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
undefined
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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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.

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ARCHITECTURE
Jacqui Alexander

GRAPHIC DESIGN
Paul Mylecharane

ART
Polly Stanton

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ACOUSTIC LANDSCAPES

ACOUSTIC LANDSCAPES

ACOUSTIC LANDSCAPES

N’arweet Carolyn Brigs AM, Justin Buckley, David Chesworth, Taylor Coyne, Alexis Farr, Laura Harper, Xavier Ho, Ana Lara Heyns, Sonia Leber, Jon McCormack, Marilu Melo Zurita, Oscar Raby

LOCATION
VIC
Rippon Lea Estate, Elstenwick, City of Glen Eira, Melbourne
Boon Wurrung Country

Our tactic, Medium Hybrid-ness yielded sites adjacent to the curfew boundary established by colonists for Meeanjin [Brisbane] to exclude Turrbal and Jagera people after dark that straddled Maiwar [Brisbane River], an explicit urban marker of the treatment of First Nations people. We amplified First Nations presence and assembled a diverse cultural mix for Meeanjin, where compression of time and spatial density register at medium scale.

We accounted for First Nations significance, changes over time, historical evidence, urban form, networks of social space and current use to unlock the potential of the sites and contribution to the city. Speculations were developed against the backdrop of Brisbane’s selection for the 2032 Olympics and pressures associated with rapid development and population increase. The inner city has attracted significant development generating hybrid conditions often involving fragments of remnant infrastructure.

Here we offer the Story Bridge site, that bisects Kangaroo Point, marking one boundary. We speculate on a lively variety of uses in spaces under the bridge and strategic connections between the bridge deck and Turrbal Country below.

INDIGENOUS ELDER
N’Arwee’t Professor Carolyn Briggs
AM


CLIENT
National Trust of Australia – Victoria,
Justin Buckley


FUNDING
Australian Heritage Grant
AHGII000002, Rippon Lea
Endowment Fund, The Drain Man


PROJECT LEAD
Laura Harper


RESEARCH TEAM
N’Arwee’t Professor Carolyn Briggs
AM, Justin Buckley, Taylor Coyne,
Alexis Farr, Laura Harper, Ana Lara
Heyns, Maria de Lourdes Melo Zurita,
Jon McCormack


IMMERSIVE EXPERIENCE AND AR
Oscar Raby


SOUND RECORDING AND COMPOSITION
David Chesworth, Sonia Leber, Taylor
Coyne


WEB DESIGN
Xavier Ho


IMAGE CREDIT
Sonia Leber

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TRAVELLING UNDERGROUND

TRAVELLING UNDERGROUND

RE-TRACING MEMORY, STRUCTURES AND JOURNEYS WHICH HAVE BEEN COVERED UP

N’arweet Carolyn Brigs AM, Justin Buckley, David Chesworth, Taylor Coyne, Alexis Farr, Laura Harper, Xavier Ho, Ana Lara Heyns, Sonia Leber, Jon McCormack, Marilu Melo Zurita, Oscar Raby

LOCATION
VIC
Rippon Lea Estate, Elstenwick, City of Glen Eira, Melbourne
Boon Wurrung Country

Understanding and working with the deep structure of environments requires a suite of forensic processes. Map-making can garner such intelligence through the careful piecing together of diverse knowledges over time and space. This layered map of the Great Swamp catchment on Melbourne’s eastern edge reveals its dynamic past and underlying waterscape in the context of radical colonial change.

The map does not invent or project; it simply traces and records complexity, superimposing a version from one moment in time over another. This includes markings of explorers, records of subdivision and parish plans and the reconstruction of possible swamp zones, all shown in relation to topographic contours and geological features. The drawing, constructed using GIS technologies, includes archival material from a range of sources with different types of subjectivity overlaid and geo-positioned in relation to ‘official’ contemporary datasets. Further detective work includes recordings, which make ‘natural’ sounds audible by placing hand made microphones in mud on the ground, and enable deep time connection to the ‘material’ of place through the rhythmic patterns of Boonwurrung language.

INDIGENOUS ELDER
N’Arwee’t Professor Carolyn Briggs
AM

CLIENT
National Trust of Australia – Victoria,
Justin Buckley


FUNDING
Australian Heritage Grant
AHGII000002, Rippon Lea
Endowment Fund, The Drain Man


PROJECT LEAD
Laura Harper


RESEARCH TEAM
N’Arwee’t Professor Carolyn Briggs
AM, Justin Buckley, Taylor Coyne,
Alexis Farr, Laura Harper, Ana Lara
Heyns, Maria de Lourdes Melo Zurita,
Jon McCormack


IMMERSIVE EXPERIENCE AND AR
Oscar Raby


SOUND RECORDING AND COMPOSITION
David Chesworth, Sonia Leber, Taylor
Coyne,


WEB DESIGN
Xavier Ho


IMAGE CREDIT
Laura Harper, Ana Lara Heyns

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COUNTER-PACE

DETECTIVE WORK

LAYERS OF EVIDENCE TO GARNER SWAMPLAND INTELLIGENCE

baanytaageek: Great Swamp Regenerative Collective

LOCATION
VIC
Cardinia and Koo Wee Rup
Boon Wurrung Country

Understanding and working with the deep structure of environments requires a suite of forensic processes. Map-making can garner such intelligence through the careful piecing together of diverse knowledges over time and space. This layered map of the Great Swamp catchment on Melbourne’s eastern edge reveals its dynamic past and underlying waterscape in the context of radical colonial change.

The map does not invent or project; it simply traces and records complexity, superimposing a version from one moment in time over another. This includes markings of explorers, records of subdivision and parish plans and the reconstruction of possible swamp zones, all shown in relation to topographic contours and geological features. The drawing, constructed using GIS technologies, includes archival material from a range of sources with different types of subjectivity overlaid and geo-positioned in relation to ‘official’ contemporary datasets. Further detective work includes recordings, which make ‘natural’ sounds audible by placing hand made microphones in mud on the ground, and enable deep time connection to the ‘material’ of place through the rhythmic patterns of Boonwurrung language.

AUTHORS:
Nigel Bertram
Catherine Murphy

CONTRIBUTORS
N’arwee’t Carolyn Briggs
Daniel Kotsimbos
Rutger Pasman
Ben Waters

IMAGE AUTHORSHIP
Great Swamp Catchment drawing
by Monash Urban Lab with Rutger
Pasman, 2023.

COUNTER-PACE

RHYTHMS BEYOND LINEAR AND HUMAN TIMESCALES

N’arweet Carolyn Brigs AM, Justin Buckley, David Chesworth, Taylor Coyne, Alexis Farr, Laura Harper, Xavier Ho, Ana Lara Heyns, Sonia Leber, Jon McCormack, Marilu Melo Zurita, Oscar Raby

LOCATION
VIC
Rippon Lea Estate, Elstenwick, City of Glen Eira, Melbourne
Boon Wurrung Country

Hidden Rippon Lea is an immersive sound and augmented reality experience delivered through an app, which explores memory, plant and animal life, infrastructure, and waters at Rippon Lea Estate in Nairm (Melbourne). The project works to challenge the colonial legacies of the site – to recognize that it is Boon Wurrung Country, connected to a wider ecological and hydrological landscape.

We used counter-pace as a tactic to invoke a disruption to linear time. Audio and visual elements are introduced relative to the visitor’s location on the site, inviting the visitor to slow down and attune to their sensory experience. Soundscapes in the app unfold in a non-linear way, influenced by the way the visitor moves through and interacts with the site. A counter-pace is evoked through the diversity of sound-based rhythms from Rippon Lea that make up the soundscapes. These rhythms may be short, like the life cycle of an insect, or long like the geological movements of the earth. This rhythm diversity invokes the cyclical times of Country, like that of the Iilk (eels) who journey from the Coral Sea to Nairm, now traveling through the city’s stormwater systems to reach the Rippon Lea Lake.

INDIGENOUS ELDER
N’Arwee’t Professor Carolyn Briggs
AM

CLIENT
National Trust of Australia – Victoria,
Justin Buckley


FUNDING
Australian Heritage Grant
AHGII000002, Rippon Lea
Endowment Fund, The Drain Man


PROJECT LEAD
Laura Harper


RESEARCH TEAM
N’Arwee’t Professor Carolyn Briggs
AM, Justin Buckley, Taylor Coyne,
Alexis Farr, Laura Harper, Ana Lara
Heyns, Maria de Lourdes Melo Zurita,
Jon McCormack


IMMERSIVE EXPERIENCE AND AR
Oscar Raby


SOUND RECORDING AND COMPOSITION
David Chesworth, Sonia Leber, Taylor
Coyne


WEB DESIGN
Xavier Ho


IMAGE CREDIT
Laura Harper, Marilu Melo Zurita

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YURI INGARNINTHII: DEEP LISTENING

YURI INGARNINTHII: DEEP LISTENING

TRANSCENDING SUPERFICIAL OBSERVATION USING THOUGHTFUL PROCESSING SKILLS TO UNDERSTAND WHAT YOU’RE LOOKING AT

LOCATION
SA
Yarta Puulti (‘Sleeping Place’), Estuarine Mangrove River System, Port Adelaide,
South Australia, 34.51S 135.30E
Kaurna Yarta

Our approach to consultation has been more relational than formal. We requested permission to join the Kaurna community to listen and learn about Kaurna Yarta. In exchange, we brought skills and experience in architecture, landscape architecture, and place-making to assist in the coming together of the physical and the cultural topographies shaping the project.

The concept plan for Yitpi Yartapuultiku (the ‘Soul of Port Adelaide’) has been delivered through an extensive co-design process that has involved loosely structured design workshops and lots of ‘yarning’. By adopting a process of deep listening, the project team developed an interactive engagement process that used making and doing to explore the potential place-making opportunities. Using a unique process of physical modeling with kinetic sand, the custodian groups were able to shape the site with their own hands, explore landforms, build mounds, and shape the site’s edges. They tested spatial arrangements, coastal edge profiles, and discussed how cultural practices and narratives should be expressed, overlaid, and embedded into the concept plan.

participate.cityofpae.sa.gov.au/yitpiyartapuultiku

CLIENT
City of Port Adelaide Enfield


CULTURAL DIRECTION
Kaurna Traditional Owners and Custodians


ARCHITECT / PROJECT LEAD
Ashley Halliday Architects


LANDSCAPE ARCHITECT
Wax Design


INTERPRETIVE DESIGN /
WAYFINDING
Exhibition Studios


FILM MAKING
Living Stories


PROJECT MANAGER
Moto Projects


CULTURAL DESIGN FACILITATOR
Brave & Curious


DESIGN COLLABORATORS
PT Design, Lucid, RLB, Cirqa,
Wavelength, Golder, Succession,
Ecology, Resonate, Eatscape, D Squared, Buildsurv

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UNLEARNING

UNLEARNING

SHIFTING PERSPECTIVE BY LOOKING FOR, CONNECTING WITH AND NURTURING THE UNSEEN, THE NON-TANGIBLE

Ashley Halliday Architects, Wax Design, the City of Port Adelaide Enfield, Kaurna Traditional Owners and Yitpi Yartapuultiku Custodian Group

LOCATION
SA
Yarta Puulti (‘Sleeping Place’), Estuarine Mangrove River System, Port Adelaide,
South Australia, 34.51S 135.30E
Kaurna Yarta

Aboriginal and non-Aboriginal people alike continue to hurt from the damage colonisation has wrought on the Australian community and Country. Our community is in crisis, and Australia must transcend its selective amnesia toward past genocidal practice, displacement, and dispossession of Aboriginal people to then unlearn, learn, relearn, and evolve together.

Unlearning requires a shift in perspective. To shift perspective, we must look for, connect with, and nurture the unseen, the non-tangible. We must be open to unlearning and re-learning new ways of seeing and doing and appreciating the environment. Kaurna Elders teach that we must embrace two-ness, observe natural harmonies, connect with all our senses (Nindi), with each other, the spirit of the place, and Country.

Without a shift in perspective, Australia will continue to disintegrate socially, spatially, and environmentally. Community bonds will remain fractured, and our shared public places will become commercialized and disconnected from Country. Yitpi Yartapuultiku seeks to reverse this future by blending architecture and landscape with Country, creating a new ‘Dreaming’ – A renewed place of belonging.

participate.cityofpae.sa.gov.au/yitpiyartapuultiku

CLIENT
City of Port Adelaide Enfield


CULTURAL DIRECTION
Kaurna Traditional Owners and Custodians


ARCHITECT/PROJECT LEAD
Ashley Halliday Architects


LANDSCAPE ARCHITECT
Wax Design


INTERPRETIVE DESIGN/WAYFINDING
Exhibition Studios


FILM MAKING
Living Stories


PROJECT MANAGER
Moto Projects


CULTURAL DESIGN FACILITATOR
Brave & Curious
DESIGN COLLABORATORS
PT Design, Lucid, RLB, Cirqa,
Wavelength, Golder, Succession
Ecology, Resonate, Eatscape, D Squared, Buildsurv

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INTEGRATING ARCHITECTURE & LANDSCAPE ARCHITECTURE LEADERSHIP

INTEGRATING ARCHITECTURE & LANDSCAPE ARCHITECTURE LEADERSHIP

INTEGRATING ARCHITECTURE & LANDSCAPE ARCHITECTURE LEADERSHIP

Ashley Halliday Architects, Wax Design, the City of Port Adelaide Enfi eld, Kaurna Traditional Owners
and Yitpi Yartapuultiku Custodian Group

LOCATION
SA
Yarta Puulti (‘Sleeping Place’), Estuarine Mangrove River System, Port Adelaide,
South Australia, 34.51S 135.30E
Kaurna Yarta

Yitpi Yartapuultiku translates as ‘Soul of Port Adelaide’ in Kaurna and is located on Yarta Puulti (‘Sleeping Place’), Estuarine Mangrove River System, Port Adelaide. Yitpi Yartapuultiku is a place for Aboriginal and non-Aboriginal people to be immersed in and learn from Aboriginal culture. Landscape and architecture are sensitively curated under strong cultural direction to create a unique, cohesive, culturally safe place that respects, nurtures, and celebrates Country. Yitpi Yartapuultiku demonstrates what it means to be ‘On Country’ – a process vital to people’s cultural, spiritual, and physical wellbeing.

Architecture, Landscape, Munaintya (Kaurna Dreaming), and ecology are holistically interwoven, designed to spark curiosity, connect people with Nindi (all senses), to the spirit of the place, with each other, and with Country.

The site plan is a powerful planar representation of the deep listening, learning, and knowledge shared by the traditional owners and custodians and is the direct product of a highly participatory integrated design process. The design is infused with deep symbolic purpose and spiritual meaning.

participate.cityofpae.sa.gov.au/yitpiyartapuultiku

CLIENT
City of Port Adelaide Enfield
CULTURAL DIRECTION
Kaurna Traditional Owners and
Custodians


ARCHITECT/PROJECT LEAD
Ashley Halliday Architects


LANDSCAPE ARCHITECT
Wax Design


INTERPRETIVE DESIGN/WAYFINDING
Exhibition Studios
FILM MAKING
Living Stories


PROJECT MANAGER
Moto Projects


CULTURAL DESIGN FACILITATOR
Brave & Curious


DESIGN COLLABORATORS
PT Design, Lucid, RLB, Cirqa,
Wavelength, Golder, Succession
Ecology, Resonate, Eatscape, D
Squared, Buildsurv

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