Lockup - Compact - Texture Reverse_web

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.

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LINGUISTIC TRUTH

LINGUISTIC TRUTH

PLACE NAMING AND LANGUAGE

Tanner Kibble Denton Architects

LOCATION
NSW
Alexandria
Gadigal / Cadigal Land

Alexandria Park Community School is on Gadigal Land and is a fully connected learning precinct for over 2,000 children between the ages of 4 to 18 years.

Framed around the idea of ‘Clouds’, the project is a community-focused precinct that means different things to different people. Blurring the perception of the site boundary and merging the outdoor play areas of the school with the adjacent public park, the project sought to decolonize the approach to enclosure.

A key tactic of dual language place naming and wayfinding was used by the project team to embed a positive approach to social inclusion, decolonizing the institutional nature of schools. Working with our cultural mentor and linguistic advisor, the project team developed inspiring concepts for naming gathering spaces, administration, the library, and sporting zones, reimagining the way these parts of a school should be named that together created a narrative for the school that was deeply rooted in the place.

Building upon the graphic concepts of artist Tony Albert in the 2016 book “Alexandria Park Community School is Gadigal Land,” the design and graphic realization of language is the result of real community engagement.

CLIENT
Department of Education / School
Infrastructure NSW


ABORIGINAL CULTURAL
REPRESENTATIVES
Uncle Terry Denzil,
Aunty Deborah Daley


CULTURAL MENTOR AND
LINGUISTIC ADVISOR
Shayne Beckham


SCHOOL PRINCIPAL
Diane Fetherston


ARCHITECT
Tanner Kibble Denton Architects
ARTIST
Tony Albert


GRAPHIC DESIGNER
Leading Hand Design


LANDSCAPE ARCHITECT
Context Landscape Architecture


PROJECT MANAGER
Savills


CONTRACTOR
Richard Crookes Constructions

IDENTITY BRICKS

IDENTITY BRICKS

SYMBOL OF RECIPROCITY AND MUTUAL EXCHANGE

University of Melbourne with Lyons, NMBW Architecture and Jefa Greenaway

LOCATION
VIC
University of Melbourne Parkville Campus
Woi Wurrung (Wurundjeri) people of the Kulin Nation

Permanently embedded into the structural columns of a heritage building within the Student Precinct, Identity Bricks serve as creative recognition of this site as an Indigenous place with a continuing and diverse First Nations presence.

The Identity Bricks Project invited Indigenous students, staff and alumni to share and embed their cultural stories and journeys in a permanent installation on campus – they symbolise reciprocity and mutual exchange related to working on Wurundjeri Country. Through this exchange, participants acknowledge the gifts they have received from Country and its custodians, and gifted something of their story, Country or community in return.

Identity Bricks is a culmination of the combined efforts of the Architectural team, Murrup Barak Melbourne Institute of Indigenous Development, Wilin Centre for Indigenous Arts and Cultural Development and the wider Indigenous community at the University of Melbourne.

students.unimelb.edu.au/student-precinct/gallery/identity-bricks

PRECINCT LEAD ARCHITECT
Lyons

BUILDING ARCHITECT
NMBW Architecture

CULTURAL STRATEGY
Jefa Greenaway

ART CURATOR
University of Melbourne

ARTIST
Eucalyptus leaves – Charlie Miller, Kanolu and Gangulu

CONTRACTOR
Kane Constructions

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CO-CREATED EXPERIENCE

CO-CREATED EXPERIENCE

CAPTURE STUDENT PERSPECTIVES

Lyons with Koning Eizenberg Architecture, NMBW Architecture Studio, Greenaway Architects, Architects EAT, Aspect Studios and Glas Urban

LOCATION
VIC
University of Melbourne Parkville Campus
Woi Wurrung (Wurundjeri) people of the Kulin Nation

The Student Precinct is the first fully co-created major project in the University’s 169-year history. This means that the voice of the student community is at the centre of the project’s design and development, with more than 20,000 students and staff actively contributing their views, ideas and expertise to inform the planning and design process.

Captured student perspectives are infused into the
raw materiality of the precinct that encourages student ownership and occupation. The careful regeneration of existing nineteenth and twentieth century buildings, creates an inclusive and porous precinct that embeds cultural and heritage connections at the heart of student experience. A responsive series of sustainability strategies around water, urban shade and energy enhance this offering and have resulted in global leading sustainability across new buildings and a new adaptive longevity in heritage ones.

Fundamental to a key student strategy of ‘connection’ are pathways for serendipitous encounters through landscape that add to linear norms of urban design, resolving to create encounters through landscape, culminating in a student amphitheatre at its heart.

lyonsarch.com.au/project/new-student-precinct/

CONTRIBUTORS
Lyons with Koning Eizenberg Architecture
NMBW Architecture Studio Greenaway Architects Architects EAT
Aspect Studios
Glas Urban

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Learning Through Unlearning

LEARNING THROUGH UNLEARNING

CHALLENGING ACCEPTED PARADIGMS IN APPROACHES TO DESIGN EDUCATION

Adjacency Studio, University of Sydney

LOCATION
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Sydney | Hobart
Eora | nipaluna

Decolonising our understanding of being and designing requires empathetic and systematic unlearning. An unlearning that challenges us to re-think our role as designers into the realm of advocates. A tactic of decolonisation within our studio was to examine and unlearn the Western worldview of nature and relationship to it. Our understanding is imbued with preconceived ideas/truths that most typically see nature as a state that exists without human intervention or coexistence. This view is antithetical to Indigenous Aboriginal culture, which has been intertwined and intervening with the land for tens of thousands of years.

In group discussions, we worked to acknowledge these specifically Western paradigms and unpack their influence on architecture. We encouraged students to challenge human-centred design and adopt a design paradigm of responsibility and connectivity. Half of the subject site was allocated to the regeneration of Country and its multi-species inhabitants with the intention that spaces designed for the human inhabitants in this area were designed to foster connections and caring for Country through reflection, curiosity, play and wonder.

CONTRIBUTOR
Adjacency Studio

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Tapestry of Country

TAPESTRY OF COUNTRY

FOREGROUNDING INDIGENOUS DESIGN IN TEACHING

Adjacency Studio

LOCATION
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Sydney | Hobart
Eora | nipaluna

Our Tapestry of Country was/is a mechanism for discussion and reflection. Underpinned by principles of care, coinciding with Sydney’s 2021 lockdown and introduction of the Architects Accreditation Council of Australia’s cultural competencies, each class began with all bringing an image set as their Zoom background to acknowledge and learn together about our First Nations culture and synthesis of time and being.

Together we read The Uluru Statement of the Heart and discussed the NSW Government Architect Office’s Connecting with Country Framework and Paper. We acknowledged on which Country we were on, the markings of time through traditional seasons, the Country and authors of our backgrounds; and how they engaged with the Framework principles.

We connected our “tapestry” images with our project, in which students were required to embed principles demonstrative of a nuanced understanding of Country. This brought us together while we were isolated; Connecting with Country connected us and provided

a unique experience and archive of the uncanniness of 2021. We captured each session, synthesising the semester into a graphic “tapestry”; one tactic of decolonisation within our studio.

CONTRIBUTORS FROM ADJACENCY STUDIO
Justine Anderson
Caitlin Condon
Tara Sydney

STUDENTS
Kate Gray
Hinatea Jones
Stella Kretzas
Alicia Mardones
Trupti Parshotam
Anja Petkovic
Luane Pike
Stephani Soro
Anandita Teneja
Chantielle Tang
Jane Banbury
Coco Wang
Thea Yang
Yuting Zheng
Iris Zi
Zöe Barker
Cicely Brown
Thirza Callista
Mohan Chen
Xi Chen
Shirley Feng
Sarah Fitzgerald
Caitlin Gazzard
Niamh Graham
Rachel Hintze
Sarah Jang
Minjee Kim
Chelsea
Kwok
Sophie Lovell
Fariha Ruhullah
Joey Tang
Georgia Tuckey
Olivia Winestock
Jing Yan
EJ Taylor
Benjamin Percic
Jade Ma
Sienna Whiteley

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Formulating Design Principles

FORMULATING DESIGN PRINCIPLES

GUIDING STUDENTS TO DEVELOP MEANINGFUL FRAMEWORKS FOR DESIGN

Adjacency Studio, University of Sydney

LOCATION
NSW
Sydney | Hobart
Eora | nipaluna

Projects underpinned by care must reflect and build an understanding of how architecture can respond to both tangible and intangible qualities of place and people and move across and between place and people at various scales; this is at the core of Country-centred design. Carefully developed design principles provide a framework for thinking through the potential of design in a non-didactic and strategic manner to capture values and ethics in architecture that can be persuasively communicated through succinct text and diagrams to describe design moves and motivations as interventions and strategies discernible to a broad audience.

Each student was required to develop a suite of design principles to embed Country and reframe how housing is often perceived in Australia, as a means of building wealth to a fundamental human right. Together we unpacked what it means to feel safe and understand the qualities of spaces that bring us joy, dignity, and empowerment. We abstracted our understanding of personal experience to expand and capture stories from listenings and readings of women and children who’ve been victims of domestic violence and/or homelessness into design principles of care.

CONTRIBUTORS
Adjacency Studio
Studio 2B students (2021-2022) at The University of Sydney

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ONE BLOCK AT A TIME: ANGASTON HILL

ONE BLOCK AT A TIME : ANGASTON HILL

USING JENGA* AS AN ANALOGY FOR HOW THINGS CAN BE NOT ONLY CONSTRUCTED BUT DECONSTRUCTED

Taylor Buchtmann Architecture

LOCATION
SA
Angaston, Barossa Valley, South Australia
Peramangk Country

One Block at a Time is a central tactic of employing micro incisions, or small manoeuvres. Exercising them strategically, exploring where we can open gaps to insert, intervene and subvert.

Each project provides a baseline for the next. We’ve learnt that changes that are very difficult to achieve on a project the first time, become almost easy next time. We expand our multi-tactical approach to the limits of each project.

Incremental (or marginal) gains are talked about in sport.

The law of incremental gains: Small incremental improvements in any process amount to a significant improvement when they are all added together. The concept came to prominence in 2012 in cycling.

We use this approach on each project, and to advance our work project to project. The opposite of death by a thousand cuts!

Jenga* provides an illustration – small manoeuvres for maximum impact. Eventually the whole topples. Our practice size is small. Our ability to impact decolonisation is small. With this approach we see opportunity for change in and with our projects.

Angaston Hill is a cluster of dwellings housing four generations. A family – each different, yet clearly related.  Three houses are organised as a series of plateaus connected by ramped and stepped circulation, around
a central linear axis. Universal access is fully integrated. Angaston Hill explores ideas of prospect and refuge, and provides space to be together and apart.

tbarch.com.au

BUILDER
Bartsch Builders

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A Sc(ore) for Listening

A SC(ORE) FOR LISTENING

ATTUNING TO THE HIDDEN MATERIAL BODIES OF QUEENSTOWN

Jacqui Alexander, Paul Mylecharane, Polly Stanton

LOCATION
TAS
Queenstown
timkarik, lutruwita

Mountainous and isolated, so-called ‘Queenstown’ is
a wild, uncompromising place. Forged by the violence
of extraction, the town’s history is imprinted in the landscape as both residue and rupture. Exploring these entangled forces, we engage listening as a creative tactic to expose the complexities of ‘Queenstown’ and its hidden material bodies.
Architectural labour is by its very nature dis-embodied: removed from the sites in which material production, construction and destruction take place. Through the architectural drawing, life worlds are reconstructed as future commodities. Instead, we propose listening as a form of in-action and being-with. Listening can attune us to voices, bodies, and materials both present and critically absent – including the historic loss of palawa culture and language. Here, listening and the score itself are conceptualised as a form of disobedience, of non- productivity – undermining the irrationality of endless growth and extraction.

public-office.info

ARCHITECTURE
Jacqui Alexander

GRAPHIC DESIGN
Paul Mylecharane

ART
Polly Stanton

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REVOLUTIONARY TERRAINS_TOOLS

REVOLUTIONARY TERRAINS_ TOOLS

LOOKING AT ORDINARY THINGS WITH EXTRA-ORDINARY TOOLS

Dr Rachel Hurst, Dr Katica Pedisic, Dr Matthew Bird
UniSA Masters of Architecture Research Practices 2019

LOCATION
Murray Bridge Silos, Coonalpyn Institute, Coonalpyn Silos, Keith Garage, Keith Memorial Institute, Keith Silos, Bordertown Institute, Bordertown Town Clock, Bordertown Silos, Bordertown Bowling Club, Nhill Post Office, Warracknabeal Town Hall
Kaurna, Ngarrindjeri, Ngargad, Bindjali Bodaruwitj, Jupagalk, Wergaia, Jadawadjali, Jaadwa, Wotjobaluk

Revolutionary Terrains is a collaborative research workshop by UniSA Masters of Architecture students. It uses experimental ways of depicting Australian regional landscapes, architecture, and artifacts as a terrain of colonial ambition, imposition, and obsolescence.

Gathering photographic data on a group road trip across southeastern Australia, students selected recurrent typologies, the built evidence of both conscious and incidental colonization. From nine towns and Aboriginal lands, these 16 archetypal ‘monuments to the everyday’, such as post offices, courthouses, and silos, were reimagined as uncanny objects, rolling through – invading – the landscape.

Using hybrid analogue drawing and iPhone apps, individuals made multi-perspectival images of each edifice, layered simultaneously from origin, destination, and cosmic viewpoints. These depictions collapse traditional and contemporary representational tools but also the temporal stasis of conventional drawing. The basis for a final stage animation, the works connect the lineage of embodied hand-drawing to the currency of 21st-century virtual communication.

PROJECT LEADERS
Dr Rachel Hurst, Dr Matthew Bird


PROJECT PRODUCTION
Dr Katica Pedisic


PROJECT ASSISTANTS
Rupert Piccoli, Edward Ramsay


PROJECT PARTICIPANTS
Agastya Adhar, Courtney Bain, Hana
Broughton, Nathan Buder, Hisham
El-Jourdi, Yong Gan, Ryan Herbst,
Blake McDougall, Milad Nahravani,
Alyssa Nelson, Bec O’Brien, Billy
Roumeliotis, Giulia Talotta, Shannon
Wark


PROJECT INSTITUTION
University of South Australia

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