Auckland’s Lost Identity National identity is a shared understanding of the characteristics and behaviours that distinguish one nation from other nations. Usually these characteristics can be seen in architecture, urban landscapes and a country’s built language as a whole. But what does Auckland architecture say about our National identity? Auckland claims to be a multicultural city celebrating many ethnicities while acknowledging its unique Maori heritage. However the architecture of Auckland merely celebrates its culture or history, and has not identity. Most buildings have no cultural relevance, or for some no more than an “additive” to an already resolved structure. It is important for Auckland to build appropriately for its representation of identity, and celebration of its beautiful multicultural city.
Auckland’s Whakapapa Whakapapa in the Maori language represents the stacking of generations, and is a critical element in establishing one’s identity. Although Whakapapa directly translates to the English “genealogy”, it is also the ability to show the knowledge of your own heritage and provides the basis for establishing, enhancing, and even challenging relationships between individuals, whanau, hapu and iwi. In search for Auckland’s built identity, establishing the city’s “Whakapapa” becomes critical. The celebration of the city’s heritage and its multicultural nature will be essential in building a monumental building in the Auckland Port area.
View of Gallery/Monument
View of Rangitoto
Outdoor Amphitheatre
View of Gallery/Monument
Perimeter Walkway
Cultural Precinct For the proposal of the Auckland port master plan, it is important to incorporate cultural aspects that have strong representation of Auckland’s heritage and identity. The cultural precinct will consist of an architecture that celebrates the history of New Zealand and incorporate activities that reflect what it means to be a New Zealander. There will be an Art Gallery (or a monument) at the Northern edge of the Eastern wharf, allowing the ships coming into the harbour to view something representational of Auckland’s identity. There will also be an outdoor amphitheatre at the eastern edge of the Eastern wharf, holding activities (such as music, theatre, and dance) that also reflect the Auckland identity. The Eastern wharf promenade will allow pedestrians to view the Art Gallery from the Southern end of the wharf, and allow direct access to the end of the wharf.
The Ying & Yang The cultural precinct is located at the north edge of the far-east end of the Port site, allowing spectacular views of both Rangitoto island and into the city. The location promotes this precinct to be the first glimpse of Auckland city for the ships coming into the harbour. Utilizing this spectacular location and the opportunities it creates, it is important to focus on the outward and inward views from this site. In terms of architecture there should be something to “look at” and something to “look from”: the ying and yang.
New Zealand “Architecture” What is New Zealand Architecture? Some believe the integration of great landscapes, the seamless flow of indoor and outdoor and the informal domestic lifestyle are the strengths of New Zealand architecture. But many argue New Zealand architects have been strongly influenced by overseas trends and have not established an architecture that holds strong identity reflecting its best assets. I believe both statements are relevant: to create something recognizably “Auckland”, it is important to focus on the beautiful landscape and the Kiwi lifestyle it could generate. It is also important to look for ques in heritage and our own culture, rather than overseas trends and iconic buildings.
Orientation As the Cultural Precinct occupies a head-land, it is important to consider orientation in terms of programme, sunlight, view and cultural appropriacy. In Maori tradition, a Whare Whakairo (carved meeting house) usually faces east, the location of Hawaiki (Homeland) and the sunrise (an event associated with renewal). The back of the building is generally regarded as representing the ancestral past and the front the present and future. The orientation in terms of sunlight is also extremely important due to the outdoor focused programme of the site. Therefore sun-shading becomes essential and needs to be compromised with sea-views and other programmes. Everything generated on this site should give careful consideration to orientation.
Nine Bridges Country Club / Shigeru Ban Architects
Nine Bridges Country Club / Shigeru Ban Architects Nine Bridges Golf Club House is a light-filled building making beautiful use of a minimal material palette while referencing local traditions of South Korea. The atrium space of the main clubhouse is composed of timber columns and roof with an envelope of clear glass providing a transparent and open space. The laminated timber columns arranged in radially climb vertically and curve to become horizontal members at the roof plane forming a hexagonal grid. The lower podium is constructed as a wall of large local stone built like tradtional stone setting of South Korea, gradually slanting inwards towards the top.
Park of Angels / Asymptote Architecture
Park of Angels / Asymptote Architecture The design incorporates a park with a collection of cultural buildings on the outskirts of Peccioli, Italy. This urbanized complex will be carefully grafted into the picturesque Tuscan countryside to create a dialogue with the surrounding farmland and historical sites. The park will include museums, interactive sculpture installations, and an amphitheater that can host 800 people. The main canopy is a tensile fabric stretched over a metal frame, providing shelter from the elements and harvesting solar energy via embedded photovoltaic units. The canopy shell also incorporates perforations that direct airflow over the fabric, and respond to changes in weather conditions.
Memory Wound / Jonas Dahlberg
Memory Wound / Jonas Dahlberg Swedish artist Jonas Dahlberg’s powerful monument to those lost in the 2011 Utøya terror attack is a three-and-a-half-meter wide “wound” within the landscape. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died. The excavation will slice through the top of the headland at the Sørbråten site, to below the water line and extends to each side. Unable to reach the end of Utøya’s headland, visitors will be led through a forested pathway, a “contemplative journey” that will ultimately lead them underground to a “dramatic edge of the cut itself.” Here, the void will reveal an untouchable stone wall that frames inscriptions of each victim’s name.
The Monument for the 150th Anniversary of the Battle of Puebla / TEN Arquitectos
The Monument for the 150th Anniversary of the Battle of Puebla / TEN Arquitectos The Monument for the 150th Anniversary of the Battle of Puebla functions as a gallery with multiple uses where the roof-top becomes an amphitheatre for various events. The outdoor area is designed to become recreational space with shaded areas and urban furniture, with kiosks serving food and drink. Throughout history, monuments have been erected to remind new generations of past events that define current times. Commonly typified as sculptural objects, the Monument seeks to foment the relations between the continuity of public space and maximize the site, through the creation of plural spaces of coexistence, as well as taking advantage of the views granted by the location.
Softening the Edge There is no doubt in saying New Zealanders love the water. In consideration to this, it is important for this precious headland to allow activities involving the Ocean. Whether it is a wharf with access to the water, a man made beach or just an interdependent soft edge of ground and water, water access must be considered and implemented into the design scheme. This will also enhance the human activity and create a social atmosphere in the cultural precinct. Softening the edge of this site will also allow better views to and from this site, and between the two pieces of architecture: The amphitheatre and the art gallery.
Amphitheatre The amphitheatre located on the North-East edge of the site will incorporate Auckland’s rich culture and heritage and will curate a space that is recognizably “Auckland”. The amphitheatre will utilize the headland site showcasing the best views of the city, Rangitoto Island, and the adjacent monument. The mixed-use outdoor theatre setting will host outdoor events (such as movie screenings, concerts, performing arts etc.) and will become a relaxing look-out point when the site is not being used. The amphitheatre will orientate towards the spectacular views, while being sensitive to the sunlight it receives with possibilities of adjustable sun-shading structures. The Amphitheatre will also incorporate a water element with possible sensitivity to the tide. The Architecture will have a cultural undertone with representations of weaving, carving and connotations of old Maori myths and legends.
The Auckland Landmark Monuments and landmarks have traditionally been erected to remind new generations of past events that define current times. They are also commonly typified as sculptural objects that hold a national identity. It is important for the Auckland landmark to abstract this traditional approach to monumentalism and focus on what makes Auckland special. Although Auckland has a rich cultural heritage while becoming one of the most multicultural cities in the world, the city itself is young and shy of history. The Auckland Landmark should instead reflect the beautiful landscape and the laid-back outdoor lifestyle that makes the city desirably unique. The Auckland Landmark will focus on augmentation of the landscape (by cutting, removing and adding to the ground) and enhancing the natural qualities of the water and sky. The Landmark will be activity focused, people driven and act as a collective landmark rather than a single piece of Architecture.