Indigenous Engagement in Architecture

Chapters 1 / 10 Introduction & Cultural Foundations

Chapter 01 / 10

Introduction & Cultural Foundations

Carey Landwehr · 4 min read

About this guide

Authorship

CLAD developed this guide to support architects in understanding their professional obligations and building respectful Indigenous engagement practices. This guide is not authored by an Indigenous person.

Approach

We've created a centralised resource linking directly to Indigenous voices, Indigenous-authored materials, and Indigenous-led organisations. Throughout, we defer to and link to First Nations perspectives and expertise.

How to use it

Use this guide as a starting point. The real knowledge comes from engaging directly with Indigenous peoples, communities, and their knowledge systems. We encourage you to seek out Indigenous practitioners, consultants, and community leaders in your own work. For guidance on specific projects, engage directly with the Traditional Owners of that Country.

Every architectural project in Australia sits on Country that Aboriginal and Torres Strait Islander peoples have cared for over 65,000 years. This guide helps you understand what that means for your practice.

Our Position

CLAD is a non-Indigenous-led architectural practice based on Wurundjeri Woi-wurrung Country (Naarm / Melbourne) and Trawlwoolway Country (lutruwita / Tasmania).

Sovereignty over these lands was never ceded.

We cannot "Design with Country" — that is First Nations-led work. We offer this guide as culturally-responsive support for non-Indigenous practitioners learning to enable Indigenous-led design and to design with respect for Country. Country-centred design is owned by Indigenous peoples and embodied through Indigenous designers (AIA First Nations Advisory Committee, October 2025).

This guide reflects the perspective of a non-Indigenous practice and has not yet been reviewed by a First Nations advisor. Seek cultural guidance from the Traditional Owners of the Country you are working on.

Why This Matters

Since 2021, Indigenous engagement knowledge has been mandatory for architect registration in Australia: the National Standard of Competency for Architects now requires demonstrated competency in Indigenous engagement principles.¹ Beyond the registration obligation, every site holds cultural significance, stories, and ongoing connections to Traditional Owners — and understanding that context makes you a better architect.

Three Things to Do First

Before you start any project, familiarise yourself with these three resources:

1. AIATSIS Map of Indigenous Australia

Find out whose Country you're working on.

This map shows Traditional Custodian boundaries across Australia. Bookmark it. Use it at the start of every project to identify the relevant community contacts and understand cultural boundaries.²

View the AIATSIS Map

---

2. Australian Indigenous Design Charter

Learn the 10 principles for working with Indigenous knowledge in design.

The Charter gives you practical guidelines for projects involving Indigenous imagery, stories, or cultural elements. It helps you avoid appropriation and ensure your design work is culturally appropriate.³

Read the Design Charter

---

3. National Standard of Competency for Architects (2021)

Understand your professional obligations.

The NSCA 2021 makes Indigenous engagement a core competency. You need to demonstrate knowledge of engagement principles and culturally appropriate practice to maintain your registration.

View NSCA Explanatory Notes (PDF)

---

How This Guide Works

The guide has 10 chapters, each building on the last:

Read in order for an introduction to the subject, or go to Chapter 7 for Victorian cultural heritage processes.

References (3)

1. Architects Accreditation Council of Australia (AACA). (2021). National Standard of Competency for Architects (NSCA) 2021 Explanatory Notes. Retrieved from https://aaca.org.au/wp-content/uploads/2021-NSCA-Explanatory-Notes.pdf
2. Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS). Map of Indigenous Australia. Retrieved from https://aiatsis.gov.au/explore/map-indigenous-australia
3. Indigenous Architecture and Design Victoria (IADV). Australian Indigenous Design Charter. Retrieved from https://indigenousdesigncharter.com.au/

Chapter 02 / 10

Understanding Country

Carey Landwehr · 5 min read

Understanding Country is fundamental to architectural practice in Australia.

For First Nations peoples, Country isn't just land. It's a living entity that encompasses everything: the physical landscape, the waters, the sky, the plants and animals, the stories, the ancestors, and the people. When Indigenous Australians talk about Country, they're describing a web of relationships and responsibilities that has existed for over 65,000 years.¹

What Country Includes

Country has three dimensions that architects need to understand:

The Physical

The tangible elements you can see and touch: lands (geological features, soils, topography, landforms), waters (rivers, creeks, wetlands, groundwater, coastal areas), plants (native vegetation, significant species, seasonal patterns), animals (fauna, habitats, movement patterns), and built places (sites of cultural significance, meeting grounds, pathways).

The Spiritual and Cultural

Elements you can't see but which are equally real: sacred sites and Dreaming stories, traditional knowledge spanning ecological understanding and seasonal calendars, language preserved in place names, stories, songs, and oral traditions, law governing protocols and cultural obligations, and kinship systems connecting people to Country and each other.

The Relational

How everything connects. Reciprocity means people and Country have mutual obligations. Custodianship means caring for Country across generations. Belonging means people belong to Country, not the other way around. And continuity means Country shapes its people, and they shape it.

---

Country Is Alive

Country is alive in a literal sense, not metaphorical. Indigenous peoples understand Country as a living entity with its own agency, needs, and rights.²

The table below shows how fundamentally different this worldview is from Western assumptions:

What This Means for Design

Buildings become part of an ongoing relationship between people and Country. Ask how the project can benefit that relationship, and assess its success with Traditional Owners.

Consult Traditional Owners throughout the project.

---

Everything Connects

Design decisions don't happen in isolation. They ripple across ecological, spiritual, and social systems in ways you might not anticipate.³

Think of Country as four interconnected systems:

Ecological — Water flows, plant communities, animal habitats. Disturb one and you affect the others.

Cultural — Stories, ceremonies, and practices tied to specific places. A site might look unremarkable but hold deep significance.

Social — Community gathering, kinship, responsibilities. Your building affects how people relate to each other and to Country.

Temporal — Past, present, and future connected through Country. What you build today becomes part of a story that stretches back millennia and forward to future generations.

Before You Design

Ask yourself:

1. What does this site mean to Country, not just to the client?
2. What relationships exist here between plants, animals, water, and people?
3. What stories belong to this place?
4. Who will be affected by what I build, and for how long?

---

Every Country Is Different

There's no single "Indigenous perspective" on Country. Australia has over 250 distinct language groups, each with unique relationships to their Country.⁴

View the AIATSIS Map

Local Context Matters

What works on Wurundjeri Country might be completely wrong on Gunditjmara Country. Coastal nations relate to Country differently than desert nations. Some knowledge is shared; some is secret. Some protocols are similar across groups; others are unique.

The implication: You can't learn "Indigenous engagement" as a generic skill. You have to learn about the specific Country you're working on, from the specific people who belong to it.

Avoid Assumptions

Don't assume protocols from one community apply to another, and don't rely on generic resources when local knowledge is available. Accept that some knowledge isn't yours to know. Be prepared to be told "no" — and respect it.

---

Country-Centred Design

The shift required is from human-centred to Country-centred design.⁵

Human-centred design asks what the users need, how to optimise the human experience, and what the client's requirements are. Country-centred design asks what Country needs, how the project strengthens relationships with Country, what the consequences are for Country's health, and how the project gives back.

Country-centred design puts Country first and considers human needs within that relationship.

---

Practical Steps

Before Any Project

1. Identify Traditional Owners using the AIATSIS Map
2. Check cultural heritage sensitivity for the site
3. Seek guidance from local knowledge holders
4. Listen to stories of the place from those who know it
5. Spend time on Country to understand its rhythms

Throughout Your Project

• Return to Country regularly, not just at the start
• Keep Traditional Owners informed and involved
• Stay open to learning and changing your approach
• Document how Country has influenced your design

---

References (5)

1. Government Architect NSW. (2020). Connecting with Country Draft Framework. https://www.planning.nsw.gov.au/government-architect-nsw/policies-and-frameworks/connecting-with-country
2. Gammage, B. (2011). The Biggest Estate on Earth: How Aborigines Made Australia. Allen & Unwin.
3. Parris, K.M. et al. (eds.). (2020). "Cities are Indigenous Places." In Cities for People and Nature. Clean Air and Urban Landscapes Hub. https://nespurban.edu.au/wp-content/uploads/2020/11/Cities-for-People-and-Nature.pdf
4. AIATSIS. Map of Indigenous Australia. https://aiatsis.gov.au/explore/map-indigenous-australia
5. Hromek, D. (Ed.). (2021). "Start with Country." Architecture Australia. https://architectureau.com/articles/start-with-country/

Chapter 03 / 10

Supporting Indigenous-led Design

Carey Landwehr · 4 min read

Australian architecture has a colonial problem.

When Europeans arrived, they encountered a continent Indigenous peoples had carefully managed for 65,000 years: permanent and semi-permanent structures across diverse climates,¹ systematic land management through fire, water control, and cultivation,² and networks of pathways, gathering places, and seasonal camps forming complex settlement patterns. The colonisers ignored all of it. Terra Nullius — the legal fiction that Australia was "nobody's land" — justified dispossession. Indigenous-built environments were demolished, Indigenous architecture was erased from professional discourse, and for generations Australian architects have been trained in a tradition that pretends this knowledge never existed.³

The Role of Non-Indigenous Practices

Indigenous practitioners, communities, and Traditional Owners lead decolonisation in Australian architecture. Non-Indigenous practices can support that leadership through their own decisions and working relationships.

---

The Colonial Approach (And Why It's Still a Problem)

Most architectural education and practice in Australia follows a colonial paradigm, whether we recognise it or not:

This Approach Fails Indigenous Communities

Projects designed without consulting Traditional Owners don't serve community needs. Western spatial concepts imposed on Indigenous communities cause harm, sacred sites get ignored, Indigenous intellectual property goes unrecognised, and "engagement" becomes a box to tick rather than a relationship to build. Architecture practised this way continues the work of colonisation, in different vocabulary.

---

The Alternative: Indigenous-Led Design

Indigenous-led architecture starts from the opposite assumptions to the colonial paradigm above: Indigenous leadership, Indigenous knowledge, and Indigenous decision-making sit at the centre of the project rather than at the margins.⁴

Three Levels of Engagement

Not all "engagement" is equal. Know where you sit on this spectrum:

1. Consultation (Insufficient) — You determine the approach, Indigenous peoples provide advice only, and decision-making stays with non-Indigenous parties. This doesn't meet NSCA 2021 requirements.⁵

2. Collaboration (Better, but not enough) — Authority is shared and partners work together. More equitable, but Indigenous voices can still be marginalised within shared structures.

3. Indigenous-Led Design (What to aim for) — Indigenous peoples determine the approach. Non-Indigenous professionals support their leadership. Traditional Owners have final authority on their Country. This is required for any project on Country with Traditional Custodians.

What Indigenous-Led Design Looks Like

---

Making Space for Engagement

Engagement takes time, funding, and a willingness to change the design. Allow for it in the project brief and budget. Contact Traditional Owners early through relevant community organisations, and recognise that knowledge of Country rests with the community.

Practical guidance for engagement, design outcomes, and broader practice changes is covered in detail in Chapters 4–6 (process), 8–9 (design and precedents), and 10 (practice). Reconciliation Action Plans⁷ are covered in Chapter 6.

---

References (7)

1. Memmott, P. (2007). Gunyah, Goondie + Wurley: The Aboriginal Architecture of Australia. University of Queensland Press.
2. Gammage, B. (2011). The Biggest Estate on Earth: How Aborigines Made Australia. Allen & Unwin.
3. Smith, L.T. (2021). Decolonizing Methodologies: Research and Indigenous Peoples (3rd ed.). Zed Books.
4. Thwaites, M. (2023). "Small Embers of Change – Decolonising Architecture." The Local Project. https://thelocalproject.com.au/articles/decolonising-architecture-issue-10-commercial-feature-the-local-project/
5. Architects Accreditation Council of Australia. (2021). National Standard of Competency for Architects. https://aaca.org.au/wp-content/uploads/2021-NSCA-Explanatory-Notes.pdf
6. Yoorrook Justice Commission. Truth-telling for Victoria. https://yoorrook.org.au/
7. Reconciliation Australia. Reconciliation Action Plans. https://www.reconciliation.org.au/reconciliation-action-plans/

Chapter 04 / 10

Engagement & Collaboration

Carey Landwehr · 10 min read

Good engagement depends on clear responsibilities, adequate time and funding, and Indigenous involvement in decisions. This chapter covers how to establish those arrangements and maintain them throughout a project.¹

The Engagement Spectrum

The spectrum below distinguishes levels of participation and decision-making authority.²

Levels of Engagement

Minimum Standard

For projects on Indigenous Country, the minimum should be Involve or higher. Inform and Consult alone don't meet NSCA 2021 requirements.³

How This Connects to Chapter 3: This five-level spectrum (based on IAP2) complements the three engagement modes in Chapter 3: Consultation, Collaboration, and Indigenous-Led Design.

• Inform/Consult aligns with Consultation (insufficient)
• Involve/Collaborate aligns with Collaboration (better, but intermediate)
• Empower aligns with Indigenous-Led Design (what to aim for)

Use this spectrum to assess your engagement level. Use Chapter 3's framework to understand the power dynamics underneath.

---

Step-by-Step Engagement Process

Agree on responsibilities at each stage and keep a record of decisions with community partners.

Phase 1: Preparation (Before First Contact)

1. Identify Traditional Owners — Use the AIATSIS Map to identify language groups.⁴ Research Registered Aboriginal Parties in Victoria and identify relevant Land Councils or community organisations. Boundaries can be contested between groups; check the relevant RAP register and, where there's overlap or active dispute, ask each group how they prefer to be approached rather than choosing between them.

2. Research the Site and Its History — Review cultural heritage registers (ACHRIS in Victoria), research historical land use and displacement, understand the contemporary community context, and learn about significant sites or sensitivities.

3. Prepare Your Organisation — Secure budget for engagement (fees, time, resources) and allocate an adequate timeline—months, not weeks. Identify who will lead engagement within your team and make sure leadership is committed to the process.

4. Develop Your Approach — Draft an engagement plan to be reviewed with community. Prepare clear information about the project, identify what decisions you're seeking input on, and be clear about constraints and non-negotiables.

Outputs to document: Draft engagement plan, stakeholder map, budget allocation, and decision log template.

---

Phase 2: Initial Contact

1. Make Respectful Introduction — Introduce yourself and your organisation. Explain why you're reaching out, ask about appropriate people to speak with, and be patient—responses may take time.

2. Listen First — Ask about community priorities and concerns. Learn about cultural protocols for engagement and understand existing relationships and sensitivities. Don't rush to discuss your project.

3. Establish Relationship Framework — Discuss how the community wants to be engaged. Agree on appropriate communication channels, identify key contacts and decision-makers, and discuss compensation and acknowledgment.

4. Share Project Information — Provide clear, accessible project information. Be honest about scope, timeline, and constraints. Explain decision points and how input will be used, and ask what information the community needs from you.

Outputs to document: Agreed communication protocol, named contacts, and confirmed engagement scope.

---

Phase 3: Ongoing Engagement

1. Maintain Regular Communication — Provide updates even when there's no specific ask. Be responsive to community questions and concerns, share design development as it progresses, and invite ongoing feedback—not just at milestones.

2. Centre Indigenous Input in Design — Bring design options to community, not final decisions. Be prepared to change course based on feedback. Document how Indigenous input shapes design and credit Indigenous contributions appropriately.

3. Address Concerns Promptly — Take concerns seriously and respond quickly. Be willing to pause if significant issues arise, escalate to leadership if needed, and document how concerns were addressed.

4. Build Relationships Beyond the Project — Engagement shouldn't end when construction starts. Plan for post-occupancy connection, support ongoing community benefit, and maintain relationships for future projects.

Outputs to document: Updated design rationale showing Indigenous input, issue-response register, and post-occupancy engagement commitments.

---

Indigenous Cultural and Intellectual Property (ICIP)

Indigenous Cultural and Intellectual Property (ICIP) concerns the knowledge and cultural material a project may use. The guidance below draws on Janke's Our Culture: Our Future (1998), AIATSIS protocols, and the AIA First Nations Advisory Committee's October 2025 guidance.⁵

What ICIP Covers

ICIP encompasses all forms of Indigenous knowledge, cultural expressions, and heritage — including traditional knowledge and practices, cultural expressions (art, stories, songs, designs), languages and place names, sacred and secret material, and heritage documentation and recordings.⁵

ICIP Rights

Indigenous communities have rights to recognition of ownership over their cultural heritage, authority to approve or refuse use of their ICIP, secrecy for sacred or restricted knowledge, attribution when ICIP is used, benefit-sharing from commercial use, and prevention of misuse or misrepresentation.

Identifying ICIP holders early

Identify ICIP holders before cultural references enter the design:

1. Confirm Traditional Custodian groups for the site via the AIATSIS Map plus the relevant state register (ACHRIS in Victoria, AHIMS in NSW, the Aboriginal Heritage Register in Tasmania).
2. Ask which knowledge-holders speak for which knowledge before any specific cultural reference enters the design. Country-stories, language, motifs, planting palettes, wayfinding — different elders, different families, different roles may hold each.
3. Treat overlapping or contested boundaries as a process question, not a choice. Ask each group how they prefer to be approached; don't pick a winner.
4. Document who you've identified and who you haven't. A blank in this register at design stage is a flag, not a gap to paper over.

If you cannot identify the right ICIP holders within the project's engagement budget and timeline, the answer is to scope cultural references out of the design — not to proceed with vague attributions.

Three risk-flag levels

The following categories describe when a proposed design element may need engagement or permission:

The flag is set by the people who hold the knowledge — not by the architect, not by the practice. A non-Indigenous practice can recognise that a move is likely red-flagged and seek engagement; it cannot declare a move red, amber, or none on its own authority.

What to do when permission is refused

Respect a Traditional Custodian or community decision to refuse permission:

1. No is the answer. Don't shop for a different community, "second opinion," or alternate elder. ICIP authority is community-specific; declining is not a starting position for negotiation.
2. Don't substitute "generic Indigenous design" for the specific element you can't use. This is a deeper appropriation than the original ask. If the brief required a cultural reference and the holders said no, the brief itself needs to change.
3. Document the refusal as part of the project record so future teams (yours or someone else's) don't repeat the ask. Note who declined, when, and on what basis (without recording the restricted content itself).

If the brief depends on an unauthorised cultural reference, revise it with the client before design proceeds.

ICIP Protocols for Architects

Seek permission before using any Indigenous cultural material. Provide attribution for all Indigenous contributions and negotiate benefit-sharing for commercial applications. Respect restrictions on sacred or secret knowledge, document agreements in writing, and return materials when requested.

Common ICIP Risks in Architecture

Watch out for using Indigenous patterns or motifs without permission, recording stories or knowledge without consent, incorporating sacred designs into public buildings, photographing or documenting without approval, and claiming ownership of Indigenous-influenced designs.

Documentation, attribution, and ongoing custody

ICIP rights don't end at handover. The project record continues to carry obligations:

• Attribution travels with the work. A built outcome that draws on ICIP credits the ICIP holders in published material (drawings, project pages, awards submissions, photographs), as well as the design report.
• Custody belongs to the community, not the project. When recordings, drawings, or notes are made during engagement, agree at the start who holds them after the project closes. The default should be: copies returned to the community, originals at the community's discretion.
• Re-use requires re-consent. Permission to use ICIP on one project does not extend to a different project, a different building, or a portfolio re-publication. If you want to use it again, ask again.
• Award and publicity submissions are not implicit consent. Confirm before submitting; some communities prefer their contributions remain unattributed to specific knowledge-holders even when the work is celebrated.

ICIP Resources

For detailed guidance on ICIP protocols:

AIATSIS Indigenous Cultural and Intellectual Property Guide

Arts Law Centre ICIP Information Sheet⁶

Terri Janke and Company — Leading Indigenous law firm with ICIP resources

Our Culture: Our Future (Janke, 1998) provides further background on ICIP in Australian practice.⁸

---

Reciprocity and Benefit-Sharing

The Principle of Reciprocity

Engagement should never be extractive. Consider what your organisation offers in return:⁷ employment and training opportunities, procurement from Indigenous businesses, knowledge-sharing and capacity building, support for community initiatives, ongoing relationship beyond the project.

Forms of Benefit-Sharing

---

Documentation and Agreements

Engagement Plans

Document your engagement approach: objectives and scope, stakeholders and contacts, timeline and milestones, budget allocation, decision-making processes, communication protocols.

Formal Agreements

Consider formal agreements for consulting arrangements and fees, ICIP use and attribution, benefit-sharing arrangements, and ongoing relationship commitments.

Records and Accountability

Maintain records of all engagement activities, decisions made and rationale, how Indigenous input influenced design, and commitments made and how they were met.

---

References (8)

1. AIATSIS. (2020). AIATSIS Code of Ethics for Aboriginal and Torres Strait Islander Research. https://aiatsis.gov.au/research/ethical-research
2. International Association for Public Participation (IAP2). IAP2 Spectrum of Public Participation. https://www.iap2.org/page/pillars
3. Architects Accreditation Council of Australia. (2021). National Standard of Competency for Architects. AACA.
4. AIATSIS. Map of Indigenous Australia. https://aiatsis.gov.au/explore/map-indigenous-australia
5. AIATSIS. Indigenous Cultural and Intellectual Property (ICIP). https://aiatsis.gov.au/research/ethical-research/indigenous-cultural-and-intellectual-property
6. Arts Law Centre of Australia. Indigenous Cultural and Intellectual Property (ICIP). https://www.artslaw.com.au/information-sheet/indigenous-cultural-and-intellectual-property-icip/
7. Kimmerer, R.W. (2014). "Returning the Gift." Minding Nature, 7(2). https://www.humansandnature.org/returning-the-gift
8. Janke, T. (1998). Our Culture: Our Future — Report on Australian Indigenous Cultural and Intellectual Property Rights. AIATSIS / Terri Janke and Company.

Chapter 05 / 10

Cultural Protocols

Carey Landwehr · 9 min read

Cultural protocols guide respectful behaviour and communication. Ask the community you are working with which protocols apply.¹

Acknowledgement of Country

What It Is

An Acknowledgement of Country recognises the Traditional Owners of the land where an event or activity takes place. Anyone can give an Acknowledgement of Country.²

When to Give One

Give an Acknowledgement of Country at the beginning of meetings and events, on websites and in publications, in project documentation, at project milestones and openings, and when welcoming visitors to your workplace.

Elements of a Genuine Acknowledgement

A thoughtful Acknowledgement includes specific naming of the Traditional Owner group(s), recognition of their continuing connection to Country, and respect for Elders past, present, and emerging. A personal or organisational commitment to reconciliation can be added; if you do add one, follow through on it.

Example Acknowledgements

Basic:

We acknowledge the Wurundjeri Woi-wurrung people as the Traditional Owners of the land on which we meet today. We pay our respects to their Elders past, present, and emerging.

Extended:

We acknowledge that we are meeting on the lands of the Wurundjeri Woi-wurrung people of the Kulin Nation, who have cared for this Country for over 65,000 years. We pay our respects to their Elders past, present, and emerging, and extend that respect to all Aboriginal and Torres Strait Islander peoples. Sovereignty was never ceded.

Making It Genuine

Research the Traditional Owners for your location and consider what the acknowledgement means for your practice. Make it specific to the place and follow through on any commitments you express.

---

Welcome to Country

What It Is

A Welcome to Country is a formal ceremony performed by Traditional Owners or their representatives to welcome visitors to their Country. Only Traditional Owners can perform a Welcome to Country.³

When to Request One

Request a Welcome to Country for project launches and openings, significant milestones, major events and conferences, and when beginning work on a new site.

How to Arrange One

1. Contact the relevant Traditional Owner group or Land Council
2. Explain the event and its significance
3. Discuss appropriate format and timing
4. Agree on fees and logistics
5. Confirm arrangements well in advance

During the Ceremony

Stand in respect. Listen attentively. Follow any instructions given—if invited to participate in a smoking ceremony, do so. Afterward, thank the Elder personally.

Fees and Compensation

Welcome to Country ceremonies should be compensated. Typical arrangements include consulting fees for the Elder's time, travel and accommodation costs, administrative fees to the organisation, and a gift or donation to the community.

---

Appropriate Language

Terminology

Use respectful, current terminology:⁴

Key Terms to Understand

Country — The lands, waters, and all living things that Indigenous peoples are connected to. More than just the physical environment.

Traditional Owners / Traditional Custodians — Indigenous peoples who have cultural authority for a particular area of Country.

Elders — Senior community members who hold cultural knowledge and authority. Referred to with titles such as Uncle or Aunty.

Custodianship — The responsibility to care for Country, which comes with being a Traditional Owner.

Dreaming / Dreamtime — Complex spiritual and cultural concepts. Be cautious using these terms; they mean different things to different groups.

Language to Avoid

Avoid possessive language like "Our Aboriginal people" or "Australia's Indigenous heritage." Don't use past tense—"The Aboriginal people who lived here" implies they no longer do. Don't homogenise—"The Aboriginal culture" ignores the diversity of over 250 distinct cultures. Avoid deficit framing that focuses only on problems. And stay away from romanticising tropes like "mystical connection to the land."

Describing Your Practice

Distinguish between describing First Nations design methods and claiming them as your own approach.⁶

Language and words that require permission

Some words and names belong to specific communities and require explicit permission before use in client-facing or published work:

• palawa kani — the revived Tasmanian Aboriginal language. The Tasmanian Aboriginal Centre asserts copyright; place names and words require written permission.⁷
• Specific Country names (e.g. Bidjigal Country, Boonwurrung Country) — usually fine to use when sourced from public registries (AIATSIS Map, AHC) but never invented attributions.
• Specific Country-stories or song-cycle references — require Traditional Owner permission. Don't embed in published material without it.

---

Meeting and Communication Protocols

Initial Meetings

Take time for introductions and relationship-building before rushing to business. Listen more than you speak. Be patient with silence—it may be part of the communication style. If meeting with Elders, bring appropriate gifts (ask what's appropriate beforehand). Follow the community's lead on structure and pace.

Ongoing Communication

Be consistent—don't disappear between meetings. Follow through on every commitment, no matter how small. Be accessible by providing multiple contact options. Respect communication preferences—some prefer phone calls to email. Allow adequate time for community processes.

Meeting Locations

Meet on Country when possible and when invited. Respect community spaces by asking before photographing or recording. Follow any protocols for entering community buildings or areas. Be aware that some spaces may be gendered or restricted.

---

Working with Elders

Showing Respect

Use titles such as Uncle and Aunty when introduced to Elders. Listen attentively when they speak. Don't interrupt or rush conversations. Ask permission before taking photos. Always thank Elders for their time and knowledge.

Elder Authority

Elders have cultural authority that must be respected. Their decisions often reflect community consensus built over time. Some knowledge can only be shared by particular Elders. They may need time to consult with others before responding to your questions.

Compensation for Elder Time

Elder consultation should always be compensated fairly. Discuss appropriate rates with the community organisation. Cover all travel and accommodation costs. Provide refreshments and ensure comfort during meetings.

---

Gender Protocols

Understanding Gender in Indigenous Cultures

Some Indigenous cultural knowledge and practices are gender-specific:⁵

• Men's business — Knowledge and ceremonies for men only
• Women's business — Knowledge and ceremonies for women only
• Mixed / Open business — Knowledge that can be shared with everyone

Practical Implications

Some meetings may need to be gender-specific, and some knowledge may only be shared with same-gender researchers. Some sites may have gender restrictions. Always ask about gender protocols before arranging meetings.

Approaching Gender Sensitively

Ask about protocols rather than assuming, and ensure your team has appropriate gender diversity for engagement. Respect that some knowledge won't be shared with you, and don't push for information that is restricted.

---

Protocols for Documentation

Photographs and Video

Always ask permission before taking photos or video. Clarify usage—who will see it and how it will be used. Provide copies to community. Respect requests to delete or not publish. Be aware that some images may become culturally sensitive if a person passes away.

Recording Conversations

Ask permission before recording. Explain why you want to record. Offer transcripts or copies to participants. Clarify ownership of recordings. Store securely and respect access restrictions.

Written Documentation

Share drafts with community before publishing. Respect requests to remove or modify content. Provide proper attribution for Indigenous contributions. Consider restrictions on distribution.

---

Handling Mistakes

Common mistakes include outdated language, assuming one community speaks for all, allowing too little time, missing commitments, and sharing restricted information. Acknowledge the mistake, apologise, ask the affected people what would help, and change your practice.

When the Work Must Change

Some decisions require changes to the work itself:

• Designing a project on Country without an Indigenous-led process when one was required (Charter principle 1, NSCA PC 27)
• Using Indigenous Cultural and Intellectual Property without consent or attribution (Charter principle 6; Janke 1998)
• Specifying a cultural element that requires permission — cultural-burning-informed planting, on-Country wayfinding, named cultural motifs — without Traditional Owner / RAP engagement (see the ICIP guidance in Chapter 4)
• Publishing or attributing Country-stories, song-cycle references, or restricted language without permission

Seek engagement and permission before specifying or publishing cultural material. If unauthorised work has already been produced, consult the affected community about correction and restitution.

---

References (7)

1. Reconciliation Australia. Reconciliation in Action. https://www.reconciliation.org.au/
2. Reconciliation Australia. "Acknowledgement of Country and Welcome to Country." https://www.reconciliation.org.au/reconciliation/acknowledgement-of-country-and-welcome-to-country/
3. Common Ground. "Welcome to Country & Acknowledgement of Country." https://www.commonground.org.au/article/welcome-to-country-acknowledgement-of-country
4. Reconciliation Australia. "A Guide to Using Respectful and Inclusive Language and Terminology." https://www.reconciliation.org.au/wp-content/uploads/2021/10/inclusive-language-guide.pdf
5. AIATSIS. AIATSIS Code of Ethics for Aboriginal and Torres Strait Islander Research. https://aiatsis.gov.au/research/ethical-research
6. AIA First Nations Advisory Committee with Danièle Hromek (2025). Terms, Concepts and Shared Understandings. Australian Institute of Architects.
7. Tasmanian Aboriginal Centre. palawa kani language program. https://tacinc.com.au/programs/palawa-kani/

Chapter 06 / 10

Professional Standards

Carey Landwehr · 8 min read

Indigenous engagement isn't optional. Since 2021, it's a professional requirement for every registered architect in Australia.¹

This chapter outlines the regulatory frameworks and competency standards you need to know.

National Standard of Competency for Architects (NSCA 2021)

Overview

The National Standard of Competency for Architects (NSCA) sets out what you need to demonstrate to be registered as an architect in Australia. The 2021 version introduced explicit requirements for Indigenous engagement knowledge and skills.²

Relevant Performance Criteria

PC 8 — First Nations Engagement Processes

You must demonstrate knowledge of appropriate engagement processes with First Nations peoples, cultural protocols and requirements, Traditional Owner identification processes, and community consultation methodologies.

PC 17 — Caring for Country

You must understand Indigenous concepts of Country and custodianship, sustainable design principles informed by Indigenous knowledge, and land management practices and their relevance to design.

Use “Caring for Country” with permission from the Aboriginal people you are working with (GANSW 2023). Chapter 5 discusses language for describing a non-Indigenous practice’s work.

PC 27 — First Nations Engagement in Design

You must be able to incorporate Indigenous perspectives in design processes, engage appropriately with Traditional Owners and communities, respect and respond to cultural requirements, and document Indigenous engagement appropriately.

Related Performance Criteria

What This Means for Practice

Meeting NSCA requirements means Indigenous engagement is mandatory, not optional. Competency must be demonstrated, not just claimed. Continuing professional development should include Indigenous engagement. Documentation of engagement processes is required.

---

Australian Indigenous Design Charter

Overview

The Australian Indigenous Design Charter provides 10 principles for ethical design practice involving Indigenous knowledge, imagery, and cultural elements. It was developed by Indigenous designers and communities.³

The 10 Principles

1. Indigenous-led — Indigenous peoples should lead and retain ownership of their creative and cultural property.

2. Community Specific — Design should reflect the specific community and Country, not generic "Indigenous" elements.

3. Communication — Open and clear communication throughout the design process.

4. Interpretation — Indigenous communities should determine how their culture is interpreted and represented.

5. Cultural Knowledge — Indigenous cultural knowledge should be valued and protected.

6. Intellectual and Cultural Property — Indigenous Cultural and Intellectual Property (ICIP) must be respected and protected.

7. National but not Generic — Acknowledge diversity; avoid homogenising Indigenous cultures.

8. Legal and Moral — Comply with legal requirements and moral obligations regarding Indigenous heritage.

9. Reconciliation Action Plans — Organisations should develop and implement RAPs.

10. Self-Determined — Support Indigenous self-determination in all aspects of design.

Applying the Charter

Before using Indigenous design elements, ask: Is this Indigenous-led? Does it reflect the specific community? Have I communicated clearly throughout? Am I respecting ICIP? Does my organisation have a RAP?

Read the Full Design Charter

---

Connecting with Country Framework

Tasmania (lutruwita) caveat

The NSW Connecting with Country Framework is, by its own authors' admission, "informed largely by the experiences and knowledges of people who work on, and are from, Countries in and around the Sydney basin" (GANSW 2023). It does not transpose to lutruwita.

No Tasmanian-specific Country-centred design framework currently exists. For projects in lutruwita the principal community body is the Tasmanian Aboriginal Centre (TAC), and the statutory framework is the Aboriginal Relics Act 1975 (Tas) — older and weaker than Victoria's and does not establish Registered Aboriginal Parties.

Cultural sensitivity is higher when statutory protection is weaker. Treat any framework on this page that originates from NSW or Victorian sources as a reference point, not a template, when working on lutruwita.

NSW Government Architect Framework

The NSW Government Architect's Connecting with Country framework provides detailed guidance for government projects in NSW. Its principles can inform practice in other jurisdictions, but as the caveat above notes, the framework explicitly self-limits to Countries in and around the Sydney basin — apply with care outside that context.⁴

Key Elements

Draft Framework (2020) — Recognition of Country as a living entity. Five interconnected principles for engagement. Guidance on design processes and outcomes. Tools for different project stages.

Pathways (2023) — Updated practical guidance. Case studies and examples. Design translation methods. Assessment approaches.

Core Principles

1. Prioritise Country — Country must come first in decision-making
2. Connect to Country — Design should strengthen connections to Country
3. Care for Country — Projects should benefit Country's health
4. Share Country — Design should enable sharing of culture
5. Learn from Country — Indigenous knowledge should inform design

---

Architects Registration Requirements

State and Territory Registration

Each state and territory has an Architects Registration Board that maintains the register of architects, sets continuing professional development (CPD) requirements, investigates complaints and enforces standards, and recognises competencies including Indigenous engagement.

CPD Requirements

Check with your state registration board about required CPD hours, whether Indigenous engagement CPD is mandated, available Indigenous engagement CPD programs, and documentation requirements.

Registration Boards

---

Reconciliation Action Plans (RAPs)

What They Are

A Reconciliation Action Plan is a formal statement of commitment to reconciliation, developed with Reconciliation Australia. RAPs provide a framework for organisations to support the national reconciliation movement.⁵

RAP Types

Benefits for Practices

A RAP sets out actions, responsibilities, and reporting for reconciliation work, including community relationships and staff development. Some government projects may require one.

Developing a RAP

1. Visit Reconciliation Australia website
2. Review RAP types and requirements
3. Establish internal working group
4. Consult with Indigenous communities
5. Draft and submit RAP for approval
6. Implement and report on progress

Reconciliation Australia

---

Cultural Heritage Legislation

National Legislation

Aboriginal and Torres Strait Islander Heritage Protection Act 1984 (Cth)⁶

This Act protects significant Indigenous areas and objects, allows for emergency declarations to protect heritage, and gives the Federal Minister power to intervene in state processes.

Environment Protection and Biodiversity Conservation Act 1999 (Cth)

This Act protects matters of national environmental significance, includes National Heritage places with Indigenous values, and requires assessment of impacts on Indigenous heritage.

State and Territory Legislation

Each state and territory has its own cultural heritage legislation. Key Victorian legislation is covered in Chapter 7. General principles include register of significant sites, referral and assessment processes, approval requirements for works, and penalties for damage to heritage.

Compliance Requirements

For most projects, you must:

1. Search cultural heritage registers
2. Assess potential impacts on heritage
3. Consult with relevant Indigenous parties
4. Obtain approvals where required
5. Implement management plans and conditions
6. Report on compliance

---

Professional Body Guidelines

Australian Institute of Architects (AIA)

The AIA provides guidance and resources on Indigenous engagement:⁷ position statements on Indigenous architecture, CPD programs and events, First Nations Committee activities, and awards recognising Indigenous engagement.

State Chapters

AIA state chapters may offer local CPD opportunities, networking with Indigenous practitioners, project guidance and support, and policy advocacy.

---

Documentation Requirements

What to Document

For compliance and good practice, document your engagement process (who was consulted, when, and how), Indigenous input (how Indigenous perspectives influenced design), decisions made (what was agreed and why), ICIP agreements (permissions and attribution arrangements), and outcomes (how the project benefits Indigenous communities).

Documentation Forms

Keep meeting minutes and attendance records, and save correspondence (emails, letters). Prepare engagement plans and reports, execute formal agreements (consulting, ICIP), maintain design documentation showing Indigenous input, and complete post-occupancy evaluation.

Retention and Access

Store documentation securely and provide access to Indigenous partners as agreed. Retain for the required period (check professional indemnity requirements) and be prepared to provide to registration boards if requested.

---

References (7)

1. Architects Accreditation Council of Australia. (2021). National Standard of Competency for Architects. https://aaca.org.au/wp-content/uploads/2021-NSCA-Explanatory-Notes.pdf
2. University of Sydney. "Indigenising the Built Environment in Australia." https://www.sydney.edu.au/architecture/our-research/research-projects/indigenising-the-built-environment-in-australia.html
3. Indigenous Design Charter. Australian Indigenous Design Charter. https://indigenousdesigncharter.com.au/australian-indigenous-design-charter/
4. Government Architect NSW. (2020). Connecting with Country Draft Framework. https://www.planning.nsw.gov.au/government-architect-nsw/policies-and-frameworks/connecting-with-country
5. Reconciliation Australia. Reconciliation Action Plans. https://www.reconciliation.org.au/reconciliation-action-plans/
6. Australian Government. Aboriginal and Torres Strait Islander Heritage Protection Act 1984. https://www.legislation.gov.au/Details/C2016C00937
7. Australian Institute of Architects. First Nations Resource Hub. https://www.architecture.com.au/first-nations

Chapter 07 / 10

Victorian Context

Carey Landwehr · 12 min read

This chapter focuses on Victoria. For work elsewhere, see “Beyond Victoria” below and consult the relevant local authorities and Traditional Owners.

If you work in Victoria, you need to understand the state-specific regulatory framework. Victoria has one of Australia's most developed systems for Aboriginal cultural heritage management.¹

Aboriginal Heritage Act 2006 (Vic)

Overview

The Aboriginal Heritage Act 2006 is Victoria's primary legislation for protecting Aboriginal cultural heritage. It establishes the Victorian Aboriginal Heritage Council, the Registered Aboriginal Party system, Cultural Heritage Management Plans, and permit requirements and penalties.

Key Principles

The Act is based on these principles: Aboriginal people are the primary custodians of Aboriginal cultural heritage. Heritage should be managed in a way that protects it. Aboriginal people should have a role in decision-making. Heritage management should be transparent.

What the Act Protects

The Act protects Aboriginal places (locations of significance), Aboriginal objects (items of cultural significance), ancestral remains (human remains of Aboriginal people), and secret or sacred objects (items of particular cultural sensitivity).

---

Cultural Heritage Sensitivity

Areas of Cultural Heritage Sensitivity

The Act designates certain areas as having cultural heritage sensitivity:²

• Registered Aboriginal places on the Victorian Aboriginal Heritage Register
• Within 200m of named waterways (rivers, creeks, etc.)
• Within 200m of the coastline
• Sand dunes
• Certain registered landforms
• Areas identified by the Secretary

ACHRIS — Aboriginal Cultural Heritage Register and Information System

ACHRIS is Victoria's online system for checking cultural heritage sensitivity.

What ACHRIS shows: Registered Aboriginal places and objects. Areas of cultural heritage sensitivity. Registered Aboriginal Party boundaries. Cultural Heritage Management Plan requirements.

Before any project:

1. Check ACHRIS for your site
2. Identify if the site is in an area of sensitivity
3. Determine if a Cultural Heritage Management Plan is required
4. Identify the relevant Registered Aboriginal Party

Access ACHRIS

---

Registered Aboriginal Parties

What They Are

Here, RAP means Registered Aboriginal Party. Chapter 6 uses the same abbreviation for Reconciliation Action Plan.

A Registered Aboriginal Party is an Aboriginal organisation registered by the Victorian Aboriginal Heritage Council as the primary source of advice on protecting Aboriginal cultural heritage in a specified area.³

What They Do

Registered Aboriginal Parties evaluate Cultural Heritage Management Plans, comment on permit applications, manage cultural heritage within their area, provide advice on heritage matters, and negotiate Cultural Heritage Agreements.

Current Victorian Registered Aboriginal Parties

As of 2024, Victoria has the following Registered Aboriginal Parties:

Finding Your Registered Aboriginal Party

Check ACHRIS for Registered Aboriginal Party boundaries. Note that some areas have no Registered Aboriginal Party—contact First Peoples-State Relations in those cases. Where boundaries overlap, consult with all relevant Registered Aboriginal Parties. Contact the relevant Registered Aboriginal Party early in project planning.

---

Cultural Heritage Management Plans (CHMPs)

When Is a CHMP Required?

A CHMP is mandatory when:⁴

1. All or part of the activity is in an area of cultural heritage sensitivity, AND
2. All or part of the activity is a high impact activity, AND
3. An EES (Environment Effects Statement) is not required

Record this check in writing at project start so your team can verify assumptions before concept design is locked.

High Impact Activities

High impact activities include most construction and development: buildings and structures (certain thresholds), subdivision of land, road construction, excavation and soil disturbance, mining and extractive activities.

CHMP Process

Desktop Assessment (Standard) — Engage a Heritage Advisor. Research existing information. Assess likelihood of Aboriginal places. Document findings.

Standard Assessment (if required) — Field survey of the site. Consultation with Registered Aboriginal Party. Assessment of surface conditions. Recommendations for management.

Complex Assessment (if required) — Subsurface testing. Detailed archaeological investigation. Extensive Registered Aboriginal Party consultation. Comprehensive management conditions.

CHMP Approval

CHMPs must be approved by the relevant Registered Aboriginal Party (if one exists), or the Secretary (if no Registered Aboriginal Party exists).

CHMP Costs and Timing

Plan early: CHMP approval must be obtained before works commence.

---

Cultural Heritage Permits

When Is a Permit Required?

A Cultural Heritage Permit is required to disturb or excavate a registered Aboriginal place, damage or destroy an Aboriginal place, and possess, sell, or remove certain Aboriginal objects.

Use permits and CHMPs as separate pathways: CHMPs manage broader project activities; permits apply to specific protected place or object impacts.

Permit Process

1. Apply to the Secretary (First Peoples-State Relations)
2. Consult with relevant Registered Aboriginal Party
3. Provide detailed information about proposed activities
4. Receive determination

Emergency Permits

Emergency permits may be available for urgent situations but should not be relied upon for project planning.

---

Stop Orders and Penalties

Stop Orders

The Minister can issue a stop order to stop an activity harming Aboriginal cultural heritage, require rehabilitation of damaged heritage, and prohibit activities in specified areas.

Penalties

Serious penalties apply for:

• Harming Aboriginal cultural heritage: Up to $1.8 million for corporations
• Failure to comply with CHMP conditions: Significant fines
• Contravening a stop order: Criminal penalties possible

---

First Peoples-State Relations (FPSR)

Role of FPSR

First Peoples-State Relations is the Victorian Government department responsible for administering the Aboriginal Heritage Act, maintaining ACHRIS, supporting the Victorian Aboriginal Heritage Council, and processing permits and providing advice.

When to Contact FPSR

Contact FPSR when no Registered Aboriginal Party exists for your area, you have questions about legislative requirements, you need advice on cultural heritage processes, or there are disputes or issues with CHMP processes.

First Peoples-State Relations

---

Victorian Government Policies

Advancing the Treaty Process

Victoria is advancing treaty negotiations with Aboriginal Victorians through the First Peoples' Assembly of Victoria, Yoorrook Justice Commission truth-telling, and Treaty negotiations.⁵

Be aware of how treaty outcomes may affect engagement requirements.

Aboriginal Procurement

The Victorian Government has targets for procurement from Aboriginal businesses, Aboriginal employment, and engagement on government projects. These may affect tender requirements for government projects.

Aboriginal Self-Determination

Victoria has committed to Aboriginal self-determination across government. This means Aboriginal communities leading decisions about their affairs, greater Aboriginal authority in service delivery, and increased Aboriginal representation in government.

---

Practical Checklist for Victorian Projects

Use the checklist below as your minimum compliance baseline. Mark mandatory items in your project controls and keep evidence for each completed action.

Before Project Commencement

• Check ACHRIS for cultural heritage sensitivity
• Identify the relevant Registered Aboriginal Party
• Determine if a CHMP is required
• Budget for cultural heritage assessment
• Allow adequate time in project schedule

During CHMP Process

• Engage an approved Heritage Advisor
• Notify the relevant Registered Aboriginal Party
• Conduct required assessments
• Consult appropriately with Traditional Owners
• Prepare and submit CHMP for approval

During Construction

• Implement CHMP conditions
• Brief all contractors on heritage requirements
• Establish protocols for unexpected finds
• Monitor compliance with conditions
• Report as required

Project Completion

• Complete any required reporting
• Return documentation to Registered Aboriginal Party as agreed
• Maintain ongoing relationships
• Document lessons learned

---

Beyond Victoria — other jurisdictions

Heritage legislation and engagement processes differ between states and territories. The following summaries provide starting points for work outside Victoria.

Treat each as a starting point, not a complete guide. Each jurisdiction's authority body publishes its own guidance, and a project in (e.g.) NSW needs an NSW Aboriginal Heritage assessment specialist, not a Victorian one.

New South Wales

• Statutory framework: National Parks and Wildlife Act 1974 (NSW) §§86–90; Heritage Act 1977 (NSW) for non-Aboriginal heritage. Reform legislation has been in development for years; check current status.
• Heritage register: Aboriginal Heritage Information Management System (AHIMS), maintained by Department of Climate Change, Energy, the Environment and Water (DCCEEW NSW).
• Community bodies: Local Aboriginal Land Councils (LALCs) — over 120 across the state, structured under the Aboriginal Land Rights Act 1983 (NSW). LALCs are the primary community contact for most projects.
• Frameworks: GANSW Connecting with Country Framework (2023) — applies to NSW Government projects formally and informs much of private practice. Self-limited to "Countries in and around the Sydney basin" per its authors — check its relevance with local Traditional Owners before applying it elsewhere.
• Practitioner note: No equivalent of Victoria's Registered Aboriginal Party system. Engagement is via LALCs plus, often, specific Traditional Owner family groups. Confirm both.

Queensland

• Statutory framework: Aboriginal Cultural Heritage Act 2003 (Qld) and Torres Strait Islander Cultural Heritage Act 2003 (Qld). Duty of care is statutory: project proponents have an ongoing obligation to take reasonable measures to avoid harm.
• Heritage register: Maintained by the Department of Seniors, Disability Services and Aboriginal and Torres Strait Islander Partnerships (DSDSATSIP).
• Community bodies: Aboriginal Parties as identified under the Act — these are the primary cultural-heritage consultation bodies. Cultural Heritage Studies / Cultural Heritage Management Plans are the operational instruments.
• Practitioner note: Queensland's "Aboriginal Parties" are statutory entities similar in role to Victorian RAPs but identified under a different framework. The duty-of-care provisions can be more demanding than appears at first reading — engage a Queensland-based cultural heritage specialist early.

South Australia

• Statutory framework: Aboriginal Heritage Act 1988 (SA).
• Heritage register: Central Archive maintained by the Department of Premier and Cabinet (DPC) Aboriginal Affairs and Reconciliation.
• Community bodies: Numerous Native Title holder groups; South Australian Native Title Services (SANTS) is a central body for many. Consultation is via Recognised Aboriginal Representative Bodies for specific areas.
• Practitioner note: SA legislation is older than Victoria's and the protection framework is less prescriptive — that does not lower the cultural responsibility, it raises it.

Western Australia

• Statutory framework: Aboriginal Heritage Act 1972 (WA), with the Aboriginal Cultural Heritage Act 2021 (WA) having been passed and then largely repealed in 2023 amid significant controversy. The 1972 Act remains the operative framework as of writing — confirm current status.
• Heritage register: Aboriginal Heritage Inquiry System (AHIS), Department of Planning, Lands and Heritage.
• Community bodies: Native Title Representative Bodies including the South West Aboriginal Land and Sea Council (SWALSC), Yamatji Marlpa Aboriginal Corporation, Kimberley Land Council and others depending on region.
• Practitioner note: WA has a particularly active and contested heritage policy environment following events at Juukan Gorge (2020). Standards of practice expected by communities now significantly exceed the statutory minimum. Treat the legislation as a floor, not a ceiling.

Northern Territory

• Statutory framework: Aboriginal Land Rights (Northern Territory) Act 1976 (Cth) and Northern Territory Aboriginal Sacred Sites Act 1989 (NT). A substantial portion of NT land is Aboriginal-owned freehold under the Land Rights Act.
• Heritage / sacred sites authority: Aboriginal Areas Protection Authority (AAPA) — administers the Sacred Sites Act, issues Authority Certificates for proposed works.
• Community bodies: Land Councils under the Land Rights Act — Central Land Council, Northern Land Council, Anindilyakwa Land Council, Tiwi Land Council.
• Practitioner note: NT has the strongest land-ownership-based engagement model in the country. Work proceeds with the Land Council holding ownership; AAPA Authority Certificates are non-discretionary for sacred site impacts.

Australian Capital Territory

• Statutory framework: Heritage Act 2004 (ACT), administered by the ACT Heritage Council.
• Heritage register: ACT Heritage Register.
• Community bodies: Representative Aboriginal Organisations (RAOs) — currently the United Ngunnawal Elders Council, Buru Ngunnawal Aboriginal Corporation, King Brown Tribal Group, and Little Gudgenby River Tribal Council. The ACT recognises multiple distinct Ngunnawal family group voices.
• Practitioner note: Small jurisdiction with a particularly community-facing engagement model. The four-RAO structure means consultation typically involves all four organisations, not just one.

Tasmania (lutruwita)

• Statutory framework: Aboriginal Relics Act 1975 (Tas) — older and weaker than every other jurisdiction's framework above. Reform has been discussed for over a decade.
• Heritage register: Aboriginal Heritage Register, administered by Aboriginal Heritage Tasmania (state government).
• Community bodies: Tasmanian Aboriginal Centre (TAC) is the principal community organisation. There is no statutory equivalent of NSW LALCs or Victorian RAPs.
• No Tasmanian-specific Country-centred design framework exists. Cultural sensitivity is higher when statutory protection is weaker. Engage Aboriginal Heritage Tasmania and TAC directly; do not transpose NSW or Victorian frameworks.

Cross-jurisdictional federal overlay

Three federal instruments apply across every state:

• Aboriginal and Torres Strait Islander Heritage Protection Act 1984 (Cth) — allows the Federal Minister to intervene where state processes have failed.
• Environment Protection and Biodiversity Conservation Act 1999 (Cth) — covers National Heritage places with Indigenous values; impacts on those places require federal assessment.
• Native Title under the Native Title Act 1993 (Cth) — operates across jurisdictions; affects engagement obligations even where state heritage processes are silent.

---

References (5)

1. Victorian Government. Aboriginal Heritage Act 2006. https://www.legislation.vic.gov.au/in-force/acts/aboriginal-heritage-act-2006
2. First Peoples-State Relations Victoria. Aboriginal Cultural Heritage. https://www.firstpeoplesrelations.vic.gov.au/aboriginal-cultural-heritage
3. Victorian Aboriginal Heritage Council. Registered Aboriginal Parties. https://www.aboriginalheritagecouncil.vic.gov.au/victoria-registered-aboriginal-parties
4. First Peoples-State Relations Victoria. Cultural Heritage Management Plans. https://www.firstpeoplesrelations.vic.gov.au/cultural-heritage-management-plans
5. First Peoples' Assembly of Victoria. Treaty Process. https://www.firstpeoplesvic.org/

Chapter 08 / 10

Essential Resources & Tools

Carey Landwehr · 8 min read

Books, maps, tools, and organisations for learning about Country and planning engagement.

Essential Texts

The Biggest Estate on Earth

Bill Gammage (Allen & Unwin, 2011) — Argues from coloniser-era artwork, journals, and ecological evidence that Aboriginal peoples actively managed the Australian landscape over tens of thousands of years, contesting the "untouched wilderness" narrative.¹

Allen & Unwin

---

Dark Emu

Bruce Pascoe (Magabala Books, 2014) — An accessible account of pre-colonial Aboriginal land management, including the argument that some communities practised forms of settled agriculture (grain cultivation, fish traps at Brewarrina). Read alongside Sutton & Walshe's 2021 critique (Farmers or Hunter-Gatherers?), which contests the agriculture claim while accepting much of the land-management evidence.²

Magabala Books

---

Decolonising Methodologies

Linda Tuhiwai Smith (Māori) (Zed Books, 3rd ed. 2021) — Sets out a research framework that begins from Indigenous epistemology rather than treating Indigenous communities as research subjects. Chapters 4 ("Research through Imperial Eyes") and 7 ("Articulating an Indigenous Research Agenda") are useful starting points for architects.³

Zed Books

---

Research Is Ceremony

Shawn Wilson (Opaskwayak Cree) — Indigenous research paradigm emphasising relationships and ceremony in knowledge creation.⁴

Fernwood Publishing

---

The Little Red, Yellow, Black Book

AIATSIS (Aboriginal Studies Press, 4th ed. 2018) — A general introduction to Indigenous Australia covering history, peoples, languages, and cultural practices.⁵

AIATSIS Publication

---

Gunyah Goondie + Wurley

Paul Memmott (UQP, 2007) — A continental survey of Australian First Nations architecture, cataloguing dwelling traditions across regions and climates and linking them to materials, mobility, and seasonal use.⁶

Thames & Hudson

---

Digital Tools & Maps

AIATSIS Map of Indigenous Australia

Your first stop for any project. Identifies Traditional Owners and language groups across Australia.⁷

View the AIATSIS Map

---

Gambay: First Languages Map

Interactive map of Australia's Aboriginal and Torres Strait Islander languages.

Gambay

---

Atlas of Living Australia (ALA)

Australia's national biodiversity database. An open-access, collaborative platform for Australian plants, animals, and fungi.

Atlas of Living Australia

---

CSIRO Indigenous Projects Map

Interactive map documenting Indigenous ecological knowledge, particularly seasonal calendars from Aboriginal communities.

CSIRO Indigenous Projects

---

Yalinguth

Audio app and walking tour sharing stories, songs, and sounds of Aboriginal and Torres Strait Islander peoples in Melbourne. The word 'Yalinguth' means 'yesterday' in Woi Wurrung, reflecting the philosophy: "we need to go back, to go forwards."

Yalinguth

---

Three-Category Approach Workbook

Practical tool from the CAUL Hub for applying Indigenous knowledge to land management and urban design.

Workbook PDF

---

Key Organisations

Indigenous Architecture and Design Victoria (IADV)

Founded by Jefa Greenaway and Rueben Berg. Supports Indigenous architects working in Australia and centres Indigenous knowledge systems in built-environment practice.⁸

IADV

---

Supply Nation

Directory of Indigenous businesses including architects, designers, and consultants. Used for Indigenous procurement.⁹

Supply Nation

---

Kinaway Chamber of Commerce

The Victorian Aboriginal Chamber of Commerce, supporting Indigenous businesses in Victoria.

Kinaway

---

Koorie Heritage Trust

Key cultural hub in Melbourne offering public programs and cultural education led by Aboriginal people.

Koorie Heritage Trust

---

Lowitja Institute

National Institute for Aboriginal and Torres Strait Islander Health Research. Provides guides and resources for ethical, community-led research.

Lowitja Institute

---

Balarinji

Indigenous design studio founded in 1983 by John and Ros Moriarty (Yanyuwa). Provides graphic design, cultural design frameworks, and public art services.

Balarinji

---

Video Resources

Not an Expert | Danièle Hromek, Francoise Lane and Sarah Lynn Rees

Lively discussion about Cultural Authority and collaboration, convened by Sarah Lynn Rees as part of the Asia Pacific Architecture Festival.

Watch on YouTube

---

Loving Country (Short Film)

Short film based on the book by Bruce Pascoe & Vicky Shukuroglou.

Watch on YouTube

---

Wilya Janta: The story of how it all began

Three-part video series about climate-ready and culturally appropriate remote housing, in Pintupi-Luritja with English subtitles.

Watch on YouTube

---

Design Translation Framework

Use these examples to discuss possible spatial responses with Traditional Owners. The design should develop from that engagement.

How to Use This Framework

1. Identify the cultural value from your engagement with Traditional Owners
2. Understand the underlying principle — what does this value mean in practice?
3. Explore spatial implications — how might this translate to design?
4. Test with community — validate your interpretation through ongoing engagement

Worked Examples

Design Principles by Theme

Caring for Country — Minimise site disturbance. Design for ecological benefit, not just minimal harm. Support habitat connectivity. Plan for long-term landscape health.

Enabling Cultural Practice — Provide flexible spaces that can accommodate ceremony. Include outdoor gathering spaces. Design for acoustic privacy where needed. Allow for food preparation and sharing.

Expressing Cultural Identity — Work with Indigenous artists and designers (with ICIP protocols). Consider narrative through sequence and journey. Material and colour selections should emerge from engagement. Avoid superficial application of "Indigenous style."

Creating Gathering Spaces — Centre gathering as a design driver. Design for multiple scales of gathering. Consider sight lines and connection between spaces. Plan for both formal and informal gathering.

Material and Colour Considerations

Colours and materials should emerge from engagement with Traditional Owners and connection to specific Country. Consider landscape observation (what colours dominate this Country across seasons), geological context (what local stone, earth, or clay exists), vegetation patterns (what endemic species provide colour cues), cultural significance (are there colours with particular meaning), and contemporary expression (how do Traditional Owners want their Country represented today).

Note: Never assume colour or material choices based on generic "Indigenous" references. Always work directly with Traditional Owners of the specific Country.

---

References (9)

1. Gammage, B. (2011). The Biggest Estate on Earth: How Aborigines Made Australia. Allen & Unwin.
2. Pascoe, B. (2014). Dark Emu: Black Seeds: Agriculture or Accident? Magabala Books.
3. Smith, L.T. (2021). Decolonizing Methodologies: Research and Indigenous Peoples (3rd ed.). Zed Books.
4. Wilson, S. (2008). Research Is Ceremony: Indigenous Research Methods. Fernwood Publishing.
5. AIATSIS. (2018). The Little Red, Yellow, Black Book (4th ed.). Aboriginal Studies Press.
6. Memmott, P. (2007). Gunyah, Goondie + Wurley: The Aboriginal Architecture of Australia. University of Queensland Press.
7. AIATSIS. Map of Indigenous Australia. https://aiatsis.gov.au/explore/map-indigenous-australia
8. Indigenous Architecture and Design Victoria. https://iadv.com.au/
9. Supply Nation. https://supplynation.org.au/

Chapter 09 / 10

Precedent Projects

Carey Landwehr · 7 min read

These eleven examples cover cultural institutions, schools, healthcare, and community projects. Each entry describes the design approach and identifies who led the work, with links for further reading.

Read each project in its own cultural and community context. The summaries describe published design approaches, rather than evaluations of outcomes by the communities involved.

---

HOME — Australia Pavilion Venice Biennale 2025

Dr Michael Mossman, Emily McDaniel, and Jack Gillmer-Lilley — Australia's first all-Indigenous curatorial team. The pavilion is built around a circular rammed-earth structure, with yarning circles for visitor participation. Construction targets net-zero carbon emissions and material circularity, using materials sourced in Venice rather than shipped from Australia.¹

Design approach: Yarning circles structure both the pavilion and visitor participation. Governance: Indigenous-led (all-Indigenous curatorial team).

ArchDaily Coverage

---

Darlington Public School — fjcstudio

World Architecture Festival, Building of the Year 2024.²

A school redevelopment in Sydney designed under the GANSW Connecting with Country framework, with sustained consultation involving an Aboriginal Art Group, First Nations Elders, and community. Existing site murals were preserved and recreated; totems by Uncle Neil Thorne, QR codes linking to cultural narratives, and Indigenous plants are integrated into the learning spaces.

Design approach: Retaining existing cultural artworks, commissioning named artists, and linking cultural narratives to places within the school. Governance: Non-Indigenous-led (fjcstudio) with sustained Aboriginal Art Group and Elders consultation under the GANSW framework.

fjcstudio Project

---

North Head Viewing Platforms — CHROFI with Bangawarra

AIA National Nicholas Murcutt Award.³

Two named viewing platforms — Burragula and Yiningma — on Car-rang-gel (North Head), designed by CHROFI with Bangawarra. Stone pavers and seating are carved from solid stone, and the platforms are positioned along existing landforms used for ceremony and teaching. Designed as gathering spaces, not lookouts.

Design approach: Locating gathering, ceremony, and teaching spaces in relation to existing cultural uses of the site. Governance: Co-design (CHROFI with Bangawarra, an Indigenous design practice).

CHROFI Project

---

Koorie Heritage Trust, Federation Square — Lyons Architecture with IADV

The first stand-alone First Nations cultural institution in an Australian capital-city CBD, developed in sustained consultation with Koorie communities. The interior is anchored by a custom 7.5-metre Canoe Table referencing 38 Victorian language groups; the building's orientation reconnects the site to the Birrarung (Yarra River).⁴

Design approach: Orienting the design toward the Birrarung and incorporating references to Victorian language groups in the Canoe Table. Governance: Non-Indigenous-led (Lyons) with Indigenous Architecture and Design Victoria (IADV) as design partner — IADV is itself an Indigenous-led organisation.

Lyons Architecture

---

Gathering Space: Ngargee Djeembana — N'arweet Carolyn Briggs AM and Sarah Lynn Rees

A topographical installation at ACCA Melbourne by N'arweet Carolyn Briggs AM and Sarah Lynn Rees. Constructed from materials sourced in Victoria. The work takes its name from two Boonwurrung concepts: Ngargee — visual arts, performance, story and dance coming together — and Djeembana — diversity within community.⁵

Design approach: Using locally sourced materials and Boonwurrung concepts to organise the installation. Governance: Indigenous-led (N'arweet Carolyn Briggs AM, Boonwurrung Elder, and Sarah Lynn Rees, Plangermaireener architect).

ACCA Exhibition

---

Kaunitz Yeung Architecture — Multiple Indigenous Community Projects

Union of International Architects, Vassilis Sgoutas Prize.⁶

Practice working across 40+ Aboriginal communities, primarily in remote contexts. Notable projects include the Puntukurnu AMS Healthcare Hub and Wanarn Clinic, the latter featuring art screens by local artists. Co-design is run as a recurring engagement across the project, not a single workshop.

Design approach: Sustained co-design throughout the project, including commissions for local artists. Governance: Non-Indigenous-led with structured co-design protocol.

Kaunitz Yeung

---

In Absence Pavilion — Edition Office + Yhonnie Scarce

NGV Architecture Commission 2019.⁷

A 9-metre cylindrical pavilion in black timber, with a hollow centre. Edition Office worked with artist Yhonnie Scarce; the interior holds 1,600 hand-blown black glass yams. The form references Indigenous eel traps and permanent dwellings, and the central void is read as the false absence claimed by Terra Nullius.⁷

Design approach: Developing architectural form and an Indigenous artist’s work together to address the history of Terra Nullius. Governance: Non-Indigenous-led architecture (Edition Office) in equal collaboration with Indigenous artist (Yhonnie Scarce, Kokatha/Nukunu).

NGV Exhibition

---

Walumba Elders Centre, Warrmarn — Iredale Pedersen Hook

Architizer A+ Award.⁸

Built for the Gija community at Warrmarn (Frog Hollow) following the 2011 Kimberley floods, which destroyed the previous facility. Raised 2.4 metres on steel piers for flood resilience. The single-storey timber-framed plan has broad shaded verandahs on three sides — verandahs are where Elders work, eat, and meet. Roof colours and forms reference local landscape; spatial sequence accommodates Gija lore transmission and intergenerational teaching.

Design approach: Planning around the verandahs where Elders work, eat, and meet, with a raised structure for flood resilience. Governance: Non-Indigenous-led (Iredale Pedersen Hook) with extended on-Country engagement with the Gija community.

Iredale Pedersen Hook

---

Ulumbarra Theatre, Bendigo — Y2 Architecture

Adaptive reuse of the 1860s Sandhurst Gaol as a 1,000-seat performing arts venue, completed 2015. The existing bluestone perimeter wall and gatehouse are retained; the new theatre fits within the historic envelope. Designed in consultation with Dja Dja Wurrung Traditional Owners; the name Ulumbarra means "meeting place."⁹

Design approach: Combining adaptive reuse of the former gaol with naming developed through Traditional Owner consultation. Governance: Non-Indigenous-led (Y2 Architecture) with Dja Dja Wurrung consultation.

Y2 Architecture

---

Wilcannia Health Service — Merrima Aboriginal Design Unit

NSW AIA Blacket Award.¹⁰

Redevelopment of a colonial-era hospital for the Barkinji people. The design adds and reshapes covered outdoor circulation spaces between buildings, reorienting the complex toward the Darling River and the family groupings the original hospital had ignored. Designed by the Merrima Aboriginal Design Unit.

Design approach: Reorienting the hospital toward the Darling River and the needs of family groups. Governance: Indigenous-led (Merrima Aboriginal Design Unit) — Merrima was a NSW Government Architect's office unit founded to deliver Indigenous-led design across NSW projects.

Architecture Australia

---

Brambuk Cultural Centre, Halls Gap — Gregory Burgess Architects

Gregory Burgess camped on-site with Jadawadjali and Djab Wurrung people through the design process to develop the centre as a working cultural facility rather than a museum. Five Koorie communities were involved in design and construction, using local materials and labour. The undulating roofline echoes the Grampians ranges and the cockatoo totem.¹¹

Design approach: Developing the design on Country with community involvement, local materials, and local labour. Governance: Non-Indigenous-led (Gregory Burgess) with five Koorie communities engaged across design and construction.

Gregory Burgess Architects

---

References (11)

1. Creative Australia. "HOME: Australia Pavilion at Venice Architecture Biennale 2025."
2. World Architecture Festival. (2024). "Darlington Public School — World Building of the Year 2024."
3. Australian Institute of Architects. "North Head Viewing Platforms — Nicholas Murcutt Award 2024."
4. Lyons Architecture. "Koorie Heritage Trust." https://lyonsarch.com.au/projects/koorie-heritage-trust
5. Australian Centre for Contemporary Art. "Gathering Space: Ngargee Djeembana." https://acca.melbourne/whos-afraid-of-public-space/onsite/gathering-space-ngargee-djeembana/
6. Union of International Architects. "Vassilis Sgoutas Prize — Kaunitz Yeung Architecture."
7. National Gallery of Victoria. "In Absence: 2019 NGV Architecture Commission." https://www.ngv.vic.gov.au/exhibition/2019-architecture-commission/
8. Architizer. "Walumba Elders Centre — A+ Award Winner."
9. Y2 Architecture. "Ulumbarra Theatre." https://www.y2architecture.com.au/ulumbarra-theatre
10. Architecture Australia. "Wilcannia Health Service." https://architectureau.com/articles/wilcannia-health-service/
11. Gregory Burgess Architects. "Brambuk Cultural Centre."

Chapter 10 / 10

Your Path Forward

Carey Landwehr · 6 min read

Use the following actions and questions to make Indigenous engagement part of everyday practice.

Three Things to Do on Every Project

1. Start with Country

Before you do anything else, find out whose Country you're on.

Use the AIATSIS Map to identify Traditional Owners. In Victoria, check ACHRIS for cultural heritage sensitivity. Make early contact with the relevant Registered Aboriginal Party and research what this place means to the people who belong to it.

AIATSIS Map of Indigenous Australia

---

2. Follow Protocols

Know the difference between Welcome and Acknowledgement, and use appropriate language (see Chapter 5). Pay properly for Indigenous knowledge and time, and allow enough time for community consultation.

AIATSIS Guidelines for Ethical Research

---

3. Build Relationships

Connect with communities before you need something from them. Put Indigenous voices at the centre of design discussions, stay connected after the project ends, and be accountable to the communities you work with.

Reconciliation Australia: Building Relationships

---

Advice By Practice Size

Sole Practitioners / Small Practices

Start with yourself. Build your own knowledge through reading and professional development. Attend cultural awareness training. Develop a simple engagement protocol you apply to all projects, no matter how small.

For projects needing deeper engagement than you can provide alone, partner with firms or consultancies who have established relationships. Build engagement costs into your fees from the start — don't treat them as optional.

Medium Practices

Create formal Indigenous engagement policies for your whole team. Consider a Reflect RAP as a structured starting point.⁴ Assign someone specific responsibility for Indigenous engagement. Build ongoing relationships with local Traditional Owner groups that outlast individual projects.

Large Practices

Implement engagement frameworks across all offices. Pursue an Innovate or Stretch RAP. Hire Indigenous staff. Support Indigenous graduates entering the profession. Use your influence to lift industry standards — lead by example, advocate for change.

---

Where to Keep Learning

Professional Development — Koorie Heritage Trust (cultural education programs), Indigenous Architecture and Design Victoria / IADV (built environment focus), and the AIA First Nations Committee (industry guidance for architects).

Indigenous Business — Supply Nation (directory of verified Indigenous businesses), Kinaway (Victorian Aboriginal Chamber of Commerce), and local Land Councils for direct community connections.

Research — NESP Urban Hub (urban Indigenous research), university Indigenous research centres (academic partnerships), and Lowitja Institute (health and wellbeing, relevant for community facilities).

---

Common Questions

"What if they don't want to engage?"

Respect community autonomy.

Ask whether another time or method would be preferred, avoid pushing for justification, and document your engagement attempt.

If project risk remains high, pause and reassess scope with Traditional Owner guidance rather than proceeding by assumption.

"How much should I budget?"

Engagement is core project work, not optional overhead.

Set a dedicated line item for engagement costs. As a rough guide:

• Small projects: 2–5% of professional fees
• Medium projects: 5–10% of professional fees
• Large/significant projects: Scope engagement as a separate line item with community input

Include consulting fees, meeting costs, travel, accommodation, and community administration support.

For significant projects, co-define scope and budget with community input before locking design fees.

"What if I disagree with community feedback?"

Listen to community feedback as guidance from people with knowledge of and responsibility for Country.

If feedback conflicts with your design intent: listen to understand the concern. Explain your constraints honestly. Explore alternatives together. Be willing to change course.

If you reach an impasse on matters concerning their Country, the community's wishes should prevail.

"How do I handle sacred information?"

Ask explicitly what can and cannot be shared or recorded. Never assume permission extends beyond the specific purpose granted. Store sensitive information securely with restricted access, and return or destroy materials when requested. When uncertain, ask.

"Can I use Indigenous patterns or artwork?"

Not without explicit permission. You need identification of the knowledge owner(s), explicit informed consent for the specific use, a written agreement on attribution, compensation, and limitations, and an ongoing relationship with accountability.⁵

See the ICIP section in Chapter 4 for detailed guidance.

"How do I know I'm talking to the right people?"

Use multiple sources: the AIATSIS Map for language group identification, the Native Title Tribunal for registered claims, state registers (ACHRIS in Victoria), and local Land Councils for regional guidance. Be aware that multiple groups may have legitimate connections to Country.

"Can small projects skip engagement?"

No. Scale the engagement to the project, but never skip it entirely. At minimum: acknowledge whose Country you're on, check cultural heritage sensitivity, and document your approach.

"My client won't fund proper engagement"

This is an ethics and compliance issue, not a preference issue.⁶

• Educate them on NSCA 2021 obligations
• Make engagement costs non-negotiable in your fees
• Explain legal, reputational, and ethical risks

If the client refuses to fund engagement:

• Consider declining the project
• If they proceed without proper engagement, document your advice formally

"How do I convince sceptical colleagues?"

Focus on facts and outcomes:

• NSCA 2021 requires Indigenous engagement competency
• Case studies show better design and community outcomes
• Clients and regulators increasingly expect this
• Lead by example rather than arguing

"What if I make a mistake?"

Acknowledge the mistake to the person affected, ask what would help, and change your practice. Chapter 5 covers how to respond.

---

The Long View

Maintain relationships between projects and review whether your practice is meeting its commitments.

Review your commitments:

• Per project: Confirm engagement scope, protocols, and evidence records at project start.
• Quarterly: Review outcomes, gaps, and unresolved commitments with your team.
• Annually: Update policy, training, and relationship goals with Traditional Owner input.

---

Acknowledgement

This guide was developed on the lands of the Wurundjeri Woi-wurrung people. We acknowledge the Traditional Custodians of Country throughout Australia and recognise their continuing connection to land, waters, and culture.

We pay our respects to Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander peoples.

Sovereignty was never ceded.

---

References (6)

1. AIATSIS. Map of Indigenous Australia. https://aiatsis.gov.au/explore/map-indigenous-australia
2. AIATSIS. (2020). AIATSIS Code of Ethics for Aboriginal and Torres Strait Islander Research. https://aiatsis.gov.au/research/ethical-research
3. Government Architect NSW. (2020). Connecting with Country Draft Framework. https://www.planning.nsw.gov.au/government-architect-nsw/policies-and-frameworks/connecting-with-country
4. Reconciliation Australia. Reconciliation Action Plans. https://www.reconciliation.org.au/reconciliation-action-plans/
5. AIATSIS. Indigenous Cultural and Intellectual Property (ICIP). https://aiatsis.gov.au/research/ethical-research/indigenous-cultural-and-intellectual-property
6. Architects Accreditation Council of Australia. (2021). National Standard of Competency for Architects. https://aaca.org.au/wp-content/uploads/2021-NSCA-Explanatory-Notes.pdf

---

Always was, always will be, Aboriginal land.

---

Return to Guide Contents

---

Guide developed by CLAD — Carey Landwehr Architecture & Design Resources compiled from publicly available Indigenous-authored and endorsed materials