Whakapapa in the Maori language represents the stacking of generations, and is a critical element in establishing one’s identity. AlthoughWhakapapa 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.
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 historical footprints. The Auckland Landmark should instead reflect the beautiful landscape and the laid-back outdoor lif style that makes the city desirably unique.
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 water. Whether it is a wharf with access to the water, a man made beach, or canals pulled far back into the site, water access is criticall to a successful design scheme. This will also enhance the human activity and create a social atmosphere in the cultural precinct and Wai Wai Park. Softening the edge of this site will also allow better views to and from this site, and between the two pieces of architecture: Rangi Hall and the Observation Spaces in AO Museum.
Wai Wai Park, located on Ferguson Wharf: features multiple landscape projects in hopes of creating a landmark for Auckland. These projects located on the headlands of the wharf focuses 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. The collective Landmark will signify the arrival via water to Auckland, and will symbolize the importance of Maori heritage, landscape and its beauty to New Zealanders.
The first augmentation to the landscape is a slice through the top of the headland, separating the top edge of the headland from the rest of the site forming an island. The cut will be retained holding the shape of the slice, and the separated island will be inacce sible. The inaccessible island represents the idea of “tapu� and the feeling of displacement the European settlers created on Maori land. This island (theoretically) is the most valuable piece of land in Auckland. By producing this inaccessible island, it shows that monetary value is irrelevant and far less important to the spiritual attachment Maori have to their land. The Tapu Island is able to be observedthrough the underground AO museum.
The second augmentation to the landscape will be a triangular cut into a topographical landscape removing the soil. The removal of the land represents the sacred Maori land been taken by the European settlers. The cut faces North-East pointing to Hawaiki (the Maori homeland) and the sunrise, symbolising new beginnings and acknowledging the Maori settlement. The cut is seen as a small insertion from the water, however it is viewed as a large cut/removal of land when viewed from on land or above land. This deception represents the idea of our perspective history: how there is always two sides to the story. It also represents the depth and appreciation Maori have towards their land and water
The Museum opposing Tapu Island is a reflection space for the new generations of New Zealanders and visitors to reflect on the Maori history. The cut-faรงade of the island is an art installation curated by the Ngati Whatua Iwi, and can be observed through multiple floors in the museum. The interior spaces will resem ble a museum arrangement, where people can see, read and learn about Maori history and experience modern Maori art. The Museum also features look-out points where visitors can admire the views of Rangitoto and the Eastern and Western bays. The large open spaces is accompanied by multiple skylights and a spiritual atmosphere.
The entrance will be at the end of a pathway carved into the landscape following the topography, leading to the museum underground. The first floor comprises of Maori Whakairo (carvings) and an exhibition briefing the Maori history and European settlement. The Second floor features one of the largest Waka in New Zealand. The third floor resembles an art gallery holding exhibitions of up-coming Maori artists. The fourth floor consists of the “Rangi (sky) rooms� where various skylights are installed holding a dialogue to Rangi the sky-god and can be used as lecture and conference rooms. The fourth floor leads to the roof-top (on land) where visitors can experience the landmarks from the outside, and take a break in the cafeteria.
The ‘Valley’ area between Hawaiki and the amph theatre will be an open timber board-walk attracting human activity and recreation. The wharfstyle paved area will consist of kiosks, floating wharfs and large amounts of relaxation spaces. This area will be optimized by the juxtapositions of people and landscape, man-made and natural, and ground and water. It is also a dip in the landscape where the visitors can admire the bayviews and architecture on the headlands. The Valley leads to Wai-Wai Park, a native forestry activated by “playgrounds”, designed to entertain people of various ages and interests.
Rangi Hall is located on the far-east headland on Ferguson Wharf, pointing directly towards Rangitoto. Located on a hill with the most spectacular harbour views, Rangi hall displays Auckland’s rich culture in its interiority, and has curated a space that is recognizably “Auckland”. The triangular shaped façade along with the triangular footprint of the building perfectly frames the symbolical view of the Rangitoto from the inside. The hall is used as a recital space where musicians, dancers and cultural performers can perform with a dynamic backdrop.
Rangi Hall can also be used for services involving a sunrise (e.g. dawn service, New Years etc.) symbo ising “new beginnings” in the Maori tradition. The hall consists of a ground level, a mezzanine level and an elevated stage. The large angled walls are cladded with a threedimensional Pacific pattern, made of recycled native-Totara wood. The intricate wall provides acoustic benefits and sets the pacific unde tone of the hall. The Stage hangs off the topography, creating a “floating” ambiance. Rangi Hall is also designed for public-daily use, for people to visit, view and rest during the day.