Heather Stevenson DRC 2013 by RMIT Landscape Architecture

REMEMBER TO FORGET// DESIGNING AGAINST MEMORIAL PERMANENCY.

Heather M. A. Stevenson MASTER OF LANDSCAPE ARCHITECTURE DESIGN RESEARCH CATALOGUE November 2013

s3239940

Heather M. A. Stevenson MASTER OF LANDSCAPE ARCHITECTURE DESIGN RESEARCH CATALOGUE November 2013

s3239940

REMEMBER TO FORGET// DESIGNING AGAINST MEMORIAL PERMANENCY.

Vietnam War Memorial, Washington D.C. Designed by Maya Lin Photo by Hiroshi Watanabe

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I donâ&#x20AC;&#x2122;t consider myself a storyteller. But if I reach into my coat pockets, Iâ&#x20AC;&#x2122;m likely to find scraps of notes, a ticket stub from a concert, ATM statements, bibliographic references for this book, phone numbers, a map [of Boston] from a spring field trip, a frayed napkin -- each piece and unlikely momento recalling a time, an event or a place. The contents of coats worn less frequently seem to span longer time frames. From this partial anthology, edited as much by chance as by intention, I can begin to reconstruct the various narratives that cohere around this life.

(Potteiger, 1998)

Acknowledgements: A personal obsession with the power of form and story has lead to the project within these pages. However, this project would not have been possible without the support and guidance dedicated by the following: RMIT University lecturers Craig Douglas, Charles Anderson, Marieluise Jonas, Jock Gilbert, Rose Monacella, Liz Herbert, Natasha Morgan, Sue Anne Ware, Kate Church and Louisa King. The Shire of Yarra Council and Healesville Historical Society members who have me access to site information and historical records, as well as sharing their knowledge on past and present activities. My peers for being inspiring, thought-provoking, entertaining and supportive throughout the years. My family and good friends for their patience and love. Thank you.

CONTENTS Chronological Ordering ABSTRACT 1 PREFACE 4 6 7 8 9

MEMORIAL//EXPERIENCE 12

Preface Research Investigations Design Criteria Key Terminology

14 16 18 20 21 22

Vietname Veterans Memorial ‘Passages’, Walter Benjamin Memorial Spatial Experience Studies Memorial Typologies Memorial Meaning The Contemporary Memorial Purpose and Anti-memorials

25 26 28 29 36 38 39 40

Communication through Form What should the design of a memorial consider? Existing Memorial Studies Case Study and Design Esquisses I, II, III Journey and Movement Case Study: Running Fence Design Concept: The Line Case Study: Punta Pinte

43 44 46 48 49 51

Narrative Typologies Past Work with Narrative Using site to tell/reveal a story A changing line, a changing landscape Shifting Conditions Breaking down the Wall

56 57 60 61 63

The Frontier Wars Reconciliation Place; a token gesture? History of Coranderrk Aboriginal Reserve An invisible history An understanding of Site

Case Study and Design Concepts I, II, III

75 77

A Shifting Boundary Planting a Seed

CONSIDERING FORM 24

STORIES OF SITE//NARRATIVE 42

MEMORIAL TO THE FORGOTTEN WARS 54

TIME//MEMORY 66 A SHIFTING BOUNDARY 74 SITE STRATEGIES 82 84 85 86 87 89 91 101 111 121

A Developing Memorial Case Study: Parc de la Villette Displacement of the Grid Site Intervention Matrix Organisation Plan and Timelines Wildflowers Billabong Forest Integrating Site Narratives

124 126

Design Approach Summary Findings and Further Considerations

PROJECT SUMMARY 123

Flora, Fauna and Cultural Events Data Booklet

APPENDIX i 130 APPENDIX ii 172 173 177 184

Bibliography Image References Flora, Fauna and Cultural Events Data Book Bibliography

CONTENTS Thematic Ordering APPROACH

1 6 7 8 9 14 16 20 21 22 28 29 38 40 43 44 56 57 67 85 86

STRATEGIES

18 25 26 36 46 48 60 61 63 77 121

Spatial Experience Studies Communication through Form What should the design of a memorial consider? Journey and Movement Using site to tell/reveal a story A changing line, a changing landscape History of Coranderrk Aboriginal Reserve An invisible history An understanding of Site Planting a Seed Integrating Site Narratives

OUTCOMES

29 49 51 67 75 87 89 91 101 111 123

Design Esquisses I, II, III Shifting Conditions Breaking down the Wall Design Concepts I, II, III A Shifting Boundary Site Intervention Matrix Organisation Plan and Timelines Wildflowers Billabong Forest Choreographing a pathway

124 126

Design Approach Summary Findings and Further Considerations

REFLECTIONS

Abstract Preface Research Investigations Design Criteria Key Terminology Vietname Veterans Memorial â&#x20AC;&#x2DC;Passagesâ&#x20AC;&#x2122;, Walter Benjamin Memorial Memorial Typologies Memorial Meaning The Contemporary Memorial Purpose and Anti-memorials Existing Memorial Studies Case Studies for Design Esquisses I,II, III Case Study: Running Fence Case Study: Punta Pinte Narrative Typologies Past Work with Narrative The Frontier Wars Reconciliation Place; a token gesture? Case Studies for Design Concepts I,II, III Case Study: Parc de la Villette Displacement of the Grid

123

APPENDIX i

130

APPENDIX ii

172

Flora, Fauna and Cultural Events Data Booklet 173 177 184

Bibliography Image References Flora, Fauna and Cultural Events Data Book Bibliography

ABSTRACT//

Walter Benjamin Memorial, Portbou by Dani Karavan

Research Question How may embedded site narratives be employed as drivers for the design of spatial and temporal forms in the memorial landscape?

Sub-question: How does engaging with temporality in a memorial to Australiaâ&#x20AC;&#x2122;s contested and changing histories, allow for new forms of commemoration?

REMEMBER TO FORGET // DESIGNING AGAINST MEMORIAL PERMANENCY

Abstract This research seeks to consider the role of the memorial in a contemporary setting; it’s role comprising of both a purpose as a space for remembrance and its agency as a storytelling device of particular ‘narratives’. Through precedent study the research suggests that similar to the changing nature of memory, neither the memorial nor its meaning are fixed, but are rather in a constant state of flux, shifting in reaction to social and cultural conditions. Positioning site an active backdrop to these shifting conditions, this research proposes that the study of underlying site narratives can activate a feedback between the physical design interventions (spatial and temporal forms) and the resulting memorial’s meaning and purpose. This assumes a multiplicity of site ‘narratives’ layered through both space and time. It is also accepted that an understanding of each and every one is impossibility for both the visitor and designer, rather one has a selective individual understanding. In this way the project essentially illuminates ones own position, using “the memorial as a way to reflect back to the people their own memorial projections and preoccupations.”1 Here, it is simply the act of recognition that is the pursuit, rather than the dictation of one ‘truth’. Alex Miller, offers the notion that multiple ‘truths’ exist, each similar and overlapping, but only together creating a whole: “There is, in my opinion, no one dominant truth but many, just as if you apply light to a prism the seeming singleness of its colour breaks up into a spectrum of colours, but each related in some intimate way to the other’2. By allowing the memorial to act beyond the symbol or literal transcription of a singular history, it begins to offer capacity to reflect on past events in new ways, allow for individual contribution, and temporal insertions which begin to weave new narrative cycles into the site. Here, the project explores alternative physical gestures of memorial design, responding to the 1. Young, J. The Counter Monument: Memory against Itself in Germany Today. Vol. 18.2. The University of Chicago Press, 1992. 2. Miller, A., (email response, 2008) The Novels of Alex Miller: An Introduction edited by Robert Dixon, Allen & Unwin, 2012 (p158)

“difficult, racially charged and contested histories”3 of Australia’s colonial settlement. Judith Wasserman comments: “Memorials promise an authentic physical experience of history...what the visitor loses in factual information, they gain in emotional depth.“ 4 This introduces the importance of the human spatial experience as a means of access to the emotional subjects of the memorial, rather than didactic form. A fascination with changing experiences as a result of movement and time were tested, experimenting with the body-space relationship to changing scale and materiality of form over one’s journey. A series of seasonal plantings articulate a changing boundary over a period of time, allowing a physically encompassing, temporal, experience of the landscape, as well as offering new possibilities for what signifies ‘commemoration’5. The project serves as an invitation into a more critical inquiry and engagement with contemporary memorial spaces, in understanding what is required of memorial spaces, and what they can potentially provide, beyond monument and symbol. My research is part of a larger continuum surrounding the evolution of memorial designs, particularly of ways to “accommodate continual shifts in and the changing nature of society while perhaps allowing in some cases, memorials which disappear as the physical past does”6. This research essentially seeks to ask: Is the purpose of the memorial active remembrance as means to forgetting?

3. Ware, S. Anti-Memorials: Rethinking the Landscape of Memory. RMIT University Melbourne, 2005. 4. Wasserman, J. Memory Embedded. Vol. 21.1. Landscape Journal , 2002. 5. The design proposal seeks to include activities such as community planting days as important acts of remembrance, as well as seasonal integration with cultural indigenous rituals and anniversaries. 6. Ware, S. Anti-Memorials: Rethinking the Landscape of Memory. RMIT University Melbourne, 2005.

PREFACE//

‘Broken Heart’ (2005), Portrait of a Distant Land series, 2007 by Ricky Maynard gelatin silver photograph 45.2 h x 45.4 w cm

Preface The violence and ‘ frontier warfare’ of colonial settlement have been the great secret of Australia’s history, and still remain fiercely contested by historians. Records which signify fatalities second only to the First World War have even sparked comparisons to the genocidal practices of the Holocaust. While Indigenous people keep their bloodstained history alive, through oral and ritualistic practices, White Australia seems to continue to wish it buried and forgotten. A poignant example is The Australian War Memorial, which has repeatedly rejected calls to include a recognition of frontier warfare, while comparitively brief overseas engagements with little to no sacrifice are seemingly more worthy of the Memorial’s inclusion. The fact that the nation commemorates some, while ignoring another is a situation that demands explanation. This project calls for a new national memorial, in remembrance of the frontier associated land wars in Australia between 1788 and 1984 and the consequences following them. Telling the truth is central to the Aboriginal agenda for reconciliation, and the recognition of Australia’s dark settlement history is merely the first step towards this. “Reconciliation means reconciling of the two stories about what happened when pioneer settlers met indigenous people all around a vast, moving, ragged frontier” (Reynolds, 1999)

“

White people just wanted the land. So did black people. They fought each other for it. The white people won. That’s how history starts.”

(Perkins & Langton, 2008)

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Ancient injustice burns like a beacon across the generations. In black Australia the flame is fed by two of humanity’s most keenly felt grievances – lost land and martyred kin. White Australians should not suppose that the Aborigines have forgotten the ‘martyrs of their country’, that they no longer remember the ‘blood-red dawn of their civilisation’. The killing times are still in living memory in those parts of Australia where most blacks live. The deep fear of the frontier still stalks communities and individuals alike.

(Reynolds, 1987)

Fig 1 Design Research Project Key Words Mapping

Research Investigations Throughout the research project, many different threads of investigation emerged, some only informing the work for a short period and others lasting the length of the research period. Throughout the process however, there was a clear distinction between the larger themes which formed my approach, the ‘tools’ or strategies by which I worked, and the key ideas within design outcomes that were produced. In attempting to reflect upon the process as a whole, by diagramming the trajectory, I categorised these as “Approach”, “Strategies” and “Outcomes” respectively, and within each category there are three levels of focus. These levels (primary, secondary and tertiary) describe the hierachy of importance of each topic of investigation, relative to the larger research agenda. Particularly in the later stages of the design research, I was guided by a number of key Design Criteria, which described the qualities and operations that the memorial project sought to provide. These were formed through a rigorous study of precedent and wider discourse theory, shifting slighting as the project developed.

Design Criteria 1. Memorial design will engage the visitor in the process of reflection, through passive and/ or active participation in the everyday acts of commemoration. Following this, the design will provide spaces for a range of remembrance behaviours, such as social gathering and communal rituals, as well as private reflection and contemplation spaces. 2. The memorial will engage with the temporal nature of memory. Considering impermanence as a tool for forgetting; The memorial will consider the act of forgetting as an important part of the memorial process (SueAnne Ware). This is marked in elements which transform over time, and ambiguity in formal elements to allow for an openness of interpretation. 3. The memorial will be of a subtle, anti-didactic nature, where the purpose is simply for one to question their position, rather than dictate meaning, or “teach” a particular lesson. The memorial will encourage exploration of the site, but not overtly dictate behaviour or directionality

4. The memorial will act as a call for recognition, in making the invisible, visible. The memorial acts as a call to recognize frontier and associated land wars in Australia between 1788 and 1984, and embedded site narratives. 5. The memorial will engage with multiple scales. Consideration of scales is important as a way to engage participation in a range of ways. This extends the term ‘visitor’ not only to people who are physically within the site, but also passersby, within a neighbouring proximity, or those engaged with it by association (i.e. organising activities, recipient of memorial merchandise/ harvest yields).

Key Terminology Part of the process of clarifying what this research encompassed was a consideration of the terms used to discuss it. By carefully defining these, it begins to be framed more specifically within the wider discourse.

anti-didactic - [an-tee dahy-dak-tik] adj. Intended for instruction or to teach or others, particularly moral lessons Containing a political or moral message to which aesthetic considerations are subordinated

These have been created by reconsidering the normative definition through the lens of this research. Interpretations not relevant to the project have been left out, and in some cases there have been additions to make something more explicit. In this way the definitions themselves have been designed (or retrofitted) for the purposes of this project.

awareness - [uh-wair-nis] n. The state of being conscious, having knowledge or understanding (of something). commemorate - [kuh-mem-uh-reyt] vb. To honour the memory of something or someone by reminder, observance or mention. ephemeral - [ih-fem-er-uhl] n. Anything short-lived adj. Lasting a very short time; short-lived; transitory experience - [ik-speer-ee-uhns] n. The process of personally encountering, observing or undergoing something and the knowledge gained from this. More broadly, the total cognitions; all that is perceived, understood and remembered. form - [fawrm] n. A particular mode or appearance in which a thing or person manifests itself; the shape or configuration of something as distinct from its colour, texture, etc. Something that gives or determines shape through mould, style, arrangement, order or organized structure. impermanent - [im-pur-muh-nuhnt] adj. not permanent or enduring; transitory, fleeting. interaction - [in-ter-ak-shuhn] n. The reciprocal action, effect or influence between two or more entities of varying nature and strength. memory - [mem-uh-ree] n. The capacity for retention, recall or recognition of past experiences, persons, facts or things.

memorial - [muh-mawr-ee-uhl, -mohr-] n. Something serving as a remembrance; designed to commemorate the memory of a person, event. adj. Of or pertaining to the memory of a person, event or thing. narrative - [nar-uh-tiv] n. The story of an event or experience (fiction or nonfiction)

adj. Of the nature of or practiced as a rite or ritual

adj. The telling of or representation of stories, events or experiences in a pictorial, literary or sculptural way.

seasonal - [see-zuh-nl] adj. Pertaining to, dependent on, occurring at or accompanying the seasons of the year or some particular season n. A seasonal product, only available within a particular seasonal period.

participation - [pahr-tis-uh-pey-shuhn] n. An act or instance of participating, taking part in some action or attempt.

temporal - [tem-per-uhl, tem-pruhl] adj. Enduring for a short time only; temporary; transitory (opposed to eternal).

vb. To take part, be or become actively involved, or share in something

time - [tahym] n. The system of sequential relations that events have to one another (past, present, future), and/or the period of duration between two successive events.

performative - [per-fawr-muh-tiv] adj. Of having an intensely affective quality on one or more entities. Acts or executions displayed by a particular person, process or thing. perception - [per-sep-shuhn] n. The result of or the act of awareness/ understanding/recognition derived from sensory processes in the presence of a stimulus. perspective - [per-spek-tiv] n. The interrelationship of the presently visible scene, with one’s previously existing ideas or known facts. remembrance - [ri-mem-bruhns] vb. The act or state of remembering, commemorating or honouring some past event, person or thing. n. the power or faculty of remembering or length of time over which recollection or memory extends. 10

ritual - [rich-oo-uhl] n. Any repetitive behaviour, performed by a person; Any formal act that is followed as an established procedure or collection of procedures for a religious or other rite.

war - [wawr] n. A state or period of conflict, hostility or contest between two or more parties, often carried out by force of arms. vb. To be in conflict or state of strong opposition. war memorial - [wawr ~ muh-mawr-ee-uhl] n. A site of commemoration to the act/s of war and subsequent consequences, affective of visitors by physical, spiritual and/or emotional means. Note: it is important to distinguish this from the normative definition of a war memorial as “a monument, usually an obelisk or cross, to those who die in a war, especially those from a particular locality” (“war memorial”, Collins English Dictionary), which excludes non-monument typologies of memorial, as well as memorials dedicated to aspects or victims of war not necessarily killed in combat.

MEMORIAL // EXPERIENCE â&#x20AC;&#x153;

Memorials promise an authentic physical experience of history...what the visitor loses in factual information, they gain in emotional depth.

(Wasserman, 2002)

Fig 2

Fig 3

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I had a simple impulse to cut into the earth. I imagined taking a knife and cutting into the earth, it opening up, an initial violence and pain that in time would heal. The grass would grow back, but the initial cut would remain a pure flat surface in the earth with a polished, mirrored surface, much like the surface on a geode when you cut it and polish the edge. The need for the names to be on the memorial would become the memorial; there was no need to embellish the design further. The people and their names would allow everyone to respond and remember. It would be an interface, between our world and the quieter, darker, more peaceful world beyond.

(Maya Lin, 2000)

Professor Vincent Scully touches on the interpretive quality of Lin’s work: “It [the memorial] doesn’t make any specific gesture, which can gate it in time or in place , it is all wars, all death, all living and all death at once” (Scully, 1994) By not seeking to control what we should think, the memorial allows for many interpretations and multiple readings, encouraging the visitor bring new expectations to the work; it confirms, supports, and reinforces individual perspectives that the visitor wishes to bring to the memorial. Using an ambiguity of form with an engagement with experiential understanding became an important relationship that I explored throughout the research project. I was interested in how the lived spatial experience could begin to inform what the visitor took from the memorial experience, rather than relying on textual or figurative elements which dictated a singular meaning. An emphasis that I wanted to echo in my own work was that the memorial focus is not on events or debate surrounding the war, nor does not glorify or honour. Instead the memorial places importance on the individual losses, and the immensity of the human impact through the quantitative listing of names. In the listing of so many names, it is made very clear: “That it should never happen again, that the loss of young lives was too great a price to pay” (Shmidt, 1982) 14

Fig 5

The work of Maya Lin as an architect and sculptor combines symbolism, material, interaction and bodily relations to the space in order to create experiences which move the participant, and reference larger political or cultural intentions. In her Vietnam Veterans Memorial in Washington, visitors enter a cut in the earth, and descend to the midpoint, passing column after column of names cut into the black granite wall. The angles of the wall also point directly to the Lincoln Memorial and the Washington monument, creating a strong political statement concerning the recognition that returning Vietnam Veterans had previously received.

Fig 4

Vietnam Veterans Memorial, Maya Lin

Fig 2 Maya Lin’s original pastel drawings for the memorial explore have a mysterious, painterly quality, the dark linear forms an abstraction of the pain of war through the act of “cutting into the earth”. This “pulls” visitors down into the memorial space, setting them up to move along it up and out at the opposite end of the memorial. Fig 3 The built memorial in Washington D C is positioned so that the walls point to the Lincoln Memorial and the Washington Monument. This gesture linking two symbolic monuments for the country with the Vietnam Veterans Memorial, can be read as a political comment on the countrys reception of the veterans on thier return, and also a creation of unity between the past and present of the nation. Fig 4 Topography and directionality suggest linear movement through the space, and evoke a feeling of being ‘enveloped’ at the apex, where you are physically below the surrounding ground level. Moving outwards from this point the level rises up and meets the surrounding grounds again. Experientially, the visitor engages physically in a cathartic process suggestive of the pain, healing and acceptance involved in the mental act of remembrance. Fig 5 Visitors are drawn to the wall where they can reach out and touch the names of thier loved ones, or leave momentos at the base. In doing so, the memorial names suggest individual features, actions and personalities that defy their placement in a homogenous list.

Fig 6

Fig 7

Fig 8 Fig 6, Fig 7, Fig 8 The physical presence of the ‘Passage’ intervention within the larger site is quite minimal, and begins to emerge out of the gournd plane upwards, inviting visitors down into it. Fig 9 The tunnel cuts into the earth, inviting visitors down a narrow stairway and towards the ocean, providing a strong directional pull and a sense of enclosure moving through the space, towards the “light” lookout endpoint. . Fig 10, Fig 11 Lighting from either end of the space light up the edges of the space, leaving the passage dark and isolated. The stairs lead to a “deadend” lookout onto the ocean, framing the sublime landscape and cliff-faces, creating a dramatic experience for the visitor. .

Fig 9

‘Passages’, Walter Benjamin Memorial, Dani Karavan Fig 10

Dedicated to the German-Jewish author, the Walter Benjamin Memorial sits on the Spanish-French border, in the village of Port-Bou, where Benjamin died (from a morphine overdose; a speculated suicide) in 1940 Benjamin after a failed attempt to escape to the United States. The work reflects Benjamin’s philsopical interests (limit, memory, experience and landscape as aura) as well as exitsing narratives of site, through insertion, materiality and framing. The naming of the memorial as ‘Passages’ is also reminiscent of the ‘dead-end’ at which Benjamin was caught when trying to travel his final passage. The visitor enters a narrow corridoor space and descends down stairs towards the view at the bottom. A vertical panel of glass unexpectedly stops the visitor, now facing a ‘dead-end’, representative of that which Benjamin faced before the end of his life. This notion is somewhat visually represented, but more interestingly, it is in the experience of the visitor that it becomes activated. The narrative of the site only becomes released through the visitor’s embodiment of the space. Though the materiality and the form are carefully considered, the narrative of the memorial remains based predominantly on the presence, movement and exploration of the visitor. The experience of the space as an element which itself brings understanding through lived action is something that this research intends to explore. In this memorial, this is choreographed through positioning, framing and sequence of movement through the site, which is left open to the visitor by design. Elements from the embedded narratives of the site, and of the event being commemorated are also used clearly in the work, with threads of flight, exile and isolation echoed in how the visitor experiences the memorial, combining to create a horrific tension within the sublime landscape. 16

Fig 11

Fig 12 Fig 13 The first follie that was constructed explored themes of perspective, movement and humanspace interactions. The form of a mobile allowed motion-sensing cardboard prisms to measure the forces acting from external actions, such as a person walking past and creating gusts of wind. Fig 14 Iterating the idea of the mobile, this follie allowed the subject to occupt the space within a hanging mobile, and engaging further with thenatics of interaction and manipulation by human force.

Fig 14

Fig 13 Fig 12 Interested in directionality and movement, this hanging follie attempted to draw subjects towards it, and invite interaction with the suspended filaments. This explored boundaries between interior and exterior as well as senosrial interaction with material, movement and light.

narrative creates connections and organises experiences to create meaning

experience “knowledge/understanding”

interaction involvement in development of site/space

processes of knowledge

memory

interpretation/ processing of sensory cues

perception “recognition”

change in triggers?

time “past/future threads”

perspective awareness level of awareness dependant on physical, mental and social perspectives.

Fig 15 Realms of Research Interest relationships diagram

Spatial Experience Studies Beginning with an interest in the cognitive and perceptual processes which inform our understandings of our surroundings, the follies were a tool to further draw out how these themes could be explored spatially. The themes of interest generated by the follies (and what connected them to each other) are all inherently connected to the practice of narrative design. Namely, these are experience, perception, sequencing, memory and change over time. In the construction of the follies, there was an overarching consideration of perspective, movement and human interaction, and the relationship of these to form. This lead to an interest in the subsequent invitation to participate in a space, or the opposite, a distancing from the percieved ‘object’. This echoed research into the formal qualities of memorials which influenced engagement with the visitor later in the project. 18

The research began to fall under two descriptors that covered a large range of interests; ‘form’ and ‘narrative’. In looking at form as a spatial element which informs experience, the design work aimed to subsequently consider themes such as perception, perspective, and interaction as correlated entities. As a tool for form generation narrative is understood as a design approach for the nomination and organisation of experiences serving to communicate something larger. In order to undertake the research through a design project, ‘war memorial’ was chosen as a medium through which these ideas could be tested. This brought another layer of complexity to the project, requiring positioning within the larger discourse of memorial design.

Typology

Features

Monument-based

Object-based icons or statues which hold symbolism relative to that which is being memorialised. Tend to be quite literal in form and offer a limited (sometimes singular) reading of the events and histories they represent. Rely on a ‘hero’ or ‘acts of heroism’, while excluding notions of ‘the other’ and ‘otherness’. Begin to dictate, or reflect notions of ‘a collective memory’ Can also include ‘Avenues of Honour’ as a traditional and formal organisation of a memorial.

Plaque/ Honour Roll

A list of names and dates denoting parties involved in an event or period being commemorated (usually a list of names of those who died in service in the war, police force or similar).

‘Tack-on’ memorials

Additions to existing memorials, in an attempt to make relevant to a wider audience, or include multiple readings to what is being commemorated.

Building/Structural

Large structures or buildings (such as shrines), dedicated to an event, or which perform commemoratively. Often still quite traditional in their formal qualities, but are to be experienced spatially more fully than monument-based counterparts.

Temporary/Impermanent

Installation-type memorials, only intended to exist for a limited amount of time, either in their presence (installed formation) or their ‘finished state’. Can include memorials which are indended to ‘fade’ or ‘disappear’ over time.

Roadside Memorial

Informal and often small, intimate memorial created along the side of a road at the location of a road accident. Often made up of a white cross and/or flowers tied to nearby infrastructures (trees, poles etc). These memorials are usually constructed by the family and friends of the deceased and feature belongings/objects/symbols which are very personal to those involved.

Counter-Memorial

Often additions to existing memorials, in an attempt to offer an opposing/ alternative viewpoint or question what is being currently memorialised (i.e. a subversion of what is currently existing).

Anti-Memorial

An attempt to offer an opposing viewpoint or question contemporary issues facing society through the commemoration of something not traditionally acknowledged as approrpriate of memorialising. Often engage with the temporal or ephemeral rather than of creating permanent structures.

Naming

Naming a certain place as a way to recollect an event or person

Ritualistic/Event-based

Can be either closely tied to site, or able to be performed remote from it. Involve the gathering of communities to perform a ritual or event in order to commemorate, rather than the focus being on a symbolic object.

Fig 16 Memorial typologies basic characteristics table generated by “Anti-memorials: Rethinking the landscape of memory” by SueAnne Ware

Memorial Typologies Fig 17 Mapping memorial qualities and operations.

Considering memorials as a kit of parts, tailored to a particular purpose, audience and performance, a method of analysis and comparison was undertaken for a range of memorial types. This lead to an understanding that the memorial was not something singular, but complex in its intent and content. The process of mapping selected qualities over a series of memorials also showed the similarities between memorial typologies that had been previously understood as polar opposites, when positioned in a binary system of categorization.

(WAR) MEMORIALS WHAT FOR? PRESENT DAY

AT TIME OF CONSTRUCTION • to grieve • to access/ to mark in the absence of “visitable” burial sites • to justify war/affirm reasons for mass death • to assist in moving on/ returning to normal life

to honour to remember

• to educate and communicate • to be descriptive/ emotive of the realities of battle • to access meaning/memory

WHO VISITS MEMORIALS? THE PILGRIM • for whom the memorials were designed • - bereaved • - ex-service men/women

THE TOURIST changing role

THE PROCESSES OF SOCIAL MEMORY

COLLECTIVE MEMORY • selective • results from the activities of particular groups, which invests politics and negotiation in the process, resulting in an inequality of remembrance.

• those with no direct link to the individuals lost/event • motivated by a range of reasons (nationalistic, educational, personal, humanitarian, anti-war, entertainment etc)

COLLECTED MEMORY

“truths”?

• subjective • results from the collection of a series of individual memories of experiences, which are subject to change according to a series of external factors.

THE ACT OF NOT-FORGETTING

RITUAL • the rehearsal of memory in the ritualistic nature of memorial practices, in order to avoid the fading of memories (i.e. ceremonies, marches, pilgrammages etc.)

DESCRIPTION

annual reminder/ retelling

lived/active learning

• explicit description of events, in order to continue to remember the realities of war, engender emotional reaction/connection to the event and avoid apathy. text/written learning

CLARITY • clarity of memorial forms in their communicative role, to avoid misinterpretation, confusion and misreading of what is being commemorated and why.

Fig 18 Contemporary roles of memorials diagram generated from “Tourism, Social Memory and The Great War” by Caroline Winter

Memorial Meaning

The consideration of the role, and audience of memorials in the present day was also explored. Caroline Winter’s asserts that new memorials should focus on education and tourism. This research seeks to question the notion that the importance of memorial spaces should be taught by a tour guide, or learnt from a pamphlet, but instead should be something that comes as a result of the act of experience, and is therefore particular to the individual. It could be speculated that a memorial which is spatial in the way it is understood, has implicit forms of education embedded within it, and that these spaces would continue to be successful commemorative spaces without the need for explicit meanings and messages dictated to the audience. 21

How does the memorial do this?

What can the memorial do?

What or Who is the memorial for?

Isolate History Demand Respect Grieve Multifunctional Communication Challenge Form Remember Values Reflect Contemporary Honour Move On Politics Future Solemn Question Interact Generations Quantitative Qualitative Personal Positive Tradition Intent Lest We Forget Symbol Trigger Evoke Freeze Time Justify Community Change Representation Educate Mark Time Contemplate Abstraction Emotional “Hero”

Fig 19 “What is a memorial about?” Thematics list.

The Contemporary Memorial Purpose and Anti-memorials Among a range of other operations, traditionally, the role of the memorial monument is that of a significant form of cultural expression and a measure of social values, a reflection of the past. This project seeks to put forward a new way of thinking about the memorial, shifting towards spaces which serve to reflect the present conditions. This aligns with the notion that “while they may honour the dead, memorials are untimately for the living” (Ware, 2008) and their importance lies in the power to awaken empathy and encourage our capacity to remember, share and transform understanding. This changes the role of the memorial space to a platform for re-evaluation and reconstruction. This positions this project within the realm of the Anti-Memorial, or the CounterMemorial, as described by Sue Anne Ware: “Anti-memorials, as the term suggests, begin to formalise impermanence and even celebrate their own transitory natures. James Young contends that they critique the illusion that the permanence of stone somehow guarantees the permanence of the idea that it is memorialising. Further, memorials are often accepted uncritically as ‘historical’, that is, as the accurate record of knowledgeable insight. This assumption denies the role that memorials can play within developing understandings of current and on-going issues.” (Ware, 2008) This aims to encourage speculation for new programs in memorial design, as well as new ways in which we behave in commemorative spaces, and begin to reconsider or question what is commemorated. James Young pushes this confrontational nature futher, asserting: “Anti-memorial aim not to console but to provoke, not to remain fixed but to change, not to be everlasting but to disappear, not to remain pristine but to invite their own violation and not to accept graciously the burden of memorial but to drop it at the public’s feet” (Young,1997)

CONSIDERING FORM//

Approach

Neoarchaic

The Genius of Place

Features A way of retrieving a lost point on the way to modernity. Retrieves meaning from historical points in time, with the notion that if it meant something in the past it will have meaning today. Refers to the idea that a garden reveals the particularities of place. (Central to this is the belief that reflecting a preexisting condition produces a design more meaningful to the residents.)

The Zeitgeist

The spirit of the times. Landscapes designed with contemporary art-like elements which are illustrative of the spirit of the times.

The Vernacular Landscape

A rich source of materials and forms that constitute the “real” world in which we live. Treated as a mass of materials to be altered by designers.

The Didactic

Dictates that forms should tell us about natural workings or history of the place. Related to the Genius Loci school, but usually clearer in its intentions.

Fig 20 Five approaches to meaning in landscape design from “Must Landscapes Mean?” by Marc Treib

Communication through Form

This research is mostly concerned with what the memorial can facilitate as a space, and therefore aims to engage in the landscape as a canvas which holds many formal qualities rather than produce one particular ‘form’ or ‘object’ that then acts as a symbolic monument. The project seeks to provide a platform that is open to interpretation by the visitor rather than dictation of meaning using text or symbolism that are read literally and attempts to move away from conventional didactic memorial forms. Creation of meaning in the memorial landscape is recognised as an important role of employing narrative in the design process. Marc Treib discusses meaning as a combination of ethics, values, history and the relationships between them, read singly, or together. Of the five approaches to creating meaningful landscape design, this research aligns most closely with The Didactic, in its use of form as a tool to communicate the underlying workings of the landscape. However, this project is also seeks to undermine the ‘telling’ aspect to this approach. Rather it is ‘anti-didactic’ in it’s open and interpretive qualities wherein it does not seek to dictate message other than what is ‘felt’ through the experiential qualities of space. In this way, the work becomes almost ‘Anti-didactic’. The Zietgeist and Neoarchaic approaches have also been highlighted as ways to ‘retrieve’ lost meaning, and the use of ‘art-like’ elements as illustrative agents. Engaging with many political and social issues, the memorial is expected to also provoke and critique aspects of that which it memorializes, sitting alongside an Anti-memorial or Counter-memorial practices.

What should the design of a memorial consider?

(Analytical questions to ask of the memorial, adapted from David Norden) Audience • Who is the memorial for? • Is it appropriate to be a public/national memorial? • Who needs the memorial? Intent/Clarity • Is the narrative* of the memorial clear? • Does the narrative have to be clear for the memorial to be successful? • Is there more than one narrative present? • What purpose does the memorial hold without a clear narrative? Behaviour/Visitor Experience • What kind of behaviour is encouraged in the site? • Is there opportunity for un-planned behaviours in the space? • Is there opportunity for alternative commemorative behaviours in the space (i.e. gathering areas, event/group spaces, individual contemplation spaces etc) • How much choice does the visitor have in their directionality/movement in the space? • Can the visitor contribute to/engage with the site physically in some way? • Does the visitor change physical positioning (kneel/crouch/lay) to engage with the memorial at any point? • Is there a clear pathway (following), or points between which the visitor travels (hide/reveal)? Landscape Position • What is the topography of the memorial? (is it higher or lower than surrounding spaces?) • What does the topography mean for the experience at certain points (i.e. approach, entrance, presence, exit)? • Does the memorial have an end-point/destination, or is it open-ended? • Does the memorial extend beyond the physical reach of the visitor (e.g. through site lines/association etc.) • Does the memorial or memorial site have a clear positioning (entrance/ exit or front/side/back relationship) or is this ambiguous? • What is the exposure of the memorial (enclosed, exposed, intimate etc)? Element Form • What do the visual elements signify for the memorial experience? (size, colour, brightness/reflectivity, materiality etc) • What is the material qualities of the memorial (density, texture, malleability, natural/synthentic) awnd the relationship of these to the overall site? • Are there non-visual elements to the memorial (auditory/olifactory)? • Is there a level of referencing/recognisability/connotation involved in the experience of the memorial? • Is the memorial form permanent or temporary? *Narrative is used here to mean any meaning/story/message etc that the memorial holds **Time is a constant factor when considering the answer to any of these questions. In answering (or attempting to do so) one must immediately ask the follow up question “Does the answer to this change throughout the day/week/month/year?”

Fig 21

Fig 22

Fig 23 Fig 21 WWI Victory Sign, Maldon Fig 22 Stone of Remembrance, Maldon

Fig 24

“

Fig 25 Jubillee of the Shire, Maldon

If we begin to think of memory not as some platonic ideal that is pure or complete, but as a periodic process of reevaluation and reconstruction given present contexts, do our ideas about designing memorials then evolve accordingly? There is an incongruity between the inherent changeability of landscapes and memories and conventional formal strategies of commemoration.”

Fig 26 Gold Discovery Monument, Maldon

(Ware ,2005)

Fig 23 Maldon Avenue of Honour, Maldon Fig 24 Map of listed memorial locations, Maldon

Fig 27 Roadside Memorial for ‘Roscoe’, Maldon Fig 28 Creswick War Memorial, Creswick Fig 29 Chinese Settlement memorial, Creswick Fig 30 Australiasian Mining Disaster Memorial, Creswick

“

The social memory created by the previous generation was deceptively simple and related primarily to their need to express grief for the mass death that had occurred over more than four years of war. These memorials were set in stone to be remembered forever. The new memorials of today however, provide for interactive experiences for visitors which allow them to select information from a vast range of materials, which provides for the articulation of multiple and complex interpretations and memories.

(Winter, 2009)

Existing Memorial Studies Visits to a series of memorials in the country towns of Maldon and Creswick in Victoria, and considering existing normative memorial forms sparked an interest in questions such as: What is the contemporary role of a memorial? What should a memorial be or do (and likewise what shouldn’t a memorial be or do)? As a designer, I felt that it was important to study the forms that we create to commemorate, and the impact this form has on the answers to these questions. Monuments vs. Spatial Memorials The memorial sites catalogued between the two townships comprised mainly of cemeteries, plaques, or monuments, with little if any experiential qualities. The exceptions to this in Maldon were the Victory “V” formed by white granite rocks, the Avenue of Honour. In Creswick the informal Roadside Memorial dedicated to ‘Roscoe’ stood as an intimate contemporary gesture among the many homogenous ‘stone-plus-plaque’ monuments. All the memorials served to ‘separate’ the visitor, through materiality or location, becoming a buffer against interaction or more intimate experiences, alienating visitors. The critique of this representation of the memorial as sacred and untouchable, became an important point of departure for the project. (Un)Changing through Time Through studying existing memorial sites, what became apparent was the lack of resonance that these memorials held with the modern-day audience. Despite the important reasons behind their construction, the stories, morals and overall ‘weight’ these spaces were built to convey were getting lost over time, as generations passed and memories faded. This displayed effects of the underlying problem in memorial design, critiqued by Young: “[There is] the illusion that the permanence of stone somehow guaruntees the permanence of the idea that it is memorialising” (Young, 1992)

However, this is not always the case, and it also denies the importance for memorials which develop understandings of on-going issues, and seek to instigate debate around their given subject. What began to emerge was an inquiry as to whether more spatial memorial forms could better engage with the visitor on an experiential level, rather than relying on closed descriptions from plaques and information boards. This begun an investigation into the link between memory and memorial, which formed the basis for the project criteria in placing importance on the temporary or changing nature of memorials, as a response to the everchanging nature of memory.

Fig 25

Fig 26

Fig 27

Fig 28

Fig 29

Fig 30

Fig 31

Case Study: Tuol Sleng Museum of Genocide Crimes, Cambodia Fig 32

Fig 33

Fig 34

“

Visitors learn very little about the historical background and the policies of the Pol Pot regime during their visit, but perform a symbolic gesture of re-actualisation and reenactment of the trauma experience, and in doing so they become transformed, during the time of their visit, into witnesses of a trauma whose historical reasons and individual responsibility are still partly hidden form both them and the rest of the world.”

(Violi, 2012)

The Tuol Sleng Museum of Genocide Crimes is in Phnom Penh, at the site of the infamous ‘S-21’, the largest centre of detention, interrogation and torture established by the Khmer Rougue secret Police, during the Democratic Kampuchea dictatorship regime. The full extent of the genocide is still unclear, but it is estimated that the number of victims at Tuol Sleng was between 15,000 and 17,000. The most important aspect of the design of the museum’s design is that it is absent of almost all informational text material. Instead, there is an emphasis on the physical, visual aspects, which have been carefully preserved, and re-presented. “Tuol Sleng is a museum to be felt, rather than known or understood. Accordingly, the material exhibited is largely visual (images, maps) as well as numerous examples of human remains, skulls and bones, in large glass cases...” (Violi, 2012) The museum plays on the visitor’s role, where visitors find themselves in the same visual position at the persecutor of the time, looking at walls of full-frontal photographs of prisoners. Here, the space occupied by the persecutor/photographer is the same as that occupied by the tourist/visitor; essentially, they are seeing ‘what they saw’. This effectively invites visitors to participate (whether they want to or not) by positioning the visitor ‘in their shoes’. In doing this, a powerful change of role happens, they become no longer passive spectators, but can be seen as re-enacting the traumatic experience itself, and part of the narrative of the site. What is percieved after the visit is less about ‘I have learnt’ and moreso ‘I have seen’, again positioning the visitor in the role of ‘the witness’.

Fig 35

Fig 36

Design Esquisse I The Tunnel In redesigning an existing memorial, Case Studies of existing memorial practices were used to investigate alternative strategies to communicate meaning. The existing forms at the Australasian Mining Disaster Memorial in Creswick lacked resonance with the horror of the event (Australia’s worst below-ground mining disaster to date), involving the trapping and suffocation of 22 miners over a period of 2 days. Using ‘re-enactment’ as a design strategy identified in Tuol Sleng Museum of Genocide Crimes, The Tunnel attempted to situate the visitor ‘in the miner’s shoes’ as a way to understand the horror of the event, by re-creating aspects of the experience. A tunnel was proposed, where the humidity and soil evoke notions of soil and water, elements which causing the disaster. Upon reaching the end of the tunnel, water begins to fill up a double-glass walled capsule, simulating the flooding of the tunnel, and inviting a multi-sensorial experience. The deadended nature of the tunnel also suggests isolation and endpoint, prompting the visitor to question what comes next.

Fig 37

Fig 35 Existing conditions of the abandoned mining disaster collase siet Fig 36 Remains of information shelter at the memorial shelter. Fig 37 Newspaper illustrations published at the time of the mining disaster.

Case Study: Villa Grimaldi Park for Peace, Santiago, Chile Fig 38

Fig 39

Fig 40

Fig 41

Fig 38, Fig 39 Artefacts from the period of use as a torture centre have been used throughout the park, such as plaques and mosaics constructed of tiles from the bathrooms. Fig 40 Similar plaques have been used in rose gardens commemorating the women prisoners, symbolic of femininity and new life. Fig 41 A heavy stone wall contains inscriptions of a full list of prisoner names, giving a solic permanence to the memorial.

Villa Grimaldi Park for Peace is based at a weekend house that was acquired in 1973 by the Army secret police, and used as a centre for interrogation and torture until 1978. It was been estimated that 4,500 people were imprisoned there, of whom 226 disappeared (either killed during torture or jettisoned alive into the Pacific Ocean from military aeroplanes). Formally, the park is a peaceful place, bearing little sign of past events. In some sites, a stone marker will indicate what the place was used for: “Swimming pool: a frightening place”, “The tower: a place of loneliness, torture and extermination”, and pillars in the rose garden are inscribed with names of women prisoners who diappeared. At one end of the park there is a large wall on which are engraved the names of the 226 victims. This is the extent of the physical reminders of the past on the site. The design of the memorial should be considered within the context of the political and cultural setting of a difficult transition into a still very fragile democracy. Chilean society was hestitant to combine a policy of both justice and peace, with a fear that dealing with past traumas would sink the country back into a period of terror. The naming of the memorial also reflects an this hesitancy: “Villa Grimaldi was renamed as ‘Park for Peace’. The different denominations imply a radical shift in the categorization of the place itself…..Villa Grimaldi seems to refuse any externalisation of the horror in the form of a trauma site museum, by re-landscaping the estate and reclaiming a primacy of leisure over horror.” (Violi, 2012) The memorial very deliberately locates the atrocities in the past, where the act of remembering is situated in a present time, and distinctly different. It also frames the experiences as those of trauma, loss and victimhood, rather than highlighting the national issues of domination, resistance, revolution and counter revolution that were at state. The effect, some critics argue, is a space that can risk beoming a space of interminancy, neutralisation and contradiction.

Fig 42

Design Esquisse II The Memorial Garden The second redesign for the Australiasian Mining Disaster Memorial site employed symbolism as a way to articulate the effects on the community. This design takes the focus on leisure and use of passive memorial gardens from the Villa Grimaldi Park for Peace, and considers landscape as a way to reflect and contemplate loss, while remaining a park used for other programs. Planting is used to mark each miner who lost his life in an Avenue of Honour, lined with 22 poplars to represent the miners. Sitting behind these are rows of rose bushes, 17 with red flowers to symbolise the wives of the men and 65 with white flowers for the children. The design considers temporality as the plants change seasonally. The roses will not always be in bloom, and during the winter months the poplars will shed their foliage, and appear as a stark skeletal channel. This changing landscape encourages visitation over a period of months or even years, with a changing spatial experience each time.

Fig 43

Fig 42, Fig 43 The existing entrance to the Australiasian Mining Disaster memorial site is delineated by a small â&#x20AC;&#x153;Avenue of Honourâ&#x20AC;? and a plaque describing the date of the event and a general description recounting the facts. Experientially, the site lacks a sense of horror as to what occurred, and the powerful forces at play.

“ Fig 44

You and your experience is the content of the work. In work that is representational or in a frame, the subject matter is a depiction or literal manifestation of a person, place or event. Here, the subject matter is your experience, and it's yours and yours alone. It differs for everyone even though there's a common threshold.

Fig 45

(Serra, 2008) Interview with S. Muchnic

Fig 46

Case Study: Richard Serra, Scuptor In his sculpural works, Serra explores themes of fear, experience and memory, in how the beholder interacts and moves through his immense wall-like installations.

Fig 47

Fig 48

Serra’s works play on anticipation, scale and materiality, in ways which evoke feelings of fear, insignificance and the delicacy of the human life. His works are of a scale which overwhelms its human inhabitants, and the thickness and steel material of which they are made reinforce the weight of the work, which precariously angles outwards and into narrow walkways, teetering on the edge of balance and disaster. The use of the aesthetic to communicate specific intangibles is something that this project seeks to explore, as well as the contingency of the lived experiences of space, and subsequent multiplicity of understandings.

Fig 49

Fig 46 - Fig 49 Serra’s large-scale works of heavy core-ten steel evoke fear and excitement in their overshadowing scale and terrifying angles. At moments, the walls seem ready to teetr over and crush whatever they fall upon, and the materiality strikes contrast with the surroundings in its post-industrial, raw qualities.

Fig 50

Fig 51

Design Esquisse III The Wall In the third redesign for the memorial, an effort was made to use abstract form to create, reveal and frame narratives, and therefore choreograph spatial experiences. Using the form of ‘the wall’ as an imposition within the surrounding landscape, materiality and scale were used to make explicit the power, weight and unchanging nature of the foreign object within the changing natural landscape of grassed plains. In the same way that Serra’s scale overwhelms the human inhabitats, the set of two walls are supersized in order to emphasize the fragility of human life, communicate immensity fear and the sublime power associated with the mining disaster. This is emphasized also by the use of concrete in its materiality, a solic, unchanging, heavy material, immovable in the site. Orientation towards the historic mine and framing of a direct path are also operations of the form which influence experience and perception of the site. Exploration of further potentials of the wall as an abstract memorial form became a point of departure for considering how ambiguous forms may begin to uncover existing site narratives.

Fig 52 Fig 50 Memorial to Victims of Violence by Gaeta-Springall Architects, Mexico City This memorial uses the form of the wall to suggest violence both in its built form, and also in the ‘void’ spaces between. The void is used as a symbol of absences of the people being commemorated, and the materiality and surfaces of the walls each signify different ways in which violence effects oneself. Rusted steel reminds one of the marks and scars time makes on ones lifetime, mirroring is used to reflect and multiply the living persons and trees in the space, and natural steel is used to signify ‘the natural’ and ‘the essential’, in society’s main and essential values to keep to live in peace. Fig 51 The verticality of the space directs the visitor’s vision up, towards the sky, the light and the sun. This serves as a reminder of the hope, creating a stong drama in the site. Fig 52 There are spaces on the walls for visitors to write the name of a victim, and express pain, anger or longings for their loved ones. The walls play as mirrors and blackboards, and are transformed through the actions of the visitors into witnesses of the pain and destruction.

Fig 53

Fig 54

Fig 53 “Crossing borders” perspective drawing. Drawing in perspective prompted questions of scale, height, length, and change across the experience. Does the wall change as you move along its length? Does it stay the same? Contrast in materiality and form with the surrounding landscape of grassed plains also augments the alien nature of the wall’s presence, and begins to question why it is located where is it. Furthering this, are questions of where it leads to, and where it is coming from? Fig 54 Longitudinal sections. 1:1000 at A1. The experience of the wall is explored as a changing experience as you move along its length. This influences relationships to the body, perception and behaviour as the wall changes in height.

Fig 55

Fig 56

01 Rising to a height over 10 metres, the wall begins as an overpowering monolith-like structure, dwarfing the user.

02 Due to its scale and materiality, walking between the two walls of the memorial creates an eerie disconnection from the surroundings, and shelters from elements of light, sound and wind. 03 As the height of the wall begins to diminish, light is able to reach the passageway that sits between, and create a changing experience as the sun moves during across the sky.

Journey and Movement ‘Just Passing Through’ Within the discourse of war memorial design, there are inherent normative elements used to symbolise or communicate meaning. The wall became a normative element through which I was able to test and challenge it’s performative qualities, and the notion of what a memorial wall could be. The exploration of the wall became interesting as a device by which experience could change as the visitor moved along it’s length. In it’s formal qualities, particularly scale and materiality, there was a consideration of the influences on relationships to the body and subsequent behaviour as the wall changes. Considering the performance of the wall in a series of landscapes and situations also opened up the project to development in being site-driven, in both purpose and meaning. . At this stage of the research the project sought not to commemorate a particular war in history, but rather is concerned with larger ideas of war, conflict and boundary. Connected to these sub-themes that the memorial aimed to engage with such as loss, immensity, power and the overpowering, boundaries, land and land ownership, conflict, separation and connectedness.

04 At approximately 5 meters high, the walls still isolate the visitor visually from the surroundings either side, but external sounds are able to be distinguished, and the spaces are lighted for longer. 05 As the wall lowers to sit just above head height, one is able to discern objects in the surrounding landscape which sit above the height of the wall, but is still disconnected from all that is hidden below.

06 Walking along the outside walls, visitors are subject to the changing topography of the site, sometimes allowing views into the interior spaces between the walls. 07 Sitting below the eyeline, the wall no longer blocks views from the surroundings, moves towards a height able to be used as a seat, or for climbing. 08 As the wall moves below knee-level and disappears into the earth, it can be walked upon easily, and feelings of isolation, disconnection and immensity fade.

â&#x20AC;&#x153; Fig 57

The important thing to understand is that all of our projects have a nomadic quality, things in transition, going away, they will be gone forever. And this quality is an essential part of all our work. They are airyâ&#x20AC;&#x201D;not heavy like stone, steel, or concrete blocks. They are passing through.

(Christo, 2004) Interview with Jan Garden Castro

Fig 58

Fig 59

Fig 60

Case Study: “Running Fence” Christo and Jeanne Claude The works of Christo and Jeanne Claude have many underlying narratives, notions of nature, and material. Their projects direct the viewer to consider spaces in a very particular way, and often use the spatial qualities of their installations to highlight existing sublime qualities of the surrounding landscapes. ‘Running Fence’, a temporary installation which ran through Sonoma and Marin Counties, California uses the line to consider aspects of boundary, journey and limit, among many other implicit narratives. The temporary art installation runs across many different landscapes, and deliberately frames the topography that ebbs and flows across the land. There was also a conscious effort for the path of the fence to intersect with major roads, and force and interaction with the passersby: We were very eager to design the route of the Fence to cross fourteen roads, so people could see it where it crossed a road. We wanted the entire length of the Fence to run in relation to man-made structures—a house, a farm, a barn, a farmer’s fence. This is why the Fence is running in the hills (Christo, 2010) This idea of contrast with the man-made and the natural became an idea of interest, particularly in involving the idea of the intersection, or road crossing, and how the choreography of these points could drive the overal line formation.

Fig 61

Fig 57 - Fig 59 “Running Fence” traverses the Californian landscape, delineating the topography, creating and breaking boundaries and fences and, through contrast, framing it’s surroundings. In corssing thresholds of property and landscape (or water) it begins to question the line, the journey and the fence. Fig 60, Fig 61 Christo will usually produce a series of sketches and drawings of the work before it is constructed, as part of the design process. Christo and Jeanne Claude use this “software” to inform the resulting built “hardware”, in order to work out qualities of the work, but consider the whole process as being the artwork, rather than purely the built form.

Fig 62

Design Concept: The Line; a line of limit, a line of blood

Fig 62 Perspective concept drawing exploring a changing form of the line across a series of landscapes. This drawing prompted the consideration of intersections, transitions and form variation dependant upon the context. Here, the wall is consistent but its formal qualities changed, this notion was pushed further in considering how the wall itself could begin to break down, or become something else. Fig 63, Fig 64 Teresa Moller’s Punta Pinte uses the line in a very deliberate way, but is reactive to elements of site in the moments where it allows for a feature of importance, a rock or a tree, to go untouched, and the path moves around these, respecting them. This dynamic flexibility of form inspired the consideration of reactive form, relative to site conditions, that began to unfold in the project.

Extending the ‘wall’ exploration across a larger landscape began suggest that the memorial became a line drawn across the landscape. This led to a change in the siting of the memorial, as a universal gesture; a memorial to all wars, running through a variety of situations. This line tells the story of war throughout various Victorian settings, both rural and urban. The line works its way through a range of landscapes, a metaphor for acts of war at once bringing communities together and tearing them apart. Particularly through the lens of war, it could be read as both a connective and dividing force, cutting boundaries, describing difference, ownership and conflict. It was expected that different perceptions of the memorial would be created, according to how it was encountered (at an intersection with road as opposed to following the line for a day-long bike ride as opposed to everyday experiences of a limited section where it runs through one’s town or property).

“

When you do a line, it’s the line and all the rest. You put the line in the middle of all this wildness and all the wildness becomes more aware of the line, and the line of the wildness. It’s a contrast that brings more power to both things. The line is a subject in itself.

(Moller, 2011) Interview with Claire Martin, Landscape Architecture Australia

Fig 63

Case Studies: Punta Pinte Teresa Moller Fig 64

In her walkway at Punta Pinte, Moller uses line in a very deliberate way, to frame and augment the sublime aspects of the surrounding landscape. Through contrast and difference, the line becomes that which the surroundings are measured or noticed against. In this way, it becomes a tool to reveal the existing, which may otherwise go unnoticed. The beauty and subtlety of intervention of the project results from a balance of subtraction and addition which is responsive to the existing conditions: “Whenever we found an important rock in our path, an element that deserved to be respected, we would respect it and we would leave it and incorporate it into the walkway” (Moller, 2012) “Punta Pinte” film by Pablo Casals-Aguirre Moller’s approach also interested me because it begins to suggests the notion of palimpsest, or the accumulation of narratives of site and of design. This furthered my interest in how site narratives, or the layering of different site narratives could be revealed through design intervention, over a period of time or through space.

“

The line can be mark, trace, contour or outline, visible or invisible, a boundary dividing, or a bridge connecting....embodying sameness and difference, forever adjusting and unfinished, neither before nor after, here nor there.

(Grisewood, 2012)

STORIES OF SITE// NARRATIVE “

Narrative is a very fundamental way people shape and make sense of experience and landscapes”

(Potteiger, 1998)

“

The site at which a building is constructed is never tabula rasa, but has a history which haunts the spot, like a spectre.

(Van der Straeten, 2003)

Typology

Features

Narrative Experiences

Routines, rituals or events that represent or are of a narrative structure.

Associations and References

Elements in the landscape that become linked with the experience/event/history

Memory Landscapes

Places that serve as the tangible locus of a memory (both public and private).

Narrative Setting and Topos

A setting is the spatial and temporal circumstance of narrative. Narrative topos is a highly conventionalised setting culturally linked with particular events (i.e. mountaintops, roads etc)

Genres of Landscape Narratives

Places shaped by culturally defined narratives (i.e. legends, biography, myths etc)

Processes

Actions or events caused by some agency (processes such as wind, water, economics etc) and occur in succession or stages to some end.

Interpretive Landscapes

Elements or programs which tell what happened in a place (i.e. make existing narratives explicit)

Narrative as Form Generation

Using stories as a means of giving order (selecting, sequencing etc) or developing images in the design process. Story is not necessarily legible in the final design form.

Storytelling Landscapes

Places designed to tell specific stories with explicit references to plot, scenes, events, character. May be existing or produced by the design

Fig 65

“

Narrative implies a knowledge acquired through action, and the contingencies of the lived experience”

(Turner, 1981)

Narrative Typologies

Fig 65 Types of Landscape Narratives from “Landscape Narratives; Design Practices for Telling Stories” by Matthew Potteiger and Jamie Purinton Fig 66 Narrative elements, opportunities and constraints diagram generated from “Landscape Narratives; Design Practices for Telling Stories” by Matthew Potteiger and Jamie Purinton

In order to more broadly understand narrative as an approach for establishing meaning in the landscape, a study of existing narrative typologies was used, to understand the operations and relationships between narrative and design. “Landscape Narratives” by Matthew Potteiger and Jamie Purinton reflect nine different ways of thinking about narrative design in the landscape (Figure 8.1) as a base from which to work. In looking at spatial narratives, as distinct from written or verbal narratives, it is less about telling, and rather about showing. This research considers narratives as “a lens through which the world can been seen differently” (Collins, Dakkak, De Thomasis, Jewson, Loomes & StRuth, 2012). In a spatial narrative, the beholder is able to enter at various points and view from various positions. One is able to encounter the space as a whole, or pause and inspect specific parts. By engaging the beholder in following the story, it requires them to pay attention to particular connections, coincidences and chance encounters, in order to decipher meaning for themselves. In this way, the traditional role of the author in dictating one meaning is released, and opens up multiple readings of the space.

POTENTIAL OPERATIONS • • • • •

to sequence to configure to place into meaningful relationships to construct associations offers a way of knowing and shaping landscapes

ISSUES WITH APPROACH • • • • •

subjectivity representation symbolism fiction/nonfiction threshold clarity of communication

sunset e) n zon

sunrise (column zone)

(colum

seedpod dispersal (mechanisms 1-4)

“STORY”

mechanism 1 - the trail

mechanism 2 - the scatter

Narrative

(CONTENT) (product)

mechanism 3 - the throw

mechanism 4 - the drop

events characters settings

A B C D E F G H

Melaleuca ericifolia -- Swamp Paperbark Eucalyptus camaldulensis -- River Red Gum Eucalyptus viminalis -- Manna Gum Acacia dealbata -- Silver Wattle Gynatrix pulchella -- Native Hemp Leptospermum lanigerum -- Wooly Tea Tree Acacia implexa -- Lightwood Allocasuarina verticullata -- Drooping Sheoak

Acacia dealbata – Silver Wattle

1 2 3 4 5 6 7 8/9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26

“TELLING”

Acacia melanoxylon -- Blackwood Acacia mangium -- Black Wattle Acacia pendula -- Weeping Myall Acer x freemanii -- Autumn Blaze Acer griseum -- Paperbark Maple Adansonia gregorii -- Australian boab Ailanthus excelsa -- Ganges Allocasuarina decaisneana -- Desert Oak Allocasuarina verticillata -- Drooping She-oak Angophora costata -- Sydney Red Gum Araucarina bidwilli -- Bunya Pine Arucarina cunninghamii -- Hoop Pine Betula pubescens -- White Birch Betula pendula -- Silver Birch Betula papyrifera -- Paper Birch Betula utilis -- Himalayan Birch Callistemon citrinus -- Scarlet Bottlebrush Callitris endlicheri -- Sand Cyprus Pine Caricia papya -- Papaya Carpinus caroliniana -- American Hornbeam Cedrela Mexicana -- Mexican Cedar Cedrus libani -- Lebanon Cedar Ceiba pentandra -- Kapok Chionthus retusus -- Chinese Fringe Tree Cocos nucifera -- Coconut Tree

27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52/53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87

Cotoneaster pannosus -- Silverleafed Cotoneaster Cupressus lusitanica -- Cedar of Goa, Mexican Cypress Cupressus macrocarpa -- Monterey Cypress Erythrina caffra -- South African Coral Tree Eucalyptus brevifolia -- Northern White Gum Eucalyptus cladocalyx -- Sugar Gum Eucalyptus citriodora -- Lemon-scented Gum Eucalyptus camaldulensis -- River Red Gum Eucalyptus caesia magna -- Silver Princess Eucalyptus ficifolia -- Red Flowering Gum Eucalyptus grandis -- Flooded Gum, Rose Gum Eucalyptus leucoxylon -- Yellow Gum Eucalyptus mannifera -- Brittle Gum Eucalyptus nitens -- Shining Gum Eucalyptus papuana -- Ghost Gum Eucalyptus regnans -- Mountain Ash Eucalyptus salmonophloia -- Salmon Gum Eucalyptus viminalis -- Manna Gum, Ribbon Gum Euonymus alatus -- Winged Spindle Euphorbia grandidens -- Big-tooth Euphorbia Ficus aurea -- Golden Fig Ficus virens -- Grey Fig Ficus macrophylla -- oreton Bay Fig Ginko biloba -- Gingko, Maidenhair Tree Gleditsia tracanthos ‘Skyline’ -- Honey Locust Heritiera littoralis -- Looking Glass Mangrove Howea forsteriana -- Kentia palm Juniperus rigida -- Needle juniper Liquidambar orientalis -- Oriental Sweet Gum Magnolia acuminata -- Cucumber Tree Malus ‘Prince Georges’ -- Oriental Crabapple Malus toringoides -- Flowering Crabapple¬¬ Melaleuca argentea -- Silverleafed Paperbark Melaleuca bracteata -- Black Tea Tree Melaleuca quinquinervia -- Broadleafed Paperbark Metrosideros excelsa -- New Zealand Christmas Tree Nauclea orientalis -- Leichhardt Tree Nothofagus solandri -- Black Beech Tree Olea europea europea -- Euopean olive Olea euopea africana -- African olive Parrotia persica -- Persian witch-hazel Phellodendron sachalinense -- Sakhalin Cork Tree Phyllostachys niagra -- Black Bamboo Phyllostachys aurea -- Fishpole Bamboo, Golden Bamboo Picea breweriana -- Weeping Spruce Pinus nigra -- Australian Black Pine Pinus pinea -- Roman Pine, Umbrella Pine Platanus x acerifolia -- London Plane Populus deltoids -- Eastern Cottonwood Punus cerasifera ‘Nigra’ -- Cherry Plum Prunus sargentii -- Sargent Cherry Prunus serrulata -- Japanese Cherry Quercus alba -- American White Oak Quercus cananensis -- Canary Oak Rhus typhina -- Stag’s horn Sumac Roystonea regia -- Cuban Royal Palm Sloanea Woollsii -- Yellow Carabeen Ulmus x hollandica -- Dutch Elm Yucca brevifolia -- Joshua Tree

display al bums pressed leaf specimen

display albums layout botanical name, location and species information notes

(EXPRESSION) (process)

sketch of key species characteristics/features

structure/manifestation film verbal dance landscape

Fig 66

Leaf specimens are sealed through ironing between layers of Glad bags, and then categoried in albums according to the location at which they are collected. Anne also included poloroids of the whole tree, and sketches of important features of each plant. With specimens which corresponded to a seed pod specimen, a code is included, referencing the seed pod storage container number.

Fig 67

pocket for extra tie-bags pockets for scissors, pen and camera

deattachable flaps for increased tie-bag holding capacity

ties bag attachments (various sizes) to hold collected specimens

Arby, I retroeasily during my walks with In order to carry my collection order them as they to hold my specimens and fitted an old coat, with tie-bags were found. alot of specimens for a longer walk, or anticipated If I was planning on going be attached for were extra flaps that could being accumulated, there density. increasing the coat’s holding

Past Work with Narrative

In a past studio, “Plotting” a narrative approach was used to design an island landscape, through the written story, and adoption of a character as a design lens. Using narrative as a framing tool became most useful in my writing of a short story. This forced a careful and considered approach to the narrative, in what it described, and what it left to be imagined, as well as the ‘voice’ of the character and how this informed one’s understandings of the events and experiences that were described. In taking on a new persona, it was also necessary to take on a new style of representation and in the portfolio process, also a new style of presentation. The narrative approach in this project included a written story, as well as the fabrication of fictional diary entries, catalogues and collections and artefacts of the character, which were presented within the framework of a journal left behind for a future generation, which intended to tell the story of the character and “her design”.

Fig 66 Coming from the Latin gnarus and the IndoEuropean root gna, which means “to know”, narrative is a way of knowing or learning through the lived experience. It implies action in the process of understanding. Narrative also refers to storytelling practices. This can be broken down to view narrative as being made up of a story (content), and also the way in which it is told (expression) In linking time, event, experience, memory and other intangibles to more tangible aspects of place narrative becomes a connective device. These connections are what allows humans to create meaning; via framing, structuring and association with the known. The dangers of narrative landscape design lie in miscommunication and misreading of intent, which the designer should be keenly aware of. Fig 67 Previous work with narrative involved adopting a character and working within the restrictions of remaining true to them in the representation of the project, the creation of ‘artefacts’ and images generated with the imagined character’s agenda in mind.

poloroid of mature species

sketch of key species characteristics/ features

Fig 68

Fig 69

Fig 68 Combined section: Mt Macedon to Bulla proposed line formations Fig 69 â&#x20AC;&#x2DC;Journeyâ&#x20AC;&#x2122; photo documentation allowed me to capture the changing conditions as one travels through the landscape along the major routes which connected the two points. These suggested a series of mini-narratives which combined to create the whole memorial.

Using site to tell/reveal a story

Journeying across the landscapes which sit between Mount Macedon Memorial Cross, and the suburb of Bulla, was undertaken, in order to explore the existing spatial and cultural settings. Bulla was identified as a point of threshold between the urban and rural typologies. Initial testing was done through the rural regions in which the line traversed, passing through the towns of Cherokee, Riddells Creek, Clarkefield, and Wildwood. Physically, the formal qualities of the line were designed to be responsive to the land typology on which it sat, changing from ‘wall’ to ‘void’ to ‘archway’ or ‘planted avenue’ among others. This integrated a combination of static and temporal design moves, which allowed permanancy of intervention at some points, where at others it may change, fade and reappear seasonally.

Fig 70 Speculative Vignette Line formation as a â&#x20AC;&#x153;voidâ&#x20AC;? space carved into a continuous forest cover in the rural mountain landscape. Viewing possible from far distances.

Fig 71 Speculative Vignette Line formation as paved pathway running through rural property

Fig 72 Speculative Vignette Line formation as wall running alongside road, until breaking to cross over, in rural or suburban setting.

Fig 73 Speculative Vignette Line formation of tall grass planting running through a rural property.

Cherokee

SB OR N

EK ILM

OR E

MT MACEDON RD

AR LIZ

TE UN

Riddles Creek

Clarkefield RIDDLE RD

Greenvale

port

MELBOURNE-LANCEFIELD

Wildwood

RD SU D

YR UR

Parkville

Melbourne CBD (Shrine)

Bulla

4km

Fig 74

A changing line, a changing landscape

In framing the line as having several capacities for encounter, one can begin to imagine different perceptions of the memorial, according to how it was experienced; at an intersection with road as opposed to following the line for a day-long bike ride as opposed to everyday experiences of a limited section of the line where it runs through one’s town or property. Deleuze suggests: “It is never the beginning or the end which are interesting; the beginning and end are points. What is interesting is the middle.” (Delueze and Parnet, 1987) This notion, in exploring what happens ‘in between’ the points is a departure point for further development in the potential of what the design of line can be. Initial exploration was done on the section of the line running between Mt Macedon, and Bulla, identified as the ‘rural’ region of the project. This allowed an opportunity to consider the specifics of site, and begin to detail the changes in line over a varying site. 48

Fig 70 - Fig 73 Testing of line typologies in selected landscapes charateristic of those encourntered across the site journey. Changing form from wall to planted grasses, paved path or extracted form in densely planted areas (void). Fig 74 Location Plan of line running through the ‘rural zone’, from Mt Macedon to Bulla..

Fig 75

Fig 76

Shifting Conditions Fig 75 Location plan showing rural zone and urban zone through which the line passes on its journey from Mt Macedon to Melbourne CBD. Fig 76 Visualisations of different fomal qualities of the line, over a series of landscapes. Shifting from rural typology to a suburban and finally urban interventions.

‘Lands of Memory’ tells the story of war as a line drawn across the Victorian landscape. The design proposes that this line connects the two largest memorials in Victoria, the Shrine in Melbourne CBD, and the Memorial Cross at Mount Macedon. The line passes through several towns, moving between each in a straight formation, which creates only a few points of intersection with major transportation routes. As a result, the capacity for viewing by ‘passing through’ is limited. This encourages exploration of the line as an activity itself, such as a walking or cycling route. Rural Setting The segement of the proposal running between Macedon to the town of Clarkefield is the most remote in its location, encompassing landscapes of wilderness, dramatic changes in topography and a cooler climate. At the summit of Mt Macedon the line begins as a small retaining wall, lining the boulevard leading to the memorial. From here, it moves across the hilly terrain, transforming from wall to a void in the forested vegetation covering the lowlands, and eventually a line of long wetland grasses in the vallleys. At the intersections with road routes, the wall reappears, creating an archway, or frame which is passed through. As the site changes to less forested areas, the line is articulated through a change in the species, and density

“

The line can be mark, trace, contour or outline, visible or invisible, a boundary dividing, or a bridge connecting.... embodying sameness and difference, forever adjusting and unfinished, neither before nor after, here nor there.”

(Grisewood, 2012)

of planting, creating line read through contrast with the surrounding landscape’s indigenous vegetation. Running through rural properties and farmlands, the line takes a variety of forms including a divisive wall which challenges the concept of boundary and private property fencelines, to more passive forms such as a line of tree species, or grasses. This transforms into a line of planting through agricultural field. The use of vegetation embeds aspects of change within the work, and suggests a lifespan for its presence in certain regions. The formal qualities change over time, as the planting grows and also dies, reminiscent of the flux of memory, and the changing memories connected to ideas of ‘war’. Peri-Urban/Suburban Setting As the line approached the boundary between rural farmlands and Melbourne’s outer suburbs, there is a shift to a formation which can entice ownership and care, in the creation of a linear garden, crossing through local nature strips and yard boundaries. In public areas, the line of a wall juts out across valleys, allowing views across the landscape, and of surrounding continuations of the line. Where the topography in valley and hill areas does not allow for large plantings or built structure, a line of grasses or reeds provides a continuation of the line. The 50

line segment appears mostly in a vegetative form, a mixture of grasses, hedging and linear tree patterns, where the site informs the appropriate habit. Urban Setting As the line approaches the suburban boundary, and enters residential areas, new forms of the line will emerge, responding to the urban conditions. In the next stage of development, a similar approach to grounding the line will be undertaken in the urban section of the line. This change in spatial typology will understandably require a reconsideration of what the purpose and operations of the line in the urban realm might mean. Though some operations may overlap with those explored within the rural segments, the inherent contrast in the use of space in the urban and rural settings, demand a shift in design for the fast-paced and spatially diverse urban centre. The line is intended to remain recognisable as one intervention, through a consistency of materiality and referential use of form, with be reactive to the surrounding spaces, and fulfill specific purposes, in reponse to site.

Breaking down the Wall

The wall typology offered variation in formal qualities through materiality, scale and shape. Variations in shape and scale engage with the bodily relationship (between object and space), influencing perception and experience. Materiality could be used as an agent for change over time, with potential for deterioration (rust), overgrowth (moss/grasses) or fading of pigments Fig 80

straight wall typology, flat grade, angled side to conceal above head height (approx 2000 mm) metal or coloured concrete material

Fig 77

straight wall typology, flat grade head height (approx 1700 mm) metal or coloured concrete material

Fig 81

straight wall typology, flat grade, angled side to expose above head height (approx 2000 mm) metal or coloured concrete material

Fig 78

straight wall typology, flat grade above height (approx 5000 mm) metal or coloured concrete material

Fig 82

straight wall typology, medium angled grade varying height (range from 400 - 2500 mm) metal or coloured concrete material

Fig 79

straight wall typology, flat grade waist height or below (approx 800-0mm) metal or coloured concrete material

Fig 83

straight wall typology, medium angled grade varying height (range from 400 - 2500 mm) metal or coloured concrete material

What is a wall, when it is not a wall? A series of small tests were done, to speculate on the manipulations of form and what this could mean for the ‘wall’ typology, in terms of use and program. These began to suggest a series of configurations of ‘line’ as opposed to ‘wall’, which allowed a flexibility of material, and also opened up a new range of different spatial experiences. Planting, Void, and Path have been used to speculatively test this, though it is acknowledged that there are many other forms that this ‘line’ could take.

Fig 84

planting strip typology, grade follows topography plant species clearly differentiated from their surroundings.

Planting The planting strip offers a “softer” alternative to the harsh lines of the wall typology. In doing this, it is in danger of becoming lost in the landscape, so maintenance (or lack of) is a consideration in the way that it operates. As parts of the line may pass through private property, this may also become an option for semi-private sections of the line, in that it becomes something tended to the owners, and the experience a part of their daily life. Void The void typology is comprised of a line that is “cut” into the surrounding landscape, through a highly maintained routine of weeding, pruning or mowing. This leaves a cleared “pathway” which can be travelled easily, and is also visible from higher ground and far distances.

Fig 85

void typology, no grade highly maintained area, free of planting cutting through dense planting or forest.

Fig 86

path/paving typology, grade follows topography paving or other sealed surfacing

Path The path typology offers multiple uses, but is most directly linked to the manipulation of movement for users. As a directional tool it could be used to draw the beholder, or their attention, towards particular areas, objects or experiences. Also allows for recreational activities such as jogging, walking, or cycling through areas that otherwise may be inaccessible.

MEMORIAL TO THE FORGOTTEN WARS// â&#x20AC;&#x153;

While the victorâ&#x20AC;&#x2122;s of history have long erected monuments to remember their triumphs, and victims have built memorials to recall their martyrdom, oinly rarely does a nation call on itself to remember the victims of the crimes it has perpetrated. (Young,1992)

“ Fig 87

The place gets settled with extraordinary speed and there’s just nowhere for people to go, for Aboriginal people to hide, there’s no water that they can get to, there’s no place that they can hunt kangaroo, there’s no place that they can establish the way of life that they had developed over so many years”

(Perkins & Langton, 2008)

Fig 88

Fig 87 “Mounted police and blacks”, lithograph on paper by Godfrey Charles Mundy (1852). The Frontier war phenomenon was widely reported during the period in which it occurred, with many settlers writing reports of the violence, and artists documenting events in their work. It was only in the 20th century that the events of the past began to be erased in historical writings of Australia’s settlement, failing to educate many generations of their country’s past.

Fig 89

Fig 88 Aboriginal children of mixed descent, or with pale complexion were often removed from their families and educated to assimilate into white society, known now as the Stolen Generation, many never saw their families again and grew up isolated completely from their culture. Fig 89 Aboriginal men in Police custody. Indigenous people were often arrested for insignificant crimes and subjected to torturous conditions while in police custody, a method of ‘rounding up’ native people to control them within the Church-controlled missions and reservations.

The Frontier Wars In developing the project further, I felt that there needed to be a more concentrated topic of interest to investigate, within the realm of “war memorial”. What resulted was an investigation into the settlement history of Australia, and the colonial settlement wars. Not only was there a lack of memorial spaces dedicated to these wars, but total absence of any official recognition of the occurance of these wars.. When Europeans arrived, the contest for land ownership of Australia begun. The very siting of Melbourne township begun a downward spiral for the Indigenous Kulin people. The area in which the township was created had for many generation been a meeting ground for the member clans of the Kulin, providing a series of locations for business transactions and ceremonial spaces: “Without access to time-honoured and important sites with a range of significance, ceremonies that were designed to ensure the continuance of the Kulin world could not be performed – young men could not be initiated with the seclusion required – and vital resources could not be gathered....This trend was exacerbated by the rapidly declining population; men and women of importance were dying before their time, and knowledge was dying with them” (Presland, 2010) Within a short time, the Kulin people were reduced to a vulnerable existence, once citizens of a thriving society, living well from fishing, hunting and harvesting from the landscape, numbers had been greatly reduced, scores killed by disease and violence. Increasingly isolated from the developing settlements, and losing many lives in violent guerrilla warfare, Indigenous people Victoria-wide retreated to camps and missions in order to protect the remnants of their people. From the very beginning of white settlement, it was the intention to ‘civilize’ the Indigenous people. This was done by introducing them to live together on a mission where they would adopt the European way of life and also be protected from conflicts with white settlers. This approach brought many problems, subjecting the residents of the missions to violence and perpetuating the loss of important cultural practices for the Kulin people. “They were subject to routine brutality. They were bashed, flogged and raped and forced to work without wages. All over Australia 56

they were forced to live on closed reserves and missions and not allowed to leave. Most people spent their lives on the reserves and their children were similarly incarcerated. They were characteristically poorly fed, inadequately housed and severely punished for defiance of the white staff. Children were commonly taken from their families and raised in dormitories where they were forbidden to speak their languages. The institutions were in effect open-air prisons for a defeated enemy. These circumstances can only be understood as ongoing consequences of conquest. The violence that effect the expropriation of land cast a long, debilitating shadow over the generations that followed.” (Reynolds, 2013) A great deal of time was spent researching the events of this dark era in Australia’s history, but what became the essential question was ‘How then, do we deal with our history?’ It is not clear how Indigenous communities would like the killing times to be remembered, but it is clear that we should not pretend the killing times never happened. The truth needs to be told, before we can come to terms with it. Slavoj Zizek contemplates this relationship between remembrance and forgetting: “Traumas we are not ready or able to remember haunt us all the more forcefully. We should therefore accept the paradox that, in order to forget an event, we must first summon up the strength to remember it properly” (Zizek, 2002) Education in the history of White-Aboriginal relations is important to all Australians not only because it helps understand the complex web of social and cultural relations of the present, but also to develop a mature awareness of ourselves and our heritage. This knowledge then changes the question from concerning what we know, but what we now are to do as a society. This research suggests an incorporation of the border wars into the national story through the designation of central memorial park serving to facilitate both commemoration of past events and also a platform to be mindful of the present, and consider how we will move forward in the future.

Reconciliation Place; a token gesture?

“

Monuments missing in a landscape can be as significant as those erected.

(Ingliss, 1998)

Fig 90

While Australia’s National War Memorial in Canberra diligently records wars overseas, admonishing Australians to remember forever the lives lost, it continues to ignore those fought on our own soil. In terms of casualties, the wars Australia has been engaged in fall into 3 distinct categories: War

Number of casualties (approximate)

WWI and WWII

100,000 (62,000 and 40,000 respectively)

Frontier Wars

33,000 (25,000-30,0000 Aboriginal deaths, 25003000 European/Settler deaths)

Boer War

606

Vietnam War

520

Korean War

339

Sudan Wars

less than 50

Boxer Rebellion

less than 50

Malayan Emergency

less than 50

Indonesian Confrontation

less than 50

These numbers place the Frontier Wars in the same league as the first two world wars, and yet Australia’s official historical records continue to deny their occurrance let alone acknowledge the Aboriginal people their role as the First Australians. Fig 91

Fig 92

This attitude can be seen at ‘Reconciliation Place’ in Canberra. Effectively a gesture of ‘apology’ to the Stolen Generations, the memorial fails to comment on the conflicts over land which were the origins of Indigenous maltreatment. Reynolds contends: “Reconciliation Place manifests a very different attitude to Australia’s own wars. The guiding phrase there is not ‘Lest We Forget’ but rather “Best we forget the conquest’.” (Reynolds, 2013) This signifies a failure to recognise the core issue, in recognising the whole history of European/Aboriginal relations, not just elements of it.

Fig 93

“Telling the truth is central to the Aboriginal agenda for reconcilitiaon. They want to have the truth told about numerous things – about the taking of the children, about the exploitation of labour, the systematic abuse

of women. But above all is the matter of violence, the long history of frontier conflict. They want white Australia to own, to accept, to identify with a past that they know only too well. Reconciliation means reconciling of the two stories about what happened when pioneer settlers met indigenous people all around a vast, moving, ragged frontier. They want us to talk about the line of blood. They want us to take it seriously and treat it with gravity, to recognise that violence was not hust an aberration or an accident but rather that it was central to the creation of modern Austrlia. They would like us to admit that settlement grew out of the barrel of a gun. For how else can their loss of ancestral lands be understood and explained?” (Reynolds, 1999) There have been some significant steps taken in recent years, to begin to bridge the gap created by our dark history; two of note are the inclusion of ‘The Aboriginal Memorial’ installation at the National Gallery of Australia during the bicentennial year of white settlement (or invasion) in 1988 and Kevin Rudd’s Apology speech in 2008. However, each address particulars within a broader period of conflict, and there remains no central location for which descendants can go to remember the ancestors lost during this period, or for white Australians to recognise their country’s complex history. As expressed by Ian D. Clark: “Memorials are significant forms of cultural expression, and are generally erected after much public discussion with careful consideration of what would be appropriate. Memorials are a very conrete expression of public history, a way of making permanent, in letters carried in stone, a judgement of events. Memorials reveal public perception and may be seen as a measure of the popular influence of the views and writings of historians. “ (Clark, 1995) The void in the memorial landscape is thus very telling of the national attitudes. By proposing the inclusion of a national memorial park dedicated to the remembrance of such a contested history, this research attempts to invert this relationship. This project seeks to activate social change through the implementation of a memorial, that by reflecting on the past the memorial is actually activating a reconsideration of present attitudes and working towards a more hopeful future.

Fig 94

Fig 95

Fig 94 Crowds watching Kevin Rudd’s Apology speech in Canberra, 2008 Fig 95 The Aboriginal Memorial was installed in the National Gallery of Australia in Canberra, intended as a symbol of the struggles of the Aboriginal people over the previous 200 years, and their survival. The visitor’s path through the memorial follows that of the Glyde River in Arnhem Land and the hollow log coffins placed in associated clan territories, one for each year of European occupation since 1788. Fig 90 - Fig 93 Reconciliation Place, Canberra

Fig 96

Fig 97

Fig 98

Fig 99 Fig 96 - Fig 98 Historic photographs of Coranderrk Aboriginal Reservation. Fig 99 In the years after seeing his young son die William Barak, the leader of the Kulin people began to record the traditions of his people in paintings, a final attempt to pass on the culture of his people to the future generations. â&#x20AC;&#x153;Barak had also seen the defeat of his people in war and the broken promises of the government to allow the Kulin people some measure of independence. He was often disappointed but never despaired.â&#x20AC;? (Perkins & Langton, 2008) Fig 100 Panoramic view of Coranderrk Reserve, c.1900

History of Coranderrk Aboriginal Reserve Following the establishment of Port Phillip settlement in the 1830s, the Kulin clans indigenous to the area suffered decreasing numbers and were restricted in their movements across the land, as settlement increased. The history of Coranderrk Aboriginal Station can be traced back to England, where a public outcry at reports of inhumane treatments by the settlers towards the Indigenous population cause the government to set up a Special Committee to report upon and stop the practice, while ameliorating the native’s condition. By the 1860s, following cases of poisioning from damper laced with arsenic given to the Kulin by settlers, and increasingly violent conflicts along the frontier, movements were made to contain all members of the Kulin into one area and gazetted areas specifically for Aboriginal stations. This was instituted in the creation of a Protectorate run under a Protector where natives were to be employed and through religious instruction educated and persuaded to adopt a ‘settled’ mode of life. In October 1861 John Green was sent to investigate the Mohican Station, a site not favoured by the Aboriginal people, who complained of its cold climate. Green advised a return to the Acheron Station which was denied. Green was appointed as the new Supervisor and resistance to the Mohican Station continued. In March 1863 the surviving members of the Mohican station led their people and squatted on a traditional camping site on Badger Creek, near Healesville. In June 1863 an area of 2300 acres was gazetted and named Coranderrk at the Aborigines suggestion. The rule of benevolent paternalism that the Aboirginal people were subjected to became the the official policy, and despite the government’s intentions often caused more harm to the Aborigine’s character than good. “The children grew up to adulthood on the meagre ‘hand out’, their lives regimented and feeling that they were inferior to whites. They could not leave the station without permission and were punished for disobeying the rules

Fig 100

by having their tobacco rations withheld or by transfer to another station, among strangers.” (Massola, 1975) The stated reason for the establishment of the reservations was that Indigenous people had to be protected because they could not look after themselves, and would fall victims to white settlers. The result, however, was an inability to develop their own spirit of initiative, and a loss of character of selfreliance, falling into an acceptance of the inevitable. Despite these problems, Coranderrk Station prospered under the hard work and enthusaisn of the Kulin, Green’s collaborative administration and the quality of the land: “Over the next twenty-five years the site was to come under tight beaurocratic control. As the Coranderrk residents had well demonstrated the agricultural potential of the land, pressure was exerted once again by settlers seeking the land. (Museum Victoria, 2013) With neighbouring land being taken up by settlers and the town of Healesville becoming established, Green was sent to the Murray river to select a suitable new location for the Aboriginal station, but refused when he realised the intention of relocating the Coranderrk Aborigines. William Barak led a campaign of strikes, protests and letters to the press expressing their desires to stay at Coranderrk. With the implementation of the Aborigines Protection Act 1886 (requiring half-castes under 35 years of age to leave) 60 of the Coranderrk residents were ejected from the station. This left only 15 able-bodied men to work the previously successful gardens. Almost half the land was resumed and orders for the station’s closure came in 1924, relocating residents to another reservation at Lake Tyers in Gippsland. A few residents refused to move but Coranderrk eventually became unoccupied and the land was handed over to the Soldier Settlement Scheme in 1950.

“

I always felt I needed something to hold on to that I could have as a memory of Coranderrk...For me it is a history that needs to be remembered, and it certainly hasn’t been in the past. Even today a lot of people don’t know the history of Coranderrk.

(Wandin, 2013) Interview with Andrew Stephens

An invisible history

After it’s closure in 1924, the land previously designated as Coranderrk Aboriginal Station was split up and sold through the Soldier Settlement Scheme. While many Aboriginal families remained around the Upper Yarra and Healesville area, the only signs of the existence of Coranderrk are in alternate naming of Badger Creek as Coranderrk Creek, the cemetery at the end of Barak Lane and the preservation of the manager’s Homestead. The cemetery has been cared for by the Aboriginal Committee of Management in Healesville. In March 1998, the last property remaining of the original station was purchased by the Undigenous Land Corporation with funding from the Federal Government. The reclamation of this land has allowed decsendants a place to remember the territory that their ancestral Coranderrk residents fought for. The title is only 81 hectares. Despite being such an important part of the local history, upon visting the site and speaking to locals in Healesville, few were able to provide any concrete information on Coranderrk, particularly it’s exact location and boundaries. This began an interest in recovering the site, or revealing the embedded narratives that had become covered over. The reservations and missions instituted across Australia were a direct reaction to the frontier violence occuring at the time. However, since their closures, much of the history, particularly the visible remains have all but disappeared. By making the invisible visible, I hoped to both provide a space to commemorate the frontier wars residents of these stations, and also to reawaken awareness and interest in the site within the local community. In this way, part of the memorial was in the activation of debate and discussion of the events of the period, and was not confined solely to the qualities spatial outcome.

Fig 101 Location plan: Coranderrk site relative to Healesville town centre.

Fig 102

Fig 103

Site plan (c.1919) 1:10,000

Site plan (potential networks) 1:10,000

VIEWLINE TOWARDS SOUTHERN BOUNDARY

Fig 104 Viewlines of the historic site of Coranderrk from the Aboriginal Cemetery at the end of Barak Lane.

An understanding of Site

Visiting the site allowed a more comprehensive understanding of it’s context, geomorphology and also the current land uses. The site is bounded at its northern end by the Maroondah Highway, a thoroughfare connecting Healesville to the surrounding towns. The Healesville-Koo Wee Rup Road runs along the eastern boundary, and the Yarra River along the western boundary. The Southern end is delineated according to private property lines. The historic Reservation site has since been divided and sold off to several different owners, for the most part comprised of farmland, pastures used to keep and graze cattle. However, on the Eastern side of the site, coming off of Barak Lane there is also the Wowara Indigenous Highschool, the Big Bouquet Gerbra and Alpaca Farm, a small parcel of land dedicated to vineyards, and the Historic Coranderrk Homestead where Green and the following administrators of the Reservation had lived. As described by Daniel Colafranceschi, topography is an imporatnt factor in the design process as a starting point for the organisation of systems and relationships within the site: “Topomorphology defines the systemic organisation of the landscape by determining lines of articulation, of greater and lesser stress, between the units of the landscape: the hydrographic basins...In the landscape project, topomorphology is the basic definition, the first configuration, in relation to which all the other layers of the project are defined. It is the first parameter in delineating the landscape.” (Colafranceschi, 2007) 63

CROWN LAND PRIVATE FARMLAND

Fig 105 Land use and property ownership plan

Using topography as the starting point for design, it is important to consider that this site sits in a lowlying valley, where the land could be considered floodplains of the Yarra, and is enclosed by higher land to the East and West. Barak Lane, which runs through the centre of the site is slightly elevated, and effectively acting as a lookout point across the rest of the site. This notion of ‘lookout point’ and the mapping of viewlines became an important part of the project interventions and thier effect on visitors external to the site.

VIEWLINE TOWARDS YARRA (WEST BOUNDARY)

VIEWLINE TOWARDS NORTHERN BOUNDARY

Fig 107 Sequential section location plan

Fig 106 Sequential sections begin to show the topographic changes which occur across the site, which sits on the Yarra rive floodplains.

“

Ever since I started here, everyone who comes to Tarrawarra talks about the view. And it is fabulous, but I am keen to understand what is in the view, what is the history of that landscape, what the meanings are, what the ownership has been. Let’s deepen the knowledge about the view.

(Lynn, 2013) Interview with Andrew Stephens

TIME// MEMORY â&#x20AC;&#x153;

For in its linear progression, time drags old meaning into new contexts, estranging a monumentâ&#x20AC;&#x2122;s memory from both past and present, hold ing past truths to ridicule in present moments. Time mocks the rigidity of monuments, the presumptuous claim that in its materiality, a monument can be regarded as eternally true, a fixed star in the constellation of collective memory.

Young, J. (1992)

Case Study: Harburg Monument against Fascism Jochen Gerz and Esther Shalev-Gerz

Fig 112

Fig 111

Fig 110

Fig 109

Fig 108 The Harburg Monument began to disappear over a number of years, receding into the ground until no longer a visible reminder to the city, in opposition to the conventional purpose of monuments. Fig 109 - Fig 112 The monument called on the city’s people to actively participate in acts of commemoration, “graffiti-ing” the wall with names and commentary significant to the social memories of the period. The monument evolved as more and more contributed to it, until finally disappearing, leaving on a plaque to remind the people of what they themselves had done. The people become the memorial, rather than the object.

Fig 108

The Harburg monument is a twelve-metre high one-metre square pillar made of hollow alluminium, plated with soft lead. Attached to each corner on a cable, is a steel pointed stylus used to score the soft surface of the surface. An inscription at the base of the monument encourages visitors to show their support by writing on the surface: “We invite the citizens of Harburg, and visitors to the town, to add their names here next to ours. In doing so we commit ourselves to remain vigilant. As more and more names cover this 12-metre tall lead column, it will gradually be lowered into the ground. One day it will have disappeared completely, and the site of the Harburg Monument against Fascism will be empty. In the end it is only we ourselves who can stand up against injustice.“ As one and a half metre sections are covered with ‘memorial graffiti’, the form is lowered into the ground, into a a chamber as deep as the column is high. The faster it is covered in names and messages, the faster it disppears. Over a period of time, there becomes nothing left but a burial stone inscribed “Harburg’s Monument against Fascism”. The intent of the project, was to eventually leave only the memorial visitor’s standing, rather than the monument, forcing them to remember for themselves, to look inward for memory, rather than relying on a structure to commemorate for them. “The Gerzes’ monument is intended to be a visual pun. As the monument would rise up symbollically against fascism before disappearing, it calls on us to rise up literally in its stead. It reminds us that all monuments can ever do is rise up symbolically against injustice, that the practical outcome of any artist’s hard work is dissapated in its symbolic gesture.” Young, J., 1992 The operation of the memorial as an activation for public participation in the process of commemoration became an idea integrated into both the overarching Design Research Criteria and therefore an important part of the project outcomes.

Design Concept I The study of the Harburg monument initiated a consideration of participation as the primary driver for both memorial form and operation. In being driven by community involvement the memorial in fact would become a reflection of the social conditions, both past and present. The Carving Block The design of a carve-able wall, creating an enclosed space, encouraged visitors to take time to make their way around the wall, reading past inscriptions, and also to themselves contribute to the memorial, by leaving their name, or a message scratched or carved into the wall. The main wall was to be constructed of a soft wood, so that visitors could scrape away and mark the surface. It also had the possibility of transforming through ceremony, by being burnt, or over time by rotting or processes of weathering. The wall is designed to reflect the social values of those that visit and contribute to it, and therefore changes over time as these views and values shift. Over a period of years, the wall would begin to show a layering of socio-cultural conditions, act as a recording device itself.

â&#x20AC;&#x153;

The object, the monument itself, is a catalyst, not an end in itself, but rather a way of placing the burden and responsibility of history in the minds of the people who visit it. The monument itself is not meant to be the embodiment or resting place of those value and beliefs.

(Unknown, 2000) Facing History and Ourselves Webpage

Fig 113 Visitors are able to take an active role in the commemorative process at the Vietnam Veterans memorial, in the tactile nature of the engraved names. Visitors can also take â&#x20AC;&#x153;rubbingsâ&#x20AC;? of the names of family members or friends, physically connecting with the memorial form and taking a piece of the experience with them.

Case Study: For the Moment Memorial Martha Bush The work of Martha Bush posit’s the memorial as a site which constructs a link between the past events and the present, through a location in space they attempt to give visitor’s reference to a location in time. Her work in ‘For the Moment’ memorial particularly explores the role of the memorial as an addition to the urban landscape which can serve to enrich and embrace the present, in that it brings one’s attention to their surroundings; an awakening to the present. ‘For the Moment’ comprises of several smaller interventions within San Francisco, which together constitute a memorial. The memorial commemoriates the robber baron of San Francisco Collis Huntington, a character noted both for the development and building of the region’s rail infrastructures, and also for the harm wrought by his corruption throughout these achievements. The memorial was guided by a study of the content, forms and characteristics of existing memorial projects, while proposing a new potentials for the role of the memorial, suggesting that: • • •

A memorial can be evolving A memorial may be participatory A memorial may not have a single interpretation but can be open-ended A memorial may be discoverable. A memorial may not attempt to last forever, but be evanescent.

• •

This set of criteria strongly influenced this research project in the focus on the memorial as a changing, dynamic device, and the importance of multiple interpretations and ways of interacting with the memorial. These values can be seen clearly in the interventions which make up the memorial. The three that are most relevant to this research project are: The Weed The planting of Yellow oxalis (an agressive and fast-spreading weed) is planted in the lawns of Huntington Park. In favourable conditions, the weed will completely take over the lawn. Here, the intervention becomes a growing memorial, not 69

Fig 114 For the Moment memorial , “The Weed” infiltration staging.

confined in form buut growing and multiplying over its lifetime. It disappears and reappears seasonally. “It is, and is not, a memorial park” (Bush, 2003) The Burr This intervention occurs at Frost Plaza, a busy hub in the financial district. Each day many workers travel across the plaza. The intervention involves the release of hundreds of “burrs” into the scene, wherein they ‘attach’ to carriers. The path of selected carriers are then mapped across the city. The intervention becomes a spreading memorial, not confined to one site, but moving across the city by attaching to its audience, spreading the seed of thought. “It is, and is not, a memorial marking or marker” (Bush, 2003) The Leaf The location of this intervention is also at Huntington Park, the site of the mansion formerly occupied by Collis. This intervention records words from incriminating letters of correspondance between Collis and colleague David Colton, inscribed on leaves on shrubs within the gardens. This becomes a disappearing memorial, not intended to last forever but to be picked or pruned, to wilt and disappear. This leaves space for alternative readings when the wind blows. “It is, and is not, an epitaph.” (Bush, 2003) The memorial attempts to bring the visitor’s attention to their surroundings, and ‘awaken’ them to their immediate environment. This notion of ‘revealing’ aspects of site to trigger an awareness of underlying conditions became an important precedent to the research. The work of Martha Bush was also influential in its embrace of the memorial as an impermanent device. This instigated a reconsideration of form as being transitory or ephemeral in nature, freeing the design to operate for a select period or evolve over an extended period of time. This suggested a series of stages or “lifespans” layered within the design outcome.

Fig 117 Reflection Pools concept collages

Design Concept II Through studying the ‘For the Moment’ memorial, I became interested in the power of intervention not only to draw attention to its own form, but also as a tool to frame existing conditions, or engender additional awareness of one’s position relative to the spatial environment they are in. Essentially using the memorial as a process to reflect and project through time. Reflection Pools A series of reflection pools were proposed, spreading out across the paddocks. These pools, similar to The Carving Block, allowed visitors to carve or scrape signatures or messages onto the bottom surface of the shallow pools. This would happen in the warmer months when pools were left dry from evaporation. As the pools filled with rainwater, the messages had to be read by visitors by getting physically close to the pools, crouching down and reading the messages through the reflective surface of the water, playing with notions of reflection, mirroring and time.

“

The signifacence of historical places and events change with time. New histories overwrite old ones, and the past is reframed by the present. Although a memorial may be constructed from durable materials that outlive generations, over time it may begin to communiccate unintended and unforseen meanings. Instead of fighting this impermanence, a memorial can embrace it. A memorial can be intentionally short lived, fading away just as its meaning and relevance fades.

(Bush, 2003)

Fig 115

Fig 116

Fig 115 At the Vietnam Veterans Memorial we are asked to examine ourselves and focus on our own relationships and position on death. As the visitor reads the names, they themselves are reflected back in the surface of the granite, looking at themselves through the names of the dead. Fig 116 Ware’s Anti-Memorial to Heroin Overdose Victims encourages passersby to stop, and interact with the memorial, one must crouch down and get close to the resin plaques in order to discern their contents, and the narratives written on the pavement encourange people to stop, read and acknowledge the hidden layers and underlying stories of the space they are within, in effect an awakening to their surroundings.

The ‘Road-as-Shrine’ Churchill, Victoria (2003 - 2006)

This project is a series of ‘memorial gardens’ embedded within the landscape. It is sited on a 500-metre section of a rural road near Churchill in the La Trobe Valley, Victoria. It acts as a memorial to highway fatalities while also providing space for more personal commemorations. The Memorial reveals itself in several stages as it evolves from a native plant remembrance garden to a roadside re-vegetation program, eventually reverting to a paddock. The first native plant remembrance garden (November 2003) was planted in the Road’s verge so that growth and bloom cycles would coincide with significant dates: Christmas and New Years. This first garden was a literal ‘garden of remembrance’ and involved a collaborative effort between numerous sectors of the community. The second phase of the project involved a cold burn of the native plant material. The cold-burn cycle matched the peak accident period of the holidays and carried a ‘drive safely’ message for motorists. The garden was then left untended and without weed removal. The verge eventually became indistinguishable from the surrounding paddocks again, creating a Memorial that was thus changing and impermanent. The Memorial was designed to be ephemeral in two respects: it was usually seen in fleeting glimpses while driving at speed, and its materials meant that it ‘returned to nature’ of its own accord. One of the fundamental principles guiding this work involved ideas centred on landscape entropy: the eventual return of the memorial site to paddock was intended. The analogy of landscape ephemerality offers a unique proposition for an Anti-Memorial. While this project utilises a normative memorial framework — the remembrance garden — its form evolves to embrace spontaneous memorials and changes in the landscape over time. The Road-as-Shrine functioned as a protest against road fatalities and the increasing privatisation of the public realm, as well as promoted safe driving practices. This project interrogates memorial form and landscape processes.

Case Study: Road as Shrine Memorial Sue Anne Ware

Fig 120

SueAnne Ware’s ‘Road as Shrine’ project embodies notions of the anti-memorial as a changeable, temporal vehicle for remembrance. Ware recognises the act of forgetting as an essential part of the remembrance process, asserting: “Memory and remembering are dynamic, fluid processes. While commemorative practices and memorial forms clearly shift over time – and this is widely researched- very few works speculate on the arts of forgetting as an essential part of these processes. Where remembering is seen as a positive act affirming the value of that which is remembered, forgetting is dismissed as a negation of that value.” (Ware, 2008)

Fig 119

Fig 118

Fig 118 Staging of the Road-as-Shrine memorial from planting to blooming to burn-off. Fig 119, Fig 120 The location of the Road-as-Shrine memorial was chosen specicifally at a Blackspot site targeted by VicRoads as being a high-fatality stretch of road in the LaTrobe Valley.

The memorial consists of a series of stages, which evolve from a remembrance garden to a roadside revegetation program and ending with the return to a paddock. The memorial is open to the incorporation of more spontaneous roadside fatality markers placed by families and loved ones, and involves the community in its conception and creation. The memorial is ephemeral in two respects. Firstly, the memorial is usually seen at speed while moving, the ‘visitor’ may only catch a glimpse as they drive past. Secondly, the memorial materials work within the boundaries of the seasons and the entropic nature of plant growth, including the ‘return back to nature’ as the living matter is burnt back in a cold burn. The memorial is changing and impermanent, one of the fundamental principles guiding the work was of the eventual return of the memorial site back to its’ original state as a paddock.

“

If we design memorials that allow a permanently shifting dialogue between present and past, they can begin to understand the ephemeral processes of memory and even celebrate it.

(Ware, 2008)

Design Concept III

The study of Sue Anne Ware’s work heavily influenced the way that I began thinking about memory, as a shifting, changing entity. Following this, an appropriate memorial response therefore needed itself to both reflect the changing nature of memory, and also to facilitate for new commemorative behaviours over time. Seasonal Boundary The ‘Seasonal Boundary’ concept proposed a planted boundary surrounding the site, constructed of seasonally blooming plants. This would act as an “illumination” of the previously forgotten (or ignored) site, and when the blooming period was over would disappear again. A burning period, similar to the cold-burn stage in the Road as Shrine Memorial was also considered, as a way to activate, or re-activate the line. In this scenario plantings that are fire-tolerant or firedependant were chosen. In this scenario, the rebirth or activation of the fire-dependant species could be read as reminscent of the strength and survival of the Indigenous people. It was also intended that the boundary faciliate a range of commemorative behaviours, from walking, to community planting days, to farming or harvesting practices, dependant on the plant species collected.

“

Calling to mind is perhaps what memorials do best: they demand, set in motion, reach and invite. When commemoratives work, they instigate participation in ways that make memory more of a verb than a noun.

(Levine, 2001)

Fig 121 Similarly to Ware’s Road-as-Shrine project, the ‘Seasonal Boundary’ concept proposal investigated a series of stages through the planting and burn-off process, as a way of making the border of the historic site visible for specific periods of time, as a way to “illuminate” the site for the public, and spark an interest in the history behind it.

A SHIFTING BOUNDARY//

Fig 122

Fig 124

STAGE 1

STAGE 3

Fig 123

Fig 125

STAGE 2

STAGE 4

A Shifting Boundary A continuation of the Seasonal Boundary design concept led to a proposal for a planted boundary which shifted over the period of a year, where a series of “boundaries” emerged, appearing and disappearing with the seasons. It was intended that this shifting boundary began to question the limits of site, and allude to the impermanence or flux of site conditions over time. A series of large-scale garden beds were mapped out, and designated as either permanently visible or illuminated by 1st-round plantings, 2nd-round plantings or 3rd-round plantings. Each planting round signified a different flowering season for the species, meaning the 1st round plantings would flower first, the 2nd-round plantings would flower next, and the 3rd-round plantings would flower last. Overlapping between 1st-round plantings dying back and the 2nd-round plantings flowering would also mean there would be periods where the ‘boundary’ that was activated shifted in its “thickness”. The same would occur in the period between the 2nd round plantings dying back and 3rd round plantings flowering. The Shifting Boundary proposed a dynamic border condition therefore in its situation, its materiality and also in its thickness. It was anticipated that different pathways would be revealed and covered during different seasonal periods also, meaning the visitor’s journey while walking the memorial also shifted with the seasons, or even over a period of years as plants began to establish themselves, or die-out completely.

Fig 126

Seasonal changes in planted boundary

Fig 127

Fig 122 - Fig 125 Different stages display accumulative qualities of the plants which bloom throughout the year, creating a shifting boundary in both the location and thickness of the line that is “lit up”. Fig 127 Map of ancient courses of the Mississippi River, Howard Fisk, 1944 This drawing of the shifting line of the river inspired me to think about how the boundary for the site might begin to shift and change over periods of time, in response to the vegetative lines that were “lit up”.

SUMMER

JAN

AUTUMN

FEB

MAR

APR

WINTER

MAY

JUN

JUL

SPRING

AUG

SEPT

OCT

SUMMER

NOV

DEC

JAN

AUTUMN

FEB

MAR

APR

WINTER

MAY

JUN

JUL

KEY

PERMANENT PLANTS A.d.d

Acacia dealbata ssp. dealbata E.v

Tussock/Grass

Eucalyptus viminalis ssp. Viminalis

J.p

Flower

Joycea pallida M.l

Microseris lanceolata P.o

Flower (semi-‐remote)

Poa labillardierei ssp. labillardierei Poa morrisii P.s.s

Poa sieberiana ssp. sieberiana

Pr.l

Prostanthera lasianthos var. lasianthos T.t

Themeda triandra Xanthorrhoea minor ssp. lutea

ANNUAL/PERRENIAL PLANTS Arthropodium strictum A.m

Arthropodium milleﬂorum

B.a

Brunonia australis Bulbine bulbosa Caladenia catenata

C.v.

ChilogloDs valida C.t

Celmisia tomentella

C.a

Chrysocephalum apiculatum C.s.

Chrysolephalum semipapposum C.c

Cotula coronopifolia C.au

Craspedia auranAa D.a

Dianella admixta (revoluta)

D.t

Dianella tasmanica

D.p

Dipodium punctatum Diuris orienAs Lomandra ﬁliformis

L.l

Lomandra longifolia

L.m

Lomandra mulAﬂora Ranunculus anemoneus

SUMMER

R.a

AUTUMN

Rhodanthe anthemoides WINTER Rhodanthe manglesii

NOVSUMMER DEC JAN FEB AUTUMN MAR APR T.c JAN FEBV.bAUTUMN MAR APR MAY JUN WINTER APR V.h MAY JUN JUL AUTUMN MAR WINTER PR MAY JUN JUL KEY WINTER Eucalyptus viminalis ssp. Viminalis W.s JUN JULpallida Eucalyptus viminalis KEY A.d.d ssp. Viminalis Joycea KEY A.d.d Tree Eucalyptus viminalis ssp. Viminalis KEY:

WINTER MAY

JUN JUL Thelymitra circumsepta Viola betonicifolia JUL KEY Viola hederacea KEY Wahlenbergia A.d.d gracilis A.d.d

KEY Tree

Tree

Tussock/Grass

Flower

Tussock/Grass

Flower M.l

Orchid

Tree

Wahlenbergia mulAcaulis Wahlenbergia stricta

A.d.d minalis Patersonia occidentalis Tree Poa labillardierei ssp. labillardierei

Tree

Tussock/Grass

Flower M.l

Orchid

Flower (remote)

Tussock/Grass

M.l Flower

Orchid

Flower (remote)

Flower (semi-‐remote)

ssp. labillardierei Poa morrisii Tussock/Grass

M.l Flower

Orchid

Flower (remote)

Flower (semi-‐remote)

Flower (remote)

Flower (semi-‐remote)

M.l sieberiana ssp. sieberiana Orchid Poa FigFlower 128

Orchid beriana ssp. sieberiana Prostanthera lasianthos var. lasianthos Flower (remote)

Flower (remote) thos var. lasianthos Themeda triandra

V.h

Flower (semi-‐remote)

Planting the Seed Species Selection and Community Schedule

Flower (semi-‐remote) Xanthorrhoea minor ssp. lutea

podium strictum Arthropodium milleﬂorum

rum

Brunonia australis

Brunonia australis bine bulbosa ChilogloDs valida Celmisia tomentella

Celmisia tomentella hrysocephalum apiculatum Chrysolephalum semipapposum

Chrysolephalum semipapposum

Craspedia auranAa C.c

Craspedia auranAa Dianella admixta (revoluta) C.c

lla aDianella dmixta (trevoluta) asmanica C.c

Fig 129

Dipodium punctatum

In selecting appropriate plant species for the project, a significant effort went into researching and mapping out the staging of perennial flowering periods of plant species that were indigenous to the site and would provide a shifting boundary over several months of the year. It was C.c intended that there would be a series of C.c plantings left to develop over time and maintained by permanent council, and also a schedule of community planting for perrenial and semi-permanent planings, running from Autumn to Spring each month.

andra ﬁliformis Lomandra longifolia

Fig 128 Table of species blooming seasons for selected plants, local to the area and suited to the envi- L.m Rhodanthe anthemoides ronments available. TheL.m list of plants includes des species to be visible throughout the entire year L.m Thelymitra circumsepta as well as perennials which bloom only for short ymitra circumsepta Viola betonicifolia periods.

la hederacea

gracilis V.h

bergia mulAcaulis

enbergia stricta

Fig 129 V.h The Middle Yarra Indigenous Seasonal Calendar V.h and associated plantings.

Orchid Flower (remote)

Patersonia occidentalis P.l.l

Tree

Both traditional calendar months were mapped out as well as a consideration for theL.m7 seasons of the Wurrundjeri calendar of the L.m Yarra Valley region. In mapping out flowering periods for certain species, there was also a consideration of what fauna may be attracted to the site, and V.h a layering of siteV.h“narratives” happening at different times begun to emerge. The planting schedule, flowering and fauna sequencing was also cross-referenced with a calendar of cultural events both national and localised. These different schedules allowed an in-depth analysis of the broader effects of the intervention on site, and suggested the possibility of integration or facilitation of existing socio-cultural events such as festivals and commemorative events.

JULY

JUNE

AUGUST

Sunday

Monday

Tuesday

2 NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

Thursday

Friday

Saturday

Monday

Tuesday

3 HEALESVILLE YOUNG WARRIORS

Wednesday

Thursday

Friday

Saturday

FLORA BLOOMING: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA BLOOMING: Cotula coronopifolia (Brass Buttons) FLORA BLOOMING: Microseris lanceolata (Yam Daisy) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Other Indigenous grasses.

FAUNA: Brushtailed-‐Phascogale mating (mid-‐May to early July) FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Sugar Glider birthing FAUNA: Superb Fairy Wren breeding

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle)

3 NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

Wednesday

FLORA BLOOMING: Lomandra multiflora (Mat-‐rush) FLORA BLOOMING: Viola hederacea (Australian Violet) FLORA PRESENT: Indigenous grasses.

FAUNA: Brushtailed-‐Phascogale mating (mid-‐May to early July) FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Superb Fairy Wren breeding

Sunday

7 NAIDOC WEEK 7 -‐13 JULY

Monday

10 HEALESVILLE YOUNG WARRIORS

QUEEN’S BIRTHDAY

17 HEALESVILLE YOUNG WARRIORS

18 REFUGEE WEEK 16-‐22 JUNE

19 REFUGEE WEEK 16-‐22 JUNE

20 REFUGEE WEEK 16-‐22 JUNE

21 REFUGEE WEEK 16-‐22 JUNE

30 CORANDERRK RESERVE GAZETTED (1863)

31 HEALESVILLE YOUNG WARRIORS

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

8 NAIDOC WEEK 7 -‐13 JULY

HEALESVILLE YOUNG WARRIORS

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

31 HEALESVILLE YOUNG WARRIORS

15 ANNIVERSARY OF WILLIAM BARAK’S DEATH (1903)

HEALESVILLE YOUNG WARRIORS

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HEALESVILLE YOUNG WARRIORS

1 ORCHID/”GULING” FESTIVAL

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HEALESVILLE YOUNG WARRIORS

Saturday

NATIONAL ABORIGINAL & TORRES STRAIT ISLANDER CHILDREN’S DAY

INTERNATIONAL DAY OF THE WORLD’S INDIGENOUS PEOPLE

Friday

HEALESVILLE YOUNG WARRIORS

13 NAIDOC WEEK 7 -‐13 JULY

12 NAIDOC WEEK 7 -‐13 JULY HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HEALESVILLE YOUNG WARRIORS

REFUGEE WEEK 16-‐22 JUNE

HEALESVILLE YOUNG WARRIORS

11 NAIDOC WEEK 7 -‐13 JULY

HEALESVILLE YOUNG WARRIORS

ANNIVERSARY CLOSURE OF CORANDERRK

REFUGEE WEEK 16-‐22 JUNE

10 NAIDOC WEEK 7 -‐13 JULY

16 REFUGEE WEEK 16-‐22 JUNE

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

NAIDOC WEEK 7 -‐13 JULY

Thursday

FLORA BLOOMING: Ranunculus anemoneus (Anenome Buttercup) FLORA BLOOMING: Rhodanthe manglesii (Rhodanthe) FLORA BLOOMING: Whalenbergia stricta (Native Bluebell) FLORA BLOOMING: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Cotula coronopifolia (Brass Buttons) FLORA PRESENT: Microseris lanceolata (Yam Daisy) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Other Indigenous grasses.

2 9

HEALESVILLE YOUNG WARRIORS

Wednesday

FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Sugar Glider birthing FAUNA: White-‐eared Honeyeater breeding FAUNA: Superb Fairy Wren breeding

MABO DAY

Tuesday

COMING OF THE LIGHT

OCTOBER

SEPTEMBER

NOVEMBER

Sunday

Monday

Tuesday

3 HEALESVILLE YOUNG WARRIORS

Wednesday

Sunday

Saturday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

17 HEALESVILLE YOUNG WARRIORS

22 16

24 HEALESVILLE YOUNG WARRIORS

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

31 HEALESVILLE YOUNG WARRIORS

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

1 GRASS FLOWERING/”BUATH GURRU” FESTIVAL

Saturday

25 WHITE RIBBON DAY

HEALESVILLE YOUNG WARRIORS

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

24 HEALESVILLE YOUNG WARRIORS

Friday

FLORA PRESENT: Wahlenbergia gracilis FLORA PRESENT: Wahlenbergia maulticaulis FLORA PRESENT: Whalenbergia stricta (Native Bluebell) FLORA PRESENT: Microseris lanceolata (Yam Daisy) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Caledenia catenata FLORA DYING BACK: Diuris orientis FLORA DYING BACK: Ranunculus anemoneus (Anenome Buttercup) FLORA DYING BACK Rhodanthe manglesii (Rhodanthe)

11 REMEMBRANCE DAY

HEALESVILLE YOUNG WARRIORS

Thursday

10 HEALESVILLE YOUNG WARRIORS

3 HEALESVILLE YOUNG WARRIORS

Wednesday

FLORA BLOOMING: Xanthorrhoea minor ssp. Lutea (Small Grass Tree) FLORA BLOOMING: Prostanthera lasianthos var. lasianthos (Coranderrk Bush) FLORA PRESENT: Poa morisii (Velvet Tussock Grass) FLORA PRESENT: Poa siberiana ssp. siberiana (Grey Tussock Grass) FLORA PRESENT: Arthropodium strictum FLORA PRESENT: Arthropodium milleflorum FLORA PRESENT: Bulbine bulbosa FLORA PRESENT: Chrysocephalum apiculatum FLORA PRESENT: Rhodanthe anthemoides FLORA PRESENT: Viola hederacea

Tuesday

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Monday

FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: White-‐eared Honeyeater breeding FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

Sunday 1

24 HEALESVILLE YOUNG WARRIORS

Saturday

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Friday

FLORA PRESENT: Wahlenbergia gracilis FLORA PRESENT: Wahlenbergia maulticaulis FLORA PRESENT: Ranunculus anemoneus (Anenome Buttercup) FLORA PRESENT: Rhodanthe manglesii (Rhodanthe) FLORA PRESENT: Whalenbergia stricta (Native Bluebell) FLORA PRESENT: Microseris lanceolata (Yam Daisy) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Cotula coronopifolia (Brass Buttons)

HEALESVILLE YOUNG WARRIORS

Thursday

10 HEALESVILLE YOUNG WARRIORS

AUSTRALIAN CITEZENSHIP DAY

3 HEALESVILLE YOUNG WARRIORS

Wednesday

FLORA BLOOMING: Chrysophalum semipapposum (Clustered Everlasting) FLORA BLOOMING: Poa labillardierei ssp. labillardierei (Common Tussock Grass) FLORA BLOOMING: Poa morisii (Velvet Tussock Grass) FLORA BLOOMING: Poa siberiana ssp. siberiana (Grey Tussock Grass) FLORA PRESENT: Arthropodium strictum FLORA PRESENT: Arthropodium milleflorum FLORA PRESENT: Bulbine bulbosa FLORA PRESENT: Caledenia catenata FLORA PRESENT: Chrysocephalum apiculatum FLORA PRESENT: Diuris orientis FLORA PRESENT: Rhodanthe anthemoides FLORA PRESENT: Viola hederacea

Tuesday

FAUNA: Pobblebonk Frog starts breeding, males calling. FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: White-‐eared Honeyeater breeding FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

Monday

1 TADPOLE/”POORNEET” FESTIVAL

Friday

FLORA PRESENT: Ranunculus anemoneus (Anenome Buttercup) FLORA PRESENT : Rhodanthe manglesii (Rhodanthe) FLORA PRESENT: Whalenbergia stricta (Native Bluebell) FLORA PRESENT: Microseris lanceolata (Yam Daisy) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Cotula coronopifolia (Brass Buttons)

4 BATTLE FOR AUSTRALIA DAY

HEALESVILLE YOUNG WARRIORS

Thursday

FLORA BLOOMING: Arthropodium strictum FLORA BLOOMING: Arthropodium milleflorum FLORA BLOOMING: Bulbine bulbosa FLORA BLOOMING: Caledenia catenata FLORA BLOOMING: Chrysocephalum apiculatum FLORA BLOOMING: Diuris orientis FLORA BLOOMING: Rhodanthe anthemoides FLORA BLOOMING: Viola hederacea FLORA BLOOMING: Wahlenbergia gracilis FLORA BLOOMING: Wahlenbergia maulticaulis

FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: White-‐eared Honeyeater breeding FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

DECEMBER

Sunday

Monday

Tuesday

3 HEALESVILLE YOUNG WARRIORS

Wednesday

HEALESVILLE YOUNG WARRIORS

31 HEALESVILLE YOUNG WARRIORS

Monday

Tuesday

3 HEALESVILLE YOUNG WARRIORS

16 CORANDERRK MUSIC FESTIVAL

HEALESVILLE YOUNG WARRIORS

31 HEALESVILLE YOUNG WARRIORS

21 HARMONY DAY

26 HICSA COMMUNITY LUNCH

Tuesday

Wednesday

Thursday

Friday

FLORA PRESENT: Dianella admixta (Black anther flax-‐lily) FLORA PRESENT: Chrysolephalum semipapposum (Clustered Everlasting) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Viola heteracea (Native Violet)

Saturday

Sunday

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HEALESVILLE YOUNG WARRIORS

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

28 NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

26 NATIONAL SORRY DAY

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Saturday

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Friday

24 HEALESVILLE YOUNG WARRIORS

30 NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

17 HEALESVILLE YOUNG WARRIORS

Thursday

FLORA PRESENT: Dianella admixta (Black anther flax-‐lily) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Chrysolephalum semipapposum (Clustered Everlasting)

10 HEALESVILLE YOUNG WARRIORS

Wednesday

25 ANZAC DAY

31 HEALESVILLE YOUNG WARRIORS

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

24 HEALESVILLE YOUNG WARRIORS

17 HEALESVILLE YOUNG WARRIORS

Tuesday

9 10

HEALESVILLE YOUNG WARRIORS

Monday

FAUNA: Bibron’s Toadlet end of breeding, males calling. FAUNA: Australian Painted Lady in flight. FAUNA: Brushtailed-‐Phascogale mating (mid-‐May to early July) FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing.

WOMBAT SEASON “WARING” FESTIVAL

HEALESVILLE YOUNG WARRIORS

28 JAMES WANDIN DAY

MAY Monday

EASTER MONDAY

8 HEALESVILLE ‘POOL PARTY’ MUSIC FESTIVAL

MEMORANDUM OF UNDERSTANDING

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

13 NATIONAL APOLOGY DAY

Sunday

FAUNA: Bibron’s Toadlet starts breeding, males calling. FAUNA: Ringed Xenica Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing.

Saturday

12 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

24 HEALESVILLE YOUNG WARRIORS

Friday

FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Prostanthera lasianthos var. lasianthos (Coranderrk Bush) FLORA DYING BACK: Chrysocephalum apiculatum FLORA DYING BACK: Lomandra multiflora (Mat-‐rush) FLORA DYING BACK: Thelmitra circumsepta FLORA DYING BACK: Whalenbergia stricta (Native Bluebell)

HEALESVILLE YOUNG WARRIORS

1 EEL SEASON/ “LUK” FESTIVAL

31 HEALESVILLE YOUNG WARRIORS

Saturday

NATIONAL CLOSE THE GAP DAY

24 HEALESVILLE YOUNG WARRIORS

12 HICSA COMMUNITY LUNCH

Friday

FLORA DYING BACK: Celmisia tomentella (Mountain Daisy) FLORA DYING BACK: Craspedia aurantia (Billy-‐buttons) FLORA DYING BACK: Rhodanthe anthemoides (Chamomile Sunray) FLORA DYING BACK: Viola betonicipolia (Showy Violet) FLORA DYING BACK: Brunonia australis (Blue Pincushion) FLORA DYING BACK: Anthropodium milleflorum (Pale Vanilla Lily)

ANNIV. COR. LAND RECLAMATION

Thursday

10 HEALESVILLE YOUNG WARRIORS

Wednesday

FLORA PRESENT: Eucalyptus viminalis ssp. viminalis FLORA PRESENT: Dianella admixta (Black anther flax-‐lily) FLORA PRESENT: Chrysolephalum semipapposum (Clustered Everlasting) FLORA PRESENT: Viola heteracea (Native Violet) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Dipodium punctatum (Purple Hyacinth orchid)

Thursday

10 HEALESVILLE YOUNG WARRIORS

APRIL

Wednesday

FLORA PRESENT: Eucalyptus viminalis ssp. viminalis FLORA PRESENT: Brunonia australis FLORA PRESENT: Celmisia tomentella FLORA PRESENT: Craspedia aurantia FLORA PRESENT: Dipodium punctatum FLORA PRESENT: Poa siberiana ssp. siberiana (Grey Tussock Grass) FLORA PRESENT: Arthropodium milleflorum FLORA PRESENT: Rhodanthe anthemoides FLORA PRESENT: Viola hederacea

3 HEALESVILLE YOUNG WARRIORS

FAUNA: Bibron’s Toadlet starts breeding, males calling. FAUNA: Blotched Dusky-‐blue Butterflies in flight (very few) FAUNA: Ringed Xenica Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Long-‐nosed Bandicoot birthing.

HICSA COMMUNITY LUNCH

MARCH

26 SURVIVAL DAY

Sunday

AUSTRALIA DAY

24 HEALESVILLE YOUNG WARRIORS

Tuesday

FAUNA: Pobblebonk Frog tadpoles lose tail and begin life on land. FAUNA: Blotched Dusky-‐blue Butterflies in flight (very few) FAUNA: Ringed Xenica Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: Superb Fairy Wren breeding

Monday

1 DRY SEASON/ “BIDERAP” FESTIVAL

SIMON WONGA DAY

Sunday

Saturday

HICSA COMMUNITY LUNCH

17 HEALESVILLE YOUNG WARRIORS

Friday

FLORA PRESENT: Viola hederacea FLORA PRESENT: Whalenbergia stricta (Native Bluebell) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Poa morisii (Velvet Tussock Grass) FLORA DYING BACK: Xanthorrhoea minor ssp. Lutea (Small Grass Tree) FLORA DYING BACK Bulbine bulbosa FLORA DYINGBACK: Arthropodium strictum FLORA DYING BACK: Wahlenbergia maulticaulis

Thursday

HEALESVILLE YOUNG WARRIORS

Wednesday

FLORA BLOOMING: Eucalyptus viminalis ssp. viminalis FLORA PRESENT: Brunonia australis FLORA PRESENT: Celmisia tomentella FLORA PRESENT: Craspedia aurantia FLORA PRESENT: Dipodium punctatum FLORA PRESENT: Thelmitra circumsepta FLORA PRESENT: Prostanthera lasianthos var. lasianthos (Coranderrk Bush) FLORA PRESENT: Poa siberiana ssp. siberiana (Grey Tussock Grass) FLORA PRESENT: Arthropodium milleflorum FLORA PRESENT: Chrysocephalum apiculatum FLORA PRESENT: Rhodanthe anthemoides

9 15

BOXING DAY

Tuesday

HEALESVILLE YOUNG WARRIORS

HICSA COMMUNITY LUNCH

Monday

FAUNA: Blotched Dusky-‐blue Butterflies in flight (very few) FAUNA: Ringed Xenica Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Southern Freetail Bat birthing young. FAUNA: Feathertail Glider birthing. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

Sunday 1

KANGAROO APPLE FESTIVAL

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Saturday

17 HEALESVILLE YOUNG WARRIORS

Friday

FLORA PRESENT: Bulbine bulbosa FLORA PRESENT: Chrysocephalum apiculatum FLORA PRESENT: Rhodanthe anthemoides FLORA PRESENT: Viola hederaceaFLORA PRESENT: Wahlenbergia maulticaulis FLORA PRESENT: Whalenbergia stricta (Native Bluebell) FLORA PRESENT: Lomandra multiflora (Mat-‐rush) FLORA PRESENT: Viola hederacea (Australian Violet) FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Microseris lanceolata (Yam Daisy) FLORA DYING BACK: Wahlenbergia gracilis

HUMAN RIGHTS DAY

Thursday

FLORA BLOOMING: Brunonia australis FLORA BLOOMING: Celmisia tomentella FLORA BLOOMING: Craspedia aurantia FLORA BLOOMING: Dipodium punctatum FLORA BLOOMING: Thelmitra circumsepta FLORA PRESENT: Xanthorrhoea minor ssp. Lutea (Small Grass Tree) FLORA PRESENT: Prostanthera lasianthos var. lasianthos (Coranderrk Bush) FLORA PRESENT: Poa morisii (Velvet Tussock Grass) FLORA PRESENT: Poa siberiana ssp. siberiana (Grey Tussock Grass) FLORA PRESENT: Arthropodium strictum FLORA PRESENT: Arthropodium milleflorum

FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Ringed Xenica Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Southern Freetail Bat birthing young. FAUNA: Feathertail Glider birthing. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: White-‐eared Honeyeater breeding FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

FEBRUARY

January

29 NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

HEALESVILLE YOUNG WARRIORS

KEY: NATIONALLY RECOGNISED INDIGENOUS EVENTS HEALESVILLE-‐SPECIFIC EVENTS

Nationally Recognised Indigenous Events Healesville-Specific Events

CORANDERRK-‐SPECIFIC ANNIVERSARIES

Coranderr-Specific Anniversaries

NEWLY IMPLEMENTED ANNIVERSARIES/EVENTS

Newly Implemented Anniversaries

SEASONAL FESTIVALS (NEW)

Seasonal Festivals (New)

NATIONAL COLONIAL HOLIDAYS

National Colonial Holidays.

Planting of 1st-round flowering species Planting of 2nd-round flowering species Planting of 3rd-round flowering species

Flowering of previous season’s 1st-round flowering species Flowering of previous season’s 2nd-round flowering species Flowering of previous season’s 3rd-round flowering species

June July

August

September

October

November 79

December

May

April

March

February Fig 130 Visualization of seasonal changes in planting areas over the period of a year.

January

LAYERING// REVEALING

83 Fig 131 Location plan of 3 targeted Zones for intervention to occurr. Scale 1:64,000

Fig 132

Fig 133

Fig 134

A Developing Memorial

Three areas were selected as important points of intervention. All three areas can be seen from the lookout point at the Aboriginal Cemetery, and by following them into the site it was anticiapted that the visitor’s experience of the memorial as a whole would develop over time, much as the sites themselves do. While locals may experience the memorial at Zone 1 many times, they may only visit Zone 2 after a while, out of curiosity and Zone 3 may only be visited by those who know of its location, and make the journey for a specific reason. Viewlines into and between the zones were mapped as a way to begin to connect the site and as a tool to “draw” visitors in. 84

Fig 132 View of Zone 1, the Maroondah Highway from the Aboriginal cemetery. Fig 133 View of Zone 2, the Billabong created from the Yarra River, from the Aboriginal cemetery Fig 134 View of Zone 3, the Forest extension at the intersection of Badger Creek and the Yarra River.

Case Study: Parc de la Villette, Bernard Tschumi In the design of Parc de la Villette Tschumi used the grid as an organisational tool by which to organise the directional flows, orientation an location of the park. At the intersection of the grid lines are located 34 follies, which serve to orientate and provide a means of navigation to visitors, and are architectural explorations of deconstructivism. Tschumi has used the grid, and disruption of the grid as a way of ordering the formal interventions of the park, in that they either conform to the grid lines, or contrast against it (as with the ‘surfaces’ and ‘lines’ layers. Fig 135

The park also strives to strip down signage and conventional representations in order to provide a stronger relationship between the subject and the object; essentially to privilege the relationship between subject and their spatial surroundings. This use of the grid as a structure imposed upon existing landscape conditions, and therefore a way of measuring change became a notion I explored as a way to reveal changing conditions over site and time.

Fig 136

Fig 135, Fig 136 Tschumi’s explorations of the grid as a device for spatial organisation and manipulation of occupation at Parc de la Villette.

Displacement of the Grid.

Using the grid as a way to overlay structure onto the site allowed the design to use the grid points to ‘measure’ or ‘reveal’ the changing site conditions. This was done through five different types of gridpoints:

Fig 138

a) Overgrowth of planting plots - Flora measure Perennial wildflowers planted in a uniform grid of plots. Over time the boundaries between plots begins to disintegrate and the integrity of the grid is compromised in reponse to entropic plant growth. b) Breakdown of pole structures - Cultural measure Commemorative poles allow for indivdual sites of remembrance for family members of victims. The structural integrity is comprimised over time and replacements may be erected outside of the grid formation, disrupting the linearity of the site, and creating points of void and intensity.

Fig 139

c) Breakdown of marker structures - Hydrology measure Water markers placed in the flood-prone areas and around the billabong measure the water levels over a period of time, and the materials begin to erode or fall over as they lose structural integrity, similar to the poles. d) Entropy of forest growth - Flora measure Similarly to the planting plots, the planting of the forest in a grid formation becomes compromised as the trees become subject to natural growing irregularities, assymmetry, additional growth or species dying off in unfavourable conditions. e) Covering up of ghost plaques - Cultural measure Small plaques dedicated by the community within the pastures become covered as grass grows over them, and become difficult to locate.

Fig 138 Iraq Body Count Memorial is a temporary installation which challenges media and government reports claiming low death tolls for the conflict. At the University of Oregon, volunteers places 112,000 white flags around the campus, which each flag representing 6 Iraqi lives lost during the US occupation. 3,000 red flads represent the US soldiers killed. A sea of flags stretch across lawns, a solemn symbol of the magnitude of destruction of human life. The memorial seeks to use this to overwhelm using the immensity of numbers. The installation attempts to politicize public space as a reminder of the limbs and lives being sacrificed, often disregarded in the media, and to challenge the public complacency. This memorial displays the power of the visual impact that sheer repetition and quantity can have, combining with external knowledge of the memorial to produce a qualitative change in the visitor. Fig 139 Martyr’s Forest in Jerusalem uses a connection between memory and land to commemorate the lives lost in the Holocaust, Essentially a memorial park, trees have been planted as a living memorial- one for each victim. The forest at once remembers the dead and also signifies a return to the land, and hope for the future.

Fig 137 Grid materiality/functionality changes diagram

Fig 140

Fig 140 The use of Pukami poles as a ritual following the death of a clan member is a traditional commemorative practice for Indigenous people, involving the painting of timber poles and ceremonies involving dancing and singing.

Wildflower banks (Maroondah Highway)

Year 01

Year 03

ZONE 1

Speculative Collage: View from Maroondah Highway driving East

Seasonal plantings light up the land, alerting drivers travelling both directions, and focusing vision into the Coranderrk Site. The experience is seasonal, and travellers following the route regularly may not realise for months that the memorial exists, but when in bloom these viewlines are illuminated for a short period, inciting curiosity at the purpose and points which they lead to. The intervention provides for opportunities to pull over and walk down into the valleys, which then ‘pull’ the visitors to Zone 2.

Year 05-10 Section CC

Pukamani Billabong (Floodplains)

Year 01

Year 03

ZONE 2

Speculative Collage: View from Coranderrk Cemetery

A grid of poles cover the pastures giving ‘site’ to lives lost. Poles allow for rituals such as carving or painting and a location for momentos. Markers in the floodplains weather, fall or erode, allowing visitors to measure time. The number of poles signifies the immensity of loss, viewed en masse from the Cemetery and moving within one can observe the personal nature of loss in the markings of others.

Year 05-10 Section DD

Circular Forest (Intersection Yarra and Creek)

ZONE 3

Speculative Collage: View from within Eucalypt forest.

In the later stages a eucalypt forest emerges, within it one becomes more aware of the surroundings connecting intimately with the land. The clearing is used for rituals, events and celebrations; integration with community events activates the site as a platform for healing and rebuilding. Lighting changes with the growth of the forest becoming a dark, sombre, isolated space as it reaches maturity.

Year 01

Year 05-10 Section HH

Year 03

Year 05-10

Flora/Fauna Palette

Year 05-10

Flora/Fauna Palette

Year 05-10

Flora/Fauna Palette

masterplan

Fig89 141 Masterplan Scale 1:64,000

Fig 142

90 Individual Site Timelines

WIildflower Contouring

Zone 1: Maroondah Highway In attracting the attention of passersby to the site, the Maroondah Highway was identified as an important site of intervention. The site also has viewlines towards the Billabong (Zone 2), and is visible from the Aboriginal cemetery.Mapping of the moving viewlines was undertaken as a way of clarifying the visible areas from the point of view of a person travelling in a car along the stretch of road at 60km an hour, overlooking the Coranderrk site. This was undertaken from both directions, and the resulting area selected as the imprint of the planting beds for the wildflowers. By correlating the floral planting colours with the topographic values of the landscape the site begins to suggest the changing levels, and ‘reveal’ site geomorphology. In this way, the species distribution follows the contour lines with different aesthetics delineating different heights.

Fig 143 Viewlines connecting Zones 1, 2 and 3 with the Aboriginal cmemtery

The site also encourages a further exploration of the memorial, offering an area for passersby to pull over from the highway and walk from the wildflower fields down to the Billabong, and continue south towards the Manna Gum Forest. Pathways begin to form between the species boundaries, where there is no planting, and lead visitors down towards the Billabong. The desire to explore, and to experience is encouraged; an underlying notion of denaturalisation emerges in the memorial, in that it implies there is more to be seen, that there exists more than meets the eye. By engaging in the process of exploration and in navigating through the site, the visitor might begin to recognise the fluctation between the particulars of site (in the ‘revealing’ of site elements) but also of the Universal, the immensity of the interconnected causal layers; in itself a memorialisation of ‘enormity’.

Fig 144 Fig 145General viewlines from Maroonday Highway into the Coranderrk site.

Fig 143, Fig 144 Fig 146 - Fig 151 Translation of moving viewlines into planting bed areas, following topograhpy levels of the landscape.

Fig 146 Moving viewlines, westerly direction mapping

Fig 147 Moving viewlines, easterly direction mapping

Fig 148 Overlay of viewlines area mapping

Fig 149 Combined viewlines area mapping

Fig 150 Mimicry of contours in the distribution of plant species to â&#x20AC;&#x2DC;revealâ&#x20AC;&#x2122; geomorphology.

Fig 151 Emergence of path between wildflower plantings and the Billabong to encourage exploration.

Fig 152 Wildflower Contouring Plan, Scale: 1:200

Fig 153 Wildflower contouring Deep Section: Blooming stage, Scale 1:200

Fig 154 Wildflower contouring Deep Section: Ploughing stage, Scale 1:200

Fig 155 Wildflower Contouring Perspective, Ploughed Stage

Fig 156 Wildflower Contouring Perspective, Blooming Stage

100

Seasonal Billabong Zone 2: Yarra River

The BIllabong becomes the cenmtral focal point of the site, and as such reclaims the role of the watering hole as a sacred place for social gathering, and a lifesource for Indigenous communities. Viewlines leading from both of the other Zones point towards the Billabong, as well as the lookout point at the Aboriginal cememtery. In the centre of the Billabong, acting like a beacon across the site, sits a small island with a single Silver Wattle. This blooms brightly in August, a reminder of the death of William Barak and also the continuing spirit of the Coranderrk Kulin people. Three conrete â&#x20AC;&#x153;piersâ&#x20AC;? sit on the boundary of the Billabong, delineating these viewlines, and pointing to the Wildflower fields to the north, the Aboriginal Cemetery to the east and also the Manna Gum Forest to the South. These also begin to connect the pathway running between all three Zones, and act as directional markers for moving between the areas. The Billabong is the second area of the site to form, and begins with large-scale earthworks which shift the land topography to alter the course of the Yarra River, and allow for the formation of the Billabong and associated wetland floodplains. These fill with water seasonally, and disappear completely in dry seasons.

Fig 157

101

Fig 158

Fig 157 Site Plan of Coranderrk showing viewlines centralised around the Billabong as a focal point, originating from the Aboriginal Cemetery and other Zones. Fig 158 Sequential plan diagrams showing the transformation of the Yarra River into the inclusion of a Billabong and associated wetalnds. Fig 159 Phillip Johnson Landscapes often use billabongs as the centrepiece of their designs, as a way to bbring nature into their suburban garden projects, focusing on ways to integrate play and exploration into the garden, as well as educate about sustainable water practices. In my design, I am similarly using the Billabong as a focal point for viewlines and movement across the site. The area becomes a mid-way point between the Maroondah Highway, the Aboriginal Cemetery and the Manna Gum Forest, and includes pathways for travelling between Zones.

Fig 160 Sequential sections showing flooding and formation of the Billabong from its dry state.

102

Fig 161 Billabong Plan, Scale: 1:200

103

104

Fig 162 Billabong Deep Section: Wet Stage, Scale 1:200

Fig 163 Billabong Deep Section: Dry Stage, Scale 1:200

105

106

107

Fig 164 Billabong Perspective, Wet Stage

108

Fig 165 Billabong Perspective, Dry Stage

109

110

Manna Gum Forest

Intersection Yarra River and Badger Creek The Manna Gum Forest is the last Zone to develop, being planted in the first year of the memorial with the species only beginning to reach maturity 10-40 years later. This begins to suggest a staging process for the memorial, in that the first two zones are visited in the earlier years, and only later does the Manna Gum Forest become a key part of the memorial. The forest is planted in a grid oriented to align with the viewlines towards the Billabong, which allows for a cleared path allowing spatial associations through the aligned view seen fromn the designated â&#x20AC;&#x153;clearingâ&#x20AC;? in the forest across to the Billabong. Fig 167

As the it develops over time, the grid formation would begin to disintegrate, disrupted by the entropic nature of plant growth, as well as the clearing of key walking routes through the forest to and from the clearing and entrance/exit points. The forest is designed to go through a controlled burning period once every 3 to 5 years, and then left to regenerate and continue developing in between. This becomes part of the ceremony or ritual schedule of the site, and suggestive of celebrating the resilient spirit of the Indigenous people in the face of challenges both past, present and future,

Fig 168

Fig 166 Visualisation of new growth forest; Sapling forest typology.

Fig 169

111

year 01

year 03

year 10

year 20

year 50 Fig 170 Sequential sections over time showing species growth from Year 01 to Year 50.

112

Fig 171 Manna Gum Forest Plan, Scale: 1:200

113

114

Fig 172 Manna Gum Forest Deep Section: Growth Stage, Scale 1:200

Fig 173 Manna Gum Forest Deep Section: Burnt Stage, Scale 1:200

115

116

117

Fig 174 Manna Gum Forest Perspective, Burnt Stage

118

Fig 175 Manna Gum Forest Perspective, Growth Stage

119

120

Integrating Site Narratives/Events

“

Once seeded, set up, or staged, ecological succession presents one site state that establishes the conditions for the next, which in turn overwrites the past and precipitates the future, not necessarily in foreseable or prescribable ways. In a sense, the landscape project is less about static, fixed organisations than it is about...’propogating organizations’.

(Corner, 2004)

In looking at the site through many lenses, it became necessary to consider the staging and interrealtionships between the layers or “narratives” of site that I was intervening with. In considering many of these threads within the one drawing, it became possible to pull out connections, trigger points, intensities and hidden relationships that would emerge. This type of speculative analysis also allowed an understanding of the design proposal as a whole with interconnected parts bleeding into one another, rather than viewing the three zones as separate entities in isolation. By thinking about the interconnected narratives of site, and immersing the visitors within them the way I considered site, and the idea of memorial shifted,

121

Fig 176 Super-Diagram of associated site narratives and layers.

and I started to question the role of the landscape as a device to allow the visitor be encompassed so as to step out of themselves, acknowledge something larger. The memorial then became about giving the visitor the opportunity to do this, to recognize and become part of the enormity, and a driver to make sense of the “unsettling” natures of the site. It also began to consider different modes of doing this, and the practice of commemoration in the everyday, in the un-sacred or even in the unconscious. An interesting follow-on from this (and an idea which perhaps sparked more questions of the project than it helped answer) was the contemplations of , W.E.H of a similar notion in the ‘lived philosophy’ in the Indigenous practice of the Dreamtime: 122

‘In following out The Dreaming, the blackfellow ‘lives’ this philosophy. It is an implicit philosophy, but nevertheless a real one. Whereas we hold (and may live) a philosophy of abstract propositions, attained by someone standing professionally outside ‘life’ and treating it as an object of contemplation and inquiry, the blackfellow holds his philosphy in mythology, attained as a social product of an indefintely ancient past, and proceeds to live it out ‘in’ life, in part through a ritual and an expressive art and in part through non-sacred social customs.’ (Stanner, 2011)

PROJECT SUMMARY//

Design Approach Summary

‘Remember to Forget’ details an exploration into the correspondence between human experience and spatial conditions and how these can inform a new approach to the memorial landscape. The initial research topic concerned the reinvigoration of normative memorial forms which had ‘lost resonance’ in their contemporary encounter. Later, the project became largely focused on the causal nature of spatial form in the process of remembering, and consequently the process of forgetting, where the memorial is a device to allowing these to occur. However, the role in which I regarded the purpose of the memorial shifted significantly over the course of the year. At the outset of the project I recognised the memorial as a form designed to remind one of past events, to illicit a sharing of these stories, and proposed that the ‘weight’ or significance was not being conveyed to subsequent generations as time moved them further from the emotional and cultural impacts. Ultimately though, what became increasingly intriguing to me was the operation of the memorial as a platform for social and cultural progression, rather than a static recording or retelling of the past, and what eventuated was an intervention with systemic narratives of site as a way to intervene with both past, present and future of the given site. This shifting understanding has been a product of an iterative and reflective design approach, wherein the process of form generation became gradually more concerned with the design of systems that shift in response to present conditions, rather than objectbased impositions upon the landscape. The act of research through design required a refinement in the way in which I understood (and way in which I undertook) process of designing. For me, this involved a series of stages, each building upon or reflective of the previous stage. At its most basic, this progression involved the construction of a framework, the creation of design, reflection and re-design of this relative to the aims of the framework and an eventual reconsideration of the conceptual framework or positioning of the project relative to the ideas emergent in the design outcome/s.

125

“

Creating knowledge through design practice connects the creative act of drawing and designing to that of thinking and theorising; accessing knowledge through field practice links the bodily act of percieving and experienceing to reflection and research.

(Raxworthy, 2012)

Fig 177 Design Practice Process Diagram

126

Reflections on Aims and Further Contemplations

“Remember to Forget” aimed to consider the role of the memorial in a contemporary setting, as space and as a device to reveal ‘narratives’. Initially, ‘narrative’ was understood as a re-telling (or re-showing) of the historical (human) events relevant to the memorial, however in considering the multiplicity of ‘narratives of site’, this definition also came to encapsulate site conditions layered over time and space such as geomorphology, hydrology, and ecological histories, as well as the socio-cultural. It seeks to be inclusive of all site narratives, acknowledging that many have not been told, and may never be. The ‘revealing’ process of these conditions was undertaken in a range of ways: through the insertion of abstract form within the existing, as a way to draw attention to surrounding conditions, through the insertion of forms changing site conditions through the reactive adaption of form, and finally through the use of existing site conditions to drive formal interventions which ‘reveal’ hidden forces. Abstract, or ambiguous form was explored as a way to permit openness in the interpretation of memorial meaning, and resist the oversimplification of didactic responses. This took the form of a monumental wall imposed on the delicate systems of site, a line directly creating and breaking boundaries across immense landscapes, and eventuated in the ebb and flow of landscape interventions, suggestive of a duality of site or multiple possibilities for site existing simultaneously. What all of these interventions had in common, though not initially a conscious decision, was the intention of bringing to the fore a certain sense of overwhelming ‘enormity’, or ‘immensity’ of the larger causal aspects at play. Through the experience of the sublime landscapes, the site becomes more than the sum of its parts. Considered in this way, the memorial has the potential to reach beyond the boundary of ‘understanding’ the existing, and the past, but reaches towards an ‘other’. The research fostered an anthropological understanding of memorial design, wherein the purpose was to take one outside of themselves to register and become overwhelmed by the sense of vastness of the memorial, and remind visitors of

127

the “otherness” that is possible which is radically different from the social and cultural paths of the past and present. The visitors become both witness and part of the memorial, a process of removal outside of themselves and into the “other” that is the memorial: “The body is as much a part of the landscape as those forms that surround it – both engaged in a ceaseless dialogue, an ever-continual conversation of space” (Lewis, 2011) This radical alterity that the memorial aims to engage with is evident in the positioning of the visitor both within and separate from the landscape interventions, at once the observer of landscape systems and also a part of them. This encourages an openness to all possibilities of memorial and of the future subject matters, rather than a reflection of past events or the dictation of one future ideal. ‘The claiming of things’ is a short animation that plays with an early Australian colonial painting by John Glover. The work considers numerous themes, among them the connection to, the disconnection from and ultimately the attempt to civilise nature, consumerism, fear, ownership, boundaries, naming and claiming. Over the course of the video the scene turns from pristine to colourful but out of touch, eventually to be restored by flood to its ‘natural’ state. This flux seeks to remind the audience of the relative insignificance of human intervention and the inherent fluctuations of landscape condition over time, as much a driver of social and cultural conditions as it is impacted itself. In much the same way, ‘Remember to Forget’ through physical intervention and ‘revealing’ urges one to consider larger forces and systems which comprise the memorial’s various states of existence. The project also aims to engage with abstract and lived experiences of the memorial, rather than the descriptive and instructive, creating sublime landscape spaces for the visitor to encounter, as a way to meet “that which is too great to comprehend, but which contains, paradoxically, an absolute fragility..” (Gilbert, 2012). Each intervention has an equal and opposite condition, shifting over

time between the sublime beauty and the sublime grotesque as an attempt to elicit violent emotional responses from the visitor, bringing one closer to the (possibly fleeting) recognition of the larger fragility of death of person, of culture and of landscape. Memory and remembering are dynamic, fluid processes. Very few memorials however, are reactive to the art of forgetting as an essential part of these. Where remembering is seen as a positive act, forgetting is a negation of that value and not encouraged in the memorial arena. This project serves to encourage a developing movement in contemporary memorials where the act of forgetting is employed as a fundamental component in the designed performance of commemoration spaces. Ephemeral design moves allow for the shifting, renewal and transformation of memories, which Young suggests is essential in order for the subject of remembrance to remain vivid in our collective social consciousness (Young, 2000). However, Ware suggests the ephemeral nature of memorial also allows for the ultimate act of acceptance through forgetting:

Fig 178

Fig 179

“These memorials do something which is not often considered in many national and official memorials. They simply allow us to forget. They accept the frailty of human memory and human kindness and let us move on.” (Ware, 2008) The concept of the memorial as an agent for social and cultural change is not necessarily a new idea, but the approach of designing memorials which remain significant over extended time periods is at this point still being explored, and an important trajectory for the continuation of my design practice. The landscape as a metaphysical platform for the transcendence of oneself to a state of imagined possibility and as a vehicle for making sense of “otherness” exists as the beginning of exciting possibilities for my future work.

Fig 178 “Expect to Merge (The claiming of things)”, 2012 pigment print on premium photo paper 39.5 x 79.5 cm (unmounted), edition of 5 by Joan Ross

“

Fig 179 “Landscaping (The claiming of things)”, 2012 pigment print on premium photo paper 39.5 x 79.5 cm (unmounted), edition of 5 by Joan Ross

(Corner, 1999)

Fig 180 “The naming of things (The claiming of things)”, 2012 pigment print on premium photo paper 43.5 x 75.5 cm (unmounted), edition of 5 by Joan Ross

By showing the world in new ways, unexpected solutions and effects may emerge

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Fig 180

APPENDIX i FLORA, FAUNA AND CULTURAL EVENTS DATA BOOK

131

Contents: Data Sets

COMMUNITY INTEGRATION

FLORA

FAUNA

Cultural Events Calendar January February March April May June July August September October November December

Species Seasonal Calendar Site Conditions and EVC

Birds Frogs

PERMANENT PLANTINGS: Trees Manna Gum Silver Wattle Shrubs Coranderrk Bush Grasses and Tussock Black Anther Flax-lily Blue Flax-lily Red Anther Wallaby Grass Wattle Mat-rush Spiny-headed Mat-rush Mat-rush Long purple-flag Common Tussock Grass Velvet Tussock Grass Kangaroo Grass Small Grass Tree TEMPORAL PLANTINGS: Flowers and Groundcovers Planting cycle 1 Australian Violet Brass Buttons Yam Daisy Anenome Buttercup Rhodanthe Native Bluebell Planting cycle 2 Chocolate Lily Pale Vanilla Lily Yellow Bulbine-lily Common Everlasting White Caladenia Common Bird Orchid Donkey Orchid Chamomile Sunray Showy Violet Sprawling Bluebell Branching Bluebell Clustered Everlasting Planting cycle 3 Blue Pincushion Billy-buttons Mountain Daisy Purple Hyacinth Orchid Bog Sun-orchid

132

White-eared Honeyeater Australian King Parrot Superb Fairy Wren Azure Kingfisher Peron’s Tree Frog Growling Grass Frog Common Froglet Pobblebonkk Frog Spotted Marsh Frog Bibron’s Toadlet

Insects(Butterflies) Blotched Dusky-blue Ringed Xenica Australian Painted Lady Mammals Southern Freetail Bat Brush-tailed Phascogale Feathertail Glider Common Ringtail Possum Sugar Glider Long-nosed Bandicoot Reptiles Coventry’s Skink Glossy Grass Skink

133

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

January

Wednesday

AUSTRALIA DAY

HICSA COMMUNITY LUNCH

SURVIVAL DAY

HICSA COMMUNITY LUNCH

Tuesday

Friday

KEY:

National Colonial Holidays.

NATIONAL COLONIAL HOLIDAYS

Seasonal Festivals (New)

SEASONAL FESTIVALS (NEW)

Newly Implemented Anniversaries

NEWLY IMPLEMENTED ANNIVERSARIES/EVENTS

Coranderr-Specific Anniversaries

CORANDERRK-‐SPECIFIC ANNIVERSARIES

Healesville-Specific Events 27

Nationally Recognised Indigenous Events

SIMON WONGA DAY

NATIONALLY RECOGNISED INDIGENOUS EVENTS HEALESVILLE-‐SPECIFIC EVENTS

Thursday

Flowering of previous season’s 3rd-round flowering species

Flowering of previous season’s 2nd-round flowering species

Flowering of previous season’s 1st-round flowering species

Planting of 3rd-round flowering species

Planting of 2nd-round flowering species

Planting of 1st-round flowering species

DRY SEASON/ “BIDERAP” FESTIVAL

Saturday

134

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

FEBRUARY

Wednesday

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

MEMORANDUM OF UNDERSTANDING

Friday

JAMES WANDIN DAY

Thursday

NATIONAL APOLOGY DAY

Tuesday

HEALESVILLE ‘POOL PARTY’ MUSIC FESTIVAL

Saturday

135

Sunday

Monday

CORANDERRK MUSIC FESTIVAL

HEALESVILLE YOUNG WARRIORS

MARCH

Wednesday

HICSA COMMUNITY LUNCH

ANNIV. COR. LAND RECLAMATION

Tuesday

Friday

NATIONAL CLOSE THE GAP DAY

HARMONY DAY

Thursday

EEL SEASON/ “LUK” FESTIVAL

Saturday

136

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

EASTER MONDAY

HEALESVILLE YOUNG WARRIORS

APRIL

ANZAC DAY

Wednesday

Thursday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Tuesday

Friday

WOMBAT SEASON “WARING” FESTIVAL

Saturday

137

Sunday

Monday

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

HEALESVILLE YOUNG WARRIORS

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

HEALESVILLE YOUNG WARRIORS

MAY

Wednesday

Thursday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

NATIONAL SORRY DAY

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

FLORA PRESENT: Dianella admixta (Black anther flax-‐lily) FLORA PRESENT: Other Indigenous grasses. FLORA DYING BACK: Chrysolephalum semipapposum (Clustered Everlasting)

Tuesday

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

Friday

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

Saturday

138

Sunday

Monday

CORANDERRK RESERVE GAZETTED (1863)

REFUGEE WEEK 16-‐22 JUNE

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

HEALESVILLE YOUNG WARRIORS

REFUGEE WEEK 16-‐22 JUNE

HEALESVILLE YOUNG WARRIORS

QUEEN’S BIRTHDAY

HEALESVILLE YOUNG WARRIORS

MABO DAY

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

Wednesday

Thursday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

REFUGEE WEEK 16-‐22 JUNE

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

REFUGEE WEEK 16-‐22 JUNE

FLORA PRESENT: Acacia dealbata ssp. dealbata (Silver Wattle)

FLORA BLOOMING: Lomandra multiflora (Mat-‐rush) FLORA BLOOMING: Viola hederacea (Australian Violet) FLORA PRESENT: Indigenous grasses.

Tuesday

REFUGEE WEEK 16-‐22 JUNE

FAUNA: Brushtailed-‐Phascogale mating (mid-‐May to early July) FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Superb Fairy Wren breeding

JUNE

REFUGEE WEEK 16-‐22 JUNE

Friday

REFUGEE WEEK 16-‐22 JUNE

ANNIVERSARY CLOSURE OF CORANDERRK

NATIONAL RECONCILIATION WEEK 27 MAY TO 3 JUNE

Saturday

139

Sunday

Monday

NAIDOC WEEK 7 -‐13 JULY

HEALESVILLE YOUNG WARRIORS

NAIDOC WEEK 7 -‐13 JULY

HEALESVILLE YOUNG WARRIORS

Wednesday

Thursday

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

NAIDOC WEEK 7 -‐13 JULY

Tuesday

NAIDOC WEEK 7 -‐13 JULY

JULY

NAIDOC WEEK 7 -‐13 JULY

Friday

NAIDOC WEEK 7 -‐13 JULY

COMING OF THE LIGHT

Saturday

140

Sunday

Monday

INTERNATIONAL DAY OF THE WORLD’S INDIGENOUS PEOPLE

HEALESVILLE YOUNG WARRIORS

AUGUST

NATIONAL ABORIGINAL & TORRES STRAIT ISLANDER CHILDREN’S DAY

Wednesday

Thursday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Tuesday

Friday

ANNIVERSARY OF WILLIAM BARAK’S DEATH (1903)

ORCHID/”GULING” FESTIVAL

Saturday

141

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

AUSTRALIAN CITEZENSHIP DAY

HEALESVILLE YOUNG WARRIORS

FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: White-‐eared Honeyeater breeding FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

Tuesday

BATTLE FOR AUSTRALIA DAY

Wednesday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Thursday

Friday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

SEPTEMBER

TADPOLE/”POORNEET” FESTIVAL

Saturday

142

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

OCTOBER

Wednesday

26 HICSA YARNING IN THE HILLS COMMUNITY LUNCH

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Tuesday

Friday

Thursday

Saturday

143

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

FAUNA: Blotched Dusky-‐blue Butterflies in flight FAUNA: Australian Painted Lady in flight. FAUNA: Feathertail Glider birthing. FAUNA: Common Ringtail Possum breeding. FAUNA: Long-‐nosed Bandicoot birthing. FAUNA: White-‐eared Honeyeater breeding FAUNA: Australian King Parrot breeding FAUNA: Superb Fairy Wren breeding FAUNA: Azure Kingfisher breeding

NOVEMBER

WHITE RIBBON DAY

REMEMBRANCE DAY

Wednesday

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Tuesday

Friday

Thursday

GRASS FLOWERING/”BUATH GURRU” FESTIVAL

Saturday

144

Sunday

Monday

HEALESVILLE YOUNG WARRIORS

HUMAN RIGHTS DAY

HEALESVILLE YOUNG WARRIORS

DECEMBER

Wednesday

BOXING DAY

HICSA COMMUNITY LUNCH

HICSA YARNING IN THE HILLS COMMUNITY LUNCH

Tuesday

Friday

Thursday

KANGAROO APPLE FESTIVAL

Saturday

SUMMER

JAN

AUTUMN

FEB

MAR

APR

WINTER

MAY

JUN

JUL

AUG

SEPT

OCT

PERMANENT PLANTS Acacia dealbata ssp. dealbata E.v J.p Microseris lanceolata P.o P.l.l P.s.s Pr.l T.t

ANNUAL/PERRENIAL PLANTS

A A.m B.a

Caladenia caten C.v. C.t C.a C.s. Cotula coronopifolia C.au D.a D.t D.p

Diuris orienA L.l L.m

Lomandra mulA Ranunculus anemoneus R.a Rhodanthe manglesii

T.c V.b V.h

Wahlenb

W W.s

145

PRING

SUMMER

NOV

DEC

JAN

AUTUMN

FEB

MAR

APR

WINTER

MAY

JUN

JUL A.d.d

Eucalyptus viminalis ssp. Viminalis Joycea pallida M.l Patersonia occidentalis Poa labillardierei ssp. labillardierei Poa morrisii Poa sieberiana ssp. sieberiana Prostanthera lasianthos var. lasianthos Themeda triandra Xanthorrhoea minor ssp. lutea

Arthropodium strictum Arthropodium milleﬂorum Brunonia australis Bulbine bulbosa

nata ChilogloDs valida Celmisia tomentella Chrysocephalum apiculatum Chrysolephalum semipapposum C.c Craspedia auranAa Dianella admixta (revoluta) Dianella tasmanica Dipodium punctatum

As Lomandra ﬁliformis Lomandra longifolia

Aﬂora

L.m Rhodanthe anthemoides Thelymitra circumsepta Viola betonicifolia

Viola hederacea

bergia gracilis

Wahlenbergia mulAcaulis Wahlenbergia stricta

146

V.h

Climate/ Temperature Zone Mapping Barnard, L., Etherington, K., Simpson, J., Tyree, M.

Ecological Vegetation Classes Plan

147

Site Conditions and Ecological Vegetation Classes

Plant species have been selected to match the indigenous plant familys found at the location of the historic Coranderrk Station site. These include four ecological vegetation classes: 17: Messmate Herb-rich Foothill Forest; Central Highlands A medium to tall open forest to 25m high with a mixture of eucalypts, usually including Eucalyptus obliqua (Messmate) and E.radiata (Narrow-leaf Peppermint) and sometimes E.baxteri (Brown Stringybark) and E. dives (Broad-leaf Peppermint). A middle storey of large shrubs or understorey trees up to 7m high has a sparser medium shrub layer. A dense and diverse storey of herbs and grasses characterises this vegetation community. Scattered through the Central Highlands on protected slopes and ridges, lower slopes and in gullies from 60-450m, frequently beside damp forest. It occurs on relatively fertile, moderately well-drained soils on an extremely wide range of soil types and in areas of moderate to high rainfall on easterly and southerly aspects. 30: Swamp Gum Swampy Riparian Woodland Woodland with an upper storey dominated by Eucalyptus ovata (Swamp Gum) but sometimes including E. viminalis (Manna Gum), E. fulgens (Green Scentbark) and/or E. cephalocarpa (Silver-leaf Stringybark). Middle storey contains a variety of low shrubs while the ground cover is dominated by sedges, rushes and grasses. This community is severely depleted, being used extensively for grazing and agriculture. It often bordered swamps and wetland communities and Paperbark Riparian Thickets. Scattered in moister lowland areas in depressions and along creeks and drainage lines and on floodplains associated with the Yarra River and its tributaries, especially Woori Yallock Creek system, from the western boundary to Millgrove. In the south of the Shire this community is associated with creeks draining into Dandenong Creek and around Lysterfield Lake. While this community is mostly linear wetland it also includes the drier banks and levees. Soils are moist, especially in winter. 31: Candlebark Grassy Forest Woodland or low forest to 20m high with an upper storey of Eucalyptus rubida (Candlebark) and E. radiata (Narrow-leaf Peppermint). A sparse middle storey of Acacia mearnsii (Black Wattle), A. melanoxylon (Blackwood) and Allocasuarina littoralis (Black Sheoke) and some small shrubs still occur in some remnants. The ground layer is dominated by grasses, sedges and herbs and can be quite rich in its diversity. Remnants of this community are scattered on undulating infertile land which have poor drainage in wet periods. It is concentrated within the Shire in the Middle Yarra region from Coldstream to Healesville, bordering the Swamp Gum Swampy Riparian Woodland on the floodplains of the Yarra River. 34: Manna Gum Floodplain Riparian Woodland Tall open woodland dominated by Eucalyptus viminalis (Manna Gum) to 35m high over a medium to tall shrub layer which includes lower trees such as Acacia dealbata (Silver Wattle) and A. melanoxylon (Blackwood). The ground layer consists of amphibious and aquatic herbs and sedges. This community is closely associated with treeless floodplains and wetland areas. It consists of a mixture of terraces, floodways, former channels, billabongs and levees. This mosiac of similar EVCâ&#x20AC;&#x2122;s makes it difficult to separate some areas into definitive EVCâ&#x20AC;&#x2122;s. Occurs along the banks and floodplains of larger meandering rivers such as the Yarra River from the western boundary to Wesburn and major creeks and tributaries including Watts River, Woori Yallock Creek and Little Yarra River. Elevation and rainfall are relatively low and soils are fertile alluviums subject to periodic flooding and inundation.

148

Trees

Manna Gum

Eucalyptus viminalis ssp. viminalis

Silver Wattle

Acacia dealbata spp. dealbata

Shrubs

Coranderrk Bush

Prostanthera lasianthos var. lasianthos

Height: 24-50m Width: 10-21m Description: Smooth white bark, narrow dull adult green leaves. Nectar-rich white creamy flowers. Zones: 9-11 Growing conditions: Full sun, frost tolerance, will grow in low rainfall areas. Flowering period: Jan-May

Height: 6-30m Width: 5-10m Description: Shrub to medium-sized tree. Small yellow flowers in globular heads. Leaves are bipinnate. Fruits are legume pods, splitting to reveal hard seeds. Zones: 8 Growing conditions: Require welldrained soil and full sun. Propogate from seed. Flowering period: Jul-Oct

Height: 2-6m Width: 1.5-3m Description: Tall shrub or small tree. Toothed, lance-chaped leaves. Showy sprays of white to pale mauve flowers marked with purple and orange spots in throat. Attracts butterflies. Zones: 8-10 Growing conditions: Full sun to partial sun, frost tolerant. Flowering period: Nov- Jan

Author: dracophylla / photo on flickr License: Attribution-NonCommercial-ShareAlike Source: Foter / Flickr

Image by: Richardson, R.G. & F.J. Locality: Bendigo near All Seasons Conference centre, VIC. Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Prostanthera lasianthos Image by: Thomas N. Licence: CC BY 2.5 AU Source: NatureShare

149

Grasses and Tussocks

Black Anther Flax-lily

Blue Flax-lily

Red Anther Wallaby Grass

Height: 50-70cm Width: 30-60cm Description: Clumping evergreen perennial. Leaves strap-like, arching, rolled back edges. Panicles of blue flowers followed by blue berries. Zones: 8-10 Growing conditions: Full sun to partial sun, frost resistant. Attracts butterflies. Flowering period: Aug-May

Height: 0.9-1.5m Width: 0.6-1.2m Description: Tufted pernnial. Leaves to 100cm long, green, influrescents may exceed leaves in length. Purplish-blue flowers. Large globular berries. Zones: 8-10 Growing conditions:Partial sun, frost resistant, tolerates poorly drained soil. Attracts butterflies. Flowering period: Aug-Feb

Height: 30cm Width: .5-1m Description: Fine leaved, tufted, yearlong green, perennial. Leaves greygreen to dark green and often hairy. Spikelets are green with pink tinges, becoming fluffy white when mature Zones: 8 Growing conditions: Full sun to partial sun, frost resistant. Flowering period: Oct-Jan

Image by: Fagg, M. Locality: ANBG Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Image by: Lyn Allison Licence: CC-BY Source: Flora of Westgate Park - Photos from Lyn Allison

Image by: Chris Clarke Licence: CC BY 2.5 AU Source: NatureShare

Dianella admixta (revoluta)

150

Dianella tasmanica

Rytidosperma pallidum

Grasses and Tussocks

Wattle Mat-rush

Spiny-headed Mat-rush

Mat-rush

Height: 50cm Width: 20cm Description: Evergreen, clumping rush with showy yellow flowers. Zones: 8-10 Growing conditions: Full sun to partial shade, tolerates dry conditions and requires well drained soils. Attracts butterflies. Flowering period: Sept-Dec

Height: 50-100cm Width: 60-120cm Description: Sedge-like perennial forming large tussocks. Leaves stiff and flat.Narrow pannicle of dense clusters of small, fragrant yellow flowers. Zones: 8-12 Growing conditions: Full sun to partial or full shade. Tolerates poorly drained/salty soil and frosts. Attracts butterflies. Flowering period: Sept-Feb

Height: 30-90cm Width: 60-120cm Description: Open to dense perennial tussock. Narrow greyish leaves, with rough inner surface.Showy flowers in rings on spikes Zones: 8 Growing conditions: Well drained soils, tolerating dry and swampy conditions. Semi shade. Attracts birds and butterflies Flowering period: Jun-Jan

Image by: Fagg, M. Locality: top of Brindabella Range, Two Sticks Rd, Namadgi Nat Pk ACT Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Image by: Lorraine Phelan Licence: http://creativecommons.org/licenses/ by-nc-sa/2.0/ Rights: Attribution-NonCommercial-ShareAlike License Source: Flickr EOL

Lomandra filiformis

Image by: Beth Mantle Locality: Canberra Licence: http://creativecommons.org/licenses/ by-nc-sa/2.0/ Rights: Attribution-NonCommercial-ShareAlike License Source: Flickr EOL

151

Lomandra longifolia

Lomandra multiflora

Grasses and Tussocks

Long purple-flag

Common Tussock Grass

Velvet Tussock Grass

Height: 20-40cm Width: 30-60cm Description: Compact tufting perennial herb. Narrow erect flat leaves Terminal clusters of bluish-purple or white flowers Zones: 8 Growing conditions: Full sun, semi shade. Tolerates light frosts, poorly drained soils and dry conditions. Flowering period: Sept-Jan

Height: 30-80cm Width: stems to 1.3m Description:Large, coarse densely tufted perennial. . Open pyramidal flowerhead, green or purplish. Zones: 8 Growing conditions: Tolerant of moist to slightly dry soils. Salt tolerant. Flowering period: Oct-Feb

Height: 25cm Width: stems 50-90cm Description: Soft, hairy tufted perennial. Flowering stems erect to spreading, downy.Open pyramidal flowerhead, green or purplish Zones: 8 Growing conditions: Full sun, semi shade. Moist to dry well drained poor or rocky soils. Flowering period: Oct-Dec

Patersonia occidentalis

Image by: Fagg, M. Locality: Near Kalbarri WA Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

152

Poa labillardierei

Image by: Russell Best Licence: CC BY 2.5 AU Source: NatureShare

Poa morrisii

Image by: Lyn Allison Source: Flora of Westgate Park - Photos from Lyn Allison

Grasses and Tussocks

Grey Tussock Grass

Kangaroo Grass

Small Grass Tree

Height: 15-30cm Width: 40, stems to 80cm Description:Dense green to greyishgreen tufted perennial with erect flowering stems.Open pyramidal flowerhead, green or purplish Zones: 8 Growing conditions: Full sun semi shade. Widespread, in moist to dry well drained soils. Frost and snow tolerant. Flowering period: Oct-Mar

Height: 40cm, stems to 90cm Width: 75cm Description: Soft, erect or spreading tufted perennial herb. Flat or channelled green to blue-green lower part sometimes hairy. Flower clusters of shiny bree-brown spikelets. Zones: 8 Growing conditions: Full sun, semi shade Well drained soils, not tolerant of very wet or dry conditions. Flowering period: Sept-Feb

Height: 60cm Width: 1m Description:Stout perennial with underground woody trunk, branched underground. Foliage in an erect grassy tuft. Leaves arching, triangular in cross-section. Terminal spike of dense, yellow fragrant flowers Zones: 8 Growing conditions: Full sun or semi shade. Well drained soils. Frost tolerant. Flowering period: Nov-Dec

Poa sieberiana

Image by: Ian Robb Licence: CC-BY-NC-SA Rights: Ian Robb, www.tumbiwetlands.com.au Source: Tumbi Wetlands

153

Themeda triandra

Image by: Arthur Chapman Licence: CC-BY Source: Flickr EOL

Xanthorrhoea minor ssp lutea

Image by: Fagg, M. Locality: Wittunga Botanic Gardens, SA Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Flowers and Groundcovers Planting cycle 1

Australian Violet

Brass Buttons

Yam Daisy

Height: 5-10cm Width: 40-90m Description: Small, creeping perennial with broad, oval to kidney-shaped leaves. Dark-centred lavendar or white flowers. Zones: 8-10 Growing conditions: Full sun to part or full shade. Tolerates frost and poorly drained soils. Flowering period: Jun-Mar

Height: 10-30cm Width: 15-40cm Description: Annual or short-lived perennial with spreading or mounding stems. Long peaves with pinnate lobes often toothed. Yellow flower-heads. Zones: 7-9 Growing conditions: Full sun. Tolerant of salty conditions and poorly drained soils. Flowering period: Jul-Aug

Height: 40cm Width: 15-20cm Description: Perennial herb with a turnip-like tuber, regenerating annually. Dandelion-like tuft of thin, narrow, entire or lobed leaves. Single daisy flowerheads of bright yellow Zones: 8 Growing conditions: Well drained soil. Frost tolerant. Semi-shade to dappled shade. Flowering period: Jul-Nov

Image by: Michal Hroneš Licence: http://creativecommons.org/licenses/ by-nc/3.0/ Source: Encyclopedia of Life

Image by: Fagg, M. Locality: Port Adelaide SA near drain Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Image by: Hill, R. Locality: Wilpena Pound, SA Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Viola hederacea

154

Cotula coronopifolia

Microseris lanceolata

Flowers and Groundcovers Planting cycle 1

Anenome Buttercup

Rhodanthe

Native Bluebell

Height: 20-40cm Width: 20-40cm Description: Low, spreading habit. Basal leaves are lobed and toothed. White flowers solitary or paired. Zones: 7-9 Growing conditions: Full sun to partial sun, frost resistant, tolerating poorly drained soils. Flowering period: Aug-Oct

Height: 30-45cm Width: 15-30m Description: Erect stems. Pointed oval to narrow heart-shaped grey-green to blue-green leaves. Many white to pinkbracted flowerheads. Zones: 8-11 Growing conditions: Full sun, frost resistant. Attracts butterflies. Flowering period: Aug-Oct

Height: 30-60cm Width: 10cm Description: Tufted deciduous perennial. Leaves oval and hairy at base, linear and smooth higher up stem. Flowers pale blue on thin stems. Zones: 8-11 Growing conditions: Full sun to partial sun, frost resistant. Attracts butterflies. Flowering period: Aug-Jan

Ranunculus anemoneus

Image by: Fagg, M. Locality: Kosciuszko State Park, above Thredbo, NSW Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

155

Rhodanthe manglesii

Image by: Phillips, M. Locality: 3 m W Wagin WA Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Wahlenbergia stricta

Image by: J & R Coghlan Licence: CC BY-NC-SA Attribution-NoncommercialShare Alike Rights: J & R Coghlan, Australian Plants Society Tasmania Source: Unique Flora of Tasmania

Flowers and Groundcovers Planting cycle 2

Chocolate Lily

Pale Vanilla Lily

Yellow Bulbine-lily

Height: 50-70cm Width: 30-60cm Description: Tufted perennial herb with tubers at the end of roots. Narrow, flat leaves. Erect branched stem with single fragrant flowers, anthers purple with bright yellow appendages. Zones: 8 Growing conditions: Full sun, semi-shade, well drained soils. Frost tolerant. Flowering period: Sept-Dec

Height: 40-60cm Width: 30cm Description: Deciduous species with narrow, grass-like leaves. Smale, pale lilac flowers, vanilla scented, borne above foliage. Zones: 8-11 Growing conditions: Full sun to partial sun, frost resistant. Flowering period: Sept-Feb

Height: 30-45cm Width: 15-30cm Description: Small, herbaceous plant, lacking a stem; growns from underground caudex. Leaves in loose rosette, fleshy, linear, thick, furrowed. Inflorescence to 30cm bearing bright yellow flowers. Zones: 8-11 Growing conditions: Full sun, frost resistant. Tolerates poorly drained soils. Flowering period: Sept-Jan

Arthropodium strictum

Image by: Russell Best Licence: CC BY 2.5 AU Source: NatureShare

156

Arthropodium milleflorum

Image by: Fagg, M. Locality: ANBG Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Bulbine bulbosa

Licence: CC-BY-SA-3.0 Source: Wikipedia

Flowers and Groundcovers Planting cycle 2

Common Everlasting

White Caladenia

Common Bird Orchid

Height: 10-30cm Width: 30-90cm Description: Variable perennial. Leaves silvery to grey-green, somewhat hairy. Flowers bright yellow, in clusters, on stems to 15cm. Zones: 8-10 Growing conditions: Full sun, frost resistant. Flowering period: Sept-Jan

Height: 8-30cm Width: 5-10cm Description: Slender erect perennial growing from round tubers, scattered plants form extensive colonies. Hairy green or reddish stem. Single narrow sparsely hairy leaf. Single flower, white with green column Zones: 8 Growing conditions: Semi-shade, well drained soil. Flowering period: Sept-Oct

Height: 4-10cm Width: 5cm Description: Perennial herb with a fleshy green-brown stem, growing from a small round tuber. Forms large colonies.Dark green egg-shaped leaves. Single flower, reddish-brown to purplish-green Zones: 8 Growing conditions: Cool, moist, tall forests or shaded drier open forests. Flowering period: Sept-Jan

Image by: Ian Peden Licence: CC-BY Source: Citizen Science

Image by: Nathan Fell Licence: CC BY 2.5 AU Source: NatureShare

Chrysocephalum apiculatum

Image by: Fagg, M. Locality: Scottsdale Bush Heritage Reserve near Bredo NSW Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

157

Caledenia catenata

Chiloglottis valida

Flowers and Groundcovers Planting cycle 2

Donkey Orchid

Chamomile Sunray

Showy Violet

Height: 10-50cm Width: 5-10cm Description: Slender erect perennial herb spreading from daughter tubers to produce extensive colonies. Tuft of narrow, channelled leaves erect or lax. Flowers yellow, suffused with reddishbrown Zones: 8 Growing conditions: Well drained to dry soils. Semi shade. Flowering period: Sept-Oct

Height: 10-20cm Width: 30-50cm Description: Wiry-stemmed evergreen perennial. Narrow, pointed, grey-green leaves. Clusters of flowerheads, papery white bracts. Zones: 8-10 Growing conditions: Full sun to partial sun, frost resistant. Attracts butterflies. Flowering period: Sept-Feb

Height: 10-25cm Width: 10-20cm Description: Leavesnarrow, blunt tipped, shallowly lobed, lance-shaped. Flowers purple, lighter centre, unscented. Zones: 8-10 Growing conditions: Full sun to partial sun, frost resistant. Tolerates poorly drained soils. Flowering period: Sept-Feb

Image by: Fagg, M. Locality: Kosciuszko Nat Pk, NSW Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Image by: Russell Best Licence: CC BY 2.5 AU Source: NatureShare

Diuris orientis

Image by: James Booth Licence: CC BY 2.5 AU Source: NatureShare

158

Rhodanthe anthemoides

Viola betonicifolia

Flowers and Groundcovers Planting cycle 2

Sprawling Bluebell

Branching Bluebell

Clustered Everlasting

Height: 10-50cm Width: 10cm Description: Erect to sprawling tufted perennial herb, many-branched from a few basal stems. Scattered narrow leaves. Tiny soft bell-shaped flowers, blue with white style to the end of stems. Petals edible. Zones: 8 Growing conditions: Moist to well drained soils. Full sun, semi-shade. Flowering period: Sept-Nov

Height: 40cm Width: 10cm Description: Tufted erect to spreading many-stemmed perennial, thickened taproot, hairy near base. Scattered oblong to lance-shaped leaves. Single bell-shaped flowers, pale blue Zones: 8 Growing conditions: Well drained soils. Full sun to semi shade. Flowering period: Sept-Dec

Height: 40-80cm Width: 30-120cm Description: Spreading, herbaceous perennial herb. Hairy stems with narrow, clustered, greyish hairy leaves. Tiny yellow flowers in heads to 12mm wide, in terminal clusters of up to 100 heads. Zones: 8-10 Growing conditions: Full sun, frost resistant. Flowering period: Oct-Apr

Wahlenbergia gracilis

Image by: Arthur STAFFORD Licence: CC-BY Source: Citizen Science

159

Wahlenbergia multicaulis

Image by: Richard Hartland Licence: CC BY - Creative Commons Attribution 3.0 Rights: Copyright Richard Hartland Source: Richard Hartland

Chrysolephalum semipapposum

Image by: Fagg, M. Locality: Cocoparra National Park, NSW Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Flowers and Groundcovers Planting cycle 3

Blue Pincushion

Billy-buttons

Mountain Daisy

Height: 25-50cm Width: 10-20cm Description: Leaves silky, hairy, long and spoon-shaped. Flowers small, blue with yellow stamens. Zones: 8-10 Growing conditions: Full sun to partial sun, frost resistant. Attracts butterflies. Flowering period:Dec-Feb

Height: 40cm Width: 30cm Description: Leaves bright green and covered in hairs, giving a wooly appearance. Orange flowerheads appear as ball-shaped atop thin stems. Zones: 7-9 Growing conditions: Full sun to partial sun, frost resistant. Tolerates poorly drained soils. Flowering period: Dec-Feb

Height: 20-40cm Width: 90cm Description: Scaly, creeping rhizome; narrow pointed leaves, long and silvery on both surfaces. Flowerheads to 6cm, white. Zones: 8-9 Growing conditions: Full sun, frost resistant. Tolerates poorly drained soils Flowering period: Dec-Feb

Brunonia australis Image by: Richard Hartland Licence: CC BY - Creative Commons Attribution 3.0 Rights: Copyright Richard Hartland Source: Richard Hartland

Image by: Fagg, M. Locality: before Charlottâ&#x20AC;&#x2122;s Pass, Kosciuszko Nat Pk NSW Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

Brunonia australis

160

Craspedia aurantia

Celmisia tomentella

Image by: Richard Hartland Licence: CC BY - Creative Commons Attribution 3.0 Rights: Copyright Richard Hartland Source: Richard Hartland

Flowers and Groundcovers Planting cycle 3

Purple Hyacinth Orchid

Bog Sun-orchid

Height: stem 30-90cm Width: 5-10cm Description: Erect, leafless thick green to purplish-red stem with overlapping sheaths at the base. Spike of 15-40 stalked, open flowers, rose pink with small darker pink to red spots Zones: 8 Growing conditions:Well drained soil, often poor or rocky. Semi shade. Flowering period: Dec-Feb

Height: 15-60cm Width: 5-10cm Description: Perennial herb with fleshy egg-shaped tubers. Slender to stout green stem. Erect single lanceshaped dark green leaf, thick, fleshy, channelled and ribbed. Flowers lilac to pale blue or greenish white Zones: 8 Growing conditions: Moist swampy soils often in exposed positions. Full sun, semi shade. Flowering period: Dec-Jan

Dipodium punctatum

Image by: Fagg, M. Locality: Mimosa Rocks Nat Pk, near Bega, Licence: http://www.anbg.gov.au/copyright.html Source: Australian Plant Image Index

161

Thelymitra circumsepta

Licence: CC-BY Source: Flickr EOL

birds

Superb Fairy Wren Malurus cyaneus 13-14cm

Azure Kingfisher Ceyx azurea 17-19cm

Habitat: dense, low cover with areas of short green grass; coastal heaths, saltmarsh, riverside thickets, bracken, undergrowth of forests, woodlands, blackberry thickets, lantana, margins of roads, tracks, road reserves, shelter belts, golf courses, orchards, parks, gardens, riverside vegetation, wetland plants over water.

Habitat: root-festooned banks of fresh or tidal creeks, rivers, streams in rainforest, swamps, estuaries, mangroves.

Breeding: June-Feb

Breeding: Sept-Jan Mostly sedentary

Photo & Copyright Greg Boombana

White-eared Honeyeater Lichenostomus leucotis 20-22cm

Australian King Parrot Alisterus scapularis 41-44cmcm

Habitat: wet forests, woodland, bracken, vegetation on streams, coastal heathlands/shrubs.

Habitat: rainforests, palm forests, eucalypt forests, dense gullies, clearings, coastal woodlands, regrowth with berry-bearing shrubs, crops, potato fields, orchards, parks, gardens

Breeding: Aug-Dec Sedentary; nomadic

FROGS

Amphibia Anura Hylidae Peron’s Tree Frog Litoria peronii

Amphibia Anura Hylidae Growling Grass Frog Litoria raniformis

Habitat: Widespread in natural and settled areas, such as wet and dry forests, woodlands, pastures and the outskirts of urban developments.

Habitat: Adults are usually found close to or in water or very wet areas in woodlands, shrublands, and open and disturbed areas.

Breeding: Occurs in swamps, ponds, dams, rivers and flooded regions.

Breeding: Eggs and tadpoles can be found in permanent lakes, swamps, dams, and lagoons with still water.

Calls: The call is very long and drawn out, slowly pulsed and increasing in loudness - “cra-ah-ah-ah-ah-ah-ah-ah-ahhk”.

Calls: Males usually call while floating in open water. The call is a growl of about one second duration - “crawark-crawark-crokcrok”.

CONSERVATION STATUS: PROTECTED-PRESUMED SECURE

CONSERVATION STATUS: PROTECTED-VULNERABLE

163

FROGS

Amphibia Anura Myobatrachidae Common Froglet Crinia signifera

Amphibia Anura Myobatrachidae Pobblebonk Frog Limnodynastes dumerilii

Habitat: Occurs in almost every habitat; coastal swamps, dry and wet forests, river flats, open and distrubed areas and alpine grasslands.

Habitat: Eucalypt forests and heathlands, preferring light soils, in which it burrows into, emerging at dusk to feed.

Breeding: The female lays her eggs in little clumps directly in the water, the eggs then sink to the bottom. Calling: The frog’s ‘crick crick crick crick...’ can be heard throughout the year, particularly after rain. CONSERVATION STATUS: PROTECTED-PRESUMED SECURE

Breeding: Calls and mates in October. Lays spawn clump in a foam nest in pond water and the tadpoles develop slowly over the summer months as the temperature rises. In February the tadpoles absorb thier tails and begin life on the land. In colder areas this process can take up to 15 months. Calling: Then the male calls to attract females, a single ‘bonk’ or ‘plunk’ almost always provokes a second response from another male. CONSERVATION STATUS: PROTECTED-PRESUMED SECURE

164

FROGS

Amphibia Anura Myobatrachidae Spotted Marsh Frog Limnodynastes tasmaniensis

Amphibia Anura Myobatrachidae Bibron’s Toadlet Pseudophryne bibronii

Habitat: Adults are most often associated with wet areas, flood plains, and semi-permanent water in habitats ranging from open forests and woodlands through shrublands and grasslands and including open and disturbed areas

Habitat: Adults frequent dry forest, woodland, shrubland and grassland. They shelter under leaflitter and other debris in moist soaks and depressions.

Breeding: Spawn is typically a floating raft of eggs suspended from a mass of bubbles that resembes a blob of detergent. Calling: Percussive noises like machine gun fire resound from garden ponds when calling in mating season.

Breeding:Starts breeding in March with males calling ending in May. Calling: Males call from within the nest or burrow, producing a short harsh grating “cre-ek” repeated every few seconds.

CONSERVATION STATUS: PROTECTED-PRESUMED SECURE

165

BUTTERFLIES

Blotched Dusky-blue Candalides acasta

Ringed Xenica Geitoneura acantha ocrea

Family: Insecta Lepidoptera Lycaenidae

Insecta Lepidoptera Lycaenidae

Insecta Lepidoptera Nymphalidae

Habitat: Occurs predominantly in coastal and desert heathland or mixed eucalypt woodland-heathland.

Habitat: Abundant in the foothills of the Great Dividing Range in moister temperate eucalypt open-forests with a grassy understory. Now locally extinct from Yarra Bend and inner Melbourne suburbs.

Habitat: Strongly migratory in behaviour and can consequently be found in almost any habitat. During spring the butterflies migrate south in large numbers from the northern states to the south.

Breeding: Eggs are laid singly, or sometimes in small groups of two or three, on leaves of the larval flood plant (Microlaena stipoides, Poa sieberiana, P. tenera, Themeda triandra). Larvae feeds mainly at night on the outer tips of the leaves, resting by day on the underside.One generation annually and adults fly predominantly in summer and early autumn. Adults are on the wing December/Jan to April.

Breeding: Eggs are laid singly on larval food plants (Ammobium alatum, Bracteantha bracteata, Chrysocephalum apiculatum, Chrysocephalum sp. aff. apiculatum, C. semipapposum, Helichrysum rupicola, H. scorpiodes, Gnaphalium sp. Rhodanthe chlorocephalum). Shelters inside the rolled leaf during the day emerging to feed at night. Several generations are completed annually.

Sighting: Adults typically fly slowly close to the ground amongst taller trees and frequint sunlit patches in shady areas. Have been seed to feed on Acacia and Eucalpytus flowers.

Sighting: Adults occur during most months of the year except June and July, and are more abundamt in spring. Very common, and occurs in a wide variety of habitats.

Breeding: Eggs are laid singly on flower buds of the larval food plant ( Cassytha filiformis, C. glabella, C. peninsularis, C. pubesens). The larvae feeds at night, on the flower bud and young shoots. Sighting: Emerges in wing by August (AugApril flight period), but very few adults are seen by December. Adults remain dormant for six months or more until the following winter or spring. CONSERVATION STATUS: PRESUMED SECURE

CONSERVATION STATUS: PRESUMED SECURE

166

Australian Painted Lady Vanessa kershawi

Diet: Feeds on everlasting daisies, capeweed, Scotch thistle and other small plants. CONSERVATION STATUS: PRESUMED SECURE Photo by and © M. & P. Coupar

mammals

Mammalia Chiroptera Molossidae Southern Freetail Bat Mormopterus planiceps

Mammalia Dasyuromorphia Dasyuridae Brush-tailed Phascogale Phascogale tapoatafa

Habitat: Common in dry sclerophyll forest and woodland and mallee scrub.

Habitat: Sparsely distributed outside the semi-arid zone in dry sclerophyll forest and monsoonal forest and woodland. Generally rare and threatened by habitat fragmentation.

Breeding: Birthing of 1-2 young from Dec-Jan Behaviour: Mostly root in tree hollows, also building and manmade cavities. Insectivorous CONSERVATION STATUS: UNLISTED

Photo & Copyright Lindy Lumsden

167

Breeding: Mating occurs during 3 weeks between mid-May and early July; all males then die; females live to 3 years old. Gestation lasts 30 days with a litter size of 7-8. Behaviour: Nocturnal, mostly shy, rarely seen. Carnivorous marsupial CONSERVATION STATUS: VULNERABLE

Photo & Copyright Gary Lewis

mammals

Mammalia Diprodontia Acrobatidae Feathertail Glider Acrobates pygmaeus

Mammalia Diprodontia Pseudocheiridae Common Ringtail Possum Pseudocheirus peregrinus

Habitat: Widespread in cool temperate and tropical eucalypt forests. Needs high diversity of trees and shrubs to provide yearround nectar. More common in wet and old-growth forest than dry or regenerating ones.

Habitat: Common in open and closed forests, coastal scrubs and gardens, especially where tall shrub layer is dense and diverse.

Breeding: Births occur June-Jan. Two litters of 3-4 may be raised per year. Longevity 5 years.

Behaviour: Social, occuring as family groups; Nocturnal

Behaviour: Nocturnal

Breeding:Breeds April to November, litter of 2 young

Eats leaves, flowers, fruits

Eats nectar, manna, arthropods.

168

CONSERVATION STATUS: COMMON IN CONSERVATION RESERVES- SECURE

CONSERVATION STATUS: COMMON THROUGHOUT NATIVE HABITAT - ABUNDANT

Photo & Copyright Gary Lewis

mammals

Mammalia Diprodontia Petauridae Sugar Glider Petaurus breviceps

Mammalia Peramelomorphia Peramelidae Long-nosed Bandicoot Perameles nasuta

Habitat: Common, widespread in wet and dry sclerophyll forest and woodland.

Habitat: Found in wet sclerophyll forest, scrub, rank grass and suburban gardens.

Breeding: Births occur July-August, litter size usually 2 Behaviour: Nocturnal, arboreal

Breeding: Births occur throughout the year, except winter. Litters of 2-3 weaned at about 7 weeks old and sexually mature at 20 weeks.

Eats arboreal arthropods, nectar, pollen, manna.

Behaviour: Nocturnal and crepuscular; solitary Digs in topsoil for invertebrates and tubers.

CONSERVATION STATUS: COMMON THROUGHOUT NATIVE HABITAT

CONSERVATION STATUS: SPARSE BUT SECURE

Photo & Copyright Peter Robertson

Photo & Copyright Ian McCann Permission to reproduce image from Parks Victoria

169

reptiles

Reptilia Squamata Scincidae Glossy Grass Skink Saproscincus mustelina

Reptilia Squamata Scincidae Coventry’s Skink Niveoscincus coventryi

Habitat: frequents poist and humid localities with dense ground cover. Often lives in suburban gardens but usually seen only in late afternoon or overcast days.????

Habitat: Found in cool habitats in Victoria, New South Wales and the Australian Capital Territory.

Breeding: Live-bearing

CONSERVATION STATUS: UNLISTED

170

Breeding:Live-bearing

CONSERVATION STATUS: LOW RISK- NEAR THREATENED

APPENDIX ii REFERENCES

Bibliography

Written Resources Batten, B & Batten, P. “Memorialising the Past: Is there an Aboriginal Way?” Public History Review (UTSePress) 15 (2008): 92-116. Bowring, J. “Landscapes of Memory: The varying presence of absence”. Landscape New Zealand, 2000. Bush, M. “For the Moment.” Journal of Architectural Education (ACSA Inc) 56, no. 3 (2003): 6-8. Clark, I.D. Scars in the Landscape: A Register of the Massacre Sites in Western Victoria 1803-1859. Canberra, ACT: Aboriginal Studies Press, 1995. Clausen, R. “Visualizing the Iraq Death Toll.” Monthly Review Magazine, 2007. Colafranceschi, D. “Land&Scape Series: Landscape + 100 words to inhabit it .” (Gustavo Gili, S.L.) 2007: 178181. Collins, N., Dakkak, F., De Tomasis, D., Jewson, D., Loomes, Z., St Ruth, E., ed. Kerb 20: Journal of Landscape Architecture; Speculative Stories: Narratives in Landscape Architecture. Melbourne Books, 2012. Condon, P. Ordering Space: Types in Architecture and Design, Chapter 4: A Built Landscape Typology. Edited by K & Schneekloth, L Frank. Van Norstrand Reinhold, 1994. Corner, J. “Not Unlike Life Itself: Landscape Strategy Now.” Harvard Design Magazine 21 (2004): 1-3. Corner, J. “The Agency of Mapping: Speculation, Critique and Invention”, in Dennis Cosgrove, (ed) ‘Mappings’ London, 1999 Dixon, R. The Novels of Alex Miller: An Introduction. Crows Nest, NSW: Allen & Unwin, 2012. Erlhoff, M., Marshall, T., ed. Design Dictionary. Basel: Birkhauser Verlag AG, 2008. Foss, S. “Ambiguity as Persuasion: The Vietnam Veterans Memorial.” Communication Quarterly 34, no. 3 (1986): 326-340. Garden, J. ‘A Matter of Passion: A conversation with Christo and Jeanne-Claude’, Sculpture Online, 2004 Garman, K. The Art of Designing a Meaningful Landscape through Storytelling. Virginia Polytechnic Institute and State University, 2006. Gilbert, J. ‘Notes towards a site (of) analysis’, in Jonas & Monacella (eds.) ‘Exposure’, Melbourne Books, 2012 Gregory, S.A. . Design Science; The Design Method. 1966. Grisewood, J. . Line Between: Becoming Drawing. Drawing Out 2012 Conference Paper, 2012. Harries, K. The Ethical Function of Architecture. MIT Press, 1998. Healy, C. Forgetting Aborigines. Sydney, NSW: University of New South Wales Press, 2008. Inglis, K. S. Sacred Places: War memorials in the Australian Landscape . Melbourne: Melbourne

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University Press, 1998. Karandinou, A. “Designing the invisible_the memory_the un-visuable_the labryinthic.” Past in the Present Conference paper. Glasgow School of Art, 2007. 1-9. Lewis, A. (Un)Classified Landscapes. RMIT University Melbourne, 2011. Lin, M. . Making the Memorial. The New York Review, 2000. Martin, C. “I like movement, I like life” – a conversation with Teresa Moller . Vol. 131. Landscape Architecture Australia, 2011. Massola, A. Coranderrk: A History of the Aboriginal Station. Kilmore, VIC: Lowden Publishing Co., 1975. Miller, A. Landscape of Farewell. Crows Nest, NSW: Allen & Unwin, 2007. Moskow, K., Linn, R. . Small scale: Creative Solutions for Better City Living. New York : Princeton Architectural Press, 2010. Muchnic, S. A sculptural ramble with Richard Serra. Los Angeles Times, 2008. Murton-Williams, L. . Diary of Disaster: The New Australasian Mine Tragedy Creswick 1882. Creswick: New Australasian Commemoration Committee, 1982. Norden, D. “A Constructivist Model for Public War Memorial Design that Facilitates Dynamic Meaning Making.” Blacksburg, Virginia, April 2003. Perkins, R & Langton, M. First Australians: An Illustrated History. Melbourne, VIC: Melbourne University Publishing, 2008. Philp, A. “Life and art?: Relocating Aboriginal art and culture in the museum.” reCollections 2, no. 1 (2007). Potteiger, M., & Purinton, J. “Landscape Narratives: Design Practices for Telling Stories”. John Wiley & Sons, 1998. Presland, G. First People: The Eastern Kulin of Melbourne, Port Phillip and Central Victoria. Melbourne, VIC: Museum Victoria Publishing, 2010. Raxworthy, J. ‘ You Had to Be There: The Transects as Experiential Research Method’, in Jonas & Monacella (eds.) ‘Exposure’, Melbourne Books, 2012 Read, P. “The Truth that will Set us all Free: An Uncertain History of Memorials to Indigenous Australians.” Public History Review (UTSePress) 15 (2008): 30-46. Reynolds, H. Dispossession: Black Australians and White Invaders. Sydney, NSW: Allen & Unwin, 1989. —. Forgotten War. Sydney, NSW: NewSouth Publishing, 2013. —. Frontier. Sydney, NSW: Allen & Unwin , 1987. —. Why Weren’t We Told?: A personal search for the truth about our history. Ringwood, VIC: Penguin Books, 1999. Rodway, P. . Sensuous Geographies: Body, Sense and Place. London: Routeledge, 1994.

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Savage, S. “Recapturing History- Ricky Maynard.” Dumbo Feather Magazine, no. 28 (2011). Stanner, W. The Dreaming & Other essays. Black Inc., 2011. Stephens, A. “Coranderrk remembered.” The Age. Melbourne, VIC, 08 28, 2013. Treib, M. “Must Landscapes Mean?” Theory in Landscape Architecture: A Reader. Edited by Simon. Swaffield. University of Pennsylvania Press., 2002. Turnbull, D. “Narrative Traditions of Space, Time and Trust in Court: Terra Nullius, ‘Wandering’, The Yorta Yorta Native Title Claim, and the Hindmarsh Island Bridge Controversy.” Expertise in Regulation and Law. Edited by G Edmond. 2004. 166-183. Turner, V. Social Dramas and Stories about Them. University of Chicago Press, 1981. Van der Straeten, B. “The Uncanny and the Architecture of Deconstruction.” Edited by Anneleen Masschelein. Image & Narrative, no. 5 (2003). Violi, P. “Trauma Site Museums and Politics of Memory: Tuol Sleng, Villa Grimaldi and the Bologna Ustica Museum.” Theory, Culture & Society (Sage Publications) 29, no. 1 (2012): 36-75. Volf, M. . Constructing the Ineffable: Contemporary Sacred Architecture. Edited by K.C. Britton. Yale University Press, 2010. Ware, S. “Anti-Memorials and the Art of Forgetting.” Public History Review (UTSe Press) 1 (2008): 61-76. Ware, S. “Contemporary Anti-Memorials and National Identity in the Victorian Landscape.” Journal of Australian Studies 28 81 (2004): 121-133. —. “Memory Slips: Speculations in Australian Anti-Memorial Designs.” IFLA Conference Paper: TIME. 2006. Ware, S. “The Road-as-Shrine: A Case Study in Design Process over Product.” Landscape Review 9, no. 1 (2004): 226-230. Ware, S. Anti-Memorials: Rethinking the Landscape of Memory. RMIT University Melbourne, 2005. Wasserman, J. “To Trace the Shifting Sands: Community, Ritual and the Memorial Landscape. Vol. 17.1. Landscape Journal, 1998. —. Memory Embedded. Vol. 21.1. Landscape Journal , 2002. Winter, C. Tourism, Social Memory and The Great War. Vol. 36.4. Annals of Tourism Research, 2009. Young, J. At Memory’s Edge: After-Images of the Holocaust in Contemporary Art and Architecture. Yale University Press, 2000. Young, J. The Counter Monument: Memory against Itself in Germany Today. Vol. 18.2. The University of Chicago Press, 1992.

Online Resources ArchDaily, Memorial to Victims of Violence/Gaeta-Springall Arquitectos <http://www.archdaily.com/359698/memorial-to-victims-of-violence -gaeta-springall-arquitectos/>

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Blog Meridian, “Richard Serra and the Irreproducible: The aesthetics of fear”, 2010, <http://blogmeridian.blogspot.com.au/2010/06/richard-serra-and-irreproducible.html> Christo and Jeanne-Claude Webpage <http://christojeanneclaude.net/> Creswick Museum <http://www.creswickmuseum.org.au/page.php?base=22> Coranderrk <http://www.coranderrk.com> Dictionary.com. Collins English Dictionary - Complete & Unabridged 10th Edition. HarperCollins Publishers. <http://dictionary.reference.com/browse>, (accessed: June 15, 2013). Facing History and Ourselves <http://www2.facinghistory.org/> Maya Lin Studio <http://www.mayalin.com/> Museum Victoria: Forest Secrets <http://museumvictoria.com.au/forest> Stills Gallery - Ricky Maynard <http://www.stillsgallery.com.au/artist/maynard/> Walter Benajmin in Port Bou <http://walterbenjaminportbou.cat/en/content/lobra>

Multimedia Resources “First Australians” [documentary series episodes 1-7], 2008, created by Rachel Perkins, produced by Blackfella Films “Maya Lin: A Strong, Clear Vision” [film], 1994, written and directed by Freida Lee Mock “Punta Pinte” [film], 2012, directed and filmed by Pablo Casals-Aguirre, viewed at <http://vimeo. com/52563082>

Base Plan Information LANDATA, Land Victoria: Historical Coranderrk Estate Land Allotment Maps & Barak Lane Property Data Maps https://www.landata.vic.gov.au/ Yarra Ranges Shire Council Current CAD Plans Accessed via email correspondence 30 August 2013

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Image resources

http://www.freerepublic.com/focus/f-chat/1643671/posts

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http://observe-design.com/xaxat/wp-content/909/WB/index.html

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http://www.thestar.com/life/2012/11/22/shift_in_heritage_richard_serra_sculpture_has_uncertain_future_micallef.html

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Sue Anne Ware AILA Selected Works Profile Folio http://www.aila.org.au/profiles/ware/default.htm

hrine’

memorial gardens’ embedded within the landscape. It is sited on a 500-metre section hill in the La Trobe Valley, Victoria. It acts as a memorial to highway fatalities while also ersonal commemorations. The Memorial reveals itself in several stages as it evolves brance garden to a roadside re-vegetation program, eventually reverting to a paddock. mbrance garden (November 2003) was planted in the Road’s verge so that growth incide with significant dates: Christmas and New Years. This first garden was a literal nd involved a collaborative effort between numerous sectors of the community. The ct involved a cold burn of the native plant material. The cold-burn cycle matched the e holidays and carried a ‘drive safely’ message for motorists. The garden was then weed removal. The verge eventually became indistinguishable from the surrounding Memorial that was thus changing and impermanent. The Memorial was designed to cts: it was usually seen in fleeting glimpses while driving at speed, and its materials ature’ of its own accord. One of the fundamental principles guiding this work involved e entropy: the eventual return of the memorial site to paddock was intended. The merality offers a unique proposition for an Anti-Memorial. While this project utilises a work — the remembrance garden — its form evolves to embrace spontaneous memondscape over time. The Road-as-Shrine functioned as a protest against road fatalities ation of the public realm, as well as promoted safe driving practices. This project interlandscape processes.

The ‘Road-as-Shrine’ Churchill, Victoria (2003 - 2006)

Sue Anne Ware AILA Selected Works Profile Folio http://www.aila.org.au/profiles/ware/default.htm

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http://patternbank.com/the-alluvial-valley-of-the-lower-mississippi-river-harold-fisk/

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http://en.wikipedia.org/wiki/Yad_Vashem

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http://www.gbk.com.au/artists/joan-ross/the-claiming-of-things

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Flora, Fauna and Cultural Events Data Book Bibliography

Written Resources Barnard, L., Etherington, K., Simpson, J., Tyree, M. (eds) “ABC Gardening Australia: floar’s native plants: the definitive guide to Australian plants” Published by ABC Books, Ultimo NSW, (2004) Fagg, M & Wrigley, J.W. “Australian Native Plants: Propagation, cultivation and use in landscaping” Published by Reed New Holland, Forest NSW, (1996) Healy, J., “Reader’s Digest: Encyclopaedia of Australian Wildlife”, Published by Readers Digest Australia Pty Ltd, NSW, (2010) Knight, F. & Pizzey, G., “The Field Guide to the Birds of Australia”, Published by Harper Collins, Sydney NSW, (2012) Knight, F. & Menkhort, P., “The Field Guide to the Mammals of Australia”, Published by Oxford University Press, VIC, (2001) Scott, R. “Indigenous Plants of the Sandbelt: A Gardening Guide for South-eastern Melbourne”, Published by Earthcare, St Kilda, VIC, (2002)

Online Resources Australian Plant Name Index - APNI <http://www.anbg.gov.au/apni/> Australian Government: Department of Sustainability, Environment, Water, Population and Communities: Flora of Australia Online <http://www.environment.gov.au/biodiversity/abrs/online-resources/flora/main/> Atlas of Living Australia: Sharing Biodiversity Knowledge <http://www.ala.org.au/australias-species/> Flickr Image Database <http://www.flickr.com/> Foter Stock Photos <http://foter.com/> Melbourne Museum BioInformatics <http://flyaqis.museum.vic.gov.au/cgi-bin/texhtml> Shire of Yarra Ranges Council: Indigenous Vegetation <http://www.yarraranges.vic.gov.au/Residents/Trees_Vegetation/Indigenous_Vegetation>

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Heather M. A. Stevenson MASTER OF LANDSCAPE ARCHITECTURE DESIGN RESEARCH CATALOGUE November 2013

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