LINGIARI CULTURE & HERITAGE CENTRE
Cultural influences shape the Lingiari Culture and Heritage Centre, where freedom means having a purposeful space and feeling pride and ownership. In 1970, the Gurindji got together to plan their first aspirations for the community. Men came up with more infrastructural and necessary things; The women asked for mirrors, taps and shade, which induce a sense of comfort, familiarity and spirit. One wanted infrastructure, and the other wanted social infrastructure. When Gurindji decided they wanted things that made their land home, they were free. This thesis uses trace analysis and qualitative methods to understand and learn how heritage and culture influence architecture and tell the story of Lingiari, the man who fought for his land and then became it.
HOW CAN A NONNATIVE
DESIGN FOR
COUNTRY?
HOW CAN
ARCHITECTURE BUILD
VISIBILITY?
Through inter-cultural dialogue, the social identities of both settlers and indigenous people are transformed. Art and architecture not only build visibility but also bridge the gap between cultures. The art created by the Gurindji gives rise to new assemblages of contemporary Aboriginal identity. These old stories once etched onto barks are now told through canvas and paint, the stories told around the fire are now exhibited through digital media, and the dot painting inspiring contemporary art is evidence of a dialogue.
Many of us find ourselves in a similar place, navigating the complexities of identity and culture. In her work, 'Thesis as Kin: Living Relationality with Research , Lauren Tynan underscores the significance of developing relationships in research. She advocates for valuing the process over the outcome, transforming our engagement with a text into a kinship. This approach, where 'how' we do things is more important than 'what' we do, encourages us to listen, connect, and reflect. It makes rationality the methodology, ensuring respectful research.
The first step of embarking on the journey towards designing the country for non-natives would be to develop a connection and relationship. In my case, the first day in Australia was familiar; there was something in the air, a scent; it was the eucalyptus that I had smelled before in Kodaikanal, India; they were here, they were from here, and they made me feel at home. India has its own colonial history and freedom struggle. Growing up listening to these stories helps me develop a relationality with the Gurindji culture, stories and people.
HOW TO
FACILITATE
INTER-CULTURAL
DIALOGUE
MEDIATING
CULTURE FOR
VISITORS?
I am evidence of this spectacle. I saw visitors rushing through the gates of the Karungkarni Art and Culture Centre, buying these painting-like hotcakes. These paintings of the land and everything on it are the best possible representation of culture and heritage. Now, a piece of Kalkaringi sits in multiple homes. Art is changing the community by building visibility and gaining trust. It contradicts the welfare that robs people of the incentive to make a living. What does one do without incentive? Art. You and I cannot say ‘art pays’, but Gurindji can. When the Gurindji decided to make their land a home by planting their trees, building their houses, putting up signage, and striving for a better life, they found freedom. There is freedom in being comfortable. There is freedom in calling your land home.
The gallery, by acknowledging the power of art and heritage that inspires it, becomes a testament to the freedom and comfort that the Gurindji find in their land. The Workshop further reinforces this connection by allowing the community to work according to their social etiquette and comfort.
This Painting by one of the locals that depicts the landscape. This became a key precedent and informed my landscape scheme.
The Star-Gazing Pavilion stands tall and frames the view of the stars at night. It is perforated with the constellations visible during the Freedom Day. The light shines through, allowing you to feel connected to the stars throughout the day.
