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).

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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

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MAKING VISIBLE

MAKING VISIBLE

CAPTURING THE TIME AND LABOUR OF CARING

Lucinda McLean, Susan McLean

LOCATION
VIC
Somers
Coolort, Boon Wurrung Country

These prints are made with my mother. She comes to stay with me, and we spend time observing the life of the Indigenous garden that I have been slowly regenerating for over 20 years. This regeneration work is done with the knowledge that I gained from her, and it takes the time and the labour of caring. At this time in her life, when she no longer has the capacity to remember the immediate past or plan the future, her observation of the moment is even more acute.

Ten minutes of a sunny day exposes the cyanotype print. A print is made with the vegetation not of it. (A mushroom spore print is made overnight when she stays, the pressing of leaves, flowers and seaweed takes longer). It is, at the same time, making her life visible and plants visible.

Contemplating recent writing by Lesley Head, we ask how we can work in a more direct relationship with plants and the labour of caring:

‘… the invisibility of plants in human history is closely tied to the invisibility of women… often accompanied by children’ p 121

…That is, as written by Western historians.’ p 5.

Zena Cumpston, Michael-Shawn Fletcher and Lesley Head. Plants: Past, Present and Future. Australia, Thames and Hudson, 2022

nmbw.com.au

AUTHORS
Lucinda McLean
Susan McLean


PLANT SPECIES
from left to right:
04/12/22 Dichondra repens
03/01/23 Austrodanthonia caespitosa
06/01/23 Lagenophora stipitate
12/01/23 Pelargonium australe
15/01/23 Bursaria spinosa
15/01/23 Themeda triandra
19/02/23 Pandorea pandorana
19/02/23 Daviesia latifolia

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UNBOUNDING SITE AND TIME

UNBOUNDING SITE AND TIME

EMBEDDING ACTIONS IN ONGOING SURROUNDS

NMBW Architecture Studio + Leigh Woolley

LOCATION
TAS
Mt Wellington,
kunanyi, lutruwita

Unbounding creates evolving relationships between place, material and individual experience.

The Female Factory is a historical occurrence in Australia, a holding bay for convict women arriving at the Colony. The World Heritage listing of the site (operating 1826-1856) in lutruwita / Tasmania generated a design competition. We presented both a conforming competition locating an embroidered visitor centre within the archaeological courtyards, and a future stage. The future stage proposed the incremental relocation of the buildings to the surrounding historic areas outside the courtyard walls, but within the extents of the nearby quarry walls ‘made’ through the process of quarrying sandstone for the construction of the factory. The future stage returns the courtyards to their powerful empty condition and embeds them in the local surrounds.

The proposal engages with durations; from the contemporary and ongoing repair of the walls to the geological time of the kunanyi / Mt Wellington sedimentary deposition and uplift revealed in the quarry walls. The layered unbounding of site and time acknowledges convict labour and points to something of the brutality of the colonial project.

ARCHITECT
NMBW Architecture Studio


ARCHITECT + URBAN DESIGNER
Leigh Woolley


STRUCTURAL ENGINEER
OPS Engineers

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UNSETTLING GROUND

UNSETTLING GROUND

NURTURING AND INVITING IN

NMBW Architecture Studio + Openwork

LOCATION
VIC
Richmond, Melbourne
Naarm, Boon Wurrung and Woi Wurrung Country

We ask how we can relate to the ground as active and remember what lies dormant.

While much historical and contemporary urban practice is based upon an approach of ‘settling’ of ground, the Richmond factory conversion is an urban ‘unsettling’ of ground. This two-story brick building is a former factory filling the extent of its site. Taking away is a significant part of the project. A large cut-out is made in the existing continuous ground floor concrete slab, exposing the ground. A cut-out in the first level slab above and new large skylights bring natural light down to the ground.

Material taken away is rearranged and reused. Decisions around reuse consider the capacity for materials to be in relationship with and catalysts for the conditions of the wellbeing of the ground and plant growth. The holes in the concrete slabs, made through both coring and cutting of the concrete, make circular and square blocks of concrete that will be rearranged into stacks to support plants and create microclimates for the plants to erode, trespass, and grow out of the rubble and waste of the building.

CLIENT
Tripple


ARCHITECT
NMBW Architecture Studio


LANDSCAPE ARCHITECT
Openwork


STRUCTURAL ENGINEER
FORM Engineers


BUILDER
Never Stop Group

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MONOCULTURE

MONOCULTURE

REALMstudios

LOCATION
VIC
East Melbourne
Wurundjeri

The context, geographical, operational and conceptual, for this project is a series of drainage easements in Melbourne’s east. Once integral parts of the extensive and interconnected network of waterways in the Birrarung (Yarra River) Valley, these creeks were home of the Wurundjeri people of the Yulin Nation. These riparian corridors were travelling routes, settlement sites and food and water sources, especially in times of drought, when humans and animals alike would gather around clearings in the forest along creeks, where vegetation continued to flourish.

The creeks were part of a regional-scaled natural flood management system, fluctuating through drought and inundation. The Wurundjeri have co-existed with this fluid landscape for millennia, as custodians of Country and its ecosystems. The richness of the landscape for which they cared, and their deep knowledge, endure today – this project aims to recover some of this richness, and restore some of this knowledge.

Contemporary management, engineering and hydrological practices had reduced the corridors to monocultures, dedicated only to the efficient conveyance of water through the landscape.

This was our starting point.

realmstudios.com/channel-naturalisation

PROJECT TEAM
REALMstudios, Alluvium Consulting, E2DesignLab

CLIENT
Melbourne Water

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ERASURE

ERASURE

REALMstudios

LOCATION
VIC
East Melbourne
Wurundjeri

The primary physical act was the removal of boundaries, both physical and conceptual, that segregated the drainage easement from surrounding ecologies, both human and natural. This included the deconstruction of the trapezoidal concrete drainage channel; once this dangerous canyon was removed, fences separating the corridor from surrounding residential neighbourhoods could also be removed.

realmstudios.com/channel-naturalisation

PROJECT TEAM
REALMstudios, Alluvium Consulting, E2DesignLab

CLIENT
Melbourne Water

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INFILTRATION

INFILTRATION

REALMstudios

LOCATION
VIC
East Melbourne
Wurundjeri

Once boundaries and barriers are removed, or even breached, the possibility exists for excluded constituents to enter the space of the easement. These are both human and natural players, as well as dynamic climatic forces. Some of the invisible barriers removed include suppressive regimes and management programs, like herbicides, mowing or animal removal. Birds, animals, local children enter, and all that these exploratory constituents carry (and drop).

realmstudios.com/channel-naturalisation

PROJECT TEAM
REALMstudios, Alluvium Consulting, E2DesignLab

CLIENT
Melbourne Water

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CO-CURATION

CO-CURATION

REALMstudios

LOCATION
VIC
East Melbourne
Wurundjeri

Instead of solely human-led authorship, the project eventually allows a vast range of endemic agency in the re-occupation and reimagination of the site. Curators include animals, plants, local kids, the wind and the creek itself.

realmstudios.com/channel-naturalisation

PROJECT TEAM
REALMstudios, Alluvium Consulting, E2DesignLab

CLIENT
Melbourne Water

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RADICAL CO-EXISTENCE

RADICAL CO_EXISTENCE

REALMstudios

LOCATION
VIC
East Melbourne
Wurundjeri

Having ceded control, unpredictability becomes part of the eventual outcomes. This evolutionary process, in which time is an essential requirement, allows for shifting alignments, unplanned compositions and material transformations. The diagram, like the reimagined creek itself, is an organic and continuously shifting entity, which, aside from showing time, and overlapping ecologies, is engagingly messy.

realmstudios.com/channel-naturalisation

PROJECT TEAM
REALMstudios, Alluvium Consulting, E2DesignLab

CLIENT
Melbourne Water

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