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My Exterior Selection, St Johns Cathedral has a striking Gothic exterior. The building is grand and holds architectural details that also convey cultural and religious significance.

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To take in the structure and style of St John's, I did a quick drawing while across the street to understand it's characteristics and details.

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I stumbled upon Archives Fine Books during my commute to work, it is a unique bookstore where each book's smell seeps into the atmosphere. each room within the store has layers of character and makes readers value the history of the store, the books, and the stories.

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Hundreds of books and old antique furniture. There is order to the chaos, and piles on piles of story. The space is rich in character knowledge, drawing interest from me - the reason why I chose this space.

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A picture from below, displays the grandeur of the building. The details and curves of show the significance of this building among others hat surround it.

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The tiny doors can be found all over brisbane, but some dont last long. these hidden gems around brisbane add character to the street and has become a fun game of spot it for CBD visitors. Despite being small, they are a landscape in itself.

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Showing scale and size. For viewers thinking, is the crow huge or is the door tiny?

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Few buildings and locations to show initial conceptualisation of the trail. Different angles and scales show the diversity of structures around Brisbane.

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St John’s Cathedral is of the Anglican denomination. The cathedral is dedicated to St John the Evangelist. It is situated on Ann Street and is the second oldest Anglican church in Brisbane. Construction of the Cathedral began in 1901 and was consecrated on the 29th of October 2009, taking over 100 years. Designed by John Loughborough Pearson, the Cathedral was designed in the Gothic Revival style, with French Gothic inspiration.

The materials used for the Cathedral are mainly Brisbane Tuff, a type of rock formed by volcanic eruption. Just as the Jaggera and Turrbal people were displaced from their country, the stone used for the structure was excavated from its land and made into a building.

St John’s Cathedral has the only fully stone-vaulted ceiling in the southern hemisphere. Inside the cathedral, there are 12 bells which date to 1876, and are named after the deans and administrators of the Cathedral, since 1925.

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Sitting on Charlette Street in Brisbane, Archives Fine Books is a unique bookstore hidden behind a small door on the side street. The slogan “One Million Books on Every Topic” reveals the character of what the bookstore is like.

The store is in the John Mills Himself Building, which is a heritage-listed warehouse now functioning as a café and bar. It is the largest second-hand bookstore in Queensland. The business was established in 1985 by Emmanuel Mescher, who passed down thousands of unique and rare books. The store also prides themselves on their assembly of “scarce” and “unusual” books.

The interior of the store was a sensory experience. The smell of antique books fills the atmosphere, while the dim lighting produces the feeling of mystery. Majority of books in the store is discolored and delicate, which adds to its own character. In the inner room of the store, there are desks and chairs to provide readers with a place to sit, while the details of the cornices, chandeliers and door frames show the history of the site.

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The tiny doors are sculptures made by local artist Mace Robinson. The doors are placed all around Brisbane, on Burnett Lane Edward Street, Queens Street and even the Queensland Art Gallery. It is inspired by “fairy doors” which are believed to be a magical portal between our world and the magical world. These doors add to the fun of coming to Brisbane city, with many tourists, visitors and even influencers going around Brisbane to spot them.

These doors are made to last up to ten years while being exposed to the elements, and for Brisbane visitors to spot. Not all the doors last ten years though – some disappear after a while, either due to damage or other mysterious reasons.

According to Medium.com, Mace Robinson has no plans to stop making these tiny doors. So far, many businesses and even universities have ordered these tiny doors to be displaced at their locations, making these tiny sculptures to be weaved into Brisbane’s cultural fabric.

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From Owen Cafe’s lecture, I learnt that being inclusive of Indigenous culture in design isn’t just about using elements of Indigenous design or symbols. I was able to understand that real inclusion comes from involving Indigenous people in the design process itself. Empowering them with self-determination ensures the design values their needs and optimises a positive impact on Country. Owen emphasized that this approach is rooted in collaboration within a project, which is essential to its success, instead of tokenistic representations. As indigenous architect Alison Page said, “Designing with Country is not an aesthetic, it’s a process”. This helped me see that designing for inclusion and with Indigenous communities isn’t about how a space looks, but about how its created. The definition of an inclusive design must be done through genuine and respectful listening, understanding and engagement with people who speak for Country. This process-focused approach honours indigenous perspectives and fosters lasting outcomes that is meaningful for the community.

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During peer discussions, I gained deeper insight into the meaning of designing with Country. Owen’s story about his previous experience with his workplace exploiting his Indigenous heritage to meet a percentage requirement for Indigenous involvement. This was a clear example of what designing with Country is not. Such tokenistic action is blatantly disrespectful. It is what Owen would describe as a “new wave of colonisation” – a lazy approach to design that merely checks criteria without meaningful connection or engagement. Through discussion, we understood the difference between superficial inclusion and true collaboration, which extends on Alison Page’s quote – designing with meaning not aesthetic.

Another topic of discussion was the displacement of Indigenous people and Country. Just as Indigenous people were physically removed and displaced, it is an uncommon thought that materials in Country, such as rock, wood etc were also removed. From this, we must appreciate that country is truly all around us not only in the way of local flora and fauna, or land, but they are also incorporated into the building blocks in the buildings and structures we utilize every day. During the lecture, there was an idea of being “enviro-centric” and harmonizing nature with design. This is an essential element of Designing with Country, where we not only make a connection with the indigenous community, but also considering other aspects of Country, such as the water, sky, season, and air.

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From lectures and discussions, I have learnt how to approach design more thoughtfully in future projects at university and in the workplace. The emphasis is on designing with and alongside Country, rather than applying external aesthetics for appearances. In my workplace, in projects that are going to Minjerribah (Stradbroke Island), our team has included local elders in designing the houses to ensure products suit the lifestyle of Indigenous people. This can include a larger communal space as well as specific choices such as an extra door directly from the hallway to the deck. Projects like this set me as a role model for me to on what inclusion is, and how I should approach personal projects. It’s also important to recognise the emotional labour that Indigenous members may experience during these stressful processes, where they may speak for many people. For this, I will be careful and respectful to not overburden them. Ultimately, I aim to create designs that benefit both people and the environment, as the design is not only about how they function but also how they honour deep-rooted cultural values and heritage.

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History, Community, Stories, Design and Place

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History, Community, Stories, Design and Place

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In a city like Brisbane, elements of history shape our community identity. Venues such as the Irish Murphies of Gilhooleys contribute to the diverse backgrounds and cultures of its residents, while historical sites like Anzac Square and Queens Gardens foster remembrance during significant gatherings such as Anzac Day. Such locations capture the essence of Brisbane's story, becoming part of its history for future generations. Archives Fine Books can also exemplify this connection between history and place, which preserves the past and shares it with the future.

Design is an ever-evolving element in Brisbane, particularly in areas like Burnett Lane and Lower Burnett Lane. Many artists infuse their unique style into the urban fabric, such as graffiti and doodles onto the facade of buildings as well as the very ground we walk on. These art pieces challenge the traditional notions of scale, which offers viewers a fresh perspective on modern art, especially when it's tucked away in a small alley, hidden from the foot traffic. These spaces "illustrate" how modernity can co-exist with the historical core of the city, demonstrating an interconnectedness of Brisbane's cultural and physical landscape. It is a city with historical layers and local contributions, making it a city filled with living stories.

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My insertion Idea is Inspired by the Follies of Parc De La Villette...

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3 Ideas and evaluation - eliminating idea 1 and 3

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Due to my late change of insertion idea, from this point on, it will be revisited work from after week 10. :)

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Appropriate to site - Yes, It is a thought provoking insertion that contrasts the site's environments.

Appropriate to context - It challenges the Queens Gardens' colonial and political context and attempts to connect it with indigenous roots.

Respectful to Country - The main purpose of the insertion is to connect the site to Country

Freely Accessible - Unfortunately, people who have mobility disabilities may have difficulty getting to the top of the stairs, but it doesn't stop them from using the benches at the back (see more in Assessment 2 submission).

Specific purpose - Provoking thought of how this connects Country with the site, the stairs allow users to climb to the top, observing all four Heritage Buildings and the Brisbane River. It also provides shade for users of Queens Gardens (lunch break, picnic, gathering with friends), provides seating for those who need it, and during night time, the projectors reveal a light show that at the same time can bring attention to a current topic.

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The first lesson this semester is the importance of adaptability in the design process. Upon gaining feedback for the first idea of my insertion, I realized that my design was generic and did not capture what I wanted to convey (evoking feeling and connection). This prompted me to visit the site multiple times to become more attuned to the dynamics at play, throughout the day. This ongoing process of observation created my final idea and refined it to respond better to the needs of this site. This allowed me to realize that design is not a single streamline process, but one that evolves as I interact more deeply with the site. This process challenged my previous skillset and forced me to gain flexibility during the design process, to ensure that my insertion was truly reflective of the space.

The second and main lesson I learned this semester is the importance of how structures interact with their surroundings. In the beginning, I started by creating an insertion without considering the site. This led me to run into difficulties when trying to put my insertion into my site. For a change, I decided to visit my site, and at different times and I was able to collect data - such as observing people's activities, how many people where present, or their reason for visiting. During studio sessions, I also learned how to conduct a comprehensive site analysis, including studying foot traffic or assessing the influence of natural elements such as sun path, shade, or the views from a point. As a designer, I grew to understand that for each element I could either embrace or mitigate these factors. For example, mapping out the sun's path allowed me to envision how my insertion can shape people's experiences when using the space. At first, I thought of hiding people from sunlight, but ultimately I decided to embrace the sunlight. Through this process, I was able to design an insertion that complements the site, and I realized that the site itself was shaping and guiding my insertion design.

The third lesson I learned is that architectural insertions can serve as more than a physical structure, they can also engage with the cultural and social landscape. Queens Gardens is a site that is rich in colonial and political history, and through my insertion, I attempted to connect it to the local social context, particularly the Indigenous community. By focusing on elements of nature (the sun), I hoped to reference "Country". As a part of this process, I reached out to admins of the Turrbal.com website and Instagram to seek their feedback on a project like this. Despite not receiving a response, I still attempted to embed an Indigenous element and engagement into my design process. I realized that different communities engage with public spaces in varying ways, shaped by historical events and human interaction. I sought to make this interaction as positive and respectful as possible, and from this I came to understand that a design must address not only physical and natural aspects of the site, but also social and historical contexts.

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Vibrant green panels help the insertion to blend into the grassy gardens but also stand out from the heritage buildings that surround the site. This is the main facade of the insertion and helps to creates a visual dialogue between nature and the built environment that surrounds the sundial. The colour choice symbolizes nature and harmony, aligning with "Country" to connect it to the natural world. The selection of stainless steel is for its durable nature, to ensure the structure's longevity in an open space, exposed to the elements.

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Sturdy and slip-resistant concrete reinforces the connection between the built environment and the natural landscape. Green colour to blend in with stainless steel panels as well as the vegetation in the garden. It creates a sense of continuity between the ground and the insertion.

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A Neutral and grounding element draws attention to the sundial as the focal point of installation. The texture and colour provide contrast to the vibrant and smooth panels on the exterior. It also emphasizes the sundial's shadow among a sea of green, which brings the audience's attention back to the centre point of the insertion - sun and shade. The smooth finish of the concrete also adds to a level of refinement, feeling intentional, also trying in with the sophisticated and timeless facades of the treasury buildings surrounding Queens Gardens.

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The loose sand ground creates an interactive experience for visitors. As a natural and unstructured environment, it aims to provide a sense of playfulness. It attempts to momentarily take visitors "out" of Queens Gardens, and into a realm that focuses on the different textures with the insertion. Additionally, through time, the sand will slowly integrate into the ground below, disappearing, which represents the idea of time and change. This also ties in with the sundial's purpose of passage of time.

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In my insertion, light is an element that challenges the traditional notion of materials. It is not something you can touch, but it is something that you can see and interact with. It is able to evoke feelings the same way physical materials can, or even more so. In my insertion, projectors are installed on the Sundial pole and add another dynamic element. This allows the insertion to also serve a purpose after sundown. These projectors produce a series of colours onto the sundial as well as the ground, which creates an atmosphere for the visitor to view. Interactions between the lights and visitors produce shadows, connecting the idea of natural elements into the insertion at night. The projectors are also used to spread awareness about events (such as the Olympics, Cancer Council, International Women's day, Sorry Day etc.) which adds another layer of meaning to the insertion.

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Key takeaway from Indigenous Knowledge reading

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Key takeaway from Indigenous Knowledge reading

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One key takeaway from the reading is the significance of preserving land, or "Country". The connection between Indigenous people and their land is holistic, which encompasses both physical and spiritual elements. Initially, I believed "Country" was only a region and its elements, in which I must acknowledge in a form of respect. However, I came to understand that caring for Country extends beyond that. It involves environmental stewardship while working to maintain cultural practices by protecting sacred sites. This ensures the land is healthy for future generations, and highlights the need for sustainability while respecting land and culture. This encourages non-Indigenous communities to learn and integrate these values into daily life.

For a site like Queens Gardens, the land has been drastically disturbed due to historical clearing and development, leaving little to no cultural heritage elements. Nonetheless, it is still crucial that future changes to this land, or any other land must consider its cultural and environmental significance. In my project, my goal is to reintegrate the concept of "COuntry" into Queens Gardens, to create a place honouring Indigenous culture while connecting non-Indigenous people to these elements.

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Reflection on discussion and influence to my approach to design

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Reflection on discussion and influence to my approach to design

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During the discussion, I came to the realization of the difference in approach to "land" between Indigenous and non-Indigenous people. From the Western viewpoint, the land is established as "property". In contrast, from a traditional Indigenous perspective, it is viewed as a living entity in which every person has the responsibility of caring. This is an idea that is eye-opening for me, as I have not thought of land in this way. I’ve realized that design is not just about creating something new, but also enhancing or preserving that already existed. The goal here is to recognise that the land has layers of meaning and significance beyond its physical landscape and must reflect the values of the traditional custodians. This is the first step in integrating Indigenous values into my own, and it is crucial for an emerging designer like me.

As an example, what makes a guideline like “Caring for Country” truly inclusive and respectful isn’t simply the inclusion of Indigenous artwork. It is rather the active involvement of Indigenous communities. The NSW government invited representatives from the Daug, Dharawal, Gundungurra (and more), in its creation, to ensure voices are deeply values to the document’s development. This example is a “role model” approach that is beyond visual acknowledgement, prioritizing Indigenous knowledge by putting it directly into the framework. As designers ourselves, this is the type of process we should put into out projects.

To practically apply this reflection, it is clear that non-indigenous designers must actively incorporate indigenous knowledge into their work. Thinking back to Owen Cafe's lecture, we must remember to not accidentally "take advantage" of Indigenous communities/individuals to meet quota, or to create something out of "tokenism". The "Caring for Country" document emphasizes that consulting with local Indigenous communities during the design process is not only a respectful gesture but also an imperative and necessary step to foster a sustained connection to the land. This practice is at the core of co-design, to ensure the product honours Country through integrating traditional knowledge systems. This approach allows designers to create projects that are meaningful in terms of cultural, social and physical elements even when the product itself doesn't include an Indigenous "look. This way, spaces can be culturally respectful and preserve the values of Indigenous communities.

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First Draft of Design Statement (Pre-idea change)

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First Draft of Design Statement (Pre-idea change)

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The project envisions a public insertion within Brisbane CBD on a site of choice within the AJLM trail. The insertion must be interactive and produce meaning. The site of choice is Queens Gardens on George Street. While respecting the site's rich historical and cultural layers, this insertion will offer a change of contemporary and modern engagement.

The design will occupy approximately 100m^2 of space while emphasising an open and accessible environment. This insertion will foster reflection and interaction among visitors while blending heritage and modern concepts. Interplaying between the intricate historical buildings surrounding queens garden, this minimal structure aim to invite visitors to explore the site's history while considering its future. Balancing between structure and void can allow experimentation of sunlight, wind and rain, which will create a sensory experience for people who visit the insertion. At the same time, the insertion will act as a picnic area to provide shelter for people who frequent the place during lunch breaks or tourists. Additionally, the top area of my insertion can act as a resting area or a place for children to play and interact with one another. This idea seeks to create a meaningful space that caters to all demographic, and be a fun change to the historical and serious atmosphere of Brisbane.

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The proposed insertion within the Queens Gardens aims to connect the site's colonial past with its Indigenous roots, by using the Sun as a symbolic link. The insertion was inspired by the Dreamtime Story of Dinewan the Emu's eggs, which made the sun. With this, the sundial reflects the natural cycle of the time and the element of the sun within the Indigenous "Country". This design integrates the idea of modern timekeeping with a heritage cultural narrative, creating a space that honours Indigenous culture while blending with the modern fabric of Brisbane. The sundial provides a space for reflection and connection between history, nature, and community.

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Reflection on Identity and Positionality in Spatial Design

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Reflection on Identity and Positionality in Spatial Design

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Throughout this semester, various lessons and lectures have led me to understand how my own identity and background can greatly influence the way I approach spatial design. My own cultural background and biases shape my design decisions, but recognizing my positionality as a young, learning woman of colour, reminds me that my own perspectives can impact the outcome. For example, I realise that design is not about creating an object in a space, but about enriching the environment for all who use it. I strive to approach each project with a fair and balanced perspective and view myself as part of the context, rather than the central, controlling figure. This allows me to appreciate others' perspectives and needs and to create "human-centred design" as I realise that everyone experiences a space differently. While I acknowledge it is impossible to cater to 100% of everyone's opinions, from this point onwards, I will intentionally seek diverse input to create spaces that are welcoming and responsive to the needs of a broad range of users.

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Key Learnings about First Nations Perspectives and Influence on Design Process

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Key Learnings about First Nations Perspectives and Influence on Design Process

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The most significant lesson I learnt in regard to First-Nation-Centred design is the fact that designing with Country is not an Aesthetic, but an integrated process. With the land being deeply connected with Indigenous practices and stories, it is our responsibility to include this in our design. In some designs, this can be as simple as incorporating local flora, but real acknowledgement comes from integrating real Indigenous Input, creating a work that is not tokenistic and has lasting effects that convey a message and evoke thought. This is ultimately something I was unable to do, as I wasn’t able to contact any Indigenous representatives for my Assignments. However, I tried my best to research Indigenous values and culture to make my insertion a creation that conveys and connects Country to the people and land of Brisbane.

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What are the main things I learnt about site?

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What are the main things I learnt about site?

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create an insertion, then put it in a site that "made sense" after creating some reason that fitted my idea. However, throughout the semester I gradually realised that my site itself informed my design and created my insertion along with the interactions and elements of the area. Factors like sunlight or foot traffic allowed me to think about my insertion's impact on users, or how I can invite them to use it. These factors led me to my final design approach which rather than forcing a design onto a site, I was able to (hopefully) harmonize my insertion into the site's natural rhythm and flow.

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What are the main things I learnt about context?

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What are the main things I learnt about context?

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Brisbane, like any other city, consists of a large and intricate network of social, cultural and historical contexts. The laters between these elements are revealed in not only the physical buildings around us but also the interactions of the people in this city. Learning about surrounding buildings and the heritage of a location informs us of the value of integrating different narratives into a design, whether it be historical or social. Recognising these contexts can lead me into creating a space that either respects or challenges the past while giving present users a new outlook. It is not necessarily a bad thing to challenge the past, especially in a highly colonial site like Queens Gardens, filled with elements that have yet to integrate First Nation thought and values. My insertion hopes to further progress the site's context and push it into a more inclusive and respectful atmosphere. This attempts to create continuity in its surrounding environment, and bridge a gap between vastly different eras and communities. The raises contextual awareness within a space, that hopefully not only designers can see, but also those who visit and use the site can acknowledge.

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Hey Maree! Here's an enlarged version of one of my perspectives, if you haven't caught my little Leonardo Dicaprio reference in Assessment 2. Hope this brightens up your day!

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Collaboration during studio.