Reorienting the Void: Cultural diversity and melancholy landscapes at Fawkner Memorial Park. by Hilary Hoggett

Reorienting the

void Hilary Hoggett

Contents Thesis statement 5 Part 1: Context & Initial investigations 7 Part 2: Cultural difference & revealing the edges 17 Part 3: Melancholy landscapes & spatialising strategies 31 References 59

Thesis statement

Opened in 1906, Fawkner Memorial Park was originally designed with a formal axial layout, radiating avenues of federation era trees, monumental lawns and memorial gardens. Reflective of Australian immigration patterns, the cemetery has been filled mostly with Anglo-Christian denominations. Looking more closely, more recent waves of immigration such as from Turkey, Lebanon and Iraq have been pushed to the leftover edges and voids; spaces where the original formal design breaks down. Seeking to reorient this periphery, this thesis draws on ideas of melancholy and cultural diversity to introduce an alternative spatial and symbolical experience that re-frames the marginal. Departing from the formal plan of the cemetery, this design works with the irregularities of the site, such as the creek line and the property boundary, to introduce a new layer that recognises the Islamic contemporary presence. A bold new entrance is inserted on the eastern boundary, offering a transition and space for pause. Subtle manipulation of the ground plane through materiality and planting offers way-finding and choreography along the creek line. This allows for an alternative walking experience which departs from the formal avenues, and creates new links to the entrance and these marginal spaces. Through this approach, a contemporary layer is added whilst still respecting the original master plan.

Part 1: Context & initial investigations

Context Fawkner Memorial Park is situated in Victoria, Australia. It was designed by Charles Heath and opened in 1906 to accommodate Melbourneâ&#x20AC;&#x2122;s growth north of the Yarra River. Originally sitting at the edge of the city, the 113ha site was designed as a trip just outside of Melbourne and was surrounded by farmland, with only a handful of houses. It could be accessed by the Upfield train line, which runs through the cemeteryâ&#x20AC;&#x2122;s western side. This train line also previously transported cadavers from Melbourne Morgue to the cemetery via a hearse train. (Hutchinson, 2014, pp. 46-47). Two creeks run through the cemetery: Campbellfield Creek and Merlynston Creek, which converge on site. In 2020, the cemetery is now firmly nestled within the urban fabric in the suburb of Hadfield. Its unofficial uses have expanded to include bike riding, dog walking, commuting and jogging. Due to risk of flooding in the surrounding built environment, the creeks exit the site via the underground stormwater system.

1945

2020

Adastra Airways. Sunbury D4D, 1945.

Nearmap. (Updated Tuesday 28 April 2020). Fawkner Memorial Park, VIC, Australia. Retrieved from maps.au.nearmap.com/.

Site visits and analysis of the original plans of Fawkner Memorial Park show a very formal, axial layout, with boulevards of trees, memorial gardens, and memorial burial lawns amongst the traditional plotted areas for interment of remains. The original northern end shows a park-like area in design, but it has since been filled in due to demand. Religious iconography such as Christian crosses are built at some of the nodes. Note that the two creeks in the original layout are downplayed to the point where the axial design does not appear to be affected by it. Heathâ&#x20AC;&#x2122;s attitude toward the creek running through was to reduce it to a â&#x20AC;&#x153;ditch with grassed banks, following the streams course but much straightened, to replace natures handiwork. It would be hidden by strategically planted trees.â&#x20AC;? (Chambers, 2006, p.89) 10

Charles Heath. Fawkner Memorial Park, 1926.

Typology

Crypt

Memorial lawn

Mem. rose garden

Memorial tree

Family mausoleum

Burial/cremation

Burial

Cremation

Burial

Granite, marble Bronze, turf

Vegetation, bronze

tree, bronze, concrete, turf

Granite, marble, stained glass, high quality fittings

Ornamentation

High

Low

High

Porosity

Low

High

Very Low

Cost

$$$

$$$$

Materiality

Grave dimensions

[in relation to Muslim mourners] â&#x20AC;?... it is obvious that they will have to be put away in some corner of the cemetery and screened off so that they cannot be overlooked.â&#x20AC;? Chambers, 2006, p188.

Islamic section showing Islamic graves adapted to fit in a christian layout. Islamic graves must be perpendicular to Mecca.

My explorations first began with a focus on the graves themselves. I developed a set of memorial typologies and began to look at how materiality and ritual played out in a spatial way. What I discovered early in this process was a higher potential in some of the spaces that received less care, or allocated in a way that suggested lower importance. This initial exploration was relevant, and indeed served as a useful starting point, however I wanted to focus on cultural difference. Upon reading about the history of the cemetery, I found that, as the quote above demonstrates, there was indeed a narrative of hierarchies being revealed that begged to be explored. 13

colouration wood rather than Roman catholic Islamic shJewish Roman catholic Islamic Chines Jewish Roman catholic Islamic Roman catholic Islamic Chinese concrete.

hasis on unadorned, Artificial and real flowers Modest graves, many Presenc nadorned, Artificial real Artificial flowers Modest graves, many Presence otherP Emphasis on unadorned, and real flowers Modest graves, ed, Artificial and realand flowers Modest graves, many Presence of many otherof This initial material study paved thegarden way further investigations the forms people simple stonework prevalent with garden beds of planted ritualisti eest, stonework prevalent withfor garden beds planted ritualistic built form modest, simple stonework prevalent with garden beds planted r work prevalent with beds planted ritualistic built such who are actually represented here, and where ininside the cemetery they haveincense been Richer graves show more plot boundary. as arch Richer show graves show more inside plot boundary. as and arches and inca Richer graves show more inside plot boundary. Richer graves more inside plot boundary. as arches allocated. There clear evidence of lived space in non-Christian areasTea which expensive and showy Grave boundary altars/s expensive and showy Grave boundary altars/shrines. Teaa expensive and showy Grave boundary expensive andwas showy Grave boundary altars/shrines. took on a very presence, and itgranite was at this pointsometimes that I made the decision marble and granite sometimes made with marble and granite made with ceremony paraph marble andsometimes made withceremo c marble and different granite sometimes made with ceremony paraphernalia to colouration focus solely on thecolouration non-dominant present, and that materiality would wood rather than Strong colouration woodthan rather than Strong colouration wood rather than presence S wood cultures rather Strong presence of gold o leaf anl concrete. concrete. leaf and red. concrete. concrete. leaf and red.

Jewish

Roman Catholic

Islamic

Chinese

NTS

During one of my site visits along the creekline, I noticed some of the plants which are prominent in the cemetery as memorial plants such as arum lillies, freesias and geraniums were self propagating around the creek banks. I noted that some, such as the arum lillies, were a noxious weed and would need to be addressed. I watched how these plants were reinterpreting themselves from memorial to taking over these leftover, forgotten and unkept spaces. This became an analogy for what I had started to see occur on a larger scale both in the cemetery and outside of it. This occurrence prompted a line of enquiry into the idea of ecological-cultural adaptation shown through planting.

Part 2: Cultural difference & revealing the edges

Hinduism Islam

Judaism

Sikhism

Islam

In order to understand the differencesOther occurring in the cemetery, I first needed to understand some background on what religions were prominent when the cemetery first opened, how it’s currently allocated, and what the religious affiliations were like for the cemetery’s geographic catchment. What this exercise highlighted was just how unrepresentative the cemetery had become as the waves of immigration into Australia shaped the catchment’s cultures and religions.

the ‘catchment’

ReligiousReligious affiliation ofof Fawkner Memorial affiliation Fawkner Memorial park Park catchment, 2016 catchment at 2016 Data: Australian Bureau of Statistics, 2016.

The geographic catchment

Area Allocation perrelligion religion at Fawkner Memorial Area allocation per at Fawkner Memorial Park Park at 2020 Other

Buddhism

Christian

Secular / no religion /not stated

Christian

Hinduism Islam

Judaism

Sikhism Other

Data: Australian Bureau of Statistics

Islam

Unrepresented: Buddhism Hinduism Sikhism

120

time ReligiousReligious affiliationaffiliation changeschanges over timeover (% of population of Greater Melbourne 1911-2016) (% of population of Greater Melbourne 1911-2016) Religious affiliation changes over time (% of population of Greater Melbourne 1911-2016)

120

100

40 40

20 0

1911

1954

1911

1991

Christian

Islam

Sikhism

Sikhism Buddhism

No religion/not stated

Other

1954

Christian No religion/not stated

Current ancestry of population 5km from site

2011

1991

2016

2011

Islam Hinduism

Hinduism

JudaismBuddhism

Judaism

2016

Other

Current religion of population 5km from site

Data: Australian Bureau of Statistics

90 days mourning (varies )

luc

10 Days mourning

Wit

hin

hrs 48

Buddhist

Hindu

Through researching the various underrepresented, or even completely unrepresented religions in the cemetery, I discovered a vast array of traditions, rituals, and rules governing over burial and mourning. I came to understand that it is not my place to interact with these burial practices. Indeed, many of the spaces required, such as gathering and ablution areas, would in reality necessitate the involvement of a religious consultant. 20

Additionally, I was particularly struck by the variation across cultures between black dress and white dress - and the ways in which this black and white might play out as an abstracted idea. I also considered the concept of translating days of mourning into form by turning the numbers into heights or other physical measurements, but this direction proved unfruitful as it seemed to be symbolic in a superficial way.

10 Days mourning

40 Days mourning

u ho

c Me

Sikh

Islam

Breaking down the sections

Key

Chinese Congregational Non-denominational Baptist Greek Protestant Methodist Presbyterian Roman catholic Church of England Jewish Islamic Buffaloes Macedonian Latvian lutheran Latvian evangelical Latvian catholic Belorusian Salvation army Church of Christ Swedish University Estonian lutheran Hebrew Lutheran Ukraine catholic Ukraine Orthodox Non-descript Old pioneers Other denomination Druses Private mausolea Public mausolea

1:5000@A3

Religious/cultural sections allocated in cemetery

0 20 40 60 80 100m

Key

Chinese Non-denominational Greek Protestant Roman catholic Jewish Islamic Buffaloes Macedonian Belorusian Swedish University Hebrew Ukraine Non-descript Old pioneers Other denomination Druses Private mausolea

1:5000@A3

Chinese Greek Christian Jewish Islamic Buffaloes Macedonian Belorusian Swedish University Hebrew Ukraine Non-descript Old pioneers Other denomination Druses Private mausolea

0 20 40 60 80 100m

Ethnoreligious - simplified

Key Chinese Non-denominational Greek Protestant Roman catholic Jewish Islamic Buffaloes Macedonian Belorusian Swedish University Hebrew Ukraine Non-descript Old pioneers Other denomination Druses Private mausolea The same sections but with Christian denominations simplified to just Roman Catholic/Protestant

1:5000@A3

Ethnoreligious - simplified 2

0 20 40 60 80 100m

Key Chinese Greek Christian Jewish Islamic Buffaloes Macedonian Belorusian Swedish University Hebrew Ukraine Non-descript Old pioneers Other denomination Druses Private mausolea

The same sections but simplified further to just Christian. Note how striking the majority becomes with this categorisation

Key

Key $$$$$$$ Private mausolea $$$$$$ Private family alcove $$$$$ Vault grave $$$$ Monumental grave $$$ Lawn burial $$ Mausoleum crypt $ interment of cremated remains/memorial Pinoeer / NFS

Opening - 1920’s 1930’s 1940’s 1950’s 1960’s 1970’s 1980’s 1990’s 2000’s - Present

Key

1:5000@A3

Key

$$$$$$$ Private mausolea $$$$$$ Private family alcove $$$$$ Vault grave $$$$ Monumental grave 0 20 40 60 80 100m Costburial $$$ Lawn $$ Mausoleum crypt $ interment of cremated remains/memorial Pinoeer / NFS

1:5000@A3

Opening - 1920’s 1930’s 1940’s 1950’s 0 20 40 60 80 100m Burial by decade 1960’s 1970’s 1980’s 1990’s 2000’s - Present

Cost of interment

Allocations over time

Key Garden memorial / cremation Lawn burials standard burial Buildings

Contours

1:5000@A3

0 20 40 60 80 100m

Contours

Key 1:5000@A3

Vegetation types

Garden memorial / cremation LawnLand burials cover treatment standard burial Buildings

0 20 40 60 80 100m

Overlay - Revealing hierarchy Key Opening Less Power - 1920’s / Lower importance 1930’s 1940’s 1950’s 1960’s 1970’s 1980’s 1990’s 2000’sPower More - Present / Higher importance

Temporal/cost/veg/contour Overlays Key

Chinese Greek Jewish Islamic Buffaloes Macedonian Belorusian Swedish University Hebrew Ukraine Other denomination Druses

+ Time

+ +Vegetation

+ +Contours

+ +Cost

+Others

On-site methods of cultural adaptation Idenitifed on-site methods of making space for â&#x20AC;&#x2DC;otheredâ&#x20AC;&#x2122; groups

Use of everyday, modest materials

Everyday materials, some temporary

Expanding boundaries

Expanding area with removable materials

Breaking down mass to frame and plane

Breaking down mass to frame & plane

Growing inside the grave boundary

Growing vegetation inside grave boundary

Usage of plottable land for other cultural applications 26

Suburban cultural adaptation

Places of worship - 5km radius from site

Exploring the suburban places of worship revealed the similarities in cultural adaptation inside and outside the cemetery. The Buddhist temple (above centre) is a former school and had used ornamentation and colour to shake its former persona. The Sikh temple (above right) is a former wreckers yard in an industrial zone and used bushes and coloured posts to delineate the sacred from the ordinary. Of most interest to me, however, was a mosque (above right) which had been converted from a church. It had used glass bricks and housebricks to replace Christian religious iconography.

The Awkward Edges Looking deeper into the physical edge conditions on-site revealed such a deep disconnect from the main layout of the cemetery that they quickly became the focus of my design interventions. These liminal spaces would be the sites of a new way of viewing and moving through the cemetery. Thus, I avoid re-masterplanning and addressing the burial plots themselves. The sites I would subsequently work with were the berm on the eastern boundary, and the creekline.

The Hidden edge - Site of new entrance

Protestant (originally indigenous)

Public Transport Zoned land

A A Berm

Islamic section

Maintenance Yard

NTS

1:5000@A3

0 20 40 60 80 100m

Decade of Interment/cremation by section

Cyclone security fencing with bike path & train line on other side

Maintenance yard just beyond the end of burials

Garden beds grown and evidence of tending to (watering cans, piles of prunings)

No formal gardens or maintained turf

Expanded materiality types: brick, timber, pavers, often far less long-lasting than traditional materiality

Elevated berm disrupting view lines from this side of the creek to the other

Boulders, timber, steel used for edging

Unsealed roads, dusty & noisy from maintenance vehicles

Mats and timber used around graves to be able to kneel beside for tending / prayer

1:1000

Part 3: Melancholy landscapes & spatialising strategies

After exploring cultural difference it became necessary to fold in another layer of theory to help inform the spatial moves. I expanded the idea of the cemetery out to what Jacky Bowring refers to as a ‘Melancholy Landscape’. That is, places within which the breadth of emotion becomes legitimised and appropriate; places where comfort and positive feelings are not at the forefront of design thinking. ‘As a consequence of the relentless pursuit of happiness, melancholy tends to be suppressed within contemporary society.’ (Bowring, 2017, p.6) Many of the elements that Bowring draws upon are inherent in a cemetery landscape: silence, ephemerality and weathering, which all play their part in the cultural restrictions, relationships to death and mourning, and the passing of time. For the purposes of this thesis, key conditions have been extracted from Bowring’s work in order for this new experience to be grounded in more contemporary ideas of what a cemetery landscape can be, and how one might go about designing this. These conditions include voids, shadows, uncanny, liminality, monochrome and intimate immensity.

Arthur Boyd, Australia Spring landscape 1959. Oil on board, 25.3 x 35.4 cm. The University of Melbourne Art Collection. Gift of the Russell and Mab Grimwade Bequest 1973. ÂŠ Image reproduction courtesy Bundanon Trust.

Melancholy

Liminality

1:70

The very nature of the site’s focus is one of liminal spaces. Added to this is Carola Wingren’s concept of ‘passage landscapes’, which ‘[give] visitors time to switch from one state Clematis of mind tomicrophylla another.’ (Wingren, 2011, p.62) This condition becomes useful when dealing with the edge condition between the bike path and the new, alternate cemetery entrance.

Monochrome

Intimate Immensity

The concept of black and white within the Clematis microphylla new transcultural cemetery experience encompasses multiple layers. In western cultures, the traditional colour of mourning is black, whereas it is white among Islamic, Buddhist and Hindu cultures.

This idea was interpreted as the juxtaposition of something small or personal with something larger than human scale. It has the capacity to inform the materiality and experience of the berm cut.

Monochrome likewise informs the inclusion of possible materials such as concrete as a sombre yet everyday material.

Within the new entrance, an intimate immensity is introduced. The sensation of walls towering over your head, when paired with a small, tactile material that provides an intimate relationship, creates an overall unsettling or jarring

conditions

Void

Shadow

Uncanny

The concept of the void runs deep within the cultural context of cemeteries. As a spatial condition, the void is perfect for use in the act of cutting into the berm to create the new entrance. It also has potential to be utilised in the planting strategy, with weeds being removed and replaced with another species to highlight their absence.

Shadowing comes into play in a number of ways. Most notably in the cutting of the berm cut and surrounds, where one shadow could inform the form of another element.

The introduction of the brick materiality being interpreted in unusual ways provides this sense of uncanny. In the berm faรงade, this is able to occur through a change in scale, or the use of a recognisable material or plant.

On a finer scale, shadowing may influence ground manipulation, in which the brick faรงades assist in amplifying an otherwise fairly flat topography.

Cemeteries as Public Open Space

Eastern philosophy

Conflict / Tension

My investigation into precedents in search of strategies was only mildly fruitful. Elements from this list have been used in furthering the design, but many were inappropriate. For example, looking into cultural tension was relevant but also a much more extreme version of what was occurring on site, such as designing in places like Beirut.

Design Strategy

Precedent

Opening up Removing boundaries

Divided cities (Theory)

Equal representation No segregation of space

Superkilen by Topotek1 (Built precedent)

Scarring & hybridising

Lebbeus Woods (Theory)

Collective memory Public space continuity

Public space as a cohesive force: the landscape intervention in post-conflict city, Mostar. (Masters Thesis)

Nature/human harmony & integration

Cross-Cultural Understanding for Global Sustainability: Messages and Meanings from Asian Cultural Landscapes (Theory)

Humans should not dominate nature Nature as sacred space

From intimidation to love: Taoist philosophy and love-based environmental education (Theory)

Appropriation / hybrid function

Neukolln Cemetery - community garden (Built Precedent)

Connection to community

Bunurong Memorial Park (Built Precedent)

Blurring functionality Creating program gradients

Sylvan Constellation (Design Comp)

Treading lightly

Acacia Memorial Sanctuary

Subverting cultural dominance

Appropriation / hybrid function Expanded personal ritual area Breaking down boundaries

Fawkner Memorial Park

Everyday materials Planting garden beds within grave boundaries

The overall moves would involve ideas of linkages (both exterior and interior), gradients - which, in the case of the final first move, involved a passage landscape to transition you slowly from one state to another - and hybridity - which morphed into a focus on reinterpretation of elements, emphasising materiality and planting. 36

This initial planning out of spatial strategies placed too much weight on the concept of a gradient from active to passive. Initially I considered the idea of parts of the cemetery becoming active, but this proved to be inappropriate. Subsequently, the focus shifted to ways in which the cemetery could maintain the melancholy whilst still opening up to broadened usage.

Concluding the main path at the crematorium ended up unideal when taking into account the highly architectural nature of the site, as well as the subtlety of the pathways. Instead, the focus turned to the creekline itself, and how it could facilitate movement without the need for a strict destination. 37

RECR

Dog walking

Jogging

Walking

Procession

S IOU LIG

Conte

Ceremon

Relaxing

LAYERED PR

Links

Hybr

An initial visualisation which spatialised th eastern boundary. This site did not end u more in terms of bold design moves m

REATIONAL Active Sports

REMEMBRA NC E

Picnics

emplation Prayer

OVEMENT Bike riding

ny Commuting

Festival Playing

ROGRAMMING

rid

Gradients

he strategies in the Chinese section on the up being employed, as the berm offered making use of the existing landscape.

This first look at how to utilise the bermâ&#x20AC;&#x2122;s qualities of height, linearity and proximity to one of the Islamic sections was over-engineered, but some key learnings arose from it. Using date palms posed an interesting reinterpretation of the Canary Island Palms on-site, allowing a space to access sky and orient oneself.

Spatialising melancholy: cutting the berm 1:70

Elevation AA

Clematis microphylla

Elevation BB

Elevation CC

Section DD v1

Section DD v2

Elevation EE 1:100

Designing with shadow Shadowing comes into play in a number of ways; most notably, in the berm cut and surrounds, where one shadow extends into a cavity that has been designed to capture that very shadow. Much of the actual cut through the berm was designed in Rhino, with one form informing another through the locations where the shadows stretched across the landscape. On a finer scale, shadowing is used by the brickwork ground manipulation, in which the brick faรงades assist in amplifying an otherwise fairly flat topography. Igualada Cemetery in Spain provided a nice precedent on how designing with shadows, and the use of darkened spaces through thoughtful use of concrete, can be appropriate for a mourning landscape.

Enric Morales & Carme Pinos, Igualada Cemetery, 1994. https://www.archdaily.com/103839/ad-classics-igualadacemetery-enric-miralles

5am

6am

7am

8am

9am`

10am

11am

12pm

1pm

2pm

3pm

4pm

5pm

6pm

7pm

8pm

9pm

10pm

Black and white plant palette After finding a precedent by Jenny Holzer of a memorial garden created entirely using black plants, I was quite struck by how the restricted colour range could be used to evoke certain moods within a landscape. I then started to join the dots with some of what Iâ&#x20AC;&#x2122;d been reading about monochrome colour palettes and melancholy, and decided that this would be my way forward. Differing from the precedent, I decided against plants with showy flowers, due to their often strong cultural meanings and associations.

Jenny Holzer, Black Garden, 1994. Permanent installation, Nordhorn, Germany.

I considered the black plants to be as if they themselves were in mourning, and how that might play out, but actually that was far too literal. In fact, simply the idea of the colour black denoting absence was enough without potentially naff symbolism. I then decided to, in addition, include white plants (likewise non-flowering). Any plants prone to being invasive were omitted from the palette, and those that survived drought well were shortlisted.

Can the concept of grief be expanded in the cemetery? Black plants mourning an extinct ecosystem? I decided this may be going too far out of scope.

The narrative behind a modest everyday material reimagined: The House Brick A moment of clear inspiration came when investigating the church-turnedmosque, which had had its Christian motifs removed and replaced with both glass bricks and house bricks in the most unusual way. Each individual brick was about a quarter of regular size, which upon closer inspection elicited a slightly uncanny feeling. I instantly knew this would play a key role in reinterpreting materiality.

For me, between the mosque and the brick I’d seen border graves in Islamic sections, it had become a symbol of cultural adaptation. Ways in which the brick material could be further reinterpreted became the theme of one line of design development. I decided this tiny brick would be perfect for the inside of the cut of the berm I’d been progressing, and would evoke the ‘intimate immensity’ discussed by Jacky Bowring.

Fernando Menis. CKK Jordanki Concert Hall. 2016. Poland.

Studio Maoom. Coffee Nap Roasters 2nd. 2018. South Korea.

To further reinterpret the brick past its new life on the side of the berm cut, I played with the brick form in Rhino, subtly changing heights by 10 or 20mm. These minute changes explored ways of building up form that could create amplified topography. In turn, such amplification would complement an otherwise flat landscape, giving it the feeling of undulation. I also looked into using brick as a concrete aggregate, and discovered it also works very well in this scenario, and so could be utilised as a durable ground surface.

Studio Maoom. Coffee Nap Roasters 2nd. 2018. South Koirea.

The new entrance

This iteration of the new entrance had begun to engage the elements of the passage landscapes and embraced the cut through the berm, but failed to create a radical shift from one type of landscape to another. Inspired by the work of Aspect in their Emergency Services Memorial, I decided to opt for a more architectonic form rather than a curved one, and in doing so creating a bolder change in environment. Using concrete likewise assists in creating complex angles to amplify shadows. I had considered here a type of â&#x20AC;&#x2DC;waiting spaceâ&#x20AC;&#x2122; stepped down into the earth at the bikepath border, but this would

have detracted from the passageâ&#x20AC;&#x2122;s quality and turned it into more of an open space. I also trialled a secondary stepped path down to the creekside from the top of the berm, but again this detracted from the most valuable elements of this unused landscape feature: its height and its access to sky.

Aspect Studios, Emergency Services Memorial, 2004. https://www.aspect-studios.com/au/project/nationalemergency-services-memorial

75 76

C 77

D 77

1:2000

1:2000 New entrance plan version 1

New entrance plan version 2

1:70

Elevation AA Elevation AA

1:70 1:70 1:70

Elevation AA

Clematis microphylla

Clematis microphylla Clematis microphylla Clematis microphylla

Elevation BB Elevation BB Elevation BB

Elevation CC Elevation CC Elevation CC

Section DD v1

Section DD v1 Section DD v1 Section DD v1

Section DD v2

Section DD v2 Section DD v2 Section DD v2

Elevation EE Elevation EE Elevation EE 1:100 1:100 1:100

The Internal Shelter (End of passagescape) Phoenix dactylifera is prevalent in many of the countries from the newer waves of immigration, including the heart of Islam in the Middle East. It is climate-appropriate, and importantly, provides a rather interesting reinterpretation of the current Phoenix canariensis which exists as ornamental planting from the original federation-era cemetery design. Phoenix dactylifera Date Palm (evergreeen palm) Up to 20m, full sun Drought Waterlog

NZ Palms. Phoenix dactylifera. Accessed 9/11/20. http://nzpalms.co.nz/phoenixdactylifera/4593136816.

Phoenix roebelenii, SE Asia Pigmy Date Palm (evergreen palm) up to 4m, semishade to full sun Drought Waterlog (average) Burnley Plant Guide. Phoenix roebelenii. Accessed 9/11/20. https://bpg.unimelb. edu.au/plant.jsp?id=1833.

Phormium Cookianum â&#x20AC;&#x2DC;Dwarf Greenâ&#x20AC;&#x2122;, New Zealand New Zealand Flax (Evergreen perennial) <50cm, semishade to full sun Drought Waterlog The Climbing Fig. Phormium cookanium Dwarf Green. Accessed 9/11/20. https:// theclimbingfig.com.au/products/phormium-cookianum-dwarf-green-seeds

Helichrysum petiolare, Middle East Liquorice Plant (Evergreen climbing shrub) <1m, semishade to full sun white flowers mar-apr Drought Burnley Plant Guide. Helichrysum petiolare. Accessed 9/11/20. https://bpg. unimelb.edu.au/plant.jsp?id=1224

Drimia maritima, Middle East, Sea Onion, perennial herb 1.2-1.8m, full sun white flowers mar-april Used in Islamic cemeteries in middle east Drought Plant Sam. Drimia maritima. Accessed 9/11/20. https://plantsam.com/drimiamaritima/

50 N.a.

Pancratium

maritimum. Accessed 9/11/20. https://antropocene.it/ en/2019/02/03/pancratium-maritimum/

Pancratium maritimum, Meditteranean, Sea Daffodil 0.3m, full sun white flowers in summer Used in Islamic cemeteries in middle east Drought

The Callitris Forest (Start of passagescape) Conifers are often used around the world as signifiers of mourning landscapes. This is due to their sombre, dark colour, lack of flowers, evergreen as a symbol of eternity, and their pointed habit which appears to point toward the heavens. (Dafni et al, 2006) Callitris endlicheri Black Cypress Pine (Evergreen conifer) 8-15m, full sun native, grows in rocky soils Drought Pointy shape like those used in cemeteries around the world, including Islamic cemeteries. N.A. Callitris endlicheri. Accessed 9/11/20. https://diversitynativeseeds.com.au/ species/callitris-endlicheri-syn-c-calcarata-black-pine/

Themeda triandra Kangaroo Grass (native perennial grass) <1m, full sun part of local EVC Drought Waterlog (average) Compaction Burnley Plant Guide. Themeda trandra. Accessed 9/11/20. https://bpg.unimelb. edu.au/plant.jsp?id=2369

Austrostipa scabra Rough Spear Grass (native grass) <0.5m, semishade to full sun part of local EVC Drought Waterlog (average)

Eragrostis brownii Common Love-Grass, (native grass) <0.4m, semishade to full sun part of local EVC Drought Waterlog

Burnley Plant Guide. Austrostipa scabra. Accessed 9/11/20. https://bpg.unimelb. edu.au/plant.jsp?id=293

Burnley Plant Guide. Eragrotis brownii. Accessed 9/11/20. https://bpg.unimelb. edu.au/plant.jsp?id=899

Panicum effusum Hairy Panic, native perennial grass <0.5m, full sun Drought

N.A. Panicum effusum. Accessed 9/11/20. https://diversitynativeseeds.com.au/ species/panicum-effusum-hairy-panic/

Rytidosperma setaceum Bristly Wallaby Grass <0.6m, semishade to full sun part of local EVC Drought Waterlog

Burnley Plant Guide. Rytidosperma setaceum. Accessed 9/11/20. https://bpg. unimelb.edu.au/plant.jsp?id=289#gallery-1

Euphorbia x martinii ‘Blackbird’ Martin’s Spurge <1m x 60-90cm, semishade - full sun Exotic subshub, flowers july - oct Drought

N.A. Euphorbia x martinii. Accessed 9/11/20. https://garden.org/ plants/photo/74501/.

Burnley Plant guide. Phyllostachys nigra. Accessed 9/11/20. https:// bpg.unimelb.edu.au/plant.jsp?id=1846#gallery-1.

Gardenista. Black Mondo Grass. Accessed 09/11/20. https://www. gardenista.com/products/black-mondo-grass/.

Hello hello plants, Agonis ‘After Dark.’ Accessed 9/11/20. thetutuguru.com.au/wp-content/uploads/2012/10/Agonis-After-

Bargain Garden. Ipomea. Accessed 9/11/20. bargaingarden.com/ product/ipomea-sweet-potato-vine-solar-power-black-4-plants/

Groupon. Phormium tenax ‘Black Velvet’. groupon.co.uk/deals/ggcm-phormium-black-velvet-1-or-2-plants

Phyllostachys nigra Black Bamboo (clumping) up to 3-5m x 1-2m, semishade - full sun Exotic, only invasive in tropical areas Drought Waterlog Compaction

Black The black plants act as a symbol of absence of the removal of noxious weeds and provide a contrast to the surrounding vegetation.

Together, they create a unique, m

Ophiopogon planiscapus ‘Nigrescens’ Black Mondo Grass (rhizomous perennial) <25cm, semishade Exotic, not invasive Drought (average) Waterlog (average)

Agonis Flexuosa ‘After Dark’ Evergreen tree <5m x 3x5m, full sun Native, white flowers in sep-nov Drought Wind

Ipomea batatas ‘SolarPower Black’ Black Sweet Potato <30cm x 60-90cm, semishade - full sun Exotic (China, india) groundcover/climber small pink flowers dec - apr Not invasive in temperate climates. Phormium tenax ‘Black Velvet’ NZ Flax, Evergreen perennial <1m, semishade - full sun Exotic Drought Waterlog

Vitex trifolia ‘Purpurea’ Arabian Lilac, small tree 4-5m x 4-5m, semi-evergreen Exotic (Middle east) Drought

Plant References: The University of Melbourne. Burnley Plant Guide. 2012. The University of Melbourne, Parkville. Viewed 9th November, 2020. www.bpg.unimelb.edu.au. Specialty Trees. Agonis Flexuosa. Accessed 9th November 2020. https://www.specialitytrees.com. au/trees/agonis-flexuosa-qq0ip. Proven Winners. Black heart sweet potato vine. Accessed 9th November 2020. https://www. provenwinners.com/plants/ipomoea/black-heart-sweet-potato-vine-ipomoea-batatas. Growing Beautifully. Problem solving small trees for small spaces. Accessed November 9 2020. https://growbeautifully.monrovia.com/7-problem-solving-small-trees-for-small-spaces-zones-7-11/.

N.A. Vitex trifolia, Grow Beautifully. https://growbeautifully. monrovia.com/7-problem-solving-small-trees-for-small-spaces-

Country Farm Perennials. Senecio ‘white lights’. Accessed November 9 2020. https://www. countryfarmperennials.com.au/product/senecio-white-lights/.

White The white plants complement the more vibrant views and signify the marginal spaces within the cemetery landscape.

melancholy, monochrome palette.

Senecio cineraria ‘White Lights’ Dense shrub 45cm x 60cm, Full sun Exotic (Meditt), yellow flowers Jan-Mar Drought

Eremophilia nivea Silky Eremophila, shrub 1-2m x 1-2m, full sun Native (WA) Drought

Country Farm Perennials. Senecio ‘White Lights’. Accessed 9/11/20. https://www.countryfarmperennials.com.au/product/senecio-

Wind

Lomandra longifolia ‘white sands’ Lomandra Platinum Beauty, perennial grass <1m, Full sun - part shade Drought Waterlog Compaction

Senecio niveoaureus ‘Bella Grigio’ White Arnica <60cm, small yellow flowers in summer Exotic, Semishade - full sun Drought

Festua glauca ‘ Blaufuchs’ Blue fescue ‘Blue Fox’ <20cm x <30cm, Full sun Exotic (Eurasia, N africa) Drought Wind

Dichondra argentea ‘Silver Falls’ Silver Nickel Vine, perennial herb 10cm x 1m, Full sun Exotic (Mexico) Drought Wind

Electronic Flora of South Australia. Panicum effusum. Accessed November 9 2020. http://www. flora.sa.gov.au/cgi-bin/speciesfacts_display.cgi?form=speciesfacts&name=Panicum_effusum Budget Nursery. New Zealand Flax Dwarf Green. Accessed November 9 2020. https://www. budgetnursery.com.au/products/new-zealand-flax-dwarf-green-200mm-pot Lambley. Urginea maritima. Accessed November 9 2020. https://lambley.com.au/plant/urgineamaritima Flowers in Israel. Pancratium maritimum. Accessed November 9 2020. http://www.flowersinisrael. com/Pancratiummaritimum_page.htm

Muhlenbergia capillaris ‘White Cloud’ Muhly Grass 1.2m, Full sun, erosion control Exotic, Flower heads in summer Drought

Burnley Plant Guide. Eremophilia nivea. Accessed 9/11/20. https:// bpg.unimelb.edu.au/plant.jsp?id=907#gallery-1

Susan Morrison. Platinum beauty lomandra. Accessed 9/11/20. https://www.sunsetwesterngardencollection.com/in-the-garden/

Larry Hodgson. Stachys bello grigio. Accessed 9/11/20. https:// laidbackgardener.blog/tag/stachys-bello-grigio/

Gardenia. Festuca Glauca. Accessed 9/11/20. https://www. gardenia.net/plant/festuca-glauca-blaufuchs-blue-fescue

Burnley Plant Guide. Dichondra argentea. Accessed 9/11/20/ https://bpg.unimelb.edu.au/plant.jsp?id=823

Planting Tree. White Cloud Muhly Grass. Accessed 9/11/20. https:// www.plantingtree.com/products/white-cloud-muhly-grass

phorbia x martinii. Accessed 9/11/20. https://garden.org/ plants/photo/74501/.

NTS 58

References Bowring, Jacky. 2017. Melancholy and the Landscape. London: Routledge, https://doi.org/10.4324/9781315670386. Chambers, Don. 2006. Fawkner crematorium and memorial park: 100 years of service. Melbourne: Fawkner Crematorium and Memorial Park. Heritage Council Victoria. 2014. Victorian Heritage Database Report - Fawkner Memorial Park. Victoria: Heritage Council Victoria, http://vhd.heritage.vic.gov.au/places/result_ detail/13043?print=true. Hutchinson, Garrie. 2014. In memoriam: A guide to the history and heritage of Victoria’s cemeteries. Melbourne: Hardie Grant Books. Petersson, Anna & Wingren, Carola. 2011. Designing a memorial place: Continuing care, passage landscapes and future memories, in Mortality: Promoting the interdisciplinary study of death and dying, 16:1, 54-69. Dafni, Amots et al. “Ritual plants of Muslim graveyards in northern Israel.” Journal of ethnobiology and ethnomedicine vol. 2 38. 10 Sep. 2006, doi:10.1186/1746-4269-2-38. https://www.ncbi.nlm. nih.gov/pmc/articles/PMC1584233/.