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ARCH3200 WK5 - Coggle Diagram

- - - - fixing culture through materiality and form requires caution
      - be mindful of the implicit architect/stakeholder hierarchies inherent in the design process
      - focus on the aboriginal client 'speaking' and the non-aboriginal architect 'listening' - this suposedly channels what the 'other' is speaking and produces a cultural, political and economic hegemony
      - new guidelines for all governments in Victoria stress the importance of aboriginal inclusion in decision making through 'engaging not just consultation and 'informed consent'
      - in light of liberation epistemologies developed over the last 15 years by Maori and North American researchers have developed a research methodology that sits between indigenous and non-indigenous knowledge systems
      - deep listening is different from the 'channelling'
      - deep listening in many aboriginal cultures has its own word
      - deep listening is different to superficial listening and requires the listener to internalise the words, ruminate on them, and turn them back on ourselves in a way that changes who we are
      - at its heart deep listening lies a commitment o respecting indigenous knowledge systems as different yet equal
      - indigenous knowledge has traditionally been communicated through performative practices such as story, dance and song
    - - the protocol in indigenous oral traditions is that storytelling must begin with the teller positioning him or herself in relation to clan and place. before embarking on the story, the storyteller must first describe their journey to the place where the story begins. and so before gathering together the voices that will interleave with our text, and before re-telling the narratives that define 'place' in the Australian landscape- we must start with our own
    - - a spiritual vector that is both emplaced and independent of linear time
      - people are connected to both their ancestors and their future progeny in an ontological system where past, present, and future
      - there are specific rules about who can carry a story and responsibilities for its maintenance include the performance of retelling it in its place of origin.
      - exact repetition is important, enabling stories to be re-told for thousands of years and by following this the ancestors are honoured and continue to dwell spiritually in the land
      - there are strict rules around their transfer to others
      - stories reveal a larger organising pattern to the world based on a social system of genealogies
      - in many parts of Australian maintenance was severed by colonization
      - contemporary inscriptive practices or aboriginal art are new modes of story telling
    - - to name space is to name histories
      - British renamed spaces because they believed they were socially empty spaces
      - writing allowed new myths to be constructed
      - new myths overwrite stories and other settler texts
      - mapping and writing rendered what was specific, abstract and generalisable
      - the consequences of such dispossession and silence produced another discourse that deficits indigenous culture and the gaps in education, advantage, health and opportunity
    - - in the 1990's reconciliation and a cross-cultural exchange began to happen in Australia
      - 1995-2004- the first united nations decade for the worlds indigenous peoples
      - 1992- Paul Keating gave a speech to a predominantly aboriginal audience and publicly acknowledged the settler society have been responsible, through murder discrimination and exclusion for the dispossession and abuse of the first Australians
      - 2008- Kevin Rudd offered an apology to the indigenous people particularly the members of the stolen generation
  - - - leadership or dominance, especially by one state or social group over others
    - - the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion
- - - - the desire for reconciliation if widespread
      - the desire for architecture that is authentically Australian and that would bridge the cultures is strong
      - "touch the earth lightly" is a key phrase that links the work to both Aboriginality and ecological sustainability
      - requirement for an aboriginal housing solution is large
    - - Marika house on the beach front of a remote former mission town for the yolngu community/
      - steel framed roof that is open to the landscape
      - it is an unfinished house but because it was unfinished it was open to the landscape which was
      - marikas relationship with the landscape is spoken for by murcutt. as a bridge between cultures it does not span the gap but people from both sides want it to continue standing.
    - - finished in 1994 and by the end of that year it had been published in journals and newspaper
      - the building was swiftly cannonized after its publicity
      - most pictures depict the building as a platform with landscape showing through and under the house
      - this aboriginalization proceeded even in the face of a broader public view from those who visited the site
    - - climatically it has a very comfortable interior
      - faces the beach with a road in front
      - murcutt controls the reproduction of the building