Introduction: Architectures of Survivance: an Antipodean
Perspective
1. Aboriginal Tent Embassy, Canberra, Australia
2. Australian Institute of Aboriginal and Torres Strait Islander
Studies and National Museum of Australia, Canberra, Australia
3. Bangerang Cultural Centre, Shepparton, Victoria, Australia
4. Bowali Visitor Centre, Kakadu National Park, Northern Territory,
Australia
5. Brambuk Cultural Centre, Halls Gap, Victoria, Australia
6. Brewarrina Aboriginal Museum, New South Wales, Australia
7. Burrinja Cultural Centre, Olinda, Victoria, Australia
8. Edge of the Trees, Museum of Sydney, New South Wales,
Australia
9. Galina Beek Living Cultural Centre, Healesville, Victoria,
Australia
10. Gunung-Willam-Balluk Learning Centre, Broadmeadows, Victoria,
Australia
11. Gwoonwardu Mia Gascoyne Aboriginal Heritage and Cultural
Centre, Carnarvon, Western Australia, Australia
12. Jean-Marie Tjibaou Cultural Centre, Noumea, New Caledonia
13. Karijini Visitor Centre, Karajini, Western Australia,
Australia
14. Koorie Heritage Trust, Melbourne, Victoria, Australia
15. Kurongkurl Katitjin Centre for Indigenous Australian Education
and Research, Edith Cowan University, Mount Lawley, Western
Australia, Australia
16. Lake Tyers Training Centre and Lake Tyers Health Centre, Lake
Tyers, Victoria, Australia
17. Living Kaurna Cultural Centre, Bedford Park, South Australia,
Australia
18. Minpaku (National Museum of Ethnology), Osaka, Japan
19. Mossman Gorge Centre, Mossman, Queensland, Australia
20. Musée du Quai Branly and Universitè Wing, Paris, France
21. Museum of Anthropology, University of British Columbia,
Vancouver, Canada
22. Museum of New Zealand Te Papa Tongarewa, Wellington, New
Zealand
23. Musgrave Park, South Brisbane, Queensland, Australia
24. National Centre of Indigenous Excellence, Redfern, New South
Wales, Australia
25. National Museum of the American Indian, Washington & New York
and Cultural Resources Centre, Maryland, United States of
America
26. Needwonnee Walk, Melaleuca, Tasmania, Australia
27. Ngarluma Yindjibarndi Cultural Complex, Roebourne, Western
Australia, Australia
28. Nk’Mip Desert Cultural Centre, Osoyoos, Canada
29. Port Augusta Courts, Port Augusta, South Australia,
Australia
30. Reconciliation Place, Canberra, Australia
31. Riawunna Centre, University of Tasmania, Launceston, Tasmania,
Australia
32. Rumbalara Medical Clinic, Mooroopna and Rumbalara Elders Care
Facility, Shepparton, Victoria, Australia
33. Sámi Parliaments, Norway, Sweden & Finland
34. Shung Ye Museum of Formosan Aborigines, Taipei, Taiwan
35. Tiaggara Aboriginal Cultural Centre and Museum, Devonport,
Tasmania, Australia
36. Tjapukai Aboriginal Cultural Park, Caravonica, Queensland,
Australia
37. Tjulyuru Cultural and Civic Centre, Warburton Aboriginal
Community, Western Australia, Australia
38. Uluru-Kata Tjuta Cultural Centre, Northern Territory,
Australia
39. Wilcannia Health Service, Wilcannia, New South Wales,
Australia
40. Worn Gundidj, Tower Hill, Victoria, Australia
41. Yagan Memorial Park, Belhus, Western Australia, Australia
Anoma Pieris is an associate professor at the Melbourne School of Design at The University of Melbourne. She has degrees from the Massachusetts Institute of Technology and University of California, Berkeley, and has authored design monographs and research publications in architecture and the spatial disciplines.
[T]he book has value, and not just as travel guide (though it could
serve as that). Looking at architecture in particular, Pieris
examines the origins, development, and public reception of the
sites, many of them designed in consultation with Indigenous
peoples. One strength of the book is the author's overview of how
architects and curators (mostly Australian) considered the voices
of Indigenous people in their design and interpretive practices. Of
special note is the Brambuk, a cultural center in Victoria,
Australia: the center's circular forms represent the five
Aboriginal communities that make up Brambuk Incorporated (which
owns the Brambuk facility). Architects took care to invoke ancient
stone dwellings throughout the complex, which drapes across the
foothills of the Grampian mountains. At other centers discussed,
designers incorporated buildings into existing landscape features
(and included indigenous plants).
Summing Up: Recommended. Graduate students, researchers, faculty;
professionals; general readers.
*CHOICE*
Professor Anoma Pieris describes the new challenges faced by
cultural centers and museums. She writes in a clear and engaging
manner that suggests she is fully engaged with the subject matter,
and the result is a real contribution to Indigenous studies.
*Joy Monice Malnar, co-author with Frank Vodvarka of New
Architecture on Indigenous Lands*
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