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the adelaide REVIEW december 2012

FORM DE SIGN

PLANNING

the adelaide REVIEW DECEMBER 2012

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food, wine & coffee

INNOVATION

SA Design Award winner of Laminex Group Award, Enoki: Common

Australian Institute of Landscape Architects

sa design awards

Best of local design was celebrated at the SA Design Awards

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planning awards

Planning Institute’s night of nights showcased SA’s best planners

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urs bette

Danny Brookes interviews Austrian architect and lecturer Urs Bette

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the adelaide REVIEW DECEMBER 2012

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The Laminex Group SA Design Awards 2012

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he 2012 SA Design Awards held at the Adelaide Festival Centre was the highest attended DIA awards night on record. This year also saw a record number of entires. It goes without saying (yet here we are printing it) that the entire year’s program, inclusive of the awards, would not be possible without our annual sponsors: Laminex, PolyFlor, Caroma and Billi. This kind of support for our design industry is encouraging beyond whatever financial crisis we keep reading about. It must have special mention that this is in fact the 20th year that our Platinum Sponsor Laminex has sponsored the DIA and been naming rights sponsor for the awards. Such is the enthusiasm for our awards program that preparations have begun for the 2013 program, with people offering support for future events. This is a remarkable indictment on what a success the DIA in SA has made of this event, a spectacle on the design calendar of which we should be proud. In 2012, we had a record number of entries: 48 professional submissions and 27 student entries. This number of entries was a remarkable achievement, as compared to 2011 where we had a total of 60 entries, and years previous that would see between 45 and 60, shows the celebration opportunity and showcasing potential for the projects that are entered. Gold Award winners in the Built Environment category are automatically prequalified for the National Interior Design Awards that have been

well represented by SA projects over the years. The entries themselves were of an exceptionally high calibre, a glowing report card for design in SA as the judging panels are often quite brutal in their assessments of the works. In choosing the DIA SA President’s Prize we found this to be exactly the case. Again in 2012 we saw a huge influx of student entries. The number of student entries keep growing each year – students who see the importance of networking and shameless self promotion are able to have their brands recognised by potential upcoming employers and collaborators. It is one of the major success stories of this program that students can be judged alongside their professional counterparts. Suffice to say, we are excited, not only for all the hard work of the awards to be over for another year, but to be able to sit back and reflect that South Australia is not only a great place to think, design and build, but also a place that recognises and celebrates these traits.

Brendon Harslett Simon Dodd Co-Presidents of Design Institute of Australia SA Branch

Gold Award: Parallax – Fortis et Astutus

Silver Award Bulit Environment: Mossop Construction – Hardy Milazzo

DIA Presidents Award: Spud, Oxigen, Interiors and Woods Bagot

Silver Award Student Entry: RAH, UniSA – Alex Gilmore

Gold Award Object: Elements by PCD Eyewear – Peter Coombs Design


the adelaide REVIEW DECEMBER 2012

form sa design awards The 2012 SA Design Awards were held at the Adelaide Festival Centre on Friday, November 2

Photos: John Goodridge

Gold Award Built Environment: Genesin Studio – Eden

mark.robinson@2xeed.com.au www.2xeedconsulting.com 2Xeed Consulting is a simple yet effective business that utilises 20 years of experience and strong relationships in the Adelaide

Construction, Design & Architectural fields to provide the following:

Gold Award Communication: Asthma Junior Marathon – Sector 7G

• Significantly improving

• Increasing profitability

perception of your business,

• Improving communication

services, and your brand.

methods.

• Connecting Business to Business

• Challenging thinking

• Skills Matching appropriate

• Problem Solving

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• Coaching, Mentoring

• Jointly targeting key projects

and Training

for effective outcomes

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the adelaide REVIEW DECEMBER 2012

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SA Design Award winners Built Environment Category (student entry) • Silver Award: Antioxidant Tea Bar- UniSA, Sasha Donohoe

Built Environment Category

• Silver Award: Jumbuck Pastoral Offices- Williams Burton Architects • Silver Award: WSP- Woodhead

• Silver Award: Glass House Refurbishment- TafeSA, Vanessa Thompson-Jones

• Gold Award: Murray Bridge Library- Hassell

• Gold Award: Tea HouseUniSA, Sarah Miller

• Silver Award: Blue ChlliGenesin Studio

• Gold Award: Tea HouseUniSA, Katherine Donaldson Silver Award: Gallery (Tea House Design)- UniSA, Ebony Mattschoss • Silver Award: RAH- UniSA, Alex Gillmore-Johnstone

• Gold Award: L.A.X.Genesin Studio • Gold Award: EdenGenesin Studio • Silver Award: Mossop Construction- Hardy Milazzo

Object Category

• Silver Award: Parallax- Joto

• Gold Award: Elements by PCD Eyewear- Peter Coombs Design

• Gold Award: Sector 7GAsthma Junior Marathon

• Gold Award: Oxigen- S.P.U.D. and Oxigen in collaboration

• Silver Award: Sector 7G- The Hairdresser

• Gold Award: Hazlewood Park House- Genesin Studio

• Gold Award: Parallax- Fortis et Astutus

Object Category (student entry) • Silver Award: Audi Docking Speaker- UniSA, Robert White

Communication Category • Silver Award: Sector 7GTaminga Angus

unisa scoops Design Awards

A

side from winning most of the student prizes at the SA Design Awards, two of the University of South Australia’s Art, Architecture and Design School (AAD) students won The Adelaide Review People’s Choice Award. We ask the head of AAD, Mads Gaardboe, about the secrets to the School’s success. As the Head of the Art, Architecture and Design School, witnessing your students scoop the DIA Awards must be an exhilarating feeling? Absolutely, six awards in Interior Architecture and another three in Product Innovation and Visual Communication is an outstanding achievement by the individual students. I also see it as a confirmation of the opportunities the School offers creative and gifted students, and it helps that we have some of the best facilities among Australian universities. In fact the AAD School has had an exceptional year across disciplines, beginning with three prestigious prizes awarded to our architecture students at the Australian Institute of Architects National Awards

early this year, followed by six National Campus Art prizes in painting, photography and sculpture and prizes in glass and ceramics. We want to repeat the 2012 success in the future, and we hope that Adelaide will make use of this talent before other cities in Australia or overseas attracts them. Aside from sweeping the students awards, two UniSA students won The Adelaide Review People’s Choice Award. This is the first time students have won these categories. To you, does this prove that the future of design in SA in in safe hands? Winning People’s Choice is an indication that you have managed to communicate an idea or design beyond your peers, and that is an important skill. To win this award at this early stage of one’s career is indeed impressive. There is no doubt that Adelaide has many talented designers, but they need to be promoted, and they need clients to stay here. It is positive that the State Government recently has acknowledged the contribution design can make

Laminex Group Award • Enoki: The Common Residence.

DIA Presidents Award • SPUD, Oxigen, Interiors and Woods Bagot

to improve our environment, but there are still many industries that ignore the benefits to their customers and themselves of employing qualified designers and architects. The result is less innovation, and less choice than we see in communities where good design is a natural expectation. What changes in the program/school or curriculum do you think may have contributed to this success at the DIA Awards? The single most important aspect of the school is our professional and highly qualified staff, and their concern for the achievement of each student. Secondly the School is supported by a formally constituted advisory group, consisting of nationally recognized professionals and academics, and we have very good contacts to local practices. Thirdly we ensure that our curriculum and program structure is benchmarked internationally. We now for example have a straight progression of degrees from Bachelor to Masters and PhD, similar to the European or American model. You are from Denmark, which is considered the design capital of the world. Is there a Danish school of thought, or are there Danish-inspired elements that you teach your students? Danish design is about doing much with little, refining rather than showing off. I think that is a philosophy that appeals too many of our students. We can introduce design concepts and ideas to our students, but in the end it is the choice of the individual student that will define what style he or she will explore.

Silver Award: Jumbuck Pastoral OfficesWilliams Burton Architects

Gold Award: L.A.X.- Genesin Studio

Silver Award Student Object: Audi docking speaker – Robert White (UniSA)


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Two decades of support

Gold Award: Tea House – UniSA, Katherine Donaldson

This year marked the 20-year anniversary of The Laminex Group’s platinum sponsorship with the DIA here in SA. Over those 20 years, not only have we formed strong professional and personal bonds with the association and members, importantly Gold Award: Murray Bridge Library – Hassell

Silver Award- Sector 7G- The Hairdresser

Laminex has shown our interstate counterparts the true value that is gained, from not only involvement with the DIA, but the importance of design in all

Laminex Group Award: Enoki – The Common Residence

its many forms in our business and in a wider community context. Laminex would like to take this opportunity to thank all current and former DIA committee members for their valuable contributions over the past 20 years, and look forward to the opportunity to build on this relationship for many more years to come. Laminex would also like to congratulate all members of the current DIA SA committee for their efforts in organising and hosting such an amazing event and keeping such a good secret regarding details for the awards night. Also, thank you to all the members for their submissions across all categories this year; it’s great to see such a diverse mix of submissions underpinned by stand out quality. Tom Clark, Laminex


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Planning Institute’s night of nights

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wide range of South Australian nominations received this year reflect the considerable work undertaken by planners in all public and private sectors over the last 12 months. I congratulate the entrants on their submissions and the Awards Committee for the difficult job of judging the entries. The focus for planning has more recently been on the city and the entries reflect the necessary planning for quality public space, interactive community consultation and building liveable, well designed higher density housing. This builds upon the quality of past planning by our fellow members and I would like to take this opportunity to acknowledge that our prize winners in their fields of planning continue the

fine tradition of good planning demonstrated by our predecessors in planning such as Stuart Hart AO whose contribution to the development of the Adelaide region has been recognised nationally. An evolving process of planning has come to demonstrate the relevance of working across related professions collaboratively as demonstrated in the Integrated Design Commission’s excellent workshops over the past two years. The dialogues engendered have been exciting and we look forward to the continued application of this process through the structures set up by our state premier and planning minister. Landscape architecture, architecture, engineering, surveying and planning contribute to quality outcomes and I am impressed at the

passion and competence of the multidisciplinary teams involved in the entries received. The nature of planning for good and tangible outcomes necessarily involves a time lag between the planning process and its results, by which time other planning tasks have come to dominate the thoughts and efforts of those who work constantly in the field. As mentioned previously, ‘Good news’ accounts of planning are frequently overlooked for planning involves contested viewpoints from across different sectors of the community. This is why PIA Awards are so valuable for the profession and the wider public. The event is a time to pause, appreciate and celebrate the quality of planning in ‘making a difference’ in this state and to recognise the people involved. I particularly thank our sponsors for their support to enable us to promote the PIA awards to a wider audience.

PIA Award Categories and Recipients

Dr Iris Iwanicki FPIA, President PIA SA Division

Planner of the Year Nicole Halsey Young Planner of the Year Michael Arman

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form pia awards The Planning Institute Awards were held at the Sebel Playford on Friday, November 9 Jack Hazebroek, Henry Inat, Angela Hazebroek; Des Commerford & Kirsty Kelly; Mayor Bill Spragg & Erica Womersley; Nicole Halsey (Planner of the Year); Tanya Court, Victoria Shute, Kirsty Kelly, Elissa Hoffman & Sally Roberts; Nicole Rolfe, Amanda Balmer, Warwick Keates, Sue Suter; Michael Arman (Young Planner of the Year); Mark Goldsworthy, Member for Kaval, Dr Iris Iwanicki & Leader of the Opposition, Isobel Redmond; Gabrielle McMahon & Roger Freeman

Photos: Jonathan van der Knaap

Plan (Renewal SA, Jensen Planning + Design, Grieve Gillett, Bell Planning Associates & Intermethod ) Best Planning Ideas Award - Small Project Streaky Bay District Management Plan ( District Council of Streaky Bay, Suter Planners, Wax Design & URPS) Public Engagement and Community Planning Award Adelaide Central Reinforcement Project (ElectraNet Pty Ltd, Parsons Brinckernoff, Aurecon & Gould Thorpe Planning) Improving Planning Processes and Practices Award Streets for People Compendium for South Australia Practice (South Australian Active Living Coalition, Heart Foundation, Department of Planning Transport and Infrastructure, Renewal SA, Department of Health and Ageing, GTA Consultants & Intermethod)

Cutting Edge Research and Teaching Award Green Infrastructure Working Paper (Connor Holmes, Oxigen & Botanic Gardens of Adelaide) Presidents Award Resilient Coastal Communities: Preparing for Sea Level Rise in the Upper Spencer Gulf (Eyre Peninsula Integrated Climate Change Sector Agreement Committee, URPS, Sinclair Knight Merz, Dr Mark Siebentritt, Bell Planning Associates, SGS Economics & Planning, Norman Waterhouse Lawyers Minister’s Award Adelaide Central Reinforcement Project (ElectraNet Pty Ltd, Parsons Brinckernoff, Aurecon & Gould Thorpe Planning)

Great Place Award Stirling - The Spirit of the Hills (Adelaide Hills Council & Stirling Business Association)

Special thanks to PIA, our Clients and Colleagues who encourage us to excel. Best Planning Ideas - Small Projects Award T 08 8463 0886 F 08 364 0105 waxdesign.com.au

District Council of Streaky Bay District Management Plan Award

Minister’s Award District Council of Streaky Bay District Management Plan Commendation

Cutting Edge Research and Teaching Award

Public Engagement and Community Planning Award

Best Practice Open Space in Higher The City Plan 2030 : Shaping Our Density Developments Project Future : Engagement with Children and Young People Commendation Commendation


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Designing personality Danny Brookes discusses art, architecture and sustaining urban creativity with Urs Bette, Austrian architect and lecturer at the University of Adelaide.

Danny Brookes

U

rs, you are an accomplished designer and architect with a really interesting background in Europe and more recently Australia. You originally trained as a graphic designer, and then became exposed to architecture through your workings with Wolf Prix at the firm Coop Himmelb(l)au. Wolf seems to have once had quite a strong orientation to a deconstructivist, formal design approach. Does this stance follow in your work? I believe Wolf’s approach was more political than formal. In architecture form and content can’t be separated: form affects us directly, long before we “know” of the content, it constitutes space and the character of a building, it is everything. There is a common desire in Austrian architecture to celebrate space and develop spatial sequences, which goes back beyond Himmelb(l)au. Yes, they had a strong influence, however, I believe to have established my own path. My work develops around more clear and articulated forms that

have a strong relationship to an activated ground plane. For example, in the residential project I came to work on in Adelaide the space underneath actually flows into and through the object. I am quite interested in your Uralla Court project, which was a design for a house in the Adelaide Hills. In terms of its sculptural quality, you seem to have taken a series of really reduced and abstract forms, that are very minimal and clean on the exterior, and then within that you let this spatial complexity unravel, which I imagine would be really quite fascinating to experience in real time and space. Is this notion of simplicity and complexity, openness and closedness essentially of complementary dualities - is this something that persists in your work? I try to amplify existing qualities of a site by adding something different. Like, for instance, you might put melon together with prosciutto, to bring out the sweetness of the melon. It works with contrasts. I also try to offer as many choices as possible, as much variation in spatial situations as the program allows. That is, I believe, my role as an architect. I

have to organise the space, right, but within that I think I have to offer experiences like we might have if we wander through nature. Nowadays, where cities are growing and the experience of nature is becoming less and less, architecture will have to give back and increase its complexity and richness in sensory stimulation. If you walk though a canyon and up a ridge, you have so many things happening, and many Australians love going to these places to enjoy these experiences. Yet, in buildings, everybody seems to accept the simplest spatial expression as a given condition, which I would like to question. Luckily, I have some peers back in Vienna and in Australia who can prove you can build this richness. This is what I am trying to achieve in architecture. I’ve heard you describe your work in terms of ‘little creatures’; you seek to create a sense of character and personality in your design work. It seems you are not interested in a purely infrastructural approach to architecture, piecing buildings together in a utilitarian manner? Or is this sense of ‘character’ in your design a function in its own right?

Uralla Court II Credit: Bette / Kerbler

That surely links back to how I was brought up in architecture, where Coop Himmelb(l)au established the author as being at the centre of the design, through their intuitive scribbles, which captured an emotion that was then translated and carried through into the built work. The author is as much present in the work as the client and the brief, which eventually leads to authentic and unique buildings. The spatial experience is at the centre of my interest, not the icon of the object. I fabricate the ‘creature’ to start the design process, its character prompts a reaction from the site, it kick starts the dialogue


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from which the project unfurls. I think designing a sense of personality in our urban spaces is interesting, and important. When we talk about sustainability in an urban design context, I think one aspect is about creating environments that we generally want to keep, that we care about. Building culture today can at times seem quite throwaway, quite shortsighted and onedimensional. To create some kind of personality or atmosphere in design projects, a sense of personality and meaning that resonates with the community, I think is a worthwhile pursuit.

Today, ‘sustainability’ is very much reduced to its functional aspects, which is a pity. One of the general challenges that you have as an architect or designer is that it is very hard to talk about things that are not directly quantifiable. It is very easy to sell things when you can count this-and-that number. You’re totally right, it is sustainable if a building is loved in the way it feels, smells, looks, behaves. I wanted to talk a little about your attitude to creativity in your architecture practice. I mean, I don’t see your work as engineering, I don’t see it as strictly architecture and I don’t see it as art, but rather as some kind of blurry overlap between these different realms. Ideas are born at the edge of existing knowledge, when one becomes a dilettante again and recombines old concepts with new experiences. Specialisation can blinker your vision. I had a great Professor for structural engineering – Klaus Bollinger – who worked on numerous Himmelb(l) au projects and lately did the Rolex Learning Centre for SANAA. Understanding structure is part of my work, which, ironically, sometimes hinders me to develop it further. I’m reluctant to design things that I wouldn’t know how to build, how to manufacture or craft. Yet, as a designer, you should always have one foot in uncharted territory, exploring. That’s where design becomes research. Collaborations can open up these new territories. For the exhibition “to the islands” at the SASA Gallery, I worked with Margit Bruenner. She is an artist with a background in architecture, who is interested in ‘the construction of atmospheres’. She tries to capture and activate the atmospheres of spaces by unfolding their inherent potentials through performative installations. We

exchanged steps of the evolving project between us, back and forth, without actually talking or discussing it. Each one would continue the others trail. It started with paper sketch models built on site in Port Adelaide, became an architectural sculpture in the Gallery, and will turn into an architectural proposition in the end. On a much more pragmatic level, in Melbourne I think it something like one percent of a public building’s budget is allocated to this thing we call ‘art’. Although, I feel that this field has become somewhat separate to architecture. Melbourne Docklands is surely a good example of this: you have this huge area of apartments, and then a kind of dispersal of sculpture objects scattered along this massive, empty foreshore. It’s an example of where the urban design, the architecture, the public art and the policy supporting it fail to harmonise. Rather than strictly separating these roles, the idea of collaborating so that the overall project is better integrated, if not more complex, is possibly more productive for quality living environments. Maybe this is something that Adelaide could lead in the future? This is a complex issue. Public art should not be used as an afterthought to upgrade poorly designed spaces. Art is no decoration. In this regard the responsibility lies with the architect and landscape architect. On the other hand you have the model of the quota, which for example in Austria is used to support the artist community, which is important as well. It all comes down to the quality of the master plan, the architect, landscape architect and artist involved. There is no one-size-fits-all solution. As an

architect, you wish you could have a very intimate collaboration with an artist, yet that works only on a level of personal trust. It’s great if it works, but it can’t be forced or institutionalised. Speaking of public design, I know you wanted to be part of the recent competition for the Torrens River footbridge. It was an Expression of Interest process, from which five firms were selected. I was rather disappointed when I was not selected. I had teamed up with first class players, landscape architects James Mather Delaney from Sydney and engineers Bollinger + Grohmann from Germany. As a local designer, if you can’t even be allowed to take part in a competition then you wonder. I think there should be a political agenda to allow upcoming architectural firms to compete in situations like this. You actually worked on a bridge design. Yes, I thought I need to develop a position in order to critique what is there. What we now have is a link between the upper level of the festival plaza and the oval. Whereas, what I think you should do is activate the water edge, the bank itself, and still allow – sure – the people on the upper level to access it. I find, for the people walking along the water’s edge, the underpass situation is an undesirable space. I tried to connect edge to edge, and not see it as a pure transit, but rather as an extension of the existing landscape; more like topography than a traditional bridge. We have this lawn beneath the festival centre where functions are often happening; they could extend onto the bridge. It is 60m wide, so you can actually do things on it.

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Claims that intangible heritage is too inscrutable to deal with might, however, be missing the point. According to Professor Galla, new holistic approaches to heritage practice are challenging the binary of nature and culture on which the UNESCO conventions were once based.”

should be providing the tools and support for living custodians to practice and pass on their knowledge and experience to the next Professor Galla

More than meets the eye

generation. Galla cites the Cobb and Co museum in Toowoomba as a local example of such a community-centred institution. Concerned that so many of the skills and associated knowledge behind the collections were being lost, the museum established a training centre for ‘heritage trades’ which offers training in the trades themselves, as well as in the conservation and maintenance of the collections.

What does cultural heritage mean, exactly?

As World Heritage inscription comes under scrutiny, new paradigms for the planning and management of World Heritage sites are also beginning to emerge. These involve the full

Stephanie Johnston

Dating from 1972, the World Heritage

examples of living heritage that have made the

participation of local communities in determining

Convention originally built on the notion of the

list, the enigmatic nature of which has made

natural and cultural significance in the first place,

he 40th anniversary of the UNESCO

American national parks system, extending the

it the subject of much mockery and some

and in managing and developing the sites over

World Heritage Convention sparked

defence of natural landscapes to monuments,

serious criticism. (For those not in the know,

time. “The aim is to contribute more effectively

international debate over the value

buildings, towns and cultural artifacts. A second

ludodiversity refers to the wide diversity in

to community building by resourcing and

and nature of World Heritage listing

treaty, the Convention for the Safeguarding of

games, sports, physical exercises, dances and

strengthening local capacity for action,” says

in the 21st century. According to The New

Intangible Cultural Heritage, was introduced

acrobatics practiced in Flanders, including

Galla.

York Times, World Heritage has become big

in 2003 to defend and incorporate intangible

twenty-three types of shooting games, bowl

business, bringing hordes of tourists to poor

culture such as folklore, oral traditions, language,

games, throwing games and ball games).

countries that can use the jobs and the cash.

music, crafts, knowledge and rituals into the

This can have positive impacts by assisting

heritage agenda.

T

He points to the example of Ha Long Bay in Vietnam, which has been twice listed by

Claims that intangible heritage is too

UNESCO, in 1994 for its outstanding landscape

inscrutable to deal with might, however, be

and aesthetic characteristics and again in 2000

with the preservation of heritage through

The Intangible Cultural Heritage list not only

missing the point. According to Professor Galla,

for its scientific and geological values. “However,

significant economic investment, but it can

represents inherited traditions from the past,

new holistic approaches to heritage practice are

in the process of inscription the local Cua Van

also overwhelm the very sites it is designed to

but also contemporary rural and urban practices

challenging the binary of nature and culture

people were neither involved nor consulted,

protect, by pandering to the demands of mass

that reflect and perpetuate the world’s cultural

on which the UNESCO conventions were

and there was no acknowledgement of their

tourism at the expense of local communities.

diversity. The point, according to UNESCO

once based. “Nature is culturally perceived,”

intangible heritage.”

World Heritage listing has thus evolved from

guidelines, is not to preserve and protect, which

he argues. “The understanding of the museum

Galla went to work to bring together resources

a technical measure aimed exclusively at

is to freeze something in time, but to safeguard.

needs to be liberated in order to encompass the

and interest groups to establish the Cua Van

preservation, into an acclaimed and globally

Traditions can change and evolve as they are

idea of a genuinely inclusive cultural centre that

Floating Cultural Centre and Museum, which is

respected brand.

passed down through a living heritage that is

facilitates the continuity of living heritage.” In

devoted to the living heritage values of fishing

continually being recreated.

Australia, during the 1980s, Galla facilitated the

communities who live on the bay. “Prior to the

“The last two decades have seen the reworking of heritage policy and conservation from a ‘first

UNESCO’s intangible heritage list has

national affirmative action for the participation of

initiative there were proposals to sedentarise

world’ construct into an inclusive post-colonial

enshrined over 260 such items to date, ranging

Aboriginal People and Torres Strait islanders in

the fishing communities on land,” he told The

practice which seeks to integrate tangible and

from a program of ‘cultivating ludodiversity in

Australian heritage institutions from the position

Adelaide Review. “When local communities are

intangible heritage,” adds the voice of Professor

Flanders, Belgium’, to the ‘watertight-bulkhead

that all heritage is intangible. The intangible is

able to have their voice heard, and when the

Amareswar Galla, keynote speaker at the 2012

technology of Chinese junks’ and the ‘traditional

simply represented and illustrated through the

institutions break out of their object-centred and

OzAsia Festival, and editor of the flagship 40th

knowledge of the jaguar shamans of Yuruparí,

tangible.

place-centred conceptual straightjackets, a more

anniversary publication World Heritage: Benefits

Colombia’. Falconry, the tango, Vanuatu sand

So in addition to collecting, collating and

inclusive understanding of the World Heritage

Beyond Borders.

drawing and Viennese coffee culture are other

documenting, museums and heritage sites

area is revealed to both locals and visitors alike.”


the adelaide REVIEW DECEMBER 2012

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the adelaide REVIEW DECEMBER 2012

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Form Section of the December 2012 Adelaide Review  

FORM is a monthly section within The Adelaide Review that is dedicated to the world of design and architecture.

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