Atrium 22 | 2013

DESIGN CRITICISM & FUTURE PRACTICE

THE UNIVERSITY OF

FACULTY OF ARCHITECTURE, BUILDING & PLANNING Atrium PAGE 22 | 2013 02 | 03

THE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Dean’s Message 02 THIS IS NOT A BUILDING: DRAWINGS IGNORE THIS BUILDING 04 AND ARCHITECTURAL CRITICISM 20 INTERVIEW: Denton Corker Marshall 06 PROFILE: JUDY TURNER 22 MORE THAN ONE WAY TO SKIN A BUILDING 09 NEW BUILDING UPDATE 23 REVIEW: MORE THAN ONE WAY TO SKIN A BUILDING 12 OUR DONORS 24 SEP YAMA, FINDING COUNTRY 14 IMPACT OF GIVING STORIES 25 A CONVERSATION WITH SIR PETER COOK 16 INSIDE THE FACULTY 26

Dean’s message

In Atrium we celebrate the work of we will host people and practices shaping Denton Corker Marshall are the focus of our academics, students and alumni our designed and built world, stimulating the first exhibition in the 2013 ABP Alumni and discuss the issues shaping our ideas and debate around key topics. To Survey Series, joining a distinguished list contributions to the built environment. launch the series, we asked renowned of alumni practices who have featured in Each edition of Atrium is themed, New York architecture critic and design the series including Daryl Jackson (2010), reflecting our faculty’s core research blogger Alexandra Lange to join a panel Phooey (2010), ARM (2011), Kennedy strengths and innovative projects. of local figures in Australian architecture Nolan (2011), Lyons (2012) and Six In 2012, we published three editions media and academia to explore the degrees (2012). Entitled Land art: nine themed around: Design Partnerships evolution of architecture writing and small buildings, the exhibition features (issue #19), Women in the professions critical discourse and how ‘new media’ photographs, sketches and models (issue #20) and Designing our future has opened up a seductive new space for seven residential houses and two (issue #21). for design criticism. You can read small buildings – the Pavilion Alexandra Lange’s introduction to for the Venice Biennale, Italy, and This year, we lead with an edition focused the discussion on pages 9 to 11 the Stonehenge Visitor Centre and on Design criticism and future practice: a and Professor Paul Walker’s review Interpretation Museum, UK. Professor topic of significant interest across the built of the ‘More than one way to skin a Donald L. Bates reports a fascinating environment professions, in particular building’ event on pages 12 and 13. interview with John Denton on pages architecture, and one which encapsulates 6 to 8. the preoccupations of many of our Professor Alan Pert, Director of researchers. We commissioned several the Melbourne School of Design, Queensland architect and Meriam academics to broadly explore this theme contributes a piece on the state of descendant Kevin O’Brien presented and consider the intersection between critical discourse in the UK and the a special lecture on his ‘Sep Yama critical discourse, research and practice. power of words on contemporary Finding Country’ project in April, which architectural form making. Alan, who seeks to reflect the indigenous experience Atrium gets topics out for debate through is also Director of his own design firm through art-making and spatial mapping. print; a more common medium for us NORD, talks about architectural practice Professor Gini Lee writes about Kevin is the lecture. We have launched a new and representation can challenge our O’Brien’s projects and collaborations, series of public events this year under encounters with buildings. defining them as ‘multilayered the banner ABP AGENDA. In this series, Atrium 22 | 2013

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expressions of the negotiations non- monthly videos posted on the new banner. Visit our ‘Events’ page Indigenous designers rarely confront building blog on the ABP website – on the ABP website for detailed in designed projects’. www.abp.unimelb.edu.au/blog. There event information: will also be the opportunity to access a www.abp.unimelb.edu.au/events. Justine Clark, architecture critic for viewing platform on site which will provide The Age, met up with Sir Peter Cook – an aerial, up-close perspective of the I hope to see many of you at one our first international speaker in the 2013 build. We are also pleased to host Nader of our upcoming events. Dean’s Lecture Series – when he visited Tehrani (NADAAA) in late May, who is Melbourne in February. Justine spoke with visiting Melbourne to present at the AIA Professor Tom Kvan this iconic British architect about the role 2013 National Architecture Conference. Dean, Faculty of Architecture, of drawing and the challenges that face Building and Planning us as practice changes. Read this The many activities of the Faculty are interview on pages 16 to 19. also documented here. ‘Inside the faculty’ provides an overview of some of our The Faculty recently reached a recent activities and achievements, milestone in our project to deliver as well as a round-up of events and exemplary education connected to exhibitions. Our diverse program the built environment when piling began of public events will continue in on site on 25 April 2013, signalling the our temporary refurbished premises Cover Image: The Australian Pavilion, designed commencement of main works. Following throughout 2013 and 2014. We by Denton Corker Marshall for the 2015 a summer-long program of demolition Venice Architecture Biennale, recently won have already held a number of studio a competition run by the Australian Council and enabling works, we are excited by exhibitions in our gallery space at for the Arts. The image on the is a visualisation the progress through which we will soon 757 Swanston Street (known as of the Pavilion being delivered on a barge witness our new building, designed by Wunderlich@757) and presented several – symbolic of the design and delivery process, John Wardle Architects and NADAAA. talks by acclaimed local and international and an homage to Aldo Rossi’s Biennale Theatre, which arrived on a barge in 1974. You can keep up to date with the practitioners, as well as launching a new Construction on the Pavilion is due to construction program and project news series of events under the ABP AGENDA commence late 2013. by viewing the timelapse images and Atrium PAGE 22 | 2013 04 | 05

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“Ignore this building”…

ALAN PERT

Glasgow artist David Shrigley manages to contain humour, insight, ambiguity and even melancholy in his spontaneous but elaborate forms of doodling. His sign, “Ignore this building”, placed in front of Fosters & Partners ‘Armadillo’ concert hall in Glasgow in 1996 manages on one hand to reduce the building to a mere anecdote but on another it is a provocation using few words to say so much about buildings that occupy the everyday lives of our cities. The power of Shrigley’s sign is its ability to strip the building of any architectural integrity leaving it as a humorous childlike form lurking on the Glasgow skyline. This is the power of words but the question remains whether this was just playful spontaneity or a subversive critical observation of contemporary architectural form making. Whatever the intention, this shorthand use of image and text came 10 years prior to twitter and 10 years prior to the assault on our attention spans. In an accelerating world of miniaturization and digitization, where we try to process a multitude of fragmented information, Shrigley’s works make us pause. In this particular work, to reflect on everyday situations and events. They make you stop to think for a second, provoking ideas over information, he makes you consider the backdrop/building with a critical eye.

But in a world where image is now content tailored to a culture of ‘searching’ practice that ‘impact’ directly on the privileged over text, how do we train this and enabling other forms of architectural built environment and move away from critical eye to make sense of new forms publication to find new global audiences. the insularity of a printed journal solely of dissemination like Dezeen, Architext, This embrace of new media emphasizes focused on critical theory to a new Architect Magazine, Archinet, eArchitect, the need for curatorial skills to filter, divert model of collaborative practice. This ArchDaily, ArchNewsNow and so many and collate information; making sense of also acknowledges that the institutionally other sources with continuously scrolling this online clutter is heralding a new type defined disciplinary boundaries are portfolios of images that are so common of editorial voice capable of positioning being increasingly crossed. on our devices, screens, monitors, content as well as critiquing content. tablets and smart phones? These devices My feeling is that through a reassembling make images available all of the time Another obvious shift is the relationship of this dominating digital landscape we accompanied by limited text and usually between the academic architectural journal are starting to find new forms of output contained to 147 characters of twitter and practice. As a practitioner involved where design, building, teaching, writing, feed. At a time when blogging and social in academia and an academic involved experimentation, testing, prototyping networking are overshadowing in-depth in practice I am noticing a rethinking and thinking are overlapping to uncover journalism we more than ever need to of the traditional peer reviewed journal, new opportunities to collaborate on real find new ways to edit this kaleidoscope which was previously detached from conditions. The challenge is in measuring of material. traditional practice. This could be the the ‘impact’ of these new trajectories burden of measuring impact through for exploration through advancing digital Goldberg suggests we need to be curators recent changes to ‘research assessment possibilities. Film and sound through to make sense of this “visual or written exercises’ within higher education podcasts and video streaming are shorthand,” and the challenge is to find or it could be the diversity of outputs exposing previously closed lecture ways to filter this ‘stuff’ that is continually being encouraged that may include but rooms to new audiences and participants. downloaded, uploaded, scanned, are not limited to: printed or electronic A lecture to 500 students in Melbourne collaged, retweeted, deleted, stored and publications, materials, devices, can be watched by thousands of students shared on a global scale. This new digital images, artefacts, products, buildings, across the world who can mix with the landscape is certainly a threat to printed confidential or technical reports, patents, local audience in real time through tweeting media and the traditional editorial role performances, exhibits or events. and blogging. The static lecture has died but there is a counter argument, which Whatever the reason there is now before the book but the book is no longer celebrates the opportunity for expanded demand for new forms of critical confined to print. Atrium 22 | 2013

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This new digital language of web based information is provoking new forms of dialogue and dissemination and more accessible architectural discourse than has been available in the past but it might also require a new critical voice that is nimble enough to traverse the complexity of media platforms. The ‘critical choreographer’, has to be able to cull information to prioritize and ‘press play’ at the right time. What remains to be seen is whether the ‘culture surrounding architecture’ can capitalize on the creative potential of these new formats.

David Shrigley’s infamous doodles are a shorthand way of representing ideas and sparking the imagination. The power of the artwork is the relationship of the image and the text; one does not work without the other. But with Twitter now part of our everyday conversations our world is being reduced to the one-liner, everything is spontaneous; headline grabbing anecdotal and often trivial. The ease with which one can dump thoughts through short texts or upload images produces a culture, which can preclude questioning, even preclude the imagination. There is almost too much architecture visible in various forms of media. And yet there is not enough architecture criticism testing the limits of 147 characters.

Professor Alan Pert is Director of the Melbourne School of Design. He also heads the practice he founded NORD (Northern Office for Research & Design), recognised as one of Britian’s most innovative architectural practices. Atrium PAGE 22 | 2013 06 | 07

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Interview: Donald L. Bates talks to John Denton

On the eve of DENTON CORKER MARSHALL’S ‘Land art’ exhibition in the Wunderlich Gallery, John Denton (BArch1969) AND Donald L. Bates DISCUSS architecture’s relationship to landscape and the creative freedom of working on small projects.

Relative to the forthcoming exhibition Certainly things like “land art” have been a could become a formal expression in at the Wunderlich Gallery, you are theme. We were always strongly influenced an Australian landscape – clearly an mostly showing some of the houses, by people like Richard Serra, as an artist, intervention, so that the buildings the “smaller projects”. Do you see these but also by land art. I like people like in many ways expressed line and form as “laboratory work”, exploring certain Michael Heizer, with his work at DIA and were very much made to work the ideas? Is it because of the scale, is Beacon in upstate New York, the holes form as distinct from a loose fit or “nice it because of the intimacy of working in the floor, North, East, South, West, use” outcome. We were quite happy with clients, is it because of the range (1967/2007). I think his piece there is one to be quite arbitrary about how we of detail and focus, or the degree of of the most fantastic pieces I have seen. managed things, so most of the engagement that sets them apart from So there is this interest that is by and large houses are “houses in the landscape”. larger projects? very simple and very gestural, but generally The ones that get reproduced in a landscape context. A lot of the houses It’s not the client. I think it is primarily have quite flat, windswept landscapes, and small projects that we have done have the scale of the project. I think the scale as opposed to forested, mountainous, been that way. of the project makes you work harder hilly sites… to get a clear, defined and complete I remember Graham Gunn, years and I think again, that was partly circumstance, outcome, that’s fully worked through. years ago, 20, 30 years ago, did a little but it was also a function of southern It has to be simpler and more productive airport down in western , and he Victoria. We saw them as the “southern in the way it works. I think that it is a little was taken with the cypress windbreaks Australia house”, compared to say a bit harder work and I think for most of that had been built and that idea of a Murcutt house in NSW, which reacts in the projects it allows an opportunity to European intervention into an Australian a certain way or a “Queenslander” which explore some of the interests we had landscape being very rigid and formal also reacts in another way. We saw these as that influenced the way we have struck a note with us as an idea about houses that have to deal with the winds developed our practice and work. how the building could become like that,

Image: View Hill House, Yarra Valley (2011) Atrium 22 | 2013

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off Bass Strait. Your view might be directly of spaces or relationships of spaces, and protection needed meant you had to into the wind, and therefore you’re not then they begin to inhabit the landscape? protect everything on the lee-side. The doing a house with a balcony out onto 35m courtyard was open on one side If you look at the houses, there is a linearity it because you’re going to get blasted because that was the entry point, and in the houses – of the interiors being by the wind. So you create a more private you entered through the concrete wall, treated in a similar sort of way. There is a courtyard to one side where it is protected so you had two houses, garage, sheep- sort of structure of trying to create a space, and gets the sun, but you create a sheds hiding in the lee of the wall. They and then using bathrooms, or things like panoramic view out to the elements. formed up behind. The wall was the that, as small blocks within the space, to So it is dealing with a southern Australian primary organizing element for all define the space. There is a habitual way environment and by and large it is an the bits that made up the house. of thinking how houses work. That is in environment that has been denuded your mind as a starting point when you Is it that the primary elements are of trees, again by European intervention. start to think, but then it is very much the vertical elements, or the primary And with the bushfires, it is hard to build about the site and what the site offers and elements are the horizontal elements? a house in with the trees now anyway. what you can do. It’s weather-related, it’s And what they say and do with These were the things around which we view, it’s all those sorts of things. It’s then the landscape. Whether there is were interested in. It makes a project like conditioned as to how you might respond a predominance of verticality – the Venice Pavilion almost an opposition. to it and the nature of what you might do. that is to say walls. Or whether It’s a heritage, European landscape of it’s a predominance of horizontality – House (1990) is buried in the trees, and we’re dropping an Australian podiums and roofs and awnings dunes. There is the view out to Bass Strait, dimension into it. Which is why we’re and things like that. but there is the totally enclosed courtyard, cladding it in south Australian black granite enclosed with three meter high concrete It’s the wall or else it’s the “sticks”. That’s rather than some local granite. It is a walls, with just a plain grass floor to it that the two things we play with – the wall or conscious thing of making an “Australian” is the protected north-facing courtyard – the sticks. So Phillip Island House or the container sitting in that landscape. It’s but it’s very much a square in the Sheep Farm House are walls. Cape another “object in the landscape”, but landscape. Particularly when seen from Schanck House (1999) is a “sticks”. My a different kind of landscape and therefore above. You don’t really see the house house, View Hill House (2011), is a “stick”. a different proposition. when you’re looking at it at ground level, And they’re just different elements that we Particularly with these smaller projects, because it’s hidden by the dunes use elsewhere in our architecture. Here we how do they begin? Does it begin and the slopes. are using them in a more distilled form. Or with a gesture that has to do with the they become more complex with a set of We went from that house with a 35m landscape, and somehow the interiority walls with a Miesian pavilion sitting on top. square courtyard to the Sheep Farm emerges out of that or, do you start They tend to be fairly restrained, just to House (1997) where we actually opened with some interiority, some sequences maximize the impact of the gesture. the courtyard out, because the weather Atrium PAGE 22 | 2013 08 | 09

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Image: The Australian Pavilion, designed by Denton Corker Marshall for the 2015 Venice Architecture Biennale (on the barge) Image: Philip Island House (1990)

For those small projects, is the process Given the focus and the referencing to I suppose we take context fairly seriously, in the office similar to other projects or ‘land art’ and the ‘intervention into the we do believe that you can’t just look in an more restricted in terms of the number landscape’, what is your position about introverted way at the building you are doing of people or the inputs involved? Is it the landscape? Do you use landscape and not think about what’s going on around you and Barry that sit down and do it? architects to come in with you or do it. That’s absolute and it certainly becomes Or you and Adrian? you not see any distinction between more defined in urban situations. the architecture and the land? Most of the buildings that will be in the I think particularly with the houses in the exhibition were designed by Barrie and me. That is very dependent on the client, country, we are dealing with the context And one of them, Tube House (2007) is but normally we would use a landscape by saying “here is the landscape as its exists by Adrian – as it is his own house. One of architect to help us. But we’re a bit unfair – it is windswept, it can be cold or it can the reasons we like the houses and small on landscape architects, in the sense that be very hot – it is there”. We’re not trying to projects is it gives a chance to get younger we try to define the landscape that we want. reinvent that, but we are trying to intervene architects in the office involved in a more We certainly do all the hard landscaping. in a very clear way. So it is a strong reaction complete way of seeing a job through. It We then try and define what we want from to the landscape. But it is not rejecting the gives them that experience. We have them the soft landscaping. Therefore I think landscape, it’s saying its intervening in it. working for 18 months or 2 years on a big landscape architects find us frustrating I am thinking relative to the trajectory job and they say: “I’d really like to work on because they want to start from the edge of “land art”, that a lot of times when a small project.” It gives that chance for of the house and do what they think is the people use the word “context”, they them to get some experience with small right thing. That is a bit like the way when mean you have to subjugate yourself to projects, so they don’t have to leave DCM we have to work with interior designers – it, where as “land art” is actually about to get the small project experience. People by and large interior designs want to take making, not an oppositional, but a clear that we are particularly keen on keeping what you have done as a shell, and do their demarcation. It is the abrupt rupture of a and supporting; we’ll try and give them own thing. Without a good understanding it straight line in a “natural” landscape that a chance to work on a small project. rarely has any relationship to what outcome gives it its frisson, its power. So, for me, you’re trying to achieve. Therefore we find As projects, for us they’re “fun”, but I don’t think it’s less contextual, but it’s in all those sorts of cases where you have intellectually they have to be very rigorous not what people tend to think when they parallel design skills coming in, we’re to get the outcome we feel you need it that use the word context. actually quite tough on them. In the way we circumstance. It is the antithesis perhaps think, the way we deal with it, we want less Exactly. I think that’s partly why we think of a Peter Corrigan house in the country out of the landscape architect than might of it as being akin to land art and that’s what which would be free-wheeling all over the otherwise be the case. we’re trying to do. It’s always been the large place. We try and reduce it back to lines scale art that we’ve been interested in. in the landscape or in effect, “land art” – When you’re looking at some of these objects in the landscape that are quite projects, what does the notion of context powerful interventions. mean for you? Relative to either its > positioning/orientation versus some specific ideas about the landscape? DCM’s Land art: nine small buildings Or about an insertion into the landscape, exhibition runs in the Wunderlich@757 a mark on the landscape? Swanston Street until June 14, 2013. Atrium 22 | 2013

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More than one way to skin a building

The Faculty launched an exciting and how ‘new media’ has opened up a entertaining critiques have appeared in new series of public events this year seductive new space for design criticism. The Architect’s Newspaper, Architectural under the banner ABP AGENDA. In Record, Dwell, Metropolis, Print, New Along with Alexandra, the panel included this series, we will bring you some York Magazine and The New York Times. Justine Clark (architectural writer and former of the people and practices shaping editor of Architecture Australia), Michael Holt You can view the full panel discussion our designed world and stimulate (editor of Architectural Review Asia Pacific), at www.abp.unimelb.edu.au/events/ ideas and debate around key built Dr Rory Hyde (broadcaster and author abp-agenda-more-than-one-way-to- environment issues. of Future Practice, 2012), and academic skin-a-building To launch ABP AGENDA, we asked Dr Karen Burns (University of Melbourne). renowned New York design critic Alexandra Lange has made a name for and blogger, Alexandra Lange to join Prior to the panel discussion, herself as a featured writer on the popular a panel of local figures in Australian Alexandra gave a short Design Observer cultural website. She architecture media to explore the evolution presentation and following is is author of the acclaimed Writing About > of architecture writing and critical discourse an edited transcript of that talk. Architecture (2012), and her lucid and

ALEXANDRA LANGE, NEW YORK DESIGN CRITIC

The first panel I was ever asked to be on essays, reprinted in my book, wasn’t Twitter allows me to broadcast links about the state of architectural criticism really fair to the forum. A post is not to all of the things that I write in one was in the spring of 2011, two short years intended as a self-contained unit, but as place. I’m a freelancer and without Twitter, ago, which was at the Storefront for Art a part of an ongoing dialogue between the people wouldn’t know where to find me. and Architecture in New York City. I can’t blog’s author and readers or the publication It also lets me wisecrack about the latest remember much about that night now, and readers. Not to mention the bloggers design blog memes. I have a personal thing except that I was freezing because the shorthand of hyperlinks, which means about anything related to shipping containers Storefront is a tiny space open to the street that things read offline frequently require and urban farms. I also like to share the and March in New York can be very cold, further explanation. writings of other people that I admire, but I do remember that a sizable chunk One becomes familiar with a bloggers’ to chat with likeminded strangers. of that evening was devoted to discussing interest, his or her style, and all bloggers whether or not the move to digital publishing In the print era, criticism was legitimised and commentators come to speak in a would kill criticism. by institutions like city newspapers and kind of collective shorthand. A blog post national magazines, but when I did a poll on Some panellists argued that only in print can become an essay but it doesn’t have Twitter last year, we could only identify 11.5 could architectural criticism flourish and to be one to make its point. newspaper critics left in North America and online writing was too ephemeral. Two A critical essay by my definition is a piece the .5 is Philip Kennicott, an excellent critic years later I feel that that conversation of writing that can stand alone. It can be who writes for the Washington Post, but he could not happen. The revolution of the understood as of its own time but also is both their art and architecture critic, so we turn from print into digital media, whether out of its time and is interesting even if only gave him a .5. And there are a handful of parallel or singular, has happened and it’s about a building or a project or a place others that work for mainstream magazines that question is completely moot. that you will never see. It doesn’t need like Vanity Fair or New York Magazine. And I’m happy to say even then, as a late photographs and it gives you some feeling So those people and those print adopter, I knew that there was something of the atmosphere of the real thing. But publications aren’t really enough to wrong with that argument. Those editors just as there’s more than one way to skin represent architecture culture and so were obviously confusing the medium a building, there’s more than one way the conversation really has to be continued with the message and the medium to speak critically, incisively and publicly elsewhere and by people who may not was and is in a state of massive flux. about architecture and I’m going to talk have the same institutional backing. I’ve If architectural criticism could only exist today about a few of those ways. always been very suspicious of the advice in print it was an endangered species… The first one is Twitter. Now, I don’t think given to young journalists today, to establish Blogging, I felt, was a form in itself and I would be here talking to you without your personal brand on social media. it can definitely be critical, but isolating Twitter, because for all of my love of However, I recently realised that I think a single post, as I had with the other long-form writing, I also love Twitter. I inadvertently did that. Atrium PAGE 22 | 2013 10 | 11

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I like being able to show all of the things But I wouldn’t want Twitter to be the only program, in which I teach. Each issue that architecture and design critics are venue for criticism… 140 characters is of Clog has a theme and the editors interested in; what informs what I choose not a bad beginning if it’s not also the call for 500 word pieces on that theme. to write about and also what informs the end and you can get a surprising amount Their first theme was the work of Bjarke critical way I go about everything in my of information into 140 characters if Ingels and I contributed to that one, life. I really think that critics are born and you know how to write. A little Twitter revising a blog post I had written about not made and that the scepticism with free-for-all indicates that a building has his 8-house in Copenhagen and some which I approach a new building equals touched a nerve and gives everyone of the unanswered questions I had about the scepticism with which I approach a chance to add to the conversation how it actually worked… things like pink ruffled girls clothes for in a public forum. I often use Twitter Five hundred words is basically a blog my daughter. conversations as an indication of a topic post, but these pieces are very well that I should look into in greater depth. I’m careful not to be too personal, I try written, they’re long enough for about Architecture takes a long time, but to avoid the Facebook post but I do think one good point, and they are properly at some moments it is news and I like that people now feel that they know me footnoted. As a cumulative, collective having that news as part of my stream. because they understand my larger field effort, these issues work as a deeper of interest, and I think that that leads I mentioned earlier that I thought Twitter commentary and I think all of the posts to things like invitations to fly half way created communities. Follow lists collected in Clog might have been written around the world… of architecture critics are one way of elsewhere, but it’s incredibly handy creating such a community, and in those to have them all in one place and I I’ve said this before, but I think that online communities a freelancer like me gets think it creates a little bit of competition we can create communities of common treated as an equal to those with full-time among the writers that causes them concerns. In the old days the city would employment. There are other types of to up their game. be a locus and I think that’s really still the communities that have been created most important one, but I’ve personally, That’s not to say that all is rosy now that by online media also. given my range of interests, found so much of architecture culture connects communities of people who are interested One way that seems particularly online. There’s still the problem of being in design for children, who are interested successful of cutting through the noise there. When traditional print publications in the design of the modern home, who is a sort of mono-mania. Historically, hired an architecture critic, they also are interested in the way technology critics have been journalists and have provided a budget for travel to works can and cannot make life easier. sort of had to take their topics as they of architecture. I get paid less for almost came from what buildings were built all of my writing that only exists online, Platforms like Twitter also allow these in their cities or the economics, and I don’t work for anyone who will communities of critics to support each politics and construction schedules. send me where I want to go. other through re-tweets, through invitations, and I think all of us who are But the freedom of the Web allows Local critics can cover their own territory online savvy are now creating our own people to specialise in much more and in many cases that is preferable … design magazines through services like interesting ways. I’m thinking of but what about cities without a critical Instapaper. If you subscribe to a Twitter someone like Aaron Naparstek, who community? What about other opinions? feed and you get all of your friend’s and was a journalist interested in urban I mean, isn’t it more fun to read three aquaintance’s design reviews, put them issues when I first met him – he founded reviews of a building than just one? And all into Instapaper, you’ve essentially the blog, Streets Blog, which is now as more architecture publications just created your own online design a national network of blogs devoted rely on photos because they’re free, the magazine, and being able to dissemble to news and opinion about matters knowledge base for criticism goes down. this structure, puts more emphasis on relating to traffic, pedestrians, bike lanes. Second, there seems to be a persistent good writing rather than less. So, he found a way to turn his interests equivalence in discussing criticism in the into a new kind of critical publication. One I also think that Twitter is a great place digital realm, that criticism is negative. that gets criticism out from the outmoded for criticism. One way to skin the building And despite all appearances, the digital stereotype of being only building reviews. is to type the first comment that appears realm doesn’t necessarily reward Justine and Karen have done a similar in your head upon seeing an image in negativity. A checklist on how to be thing with Parlour, where it’s a community your stream. Now, Michael Beirut, the successful on Twitter, for example, said of people interested in work, life, and esteemed graphic designer and design it is better to be positive and to never gender issues relating to architecture. writer, who works for Pentagram in complain. The most popular design and New York, recently published on Design And you see a similar structure behind architecture blogs, many of which I’m Observer, arguing against such drive a project like Clog, which is a journal sure you follow, tend to be relentlessly by criticism. But by not respecting the started by some graduates of the Yale positive. I’m thinking of things like process and looking at the whole design School of Architecture and the SVA Fast Company Design, which seems system he said that we ‘dumbed’ the to publish a new save the planet via profession down. design idea every day. Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

"A little Twitter free- for-all indicates that a building has touched a nerve and gives everyone a chance to add to the conversation..."

As everyone in this room probably knows, illuminate the making of popular taste, deeper dialogue about the power of criticism doesn’t have to be negative via design blogs, architecture blogs, the rendering in architecture today. and I tell my students that even the most Tumblr and Pinterest. This may be the As architecture, culture and criticism positive review has to have a paragraph next frontier for criticism using the visual move online all aspects of it have to of critique or your readers will think that tools of the Internet to tell a critical story. engage in dialogue and be examined you’re asleep at the switch. I call it a little I found it enriching, for example, to as potential critical tools. It’s no longer pepper. It’s actually more difficult to write Instagram my recent trips to exhibitions about blogs versus print or even an cogently about something you love than and buildings, as a way of sharing my first essay versus a post, as I wrote in my something you hate, which is why I’m cut, publicising something interesting and book. All these forms are happening always happy when I see a site trying also teasing a longer piece that I’m going simultaneously and I think we’re still to mix history in with the new, new thing. to write later. I see graduate students figuring out how to use them. But as I so often feel the need to point with Tumblr’s, where they publish images out, all of those people who don’t want to every day from their research, as a sort Architectural Review Asia Pacific was say anything negative are making critical of daily log of their best discoveries. the media partner of the ‘More than judgments all of the time. That’s the only one way to skin a building’ event. Can Pinterest be used critically? I’d way that they could only put things that love to see someone try, if only as they love on their sites. They just aren’t I’ve argued, to prove that it is not the telling us about those critical judgments. platform that is feminine, consumer Image: Alexandra Lange Just as criticism can illuminate what driven, etc. A renewed focus on how went into making a building, it could also visuals are used would also start a Atrium PAGE 22 | 2013 01212 | 13| 02

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Review: More than one way to skin a building

PAUL WALKER

Architectural criticism has been much thought through. Her appearance at the in the short forms that blogging and – under the spotlight in Australia in the University of Melbourne was in the context at the most extreme – tweeting have past two or three years. Events last year of the first of its ABP Agenda events, encouraged. Twitter is good for in Melbourne and devoted to the a panel discussion with Lange, and local wisecracking and for news (buildings can topic, mostly rehearsed old complaints participants in the design media Rory be news), while blogs at their best develop that the reviews of recently designed Hyde, Karen Burns, and Michael Holt, a dialogue between blogger and readers buildings that make up most of the critical chaired by Justine Clark. and take shape as entries accumulate and writing found in Australia’s ‘professional’ develop a line of argument. Lange values the journals of architecture (Architecture Lange is herself a blogger and contributor accessibility of online media – it encourages Australia, Monument, Architectural to the US site Design Observer. She also ‘citizen critics’. She disdains claims on Review Australia – now AR Asia Pacific) teaches courses on writing about design expertise the architectural profession makes are too tepid, while the critic’s experience and architecture and her recent book Writing in the face of expressions of concern about is that few architects expect their work about Architecture examines in detail the design issues from the wider public, being to be assessed in any terms but those genres within the field and their potential particularly scornful of Foster + Partners’ used to conceive the design. for effecting improvement in the public defensiveness in reaction to wide concern dimensions of the built environment and about their designs for the much loved More interestingly, a couple of symposia processes that shape it. If the conventional New York Public Library. convened in by Naomi Stead of lament about architectural criticism the , documented in Australia is fixated on writing in the Blogs also favour concision. Lange in the book Semi Detached, have in professional journals, in the US it is focused suggested that the new print journal part promoted new approaches to instead on the decline of newspaper critics CLOG, for example, run by students in writing about architecture and included of architecture and the long form criticism Yale’s doctoral program in architecture, workshops to bring together young writers, that newspapers once sustained. took its lead from the blog form: it invites photographers, and others interested in Dismissing the proposition that long form contributions to its thematic issues (on e.g. becoming active in the critical space. critique is only possible in newspapers – Brutalism, Washington’s National Mall, Alexandra Lange’s visit to Australia added online venues have multiple formats architectural rendering) of no more than to this local debate by focussing on the including those that sustain extended, 500 words, each akin to a blog entry, impact of the new media, an issue widely complexly argued essays – Lange which she suggested required a degree acknowledged here but not yet much suggested that there was value also of clarity from its writers which promoted Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

The panel R to L: Rory Hyde, Karen Burns, Alexandra Lange, Justine Clark, Michael Holt

rather than compromised quality. On the like Archileaks (a repository for anonymous Comments from the floor started to push decline of the role of architectural criticism and often scarily funny comment on the conversation in yet further directions. in American newspapers Lange noted that the employment conditions in famous Simon Knott of Triple R’s The Architects successful newspaper critics once built architectural practices – watch for an opined that criticism should move from long term readerships which shared Australian version rumoured to be coming judgement of architectural objects to a community of interest based in their soon) shows the potential of the new instead educate the public about how respective cities. Online media establish media in encouraging criticism of the process affects outcome. Holt recklessly new kinds of community, based not in architectural profession from the bottom promised that AR Asia Pacific under his urban locality but rather in other shared up. Burns also commented that as a writer editorship would move in just this interests, and these can also be activist she enjoyed the immediate response from direction… Another audience member in their orientation, Justine Clark’s Parlour readers that an online presence facilitated. worried that the anonymity of some online website being a case in point. Quoting Victor Hugo’s famous but forums can undermine the legitimacy of mistaken prophecy from Notre-Dame de commentary, but this was rebuffed by the Lange’s wide-ranging and positive take Paris (1831) ’This will kill that!’ (meaning panelists who were confident that readers on the directions that architectural criticism print would kill the role of public can discriminate between the well informed is now taking was for the most part architecture in giving expression to and the stupid… Donald Bates asserted reinforced by the other panellists. While communal values), Michael Holt warned that there was still a role for a genre of Rory Hyde professed respect for some against the idea that the potential changes architectural criticism directed to an expert contributors to the standard print journals facilitated by new media technologies were rather than a lay audience, to which Burns (he nominated Alex Selenitsch as a inevitable. His comments suggested that responded there were multiple audiences personal favourite), in his view discussion no matter the media landscape, content is even within the profession and Lange that about architecture in online formats ranges king – if you have something interesting to increasingly for architects a key part of more widely than is encouraged say, you can find opportunity to say it. But their professional arsenal is an ability by the conventions of the building review, while this appears to put aside the prestige to write… Phew! that dominates conventional print media. of the authorial voice, claims about the In engaging with the connection of death of the author in the new media If none of this seemed quite conclusive, architecture with, say, science fiction, new context have been overstated. In the new the conversation of ‘More Than One Way media venues and communities are able economy, commented Lange, people to Skin a Building’ was optimistic, lively to focus on architecture as a cultural field follow the writers they are interested in and constructive. Even this dinosaur not rather than the product of narrowly defined no matter the venues where they appear. infrequent writer of building reviews in professional endeavour. Karen Burns’ And to underscore the point that criticism conventional print journals felt somewhat comments addressed the participatory is not yet entirely in the hands of an consoled. Asteroid alert on hold! aspects of Twitter and blogging; the undifferentiated, quasi-democratic conversational tone of these is akin to blogisphere, Justine Clark reminded Professor Paul Walker is Deputy Dean continuation of the pub conversations so everyone of the editorial as well as of The Faculty of Architecture, Building important in the mythology of Melbourne’s authorial prerogatives that continue & Planning architectural culture. A difference, however, to shape publications both new in is that this dialogue can now potentially style and old – Madam Editor has involve a wider group. Moreover, a site not yet left the room. Atrium PAGE 22 | 2013 14 | 15

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Sep Yama, Finding Country

GINI LEE

Fire in the landscape is nowadays the graffiti artist, or is his intent rather to projects can no longer disregard continuing increasingly understood as the primary remake the colonial landscape through Aboriginal presence on the ground on method used by Aboriginal people to tend an even more provocative intervention? which they purport to lie anew. As Kevin and care for the places over which they invites collaborators into his projects, this hold custodianship – over Country. Yet To Find Country is to commit to an idea writing seeks also to negotiate meaning for non-Indigenous Australians, fire is and to a practice about that which cannot through transcribing thoughts progressed more often regarded as destructive, as be easily observed, especially so in the in the context of his recent Sep Yama something to be feared over long, hot city. Kevin O’Brien’s practice is made Finding Country lecture for the MSD and dry summers where management visible through potent and finely crafted alongside architect Michael Markham for fire more often results in scarring architectures that reveal the complexities as respondent. landscape rather than enhancing its of working with Country through recasting aesthetic, territorial and use value. To urbanised Australia with trajectories that On the 3rd of June 1992 Mabo v witness architect and Meriam descendant mark and name Indigenous origins. His Queensland (no.2) was decided. The Kevin O’Brien firing and burning a wall built projects, teachings and collaborations High Court by a majority of six to one inscribed with a large map that traces are multilayered expressions of the upheld the claim and ruled that the lands and patterns the urban and nature forms negotiations that non-Indigenous designers of this continent were not terra nullius of the city – that at first glance looks a lot rarely confront in designed projects that when European settlement occurred, like Brisbane – is to confront the seeming regard country and landscape as both and that the Meriam people were ‘entitled duality present in the image. Is Kevin tabula rasa (blank slate) and terra nullius as against the whole world to possessions, tending the wall as an aesthetic practice, (empty, ownerless). The Sep Yama Finding occupation, use and enjoyment of (most perhaps more aligned with the tools of Country project insists that architectural of) the lands of the Murray Islands.’ Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

The decision struck down the doctrine I am interested in this [the Mabo decision] is an architectural negotiation with decline, that Australia was terra nullius – a land for two reasons. Firstly I am a descendent whilst carrying an implicit personal belonging to no one. of the Meriam, and secondly as an challenge to find country.2 architect, because architecture students Critical to becoming aware of the are trained to begin with an empty sheet Kevin’s position is that ‘Aboriginal dynamics of contemporary Australian of paper. In Australia, I say, this paper Country is excluded from the Australian landscapes is to acknowledge those is not empty, but is full of what can’t city’. Brisbane, located on the Country fundamental events of 1992. Kevin above be seen. The prevailing spectrum of of the Turrbal people, is the site that describes the moment when new maps colonial architectural positions bookended confronts that which can’t be seen. of the territory that is now called Australia by decorated sheds and at the other It employs the operative tactic of decline could commence being drawn through end metaphysical decks is an argument to provoke speculation and revelation writing in Aboriginal names and against Finding Country. In the same and ‘to imagine an opportunity for the descriptions of places according to the vein, the diagram locating non-aboriginal recovery of Country’. Working to draw occupation, stories and relationships to male architects and non-aboriginal the new architectural and urban project on Country, from then to now. The ubiquitous female architects is also an argument already populated rather than blank paper, colonial practice of overlooking prior against the aboriginality of the Finding Finding Country commences with the map occupation in projects for mapped Country endeavour. of current conditions. A community of landscapes is most obviously revealed architectural collaborators is charged with in early explorer maps of central Australia. Kevin’s travels across spatial, social re-negotiating the grid where Aboriginal Edward Eyre and Charles Sturt, among and political territories are both a method Country is envisaged through erasure of others, marked the routes and natural for the practice of an expanded spatial the extant. Revealed in each remapped signposts of the desert territories they architecture, and a way of coming to know grid and accompanying text are the were ‘discovering’, most usually applying places as they might have been and authors’ multiple understandings, European names to sparsely noted places can be. Through the idea of emptying musings and polemics that seek an along their paths. Conversely Henry Hillier’s the urban grid to reveal Country, Kevin Aboriginal presence in a regard for design. fragile silk map of the country around the tasks us to imagine how places become Sometimes advanced through naively Birdsville Track is inscribed with around again when Aboriginal perspectives and prescriptive non-Aboriginal perspectives, 2,500 Aboriginal names gathered from knowledge are returned to Australian cities patterns and forms, these proposals accounts freely given by the Dieri, and landscapes; in this case through nonetheless re-present inner Brisbane Wangkangurru and other peoples of the the medium of the collaborative Sep with integrity. Ultimately this is a project area.1 Clearly, these landscapes were not Yama Finding Country Exhibition for the for an incomplete urban landscape empty, rather they had been emptied out Venice Biennial 2012 which he and others of possibility for a land free of fixed by an other culture and political system sponsored to give presence to Country boundaries, predicated on the continuum charged with enabling ownership and beyond the officially sanctioned event. of land, sea and sky of Kevin’s elemental property rights for the sole benefit of the island landscapes and motivated by an newcomers. This was not an isolated The Finding Country Exhibition is an idea for a dialectic dreaming for Country. practice. The revelation that places are idea Aboriginal in origin and trajectory. more numerous and potently described It seeks a contest between the traditions of Professor Gini Lee is a landscape through language connected to landscape aboriginal space (country), and European architect and interior designer features and histories, is a largely unmet space (property). To date, the central and the Elisabeth Murdoch Chair opportunity for contemporary practitioners exhibit has been an 8x3 metre gridded of Landscape Architecture at the of architecture, landscape and urban map of the city of Brisbane consisting of University of Melbourne design to challenge current understanding 44 submissions emptying individual grids of both design knowledge and method. by half to reveal something lost. Each grid

1 Jones, P, Naming the Dead Heart: Hillier’s Map and Reuther’s Gazeteer of 2468 Places names in North-eastern South Australia, http://epress.anu.edu.au/wp-content/uploads/2011/03/ch144.pdf, pp187-200 2 Sep Yama, Finding Country http://www.findingcountry.com.au/ Atrium PAGE 22 | 2013 16 | 17

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

A conversation with Sir Peter Cook

Justine Clark

The iconic British architect, Sir Peter JC: For me ‘smarty pants’ criticism is I’m not a naturally good drawer; I can’t draw Cook, visited the Faculty in February usually just not very ‘good’ criticism. I horses or still lives. I had to force myself to 2013 to run a Masterclass with MSD see criticism differently, as a productive be able to draw. I taught myself tricks to look students and deliver a public lecture engagement with the work in question. as if I’m a good drawer, but I’m not really. on his journey from Archigram, the One way to proceed – following from JC: That means you have to think about avant-garde architectural group formed your book, Drawing: The Motive Force what you’re drawing and what matters. If in the 1960s, to CRAB the innovative of Architecture – is by talking about the you have an immediate facility, the danger practice he established six years ago. role drawing plays in the production of is that the drawings are pretty without Justine Clark caught up with Peter architecture and about its propositional, doing much work. For me drawing is Cook to talk to him about the role provocative possibility. a place where work can happen. drawing plays in architectural research and production. PC: The interesting thing about drawing PC: A lot of stuff done on computers has is it doesn’t have to tell the truth. It can that same facility, somebody goes “da da JUSTINE CLARK: The theme of this exaggerate certain characteristics and da da” and out it rolls. They haven’t really issue of Atrium is around ‘critical theory suppress others, or fetishize certain things, thought their way through it. and the future of practice’. Rather than or jump reference, jump scale, jump talking about ‘criticism’ per se, I thought JC: It often seems there’s not enough context. Drawing is a wonderful way I’d ask about drawing and education room for doubt in the computer – it of not having to follow the narrow path. as modes of critical engagement. can be too easy to make the drawing We can say, this drawing will show what look good. However, in the last chapter PETER COOK: I’m intrigued by the some things look like and deliberately of your book you also write of the preponderance of the word ‘critical’. not show others. That’s interesting. potential of computer and hand It is used more and more, but to me Drawing can scramble the value system drawing coming together. ‘critical’ is very negative. I prefer ‘creative’, and it can home in – or not – on particular which has a different psychology. PC: Yes, you can do things in combination conditions. A creative drawing can be quite – clipping in and out. There is also the To be critical is to be a ‘smarty pants’ – particular. It can deal with, say, the armature potential of the person to override, to all those ‘clever’ people who can’t design. and not the flesh. Or with the atmosphere choose not to acknowledge what the To be creative involves a certain amount but not the specific position of the object. computer is telling you. You have to do that. of wit. It’s a matter of not necessarily Or it can jump across these things. That following precedent. There’s a big makes drawing a very intriguing subject. JC: One of the other things is letting difference between the person who is a drawing take you somewhere that creative and the person who is critical. may not be quite what you intend. Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

PC: Absolutely. Can I read you something? ‘These are the support troops who going, attacking the awkward parts of a I wrote this over the last two days, for AD sometimes seem to take over the strategy drawing in the morning, and coasting long magazine. It’s called ‘Looking and Drawing’: of the battle. In recent times, I have had with the messy and repetitive parts in the the luxury and challenge of being alongside evening. Yet, yes the business of drawing ‘How can people draw things in the Gavin Rowbottom, who is an amazing became, not only a place of interpreting abstract? Even plotting a line on a scrap drawer. Once again, as with David Greene, ones dreams, but of assembling the likely of paper saying, “here’s the nearest place Mike Webb, Ron Herron and Archigram, episodes of some kind of predictable to buy potatoes”, followed by a scribbled I try to jog along, unable to draw as echelon. For me, the best drawings have arrow, a wobbly line to the supermarket instinctively as them and therefore shamed always been those in which more than door… even this is a product of memory into finding tricks and devices – French 60 per cent was at the outset, merely and episode. In the invention business, curves, straight edges, clever pens – in a snip of what was to come’. this involves a considerable scrambling developing a form of exaggerated collage of all sorts of memories and episodes. ‘To have the whole thing plotted out come bright graphics, plus a good deal Of course the hand, the pen, the indulgent beforehand, and entirely predictable, of doggedness. Then, alongside Christine line, the computer mouse, the delight in and therefore just a graphic exercise … Hawley and sometimes Ron Herron as a watercolour wash, with a bit of sediment is infinitely boring. A drawing should be an well, I plodded on. But now, with the here and bit more green there, with the investigative device, a voyage of discovery, experience of a long distance walker who deft choice of a superimposed bit of a series of glances into the future – “Oh my has at least stamina, I know how to keep Photoshop here and fade out there ... God, was that what it was about!”’ Atrium PAGE 22 | 2013 18 | 19

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

A conversation with Sir Peter Cook Continued

‘In all of these drawings, there are constant PC: To some extent you can decide, I don’t know how honest, dishonest, questions of imagination versus hard before you start, where a drawing can or sideways that is. information. The familiar versus the position itself in the discussion. That JC: It’s not really about honesty or rhetorical, plus the underlying issue of clarity sometimes means that the drawing has dishonesty, is it? It’s about working. and accuracy, or it can be to prosaically to have a particular power. It can be too represent only what can be theirs, to miss graphic and put certain commentators PC: I have all sorts of ideas about this the point. If we observe on the one hand, off. It can be insufficiently graphic and not big ‘eye’ that brings in the light. The site is and create on the other, there is surely the engage. That’s another thing – making a slightly tilted so it exposes itself. I’m going potential for alchemy, or in other words, move and deciding what its audience is. to bring light under this bench – you won’t you don’t have to push out what you feed see natural sunlight, only the bright light I can show you something I’m working on in, for a drawing can suggest much more’. under the bench. I’ve not seen that done now. It’s a bog-ugly drawing. (I buy myself before. Asplund did something with JC: There is a lovely essay by Roland square gridded paper because it focuses me.) translucent benching, but here the bench Barthes where he says something like, This is a funny commission for a very small will be a cover. I want to play a game ‘when I start a drawing I never know building at the college I went to before I between north light and bright light. where I’m going.’ I think that’s important. went to . It was a provincial art I’m also interested in where one finds So I have got ideas about light and space college with an architecture school, now the space in a drawing to think – the and so on, but in a funny way the drawing it’s a full university. It has gone right up time for contemplation – and in finding doesn’t tell me much more than I already the tree. They want me to design a studio what a drawing can tell you as you go. know. I must ponder on that. shared by all departments (fashion, PC: Yes. A certain sort of student gets architecture, graphics and painting and That’s how I design. Like most people; desperate when they can’t put it through a lot of drama). you do a plan and you’ve got an idea of the computer – the computer becomes the spatial things, but they’re not always I can see the project in my head. But a wonderful prop that they can’t get there in the plan. they want an arty-looking drawing for an distance from. I’m so conscious of the exhibition in the middle of March. I’ll send sort of inadequacy in drawings that I’m I’m basically a very straight up and down drawings like this to the office and get interested in them. architect. I work out how big it is, where them to put it into the computer, then I’ll the light comes from, whether you can JC: I’m also interested in the polemical do an ‘art’ drawing, which wouldn’t have get upstairs at the back, if there’s room for power drawings can have. been possible without the computer. the model to change. And there has to be Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

some storage – I’ll say “okay, that’s going JC: I was also interested in your I’ve seen it too many times. The right to be about 2-1/2 meters, da, da, da, da”. discussion of the section. unit leads to the right office; they hang I can’t help going through these prosaic out in the right bar; they manoeuvre in the PC: I was brought up on sections. You’d get conversations with myself. It’s going to be office. There are a lot of these people in a higher mark for a good section than for a lovely. I just want to know whether you can architecture now. They’re not dreaming. plan. It was assumed that you could plan, but get the storage in. They get nervous when it gets too risky. the section shows how things knot together. Somebody in the office will do the parametric Often it is the hardest thing to control. JC: So, is there no hope for shaking diagram, but I want to control how deep the things up? Even with this tiny drawing studio, I’m seat is, how big the orifice is. That can be thinking of what will happen to the ceiling PC: Except for the boredom factor. And more effectively done with a computer that above the gallery. Do I start tailoring? Do the attack can come from an unexpected can tilt the thing and get a beautiful shape. I pull it down, or do I have to make it like direction. What will happen when Western JC: It’s also about how you’re used a box? But it mustn’t be like a box. So my architects surviving by doing work in to thinking. With a pen in your hand? concerns are much to do with this tailoring. find that the Chinese can do it better? There’s going to be a big crunch sooner PC: I draw, I draw – that will be one of a JC: I wonder if you can talk about or later, and maybe some of the funky hundred scribbles in the end. For example, education more? The environment people will come from there, because the Christine Hawley project in the book architects work in is shifting. How do they have to think more dynamically. has a pencil scribble, an ink tracing and you get students to engage critically a colour version. The scheme is in all three, with the discipline – particularly as they JUSTINE CLARK is an architectural but it is hard to say where the definitive will be the ones to remake architecture? editor, writer and researcher, and moment of thinking is – it’s somewhere honorary senior research fellow PC: Students now are much more between the pencil and the ink. at the University of Melbourne. professional than we ever were. JC: Isn’t it in the set, in the encounter They’re very good at positioning between the three? themselves, too good. I watch students choose a unit not because they think it’s PC: There are many parallels … where is the best, but because the people teaching the moment of thinking? A certain amount have good connections. Even the choice of hard information is very useful. Without Image: Sir Peter Cook and MSD students of boyfriend or girlfriend can be tactical – who participated in his masterclass it you just have a funny, floppy idea. Atrium PAGE 22 | 2013 02020 | 21| 02

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

This is not a building: drawings and architectural criticism

Anthony Worm

On December 16 1954 a letter was retrievable in the drawing is the ‘sense’ and evidently Wright appeared fearful of the typed, with some corrections made and ‘effect’ of the completed artifact, consequences of this compromised vision. by hand, on Taliesin West stationery, albeit from the perspective of a viewer. and sent from one architect to another. With unbuilt projects, or projects yet to What was written was an opinion of a In other words, it is all too easy to equate be built, the drawings are regarded as relics design proposal, which the writer refers a thing with its signifier. This utterly curious of buildings that never existed, fossilised to as an ‘elaborate and expensive fiasco’ phenomenon is eloquently highlighted remnants that are therefore assumed and a ‘manifest aberration’.i The author by René Magritte’s painting Ceci n’est pas to contain the story of the architectural was, you may have guessed, Frank Lloyd une pipe [This Is Not A Pipe] (1926). At event they naturally embody, and it is just Wright. The receiver was the late work in Magritte’s painting is our compulsion a matter of interpretation that this story can American Mid-Western architect Bruce to identify words with the essence of things. be divulged and (re)constructed. The history Goff. As a result of this exchange and In Michel Foucault’s critique of this painting of the Price studio that never happened has other events surrounding it, the project he drew upon the notion that in traditional a life in the design drawings that is a subject the letter refers to, the Joe Price studio, Western thought, into the painting (the of perpetual reminiscence. Destined never was never built. Wright had effectively picture), thought of as “an exclusively visual to be, through words it is made to loom engaged in what could be described production, creeps a secret, inescapably larger than the real thing, and, in a much- as non-other than, by today’s standards, linguistic element: ‘This painted image is overlooked paradox, the drawings somehow an unconscionable act of sabotage. that thing’”iii. Ask anybody what the picture prove its worthiness to be so. is of and they would say “it’s a pipe”.iv It is not unusual for commentary and To this Magritte would dare the observer: Anthony is completing his PhD on the criticism to exist regarding the unbuilt work “And yet, could you stuff my pipe?”.v subject of architectural criticism with of architects as seen as part of the raison a focus on the term ‘free’ architecture, d’être of the architect and their approach Similarly, could Wright inhabit Goff’s titled ‘Free and Architecture and Goff’. to architecture. It is perhaps more unusual building? In his letter Wright refers to the His thesis is being supervised by Prof. for projects to remain unbuilt works because design as an artifact – something Wright Paul Walker. of the more or less direct intervention could see and decipher as both architectural of other architects. The implication of and as architecture. It could only become an unbuilt project is that it exists at the such for Wright via visual evidence, and that i © Frank Lloyd Wright Foundation, 2007. is to say via the design drawings. Wright Letter dated December 16, 1954. Bruce Goff very least as architectural drawings. The Archive, Ryerson and Burnham Library, contents of the letter and other historical regards the drawings frontally: “So it is that Art Institute of Chicago. accounts of the event suggests that it is the critic may look at his subject as if it were some kind of projection whose meaning is ii See Robin Evans, Desley Luscombe, not a verbal description of the project that Edward Robbins, et al. Wright was relying on to deliver his critical assured by the fact that it is addressed to evaluation but was largely based on his him”. Wright equated the drawings with a iii As discussed by James Harkness in his kind of architectural essence to which he translator’s introduction to Foucault’s This is having viewed the drawings of the Joe Price Not a Pipe. See Michel Foucault, This is Not a Pipe, studio design. The project – the architecture was simultaneously both privy and not privy: James Harkness (trans), Berkley; Los Angeles: – has a life sustained by some form of he made the judgment based on his own University of California Press, 1983, p.8. representation. The discursive nature of ideas of architecture and his ‘legacy’, and iv Foucault, This is Not a Pipe, pp.29-31. architectural drawings have been much he made the judgment on his knowledge of discussed in recent yearsii however this how to understand architectural drawings. v Harry Torczyner, Magritte: Ideas and Images, example highlights a more subtle tradition In Goff’s supposed attempt to apparently New York: Abrams, 1977, p.71 of translation of architectural drawings defy the underlying order of modularity, vi Robin Evans, “In Front of Lines that Leave Nothing perpetuated in architectural criticism: that frontality, symmetry, and axiality – all Behind”, in K. Michael Hays (ed), Architecture architecture-as-a-drawing is the same as things that flourish under the accord Theory Since 1968 (Cambridge: The MIT Press, of orthographic projection – the sight 1999), p. 482. Originally published in AA Files, architecture-as-a-building, which therefore No. 6 (London: Architectural Association presumes that what is present and of a well defined architecture is obscured, Publications, May 1984). Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Images: Plan image: Joe Price Studio project, first of two designs, 1953. Plan. (Source: David De Long, Toward Absolute Architecture, Cambridge: The MIT Press, 1988. p.125.) Perspective image: Joe Price Studio project, first of two designs, 1953. Perspective drawing. (Source: David De Long, Toward Absolute Architecture, Cambridge: The MIT Press, 1988. Colour Plate 16.) ‘This is not a pipe’ by Rene Magritte: (Source of image: http://en.wikipedia.org/wiki/The_Treachery_of_Images) Atrium PAGE 22 | 2013 02222 | 23| 02

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Interview: Judy Turner, Director of Advancement

The Faculty of Architecture, Building and Planning’s new Director of Advancement has an impressive philanthropy and arts management background, and a passion for Scottish fiddling. Atrium asked Judy Turner about ABP’s landmark new building project, what inspires people to ‘give’ and her love of music.

Prior to joining ABP you were Senior What inspires people to give and, Faculty is now housed – what an amazing Manager of Annual Giving at the in the case of our new building trip down memory lane this is. In fact for Australian Ballet and Development project, give to a built environment the first few weeks, each time I would go Manager at the Jewish Museum of and design School? into the women’s rest room on level 4 I Australian from 2003 to 2010. How People give for various reasons but would feel a slight queasiness, reminiscent has working for two flagship Australian mostly they are motivated by the desire of the nerves caused by our performance arts institutions informed your to “give back”. Many graduates feel they seminar held each week on Level 4! I approach to fundraising? owe their success in life to their university, started my working life as a violin teacher To be successful as a fundraiser you have and want their kids and the generations and the love of fiddling grew out of that. to love the cause, and in the case of the beyond to be able to benefit in the way In the Western suburbs tech schools Jewish Museum, The Australian Ballet they did. There’s also that great sense classical violin was not such an attractive and now the University of Melbourne, this of belonging that comes to you when proposition, and to keep the kids has not been difficult for me. On top of you give – in fact, it’s well known to all interested you had to move to new styles. that, I have learned that in every instance, of us who give as well as asking that the The MSFC was my baby and is an the campaign must start with a real pleasure of giving is something that far awesome performing machine – with four understanding of the case for support. outweighs the pain of making the gift! golden fiddle awards to its name. These This is no different in the arts, or in health, days I am an elder stateswoman and can What sort of opportunities are available welfare, or in education. Why should crank out the tunes till 4.00am once or for individuals and companies wanting people give is the question we always twice a year. to support the new building project? ask ourselves, and why should they give How can people contact you if they to our Faculty, our University, rather than We are building a giving program that want to learn more about the ABP to any of the myriad other charities, we hope everyone will feel able to be part new building project? causes and organisations seeking their of, and we hope that by the time our new A call is always great – I love to talk to support. Once you can articulate a case building opens in early 2015, every single people more than anything – or email of which not only convinces you (most former student or academic & course, as I am often out of the building importantly) but also moves you, I feel professional staff member – who might making new friends for the Faculty. Or, you are half way there. be interested, has had the opportunity to donate. We have a number of fledgling if neither of those works, an old fashioned What attracted you to join ABP and to Giving Groups which are being led by letter will reach me too! My details appear take on the challenging role of Director committed volunteers from among age at the bottom of this piece. of Advancement? cohorts, and who will be raising funds to Finally, what is your favourite building The University itself. Pretty much all my name a part of the building for someone or urban space in Australia? family except me were students here at very special to their cohort and to the Well, this may sound predictable, but one time or another, with both my mum faculty. We also have some significant after Circular Quay and environs which for and dad and my son being editors naming opportunities which are more me is the space that has everything – of Farrago in their days. I grew up on appropriate to larger Philanthropic history, colour, vibrancy, memory, campuses (the ANU and the UPNG) Foundations or to major corporations. museums and that amazing Opera House and it offered a sense of coming home, Outside your professional career, – I absolutely love the Grollo (Eureka) to tell the truth. Having worked closely you have an interesting musical one. Tower in Southbank. I like the way it calls with some inspiring architects – all UoM Tell me about the Melbourne Scottish to you from many different parts of our alumni – at the Jewish Museum I felt Fiddle Club and your passion for music. town, and the way at a special time of attracted to the way they look at the night and from a special point on Albert world and the good that they can do During my undergrad years at the ANU Park Lake you can see the building in it. I was interviewed in the last days (studying History and English) I always talking to the sun. of the old building and liked the feel of played in orchestras, and taught at the place, and the people. Of course, summer music camps, and was always Judy Turner and capital campaigns are always pulled in this direction. On moving to Director of Advancement exciting to work on. Melbourne I actually retrained as a violin T: +61 3 9035 9634 teacher, studying at the old Melbourne M: +61 438 560 741 State College in the very building that the [email protected] Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

New building update

In February 2013, the University of progress of the demolition and enabling stakeholders access to the project Melbourne signed a contract for the works on site over summer, we are site and information about its design, construction of our new building. The currently on schedule from a “whole construction status, built pedagogy, contract was awarded to Brookfield of project” perspective, and will soon complexity and functionality. Multiplex, with construction of our new witness our new building taking form. This exciting project is a once-in-a-lifetime building to commence in May 2013 and “This is a demonstration of excellent opportunity for the Faculty of Architecture, a completion date of 12 December 2014. project management by all parties,” Building and Planning to articulate its The contract negotiation process brought said ABP Dean Tom Kvan, “especially strategic objectives and demonstrate the project within budget and in time for by the two contractors who now its commitment to innovation and the Faculty to embark on the academic share the site so we can keep to sustainability through the design and year in 2015 in a state-of-the-art facility. our challenging schedule.” delivery of an outstanding campus building. Brookfield Multiplex has recently In line with our vision of creating a ‘living, Regular project updates will be posted completed numerous education learning building’, Brookfield Multiplex will on the new building blog on the projects including the Swanston establish a ‘Living Lab’ on site enabling ABP website, charting the project’s Academic Building at the Royal students pursuing construction-related construction progress, milestones Melbourne Institute of Technology, degrees the opportunity to learn about and related research activities. It is also the University of NSW’s award-winning construction methods during the building the place to visit to see timelapse video Tyree Energy Technologies Building process. Site tours will also be conducted and images of the construction. and the University’s Melbourne Brain for students and others allowing them Centre in 2011. first-hand access to a major building site www.abp.unimelb.edu.au/blog and the expertise of the project team. Piling began on site on 25 April, signalling the commencement of A viewing platform and strategically main works. Due to the excellent positioned cameras will also give Atrium PAGE 22 | 2013 02424 | 25| 02

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Our Donors

ANNUAL GIVING TO ABP: GIVING TO THE NEW $1,000 - $9,999 Philip Chun 2012 – 2013 ABP BUILDING Tony P Green We Thank Our Generous Supporters. The Faculty is also indebted to the many Edward R Yencken & Janet A Yencken visionary corporations, groups and Edward F Billson & Margaret J Billson The Faculty of Architecture, Building individuals who have already contributed Peter H. Williams and Planning is grateful to the generous towards our Faculty target of raising $20m Paul D Coombe individuals, families and companies towards the new Building. The following Max Chester OAM listed below who have donated to people have pledged the amounts listed Robert A McGauran provide better opportunities for our below, since our fundraising commenced. Jonathan Gardiner students and staff over the period Richard J Hansen January 1 2012 to April 5 2013. Going $500,000 or above Lim Chong Nam forward, in each issue of Atrium we Andrew Lee King Fun Patrick R Ness will be recognising our donors for the Hansen Yuncken Pty Ltd & Tim L Roberts previous and current calendar years. The Peter Hansen Family Trust Simon Swaney & Carolyn Kay Evan Walker AO & Judith Walker $100,000 or above $100,000 - $500,000 Chris W White Volvo Research and Alan F C Choe Thomas Kvan & Justyna Karakiewicz Educational Foundations Hijjas bin Kasturi & Angela Hijjas 3 Anonymous Donors Koh Seow Chuan $10,000 - $49,999 Daniel T H Teo & Soo Khim Goh Below $1,000 Vera Moore Foundation Alfred H K Wong 57 Supporters AECOM Anonymous Kevin K W Kang The Faculty also thanks the generous $10,000 - $99,999 donors that have supported the $1,000 - $9,999 Dato’ John Lau Dean’s Honours Awards and Richard Falkinger AO Grant F Marani Grad Ex exhibition, supporting Ernest & Letitia Wears Memorial Fund Roderick I Macdonald & Margaret J. the Faculty’s acknowledgement Alasdair N Fraser & Jenny Fraser Macdonald of academic excellence. Ron Billard Geoffrey J Lawler Kai Chen Below $1,000 Peter H Lovell 12 Supporters Glyn C Davis AC We have made our best attempt Ooi Choun Theng to ensure the list is correct, but we Tan Pei Ing are aware that our records may not Jay Yeunh Wee-Tiong be complete. If you notice any errors or omissions please contact: Andrew Middleton, Advancement Manager, on (03) 8344 3111 or [email protected]. Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Impact of Giving Stories

JUDY TURNER

A partnership Giving is a pleasure The power of many strengthened by time and an honour Well before the design brief for the Peter Hansen OAM is proud to be the Andrew Lee King Fun had already new Architecture, Building and Planning third generation of his family to have graduated Bachelor of Architecture from Building was out, or the winning led the family firm, Hansen Yuncken Hong Kong University before he decided designers appointed, a visionary group Pty Ltd, and even prouder to have seen to further his education with an extra of Singapore alumni came together the fourth – in the shape of his children final year at the University of Melbourne. under the leadership of Mr Alan Choe Richard and Louise – take up the mantle (BArch 1957) and Mr Alfred Wong (BArch Back in 1959, he said, the difference of leadership. 1953) and made a commitment to raise in atmosphere at his new University was $1m towards the Faculty’s grand vision. Hansen Yuncken is an Australian success very exciting and refreshing. He loved story, and will celebrate its centenary in studying here, and was bowled over Rather than giving individually, the group 2018. “Our interest in skills development by the informality and friendliness of the chose to harness the power of many, and goes back a long way,” said Peter, “and students and lecturers. Particularly happy to set an example of generosity to other our family involvement with the University memories were around the retreat that alumni in Singapore. The group’s generosity is of very long-standing.” students then attended at Mt Martha, will be recognised in a dedicated space and the infamous Archi Revue. within the new building. Both of Peter’s sons studied here at Melbourne, but tragically, eldest son But it wasn’t all beer and beaches – This example has inspired others, and six Michael died while completing his studies studying and later tutoring at the University Giving Groups have since formed around in construction. The family’s generosity of Melbourne gave Andrew a very innovative age and geographic cohorts, and in some led them to dedicate the Hansen Yuncken and different slant on his chosen profession cases around the collective wish to honour Prize in Michael’s memory. that has served him to this day. He is very someone who has meant a lot to the group proud too that his son Douglas (now a and contributed significantly to an aspect Peter, son Richard and daughter Louise, Director in the firm of Andrew Lee King of Faculty history. have all served on the Faculty’s Building Fun & Associates) graduated from the Advisory Committee, and see University Faculty and that his grandson shows work as “our sort of work”. If you are an ABP alumnus and the every sign of also becoming an architect! opportunity to memorialise an important Hansen Yuncken has been responsible for The many different nationalities he person or group within our beautiful many buildings on the University campus, encountered here in Melbourne, and the new building inspires you, we would most recently the refurbishment of our iconic support shown to all of them, particularly be delighted to hear from you. Engineering Building, which dates from impressed him. When asked why he chose 1899. “Once the Second World War was to make a very generous gift to the Faculty over things shifted, and apprentices started of Architecture Building and Planning, getting university qualifications, which was Andrew said he shared Dean Tom Kvan’s a great thing for the industry,” Peter said. vision for the new building as one where The firm has always believed in supporting students can keep abreast of the latest the best training for young people interested developments in sustainability. in careers in the construction industry, “It has always been my wish that a and Peter is convinced that this policy has sustainable training ground be developed for delivered back to the company – in spades! the better learning of future professionals,” “As a local company and a leader in the Mr Lee said. “I feel honoured and very industry in this country, we have donated happy to have the opportunity to participate to many universities over many years to in this project.” enable the best students to receive the best training. It makes good business sense and we see it as part of our social responsibility.” Atrium PAGE 22 | 2013 02626 | 27| 02

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

Inside the Faculty

ERA RESULTS PEOPLE

ABP was exceptionally pleased with Professor Alan Pert’s architectural Professor Donald Bates travelled to the outcomes of the 2012 Excellence in practice NORD featured in the February California to present a lecture as part of Research for Australia (ERA) assessment, Issue of the international journal A+U. the UCLA Architecture and Urban Design which rates research quality within Australia’s NORD’s work at the 2012 Olympics lecture series in April. higher education institutions. Of particular was also featured in the November note, our research in Architecture was issue of A+U. PhD student Tanja Beer is investigating awarded the highest possible rating the viability of sustainable performance for outstanding performance well above In March, Professor Philip Goad spaces that save materials going to landfill. world standard. We are also proud of presented a lecture to final year students Conducting her PhD under the guidance our achievements in the areas of Urban on design and research at the University of Dr Dominique Hes, Tanja has been Planning and Building, receiving excellent of Tasmania in Launceston. He then exposed to progressive sustainability ratings of above world standard and at presented on ‘JH Esmond Dorney and ideologies. She has engaged in a number world standard respectively. Australian architecture’ at Dorney House of projects to test her hypothises and push in Hobart, at a workshop organized by the boundaries of eco-design, including the University of Tasmania and Hobart a recyclable, biodegradable and edible City Council. performance space called The Living Stage for the 2013 Castlemaine State Festival. Nader Tehrani of NADAAA visited ABP in May for a week of engagement activities and to present at the national AIA Conference.

EVENTS & BOOKS

Dr Alan March launched his new the International Academy of Design traditions of peninsular India over 1000 publication, The Democratic Plan: and Health in Stockholm. Co-presented years. The series was co-presented by Analysis and Diagnosis at the University with the architectural firm Lyons, Dilani the Australian India Institute. of Melbourne on 31 January. The book addressed how recent research has was launched by Vice Chancellor, revealed that the quality of the building’s Also in April, Queensland-based architect Professor Glyn Davis. This seminal text environment – its architecture and design Kevin O’Brien presented a fascinating talk considers the need for deeper organising – plays a critical role in promoting health entitled ‘SEP YAMA/FINDING COUNTRY’, principles for self-understanding, action and wellbeing. which referenced the Finding Country and productive critique in urban planning. exhibition at the 13th Venice Architecture Conflicting approaches and variable Professor Peter Rowe recently presented Biennale, 2012. You can read more about governmental settings have undermined a public lecture on ’s urban Kevin’s practice on pages 14 and 15. planning’s legitimacy and allowed its goals planning since 1978. Rowe is Raymond to be eroded and co-opted in the face Garbe Professor of Architecture and Innovators from the Helsinki Design Lab, of mounting challenges. Urban Design and Harvard University Bryan Boyer and Justin W. Cook, visited Distinguished Service Professor. He was ABP recently to present a lecture on two New directions in health architecture in Melbourne to be conferred an Honorary exciting projects: Brickstarter, a book was the focus of a public lecture with Doctorate in Architecture on 16 March. which considers how crowd sourcing Professor Alan Dilani in March. Professor and funding could be applied to the built Dilani is Founder and Director General of International expert on Indian architecture, environment, and Low2No, a sustainable Dr George Michell presented three urban development project. lectures in April exploring the building Atrium 22 | 2013

THE UNIVERSITY OF MELBOURNE FACULTY OF ARCHITECTURE, BUILDING & PLANNING

CONGRATULATIONS

Congratulations to recent Bachelor Bryan Chung and graduate Isabel and fosters Australia’s next generation of Environments graduate Sarah Rees Deakin. 152 students from 26 countries of emerging architectural talent. Now in its who has been awarded a prestigious entered the annual competition, each sixth year, the 2013 Dulux Study Tour will Charlie Perkins Scholarship to submitting an essay on the topic of travel to Shanghai, Barcelona and London. undertake postgraduate study at ‘The Architect and the Accessible City’. Adam graduated from the faculty in Cambridge University. This is a remarkable achievement by both 2004 with first class honours. Currently at Bryan and Isabel in a global competition. Lyons, Adam has contributed to innovative Two of the 25 semi-finalists in the running public-sector projects, in particular the for the prestigious 2013 Berkeley Prize Congratulations to Adam Pustola, one Australian National University Colleges are Bachelor of Environments student of five winners in the 2013 Dulux Study of Sciences Precinct. Tour, the coveted program that inspires

WHAT’S ON

Alumni Survey Exhibition: Transform: Altering the Future ABP DEAN’S LECTURE SERIES 2013 Denton Corker Marshall, of Architecture Gregg Pasquarelli Land Art: Nine Small Buildings Date Thursday 30 May (SHoP Architects, New York) Venue Spring Street Conference Dates 17 May-14 June ‘Out of Practice’ Centre, 1 Spring Street Venue Wunderlich @ B, Tuesday 14 May, 7pm 757 Swanston St, Melbourne If architecture was more inclusive would it also be in a stronger position? Together Alan Greenberger (Dept Mayor for This winter ABP plays host to an exhibition with Parlour, we invited participants to Economic Development and Director which gives rare insight into the design come together for a one day workshop of Commerce, Philadelphia) process of architectural practice Denton to discuss and debate issues of gender, Tuesday 06 August, 7pm Corker Marshall. The Land Art: Nine agency and remaking the profession. Small Buildings exhibition features João Nunes (PROAP, Portugal) photographs, sketches and models Tuesday 08 October, 7pm for seven residential houses and two small buildings – the Australia Pavilion For details of all the Dean’s Lecture for the Venice Biennale, Italy, and Series and other ABP events visit: the Stonehenge Visitor Centre www.abp.unimelb.edu.au/events and Interpretation Museum, UK. contact Atrium Faculty of Architecture, Building & Planning 22 | 2013 University of Melbourne Victoria 3010 Australia phone + 61 3 8344 6417 DESIGN www.abp.unimelb.edu.au CRITICISM & FUTURE PRACTICE

Published by the Faculty of Architecture, Building THE UNIVERSITY and Planning OF MELBOURNE Coordinating Editor: Louisa Ragas FACULTY OF ARCHITECTURE, Design: Studio Binocular BUILDING & PLANNING Authorised by Professor Tom Kvan, Dean Faculty of Architecture, Building & Planning, May 2013 ISSN 1447-1728 The University of Melbourne CRICOS provider code: 00116K