The Architectural Peculiarity of Australia - Essay Example

Introduction The architectural peculiarity of Australia is quite different from other countries of the Commonwealth. The main thing is the ethnical diversity ostensible in the country. However, the goods of scientific and technological progress did not take particularities of indigenous life into account. Hence, a huge burden of prejudice and unfair destruction of the natural and cultural sceneries has appeared eventually. Moreover, it is so often when contemporary descendants from Great Britain and other European countries would like to neglect the requests of the indigenous people of Australia. Thereupon, it is highly important to come up with a set of actions, protocols, and other activities aimed at protecting indigenous interests, first of all. In addition, the description of the profession (architecture) is well applied to the code of principles and rules in an attempt to protect the rights and interests of indigenous people. Architecture as a profession To be precise, architecture is a form of visual thinking implemented through man-made building or structure (Winters 2005, p. 23). In this respect it is vital to mention that, like any kind of art, architecture reflects on the main peculiarities of the time influenced by the technical and technologic progress of the mankind at the moment. Hence, human vision is the first source for the architecture. In turn, architecture is up for imaginative people able also to get well with some practical approaches (Hunter 2008, p. 1). However, such a vision should weigh all collective inquiries in order to keep up with the democratic values shared in the developed Western countries. In this vein, architecture as a profession should include all pros and cons before taking place at a definite site. Aboriginal life As in many countries of the world, the period of colonization had its negative outcomes shown in the way of segregation, dehumanization and humiliation of the indigenous people by the colonizers. However, Australia is well known as “the lost continent of prehistory” and Aborigines reached it more than 40, 000 years ago (Apex 2010, p. 1). The ethnographic, cultural, and anthropologic difference obvious in Aborigines is to be taken as a standpoint for checking this or that architectural concept out (Anderson 2003, p. 7). Hence, during the period of colonization, the interests of Aborigines were never taken into consideration. During the period of assimilation, it is Aborigines who tried to change things for better in keeping with the human ideals of democracy. Thus, the cultural versatility of these indigenous people may become almost trite unless tolerating their claims and requests accordingly. Along with indigenous new media arts, architecture throughout Australia should pay attention to the indigenous cultural and ethnical uniqueness (Fraser 2002, p. 13). By no means, Aborigines seek to develop a constructive dialogue with the predominant layer of white people living in Australia. My architecture and indigenous interests First off, it is vital to make out the value of the indigenous culture as distinctive of Australia itself. It bears record to the ancient community of people living here before the European settlement. Thus, a respectful attitude toward Aborigines presupposes a sound-minded viewpoint regarding architectural initiatives. Either in New South Wales and Queensland or in Victoria the real estate development should be accurately weighed in its nature. The following questions should take place before any planning: Is it harmful for the cultural and traditional heritage of Aborigines? Does it go hand in hand with current codes of conduct and protocols? How may the Aboriginal way of life change thereafter? These and many other questions should be delicately addressed before, during, and after the development at the building site. First of all, all procedures regarding architectural development should touch upon the cultural and intellectual property of the Australian indigenous people. In this respect the legal documents come first in detecting possible violation of the law. Queensland Cultural Heritage Act 1992 which protects places of aesthetic, cultural, and architectural values or UNESCO/WIPO Model Provisions for the protection of Folklore – all of them should be estimated in accordance with the indigenous interests before building (Janke T. 1998, p. 102). Bearing it in mind would be an asset before I start creating something on my own. What I can do exactly to protect the indigenous interests is preliminary based on the current policies and initiatives supported by the Arts Law Center of Australia, Indigenous Business Australia, Indigenous Advisory Committee for the Australian Government, National Indigenous Cultural Authority and the like (Janke & Quiggin 2006, p. 11). All of these organizations function so as to provide as more initiatives preventing indigenous culture and art from indiscreet deeds of the commercial and some other expansion as possible. Protocols On the other hand, there is a host of protocols to be taken so that the indigenous cultural heritage could be safe from the architectural inconsideration. In this case protocols serve as a means to “define appropriate ways of using Indigenous cultural material, and interacting with Indigenous people and their communities” (Media Arts 2010, p. 3). Hence, it is an instrument for regulation of one’s intentions for the sake of financial, social and other development. Mistreatment of these documents certainly leads toward legal disputes which should not be evident in Australia, as a democratic and socially-oriented country with lots of benefits. Due to the fact that indigenous people have the right to take control of their cultural heritage, it is likely that I would appreciate their urge for uniqueness in their inimitable “art and traditions” (Media Arts 2010, p. 6). Architecture is a form of cultural expression. Thus, it should stand for the creation of realization of indigenous artforms among white people in Australia. Otherwise, my architecture renders all my tries null. In other words, building something is always a creative process, but it gets higher value if not contradicting already existing state of affairs. The protocol on communication, consultation and consent serves to omit any among possible controversies while planning the construction (Media Arts 2010, p. 12). It is vital that indigenous people are aware of the process taken place at the moment. Moreover it is even more significant that working conditions were well considered and applied before the working process. Thus, as an architect I should be in touch with the indigenous community close to the building site so as to get consultations and set the record straight. Conversely, the protocol on attribution and copyright protects all works made by Aboriginal people (Media Arts 2010, p. 22). If some companies are trying to keep the eyes of the society closed to illegal building development, I am obliged to stand for the rights of indigenous people in relation to this protocol. Moreover, along with the rest of the protocols, this one gives an opportunity for indigenous architects. MacMahon (2001, pp. 12) remarks in his study, namely: The creation of the Merrima Aboriginal Design Group with the NSW Public Works Department shows an interesting development in Australian architecture that, at the end of 212 years of settlement, we now have Aboriginal architects designing architecture for other indigenous people. By and large, I would likely join indigenous architects in order to gain more experience in understanding the core values of indigenous architecture and its meaning within the universal trends in this field. Furthermore, the contributions of the indigenous people into the current architectural development of Australia should be paid under the protocol on proper returns and royalties (Media Arts 2010, p. 31). The commercial exploitation of different artifacts and whole objects of cultural and intellectual value should rely on the verification by the indigenous representatives. It makes them believe that what has been achieved by their predecessors long ago before the first European settlers came will not be destroyed or abused in accordance with the cultural and religious authenticity of Aborigines. In addition, the protocol on continuing cultures presupposes that the dynamics in the indigenous culture should be supported by the consultation which is an “ongoing process” (Media Arts 2010, p. 33). Hence, following this protocol makes me aware of the virtues to be determined while providing architectural prospects at a definite site throughout Australia. In the situation when the indigenous architecture is barely existent in the developed regions of the country (east and south-east), only the most remote regions of central Australia are well preserved (Cox 2008, p. 45). Hence, all the protocols are to be carried out in order to keep all norms and statutes on the cultural and intellectual property of the indigenous people living in Australia today. Finally, the protocol on recognition and protection gives grounds to preservation of the indigenous places of cultural and intellectual value (Media Arts 2010, p. 33). It means that the laws and policymaking in Australia have to include the point on the indigenous right to protect their cultural heritage once the breach of law occurs. My architecture complies with this principle so as to be friendly with the universal cultural heritage where indigenous people play a significant role. Therefore, Australian Aboriginal communities are to be especially highlighted. Conclusion Architecture as a profession is in many cases a representation of the trajectory of an architect’s thought taking the best practices as a model. In this respect Australian architecture should always deal with the indigenous people at the site close to Aboriginal cultural and intellectual property. Thereupon, it is highly important to come up with a set of actions, protocols, and other activities aimed at protecting indigenous interests first of all. Legal acts, codes of conducts provided by the local and international organizations, and the protocols under analysis provide me with a set of disciplinary standpoints leading toward an appropriate architectural development that does not contradict the indigenous values. List of References Anderson, I 2003, ‘Black bit, white bit’, In M Grossman, Blacklines: contemporary critical writing by indigenous Australians (pp. 43-51), Melbourne University Press, Carlton, Victoria. Apex 2010, Aborigines, Viewed September 23, 2011, on Apex Cox, PS 2008, Cox Architects & Planners, Images Publishing, Mulgrave. Fraser, J 2002, ‘Indigenous new media arts’, Australian screen education No. 30, pp. 68-70. Hunter, K 2008, Considering a career in architecture? Viewed September 23, 2011, on RIAS Janke, T 1998, Our Culture : Our Future, Michael Frankel & Company, Sydney. Janke, T & Quiggin, R 2006, Indigenous cultural and intellectual property: the main issues for the Indigenous arts industry in 2006, Terry Janke and Company Pty Ltd, Sydney. MacMahon, B 2001, The architecture of East Australia: an architectural history in 432 individual presentations, Edition Axel Menges, London. Media Arts 2010, Protocols for Producing Australian Media Arts, Australia Council for the Arts, Sydney. Winters, NB 2005, Architecture is elementary: visual thinking through architectural concepts, Gibbs Smith, Layton, UT. Read More