Bower journal DRAFT

20 16 BOWER STUDIO james connor 727033

CONTENTS PAGE 01

02

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04

05

INTRODUCTION

RESEARCH

SITE LOCATION

HOUSING TRADITIONS

DESIGNING FOR THE CLIMATE

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

06

07

08

READING ANALYSIS

CONSTRUCTION PROCESS STUDY

1:10 MODEL

Here we will introduce the reader to the proje ct. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

09

10

11

PREPARATION

COMMUNITY ENGAGEMENT

DOOKIE BUILD

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

12

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14

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SEATING STUDY

SEMINARS

NT BUILD

PROPOSAL

CONCLUSION/ EVALUATION

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

Here we will introduce the reader to the project. Here we will introduce the reader to the project. Here we will introduce the

01 INTRODUCTION Bower Studio: 2016 Bower Studios are a sequence of Master of Architecture build/consult/ design projects at The University of Melbourne’s School of Design. They involve students working alongside indigenous groups in remote locations across Australia. This Bower Studio will work with the community at Kalkarinji and Daguragu to assemble the build project and design a new cultural centre.

Bower Studio: 2016

02 RESEARCH Gurindji The Gurindji community is located primarily in Kalkaringi and Dagaragu in the Victoria River District. Gurindji refers to the language and the speakers of the language. They have and still live close to the Victoria river and are considered ‘river people.’

A number of Dreaming tracks criss-cross the Gurindji country including Ngpa (Rain), Wampana (Spectacled Hare Wallaby) and Yiparratu (Emu) • These lines are strongly associated to the physical and spiritual well-being of the people and is essential they remain well-main-

tained

Historical Events History among the people of Gurindji was first ‘academically’ recorded upon the colonisation • Historians see the history of Gurindji in 2 major discontinuities, i) before and after Captain Cook (precolonial and colonial) and ii) before and after the walk-off (colonial and postcolonial) • To the Gurindjis, the chronological periodisation within each block is not too strict • In the words of the Gurindji, ‘academic’ history can be roughly divided into i) Shoot ‘em Time ii) Hungry Time / Vestey Time iii) Happy Time / Citizen Time Pre-Colonial Time The Gurindji were nomadics that travel mostly within their traditional land, living on seasonally available animal and plant food

• Home to the Gurindjis refers not to a small confined box we call ‘House’ - and they call ‘Camp’. The ‘Camp’ serves more like a storeroom.

• Home is where one lives with one’s family and to the Gurindjis, Home is the country • The outdoors with well-developed community is full of utilities, a similar comparison to our ‘Living Rooms” • Places in the country can be imagined as different ‘rooms’ one visits • Therefore our interpretation of a nomadic life is really just life in a massive home • Although warfare between neighbours has known to have happened, they share many cultural practices with neighbouring communities and often come together for ceremonies

• The Gurindji characterise this time as an unchanging but a cyclical period of social and natural order, and predictability Shoot em’ Time.

The Gurindji’s first contact with the Kartiya (Europeans) was a brutal period which led a huge diminish in the Ngumpin’s populations • The black-soil plains of the Victoria River District were attractive to white settlers who were looking for good pastoral land to set up cattle stations • The first party arrived from the north following the Victoria river in 1855 • Kartiya brought with them diseases that Aboriginal immune systems and traditional bush medicine could not cope with

Hungry Time/Holiday TIme. • This period of time is localised in cattle stations • Most Gurindji people lived and worked at Jinparrak (old Wave Hill Station), owned by William Vestey along with other Aboriginal groups • Working and living conditions of the Aboriginal people were appalling, crowded living area, humpies as shelter where you crawl on your hands and knees, little to no wages for their work, and they worked mostly in exchange for goods • This period of time is part of ‘Hungry Time’ and is localised in the bush • As cattle stations are regulated by the dry and wet season, during the wet season, the aboriginal stockmen were tempo-

rarily laid off which allowed them to participate in their walkabout • Most Ngumpins leave the station and returned to hunting and gathering, visiting and holding ceremonies

Wave Hill Walk Off. The Wave Hill Walk Off led by Vincent Lingiari with his Gurindji people and other Aboriginal groups in August 1966 was a significant act by those involved.

Under the leadership of Vincent Lingiari, the discontented indigenous started a strike and left the cattle station Their journey started at Jinparrak, stopped at Jurnarni (Gordy Creek), and finally Daguragu which is now an established Gurindji Settlement They wanted to reclaim their traditional lands, which at that point was taken over Vestey • In 1975, the Australian PM Gough Whitiam flew to Daguragu to grant the Gurindji a lease of land around Daguragu leading to today’s ceremonious cel-

ebrations • In 1986, the Gurindji people were granted freehold title under the Northern Territory Land rights Act • It was a significant achievement in the Indigenous civil and land rights movement and the Gurindji people are very proud of it

“In August 1966, Vincent Lingiari, a Gurindji spokesman, led a walk-off of 200 Aboriginal stockmen, house servants, and their families from Wave Hill as a protest against the work and pay conditions.”

SITE 03 DAGURAGU

SITE 01 JINBARAK SITE 02 GORDY CREEK

2200.0000 1800.0000 1000.0000 1800.0000 2200.0000 1000.0000 1800.0000 2200.0000 2200.0000 1800.0000 1000.0000 P125 34 33 31000.0000 31 21570.0000 31 32 33 34 P123 225.0000 225.0000 1190.0000 1340.0000 1240.0000 1240.0000 65x65x6mm EA P118 31 32 33 34 3433 331 2 MID SPAN P120 P119 P119 225.0000 225.0000 225.0000 225.0000 180.0000 75.0000 CORTEN 1240.0000 1240.0000 1240.0000 630.0000 630.0000 1565.0000 1240.0000 1240.0000 1240.0000 1240.0000 CUSTOM ORB ZINCALUME 100.0000 P124 P126 P124 P127 P127 3860.0000 PERFORATED LGE 990.0000 990.0000 1240.0000 1240.0000 P121 PERFORATED 185.0000 1240.0000 1240.0000 P121 630.0000 OTHER SIDE P122 600mm MAX.SML OVERHANG

5880 2200.0000 1800.0000 1000.0000 1000.0000 1800.0000 2200.0000 1000.0000 1800.0000 2200.0000 TOP OF TOP OF TOP TOP OF STRUCTURE STRUCTURE STRUCTURE STRUCTURE 3433 331 24.00 31 32 33 34 4.00 31 32 33 34 4.00 EOF F4.00 90x90x6mm EA RIDGE BEAM APEX CONNECTION TO DETAIL 75Ā 90x90x6mm 90x90x6mm EA EA RIDGE RIDGE BEAM BEAM 125x125x8mm EA STEEL MEMBER 125x125x8mm EA STEEL MEMBER 750x750x400mm 750x750x400mm REINFORCED CONCRETE REINFORCED CONCRETE PAD FOOTING PAD FOOTING TO TO DETAIL 63Ā 43Ā 0.00 GROUND LEVEL GROUND 0.00 LEVEL 0.00 LEVEL GROUND 0.00DETAIL LEVEL GROUND 250.0000 250.0000 400.0000 400.0000 150.0000 150.0000 750.0000 750.0000

2200.0000 2200.0000 2200.0000 2200.0000 2200.0000 2200.0000 2200.0000 2200.0000 600mm MAX.EA P115 OVERHANG 23 22 21 21 22 23 P114 535.0000 535.0000 65x65x6mm MID SPAN 1580.0000 1580.0000 2045.0000 21 22 23 232221 P113 1820.0000 1820.0000 225.0000 P111 495.0000 495.0000 CORTEN 1060.0000 1060.0000 1240.0000 1240.0000 510.0000 1240.0000 1240.0000 CUSTOM ORB ZINCALUME 200.0000 1820.0000 600mm MAX. 630.0000 P116 OVERHANG 1240.0000 1240.0000 P116 PERFORATED LGE P117 P112 P112 PERFORATED OTHER SIDE SML

2200.0000 2200.0000 5880 2200.0000 2200.0000 2200.0000 2200.0000 TOP OF TOP OF TOP OF TOP OF STRUCTURE STRUCTURE STRUCTURE STRUCTURE 232221 4.00 2122 23 4.00 2122 23 4.00 C75Ā D4.00 90x90x6mm EA RIDGE BEAM APEX CONNECTION 125x125x8mm TO DETAIL EA 90x90x6mm 90x90x6mm EA EA STEEL MEMBER RIDGE RIDGE BEAM BEAM 125x125x8mm EA STEEL MEMBER 750x750x400mm 750x750x400mm REINFORCED REINFORCED CONCRETE CONCRETE PAD FOOTING PAD FOOTING TO DETAIL TO 63Ā GROUND GROUND 43Ā GROUND 0.00 GROUND LEVEL 0.00 LEVEL 0.00 LEVEL 0.00DETAIL LEVEL 250.0000 400.0000 400.0000 150.0000250.0000 150.0000 750.0000 750.0000

42200.0000 32 33 34 A 301 1000.0000 1800.0000 750.0000 750.0000 320.0000 750.0000 F31 3 301 5880.0000 3 301 5560.0000 5130.0000 A A 125x125x8mm STEEL FRAMEEA BASE PLATE 320.0000 750.0000 E750.0000 320x320x10mm 750x750x400mm REINFORCED 320.0000 680.0000 320.0000 1480.0000 320.0000 1880.0000 320.0000 PAD FOOTING CONCRETE 250.0000 750.0000 1050.0000 750.0000 750.0000 TO 41450.0000 SITE 3 - DETAIL DAGURAGU HANDOVER PARK A 301

42200.0000 21 22 23 A 201 750.0000 2200.0000 320.0000 750.0000 D750.0000 3 201 3 201 5880.0000 5560.0000 5130.0000 A A 125x125x8mm STEEL FRAMEEA 320.0000 750.0000 C750.0000 320x320x10mm BASE PLATE 750x750x400mm REINFORCED CONCRETE 320.0000 1880.0000 320.0000 1880.0000 320.0000 PAD FOOTING 1450.0000 750.0000 750.0000 TO 41450.0000 SITE 2 -DETAIL GORDY CREEK A 201

01 SITE LOCATION CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the NMA was founded onthe

Daguragu

Gordy Creek

Wave Hill Station

01 INDIGENOUS HOUSING TRADITIONS Pre-Colonial Traditional Indigenous architecture was domestic - across a range of well crafted and technologically designed shelters and residential camps. These varied from temporary windbreaks and wiltjas (shelters) of stringybark or paperbark to substantial round houses thatched with grass for large families.

Aboriginal Archetypes Source: Paul Memmott - Gunyah, Goondie + Wurley

Ethno-Architecture Pre-contact Aboriginal Australia is often seen as a paradigm of a hunter-gatherer culture. There is a common misconception still that aboriginal cultures did not construct ‘permanent’ or ‘established’ architectural forms.

The occupation of campsites from a single day to several months with largely impermanent architecture was often misread by early colonists as a confirmation of lack of connection or attachment to a place - when actually aboriginal groups often occupied a series of camps in a permanent pattern of seasonal rotation. Aboriginal vernacular architecture is an expression of a complex set of relationships between the physical environment and the social environment. Aboriginal Australia (before the british arrived in the late 1700’s) can be divided up into thousands of distinct cultural regions that correspond with natural land sys-

tems and geographic features - and consequently a body of architectural knowledge. ‘Shelter’ types varied depending on their geographical location and correlating language group. Language groups would employ a repertoire of up to 7/8 shelter types depending on the weather/availability of materials/prupose/function/length of stay etc Socio-Spatial Structures The modesty of the camp architecture was supplemented by a highly structured use of space as well as a complex geography of place. Complex logistics of spatial organisation were generated and regulated by cultural belief systems that included behavioural customs and moral codes. For e.g. In a larger-sized settlement, separate shelters were commonly used for diurnal and nocturnal activities. During the day, men and women would separate, while nuclear families

resided together at night. Unmarried men and women slept separately in their respected domiciliary groups....

• In addition to these there would be kinship rules which forbade specific relatives from camping in proximity to one another, generating unique types of socio-spatial behaviour Socio-spatial structures occured in large camps across the continent to facilitate various social functions. These were organised based on kinship and locational principles, a tendency of ‘sub-clustering’ abover a certain size and the transformation of spatial structures.

References Memmott, P. (2007). Gunyah, Goondie + Wurley. St Lucia, Qld: University of Queensland Press.

01 DESIGNING FOR THE CLIMATE Passive Heating and Cooling In order to design a successful cultura; centre I believe it is important to know the prevailing weather conditions and patterns of the site. Kalkarinji has particularly hot and dry climatic conditions and any architectural intervention must be designed accordingly.

The Great Wall House Source: The Great Wall House - Luigi Rosseli Architects

TBC

READING ANALYSIS: ABORIGINAL IDENTITY

06 READING ANALYSIS: ABORIGINAL IDENTITY Myth and Media: Constructing Aboriginal Identity - Kim Dovey Kim Dovey presents the wrongful constructions of aboriginal identity through the media through critiquing a number of architectural works designed for indigenous people and communities.

Dovey claims that architecture built or designed for aboriginals is often ‘Aboriginalised’ and constructed in a highly con-

trolled way through the use of photographs and imagery. He critiques, not so much the architecture itself, but the way in which is is presented for its architectural audience. Dovey’s intentions are not to diminish the integrity of Murcutt as an architect, but to demostrate that using architecture to ‘fill a symbolic gap’ is problemmatic.

However, he doesn’t an alternative but only manages to question the motifs of architects and stake-holders involved in constructing architecture for aborigines. He dismisses the idea of using the primitive hut as a source

for aboriginal architecture. His argument is essentially that, in the Marika-Alderton house, Aboriginality is constructed out of a western ideologies and values. In this case, Aboriginality is constructed for a particular audience; the production of meaning created through a heavily ‘westernised’ frame of view.

Reference Dovey, K. (2000). Myth and Media: Constructing Aboriginal Architecture. Journal of Architectural Education, 54(1), pp.2-6.

06

READING ANALYSIS: ABORIGINAL IDENTITY Aboriginal Identities in Architecture Shaneen Fantin Kim Dovey presents the wrongful constructions of aboriginal identity through the media through critiquing a number of architectural works designed for indigenous people and communities.

Dovey claims that architecture built or designed for aboriginals is often ‘Aboriginalised’ and constructed in a highly con-

trolled way through the use of photographs and imagery. He critiques, not so much the architecture itself, but the way in which is is presented for its architectural audience. Dovey’s intentions are not to diminish the integrity of Murcutt as an architect, but to demostrate that using architecture to ‘fill a symbolic gap’ is problemmatic.

However, he doesn’t an alternative but only manages to question the motifs of architects and stake-holders involved in constructing architecture for aborigines. He dismisses the idea of using the primitive hut as a source

for aboriginal architecture. His argument is essentially that, in the Marika-Alderton house, Aboriginality is constructed out of a western ideologies and values. In this case, Aboriginality is constructed for a particular audience; the production of meaning created through a heavily ‘westernised’ frame of view.

Reference Dovey, K. (2000). Myth and Media: Constructing Aboriginal Architecture. Journal of Architectural Education, 54(1), pp.2-6.

06 READING ANALYSIS: ABORIGINAL IDENTITY How architecture can give voice to narratives of Indigenous culture: Jefa Greenaway Jefa Greenaway presents the wrongful constructions of aboriginal identity through the media through critiquing a number of architectural works designed for indigenous people and communities.

Dovey claims that architecture built or designed for aboriginals is often ‘Aboriginalised’ and

constructed in a highly controlled way through the use of photographs and imagery. He critiques, not so much the architecture itself, but the way in which is is presented for its architectural audience. Dovey’s intentions are not to diminish the integrity of Murcutt as an architect, but to demostrate that using architecture to ‘fill a symbolic gap’ is problemmatic.

However, he doesn’t an alternative but only manages to question the motifs of architects and stake-holders involved in constructing architecture for aborigines. He dismisses the idea of us-

ing the primitive hut as a source for aboriginal architecture. His argument is essentially that, in the Marika-Alderton house, Aboriginality is constructed out of a western ideologies and values. In this case, Aboriginality is constructed for a particular audience; the production of meaning created through a heavily ‘westernised’ frame of view.

Reference Dovey, K. (2000). Myth and Media: Constructing Aboriginal Architecture. Journal of Architectural Education, 54(1), pp.2-6.

Kim Dovey presents the wrongful constructions of aboriginal identity through the media through critiquing a number of architectural works designed for indigenous people and communities.

Dovey claims that architecture built or designed for aboriginals is often ‘Aboriginalised’ and constructed in a highly controlled way through the use of photographs and imagery. He critiques, not so much the architecture itself, but the way in which is is presented for its architectural audience. Dovey’s

intentions are not to diminish the integrity of Murcutt as an architect, but to demostrate that using architecture to ‘fill a symbolic gap’ is problemmatic.

However, he doesn’t an alternative but only manages to question the motifs of architects and stake-holders involved in constructing architecture for aborigines. He dismisses the idea of using the primitive hut as a source for aboriginal architecture. His argument is essentially that, in the Marika-Alderton house, Aboriginality is constructed out of a western ideologies and values. In this case, Aboriginality is

constructed for a particular audience; the production of meaning created through a heavily ‘westernised’ frame of view.

Reference Dovey, K. (2000). Myth and Media: Constructing Aboriginal Architecture. Journal of Architectural Education, 54(1), pp.2-6.

READING ANALYSIS: INDIGENOUS PUBLIC BUILDINGS

06 READING ANALYSIS: PUBLIC BUILDINGS Design Concepts & Processes for Public Aborigi nal Architecture - Paul Memmott and Joseph Reser This paper explores the difficulties of designing public buildings that captures and distills indigenous cultural assumptions, perspectives, connections and cultural content. The paper explors how an architectural process might creatively enhance aboriginal identity without dis-

empowering the control of the indigenous clients or stakeholders. Memmott states that fundamentally indigenous people must be allowed to define who they are and how they wish to be protrayed. He claims that it is then the role of the architect to ‘take the given expressions and representations of identity and offer ways in which they can be distilled, expressed and realised in architectural form.’

Memmott and Reser present us with some ‘best practice’ examples of indigenous public buildings which include:

• • • • • •

Brambuk Living Cultural Centre Brewarrina Aboriginal Cultural Museum Dreamtime Cultural Centre, Rockhampton Uluru-Kata Tjuta Cultural Centre Victorian Aboriginal Health Service Building Tjapukai Aboriginal Cultural Park

The authors then explain the importance of consultation in the creation of these centres and suggested methods of consultation.

They reccommend that a process of generating ‘multiple meanings’ starts at the intial stages of the project. they suggest that it is up to teh aboriginal consultants to suggest ‘possible semantic themes’ and not the other way around. They note that indigenous culture value the act of creating art as a ritual, rather than the final result. Perhaps it is the same with a work of architecture. ‘the most symbolic and powerful thing about the building is that they participated in the process whereyby the building came about.’ (Memmot, Reser,). Memmott sresses

the importance of respecting local aboriginal culture and the delicasy of employing symbolic signs and motifs.

The article then provides a series of approaches that could be taken in order to manifest a succesful and appropriate architectural form. Particular considerations are then presented as chapters, highlighting the importance of things such as: • Place, country as narrative • Dwelling symbolism • Inside/Outside • History, Past and Present • Relatedness

• •

Legibility Experience

The article ends with some ‘final caveats and cautions for architects’ highlighting some important things to consider when designing public buildings for indigenous cultures.

References

Design Concepts & Processes for Public Aboriginal Architecture Paul Memmott and Joseph Reser131.

06 READING ANALYSIS: PUBLIC BUILDINGS Cultural Issues in the Architectural Design of Indigenous Custodial Facilities - Paul Memmott This paper explores the difficulties of designing public buildings that captures and distills indigenous cultural assumptions, perspectives, connections and cultural content. The paper explors how an architectural process might creatively enhance aboriginal identity without dis-

empowering the control of the indigenous clients or stakeholders. Memmott states that fundamentally indigenous people must be allowed to define who they are and how they wish to be protrayed. He claims that it is then the role of the architect to ‘take the given expressions and representations of identity and offer ways in which they can be distilled, expressed and realised in architectural form.’

Memmott and Reser present us with some ‘best practice’ examples of indigenous public buildings which include:

• • • • • •

Brambuk Living Cultural Centre Brewarrina Aboriginal Cultural Museum Dreamtime Cultural Centre, Rockhampton Uluru-Kata Tjuta Cultural Centre Victorian Aboriginal Health Service Building Tjapukai Aboriginal Cultural Park

The authors then explain the importance of consultation in the creation of these centres and suggested methods of consultation.

TBC

06 READING ANALYSIS: PUBLIC BUILDINGS Assembling the Centre: Architecture for indigenous Cultures - Janet McGraw and Anoma Pieris

TBC

READING ANALYSIS: INDIGENOUS HOUSING

06 READING ANALYSIS: HOUSING Room to Move: Contemporary Alyawara Settlement Patterns and their implications for Aboriginal Housing Policy - James F. O’Connell This reading concerns housing policy the implications of providing housing that is not suitable for particular cultural and behavioural patterns. O’Connell argues that the imposition by outside forces of European

ideas about housing can actually create more problems than it solves. Critiquing current ‘provider’ methodolgies for housing, he argues the importance of assessing the local needs and operation of the specific communities in order to understand how to address the problem architecturally. The article explains that inadequate housing is only one of the problems facing indigenous communities and and that economic development and empowerment is crucial to addressing the issue.

Using Alyawara as a case study, O’Connell assesses the set-

tlement patterns in order to demonstrate how a a successful housing program might be achieved. Some key findings are made in relation to the socio-spatial structures and the consequent inadequacy of the prevailing housing policies.

These key points demostrate why permanent structures are unsuitable for aboriginal communities: •

Household camps are not randomly distributed but organised according to a number of social and cultural practices.

•

• •

•

•

Alyawara settlements are subject to constant changes in population and internal organisation.

Deaths are the most important cause of change in household locaiton.

Conflicting social obligations mean residents move out or further away from the cluster/community In regard to ownership, once a household has been abandoned , the structure can be reclaime dby anyone.

Communities will move depending on particular weather conditions.

•

Communities will move once the build up of refuse becomes too high.

O’Donnel claims that there is an assumption within government policy that aborigines will engage in economic endeavours which will support permanent settlements. In summary, O’Donnell claims that the solution will be manifested from understanding social and economic conditions as they exist on site. Any housing intervention must consider how each specific community operates.

References O’CONNELL, J. (2010). Room to Move: Contemporary Alyawara Settlement Patterns and their Implications for Aboriginal Housing Policy. Mankind, 11(2), pp.119131.

06 READING ANALYSIS: HOUSING Modern Housing for Sedentarised Nomads - Myrna & Robert Tonkinson

of health and hygiene, improve living conditions in regard to shelter from the weather and lessen the frustration and disillusionment felt by the aborigines due to broken promises.

This article also researches the living patterns of an indigenous community and investigates certain aspects of housing development in Western Australia.

Using the Jigalong community, situated on the fringe of the Gibson Desert, Tonkinson reveals that new housing is essential in improving the current low levels

Tonkinson claims that european tradition lacks cross-cultural perspectives and that aboriginal conceptions of how a living space should be used is considerably different. Tonkinson states that indigenous housing might differ in that: • privacy is less important • floor level cooking • they should adapt to differ-

ent weather conditions From the research it is clear that the permanent houses are not working for the community.

Tonkinson discusses the typical reasons why aboriginal communities would require a more adaptable and perhaps spatially mobile ‘house’: • • • • •

Changing weather conditions Deaths Relocation to a cleaner area Disputes between neighbours To be closer to relatives

• • • •

to get away from noise for reasons pertaining to sexual activities to be closer to water sources To vacate a site that has been deemed unhealthy or unsafe by a local curer.

Tonkinson acknowledges the prefered living conditions of indigenous groups, Although perhaps generalising, he states that aborigines ‘prefer to spend most of their time outdoors,’ and that ‘people are to be able to observe much of what goes on around them’. He argues that there must be ‘few physical impedi-

ments’ for free and open interaction between people. He claims that the provision of facilities that do not allow for these sorts of cultural behaviours will not be successful. Tonkinson also suggests that Large ‘uncumbered spaces’ in central areas would be prefered within the community and that each dwelling would not be soundproofed to allow for external conversations to be heard from all internal spaces. Views from the dwelling out to these central spaces is also suggested. He claims that the introduction of european housing typologies would only lead

to increased materialism which would be to the detriment of the ‘ethic of unselfishness.’

The article concludes with a suggestion for teh types of housing that could potentially work for the Jigalong community: • simple, mobile dwellings e.g Wiltja or canvas dome He claims that there should be ‘maximisation of housing options that allow the aborigines to make informed choices based on their experience of living in prototype dwellings.

Tonkinson, M. and Tonkinson, R. (1974).

Modern housing for sedentarized nomads. Place of publication not identified.

06 READING ANALYSIS: HOUSING AHURI - Towards a design framework for remote Indigenous housing - John Fien This article also researches the living patterns of an indigenous community and investigates certain aspects of housing development in Western Australia.

Using the Jigalong community, situated on the fringe of the Gibson Desert, Tonkinson reveals that new housing is essential in improving the current low levels of health and hygiene, improve

living conditions in regard to shelter from the weather and lessen the frustration and disillusionment felt by the aborigines due to broken promises.

Tonkinson claims that european tradition lacks cross-cultural perspectives and that aboriginal conceptions of how a living space should be used is considerably different. Tonkinson states that indigenous housing might differ in that: • privacy is less important • floor level cooking • they should adapt to different weather conditions

From the research it is clear that the permanent houses are not working for the community.

Tonkinson discusses the typical reasons why aboriginal communities would require a more adaptable and perhaps spatially mobile ‘house’: • • • • •

Changing weather conditions Deaths Relocation to a cleaner area Disputes between neighbours To be closer to relatives

• • • •

to get away from noise for reasons pertaining to sexual activities to be closer to water sources To vacate a site that has been deemed unhealthy or unsafe by a local curer.

Tonkinson acknowledges the prefered living conditions of indigenous groups, Although perhaps generalising, he states that aborigines ‘prefer to spend most of their time outdoors,’ and that ‘people are to be able to observe much of what goes on around them’. He argues that there must be ‘few physical impedi-

ments’ for free and open interaction between people. He claims that the provision of facilities that do not allow for these sorts of cultural behaviours will not be successful. Tonkinson also suggests that Large ‘uncumbered spaces’ in central areas would be prefered within the community and that each dwelling would not be soundproofed to allow for external conversations to be heard from all internal spaces. Views from the dwelling out to these central spaces is also suggested. He claims that the introduction of european housing typologies would only lead

to increased materialism which would be to the detriment of the ‘ethic of unselfishness.’

The article concludes with a suggestion for teh types of housing that could potentially work for the Jigalong community: • simple, mobile dwellings e.g Wiltja or canvas dome References Fien, J. (2008). Towards a design framework for remote Indigenous housing. Melbourne, Vic.: AHURI.

06 READING ANALYSIS: HOUSING Housing for health: towards a healthy living environment for Aboriginal Australia Paul Pholeros

improving the current low levels of health and hygiene, improve living conditions in regard to shelter from the weather and lessen the frustration and disillusionment felt by the aborigines due to broken promises.

This article also researches the living patterns of an indigenous community and investigates certain aspects of housing development in Western Australia.

Using the Jigalong community, situated on the fringe of the Gibson Desert, Tonkinson reveals that new housing is essential in

Tonkinson claims that european tradition lacks cross-cultural perspectives and that aboriginal conceptions of how a living space should be used is considerably different. Tonkinson states that indigenous housing might differ in that: rom the research it is clear that the permanent houses are not

working for the community.

Tonkinson discusses the typical reasons why aboriginal communities would require a more adaptable and perhaps spatially mobile ‘house’:

Tonkinson acknowledges the prefered living conditions of indigenous groups, Although perhaps generalising, he states that aborigines ‘prefer to spend most of their time outdoors,’ and that ‘people are to be able to observe much of what goes on around them’. He argues that there must be ‘few physical impediments’ for free and open interaction between people. He claims that the provision of facilities that do not allow for these sorts of cultural behaviours will not be successful. Tonkinson also suggests that Large ‘uncumbered spaces’ in central areas would be

prefered within the community and that each dwelling would not be soundproofed to allow for external conversations to be heard from all internal spaces. Views from the dwelling out to these central spaces is also suggested. He claims that the introduction of european housing typologies would only lead to increased materialism which would be to the detriment of the ‘ethic of unselfishness.’

The article concludes with a suggestion for teh types of housing that could potentially work for the Jigalong community: • simple, mobile dwellings e.g

Wiltja or canvas dome References Fien, J. (2008). Towards a design framework for remote Indigenous housing. Melbourne, Vic.: AHURI.

READING ANALYSIS: ENGAGEMENT

06 READING ANALYSIS: ENGAGEMENT Engaging with Indigenous Australia exploring the conditions for effective relationships with Aboriginal and Torres Strait Islander communities - Janet Hunt This article also researches the living patterns of an indigenous community and investigates certain aspects of housing de-

velopment in Western Australia.

Using the Jigalong community, situated on the fringe of the Gibson Desert, Tonkinson reveals that new housing is essential in improving the current low levels of health and hygiene, improve living conditions in regard to shelter from the weather and lessen the frustration and disillusionment felt by the aborigines due to broken promises.

Tonkinson claims that european tradition lacks cross-cultural perspectives and that aboriginal conceptions of how a living space should be used is consid-

erably different. Tonkinson states that indigenous housing might differ in that: rom the research it is clear that the permanent houses are not working for the community.

Tonkinson discusses the typical reasons why aboriginal communities would require a more adaptable and perhaps spatially mobile ‘house’:

Tonkinson acknowledges the prefered living conditions of indigenous groups, Although perhaps generalising, he states that aborigines ‘prefer to spend most of their time outdoors,’ and that ‘people are to be able to observe much of what goes on around them’. He argues that there must be ‘few physical impediments’ for free and open interaction between people. He claims that the provision of facilities that do not allow for these sorts of cultural behaviours will not be successful. Tonkinson also suggests that Large ‘uncumbered spaces’ in central areas would be

prefered within the community and that each dwelling would not be soundproofed to allow for external conversations to be heard from all internal spaces. Views from the dwelling out to these central spaces is also suggested. He claims that the introduction of european housing typologies would only lead to increased materialism which would be to the detriment of the ‘ethic of unselfishness.’

The article concludes with a suggestion for teh types of housing that could potentially work for the Jigalong community: • simple, mobile dwellings e.g

References Fien, J. (2008). Towards a design framework for remote Indigenous housing. Melbourne, Vic.: AHURI.

TBC

06 READING ANALYSIS: ENGAGEMENT

TBC

LEARNING OUTCOMES READING ANALYSIS The readings taught me a significant amount about the history of indigenous culture, cultural centres, aboriginal housing policy and the construction of aboriginal identity in australia.

cultural practices. I have broken up my learning outcomes for each section of readings:

It is particularly astounding to me that it has taken until the final year of my post graduate degree that I am truly engaging with indigenous culture on an intellectual level. I find it somewhat embarrasing how little I know about Aborigines and their

Housing

Indigenous Archetypes

Public Buildings Aboriginal Identity

The readings taught me a significant amount about the history of indigenous culture, cultural centres, aboriginal housing policy and the construction of aboriginal identity in australia.

cultural practices. I have broken up my learning outcomes for each section of readings:

It is particularly astounding to me that it has taken until the final year of my post graduate degree that I am truly engaging with indigenous culture on an intellectual level. I find it somewhat embarrasing how little I know about Aborigines and their

Housing

Indigenous Archetypes

Public Buildings Aboriginal Identity

03 CONSTRUCTION PROCESS Preliminary Alongside the model making exercise, we were required to think about how the structure would be assembled on site and the safety precautions that we would need to consider at each stage. The following drawings depict our initial thoughts on how the structure would be assembled.

01 CONSTRUCTION PROCESS

01

02

03

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Construction stages Source: James Connor 2016

01 CONSTRUCTION PROCESS

01

01

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

LEGEND

LEGEND

1 SAFETY

1 SAFETY

Heavy Lifting required.

Suitable footwear to be worn.

Be aware of other students.

Assess location, layout, condition and accessibility Consider the interface with other people, works or trade activities

2 LOGISTICS

2

1

1

Assign tasks prior to load-in.

Pack container efficiently.

Consider what materials need to be removed first.

Must have have a timeline of project stages planned well in advance, with a full inventory of what materials and tools are going to be 2 required at each stage.

2

2 LOGISTICS

Container to be placed in suitable location.

1 Consider what materials need to be removed first.

1 2

1 2

01

02

03

01

01

01

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

LEGEND

LEGEND

1 SAFETY

1 SAFETY

2

1 1

2

2

Heavy Lifting is required. Take precaution.

Heavy Lifting is required. Take precaution.

Make sure the route from materials to construction site is clear.

PPE to be worn at all times.

Make sure the site is clear from children and obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard 1 hats are essential.

2 LOGISTICS

2 LOGISTICS

Assign tasks to people prior to the structure.

1

1 how All people to understand the structure is erected.

2

Have suitable person 1 operating machinery/tools.

2

All people to understand how 1 the structure is erected.

Have suitable person operating machinery/tools.

1

04

Second steel section to be moved into position.

05

06

01

01

01

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

LEGEND

LEGEND

1 SAFETY

1 SAFETY

Heavy Lifting is required. Take precaution.

Make sure the site is clear from children and obstructions.

1

1

1 PPE 1 to be worn at all times.

Lifting steel above head. Hard hats are essential.

Implement a job rotation 2 2 system. 1

2

2

2 LOGISTICS 1

1

1

Props are to be fixed to steel 1 structure.

Have suitable person operating machinery/tools.

1

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard hats are essential.

Car to be driven by suitable person and to be turned off and secured when not in use.

Platform to be safe and secured.

2 LOGISTICS

2

Props are to be fixed to steel 2 1 structure.

Have suitable person operating machinery/tools.

1

1

Have allocated person operating machinery/tools.

Fixing to be coordinated.

07

08

09

01

01

01

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

LEGEND

LEGEND

1 SAFETY

1 SAFETY

1

1

1

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard 1 hats are essential.

2 Props to be secured safely.

Heavy lifting precautions should be considered.

1

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard 2 1 hats are essential.

Person on trailer to proceed with caution.

2

2

2 2 2

1

1

1

2 LOGISTICS

2 LOGISTICS

1

10

2

Vehicle path is to be kept clear of obstructions.

Have suitable person operating machinery/tools.

Props to be removed when frame is secured.

Propping is to be coordinated with erection of steel frame.

Have suitable person operating machinery/tools.

Tasks to be assigned to all workers.

11

12

01

01

01

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

LEGEND

LEGEND

1 SAFETY

1 SAFETY

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard hats are essential. 1

1 2

2

2

Person on trailer to proceed with caution.

2

1

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard hats are essential.

2

2

2 LOGISTICS

2

2

2 LOGISTICS

Vehicle path is to be kept clear of obstructions.

Have suitable person1 operating machinery/tools.

Props to be removed when frame is secured.

13

Person on trailer to proceed 1 with caution.

Vehicle path is to be kept clear of obstructions.

1 Have suitable person operating machinery/tools.

Props to be removed when frame is secured.

14

15

01

01

01

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

CONSTRUCTION PROCESS

LEGEND

LEGEND

1 SAFETY

1 SAFETY

2 2

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard hats are essential.

Make sure the work area is safe and clear of obstructions.

PPE to be worn at all times.

Lifting steel above head. Hard hats are essential.

Person on trailer to proceed with caution.

Person on trailer to proceed 2 with caution.

2 1

1

1

2 LOGISTICS 2

1

16

2 LOGISTICS

Vehicle path is to be kept clear of obstructions.

Have suitable person 1 operating machinery/tools.

Begin assigning tasks and preparing site for next stage.

2

Vehicle path is to be kept clear of obstructions.

Have suitable person 1 operating machinery/tools.

Begin assigning tasks and preparing site for next stage.

17

18

04 1:10 MODEL Physical Model CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

02 1:10 MODEL CONSTRUCTION

02

02

02

1:10 MODEL CONSTRUCTION

1:10 MODEL CONSTRUCTION

1:10 MODEL CONSTRUCTION

02 1:10 MODEL CONSTRUCTION

02 1:10 MODEL CONSTRUCTION

02 1:10 MODEL CONSTRUCTION

LEARNING OUTCOMES MODEL MAKING The model making exercise taught us how the structure will be assembled but also brought about many questions about organisation, efficiency and safety during the full scale build.

Assembly When assembling the model we found that particular elements were very similar in size and shape which meant that it was particularly easy to mix up the steel elements. To solve this problem on site, each component should be correctly la-

belled. It was particularly useful seeing how each of the parts were to be put together. Being able to lift and rotate the structure made it much easier to assemble, This will of course not be able to be done on site and will therefore require the materials to be located in a convenient location on site.

Tools & Materials Making this model allowed me to use the workshop tools for the first time. I learnt how to effectively use the bandsaw and drop

saw.

Teamwork In this process I also learnt that we need to communicate on site and have a schedule of some kind for roles and responsibilities. It is crucial that we know what we are doing as individuals and as a group. I found that if we were unsure of our role people would stand around until they thought of something to do.

These are some key learniings from the model making process:

•

•

•

• •

•

Organise and label building elements- to avoid any confusion for each parts positioning.

Delegate - tasks effectively and make it very clear who is doing what and when We must understand what processes must be completed before others for an efficient construction process If something is done incorrectly it can easily be fixed at

•

1:10, not the case at 1:1 Safety issues are not present when building at 1:10 scale.

Trial and error was part of our building process, we could easily test out different ways of joining, making and fabricating, which will not be the case on-site.

It will be crucial to source all materials and construction materials before the process begins, We will have to build in the external elements and this will bring about some complexities

05 PREPARATION Painting the Container CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote

05 PREPARATION Preparing for Kalkarinji CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote

Communal Crate Shopping List: Rays Out Doors: ­ 2 x Trestle Tables ­ Poles and Tarp for Shade inc. rope and pegs ­ 2 x Solar Lanterns Aussie Disposals: ­ 2 x Washing up tubs ­ 2 x Cast Iron frying pans ­ Cast Iron pot ­ Double Jaffle Iron ­ NOTE: there is the potential just to get the ‘Hi­Country Cast Iron Box Set’ Supermarket: ­ Kitchen Utensils e.g. can opener, sharp knifes (at least 3!), flip, wooden spoon, serving spoon, tongs ext. ­ 2­3 Chopping boards Bunnings: ­ 2 x Food containers Other ­ 1 x Portable Gas Stove (Xeyiing and Sarah) ­ Esky (now supplied) Communal Non­Perishable Shopping List (WORKING): ­ Foil ­ Large garbage bags ­ Paper towels ­ Water (10L bottles) ­ Matches ­ Insect Spray ­ Detergent ­ Scouring pads and cloths ­ Tea towels ­ Toilet paper ­ Glad wrap ­ Gas stove fuel ­ Hand sanatiser Individual items to remember: ­ Individual First Aid Kits ­ Duc Tape

Shopping List Source: Group Collaboration

Meals Plan Source: Group Collaboration

LEARNING OUTCOMES PREPARATION. Preparing for the trip takes up quite a significant amount of time and there have proven to be a number of things we have had to organise in order make the trip as efficient and successful as possible., Even simple activities such working out meals and food require the group to communicate effectively. I have learnt that you must be adapatble in these sorts of situations. I have found that using shared folders and files al-

lows us to work on things as a group. The Meals speadsheet is editable by every member of the group and has proven to be an efficient way of organising ourselves.

TBC

06 COMMUNITY ENGAGEMENT Introduction.

Successfully engaging with the community will be vital in maintaing a positive working environment. It will also help us find out what the community actually need and help define the brief for our design projects.

It is essential that we adopt and understand a number of effective and sensitive cross cultural communication techniques. An understanding of two way communication between our selves and the Gurindji community will be as important to our suc-

cess as an understanding of the structural integrity of the structures we are building.

We shouldn’t underestimate how empowering it could be if the community could feel as though they can easily understand and interpret our intentions and communication. If we set this standard early, it’ll result in everyone involved getting the most out of our time there.

Considerations Rapport must be built. It’s a universal rule for building trust in any relationship. It’s no different for us going into the Gurindji community. Its going to be built through good communication, understanding of and respect for cultural similarities and differences and maintaining an open and adaptable mindset to the situations we’re in.

Firstly we should keep in mind the intricacies of non-verbal communication.

All human communication revolves around both verbal and non-verbal cues, the point is we can’t assume the cues we have been conditioned to will have the same meaning or level of significance within the Gurindji community.

Things to be Mindful of Assuming a high level of English language and literacy comprehension can really damage these potential relationships. It can be seen as offensive or result in a certain level of embarrass-

ment or shame for the individual if they can’t understand. Don’t assume either way; approach all communication with humility, sensitivity and an adaptable mindset. Don’t be a jerk.

Do not appear threatening in any of your verbal or non-verbal communication. Be humble and give all of your attention to the situation. But you’ve got to make sure you find the balance between respectful communication and condescension. If you convey yourself in an unknow-

ingly patronising way, especially in the use of English – talking fast or I guess slow or using incomprehensible words – it can result in shame and an instant break down of trust. Don’t treat the conversation like it’s with a child but also don’t approach it like it’s with your best friend.

We’ll get the opportunity to pick up some of the Gurindji language as we go – both here and up there, but it is super important that we’ve built a good relationship and solid rapport be-

before we take it upon ourselves to speak the language, there’s just the potential that it could come across in a mocking way.

Ideally we’d wait for an invitation to be taught some words. So it’s kinda like the French, but the opposite.

Finally, personal space should be respected; crowding someone can make them feel uncomfortable. We all know it, we all feel it, and it’s no different for the Gurindji people. And if we stick to this stuff, its going to be a great start.

12

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Flip Calendar Source: Presentation Group A - Dan Smith 2016

Days to go untill the Bower Crew Arrives

BOWER 16 visits KALKARINDJI M

S 1

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MAY Jack

Ilari 8

Bower Container leaves Melbourne

Nina

David 15

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Esther

Camilia

Ilari & Jack Arrives!

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29 We are at Kalkarindji!

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4

Let’s get to work @ Wavehill!

Toby 10

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11 Opening Ceremony

Let’s get to work @ Gourdy Creek!

Goodbye Kalkarindji

Xeyiing

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JUNE 7

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Let’s get to work @ Dagaragu!

We all are at Darwin!

Sarah

Aksel

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Goodbye Darwin

Justin

Dan

Jinwoo

James

Jimi

Countdown Calendar Source: Presentation Group A - Dan Smith 2016

LEARNING OUTCOMES COMMUNITY ENGAGEMENT This presentation was beneficial for a number of reasons. I have a number of fundamental ways to egage with the community.

TBC

05 DOOKIE BUILD Introduction.

In preparation for a building project for the Aboriginal community in Kalkarinji, NT, the studio group undertook a three day training build in the University of Melbourne’s DookieCampus. This allowed us to gain a better understanding of the build process and to resolve some of the complications prior to building up in the Northern Territory.

01

02

ASSEMBLE FORMWORK

MIX CONCRETE

FIrstly all of the materials, tools and equipment were brought onto site. As this was already done by the Bower Staff, our first task was to assemble the formwork for the concrete footings.

We were then required to mix the concrete for each of the footings. This task was useful as the majority of us had never mixed concrete before.

03

04

05

POUR CONCRETE

REMOVE FORMWORK

PANEL PREPARATION

The formwork was then aligned and the concrete was poured in. The image above shows bricks in the mix. This would not happen on site but we did this to reduce the amount of cement we needed to produce.

After the concrete had set, we removed the formwork. As the concrete had not completely stiffened we were required to assemble the settl structure on the concrete slab nearby.

Holes needed to be drilled into the perforated steel panels in order for them to be fixed to the steel frame structure. We used the drill press for precision.

06

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ASSEMBLE STEEL

FIX PANELS

We then began assembling the steel structure. Dyna-Bolts were used to fix the steel plate to the concrete slab.

We then assembled the panels onto the steel frame structure with Nuts and Bolts. This part was particularly tricky as it required a group of people supporting the frame whilst others tightened the bolts by hand.

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ASSEMBLE PANELS

PREPARE SEATING

ASSEMBLE SEATING

The panels were then tightened with spanners and the corrgated iron was placed into the steel frame.

Angle grinders were used to cut out the slots for the sleepers.

The timber sleepers were then inserted into the slots of the Corten Steel.

We then explored a number of angles for the seating.

11

12

LANDSCAPING

ORNAMENTATION

CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…It is a mystery

CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…It is a mystery

13

14

COMPLETION

DISASSEMBLY

CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…It is a mystery

CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…It is a mystery

LEARNING OUTCOMES DOOKIE BUILD. The practice build at Melbourne University’s Dookie campus was incredibly useful for a number of reasons.

Tools and Equipment.

Using tools and equipment first hand gave me a better understanding of how the tools work and the precautions I need to take when using particular equipment. Being given the opportunity to use all of the tools before the NT Build was incredibly beneficial.

I have learnt how to use these tools more effectively: • Circular Saw • Angle Grinder • Electric Drill • Drill press • Engineers Scribe • Dyna-Bolts • Mallet Teamwork The Dookie build allowed me to understand the importance of working as a team and how to make decisions as a group.

There were certain stages in the build that required most of us to complete a task together. This

required communication and quick pre-planning. I found that in order for this to work everyone must understand the process prior to the implementation of the stage.

I also found that it is important to make sure all students play an equal role in decision making and that roles are continually swapped and exchanged.

Organisation The dookie build process showed us the importance of not only organising ourselves when assembling the structure, but organising the group in terms of meals, equipment and transport to share. It was not as efficient having each person cook their own food on the fire and I think it is therefore vital that we work together to provide group meals.

Some form of roster

Process The test build allowed me to get a feel for the materials and understand the process of contruction much better. My perception of the structure was much different prior to the build. The materials are much heavier than I imagined so it is important to make sure there are enough people to help when lifting large sections of steel. I found that often people were standing around because they were unsure of what they were supposed to be doing. In order to maximize efficiency I think is important for people to know

their role and what they should be doing.

04 SEATING STUDY 2400.00

Seating Prototypes

200.00

2225.00

2400.00

1112.50

450.00

75.00 ° .7 6 76

400.00 337.57

450.00 400.00

200.00

Elevation

.00

Elevation

1112.50

Curve

2225.00

1220.00

429.76

Plan

1220

CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

2225.00

2400.00 2225.00

200.00

2225.00

2400.00

1112.50

450.00

75.00 6° .7 76

450.00 400.00

400.00 337.57

Elevation

.00

CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

Elevation

200.00

1220

Seating Prototype 01

1112.50

Curve

2225.00

1220.00

429.76

Plan

2440.00

Laser Cutting Template

Seating Prototype 02 CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

Seating Prototype 03 CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

Table Prototype 01 CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

Table Prototype 02 CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

Table Prototype 03 CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

Precedent Study CASE STUDY: NATIONAL MUSEUM OF AUSTRALI $155 million of taxpayers’ money went into it. But the underlying message of the National Museum of Australia, opened yesterday in Canberra by the Prime Minister, is one of sneering ridicule for white Australia…

It is a mystery how such a swifty was pulled on John Howard and his handappointed CouncilLikewise Angela Shanahan wrote in the Australian that the

LEARNING OUTCOMES SEATING PROTOTYPES I learnt a significant amount in formulating this seminar presentation.

Speaking to Kim Dovey alone gave me a better insight into the role of architecture in this field and made me question the intent of architects who use symbolism and iconography within their architecture.

Exploration From this research I have learnt that ‘culture,’ as an expression of social identity, is constructed in

complex ways. And it is therefore imperative that we recognise that contemporary indigenous identity is not only shaped by the legacies of pre-colonial times, but also equally by the colonial and post-colonial eras.

Dovey speaks about the making of Place across different cultures and explains that places that have meaning depend on the degree to which ‘place identity is stabilised for the associated stake-holders. From this research have learnt that place making in western culture is significantly different to how indigenous place is manifested.

Documentation Place in ‘Western’ culture is typically manifest through the creation of monuments, fences, names, laws and architecture.

Alternatively, Indigenous place is manifested in less formal ways, through story telling, ritual performance, and more expressive practices such as painting and dance. I have realised that it is therefore important for any architectural proposition to understand how indigenous place and space is constructed and work with these ideas.

Precedent Study Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present

aboriginality as a subject and not an object.

Groupwork After much reading and discussion I have learnt that Aboriginality should not simply be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this only perpetuates the stereotype of indigenous culture being ‘stuck’ in pre-colonial times

and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities. However, if a community have decided that a particular narrative or image is to be used, I think it is then up to the architecture to decide how to reference this within the architecture.

LEARNING APPLICATION SEATING PROTOTYPES There are a number of ways we will be able to apply what we have learnt in regards to seating and table prototypes.

Exploration From this research I have learnt that ‘culture,’ as an expression of social identity, is constructed in complex ways. And it is therefore imperative that we recognise that contemporary indigenous identity is not only shaped by the legacies of pre-colonial times, but also equally by the

colonial and post-colonial eras.

Dovey speaks about the making of Place across different cultures and explains that places that have meaning depend on the degree to which ‘place identity is stabilised for the associated stake-holders. From this research have learnt that place making in western culture is significantly different to how indigenous place is manifested.

Documentation Place in ‘Western’ culture is typically manifest through the creation of monuments, fences, names, laws and architecture.

Alternatively, Indigenous place

is manifested in less formal ways, through story telling, ritual performance, and more expressive practices such as painting and dance. I have realised that it is therefore important for any architectural proposition to understand how indigenous place and space is constructed and work with these ideas.

Precedent Study Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present

aboriginality as a subject and not an object.

Groupwork After much reading and discussion I have learnt that Aboriginality should not simply be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this only perpetuates the stereotype of indigenous culture being ‘stuck’ in pre-colonial times

and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities. However, if a community have decided that a particular narrative or image is to be used, I think it is then up to the architecture to decide how to reference this within the architecture.

STUDENT SEMINARS Aboriginal Architecture and Representation This seminar explored a number of issues regarding the representation of indigenous culture through architecture and responded to these questions:

The representation of indigenous culture in a formal way is a highly contested activity. What arguments do academics including Kim Dovey put forward and what case studies are relevant when critiquing this issue?

This is a highly contested subject and there are a number of conflicting views and opinions within the architectural discourse.

The native other finds a voice only within the framework of a dominant discourse... the state has an interest in seeing aboriginal idenity fixed in buiit forms; its dangerous, amorphous power “arrested” (Dovey, K 1996, pp 101) “No matter what form (architecture) adopted, (architecture) was receptive, flexible, sensitive, and constantly renewing... This is what will make buildings clever and uniquely indigenous. There is also in place an elaborate yet intangible organisation of space, which is marked geographically, with spirits, totems, and songlines.” (Alison Page, 2007, pp.

303)

“It is trying to ascertain how one goes about it(Aboriginality in Architecture), for me it is rooted in the process, what is good to hear is the process was authorised by the community, without that authorisation you cant get the embrace from community, you have missed one of the key hurdles to engagement, so that consultation and collaboration and participation is at core, without it you are imposing solution on to community or an outcome which doesn’t meet the needs of the community and theiraspirations.”(Jefa Greenway, Principle, indigenous Architecture and Design Victoria) (transcript from Fed Square: Public Talk)

“The way I see it, Indigenous architecture is not a style but a culturally apppropriate process based on communication, trust and community development... From the moment a building idea is concieved to the moment it is realised, communication in whatever form, and community involvement will determine the Aboriginality of the architecture.. The failings in the past were not only due to misconceptions about culture, but to the coupling of this omission with a lack of community consultation.” ( A l i s o n Page, 2007, pp. 304)

“In the process of designing public aboriginal architecture, indigenous people themselves must be allowed to define who they are (i.e their colective identity) and how they wish to be portrayed through architecture to the wider society and the outisde world. this is an important and fundamental principle.

However it is the role of the Architect to take the given expressions and representations of idenity and offer ways in which they can be distilled, expressed and realised in architectural form. (Memmott P, 2007, pp 310)

04 Aboriginal Architecture and Representation In our discussion, Kim Dovey raised a number of important points about architecture and it’s attempts to formally represent indigenous culture. He stated that: • • • •

•

Aboriginal architecture is a social and political issue before an architectura one.

One cannot expect a building to create reconciliation.

Indigenous cultural centres can become a façade for highly complex issues. Often they become a production of totemic imagery.

Issues of race, gender and

•

class will always be present. and architecture cannot solve these, however he believes conflicts will begin to fade away as ‘good design’ addresses them.

Generally, Dovey argues the less literal the better.

Dovey found that Indigenous communities were quite often open to form, but still wanted something secure, robust and with all of the necessary facilities.

Kim’s has strong opions on what the role of architecture and architects should be. He claims

that ‘there is such a thing as good design’ and that it is not based on formalism, but is rather something that responds environmentally, symbolically, and is culturally and spatially appropriate.

TBC

LEARNING OUTCOMES SEMINAR: Aboriginal

Architecture and Representation I learnt a significant amount in formulating this seminar presentation.

Speaking to Kim Dovey alone gave me a better insight into the role of architecture in this field and made me question the intent of architects who use symbolism and iconography within their architecture.

Representing Indigenous Culture.

From this research I have learnt that ‘culture,’ as an expression of social identity, is constructed in complex ways. And it is therefore imperative that we recognise that contemporary indigenous identity is not only shaped by the legacies of pre-colonial times, but also equally by the colonial and post-colonial eras.

Dovey speaks about the making of Place across different cultures and explains that places that have meaning depend on the degree to which ‘place identity is stabilised for the associated stake-holders. From this research

have learnt that place making in western culture is significantly different to how indigenous place is manifested. Place in ‘Western’ culture is typically manifest through the creation of monuments, fences, names, laws and architecture. Alternatively, Indigenous place is manifested in less formal ways, through story telling, ritual performance, and more expressive practices such as painting and dance. I have realised that it is therefore important for any architectural proposition to understand how indigenous place and space is constructed and work with these ideas.

The Role of Cultural Centres Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present aboriginality as a subject and not an object.

Symbolic Representations and Iconography.

After much reading and discussion I have learnt that Aboriginality should not simply be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this

only perpetuates the stereotype of indigenous culture being ‘stuck’ in pre-colonial times and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities. However, if a community have decided that a particular narrative or image is to be used, I think it is then up to the architecture to decide how to reference this within the architecture.

LEARNING APPLICATION SEMINAR: Aboriginal

Architecture and Representation When attempting to represent indigenous culture within my cultural centre, I will make sure

The Role of Cultural Centres Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present aboriginality as a subject and not an object.

Symbolic Representations and Iconography.

I have learnt that Aboriginality should not be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this only perpetuates the stereotype of indigenous culture being

‘stuck’ in pre-colonial times and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities.

04 STUDENT SEMINARS The Cultural Centre

The Power Production

of

Cultural

What makes a good cultural centre? What role might representatives from that culture play in the imagining of the centre?

Who uses the building and can it accommodate the needs of the local and broader community?

What areguments do academics including Lisa Findley put forward and what cade studies are relevant when critiquing this issue?

Culture can be identified as the: • Expression of lived experience • It communicates values and sensibilities • Sustains cultural identity • Conveys aspects of a culture that may have otherwise been invisible • Reinforces a sense of agency

‘Architecture can and does produce positive effects when the liberating intentions of the architect coincide with the real practice of people in the exercise of their freedom.’

Michael Foucault

Potential for the Cultural Centre Provides space for the act of cultural production and in doing so: • Cultivates cultural agency within a community • Creates a sense of empowerment • Potential to strengthen ties across and within cultural groups • Allows for ongoing expression and communication of lived experience and history

Source: Group A Presentation: Dan Smith 2016

Case Study: Uluru-Kata Tjuta Cultural Centre

groups and discussing the project in detail with the community.

Using this building as a case study the positive and negative aspects of cultural centres are explored.

• •

• • •

The building has up to 300 000 visitors each year Aims to infrom people of the indigenous culture and prevent people from climbing Uluru Making parts of Anangu Culture Visible A Hybrid space, in-between meeting zone Minimal impact on landscape

A Sensible Design Approach Greg Burgess undertook quite an extensive participartory design approach for this project, camping with local aboriginal

Source: Uluru-Kata Tjuta - Gregg Burgess Sketch

Community-Led Design

TBC

LEARNING OUTCOMES SEMINAR: Aboriginal

Architecture and Representation I learnt a significant amount in formulating this seminar presentation.

Speaking to Kim Dovey alone gave me a better insight into the role of architecture in this field and made me question the intent of architects who use symbolism and iconography within their architecture.

Representing Indigenous Culture.

From this research I have learnt that ‘culture,’ as an expression of social identity, is constructed in complex ways. And it is therefore imperative that we recognise that contemporary indigenous identity is not only shaped by the legacies of pre-colonial times, but also equally by the colonial and post-colonial eras.

Dovey speaks about the making of Place across different cultures and explains that places that have meaning depend on the degree to which ‘place identity is stabilised for the associated stake-holders. From this research

have learnt that place making in western culture is significantly different to how indigenous place is manifested. Place in ‘Western’ culture is typically manifest through the creation of monuments, fences, names, laws and architecture. Alternatively, Indigenous place is manifested in less formal ways, through story telling, ritual performance, and more expressive practices such as painting and dance. I have realised that it is therefore important for any architectural proposition to understand how indigenous place and space is constructed and work with these ideas.

The Role of Cultural Centres Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present aboriginality as a subject and not an object.

Symbolic Representations and Iconography.

After much reading and discussion I have learnt that Aboriginality should not simply be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this

only perpetuates the stereotype of indigenous culture being ‘stuck’ in pre-colonial times and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities. However, if a community have decided that a particular narrative or image is to be used, I think it is then up to the architecture to decide how to reference this within the architecture.

LEARNING APPLICATION SEMINAR: Aboriginal

Architecture and Representation When attempting to represent indigenous culture within my cultural centre, I will make sure

The Role of Cultural Centres Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present aboriginality as a subject and not an object.

Symbolic Representations and Iconography.

I have learnt that Aboriginality should not be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this only perpetuates the stereotype of indigenous culture being

‘stuck’ in pre-colonial times and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities.

04 STUDENT SEMINARS Capacity Building What are the best ways to build in remote areas to ensure best possible outcomes for partner communities? How can we maximise both hard and soft outcomes?

The key aspects to capacity building is: • Focusing on the quality of assistance over quantity, making the overall process a recipient led agenda and not a donor driven top-down process.

• About the collective collabo-

•

ration of people, institutions and practices.

And ultimately create a sustainable, self-generating development which strive to use local expertise and involvement.

One of the key differences of capacity building as to traditional methods of development is that it is not a needs-based approach in which perceived deficiencies in communities are identified as ‘problems’ and hence ‘solutions’ are given to fix it. Such method often fails to address local community knowledge,

strengths and ideas, and can even discourage community involvement as it may suggest that the communities do not have the capacity to solve their own problems.

Capacity building is a demand driven process, and aims to enhance and strengthen existing capacities.

Participatory approach and partnership is greatly emphasized.

There are a number of Issues and problems that exist when building in remote areas. The following explain the fundamental problems: Issues and Problems 1. Liveability problems: culturally insensitive spaces and environment, lack of functionality in both internal and external spaces, ineffective management of housing process.

2. Construction and Access systems: Many Aboriginal outstations are remote; implications that it has for building hous-

ing and infrastructure is that it is costly to have construction, repairs and maintenance conducted by outsiders.

3. Lack of local education, training and employment opportunities. Housing and infrastructure development in remote areas shouldn’t stop at the completion of the building. The construction of such should be seen as a potential threshold into education, training and employment opportunities.

4. Ownership: It is vital to understand that the sense of ownership can only be promoted

through active consultation and involvement in the delivery process.

There are particular outcomes that a project might strive to achieve. These can be categorized into ‘Hard’ and ‘Soft’ outcomes.

Source: Group A Presentation: Dan Smith 2016

Soft Outcomes ‘Soft’ outcomes can be identified by answering the question: “What will change in the lives of individuals, families, or the community as a result of this program?” Anticipating positive responses, this alludes to the vast array of possibilities of how a capacity build can impact on a community on a social, economic, and cultural level. Soft Outcomes might include: • The creation of Jobs • Cultural Continuity • Healthier Community • Sense of Ownership • Education • Training

Hard Outcomes These outcomes are the more tangible outcomes such as infrastructure, amenity and facilities.

Hard outcomes are typically physical outcomes or solutions to the problems.

training of locals in the maintenance of the building. As I mentioned, maintenance is key and having locals able to do it greatly increases the chances of it being down, and subsequently the lifespan of the building.

There are also some key considerations within the construction phase to address if we want to maximise these hard outcomes.

Community collaboration should be maximised during the build phase for a number of reasons. Jobs created in the community have the potential to manifest a sense of ownership and pride that is key to the success of any project.

This process can also expose young people to trades they may not otherwise have been, potentially encouraging them to pursue further training and employment. The construction phase should also involve the

Collaboration with the community in the build can have the greatest effect on the likelihood of the later implementation of self determined and driven projects by the community. Skills taught and confidence taken from being involved in the build can be the catalyst for community driven projects.

Its not necessarily teaching them every specific of building but rather instilling the confidence and understanding of the process so that they feel they can undertake such projects themselves.

References 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

AHURI Study summary of housing in remote indigenous communities Issue 101 May 2008: https:// www.ahuri.edu.au/__data/assets/ pdf_file/0015/2913/AHURI_RAP_Issu e_101_A_new_design_framework_ for_remote_Indigenous_housing.pd Indigenous Housing Policy – Australian Institute of Architects: http://architecture.com.au/docs/default-source/national-policy/indigenoushousing-policy.pdf?sfvrsn=0 http://www.ahuri.edu.au/__data/ assets/pdf_file/0012/2037/AHURI_ Final_Report_No66_Indigenous_ housing_and_governance.pdf http://www.qld.gov.au/web/community-engagement/guidesfactsheets/documents/rural-capacity-building-toolkit.pdf http://strengtheningnonprofits.org/ resources/guidebooks/MeasuringOutcomes.pdf https://www.dss.gov.au/grants/community-development-and-participationcommunity-capacity-building https://espace.librar y.uq.edu.au/ view/UQ:163290/HCA09UQ163288. pdf

LEARNING OUTCOMES SEMINAR: Capacity

Building I learnt a significant amount in formulating this seminar presentation.

Speaking to Kim Dovey alone gave me a better insight into the role of architecture in this field and made me question the intent of architects who use symbolism and iconography within their architecture.

Representing Indigenous Culture.

From this research I have learnt that ‘culture,’ as an expression of social identity, is constructed in complex ways. And it is therefore imperative that we recognise that contemporary indigenous identity is not only shaped by the legacies of pre-colonial times, but also equally by the colonial and post-colonial eras.

Dovey speaks about the making of Place across different cultures and explains that places that have meaning depend on the degree to which ‘place identity is stabilised for the associated stake-holders. From this research

have learnt that place making in western culture is significantly different to how indigenous place is manifested. Place in ‘Western’ culture is typically manifest through the creation of monuments, fences, names, laws and architecture. Alternatively, Indigenous place is manifested in less formal ways, through story telling, ritual performance, and more expressive practices such as painting and dance. I have realised that it is therefore important for any architectural proposition to understand how indigenous place and space is constructed and work with these ideas.

The Role of Cultural Centres Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present aboriginality as a subject and not an object.

Symbolic Representations and Iconography.

After much reading and discussion I have learnt that Aboriginality should not simply be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this

only perpetuates the stereotype of indigenous culture being ‘stuck’ in pre-colonial times and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities. However, if a community have decided that a particular narrative or image is to be used, I think it is then up to the architecture to decide how to reference this within the architecture.

LEARNING APPLICATION SEMINAR: Aboriginal

Architecture and Representation When attempting to represent indigenous culture within my cultural centre, I will make sure

The Role of Cultural Centres Critiquing a number of Indigenous ‘Cultural’ centres has made me more aware of what the role of a cultural centre should be and how it should be used. Although there must be spaces for tourists to ‘learn’ of indigenous cultural practices I think it is most important for cultural centres to be places in which the indigenous community are able to use freely.

They should provide economic leverage for the communities, giving them an amenity and platform to express themselves.

Cultural centres must present aboriginality as a subject and not an object.

Symbolic Representations and Iconography.

I have learnt that Aboriginality should not be depicted through stereotypical representations or ‘romanitcized’ ideas of aboriginal life. From the research I think that Cultural Centres must refrain from using totemic imagery and forms to portray indigenous culture. Doing this only perpetuates the stereotype of indigenous culture being

‘stuck’ in pre-colonial times and is can be problemmatic with other communities as the totems may not necessarily work with other indigenous communities.

04 JINBARAK BUILD Capacity Building What are the best ways to build in remote areas to ensure best possible outcomes for partner communities? How can we maximise both hard and soft outcomes?

The key aspects to capacity building is: • Focusing on the quality of assistance over quantity, making the overall process a recipient led agenda and not a donor driven top-down process.

• About the collective collabo-

•

ration of people, institutions and practices.

And ultimately create a sustainable, self-generating development which strive to use local expertise and involvement.

One of the key differences of capacity building as to traditional methods of development is that it is not a needs-based approach in which perceived deficiencies in communities are identified as ‘problems’ and hence ‘solutions’ are given to fix it. Such method often fails to address local community knowledge,

strengths and ideas, and can even discourage community involvement as it may suggest that the communities do not have the capacity to solve their own problems.

Capacity building is a demand driven process, and aims to enhance and strengthen existing capacities.

Participatory approach and partnership is greatly emphasized.

TBC

There are a number of Issues and problems that exist when building in remote areas. The following explain the fundamental problems: Issues and Problems 1. Liveability problems: culturally insensitive spaces and environment, lack of functionality in both internal and external spaces, ineffective management of housing process.

2. Construction and Access systems: Many Aboriginal outstations are remote; implications that it has for building hous-

ing and infrastructure is that it is costly to have construction, repairs and maintenance conducted by outsiders.

3. Lack of local education, training and employment opportunities. Housing and infrastructure development in remote areas shouldn’t stop at the completion of the building. The construction of such should be seen as a potential threshold into education, training and employment opportunities.

4. Ownership: It is vital to understand that the sense of ownership can only be promoted

through active consultation and involvement in the delivery process.

04 GORDY CREEK BUILD Capacity Building What are the best ways to build in remote areas to ensure best possible outcomes for partner communities? How can we maximise both hard and soft outcomes?

The key aspects to capacity building is: • Focusing on the quality of assistance over quantity, making the overall process a recipient led agenda and not a donor driven top-down process.

• About the collective collabo-

•

ration of people, institutions and practices.

And ultimately create a sustainable, self-generating development which strive to use local expertise and involvement.

One of the key differences of capacity building as to traditional methods of development is that it is not a needs-based approach in which perceived deficiencies in communities are identified as ‘problems’ and hence ‘solutions’ are given to fix it. Such method often fails to address local community knowledge,

strengths and ideas, and can even discourage community involvement as it may suggest that the communities do not have the capacity to solve their own problems.

Capacity building is a demand driven process, and aims to enhance and strengthen existing capacities.

Participatory approach and partnership is greatly emphasized.

TBC

There are a number of Issues and problems that exist when building in remote areas. The following explain the fundamental problems: Issues and Problems 1. Liveability problems: culturally insensitive spaces and environment, lack of functionality in both internal and external spaces, ineffective management of housing process.

2. Construction and Access systems: Many Aboriginal outstations are remote; implications that it has for building hous-

ing and infrastructure is that it is costly to have construction, repairs and maintenance conducted by outsiders.

3. Lack of local education, training and employment opportunities. Housing and infrastructure development in remote areas shouldn’t stop at the completion of the building. The construction of such should be seen as a potential threshold into education, training and employment opportunities.

4. Ownership: It is vital to understand that the sense of ownership can only be promoted

through active consultation and involvement in the delivery process.

04 DAGURAGU BUILD Capacity Building What are the best ways to build in remote areas to ensure best possible outcomes for partner communities? How can we maximise both hard and soft outcomes?

The key aspects to capacity building is: • Focusing on the quality of assistance over quantity, making the overall process a recipient led agenda and not a donor driven top-down process.

• About the collective collabo-

•

ration of people, institutions and practices.

And ultimately create a sustainable, self-generating development which strive to use local expertise and involvement.

One of the key differences of capacity building as to traditional methods of development is that it is not a needs-based approach in which perceived deficiencies in communities are identified as ‘problems’ and hence ‘solutions’ are given to fix it. Such method often fails to address local community knowledge,

strengths and ideas, and can even discourage community involvement as it may suggest that the communities do not have the capacity to solve their own problems.

Capacity building is a demand driven process, and aims to enhance and strengthen existing capacities.

Participatory approach and partnership is greatly emphasized.

TBC

There are a number of Issues and problems that exist when building in remote areas. The following explain the fundamental problems: Issues and Problems 1. Liveability problems: culturally insensitive spaces and environment, lack of functionality in both internal and external spaces, ineffective management of housing process.

2. Construction and Access systems: Many Aboriginal outstations are remote; implications that it has for building hous-

ing and infrastructure is that it is costly to have construction, repairs and maintenance conducted by outsiders.

3. Lack of local education, training and employment opportunities. Housing and infrastructure development in remote areas shouldn’t stop at the completion of the building. The construction of such should be seen as a potential threshold into education, training and employment opportunities.

4. Ownership: It is vital to understand that the sense of ownership can only be promoted

through active consultation and involvement in the delivery process.