ON COUNTRY Led By Christine Phillips & Stasinos Mantzsis Zoe Braybrook s3717385
I would like to acknowledge the traditional custodians of the land on which I study and reside, The Woi wurrung peoples of the eastern kulin nation. My indigenous roots trace back to the region of colac and I would like to pay respect to the Gulidjan Clan. I would like to acknowledge the Kirrae wurrung people and country on which our proposal is situated and pay respects to their elders past present and emerging I would like to thank Uncle Lenny and his community for their generosity, hospitality and for sharing insight and stories to give us a better understanding of country as well as drive an inspire our proposals for the shara Clarke Cultural and education centre I would like to extend this acknowledgement to all indigenous and torres strait islanders, Aboriginal people are advised this publication contains names of people who have passed away
TABLE OF CONTENTS Final Presentation.................................................... 4 - 19 Mid Sem....................................................................20 - 27 Post Mid Sem Development................................28 - 47 Esquisse 1.................................................................48 - 52 Esquisse 2&3............................................................53 - 56 Esquisse 4.................................................................57 - 58 Esquisse 5................................................................59 - 62 Esquisse 6................................................................63 - 65 Esquisse 7................................................................66 - 67 Esquisse 8................................................................68 - 71 Esquisse 9 & 10.......................................................72 - 77 Esquisse 11..............................................................78 - 79 Mid Sem Development........................................ 80 - 87
3.
REFLECTION Through this Studio I have developed a better understanding of indigenous culture and country. It has taught me to rethink existing ideas I had previously been taught, and to be more thoughtful with both architecture and everyday life when considering the traditional custodians of the land. By learning more about country, it has inspired me to investigate further into my own indigenous roots, and to be mindful when designing on unceded land.
FINAL PRESENTATION The Shara Clarke Aboriginal Cultural and Education Centre is to be built on the lands of the Kirrae Whurrong People in the Western district of Victoria It will be a place to celebrate culture, education, development of skills, arts, music and performance. The Centre is intended to help address the over incarceration of indigenous Australians by using culture and the arts as a tool of reconciliation. As well as becoming a key tourist destination. We had the pleasure of visiting uncle Lenny and exploring the proposed site We have learn and developed ways in which we can provide the spaces for these programs whilst showcasing aborignal culture through architecture Our intent for our building is to explore & document the interactions of waterways and their broader interaction with indigenous culture. We have achieved this by researching the specifics of the Hopkins river and the broader effects of water upon Kirrae Whurrung country. We have investigated elements such as gilgai formations on the land, the flora on site, specifically the eucalyptus tree and its root system. We sort to understand the indigenous relations to the Hopkins River, discovering its use for navigation, as it forms a network of pathways From further research into the hopkins river we discovered the indigenous translation of hopkins falls is ‘Eels bit the stones’ We have used eel movements as the foundation for our network of pathways that flow throughout the site. The idea of all these elements is to represent the symbiotic relationship between nature on country as well as the indigenous cultural significance of water to represent a sense of community within our architecture as waterways are the lifeblood of country.
4.
THE SHARA CLARKE CULTURAL AND EDUCATION CENTRE // CONNECTIONS THROUGH COUNTRY
Archie Roach Auditorium & Banjo Clarke Classrooms in performance mode
Bullibulli Restaurant 2
1
Main Entry / Welcome Country Fire
17 14
15
18
19
21
5.
23
16 7.
Back of house
6.
Loading bay
22
20
3. Perspective
12
8.
13
Foyer
3.
2. Perspective
26 Gallery
9 2.
Interior Foyer Space Ngatanwarr
11 1.
10
24
UP
SITE PLAN 1:2500 @ A1
Offices
31
25 UP
Banjo Clarke Multi Purpose Rooms 29
27
43
46 45 44
28 30
42
Banjo Clarke
32
A
A Back of house
Concept Diagrams
River bed
Archie Roach Auditorium
1- 6. Dressing room ensuite 7. Technical staff
37
8 & 9 Rack rooms
38
39
40
41
10 . Scenery Workshop 11-13. Larger Dressing Rooms
34
14. Temporary storage 15. Chair Storage 16. Rack Rooms Comms
33
Kooyang Courtyard
Reginal Saunders Canopy 36
17. Sound video electronics 18. Piano Storage
35
19. Instrumental storage
Bar / Restaurant
20. Rubbish Storage
Bullibulli courtard
22. Loading bay
Root System
23. Comms room
Outdoor Cooking Education
Foyer 24. Box Office 25. 26. Cloak room 27. Female Toilets 28. Male Toilets 29. Accessible Toilets 30. Sick Room 31. Art Store 32. Storage 33. Female Toilets
4. Perspective
34. Male Toilets 35 & 36 . Bar Storage 37. Board Room 38 - 41. Smaller teaching rooms 42 & 43. 44 - 46. Radio Rooms
Archie Roach Auditorium
FLOOR PLAN 1:400 @ A0 3
Gilgai Splitting
4
Archie Roach Auditorium
Foyer
Banjo Clarke Multi Purpose Rooms Banjo Clarke Classrooms / Courtyard
SECTION A-A 1:400 @ A0
Archie Roach Auditorium & Reginald Saunders Canopy
Work Completed From Mid Sem to final with Geordan Ennis -Thomas
5.
FINAL PIN UP
Banjo Clarke Yarning Space
1. Perspective
Site Plan
Context Map
Travel Map
6.
Enterprise Map
7.
Concept Diagrams
Differing Modes Diagrams
8.
1. View from road entry to car park
9.
2. Entry way / Welcome to country meeting point
10.
3. Baby Lake Courtyard
11.
4. Rear side of building / Connection pathways
12.
Archie Roach Auditorium & Reginald Saunders canopy in performance mode
13.
Archie Roach Auditorium
14.
15. Banjo Clarke Courtyard / Yarning Circle
Bullibulli Restaurant
16.
Interior Foyer Space / Ngatanwarr
17.
Banjo Clarke Multi purpose rooms Archie Roach Auditorium Foyer Banjo Clarke classrooms and courtyard
Section A-A
18.
19.
MID SEM
Our intent for our building is to document the interactions of natural elements (and their connection with indigenous culture We have achieved this by researching specific details of Kirrae Whurrong country and surrounding areas to help inform our architecture We explored elements such as land conditions, flora, specifically the eucalyptus tree and its root system and the kangaroo apple qualities that are both found on site as well as researching water. The idea of all these elements is to represent the symbiotic relationship between nature on country as well as the indigenous cultural significance of water to represent a sense of community within our architecture as waterways are the lifeblood to country.
20.
Site Plan 21.
FORM - Water - Gilgai formation - Water ways
Structure / Ornament - Root system - Eucalyptus tree
Circulation - Water - Eddy Fluid
Event / Education mode Animation
22.
Emotional intent - Flora - Kangaroo Apple
Exploded Axos
Back of House
Front of House
Reginal Saunders Archie Roach / Foyer Space
Auditorium
Archie Roach / Foyer Space
Front of House
Banjo Clarke
23.
Auditorium Back of House Reginal Saunders
Banjo Clarke
Exterior Perspective - Entry
24.
Interior View - Archie Roach Foyer Space
25.
Longitudinal Section 1:200 @A0 26.
27.
POST MID SEMD EVELOPMENT
28.
Site Plan 1:1000 @A0
Enterprise Map
29.
Floor Plan Development
30.
Week 11 Form Development
Testing form by taking tracing of the Hopkins River bed at different points to recreate the flow and movement of water through the building whilst being able to hold required programs
31.
Rear Side View / Reginald & Restaurant
32.
Rear Side View / Banjo Clarke Far Right
33.
Interior Foyer Space
34.
Development of structural elements and materials
Interior View - Restaurant Space
35.
Interior View - Archie Roach Theatre
36.
Exterior View - Outdoor Restaurant space
37.
Exterior View - Main Entry
38.
39.
40.
41.
42.
43.
Interior Foyer Space 44.
Outdoor restaurant seating 45.
Interior Foyer Space 46.
47.
ESQUISSE 1 Ladjiladji
Victorian Aboriginal Language Map
Dadi Dadi
Currently residing in Preston, Woi wurrung Land
Jarijari Wadiwadi Ngargad Wembawemba
Wergaia Bindjali
Baraba Baraba
Yorta Yorta Waveroo
Jardwadjali
Dja Dja wurrung (Jaara)
Nguraiilam wurrung Jaitmatang Ngarigo Daung wurrung Bidwell
Djab Wurrung Watha wurrung Buandig
Dhauwurd wurrung (Gunditjmara)
Djargurd wurrung
Gulidjan
Girai wurrung Gadubanud
48.
Woi wurrung (Wurundjeri)
Bun wurrung
Gunai (Kurnai)
‘ My ngujarn, my grandmother, always told us to listen properly. Not just to listen with our ears, but to listen with our head. That’s what deep listening means. To know what to do, the way to do it, what was right, what we had been taught and to listen to country; to understand what we were learning ... and to relate to each other with that knowledge. ‘
Chosen Artifacts / Belongings
Dr Doris Paton, Gunnai, Monero-Ngarigo
1. Gun-ganday burlupurr Basket Date 1990’s Maker Mary Mirdaburrwa Clan/ Language Group Burrara Location Maningrida, Northern Territory Materials Sedge grass, Pandanus
2. Kalaya Emu Date unknown Maker Not Recorded Clan/ Language Group Yankuntjatjara Location Amata, South Australia Materials Wood, Ochre
1.
3. Corroboree Date About 1885 Maker William Barak Clan/ Language Group Woiworung Location Healsville, victoria Materials
2.
3.
49.
Marquette / Model Development
50.
Drawing on the ideas of Kelly Koumalatsos I transformed my model by using acrylic paint and a cutting of a Bottle brush tree from my front Garden. Kelly speaks about reclaiming heritage and having a sense of connection to identity in her work. I tried to experiment with this idea by using something personal to me as well as the ideas behind it of gardening and being in nature. This idea also relates back to the burnings on the skin side of possum skin cloaks by telling a personal story I tested with non conventional ways of applying paint to a surface the same as Kelly did in her work by going beyond traditional methods of using possum fur.
Perspective 1
51.
Perspective 2
52.
ESQUISSE 2&3
Knobby Club Rush (Ficinia nodosa)
The Knobby Club Rush (Ficinia Nodosa) Is a native grass that is commin to coastal or wetland areas and best thrives in the sand. Now, this plant is often used as park or wetland irrigation and to clean drain water. The plant consists of an upright stem that can reach up to 15 to 20cm in growth, with small round flower spikes that grow throughout most of the year. The Indigenous use from the plant ranges from using the grass for basket weaving to an assortment of edible uses. The Knobby Club Rush is consumed as bush tucker though using the grass as fish smoking rushes as well as containing edible seeds.
53.
Cannopy Research Sou Fujimoto’s Serpentine Pavilion, London, 2013
Sou Fujimoto said the chosen materials he used wanted to have a mix between nature and architecture. The grid represents the architectural order, however with the repition and the amount of grids he says it creates a more organic soft feel with transparent materials throughout the stucture in order for people to be able to feel and see currents climates, and to be more immersed in nature. Sean Godsell’s MPavilion
“This fully automated ‘outer skin’ means that the pavilion will ‘open’ each morning and ‘close’ at the end of the day in a number of different configurations. Its exterior is perforated aluminium that reflects light and animates the building. Conceived as architecture that ‘blooms like a flower’ each day and opens to its audience, it also has a mysterious box-like quality at night.”Rory Stott (Arch Daily) 54.
Taking influence from the formation and growth of the knobby club rush as well as the serpentine pavilion and Sean Godsell’s MPavilion Betty and I designed a pavilion that spreads out and connects to nature with expanding triangular pointed pannels. It hosts a mixture of indoor and outdoor areas that allows the audience to be immersed in the land. We incorporated the idea of Suo Fujimoto’s design of allowing the architecture to become functional seating as well as Sean Godsells operable qualities.
55.
Hybrid Forms
Site Plan
Wayfinding techniques using water 56.
ESQUISSE 4
57.
58.
Model development and visualisation Zoe Braybrook
ESQUISSE 5
Image by Jermey Salter
59.
Mosaic burning was a widespread fire management technique before European settlement, where a variety of methods of burning was used on different patches of land to reduce fuel and create varied habitats. This is our interpretation of mosiac burning of the site in a grid pattern.
1. Auditorium and seating 2. Regional Saunders 3.Archie Roach Hall 4. Back of House 5. Front of House 6. Banjo Clarke
5. 6. 2.
3. 1.
4.
60.
Plan 1:200 @A0
Taking inspiration from native plant research on the knobby club rush, Jeremy and I combined its natural geometries with the massing we had created from the building, We chose to use No.6 massing as the basis to inform the shape. Our seign for the building uses 6 of the clubs from the plant scaled up acting as the envelop for the facade. In contrast we used the overall form of the knobby club rush to inform the interior shape being circular and round.
Model development and visualisation Zoe Braybrook
61.
Image by Jermey Salter
62.
Image by Jermey Salter
ESQUISSE 6
The Art of Vicki Couzens
Do you know what it feels like? To get calls in the middle of the night? Saying you’re not worth it, you deserve it Go on, have another drink Do you know what it feels like? To get stuck in the middle of a fight? Screaming you’re not worth it, you deserve it Go on, have another drink But if I just keep quiet I’ll be the one who’s lying too Why should I keep hiding, always crying? Tell me what did I do? You took the colour from me, darling, I’ll get it back You took the colour from me, but I look better in black If I knew what I know now, maybe I would take it back But fuck that, I look better in black Do you know what it feels like? To be told that you are never right? If I had a lighter skin maybe I would win Does it make you want to think? Do you know what it feels like? ‘Cause I know what it feels like! If I had a lighter skin maybe I would win Does it make you want to think? But if I just keep quiet I’ll be the one whose lying too Why should I keep hiding, always crying? Tell me what did I do? You took the colour from me, darling, I’ll get it back I’ll get it back, I’ll get it back, I’ll get it back, I’ll get it back You took the colour from me, but I look better in black If I knew what I know now, maybe I would take it back But fuck that, I look better in black Hey! I look better in black Hey! I look better in black If I knew what I know now, maybe I would take it back But fuck that (fuck that!) I look better in black
Thelma Plum’s song ‘ Better in Blak’
Yanmeeyarr
Frank Gehry’s Walt Disney Concert Hall, Los Angeles, 2003
Our model takes on the three precedents by developing a design inspired by the ideas of Thelma Plums song by taking something that is considered not ‘ideal’ through the textured crumpled paper that forms the shape over the Reginald saunders canopy to overall create a beautiful structure. The shape is inspired by the Disney concert hall in the same way it has a central point to the building and the elements or panels span out from the entral point. The colouring is inspired by Yanmeeyarr of red black and yellow.
63.
Displaying the model / Building in the style of Vicki Couzens. In her displays she experiments with light and reflection. creating a depth to her instalations. I tested with the idea of creating depth to the presentation of the model through casting shadows of people and flora onto a draped printed sheet.
64.
Retractabe canopy Reginal Saunders area
The retractable aspect of our design for the canopy is controlled by the crumpled nature of the coverings that open out into a flat surface, the material would be made from a tarp/ canvas and would hold its shape with metal structuring.
Model made with Byron Watson - Visualisation Zoe Braybrook
65.
ESQUISSE 7 Massacre and architecture precedent research information
Robin Boyd’s Tower Hill - A simple stone circular structure with a sloping roof that mirrors the volcanic island hilltops, blending into the landscape. - The circular glazed pavilion, a timber construction with a cill height stone skirt and wide eaves. Non static circulation of the building (relates to indigenous relationships to land and navigation) - At the centre of the open internal space there is a central hollow stone column which supports the roof and is crowned by a skylight reminiscent of the core of the volcano that gave rise to the landscape - Tower Hill is a volcanic formation believed to have erupted about 32,000 years ago
66.
Visualisation produced with Mijawi
67.
ESQUISSE 8
Our design for the Archie roach theatre and Reginald saunders canopy combines the research of The Massacres in Warnambool and surrounding of indigenous people as well as Robin Boyd’s Tower hill. The over all shape and form is inspired by the sharing of knowledge in indigenous culture and the Confessions from Mona, creating a cone shape to amplify spoken stories and song. The lower part of the cone shape is the entry/ Foyer space, With low ceilings it creates and eary more confined feeling. The space opens up with paneling hanging fromt he ceiling that mimics the surrounding landscape (topography) Similar to Robin Boyd imitating surrounding volcanos and hills.
AHHHHHH!!
Model development Zoe Braybrook
68.
PERSPECTIVE SECTION 69. 1:200 @A3
Visualisation Mijawi Mansell WhiteBear
“DID YOU KNOW, AFTER A LONG BATTLE, BOTH IN THE COURTROOM AND OUT, THE VICTORIAN GOVERNMENT AWARDED THE GUNDITJMARA NATIVE TITLE IN 2008?”
70.
“THE LAND IS THE LIMIT!”
Visualisation Mijawi Mansell WhiteBear
71.
ESQUISSE 9 &10
Nourishing Terrains
In Absence - Yhonnie Scarce & Edition Office In Absense Is a commissioned temporary pavillion in the NGV gallery courtyard. A slice of nothingness splitting wholeness, the fissure and void at the symbolic heart of this structure is designed to evoke and clarify the false absence implied by terra nullius – a colonial strategy that claimed an absence of permanent Aboriginal settlement, which thus declared Australia as an emptiness awaiting ownership.
“ Where are we going to go? Where are we going to get a place to live, to stay? Where? In the air or where, because farmers coming on the land; fisheries are coming on the sea? Where can we find a space now for Aboriginal people? Where? We can’t live on the air. Where are you pushing us? This is our land. This is our homeland. “ Submission to the Aboriginal Land Commissioner regarding control of entry onto seas adjoining Aboriginal Landin the Milingimbi, Crocodile Islands and Clyde River Area.’ 30 may 1980 Written by Mark Dreyfus (NLC) assisted by Mathew Dhulumburrk
The project is not about representation; it is about establishing just enough architecture – and space – to create sufficient opportunity for what is invisible to reveal itself. The slice through the building also references the design of traditional stone eel traps that manipulate water flows to enable large-scale, sustainable aquaculture production. Seeping out of the cracks between the black boards and rising skywards within the structure are hundreds of ink-black glass murnong (yams) by Yhonnie Scarce. The glass murnong represent many things, including oil from fish or eels, water, medicinal sap from trees, fish, leeches and the metaphorical mapping of waterways and stars. She intends for these yams, rising within this symbolic tower, to attest to ‘the pain of this false absence, by filling the space with the glittering light of the memories and echoes of thousands of years of occupation’
72.
Similar themes are represented in both research of these precedents. The effects of colonilism and stolen land on not only the people but therir methodlogies of maintaining the land, therefor how it impacted on the land itself when traditions where abolished. Some of these key themes include directing the eye, creating view ports with structure, unexpected absense of space, scale and Heirarchy, things not quite fitting or being out of place and a gradual change to destruction.
Visualisation Zoe Braybrook
73.
Visualisation Zoe Braybrook
Front 74. of House - Perspective view
75.
Image by Jingchen Lin
Visualisation Zoe Braybrook
1.
2.
3.
1.Banjo Clarke 2. Front of House 3. Reginald Saunders
76.
Floor Plan
Framing Views Unexpected Absence of Space Scale & Hierarchy
Different / Opposing shapes contained in one another Image by Jingchen Lin 77.
Gradual change to Destruction
Gradual change to Destruction
SITE PHOTOS
78.
ESQUISSE 11 Work with Pheobe Galileos
Elements Dividing up the area by collecting 4 plants from each area of the sight and then many in-between that started the formation of the base, This communicated the idea of recognition of different tribes past and present in the surrounding areas. We left the blank part in the middle as a loose depiction of our journey travelled when we first started exploring the site. We have then done an overlay of white lines that considers the fact that there would be many other paths traveled but this was ours. This communicated the idea that there is no set out path other then nature and individual curiosity and any predetermined ways of navigating land. Elements that I quite like is not feeling constricted to a certain path. But rather having elements that guide you such as more dense areas or little inclines in the landscape. We wanted to note elements that where memorable for us as we had either created a story or had discussions about these areas. We illustrated this with cracking lines in the dirt that made up a large portion of the site below the growing grasses. We noted this as although it was wet and windy while we where there we took a few moments to recognise and imagine that throughout different seasons. We also noted some conversations that we had with each other and loosely mapped it in the corresponding areas, This kind of linked with another layer of highlighting areas with colour and having a corresponding emotion to that feeling. Yellow was happy and inquisitive, Blue being feeling blue so either a feeling of discomfort or sadness and brown was more calm/ mellow and content.
79.
MIDMidSEMESTER DEVELOPMENT semester reviews
80.
Division of each program and allocating, prior work, research and development or other precedents to help inform our design
81.
82.
Development of site plan / Considering main access point from Framlingham Forest Road
Early Stage form development, Using the contours of site and surrounding 83.
MID SEMESTER DEVELOPMENT
Form devlelopment Becoming more fluid to emulate water, Interior planning for Programs
84.
Section Development
85.
Interior Foyer development
86.
Interior Foyer development Pre Mid Sem, Chnaging of Materials to be an extension of the land
87.
End of Semester 1 2021 Zoe Braybrook s3717385
