This incredibly evocative gesture by Woodhead and project architect for the Centre, John Nichols, introduces this specific practice into contemporary Australian architecture.
The design principle for the centre is completely embedded in the mutable narrative of that landscape. The ritual burning of the Pinnacles Interpretive Centre in Western Australia, as part of its design and building process underscores the unique role of fire both culturally and environmentally in Australia.
Located 250km north of Perth in the Nambung National Park, the Pinnacles is made of thousands of protruding limestone formations spread over a vast dunal landscape. The rock formations are the exposed eroded remnants of a formerly thick bed of Tamala Limestone, created over time by rain and wind.
The forces at play in the landscape determined the configuration of the elements and distinct staging of construction. Stage One involved the complete construction of the freestanding limestone walls only that were then left to sit inconspicuously in the landscape as both ‘ruins in reverse’ and ‘immature pinnacles’ for a period of time. At the completion of Stage two of construction, the vertical timber elements, which were a figurative reference to the heath shrub in the area, were deliberately set on fire.
The design principle for the centre is completely embedded in the mutable narrative of that landscape. The ritual burning of the Pinnacles Interpretive Centre in Western Australia, as part of its design and building process underscores the unique role of fire both culturally and environmentally in Australia.
Located 250km north of Perth in the Nambung National Park, the Pinnacles is made of thousands of protruding limestone formations spread over a vast dunal landscape. The rock formations are the exposed eroded remnants of a formerly thick bed of Tamala Limestone, created over time by rain and wind.
The forces at play in the landscape determined the configuration of the elements and distinct staging of construction. Stage One involved the complete construction of the freestanding limestone walls only that were then left to sit inconspicuously in the landscape as both ‘ruins in reverse’ and ‘immature pinnacles’ for a period of time. At the completion of Stage two of construction, the vertical timber elements, which were a figurative reference to the heath shrub in the area, were deliberately set on fire.
Thanks 2 Arch Daily
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