indigenous knowledge:

respectfully ask the client if there is an aspect to the project, in relation to any design brief, that may be improved with Indigenous knowledge.

Impact of design:

Always consider the reception and implications of all designs so that they are respectful to Indigenous culture.

Shared knowledge:

Develop and implement respectful methods for all levels of engagement and sharing of Indigenous knowledge.

Legal and moral:

Demonstrate respect and honour cultural ownership and intellectual property rights, including moral rights, and obtain appropriate permissions where required.

Reconciliation Action:

Develop an RAP incorporating the AIDC:CD.

Charter implementation: Ensure the implementation of the AIDC:CD to safeguard Indigenous design integrity.

Customs & Consultation

Little Children Are Sacred The Inquiry looked at the problem of sexual abuse within Aboriginal communities and the possible solutions. The main points of the inquiry included: Most Aboriginal people are willing and committed to solving problems and helping their children. They are also eager to better educate themselves. Much of the violence and sexual abuse occuring in the Territory communities is a reflection of past, current and continuing social problems which have developed over many decades. The combined effects of poor health, alcohol and drug abuse, unemployment, gambling, pornography, poor education and housing, and

a general loss of identity and control have contributed to violence and to sexual abuse in many forms. Existing ÂťExisting government programs to help Aboriginal people break the cycle of poverty and violence need to work better. There is not enough coordination and communication between government departments and agencies, and this is causing a breakdown in services and poor crisis intervention. Improvements in health and social services are desperately needed. Programs need to have enough funds and resources and be a long-term commitment.

The Inquiry really sheds light onto some core issues that Aboriginal communities face not simply related to the area of child abuse. The contributing factors that have come out in the research, include drug abuse, unemployment, pornography and poor education. The enquiry also seems to suggest that the current government strategies to combat these issues are not sufficient, nor have adequate coordination and communication with the communities themselves. It is an example that calls for the drastic need for more empathetic and suitable government contributions in communities to facilitate change.

Customs & Consultation

The body of knowledge

Text

The Dreaming W.E.H. Stanner

In his text ‘The Dreaming’ Stanner describes Aborigines and their culture from a uniquely humanistic perspective. His poetic accounts of their traditions, ways of thinking and values are juxtaposed with traditionally eurocentric ones. By attempting to ‘think black’ and by avoiding preconceived notions of time, social structures and success, one can begin to catch glimpses of the ‘dreaming’ Stanner MAIN POINTS: »Neither time nor history are

involved in the meaning of 'the dreaming' »There is not an Aboriginal word for 'time' as an abstract concept, so to is history, they do not look back on the past with yearning or nostalgia »The dreaming is difficult to grasp for non-Aboriginal people, due to their analytical abstraction thought patterns »Mysticism is non merely the sole driver of Aboriginal thought, logic and rationality are as present in european modes of thinking. This is evident for example in the way that an Aboriginal would hunt

his food. »Stanner juxtaposes white man's literature and philosophy, with black mans mythology and ritual »Our own intellectual history is not an absolute standard by which to judge others, the worst imperialisms are those of preconceptions. It is impossible to understand the Aboriginal dreaming and way of life via a euro-centric way of thinking. »The dreaming is not subjected to the shortcomings of faith or grace, but rather focus on ritual, complex totemism

The Body of Knowledge 34

and art. »Stanner describes the Aboriginal oneness with nature, 'they neither dominate the environment nor seek to change it.' »Clans and families move with the seasons and with the availability of food »Their social organisation has become the source of the dominant mode of Aboriginal thinking. 'The blacks use social organisation to give bony structure to parts of the world-outlook suggested by intuitive speculation.' »'What defeats the blackfellow

in the modern world, fundamentally, is his transcendentalism. So much of his life and thought are concerned with The Dreaming that it stultifies his ability to develop.' »Traditional aboriginal thought patterns do not focus on the gap between 'the real and the ideal,' for example class warfare or the search for inner perfection, and thus they had no desire to change, nor were confronted by the usual angst that plagues modern society. Absence of change, which means certainty of expectation, seems to them a good thing in itself.

The Body of Knowledge

Sandtalk

Tyson Yunkaporta

»The constant vilification people face for being part aborigSandtalk entices the reader inal to begin to view the world is Aboriginal ways of life through the context of Indige- »It and thinking that 'ground' and nous thinking to critique contemporary systems of thinking. 'sustains' them, rather than material objects. The authors aim is to: 'use an »Perhaps the complication indigenous pattern-thinking process to critique contempo- for many Aboriginal people is rary systems, and to impart an their lack of true connection to their ancestry and to their impression on the pattern of country. This wavering identity, creation itself.' coupled with other forms of social and racial discrimination Some of the most poignant does not provide children with points of the chapter are as the tools to build a self-asfollows: sured, confident and proud »Writing in English contradicts identity. Aboriginal culture, through »He uses the metaphor of the loss of meaning about a Romans to classify himself culture that has no history of and his Aboriginality - ‘the writing about itself. 36

short- haired gauls carried enough fragmentary Indigenous knowledge and struggled enough within the harsh realities of transitional Romanticisation to be able to offer some hybridised thought.’ It is though this sentence the author examines the importance of gaining Indigenous knowledge from people who both have a connection to country, but also the open-mindedness and confidence to speak about this knowledge within wider contexts of sustainability. »The issue of sustainability lies in the fact that we use tokenistic and superficial inclusions of Indigeneity in decision making

The Body of Knowledge

rather than actual knowledge systems. And if knowledge systems are addressed, they refer to ‘peoples connection with the land,’rather than the actual thought processes we may use to approach contemporary issues. »Simple categorisation is not the way to figure out how to identify and utilise the various sets of Indigenous Knowledge Contemporary society demands authenticity from Indigenous people, however this is an extremely difficult concession to make given: »the differences in language groups »the dispossession related to forced assimilation and the stolen generations alongside »the continual simplification

of Indigenous culture through expectations in appearance and presentation. »there are gatekeepers of Indigenous knowledge, and most people choose to create a carefully curated version of themselves Given all these points so far, the author premises that he will begin to examine Indigenous knowledge systems an an entry level, drawing the customary habit of drawing images in the sand to convey knowledge. A »A Lot of symbolic knowledge is restricted by age, birth, order, gender, mastery levels Yarns: ‘yarns are like conversations but take a traditional form we have always used to 37

create and transmit knowledge.’ Sandtalk: ‘invoking an Aboriginal custom of drawing images on the ground to convey knowledge’ Time: linear versus non-linear, Indigenous versus non-indigenous respectively Language: the contrast between Indigenous expression and representation in English ‘With »‘With meaning being made in the meandering paths between the words, not the isolated words themselves’ ‘English »‘English inevitably places settler worldviews at the centre of every concept, obscuring true understanding’

The Body of Knowledge

a non linear representation of pathways and storytelling for Indigenouss Australian people, everything cycling back into the centre. Image distinguishing between oral culture (R) and printed culture (L) First Law This chapter speaks to the condition of regenerative cycles, of the topography of the country, the representation of time, deep time and contemporary time, the pattern repeats to represent three generation and three stages, and every three parts within a day, cycles of increase and renewal. This symbology depicts

and connect within it in order to see multiple other dimen-

The author speaks to the arcs around the centre circle that show the way our social system is mapped onto the creation pattern, with three generations of strong women around every child. All of them cycles through these roles forever, the spirit of the child being born back into the land. Each person also occupyâ&#x20AC;&#x2122;s each role simultaneously. There is no way to be an outside observer of this system, you must place yourself in it in order to see the three dimensions, you must move around 38

The Body of Knowledge

Reflection This chapter was extremely inspirational for my design this semester, because it encourage me to view the built forms i was creating as objects and surfaces that can relate with one another and weave together to form an interconnected surface. It spawned the idea of having this central meeting place in the centre of the site that each of the pathways connect back to encouraging people to gather, yarn and inhabit the space at the same time. This idea of cycles connects to the realised form through the roof canopy and pathways on the ground plane that move between and throughout the buildings above and beneath . 39

The Body of Knowledge

A Handful of Sand Charlie Ward

The Handful of sand explains the struggle that Lingiari and a group of Gurindji elders faced who risked their security for the visions that they held. The elders’ vision was to reclaim their land from the Kartiya and for their children to be educated in such a way to allow them to participate in the modern world as well as fulfill jobs in the community. Ultimately, the Gurindji wanted autonomy from the vast amount of Kartiya that passed through their lands. They wanted their land back and to be able to make a viable living from a humble cattle station who employed local workers.

The reasons why the elders and their advisors were unable to make the Muramulla financially supporting are many. Some of which included a lack of Indigenous knowledge and an unstable funding and advice from an ever-changing array of kartiya staff. Though the once humble vision for a Gurindji cattle station had become outdated. And the years they spent waiting for their land created a set of demands for the company they were no longer able to fulfill. The changes in the Government and its policies not only eventuated in the Gurindji land rights but also a large cultural 40

shift amongst the community. Rather than just men being the sole earners, women and children were able to have disposable income for the first time. Among other things this contributed to the disempowerment of traditional males roles, and therefore women began to disregard strict skin and marital requirements. Sadly, the effects of alcohol on the community resulted in many key knowledge holders obsolete, senior leaders were forced to promote ‘noviates to unearned positions.’ With much resistance, a community ‘wet canteen’ was intro-

The Body of Knowledge

duced in order to prevent some of the deaths related to alcohol abuse and driving. The gulf between the traditional experimental path of the Gurindji elders and of the modern world were becoming wider and wider apart and the vision for the future in the community was changing at a rapid pace. Ultimately the Gurindji struggle for land rights was anything but straightforward, the elders spent ten years waiting for their land before Goff Whitlam handed them a ‘pastoral lease.’ Though the handback is an extremely revered moment in history,

it represents an extremely convoluted attachment of the Gurindji people to the government, through the ongoing improvements and quotas they were required to meet in exchange for the lease. The attempt to create the Muramalla Company in the quest for obtaining true Gurindji Sovereignty ironically increased the likelihood of whites taking over the enterprise. In May 1986 the Gurindji were finally granted a freehold title, though the day was not met with the same fanfare as was present at the 1975 handback. Rather than delivering speeches about mateship, 41

the few elders present chastised the Minister for failing to rein in Kalkarindji’s unchecked domination of their affairs instead.’ These complicated foundations are upon which contemporary Kalkaringji has been forged. A heroic story of courageous Gurindji elders who walked off Wave hill stations with the hope of a better life. Over time, the dream of total Aboriginal independence slowly slipped away, and today the community and its management are still tied to the government and a significant number of Kartiya.

The Body of Knowledge

Kartiya are like Toyotas Kim Mahood Kartiya are like Toyotas presents a comical and realistic interpretation of the experience that white people have in their quest to help remote Indigenous communities. Initially lured in by the job description of working in cutting edge Indigenous communities with the alluring and spiritual prospects of working in the Australian desert. In the article the complexities of working with these communities is exemplified. At the forefront is the Kartiyas intention to 'help' but bringing

with them their own baggage and preconceived notions of how a community should be run. 'They create a legacy of expectation and dependency, coupled with one of failure and disappointment.'

fail, but the reasons for these are beyond the mere incompetence of the person, the lack of training and the enticing paycheck. The challenges for Kartiya seem ingrained in the job title.

According to the author it seems as though the communities tend to play on the insecurities and goodwill of the Kartiya, using them as a 'lubricant to smooth the volatile frictions of community life.' The Aboriginal locals have seen so many of these Kartiya come into the community and

'..Remote Indigenous white Australia has a significant white population that is disproportionately influential while being unequipped, unprepared or unsuitable for the work it does.'

The sheer difficulties that arise from white Kartiya's imposing rules in Aboriginal communities alongside the volatile nature of community life seems like an extremely difficult balancing act. One of the most powerful passages of the text exemplifies how the very premise of kartiyas and the humanitarian standards that come with their work forces Aboriginal people to become more like them. 'To become more like (them), and to become more like (them) requires them to relin-

quish the identity from which their resilience and sense of self is drawn.' For me this statement brings into question the motives behind many government interventions and money that is poured into communities around Australia. It makes me view the situation with skepticism and in turn further contributes to my confusion of what Aboriginal life may look like in Australia's future.

The Body of Knowledge 42

The Body of Knowledge 43

Lecture

Boyer Lecture 1 Marcia Langton Marcia Langton speaks to the position of Aboriginal people in relation to the mining boom in Australia. Gaining job's in this Industry has the potential to empower Indigenous people and to allow them to gain sufficient economic wealth akin to the privilege of white Australians. The mining industry implicates communities without consideration for the impacts of its projects nor for the consultation of the people. Marcia draws on the concept of the 'Noble Savage' as being one of the fundamental stereotypes hindering Aboriginal economic development. It is

the concept that those with Aboriginal heritage have a romanticised connection to the landscape, and that their place in the market relates to a lifestyle of simplicity, isolation and poor education, often in the 'wilderness' of Australia. This commonplace view fundamentally misunderstands Aboriginal contemporary life in Australia, which compromises the ability for Aboriginal business owners and entrepreneurs to succeed from an already compromised position. Marcia argues that government policy has been 'frozen in time in the apologetic 1970's view of the Aboriginal 46

world,' and that the emergence of the green movement is also to blame. The Mabo decision and the subsequent Native title act of 1993, put Aboriginal people in a key position to access the market economy. As a consequence, thousands of jobs and incomes streams for native title payments required these mining companies to negotiate with the local communities. It is really eye opening to begin to view the ongoing lack of

The Body of Knowledge

opportunities Aboriginal people face that are directly related to the status of government policy. In order to begin to allow Aboriginal people to jettison the poverty and oppression they have faced since 1788, the 'handback' of land is no longer sufficient. The implementation of progressive government policy that places Aboriginal people at the forefront of decisions relating to the mining of their land and income streams associated with the industry is what has the capacity to enable prolonged change. Moreover, the apologetic underpinnings of Welfare payments in Australia, is yet another example of the entrenchment of Aboriginal peo-

ple in poverty that is related to government policy. The Mabo decision and the subsequent Native title act of 1993, put Aboriginal people in a key position to access the market economy. As a consequence, thousands of jobs and incomes streams for native title payments required these mining companies to negotiate with the local communities. It is really eye opening to begin to view the ongoing lack of opportunities Aboriginal people face that are directly related to the status of government policy. In order to begin to allow Aboriginal people to jettison the poverty and op-

pression they have faced since 1788, the 'handback' of land is no longer sufficient. The implementation of progressive government policy that places Aboriginal people at the forefront of decisions relating to the mining of their land and income streams associated with the industry is what has the capacity to enable prolonged change. Moreover, the apologetic underpinnings of Welfare payments in Australia, is yet another example of the entrenchment of Aboriginal people in poverty that is related to government policy.

The Venice Bienalle Introduction Jefa Greenaway & Tristan Wong At the lecture Tristan Wong and Jefa Greenaway disclosed how they would approach their design for the Venice Biennale 2020, aligned with the theme 'how can we live together?' Rather than creating a dichotomy between Indigenous and non-Indigenous people, the pair centred an understanding around the commonalities we all share such as climate, biodiversity and communication. These are things we all need to consider in the profession of architecture and more broadly in humanity. Although the exhibition was sculpted through the lens of Aboriginal Austra-

lians, the concept of people returning to 'country' by entering the pavilion was intended to be a unanimous gesture for all Indgenous cultures around the world. The concept chose to reject the European construct of white gallery walls, installing a continuous 360 degree patinated corrugated panel around the gallery space upon which projections, imagery and lights are displayed. Various Indigenous architectural projects from Australia, New Zealand and the Torres Strait populated the content, moving in chapters such as mem48

ory, country, land, place and Indigenous knowledge systems. Jefa and Tristan emphasised the importance of moving beyond the stereotypical tropes of Indigenous identity, to create an exhibition that was 'unashamedly contemporary.' Their intention was to address the 10,000+ years of Aboriginal history and blend it with contemporary components of design. For example, in the centre of the space there was to be a three dimensionally printed seating arrangement

The Body of Knowledge

for conversations and listening, The shapes for which were derived from the distorted sound waves of a traditional Aboriginal piece of music. Another part of their concept was to create an extremely visceral experience for the viewer, inviting them to experience 'country' with all of their senses. The gallery floor was covered with dirt, inviting people to walk barefoot, whilst various scents and sounds accompanied the images projected onto the walls around.

Some of the most important points to take away from the concept are: ÂťThe creation of Indigneous cultural spaces is not about seeing Indigenous artefacts in a museum setting, but rather empowering their identity through a modern lens. ÂťThe power of stimulating multiple senses for people as they enter an environment - tactility & mixed media ÂťAlthough its importance to identify things that different 49

Images: www.domain.com.au/living/venice-architecture-biennale

people and cultures have in common, at times it is even more powerful to uncover what unites us rather than what separates us

The Body of Knowledge

Film

The Australian Dream

This documentary shines light on the casual racism that is evident in Australian society and culture. Adam Goodes is known for being a successful AFL football player and is now known for his contributions to a broader understanding of racism in Australia. When Goodes explains his story, he describes 'the howl of humiliation that moves across generations.' This howl is a metaphor for the ongoing

racism and continual dispossession of Aboriginal people. As the story unfolded, a young girl was reprimanded for calling Goodes an Ape on the football field, racism now had a face. Goodes explains his reaction in the context of a society-wide issue of casual racism toward Aboriginal people. The Australian dream is rooted in this racism and fails to deal with the tension of this country. 52

Main points:

The Body of Knowledge

»Sport as an equaliser between cultures, something that can transcend racial boundaries »Being racially vilified and put to the outer of community can destroy one's sense of self, it is in human nature to live in communities, and becoming isolated from them is related to wavering mental health

»Racism having a 'face' this is not the fault of Individual people, it is a product of society. The young girl who was reprimanded for calling Goodes an Ape was the example of this »Casual racism is something that is rife in Australian society »People think that subtle racial comments were humourous. »The subtle undertones of racism throughout Australian society are reflective of our 53

inability to come to terms with the horrible treatment of Aboriginal people in the past and present

The Body of Knowledge

Sampson and Delilah

The film depicts a confronting perspective of life in Indigenous communities in rural Australia. The life of Samson and Delilah that is portrayed seems quite uninspiring, with most people whittling away their days doing the same activities day in day out. The mundane routine of everyday life is the subtle facilitator of drug abuse and misbehaviour. Delilah takes solace in caring for her Grandma within

the community and learns to participate in the commodity culture of white kartiya selling Aboriginal art for exorbitant prices. The Kartiya take advantage of this. Samson uses petrol sniffing to escape the grimness of his daily life. It becomes so bad that he becomes unable to speak, goes days without eating and does not even notice when Deliliah gets abducted or is hit by a car. 54

After Delilah gets hit by a car and Samson almost on death's door, Samson’s brother arrives to take them back to the community. Delilah begins to care for Samson, and the healing properties of the Australian desert and the simple life become paramount. THE MAIN POINTS: »Life in community is crude, its

The Body of Knowledge

mundane and there often isn’t a lot of stimulation and opportunity for people, its doesn’t really encourage people to use their time for positive self development »The community is quite harsh, the younger generation often have to fend for themselves, it's really not an easy life. Often your family ain’t out searching for you if you disappear. »Mob seems to have a really poor diet with few vegetables,

the shop sells a small amount of expensive food items, most of which are processed. »Creating art for commercial sale seems like one of the few ways Aboriginal people can make money in rural communities »The extreme misunderstanding that white people must have towards Aboriginal young people who are suffering, this is a real lack of communication here.

The Body of Knowledge

Sweet Country

Sweet country is an Australian western set on the Northern Territory frontier in the 1920's. The film presents a time in Australia where white men were establishing cattle stations in the Northern territory. This is particularly interesting to watch, considering the situation the Gurindji people have faced battling to get their land back from the Vestey's. There is a divide in society, and the distinction between

the whites and the blacks is a relationship segmented into 'bosses' and 'slaves.' There is a dichotomy depicted within the settler community, comprising of whites who both respect and belittle Aboriginal people. The film exposes severe racism, unapologetically, and paints an unsettling picture of the basis upon which Australia was founded.

Aboriginal farm worker shoots an abusive white neighbouring cattle station owner and spends time evading authorities with his wife in the Australian desert. Sam finds out his wife is pregnant after being raped by the cattle station owner and realises there is no option but to turn themselves in. The ending of the film is bitter-sweet, after a fair trial

The protagonist, Sam Kelly, an

The Body of Knowledge

Sam is aquitted of the murder, though moments later he is shot by a sniper. The ending is bittersweet, as it begins to paint a hopeful future for Aboriginals and their quest to be granted equal rights and subsequently rips it all away when the last bullet is fired. For me, the sniper metaphorically represents the powerful, cowardly and immoral nature of the people who colonised Australia. It is interesting to

then consider the subtle racism that Adam Goodes refers to. Modern Australiaâ&#x20AC;&#x2122;s foundations are rooted in the racism originating from these times. The great strength of Sweet Country is the historically accurate universe it creates, and the complex situation facing the poverty-stricken, dispossessed indigenous population, who recognise that their society is being destroyed but 57

see no way of dealing with the brutal justices forced onto them.

The Body of Knowledge

In My Blood it Runs

The documentary follows a 10 yr olds Arrernte Aboriginal boy from Alice Springs. Over the course of the documentary the film traces the life of the main character Dujuan, as he faces increasing pressure from the scrutiny of the white welfare system and from the police. The film creates a dichotomy between Dujuan's life viewed through the lens of the white system versus the black system. It becomes clear that

Dujuan's ability to 'succeed' under the white education system is extremely difficult. He constantly runs away from school, abuses the teachers and finds it difficult to learn and retain information. Through the Indigenous lens, he is a child healer, he can speak three languages and is a good hunter. Dujuans lack of attendance at school, impact the families welfare payments and their ability to buy basic supplies for the household. 58

The white education system is a clearly inappropriate system for empowering Aboriginal children, however, even when Dujuan is sent to a Indigenous run school which attempts to integrate two systems of learning, he still finds it difficult to manage. It is the power of the landscape of his country that continues to ground him.

The Body of Knowledge

'When you go out bush every week, you learn how to control your anger, and you learn how to control your life' - (Dujan) What is evident is the fact that the white systems of governance and learning is completely different from what Aboriginal culture requires to be nurtured, to learn information and to succeed. Even the attempts at integrating both systems of education are failing. It is hard to say if it is even possible to successfully create

a hybridised system. It seems extremely important for Aboriginal children to be taught their local language, history and land management practices. Without this strong sense of identity, the unavoidable exposure to the rest of society can create a real loss of empowerment and inability to fit and flourish within any part of the system. A huge amount of funding and support is needed to create such 59

streams of education, that are predominantly Aboriginal run and taught. 'They need to learn both ways (white & Aboriginal so that when they get their land back they will know what to do with it'- (Dujan's Grandmother)

The Body of Knowledge

Preparing Preparing for for the the build build

Packing the container

An essential component of Bower studio is the understanding of how things are constucted. The design and build format allows students to get first hand experience realising small designs physically in community and at Creswick. Part of the preparation before headin to community was the organisation and cutting of a number of steel members that were to be packed in a shipping container and sent to the community

Packing the container

priot to our arrival. Unfortunately since the outbreak of Covid-19 this was the first and last opportunity to be involved in phycial construction with Bower this semester.

Preparing for the build 62

Preparing for the build 63

Arup Presentation Design Concept The screens were designed to be placed in front of the clinic in order to create shade, privacy and make place for new pathways and entrance points to the building. The aesthetics of the design carry the same language as previous Bower projects using the material strategies of ungalvanised steel and perforated screens to create interesting shadows and dappled light. ARUP’s role Structural design of the vertically spanning steel members, horizontally spanning steel members, the concrete pad footings and the connections

Arup Presentation

Considerations in design • Strength • Stability • Serviceability • Deflection (the downward displacement on objects) • Maximum member size for design intent (150 EA) Considerations in the construction process: • The use of manual labour • The weight of members to be as light as possible • Minimise digging by only extending the pad footing 300mm into the ground • Concrete pad footing to be precast to avoid mixing large quantities by hand 64

Considerations of structure

perforated steel mesh

• High wind loads due to terrain category resulting in: large overturning moments & lateral deflections • The screens were removed on the top face and permeability of material increased for the remaining screens to reduce wind load

tions welded together (this allowed the individual weight of the steel members to remain low, whilst maintaining the design intent of having maximum section sizes to be 150 EAs.

Column design

screen discussion model

Preparing for the build

Central columns support the largest tributary area of load, hence are required to be larger than the edge columns. Instead of using a 200EA member, the central columns were designed to be 2 sec-

Preparing for the build 65

Arup Presentation

Arup Presentation The Structural design process

side elevation (1:20)

• An initial meeting with the Bower Studio team, to talk about design intent and concept • Preliminary design and member sizing to determine the feasibility of the concept • Workshops to overcome challenges in the design • Final design and documentation

footing and baseplate details

reduce labour costs • It was important to take into account the design intent when considering the feasibility of the structure • The key considerations: sustainability, budget and practicality • Maximum spans, the cantilever was more related to the wind load rather than anything else

The main takeaway points from the discussion:

Preparing for the build

plan (1:10)

• Prefabrication is important for streamlining the construction process and

Preparing for the build 67

Preparing for Design Esquisse the build

Documentarys

Memorial Landscapes Landscapes defined by specific moments or events Key Ideas • The preservation of established colonial debates • A significant subcategory of memorial landscapes are those that aim to commemorate a specific event in history. These could include physical conflicts, regulatory changes or symbolic gestures • Notions of history can positively influence ongoing cultural identities or bind groups of people to moments in

history that would be rather be forgotten Key Examples Waitangi Treaty Grounds, New Zealand This memorial landscape preserves an established location of debate regarding indigenous-colonial relations, in turn encouraging its evolution. Adversely, this memorial risks 72

undermining other established processes of remembering, or inadvertently displaying the event through a biased lens. Walk off Wave hill The Wave-Hill site represents a history of complicated and conflicting stories for the Gurindji and for the wider Australian population. Ironically the commonplace view of the

Documentaries

history associated with the site is largely positive. However, embedded in the landscape remains the emotions related to the ongoing struggle of the Gurindji and more holistically, the Aboriginal people and their quest to claim back country in Australia. Landscapes constructed as a result of driect physical intervention

many of them became widely disregarded.

Key Ideas: • Physical interventions within the landscape that pay reverence to the existence and history of Aborigines. • One of the fundamental differences between Aboriginal and non- Aboriginal people is the understanding of the relationship between people and land. These landscape interventions often contrasted to European standards, and thus 73

Ngarara Willim place, RMIT University Jefa Greenaway's Ngarara place is a landscape that fuses local Aboriginal motifs with contemporary representation techniques to create a 'gathering place' in urban Melbourne. Meaning is woven from the

Documentaries

seven seasons of the kulin nation, seeing the site being divided into seven sections and planted with indigenous species that communicate the importance of the landscape in sustaining life. Perhaps the most striking aspect of the space is an artwork curated by Aboriginal digital artist Aroha Groves, evoking nature, place and connections to country. According to Jefa, it was important to move away from more stereotypical depictions of Indigeneity. Whilst the space draws on motifs such as body paint and traditional carving practices, the overarching feeling of the space creates a sensitive yet progressive view of Aboriginal culture.

Traditional Aboriginal land management practices Simplistic assumptions are often made of the traditional built environment and settlement patterns of Aboriginal communities. In reality, the pre-colonial Aboriginal existence is a complex set of relationships between the physical and social environments. For most of the year, clans would engage in hunting, gathering and fishing. In order to attract game, maintain vegetation patterns and allow access to the land, Aborigines intentionally burned the landscape. Contrastingly, the Aboriginal people built dams and irrigation trenches to service

this cultivated landscape. The creation of earthen platforms within the dams enabled Aborigines to direct and hunt fish as required.

recognise social patterns within landscapes as a form of the memorial process. These examples rely on behavioural connections to land that have resulted in the embedding of cultural memory. Alianait Arts Festival, Iqualuit, Nunavut, Canada

Temporary landscapes of cultural exchange Key Ideas Due to the semi-nomadic nature of some indigenous cultures, it is important to

Documentaries

The festival takes on an optimistic tone, creating a precedent for other remote communities to preserve and share their cultural practices. Implied in the festival is the ability for Inuit culture to transcend political and geographic boundaries. Contrastingly, it could be viewed as forced commodification of Inuit culture, and a platform that might not draw necessary attention

to the sombre aspects of indigenous history. The Bundian Way The Bundian Way is an ancient 365km route established by generations of Indiginous people and could be thought of as a ritualistic journey. Evidence of this history can be seen along the trail - scarred trees reveal where bark was used to make items such as baskets or canoes. The walk therefore involves 75

a strong connection to indigenous culture through traces of pragmatic practices, which contribute to a strong spiritual connection to the land and all those who have inhabited it. Significance therefore lies in the ability of the Bundian way to reconnect those who pass through it with the rituals inherently associated with Aboriginal people and their occupation of the landscape.

Documentaries

Culture International Key Ideas: • Architecture should not be used as political leverage over a culture and their daily practices • Was the location important for each example for the success of the examples included? Aesthetically yes, but it still involves the consultation and communication • One factor learnt from their examples is a comparison between communities where the local population has the majority and the comparative

success of their architectural projects • Generally the successful projects are the ones that had vision and clear goals, they weren't trying to do so much and thus failing to solve anything. • The question of the Indigenous user versus the tourist user, is the Cultural Centre design aimed at one of these two groups? If so, who does it empower? and how is this successful/non-successful? Can you fulfill both groups needs in a successful way? 76

Key examples The Tjibaou Cultural Centre is an example where tourism has come at the expense of achieving a truly empowering building for the local community. The main structure does not use any local building techniques, except a few materials. There are three traditional houses constructed in front of the modern cultural centre, these is infact where much of the traditional practices occur.

Documentaries

Thread, Senegal

Keys to Success

was a beautiful example because it was a successful project aesthetically, functionally and was empowering for and reminiscent of the local community. The project achieved this by its roof form collecting water, the use of recycled and appropriate local materials, headed by a local builder and the creation of a versatile space

Cultural spaces need to grow from a community to embody a sense of pride, ownership and self-sufficiency Understanding a community's strengths, needs and potential can help facilitate and outcome Architectural solutions are not always the answer when it comes to community problems Way to relate to The use of local building methods and materiality 77

Culture through context, the building must respond to the context within which it is situated.

Documentaries

Aboriginal Cultural centres Key Ideas: • How can architecture move beyond the Indigenous stereotype to a space that is beneficial for all? • What are the written briefs for the centres? These help people have an understanding of how the building actually is now. • Most briefs focus on getting funding for and designing for specific events e.g. the freedom day festival, briefs need to be most honest about how they are benefiting the community • Western culture places em-

phasis on the material artefact, whereas Indigenous culture finds significance through process, belief systems and ritual. This makes it difficult for Aboriginal culture to be translated into a direct architectural outcome. • Cultural centres that create a predictable environment for the tourists, prevent learning that is often associated with unfamiliarity

Key Examples: Gamma Centre • The plan takes into account traditional kinship laws and socio spatial avoidance practices of the local community to ensure its continue use • Entirely indigenous led design • Successful at the post-occupancy stage Karijini Cultural Centre • Although the project was undertaken with extensive col-

Documentaries 78

laboation with local community, it has not been successful at post-occupancy • The Centre's remote location houses artefacts by the community but is too far away for them to regularly use it as a meeting place. It has become a tourist destination and place to get phone reception.

generally more successful • The importance of designing for people and what they do now e.g playing cards, rather than idealised version of their behavioural practices • It is essential that ongoing feedback is obtained from the communities during the design and build phases

Keys to success: • Centres intended for tourist's are not as successful as those that are purely for Indigenous • The successful of these space must be evaluated at the post occupancy stage • Building's that are open are

Documentaries 79

Community Consultation Keys to Success • Important to understand who to talk to within the community, because information can be restricted to gender and family groups • Silence is a form of consultation - don't underestimate the importance of this • Pre-meeting and the importance of casual conversations (where people feel more comfortable • Building relationships takes time, and is important to have successful consultation • Ensuring that everyone can understand each other is important, physical models and pictures are really effective, a mix of formal and off the clock (informal) consultation can be

most effective to bridge language boundaries. When it fails Operating on assumptions about the community that fail to recognise diversity • Rushed consultation • Assuming answers to preconceived questions • unfulfilled promises, • Lack of cultural competence • It is important to understand that every situation is context specific and that the application of formulaic consultation structures to every situation may not result in the most desirable outcome »It is essential that Indigenous participation occurs in the feedback and review process 80

of projects so that progress and changes can be made. Key Examples: Best practice approach • Risk assessment (pre meeting) • Encourage Attendance • Introductions • State Agenda • Establish A chair or meeting Leader • Discuss the terms of the meeting • Discussion Point In Order • Summary of Meeting and action • Next steps • Any other Business • Close meeting • Meeting feedback

Documentaries

Documentary Feedback: Feedback from Jamie • be careful to avoid forcing the viewer to choose between focusing on the text or listening to the narration. otherwise good introduction to the topics being explored. • First example of the NZ Waitangi Treaty Grounds, would be informative to know what brought about the Treaty and what the grounds represent. • Wave Hill, good concise description, summation of the issues. • Before moving on here, clarity for the viewer, some of the differences / simi-

•

• •

•

larities. spell out the point you are making, no harm in being too clear. interesting next narrative explaining the Aboriginal culture and interaction with the land and how it differentiated from the European. Jefa’s Ngarara place makes a good point, ties in well The leap into the next exploration creates some confusion, again close out the the last comparison points then you can take the viewer to the next exploration. I thought the next example of process or event being a key factor of Memorial was really important. 81

Revised script:

• The revised script focused on tightening up and omitting some of the existing examples so as not to rush through the information and leave pauses and silence for effect. • - We chose to segment the examples in two parts rather than three: Memorial landscapes defined by ceremonial interventions and memorial landscapes defined by permanent physical intervention • The examples retained were the Waitangi treaty grounds, the Wave Hill walk off, Ngarrra place & Indigenous land management.

Documentaries

First documentary links :

Second documentary links :

Culture spaces:

Memorial landscapes:

Culture spaces:

Memorial landscapes:

https://www.youtube.com/ watch?v=lMPzuxI74Sw&feature=youtu.be&fbclid=IwAR1eSDs8-j8QbpJUcMk_01QhlwH32zg3mc7_bMVnNHJAeKor8LlMAKq1iE8

https://www.youtube.com/ watch?v=DD0FFhOCYqo&fbclid=IwAR2TyRXMHYfCMA9fAV_hsKOxIvZYiKDwCJ3ry5OdKRv2Uh0ELriGrPhb6y0

https://www.youtube.com/ watch?v=lMPzuxI74Sw&feature=youtu.be&fbclid=IwAR1eSDs8-j8QbpJUcMk_01QhlwH32zg3mc7_bMVnNHJAeKor8LlMAKq1iE8

https://www.youtube.com/ watch?v=eV4Tga1tYAY&fbclid=IwAR3TkLwwvLWIcc8s60iACgQwOyify5vVJTUM2w7oXXdD7Lib-Vl5KTTWnuU

Culture centres: https://www.youtube.com/ watch?v=9c0zDR-5Bko&feature=youtu.be&fbclid=IwAR1wy4xzJtE0XsqpbqsG4UfjNmKh0_Oif2U1TjmoeFZpklfWGIvmergk85g

Consultation techniques: https://www.youtube.com/ watch?v=cOQrkTZYIFk&fbclid=IwAR1KitFhZdf3zq6_2ZlgEw8WIpenA42YPymC_c37wOL64D_ cGyfLtnEYJ6c

Culture centres: https://www.youtube.com/ watch?v=Ucp16VX2wNs&fbclid=IwAR1hDtueJfh7GyIsGLW2YTDAYwTt1FCg0hQ-zsK61QH38yBZDsLNOP5OJKM

Consultation techniques: https://www.youtube.com/ watch?v=BUrTdmUhmR8&t=2s&fbclid=IwAR1oH7o15xNMCwDaIEwKE2ZbaIVUYMhxv2HCly5Eb2pNYhCDBSkVrn0aTZY

Art centre

Art Space

Class sketch design The preliminary sketch model I worked on in class, involved a movable and modular display box that could be used inside the art centre as a storage unit, but also be modified to extend the potential of display of artworks within the landscape surrounding the centre.

The Artspace Brief was delivered in a crude and simplistic manner, coupled with a rough plan sketched on the whiteboard. After reviewing the material and the intentions for the proposal, it made sense as to why an unnecessarily specific and convoluted brief was not presented. The driving factors for a new display and storage facility at the Karungkarni art centre, focussed on issues of materiality, robustness, buildability, sustainability, affordability and site constraints.

Design esquisses 86

As exemplified in the model, a series of mesh screens could be orientated in different spatial configurations in order to expand and enhance the possibilities of viewing art in Kalkaringi.

Design esquisses 87

Final Presentation

My response to the brief was an art display module, which was a simplification and appropriation of existing art display systems that use a series of tracks mounted to the floors and ceiling of an art gallery space to facilitate the movement of display screens. The main problems I tried to solve in the module design include: 1. Protect the artwork when it is being stored and to provide security against theft. The large plywood faces of the module prevent dust and debris from getting inside,

whilst the slender steel mesh openings enable ventilation to stabilise the temperature of the module year round. The doors of the unit are also lockable, and thus enable the gallery to have a secure storage space even if the gallery is broken in too. To protect the modules when in storage, I envisaged heavy duty jute covers to slip over the top of the module, however no further investigation proceeded. 2. To create a robust and feasible design, that is cost effective, durable and simple. The module 2400 x 1200 x 900 involves the use of stan-

dard material sizes and simple yet robust materials to achieve its function. A steel hollow section frame acts as the connection point between the black formply and mesh coverings and the internal steel railing system. The use of ungalvanised steel and perforated mesh appeals to the same language and aesthetic of previous Bower projects. The mesh creates a muted and durable display surface, the perforations enabling the use of hooks and clips on the interior screens and the exterior doors of the module.

Design esquisses 88

3. Allow the module to be versatile so it can be moved and arranged in different configurations to complement the dynamic nature of the art gallery, it's changing needs, it's different events and varied artworks. The module sits on industrial style castor wheels so that it is easily able to be moved around the gallery and into the landscape surrounding. The unit has been considered for two main orientations - vertical (1200 W x 2400 H x 900 D) & horizontal ( 2400 W x 1200 H x 900 D). The castors can be unscrewed and reattached in either location. Mesh door

openings with locks and hinges exist on both sides to facilitate the changes of orientation. The display of artwork primarily occurs on a series of four screens that slide into railings inside the module. The frame screen extends 50mm each side of the screen, to account for the depth of the artwork which can be hooked or clipped on both sides of each screen. The mesh screens can be removed entirely from the module and erected side by side in an infinite array of configurations. Simple steel feet slip into holes in the screen railing, which can also be interchanged with earth bricks 90

constructed from the local surroundings, so as to give the impression the screens are growing out of the landscape. Inside the gallery space the screens can be hung from a steel C section connected to the wall. I envisaged a similar connection to the railing system inside the modules, though with a piece of wire extending the length of each component so that it could be hung at desired lengths.

PROTECT

ORIENTATE

MOVE

DISPLAY

Design esquisses

ACCESS

HANG

Design esquisses

MODULAR ART DISPLAY FUNCTIONALITY

BLACK STEEL

STEEL MESH

BLACK FORM PLY

900 D

2400 H

CONSTRUCTION DETAILS ART - HYPOTHETICAL ART MODULE MODULAR DISPLAY CONSTRUCTION 1M

KALKARINDJI ARTS CENTRE PLAN

VERTICAL UNIT & STANDING DISPLAY

HORIZONTAL UNIT & HANGING DISPLAY

Design esquisses 94

MODULAR DISPLAY UNIT - PHYSICAL MODEL

Pennyâ&#x20AC;&#x2122;s observations

Class presentations

Generally need two main points to hang the canvas on, single clips were not really appropriate to hang the style of work that the art center has C section has good potential to be used as a hanging device The combination of movable and forkliftable modules would be most effective since the artspace is a dynamic place, and further still, in times of flood such storage modules would need to be moved (perhaps to the school). The metal display systems in the heat are perhaps not so

The hanging components of Damiens and Hermiones design were deemed too elaborate for the space. Although I really like the potential and visual sensibility of the hanging display system, I would agree that it does not have the same functionality as the moveable module.

appropriate for handling and because it may cause damage to the artworks Really need to consider the movability and lightweight nature of the modules if they are going to be used and handled by a limited number of staff at the centre.

I really appreciated the hand drawn elements, particularly of Damiens design. I think this approach to drawing really creates a non-confrontational interface for people to interpret the design. Especially

Design esquisses 96

if their background is not in architecture/design. Moreover there is more character and life portrayed in these drawings in comparison to renders and drawings straight from the computer. I definitely think that this is a drawing medium that I would like to explore in Bower studio, especially when one considers the importance of being able to convey your ideas quickly via sketching in the discipline of architecture. I really appreciate the detail that some people went into the small elements of their projects, for example, Andrew included various designs for hooks. 97

Design esquisses

Class presentations I thought Lexi's design was a really interesting interpretation of the brief, especially in the stacking and grouping of the display modules. Gaby's design was well considered, I especially appreciated the combination of the two models together to fulfill different functions and that the large module provided an opportunity for people to look through and see the art, whilst it remained protected behind the cage. I did however question the obstructed sightlines to the artworks that would occur.

Class presentations

Andrew's model was really clean and precise, it was a beautiful representation of his design. I appreciated Leifs model in that it connected his design to the landscape surrounding the centre, which was central to his design intent.

Design esquisses 98

Preparing for The Family the build Centre

100

101

The Family Centre The Kalkaringi family centre was conceived to be an integral part of the kraish and health centre precinct. The centre was intended to bridge the gaps that existing amenities in the community did not provide. Most importantly, a space for women and their children to come and do workshops together, education about maternal health, youth spaces and consultation rooms for people to connect with essential services such as centrelink and legal aid.

member Quitaysha Thompson and a long term Kartiya in the community Phil West. Both the converstations gave us preliminary information regarding the intentions for the space and of the existing business plan that the community had devised. Please find comprehensive summaries of the consultation in the text below.

The design process began with consultation with QUitaysha Thompson, a community

The Family Centre 102

The Family Centre 103

Initial consultation with Quitaysha Personal story Grew up in Kalkaringi - her mum is a traditional owner Is interested in how mums and bubs in communities can impact positive maternal health outcomes Important components of the design: Open: cultural items, light, shade, separation, pavilions, one interconnected space, interior/exterior, sightlines, perforated screens, landscaping, one way perspectives Welcoming: culturally appropriate, not enclosed, private, variety of spaces for differ-

ent demographics, men and women, shaded spaces Cultural barriers need to be addressed: E.g. Gender: separate waiting rooms for male and females (gender is important in the community)

could choose which one they were going to use

Kinship: the unwritten rules with 'poison cousins', husbands & wifes & their parents: all aren't able to associate, therefore how can we account for these rules within the design of the building The consultation rooms need to be soft & welcoming, not a sterile/hostile environment, maybe have a choice of 3 different rooms, so participants

Demographic/visitors

104

Materiality How close you can get to materials to see through, how can you create shadows, what is feels like to be in those spaces

â&#x20AC;˘ Open to everyone, a place where people can come and get help. â&#x20AC;˘ Generally for youth, men and women, as young children already have the young learning centre.

Site Choice of a few different sites, to be confirmed Refer to images on the map with annotations on them It is important for the centre to have a connection with the buildings around the clinic but not necessarily be in full view (need to have privacy for the ongoings of people going into meetings. E.g. want to have sightlines and connections to the childcare centre and school, but not so much as to enable everyone to see what is going on between the three

Programs Informal education and activities Mother groups/ mums and bubs Movie nights Private consultation rooms for: legal services, mental health (no more than 3) Small open admin area Toilets Kitchenette open internal area for activities Computer hot desk - open sightlines to admin/managers Interior and exterior activity space Space for hanging out, a bbq, shaded areas for playing cards

The Family Centre

The diagram you see below is an initial sketch that Quitaysha drew regarding the proposed planning of the centre.

The Family Centre 105

Initial consultation with Quitaysha Program: • Consultation rooms 2-3 (confidential) for family & child issues • One for young families (toddlers/ babies) - space for 4ppl • One for older age brackets • Must have video conferencing setup (computers) • Need to be welcoming/ warm spaces • Place for children to play so they don't distract parents in discussions • Office Space (to fit 2-4 staff) • Completely open planpeople should be allowed to enter- no reception/

• • • • • • • • • • •

separation Is the central area where visitors can then be directed to room - computers for adult learning Kitchenette For staff use and light catering Include as much freezer space as possible Waiting area (not sure if needed) Group activity spaces Indoor (approx 20ppl) Outdoor (approx 20 ppl to gather - informal meeting places): shade structure and seating Garden/ connections to 106

adjacent buildings ings • Potential accommodation- could be a nominated location not fully fleshed out- STAGE 2 • Toilets/ WC- 3women 2men - DDA? Nappy change room • Store Room Location: • To create a health precinct: • Next door to creche- hard side, need to consider views onto this • Can link to existing car park instead of introducing more

The Family Centre

• Possible link to playground at creche through desert gardens • Backs onto Football fieldpotential for balls to hit building (consider linking the two activities in some way) • School close by- could create connection with the new fruit orchard being planted • Health Centre in close proximity

• Mothers’ Groups • Cultural teaching in relation to family practises • Youth groups • leadership/ empowerment sessions- could involve dance/ film making etc. • Mental health sessions • Educational outreach events • Sports events? • Bush tucker/ traditional practices • Consider security; possibility of equipment to go “walkabout”

The most essential elements of the brief were: • The space as a healing centre • A space for fathers to participate in parenting also • Include a carpark for 6 cars (undercover) • Mens and womens toilets separate • Separate consultation rooms to allow for multiple functions and discreet access

The Family Centre

Possible Activities: 107

The Business Proposal Main functions of the centre • Developing and maintaining effective strategic partnerships with high-quality family support providers • Coordinating family level planning with families and partner service providers • Identifying community needs and aspirations to inform the service delivery program, including taking directions from the Gurindji Corporation Board of directors and establishing a Child and Family Centre Advisory Committee • Case management, referral pathway mapping, delivery and reporting

Main activities: • Planning and delivery of regular programs and activities, and service, that support the health, social and economic well-being of families • Operate a safe, professional and confidential facility effective engagement with families (temporary facilities with aspiration of funding support

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• Early years occupational therapy programs • Men and boys health/women and girls health/mums and bubs • Adult education, Ready for work, Work experience programs • Healthy Eating and Cooking programs • Drug and alcohol awareness • Financial literacy and household budgeting • Legal support • Leadership workshops • Greif, trauma and Loss programs • Family nightsCentre Thefilm Family

• Connection to country camps • Art and cultural knowledge transfer workshops • Regular children and youth program • Batchelor Institute • Territory housing • Sports, music and celebration activities • First aid/infant first aid • Healing workshops • Junior ranger program • Family engagement in the annual Freedom Day Festival

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M3 Architects, Act for kids centre, Townsville GROUND FLOOR PLAN

After our initial consultation with Phil and Quitaysha, we began the process of research in order to look at existing child and family centres that focused on both Indigenous and non-indigenous occupants. This process was integral in the generation of ideas for the family centre, I found myself alongside Bronte, Sarah and Hermi continually going back to these projects for inspiration.

FIRST FLOOR PLAN

Pre-school Private courtyard spaces

Undulating rooftop and meandering pathways

Inner sanctum, of therapy rooms (varying in size)

Prevention of sightlines (via scalloped shape of form)

Use of surrounding trees and nature for privacy and protection

Administration building

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Inner sanctum & therapy rooms

Interior space at appropriate scale

IMAGES: https://www.archdaily.com/788889/ act-for-kids-m3architecture

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IMAGES: https://www.archdaily.com/788889/ act-for-kids-m3architecture

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M3 Architects, Act for kids centre, Townsville Design strategy: • The underlying planning strategy for the centre transforms the inner landscape of the site into a series of connected outdoor play and therapy areas protected by a secure boundary. • The The territory between the two parallel, linear blocks of the administration building & preschool has been arranged and shaped by a pattern of arcing curves tracing the intersecting drip lines of the canopies of the existing trees. • Central to this inner landscape and shaped by the

same geometry is a detached pavilion that houses the suite of specialist therapy rooms. Each room has a view of the adjacent external spaces and two of them open onto separate and secure garden spaces reserved for outdoor therapy. • Takes precendent from existing architectural works/materiality of the area. Therefore creating a similar language that ties into the context.

the premise that nature benefits theraputic outcomes. • The The use of a standard unit for the building material and facade in a way that generates interesting aesthetic outcomes, is a cost effective and achievable strategy. Though the use of concrete blocks may not be a viable option for Kalk.

• The building is a series of interconnected pavillions, that are inclosed by a roof struc• The centre and form of the ture that acts as a continuous buildings and consultation canopy providing shade and rooms, work in response to the shelter within the site. The trees and nature surrounding the building. Also adhering to Precedent research 116

sheltered areas are semi-connected & semi-private, providing many opportunities for gathering. The »The ‘inner sanctum’ where the therapy rooms are situated each have their own entrances and external spaces, increasing the element of privacy & the prevention of sightlines to seeing those entering/exiting.

Appropriateness for Kalk: • Although trees may not neccesarily be the driving factor for determining the shape of the family centre in Kalk, the importantance of using the surrounding landscape to dictate the form of the building is what is interesting here. • The concept of an 'inner sanctum' where the therapy rooms are located. Definitely a strong approach to providing a confidential and secluded space to have consultation rooms in our final design.

• The sweeping curves of the roof form and the buildings encourage meandering, and openly entice people into adjacent spaces. There is a continuity and fluidity in moving from pavillion to pavillion. I believe this would be an appropriate solution for kinship & avoidance customs. • The therapy rooms are varied, something that we initially dicussed, so that the clients have and ability to choose the space that they feel most comfortable.

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Canopy, undercover spaces and connection to landscape Reflection

IMAGES: https://www.archdaily.com/788889/ act-for-kids-m3architecture

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Precedent research

The most relevant aspect of buildings has been mitithis precedent for my final gating by landscaping and design were : planting • Segregated consultation/ • The building is a series of family rooms with direct interconnected pavilions and private connection to connected by an overarchthe outdoors and separate ing roof canopy entranceways • The use of standard sizing • Use of concrete to form up for the facade materials interesting organic patterns • The fact that the materiality of the building plays into the surrounding context of the area. • Shaping of rectilinear Precedent research 119

Kraus Schoenberg, Kinderkrippe Nursery school, Hamburg •

•

• •

This example is a continuation of the idea of interconnected pavillions from the ACT kids centre. The perimeter buildings take shape around a central core with internal courtyard, forming a series of semi-private spaces. Multiple entry and exit points from each pavillion (facilitating avoidance practices) Pavillions allowing for different programs to occur simultaneously. Ample daylight and warm timber interior detailing

Reflection

IMAGES: https://www.archdaily.com/786695/ kinderkrippe-nursery-school-kraus-schonberg-architekten?ad_source=search&ad_medium=search_result_all

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• The most relevant aspect of this precedent for my final design were: • A building as a series of interconnected pavillions • Multiple entry and exist points from each of the buildings • direct connection to landscape • Central gathering space

Precedent research

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Morrison & Breytenbach, Ptunarra child and family centre, New Norfolk Environmental advantages • Utilises passive solar design, therefore leaving operational costs for running of additional programs, its energy consumption being less than 25% of similar child and family centres. This is achieved through appropriate building orientation and building form, double glazing, correctly placed thermal mass, high levels of insulation, and detailing to minimise thermal bridging. • Cooling is achieved through sun shading, cross ventilation and thermal mass to absorb the heat.

Design & materiality • Rainwater is harvested and used for toilet flushing, landscape watering and children's play • Components: water collecting, sun shading, cross ventilation, thermal mass, limited use of high embodied energy materials (steel aluminum and paint)

• Bi-fold doors achieve a pavillion-like feel, and private yet open space, space great opportunity to expand the space with the different seasons. • Passive surveillance and the sense of ownership and pride in the centre. This is achieved through the minimal use of internal dividing walls. • Interior play spine, interesting interior joinery with little nooks for hiding/exploring for children, user friendly scale of joinery and windows

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• The design of the building enables flexibility to a separate multi-function space at a the front of the building for weekend workshops, whilst giving security to the rest of the building. Appropriateness • Although the building uses low embodied energy materials throughout the structure and external cladding materials (predominantly timber) it is probably not suitable for the environment/weather in the north of Australia

• Because the space is open and unobstructed, an element of privacy for the different groups and their meeting spaces. • The exterior space seems like an afterthought and does not work in conjunction with the built form. Moreover there is not enough shading available for gathering. There is definitely an opportunity for the architects to caress the outdoor areas and use obscured entrance points. • What is most successful 123

about this example is that it is responding to its environment through passive design, a concious effort to reduce its energy consumption, the interior space is large and open and can easily blend with the exterior environment.

Precedent research

Connection to place

Scaled joinery

Open interior

Reflection The most relevant aspect of this precedent for my final design were: • Harnessing the environment for water • Use of basic passive design principles to cool the building • Open interior allowing passive surveillance inside. IMAGES: https://www.jmybarchitects.com.au/ ptunarra-child-and-family-centre-new-norfolk/

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Precedent research 125

Dala Yooro ELC, Baldasso Cortese, Bairnsdale Design and Materiality • Aside from the Childcare & kindergarten rooms, there is an administrative building, an elders room, a large training and meeting space, allied health rooms and a community kitchen. • Integral part of the brief was to incorporate natural materials within the design. Rammed earth walls were constructed using local aggregates and gravels, resulting in large banded tones of colour. Large laminated timber posts were

also used alongside a perforated plywood ceiling. • 66 person facility, for the Gunai/Kurnai community • The outside area was planned with a fire pit, talking circle and natIve vegetation.

• Warm and appropriate lighting solutions. • Large, open and inviting entrance. • The outside area was planned with a fire pit, talking circle and natIve vegetation.

Reflection The most relevant aspect of this precedent for my final design were: • Use of timber & slatted shaded outdoor elements • the use of natural aggregates and colours in the material palette.

Appropriateness • The material choice is really warm inviting - using timber and rammed early as internal conditions • Outdoor spaces are covered with pavillionsthat create interesting shadows and places for gathering in the shade. 126

Precedent research

Images: https://www.bcarch.net/gegac-childcare

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Reflections on precedent projects At the expense of the budget, is it necessary to have complex and expensive interior detailing for children? I think the small details of a building is where there is a really great opportunity to interact with its users, especially children, in order to make it a comfortable and enjoyable space to be inside. The level of joinery that is inside Chigwell and Ptnurra family centres is a benchmark that we can look towards, however there may only be small moments inside the Kalkarindji family centre where this occurs.

What characterises a good outdoor area? My response being, an outdoor area that is an extension of the existing structure on a sight, rather than being an afterthought. The space needs to be landscaped, with appropriate planting and trees whilst provided a multitude of spaces where different activities can happen in parallel. On material choice/palette James's comment, there is a tendency to assume that natural materials and finishes are 128

the most culturally appropriate solutions for these centres, however, it is a misconception that Indigenous communities do not want a modern and crisp interior finish to their buildings. Each community has a different set of needs and cultural requirements, as such some of the needs met by each of these precedent projects is something that needs to be considered when reviewing precedent projects

Precedent research

Taikurrendi (South Australia) JPE Design Studio • The landscape in this example was really successful, creating opportunities for learning and play • Most of the clients agreed that the building should be circular in shape, and thus advocating for an organic form. This was both aopted by the architects and landscape architects. • The breif focused on a number components for the design: time, space realtionships, family , the dreaming, learning from the community

Under - developed interior space

Information on the creation of consulting rooms: • One consulting room with direct access to the exterior to allow patients to leave/arrive discretely • entrances should not be visible from reception (increase confidentiality) • environment should promote interactions between the clients and staff • Has a multitude of entrance points, some of which are completely discrete • Clients preferred full height acoustic walls rather than just screenings to prevent sightlines/overhearing 129

Sensitive use of landscaping

Organic building form

Precedent research

Relationship to internal space • 2 entry/exit points for rooms used by men and women • Visual links between spaces that aren't confidential • Colour palatte reminiscent of the local environment Some other points to consider »Blind corridors are best avoided »External spaces should have a strong relationship to internal space »2 entry/exit points for rooms used by men and women »Visual links between spaces that aren't confidential »Colour palatte reminiscent of the local environment

Roebourne Family Centre (Western Australia) Iredale Pederson Hook Architects • Confidential entrances • Wayfinding and placemaking through the undulating roofline and landscaping • Interiors not a strong sense of place in local areas • The children's play areas are not really appropriate, generally a stark room with a few pieces of play equipment scattered around • The rooms can feel really enclosed, no enough access to fenestration in some circumstances. • An example of sparse off the shelf architecture really affecting the sincerity and liveliness 130

of the space (interiors missing a sense of place), thus emphasising the importance of interior design.

Undulating rooftop

Stark interiors IMAGES: https://www.archdaily.com/587846/roebourne-children-and-family-centre-iredale-pedersen-hook-architects

Precedent research

Native Child and Family Services of Toronto Levitt Goodman Architects • Engaging with senses beyond just sight • the design involved a collaboration with aboriginal artists, graphic designers an landscape architects • Includes modern interpretations of cultural gathering places e.g. longhouse and healing lodge • the designers carefully reinterpreted traditional design to suit the context • Uses softer approaches for observation e.g. sheer curtains rather than two-way mirrors.

Youth centre Niafourang • The simplicity of the plan still enables the communities need to be met, whilst limiting the cost and complications of construction. • People for the village partook in the construction fo the building - instilling a sense of ownership in them. Perhaps by including participants and local labour from Kalkaringi in the design and construction fo the centre would have a similar effect. • The project emphasises the use of local materials & building techniques. This is definitely important for Kalkaringji and the sparsity of resources that can be transported to the local area. • The spaces have not been 131

heavily programmed, and rather the largest space is a 'multipurpose room' that can be used for multiple activities. • The building blends the interior and exterior environment effectively. Large Multipurpose Area

IMAGES: https://www.archdaily.com/217208/youth-center-inniafourang-project-niafourang/50179a1228ba0d4431000684youth-center-in-niafourang-project-niafourang-image?next_ project=no

Precedent research

Chigwell Family Centre (Tasmania) Scott & Ryland Architects, Morrison and Breytenbach Architects Same architects as Ptunarra, therefore carries a similar language, in its approach.

• Connection between interiority and exteriority • The building is successful in its playful and inviting interior design and materiality. There is deifnitely scope for these things to be included in the Kalkarindji Family centre

Reflection The preliminary precedent studies really helped the Family centre group in resolving and realising aspects of our designs. By looking to what has worked well versus what could be improved upon in both an Indigenous and non-indigenous context can allow us to undersatnd how componets of toher design can be modified to suit a new context.

Exciting Interior joinery

The most significant aspects fo these projects that we carried forward include:

Interior detailing • Security of sleep nests, cubby nooks and tunnels • Range of scales of play equipment • Encourages multiple modes of play including running, climbing and sliding • Good daylight, natural timber, lively colour create a high quality, fresh and healthy atmosphere

IMAGES: https://www.jmybarchitects.com.au/chigwell-child-and-family-centre/

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• The use of interior joinery and sunken seating area, that is eveident from the Chigwell design. • Chigwell was holistically sucessful at inspiring different scales of play in the family centre. • Niafourang precedent connects to the importanance of semi indoor and outdoor spaces • The Roebourne centres and its use of undualting shaded walkways to move throughout the site. • Taikurrendi centre and its attention to detail in its landscaping,i in addition to the cultural consideration it had for it consultation rooms.

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Consultation with the community Preliminary thoughts: »Have a curated set of choices »Creation of a mood board - refined and simplistic - dot points and images with spoken presentations »Starting with a few key words and talking about the points related to them, perhaps with some images alongside »Simple use of text, perhaps one sentence »What are you really setting out - 'benchmarks' »Talking about the pluses and minuses of each precedent to the community »Create space for clients to say want they don't want, Often clients feel like they can be backed into a corner.

For example: »RR's hesitations about the first site for the community family centre was not really definitive, he was not sure that it was the appropriate site, and vocalised that since the site backed onto the side of the football oval, perhaps it was not be appropriate.Quitasha also wanted to look at another site. »Phil wrote his grant applications for the site near the footy oval, and because he had vested interests in pursuing this site, he was not considering anything else. »David eplained that it was potentially not about the 134

football at all, and was about something else that he could not infact vocalise. This highlights the importance of giving space & time to make decisions. Approach »Respecting the way that different people operate »Give people space and have patience for them to make a decision »Aboriginal context: western context of question and answer »give space to introverts there are often processes happening behind the scenes,

Precedent research

that require time to be expressed »If the presentation and the people who are presented too are given time + presented in a few different ways, the more effective the thought processes and outcomes Challanges »The complications of everyone sitting around a computer, intimidating or overcomplicating the conversations »Conversations are going through the gatekeepers of the community and thus it will become hard to get credible and significant feedback potentially. »How would we get feedback? »How many times would consultation occur?

»Who would be the most approparite people to consult with? »Formal meeting's might be innappropriate - zoom can be imtimidating »the limits and differences between the architectural understanding of the community and our academic and more western architectural understanding »Few of us have been to the community or have existing relationships in Kalkaringi. Technique »Provide choices from a smaller library of ideas »Start by explaining an idea before the physical manifestation of the idea 135

»Showing images without words »Would collage techniques be effective? Not making one thing the focal point? »Ranking scales, showing the opposites »Ranking idea, like the lurkin scale, this is a very western idea, and would it be appropriate? »Would less formal meetings be appropriate? E.g. via facebook and other services »Utilising the main people such as RR and Quitasha s people with 'skin in the game', although one has to be aware that they are the gatekeepers of information »Get Quitasha & RR to give emails of key members of the

Precedent research

Francis Kere

community, to be able to reply and give input? »Post documents at the shop, or social club? »Have to be aware of the power structures within the community »Ask Penny and Phil (faith in the Kartiyas at kalk) Key Outcomes: »What is the main idea/ key ideas? »Parti diagrams distilling the main idea for a project »Drawing of the ideas into visual representations »Making it engaging »Using a small amount of text »Using keywords »Group exercise (so as not to have too much information)

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Iredale Peterson & Hook

»Architecture that empowers the local communities via local material use, teaching skilled labour and providing comfortable spaces. Involvement from the local communities creates a sense of ownership over the building. »The roof canopy and rebar truss system for the roof, protects earth walls from being harmed as well as creating a

natural ventilation strategy. The materials used are simple, robust and cheap. »The pairing of locals materials and with an unashamedly modern building design empowers communities, building their sense of confidence and pride »Simple and elegant roof forms

Kununurra Family Centre

Buildings framing central outdoor spaces Use of balustrades to create shadow Materiality of corrugations

Extended undercover canopy, extending beyond the simple geometry of the buildings Roof sections forming gathering spaces

Reflection This precedent spawned my initial concept in understanding the power of a suspended roof system in a climate that is very similar to Kalkarindji

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Walumba Elders Centre

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Simple skillion roof structure Wide pathways around the exterior of the building

Precedent research

Precedent Presentations

Key Precedents distilled ROEBURNE FAMILY CENTRE

MULTIPLE SHADED AREAS

MEANDERING PATHWAYS

MULTIPLE ENTRY POINTS

CHIGWELL/PTUNARRA FAMILY CENTRE MULTIPLE SHADED AREAS

SCALED JOINERY

SERIES OF SEMI-DETACHED PAVILLIONS

SCALED JOINERY

NESTLED IN THE LANDSCAPE

MULTIPLE ENTRY POINTS

MEANDERING PATHWAYS

NESTLED IN THE LANDSCAPE

VARIED THERAPY ROOMS

KINDERKRIPPE NURSERY SCHOOL

ACT FOR KIDS

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SERIES OF

INNER SANCTUM

141

SEMI-DETACHED Precedent presentations PAVILLIONS

01 I N T E R C O N N E C T E D S PA C E S Interconnected spaces Split programs

01 I N T E R C O N N E C T E D spaces S PA C E S Interconnected

Private and semi-private gardens

Private and semi-private entrances

Split programs

Private and semi-private gardens

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Private and semi-private entrances

143

03 HIDDEN S PA C E S Hidden spaces

02 CONNECTIONS Connections

separation of spaces

creating outdoor areas

shaded pathways

Creation of a sactuary

Curving paths create journeys

Precedent presentations

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Outdoor ‘hide-aways’

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Reflection on diagrams

INTERACTIVE JOINERY

Initial approach

Elevated exploring

Integrated play pockets

Passive sight lines

Our initial approach for the precedent presentation considered four of the precedents studied, and distilled each of these into three main ideas. To convey these ideas we thought it would be appropriate to use three keywords, diagrams and images to exemplify each of the project's concepts. Our aesthetic choice was deliberately varied in order to allow for varying graphic styles to see if some were received more effectively than others. In order to tie them together we presented

using the same layout and the colour red and green to highlight key areas of interest and exterior spaces. Proposed changes The interactive joinery diagrams lacked a main focal point, and colour was needed to remedy this. Moreover, the people in the diagrams looked rather ‘white’ and perhaps a change in the people or removal of their facial features

Precedent presentations

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was necessary to make them more relatable for the community. The ‘connections;’ diagrams perhaps need colour to convey the ideas a little stronger. Perhaps by using dots the middle diagram could be made stronger by looking less like people and more like the landscape bleeding into the building

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Precedent presentation to Phil

FEEDBACK FROM DAVID & GEORGE:

The interconnected spaces diagrams: to make them more clear add arrows for the entrances, and use green and vegetation for the exterior spaces diagram.

• It is important to look at the main components for each topic, and not confuse them with the more detailed aspects of the precedent • The actual precedent is irrelevant, it's about the ideas, therefore images can be taken from other sources if needs be • Diagrams should be able to be understood, without the accompanying presentation. Therefore how might information be used to convey an idea in a simple manner?

• It is important that the diagrams read as a 'set' or a 'package' of information. The feedback for each diagram is useful for all, therefore thinking about how we present them in an equanimous way is essential.

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General outcomes »We did not leave time at the end of each section to have a discussion, which perhaps compromised the specificity and detail of the feedback at the end of the presentation. »Perhaps there are similarities with the undercover areas and meandering pathways in the culture centre. »There are issues with including images that aren't realistic, that may create an accurate depiction of what the centres potential is (could be confusing) »The community tends to respond well to aerial views/

plan views, this is what they are used to drawing and conveying information in their artworks and sands drawings. Perhaps looking at the symbology of their dot painting will help bring more clarity to the diagrams. »The budget for the family centre is modest, therefore it's important to get creative with windows, gardens, shading, an emphasis on functionality is key. »Phil really appreciated the manner in which we presented the diagrams, and thought it was exactly how he imagined we would convey this information. Perhaps the

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information could be simplified slightly if this was being passed on to the board of directors of the community. INTERCONNECTED SPACES »Because this information set was presented first, there was limited discussion about it when we opened up questions to phil »Perhaps more hand drawn or softer diagrams would be better received by the community. Although this initial set of diagrams was clear, they lacked a certain personality and character that the hand drawn images provoked.

Precedent presentations

CONNECTIONS Was »Was really excited about the Roebourne precedent and its relevance for the site and climate at kalkaringi. The »The walkways and the shade will be useful in creating informal meeting spaces and rocks Showing »Showing the Roebourne plan was an effective tool to analyse the ideas of the building. Originally we thought it would be too much information/ unnecessary to include, but it turned out that Phil responded well to it, and it formed an effective discussion.

Reflection on class presentations to Phil

pathways would be a good addition, to form semi private zones »If it is too expensive to integrate curves into the buildings form, perhaps it would be more effective to integrate them into the curves of pathways and seating areas

Social club • Presented their ideas as a series of spectrums (four spectrums) e.g. open-closed, fixed-moving, and then used images to show the beginning, end and middle of each spectrum. • This approach was effective in that it allowing for feedback that related to a scale of each idea, but it was definitely more complicated to understand, and would perhaps not work as a set of diagrams in isolation from the presentation

INTERACTIVE JOINERY Moving »Moving toys and play equipment will not be as effective as built in joinery, these would also be good in the consultation rooms

HIDDEN SPACES »Little break out spaces along the meeting places &

Feedback

of the art centre roof). • Learning Learning the Aboriginal culture is important for tourism, • Moving Moving parts are not as effective, as they are more likely as it allows people an insight to go missing and also create into their culture that may only be superficially examined if more work for the already tourists just pass through Kalk. limited staff. • Emphasis Emphasis on the importance • The The social club, although shared by tourists and locals, of seating and a fire pit. is predominantly local and thus should be designed for Culture centre accordingly • The The social club is a place • Used the same precedents where many Gurindji tell their and used them to discuss stories and history, theredifferent elements and infore it is important to include tended design approaches. elements of architecture that I thought this was quite efhelp facilitate storytelling (e.g. fective, as more precedents look at the laser cut example actually overlap in terms of the

Precedent presentations

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discussion points and more examples of how these points have been utilised in different projects can be seen. They clearly used annotations over the plans of their precedents which was an effective way to talk about the building together with the design concept. The plans were received well as an information telling device. • Had an effective material analysis, a good starting point for the family centre. Feedback • The The mob would like the organic feel of the buildings • Shading, Shading, seating and planting can be used to achieve this organic shape without the need for expensive curvilinear

walls to be constructed • Think Think about the views to the landscape that the building creates • It It is important to be both contemporary and contextual, to look at the current status of the community but design for where the community wants to be in the future. future. • General feedback • The The discussion works best when making it part of a conversation, working well when question were asked along the way rather than at the end • Consultation Consultation needs to be a two-way conversation • In In what ways can you include feedback during the conversation 152

• Imbue Imbue confidence into the client through your explanation rather than just jumping into questions • Family Family centre's introduction was too abrupt, and need more of an introduction before jumping into the examples • Think Think about the way you are sketching to get inspired by what you are presenting • Talk Talk about how you are going to approach the conversation prior to presenting the information

Precedent presentations

Reflection My diagrams • I wanted to change my diagrams to another style, potentially hand drawn that were softer and drawn in plan view to aid with their interpretation. I also thought having nine different images on my initial page was overwhelming, and perhaps by having less diagrams, the main ideas could come across more clearly. • I also though the images I had chosen were not as effective some of the other projects e.g. Roebourne, and therefore were not as relatable for Phil or Quitaysha • I chose to include the dia-

gram that Quitaysha drew of the family centre as a discussion point, and to reflect on where the inspiration for a segmented building was drawn from.

of how we are going to approach the presentation • The The new format we devised included a floor plan, then a single page of diagrams with their accompanying images. • Link Link the discussion with a In general more purposeful analysis of the precedents - because • Add Add in the plan drawings of the images I used were not the precedents and annotate/ as relatable for Phil, they did highlight them to show each form a main component of concept - this was an effecthe discussion that followed. tive mechanism learned from watching the culture centres presentation. • Ensure Ensure time is left towards the end of each section, to allow for regular feedback and to create and two-way conversation format • Begin Begin with a longer introduction to the family centre and more specific introduction Precedent presentations 153

I N T E R C O N N E C T E D spaces S PA C E S Interconnected

01 I N T E R C O N N E C T E D S PA C E S Interconnected spaces

Multiple entrances Interconnected pavilions

MULTI PURPOSE MULTIPURPOSE

UTILITIES UTILITIES

CARE & CONSULTS CARE &

CONSULTATION

OUTDOOR OUTDOOR SPACE SPACE

Multiple Courtyards

ENTRANCE ENTRANCE

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02 CONNECTIONS Connections

Connections 02 02

C O N N E C T I O N S - R O E B O U R N E F A M I LY C E N T R E

separation of spaces

creating outdoor areas

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shaded pathways

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H I D D E N S PA C E S Hidden spaces 03

PATHWAYS

SANCTUARY

H IS D PDAECNE S ES - OARC TK IFDOSR FK DISLYF A M I LY H I0D3D E N S P-A C AC T F A IM

DIVISION OF SPACE

H0I 3 D D EHNI DSDPEANC ESSP-A C AC ES T - F AOCRT KFI O DS R FKAI D MSI LY F AC MEI LY N T RCEE N T R E

Precedent presentations PATHWA

SANCTU

SANCTUARY

PATHWAYS

SANCT

PATHW

DIVISION OF SPACE DIVISIO

SANCTUARY

PATHWAYS

DIVISION DIVISION OF SPACE

Precedent presentations

Outdoor ‘hide-aways’ Curving paths create journeys Creation of a sanctuary

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H I D D E N S P A C E S - A C T F O R K I D S F A M I LY 03

Hidden spaces

04 INTERACTIVE AREAS- CHIGWELL Interactive Joinery

INTERACTIVE AREAS Interactive Joinery

F A M I LY C E N T R E

14 12

4 5

1 7

Elevated exploring

PROGRAM

KEY

Informal Areas for Users

1. Entrance 2. Training Room 3. Play / Movement Spine 4. Lounge 5. Kitchen 6. Play Area 7. Meeting Room 8. Office 9. Staff Room 10. Laundry / Store 11. Community Shed 12. Carpark 13. Undercover Deck 14. Outdoor Tables 15. Playground

Formal Areas for Users Play Space Areas for Kids Outdoor Areas High-Level Socialisation Zones Sight-Lines from Parents to Children

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Built-in play pockets

Passive sight lines

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Precedent presentation to Quitaysha

Family Centre

Programs »Programs that would stick together: Mums »Mums & bubs with womens and kitchen areas Mens »Mens area with men consulting room? Allow »Allow for a sense of ownership over particular spaces so welcoming for all (e.g both mens and womens), perhaps the original emphasis on the 'mums and bubs' area could deter men from having a sense of ownership of the space. Important »Important to think about spaces that don't divide genders, but allow all to come together as 'parents' not just men or women So »So perhaps one bigger

Tag »Tag line 'Strong leaders, strong cultures, strong families' - Quitaysha's mom(?) T.O. As »As a 'healing centre' Giving »Giving families the strength to go through it together Connections Roebourne »Roebourne as a precedent is a very relatable example for the community, perhaps the Kalk family centre would only need to be half the size. Separation »Separation of activities good Focus »Focus on one main outdoor area with BBQ facility for bringing the community together

With »With partial shade / shade sails Elders »Elders like feeling of dappled shade under trees that moves with the sun, hence Bower use of perforated steel Narrow »Narrow linking walkways would be good Outdoor »Outdoor areas would be good with seating, like the other Bower projects; timber on steel structure seems to work well Consider »Consider lower-skilled tasks to be completed in construction for employment opportunities, such as landscaping/ planting Important »Important to consider the budget of the building, hence the savvy use of materials 162

and perhaps exchanging solid shade structures with alternatives like shade sails Interconnected spaces If »If too many entrances, worry of monitoring numerous entrance points How »How would the shape of the room determine one's feeling inside it, e.g. would someone feel less trapped inside a consultation room if there was a direct exit point/connection to outside? Perhaps »Perhaps about 2-3 pavilions would be good to split up genders and programs

Precedent presentations

space with designated informal mens and womens areas within, but barriers are broken down a bit Thinking »Thinking about how far we can challenge the status quo whilst taking into consideration the impact on how comfortable the space feels (e.g. by understanding that the future of parenting in Kalkaringi may not be as female dominated, as it is at present)

creche / school where kids are more encouraged to be More »More beneficial to be broken down and associated with each room; so spreading it out Differentiating »Differentiating between different amounts of play required in spaces Other »Other non-in-built play suggestions including; soft rubber mat, slide, swings

Interactive joinery Initial »Initial response that built-in play areas is 'too much' - from looking at the photos Worried »Worried about competing for awesome play spaces with 163

Precedent presentations

Precedent presentation to Quitaysha

The plan from Chigwell was used in consultation to begin to unpack this idea of integrated play with spaces. During consultation David annotated over the plan to explain how some spaces could be completely disconnected from play (yellow spine) versus completely detached

The drawing that Quitaysha sketched to describe the the plan of the family centre continued to be a successful tool during consultation by being about to reference back to this images with questions and comparisons. This representation of this image connected 164

to the concept of the family centre as being a series of interconnected pavillions

Reflection on consultation • Can't Can't necessarily take initial comments on face value; client needs time to think more about ideas - remember that it's often their first time looking at the image • Important Important to talk through the ideas and ask more specific questions/pose theoreticals/ draw over the images to help client understand what you're trying to say because photos may not be drawing attention to exactly what you're wanting to highlight. • Put Put in more time for an introduction, and explanation about how you are going to approach the consultation, you really have to educate you

clients to get the most out of the process! • Think Think about who a person is and what their educational background might be so you can tailor the conversation and approach most effectively • Quitaysha Quitaysha is in the academic field and therefore may able to respond to our precedents more effectively than other people in the field

Precedent presentations

Precedent presentations 165

Concept Consultation

166

167

Class concept presentations The sign language community does not translate every word, but rather just communicates the main important components. Damien • The imagery really help communicate his design intent really clearly, with limited use of colour • Really nice perspective drawings • Really like his concept of how the gardens can create boundaries rather than having a really obtrusive fence. Emma • Talked about the different pathways and journeys

through a space • Thinking about paths, thick versus thin, thinking about pathways and complex materiality Gaby • Perhaps ideas are too abstracted to promote useful discussion • Beautiful imagery though Caleb • I liked the way he used the landscape to create a natural amphitheatre in the centre • Use of red earth and concrete • However his diagrams didn’t explain why these ideas were important, just the concept it self Andrew 168

• Used heavy walls to frame views and opens, running the main heavy walls in a linear fashion • Concepts of prospect and refuge, and decentralised and staged were interesting • *made me reflect on the rigidity of my current plan drawings and how affect the relationships between the programs need to be teased out more • Use the fat wall for recesses and joinery and window seats so as to achieve the monolithic appearance but also make ample use of the space

Telling stories through materials and shadows STORY TELLING & SHADOWS BY MATERIALS

Consultation

Self, explanatory in its title, I thought that the materiality of the family centre could be nod to an existing language in the region and perhaps telling stories through the detailing of perforated steel or zinc panelling. Moreover the use of locally sourced materials were taken into consideration in order to reduce the environmental

Consultation 169

Weaving of pathways

WEAVING OF PATHWAYS

The weaving of pathways related to the concept of having multiple pavillions and entry connected by a network of movement on the groundplane.

Between Inside and&out INBETWEEN INSIDE OUT

INBETWEEN INSIDE &

The Sandtalk symbolwas taken as inspiration as a cyclical and regenerative form. The ciruclation and landscaping was conceived to tie these separate pavillions together.

COOKING OUTSIDE Consultation

Consultation

POTENTIAL ACTIVITIES COOKING OUTSIDE

170

Between inside and out suggests spaces that are covered from the elements yet still OUT open to them. For example, a covered deck and BBQ area that is able to be used both when the family centre buildings are open or closed. The importance of having spaces that are both connected to the environment yet provide shade from the sun and protection from the reain are essential for the community.

POTENTIAL ACTIVITIES

171

MOMENTS OF SANCTURY Moments of sanctuary

Moments of sanctuary MOMENTS OF

CHILDRENS SANCTURY

OUTDOOR SANCTURY

172

Spectrums of sanctuary refers to the provision of safe and comfortable spaces for a SANCTURY wide range of ages groups at the family centre. These spaces were concieved to cater for differing levels of privacy available in spaces of the family centre. Ranging from completely open to the private courtyard gardens of the consultation rooms

INDOORConsultation SANCTURY

Consultation CHILDRENS SANCTURY

OUTDOOR SANCTURY

173

INDOOR SANCTURY

Important points from the consultation Main gathering space: • Taysha the idea of having the kitchen as a main gathering space, place to gather nearby and drink coffee • Having a big open space with opportunity for families or genders to divide themselves if needs be is a good idea, is good to have a dedicated play area in that space (rather than specifically identifying womens and mens areas) Multipurpose rooms • Perhaps the need to have another separate room for workshops, the mums and bubs area should be

the biggest in terms of the hierarchy within the space Carpark access • If the car park was on whitlam st, make sure there is a wall protecting the sitelines coming in from the carpark (or a buffer zone) • Make sure to include access ramp for old people and elders Consultation rooms Liked the idea of a lecture type situation with a projector - appearing in the consultations rooms and the workshop room Include a consult rooms that is perhaps more formal ( with a 174

table and 5-6 chairs), then perhaps one that is more relaxed with couches and chairs Good idea to connect the consultation rooms with the outdoors Materiality • Liked the idea of Include images of children and mothers on the zinc cladding, could include a feature wall with the shape and profile of the mountain (like the Karungkarni hills) • Signage and colours and materials that reflect the surrounding hills around

Consultation

the centre (ochre, green, brown, earthy colours!) - Footprints have a special meaning to Kalk Play - Perhaps there needs to be a subtle barricade around the play area (inside the mums and bubs) and more play outside the consultation rooms - Need a playground outside also for the older kids with shade mesh over it, a few little play spaces throughout the centre

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 mother’s sister,

Karungkarni hill story 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

Consultation 175

Class consultations: Social club • The social club got really stuck in the nitty gritty too ealry and did not sell their ideas well to RR. Perhaps this was becuase they did not explian to RR prior to beggining the conversation about how they were going to present the information, so he kept interjecting and asking questions before they had the change to fully explaing their ideas. • Really loved the perforated steel • Thought the use of plants and landscaping was incredibly important • Emphasized the importance of beautification

Culture centre • Wanted stories told about dreaming and early settlement, gordy creek and the arts centre • Information about skin groups and how they related • Spoke about the fact that older generations are often forgetting their heritage in this modern world, and its important to have something to remind them of this that is permanent and always accessible (e.g. in the form of permanent signage out the front) • The importance of spaces open versus unlocked that people move through • Wanted art and culture on display 176

Reflection

Consultation

• You have to be pretty nimble with jumping around during the conversation, as the conversations are rarely linear • It's important to keep things abstracted, so that the client don't see the building too much, and get distracted • Aboriginal people are not very confrontational and it is easy to coax a 'yes' answer out of them if you apply a little bit of pressure, therefore it is important to ask direct questions, yet not force them into a specific answer. • Hermie was also asking a 177

lot of questions that simply gave a yes or no answer, which did not allow for a longer and more detailed response

Consultation

Site analysis

178

179

Site Analysis

Site Images

MAIN VIEWS

NORTH VS SOUTH LIBANANGU RD

To the north

To the oval/child

More private to the north of the site (away from town) HEALTH CENTRE

WHITLAM ST

Towards town

CHILDCARE CENTRE

KEY WORDS HEALING SPACE CONNECTION TO OUTDOOR GENDERED/NON GENDERED PASSIVE SURVIELLANCE ADMIN AS PANOPTICON OPERABLE SPACES CANOPY CURVES VIS PATHWAYS, ROOF AND SEATING DAPPLED SHADE

NEIGHBOURING BUILDINGS

Previous site

The site plays a role that is adjacent to the child centre and health centre. The terrain around the site is essentailly flat, making the site a blank canvas, without any specific large trees or topography to work around.

Creation of 'health precinct' Rose of Wind direction versus Wind speed in km/h (26 Jan 1985 to 30 Apr 2019)

Rose of Wind direction versus Wind speed in km/h (01 May 1985 to 09 Aug 2019)

Custom times selected, refer to attached note for details

TINDAL RAAF

Site No: 014932 • Opened Jan 1969 • Still Open • Latitude: -14.5229° • Longitude: 132.3826° • Elevation 133.m

An asterisk (*) indicates that calm is less than 0.5%. Other important info about this analysis is available in the accompanying notes.

CALM

km/h

CALM

>= 0 and < 10

WET SEASON

>= 10 and < 20 >= 30 and < 40 >= 20 and < 30

km/h

>= 0 and < 10

>= 10 and < 20 >= 30 and < 40 >= 20 and < 30

In the dry season almost 50% of the fastest prevailing wind comes from the south-east, with another 25% arriving from the east direction soley.

Calm 4%

% 10 %

% 40 %

50 Copyright © Commonwealth of Australia 2019 . Prepared on 09 Aug 2019 Prepared by the Bureau of Meteorology. Contact us by phone on (03) 9669 4082, by fax on (03) 9669 4515, or by email on climatedata@bom.gov.au We have taken all due care but cannot provide any warranty nor accept any liability for this information.

TCZ9665519 Page 1

DESIGN CONSIDERATIONS

>= 40

30%

20%

9 am May to Sep 5482 Total Observations

In the wet season, almost 45% of the prevailing wind comes from the west/north-west direction, with around 25-30% coming from the east/south-east.

10%

Copyright © Commonwealth of Australia 2019 . Prepared on 09 Aug 2019 Prepared by the Bureau of Meteorology. Contact us by phone on (03) 9669 4082, by fax on (03) 9669 4515, or by email on climatedata@bom.gov.au We have taken all due care but cannot provide any warranty nor accept any liability for this information.

CALM

Calm 4%

CALM

DRY SEASON

>= 40

9 am Oct to Apr 7814 Total Observations

180 TCZ9665517 Page 1

» The careful placement and orientation of a building or windbreak on the south-east and north-west sections of the site will help prevent wind disturbing potential outdoor areas » The placement of windows in such areas will facilitate natural ventilation through the buildings orientated against the prevailing wind directions.

Site Analysis

Site Analysis 181

APPROXIMATE PROGRAM SIZES & POSSIBLE CONFIGURATIONS

PROGRAM DISTRIBUTION DIAGRAMS ASSOCIATION BASED ON PROGRAM, ITS RESPECTIVE SIZE AND THE EXTENT OF CONNECTION.

OPTION 1

» Sightlines + passive surveillance between multi, play & outdoor spaces. » Equanimous size of the youth, mens, womens and play areas = equal ownership over the space » Outdoor space as an extension of the main indoor area

» Play as an essential component of the indoor + outdoor spaces + consultation rooms » Most consultation spaces with a direct connection physically or sighline to outside » Consultation rooms associated with play to varying degrees

» Youth and play elements » Main entrance associated with as an extension of the reception multipurpose space » Direct sightlines from reception to hotdesk and multipurpose space

OPTION 2 » Admin as panopiticon for site and street » North/south carpark orientation » Central outdoor space » Undercover canopy connection » Two therapy rooms separate with outdoor spaces and private access » stronger connection between multipurpose & child care centre

» Rectilinear geometry more feasible? » North/south carpark orientation » Central undercover gathering space with two other main outdoor areas » Shape of central building defining these areas. » Two therapy rooms separate with outdoor spaces and private access » Undercover canopy connection OPTION 4

OPTION 3 » Admin as panopiticon for site and street » East/west carpark orientation (out of sight) » Central outdoor space » Additional multipurpose space w outdoor area » Undercover canopy connection » Two therapy rooms separate with outdoor spaces and private access

‘MULTIPLE PAVILLIONS’

‘MULTIPLE COURTYARDS’

182

‘PLAY AS A CENTRAL SPINE’

Site analysis

» Entension ofadmin to extend views to the street. » Building orientation framing different outdoor spaces and creating more privacy for the consultation rooms » Two therapy rooms separate with outdoor spaces and private access » Undercover canopy connection

Site analysis

183

Form & material exploration

184

185

Materiality : Brickwork

Material Lecture with Jamie

The use of permeable brickwork protecting openings securely and allowing dappled lighting in both indoor and outdoor spaces

186

Glass/Transparency Use acrylic or polycarb - much better than glass or perspex If you use glass need to have a bloody good reason, put something perforated or protective in front of it Seating • Can use timber for seating, since it is far more pleasant to sit on, but it needs to come out of the ground in steel. Ensure you are aware of where the termite mounds lie Floors/ Decking • Modwood • Absolutely no timber • Paving and stones are a good option

Floor structure C purlins, for floors, compressed cement sheeting Thermal mass • Render the cheapest bricks or concrete blocks • Think about using thermal mass as a heat sink, must keep it protected and shaded • Concrete floor is essential, coming out of the ground in conc in order for it to act as a cooling mechanism directly to the soil • If you use bricks, and cement blocks, could think about rendering them so they have a similar effect to rammed earth • Rammed earth is fantastic 187

environmentally, and has low embodied energy • The reality is though is that it may be better to use preformed concrete that has a built in textural finish (perhaps this is more feasible since you would be able to predict the costs and the outcome more easily) • Breeze block are a good option, perhaps could be brought onsite, large sandstone blocks? Wall framing • SHS • PFC’s • Steel frame with light weight • masonry

Wall cladding • Corrugated Iron • Plywood - typical sheet size • Compressed cement sheet • Alucobond • Equintine (super expensive, not realistic) • Second-hand corrugated Iron, cheaper option maybe be a good option, need to consider where it could be used in a sensitive way Engaging community It is important to have some ‘sweat equity’ in the building so that community members have a sense of ownership over it, although due to the lack of confidence and skilled labour, they need to be tasks that are not extremely complicated.Gurindji Corp builders

Reflection My initial thoughts were to keep the buidling simple in terms of materiality by using predominantly steel frame construction on concrete slab. My initial thoughts explored perforated locally sources bricks as a mean to create interesting shadows and spaces, but given the high cost of labour I only ended up using them to form curved screens in the consultation areas and a single wall in the multipurpose pavillion.

always need to be supplemented with skilled labour forces brought in from outside the community. Local environment Design for shade, natural breeze & dust filtration through the placement of walls and openings Passive design principles • Roof with a stack effect and angles to enhance natural ventilation strategies • Use thermal mass to advantage • Use passive heating and cooling • Appropriate shading & sun availability 188

Through the exploration of ‘weaving pathways’ slatted timber detail was proposed as a material or choice to create these spaces. In my final design, modwood is used heavily as battens in the roof canopy and decked area. Though Bower has used the material in the past, I am concious of the fact that it is not as bulletproof as steel or masonry. But what was important in my design was to create a softeness that the presence of timber makes and also to avoid the high radiant heat of steel in the spaces where the roof meets the ground.

Form and material

Passive design principles including the stack effect, earth coupled slab, natural ventialtion and appropriate sun shading have all been prioritaised in the final design

Form and material

189

Class 1.05.2020 • Look at the shades of grey within a building, don’t just think about things in black and white • What walls are slatted/ corrugated? • Think about more complex ways of diagramming • Think about the texture, light, inside and outside • Think about the smaller details of a building and how they would play out • The building can be earth and timber, but must come out of the ground in concrete or steel, since termites are a big problem up there. • Spaces that aren’t just a straight white box • Roof canopy - think about

the positioning, and potentially how it could collect water • Nooks can be created with landscaping, rather than having to create indentations with the building itself • Main entrance coming out of the libanangu side, with the possibility of pathways/ entrance from the whitlam st side • The use of sketches and visualisations is really effective, the sketches and the relationships between the spaces, with then start to inform the plan

Class 05.05.2020 Plan drawing: • Ensure hand drawing for the plans at this stage • Indoor versus outdoor space • Think about the landscape • Use furniture to give scale • Think about thicknesses and linetypes & how they could work • Can directly annotate over the drawings in red pen • Consider the rule of fours on a page, 25% white, 25% light grey, 25% medium grey and 25% dark grey • Draw to communicate ideas, work back and forth sketching over plans.

Form and material 190

• Think about the segmentation of the roofs, where they meet and where they move apart from one another* the coming together as well as the separation is important here. • Think about cut out in the roof structure to perform specific functions with lighting and the sculpting of water • The idea that a thick wall can also be thin by punching holes into the wall, and creating openings • Consider the landscape as an architectural element, encouraging people to take a journey through the landscape, or perhaps through 191

desired spaces before reaching a destination (circulation). How could this create certain views/ sightlines) Brickwork feedback As long as the process is managed, there can be a degree of community involvement for the laying and creation the brick structures. Lots of local labour is required and therefore it is not appropriate to have brick for the entire structure. Need to choose when this is appropriate!

Form and material

Building Form

Roof Geometry

The intersection between the solid form of a fully enclosed structure, becoming semi/indoor outdoor and permeable for light.

The structure of the roofs in relation to the building, allowing water collection and having sufficient eaves to shade pathways around the building and protect the earth/brickwork.

Form and material 192

Form and material 193

Segmentation through floor levels and partitions

Shaded walkways

Changes in floor heights to designate spaces changes in the building (this would also correlate to different roof treatment and degree of lighting, to change the ambience in the rooms.. There are different variations in the treatment and permeability of the walls between those space changes

Form and material 194

Form and material 195

Reflection This model making exercise was the instance that really began to inform my final design. The beutiful ambience and shade that a penlled timber walkway creates seemed to be a great way to stich a series of pavillions together by making the experience of circulation a pleasant experience through shadows and lighting conditions. Given that shadow-making is a language that Bower uses as a form of â&#x20AC;&#x2DC;unbuilt architectureâ&#x20AC;&#x2122; the concept ties back to its previous projects as well as resonating with what the community likes about the spaces these projects create. The cencept of these this fabric of timber opening up to highlight spaces beneath is a way that the timber slates could change the condition of the interior spaces as well as just the exterior walkways. In my final design The use of a composite kiliplock roff with polycarb skylights in the consults and mum and bubs room draws connections back to these sketch models.

Form and material 196

Form and material 197

Class 7.05.2020 • Consult pods - should be highlighted in the plan, how do they have a different architectural language to the rest of the rectilinear geometry? • The weaving timber walkways - how do these highlight different aspects of the plan, but oozing into the walls & opening up at different points as skylights. Think about the journey these pathways can take people on. • It is important to bring a relationship across all of the drawings you do, in order to allow specific ideas you may have about you architecture to come through in a variety of dif-

•

ferent formats Think about how the roof distributes to the garden surrounding it ( *perhaps the runoff is an a few different points which goes into wicking bed systems with agg pipes running under the garden beds) Models are useful for understanding materiality and the conditions inside a space, how do you use textures, materiality, acoustics Think about ownership with materials, could brick or a more labour-intensive material enable more participation from the community Wanted to include a literal tree inside the building made from timber that 198

she saw from a precedent study, though it looked quite out of place, George suggested the importance of portraying such concepts in your building in a less literal way, e.g. how can you connote ‘tree’ in other realms of the building. • Key story about what is not there is what is important, ‘Dark Emu narrative.’ What you are creating that as a consequence produces important unbuilt conditions. How does your architecture produce interesting unbuilt consequences

Form and material

Reflection An essential compenent of this class was begginning to think about the concept of ‘unbuilt architecture’ and how one can consider the effects their deisgn has on the environement in an indirect manner. David connected this story back to dark emu, the the fabric of stories that are woven into the blackness between the stars rather then in the stars themsleves. The connection between this narrtive and Bower studio lies in the language of shadow making often created as a result of its architecture. It was really interesting beginning to think about design desions for both their built and unbuilt consequnces. Similarly, when suggested the use of a timber tree inside the centre, George explained the of portraying such concepts in your building in a less literal way, e.g. how can you connote ‘tree’ in other realms of the building. This in turn will create a more complex and layer appaoach to the design Other important take away points included: • the idea of ownership versus labour intensity when encouraging the community to particpate in the build. • the importance of synchronising your drawing styles so that your plan, section and perspectivs start to talk to one another more clearly.

Form and material

199

Roof structure

After consultation with Quitaysha the idea of using so many resources on the circulation spaces alone was an important challange to consider. I therefore started to think about how a simple portal frame structure and could weave together the buildings, rather than the walkways between. The concept developed from being a gesture of cladding to one of primary structure that the building beneath depended upon for support and waterproofing.

These diagrams, used in addition to the weaving structure represent potential ways the timber cladding could be brought into other aspects of the building through, such as seating nooks internally and externally

Form and material 200

Form and material 201

Planning

202

203

Planning

The following plans represent a trajectory from the beggining of the design phase. The dot points next to each are the main points that we carried forward into my final design. The final realised plan can be seen in the final design section in the last chapter of this booklet.

• Consultation rooms in the north of the site, separated from the main building and articulated in a unique way • Central gathering space • Sunken multipurpose area and lounge for child play • Kitchen opening up to the outdoor gathering space • partially indoor/outdoor multipurpose space • Weaving pathway and deck that moves around the extent of the building creating a pathway of shadow

Planning

Planning 204

205

Planning

• After seeing that my previous plan was quite regemented, tried to think about how movement in a central wall could break up the spaces and extend outside into the landscape to suggest movement between the internal and external • I also starting thinking about how the roof could open up in a gesture that connects with the ground plane • What each of these concepts lacked was a clear link to my concept of weaving pathways. An although the gestures themselves were valid, they did not talk to the buildings below them sucessfully.

• Consultation rooms in the north of the site, separated from the main building • Central gathering space • Sunken multipurpose area and lounge for child play • partially indoor/outdoor multipurpose space • Weaving pathways that begin to connect the two spaces together The elements that were lost in this iteration include: • Outdoor multipurpose space • Larger mums and bubs area • Consultation rooms that

Planning

206

207

Planning

This last iteration formed thebasis of the final planning of the family centre. Components that were carried forward include: • undercover decked area • undercover carparking • separate consultation pavillion • ajoining mums and bubs area and kitchen/lounge • central gathering space with meadering pathways connecting the buildings together.

Reflection I went through varied stages of planning before reaching my final iteration. Initially i felt as though i was quite cautious in my approach to creating the space, through a mind of practicality and cost weighing on my decision making. It has also been eye-opening and challanging beginning to concieve of spaces in plan/section and perspective at the same time. I can see how each of these modes of communication link together and their power to communicate information as a package, rather than in isolation. I see myself slowly starting to think in this way. The use of handdrawing this semster has really encourgaged me to begin to think more with an iterative process. Having limited experience with the designI felt as though I could jump from one iteration to another without a clear link between. Autocad is definitely something that hinders this process because you are able to keep deleting lines until you can forget certain confirguration you have already tried out.

Planning

Planning 208

209

Mid-sem review

210

211

WEAVING OF PATHWAYS

WEAVING PATHWAYS

MOMENTS OF SANCTUARY

CONSULTATION ROOMS

212

213

INBETWEEN INSIDE & OUT

WEAVING OF PATHWAYS OF PATHWAYS WEAVING WEAVING OF PATHWAYS

WEAVING OF PATHWAYS

MOMENTS OF SANCTURY MOMENTS OF SANCTURY

MOMENTS MOMENTS OF OF SANCTURY OF SANCTURY MOMENTS SANCTURY Y

T NC

M MO

CHILDRENS SANCTURY

OUTDOOR SANCTURY

INDOOR SANCTURY

IND

CHILDRENS SANCTURY CHILDRENS SANCTURY CHILDRENS SANCTURY

COOKING OUTSIDE

LOCAL MATERIALS

CYCLICAL & NON-LINEAR PATHWAYS

214

CONNECTION TO COUNTRY COOKING OUTSIDE

OUTDOOR OUTDOOR SANCTURY OUTDOOR SANCTURY SANCTURY RY

POTENTIAL ACTIVITIES

CENTRAL GATHERING PLACE

R ILD

INDOOR SANCTURY INDOOR SANCTURY INDOOR SANCTURY

SANCTUARIES INSIDE & OUT

POTENTIAL ACTIVITIES

215

D UT

INDOOR SANCTURY

LOCATION OF THERMAL MASS

ROOF OVER-HANG TO SHADE FACADE

SUSPENDED ROOF SYSTEM

MINIMISE WESTERN FACADES

ORIENTATION TO ALLOW BREEZE

PROPOSED DETAILS

216

217

Reflection The mid semester review felt like a really rushed attempt at trying to consolidate all of the things I had been thinking about into an architectural response. In my mind I had a patchwork of things that I was considering, that began with the broad concepts of materiality, connection to landscape, meandering pathways and a central gathering space. After listening to the material lecture with Jamie, I prioritised the implementation of basic passive design principles and materiality for the buildings. I kept returning to the concept of having a suspended space frame roof system that cooled the buildings via a stacking effect and cross ventilation. The initial ispiration for this came from Francis Kereâ&#x20AC;&#x2122;s works in Africa, that experience similar climatic conditions to Kalk. With time pressure I felt obligated to produce a response, and in turn presented a simple rectilinear building as an initial form. In retrospect i really didnt need to have resolved a building in its entirety, but rather built upon my concepts in some smaller way that would begin building towards a more reolved design later down the track. 218

219

Preliminary Design

220

221

Iteration 1

Reflection After considering how the structure of the building can overlap to inform spaces the first iteration of my design was concieved. The two southern buildings, separated by a walkway were stiched together via the overlapping structure of two portal frames. The point at which these frames met frameed a central passageway from the Whitlam street entrance. What is important here is the connection between the concept of pathways and the buildings structure, The overlapping beams move out into the landscape to frame shaded pathways wither side of the building with moments of perforated steel that meet the ground. The response to this iteration was that the structural mebers were too heavy and that the spaces that were created either side would radiate too much heat in order to be habitable. I really like the concept of this weaving structure informing movement and connecting the buildings, though the form itself i thought was too skeletal and harsh for the family centre.

Preliminary design 222

Preliminary design 223

Iteration 2

Reflection Interweaving structure and moment where the roof comes down to inform spaces on the ground plane we carried forward in this iteration. The use of a faceted articulation was used in order the soften the abrupt angles on the previous deisgn. Facets of both timber and solid corrugated iron cladding were overlapped to create an interesting conditon of shade on the ground plane. The roof was disconnected from the buildings below, so as to have more freedom in the roof form and to avoid akward connections with the buildings below. The wall structure was raked in order to carry a similar language to the roof but without ajoining to it. Davidâ&#x20AC;&#x2122;s feedback suggested that this was less resolved that the previous iteration beause of the lack of consideration of the meeting of the buidlings and the roof. Moreover, the more complex roof structure was not really feasible for the community, nor necessary to create these folded spaces and consition of varied shading below.

Preliminary design 224

Preliminary design 225

Iteration 3

Reflection

Preliminary design 226

After my previous approach I tried tone down the concepts I was thinking about into a more simplified format that would be more feasible to build in the community. My previous two interations still had alot of significant flaws, and since i thought my gestures were quite bold with the buildings faceted articulation, I thought it was best to simplyfy my approach. Being quite new to architecture means that i do not have a huge amount of conviction in my design decisions, resulting in an extermely literal and drastic adoption of feedback that I would get during class. When my designs were critqued, it didnâ&#x20AC;&#x2122;t mean that the entire building was not successful, but that elements of them continually needed to be refined. This is really important learning for me during the development of the family centre. The design on the left still uses the language of a portal frame structure with shared structure that connects the two buildings. Shaded timber elements extend from the buildings exterior and fold down the sides in one plane, instead of three. The connection to Yunkaporta and weaving pathways was lost in the ridgid arcticulation of this design.

Preliminary design

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Final Design

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Kalkarindji Family Centre Weaving families together

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Reflection The final form drew inspiration from this symbol from a book called sandtalk, explained previously in â&#x20AC;&#x2DC;The body of knowledge.â&#x20AC;&#x2122; The symbol was particularly powerful for me in its ability to allow me to think about me architecture through an Indigenous way of thinking. I began thinking about the building structure and how this could speak to this idea of weaving pathways throughout the centre that both connect and buildings and the people together. The symbol on the left speaks to a systems of regenerative cycles that are con-

tinually feeding back into one another. My intention in my architecture, in the final design was to create a roof canopy that spoke to the weaving pathways on the ground plane through a network of shadows and moments where the roof is completely covered and where the roof opens up. The roof structure consists of series of portal frames that weave up and down across the site. The ungalvanised black steel structure in clad with a combination of modwood battens, polycarbonate and corrugated iron sheets. There is a spectrum of roof covering: completely enclosed (corrugated iron), transparent (polycarbonate), transparent and clad with 232

battens and completely openThe moments where the roof changes format reflects what is happening beneath on the ground plane. Polycarbonate and timber battens create transparency in the canopy above parts of the building that are celebrated, yet still retaining the function of weather proofing. The consultation rooms and the mums and bubs room have polycarbonate skylights so from inside the people can seeing the interweaving structure above them. The detailing of the skylights were not fully realised due to time constraints, though this was my intention. Aside from the skylights, the

Final Design

canopy extending over the building remains solid, extending into timber battens as it stretches over the site to create pathways of shadow below. On the northern and southern sides of the site the roof meets at the same point along the extent of the site. An exposed corrugated gutter collects water run off and offloads it into a ditch filled with vidtoria river stone to service plants along the pathways. The moment where the roof meets the ground is celebrated through gestures of exposed layers concrete footings that form tiered seating nooks around the site. The roof folds are detailed

with overalapping mod wood battens that connect directly to the steel structure. Reflecting bshadows on the side of the building and onto the space below. These seating moments provide moments where people can physicallyinteract with the roof canopy 233

above.

Final Design

Pathways

LIBANANGU ROAD

Form

WHITLAM STREET

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Reflection

LIBANANGU ROAD

Roof canopy

WHITLAM STREET

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The Family Centre was concieved as a series of layers. that work together to inform the concept of weaving together the buildings. The pathways, landscaping, roof canopy and shadows overlap and intertwine to connect the three distinct pavillions that sit on the site. The exploded sandtalk image to right, segments this concept into three layers. The planning of the these pavillions included the core building to the south housing the mums and bubs room, main entrance, kitchen and lounge and family room 1. The north western pavillion is multipurpose space with two

rooms separated by a operable wall. Housing two sets of toilets, the building is able to be used in isolation of the remaining two for events and workshops. The north-western pavillion houses family rooms nestled in the most private part of the site. Each room has opens out to a private courtyard with a small deck and integrated play element for kids.

Final Design 237

Reflection

Entrance from Whitlam st

Final Design 238

Precast concrete & steel stud wall

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Polycarbonate

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From the entrances way the steels columns and exposed footings of the roof canopy are featured to gathering spaces at the front of the site.

Perforated steel

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ed steel to conceal the polycarbonate sheet below. The custom perforations, in the shape of Karungkarni art, footprints and creation patterns connect to the stories in the local area.

Rough sawn timber slab

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The family centre can be entered from two directions, both Whitlam street and Libanangu road. Facing the two main roads windows sit behind a precast concrete panlled facade with perforated steel covering polycarbonate window elements. From the main roads the buildind presents as a secure form, that creates intereting conditions on the buildings interior. The bay window detail to the right represents the perforated window condition from the inside. 500mm walls house seating nooks using a rough sawn timber slab and perforat-

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Final Design 239

Reflection

Central axis

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The entrance from Libanangu road enables visitors to view down the full exten of the site towards the central gathering space. Simple rectilinear buildings with earthy precast panelled facades and perforated steel door openings connect to the colours and textures of the surrounding area. The weaving steel roof that transitions from solid to transparent moments cast shadows onto the ground plane below. The simple geometry of the buildings below is offset by the immensity of the roof canopy and the shdows that are cast onto thier walls. The ground plane is paved in

Victoria river stone. to create a subtle transition from the earth and the site. The almost entirely paved central area prevents alot of dust from entering the buildings, whilst opening up in a few moments to allow for grasses to be planted in small clusters. In retrospect, and given more time I would have liked to detail the buildings below the roof canopy to a greater depth. I really on go as far as considering their steel structure, precast facade panels, kliplock and polycarb roof systems and their window and door openings. 241

Final Design

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Family room

Final Design

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Reflection The consultation rooms were an important part of the brief in that they needed to be spaces that were celebrated in the design, that were catered from both adults and children whilst providing privacy and a direct connection with the outdoors. The consultation rooms I designed related to a sense of privacy by appearing in the north-eastern part of the site, protected from the two main roads. The rooms have significantly thicker walls (400mm) in comparison to the rest of the family centre (200mm), this caters for increase privacy and acoustic protection on

Materiality the inside. The internal spaces is clad in plywood panels, with a bay window seat that lets light in through a perforated steel panel. Couches, alongside a table with a variety of different chairs allows conversations to talk place in a variety of ways, with a variety of people. Small window openings in the corner surround an internal corner designated for play. On the outside stepping stones in the garden as well as a suspended net provide simple and robust play elements for children.

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The rooms opening up with double hung sliding doors to a protected courtyard surrounded by a 2 metre high hit and miss brick wall supported with steel reinforcement. The wall curves around the outside space enclosing it in a way that still allows the space to connect with the country beyond.

The materiality of the fmaily centre drawing direct connections to the Kalkarindji landscape. Through consultation with Quitaysha, the importance of the building blending in with its surroundings to by using a palette of browns, ochre, and yellow colours. The material pallete chosen uses these tones accross a variety of materials including weld mesh, precast panels, stone, perforated steel, rough sawn timber and modwood timber

Final Design

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Reflection

Mum and bubs room

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The Mums and bubs room was one of the central components to the Family centre breif intended to be the largest room in the building. The mums and bubs room was to provide a space for families to gather, for children to play and for workshops to be run. Given this, I made a move to segment the mums and bubs area into two interconnected spaces. One that connects to features a sunken seating area and integrated joinery piece for mothers to site and for children to play in, and a ajoining kitchen and lounge area with couches and tables. A operable wall that sits behind

a rebate in the wall allows the two spaces to be sectioned off if needs be, to disconnect the lounge from the main internal childrens play area. The space is softened through a geometric plywood panelling detail that connects with the structure and folding in the roof canopy above. The play joinery pice ajoined with a feature wall displaying colourful art piecess about bush tucker and creation stories. A large window covered by custom perforated steel allows the space to have a direct connection to the outside, allowing families to view their 247

kids playing outside from the sunken areas. The polished concrete flooring with aggregate in the shape of pathways informs movement within the building, and creates fun pathways of movement for children. A polycarbonate skylight in the roof allows light into the space, and connects it with visual sitelines to the canopy above.

Final Design

Reflection The central gathering space lies at the centre of family centre and is the point which all the pathways converge and the roof opens up. This gathering space connects each of the three buildings in the centre of the site, providing a places to sit, play, yarn and have a BBQ. The large modwood deck forms a significant part of this space, covered by a canopy of modwood battens that cast shadows down onto the space.

Central gathering space

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eas on either side of the main space, its form connecting to the movement of the pathwyas that travel through the site. The kitchen and and multipurpose spaces all have a double hung sliding doors that connect onto this space, creating a sense of cohesion and continuity throughout the distinct building of the centre.

The same language of layered concrete is use to form the seating in the central sitting area. Curved preformed concrete forms informal sitting ar-

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Structure

Section through central gathering space

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Reflection The structure of the building as evident in the section above was addressed in three layers that work together to create the ground plane, built form and roof canopy. As mentioned previously the roof canopy consists of layers of steel structure (250UB31) ungalvanised elements that are welded together to span across the expanse of the site. V columns transfer the loads onto exposed concrete footings to celebrate the moment where the structure meets the ground plane. C purlins suppor the roof canopy consisting of overlapping polycarbonate and corrugated iron sheets.

Environmental Sustainibility On the underside of the steel structure, stretchs of modwood battens span to form pathways of shadow onto the groundplane below. Given that the modwood structure is not as robust as the steel elements, that materiality could be interchanged with perforated steel or mesh to create a more robust design if necessary. The structure of the building consists of single and double stud walls to cater for different wall thicknesses. Precast concrete panelling and plywood or fc sheet line the external and internal sides respectively. 252

The buildings sit on concrete slabs that extend outwards to form the seating areas through the centre of the site. A steel frame suspended mod-wood decked area meets fluchs with the concrete formwork. Element of perforated brick highlight the consultation room courtyards, connecting to country through the use of local earth. The curved walls taper from 2m to 1m and are reinforced with steel supports that are fixed into the ground with concrete footings.

Final Design

Earth coupled slab

Minimise westerly facades

Suspended roof

Breezeway through north of the site 253

Final Design

Studio Reflection

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Through my research I have slowly discovered more about the power of Aboriginal thinking and how traditional western constructs need to be put aside during consultation, concept development and thinking. Having to navigate an online consultation and design process with the community has been the most fascinating experience! This semester has certainly been the most challenging semester in Architecture I have had so far. Though last year we were bombarded with new concepts and computer programs, the skills and approach to the teaching felt pretty different to Bower studio. The power of communicating and the efficiency in producing Iteration via hand drawing is something that has become really apparent as absolutely fundamental in the design process. It is a skill that I will try to keep developing during semesters to come. Through my research I have slowly discovered more about the power of Aboriginal thinking and how traditional western constructs need to be put aside during consultation, concept development and thinking. Having to navigate an online consultation and design process with the community has been the most fascinating experience!

lack of confidence in my process and decisions, and lack of experience in the best way to translate my ideas into physical drawings. What I don’t doubt is my ability to generate ideas and produce good architecture, though to be able to do this it will be a matter of fine tuning that way I produce drawings and ideas. I’m really proud of what I have produced for my final project, even though the resolution of the building has only just begun to come together. The concept of these two planes of pathways weaving together the buildings and families is exciting. I would have loved more time to detail and revolve the internal buildings more, because I spent too much time trying to resolve the canopy above. Thanks so much for the semester, I thought the delivery & teaching of the subject was really supportive. Looking forward to working together in some form in the future :)

This semester was the first time I had to govern the entire design process on my own. I still don’t have a solid sense of the best process that works for me yet, though I have certainly learnt things that don’t work (haha). A key flaw in my process this semester was the abandonment of several iterations of my design and thinking processes that were never realised in the final building. After getting critiqued on certain elements of these iterations I chose to start again rather than build upon the good parts of what had come before, using a lot of time that if channelled in the correct way could have created greater resolution in my final project. This is certainly related to a 256

Photo credit: Bowen, Bower student 2019

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Preparing for References the build

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