On Country: Framlingham, Sem 1, 2021: Tiffany Johnston

ON COUNTRY: FRAMLINGHAM 3.0

S3857615 TIFFANY JOHNSTON Design Studio Level 3

LED BY: Christine Phillips & Stazinos Mantzsis With Uncle Leonard Clarke & the Kirrae Whurrong Community

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Contents Page 3. Personal Reflection 4. The Vision 5. A Journey Through The Seasons 6. Final Panel 8. Site Plan 9. Floor Plan 10. Archie Roach Music Hall & Reginald Saunders Performance Space 14. Banjo Clarke Educational Facility & Front of House 18. Mid Sem Development 19. Mid Sem Panel and Presentation 21. Design Process 23. Development 31. Weekly Esquisses 32. Esquisse 1 35. Esquisse 2 36. Esquisse 3 38. Esquisse 4 40. Esquisse 5 42. Esquisse 6 45. Esquisse 7 46. Esquisse 8 47. Esquisse 9 49. Esquisse 10 54. Esquisse 11

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Personal Reflection

This studio has taught me many different ways of expressing the non physical in terms of culture and story in an architectural form. It has taught me the importance of doing so for our Aboriginal community and the responsibility I have as a non-indigenous design student to reflect upon and represent their stories and culture.

Learning from Uncle Lenny as well as tutors and peers I have been able to grasp a deeper understanding of aboriginal culture that I had never realised before, the importance of land and country and the importance of education and passing of that knowledge that has been tragically lost. But I have also learned the importance of educating our non indigenous community. This is something I feel I will never stop learning about, and will never stop wanting to learn about, making a few mistakes along the way. Education fosters understanding and I truly believe that is a huge step forward towards reconciliation.

Leaving this studio I feel I have gained so much respect and understanding that will stay with me not only through the duration of my course but well into my future. Designing to express cultural needs and designing spaces that have a respect and acknowledgment of our First Nation people is a practice I will take with me not just in my future studios, but also every task I do in day to day life.

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The Shara Clarke Aboriginal Cultural & Education Centre This studio was about conceptualizing the vision of highly respected Kirrae Whurrong Elder, Uncle Leonard Clarke, for a world class cultural and music centre on his family’s land in the Western District of Victoria. The centre will be names ‘The Shara Clarke Aboriginal Cultural & Education Centre’ named after Uncle Lenny’s late daughter Shara Clarke. Uncle Lenny’s vision aims to celebrate aboriginal culture through architectural expression, but also to provide opportunities for his community’s youth through educational programs and job opportunities to help reduce the rate of incarceration of young indigenous peoples.

The space needed to accommodate for a flexible and multipurpose program that considers the culture and history of the Kirrae Whurrong Community and how that can be celebrated through architecture.

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Our Project: A Journey Through The Seasons Our project is based on the 6 seasons used by the custodians of the Gariwerd region which include Gunditjmara, Winda Mara, Goolum Goolum, Kirrae Whurrong and Framlingham first nation peoples. One thing we have learned a lot about this semester is the way our first nation people read and connect with their home countries, whether that be through significant geological formations, plants and animals or relationships with people.

The form of our building is inspired by this connection to significant land features as we wanted to create a building that pays homage to the site and all that live on it, rather than intrude on it. The main landmarks we took inspiration from is the Hopkins river, the gully and site itself and also the volcano. Having established a form that we felt best reflected a combination of these landmarks already significant to the Kirrae Whurrong people. We also wanted to celebrate the dynamic nature of country and the natural changes it undergoes in a years cycle. A lot of our interior spaces are inspired by the before mentioned 6 seasons of the Geriwerd region.

These seasons are Kooyang, Gwangal Moronn, Chunnup, Larneuk, Petyan and Ballambar.(Eel season, Honeybee season, Cockatoo season, Nesting bird season, Wildflower season, Butterfly season).

Each season is characterized by a set of environmental changes in plants and wildlife.

By Tiffany Johnston and Siyuan Yang 5

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SITE PLAN Framlingham Forest

Proposed Vegetation

River

Road

Existing Buildings

Kirrae AV

Fr am lin gh am

Fo re st

Ro ad

Camp Sites

Cemetery

Hopkins River

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FINAL FLOOR PLAN

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Archie Roach Music Hall & Reginald Saunders Perfomance Space

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ARCHIE ROACH LARNEUK THEATRE - Nesting Bird Season

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REGINALD SAUNDERS GWANGAL MORONN - Honeybee Season

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KOOYANG TUNNEL - Eel Season

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BANJO CLARKE EDUCATIONAL FACILITY & FRONT OF HOUSE

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BANJO CLARKE EDUCATIONAL FACILITY

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BANJO CLARKE EDUCATIONAL MODE

BANJO CLARKE PERFORMANCE MODE

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BALLAMAR RESTAURANT - Butterfly Season

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MID SEM DEVELOPMENT SITE PLAN DEVELOPMENT: After mid semester the site plan took a more graphic approach in terms of aesthetics, but also showed more detail in the entrance and car park on site. We put a lot of thought into what the site could potentially look like and landed on the proposal of repopulating the site with trees to mimic the natural environment seen in Framlingham Forest. We also added 6 sited camping spots to represent the 6 seasons, centered around a fire pit to bring people of the community together to share stories and culture like we did when we were on site.

Framlingham Forest

Proposed Vegetation

River

Road

Existing Buildings

Kirrae AV

Fr am lin gh am

Fo re st

Ro ad

Camp Sites

Cemetery

Hopkins River

THEATRE DEVELOPMENT: We struggled with scale for our theatre especially when trying to express the details of each season architecturally. Using bark contours to create the seating produced an interesting outcome however was not practical to have an appropriately scaled theatre. Instead only some of the contours were used and there was more of a effort to express the delicate nature of the flowers in that season.

BANJO CLARKE DEVELOPMENT: The modular multipurpose room presented at mid sem didn’t reflect the fluid nature of our theme.

The redesign of the Banjo Clarke focused more on the natural features on site like the rock formations of the Hopkins Falls and the features of cockatoo season.

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MID-SEM PANEL AND PRESENTATION

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DESIGN PROCESS: 6 Seasons KOOYANG

GWANGAL MORONN

CHUNNUP

LARNEUK

PETYAN

BALLAMAR

Eel Season

Honeybee Season

Cockatoo Season

Nesting Bird Season

Wildflower Season

Butterfly Season

Crested Honey Eater Short Finned Eels - Single fin protrudes from main body - Slimy, cylindrical, fluid movement

Weather Elements - Hottest time of year - Bush fire season - Stars used for navigation.

- Searches for insects - Yellow and black - Layering of colour

Hawk Moths - Grey - Patterned wings

Cockatoo Emperor Dragonfly

- Fanning feathers - Yellow Gradient

Weather Elements - Return of Aquila constellation (Bunjil)

Birds Nest - Texture - Wooden materiality - Pockets of air

Manna Gum Flower - Yellow and white - Delicate flower - Green budding

Silver Banksia - Spiked - Yellow

Characterized by the bush bursting to life.

Season of tribal gatherings.

- Rigid wing cell - Busy - Water Dwelling Season Characterized by busy insect activity particularly in water insects.

Eagles prevelant - Bunjil

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DESIGN PROCESS: Geological Formations

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DEVELOPMENT: Archie Roach Larneuk Hall Bark Contour Seating Layout

Birds Nest Acoustic Structure

Manna Gum Flower pod

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DEVELOPMENT: Archie Roach Larneuk Hall

Developed seating layout for better viewing angles and added balcony space.

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DEVELOPMENT: Reginald Saunders Gwangal Moronn Canopy Design

Hawk Moth Seating

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DEVELOPMENT: Kooyang Tunnel

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DEVELOPMENT: Banjo Clarke External First Iteration leaf canopy Gum Leaf Outdoor Learning Canopy

Final Iteration leaf canopy

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DEVELOPMENT: Banjo Clarke Chunnup Initial modular multipurpose rooms

Final sliding wall concept that speaks more the cockatoo season

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DEVELOPMENT: Ballambar Restaurant

Butterfly season, emperor dragonfly window and balustrade

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- Toilets disbursed throughout the building instead of one block.

- Interconnected BOH instead of separated buildings

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WEEKLY ESQUISSES

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WEEK 1

Esquisse 1: Solo Work

Bunjilaka Gallery - First People’s Exhibition Shields - Defend the clan and country - Made and used by warriors - Powerful marker of cultural identity - Visual language that conveys stories - Show clan affiliations (who you are and where you come from) The idea of telling stories through visuals. So much can be understood with out a word being said Gunditjmara kooramookyan Possum Cloak - cultural practice - Single possum skin when born and added onto as you grow older - Buried in the cloaks - story told after death - Story told through life journey and portrayed through the cloak - fibers are hollow - don’t freeze Designs related to place 32

WEEK 1

A maquette inspired by the landscapes of the places I grew up. Two hills separated by a gully and road with the wings and feathers of Bunjil to show my respect and acknowledgment of the creator of the land I am privileged to live on.

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A space that immerses people in the larger scale of land and county whilst also celebrating it at a smaller scale through the layered contours of the marquette.

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WEEK 2 Esquisse 2: Working with Mijawi - Dense shrub - Cotton texture beneath - White woolly hairs - Strong root systems - Cylindrical shoots

Mansell Whitebear

Plant Research - Coast Everlasting

- Layered leaf structure - 1-2m tall - Opaque straw colour flower - Flowers in summer and Autumn - Tolerates sandy and alkaline soil - Attracts butterflies and birds

Precedent Research - Pier Luigi Nervi, Aircraft Hanger -

Reinforced concrete Geodetic design Tapered corbels Cantilevered roof

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WEEK 2

Esquisse 3:Working with Mijawi Mansell Whitebear Geodetic pattern from aircraft hanger and layered shells from the layered leaf pattern of the coast everlasting.

Model - Based on plant research Podded seating with yellow seats to reflect the colour and dense nature of the flower.

Intimate learning pods.

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Photo montage on site in the style of Yves Brunier

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WEEK 3

Esquisse 4: Working with Jingchen Lin

Spacial relationship diagram

Sketches by Lin

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WEEK 3

Massing model

Esquisse 4: Working with Jingchen Lin

Seating area

Gathering, Restaurant, Exhibition, Cultural knowledge space, commercial/shop

Stage

Front of house

Board room

Wet rooms Change rooms

Radio Studio

Storage rooms

Teaching rooms

Multipurpose room

Banjo clarke academy

The archie roach hall

Back of house facilities

Reginald Saunders 39

WEEK 3

Esquisse 5: Working with Jingchen Lin Form Iteration

Reforested site

Working with Jingchen Lin

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Connecting limbs

Moveable roof covering Exhibition

Wet rooms Change rooms

Cultural knowledge Shop

Dine Front of house

Stage and covered seating

Back of house

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WEEK 4

Esquisse 6: Working with Pheobe Galileos

Precedent Research

The Art of YHONNIE SCARCE - Belongs to the Kokatha and Nukunu peoples.

- Master glass blower - Political nature - Reference to colonization and the effects it had on first nation peoples.

- Often refers bush food as aboriginal bodies - Art piece chosen ‘death zephyr’ Referring to the effects of the British nuclear tests on Aboriginal lands across inland South Australia that showed a tragic disregard for human life.

Yothu Yindi’s song “TREATY” - ‘Now two rivers run their course, Separated for so long, Im dreaming of a brighter day, When the waters will be one’ - Brought Australian indigenous issues to light for people who were never aware of them before - Written in response to then Prime minister Bob Hawke broken promise of a treaty in 1988 OMA’S CASA DA MUSICA, PORTO, 2005 - Uses the city as a back drop for performances.

- Shoe box shaped auditorium with corrugated glass facades - Pocketed openings - White paneling - Solid

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Design Process & Diagram

WEEK 4

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Esquisse 6: Working with Pheobe Galileos

1. Covered seating 2. Roof 3. Seating 43

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WEEK 4 Esquisse 7: Working with Yao Xiao

Research Question The climate seasons of the Kirrae Whurrongand The environmental resource histories of Warrnambool and the western districts of Victoria: What is the ecology of the area and how has it changed since settlement? What are the natural resources? How has European culture impacted the environment? What was the pre European landscape like?

The diagram can be read in two ways. The first is from the inside out which shows the natural ecology of the Kirrae Whurrong country. As the circle expands it shows the deforestation that took place by European settlers for farm land. The images on the out scurts of the circle are buildings designed by Kiwi indigenous architect Rewi Thompson, that shows the yearning aboriginal people feel for their home countries and the need to back in the center of the circle.

The second way to read the diagram is clockwise which shows the 6 seasons of the Kirrae Whurrong community. They are placed in the center to show the fluidity of the seasons.

EEL SEASON - Kooyang HONEYBEE SEASON - Gwangal Moronn COCKATOO SEASON - Chunnup NESTING BIRD SEASON - Larneuk WILDFLOWER SEASON - Petyan BUTTERFLY SEASON - Ballambar

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Based on the 6 seasons

WEEK 5 Esquisse 8: Working with Yao Xiao

Cockatoo season Honeybee Season

Wildflower season

Nesting Bird Season

Butterfly Season

Eel Season

Theatre by Yao Xiao

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WEEK 5

Precedent and rules

Esquisse 9 Working with Betty Cairns

Resources: ‘Nourishing Terrains Aboriginal Views of Landscape and Wilderness’ By Deborah Bird Rose Chapter 4

Peter Zumthor’s Bruder Klaus FIELD CHAPEL 2007 – Germany Interior is black cavity left by burning out 112 tree trunks from concrete casts.

“Composure, self evidence, durability, presence, and integrity, and with warmth and sensuousness as well” Design constructed by local farmers who wanted to honour the patron saint Bruder Klaus of the 15th century.

Roof is open to the night stars – weather penetrates the opening making the experience specific to the time of year.

No plumbing, bathrooms, running water, electricity The experience and silence. Eery sense of a sacred place. Respect for materiality.

SACRED GEOGRAPHIES Gendered rules: “places where men can go but must be quiet, places where they can look but not stare, where they can walk but not camp, and then there are places where men cannot go at all, ever.

There are places where men cannot drink the water, cannot even look at the smoke that rises from women’s country. “ Country: “According to their own law, they do not paint, sing or speak other people’s country unless they have been specifically allocated the right to do so. Unless authorised, they do not burn other people’s country, hunt in other people’s country, or interfere with other people’s Dreamings.”

“My land is mine only because I came in spirit from the land” “The land is my foundation” “Country is sustained as a lawful place, through the conscious participation of living things”

RULES 1.

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MOVING THROUGH SPACES THAT GUIDE YOU WEATHER CHANGES THE WAY YOU EXPERIENCE THE BUILDING SENSORY EXPERIENCES CREATED THROUGH ACOUSTICS PAYS HOMAGE TO THE SIGHT BOUNDARIES THAT CAN ONLY BE CROSSED WITH PERMISSION

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WEEK 5

Esquisse 10 Working with Betty Cairns

Floor Plan

1. MOVING THROUGH SPACES THAT GUIDE YOU - Guided by the river 2. WEATHER CHANGES THE WAY YOU EXPERIENCE THE BUILDING - River running high 3. SENSORY EXPERIENCES CREATED THROUGH ACOUSTICS - Open cavities and passages carry sound 4. PAYS HOMAGE TO THE SIGHT - Regrowth of site and extension of Hopkin’s river 5. BOUNDARIES THAT CAN ONLY BE CROSSED WITH PERMISSION - River crossings

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WEEK 5

Esquisse 10 Working with Betty Cairns

Gallery Space Perspective

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WEEK 5

Section by Betty Cairns

Skylight

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WEEK 5

Site plan by Betty Cairns

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Esquisse 11 Working with Jeremy Salter

PsychoGeographic Map

Psycho-geographic map that represents us (Jeremy and Tiff) as the black dot in the center.

Wind and rain surrounds the center as the sensual experience we felt on site. Significant land markers are placed in relevance to sight and distance.

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On Country

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