Design with Country

Acknowledgement of Country

We acknowledge theTraditional Custodians of the land on which we gather today. We acknowledge their many Countries, knowledges and cultures. We pay our respects to their Elders past and present and extend that respect toAboriginal and Torres Strait Islander peoples here today.

(Australian Government, n.d.)

What is Country?

“Country” with a capital ‘C’has a deep and specific meaning for First Nations people ofAustralia. Country relates to the land, nation and cultural group we belong to. It is a living entity that absolutely infiltrates our spirit and culture. People are part of Country and our identity is derived from the very essence of our connection to place.

(GovernmentArchitect NSW, 2020)

Listening to Country

Listening is a collaborative process

One important aspect of engaging with country is listening to country, a concept that is seen as a critical part of creating a connection with Country and community.

● Designing with Country not possible without engaging with and being guided byAboriginal community and knowledge holders. (GovernmentArchitect, 2020).

● It is important that these discussions are held in a way whereAboriginal communities can feel comfortable (Government Architect, 2020).

Questions in order to listen

● GovernmentArchitect NSW (GANSW) lead this engagement process:

○ IncludesAboriginal community members, recognised cultural knowledge holders, design and planning industry experts + government representatives.

○ GANSW Believes that listening to country begins with being mindful of the following questions (Government Architect, 2020):

● WHAT IS THE STORY OF THE PLACE?

● WHAT ARE THE INDICATORS FOR SUCCESS?

● WHAT IS THE HISTORY OF THE SITE?

● WHAT ARE THE NEEDS OF THIS PLACE?

● WHAT IS THE PURPOSE OF THIS PLACE?

○ Responses to these help to inform cultural design principles and a framework to apply to government built environment projects.

Listening to Country

Deep Listening

● Deep Listening:

○ Also known as Dadirri (da-did-ee), a word from the Ngan’gikurunggurr and Ngen’giwumirri languages from Indigenous people of the Daly River Region (Miriam Rose Foundation, n.d.).

○ Involves a search for understanding and meaning found through other parts of ourselves.

○ Deep listening recognises the need to recognise the communication of the Country, while also understanding this story will not be static (GovernmentArchitect, 2020).

Further discussion: Daniele Hromek - Budawang Woman of theYuin Nation Cultural Designer and Researcher

● The importance of listening, by Daniele Hromek:

○ Listening to Country asserts the importance of observation.

○ Involves stillness and patience, listening with the whole body in order to observe messages of Country as they come.

○ The Country will speak to those who listen, thus should be considered in planning and design spheres.

○ Should be considered in collaboration with Knowledge holders to assist in guiding how to listen to country (Hromek, 2020).

Further discussion:Aunty Miriam Rose Ungunmerry-Baumann - Ngangikurungkurr elder of the Daly River in the Northern Territory

● She first introduced the concept of deep listening to the Koori Cohort of researchers in the NorthernTerritory (Brearley, 2014).

○ Describes it as follows:

“ In our Aboriginal way, we learn to listen from our earliest days. We could not live good and useful lives unless we listened. This was the normal way for us to learn - not by asking questions.

We learnt by watching and listening, waiting and then acting. Our people have passed on this way of listening over 40,000 years” (Brearley, pp. 93, 2014).

TheTree of Life, byAunty Miriam Rose Ungunmerry-Baumann, a painting based on Daidirri. (Google Images, n.d.)

Connecting to Country

Country includes the tangible and intangible aspects associated with land. It is known that if we care for Country, she will care for us as well.

The Connecting with Country Draft Framework (Government Architect, 2020) is a strong guide for developing connections with Country which inform the design, planning and delivery of the built environment in NSW.

The program supports projects which enableAboriginal communities to engage in activities for Country to transfer knowledge, preserve culture and amplify community bonds.

The three strategic goals include:

● Reduction of natural disasters impact through sustainable land use practices.

● Respect ofAboriginal cultural knowledge by collaborating withAboriginal people in NSW infrastructure and ensuring Country is cared for.

● Protection of sensitive sites and ensuringAboriginal people can access their homeland.

Country-centred diagram (GovernmentArchitect, n.d.)

Connecting to Country

Connecting with Country Influences

HISTORY

ADVOCACY FOR CHANGE THOUGHT LEADERSHIP

CONNECTING WITH COUNTRY

ENVIRONMENTAL CRISIS

FEDERAL POLICY

STATE POLICY

INTERNATIONAL CONTEXT

Australian academic historian,Adjunct Professor and Senior Research Fellow at the Humanities Research Centre ofANU

● Aboriginal history of regular fires and sense of belonging and the relationship between settler - colonial society.

● These practices were planned, and based on policy rather than chance.

● Burning was a sign of civilisation. It was an indication of life and an indication of communal care for Country.

● Fires control fuel, maintain diversity, balance species, ensure abundance, and locate resources.

● We should learn fromAboriginal experts who are passing knowledge from before 1788.

● Highlighted the importance of giving thanks to the Land.

● Singing is a form by giving thanks and making yourself heard in your land.

● Living Languages- an app which revitalises language.

● Indigenous traditional land knowledge should be embedded into modern practices.

(Aila, 2017)

Aboriginal Voice of Bill Gammage, Wiradjuri Nation

(GovernmentArchitect NSW, 2020)

(GovernmentArchitect NSW, 2020)

NSW

Aboriginal Voice of Clarence Slockee, Bundjalung Nation Founder, Jiwah

Cultural Intellectual Property

Indigenous Cultural Intellectual Property (ICIP) is the right Indigenous people have to protect their traditional art, language, and culture (Moran, 2020). ICIPhighlights the need to ensure respect forAboriginal culture when collecting, displaying, archiving, or reproducing Indigneous works.

Cultural Intellectual Property

Terri Janke (Wuthathi/Meriam heritage): True Tracks

● Development of legal ethical framework to promote the fair negotiation of Indigenous arts and culture and ensure respect and significance of NativeTitle

● Indigenous knowledge can be used to contribute to the knowledge economy and human advancement

● Forming alliances through fair engagement has great potential

True Tracks Protocols (Janke, 2016)

Albert Wiggan (Bardi-Kija-Nyul Nyul): Indigenous Knowledge

● Need for integration of Indigenous knowledge in mainstream practices

● Great potential in contributing to scientific advancements

● Indigenous philosophy on legacy - what we leave behind - forms basis of a progressive future

● Union of Indigenous and Western science can be achieved through the formation of alliances and mutual respect

Heidi Norman (Gomeroi Nation): Land Justice

● Laws such the Land RightsAct and NativeTitle contributed to the return of cultural and historic Indigenous connections to land

● Substantial land based reforms are being rolled out nationally (return of land parcels)

● Careful consideration needed to ensure Aboriginal population receive socio-economic and cultural benefits from broadened land estate

Healing Country

● Heal Country is the official theme of NAIDOC 2021.The celebration calls for greater protections forAustralian lands, waters and heritage sites.

● The celebration theme invitesAustralians to acknowledge and celebrateAboriginal andTorres Strait Islander people’s culture and knowledges of Country.

● It provides opportunities to protect the unique and dynamic environments, sacred sites and cultures of First Nation peoples acrossAustralia.

● It is vital forAustralians to understand that Country is an important part ofAustralia’s national heritage.

● Healing Country is an important theme as it promotes stronger measures to recognise, protect and maintain all aspects of the Australian culture.

● When speaking about healing Country and protecting our future environment, it is key to investigate the role of knowledge and philosophy from anAboriginal andTorres Strait Islander perspective.

(University of Sydney, 2021)

(University of Queensland, n.d.)

Healing Country

Aboriginal voices from panellists of PIAPlanning with Country Knowledge Circle

“ Heal Country and she will heal us, it is very personal.

Elle Davidson (Balanggarra): Aboriginal Planning Lecturer

● Healing Country helps to envision the space empowered byAboriginal knowledge.

● In Western practice, it is easy to separate land from people. It is important to think about the interconnectedness with Country.

● It is a change in mindset and the way we do things and it articulates the value of what Aboriginal people can give back to community.

“

How do we restore what we’ve damaged?

Carol Vale (Dunghutti/ Gumbaingirr): Social Researcher

● Healing Country is about healing people and collaborate to heal what has been disrupted.

● It is a Country-centred approach with the application of a kinship system grid across the project.

● It enablesAboriginal voices and knowledge in the work and it considers how Aboriginal perspectives can be reflected in the project.

“ How do we use it, integrate it, re-prioritise it?

● Healing Country is about how we can successfully apply the wealth of knowledge from Aboriginal culture.

● Healing Country is a critical theme that hints prove that Western approaches are not always ideal.

● Practitioners should reframe Aboriginal consultation and lead projects in the right direction with relevant knowledge.

(Planning Institute ofAustralia, 2021)

“ Healing Country is about the lands and waters.

● Healing Country means there has been damage in the past under colonisation.

● It can provide a healthy country for healthier people and it will facilitate better outcomes for the community.

● In planning industries, we need to facilitate healthy Country for people and communities.This will in turn make happy lives for people.

Moana Prescott (Ngiyaampaa): Stakeholder Engagement

Jesse Marnock: Queensland Indigenous Planner

The Juukan Gorge rock shelters in WesternAustralia (University of Melbourne, 2021)

Environmental devastation has a spiritual impact (University of Melbourne, 2021) Country is about all the waters, lands and people (University of Queensland, n.d.)

InviteAboriginal knowledge and culture into Country (University of Queensland, n.d.)

Kaart Koort Waarnginy Engagement Framework

Our Case Study

The Kaart Koort Waarnginy (KKW) (Head, Heart,Talking) Engagement Framework is a document prepared by the Metropolitan RedevelopmentAuthority (MRA) in Perth, WesternAustralia in order to provide opportunities to develop a cultural engagement process with the Noongar community. It sets a framework based on the six seasons of the Noongar tradition along with the cultural blueprint to illustrate the key points of a project lifecycle.

It has been chosen as our case study due to its authentic commitment to embed the First Nations’cultural narratives within the design process.The framework aims to approach and achieve valuable connecting points between existing governance structures and the traditional custodians.

Kaart Koort Waarnginy (Head, Heart,Talking) Engagement Framework (MRAWesternAustralia, n.d.)

How well does the strategy respond to the International Indigenous Design Charter?

International Indigenous Design Charter Charter Points

● The International Indigenous Design Charter (IIDC) recognises the lack of guidance and information that exists in relation to how to appropriately consider Indigenous perspectives, and how to integrate Indigenous knowledge into the context of design.The IIDC is designed to be suitable for cross-disciplinary use, by businesses, corporations, design practitioners, and design clients, with an aim to encourage the appropriate representation of Indigenous peoples on an international scale (Kennedy, R., et al, 2018).

● In an effort to create a mutual understanding of the processes and sensibilities involved in respectful cultural design practice, the IIDC expresses the aim of their charter to be used as a communication tool, for example, between planners and their clients, in recognition of the processes behind introducing Indigenous knowledge in design practice (Kennedy, R., et al, 2018).

● The Charter ensures that Indigenous knowledge is not simply referenced, but instead Indigenous voices are included as active participants, importantly including community engagement with knowledge keepers and cultural custodians (Kennedy, R., et al, 2018).

The IIDC goals are summarised as follows:

(Kennedy, R., et al, 2018)

“Respectful exchange, open thinking, deep listening and a genuine commitment to learning must be based on the premise of relationality. Building relationality ensures respectful and ethical practices are established and maintained through trust and inter-connectedness” (Kennedy, R., et al, pp. 29, 2018).

The IIDC Charter Points - Explained

1. Indigenous Led

2. Self-determined

3. Community Specific

4. Deep Listening

5. Indigenous Knowledge

Main ideas: Main ideas: Main ideas: Main ideas: Main ideas:

● Indigenous stakeholders involved in development

Main ideas:

● Courteous interaction

● Developing a cultural competency framework

● Indigenous people determine the representation of their culture

● Acknowledgement of regional cultural understandings

Main ideas: Main ideas:

● Ensure Indigenous people share in the benefits

● Consider reception and implication

● Sustainable? Respect Indigenous culture?

● Courteous, respectful interaction with intent to learn

● Respect of Indigenous methods of knowledge - their designs, stories and land management strategies

Main ideas: Main ideas:

● Honour cultural ownership

● Including moral rights

● Will the project be improved with Indigenous knowledge?

● Use of the charter to have Indigenous design integrity

6. Shared Knowledge

7. Shared Benefits

8. Impact of Design

9. Legal and Moral

10. Charter Implementation

How well does the strategy respond to the International Indigenous Design Charter?

Well-Aligned

1. Indigenous Led

Main ideas:

● Indigenous stakeholders involved in development

(MRAWesternAustralia, n.d.)

● Indigenous parties hold the right to oversee deliveries of design and planning work

KKW Framework:

The KKW provides a breakdown of the appropriate people to involve in their processes, and aligns with point one through the engagement of representative organisations for the Whadjuk people.The recognition of the importance of this inclusion is seen through their statement as follows:

“The Whadjuk are has a long history of working together forAboriginal interests… this will continue into the future through its representative organisations to promote a collaborative approach to achieving outcomes for Whadjuk people.”

Inclusion of a Cultural Coordinator:

● Solely anAboriginal position

● Person has apical ancestry

● Provides cultural guidance

The key relationship the KKW asserts is between their project representative, and organisations within the Whadjuk claim area, elected members being ancestors of the community.Through the implementation of these roles, and the supporting discussions regarding how to support their delivery, it is clear that the KKW supports and has considered the proposals found within charter point one.

3. Community Specific

Main ideas:

● Acknowledgement of regional cultural understandings

● Respect for the diverse nature of indigenous culture

KKW Framework:

Room for Improvement

8. Impact of Design

Main ideas:

● Consider the implication of planning and design decisions

(MRAWesternAustralia, n.d.)

● Do they respect Indigenous culture?Are they sustainable? Do they protect the environment?

KKW Framework:

● The KKW is considerate of asserting the inclusivity of Indigenous people:

○ Their purpose statement asserts the aim to develop a lasting and ongoing engagement with the traditional owners.

● Whilst the KKW is considerate of Indigenous culture on a high level, their is a lack of certainty to how their implemented plans will empower Indigenous people in the future.

○ The ‘six season’transition from Fertility toAdulthood does not explore past the handover toAdulthood.

(MRAWesternAustralia, n.d.)

Highlights the Noongar people: the traditional owners of South-West WesternAustralia and the specifics of their culture such as:

● Their hunting patterns according to their six seasons

● Their stories: the creation of the Swan and Canning Rivers.

Clear invested effort into the alignment of the KKW planning approach with the cultural practices held by the Noongar people:

● The Head HeartTalking approach reflects the six season calendar, promoting inclusivity and more room for understanding and collaboration.

● These six seasons are compared to the place making model, with the aim to encourage understanding and allow for cultural advice to be garnered at various stages of the project.

Overall:

● Overall, it is clear that there is a respect for the Indigenous culture in south-west WesternAustralia, further than just on the surface level.The KKW has considered Indigenous culture first, with a focus on establishing trust and understanding, which is beneficial in forming positive relationships with Indigenous stakeholders.

● While the KKW is asserting a established and lasting relationship with theTraditional Owners, it might be beneficial to explore pathways to ensure that the planning decisions are beneficial to the Indigenous community past the ‘Adulthood’ stage of the Head, Heart,Talking Place Making Model.

AreAboriginal voices and stories present and strong throughout the document?

Aboriginal voices are reflected in this document as it was created in collaboration between the Whadjuk traditional owners and the Metropolitan RedevelopmentAuthority (MRA) in Perth.

The document acknowledges that place is created from stories and buildings, highlighting that the evolution of form comes from the meaning we give to it.This people-centric focus establishes that by learning from the past, we frame our present and work towards our future.This idea is significant in the development of this document as it also highlights the importance of talking, listening to, sharing and making new stories.

The South West Land and Sea Council (SWLASC) was the NativeTitle Representative Body of the Noongar people. Its goal is to progress NativeTitle, and strengthen culture, language, and heritage in society.

The document includes the involvement of the Whadjuk Working Party and the South West Settlement, representative of the Whadjuk and Noongar people.

The Kaart Koort WaarnginyApproach (MRAWesternAustralia, n.d.)

AreAboriginal voices and stories present and strong throughout the document?

Aboriginal voices and narratives are involved throughout the planning process. Traditional owners are involved in the process at the start, middle and end before design decisions are signed off.

The Cultural Blueprint

The stages are significant inAboriginal storytelling and voices as the framework highlights the stages in planning which is universally understood while maintaining a connection to Country and treats the process like the development of a person from the womb to birth and adulthood.

The stages include:

● Childhood

● Adolescence

● Adulthood

Collective decision-making in the Whadjuk community forAboriginal Interests (MRA WesternAustralia, n.d.)

How willAboriginal people be involved in the design or interpretation process?

Metropolitan RedevelopmentAuthorities (MRA) Partnerships

(MRAWesternAustralia, n.d.)

How willAboriginal people be involved in the design or interpretation process?

Is there a clear implementation process for the strategy?

Kaart Koort Waarnginy develops a framework which tabulates the Six Seasons of the Noongar calendar along with the MRA’s Place Making Model.The framework is the intellectual property of Dr Richard Walley OAM.

The Six Seasons are autumn, first winter, second winter, spring, first summer and second summer.They correspond to the six key development stages of a project from the initial stage to the final stage.

The implementation stages corresponds to the seasons of second winter, spring, first summer.

The three seasons of implementation stage corresponds to the birth, childhood and adolescence of a project’s growth.

The implementation project stage is the longest stage within a project

The hierarchical sub-stages within the implementation stage, ready for project delivery and handover.

The description of the three most important sub-stages:

1. Detailed Design: Physical implementation of the cultural blueprint.

2. Interior Design: Implementation of interior design and fit out.

3. Landscape & Public Realm: Layering a sense of place through landscape and public domain design.

The Kaart Koort Waarnginy Framework (MRAWesternAustralia, n.d.)

Is there a clear implementation process for the strategy?

The Kaart Koort Waarnginy Implementation Guide

When to apply Kaart Koort Waarnginy

● Kaart Koort Waarnginy framework can be applied throughout the full project delivery from small scale to strategic projects.

● In order to achieve the most effective outcomes, authentic and respectful engagement and participation should be implemented at project initiation.

● Kaart Koort Waarnginy can also be implemented at other stages of a project spectrum along with meticulous management.

Who to involve

● Key roles and duties include:

○ CEO and Executive - establishes strong commitment

○ Kaart Koort Waarnginy Coordinator - implementing and embedding

○ Kaart Koort Waarnginy Project Representative - liaises with the project coordinator

○ Project Director - predicts all aspect of project delivery

○ Project Team - the selected consultant team

○ Cultural Coordinator -Aboriginal position that provides guidance

The delivery of Kaart Koort Waarnginy

● The delivery of Kaart Koort Waarnginy requires sufficient time and planning resources across the project scheme.

● There are key principles to support the delivery, this includes: mutual respect, relationship establishment, commitment, authentic engagement and respectful acknowledgement of the Noongar Country.

● The traditional owners are the regular reference group throughout the implementation process.

Explanation of the Kaart Koort Waarnginy symbol

WesternAustralia, n.d.)

Involvement with the Noongar community

Ribbon Cutting Ceremony, opening of a new place upon completion (National IndigenousTimes, 2021)

How does the process ensure that stories of Country and culture are not taken out of context or appropriated?

The Cultural Blueprint

● The Cultural Blueprint is the agreed curriculum for projects

● It illustrates the six main project stages, scheduled formal and informal meeting points.

● The curriculum provides opportunities to discuss specific concerns between the KKW team and the traditional owners.

● It ensures that stories of Country and culture continues to deliver genuinely throughout the process with effective outcomes in close liaison with the traditional owners.

● It aims to be flexible and reassure informal dialogue between every stage of the project.

● It guarantees that cultural advice from traditional owners have been appropriately informed and addressed in the correct context.

● Any work developed during the informal meeting points will be presented to the traditional owners to ensure formal approval and endorsement.

(MRAWesternAustralia,

Scheduled Meetings

● Informal contact with the traditional owners between project stages and formal meetings are required during the KKW process.

● Collaborative meetings are essential between the MRA, traditional owners and the KKW Coordinator throughout the stages shown in the Cultural Blueprint and are organised by the Coordinator and CulturalAdvisor when necessary.

● The meetings cover detailed progress of the place narrative and cultural perspectives and how to apply them appropriately to the proposed Masterplan.

● They ensure that all parties work on agreed directions. Endorsements from traditional owners should be achieved within the four meetings.

● If endorsements are not achieved, it will need to be resolved immediately in order to continue with a positive outcome.

(MRAWesternAustralia, n.d.)

Autumn First Winter Second Winter Spring First Summer Second Summer

n.d.)

Evaluation & Recommendation

Limitations Recommendations

Lack of promotion

The framework should be promoted nationwide for other designers and planners to use in the field acrossAustralia. Similar ideas of the framework should be developed in across different states. The engagement framework should be implemented in more real life projects in order to verify the effectiveness of the framework and refine the framework further if needed.

Lack of real life application Negligence in practice

Country-centred approaches have been neglected in practice with the lack of Indigenous planners. Many planners and designers might not be aware of interacting with First Nations people.

Listening to Country

● Collaborating with Indigenous Knowledge Holders with an aim to explore the idea of Listening to Country would be beneficial in establishing an understanding of Indigeous peoples and their unique relationship to Country.

● The use of GANSW’s five key questions to approach thinking about Country is a beneficial step in intentionally relating design decisions to the land.

Connecting to Country

● Sharing of stories and knowledge of natural practices could be included in the framework.

● Indigenous traditional land knowledge should be embedded into modern practices and technology to help make information more accessible.

Cultural Intellectual Property Healing Country

● Respect for theAboriginal community can be ensured through the use of the “TrueTracks Protocols” when engaging with ICIP

● The Indigenous philosophy of leaving behind a promising legacy for future generations should be considered

● TheAboriginal community’s inherent connection to land should be at the forefront of this framework

● Country-centred approaches should be considered where possible as it covers the economic, social and environmental. elements in a project by default.

● In order to achieve a success in the concept of healing Country, planners and designers have to understand wrongs of the past in order to restore the disrupted.

(GovernmentArchitect NSW, 2020)

(GovernmentArchitect NSW, 2020)

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