On Country: Framlingham, Sem 1, 2021: Mijawi Whitebear

onFRAMLINGHAM country

semester ONE 2021

WITH CHRISTINE PHILLIPS AND STASINOS MANTZIS

MIJAWI MANSELL WHITEBEAR

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CONTENSES acknowledgement

PAGE 5

final presentation in collaboration with Beatrice Cairns - final posters - reflection - design development

8 10 -17 18-23

trip to Framlingham

24-27

mid semester presentation in collaboration with Beatrice Cairns - final posters - reflection - design development

28 30-34 35 -41

esquisses 1. alone 2/3. in collaboration with Tiffany Johnston 4/5. in collaboration with Martin Chukang Liang 6. in collaboration with Geordan Ennis-Thomas 7/8. in collaboration with Zoe Braybrook 9/10. in collaboration with Siyuan Yang 11. in collaboration with Alannah Davis THANK YOU.

42 44-47 48-52 52-55 56-61 62-65 66 68

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I would like to acknowledge the people of the Kirrae Whurrong country of the Gunditjmara nation in which we visited and learnt from and well as the Woi Wurrung and Boon Wurrung language groups of the Eastern Kulin Nation on whose lands we have the privilege of living and conducting our studies on. We have taken inspiration from our visit to Kirrae Whurrong county and images of Gunditjmara county, in particular Budj Bim. I was heavily inspired and directed by the teachings and generosity of Uncle Leonard Clarke from the Eastern Maar Nation and his community and deeply appreciate this.

I would like to pay my respects to the muwinina people of niplaluna, luchawita. I acknowledge my elders, elders present, future and past. I acknowledge the connection I share to all palaw people and offer my deepest respect.

I hope to continue my person understanding and connection to county, to my elders and family and to all first nations people.

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in collaboration with BEATRICE CAIRNS

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ON COUNTRY - FRAMLINGHAM

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TRANSPORTATION MAP

LOCATION MAP

EXTERNAL VIEW FROM FRAMLINGHAM FOREST

SHARA CLARKE CULTURAL AND EDUCATIONAL CENTRE NURTURING KNOWLEDGE, REGENERATION AND CONNECTION TO COUNTRY 1/ Inside and out should be hard to define // to create true connection 2/ All natural elements should be acknowledged 3/ Adhering to country 4/ The building should leave space for individual emotional realisation 5/ The Building should be kinetic - connect and divide through moving parts

VOLCANIC ROCK

BUDJ BIM

ENTERPRISE MAP

NORTH

SITE PLAN @ 1:5000

FLOOR PLAN 1:2000

8 ON COUNTRY EXTERNAL VIEW OF POD, WELCOME CEREMONY AND SHARA CLARKE CENTRE

INTERNAL VIEW OF FRONT OF HOUSE GREEN TUBES

EXTERNAL VIEW OF ENTRANCE FUNNEL

INTERNAL VIEW OF PATHWAY LEADING TO CANOPY INTERNAL VIEW PRE-PEFORMANCE :CLOSED

EXTERNAL VIEW WALKING ATOP THE CANOPY

INTERNAL VIEW PRE-PEFORMANCE : OPEN

LONGITUDINAL SECTION 1:300

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FINAL CRIT Online and on TEAMS from my old bedroom in nipaluna / hobart

my house in tasmania

KEY ELEMENT OF DESIGN Regeneration | Interaction Inspiration taken from volcanic rock and eel traps present in the western district surrounding Framlingham.

Porosity, funneling, nurturing; This is a space to learn, heal and entertain. To create ; own connection. Funnel people to inform/into the building to then nurture them, to develop skills, heal, learn and grow. A self-sustaining ecosystem and community that will continue to flourish and grow over time. Regeneration interwoven into building with funnel entrances abundant with plant and animal life – carrying though the rest of the building with glass tubes.

REGENERATION of people and country Plants Animals

Whole ecology

Regenerative planting

Mosaic burning

Seed collection

plant//animal study INTERACTION with country to build a connection

weaving canopy

building pods planting

seed collection

land management

cool burning team call CRIT on the 10th June 2021

_MATERIALITY The material qualities that we saw in the volcanic rock and its form helped us understand what form our building would take. We mimicked this in our form through the porous structure with columns and gaps throughout.

The materials we chose to use for the Shara Clarke Cultural Centre was inspired by our trip down to Framlingham with Uncle Lenny - we really felt the elements.

We wanted to feel the outdoor indoors – Dacron over wood frame with a hand-woven canopy to create interesting shadows, allow found throughout, temperature to be constant inside and out, an overall lightness to the building as to not impose on county but connect with it. _INSPIRATION Architectural inspiration was taken from Shigeru Ban, his lattice structures that created light and breathable buildings. Aswell as Toyo Ito and their triply periodic minimal surface used for Metropolitan Opera House.

This showed us how porosity might formally come into our building in combination with lattice/material fabric. Ernesto Nettos traversable structures show us a lot about what our canopy could do.

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comments; BEN paszyn: full of life Good hierarchy and an ephemeral feel TODO: make the site plan bigger // expand on pods in verbal presentation // be careful of you rules; make sure they don’t pull you back – they can also open yourself up to criticism More time could have been spent on developing the pods structure; I felt the ideas behind them where all there. Perhaps some work on the presentation would have helped to, as I felt we ran out of time to discuss them much further. I did feel we abided by our rule fairly as they where quite general.

TANIA davidge : Understated // evocative space Auditorium and enterprise maps where very evocative // human scale was good TODO: make exploded AXO so that different layers and spaces are easier to tell how it all comes together I think doing an AXO would have been useful; working with the same form for so long made it hard to understand what other people might not see.

STAS: Sense of experiencing the site // how it would feel to be within Not overly designed with strong ephemerality Blended with landscape Sense of restrain with approach but a strong narrative.

TODO Push section more: people doing things withing and surrounding outdoors I think with both the floor plan there was a hard learning curb (also a rude shock as to how much detail actually goes into on of these drawings).I found the comments from both Tania and Stas interesting about how there was a sense of restraint in our design ; it didn’t feel this way at all.. perhaps because we had just been working with it for so long.

CHRISTINE: Ambitious form that managed to keep its lightness Interesting temporary // permanent spaces Come a long way in the last week..

It was nice to feel the acknowledgement; that Betty and I had both had some setbacks, but the final week was a BIG push and I did feel content with what we presented in the end.

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THEATRE SPACE | CLOSED

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THEATRE SPACE | OPEN

in collaboration with BEATRICE CAIRNS

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in collaboration with BEATRICE CAIRNS

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VIEW OF POD WITH MAIN BUILDING IN DISTANCE

in collaboration with BEATRICE CAIRNS

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FLOOR PLAN | in collaboration with BEATRICE CAIRNS

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FIRST FLOOR

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KANGAROO GRASS

SHEOAK

PRICKLY MOSSES

KANGAROO APPLE

BLACKWOOD

STRINGY BARK // MANA GUMS

SOME OF THE PLANTS ON COUNTRY THAT I RECOGNISED: it was nice walking on country and seeing plants I recognised - I felt this definelty made me connect more. It reminded me of home, Tasmania, as many of the plants I know/recognised are also native there.

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WATTLE TREE // UNCLE LENNY

BOOBIELLA

ENTERPRISE MAP in collaboration with BEATRICE CAIRNS

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Section of Metropolitan Opera House - Toyo Ito

Shigaru BAN -The Centre Pompidou-Metz

Louvre Abu Dhabi Architect

INSPIRATION // PRECEDENTS Architectural inspiration was taken from Shigeru Ban, his lattice structures that created light and breathable buildings. Aswell as Toyo Ito and their triply periodic minimal surface used for Metropolitan Opera House. This showed us how porosity might formally come into our building in combination with lattice/material fabric. Ernesto Nettos traversable structures show us a lot about what our canopy could do.

Frei Otto - TENSILE CANOPY

Uluru-Kata Tjuta Cultural Centre - long pathway

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Ernesto Netto

ON TOP OF THE ROOF

INSIDE A POD | UNDERSTANDING FORM AND MATIRIALITY MIJAWI M WB

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CURTAIN / FLEXIBLE WALL INSPORATION - found in 1989 old German Design magazine

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TOP OF THEATRE ROOF (it looks like a scary baby..) - trying to get porossity

LOOKING FROM STAGE AT SEATING IN THEATRE - HANGING POD MIJAWI M WB

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FRAMLINGHAM

THE SUNRISE ON THE DAY WE LEFT TO GO BACK TO MELBOURNE

FIRE OUTSIDE THE SHED

UNCLE LENNY SHOWING US SOME REEDS - SOON TO BE ATTACKED BY LEECHES

ALANNAH ON COUNTRY

LOOKING FROM THE GRAVE SITE TO UNCLE LENNYS HOME

AT THE HOPKINS FALLS

UNCLE LENNY WATER TANK

ON MT. NOORAT

THE HOPKINS FALLS

CAMPING ON COURTY

ON COUNTRY 24THE SHED - ALL MEALS WHERE HAD HERE

CHRISTINE, UNCLE LENNY, BYRON AND ALANNAH ON THE FIRST NIGHT

ON COUNTRY WITH A BLACKWOOD TREE

UNCLE LENNY SHOWING US AROUND SITE

CHRISTINE TRYING TO HELP BETTY DETACH NULA FROM HER ARM

MARCHING AROUND THE HAYBALES ON COUNTRY - NEAR WHERE BETTY AND I SITED OUR CENTRE

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_FRAMLINGHAM Walking through the site reminded me of home. The cold, the smell of the bush and the wet. Sleeping in a tent, smelling like smoke and waking when the sun came up.

I found it important for me to locate myself on site as I was walking around; to know where the river lay, where the shed was, where the forest was etc.

The site was big, the open paddock filled with haybales was comforting.

Talking to Uncle Lenny felt like talking to my Dad ( not huge surprise as he is also an older aboriginal man ).

The story of the Murrup; a lady who lived in one of the houses on site. She wore a long dress and was seen by most of Lennys family. One day Uncle Lenny, who was a firm believer that Murrup did not exist, saw her.

There was a lot of hardship that Lenny told us; the tragic stories of family members as he stood over their graves and shared their stories. This unjust system and stolen lands (the Framlingham Forest ect.).

It was refreshing to feel Uncle Lenny’s positive energy and excitement surrounding this project. You could feel that his connection with the students was so genuine and lovely.

Hearing Lenny talk about the project it was made clear he wants it to be Centred around music and entertainment. Banjos teaching of good life and how to exist, personal development and a show of possibilities. That there should be ongoing opportunity and support for aboriginal people ad culture to help his community.

LOOKING DOWN TO THE HOPKINS RIVER FROM THE GRAVE SITE

MAGGIE AND NULA

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ON COUNTRY - FRAMLINGHAM

EDUCATION MODE

BUDJ BIM

Sound, video, electronics workshop Loading store, lighting store and workshop Technician offices

First aid Chair store

NORTH

Tea Room Manager’s office Lift

SITE PLAN

SHARA CLARKE CULTURAL AND EDUCATIONAL CENTRE 1/ 2/ 3/ 4/ 5/ 6/

MID SEMESTER PIN UP |in collaboration with Beatrice Cairns

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Inside and out should be hard to define to create true connection All natural elements should be utilized Adhering to country The building should leave space for individual emotional realisation The building should have layers to introduce what wants to be explored The Building should be kinetic - connect and divide through moving parts

Board room Store rooms Cafe/restaurant Semi-outdoor eating area Chef’s office Commercial Kitchen

Comms room Store rooms Radio rooms Bathrooms

Rubbish store Laundry Wardrobe/costume repair

10 METRES

PANORAMIC SECTION: EDUCATION MODE

PEFORMANCE MODE

Star dressing room Assembly room 5 person dressing rooms Ensuite bathrooms Toilets Wig and makeup room Wet and dry dressing room Ensuite bathroom X3 20 person dressing rooms

Ensuite Bathrooms 15 person dressing room 5 person dressing rooms Stage door reception Dimmer room Assembly Area

INTERNAL PANORAMIC VIEW

15 person dressing room 5 person dressing rooms Production office

Lift Holding area/temporary store Technical staff change room, amenities, showers Comm’s room

Sound control porch Translation/viewing room

Follow spot room Bar Store Bar Bathrooms General Office Store Projection suite Box Office manager Lift

Comms Room Dimmer room

Crying/directors/interpreters room Audio/visual control room Lighting control room Store Sound Locks Cloak room

Cafe/Restaurant

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MIJAWI MANSELL WHITEBEAR s3850152

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MID SEMESTER CRIT with Beatrice Cairns

This was my very first studio crit !! It was very eye opening and coming out of it highlighted that Betty and I had so many ideas and therefore could not easily focus and develop a clear deign and understanding of what we where creating.

BEN paszyn: Work on how people enter the site Elaborate on the idea of regeneration TANIA davidge: Need to focus on more specific aspect Beau De Bell: Stop reading the speech / you know what your talking about ( work of verbal presentation) How do you want people to experience the site? Commit to feeling the weather or done Think about whole ecology Don’t let technical abilities hinder your vision

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__ideas before mid semester : texture // materiality // colour // involving senses Connection to people // place Changing with time // day or night // seasons relevant to Framlingham Driven by flexibility // function Fire // wind Reflection of fire on building // light and ephemerality Notice silhouette ( little prince.. ) Interacting with forest// being able to lead your own path that flows through many different terrain How can you connect with past/future A place for celebration // uncle Lenny wants MUSIC Main senses should be sound ?

Feeling is different spaces How can you define a friend? Relationship built with building Changing the apertures to do with animal OR human movement Yonnie scarce, Jewish museum, the massacre, Lennie’s family trauma/deaths also needs to be recognised Centred around music and entertainment Teachings within // Banjos teaching of good life and how to exist Space for own development That land is nobodies so you are always welcome _Initial rules 1. Inside and out should be hard to define // to create true connection 2. All natural elements should be utilized 3. Adhering to country 4. The building should leave space for individual emotional realisation 5. The building should have layers to introduce what wants to be explored 6. The Building should be kinetic - connect and divide through moving parts

NEW/ADJUSTED • Focus on vol • Focus eel tra • Using volcan porous shape of th • Regeneratio • Building con

Final rules _ 1. Inside and o connection 2. All natural e 3. Adhering to 4. The building realisation 5. The Building through moving pa

D/REFINED ideas lcanic rock aps nic rock as the leading focus towards the he main building on nnection to country

out should be hard to define // to create true

elements should be acknowledged country g should leave space for individual emotional

g should be kinetic - connect and divide arts

BETTY AND I BEFORE THE MID SEM CRIT| BOTH OUR FIRST CRIT !

OUR FIRST TIME PRINTING - WENT WELL.

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EXSPLODED AXO | COOLER MONTHS in collaboration with BEATRICE CAIRNS

in collaboration with BEATRICE CAIRNS

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EXSPLODED AXO | WARMER MONTHS

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PANORAMIC VIEW OF BUILDING ON SITE

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SITE PLAN

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_RESEARCH ON BUDJ BIM and THE EEL TRAPS

Budj Bim is located on the traditional lands of the Gunditjmara people – around 100km North West of Framlingham. We were heavily inspired by Budj Bim which is now a heritage listed site bemuses its cultural significance has been acknowledge. A landscape formed when Budj Bim (mt Eccles) erupted 30,000 years ago and created a lava flow leading all the way to the Southern Ocean. This lava flow created an opportunity for the Gundijimara people to create highly engineered eel traps with the volcanic rock. Eel traps where also used in the Hopkins River and this is where our design stems from.

This inspired our structure through creating a design that has both pores and a lightness inspired from volcanic rock and then a woven element from the traps created through grass weaving.

Conceptually, we were also intrigued by the fact that the eels were only taken as needed and carefully farmed. Pools had been built that would grow/nurture eels that were smaller, and ones that were too small would slip through the trap and go on with their life.

A VOLCANIC ROCK

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Confluence Confluence @ the CAPITOL with Auntie Careline and Christine Phillips was eye opening. It was nice to think about what was actually going underneath the streets of Melbourne / what had been covered up. Water management, much like fire management has been taken away from indigenous people.

DESIGN WEEK EVENT

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DESIGN DEVELOPMENT in collaboration with BEATRICE CAIRNS

SITE PLAN DEVELOPMENT FROM MID SEM - ADDING CONTOUR LINES AND MORE TEXTURE/HATCHING

INITIAL SHAPE/FORM OF BUILDING | TOP VIEW

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ANGLED VIEW

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INITIAL PLANS - INSPIRED BY WOVEN EEL TRAP SHAPES

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EACH BUILDING WAS TO BE SEPERATE | LAY LIKE A RIVER STONE UNDER THE CANOPY

CREATING A TENSILE CANOPY IN KANGAROO | TEST WEAVE OF WHAT CANOPY COULD BE MADE FROM / GENERAL LIGHT QUALITIES AND FEELING OF IT.

VERY CAVE LIKE INSIDE

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Esquisse

ONE

_alone Creating a marquett from precedents found at the Melbourne Museum

Inspiration from : stringybark canoe + biganga (possum skin cloak) + Milarri Garden Trail =

scrunched, burnt, dipped in tea, dipped in oil, scrunched under water, painted, grated

Kelly Koumalatsos, Wergaia, Wemba Wemba woman, inspired textures and experimentation with materiality and print pattern.

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WHAT IS

DEEP

LISTENING? To listen fully - not to just hear and understand the words but to recognize surroundings and adapt to situations - to feel what is being said.

1872, made by seven men from seven families that were on the Lake Condah Mission - 50 kooramook - brushtail possums - Sewn together with poorooyt kangaroo sinew - Holes made with keerndeeyn bone awls - Carved designs with teemboon - mussel shells or pareeytpareeyt - stone knife - Decorated with paleep - red ochar

PHOTOMONTAGE OF MODEL AND PEOPLE

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Esquisse

TWO

_alone Botanical dawing of coastal everlasting

coastal everlasting on VICTORIAN COAST

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BOTANICAL DRAWING OF COASTAL EVERLASTING

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Esquisse

THREE

_with Tiffany Creating a dynamic canopy to house; 500m2, stage500m2 and orchestra pit 130m2, and undercover seating for 1000 people.

PRECEDENTS: - Pier Luigi Nervi. Aircraft hangar, Orvieto, Italy, 1935 - DillerScofidio & Renfro’s The Shed - LANDSCAPE ARCHITECT Yves Brunier

photomontage of model on site in the style of YVES BRUNIER

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Lattice structure taken from the Aircraft hanger as well as the gaping openness on one side. The dynamic shifting shell shape came from DillerScofidio & Renfro’s The Shed.

Light/opaque material to allow light under the canopy VIEW OF SEATING

MODELLING AT TIFF HOUSE

MODEL | CLOSED

Pier Luigi Nervi. Aircraft hangar, Orvieto, Italy, 1935

DillerScofidio & Renfro’s The Shed

MODEL | OPEN W/ POD

The first time understanding scale was very difficult – as you can see it is a monster on site…

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Esquisse

FOUR _with Martin To create spatial relationship diagram that include flexible programs PRECEDENTS: • The shed • Diagrams of the Barcelona Pavillion, 1986 - Paul Rudolph • OMA // Yokohama Masterplan, 1991

- The shapes of each space indicated the relationship they might have with one another. Singular lines were used for the Banjo CLARKE building as these spaces are all one space with the ability to be divided with false walls(relatively unpredictable events/sizes).

- Describing possibilities diagram: The Barcalona pavilion, 1986, by Paul Rudolph shows many lines describing movement of light (describing possibilities) - Colours taken from Reko Rennie to align with the block forms and make it more clear as to how they relate on a more physical level In our spatial diagram we did not show the 3 individual buildings as we wanted them to be as flexible and interrelated as the user needs them to be. Rooms are able to hold many functions simultaneously as there are flexible divisions.

DIAGRAM KEY: Fixed - solid line Flexible - dashed line

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spatial diagram MIJAWI M WB

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WINTER 15:00 WINTER 09:00 AUTUMN 15:00 AUTUMN 09:00

Esquisse

FIVE

_with Martin Flooding the site with trees // createing burning pattern Making section and floor plan from esquisse FOUR PRECEDENTS: - Chapters 1 + 25 of Wisdom Man by Banjo Clarke - Bruce Pascoe, Dark Emu chapter on FIRE - Research Cool Burning - Phillip Hunter s artwork Cool burning has many layer : as we had never experienced cool burning and had only done general research we found it appropriate to find the wind rose from the Framlingham/Warrnambool area and derive the burning pattern from them.

Key aspects of cool burning: - Time of year - Moisture in air/on grasses - Wind direction What cool burning looks like: - Low flames that don’t exceed around 1 m in height - Stopped by tracks/divots in land - People working with the fire as it burns Shape of the 3D volume came from looking at the relationships created in our spatial relationship diagram The roof pops out and creates temporary seating and or just an outdoor undercover space Large multipurpose volume that shows the walls are able to be roasted like a fan, giving the ability for any number of rooms desired.

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plan : on country

section cut though theater space

site plan with cool burning winds

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Esquisse

SIX

_with Geordan Ennis-Thomas design space inspired by FLEXABLITY and the shed w/ retractable canopy PRECEDENTS: •The art of Maree Clarke •Brigg’s song ‘The Children Came Back feat. Gurrumul & Dewayne Everettsmith’ •Cedric Price’s Fun Palace, 1961.

Watching Putuparri and the Rainmakers gave big perspective on the connection indigenous people have to the land.

Each of our precedents had a heavy focus on community – this is that we really tried to bring through in the esquisse.

Looking at the way we could bring the education pods into the forest – making a university of the bush rather than Cedric Prices Fun Palace, the university of the street.

Thinking about how we could develop the tracks what other interesting spaces/shapes they could form with additional materials/programs.

drawing of the FUN PALACE - Cedric Price

GEORDANS photomontage

Eel trap - Maree Clark

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PERSPECTIVE VIEW

images of model - made from wire, string, card, plastic and wood

We wanted this model to be playful - almost like a child’s toy. This gave it the flexibility we thought it needed as well as drawing inspiration from Maree Clarks segmented work.

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TOP VIEW

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Esquisse

SEVEN

_with Zoe Braybrook

Research on the massacres in the western district of Victoria I found this topic extremely hard to research. First of all, I had no idea of the brutalities that happened in the region; most of my knowledge of brutality against aboriginal people is that of the Tasmanian Aboriginal people and their stories. It was heart breaking to read about the countless tragedies. The thing I find most devastating about all of this is the memorials that depict settlement in Australia as peaceful, only recently it has started to be questioned “in the mainstream”. There are blatant reminders of white colonial men everywhere; each town across Australia will have a memorial for a white man, the countless street names, towns, regions, and landmarks named after very harmful people is astonishing.

Conflicts with aboriginal people was justified as a part of the colonisation in Australia. Most murderers/massacres were not recorded because the perpetrators could not be punished so there was a CODE OF SILENCE. So, this is how massacre locations where historically determined; 1. contemporary archival material 2. Aboriginal oral history 3. secondary source material 4. place names - Although many massacres are never mentioned in local histories, that they occurred is strongly suggested in place names which refer to some kind of massacre or killing having taken place.

In totally there are 107 known massacres sites in the western district.

There are also records of abuse of aboriginal remains for power/intimidation; • William Adeney, who squatted at Lake Timboon, near Camperdown, confirmed the impact of this abuse in a journal entry dated 28 January 1843, when he observed a shepherd in the Geelong district using the skull of an Aboriginal woman as a ‘shaving box’. He noted that this example of bush manners inspired considerable dread amongst the Aboriginal people. The squatting invasion of Girai Wurrung land began in 1838. During the drought years from 1838 and throughout the early 1840s, organised groups of Girai wurrung people fought a sustained guerrilla war against the pastoralists. _GIRAI WURRUNG story On the 27th Of October, 1841 Tachier/Tatcher/ Tatkier, a Gunawurd gundidj, and his wife, Terang-gerang ere, and their son named Bang it bang where crossing GS Boldens Leighton Station on the Hopkins river to try and reach Sievweight (where children would be educated / ‘helping’ the dwindling population). As they were crossing their country Leighton quickly came to them, whipped them, and shot them. Terang-gerang was beaten badly around the head, and Gunawurd gundidj shot, leaving them both dead. Bang it bang got away and clambered up a tree, he later managed to flee to Sievweight. Sievweight took Bolden to court DEC 1841 but tragically Bolden was acquitted. This is one of many stories of the massacres involving station keepers - when stealing of stock happened the station keepers would often kill the first aboriginal person they could find - innocent or not.

The fighting Gunditjimara Captain Reginal Saunders was one of the most famous Australian soldiers to fight in Second World War. Saunders was the first identifiable Aboriginal to be commissioned as an officer in the Australian Army.

Saunders family fought the Eumeralla War in the 1840s against colonists, using guerrilla war tactics.

Research on TOWER HILL Tower Hill’s natural vegetation was cleared, and the land was used for farming and quarrying but in 1892 it become Victoria’s fist national park. There have been many artifacts uncovered at Tower Hill under the layer of volcanic ash.

The area was a rich source of food and shelter for different clans of the Gunditjmara Nation including the Koroit-Gunditj and Peek Whurrong people.

In 1969 Robin Boyd’s Tower Hill Natural History Centre was built; – Tower Hill is a volcanic formation believed to have erupted about 32,000 years ago - limestone and clay are seen - A simple stone circular structure with a sloping roof that mirrors the island’s volcanic hilltops, blending into the landscape.

- A circular glazed pavilion. 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

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Esquisse

EIGHT

creating an experience for people within the building

Taking inspiration from esquisse SEVEN

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foyer - looking at funnel and sound entering building

Confessional | MONA, Tasmania

_with Zoe Braybrook

Creating architecture from such a dark topic was rather difficult as we didn’t want to create a space of pain but rather a space for healing.

The idea that the building was shaped like a funnel gave opportunity for people to listen to not only stories but also country.

The idea that this would be a speaker for the sounds of the bush, the wind, the fauna – for country to have its voice within this design. This funnel idea came from the Confessional at MONA in Tasmania – where people are encouraged to speak though the hole.

We wanted to expand and explore this idea. We took elements from the site; the main ones being kangaroo grass, found in Victoria and later seen on county in Framlingham, that forms the canopy at the widest opening of the funnel. We took a trancing of the seed head and created the canopy out of this formation. The second element we took from site was the topography of site – we left these as the contour lines and extruded them out to create dividers of space.

We could have turned these extrusions in to soft material such as a fabric to make the design more dynamic, rather than the building seeming static.

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main stage - mid pefromance

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seating of theater space - pre-performance MIJAWI M WB

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Esquisse

NINE

BLOWN GLASS |YHONNIE SCARCE

_Siyuan Create a rule after reading chapter one of Nourishing Terrains // visit YHONNIE SCARCE exhabition at ACCA

Key Concepts of County • County = giver + receiver of life • LIVED WITH • Treated as a person (eg. feel for, visit)

PRINT FROM FIRST CHAPTER OF NOURISHING TERRAINS

RULES 1.

Building is like a friend (Country needs to be treated as a person eg. Friend) 2.

The building must give and receive - The building listens – (Country gives and receives)

3.

You hear them when you’re camped out on the plains. (Sea, land and sky country – each element has its own ‘person’) the building should interact with as many different natural phenomena as it can (fire, wind, land, water, sky and animal) 4.

Focus on ONE sense – SOUND - related to Blur Building where only one sense is the focus

5.

Form is elusive / not solid – receptive and open - how people feel when they see/are inside the building.

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NOURISHING TERRAINS - Chapter ONE a poem from Matthew Dhulumburrk of Milingimbi

The Star Tribes Look, among the boughs. Those stars are men.

There’s Ngintu, with his dogs, who guards the skins of Everlasting Water in the sky.

And there’s the Crow-man, carrying on his back the wounded Hawk-man. There’s the serpent, Thurroo, glistening in the leaves. There’s Kapeetah, the Moon-man, sitting in his mia-mia.

And there’s those Seven Sisters, travelling across the sky. They make the real cold frost.

You hear them when you’re camped out on the plains.

They look down from the sky and see your fire and ‘Mai, mai, mai,’ they’d sing out as they run across the sky.

And, when you wake, you find your swag, the camp, the plains, all white with frost.

diagram of RULES - inspired by EDWARD TUFT

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Esquisse

TEN _with Siyuan

Abiding to our rules formed in esquisse NINE we formed an ephemeral building that relie

Highly inspired by Yhonnie Scarce’s blown glass works, we took inspiration in her use of materiality and the light qualities that it could offer to our structure.

The Blur Building by Diller Scofidio + Renfro, as a part of the Swiss Expo of 2002, the architecture was located on Lake Neuchâtel and used high pressure nossles to mist the building – creating the atmosphere/the architecture. The only solid structural part was steel scaffolding.

A white out of white noise was achieved .

BACK OF HOUSE SEGMENT |LIGTH QUALITIES

ADJUSTNG MODEL

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VIEW OVER BANJO CLARK TO FRONT OF HOUSE AREA

PLAN OF BUILDING | DASHED LINE = RAINWALLS

ed on rainwater to shift/form walls and therefore spaces.

We wanted to adopt the minimal infrastructure into our design while abiding by country and allowing the elements as much control over the spaces as possible; the design is very open, walls are made from water, animals and plants are able to come inside the build as they so please, sunlight changes the feeling of each space, smoke enters, wind blows it out again.

PERSPECTIVE SKETCH WITH WATER COLOUR OF STAGE AREA

BLUR BUILDING

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Esquisse

ELEVEN The river winds slow from the big tree to a small home.

Walking through the wet paddock, grasses snappy close, nulla nippy close.

The sounds of screaming cockatoos reach us, the soft evening air dulling their harshness.

Stand listing, watching, then alone reaching for what seems close.

Kangaroo apple flower - purple, yellow and green prickly moses surrounds the paddock, skirting Framlingham forest kangaroo grasses with wispy white tops, clustered in the wind.

Gum trees x 2 far apart in the paddock disconnected from the forest blackwood tree leaning over the gully sweeping uncle Lennies house.

We stop and leave our spirit marks, then take with us something small and something vivid.

The river traces back from the house to the graves to the big tree.

All connected across the river.

Thoughts on county - The murrups ( Finger print ) - Looking at plants and what is there growing - The land and the way it has been formed - The animals I have seen ; crickets, dogs cats koala fox white cockatoo wood ravens or crow - White man giving land/power to wrong people - That land is nobodies so you are always welcome

our SONGLINE/ PSYCHOGEOGRAPHIC MAP followed the story of the murrup and the conspiracy Uncle Lenny told us ; that one day instead of fingerprints they will be able to see where someone spirit has been. we traced our spirits across county.

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Alannah working on MAP with Loupeen watching! The dogs walk over our map and made muddy foot prints ! We even managed to capture Uncle Lennys foot print too...

charcoal dandelion flowers brown soil red soil

these are some of the natural matiral we collected on cournty to make our map. We also collect plant matirials to glue onto our map

ash

ME standing infront of SONGLINE/PSYCHOGEOGRAPHIC MAP | in collaboration with Alannah Davis

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I am so grateful for this studio.

I really struggled with Architecture last semester (second semester, first year). I did not know if I wanted to continue – and if I had been in a different studio that did not like, I very well might not have continued studying architecture.

I am so grateful to Christine and Stas for creating such a healthy learning environment for this studio. I felt the indigenous ethos of building connections and giving was so present in this class. I feel privileged to have gone down to Framlingham and spent time with Uncle Lenny. This time really opened my eyes, not only regarding this studio but also to my life back in Tasmania and the indigenous community there.

I feel this studio, in combination with Strange Office Elective with Emma Jackson that I took part in last semester, has built up a very solid foundation to my future studios and general subjects at RMIT, but also wherever I go in the future – whether that be architecture or something else.

THANK YOU! Working with Betty was so rewarding. I felt so understood and there was a mutual goal and work ethic that I so appreciate. The friendships that have been built with everyone in the studio has also be so so good.

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WALKING ON COUNTRY | CHRISTINE. UNCLE LENNY AND MAGGY LEADING THE CLASS BACK TO THE SHED

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