Bower Studio: Research Booklet by MJYS

Bower Studio. Kalkaringi @

Bower Studio. @Kalkaringi

Studio 30: Bower Studio First Semester 2019 Kalkaringi, Northern Territory Author: Maria Yanez June 10th, 2019

Acknowledgements. The author of this booklet acknowledges the Traditional Owners throughout Australia and recognises their continuing connection to Land, Waters and Community. The author pays her respects to them and their cultures; and to Elders from both past and present generations.

Table of Contents. 1. Preface Design intent About me

8 10 14

2. The Initiative

Bower Studio The 2019 Team Big Shadys

18 20 22

3. Aboriginal Housing

Vernacular Housing Mini Doco Overcrowding and Homelessness The Provider Method Aboriginal Land Rights Act

30 32 34 38 42

4. Designing for Aboriginal Communities

Kinship and Culture The Supporter Method The Self Help Method The Jack Thompson Foundation An interview with Paul Haar Housing as a Process Cultural Design Paradigm Environmental Health Approach External Livability

46 48 50 54 58 66 68 70 72

5. Design Preparation

First Esquisse Creswick Details

78 82 90

6. Kalkaringi

Location The Wave Hill Walk-off Walk-off 50th Anniversary From Little Things, Big Things Grow Karungkarni Art Center The Gurindji Corporation Other community highlights Kalkaringi Journal

94 96 98 100 102 106 108 110

7. Further readings

136

8. Housing Design Approach

156

Behavioural Pattern Observations An Externally Oriented Living Home Local Sustainability Images

9. References

158 162 172 174

186

Bower Studio 2019_Kalkaringi

Yanez, Maria. Picture taken May 4th 2019. 8

Bower Studio 2019_Kalkaringi

1_Preface. 9

Bower Studio 2019_Kalkaringi

Yanez, Maria. Picture taken May 3rd 2019. 10

Bower Studio 2019_Kalkaringi

Externally Oriented Living. Aboriginal families in Kalkaringi make intense use of their outdoor spaces, even when there is no proper infrastructure to fit most of these externally oriented activities. Through analysis of the housesâ&#x20AC;&#x2122; front and backyards, and the activities being held in these outdoor areas, it became evident that, despite the lack of suitable spaces to fit these happenings, families have found ways to carry them out anyway, in informal and improvised manners.

The approach undertaken in this project is to design an Externally Oriented Living House, capable of facilitating a built environment for outdoor livability. By doing so, to provide the family with a more sensitive response to the need for outdoor areas. The house should be able to fit diverse uses depending on dry or wet season, daytime and nightime, llevels of privacy, enough verandah spaces to allow possible visitors to stay, and adaptability to suit the variety of domiciliary activities.

However, this housing approach does not intend to be a solution to the many issues discussed in this booklet. From a practical point of view, observing objects and furniture in backyards and frontyards was very useful to understand the way Aboriginal people utilize outdoor domiciliary space. A mattress on the ground, pillows and a smaller mattress in the narrow verandah made it evident that the front yard was also a space for sleeping, presumably during the dry season and non-rainy nights. A fire pit, piled wood and two aboriginal women sitting in chairs close to a tree made it clear that this was a sharing and cooking sector. Hanged clothes from the roof to an exterior pole, close to an outdoor sink, suggested an external laundry area. A small bicycle and some randomly spread toys in the back verandah were clues to a possible childrenâ&#x20AC;&#x2122;s playground at the back of the house. Another small mattress partially disguised in the back side of the house suggested the need for higher level of privacy for some members of the family when sleeping outside.

Bower Studio 2019_Kalkaringi

A domiciliary outdoor space Image retrieved from: Memmott, Paul, 2013 Take 2: Housing Design in Aboriginal Communities

Bower Studio 2019_Kalkaringi

From an intellectual point of view, the research and analysis undertaken in this booklet has been oriented towards understanding the long tradition of outdoor bush living and the close relationship that Indigenous Australians have to their land, while also analyzing the history of aboriginal housing in order to grasp the complex cultural behaviors and aspirations present in contemporary Aboriginal communities. ‘Take 2: Housing Design in Aboriginal Australia’, ‘Settlement’ are some of the readings that have highly contributed to lay the foundations for a critical thinking in relation to the cultural and social aspects that inform this externally oriented domiciliary behavior. A personal interview with architect Paul Haar was highly constructive to the purpose. His profound understanding of aboriginal culture helped strengthen the idea of designing a house that responds to real family needs. Many of the housing examples he mentioned had, in fact, deep relation to generous verandah space and outdoor areas, which further enhance this design intent.

Thus, the intent is to design multiple approaches to exterior living, by blurring the limits between what is interior and what is exterior, and allowing things to happen around the house. The project is meant to assess the lack of quality outdoor spaces, by designing a house that responds to an externally oriented way of living, so highly embedded in Aboriginal Australian culture.

Bower Studio 2019_Kalkaringi

Ma, Bowen. “Sunset” Picture taken April 25th 2019. 14

Bower Studio 2019_Kalkaringi

About me. Iâ&#x20AC;&#x2122;m an international student from Santiago, Chile. Coming from South America, I know how important it is to work alongside with communities in order to understand their real needs and to deal with real problems such as poverty, scarcity of products, lack of shelter, poor access to basic needs, and no money to make real changes. Thus, when choosing this studio, I thought was well aware of the inherent risks and challenges of being part of the Bower initiative.Through reading, I came accross the fact that most of white Australian population grew up learning a completely misleading history about the origins of their country. If Aboriginal people were mentioned, it tended to be a passing, unimportant fact. After Bowerâ&#x20AC;&#x2122;s ballot presentation, I was very intrigued and - to be honest - quite impressed. I had come to Australia with the idea that this country was an example of tolerance, multiculturalism and respect.

How come there is a whole side of Australia that is completely unknown to me?

Bower Studio 2019_Kalkaringi

Roper, Annabelle. “At the Gorge” Picture taken May 1st 2019. 16

Bower Studio 2019_Kalkaringi

2_The Initiative. 17

Bower Studio 2019_Kalkaringi

Image retrieved from: The University of Melbourne, Melbourne School of Design,

Bower Studio 2019_Kalkaringi

Bower Studio.

Bower Studio is an award winning masters studio offered by The University of Melbourne to students that are interested in understanding Aboriginal Culture and the existing richness of these communities, often forgotten and isolated from the rest of Australia. Under the premise of “helping keep culture strong”, Bower Studio’s main commitment is to respond to each community’s needs for specific infrastructure projects, such as Shadys and PavilIions. The idea is to promote collaborative work, that is, to work alongside local aboriginal people in the community during the construction process. By sharing the workforce between locals and students, the final outcome has much more meaning to the community, also builds stronger relationships and ensures that these projects are the starting point for a long-term vision of improvements. (The University of Melbourne, n.d.).

“By sharing the workforce between locals and students, the final outcome has much more meaning to the community, and it also builds stronger relationships.” The University of Melbourne, n.d.

As a demonstration of the HomesPLUS project, this 2019 semester’s goal is to build two outdoor living ‘Shadys’. These pavillions are going to be located at the Libanungu Park, in Kalkaringi, Northern Territory of Australia.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “The 2019 Team under Shady No.1 at Kalkaringi” Picture taken May 4th 2019. 20

Bower Studio 2019_Kalkaringi

This year’s team. Academics (“Our Team”, n.d.)

George Stavrias

Dr David O’Brien

B.A (hons), B.Sc, BPD, MArch

BPD, BArch (hons), PhD Faculty of ABP, The University of Melbourne

“George Stavrias is a registered architect and a director of the HomesPLUS program. George has worked as a designer and project manager on six Bower Studio projects in Western Australia and the Northern Territory. His role includes community liaison, project design and documentation, site management and post-occupancy evaluation.”

“David has twenty-five years experience in the construction field. He has project managed the construction of community development projects in Western Australia, the Northern Territory, Queensland, Thailand and Papua New Guinea. David initiated the Bower Studio in 2007 and has more recently co-developed the HomesPLUS initiative.” James Neil

“James Neil is a registered builder with thirty years experience in sustainable design and construction. James has led HomesPLUS projects in Central Australia and the Cox Peninsular. He designed the Bower composting toilet system and has coordinated projects to install facilities in Papua New Guinea.”

The First Semester 2019 Student Crew:

Upper row, left to right: Bowen Ma, David O’Brien, George Stavrias, James Neil, Maria Yanez (myself). Lower row, left to right: Liz Seah, Rosie Lang, Emma Martin, Paddy MacPherson, Natalie Cain, Brett Luke, Gemma Border, Annabelle Roper, Alex Traylen and Finn Stagg.

Bower Studio 2019_Kalkaringi

Big Shadys. James Danatzis, architect from The Arup Crew, visited Bower Studio 2019 on Monday March 18th. James has helped the Bower initiative to design and certify Bower pavillions and projects within Australia. (Bower Studio Our Team, n.d.) ‘Bid Shadys’ is the coloquial name given to the pavillions that our team is going to build on our site visit to Kalkaringi. These pavillions were designed by The Arup Crew.

The thinking process behind the design of these shadings had to respond to a structural approach as well as a social approach: to ensure an area of shade, rest, leisure and meeting point for the community. According to James lecture, there are numerous factors to consider when designing in open and hot climate areas such as Kalkaringi. One of the main factors to consider

is wind effect. Foundations have to be strong enough to endure wind force, specially for wind coming from below the pavillion trying to lift it up, because of the amount of roof surface. Some of the cantelever areas of the ‘Shadys’ are more affected by wind than others, since they offer more wind resistance and are only fixed on one axis. Therefore, strong joints between “Y” beams and primary beams are crucial. As James stated, screwed joints tend to rotate when applied a lateral force. Another important factor to take into consideration is the unespected loads. Everything that is designed in Kalkaringi has to be children proof since children are likely to play and step on any built object. The structures we build are going to be in the community park, so it is important to understand that this is a public space. Thus, structure should also contemplate that some users may hang from beams or other protruding element. Connections have to be firm: tek-screws must be placed as far away from the center of the beam, to avoid rotation.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Structural drawings of the Shady”

Bower Studio 2019_Kalkaringi

Furnishing. First Bower session we discussed about possible solutions to furniture and screening alternatives to complement the â&#x20AC;&#x153;Shadyâ&#x20AC;? pavillions. There are numerous challenges when constructing in Kalkaringi that we have to take into consideration when designing. For example, wood and timber furniture should be designed so that no small pieces are easy to detach. Due to the fact that Kalkaringi is a remote community, there is a constant scarcity of products. Therefore, a person may consider that the timber used for furniture could be more useful for their own house. Vandalism is also present in communities, therefore tables and benches must be securely fixed, either screwed or concreted to the ground. The heat issue is also very relevant. Furniture cannot have steel surfaces because when exposed to the extreme high temperatures and harsh sun steel become unbearable to touch. We should also design taking into consideration that many of the users of these furnitures are going to be the children, specially since our pavillions are going to be built in the community park. Therefore, special attention should be given to sharp edges, exposed screws, and pointy corners.

Bower Studio 2019_Kalkaringi

Yanez, Maria. â&#x20AC;&#x153;Bench in processâ&#x20AC;? Picture taken 30th April 2019.

Bower Studio 2019_Kalkaringi

Shading. In remote and hot areas like Kalkaringi, shade should be an essential aspect to consider when designing. In this first session, we were introduced to alternatives for shading for the pavillions. The challenge here, in my opinion, is to try and imitate a tree shade. The most common strategy that Bower has implemented throughout the years is the perforated mesh. This passing through of light provides a sense of being in a natural environment, similar to that of a tree. The perforated mesh is very efficient in providing shade while also allowing light pass through, similar to what happens with tree shade. Experiencing the harsh weather in Kalkaringi was a key informant to the design. Importance should be given to promoting shaded outdoor activities, as well as allowing natural indoor cross ventilation, in order to maintain a cool temperature and air quality. The house should also provide enough roofing for intensive rains during the wet season and elevated floors in case of possible floods.

Shadow is highly valued in the community during the dry season and thus, most of the outdoor activities happen under the shade of a tree or a roof. Thus, a house should address the need for shaded outdoor space.

Bower Studio 2019_Kalkaringi

Yanez, Maria. â&#x20AC;&#x153;Shade at Libanungu Parkâ&#x20AC;? Picture taken 25th April 2019.

Bower Studio 2019_Kalkaringi

Image retrieved from: Davidson & Livsey, 2017. The Guardian Refer to References. 28

Bower Studio 2019_Kalkaringi

3_Aboriginal Housing. 29

Bower Studio 2019_Kalkaringi

Vernacular Housing. A common misconception among non-indigenous Australians is thinking that Aboriginal Australians were nomads, never built permament shelters and only inhabited temporary camps and huts. According to Julian and Barbara Wigley, “there are numerous records of highly specialized shelters and a variety of indigenous settlements and patterns, existing prior to European contact with Australian Aboriginals. Domestic, religious, and special purpose spaces were built all over the continent” (Wigley & Wigley, 2003). The architecture of Aboriginal houses depended on specific cultural and environmental factors, such as climate, natural environment, availability of resources, family size and particular needs of the every Aboriginal community (Wigley & Wigley, 2003). All the construction materials, such as logs, bark, grass, leaves and wood, were sourced from the bush. Aboriginal Australians had deep knowledge of their land resources, thus were capable of recognizing and sourcing their own construction materials. Shelters were sited, designed and built by the same occupants.

“Homes emphasised external living with social interaction for activities such as cooking, sleeping and eating.” (Memmott, 2007) Architect Paul Memmott in his book “Gunyah, Goondie and Wurey: The Aboriginal Architecture of Australia”, describes the range and complexity of early Aboriginal structures and shelters, ranging from minimalist basic rain shelters up to permament huts, communal settlements and domes. Environmental factors were key informants of the design and setting. The primary concern was to build refuge from climate adversities: wind, sun, insects, humidity, cold. Some of the most recurrent typologies were the windbreak, the sadebreak and the enclosure (Memmott, 2007). Shelters are all characterized by their simplicity and economy of resources. “They were not required to be elaborate, just functional.” (Wigley & Wigley, 2003)

Bower Studio 2019_Kalkaringi

Images extracted from: Julian & Barbara Wigley, 2003. Refer to References.

Bower Studio 2019_Kalkaringi

Mini Doco. Our Mini-Documentary assignment involved tracing Aboriginal housing history, understanding the lessons that have been learned and what does government see today as best practice. It became a challenge to answer such a broad question in the stipulated 8 minute time length, thus, much of the information that was researched and the learnings are further developed in this booklet.

“A house is not just a house, but so much more” “So many themes create a history of Indigenous housing—patterns of Indigenous land use and residence, use of space and shelter; the architectural design philosophies and particular designs which mark the evolution of styles of Indigenous housing over the years; the government policies and funding regimes which have shaped the quantities and types of housing available; but most of all the lived experience of Indigenous people in and around their housing or shelter.” (Ross, 2000)

Bower Studio 2019_Kalkaringi

Traylen, Alex. “Recording” Picture taken March 2019. 33

Bower Studio 2019_Kalkaringi

Overcrowding and Homelessness One of the main learnings from Kalkaringi was understanding the complexities of Aboriginal family and how it is strongly related to overcrowding issues in the community. The institution of extended family in Aboriginal people, where mothers, fathers, sisters, brothers, uncles, aunties, and so on, living together as a collaboration of clans (Working with Indigenous Australians, 2017), has become a serious challenge for the authorities and the way of how they can provide the minimum housing conditions.

However, the critical shortage of proper houses to fit big family size, plus the difficulties experimented by Aboriginal people when they want to have access to government leases or public housing, means that several families have no alternative but to live in overcrowded conditions (The Australian Institute of Health and Welfare, 2015). Housing solutions provided by government are standarized to fit non-indigenous nuclear families; bedrooms and common areas are way too small to fit extended family households.

Furthermore, Memmott et al. (2003) points out that Indigenous homelessness is not necessarily defined as a lack of accommodation but more so an Indigenous person’s loss of his or her sense of control over, or legitimacy in, the public space where he or she resides.

“In many cases we find several customary family units occupying a single house, each residing in a separate bedroom. Houses therefore do not necessarily correlate with single family units in contemporary indigenous societies.” Memmott, 2003.

“Indigenous households tend to be larger and more complex, often including a number of family sub-groups. Unfortunately this circumstance is often overlooked by funding agencies and architects in the indigenous housing sector, who consistently continue to provide houses that are equipped for small nuclear families ”

As a consequence of this lack of proper space, occupantsneed to share mattresses in small enclosed bedrooms, usually bad ventilated, or sleep outside the house. Hygienic services cannot cope either, because they are over-used, so wet area fixtures such as shower or toilets

Bower Studio 2019_Kalkaringi

Photographer Ingetje Tadros, n.d.

Bower Studio 2019_Kalkaringi

rapidly collapse and stop working, and repairs are usually not a fast option. (North Australian Aboriginal Justice Agency, 2016). The lack of alternatives also generates high rates of homelessness among Aboriginals. According to the 2016 ABS Census Night, in Australia there are 116,427 people classified as homeless, from which 20% are Indigenous (Homelessness Australia, 2016). As a vicious cycle, the presence of homeless family members living as visitors in Aboriginal houses also increases overcrowding and, sometimes, other members of the family are forced to leave their houses, creating more homelessness. In fact, many people leave their communities and move to urban centers because of the poor living conditions. (Long, Memmott & Seelig, 2007). The amount of overcrowded houses in many remote Aboriginal communities may actually be much more severe than has been reported for a number of reasons. Differences between cultures in the definition of a crowded experience are not reflected in methodological assumptions embedded in the way that census and survey data

are collected in Australia. (North Australian Aboriginal Justice Agency, 2016). There is also potential to undercount the number of people who are residents in a house because many people counted as visitors to communities may be people who are actually homeless. Moreover, the housing shortage does not give alternatives to domestic violence victims. There are many cases where there is no choice for relocation for the victimizer, therefore the victim has no more option that to live with him or her next door (North Australian Aboriginal Justice Agency, 2016). McLeod in Kalkaringi states that:

“Overcrowding impacts everything from kids attendance at school, domestic violence, health in general (...) the cleanliness of the house – no one takes ownership of the house because they can’t. There simply needs to be more housing.”

Bower Studio 2019_Kalkaringi

It’s a fact: “There is a shortage of more than 20.000 properties nationally that are affordable and appropriate for Aboriginal and Torres Strait Islander people.” “1 in 4 Aboriginal people in the Northern Territory are experiencing homelessness.” Aboriginal and Torres Strait Islanders are 23% of homeless persons in Australia, but only 3% of the population.” “The top 4 regions of homelessness are in remote indigenous communities of the Northern Territory.” “The number of Indigenous children in care has risen by 65% in the last decade.” (De Lacy, 2018)

Photographer Ingetje Tadros, n.d.

Bower Studio 2019_Kalkaringi

Images retrieved from: Wong, Kieran.The Conversation, 2018. Refer to References.

Bower Studio 2019_Kalkaringi

The Provider Method. During the occupation of their own land, Indigenous Australians shortly became dependant on European food, clothing and housing. In the 50’s and 60’s, housing was seen as an important Government Policy. Numerous housing programs were built, aiming to initiate a process of cultural change. However, Government Housing Policies became a way of training Aboriginal Australians to adopt European ways of living. The Provider Method refers to government supplying houses to aboriginal communities. To date, the government has invested more than 9 billion dollars in programs such as CHIP, ARIA SIHIP, and more recently, NPARIH. During the mid 70’s, the Department of Aboriginal Affairs started a program that ensured efficient delivery of housing and infrastructure services for aboriginal settlements. With the help of community councils and the engagement of specialists, conventional housing came within reach of many indigenous families. (Wigley & Wigley, 2017) Having the same houses as non-aboriginal people became a symbol of equity and citizenship. But these repetitive conventional housing solutions completely forget

about essential issues, such as cultural considerations, climate approach, and local sustainability. Regardless of the diversity of locations, climate and cultural issues in Aboriginal communities, Government housing delivery is relatively homogenous. Remote Indigenous communities have been victims of numerous failed attempts at “housing innovations”. Modular pre fabricated carcasses are recklessly built to meet a particular cost and time limit, focusing on quantity rather than quality.

“A too-often recurring government pattern, demonstrated over the last 50 years, is that of introducing so-called ‘new ideas’ to reduce the capital cost co-dependent relationship government and delivery time ofbetween houses: but oftenprovidreers and passive remote area recipients, be pruduces housing standards andit may leads to dent to explore more fully a policy of participation short life of house.” (Memmott, 2017)

Bower Studio 2019_Kalkaringi

Images retrieved from: James, Felicity, March 2018. Refer to References.

Bower Studio 2019_Kalkaringi

‘Tin Sheds’.

‘Room to Breathe’ program has received bad feedback from some communities. During its initial implementation, and as an evident consequence of goverment fast-tracking, the initiative that had promised ‘extra living spaces for aboriginal families’, built corrugated iron extensions resembling tin sheds instead. These solutions did not contemplate any proper ventilation or windows. The majority of these house extentions were located in the Northern Territory, so they were unbearable to live. Storage did not work either because of the same heat issue. In addition, some of them were badly finished and had serious structural defects, so they were eventually pulled down. (James, 2018).

“That’s money that could’ve been spent somewhere else in our region and now it’s gone to waste.” Nigel Scullion, 2018.

Bower Studio 2019_Kalkaringi

Aboriginal Land Rights Act. Aboriginal Land Rights were finally recognized in Australian Law with the Aboriginal Land Rights Act 1976 (ALRA). This was one of the most important achievements of the Wave Hill Walk-Off: a first attempt of official recognition of Aboriginal people over their Traditional Lands. With successive amendments from that date, the ALRA aims to provide Aboriginal Landowners a strong control over their territory. The Land Rights Act refers to Aboriginal Land as an inalienable and communally held, therefore it cannot be sold. (Department of the Prime Minister and Cabinet, n.d). In practice, the land is held by the Aboriginal Land Trust, which is integrated by people from the area (Central Land Council, n.d.). Traditional Owners, defined in the ARLA as “(…) a local descent group of Aboriginals who (…) have common spiritual affiliations to a site on the land, being affiliations that place the group under a primary spiritual responsibility for that site and for the

land, are the ones who, under the figure of a long term Leasing Agreement, take all the decisions about the land” (Central Land Council, n.d.). A recent amendment to the ALRA introduced the concept of Township Lease, which allows Traditional Owners to lease their land for 99 years even to non-indigenous Australians (The Age, 2005). On the one hand, this policy could allow Aboriginals to get access to financing, but also means giving up land management, and handing it to an external administrator (Australian Human Rights Commission, 2006). Even though some communities have agreed to the Township Lease as a way to obtain a rent (Office of Township Leasing, n.d.), the idea of losing control of the Land does not seem fair to many Aboriginal communities.

Bower Studio 2019_Kalkaringi

Retrieved from: nationalunitygovernment.org

Bower Studio 2019_Kalkaringi

Haar, Paul. â&#x20AC;&#x153;Personal Archiveâ&#x20AC;?. Retrieved on March 28th 2019 after interview. 44

Bower Studio 2019_Kalkaringi

4_Designing for Aboriginal Communities. 45

Bower Studio 2019_Kalkaringi

Kinship & Culture In Aboriginal Australian culture, family structures are extended, complex, and highly valued. Understanding them from a non-indigenous point of view can be particularly challenging, but also necessary to partially comprehend the way social relationships work and how family members interact with one another. Kinship relationships allow aboriginal families to bind together. They are a fundamental factors for social cohesion in Indigenous communities, providing emotional and phsychological support (Bourke & Edwards, 2008). A basic principle of Aboriginal family structure is the equivalence of same-sex siblings: people who are of the same sex and from the same sibling line are viewed as essentially equal. Thus, two brothers are cosidered equivalent. Therefore, a sibling of one of the brothers will consider both the biological father and the father’s brother as equal parents. Same parameter applies between siblings. They will all consider themselves equivalent brothers and sisters. In contrast, same sibling lines but different sex are considered uncles and aunts. (Bourke and Edwards, 2008).

In Indigenous Australian culture, an avoidance relationship is when certain people are culturally required to avoid other family members. This is a typical beaviour in Aboriginal families. Understanding existing avoidances is a relevant issue when designing a house. For example, the floor plan of a house requires enclosed shared spaces to have at least two exits. (Memmott, 2003)

Another reason for maintaining an external orientation is to allow people knowledge of who is approaching one’s house or surroundings. Seeing and hearing are equally important. Keeping a close watch on daily activities around the house allows people to be aware of the surroundings and participate in community happeninigs. “Seeing but not being seen” is highly valued, in order to identify visitors as they approach and make decisions depending on the prescribed patterns of cultural behaviour. However, there’s a sense within communities that being inside too much could mean that you are hiding away and being ‘up to no good’ (Heppel & Wigley, 2003).

Bower Studio 2019_Kalkaringi

Memmott, Paul., 2003. Retrieved from Take 2: Housing Design in Indigenous Australia. Refer to References.

Bower Studio 2019_Kalkaringi

The Supporter Method. The HomesPLUS Indigenous Housing program is an housing initiative, or as defined by themselves: “a new way of delivering housing options for Indigenous Communities in Australia” (HomesPlus is Live!, 2013). George Stavrias, from the Bower Team, is director of HomesPLUS (The University of Melbourne, n.d.). HomesPLUS initiative is a successful example of the Supporter Method approach to Indigenous Housing.

HomesPLUS offers communities a selection of structures that can be adapted to each location. There is a large focus on community engagement, design education and sharing construction methods.

Involving communities in the construction process allows the people have ownership of their own project, while learning the methods and acquiring construction knowledge. HomesPLUS understands this well, and therefore they encourage indigenous communities to be part of the building process so that, in the end, they can gain the skills to construct without help from outside the community. The idea is to provide the community with housing solutions through a process of understanding the community’s ways of living and assesing the different needs in a particular household. The program offers the indigenous people a variety of pre-designed alternatives that can either complement an existing house (example: shading, fences, screenings, storage facilities, garden areas), or three budget alternatives for new pre-designed houses.

Bower Studio 2019_Kalkaringi

Image retrieved from: HomesPLUS Catalogue Refer to References. 49

Bower Studio 2019_Kalkaringi

The Self Help Method. The following reflections on the Self Help Method are based on the Take 2 Essays “Community Building and Housing Process: Context for Self Help Housing” by architect Paul Haar” and “More than a House: Some Reflections on Working with Indigenous Clients on the Housing Process” by architect Geoff Barker. Also, with information from The Jack Thompson Foundation official webpage and Paul Haar Interview conducted by myself and Alexander Traylen on March 28th 2019.

This methodology is best exemplified by the work of Paul Haar and also by the Jack Thompson Foundation. Their architectural approach to Aboriginal housing resulted in good quality houses that suited the community perfectly.

Its main objective is to involve the community in both the design and the construction process of their own houses, in order for people to acquire building skills, but also to create a sense of ownership and belonging to the house.

However, the process takes longer than conventional construction, due to several reasons. One of the main reasons is that houses are made on site instead of the common prefabricated alternative. Thus, materials have to be brought to site or more likely sourced from the nearby bush.

The aim is to promote a more local and traditional building culture, thus it contemplates traditional construction methods suited to the community workforce, and uses bush materials readily available in the area.

“They want a hand up, not a hand out” (Pearson, 2009)

When interviewing Paul Haar, he mentioned how local aboriginals had taught him to identify good bush wood for construction, avoiding hollow and rotten trees, and also distinguishing soils that were good for building bricks. It was evident that a life of living from the bush had made the locals understand the land and its features.

Bower Studio 2019_Kalkaringi

Haar, Paul. “Personal Archive”. Retrieved on March 28th 2019.

Bower Studio 2019_Kalkaringi

The other reason as to why it is a slow process is because by following a traditional construction approach, it relies on local hard labour into standing large and heavy building materials. Machinery in remote areas can be scarce and when broken, repairing might take a long time due to the need to travel long distances. (Haar, 2003). Haar does not suggest that a Self-Help Method is suitable for all families and communities, and discusses both the advantages and disadvantages in detail (Haar, 1992). According to Haar, there are some necessary parameters that make a Self Help housing possible. First, an achievable scale of works with a generous realistic time frame. Second, families committed to hard work and the approval of the community. Third, a strong commitment of the architect to live in the community for as long as the process requires and work alongside with the families through the design and construction processes. (Haar, 2003).

Haar, Paul. “Personal Archive”. Retrieved on March 28th 2019.

The Self Help Method requires intensive hard work, real commitment, patience and time. However, Haar argues that the retribution is definitely worth the effort:

“The community building that took shape, by measures of health, skill, self-esteem, independence, friendship, belonging and a story to tell (…) All that was priceless.” Haar, Paul. “Personal Archive”. Retrieved on March 28th 2019.

Bower Studio 2019_Kalkaringi

One of the fundamental keys for a Self Help Method to work is to engage in a participatory process with the families that are going to live in the house. Involving the family and the community in both the designing and the building process of their house is fundamental for generating a sense of belonging to the house.”

“Self-Help housing not about building a house, it is about building people and community cohesion.” I personally see this approach as a virtuous cycle, because with belonging comes caring and ensured maintenance. During the interview, Paul showed us pictures of the design process and model making undertaken with the families. Quoting his own words: “we were using simple cardboard boxes, some drinking straws for structural columns and beams, and fixed everything with Blu-tack. The process became highly intuitive and creative, and the families were so happy.” The important issue to consider when engaging in a participatory design method as architects is to avoid being a passive recipients of the information. As Barker states, as external agents our role is to operate as mediators, encouraging effective sharing of ideas, provide technical guidance and support, all throughout the design process. (Barker, 2003)

Haar, Paul. “Personal Archive”. Retrieved on March 28th 2019.

Bower Studio 2019_Kalkaringi

The Jack Thompson Foundation. The Jack Thompson Fondation (JTF) was formed on the 4th of April of 2008. The Foundation defines itself as a Homeland Building Program aimed towards addressing the aboriginal problems of unemployment and housing shortage (The Jack Thompson Foundation Vision, n.d.).

By engaging in what the Foundation defines as a “Cross-Cultural Exchange”, their initiative aims towards beign a learning program that teaches aboriginal people about construction techniques. Jack Thompson Foundation, n.d. These techniques are generally simple and non sophisticated, that can be done by man force such as capentry and concreting In addition, the Foundation pursues the concept of “Living Ground”, which they define as “the local resources that are available ‘on country’, that can be used in construction (The Jack Thompson Foundation The Foundation Way, n.d.).

The goal of the JTF is to spread construction knowledge so that after an active practice in construction methods, indigenous communities are able to build their own houses, without external help from the Foundation. The JTF method pursues a goal that I personally think is very positive, since it is retro-alimentary:

“This is done through a process of deep involvement with the community, encouraging local Aboriginals to have ownership of their own projects from early construction stages” Jack Thompson Foundation, n.d.

A much broader goal of the Foundation is to allow aboriginal australians to gain skills that will allow them to seek for further education and, ultimately, get involved in the construction industry as carpenters, builder contractors or even builder designers (The Jack Thompson Foundation Vision, n.d.).

Bower Studio 2019_Kalkaringi

Images retrieved from “The Jack Thompson Foundation” Official webpage: www.jackthompsonfoundation.com

Images retrieved from “The Jack Thompson Foundation” Refer to References. 55

Bower Studio 2019_Kalkaringi

Quote:

“If five people can teach the skills necessary for a holistic approach to the housing shortages in remote Australia, then 5 turns into 30, which in turn becomes 300. With the original foundation members moving from one homeland to another, taking indigenous trainees from one area to another so that they gain skills, to continue the work of the foundation long after the teaching group has moved on.” The Jack Thompson Foundation. “Vision”, n.d.

Bower Studio 2019_Kalkaringi

Images retrieved from â&#x20AC;&#x153;The Jack Thompson Foundationâ&#x20AC;? Refer to References. Refer to References. 57

Bower Studio 2019_Kalkaringi

Paul Haar, an interview. The following is a summary of a 3 hour interview to architect Paul Haar, conducted on March 28th 2019 by Alex Traylen and myself Maria Yanez. The main topic discussed in this interview was the Self-Help Method (also known as Self-Build Method), a community based approach towards housing design that Haar has practiced numerous times while working as an architect and construction manager facilitator with Aboriginal communities throughout Australia. What he has understood through the process is that aspirations, logistics and processes vary considerably, not only between communities and regions, but also between individuals and families. Some of the communities he has worked with are Moa and Palm Islands in Torres Strait Islands, Katherine and Arnhem Land in the Northern Territory. Haar has also been involved in numerous housing and public buildings for Aboriginal Communities in Victoria and New South Wales, and is currently a self-employed sole practitioner based in Melbourne. Paul has published numerous articles about Aboriginal Housing. His contribution to “Take 2: Housing Design in Indigenous Australia” is further discussed in this present Research Booklet.

Q: What is the biggest lesson you have learned from building community-based housing projects?

“Each community is different (...) I’d say that was the first lesson. Different stories, environmental and social circumstances and needs (…) Working with such a variety of contexts required different approaches for every case, and the only way I could come to understand it at all would be to actually spend a few time with them.” Q: Can you explain us the process of self-helping? Paul: “Well the way I found myself up there (Torres Strait) (...) Back in the old days there used to be a Department of Aboriginal Affairs and an Aboriginal Development Comission, almost like sister organizations, both government funded to provide all sorts of services to Aboriginal

Bower Studio 2019_Kalkaringi

Haar, Paul. “Personal Archive”. Retrieved on March 28th 2019.

Bower Studio 2019_Kalkaringi

(Haar, Paul. 2000) Retrieved from the book â&#x20AC;&#x153;Settlementâ&#x20AC;? Refer to References. 60

Bower Studio 2019_Kalkaringi

communities. They had staff working all over Australia, some of them were Aboriginals and some were European (...) And when I was working in Arnhem Land, one of the officers came to me and told me about this family that had expressed an interest in building their home (...)” “So the agreement was to go around a number of communities, and have a look at which ones have got a capacity in terms of their people, identify whether there were families who would be keen to do this (...) To look at what kind of material resources were available around the communities and try to work out where would be a good place to run a Pilot Project to do as Self- Build (...)”

“So by having a Pilot Project and being really careful that it didn’t fail (...) And leading by example, then other people would want to do it (...)” “The logic was (...) If you do it well in one place, then people from other Aboriginal communities come and have a look (...) Because this is the only time when communities are actively working on something these days (...) These things really attracted attention. All these people from other islands were coming to see what we were doing, and who knows, maybe taking it back to their own communities. That was the whole idea.”

“I was lucky that I could choose which families could act as good Pilots for a Self-Help approach (...) All the islands had resources, you could build with anything (...)”

“But having the right individuals and families who you know are going to be able to ‘pull it off’ and with whom you feel confident, is key to the success of a Self-Help.” “So we chose these three terrific families (…) And the government decided to support me to help design and build their own homes.” Q: Where there any similarities in what families asked to you to include for their houses? Paul: “Definitely, there were some similarities (…) Each one decided to build their house with different materials, different approaches and construction methods. All three families wanted a ‘solid house’ (...) Mudbrick was first preferrence, but not always available on site (...)”

“In terms of space, all three families wanted to have a very decent, big, shady space close to the cooking area with lots of sink and bench space (...)”

Bower Studio 2019_Kalkaringi

Also a large central communal living sector with a couple of rooms off it, which could be for anyone, like sleeping rooms (…) And then, a separate building for sleeping. That was back then, I don’t know how it is nowadays.” Q: Do you think that the Self-Help Model brings communities together? Paul: “Yes, definitely, that’s the biggest strength of it. There are plenty of human benefits because people are actively building (…) They are not in jail, they are not in the hospital ‘cause they got drunk the night before.They’re sleeping ‘cause they’re tired from working all day! (...) Even if you take it from a selfish government minimizing-cost perspective, improving housing is not excluded from so many other social benefits. When you provide a quality home, you are providing health, security, social cohesion (..) This was the one time where communities were doing something permanent for themselves (...) And I could say that because I was living there the whole time.”

“There is a strong sense of community, a sense of belonging, sense of ownership, a value for hard work an commitment, it keeps families together (...) This was by far the biggest thing.”

Q: Is there any advice you could give us about practical issues regarding housing design? Paul: “All these houses had really good cross ventilation (...) A big large central eating area and sleeping on the sides. The ablutions (bathrooms) are outside the building, cause if they fail -which believe me they do- the disgusting smells just don’t get into the house.”

“The kitchen is connected both to the house and to the outside, for a whole lot of reasons, one is proximity to the garden, other would be visitors (...)” “Also, when there’s 30 or 40 people living in the house, and this happens, visitors sleep in the verandahs. (…) And this happens whenever there is a feasting, a wedding, a funeral (...) Funerals last for days, people have to come from far so they come the day before and then stay overnight and then the day after (...) And then of course returning when there is transportation, which is not frequent (...) So extended family or friends might be around for a while (...) And this happens all the time. And believe it or not, you can go there three days later and there is two people in the home!”

Bower Studio 2019_Kalkaringi

Haar, Paul. “Personal Archive”. Retrieved on March 28th 2019.

Bower Studio 2019_Kalkaringi

“But that is why it is important to have 3.5 meter verandahs all the way around (...) Also not letting any sun fall on walls. Lots of windows, enough cross ventilation so that the air just breezes easily in and out.” Q: What is your opinion regarding current government policies on Aboriginal Housing? Paul: “I don’t think things have changed much. There is still a huge issue related with overcrowding and poor hygienic conditions in communities (…) There is no sense of continuity between public policies, everyone in Government seems to be working in their own ‘solo’ Departments (...)”

“This should be an unpolitical thing (…) It should involve great commitment and transcend the political spectrum. Government should hear what communities have to say, before providing a solution regarding any issue at all.”

“The Government should have the capacity to understand that improving housing solutions brings so many other possitive changes in the community apart from the housing solution itself (...) such as education, health, security.”

“There are so many opportunities of working in these communities (…) There is so much to be done. I learned a lot from construction methods, sourcing wood and mud from the bush (...) There is a joy in all of it, all of the process (...) can be desmoralizing and exhausting. But in the end you feel so proud ‘cause you did something where everyone participated, the community and the families are happy.”

“When helping Aboriginal families, the personal retribution is always so much more than what you give. These houses were far from perfect, you know? But it didn’t really matter. It was the process that mattered the most.”

________

(Interview conducted on March 28th 2019, by Alex Traylen and Maria Yanez at 14:00hrs at Paul Haar’s architecture office in Melbourne. All image references are part of Paul Haar’s personal archive, which he personally gave us access to, for academic purposes only.)

Bower Studio 2019_Kalkaringi

Haar, Paul. â&#x20AC;&#x153;Personal Archiveâ&#x20AC;?. Retrieved on March 28th 2019.

Bower Studio 2019_Kalkaringi

Aldo Van Eyck, 1962.

Bower Studio 2019_Kalkaringi

Housing as a Process. ‘Housing as a process’ philosophy, is best exemplified with the works of architects Simon Scally and Geoff Barker. As the concept indicates, this philosophy pays special atention in understanding the broader framework in which a house (or houses) are going to be designed. That is, situating the housing design in close relation to the Aboriginal community’s goals and cultural practices, as well as designing with attention to socio-economic structure and future development of the town. (Memmot & Go-Sam, 2013). Working in remote areas implies that everything that you need is generally kilometers away from the site, including, for example, specialized workforce. Therefore architects and builders should also focus their efforts on designing and building with accessible materials and using non sophisticated methods of construction. Local community workforce needs to be trained to operate, maintain, and manage their new housing and infrastructure (Andersen, 2002). By following a ‘Housing as a Process’ philosophy, you ensure the project is locally sustainable and that it will last in the long run.

“We should design with special attention to the community housing management capacities, to make sure that all the technology used in the houses is locally sustainable.”

Memmott & Go-Sam, 2013.

Bower Studio 2019_Kalkaringi

Cultural Design Paradigm. Each community’s needs and lifestyles are so different and complex that architects should design throughout consultation and deep involvement with every community. This design approach is called the Cultural Design Paradigm, and it is founded in the belief that:

“Understanding the cultural differences inherent in Aboriginal domiciliary behaviour can inform the design process.” Memmott & Go-Sam, 2003.

According to Memmott, to competently design appropriate housing for Aboriginal people, architects must understand the nature of aboriginal lifestyles. Architects must also acknowledge that this nature comes from a distinctive traditional and historical way of living. This fact should not be ignored, but must be consciously inform the design process.

These behaviours include, for example, typical daytimeand night behaviours, changing conducts depending on seasonal periods, distinct types of household groups, forms of approaching a dwelling, external orientation of a house, communication between houses, sleeping and cooking patterns, uses of indoor and outdoor spaces, among others. (Memmott & Go-Sam, 2003) When designing, architects should also consider that many aboriginal groups have undergone cultural changes that may have affected the way they aspire to live and inhabit a house. Identifying these issues becomes an essential task in order to fully understand contemporary aboriginal domiciliaty behaviors and apply them on housing design. For example, many Aboriginal communities aspire for a house that ‘looks like a conventional house’. White people houses in the community are sometimes their only comparison as to how a “good house” should look like.

Bower Studio 2019_Kalkaringi

Hooft, Tristan. “Gurindji children at Wave Hill 50th Anniversary” ABC News, 2016. Refer to References. 69

Bower Studio 2019_Kalkaringi

Environmental Health Design. The work of Paul Pholeros, Paul Torzillo and Stephan Rainow exemplifies the Environmental Health approach. to indigenous housing. The result documents of this approach became known as the “UPK Report”, and other initiatives such as ‘Health Habitat’. Pholetos et. al. work has also contributed to the release of the ‘National Indigenous Housing Guide’. Pholeros combined his own architectural skills with the medical knowledge of Torzillo, a doctor, and the social understanding of Steph Raibow, an anthropologist. The goal of this approach is to providing a healthy physical environment inside the houses, by promoting access to functioning health hardware, and increasing people’s knowledge on healthy practices such as controlling dust, washing children, removing waste outside the house, washing clothes and beddings, temperature control and proper ventilation. The idea behind maintaining a healthy environment of the houses is to reduce the high levels of poor health existing nowadays in Aboriginal communities, starting by simple actions that can be undertaken by families in order to improve their quality of domiciliary life.

This approach aims to develop an understanding of the “critical relationship between poor Aboriginal health and housing technology.” Pholeros et.al., 2003.

Bower Studio 2019_Kalkaringi

Image retrieved from: UPK Report, 1987 Refer to References. 71

Bower Studio 2019_Kalkaringi

Image extracted from â&#x20AC;&#x153;Take 2: Housing Design in indigenous Australiaâ&#x20AC;?, 2003. Refer to References.

Bower Studio 2019_Kalkaringi

External Livability. The importance of outdoor living areas is a value still expressed by Indigenous Australians in contemporary housing. Through readings “Take 2: Housing Design in Indigenous Australia” and “Settlement”, it was evident that one of the main issues that architects have recently tried to address is the need for outdoor verandahs and outdoor intermediate spaces. These are the areas of the house that are most intensively used, specially in hot climates such as the Northern Territory, where shadow is highly valued.

“(Note the) generous verandahs and externally oriented living areas. The residents had a difficult time persuading the government that the semi enclosed and open living areas were essential to their externally oriented lifestyle.”

“An aboriginal house should contemplate well-designed external living environments to accommodate externally-oriented patterns of domiciliary behaviour.”

(Memmott, 2003). Understanding the intensity with which Aboriginal people make use of outdoor space has made me come come to the realization that a house should be thought and designed from the outside and not from the inside.

Long, Memmott and Thompson, 2006.

According to Paul Memmott, “the ethnographic literature of Aboriginal Australia consistently records the high degree to which domiciliary spaces are externally oriented”

Memmott & Associates, and Fisher 1998.

Having in mind that Aboriginal people tend to live around the house rather than in it, is key to conscious design of an Aboriginal homes.

Bower Studio 2019_Kalkaringi

Considerations: - Spaces are required where people can sleep, socialise and eat outdoors but be partially protected from outdoor environment with perforated mesh or similar (dust, sun, mosquitoes, â&#x20AC;&#x153;seen but not being seenâ&#x20AC;?). - Wide verandas to accommodate medium and large groups, and possible visitors to the house throughout the year - A raised floor above ground level to allow air flow from beneath and separate the house from the ground. - Freestanding shade structures or a cantilever roof to provide secondary meeting spaces and additional sleeping space outside from the main house to accommodate visitors and allow happenings to occur naturally around the house. - Trees are used to provide shade, windbreaks and differentiation between areas. - Multiple cross ventilation and roof ventilation to allow natural air flow around the house.

Bower Studio 2019_Kalkaringi

Image showing the intense use of outdoor space in a house (Haar, 2003).The multiplicity of objects inform that many domiciliary activities are being undertaken under the roofed verandah. Eating, sitting, sharing, playing, drying clothes, are all activities that can be deducted from this image. (Extracted from: Haar, Paul. â&#x20AC;&#x153;Personal Archiveâ&#x20AC;? on March 28th 2019, after personal interview.)

Bower Studio 2019_Kalkaringi

Yanez, Maria. â&#x20AC;&#x153;Sunset at campsiteâ&#x20AC;? Pictore taken in April 27th 2019. 76

Bower Studio 2019_Kalkaringi

5_Design Preparation. 77

Bower Studio 2019_Kalkaringi

60 60

900

450

0 60

450

Bower Studio 2019_Kalkaringi

First Esquisse. The design approach of this first Esquisse was to design a furniture that could respond to three main factors: 1. Fast construction and buildability. 2. Respond to shadow changing day cycle 3. Availability of materials. My approach to this assignment was to design a furniture that can adapt to a changing shadow. Rotating became an alternative for the design since it is a kind of movement that can be partially controlled (the furniture is still fixed at one end). The initial idea was to use filled up concrete tires since these are commonly found in rural areas and can be easily handled. Tires can then be manually filled up with a mixture of concrete and rock, and the piled up to reach different heights (450 for a seat and 900 for a cooking/ preparation table). Tires would be placed in a fixed position, while the rest of the furniture, possibly made up of wood planks, would be fixed to the tires and rotate in one axis. The rotation can allow the furniture to be moved during the day, following the changing shadows.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Finn’s work shoes” Pictore taken in April 14th 2019.

Bower Studio 2019_Kalkaringi

Creswick.

Bower Studio 2019_Kalkaringi

Creswick: Day one. The main goal of our study trip to Creswick was to acquire general knowledge about the construction techniques that we would be using for the Big Shadys in Kalkaringi. Also, understanding the step-by-step construction method that has been already tested for the Shadys in past Bower Studios. Practicing construction skills such as angle grinding tek-screwing on steel, screwing on timber, and mixing concrete became essential tasks during the trip. The following is a daily overview of the practical work undertaken during our three day stay. Day 1 - Saturday April 13th The team met on site at around 9:30am. David and Jamie arranged a meeting where we discussed and eventually decided the furnituring and refurbishments we were going to build: - A textured concrete cooking bench in the center of the existing Shady, connected to an existing concrete seat. - A barbecue consisting of a square concrete base plus a steel frame and a fixed steel grill on top. - A new brick floor for the Shady, that allowed connecting the existing seats to the new cooking bench.

Following the meeting, we divided into groups in order to begin performing specific tasks throughout the day. My team got assigned the formwork for the concrete cooking bench, so our main goal was to dimension and screw the plywood in place, plus attaching the high density PU Foam squares to two of the sides of the formwork we had already cut back at University. These squares were intended to provide texture and shadows to the concrete, once unmolded. After a short lunch break, we joined our strengths into the physically demanding task of mixing concrete. We learned useful techniques such as taking turns and adding constant water while mixing. Next and final step was pouring all the concrete into the formwork and introducing the steel angled leg on top of the wet mix, designed to receive the timber surface of the cooking bench.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Screwing the formwork”. April 13th 2019.

Yanez, Maria. “Fixing steel angled leg into concrete”. April 13th 2019.

Yanez, Maria. “PU Foam arrangements”. April 13th 2019.

Yanez, Maria. “Mixing concrete”. April 13th 2019.

Bower Studio 2019_Kalkaringi

Day two. Day 2: Sunday April 14th Second day at Creswick was a very productive one. Familiarizing with the tools on Day 1 was useful for cutting, grinding and tek-screwing faster. First task of the morning was to take off the formwork from the cooking bench base. Most of the PU Foam squares had resisted in place, some had shifted with the weight of the concrete. We also concluded that PU Foam doesnâ&#x20AC;&#x2122;t work well with concrete, the glue gets wet and the foam tends to slide and move. We also learned that applying texture that digs too deep into the concrete because it is very hard to remove when dry. I got involved in the task of fixing the BBQ frame. We had to cut steel angled sections, grind corners for a perfect fit, square the frame and tek screw. It took us all day to finish the job, but in the end we were quite satisfied with the results. Last task of the day was to concrete the BBQ base. Textures such as rope and bits of petterned timber were applied to the formwork, as preparation for possible texturing in Kalkaringi.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Removing the formwork”. April 14th 2019.

Yanez, Maria. “Group meeting”. April 14th 2019.

Yanez, Maria. “Building the steel angled frame”. April 14th 2019.

Yanez, Maria. “Cutting steel angles”. April 14th 2019.

Bower Studio 2019_Kalkaringi

Day three. Day 3: Moday April 15th Third day at Creswick became a bit of a challenge. We had to finish up what we had started on Saturday during the course of the morning. My team had to focus on finishing the cooking bench surface, which took longer than expected, since we had to achieve the correct levelling. Other groups were finishing up similar tasks: last fixing of ground bricks, finishing up the small secondary leaning bench, scraping out the remaining PU Foam off the concrete. Afternoon we focused in familiarizing with the Shady. After a group meeting, first approach was to install the temporary scaffolding. It was important to tek-screw the steel sections in both corners to assure full stability and security when working in heights. After preliminaries, next task was to get the Y Beams in place. It takes team work: at least three people on ground have to lift and slide one of the sides to bring it up. After second side is up, the team working above has to slide back and forth until the intersection meets the column.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Tek-screwing the Y beams”. April 15th 2019.

Yanez, Maria. “Familiarizing with the Shady”. April 15th 2019.

Yanez, Maria. “A secondary bench”. April 15th 2019.

Yanez, Maria. “Final meeting”. April 15th 2019.

Bower Studio 2019_Kalkaringi

Details.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Welcome to Kalkarndji” Photo taken April 26th, 2019. (Note: Preferred spelling is currently “Kalkaringi”) 92

Bower Studio 2019_Kalkaringi

6_Kalkaringi. 93

Bower Studio 2019_Kalkaringi

The site for the Shadys is located in the Libanungu Park, next to the playground and the basketball court, and accross the street from Kalkaringi Primary School.

Retrieved from: Google Earth Pro, 2018. 94

Bower Studio 2019_Kalkaringi

Location. Kalkaringi is located at around 480km South-West of Katherine, by following the Buntine Highway. The town of Kalkaringi is geographically located on the banks of the Victoria River. Neighbouring Kalkaringi is Daguragu community, located 8 km (about a 5 minute drive on sealed road). The combined population of the two communities is approximately 750 people, however this may vary throughout the year, due to visitors and social mobility. Today the Gurindji have their land, but all meaningful economic activity is at Kalkaringi. Kalkaringi was originally formed around the 1900â&#x20AC;&#x2122;s, as a settlement that provided supplies and services for the local existing cattle industry at Wave Hill Station. It was formerly named Wave Hill Welfare Settlement, because it was here where the Walk-off mob settled for eight years after the strike, claiming for their Land Rights. Kalkaringi is a town of historical importance and powerful connotations. It is important to acknowlege that its location is the Gurindji country, the birthplace of Aboriginal Land Rights in Australia.

Bower Studio 2019_Kalkaringi

The Wave Hill Walk _ Off. On August 23rd 1966, hundreds of Gurindji workers and their families, began a strike that lasted 8 years, known as the “Wave Hill Walk-off”. It was initially seen as a protest against poor wages and miserable living conditions, but it soon became a demand for Traditional Rights and Land-Ownership. Before the strike, Aboriginal workers had endured decades of abuses, normalized violence, massacres and killings, stolen children and human rights violations (Meakins, 2016). Particularly in the cattle station sector, Aboriginal workers were exploited, paid miserably and their living conditions were below minimum. (Korff, 2019). Led by Vincent Lingiari, and as Paul Kelly’s popular song “From Little Things, Big Thing Grow” sings, 200 Gurindji Mudburra and Warlpiri stockmen, house servants, children and wives protested by walking-off Wave Hill Cattle Station in Jinparrak, owned by British Vestey Brothers, until they reached the town of Daguragu. For them, the Walk-off was more than a revindication; it was a transcendent moment where they decided to wrest back control of their lives after decades of fear and brutality (Meakins, 2016).

On 16 of August of 1975, as a result the eight year strike, the government of Gough Whitlam gave back the Gurindji a portion of their land. This became the first act of Land Recognition for Aboriginal Australians. Prime Minister’s symbolic gesture of pouring sand into the hands of Vincent Lingiari was seen as the first step towards Aboriginal Land Recognition. (Grant, 2016). The Gurindji were the first Aboriginal community to have land returned to them by the Government.

“What I got is this story about my father and my grandfather. (…) That Land belongs to Aboriginal men before the horses and the cattle came over on the land where I am sitting now. That is what I have been keeping on my mind and still got it on my mind.” Vincent Lingiari, 1966.

Bower Studio 2019_Kalkaringi

Photocopy of original drawing made for the Wave Hill Pavillions. Retrieved from Alenson Design, 2017.

Bower Studio 2019_Kalkaringi

Retrieved from: Lawford, Eliana, â&#x20AC;&#x153;Wave Hill 50th Anniversaryâ&#x20AC;? 2016. Refer to References. 98

Bower Studio 2019_Kalkaringi

The 50th Anniversary. Each August in Kalkaringi, during Freedom Day Festival, the historical Walk-off is commemorated. The festival celebrates the iconic occasion when Prime Minister Whitlam handed back a portion of the land to its Traditional Owners, the Gurindji people. This past 2016 was a special day: the fiftieth anniversary of the Walk-off. Thousands of people, including descendents of the 1966 Gurindji stockmen, walked the track, to celebrate the achievement. Gurindji elder Jimmy Wavehill spoke about his memories of striking and walking away from the cattle station, 50 years ago. (Lawford, 2016) The Walk-off Route includes the location of key stages from Jinparrak (the Old-Wave Hill Station from which the Gurindji walked off), the fence line that Gurindji followed and resting point in Junarni (Gordi Creek waterhole), Lipanungu (Lipanangku), where strikers first camp was established, and the final settlement camp at Daguragu.

Bower Studio 2019_Kalkaringi

From Little Things,

Big Things Grow. “From Little Things, Big Things Grow” (Yapakayi-nginyi Jangkarnik) is a very known Australian song that was completely unknown to me. It was first written by Australian artist Paul Kelly and the Messengers, and tells the story of the Wave Hill Walk-off. Even though its melody suggests a children song, it has a very powerful content. First time I listened to it was during a very emotive moment, when Selma Smiler, Vincent Lingiari’s great granddaughter showed us the video of the Freedom Day while we were camping.

“That was the story of Vincent Lingiarri, But this is the story of something much more, How power and privilege can not move a people, Who know where they stand and stand in the law.”

100

Bower Studio 2019_Kalkaringi

Artwork of Gurindji schoolchildren from Kalkaringi. (Karmody, Hudson & Kelly. 2008) 101

Bower Studio 2019_Kalkaringi

Karungkarni Art Center. Visiting the Karungkarni Art Center was a very rewarding experience. It is located in the old abandoned powerhouse building at the entrance to the community. The Center Director Penny Smith introduced us to the hard but gratifying job that she undertakes every day. The Center’s mission is to allow the possibility for artists in Kalkaringi to have a physical space where they can work on their art. The Karungkarni Art Center has a growing community of approximately 50 artists that are current members of the center, and around 15 to 20 core group of artists that are permanently working at the Center.

“Strengthen and pass on the artistic and cultural knowledge of the Gurindji people” Penny Smith, 2019. Aboriginal art is a useful way of understanding Aboriginal culture. As Penny illustrated us, each Aboriginal artists creation portrays a different story. For example, I had the opportunity of talking to one of the women artists, Merrilyn. She explained to me that art for her is a catalyzer of what she wants to communicate:

102

“Sometimes it is better to draw what you want to say”.

Merrilyn, 2019.

I was talking to her when she came to paint the columns for the Shadys. She told me about one time when she went with her family to camp at the bush and came back with a snake for cooking. She had drawn the scene afterwards, because that way she externalizes and communicates better her feeling. Encouraging art among Kalkaringi is a way of preserving the memory and Traditional culture. It is also a very important way of preserving the common dotted language that derives from ancestral traditions. With introduction to non-indigenous practices came the loss of language, ceremonies, traditional bush behaviour, among many others. Art is a way of keeping those cultural manifestations alive. The Karungkarni Art Center tells the stories of the Gurindji people through creation of art, preservation of language and promotion of cultural activities for the benefit of all the community.

Bower Studio 2019_Kalkaringi

Yanez, Maria. “The Karungkarni Art Center” Picure taken May 1st, 2019. 103

Bower Studio 2019_Kalkaringi

â&#x20AC;&#x153;Painting at the Karungkarni Art Centerâ&#x20AC;?. Granted permission from Penny Smith, Art Center Director. Picture taken May 1st, 2019. 104

Bower Studio 2019_Kalkaringi

Yanez, Maria. May 1st, 2019.

105

Bower Studio 2019_Kalkaringi

The Gurindji Coorp. “We advocate and work to improve the social and economic wellbeing of our community through enterprise, improved housing and facilities, local employment and preserving Gurindji culture and heritage.” (The Gurindji Coorporation, n.d.)

“In May 2014 the Federal Court made a determination of Native Title over Kalkaringi in favour of Traditional Owners, with Gurindji Aboriginal Corporation becoming the Prescribed Body Corporate (PBC) of the community.” (The Gurindji Coorporation, n.d.). When in Kalkaringi, we were introduced to two very important and active members of the Gurindji Coorporation. One is Rob Roy, also referred as “Double R”. He is a Traditional Owner of the Land and a community liason for the coorporation. The other is Phil Smith (kartiya) General Manager of Gurindji Coorp.

106

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Phil and ‘Double R’”. Picture taken April 27th, 2019. 107

Bower Studio 2019_Kalkaringi

Multipurpose Court. The Multiporpose Court is located on the West side of the Libanungu Park. It was recently built the year 2018, with funding support from the Northern Territory Government and the Aboriginal Benefits Account (The Gurindji Coorporation, n.d.). It is a place of meeting, leisure and sports for children and young people in the community. It is one of the biggest infrastructures built in Kalkaringi, providing the park with a large shaded area. Yanez, Maria. “Playing basketball at the court”. April 28th, 2019.

Libanungu Park. Libanungu Park is the only park in Kalkaringi. It is located in the center of town, adjecent to Jangala Street on the North side. The park has a recently inaugurated playground in the center and the Multupurpose Court on the North side. This is the site where we built the two Big Shadys for the community. (refer to “Kalkaringi Journal”).

Yanez, Maria. “Arriving on site”. April 28th, 2019.

108

Bower Studio 2019_Kalkaringi

The Club. A social club operates every evening at Kalkaringi, from 17:00 to 20:00. Locals an visitors over the age of eighteen can meet for drinks, but only under strictly controlled conditions. In Kalkaringi, it is against the law to introduce alcohol to town. It is also forbidden to possess or consume alcoholic beverages outside of the club without a Liquor Permit. Thus, people in town usually meet here for drinks, a chatting, enjoying a good time with friends and family and even dancing at times.

Yanez, Maria. “The Club”. April 26th, 2019.

The Store. One of the first signs you see when entering Kalkaringi is the red “Kalkaringi Store and Caravan Park”. This is the only store in the community, and it provides with basic needs, groceries, basic clothes, general house appliances and takeaway food. The store is operated by Gurindji Corporation workers. It opens regularly on weekdays and Saturday mornings. The Caravan Park next to it is also operated by the store. Cain, Natalie. “The Store”. April 30th, 2019.

109

Bower Studio 2019_Kalkaringi

Ma, Bowen. “Waking up at campsite” Picure taken May 3rd, 2019. 110

Bower Studio 2019_Kalkaringi

Kalkaringi Journal.

111

112

BIG SHADY Nº1

JAPALYI STREET

JANGALA STREET

Bower Studio 2019_Kalkaringi

Close relation between the built Shady and the tree. Concrete sand layered barbecue close to East corner. Cooking bench from mahogany slab. ‘Fish shaped’ sitting bench oriented to the Shady. ‘Banana shaped’ sitting bench facing playground. Long wide seat on the North side. Two overlapping perforated steel mesh for shading.

Closer relation with basketball court and playground. Concrete textured barbecue close to South corner. Two mahogany slab sitting benches oriented towards inside. One narrow sitting bench looking at playground. Two overlapping steel grill mesh for shading.

BIG SHADY Nº2

BASKETBALL COURT

PLAYGROUND

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Finished Shadys at Libanungu Park, Kalkaringi” Pictures for panorama taken on May 4th, 2019.

113

Bower Studio 2019_Kalkaringi

Day 1: April 25

“We spend our first morning gathering supplies from Katherine and stop to enjoy the ANZAC Day parade through town before our long journey south. We are all grateful of a pause from driving as we stop to refuel in Top Springs (and have a much needed bathroom break!), which is the last service station and bottle-shop before reaching destination Kalkaringi. After a good four hours driving our pace slows, as we finally turn off onto a bumpy track through a cattle station, still operating. It isn’t until our cars reach the previous Bower Studio projects - the Wave Hill Walk-Off Pavillion, that we realize we’re at the historical site of the Vestey’s Cattle Station, formerly known as Wave Hill. We stand here admiring the symbolic beginning of the Wave-Hill walking track, as all we have read about the landscape and the historic significance of the site becomes grounded. We are standing where Vincent Lingiari first led the local Gurindji, Mudburra and Walpiri people onto their landmark Aboriginal Land Rights case known as the Wave Hill Walk-Off. Greeting us at the site, we were introduced to Rosie Smiley, Vincent’s Grand-Daughter and Rob Roy aka “Double R”, Traditional Owner of the area, Phil, founder of Gurindji

114

Corp and Nooki, Rosie’s brother in law. And of course, the flies. Our introductions however were brief, spying a satellite dish and TV on the back of Nooki’s ute, pushing the insurance policies of our rental cars through cattle station back “roads” to Possum Hill to set up camp and catch the end of the footy game in true NT style. That evening we tested our culinary abilities, cooking fried rice atop a bonfire while enjoying an extended sunset from our table-top vantage point. Double R played songs sung by Vincent Lingiari and Paul Kelly, welcoming us to country with Rosie in Gurindji language. These songs, teamed with videos of the Kalkaringi Freedom Day Festival introduced us to Kalkaringi through the eyes of proud locals, a place with a resilient and powerful history, both ancient and recent. We are all truly in awe of the evening, and acutely aware of how we would never have had this remarkable experience, in this place with these people without our adventurous side deciding to send that email to Bower studio - and we can’t stop telling each other how glad we are that we did.”

Gemma Border & Rosie Lang.

Bower Studio 2019_Kalkaringi

Yanez, Maria. April 25th, 2019.

Ma, Bowen. April 25th, 2019.

115

Bower Studio 2019_Kalkaringi

Day 2: April 26

We wake up to camp aloft a significant hill, which anomalies the flat landscape we surround. (...) As we drive down, the landscape changes into a welcomed open red earthen land. We flail around in large circles and unforgiving dips and bumps to come to the historically significant Wave Hill Station. Broken housing slabs, steel frames and rudimentary drum toilets with steel seats litter the field. The emotion creeps through as we begin to feel what it was like for Vincent Lingiari and fellow Gurindji ngumpin who once lived here. We close the gate to the former site and discusses further with David O’brien and Jamie about Melbourne Universities involvement in the Wave Hill Pavillions, which mark the walk once taken by Gurindji as they left the land and work they did for Katiya at Vestey’s Cattle Station. We reach Kalkaringi, after looking at the intermediate Wave Hill Pavillion along the Gordy Creek. When we finally made it to the final Pavillion in the town of Kalkaringi we couldn’t fathom the fear they endured of not know how the Kartiya might respond. We broke into three main groups to begin work after remembering our holiday was

116

over. We found gear in Gurindgi Corp and material in the ensemble of shipping containers left with the forethought of prior Bower studios. The tasks were to define either our interest in materiality, particular affinity with certain power tools or architecture it were to create. Some attracted to the intersecting nature of galvanized c-purlins were to join the Y-Rafter group, while some fancied toiling around with wood to make formwork for the BBQ. The end of the day drew close and it was important to make presence in the town by being seen at the local drinking quarter: the Club. We hadn’t known what to expect with the descriptions led by David and others whom had previously visited, however it was a fine establishment full of character and were to become a regular place to end up to relax after a gritty days work. We set out to find camp for the evening at 7 mile(...) Despite the hesitations to the next chapter of the trip our first day working together was to mark an important sense of purpose with the town and closeness within the group.

Alex Traylen.

Bower Studio 2019_Kalkaringi

Yanez, Maria. April 26th, 2019.

Ma, Bowen. April 26th, 2019.

Yanez, Maria. April 26th, 2019.

Ma, Bowen. April 26th, 2019.

117

Bower Studio 2019_Kalkaringi

Day 3: April 27

“Today was a really productive day. We planned on finishing early today so that we could make it to the club and meet more people from the community before it closed. Everything closes earlier today because it is a Saturday, most importantly we needed to buy ice for our eskies so that everything within them can survive until Monday in the crazy Kalkaringi heat. We paused work around 11:30 and went to buy ice. Everyone else in town was also in the shop, it was the busiest we’d ever seen it. On site we split into different groups to get the parts of the shady pre-fabricated. One group was finishing the BBQ formwork, while another group was finishing the steel frame, buffing all the corners so that they fit snuggly together and weren’t sharp. While the furniture was being prepared the other half of us were pre-fabricating the structure. The columns were fixed to the straight beams to make the “staples”. There was double checking and triple checking to make sure everything was square. On the other side of the site we put the tie downs onto the Y-beams that will connect to the purlins.

118

We all had a beer at the club after work and chatted to people from the community. Emma and Rosie were introduced to two artists Merrilyn and Joanne to discuss painting the columns of the Big Shady. Back at camp we found our tents in very battered condition after strong winds during the day. Some tents were in bushes, some had blown flat after poles had snapped. We quickly fixed up our tents so that we could go swimming in the river. After getting lost trying to find it last night we found it was much closer than we thought. It was so nice to go swimming, nothing is cold around Kalkaringi. Even if you have the tap on fully cold it still comes out warm, so jumping into a refreshing river was very welcome. The night ended with a wonderful star gazing session after our nightly debrief. We tried to find the Dark Emu in the sky, but no one was really certain where it was or how big it is. Instead we saw many shooting stars and pointed out the southern cross to the group members that were new to Australia.”

Annabelle Roper & Maria Yanez.

Bower Studio 2019_Kalkaringi

Yanez, Maria. April 27th, 2019.

119

Bower Studio 2019_Kalkaringi

Day 4: April 28

“Another day began with a lot of expectation. After our efforts of prefabricating the pieces, it was time to begin putting up the first shady. A truck owned by the Gurindji Corporation was used to transport the tall SHS steel columns. With all hands on deck, we began moving the the taller columns into the footing holes. The challenge was to keep them up while the shorter columns were put in place. Once all columns were in their footing holes, temporary cross bracing was drilled into the columns to ensure their security in place. Following this, more C purlins were used as temporary scaffolding to create a ledge for the form plywood to be attached. One major difficulty was ensuring that all columns were parallel. At times all the sides were parallel, but the diagonal would be off. This consequently involved lots of minor movements in order to get it perfect. Following this, we lifted up and Tek Screwed the pre fabricated Y purlins on to the top of the structure. Given that people were trying to drill above their head, we found it easier to have one person helping the driller by pulling the drill towards them from behind the column. This made for much faster application of screws.

120

Following this, many of the students made up the concrete next to the footings to secure the shady in place. Lots of water was needed in the mix given the heat in Kalkaringi. At lunch time, many of the students played footy and basketball with the abundance of children on the basketball court. All without shoes, they ran around us cheekily stealing the balls from others and showing off their skills. Whilst at first the kids appeared a little wary, once the ice was broken with one or two of them the rest of them opened up quite quickly. After lunch, we mixed up a batch of concrete for the footings and poured this into the holes. All the roof purlins were also placed and screwed in, tomorrow we’ll be ready to put the roof sheets on! Luckily it was relatively cool (by Kalkaringi’s standards) today as it has been all week. It being Sunday, the social club and the local shop are closed. We work until 5pm, shower, and head back to camp. Jamie and David have cooked a Thai green chicken curry for dinner followed by damper, which goes down a treat.”

Liz Seah & Natalie Cain.

Bower Studio 2019_Kalkaringi

Yanez, Maria. April 28th, 2019.

121

Bower Studio 2019_Kalkaringi

Day 5: April 29

“What a day, Big Shady one is UP! It is exhilarating to build something. It changes the park, and adds to the shade of the tree. There is a clear connection between the built and the natural. Today was all about finishing Shady 1, and getting Shady 2 into position. We even had some local help. Some workers from Gurindj Corp came over to give us a hand, and Riley from the school joined us to put some concrete in the foundation holes of Big Shady two and Tek screw some of the structure.The guys from Gurindji even gave us some tips: ‘Don’t look down, keep your eye on the screw’. We had a couple of beers at the club, some of the locals came up to talk to a few of us. It’s great to be able to begin a dialogue with the community and start to place the groundwork for discussions about housing.

Ma, Bowen. April 29th, 2019.

Tonight we are camping at the base of Possum Hill, it’s beautiful (...) We really started to get into a routine, the Bower machine has warmed up and I’m really looking forward to getting back into it tomorrow.”

Bowen Ma & Brett Luke. 122

Ma, Bowen. “Riley”. April 29th, 2019.

Bower Studio 2019_Kalkaringi

Day 6: April 30

â&#x20AC;&#x153;Waking up to the sun rising at the base of Mount Possum marked the beginning of a productive day in Kalkaringi. Arriving on site we were greeted by three horses walking through town. (...)We began work on the Shadys. Busying ourselves with grinding and painting Shady 1 ready for its furnishings. With the design team lead by Gemma in her limited mobility state, following her run in with a car, seating and benches were designed to maximise views towards the playground and to utilise the shade cast by the nearby tree to provide protection from the harsh Kalkaringi sun.

Yanez, Maria. April 30th, 2019.

Following a lunch break under the tree, where David (to the envy of us all) managed to fit in a quick nap, two shade screens were put together out of perforated metal sheeting. The bench was made from two mahogany slabs, supported by SHS legs. The purlins were put up on Shady 2 and the BBQ steel frame was completed. We returned to camp at sunset where the Dilly-Dallies cooked us all a feast for dinner.â&#x20AC;?

Finn Stagg & Emma Martin.

Yanez, Maria. April 30th, 2019.

123

Bower Studio 2019_Kalkaringi

Day 7: May 1

“Double R and Phil had invited us this evening to join them at Neave Gorge, a site 45 minutes out of Kalkaringi, land of which Double R was the Traditional Owner. Having limited opportunities to swim since our arrival in Kalk, the call for floating in a freshwater gorge was the ultimate temptation, meaning an extensive to do list on site would need to be addressed if we were to be able to experience such a exceptional evening. Our goal set was finishing all furniture for the ‘men’s’ Big Shady - no small feat - so we split up into different tasks to maximise our productivity. The first barbeque was concreted in, artfully layered with the surrounding landscape’s bright red sand, which spliced through the grey cement. The high bench for food prep was finished also, with a beautiful slab of wood elegantly floating on an angled square hollow section, cantilevered at one end and joined around the shady structure. The standalone ‘banana seat’ was placed and concreted in beneath the trees, the curvature of the seating opening and connecting the Big Shady to the playground. During the final Bower Hour of Power, the sun-soaked long and low bench was attached to the Big Shady’s eastward posts,

124

C-Sections and timber screwed into place at the sacrifice of those willing to squeeze themselves under the bench and drill awkwardly from below. We could finally taste success and called it a day, before jumping in our cars and joining the convoy on the bumpy road to Neave Gorge. Upon arriving and setting up camp, we realized the work wasn’t over for some as more benches were quickly fabricated from our scaffolding to fit-out Phil’s fold-out boat (which somehow managed trip up river without sinking, to everyone’s surprise). The rest of us then enjoyed the floating in the freshwater and kayaking through the gorge, whilst the sun set around us. After dark, Double R and elder Yamba, a ranger from Kalkaringi, gave us a welcome to country, their words echoing off the gorge walls. We then ate alongside a spectacularly large bonfire while Yamba told us campfire stories, and we struggled to keep our eyes open after such a day.”

Gemma Border & Rosie Lang.

Bower Studio 2019_Kalkaringi

Yanez, Maria. May 1st, 2019.

Cain, Natalie. May 1st, 2019.

Yanez, Maria. May 1st, 2019.

125

Bower Studio 2019_Kalkaringi

Day 8: May 2

Room to Breathe House Visit: With the objective to improve the life’s conditions of Aboriginal Australians, the Northern Territory Government is has been developing a ten year program called “Our Community. Our Future. Our Homes”, investing $1.1 billion dollars on multiple social initiatives. The project intention is to create real tangible social change in 21 remote communities by improving their housing conditions (NT Conference, 2018). These initiatives include the construction of new public housing (“Homebuild NR”), adding more spaces to existing constructions (“Room to Breathe”), and providing maintenance plus generating more opportunities for public employment among indigenous communities. (Our Future, 2017). On May 2nd we were allowed a visit to one of the houses at Kalkaringi that was being refurbished and extended as part of the “Room to Breathe” program. Damien Pennifold (Manager Gurindji Construction & Maintenance) explained to us the many issues regarding livability of the houses and security measures.

126

Bower Studio 2019_Kalkaringi

Yanez, Maria. “Visiting a Room to Breathe house”. May 2nd, 2019.

127

Bower Studio 2019_Kalkaringi

Day 9: May 3

“Today we woke up with mixed up feelings. It is our last official working day at Kalkaringi, the energy is definitely not the same as Day 1, but there’s definitely eagerness and anxiety. We arrived to site to engage in our favorite task: concreting. This time, we had applied texture to the formwork by using the rubber carpet patterns we had bought in Katherine. After pouring all the concrete into the second BBQ base, we all got into the cars to visit a Kalkaringi family house. It was shocking to see the precarious state of the house. Seeing mattresses on the bedroom floors and one of them next to the kitchen in the living area made it very evident that spaces in aboriginal communities are not used as we think they would. We were all shocked when David explained that this was one of the “good houses”. Overwhelmed by this visit, more questions were raised as to how we can improve quality of life by re-thinking housing solutions. We returned to site to finish the last tasks of the day: putting together two shade screens by tek-screwing steel angles to the Shady and then attaching the metallic grills to the frames. Also, attaching the mahogany slab to the steel angles already set in place in the north-east side

128

of the shady, and fixing up a secondary narrower sitting bench across the south-east side. During the day, artists came from the Karungkarni Art Center to continue helping us with the paintings on Big Shady 1 columns. Merrilyn, one of the younger artists, told us about her Dreaming and some very interesting bush stories. Once work was over, we headed to the Art Center, where Penny explained the amazing job that the Center does to the community. As Penny spoke, the drumming of the rain upon the Art Center’s tin roof made everyone think about their –most likely- soaked tents back at campsite. When rain decreased to a drizzle, it was time for a final stop at the Club, as a final reward to a very productive last day. We were all happy of all we had accomplished. However, we were also quite sad and left the bar struggling to say goodbye to the many familiar faces we had come to know during our short but intensive days in this wonderful community. Our last camping dinner involved many of us eating on the ground by the fire, while our chairs were being used to dry pillows from the unexpected afternoon rain.”

Annabelle Roper & Maria Yanez.

Bower Studio 2019_Kalkaringi

Ma, Bowen. May 3rd, 2019.

Luke, Brett. May 3rd, 2019.

Yanez, Maria. May 3rd, 2019.

129

Bower Studio 2019_Kalkaringi

Day 10: May 4th. â&#x20AC;&#x153;Our last day in Kalkaringi was here. We woke up and packed up all our things ready to say our last goodbyes to the town. Some students went straight to the site where they removed the formwork to unveil BBQ 2. The patterns came out neatly and it signified the end of the construction process. Others, went to the Arts Centre to speak to Penny (the Arts Centre Manager). She told us that Kalkaringi is one of the most northern areas in Australia that produces dot painting and that the subject matter tends to be aerial scenes. She spoke of the collaborative work that occurs between husbands and wives, as well as mother and sons. Although money generated through the art is appreciated by the artists, the main objective of the Arts Centre is to allow the passing on of knowledge, culture and story through painting. We arrived back at the park to Jamie cooking up breakfast on the BBQ. He started cooking bacon and lamb strips on the grill, and cracked some eggs onto a pan. Although many of us had already eaten, we were all eager to enjoy the food cooked on the BBQ we built. The height

130

worked really well, and the additional space on the side of the grill was great as a preparation area. Not long after, we invited the kids that were playing in the basketball court to come down for some breakfast. They all came running and lined up to receive their food. It was great to see them using the shady, and it gave us hope that this will create an enjoyable space for many in the future. The benchtop was a great success as well, with many of the kids choosing to stand whilst eating. Merilyn, one of the artists that worked on the painting of the shadys, suggested that she would come to the park everyday now for lunch. After we took our last photos, we set off on our journey towards Darwin, stopping at Pine Creek for one last hurrah. We all shared our last meal together, and reminisced about this amazing experience.â&#x20AC;?

Liz Seah & Natalie Cain.

Bower Studio 2019_Kalkaringi

Yanez, Maria. May 4th, 2019.

Ma, Bowen. May 4th, 2019.

Yanez, Maria. May 4th, 2019.

131

Bower Studio 2019_Kalkaringi

Conclusion. “It’s a strange feeling, walking away from something you may never see again. As we sat at the airport reflecting upon the time we had spent in Kalkaringi, emotions were mixed, ultimately unsure of the lasting impact we had made, yet proud of the work we had done. As a group we had accomplished so much in such a short amount of time and had been given the opportunity to experience a part of Australia many never will, yet it was hard to shake the feeling we weren’t leaving something behind. We had connected so strongly with place and people, community and country, and for most of us, it was likely the last time we ever see those faces again. Like the end of a romantic relationship, it was hard to truly understand the impact you had made, knowing you won’t be there to take part in the rest of the story. While our return to Melbourne was filled with excitement and ambition, it came with its own array of stresses and difficulties to navigate; bills, deadlines, and bus schedules returned and the simplicity of life we had left behind faded almost instantly. Yet the experience as a whole had made an impact in all our hearts. We had done so much we had never expected.

132

We watched the AFL off a makeshift satellite dish, We cut, drilled, braced and bashed our way to not only one, but two Big Shadys, We cooked, camped and cleaned our way through ten nights in the flickering light of a campfire, We embraced stories of dreaming told to us by the traditional owners of Gurindji land, and Some of us even threw it down on the D floor… well, one of us anyway. There were ups and downs, fights and fixes and very few mishaps along the way. By the end of it all, it was obvious that our contribution to the community was much more than its physical manifestation, it was the connections we had made, the conversations we had stimulated and the stories we had embraced. It was the small role we will play in the big picture. It is the story of Kalkaringi.”

Finn Stagg & Emma Martin.

Bower Studio 2019_Kalkaringi

Ma, Bowen. “Our final stop at Pine Creek” Picure taken May 4th, 2019. 133

Bower Studio 2019_Kalkaringi

Yanez, Maria. “The crew by the sculptoresque tree” Picure taken April 29th, 2019. 134

Bower Studio 2019_Kalkaringi

Ma, Bowen. “The crew going for a swim” Picure taken April 27th, 2019. 135

Bower Studio 2019_Kalkaringi

â&#x20AC;&#x153;Painting at the Karungkarni Art Centerâ&#x20AC;?. Granted permission from Penny Smith, Art Center Director. Picture taken May 1st, 2019. 136

Bower Studio 2019_Kalkaringi

7_Further Readings. 137

Bower Studio 2019_Kalkaringi

Yanez, Maria. April 28th, 2019.

138

Yanez, Maria. April 28th, 2019.

Bower Studio 2019_Kalkaringi

Little Children are Sacred. “Little Children are Sacred” is a report undetaken by the Northern Territory Board of Inquiry, to investigate cases related with children sexual abuse among Aboriginal communities in Australia, a serious issue of national significance that requires for immediate action.

sufficient education, miserable housing solutions, are all social issues that have led communities to alcohol consumption, drug abuse, gambling and sexual abuse. The Board of Inquiry recommends action to be taken urgently, in order to reduce alcohol consumption among Aboriginal communities (NT Board of Inquiry, 2007).

The Board collected information based on a series of interviews and visits to communities all over the Northern Territory. Given that this issue can be very sensitive to families, the Board provided safe and private settings where interrogated people felt comfortable talking (NT Board of Inquiry, 2007). This report is a summary of the learnings and the feedback that came out of this research, and a series of proposed actions that can and must be undertaken by the government in order to prevent children sexual abuse now and in future generations.

One of the main purposes of the report was to find better ways to protect aboriginal children and provide proper support for the families. Improving education is a key aspect for this purpose.

Children sexual abuse is often unreported in Indigenous communities. One of the report’s relevant learnings is that there is a general loss of identity among the indigenous communities, which is a product of the continuous social problems that have been developing over decades. Unemployment, lack of opportunities, poor health, un-

Schools provide a safe environment, ensuring children safety. Learning centers can also be venues for educating families about protective behaviours. In addition, family support services must be improved, as well as promoting educational campaigns to encourage a culture of parental commitment and community awareness (NT Board of Inquiry, 2007). There has to be better communication and coordination between the government and the social agencies. Under this premise, the Board concludes that the government should appoint an independent worker (“Commissioner For Children”) that can focus on children wellbeing and report to Parliament.

139

Bower Studio 2019_Kalkaringi

Image extracted from: Booktopia Official Site (n.d.) 140

Bower Studio 2019_Kalkaringi

The Dreaming, by W.E.H .Stanner. In “The Dreaming”, Stanner explains the uniqueness, complexity and profound richness present in Indigenous Australian culture and beliefs. ‘The Dreaming’ is a very complex concept, some say that the word in English does not even get close to the complexity of Indigenous words that exist to describe it. (Korff, 2019) The fact that the Dreaming is still around Aboriginal Australians is a fundamental difference to other religions and spiritual beliefs. The Dreaming is not only about the past, but it forms part of the present and shapes the future. For example, the Dreaming explains the Creation (past): the Land and the Waters were developed by spirit ancestors during The Dreaming to look after the land and its inhabitants. The Land is a spiritual part of the Aboriginal people, meaning Indigenous life cannot separate one from the other. (Stanner, 1979)

The Dreaming completely surrounds us, we are shown proof of it everyday. It’s not some old book written thousands of years ago, it is the living world itself. is a complete guide to life and living - it is an encyclopaedia of the world. It is not just stories - it is art, songs, dance (...) Midnight Davies, n.d.

The Dreaming also gives Aboriginal people an identity and spirituality. Each Aboriginal person identifies with a specific Dreaming (present).

141

Bower Studio 2019_Kalkaringi

The Australian Dream, by Stan Grant. Stan Grant portrays the irony of Australian National Anthem, by explaining how this dream excludes the sad reality that Aboriginal Australians have experienced throught history of the country. According to Grant, racism is killing the Australian Dream. Australia cannot consider itself a fair and just nation until racism is eliminated. Indigenous people of Australia have been suffering from injustice, homelessness, dispossession, extermination, violation of human rights, racism. Indigenous Australians have managed not to live, but to survive in a country that has given them its back for two whole centuries. Is this the Australian Dream? (Grant, 2016) The author quotes writer and academic Viet Thanh Nguyen: “All wars are fought twice, the first time on the battlefield, the second time in memory”. When I think of this phrase, I cannot help but relating it to my country, Chile. More than fifty years have passed since Chile’s civil war. There was so much injustice and human rights violations during this military dictatorship that the elders still remember.

142

“In acts of reconciliation, national apology, recognition of rights to land and native title, a willingness to review history; through marriage and friendship; in our High Court, our parliaments and our personal lives - in all of this, we are forging a nation.” Stan Grant, 2016.

In the picture: Indigenous Australian football player Adam Goodes was awarded 2014 Australian of the Year. In his acceptance speech he states:

“The ultimate reward is when Australians see each other as equals, and treat each other as equals”

Bower Studio 2019_Kalkaringi

Image extracted from: The Daily Telegraph (n.d.) 143

Bower Studio 2019_Kalkaringi

Image extracted from: Booktopia Official Site (n.d.) 144

Bower Studio 2019_Kalkaringi

Utopia, a documentary film by John Pilger. Directed by John Pilger, the documentary “Utopia” (2013) shows us the current shocking state of abandonment in Aboriginal Communities throughout Australia. The film focuses on one of the poorest regions in the country, ironically named Utopia. This aboriginal homeland was named by German settlers in the 20’s, and covers an isolated area of more than 5,000 sqm. It is located around 200km from Alice Springs, and it is home to approximately 2.000 people spread into several smaller communities. (Mbautua Aboriginal Art Gallery, i.d). During a 2 year process, through travelling and engaging in profound conversations that range from politicians, historians, anthropologists and Indigenous Australians from both past and current generations, Pilger has the capacity to show how former inequities are still a strong issue in the present. The feeling of abandonment and displacement is still alive in many Aboriginal communities. It is hard to imagine how people in this century are surviving in such miserable material conditions, without a decent place to sleep and with hygienic standards that are far from minimum. Pilger also portrays the lack of interest and the outstanding indifference that most non-in-

digenous have regarding Aboriginal Australian citizens. It was particularly shocking when he randomly interviewed people about the meaning of ‘Australia Day’, and most of them ignored that it represents a sorrow day for every Indigenous Australian, a day when they were deprived the right to their own land. Reflection: The housing emergency showed in the documentary and clearly visible in other communities such as Kalkaringi, questions the authorities and how they have been managing this problem in the past. Too often there has been an incomprehension in the ways in which Aboriginal people live. Past initiatives, like relocating communities to better equipped towns, misunderstood the sense of belonging between indigenous and their Traditional Land. For Aboriginal Australians their land is a cultural responsibility since it represents homeland and the perpetuation of their ancestral roots. Thus, it is compulsory for the success of housing and other external assistances, to actively engage in community participation, empowering people in order to give them higher levels of ownership and a sense of belonging.

145

Bower Studio 2019_Kalkaringi

Ward, Charlie. â&#x20AC;&#x153;Handful of Sandâ&#x20AC;?. Cover photocopy taken from original book. Refer to References.

146

Bower Studio 2019_Kalkaringi

A Handful of Sand, by Charlie Ward. Charlie Ward’s book “A Handful of Sand” tells the story of the series of political and social events that occured after the known historical Wave Hill Walk-off. The historical strike started as a demand for equal payment, respect and return of the Land. But from there on, it trggered numerous social, economical and political debates.Eventually, the Gurindji were granted a lease for their land, they could form their own cattle station, run and administered by themselves. Reflection: More than 50 years have passed since this landmark event in Aboriginal Australia’s history. Despite the official recognition of Aboriginal Land Ownership, there is still an enormous gap of inequity between indigenous and non-indigenous Australians. One brief visit to the Gurindji communities of Kalkaringi and Daguragu, protagonists of the strike, was enough to realize that nothing has changed much for communities in remote areas of the country.

147

Bower Studio 2019_Kalkaringi

Dark Emu, by Bruce Pascoe Dark Emu is a book that intends to reveal the common misconceptions regarding the way Aboriginal Australians lived previous to European settlement. Pascoe uses archeological evidence and research to challenge the notion of Aboriginal Australians being exclusively living – or ‘surviving’ – as hunter-gatherers, their subsistence constantly threatened by nature. The author argues that this is a total misconception of the Aboriginal Australians and that this biased description can only be applied to how the early white settlers referred to indigenous communities. He claims that early Aboriginal culture in Australia can be compared to any other early European cultures. (Pascoe, 2014) Pascoe portrays a very different approach to understanding Aboriginal Australian relationships to their land and living environment. For example, the author explains that indigenous communities had in fact developed high farming skills. (Pascoe, 2014) In early days, indigenous people had advanced knowledge on sustainable agriculture techniques, systematic burns and land managing. All these knowledge was lost after the white settlement. The loss of indigenous farming practices changed Australia’s

148

environment. (Pascoe, 2014). Pascoe also discusses issues related to misconceptions on early aboriginal housing, religious practices, land ownership, among others. Reflection: I personally found this book to be very eye-opening. I found specially revealing to understand that non indigenous Australians have been told quite a different story about early aboriginal history and that the common knowledge is so far away from real truth. Coming from a different continent I was unaware about how most Australians are not conscious of the actual historical facts regarding the first settlers of this nation. I finished this book right before travelling to Kalkaringi. Having this reflection in mind, I became more aware that there is a vast lack of knowledge, not only about the history, but also regarding the contemporary reality that we encountered there. I could tell this because I felt just as lost as the rest of the team when confronted to the houses, the people and the culture. This raises more questions as to what should be the best approach for a housing design, considering we are outsiders to a very extensive and complex history of traditions and beliefs.

Bower Studio 2019_Kalkaringi

Pascoe, Bruce. “Dark Emu”. Cover photocopy taken from original book. Refer to References. 149

Bower Studio 2019_Kalkaringi

Talking to My Country, by Stan Grant. Grant reveals a shocking reality of the oppressed and discriminated Aboriginals in Australia by telling the story of his own family and his ancestors, told through historical facts but also through personal anecdotes and memories of his close relatives. This book is a portrait of the injustices and atrocities that surround Australian history from the beginning of colonization and that have shaped an abandoned and displaced Aboriginal Australian contemporary society. According to Grant, the history of injustice and violation of human rights has molded every individual life of every Aboriginal Australian: “These are the things I want to say to you. These things I have held inside or even worse run from. It’s not easy, what I have to say, and it should not be easy. These are things that tear at who we are. These are the things that kill, that spread disease and madness. These are the things that drive people to suicide,that put us in prisons and steal our sight.” (Grant, 2016). Grant calls for empathy and equality. From the author’s perspective, Australia cannot progress as a unified nation until white Australian history embraces the Aborigi-

150

nal history and understands the fact that non-indigenous and Aboriginal Australians share a common past. It encourages the ‘white’ community to stand and walk in the indigenous’ shoes, accepting the massacres and the atrocities, and moving forward from there: “In the coming days of Garma I will see the old men in tears. ‘We know your language,’ one says, ‘we go to your schools, we know your law, when will you learn ours?’”(Grant, 2016). Reflection: I personally believe that the stories and anecdotes we experience in our past inform us about who we are and also how we relate to each other. As the author states: “I am the sum of many things but I am all history. And we are trapped in this history, all of us, and if we don’t understand it, we will remain chained to it.” (Grant, 2016). This reading was enlightning to acknowledge that every person I met in Kalkaring carries a very harsh historical background and also that every story is unique and therefore must be treated with respect.

Bower Studio 2019_Kalkaringi

Grant, Stan. “Talking to my country”, 2016 Refer to References.

151

Bower Studio 2019_Kalkaringi

Extracted from: Johnson, Darlene. Stolen Generation Documentary.

152

Bower Studio 2019_Kalkaringi

Stolen Generation, by Darlene Johnson Between the years 1910 and 1970 in Australia, a deliberate Government Policy aimed towards a biological absorption: one out of three considered ‘half-breed’ children were taken away from their Aboriginal biological families and placed in white foster homes and orphan institutions. These children were taught to live, speak, dress and behave like white children. They were given white education and were encouraged to become like non-indigenous Australians. They were told they had no parents and forced to grow up without family support, away from their ancestral roots and traditional Aboriginal culture. The vast majority of theM never found their biological families again. They are referred to as the ‘Stolen Generation’. This documentary tells the story of Bobby Randall, a singer and songwriter who was separated from his family as a child, and placed in a white ‘mission’. After several years of searching for his mother he found out that she had passes away right after he was taken. Another very shocking and emotive story is Daisy Howard’s life. She was removed and forced to work in a cattle station. Daisy spends years looking for her half-sister May. In the end of the documentary they manage to reunite.

“By the end of the Second World War, these ideas had led directly to The Holocaust (...) The aim was nevertheless the same: the eventual dissappearence of Aboriginals as a recognizable group.” Stolen Generation Documentary, 2000.

153

Bower Studio 2019_Kalkaringi

Kartiyas are like Toyotas, by Kim Mahood. Mahood portrays the funny and sarcasatic, while also sad, current dynamic that is happening between white workers (Kartiya) and Aboriginal people in remote indigenous communities of Australia, by explaining real situations that have happened to her, in an ironic story-like manner. The title refers to the tendency of white people working in Aboriginal Communities to break down, to collapse and to eventually quit their jobs, overwhelmed, defeated, physically exhausted and psychologically displaced. Kartiya have to be constantly replaced by other Kartiya, which under the eyes of the community only creates “a legacy of expectation and dependency, coupled with one of failure and disappointment”. (Mahood, 2012) Kartiyas, as the author explains, are under such extreme pressures, that most of them don’t last for long. Not only the workload is unrealistically demanding, but also trying to fulfill every task becomes impossible when they have to cope with the community’s needs and favors. Driving everyone hunting lending the office phone, interpreting mailed letters, are just some few examples of that extra work that Kartiyas have to do in order to ‘facilitate cultural activities’. After all these extras, getting the office job

154

done, meaning obtaining necessary fundings, engaging in bureaucratic paperwork, among others, requires working overtime and during weekends, and this leads often to displacing themselves physically and emotionally. (Mahood, 2012) Reflection: Reading this text and then relating it to the situation in Kalkaringi was a useful way of understanding (at least partially) the amount of work and responsibility that Kartiyas such as Penny Smith, director of the Karungkarni Art Center in Kalkaringi, and Phill from the Gurindji Corporation, have in the community. It only makes me understand the complexities that they have to endure every day and how they have managed to win a space in the community and have become essential assets to its functioning and developing. It is quite impressive how both Penny and Phill found the time and energy to welcome us to Kalkaringi, introducing us to town people, teaching us about their jobs and offering constant smiles and hellos during our whole stay.

Bower Studio 2019_Kalkaringi

“Contaminated ground, too hard, no career path, a bureaucratic nightmare, a cultural minefield; a recalcitrant and ungrateful Indigenous population who want what whitefellas have but don’t want to do what whitefellas do (…). In an environment that calls for the best and brightest too often it’s the sociopaths, the self-righteous, the bleeding hearts and the morally ambiguous that apply for and get the jobs, and provide the example of white society against which the local people formulate their resistance.” Mahood, 2012.

155

Bower Studio 2019_Kalkaringi

Yanez, Maria. “The Buntine Highway” Photo taken May 3rd, 2019. 156

Bower Studio 2019_Kalkaringi

8_Housing Design Approach. 157

Bower Studio 2019_Kalkaringi

Outdoor Behavioural Patterns. While in Kalkaringi, I was able to register a series of outdoor behaviours occuring at daytime. The following are quick on-site sketches of the activities encountered: (1) Two women sitting in the border of shaded verandah. (1) A group of men gathering beneath a tree shade, around a wooden table. (2) At the Club, small groups 3-4 people sitting against the fence looking at the happenings in the central area. (3) A group of women and children sitting in a long timber bench enjoying the shade of a tall Eucalyptus. (4) A big group of men and adolescents (20-30 people) playing cards under the tin roof next to the Art Center. (5) Some men taking a rest underneath the roof outside the store, leaning on the wall (recurrent). (6) Two women at a house frontyard, sitting in chairs and talking under the shadow of a small Coolabah tree.

158

(1)

Bower Studio 2019_Kalkaringi

(2)

(3)

159

Bower Studio 2019_Kalkaringi

(4)

160

(5)

Bower Studio 2019_Kalkaringi

(6)

(7)

161

Bower Studio 2019_Kalkaringi

The site is located in Nampin Rd, bedrooms and outdoor public space are oriented towards the North.

162

Bower Studio 2019_Kalkaringi

Externally Oriented Living Home. Kalkaringi, as many other Aboriginal communities in the Northern Territory, are used to externally oriented ways of living. Therefore, considerations should be made when designing a house in order to prioritize verandahs space, semi-enclosed areas and open areas, so that the house is always in relation to outdoor space, where most of the daily house activities and community activities are being held.

Extended Family Household: An externally oriented lifestyle requires the provision of suitable semi-enclosed or unenclosed peripheral spaces. Shady summer places are required, as well as sunny winter places (especially for morning use).

The house designed is intended for an extended family:

Mom, Dad, three children (two boys and one girl) plus an Auntie and her son who also live permanently

in the house. The house is also capable of allowing multiple visin the roofed verandah spaces that surround the house.

Memmott, 2003.

163

Bower Studio 2019_Kalkaringi

Externally Oriented Living Home. The house is seen as a mechanism for relating outdoor activities with partially enclosed ones, where the last ones can be used as sleeping areas, but also as multipurpose sectors of the house (playground, drying clothes, resting). On the other hand, high roofed outdoor spaces in the front yard with proximity to the street and in close relation to a fire pit, can provide a suited environment for cooking, living and sharing.

into the outdoor space thus inviting group activities such as cooking under the fire pit, living, eating and sharing to take place in this intermediate ‘breeze way’ area. A curved perforated mesh frame allows sitting ‘close to a fence’, a common activity encountered among aboriginal behaviors. The convex curve also allows the outside cooking area to be less enclosed and it is positioned in order to take advantage of the northern shading of the tree.

Windows are distributed in a way that they align transversally, allowing cross ventilation, thus keeping the house cooler and with better air quality. The roof is intentionally divided into two, to promote more air flow across the house and also to introduce indirect northern sunlight. Front and back of the house have different approaches. The back of the house involves more private activities, such as laundry and toilet facilities, possible outdoor sleeping areas, drying clothes, and resting.

Observing daily activities in Kalkaringi was also informative to this ‘externally oriented’ design approach. Meetings and gatherings are undertaken in outdoor spaces, usually under a tree or a roof structure, always seeking shade. Other smaller activities such as group gatherings in frontyards or sitting in the verandah area of a house were also encountered.

The front of the house becomes more public as it faces the street and opens to the community, under the shelter of an existing tree. The front also incorporates a prolonged roof allowing the indoor kitchen to expand

164

It became clear to me, as an observant, that most of the daytime activities were held near a house and around it, rather than inside it. Many of these activities did not necessarly connect to the house.

Bower Studio 2019_Kalkaringi

The house recognizes that there is a transition between outdoor spaces and interior private areas. Thus, the idea is to provide the family with a semi-enclosed space, a space in between, that acts as a â&#x20AC;&#x2DC;Breeze Wayâ&#x20AC;&#x2122;, blurring the limits between enclosed interiors and exposed exteriors, providing effective cross ventilation and providing a transition between front and backyard.

165

Bower Studio 2019_Kalkaringi

166

Bower Studio 2019_Kalkaringi

167

Bower Studio 2019_Kalkaringi

168

Bower Studio 2019_Kalkaringi

169

Bower Studio 2019_Kalkaringi

170

Bower Studio 2019_Kalkaringi

171

Bower Studio 2019_Kalkaringi

Local Sustainability. The procurement process is just as important as the final house itself. Focus needs to be placed on a meaningful process where thereâ&#x20AC;&#x2122;s active involvement from membersof the community. Thus, pre-fabricated modules are constructed and ensambled off-site, while the rest of the remaining concrete slabs, flooring and steel roof columns and beam structure are built on site, with active community participation.

The idea is to engage in a Supporter Model, that is, to combine external work force with local help of the community and the family, in order to generate social cohesion and allow a sense of ownership by the future household members.

172

Bower Studio 2019_Kalkaringi

173

Bower Studio 2019_Kalkaringi

174

Bower Studio 2019_Kalkaringi

Images. 175

Bower Studio 2019_Kalkaringi

176

Bower Studio 2019_Kalkaringi

177

Bower Studio 2019_Kalkaringi

178

Bower Studio 2019_Kalkaringi

179

Bower Studio 2019_Kalkaringi

180

Bower Studio 2019_Kalkaringi

181

Bower Studio 2019_Kalkaringi

182

Bower Studio 2019_Kalkaringi

183

Bower Studio 2019_Kalkaringi

184

Bower Studio 2019_Kalkaringi

185

Bower Studio 2019_Kalkaringi

186

Bower Studio 2019_Kalkaringi

9_References. 187

Bower Studio 2019_Kalkaringi

Australian Institute of Aboriginal and Torres Strait Islander Studies. (2019, May 21). AIATSIS. Retrieved from https://aiatsis.gov.au/explore/articles/land-rights Australian Institute of Architects. (2008). Indigenous Housing Policy. Barker, G. (2003). More than a House: Some Reflections on Working with Indigenous Clients on the Housing Process. Take 2: Housing Design in Indigenous Australia, 98-105. Bourke, C., & Edwards, B. (2008). Family and Kinship. In C. Bourke, B. Edwards, & E. Bourke (Eds.), Aboriginal Australia: An Introductory Reader in Aboriginal Studies. Queensland: University of Queensland Press. Carmichael, B. (2001, May 4). Dreamtime. Retrieved from http://dreamtime.net.au/why/ Central Land Council. (2016, August). Central Land Council. Retrieved from https://www.clc.org.au/files/pdf/ Land-Councils-Statment-from-Kalkaringi-A4.pdf Central Land Council. (n.d.). The Aboriginal Land Rights Act: Aboriginal Land Rights (Northern Territory) Act 1976 (ALRA). Central Land Council. Commonwealth of Australia. (2019). Closing The Gap Report. Department of the Prime Minister and Cabinet. Crystalinks. (n.d.). Crystalinks. Retrieved from https://www.crystalinks.com/dreamtime.html Davidson, H., & Livsey, A. (2017, March 2). The Guardian. Retrieved from https://www.theguardian.com/australia-news/2017/mar/02/room-to-breathe-remote-indigenous-communities-and-the-battle-to-improve-housingand-jobs De Lacy, S. (2018, February 21). 5 Things You Need To Know About Indigenous Housing. Retrieved from

188

Bower Studio 2019_Kalkaringi

https://streetsmartaustralia.org/5-things-you-need-to-know-about-indigenous-housing/ Department of the Prime Minister and Cabinet. (n.d, n.d n.d). PMC. Retrieved from https://www.pmc.gov.au/ indigenous-affairs/land/township-leasing-aboriginal-land-northern-territory Dillon, J., & Savage, M. (2003, August). House Design in Alice SpringsTown. (P. Memmott, Ed.) Take 2: Housing Design in Indigenous Australia, 40-46. Fien, J., Charlesworth, E., Lee, G., Morris, D., Baker, D., & Grice, T. (2008). Towards a Design Framework for Remote Indigenous Housing. AHURI Australian Housing and Urban Research Institute Limited. Foster, W. (2001, May 4). Dreamtime. Retrieved from http://dreamtime.net.au/why2/ Grant, S. (2016). Talking to my Country. Melbourne, Australia: Scribe. Grant, S. (2016). The Australian Dream. Quarterly Essay Issue 64. Haar, P. (2000). A Self-Help Approach to Remote Area Housing, St. Paulâ&#x20AC;&#x2122;s Village, Moa Island, Torres Strait, 1986-92. In P. Read, Settlement: A History of Australian Indigenous Housing (pp. 221-236). Canberra: Aboriginal Studies Press. Haar, P. (2003, August). Community Building and Housing Process: Context for Self-Help Housing. (P. Memmott, Ed.) Take 2: Housing Design in Indigenous Australia, 90-97. Haar, P. (2019, March 28). Interview for Mini-Doco Assignment. (A. Traylen, & M. Yanez, Interviewers) Homes Plus is Live! (2013, April 21). HomesPlus. Retrieved from http://www.bowerhomesplus.com.au/news/

189

Bower Studio 2019_Kalkaringi

James, F. (2018, March 7). ABC News. Retrieved from https://www.abc.net.au/news/2018-03-02/nt-government-agrees-to-pull-down-indigenous-housing-sheds/9502880 James, F. (2018, March 7). ABC News. Retrieved from https://www.abc.net.au/news/2018-03-07/nt-government-confirms-it-designed-room-to-breathe-tin-sheds/9523862 Korff, J. (2019, March 20). Creative Spirits. Retrieved from https://www.creativespirits.info/aboriginalculture/ land/aboriginal-houses Korff, J. (2019, February 8). Creative Spirits. Retrieved from https://www.creativespirits.info/aboriginalculture/ spirituality/what-is-the-dreamtime-or-the-dreaming Lawford, E. (2016, August 19). ABC News. Retrieved from https://www.abc.net.au/news/2016-08-19/wave-hillwalk-off-50th-anniversary-walk-off-land-rights/7766326 Long, S., Memmott, P., & Seelig, T. (2007). An Audit and Review of Australian Indigenous Housing Research. AHURI Australian Housing and Urban Research Institute Limited. Mahood, K. (2012). Kartiya are like Toyotas: white workers on Australiaâ&#x20AC;&#x2122;s cultural frontier. Griffith Review Edition 36: What is Australia For? Meakins, F. (2016, August 19). The Conversation. Retrieved from https://theconversation.com/friday-essay-theuntold-story-behind-the-1966-wave-hill-walk-off-62890 Memmott, P. (2003, August). Customary Aboriginal Behaviour Patterns and Housing Design. (P. Memmott, Ed.) Take 2: Housing Design in Indigenous Australia, 26-39. Memmott, P., & Go-Sam, C. (2003, August). Synthesising Indigenous Housing Paradigms. (P. Memmott, Ed.) Take 2: Housing Design in Indigenous Australia, 12-17.

190

Bower Studio 2019_Kalkaringi

Nganampa Health Council Inc., South Australian Health Commission, Aboriginal Health Organization of S.A. (1987). Report of Uwankara Palyanyktu Kanyintjaku. Nganampa Health Council Inc. North Australian Aboriginal Justice Agency. (2016). Northern Territory Housing Issues Paper and Response to the Housing Strategy Consultation Draft. i.d: i.d. Northern Territory Board of Inquiry. (2007). Ampe Akelyernemane Meke Mekarle: Little Children Are Sacred. Summary Report, Northern Territory Government. Office of Township Leasing. (n.d., n.d. n.d.). OTL. Retrieved from https://www.otl.gov.au/about-us Our Future. (2017, i.d. i.d.). Our Future. Retrieved from https://ourfuture.nt.gov.au/home Pascoe, B. (2014). Dark Emu. South Australia: Griffin Press. Pholeros, P. (2003, August). Housing for Health, or designing to Get Water In and Shit Out. (P. Memmott, Ed.) Take 2: Housing Design in Indigenous Australia, 54-62. Pholeros, P., Torzillo, P., & Rainow, S. (2000). Housing for Health: Principles and Projects, South Australia, Northern Territory and Queensland, 1985-97. In P. Read, Settlement: A History of Australian Indigenous Housing (pp. 199-208). Canberra: Aboriginal Studies Press. Referendum Council. (2019, January). Referendum Council. Retrieved from https://www.referendumcouncil. org.au/discussion-topics/indigenous-voice.html Ross, H. (2000). Lifescape and Lived Experience. In P. Read, Settlement: A History of Australian Indigenous Housing (pp. 3-14). Canberra: Aboriginal Studies Press.

191

Bower Studio 2019_Kalkaringi

Sanders, W. (2000). Understanding the Past, Looking to the Future: The Unfinished History of Australian Indigenous Housing. In P. Read, Settlement: A History of Australian Indigenous Housing (pp. 237-248). Canberra: Aboriginal Studies Press. Slater, H., & Garlett, R. (n.d.). Working with Aboriginal People. National Disability Services. The Echidna Group. (2010). Community Profile Kalkarindji. Remote Area Health Corps. The Jack Thompson Foundation. (n.d.). The Jack Thompson Foundation. Retrieved from http://jackthompsonfoundation.com/new/?page_id=87 The University of Melbourne. (n.d.). Bower Studio. Retrieved from https://bowerstudio.msd.unimelb.edu.au/ about/our-team Thompson, L., Long, S., & Memmott, P. (2006). Mobility of Aboriginal people in rural and Remote Australia. AHURI Australian Housing and Urban Research Institute Limited. Ward, C. (2016). A Handful of Sand, The Gurindji Struggle, After The Walk-Off. Clayton, Victoria, Australia: Monash University Press. Wigley, J., & Wigley, B. (2003, August). Remote Conundrums: The Changing Role of Housing in Aboriginal Communities. (P. Memmott, Ed.) Take 2: Housing Design in Indigenous Australia, 18-25. Wong, K. (2018, May 31). The Conversation. Retrieved from https://theconversation.com/we-need-to-stop-innovating-in-indigenous-housing-and-get-on-with-closing-the-gap-96266

192

Bower Studio 2019_Kalkaringi

193

Bower Studio 2019_Kalkaringi

194

Bower Studio 2019_Kalkaringi

Tho end. Studio 30: Bower Studio First Semester 2019 Kalkaringi, Northern Territory Author: Maria Yanez June 10th, 2019

195