RUBY LANG ARTEFACTS by RMIT Architecture

Contents 4 6 17 19 24 38 This body of work and the author acknowledges and extends deep respect to the historic, present & emerging Wurundjeri people of the Kulin nation - territory that was never ceded. It acknowledges ancient ecological and cultural practices of indigenous communities in collaboration with the landscape, waterways and atmosphere of so-called Australia, and commits to learn and to listen.

An Other Architecture

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Introduction investigation and analysis the territory the manifesto the milkbar the green grocer the homes the home the community hub the bus stop references

Introduction

There’s architecture that generates wealth and there’s architecture that affords people the capacity to change and be changed by their environment.

An Other Architecture

This project is not so much a project as it is a framework for the project to exist. It seeks to understand architecture as an instrument that claims territory beyond an economic claim. The current framing and definition of value and particularly property, is often reified into the object of capitalism, with its subjectivity becoming economic. What would happen if we were to move beyond the deeply ingrained idea of “price determines value”? What new stories might we tell? This discussion is where the following projects are positioned within to provide a counterpoint and as a strategy for staging a conversation. Situated within a small neighborhood in Fitzroy, is where the series of small projects lie. A framework, or manifesto, was written to provide a way in which we may move beyond this narrative, even though architecture can be its own challenge rather than a solution to another. However, it is how we talk about things that affects behavior, and in turn affects how we theorize. In this way, architecture may become not what we know it to be, only to prove its existence by being able to affect it, and instead be a recognition of our own fallibility that can begin to understand the implications of our own assumptions.

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A critique on

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An Other Architecture

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been down there on the ground for 7 years about these sites that we’re running as now”. And I don’t expect anyone to do that platforms and as infrastructure. But we also see the practice as a platform for the people but I do see it as our responsibility to be able to claim a little bit more relevance in those who are working with us. We are always conversations. I think it goes back to having trying to support people. In the same way quite an unconventional practice where we don’t expect these projects to stay with people don’t quite know how to engage us forever, we don’t expect people to stay with us. I do take responsibility a little bit for with us forever. And we are always trying to this being the architect on the team. When progress people to where they want to go. the Arts Precinct masterplan was getting No one’s ever going take my job, I’m never up, I potentially should have made it more going take someone else’s. Everyone’s got known that we were down there with lots of very different skills in our team. There’s no information about the site, its context and the climbing over someone else to get to their community. job, it just doesn’t exist. We’re all working in You work in a fairly unconventional way Everyone’s justbelooking architecture parallel would a nice way at to say it. in terms of the projects you undertake & for inspiration – there’s other stuff inYou take on a caretaker role with your how you operate within them, it’s quite work, and your sites are these really With the nature of your projects, I can different from the way that architecture the world and surely that shouldto be lovely maintenance manifestos. Do imagine it would be hard sometimes students are formally taught, how did this know what their futures might be. Do find find influencing architecture as opposed to this way of practicing through come about? Was it always your intention I don’t know. We just love more than incremental & transformational slowness this difficult? to work in this way? just people looking at architecture tocould maybe be a way forward in terms of anything taking on a site with problems, grappling with a that site over an extended tackling the climate crisis? I find it difficult. Because we work for informMC: architecture. period of time either for ourselves as a self- MC: I’ve always been interested in cities state and local government, we’re often I think the conversation should be much initiated project or for government. That’s and always been interested in building. The MC: Oh yeah absolutely. quite small in the scheme of the projects. First up, it’s a strange time for broader. I think it should be a civic verb building not just the noun. But I’m not what we want to do. We are there filling a gap while other plans everyone, we’ve all been sort of more than just a conversation that interested in flashy architecture, in fact it conversation Rather than an explicit prescribed oneare happening. We’re actors in a bigger involuntarily connected back to I don’t feel that connected toactually the riles me up and gets me really angry. about architecture. size-fits-all design? policy framework. We’re always saying It’s like “Why are you trying to make such a a local condition. How are you there needs to be space for production and profession to be honest. I feel more Currently in the profession it appears statement about yourself!” And I’ve always MC: Yeah definitely. When big moves get Seeing how your practice is really experimentation as opposed to consumption going and how are you finding there is a need for a shift in terms of been like that, I don’t know where it came connected to the arts in Melbourne made it would be nice to design those refreshing and reassuring. It’s almost of the arts and creative industries. working within these particular the architect’s role. The architect is from. Even when I was a student I would projects with adaptation in mind. I don’t think like you’ve picked out the best bits of the than I do to architecture. commonlynarratives put forward asare a form of about gravitate towards the academics that were conditions? MC: From a practice point of view it’s been work there. But it’s also digitally The broader often it always has to be a post-design idea. profession or the bits as thatwell. work and made omniscient saviour which oftentimes really working on the edges of architecture. really difficult because all our work is so Since Covid we haveout started project something of it.aHow do called you navigate But our practice needs me as the only a new causes arts centre or a new gallery, but tension. What’s your view on I had a foundation in interiors – big events registered architect in the team. It does connected to sites. The sites are the reasons Helpdeskpracticing which is basically free online As opposed to knock this down, how this way within an industry this? be are the rooms and the spaces for could we fix it? It’s got a really important hinge off me in the practice, so it’s sort of can be interiors and people talking canwhere we’re there in the first place, so having to support for or creative bethat thatartists overall doesn’tindustries – do you to find interiors. So it was this expanded idea of crucial to have an architect as part of a move online and not having these spaces able to call and have a professional mentor. difficult? production? MC: At different scales of projects there’s ethical bone in it from a sustainability team. But it’s equally as important to have anhow we think about space. And then I came physically accessible to others, which is So it’s interesting not wanting to do what When those decisions get made from different tensions that big arise. And with into architecture and I avoided any studios Operations Manager and a Curator. essentially one of our primary remits, has everyoneNo, is doing which is pushing I’m really happy. In fact,online the thought of point of view, but I think its just a much that policy point of view,its I would love to different procurement processes often that were about towers or big buildings. So been really difficult. There’s kind of been this lectures or pushing online contentand intocompete the having to run a practice with more out influence in enough those conversations cutting thehave architect and fair that’s just been my thing, I don’t even know more interesting question anyway. As Do you find that working transmoment of “well what are we doing?” The world formy everyone absorb. personally, peers…toI’m doingBut a PhD at the moment because I feel like the lessons learnt from that the profession should be worried about disciplinarily has allowed you to able to where I can trace it back to. But then going first impulse we had was, okay we need to as a mumand to Iakeep youngbeing childasked and knowing to find my peers. humans to look at what we’ve got and ourthere projects could be really valuable. But that. I think is a misunderstanding into practice, I worked in a few different balance the usual hierarchy that occurs make content and make ourselves relevant a lot of women in architecture with young I think what happens though, because because the way thatforcities about what architecture does a citygetinbuilt, there’s offices, had different experiences, and once think about it. in offices? in this new field. But then very quickly after children,there’s there isnot all many of a sudden equality peoplean doing what we do no time on anyone’s schedule to go “oh let’s the general population, and that’s a broader again just avoided big firms running big that we checked in with ourselves and of accessI think because all this online. Six there’s a bitstuff of aismisunderstanding. chat to the team at Testing Grounds, they’ve problem potentially. projects and looked for other alternatives. MC: 100%. There’s no competing forces. actually realised that is not what we’re doing. months ago for we yougot to contact for us I think confusedmeforand a long time as a People are doing their own thing. We talk And then when I met my partner who I So…I guess I’m just making a point of this, to set upplacemaking an online meeting been pop-upwould’ve sort of thing. Can you tell me a little about how Testing started working with in 2010 - he doesn’t these pigeons that are outside my window absurd, like we just wouldn’t have done it. Grounds came about? come from architecture he comes from have been courting each other for weeks, Working from home just wasn’t accepted. lighting design – and we just had different I’m like can you guys just get it on! Anyway. But now I feel there’s been a levelling out of MC: The unusual thing about Testing conversations very quickly. But always about Sorry it’s just there’s a whole little thing the playing field for a lot of people that would Grounds is that we had been running it public space, and always just super excited going on out there.ISo thing with Testing otherwise have And it’s team satthedown with Millie Cattlin; one been partjuggling of thethings. many part essentially as caretakers. So it was an empty about the city and the city as everybody’s Grounds is we came backistobreaking this idea thatground notin justthe carers of young children it’s people that very much needed shift within the Ruby Lang, 2020 050 site for 25 years and Arts Victoria back in place, as everyone’s common ground. I it’s an infrastructure project. So what’s who just can’t give 110% of their lives to their profession, and discussed her thoughts on what it’s like working on 2013 didn’t know what to do with it and Joe don’t mark our successes on how many infrastructure? We’re provisioning baseline career. So that’s what I’ve been reflecting and I were brought in for some installation buildings we build. I mark them on how… I the fringes of architecture in Melbourne. Cattlin is a ofdesigner, and support; we’re not celebrating ourselves on in relation to Covid recently – equality work. We just got a bit bolshy; we were the don’t know actually I should figure that out. I or celebrating our ambitions. access. And IAre can’tThe speakProjects for other people in Together architectWe’re who co-directs These We Do most junior design practice in the room and definitely am sitting outside the conventions getting behind otherwith people’s projects and other circumstances, but I can only imagine her partner Joseph Norster. we were like, this is our opportunity to do of architecture practice. I get really annoyed supporting that. And that’s physically through that it is corresponding to others. something. They wanted us to do a popat how much as a profession we consume what we built there and it’s also through the up thing for one night and we gave them a the profession for inspiration. approach that we have with the people that proposal for 12 months.

Everyone’s just looking at architecture for inspiration – there’s other stuff in the world and surely that should be influencing architecture as opposed to just people looking at architecture to inform architecture.

So, we were engaged as caretakers, that was the mechanism for us to get access to that site. We were kind of the client and the architect at the same time which was quite unusual but it was all founded on a really strong working relationship with Arts Victoria. We were so invested in it as a project, we went above and beyond what an architecture practice would do as we didn’t have a clearly defined scope we were sticking to. If we were an arts organisation and we were working with an architect, I think we would have had a very different outcome on that site and as a project. And that’s the thing we’re always trying to do, we’re trying to say that our time on the ground is site research. I do think about the more conventional site visit: measure up, take photos and then the work happens back at the office. We spend more time on these sites than we do at home or in our office. So, when we did get the opportunity to come around and design Testing Grounds we could do it from a very genuine place. We often say the upgrade was going from one powerpoint to fifty powerpoints, because that was what was needed.

Ruby Lang, 2020

An Other Architecture

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Interview with Millie Cattlin (2020)

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Participatory - The choreography of the public domain - Consumerism - Outside the strict limits of architecture The collective power of small moves - Transforming larger territories

sector (Learning Communities Victoria), the architects (Clarke Hopkins Clarke) & relevant subcontractors and financiers (Spotless Facility Services & CIBC respectively) beyond what a PPP can. It is important to recognise that when undertaking a project through an Alliance model, that a strategic procurement analysis is undertaken to ensure all objectives are fully understood by all parties, which can in future be measured through KPI’s. This is an incredibly useful step for all those involved, however does not often occur through other methods of procurement due to the current view of the role of the architect as Part B

someone who “provides the drawings”, rather than a strategic partner 9. This calls to question where design

The previous discussion methods, that theitcurrent nature and lives?surrounding Through thisdiffering analysisprocurement and its previous one’s identified findings, maybe lives amongst these strategic discussions discourse within thewith profession is inare direct contrast to the notion of a profession and requires a restructuring of those who not of the profession. thought with regards to how we view architects and architecture. It was found that the differences between the contracts themselves were not vast than originally thought(CHC) to be, and perhaps theyconsultant are ultimately justeven just through Through anasAlliance model, the architect as a into design which, the self-centric model being supported currently. The moldability of design competitions acts to adapt other adaptations of one another. It could be saidtheir that position the way and the profession and within it currently operates equalises places them onthose the same level as other parties involved. This does not forms of procurement methods is part ofterminology, their charm however they hold risk in that a large budget is favoured.

causes these differences within the the contracts and their outcomes. If are to reconstruct this, then maybe is years there has been mean to reduce architect’s orwe obligations this ishas unchanging. Overitthe They have a flexibility that allows for other forms of procurement to beresponsibilities undertaken after the winning –design possible to begin toasee their similarities morerecognising clearly. or minimising their role during disputes, and whilst this procurement regression of architects been chosen (Diagram 3). This reinforces the notion that all procurement methods have this ability and what aimsthey to balance the hierarchy, does inand no way provide differs is the allocation of the architect’smethod role, where sit in relation to otheritparties, at what pointthe illusion that there is a reduced obligation the profession, (particularly what is required of the sector outlined by argue the AACA) put forth the Through thiseducation lens, itbecause becomes for theremains singular usepersona of one that contract over another, rather, it is quality and policy of difficult this. Thetoarchitect still the is required to provide design innovation has the most potential. argument of the architect as an omniscient saviour and whose are what designthat excellence, can systemic change that is decisions needed.inWhilst thisleads is meet thetostance thisfordiscussion be taking, the purposeareas, of theon behalf of the objectives, this case, to the demand educationwill centres in highfor development lead to the misunderstanding that this method of procurement cannot therefore the sameonas other 10to apply assignment it will attempt a newproduce contract based the notion of risk and innovation. This false negative . The objective for “exemplary and quality” Project Alliancing offers a model like theobject theoretical model of collaboration thatdesign aims to ”reduce theoutlined by the State, is an objective that could be methods. This view is an inflammatoryorone and is thewill antithesis to what analysis be arguing for. When dichotomy be the focus in this terms ofthrough howwill thean current PPP method of procurement Newmentioned Schools above and its capacity facilitated particularly alliance method over a PPP due to in thethe points ARCH1334/1439 Name: Lang, Ruby adversarial nature of mostStudent construction projects” and can be seen through the construction of the National collaboration and interaction occur between those practice higher learning within the abstract & and intelligible Assessment Task 1 Student Number: s3658354 Project was who utilised, compared to a newnew method – Alliancing, how thisof could achieve further benefits & through increasing 5 to provide a radical design. Motivated by an ethic collaboration and mutual benefit Museum of Australia . Unlike in traditional models whereby individual profitability is only attainable at the world with those who practice techniques of the material world, there appearsperformance a higher chance for innovation collaboration between all only parties. through exceeds as usual’, Part A expense of another party to the contract,profit alliancing produces a quasi-jointthat venture with‘business shared risk betweenProject all Alliancing can provide value through (refer to Diagram 1 & 2). However, with this potential for design innovation comes more of a6itpotential for risk. But, asprocess 11. andtothe relationships fosters throughout The individualist idea that is currently runningparties, throughultimately the architectural profession architectural discourse often can savethe time when compared producing a single& entity (refer diagram 4is& 5) . This mentioned earlier, innovation & risk work in symbiosis. Project Alliancing is a procurement method that aligns itself most closely with the notion a healthy functioning one that speaks to the idea of property and competition. Thismethods notion that architects working against or in to traditional wherein muchare energy is spent on protecting one’s own interest rather than developing profession through its collaborative nature fostering collectiveisbenefits & shared risk. Whilst PPP offers a There isand an understanding thatcollaboration something fundamentally broken opposition with each other is an egocentric view that issolutions contrary6.toThis the method notion of a profession those who acts to establish drivers to stimulate and has opportunities forin the hardwiring of our social contract and creative In the example of Federation Square, whilst procured through an international competition in relationship 3 similarinitially collaborative method, ithow does not providedesign any binding agreement rather, it istoaitvoluntary agreement 6 . Because architecture will always be essentially we understand economics and our speak and act on behalf of it. This concept causes a disconnectedness within the profession that can only prove value creation at almost all stages of a project . This was achieved in the Museum through creating successful 7 This 1996, the comprehensive and complex aimed works at were undertaken through a design and construct method 2.therefore . It is important to establishcomplicit a legal agreement involving the private sector in government developments into capital investments is always somewhat in the hegemonies of the to seep into the type of architecture it produces. ‘Artem Promovemus United we hardwired advance architecture – to equally high-performance teamsUna’. that collaborated well and werelarge willing share and risk. Though risk is subjective, method of construction was meant to ensure costparties efficiency for the large-scale project, however in this case it difference between conflict & risk. This between to ensure minimised conflict. The emphasis here, is the day, unless there some shift in the larger framing of value andone relationship between society and economics, the very motto of the Institute itself is the antithesis of whatto is all currently occurring. If we to shift thisisview tohowever, it is essential forms of procurement inare creating innovation, presents interestingly in this did not. But what it did do was providediscussion a cultural asset that’s value could well to bethe beyond whataround the costinofedges the 3. Ours and the previous one outlines importance of risk achieving innovation, conflict on the other collective discipline, and a collective in general, we’re always going be tinkering what the profession was set out to be – a collective – what that mean for procurement andthis how theof procurement because of itswould communal nature. The benefits of form are oftenthe overlooked due istoathe project itself was. The OVGA states that a risk associated withneed a The D&C contract isnature a “loss ofthat control of agreement design hand is no false negative. that simply an can cause, whilst we would all like to we to adversarial enter a new discourse balances the this hierarchy different models work in obtaining and producing ‘good architecture’? misunderstanding of the method itself discouraging parties to become involved. However, methodamongst has the those of and outside the profession. We 3 . Again, outcome and limited direct management of design resulting in atoreduced think it doesissues not, can have detrimental toquality” all involved. As there such, are more likened to business have learn impacts if–design we want to build future that has isisPPP’s less biased from the profession being so deeply potential for producing benefits far beyond themuch initial outline illustrating how aarchitecture a purpose an assumption that architecture is the entire benefit,than yet benefits go well beyond the built form, particularly in partnerships mutual alliances, reinforcing the argument for undertaking an alliance method. case of intertwined into the colonial and capitalist modes of practice. This comes fromInathe practice of working together to To further explore this, it is necessary to understand is deemed ‘good architecture’ and even ‘good beyondwhat the brief. this case. The project has been able to achieve just architecturally hashigh provided a spacethe that is best equipped the Newbenefits Schoolsnot project, due our to its highbut value risk nature, party risk transform of thought and shifting the individual narrativetotomanage the collective. architects’? If we have determined that it is important that the profession acts as a collective, then it modes is presumed communal in its architecture and its approach, rather than individualistic. It could argued here that whatVictoria) was (generally the private sector, & in this case,be Learning Communities may not always have the capacity by architecture that all architects are ostensiblyAll thethree sameprocurement thing. Though in some respects byillustrate assumingtheir ability to provide innovation where risk is present at types discussed above being procured was not so much the design a solution to a local state problem. highlights to do itself, so andbut therefore applying riskand to the party that is Itperceived to that have the best ability to manage it, may not architecture exists as the subject, the author is differing rendered stages a worker or agent of the subject. this way can we of the procurement processIn(refer to Table 1). Their interchangeability with one another can although there was an increased perceived risk duesolution. to budget, the outcome produced undoubtedly be the best Alliancing in this situationwas would instead ensure collective risk management that is therefore say that if all architects are ‘good’, that all projects producedthat by perhaps them areall ultimately projects’?are ephemeral and are simply contracts that are provide the conclusion methods ‘good of procurement 9 8 innovative. Perhaps it could go so far as to say that this project may not have the ability to be produced Sophie Patitsas & had Andrew Mackenzie. 2020. Practice RMIT (Video). . This may not mean 06." mitigating risk; it could mutually beneficial for all through the “no fault, no blame” culture"Professional Not necessarily. By suspending the distinctionadaptations between architects allows By for adopting the differentiation of projects be a Ptolomy model, we can discover that what is of themselves. a Copernican model to over under any other procurement method ifbeit transforming weren’t for the structure of a D&C contract allowing for the it by 10 obtaining new knowledge through external consultants that may or may not be a part of the Department Education Training. 2016. "Project Summary:worlds New Schools PPP Project." Department of viewed. actually being procured is much more than design itself.ofAllowing for&interaction between two coexisting contractor’s knowledge and skills to become part ofprofession. the production cycle. architectural ThisEducation reinforces&the notion3-15. of blurring the line between the material and intelligible Training may be the great paradox: that the institutionalisation of knowledge is a prerequisite for the possibility of its world to facilitate the and the flow of knowledge between the two. It hints at the need for 11 interaction Each project will be viewed through its value creation, benefits beyond theinstitutionalisation built form and innovation. What connection to power, when itself requires the transformation knowledge by those who Macdonald, C.C. 2019. "What are theof important differences between partnering and." Thiess Pty Ltd 2-6. Design competitions have the ability totransdisciplinary offer solutions topractice highly methods complex (refer urban to issues. They interest in diagram 7)are andoftheir increased potential for value creation, won’t be considered ‘value’ in this analysis is employ finance it as(architects) opposed to & a transaction cost, thewith difference being This may require a restructuring of thought those who interact it (contractors). this analysis because they appear to be innovation, a procurement initial cabals. stage ofThis submissions parallel andmethod reducesthat the treats risk ofthe forming has the ability to enhance relationships with the private financiers consider what they do as valuable and therefore charge large while architects what it – we are part of a greater system than what within the discipline (referamounts, to diagram 6) and whereconsider we sit within to the market creation the profession produces. The construction of architecture as a subject creates the 5 . Nonetheless concept of claiming something as valuable and we do as a product that we sell and give away 1we are formallythe taught. If we do not it will be to our detriment. Because a profession that will not allow itself to formation of a market, of which is regulatory and fosters innovation and competition by determining a best price selling it as if it is property is part of the same be confusion. is anwith important to understand in changed Innovation by its interface societyconcept will ultimately decline. for buyer /seller through the efficacious7 Macdonald, allocation ofC.C. resources mutual benefit. In the case of design 2019. for "What are the important differences between partnering and." Thiess Pty Ltd 2-6. order to apply to projects when analysing them against differing models of procurement. Where there is competitions as a method of procurement, the winning design acts as the best price and as a solution to an issue 8 OVGA. 2013. Government as 'Smart Client. Guideline, Melbourne: OVGA. innovation, there is risk. This dichotomy can be viewed as a pattern of behaviour where paradigms can be identified, not dissimilar to D&C. The issue in the case of the Sydney Opera House was the lack of “proper 5 achieved. An arbitrary contradiction, yet a powerful element will allow forAlliancing discussion on whichMuseum methods Walker, Derek that H.T. 2004. "Project at National of of Australia - Collaborative Processs." Journal of facilities for the expression of talent” whereby an open competition allowed for access to design that otherwise and Management 1-20. analysis procurement have more potential for innovation in theirConstruction outcomes. Engineering This is the lens that the following would not have been given the opportunity 4. The Opera House’s ability to create value appears4from the outset – will be viewed through & the framework that will be applied when differentiating the following procurement the allocation of Utzon’s design along with what it caused within the public sphere. This creates value in social 6 Walker, D H.T. 1996. "The Contribution of the Construction Management Team to Good Construction Time Performance types and their architectures. capital and supports the regulation of the market, orJournal in this of case the competition, which is in direct contrast to An Australian Experience." Construction Procurement 4-18. Design & construct, competitions, and project alliancing are the three models that will be the focus of this essay. 2 Multiplex. 2017. "FEDERATION SQUARE, MELBOURNE, VIC, AUSTRALASIA." Multiplex 1.

All three differ largely in their approaches and the level of importance placed on collaboration, risk subjectivity 3

OVGA. 2013. Government as 'Smart Client. Guideline, Melbourne: OVGA. & benefits beyond the profession. 4

Sydney Opera House. 2019. "House History." Sydney Opera House Website All.

Design & Construct contracts offer a streamlined process due to the fact that it is a single event – signing the contract – that becomes the tableau that everything is agreed through. In terms of the architect’s role, however, it is a limited one compared to traditional methods. Since the interconnecting institutes and agencies that regulate

Mazzucato, Mariana. 2017. The Value of Everything. London: Ingram Publisher Services US.

An Other Architecture

Understanding our role in the profession . (Essay, 2020)

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our daily dose.

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accumulation > demolition

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Mmuseum - New York City

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The territory claimed

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Territory Map

The collection R

ILKBA

THE M (THORNBURY)

JOHNSTON ST

OP US ST

YOUNG ST

THE B

2. The green grocer JOHNSTON ST

OP US ST

THE B

ME THE HO

4. The home

CER

NAPIER ST

EN GRO

THE GRE

NAPIER ST

LIB

BRUNSWICK

RY RA

YOUNG ST

3. The homes

MES

THE HO

5. The community hub MES

THE HO

Interventions

6. The bus stop E

Roads

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OCER

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THE GR

Existing buildings

LIB

NAPIER ST

Parks

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BRUNSWICK

NAPIER ST

1. The milkbar

Manifesto/framework

The milkbar The green grocer

The home(s)

Retail stores that offer goods to the public must subtly subvert the power of capitalism by offering the following:

Private spaces and residences must give up grandiose assertions of the social order and resist the understanding that the home is only there for resale

i. a space to gather whereby an exchange can be made by offering spaces to work/produce for the public ii. refuse the hyper-transactional space aesthetic and offer flexible space left to be interpreted by the public

i. encourage new ownership systems e.g. multigenerational housing models etc. ii offer spaces (where permitted) for social/community exchange between neighbours iii. resist the aesthetic of territorial exclusivity and offer the unfamiliar iv. offering operable materiality and gestures to the street for interaction between public and private

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Manifesto/framework

The community hub

The bus stop

Civic and public spaces must encourage zones of potentiality that are left un-articulated

Transport stops and nodes of interconnection should offer an understanding of the current habits and community expectations/travel patterns & transform perception & occupation of these common spaces

i. must suspend time by resisting the use of artificial lighting or ornamentation ii. must de-sacrilise the space by offering elements that can be adjusted and defined by the user and encourage participation (ie. traversable ground conditions, blurring of indoor and outdoor)

An Other Architecture

i. should encourage coincidental occupation of the streetscape for the public, (ie. encourage people to loiter & chat) ii. should suggest program through the choreography of standardised street objects (ie. street chair adjacent to signage hints at waiting place) iii. must not disrupt or alter drastically easily identifiable transport signage iv. must encourage deceleration of the street through consideration of ground condition

The milkbar

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Intervention 1.1

CLARENDO

HIGH STRE

Intervention 1.1

N STREET

MARTIN ST

REET

Site map, 73 Clarendon St Thornbury

Intervention 1.1

Site images (google images)

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Intervention 1.1

Existing milkbar

Intervention 1.1

Application of manifesto

Intervention 1.1

North Elevation

Intervention 1.1

Application of manifesto

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EAVE ABOVE

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Application of manifesto - Ground Floorplan

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Intervention 1.1

Diagram of street interaction

Intervention 1.1

Application of manifesto

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REET

The green grocer

Intervention 1.2

NAPIER ST

Intervention 1.2

Site map, Foodworks Brunswick St, Fitzroy

CONDELL ST

REET

Intervention 1.2

Site images (courtesy Simone Koch & Peter Brew)

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Intervention 1.2

FOODWORKS

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Application of manifesto

Intervention 1.2

Application of manifesto

Intervention 1.2

Application of manifesto

Intervention 1.2

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Proposed Ground Floorplan

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Application of manifesto

Intervention 1.2

Intervention 1.3

The homes

THE

SATURDAY PAPER SOLD HERE

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ALL

HEAR FOUN T PRIM DED

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ARY 1869 SCHO

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CHUR

Intervention 1.3

NAPIER ST

REET

CONDELL ST

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Site map, Whitlam Place Napier St, Fitzroy

Site images (courtesy Freadman White website & Katie Stuart)

Intervention 1.3

Site images (google images)

Intervention 1.3

Existing multi-residential dwelling

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Intervention 1.3

Private Public

An Other Architecture

Existing ground floorplan & proposed zoning plan

00 1:21:200

1:200

Intervention 1.3

Existing multi-residential dwelling

Intervention 1.3

Application of manifesto

Intervention 1.3

Isometric of existing

Intervention 1.3

Isometric of proposed inverted forms

Intervention 1.3

Application of manifesto

Intervention 1.3

Application of manifesto

Intervention 1.3

Exploded axo of elements

Intervention 1.3

Diagram of proposed elements

Intervention 1.3

Intervention 1.4

The home

4. Application of manifesto

Intervention 1.4

NAPIER ST

REET

The space between renting and buying

CONDELL ST

REET

Site map, 202-208 Napier St, Fitzroy

Intervention 1.4

Bryce Renzow design of family house, 22 Harkaway Rd

Intervention 1.4

Site images (courtesy Katie Stuart)

Intervention 1.4

Site images (courtesy Katie Stuart)

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Intervention 1.4

1:100

1:200

Existing floorplans of Napier St, Fitzroy

1:200

Existing/application of manifesto

Intervention 1.4

Diagram of existing and new - the forgotten spaces of homes

Intervention 1.4

Internal layering of new & existing

Intervention 1.4

COL

Proposed Ground Floorplan

COL

:200 11:200

Proposed Upper Floorplan

:200 11:200

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An Other Architecture

Intervention 1.4

Proposed Section A

Intervention 1.4

Choreography of interior spaces

Intervention 1.4

Wall analysis - existing and new

Intervention 1.4

Intervention 1.5

The community hub

5. Application of manifesto

Intervention 1.5

NAPIER ST

REET

Intervention 1.5

CONDELL ST

REET

Site map, King William St, FItzroy

Site images (courtesy Simone Koch & Peter Brew)

Intervention 1.5

Site images (courtesy Simone Koch & Peter Brew)

Intervention 1.5

Application of manifesto

Intervention 1.5

COL

1:200

Interaction of natural light between proposed & its neighbours

Proposed Ground Floorplan

1:100

Intervention 1.5

1:200

Proposed Upper Floorplan

1:100

1:200

Proposed Roof Plan

1:100

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An Other Architecture

Intervention 1.5

Diagram of elements

Intervention 1.5

Intervention 1.6

The bus stop

6. Application of manifesto

Intervention 1.6

JOHNSTON

STREET

BRUNSWIC

K STREET

Intervention 1.6

Site map, 120 Johnston St, Fitzroy

Site images (google images)

Intervention 1.6

Site images (google images)

Intervention 1.6

Application of manifesto

Choreography of public domain and street furniture

Intervention 1.6

100

Proposed Ground Floorplan

101

1:200

Intervention 1.6

1:100

Intervention 1.6

1 3

1 3 3

Coincindental occupation

Decelaration

Repetition/dispersal of identified objec

Suggestion of program

Signage

Repetition of suggested objects to hint at occupation

102

Diagram of street layout

103

Coincindental occupation

Decelaration

Repetition/dispersal of identified objects

Suggestion of program

Signage

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References Robin Evans. (1986). Translations from Drawing to Building. AA Files. No. 12 (Pp. 3-18), pg. 1-10. Mariana Mazzucato (2017). The Value of Everything: Making and Taking in the Global Economy. London: Allen Lane. Pg 1-100. Hank Dittmar. (2020). Filling in the Missing Pieces: Lean Urbanism. In: Unknown DIY City: The Collective Power of Small Actions. Washington, DC: Island Press. Pg 129-143. Matthew Waggoner. (2018). The Property Relation. In: Unknown Unhoused: Adorno and the Problem of Dwelling. United States: Columbia Books on Architecture and the City. Pg 114-136. Till, Jeremy. 2013. Architecture Depends. Cambridge: The MIT Press. Aaron Cayer. (2018). From Archive to Office: the Role of History in Theories of Architecture Practice. Ardeth. #2, Pg 35-48. Public Transport Guidelines for Land Use and Development. (2008). Department of Transport, Victoria State Government. Melbourne. Red Rover. Pg 1-11. Ruby Lang. (2020). Professional Practice Essay. Millie Cattlin (interview with Ruby Lang). (2020). Shift Journal. [self published]. Freadman White, Whitlam Place, Napier St, Fitzroy. Bryce Renzow. (2003). Household Design & Build. 22 Harkaway Rd House (white card model). 206 Napier St, Fitzroy. Existing Floorplans. (Unknown).

An Other Architecture

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An Other Architecture

Ruby Lang With the support, advice & supervision of Simone Koch

An Other Architecture

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