Te Pou - A Mini Architecture Thesis by Jordan August

ARCI 411 | Architecture Design Research Cultural and Contextual Narratives TE POU: A Conservatory for the Natural Environment, embodied within an Architecture of Guardianship Tutor: Daniel K. Brown

Jordan August | 300284443

“Good architecture lets nature in” - Mario Pei

Cover page image: Fig 01 - Te Pou, with it’s metaphorical shadow of a Maori guardian.

“Architecture is supposed to complete nature. Great architecture makes nature more beautiful – it gives it power” – Claudio Silvestrin.

iii

Cultural Narratives

ARCI 411 | Architecture Design Research

Abstract Historically, quarries have been a destructive and inefficient means for humans to attain precious resources. This is seen no more clearly than at Owhiro Quarry, on the south coast of Wellington, New Zealand. Since approximately 1905, early settlers in New Zealand took advantage of the rich minerals at this site, with many important landmarks in Wellington being constructed of stone from this quarry. Environmental losses from these practises were inevitable, and when the public discovered that the precious red rock was also being mined, the quarry was soon shut down. Today, Wellington City Council is now putting efforts into healing the scarred landscape, involving the softening of the bench-cut platforms and the replanting of lost native flora and fauna, with mixed success. Owhiro Quarry has great cultural and environmental significance but it is vulnerable, and if appropriate action is not taken to mitigate the ill-effects of past human activity, the site will continue its withdrawal in to solitude. Architectural intervention is one solution that may help the site recover, returning it to a place of interest and importance. This time however, human intervention shall effect the site in a more environmentally and culturally positive way. The quarry represents a great opportunity for new and unique ideas which can benefit both the people and the land. This projects aims to enhance and restore the cultural and environmental significance of Owhiro Quarry through architectural intervention. It argues that insufficient effort is being made to restore the site back to a naturally diverse state, and that greater measures are required. It is hoped that this intervention will function in a way that relates to its surrounding context and improves the understanding and importance of conserving the natural environment. The aims of this project are to be achieved primarily through in-depth, relevant research, considering the context and exploring precedents and literature. The project will also be developed through other measures such as sketch experiments, program analysis and preliminary design decisions to inform final design outcomes. Implications of this design may be adopted in other devastated sites around New Zealand following a similar approach to the design and the context.

Opposite: Fig 02 - Montage of Te Pou, developed design

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Acknowledgements DANIEL K. BROWN - TUTOR For his invaluable experience and contribution to this project through passionate studio tutorials, seminars and lectures.

Jordan August

ARCI 411 | Architecture Design Research

Contents

1 2 3 4 5 6 7 8

Introduction

Pg. 01

Overarching research question, aims and objectives of this project. Also an brief introduction to the proposed context and narrative.

Context Analysis

Pg. 04

Before considering an architectural design, we must first consider the context within which it will be occupying - the context analysis.

Program Analysis

Pg. 10

Beginnings of how the architecture may function on the site. Includes considerations of possible scale and hints of aesthetic possibilities.

Literature Review

Pg. 12

An insight in to relevant literature to enhance the theoretical and narrative meaning of the architecture being designed.

Project Review

Pg. 16

Case study of a similar project, analysing it’s positives and negatives and possible implementations of elements in this project.

Preliminary Design

Pg. 22

Fundamental design ideas and images to help stimulate the ideal path to which the final developed design will follow.

Developed Design

Pg. 38

The final outcome of the design research project - ‘Te Pou’.

Conclusions and Critical Reflection

Pg. 56

Conclusions, limitations, constraints and potential applications and advancements.

List of References, Sources of Figures & Appendices

Pg. 58

vii

Cultural Narratives

ARCI 411 | Architecture Design Research

Introduction Te Pou was conducted to support the argument that architectural intervention can have a dual benefit – both for the natural environment and for users of the architecture. It is a proposal that seeks to improve the conservation and understanding of the natural environment so as to mitigate future damage. It gives the importance of the natural environment greater exposure to the wider public, helping acknowledge just how reliant, yet ignorant, we are on it. Owhiro Quarry is a great backdrop, acting as a reminder of such undoing’s that have occurred in the past. Te Pou, also heavily considers the Maori Powhiri – formal welcoming custom – in its design. This is a way to achieve a meaningful narrative within the project which related to the history of the site. Following is the overarching research question for this project, encompassing the process and results of this investigation: How can architectural intervention create a nurturing environment that acknowledges cultural history and helps conserve biodiversity, as well as educating the public in its importance? Owhiro Quarry provided a great vehicle for this project, as it is a constant reminder of the undesirable conditions that are to be mitigated. It is also a site to which this project and its implications can be applied elsewhere in other devastated sites. In order to create architecture which is sympathetic towards its context, it is proposed that this architectural intervention will function as a natural environment conservatory, offering exhibitions, archives and means for education. These aims were achieved by looking at case studies that have attempted to coexist with similar contexts. As part of this iterative design research process, various pieces of literature were also investigated to help inform design decisions that were made in the later stages of this project. The primary theorists investigated in this project were Penelope Haralambidou and Jim Rossignol. Haralambidou, a programmes coordinator at The Bartlett School of Architecture, offers an alternative way of achieving successful architecture. By considering how she translated a painting in to abstract forms of architecture, design decisions in this project have attained additional layers of thought and consideration. Rossignol, a British computer games journalist, critic and author, contributed to this project by offering insight in to architecture allegory, and how a sites historical significance can influence the design of architecture. These theorists have both contributed to the objective of arriving at a strategic final outcome, arguing for other means of architectural design, thus encouraging a critical consideration of this project. Te Pou, in its final outcome of this project, still represents a very conceptual stage of design. It is limited by structural integrity (although structure and building code requirements have been considered), and is not fully concerned with material costs and local authority restrictions. This project begins with a context analysis to determine the various site dynamics evident at Owhiro Quarry. It also investigates the historical and cultural significance of the site.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Following this, a programmes analysis is conducted to explore the different functions that the building may implement. A literature review is then conducted based on the aforementioned theorists Penelope Haralambidou and Jim Rossignol. A project review is then undertaken before the preliminary design and developed design. Finally, a conclusion and critical reflection are provided to deliberate on the successes and possible improvements of this project.

Opposite: Fig 1.1 - Seagull view of the proposed site for intervention.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Context Analysis CONTEXT OVERVIEW Situated along the south coast of Wellington at Owhiro Bay is an abandoned quarry site. The quarry helped supply much of the stone that was used in many of Wellington City’s early landmark buildings such as the Parliament buildings and the former National Museum. It is reached along Owhiro Bay Parade to the east of the site, terminating at an information centre where visitors can learn about the rich history of the area. The site was once full of native wildlife and vegetation, however, the destructive human activity of the early 20th century helped reduce the area to a desolate, somewhat vertical wasteland. It is believed that architectural intervention can help to restore the site to one of great diversity and appeal, something that current council intervention is failing to do. Council efforts of replanting native vegetation and softening the bench-cut platforms has had mixed results, ultimately failing to achieve an environment of any significant social or economic success. Perhaps architecture is the required means of reviving the site to one of relevance and merit. CONTEXT DYNAMICS The context has an interesting approach: a single road with few houses curves around the steeply sloped coast, unveiling the monumental quarry carved in to the hill. Significant Maori culture surrounds the past of this site, with many different stories and myths regarding its formation and appearance. Once a site of many diverse ecologies: vegetation, birds, seals, seaweed and Maori occupancy. Bench-cut platforms are a reminder of the quarry activities that once occurred here. It could be suggested that these platforms have always existed and have been ‘revealed’ from beneath the landscape.

Opposite: Fig 2.1 - Aerial image of Owhiro Quarry.

^Fig 2.2, 2.3 & 2.4 - Sketch experiment.

Jordan August

Area of intervention

ARCI 411 | Architecture Design Research

WIDER CONTEXT ANALYSIS Old Quarry Site. The site being architecturally intervened is in fact the boundary of an old quarry which once served Wellingtonâ&#x20AC;&#x2122;s stone demands. It embodies a significant part of Wellingtonâ&#x20AC;&#x2122;s history and provides unique typographic characteristics. Extent of Residential Properties. Properties which extend from the main residential area cease to exist at the head of the outcrop of land - the final turn before reaching the site.

Shipwrecks. Four shipwrecks have occured at this notorious area of Owhiro Bay. Maori Mythology. Many Maori stories and myths surround this area of Wellington, prompting the question that perhaps they should be brought back to the area through architectural intervention?

ARCI 411 | Architecture Design Research

Cultural Narratives

CONTEXT DYNAMICS AND POTENTIAL INTERVENTION LOCATIONS

Previous page: Fig 2.5 - Wider context site dynamics satellite image. Opposite: Fig 2.6 - Aerial image of Owhiro Quarry site dynamics.

This location is surrounded by a high, steep hill face to the west and a gravel ‘glacier’ to the east. It is also a prominent piece of land which greets visitors upon their arrival from the visitors centre, demanding that perhaps architectural intervention be conducted here.

Bench-cut platforms undergo an interesting transition at this site. Coucil efforts to rehabilitate the hills to their original form means some of these platforms are still easily identifiable while others are almost indistinguishable due to the ‘softening’ of the edges. Point of interest ‘B’ could house an architectural intervention linking these two languages together.

Rather than imposing upon the already severed landscape of the quarry, an alternative architectural approach could be made from the sea. A north facing intervention could face the quarry face, creating an acknowledgement towards the landscape as well as greeting visitors upon their arrival from the east.

This point of interest represents the intersection of many contrasting site dynamics. A significant turn of the coastline at this point coincides with the beginning of the beach, the entry to the valley to the north and the southern approach from the visitors centre to the south. It is also an area where excess waterflow from the valley gathers at a pond, and often spills out to the sea.

^Fig 2.7, 2.8 & 2.9 - Architecture sketch investigations for the site.

Jordan August

Imposing, steep cliff face Gravel â&#x20AC;&#x2DC;glacierâ&#x20AC;&#x2122; Valley Sharp land rise from beach Significant land and sea features

A B

ARCI 411 | Architecture Design Research

Cultural Narratives

Program Analysis FUNCTIONAL IDEAS The site on which this proposed project resides is a devastated and desolate area. Human activity has exhausted the site of its natural beauty, and this project aims to restore the site to a more reputable state. To achieve this, the program of this design research will be based on the natural environment. The following are some of the areas of focus for this project: Primary program focus - Te Pou (The Post): Natural environment conservatory Natural environment archives Lecture and seminar spaces Educative public exhibition spaces Offices Storage facilities, toilets, service & vertical transport core Secondary program focus: Formal educational institute of the natural environment - Wharenui Lookout structure - Kaikaranga Accommodation - Kaumatua

Opposite: From top: Fig 3.1 - Initial program sketch experiments, Fig 3.2 - Physical inspiration to inform program orientation, Fig 3.3 - developed program sketch ideas.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Literature Review TEXT 01: PENELOPE HARALAMBIDOU - “THE FALL: THE ALLEGORICAL ARCHITECTURAL PROJECT AS A CRITICAL METHOD” Architecture is not only limited to the physical built environments among us today. They are also found in literature, in drawings, myths and tales.

Fig 4.1 - Marcel Duchamp’s painting ‘Étant donnés’, or ‘Given’, the central inspiration behind Penelope Haralambidou’s research project.

Allegory, according to Angus Fletcher, in the simplest terms, says one thing and means another. It is a doubleness of intention that requires interpretation. The Fall, is a piece of work which uses allegory to examine an alternative way that architecture can be created. Conducted by Penelope Haralambidou, it is part of her overarching research project titled The Blossoming of Perspective an attempt to search for a theoretical background for architecture. To achieve this, Haralambidou looked at a selection of allegorical traits: “the duplicity of meaning that invites interpretation, the use of figurative elements to denote structural relationships, the reciprocity between visual and verbal, the similarity to battle – the opposition between two forces – or a journey, and the state of being unfinished” Thus, she uses architectural drawing and modelling to study the underlying architecture of Marcel Duchamp’s secret pornographic assemblage titled Given: 1.The Waterfall 2.The Illuminating Gas. Haralambidou carried out a critical interpretation of this painting: a form of art theory through architectural design. The work of art is bizarre in that it depicts a naked woman lying in a field, seeming to protrude out of the painting through a small opening. Haralambidou argues that the painting demonstrates allegory and is intended to symbolise an inverted incarnation of the Mona Lisa, representing the principles of perspective construction influencing architectural design. Her physical model results are extremely abstract, and would garner a range of opinions and criticism. The images accompanying this review are her interpretations of the conditions she claim exists in the provocative painting by Duchamp. This research project by Haralambidou is an alternative example to how architectural design could be approached, one which could be emulated in the project proposed for Owhiro Bay. As the proposed project for the Owhiro quarry is based significantly on Maori culture, inspiration could be attained from traditional Maori works of art. Following a similar process to Haralambidou’s, one could find the allegories evident in Maori art – of which there are likely many – and translate these literary forms in to physical ones. An example is the central column of the Marae threshold: ‘Te Pou’. This is an architectural feature as well as an art piece which supports the roof of the Wharenui (Meeting House), as well as displaying past ancestry of the tribe. At the Owhiro quarry, this allegorical relationship has been interpreted similarly, having the central tower house the natural environment museum – a storage facility of ancient knowledge and history, like the post of the Wharenui.

Opposite: Fig 4.2 - Some of the physical outcomes of Penelope Haralambidou’s research project.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

TEXT 02: JIM ROSSIGNOL - GHOSTS OF THE FUTURE: BORROWING ARCHITECTURE FROM THE ZONE OF ALIENATION. BLDG BLOG The idea of allegory is also evident in this next literature review. It demonstrates that architecture can be critical even in video games and films. Jim Rossignol explores this development in his article Ghosts of the Future. Some video games are simply a means for procrastination with little meaning given to their storylines and their environment. Some, however, are the product of in-depth research and a meticulous attention to detail, drawing inspiration from real world environments, myths and tales. This is the case in one such video gamed named Stalker. It retells the story depicted in a film, also called Stalker, directed thirty years earlier by Andrei Tarkovsky where aliens visited Canada – “an extra-terrestrial roadside picnic” – leaving in their wake a landscape that is “utterly at odds with our own world”. It is an exploration of dereliction and decay in architecture. The developers of the game have drawn inspiration from real-world environments that have been ‘alienated’ themselves as a result of significant historical events. These references are considered warnings to mankind of the possible fatal mistakes that may be had in the future. One such built environment featured in Stalker is an enormous antenna ‘wall’, inspired by that built in the Chernobyl exclusion zone, Ukraine, for defensive means during the cold war. Some unofficial sources claim that the antenna still emits ‘psychoactive’ waves to those who are unfortunate enough to travel too close to it. In Stalker, players must breach the wall by shutting it down to advance further in to the game. This approach to the games design is a great example of responding to architecture in a unique way, applying extra layers to architecture in a video game to generate greater interactivity. It is suggested that the game developers made this decision to remind players of the Chernobyl disaster and at the same time warn mankind about the possible fatal mistakes that could occur in the future. It is an approach that was successful in a video game, and could also show potential success in real architecture. The proposed project for Owhiro Bay shares many parallels with the setting of Stalker: it also resides in a devastated site, however, on a much lesser scale of catastrophe. It is also dominated by physical features which are considered immense and somewhat unapproachable, and therefore demonstrates the same potential shown in Stalker – that architecture may be utilized to enhance the formidability of the site. Additionally, by applying a secondary theme, like Stalker, a more engaging architecture can be achieved. Opposite: Fig 4.3 - Collection of images depicting antenna wall in Ukraine, as well as still shots from the Stalker film, and the wall that players must breach in the Stalker video game, inspired by this same antenna wall.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Project Review CASE STUDY: VERTICAL LANDSCAPE URBANISM / STUDIO Hp As + L.E.FT This case study gives insight and inspiration to the architectural intervention at Owhiro Bay. Studio Hp As + L.E.FT have envisioned an architectural intervention on the cliffs of the Dordogne area in Holmestrand, Norway. Based around a main public elevator, the project creates a transitional connection between the old part of the town below, to the new. The mixture of both uniform and haphazardly placed buildings creates a physical shift from the more sporadic area below to the modern above. It is a gesture which could have positive implications on the site at Owhiro Bay - linking the rather devastated quarry with the more appealing, natural hill slopes. In this project, the architectural interventions high up on the cliff provide fantastic vantage points and vistas overlooking the valley beyond. At Owhiro Bay, one could exploit the colossal height of the quarry to also support great views across the Cook Strait and to the South Island. The orientations of buildings in this Norwegian case study are also similar to the mixture of buildings on display in the preliminary hand-in, and could be investigated further to determine a more concise arrangement of buildings. Additionally, as is shown below, this project provides insight in to the advantages of occupying both the interior and exterior of the cliff face. It allows for a balanced presence of the architecture, maximum sectional variation, optimal spatial proportion, as well as minimising structural complexity.

^Fig 5.1 - Diagram depicting limits of internal habitation of architectural cliff intervention.

^Fig 5.2 - Diagram depicting limits of having maximum presence of architectural intervention on the exterior of the cliff face - increasing structural complexity.

^Fig 5.3 - Ideal distribution of internal and external occupation of the cliff face, creating sectional variation and optimal spatial proportion.

Opposite: Fig 5.4 - Vertical Landscape Urbanism perspective render.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

CASE STUDY: VERTICAL LANDSCAPE URBANISM | STUDIO Hp As + L.E.FT The prime function of this project in Norway is to bridge the rupture formed by the vertical landscape. Technically this is done by means of an elevator. The concept is to compose a program of development by which the cliff is turned from obstacle to opportunity; using the elevator shaft as an infrastructural spine. This proposal shares similarities with the proposed Natural Environment Archive at Owhiro Bay, where a central ‘spine’ penetrates the intervention from the apex of the cliff to the waters edge. It is not only representative of the ‘ridge board’ found in traditional Marae, but it also provides a clear means of vertical circulation and a meaningful visual connection between ‘Te Pou’ (the public museum) and the ‘Wharenui’ (Natural Environment archive and educational building). In ‘Vertical Landscape Urbanism’ constructed geography is programmed with culture and leisure facilities together with public services, and lines the edge of the cliff with a belt of high end housing. This same approach to program can also be achieved in the proposed buildings at Owhiro Bay where a museum, archive, educational institute and accomodation can all share the same site. As is evident in this project, the Owhiro proposal could also extend the notion of vertical transporation by providing additional functions such as office space, storage space, or leisure facilities.

^Fig 5.5 - Front Elevation emphasising the mixture of uniformity and haphazardness of building placement.

^Fig - 5.6 - Cross Section through central lift biulding, highlighting sectional diversity and balanced relationship between interior and exterior.

Opposite: CW from top left: Fig 5.7 - Night time render of proposal, Fig 5.8 - Model depicting main buildings on cliff face, Fig 5.9 - Render showing top portion of cliff intervention, Fig 5.10 View out to sea from top of vertical elevator building.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

CASE STUDY: VERTICAL LANDSCAPE URBANISM | STUDIO Hp As + L.E.FT The positioning of buildings in this project are governed primarily by a historical pathway which extends from the waters edge, past the existing hotel and up the cliff to the newer part of the town. It acts as the central â&#x20AC;&#x2DC;spineâ&#x20AC;&#x2122; of the project, and it is a gesture which would suit the proposed project at Owhiro Bay. A central spine could penetrate the the project at Owhiro Bay, creating a means for vertical circulation on the quarry face, and also influencing design elements of Te Pou - the museum building which would be intersected by the spine.

^Fig 5.11 - Site Plan demonstrating how the project links the existing old part of the town below with the new above. The scattered purple pavilions form a visual link between the existing hotel and the cliff face.

^Fig 5.12 - Axonometric Diagram providing information about the different programs used in the project.

Opposite: Fig 5.13 - Daytime render of vertical landscape urbanism proposal.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Preliminary Design

4 3

^Fig 6.1 - Locations of preliminary concept collage renderings.

PRELIMINARY CONCEPT DEVELOPMENT The imagery in the following pages are experiments of possible concepts for how the Owhiro Bay Quarry may be utilized by architectural intervention. The imagery used are of existing works by known architects and visual artists. Their works are of great visual detail and narrative, providing varying responses when applied as collages to the site. These experiments are a means to provoke ideas for the use of the context, establishing the site as a critical element to the final architectural narrative.

Opposite: Fig 6.2 - Digital collage render 01.

Jordan August

1. Cavernous Inhabitation This Collage Experiment questions how the quarry wall can be occupied by architecture, and the purpose of the bench-cut platforms. Perhaps, the benchcut platforms are solely informants of where floor levels can reside, resulting in an architecture which cuts in to the cliff with no regard to maintaining the platforms, instead using them to simply advise levels of occupation.

2. The Land Shapers A significant feature of the site is a large valley situated east of the quarry face. This deep fissure within an otherwise tall, mountainous area tells a story of great land upheaval, where forces of nature have governed the topography of the site, terminating at the lake shown. These few architectural interventions shown portray the process of an alternately machined land.

^ Fig 6.3 - Digital collage render 02.

^ Fig 6.4 - Digital collage render 03

3. Haphazard Occupation Two monolithic structures occupy different areas of the site, linked by one of the many terraces caused by past quarrying activities. This is an experiment to observe how a large architectural intervention can be positioned within the context. The aimless scaffolding supporting these structures enforces this haphazard reunion between a contrasting structure and site.

4. Dogs on Guard The context surrounding the quarry is of great cultural and environmental value. This collage iteration portrays a vast architectural intervention within the quarried face, embodying this notion of value. Other structures arranged along the adjacent coast, pertain to the notion of guard dogs - an architectural response to the great cultural and environmental value of the site.

^ Fig 6.5 - Digital collage render 04.

5. Hidden Labyrinth How can the destructive remnants of a quarry be put to use in a positive, productive way? This experiment explores how architecture can occupy the scarred cliff face both above and beyond the visible landscape. The subtle exposure of a super structure within the quarried slope, shown below, gives evidence to how living within an otherwise desolate setting can be achieved.

^ Fig 6.6 - Digital collage render 05.

ARCI 411 | Architecture Design Research

Cultural Narratives

PRELIMINARY DEISGN OUTCOME: EARTHEN RESURRECTION Owhiro Quarry is perceived by most as the result of destructive human activity. A once thriving environment with native fauna and flora, has been reduced to a barren wasteland, deprived of life. This design experiment questions the suggestion that ancient customs can revitalise a devastated environment, if it is embodied within an architecture that follows this narrative. This project uses the narrative found in the traditional culture of the Maori - in particular, those customs which are seen on the Marae. One such custom is the Powhiri, the traditional welcoming of visitors (Manuhiri) on to the Marae. As such, this project conceives people whom may visit the place as these visitors. Certain roles are held by certain people and elements of the Marae, and these roles have been translated in to architectural interventions within this project. This preliminary design addreses the issues surrounding the landscape as well as providing an environmental museum, educational institute and accomodation for visitors.

Jordan August

WHARENUI KAUMATUA

TANGATA WHENUA

KAIKARANGA

TANGATA WHENUA

TE POU

^Fig 6.7 - Narrative Approach and Program Designation.

ARCI 411 | Architecture Design Research

Cultural Narratives

^Fig 6.8 - Overall Preliminary Site Plan

Opposite: CW from top left: Fig 6.9 - Approaching intervention from the south, Fig 6.10 Looking southward from behind Te Pou (the Post), Fig 6.11 - viewing north from the tail of the spine (Blood Line).

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

<CW from top left: Fig 6.12 - Te Pou base, Fig 6.13 - Te Pou base x-ray plan view of interior, Fig 6.14 - View of narrative from initial entry position.

ARCI 411 | Architecture Design Research

Cultural Narratives

Developed Design DEVELOPED DESIGN OUTCOME: TE POU As is evident in chapter 3: Program Analysis, a decision was made to focus on developing Te Pou, the pivotal structure of the cultural narrative. It is assumed that the other elements of this design would have been fully developed alongside this building had this project spanned across a longer time i.e. a full thesis.The developed design of Te Pou has taken the conceptual implications from the preliminary design and translated them in to a more structurally feasible building. Greater attention has been given to the program distribution within the building and this is refelective of its articulated exterior form. The proportions of Te Pou have remained not too disimilar to the preliminary design, however, a greater focus on building code requirements has given the building a more linear and distinguishable aesthetic. AIMS AND OBJECTIVES How can architectural intervention create a nurturing environment that acknowledges cultural history and helps conserve biodiversity, as well as educating the public in its importance? Te Pou is intended as an architectural embodiment of many different physical, mythical and historical elements found at Owhiro Bay. It is designed to house a natural environment conservatory whilst playing a role in a culturally sensitive narrative. It acknowledges the mythical background of Owhiro Bay, where it is said that Kupe once bled, staining the rocks their characterisitc red colour. The head of Te Pou is clad in core-ten, a gesture towards this mythical story. It sets out to achieve the objective of acknowledging cultural history, enhancing the relationship between the building and the context. The articulated form of Te Pou is also suggestive of the central column of a Wharenui, carved of mythological beings to represent the ancestors of a traditional Maori community. The uppermost being symbolises the most distant of ancestors, fittingly housing the head offices in Te Pou. Te Pou offers many floors of public exhibition spaces, educational areas and archives of the natural environment. This achieves the aim of creating a nurturing climate for visitors, improving their understanding of the importance of the natural environment ARCHITECTURAL IMAGERY The following pages exhibit the final design outcome of this design research project, suggesting how the design may appear at the site.

Opposite: Fig 7.1 - Te Pou from the cliff behind, with the South Island in the distance.

Jordan August

ARCI 411 | Architecture Design Research

Cultural Narratives

Observation deck

Offices Toilets

Archives

11 10 9 8

Lecture/seminar space

28,000.0

7 6 5 4

Public exhibition/ Library/Reception

3 2 1

4000.0

South Elevation

South-east Elevation

^Fig 7.4 - Elevations of Te Pou spanning 180Â° from south elevation to north elevation, showing program distribution across floor levels.

Jordan August

East Elevation

North-east Elevation

North Elevation

ARCI 411 | Architecture Design Research

Cultural Narratives

27380

265

9500

Level 1 - Public Exhibition 1:500

Level 8 - Lec 1:5

^Fig 7.5 - Three contrasting floor plans within Te Pou.

Jordan August

5°

¥ 23750

cture/Seminar 500

31400

500

15600

Level 30 - Offices 1:500

ARCI 411 | Architecture Design Research

Cultural Narratives

Section A

^Fig 7.6 - Longitudinal cross-section through Te Pou.

Jordan August

1:1000

^Fig 7.7 - Looking upwards at the mid-section of Te Pou

^Fig 7.8 - Looking downwards from the head of Te Pou.

^Fig 7.9 - 3D longitudinal section.

ARCI 411 | Architecture Design Research

^Fig 7.10 - Looking north at Te Pou from beach below.

Cultural Narratives

ARCI 411 | Architecture Design Research

^Fig 7.11 - Te Pou, with undeveloped elements from preliminary design.

Cultural Narratives

ARCI 411 | Architecture Design Research

Cultural Narratives

Conclusions and Critical Reflection CONCLUSIONS As humans continue to exhaust the Earth of its precious resources, and communities become further homogenized, the subjects of culture and environment grow as a significant consideration. A simple way to combat these losses would be to simply stop these practises. This however, would have dire consequences for people and their well-being. A holistic approach is instead required, considering all facets of culture, the natural environment, and its relationship with people. Architecture is one area that can contribute to this approach. This is evident in Te Pou, which has offered great insight in to the possibilities of architecture functioning as a restorative mechanism for culture and the natural environment. By investigating the cultural, historical and environmental significance of one such exhausted environment - Owhiro Bay - lessons have been learnt on the possibilities of architecture as a remedial tool. Not only has participating in this investigation highlighted the common belief that architecture can heal a damaged site, it has given the design an added layer of cultural acknowledgement, greatly enhancing its stature and distinction. It can be argued that Te Pou is a symbol for conserving the natural environment, embodied within an architecture of guardianship - Kaitiakitanga. CONSTRAINTS & LIMITATIONS OF FINDINGS Time is a universal constraint in all investigations. Alongside this, Te Pou is limited by its structural accuracy and building code requirements. There also exists uncertainty around the true mythology of Owhiro Bay, meaning that an agreed upon approach to culture by one party may differ to the opinions of others. A more in-depth investigation would be required to find a more mutual concept for culture in this deisgn. Locating this design in Wellington, New Zealand, and conducting the design as as individual also limits material choice and considerations of aesthetic preference, introducing the debate surrounding subjectivity. OTHER POTENTIAL APPLICATIONS & ADVANCEMENTS

Opposite: Fig 8.1 - Final poster for ARCI 411 presentation and exhibition: â&#x20AC;&#x153;Te Pou - A Conservatory for the Natural Environment, embodied within an Architecture of Guardianship.â&#x20AC;?

A similar approach to architecture could well be implemented in a similar site. In environments where local flora and fauna differ to those at Owhiro Quarry, different architectural outcomes may arise. For example, in a site devastated by deforestation (as opposed to quarrying), the architectural outcome may be more elegant and reflective of trees. This highlights the potential for architecture to approach a site with fixed values and principles, yet resulting in a design which is unique and specific to the site to which it is designed for.

ARCI 411 | Architecture Design Research

Cultural Narratives

List of References, Sources of Figures & Appendices LIST OF REFERENCES David Basulto. “Vertical Landscape Urbanism / Studio Hp As + L.E.FT” 20 Apr 2009. ArchDaily. Web. 19 Jun 2016. <www.archdaily.com/20156/verticallandscape-urbanism-left-studio-hp-as/> Haralambidou, Penelope. “The Fall: the Allegorical Architectural Project as a Critical Method.” Critical Architecture. Ed. Jane Rendell. London; New York: Routledge, 2007. 225-236. Print. Rossignol, Jim. “Ghosts Of The Future: Borrowing Architecture From The Zone Of Alienation.” BLDGBLOG. N.p. 17 May 2010. Web. 19 June 2016. <www.bldgblog.com/2010/05/ghosts-of-the-future-borrowingarchitecture-from-the-zone-of-alienation/> SOURCES OF FIGURES Fig 01. Te Pou, with it’s metaphorical shadow of a Maori guardian. Author’s own image, 2016 Fig 02. Montage of Te Pou, developed design. Author’s own image, 2016. Fig 1.1. “Owhiro Bay Quarry.” Owhiro Bay Quarry. N.p., n.d. Web. 19 June 2016. <drive.google.com/folderview?id=0B6jG8Tkh7XjgQUN6cFJsb DVhNXM&usp=drive_web> Fig 2.1. “Wellington Aerial Satellite Imagery.” LINZ Data Service. Land Information New Zealand. Web. 19 June 2016. <data.linz.govt.nz/> Fig 2.2. Sketch experiment. Author’s own image, 2016. Fig 2.3. As above. Fig 2.4. As above. Fig 2.5. “Google Maps.” Google Maps. Web. 19 June 2016. <www. google.co.nz/maps/@-41.346371,174.7450817,931m/ data=!3m1!1e3?hl=en> Fig 2.6. “Wellington Aerial Satellite Imagery.” LINZ Data Service. Land Information New Zealand. Web. 19 June 2016. <data.linz.govt.nz/> Fig 2.7. Architecture sketch investigations for the site. Author’s own image, 2016. Fig 2.8. As above Fig 2.9. As above Fig 3.1. Initial program sketch experiments. Author’s own image, 2016. Fig 3.2. Physical inspiration to inform program orientation Author’s own image, 2016. Fig 3.3. Developed program sketch ideas. Author’s own image, 2016. Fig 4.1. “Étant Donnés.” Wikipedia. Wikimedia Foundation, n.d. Web. 19 June 2016. <en.wikipedia.org/wiki/%C3%89tant_donn%C3%A9s#/media/ File:Etant_donnes.jpg> Fig 4.2. Haralambidou, Penelope. The Blossoming of Perspective: A Study by Penelope Haralambidou. London: Domobaal Editions, 2006. Print.

Fig 4.3. Rossignol, Jim. “Ghosts Of The Future: Borrowing Architecture From The Zone Of Alienation.” BLDGBLOG. N.p. 17 May 2010. Web. 19 June 2016. <www.bldgblog.com/2010/05/ghosts-of-the-futureborrowing-architecture-from-the-zone-of-alienation/> Fig 5.1. David Basulto. “Vertical Landscape Urbanism / Studio Hp As + L.E.FT” 20 Apr 2009. ArchDaily. 19 Jun 2016. <www.archdaily. com/20156/vertical-landscape-urbanism-left-studio-hp-as/> Fig 5.2 - 5.13. As above. Fig 6.1. Locations of preliminary concept collage renderings. Author’s own image, 2016. Fig 6.2. Digital collage render 01. Author’s own image, 2016. Fig 6.3. Digital collage render 02. Author’s own image, 2016. Fig 6.4. Digital collage render 03. Author’s own image, 2016. Fig 6.5. Digital collage render 04. Author’s own image, 2016. Fig 6.6. Digital collage render 05. Author’s own image, 2016. Fig 6.7. Narrative Approach and Program Designation. Author’s own image, 2016. Fig 6.8. Overall preliminary site plan. Author’s own image, 2016. Fig 6.9. Approaching intervention from the south. Author’s own image, 2016. Fig 6.10. Looking southward from behind Te Pou (the Post). Author’s own image, 2016. Fig 6.11. viewing north from the tail of the spine (Blood Line). Author’s own image, 2016. Fig 6.12. Te Pou base. Author’s own image, 2016. Fig 6.13. Te Pou base x-ray plan view of interior. Author’s own image, 2016. Fig 6.14. View of narrative from initial entry position. Author’s own image, 2016. Fig 7.1. Te Pou from the cliff behind, with the South Island in the distance. Author’s own image, 2016. Fig 7.2. Te Pou Program. Author’s own image, 2016. Fig 7.3. Site Plan of developed design, showing site influenced orientation lines. Author’s own image, 2016. Fig 7.4. Elevations of Te Pou spanning 180° from south elevation to north elevation, showing program distribution across floor levels. Author’s own image, 2016. Fig 7.5. Three contrasting floor plans within Te Pou. Author’s own image, 2016. Fig 7.6. Longitudinal cross-section through Te Pou. Author’s own image, 2016. Fig 7.7. Looking upwards at the mid-section of Te Pou. Author’s own image, 2016. Fig 7.8. Looking downwards from the head of Te Pou. Author’s own image, 2016. Fig 7.9. 3D longitudinal section. Author’s own image, 2016. Fig 7.10. Looking north at Te Pou from beach below. Author’s own image, 2016. Fig 7.11. Te Pou, with undeveloped elements from preliminary design. Author’s own image, 2016. Fig 8.1. Final poster for ARCI 411 presentation and exhibition. Author’s own image, 2016.

ARCI 411 | Architecture Design Research

Cultural Narratives

Jordan August ARCI 411 - Architecture Design Research Cultural & contextual narratives. Phase 2: Developed Design 19 June 2016

19 June 2016

END