On Country: Framlingham, Sem 1, 2021: Chukang Liang

RMIT University

On Country: Framlingham A Design Studio led by Dr Christine Phillips and Stasinos Mantzis Presented by student - Chukang Liang(s3642979)

Content - Acknowledgement of Country - Final Presentation - Mid-semester Review - Esquisses

· Esquisse 01

· Esquisse 02

· Esquisse 03

· Esquisse 04

· Esquisse 05

· Esquisse 06

· Esquisse 07

· Esquisse 08

· Esquisse 09

· Esquisse 10

· Field Trip

· Esquisse 11 - Reflection

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Acknowledgement of Country I would like to acknowledge the Woiwurrung and Boonwurrung language groups of the Kulin nation where we live and studies. I respectfully acknowledges their ancestors and elders, past and present.

I am grateful to have the opportunity to work with Uncle Lenny and the Kirrae Whurroung community. I would also like to thank Uncle Leonard Clark, Brett Clarke, Aunty Pat, Kirrae and Lurpeen for share all of the amazing stories and inspiring knowledges of the land.

Leonard Clark Our client, Leonard Clark, wants us to design an international standard music and performance centre along with a cultural education centre. The goal of our design is to achieve his vision of share the acknowledge of the land, of the aboriginal society to young generations and the world. His vision also asks us to provide opportunities of education programmes as an alternate to incarceration.

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Final Presentation

The Final Presentation was online due to COVID Lockdown Presenters:

Studio Leaders:

Guest Critics:

Special Guest:

Chukang Liang

Dr Christine Phillips

Tania Davidge

Kaveen Gallage (past-student)

Zeke Zhang

Stasinos Mantzis

Ben Paszyn

Responsibilities Precedent Research, Concept design - Chukang Liang, Zeke Zhang Algorithm Develope - Chukang Liang, Zeke Zhang 3D modelling - Chukang Liang, Zeke Zhang Enterprise Plan - Chukang Liang, Zeke Zhang Diagrams - Chukang Liang 3D rendering - Zeke Zhang Animation - Chukang Liang, Zeke Zhang Post-Production - Chukang Liang 2

Presentation Panels

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Animation Key Frames

1. Start with Acknowledgement of Country

2. Explaning the deconstruction process

5. Drone camera angle flys over the gully

3. Entering Archie Roach Music 4. Showing transformation of the Hall & Reginal Saunders outMusic Hall. door performance space

6. Entering Resterant

10. Showing transformation of the Multipurpose Rooms.

Animation Link: https://www.youtube.com/watch?v=q15wEzLeKXw

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7. Entering Multipurpose Build- 8. Interior of the Multipurpose ing Building

11. Entering Smaller Teaching Rooms

9. Detail of the Mosaic tiles

12. End Scene

The Location The proposed site is located in Framlingham in the Western District of Victoria. We engaged with landscape history in main two aspects. The first one is the concept of an explosive landscape. It means the wavy terrains that cast by the ancient volcanic activities. Another aspect is the formation of the Hopkins River.

Its river channel was formed by molten lava during volcanic activities. The Hopkins River is also important in Aboriginal history as it is both a water and food resources.

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The process of deconstruction and exaggeration

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Design Process The site is bordered by Framlingham Forest Road and Kirrae Avenue, with tree fences acting as a boundary.

It is surrounded by bushes and Eucalyptus Forest. The terrain is relatively flat, with a significant gully leading to the Hopkins River. Several groups of shrub islands scattered throughout the central of the site, with dents that collect rainwater.

Our main intention is to build a direct connection to the nature by reflecting the landscape history and the experiences of deep listening during the site visit.

The design process started from the awareness of the site features. We deconstruct the existing site characters and exaggerate their boundaries in a natural behaviour. This process aimed for enrich the site experiences and allow opportunities for the future expansions. The second step is to connect the exaggerated characters together with divided public and private paths. We considered that public will enter the site from larger Framlingham Forest Road, whereas private guest will enter from the smaller Kirrae Ave. The facilities are then distributed along these paths and based on the functional requirements.

We also considered the expansion of our project in the future. Our first design rule is to create a balanced sytem the outcome equles to a new beginning. It reflects on our enterprise map by considering programs that benefits both the local societies and the environment, which can be passed and developed through generations.

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Multipurpose Rooms/Studios

Board Room

View 04 View 06

Teaching Rooms

Hopkins River

Restaurant

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View 05

View 01

Archie Roach Music Hall & Reginal Saunders Outdoor Performance

View 02

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View 01 - Archie Roach Music Hall

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View 02 - Archie Roach Music Hall

View 03 - Ground Foryer

- General Office - Manager Office - Office Store and Tea Room

-Reception - Loading - Stores - Workshops - Repairs - Technicals - Comm Rooms - Toilets

-Trap Room - Stores - Resembly Room

- Foyer (Main Entrance) - Box Office and Manager - Cloakroom - Artwork Store

- Bars - Sick Room - Dressing Room - Studios - Green Room - Resembly Rooms - Stores - Toilets

Ground Floor

- Foyer - Waiting Lobby - Toilets - Fly Gallery

- Outdoor Performance

- Fly System

- Crossovers - Stores - Coom Rooms

1st Floor

2nd Floor

0 5 15

50m

North

Archie Roach Music Hall The Archi-Roach music hall consists of primarily three levels. The ground level provides entrances for staffs and performers and a loading zone. The public will enter this building through the main entrance on the first floor with the front of house facilities. Inside the Music Hall, operable floor components were designed to maximise the flexibilities of the music hall for different types of performances. Mount Leura inspires the formal quality of the Archi-Roach music hall.

The materials are inspired by aboriginal cultures and the rock layers in Point Ritchie.

Dressing Room

Fly System

Music Hall Foryer Floor Components Trap/Rsembly Rooms

0

5

15

50m

11

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View 04 - Multipurpose Building 13

Multipurpose Rooms/

- Garden - Restaurant - Toilets

0 14

5

15

Store - Kitchen

- Board Room - Radio Studios

50m

Teaching Roo

Store

Banjo Clark Education Facilities & Restaurant The multipurpose building is inspired by possum skin cloaks, which have double sides skin. The exterior skin consists of roof components that mimic the possum fur. The interior skin is relatively smooth, covered by mosaic tiles, and indigenous artists can customise the drawings on the mosaic tiles. The interior space can be divided into different volumes by folding doors.

The restaurant is located on a designed hillock that provides views of the Hopkins River and the other buildings. It combined with the required garden, which can be expanded in the future.

/Studios

0 5 15

50m

North

oms Room Components collect rainwater

Waterline

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View 05 - Restaurant

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View 06 - Teaching Rooms The room components for smaller teaching spaces contain curtains that can be drawn to react to different weathers. The interior load-bearing columns are homonym of ornaments and structures, which are able to collect rainwater and conduct sunlight into the rooms.

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View 07 - Bridges

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View 08 - Multipurpose room, used as speech room

View 09: Multipurpose room, divided into smaller rooms by the folding doors, used as a teaching

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View 10 - Archie Roach Music Hall - Music Mode

View 10 - Archie Roach Music Hall - Fashion Mode

View 10 - Archie Roach Music Hall - Exhibition Mode

Floor Components - Scissors Lift - Elevated to suit different performances and events - Retractable panles to be installed by staffs to enclosed the volume and hide the machinery

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Mid-Semester Review

Contributor:Chukang Liang & Zeke Zhang For the mid-semester review, we were trying to build a system that will allow our project to form out of the connections between nature and indigenous cultures. The connections have traditionally been communicated through narratives in indigenous society. We learnt the way of passing narratives from uncle Lenny, which is not linear and smaller narratives would grow from the main storyline frame. The stories might sound misleading sometimes, but there is always a link back to its original narrative.

The design process starts from the traffic analysis, with concerns that the guests will mainly come from the Framlingham Forest Road and the location of sentimental cemeteries. The spaces are then distributed according to the level of privacy along the gully.

We have generated three rules that will help us to build a connection with the nature of the land.

The first one is to create a balanced system that is a cycle in which the outcome equals a new beginning. This rule was transferred into fields that show the growth of small narratives and how they link back to the original storyline.

Our main storyline is the history of the landscape, which started from a volcano eruption and resulted in the formation of the Hopkins River and the blossoming of plants that grow from the rich volcanic soil. The design expresses this process of destruction and regeneration.

Our design replanted local species of trees and bushes, which will follow the second rules is to replenish the members of the species within site in a controlled manner.

The third rule is the ability to react to the unpredictability of the climate. The intention behind this rule is to capture the ephemeral qualities of nature, such as sunlight, rain, etc.

The spaces within Archie Roach Music Hall were divided into public and private. The public spaces, such as the front of the house, are gathering near the main entrance. From the box office and the cloakroom, our guests will then be divided into four flows to enter the concert hall. The facilities of the back of the house are located back of the volcano to serve the stages.

The Reginal Saunders outdoor stage is located on the central bridge. It connects to the second floor of the back of the house. The other bridges will provide seating for the stage and circulation spaces that connect the building from both sides of the gully.

The bridges lead toward the restaurant and the Banjo Clark Banjo Clark Academy Cultural and Education Centre. At the end of the circulation, another bridge connects back to the Archie Roach Music Hall and provides sightseeing of the Hopkins River.

Responsibilities Precedent Research, Concept design - Chukang Liang, Zeke Zhang Algorithm Develope - Chukang Liang, Zeke Zhang 3D modelling - Chukang Liang, Zeke Zhang Diagrams - Chukang Liang, Zeke Zhang 3D rendering - Zeke Zhang Post-Production - Chukang Liang

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Field Algorithm A field algorithm has been developed to express the idea of passing narratives in an indigenous way.

The algorithm started from setting up the starting point and main forces, such as the impact of the stories and site experiences. The simulation will then run through all the forces from the starting point.

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DLA Algorithm We used the DLA algorithm to stimulate the growth pattern of plants.

The algorithm has been applied to space subdivision and structure generation.

Image 01: Dividing spaces with DLA Algorithm

Image 02: Auto-generating colum structure with DLA algorithm

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Esquisses The studio is structured around the production of bi-weekly Esquisses. The Esquisses consisted of both group and individual works and were carried out for the first half of the semester.

During each esquisse, we were taught many different architectural design techniques that are dealing with indigenous cultures. In addition, we were also studied relevant precedents of architectural works, artworks, music, etc.

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Esquisse 01

Contributor:Chukang Liang As the frist esquisse of the studio, it gave us a overview of the indegenous culture and the history within Victoria. This overview includes the language groups in victoria and their locations. I also complete the RMIT Indigenous Orientation to have better understanding of the history and ceremonies.

The investigations in this Esquisse include visiting the Bunjilaka Gallery, the First Human exhibition and ‘Gund/Create, make, do love’exhibition in the Melbourne Museum. The knowledge that I gained from these investigations was transferred into a marquette. I was experimenting how these artefacts and narratives can be transformed into architectural elements.

Image 01: Receive badge from the RMIT Indigenous Orientation.

Bibliography - Interview: Boonwurrung Elder Carolyn Briggs - Possum Skin Cloaks. (2011). Culture Victoria. https://cv.vic.gov.au/stories/aboriginal-culture/possum-skin-cloaks/interview-boonwurrung-elder-carolyn-briggs/ - Interview: Gunditjmara Elder Ivan Couzens - Possum Skin Cloaks. (2011). Culture Victoria. https://cv.vic.gov.au/stories/aboriginal-culture/possum-skin-cloaks/interview-gunditjmara-elder-ivan-couzens/ - Interview: Wemba Wemba Elder Fay Muir - Possum Skin Cloaks. (2011). Culture Victoria. https://cv.vic.gov.au/stories/aboriginal-culture/possum-skin-cloaks/interview-wemba-wemba-elder-fay-muir/ - Possum skin cloak: Boonwurrung - Possum Skin Cloaks. (2006). Culture Victoria. https:// cv.vic.gov.au/stories/aboriginal-culture/possum-skin-cloaks/possum-skin-cloak-boonwurrung/

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Image 02: Aboriginal Languages of Victoria. (2006). [Map]. https://cv.vic.gov.au/stories/aboriginal-culture/our-story/vacl-language-map-of-victoria/

Message Stick Message sticks have been used by aboriginal people for thousands of generations. As a important tool to communicate between different clans, The intricate marking often carry different messages.

The work in First People Exhibition is designed by Wurudjeri Elder Diane Kerr and Boonwurrung Elder Carolyn Briggs, and carved from red gum by John Patten. It Represents Birrarung Marr (Yarra River) and the manna gum leaf used in ceremony by the kulin people.

Women and their Dresses

Koormookyan (Cloak)

Kelly’s signature technique is uka ngalung wooleh|to print with possum. This technique merges western printmaking with traditional Wemba Wemba and Wergaia possum skin cloak making.

The tissue dresses replicate dresses from the late 1800s to early 1900s. The work celebrates the stories of the women in Kelly’s family, and to represent the their strength and ability to do more than simply survives oppressive colonial times. The possum fur prints symbolising cultural identity and protection.

Possum cloaks are very important in aboriginal culture. A possum skin Cloak (Kooramookyan) can tell us stories of belonging, stories of place and stories of the sacred and spiritual. Sometimes they were used as a tool They were used as a tool for bartering between tribes.

Six were sewn together for a baby to be wrapped in and there was up to thirty for an adult. Thirty pelts sewn together for an adult to keep them warm, to be worn as clothing. As the child grew, more skins were added to that cloak, until they got up to an adult, so that they have thirty pelts.

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Concept Developmen 30

Photographs of Marquette

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Texture Application

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Photomontage 33

Esquisse 02

Contributor:Chukang Liang In this Esquisse, we move on to investigate some of the identical local plant species in Victoria. I was particularly investigating the plant of the Correa Reflexa.

The overcome was presented as an A2 drawing in traditional Botanical style. The drawing focuses on the structures and textures of the Correa Reflexa.

Correa Reflexa Correa Reflexa’s range extends from South Australia to Victoria, eastern New South Wales, and south-east Queensland, as well as eastern Tasmania and Kangaroo Island off the coast of South Australia.

Correa is a genus of approximately 11 species, however there are numerous variants that are difficult to categorise. Correa reflexa is the most common species in the Correa genus.

The flowers of Correa Reflexa have a fuzzy apperance and are tubular to bell-shaped, with fine rough spines on the leaves and stems. The leaves fold back towards the stem and protrude between veins in certain varieties, creating the impression of water stress. With eight somewhat protruding stamens, the ends of the united petals are bent back or reflexed. Flowers range in colour from yellow to crimson red, with yellow to green stamen and tips.

Bibliography

- Correa reflexa. (2007, November). Australian Native Plants Society. http://anpsa.org.au/c-refl.html - Correa reflexa - Growing Native Plants. (n.d.). Growing Native Plants. Retrieved June 12, 2021, from https://www.anbg.gov.au/gnp/gnp7/correa-reflexa.html

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Esquisse 03

Contributor:Chukang Liang & Byron Watson In Esquisse 03, We were asked to design a performative and dynamic canopy to accommodate different programs and events. We were also transferring some of the iconic qualities of formation, structure and texture from the plant research of Esquisse 02 to our canopy design.

To design a practical, dynamic canopy system, we looked at precedents Orquideorama, Antioquia by Plan B Architects & JPRCR Architects, and MPavilion by Sean Godsell.

Responsibilities Precedent Research, Concept design - Chukang Liang, Byron Watson Material research - Chukang Liang, Byron Watson Physical model - Chukang Liang, Byron Watson Diagrams - Chukang Liang, Byron Watson Post-production - Chukang Liang Bibliography - 2014: Sean Godsell Architects. (2014). MPavilion. https://mpavilion.org/architect/2014-sean-godsell-architects/ - Saieh, N. (2019, October 24). Orquideorama / Plan B Architects + JPRCR Architects.

ArchDaily. https://www.archdaily.com/832/orquideorama-plan-b-architects-jprcr-architects

MPavilion - Sean Godsell The Melbourne Pavilion is a simple 12mx12m steel structure with glazed roof and a completely machanised outer skin. It provides weatherproof shelter for the harsh sun. During the summer months, the pavilion’s dynamic system can create spaces for recitals, presentations, talks, readings, and performances in a well-designed and caring environment.

Image 01: MPavilion. (2014, October 15). [Photograph]. Workspace. https://www.workspace.com.au/mpavilion/

Image 03: Orquideorama - Flower - Tree Structure System. (2006).

[Diagram]. ArchDaily. https://www.archdaily.com/832/orquideorama-plan-b-architects-jprcr-architects

Image 02: Orquideorama, Flower - Tree Structure. (2006). [Photograph]. ArchDaily. https://www.archdaily.com/832/orquideorama-plan-b-architects-jprcr-architects

Orquideorama - Plan B Architects + JPRCR Architects Orquideorama is a good example of canopy design that is inspried by natural elements. It was playing the scale of natural patterns. In the concept of Orquideorama, there are two scales of organic, The microscale of the organic, such as its capacity to be organized in precise laws of geometry patterns (Direct example: Honeycomb structure), and the big scale of biomorphic structures such as flowers and trees.

The architects proposed the Orchideorama to be erected in the shape of a flower garden: One flower - tree will grow, followed by another, until the entire system of Flower - tree structures is formed. They may grow or be sown anywhere adapting tis system struture.

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Image 03: Sketch of the concept diagram that shows the process of the blossoming of the Correa Reflexa

Image 02: Detail of the Canopies

Canopies Our canopies root on the ground floor and grow upon the main roof. They are designed to control the amount of sunlight that the interior spaces are receiving. The canopy consists of curtains and columns, which mimic the structure of the Correa Reflexa. During blossoming, the petals of the Correa Reflexa would slowly fold back towards the sepal. This dynamic movement is also shown on the leaves. Nevertheless, we also wanted to capture the fuzzy appearance of Correa Reflexa’s surface. In reflecting these features, we chose curtain as the dominant material with its softness and woolly-surfaced. The other part of our biomorphic structure is the columns, which is designed to be retractable.

Image 04: Top view of the physical model

Image 05: Detail of the Main Roof

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Image 01: Elevation of the physical model

Image 05: Detail of Correa Reflexa’s leaves. (n.d.). [Photograph]. Gardening With Angus. https://www.gardeningwithangus.com.au/correa-reflexa-native-fuchsia/

Main Roof The formation of the main roof is inspired by the leaves of Correa Reflexa, which fold back towards the stem and has the sensation of tensions. The overall wavy appearance is achieved by layers of plastic-like material that capture the density of Correa Reflexa’s leaves.

The materials are semi-transparent. When sunlight passes through, there would be exciting layers of tones due to the layer density. The experiences are various depending on the sun angles in different seasons.

Basic Pattern

Spaces Back of the House

Stage

Vantilations (Canopies)

Curtain Grid

Front of the House

Patterns of Correa Reflexa We design a pattern system that can be used to divide interior spaces and distribute canopies.

The basic tessellation patterns are mimic the structure of united sepals, which is symmetry.

By taking the biomorphic strategy in Orquideorama, we scale up the patterns into 10m x 10m grids so that the interior can be divided easily for various purposes.

The overall space arrangement is a typical ‘shoebox’ style performance space. The back of the house and stage would be fixed due to the number of required facilities whereas the front of the house is completely flexible.

The distribution of ventilation, also for the canopies, captured the pattern of the southern cross. We also considered the number of light sources needed when the interior is divided into smaller volumes.

The interior will be divided by curtains that used the same material as the canopies. That can move along the grid system on the ceiling.

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Physical model of the ceiling

Image 01: aerial view of the proposed site

Aerial Photomontage in Yves Brunier’s style Yves was a landscape architect who is known for his collages and drawings of landscapes.

His art was always tinged with violence, hostility, and unbearable impatience.

In my aerial photomontage for the proposed site, I painted the drawing with exaggerating colour pencil textures to represent the density of the existing plants. I also want to show the tension between the road boundaries and different areas of plants.

Image 02: Brunier, Y. (1990). Diverse Design Documents [Drawings]. Landscape Theory. https://landscapetheory1.wordpress.com/tag/yves-brunier/

Aerial photomontage 39

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Photographs of the physical model

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Esquisse 04

Contributor:Chukang Liang & Mijawi White Bear There are two parts in Esquisse 04. The first part is to produce a spatial relationships diagram. The second part is to produce a 3D coloured massing model of the volumes. We engaged with the client brief for the first time in Esquisse 04. The brief was simplified so we can get an overall understanding of the space requirements.

The Masterplan for Yokohama Proposing a complementary spectrum of activities that would maximise the location’s and infrastructure’s potential to produce a 24-hour “peak” composed of a mosaic of diverse 21st-century life. The idea is for a continuous and formless project that, like programmatic “lava,” engulfs the site. Three layers of public activity are adjusted to accommodate the broadest possible range of activities while requiring the least amount of permanent specification.

The main challenge for us was to apply the same strategy to our spatial diagram. The facilities that Yokohama Masterplan includes was diverse and highly predictable. In our project, most of the programmes are flexible and expected to change over time. It would be impossible for us to use a ‘24-hour’ based system. We developed the strategy a bit to show the relative usage of space according to other facilities instead of accurate time. For example, the Front of the House might expand when the stage is in use.

The layers we used for the spatial diagram can be divided into two parts. The solid colours represent the facilities for Archie Roach Music Hall and Reginald Saunders. The unsolid part represents the Banjo education facilities. We also used the overlapping colour and the organic shapes to indicate the occupying position of each individual spaces.

The next part is to transfer the relationship between programmes that we built upon the spatial diagram. This relationship guides us to locate the facilities for the project. We also considered some of the dynamic experiences we did from the last Esquisse.

Responsibilities Precedent Research, Concept design - Chukang Liang, Mijawi White Bear Spatial Diagram - Mijawi White Bear 3D modelling - Chukang Liang Isometric Diagram - Chukang Liang Bibliography - Yokohama Masterplan. (1991). OMA. https://www.oma.com/projects/yokohama-masterplan

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Image 01: Simplified Client Brief

Image 02: Yokohama Masterplan. (1991). [Masterplan]. OMA Office Work. https://www.oma.com/projects/yokohama-masterplan

43 Spaitial Diagram

Isometric Diagram

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Esquisse 05

Contributor:Chukang Liang & Mijawi White Bear Esquisse 05 inherited the spatial experiments and the relationship between facilities. In this Esquisse, we engaged with the traditional way of site management in aboriginal history, especially the mosaic burning techniques.

The mosaic burning uses flames that do not reach over 1m in height. It burns very slow, and the fire extinguishes straight after the grass is burned out. There are benefits of doing mosaic burning, such as encouraging native grass, reducing scrub/fuel for bushfires and promoting biodiversity.

Through research, we also found out that mosaic burning is best conducted during prevailing weather. For this reason, the knowledge of local wind forces became vital if we are going to conduct mosaic burning on our site. We produce a wind diagram which shows the wind forces in different period of time.

We proposed landscape management populating the same species of plant that grow in the Framlingham reserve. The plants are mainly Stringybarkk and Manna Gum. There are clearings for small pockets around uncle lennies house and riverbank with existing driveways for access.

The floor plan and section was inspired by the botanical drawings that we have from Esquisse 03. This experiment was about designing the interior first, also known as the ‘inside out’ technique. It gave us another perspective of considering functional requirements and organic shape at the same time. To visualise the concept, we did a collage by using the cutouts of botanical drawings. The collage was also influenced by the spatial experiences that we have from Esquisse 04. With the overall volumes that the collage visualised, we distributed the required spaces and the dynamic system into it.

Responsibilities Precedent Research, Concept design - Chukang Liang, Mijawi White Bear landscape - Mijawi White Bear Floor Plan - Chukang Liang Section - Chukang Liang Bibliography - Korff, J. C. S. (2021, January 2). Cool burns: Key to Aboriginal fire management. Creative Spirits. https://www.creativespirits.info/aboriginalculture/land/aboriginal-fire-management - Pascoe, B. (2018). Dark Emu: Aboriginal Australia and the birth of agriculture (Illustrated ed.). Scribe US. - Warrnambool Wind Forecast, VIC 3280 - WillyWeather. (n.d.). WillyWeather. Retrieved June 13, 2021, from https://wind.willyweather.com.au/vic/western-district/warrnambool. html

Image 01: Landscape Plan that shows the proposed planting

Image 02: Diagram of wind forces in different period of time

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Aerial Site Photomontage

Plants drawing collage 47

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Floor Plan

Section 49

Esquisse 06

Contributor:Chukang Liang & Jingchen Lin In Esquisse 06, we were investigating some of the most significant artworks by the aboriginal artist.

This investigation does include not only the visual artwork but also music. It is interesting to figure a way to transfer the feeling of hearing to architectural elements.

We watched a documentary called Putuparri and the Rainmakers. It is about the sacred relationship that exists between individuals and their surroundings. It takes viewers on an emotional and uncommon journey to meet the traditional rainmakers of Australia’s Great Sandy Desert. They have fought a twenty-year campaign to reclaim their ancestral territory.

We were also looking at the artwork of Vicki Couzens. Vicki is a multi-media artist and possum, cloak maker. Possum Cloak has traditionally been used to record tales and landscape/maps. Vicki’s art is known for preserving indigenous culture while also showing it in a modern context.

The assigned music for our group was the Marryuna by Baker Boy. Marryuna means ‘to dance’ and inviting people to dance with the singer. This music is very inviting by its lyrics and beats. Nevertheless, the music also shows the energy of youth and the inclusiveness of the aboriginal culture.

In order to transfer all these compelling cultural values, we have got from the investigation. We divided our task into two part, the dynamic devices and narratives. The didgeridoo inspires the shape of the dynamic device, which locates on top of the roof. It can be rolling and pulling the roof panels together to enclose the volume.

The narratives were taken from the rainmaking process that is shown in the Putuparri and the Rainmaker. The stage is representing the water dent, and roof panels are representing the clouds.

In terms of functional requirements for the stage, we studied the Berlin Philharmonic Concert Hall by Hans Scharoun in 1963. It was the first example of a vineyard style concert hall. A vineyard style is one in which the seating is arranged around the stage in serried rows to resemble the sloping terraces of a vineyard.

There are two performance spaces in our design, a shoebox style and a vineyard style. They are located against each other so that the back of the house can serve both stages simultaneously.

Responsibilities Precedent Research, Concept design - Chukang Liang, Jingchen Lin Physical Model - Chukang Liang, Jingchen Lin Diagrams - Chukang Liang Photomontage (Individual Work) - Chukang Liang Bibliography - Ma, N, (2015), Putuparri and the Rainmakers [Documentary], John Moore & Nicole Ma - Vicki Couzens | Australia Council. (2019, May 15). Australia Council for the Arts. https://www. australiacouncil.gov.au/arts-in-daily-life/artist-stories/vicki-couzens/ - Baker Boy. (2018, January 28). Marryuna - Baker Boy ft Yirrmal [Video]. YouTube. https://www. youtube.com/watch?v=afQcYH2nwoM - McLaughlin, M. (2017, October 26). Baker Boy lives up to the hype with anthemic sophomore single “Marryuna.” Purple Sneakers. https://purplesneakers.com.au/2017/10/listen-baker-boy-marryuna/ - Salazar, F. (2016, February 24). Berliner Philharmonie - Hans Scharoun. Slideshare. https://www. slideshare.net/CityLabSarasota/berliner-philharmonie-hans-scharoun 50

Rainmaking Process

Stage 1 - Find the water mark

Stage 2 - Dig down into the wet soil in where the water mark located

Stage 3 - The rainmaking dancing

The rain is coming

Marryuna - Baker Boy The song has successfully merged the traditional didgeridoo music patterns in RAP style, which shows the inclusiveness of aboriginal culture.

Possum Cloak - Vicki Couzens Two Possum Cloak examples by Vicki show preserving indigenous culture in a modern context. The mark of stitches highlight the traditional techniques, and the pattern and drawing embrace the abstract techniques of modern art.

Vineyard style - Berlin Philharmonic Concert Hall With considerations of acoustic and visual experiences, the vineyard style makes every seat great and equal.

Map drawing - Putuparri and the Rainmakers The Putuparri and the Rainmakers shows a process of the traditional way of mapping. The examples are presenting the way of recording water resources.

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Process of Stitching - Concept Sketches by Jingcheng Lin

Roof Panels The roof panels are representing the clouds during the rainmaking process. They are connected tgether by the cables.

Central Spiale The spiale is inspried by the didgeridoo. It can pull roof panels together to enclose the spaces. Then, when it is necessary to open up space, it loosens the cables so that the roof panels will slope down.

Roof transformation - YouTube Video https://www.youtube.com/watch?v=O4fcaVtVa5k

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Photographs of the physical model

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Ground Spaces

Roof Spaces

Stages

Back of the house

Seating

Front of the house/Flexible areas

Roof Spaces (Expanded) 55

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Photomontage of elevation in aboriginal style

Esquisse 07

Contributor:Chukang Liang & Phoebe Galileos In Esquisse 07, we focused on the mythologies and pre-colonial indigenous histories, specifically for the Warrnambool areas. The outcome of the research was then presented as a digital collage.

Our research started from the creator stories of Bunjil. Bunjil came from the sun and travel as an eagle. He turned into stars and making up the stars of the Southern Cross after he created the world. Bunjil’s spirit taught us to always welcome guests coming with a purpose and understanding the place.

The aboriginal nation in Warrnambool is Gunditjamara, also known as Dhauwurd Wurrung. The name of Warrnambool is originated from Mount Warrnambool (The volcano).

A long time ago, immigration from the north found out the first coastline they have seen near Point Ritchie. Research and studies have shown evidence that Point Richie is the oldest human activity site in Australia. For example, the burned stones along the beach and the scattering of broken shells that are found inland.

We also studied Iredale Pendershon Hook’s architecture for referencing how architecture dealing with aboriginal culture. We looked at mainly two precedents of Irredal, which are Yagan Square and Walumba Elders Centre.

Image 01: Bunjil, the creator who travel as an eagle. (n.d.). [Drawing]. Culture Victoria. https://cv.vic.gov.au/stories/aboriginal-culture/meerreeng-an-here-is-mycountry/bunjil/

Responsibilities Precedent Research, Concept design - Chukang Liang, Phoebe Galileos Collage - Chukang Liang Bibliography - Wark, S. (2021, June 14). Bunjil The Eagle [Video]. Vimeo. https://vimeo. com/97185996 - Warrnambool City. (2015, June 12). The Moyjil - Point Ritchie Story [Video]. YouTube. https://www.youtube.com/watch?v=S0M62pch-Bk - Howarth, D. (2021a, May 25). Iredale Pedersen Hook creates Walumba Elders Centre for flood-hit Australian aboriginal community. Dezeen. https://www.dezeen. com/2017/03/27/iredale-pedersen-hook-walumba-elders-centre-flood-hit-australian-aboriginal-community-architizer-awards/ - Yagan Square | Lyons. (n.d.). Archello. Retrieved June 14, 2021, from https://archello. com/project/yagan-square

Image 07: Courtyard of the Wakumba Elders Centre. (2017, March 27). [Photograph].

Dezeen. https://www.dezeen.com/2017/03/27/ iredale-pedersen-hook-walumba-elders-centre-flood-hit-australian-aboriginal-community-architizer-awards/ The wakumba Elders Centre has a significantly elevated ground to avoid flooding. The courtyard is allowing ceremonies that may involve fire and smoke. It is also playing with mico-landscape in the courtyard, acting as a focal point to bring back the community.

Image 02, 03 & 04: Point Ritchie. (2015, December 6). Warrnambool City.

[Screenshots]. Youtube. https://www.youtube.com/watch?v=S0M62pch-Bk The scattering of broken shells and the burned rock layer proof that Point Ritchie is the oldest human activity site.

The anicent volcanic activities provide fertile soil for diverse plants to grow.

The plants are resources for both food and medicine. As a result, the land attract our indigenous ancestors to live in here.

Image 05 & 06: Yagan Square. (2018). [Photograph]. Archello. https:// archello.com/project/yagan-square The Yagan Square is an ongoing ‘project’ of the city. Its goal is to heal and restore the conceptual and physical scars left by the continuous cycle of formation and erasure. The ‘site’ is both the unbounded city itself, the physical borders and surroundings of the subject site, as well as a site of live history and culture, a form of tale, inside such a notion of ‘the project.’ And via design, this story has to be shown, told. When wounds are acknowledged rather than glossed over, repair is generative; suffering may then be channelled into creative reclaim of space.

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Digital Collage

Esquisse 08

Contributor:Chukang Liang & Phoebe Galileos In Esquisse 08, we used our collage from Esquisse 07 to inspire an interior design for the Archie Roach Music Hall and the Reginald Saunders Outdoor Performance space. We also re-employ the relationship between two different types of the stage from Esquisse 06, in which the back of the house can serve both outdoor and indoor stage at the same time.

The design draws the creator story of Bunjil by allowing huge skylights on top of the building. We wanted to achieve an overall coastline atmosphere, which is inspired by the narratives of Point Ritchie with the rock layers as textures.

The concept was visualised by a set of drawings that include section and vignettes. The drawings show the imagination of the materialities of the rock and in combined with other artificial materials. We were also experimenting with the lighting within a grotto-like environment.

The drawings were mimic the comic style of Peter Cook’s. Peter Cook has been using cartoons to describe his intentions. The characters shown in his drawings are often express specific features of the project and things that would happen in the space. After all, architecture is about user’s experiences.

Responsibilities Precedent Research, Concept design - Chukang Liang, Phoebe Galileos Sections - Phoebe Galileos Vignettes - Chukang Liang

Image 01: Cook, P. (n.d.). Peter Cook’s interor drawing [Drawing]. MAS CONTEXT. https://www.mascontext.com/tag/peter-cook/

Bibliography - C, O. (2013). PETER COOK –. MAS CONTEXT. https://www.mascontext.com/tag/peter-cook/

Image 02: Cook, P. (n.d.). Peter Cook’s exterior drawing [Drawing]. MAS CONTEXT. https://www. mascontext.com/tag/peter-cook/

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Section

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Esquisse 09

Contributor:Chukang Liang & Yao Xiao During the journey of Esquisse 09, We went to the ACCA to see the Yhonnie Scarce ‘Missile Park’ Exhibition. Nourishing Terrains and R & Sie’s ‘I am lost in Paris’ house were acquired reading and architectural precedent for our group. The results were depicted in a series of diagrams.

Sculptural installations by Yhonnie Scarce range from architecturally sized public art projects to intimately scaled assemblages loaded with personal and cultural histories. Her integrative approach addresses the political character and aesthetic characteristics of glass and photography. Scarce’s work frequently refers to the ongoing repercussions of colonisation on Aboriginal people; in particular, her practices fucused on the impact of Aboriginal people being removed and relocated from their homelands, as well as the forceful separation of Aboriginal children from their families. Scarce’s work is centred on family history, and she uses the power of her ancestors to serve as a conduit, conveying their meaningful stories from the past.

We focused on chapter 5 of the Nourishing Terrains. It was mostly about aboriginal methods of controlling and protecting the environment, often known as the dreaming process. Aboriginal people have a special connection with the natural environment. Aboriginal people consider themselves to be a part of nature, and everything natural to be a part of ourselves. This is explained using dreaming concepts.

Most of the dreaming sites are located around the waters. We acknowledge that water is vital to indigenous cultures. Indigenous people tried to make the greatest use of the water by making their way from the driest locations with the most ephemeral waters to more well-watered areas with more permanent waters.

Well-being rituals can also be found in indigenous cultures. These ceremonies replenish the individuals of the species within the dreaming locations.

Roche’s idea of green building is shown in the ‘I’m Lost in Paris’ House. Nature, according to Roche, has two sides. On one side, it has become domesticated in our culture. on the other side, it shows some elements of terror and danger.

We also had an exercise of making design rules that can guide our design process. They were mainly inspired by the above investigations.

Responsibilities Precedent Research, Concept design - Chukang Liang, Yao Xiao Digrams - Yao Xiao Bibliography - Rose, D. B. & Australian Heritage Commission. (1996). Nourishing Terrains. Australian Heritage Commission.

Image 03: Weak in colour but strong in blood. (2014).

- Wiles, W. (2009, December 14). I’m Lost In Paris. ICON Magazine. https://www.iconeye.com/ Yhonnie Scarce. [Photograph] icon-075-september-2009/im-lost-in-paris - Pohl, E. B. (2019, October 24). I’m lost in Paris / R&Sie(n). ArchDaily. https://www.archdaily. com/12212/im-lost-in-paris-rsien - Slessor, C. (2020, July 16). “I’m Lost in Paris” House by R&Sie(n), Paris, France. Architectural Review. https://www.architectural-review.com/today/im-lost-in-paris-house-by-rsien-paris-france - Staff, W. (2009, February 6). ’Lost in Paris’ house, by R&Sie architects. Wallpaper*. https://www.wallpaper.com/architecture/lost-in-paris-house-by-rsie-architects - ACCA. (n.d.). Australian Centre for Contemporary Art. Retrieved June 14, 2021, from https://acca.melbourne/exhibition/yhonnie-scarce-missile-park/ - National Gallery of Victoria. (2021). National Gallery of Victoria: Yhonnie Scarce NGV Architecture Commission | This Is No Fantasy. https://thisisnofantasy.com/exhibition/national-gallery-of-victoria-yhonnie-scarce-ngv-architecture-commission/

Yhonnie Scarce

Image 01: Yhonnie Svarce. (n.d.). [Photograph]. The National New Australian Art. https://www.the-national. com.au/artists/yhonnie-scarce/death-zephyr/

Image 02: Florey and Fanny. (2012).

Yhonnie Scarce. [Photograph]

Image 04: Blood on the wattle. (2013).

Yhonnie Scarce. [Photograph]

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SANCTURARY ---Many Dreaming sites (Described in Chapter 3) are located in areas which the particular species is prevalent. Dreaming sites are located near fresh water, and the fresh water is understood to be the final resting place of deceased members of the clan.

Chapter 5 of Nourishing Terrains

Aboriginals have a special connection with everything that is natural.

Aboriginals see themselves as part of nature.

---‘When the blacks went the fish went:’ meaning that the habit of preserving the wild was destitute in the ordinary white settler. Beside the fish, where there were deep valleys, running water and much timber, the natives invariably set aside some parts to remain as breeding-places or animal sanctuaries.

WATERS OF LIFE

---Indigenous people attempted to use the water to best advantage by working from the most arid places with the most ephemeral waters in toward the more well-watered areas with more permanent waters ------The use of the water by the indigenous people is very different from the use by the European settlers.

DANGER Indigenous peoples try to maximize the use of water by moving from the driest place with the least amount of water to the place with more water and longer water levels. (The most abundant ---Dangerous places must not be damaged. The fact that they exist all over Australia has, for those and reliable source of water may also be where animals and plants are protected. In arid Australia, who respect these matters, the social effect of ensuring that strangers whose intentions are water is the life of all people, not just human life.) honest will consult with owners rather than go stumbling around blind, bumping into things.

---Sacred sites are protected. No hunting, fishing, gathering or burning can take place within prescribed boundaries. These sites are often the sites for nesting or breeding

SEASONS OF THE PLACE ---The climates of Australia vary greatly, and the only thing that is certain over much of Australia is the massive unpredictability.

‘I’m Lost in Paris’ House by R&Sie In a Parisian courtyard

---Australian climate is greatly and unpredictable. The boundaries between seasons are not clear.

However, the seasons can be tell based on the knowledge of the land and the relationships between living beings.

Hidden in a courtyard in an undisclosed location, the house is swathed in ferns, hiding it like a birdwatcher’s lookout. Amid the greenery are bulbous glass vessels, the project’s strange ecological edge – a bacteria farm.

The interior and exterior of the building are full of contrasts, but they also influence each other

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All the collecting glasses were made by a crafty technique, called Glassblowing. This is a glassforming technique that involves inflating the molten glass into a bubble, or parison, with the aid of the blowpipe, or blow tube.

---‘when the old woman puts on her possum skin rug, rain will come

300 glass beakers "blowing" components for bacterial culture / extra light through refraction / "Rear windows" negotiation with the neighbourhood opposite views on closed courtyard.

RULES BASED ON RESEARCH

The design should reflect changes in the water and surrounding environment

The design should respect all the natures and knowledges of that site.

The design should avoid any damages on the land and sacred sites

The design should take full advantage of the surrounding environment

The design should consider the natural aspects of that site from both domestication area and dangerous area 65

Esquisse 10

Contributor:Chukang Liang & Yao Xiao In Esquisse 10 developes the ourcomes from Esquisse 09. Our project for Esquisse 09 employs the design rules and the strategies that we learnt from the precedents. We also bought back some of the space experiments from previous Esquisses.

The site has a gully where we guess the water from the Hopkins River would fill in during particular seasons, which have been confirmed wrong during the field trip. In response to our rules, we distributed our massing near the gully. It aims to maintain the landscape textures and replenish the plants of the site. The project also captures the ephemeral aspects of the water by changing the use of space along with the water seasons.

Responsibilities Precedent Research, Concept design - Chukang Liang, Yao Xiao Physical Model - Chukang Liang, Yao Xiao 3D Model - Chukang Liang Diagrams - Chukang Liang

PROPOSED BUILDINGS Hopkins River

SITE PLAN 1:2000

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Concept Diagram There were two plans for using the spaces to react with the waters. Both plans will allow the usage of the gully bed. However, the first plan includes a gateway that closed up when water filled in the gully. The second plan allows the water to fill in the basement, which creates a temporary pool for the ground floor. We chose the first plan due to the difficulty of maintenance.

3D model

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Floor Plan

Physical Model

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Roof Garden

Basement

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Field trip

From April 10th to 12th 2021 The site that we engaged with is located in Framlingham, which is in the western district of Victoria. The site borders Framlingham Forest Road and Kirrae Avenue. It took about 3 hours from Melbourne CBD to the site by vehicles.

Our jounery with Uncle Lenny allow us spend time deep listenning and walking around the site. Most importantly, we were able to communicate with Uncle Lenny and the memebers of the Kirrae Whurrong community face to face.

Special Thanks to - Leonard Clark - Brett Clark - Pat - Kirrae - Lurpeen - Christine Phillips - Stasinos Mantzis

Uncle Lenny (Leonard Clark)

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Day 01

We arrived in the late afternoon.

Uncle Lenny and Brett welcome us with welcome to country ceremony. A Welcome to Country ceremony is a ritual in which a Traditional Custodian or other representatives from the local region greets visitors to their country.

We had a nice barbeque dinner. Everyone was happy and chatting around the fire. Uncle Lenny shared lots of stories about his family, which are sad. However, Lenny was able to tell them quite calmly. I saw the emotions through his eyes. It was not hatred but forgiveness of mankind acting with ignorant.

It was raining the whole day. The wind was strong. Surprisingly, the fire of the yarning circle was able to stand there for the whole night. I remember seeing the flame burning inside the darkness and feeling the heat in the distance. I wonder if anything can put out the fire. Maybe it will only be the time.

Image 01&02: Welcome to Country Ceremony

Image 06: Dinner time

Image 07&08: Paintings in the kitchen.

Image 04&05: The yarning circle in the rains Image 03: me finished setting up tent

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Framlingham Forest Road

Day 02

Uncle Lenny show us around the site with buoyant enthusiasm. We spent the whole day taking notes of what we see and hear.

Dents that collect waters

Groups of shrub islands in the middle of the site

Camping site

Meet a kangaroo near the gully

Cemetry where Uncle Lenny’s family lay in peace

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Day 03

On the last day, we wave farewell to Uncle Lenny and all the friends we met. Then, we went to the Hopkins Fall and Mount Leura. The views are amazing!

I noticed that the properties occupied by man have very artificial boundaries, whereas the natural has organic shapes.

It reminds me of Roche’s idea of the contrast between the domesticated and psycho-repulsed side of nature.

Ancient volcanic activities form the Hopkins River

Hopkins Falls

Views from the top of Mount Leura

Volcanic Rock near the river

An explosive landscape

The site form by volcanic activties

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Group Photo near Hopkins Falls

Esquisse 11

Contributor:Chukang Liang & Beatrice Cairns Esquisse 11 is to produce a mixed media map that is influenced by the concept of ‘psychogeography’. Psychogeography is a map style that proposes reimagining of the city. It has origins in Dadaism and Surrealism, two art movements that sought ways of releasing the subconscious imagination. A similar concept can be seen in traditional, Australian indigenous practice, which is also known as’ songlines’. Songlines is a practice of singing and dancing through the landscape to link different locations as a kind of navigation device and cultural practice.

The concept of a ‘country’ is never separated from both notions of the human world and the environment, whereas the western concept is impersonal. Indigenous knowledge has traditionally been communicated through performative practices such as story, dance and song. Deep listening starts with the exchange of stories and the ability for each group to place themselves in the other’s narrative. It’s a lengthy process that necessitates patience. In conclusion, the ‘country’ is both a way of knowing the world and of being part of it.

Our mixed media map took the strategy of psychogeography, which aims to enlarge our subconscious mind. The context is based on the yarning experiences and stories from the fieldtrip.Our map starts from the fire pit, which is the place where we gathered and shared stories. The fire casts the smoke that flows and starts our journey of dreaming and deep listening. The stories were abstracted into traditional symbols and grew from the smoke path. We also took the idea of non-linear story telling.

As a result, the map is able to be read in both ways and upside down. The symbols are able to be reconstructed into new stories with fresh imagination.

Responsibilities Precedent Research, Concept design - Chukang Liang, Beatrice Cairns Mateirals - Chukang Liang, Beatrice Cairns Painting - Chukang Liang, Beatrice Cairns

Image 01: Pssume Colark, photo taken from First People Exhibition in the Melbourne Museum.

Image 02: Traditional Symbols on Rock Surface, photo taken from the Melbourne Museum.

Image 03: Tristram Hillier, La Route des Alpes.

(1937). [Painting]. https://www.tate.org.uk/art/artterms/p/psychogeography

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Drawing map - Chukang Liang & Beatrice Cairns

Reflection It is definitely challenging to distribute such rich context that I have experienced during the past few months. For the first half-semester, we were carrying architectural exercises, which we called the Esquisses. The Esquisses cover contents ranged from knowledge of indigenous cultures and history to different architectural skills. For the second half of the semester, we were working in pairs and focused on the development of our final project.

Throughout the semester, there is a large amount of group work. We were experiencing communication challenges, especially when it was Covidlockdown, for the last few weeks. However, we also sum up the experiences simultaneously to build up a better system for group communication in the future.

The studio was working with an actual client, Leonard Clark. We are grateful to work with the Kirrae Whurroung community and engaged with the indigenous society. We were also experimenting with a regional architectural model that forms out of the connections with the indigenous culture and nature.

The model is mainly inspired by Gaudi’s work and merges parametric design techniques. I believe I will continue to carry on this experiment in future practices.

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