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.

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THE ADVOCATE

THE ADVOCATE

MUIR+OPENWORK

LOCATION
VIC
St Andrews Place, East Melbourne
Wurundjeri Country

The project is an unpicking of a certain kind of State Space. A site that only held the sanctioned voice of “the civic” now makes space for other voices,
Other invitations, and other forms of occupation.
Tactics

A political and societal shift has occurred, signaling a state of regress.  A significant site. Bookending a particular time, a particular place. Adjacency. The Commonwealth. The Fitzroy Gardens. An authoritative voice borrowing the landscaped vistas beyond. Firm. Defiant. Present. Silent.
Purple planting is employed as a signifier of the memorial’s cause. This is not simply a landscape intervention. This is a formal and political intervention.

Family Violence is not ‘concluded’
Acknowledgment of the immeasurable
No names
But individual memories
This is a memorial in motion
A memorial that provides the space for this acknowledgment to occur. Resilient. Silent.

An erosion of colonial cultural heritage
A smudging of the past
In this role, architecture is the advocate for societal change
It is the enabler for education. It is the enabler of many voices.
It listens. It sits. It nurtures. Resilient. Firm.

A collaging of parts to make a whole
These are not singular gestures they are informed gestures
Layered
A slippage of form
Feet touching the ground
A meeting of parts, a meeting of cultures
This is not one voice, this is many

Decolonise

DESIGN TEAM MEMBERS
Alessandro Castiglioni
Amy Muir
Liz Herbert
Marijke Davey
Mark Jacques
Toby McElwaine

INDIGENOUS ADVISOR
Sarah Lyn Rees, JCB

STRUCTURAL ENGINEER
Phil Gardiner, WSP

TRADITIONAL CUSTODIANS AND CULTURAL ADVISORS
Wurundjeri Woi-wurrung Cultural
Heritage Aboriginal Corporation
Boon Wurrung Foundation
Bunurong Land Council Aboriginal
Corporation

STAKEHOLDERS AND COLLABORATORS
Department of Premier and Cabinet,
Office for Women
City of Melbourne
Victims Survivors’ Advisory Council
Forced Adoption Practices

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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

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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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Non-negotiables

NON-NEGOTIABLES

Sibling Architecture

LOCATION
VIC
Preston, City of Darebin
Wurundjeri Woi Wurrung Country

The traditional relationship between client and architect is anchored by a brief which drives the scope and informs the parameters of the project. Where a project seeks consultation with external groups such as traditional owners, stakeholders and end users, rich and important opportunities are often revealed.

In turn these ideas require safeguarding throughout the lifecycle of the project, and the concept of non-negotiables recognises the importance of this safeguarding process. It is the role of the architect to facilitate this type of design mandate for the client and communicate to other third parties such as planning and building authorities.

Non-negotiables can be understood to sit in parallel with a client’s original brief, and offer a new layering once other voices are consulted. The Darebin Intercultural Centre established key project non-negotiables, opportunities that were highlighted through consultation with Cultural Stakeholders and Wurundjeri Woi Wurrung traditional owners.

One such non-negotiable was making a space for ceremony.

The privatised, cellular interior of the colonial-era building was representative of the ideals and values of society when built
in 1893, and is clearly at odds with the intercultural centre’s ambitions for light, accessibility, inclusivity and diversity.

The spatial arrangements of this fortified interior were inherently inflexible, and do not allow contemporary or collective ceremonies to take place. The structural complexity of radically remodelling the interior walls required a significant allocation of the project budget, but the outcome achieved spatial flexibility and anticipated new forms of occupying space such as collective narrative circles.

Safeguarding and making a space for ceremony was an absolutely necessary non-negotiable for the project. By adding non-negotiables into the architectural process with equal importance to the brief and design we safeguard the ideals of a collective design outcome for everyone.

siblingarchitecture.com/projects/darebin-intercultural-centre/

CONTRIBUTORS
John Tanner
Nicholas Braun
Amelia Borg
Lauren Crocket

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A Cultural Reading of Place

A CULTURAL READING OF PLACE

THROUGH THE LENS OF COUNTRY

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

Redfern is a place of national significance. Of activism, social resistance and change.

The challenge of this project was to upgrade an existing 1880s Victorian Italianate building and to make it both physically and psychologically accessible. There was also a strong desire to recognise an engaged and proud community and to celebrate knowledge keeping and continued cultural practice in this prominent location.

Re-read through the lens of Country, this place is celebrated and honoured. Once prevalent turpentine forest is remembered, and the powerful owl recognised as a symbol of resilience.

We consider the tangible and intangible aspects of our projects through conversations, long term learning and experimentation and by building relationships. We hope that these discussions will progressively grow, then flourish and have impacts well beyond the physical manifestation or boundaries of the site or project.

Through the process of working together; of analysing, deconstructing and reconstructing; we seek a better understanding of Country, not just through the building itself, but through the conversations that this tactic affords, embedding cultural, environmental and social value.

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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Reclaiming Place

RECLAIMING PLACE

SUBVERTING THE COLONIAL GAZE

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

Sited on a prominent corner and ridge line in Redfern, the former post office building was chosen by local Aboriginal and Torres strait Islander community representatives as the site for a new community facility. Redfern is, was, and continues to hold great community significance as a place of activism, social resistance and change.

While the symbolism of keeping the existing colonial building relatively intact may seem discordant on first reading, there are a number of narratives that inform and result from this decision. Significantly, the building lends its prominence to the new use.

A strongly patterned masonry lift tower clearly demarcates the new entrance, creating a counterpoint to the original colonial clock tower. A dedicated and celebratory entry space is created, defining a new way
of entering and inhabiting the colonial spaces within. Prominent colonial symbols are also removed and stored.

Ways of better understanding and living with Country are initiated through improved visual and physical connections throughout, with new openings, improved natural air flow and the creation of outdoor spaces.

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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RECONCILIATION AT SCALE

RECONCILIATION AT SCALE

COMPREHENSIVE FIRST NATIONS ENGAGEMENT

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 first precinct wide development of its kind at Melbourne’s Parkville campus, the Student Precinct
paves the way for physical recognition of First Nations cultures as a signature project of the University’s ‘Elevate’ Reconciliation Action Plan.

A deep commitment has been made to ensure that pre-colonial thinking, perspectives and sensibilities are infused into the DNA of the project and are expressed by the design teams, along with the careful regeneration of post-colonial (heritage) fabric, for an inclusive and porous precinct that embeds cultural connection at the heart of student experience.

As part of a comprehensive First Nations engagement strategy, over 130 Indigenous stakeholders, representing over 45 First Nations language groups were consulted to ensure design was informed by their voices.

It is in this ‘in-between’ space, resting at the intersection of engagement and design, that the team promulgated a cultural understanding between non-Indigenous and First Nations people. This ensures that the Project embraces ‘Reconciliation at Scale’, and is tangibly activated within the fabric of the built environment – a key strategy that can extend beyond the site ‘boundary’ as an exemplar for future projects.

students.unimelb.edu.au/student-precinct#Indigenous-knowledges

CULTURAL STRATEGY
Jefa Greenaway

PRECINCT DESIGN
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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UNSPOKEN

UNSPOKEN

A QUESTIONING OF THE MYTH OF SETTLEMENT

Paul Johnston Architects

LOCATION
TAS
Tasmania
lutruwita

Questioning our presumptions is fundamental to making sense of the world. This is especially true in the making of architecture in Tasmania where the past is presented in a conclusive manner, yet the origins of settlement are hidden or disguised. Our cultural privilege today exists only at the expense of the Indigenous Palawa of lutruwita. The cultural amnesia of dispossession and genocide is perpetuated in institutions that represent cultural heritage today. And yet concepts of heritage are intimately related to notions of truth as evidenced in its buildings.

These are stories unspoken.

We propose a tactic to re-contextualize the making of colonial architecture inclusive of invasion that re-evaluates the myth of settlement from which new narratives may emerge.

Central to this inquiry are the landscapes at the heart of Aboriginal culture that were appropriated, exploited, and re-imagined as Arcadian and Picturesque places, complete with a village and church, a ‘little England’. These structures occupy prominent aspects across the countryside, marking the land, yet they remain without a critical understanding of their making.

They are now the places where such truth can be spoken.

AUTHORS
Paul Johnston, Melika Nejad

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