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    North Sydney MLC building added to state heritage register

    NSW arts minister Don Harwin has accepted the recommendations of the Heritage Council of NSW and the Independent Planning Commission to place North Sydney’s MLC Building on the state heritage register, scuttling plans to demolish the modernist office tower and replace it with a new building designed by the same architect.
    In a report handed down on 21 April, the planning commission agreed with the heritage council’s assessment that the building was of state heritage significance and that the listing would not cause the owner undue financial hardship.
    It also disagreed with the owner that refurbishment would result in a “fake replica” of the building.
    Harwin, announcing his decision on 2 June, said the listing “celebrates the importance of this building to the history of architectural design in NSW and Australia and will provide protection for its heritage values for future generations,” the Sydney Morning Herald reports.
    The decision follows a campaign by heritage advocates including Docomomo Australia and the National Trust to protect the building, the first high-rise office block in North Sydney and the largest building of its type in Australia when it was completed in 1956.
    Designed by Walter Osborn McCutcheon of Bates Smart and McCutcheon, the building was the first in Australia to use a curtain wall design and the first to use modular units. It is listed on the Australian Institute of Architects’ Register of Nationally Significant 20th Century Buildings and is described in its local heritage listing as “a seminal building on subsequent highrise design in Sydney.”
    But the firm behind the original design, which today goes by Bates Smart, also designed its proposed replacement and doesn’t rate the existing building so highly. It said the design was “flawed from the beginning” due to its east–west orientation. In planning documents, the firm said it had worked with the building’s owners for more than a decade to find a way to refurbish it, but found it was unviable.
    The owner estimated that it would cost $212 million to upgrade the building should it gain heritage listing, and that “works necessary to upgrade the building to allow its future use will result in a fake replica of the original item, with little remaining heritage significance.”

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    Proposed North Sydney tower designed by Bates Smart.

    Relying on an independent report prepared by PTW Architects and Urbis, the Independent Planning Commission agreed with the Heritage Council that the $212 million figure was likely an overestimate, and that even if it was accurate, it assumed the east wing of the building would have to be retained if listed – which is “not necessarily the case.”
    All parties agree that the east wing (one of three distinct elements along with the west wing and the central tower) is of lesser heritage significance, and the planning commission found that “the demolition and replacement of the east wing may be necessary to achieve a commercially viable outcome.” But in regards to the west wing, the commission found the interventions required to upgrade the services “need not be as physically impactful as the owner has submitted” and “the unusual floor plate does not preclude a tenantable subdivision.”
    Further, while many of the cost-estimates included in the owner’s submissions were predicated on the assumption that he building would be refurbished to achieve A-Grade office status, the commission, following a submission from North Sydney Council, noted that this would not be necessary to make the building commercially viable.
    North Sydney Council mayor Jilly Gibson was a strong supporter of the proposed redevelopment, stating that the listing would be impediment to “invigorating the CBD” and that “nobody in our CBD should be working in a B- or C-graded building.”
    In response to the decision to list the building, she said, according to the Sydney Morning Herald, that everyone should accept the decision and move forwards. “Bates Smart are very smart architects, I’m sure they’ll get to work on a new scheme that’s outstanding and respects the decision of the panel,” she said. More

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    Feathers ruffled as Nightingale Housing restructures

    Nightingale, the celebrated architect-led housing provider, has been restructured from a social enterprise to a not-for-profit organization and a string of changes have been made to the way it operates. The transition has caused a rift among its founding architects over issues of transparency, governance and the perception of potential conflicts of interest.
    Architect Andrew Maynard, who was a shareholder of Nightingale’s previous entity, has questioned how the not-for-profit organization has been set up, publishing a series of posts on social media decrying the birth of “another green-washed developer.” While Maynard welcomes the organization’s transition to becoming a not-for-profit, he objects to the make-up of the new organization, noting that it’s “what’s under the hood that counts.”

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    Andrew Maynard, left. Image:

    Peter Bennetts

    Nightingale’s new constitution names two founding members, Jeremy McLeod and Tamara Veltre. The constitution also states that members can vote at annual general meetings and change the constitution through a special resolution.
    This, according to Maynard, gives control of the organization to a select few. “Why would we have Jeremy and his wife as the only members? There are many other not-for-profits that have thousands of members. Why wouldn’t you have everyone who owns a Nightingale home as members, so you actually have a lot of people there to protect the founding principles of sustainability and community, instead of just two people?”
    Angela Perry, chair of the Nightingale Housing board, said that the change was being made to ensure the project couldn’t become about profits. “One of the biggest drivers behind the change in structure was a concern that previously its was owned by five people – Andrew Maynard, Jeremy Mcleod, James Legge, Peter Lalor and myself.
    “Under that structure, it was possible for it to be sold, monetized, and for the dividends and profits to flow back to those shareholders.”
    “Our intention, and the intention of all of the founding individuals, was that that should never happen. We collectively made the decision to ensure that there aren’t any owners going forward.”

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    Jeremy Mcleod.

    She said that a formally not-for-profit Nightingale would also align ethically with some of the organizations it is working with to deliver affordable and equitable housing, including religious landholders such as Fresh Hope in Sydney and the Baptist church in Melbourne.
    “We’re not averse to increasing membership,” she continued. “We created the first two members as Tamara and Jeremy in order to get the not-for-profit up and running.
    “However, most not-for-profits have limited number of members for a reason and that’s because it becomes incredibly difficult get a quorum at AGMs in order to vote on certain things.”
    Maynard also raised the issue of the possible perception of a conflict of interest. “When you have a person who is the member, who is also the managing director and distributing the work – [several of the Nightingale] projects went to his own company – when you have those conflicts of interest, that’s damaging to the organization.
    “This isn’t about Jeremy,” he said. “He’s led this remarkable housing revolution, it is incredible. My concern is about how we have good governance that protects the remarkable work that has been done.”
    But Perry said the concerns around governance were “a little bit misplaced” because the “fundamentals of a not-for-profit can never be changed.”
    “Tamara and Jeremy have the ability to change the constitution but not in relation to the not-for-profit clauses, nor the wind-up clause. We believe the most important things are protected within the constitution because of the very structure that we have.”
    A statement from Nightingale issued on 1 June explained further, “Some have questioned the relationship between Breathe and Nightingale. Breathe has bought [sic] five of those projects to Nightingale under the licence model. The additional two projects that were allocated to Breathe by Nightingale were done so on merit, recognizing the studio’s proven track record in delivering great buildings while keeping costs within budget. In both instances, the Nightingale delivery team worked in conjunction with external partners and funders to select the architect that was best placed to bring confidence to future residents and could complete the design and delivery under tight timelines.”
    Nightingale will also do away with its pioneering licensing model, which was predicated on architects securing their own sites and raising the funding themselves.
    In its seven years of operation, Nightingale Housing has issued 33 licenses and completed three apartment projects with 11 under construction. But the company believes its progress could be better and that its licensing model, in fact, has been a significant hurdle and many architects have struggled to secure funding.
    Instead, Nightingale will essentially become the developer, with in-house teams that will undertake feasibility studies and raise financing.
    “The future model is Nightingale will take the risk, not the architects. We want the architects to do what they’re really good at, which is designing incredible buildings,” said Nightingale founder Jeremy Mcleod.
    Nightingale will choose from a pre-assessed panel of practices, based on guidelines around their capability, sustainability and the gender diversity of their leadership teams. Three practices will be invited to tender on any project, from which the board will choose one.
    “That will give the opportunity for everyone to work on projects, based on what their skill-set is, instead of relying on architects to bring projects to Nightingale.”
    “I’ve come on a long journey basically,” McLeod admitted. “It’s been a very imperfect journey and we’ve got a lot of improving to do.”
    Maynard says that despite some of the hurdles, “Nightingale is fulfilling its mission, we are delivering sustainable, cost-effective, community-orientated homes.
    “Jeremy is a remarkable visionary; I’m never going to doubt that. [But] Jeremy doesn’t have to do it all. Why don’t we have an independent, not-for-profit housing provider? That would be pretty great.”
    Nightingale’s statement issued on 1 June also said, “As part of moves to further strengthen governance at Nightingale, the organization plans to appoint a Chief Executive Officer in the medium term. Adding three additional members to the not-for-profit entity also remains a goal in a similar timeframe.”
    In response to Maynard’s social media posts, McLeod and the other directors sent him a defamation concerns notice. But McLeod has since told the Australian Financial Review that the notice has been retracted and “His posts are a matter for him.” More

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    ‘Serendipitous encounters’: winning design revealed for Newcastle uni's Alumni House

    The University of Newcastle has announced the winner of its design competition for a new dedicated building for its alumni.
    “Alumni House will be a space dedicated to fostering the pride and nostalgia that alumni feel for the university, giving them a sense of belonging and enabling them to give back with impact by offering their time and expertise to the next generation of graduates,” the university said.
    The building will be located on the site of the former TPI House site at 231 King Street.
    A scheme by Durbach Block Jaggers with Jane Irwin Landscape Architecture, Cox Inall Ridgeway, Ongarato and Northrop was judged the best.
    “Alumni House is a place for past and future connections,” Durbach Block Jaggers said of its design. “An alumni building is both for gathering in the present and sharing the memories of past experiences. Alumni House is a beacon, lighting the way back and forward.

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    Alumni House by Durbach Block Jaggers with Jane Irwin Landscape Architecture, Cox Inall Ridgeway, Ongarato and Northrop.

    “Alumni House is ideally located for both passing through and staying, for active streets and serendipitous encounters, for ceremonial and joyful use. Poised between civic streets, an established park, and the University corridor, Alumni House captures a calm civic presence and a dynamic future. The building enables an uplifting, open, inclusive, civic identity, porous to the public realm.”
    The judges praised the scheme’s “poetic response to the brief, which successfully addresses the primary requirement of providing a welcoming place for alumni, while projecting a memorable presence in the city that looks to the future.”
    University of Newcastle vice-chancellor Alex Zelinsky said, “The DBJ design for Alumni House is truly unique and will be a great gift from the University and our alumni – a place for connection, engagement and participation in University life and communities beyond the lecture theatre.”
    The university launched a competition for the design with City Lab. Schemes by Candalepas Associates and David Boyle Architect, Sam Crawford Architects and Curious Practice, and Tonkin Zulaikha Greer were also shortlisted in the competition. Across all the invited participants, more than 70 University of Newcastle alumni competed.
    The building will cost an estimated $15 million to construct. The university will contribute $5 million and it hopes to raise the remaining $10 million through philanthropy over the next two years. More

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    ‘Bueno para el alma’: los muralistas de São Paulo apuestan por convertir a su ciudad en un lienzo

    Los funcionarios de esa ciudad brasileña antes acosaban a los artistas del graffiti y los muralistas, tratándolos como vándalos. Ahora el gobierno incluso financia esas expresiones artísticas que hacen de la metrópolis una galería al aire libre.1 de junio de 2021SÃO PAULO, Brasil — Cuando Eduardo Kobra comenzó su trabajo artístico pintaba las paredes de São Paulo en las horas cercanas al amanecer con representaciones crudas de la vida urbana, pero siempre trabajaba rápido y estaba muy atento de las patrullas de la policía.Por esa época, en Brasil no se podía ganar dinero como artista del graffiti y los riesgos abundaban. Los transeúntes solían insultarlo, la policía lo detuvo tres veces y acumuló docenas de citaciones por daños a la propiedad pública.“Muchos artistas de ese periodo se cayeron de los edificios y murieron”, recuerda Kobra. “Y hubo peleas muy violentas entre las bandas rivales de grafiteros”.Pero eso es el pasado: muchas cosas han cambiado desde que Kobra llevó su arte a las calles de São Paulo hace dos décadas.Ahora es un muralista aclamado internacionalmente, y São Paulo, la ciudad más grande de América Latina, ha llegado a impulsar, e incluso financia, el trabajo de artistas que las autoridades acosaron y difamaron en el pasado.El artista Eduardo Kobra frente a un mural que pintó en honor a las víctimas de la COVID-19, en São Paulo.El resultado es un auge del arte que utiliza las paredes de los edificios, antes monótonos, como lienzos de gran tamaño. Las decenas de murales recién pintados han suavizado los bordes de una de las megaciudades más caóticas del mundo, salpicando destellos, poesía y comentarios agudos en su horizonte.Esta forma de arte ha prosperado durante la pandemia, ya que los artistas encontraron consuelo e inspiración bajo el cielo abierto durante los meses en que las galerías, los museos y los espacios de actuación estaban cerrados.Muchos de los murales que fueron pintados el año pasado abordan la crisis de salud que ocasionó la muerte de más de 440.000 personas en Brasil, y que profundizó la polarización política.Kobra pintó un gran mural afuera de una iglesia que muestra a niños de diferentes religiones usando mascarillas. El artista Apolo Torres pintó un mural en honor a los repartidores que proveyeron de alimentos a la ciudad de 12 millones de personas cuando estaban en vigor las medidas de cuarentena.Aunque los alcaldes recientes de São Paulo a veces han sido hostiles y ambivalentes con los artistas callejeros, el gobierno actual ha apoyado plenamente la realización de murales.El año pasado, la oficina del alcalde lanzó una plataforma en línea llamada Street Art Museum 360, que cataloga y mapea más de 90 murales que pueden ser apreciados virtualmente por personas de todo el mundo o experimentados al recorrer la ciudad.Es fácil dejarse cautivar por el mural de Mag Magrela, “I Resist”, que muestra a una mujer desnuda arrodillada, con las manos en una pose meditativa y la palabra “presente” garabateada en su pecho.Un mural de Mag MagrelaUna obra de Mauro Neri de una mujer negra mirando hacia el cielo, con los ojos bien abiertos bajo la palabra “Realidad”, es una de las piezas que fueron creadas el año pasado con la intención de resaltar la injusticia racial.“La experiencia de toparse con estas obras de arte hace que la vida de la ciudad sea más humana, más colorida y más democrática”, dijo Alê Youssef, secretario de Cultura de São Paulo. “Es bueno para el alma”.Desde 2017, la ciudad ha gastado alrededor de 1,6 millones de dólares en proyectos de arte callejero.El arte del graffiti despegó en Brasil en la década de 1980 cuando los artistas se inspiraron en la escena del hip-hop y el punk en la ciudad de Nueva York. Fue una búsqueda dominada por hombres e impulsada, en gran medida, por artistas de comunidades marginadas.Los garabatos y bocetos eran una forma de rebelión, dijo Kobra, para las personas que se sentían impotentes e invisibles en la metrópolis, que es el motor económico de Brasil.“Crecí en un mundo lleno de drogas, crimen y discriminación, donde las personas como yo no tenían acceso a la cultura”, dijo Kobra, de 46 años. “Esta fue una manera de protestar, de existir, de difundir mi nombre a través de la ciudad”.La mayoría de los artistas que se hicieron famosos durante la era en la que el arte callejero todavía era una escena clandestina aprendieron observando a sus compañeros en vez de asistir a las universidades, dijo Yara Amaral Gurgel de Barros, de 38 años, quien escribió su tesis de maestría sobre el muralismo en São Paulo.“Aprendieron en las calles, viendo a otros dibujar, estudiando cómo usaban pinceles y rodillos para pintar”, dijo De Barros. “La mayoría son autodidactas y han transmitido sus habilidades de persona a persona”.Kleber Pagu, un muralista, bajando la pintura de un tejado para un nuevo mural en São Paulo.En la década de 1990, la proliferación del arte callejero se sumó a un paisaje desordenado y visualmente abrumador. Durante años, São Paulo tuvo pocas regulaciones para la publicidad exterior, dejando gran parte de la ciudad, incluidos muchos edificios con al menos un lado sin ventanas, envuelto en vallas publicitarias.En 2006, los legisladores de la ciudad concluyeron que la ciudad estaba inundada de contaminación visual y aprobaron una ley que prohíbe los anuncios grandes y llamativos al aire libre.A medida que se retiraron las vallas publicitarias, los muralistas comenzaron a tratar la repentina abundancia de paredes desnudas como invitaciones a pintar, primero sin permiso y luego con la aprobación del gobierno de la ciudad.Esos gigantescos espacios en blanco fueron una suerte de lienzos fascinantes y atractivos para Mundano, un conocido muralista y grafitero de São Paulo que dijo que las obras de arte exhibidas en galerías y colecciones privadas nunca le habían llamado la atención.“Siempre me sentí incómodo con el arte convencional porque era principalmente para las élites”, dijo Mundano, quien solo usa su nombre artístico. “En la década de 2000 salí a las calles con la intención de democratizar el arte”.Las paredes monótonas de los edificios se han convertido en lienzos de gran tamaño. En la foto se muestra “Trabajadores de Brumadinho”, una obra del artista Mundano.En 2014, Mundano comenzó a pintar los carros gastados y monótonos de los recolectores de basura reciclable, convirtiéndolos en exhibiciones coloridas e itinerantes. La iniciativa, a la que denominó “pimp my cart”, llenó de orgullo a los trabajadores. Más tarde, el artista creó una aplicación de teléfono que permite a las personas comunicarse con los recolectores de basura cercanos.“Siempre quise que mi arte fuera útil”, dijo Mundano. “El arte puede abordar los problemas más cruciales de Brasil”.Uno de ellos, según Mundano, es la tendencia de muchos brasileños a olvidar los momentos de trauma, un fenómeno que se encuentra en el corazón de su trabajo como muralista.“Brasil es un país sin memoria, donde la gente tiende a olvidar incluso nuestra historia reciente”, dijo Mundano, frente a uno de sus grandes murales ubicado en una concurrida intersección del centro. “Necesitamos crear monumentos para los momentos que nos marcaron como nación”.El mural “Trabajadores de Brumadinho” es un homenaje a los 270 trabajadores asesinados en enero de 2019 en un sitio minero en el estado de Minas Gerais, cuando estalló una presa llena de fango y lodo.Un primer plano del mural de Mundano, cuya pintura fue hecha con barro del desastre de la presa Brumadinho.Mundano viajó al lugar del accidente en la localidad de Brumadinho, donde recogió más de 250 kilos de lodo y sedimentos, que utilizó para pintar el mural.La obra es una réplica de una pintura icónica de 1933 de Tarsila do Amaral, una de las pintoras más reconocidas de Brasil, y muestra varias filas de trabajadores, cuyos rostros reflejan la diversidad de Brasil, luciendo cansados ​​y abatidos.Mundano dijo que decidió replicar la pintura de Do Amaral como una manera de subrayar lo poco que han cambiado las cosas en casi un siglo.“Siguen oprimidos por las industrias”, dijo.La muralista Hanna Lucatelli Santos también se inspira en temas sociales y dice que se sintió llamada a representar cómo las mujeres muestran su fuerza.Hace años descubrió el poder único de los murales, incluso a pequeña escala, cuando dibujó una imagen de lo que ella define como una mujer “fuerte, pero delicada” en su propia casa. De repente, las relaciones en el hogar se volvieron más armoniosas y la energía más positiva, dijo.Hanna Lucatelli Santos dijo que sus murales de mujeres fuertes pueden “equilibrar la energía de la calle, que tiende a ser tan masculina”.“Eso hizo que nos tratáramos de una forma más amable”, dijo Santos.Santos, de 30 años, ha tratado de replicar ese efecto a mayor escala pintando murales de mujeres que miran la ciudad abarrotada con un aspecto sereno y místico. Sus creaciones también son una refutación a la forma en que las mujeres a menudo son retratadas en la publicidad brasileña y en el arte creado por los hombres.“Ves mujeres pintadas por hombres que tienen cuerpos artificiales, están totalmente sexualizadas”, dijo. “Esas figuras hicieron mucho más para oprimirme que para liberarme”.Uno de sus trabajos recientes, un par de murales ubicados en unas paredes adyacentes, muestran a la misma mujer de frente y de espaldas. La imagen frontal incluye la frase: “¿Te has dado cuenta de que somos infinitos?”, y el otro lado muestra a la misma mujer cargando a un bebé en su espalda y sosteniendo la mano de un niño pequeño.“Quería que la gente se cuestionara cómo la sociedad ve a las madres”, dijo. “Y sé que una mujer de ese tamaño, una mujer mística, tiene el poder de cambiar el entorno debajo de ella, de equilibrar la energía de la calle, que tiende a ser tan masculina”.Un mural de la artista Soberana Ziza en el centro de la ciudad.Lis Moriconi colaboró en este reportaje desde Río de Janeiro.Ernesto Londoño es el jefe de la corresponsalía de Brasil, con sede en Río de Janeiro. Antes formó parte del Comité Editorial y, antes de unirse a The New York Times, era reportero en The Washington Post. @londonoe More

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    Brisbane Airport’s $1b plan for a new integrated terminal

    Brisbane Airport Corporation has unveiled plans to create a third terminal at the airport, which would integrate domestic and international operations. The terminal would be between 200,000 and 250,000 square metres in size, located between the two runways and accommodate the 50 million passengers and 50,000 works expected by the 2040s. A spokesperson for Brisbane […] More

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    Architecture academic appointed pro vice-chancellor of Curtin University

    Architecture academic Richard Blythe has been appointed pro vice-chancellor of Curtin University’s faculty of humanities after a global search for a candidate. Blythe is currently dean of the College of Architecture and Urban Studies at Virginia Tech in the United States, previously dean of the School of Architecture and Design at RMIT University in Melbourne. […] More

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    Pay rises on the horizon for architects, survey finds

    A survey conducted by recruitment firm Hays has found that more than half of architecture employers intend to award pay rises to their employees.
    The organization surveyed almost 3,500 organizations and 3,800 skilled professionals across 28 specialist areas, of which 142 were architecture practices.
    The survey found that 53 percent of architecture employers will increase salaries in their next review, which is 11 percent more than the previous year. 20 percent will increase salaries by more than 3 percent, while the remaining 33 percent will increase salaries by less than 3 percent.
    This is compared with 67 percent of employers, across the various sectors, who will increase salaries in their next review.
    Among the employees surveyed, 72 percent of the architecture professionals said a pay rise of 3 percent or more would better reflect their performance and 73 percent of surveyed individuals were either looking for, plan to look for, or are open to new employment opportunities in the next year, due to a lack of promotional opportunities, uncompetitive salaries and a lack of new challenges.
    Hays Architecture senior regional director Simon Bristow said, “On the one hand, we have over half of architecture employers intending to increase salaries in the year ahead, which is a remarkable sign of the confidence employers exhibit today. On the other, professionalssay the value of these increases is far less than they deserve. This is creating a gap between what employers will offer and employees say they are worth.
    “As our data shows, learning and developing new skills is now more important than a pay rise,” Bristow continued. The survey found that 65 percent of skilled professionals ranked learning and developing new skills as the most important priority, while a pay rise was most important for 58 percent of those surveyed.
    “A lack of promotional opportunities is also the primary factor driving professionals into the jobs market today. This makes re-investing in career progression pathways and staff development a sensible strategy for the year ahead,” Bristow said.
    “After a year in which many skilled professionals put career plans on hold, they are focusing once more on their long-term goals.”
    The survey also found the pandemic has dramatically changed expectations of workplace arrangements with only 7 percent of skilled professionals expression a preference to return to the workplace full time. More

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    First dedicated Aboriginal housing strategy for South Australia

    The South Australian government has committed $4 million for a 40-unit housing development in the southern Adelaide suburb of Bedford Park to accommodate Aboriginal Elders as part of a new ten-year strategy aimed at “hitting the reset button” on the state’s provision of Aboriginal housing.
    The Elders Village, to be built close to the culturally significant site of Warriparinga near the Sturt River in Bedford Park, will be delivered by the state government in partnership with national not-for-profit housing provider Aboriginal Community Housing Limited, the Indigenous Land and Sea Corporation and the Kaurna Yerta Aboriginal Corporation.
    Adelaide firm C4 Architects is designing the village, which will include an outdoor fire pit and disability-friendly units with kitchen, dining, living, separate bedroom and bathroom to promote independent living.
    The land, currently owned by the Indigenous Land and Sea Corporation, is being granted to the Kaurna Pangkarra Property Trust, a subsidiary of native title holders Kaurna Yerta Aboriginal Corporation.
    Kaurna Nation Pangkarra Property Trust chair Garth Agius welcomed the initiative. “Adelaide has been our home for thousands of years,” he said. “This is still our traditional lands, our Yarta, our country Pangkarra, but as the traditional owners we still do not own our own homes.”
    Indigenous Land and Sea Corporation CEO Joe Morrison said the project was about providing a culturally appropriate independent living solution for Aboriginal people in South Australia. “The ILSC believes the joint approach between native title holders, the State Government, community organizations and a federal government entity is the key to successfully delivering a project which will provide long term social and cultural benefits for Aboriginal elders on Kaurna country,” he said.
    Construction on the village is expected to begin in early 2022.
    The South Australian Aboriginal Housing Strategy 2021-31 also allocates $28.4 million for a remote housing replacement program over six years, $34 million for remote housing maintenance over five years and $17 million new social and affordable housing over six years.
    Housing solutions will be co-designed by communities “to increase the cultural awareness capacity of the housing sector.”
    The development of the strategy has been spearheaded by the SA Housing Authority’s head of Aboriginal housing Erin Woolford, a Kuyani-Arrernte woman.
    SA’s minister for human services Michelle Lensink said the strategy would continue to be shaped by Aboriginal people.
    “We’re really excited to launch our new Aboriginal housing strategy – the state’s first stand-alone housing strategy which addresses the specific housing needs of Aboriginal South Australians,” she said.
    “We know that better housing is a key factor in closing the health and life expectancy gap between Aboriginal and non-Aboriginal peoples.
    “Housing provides a stable place from which to access health services, access and maintain employment, attend school and generally increase social inclusion.” More