Part D: Architectural Precedents – Topic 10 – Ways Aboriginal Culture has been architecturally accommodated/presented in recent architectural projects for Aboriginal clients.

Year 3

Wendy Leaver -200225704 Georgia McGowan – 2004 10749Edwina Harrison – 2004 11079Peter Murray – 2004 26961

What is critical for us as students intending to accommodate the heart of Aboriginal Culture as we design for Aboriginal clients is to determine what has been most successful – in terms of process, research, functionality and form – as these thus become the precedents for our designs for “The Block”. In a recent context, Aboriginal Culture has been accommodated in architecture for aboriginal clients in a variety of ways. There have been literal and abstract interpretations, as well as architecture designed from a more personal perspective, for example the works of Aboriginal architects Merrima. Keeping this in mind we have chosen three precedents we have found to be most successful and relevant to the context of our design for “The Block”.

TranbyAboriginalCollege – Glebe

TranbyAboriginalCollege consists of three buildings; the original Tranby cottage built in the 1850s, the Minamurra building built in 1883 and the most recent development of classrooms designed by Cracknell and Lonergan, which was completed in 1998. The site of these buildings on Mansfield Street in Glebe is part of the area that was the home for the Gadigal people back in the 1830s. In 1957 this land was given as a gift to be used as a training centre for the development of co-operative practices for Aborigines. The additions by Cracknell and Lonergan began with assistance in the refurbishment of the heritage listed buildings. When the college decided to expand its learning facilities Lonergan and Cracknell came up with an appropriate design brief that responds to the clients and users of the buildings and the historical significance of the site. The main criteria of the brief include; round learning rooms, direct access to outside, access for everyone and the heritage of the place should be respected. The design process of the project involved close communication between architect and client, with numerous presentations and representations of the progress. The initial stages of how cultural specifics of the project were addressed included the observation of the users of the building, so they got a feel for the people.

From looking at the site one immediately responds to the circular forms. The importance of these round learning spaces responds to the aboriginal culture of coming together in circles, where elders and youngsters can all face each other, encouraging a non-hierarchical environment. The connections between the indoor and outdoor spaces and easy access for everyone were other key elements of the building. Researcher Paul Pholeros has described the success of use of the space "all doors to the building were completely open and staff moved seamlessly in and out of breezeways and courtyards...staff and students were comfortable with their building and the relationship it offered them between internal and external domains." This building also successfully respects the history of the site with land and heritage interconnected. Additions have been made to sandstone remains to form a seating area and an interpretive wall that is said to describe the heritage of the place. While smooth rendered walls of the heritage buildings contrast to the textured block work of the new building they are pulled together and unified by the intimacy of the design.

Aboriginal Medical Service -Redfern

Such a precedent is the Aboriginal Medical Service in Redfern, chosen for its particular relevance to the context of our design project, due to it’s location in the nearby Redfern community and use by residents of “The Block” area.Designed by Aboriginal architects Merrima, the Medical Service sits in a historical context, formerly housing the St Vincent’s Catholic Church, school and convent. Thus, the front façade of the Medical Centre derives from a remnant wall of St Vincent’s, continuing the suburban red brick, while introducing a linear rhythm of timber screening.

Entry proceeds in the space defined between the existing church and the new building, creating an external courtyard which subtly blends into the ground floor waiting room. In a sense this area becomes the central gathering space, supporting Merrima’s notion of an “indoor/outdoor” sense to entry, and the notion in Aboriginal Culture of having “no front door”.For Merrima, the use of a natural timber material that defines much of the Western façade, references the original bushland that once defined Redfern – the trees of blackbutt, bloodwood and banksia. In a tight urban context, the Merrima addition establishes a greater relationship between interior and exterior spaces, strengthened by an exterior terrace on the upper level. Sheltered by a louvered ceiling, the open space creates an outdoor space for students training at the Centre, establishing a greener environment, in an otherwise urban context.

In terms of functionality, the Medical Centre has proved quite successful. Talking to Peter, a director at the centre, we found that cliental had expanded from 57,000 to 70,000. To Peter, the use of a neutral colour scheme and materials such as timber, makes the building successful, as it drives away from the “clinic like” association of doctors and hospitals, while establishing a setting more indicative of Aboriginal culture.

Uluru-Kata Tjuta Cultural Centre -1km South of Uluru Northern Territory

The Uluru-Kata Tjuta Aboriginal Cultural Centre has been designed as a meeting place for the Anangu people and visitors to the national park. The Anangu people are the traditional custodians of the national park and can use the centre to share their stories and experiences with visitors. This building is intended to be an interactive celebration of the spirit of the Anangu culture.

The most valuable lesson in researching these buildings was learning about the actual process that the architects went through in order to produce their designs. Gregory Burgess lived with the Anangu people for a month, learning about their culture through dance, song, eating and drinking and the telling of stories. The first design ideas were generated by drawing in the sand with the people. This way Greg received immediate feedback about the design.

The two main buildings follow the contours of the surrounding dunes. They wrap around a central courtyard, which creates outdoor spaces for dances and other cultural gathering. The two buildings represent Liru and Kuniya, two snakes from Anangu mythology, watching each other across the battlefield. Paul Memmott and Joseph Reser refer to two of Gregory Burgess’s building as examples of best architectural practice to date in their paper: “Design Concepts and Process for Public Aboriginal Architecture”. Burgess’s success is heavily linked with his ability to embody several layers of meaning into his buildings.

In terms of applying this research to our current project down at the block, I think the results are obvious. Best practice requires the architect to spend a considerable amount of time consulting the people that the project is for. The best thing we can do is get down there and talk to people, get to know them, and what their culture is about. In Gregory burgess’s case, he didn’t just talk about it, he went and lived their culture for a month.

In addition we sought the opinions of those closest to “The Block” project, members of the Aboriginal Housing Committee, and the degree to which they thought our three precedents successfully expressed the Aboriginal Culture. From the TranbyCollege they responded to the form of the circular shapes of the rooms. From viewing photos they felt, as beautiful as the form of the building may be and its significance to the Aboriginal culture, ultimately the need for the building to be practical and functional is greater than using the form of the building to represent some symbolic part of the culture. As visitors to the Aboriginal Medical Centre they were able to draw on their own experience of the building and reveal some aspects of design they would like to be more carefully considered in our own project. There was a feeling that the new design is somewhat disregarding to the heritage of the site that surrounds it. They suggested there needed to be greater consideration of the site and a better union with the older buildings surrounding it.

Each of the examples we have discussed demonstrates that the Architect has a thorough understanding of the culture of the Aboriginal Clientele. The architects have learnt, through consulation, the necessary form and functions of the building that would be most appropriate for the clients. The architecture in each case is heavily based on an important aspect of the local Aboriginal Culture. Listening and learning from the clients is an essential part of designing for Aboriginals.

“What is ultimately most symbolic and powerful about the meaning of a building for Aboriginal and Islander people is that they participated in the process whereby the building came about –ie., they were involved in the place-making and creative thinking that generated the complex. This element may be more important in making this an ‘Aboriginal’ building than any design elements per se.” – Paul Memmott

Bibliography:

Memmott, Paul and Reser, Joseph: Design Concepts and Processes for Public Aboriginal Architecture

References for the Uluru-Kata Tjuta Cultural Centre:

References for TranbyAboriginalCollege:

Kombumerri, Dillon and Waites, James; Article: Public Buildings: Aboriginal Traditions Enhance PublicBuilding Process, Architectural Bulletin.

Pholeros, Paul; Article: Indigenous Architecture: Housing for Health, Architectural Bulletin.

Lose, Deanne; Article; Contemporary Indigenous Architecture, Architectural Bulletin.

References for Aboriginal Medical Service:

Architecture Australia, July, 2002- Article “Health Projects”

Acrhitecture Review Australia, Janurary 2005 – Article “Merrima”, by Adam Haddow