Abstract
The design of specific buildings to house Australian Aboriginal and Torres Strait Islander cultural artefacts , artworks, activities or organisations, has become important in Australian architecture since the 1960s. A growing number of buildings—and new architectural types —have been devised to support, display and safeguard Indigenous cultures and to accommodate Indigenous organisations that have become more prevalent since self-determination . These new public, institutional and community building typologies provide an architecture that often speaks to the both the Indigenous and non-Indigenous population. This chapter examines a number of different types of Indigenous institutional, public and community buildings, surveying architectural precedents within the genres of keeping houses and cultural centres, museums, art centres, educational and health projects. Some of Australia’s leading architects, Indigenous and non-Indigenous, have contributed to these works, seeking to create architecture that better fits the needs of Indigenous users, to participate in the recognition of the unjust treatment of Indigenous Australians, and to dignify contemporary Indigenous cultures through architectural excellence. Public, institutional and community buildings that cater to and purport to represent or make visible Indigenous communities have developed their own typologies during the twentieth century and continue to do so. The need for Indigenous input for buildings to function according to needs and expectations, and to reconcile decades of exclusion and racism still poses challenges for policy makers and architects alike. Evidence-based design that demonstrates improved health and wellbeing and educational outcomes in culturally appropriate buildings is occurring, but integration between research and design is needed, along with greater post-occupancy evaluation, and a commitment to learn from designs and their effect on Indigenous peoples and communities. Architecture and placemaking that celebrates cultural identity, fits with Indigenous socio-spatial and cultural needs, and is devised by or with Indigenous peoples, is an important aspect of making Indigenous cultures visible and demonstrating Indigenous resistance and resilience in contemporary Australia.
The original version of this chapter was revised: Author biography has been updated. The erratum to this chapter is available at https://doi.org/10.1007/978-981-10-6904-8_35
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22 September 2018
An erratum has been published.
Notes
- 1.
No treaties were made with the Indigenous peoples of Australia. The Commonwealth authority for Aboriginal policy and administration was restricted to the Northern Territory until 1967, at which time it acquired concurrent powers with the states to legislate for Aboriginal peoples (Armitage 1995: 13).
- 2.
‘Secret and/or sacred ’ are terms used to describe highly significant objects that are usually ceremonial in nature. ‘Private ’ refers to objects used in activities, such as sorcery and certain forms of cultural practice outside the public domain (Kaus 2008). Prior to the European invasion, these objects would usually be stored in a natural setting (i.e. specific buildings or structures were not generally built to store objects) and accessible only to the appropriate person/people.
- 3.
Subsection systems are unique social structures that divide all of Australian Aboriginal society into a number of groups, each of which combines particular sets of kin. Subsections are widely known as ‘skins’. Each subsection is given a name that can be used to refer to individual members of that group. ‘Skin’ is passed down by a person’s parents to their children.
- 4.
The concept of the ‘Dreaming’ is grounded in the notion of Country and incorporates creation and other land-based narratives, social processes including kinship regulations, morality and ethics. This complex concept informs all aspects of Aboriginal people’s economic, cognitive, affective and spiritual lives.
- 5.
The mosaic artworks are viewed as a significant contributor to the development of the Western Desert Art Movement.
- 6.
For further information, see Wright (2009).
- 7.
In many remote communities across Australia, there are separate women’s and men’s activity centres. For detail of gender-specific roles in Aboriginal life see, for example, Merlan (1992).
- 8.
Memmott and Long note that Aboriginal places and their cultural meanings may be enacted through altering the physical characteristics of the environment; through enacting special types of behaviour within a particular environment; and by association with knowledge such as concepts, past events, legends, names, ideals or memories (2002: 40).
- 9.
The final report of the Royal Commission into Aboriginal Deaths in Custody called for a national reconciliation process as “…an essential commitment on all sides if change (i.e. the recognition, acknowledgement, redress and remedy of past wrongs committed to Indigenous peoples) is to be genuine and long term” (Commonwealth of Australia 1991: 12).
- 10.
The presentation of the buildings as ‘a blank canvas’ was used as a method to enable Indigenous users to embellish the space with their own cultural signs and symbols . As one example, the foyer was painted in 1995 its entirety by acclaimed Arrernte painter, Heather Kemarre Shearer .
- 11.
A raised concrete streetscape with a series of grey low walls was created adjacent to the entrance. This was conceptualised as a representation of reconciliation , bridging the metaphorical gap between Aboriginal and non-Aboriginal societies. It had the dual purpose of creating an informal gathering area and creating a barrier to the busy street.
- 12.
Ngarrindjeri /Kokatha artist Bluey Roberts created a 28-m-long (98.9 ft.) multicoloured mural (River Spirit Dreaming ) on the streetscape . The concrete blocks for the artwork were cut by a computer-driven router, using a program created from the original drawing, a challenging and sophisticated task for the period (Hannaford 1992: 106).
- 13.
The project is located in the Grampians (Gariwerd ), a place central to the Dreaming of Aboriginal peoples, particularly the Djab Wurrung and the Jardwadjali , the Traditional Owners of the area.
- 14.
Koorie (alt sp. Koori) is self-descriptor for Aboriginal peoples from the southern mainland of Australia.
- 15.
Memmott and Reser described one part of the architect’s consultation process:
At the start, Burgess camped for a night near the site, with the Aboriginal groups and other representatives, dancing and singing, eating and drinking and telling stories. In the morning he made intuitive conceptual sketches , to which Aborigines immediately responded, seeing the form as an animated being—an Emperor Moth or White Cockatoo … (2000: 72).
- 16.
The Traditional Owners of Kakadu are the Bininj /Mungguy .
- 17.
The term Anangu means ‘person’ and is used to refer to an Aboriginal person/s, in particular an Aboriginal person or people from the Western Desert region.
- 18.
Within the design process, Anangu stories were mapped. Preliminary layouts and possible sites explored the manner in which tourists would move through the centre and around the site and how the displays would unfold.
- 19.
See Fantin ’s (2003) discussion on this topic.
- 20.
In 2012, Gabi Titui underwent a renovation (James Davidson Architects) which included the reconfiguration of interior spaces and renovation of the gallery spaces and re-cladding of exterior.
- 21.
The Wandjina (alt sp. Wondjina) are cloud and rain spirits from Aboriginal mythology of the Kimberley region of Western Australia. The spirits are depicted alone or in groups, vertically or horizontally, and are sometimes depicted with figures and objects like the Rainbow Serpent or yams. Common composition is with large upper bodies and heads that show eyes and nose, but typically no mouth. Two explanations have been given for this: they are so powerful they do not require speech and if they had mouths, the rain would never cease. Around the heads of Wandjina are lines or blocks of colour, depicting lighting coming out of transparent helmets.
- 22.
The project involved the Weipa community and neighbouring Aboriginal communities of Napranum , Arukun and Mapoon .
- 23.
A ‘stubby’ is a term for a small bottle of beer.
- 24.
The abuse of alcohol is the cause of much suffering among Aboriginal and Torres Strait Islander populations. It causes serious harm to the physical and social health of individuals and communities, leading some communities to impose alcohol restrictions which ban or limit the amount and type of alcohol that can be taken into a community (Australian Institute of Health and Welfare 2011).
- 25.
The Yothu Yindi Foundation was established with the mission that Yolngu and other Indigenous Australians share the same level of well-being and life opportunities as non-Indigenous Australians.
- 26.
In 2018, it was announced that the Yarra Building where the Koorie Heritage Trust is housed would be demolished to make space for a flagship store for Apple. Also announced was the plan to move the Koorie Heritage Trust to the Alfred Deakin building within Federation Square.
- 27.
Gardiner and McGaw’s chapter in this volume discusses the social context of the Melbourne Museum project.
- 28.
Merrima Aboriginal Design Unit operated from within the New South Wales Government Architect’s Office from 1995 to 2016. Merrima Aboriginal Design Unit has also been known as Merrima Indigenous Design Unit.
- 29.
Dillon Kombumerri was one of the first registered Indigenous architects in Australia. It appears that the first registered Indigenous architect was Max Lawson (b. 1942). Lawson, a member of the Stolen Generation, was educated at Manly High School and the University of NSW. He registered as an architect in NSW in 1966.
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Grant, E., Greenop, K. (2018). Affirming and Reaffirming Indigenous Presence: Contemporary Aboriginal and Torres Strait Islander Community, Public and Institutional Architecture in Australia. In: Grant, E., Greenop, K., Refiti, A., Glenn, D. (eds) The Handbook of Contemporary Indigenous Architecture. Springer, Singapore. https://doi.org/10.1007/978-981-10-6904-8_3
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