HOLDING S P A C E

Built environment professionals can lack a culturally grounded understanding of what “Country” truly means— the interconnectedness of land, water, sky, kinship, spirit, memory and futures. Engagement with Aboriginal communities can be extractive, rushed, or symbolic. The challenge was to offer a new strategic foundation—a way to truly learn from Elders who carry living memory of healthy waterways and cultural continuity. Holding Space addresses this by creating a platform for immersive learning, and emotional connection to Country in the CBD. The aim: to inspire a more regenerative, relational, and respectful way of working with—and not just on—Country.

Holding Space is a cultural strategy project combining storytelling, portraiture, film, and immersive exhibition design to educate and transform. Co-designed with Elders from the Cummeragunja and Barmah community, it honours intergenerational knowledge systems. Film and photography were created in collaboration with Garuwa, a 100% Indigenous-owned storytelling agency. Visitors engaged emotionally and intellectually, experiencing Country-centred design through a CBD building take over that was central, free and accessible. The strategy placed Elders at the centre—not as subjects, as leaders and designers of knowledge exchange. It modelled a regenerative approach that moves beyond consultation toward reciprocity, continuity, and deeper design relationships.

Holding Space created deep emotional impact generating over 100 handwritten letters to Country and prompting powerful visitor reflections: “I watched the film four times and learnt something new each time.” “It made me want to go home, to spend time with my Elders.” The building activation was created through in-kind support, and visited by 1000+ people. The short film is being screened at community events and corporate Reconciliation events across sectors. Its legacy includes an on-Country exhibition, youth engagement, and future community-led projects. It models design strategy as a cultural offering, reshaping how industry engages with Country and Indigenous knowledge.

•Elder-Led Process: From endorsement and guidance from the Viney Morgan Cummeragunja Corporation and the Yorta Yorta Nation Aboriginal Corporation to an Elders Advisory group and ongoing co-authorship, Elders guided all stages. They approved interview edits, film cuts, and final selections, ensuring integrity and consent. •On-Country leadership: Apryl Day lives at Barmah and engaged daily with community on all elements of production •Cultural Return: Families receive full interview archives and image libraries to support oral history and cultural preservation. Materials will return to community for an on-Country exhibition. Contracts were in place before filming commenced, modelling best practise for respecting Indigenous Intellectual Cultural Property Rights (ICIP remains with Elders) •Multi-Sensory Learning: The free public offering at QV Women’s Centre combined a portrait gallery with decals of Elders' messages, a film room, interactive reflections, and a rooftop immersion space. The exhibition was accessible and the film has closed captioning. •Youth Engagement: The film will open the Koorie Youth Summit in Barmah and is offered as a learning resource for future generations. •Strategic Foundation: The project strengthens Kalinya Studios’ regenerative design strategy—offering a compelling framework for those seeking to design with Country in ways that centre respect, presence, and Indigenous leadership.