On Country: Framlingham, Sem 1, 2021: Alannah Davis

ON COUNTRY: FRAMLINGHAM TUTORS: CHRISTINE PHILLIPS & STAZINOS MANTZSIS STUDIO LEVEL 3 S3843543 ALANNAH DAVIS

PERSONAL REFLECTION Through out the semester I underwent intense miniture projects through the collaboration with multiple partners that enabled an exploration of contrasting and unique ideas heavily influenced by readings and inspiration of aborignal culture, dreaming and native wild life. Through projects that involved hands on model making it encouraged problem solving through materiality and bringing ideas to life, leading to unexpected encounters. The final project with the involvement of the Aboriginal community through Uncle Lenny provided an amazing opportunity to be involved in a real project and client and really provide the initive to create a deeper understanding of the project from an indigenous perspective gaining such crucial knowledge that I feel priviledged to have learnt. The immense size of the project allowed me to undertake extreme ideas for a project with a big future and also showed me a complex journey from the architects perspective of accomodating both the intricate brief and the expectations of the client, ultimately giving me the foundation to develop many newly found skills.

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

THE SHARA CLARKE ABORIGINAL CULTURAL CENTRE

. .

BY PHOEBE GALILEOS AND ALANNAH DAVIS 1.) The land should be observed and listened to by understanding the surroundings.

2.) Everything should be able to be explored / experimented with and lead to unexpected encounters.

3.) Nothing should be presented as liner.

4.) Materiality should be derived from the surrounding landscape and environment.

5.) The surrounding environment should be visible at all times.

ABOUT THIS PROJECT Our project is inspired by the surrounding environment of the Kirrae Wurrung Country and we have closely looked at the topography around Uncle Lenny’s site replicated in the canopies form as well as the flora in particular the Kabin flower, commonly known as Running Postman.

The Kabin flower is a native Indegenous plant which is a twining shrub with red pea flowers, this plant makes a great ground cover or a restrained climber, and has been used by Aboriginal people as a twine, and food source from the nectar. Also looking at the way it acts in different climate conditions, it recoloniles after fire and in unfavourable conditions dies back to roots and reshoots in favourable conditions.

We have informed our form and materiality from these two main inspirations and understand the importance of nature and how it is a reliable source to indegenous people by understanding the way it gives to the country and the people.w The Shara Clarke Cultural and Educational Centre is located about 3 hours from Melbourne City CBD, and is a 20min drive from the closest town Warrnambool. As you approach the site you’re taken down roads of open land and surrounding landscape.

Phoebe and myself have designed three canopy spaces which cater for the Banjo Clarke, Archie Roach and the Reginald Sanders Hall.

Which together create the Shara Clarke Cultural and Educational Center.

LADJILADJI

DADI DADI

LANGUAGE MAP

JARIJARI

WADIWADI

NGARGAD

WEMBAWEMBA

WERGAIA BARABA BARABA

YORTA YORTA

WAVEROO DJA DJA WURRUNG (jara)

JARDWADJALI DJAB WURRUNG

NGURAIILAM WURRUNG BIDWELL

DAUNG WURRUNG

NGARIGO

BINDJALI

WATHA WURRUNG BUANDIG

DHAUWURD WURRUNG (gunditjmara)

WOI WURRUNG (wurundjeri)

DJARGURD WURRUNG

GULIDJAN

GIRAI WURRUNG GADUBANUD

BUN WURRUNG

BIDWELL

GUNAI (kurnai)

TRANSPORTATION MAP TRANSPORTATION MAP

ENTERPRISE MAP

SITE PLAN

SITE PLAN

STRUCTURAL FORM IDEAS BANJO CLARKE EDUCATIONAL CENTRE INSPIRED BY TWINE OF KABIN PLANT

KABIN PLANT FROM ESQUISSE 2 USED AS INSPIRTATION FOR CANOPY

KABIN FLOWER SECTIONS EMPHASIZED

TERRAIN TOPOGRAPHY

THE PROGRAMMES FLOOR PLANS

LONGITUDINAL SECTION THE REGINALD SAUNDERS OUTDOOR PERFORMANCE SPACE AND ARCHIE ROACH MUSIC HALL

AXONOMETRIC VIEW ARCHIE ROACH MUSIC HALL AND REGINALD SAUNDERS OUTDOOR PERFORMING AREA AND BACK OF HOUSE

ARIEL VIEW

AXONOMETRIC VIEW THE BANJO CLARKE ACADEMY CULTURAL AND EDUCATION FACILITY AND FRONT OF HOUSE

Front of House

The Banjo Clarke Academy

OVERVIEW

DIAGRAMATIC TRANSFORMATION EDUCATION MODE

EVENT MODE

WALLS ROTATED TO EXAPAND GALLERY SPACE

WALLS ROTATED TO CREATE CLASSROOM SPACES

OVERVIEW

ARCHIE ROACH MUSIC HALL

EXTERNAL VIEW OF CAFE

EXTERNAL VIEW OF FOYER TO ARCHIE ROACH MUSIC HALL

ARCHIE ROACH EDUCATION MODE

ARCHIE ROACH EVENT MODE

REGINALD SAUNDERS OUTDOOR PERFORMANCE AREA

BANJO CLARKE CLASSROOM

MAIN FOYER AREA

MIDSEMESTER

EXPLODED AXONOMETRIC SKETCHES IN DEVELOPMENT

BANJO CLARKE EDUCATIONAL CENTRE OUTDOOR COURTYARD INITIAL SKETCH

ARCHIE ROACH AND REGINA;D SAUNDERS PERFORMING AREAS INITIAL SKETCH

MIDSEMESTER EXTERNAL VIEW

MIDSEMESTER SECTION

MIDSEMESTER INTERNAL VIEW

EXPLODED AXONOMETRIC OF SHARA CLARKE ABORIGINAL CULTURE CENTRE

ARCHIE ROACH MUSIC HALL AND REGINALD SAUNDERS PERFORMING SPACE

FRONT OF HOUSE

BANJO CLARKE EDUCATIONAL CENTRE

BACK OF HOUSE

DEVELOPMENT OF EXTERNAL VIEW REGINALD SAUNDERS OUTDOOR PERFORMING SPACE

DEVELOPMENT OF ARCHIE ROACH MUSIC HALL FOYER SPACE

PROGRESS OF ESQUISSES

MIJAWI & ALANNAH

The developemnt of esquisess enabled better inisght and understanding of the contextural circumstances of the project that we could use as inspiration and be further explored within our final project.

PHOEBE & ALANNAH

CONTENT ESQUISSE ONE- Individual work, Marquette informed by visit to Bunjilaka gallery ESQUISSE TWO- With Phoebe Galileos, Botanical Drawings Kabin Plant ESQUISSE THREE- With Phoebe Galileos, Canopy model inspired by Kabin Plant ESQUISSE FOUR- With Yao Xiao, Spatial relationship diagram of program ESQUISSE FIVE- With Yao Xiao, Housing Program in Banksia plant ESQUISSE SIX- With Betty Cairns, Performance venue, retractable canopy ESQUISSE SEVEN- With Jeremy Salter, Dreaming, Tradition and Culture ESQUISSE EIGHT- With Jeremy Salter, Designing from the inside ESQUISSE NINE- With Byron Watson Nourishing Terrains ESQUISSE TEN- With Byron Watson Model using ethemeral qualities ESQUISSE ELEVEN- Mijawi Mansell WhiteBear Psychogeohraphic Map

ESQUISSE ONE Deep Listening: To not just listen with your ears, but to listen with your head. “To listen to the country; to understand what we were learning...and to relate to each other with that knowledge.” Dr Doris Paton, Gunnai, Monero-Ngarigo Balan Bigin: A rainforest shield dated before 1899 created by the clan/Language group Warrgamay in Cardwell Queensland. Constructed and formed by native fig trees, natural pigments and charcoal. The pigmented colours and unique intricate abstract patterns are correlated with insects, birds, marine life, animals,astronomical observations and leaf patterns to create totemic designs. Each language group of the rainforest region had their own personalised specific design important in the indigenous trade network.

Biganga Possum skin cloak: The possum skin cloaks did not just provide a practical use of essential warmth, but integral to communicating personal stories through the complex designs integrated into the cloak.

The cloak constructed in 1872 extracts designs that symbolises Country- Gunditjmara lands in the west and Yorta Yorta in the northeast of Victoria. Ultimately the coming together of all different people from all parts of Gunditjmara Country. The designs were produced through sharpened tools including mussel shells (teembon) and stone knives (pareeyt-pareeyt) carved into the skin by 7 men from 7 families of the Gunditjmara family clans. Made from 50 brushy tailed Kooramook skins sewn together with kangaroo sinew.

“The markings on the cloaks… they symbolise our culture , our past and also our future.” Titta Secombe, Nillan Gunditj, Gunditjmara/Jaardwadjali Meen Warann: Smallpox Songlines many generations ago were heard by aboriginal ancestors of violent sickness raging across the lands. Warnings of this deadly disease were hurriedly spread by young brave messengers who race along the inland trade routes to warn other nations. However “Our people suffered and died in such large numbers, we could not properly bury the dead.”

Meen Warannis is known as the small pox song in the Djab Wurrung language. The song has been many times translated into local languages as it travelled the inland trade routes as warnings.

Chuul’yuu Will’yuu Wallaa gnorae Chillae binnae aa gna Kinuuaa gnuuraa jeeaa Chiaebaa gnuutaa Kirraegirrae, Kirraegirrae, Kirraegirrae Leeaa gnaa

ALANNAH DAVIS

Porcupine spikes Burn like heat of fire Someone pinching me When I am up high, With affection like a sister.

Grinning, grinning, grinning, Teeth mine.

ALANNAH DAVIS

ESQUISSE TWO AND THREE ALANNAH DAVIS AND PHOEBE GALILEOS Canopy model inspired by Kabin Plant Botanical drawings, Sidney Myer Music BowlBarry Patten 1959 and Mercedez Benz Stadium Alanta 2017.

ALANNAH DAVIS AND PHOEBE GALILEOS

PHOEBE GALILEOS

Canopy model embodies the overall form of the kabin Plants Petals also known as the Running Postman. this transformative canopy for a performijng spaces through the twists of the different sections of the canopy light can seep through for an open atmosphere or alternatively create a closed space for an intimate performing area.

ALANNAH DAVIS

SPACTIAL RELATIONSHIP OF DIAGRAM ALANNAH DAVIS

ESQUISSE FOUR

ESQUISSE FIVE

YAI XIAO

YAI XIAO

ARIEL PHOTO OF SITE FRAMLINGHAM

ALANNAH & YAO

ALANNAH DAVIS

SITES FOREST EXPANDED INTO THE SITE AS IF TO REGENEREATE THE FOREST

ESQUISSE SIX ALANNAH DAVIS AND BETTY CAIRNS

EMILY KAME KNGWARREYE’S YAM DREAMING PAINTING

FLOOR PLAN OF SHARA CLARKE ABORIGINAL CULTURAL CENTRE INSPIRED BY PAINTING

FLOOR PLAN

PERFORMANCE VENUE MODELLING PROCESS ALANNAH DAVIS AND BETTY CAIRNS

ALANNAH DAVIS AND BETTY CAIRNS

BETTY CAIRNS

BETTY CAIRNS

ALANNAH DAVIS

ALANNAH DAVIS

TRANSFORMATION OF RETRACTABLE CANOPY DIAGRAMS

ESQUISSE SEVEN AND EIGHT ABORIGINAL ASTRONOMY

ALANNAH DAVIS AND JEREMY SALTER

ALANNAH DAVIS

INTERIOR OF SEATING SPACE

INTERIOR FOYER SPACE

ALANNAH DAVIS

INTERIOR PERFORMING SPACE

ALANNAH DAVIS

ALANNAH DAVIS AND JEREMY SALTER

JEREMY SALTER

ESQUISSE NINE AND TEN RULES DERIVED FROM RESEARCH OF NOURISHING TERRAINS AUSTRALIAN ABORIGINAL VIEWS OF LANDSCAPE AND WILDERNESS BY DEBORAH BIRD ROSE IMAGES BY BYRON WATSON RULES BY BYRON AND ALANNAH

ALANNAH DAVIS

CONJOINED PERFORMING SPACES WITH OPPORTUNITY OF TWO ENTERTAINING SPACES OR ONE LARGE STAGE

LIGHTING WITHIN THE GALLER SPACE FROM THE GLASS CEILING DIRECTED TO HIGHLIGHT THE ARTWORK

ALANNAH DAVIS

BYRON WATSON

Spaces that blend and bleed together like the wilderness.Highlight and bring in the surrounding landscape. Serpentine Pavilion- Incorporate song (i.e Rainbow snake cut open ground) Lighting acting as a navigational tool to direct people to the desired subject. Pays respect to “imprint of sacred creation” and brings reference from past use of land.Emphasis on gathering and support, how people interact in the space.

ALANNAH DAVIS & BYRON WATSON

ESQUISSE ELEVEN ALANNAH DAVIS & MIJAWI MANSEL WHITEBEAR

INSPIRATION:

Uncle lenny and his mwrup story Ghost woman who wore a long dress - seen by many family members of uncle lenny, who did not believe at first. The Idea of spirit and uncle Lennies ideas of the future: being able to trace somebody spirit rather than just their fingerprint.

Incorporating past present and future spirits.

From the podcast Indigenous memory code: Walking around and stopping we formed a meaning with individual plants at each place - aiding our memory and understanding of what we encountered.

Representation on POSTER: Cut outs = man made structure to focus on land The black streaks are our spirit - where we stopped and our experience The holes are our path - condensed as we slow RED = past and BLUE = future (spirits) RED are strong as they have already been BUT are not in a particular space we cannot know where they are BLUE are more formless as they are yet to come

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

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

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

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

Kangaroo apple flower - purple yellow and green Prickly moses surrounds the paddock, skirting Framlingham forest Kangaroo grasses with wispy white tops, clustered in the wind Gum trees x 2 far apart in the paddock disconnected from the forest Blackwood tree leaning over the gully sweeping uncle Lennies house We stop and leave our spirit marks, then take with us something small and something vivid.

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