Search results

This chapter examines the limitations of the Western world view in Australia and its influence on the built environment. The dominant narrative of colonialism has disregarded alternative ways of being in the world, resulting in a lack of inclusivity for First Nations peoples. To address this issue, there is potential in embracing an alternative world view through design thinking and co-design to develop more culturally and environmentally suitable places through holistic ways of understanding the world to influence future design strategies for knowledge dissemination. This chapter’s contribution is in promoting an alternative perspective that can challenge the dominant world view and create more inclusive and culturally sensitive spaces that reflect the diversity of the community. This is particularly relevant in the current political climate, where there is a growing advocacy for change and a motivation to look to other cultural perspectives, such as those of First Nations peoples. It calls for a paradigm shift in how we think about and synthesise architecture in Australia. This chapter advocates for the acceptance and engagement with First Nations peoples’ world views, particularly in the fields of architecture, design and places that focus on cultural records.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.

The aim of this study is to question the relationship between architectural ethical codes and faults in earthquakes. Earthquakes have devastating effects on all societies in history and today. And the relationship and importance of the architect and building, one of the most important roles of these destructive effects, is once again revealed in every earthquake. Although there are some restrictions or warnings for architects and the architectural profession to reduce this destructive effect in many regulations and ethical codes, it is possible to see the defects caused by architectural design and the destruction caused by these defects in every new earthquake.

In this study, the most destructive earthquakes in Turkey in the past 20 years (Bingöl, Van, Elazig and Izmir) and the 1999 Marmara earthquake, which was the most destructive earthquake in Turkey’s recent history, and the damages occurred in these earthquakes and their causes were examined. Although the scope of the study is “destructive earthquakes that have occurred in the past 20 years in Turkey”, the Marmara Earthquake, which occurred in 1999, when the destructive effect of the earthquake was seen the most and architectural design errors were intense, was also included in the scope of the study. And to have a more comprehensive understanding of how these defects are examined in terms of ethical codes and to make a more comprehensive comparison, ethical codes from different countries in the world have been researched and a review has been made on topics such as public welfare, human rights and raising the standard of the profession.

This study concludes by reviewing the key factors learned from the examined ethical codes of different countries. Finding ethical codes of different countries was challenging to gain approval. In addition, the study ends with recommendations in terms of questioning the regulations and education curriculum relations on a country basis.

This study, which targets architect candidates who carry out the profession of architecture and continue their architectural education, evaluates the architectural design flaws seen in earthquakes through ethical codes and forms a basis for further studies.

The architectural profession faces an increasingly complex ethical landscape. In recent decades, the ethical foundations for architecture – formally defined in professional codes of conduct and reflected in regulatory frameworks – have expanded to incorporate imperatives derived from environmental and social responsibilities. The present research examines how these expanding ethical expectations are reflected in, and supported by, recent research about architectural ethics.

Analysis is based on a systematic review of recent research (2002–2023) focussing on ethical values and associated behaviours in the architectural profession. The review identifies 37 research articles (from a starting set of 2,483 articles), which are analysed empirically and then qualitatively to draw out views around three types of ethical behaviour. The paper then discusses how these findings align thematically with the evolving ethical needs of architectural practitioners (as defined in the professional codes of ethics and conduct of the RIBA in the UK, AIA in Australia and the AIA in the USA).

While business ethics remains the focus of past research, there has been a rise in research about ethics and social and environmental factors. The content of professional codes reflects this shift, setting the conditions for architects to aspire to increased expectations of environmental and social responsibility.

This article undertakes the first systematic review of recent research about architectural ethics and its alignment with the content of contemporary professional codes. Organised thematically, recent research about ethical values and associated behaviours can offer guidance for the evolving ethical needs of architects.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

In this chapter, Jared Thomas, a Nukunu person from the Southern Flinders Ranges and a Research Fellow at the South Australian Museum and University of South Australia, reflects on his efforts to enhance the Fire Exhibit within the Australian Aboriginal Cultures Gallery [AACG], which has not been updated in 20 years. Thomas draws from an international precedent of involving Indigenous communities in museum displays.

The author outlines the limitations of renovations in terms of budget, space, and Indigenous protocols, while considering the potential impact of the proposed Tarrkarri Centre for First Nations Culture. He emphasises the importance of fostering relationships between Aboriginal and non-Aboriginal peoples, allowing Indigenous voices to speak for themselves.

Thomas focusses on the Fire Exhibit, discussing its significance in Aboriginal culture, the lack of contextualisation, and the need for improved representation. He proposes short-term actions such as adding QR-code-based text for context, and long-term ambitions like incorporating audio-visual and augmented reality elements. He highlights the importance of Aboriginal fire land management practices, especially in the aftermath of the 2019 Australian bushfires.

Thomas proposes strengthening the exhibit’s connection to foods, medicines, and fixatives that benefit from cultural burning. He envisions collaboration with the Adelaide Botanic Gardens and acknowledges the resource constraints faced by the museum. He concludes by envisioning a template for extending improvements across the museum and fostering better understanding and representation of Aboriginal culture.

The increased use of, and reliance upon, technology and digitalisation, especially in the galleries, libraries, archives and museums [GLAM] sector, has motivated innovative approaches to the curation of cultural material. These changes are especially evident when collaborating with Indigenous partners. Indigenous Data Governance [IDG] and Indigenous Data Sovereignty [IDS], with an emphasis on self-determination of Indigenous peoples, have called for an emerging focus on ethical and culturally sensitive approaches to data collection and management across a range of disciplines and sectors.

This chapter reports on broader discussions, specifically with mid-North South Australia, Indigenous community members around the appropriate and ethical collection, representation and curation of cultural material on Country applying digital formats. It investigates ways to create a ‘future identity’ through built form as well as providing a ‘safe’ place for preservation of their oral histories.

It highlights the many questions raised around the ethically and culturally sensitive aspects of the collection, curation and archiving of Indigenous cultural material. It documents the preliminary outcomes of these conversations in the context of current research on IDS best practices in the field. The non-Aboriginal authors acknowledge our supporting position in the realisation of effective IDS and self-determination of our Aboriginal partners.