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Than Just Looking Good: Beauty, Aesthetics and Care Braided Pathways: a Practice Sustained by Difference

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Than Just Looking Good: Beauty, Aesthetics and Care Braided Pathways: a Practice Sustained by Difference PhD RMIT 2013 T.C.L 2013 PhD RMIT Taylor Cullity Lethlean Doctor of Philosophy 2013 RMIT University 02 More than Just Looking Good: Beauty, Aesthetics and Care More than Kate Cullity Braided Pathways: A Practice Sustained by Difference More than Just Looking Good: Beauty, Aesthetics and Care Kate Cullity 02 Taylor Cullity Lethlean Doctor of Philosophy School of Architecture and Design RMIT University August 2013 01 Braided Pathways: A Practice Sustained by Difference Kate Cullity BSc Botany DipEd AILA A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Taylor Cullity Lethlean Doctor of Philosophy School of Architecture and Design RMIT University August 2013 01 Braided Pathways: A Practice Sustained by Difference Kate Cullity BSc Botany DipEd AILA A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Declaration I certify that except where due acknowledgement has been made, the work is that of the author alone; the work has not been submitted previously, in whole or in part, to qualify for any other academic award; the content of the thesis is the result of work which has been carried out since the official commencement date of the approved research program; any editorial work, paid or unpaid, carried out by a third party is acknowledged; and, ethics procedures and guidelines have been followed. Kate Cullity August 2013 Acknowledgments This has been a wonderful journey of discovery and reflection. Both Perry and I have felt privileged to have been given the opportunity to examine our practice and uncover the mysteries of why we design the way we do. I would like to take the opportunity to thank Leon van Schaik and SueAnne Ware, for inviting TCL to joining the PhD Architecture and Design program at RMIT. I particularly wish to thank my supervisor, SueAnne Ware for her invaluable critique, her perseverance, patience and inspiration. I would also like to thank Vivian Mitsogianni for her encouragement and guidance with the catalogue. An undertaking of this significance must come with the support of both family and colleagues. As does the team at TCL who have not only been an integral part of many of the projects describes in this PhD, but also a constant source of creative collaborations. Special credit must go to Lucas Dean who has been the internal driving force behind the delivery of this PhD, and who has patiently provided Perry, Kevin and myself with dedicated and skilled design and management. Additional Credits: TCL: Natasha Morgan, Katie Cudal, Alex Lock Sean Hogan, Trampoline Anne Findlay, Editing Works WARNING: Aboriginal and Torres Strait Islander readers are warned that the following document may contain images and names of deceased persons. Contents 08 1.0 Introduction 010 1.0 Introduction 012 1.1 Catalogue structure 016 1.2 Who We Are 018 1.3 How TCL work 022 1.4 Back Stories 026 1.5 Influence of Royal Park 030 1.6 The Australian Garden 032 2.0 Threads of Investigation 034 2.1 Project Types Across Two Studios 036 2.2 TCL and Our Peers 038 2.3 Sticky Projects 040 2.4 Seminal Projects 042 Box Hill Community Arts Centre 044 Uluru-Kata Tjuta Cultural Centre 048 Australian Garden 052 Geelong Waterfront 058 Flinders Rangers National Park 062 Forest Gallery 066 North Terrace 072 Craigieburn Bypass 076 2.5 Seminal and Poles 080 2.6 Emerging Threads 082 Narrative 084 Material Presence 098 Civic 114 Site 124 3.0 Essay, Truth itself is Constructed: Public Space as Public Art 138 by Ronald Jones 3.1 Introduction TCL 140 3.2 Truth itself is Constructed: Public Space as Public Art 142 09 4.0 Essay More than Just Looking Good: Beauty, Aesthetics and 164 Care by Kate Cullity 4.1 Introduction 166 4.2 Beauty - Somatic, Visceral and Metaphysical 168 4.3 Care 169 4.4 Artistic Practice and the Beauty of Constructing Detail 171 4.5 Minimal Intervention. Uluru-Kata Tjuta Cultural Centre, 1990 – 1994 178 4.6 Exuberant Intervention Box Hill Community Arts Centre. 1988 – 1990. 185 4.7 Patterns and the Power of Multiples 189 4.8 Gardens Cultivated with Care 191 4.9 The Mosaic Garden : A Garden in the City Tarntanyangga/ Victoria Square 2010 - ongoing 191 4.10 Conclusion 200 5.0 Reflection 202 5.1 Introduction 204 5.2 Reflections 206 5.3 Extending our Boundaries 212 5.4 Exhibition 216 6.0 Appendix 220 It’s Hard Getting Messy When You’re Compositional by Perry Lethlean Making Sense of Landscape by Kevin Taylor Gini Lee Interview Seminal Projects Awards and Publications Awards Publications Bibliography 010 1.0 011 Introduction 1.0 Introduction 1.1 Catalogue Structure 1.2 Who We Are 1.3 How TCL Work 1.4 Back Stories 1.5 Influence of Royal Park 1.6 The Australian Garden 1.0 012 Introduction The research methodology of this PhD, is captured in Professor van Schaik’s seminal text Mastering Architecture: Becoming a Creative Innovator in Practice. Candidates are asked to undertake an examination of their own particular journey, history and influences, which have informed their mastery. In addition, through critical reflection, candidates seek to communicate their contribution and new knowledge gained by the PhD to the broader discourse of their discipline.1 The practice of Taylor Cullity Lethlean (TCL), Landscape Architects, were invited to undertake a PhD by Project. The research has involved a period of collective reflection and personal examination. The PhD also involved an invited peer review and a peer interview which assisted the PhD by positioning TCL in a contemporary design context and discourse. The purpose of this PhD is to discover, reveal and document the particular knowledge and 1 van, Schaik Leon. Mastering Architecture: Becoming a Creative skill of the individual directors and their combined collaborative practice in creating the Innovator in Practice. Chichester: body of work that exists today and to foster possible trajectories into the future. Wiley-Academy, 2005. 013 Kevin Taylor 13.11.53 – 07.08.11 Kevin Taylor, the founding Director of TCL and my husband, died in a tragic accident in Darwin in August 2011. This PhD process was undertaken as a partnership between all three Directors and was substantially completed at the time of his death. Understandably it has resulted in a necessary pause in the process. Both Perry and myself, in the spirit of Kevin’s contribution to our lives, and to the community of Landscape Architecture, believe that the PhD should be completed. The PhD, in a way, is a tribute to Kevin’s substantial legacy of practice, research and commitment to site, community and the environment. 1.0 014 Introduction Kevin Taylor, Kate Cullity and Perry Lethlean, Directors of the Landscape Architecture Studio of Taylor Cullity Lethlean, have collectively undertaken a PhD by project. The catalogue documents the journey of reflection and discovery over the last three and a half years and is loosely structured chronologically on the research methodology and the Practice Research Symposium (PRS) process over the course of the PhD. The landscape architecture practice of Taylor Cullity Lethlean (TCL) began in 1989 as a modest enterprise, with just Kevin Taylor and myself, working on a range of small to medium community design-based projects from the front room of their house. Perry Lethlean joined the practice in 1995 at a time when the practice established a studio in Adelaide as well as Melbourne. The growth of the practice has occurred incrementally. There has not been a conscious decision or aspiration for growth, or to attain a practice of a certain size. Being awarded larger projects has determined the necessary recruitment of staff. Therefore the business planning of the practice has followed, albeit behind the reality of project resourcing and the pursuit of the next design challenge. The Directors of TCL – Kevin Taylor, Perry Lethlean and I – have varied backgrounds, covering among other things, landscape architecture, social planning, architecture, art, biology and urban design. We equally have varied interests. These diverse influences have resulted in the practice seeking a diversity of project types that have normally extended beyond the conventions of landscape architecture. In 2010 the Directors believed the practice had reached a critical period. We had completed what are now considered landmark projects in landscape architecture in Australia, including The Australian Garden – a large Botanic Garden dedicated to indigenous flora, Craigieburn Bypass – a large freeway infrastructure project, the redevelopment of North Terrace, the major cultural boulevard in Adelaide and The Victoria Square Redevelopment – a large urban square in the centre of Adelaide. Two conversations occurred in this period. Firstly, we were consciously seeking the next challenge, following on from these landmark projects. We had found that projects that were unusual, difficult or on the edge of the traditional definition of landscape architecture were what sustained the practice and kept us enthused as practitioners. These projects often required us to take a chance in bidding for them, and, if successful, required research, conversations and collaborations with partners outside the sphere of our discipline. The requirement for a deeper level of research on these atypical projects, seemed to result in a more enjoyable design process. 015 We were intrigued by how our particular lens as landscape architects, our backgrounds, way of working and design sensibilities influenced the design outcomes of projects that were not in the standard remit of landscape architecture. We were speculating what the next challenge might be. Secondly, we were concerned about becoming complacent practitioners. The practice was 20 years old, and we feared the accidental trajectory of growth, new projects and typological challenges may not be sustained.
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