On Country: Framlingham, Sem 1 2021, Phoebe Galileos

ON COUNTRY : FRAMLINGHAM WITH CHRISTINE PHILLPS AND STASINOS MANTIZI

SEMESTER ONE 2021

PHOEBE GALILEOS S3780711

WHAT HA S P HO E BE BEEN DO ING O N CO UN T Y 2 0 2 1 p. t hree a ck now l ed g ement

p. t went y five mid semester feedba ck

p. for t y on e to fif t y t wo esqu isse five

p. four p h otos from fi el d t r i p

p. t went y six development of floor pla n

p. for t y th ree to fif t y fou r esqu isse six

p. fi ve refl ec t i on

p. t went y seven development of ca n opies

p. for t y five esqu isse seven

p. s i x fi nal d es i gn

p. t went y eight mid semester

p. for t y six esqu isse eight

p. s even re f l e c t i o n o n al annah and my p ar t ners hi p

p. t went y n in e mid semester first pa n el

p. for t y seven esqu isse n in e

p. ei g ht f i n a l semes ter c r i t s panel

p. th ir thy mid semester secon d pa n el

p. for t y eight esqu isse ten

p. ni ne i n s p i rat i on / ear l y d evel opment

p. th ir t y on e mid semester th ird pa n el

p. for t y n in e to fif t y esqu isse eleven

p. ten l oc at i on map s

p. th ir t y t wo development of idea s

p. fif t y on e ph otos from field tr ip

p. el even e nter pr i s e map

p. th ir t y th ree development of for m

p. t wel ve s i te pl an

p. th ir t y fou r development of for m

p. t hi r teen fl oor pl an

p. th ir t y five esqu isse ta sks

p. four teen s ec t i on

p. th ir t y six to th ir t y seven esqu isse on e

p. f i f tteen to t went y t wo fi nal v i ews

p. th ir t y eight esqu isse t wo

p. t went y t hree e ve nt / e d uc at i onal mod e v i ews

p. th ir t y n in e esqu isse th ree

p. t went y four t ra n s for mat i on d i agrams

p. for t y esqu isse fou r

CONTENTS 2

I acknowledge the people of the Kirrae Whurrong country of the Gunditjmara nation in which I visited and learnt from as well as the Wio Wurrung and Boon Wurrung language groups of the Eastern Kulin Nation on whose land I have the privilege of learning and living on. This semester I have had the privilege of working closely with Uncle Leonard Clarke and the Kirrae Whurrong community. I would like to thank and pay my respects to Uncle Lenny and his community for their generosity in sharing their knowledge and culture with us, in particular to Brett Clarke, Auntie Pat, Kirrae and Lurpeen. I would also like to pay my respects to the elders past, present and emerging and thereby recognise the unceded land I am on today.

ACKNOWLEDGEMENT 3

PHOTOS FROM FIELD TRIP 4

As being my first design studio I had no expectation of what to expect or how it was going to pan out. Our first class was online and my nerves were real, I was exhilarated, scared but most of all thrilled to have the opportunity to be part of this studio.

Now looking back on the semester on what has been the most rewarding and gifted experience, I can openly say I will never forget this design studio and never forget the opportunity I had to be part of this project; Shara Clarke Cultural and Educational Centre. The most valuable aspect to this studio was the connection with Uncle Lenny Clarke, son of Banjo Clarke.

On our trip to Uncle Lennys site we were privileged to be shared stories of Uncle Lennys family and knowledge about Indigenous culture. The history for Indigenous peoples is a challenged and often tramatic one, therefore the vision for the Shara Clarke Cultural and Educational Centre is vitally important for their community. Discrimination is a huge part of what Uncle Lenny was sharing with us and the harsh realities that are placed upon Indeginous people from welfare systems.

‘Aborginal people... we just keep filling jails up’. - Uncle Lenny Clarke The vision for this centre is to bring the community together, allow young generations to be educated about culture, and to keep young aborginals out of jails. This centre is to shine light on the hope for the future and the rights of indigenous peoples and their community.

Not only have I learnt so much during this semester but also the way of thinking towards design. I’m so greatful to have worked alongside everyone in my studio, and also to have regular feedback from Christine Phillips and Stasions Mantzis, they have tought me so much which has definitely helped and built my knowledge for the future.

I would absolutely recommend this studio and I am truly going to miss every aspect. Coming into this course half way and feeling a bit nervous, I am so excited for what the next stage in my studies brings me.

Thank you for this opportunity Christine and Stas.

REFLECTION 5

FINAL DESIGN 6

Working with Alannah this semester has been so enjoyable.

We have had our ups and downs like anyone working in a close partnership, but have stuck together the whole way through the process. Alannah and I worked hard and effective, we balanced each other out and I can say that I’m so proud of what we produced. While I had no knowledge in Rhino (coming from another course) I found it extreamly hard and at times felt like I was letting Alannah down. We managed to work through it and Alannah reasured it was reciprocal as we developed and learnt different aspects of design alongside each other.

I would like to say thank you to Alannah in allowing me to grow and develop and I hope she was able to do the same while working with me. I am so proud of us and wouldn’t have been the same without all the laughable memories we made along the way.

Thank you Alannah!

REFLECTION ON ALANNAH AND MY PARTNERSHIP 7

SHARA CLARKE CULTURAL AND EDUCATIONAL CENTRE Focused on the form/shape of the Kabin Flower (Kenndina Prostrata) and the surrounding topography/terrian around Framlingham LADJILADJI

DADI DADI JARIJARI

1) The land must be observed and listened to be understanding your surroundings 2) Everything must be able to be explored / experimented with and lead to unexpected encounters 3) Nothing will be linear 4) Materiality must be derived from the surrounding landscape / enviroment 5) Surrounding enviroment must be visable at all times

WADIWADI

NGARGAD

WEMBAWEMBA

WERGAIA

BARABA BARABA

YORTA TORTA

WAVEROO

Gariwerd

NGURAIILAM WURRUNG DJA DJA WURRUNG JAITMATANG

JARDWADJALI

NGARIGO BINDJALI DAUNG WURRUNG

DJAB WURRUNG

BIDWELL WATHA WURRUNG WIO WURRUNG (WURUNDIERI)

BUANDIG

Budj Bim/Lake Condah DHAUWURD WURRUNG (GUNDITJMARA)

Melbourne GJARGURD WURRUNG

GUNAI (KURAI)

GULIDJAN

Framlingham - Shara Clarke Centre Warrnambool GIRAI WURRUNG

BOON WURRUNG

GADUBANUD

12 Apostles

Kabin / Running Postman

Topography informing the Canopy

STA IRS

STA GE

A UDITORIUM SEATING TOIL ETS

REHERSA L SPA C E

PIT A SSE M BA LY

DRESSING ROOM

STA GE

OUTDOOR SEATING

GREEN ROOM

PARTNER : ALANNAH DAVIS

FINAL SEMESTER CRITS PANEL 8

Kabin / Running Postman

RULES 1) The land must be observed and listened to be understanding your surroundings 2) Everything must be able to be explored / experimented with and lead to unexpected encounters 3) Nothing will be linear 4) Materiality must be derived from the surrounding landscape / enviroment 5) Surrounding enviroment must be visable at all times

Topography informing the Canopy

SKETCHES BY ALANNAH DAVIS

INSPIRARTION / EARLY DEVELOPMENT 9

LADJILADJI

DADI DADI JARIJARI

WADIWADI

NGARGAD

WEMBAWEMBA

WERGAIA

BARABA BARABA

YORTA TORTA

WAVEROO

Gariwerd

NGURAIILAM WURRUNG DJA DJA WURRUNG JAITMATANG

JARDWADJALI

NGARIGO BINDJALI DAUNG WURRUNG

DJAB WURRUNG

BIDWELL

WATHA WURRUNG WIO WURRUNG (WURUNDIERI) BUANDIG

Budj Bim/Lake Condah DHAUWURD WURRUNG (GUNDITJMARA)

Melbourne GJARGURD WURRUNG

GUNAI (KURAI)

GULIDJAN

Framlingham - Shara Clarke Centre Warrnambool GIRAI WURRUNG

BOON WURRUNG

GADUBANUD

12 Apostles

LOCATION 10

ENTERPRISE MAP 11

SITE PLAN 12

FLOOR PLAN 13

RENDERED / EDITED BY ALANNAH DAVIS

SECTION 14

RENDERED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

OVER ALL VIEW 15

RENDERED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

ENTRY 16

RENDERED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

OUTDOOR CAFE 17

RENDERED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

AUDITORIUM OUTDOOR FOYER 18

RENDERED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

OUTDOOR STAGE 19

RENDERED / EDITED BY ALANNAH DAVIS

INSIDE FOYER 20

RENDERED / EDITED BY ALANNAH DAVIS

CLASSROOM 21

RENDERED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

INSIDE AUDITORIUM 22

EDUCATIONAL MODE

MODELLED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

EVENT MODE

MODELLED BY ALANNAH DAVIS EDITED BY PHOEBE GALILEOS

EVENT / EDUCATIONAL MODE VIEWS 23

RENDERED / EDITEDBY ALANNAH DAVIS

TRANSFORMATION DIAGRAMS 24

What is the view out of the building?

How does your building frame the view out?

How do your openings frame/and what are you looking at from views?

How do you use architecture to give us a sense of where you are?

How can the roof and floor be mulipfunctional in a non linear way?

How could you play around with programs?

Could your forms create a sense of entry into the building?

Breaking the buildings for a sense of direction.

Look into Loyed Reece and the way he frames the view.

Biomimicry approach was great.

Open and close aspect of the building is great.

Think about structure and strutural system?

LOCKDOWN MEETINGS WITH ALANNAH

MID SEMESTER FEEDBACK 25

PHASE ONE DEVELOPMENT

PHASE TWO DEVELOPMENT

PHASE THREE DEVELOPMENT

plans

From that we started to look at the

From feedback we then tried different ways we could futher

started by dividing areas up into

requirements for each area and what

our floorplan. We seperated the building into two and then

Archie

needed to be in there.

Looking at

connected them through developing a welcome to country

Reginal Saunders, under our design

size requirments and the best places

ceremony space. Also designed a second stage specifically

concept canopies.

for certain programs to go.

for an outdoor setting, capturing a different view, and then

Our

development Roach,

of

Banjo

floor Clarke

and

designed these seating spaces aroud the building for visitors to sit and enjoy the space/surroundings.

REGINALD SAUNDERS AND ARCHIE ROACH

ARCHIE ROACH

BANJO CLARKE

EXPANDED EXOS OF SPACES

BY ALANNAH DAVIS

FLOOR PLAN ARRANGEMENT

BY ALANNAH DAVIS

FINAL FLOOR PLAN

BY PHOEBE GALILEOS

DEVELOPMENT OF FLOOR PLAN 26

PHASE ONE DEVELOPMENT

PHASE TWO DEVELOPMENT

PHASE THREE DEVELOPMENT

The form at the start was seen as one

From feedback and discussions between Alannah

After designing Reginald Saunders outdoor stage we

building and the colours were informed

and myself we spoke about seperating the buildings

then needed to consider how the canopy could be

by the Kabin flower which is red, and the

into two. As this could create more of a journey, by

incorporated and benefical for outside. Originally it

surrounding topography contours and

linking the buildings with spatial connection through

was going to cover only a part of the outdoor seating

landscape represented as green.

walkways and interactive spaces. The first image was

but after reciving feedback we looked at a ways in

the first attempt and the second is the final outcome.

which we could use the canopy to cover the seats if

The use of lighter and smaller panels creates more of a

the weather wasn’t great. By extending the canopy and

delicate presense and feel which is what we wanted to

using simple/minimal columns to hold it up, it created

inform as the canopy is inspired by a flower. By bring

this beautiful flow from the original design. Between

the two building a bit closer allowed visitors to be

the canopy panels are glass to not have complete

intreged into what might be beyond the gap of the

coverage to light.

buildings.

MODELLING BY ALANNAH DAVIS

DEVELOPMENT OF CANOPIES 27

MID SEMESTER 28

SHARA CLARKE CULTURAL AND EDUCATIONAL CENTRE 1) The land must be observed and listened to be understanding your surroundings 2) Everything must be able to be explored / experimented with and lead to unexpected encounters 3) Nothing will be linear 4) Materiality must be derived from the surrounding landscape / enviroment 5) Surrounding enviroment must be visable at all times

Topography informing the Canopy Kennedia prostrata

Concept diagrams

PARTNER : ALANNAH DAVIS

MID SEMESTER CRITS PANELS 29

REGINALD SAUNDERS AND ARCHIE ROACH

Reginald Saunders Hall and Archie Roach

Canopy moulded by terrian and Kenndiea Prostratan flower

ARCHIE ROACH HALL Back of house area including rehearsal space and utilities Roofline representing terrian

BANJO CLARKE

Canopy over Banjo Clarke

Gallery / Exhibition Space

Courtyard Classrooms Board Room

BANJO CLARKE Foyer

ARCHIE ROACH HALL

Event Mode Axos

PARTNER : ALANNAH DAVIS

Educational Mode Axos

MID SEMESTER CRITS PANELS 30

Section - Archie Roach and Banjo Clarke

Eye Level External View

PARTNER : ALANNAH DAVIS

Eye Level Internal View

MID SEMESTER CRITS PANELS 31

DRAWINGS AND SKETCHED BY ALANNAH DAVIS

Together Alannah and I sat down and discussed ideas, developed our vision. Through drawings and sketches we expressed what we wanted to design and our ideas started to come alive through visuals. While talking and writing notes, Alannah started to draw what we wanted in different areas and this is where the ideas started to bloom and expand.

DEVELOPMENT OF IDEAS 32

ALANNAH AND MY ESQUISSE

DRAWINGS BY PHOEBE GALILEOS

At the start Alannah and myself firstly went back through all the esquisses and highlighted what each other’s favourite projects were. We developed a list of aspects which we loved, and then has to slowly break down each area. We always came back to the esquisse we both did togteher which was looking at the Running Postman flower (Kabin). The form/feel and delicate essense to the structure is what we drew to, which was expressed in our drawings and canopy structure which we created together.

DEVELOPMENT OF FORM 33

The other area which has been an influence for our form has been the surrounding topography of Uncle Lennys site. Looking at the different contours and terrian. Taking parts of esquisses and shifting them, for example Geordan and mine esquisse where we designed our canopy to be an extention from the natural sites landscape. Creating interuptions within the roofs structure and exploring how the canopy would look externally as well as internally as you walk through the building.

GEORDAN AND MY ESQUISSE

SURROUNDING CONTOURS

UNCLE LENNYS SITE CONTOURS

DEVELOPMENT OF FORM 34

ESQUISSE TASKS 35

ESQUISSE 1: INDIVIDUAL WORK

I live in Bentleigh which is in the Boon Wurrung Aboriginal Language Group. I pay my respects to ancestors and Elders, past, present, and emerging and through them all Aboriginal and Torres Strait Islander peoples.

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After going to the Bunjilaka Gallery and attending the ‘Gung/create, make, do love’ exhibition by the Wergaia/Wemba Wemba artist Kelly Koumalatsos. I collected 3 artifacts which informed my design and inspiration for my Marquette. My Marquette forms has been informed by the Yulendj Darr (Law Spear) as spears where a vital tool for Indigenous people for food and protection. While informing the overall shape as a Bunjil as he overlooks everyone and protects. The illustrations on the form were taken from the possum cloaks as an individual story telling.

This installation would be seen as a sculpture for people to observe and walk between.

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ESQUISSE 2: GROUP WORK PARTNERED WITH ALANNAH

Running Postman also known as Kennedia Prostrata, while being known as Kabin in indigenous languages.

I was drawing and understanding the delicate, softness of the flower though using water colours and expressing what I saw in pictures.

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ESQUISSE 3: GROUP WORK PARTNERED WITH ALANNAH

This canopy form has been inspired by Barry Patten, Sidney Myer Music Bowl in Melbourne, Sean Godsell’s MPavilion, and the Running Postman. Creating a canopy which can be operable (open and close) to alter the light coming in.

Can also be accessed by all directions as entry points.

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ESQUISSE 4: GROUP WORK PARTNERED WITH ZEKE

Teaching Rooms - Flexible

Seats (Open and Covered) - Flexible

Board Room - Flexible

Back of House - Fixed

Radio Rooms - Fixed

Storage - Fixed Multipurposed - Flexible

Front of House - Flexible

Seats for 700 people - Flexible Stage - Flexible

Designing a flexible multi-programmed centre, we started by creating a spatial relationships diagram map to plan out areas of the centre, from that we developed a 3D model with colours to distinguish different programs around the centre. Influenced by the way we would want to enter, and the way areas flow from one another, having the front of house the first program to enter.

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ESQUISSE 5: GROUP WORK PARTNERED WITH ZEKE

From our planning of programs, we then connected the spaces in an organic way and started to develop a concept for our overall form which was informed by the banksia seed pods and the organic shape they make, which can be seen in the section and plan.

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While being inspired by Philip Hunter, I have created my version of a montage which includes our final building form which holds all the programs of the centre.

Having used a Mosaic Burning techniques we have turned our site into a tile pattern which has been influenced of different areas being burnt at different times throughout the year. Using my version of fire and smoke in the montage to clearly display fire being spread across site.

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ESQUISSE 6: GROUP WORK PARTNERED WITH TIFFANY

Looking closely at all three architectural precedents Tiff and myself took aspects of each to combine and use to collate a concept for a design of a performance venue for the Archie Roach and Reginald Saunders components.

Yhonnie Scarce

Yothu Yindi’s ‘Treaty’ Song OMA’s Casa De Musica, Porto, 2005

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The shape of the building has been informed by the OMA’s Casa De Musica, with cut off corners and square shaped form. Our overall concept of the building has been inspired by the lyrics in Yothu Yindi’s ‘Treaty’ Song, ‘now two rivers run their course, separated for so long’.

Having two side of our building which then connect and is where the stage and performance areas is placed. We then took Yhonnie Scarce and her glass forms to create mosaic glass features throughout the building to reflect light and capture the reflections inside.

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ESQUISSE 7: GROUP WORK PARTNERED WITH CHUKANG

Closely looking at Bunjil and researching what Indigenous clans used and lived in Warrnambool? What are some of the sacred sites and creation stories? What are some of their mythologies.

We collaged our findings in the shape of Warrnambool. Using eels as the river paths and rocky areas to show Point Ritchie a significate sacred site. Informing that Bunjil looks over at what he created and protects his people and land.

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ESQUISSE 8: GROUP WORK PARTNERED WITH CHUKANG

From our findings we combined some ideas from previous esquisses and designed an auditorium with our overarching idea of Bunjil.

Together Chuckang and I based our form off Point Ritchie and the rockiness texture. Contrasting this rockiness with the external form of flatness to inside which was rocky. We cut parts of the roof out so that light can come in but also to illustrate Bunjil looking over everyone.

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ESQUISSE 9: GROUP WORK PARTNERED WITH GEORDAN

Reading through Chapter 6 of Nourishing Terrains and researching Arakawa Gins ’Site of Reversible’ Destiny Yoro, together Geordan and I took important and interesting notes which we found as we were both very much inspired by these precedents. These notes helped us to form rules which guided us with the next stage which was to design a façade based off our findings.

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ESQUISSE 10: GROUP WORK PARTNERED WITH GEORDAN

Our overall concept is that the form is a continuation of landscape, and the building will be completely walkable.

We have left areas on the form white to indicate a panelling system which will be used. These triangles are either green or black, representing the burning technique. Green meaning its grass and black meaning burning has happened.

The panels rotate with the wind and can then inform different burning patterns.

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ESQUISSE 11: GROUP WORK PARTNERED WITH ZOE

While exploring through Uncle Lenny Clarke’s site Zoe and I were drawn to different areas and parts of the site. We were inspired by the different plants and leaf textures we found.

These helped us design our map which represents our journey at Uncle Lenny’s.

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We collected a few different plants and used a technique to show texture.

We placed the leaf under the paper and ran charcoal over the top to highlight the important structural aspects of the leaf. This brough out some beautiful textures. We also recorded ourselves while walking around and wrote down some key words/phrases we thought expressed our journey.

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PHOTOS FROM FIELD TRIP 51