Our Voices

Rebecca Kiddle, Patrick Reid Stewart, Kevin O'Brian

Description

Our Voices: Indigeneity and Architecture is an exciting advance in the field of architecture offering multiple Indigenous perspectives on architecture and design theory and practice. Indigenous authors from Aotearoa NZ, Canada, Australia, and the USA explore the making and keeping of places and spaces which are informed by Indigenous values and identities. The lack of publications to date offering an Indigenous lens on the field of architecture belies the rich expertise found in Indigenous communities in all four countries. This expertise is made richer by the fact that it combines both architecture and design professional practice – for the most part that is informed by Western thought and practice – with a frame of reference that roots this architecture and design in the Indigenous places in which it sits.

Sujets

• Colonialism
• Architecture

Informations

• Publié par: ORO Editions
• Date de parution: 15 juin 2021
• Nombre de lectures: 0
• EAN13: 9781954081598
• Langue: English
• Poids de l'ouvrage: 8 Mo

Extrait

Our Voices: Indigeneity and Architecture
By Rebecca Kiddle, luugigyoo patrick stewart, and Kevin O’Brien




Publishers of Architecture, Art, and Design
Gordon Goff: Publisher
www.oroeditions.com
[e-mail]
Published by ORO Editions
Copyright © Our Voices Publishing Collective 2018
Text and Images © Our Voices Publishing Collective 2018
All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, including electronic, mechanical, photocopying of microfilming, recording, or otherwise (except that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press) without written permission from the publisher.
You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer.

Graphic Design: Gordon Tillotson
ORO Project Coordinator: Kirby Anderson
10 9 8 7 6 5 4 3 2 1 First Edition
Library of Congress data available upon request. World Rights: Available
ISBN: 978-1-940743-49-3
Color Separations and Printing: ORO Group Ltd.
Printed in China.
International Distribution: www.oroeditions.com/distribution
ORO Editions makes a continuous effort to minimize the overall carbon footprint of its publications. As part of this goal, ORO Editions, in association with Global ReLeaf, arranges to plant trees to replace those used in the manufacturing of the paper produced for its books. Global ReLeaf is an international campaign run by American Forests, one of the world’s oldest nonprofit conservation organizations. Global ReLeaf is American Forests’ education and action program that helps individuals, organizations, agencies, and corporations improve the local and global environment by planting and caring for trees.




Table of Contents


Tribute to Rewi Thompson – Deidre Brown, Nicholas Dalton and Te Aritaua Prendergast 4
Voice – Haare Williams 8
Foreword – Haare Williams 9
The Ethics of writing and producing a book on Indigeneity and Architecture – Rebecca Kiddle, luugigyoo patrick stewart and Kevin O’Brien 10
Te Wāhanga Tuatahi (Section 1): He Kaupapa Taketake: Our Voice through Architecture
Chapter 1: Kumara - more than a vegetable – Haare Williams 14
Chapter 2: Architecture and Consent – Kevin O’Brien 20
Chapter 3: architecture as an indigenous voice soul and spirit – luugigyoo patrick stewart 30
Te Wāhanga Tuarua (Section 2): They’ve Always Been Indigenous Places
Chapter 4: Contemporary Māori Placemaking – Rebecca Kiddle 44
Chapter 5: The effect of Redfern’s Indigenous community on local and neighbourhood planning – Michael Hromek 60
Chapter 6: My Māori Spaces: Women’s Spaces – Amiria Perez 70
Chapter 7: Métis Domestic Thresholds and the Politics of Imposed Privacy – David Fortin, Jason Surkan and Danielle Kastelein 76
Chapter 8: Kia Tahuri i te Riu, Kia Tika: Indigenous Participation in Earthquake Recovery Planning – Hauauru Rae and Michelle Thompson-Fawcett 86
Chapter 9: Cultural Identity and Architecture – Douglas Cardinal 94
Chapter 10: Does Blak Design Matter – Timmah Ball 98
Te Wāhanga Tuatoru (Section 3): Rebuilding the processes of Indigenous placemaking and placekeeping
Chapter 11: Conserving Māori Architecture, Maintaining Traditional Māori Arts – Ellen Andersen 104
Chapter 12: Finding Our Voice in Our Indigenous Homeland – Daniel Glenn 108
Chapter 13: Māori self-determination using dreaming and visualising techniques to build sustainable communities – Fleur Palmer 126
Chapter 14: Everything is a Circle – Michael Laverdure 132
Chapter 15: Indigenous Placekeeping Framework (IPKF): An Interdisciplinary Architectural Studio as Praxis – Wanda Dalla Costa 146
Chapter 16: Embracing Cultural Sensitivities that celebrate first nations perspectives – Jefa Greenaway 154
Chapter 17: Contemporary Papakāinga Design – Principles and Applications - Jade Kake 164
Chapter 18: Closing the non-Indigenous gap – Sarah Lynn Rees 176
Chapter 19: Designing to Express Community Values: A new Community School in South Dakota – Tammy Eagle Bull 182
Te Wāhanga Tuawha (Section 4): Reclaiming Architectural Sovereignty
Chapter 20: Decolonising the whenua – Matthew Groom 192
Chapter 21: Face the Irony – Linda Kennedy 196
Chapter 22: Third Space in Architecture – Michael Mossman 198
Chapter 23: Weypiskosiweywin: the people have been displaced – K. Jake Chakasim 210
Chapter 24: Always Is: Aboriginal spatial experiences of land and Country – Danièle Hromek 218
Chapter 25: ‘Kohanga Rehua’ – Restoring the last earth floor Māori meeting house in Aotearoa – New Zealand – Rau Hoskins 238
Hei whakakapi – Rebecca Kiddle, Kevin O’Brien and luugigyoo patrick stewart 254



For Rewi Thompson



Nui whetu i te rangi, mau tonu, mau tonu, Whatu ngarongaro i te whenua, Ngaro noa, ngaro noa…
Rewi was strapped at primary school, because Neil Armstrong had just landed on the moon, and a young Rewi, beguiled by this, wanted to be an astronaut. I mean who wouldn’t?
Rewi Michael Robert Thompson, architect and adjunct professor of architecture, was born in 1953 to Bobby and Mei Thompson. He was one of the first generation of ‘urban Māori’ who were raised away from their tūrangawaewae and in the city, in his case Wellington, where his father worked as a bus driver. Unlike many other young Māori people living in similar circumstances, Rewi and his older sister, Ngapine, maintained strong connections to their Ngāti Porou and Ngāti Raukawa whānau and marae. These experiences would become formative influences on his conception of architecture as being fundamentally concerned with land and people, and conviction that architecture could return identity and well-being to people suffering from cultural estrangement.
Rewi originally trained as an engineer at Wellington Polytechnic and, for a short time, worked as a structural draughtsperson at Structon Group before leaving to study architecture at the University of Auckland. Fellow students fondly recall him arriving equipped with a set of highlighter pens and wearing jandals. His exceptional talents became immediately apparent to staff and students. David Mitchell, who was one of his earliest design tutors, recalled that one of Rewi’s first student projects was the design of “a bach on an exposed bush-clad site. All the students tried to tone their buildings in with the bush, all except for Rewi. He painted his bright pink and, boy, did it look good. It was a signal about the future” (personal communication to Deidre Brown, 2016). David would later include Rewi’s Ngāti Poneke Marae student project in his 1984 book The Elegant Shed as an


example of how customary concepts could inform large-scale, urban, contemporary building proposals. This work has influenced many Māori architecture students by demonstrating that Māori architecture can be more than just red ochre paint and a pitched roof, in this instance, a glass and steel monolith cascading down into the Wellington harbour.
In 1983, after registration as an architect, Rewi established his own practice. Three years later, his reputation was such that he joined ‘esteemed architects’ Ian Athfield, John Blair and Roger Walker on a lecture tour of the United States. His highly- expressive formalism was articulated across a number of residential, commercial, and institutional projects during the ‘boom’ construction period that occurred between the election of the Labour Government ‘in 1984 and the building industry’s decline following the 1987 Stock Market Crash. They included: the undulating terraced Wiri State Housing precinct, built as an urban papakāinga - (village) (1986 -1989); the abstracted fish canopies that gave a Pacific identity to the otherwise bland Ōtara Town Centre (1987); and the dynamic Capital Discovery Place and City to Sea Bridge that reimagined the creation stories of Te Whanganui-a-Tara, also known today as Wellington (1988, 1990-1994). His diverse practice extended into exhibition design with the innovative waka huia (treasure box) receptacle that he created for the Ko Tawa touring show of taonga Māori (Māori treasures) associated with Gilbert Mair, its curator, Paul Tapsell, described it as “the boldest ever Māori touring exhibition of the 2000s. Small, compact, but powerful in its wakahuia contained message: the living are the object of our ancestry, not the dead” (Tapsell, 2017). Another important, but unrealised, project dealing with the idea of architecture as a taonga was the shortlisted proposal for the new Museum of New Zealand building, undertaken with Ian Athfield and Frank Gehry. In a very telling comment, made in response to misunderstandings about his work, he once said, “if it


Tribute to Rewi Thompson



6


Our Voices: Indigeneity and Architecture


tribute to rewi thompson


can’t be absorbed or understood in a bicultural