The task of adequately acknowledging AboriginalÌýand Torres Strait Islander diggers, within the shadows of theÌýAustralian War Memorial, brought with it much responsibility.ÌýFor Our Country is a simple concept, expertly executed withÌýprecision and clarity while concealing a degree of complexityÌýin thinking not readily apparent. A careful interplay of light andÌýshadow, tactility and symbolism, is carefully calibrated andÌýexpressed through the work of artist Daniel Boyd, aÌýKudjla/ÌýGangaluÌýman from North Queensland, alongside the adeptÌýtouch of Edition Office.Ìý
The decision to commission a permanent national memorialÌýrecognizing the military service of Aboriginal and Torres StraitÌýIslander peoples cannot be understated. This important workÌýis ofÌýparticular significanceÌýand prescience in 2020, in light ofÌýthe recent Black Lives Matter movement. It is as evocative andÌýpowerful as it is subtly provocative in its commitment toÌýtruthtellingÌýwithin an intimate yet accessible moment of introspection.Ìý
From the basalt stone field curtilage evoking the materialÌýculture of weaponry, to the two-way mirrored lens that powerfullyÌýreflects the silhouette of nearby Mount Ainslie on NgunnawalÌýCountry, to the neutrally textured rammed-earth wall thatÌýenvelops the visitor in a contemplative embrace, the projectÌýelicits the best of architecture to simultaneously choreographÌýexperience and gravity.Ìý
The considered response further embeds a legacy throughÌýthe invitation to Elders to bring fragments of Country in the formÌýof soil; these offerings, contained within a subterranean castÌýbronze vessel, form a perpetual archive of the diversity of NationsÌýwithin a Nation.Ìý
To fully appreciate the invitation to pause within theÌýmemorial’s contemplative context, one is encouraged to chaseÌýthe light at either dawn or dusk – to viscerally connect to theÌýsignificance and distortions of reflection, while consideringÌýthe centrality of individual empathy through the weight of historyÌýand the power of ritual.Ìý
In the combined vision of Edition Office andÌýKokathaÌýandÌýNukunuÌýartistÌýYhonnieÌýScarce, we see a bold, singular andÌýcontemplative space that transports us beyond its city-basedÌýcontext to feel, to reflect and to simply be. The cleavageÌýbetween two vastly scaled, blackened, vertical, timber drum-likeÌýchambers lures us into an imperceptibly nuanced conversationÌýaround terra nullius, language and Country. The experientialÌýapproach subtly dispels the myth that Indigenous peoples didÌýnot engage in agriculture through a dripping chorus of 1,600Ìýshining, hand-blown glassÌýmurnongÌý(yams) by Scarce, evidentÌýas our eyes are drawn skyward in a search for meaning.Ìý
The monumentality of what couldÌýbe seen asÌýa contemporary smoking tree is profound. It provides for anÌýintriguing dialogue with the work of Sir Roy Grounds who,Ìýmore than 50 years ago, designed the National Gallery of Victoria,Ìýwithin the gardens of which In Absence sits. In this installation,Ìýsurrounded by a field of kangaroo grass and other IndigenousÌýspecies, the visitor is invited to listen to Country, to imagine theÌývoices of Elders who provided the cultural authority in this designÌýjourney and to deliberately invest in the experience. A visit willÌýnot disappoint but, rather,Ìýopen upÌýmore questions, including:ÌýWhat is my contribution to making the invisible visible?Ìý
Protagonist, a small cafe pavilion by Cumulus Studio,Ìýis a clever solution to a Rubik’s Cube of a problem, includingÌýan inability to penetrate the ground plane and the need toÌýdeclutter the forecourt of the Arts Centre Melbourne. The result –Ìýan inventive, whimsical and carefully detailed concept – appearsÌýeffortless. A drapery of operable polycarbonate chain meshÌýprovides a veil for the compact, pop-up cafe; although inspired,Ìýit was not easy to execute. The contextual theatrical references,Ìýcoupled with a stripping back of the superfluous, results inÌýa highly functional yet delightful set piece, with both industrialÌýand interior design flair. The kinetic quality of the light playingÌýon the elegant materials provides a new gem for Melbourne.ÌýLong may it be available for that next cafe latte.Ìý
°ä³ó°ù´Ç´Ú¾±â€™sÌýMarsden Park Amenities continuesÌýa renewed interest in providing civic facilities within emergingÌýsuburbs. The value of this work is the seriousness with whichÌýChrofiÌýhas applied its skills to provide a design quality seldomÌýseen in new subdivisions. A forest of galvanized steel trees holdsÌýup a light and diaphanous roof of metallic mesh. Within, a seriesÌýof change rooms, toilets and showers is housed in sinuous, flutedÌýconcrete. The project raises the bar in terms of how the professionÌýcan give dignity to these utilitarian interventions while advocatingÌýfor the value and importance ofÌýwell designedÌýpublic buildingsÌýwherever they are needed.Ìý
The ÃÛÌÒÓ°Ïñ acknowledges First Nations peoples as the Traditional Custodians of the lands, waters, and skies of the continent now called Australia.
We express our gratitude to their Elders and Knowledge Holders whose wisdom, actions and knowledge have kept culture alive.
We recognise First Nations peoples as the first architects and builders. We appreciate their continuing work on Country from pre-invasion times to contemporary First Nations architects, and respect their rights to continue to care for Country.
