Acknowledgement of Country

Adriano Pupilli Architects respectfully acknowledges the Traditional Owners of the land on which we live and work; the Gayamaygal people and Yuin people. We pay our respects to elders past, present and emerging. This is, was and always will be Aboriginal land.

Collaborating with remote communities: Our work in APY Lands

Insights
18.09.24

Spanning 102,650 square kilometers of the Central Desert in South Australia, the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands are home to 11 remote communities, connected by a network of sandy roads. From 2014 to 2015, we were engaged to upgrade art centres across eight of these communities, with a separate project added in 2019. Our goal was to enhance these important community hubs, ensuring they continued to serve both cultural and social needs.

The sandy desert roads connecting the communities and Homelands of the APY Lands.
Artists at Kaltjiti Arts Centre.

The first step was to conduct a thorough review of each facility—what was functioning well, what wasn’t, and what was missing entirely. The heart of our approach lay in a participatory design process, which involved close collaboration with local artists and art centre managers. Recognising that English is often a second, third, or even fourth language for many, we developed a simple yet effective diorama. This model represented key components of each centre and could be rearranged on a whiteboard to reflect different layouts. Through open dialogue, we mapped out the daily work patterns of the artists: how they moved through the space, where they painted, brushes were cleaned, paints were mixed, where sales were made and items packaged, and how the centre functioned as a social hub.

Consultation via scale models with the community of artists.
Recognising that English is often a second, third, or even fourth language for many, we developed a simple yet effective diorama.

One key discovery was the need for more separation between male and female artists. Women preferred a space where they could sing and talk freely, while men valued a quieter, undisturbed environment for their work. Similarly, views on the presence of children and dogs varied, and our designs responded to these differing preferences, with each centre adopting a layout that reflected the community’s unique needs.

The diorama also incorporated nearby features of each community—roads, schools, and local amenities—so that we could understand the wider spatial relationships and ensure our designs were contextually appropriate. Ancillary facilities like bathrooms were another priority, especially for elderly artists who often lacked access to functional amenities at home.

Workshops made use of dioramas, diagrams and scale models to cross language barriers.
Through open dialogue, we mapped out the daily work patterns of the artists: how they moved through the space, where they painted, brushes were cleaned, paints were mixed, where sales were made and items packaged, and how the centre functioned as a social hub.

Given the remote location and the large number of sites, we faced the challenge of delivering the buildings within a tight timeframe and budget. This meant exploring different procurement strategies, including prefabrication and local construction. In some cases, such as at Amata, we worked closely with the local builder, Wiltja Constructions, to negotiate scope and pricing, ensuring the community’s preferences were reflected in the final outcome.

Throughout the process, we also had to consider the harsh desert environment. The climate’s extreme temperature fluctuations required buildings that were not only functional but resilient, able to withstand the region’s severe conditions.

The result was a series of robust, purpose-built art centres that continue to serve their communities. The artists now have comfortable spaces that support their creative processes, whether they seek solitude, quiet humming of personal songlines or the camaraderie of shared song. These centres have played a pivotal role in supporting the production of works that have been exhibited nationally and internationally, showcasing the profound creativity of APY artists.

Mimili Maku Arts Centre nearing completion
The result was a series of robust, purpose-built art centres that continue to serve their communities.
The Ninuku Arts Centre extension.

In 2019, we were engaged by Ernabella Arts for a separate project: the design of a new gallery, office, lunchroom, and packing area. Once again, our process involved consultation with the artists to understand their workflows and identify improvements. The resulting space was not only a functional front-of-house area for visitors but also a welcoming, comfortable environment for the artists themselves. Flexible shelving and display options were incorporated to adapt to future needs, while the lunchroom provided a much-needed place for artists to gather, reinforcing the art centre’s role as a social and cultural lifeline.

Happy artists at the Ernabella Arts Centre.

Our work across the APY Lands highlights the importance of architecture as a collaborative and contextually responsive process. By engaging deeply with the communities and understanding the unique cultural, social, and environmental factors at play, we were able to design spaces that not only meet functional needs but also support the ongoing cultural practices of the artists. These projects reaffirm our belief that thoughtful, site-specific design can have a profound and lasting impact, enhancing both the daily lives of individuals and the broader social fabric of their communities. We continue to be inspired by the creativity and resilience of the APY artists, and we’re proud to have contributed to the evolution of these vital community hubs.