In the late 1990s, Stefan’s life is unravelling. A brilliant glass technician, his business is failing and his Indigenous partner, Tania, has left him without explaining why. In the midst of this turmoil, Indigenous Australian sculptor Lennard Currie contacts Stefan and invites him to Fremantle. He plans to model a cenotaph on Jandamarra’s Rock in the Kimberleys—where he lost the love of his life, Rosalie. He needs Stefan’s skills with glass to aid him in the creation of his monument, intended to be a beacon of truth and reconciliation for the Aboriginal community. They face unexpected challenges, disheartening setbacks and threats of violence. But they must succeed, to give a voice to Australia’s First Nations people, their ancestors and future generations. The Glass Cenotaph is Book I in The Truth And Reconciliation Trilogy.

More than a billion people watched the 9/11 World Trade Center destruction unfold on television, making it the greatest shared event in world history. Reflecting this fact, the 2003 World Trade Center Memorial Design Competition was open to anyone, drawing 5,201 entries from 60 countries, all of which were posted online. Most designs were the greyscale hardscape of typical memorials. A few were radically imaginative. Some engaged memory with sound, color, movement, technology or visitor participation. Others reached across the globe, cyberspace, even outer space. These imaginings stirred questions about their creators. Who were they? What were they thinking and feeling? How did the concept develop? This book, based on a first ever review of the entries, tells the personal stories of more than 180 designers whose creative perspective translated an horrific event, giving deeper thought to the relation of memorial spaces to history, geography, technology and cultural diversity.

Architecture and design have been used to exert control over bodies, across lines of class, gender and race. They regulate access to certain spaces and facilities, impose physical or psychological barriers, and make particular activities possible for specific groups. Built in 1951, the War Memorial Gymnasium at the University of British Columbia is a prize-winning example of modernist architecture. Although conceived to honour the dead of World War II, it was far from being a neutral memorial and gymnasium for everyday athletes. This collection shows what the design, construction and shifting functions and spatial configurations of the building reveal about the values and aspirations of the university in the post-war years. It shows how the building reflected the social and power relations among university administrators, architects and planners, faculty, staff and students, and demonstrates how the culture and structure of the gymnasium responded to changing attitudes to competition, discipline, profession, gender, race and health. As the editors explain, built form has politics, and culture - sporting culture - is just politics by another name.