W H A K A T A U I R A -
P R E C E D E N T S
Ko Tāne pupuke
Tāne is welling up (designs, thoughts and plans are springing up in profusion.)
Similar to the uara/values, the selected precedents are starting points for your own exploration. Each precedent has more than one uara running through its veins. Where appropriate, we have signalled the more dominant uara being discussed within the selected project. However, as a gentle reminder the uara are relational and tend to playfully fold in and out of each other.
T Ū R A M A R E T R E A T
Location: 14 Tapsell Road, Fairy Springs, Rotorua
Iwi: Te Arawa
Hapū: Ngāti Waoku
Architect/Designer: RTA Studios – Richard Naish (architect) & Paora Tapsell (concept designer & home owner)
Though all five values are present in this project, Whakapapa and Whenua are the driving uara and have been highlighted over others.
Exterior view of Turama Retreat (Photograph by Patrick Reynolds. 'Turama Retreat', from turamaretreat.com)
PROJECT SUMMARY
Tūrama Retreat explores ideas of a Ngāti Waoku Whakapapa. Using slected ley lines as a primary method, the mana* of Ngāti Waoku is reimagining into an architectural form. The ley lines both orientate the built form on site as well as shape the form. The use of ley lines can also be considered as elements of Whenua as it highlights relationships between Ngāti Waoku and surrounding natural landmarks and or past events.
*Mana is understood (in this instance) as a customary authority, shaped by Ngāti Waoku’s connection to their ancestral lands.
CONCEPT
Tūrama Retreat was commissioned by Paora Tapsell to replace the original whānau home that Quentin Taiporutu Tapihana built for his parents. Tūrama Retreat is named after Hine-i-Tūrama, a chiefly ancestress of Ngāti Waoku. Tūrama Retreat is designed to be a korowai or cloak of protection for future generations Ngāti Waoku. Acknowledging Hine-i-Tūrama in the naming of this whare (house) is an element of Whakapapa. But Tūrama is more than just the name. The korowai reference allows some of the values and likely personal traits of Hine-i-Tūrama to be articulated through the architectural form.
Hine-i-Tūrama: a chief ancestress of Ngāti Waoku, and the namesake for this project. (Portrait by Unknown Artist. 'Hine-i-Turama', from turamaretreat.com)
SITE STUDY
Whakapapa and Whenua are the two uara Tūrama Retreat prioritises in this study (see Whenua and Whakapapa).
The four ley lines used in the design, point to significant places to the Ngāti Waoku hapū. They were engraved into the foundation and influenced the shape and orientation of the building. They are listed and explained below as follows:
The four ley lines used in the design, point to significant places to the Ngāti Waoku hapū. They were engraved into the foundation and influenced the shape and orientation of the building. They are listed and explained below as follows:
Ley Line 1: Ongatoro to Maketu to Tongariro
The first ley line begins at the Ongatoro tuahu (shrine) of Ngatoroirangi, from which the toka (anchor stone) of Tūrama is placed (see Plan Study). Ley Line 1 continues through Maketu, where the Te Arawa waka landed and now resides. Finally, Ley Line 1 extends onto Mt. Tongariro, a revered maunga for the Te Arawa iwi.
Ley Line 2: Tūrama to Maungatautari
The second ley line connects Orakau, where Hine-i-Tūrama passed away, and to her maunga (mountain) Maungatautari. Ley Line 2 also intersects the maunga of Ngongotaha as a way to pay homage to Hine-Tūrama’s foster father and chief, Te Amohau.
Ley Line 3: Tūrama to Ra'iatea, French Polynesia
The third ley line points towards Ra'iatea in French Polynesia. This is where Hine-i-Tūrama’s Ngāti Raukawa and Te Arawa ancestors descend from. Ley Line 3 also acknowledges Taputapuatea marae; the marae to Hine-i-Tūrama’s ancestors andplace believed to be where all her descendants will return to, before passing on to enter the heavens of their ancestors.
Ra'iatea is also the soil from which kūmara was introduced to Aotearoa by Whakaotirangi. Her gardens made it possible for Tainui to settle in one area instead of moving around to seek food and changed how people live across Aotearoa. Eventually the kūmara was brought to Maketū, some of which is grown and harvested on the Tūrama site.
MAUNGATAUTARI
NGONGOTAHA
TONGARIRO
MAKETU | ONGATORO
RA' IATEA | TAPUTAPUATEA
TŪRAMA RETREAT
Site diagram of Tūrama Retreat showing ley lines in relation to main building. Diagram by Taituarā, 2024. Not to scale.
PLAN STUDY
The following examples within the internal program are emphasized as some key design decisions. These can be seen to demonstrate an integration of Whakapapa and Whenua uara into the design of Tūrama. Each point has a corresponding marker in the plan for your reference.
B
A
C
D
STUDY
COURTYARD
LIVING/KITCHEN/DINING
BED
BED
BED
Ground floor plan of Tūrama Retreat showing key design elements influenced by uara. Diagram by Taituarā, 2024. Not to scale.
A.
B.
C.
The 33 posts or pou (shown in red) that enclose the primary mass of the house is an acknowledgement of Ngāti Waoku relationship with the Mamakū forest. Each pou represent the ancestors that once upheld the Mamakū forest. The Mamakū forest roughly sits along the same axis as ley line 1 (Ngongotaha and Maungatautari). Not only do these pou highlight qualities of Whakapapa and Whenua in the context of this work, it sets the stage for key material selections that will be discussed in cross section.
Trees brought down from the Mamakū bush surround the whare and were integrated into the landscape design. The aspiration here is to provide another layer of protection over Tūrama over time. With the whare built with a century-long perspective, the growing trees will offer increasing shelter and protection for Tūrama.
Carved into the pou, Waoku, the chief ancestress of Ngāti Waoku from whom Hine-i-Tūrama descends, stands within her vessel. This vessel bears the iwi's representative guardianship symbols; the kokako (blue-wattled crow) and the pekapeka mamaku (native bat).
Carved pou of Waoku. (Photograph by Tūrama Retreat. 'Fireplace' from turamaretreat.com)
D.
The connection between Whakatō Mauri and the fireplace in this setting helps illustrate the qualities of Tikanga (see Cross Section Study). Whakatō Mauri refers to a ceremonial blessing involving the placement of a mauri stone (representing the source of emotions/essence) beneath the pou-tuarongo (post at the back of a meeting house or wharenui). This stone symbolizes a new breath given to the whare. In alignment with this practice, a mauri stone, taken from Maketu and blessed, has been positioned beneath fireplace of Tūrama. Before positioning the mauri stone, the site underwent detailed surveying to identify the ley lines' intersection points. The mauri now rests at this intersection, with the ley lines intricately carved into the foundation, converging beneath the fireplace. The intentional placement of both the fireplace and mauri stone aligns with the recognized meeting points of all ley lines in this work, seamlessly combining Whakapapa, Whenua, and Tikanga qualities.
Ley lines of project converging beneath fireplace where the Mauri stone is buried. (Photograph by Unknown Photographer. 'Fireplace' from turamaretreat.com)
CROSS SECTION STUDY
Āhuatanga can be physically acknowledged in several ways in this work. The Whakapapa, Whenua and Tikanga qualities inherited from the relationship between the fireplace and the mauri stone invokes a gathering space similar to the Āhuatanga of a wharenui. While residential houses typically don't adhere to Whakatō Mauri process, Taspell felt that a Whakatō Mauri aligned with the aspirations of this work.
CEDAR CEILING PANELS
FIREPLACE
MAURI STONE
Long section through Tūrama Retreat showing Mauri stone beneath fireplace. Diagram by Taituarā, 2024. Not to scale.
The roof's form, resembling a korowai (cloak), can be seen as a symbol of protection over future generations and is just a starting point for understanding Āhuatanga in this context. The materiality of the cedar ceiling panels goes beyond visual aesthetics to acknowledge a textural resemblance to the korowai referenced in the roof structure.
Cedar ceiling panels lining interior of mezzanine. (Photograph by Unknown Photographer. 'Tūrama Interior' from Rotorua House | RTA Studio)
UARA SUMMARY
The diagram below provides a summary for the points discussed, showing the driving uara of this project and the key design elements for each. As many of these uara are interrelated, some design elements may appear in multiple categories.
ĀHUATANGA
Whakatō Mauri
Korowai References
Carved Pou
WHENUA
Trees from Mamakū forest
Whakatō Mauri
Kūmara Gardens
TŪRAMA RETREAT
WHAKAPAPA
Korowai References
TIKANGA
Whakatō Mauri
Ley Lines
33 Pou (Posts)
Carved Pou of Waoku
Whakatō Mauri
O T O P A R A E H O U S E
Location: Kopaki, Waikato
Architect/Designer: Mitchell Stout Dodd Architects Ltd
Though all five values are present in this project, Whakapapa and Whenua are the driving uara and have been highlighted over others.
Northern elevation of Otoparae House (Photograph by Patrick Reynolds. 'Otoparae House' from Mitchell Stout Dodd Architects)
PROJECT SUMMARY
The name Otoparae embodies the idea of 'a place to stand and look’ and is a testament to the intention behind the design. Following precolonial building traditions, Otoparae seeks shelter within the whenua, establishing a sanctuary where occupants can simultaneously be embraced by, and visually embrace Papatūanuku.
CONCEPT
Designed in section, Otoparae follows the aesthetics of a tramping hut, with the intention that Whenua became a part of the occupants’ daily routines, rather than being cut off from it. The design makes reference to ancient Māori wharepuni (sleeping house) which were dug into the earth, using earthbanks for insulation. With wharepuni the entrances, often modest and close to the ground, required inhabitants to physically and metaphorically, crawl into the land for rest. This is how Whenua is explored in this work. In replicating this process, Otoparae engages Āhuatanga by going beyond physical likeness to explore atmospheric and spiritual connections with whenua.
A painting (1827) of a Wharepuni (sleeping house) in a Northland community showing the door low to the ground, requiring one to enter in on all fours. (Painting by Augustus Earle. Wharepuni, Northland from Te Ara).
PLAN STUDY
The arrangement of the internal program places emphasis on physical and atmospheric separation to explore Āhuatanga and Whenua. These moments are highlighted in the following examples:
NORTH
SLEEPING PAVILION
4
3
LIVING/DINING PAVILION
2
1
GARAGE
GUEST PAVILION/POOL
Floor plans of Otoparae House showing key design elements influenced by uara. Diagram by Taituarā, 2024. Not to scale.
-
The driveway, garage and gardens are situated on the top of the hill above Otoparae and behave as an elevated entrance into the rest of the building. Separating the entrance of the property explores āhuatanga by embodying the story of the wharepuni. It replicates this narrative by beginning the journey into the house above ground level, setting the stage for a transition into the property and further into the earth.
-
The stair way leading into Otoparae continues this narrative by physically moving visitors below ground level, as if moving to the ground itself. An aspect of Āhuatanga can be interpreted here in the changes of light and atmosphere that can be experienced as one moves from the open expanse of the country side, into the stairwell and corridor, darkened and enclosed by natural boulders.
-
Otoparae consists of three distinct pavilions that are connected and only accessible by the veranda which cuts into the hillside. While technically a fully enclosed, indoor space, the materiality of this corridor adds to the atmosphere of being exposed to the land and outdoor elements. The transparent Durolite sheet roofing, macrocarpa gussets and glass doors blur the distinction between indoor and outdoor, providing an additional dimension for exploring Āhuatanga (see Cross Section Study).
-
Both the north and south sides of the dwelling engage with their surroundings in different ways, offering contrasting perspectives in the consideration of whenua. The southern segment of the structure embeds itself into the landscape, forming a physical connection with the earth. Lined with local rhyolite boulders, it also furthers the narrative into the wharepuni by creating the impression of being surrounded by the Whenua. In comparison, the northern side unfolds towards the expansive valley below, establishing a visual connection and appreciation of Papatūānuku. This interplay of visual and haptic cues can offer to a more comprehensive exploration into what Whenua can offer a design.
Southern entrance of Otoparae House showing a 'descent into the earth' via the path lined with rhyolite boulders. (Photograph by Patrick Reynolds. 'Southern Entrance' from Mitchell Stout Dodd Architects)
Cross section through sleeping pavilion and garage. Diagram by Taituarā, 2024. Not to scale.
Otoparae House is characterized by multiple changes in levels , each signifying a different space and resultant atmosphere. The first, as discussed in plan, is the transition from the driveway/garage level into the veranda via the external stairway. The second elevation change demarcates the threshold between the corridor and pavilions with a step up. The third change is a emphasizes the dramatic drop in elevation on the northern side of the building.
These changes of level display an interaction with Whenua by integrating the natural shape of the land into the design. This approach emphasizes the characteristics of the local landscape and make it an integral part of the owner's everyday life.
Elevational changes are accompanied by a change in material which contributes to the distinct atmosphere in each space:
The descent into the hillside is characterised by raw and natural materials (rhyolite boulders, concrete and macrocarpa wood) which emphasize Āhuatanga through the comparison with the wharepuni.
The transition from the passageway to the pavilions displays a shift from the raw materials to hardwood flooring, plywood panels and extensive glazing. Such treatment highlights the difference in spaces, juxtaposing the cold, rough passageway with the bright, warm living spaces. Combined with the glazing, this can aid in understanding how a building can engage with Āhuatanga by allowing the interior space to respond to changes in natural light and weather conditions.
The passageway features aluminium louvres, rhyolite boulders, and steel and glass doors which projects a darker and more enclosed ambiance than the inviting interior.
The robust red steel doors distinctly separate the passageway and pavilions, creating a powerful division between these two areas
A
B
C
D
CROSS SECTION STUDY
The interplay between Āhuatanga and Whenua can be further studied through the exploration of the cross section. Studying the cross-section can help in understanding how changes in levels, materials, and ground interaction affect the relationship between Āhuatanga and Whenua. These relationships are highlighted in the diagram as follows:
A.
B.
C.
D.
Material and elevation changes of the stairs, passageway and living spaces. (Photograph by Patrick Reynolds. 'Interior Perspective' from Mitchell Stout Dodd Architects)
UARA SUMMARY
Otoparae House can be seen as a design which narrates the memory of the ancient wharepuni through its intentional changes in elevation, materials and atmosphere. Āhuatanga and Whenua can be recognised as integral uara throughout this precedent study, showing how the interplay of the two can create an immersive space that is both functional and meaningful.
The diagram below provides a summary for the points discussed, showing the driving uara of this project and the key design elements for each. As many of these uara are interrelated, some design elements may appear in multiple categories.
WHENUA
'Digging In'
Changes in Light and Atmosphere
Material Choices/Changes
Working with Natural Topography
Visual Connection with Valley
OTOPARAE HOUSE
ĀHUATANGA
Wharepuni references
Changes in Light and Atmosphere
Material Choices/Changes
Elevational Changes
TŪHOE TE URU TAUMATUA
Location: Tūhoe Te Uru Taumatua
Ancestral Land: Te Urewera
Iwi: Ngāti Tūhoe
Architect: Jasmax - Ican Mercep
Though all five values are present in this project, Kaitiakitanga, Tikanga and Whenua are the driving uara and have been highlighted over others.
Exterior view of Te Uru Taumatua (Photograph by Kristi Lake. 'Te Wharehou o Tūhoe', from Kristi Lake, Tūhoe CEO)
PROJECT SUMMARY
Tūhoe Te Uru Taumatua exemplifies many values important to Tūhoe, particularly Kaitiakitanga, Whenua and Tikanga. As tangata whenua, Tūhoe takes on the responsibility of safeguarding their ancestral land, Te Urewera, and securing a future for the tribe.
Following the severe colonisation from the 19th century onwards, Tūhoe Te Uru Taumata stands as a symbol of mana motuhake (self-governance). More than just a building, Te Uru Taumatua signifies Tūhoe’s resilience, dedication to Whenua and forward momentum into the future. It is a representation of what Tūhoe holds most precious: its land and its people.
It is important to note that Tūhoe Te Uru Taumatua has been given several names which reflect its importance for the people:
-
Tūhoe Te Uru Taumatua – The gathering place of Tūhoe
-
Te Kura Whare – The precious or treasured building
-
Te Wharehou o Tūhoe – The house of Tūhoe
CONCEPT
As the tangata whenua of Te Urewera, Ngāi Tūhoe assumes the role of Kaitiaki, responsible for the well-being of both the land and its people. Therefore, the design approach sought to meet the rigorous standards of The Living Building Challenge which calls for a higher level of building and comprises of seven performance areas: site, water, energy, health, materials, equity and beauty. This building plays a pivotal role in securing Tūhoe's future as a gathering place, cultural center, and environmental guardian, ensuring continuity for both people and land.
BEAUTY:
Uplifting the human spirit
HEALTH & HAPPINESS:
Optimise Wellbeing
WATER:
Net positive water use
MATERIALS:
Safe for all species through time
ENERGY:
Net Positive Energy Use
EQUITY:
Supporting a Just and Equitable World
PLACE:
Restoring a healthy interrelationship with nature
Living Building Challenge Flower Diagram, displaying the seven performance areas in each petal. Diagram by Taituarā, 2024.
Tūhoe Te Uru Taumatua is New Zealand first Living Building certification. The adherence to the Living Building certification criteria encapsulates a dedication to Kaitiakitanga, Tikanga and Whenua qualities of Tūhoe Te Uru Taumatua.
SITE STUDY
Kaitiakitanga and Whenua are two values inherently woven together into the design of this project. However, as Kaitiaki, Tūhoe not only has a responsibility to preserve Whenua, but also their people and culture. Thus, Tikanga is also intertwined into the design and Tūhoe Te Uru Taumatua becomes the means by which Tūhoe is able to fulfil their role as Kaitiaki (see Kaitiakitanga). The following site plan describes ways in which it supports this role.
1
2
2
2
3
C
4
A
B
B
B
4
3
Site diagram of Te Uru Taumatua highlighting the cultural and environmental design aspects. Diagram by Taituarā, 2024. Not to scale.
Environment:
-
Stormwater and Wastewater Treatment Systems and Storage: As Kaitiaki, Tūhoe cares for the water on the land and as such, Tūhoe Te Uru Taumatua adheres to a net-zero water initiative which aims to promote responsible water management. Through the rainwater collection systems and onsite storm and black water treatment, the site has no reliance on municipal water systems, allowing the people to be fully self-sufficient.
-
Productive Landscapes: The long-term planting strategy of the site comprises of a number of native trees, fruit trees, bee friendly plants and edible gardens. For generations, Tūhoe have relied on Te Urewera for Rongoa (medicinal plants), Kai (food) and Weu (fibres). Incorporating these into the long-term goals of the project honours Whenua as a source of life and knowledge. Through these plantings, the Tikanga surrounding this Whenua will be able to be taught and passed down to future generations.
-
Photo voltaics: In accordance with a net-zero energy initiative, Tūhoe Te Uru Taumatua generates all electricity using photovoltaic panels and a battery bank which stores power for night-time use and emergencies. Despite aiming for complete off-grid independence, inefficiencies in battery storage required the site to remain connected. However, the Whare produces a net-positive supply of energy which is sold back to the national grid.
-
Noise mitigation and atea mounds: Site overburden was used to shape the stormwater ponds, noise embankments along the road and surrounding the Ātea (open area in front of whare) which reduced site wastage and allowed Whenua to provide comfort for the people.
Culture:
Driveway and Parking: The site location puts Tūhoe Te Uru Taumatua within walking distance for the residents of Tāneatua Township. This location was chosen to allow car free travel possible for locals. However, the majority of visitors are non-local and for these, parking/driving provisions have been made. To aid in sustainability and care for Whenua, Tūhoe has purchased a fleet of hybrid vehicles for staff.
Contemplative areas: Site facilities include outdoor spaces that encourage contemplation and connection with Whenua. The three gardens include Te Maha Rongoa, Taonga and Pa Harakeke, each reserved for the growth of particular native plants and trees. The inclusion of these contemplative areas supports the well-being of the people and fosters a relationship between the Whenua and the built environment.
Ceremonial spaces: The Ātea is reminiscent of the Marae Ātea in which visitors are welcome and people congregate, though this Tikanga is adapted to suit the needs of the community. Designed as an amphitheatre, it provides space for traditional ceremonies, but also accommodates informal gatherings, relaxation and performances. Further exploration could show how Tikanga can adapt as the needs to the people change.
A.
B.
C.
PLAN STUDY
Tāneatea’s location, though accessible, is disconnected from major centres where constructions workers are more abundant. The solution fell in line with Tūhoe's values and goes: A Tūhoe building built by Tūhoe, with Tūhoe owned resources. The result is a building that grew from Te Urewera and has the Whenua infused into it. Tūhoe specific sustainable design solutions can be seen in the following ways:
Kaitiakitanga with respect to the care of the people, was also evident in the construction phase of the project. The project, with a $15 million budget, significantly boosted the local economy and tourism by allocating 70% of funds within a 100 km radius. This approach encouraged competitive bidding from local businesses, fostering employment opportunities and skill development for Tūhoe individuals in construction and landscaping.
Kaitiakitanga is also evident in the construction phase of the project. The construction of Tūhoe Te Uru Taumatua significantly boosted the local economy and tourism within the area. This created competitive bidding opportunities from local businesses which fostered employment and skill development opportunities for locals in construction and landscaping fields. Tūhoe youth gained insights into Tuakau Timber's unique fabrication system sparking inspiration for future leaders in engineering and carpentry. Moreover, locals acquired the craft of shaping clay into bricks. From its outset, Tūhoe's vision was to nurture both its people and its Whenua, a commitment upheld throughout the entire project's duration.
Ground floor plan of Te Uru Taumatua. Diagram by Taituarā, 2024. Not to scale.
TRIBAL CHAMBER
KITCHEN
CAFE
OFFICE (MEZZANINE ABOVE)
LIBRARY
ARCHIVES
ARCHIVES
STAGE
ĀTEA
The material choices and process in collecting them for the site can be seen as a way to integrate Kaitiakitanga and Whenua into the sustainable design of the project. This can be seen in the following ways:
-
Native timbers for Tūhoe Te Uru Taumatua were sourced from Te Urewera by finding and collecting dead and fallen trees in the Tūhoe Rohe (boundaries). These included Totara (used in cladding), Matai (flooring and balustrades) and Rimu (cabinetry and shelving). Pine from the Kainaroa forest was used for the structural posts and beams.
-
Clay sourced from various areas and streams within Te Urewera were used to handmake the earth bricks walls. This served multiple purposes of temperature control, characteristic aesthetic and showed that this traditional construction technique is applicable to modern buildings. It also provides a deeper connection between the people and the building through the knowledge that the soil from their Whenua, shaped by their hands, was an integral component of the Whare.
-
Extensive mechanical fixings and a reduced use of adhesives enable future recyclability, reducing material pollution.
-
During the building phase, onsite recycling was carefully monitored to ensure the construction process had minimal negative effects on the Whenua and wider environment.
3
Left: Interior materiality of tribal chamber. Right: Handmaking earth bricks sourced from Te Urewera. (Photograph by Unknown Photographer. 'Tūhoe Te Uru Taumatua' from Te Kura Whare (jasmax.com))
CROSS SECTION STUDY
Kaitiakitanga can further be explored through the cross section as it highlights design solutions that extend beyond conventional green practices. These moments are highlighted and each point has a corresponding marker in the plan for your reference below:
1
2
5
4
Long section of Te Uru Taumatua. Diagram by Taituarā, 2024. Not to scale.
The following features can be recognised as Tūhoe's dedication to Kaitiakitanga, going beyond acceptable requirements for the sake of their Whenua and people:
-
Water and Solar Collection: Achieving net zero energy and water through power generation and on-site water treatment for public power and water use.
-
357 solar panels to fulfil the entire electrical demand, complemented by emergency batteries capable of storing a week's worth of electricity. Additionally, an industrial-scale solar hot water system provides for all water needs, including those of the offices and café.
-
Water collection and purification from roof stored underground and a dedicated fire tank ensures sufficient supply for sprinklers in case of fire emergencies. The site also employs a botanical wastewater system that gathers solid waste in two septic tanks and purifies discharged water over a ten-day process through planted wetlands.
-
Multipole earthquake shear-resistant system and elevated location to protect it from floods and earthquakes (common in area). The building acts as an emergency civil defence centre for the community.
-
Low operational carbon emissions provided by thermal mass of 5,000 locally made earth bricks, a 'warm roof' system, cross ventilation and a night purge system.
UARA SUMMARY
The diagram below provides a summary for the points discussed, showing the driving uara of this project and the key design elements for each. As many of these uara are interrelated, some design elements may appear in multiple categories.
KAITIAKITANGA
WHENUA
Productive Landscapes
Productive Landscapes
Monitored Construction (Recycling)
Monitored Construction (Recycling)
Ceremonial and Performance Spaces
Long-Term Planting Plan
Solar Collection
Natural, Local Materials
Water Collection and Purification
Water Collection and Purification
Education and Upskilling of Tribal Members
Earth Bricks and Natural Timbers
TŪHOE TE URU TAUMATUA
TIKANGA
Ātea
Productive Landscapes
Ceremonial Spaces
Contemplative Areas
TWIN HOUSE
Location: 11A Middleton Rd, Remuera
Architect: Scarlett Architects - Jane Aimer and Lindley Naismith
Though all five values are present in this project, Whakapapa and Tikanga are the driving uara and have been highlighted over others.
Courtyard view of Twin House (Photograph by Partick Reynolds. 'External Courtyard' from Scarlet Architects)
PROJECT SUMMARY
Architects Jane Aimer and Lindley Naismith of Scarlett Architects decided to undertake a personal project in designing their own homes. The Twin House reflects not only a unique approach to housing but also a commitment to Tikanga and Whakapapa. Described as a "social experiment," the townhouses feature connecting elements, emphasizing the idea of mutual support among the two families. The success of this living arrangement is attributed to the residents' conscientiousness, collaboration, and a shared commitment to non-imposition.
CONCEPT
The current costs of home purchase and rentals in comparison to income levels has led to changes in housing throughout Aotearoa. As a result, it is now common for design approaches to consider the dynamics of multiple generations and cohabitation. The Twin House approaches this co-living concept in a modern setting, showcasing adaptability to evolving multigenerational living. It accommodates scenarios where aging parents live nearby, and adult children return home. This living arrangement resonates with Māori culture, where shared family homes across multiple generations are not uncommon. In such setups, considerations prioritize Whakapapa over personal property, and successful implementation relies on adhering to personal Tikanga practices.
PLAN STUDY
The layout of the internal program features a single floor plan mirrored along the centre of the property, which earns the project the title: Twin House. The four storey, split-level dwelling accommodates two dwellings for two families in such a way that a sense of community and interaction is encouraged. Thus, an aspect of Whakapapa and Tikanga can be explored as the design seeks to balance communal and private spaces, as well as accommodating both single and multi-generational needs. Some key design decisions that foster this exploration are highlighted in the following plan diagram:
BASEMENT FLOOR PLAN
GROUND FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAN
GARAGE
GARAGE
LIVING
LIVING
KITCHEN/DINING
KITCHEN/DINING
COURTYARD
COURTYARD
BED
BED
STUDY
BED
BED
BED
1
2
2
3
3
3
3
Floor plans of Twin House showing seperate and shared components. Diagram by Taituarā, 2024. Not to scale.
-
Promoting an aspect of Tikanga involves balancing communal and private spaces. In separating moments of interaction (shown in blue) from daily living, each family gains autonomy in managing their households according to their individual needs. Simultaneously, this approach integrates the benefits of co-living, including reduced costs, Whanau/community support and social engagement, into daily routines. However, adherence to communal Tikanga practices by both households becomes essential in maintaining this arrangement.
Moments of Interaction (shown shaded):
-
Shared entry and stairway
-
Back gardens made accessible to either side by means of a large sliding door in the centre of the courtyard plan which can be closed for privacy
-
Shared roof deck above third level with spa.
The shared entry and stairway can be seen to serve as a physical and symbolic focal point for the project, supporting interactions, connections and providing a shared sense of belonging. Exaggerated in height, it can be recognised as a key moment, reflecting on the Tikanga practices within the dwelling, establishing the home as a cohesive living experience.
Each home has its own personalised stairwell which provides a central point for interaction between levels as well as bringing an abundance of natural light into the deep plan. Just as the communal areas foster interaction between the two families, the connection between levels supports interaction within each family. This gives the tall, deep houses the potential to nurture the inclusive ideas of Whakapapa, integrating each layer together. (see Section Study)
2.
3.
Street view of Twin House, showing reflected facades and exaggerated entrance size. (Original photograph edited by Taituarā, 'Twin House' from Stuff)
CROSS SECTION STUDY
Whakapapa can be recognised as a consideration in this design, the understanding of which is assisted through the following cross-sectional diagram. Considering Whakapapa as the layering of knowledge or information (see Whakapapa), this project delves into the idea of metaphorically layering generations through multi-generational living. The following highlights some ways in which this project facilitates such a living arrangement and in doing so, placing emphasis on the potential needs of the inhabitants.
Long section of Twin House. Diagram by Taituarā, 2024. Not to scale.
-
The visual connections in the shared stairwell establish a feeling of openness, fostering potential interactions within the family. This configuration holds the promise of cultivating dynamic relationships while also facilitating the separation of spaces as needed.
-
The co-habitation between the two distinct households and within the individual families, has the potential to lower ownership costs, livings expenses and rates. This arrangement enables intergenerational financial support within the families. Though, this idea of support extends beyond economic consideration as each generation is able to contribute to the family dynamic, providing physical, emotional and pragmatic support to each other.
-
Technically classified as a two-bedroom townhouse, the openness and flexibility of spaces enable the creation of additional rooms as needed. With spaces like the study, a second living area and garage, these areas can be easily modified to accommodate extra bedding or serve different purposes. his design approach not only provides practical solutions but also supports families in multigenerational living arrangements by fostering a versatile and dynamic living environment that can evolve with changing needs.
Twin House design showcases Whakapapa by acknowledging the significance of interactions within each layer of the family unit. Understanding how individual layers work together as collective is a crucial aspect of Whakapapa (mirroring how knowledge from the past intricately interweaves into the present and future).
Private stairwell connecting levels within single dwelling with lightwell admitting natural light into plan. (Photograph by Patrick Reynolds. 'Stairwell' from Scarlet Architects)
UARA SUMMARY
The diagram below provides a summary for the points discussed, showing the driving uara of this project and the key design elements for each. As many of these uara are interrelated, some design elements may appear in multiple categories.
WHAKAPAPA
Flexible Floor Plan
Connection Between Levels
TWIN HOUSE
TIKANGA
Shared entryway
Connecting Spaces
Material Choices/Changes
Elevational Changes
CITY TO SEA BRIDGE
Location: Jervois Quay, Wellington
Architect/Designer: Athfield Architects, Rewi Thompson and John Gray with Paratene Matchitt (Sculptor)
Though all five values are present in this project, Whakapapa and Whenua are the driving uara and have been highlighted over others.
Aerial view of City to Sea Bridge and Wellington Civic Square (Photograph by Athfield Architects. 'Wellington Civic Square', from Athfield Architects
PROJECT SUMMARY
The City-to-Sea bridge, commissioned by Wellington City Council, connects Whairepo Lagoon and Te Ngākau Civic Centre. Before the 1980s, the Wellington waterfront lacked public access, serving as an industrial area. Following the relocation of the Wellington ports to Kaiwharawhara, Wellington City Council saw an opportunity to transform the now vacant industrial area. The City-to-Sea bridge reaffirms public access to the Wellington Waterfront by connecting Whairepo Lagoon to Te Ngākau Civic Centre.
Thompson, Grey and Athfields took the opportunity to physically enhance Pūrākau (narratives/stories) of the area. This act restored cultural identity to the public space The City-to-Sea bridge explores the relationship between Whakapapa and Whenua by showcasing how cultural differences shape public space use.
CONCEPT
The pedestrian bridge weaves together the Whakapapa of the place and people, telling Pūrākau that reference voyages, landforms and materials significant to the Wellington region. A dominant Pūrākau of the design recounts the creation story of the North Island, where Māui used the jawbone of his ancestor, Muri-Ranga-Whenua, as a fishhook to haul up a great fish from the ocean. This fish became the North Island of Aotearoa or Te-Ika-a-Māui (The Fish of Maui). This narrative weaves the project together in such a way that the physical bridge connecting Whenua and the sea, is also able to emanate uara of Whakapapa, standing as a cultural bridge between the past and the present.
SITE STUDY
The site plan reflects a deliberate attention to the progression of visitors from Jervois Quay/Whairepo Lagoon towards Wellington City. This carefully crafted journey incorporates Pūrākau which align with the movements of visitors on site, providing a continual revelation of the place and people at every point along the way. This can be understood through the following design features:
TO WELLINGTON CITY
WHAIREPO LAGOON
Site diagram of City To Sea Bridge/Te Aho A Maui showing the progression of visitors through the narrative of the design. Diagram by Taituarā, 2024. Not to scale.
1
CITY TO SEA BRIDGE
WELLINGTON CIVIC SQUARE
TE AHO A MAŪI
6
5
4
3
2
The key points and Pūrākau along this journey are highlighted as follows:
1.
On this side, two timber whale tails are incorporated into the barrier of the bridge. These represent the two Taniwha from Māori legends who were responsible for shaping Te Whanganui-a-Tara (Wellington Harbour): Ngake and Whātaitai. The two taniwha brothers lived in a freshwater lake and, longing for the sea, would ask the sea birds to describe the vast ocean. Eventually the lake became too small for the growing Taniwha, and they decided to break free. Ngake, energetic and adventurous, leapt from the lake crashing into cliffs, creating a pathway to Te Moana o Raukawa (Cook Strait). Whāitaitai followed suit, though his slower take-off left the lake in a more gradual manner, causing less destruction than his brother.
Ngake and Whātaitai's tails as they leap from the harbour the sea. Photograph by Bronwyn Holloway-Smith. 'Taniwha Tails' from PublicArtNZ)
2.
On this side of the bridge, two Manu (birds) sculptures sit above the bridge and passive traffic, welcoming people in with open wings. These could be symbolic of the sea birds which would describe the realm of Tangaroa (god of the sea) to the Taniwha brothers.
The incorporation of both the Manu and Taniwha sculptures on the bridge serves as a lasting tribute to the harbour's creation. Symbolically, it guides individuals along the bridge, representing the journey from the harbour to the sea, a transformative gift bestowed by the taniwha.
The welcoming sea birds looking over the harbour. (Photograph by Bronwyn Holloway-Smith. 'Sea Birds' from PublicArtNZ)
3.
The tall celestial pou sculptures which stand on the bridge depict stages of the moon and stars. They represent wayfinding, the method by which Polynesian ancestors would use celestial bodies to navigate the great oceans, and eventually find their way to Aotearoa. In a similar way, people arriving at the waterfront can follow these sculptures to find their way to the city.
Some of the star and moon sculptures were also inspired by Te Kooti (a Māori military leader and prophet) and his flag, Te Wepu. Para Matchitt pays homage to the cultural and spiritual elements significant to Te Kooti and his followers. This integration underscores the enduring impact of Te Kooti's philosophies on the contemporary cultural landscape.
The Celestial Pou guiding people towards the city. (Photograph by Bronwyn Holloway-Smith. 'Celestial Pou' from PublicArtNZ)
4.
5.
An eight-meter-high pyramid stands between the bridge and the Civic Centre and symbolises a landward Maunga (mountain), representing Te Ika a Maui, which Māui pulled from the sea. The capstone of this Maunga is made from solid pounamu, a Taonga (treasure) which symbolises the precious nature of the Whenua gifted by the demi-god.
Te Aho a Māui, the fishing line of Māui, is represented by a braided path starting at the bridge. As if cast by Māui, the pattern begins on the seaside, surging towards the Whenua and cutting through the Maunga before unravelling towards the city.
CROSS SECTION STUDY
The section aids in understanding the progression discussed in plan (see Plan Study) while adding an understanding of how key aspects of the Whenua are incorporated into the design:
2
3
1
WHAIREPO LAGOON
TO WELLINGTON CIVIC CENTRE
Long section through Whairepo Harbour, City to Sea Bridge and Te Aho a Māui. Diagram by Taituarā, 2024. Not to scale.
-
The walkway leading from the lagoon to the bridge enables visitors to engage in the narrative by approaching Whenua from the sea, as wayfaring ancestors would have done. This incorporates the land bridge with the sea, despite not physically running over the water.
-
The bridge runs over the existing main road, linking the civic centre with the sea and passing visitors though the Pūkākau, sharing the Whakapapa of the Wellington Whenua.
-
Moving down the braided pathway, one is physically moved through the Maunga, symbolically entering into the Whenua that Māui hauled from the sea.
UARA SUMMARY
The diagram below provides a summary for the points discussed, showing the driving uara of this project and the key design elements for each. As many of these uara are interrelated, some design elements may appear in multiple categories.
WHENUA
Te Aho a Māui
Taniwha Sculptures
Celestial Pou
Maunga Sculpture
CITY TO SEA BRIDGE
WHAKAPAPA
Te Aho a Māui
Taniwha Sculptures
Celestial Pou
Maunga Sculpture
LOOKING UP SKIRTS
Location: Masters Thesis, The University of Auckland, 2011
Architect/Designer: Raukura Turei
Though all five values are present in this project, Whakapapa is the driving uara and has been highlighted over others.
Perspective collage of proposal showing the structure relating to Whenua and the sea. (Collage by Raukura Turei. Workshop/Rehearsal Configuration from Looking Up Skirts).
PROJECT SUMMARY
This design thesis honours Whakapapa, Whenua and Āhuatanga as it explores an architectural interpretation of whare tapere – a term used to describe theatrical and performing arts spaces within the Māori context. The difficulty of this project comes from its efforts to create a material proposition for a space characterised by collective enjoyment. Additional complications arise in the lack of physical precedents remnant from the pre-colonial era, relying solely on oral narratives which describe experience rather than physical structure. Historically, a Whare tapere, in their simplest form, is a space next to a fire or under a large tree or upon open ground. A Whare tapere is where entertaining activities such waiata (song), pūrākau (stories), and taonga pūoro (musical instruments) took place.
Looking Up Skirts explores the whakapapa of Whare Tapare through a design making process. The design output of this project is a exploration around translating a performance within a Whare Tapere context, into a tangible architecture. By prioritising a Whare Tapare specific tikanga based on whakapapa, this work steers away from modern Western biases related to performance space design.
CONCEPT
In collating the existing fragments of knowledge surrounding whare tapere, this project delves into the whakapapa behind the space as well as acknowledging a need for a contemporary language to describe Māori performative spaces. The Whakapapa specifically focused on in this work can be found in the title, Looking Up Skirts. Looking Up Skirts makes reference to the narrative of Hine-Te-Iwaiwa and her dancing troupe who danced before the spiritual leader, Kae, and captured him as retribution for killing her husband’s pet whale, Tutunui. ‘Te Hiki a Hine-Ruhi’ refers to the lifting up of their skirts, a seductive ploy intended to reveal the identity of Kae. This project is deeply rooted in the whakapapa of Whare Karioi (travelling performance space) to reinterpret it in a contemporary setting.
Hine-te-iwaiwa, goddess of childbirth and Te Whare Pora (the house of weaving). She represents the arts pursued by women. (Painting by Robyn Kahukiwa. 'Ko hine te iwaiwa, ko hine korako, ko rona whakamau tai', from Te Papa).
PLAN STUDY
Raukura’s explorations focused exploring on the performative aspects of the project, before considering the architectural proposition. This transition from the conceptual to the formal required an isolation of moments from previous relational drawings, and considering them as spatial qualities, allowed her to create a physical structure which interacted with both the sky and ground.
In alignment with the project’s reliance on Whakapapa and Whenua, key characteristics of this project are influenced by the honouring of Māori traditions, as interpreted by a modern world.
ENTRANCE/POWHIRI
WORKSHOP
WORKSHOP/TEACHING SPACE
DANCE SPACE
CENTRAL OPEN SPACE
NURSERY (HARAKEKE, KARETU ETC.)
ABLUTIONS
HOSPITALITY
WORKSHOP
WORKSHOP
Floor plan of architectural proposal showing key design elements influenced by Whakapapa. Diagram by Taituarā, 2024. Not to scale.
4
-
The temporary nature of the structure itself lends itself to be the transient nature of Tapere, honouring the Whakapapa of the traditional performative space while yet allowing contemporary experimentations of traditional arts to be practiced here.
-
The contemporary model represents a seasonal occurrence during the spring and summer months, aligning with the Māori calendar. Just as the state of the land is temporal, this timing of performances is also related to seasonality and temporality. Following this pattern honours the relationship between the Māori and their whenua. Key features of the project which relate to this temporality include:
-
An adaptable performance venue
-
A flexible temporary structure
-
Orientation toward the sea/water and a landscape suitable for planting a native nursery
-
Contextual theatre which challenges the idea of architecture being fixed and enduring.
-
Acknowledging the conditional aspects of architecture and challenging the notion that buildings must conform to specific programs and predetermined uses.
-
Top Left: Relational Drawing. Top Right: Conceptual Plan 2. Bottom: Final Roof Plan (Drawings by Raukura Turei. 'Relational Drawings' from Looking Up Skirts).
CROSS SECTION STUDY
The ways in which the final form shows an integral consideration to whakapapa can be seen in the following ways:
Exploded Section of proposal structure. (Drawing by Raukura Turei. 'Structural Assembly' from Looking Up Skirts).
-
The roof structure and ceiling are the dynamic elements of the proposal. The construction and materiality fulfil the specific needs of the venue but also lend themselves to the immersive experience in the way that it performs with the environment. The dynamic nature of the ceiling is similar to the allure of Hine-Ruhi and her dancing troupe, where the full experience of the ceiling unfolds only once one is beneath the structure.
-
The ceiling of the acoustic space is lines with a lattice of diamond-shaped silver beech panels. The parabolic shape of the ceiling offers optimal acoustic conditions, particularly for the performance of vocals and wind instruments.
-
The contemporary, practical requirements of the whare tapere are fulfilled through the light-frame CHS trusses which act both as a structural frame and the fly tower, containing the technical equipment required to support the modern performances.
-
As a reflection of the coming to form of Te Ao Marama, acoustic and lighting qualities change throughout the space as a result of the ceiling design.
-
As the whare tapere was likely not a permanent structure, the choice of site is not as important to the design as the way that the built form connects to the ground and sky and the way the different workshop/rehearsal spaces relate to their settings and each other.
-
A rubber hinge between the lattice spanning each truss allows for tolerance given varying locations, as well as easy transportation of the structure. Earth tones (yellow ochre and sienna) tint the glazed panels, giving the impression of looking up the skirt of a tree.
-
Similar to the Māori view of experiential space, light and sound are treated as materials and matter which describe a sense of physicality that connects the ground and sky, or Papatūanuku and Ranginui.
The different configurations of space are centred around the following performative requirements:
-
Wananga (Workshop/Rehearsal Configuration - Section A)
The first configuration of space is open to the wider setting, giving an unobstructed connection with the environment. This configuration is designed for powhiri (welcome ceremony), wananga (workshops/teaching/rehearsals), playing of games and storytelling. -
Whakaari (Collaboration/Performance Configuration - Section A)
The second configuration encloses the central open space. The ceiling condition allows natural light to enter during the day, and artificial light to flood out at night. It is designed for the performance of various arts as well as a hakari (sharing of food). Due to the flexible nature of the structure, there are no definitive configurations for audience/performers and the central space acts as a participatory space for both groups alike. The relationship between the two cannot be prescribed, but determined through the wananga process.
WHAKAARI CONFIGURATION (OPEN)
WANANGA CONFIGURATION (CLOSED)
Section B (Drawing by Raukura Turei. Collaboration/Workshop Configuation' from Looking Up Skirts).
UARA SUMMARY
The diagram below provides a summary for the points discussed, showing the driving uara of this project and the key design elements for each. As many of these uara are interrelated, some design elements may appear in multiple categories.