PROCESS Archives - Page 2 of 3 - Unsettling Queenstown

Un-building

Jessie Lewis on 16 May 2023

UN-BUILDING

ENOUGHNESS

Aileen Sage Architects with Dr Danièle Hromek Of Djinjama, Jean Rice Architect, Dr Noni Boyd and the City of Sydney

LOCATION
NSW
Redfern
Gadi Country

Recognising that the existing building is constructed from materials of the Country on which it is sited, we acknowledge that these materials continue to hold stories and significance.

Recycled materials make use of what has already been taken from Country, rather than taking more. Local Sydney sandstone, dark and light bricks made from clay are exposed, reused and retained, recognised and valued. Clay earth, dug out for new structural piers, has been reserved for interpretation and artworks to be made with community members.

The additions carefully consider their materiality and composition, and the effects that light and water will have over these materials over time.

‘Un-building’ allows layers of material, wrought from Country, to be revealed. We seek to acknowledge what is ‘enough’, utilising existing resources and only taking more if necessary.

aileensage.com/publiccommercial#/redfern-community-facility/

PROJECT TEAM
Aileen Sage Architects with Dr Danièle Hromek of Djinjama
Jean Rice Architect
Dr Noni Boyd and the City of Sydney

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LANDSCAPE-LED DESIGN

Jessie Lewis on 15 May 2023

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LANDSCAPE-LED DESIGN

BIOPHILIC CONNECTION AND INDIGENOUS CULTURE

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

Landscape-led design enables primary moves around and through new and existing built form within the Student Precinct to be completely transformed into a place that enables students to reconnect with nature and First Nations cultural engagement.

Key to the connection of land and student experience are cultural connections to artifacts and history – both at a student level (through politics and performing arts) and through living Indigenous culture (through embedded objects). This elevates natural and external space design interventions above built form.

Critical to architectural materiality in the precinct is the provision of resilience to student expression, with new and refurbished fabric expressed as a raw ‘student scaffold’ ready for inhabitation and re-adaptation over time. This empowers new student culture to take over living space more readily than the previously ‘fixed’ colonial exemplars on the site, and encourages ‘experience’ over physical permanence.

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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CO-CREATED EXPERIENCE

Jessie Lewis on 15 May 2023

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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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ONE BLOCK AT A TIME: ANGASTON HILL

Jessie Lewis on 15 May 2023

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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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REVOLUTIONARY TERRAINS_ PLURALITY

Ben Cottam on 15 May 2023

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REVOLUTIONARY TERRAINS_ PLURALITY

RECOGNISING SIGNIFICANT SPATIAL, TEMPORAL AND OCCUPATIONAL LAYERS

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

LOCATION
Adelaide, Murray Bridge, Tailem Bend, Coonalpyn, Keith, Bordertown, Nhill; Dimboola, Warracknabeal
Kaurna, Ngarrindjeri, Ngargad, Bindjali Bodaruwitj, Jupagalk, Wergaia, Jadawadjali, Jaadwa, Wotjobaluk

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

Across nine Aboriginal lands and declining country towns, 16 archetypal ‘monuments to the everyday’ were selected as evidence of conscious and incidental colonization. These town halls, silos, clubs, and courthouses were reimagined as speculative drawings of uncanny objects, invading the lands of First Nations peoples.

Each alien image is oriented simultaneously to origin, destination, and the star Acrux – central to the Emu in the Sky, Koodjal Koodjal Djookan, and Southern Cross constellations, significant to both First Nations and Western cultures. Animated as a 16-minute video, the ghostly journey superimposes multiple perspectives of place, occupation, time, and signification. What might be the ‘afterlife’ of the things we build if we consider and care for them in larger cultural, temporal, and celestial contexts?

Watch animation

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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A Sc(ore) for Listening

Jessie Lewis on 15 May 2023

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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

Ben Cottam on 15 May 2023

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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.

Watch animation

PROJECT LEADERS
Dr Rachel Hurst, Dr Matthew Bird

PROJECT PRODUCTION
Dr Katica Pedisic

PROJECT ASSISTANTS
Rupert Piccoli, Edward Ramsay

PROJECT INSTITUTION
University of South Australia

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REVOLUTIONARY TERRAINS_ COLLABORATION

Ben Cottam on 15 May 2023

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REVOLUTIONARY TERRAINS_ COLLABORATION

MULTIPLE VOICES IN REAL TIME AND PLACE

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

Revolutionary Terrains is a collaborative research workshop by UniSA Masters of Architecture students. A team of 18 students and architectural educators explored ways of reading and depicting Australian regional landscapes, architecture and artefacts as a terrain of colonial ambition, imposition and obsolescence.

Initial exercises played with unconventional and physical modes of researching place and space. Next, a group road trip from Adelaide to Warracknabeal, across nine Aboriginal lands and declining country towns, charted 16 archetypal ‘monuments to the everyday’ (e.g. post offices, courthouses and silos) as uncanny objects. These formed the material for a co-operative photographic journal, speculative drawings, animation and public exhibition.

Allied with Studiobird’s After Warracknabeal [2019] and Parallaxis for the Adelaide 2020 Festival, the project’s ostensible focus is the redundant 1890 Warracknabeal Court House, and its regeneration as a community artspace: but more critical is its role as an immersive educational experience for students, one that benefits from fresh eyes and tactics on familiar places.

Watch animation

PROJECT LEADERS
Dr Rachel Hurst, Dr Matthew Bird

PROJECT PRODUCTION
Dr Katica Pedisic

PROJECT ASSISTANTS
Rupert Piccoli, Edward Ramsay

PROJECT INSTITUTION
University of South Australia.

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ACOUSTIC LANDSCAPES

Ben Cottam on 15 May 2023

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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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TIME

Ben Cottam on 15 May 2023

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TIME

MAKING TIME TO FACILITATE A MORE RELATIONAL AND HOLISTIC COLLABORATION PROCESS

Brave and Curious, 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

Allowing time and space is an essential ingredient in facilitating the processes of decolonization/indigenization. Time is essential to establish trust and meaningful relations with people, their memories, and experiences. Without time and space, cultural mapping and learning can become fractured and superficial. Time is also required to heal – connection, trust, learning, celebration, and healing are all fundamental signs of healthy communities.

Yitpi Yartapuultiku represents a significant shift in thinking wherein the traditional project management focus has transcended the core demands of compliance and milestone commitments toward a more holistic and hybridized accountability process. This new process recognizes the importance of allowing time to explore the complexities and interconnectedness of physical elements, environment, social structures, memories, and deep histories of a place.

A cyclical, multi-dimensional collaborative design process was developed to replace the traditional linear Gantt program. Through this process, we have successfully demonstrated the urgent need to facilitate more fluid and relational collaboration methods for cultural projects.

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