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Contents

50

Contents
08 EDITORIAL
08 Chris Barton discusses the architecture of suicide

13 COLUMNS
13 Pip Cheshire considers the nimbyist, the urbanist
and the would-be politico within
17 Karamia Müller discusses the navigation of new cultural
landscapes and the pleasure of ongoing learning

21 ACROSS THE BOARD

22 Te Ngau o Horotiu – Aucklandʼs waterfront
redevelopment project; 2021 Te Kāhui Whaihanga
NZIA Aotearoa Festival of Architecture and in:situ;
Whakaora wānanga
24 Proposed Ponsonby development; Puhinui Station
27 2degrees Fanshawe Street; Lancaster Park reuse;
Toro Whakaara: Responses to the Built Environment
28 Obituary: Ron Sang
31 Brick Bay Folly 2021 finalists
35 Interior Awards 2021

40
40
PRACTICE
Passive, Active and Simple – Ferdinand Oswald
explores three pathways to sustainable housing design
60
4 Architecture New Zealand
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Contents

85
49 WORK
50 Found in translation
– PARK HYATT AUCKLAND

60 Shaping a richer culture

– DIOCESAN SCHOOL FOR GIRLS

PERFORMING ARTS CENTRE

71 NZIA LOCAL AWARDS 2021

72 The winning projects from
New Zealandʼs eight regions:
Auckland, Waikato/Bay of Plenty,
Western, Gisborne/Hawkeʼs Bay,
Wellington, Nelson/Marlborough,
Canterbury and Southern

105 CRIT
105 Itinerary: City Guide,
Tairāwhiti Gisborne
111 Event: SANNZ 24 Hour Design
Competition
113 Exhibition: Slow Boil

116 CARTOON
113
6 Architecture New Zealand
A wound upon a building
Chris Barton
had reportedly designed safety barriers
before the climbable structure was built but
they were never installed.
Related is the developer of Hudson Yards
and operator of Vessel. Its billionaire CEO
Stephen Ross said of the latest suicide: “It’s
hard to really fathom how something like
that could happen. But I feel terrible for
the family. I want to explore every feasible
possibility we can, but, for now, the Vessel ON THE COVER
The recently opened Performing Arts Centre
is closed.” That suicide is indiscriminate, at Diocesan School for Girls in Epsom,
frequently unexpected and always Auckland was designed by Melbourne-based
architectural studio McIldowie Partners
One night in Jerusalem, 2017, Chris Barton. devastating for the loved ones ensnared in association with local practice Upton
Architects. Image: Patrick Reynolds.
Photo Diana Wichtel. by its brutality isn’t that hard to fathom.
To date, in Ross’ world, exploring every PUBLISHER
A FOURTH DEATH – A 14-YEAR-OLD BOY feasible possibility has meant anything Nathan Inkpen
EDITOR
visiting on 29 July with his family – from other than installing safety barriers. When Chris Barton
Vessel, the 16-storey, 46m-tall, staircase Vessel reopened in May, after the third ASSISTANT & INTERIOR EDITOR
Amanda Harkness
sculpture at Hudson Yards in Manhattan. death in January, raising the height of the
ART & PRODUCTION DIRECTOR
The tragedy has seen the honeycomb balustrades, while entirely feasible, didn’t André Kini
structure, variously derided as the “colossal happen. Instead, there were: a new entry
ADVERTISING SALES
shawarma”, the “stairway to nowhere”, a fee of $10 (access was previously free), a Mark Lipman – [email protected]
“giant’s wastepaper basket” and a “pineapple buddy system, meaning visitors were no
ADMINISTRATION
thing”, now labelled a “suicide machine”. longer allowed to enter alone, National [email protected]
Amidst calls for the $US200-million Suicide Prevention Lifeline signage and CEO
Damian Eastman
tourist attraction opened in 2019 to be more security officers trained in suicide
SUBSCRIPTIONS
demolished, its designers, Heatherwick prevention. It took only two months for agm.co.nz/store
Studio, released a statement: “We’re those woefully insufficient mitigation ANNUAL RATES
New Zealand $68
distraught about the news of last week’s methods to prove ineffective. Australia / South Pacific $110
Rest of world $158
tragedy. Working with our partners at What is difficult to fathom is the
DISTRIBUTION
Related, the team exhaustively explored resistance to doing the right thing when Ovato Retail Distribution
physical solutions to increase safety. architecture is used in such a violent,
[These] require further rigorous tests, and unintended, yet predictable, way. Closer
PRINTER
we continue to work to identify a solution to home, it took two deaths, the first in Ovato
that is feasible in terms of engineering and November 2012, the second in January ISSN 0113-4566
Copyright: 2021 BCI New Zealand Pty Ltd
installation.” 2014, before barriers were added to
The statement doesn’t say that all the balustrades looking into the 26m-high The Warren Trust supports
deaths were entirely preventable had atrium of the Owen G Glenn Building Architecture NZ by way
of an editorial grant.
Vessel been designed as suicide prevention (OGGB), the home of the University of
experts and community board members Auckland Business School. Following
had repeatedly called for. Or that, before the November 2012 death, the university
it was built, many had highlighted the released a statement saying it had engaged
Architecture New Zealand (Architecture NZ),
height of the glass balustrades lining the consultants to advise on measures to incorporating New Zealand Architect, is
owned and published by BCI New Zealand Pty
154 interconnecting flights of stairs and increase the safety from falling, “even Ltd. BCI New Zealand and its parent company
80 landings as inadequate. “As one climbs (though) the building’s design exceeded BCI Media Pty Ltd also own and publish Archify,
ArchitectureNow and the Interior Awards.
up Vessel, the railings stay just above waist Building Code requirements”.
height all the way up to the structure’s top But, as Sean Sturm and Stephen Turner BCI NEW ZEALAND PTY LTD
Level 2, 409 New North Road
but, when you build high, folks will jump,” write in Life and Death and the University, Kingsland, Auckland, New Zealand
Phone +64 9 846 4068 / Fax +64 9 846 8742
wrote one architectural critic of the design. doing the right thing also has an ongoing
POSTAL ADDRESS
There’s no mention either that Heatherwick effect: “The construction of the barriers can Private Bag 99915, Newmarket, Auckland 1149

8 Architecture New Zealand

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be considered a form of feedback, through which
the building produces an upgraded version of
itself, taking into account the possibility of this
kind of behaviour on the part of its inhabitants,
as suicide can now be considered a clue to how
this building works. The barriers mark a wound
upon the building and its inhabitants”.
Sturm and Turner argue that the suicides in
the OGGB mean that it can never be the same
building it was before they took place “because
their emergency brings its prehensive structures
into question and calls for a social account that
is irreducible to the econometric social scripts
of the university”.
Today, the university silently demonstrates a
newfound architectural consciousness saturated
in suicide prevention. Roof decks, including that
of the School of Architecture and Planning, once
the site of frequent convivial student gatherings
and sometimes learning, are now firmly shut and
permanently off limits, the cost of remediating
deemed too high. New student residence towers
– balconies absent and with windows stopped
from opening more than a sliver – struggle not
to feel like prison blocks.
But there are signs of how architecture can be
part of the solution to suicide prevention and
how, with good design, the solutions needn’t be
an eyesore. A subtle example can be found in the
university,s $145-million Science Centre (Building
302) by Architectus, where the stairs beside the
soaring eight-level canyon atrium, bounded by
a béton brut concrete wall of sheer brutalism, are
made safe by an understated, thin, enclosing mesh
stretched taut above the balustrades.
As a journalist, I’m acutely aware that media
coverage of suicide can be part of the problem
– that sensational, detailed reporting can
contribute to more loss of life. There are also
arguments about the naming of locations of
suicides leading to places developing notoriety
and leading to further tragedy. In my experience
of talking to those affected by suicide, the far
greater problem is the silence and stigma always
associated with the subject. Invariably, those
affected see breaking the silence as the way
forward. The architecture of suicide is not an
easy topic but, for architects who might adhere
to an ethical position akin to “first, do no harm”,
it’s a topic that can’t be avoided.

EMAIL [email protected]

INSTAGRAM @architecture.nz

WEBSITE architecturenow.co.nz
Photograph by Simon Wilson
                
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 Opinion

Force de frappe
Pip Cheshire
It all makes some sort of sense; recitation of clauses and subsections,
I have touted the attraction of our knowing that every decision is just
little enclave as being its proximity a barrister’s arched eyebrow away
to the city in front and the bars of from the courts. I have seen this
Ponsonby behind, that one might machine in operation, been privy
stride into university in the morning to it, indeed an active player: at
and later crawl home from the bars times, a foot soldier attempting to
up the road. So, now, is there to be prise apart the subsections and gain
another evolution, like the urban a client’s advantage, pushing and
renewal of the 1960s when the arguing without tipping into the abyss
motorway was pushed through the of a contested hearing. At times,
valley and the rolling, corrugated- too, I have argued as a panellist on
iron foothills below us cleared away the Urban Design Panel (UDP), in
for Council housing, driven along favour of the inner-city skyline being
by the walk-to-work enthusiasms of something more than the vertical
I’M SITTING IN THE SUN ON OUR the planners? Or will, this time, the transposition of the underlying
verandah in a gentle, warm, reflective planners have met their match with topography.
moment: a rare and welcome respite rights-wise Canutes facing back Sometimes, at the panel, we
from rain and work as I consider the the advancing phalanx of our tribe: have had a robust discussion on
awful good fortune of being here. We the surveyors with their pesky little the desirability of manipulating
were the beginning of the bourgeois drones and GPS wands, then we the rooftop, adding a bit here at
rot: an insidious displacement of architects, squinting and sketching the expense of some over there,
Samoan, Tongan, Niuean and the and CADing ahead of the motorised gaining a little more of that valuable
occasional palagi student occupants, column, the diggers, the pumps, the gross floor area if the result is some
forced to move away from crowded cranes and the tradies. sculptural modelling. Sometimes,
villas and the front-room churches And what of me? Where do I sit? we have left the arena of the panel
with their Baptist-style exhortations Does the imperative of planetary with some hope that, even if we may
and booming hymns. survival trump closet nimbyism and not end up with the delights of the
On that gentle sunny morning, appeals to the cultural importance Manhattan robber barons’ towers,
I mused over the government’s of preserving the picturesque there has been a clear indication
pronouncement that those of us artefacts of economic imperialism? of the panel’s desire to support
within walking distance of the It seems far-fetched that it should some give-and-take as the details
city should be prepared to start come to this, that a government of height and bulk are resolved in
packing, loading our handcarts with dictate to facilitate development final consent design. I am sorry
our widescreen TVs and designer might prevail over, in this case, the to say that when one observes the
furniture for our own shlep out of twin bogeys of the hitherto deeply final result, often so many months
the neighbourhood, the picturesque enshrined belief in the unrestrained later, one is uncertain whether or
little villas on either side cleared away workings of the property market not we had anything to do with it
to make an apartment block site. and the City’s belief in the at all. The articulations of the ‘fifth
Perhaps the villas will be trucked out importance of heritage zones and elevation’ are nowhere apparent
to the lifestyle blocks of the west, white cultural continuity. and one assumes that, between the
there to sit lonely, their fretwork I have often been a bit sniffy about soft opening offered by the UDP’s
speaking an unknown urban/ the doctrinaire way that planners recommendations and the hard ball
pedestrian dialect in ute town. And, operate: that, in the tough grind of a final consent application, the
in their place, where we tended our up between social idealism and the subsection’s text has prevailed as the
Late night at
lemon trees, avocados and vegetable Cape Evans, relentless assaults of those hoping compromise yet again, the planners
plots, the new city apartments will be Ross Island. to turn a square metre of northern having to negotiate the applicants’
Pip Cheshire,
rising up, shading those last few hold- photo
slope into the deposit on a Range inch play with gains taken and losses
outs sitting on their verandahs. Lizzie Meek. Rover, they are forced into the witless endlessly relitigated.

Architecture New Zealand 13

Opinion

I am clearly a minnow when push

comes to shove in shaping the city
and so, I suspect, are many others
of our tribe. If proof were needed,
the government’s cajoling of local
authorities to facilitate, neigh insist
on, the intensive development of those
bits of their bailiwicks within crawling
distance of the CBD and public transit
suggests a new era of planning by
fiat, acting with all the subtlety of a
bureaucratic force de frappe. Frankly,
as with most things these days, I
find myself in a bit of a dilemma:
the nimby in me shrieks “over my
dead avocado tree will you trash the
house”; the urbanist sees the wisdom
of concentrated infrastructure-centred
housing and sneers at mawkish
heritage sentimentalism; while the
would-be politico admires a bit of
direct action and evidence that, at last,
someone in government understands
that housing supply is too complicated
for the market to resolve, no matter
how much it’s chopped and channelled
by some Treasury wunderkind. I
have an uncomfortable feeling that,
despite the best intentions of an army
of well-intentioned souls in City Hall,
democracy, or mobocracy as Frank
Lloyd Wright called it, might not be
up to it and a little autocracy might be
called for. Certainly, we need to stop
the commodification of our housing
stock and begin to understand it as
national infrastructure, as critical to
our sense of common wealth and well-
being as a hydro dam or a port.
The feeling that we might need a
good dose of direct action from HQ to
address some of the more intractable
matters of the day is an uncomfortable
realisation for one with pride in having when making decisions; indeed, predisposed to engaging in the
taken to the streets a few times to the demise of the Auckland Design tricky issues of social justice but,
recalibrate the actions of an out-of- Office and the loss of its garrulous for all that, I fear the Wellington
touch government. Direct action by spokesperson might be mistaken for behemoth’s entry into urban
ABOVE
government fiat of course requires that an assault on knowledge. Lest one planning does not augur well for
“The house
those exercising it have the right skills looks so rickety thinks HQ’s intervention alone will balancing action, knowledge and
for the issues. Looking at a few of our in my sketch, sort things out, I urge you to recall experience. Once again, one feels
maybe it should
local quagmires, the current parlous be cleared the wilful ignorance of the flag the problem with autocracy in
state of Auckland’s CBD, for example, away for an debate and the disdain with which this country is that, damn it, we
apartment
suggests that those tucked up in City tower.” Pip
designers of any ilk were treated. architects and our designer mates
Hall feel no need of design input Cheshire, 2019. It’s a different mob now, one more are excluded from it.

14 Architecture New Zealand

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 Opinion

The journey into knowing

Karamia Müller
the students experience the same. teaching while we learn ourselves.
Finally, we arrive at the destination I cannot speak for my fellow tutors
– after the absolute storm of hand- but my own position requires me
in week – to the tranquil bay of to reconcile with genuine humility
student work. To me, it is always (something I am not great at) how
a kind of prayer to enter a newly little I know of te ao Māori, how
pinned-up bay, when there is quiet much more I feel I ought to know as
before a crit. From where there tauiwi, and how I so badly want to
was nothing, there is now time and get it right all the time (also one of
space, learning, new knowledge, my less-attractive characteristics).
creativity, problem-solving and Trying to get it right all the time
the ever-enduring commitment to is not the point and it is certainly
architecture as a human endeavour. the rightest way to getting things
It is a process. And it is fraught wrong. That said, there is grave
with unknowing. responsibility and, in the context
This semester, I am teaching of Te Tiriti o Waitangi, there are
a Design 4 (D4) studio, where obligations – as architectural
students are required to work in practitioners and citizens – to the
groups to propose and resolve an task at hand. Navigating new cultural
architectural scheme. This D4 is landscapes as manuhiri brings on
unique in that it asks students to professional and personal anxieties,
create papakāinga proposals on which surface in the thousands of
iwi-owned land, with a hapū client ways they can in the studio setting:
at Rāwhiti, and its meta-brief was tentativeness, premature worries
set out by Professor of Architecture and stress. How do non-Māori teach
(Māori) Anthony Hoete (Ngāti about Māori housing? How do we
Awa, Ngāti Ranana). It is the first decolonise? And are we the ones
time that papakāinga has been the to do it? My answer is: we must
focus of D4 and been led by an try and, when we get it wrong, we
ONE OF THE GREAT PLEASURES indigenous professor. One cannot must be open to correction with
of working as an academic in the help but be a little bit surprised humility. For the job is too big, too
discipline of architecture is teaching by how long it has taken for this critical for tauiwi and Pākehā not to
studio. Of the thousands of worship to occur. help with, and we can do so while
spaces in the discipline, teaching Hoete leads a teaching team centring Māoridom.
studio, for me, is right up there with made up of individuals of different Contemporary papakāinga,
miracles because, every semester, backgrounds from across the globe, according to the Auckland
students come to you with empty who come to te ao Māori as tauiwi, Design Manual, may “provide
journals, desires (some misplaced, or Pākehā: me included. This is to Māori with opportunity to live
others inspiring) and anticipation say, te ao Māori is not the first lens according to that group’s social
that is, in equal parts, wariness and with which we view the world. It is and cultural values, which may not
inquisitiveness. Together, you set humbling to think of this: that there be provided for through Western
off in the waka with open-ended is a world to which I will always models of housing and tenure.
questions, curiosity and infinite be a student. Against Aotearoa’s Papakāinga developments can
creativity. colonial history, this implicates create opportunities to provide
Over the course of the semester, us all in complex and tense ways: affordable, secure housing for
for me as a tutor, it is a journey the individual and the collective in whānau and hapū on ancestral
with smooth sailing, rough waters, ABOVE the communal endeavour. We, as whenua, and can foster economic
Karamia, in her
gorgeous sunsets and profound garden. Photo
individuals, will collectively enter independence and community
moments for self-reflexivity; I hope Leilani Heather. into a journey of unknowing and resilience for these communities.”1

Architecture New Zealand 17

Opinion

LEFT Tamin the far-reaching effects of

Song (2017).
Render showing colonisation and actively engaging
the exterior of in decolonising approaches require
urban marae
high-rise, Korero.
us to set out as learners of te reo
Mixed media. Māori, Mātauranga Māori, and
Māoritanga. This is all in real time
and space, where deadlines exist,
capitalism organises priorities and
who is picking up the kids? We
must also know that no matter
where we get to in proficiency,
we will always be students. These
positions can be made complicated
by the materiality of the world,
both physical and otherwise. As an
academic, the clock I keep belongs
to the institution; one could say it
is institutional. The same applies
for the spaces I inhabit; they have
REFERENCES a history of gatekeeping at the
1
Auckland Design expense of Māori, knowledge
Manual, ‘Māori
Housing Resources: and ways of knowing, and this
Introduction
to Papakāinga’.
is a disservice to knowledge and
aucklanddesign tangata whenua. It is wrong and
manual.co.nz/
design-subjects/ limiting – future generations
maori-design/maori- deserve better attitudes to
housing/guidance/
papakainga knowledge and potential creativity
2
Deidre Brown, for the challenges ahead.
‘Tūrangawaewae
kore: Nowhere to A recent letter to the editor
stand’, in Evelyn
J. Peters and
of the New Zealand Listener,
Julia Christensen authored by seven University of
(eds.), Indigenous
Homelessness: Auckland academics, is testimony
Perspectives from
Canada, Australia,
to such limited approaches.4 The
and New Zealand, group of Pākehā academics opined
University of
Manitoba Press, that, while indigenous knowledge
2016, p. 332. contributes to our understanding
3
Te Tūāpapa Kura
Kāinga Ministry of the world, it is not “science”.
This is a helpful guide for non- physical and spiritual belonging. of Housing and But this assumes that science is
Urban Development,
Māori, still, to help place such a Disturbing these chains has Aotearoa universal; it is not, it is only one
Homelessness Action
proposal and the related stakes and continues to have profound Plan 2020–2023.
way of knowing.
in the colonial context, the Māori material consequence; Māori are hud.govt.nz/assets/ I sense that these scholars have
Community-and-
concept of tūrangawaewae is overrepresented in the areas of Public-Housing/ understood that mastering their
Support-for-
useful. “Tūrangawaewae,” writes housing need and homelessness.3 people-in-need/
world of knowledge is equivalent
Professor Deidre Brown (Ngāpuhi, Therefore, the provision of secure Homelessness- to mastering all knowledge. I
Action-
Ngāti Kahu), “describes one’s housing for Māori on ancestral Plan/271a3c7d79/ cannot help but wonder if they
sense of belonging or attachment whenua is not only about economic Homelessness- have deprived themselves of the
Action-Plan.pdf
to a particular place and the independence and community 4
Kendall Clements, wonderful transcendental pleasure
ability to locate oneself there resilience – although critical factors Garth Cooper, of climbing into the waka as a
Michael Corballis,
physically and spiritually.”2 Acts they most certainly are – it is about Douglas Elliffe, student, feeling the buoyancy of
Robert Nola,
of land confiscation, subsequent meaningfully recognising long- Elizabeth Rata and
the water underneath and setting
eviction and alienation have standing injustice and our role in John Werry, ‘In out, unknowing, and finding that
defence of science’,
disrupted chains of birthright bringing balance to scales that have New Zealand there is learning, new knowledge,
for Māori to a place to stand in been tipped unevenly for too long. Listener, issue 30, creativity, time and space, where
July 24–30, 2021,
their ancestral land, to locate For non-Māori, sitting with p. 4. once there was nothing.

18 Architecture New Zealand

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 Across
the Board
Architectural news and views

NO STRAIGHT LINES
The last architectural design by the
late Austrian artist and architect
Friedensreich Hundertwasser, the
Hundertwasser Art Centre with
Wairau Māori Art Gallery, is scheduled
for completion in December. Detailed
design for the 2125m2 tile-clad project
was developed by local Whāngarei
practice HB Architecture, based on
a simple original sketch.
Hundertwasser Art Centre with Wairau Māori Art Gallery by HB Architecture. Photograph: John Stone.

Architecture New Zealand 21

Across the Board

WATERFRONT WELCOME
In the most significant upgrade to Auckland’s ferry infrastructure Piers 3 and 4, with passengers now arriving and departing via
since the Edwardian Auckland Ferry Terminal was built in 1912, three six-metre-wide gangways sheltered from the weather by
the Isthmus-designed Te Ngau o Horotiu opened to the public in a cantilevered canopy structure and four-metre-high glass walls.
July. The downtown ferry basin redevelopment project comprises The gangways connect to six floating pontoons, which rise and
the new six-berth Ferry Landing together with the public fall with the tide, varying from a 4.4m clearance for the gangway
downtown waterfront space, Te Wānanga. at maximum high tide to 8.5m at maximum low tide.
“Over the next 10 years, it’s projected the number of people “The project has been designed to respond to sea-level rise
travelling through the ferry terminal will increase by up to over the next 40 to 50 years and to promote mode shift to
50 per cent from the six million people a year that currently travel more sustainable travel choices,” explains Mirams. Additional
through it,” explains Isthmus project lead Andrew Mirams. ducting under the pontoon will supply electricity to charge the
Isthmus worked collaboratively with Auckland Transport, proposed new electric vessels as they replace the current aging
Auckland Council, mana whenua partners and key diesel-powered fleet.
stakeholders to improve accessibility and ensure greater The design explores the interface between land and sea and
operational flexibility. is driven by kaupapa Māori principles of manaakitanga, mīharo
Attached to the western edge of Queens Wharf and running and the transformation from Auckland to Tāmaki Makaurau.
alongside The Cloud, the six additional berths have replaced Details, such as the manaia on the breakwater capping beam,

22 Architecture New Zealand

 MINI IN:SITU
A one-day version of Te Kāhui Whaihanga NZIA’s biennial
in:situ conference this year will feature:
• an international keynote speaker (joining virtually)
• keynote speakers from Australia (if the travel bubble is open)
• Distinguished Professor Emeritus Paul Spoonley, of Massey
University, a specialist in social change and demography, and
the ways in which they impact policy decisions
• a pecha kucha with New Zealand architects
• a ‘roof shout’ party.
These events are subject to change or cancellation.
3 November, Spark Arena, Auckland

RESENE

Photograph: Kim Landy.

SIR IAN ATHFIELD
MEMORIAL
LECTURE SERIES

Architect, property developer and sustainability advocate Liam

Wallis, of Australia-based practice Hip v. Hype, is this year’s
Te Kāhui Whaihanga 2021 Resene Sir Ian Athfield Memorial
Lecture Series speaker.
Wallis, who has worked on numerous ethical, socially
conscious and environmentally focused developments,
Photograph: David St George.

including Nightingale and the Davison Collaborative, will

discuss his passion for cities and for creating better social and
environmental outcomes.
This lecture will take place during the 2021 Te Kāhui
Whaihanga Aotearoa Festival of Architecture, along with
a series of events scheduled throughout New Zealand from
20 to 26 September.
Some Festival events may be subject to change or cancellation
as a result of the evolving global pandemic. For up-to-date
the kaitiaki pile pattern and the etched pattern on the information, please go to nzia.co.nz
canopy soffit, have been designed and developed by
mana whenua-appointed artists.
Te Wānanga, the landscaped space between Quay
Street and the sea, was part-funded by the sale REGENERATIVE
and purchase of QE2 Square. Isthmus principal
landscape architects Sarah Bishop and Nada Stanish
DESIGN WĀNANGA
say the coastal shelf project was designed to provide Curated by AUT and Jerome Partington,
ecologies for both humans and nature. “Marine Whakaora – Our Thriving City ’21 is a ‘design
ecology ropes, viewed through apertures, provide jam’ aimed at transforming housing, health
habitat for mussels and kelps, which attract other and infrastructure in Tāmaki Makaurau
marine life,” says Bishop. “Native plantings feature by re-imagining and generating thriving
species not commonly seen in urban environments communities, urban nature and mauri ora.
and woven nets designed in collaboration with artist The wānanga will be held on Wednesday
Tessa Harris remind us of kelps and seaweeds once 29 September 2021 at AUT.
prevalent in the location”. ourthrivingcity.co.nz

Architecture New Zealand 23

Across the Board

KEY AIRPORT
CONNECTOR OPENS
The Jasmax-designed Puhinui Station
Interchange upgrade opened to the public
in late July, as part of Auckland Transport’s
Airport to Botany Rapid Transit project.
The journey between the interchange and
Auckland Airport takes just 10 minutes.
“The station planning and dramatic
roof form mirror the flow of passenger
movements,” explains Jasmax principal
Peter Engstrom. “By making the design
as attractive and flexible as possible, the
development encourages the creation
of a neighbourhood hub for the local
community.”
Through the careful placement of
lifts and escalators, and clear sight lines
at key decision points, the $69-million
interchange has been planned to encourage

Renders: Fearon Hay.

circulation and provide a streamlined
journey. Key passenger functions, such
as entrances, ticket offices, gate-lines,
escalators and platforms, are now clearly
identifiable and logically arranged.

DESIGNS ON PONSONBY “The ceiling has been lined with

sustainable, composite-timber panels and
Auckland developer Urban Collective has teamed up with Fearon Hay, natural lighting and ventilation have been
Paul Brown & Associates, Boffa Miskell and LandLab to revitalise a introduced to provide a sense of warmth,
1869m2 corner site in the heart of Ponsonby’s historic Three Lamps area. while encouraging ease of movement,”
Having acquired the site in 2019 for $28 million, Urban Collective has says Engstrom. “Wayfinding has also been
designed an urban response which integrates 1117m2 of high-end retail enhanced by integrated signage designed
and hospitality, 1664m2 of commercial space and 14 boutique residential by our brand design team.”
apartments of between 85m2 and 400+m2. Anticipating an expanding public
To preserve the historic character of the buildings cornering Ponsonby transport network, the station has been
Road and Cowan Street, the existing two levels will be upgraded and future-proofed for third and fourth rail
reoccupied by retail and commercial tenants, and a third level (below the lines to increase capacity and frequency,
13m height control) will be set back from the parapet. transferring passengers to a rapid transit
A proposed new structure to the north, on the Ponsonby Road and network. There is also provision to extend
Pompallier Terrace intersection, exceeds the Auckland Unitary Plan platform lengths to accommodate nine-
height restriction but, according to Urban Collective director Kelly car trains, to align with the City Rail Link
McEwan, “will complement and reinforce the rhythm of the adjacent network capacity when it opens in 2024.
historic building and create a new landmark that will contribute to its
location and the wider streetscape”.
Architect Jeff Fearon says Fearon Hay sees this as a significant mixed-
use development with a strong life through both day and evening: “often
tough to achieve in Auckland”. He adds that the design response creates
opportunities of movement through and around the active built form.
“Laneways to the west and north of the existing heritage buildings will
Image: Supplied.

provide separation from the new structure, congregating at a compact

urban square for dining, recreation and entrance to the apartments.”
Currently awaiting resource consent, the proposed development is
expected to be built within 22 months of breaking ground.

24 Architecture New Zealand

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WORKPLACE WELLNESS
Having outgrown its premises in Auckland’s Newmarket,
telecommunications business 2degrees moved into its new,
Warren and Mahoney-designed workspace at the start of
August, bringing the organisation’s 800-strong operations
and customer care team under one roof.
The $330-million building at 136 Fanshawe Street,
designed by architectural practice Formis for Manson
TCLM, is world leading in terms of environmental and
sustainable design and is in one of the city’s first 6-Star

Image: Supplied.
Greenstar-rated buildings.
2degrees CEO Mark Aue says with the company’s aim
to become the first in New Zealand to obtain a Well
Certification through the International Well Building
Institute (IWBI), the new workplace provided the telco
with a unique opportunity to shape the way it worked. LANCASTER PARK REUSE
“Working towards the Well Certification means that Christchurch demolition company Taggart successfully
everything from air quality to sound mapping, considered salvaged over 98 per cent of the remains of Lancaster
lighting design and restorative spaces has been cleverly Stadium’s Tui Stand during the demolition process, through
designed to positively impact the health and well-being of a process of both reuse and repurposing of materials.
our people,” says Aue. “Construction and demolition (C&D) waste accounts
Warren and Mahoney principal and head of interiors for almost half of all waste in Aotearoa’s landfills and
Andrew Tu’inukuafe says 2degrees has been ‘Fighting for is increasingly under scrutiny by the Government and
Fair’ (the company’s brand platform) for the people of councils,” says CEO Paul Taggart. “After the Christchurch
Aotearoa over the last 10 years and the new workplace earthquakes and during the rebuild, the volume of material
reflects this, with a focus on collaboration, innovation and going to dump was mind blowing.”
wellness. “The company is a brave and committed client, Taggart says a significant motivator for the business to
willing to do it differently to achieve the best outcome for reduce waste was becoming the first company to achieve a
their people to do its best work,” says Tu’inukuafe. C&D Waste Services ecolabel from Environmental Choice
New Zealand. “In the year since we were awarded the
ecolabel, 14 of our projects have achieved its standards,
which means we have diverted thousands of tonnes of
waste from landfill by relocating, recycling, reusing or
repurposing materials from demolitions.”
The Environmental Choice ecolabel calls for a minimum
70 per cent diversion rate on each project.
Crushed concrete from the Tui Stand has been reused
in a number of civil construction projects, gravel hardfill
was reused under the Ngā Puna Wai sportsgrounds and
Image: Supplied.

steel will be sold as scrap. The Taggart team also created a

number of innovative designs with other materials destined
for waste, including a brazier, poultry feeder and dog bed,
which were all sold to raise money for charity.

TORO WHAKAARA: RESPONSES TO THE BUILT ENVIRONMENT

Ten architects, designers and artists will explore the tension between human experience and
the built environment, considering the term ‘hostile architecture’ as a catalyst, at an exhibition
taking place concurrently at the Centre of Contemporary Art (CoCA) and Objectspace. Toro
Whakaara: Responses to the Built Environment features the work of Hoop-La (Kathy Waghorn
and Nina Patel), Isobel Thom, Kirsty Lillico, Lindsay Yee, Micheal McCabe (exhibition designer),
Raphaela Rose, Wayne Youle, Edith Amituanai, Ngahuia Harrison, Ākau and Sione Faletau.
11 September – 28 November at CoCA, Christchurch / 18 September – 26 November at Objectspace, Auckland

Architecture New Zealand 27

Across the Board

OBITUARY: RON SANG

Gina Hochstein pays tribute to a celebrated New Zealand architect, art collector
and book publisher, whose award-winning career spanned more than five decades.

The life of the late Ron Sang was celebrated at St Michael’s

Church, Remuera, on Saturday 19 June by family, friends and
colleagues. The church was full, with standing room only and
attendees dressed in a swathe of bright colour as Sang had wished.
Sang was more than a multi-award-winning architect; he was,
also, an avid collector and patron of art, pottery and sculpture,
a publisher, a photographer, a pillar of the Chinese community
and, notably, a great cook. In 2000, he received the prestigious
recognition of being named an Officer of the New Zealand
Order of Merit for his contribution to architecture and the arts.
I first met Sang on the Brian Brake site when I was seven
years old. My family lived next door in a modernist house from
the late 1950s and my curiosity was welcomed. I believed he
was designing and building me a fairy castle, which he happily
confirmed. Eventually, my parents broke the news to me that
this special cedar-clad dwelling was in fact for Brian Brake and
Raymond Lau, who became dear friends of our family.
My personal recollections of meeting with him on many Ron Sang
ONZM
occasions and of his largesse are indicative of the many stories (11 July 1938
that have been told. His generous nature was given credence, – 11 June
as was his support for the arts and ease at building strong 2021).

relationships. Clients and artists alike became firm friends.

He wanted to understand their creative processes of making.
Sang was born in Fiji to Chinese immigrant parents and He wanted to introduce his passion for supporting the arts to
travelled to China to learn Cantonese in his formative years. his clients by suggesting they purchase New Zealand art for the
His interest in architecture began in the third form, when he walls they had commissioned him to design. Colourful ceramics
was back in Fiji. In 1957, Sang began his architectural degree at were promoted also, and clients were encouraged to have three
the University of Auckland. His first commission was in 1965, to five statement pots within their homes. He took an interest in
the Schutz House, and it is testament to his ability to form his clients’ landscaping plans and many of his favourite trees, the
strong connections that Hans, aged in his 90s, was still a great maple tree and cherry blossom, were planted. Cherries were a
friend of Sang up until his final days. favourite gift given to friends and acquaintances, as were small,
In 1969, Sang worked at Mark Brown and Fairhead, which colourful ceramic birds from his collection.
then evolved to become Fairhead, Sang and Carnachan He is most well known for the Brian Brake House, designed
Architects; he started his own practice, Sang Architects, in 1976, which received many awards and carries an Historic
in 1998. In the 54 years of his architectural practice, he Place Category 1 rating. Sang designed, in his own words, “a tree
designed more than 400 buildings. Sang had an interest house suspended over the treetops”, with a water-filled flat roof,
in the International modernists and their use of glass and which reflected the trees and sky. The house sits in lush, native
cantilevered elements. His signature trait with design was the bush surrounded by camellias, rhododendrons and Sang’s cherry
iconic oversized front door, which pivoted to give a sense of blossoms. The impact of the view from inside is indescribable; no
arrival. He aimed to create spaces that people enjoyed being in photograph does it justice. As you come around from the front
and took pleasure in attention to the smaller details. door, the view simply confronts you and yet is in constant flux;
Sang was, also, an extensive collector; he began collecting from being veiled in the clouds, to being awed by the twinkling
in 1970 after being introduced to Brian Brake by painter and lights at night, you simply float into your surroundings. Sang
sculptor Guy Ngan. Many of the artists became firm friends and acknowledged that the Brake House was one of his best houses
took part in his annual art shows, which showcased and helped and it led to many further interesting opportunities.
support emerging artists. Sang published 12 books, all celebrating He was an elegant and dignified man who, with a magnetic
New Zealand artists, with two receiving awards: Len Castle Potter personality, had amassed a large collection of friends. At 82
(winner of the 2003 Montana Book Awards) and Pat Hanly years, Sang has left a legacy that is the culmination of all his
(winner of the 2013 New Zealand Post Book Awards). interests and strong relationships; he will be missed.

28 Architecture New Zealand

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Warwick Fabrics Promotion

MATERIAL FOCUS:
CUBA PRECINCT
Athfield Architects associate
Kim Salt was the lead interior
designer on the Cuba Precinct
Redevelopment project. Here, she
discusses the thinking behind the
fit-out of the NZIA-award-winning
space for lead tenant Greater
Wellington Regional Council.

What was your client looking for in the design

of this interior?
One of the themes we incorporated was ‘the past,
the present and the future’. It was developed by
Greater Wellington’s inhouse branding team and
Te Hunga Whiriwhiri team, which represents the
partnership with the region’s six local iwi. The
theme ties in well with the organisation being in
a heritage building and bringing everyone together
into one space, after they had been dispersed across
a number of sites following the 2013 and 2016
earthquakes. The second concept was ‘mountains to
sea’, referencing the physical and cultural landscape
that is unique to the Wellington region; we used that
as the main driver for the materiality and the colour
selections in the space.

How does the landscape analogy play out across

the three levels?
The ground floor was conceived as a forest floor,
with the two floors above forming the forest canopy.
A large heritage skylight in the middle of the building so it’s about performance as well
filters dappled light down through the mixer stair as being sustainable and buying local.
and suspended planter boxes to the reception area
on the ground floor. Timber features to floors, walls What drove your fabric selection for
and ceilings are a mix of new timber and reclaimed the seating and workstation dividers?
native timbers from the original building. Reclaimed We used Warwick Fabrics’ Bespoke Lagoon
mataī was machined to create a board-and-batten and Citrus on the squab seating outside
lining to the lift fronts and floorboards around the the lifts, as a wayfinding device to tie in with Greater
lifts and mixer stair, reclaimed tōtara was used to Wellington’s branding, and Bespoke Duckegg on the ABOVE, FROM TOP:
create decorative slatted ceilings in the reception and tub chairs, to reinforce the idea of dappled light Warwick Fabrics
Bespoke Citrus squabs
council chambers, and the slatted timber ‘fringe’ is through the forest canopy and act as a foil to the rich and Bespoke Duckegg
new hemlock. Once the façade of the building was timber and dark-green tones. The step-like pattern seats; workspace
screens in Gravity
stripped back, we found the beautiful rich-green in the Bespoke weave is similar to the poutama
Cloud and Driftwood.
heritage tiles of the C Smith, Draper building, which pattern, which symbolises the quest to ascend to Fabric swatches: Andes
tied in perfectly with the forest theme. the highest level of achievement and forms part of Sandstorm Weave floor
rug, Gravity Cloud,
Greater Wellington’s story. We chose Gravity Cloud Octavius Marmalade,
What do you consider when selecting fabrics? and Driftwood for the workstation screens to help Kira Surf, Cruze Ocean
As a practice, we see value in selecting natural create groupings for the activity-based workspaces. and Noyack Mist. Art
direction by Thomas
materials, including, where possible, New Zealand Gravity was ideal for these dividers because of both Cannings. Photography
wool. Wool upholsters well and keeps its shape its acoustic performance and its price point. by Toaki Okano.

30 Architecture New Zealand

 Across the Board

BRICK BAY FOLLY

2021 FINALISTS
With sustainability, the pandemic,
and climate and biodiversity crises
front of mind, this year’s Brick Bay Folly
entries tackled issues beyond those of
simply translating whimsical computer
renders into constructed reality.
Amanda Harkness takes a closer look.

This year, perhaps more than others, the folly finalists

appeared to be driven by more-searching imperatives
01
than has previously been the case, with four offering
different takes on sustainability and one drawing on
our emotional responses to colour.
“As always, the entries sought to navigate the area
between sculpture and architecture, and, in doing so,
highlighted some underlying differences between the
two disciplines and some contemporary architectural
issues,” says Brick Bay Folly chair, architect Pip
Cheshire. “Perhaps the foremost consideration is the
extent to which entries offered some spatial experience:
something that transcended visual inspection and
provoked a consideration of the folly’s making and its
place in the wider Brick Bay landscape.”
In Between the Rings of the Kauri is a spatially
enticing tent-like form, which draws a link between
the kauri forest, which once stretched across Brick
Bay, and the brickworks that were built on the site in
the 1840s. With the composition of a kauri tree, the
timber structure is stacked in a brick-like pattern, with
a cylinder in the centre signifying the tree trunk and
angled, vertical stacking wrapping around the trunk
offering shelter in the form of thick roots. From inside
the ancient tree, visitors will experience the history,
light and energy of Brick Bay.
Demonstrating a strong regard for sustainability
and an alluring fragility of design, The Nest reuses the
timber studs of a former folly, the Wood Pavilion, and
imagines its next stage of life as a pīwakawaka (fantail)
nest. The patterns created by the geometry reflect the
tail spread of the bird, a species which predominantly
02 inhabits the site, and the stacking of the timber
distributes weight evenly around the design, providing
patterns, voids and light entrance points. The base
01 In Between the 02 The Nest, square seamlessly transitions into a pentagon, allowing
Rings of the Kauri, by by Nicholas the nest to expand outwards, while the top-level studs
Angela Wong, Akane Rowsby, Brandon
Suzuki, Lily Huang Carter-Chan and complete the open enclosure by vertically stacking the
and Valerie Wong, Joseph Trace, last levels for intimacy, safety and privacy within. A
all students at the all University of
University Auckland MArch
simple set of stairs guides visitors into the nest, much
of Auckland. students. as a pīwakawaka would enter the nest from the air.

Architecture New Zealand 31

Across the Board

Caretaker, by its very name, questions the

inherent notion that the folly must be temporary,
with the project team proposing to extend the
design beyond the life of the folly time span and
including a relocation plan in its submission.
The elegant, gabled hut structure, built around a
singular slab of reclaimed rimu, challenges the idea
of permanence; it is supported by only four points
and touches the ground as lightly as possible. A
macrocarpa structure topped with a corrugated
roof protects the rimu table and recycled kerosine
03 lanterns suspended by cables illuminate the
sophisticated structure by night.
Addressing a topical social issue, Shifting
Cultivation seeks to unearth and expose the
process that is required to develop previously
04
fertile and arable land into sites suitable for cheap
mass housing. Concrete pipes reference the
endless kilometres of stormwater and blackwater
infrastructure sunk into the ground in the first stage
of land-use conversion, while also representing a scar
in the hillside as the man-made structures plough
through the land. The spacing and positioning of the
pipes replicates and advocates for increased density
as the housing moves closer to the larger centres.
Inspired by both a BRANZ (Building Research
Association of New Zealand) diagram and Kassia
St Clair’s The Secret Lives of Colour, Four Rooms in
04 Full Colour is a captivating concept which draws a
link between colour and emotion. It invites visitors
inside an interior that is effectively a beautifully
landscaped exterior. A vibrant garden grows inside,
spilling into deep, exaggerated timber cavities, where
each room is soaked in colour from a leaf-inspired
palette. Lush, native planting is, at times, random
and unruly, as visitors transition through the green
Yard, to the red Womb and, then, the yellow Garden
before exiting via the white Back Door.
This year’s judges are Pip Cheshire from Cheshire
Architects, Philip Haycock from Naylor Love, Peter
Boardman from Structure Design, Yusef Patel from
Unitec, Karen Warman from Resene (represented
by Karmen Dumper), Chris Barton from Architecture
NZ, Richard and Anna Didsbury from Brick Bay,
and Raymond Yoo from last year’s winning Folly
05 team, Genealogy of the Pacific.
The winning Folly will be unveiled at Brick Bay
03 Caretaker, 04 Shifting 05 Four Rooms in in March, 2022.
by William Cultivation, by Full Colour, by Katie
Challacombe-King Mishori Dunraj, Braatvedt (University
(MArch graduate), Seth Schanzer of Auckland MArch
Cameron Spicer (both University of graduate), Cameron
(MArch graduate) Auckland MArch Deynzer (Victoria
and Tane Pamatatau graduates) and University MArch
(MArch student), all Annalise Mirus graduate) and Brick Bay Folly is sponsored by Resene, Naylor Love,
of the University of (Unitec MArch Matthew Torr (AUT Cheshire Architects, Unitec, Structure Design, Sam Hartnett
Auckland. graduate). MArch student). Photography and Architecture NZ/ArchitectureNow.

32 Architecture New Zealand

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 Across the Board

INTERIOR AWARDS 2021

This year’s Interior Awards ceremony took place at Webb’s
Auction House in Auckland on Thursday 24 June.
The sold-out event saw more than 360 guests from the
architecture and design industries, along with their clients
and project collaborators, come together to celebrate both the
winners and the finalists across the programme’s nine categories.
“The projects that stood out this year were those that told
a good story and demonstrated collaboration, craftsmanship,
authenticity and an awareness of the richness te ao Māori
brings to the built environment,” said awards convenor and
Architecture NZ interior editor Amanda Harkness. “Our
Supreme Award winner, Te Ao Mārama (Tāmaki Paenga
Hira’s South Atrium), is exceptional in all respects.”
Jesse Griffin and Jackie van Beek emceed the night, with
Te Wehi Haka welcoming the guests and Mulk providing
a motion graphics presentation to mark 10 years of the
awards. The evening would not have been possible without
the support and generosity of our awards sponsors and event
partners. For further images, visit: architecturenow.co.nz

Architecture New Zealand 35

Across the Board

Photography: David St George.

36 Architecture New Zealand

Outdoor Luxaflex Evo MagnaTrack

revolution From solar, wind and rain protection to light and

privacy control, Luxaflex exterior shading solutions
work to enhance the functionality and useability of
outdoor space all year round.
Designed specifically for New Zealand’s environment
and lifestyle, from workplace and hospitality to
healthcare and education, Luxaflex outdoor products
blur the lines between indoors and out to improve user
comfort, dwell time and safety.
From the new Evo MagnaTrack, New Zealand’s most
innovative and technologically advanced straight drop
awning spanning up to 6.5 metres, to the contemporary
Te Rā folding arm awning, Luxaflex has a range of
market-leading shading solutions for every occasion
and space.

Beauty is in the details,

find them here
commercial.luxaflex.co.nz
Laminex x Architecture NZ

38 Architecture New Zealand

Audrey de Filippis
Associate Director and Sector Lead
Ignite

Living on Waiheke Island,

I’m surrounded by sculpted coastlines
and stunning beaches. I find the
juxtaposition of textures and colours
within the natural environment
inspiring: the geologic, monochrome
textures of sandy beaches and rocky
boulders, accented by piercing blue
waters, lush vegetation and bright
florals. I chose Laminam I Naturali
Travertino Grigio as a feature within
a hospitality environment – the 12mm*
porcelain product can be featured as
a splashback and benchtop of an
open-display kitchen in a restaurant.
The travertine’s earthy, layered tones
– reminiscent of the weathering effect
of tidal movements on the white sands
– are enriched by other elements
found along Onetangi Beach: boulders,
driftwood, dune grasses and the
deep red of the pōhutukawa flower.
Material selections can also support
wellness and biophilic design, with
sustainable and renewable products
complemented by natural antimicrobial
materials, such as copper.
THIS SPREAD Laminam I Naturali Travertino Grigio;
hanging drapery fabric Charlton in Surf; netted drapery fabric
Jabberwocky in Pearl; velvet fabric Bolshoi in Cardinal (all
from James Dunlop Textiles); European Ceramics, Basalt G684
Flamed; VidaSpace, Henley Oak timber in custom smoke.
Photography: Toaki Okano. Styling: Sam van Kan.
*Laminam I Naturali Travertino Grigio is available also in
5.6mm, which is suitable for walls and flooring applications.

Architecture New Zealand 39

Practice in Profile

Practice in Prof ile

Supported by

ve,
s si n d
a
P ive a
c t p le
A im
S Ferdinand Oswald explores three
research pathways to sustainable
housing design and how they might
fit in with the Aotearoa climate.

01

40 Architecture New Zealand

MY WIFE, OUR TWO CHILDREN AND
I came to Aotearoa New Zealand in January
2019. We quickly found a beautiful, stand-alone,
rental house in Saint Heliers. It is a typical
weatherboard-clad, single-glazed, timber-framed
home from the 1950s. We found the interior of
the house became very hot in summer and very
cold in winter, except for one place: the kitchen
pantry. In summer, the small pantry was cooler
than the rest of the house was and, in winter,
it was warmer. My family commented on how
often I was disappearing into our small pantry
to warm up or to cool down. The house was
reconfigured in the 1990s; the original main
house entrance, a solid concrete stair landing,
became the supporting floor for the pantry. The
reason for the thermal comfort in the pantry
appears to be the following: 02

In summer, a broad-leafed tree shades the

pantry’s concrete base from direct solar heat gain
(see Fig. 1). The concrete base is passively cooled
by the lower night temperatures. During the
daytime heat, with the benefit of the tree’s solar
shading, this stored passive cooling is released
hours later into the interior of the pantry.
During winter, the tree loses its leaves and the
sun shines directly onto the pantry’s concrete
base (see Fig. 2). Heat is stored in the concrete
and released into the interior at night, making it
warm and comfortable. In summer and winter,
the mass thermal storage of the solid concrete FIG. 1 – SUMMER SHADING

improves indoor comfort within the pantry, in

comparison to elsewhere in the timber-framed
construction. It releases its stored heat or
cooling into its surroundings. You will still find
me standing in that tiny but very comfortable
pantry space.

PASSIVE HOUSE
After graduating in architecture, I worked
with Stefan Forster in Frankfurt am Main,
Germany, on medium-density, residential
apartment buildings. In our projects, we tried to
incorporate the qualities of 19th-century housing FIG. 2 – WINTER DIRECT SOLAR GAIN

typologies from middle Europe by using solid 01 The concrete

Build Simply
materials like brick and larger windows sizes, aesthetic, reminiscent of the city’s 1920s’ house in
such as in the example of the Westgarten project architecture. Brick is a wonderful material – Bad Aibling,
Germany. Photo:
(pictured above right). The lively façade aesthetic as it ages, it becomes even more beautiful. Sebastian Schels.
incorporates clinker brick spandrels placed in In 2005, our new Campo building design
02 Westgarten,
horizontal bands, continuous, light-coloured project in Frankfurt required us to design a Frankfurt am
spandrel cornices and distinctive rounded similar-sized development to the Westgarten Main, Germany.
Photo: Jean-Luc
building corners, giving an overall sculptural project; however, it had to be designed to Valentin.

Architecture New Zealand 41

Practice in Profile

03

passive-house standards. In Germany at that a passive-house-standard building project, was

time, only small-scale passive houses had a great success. The development, the “largest
previously been designed and built. We found inner-city passive-house project in Germany”,
that such a large, passively heated, residential won the 2011 Green Building Award of the City
building façade required a generous thickness of Frankfurt1 and received special recognition in
of thermal insulation to keep the heat in during the Deutscher Städtebaupreis (German Urban
winter and avoid high energy demand. We Development Award).2 The building occupants
researched using a brick-veneer façade, similar are still very satisfied; they have perfect indoor
to the Westgarten project, and added the volume comfort with no need to use any heating or
of insulation required for a passive building. cooling device. However, I was not at all happy
However, the façade assembly was becoming with the project. Considering the whole lifetime
too deep. It encroached significantly into the of the building, the building design did not
rentable floor area, which would have lowered consider the embodied carbon footprint of the 03 Campo, the
the client’s rental income. To achieve the client’s EIFS façade system. The system is made from largest inner-
city passive-
brief of optimising the available rental floor expanded polystyrene (EPS) and multiple layers house project
area, we had to design a thinner, passive-energy of render, plaster and meshes, which are all glued in Germany,
Frankfurt am
building façade. The outcome was an exterior together. The EIFS cannot be disassembled into Main. Photo:
insulation finishing system (EIFS). The Campo, its separate materials and component parts and, Lisa Farkas.

42 Architecture New Zealand

therefore, cannot be fully recycled. That means,
in demolition, the façade system will become
landfill waste. The passive-house strategy reduced
the building’s operational carbon footprint but
the embodied carbon of the building itself was
not considered. I could not understand why the
building’s embodied carbon was not considered
by the jury of the sustainability award.
The outcome of the Campo project motivated
me to focus my career on academic research,
which would allow me to develop new building
systems that promote sustainability and improve
building industry practice. After starting as
an assistant professor at Graz University of
Technology, I was offered the opportunity to
develop a successor to the EIFS façade system
by Jochen Stotmeister, the CEO of the German 04
company Sto (the world market leader in EIFS).
I created and led the research group for the
‘facade4zeroWaste project’. We developed a fully
recyclable, externally insulated façade system 04 Campo,
that can easily be dismantled after its lifespan which won the
Frankfurt 2011
and reused via an innovative grip fixing system Green Building
consisting of mushroom-shaped heads and loops Award and
received special
(see images at right). The idea of grip fixing
recognition in
instead of adhesive fixing in the façade was new the Deutscher
to the building industry. The fact that ‘grip fixing’ Städtebaupreis
(German Urban
was already used in nearly all sectors (automobile, Development
aeroplane, clothes) other than the building sector Award). Photo:
Jens Braune
guaranteed the project’s huge success.3 del Angel.
Over the next six years, we developed the 05–06 The
‘StoSystain R’ product system, relevant to ‘StoSystain R’
R’
architects and designers, gained the requisite grip fixing system
with mushroom-
patents,4 undertook certification testing and 05 shaped heads and
released the system in German-speaking countries. loops. Images: Sto.

My arrival in New Zealand raised a question

for me: How can we adapt specific building
technologies to make them suitable for different
locations in New Zealand? One of my key
research areas focuses on the reduction of air
conditioning use in tropical and subtropical
regions.5 The key finding is that the use of air
conditioning can be reduced through passive
cooling methods (natural ventilation, thermal
storage, etc.), architectonical means (floor
plan, façade and building volume structures)
and avoiding reliance on mechanical heating
or cooling. This outcome was finalised in my
doctoral dissertation and the publication,
Reduce A/C – Reducing the utilisation of air
conditioning in high-rise buildings in subtropical
06
and tropical climate regions.

Architecture New Zealand 43

Practice in Profile

07

ACTIVE HOUSE
07 Werner
One of the supervisors of my doctoral work “... a high level of building Sobek’s ‘Efficiency
was Werner Sobek. He is the key person in
Germany for sustainable architecture and a
automation and installation of House Plus with
Electromobility’,

co-founder of the German Sustainable Building comprehensive building service”. which produces
energy for both
Council.6 He developed ‘Efficiency House Plus the house and its
electric vehicles.
with Electromobility’ in Berlin in 2011 with his Photo: Matthias
1
Triple Zero concept, using thin, photovoltaic Koslik.
film panels as façade cladding. The building
produces energy for the whole house and output 1 PHOTOVOLTAIC
MODULES IN
for electric cars. The Triple Zero concept means: THE FAÇADE
AND THE ROOF
1) Zero Energy Consumed, the building requires 2 ENERGY CORE
3 BATTERY
no energy; 2) Zero Emissions, the building 4 INFORMATION
DISPLAY AND
produces no CO2 emissions; and 3) Zero Waste, CONDUCTIVE
CHARGING
no waste is produced during building alterations SYSTEM
5 FIXED LOUVRE
or demolition. At the end of its life cycle, all 6 STAIRCASE
building elements can be fully recycled without 7 INDUCTIVE
4 2 5
3 CHARGING
any components needing to be burnt or sent to a STATION
6
rubbish dump. The solution here is in the detail. 7
Nothing is glued together in the wall system.
TE
Nearly all building components are fixed together IVA A
PR ARE

so that they can be disassembled and directly ENE

RGY
Render: Werner Sobek.

C OR
E
reused or recycled (biological or technical circle).
EA
But, to offer such sustainable benefits, a top IC
AR
BL
PU
standard of technical technology was necessary,
such as “a high level of building automation and
SCHEMATIC ENERGY FLOWS IN THE ‘EFFICIENCY HOUSE PLUS WITH ELECTROMOBILITY’
installation of a comprehensive building service”.7

44 Architecture New Zealand

 BUILD SIMPLY
The research houses in Bad Aibling, Germany,
focus on the results of the Build Simply research
group at the Technical University of Munich, led
by Prof. Florian Nagler. The Build Simply strategy
reduces the operational carbon and embodied
carbon of a building. According to Prof. Nagler:
“With the help of several thousand different room
simulation models, it was investigated what a simple
house should look like that requires little energy in
winter and does not overheat in summer. The robust
optimum was sought, i.e. a variant that works well,
regardless of the actions of the users. By reducing the
buildings to the essential and necessary, it is possible
08
to create long-lasting and environmentally friendly
houses – as a counterpoint to the current trend
towards ever-more-complex, short-lived buildings.”8
In 2020, three demonstration buildings were
built in Bad Aibling. Each used a different building
material: porous concrete, vertically perforated
brick and solid timber with air cavities. All material
systems are capable of performing as load-bearing
structures and have the benefit of high thermal
insulation performance.
The Build Simply strategy pursues a number
of goals in building construction, which include:
robust building technology; long-lasting, durable 08 The façade
surfaces; climatically inert building components as a materials of
the three Build
result of thermal storage mass; low operating costs Simply buildings
thanks to reduced building complexity; separation of in Bad Aibling,
Germany:: porous
Germany
building services systems and building structure; and concrete, vertically
exploiting the benefits of prefabrication. perforated brick
09 and solid timber
The number of component layers in the building with air cavities.
wall and ceiling assembly is reduced, with most Photo: Prof.
being single-layer construction systems. The Florian Nagler.

load-bearing structure itself provides the thermal 09 The concrete

Build Simply
insulation properties. No additional insulation is house, during
necessary, as thermal insulation can be achieved construction.
Photo: Sebastian
through its deep wall thickness. Wall openings have Schels.
a deep reveal. Window frames can be positioned
10 Interior view of
at the internal face of the opening, reducing direct the concrete Build
solar radiation on the window glazing (pictured left Simply house with
opened window.
and at Fig. 3 over page). The need for sun-shading Photo: Sebastian
devices and additional sun protection is reduced. Schels.

“By reducing the buildings to the essential

and necessary, it is possible to create
long-lasting and environmentally friendly
10
houses...” Prof. Florian Nagler

Architecture New Zealand 45

Practice in Profile

REFERENCES
1
Green Building
Award 2011 of the
City of Frankfurt,
frankfurt.de/
themen/klima-und-
energie/energie/
gebaeude/green-
building-award
2
German Urban
Development
Award 2010,
staedtebaupreis.
de/wp-content/
uploads/2017/
08/07-DSBP-B_
FHAM.pdf
3
Award-winner:
Recycling Award
2015 – European
Quality Association
for Recycling
e.V. (EQAR),
‘facade4zero
Waste project’,
Berlin Rotterdam.
4
F. Oswald,
R. Riewe,
T. Lueking,
K. M. Hengel,
W. Wiedenbauer,
A. Weier and
11 E. Rauter,
Applicant: Sto AG:
Method for creating
11 The three a façade system,
Build Simply 2011, European
houses in Bad Patent Agency, EP
Aibling, Germany: 2562320 (A1).
5
concrete, timber F. Oswald, Reduce
and brick. Photo: A/C – Reducing
Sebastian Schels. the utilisation of
air conditioning in
high-rise buildings
in subtropical and
tropical climate
regions. Austria:
Graz University of
Technology, 2016.
ISBN 978-3-85125-
430-3.
6
Werner Sobek,
en.wikipedia.org/
wiki/Werner_Sobek
7
Werner Sobek,
Valentin Brenner
and Petra Michaely
(editor Christian
Schittich),
‘Buildings as
resource stores:
Recycling-friendly
construction in
practice’, Detail
Green magazine,
01/2012, Munich,
Germany. ISSN
1868-3843.
8
Bauwelt magazine,
April 2021,
FIG. 4 POROUS CONCRETE
Bauverlag BV
BUILD SIMPLY HOUSE SECTION FIG. 5 CONVENTIONAL VS BUILD SIMPLY HOUSE
GmbH, Berlin,
©PROF. FLORIAN NAGLER CONCRETE WINDOW HEAD SECTION ©PROF. FLORIAN NAGLER
Germany.

46 Architecture New Zealand

 GET THE LOOK
ON YOUR WALLS

FIG. 3 BUILD SIMPLY VENTILATION, BAD AIBLING, GERMANY

Resene Natural™
Centrally pivoted, opening window sashes provide
effective cross-ventilation. Even a room with only
one ventilating wall (single-sided ventilation) can
achieve the requisite ventilation by using multiple
centrally pivoted window sashes. The use of broad-
leafed, deciduous tree planting can assist this; in
winter, the façade collects solar radiation and, in
summer, the trees shade the façade and reduce solar
heat gain. The materials used offer better recycling
opportunities; i.e., the brick and concrete buildings
avoid any steel reinforcement. That is why the Resene Australian Mint™
architect decided to use arched windows without
steel-reinforced lintels. The different positions of
the window are evident in the house section (Fig. 4).
A comparison between the Build Simply and the
conventional window head section detail of the
concrete building can be seen opposite, where in the
Build Simply one (Fig. 5, on right) has no additional
insulation and no sun blind device is necessary.
Inside my comfortable pantry in Auckland, I am
thinking about the next challenge: How can we best
Resene Cooled Green™
adapt the Build Simply strategy to make it suitable
for Auckland, taking the wet, subtropical weather
and earthquake requirements into consideration?

Dr Ferdinand Oswald is Senior Lecturer for

Architecture Technology at the University of
Auckland’s School of Architecture and Planning, a
position he has held since 2019. Born in Stuttgart,
Germany, he has been granted several European Resene Concrete™
patents and won several research awards, including
the European Recycling Award 2015 and the
Innovation Prize Architecture and Building at BAU Colours from The Range fashion
colours fandeck, only from
Munich 2017. He is the Principal Investigator of
the funded research project ‘Gradient Concrete/
Resource- and emission-reduced concrete building
construction system’ in cooperation with Prof.
Werner Sobek, ILEK, University of Stuttgart.
www.resene.co.nz
0800 RESENE (737 363)
Diocesan School for Girls Performing Arts Centre. Photograph: Patrick Reynolds.

Work
Found in translation – Park Hyatt Auckland a r + d and Bossley Architects — p.50

Shaping a richer culture – Diocesan School for Girls Performing Arts Centre
McIldowie Partners in association with Upton Architects — p.60
 Work

Found in
translation
Jeremy Smith
samples the high
life low down at
the a r + d and
Bossley Architects-
designed Park
Hyatt in Auckland’s
Wynyard Quarter.
Photography
SIMON DEVITT

RIGHT Situated on
a 100-metre-long by
50-metre-wide full-
block site, the seven-
storey Park Hyatt
overlooks the
Viaduct Basin.

50 Architecture New Zealand

 Work

01 Woven
tukutuku panels,
designed by
Beronia Scott,
line the walls of
the reception
area. Interior
perforated
riser panels are
pre-finished
aluminium
with acoustic
insulation.

REFERENCES
1
Kenneth
Frampton,
‘Towards
a critical
regionalism:
Six points for
an architecture
of resistance’,
in The Anti-
aesthetic: Essays
on Postmodern
Culture, edited by
Hal Foster, Port
Townsend, Wash.,
01
Bay Press, 1983.
2
The eastern side
of the Freemans
Bay reclamation
I ONCE VISITED THE 51ST FLOOR OF THE the upgrading, the five-star, $300-million Park Hyatt was defined by
Park Hyatt Tokyo to see a friend living out a fantasy has opened on a key waterfront site and carries an a solid concrete
high in the sky. Amongst the expected comforts equally international cast: our own Bossley Architects, wall, known as
the east wall. It
were a distant view of Mount Fuji, a city far below the a r + d team from Singapore, Conran and Partners became known as
and complete silence. This is the Lost in Translation from London on interiors, a Beijing developer and a Julian’s wall, after
A. T. Julian, the
bubble and the very hotel captured in Sofia Coppola’s client in Hong Kong. How does it place? I get all method-
contractor who
2003 movie. As actor Bill Murray puts it, in playing actor, go stay the night, and find something not only built it.
a role written specifically for him, “The more you comfy but generous in the low-down. 3
Mike Austin,
know who you are and what you want, the less you let I almost manage to book myself into the Park ‘Regional identity
things upset you”. Hard to be too upset way up here, I Hyatt Vienna on the way. This is the first taste of in the Pacific’
in Culture-
suppose, but the paradox is real. When my eyes were internationalism; a different kind of web connects Space-History,
tired and I could no longer see the mountain or the those having this kind of life. There’s a language and Proceedings of
the Eleventh
city, I could have been anywhere. So, what translates consistency to keep you on your game. This might not
International
in luxury hotel life when you lower these highs? be a question troubling many architects; apartments Conference of
The question sits front and centre in Auckland. For, have individual tuning, while boutique seems to mean the Association
for the Study
whether counting population and urban space, airports anything goes and even rooms out the back carry a of People and
and transit systems, high-end fashion stores and one-off charm. What might be found in translation their Physical
sporting events with yachts, or, conversely, difficulties is all part of the architectural riddle for chain hotels Surroundings,
Ankara, Turkey,
with housing and life at the other end of the scale, following a kind of modernist dream and establishing Vol. 5, 1990,
Auckland has set an international course. Amongst all an international style that works from Tokyo to Vienna pp. 143–150.

52 Architecture New Zealand

02

to Auckland. For Park Hyatt, this includes something from Bossley Architects, we choose from the in-house
of place rather than straight hotel cookie-cutting: think collection of ground-level restaurants and bars
Kenneth Frampton Towards a Critical Regionalism1 which open outwards via a colonnade to the city’s
or, in our case, some welcoming manaakitanga. public promenades around the building. As Sisam
Differentiating the experience is part of the playbook describes his conversing with a team from various
but so, too, is not upsetting the comforts. Most things corners of the globe, we settle into a corner café that
luxury are found at arm’s length. It’s that velvet rope admirably doubles as the hoteliers’ staffroom. The
outside exclusive retail and why penthouses are up top. team’s keenness to provide an Auckland experience
It is this high life that has been transcribed down to the starts in this open colonnade and its broadening of
Wynyard Quarter. The site is a full block between Julian’s the streetscape. The colonnade runs the building’s
old sea wall2 and the more-recently reclaimed wharf- full perimeter and, with carparking banished to the
side promenade, and comes with strict height limits, a basement, allows multiple pedestrian entries. “There
streetscape on all sides and views across the viaduct. is,” Bossley remarks, “no back door.” He might add
Throw in the armada of fancy boats moored into the “and no back elevation”, for, up above, the façade’s
foreground and there’s no hiding up in the crow’s-nest screening cloaks all four sides. This block-building
here. This Hyatt is far closer to deck, and both longer from the ground up generates the place-making.
and wider than it is tall. At only seven storeys, the city’s While rectilinear on the outside, the building is, in 02 The atrium
flavour should be easier to taste so, as I imagine many of fact, a square figure of eight and a single room deep. light-box (at
right) was
these jet-sets start the day, we begin with lunch. Reception rests inside one of two enormous voids, designed by
Joined by architects Pete Bossley and Peter Sisam each daylit from above and articulated whare-like Peata Larkin.

Architecture New Zealand 53

 Work

03 04

with ribs out. These atria are then interlaced with a and moves quickly to the view. Configurations broaden
rounded circulation silo and upper walkways edging at the corners or as you ascend but entry, dressing, bed
the void. Perforated riser panels intermittently provide and living generally parallel powder and bathrooms on
shelter and, with circulation ends glazed or extruded the way to the outward glazed doors. There, the external
outwards, wayfinding is visibly simple. screens slide or pivot to change up the ventilation or
“Open a door, any door,” and you find Auckland in transparency, with the practical sensibility of the air con
your view as you move from in to out. On the second turning off as the doors open.
floor up, that means opening to activities: a 25-metre The interiors are part of the narrative-driven
covered external pool, gyms, spas and interconnecting international styling which Tina Norden from London’s
event spaces with performance kitchens. There’s a Conran and Partners developed from our “enviable
social relationship with Aucklanders in play here: a New Zealand lifestyle”, numerous trips out and
wedding in set-up, flowers hanging for a Women in collaborative readings into the history and contexts
Business conference and tall chef hats that come with with architects, iwi and artists. The palette is restrained,
fine food. I doubt I’ve seen it all. A jazz band feels natural and smoothly detailed to tone in with the
nearby. It might even spill out to the raised floor within building. Added to the softly coated mesh screens are 03 Printed
the atria for the full surround sound. Those walkways warming timbers alongside grey stone and exposed fabric panels
in the guest
layer like an amphitheatre from which to watch. concrete, woven artworks, appointed furniture and soft rooms were
So, with the cars in the basement, the public interface material layerings to lounges and bedrooms – tapestries made by
on the ground and activities on the second floor, next of “probably the most democratic, open and laid-back Maxwell
Rodgers to
up we find a pillow. Here’s where shimmering screens high-end hotel we have designed”, says Norden. There’s artist Beronia
manage the proximity to life outside. There are 195 that taste of Auckland. Scott’s design.
beds, one per room, and 15 arrangements. Some reach Up top, the screens give way to balustrades and 04 The Living
to the building’s edge, others sit in a little, but each private decking as the outer wall insets and forms Room is one
of four dining
is inviting and large in area (the typical room size is a mansard shape to accommodate height limits. spaces found in
48m2, compared to a standard hotel room at 32m2), This perimeter translation feels more lost than the the hotel.

54 Architecture New Zealand

 04

05

colonnade below but, perhaps, that is the point. to transcribe life down as well as up. Most continue 05 The
nautical
Grand pianos are grand and, just as the Presidential to live at low levels and, if the Pacific site is the “edge
Captain’s Bar
Suite’s wardrobe clearly exceeds most airline baggage between land and water”,3 as Mike Austin so cleanly offers guests,
allowances, the view here is something else. Welcome describes it, then the internationalising here is the fittingly, a
comprehensive
to the seventh, come 51st, floor. Incredulously, we are down-low contribution. If Bill Murray comes to stay, range of rums.
still lower than the masts of the super yachts moored I hope he spies a very normal-looking dingy or three
below. That you can still open a window speaks tied up outside and goes for a walk to investigate.
volumes about life in our part of the world. But, think Park Hyatt Auckland feels a very different kind
also of how many extra hotel rooms might have been of movie for, as Sophia Coppola concludes; “The
found in lieu of the colonnades, entries, view shafts, unexpected connections we make might not last, yet
event spaces and setbacks. Making architecture stay with us forever”. It’s all found in translation.
requires personal and place-making generosity and
this contribution grounds a stay here to Auckland.
International brand hotels aren’t the realm of many
architects. Yet, amongst all the nearby offerings, the
a r + d and Bossley team lights a welcome entry. Wander
past at night and the screens glow and shimmer with
an artistry that feels like a full house while many of the
neighbouring buildings seem otherwise occupied. Inside,
our internationals are no doubt safely tucked up in their
beds and cloaked with a fine taste of Auckland.
Perhaps being international actually means
understanding ourselves and the collective
responsibilities of kaitiakitanga. If nothing else, the
GROUND-LEVEL COLONNADE CONCEPT
building highlights the architectural efforts needed

Architecture New Zealand 55

Work

16
4 4 21
22

13 13
18
15

13 13

21 21
13

13
13
24 14
11
13 21 21

12
12

19 19

5 13 21 13 21

21
5 19 13 10 20 13

14
23

21 9
4

LEVEL-TWO FLOOR PLAN LEVEL-SEVEN FLOOR PLAN

4
13
21
23

7
6

13 20

9 9

21 21
17

8 13
4

21 21
HALSEY STREET

12 12

19

2
3 13
10

20 13

1 14

9
21
13
4

GROUND-FLOOR PLAN LEVEL-FOUR FLOOR PLAN

1 PORTE COCHÈRE 5 SPA TREATMENT 9 WC 13 VOID 17 ROOM-SERVICE 19 BRIDGE/GUEST LIFTS 23 PRIVATE

2 RECEPTION 6 CAFÉ 10 BAR 14 FUNCTION ROOM KITCHEN 20 GALLERY DINING ROOM
3 LOUNGE 7 DINING ROOM 11 SPA/HYDROTHERAPY 15 GYMNASIUM 18 CONFERENCE 21 KING SUITE 24 CEREMONIAL
4 TERRACE/DECK 8 LIVING ROOM 12 HOUSEKEEPING 16 POOL ROOM 22 PRESIDENTIAL SUITE GARDEN

56 Architecture New Zealand

 Rooflogic are pleased to have had the opportunity to provide the
complete range of high performance roof system solutions
for the stunning Park Hyatt Hotel project.

,I \RX QHHG a URRI s\sWHP WKaW HIIHFWLYHl\ PaQaJHs aLU aQG YaSRXU PRYHPHQW WR HlLPLQaWH
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<285 522) ,6 285 5E387$7,21

Dallas Ell - 0274477011 ZZZURRÁRJLFFRQ]

Work

Project Information
LOCATION CONSTRUCTION/BUILDER PROJECT MANAGER MPM Projects
99 Halsey Street, Auckland China Hawkins Construction and GEOTECHNICAL CONSULTANT Coffey
SITE SIZE 5598m2 Libeiya International Engineering ACOUSTICS WSP
FLOOR SIZE 42,371m2 STRUCTURAL AND KITCHEN AND LAUNDRY
ARCHITECT a r+d in association CIVIL ENGINEER Beca CONSULTANT CKP
with Bossley Architects HYDRAULIC, MECHANICAL, ACCESSIBILITY CCS Disability Action
PROJECT TEAM Ali Reda, Pete ELECTRICAL AND LIGHTING IWI CONSULTATION
Bossley, Peter Sisam, Erwin Pimenta, ENGINEER WSP Kākariki Consulting, Ngāti Whātua
Leo Bucasas, Dunhill Baranguita, FAÇADE ENGINEER AECOM, ROOFING Rooflogic
Arnold Julio Siregar, Chiam Zhi Sellick, Building Envelope Group FIRE DOORS NZ Fire Doors
Wei, Sean Kisby, Grant Richardson, INTERIORS Conran and Partners EXTERIOR MESH SCREENS Insol
Sarah Stott, Suzy Upton, Quentin LANDSCAPE Boffa Miskell SIGNAGE Diadem
Jay, Karen Ngan Kee, Benjamin QUANTITY SURVEYOR ARTWORK Arttform
Somerville, Sammy Ho, Don WT Partnership ARTISTS Beronia Scott, Peata Larkin,
McKenzie, Brad Balle, Rosemary SURVEYOR Walker Surveyors Lyonel Grant
Wilkins, Dominic Wilson, Andrea PLANNING CONSULTANT Civitas SPA AND HYDROTHERAPY
McGregor, Francisco Carbajal, FIRE CONSULTANT Holmes Fire Barr + Wray
Tom Hopwood, James Brodie ACOUSTICS Marshall Day Acoustics SPECIALIST FABRICS Maxwell Rodgers

WEST ELEVATION

20 17

20 2 7 9 10 14 20
20 1 14 20

20 8 14
19
20 14

6 3 15 15 20

4 11 16

2 5 12 13 18

LONGITUDINAL SECTION

1 SERVICE CORE 5 TRAINING ROOM 11 RECEPTION 17 BAR/PRIVATE

2 CORRIDOR 6 POOL 12 CHILLER ROOM DINING ROOM
3 CEREMONIAL 7 HOUSEKEEPING 13 LOADING BAY 18 PARKING
GARDEN 8 SERVICE LIFT 14 GALLERY 19 SKY GARDEN
4 ROOM-SERVICE 9 GUEST LIFTS 15 SPA 20 GUEST ROOM
KITCHEN 10 GUEST BRIDGE 16 PORTE COCHÈRE

58 Architecture New Zealand

Look what we created
for the Park Hyatt! Fire doors and
windows designed
THE PARK by experts and
precisely crafted to
HYATT. meet New Zealand
fire resistance
BESPOKE ratings.
HARDWOOD
FIRE DOORS
CONSTRUCTED
TO EXACTING
STANDARDS.

At the Park Hyatt every guestroom has a stunning

custom designed panel (by Beronia Scott of
Ngati Whatua). Maxwell Rodgers used different
yarn thicknesses to replicate the traditional hand
woven effect. The design concept was developed
by Conran in London who were so impressed
with the quality and service that, on a project
in Europe, they used Maxwell Rodgers and their
New Zealand made wools.

Maxwell Rodgers also have a superb

ex stock collection of wool upholstery
fabrics – all made HERE – using OUR
mid micron wool. Perfect for office
fitout and commercial projects.

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P (09) 579 8895 • E ahamilton@nzfiredoors.co.nz
www.nzfiredoors.co.nz
09 3789082 [email protected] maxwellrodgers.com

Architecture New Zealand 59

 Work

Shaping
a richer
culture
Dorita Hannah explores
Diocesan School for
Girls’ basilica-like
Performing Arts Centre
by McIldowie Partners
in association with
Upton Architects and
what it highlights about
the value of theatre
in Auckland Tāmaki
Makaurau.
Photography
PATRICK REYNOLDS

RIGHT
Material layering
and detailing on
the building’s
exterior soften
and moderate the
monumental form.

60 Architecture New Zealand

 Work

THEATRES ARE DISTINCTIVE CULTURAL crest of a greenfield site and signalling its nocturnal
buildings that assemble large groups of people presence via internal lighting that permeates a filigreed
within a single room to share a live event. And this screen façade – is a highly specced education facility
‘liveness’ defines the experience on both sides of the designed for Diocesan School for Girls in Epsom’s
conventional divide between stage and auditorium. leafy neighbourhood.
The performance itself is directly affected by the Developed by local architect Graham Upton with
dynamic energy specific to the unique character of Melbourne-based firm McIldowie Partners, who
each audience, establishing a reciprocal exchange worked in close collaboration with the school’s
that can be found in sports arenas, band venues and performing arts department, this auditorium crowns
celebrations such as weddings and funerals. Yet, the centre, which was established on site with teaching
over the last 18 months, we have seen this event facilities in 2017. Completing the five-stage campus
dimension threatened by a global pandemic, where master plan, formulated and essentially realised by
proxemic bodies signal imminent danger; such the same team since 2005, the facility represents the
gatherings have beem curtailed at the expense of school’s commitment to drama, dance and music by
communal entertainment, professional livelihoods, siting these activities within a singular complex where
and sociocultural ceremonies. Recent cancellation of they can inform one another. Making way for such
shows, suspension of festivals and temporary closures integration – even though each discipline remains
of venues serve to remind us of the performing arts independently taught – is fitting in an age where the
paradox, whereby their precarity within a market- lines between art forms are increasingly blurred, and 01 White
driven economy is countered by the vital role they siloed disciplines are becoming less relevant. The cement walls
play in platforming cultural expression and harnessing centre is testimony to Diocesan’s recognition of the twist and tilt,
breaking up
collective dynamism. ability of creative curricula to nurture development the monolithic
So, the June 2021 opening of a new performing in other subjects and increase both intellectual and form to create
arts centre in Tāmaki Makaurau bodes well for the emotional quotients. This is best illustrated when a sense of
movement.
future of theatre as both art form and built form in experiencing the building in performance mode:
02 The robust
Aotearoa New Zealand. Boasting an auditorium of by day, as a bustling performing arts academy, with timber staircase
920 seats arranged in curvilinear rows embraced by utilisation of all practice and rehearsal rooms; and, connects levels
timber walls, the building features a light-filled foyer, at night, through an activated foyer and auditorium, around a glazed
atrium within
rehearsal rooms, practice spaces and state-of-the-art already booked out for the rest of the year. the performing
technology. Yet, this basilica-like venue – sited on the In June, I was fortunate to attend the school’s yearly arts school.

01

62 Architecture New Zealand

‘Night of Dance’ event, in which 200 girls presented a
two-hour programme of routines: leaping, sashaying,
tangoing and popping on the boards of their new theatre
alongside kapa haka presentations and Samoan Sasa. They
took to the stage with joy and confidence, while almost a
thousand friends and family applauded and whooped from
the auditorium, with especially boisterous ovations for the
hip-hop crews. It was clear that this venue is successfully
designed for assemblies, lectures, musicals, rock quests,
stage challenges, proscenium theatre and other frontal
modes of presentation. However, I couldn’t help wondering
what kind of space would be ideal for Māori and Pasifika
performance, as well as hip hop and more-experimental
hybrid forms that challenge the raised, framed stage. Despite
the school’s fulsome accommodation brief, earlier specialist
consultation could have challenged some expectations and
encouraged flexible spatial models, seen in contemporary
performance practices, such as immersive, intermedial,
object and multi-format theatre. While the intimacy that
is missing can be found by adapting rehearsal rooms and
the school hall for smaller productions, more experimental
spaces can contribute to shaping future interdisciplinary
practices and presentations. The foyer itself provides a
large-enough location for minor performance events, with
its glazed wall already utilised as a backdrop for sunset
concerts.
The overall architecture itself is capacious, with the
high theatre foyer adjoining a central, multilevel, light-
filled atrium, which features a robust timber staircase
and enigmatically moulded forms for students to occupy
02
between scheduled classes. Dedicated rooms are acoustically
shaped with appropriate materials and finishes, including
an isolating base for the percussion studio. This attention to
specialised requirements, especially for music, has resulted
in unique practice rooms, including choral and recording 10

7
studios, with successful input by Marshall Day Acoustics,
who have achieved an auditory balance between music
AY
DRIVEW

and spoken word in the auditorium. The main issue with DIOCESAN ARTS
CENTRE
planning lies in siting the stage towards, rather than away
from, the foyer. This results in no rear truck dock, with 9

drop-off access limited to the north field, where doors 5

adjoining a foyer corridor link to the stage. Direct access is

also limited between the stage and generous back-of-house
facilities that are sited on the floor above. However, this 1
8
amplitude is compromised with only two dedicated dressing
6 4
rooms adjacent to the green room, which forms an overflow
dressing space for large productions, as do the rehearsal
rooms below. Turning the auditorium 180 degrees would 3 2

have also created a more-layered foyer with overlooking

galleries that would take advantage of the lobby’s height.
Such walkways can be found in the initial 2014 sketch N

SITE PLAN
design, which included a multilevel auditorium with sunken
orchestra pit; unfortunately, these aspects were value- 1 SCIENCE BLOCK 4 COMMON ROOM 6 SCHOOL HOUSE 9 CHAPEL
2 COMMON ROOM COURTYARD 7 SPORTS TURF GARDEN
engineered away. 3 OLD HALL 5 CHAPEL 8 CHAPEL COURTYARD 10 SPORTS FIELD

Architecture New Zealand 63

 Work

03 04

While the robust detailing serves the daily traffic horseshoe-shaped auditorium. Giving a whole new
of a fully functioning school facility, more finessed meaning to tilt-slab construction, the slanting uprights
spatialities and finishing could have established resist pure verticality, subtly tilting in and out to
intimate moments within the overall architecture as create a sense of movement. These twisting pale slabs
event. In fact, the spatial generosity in both foyer and and bronze screens complement the walls and roofs
auditorium tends to withhold this sense of proximity of the adjoining Chapel of Saint Barnabas, built 150
that is necessary for creating a more immediate years earlier (and moved onto the site in 1910), which 03 This
relationship and experience between performers and continues to form the heart of this Anglican campus. highly specced
practice
audience as well as between spectators themselves. One can’t help but recall the role of theatres in the room adjoins
Such finer-grained intimacy can, however, be found late 19th and early 20th centuries as new cathedrals a recording
in the exterior courtyards created by the relationship to culture in an increasingly secular world, which, studio and is
designed for
of the overall performing arts centre to adjacent occupying central urban sites, continue to signal acoustic clarity
spaces. The building’s exterior treatment also attends a metropolitan commitment to the arts. Yet New and isolation.
to minimising the monumentality that such a large Zealand has tended to undervalue its performing arts 04 The
auditorium can generate through material layering venues, as stated in 2016 by art critic Hamish Keith, spacious
foyer forms a
and detailing. who tweeted: “What is the Auckland disease that social hub for
Perforated aluminium screens feature a foliage drives it to attack and destroy theatres – relentless, audiences and
pattern, adapted from a student illustration, signifying endless”. Keith was responding to the unceremonious was initially
designed with
the onsite oaks that define many colonial church and demolition of Warren and Mahoney’s Maidment upper-level
education campuses in Auckland. Filtering light into Theatre by the University of Auckland. His lament walkways.
the foyer by day, these tessellated panels directly refer is haunted by the prior demolition of His Majesty’s 05 The
to a tree canopy and, in the evening, internal lighting Theatre (1987), closure of the Mercury Theatre (1992) 920-seat,
horseshoe-
emphasises their provision of a lacy mantle that softens and mothballing of the St James Theatre (2007): shaped
and moderates what would otherwise be a monolithic all significant historic venues, seating between 700 auditorium was
form. They fold over a series of white-cement concrete and 1700 people, which would be lovingly restored, also originally
conceived as a
walls, imprinted with shapes of tiny leaves, which preserved and protected in most countries where more multilevel
are angled to let light into the foyer wrapping the the performing arts thrive as highly valued forms space.

64 Architecture New Zealand

 05

of cultural expression. The destruction of Sir Miles campus in New Zealand can boast the range and quality
Warren’s brutalist 1976 masterpiece was a major of spaces offered by Diocesan, although Wellington’s
loss to both professional and academic performance Te Whaea National Dance and Drama Centre does
communities of Auckland, despite the more-recent come close. It is up to the overall education sector to be
openings of Q Theatre (2011), Te Pou Theatre (2015) inspired by Diocesan’s commitment to the performing
and the ASB Waterfront Theatre (2016). arts; this is especially so for universities, which seem
And therein, as Shakespeare’s Hamlet claimed, ‘lies intent on building recreation and sports centres in lieu of
the rub’: not as a flaw in Diocesan School for Girls’ theatres. What this new stand-alone venue demonstrates
performing arts facilities but as an inherent shortcoming is a commitment to the performing arts, which
in venues currently offered by the tertiary sector. inspire future dancers, actors, musicians, technicians,
The University of Auckland has failed to replace the scenographers, directors, stage managers and producers.
accommodation required for its programmes in dance, It is also significant for audiences as well as communities
drama and music, which was lost when it destroyed the who value ‘liveness’ and what the arts bring to shaping a
Maidment five years ago. In fact, no other education richer culture beyond market value.

11
2 5

3 4
8

9
12 1 7 6

10

NORTH–SOUTH SECTION

1 FOYER 3 CHANGE ROOM 5 THEATRE PROPS STORE 7 RESTROOMS 9 STALLS 11 CONTROL ROOM
2 PLANT DECK 4 GREEN ROOM 6 WORKSHOP STORE 8 STAGE 10 ORCHESTRA PIT 12 ENTRY AIRLOCK

Architecture New Zealand 65

Work

4
5 6

2
3

7
Project
CHAPEL
7
10 9

9
Information
9
LOCATION
9
8 Clyde Street, Epsom, Auckland
10 9 SCIENCE BLOCK
FLOOR SIZE 7680m2
ARCHITECT McIldowie Partners
in association with Upton Architects
PROJECT TEAM Craig Brown,
Graham Upton, Nicholas Pratt,
LEVEL 1 FLOOR PLAN Tom Crocker, Ronan Reid,
1 GALLERY 3 COSTUME STORE 5 VOID 7 MUSIC STUDIO 9 MUSIC PRACTICE ROOM
Emma Ross-Edwards
2 CHANGE ROOMS 4 GREEN ROOM 6 BALCONY 8 STAFFROOMS 10 BREAK-OUT AREA CONSTRUCTION/BUILDER
Aspec Construction
STRUCTURAL ENGINEER
Holmes Consulting
HYDRAULIC, MECHANICAL,
ELECTRICAL AND FAÇADE
2
8
ENGINEER Aurecon
INTERIORS McIldowie Partners
THEATRE CONSULTANT
4

5 6 7
Shand Shelton
1
QUANTITY SURVEYOR Maltbys
3 SURVEYOR Harrison Grierson
PLANNING CONSULTANT Civitas
FIRE CONSULTANT Holmes Fire
ACOUSTICS Marshall Day Acoustics
9 PROJECT MANAGER MPM Projects
14
HERITAGE CONSULTANT
13
Dave Pearson Architects
13
CHAPEL
10 GEOTECHNICAL CONSULTANT
13
Tonkin + Taylor
13
ROOFING Steel & Tube
11
14
12
WALLS Décortech, Asona, Metal
12
Concepts, Symonite, Concretec
WINDOWS Thermosash, Woods Glass
INTERIOR PRODUCTS
Forbo Marmoleum, Cotto d’Este,
GROUND-FLOOR PLAN Targetti, Caesarstone, Caroma
1 FOYER 4 RESTROOMS 7 STALLS 10 DANCE/DRAMA STUDIO 13 MUSIC PRACTICE SEATING Merje DDM,
2 GALLERY 5 WORKSHOP 8 FURNITURE STORE 11 DANCE STUDIO ROOM
3 KITCHEN/BAR 6 STAGE 9 DRAMA STUDIO 12 CHANGE ROOM 14 BREAK-OUT AREA Fletcher Design

66 Architecture New Zealand

Bespoke public
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designed and manufactured.
merje.co.nz 04 589 3490

Architecture New Zealand 67

 Architecture NZ X Resene Colour Collab

– a building that has grown from the port, for the people
of the port. Colour is a compelling way to connect, as is
material use. We took old wharf timbers and used them in
the cladding, the steel, crane-like structure was celebrated
and, inside, meeting pods were clad in rough-sawn ply with
expressed timber battens. Resene Kumera, Resene Totem
Pole and Resene Pickled Bluewood stains used in the pods
almost act as a watercolour – applied over timber, they
allow the material’s texture to shine through. There’s a real
honesty about that.

How do you use colours to add to a space?

We’re very conscious of the role colour plays – in terms of
familiarity and personality. And, practically, it helps with
Portrait: Sarah Rowlands.
wayfinding and variation in an otherwise quite open-plan
space. There are similar conversations in educational spaces
– each block might have a different colour associated with
it, for example. Colours can add so much life and personality
to a building, which it otherwise might not have.

PIPPA ENSOR In your spare time, you draw and paint. What are some
of your most recent artworks?
Athfield Architects associate Pippa Ensor I’ve just finished a series of watercolour illustrations for
has worked in all three of the practice’s a children’s book, written by a talented friend of mine, author
Kate Preece. Its working title is One Weka Went Walking
studios, with a foray into architecture in
and it follows a weka on his adventures around the Chatham
Stockholm and London in between. She Islands as he meets a number of endangered native birds.
is currently based in the Christchurch It’s been a great excuse to get back into drawing. I’ve always
office where she works on a range drawn when I can – it is both a useful tool within my design
of project typologies, with a current work and an enjoyable way to take time out to experience
emphasis on educational spaces. a place in a different, often slower, way.

What was the inspiration for your collaboration?

You were part of the design team for the award- Birds have obviously been on my mind lately and it’s a time
winning Lyttelton Port Company building, Waterfront of year when we see the tauhou (silvereyes) hopping amongst
House, in 2019. Tell us about your experience. the bare branches of winter trees. I chose four Resene
It was a fantastic project – both challenging and rewarding. Woodsman stains that bore a close resemblance to their
As project architect, I worked with Kim Salt, a colleague colouring to paint them with: Resene Bleached Cedar, Resene
from our Wellington studio, to develop the interiors. In terms Crowshead, Resene Grey Green and Resene Heartwood. The
of finishes, they had to be both durable and practical. We materials in the collab are ones that you would associate with
drew from the surrounding location, with the Port Hills in a bird’s habitat – the rough bark and the timber, twigs and
the distance, and combined the rusty-red Resene Fahrenheit branches – but these are also materials that you might use
with greens, reds and blues from the Resene Colorwood in an architectural sense in different forms.
stains range. We were very humbled to receive two Resene
Total Colour Awards for the project: the Commercial Interior
Office Award and the Master Nightingale Award for the
overall winner.

The rusty red presumably references the ubiquitous

red oxide of the port’s shipping containers?
Resene Resene Resene Resene
Yes, we were looking to create familiarity and connection Bleached Cedar Crowshead Grey Green Heartwood

68 Architecture New Zealand

THIS PAGE
Resene Bleached
Cedar, Resene Grey
Green, Resene
Crowshead, Resene
Heartwood and
Resene Negroni
(background).
Art direction by
Thomas Cannings.
Photography by
Toaki Okano.
 2021
This year’s Local
Awards celebrate the
best of New Zealand
architecture from
around the country,
which is showcased
on the following pages.
The national winners
will be announced
at the New Zealand
NZIA

Architecture Awards on
Thursday 4 November
in Auckland.
NZIA Local Architecture Awards

AUCK L A ND

“... early sketches

show an atrium
revealed by a
section cut, and
the built effect is
an extraordinary
southern façade
that, when
viewed from
Victoria Park,
01 is alive with
the movement
of people
across playful
balconies.”

01 Te Kupenga
(155 Fanshawe Street)
Architectus

02 03
COMMERCIAL

01
Te Kupenga
(155 Fanshawe Street)
Architectus
PHOTOGRAPHER: SIMON DEVITT

02
Kotiro Nui
Bull O’Sullivan Architecture
PHOTOGRAPHER: PATRICK REYNOLDS
04 05
03
The Hotel Britomart
Cheshire Architects
PHOTOGRAPHER: SAM HARTNETT

04
25 Hargreaves Street
Fearon Hay Architects
PHOTOGRAPH: SUPPLIED

05
Ponsonby Road
06 Jack McKinney Architects
PHOTOGRAPHER: DAVID STRAIGHT

06
Foodstuffs North Island HQ
Monk Mackenzie
PHOTOGRAPHER: THOMAS SEEAR-BUDD

07
The Daniell Building
Warren and Mahoney
PHOTOGRAPHER: SAM HARTNETT

08
Commercial Bay
Warren and Mahoney, Woods Bagot
and NH Architecture in association
07 08 PHOTOGRAPHER: SIMON DEVITT

72 Architecture New Zealand

 NZIA Local Architecture Awards

AUC K L AND

EDUCATION
RESENE
09 COLOUR
AWARD
Te Kōhanga Reo o Ngā
Pihi o Te Purapura Pai
Bull O’Sullivan Architecture
PHOTOGRAPHER: PATRICK REYNOLDS

10
New Shoots Early Childhood
Education Centre
Copeland Associates Architects
PHOTOGRAPHER: KELVIN LIM

ENDURING

11 09
Pūkenga at Unitec (1993)
Rewi Thompson and
Southcombe McClean & Co
RESENE
PHOTOGRAPHER: SAM HARTNETT COLOUR
AWARD

HOSPITALITY

12
The Hotel Britomart
Cheshire Architects
PHOTOGRAPHER: SAM HARTNETT

13 10 11
Ahi
Jack McKinney Architects
PHOTOGRAPHER: DAVID STRAIGHT
RESENE
COLOUR
14 AWARD

Tuitui
Jack McKinney Architects
PHOTOGRAPHER: DAVID STRAIGHT

13
“From the
wrapping of the
building in soft,
honey-toned
bricks, to a
reception space
that provides the
warm welcome
of a close friend,
this project is the
built definition of
hospitality.”

12 The Hotel Britomart

Cheshire Architects
12 14

Architecture New Zealand 73

NZIA Local Architecture Awards

AUCK L A ND

“‘Whare Koa’
translates to
‘house of joy’
and this project
is certainly full
of joy.”

15 Whare Koa –
RESENE
Mangere Community House
COLOUR Burgess Treep and Knight
AWARD
15 Architects

HERITAGE

15
Whare Koa – Mangere
Community House
Burgess Treep and Knight Architects
PHOTOGRAPH: SUPPLIED
16 17
16
Tāmaki Paenga Hira,
Auckland War Memorial
Museum – Te Ao Mārama and
Cenotaph Galleries
Jasmax, FJMT, designTRIBE
and Salmond Reed
PHOTOGRAPHER: DENNIS RADERMACHER

17
Saint Patrick’s Presbytery
– Seismic Upgrade and
Refurbishment
Warren and Mahoney
and Salmond Reed Architects
in association
PHOTOGRAPHER: JONO PARKER

INTERIOR
18 19
18
The Hotel Britomart
Cheshire Architects
PHOTOGRAPHER: SAM HARTNETT

19
DLA Piper Auckland
Office Fit-out
Jasmax
PHOTOGRAPHER: SAM HARTNETT

20
Chapman Tripp
Warren and Mahoney
PHOTOGRAPHER: JONO PARKER

21
Commercial Bay
Warren and Mahoney, Woods Bagot
and NH Architecture in association
20 21 PHOTOGRAPHER: SAM HARTNETT

74 Architecture New Zealand

 NZIA Local Architecture Awards

AUC K L AND

PUBLIC

22
Te Rau Aroha Museum
with Tahuaroa
Function Centre
HB Architecture
PHOTOGRAPHER: SIMON DEVITT

23
Tāmaki Paenga Hira,
Auckland War Memorial
Museum – Te Ao Mārama
and Cenotaph Galleries
Jasmax, FJMT, designTRIBE and
Salmond Reed
PHOTOGRAPHER: DENNIS RADERMACHER

24
Tiaho Mai Acute Mental 22
Health Inpatient Unit,
Middlemore Hospital
Klein
PHOTOGRAPHER: MARK SCOWEN

25
Tuvalu Community Church
South Pacific Architecture
PHOTOGRAPHER: SIMON DEVITT

26
Te Puna at Auckland Zoo
Stevens Lawson Architects
and Jack McKinney
Architects in association
PHOTOGRAPHER: MATTHEW CONNOLLY
23 24

RESENE
COLOUR
AWARD

“Taking cues
from the fale uma
or kitchen fale,
the church form
elegantly opens
up and out into its
industrial context.
The church is
a metaphor for
the community’s
resilience and
ambition, which
soar within
this timber and
steel vault.”

25 Tuvalu
Community Church
South Pacific
Architecture 25 26

Architecture New Zealand 75

NZIA Local Architecture Awards

AUCK L A ND

“The purposeful
separation
of living and
accommodation
buildings, and
the creative use
of utilitarian
materials such
as canvas to
clad them,
27 28 comprise
a clever
re-imagining of
the archetypal
campsite.”

29 Awaawaroa
Cheshire Architects

29 30

HOUSING

27
First Avenue
Architectus
PHOTOGRAPHER: SIMON DEVITT

28
House on Takapuna Beach
CAAHT Studio Architects
PHOTOGRAPHER: SAM HARTNETT

29
Awaawaroa
Cheshire Architects
PHOTOGRAPHER: JACKIE MEIRING

30
31
Light and Clay
Crosson Architects
PHOTOGRAPHER: SIMON DEVITT

31
Te Arai
Fearon Hay Architects
PHOTOGRAPHER: SIMON WILSON

32
Mawhitipana Beach House
MacKay Curtis
PHOTOGRAPHER: SIMON WILSON

33
Hapua House
RTA Studio
32 33 PHOTOGRAPHER: PATRICK REYNOLDS

76 Architecture New Zealand

 NZIA Local Architecture Awards

AUC K L AND

34
Bough House
Sayes Studio
PHOTOGRAPHER: DAVID STRAIGHT

35
Zonnebries
SGA – Strachan Group Architects
PHOTOGRAPHER: SIMON DEVITT

36
Courtyard House
SGA – Strachan Group Architects
PHOTOGRAPHER: STEPHEN GOODENOUGH

37
34 35
Mawhiti
Stevens Lawson Architects
PHOTOGRAPHER: PETER REES

38
Our House
studio LWA
PHOTOGRAPHER: SAM HARTNETT

39
Tuarangi Whare
TOA Architects
PHOTOGRAPHER: DAVID STRAIGHT

PLANNING AND
URBAN DESIGN

40
36 37
Long Bay
Village Centre
Architectus RESENE
PHOTOGRAPHER: SIMON DEVITT
COLOUR
AWARD

“The architects
have expertly
worked with the
land contours
to plan plazas, 38 39
courtyards
and streets
around a well-
proportioned
building mass,
where the
apartments and
offices above
shops contribute
to the urban
grain.”

40 Long Bay
Village Centre
Architectus
40

Architecture New Zealand 77

NZIA Local Architecture Awards

AUCK L A ND

“The typical
villa lean-to is
re-imagined as
a sculpted mass
with a pierced,
tapered-roof form
that allows the sun
to travel across
the living room.
Windows have
41 42 been carefully
positioned to
maintain privacy
and curate views.”

43 Super Taper
Jack McKinney Architects

43 44
HOUSING – ALTERATIONS
AND ADDITIONS

41
Connor Concrete Villa
Bull O’Sullivan Architecture
PHOTOGRAPHER: SOU MUY LY

42
Clare’s Place
Lloyd Hartley Architects
PHOTOGRAPHER: JACKIE MEIRING

43
Super Taper
Jack McKinney Architects
45 46 PHOTOGRAPHER: DAVID STRAIGHT

44
2nd on 2nd
Wendy Shacklock Architects
PHOTOGRAPHER: JESSICA CHLOE

HOUSING – MULTI UNIT

45
Galway Street Apartments
Ashton Mitchell
PHOTOGRAPHER: SEAN MCCABE

46
Waterview Court
Ashton Mitchell
PHOTOGRAPHER: SIMON ARMS

47
FABRIC Apartments
– Stage 1
Ashton Mitchell
47 PHOTOGRAPHER: BLADESCENES

78 Architecture New Zealand

 NZIA Local Architecture Awards

AUC K L AND

48
26 Aroha Ave
Jasmax
PHOTOGRAPHER: DENNIS RADERMACHER

49
Kāinga Ora – Brookfield
and Onehunga Mall
Housing Development
Monk Mackenzie
PHOTOGRAPHER: DENNIS RADERMACHER

50
Waipārūrū Hall
Warren and Mahoney
PHOTOGRAPHER: JONO PARKER

SMALL PROJECT

51
Te Nukuao 48
Beca Architects, Tessa Harris
and LandLAB in association
PHOTOGRAPHER: LACHEZAR KARADZHOV
RESENE
52 COLOUR
AWARD
My Whare
SGA – Strachan Group Architects
PHOTOGRAPHER: ROSS KEANE

53
Back House
SGA – Strachan Group Architects
PHOTOGRAPHER: ROSS KEANE

54 49 50
Feathers Nest
Vaughn McQuarrie
PHOTOGRAPHER: SIMON DEVITT

JURORS

Aaron Paterson (convenor),

Ben Mitchell-Anyon, Maggie
Carroll, Christina van Bohemen
and Dr Karamia Müller.

51 52

“Each space
is masterfully
scaled so that,
despite its demure
size, this two-
bedroom dwelling
feels perfectly
comfortable for
everyday living.”

53 Back House
SGA – Strachan Group
Architects
53 54

Architecture New Zealand 79

NZIA Local Architecture Awards

WA IK ATO / BAY OF PL E NT Y

“Innovation creates
artefact in this
robust response
to a complex
master-plan brief.
Superstructure and
tectonics conform
to play with scale
and occupation in
a masterclass of
progressive timber
technology.”

01 SCION Innovation Hub

Te Whare Nui o Tuteata
RTA Studio and
Irving Smith Architects

01

RESENE
COLOUR
AWARD

COMMERCIAL

01
SCION Innovation Hub
Te Whare Nui o Tuteata
RTA Studio and
02 03 Irving Smith Architects
PHOTOGRAPHER: PATRICK REYNOLDS

02
Urban HQ
Edwards White Architects
PHOTOGRAPHER: SIMON WILSON

ENDURING

03
Former Putāruru
Post Office (1970)
Ministry of Works
– Fergus Sheppard
PHOTOGRAPH: SUPPLIED

04
Omori House
Earth Shelter (1987)
WATT Architects
PHOTOGRAPH: SUPPLIED

INTERIOR

05
Jaggar House
Studio2 Architects
04 05 PHOTOGRAPHER: JERUSHA RAZEY

80 Architecture New Zealand

 NZIA Local Architecture Awards

WA IK ATO / BAY OF P LE N T Y

PUBLIC

06
Leith Place
Redevelopment
DCA Architects
of Transformation
PHOTOGRAPHER: NICK LAMBERT

SMALL PROJECT

07
Elegant Sheds
Common Space
PHOTOGRAPHER: PATRICK LOO

08
Metal Jacket House 06
Jigsaw Architects
PHOTOGRAPHER: ROSE MINNEE

09
Somerset Studio
John Henderson Architecture
PHOTOGRAPHER: SIMONTOLOGY

10
Karangahake House
MAKE Architects NZ
PHOTOGRAPHER: DAVID STRAIGHT

07

“The clients
wanted a 08
simple family
home inspired
by a trampers’
hut, which
would enable
them to enjoy
life in the
rural location
they love.”

10 Karangahake House
MAKE Architects NZ
09 10

Architecture New Zealand 81

NZIA Local Architecture Awards

WA IK ATO / BAY OF PL E NT Y

“Section is cleverly
used to steal long
views, and considered
window placements
maintain privacy while
also bringing in high-
quality natural light.
Careful consideration
of thermal mass and
cross-ventilation to
manage comfort,
combined with a
sensitive incorporation
of the clients’ craft into
the structure of the
house, creates a home
that is comfortable for
a couple but able to
take a crowd.”

11 Concrete Bungalow
Architecture Bureau

11

12 13

HOUSING

11
Concrete Bungalow
Architecture Bureau
PHOTOGRAPHER: SIMON DEVITT

12
Vera House
Boon
PHOTOGRAPHER: MARK HAMILTON

13
Hamilton Family Home
Mercer and Mercer Architects
PHOTOGRAPHER: GRANT DAVIS

14
Raglan Rest
Edwards White Architects
14 PHOTOGRAPHER: SIMON WILSON

82 Architecture New Zealand

 NZIA Local Architecture Awards

WA IK ATO / BAY OF P LE N T Y

15
Waipapa
SGA – Strachan Group Architects
PHOTOGRAPHER: SIMON WILSON

16
Hill to Horizon House
Studio Brick Architects and
Lloyd Hartley Architects
in association
PHOTOGRAPHER: DAVID STRAIGHT

17
Pipi House
Studio2 Architects
PHOTOGRAPHER: STUDIO2ARCHITECTS

HOUSING – ALTERATIONS
AND ADDITIONS

18
Blackwood Lodge 15
Brendon Gordon Architects
PHOTOGRAPHER: JAHL MARSHALL

JURORS

Camden Cummings (convenor),

Henri Sayes, Roger Course and
Megan Lyon.

16 17

“Blackwood
Lodge takes
its cues from
its 1970s
predecessor.
It has been
extensively
reconfigured and
rebuilt during
a meticulous
three-year
transformation.”

18 Blackwood Lodge
Brendon Gordon Architects
18

Architecture New Zealand 83

NZIA Local Architecture Awards

WE ST ER N

“The heritage value of

RESENE the building has been
COLOUR
AWARD enhanced through
careful emulation of
the original façade...”

02 Ridgway Chambers
Drawingroom Architecture & Design

EDUCATION
01 02
01
Te Ohu Rangahau Kai
RESENE Joint Food Science Facility
COLOUR
AWARD Warren and Mahoney
and Lab-works Architecture
in association
PHOTOGRAPHER: THOMAS SEAR-BUDD

HERITAGE

02
Ridgway Chambers
03
Drawingroom Architecture
& Design
PHOTOGRAPHER: STEVE CAUDWELL

HOSPITALITY

03
Airspresso
Gibbons Architects
PHOTOGRAPHER: STRATEGY COLLECTIVE

04
HOUSING

05 04
Stewart Residence
242am Architects
PHOTOGRAPHER: ANDY KRUY

05
M + M House
Boon
PHOTOGRAPHER: SANDRA HENDERSON

06
Twigley Bach
07 Boon
PHOTOGRAPHER: SANDRA HENDERSON

07
RESENE Small Town House
COLOUR
AWARD Felicity Wallace Architects
PHOTOGRAPHER: ISABELLA LOUDON

INTERIOR

08
Mahi Tahi
Boon
06 08 PHOTOGRAPHER: SANDRA HENDERSON

84 Architecture New Zealand

 NZIA Local Architecture Awards

W ESTE R N

HOUSING – ALTERATIONS
AND ADDITIONS
RESENE
COLOUR
AWARD
09
Whareora
Gibbons Architects
PHOTOGRAPHER: JASON MANN

10
Pendarves
Gibbons Architects
PHOTOGRAPHER: JASON MANN
09 10
PUBLIC

11
Te Matapihi
Bulls Community Centre
Architecture Workshop
PHOTOGRAPHER: GRANT DAVIS

12
Our Lady Help of
Christians Church Foyer
Ardern Peters Architects
PHOTOGRAPHER: SANDRA HENDERSON
11 12
13
Te Hono – New Plymouth
Airport Terminal RESENE
Beca Architects COLOUR
AWARD
PHOTOGRAPHER: PATRICK REYNOLDS

ENDURING

14
New Zealand Defence
Force Waiouru – Officers
Barracks and Mess (1984)
Belchambers, Low & Associates 13
PHOTOGRAPHER: PAUL L MARCROFT

15
Te Manawa
Te Papaioea (1977)
David Taylor
PHOTOGRAPHER: KEVIN BILLS

16
Te Rau o Te Aroha
Māori Battalion Hall (1964)
John Scott 15
PHOTOGRAPHER: DAVID STRAIGHT

JURORS

Darren Shadbolt (convenor),

Ewan Brown, Michael Russo and
Stacey Cleland.

14 16

Architecture New Zealand 85

NZIA Local Architecture Awards

GI S BOR NE / H AWK E ʼ S BAY

01
HERITAGE

01
Mount Vernon Station
Homestead
Ann Galloway Architect
PHOTOGRAPHER: KEVIN BILLS

HOUSING

03 02
Glen-Barra
Clarkson Architects
PHOTOGRAPHER: HAZEL REDMOND

03
Mahanga Bach
Edwards White Architects
PHOTOGRAPH: SUPPLIED

04
Black Barn J & D House
Clarkson Architects
PHOTOGRAPHER: HAZEL REDMOND

02 04
INTERIOR

05
Eastland Port Offices
Architects 44
PHOTOGRAPHER: STRIKE PHOTOGRAPHY

PUBLIC

06
Gisborne Airport
Tennent Brown Architects and
Architects 44 in association
05 PHOTOGRAPHER: ANDY SPAIN

SMALL PROJECT

07
Portacom Lodge
Malcolm Walker Architects
PHOTOGRAPH: SUPPLIED

JURORS

Evan Mayo (convenor),

Aaron Sills, Richard Daniels
06 07 and Andrew Caldwell.

86 Architecture New Zealand

Supported by Bill Culbert Jug, Windowpane 1980, gift of the
Patrons of the Auckland Art Gallery, 2001
NZIA Local Architecture Awards

WELLINGTON

“With respect for the

RESENE original gabled roof
COLOUR
AWARD line of the industrial
buildings, a strong
hierarchy of building
form, structure and
material has been
developed with
confidence.”

02 J H Whittaker & Sons Stage 9

Moller Architects

01 02
COMMERCIAL

01
Cuba Precinct Redevelopment
Athfield Architects
PHOTOGRAPHER: JASON MANN

02
J H Whittaker & Sons Stage 9
Moller Architects
PHOTOGRAPHER: SIMON DEVITT

03
Hunter Atrium
Tennent Brown Architects
PHOTOGRAPHER: ANDY SPAIN
03 04
EDUCATION

04
McKinnon, Scots College
Athfield Architects
PHOTOGRAPHER: JASON MANN

05
Wellington East Girls’
College Redevelopment
WSP Architecture
PHOTOGRAPHER: ANDY SPAIN

ENDURING

05 06 06
McKenzie House (1959)
Plischke & Firth Architects
PHOTOGRAPHER: PAUL MCCREDIE

HERITAGE

07
Cuba Precinct Redevelopment
Athfield Architects
PHOTOGRAPHER: JASON MANN

08
Wellington East Girls’ College
Redevelopment
WSP Architecture
07 08 PHOTOGRAPHER: ANDY SPAIN

88 Architecture New Zealand

 NZIA Local Architecture Awards

WELLINGTON

SMALL PROJECT

09
Good Books
Bonnifait + Giesen Architects
(Atelierworkshop)
PHOTOGRAPHER: RUSSELL KLEYN

10
Colley Studio
Tse:Wallace Architects
PHOTOGRAPHER: PAUL MCCREDIE

HOUSING – MULTI UNIT

09 10
11
Kāinga Ora, Hanson Street
Herriot Melhuish
O’Neill Architects RESENE
COLOUR
PHOTOGRAPHER: ANDY SPAIN AWARD

12
Castor Crescent
Kāinga Ora Development
Tennent Brown Architects
PHOTOGRAPHER: SHOWHOME

INTERIOR

13
GW Cuba Workplace
Fit-out 11 12
Athfield Architects
PHOTOGRAPHER: JASON MANN

14 RESENE
COLOUR
Waitohi – Johnsonville AWARD
Library and Community Hub
Athfield Architects
PHOTOGRAPHER: JASON MANN

PUBLIC

15
Our Lady of Kāpiti
Parish Church
DLA Architects
PHOTOGRAPHER: PAUL MCCREDIE
13 14
16
Te Awe Library
Herriot Melhuish
O’Neill Architects
PHOTOGRAPHER: ANDY SPAIN

15 16

Architecture New Zealand 89

NZIA Local Architecture Awards

WELLINGTON

“This extensive
RESENE
renovation
COLOUR
AWARD
composes
a series of
remarkable spatial
manoeuvres
and effortless
sequences of
volume and
surface.”

19 Ellice Street House

Studio of Pacific Architecture

17 18

HOUSING – ALTERATIONS
AND ADDITIONS

17
McFarlane Street House
architecture +
PHOTOGRAPHER: PAUL MCCREDIE

18
Ōtaki Beach Alteration
19 Sharon Jansen – Architect
PHOTOGRAPHER: PAUL MCCREDIE

19
RESENE
COLOUR
Ellice Street House
AWARD Studio of Pacific Architecture
PHOTOGRAPHER: JASON MANN

HOUSING

20
Werry House
Bonnifait + Giesen Architects
20 21 (Atelierworkshop)
PHOTOGRAPHER: RUSSELL KLEYN

21
Thornton + Hasegawa House
Bonnifait + Giesen Architects
(Atelierworkshop)
PHOTOGRAPHER: RUSSELL KLEYN

22
Takahē House
Designgroup Stapleton Elliott
PHOTOGRAPHER: PAUL MCCREDIE

23
The Cube
First Light Studio
22 23 PHOTOGRAPHER: ANDY SPAIN

90 Architecture New Zealand

 NZIA Local Architecture Awards

WELLINGTON

24
Te Horo Beach House
First Light Studio
PHOTOGRAPHER: ANDY SPAIN

25
Peka Peka Escape
McKenzie Higham Architects
PHOTOGRAPHER: PAUL MCCREDIE

26
Hill House
Novak+Middleton
PHOTOGRAPHER: PAUL MCCREDIE

27
Garden House
Parsonson Architects
PHOTOGRAPHER: PAUL MCCREDIE

28
Long House
Parsonson Architects 24 25
PHOTOGRAPHER: PAUL MCCREDIE

29
Echo House
Three Line Studio
PHOTOGRAPHER: ANDRE VROON

JURORS

Andrew Sexton (convenor),

Meiling Honson, Rodney
Sampson, Mary Daish and
Nick Bevin.
27

RESENE
COLOUR
AWARD

26 28

“Inspired by the
history of Kāpiti
Island and the
whales that were
once plentiful
in the area, the
design idea of a
spine and ribs was
used to organise
this home.”

29 Echo House
Three Line Studio
29

Architecture New Zealand 91

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92 Architecture New Zealand

 NZIA Local Architecture Awards

N EL S ON / MAR L B OR O UG H

“It is admirable
to see an
architect so
knowledgeable
about the
environmental
impacts of their
design and
how these have
been worked
through.”
01 02
01 Bragato
Research Winery
Jerram Tocker
Barron Architects

COMMERCIAL

01
Bragato Research Winery
Jerram Tocker Barron Architects
PHOTOGRAPHER: JESSICA JONES

HOSPITALITY

02 03
CPR HQ
Rural Workshop Architecture
PHOTOGRAPHER: MATT CROAD

03
Falcon Brae Villa
Jerram Tocker Barron Architects
PHOTOGRAPHER: JASON MANN

HOUSING

04
Pivot House
Borrmeister Architects 04
PHOTOGRAPHER: SARAH ROWLANDS

05 05
Feather House
Irving Smith Architects
PHOTOGRAPHER: PATRICK REYNOLDS

06
Collingwood Street House
Jerram Tocker Barron Architects
PHOTOGRAPHER: JASON MANN

HOUSING – ALTERATIONS
AND ADDITIONS

07
Tahunanui House
Irving Smith Architects
06 07
PHOTOGRAPHER: PATRICK REYNOLDS

Architecture New Zealand 93

NZIA Local Architecture Awards

N E LS ON / M A R LB OROUG H

PUBLIC
RESENE
08 COLOUR
AWARD
Nelson Hospice
Irving Smith Architects
PHOTOGRAPHER: PATRICK REYNOLDS

09
Mayfair Arts and
Culture Centre
Irving Smith Architects
PHOTOGRAPHER: ANDREW SPENCER 09

SMALL PROJECT

10
Tahunanui Lions
Toilet Block
Jerram Tocker Barron Architects
PHOTOGRAPHER: VIRGINIA WOOLF

11
Kaikōura Highway
Public Amenities 08 10
WSP Architecture
PHOTOGRAPHERS: NCTIR / WSP

ENDURING

12
Civic House (1983)
Ministry of Works (architect
John Rowe) and Athfield
Architects in association
PHOTOGRAPHER: VIRGINIA WOOLF

JURORS 11
William Samuels (convenor),
Rachel Dodd, Sally Ogle and
Myles Montgomery.

“There are
moments of
almost sculptural
expression, most
notably through
the external
structural grid,
the deeply
cantilevered
mansard roofs
and the off-form
concrete clock
tower.”

12 Civic House (1983)

Ministry of Works (architect
John Rowe) and Athfield
Architects in association
12

94 Architecture New Zealand

Put your creativity and design skills to the test. Kada
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Sponsors:
NZIA Local Architecture Awards

CANTERBURY

“This rewarding
and thought-
provoking
exhibition bridges
the gap between
academia and
practice, and
allows spectators
to join the dialogue
between theory
and built reality.”

02 The Drawing Room

Pac Studio
01 02

RESENE
COLOUR
AWARD SMALL PROJECT

01
Musterers Hut
C Nott Architects
PHOTOGRAPHER: MARINA MATHEWS

02
The Drawing Room
Pac Studio
PHOTOGRAPHER: SIMON DEVITT

03 04 HOUSING – MULTI UNIT

03
One Central –
Bedford Apartments &
Bedford Terraces
Architectus
PHOTOGRAPHER: SARAH ROWLANDS

04
Kāinga Ora – Social Housing
Redevelopment
Rohan Collett Architects
PHOTOGRAPHER: DENNIS RADERMACHER

05
Peterborough Co-Housing
05 South Architects
PHOTOGRAPHER: CRAIG SOUTH

INTERIOR

06
Spark Square
Sheppard & Rout Architects
PHOTOGRAPHER: DENNIS RADERMACHER

ENDURING

07
Schneideman House
Warren and Mahoney (1966)
06 07 PHOTOGRAPH: SUPPLIED

96 Architecture New Zealand

 NZIA Local Architecture Awards

CANTERBURY

HOUSING – ALTERATIONS
AND ADDITIONS
RESENE RESENE
COLOUR COLOUR
AWARD AWARD
08
Oxford Terrace
Dalman Architects
PHOTOGRAPHER: STEPHEN GOODENOUGH

09
Arthur’s Pass Bach
JHA
PHOTOGRAPHER: SARAH ROWLANDS

EDUCATION
08 09
10
Haere-roa
Architectus
PHOTOGRAPHER: SARAH ROWLANDS

11
Christchurch Boysʼ
High School
Caddick Caldwell Block
Athfield Architects
PHOTOGRAPHER: DENNIS RADERMACHER

12
Te Hohepa Kōhanga Reo
Bull O’Sullivan Architecture
PHOTOGRAPHER: SAM HARTNETT

10 11
HERITAGE

13
The Public Trust Building RESENE
COLOUR
Three Sixty Architecture AWARD
PHOTOGRAPHER: JASON MANN

HOSPITALITY

14
Eruption Brewery
Bull O'Sullivan Architecture
PHOTOGRAPHER: PATRICK REYNOLDS
12
15
Muse (formerly
CBS Building) 13
Three Sixty Architecture
PHOTOGRAPHER: JASON MANN

“The project is
appropriately
scaled for even
the smallest
users, who can
move freely into a
range of enriching
outdoor spaces.”

12 Te Hohepa Kōhanga Reo

Bull O’Sullivan Architecture
14 15

Architecture New Zealand 97

NZIA Local Architecture Awards

CANTERBURY

“Prefabricated in
Tīmaru to combat
the remoteness
and extreme
climate of the
site, this series
of relocatable
timber units was
organised in a ‘U’
shape, with glazed
connection points
and verandas
added to create a
cloistered effect.”
16

16 Rock Relocatable
C Nott Architects
RESENE
COLOUR
AWARD

HOUSING

16
Rock Relocatable
C Nott Architects
PHOTOGRAPHER: MARINA MATHEWS

17 18 19
17
Wai-Iti House
Common
PHOTOGRAPHER: STEPHEN GOODENOUGH

18
Shark House
First Light Studio
PHOTOGRAPHER: DENNIS RADERMACHER

19
Sonnhalde
Makers of Architecture
PHOTOGRAPH: SUPPLIED

20
Rugby Street House
20 21 MAP (2016)
PHOTOGRAPHER: STEPHEN GOODENOUGH

21
Port Hills House
Philip Kennedy
Associates Architects
PHOTOGRAPHER: PAUL WHEELER

22
Tai Tapu House
Rural Workshop Architecture
PHOTOGRAPHER: MICK STEPHENSON

23
Moncks Spur House
Sheppard & Rout Architects
22 23 PHOTOGRAPHER: CHRIS COLLIE

98 Architecture New Zealand

 NZIA Local Architecture Awards

CANTERBURY

24
Helmores Lane House
Sheppard & Rout Architects
PHOTOGRAPHER: JASON MANN

25
House on a Rock
South by Southeast
PHOTOGRAPHER: SARAH ROWLANDS

PUBLIC

26
He Puna Taimoana
AW Architects and
24 25
Select Contracts
PHOTOGRAPHER: BAPTISTE MARCONNET

27
Majestic on Durham
Sheppard & Rout Architects
PHOTOGRAPHER: CLINTON LLOYD

28
Waipapa Christchurch
Hospital (formerly known
as Christchurch Acute
Services Building)
Chow:Hill Architects,
Warren and Mahoney
and Thinc Health
PHOTOGRAPHER: JONO PARKER
26 27
29
Taylors Mistake Surf
Lifesaving Club Pavilion
Wilson & Hill Architects
PHOTOGRAPHER: STEPHEN GOODENOUGH

COMMERCIAL

30
94 Cashel Mall
Dalman Architects
PHOTOGRAPHER: STEPHEN GOODENOUGH

31
FMG Office Building
Sheppard & Rout Architects
PHOTOGRAPHER: JASON MANN
28 29

JURORS

William Fulton (convenor),

Craig Moller, Peter Kent,
Biljana Pesun and Jenny May.

30 31

Architecture New Zealand 99

NZIA Local Architecture Awards

S OUT HE RN

“The use of
recycled materials,
along with close
attention to air
quality, thermal
comfort and
acoustics, means
guests of Camp
Glenorchy Eco
Retreat will be
immersed in a
rich, sensory
atmosphere.”
01 02
03 Camp Glenorchy
Eco Retreat
Mason & Wales
Architects

COMMERCIAL

01
The Precinct Wanaka
Assembly Architects
PHOTOGRAPHER: SIMON LARKIN

02
03
Southland Farm Machinery
Beattie McDowell Architects
PHOTOGRAPHER: STUDIO JUBB

03
Camp Glenorchy
Eco Retreat
Mason & Wales Architects
PHOTOGRAPHER: SIMON DEVITT

04
Domaine Thomson
Rowe Baetens Architecture
and Noel Lane Architects
in association
04 PHOTOGRAPHER: SIMON DEVITT

EDUCATION

05
School of Music and
Performing Arts,
University of Otago
CCM Architects and
Baker Garden Architects
PHOTOGRAPHER: GRAHAM WARMAN

06
University of Otago
RESENE Dental School
COLOUR
Jasmax
05 06 AWARD
PHOTOGRAPHER: DENNIS RADERMACHER

100 Architecture New Zealand

 NZIA Local Architecture Awards

S OU T HE R N

ENDURING

07
Administration Building
for the Otago Harbour
Board (1980)
Mason & Wales Architects
PHOTOGRAPHER: RUTH WHITAKER

08
Cargill Court
Apartments (1973)
McCoy Wixon Architects
PHOTOGRAPH: SUPPLIED

07 08
HOUSING

09
Corten House
Anna-Marie Chin Architects
PHOTOGRAPHER: SIMON DEVITT

10
Lake House
AW Architects
PHOTOGRAPHER: SAM HARTNETT

11
Pouaka Waikura
Rust Sheds
Patterson Associates
PHOTOGRAPHER: SURYA FULLERTON
09 10
12
Long Low Barn
Sharon Jansen – Architect
PHOTOGRAPHER: PAUL MCCREDIE

13
Cotter Avenue
White House
Team Green Architects
PHOTOGRAPH: SUPPLIED

“... three elemental

rectangular volumes,
subtly oriented 11
to sun and view,
recall a Donald
Judd installation.
RESENE
Without a gable or COLOUR
AWARD
schist stone in sight,
these volumes are
uncompromisingly
and dramatically
clad in Corten steel
and concrete.”

11 Pouaka Waikura Rust Sheds

Patterson Associates
12 13

Architecture New Zealand 101

NZIA Local Architecture Awards

S OUT HE RN

“The restoration...
demonstrates
the architects’
meticulous research
into the materials,
finishes and details
of the original
building. Although
original elements
have been reinstated
wherever possible,
in some parts, new
details have been
subtly inserted.”

14 Marinoto House,
Stage 2, Mercy Hospital
McCoy Wixon Architects
14

HERITAGE

14
Marinoto House,
Stage 2, Mercy Hospital
McCoy Wixon Architects
PHOTOGRAPHER: GRAHAM WARMAN

HOUSING – ALTERATIONS
15 16 AND ADDITIONS

15
Henry Street Residence
RESENE
COLOUR McCoy Wixon Architects
AWARD
PHOTOGRAPH: SUPPLIED

HOUSING – MULTI UNIT

16
Queenstown Village
C Nott Architects
PHOTOGRAPHER: MARINA MATHEWS

17 17
Lanah Residence
Hyndman Taylor Architects
PHOTOGRAPHER: MARINA MATHEWS
RESENE
COLOUR
AWARD INTERIOR

18
BNZ Queenstown
Warren and Mahoney
PHOTOGRAPH: SUPPLIED

19
Invercargill Public Library
Refurbishment
Beattie McDowell Architects
18 19 PHOTOGRAPHER: STUDIO JUBB

102 Architecture New Zealand

 NZIA Local Architecture Awards

S OU T HE R N

PUBLIC

20
Te Puka O Te Waka
WSP Architecture
PHOTOGRAPHER: GRAHAM WARMAN

SMALL PROJECT

21
The Cottages
at Lake Hayes
Assembly Architects
PHOTOGRAPHER: MARINA MATHEWS

22
Sugi House
Condon Scott Architects
PHOTOGRAPHER: SIMON DEVITT
20 21
23
Jacks Bay Crib
RTA Studio
PHOTOGRAPHER: PATRICK REYNOLDS RESENE
COLOUR
AWARD
24
Threepwood
Passive House
Team Green Architects
PHOTOGRAPH: SUPPLIED

JURORS

Rafe Maclean (convenor),

Simon Richmond, Amanda
Dorset and John Daish.

22 23

“This exquisite
small home
demonstrates that
a commitment
to the design
metrics of a
passive house
need not come at
the expense of a
delightful living
environment.”

24 Threepwood
Passive House
Team Green Architects 24

Architecture New Zealand 103

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104 Architecture New Zealand

Crit / Itinerary Supported by

the Taruheru and Waimata join main thoroughfare, Gladstone

ITINERARY_ to form the Tūranganui, reputedly Road. Damaged and increasingly
the shortest river in the southern precarious, they were taken down
hemisphere. in 2016. The plan was to rebuild
Captain James Cook and his crew them but public opposition put a

City Guide:
on the Endeavour made their first halt to this. Events for Tuia 250
New Zealand landfall near the river were quite different, acknowledging
mouth in October 1769. Cook’s crew Pacific voyaging more broadly and
shot and killed up to nine Māori highlighting not only Cook but also

Tairāwhiti and he bestowed the name Poverty

Bay on the place as if to suggest
it had nothing to offer him. In his
the Tahitian chief and navigator
Tupaia, who sailed on the Endeavour
and mediated between the crew

Gisborne
wake, Pākehā settlers set up trading and Māori. In 2019, too, Gisborne
stations from the 1830s. The town launched its Tupapa Heritage
area was then set out in 1870. It was Trail, telling the history of local iwi
given the name Gisborne at this around the waterfront and Titirangi
time, after the colonial secretary, (Kaitī Hill), and the Geographic
William Gisborne. Board approved the dual name,
It grew rapidly in the late 19th Tūranganui-a-Kiwa/Poverty Bay.
Words by Julia Gatley. and early 20th centuries. Its rural This guide highlights non-
economy benefited from the residential buildings. The city
increased use of refrigeration for also has many good houses, by
meat exports. The CBD retains both local architects and out-of-
several clusters of two- and three- towners, including Cecil Wood and
storey classical commercial buildings Charles Tilleard Natusch in the
11 from the first decades of the 20th early 20th century, Roger Walker
century, many of them designed by in the 1980s and, more recently,
14
the local practice of Burr & Mirfield. Pete Bossley, Jeremy Salmond and
After World War II, horticultural Jeremy Smith. A walk down Russell
TARUHERU RIVER

01
industries expanded. Wattie’s had a and Clifford Streets reveals plenty
big cannery in the city from 1952, of interesting houses.
09
on the west bank of the Tūranganui
08
River. It closed in the late 1990s.
Much of that site has been rebuilt
with hotels and apartments. The
R

12
VE

07
01
RI

region is still important for food

A

13
AT
M

production and wineries abound. 1872; relocated 1886

AI
W

06 Gisborne has a population of Wyllie Cottage

03
some 37,000 people, of which 54 per 14 Stout Street
10
cent identify as Māori. There are Built by John Forbes
05
multiple local iwi. Sir Āpirana Ngata
02
was a particularly influential member
of Ngāti Porou. As MP for Eastern
Māori from 1905 to 1943, he worked
to improve conditions for Māori
ER
I RIV

and to strengthen communities and

ANU

culture. This included encouraging

ANG

the revival of traditional Māori arts

TŪR

and crafts, thus influencing the

design of marae buildings and Māori
04
churches.
Owned by the Tairāwhiti Museum,
With its eastern location,
Wyllie Cottage is Gisborne’s oldest
Gisborne is the first city in the world
extant European house and is open
to see the sun rise each day. This to the public. It is balloon-framed
Growing up in Gisborne in the family friends; I liked their house, makes it an important gathering and built of kauri, with mortise-and-
1970s, I benefited from the work of too. Today, my brother Adam is place for events of a temporal nature, tenon joints. It was moved to its
Monty Glengarry, Jock Corson and project manager at Glengarry, such as the sesquicentennial of 1990 current site in 1886. Local support
Colin Pilbrow. This included living Corson and Pilbrow’s successor and the turn of the millennium. saved it from demolition in the 1970s.
in a house designed by the practice – practice, Architects 44. Given its associations with Cook, it Salmond Reed Architects restored
the W. Thorpe House (1968–1969). Historically, the Tairāwhiti is also centre stage on anniversaries it to its 1886 appearance in 2016.
Next door is Lysnar House (1886),
In addition, the H. B. Williams Gisborne area was known as of his arrival, notably the bicentenary
in which the museum operated from
Memorial Library, with its swooping Tūranga. It was the landing place for in 1969 and Tuia 250 in 2019. To
1955. Its ballroom, built for Lysnar’s
roof, was always wonderful, the significant voyaging waka from the mark the bicentenary, two wooden daughter’s 19th birthday party, was
Gisborne Museum and Arts Centre Pacific and Māori have lived there models of the Endeavour, each relocated to the city’s marina in 1975
was an exciting new arrival in 1977, since the 14th century. Three tidal nearly three metres in length, were and turned into a restaurant. See
and Jock and Robin Corson were rivers encouraged their settlement; raised on poles above the city’s tairawhitimuseum.org.nz

Wainui Beach Architecture New Zealand 105

Crit / Itinerary

02 03 04 05

1898 ca 1910–1914 1920 1923

Poverty Bay Club Gladstone Road Historic Area Former Kaitī Freezing Works Cenotaph
38 Childers Road/ 9–37 Gladstone Road 41 The Esplanade 70 The Esplanade
53 Customhouse Street Various (including Burr & Mirfield) Burr & Mirfield Edward A. Armstrong
William P. Finneran

Built as a memorial to the Gisborne

The Poverty Bay Club was formed in Gisborne’s main commercial soldiers who died during World War I,
1874 as a private club for the city’s thoroughfare, Gladstone Road, was This building is a fragment of the old the Cenotaph now commemorates
landowners, farmers, city councillors developed from the early 1870s. The Kaitī Freezing Works complex that grew all local citizens who have died at
and businessmen, complete with a historic area comprises three buildings additively from 1896 to fill almost the war. It has a concrete shaft faced with
billiard room, card room, meeting room of similar scale erected just prior entire south-east side of the Tūranganui white Carrara marble. Four reclining
and bar. The original Victorian part to World War I: the Eastern Co-op River, and was mostly demolished in the lions and the figure of a soldier were
of the building was a two-storey villa Building Society, National Bank and mid-1990s. The surviving structure is carved overseas. Edward Armstrong
with ornate verandahs. It saw a series Thomas Adams Building. They are half of what was once a six-gabled wing. was the son of the City Engineer,
of additions, with the lower level of the classical in design, with the National It is used as a restaurant, with brick C. E. Armstrong. He studied at the
Customhouse Street extension added in Bank being the most overtly Edwardian walls and timber posts, beams and joists Architectural Association, and lived
1910 to a design by Patrick Graham and Baroque. The historic area recognises exposed internally, along with remnants and worked in London and Burma,
the corresponding upper level added the collective significance of the of machinery and historic photographs. returning to New Zealand ca 1953.
in 1920 to a design by Burr & Mirfield, buildings as a piece of period townscape. Next door is the Eastland Port Offices, The Cenotaph has been conserved by
who had also designed the billiard The Albion Club Hotel at 13–27 refurbished by Architects 44 in 2020 Salmond Reed Architects. Across the
room in 1913. All were important local Gladstone Road has been demolished using timber to reflect the logs that the road is Burr & Mirfield’s Kerridge House
architects. and replaced. port exports. It earned a local NZIA (1936), Gisborne’s best streamlined
See heritage.org.nz/the-list/details/810 See heritage.org.nz/the-list/details/7017 award for interior architecture in 2021. moderne house.

06 07 08 09

1957 1965–1967 1974–1976 1977

War Memorial Hall/Theatre H. B. Williams Memorial Library Mangatu Blocks Building Tairāwhiti Museum
159 Bright Street 39 Peel Street 266–268 Childers Road 10 Stout Street
Glengarry, Glengarry and Corson Glengarry, Corson and Pilbrow in Glengarry, Corson and Pilbrow Colin Pilbrow
association with Edward A. Armstrong

This extruded building is dominated by

Built as a war memorial hall to a bold, curving roof in two parts: the
commemorate those killed in World larger one above the main book stacks Mangatu Blocks Incorporation With its sloping roofs, half gables,
War II, this building originally and the smaller one above the service administers blocks of Māori land that timber construction and dark-stained
comprised an auditorium, sometimes spaces. Clerestory glazing at the ridge are leased to farmers. The purpose-built exterior, the Tairāwhiti Museum
used as a dance hall, and supporting ensures good daylighting. Raw concrete building includes a top-lit, double-height building is in the regionalist tradition.
facilities. The auditorium was and brick are important externally meeting hall that is large enough to A series of galleries takes the visitor
adapted for use as a theatre in 1975. and internally, in combination with hold 250 shareholders and resembles a south and west towards the Taruheru
Shand Shelton completed a major the greens and creams that principal whare whakairo, with carvings, tukutuku River, creating a journey that culminates
refurbishment of the facility in 2015. architect Colin Pilbrow took from and kōwhaiwhai. This is in contrast to in the two-storeyed wheelhouse and
This project also included the glassy nature. The Bright Street end of the the concrete exterior, with its 12 bays cabin of The Star of Canada, a 1909
addition on the south-west side that building was extended to designs by hovering above the ground on recessed cargo steamer that was wrecked in
accommodates a multi-purpose Chow:Hill with Lardelli Arts (2019). foundations. Principal architect Jock 1912 and was relocated to this site in
foyer and bar area. Sculpted poppies The spatial experience is still one of Corson was reportedly disappointed that the 1980s. Architects 44 made
suspended from the ceiling continue the finest in Gisborne. The building the builders got the floor level wrong, alterations to the museum entry in 2010.
the war memorial theme. The building won an NZIA Merit Award in 1970. as the building does not hover as high To the building’s east is the C Company
earned a local NZIA award for public See hbwilliamslibrarybuilding. as he had intended it to. The entry was Māori Battalion Memorial House,
architecture in 2017. wordpress.com/ altered in 2020. opened in 2014.

106 Architecture New Zealand

 Supported by

10 11 12 Other addresses
1981 1993–1994 2015–2018
De Lautour Road Shops Te Whatukura, EIT Awarua (Gisborne Te Poho o Rawiri Marae
92 De Lautour Road 77 Cobden Street District Council Building) (ca 1930)
Roger Walker Rewi Thompson 15 Fitzherbert Street 18–24 Ranfurly Street
Chow:Hill with Lardelli Arts Built under the leadership
of Sir Āpirana Ngata.

Waikereru Ecosanctuary
and 1769 Garden (since 2011)
846 Riverside Road
Jeremy Salmond and
Dame Anne Salmond
Includes Sarosh Mulla’s
Welcome Shelter (2015).

This two-storey building has a squat Toko Toru Tapu (1913)

tower on the street corner, return Te Whatukura is home to Māori Studies The Gisborne District Council Building 73 Whakato Road, Manutuke
verandahs and steeply pitched roofs at the Eastern Institute of Technology’s accommodates some 220 staff members
A significant Māori church,
with finials and gabled dormers. It Tairāwhiti Campus. It was designed in two wings bridged by a recessed entry
was contemporaneous with Walker’s by Rewi Thompson (Ngāti Porou and and foyer area. It was conceptualised as
conserved by Architects 44
Vintage Homes initiative, with which he Ngāti Raukawa), who maintained strong a waka hourua (twin-hulled canoe). This (2000–2015). This project
aimed to mass-produce contemporary iwi connections. The slightly curved explains the use of diagonal boards on earned a national NZIA award
reinterpretations of old timber cottages. front façade sits under a broad, gabled the front elevation and the brises soleil for heritage architecture in 2016.
The Gisborne building shares some roof. The other three exterior walls on the side elevations, which add visual
details with some of the Vintage Homes, are understated, belying the interest interest as well as providing shade. Tā Tolaga Bay Wharf
including triangular windows in the generated internally, where a series of moko artist, carver and designer Sir (1926–1929)
gabled dormers. The Turenne Street angled walls and windows made for a Derek Lardelli provided cultural advice
Wharf Road, Tolaga Bay
extension was designed by Graeme challenging build. In the foyer, visitors and developed “design narratives”
Nicoll in 1996 and continues the cottage are greeted by a pou whakairo (free- throughout. He also suggested the name Cyrus Williams
language. Walker also designed the standing carved figure), above which Awarua (two waters). This project won An unusually long wharf.
former Gas House, 426 Palmerston a glazed gable end provides both top- a local NZIA award for commercial
Road (1982). lighting and a view to the sky. architecture in 2019. St Mary’s Church
(1924–1926)
1889 Te Araroa
13 14 Road (SH35), Tikitiki
Firmography
2019 2020 One of the best of Ngāti
Property Brokers Building Gisborne Airport Terminal The continuum of Glengarry, Porou’s carved interiors, led
66 Reads Quay Aerodrome Road Glengarry and Corson/Glengarry, by Sir Āpirana Ngata to restore
Architects 44 Tennent Brown in association Corson and Pilbrow/Corson Nicoll/ skills in traditional arts and crafts.
with Architects 44 Nicoll Architects/Nicoll Blackburne/
Architects 44 has been the dominant
Photography: 1, 2, 4, 5, 6, 9 and 13 by Adam Gatley; 3, 7, 8, 10, 11, 12 and 14 by Julia Gatley.

local practice since its formation in

1951 by Monty Glengarry. He was Acknowledgements
joined by his brother Bruce almost
immediately, by Jock Corson in 1952 Many thanks to James Blackburne
and Cantabrian Colin Pilbrow in and Sheridan Gundry for their
1953. Draughtsman Derek Phillips help with this itinerary. As well
later recalled that Monty was good at as being a director at Architects
bringing the work in and Bruce looked 44, Blackburne is Chair of
after the finances (before moving into Historic Places Aotearoa and has
valuation from about 1970), while a huge knowledge of Gisborne
Corson and Pilbrow were both talented architecture. Gundry, too, has
This project involved the strengthening Remember when regional airport designers. Pilbrow oscillated between written at length about Gisborne
and refurbishment of an old industrial terminals all used to look the same? The the firm and sole practice until 1979, history and heritage, including
building. The street façade is like a new Gisborne terminal demonstrates when he left Gisborne. Graeme Nicoll multiple books. In particular, my
whare reinterpreted in steel and glass, the shift to communicating local joined the practice in 1980. Monty ‘Firmography’ draws from her
minus the porch. Inside, old brick walls specificity and cultural context. It Glengarry and Jock Corson both work. See also the websites of
are contrasted with new steel columns combines clear planning strategies and died that decade and Nicoll took the architects who have worked
and beams that sit directly under low embodied energy materials with over the firm, joined in partnership in Gisborne in recent years, of
timber roof trusses, all complemented Māori elements, including a carved by James Blackburne in 2000. Today, the various building owners, of
by new plywood partitions. A timber pare (lintel) at the main entrance and as Architects 44, Blackburne is in Heritage New Zealand Pouhere
box on the north side accommodates tāhuhu (ridge) resting on pou in the partnership with Daniel King and Taonga for information on listed
a smaller tenancy. The project earned main space. Signage identifies it as “the Rachael Spriggs. They hold much of historic places, and of the NZIA
a local NZIA award for commercial most sustainable airport terminal in the firm’s archive of drawings, dating for information on award winners.
architecture in 2020. To the immediate New Zealand”, with photovoltaic panels, back to the 1950s. Derek Phillips and Back issues of the newspaper,
south is Guy Natusch’s Government rainwater collection and use, and some Michael Parkin set up Gisborne Group Gisborne Photo News, published
Building (1959–1960). Natusch also rammed-earth walls, among other Architects in 1999. Parkin ran it from from 1954 to 1975, are a terrific
designed the Government Life Building, things. The building won a local NZIA 2001 to 2008, when he moved to resource, available at photonews.
200 Gladstone Road (1960–1965). award for public architecture in 2021. Hawke’s Bay. org.nz/gisborne/index.html

Wainui Beach Architecture New Zealand 107

A COLORSTEEL® Promotion

01

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Coromandel surf club. Using COLORSTEEL Altimate® cladding, the new
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SINCE ITS FORMATION IN 1989, the Onemana their factory before transporting it to site. Aside from
Surf Lifesaving Club has operated out of humble excavating three holes to create structural legs for the
headquarters. First, a simple caravan, parked on the building, the site remained intact.
beach, offered storage and shelter. Later, a cinder- Having the building recess into the landscape was an
block extension to the public toilets provided a more important factor when briefing the architect, says club
permanent premises. After many years of planning, chairperson Nick McLeay. “We wanted more storage
fundraising and grant applications, the club now has a and a better clubroom, and it needed to blend in with
brand-new, purpose-built clubhouse that will provide the surrounding environment. When we were ready to
the community with a space for events while also press start on the building, it was going to have a board-
extending its surf patrol and training capabilities. and-batten exterior, but then several significant grants 01 The roof
The project was complicated due to the came our way and we were able to upgrade well beyond and exterior
archaeological significance of the area, which contains our original specs, and that included the cladding. The walls are clad in
COLORSTEEL
midden suggesting evidence of early Māori activity. metal cladding makes it a durable and low-maintenance Altimate®.
Being a council reserve, it would have been difficult building. If we had gone with board and batten, we would 02 The
to obtain consent for any new building, so the obvious be having to stain it every other year, if not more often.” Onemana Surf
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To further avoid upsetting the archaeological zone, for the project’s roof and wall cladding. Altimate® Beach, in the
Leisurecom Homes manufactured the building in combines the exceptional corrosive resistance of Coromandel.

108
 CREDIT LIST
Architect
Jenny Walter
Ph: 021 525 171
jennywalter@
outlook.com
Roofing Installer
Leisurecom
Homes
leisurecom.co.nz.
kevin@leisurecom.
co.nz
Ph 07 823 5951
Roofing/cladding
Manufacturer
COLORSTEEL
Altimate® in
FlaxPod® with
an MC760
Trapezoidal profile.

02

marine-grade aluminium with the proven paint

technology of COLORSTEEL®. The addition of
Altimate® to the COLORSTEEL® range now means
there is a suitable COLORSTEEL® solution for
03 Cedar
projects situated in some of the harshest conditions panels provide
along New Zealand’s coastline. contrast to the
For architect Jenny Walter, the cladding was also an COLORSTEEL®
FlaxPod®
aesthetic choice. “We used Metalcraft’s MC760. It’s a exterior.
nice, cost-effective profile that gives the building the 04 The
crisp lines that we wanted. By wrapping the whole building’s
building in COLORSTEEL®, it gives a nice envelope and form provides
a focused slot
the FlaxPod® colour helps it to recess into the landscape. view of the
03
We then have a couple of cedar panels just for contrast.” entire beach.
The building includes a kitchen, accessible toilet,
control tower, viewing deck and secondary large
deck to one side. The form came from the idea of
a viewfinder, says Jenny. “You need to be up there
and able to see the entire beach, so the form of the
building and the slot outlook it provides focuses the
lifeguard’s view and attention.”
For the club, having this extra space – and getting
out of the ablutions block – has been a dream come
true, explains Nick.

NICK MCLEAY – CLUB CHAIRPERSON:

“The room upstairs can be used for lifeguard training
such as First Aid and CPR. It also means we can give
back to other surf clubs, who have had our backs for
04
years, and hold events here. We’ve also been able to open
up to community groups, such as the local Onemana
Ratepayers and Community Association meetings. Surf
school uses it as a competition tower. Community use
is what we’re trying to promote as a club. Without the
community, we wouldn’t have our new clubhouse.” For more information, visit colorsteel.co.nz or call 0800 697 833

109
 Me tūhono mai koe ki
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110 Architecture New Zealand

 Crit

Event
SANNZ 24 Hour Design
Competition
TE HERENGA WAKA
VICTORIA UNIVERSITY OF WELLINGTON
23–24 JULY 2021

Eighty architecture students from around the

country gathered in Wellington to compete
in the annual SANNZ (Student Architecture
Network of New Zealand) 24 Hour Design
Competition at the end of July. The 12 teams
were given a brief on Friday 23 July and
worked through the night and the following
day, presenting to a panel of three judges on
the Saturday evening.
The event began at local Wellington brew
bar Whistling Sisters, where the teams were
given some inventive challenges to get the practice director Ewan Brown and president of
creative juices flowing, including designing Te Kāhui Whaihanga New Zealand Institute of
a cantilevered structure with popsicle sticks Architects Judi Keith-Brown – and prove that
and creating a Covid-19 government bunker. its reality was the best.
Following this, back at the design studio, After last year’s Covid-19-induced hiatus, it
the design brief was revealed. The teams were was great to see the design competition back
asked to imagine that Wellington’s iconic Cuba and proving to be as successful as ever. It was
Street had lost all its colour and had collapsed incredibly rewarding to observe students from
through a portal to an alternate reality. They across the country building connections and
were to create a vision for this new reality, enjoying some well-earned fun again. A huge
considering how a day looks, how people get thanks goes to our generous sponsors, without
around, how the political systems work and whom we could not have run the competition:
what the buildings look like. Each team was Thermosash, Red Bull, Gordon Harris, GIB,
assigned a different limitation when imagining Resene, Original Foods, Te Herenga Waka
its new reality, ranging from edible structures Victoria University of Wellington, L’affare
to being able to turn left only. and Vic Books. For more information about
Students were given Resene paints, Gordon SANNZ and the organisation’s upcoming
Harris notebooks, GIB craft knives, a pile of events, visit sannz.org
scrap material, a studio space and, by this Kyle Martin
point, 19 hours to come up with their best
Photography: Erika Kondo, Dan Racle and Bronya Webb.

alternate realities. Contestants worked hard, CONGRATULATIONS TO THE WINNING TEAMS

many not sleeping, to produce some fantastic 1ST PLACE The Stevie ONEderful People:
outcomes in the form of physical models and Eva Albiston, VUW; Elise Alexander, Unitec;
games through to videos and paintings. Henry Craw, VUW; Jennifer Dubowitz,
On Saturday afternoon at 4pm, the VUW; Isaac Rakich, Unitec
competition came to a close. Everyone made 2ND PLACE Abercrombie: Tessa Barry, VUW;
their way to the final venue, Bedlam & Squalor, Ricky Frost, VUW; Lily Huang, UoA; Angela
above the iconic Rogue & Vagabond in Te Aro. Wong, UoA; Max Young, VUW
Each team was given five minutes to woo the 3RD PLACE The Holy Trinity: Augustus
judges – senior lecturer at Te Herenga Waka Galbraith, VUW; Darby Georgeson, VUW; Fin
ABOVE The challenging sci-fi brief came with
Victoria University of Wellington’s School of a specific limitation given to each team: from
Georgeson, Massey; Arabella Marshall, VUW;
Architecture Guy Marriage, Tennent Brown edible structures only to no right turns.
turns . Sahil Tiku, UoA; Anthony Washer, VUW

Architecture New Zealand 111

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112 Architecture New Zealand

 Crit

Exhibition
Slow Boil
ARTSPACE AOTEAROA
29 MAY – 07 AUGUST 2021

Cooking at a slow boil requires the skilful

and patient application of slow, steady heat
to ingredients in such a way that they’re
only just at boiling point, with a few gentle
bubbles rising to the surface. Slow cooking
not only enhances starchy and tougher foods
and brings grains and dried food back to life
but also fuses flavours, entangling disparate
components. It requires two core elements –
steady heat and time.
Replicating the processes of slow cooking
is Slow Boil, an exhibition and public creative
research project at Artspace Aotearoa,
which unfolds and grows over time. The
exhibition is a collaboration between Boil
Up Crew, including Grayson Goffe, and the
interdisciplinary Slow Boil Collective (Chiara
PICTURED,
Ficarelli, Matthew Galloway, Lachlan Kermode, FROM TOP
Bhaveeka Madagammana, Karamia Müller and Te Tomo
Kōhua –
Blaine Western). Together, the two collectives Personified
seek to explore kai rituals, notions of space, Space,, a
Space
recreated
sovereignty and mapping, and New Zealand’s functioning
role in Indigenous dispossession of others. kāuta,
occupied by
As you enter the gallery space, you are the Boil Up
greeted by the kāuta named Te Tomo Kōhua, Crew; Sky
which, in a way, is the beating heart of the Table by the
Boil Up Crew
exhibition. Kāuta are the hearts of marae: key and Slow Boil
places for hospitality and the transmission of Collective,
with Forensic
intergenerational learning that happens in the Architecture’s
kitchen. The earth-toned and well-lit space, Herbicidal
Warfare in
completely visible from the road, is a functional Gaza leaf
cookhouse, used by Boil Up Crew throughout series prints
on the wall
the exhibition to feed the community of behind; Hot
Artspace as well as of Karangahape Road. Waters – six
Feeding brings folks together. The sink and printed flags
by Slow Boil
pātaka kai have come into this kāuta from the Collective; Te
Kaitiaki Village at Ihumātao, nodding to the role Tomo Kōhua
– Personified
of sustenance required in moves of resistance, Space,, which
Space
not only in terms of frontline resistance but features
leftover
also in the way that maintaining food traditions ‘bugs’ from a
and all the knowledge associated with them bread-making
workshop
can be a key way to resist the ongoing efforts of with Whaea
colonisation. Taneko,
Beyond the kāuta, we move into a space Grayson Goffe
and Karamia
painted a deep blue, with timber gridding on Müller.

Architecture New Zealand 113

Crit

the walls. Around the room, a series of works

– flags, satellite imagery and projections –
by Slow Boil Collective titled Hot Waters is
dispersed. The Hot Waters series builds over
the exhibition; each week I have visited, new
works are added or existing work altered,
based on the workshops held the Saturday
before. The works dive into New Zealand’s
reliance on phosphate rock imported from
Western Sahara. Phosphate rock is a key
ingredient in superphosphate fertiliser, the
production of which is an industry that, as
we are told, funds Morocco’s occupation
of Western Sahara. The Hot Waters series

Photography: Sam Hartnett.

builds on the issues explored in The Ground
Swallows You, Part II (2017) by collective
member Matthew Galloway. Galloway’s work
consists of three mirror-steel sheets on poles
with three official documents relating to New
Zealand’s importation of phosphate rock from
occupied Western Sahara.
Through the combination of their deep
research, communicated visually, Slow Boil
Collective and Galloway implicate Aotearoa’s
role in the exportation of phosphate and,
by extension, the ongoing occupation of the
Indigenous Saharawi people. The impacts
of state violence are further emphasised
through the inclusion of works by Forensic
Architecture, a multidisciplinary research
group based at Goldsmiths, University of PICTURED,
FROM TOP
London, who research state violence through
Herbicidal
architectural techniques and technologies. Warfare in
The contrast between the kāuta and the Gaza,, a video
Gaza
by Forensic
exhibition behind it, at times, feels jarring. In Architecture;
some ways, you wonder if the stretch is too Conflict
Shorelines,,
Shorelines
broad but, after each visit, I become more and a circular
more convinced – for me, too, it is a slow boil, projection
by Forensic
requiring ongoing thought and engagement Architecture.
with the works, the ideas and the research.
With each visit, you see new things, and new
information and ideas have time to settle in
your mind. Capitalism and colonialism rely on Road. Scholar Lisa Lowe contends that histories exhibition, you’re feeling pretty full. It’s a big
modes of extraction. Slow Boil highlights the of colonisation reveal the intimacies between show with a big heart and so, too, is the wero
role of food and vegetation in colonisation and the four continents. Perhaps Slow Boil reminds that we’re left with. For that reason, it needs
colonial processes, pointing to the multiple audiences that we, the fifth continent, are also a to be a slow boil so that things can settle
modes of extraction at play right now through part of this intimate web – we’re all implicated. and slowly percolate. I walk back out onto
the extraction of phosphate in the Western The Boil Up Crew feeds people with kai, K’ Road wondering: Now that I’ve been fed,
Sahara, to environmental violence in Gaza, and the Slow Boil Collective feeds people what do I do about it?
to the ongoing gentrification of Karangahape with research – by the time you leave the Lana Lopesi

114 Architecture New Zealand

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Architecture New Zealand 115

116 Architecture New Zealand
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