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Mana Taonga – power to the people
By Philipp Schorch and Dr. Arapata Hakiwai
Mana Taonga is a key statement and guiding principle for our National Museum and at its core is the recognition that there still exist living relationships and connections between taonga and their cultures of origin. Mana Taonga recognizes that communities have a right to their taonga by virtue of these concrete relationships. It acknowledges the role of communities in the care and management of taonga at the Museum of New Zealand Te Papa Tongarewa, and their willingness to engage and mediate in new ways. Mana Taonga is central to Māori participation and involvement and in a very tangible way it connects iwi (Māori tribes) to Te Papa via the whakapapa or genealogical relationships of taonga and its knowledge. This active process of engagement reflects the connections that exist between the taonga and their makers, kin and descendants. These relationships are often personal and frequently involve kanohi ki te kanohi or a face to face approach. The nature of the relationship can be expressed through such instruments as a memorandum of understanding, a legal agreement or a contract but often they are reinforced with mutual trust and respect for both parties.
Mana Taonga is an Indigenous principle that aims to restore the right of Māori to their material culture and thus awards the museum the interpretive authority through its connectivity and meaningful relationships with the communities of origin.
Today it still remains a cornerstone of Te Papa’s modus operandi. Broadly speaking the concept recognizes the spiritual and cultural connections of taonga with the people, thus acknowledging the special relationships that these create.
Mana Taonga is a policy and principle that recognizes people and cultures. As Healy and Witcomb (2006) argue, Mana Taonga places people at the heart of the museum as a way of focusing on what is important in today’s contemporary world. By doing this, we ensure that the museum remains relevant and connected to its communities. Mana Taonga in essence activates this principle by recognizing that there are real living relationships that exist between the taonga and their descendant source communities. This ensures that cultural recognition, values and knowledge systems are acknowledged. Underpinning the concept of Mana Taonga is the recognition of living cultures and by association the importance of creating meaningful relationships with the communities and peoples from whence the objects and collections originate from and who identify with them. Te Papa’s former Chief Executive, Dr Seddon Bennington (1994: 11), once said that ‘Mana Taonga is not just a way of thinking about the relationship for Māori between objects and their makers. It is also bringing to our consciousness the role and attitude we need to develop in our engagement with other communities’.
Hope and mana have a strong connection to each other. In moari culture mana is essential value to being human similar to how hope is. We can not live without hope
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Hostile urban architecture: A critical discussion of the seemingly offensive art of keeping people away
https://www.researchgate.net/publication/321064209_Hostile_urban_architecture_A_critical_discussion_of_the_seemingly_offensive_art_of_keeping_people_away
The idea here is that you take away certain qualities from the urban landscape, which in turn have adverse effects on the things we value.
another common objection against hostile architecture is that we have a duty to
treat people with respect. Proponents of this view maintain that this duty cannot be
fulfilled when we use hostile measures as means to exclude.
We are trying to exclude those who are creating sympathetic feelings in us.
The last common objection to defensive architecture is that everyone has a right to public space; that defensive measures are a violation of that right and are thus morally wrong
Mana may also reside in people, animals, and inanimate objects, including the physical symbols of identity, such as personal taonga held in museum collections. The Mana Taonga principle readily acknowledges these spiritual dimensions or qualities as within taonga and draws upon them to enliven connections between iwi, hapu or whanau representatives.
The Mana Taonga principle recognises the authority that derives from the whakapapa (genealogical reference system) of the creator of the cultural item. such knowledge becomes the foundation for wider affiliated Maori participation at the museum, and especially when research reconnects key people to taonga.
whakapapa remains the reference system that orders intricate connections and intimate relationships between iwi, hapu and whanau members, between other Maori and entities. whakapapa is the essential ex- pression of whanaungatanga between a wider Maori cosmology, peoples, lan- guage, and visual culture that also reaches to valued environmental properties and resources within lands and waterways.
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Imaginaries of the Future 01: Bodies and Media
Class resource:
https://stream.massey.ac.nz/pluginfile.php/3451778/mod_label/intro/Imaginaries%20Waterman%20.pd
Creative projects mark moments in time and space, they may memorialise or acknowledge the past, or convey how things look in the present, might push for social, political or economic change, allow us to imagine a future or different worlds that give us 'hope' - a powerful driver for looking toward the future with optimism, and finding ways forward, in our desire for something better and/or something different. -
Utopias are ways of analysing and evaluating situations through narratives that allow us to test possible worlds. They can be used as methods both to imagine better worlds (not necessarily perfect ones). Or they can
Using utopian imagination as a method, then; for enacting positive change in the built and lived landscape is the only way to ensure that our future world provides adequate pleasure to support a good life for all.
Further, the creation of more fulfilling and sustainable places to live requires the reshaping of popular beliefs to change patterns of everyday life and consumption. The article specifically addresses the persuasive, propagandistic nature of representation for design and asks that designers concentrate on using their powers for good.
Individuals achieve their successes or failures in an economic system that is perceived to be guided by an underlying moral compass, the ‘invisible hand’ of the market, a concept crudely adapted from the writings of Adam Smith. Financial success is thus believed to be a mark of human goodness and worthiness—perhaps themark. Lavish displays of wealth, even in the presence of pitiful displays of poverty, are therefore acceptable because they are the trappings of goodness and represent those ‘goods’ to which the impoverished should aspire and which their lack of striving has denied them
Richard Howells, in his A Critical Theory of Creativity, brings Ernst Bloch’s utopian concept of ‘educated hope’ to the ‘making special’ narrative of art: ‘[v]isions of a better world are encoded—often unconsciously—in art and literature, including popular culture.
or imagining positive possible futures. We can’t merely employ unidirectionally positive utopias—we must imagine critical dystopias too. Lyman Tower Sargent calls this utopian/dystopian action ‘social dreaming’: ‘the dreams and nightmares that concern the ways in which groups of people arrange their lives’ (Sargent, 1994: 3). We need both dreams and nightmares to imagine both what to strive for, and what to strive to prevent.
‘Making a scene’ is connecting with and learning from others as practice; and as intercorporeal, embodied, emplaced sociality. This ‘scene’ contains conversations immersed in their lifeworlds. It makes connections with past realities; past dreams and ambitions; past constructions; and incorporates them as parts of possible futures
It is through imaginative renderings of possible future worlds that designers have the ability to influence structures of both belief and desire to positive and ethical ends. Worlds that we know to be physically and morally possible, but which have been suppressed by ideologies of selfish cynicism, fatalism, and nihilism; or hidden behind a smokescreen of agnotology (culturally induced or purposely sown ignorance or doubt; see Proctor & Schiebinger, 2008), can be forced to re-emerge. The ‘future as a cultural fact’ remains true, but its alethic valence has shifted from the negative to the positive, from the dystopian to the utopian. Truth has become the province of hope, not the grounds for the abandonment of desire and fulfilment.
Hope involves desire, imagination, and belief—all three—and design insists on the addition of supposing as another attribute. First, we must simultaneously suppose and believe that hope is possible at all, and once that possibility is admitted, then the belief in a better future undergirds and impels the processes of aspiration and envisioning that are germane to design, but which can be led astray by cynical or fatalist attitudes, and/or by greed and hubris. As Pierre Bourdieu argued, hope also requires a collective effort—a scene—rather than a reliance on the emergence of a new and charismatic leader:
Belief in the possibility of positive change is fundamental to what is constructed and imagined mutually; and it is precisely this collectivity that is essential to making the future, whether through design or through the education which prepares the future makers of the future. The intellectual qualities and faculties of both individuals and collectives must be developed together.
When designers work with communities to remodel their buildings and landscapes to provide for better futures, they should do so through processes of supposing and scenario-making, to find out how they can make more and better— more special—what they already are. Design in the architectures is a process of becoming that addresses being and longing—belonging—to clear and prepare a space for play; for a shared imagining of the future and a striving towards it that
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research
Youtube video: why are cities full of uncomfortable benches
https://www.youtube.com/watch?v=WeyLEe1T0yo
Streetlights the dynamic of urban life changed, people spent more time outside at night boosting economic development and a reduction in crime.
Targeting homeless - signifying homeless shouldnt be within our cities. The discussion is uncomfortable, who is included in public spaces who are excluded.
TED TALK - Rethinking defensive urban design by cara chellew
https://www.youtube.com/watch?v=3Gipo6TDzk8
Wanting to exclude unwanted people within spaces
Design shapes how we explore the city. Some are helped to guide us around or inform use. Some are intended to
Messages like who belongs here? Whose space is this?
Hidden design strategies which are designed to exclude
Common forms, modified seating are most visible and well known. Sitting without back tests stops people lingering. Ledges are avoided to stop skateboarding, using varying angles.
Rocks under overpass to stop people seeking refuge, flower pots
Light can be used to make people feel safe, however can be used as a form of deterioration.
Hostile architecture is pervasive, it's often hidden in plain sight. Implicit forms are largely invisible to everyday users. Its coercive functions are hidden within more socially acceptable ones e.g a bench designed to stop people from lying down still allows people to sit. Only when it becomes explicit people take notice.
Hostile architecture targets people, providing the message you are not welcome here.
Weather implicit or explicit, hostile architecture is a form of urban censorship of who we see within our public spaces, informs our idea of who is apart of the public
When we use hostile architecture to address issues such as homlessness, mental health, drug use it merely displaces the problem rather than confronting it. Creating a distorted vision of the city. Free from poverty and social discomfort. This creates a problem as through encounters of difference and experiencing the other that we learn different values, forms of expression and the “unknown becomes known”
Can be a safety hazard for eldery, disablied, blind etc
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hope and anxiety
Anxiety: Anxiety is a roadblock in many people's lives. A feeling which can not be controlled. Anxiety makes you feel nervous and anxious, often out of nowhere and at times for no particular reason. Its a feeling which makes you second guess a particular action or person, stopping a person from doing something they have always wanted to do. Anxiety can affect how you see the world and how the word sees you. I see anxiety as a dystopian way of thinking. A personal outlook which creates negative manifestations of what the future has to offer. Anxiety stops risk taking and creativity, comparing how other people have done a particular action or whether it is classified as the “right” thing to do.
Week 9: Hope and anxiety
Definitions
Hope : 1. a feeling of expectation and desire for a particular thing to happen.
2. a feeling of trust
Anxiety: 1. a feeling of worry, nervousness, or unease about something with an uncertain outcome. "he felt a surge of anxiety"
2: strong desire or concern to do something or for something to happen.
Personal definitions
Hope: When i think about the word hope, i feel positively encouraged that in the future particular aspects of my life and this world could be better. Although hope is a utopian way of thinking, I feel hope has more realistic and emotional qualities to the action. Hope is a feeling and expectation which allows us as human beings to idealize how our futures may be better than they are at present. I personally compare hope to a form of religion, a way of thinking. For example religious people may look to god as a form of hope. They pray to him for guidance and support throughout their lives, praying is their sense of hope, hope for a better future. In comparison, those who are not religious look to hope as a source of hopeful guidance and reassurance throughout their lives.
Personally when I think of hope, I envision my loved ones. Friends and family who I know I can go to for guidance and support when times get tough. I am hopeful for them, that they will be happy and successful in everything that they do. Hope is imagining a utopia, where everyone is fed, dressed, warm and happy. Hope is looking at the world and being excited for the future, seeing positivity.
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podcast
Podcast: http://www.702.co.za/podcasts/125/the-best-of-the-eusebius-mckaiser-show/280271/hostile-architecture-and-how-public-spaces-exclude-the-poor-and-marginalized
Hostile architecture reinforces the inequality we have within our society.
Who are public spaces really for? Privatised public spaces. Spaces aren't always what they seem.
Why is homlessness such a large problem within New Zealand?
Are homeless antisocial?
We only want people in space if they are doing beneficial e.g going to work or improving the city e.g buying things.
The right to be the person you want to be, they should have the social, cultural right to be who they want to be e.g playing the trumpet as they go along.
Cities thrive on diversity, through hostile architecture we are decreasing this diversity.
spikes - we want to be compassionate however we don't want people on our property. Where are homeless going to go? Very complicated problem
City policy and money for homeless shelters etc. particular decisions by particular people e.g independent home owners rather than council etc
Global capitalism
Property prices go up as overseas individuals purchase houses which increases prices. Adds to homeless
Hostile architecture inforces rather than reduces inequality.
Hypocritical - we are the reason for this happening.
People's assumptions of people e.g teenagers, skateboarders are seen as drug dealing hooligan.
Curtain social class live in different parts of the city no devid on social class, culture etc there is going to be a large amount of judgment and “fear”
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Week 2 Independent Study
To understand mana taonga: choose something –‘ a thing’ that is really important to you and write down why it is important, the stories it tells you, who made it, when you wear it etc., the connections to others you have made through it.
This “thing” which is important to me is a silver bracelet I was gifted by my great grandmother when I was born. This bracelet is extendable, therefore i have been wearing this bracelet from a couple weeks after my birth until now at aged 19. Every year I receive a new charm on my birthday which represents an achievement or hobby I was committed to that year. Therefore I have a total of 19 charms on this bracelet. This bracelet is important to me as it represents my family, the bracelete being gifted by my great grandmother who is now passed. I have received these individual charms by my aunties, grandmas, parents, brothers and cousins, therefore every charm also reminds me of a different member of my family. I wear this bracelet every single day, and can't remember the last time I took it off.
It means alot to me as it is gifted to me by family members and it tells the story of who i am from birth into a young adult. E.g for my first birthday i received a teddy bear as i was inseparable with my childhood teddy. For my 10th birthday I got a dog for my new family puppy/ best friend at the time. On my 17th birthday I received a paintbrush as I placed first place in New Zealand for painting. On my 18th birthday I got my favorite charm, “all around the world” which represents when I went on a month-long trip around south america with some friends. Every charm has a story, about me and how I came to be the person I am.
Video Notes: Lucy Sargisson - "Utopianism in the twenty-first century"
Utopia
Utopism is everywhere, Utopia isn't
Utopia: thomas moore “pun”.
It only works when spoken aloud. Collapsing the good, non and the place.
Tension between Desire - realisation.
We chase utopia “always over the horizon”.
Cuts across all human cultures
Human tendency towards dreaming
Makes you feel, there's always something not right and something better can happen
Concerned by the present and now
“Human impulse” “human nature”
Plan to build a new world
Small scaled attempts to realize the “good life”
Identifying core problems, private property, social class, hierarchy
Consumerism
Creating contrasting alternatives “holding a mirror to the present” they reflect back at you the problems at present.
Isn't just about nice stuff
Utopia can be dangerous
Intended to be better place/society
Distopias
Normative stance of those creating them
Intended to be viewed as bad places
Perform a particular way “ initiating fair” offer warnings
Drawn on fair, inspired by real events e.g global warming
Utopianism is inescapable, politics lacks creativity, injects passion into politics. Some utopians can be politically dangerous and toxic.
Deeper thinking:
In terms of hostile architecture and implementing these designs into our cities to try “push out” the homeless. Do they have an emotional connection (mana taonga) to the places they are staying and the people round them? Is these spaces their homes and is it ethical to push homeless out by using e.g spikes. Does it dehumanize them and take away their mana? Those who are implementing these designs, have they got a utopian idea of having no homeless within their cities? Or is that a form of dystopia? Selfishness. Is that then contrasting with homeless utopia of them being able to live/sleep in particular areas. Through creating a form of utopia, you are also creating a dystopia e.g if homeless are pushed out of the city, they will go elsewhere which creates a problem for another place.
Having hope for a perfect utopia, creates anxieties of the methods, causes and implications of these actions to get to this perfect utopia.
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Write down some possibilities for final presentation formats:
Essay
Picture essay
Dossier
Magazine
Start foraging and gathering material on your topic. Select at least 1x resource from the MU library database, and one other from the MF Resource Section that you could draw on for this project.
Hostile Architecture: Our Past, Present, & Future? https://search-proquest-com.ezproxy.massey.ac.nz/docview/2346663675?accountid=14574
Hostile Architecture: The Death of Urban Spaces- https://search-proquest-com.ezproxy.massey.ac.nz/docview/2346651786?accountid=14574
Podcasts https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/
Camden Bench - FACTORY FURNITURE
Google scholar report on hostel architecture https://www.ntnu.no/ojs/index.php/etikk_i_praksis/article/view/2052/2245
https://www.nytimes.com/2019/11/08/nyregion/hostile-architecture-nyc.html
Hostile urban architecture - NTNUwww.ntnu.no › ojs › etikk_i_praksis › article › download
https://www.vice.com/en_us/article/kzm53n/photos-of-the-most-egregious-anti-homeless-architecture
Perspective : https://hostiledesign.org
https://99percentinvisible.org/episode/the-containment-plan/
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READININGS:
Make notes from both texts or mind maps/diagrams so as to build on your understanding of Mana Taonga and how its principles are drawn upon in different contexts.
MANA TAONGA AND THE MICRO WORLD OF INTRICATE RESEARCH AND FINDINGS AROUND TAONGA MAORI AT THE MUSEUM OF NEW ZEALAND TE PAPA TONGAREWA -
Notes:
“The Mana Taonga principle acknowledges spiritual forces such as wairua and mana, which are concepts that exist within everything (Moon 2003: 131) Mana may also reside in people, animals, and inanimate objects, including the physical symbols of identity, such as personal taonga held in museum collections. The Mana Taonga principle readily acknowledges these spiritual dimensions or qualities as within taonga and draws upon them to enliven connections between iwi, hapu or whanau representatives.”
“The Mana Taonga principle recognises the authority that derives from the whakapapa (genealogical reference system) of the creator of the cultural item.”
“By recognising the ancestors after whom the taonga is named and the whanau, hapu or iwi to which the taonga belongs, the Mana Taonga principle acknowledges the worthiness of the individual, and his or her mana, regarded as personal influence and authority.”
“Whanau members come to collect the hei tiki to wear for special occasions, events, or performances, and they return the taonga afterwards to Glenis for safekeeping”
“Overtime, many taonga were bought, stolen, con-fiscated, or bartered: some were removed without ceremony from sacred places. This severance continues to impact on descendants today”
“Maori curators readily acknowledge that other taonga in the collection have been bought, stolen, confiscated, donated, bartered, or fossicked from wahi tapu or sacred places such as burial grounds without ceremony from around the country.”
When you have completed the readings below – add to #5 your ideas and how you could connect them to principles of Mana Taonga. For example, how might the concept utopianism connect?
Is the idea of integrating Hostile architecture into our cities a utopian and/or dystopian idea.
Do the designers of these hostile architecture creations have a mana taonga connection to these particular designs?
Does hostile architecture take away mana taonga of those affected by these designs? E.g the homelesses rights to sleep on city streets are taken away, does this affect their pride, make them feel alienated - Take away their mana taonga
Is it a utopian idea that through hostile architecture there will be less homeless and loitering within particular areas? Creates a dystopia elsewhere.
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What do you need to get there- learning needs? research, assistance, chatting about your project, building timelines, etc.
I am quite a visual learner so i feel a lot of my information will come from videos, podcasts and photography. I will gather my information through research (google scholar, massey library). Often through research I find new information, which interests me and or changes my perspective. Therefore i dont have a particular learning structure I would like to follow.Great sources for podcasts related to the topic of hostile architecture: https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/
Return to and re-read your reflection and evaluate the material from your ngā kete /toolbox. Asking questions like the ones below can help you work through the A2 project.
Consider how you approached this project - was it the right approach for you? what would you change about the way you undertook the investigation?
I feel I need to create a better brainstorm as to how I want my investigation to go. Create timelines and key points as to how it will be displayed and written. In assessment 1 i often found myself confused as to what i was needing to communicate through my text due to lack of interest in the topic and also not not as much structure and guidance i was used to. Therefore before starting my project i am going to have a clear understanding of what the assessment brief is, what the guidelines are, and also the overall structure investigation. I like to have clear guidelines for what i am meant to present, which is why i struggled in the last assessment as i often second guessed myself, if i was going a particular thing “right”
What ideas, knowledge or resources would/could you bring forward? How might they help you generate ideas for this project.
Resources from my spatial design course
Podcasts https://99percentinvisible.org/episode/unpleasant-design-hostile-urban-architecture/
Youtube videos
Documentaries
Personal research regarding hostile architecture within my community
My personal opinions of what hope and anxiety are, friends and families perspectives. Allows me to get multiple perspectives.
Search engines (google scholar, massey library)
Personal books about space and how it affects people's perception and view towards space.
Ted Talks
For A2: Create a mindmap or draft a proposal statement, or write a set of questions. Consider the topic, and ideas, issues and concerns that arise at this moment.
What are some different designs related to hostile architecture? How were they designed, Why were they designed, and the effects
Is there physiological reasoning behind why this design strategy is effective.
How does hostile architecture provide hope and/or anxiety within our communities? Who is involved, who is excluded?
What does hope/anxiety mean to different people? Perspectives and definitions
What are the advantages/disadvantages of hostile architecture? Who does it affect both positively and negatively?
Is there a balance? Can we create a space which accommodates everyone within society?
Those e.g homeless who get pushed out due to hostile architecture, where do they then go? Does it create a problem somewhere else?
Is hostile architecture ethical?
How does it affect an individual's mana toanaga?
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Week 1 Independent study
Option 2. Expressions of ‘hope’ or ‘anxiety’ are dialogues that arise in response to new kinds of social, political, economic or technological change. Select one or two cases studies, investigate the dialogues and draw on some key points made to develop your discussion
Some examples in which utopian and dystopian debates occur include –immigration to new lands; the rise of a new technologies such television or new media technologies, AI, surveillance, a drug, etc.; local or global politics; in the aftermath of disaster or warfare; a global crisis such as a pandemic or an economic recession; designing for new cities or worlds, or organising systems; the forming of a cult community; rights and equity issues- human, animal, flora and fauna; sustainability discourses.
Some historical movements in which these occur include western epochs such modernism, futurism, constructivism, postmodernism, or a historical phenomenon like Colonisation, the Anthropocene and maybe even Decolonisation.
A balanced discussion will draw attention to various points of view and different sides of the debate.
Hostile architecture
My topic of choice is on hostile architecture. Hostile architecture is an urban-design strategy that uses elements of the built environment to purposefully guide or restrict behaviour in order to prevent crime and maintain order. It often targets people who use or rely on public space more than others, such as youth and the homeless, by restricting the physical behaviours in which they can engage. Also known as defensive architecture, hostile design, unpleasant design, exclusionary design, and defensive urban design, the term hostile architecture is often associated with "anti-homeless spikes" – studs embedded in flat surfaces to make sleeping on them uncomfortable and impractical.Other measures include sloped window sills to stop people sitting; benches with armrests positioned to stop people lying on them, and water sprinklers that "intermittently come on but aren't really watering anything."Hostile architecture is also employed to deter skateboarding, littering, loitering, and public urination.
Reflect on what interests you about this option. Where do you imagine you could go with it.
Option 2 interests me as the dialogues of hope and anxiety arent often associated with the idea of hostile architecture. I personally have never looked into the “hopes”, and “anxieties” people may have about introducing these design techniques into our cities. Within my degree of spatial i have briefly researched what hostile architecture is and the diffrent types, and designs that are used. From what I have learnt I find extremely interesting, how Hostile architecture makes you uncomfortable without realising, that unpleasant design is put in place to make spaces mentally more enjoyable for you and i. I choose option 2 as it allows me to have a deeper understanding of the different perspectives people may have on the topic, peoples hopes for this design, people's anxieties and also how it ties into mana taonga. All important perspectives which will be valuable within my degree to better interpret and understand.
What are your learning goals – ie what do you want to find out more about? (write or brainstorm)
I would like to deepen my understanding of what anxieties and hope mean for people. Understanding that everyone has different perspectives on what these two dialogs mean. And how we can incorporate hostile architecture into our communities in the most ethical, reasonable and moral way - If there is any.
I'm interested in learning different types of hostile architecture, different ways of using lighting, seating designs, visual designs. How these different use of design techniques are used to manipulate how people are feeling within the space. What is the psychology behind this method, where did it come from?
How this could affect people's mana taonga, who its effects, who is excluded.
Hostile architecture as a whole, who designed it, why it was designed, when, how it has evolved.
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