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22 Articles

Rethinking awards

NEVER IN THE HISTORY OF ARCHITECTURE awards have so many clients thanked so many architects and so many architects thanked… everyone. Perhaps it was the sheer joy of being together after years of Covid isolation. Perhaps it was asking too much this crazy year to keep the speeches brief. The 2022 Te Kāhui Whaihanga New Zealand Institute of Architects Awards presentation, at the Ōtautahi Christchurch Town Hall in November, was a welcome return to a sort of normal, as well as a bit of a marathon. Still, it was nice to be together. Although I do wonder whether, in a time of climate crisis, flying people in from all over the country and causing untold CO2 emissions is the right thing to do. If we wanted to act responsibly, to show…

Rethinking awards

A rumination on place

I MISSED THE AWARDING OF the country’s best work as I wasn’t there on the night, I am sorry to say. Though my relationship with the Institute has been a bit rocky since I gave back the chains of office, I do enjoy attending the annual clam bake with my peers. I have the highest regard, too, for an award programme that, in defiance of reducing carbon emissions, still has the gang of judges unsatisfied with gazing at photoshopped pixels, choosing instead to traverse the country and get a smell of the contenders’ projects. I like, too, seeing the first hints of new practices, the up-and-comers, the new studios, their members enthusiastically bouncing to the stage, ahead of the phalanx of members of big-banger practices trooping up, and I like,…

A rumination on place

Before there was dank, there was Frank

THE WORLD: WHAT A PLACE! The last column I wrote made a case that the isms of Eurocentric legacy architecture were a bit of a plague for the building practices of indigenous people. Further, that one of the losses accounts for the devaluing of ideas and approaches to collective being that may have resided in local knowledges. Since then, well, I have been thinking about… the architectural satire account: @dank.lloyd.wright. As an intermittent social media user, I was reminded of it when reading Professor of Design Studio in the School of Architecture at Te Herenga Waka Victoria University of Wellington’s Daniel Brown’s opinion piece: ‘’The issue of unpaid internships in architecture offices’.1 I tend to agree with the views therein. Unpaid labour in any sector is at a disconnect with the…

Before there was dank, there was Frank

ADAPTIVE RE-USE TOWER TAKES OUT TOP WAF AWARD

The 2022 World Architecture Festival (WAF) held in Lisbon, Portugal, in early December saw 19 category winners awarded for Completed Buildings, 12 for Future Projects, 11 for Inside and two for Landscape Design. New Zealand practices came away with three category wins, with: Stevens Lawson’s Chapel of St Peter (05) winning the top award for Completed Buildings: Religion; FJMT Studio, Jasmax and designTRIBE winning the Inside: Public Buildings award for Te Ao Mārama South Atrium (06); and Warren and Mahoney, BKK Architects, Taylor Cullity Lethlean, Greenaway Architects and Greenshoot Consulting’s North East Link in Australia (07) winning Future Project: Infrastructure. Stevens Lawson also received a Completed Buildings: Civic and community Highly Commended award for HomeGround/Auckland City Mission. All category winners were in the running to win the WAF Building of the Year…

ADAPTIVE RE-USE TOWER TAKES OUT TOP WAF AWARD

A+W.NZ TĀTUHI DRAWING ARCHIVE SELECTION

This year’s Architecture+Women.NZ Tātuhi/Drawing Architecture: Sarah Treadwell Archive selection is Lise Jansen-Luke’s drawing ‘Sea Wall Erosion’. Jansen-Luke’s illustration formed part of her thesis, One of these is not like the other: Our mark on an eroding coastline, and her media for the 1600 x 600mm/2000 x 720mm artwork were aluminium plate, acid, ink and watercolour paper. The judges noted that bringing together the subject matter (erosion) and the drawing methodology (erosion) has allowed for a beautiful and lengthy contemplation on the environment, transference, loss and production. “The aluminium plate and print are meditations on the eroding coastline in Abel Tasman National Park, which embed time into the works – physically, narratively and metaphorically.” This year’s selection panel was made up of Sarah Treadwell, Marian Macken, Ashleigh Smith, Karamia Müller, Simon Twose and Lynda…

A+W.NZ TĀTUHI DRAWING ARCHIVE SELECTION

Massey University Press has released HomeGround: The story of a building that changes lives – a 256-page hardcover book documenting “the realisation of a dream by the Auckland City Mission, designed by Stevens Lawson and now brought to fruition to create a haven in the CBD for some of the city’s most vulnerable”. The book features photography by Mark Smith and words by journalist Simon Wilson, and University of Auckland’s School of Architecture and Planning Professor Deidre Brown (Ngāpuhi, Ngāti Kahu) and Dr Karamia Müller. “HomeGround represents an enduring record of a remarkable building built for a remarkable organisation, created through the aroha and vision of many,” says Wilson. “It documents and records a key moment in Aotearoa New Zealand, when a visionary social services agency, a committed architecture practice, courageous funders…

This year’s Interior Awards jury provides great depth of experience to the 12th edition of the programme, bringing together outstanding designers and architects who have worked on a wide range of projects both here in Aotearoa and overseas. Jon Rennie is a principal of Athfield Architects and heads its Auckland studio. Originally from Wellington, Jon has more than 20 years of postgraduation experience in the design of public architecture and urbanism and has worked in the United Kingdom, Spain, the United States and New Zealand. His experience includes adaptive re-use of existing and listed buildings and new build design of multi-unit residential buildings, theatres, auditoriums and libraries. Tessa Pawson is a senior associate and the interior design lead for Peddlethorp. With significant experience in both Australia and New Zealand, Tessa delivers projects…

SHIFTING FOUNDATIONS

Several members of the Canterbury branch of Te Kāhui Whaihanga New Zealand Institute of Architects, along with other city-makers, are preparing to publish a book documenting architecture in Ōtautahi Christchurch following the 2010–2011 earthquakes. The 224-page hardcover book comprises eight essays covering the post-quake progression from immediate response through to the subsequent architectural contributions. Authors include Bernadette Muir (foreword), Matthew Webby, Jessica Halliday, Charlotte Hoare, Debbie Tikao, Huia Reriti, Yuqi Kong, Jasper van der Lingen, Daniel Crooks, Colin Corsbie and Fritha Powell. Also included are 80 concise catalogue entries sharing the stories of select buildings and their roles in the rebuild, written by contributors such as Fiona Short, Jane Rooney and Vanessa Carswell. Freerange Press publisher Emma Johnson says the richly illustrated book captures the journey towards a more meaningful melding of…

SHIFTING FOUNDATIONS

STUDENT DESIGN AWARDS

The annual Te Kāhui Whaihanga Resene Student Design Awards programme brings together the top students from each of New Zealand’s four schools of architecture: Waipapa Taumata Rau University of Auckland (UoA), Te Whare Wānanga o Wairaka Unitec Institute of Technology, Te Herenga Waka Victoria University of Wellington and Te Wānanga Aronui o Tāmaki Makau Rau Auckland University of Technology (AUT). Congratulations to 2022 winner Matangireia Yates-Francis (AUT) for his project ‘Tūhononga: Co-occupying with Earth and Sky’ (01), and to Keisha Rawiri from Unitec (02) and Will Martel from UoA (03) for their highly commended placements.…

STUDENT DESIGN AWARDS

F. GORDON WILSON FELLOWSHIP ANNOUNCED

Te Kāhui Whaihanga New Zealand Institute of Architects and the family of former Government Architect F. Gordon Wilson have established the F. Gordon Wilson Fellowship to help address the issue of public housing in Aotearoa New Zealand. The Fellowship seeks to promote creative design thinking, problem-solving, and new ideas and approaches to this country’s significant unmet housing needs through a self-directed research project. It also aims to cultivate new housing leaders who can contribute to the ongoing transformation of public housing in New Zealand. A design champion for state housing in New Zealand, Wilson led the creation of the innovative State Housing programme, which included thousands of new single, duplex and multi-unit houses, including the Berhampore Flats (built in 1939–1940), Dixon Street State Flats (1941–1944), McLean State Flats (1943–1944) and Hanson Street…

F. GORDON WILSON FELLOWSHIP ANNOUNCED

DUCKS IN THE DECORATED SHED

Returning from a study trip to the USA and eager to impart stories of our adventures, I happened to be sitting beside Ashley Cox on the NZIA Napier Branch tour bus visiting houses by the late Steve McGavock. Ashley was up for hearing of our exploits so I started, not with the Farnsworth House, Fallingwater or Taliesin East but the Margaret Esherick House, designed by Louis Kahn with the help of a then-young Robert Venturi, in Chestnut Hill, Philadelphia. After viewing this house from the exterior only, my partner and I walked to the neighbouring Vanna Venturi House. As we chatted to an elderly woman walking her dog, a middle-aged man came out and joined in our conversation. As its new owner, he apologised for not inviting us in – his…

DUCKS IN THE DECORATED SHED

Haumi ē! Hui ē! Tāiki ē! Becoming great ancestors

E noho ana ahau ki tōku taumata whakamarumaru o Ngōngōtahā, taka rawa iho ngā wai o Utuhina, e piri nei ki te taha o Pukeroa Oruawhata. Ka huri taku titiro ki Tiheia, e aru kōrikoriko ana ngā wai ō Awahou. E ai rā taku titiro ki nga wai karekare i a Rotorua-nui-a-Kahu. Nō reira, piki mai, kake mai rā! Hōmai te waiora ki a ahau kia tūtakitaki waiora, tūtakitaki nahanaha mai e! Whakaamohia te ao ki uta, whakangāwaritia te ao ki tai! Kei ngā kākahi whakairoiro, kei ngā rake pīngao, huri noa, huri noa, nau mai, haere mai, whakatau mai rā! Whakatau mai rā ki runga i te ki ā ngā mātua tupuna: nō te hōhonutanga ō Te Korokoro ō Te Parata, nō Te Whare Hukahukanui ā Tangaroa, ka puta,…

Haumi ē! Hui ē! Tāiki ē! Becoming great ancestors

Revisiting the Aaltos

1982: AS A YOUNG ARCHITECT, I HAD wrestled my way from Turkey to Finland, at the soggy end of a hitchhiker’s version of the Grand Tour, involving low-budget lodgings, sleeping on beaches, thumbing lifts and cheap food. All wonderful. Aalto’s Church of the Three Crosses at Imatra was a high point: a luminous joy, offering more natural illumination inside than the grey, overcast gloom outside. For years, I had dreamt of returning and so the chance for Miriam van Wezel and me to join an Australian Studies Abroad tour led by Stephen and Naomi Crafti was irresistible. In 2020, though, Covid had different ideas. Now, in 2022, the tour lives: fourteen days of intense programme, incorporating more than just Aalto. Design, art, contemporary architecture, interesting company and good food were all…

Revisiting the Aaltos

You recently merged your Studio Gascoigne with Walker Group Architects. What brought about that move? For more than 30 years, Studio Gascoigne specialised in retail and hospitality spaces and then became heavily involved with airport retail, too. Unfortunately, the first lockdown meant that nearly all of our projects were cancelled or postponed. We were offered an opportunity to merge with Walker Group Architects, a 90-year-old company with an impressive track record of work covering multiple disciplines, including commercial, retail, community, cinema and residential work. This gave us the ability not only to expand our team but, also, to pursue some other design directions; this has been really refreshing. I’ve become co-owner with a combined team of around 20 employees, so we’re now tackling some really large and exciting projects, both in…

An atmosphere of recovery

WE LIVE IN AN ERA WHERE THE TERM ‘asylum’ relates to those dispossessed of a homeland who seek sanctuary elsewhere. While historically associated with institutions of care for the mentally ill, it is more enduringly aligned with a right to protection and a place safe from danger or hardship. And yet, the haunting Gothic image of a ‘lunatic asylum’ as a state-run institution for detaining, confining and safeguarding those proclaimed ‘mad’ – previously looked after by family, religious institutions and community – was the precursor of the psychiatric hospital, emphasising seclusion and restraint over care. This is reinforced by popular culture, especially film and television, where such masonry piles bathed in shadow are tinged with terror, capturing a failed 19th-century notion of monuments to moral architecture. However, the history of…

An atmosphere of recovery

Channelling that ’70s’ vibe

“LAST, LONELIEST, LOVELIEST” ETC. ETC. ETC. That was Kipling’s 1890s’ assessment of Auckland but the city has been made well and truly mediocre, now, and this part of Downtown is one of the mundaneist, motley-ist and most mistreated. The harbour was filled in decades ago and the blight of late-20th-century traffic engineering ends up as torrents of cars negotiating knots of awkward intersections, then disgorging into a disparate bunch of very ordinary modernist carparking blocks and office towers. But there is something that, to continue Kipling’s stanza, you could still call exquisite and apart: Neville Price’s West Plaza, 1969–1974, which has now been reborn as 1 Albert Street, with Price as consultant and Ignite Architects as architect and interior designer. West Plaza was always cool and, unlike most of our city’s…

Channelling that ’70s’ vibe

Accounting for carbon

THEY SAY PEOPLE OFTEN LOOK LIKE THEIR dogs. I wonder if the same can be said of building owners. There’s something quintessentially Bob Jones about his latest acquisition on Featherston Street – its bronze-glazed façade, red marble podium and leathered lift doors – and that’s all before we even hear the Mozart playlist being piped through the lobby. It’s easy to imagine Sir Bob pulling up outside in a honey-coloured Bentley to survey what is now, undoubtedly, one of the best-looking buildings on the row. But what we might not grasp at first glance is that this shining tower is an incredible story of re-use – just the type of story that would make the climate-crusading, Pritzker Prize-winning architect Anne Lacaton’s heart sing. Reuse, recycle, refurbish, renovate but never, ever, demolish.…

Accounting for carbon

Under the folds of the rock

KAREKARE BEACH ON AUCKLAND’S WEST Coast is considered one of the world’s finest beaches. The iconic setting was the location for the Oscar-winning film The Piano as well as countless TV commercials. The beach is dominated by a massive rock known as the Watchman and its magnificent timbered valley has remained unchanged since Māori occupation of the pā site above the beach. The Surf Club was founded in 1935 following the dramatic rescue of a swimmer washed out in one of the treacherous rips and rescued by a sea plane – the first air sea rescue of its kind in the world. The club has since had a proud history of rescues that are often in conditions involving huge surf. It was given a piece of land by a local family in…

Under the folds of the rock

City Guide: Whangārei

Whangārei Harbour has been significant since our earliest days, serving as a landing point for migratory waka and a centre for trade during pre-colonial times. As the missionaries and settlers moved south from the Bay of Islands, several families took up residence from the 1830s but fled in 1845 when conflict broke out in the north; many did not return. The town later developed as a port for natural resources extracted from the hinterland – particularly after coal was found nearby – the port located in what is now the Town Basin. The economic importance of coastal shipping routes faded when rail linked the city to the nation in the 1920s. Construction of the Marsden Point Oil Refinery boosted the region in the 1960s and Northport in the 2000s, though Northland’s…

City Guide: Whangārei

The New Queensland House

Thames & Hudson, 2022 “I cannot think of any metaphor which better describes the organic growth of culture and scholarship than that of the coral organism. One lays down one’s own skeleton on the heap of bones left by others, who by doing so have built up a patterned structure. One also does it for the benefit of later comers, who will in turn lay their remains on yours. It is the inclusive effect of this accretion, not the individual contribution, that creates cultural meaning.” Michael King recalling his UK conversation with New Zealand expatriate Eric McCormick.1 I am thumbing through the large-format Thames & Hudson book The New Queensland House, edited by Cameron Bruhn and Katelin Butler. It’s a pleasant pastime, I think, that all architects share: dreaming away in a good architecture…

The New Queensland House

Guy Marriage EBOSS, 2022 Guy Marriage’s Medium is an important, beguiling and thorough examination of contemporary medium-density housing in New Zealand. It’s important because, as a relatively new, strategically preferred and rapidly accelerating form of urban density, the medium-density residential type is likely to replace the familiar, less-dense versions of the same and supplant the urban norm of the single, stand-alone residential building on its own piece of land so ingrained in our national residential psyche. The book has big ambitions and much to address. As Marriage points out, when it comes to achieving successful urban density, New Zealand’s legislative and planning settings, design knowledge and abilities, development and construction experience and practice, and ownership, leasing and rental structures are all manifestly ill-prepared to achieve comprehensive, carefully considered development of the medium-density type. He leaves…

Urban Art Village

Thursday 13 October 2022 Freyberg Place, Auckland It was 5:45pm Thursday at Freyberg Place, downtown Auckland. Catchy segments of audio from synchronised drag and K-pop dance performances reverberated up Isthmus’ One Hundred and Eighty-nine Steps. One of many events taking place that evening as part of ‘Late Night Art’, the ‘Urban Art Village’ occupied O’Connell Street with a series of nine installations designed and built by coalitions of adventurous minds from the University of Auckland’s School of Architecture and Planning. The structures exuded a sense of playful discontent: discontent towards tertiary education, consumption practices, working conditions and housing precarity. Nearby, urban art MVP Matt Liggins idled in his ‘Friendship Waka’, a modded Toyota Vanguard in which passengers were taken on stationary tiki tours via a projector screen mounted to the wagon’s windshield. Point-of-view…

Urban Art Village

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