TEMPORALITY

COUNTRY

DEEPENING PLACE AND ENVIRONMENT

Country embodies time in space. Past, present, and future become one. The deep time of exploding stars and geological uplift; the slow pulse of generational transition and renewal; the cyclical respiration of seasons, tides, moon and sun – all are folded into Country.

A sensitivity towards the dimension of temporality is found across tactics concerning process, heritage, adaptation, and memory. The formative phase of a building, when it is designed and constructed, can be understood as the process by which relations between people, matter, and resources are transmuted into built, materialised space. A number of tactics focussed on this phase, incorporating the time necessary for (un)learning, building trust, and co-design, or recasting typically linear outcome- focussed approaches as eternally contingent and incomplete, a series of crests and troughs in a
voyage of creative circumnavigation.

At a more fundamental level, a re-imagining of temporal change and the meaning of progress itself is becoming visible. Hints are found in the language in play: decolonisation and decarbonisation are ’de-’ terms, which signify efforts to undo, dismantle, and avoid trajectories that have historically shaped and dominated our worlds. Complementing these are ’re-’ concepts: repair, reuse, regeneration. These describe efforts to bring back that which has past or been lost, to recover the currency and relevance of something from an older time.

These paired sets of terms can be seen as a pulsation or oscillation, symbiotically linked within time. One implies the other: decolonisation leads to the revival of cultures; decarbonisation leads to renewables; demolition to rebuilding. This rhythm is the slow respiration of human time, perhaps the heartbeat of history itself.

To understand and shape the Laboratory of the
Future, we start with the inherited residues of the
past.

Explore Further

NARRATIVE

NARRATIVE

YARNING LANGUAGE
INTO BEING

For a site to be understood, its story has to be told. For a place to come into being, it needs to bear meaning. Narrative refers to the way in which meaning is constructed and conveyed. In contemporary Aboriginal English, this is yarning.

The narrative of place is closely tied to stories of occupation, and decolonising tactics addressing narrative aim to reveal the contestations and erasures involved in the production of received meanings. This is precisely the task of unsettling manoeuvres – to render what seems natural and unproblematic open to question and doubt. Operations such as re-framing contexts and purging overlays on specific sites engage in unpicking received narratives and rearranging the resulting threads into an altered meaning. This may involve challenging authorised accounts, highlighting absences or concealments in the archive.

Constructing new meanings involves a process of weaving experiences and ideas into an interpretation generative of new expressions and understandings. At the scale of an individual project, these may emerge from the specific elements in play in the site or situation, and apprehended through listening and relationality. Across the broader collective span of a disciplinary field and its domain of action, new meanings are best advanced through the construction of a new language with which to articulate fresh questions and unspoken truths.
 The tactics shown here, through words and images, represent an effort to start compiling this new language. This is done not from some remote position via abstract first principles, but from a listening and a gleaning of what already exists. It is a yarning into being.

Explore Further

RELATIONALITY

RELATIONALITY

CONFIGURING POTENTIALS AND AFFECTS

The attentiveness that characterises attunement to Country can be understood as a manifestation of another area of interest across the tactics, that of relationality. This attends to the configuration of the elements and actors in a scenario or setting, and focuses on the nature and quality of their connections and interactions. A relational architecture is concerned more with the emergent ‘in-between’ than the pre-defined ‘already there’. Relational tactics in architecture can be broadly divided into social and spatial categories. The socially-oriented tactics set up generative configurations of people to shape process and outcomes. This extends beyond the usual consultative and participatory methods to encompass more open, contingent setups, yielding unpredictable journeys of discovery, respect, and trust. This includes those tactics that describe attitudinal change: advocating postures of unlearning, humility, vulnerability, and acceptance, offering profound rethinking of received notions of professional expertise and responsibility.

Spatial relationality involves the orchestration of spatial and material ensembles to yield programmatic potentials and experiential affects. Manipulation of boundaries and interfaces; the opening of apertures and gaps for views, links, connection, separation; the use of geometry, pattern, and the configuration of elements to yield a harmonious or dissonant constellation – these tactics are part of the fundamental vocabulary of architecture. In this context, they are deployed to yield potentials and affects supporting decolonising objectives established through other tactics and processes.

Explore Further

LISTENING

LISTENING

BEING PRESENT ON COUNTRY

The idea of Country lies at the heart of many contributions to the Open Archive. Country is an expansive and deep First Nations concept that underpins cultural identity, in addition to being the original source of sustenance, shelter, and meaning. Country encompasses lands, waters, and sky; the living and non living; law and ancestral knowledge1.

A practice of listening to, respecting, learning about and understanding Country is an important part of a decolonising practice of architecture. However with a concept that is simultaneously so wide-ranging and so specific to place, gaining such understanding is difficult. Many tactics advocate a shifting of perspective, seeking to render visible or tangible things unnoticed, hidden or repressed, or alternatively register the presence of silence and absence. Reckoning with the violence and trauma of colonial-era and ongoing dispossession is an inescapable part of this.

Attunement to the patterns, rhythms, and voices of the environment, such as flows of subterranean water or the traces of historical occupations in the material fabric of sites, can be seen as part of a conscious reorientation towards County. This describes a distinct mode of attention, identified in several tactics as deep listening1. A range of embodied techniques and technologies are described to capture and communicate this attention, including drawing, videography, augmented reality, and dance. The shift in metaphorical emphasis from the retinal to the auditory register in apprehending environments and buildings is a simple yet profound move. This opens up intersectional and emotional layers of experience, carrying significant consequences for design.

Listening also names an ethics of relation, particularly to those whose voices have gone unheard. Privileging the voices of First Peoples is central in contexts of decolonisation, but in the broader sense the principle extends to the inclusion of all who are marginalised. Listening has a critical capacity, as it grasps how a dominant culture naturalises its curtailments on the agency of those deemed as Others. This also extends to non-human entities – animals, plants, natural presences such as rivers and mountains – the fundamental rights of the planet.

1 Miriam Rose Ungunmerr-Baumann has been an important voice in articulating the concept of deep listening or dadirri.

Explore Further

COUNTRY

COUNTRY

DEEPENING PLACE AND ENVIRONMENT

The idea of Country lies at the heart of many contributions to the Open Archive. Country is an expansive and deep First Nations concept that
underpins cultural identity, in addition to being the original source of sustenance, shelter, and meaning. Country encompasses lands, waters, and sky; the living and non-living; law and ancestral knowledge1. Everyone who lives on Country has a responsibility to protect and care for it. The connection to Country for First Peoples is foundational and embodied2; each Country is named by the language of its First People. In the Open Archive, where appropriate, each tactic has been located to an identified and named Country.

Country encompasses ideas of environment, place, and landscape that have currency in the contemporary language of architecture. Strengthened collaborations with landscape architects and First Nations peoples can be seen as a manifestation of this recognition. Revealing lineaments of Country that have been obscured or erased by prior construction and occupation is a common concern of many tactics. Particularly striking has been the prominence of water as a focus of attention, with the recovery of hidden waterways and aqueous landscapes seen as key to a restorative, healing relationship with Country.

1 This follows the description of Country in the Draft Connecting with Country Framework (2020) issued by the Government Architect of New South Wales.
2 Aileen Moreton-Robinson distinguishes between the Indigenous sense of belonging to Country, and ideas of property and possession in settler- colonial cultures. See The White Possessive: Property, Power, and Indigenous Sovereignty, (Minneapolis: University of Minnesota Press, 2015).

Explore Further

ARCHAEOLOGY AS DESIGN INSPIRATION

ARCHAEOLOGY AS DESIGN INSPIRATION

A CULTURAL MATERIAL REPOSITORY EXPLORING ARCHAEOLOGICAL FORM

Phillips/Pilkington Architects

LOCATION
VIC
Breakaway Creek
Gunditjmara Country

This project redresses colonial development by re- homing ‘stolen’ Gunditjmara artefacts and supporting an economic future for the Gunditjmara. Gunditjmara have occupied the area around Tae Rak for millennia with many ‘re-homed’ in the former Lake Condah Mission. Archaeological research and investigations underpinned our design.

An archaeological dig was undertaken to assist in the location of the building, avoiding disturbance of any pre- contact or mission remains, with the preservation of both vital. We reviewed a significant body of archaeological and historical research. Dr Paul Memmott’s book, Gunyah Goondie + Wurley (UQP, 2007) was an inspiration, with an 1840 drawing of a Gunditjmara village and conjectural sketches of dwellings based on remnant circular walls found in archaeological excavations, led by Dr Heather Builth.

These traditional Gunditjmara dwellings are located on the Budj Bim lava flow, which occurred around 30,000 years ago. The circular Keeping Place with a base constructed of volcanic field stone and domed timber roof form evokes these traditional walls, repudiating the notion that Australia’s First Peoples did not build lasting structures.

phillipspilkington.com.au/projects/cultural/

gunditjmirring.com

CLIENT
Gunditj Mirring Traditional Owners Aboriginal Corporation Inc. RNTBC

ARCHITECT
Phillips/Pilkington Architects

ENGINEERS
PM Design (all disciplines)

QUANTITY SURVEYOR
Heinrich Consulting

LANDSCAPE DESIGN
Viesturs Cielens design

CULTURAL HERITAGE MANAGEMENT PLAN
Context in Association with Extent Heritage Advisors

BUILDER
AW Nicholson

PHOTOGRAPHER
Terry Hope Photography

Explore Further

RETURNING CULTURAL MATERIAL TO COUNTRY

RETURNING CULTURAL MATERIAL TO COUNTRY

LINKING FIRST NATIONS' CULTURE, HISTORY AND ARCHITECTURE

Phillips/Pilkington Architects

LOCATION
VIC
Breakaway Creek
Gunditjmara Country

The Keeping Place & Business Centre redresses corrosive colonial actions by re-homing ‘stolen’ cultural artefacts and supporting an on-going Gunditjmara economic future. Gunditjmara have occupied the area around Tae Rak (Lake Condah) for millennia with many eventually ‘re-homed’

in the former Lake Condah Mission, where this project is located. The Lake Condah possum skin cloak, ‘collected’ in 1872 and displayed in the Melbourne Museum is the focus of the cultural repository. These cloaks provided weather protection but were also intimately linked with a person’s life story and connection to Country, recorded in designs on the cloak. The museum-grade repository also houses spears, recently excavated stone tools and eel traps.

The design of the Keeping Place promotes connection to Country through the use of the circular plan and the domed roof, together with volcanic rock and timber, all traditional forms and materials of the Gunditjmara, which provide a story-telling link with the possum skin cloak. The project continues Gunditjmara care of Country, being self-sufficient, independent of all power and water needs.

phillipspilkington.com.au/projects/cultural/

gunditjmirring.com

CLIENT
Gunditj Mirring Traditional Owners Aboriginal Corporation Inc. RNTBC

ARCHITECT
Phillips/Pilkington Architects

ENGINEERS
PM Design (all disciplines)

QUANTITY SURVEYOR
Heinrich Consulting

LANDSCAPE DESIGN
Viesturs Cielens design

CULTURAL HERITAGE MANAGEMENT PLAN
Context in Association with Extent Heritage Advisors

BUILDER
AW Nicholson

PHOTOGRAPHER
Terry Hope Photography

Explore Further

Shrinking Yourself to Make Yourself Larger

SHRINKING YOURSELF TO MAKE YOURSELF LARGER

REFLECTIONS FOR ARCHITECTS ON THE EXPANSION OF OUR FIELD

Blaklash Creative, Deicke Richards, Genevieve Quinn

LOCATION
QLD
We thank all the people on whose land and waters we live and work. These are, the Barada Barna, Danggan Balum, Darambal, Gubbi Gabbi, Jagera, Kombumerri, Quandamooka, Turrbal, and Yugambeh people. We would also like to thank all First Nations people we have worked with, connecting to all parts of the Country. Without your trust, perspective, knowledge, and custodianship, we could not learn these lessons and better our practice and industry.

Shrinking Yourself is about removing ego, letting go
of authority and forgetting the timelines. It is about embracing fluidity and being uncomfortable when we have been trained to be linear and assured. Our design is ‘blurred’ because it is irrelevant. The accomplishment of this project is not visible in plan. It lies in the rejection of production-based and time-driven architecture, and the acceptance of uncertainty. The extended timeline prioritised listening and empathising (without a pen in hand), and conceded our design authority and sense of ‘expertise’. The removal of us as ‘designer’ allowed for the process, site and community to be the designers.
We became documenters and illustrators. Some of the armour that protects us as architects (Gant charts, resourcing and budget) was shed, yet our design time remained the same. Months were spent talking, gaining trust, listening, and learning. Shrinking ourselves drove us into a larger profession of compassion and community. This is a small step in decolonisation. We are a small part of the process. This tactic is not a small task.

shrinkyourselftomakeyourselflarger.com

ENGAGEMENT AND DESIGN TEAM
Blaklash Creative & Deicke Richards

Explore Further

Relationships Build Resistance

RELATIONSHIPS BUILD RESISTANCE

COMMUNITY FELLOWSHIP IN A COLONIAL FRAME

Blaklash Creative, Deicke Richards, Genevieve Quinn

LOCATION
QLD
We thank all the people on whose land and waters we live and work. These are, the Barada Barna, Danggan Balum, Darambal, Gubbi Gabbi, Jagera, Kombumerri, Quandamooka, Turrbal, and Yugambeh people. We would also like to thank all First Nations people we have worked with, connecting to all parts of the Country. Without your trust, perspective, knowledge, and custodianship, we could not learn these lessons and better our practice and industry.

When working under the boundaries of bureaucracy and risk-averse protocols, genuine fellowship can strengthen resistance. Relationships come with mistakes and require vulnerability. With blunders comes learning, trust, and strength. Blaklash Creative and Deicke Richards work together trusting that our intentions are aligned. When mistakes happen (this is guaranteed), we learn from them and move forward with more understanding, knowledge, and power to resist colonial practices, processes, and limitations. As architects, our prior built works for First Nations groups do not, and will not, equip us to design for another community. Yet the relationships we have built will. Our partnership is founded in project work, but the relationship is ongoing. This may sound romantic and naive, however, accepting risk and vulnerability is not common in professional practice. We are not insured for white fragility. Prioritising human connection when working under rigid institutions and colonial policy is difficult. However, a relief for bureaucratic frustration is genuine comrades.

shrinkyourselftomakeyourselflarger.com

ENGAGEMENT AND DESIGN TEAM
Blaklash Creative & Deicke Richards

Explore Further

Subtraction

SUBTRACTION

CUTTING THROUGH THE COLONIAL

Nervegna Reed Architecture (Anna Nervegna + Toby Reed)

LOCATION
VIC
1 Neill Street Maryborough
Dja Dja Wurrung

Subtraction is the act of cutting through colonial architecture in order to reveal and open up space for multiple viewpoints, readings, experiences, histories and stories. Subtracting and erasing (tactics also used by colonialism to opposite ends) can be used as ways of investigating and provoking new heightened and inclusive visual and spatial experiences. The tactic of Subtraction can literally cut through the colonial architectural order, opening up dynamic ruptures in the historic order, while encouraging multiple perspectives, viewpoints and program possibilities.

In the Wartaka (coming together with purpose) we discussed this strategy (and the others) with the Djandak and Djaara Members design team. We discussed the idea of, rather than performing a ‘normal’ historic reconstruction of the building back to its 19th century state (and ideology), we would slice through the building, subtracting elements, to reveal and create spaces which connect cultures, multiple ideologies, beliefs, histories and stories: a system of design tactics which reveals new, multiple truths in the spaces (and unsettle the notion of a single dominant colonial ideology).

This process created building cuts and subtractions through the existing building and produced new horizontal spaces through the gallery to the Dja Dja Wurrung Indigenous interpretive sculpture garden and its stories of fire and water, and vertically through the truss structure towards the bell tower, opening up a perspective never before seen, and not part of the original colonial design intention.

nervegna-reed.com.au/projects/cgag

ARCHITECTURAL DESIGN
Nervegna Reed Architecture

INDIGENOUS SCULPTURE GARDEN DESIGN
Dja Dja Wurrung Aboriginal Corporation and Three Acres Landscape Architecture

Explore Further