Beneath The Clouds

Beneath The Clouds

Sheng Feng, Peter Stasios, William Grosby

With due respect, I would like to acknowledge the Traditional Custodians of the land on which the Studio Project is situated: the Brayakaulung people of the Gurnaikurnai Nation. I honor the Elders, both past and present, and extend my recognition to the emerging leaders. It is important to acknowledge that their sovereignty was never ceded.

Sheng Feng, Peter Stasios, William Grosby

Abstract

> The LaTrobe Valley has been deeply impacted by the negative effects of its fossil fuel industry, which has caused harm to the region. In the past, the industry was prosperous and even led to the development of new towns, as well as providing many residents with significant financial and housing opportunities.

> The decline of the fossil fuel industry in LaTrobe Valley has been devastating, resulting in the loss of numerous jobs and the rapid deterioration of the area. As a result, the region is currently stagnant and in need of a new identity that takes into account the latest financial, ecological, and social trends.

> The Victorian State Government is aiming to rejuvenate the LaTrobe Valley through the revival of the State Energy Commission (SEC), which will be headquartered in Morwell. Beneath the Clouds, a studio focuses on housing typology, is interested in creating a new co-housing project and associated architecture for a green energy workforce and community, with Morwell serving as a starting point.

I Towards An Understanding - The Land (Region Analysis, Town Analysis Maps and Traditioner Owner)

Objective

> 1 x A3 (portrait) map of First Nations Peoples history with the region & their sacred spaces.

> 1 x A3 (portrait) map of the regions infrastructure.

> 1 x A3 (portrait) map of townships and their relationship to mining/power stations.

> 1 x A3 (portrait) axon (30 or 45 oblique) of First Nations Peoples history with the region & their sacred spaces.

> 1 x A3 (portrait) axon (30 or 45 oblique) of the regions infrastructure.

> 1 x A3 (portrait) axon (30 or 45 oblique) of townships and their relationship to mining/power stations.

Sacred spaces

In between of nature

Townships

Towns and powerstations Interwined

Infrastructure Highway Railway Waterway

Sacred places, holy ground

Where mountains and rivers are outlined

Symbolic of intricate connections

Threads woven deep in the land’s foundation

Blood red shades slowly shift

Reflecting the industrial turn

Yet primal, sacred places still exist

Far from life’s worldly churn

Transient like a traveler’s journey

Valleys birth towns and industry Nerves of power, connecting seamlessly Factories and plants, new mountains and rivers

Township and industry, intertwined roots

The land is a canvas of infrastructure

Abstract

The traditional owners of Morwell are the Braiakaulung people of Gunai Kurnai nation , who have lived in the region for tens of thousands of years. It is important to acknowledge and show respect for their connection to the land, their culture, and their heritage. Their contribution to the region’s history and ongoing presence should be recognized and celebrated. It is essential to engage with the traditional owners and consult with them to ensure their cultural practices and values are considered in any decision-making processes that may affect their land or community.

For the Braiakaulung people, all of their traditional lands are considered sacred and have cultural significance. However, there are certain areas that are particularly important and hold special spiritual significance for the community.

One such area is the Gippsland Lakes, which are a series of interconnected lakes and lagoons that are rich in biodiversity and provide important habitat for a range of plant and animal species. The lakes have been an important source of food and resources for the Braiakaulung people for thousands of years, and they continue to have a strong spiritual connection to the area. Another important area is the Buchan Caves, which are a series of limestone caves located in the foothills of the Victorian Alps. The caves are considered a sacred site by the Braiakaulung people and are believed to be the home of ancestral spirits. The community has played an active role in the management and preservation of the caves, and they are now recognized as a UNESCO World Heritage Site.

The forests and woodlands of Gippsland are also important to the Braiakaulung people, as they have long been a source of food, medicine, and other resources. The community has a deep knowledge of the flora and fauna of the region, and they have developed sustainable land management practices that promote the health and productivity of the forests. Overall, the sacred lands of the Braiakaulung people are those areas that are imbued with spiritual significance and are central to their culture and way of life. These areas are not only important for the community’s spiritual well-being but also for their physical and cultural survival.

To date, Morwell is a commercial and industrial town with a population of approximately 14,000 people. It has a range of amenities including hospitals, schools, and community centers. The town is well-connected by road and rail to other parts of the region and Melbourne. Morwell also has several parks, recreational facilities, and sporting venues. The town is home to power stations, providing a significant source of electricity for Victoria.

Reference:

• GunaiKurnai Land and Waters Aboriginal Corporation. “Traditional Owner Groups.” Accessed March 27, 2023. https://gunaikurnai.org/traditional-owner-groups/.

• Visit Victoria. “Gippsland Lakes.” Accessed March 27, 2023. https://www.visitvictoria.com/regions/gippsland/things-to-do/nature-and-wildlife/waterways/gippsland-lakes.

• Parks Victoria. “Buchan Caves Reserve.” Accessed March 27, 2023. https://www.parks.vic.gov. au/places-to-see/parks/buchan-caves-reserve. Parks Victoria. “Forests and Woodlands.” Accessed March 27, 2023. https://www.parks.vic. gov.au/learn/culture-and-heritage/aboriginal-culture/aboriginal-people-and-country/forests-and-woodlands.

• Latrobe City Council. “Morwell.” Accessed March 27, 2023. https://www.latrobe.vic.gov.au/ About_Us/Our_Towns_and_Suburbs/Morwell.

Objective

Region Analysis Maps

>1 x A3 (portrait) plan or mapping diagram (the town)

> 1 x A3 (portrait) axonmetric diagram 30 or 45 oblique (the block)

>1 x A3 (portrait) elevation/section diagram (the street)

> 1 x A3 (portrait) axonmetric diagram 30 or 45 oblique (the house)

Abstract

Morwell town is a bustling area with a railway station situated near the Prince Highway and Commercial Street. The density of buildings spreads on both sides of the Prince Highway, but the northern part of the town is denser than the southern side, which is home to the largest open cut in Victoria and an old power station. The selected block is a hybrid zone where public facilities such as an art gallery, local court, police station, and residential buildings are located. The purpose of this area is to investigate the transition from public facilities to private dwellings by observing the proportion of massing.

Commercial Road showcases various architectural styles, including modernist with art deco elements, Victorian, industrial, post-war suburban homes, and the massive power station. In comparison to the simple and repetitive affordable dwellings, the power station’s architecture is grand and imposing.

Morwell town was developed from the mining industry’s historical period, with fragments depicting the shift of the town’s history. The vigorous industrial history contrasts with the mundane life of an individual. The need for affordable housing for mine workers resulted in the construction of small, simple, and functional homes made from low-cost materials such as timber, brick, corrugated iron, and terracotta. These homes were designed to be practical and efficient rather than decorative or ornate.

However, the decommissioning of the power station led to many workers becoming jobless, and the town’s purpose became pointless. This would result in residents moving away from Morwell. Another issue facing the town is the treatment of the open cut, which needs to be addressed to ensure the town’s sustainability.

Reference:

• Latrobe City Council. “Morwell.” Accessed March 27, 2023. https://www.latrobe.vic.gov.au/ search?keys=morwell

• VicRoads. “Princes Highway.” Accessed March 27, 2023. https://www.vicroads.vic.gov.au/trafficand-road-use/regional-roads/princes-highway.

• Latrobe City Council. “Power Stations.” Accessed March 27, 2023. https://www.latrobe.vic.gov. au/About_Us/Our_Towns_and_Suburbs/Morwell/Power_Stations.

Objective

> 1 x photograph

> 1 x A3 space allocation diagram (1:200)

> 1 x A3 plan (1:200)

> 1 x A3 axonometric drawing

Selected cottage: 53 Mater Street, Collingwood 31 Dunstan Parade, Port Melbourne

Bertram explores the relationship between architectural form and the broader social, cultural, and political contexts in which it is situated.

Bertram argues that contemporary architecture is increasingly defined by a tension between division and multiplication - between the desire for individual expression and the need for collective solidarity. He suggests that this tension is evident in the formal language of many contemporary buildings, which often combine distinct and disparate elements in a single structure.

The article offers a nuanced and thoughtful exploration of the relationship between architecture and society, emphasizing the importance of social and cultural context in shaping the built environment. Bertram’s focus on the tension between division and multiplication is a useful framework for understanding the complex and dynamic relationships between individual expression and collective solidarity in contemporary architecture.

One comment is that Bertram’s focus on the tension between division and multiplication may overlook other important tensions and oppositions in architectural design, such as those between form and function, or between the aesthetic and the practical. By focusing solely on the tension between division and multiplication, there is a risk of oversimplifying the complex and multifaceted relationships between architectural form and social and cultural context.

“Division and Multiplication” by Nigel Bertram’s

In this essay, Evans explores the ways in which architectural elements such as doors and passages are imbued with symbolic meaning and cultural significance.

Evans argues that doors and passages are not simply functional elements of architecture, but are also imbued with cultural meanings that reflect broader social and historical contexts. He suggests that doors, for example, can be understood as liminal spaces that mark the transition from one social or cultural realm to another. Similarly, passages can be understood as spatial and temporal connectors that link different parts of the built environment and enable movement and circulation.

Moreover, Evans suggests that the symbolic meaning of doors and passages is not fixed or stable, but is constantly changing and evolving over time. He argues that doors and passages can be understood as “figures” that embody cultural meanings and values, and that are shaped by broader social and historical forces.

Robin Evans’ essay “Figures, Doors, and Passages” can be related to the notion of affordance in several ways.

Affordance is a concept used in psychology and design to describe the relationship between an object or environment and the actions that can be performed by a user. In the context of architecture, affordances can be understood as the ways in which the built environment invites or enables certain activities or behaviors.

Evans’ essay emphasizes the ways in which architectural elements such as doors and passages are imbued with symbolic meaning and cultural significance that can shape the behavior of their users. For example, doors can be seen as affordances that invite or enable certain actions or behaviors, such as entering or exiting a building or room. Similarly, passages can be seen as affordances that enable movement and circulation between different parts of the built environment.

Moreover, Evans’ essay suggests that the symbolic meaning and cultural significance of architectural elements can be shaped by broader social and historical contexts. In this sense, affordances can be seen as culturally and socially constructed, reflecting the values and aspirations of their communities.

“Figures, Doors, and Passages” by Robin Evans

Abstract

Collingwood Cottage is a mid-Victorian style house built in the 1890s. Mater St, where the cottage is located, was home to workers during the bustling industrial period of the 19th century. One of the most notable businesses on Mater St was the colonial brewery, which has now been transformed into fine bars. Today, Mater St is a quiet residential street with a mix of Victorian Terrace houses and modern apartments, reminding us of the suburb’s rich industrial past. The long and narrow site of the house was constructed to make the most of the limited and expensive land available, providing separate living spaces for working-class families. The ironwork ornaments and metal roof verandah facing the street add a distinct character to the house. The linear layout of the bedroom, living room, kitchen, bathroom, and backyard is a common layout for Victorian Terrace homes, and the organization of the space is indicated through diagrams.

In contrast, Port Melbourne Cottage is a mid-century modernist cottage built in the 1940s. Dunstan Parade, where the cottage is located, was an important area for the transportation of goods during the 19th century. However, as new industries and businesses emerged in the early 20th century, the area around Dunstan Parade underwent significant changes, with factories and warehouses being built, and the area becoming a hub for manufacturing and industry. Many of the original Victorian-era buildings from this time still exist today and have been converted into residential and commercial spaces. The plan of the cottage features an enfilade layout where one room leads to another, providing a fluid and continuous circulation throughout the house.

Objective

> 1 x A3 (portrait) land use diagrams diagram using the same technique as exercise 2A

> 1 x A3 (portrait) plan of your typology including scale bar.

> 1 x A3 (portrait) axonmetric 30 or 45 oblique of your typology sited.

> 1 x A3 (portrait) line work perspective capturing the relationship to the street, how your type is placed within the context, and understood as a pedestrian.

Objective

> 1 x A3 (portrait) land use diagrams diagram using the same technique as exercise 2A

> 1 x A3 (portrait) plan of your typology including scale bar.

> 1 x A3 (portrait) axonmetric 30 or 45 oblique of your typology sited.

> 1 x A3 (portrait) line work perspective capturing the relationship to the street, how your type is placed within the context, and understood as a pedestrian.

Valaurable talk with Elder Uncle Herb on Thursday night.

The Braiakaulung people, like many Aboriginal communities, place great importance on their connection to the natural world. For instance, they prefer to have their laundry room facing east so that they can witness the beauty of the sunrise each morning. Additionally, plants and animals hold significant cultural value for Aboriginal people, with certain species being considered sacred or used for medicinal purposes. In fact, some Aboriginal communities believe that a garden can serve as a healing space, both physically and spiritually. By cultivating plants that have a special meaning or use in their culture, Aboriginal people can honor their traditions and connect with their heritage. Overall, it’s important to recognize and respect the unique values and practices of Australia’s Indigenous communities, and to work towards preserving and celebrating their rich cultural heritage.

When designing a worker’s cottage on the land of the Braiakaulung people, it’s essential to take their cultural values and preferences into consideration. For instance, as mentioned before, they have a strong connection to the natural environment and prefer to have their homes facing east to witness the sunrise. It would be respectful to incorporate this design preference into the worker’s cottage to ensure that it aligns with their way of life. Additionally, the Braiakaulung people may have specific requirements for the use of land and resources, such as restrictions on hunting, fishing, or gathering certain plants. Any construction or activity on their land should be done in consultation with the Braiakaulung people and with their full participation and consent. Furthermore, the worker’s cottage design should also aim to support the well-being and cultural practices of the Braiakaulung people. This could involve incorporating features such as a garden or outdoor space for cultural activities or providing access to resources such as fresh water or firewood. Ultimately, by taking into account the Braiakaulung people’s cultural values and preferences in the design of the worker’s cottage, we can honor and respect their cultural heritage while also providing a practical and functional living space for workers.

Reference:

• Bureau of Meteorology. “Indigenous Weather Knowledge.” Bureau of Meteorology, Australian Government, 2019, http://www.bom.gov.au/iwk/index.shtml.

• Nakata, Martin. “Culturally Responsive Pedagogy.” Exploring Pedagogic Practices in Indigenous Australian Classrooms, edited by Peter Renshaw et al., John Benjamins Publishing Company, 2013, pp. 29-46.

Moneo discusses the concept of architectural typology and the role it plays in the design and understanding of buildings.

Moneo argues that typology is a fundamental concept in architecture, as it allows architects to create buildings that are both innovative and rooted in tradition. He suggests that architectural typology can be understood as a language that is capable of conveying meaning and expressing cultural values.

Moneo also identifies a number of oppositions that he sees as essential to the development of typology in architecture. These oppositions include the relationship between the general and the particular, the universal and the local, and the old and the new. By exploring these oppositions, Moneo suggests that architects can better understand the historical and cultural contexts in which their work is situated, and create buildings that are both responsive to their surroundings and reflective of broader cultural values.

Moneo’s focus on oppositions and binary categories is a useful way of understanding the complex relationships between buildings, their users, and their surroundings. By identifying key oppositions such as the universal and the local, Moneo provides a framework for understanding the ways in which buildings relate to broader cultural and historical contexts.

Overall, Moneo’s essay offers a thoughtful and nuanced exploration of the role of typology in architecture. By emphasizing the importance of historical and cultural context, Moneo encourages architects to create buildings that are both innovative and grounded in tradition, and that respond to the needs and values of the communities they serve.

One potential comment on Rafael Moneo’s “On Typology: Oppositions” is that it may place too much emphasis on the role of historical and cultural context in the design of buildings. While it is certainly important for architects to understand and respond to the contexts in which their work is situated.

Moreover, Moneo’s focus on oppositions and binary categories may be limiting in its own right, as it could lead to a simplified and reductionist understanding of architectural form and function. Buildings are complex and multifaceted entities that interact with their surroundings and users in a variety of ways, and any attempt to categorize them in terms of oppositions or typologies risks oversimplification and distortion.

Finally, the article is somewhat dated, having been written in the 1980s, and may not fully reflect contemporary debates and concerns in architectural design. While the essay remains a valuable contribution to the discourse on typology and architectural form, it may need to be read in conjunction with more recent design practice.

“On Typology: Oppositions” by Rafael Moneo

Inaki Abalos and Jacques Tati’s “Machine for Living: The Positivist House” is an intriguing exploration of the relationship between architecture, technology, and society. Abalos, an architect and academic, drew inspiration from the ideas of Auguste Comte, a philosopher who advocated for a scientific and positivist approach to society. Comte believed that social progress could be achieved through the application of scientific knowledge and principles.

Abalos used Comte’s ideas to develop the concept of the Positivist House, a living space that incorporates automated systems and other technological advancements to make daily life easier and more efficient. In doing so, Abalos envisioned a home that was not only functional and practical but also aesthetically pleasing and socially responsible.

The Positivist House was inspired in part by Jacques Tati’s 1958 film “Mon Oncle,” which features a modernist house with automated systems that ultimately prove to be more trouble than they’re worth. Abalos’ interpretation of the Positivist House seeks to address some of the concerns raised in Tati’s film, offering a more nuanced and sustainable vision of technology and architecture.

One potential critique of Inaki Abalos and Jacques Tati’s “Machine for Living: The Positivist House” is that it may be overly optimistic in its vision of technology and architecture. While the concept of the Positivist House is undoubtedly appealing, there are real-world concerns about the environmental impact and sustainability of the technological systems that it incorporates.

In addition, there are social and cultural considerations that must be taken into account when designing living spaces. While the Positivist House is intended to make daily life easier and more efficient, it may also contribute to a sense of disconnection and isolation in society and nature, particularly if the automated systems are designed to replace human interaction and engagement.

Moreover, the Positivist House may not be a realistic solution for many people, particularly those who lack access to the financial and technological resources needed to implement such systems. In this sense, the Positivist House may represent a privileged and exclusive vision of architecture and technology that is inaccessible to the public.

Inaki Abalos and Jacques Tati’s “Machine for Living: The Positivist House”

Objective

Walking Taxonomies & Superseded & Potent Space

> 6 x A3 (portrait) images from Walking Taxonmoies photo collection

Select one superseded space and one potent space for the suburban and industrial condition and present them as follows:

> 1 x A3 (Portrait) Page of a single photograph and text presented in the same way as Elizabeth Lyons - Konstruct: Isokon series.

> 1 x A3 (Portrait) Page of a critical axonometric diagram (30 or 45 oblique). This diagram should highlight key built characteristics, plus materials and spatial qualities that emphasise why it falls into its respective category.

> 1 x A3 (Portrait) Page of a critical plan or section diagram including a scale bar. This diagram should attempt to distil the information of your photograph/text and your axon in either the horizontal or vertical plane.

Walking Taxonomies

Image 01

Image 02

Walking Taxonomies

Image 03

Walking Taxonomies

Image 04

Walking Taxonomies

Image 05

Walking Taxonomies

Image 06

Superseded Space - Industrial

Rusty roofs and creaky doors, Nature’s creeping through the floors. Wild grass waves, the blurred air, An old home stands, forgotten and bare.

Superseded Space - Industrial

Superseded Axonomteric

Superseded Space - Industrial

Superseded Section

Potent Space - Industrial

Towers rise amidst the mist, Lines stretch out to points unknown, Cows graze beneath, unfazed, The grassy field a world their own.

Potent Space - Industrial

Potent Axonomteric

Potent Space - Industrial

Potent Section

Superseded Space - Suburban

Nature finds a way, Through concrete roads and town decay, Small veins of green, In between the suburban industrial scene.

Superseded Space - Suburban

Superseded Axonomteric

Superseded Space - Suburban

Superseded Plan

Sophisticated encounter, Worker’s homes, where they reside, contrasts to confound, Where picket and wire, they both surround.

Potent Space - Suburban

Potent Axonomteric

Abstract

Architecture, as a passive receiver of nature and memory, can be seen as a vessel that holds the stories and history of a place. It serves as a mediator between the natural world and the built environment, allowing the two to coexist in harmony.

The presence of the Braiakaulung people, the traditional owners of the land on which the abandoned cottage stands, cannot be ignored. Long before the industrialization, the Braiakaulung people have lived in harmony with the natural world, using it as a source of inspiration and sustenance. The architecture of the cottage, though forgotten and worn by time, is a passive receiver of the memories of the people who once inhabited it and the “breeze” that once passed through it. The Braiakaulung people would have had a deep connection to the land and the cottage, and it is essential to respect their culture and values.

In their culture, the natural world is not something to be conquered or tamed but is instead something to be revered and protected. Architecture can serve as a mediation between human life and the natural environment, and this is especially important for the Braiakaulung people, who view themselves as part of the land. The cottage, with its rusty roofs and creaky doors, is an example of architecture that has allowed nature to creep in and take over, creating a space where the boundaries between man-made and natural are blurred.

For the Braiakaulung people, the land is not just a physical space but a spiritual one as well. The towers rising amidst the mist and the lines stretching out to points unknown may be impressive feats of engineering, but they pale in comparison to the natural beauty and spiritual significance of the land. Cows graze beneath, unfazed, and the grassy field is a world of its own, a testament to the power and importance of nature.

The cottage and the surrounding landscape are reminders of the importance of architecture as a mediator between human life and the natural world. The Braiakaulung people’s deep connection to the land and their culture underscores the need for respect and recognition of Indigenous values and practices. As we move forward, it is important to consider the lessons that can be learned from the Braiakaulung people’s relationship with the natural world, and to work towards creating architecture that honors and protects the land rather than exploiting it.

Photo by James Greer

Abstract

The research of previous weeks focused on the significant land of the Braiakaulung people and their culture, which should be respected when designing worker’s housing in Morwell. The design should take into account the Braiakaulung people’s cultural values and preferences, such as their connection to the natural environment and their way of life. The architecture should serve as a mediator between the human-made and natural environments, honoring and respecting the Braiakaulung people’s cultural heritage while providing a practical living space for workers.

The research also included the history of Morwell, which was developed from the mining industry’s historical period, resulting in the construction of small, simple, and functional homes for mine workers. The decommissioning of the power station led to many workers becoming jobless.

A critical reflection on this phase of research is that the Braiakaulung people’s cultural values and preferences should be at the forefront of any design plans for Morwell. As the traditional owners of the land, they have a deep connection to the natural environment and view it as a spiritual space. Therefore, any construction or activity on their land should be done in consultation with the Braiakaulung people and with their full participation and consent. The design should support their well-being and cultural practices, which could involve incorporating features such as a garden or outdoor space for cultural activities.

Furthermore, the research highlights the town’s sustainability issues, which need to be addressed to ensure its survival. As the decommissioning of the power station, it is vital to consider the new housing typology in relation to the town’s economic development.

The future direction of the design could involve a deeper integration with nature and a renewed emphasis on cultural context and historical preservation, all guided by the idea of architecture as a passive receiver of nature and memory.