DAN101 - STAGE 1 - RRR RADIO

PETER SIMON TANEVSKI TUTOR: PETER WOLFF N7471114

“[my focus is]... a generational social divide that perpetuates the [destructive] cycle, one which will have exponentially negative long term affects some which are immediately evident such as a 68.5% year 12 completion rate, disproportionately large amounts of children and aspects of struggling cultural industry. This in turn perpetuates other systemic problems.�

entry statement

key youth issues Marginalisation of rural lifestyle by global capital systems.

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Rejection of local place and its value systems during teenage yaers.

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Youth expectations and perspective of life in a rural community vs global cities.

31.5% High school drop out rate.

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Youth focus on shortcomings in places or cultures in which they can express their individualism.

High rate of leaving rural towns in search of a ‘better place’.

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Difficulties connecting with the public realm fosters sense of futility.

4 Results in fragmented life cycles in rural communities. With disconnections between social groups.

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analysis BREAKING OR SHIFTING PARADIGMS

S M IG

IAL GROU C PS SO

OFTEN THE ACT OF BREAKING SOCIAL PARADIGMS AND GOING BEYOND THE NORM CAN BE A HARROWING PROCESS, WHICH IF DONE BY ONES SELF WILL INEVITABLY LEAVE YOU BURNED OUT, EXHAUSTED AND POSSIBLY MARGINALISED BY OTHERS IN YOUR PREVIOUS SOCIAL GROUPS. THIS ‘RISK’ FACTOR IS A JUSTIFICATION OF COMPLACENCY, LACK OF INNOVATION AND DESTRUCTIVE CYCLES.

SOCIET AL PA RA D

INDIVIDUAL SHIFT ONLY: MARGINALISATION, EXHAUSTION

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S M E T S Y &S

OGRAPHIC M S DE

BUSINESS AS USUAL

analysis BREAKING OR SHIFTING PARADIGMS

EVEN THEN THE CONSEQUENCES OF DIFFERENTIATING SOCIAL GROUPS CAN LEAD TO CONFUSION AND TENSION BETWEEN OTHER DEMOGRAPHICS, WHO FIND IT DIFFICULT TO UNDERSTAND WHY THESE CHANGES ARE NECCESSARY.

S M IG

CIAL GROUP O S S

PRIOR TO INSTIGATING POSITIVE DEVELOPMENT AND SOCIETAL SHIFTS, A SOCIAL GROUP MUST FACILITATE A NETWORKING PROCESS IN WHICH A COLLABORATIVELY RESOLVED ‘MOVEMENT’ CAN BE STRATEGICALLY PRACTISED.

SOCIET AL PA RA D

GROUP SHIFT: SMALL CHANGE, RISK OF EXCLUSION. (EXAMPLE: CURRUMBIN ECO VILLAGE)

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S M E T YS S &

OGRAPHIC M S DE

BUSINESS AS USUAL

ADDITIONALLY, SHARING BETWEEN DIFFERENT DEMOGRAPHICS IS THE ONLY WAY TO BUILD A HOLISTIC PICTURE AS TO WHAT THE SOLUTIONS SHOULD AIM TO ACHEIVE, THIS IS RRR’S GOAL.

RA MOG PHICS E D

R R R

IRRISPONSIBLE BEHAVIOUR

RRR

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BREAKING OR SHIFTING PARADIGMS

T E S MS Y S &

RR R

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S M G I D A R CIAL GROUP O S S

BY PROJECTING AND SHARING YOUR CAUSE TO OTHERS CONSISTENTLY, AND IN A MANNER WHICH ALLOWS FOR PUBLIC DISCUSSION AND DECISION MAKING, SOCIAL GROUPS CAN INNOVATE WITH LESS RISK.

M

OLD SO CIE TA L

WHOLE SHIFT: PROGRESSIVE MOVEMENT. REACHING OUT.

EXPAND ING PA RA DI G

solutions

E R E H P S

statement of intent “The RRR intervention is targeted specifically at the change component of uniting and sharing opportunity throughout the Beenleigh community. By transcending barriers in communication and proximity which separate the life cycle into different sub-groups and demographics.

RRR’s goal is to establish a platform for all voices to be heard within the heart of the future cultural precinct of Centenary Park.

Our groups overarching ethos to create an inflatable framework for autonomy in rural communities at a global scale requires as one component a catalytic projector; in which all events, topics and ideas are given a public forum (physical, online, and radio) in which discussion, debate and sharing of creativity are free flowing and cyclically abundant.”

THE intervention The target for the RRR intervention is to break down gaps between social groups and act as a conduit for collective paradigm shifts.

A large focus will be placed on the connection of the community at large with youth culture and visa versa encouraging the youth to invest in community growth and invest in educational programs that can make a practical difference.

RRR is a facilitator for other concepts in the Stage 1 Master Plan - a place to project and share concepts in order to actualise change in the local community through a diverse approach to programming and events.

DISSOLVING BOUNDARIES

CO-WORKSHOP

EDUCATIONAL BODIES

CULTURAL BODIES

RRR

LOCAL PRODUCTION

INCUBATING ENTERPRISE

Taking the model of ZZZ Brisbane Community Radio, RRR would be a rebrand of BFM in conjunction with a heavy cultural overhaul - vastly expanding its content to deal with the specific issues. Show hosts will be a regular program representing cultural bodies. Focus Programs will be specifically prepared topics and MC events availiable via radio, online podcast or event live viewing from centenary park.

SHOW HOSTS ARTS AND CULTURAL ALLIANCE M.A.D. MATCHBOX HOUSE 42

INFRASTRUCTURE, MANAGEMENT, TRAINING

BFM 87.6

ARTS/CULT PROMO, EVENTS NETWORK, CREATIVE DEBATE.

BFM, an established youth radio station in the PCYC, is used as a founding platform for the RRR re-launch. According to June, BFM currently only has a small following due to lack of programming diversity and styles.

TRAINING PROGRAMMES & ESTABLISHED FM STATION.

SHOW HOSTS WILL RUN THEIR OWN EXLUSIVE PROGRAMS DURING SIGNIFICANT PERIODS OF INTEREST (AFTER WORK ON THE WAY HOME, MORNINGS).

FOCUS PROGRAM BEENLEIGH STATE HIGH SCHOOL RIVERMOUNT COLLEGE BEENLEIGH SENIOR CITIZENS TRINITY COLLEGE CHAMBER OF COMMERCE FOCUS PROGRAM WILL RUN WHEN IT IS RELEVANT TO THE GROUPS - AND WHEN A PROGRAM HAS BEEN PUT TOGETHER. IT IS SUGGESTED THAT RADIO JOURNALISM BE A YEAR 11-12 SUBJECT, IN WHICH STUDENTS ARE TRAINED TO HOST SHOWS AND PREPARE CONTENT IN ORDER TO MC A SUCCESSFUL SHOW.

ISSUES + PERCEPTION FOCUSED DISCUSSION. COMMUNITY PUBLIC FORUMS.

radio governance

PRIMARY HOSTS

music + events

LIVE MUSIC

MATCHBOX

Currently, the Brass Band is the only group utilizing the band stage centered in the prime location of Centenary Park. This represents an opportunity to expand stage use to additional groups.

Matchbox would be able to run ‘Centenary Rocks’ on an annual basis, and use the facility to run a ticketed event. House 42 could run a moonlight cinema event. RRR will run public forums including debate nights which will be live on-air. The Brass Band will still play on their sheduled dates, but will be playing on a highly active park space which will increase each groups exposure to the public.

MOONLIGHT CINEMA

HOUSE 42

STAGE USE

LIVE MUSIC

BRASS BAND

PUBLIC FORUM

In conjunction with the facilities added in Stage 1 - Phase 1; Centenary park can become a major cultural hub with active use and enterprise. RRR can then provide a marketing vantage for the following Phases, ensuring that their presence is understood by the public and encouraging group engagement from multiple demographics.

RRR

MUSIC FESTIVALS

COLLAB.

the music. the film.

The performance space has a key focus on giving the community a place to project individuality through the arts.

According to Triple J, Australia has one of the largest per capita local music scenes anywhere world. This is largely a cultural movement for youths to express creativity and individuality. The culture is so successful it has become an economic system, for example over half my friends from highschool are now internationally touring full time musicians; Dune Rats, Last Dinosaurs, Millions, DZ Deathrays (all part of the Wu-Tang Brisbane Community). This opportunity has resulted an entire sub-culture of individuals that embrace their own alternative paradigms.

The performance stage in conjunction with Matchbox, will improve youth community in Beenleigh by dissolving the commonly held concept that there is ‘nothing on’ or ‘nowhere to do anything’. If you’re bored, step up.

This is it. Before long, Matchbox will be able to host full festivals and events on Centenary Park and the sense of ‘local’ to the youth of Beenleigh will become a dear memory of time spent at the park. Play, or be happy to listen to your friends play in this iconic public place - this is the opportunity.

the radio. the forum.

“A powerful source for em-powerment [for] disenfranchised and marginalised groups.”

“Like a vaccine capable of reducing preventable deseases, community radio is a simple effective solution to develop goals, to prevent fragile states from becoming failed states, and also to help people celebrate their own culture.” - Carole Frampton. The Center for International Media Assistance in collaboration with National Endowment of Democracy released in 2007 a working document: “Community Radio: Its Impact and Challenges to its Development” which is my primary source for the implementation of RRR 87.6.

This document sets a clear precident for an effective community radio station within Beenleigh, which is strongly networked between community groups and media platforms. In addition to this document, I have challenged the idea of radio as a virtual reality by locating the station as a public beacon for a forum space. This makes other concepts in radio, such as Krakow Radio’s “Exchange Corner” event more feasible and exciting.

the event. the place.

Trading up boredom for cultural nourishment, frustration for enjoyment, dreams for realities. On now.

RRR as an overarching project will bolster the community and the overall group Master Plan framework - the events that take place there will be entirely formulated by other community bodies and institutions.

The key here is placing RRR at the heart of the celebration of Positive Development within the community. Janis Birkeland’s book Positive Development: From Vicious Cycles to Virtuous Cycles through Built Environment Design is the key contributor to the concept of RRR’s components.

The event is the cyclic source of public activity on the triple-bottom line for RRR. With the stakeholders involved being so diverse and plentiful, events will be commonplace in Centenary Park in the near future. Cyclically they will foster and encourage the growth of multiple sectors; improving human and ecological haelth, resiliance and viability. Increasing the quality and substantive life choice for present and future generations; RRR will be an agent for change in breaking the negative life cycles of rural life.

the whole. triple r.

Saying NO to systemic injustices. Rural communities are no longer part of capitalisms ‘average problem’. So the modular solutions invented to solve problems will not fit in Beenleigh.

These injustices are not real physical limitations, they are meta-physical idologies projected onto a physical place. Know this. Overcome their ideologies, craft your own that will foster your needs and others.

Reach out to others and be rigourously sustainiable. You will never change anything alone. But together with community you can find and shape new realities.

Together there can be a new life cycle.

Protect public interest, do not run away from complex ideas - face them and understand why they are complex.

Critically think and problem solve to overcome their limitations.

Respect others beleif systems, even if you cannot agree on an idea.

The difference of opinion brings strength to the Forum. Ask them ‘why?’, and never stop asking.

You should be smiling when you talk if you’re doing it right.

Foster skillsets.

Specialise, find the nieche. Develop and grow and most importantly bolster the networks that encourage these behaviours. This must be a local reality in Beenleigh.

context

Innoscape Interventions: 1. Dissolving Boundaries - Ablution Facilities.

RRR will provide active use of these facilities throughout all hours of operation.

2. Cultural Conduit - Broadcasting Ideas.

RRR is intwined with a host of existing stakeholders, and strives to permiate change.

3. Co-workshop - Crafting Systems.

RRR will promote to co-workshop by running active events and an online trading post.

4. Local Production - Green on Been.

RRR uses the Cane Carts (“Rattlers”) to provide food and drinks to individuals at events.

5. Incubating Enterprise - Kickstarting Autonomy.

RRR will be part of programmes at the incubator, as well as a major sponsor.

Direct Stakeholders in Micro Context: A. House 42.

Event hosts for the moonlight cinema programme. Information center for community.

B. PCYC. BFM Radio overhauls to RRR - directly building on the success of the PCYC’s efforts.

C. Beenleigh Sports Precinct.

Advertises through RRR, which will commentate major games held at the center.

D. Beenleigh State High A new subject, half between social studies and music will be run for years 11-12, in which students actually get the opportunity to hosts shows on Triple R. E. Matchbox (Moving to A).

A close relationship where Matchbox can use the stage for events and even ticketed festivals. Matchbox will also run a major radio programme.

F. Trinity College See D.

function & elevation 2

Radio tower and Visual Beacon for the Cultural Precinct.

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Casual outdoor seating space to facilitate the Cane Cart food stalls on event days.

3 RRR Studio, Festival Ticket Booth, Public Events Board, gateway area for The Goat Trail.

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Main Stage for live music including the Brass Band and other local acts. Projector screen for moonlight cinema

5 Loading, Green Room, Ramped access to stage.

site plan + ground plan RRR KEY 1. DISABILITY + RAMP ACCESS 2. GREEN ROOM WITH BALCONY 3. SOUND TECHNICIAN 4. FLEXIBLE STAGE, ELEVATED (+1.4m) 5. STORAGE / ADDITIONAL STAGE 6. SLIDING ACCESS PANEL. 7. FORMED AUDITORIUM. (+1.6m) 8. PUBLIC NOTICE BOARD. 9. RRR GREEN ROOM. 10. RRR RADIO. 11. TICKET SALES / EVENTS STORE. 12. KITCHENETTE. 13. RADIO TOWER SERVICE ACCESS. 14. PUBLIC SEATING AREA. 15. CANE CART FOOD SERVICES. 16. AXIS PATH TO H42 + SHARE SHED. 17. RADIO TOWER.

spatial planning 1: PERFORMANCE SPACE Full proximity to each other, connected at the core. Loading at the rear is ramped for disability and ease of bringing in equipment on trollies.

The stage is appropriate for international standard touring acts.

A. Green Room 20m2 B. Sound Technician 14m2 C. Storage 50m2 D. Stage 104m2 2: RRR Radio E. Public Notice Board (Outdoors) F. Ticket Booth 16m2 - Connected to Radio Studio and Notice Board G. Radio Studio with Kitchenette 38m2 - Linked to Lounge and Tickets.

H. Radio Lounge Room 24m2 - Entry space and link to studio.

3. Outdoor Function Area I. Function Area, framed space only (not inclosed) @ 176m2 4. Services (Above) 40m2 TOTAL INCLOSED SPACE: 266m2

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FUTURE VISIONING STAGE 1: RRR RADIO

FUTURE VISIONING STAGE 1: RRR RADIO

THE MUSIC, THE MOVIE. STAGE 1: RRR RADIO

THE MUSIC, THE MOVIE STAGE 1 : RRR RADIO OPTIMIZED RATIOS TO SUIT BOTH MOONLIGHT CINEMAS AND LIVE ACTS. stage is elevated to provide better viewing on the site as a whole.

21:9

moonlight cinema

16:9

forum & performance

FUTURE VISIONING STAGE 1: RRR RADIO

STAGE 1: RRR RADIO ‘goat trail’ portal

visible rrr studio from auditorium

community notice board & events ticket booth

visible retention of old band stage (historic connection).

THE EVENT STAGE 1: RRR RADIO

stage II

Tallinn City Hall - BIG Architects

Return Brief Overview: For stage II, I will develop on the concept of inter-connectivity and creative projection.

This time shifting a focus towards the connection between the arts, culture and governance. The intervention will be the final phase of the Stage II masterplan - as it will rely heavily on the functioning network of other aspects within the master plan.

The building will draw inspiration from the concept of Tallinn City Hall from BIG Architecture in Denmark. Here the governance is intermingled with public facilities, in this case a retail precinct. The design of the government spaces frames and visually connects with the public realm, in order to ground governance in the community. Everytime a member of Parliament makes a policy decision, they must reflect on the direct impacts on the people of their town, which in this case they can see directly outside their office window.

My second exemplar is The Eye Film Institute Netherlands located in Amsterdam. Designed

by Delugan Meissl Architects, the Eye’s function that interests me so much is the idea of its public restaurant and auditorium space.

(See image on next slide). The function of the building is to air the most provocative , artistic films and provide an environment that feels very much like a theatre or art gallery.

First, you enter through a definitive portal, buy your tickets, and then take a seat in the unified public auditorium, where you can get drinks, a meal and enjoy the view with others.

The film is aired, and afterwards the event is programmed to continue serving drinks now comes the public discussion and sharing. The nature of the space is so well organised and curated that the event of watching a film transcends to an artistic, highly cultural moment.

The Eye Institute of Film Netherlands - Delugan Meissl Architects

stage II Intervention Targets: 1. Physical Public Projection To create a place which facilitates the projection of the Master Plan as a whole; giving a public place and face to the prior components and phases instigated by the group pilot framework. It’s function here will be a gallery of the arts and cinema.

2. The Public Institute Create a place in which people attending feel involved in an ongoing discussive process - apreciating arts and film in order to better understand cultural intent.

This will be a bar, restaurant and auditorium-scaled space as seen in The Eye. 3. The Connected Governance Simultaneously, the space will house government offices for local members. Day to day life for policy makers in Beenleigh will be subject to watching the community they nurture celebrating and discussing the arts. Thein the center of the emergent cultures; placing them in a position where they are constantly interacting with the public realm and feeling the weight of their decisions through their re-inforced conscienceness.

The Eye Institute of Film Netherlands - Delugan Meissl Architects

stage II List of Spaces: 3x Levels

Beenleigh Cinema of the Arts x 2: 150m Cafe on the Park: 150m Ground Plane Gallery: 200m Flexible Arts Space (Partitionable Galleries): 340m Ammenities: 50m Reception / Lobby: 120m Governance Offices: 300m

REFLECTION From the get-go, I have come to Architecture Now in order to find a greater connection for myself within the first lesson, I had entirely overhauled my schema. Wilbur’s Integral Model, Maslows Hierarchy, and even our own group generated diagrams have developed substantially my understanding of myself and what I want. In the first studio I specified that what I seek was ‘Rhythm’; which I did a poor job of explaining. When I say rhythm, I am talking about building up on the beat which is the pulsing of context. Opportunities flow from context but they do not wait for the limitations that we face - deadlines, economies, stress, self-esteem ect. Having a good Rhythm is about understanding the ‘Beat’ (Context of Architecture) which I beleive these systemic ways of thinking will directly help me acheive.

REFLECTION One concept that I beleive I can add with a grain of salt to the pool of learning is that of the 1700 B.C. concept of Hindu Chakra. While I do not beleive in many aspects of Chakra (i.e, physical locations of spiritual centers), I do beleive in the idea of pyschological flow. What draws me to enjoy the concept of Chakra is the cultural truths of this model applied to modern society - even though it was conceived before the time of Christianity. These are very old concepts to humanity, and very real to me.

Each chakra represents a pool, which flows into the next. If one is blocked, the stream cannot fully flow. It is stated that to clear ones pools of energy, the following stages are necessary: 1. Root Chakra - Overcome: Anxiety and Fear, Security, Belonging, Survival.

2. Sacral Chakra - Overcome: Emotional coldness, low libido, difficulty in the face of change and joy.

3. Solar Plexus Chakra – Overcome: Lack of self-esteem, shame, ability to manifest desire.

4. Heart Chakra – Overcome: Loneliness, lack of compassion, love (too much or too little).

5. Truth Chakra – Overcome: Lack of self-expression, manipulation, bad communication.

6. Third Eye Chakra – Overcome: Can’t see “the big picture”, overly reliant on logic, blocked intuition.

7. Crown Chakra – Overcome: Ungrounded, indecisive, impractical, alienated, and depressed.

reflection With the previous topic in mind, I have identified a new diagrammatic model for understanding ‘flow’ - which i beleive is an essential component for generating a positive architectural rhythm during the process of every project.

The first diagram illustrates a continous flow. In which the understanding of the self brings legitimacy to the interpretation of the flow of ones morality into societal ethics, and onwards into systems, and results - finally - in a physical environment. From here the physical environment brings natural laws in which the self must live within. But it is essential to understand why these ‘physical laws’ were generated, and if they still serve your interests.

Breaks in the Flow explores some of the consequences of an incomplete understanding. Generally speaking, the links between self - culture systems are metaphysical concepts that have a hierarchy. If the hierarchy is not completed, beggining from the self, connecting to others, and generating systems - then no positive outcome can be expected in physical reality and negative cycles in architecture will continue to occur.

REFLECTION GROUP DYNAMICS: COLLABORATIVE DEVELOPMENT

1. not likely

2. opportune chaos ? ??

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OPPORTUNITY

OPPORTUNITY CAUGHT BY INDIVIDUAL OPPORTUNITY

It became clear quickly, that the above model was not a reality. Opportunities do not make themselves evident in a linear fashion, they are subject to a chaotic context and it is highly unlikely that without significant events engineering on the individuals behalf that one is likely to catch all of the opportunities that will make themselves evident over a course of time.

OPPORTUNITY MISSED BY INDIVIDUAL

It is more than likely that the majority of opportunities that arise during research and design development will slip by the individual due to the chaotic context that they must first pass through. This model is representative of the individual reality.

Henri Cartier Bresson “The Decisive Moment”

Before moving on to the conclusion of our group dynamic, it is worthwhile discussing the chaos of opportunity. Henri Cartier Bresson is a master of catching opportunities - as a street photographer, he must observe movement throughout the city and capitalise on what he defines as “the decisive moment” when he pulls the trigger for the shutter. Street photography is a medium where the artist is forced to operate alone, hence the positioning of ones self and the understanding of the web of chaos is paramount. Willian Klien, a New York based street photographer highlighted “We are playing Baseball - the ball has been thrown into Manhattan”.

REFLECTION GROUP DYNAMICS: COLLABORATIVE DEVELOPMENT

3. collective capture

4. collective synthesis

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GROUP SYNTHESIS

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OPPORTUNITY

Using a collaborative framework for design it is exponentially more likely for opportunities to be captured by atleast one member of the group. Once an opportunity is captured by one person, the sharing process can distribute the opportunity to others.

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Additionally, group synthesis can extract additional opportunities from a single idea due to altering perspectives and scope. This was the realisation that suck our group into action on a unified Pilot Framework.

references Due to the highly social nature of my project, most of the references that were key to the conceptual evolution of my projects originated from synthesis of information during the Architecture Now workshops held at House 42 in Beenleigh (24-27/03/15). In particular, I checked my concepts one on one with the directors of M.A.D and Matchbox - June M. Hintz to ensure cultural sensitivity and feasibility.

Many of the considerations, including what to research and why are a direct result of the workshop, which finished 3 days prior to this entire body of works being produced. If anything, I only wish I had more time. Thanks to everyone involved - the Hosts of House 42 and Peter Wolff; who guided our progress.

There are still so many concepts I want to explore further, and with greater detail, but for now, this is it.

Birkeland, J. (2012). “Positive Development: From Vicious Circles to Virtuous Cycles through Built Environment Design. Routeledge.

CIMA, NED. (2007). ”Community Radio: Its Impact and Challenges to its Development”. Working Group Report, National Endowment for Democracy, Washington D.C. http://www.ned.org/cima/CIMA-Community_Radio-Working_Group_Report.pdf PPS. (2013). “Farmers Markets as a Strategy to Improve Acess to Healthy Food for Low-Income Families and Communities”. Project for Public Spaces and Columbia University (ISERP), New York.

Bauman, Zygmunt (2000). “Liquid Modernity.” Polity Press, Malden, USA. Bauman, Zygmunt (2007). “Living in an Age of Uncertainty.” Polity Press, Malden USA. Birkeland, Janis (2008). “Positive development: from vicious circles to virtuous cycles through built environment design.” Earthscan, Dustan House, London.

Jean-Paul Sartre. (1948) Existentialism and Humanism. Methuen, London. Éditions Nagel Johari, Harish (2000). “Chakras: Energy Centers of Transformation.”Inner Traditions / Bear & Co. Maudsley, D.B. (1979). “A Theory of Meta-Learning and Principles of Facilitation: An Organismic Perspective.” University of Toronto, 1979.

Mochelle, R. (2012). Draft Metaconstitution – Part A Participatory Principles. Unpublished works.

reference research (un-published phd) - radio krakow