Madumal final pres 03 100mb 14

Water. As I said before, my friend, it is what unites us all. There is no creature on earth that could endure without its godly gift of life.

Look at our planet from the distance of space and you will see a pale blue dot. All you have known and will ever know is as a result of that pale blue substance. Water. We are nothing without its presence. War, fear, peace, politics, fashion, love, friendship, ego, religion and and all other things, tangible and intangible is as a consequence of this ingredient. All the gold, silvers and diamonds of this earth and beyond, cannot begin to parallel to the beauty of water.

Irrespective of the your creed, colour, race, religion, it has been a part of you since before you were born. Water is simply transcultural. Throughout history it has taken part in uncountable rituals, celebrations and offerings. Civilisations have risen and fallen from its might. The Egyptian Nile gave life throughout its length. The efforts of Roman emperors to build aqueducts through vast plains to give life to a city are a manifestation of the relationships between man, water and the city. The attractiveness of water can be seen when one looks at the great city Venice. All civilisations that have risen have dreamed to build around this resource pursuing the creation of a narration of life with water at its roots. A civilisation grows as a tree grows with the addition of this life-giving liquid.

New Zealand, a country surrounded by water, has the gift that many countries could merely wish for. The ancestors of this country saw why we must live with it in our spirits. Maori traditions speak of Te taha wairua which is the dimension of two waters or the spiritual plane. The sky father and the earth mother created the Tangaroa – god of the sea. His spirit is within us and outside of us. Our souls are made from such fluid movements that can be visualised through the movements of water.

When the waters of the sea drowned that valley that once exited to create Waitematā Harbour, we were given the opportunity for a new kind of city; an opportunity to connect ourselves with this resource for the ultimate benefit of all creatures of the earth whilst giving water to the roots of our civilisation. We have taken this opportunity. Throughout time water has helped New Zealand flourish, allowing, and helping businesses and economies grow and excel.

But in this growth industry and corporation took our water away.

Auckland has become but a city of corporate shoes and drunken high heels. We have lost a balance. We lost our culture that connected the spirit of the individual to the water. The novel chapter of Waitematā has been an unkind one to the idea that we are a city in the midst of two harbours. The Waitematā – waters smooth as obsidian and Manukau - wading birds. We have sequestered primacy of water in humane life. Now, industry has taken over, allowing the passer by to see more of the cranes and creates they carry more than we see the sea.

We see the sea but cannot touch it. We go to restaurants, looking out at the gentle waves, longing. We see people on boats holding tight so they may not fall into the now quasi-restricted water. Do we fear what gave us life?

Now I fear that the water of Auckland has become only for the rich or the daring. Boats that can be afforded by a fraction of the inhabitants of the city roam, leaving the rest behind.

Before the completion of Wynyard quarter and Queens Wharf as public spaces in in the city centre, Auckland city had close to no access to water. But even with this intervention it is still not possible to access the water to the extend that we can call it humane.

Where are the closest beaches that we can experience from the city centre? Judges bay. However it is too far away from Auckland city and undesirable.

A novel addition in the urban landscape of Auckland has recently enabled the public to access the water for the first time in many years. It is the humble addition of steps to the water at the Viaduct basin next to Karanga Plaza. It has been successful and we need more spaces such as this in Auckland city.

It is no surprive that when we look at water on a lake, that we see ourselves. For forget not that the Earths water longs to grasp your body so you can one again be united with its nature. And you do too.

This is the city of water. Each space will be firstly conceived by looking at the use of water in each part of our lives; drinking, cooking, washing, bathing, swimming, gardening and farming, water sports, religion and belief, viewing and other.

For the use of drinking is a water fountain; for the use of cooking is a restaurant; for washing is an ablution space, and showers; for bathing is a public spa, small pool, sauna and thermal baths; for swimming is a public pool; for gardening is a vegetable garden; for water sports is a fishing spot; for religion and belief is water meditation space, water chapel, ablution space, and temple baths; for viewing is an infinity pool with an exhibition space, and an aquarium; and for other uses a fountain and a wishing well.

Now what I must do is to take these programmes individually and if possible and collide them together in a way that creates a system that will work harmoniously together to provide the space with a unity. I must expose each programme and see their potential to work together with other programmes.

And how are you do this?

Simply I believe to do this is to create a system that allows the water to be reused and recycled. The main issue we have to consider here though is the separation of programmes into salt water based programmes and non-salt water programmes to determine which programmes can interact and not interact with each other.

Water programmes for cleaning oneself and drinking, eating, should be non-salt water activities. However programmes such as swimming, and other viable spaces should be considered to contain salt water.

So therefore which programmes exactly that we have defined should be in each category?

The salt-water category will contains water meditation space, infinity pool, water chapel, fishing spot and public swimming pool.

The non-salt water category will contain the drinking fountain, restaurant, ablution space, showers, spa, small pools, sauna, thermal baths, vegetable garden, temple baths, aquarium and fountain.

Before creating the system how we must see which programmes can be collided together so our system can be more efficient.

Very well. Let us start with the collision of programmes from the salt-water category.

I should think of combining the infinity pool with the exhibiton space sp that they are they become part of the same building. As of now that is all I can think of. However the it is clear that the waters from each of these programmes shall flow into one another.

Then we shall move of to the non-salt water programmes.

The non-fresh water category brings together many more possible intereactions of programme. The first and possibly the most important to the system we must create must be a large scale aquaphonic system that combines the aquarium and the vegetable garden together. Next, we must combine sauna, small pools, spa and thermal baths together as one programme as they provide similar funtions and are more desirable and efficient in a similarilty warmenr interior. Once again these programmes will use its water witin its own system and flow from one programme to another.

Now tell me what these systems are? How do you perceive them to work?

If we once again begin with the salt water, we can recognise this as a fairly simple system. The water would be extracted carefully from the sea. It shall then be shared among the different parts of this body. We shall see the small streams exiting each pool and letting out water as on its opposite end another receives it. We shall see the pools rise and fall with the tide of the waves of the great sea and gaze at this wonderful phenomenon from the centre of our city.

And the non-salt water programmes?

The non-salt water programmes will centre on the aquaphonic system. All the water from the other programmes will flow into one another, including water from the ablution space, showers, spa, small pools and temple baths. This then will flow into the aquaphonic pond. This pond will also receive water from storm water runoff and be cleaned in the process with ecological planting. Excess and clean water from this process will then runoff into the salt water system. Hence these two systems will then connect. At the systems’ final stage, water is then runoff into the sea. Compost made from the individual lavatories, which will also receive water from the fresh water system, will be used for the vegetable garden.

The vegetables as well as fishing enthusiasts will provide food for the restaurant both from outside the system and after using the fishing spots on site.

Now if we are to figure out a hierarchy of respective dimensions of each programme we must do so according to their spatial needs.

Then we must see where each of these programmes fit on site with accordance to the relationships with between the programmes in accordance to the system we have created.

We shall. And what do you think the most spatially significant programmes are?

Most likely the vegetable garden hence its where all waters from one system come to. Then I believe it should be the baths, as the space needed for this programme is large as it contains four sub-programmes. And after this shall be the Infinity pool along with exhibition space. Then it should be the public swimming pool; next the restaurant; thereafter water chapel, mediation space, ablution and temple baths; and then fishing place. All other programmes should be below these programmes in terms of size.

To come up with this plan do we not need a guide to follow to determine each size? It should be a system of some sorts I believe.

Ah right you are, wise friend. Then system should take the human body as an instigator of space, each dimension should be from any humans feet to his or her highest reach. And this size I do believe is around three metres.

Right you are.

Ultimately this will make a grid on our site.

And I imagine the grid should take into consideration the sun and the view of great Waitēmata Harbour?

Yes. That seems best. But like the nature of water we must not contrain ourselves much with this grid but flow into the contraints of this site and not be worried to overfill the cup. Like driftwood on salty water, our programmes must be free to float on top of this waterscape.

Now tell me, dear friend, of your vison.

The waters resonate the ever-changing nature of the sea, and humanities desire to grasp hold of each wave as they grasp for breath. The tide of the sea adjusts itself with the moving of the shadows and seeing this the pool follows the lead of its greater self. Imagine, wise friend, you are walking through the city and you smell the salty air below from this site kissing your nose and taking you forcefully towards it, like a rip in the current of your senses. Time is everything. So do not stand for long, as each moment has no familiarity.

As you looked from the street you saw nothing. Nothing but a void in the cityscape of tall buildings wearing finely ironed shirts. People appear and disappear from this void unknowingly mimicking the ferryboats arriving and departing the distant harbour. So likewise you disappear to the eyes of the city and descend the great steps. They act infinite behind the archway that hides your destination. But with each step in this immeasurable journey you measure each moment of each place in this vast landscape.

Look up at the great arches. They are resonant of times past. A monument to human history and our thirst in the city. You float past this effortless structure, its laughs mocking the past of its laboured origin. Floating away you sense specks of spit from its hilarity on your face. Floating away you see the clouds, and you question if it is you that is moving, or if it is the clouds who are dragging the world away with them, tricking you.

You stand from your habitual cloud gazing and see the masses around you. Masses of people and masses of structure. The masses dwindle the mass. It is chaotic but peaceful. The humble observer is in paradise, as he is lost in the rhythmic waves, lost in his own thoughts, with the music of the claps between mass and water. But with each moment he realises the water is leaving its height and it has been too long since he has moved. People have come and gone. And now you realise you have done the same as the observer.

The colours of their scales sparkle in the light that is reflected then refracted in the water. Careless and unassuming. It is a wish for the city to be like the fish they see here. So the void is a mesmerising window, into which you tarry. The people surrounding this aquarium seem however not to realise one thing yet it is no folly. As they stare at the iridescent scales, they are doing so within a macrocosmic tank of their own. A portal of reflection.

The crowds of people seem to have flocked to this place. You see the water is a deeper blue here. The water is lower now but not here. With a sudden drop you can sink low. People have come to the Comitium of space, not to sit and discuss the seriousness of life, but remember their whim. The steps ascend and descend, to overlook the complex of waters, before one can dive into its depths once again.

So you ascend to the top of this structure. With each step your heart beats louder, unsteady. You take care as to follow the precise curvature of the wall, being careful to step in the centre of each step. Now sitting at the edge you ponder the depth of the water, its coldness and its harshness. You now heed the wind in your hair, slowly whispering and pushing. Moments pass. You now stand; taking comfort in the fact the sweat that you have accumulated from your fear will be washed away in a moment’s time.

The water falls in the wind and you see the heaviness enter these walls, fighting against the downward force fall creates the waves and the ripples that touch the force, as it will grow with the rain and the wind. But

this element. Only those who dare that is trying to drown them. The outer walls. Do not misjudge this you must enter and so you swim.

As you look up you are introduced to windows that reveal the seeping of day’s light. With harmony, the momentary movement of persons momentarily stop this seeping, like an unseen choir of light. The light falls on the water and gives stage to empty patches of water that enjoy this pseudo fame for only a moment before it passes. But now you desire to observe what the observers beyond these voids are seeing and be a part of this choir.

As you stand in this high water, you see both the sea beyond and the sea below. You fictitiously imagine swimming in the now foreign sea, looking at the horizon, longingly. Now you look below, to see the multifarious synthetic islands surrounding you, and compare them to the ever-distant islands of WaitematÄ Harbour. You once again become an observer, waiting for the men women and children to go about their activities while you rest your chin on the edge of the water.

The boulder looks strange. It does not belong here. In a landscape of the synthetic what is ye doing here? Yet it is an irony that this rock is natural but did not form here. However, it seems to be echoing the spirit of Auckland, mimicking its lands, volcanos and seas. But the child you see here does not think these things. He only desires one thing, to climb and to hurdle himself into the water.

The great wall seems to be looking down at you. Maybe because on top of this wall seem to be the outsiders. They wear white shirts and corporate boots. They seem unforgiving towards you and the others enjoying themselves whilst they slave away in their businesses. But, you see one smoking up there, mesmerised by the resonance of the water. Now you see him reach for another. He smokes slower this time. The waves replicate the movements the smoke only slower and heavier. Salt and smoke.

Or is it that they are longing for this leisurescape. It is not in the nature of the human to forbid himself in the midst of constraint whilst the world outside offers the promise of informality, culture and togetherness. The platform is an invitation to satisfy your body’s longing for the water to touch your skin and give a sense of relief and your mind a sense of freedom.

Is it not ridiculous the idea that you must work to relieve yourself? At that moment you do think so. Swim or float to this hidden spot and you will be able to do what you please. Or wait till the water goes. It is unkind to facileness, as nature is, so too this synthetic nature. If this is a cruelty in the architecture it is a cruelty in nature. The simple beauty of patience is tested.

Water is the prayer of everyday that is answered everyday. The spirit of oneself is not unlike the water that surrounds it, flowing from our hearts into all parts of our body. As you descend down these steps you hope that your spirit can once again flow as it once did with the innocence of childhood. You sit down on the many steps and listen, to wise words and the gentle crashing of waves.

As you descend, your bare feet touch the descending water. You do not try to avoid it. The concrete does not soak the accumulating water, but rather guides it softly into one puddle. It begins to move towards the corner of the room. Slowly the puddle gets larger until it reaches a small hole in the ground. The process commences again. Water is repetitive but never the same.

The room descends steeply into the void. The thoughts of your spirit echo in the thickness of the walls and your heart beats slower. You escape into the circular room that only has a space for you to sit in its centre. You face the black wall and all you can hear are your thoughts. The sun gleams down, reflecting the water that surrounds you. The white reflections like dancing spirits. You close your eyes and begin to think nothing.

As the afternoon turns into evening the water descends back into the depths of where it came in this landscape. The line of water keeps moving and as this happens the synthetic-beach goers move their chairs and persons closer to the water. The moving waters reveal pools, as a tribute to the water that was once their. You see a woman sitting down next to one, dipping her legs in, as if trying to preserve the memory of the moving shoreline. It is getting late.

Steps upon steps lead your way down this landscape. It is no maze as all the paths you take will lead you to the same place. But it is not merely a space for ascending and descending in folly but a place that is in praise of your psyche and your thoughts. You are granted the time to ponder. As you descend down to the water you have found the peculiar cut in the ground that people were disappearing unto.

Its secrecy quaintly appears to be calling to you, and now you cannot escape your desire and curiosity.

But for a moment you look up, and see the waterfall. The aqueduct looks to have been cut thoughtlessly for now the water has no guidance, as it falls and splatters on whatever surface it can find. It bleeds down creating marks on the surface of each step.

It bleeds down to join the water of the secret door. But the water does not ever rise.

As you enter this secretive chamber it echoes each of your steps and the moving of the water. The walls resonate and contain you within their dialogue about you. Light has diminished and darkness prevails, and your eyes struggle to adjust. The water gets warmer, and warmer, a sign for what is to come. You cannot turn back now for the warmth is too compelling and you have eaten the intoxicating fruits of the lotus.

Now you have reached your destination, your exuberance is calmed by the slow moving whiteness that flows though the room. The light seeps in from above through a great oculus, causing the water to be excited and shimmer with glee. The great pool surrounds itself with smaller quaint pools, only large enough for one or two persons. The walls drip reluctant to return to the pools yet the steam escapes through the great void. And now you join this old tradition, feeling the heat upon your skin tear the cold away from your pores.

You had fallen in a slumber and now you have woken. It is now a time unknown in the night sky. Yet you are calm, as the stars speak for you to stay - to stay gazing at them with allure. The day and night have been taken away by this leisurescape of the city, the sea of the synthetic. But it is no worry, my friend, for you are now the participant of the water and you have satisfied the desire for the sea to hold you and you the sea.

To be continued...