Simon arms reclaimed land

VLPT

VLSC

VLSC VLSC VLSC VLSC

VLSC VLSC VLSC

VLPT

Inletor oroutlet outlet Inlet 0.00 Manhole 0.00 0.50 Catchpit 0.00 Catchpit 0.69

225 EW

Manhole 0.60

225 CP

VLPT

450 CP

150 PVC

Inlet or outlet Node 0.00 Catchpit 0.00 0.00

Inlet or outlet 0.00

225 225 CP CP 450 CP

225 CP

450 EW225 450 525 CP EW CP

225 PVC

300 PVC

300 PVC

225 225 CP CP

Catchpit Catchpit Joint Manhole 0.00 0.00 0.00 Manhole 0.00 Node 0.001.10 450 CP 450 EW Manhole Catchpit 1.70 0.00 Manhole Manhole 1.40 Manhole Catchpit 0.00 375 1.70 0.00 CP Manhole 300 1.60 PVC Manhole 1.60 Inlet or outlet 1.60

225 EW

100 PVC

100 PVC

Manhole 0.00

Inlet or outlet 0.00

VLSCPT

450 CP

Catchpit 0.00 Manhole 0.00

Inlet or outlet 0.00

VLSC VLSC

200 200 PVC PVC

VLPT VLPT VLSC

VLNRT

SITE DESIGN REPORT BAYSWATER MARINA WAITEMATA HARBOUR AUCKLAND

SIMON ARMS 5837512

VLPT

VLSC

VLSC VLSC VLSC VLSC

VLSC VLSC VLSC

VLPT

Inletor oroutlet outlet Inlet 0.00 Manhole 0.00 0.50 Catchpit 0.00

225 EW

450 CP

150C PV

Inlet or outlet Node 0.00 Catchpit 0.00 0.00

225 225 CP CP

22 CP 5

450 5 EW22 450 525 CP EW CP

225 PVC

30 PV 0 C

30 PV 0 C

5225 22 CP CP

0 0 20 C 20 C PV PV

VLNRT

450 CP

Catchpit Catchpit Joint Manhole 0.00 0.00 0.00 Manhole 0.00 Node 0.001.10 450 CP 450 EW Manhole Catchpit 1.70 0.00 Manhole Manhole 1.40 Manhole Catchpit 0.00 37 1.70 5 0.00 CP Manhole 30 1.60 PV 0 C Manhole 1.60 Inlet or outlet 1.60

VLSC VLSC

VLPT VLPT VLSC

5 22 EW

100 C PV

10 PV 0 C

Manhole 0.00

Inlet or outlet 0.00

Catchpit 0.69

Manhole 0.60

225 CP

VLPT

Inlet or outlet 0.00

VLSCPT

450 CP

Catchpit 0.00 Manhole 0.00

Inlet or outlet 0.00

IMAGE ONE:

SITE CONTEXT

Bayswater marina, situated in the Waitemata Harbour, Auckland is a point of re-claimed land with dramatic views overlooking Aucklands central bussiness district. Waitemata or ‘Obsidian waters’ Harbour, was named after its glassy water surface that resembled volcanic Obsidian rock which maintained high value due to its many important uses.

Once settled on by the Maori, Tamaki or Auckland found to have an abundance in seafood which belonged to Tangaroa, the God of the sea. Due to its enormous amounts of food certain procedures were put in place to maintain levels and quality of food such as; Rahui, a restriction on harvest of foods and Tapu, restrictions to polluting fishing areas.

The Bayswater marina with its strong connection to the sea, flat and linear topography and stunning views is a strong site for further development.

IMAGE TWO:

HISTORY

Tamaki also known as Auckland has a history of human population dating back to early Maori settlement in the 14th Century to European settlement in the 18th century and now the 3rd rated most liveable city in the World and most populated city in New Zealand. Centrally based around the Waitemata Harbour - ‘obsidian waters’, named after the glassy surfaces of the water, the central business district extrudes and dominates the landscape in a spectactular way. Tamaki, a past of chaos, conflict and imbalance from inter-tribal wars and confrontations from early Pakeha settlements now can be said the most culturally diverse and balanced city in New Zealand.

IMAGE THREE:

KAITIAKITANGA

Kaitiakitanga, ‘Guardianship, protection, preservation and sheltering’.

Kaitiakitanga is a Maori way of managing, sheltering and preserving the environment, but is also related to relationships in a way that they should be nutured and protected among people over time. The Paper Nautilus shell is a great representation of this saying as the shell is only made to protect the Nautilus Octopus’ eggs. It creates a paper thin yet hard and rigid layer that surrounds its eggs thus protecting, sheltering and preserving.

It is key in Maori tradition to gain a relationship and initiate with Place ‘Wahi’, the People ‘Tangata’ and Time ‘Wa’. This is a good representation or ‘standards’ that architecture and development on the Bayswater Marina site should provide and emit.

IMAGE FOUR:

THE SHEDS

The shed, full of character and large importance to an understanding of Bayswater Point. Clad in vertical wood slats there is a sense of permeability to the structure as slits are left in between thus not enclosing the shed and allowing views through and beyond. The wood slats which are greatly weathered and silvered create a strong sense of character and wisdom as many years of rain, sea spray and wind have punished the boards creating strong cracks and damage with the grain of the wood.

Sitting awkwardly on the edge of the site it hangs over the rock erosion wall on stilts as it delicately balances on these small timber columns which also take a smashing from the sea. The most interesting building on Bayswater marina, these sheds have a quirky relationship with the site not only contextually but in its construction. With an equally old, rusted and thin tin corrugated roof that sits peculiarly on the top simply nailed to the wooden frame yet providing enough shelter and protection for its contents underneath it.

IMAGE FIVE:

THE WHARF

The wharf, a geometric, axial concrete structure that protrudes brutally out of the site provides the only concrete solid structure on the Bayswater Marina. Over structured, the old wharf dominates over the shore where now oysters and other sea creatures cling to the harsh concrete structure giving an additional clustered and barbed appearance. The wharf extends from the site directly to the central business district of Tamaki providing the most stunning view on site. An example of axial alignment, future development would benefit from this advantageous alignment to views and importance around the Waitemata Harbour.

IMAGE SIX:

PROTECTION

A broken boat part found lying on the marina near the water, covered in white paint for protection or shield from the harsh sea water. Once the paint or shield is removed the wood is exposed to the cold, salty sea water and is vulnerable to weathering, damage and natural occurrences such as moss, mould and swelling.

Breaking the image into vector lines it creates a channel of activity while a still or calmness is created by the white paint as it conceals and masks the wood beneath it. Once the paint is stripped away a chaotic disorder thrives as the wood is helpless and succumbs to attacks.

IMAGE SEVEN:

SHELTER

A oyster shell and an old tin shed roof, oblivious to each other in day to day life yet connected in the sense of providing shelter.

The rusty and old tin roof concealing small boats and equipment inside sheltering it from thieves, damage and the weather. The oyster shell creating and maintaining life inside its hard, rigid shell. Both sheltering and containing in different scales and methods.

The Bayswater marina site, lacking man-made shelter and shelter that man can find comfort under is abundant in shells, shrubs and rocks that provide cover, defence and shelter for smaller life but on a larger scale provides protection for the surrounding Ngataringa Bay.

I M A G E E I G H T:

OBJECTS

While on the site I felt a sense of abandonment and loneliness as the site is purely designed only on function, currently containing a large car park for the marina and ferries. Thus there was an absence of human activity, only peaking while a ferry is boarding or leaving every hour.

In light of this, the site was covered in ‘found objects’ or common day to day objects that were left or abandoned on and around the site. The collection I feel was mainly around the large rock face that protects and forces the site up and out of the sea. This meaning most of the objects was washed ashore onto the rocks showing an amount of human activity outside of the site in contrast to the flat still environment in the marina.

IMAGE NINE:

SECLUSION

While on the site the vast emptiness and lack of activity gave me personally a feeling of seclusion and abandonment as others on the site were either quickly gone, on or from the ferry or in a group interacting around the marina. The sense seclusion occurs as the site is situated in the middle of the Waitemata Harbour with large over-powering and over-achieving views dominating the site. The surrounding views also do not help in providing company while on the site as the far off views and busy noises pull you towards the city and a want away from the flat site.

IMAGE TEN:

SUBTLE

The water break on the site shows the subtle and honest attempts to protect the marina. Barely visible, the water break peaks out of the water almost shy in its existence while creating a large and dominant effect sheltering the boats and re-claimed land inside its walls. The wall creates a stillness and calmness on the water not just with the sense of flatness but with sound, it is very dull and quiet only hearing the relaxing noises of the water and the far off busy noises of the city while the water and atmosphere outside the wall is chaotic, strong and noisy creating a strong contrast between in and out of the marina.