Flemington, Prahran & Brighton Housing Renewal Project: Artwork Integration and Wayfinding

The inclusion of authentic consultation and participation with First Nations peoples was paramount throughout the GLM1 project. Little Rocket facilitated an extensive co-design process, led by First Nations artists, designers, Traditional Owners and stakeholders, ensuring these diverse perspectives were central to all decision-making. As a 100% First Nations-owned business, Little Rocket prioritises capacity building for First Nations involvement. As a result, this project provided opportunities for multiple artists to be heavily involved.

All three GLM1 sites were site-responsive, working closely with artists and Traditional Owners from Wurundjeri and Bunurong Country to integrate their unique stories and artwork. These were applied throughout the built environment through internal and external wayfinding, murals, digital interpretation, playgrounds and vinyl decals amongst others.

For the Brighton site, consultation was conducted with Bunurong Land Council Aboriginal Corporation (BLCAC) to produce a detailed Aboriginal Cultural Values Report. This report was integral to the design process, serving as the foundation in which notable themes and stories were captured within the built environment. Bunurong artist, Kobi Sainty was identified as the preferred artist on this project. Kobi worked closely with the team to identify how his artwork was to be applied throughout the site, ensuring the integrity and meaning of his artwork were maintained.

Similarly, the Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation (WWCHAC) was engaged early on the projects for both the Flemington and Prahran sites, in which unique themes were presented for each site. Our team worked directly with Wurundjeri artists, Alex Kerr and Ash Firebrace to incorporate their themes and visions throughout the sites, demonstrating a commitment to incorporating First Nations perspectives, principles and practices throughout the duration of the project.

Little Rocket identified the need to integrate a design solution that not only enhanced the area through visual design, but evoked a sense of connection to place for new residents and the local community. Through a co-design process, self-determined by First Nations people, our team developed a detailed artwork integration and wayfinding strategy exploring the proposed themes to be implemented across the sites. These themes, alongside the commissioned artwork, drove the colour palettes utilised across all signage materials.

The approved themes and artwork were applied across the site thoughtfully, ensuring each artist’s vision was maintained while amplifying the user experience and navigation. All signage types were designed to comply with Australian and International design accessibility standards, with careful consideration of accessible font selection, materiality, maintenance, budget constraints and the overall placemaking experience.

The design solution ensured commercial soundness, meeting market needs and stakeholder preferences without compromising authenticity. Our thorough consultation and strategic process paved the way for a project that not only enhances the area aesthetically but ensures commercial viability and long-term success.

This project demonstrates how good design practices can transform urban environments, both here in Victoria and further abroad. By engaging First Nations communities and empowering them to self-determine their stories and culture within the public realm we can evoke appreciation and understanding of the world’s oldest living culture.

The GLM1 project exemplifies innovation in design communications, setting a new benchmark for community inclusion. Through a co-design process with First Nations artists, Traditional Owners, designers and stakeholders, we amplified marginalised voices and challenged industry norms. Our emphasis on accessibility, human-centred design and cultural sensitivity led to the creation of a truly inclusive space for all to enjoy.

We used innovative signage materials, ensuring durability and vandalism resistance. An example of this is the signage types, which were designed to ensure individual panels could be easily replaced if damaged through an innovative locking-pin solution. This reflects a clever and original approach to permanently integrating First Nations stories and artwork into the built environment.

In addition to this, our commitment to ’decolonising space’ and creating culturally safe environments has provided both residents and the broader community with further opportunities to learn, engage and connect to the place they call home. The positive reception from new residents underscores the success of our approach and the importance of placing human needs and cultural knowledge at the forefront of the design process. The impact of the GLM1 project is one of profound significance, as it leaves behind an enduring legacy.

This project exemplifies how branding and placemaking intersect to shape the identity of a place, eliciting emotions among residents, visitors and the public. Through a well-considered strategy that prioritises the voices and stories of First Nations people, GLM1 showcases the power of co-design in creating culturally inclusive environments that bring communities together.

Throughout the project, we identified innovative solutions that reimagined how to integrate artwork and story-telling within the built environment utilising pre-determined materials. This aligns with our commitment to ’Caring for Country’ and other Circular Economy principles that ensures that unnecessary waste and use of materials are limited by integrating them early in the design stage. An example of this was the soft-fall artwork in playgrounds, where the materials had already been determined. In this instance, we collaborated with landscapers, designers, and suppliers to create a template, allowing the artwork to be embedded into the soft-fall during installation.

Our efforts not only strengthen the placemaking identity of these sites but also set a benchmark for the Communication Design industry to adopt best practices through collaborative and culturally inclusive approaches early in the design process. We hope this example contributes to the betterment of design and urban planning practices, leaving a lasting impact on our industry and society as a whole.

As previously discussed, Little Rocket is committed to ’Caring for Country’ as part of our key pillars within our agency. As part of this, we strive to employ Circular Economy principles throughout the design process. During this project, we identified innovative solutions that reimagined how to integrate artwork and storytelling within the built environment utilising the pre-determined materials palette identified by the architects and landscapers such as playground equipment, window glazing, pavements, vacant walls and pillars. By doing so, we ensured that unnecessary waste and material usage were minimised from the early design stages.

One notable example of this was the soft-fall artwork in playgrounds. Despite the materials being pre-determined, we collaborated with landscapers, designers, and suppliers to develop a template that allowed the artwork to be embedded into the soft-fall during installation. This approach exemplifies our commitment to permanently integrating First Nations stories and artwork into the built environment while maintaining functionality and sustainability.