On Country Framlingham 3.0 ARCH1003 - Architecture Design Studio 4
2021 Semester 01 Portfolio
CLIENT:
STUDIO LEADERS:
Uncle Leonard Clarke
Christine Phillips Stasinos Mantzis
PREPARED BY:
SCALE: NTS DATE: 15.06.2021 REVISION: A PAGE: 1 of 61
Contents Acknowledgment .............................................................................. I Personal Reflection...................................................................... 001
Acknowledgment I want to acknowledge the people of the Woi wurrung and Boon wurrung language groups of the eastern Kulin Nation on whose unceded lands we conducted the studies of the studio. I further extend this acknowledgment to the Kirrae wurrung people of the Gunditjmara nation, whose lands lie our proposal for The Shara Clarke Cultural and Educational Centre. I respectfully acknowledge their Ancestors and Elders, past, present, and emerging. I am appreciative of the time, commitment and sharing of knowledge from Uncle Leonard Clarke and his family. I also acknowledge the Traditional Custodians and their Ancestors of the lands and waters across Australia.
About The Project........................................................................ 002 Welcome to Country..................................................................... 003 Final Presentation........................................................................ 004
Esquisse 08 + 07.......................................................................... 035 Esquisse 06.................................................................................. 039 Sketches // Development // Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 049
Esquisse 05 + 04.......................................................................... 051
Shara Clarke Aboriginal Education and Cultural Centre. . . . . . . . . . . . . . . . . . . . . . 004
A Closer Look................................................................................ 007 Transportation Map // Enterprise Plan // Illustrative Site Plan. . . . . . . . . . . . . . . 007 Perspective Renders. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 009 Sectional Perspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 013
Esquisse 03 + 02.......................................................................... 056 Esquisse 01.................................................................................. 059 Final Words................................................................................... 060
Think Tank..................................................................................... 015 Sketches // Development // Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 015
Mid-Semester............................................................................... 019 Project Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 019 Debrief. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 025
Site Visit....................................................................................... 026 Elder Uncle Leonard Clarke
Esquisse 11.................................................................................. 027 Esquisse 10 + 9............................................................................ 030 Sketches // Development // Notes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 033
I
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
II
Personal Reflection
About The Project
Semester one 2021 has been the single largest learning experience of my academic career, and most definitely the single hardest semester I have completed to date. Faced with many challenges along the way, and given the current environment, I am appreciative and grateful to have completed this unit working alongside aboriginal elder Uncle Leonard Clarke to help realise his vision for the Framlingham community. This semester has been possible due to our studio leaders, Christine Phillips and Stasinos Mantzis; their help and guidance couldn’t be any more appreciated. In addition, I am incredibly happy to have worked beside the friendliest and most supportive group of students. This semester has helped me develop as an individual while being
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part of a group aiming to push the boundaries and see what can be achieved as a collective. This portfolio represents the collective work completed during the semester, from first design iterations, development, and outcomes to the finalised vision; Most importantly, this portfolio represents one of the many visions created by our studio cohort for Uncle Leonard Clarke. It has been an absolute honour and privilege to work beside Uncle Leonard Clarke to share his knowledge and teachings, and then incorporate them into real-world outcomes.
Shara Clarke Cultural and Education Centre | 13.06.21 | Process Portfolio
Aboriginal elder Uncle Leonard Clarke has a vision, a vision that is Ignited by the ongoing injustices against Aboriginal nations, the memory of his late daughter, and a strong deep-seated desire to keep the Indigenous youth out of incarceration. His vision is for the land on which he grew up on, to host a music and performance venue with a cultural and life education centre. This vision is to become the foundation for the Shara Clarke Cultural and Education Centre.
Embedded on the traditional lands of the Kirrae Whurrong people of the Gunditjmara nation, lies our proposal for The Shara Clarke Cultural and Educational Centre. Inspired by the strong symbiotic relationship between the first nations’ people and their connection to country, the Shara Clarke Cultural and Education Centre attempts to extend the country and connection between its inhabitants and their ancestor lands. The design intends to help facilitate a strong bond and relationship between the land, environment, and cultural knowledge for all that utilise the centre.
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Welcome to Country
Final Presentation
Shara Clarke Aboriginal Education and Cultural Centre
Welcome to Country ceremony presented by Brett Clarke and family for the students on their site visit to Framlingham.
CLIENT:
STUDIO LEADERS:
PREPARED BY:
Uncle Leonard Clarke
Christine Phillips Stasinos Mantzis
Byron Watson Jeremy Salter
A Welcome to Country is a custom where the traditional custodians of the land welcome guests to the lands of their ancestors. 003
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005
006
OUTPUT
Transportation Map // Enterprise Plan // Illustrative Site Plan
Archive Building
Wildlife Refuge
Weekend Cultural Markets
Pavilion Hire
PROPOSED CAMP
Gallery Shop
Open-air Cinema
Front of House Extension
Cafe / Restaurant
Discovery Walkway
B120
KIRRAE AVE
Playground
Bonfire Performance space HOPKINS FALLS
LONG STAY PARKING
Recreation Space
Artists Residency Weddings
PROPOSED NEW ROUTE
M
ET
ER Y
RESTAURANT & GARDENS
RO AD
WELCOMING CEREMONIES
Grounds Keeper House
Cultural Burning Space
RECOMMENDED ROUTE
CARETAKER HOUSE & SHED
ENTRY
Site Sheds
Solar Power Farm Gallery Courtyard
HOPKINS RIVER
CE
ARCHIE ROACH THEATRE
Tourist Stay
Open-air Amphitheatre
C174
REGINALD SAUNDERS THEATRE
Nursery
Patron Camping
AIRPORT ROUTE
WETLANDS
Native Botantic Gardens
Event Hire
FRAMLINGHAM FOREST RD
NG HA
Cultural Pavilion
Gathering Space Extension
FRAMLINGHAM FOREST
SHARA CLARKE CULTURAL & EDUCATION CENTRE
Argriculture Garden
Wetlands
SHARA CLARKE CULTURAL & EDUCATION CENTRE
BANJO CLARKE VILLAGE
Science Centre
Fauna / Flora Documentation
TREE TOP WALK
FR AM LI
Water Monitor Station
Tours
FRAMLINGHAM FOREST
M
Bars
Formals and Graduations
AIRPORT
FO
RE ST
RD
A Closer Look
NURSERY & COMMERCIAL GARDEN
Memorial Walk
Workshops
WEAVING GRASSES
PRIVATE CEMETERY
ARTISTS RESIDENCIES
SHORT STAY PARKING PUBLIC CEMETERY
THE SHED
RIVER BOARDWALK & VIEWING PLATFORM
Treetop Walkway
ELEVATION
HOPKINS RIVER
A1
Archie Roach Reginald Saunders
SHERWOOD PARK STATION
Banjo Clarke
WARRNAMBOOL
PLAN
Shara Clake Cultural
UNCLE LENNY’S HOUSE
DEAKIN UNI PORT FAIRY 28.5km
RAILWAY
C167
NEIGHBOURING FARM CAMPING GROUNDS
SOUTHERN OCEAN
INPUT
GEELONG 180km
0
1KM
Transportation Map
007
Enterprise Plan
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100
200
400M
1:2500 Site Plan
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Perspective Renders
Welcoming Ceremony Space
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Internal Foyer
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Theatre Perspective
Gallery Perspective
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Sectional Perspective
Key Plan
1:400_Sectional Perspective
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Think Tank
Sketches // Development // Notes
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Framlingham 3.0
Mid-Semester
Ignited by the ongoing injustices against Aboriginal nations and a strong desire to keep Indigenous youth out of incarceration, embedded on the traditional lands of the Kirrae Whurrong people of the Gunditjmara nation, lies our proposal for The Shara Clarke Cultural and Educational Centre. Inspired by the strong symbiotic relationship between the first nations’ people and their connection to country, the Shara Clarke Cultural and Education Centre attempts to extend the country and connection between its inhabitants and their ancestor lands. The design intends to help facilitate a strong bond and relationship between the land, environment, and cultural knowledge for all that utilise the centre. The design represents a cycle of growth and regrowth with a sense of permanence and impermanence through its expandable and modular programs. Like fire sweeping over the landscape fueled by the overgrowth, enhancing ecological diversity allows new opportunity. The users who enter the building fueled with an open mind and curiosity; they can then leave the landscape with new knowledge and opportunity.
Project Panels
STUDIO LEADERS:
PREPARED BY:
Christine Phillips Stasinos Mantzis
Byron Watson Jeremy Salter
Betty & Zeke
Versatile Architecture
Byron & Siyuan
Connection to Country
Pheoby & Chukang
Connection to Dreaming
Geordan & Jeremy
Flexible Architecture
Siyuan & Jeremy
Connection to Mob
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021
Sou Fugimoto serpentine pavilion
Cedric Price Fun Palace
Bunjil West Melbourne Volcanic plains
Daniel Libeskind Jewish Museum
Barry Patten Sidney Myer Music Bowl
Colab-19 Amphitheatre La Concorida
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023
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Site Visit
Debrief
This team-building exercise was a point of relief for each of the class members. Where we were able to discuss each other’s projects and debrief on what each group presented. This is a particularly important time for us given the current environment and covid restrictions.
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Before our Mid-semester Crits, the class went on a site visit to Uncle Lenny’s property to visit him and his family but to also grasp and understanding the enormity of the site and its inherent potential. This trip served particular importance in understanding Uncle Lenny’s story and the reasoning behind his vision for the Framlingham site. Without a doubt, this trip served each and everyone one of us the understanding and comprehension of what we are involved in and the honour that it is to be a part of.
Siyuan + Lin Meal Prepping
Jeremy + Uncle Lenny
Uncle Lenny Teaching Grass Picking
Zeke and Byron Creating Esquisse 11
Students Yarning
Uncle Lenny Yarning With the Class
Byron and Mijawi Grass Picking
Siyuan, Lin, Jeremy, Zoe Meal Prepping
Betty, Phoebe + Jeremy Setting up Camp
Class Visiting the Public Cemetery
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Esquisse 11 PREPARED BY: Tiff Johnston Jeremy Salter
Week 11 marks the final esquisse before mid-semester, partnered with Tiff Johnston. Tiff and I were to create an infographic map that represented our journey on site. Through the use of key markers on the sitemap, we can recall
specific memories associated with each graphic. Interestingly, while many of the graphics are of only one item, due to our individual experiences we can recall a different story at each point.
Precedents: The Indigenous memory code (Podcast) Lynne Kelly Sophia Pearce and Jock Gilbert’s article on Deep Listening: The landscape of Country Songline Map
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Esquisse 10 + 9 PREPARED BY: Zeke Zhang Jeremy Salter
Weeks nine and ten, partnered with Zeke Zhang, required a lot of research, and thorough understanding. We were required to read the text Nourishing Terrains and Envisaging Information. From these texts, we were to decipher our own set of rules that could be graphically displayed legibly and
interestingly. This graphic would help us determine the rules for designing a theatre. Zeke and I realised our program and rules was a rather binary system of input and output. The more you put in, the larger the output. This heavily influenced a cyclical infographic and building to follow suit.
Precedents:
Yhonnie Scarce
Nourishing Terrains, Essay
Missile Park, Melbourne, 2021
Deborah Bird Rose
Edward Tufte’s Envisioning Information
Site
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OUTPUT
EXPERIENCE
UTILISE
KNOWLEDGE
PROCESS
NARATIVE
INPUT OUTPUT
EXPERIENCE External Perspective
UTILISE
KNOWLEDGE
PROCESS
NARATIVE
INPUT
Site Plan Plan
Auditorium Perspective
Yhonnie Scarce Maya Lin Deborah Bird Rose
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Sketches // Development // Notes
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Esquisse 08 + 07 PREPARED BY: Alannah Davis Jeremy Salter
Weeks seven and eight, partnered with Alannah Davis, was a journey. Alannah and I researched two texts, Emu Dreaming, and Australian Aborigines: The Languages and Customs of Several Tribes in the Western District of Victoria. With the text, we were to create a photomontage of our learning and take our class on a journey through storytelling. The photomontage acted as points of prompt when reciting the story to the class. Allowing Alannah and I to look
at the montage and engage with further discussion with the class. With our findings and research, we took them utilised them as design for our building sketch of the theatre, and how that influenced the design through the use of lunar cycles. To accompany the sectional sketch we were to create internal perspectives in the style of Peter Cook to help convey the story further to the users.
Precedents:
Auditorium Perspective
Putuparri and the Rainmakers
035
Greg Burgess’
Emu Dreaming, Book
Australian Aborigines
Ray and Cilla Norris
James Dawson
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Stage Perspective
Foyer Perspective
Peter Cook
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Photo-montage of Gregg Burgess Brambuk Centre
1:200 Internal Sketch
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Esquisse 06 PREPARED BY: Siyuan Yang Jeremy Salter
START
Brook Andrew Wiradjuri people Born 1970 in Sydney, Australia Week five esquisse, partnered with Siyuan Yang, required us to listen to a song by Archie Roach, analyse the artwork of Brook Andrew, and the Melbourne Recital Centre by ARM Architecture. With our analysis, we had to decipher if there were any connection/similarities between the three precedents. If there were, what were they, and how could we envisage this connection for our proposed building? Siyuan and I discovered similarities between the need or desire for protection and longing for Mob. Our
proposal was comprised of a spheroid theatre encased in a rectilinear box. Representing Mob in the centre under the guise of protection of white colonialism. In addition, to the model created, we were to recreate a montage in the style of our assigned artist Brook Andrew. In my interpretation I wanted the user to see the fractures caused to the landscape over time due to white colonialism.
Contemporary artist Theme: Colonialism, historical amnesia and indigenous cultures
Precedents:
Brook Andrews
Archie Roach: ‘Took the Children Away’
Melbourne Recital Centre
https://www.architectureanddesign.com.au/
Picture: Kristoffer Paulsen
By: ARM Architecture
people/brook-andrew-announced-as-artisticdirector-of-22n#
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Mediums: The combination of video, sculpture, photography and immersive installation Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Archi Roach Gunditjmara and Bundjalung Born 1956 Aboriginal Australian musician
Colour & Light: Recurring use of light as a metaphor for perception revelation and mystery
Song: Took the Children Away Released: 1990 Frame & Landscape: Put indigenous and other cultures together with a disordered time-line, encountering a more layered, complex consideration Each work is speculatively connected to the other through signs of time and historical situations
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Genre: Australian Indigenous Recorded: April 1990
Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Melbourne Recital Centre Section A-A
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Address: 31 Sturt St, Southbank VIC 3006 Opened: February 2009 Architecture firm: ARM Architecture Architect: Ian McDougall
‘Box-in-Box’ For the inside box, it sits on isolation springs and is physically separated from the rest of the building to insulate it from structure-borne noise.
Melbourne Recital Centre Floor Plan - Mezzanine 2
For the façade, as the protective package for the fragile equipment inside. --------@
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Mob Diagram
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Finding Narrative
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
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Collage by Jeremy Salter
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Collage by Siyuan Yang
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Sketches // Development // Notes
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Esquisse 05 + 04 PREPARED BY: Zoe Braybrook Jeremy Salter
Week four and five esquisses, partnered with Zoe Braybrook, were an exploration of site diagramming/programming. We were provided with the minimum room requirements for the Shara Clarke Education and Cultural Centre, with the provided program we were to explore the potentialities and connections between spaces and assess how they may be located with one another through the use of a spatial diagram. This allowed us to explore and become familiar with the program while also being able to grasp and understanding the conditions of each room. We then took this information and created a massing study of all the programs to assess their impact
further. Then we gave the mass a basic form from the previous weeks assigned plants and placed a shell over the top of the program. The plant we chose was the Knobby Club Rush (Ficinia nodosa) a plant that Zoe was familiar with based on her experience with the previous esquisse. Amongst all of the above, we were to also become familiar with mosaic burning and other methods of Indigenous land management techniques and to take our learnings and imagine a mosaic burning to sweep over the Framlingham site, creating our fire montage in the style of Phillip Hunter’s artworks.
Precedents:
Envisaged Flooded Forest
Reko Rennie, Camofleur, 2019
Photography by Iwan Baan
Wisdom Man, Book
Dark Emu, Book
Phillip Hunter, 2004
The Shed, designed by Diller Scofidio +
Camilla Chance, Clarke Banjo
Bruce Pascoe
Photography by: Julian
Mosaic Burning
Renfro in collaboration with Rockwell Group
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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F KO
E
H
S OU
C BA
Archie Roach Hall
FRONT OF HOUSE
Reginald Saunders STAGE RE STO
NG
TI A E
ST OR
E
STORE
IO
RAD
RA
DI
O
S
STO
BOARD ROOM
RE
RADIO
E
ST OR
Fixed Program
STORE
Flexible Program
Banjo Clarke
Indoors Open Air Connection Massing Study
Teaching Rooms Culture / Multipurpose Program Diagram
053
Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Esquisse 03 + 02 PREPARED BY: Geordan Ennis-Thomas Jeremy Salter
Week two and three esquisses, partnered with Geordan Ennis-Thomas, we were tasked with researching as much information as possible on the Bidgee Widgee (Acaena novae-zelandie), to then dissect it and assess its structural properties, growth patterns, and Indigenous uses. However, the research we did showed us little regarding its uses other than for its soil binding roots. It is speculated, however, that the leaves may be chewed on for medicinal use
for upset stomachs. With the research done on the Bidgee Widgee and the precedents listed below, Geordan and I were to create our theatre canopy. We opted for one that was operable by the people and expandable/collapsible depending on its needs. Finally, we were to take our final iterations and photomontage them onto a site plan in the style of Yves Brunier.
Precedents:
Bidgee Widgee (Acaena novae-zelandie)
People’s Architecture Office People’s Canopy, Preston Lancashire, UK, 2015
Sean Godsell’s MPavilion
Yves Brunier, House Brasschaat (BE), Macken & Macken with Stephane Beel, 1989
Plan // Section on site
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Open-hub-inner
Canopy Open
Open-hub-top
Canopy Collage by Jeremy Salter
Canopy Collage by Geordan Ennis-Thomas
Canopy Closed
Growth-placement-top
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Shara Clarke Cultural and Education Centre | 15 .06.21 | Process Portfolio
Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio
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Esquisse 01
Final Words I would like to conclude this portfolio by saying thank you to everyone involved in this semester, but most importantly to Uncle Lenny and his family for all the support and contribution they have provided from the very first day. Without their contribution, this studio would not be possible, and I believe this studio to be the most important studio that I have had the pleasure to contribute to over my academic career. Thank you, again, everyone!
Week one esquisse required us to visit the Melbourne Museum. At the museum we were to explore the First Peoples Tour: Bunjilaka; and listen and explore the many artefacts on display (audible and visual). Tasked to select two physical artefacts and one non-artefact (audio/video) and to then extract the key inspiring features of the selected items and turn those inspirations into a paper maquette. I attended the exhibition and spent a considerable amount of time wandering through the many displays and
Womin Djeka Indigenous Orientation Badge
Location Language Map
listening to the story of Bunjil. I was particularly taken by the idea of a message stick, possum cloaks, and reeds children would use to flick mud at each other. However, due to having just moved cities I wasn’t prepared to complete the first esquisse. I did however complete the RMIT indigenous orientation task and locate which language groups land I currently reside on. Unfortunately, my photos of the museum trip were lost on my broken phone, but the memories and experience heavily remain on my mind.
First Peoples Tour: Bunjilaka Melbourne Museum
Class
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Shara Clarke Cultural and Education Centre | 15.06.21 | Process Portfolio | Jeremy Salter - s3902908
