Innholdsfortegnelse for July 2023 i Architecture Australia

I come from Tasmania, a wild island of contrast and myth with a dark history. Sharp, clear light pushes deep into the valleys, and the Southern Ocean rumbles on its shores. I spent my childhood holidays camping in this inspiring landscape. Camping focuses one on the core elements of living. The simplest sounds and scents are immersive and memorable: rain pattering on the tent walls, cicadas singing on hot summer mornings, an owl calling in the valley on a still night. Simple structures, too, are enough, reducing the divide we erect between ourselves and the landscape. Removing ourselves from the daily routine of our lives and taking time to listen allows us to reflect. We should think deeply about our place on planet Earth, and our place in the solar…

Too often, architecture exhibitions at the Australia Pavilion have used the presentation mode of the survey, providing an assembly (or “loose assemblage”) of diverse and relevant projects, but with little scope for in-depth presentation or explication: the many rather than the singular; the scan rather than the focus; the generously democratic rather than an acute, if selective, investigation. The Australia Pavilion exhibition for the Venice Architecture Biennale of 2023 is – to its benefit and detriment – a hybrid of this continuing survey impulse. Its stated thematic proudly announces an “unsettling” of “Queenstown” (the Queenstowns of Tasmania and South Australia). Curated and developed by the multivalent creative directorship of Ali Gumillya Baker, Anthony Coupe, Emily Paech, Sarah Rhodes and Julian Worrall, the project exploits the distinct and different practices of…

(COUNTRY) Bidjigal, Birrabirragal and Gadigal The “pavilion” has become a cultural and architectural preoccupation. The word immediately triggers images of the architecture of the Serpentine, MPavilion and NGV pavilion programs, which display the dominant characteristics of the type. Many cultivate a sense of singularity in their relationship to landscape or public space. Most operate as points of intensity and focus that are multi-directional in their spatial structure. Almost all develop an instantly legible architectural imagery tied to the visual signature of their author. Typically, they are studies in lightness or demountability. The Bondi Pavilion, on Sydney’s most famous beach, is hard to reconcile with many of these characteristics. The result of a competition-winning scheme by Robertson and Marks in 1923, the original design was reworked several times and constructed in…

Following one of the protocols for Country, which is to use the language of the land you are on, I say “Warami” first. In the Dharug language from the Sydney region, Warami means “I see you come from far away.” “Walawaani,” from my own language – Dhurga from the South Coast of New South Wales – means “Safe travels.” “Welcome” belongs to the imposed language, English, which for many First Nations peoples is now the language we learn and speak since our own languages have been forcibly removed from our tongues. In all these languages, I welcome you to this collective action of written works by First Nations authors, thinkers, doers, activists, architects, designers, Elders and Knowledge Holders. Another protocol is to acknowledge Country. I acknowledge the custodians of the…

Reconciling practices with Country requires critiques and criticisms of how one values the aura of place that is constitutive of everything. This idea of “aura” is influenced by an essay written by German philosopher Walter Benjamin in 19351 and is used here to present a new epoch of the architect and aura of Country. The epoch presents Country as a constitution that connects cultures and elevates the reconciliatory politics of First Nations discourse in architecture. Benjamin’s concept of aura relates to an original work of art (or in this case, architecture or design) that is authentic and connected to the physical and cultural qualities of place. The work is a unique element that loses its aura when multiple copies are made during its life. Critically, it is the durational qualities…

“Enoughness” relates to a state or condition of having and being enough, of having contentment in sufficiency. Many Indigenous cultures hold a “sufficiency economy” as a core part of their belief systems. One teaching that has passed down through Aboriginal generations is to never take more than you need. The Ancestors avoided wastefulness; if something was not used, it went back to Country. Indigenous activist Rebecca Adamson1 uses the term “enoughness” to describe Indigenous economics and a way to restore balance to the economy. Enoughness is part of an Indigenous worldview in which all are related as kin, including non-human kin. It can be connected to Indigenous cosmologies that view “nature as sacred and humanity as part of, not separate from or superior to, nature.”2 From an architectural perspective, enoughness…

For millennia, storytelling has been at the centre of First Nations cultures as the conduit through which we share and record traditional knowledge, cultural practices and history. As there is no written language, First Nations peoples have relied on storytelling as a vital educational mechanism to relay important information between generations. Each story imparts specific cultural knowledge or lessons about kinship, lore, cultural practices and Country. These stories and the way in which they are told, whether it be through art, song or dance, rely on engaging the senses to establish connections and strengthen retention. As we grow older, our knowledge also grows and the stories deepen. Some are told to men and others to women, as no single person is capable of holding all the stories. The stories teach…

(COUNTRY) Gadigal Hidden in the dense urban jungle of Sydney’s Surry Hills lies a scattering of tiny residential gems. So small that they are inconspicuous to passers-by, they have nevertheless drawn attention on a national and global scale. All within a few streets of each other are little treasures such as Durbach Block Jaggers’ Droga rooftop apartment (the 1998 Australian Institute of Architects’ Robin Boyd Award winner), Domenic Alvaro’s Small House (World Architecture Festival House of the Year 2011), and Hill Thalis Architecture and Urban Projects’ Studios 54, a slender tower of maisonettes that won the Aaron Bolot Award for Multiple Housing in the 2015 New South Wales Architecture Awards. These three projects (and if you hunted for more, you would probably find some) all conjure a sense of spatial…

(JURY OVERVIEW) In recent years, there has been a noticeable shift in architectural approach in Australia, with greater emphasis on the relationship of a building to its community or users rather than simply on the built form itself. The ArchitectureAU Award for Social Impact is our attempt to celebrate, promote and encourage this increasing focus on social values. Design excellence is not found in the creation of beautiful buildings alone. It is also found in the architectural process – that is, how the problem or brief is defined, who is empowered to be part of the journey, and who benefits from the outcome. How does the building work to support the client? How does it align with the broader public benefit? And how does the design itself enhance these benefits?…

(JURY CITATION) The Anganwadi Project (TAP) harnesses the skill and tenacity of Australian architects who live and work in India for six months to deliver preschools for children in disadvantaged areas. The key to the success of the project is its method of deep engagement with the community to understand their needs and aspirations, and to harness the local materials and labour skillsets. The volunteer architects work with the community from project inception through to each preschool’s completion. This process contributes to a sense of fulfilment, agency, ownership and pride for those involved, with long-lasting positive impacts for the entire community. Bholu 17, which was completed in 2019 in Ahmedabad, is one of more than 18 anganwadis designed and built by TAP since it was founded in 2006. This project…

For a gallery of the shortlisted projects, go to: aausocialimpact.com.au/gallery Adelaide Womens Prison Accommodation and the UTurn Program by Totalspace Design Bholu 17by The Anganwadi Project Collingwood Yardsby Fieldwork Dempsey Warehouseby Marra and Yeh Architects Foyer Centralby DKO Anne Street Garden Villasby Anna O’Gorman Architect Budj Bim Cultural Landscapeby Cooper Scaife Architects Curtin University Yarning Circleby UDLA Evans Lookout Access Upgradeby Newscape Design Gathering Placeby Penhale and Winter with Sandra Harben Arts Project Australiaby Sibling Architecture Carlton Learning Precinctby Law Architects The DADAA Hub Projectby Urbanframeworks First Steps Count Child and Community Centreby Austin McFarland.Architects Gibbons Streetby DKO Goulburn Street Housingby Cumulus Habitat on Juersby Refresh Studio for Architecture Niddrie Autistic Schoolby Guymer Bailey Architects Ozanam Houseby MGS Architects Retain, Repair, Reinvestby Office Groote Archipelago Housing Programmeby The Fulcrum Agency…

This year, as part of Australia’s commitment to the Uluru Statement from the Heart, a referendum will be held asking all Australians to decide whether we should “alter the Constitution to recognise the First Peoples of Australia by establishing an Aboriginal and Torres Strait Islander Voice.” This is an important stepping stone in involving Indigenous Australians in shaping policies and laws that affect them. Clearly, this isn’t the end of the road to reconciliation, but it is an integral part of a continuous journey. When it comes to our built environment, we are collectively working toward a future that similarly empowers First Nations perspectives, embeds cultural narratives and imbues an innate respect for Country. So, what can non-Indigenous people do? This is a common question asked of First Nations peoples,…

While we aspire to design with Country, we recognize that until there is systemic change and increased cultural competency, the genuine opportunities of designing with Country may not be understood. However, all can start with Country, and this action could very well be the trigger for the necessary change. Starting with Country means that from the first moment of a project, from the first idea, the writing of the brief, the choice of site, Country is at the core. This is because whether we know it or not, the built environment is part of Country and therefore responsible to Country. While this invariably needs to be a holistic understanding, let us for a moment consider it as a series of layers. At the base we have the landscape, encompassing the…

My Elders taught me that Country is alive, cares for us and shows us how to live our lives respectfully and collaboratively with all other living and non-living things. I believe this approach is critical to how we plan and design our built environment to address climate change. Within the planning and design profession, a site analysis is quite a technical process. It often only requires us to observe and record what we see. It also tends to unpack a complex problem into smaller parts or layers that are more easily understood – and by doing this, we can unintentionally disconnect from comprehending the whole. The interconnectivity of things is very important. Dehumanizing our built environment and having a Country-centred design approach is for the benefit of not only ourselves…

My role in the community is defined by two questions: Which community are we talking about? And what role am I expected to play? I was born off-Country and our family links to our ancestral Country and community (Yuin/Budawang) were broken. We are trying to repair this connection, but living away from Country makes it hard to reconnect with the old Mob. My role in that community is being redefined. My other community is in Sydney and consists of Aboriginal designers, Traditional Owners and Knowledge Holders. In my work in Aboriginal placemaking in Sydney, I often feel like a middleman between Aboriginal Knowledge Holders and a project team. My role is to ensure that: a) good quality opportunities go to the community; b) the project team has high cultural competence…

Donald Bates Founder and director of Lab Architecture Studio, Donald Bates is the chair of architectural design at the Melbourne School of Design, University of Melbourne. He has been widely published, taught across six continents and sat on numerous juries for international architecture prizes. (PAGE 12) Phillip Arnold Phillip Arnold established Plus Minus Design in 2007 after working for other practices in Sydney. He has taught design studios at UTS and UNSW Sydney and is an adjunct professor at Western Sydney University. (PAGE 34) Laura Harding Laura Harding is a Sydney-based writer who has written for The Saturday Paper, The Guardian and a number of architectural monographs. She also works in practice across urban design, public space and multiple housing projects at a range of scales. (PAGE 20) Danièle Hromek…

JET GEAGHAN When ChatGPT emerged in late 2022, the discourse around artificial intelligence (AI) was catapulted into mainstream conversation. Since then, a mix of excitement and trepidation has gripped public and professional dialogue. What are your concerns and ambitions for AI in architecture? ALISA ANDRASEK I have always believed in a superpower of complex synthesis native to architecture. AI enables us to understand built environments as an ecology of interconnected systems in a resolution that was never possible before. It could potentially assist in a way that enhances and restores this role of the designer. My greatest concern is the planetary emergency of climate change. Cities are responsible for 70 percent of global energy consumption and CO2 emissions. The transformation required must be approached with urgency and long-term thinking. My…

Who and what do you care about? Why do you care about these things? When did you first start to care about them? Is your position of care something you’ve come to on your own, or is it something you’ve learned but never questioned? How do you maintain that which you care for when working with others? Architecture is a service-based industry in the businesses of designing and delivering buildings. Our clients come to us with their own set of values that guide their decision-making. They come to us, whoever we are, because they have determined, consciously or subconsciously, that our values are aligned enough that we will understand their needs in the context of their budget. Country, including culture, community and kin, has not always been included in these…

The construction industry is one of the most resource-demanding and tangibly impactful industries on Country. The unwillingness to understand the architecture of Country played a significant role in the notion of terra nullius. Country was sliced by cadastral plans. Fences were erected, removing or restricting access to Country. Aboriginal movement paths, which follow the natural lie of the land, were straightened. Industry turned its back to the rivers, using them as dumping grounds or transport routes. Sensitive ecologies were destroyed. We’re now in the early stages of understanding the role and responsibility of architecture to Country: the 2021 National Standard of Competency for Architects includes First Nations-specific performance criteria; the Green Star rating system includes an “Indigenous Inclusion” credit; Reconciliation Action Plans are being widely developed; and at least some…

The weird thing about discrimination is that it’s easy to judge but more difficult to critically self-reflect. Given this, we need to ask: Are we “woke” enough to avoid the misuse of power, and cringeworthy attitudes or comments. It’s worth checking our assumptions because no one is inoculated against a lifelong exposure to bias. So, just to make sure we are all on the same page, let’s look at what is meant by cultural safety and cultural load. And ask ourselves: Are we woke to wokeness? Some of us think positively about wokeness as awareness of racial injustice, while others view it negatively, as punishment for thinking the “wrong” things. Take a breather! Let me say, First Nations people are not thought police and we don’t want you to be…

I have a neighbour who battles most days,Picking the leaves off his manicured lawn.Each year, he lobbies council for the removal of these huge treesThat have the audacity to clutter his lawnWith their marvellous purple-green leavesThe trees that shade his neat and tidy home from the western sunThat filter the air he breathes, the diesel of his various trucks;that release their fragrant oils before rain, in the late afternoonCalming and comforting. Application: denied (thankfully).The trees laugh along with the kookaburra,Laying their leaves down like snow. Sometimes, when I look at designsFor our streets, cities, parks, suburbsI think of this older settler man,Fighting the land to make it neat and tidy.Unwittingly unstitching the systems that give us life,Colour, fragrance, texture and song.This-goes-in-that box; all in a rowOrderly, flattened and emptyReady to…