Heritage Quarterly, Kōanga Spring 2023

Recognising the layers of history at Ōrua-Pouanui Baring Head

WORDS: Kerryn Pollock IMAGES: Heritage New Zealand Pouhere Taonga

Situated on the exposed southeastern coastline of Wellington's Harbour entrance, Ōrua-Pouanui

Baring Head, has recently gained recognition as a historic area on the New Zealand Heritage List Rārangi Kōrero. This listing acknowledges its status as a site with multiple significant historic places, each holding a diverse range of captivating stories.

The name Ōrua-Pouanui pays tribute to the den or retreat ("rua") of the ancestor Pouanui. A cave nestled in the rockface beneath the Baring Head lighthouse is believed to have been his refuge, adding an intriguing layer to the area's history.

Nearby, within the confines of East Harbour Regional Park, lies the site of Parangarahu, a pā situated atop the present-day plateau of Fitzroy Bay. The strategic positioning of Parangarahu allowed its inhabitants to keep a watchful eye over the harbour while

being conveniently close to the abundant kaimoana and the eel-filled lagoons of Kōhangapiripiri and Kōhangatera, two picturesque inland lakes. Today, these lakes are accessible to day hikers, who can embark on a round trip from the historic Pencarrow Lighthouse, a

Baring Head lighthouse and the CO 2 monitoring station.

Category 1 heritage site cared for by Heritage New Zealand Pouhere Taonga. Near to the shoreline, just below the road connecting Ōrua-Pouanui Baring Head to the nearby town of Wainuiomata, remnants of stone walls constructed by Te Ātiawa horticulturalists in the 19th century can still be seen. These remnants serve as a testament to the rich cultural heritage and agricultural practices of the region.

In 1920, the land passed from Te Ātiawa to William Cruikshank and then Eric Riddiford, who incorporated it into a vast station for farming. Riddiford donated the headland to the Crown for the construction of a lighthouse, subsequently replacing the nearby ageing Pencarrow light. The Baring Head lighthouse, completed in 1935,

was a pioneering achievement as the country's first fully electrified lighthouse. It illuminated the coast with its beacon, accompanied by two timber keepers' houses, a concrete powerhouse housing a diesel generator, a garage, and other outbuildings.

In 1935, as international tensions escalated, Ōrua-Pouanui Baring Head became an integral part of New Zealand's coastal defence network. A concrete observation post and small barracks were erected above the lighthouse to oversee Raukawa Moana Cook Strait. Following the outbreak of WWII, additional military structures were built to fortify the complex, which remained staffed throughout the war.

A significant development occurred in 1972 when Dave Lowe of the Institute

of Nuclear Sciences established an atmospheric carbon dioxide (CO2) monitoring station in a small concrete building, once part of the naval signal station adjacent to the lighthouse. Lowe's groundbreaking work marked him as the first in the Southern Hemisphere and the second in the world to make continuous baseline atmospheric CO2 measurements, confirming the detrimental impact of human activities on the climate.

In 1988, the lighthouse was automated, and the station became unstaffed. Today, as part of Greater Wellington Regional Council’s East Harbour Regional Park, the lighthouse complex is undergoing restoration. In the not-too-distant future, the keepers’ houses will be available for overnight stays, attracting throughwalkers and bike packers who frequent the popular tracks in the area.

The land at Ōrua-Pouanui Baring Head has witnessed a myriad of transformative changes throughout its extensive history. With its inclusion in the New Zealand Heritage List Rārangi Kōrero, the stories embedded in this land will endure for generations to come, ensuring their preservation and appreciation. n

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The lighthouse complex, two keepers’ cottages and the powerhouse in between.

A forthright approach to heritage advocacy

WORDS: Andrew Coleman IMAGES: Heritage New Zealand Pouhere Taonga

Spring’s vibrancy revitalises our surroundings. Elvis Presley once sang, "Spring fever, spring is here at last. Spring fever, my heart's beating fast. Get up, get out." Like spring, heritage also restores and renews.

responsibility for heritage protection lies within the local government process mandated by the Resource Management Act (RMA). As the RMA undergoes reforms, this ongoing discussion will continue in the coming years.

In response to the recent strategy update from the Board and Māori Heritage Council, we have adopted additional priorities of directing and requiring But what does this mean for our core functions?

This edition of Heritage Quarterly showcases the ubiquity of heritage. It takes diverse forms— from cherished places to dedicated individuals and impactful events. We extend our gratitude to those who have contributed captivating stories and enlightening articles to this season’s edition.

It's crucial to acknowledge the oftenunsung heroes who work behind the scenes to ensure that heritage remains an integral part of our lives. While their efforts may go unnoticed outside of this organisation, the legislation, mandates, governance, and guidance on heritage play a fundamental role. These responsibilities are meticulously developed by our Board and Māori Heritage Council, with many of us serving as the driving force behind their implementation.

The Heritage New Zealand Pouhere Taonga Act 2014 establishes the principles and provisions that govern heritage through the appointment and functions of the Board and Māori Heritage Council. The Act also mandates our essential functions.

In fulfilling our core functions, we focus on identifying, conserving, preserving, and advocating for heritage.

The protection of heritage has long been a topic of discussion. Currently, the

Heritage covenants: Heritage New Zealand Pouhere Taonga will proactively encourage owners of historic places, historic areas, wāhi tūpuna, wāhi tapu, or wāhi tapu areas to adopt heritage covenants while ensuring adherence to covenant terms.

Archaeological authorities: It's crucial to note that Heritage New Zealand Pouhere Taonga serves as the regulatory body for archaeological authorities. We often remind people of this important role, emphasising the need for a clear distinction between our regulatory responsibilities and the roles of applicants and archaeologists working under an authority.

As the regulator, we are required to evaluate the skills, support, and resources of individuals acting under an authority or managing kōiwi. Additionally, for sites of significance to Māori, our assessment extends to include competencies for recognising and respecting Māori values, as well as accessing appropriate cultural support.

Heritage New Zealand Pouhere Taonga is obligated by law to assess organisations and individuals involved in archaeological authorities.

New Zealand Heritage List Rārangi

Kōrero: Developed by the Board and

Māori Heritage Council, our mission, strategic priorities, and direction underscore a particular focus on Māori heritage and Te Tiriti o Waitangi, which guides our allocation of time and resources in the listing process. The Board and Māori Heritage Council firmly believe that Māori heritage is underrepresented, which is why our current strategy emphasises addressing this disparity. The listing numbers speak for themselves, with 131 Historic Areas, 1,067 Category 1, 4,422 Category 2, one National Historic Landmark, 108 wāhi tapu, 78 wāhi tūpuna, and 78 wāhi tapu areas. We will continue to prioritise the heritage listings of sites significant to Māori.

Heritage New Zealand Pouhere Taonga remains dedicated to identifying, conserving, preserving, and advocating for heritage. We will proactively direct and require actions to safeguard our precious heritage. While, pleasingly, these efforts may not appear as a significant change to many, we assure you that our commitment to forthright advocacy for heritage will only grow stronger.

In conclusion, perhaps we can adapt the words of Elvis Presley to reflect our sentiment: "Heritage fever, heritage is here at last. Heritage fever, my heart's beating fast. Get up, get out. Heritage is everywhere." n

Andrew Coleman Chief Executive

Māngungu Mission, site of the largest signing of Te Tiriti o Waitangi, and cared for by Heritage New Zealand Pouhere Taonga.

A fond farewell: A tribute to a leader of the heritage sector

WORDS: Antony Phillips IMAGES: Heritage New Zealand Pouhere Taonga

After a career spanning more than 40 years in the cultural heritage sector, Sherry Reynolds recently stepped down as Director Northern of Heritage New Zealand Pouhere Taonga. Antony Phillips sat down with Sherry as she reflected on some of the influences and highlights of her career.

Isit down for this interview on a typical grey Auckland day, the type of weather that Tāmaki Makaurau and most of the country has experienced a lot of this year. A few weeks after leaving the job, Sherry has kindly agreed to host me at her home which she and husband David have shared since their student days. In contrast to the threatening weather outside, the interior is warm and inviting and adorned with interesting curios reflecting Sherry and David’s good taste and shared passion for material culture.

As we settle into a comfy sofa, I sense my interviewee is a little hesitant. “I’m not really one for being interviewed [about

myself] you know?” she proffers with a wry smile. “Think of it as a chat about your work and some of the developments you’ve seen during that time,” I gingerly reply.

We start by dipping into the early influences that led to such a career. “My family on both sides were very interested in heritage and family history. My father was American, and my mother was from New Zealand.” Trips to the Coromandel coupled with encouragement by Sherry’s mother were key influences in what would shape her professional life and personal interest. “We would go on camping holidays to the Coromandel and spend

time looking at shells and rocks and the reference books came too. We would also seek out residents to learn more about the local history, local farmers and local Māori and bach owners.”

A keenness to seek out professional advice added to the inspiration. “We would take trips to the [Auckland War Memorial] Museum and I was fascinated by the exhibition cases and the collections they housed and on one trip I asked the Curator how I could get a job here and he replied – get a degree!”

Sherry’s Master of Arts thesis was titled: “Museums and Archaeology,” and in addition to her working life, she put her qualifications and experience to good use in the voluntary sector. Stints on the Auckland Civic Trust Board and the Devonport Museum would become useful experiences, the latter Sherry served as its second President, a position which became somewhat of a launching pad for her career. “I was very appreciative of the opportunity to be involved with the museum in those early days, and it gave me much needed hands-on experience of what it was like to manage and run small museums.”

Her first museum role was as Auckland Museum’s first Museums’ Liaison Officer, a role that provided support and training to some 130 small museums across half of the North Island, eventually joining the ranks of the senior leadership as Assistant Director and Deputy Director.

Other experiences brought about by family members in her salad days were sources of inspiration. Readers familiar with the history of Auckland’s built environment will know of the former

Sherry Reynolds taking a break in the Auckland office.

Partington’s Mill on Symonds Street built in 1850 and demolished in 1950. The movement associated with its preservation brought public pressure on the then government which enacted the Historic Places Act 1954 and established the National Historic Places Trust, a forerunner to Heritage New Zealand Pouhere Taonga. Sherry’s grandfather, Howard Newcombe, purchased a small picture of the Mill for five pounds to support the fundraising efforts to save it. Sherry joined the Historic Places Trust and now owns this picture.

Recognising her immense expertise and commitment to the preservation of our historic heritage, Sherry was a ministerial appointee to the Historic Places Trust Board in 1983. She would go on to serve for 10 years as an elected member.

In 1993 she joined the staff as the Highwic Curator. “A role more hands-on with direct public contact, with responsibility for growing the visitor management and events business of the property,” says Sherry.

From here Sherry would step into leadership roles as the National Property Manager and Marketing Manager based in Wellington. Responsible for overseeing the national heritage property portfolio, the role was not without its challenges. “I arrived during some significant budgetary issues which required reorganisation, cost saving and increasing revenue, whilst leading important conservation projects, risk management, and introducing a seasonal operation model,” recalls Sherry. After the Kerikeri flood of 1981, and extreme weather events this year, the early risk management work undertaken has enabled improved preparedness. The seasonal operation model is still in place today.

A localist and regionalist at heart, combined with the pull of whānau (“and the cat” she hastens to add), drew Sherry home to Auckland and to take up the new role of General Manager Northern Region. The regional boundaries of her role, akin to the old Auckland Province of the 19th century, were also largely the same as the area covered when she was the Museums’ Liaison Officer with many networks already well-established. “I was on the MOTAT [Museum of Transport and Technology] Board, I’d covered the same area when at the Museum [Auckland War Memorial Museum], I was born and raised in Auckland and the family were based here so it was like coming home in a sense – although I loved my time living and working in Wellington and working on issues and solutions in other parts of the organisation.”

The chat moves to some of the highlights during her career, but Sherry is quick to acknowledge others. “To work in heritage, you cannot be a solo player. The results we have secured are from a network of colleagues across the organisation along with the guidance of [the] Board and Māori Heritage Council members, and in working closely and in partnership with our many diverse stakeholders.”

The Kerikeri Bypass and the removal of the Kerikeri River bridge Sherry points out as a highlight. “The design and the location of the bridge had caused substantial flooding to Kemp House and the Stone Store in 1981 and thereafter regular threats of flooding. This was an eight-year project of convincing others that the flooding risk was not just our problem. Critical to the success of the project was a visit by [the then] Prime Minister Helen Clark, who asked us to write to her. High-level advocacy led to a $19 million project, described at the time as one of the biggest capital projects in the district’s history, and it was fully funded by Government. Kemp House and the Stone Store managed to avoid high river levels and cyclone damage earlier this year.

Other places such as the Auckland Chief Post Office’s adaptive reuse into a train station, Aotearoa New Zealand’s first National Historic Landmark: Te Pitowhenua/Waitangi Treaty Grounds, and New Zealand War Commemorations, are among those that Sherry counts as career highlights. “Our recent school education project: Taonga Tuko Iho,

an online resource that aligns with the Aotearoa New Zealand Histories curriculum, that include virtual field trips and interactive educational experiences for students to explore our places – are also a highlight.”

There have been many changes in the sector during the time of Sherry’s involvement, particularly the role of women. “There are more women in management roles today and a lot more younger women entering the profession. When I was travelling often [for business travel] you would get on a plane and see only three or four other women – a lot has changed now.” Sherry notes the bicultural changes also. “The role of iwi and hapū in the decision-making process and relationship building has much improved.” The use of digital technology “our new website,” she points out, “and the Heritage Trails app for those looking for interesting journeys and itineraries,” were two examples she cites as connecting to new audiences.

Friend and colleague, Senior Conservation Advisor, Robin Byron, notes the value and efficiency Sherry has brought to her role and the organisation, “Sherry’s wealth of knowledge and experience was a valuable guiding hand. She unfailingly met the fine line between best practice heritage responses and the upholding of the values of places, and the reasoned, and reasonable pragmatic solutions that made heritage fit and relevant in the here and now,” Robin recounts.

“Most of all, I have loved working with the people, both at the New Zealand Historic Places Trust and Heritage New Zealand Pouhere Taonga, inside and outside of the organisation that I truly loved,” Sherry reflects.

When I ask Sherry what the next steps are, she takes a deep breath and looks around the sitting room and out of the window. “There are many projects to tackle, Antony! – the gardens, the ongoing restoration of our heritage cottage in Northland, spending time with whānau and friends, more family history and my many [heritage-related] interests.”

“I think you will be busier now than before,” I suggest.

And with a gleeful twinkle directed towards her husband; “Yes we will, won’t we Dave?” n

Sherry reviewing historic maps with Heritage Assessment Advisors Alexandra (left) and Martin (right).

Bequest making significant impact on South Canterbury heritage promotion

WORDS: Rosemary Baird IMAGES: Nigel Gilkison

From its modest beginnings in 2017, and now with additional support from Heritage New Zealand Pouhere Taonga, the Blue Plaques programme has grown and gained recognition throughout Aotearoa New Zealand.

With a total of 40 plaques installed around the country to date, they can be found on heritage buildings and sites in Waitaki, Waitaha Canterbury, Manawatū, Whanganui, Ōtautahi Christchurch, Te Whanganui-aTara Wellington and Tāmaki Makaurau Auckland.

With the aim of the programme to encourage locals and visitors to explore New Zealand’s unique cultural and architectural heritage, the plaques tell our amazing stories, build pride in our streetscapes, and pique interest in our heritage. They encourage and reward building owners to reinvest in their heritage buildings and conserve them for future generations.

Nigel Gilkison of Historic Places MidCanterbury (HPMC) initiated the Blue Plaques programme in 2017. “The idea was for local heritage organisations to positively engage with their communities and to produce a tangible, long lasting educational message about the value of our local built heritage and the importance of preserving it,” he says.

The number of South Canterbury plaques has been greatly boosted thanks to the generous bequest from a late South Canterbury woman. The bequest was

Blue Plaque at St Patrick’s Church, Waimate.

gifted to Heritage New Zealand Pouhere Taonga, to allocate to South Canterbury heritage projects. The South Canterbury Historical Society successfully applied for $20,000 from the bequest and partnered with the Timaru Civic Trust to install 13 new plaques in South Canterbury. By making the plaques in two bulk orders, they made considerable savings on production costs.

“The more recent plaques have gone up in the wider South Canterbury area, outside of Timaru, in an effort to spread their reach,” says Nigel. Recent plaques

have been installed at the Pleasant Point Railway Station, the Eleanor Tripp Memorial Library (Woodbury), St Patrick’s Basilica (Waimate), St Mary’s (Esk Valley), St Augustine’s (Waimate) and The Vicarage (Geraldine).

Nigel sees the project as a ‘grassroots’ approach to local built heritage promotion and protection, with the community and local heritage groups leading the way, “Rather than representing one owner, you want to make sure the information on the plaque represents the whole history of the building and why it’s significant. It can be difficult to distil that down. These plaques are a bit like a tattoo. You have to get them right for the long term.”

The project has been strongly supported by Historic Places Aotearoa nationwide. Helen Craig, Deputy Mayor of Whanganui, and an executive member of Historic Places Aotearoa, has driven a project creating a Blue Plaques website (blueplaques.nz) that maps the locations of each Blue Plaque, along with the historical information. Helen also introduced the Blue Plaques to the Whanganui region, where it is being run locally by the Whanganui Regional Heritage Trust.

The Blue Plaques programme is open source and free. “We have written a full technical guidance booklet about

procuring and installing Blue Plaques,” says Nigel. “There is quite a lot of work in each plaque: you need to get ownership permission, funding, check with the local council planning officer, research and write the plaque wording. So, we want to encourage local groups to take on the challenge and run the process themselves.” n

“Bequests can make a huge difference to heritage promotion and preservation,” says Brendon Veale, Manager Supporter Development at Heritage New Zealand Pouhere Taonga. “We ensure that all gifts left in a Will to our organisation are directed towards ‘transformational’ projects – those projects that ensure the long-term survival of a significant heritage place or site, through restoration, repair, strengthening or similar work. In this way, supporters can rest assured that their legacy will contribute to keeping our precious heritage places and their stories around for generations to enjoy. If you are considering leaving a gift for heritage in your Will, it needn’t be complicated”, says Brendon.

“Contact us directly to talk through your wishes”

Close up of Blue Plaque, St Patrick’s Church, Waimate.

Blue Plaque installed at The Vicarage, Geraldine. Owner Michael Baker (left) and Neil Gilkinson (right).

Echoes of a thriving maritime legacy at Wellington's historic Patent Slip

Nestled along Wellington’s picturesque Evans Bay, a bustling hub of recreational activities, lies a hidden tale of maritime grandeur.

As the spring sun draws out crowds to its shores for leisurely pursuits, few are aware of the captivating history that unfolded here over a century ago.

Back in 1873, amidst the idyllic scenery, a revolutionary attraction emerged — the first-ever patent slip in Aotearoa New Zealand. This engineering marvel became a spectacle in itself, drawing large crowds as majestic ships navigated Wellington Harbour and were deftly lifted onto the slip for essential maintenance.

Originally conceived as an economical alternative to a dry dock, the patent slip was devised in the 1860s, fuelled by the ambitious plans for the Panama Canal, half the world away.

The late Gavin McLean, a former historian for the predecessor of Heritage New Zealand Pouhere Taonga, noted in his book ‘100 Historic Places in New Zealand’ that in the 1860s plans for the Panama Canal provoked a display of “cargo cultism” from the Wellington Chamber of Commerce. The Chamber, he reported, believed that Wellington had only to build slipway facilities for mail liners to make the city their Pacific mail terminal.

When the canal project was put on hold, the grand vision did not come to fruition.

“However, a British firm had sent hundreds of tonnes of machinery to Evans Bay in 1866 where it sat for five years until locals, backed by British investors, formed the

Wellington Patent Slip Company,” reports McLean. The wheels were set in motion.

Construction commenced in 1871 and, two years later, the patent slip stood as a testament to engineering excellence. The 180-foot cradle, weighing 200 tons, glided smoothly along parallel rails, powered by two steam engines. Crossing the coastal road, two chains expertly lifted vessels out of the water and lowered them back down, controlled by a cogwheel winch. Enhancing communication with ships, a 500-foot (150m) jetty served as a vital lifeline.

In May 1873, the barque Cyprus, weighing 316 tons, became the inaugural ship to grace the slipway. Its successful launch marked the beginning of an illustrious era, with the media heralding the slipway as "the finest and largest in the Australian colonies," capable of accommodating vessels up to 2,000 tons.

As time wore on, the Wellington Patent Slip faced mounting challenges. By the late 1890s, the clamour for a dry dock grew louder, citing the slip's inability to handle the burgeoning size and number of visiting ships. Responding to the call, the Wellington Harbour Board acquired the slip company's assets in 1908, leasing the operation to the Union Steam Ship Company on the condition that a second slip be constructed.

In 1922, the second slipway materialised, etching another milestone in Wellington's maritime chronicles. For four decades, the Union Steam Ship Company dutifully managed both slips. However, by 1969, the slipway's grandeur began to fade.

The Wellington Harbour Board assumed control once again, decommissioning slipway number one while upgrading its counterpart. The once-famed spectacle of ships traversing Evans Bay Road, causing traffic disruptions, a pressing concern for the board, gradually dwindled.

WORDS: David Watt IMAGES: Wellington Maritime Museum, Victor Young, Heritage New Zealand Pouhere Taonga

The former Patent Slip today. Image: Heritage New Zealand Pouhere Taonga

Finally, in 1985, the curtain fell on the Patent Slipway era. The buzz of ships and the sight of them crossing the road faded into memory. The site succumbed to demolition, and its remnants found new homes in museums or were sold as scrap. The land was filled to pave the way for a housing subdivision, forever altering the landscape.

Looking back, the Wellington Patent Slip welcomed a myriad of renowned passenger ships, including the iconic Tamahine of the Union Steamship Company. These vessels, serviced on the slip, plied the waters between Wellington and Picton, leaving an indelible mark on Aotearoa New Zealand's maritime heritage.

Recognising its historical significance, Heritage New Zealand Pouhere Taonga bestowed the patent slip site with a Category 2 heritage listing in 1982. Subsequently, the Wellington City Council reimagined the area as a heritage zone in 2003, now affectionately known as Cog Park.

Today, a shadow of its former glory, the Patent Slip area stands as a poignant reminder of a once-thriving maritime industry. A modest green space on the land side, accompanied by a solitary café, marks the vestiges of a bygone era. The road that now cuts through to Cobham Drive and Kilbirnie disrupts the visual narrative, making it difficult to envision the slipway's former grandeur. Those sipping their coffees in the nearby cafe, or zipping by on a weekend bike ride, will be forgiven for being unaware of the historical significance of the area.

Yet, amid the remnants of the slipway and the display cogwheel, the legacy endures, serving as a testament to the intricate complexity of a maritime industry and spirit that once thrived at the shores of Evans Bay. n

Holmburn (right), on the slip in the late 1950s and the Willowmee, Pearl Kasper Shipping Co. of Nelson on the left. Image: Wellington Maritime Museum

Tamahine, which sailed between Wellington and Picton from the late 1920s until the early 1960s. Image: Victor Young

Staff Profile: Darran Kerei-Keepa

Māori Heritage Advisor (Ngāti Kuri, Ngāti Wairakei, Ngāi Tahu)

For avid readers of Heritage Quarterly, Darran may be a familiar face, having featured in an article in the Autumn 2022 edition. Now part of the team at Heritage New Zealand Pouhere Taonga, Niki Partsch explores Darran’s journey to his current role.

WORDS: Niki Partsch IMAGES: Heritage New Zealand Pouhere Taonga

Q. Tell us a bit about your background.

A. I have three adult children – two daughters and a son, and I have one moko, Tamati, born seven weeks ago. I’m from Kaikōura and have lived and worked there for a long time. I have also lived in Mohua Golden Bay where I was involved in cultural monitoring and archaeology, which kind of got me started on the road I’m on now.

Working in Mohua Golden Bay as a cultural monitor with Ngāti Rarawa and Ngāti Tama I realised that I needed to go home to do my mahi so I went back to Kaikōura.

I have worked in archaeology and as a cultural monitor for around 25 years. I led the cultural monitoring for the rebuild following the Kaikōura earthquake of 2016. This involved working closely with the 40 archaeologists that were involved in the project.

Q. How did you come to be working here?

A. A friend, Dr Jeremy Haberfield, saw the job advertised and suggested that I apply. Coming to Pouhere Taonga seemed be a natural progression for me. Primarily it was to offer my skill set within the Māori heritage space where I can utilise the experience I have gained over the years. I took the job because I wanted to ease the archaeological authority process for Māori. At the end of the day, it’s a form of compliance, so if I can make it easier then that’s really important.

Q. What does your current role involve?

A. Delivering a Māori heritage view within the archaeological authority process. Making sure appropriate consultations have taken place with mana whenua when looking at proposed works that may affect Māori archaeological values.

Q. What are the best parts of your work here?

A. I suppose the best part of the job would be getting to know the hapū and iwi of different regions and understanding their needs and aspirations. I also enjoy the interaction with my regional archaeologists.

Q. What’s a significant piece of work that you have been involved with recently?

A. The establishment of the whare taonga at Takahanga Marae and the work done on that. I was part of the cultural advisory group. My role as Lead Cultural Monitor was to give advice around the tikanga involved in archaeology. I did that for five years. The work that fell out of that was the return of the taonga tūturu

to Takahanga Marae and the Kaikōura Rūnaka. I was instrumental is making that happen. We then refurbished three buildings, one is the whare taonga which holds the taonga, another is Rākaitekura which holds all the pollen, fish, bird and soil samples, and some are 700-800 years old. This includes extinct birds and pollen samples from trees that no longer inhabit the coast. This hadn’t been done before, with a rūnaka insisting that all their taonga be returned to them, and where the entity that held the authority, in this case Waka Kotahi, did exactly that.

Q. Have you always had an interest in archaeology?

A. Yes, I’ve been interested in archaeology all my life. Prior to this work, I was a qualified painter, decorator and builder for many years while my three kids were growing up. Every now and then I’ll help someone with a bit of painting, but it doesn’t happen very often.

Q. What is your hope for heritage in the future?

A. Protection of wāhi tapu/wāhi tūpuna will always be my focus and hope for the future. Dealing with climate change and how we can protect Māori archaeological sites is a priority for me. The Kaikōura coast has had occupation for around 800 years. There are two types of environments there, either pea shingle or solid clay. Burials therefore were into pea shingle, so any development in Kaikōura

is going to need an archaeological authority and a cultural monitor. From a Māori perspective my work on kōiwi over about 25 years is very important and I am proud of this work.

Q. What are your interests outside of work?

A. Outside of mahi, I do more mahi! I’m still involved with the Kaikōura Rūnaka, there are meetings of course and various kaupapa come up where they need my input. I was the Kaikōura rep on the Ngāi Tahu Board of Directors for six years. I finished that in December last year.

Q. What do you do for fun and recreation?

A. It’s important to me to be close to the water. I live in Ruby Bay now with my partner Karen. I recently bought a dingy and enjoy fishing, although I’m probably more of a fish feeder than a fish catcher. I’ve got a dog and I walk her a lot.

Q. What was your favourite childhood place or thing?

A. Jelly Park, a swimming complex in Ōtautahi Christchurch. We lived just around the corner, and it was one of my favourite things to do as a child.

My family is from Oaro, Kaikōura. My Granny had a little bach on our family land there, and our urupā is there. We used to go up regularly and stay in the bach and I always liked that. The place was still alive then with kōura/crayfish and you only had to go out ankle deep to get pāua. It was pretty cool, and I spent a lot of time in Kaikōura as a kid. I still go there, and we still own the land which has an interesting history. It was taken off us, confiscated, when the road and the railroad went through there in the late 1930s. Once the work was done, they didn’t want to give it up, but my father fought them and got it back. It’s a tiny piece of land but he put a board of management on there. We manage it as whānau, we lease out little blocks of land, and people build baches there, so we get an income off it for our shareholders.

Q. If you could travel anywhere in the world for a day, where would you go?

A. That’s easy, there’s lots of places I would love to go for the day, but I’d go to Egypt first. I’ve always been interested in the archaeology there and in the pyramids as structures. n

"From a Māori perspective my work on kōiwi over about 25 years is very important and I am proud of this work."

Three buildings refurbished at Takahanga.

Listing shows Hundertwasser Public Toilets anything but bog standard

The heritage significance of a Northland icon, whose design quirkiness has put Kawakawa on the international map, has been recognised by Heritage New Zealand Pouhere Taonga.

WORDS: John O’Hare IMAGES: Heritage New Zealand Pouhere Taonga

The recent Category 1 listing is a well-deserved recognition of the unique characteristics of this particularly public convenience, according to Heritage New Zealand Pouhere Taonga Northland Manager Bill Edwards, who researched and wrote the proposal for the listing.

“Although the Hundertwasser Public Toilets building in Kawakawa is less than 25 years old, its heritage values are remarkable,” he says.

“The distinctive structure is unique and is the only public building in New Zealand that Friedensreich Hundertwasser

was directly involved with. Today it is a Northland icon, drawing an estimated 250,000 visitors a year.”

Internationally renowned as an architect, with buildings in Europe, North America and Japan, Hundertwasser’s commitment to repurposing Kawakawa’s prosaic 1960s

Kawakawa’s Hundertwasser Public Toilets have been listed as a Category 1 historic place. Over 250,000 people pay a visit every year.

public toilet block into something truly unique reflected the relationship he had with the local Bay of Islands community.

“Friedensreich Regentag Dunklebunt Hundertwasser, as he became known, was born Friedrich Stowasser in Vienna to a Catholic father and a Jewish mother. To avoid persecution during WWII, Friedensreich joined the Hitler Youth to cement the deception – a brilliant but very dangerous strategy which, in his case, worked,” says Bill.

“After the war, Hundertwasser trained at the Academy of Fine Arts in Vienna launching an artistic career that took him around the world.”

A visit to Aotearoa New Zealand in 1973 for an exhibition of his work at the Auckland Art Gallery changed Hundertwasser’s life. After the opening of the exhibition, he bought a Morris Mini and travelled around the country meeting local people, exploring, and swimming in the sea as much as possible.

“Hundertwasser was smitten with what he saw. His first stay lasted 148 days and he was enthralled with the people and the country,” says Bill.

“The following year he visited New Zealand twice, and on his second visit bought a 200ha property in the Kaurinui Valley near Kawakawa where he was to live and work until he died in 2000.”

During his lifetime the valley was reforested with over 150,000 trees as he worked closely with neighbours to realise his vision of a place in a ‘peace treaty’ with nature. “Hundertwasser’s philosophy was mirrored in his design, which

incorporated ideas about conservation and living with nature, and were decades ahead of their time,” says Bill.

“Hundertwasser also believed that architecture should elevate and not subdue man, famously saying that he believed the straight line leads to the downfall of our civilisation. He also believed it is good for people to walk on uneven floors and regain our human balance. Both aspects of his philosophy –harmony with nature and human-friendly architecture – strongly influenced the design of the Kawakawa public toilets.”

Another aspect of Hundertwasser’s philosophy was to modify rather than tear down modern buildings, improving them to reduce their environmental impact and beautify their appearance.

“Hundertwasser approached the concrete block public toilets building in Kawakawa as an architectural doctor curing the ailments of unsustainable, uniform structures,” he says. “It’s fair to say that Hundertwasser’s treatment for the building was radical surgery.”

Recycled bottles were used at the back of the building, cleverly allowing light in while at the same time providing privacy. Another design element he incorporated was a living roof whose purpose was pure Hundertwasser design.

“The tree tenant pays rent in a more valuable currency than a human tenant,” Hundertwasser explained – by supplying oxygen, regulating climate, absorbing sound, acting as curtains, hosting butterflies and birds, “dispensing beauty” and improving the mood. All of which he

described as, “a symbol of reparation towards nature.”

Other characteristics of Hundertwasser’s design style also found expression in the building including bright colours and nonuniformity.

“The building has a playful golden orb serving as a vent, as well as recycled bricks from the old BNZ building, donated bottles used throughout the building and columns at the front of the building created by assembling brightly coloured Asian ceramics,” says Bill. “True to form the cobbles laid on the floor have an undulating form on an uneven surface.”

Ceramic tiles were prepared by local Bay of Islands College students, and construction was completed by community volunteers in 1999.

“The result is a manifestation of his philosophy that the building should be a peace accord with nature. What he and the wider community created is a building that brings joy,” says Bill.

Norma Shepherd, Hundertwasser’s neighbour, read his message at the opening of the building. “Even small things can bring beauty into our life … it is harmony with beauty and harmony with nature, which makes us feel good. Beauty has an important function. Beauty is always underestimated.”

“That really sums up the philosophy and vision that inspired this exceptional take on what is the humblest of public facilities,” says Bill. “It is utterly unique –an authentic one-off from an artist who embraced the community at Kawakawa, and who was in turn embraced. We are proud to acknowledge this building’s special heritage attributes through this listing.” n

What’s in a name?

Hundertwasser’s adopted surname is based on the translation of ‘sto’ (the Slavic word for ‘one hundred’) into German. The name Friedensreich has a double meaning as ‘Peacerealm’ or ‘Peace-rich’, in the sense of the word ‘peaceful’. Accordingly, his name Friedensreich Hundertwasser translates directly into English as 'Peace-Realm Hundred-Water'. The other names he chose for himself, Regentag and Dunkelbunt, translate to ‘Rainy day’ and ‘Darkly multi-coloured'.

The iconic exterior showcasing Hundertwasser's unique design and living roof.

Restored heritage Arts Centre buildings welcome Health Technology Centre

Te Matatiki Toi Ora The Arts Centre, known for nurturing inquisitive and creative minds, proudly unveils its newly restored Electrical Engineering and Engineering Extensions buildings, which now house an innovative Health Technology Centre.

WORDS: Rosemary Baird IMAGES: Te Matatiki Toi Ora The Arts Centre

The Category 1 heritage-listed buildings have been meticulously renovated to preserve their rich history and accommodate emerging health technology companies.

Originally constructed in 1902, the Electrical Engineering building was a

testament to the vision of Robert Julian Scott, the founding head of engineering and cousin to Antarctic explorer Robert Falcon Scott. Scott's unwavering ambition and commitment to establishing a prominent Engineering School led him to secure government funding, generously

granted by his friend, Prime Minister Richard Seddon. This support enabled the construction of the Electrical Engineering building, which was distinguished by being the first on-site facility to feature full electric lighting. Notably, it also served as the site for Aotearoa New Zealand's

A view of the new overhead glass bridge, linking the Electrical Engineering Building and Engineering Extensions building.

inaugural television transmission in 19511952.

In 1923, as the Engineering School experienced rapid growth, the Engineering Extension building was added to alleviate the strain of increasing student numbers. Once again, Professor Scott's resourcefulness secured central government funds for its construction. With both buildings now reinforced, restored, and equipped, they provide an ideal setting for the establishment of the Health Technology Centre — an exciting new venture for Te Matatiki Toi Ora, traditionally focused on the performing and creative arts.

Philip Aldridge, the Director of Te Matatiki Toi Ora, emphasises the organisation's expanded horizons following the inclusion of the word "creativity" in their mandate through The Arts Centre of Christchurch Trust Act of 2015. This prompted them to recognise that various aspects of life beyond the arts can also be creative, leading them to explore the realms of technology and entrepreneurship. Moreover, situated on the edge of Te Papa Hauora Health Precinct, they saw an opportunity to engage with the vibrant and burgeoning health sector.

The Health Technology Centre officially opened its doors on 1 June 2023, welcoming its initial five founding tenants. Centre Manager Madeleine Martin has

already witnessed the positive impact of the space, stating, "The tenants are delighted to be here. It provides them with the chance to work alongside their peers while having ample room to grow. The unique environment fosters creativity and helps people get into the right mindset."

The newly renovated spaces feature a contemporary design with soothing shades of green, modern amenities, and innovative office areas. However, they also retain many heritage elements that serve as reminders of the building's storied past. For instance, in the openplan co-working area on the upper level, once a lecture theatre and later The Court Theatre's costume department, the chalk graffiti left by former university students can still be seen near the rafters. The original triangular vents, which once provided basic air conditioning, remain in place, and the pointed Gothic arch windows retain their original glass, miraculously surviving the earthquakes. Half of the ground floor of the Engineering Extension building now accommodates the Health Technology Centre, while the other half, located at the west end, will be reserved for artist studios and an exhibition space. This section will be open to the public, offering an opportunity to view the meticulously restored and reinstated engineering gantry used for moving heavy equipment.

The original brick exterior of the Electrical Engineering building had previously drawn criticism from enthusiasts of the centre's Gothic style. In response, the building underwent recladding in 1916 when funds became available, with stone adorning the quad side to harmonise its appearance with the overall aesthetic of the Centre.

Now in 2023, an exciting addition celebrating the connection between the two buildings is the new overhead glass bridge, designed by Jonathan Coot of Warren and Mahoney. Inspired by renowned landscape artist Rita Angus's painting, Cass, the bridge's warm tones and reflections of the surrounding architecture have already made it a popular spot for photographs.

With the completion of these two buildings, the restoration of The Arts Centre comes to a close for now, with 20 buildings fully restored and open to the public. Fundraising Manager, Susan Hensen, expresses her immense pride in this significant achievement, acknowledging the substantial efforts invested by numerous individuals, “Securing funding, engineering design, construction and restoration work have required significant work from many people. But now, to be able to walk throughout the site is incredible and worth all the effort.” n

Health Technology Centre shared working space in the first floor of the Engineering Extension building.

Tohu Whenua - Growing a heritage programme that helped grow me

Has a heritage location profoundly changed you? Claudia Babirat of Tohu Whenua reflects on five years with the visitor programme as she bids farewell to the life-changing role.

WORDS: Claudia Babirat IMAGES: Peter Preston and Andi Blanshard

You know those moments when you stop and ask yourself "have I always been this way?" I’m having one right now.

After more than five years working as Tohu Whenua’s Marketing and Communications Manager, I’m on the cusp of pursuing other adventures. As a way of saying goodbye, I was asked to write this

article. The specific question I’m asking myself is whether my deep dive into Aotearoa New Zealand’s heritage through my job has changed me.

When I joined Tohu Whenua at the end of 2017, the programme was less than a year old. Initially my role was part-time – 10 hours a week dedicated to social media. My first assignment was a famil in Te Tai

Tokerau Northland, to get to know the stories and key people of the landmarks recognised by Tohu Whenua, and to capture them in photographs and video. In four days I visited eight Tohu Whenua. They were all new to me, including the poignant and must-see Waitangi Treaty Grounds (I live in Ōtepoti Dunedin which makes these sites harder to visit –although this is no excuse).

A trip through the famous Hole-in-a-Rock near Rākaumangamanga, Cape Brett (Claudia Babirat in the centre). Image: Andi Blanshard

The first lesson I learnt was that to understand the birth of our bicultural nation – the key story told by Northland’s Tohu Whenua – I really did need to stand at the places where history happened. My curiosity was awakened. I could see and touch the things that our Māori and European ancestors created and valued. I was exposed to multiple perspectives. And thanks to the many interwoven stories I heard, I started making my own connections as to why our unique Kiwi culture is as it is today. The experience was intense, immersive, and probably the closest to a ‘rite of passage’ I’ve ever experienced.

Following hot on the heels of this was the launch in early 2018 of Ōtākou/ Otago as a Tohu Whenua region, with the addition of 12 more heritage places. My epiphany this time revolved around self-preservation. Bungy jumping off the Kawarau Suspension Bridge in period costume seemed like a fun opportunity up until the moment they were putting the cord around my ankles.

I turned 40 the day that we celebrated the inclusion of Denniston on Te Tai Poutini the West Coast. I will forever be thankful to heritage veterans Raewyn Hutchings and Sheila Watson, who eased the fact that I couldn’t share the day with my whānau by organising a second celebration after the ribbon was cut. Not everyone can say that the Buller District Mayor led a small crowd in singing happy birthday to them.

When Caroline Toplis joined as Tohu Whenua’s programme manager, my role expanded into marketing. Together we focused on giving the programme its unique identity and consolidating the brand. We snazzed up the brand, completely redesigned the website, and created our first adverts encouraging New Zealanders to visit our most treasured heritage places. I started pitching in-depth story ideas to travel and lifestyle magazines, some of them written by their journalists and some by me. I coordinated professional photographers to create fresh images capturing the visitor experience. And we developed partnerships with regional tourism organisations, who added Tohu Whenua heritage places to their list of star attractions worthy of promotion. All this time I was working from home. I had the freedom to make my 20-hour working week fit around everything else

that was happening in my life – a second job, building a house, spending quality time with family, a pandemic, even travel.

Perhaps, most importantly, Tohu Whenua introduced me to places that I now care deeply about. I’ve spent time at all 26 of them. I’ve experienced the unique stories of each site, met the dedicated individuals and communities who look after them, sought many of them out to explore in my own time, and on an almost daily basis encourage others to visit. These special heritage places, which as

New Zealanders we can proudly call our own, are forever woven into my own story. Has Tohu Whenua changed me?

I’d say, profoundly.

And it feels satisfying to know that my voice is deeply embedded in the fabric of the Tohu Whenua brand. n

Claudia exploring Waiuta. Image: Peter Preston

Wāhi tūpuna listing of Te Arawa anchor stone at Maketu

Located on the sandy Maketu shore in the beautiful, history-rich Bay of Plenty, Tūterangiharuru is a newly listed wāhi tūpuna. Imbued with mana and ihi this giant anchor stone is significant to the origin story of Te Arawa waka and ancestors.

WORDS: Niki Partsch IMAGES: Heritage New Zealand Pouhere Taonga and iStock

To the casual beach walking passerby, this large black volcanic rock may stand out because it looks quite different to the many other large boulders along the Maketu shore. Its

distinctive pocked surface contrasts markedly with the smooth rounder shapes of its neighbours.

Tūterangiharuru was an anchor stone for the mighty Te Arawa waka, which

travelled here to Aotearoa from Hawaiki many generations ago. It is of particular historical significance because it is one of the two remaining with physical links to the ancient Ngāti Ohomairangi ancestors

Tūterangiharuru stands out with its dark colour and pocked surface. Image: Heritage New Zealand Pouhere Taonga

of Hawaiki, and the sacred double hulled waka which carried them here.

Named for the thunderous sound created by waves crashing on it, Tūterangiharuru anchored the stern of Te Arawa waka in the Kaituna River mouth, when captain Tamatekapua, tohunga Ngātoroirangi and the people of Ngāti Ohomairangi made landfall at Maketu around 1350AD.

Tamatekapua and Ngātoroirangi were cousins, the sons of two brothers, Houmaitawhiti and Rākauri. They were direct descendants of the half-celestial ancestor Ohomairangi.

Remembered through oral history as a strikingly handsome warrior chief, the captain Tamatekapua, son of Houmaitawhiti, fought many battles in Hawaiki and here in Aotearoa. His good looks also got him into trouble sometimes.

Houmaitawhiti named the waka Ngā rākau rua a Atuamatua (the two sacred trees of Atuamatua) and chose his son to captain the waka named in honour of his and Rākauri’s father.

Ngātoroirangi, the son of Rākauri, was raised in Rangiātea/Society Islands and trained as a tohunga and navigator at Taputapuātea, a place of such significance that it is now recognised as UNESCO World Heritage Site #1529. This was once a sacred school of higher learning for a selected few. Ngātoroirangi became perhaps the most pre-eminent tohunga in Aotearoa, if not all of Polynesia.

Originally destined to sail on the Tainui waka, Ngātoroirangi was tricked by his cousin Tamatekapua into coming on board Ngā rākau rua a Atuamatua

The widely accepted story is that because Tamatekapua had no tohunga on board, Ngātoroirangi agreed to perform the necessary karakia for a safe voyage for him and the Ngāti Ohomairangi people. He would then return to the Tainui waka which was set to leave around the same time as Ngā rākau rua a Atuamatua. However, it is said that whilst Ngātoroirangi was in some way distracted, Tamatekapua raised the anchors and launched the waka to sea. Once he realised what was happening, Ngātoroirangi and his wife Kearoa had no choice but to sail with Tamatekapua.

The captain then made things worse

during the voyage. His inappropriate interest in Kearoa almost cost the lives of everyone aboard the waka. When Ngātoroirangi realised what Tamatekapua was up to, he was so angry that he called up a huge whirlpool known as Te Korokoro o Te Parata (The Throat of Te Parata) which almost took the waka and its occupants down into its depths. It was only when he heard the cries of Kearoa that Ngātoroirangi calmed the waters so that the waka could complete its journey. Tamatekapua was deposed as captain for the remainder of the voyage and because the sacred name Atuamatua had been desecrated by his actions, the name of the waka was changed to Te Arawa. There are differing stories about the origin of this name. One is that after the waka was almost lost to the whirlpool, they became disorientated. It was raining heavily, and the sky was cloudy, obscuring the moon and stars required for re-orientation and navigation. When a red Arawa shark appeared at the bow of the waka, Ngātoroirangi commanded that the waka follow it. Another of the

many narratives about the name is that the waka followed the ara waka or canoe pathway. Yet another is that when the waka broke free of the whirlpool, it ascended upon the rays of the sun and thus was named Te Arawa – the pathway laid down by the sun.

When Te Arawa waka finally arrived at Maketu and paddled into the mouth of the Kaituna River, the bow of the waka is said to have dug into the shore. The people then secured the prow and stern to the two boulders, named Takaparore and Tūterangiharuru both of which are still visible in the Maketu estuary today. Not only did Tūterangiharuru anchor Te Arawa waka to its landing place in a literal sense, but it also continues to anchor descendants of the waka to Maketu, through the bloodlines of Tamatekapua, Ngātoroirangi and the other ancestors who first set foot on the sand there. A sentiment fittingly expressed in the whakataukī “E kore e ngaro, he takere waka nui – We will never be lost; we are the hull of a great canoe.” n

Marae Taputapuātea, a UNESCO World Heritage Site on the southeastern coast of the island of Raiatea. Image: iStock

Upcoming spring heritage events bound to enthral

As the spring breeze sweeps across the lands and the days lengthen, heritage enthusiasts from Wellington to New Plymouth eagerly await the arrival of their annual heritage festivals, to connect their shared history to their communities and celebrate the importance of heritage places in their regions.

From Taranaki Heritage Month to the Whanganui Regional Heritage Awards and Wellington's Heritage Festival, a multitude of cultural experiences awaits heritage enthusiasts this season. Rob Green, organiser of Taranaki's Heritage Month, aims to deepen understanding of the region's rich past through engaging events involving iwi and hapū, museums, historical societies, and community groups. With a commitment to honouring the collective heritage, Rob states, “We are committed to further developing a better understanding of our rich and shared past which is reflected in a programme to honour and build a greater awareness of the region’s collective heritage.”

The Historic Places Aotearoa AGM in New Plymouth coincides with the Heritage Month, offering attendees the opportunity to partake in the festivities. With a panel discussion and various activities leading up to the AGM, Rob encourages HPA members to attend.

Helen Craig, Deputy Mayor of Whanganui and Chair of the Whanganui Regional Heritage Trust, has announced the revival of the Whanganui Regional Heritage Awards after a three-year hiatus. These awards, scheduled for early November, will recognise significant contributions to heritage conservation in Whanganui, Ruapehu, and Rangitīkei Districts. Nomination details and entry forms for the awards can be obtained through the Whanganui Heritage Trust. Helen acknowledges the community's dedication to heritage conservation and recognition, expressing pride in the success and passion displayed by heritage property owners. She also commends the expansion of the Blue

Plaques programme across the country, extending her appreciation to other towns and cities for joining the initiative.

Meanwhile, Wellington's highly anticipated two-week Heritage Festival, commencing on 23 October, is being organised by the Rotary Club of Wellington, led by President-Elect Roger Blakeley. With his extensive management experience, including a role as the former Chief Executive for Manatū Mō Te Taiao Ministry for the Environment, Roger is well-equipped to serve as the Festival Chair. Assisted by various agencies and organisations, the festival promises an exciting line-up of events spanning Kāpiti, Porirua, Wellington City, and the Hutt Valley.

Roger acknowledges the challenge ahead but expresses confidence in delivering an engaging programme. He highlights the festival's significance as a key calendar event in the Greater Wellington area and expresses gratitude towards supporters, "We extend warm thanks to Heritage New Zealand Pouhere Taonga for their guidance and support in structuring and delivering our events. We are also grateful to the local authorities in our region, iwi

groups, heritage property owners, and above all, the countless volunteers who have offered their unwavering support to ensure the success and lasting memories of this remarkable festival.”

Emphasising a strong focus on engaging young people and families, Roger underscores the festival's mission of preserving Aotearoa New Zealand's stories for future generations. With heartfelt dedication, he concludes, "Our commitment lies in safeguarding these stories and carrying them forward into the future." n

For further information, visit the following websites:

Taranaki Heritage heritagetaranaki.com

Wellington Heritage Festival wellingtonheritageweek.co.nz

Whanganui Heritage Trust whanganuiheritagetrust.org.nz

Blue Plaques blueplaques.nz

Historic Places Aotearoa historicplacesaotearoa.nz

WORDS: David Watt IMAGES: Whanganui Regional Heritage Trust

St Paul’s Memorial Church Pūtiki with Blue Plaque