One of the objectives identified during the design workshop was for the architecture and the landscape to be developed as the new Centre, as opposed to the architecture alone. The materiality of the landscape responds to this objective through the synergy between the landscape and the architecture, which is expressed in the contrast between the clean metal skin of the building and the rich colour and texture of the stones. Both are presented on the white base of quartzite, relying on each other for their full identity. Expression of the Concept In November 1998, eight members of Riawunna worked with the consultants to establish the living landscape expressed through the living culture as the direction for the design concept. In December, a design workshop was carried out using a scale model of the proposed building and its site, and local materials chosen and collected by members of the Centre. The result was the landscape being developed as the statement of Riawunna (circle). Emphasis was placed on maintaining the integrity of the concept throughout all phases of the project through to construction. The model was used as the basis for the design development draw¬ing, and a separate Rock Selection Drawing was prepared as a `shopping list’ to ensure that the character of the stones depicted on the model was retained. Each stone was individually chosen by the consultants, approved by the client group, and assigned a location. The consultants worked with Chris Calverley of Calverley Landscaping to position the stones in relation to the building. The same commitment was adopted for all special elements in the garden, including the quartzite garden beds, planting material and the granite `field stone’ seating wall. The model expressed the client’s requirements, and was the tool used to ensure that the final design outcome maintained a firm integrity with the original concept.
culture in Tasmania. The new building sits in a field of Yakkas (Xanthorrhoea sp.) on a quartzite surface, which is being planted as an ongoing activity for people at the Centre. The internal garden focuses on the firepit, which is surrounded by flat granite `field stones’, forming a seating wall on the north side, and backed by a shell-grit and tussock landscape that makes a link to the cultural heritage of the islands and coast. Smaller `spirit stones’ refer to different parts of Tasmania where different tribal groups lived prior to `invasion’. A collec¬tion of culturally significant plants enclose the internal garden, providing a screen from the carpark when mature. The overall result is a landscape that is identified as Riawunna and presents the building as one of its components. Importantly, the garden expresses a cultural connection to `country’, and is considered an important statement about Tasmania’s indigenous culture by the indigenous client group. This involvement has been fundamental to the acceptance and success of the project.
Photo: Phin Murphy
Chris Calverley of Calverley Landscaping directs the rock placement.
Relationship to Context In accordance with the project brief, the landscape design firmly established the individual identity of the Riawunna Aboriginal Centre. The design also estalished a garden that sits within the broad¬er landscape context of the new Faculty of Arts Precinct. Phin works with members of Riawunna in developing the design concept on the workshop model.
Photo: John Gollings
Guardian Stones, Riawunna and the Faculty of Arts Precinct.
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