How can aesthetics be understood from the perspective of the ethnicminority migrant subject or the ethnic-minority migrant community? The mainstream paradigm of migrant settlement is one of deprivation, conditioned by hardships, financial struggles, and bare functionality. But migrant aesthetic production transcends this narrative of thrift and survival. It is underscored by desire and agency, beauty and inspiration. A taxonomy of identifiable migrant architectural types – housing, worship structures, street and retail spaces, gathering spaces – evolving in the migration histories of Australia and New Zealand, as in other settler nations, outlines the interface of migration and aesthetics. This Forum invited these short texts to offer provocations to mainstream aesthetic framing in architecture and its conventional understandings of migrant architecture. A powerful narrative of “remittance” economy frames the discourse on migrant architectural aesthetic production in homeland sites. In The Remittance Landscape, Lopez details structures including sport stadiums and cultural facilities, in addition to housing, that result directly from emigrant economic flows. Images in postcards and magazines, and of iconic structures discovered by migrants are just some of the complex aesthetic sources of this architecture. In contrast, migration studies often assume the aesthetic sources of migrant architecture in destination sites to be homeland vernacular architecture. Singular directional flows of architectural aesthetics are problematic for migrant architecture as for architecture generally. Visibility/invisibilty is important to ethnic-minority migrants, as is the narrative about that visibility. As Lopez illustrates below – a material reference to the homeland and a right to exist and to be visible in the US city – are both part of the objective of using stone transported from Mexico into the United

中文翻译：

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审美移民环境

如何从少数民族移民主体或少数民族移民社区的角度来理解美学？移民定居的主流范式是一种剥夺，受困苦、经济困难和功能匮乏的制约。但移民审美生产超越了这种节俭和生存的叙事。它被欲望和能动性、美丽和灵感所强调。与其他移民国家一样，在澳大利亚和新西兰的移民历史中不断演变的可识别移民建筑类型——住房、礼拜结构、街道和零售空间、聚集空间——的分类法勾勒出移民与美学的界面。本次论坛邀请了这些短文，对建筑中的主流审美框架及其对移民建筑的传统理解提出挑衅。“汇款”经济的有力叙事框架了关于移民在故乡建筑美学生产的话语。在“汇款景观”中，洛佩兹详细描述了包括体育场馆和文化设施在内的结构，以及直接由移民经济流动产生的住房。明信片和杂志中的图像以及移民发现的标志性建筑只是这座建筑的一些复杂美学来源。相比之下，移民研究通常假设目的地的移民建筑的美学来源是家乡的乡土建筑。建筑美学的单一方向流动对于移民建筑和一般建筑都是有问题的。可见性/不可见性对少数民族移民很重要，关于可见性的叙述也是如此。正如洛佩兹在下面说明的那样——对祖国的物质参考以及在美国城市存在和可见的权利——都是使用从墨西哥运往美国的石头的目标的一部分