On Country: Framlingham, Sem 1, 2021: Byron Watson

ON COUNTRY FRAMLINGHAM 3.0 BYRON WATSON S3784338 DESIGN LEVEL 4 CHRISTINE PHILLIPS & STASINOS MANZTIS

ACKNOWLEDGEMENT OF COUNTRY I WOULD LIKE TO ACKNOWLEDGE THE PEOPLE OF THE BUN WURRUNG AND WOI WURRING LANGUAGE GROUPS ON WHOS LAND I STUDY, LIVE AND WORK. I WOULD ALSO LIKE TO THANK THE GUNDITIMARA PEOPLE OF THE KIRRAE WURRONG LANGUAGE GROUP ON WHOS LAND I PROPOSE MY WORK AND WHICH I HAD THE OPPORTUNITY TO STUDY ON. I WOULD LIKE TO PAY MY RESPECTS TO ELDERS PAST PRESENT AND EMERGING AND I WOULD LIKE TO THANK UNCLE LENNY AND HIS FAMILY FOR WELCOMING ME ON SITE AND TEACHING ME THE INCREDIBLE THINGS I LEARNED WHILE THERE.

THE SHARA CLARKE ABORIGINAL CULTURAL & EDUCATION CENTRE

AIRPORT

FRAMLINGHAM FOREST

SHARA CLARKE CULTURAL & EDUCATION CENTRE FRAMLINGHAM FOREST RD

Byron Watson & Jeremy Salter AIRPORT ROUTE

PROPOSED CAMP

C174

Philosophy for design

0 05 10

HOPKINS RIVER

Ignited by the ongoing injustices against Aboriginal nations and a strong desire to keep Indigenous youth out of incarceration, embedded on the traditional lands of the Kirrae Whurrong people of the Gunditjmara nation, lies our proposal for The Shara Clarke Cultural and Educational Centre. Inspired by the strong symbiotic relationship between the rst nations’ people and their connection to country, the Shara Clarke Cultural and Education Centre attempts to extend the country and connection between its inhabitants and their ancestor lands. The design intends to help facilitate a strong bond and relationship between the land, environment, and cultural kno wledge for all that utilise the centre. The design represents a cycle of growth and regrowth with a sense of permanence and impermanence through its expandable and modular programs. Like re sweeping over the landscape fueled by the overgrowth, enhancing ecological diversity allows new opportunity. The users who enter the building fueled with an open mind and curiosity; they can then leave the landscape with new knowledge and opportunity.

HOPKINS FALLS

PROPOSED NEW ROUTE

RECOMMENDED ROUTE B120

A1

SHERWOOD PARK STATION WARRNAMBOOL DEAKIN UNI RAILWAY

PORT FAIRY 28.5km

C167

SOUTHERN OCEAN GEELONG 180km

NURSERY & COMMERCIAL GARDEN

FRAMLINGHAM FOREST TREE TOP WALK

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AM

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NG

HA

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FO

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ST

RD

1KM

BANJO CLARKE VILLAGE

SHARA CLARKE CULTURAL & EDUCATION CENTRE

REGINALD SAUNDERS THEATRE

WETLANDS CE

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RESTAURANT & GARDENS

RO AD

ARCHIE ROACH THEATRE CARETAKER HOUSE & SHED

ENTRY

LONG STAY PARKING

KIRRAE AVE

WEAVING GRASSES

WELCOMING CEREMONIES

PRIVATE CEMETERY

ARTISTS RESIDENCIES

SHORT STAY PARKING PUBLIC CEMETERY

THE SHED

RIVER BOARDWALK & VIEWING PLATFORM

HOPKINS RIVER

UNCLE LENNY’S HOUSE

NEIGHBOURING FARM CAMPING GROUNDS

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400M

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40M

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Reginald Saunders Theatre 2.

Loading dock / Transfer 3,4.

Common toilets 5.

Stores 6.

Green room 7.

Stage/Lighting workshop 8.

Sound/Video/Electronics workshop 9.

Costume repair 10.

Seating wagon store 11.

Orchestra pit 12.

Stage lift 13,16. Dressing rooms/Ensuits 14,15. Star dressing rooms 17.

Common/MUA/Production office 18.

Tech office/First aid

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Wecoming Ceremo-

Sick room Stair Seating Bar store

Temp theatre Box office General Office Bollard store Office store Female WC Art Store Male WC Chefs office Commercial Kitch Archi Roach Theatre

Bar Managers office Cloak room Reginald Saunders Theatre

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Gallery Stair Restaurant seating Banjo Clarke Village Archie Roach TheWelcoming Ceremo-

WELCOME TO COUNTRY CEREMONY SPACE

CENTRAL OCULUS SPACE

INSPIRED BY THE FORM OF THE SILVER BANKSIA SEED POD THE LARGE STRUCTURE WELCOMES GUESTS TO THE BUILDING AND SITE AS WELCOME TO COUNTRY AND SMOKING CEREMONIES CAN BE PERFORMED IN THE MULTIPURPOSE STAGE/FIREPIT AREA WITHIN. THE BRUGHT COPPER MATERIAL WAS CHOSEN FOR THE FORM TO HIGHLIGHT THE ELEMNT OF TIME AS WE ENVISION OUR BUILDING TO BE THE STARTING POINT FOR TH EPROJECT AND IT CONTINUING TO BUILD AND GROW FOR DECADES AFTER ITS INITIAL COMPLETION WE WNATED THE CEREMONY SPACE TO HOLD ONTO THAT AGE.

INSPIRED BY THE BASALT COLUMNS OF THE WESTERN V MOB THE CENTRAL FORM OF THE FRONT OF HOUSE SPA RATHER THAN BEING TREATED AS A SINGLE ENTITY OR COLUMNS AREOUND IT, EACH PIECE IS VITAL TO THE EN IS VITAL. THE CENTRAL OCULUS CONNECTS TO THE SKY YARN UNDER THE STARS.

VOLCANIC DISTRICT ASWELL AS THE CONNECTION TO ACE IS MADE OF A COLLECTION OF BASALT COLUMNS, PIECE EACH COLUMN RELYS ON AND SUPPORTS THE NTIRE STRUCTRUE JUST AS EACH MEMBER OF MOB Y, STARS AND BUNJIL AS PATRONS MAY GATHER AND

BANJO CLARKE OUR BANJO CLARKE EDUCATIONAL FACILITY BUILDS FORM OUR USE OF THE SCAFFOLDING, AS THE KIT OF PATS AND SCAFFOLDING COME TOGETHER USERS MAY USE EAHC PIECE TO CREATE A SPACE THAT IS MOST NEEDED FOR THE CLASS/ WORKSHOP BEING RUN AT THE TIME. WE ENVISION THE SCAFFOLDING AND STRUCTURES TO BUILD OUT INTO THE FIELD AND ONTOP OF THE CENTRE, CREATING A VILLAGE OF KNOWLEDGE AND CULTURE THAT IS EVER SHIFTING AND GROWING.

ARCHIE ROACH HALL

ARCHIE ROACH HALL

INSPIRED BY THE LANDSCAPE OF THE SITE TO THE EAST OF THE OPEN FIELD WE WERE INSPIRED BY THE VIEWS OVERLOOKING THE HOPKINS RIVER INTO THE GULLY, WE WANTED TO HIGHLIGHT THESE INCREDIBLE VIEWS THROUGH THE ARCHITECTURE BY PLACING THE VERY BACK OF THE ARCHIE ROACH STAGE AT THE PEAK OF THE GULLY LOOKING DOWN INTO IT AND THE RIVER BELOW. THE BACK WALL FEATURES A FLOOR TO CEILING WINDOW FRAMING THE LANDSCAPE. WE WANTED TO RECONTEXTUALISE EVERY PORFORMANCE THAT HAPPENED IN THE ARCHIE ROACH HALL BACK TO KIRRAEWURRONG COUNTRY AND THE BEAUTIFUL LANDSCAPE THATY SURROUND THE BUILDING.

INSPIRED BY THE ROCK FORMATION OF THE WESTERN PANELS TO MIMIC THE STRUCTURE OF THE BASALT COL FORM OF POINT RICHIE, AS THE STONE ONE EITHER SID PATRONS, ECHOEING THE STORIES AND SONGS OF THE BEHIND THIS PANELLING ARE TH EWALKWAYS AND EQU STAGE THE OPENNES AND CLEAR VIEW.

VOLCANIC DISTRICT, WE MODELLED THE INTERIOR LUMNS, THE FINAL RESULT IS REMINISCENT OF THE DE HELP TO GUIDE AND FRAME THE SPACE FOR THE E SPACE AROUND THEM. WHAT OCCUPIES THE SPOACE IPMENT FOIR BACK OF HOUSE IN ORDER TO GIVE THE

EXHIBITION SPACE RATHER THAN HAVING NA STARK WHITE ROOM WITH HUMIDITY AND LIGHT CONTROLS THE EXHIBITION SPACE OF THE SHARA CLARKE CULTURAL AND EDUCATIONAL CENTRE IS COMPLETLEY OPEN ON THE TOP LEVEL OF THE OCULUS, WITH THE CENTRAL OPENING CONNECTIING THE SPACE TO THE SKY AND STARS AS WELL AS THE CAVE STRUCTURES DOWN BELOW THE OPENINGS SURROUNDIGN THE SPACE GIVE CLEAR VIEWS OUT TO ALL ANGLES OF THE SITE. EACH INSTILLATION IS RECONTEXTUALISED AGAISNT THE BACKDROP OF THE FRAMLINGHAM FOREST OR TO UNLE LENYS COTTAGE AS IT HIGHLIGHTS KIRRAEWURRONG COUNTRY.

DEVELOPEMENT AND DESIGN PROCESS

BYRON WATSON & JEREMY SALTER

DEVELOPEMENT AND DESIGN PROCESS

BYRON WATSON & JEREMY SALTER

DEVELOPMENT DEVELOPING THE FORM FROM A RIGID AND GEOMETRIC ONE TO ONE THAT MIMICS THE FORM OF MOUNT NOURAT. WEW WANT TO CREAT A BUILDING THAT LOOKS AS IF IT HAS RISEN OUT OF THE EARTH.

DEVELOPMENT DEVELOPMENT OF CONCEPT TIMELINE, FIG 1 IS THE CREATION OF THE VOLCANO ON THE SITE. FIG 2 IS THE SCAFFOLDING AND CLASSES (WILDLIFE) NOURISHED BY THE VOLCANO GROWING AROUND IT FLOURISHING. FIG 3 IS THESPREADING OF KNOWLEDGE (SEEDS) THROUGH THE PATRONS THAT VISIT AND LEARN AS IT IS CARRIED WITH THEM AND IS ABLE TO SPREAD OUT AND AFFEC TTHEIR WORK.

DEVELOPMENT SKETCHING IDEAS OF MODULAR CLASSROOM COMPONENTS THAT CAN BE COMBINED WITHT HE SCAFOLDING TO CREATE UNIQUE AND DYNAMIC LEARNING ENVIRNOMENTS BASED ON THE NEEDS OF THE CLASSES AND WORKSHOPS. PLAYING WITH IDEAS OF THE COMPONENTS BEING INSPIRED BY THE PLANT PRECENDENTS, AS THE PLANTS ARE NOURISHED BY THE SOIL THE CLASSES ARE NOURISHED

BY THE CENTRE AND RTHE RESOURCES IT PROVIDES.

ESQUISSE 1

BYRON WATSON

Wergaia

Yorta Yorta

Baraba Baraba

Waveroo Jardwadjali

Nguraiilam Wurrung

Dja Dja Wurrung (Jaara)

Daung Wurrung Djab Wurrung

Dhauwwurd Wurrung (Gunditjmara)

Watha Wurrung

Woi Wurrung (Wurundjeri) Gunai (Kurnai)

Gulidjan

Girai Wurrung

Gadubanud Bun Wurrung Djargurd Wurrung

Midjer

Basket Date: circa 1869 Clan: Wemba Wemba Location: Swan Hill, Victoria Materials: Widging-nee (sedge Grass) The Midjer was used to carry eggs of the lowan (Mallee Fowl). Knowledge and use was passed down between generations.

Neilloan is the ancestral Mallee Fowl and the creater of all the Mallee Fowl. She is found in the night sky and the Wemba Wemba People look to her to know when they should collect the Lowan eggs.

WhenNeilloan appears in the sky in April they knew the Lowan would be proeparing their nests and when she leaves in late September, early October, it is time to collect the eggs. this knowledge ensured a valuyable food source each season as each nest contaisn 20 eggs.

Thur-ruk

Spear Thrower Date: circa 1888 Clan: Dja Dja Wurrung Location: Avoca, Victoria Materials: Ballee (Cherry Wood) The Thur-ruk enabled a spear to be thrown a great distance with greater precision. with the right hand drawn backwards over the shoulder, a man cvould kill a kangaroo form a distance of 70m. men were very careful with their thur-ruk, whe one wa broken the body was kept and a new hook was fitted to it, using kangaroo-tail sinew covered in resin or gum. the new hook would be made of bone or wood. like many implements made by victorian men, they had elaborate designs etched into the front, back and handle

FINAL OUTCOME THE FINAL OUTCOME SWAS A COLLECTION OF SHELTERS FOR CAMPING AND GATHERING WITH A CENTRAL OPEN AIR SPACE. THE SHARP FORM OF THE SHELTERS WAS INFORMED BY THE SHAPE OF THE THUR-RUK ARRANGED IN A WAY IN WHICH THE SPEAR THROWERS WOULD BE LEANING ON AND SUPPORTING ONE ANOTHER IN AN INFINITE LOOP. ONE OF THEW INSTILLATIONS THAT STOOD OUT TO ME IN THE GALLERY WAS THE ‘GENERATIONS’ INSTALLATION, A 360 VIDEO AND AUDIO EXPERIENCE IN WHICH 1ST NATIONS PEOPLE OF ALL AGES WOULD TELL THEIR EXPERIENCES OF WHAT TI WQAS LIKE TO BE A PART OF THEIR COMMUNITY. THE CONTINUAL PASSING DOWN OF KNOWLEDGE THROUGH THE EGNERATIONS AND RELIANCE ON EACH MEMBER OF THE COMMUNITY TO SUPPORT ONE ANOTHER WAS WHAT INSPIRED THE FORMATION ONF THE SHELTERS IN MY FINAL OUTOCME. THE CENTRAL OPEN AIR SPACE WAS INSPIRED BY THE MIDJER, I ENVISIONED THE SPACE BEING USED TO TEACH YOUNGER GENERATIONS KNOWLEDGE OF THE SEASONS AND ASTROLOGY UNDER THE NIGHT SKY WITH THE WALL OF SHARP SHELTERS PROTECTING THOSE IN THE CENTRAL SPACE AS THE BASKET PROTECTS THE FRAGILE EGGS INSIDE. WHILE COMPLETING THE MAPPING ELEMENT OF THE FIRST TASK I FOUND OUT THAT THE RIVER WHICH I LIVE 5 MINUTES FROM DIVIDED THE WADAWURRUNG, WOIWORUNG AND BOONWURRUNG NATIONS. EACH OCCUPYING AN ELEMENT DIVIDED BY THE RIVER, THE OPEN FIELDS, RED EARTH AND MARSH LAND RESPECTIVELY. WICH HELPED ME PLACE MYSELF ON THE LANGUAGE MAP, SOUTH WEST OF THE RIVER AND WITHIN WOIWURRUNG COUNTRY.

ESQUISSE 2 & 3

BYRON WATSON & CHUKANG LIANG

ESQUISSE 2&3

BYRON WATSON & CHUKANG LIANG

Interior Space

ESQUISSE 4

BYRON WATSON & GEORDAN ENNIS-THOMAS

REGINALD SAUNDERS SEATING

REGINALD SAUNDERS STAGE

BACK OF HOUSE ARCHIE ROACH SEATING

ARCHIE ROACH STAGE

FRONT OF HOUSE RESTURANT

MULTIPURPOSE ABORIGINAL ART & CULTURE ROOMS

SMALLER TEACHING ROOMS GATHERING SPACE

STORE ROOMS

BOARD ROOM

CULTURAL KNOWLEDGE SPACE

COMMERCIAL/SHOP

FINAL OUTCOME THINKING ABOUT ZONING AND THE WAYS IN WHICH PROGRAMS WILL BE ABLE TO BELEND AND BLEED WOTHOIN OUR BUILDING THROUGH THE WAY IN WHICH PEOPLE WILL INTERACT WITH IT WE ARRANGED OUR SPACES INTO THE 3 KEY SPACES WITH A CONNECTING ‘CREATORS COURTYARD’ PLACED BETWEEN THE BANJO CLARKE EDUCATIONAL FACI;LITY AND THE ARCHIE ROACH HALL. GEORDAN AND I ENVISIONED CLASSES BEING ABLE TO OPEN UP INTO THE COURTYARD, INSPIRING STUDENTS WITH THE SOUNDS THAT COME FROM THE ARCHIE ROACH HALL AND THE ARTWORK COMING OUT OF THE EXHIBITION SPACE. AS WELL AS FACING THE REGINALD SAUNCERS CANOPY TO THE NORTH OF THE SITE GIVING IT THE SPACE TO EXPAND IF NEEDS BE.

GALLERY

RADIO STUDIOS

ESQUISSE 5

BYRON WATSON & GEORDAN ENNIS-THOMAS

FINAL OUTCOME INSPIRED BY THE SILVER BANKSIA SEED POD FROM THE WEEKS PRIOR GEORDAN AND I THOUGHT ABOUT SCALE AND HOW WE COULD REPURPOSE THE SHELL OF SEEDS AT DIFFERENT SCALED THROUGH THE BUILDING FOR DIFFERENT FUNCTION. ON THE LARGEST SCALE WE EVNVISIONED THE CANOPY BEING MADE OF 3 LARGE SHELLS IN A FORM REMINISCENT OF THE SIDNEY MYERS MUSCI BOWL, ON THE SECOND LARGEST SCALE THEY WOULD BE USED AS BALCONIES AND OPEN UP THE BUILDING TO THE BEAUTIFUL VIEWS SURROUNDING THE BUILDING. ON THE SMALLER SCALE THEY WERE USED AS SKYLIGHTS AND SEATING TO ALLOW LIGHT INTO THE THIS WEEK ONE OF THE PRECENDENTS WE HAD TO LOOK AT WAS WISDOM MAN AND WE EWANTED TO CARRY THROUGH FROM IT UNCLE BANJO CLARKE’S APPRECIATION FOR THE SUNSET AND VIEWS FROM THE SITE, WE THROUGHT THE BEST WAY TO DO THIS WAS TO PUNCTURE THE SKINOF THRE BUILDING WITH BALCONIES AND SKY LIGHTS.

ESQUISSE 6

BYRON WATSON & ZOE BRAYBROOK

VICKI COUzENS’ YANMEEYARR

`FRANK GEHRY’S WALT DISNEY CONCERT HALL THELMA PLUM’S SONG ‘BETTER IN BLACK’ Do you know what it feels like?

To get calls in the middle of the night?

Saying you’re not worth it, you deserve it Go on, have another drink Do you know what it feels like?

To get stuck in the middle of a fight?

Screaming you’re not worth it, you deserve it Go on, have another drink But if I just keep quiet I’ll be the one who’s lying too Why should I keep hiding, always crying?

Tell me what did I do?

You took the colour from me, darling, I’ll get it back You took the colour from me, but I look better in black If I knew what I know now, maybe I would take it back But fuck that, I look better in black

FINAL OUTCOME WHILE RESEARCHING THE PRECEDENTS ZOE AND I FOUND AN INTERVIEW WITH PLUM IN WHICH SHE SPEAKS ABOUT PERSPECTIVE AND THE WAY IN WHICH SHE TAKES THINGS IN HER LIFE THAT ARE UGLY AND PAINFUL AND GIVES THEM NEW BEAUTY THROGH HER MUSIC. USING THIS SENTIMENT AS WELL AS THE FLOWING YET JAGGED NATURE OF FRANK GEHRY’S ARCHITECTURE IN HIS WALT DISNEY CONCERT HALL, WE USED SOMETHING WE BOTH CONSIDERED TRASH, SRCNHED UP PAPER AND USED IT TO INFORM THE FORM OF THE CANOPY. WITH A SERIES OF ARMS THAT WOULD BE ABLE TO BLOOM AND OPEN OUT TO PROVIDE MORE SPACE AND SEATING FOR PATRONS. THE COLOURS AND LIGHTING QUALITY WAS INFORMED BY VICKI COUZEN’S INSTILATION “YANMEEYAR”, WE ENVISION SHADOWS CAST FROM PERFORMERS AROUND FIRES UNDER THE CANOPY TO BE DISTORTED AND WARPED AGAINST THE TEXTURE OF THE CANOPY AS IT BLOOMS AND CLOSES.

ESQUISSE 7

BYRON WATSON & SIYUAN YANG

GRANDE PRAIRIE REGIONAL COLLEGE Mount Arapiles

Wannon Falls

Mount Elephant

Lal Lal Gorge

ESQUISSE 8

BYRON WATSON & SIYUAN YANG

Intermissions only 30 minutes but this line looks like it’ll take 40 . . .

ESQUISSE 9

BYRON WATSON & ALANNAH DAVIS

Antupit (who was also responsible for the annotated invoice from the hospital) crafted this superb double-page spread, linking 21 small images from various sources to the mural at center. This design both isolates detail and places it in context.

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RULES FOR ARCHITECTURE

Roy Lichtenstein: Mural with Blue Brushstroke, essay by Calvin Tomkins, photographs and interview by Bob Adelman (New York, 1988), pp. 30-31.

ENVISIONING INFORMATION

EDWARD TUFTE ENVISIONING INFORMATION

ESQUISSE 10

BYRON WATSON & ALANNAH DAVIS

RULES FOR ARCHITECTURE

FINAL OUTCOME

1. SPACES THAT BLEND AND BLEED TOGETHER LIKE THE WILDERNESS. 2. HIGHLIGHT AND BRING IN THE SURROUNDING LANDSCAPE. 3. INCORPORATE SONG “RAINBOW SNAKE CUT OPEN GROUND” 4. LIGHTING ACTING AS A NAVIGATIONAL TOOL TO DIRECT PEOPLE TO THE DESIRED SUBJECT. 5. PAYS RESPECT TO “IMPRINT OF SACRED CREATION” AND BRINGS REFERENCE FROM PAST USE OF LAND. 6. EMPHASIS ON GATHERING AND SUPPORT, HOW PEOPLE INTERACT IN THE SPACE.

BASED ON THE RULES THAT WE GAVE OUR ARCHITECTURE, ALANNAH AND I DESIGNED THEW SHARA CLARKE EDUCATIONAL AND CULTURAL CENTRE TO BE A MOSTLY OUTDOOR SPACE, AVOIDING “HARD SHAPCES” OR DEFINED SPACES BUT RATHER LETTING LANDSCAPE AND WILDLIFE INFOMR OUR FORMS AND LETTING SPACES BLEND AND BLEED INTO ONE ANOTHER . THE 3 KEY ELEMENTS OF SITE WE PUT INTO OUT BUILDING WAS THE WATER, LAND AND SKY, REFERENCING THE HOPKINS RIVER, WESTERN VOLCANIC DISTREICT ANDFRAMLINGHAM FOREST RESPECTIVELY. EACH SPACE WAS GIVEN AN ELEMNT DEPENDING ON THE FEATER IT FACED OUT TO FROM SITE, THE FORNT OF HOUSE AND GALLERY SPACE WAS INFORMED BY THE HOPKINS RIVER WITH THE PLAN BEING A TREACING OF THE RIVER FROM TOP VIEW, WE ENVISIONED THE GALLERY TO FLOW AND BEND WITH THE BENDSOF THE RIVER GIVING AN ADDED ALEMENT TO THE EXPERIENCE OF WALKING THROUGH A GALLERY SPACE ADN AS YOU WALK TOWARDS THE EAST SMALLER POOLS BRANCH OUT FORM THE RIVER, BEING THE TEACHING SPACES ASD KNOWLEDGE AND CULTURE FLOW OFF FROM THE MAIN RIVER AND POOL WHERRE THEY CAN NURTURE AND EDUCATE FUTURE GENERATIONS. SOME OF THE TEACHING SPACES BRANCH OFF IN THE “MARSHLANDS” BRIDGING THE RIVER AND FOREST AS WE START TO SEE THE CANOPY ISNPRED BY THJE GUMS IN THE FRAMLINGHAM FOREST. WE WANTED TO CRREATE A CANOPY THAT WAS A COLLECTION OF SMALLER STRUCTURES EACH WITH THE ABILITY TO ILLUMINTATE THE SPACE, PROVIDE SHADING FORM THE WEATHER AND COLLECT RAINWATER. AS YOU WALK THROUGH THE ARCHIE ROACH FOREST TOWARDS TH ENORTH THE CANOPY STRUCTURES GET LARGER AND TALLER BEFORE REACHING THE SHARED STAGE BETWEEN THE REGINALD SAUNDERS TERRAIN AND ARCHIE ROACH FOREST. TO THE WEST OF THE STAGE IS THE TERRAIN INSPIRED BY THE 2012 SERPANTINE PAVILLION BY HERZOG & DE MEURON AND AI WEIWEI. THE TERRAIN UNDULATES AND CRATERS, MIMICING THE VOLCANIC STONE OF THE VOLCANIC PLAINS, CREATING SEATIN, WALKWAYS AND SHELTERS AT TIMES BEFOETIPPING AND MEETING THE RIVER. WITHIN THE CNETRE COURTYARD ACTS AS A GATHERING SPACE AS IT LOOKS OUT ON EACH SPACE JUST AS OUR SITE IS SURROUNDED BY THESE GRAND LANDSCAPES.

TRIP ON COUNTRY

ESQUISSE 11

BYRON WATSON & ZEKE ZHANG

FINAL OUTCOME INSPIRED BY THE WAY IN WHICH UNCLE LENNY TOLD US STORIES ON SITE WHERE HE WAOULD START WITH ONE STORY AND BRANCH OFF TO MANY SMALLER STORIES THAT WOULD ALL FLOW AND CONNECT ZEKE AND I WANTED TO MAP OUR EXPERIENCES ON THE TRIP IN A SIMILAR FASHION. THE MAIN PATH IN CHARCOAL MAPS OUR JOURNEY THROUGH SITE ON OUR VISIT AS WELL AS 4 KEY ELEMENTS. THE NATURAL ELEMENTS, THE EMOTIONS, THE STORIES AND THE HISTORY AND BY LINKING EACH ELEMENT TO A PHYSICAL SPACE ON SITE WE WERE ABLE TO CREATE A SONGLINE THAT WOULD HELP US REMEMBER THE EXPERIENCES. WE START AT THE SHED, IT WAS OUR GROUNDING POINT THE ENTIRE TRIP, WE GATHERED THERE AND STARTED AND ENDED EACH DAY THERE IT PROVIDED SHELTER AND PROTECTION FOR US. FOLLOWING THE PATH OUT TO SITE TO THE NORTH EAST FO THE SHED WE ARE EMINDED OF THE WAY IN WHICH THE WIND WISLTED THROUGH THE GRASS ON EITHER SIDE OF US ON THE WALK DOWN. THE TREES WOULD SING A SONG OF CALL AND RESPONSE, WEHN THE TREES TO THE EAST OF US WOULD CALL OUT WE KNEW TO PREPARE FOR WIND AND RAIN AND WHEN THE TREES TO THE WEST OF US FINISHED RESPONDING WE KNEW IT WAS GOING TO BE CLAM FOR A WHILE (REPRESENTED IN THE LEAF TRACINGS) AS WE MAKE OUT WAY SOUTHEAST OF THE SHED WE REMEMBER OUR EXPERIENCE IN THE CEMETARY, LISTENING TO UNCLE LENNY TELL THE STORY OF HIS FAMILY AND DAUGHTER SHARA “THE EPITOME OF WOMEN AND KINDNESS”, HIS VISIONS FOR THE CENTRE AND WHAT IT COULD DO AND WE REMEMBER THE STILLNESS IN THE AIR AS WE FELT THE EMOTION AND POWER IN HIS WORDS(REPRESENTED THROUGH THE VACANT CIRCLE, WE DID NOT WANT TO ALTER OR COVER IT OUT OF RESPECT. AS WE MOVE TO THE SOUTHWEST OF THE SHED WE ENCOUNTER THE FIRE AND THE STORIED WE SHARED, I REMEBER THE FIRST NIGHT WE WEREW THERE AND THE STORIES UNCLE LENNY AND I SHARED, SPEAKING ABOUT FAMILY, RESPECT, COLONISATION AND ACCOUNTABILITY. JUST AS THE ASHES FROM THE FIRE WERE CARRIED ALONG BY Y SHOES AND ALTERED EACH OF Y FOOTFPLINTS AFTER WALKING NEAR THE FIRE, THOSE STORIES HAVE BEEN CARRIED ALONG BYME AND HAVE ALTERED MY WAY OF THINKING AFTER HAVING THEM. TO THE NORTHWEST FO THE SHED WE REMEMBER THE HISOTY OF THE SITE AND THAT HISOTYR IS NOT A SINGLE HISOTRY BUT LAYERS UPON LAYERS OF STORIES, THE HOISTORY OF THIS SITE IS NOT LIMITED TO WHAT WE KNOW FROM UNCLE LENNY AND UNCLE BANJO, THEY ARE JUST THE MOST RECENT STORIES WE CAN LEARN.

Framlingham 3.0

Ignited by the ongoing injustices against Aboriginal nations and a strong desire to keep Indigenous youth out of incarceration, embedded on the traditional lands of the Kirrae Whurrong people of the Gunditjmara nation, lies our proposal for The Shara Clarke Cultural and Educational Centre. Inspired by the strong symbiotic relationship between the first nations’ people and their connection to country, the Shara Clarke Cultural and Education Centre attempts to extend the country and connection between its inhabitants and their ancestor lands. The design intends to help facilitate a strong bond and relationship between the land, environment, and cultural knowledge for all that utilise the centre. The design represents a cycle of growth and regrowth with a sense of permanence and impermanence through its expandable and modular programs. Like fire sweeping over the landscape fueled by the overgrowth, enhancing ecological diversity allows new opportunity. The users who enter the building fueled with an open mind and curiosity; they can then leave the landscape with new knowledge and opportunity.

Betty & Zeke

Versatile Architecture

Byron & Siyuan

Connection to Country

Pheoby & Chukang

Connection to Dreaming

Geordan & Jeremy

Flexible Architecture

Siyuan & Jeremy

Connection to Mob

Sou Fugimoto serpentine pavilion

Cedric Price Fun Palace

Bunjil West Melbourne Volcanic plains

Daniel Libeskind Jewish Museum

Barry Patten Sidney Myer Music Bowl

Colab-19 Amphitheatre La Concorida

Thank you Uncle Lenny, Christine and Stas