A group of long-term unemployed Pasifika youth team up with white university architecture students to revitalize the Otara town center with surprising results.
OCAD University has undergone significant physical evolutions over its 135-year history, moving to various locations around Toronto as the city and institution grew. It began in a small building downtown but eventually constructed its own purpose-built art school building in 1921, the first of its kind in Canada. The school continued to expand and relocate throughout the 20th century as enrolment and programming grew. In 1957, it opened a new modernist campus at its current location of 100 McCaul Street. Most recently, the iconic Sharp Centre for Design building designed by renowned architect Will Alsop and opened in 2004 has come to symbolize OCAD University and helped raise its international profile.
OCAD University has undergone significant physical evolutions over its 135-year history, moving to various locations around Toronto as the city and institution grew. It began in a small building downtown but eventually constructed its own purpose-built art school building in 1921, the first of its kind in Canada. The school continued to expand and relocate throughout the 20th century as enrolment and programming grew. In 1957, it opened a new modernist campus at its current location of 100 McCaul Street. Most recently, the iconic Sharp Centre for Design building designed by renowned architect Will Alsop and opened in 2004 has come to symbolize OCAD University and helped raise its international profile.
The cooperation of well-known architects, architecture students and local com...Anna Rynkowska-Sachse
The document summarizes two case studies of architectural projects that involved cooperation between well-known architects, architecture students, and local communities in Southeast and South Asia. The first case study describes a vocational school building in Sra Pou, Cambodia designed by Finnish architecture students in collaboration with the local community. Local materials and construction techniques were used, and community members participated in construction. The second case study describes a post-tsunami housing project in Sri Lanka designed by renowned architect Shigeru Ban to help the local fishing community after the 2004 tsunami. Both projects incorporated local needs, materials, and participation.
The document discusses the Academy of Pop Culture's Island CQ project, which brought together students from different universities in multiple countries to explore challenges facing the modern world from perspectives of art, technology, society and sustainability. Over several days and workshops, 50 students developed interactive installations, documentaries, movies and websites connecting their work to the landscape and people of Ameland Island in the Netherlands. The project aimed to foster interdisciplinary and international collaboration among young talent to develop innovative solutions for issues like sustainable tourism.
Dr. Sara Diamond, President and Vice-Chancellor OCAD University. This talk will provide a case study of a six year path of change and adaptation on the part of Ontario College of Art & Design (OCAD) University – a 135 year old institution. OCAD University is located in Toronto, the largest city in Canada in the downtown core, adjacent to the Art Gallery of Ontario.
The document summarizes a First Nations Colloquium and Creative Arts Lab taking place from October 10-14, 2016 in South Africa. The event brings together indigenous artists, managers and thinkers from South Africa, Australia, New Zealand, and the US to foster cross-cultural collaborations and explore themes in indigenous art. Over the five days, the program includes colloquium presentations, creative lab sessions, and visits to indigenous sites in South Africa. The goal is to inspire new indigenous works of art and increase international partnerships, audiences and support for indigenous arts.
The document outlines a framework for a Canadian Network for Arts and Learning (CNAL). The network aims to promote arts and learning across Canada by serving as a forum to disseminate research and best practices. It hopes to develop resources to strengthen arts education, promote recognition of its importance in public policy, and foster Canadian research in this area. The network will connect stakeholders through annual gatherings and digital platforms to advance these goals.
This document outlines the Snapshots of Remote Communities project, a photography and storytelling initiative that documents students' local communities. It discusses the project's history and partnerships between schools, regional museums and the National Museum of Australia. Teachers from participating Western Australian schools introduce themselves and share how they plan to implement Snapshots in their classrooms to explore community histories through student photography and exhibitions.
The document is a teacher resource packet for an exhibition at the Museum of Arts and Design titled "New Territories: Laboratories for Design, Craft and Art in Latin America." It includes introductory information about the exhibition's themes of navigating space, repurposing objects, developing new markets, cultivating experimentation, craft legacy, and experimenting with materials. The packet provides discussion topics, hands-on activities, and lessons to help students explore the key concepts and ideas from the exhibition both before and after their visit.
The Big hART Namatjira project honored renowned Indigenous Australian watercolor artist Albert Namatjira through various arts initiatives from 2009-2014. This included a successful touring theater production about Namatjira's life that was seen by over 50,000 people, as well as watercolor exhibitions. The project worked with Western Aranda communities on workshops and legacy projects to promote civic pride, cultural identity, and social change. It highlighted Namatjira's role in transforming Indigenous-non-Indigenous relations and establishing the Central Desert as a center of watercolor art.
preliminary program for Modus Operandi Agrestis - Symposium on non-metropolitan creative working.
Further details at www.freerangeartists.co.uk or http://moduscarlisle.eventbrite.com
TRANSCULTURAL PRAXIS
A half-day of talks, a workshop and an exhibition on the sustainable application of local and foreign resources in context-specific architecture.
Six art studios across the North East of England have partnered together on a project called "Lifelines" to support over 500 individuals with mental health issues or disabilities. The project involved artists working with participants at each studio to create artworks exploring connections between the studios. This culminated in exhibitions of the artwork. The benefits of the art studios for participants includes increased confidence, improved well-being, and reduced symptoms of ill-health. The partnership aims to strengthen collaboration between the studios and raise their profile in the region.
This is a web version of a public lecture I gave at the University of York in October 2012. I have inserted a few additional commentary slides to add an interpretive framework for what was predominantly a very visual talk - this was designed to raise questions about what we want this and other cities to be like and to see how, at key moments in the city’s past, social reformers have a) made plans for a better city and b) sought to assist excluded communities. Those plans and designs remain influential, both within the city and more broadly. A key argument of the lecture was that Universities should be strongly engaged in these debates, as a major part of the local economy, but also as an institution that produces ideas, research and a site where public conversations can be brokered.
Dushan Milic is an interdisciplinary visual communicator and illustrator based in Toronto. He has over 15 years of experience in illustration, design, and art direction. He is currently completing his MFA in Digital Futures at OCAD University. Milic teaches courses in illustration concepts, ideation strategies, and visual storytelling. He has a curiosity-driven approach and extensive theoretical knowledge gained through research.
The newsletter provides updates from the School of Architecture at Oxford Brookes University, including an architecture student being awarded for an outstanding learning experience, the end of year exhibition showcasing student work, and students developing proposals to regenerate a disused convent in Portugal collaborating with local partners.
Oeuvre of the incomplete Exhibition ReportAyẹni Ọlájídé
Oeuvre of the Incomplete is an exhibition organised by the department of architecture students in the University of Lagos. Curated by Ayẹni Ọlájídé and Ìfẹ́olúwa Ọ̀ṣúnkọ̀yà, the exhibition featured five artists; Yusuf Sanni, Kehinde Balogun, Quadri Sorounke, Philip Fagbeyiro, and Chris Iduma. With visitors from within and outside of the university.
The Whakatane Community Hub Project: A New Model for Community DevelopmentTony Ward
The Whakatane Community Hub Project is sponsored by a group of social service providers in the small New Zealand town of Whakatane. The town is very beautiful but has some of the worst social statistics in the country. This project aims to address these statistics with a new kind of facility - a Community Hub, developed, organised and operated by the community for the community. Two designs were developed by local High School students and 2nd Year Architecture students from the Unitec School of Architecture in Auckland. It has the approval of the service providers, the local community, both Maori and non-Maori, the local and regional Councils, of all major political parties. Completion date is aimed at late 2015.
Critical Aesthetics: Race, Class, Gender and Cultural Capital in Art and DesignTony Ward
This document provides an introduction to critical aesthetics. It discusses how aesthetics is usually associated with perceptions of beauty in artworks. It analyzes several famous artworks and discusses how they came to be considered beautiful and significant. It notes that art has the ability to reveal insights about the world and help people understand complex issues. The document then discusses how gnomes and other folk art objects found in everyday places can also be considered art and provoke reflection on human experiences and society. It analyzes several examples of unique homes and gardens created by ordinary people using found objects. It argues these works embody a creative spirit and philosophy shared by famous artists like Gaudi, who incorporated objects from local people into his distinctive architectural works in Barcelona
Colonialism and the architecture project.Tony Ward
Architecture has always been the province of the rich and powerful, and has played a crucial part in the development of modernity, colonisation and capitalism, This is a critical study of its social, political and moral contradictions, and points to a possible alternative course for the profession - one that supports emancipation, cultural self-determination and social sustainability.
To see and freely download similar PDFs please visit my website at www.tonywardedu.com
The Hisatsonim (otherwise known as the Anasazi) are the ancestors of the Hopi in the American south West. They lived there for thousands of years until a 200 year drought forced them out just prior to the arrival of Columbus on the East Coast. Their architecture surpasses the best of even today's in terms of its sustainability, it's relationship to the environment, its capacity for passive solar heat gain and insulation. This slide show is a photo-essay of the very best of the Hisatsonim architecture. It is beautiful. It is breathtaking. It is a testament to the people whom we mistakenly label as "primitive". This PDF and others of a similar nature can be viewed and downloaded from my website at: www.tonywardedu.com
Whakatane is a small and beautiful town in New Zealand, with a strong bicultural community. 50% of the community are Maori and they account for many of the dreadful social statistics (low employment, truancy, family violence, substance abuse and suicide). In 2012, two of the town's social service providers decided to confront these statistics with the idea of a new facility, centralising all of the social support systems and including additional community facilities for youth, elderly, young parents, the disabled etc. In late 2014 these proposals came to fruition with a design project involving students from the Unitec School of Architecture in Auckland, together with local high school students. The results are detailed here. The project is progressing, and completion of the finished facility is scheduled for mid-2015.
This slide show and others of a similar nature can be viewed and downloaded from my website at: www.tonywardedu.com
Colonial Legacies: Indigeneity in a Multicultural WorldTony Ward
This critique of multicultural democracy views it as a form of neocolonialism that subverts the rights of indigenous peoples.
This slide show and others of a similar nature can be viewed and downloaded from my website at www.tonywardedu.com
The health system of the West is very unhealthy. This slide show interrogates the ways in which Health has been colonised, commodified and turned into a consumer industry in the capitalist world. It contrasts this model with pre-capitalist, indigenous models of health and suggests ways in which we might learn from these and work to improve out own system.
This slide show and others of a similar nature can be viewed and downloaded from my website at www.tonywardedu.com
A satyrical analysis of compulsory schooling. It explores the ways in which school is designed to pacify and produce quiescent, compliant citizens who will not challenge the power status quo.
For similar and related slide shows that can be downloaded free, please visit my website at www.tonywardedu.com.
Education is designed to insulate student from the "real world", to prevent them from understanding the economic, social, political and ideological forces that control their lives, This slide show offers an alternative model of education, one which immerses the students in a framework of community engagement designed to free their minds and to encourage their active engagement in the process of social change.
If you would like to see similar and freely downloadable PDFs please visit my website at: www.tonyward.edu.com
A critical analysis of the role played by space in architecture and planning as an instrument of hegemony, econocide,colonization and capitalist imperialism.
If you would like to see similar and freely downloadable PDFs please visit my website at: www.tonyward.edu.com
The document discusses the concept of landscape and how it has been used and shaped by colonial powers and capitalist interests. It makes three key points:
1) The term "landscape" originated to describe land that had been altered by human intervention, implying control over nature. However, landscapes are often portrayed as pristine wilderness to mask this human influence and exploitation.
2) Landscapes have historically been designed by the elite and powerful to demonstrate their social control and dominance. Great country estates in England represented the owners' wealth and power over displaced peasants.
3) Under capitalism, land has increasingly been commodified and developed to maximize profit, often at the expense of the environment and original inhabitants. Language is used to
A critical analysis of the role of the professions in the colonial project and their links to capitalist hegemony. Main Street vs. Wall Street! The need to dramatically transform professional education.
A critical analysis of the confusions that arise when people of different cultures meet each other for the first time, and a suggestion that we modify the structutre of communication to build lasting consensus.
The document discusses the concept of landscape from historical and social perspectives. It argues that the term landscape emerged as a social construction that served to demonstrate social control and power. While landscapes may depict natural settings, they are designed and crafted to create an illusion of antiquity and nature while actually erasing oppression and exploitation. Landscapes became a way for elites to display wealth and status through carefully designed gardens, estates, and paintings of landowners in their lands. The roots of landscape architecture are embedded in the suffering of displaced peasants and the document examines how the concept of landscape has been used to commodify and profit from land.
Critical Space Theory examines how space is created and shaped by ideological and power structures to benefit those in power. It views the colonization process as the displacement and renaming of indigenous spaces by colonizing cultures for economic and cultural domination. Examples discussed include how Christian churches were built atop sacred Celtic sites in Britain to assert dominance, appropriate spirituality, and erase Celtic histories and culture. Similarly, St. Michael churches were built on islands and locations sacred to pre-Christian Britons and Gauls. This process of renaming and claiming indigenous spaces was a key tactic in colonial projects worldwide used to establish political and cultural hegemony.
A critical analysis of the concept of sustainability arguing that the structure of capitalism is an inappropriate means to address the problems created by capitalism.
Critical Theory originated in Germany in the 1930s as a response to the rise of Fascism and the failure of Marxism to cause social revolution. It seeks to explain how our conceptions of reality are socially constructed and shaped by ideological forces of power and hegemony, rather than existing independently. Critical Theory challenges standard notions of reality and is reflexive in demonstrating how our perceptions are influenced by human powers that aim to control our understanding.
Dr. Nasir Mustafa CERTIFICATE OF APPRECIATION "NEUROANATOMY"Dr. Nasir Mustafa
CERTIFICATE OF APPRECIATION
"NEUROANATOMY"
DURING THE JOINT ONLINE LECTURE SERIES HELD BY
KUTAISI UNIVERSITY (GEORGIA) AND ISTANBUL GELISIM UNIVERSITY (TURKEY)
FROM JUNE 10TH TO JUNE 14TH, 2024
How to Use Pre Init hook in Odoo 17 -Odoo 17 SlidesCeline George
In Odoo, Hooks are Python methods or functions that are invoked at specific points during the execution of Odoo's processing cycle. The pre-init hook is a method provided by the Odoo framework to execute custom code before the initialization of the module's data. ie, it works before the module installation.
This is an introduction to Google Productivity Tools for office and personal use in a Your Skill Boost Masterclass by the Excellence Foundation for South Sudan on Saturday 13 and Sunday 14 July 2024. The PDF talks about various Google services like Google search, Google maps, Android OS, YouTube, and desktop applications.
How To Sell Hamster Kombat Coin In Pre-marketSikandar Ali
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How To Sell Hamster Kombat Coin In Pre Market
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How To Sell Hamster Kombat Coin In Pre Market
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APM event held on 9 July in Bristol.
Speaker: Roy Millard
The SWWE Regional Network were very pleased to welcome back to Bristol Roy Millard, of APM’s Assurance Interest Group on 9 July 2024, to talk about project reviews and hopefully answer all your questions.
Roy outlined his extensive career and his experience in setting up the APM’s Assurance Specific Interest Group, as they were known then.
Using Mentimeter, he asked a number of questions of the audience about their experience of project reviews and what they wanted to know.
Roy discussed what a project review was and examined a number of definitions, including APM’s Bok: “Project reviews take place throughout the project life cycle to check the likely or actual achievement of the objectives specified in the project management plan”
Why do we do project reviews? Different stakeholders will have different views about this, but usually it is about providing confidence that the project will deliver the expected outputs and benefits, that it is under control.
There are many types of project reviews, including peer reviews, internal audit, National Audit Office, IPA, etc.
Roy discussed the principles behind the Three Lines of Defence Model:, First line looks at management controls, policies, procedures, Second line at compliance, such as Gate reviews, QA, to check that controls are being followed, and third Line is independent external reviews for the organisations Board, such as Internal Audit or NAO audit.
Factors which affect project reviews include the scope, level of independence, customer of the review, team composition and time.
Project Audits are a special type of project review. They are generally more independent, formal with clear processes and audit trails, with a greater emphasis on compliance. Project reviews are generally more flexible and informal, but should be evidence based and have some level of independence.
Roy looked at 2 examples of where reviews went wrong, London Underground Sub-Surface Upgrade signalling contract, and London’s Garden Bridge. The former had poor 3 lines of defence, no internal audit and weak procurement skills, the latter was a Boris Johnson vanity project with no proper governance due to Johnson’s pressure and interference.
Roy discussed the principles of assurance reviews from APM’s Guide to Integrated Assurance (Free to Members), which include: independence, accountability, risk based, and impact, etc
Human factors are important in project reviews. The skills and knowledge of the review team, building trust with the project team to avoid defensiveness, body language, and team dynamics, which can only be assessed face to face, active listening, flexibility and objectively.
Click here for further content: https://www.apm.org.uk/news/a-beginner-s-guide-to-project-reviews-everything-you-wanted-to-know-but-were-too-afraid-to-ask/
2. CASE STUDY
THE OTARA PROJECT
What follows is a case study in which a Community Design and
Development Project in Otara, New Zealand exemplifies and articulates
the Critical Sustainability Theories outlined previously.The project was
completed in 1994 at the University of Auckland School of Architecture.
It extended over a period of 20 weeks and involved 24 Architecture
students working alongside eight long-term unemployed youth from
Otara, one of Auckland’s poorest suburbs, populated mostly by Pacific
Islanders, indigenous Maori and (more recently) increasing numbers of
Asian immigrants.
This is their story.
3. SOCIAL CONTEXT
Otara is a suburb of South Auckland inhabited
predominantly by Pacific Island and Maori people.
The township is satellite to Auckland and
although it lies adjacent to some of the wealthiest
suburbs, it comprises a swath of often-neglected
State housing clustered around an outdated
shopping centre, much tagged by the local youth
whose opposed gangs divide along ethnic lines
and are modeled on the Cripps and Bloods. of
Los Angeles. Otara provided the location for the
renowned New Zealand film, Once Were
Warriors. Its statistics are depressing. It boasts
Otara Market
the highest truancy, unemployment and crime
rates in the Auckland region, and has the greatest
number of disaffected young people of any area
of New Zealand. In an attempt to improve the
Otara economy, and to attract investment into the
community, a group of local business, civic and
church leaders in 1993 formed Enterprise Otara
- to “turn around” the social, economic and
spiritual image of the town by building upon the
rich and colourful resources and talents of the
residents, to be witnessed at the iconic Saturday
Otara Market. An essential part of this
revitalisation process were refurbishment and
redevelopment proposals for the existing
shopping centre at the heart of the community. In
1994, the Community Design Studio at the
Department of Architecture at the University of
Auckland was asked by the Manukau City
Welfare Day at the TAB
Council (Otara’s legislative body) to do this work.
4. DESIGN FOR SOCIAL CHANGE
The Community Design Studio already had experience of Town
revitalisation projects, in Hamilton (pop. 70,000), Whakatane (pop. 25,000)
and Highbury (pop. 25,000), working in each case as consultants to the
Town Council. Excellent designs and Design Reports were produced, only
to gather dust on the library shelves. In each case, the real social change
for which the project had been conceived by the Community Design Studio
had remained unrealised. At best, a vision and opportunities had been
opened up for further development and corporate profit, without any benefit
to those for whom the programme had been intended.
The Otara project was conceived differently. Given a history of
municipal neglect, and suspicion of tokenism, a condition was laid
down as part of the terms of engagement. The social change
espoused by the Council must be made a part of the process. The
Council were required to employ long-term unemployed Otara youth to work
in an equal capacity alongside the University students. An agreement was
made to employ these youth on a 1:2 ratio - that is, one unemployed youth
for every two Architecture students. Eight unemployed youth (7 men and 1
woman) from the local community (Maori, Tongan, Samoan and Nueian)
were employed, through government subsidised Work Training schemes.
With the twenty university students enrolled in the course, they produced a design which was justly acclaimed
by the Manukau Council as well as by Enterprise Otara. The Otara members of the design team worked for
24 weeks on an equal basis with the university students and, by the end of the project were producing design
drawings which were indistinguishable from students who had had two or three previous years of design
tuition. At the conclusion of the project, four of the eight were accepted into tertiary education while a fifth now
works as a member of Primitive Nature, a Pacific Island design consultancy working full-time for the Auckland
City Council. This is their story.
5. THE PEOPLE
Some team members. (Left to Right) Riley Letalu, Daryn Ahotolu, Paul O’Neil, Tony Ward (lecturer) Maurits Kelderman
(tutor) Soli Fonoti , Marina Makani, Charlie Carlson, (project co-ordinator), Len Brown. (Manukau City Councillor). Missing is
Carl XXX (who left mid-way through the project to accept an offered place at Design School).
6. THE SETTING
The Mall looking South
The Otara Shopping Centre (East)
The Mall looking North The Otara Shopping Centre (West)
7. THE SHOPFRONT
One of the intended roles of the Otara “buddies” was to link the University
students into the community - to facilitate community dialogue about the
project. The first step in this process was to establish a base within the
community itself, rather than. At the University twenty kilometres away. A local
retailer donated an empty shop (rent-free) within the shopping centre mall.
This was decorated by local Polytechnic students as part of their Painting and
Decorating course and was opened and blessed by local kaumatua. Notices
were displayed in the shop window in Māori, Samoan, Cook Island Māori,
Nueian and Tongan, inviting residents to drop in for coffee and chat about
their hopes and aspirations for their community.
8. THE OFFICE
The interior of the Project Office was further
decorated by a large poster about the project, and
colourful paintings produced by local High School
Art students were hung on the walls - all intended to
make the place feel comfortable for the local
residents and to reflect our appreciation their culture
(right). To facilitate dialogue, the team produced a
large (4.8m x 2.4m) scale model of the entire
shopping centre site and its immediate surroundings
(below right). A notice board, with suggestive and
evocative images of the progressing design work
was placed outside the shop (below left), in the
pedestrian mall, to entice passing shoppers to drop
in and participate in the project.
9. GROUP DESIGN SESSIONS
Students and “buddies” all had regular hours of work which were logged and noted (for payment purposes).
Attendance was mandatory and generally kept. Only one of the employed team members failed to regularly
attend, and it was eventually discovered that he could not read and had been too embarrassed to say. He
chose to leave the team and was replaced.
The first team task was to have each member try to draw their ideas about what ought to be done. From the
start, the “buddies” were reluctant to draw - seeing themselves compared to middle-class design students with
two or three years prior experience. Initially, they sat and listened, but were too shy to engage in
demonstrating their own perceived difficulties with graphic representation. They would talk and discuss, but
they would not draw. They left that to the more experienced of the Architecture students (below right)
10. FIRST ATTEMPTS
The first halting attempts at drawing by one of the “buddies” - the
perspective drawing below - demonstrate a definite timidity which was
understandable in the context of the relative skill levels of the team
members. But it did draw upon experiences and interests close to the
hearts of the Otara members of the team - basketball. The one clear
thing that they shared was a passion for basketball. It was on this
basis, that the whole group decided to form themselves into a
competitive basketball team - The Hupas - playing other local teams
in the evenings. A basketball hoop was set up outside the shop for
practice during breaks and quiet moments.
11. SECRET DRAWINGS
The drawings produced by the Buddies in the class contained none of the verve and colourful -in-your-face passion of
the graffiti and “tagging”that otherwise covered the walls of the Otara community and with which the Buddies themselves
were at least familiar and in which they were probably instrumental. Still, they soldiered on, laboriously trying to achieve
what they thought were the programme expectations regarding architectural drawing. One day, I arrived from Auckland
for our afternoon design session at the site office. I was a little early and entered the office unexpectedly, just in time to
see one of the Buddies hiding something away under his drawing board. I asked him to show me what it was. With
obvious reluctance, he revealed a drawing that bhe had been secretly doing, of a large-breasted, bikini-clad woman set
against a Pacifica design (below)
I asked him if he was the author
and he admitted sheepishly that
he was. I asked him if he
realised that none of the
architecture students from the
University could draw so
naturally and so well. He said
he didn‘t believe me.
I suggested that he ask them,
and show them his drawing.
Which he did, much to the
amazement and admiration of
the University students.
I asked him if there were
another, similar drawings that
he and the other Buddies had
done. He admitted that there
were, and when prompted to do
so, revealed a veritable treasure
trove of cartoon drawings that
had, until now, remained
hidden.
14. DETAIL &
QUALITY
To give some indication of the sheer
professionalism and detail of these images.
Compare one original with its line detail. The
sureness and confidence of the line is
astonishing - much greater than that achievable
by the best of the architectural students.
It speaks to a very keen eye for human
observation. The dress, the characterisation of
the subject, the posture, the feelings and
attitude of the subject that are implicit in the
folded arms, the sideways glance, the
suggestion of suspicion and possible
resentment….
And all carried out with an unself-consciousness
and delight in imagery that characterised by a
lack of any formal training.
The University Architectural students and their
instructors were deeply impressed
16. AND MORE BASKETBALL
Here was the passion that we had
been missing! Each drawing, lovingly
constructed to depict their humour,
their frustrations (note the on-court
violence), their testosterone. The
female member of the group was not
part of this outpouring.
Occasionally, their graphic talents
started to evoke more serious cultural
images, but always there was a depth
of humour.
18. TEAM IMAGES
Once the cat was out of the bag, nothing remained sacred or immune from the piercing Pacific Island
humour of the Buddies as they caricatured their University team-mates! Images of the team itself began to
emerge, making fun of one tutor (below left) and celebrating my own birthday (top right).
19. AFFECTION
They saved their most perceptive (and fun-poking talents for the one for whom they felt the greatest
affection - Maurits, their young tutor, recently graduated, a fluent speaker of te reo Maori (and some
Samoan) and a prominent Palangi (European) member of the Hupas.
20. COMING OUT
This profusion of graphic talent required real celebration! The drawings were at first pinned up on the
office notice board, and then later, as they became increasingly numerous, in the shop window.
21. TRANSITIONS
Over time - about two weeks - the drawings
began to change, and images specifically
pertinent to the project began to emerge. The
students began to engage with deeper,
historical images of their cultures, of ancient
warriors alongside their contemporary Hupas
descendants. All of this unsolicited!
Although the images of men
continue to show warrior-like
characteristics, the images
of women begin to soften,
and to take on
characteristics and dress of
traditional P. I. cultures. A
subtle shift seems to be
taking place, as the buddies
reconnect with their (more
balanced?) ancestral gender
value and relationship
systems
22. EMERGING AWARENESS
First indications of the linking of this shift to design issues came in the preliminary sketches for the design
of a fountain/monument to be included in the project. Here, the earlier warrior/testosterone laden images of
the Hupas basketball warriors begins to transmute into specific images of a fisherman raising a net on
board his proa, and a woman pouring water from a jug .
23. FOUNTAIN
This emerged as the Centrepiece of their design proposals - a proposed sculpture, with waterfall, and
Polynesian fishermen designed to occupy a central place in the Market
24. EARLY ATTEMPTS
This led to more confident attempts to come to terms with the more technical drawing that they saw the
University team members doing. As they gained confidence, the colour and scale of the representations
begins to increase and become bolder - at the same time, beginning to reflect the material technologies of
traditional Pacific Island cultures, and began to image the Market itself as a centre of Polynesian Culture,
drawing on iconic images and references to their cultures of origin..
25. (E)MERGING OF STYLES
Perhaps most startling, is the emergence of an architectural style which is neither ancient nor
modern, and which appears to be an amalgam of differing Pacifica themes integrated into a new
and dramatic whole - as in this sketch of a meeting house, aimed at exploring traditional Pacifica
design in a modern architectural context. Carl, who drew this image was soon after accepted into
Design School at the local Polytechnic.
26. EMERGING SKILLS
Gradually, around week eight,the Buddies begin to demonstrate a new confidence in their technical
drawing abilities. Below, we can see the contrast between Riley’s earliest drawing of the basketball
court (left) with his later designs for a housing complex with an open Pacifica marketplace: Riley‘s Arc.
He is able to adeptly shift his perspective point and use his newly-developed drawing skill to explore the
design inside and out and to locate his building design into an existing context accurately.
28. COLOUR SCHEMES
Towards the end of the project, as the final form of the design began to take shape, it was important that the
colours used in the development reflected the life and style of the community of users - the Pacific Island
community. Daryl and Soli undertook the important task of experimenting with different colour schemes for
the exterior of the otara Shopping Centre. Mid-way through the process, Daryl got a fit of giggles. Asked
what was funny he responded, “Six months ago I was tagging this building. Now I’m doing the colour
schemes for it!”
29. DEVELOPMENT Recreation Ctr.
PLAN
While all of this has been happening, the model, too has
been developing, as design ideas, developed through a
continual process of drop-in community consultation.
Finally, approaching the end of the project, all of these Well-Being Ctr.
design ideal are integrated into a final development
proposal, visually displayed in both two and three
dimensions.
Cultural Ctr
Housing
Development Plan (above)
Model (Left)
30. THE SUSTAINABLE PROPOSAL
Participatory research had clearly identified four needed facilities for a the
creation and development of sustainable Otara community. Each was
designed to generate employment, bring in much needed revenue,
provide essential services, act as a cultural clearing-house and support.
1. A Community Centre where:
• Pacific Island groups could meet for cultural, language and art classes
• To create and sell there art and cultural products
• To make artist-in-residencies available with scholarships for P. I youth
2. A Well-Being Centre where:
• Traditional Pacifica Healing Practices might be delivered and taught
• Preventative medicine nutrition, budgeting and culturally sensitive and
appropriate counseling might be available.
3. A Recreation Centre providing:
• 4 competitive basketball courts able to house national competitions
• A Full length swimming pool with a surge machine
4. Urban Housing with:
Affordable housing for singles and elderly built into the development, close to
•
shops, cultural activities, recreation and education
Short-stay affordable rental accommodation for visitors
•
31. CULTURAL CENTRE (EARLY)
By week ten, and working collectively, they are beginning to develop conceptual ideas for a
Pacifica Cultural Centre, to be located at the heart of the redevelopment.
33. WELL BEING CENTRE
The design has several distinct elements. There is a Well-Being Centre, for instance, where traditional
Pacific Island and Maori healing arts and remedies are practiced alongside their Western counterparts.
Here, the emphasis is placed upon staying healthy, rather than curing illness.
PERSPECTIVE (Above)
The facility also offered a wide
range of counseling and advice
services:
•Budgeting,
•Family Planning
•Domestic Violence
•Child care
•Employment
PLANS
34. RECREATION
CENTRE
The design also includes a Recreation Centre,
adjacent to the Well Being Centre and
incorporating an competition swimming pool
and (of course) a competitive basketball arena.
The swimming pool incorporates a wave-
machine, intended to bring in fee-paying PERSPECTIVE
customers from the surrounding affluent
suburbs.
ELEVATIONS
RECREATION CENTRE PLANS
35. AFFORDABLE HOUSING
There is the development of a Residential block of one and two-bedroom apartments designed to
accommodate students studying at the adjacent Polytechnic, as well as the elderly, located at the heart of
the community.
36. PACIFICA URBAN VILLAGE
The housing complex surrounds and looks onto a Pacifica Open Market Square, the centrepiece of
which is the sculpture seen earlier. Entrance to the Square is from the existing shopping mall and is
flanked by two upper level gardens serving the resident. One of them houses a shaded park with
water features. “Riley’s Ark” is very much in evidence here!
38. THE MODEL
As the final day fro presenting the design to the community approaches the entire team focuses upon
completing the three dimensional model of the proposal
39. PUBLIC PRESENTATION
By the end of the project, the drawings and the model were finished and assembled outside the office in
the centre of the Otara Mall. With the community in attendance, and the City Councillors and
representatives of the University of Auckland gathered around, the students made their final presentation
to the Otara Community.
41. UNIVERSITY
DISPLAY
Following the presentation of the proposal to the
Otara Community, an exhibition of the project was
presented at the University of Auckland. The
“Buddies” went on to be commissioned by the
Manukau City Council to develop a colour scheme
for the shopping centre. As one of the Buddies
was heard to say, “ Six months ago I was tagging
this place, and now here I am doing colour
schemes for it!”
42. THE CERTIFICATES
At the completion of the project, all of the Buddies received Certificates of Completion from the
University. Of the eight (previously long-term unemployed) Buddies involved in the project, four
went on to tertiary study. While two went on to work as Pacifica Design consultants
43. EPILOGUE
• Karl ???? was accepted into the Manukau Polytechnic Design Scool
• Daryn Ahotolu went on to accept a position in Fashion Design at a local Polytech
• Soli Fonoti, Soli Tafai and Paul O’Neil, formed Primitive Nature Design Consultancy
• Soli Tafai went on the teach Art at Kelston Boys Grammar School
• Allan Ta‘alolo joined Manukau City in Advertising Design and Events Promotion
• Both worked for the Auckland City Council designing the annual Pacifica Festival.
• Marina Makani was accepted in a tertiary programme in Early Childhood Education.
• Riley Letalu,was offered a place at the Auckland University School of Architecture.
• He instead went to work for wages in a factory after he and his girlfriend conceived a child
• Charlie Carlson ??????
• Len Brown went on to run unsuccessfully for the Mayoralty
.
44. SO MUCH FOR DREAMS
So what happened in the end to the design
Not Much
proposals and the vision for Otara promoted by
Enterprise Otara outlined in subsequent reporting in the
•The Recreation Centre was built,
New Zealand Herald (below)?
without the revenue-generating wave-
machine.
•The Cultural Centre was never built
•The Pacifica Village was never built
•The Well-Being Centre was never built
•The shopping centre was given a
“face-lift” in the colour scheme
developed by the Buddies.
• Unemployment
• Crime
• Gang violence
• Vandalism
All continue to pervade the community at
unacceptably high levels.
But the people of Otara continue to
sustain their remarkable cultures in the
face of political deceit, fiscal neglect and
municipal
NEW ZEALAND HERALD, 25TH AUGUST 1994 PAGE 13
45. TEN SUSTAINABILITY MYTHS
Myth 1. Consultation: Consultation does not mean asking people what they want and then
making sure they get it
Consultation means asking people what they want then telling them
what you have already decided on their behalf.
Myth 2. Participation: Participation does not mean working with different cultural groups
toward common goals to solve common problems
Participation means inviting cultural groups to work towards solving
their problems but reserving the right to ignore their conclusions
Myth 3. Partnership: Partnership does not mean that all players have equal decision
making powers
Partnership means that one partner has all of the power to ignore or
veto decisions and conclusions reached either together or singly.
Myth 4. Equity: Equity does not mean that all groups in a working process are equal, or
that the outcome will lead to their equality
Equity means that the most powerful group will use the myth of equality
to undermine political protest, to shape outcomes and do everything in
its power to retain its power. This group is predominantly white, male and
middleclass.
Myth 5. Representation: Representation does not mean that political representatives will
represent your interests to the fullest extent of their abilities.
Representation means politicians will advocate your interests only when
they are congruent with their own, and that your voice and desires will be
filtered and “balanced” to ensure that you get only enough of what you
want to keep you quiet.
46. Myth 6. Democracy: Democracy does not mean that the voice of minority groups will be
heard or that their dreams and expectations will be met
Democracy means that minority interests will always be subordinated
to the will of the majority.
Myth 7. Social Transformation: Social transformation does not mean that society will be transformed
to be more equal, more caring and more satisfying.
Social transformation means that dominant groups will strive
continually to control all of the information and decision-making
agencies to maintain the status quo.
Myth 8. Employment Creation: Employment creation does not mean that projects undertaken will
create jobs in the community
Employment creation means that employment will be created or
sustained for those within State agencies who will manage processes
and file reports.
Myth 9. Open Government: Open Government does not mean that you will have direct access to
decision-makers or that their decisions will be transparent
Open Government means that decisions will often be made behind
closed doors on the basis of undisclosed information and in the
interests of private interest groups.
Myth 10. Political Fairness Political Fairness does not mean that decisions will be even-handed
and that all groups will have equal access to the decision-making
process.
Political Fairness means that you will be seduced into believing that
the system is fair in order to obviate complaints and protests when
decisions are made that are unfair.
47. SO WHAT TO DO?
One of the most frustrating experiences to be had in the field of Community Design, Community Architecture or
Community Development is to be when one works through intermediary functionaries at City Hall - from the Mayor,
down to the lowliest employee. The most successful projects are undoubtedly those that arise from the community, that
are initiated by the community and are driven, developed, monitored, evaluated and implemented by the community.
Such examples are rare! Notable examples include the work of:
• The Pratt Centre for Community Development (PICCED) in New York (http://www.prattcenter.net/),
• The Miami University Centre for Community Engagement in OtR (http://www.fna.muohio.edu/cce/index.html)
If you know of any further examples of Cultural Community Praxis that you would like to make public, contact:
http://www.tonywardedu.com