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The Temple burn at Modifyre 2018 - Inglewood, southeast Queensland PHOTO CREDIT: Megan Keene

The Temple burn at Modifyre 2018 - Inglewood, southeast Queensland
PHOTO CREDIT: Megan Keene

FIELDWORK BLOG

Shane Sugrue

This blog records the ongoing fieldwork portion of my research into participatory art, performance and public celebration as modes of political action fostering civic engagement. Considering cultural activities such as festivals, street parades, and large-scale art installations as forms of ritualised spatial practice, or theatre, this project uses the methods of architectural design to examine the material and spatial dimensions of these activities in order to determine the social and political role they might play. This work is carried out as part of the MPhil in Architecture and Urban Design (MAUD) at the Department of Architecture, University of Cambridge.

Having been embedded within a community of artists, activists and community organisers in Brisbane over the last number of years, I have made the observation that participating in the production of grassroots cultural events is often a transformative experience for participants of diverse backgrounds, challenging their preconceptions of place, identity, and community, heightening their expectations of democratic participation and accountable governance, and empowering them to exercise creative agency. Drawing on my experience as both a participant and organiser of these events, my aim with this research is to develop a methodology for design practice that a) validates this observation, and b) can be repeated in new contexts. In order to do this, I have proposed to undertake a series of design experiments that seek to enact this type of transformative participation. A pilot study presented the first set of these tests – a series of paper design exercises through which I have developed a theoretical approach and a concept design proposal. The fieldwork period is taken as an opportunity to further develop these in a series of full-scale built and performed interventions in-situ. These will be undertaken in collaboration with arts practitioners and cultural organisations in Brisbane, and paired with detailed site and context analysis, in order to develop a schematic design proposal to be carried forward into the next phase of the project.

The ‘original’ Temple crew, from left to right: Ruth Buckley (Brisbane) and Michalah McCulloch (Brisbane), two first-time volunteers with no previous build experience; Manuela Buenavida (Brisbane / Peru), the event’s Leave No Trace (LNT) coordinator…

The ‘original’ Temple crew, from left to right: Ruth Buckley (Brisbane) and Michalah McCulloch (Brisbane), two first-time volunteers with no previous build experience; Manuela Buenavida (Brisbane / Peru), the event’s Leave No Trace (LNT) coordinator; Leonor Gausachs (Brisbane / Chile), architectural graduate and Project Lead; James Hastings (Perth), a plumber and all-round construction machine; and Jorja Christensen (Perth), a highly experienced set designer, builder, and self-declared carnie. Over the course of the next week the project would come to involve over twenty people, with volunteers coming and going throughout the different stages. Leo discovered that her role as Project Lead was as much about building sound human relationships as about building sound structures.

One step forward two steps back

August 18, 2019

At dusk on Tuesday 25th I arrived in a rented Pantech 3-tonne truck with a consignment of flat-packed materials for the Temple and the Bug. We unloaded on Wednesday and got off to a promising start, organising materials and setting up the build sites. However, it proved to be a false start when our temporary shade structure succumbed to high winds. So, construction finally got underway on Thursday, with the assembly of the first platform and the marking out of the overall geometry at 1:1.

27 June: The hardwood posts for the first platform were dug into the ground. The team were then reminded that our permit from QPWS includes a condition that no holes be dug in the paddock, in order to protect the already fragile pasture from significant damage and degradation. The platform was removed and the holes filled back in - a different strategy would be needed to stabilise the structure.

I spent the day offsite in Inglewood, re-establishing our presence with local business owners and wrangling up various necessities - showers for the crew at a local motel, advance notice to the pub that there would be twelve hungry workers coming in for dinner on Saturday evening, ice-creams from the supermarket. In a regional community like Inglewood, suffering the effects of drought and depression, it is important that Modifyre be seen to bring with it some benefit to the place. This doesn’t just mean spending a few dollars around town - although that is important too - but that we make the effort to foster positive relationships with local people across the board.

Most important to the build was a visit to Ken Reilly, the “Ironbark Executioner”, at his hardwood mill a few kilometres outside town to the southeast. In exchange for a carton of Great Northern beer, Ken let us loose in the paddock at the back of his property where he disposes of flitches - the unusable bark offcuts left over in the sawing process. We arranged for a local contractor, Red Rock Transport, to deliver two loads of flitches from Ken’s place to Yelarbon State Forest the following day, to be used primarily as cladding material for both the Temple and the Bug (though they proved useful for a wide variety of other things - including a mantlepiece and decorative fascia in the increasingly sophisticated crew bar).

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28 June: The following morning Red Rock duly delivered the first load of flitches. There was some dispute amongst the crew as to whether the tip truck was sufficiently loaded to justify the $100/hr commercial rate that we were paying. I explained somewhat matter-of-factly that Modifyre is run by a non-profit entity (BURN Arts, Inc) with extremely limited resources, but that we were striving to make a positive contribution to Inglewood. My frustration wasn’t well received. However, after the second delivery arrived, Tom ‘Bundy’ Hamlyn, the DIC Head, told me that Red had decided to waive the fee altogether. It isn’t clear what brought about the change of heart, though I suspect perhaps there was another case of beer involved…

Jorja and James look on as local contractor Red Rock makes the first delivery of Ironbark flitches from Ken Reilly’s hardwood mill.

Jorja and James look on as local contractor Red Rock makes the first delivery of Ironbark flitches from Ken Reilly’s hardwood mill.

Background: The pile of flitches at the Temple site ready to be sorted. Ironbark is so-called for a reason - each length of bark is a two person lift Foreground: the mangled shade structure that succumbed to high winds the previous day, soon to be c…

Background: The pile of flitches at the Temple site ready to be sorted. Ironbark is so-called for a reason - each length of bark is a two person lift
Foreground: the mangled shade structure that succumbed to high winds the previous day, soon to be carted off to the local tip.

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