It’s hard getting messy when you’re compositional – braided pathways: a practice sustained by difference by Perry Lethlean

* Click on the red time-stamp to go directly to each segment in the video

00:10 The Chair (Leon van Schaik) welcomes the audience and introduces the examiners: Lisa Diedrich, Beth George, Corbett Lyon

01:50 Perry Lethlean commences his examination by giving a brief history of the practice, projects and the format of the exposition

05:20 First Theme: Narrative Spirit of Place / Japan - Structuring

08:40 Australian relevance

09:40 First project: Prahran – Project narrative

10:20 Second project: The Australian Garden – Project narrative

13:36 Third project: Geelong waterfront – Project narrative

15:35 Fourth project: Craigieburn Bypass competition – Project narrative

18:00 Fifth project: Auckland waterfront - Project narrative

21:10 Second Theme: Civic Personal history

26:50 Sixth project: Perth waterfront - Project narrative

29:02 Seventh project: North terrace, Adelaide - Project narrative

32:04 Auckland waterfront - Project narrative

35:40 Ecology irrelevant in urban environments

36:40 Third theme: Composition – Personal history

38:21 Composition & Japanese influence - Situating

40:50 Eighth project: Japanese garden

44:40 Geelong waterfront promenade

46:25 Repetition as a device

47:30 PhD reveals and shifts: Auckland waterfront

50:23 Conclusion incl contribution to practice & thanks - Contributing

54:40 Examiners' questions and comments follow

54:50 Corbett Lyon (CL): A question about PL’s early influences

57.58 Beth George (BG): A question/comment about ideas of translation (i.e. from site to project, from project to viewer, from viewer to actor)

1:01.56 Lisa Diedrich (LD): Comments about the aptness of the exhibit when viewed by someone (herself) who has seen both examinations (Lethlean and Cullity). Then a question about the role shift from ‘composer’ of landscape to a more ‘messy’ consultative position

1:10:51 CL: What was your mental process when making the first ‘compositional strokes’ in your projects? & Can you talk about the role of scenography in your processes?

1:15:23 BG: Ultimately a question about tension – within the practice or projects, and as a productive state

1:22:11 LD: Question about dimensionality in the work

1:25:53 LD: Will the shift ‘to more D’d’ have implications for your planning/mapping process?

1:28:27 BG: A comment about the viability of facilitation and curation of a project (a different way of working discussed in the previous questions) considering the effects of time and entropy on landscape design

1:29:52 CL: Landscape design practice and urban design. What opportunities did you see in bringing these two disciplines together?

1:32:58 LD: Asks about Perry’s response to a particular European design conference (As Found), as mentioned in his dissertation

1:38:40 CL: What might be the next steps in your firms work and what might be your contribution be to it?

1:40:28 BG & LD: Concluding comments

1:42:55 Leon concluding remarks and applause

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Abstract

Perry is Director of the Melbourne studio of TCL. He was one of the first students to participate in the RMIT University Landscape Architecture program at its inception in 1982. Completion of an Urban Design Masters followed in 1992.
We aim to investigate the design practice of Taylor Cullity Lethlean (TCL). Over a twenty year period the landscape architecture studio has undertaken a breadth of work that is seemingly connected via some key concerns, compositional undercurrents and ways of production. We seek to critically examine these attributes as a means to enrich our design practice, critically engage within a discourse of design and offer new trajectories for design exploration.

Year: 2013
Examiners: Lisa Diedrich, Beth George, Corbett Lyon  Supervisors: Professor SueAnne Ware, Prof Vivian Mitsogianni

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