Fig 1.01 Gunner Trevor Norton harpooning the 200th whale of the 1959 whaling season.
A 120-point thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Landscape Architecture by William.T.C.Taylor 2016
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“The real voyage of discovery consists, not in seeking new landscapes, but in having new eyes.” – Marcel Proust, In Search of Lost Time
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- A b s t ra c t -
This thesis proposes that, while decaying architectural artefacts can represent important chapters in our nation’s heritage, transformations to the New Zealand landscape often represent equally important chapters in our heritage. Both can be understood as resulting from the intervention of mankind. The stories of mankind’s transformations to the New Zealand landscape, when recognised by New Zealanders, can have an important impact in enhancing our heritage awareness as well as helping to prevent negative impacts in the future. How can enhancing our awareness of New Zealand ‘landscape heritage’ help us better understand our natural landscape environment while helping to preserve our future ‘heritage’ as well? How can landscape architecture help bring heritage stories to life such that the benefits derived from each story can be remembered, while the negative aspects can be ameliorated and also serve as vital reminders? The site selected for this research investigation is Arapaoa Island in the Marlborough Sounds, which has played a role in many defining periods of New Zealand’s history. Once a settlement for Maori, it saw two eras of colonial whaling, played a role in WWII and currently continues to be farmed as it has for many decades. With such rich history the island is scattered with architectural remnants that serve as reminders of its importance. Due to land development and subsequent erosion these sites are in various states of decay. This thesis investigates ways to strategically enhance awareness of New Zealand landscape heritage through the themes of Regeneration, Landscape as Timepiece and Map, Points of Pause, and Curation. These themes help address the principal aim of the thesis: to discover ways to enhance our awareness of New Zealand stories relating to place – and in so doing, to help us understand both our New Zealand heritage and our New Zealand environment. Mankind touches the environment even when architecture is not built upon it; that touch often has both positive and negative effects. The more we learn about these effects, the more we can help preserve for future generations what is truly important.
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Haast Schist Mainly Triassic/Jurassic Permian Apline Fault
Lee River & Maitai Groups Pelorous Group Chlorite subzone II Chlorite subzone III 0
5 10 15 20km
Fig 1.02 Geology of the South Island
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- Pre f a ce We dream much of Paradise, or rather of a number of successive Paradises, but each of them is, long before we die, a Paradise lost, in which we should feel ourselves lost also.
― Marcel Proust, In Search of Lost Time
The principal theme of Marcel Proust’s seven-volume novel In Search of Lost Time is involuntary memory, where the elements and patterns we see in everyday life – triggered by phenomenological experiences such as sounds, scents and sights – can evoke memories of the distant past. The landscape, when we are open to seeing it, offers us such a ‘remembrance of things past’, a timeline stretching for millennia. The site for this design research investigation is Arapaoa Island in the Marlborough Sounds. Arapaoa Island’s ancient heritage is still evident in its geology, which originated as part of Fiordland to the far south (see fig. 1.02). “Between 23 and 10 million years ago the western side of the Alpine Fault was moving northeast relative to the eastern side at a rate of between 1-10 cm per year. This has resulted in about 450 km of displacement along the Alpine Fault. This is why Palaeozoic rock belts in Nelson match reasonably well with those to the south in Fiordland” (The Geological History of New Zealand). The more recent heritage of Arapaoa Island is evident in the relationships between its indigenous and exotic flora and fauna, as well as the traces left by mankind. Arapaoa Island represents a dynamic landscape whose boundaries transform continually with the tides and the surging sea. The five sites chosen for this investigation represent seminal periods of New Zealand’s history. Only traces of these historic sites now remain, and without intervention they may be lost forever. Every landscape is both a timepiece and a map, a chronology of history that can be deciphered through its traces. And sometimes our task is to add a new ‘present’ to that history to prevent losing it entirely.
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- Ac k n ow l e d ge m e nt s -
It is at this point I would like to reflect upon and thank all those who have helped me along the way to arrive at this junction in my life. Firstly to my supervisor Associate Dean, Daniel K. Brown, my immense gratitude for your friendship and ceaseless support. Your captivating tutelage and guidance over the past year is something I will never forget. You have opened my eyes to worlds of design I never knew existed and never saw myself being part of, and for that I am truly grateful. To my co-supervisor, Carles Martinez-Almoyna Gual, thank you for your continual support and advice. You have been extremely valuable when helping to resolve the challenges this thesis has brought forward. To my mates who have assured my feet stay firmly grounded, cheers for the good times and late nights. To my family - thank you for providing opportunities for me to learn and grow in all aspects of life. Thank you for having faith and supporting me in the paths I have explored and for continually pushing me to achieve my best. And most importantly, thanks for always being there. To a dear friend no longer with us: “the only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.� ― Jack Kerouac, On the Road
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Fig 1.03 Back Words (2011), Shane Cotton
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A b s t ra c t Preface A ck n ow l e d g e m en t s
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I n t r o d u ct io n
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S i t e A n a l ysis
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P r o g r a m m e A n al ysis
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L i t e r a t u r e R ev iew
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P r o j e c t R eview
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P r e l i m i n a r y D e s i gn :
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- I n d i v i d u a l S ites
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- C oa s t a l Pe r s p e c t ive
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- M a c r o Pe r s p e c tive
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R e g i o n a l Pe r s p e c t ive
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D eve l o p e d D e s i gn
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Concl u s i o n s a n d C r i t i c a l R e f l e c t io n
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R e f e r e n ces:
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- Bi b l i og r a p hy - S o u r c e o f Fi g u r es - A p p e n d i cies
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C o nte nt s
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Fig 1.04 Perano gunner at work, c.1960
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- I nt ro d u c t i o n Broad research problem: Elements of New Zealand’s industrial heritage and landscape heritage line the country’s coastline. These are both highly interconnected and are part of a much greater story – mankind’s transformation of the landscape. Currently this goes unnoticed and with it so does our awareness of heritage. The sites chosen for the investigation reflect upon the two whaling periods in New Zealand, the introduction of military infrastructure, our continual reliance on farming and the emerging need to conserve land. Current conservation procedures tend to leave these sites in a state of on-going decay. This investigation argues that these sites, through landscape architectural interventions, can raise our awareness of heritage, while also reinvigorating our coastal communities and safeguarding the heritage narratives of each site.
Sites-specific problems: Decaying architectural remnants and memorial plaques on Arapaoa Island commemorate a time far removed from the present. However, the lack of coherence and cohesion of decaying elements reduces our ability to appreciate the full historical importance of the sites with past processes, events and environments being lost. With the Department of Conservation and local Iwi having limited resources to use in the remediation of such sites, there is a need for creative solutions through which such integrated environmental and cultural problems can be addressed. The sites are under threat of losing their heritage value due to a range of different environmental problems which include: land development, coastal erosion, loss of indigenous vegetation and farm runoff.
Research Questions, Aims and Objectives: This thesis proposes that architectural ruins located on the island represent one important type of heritage narrative, while transformations to the New Zealand landscape represent another. Both can be understood as resulting from the interventions of mankind. The story of mankind’s transformations to the New Zealand landscape, when recognised by visitors, can have an important impact in enhancing our heritage awareness as well as helping to prevent negative impact in the future. How can enhancing our awareness of New Zealand ‘landscape heritage’ help us better understand our natural landscape environment and help preserve our future ‘heritage’ as well? How can landscape architecture help bring heritage stories to life such that the benefits derived from each story can be remembered, while the negative aspects can be ameliorated and also serve as vital reminders? In order to address these research questions, the thesis will: •
Highlight a historic narrative of each site that defines it and makes an essential contribution to its identity, while also ensuring the narratives of each site are interpreted as key chapters of a larger ongoing story that interconnects them.
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Address environmental issues that threaten each site, while actively conveying the sites’ narratives to help preserve the sites for future generations.
•
Incorporate contemporary interventions into the landscape to help enhance awareness of important heritage and environmental issues.
•
Facilitate the regrowth of native species to help militate negative effects of agriculture while increasing ecological diversity.
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Design Methods and Processes: The Site and Programme Analysis chapters address unique site-specific issues that need to be addressed, while the Literature Review and Project Review chapters consider the thesis investigation from a broader theoretical perspective. The Literature Review chapter translates Jennifer Hill’s theories on heritage architecture preservation from a landscape architecture perspective as a basis through which themes of Regeneration, Landscape as a Time Piece and Map, and Curation will be explored. Current Department of Conservation approaches to regeneration will be examined while Michael Desvigne’s theory on Intermediate Landscape will provide a comparative landscape architectural approach. Landscape as a timepiece and map interprets narrative theories from Jamie Purinton & Matthew Potteiger and Cathy Ganoe to help enable the reading of the stories within a landscape. Points of Pause reflects on Daniel Merritt Hewett’s theory on using points of pause to raise awareness to heritage elements. Curation will investigate techniques developed by Suzanne Macleod, Laura Hourston Hanks, and Jonathan Hale on museum curation to help frame the narrative of the trail. The Project Review chapter will investigate how techniques used by current designs can be used or reinterpreted by this thesis to implement the themes developed in the Literature Review Chapter. The Tudela-Culip Restoration Project by landscape architect Martí Franch and Architect J/T Ardèvols S. L. Ton Ardèvol explores how current landscape architects are designing in coastal areas highlighting the rich contextual environments using techniques of contrasting and axis. The Quarry Garden designed by THUPDI and Tsinghua University highlights how designers are re-inhabiting degraded and eroded landscapes by manipulating form and scale to raise awareness of a site’s elements of heritage. The Seirensho Art Museum by Hiroshi Sambuichi, Inujima, Japan explores how contemporary inventions are introduced into architectural ruins through the use of materiality and curation of remnants to provide a new program while enhancing awareness of the old.
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Role of Design: This thesis argues that traditional ideas of heritage restoration, usually reserved for architects, through application of landscape architectural design can see historical landscape sites rejuvenated in a way that not only reflects their past narratives but provides strategically for current and ongoing needs. As the research sites include not only architectural ruins but also degraded landscapes, this thesis will look at natural site characteristics for design approaches and will also be influenced by the methods used in case study sites that contain architectural ruins.
Scope of the Design Research: The overall design will focus primarily on five key sites on the island’s eastern coastline. The use of the five sites enables the thesis to develop criteria through which the thesis research objectives can be applied in future research investigations across a range of different sites. The five sites form a segment of a trail within a larger scheme whereby the island is transformed into a tourist destination.
Thesis Structure: The overall area will first be explored through the analysis of the surrounding region, to develop an understanding of overall issues as well as unique site-specific problems across a range of scales. Contemporary theories addressing similar issues will be investigated through a literature review. The thesis then looks at how contemporary designers are addressing these issues and what techniques are being used through design case studies in the project review chapter. Initial sketch experiments and design concepts will be developed in the Preliminary Design Chapter, establishing parameters within which to design and address the research aims and objectives. With the sites selected and parameters outlined the thesis investigation will then look to develop each site individually as well as establish their identity as part of an overall design sequence.
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Restorative Theory
Regeneration Landscape as a Timepiece and Map
Points of Pause
Design Themes
Case Studies
Curation
Shane Cotton
External Input In Search of Lost time
Narrative Exploration
Inujima Art Museum Quarry Garden
Design Techniques
Tudela-Culip
Design Theory
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Introduction
Problem and parameters Site Analysis
Sites
Coastline
Region Program Analysis
Specific Site Histories
Analysis Criteria
Parameters for design Design Matrix
Re-organisation of site Narratives Site Specific Responses Preliminary Design
Individual Sites
Coastal Perspective
Marco Perspective
Regional
Developed Design
Conclusion/Reflection
Me t h o d o l o gy
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0
250km
Hump Back Whales Sperm Whales Brydes Whales Southern Right Whales Fig 1.05 Whale Migration diagram
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- Incipt The site for this thesis investigation includes the ruins of two historic New Zealand whaling sites. The metaphor of the ‘whale’ provides an important entry into the investigation. The word Leviathan, meaning “whale” in Hebrew, can be traced back to the biblical Book of Amos, the Book of Isaiah and particularly the Book of Job. Throughout history the leviathan, the great whale, has been used as a metaphor for mankind’s self-destructive behaviour. John Milton’s epic poem Paradise Lost (1667) uses a landscape metaphor to depict the leviathan as a threshold between land and sea, a ‘promontory’, a ‘moving land’ whose breath ‘spouts out a sea’: “…there leviathan, Hugest of living creatures, in the deep Stretch’d like a promontory sleeps or swims And seems a moving land, and at his gills Draws in, and at his breath spouts out a sea.” (VII: 412-416) The book Leviathan (1651) by Thomas Hobbes opens with the line “By art is created that great Leviathan, called a Commonwealth or State”, depicting the great whale as a metaphor for government; Paul Auster’s 1992 novel Leviathan also uses leviathan as an allegory for mankind’s doomed struggle against the state. Of particular relevance to this thesis investigation, the 2012 documentary film Leviathan is an environmental parable about the sea ultimately taking its revenge on humanity for what it has done to the environment. Mankind still understands so little about how our actions affect our environment. In Chapter 104 of Moby Dick: or the Whale (1851) Herman Melville uses the leviathan as a parable with particular relevance to this thesis about landscape ruins: “A significant illustration of the fact, again and again repeated in this book, that the skeleton of the whale furnishes but little clue to the shape of his fully invested body.” Pulitzer Prize winning poet George Oppen’s seminal poem (1962) “Leviathan” uses the allegorical word leviathan to address “the all-consuming force of mankind’s own actions, which Oppen felt posed a real threat to human survival” (“Leviathan in Popular Culture”):
L e v ia t h a n
Truth also is the pursuit of it: Like happiness, and it will not stand. Even the verse begins to eat away In the acid. Pursuit, pursuit; A wind moves a little, Moving in a circle, very cold. How shall we say? In ordinary discourse— We must talk now. I am no longer sure of the words, The clockwork of the world. What is inexplicable Is the ‘preponderance of objects.’ The sky lights Daily with that predominance And we have become the present. We must talk now. Fear Is fear. But we abandon one another. These poignant lines at the end of the passage are particularly relevant to the thesis investigation: “We must talk now. I am no longer sure of the words, the clockwork of the world. … we have become the present. We must talk now. Fear is fear. But we abandon one another.”
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Sometimes it would even happen that this precocious hour would sound two strokes more than the last; there must then have been an hour which I had not heard strike; something that had taken place had not taken place for me; the fascination of my book, a magic as potent as the deepest slumber, had deceived my enchanted ears and had obliterated the sound of that golden bell from the azure surface of the enveloping silence. – Marcel Proust, In Search of Lost Time
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Fig 2.01 Marlborough region context map
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DOC site
Design Sites
DOC site
L E N
N A H
Salmon Farm
C Y R O T
Fig 2.02 Arapaoa Island Land Use
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Island Character: Arapaoa Island was selected as a vehicle for this thesis as its integral role in a variety of historical events and its iconic natural environment epitomise both New Zealand’s past and present. The five sites along a common coastal walking trail have been chosen as they all evidence different eras of New Zealand’s history and therefore provide a range of problems/opportunities. Each site addresses issues of a variety of land uses and associated problems. With the change from native forest to farmed land, the land is exposed to a variety of different problems exacerbated by the site’s coastal location.
This Site Analysis chapter highlights the site’s potential in helping preserve and convey a narrative of NZ heritage. Introducing a tourism based program requires certain amenities in order to provide a safe and inviting environment for visitors. As the island is secluded there needs to be a large enough program to encourage users to make a half-hour journey to the island via boat. The current state of the island means that the infrastructure already exists to create a network of pathways making it an ideal place to introduce a DOC walking trail. With certain design moves linking particular nodes throughout the greater island the pathways could eventually be integrated into a larger scheme of tourism related trails and facilities.
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Land Use -
Forestry, farmland and fences
Land parcels
Pathways Fig 2.03 Arapaoa Island land use analysis
Marine Infrastructure -
Wharfs, Navigation points, buoys, salmon farms
Department of Conservation (DOC) areas - Public
Cultural and heritage sites 17
Scrubland Natives Forestry Farmland
Fig 2.04 Arapaoa Island Ecological Environment
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Coastal Environments: The Marlborough Sounds have a range of different environments, with coastal being more prominent. The area’s close proximity to the Cook Strait brings with it harsh weather as large winds and rain batter the outer edges. The vegetation has adapted to these conditions with only hardy flora surviving. Arapaoa Island has seen the majority of its native vegetation burnt off and lost due to farming practices. Over time the island’s harsh environment and steep topography saw much of the farming abandoned with only two farms remaining. This has left the island now hosting a mosaic of land cover, creating a range of different environments throughout the island (see fig. 2.04). The topography has also concentrated the majority of land occupation around the coastal edge with an approximate population of 50.
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B i op hysic a l Ma keup
1940s Ve g e t a t i on
Sc r ubla n d
DO C L a n d
E x o tic s
Streams
Na tives
Fig 2.05 Arapaoa Island Ecological Analysis
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Ara pa oa Isla nd
m/s
Fig 2.06 Hydrological diagram of currents down Tory Channel and the resultant flushing of sediment throughout the Sounds
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P hy s i c a l M a ke up o f Isla n d
Undifferentiated poorly sorted steep fan gravel deposits. Well to poorly beeded grey to greenish sandstone-siltstone and semi-schist in the east; grey dominantly palitic wall foliated and laminated schist
0
6km
in the west.
Fig 2.07 Topography and Geology of Arapaoa Island
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Fig 2.08 Whalers at Te Awaiti, Site 1 of the five sites in the thesis investigation
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Cultural Connection: The various coastal environments create a diverse landscape with dramatic topographical features. This has moulded how people have used the land and the subsequent historical periods it went through. The flat shores which form at the bottom of valleys and the mouths of rivers/ streams are ideal locations for settlements as they provide easy access to the sea, while wide expanding views are offered by the steep ridgelines and peaks. The remaining cultural remnants evidence a connection between the lower beach land and the ridgelines, although currently illegible. This relationship between the high and low points offers an opportunity to highlight the environment’s character through the way people adapted and utilised it.
1770
1827
1900s
1914 & 1939
Fig 2.09 Important historical periods of Arapaoa Island
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Fig 2.10 Image of Historical Sites down Tory Channel
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To r y C h a n n e l Na r rat ive s
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Fig 2.11 Transportation pattern of Tory Channel
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Fig 2.12 Analysis of Arapaoa Island landscape features legible from ferry
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Fe r r y Na r rat ive s
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0
1km
Fig 2.13 Historical Points of Interest
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Historical Points: Arapaoa Island hosts a large number of historical sites; five along the eastern coast have been selected for this investigation. The sites were chosen as they evidence significant periods in New Zealand’s history. The sites are situated in a strategic location, amongst the existing infrastructure and areas of importance currently on the island, making them ideal vehicles through which design responses to the Aims and Objectives of this thesis can be tested.
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Alluvial Plains Exposed Coastline Undulating Farmland Regenerating Scrubland
0
1km
Fig 2.14 Evironmental Analysis Diagram
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Fig 2.15 Plan locating points of photographs in fig. 2.16 - 2.19
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Al l u v i a l P l a i n s
1
2
3 Fig 2.16 Photographs of Alluvial Plain Environments on Arapaoa Island
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E x p os e d C oa s t l i n e
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5
6 Fig 2.17 Photographs of Exposed Coastal Environments on Arapaoa Island
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U n d u l a t i n g Fa r m l a n d
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9 Fig 2.18 Photographs of Undulating Farmland Environments on Arapaoa Island
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Re g e n e r a t i n g S c r u b la n d
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12 Fig 2.19 Photographs of Regenerating Scrubland Environments on Arapaoa Island
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Regenerating Scrubland
Exotic grass Pinus radiata
Gr a d i e n t m a p
Hy d r ol og y
Vegeta tio n
Sh o r elin e Geo lo gy
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Land Ownership
In f r a str uc tur e - f en ces, wh a r f s, p a th ways
Farm 2
Farm 1 Regenerating scrubland
La n d u s e / h ou s i n g
Win d / Sun
Fig 2.20 Analysis of Eastern Coastline Environments
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0
600m
Fig 2.21 Sites 1- 5 with individual catchment areas of streams
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Points of erosion Streams Primary area of erosion
0
600m
Fig 2.22 Map investigates evident points of erosion along streams as a result of landscape manipulation
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Fig 2.23 Preliminary design sketch at Site 2, exploring how archtiectural remnants imply past structures
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Opportunity: The historical remnants on each site provide an opportunity for design to enhance the understanding and experience for visitors to connect with site narratives. After years of manipulation of the landscape, cultural artefacts and practices spanning many periods of a site’s history can often still be read from the landscape. The five selected sites represent elements of mankind’s intervention of hardscape through to the soft-scape. Architectural remnants can be seen integrated into sites 1, 2 and 3, each responding differently to site-specific problems. These remnants provide evidence of site dynamics through their scars and in so providing an opportunity to help people to understand the environment. Site 4 and 5 are points within landscape that evidence transformations made through mankind’s interventions relating to soft-scapes. The way in which past and present land use has moulded these landscapes evidences the unique environmental
features of the area. Through the integration with the various land uses, an opportunity is offered whereby the design can enhance visitor awareness about the natural environment. The aim of raising awareness through evidencing these effects, helps us to identify what is important and how to preserve it for future generations. Caused by both environmental conditions and human intervention, these sites evidence a need for remediation of some natural processes to ensure the landscape becomes more resilient while the sites themselves reflect upon their heritage value. This provides an opportunity for engaging the sites in a sequential journey such as a hiking trail through which the sites can be connected while landscape issues are also addressed.
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Fig 2.24 Site Analysis criteria
The individual sites were analysed in terms of their individual narratives as well as through a set of criteria. This approach allows the site analysis chapter to represent both the individual stories of each and its issues, as well as issues and narratives that are common across all sites.
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The Fi ve P r i n c i p a l R e sea r ch Sites This thesis investigation is composed as a 6km coastal journey. It begins at two of the oldest whaling sites in New Zealand history. Through landscape design, the architectural artefacts remaining on these two sites can be used to open our eyes to a vital part of New Zealand history – a time that created economic stability, but a time that also almost destroyed the whale population. The third site along the journey represents an important gun emplacement, built to protect the Marlborough Sounds during the war. This site helped achieve an important sense of security during very troubled times, but this war resulted in the loss of thousands of New Zealand lives. The fourth site along this coastal journey represents the arrival of farming to the island, our present time. Farming has helped enhance New Zealand’s global economy; but at the same time, runoff from farms is eroding New Zealand’s natural landscape features and allowing pollutants to enter our waterways. The gullies and ravines resulting from this runoff often look deceptively pastoral – but they are actually evidence of environmental damage. The fifth and final site along the journey, a whaler’s outlook, returns the visitor to the story of whaling. At the same time, it provides an outlook into the distance, helping visitors understand the relationship of this journey to the larger environment – all parts of natural systems integrated and affecting one another. These are some of the stories along the coastal journey of this thesis investigation; while the thesis investigation ends here, the journey does not. Similar stories can be found along the coastline throughout New Zealand. This thesis investigation looks at ways to bring these stories to life so that the positive nature of each story can be remembered, while the negative aspects can be ameliorated or serve as vital reminders. Site 1: Te Awaiti (historic whaling station, 1820-1964) Site 2: Fishermans Bay (historic whaling station, 1911-1964) Site 3: WWII Gun Emplacement (installed 1942) Site 4: Oukari Bay (intensive farming erosion) Site 5: Whalers’ Hut (historic, late nineteenth century)
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Fig 2.25 Photograph of Te Awaiti’s key elements of the site - remnants, cemetery, coastal orientation, cultural heritage sites
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Site 1
Te Awaiti (historic whaling station, 1820-1900)
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A
Cemetery
0
40m
a
0
Whaling Remnants
100m
Fig 2.26 Te Awaiti plan; hydrology drainage, boundary lines and important areas
This site was the first European settlement on the South Island of New Zealand. Established in the 1820s by English convict, Jacky Guard, who was fleeing Australia (“Guards of the Sea�, 40). With the establishment of a shore based whaling station, European and Maori began to live and work together, creating a multicultural community. The introduction of colonial settlement is strongly evident in the imposed grid. With the reduced number of whales coming into Tory Channel, shore-based, whaling stations began closing and have since disappeared; the only remnants of the time that still remain are tryworks (blubber boilers) and the stone chimneys of the huts. The site currently has mixed land ownership with the largest being a cemetery land under Maori ownership.
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Fig 2.28 Identification of pre-European Maori settlement
10m 155m
Gravestones Chimney remains Fig 2.27 Section Aa investigation of cemetery land
Old chimney
Tryworks
Cemetery land
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Fig 2.29 Diagram of important landscape features
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Fig 2.30 Photograph of Fishermans’s Bay key elements - Whaling remnants, historical connection the water and coastal orientation
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Site 2
Fisherman's Bay (historic whaling station, 1911-1964)
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Whaling Station
0
100m
Fig 2.31 Fishermans Bay plan; topography, hydrodology, boundary lines and important areas
This site was the last ever operational whaling station in New Zealand, closing in 1964 after 53 years in operation (“The Perano Whalers of Cook Strait�, 199). The site has since fallen into disrepair. Due to the materials used when built, the site still has a high-level of remnants remaining on the site. As a result, the site is visited by organised charters 2-3 times a year, while people with personal boats are often seen visiting. Currently the old station is owned by the Department of Conservation and is surrounded by farmland. Throughout this area the coastal edge has high exposure to the ferry wake which impacts on marine habitats (Davidson).
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1990s
1960s
1920s
Fig 2.32 Photos of site’s three main periods Boiler
Bone grinder
Winch Drainage channels
Fig 2.33 Analysis of station ruins
Remaining framework
Decaying infrastructure
Elements referential to scale of whale
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Fig 2.34 Diagram of important landscape features
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Fig 2.35 Photograph of Gun Emplacements’s key elements - Viewing hut, gun emplacement, tacitical positioning to watch over entranceway
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Site 3
WWII Gun Emplacement (installed 1942)
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Spotters’ Hut
A
Gun Emplacement
a
0
100m
Fig 2.36 Gun Emplacement plan; topography, view shafts, boundary lines and areas of importance
Site 3 was used by the army during WWII for its tactical positioning at the entrance to Tory Channel. Both the shell of the gun emplacement and the spotters’ hut still remain intact. The spotters’ hut is situated on the ridgeline while the gun emplacement is lower on the hillside facing directly out to sea. Both are situated on farmland owned by the neighbouring farmer. As a result, exotic species of flora surround the ruins.
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Fig 2.37 Site sketch exploring structures’ integration into the landscape Viewing Spotters’ Hut
Gun Emplacement Pinus ratiata
63m
Fig 2.38 Section Aa highlighting advantageous positioning
Built into the landscape
Strategic positioning
0
Enclosed interior
30m
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Fig 2.39 Diagram of important landscape features
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Fig 2.40 Photograph of Okukari Bay key features - Eroded farm stream, dune environemt, coastal orientation and connection to ridgeline and final site
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Site 4 Okukari Bay (intensive farming erosion)
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Defective Farm Bridge
Farm Drain Network
0
150m
Fig 2.41 Okukari Bay plan; topography, farm drains, boundary lines and important areas
This site has been farmed for generations and is one of two remaining farms on the island. The other farms have reverted into regenerating scrubland. The stream running through this site serves as the main artery for a network of farm drains that lead up into the surrounding hills. In the past the farms have seen tonnes of fertiliser being used to allow cattle to graze. As a result of intensive farming, erosion of the stream banks and hillside is evident, while sediment can be seen to flush out to sea in rain events. Sheep, pigs and goats that where introduced to the island when it was first settled are genetically unique due to years of adapting to the environment. Merino sheep are the primary stock currently farmed, as they are valuable and hardy enough to withstand the environment.
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Farming of sheep Farming operation size Use of fertiliser Farming of cattle 1830s
2016
Fig 2.42 Graph of Arapaoa farming practices highlighting the intensive use of fertiliser to enable the farming of cattle
Fig 2.43 Drainage and erosion of lower stream Valley bottoms & gullies
Shrubland
Scrubland
Fertile lower colluvial slopes
Fernland
Shrubland
P.teridium
TL & Low Forest
Manuka/ P.teridium
Forest
Treefern - Broadleaf shrub
Manuka/rangioratreefern/ blechnum
Manuka/wheki/ Blechnum
Treeland
Scrubland
Matai - Totara/ Kanuka /Aristotelia
Manuka/ Kanuka/Aristotelia
Fig 2.44 Post grazing succession
Forest
Treefern / Mahoe
(Rimu - rata) / tawa
Forest
Podocarp
Forest
Podocarp Tawa
Mature scrub
Lack of sub-growth Fig 2.45 Investigation into the influence exotic fauna has on vegetation growth
Intensive farming
Eroded banks
Sand dunes
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Fig 2.46 Diagram exploring important landscape features
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Fig 2.47 Photograph of whalers’ hut’s key elements - vistas of horizon line, navagation light and the other sites along the trail
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Site 5 Whalers' Hut (historic, late nineteenth century)
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Whalers’ Hut
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Fig 2.48 West Head plan; topography, hydrodology, boundary and important areas
Old whalers and DOC currently use this site during June for whale spotting as ongoing research. For this purpose, there is a retrofitted container currently onsite which houses seating and whaling memorabilia. The surrounding environment is now owned by DOC and is regenerating. As the site is very exposed to the wind the growth of vegetation is slow and currently is only occupied by exotic gorse (Ulex europaeus). The ridgeline walkway that leads to the hut and to the light further along is flanked by steep, rocky escarpments down to the sea.
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Fig 2.49 View from inside whalers’ hut
Fig 2.50 Photo looking back to other sites.
Fig 1.51 Plan of visual connection from site 5 & whalers’ view shaft out to sea.
Steep escarpments
Whaling memorabilia
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Fig 2.52 Diagram exploring important landscape features
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Fig 3.01 Analysis of walking times and topography
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- Pro g ra m A n a l ys i s The tourism trends of the Marlborough Sounds, similar to that of New Zealand, are expected to increase each year with Economic Development Minister Steven Joyce naming tourism as one of the key sectors through which the Marlborough economy could grow (Lewis). Tourism activities around Marlborough include a variety of DOC walkways, the primary one being the Queen Charlotte Walkway (Fig 2.01). Around 30,000 people are estimated to visit this track each year over a variety of durations (McDonald, 589). Throughout the Marlborough Sounds there is a range of accommodation locations to stay such as campsites, providing various options for tourists looking to stay in the area.
Currently more tourists visit over summer months than during winter “’Tourism businesses in Marlborough earned 75 per cent of their income in three months of the year and need to increase their business all year round’, Destination Marlborough Chairman Nigel Gould says.” (Bell). This is also evident in the number of passengers on the Interislander Ferry, around 8 ships of 100500 people in winter whereas there are 14 ships of 500-1300 in summer making the trip. These ferries navigate directly past the thesis design research sites within less than 800m. While seasonality is a result of climatic conditions of an area, increasing diversity of the range of tourist activities can help to address the issue.
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- Pro p e r ty O w n e rs h i p This section investigates current legislation regarding landownership. This provides an initial framework through which the design can engage with natural resources while not disrupting current economies and private landowners in the area.
Queen Elizabeth II National Trust The Queen Elizabeth II National Trust “encourages and promotes, for the benefit of New Zealand, the provision, preservation and enhancement of open space” (Queen Elizabeth II National Trust) The QEII covenants allow a trust to fence off areas of private land that meet this criterion in order to monitor and maintain its restoration. As some of the sites contain historic ruins, QEII covenants could be implemented, although they must be mindful of farming operations.
Crown Conservation Land Department of Conservation is a public service department which is in charge of the protection of significant natural landscape features. Land can be placed under DOC ownership in order to be maintained and have the biodiversity restored. DOC provides access to the general public to these areas and amenities where needed. The current site has areas of DOC ownership scattered within it. These areas provide vital points through which this thesis can begin to address the heritage elements.
Regional Council Owned Reserves The Regional Council, much like DOC, also has to address the conservation of the natural features within its region, the difference being that the Regional Council is primarily concerned only with the region. The majority of Council Reserves within the Marlborough region are public accessible and tend to provide camping and picnic areas for visitors.
Queen’s Chain The Queen’s Chain was implemented to preserve the public access to waterways. It includes “marginal strips and esplanade reserves, depending on whether they are reserved from Crown or private land.” When crown land is sold, a 20m strip is reserved along rivers, lakes and the foreshore (Gamble). There are 4 points within the scope of this design which could be classified as foreshore while there are also rivers that run through the landscape. This allows for area 20m strips either side of these features to be incorporated into the design without interfering with private ownership.
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Fig 3.02 Diagram evidencing different types of New Zealand land ownership
Program Conclusion This investigation aims to offer an additional tourism venture that provides an alternative activity. The design will cater for both short and long term tourists to allow for diverse demands. This will be achieved through the initial implementation of a 6km walkway with a range of optional distances. This walkway will form a section of a larger network that connects 2 existing campsites that reside on the island. With high numbers of passengers on the ferries passing by the site, there is a large opportunity to visually engage with people from a distance through the design. The cooperation of stakeholders and involvement of different interest groups is essential. The design looks to engage a range of groups to allow farming processes to remain, while restoration of the landscape and heritage features can be implemented. This will provide a feasible solution to the research problems while helping to ensure access for the general public.
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Fig 3.03 Diagram exploring the strucuture of the trail as it connects the 5 main sites through a sequencing of landscape environments. The diagram highlights the period of anthropodization, the level of remnants remaining and the landscape environments helping establish narrative connections that could be created.
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D e s i g n M at r ix
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“Our world, like a charnel-house, lies strewn with the detritus of dead epochs.� Le Corbusier, Urbanisme (1925)
Fig 4.00 Detail of whaling station remnant on Site 2
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- Theory The five selected research sites represent important elements of heritage; some contain decaying architectural ruins while others are landscapes which have been moulded by man and the environment. Both require a level of intervention to allow the narratives of each site to be interpreted. The architectural heritage elements are at risk of being consumed by the environment, but would also benefit from new elements that help to clarify their original contexts and meanings. The environmental landscape features on the other hand need us to witness the problems, while being resolved through a level of enhancement. This chapter explores theories which suggest ways new intervention enhance people’s awareness about important narratives represented by the landscape. In “Six Degrees of Intervention”, Australian architect and restoration consultant Jennifer Hill argues that when restoring buildings to their original state there is a loss of progressive history. Instead, Hill suggests that contemporary interventions could coexist with the decaying architecture to highlight the effects of time. Once Buildings have reached a period of decline, any intervention is often viewed in a positive light even when the impact of these interventions undermine the very reason for their existence - Hill, 65 The materials, forms and construction techniques of the buildings help users identify the period and era in which they were built, while the decay evidences the time that has passed; the beauty within this decay is also exemplified by the introduction of contemporary elements. The contrast created between the various components highlights their differences and irregularities, evident in the examples provide (fig 4.01 - 4.02). The introduction of contemporary interventions within this landscape design exploration will not only use contrast to evidence narrative but will also allow the decay of new elements to create future narratives. This will be achieved through the unity elements develop over periods when exposed to similar environmental conditions. Hill also argues that in order to do a building’s history justice, it may be acceptable to sacrifice layers in the anticipation that this will emphasise the remaining narratives.
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“Sometimes it is necessary to demolish and remove layers to recover the powerful identity that existed at a particular time” – Hill, 65 This investigation will seek to highlight a certain period that defines each site or makes an essential contribution to its identity. The thesis’ experiments will reflect upon the use, historical processes and events of each site in order to define the value placed on each element. This method of assessment will begin to indicate the unique design attributes of each site while ensuring the unification of all the sites’ narratives into a larger common narrative. In order to evidence specific aspects of the application to landscape of Hill’s restorative theory, this investigation explores four key themes as design tools: Regenerative Design, Landscape as a Timepiece and Map, Points of Pause, and Curation. These themes are tested to help enhance the experiential level of the design, developing a framework through which the sites successfully convey the aims and objectives of the thesis investigation. Fig 4.01 Public Library in Ceuta / Paredes Pedrosa, 2013
Fig 4.02 Porch House
New Zealand artist, Shane Cotton, is widely referenced in this chapter. In his paintings, his approaches to the visual representation of many important layers of New Zealand’s heritage – specifically issues of the natural environment arising from colonisation, provide useful metaphors through which important narratives of the landscape can be understood. The investigation of current Department of Conservation approaches to regeneration, with the addition of landscape architect Michel Desvigne’s approach to regenerative design, provides an alternative approach to the way in which a landscape architect might address the regeneration of a landscape with heritage value. To enable the understanding of heritage features in the landscape, narrative theories from Jamie Purinton & Matthew Potteiger and Cathy Ganoe have been explored. To aid the awareness of these important heritage elements theories on the importance of Points of Pause by Daniel Hewett also has been investigated. The introduction of theories relating to museum curation by Suzzane Macleod, Laura Hanks and Jonathan Hale frames the narrative of the trail, allowing both the individual site narratives and an overall trail narrative to emerge.
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Fig 4.03 Decaying whaling remnant, Site 2
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Regeneration: (DOC + Desvigne) One of the objectives of this thesis is to use regeneration of native flora to help address the negative impacts of farming and other issues that arise because of human transformation to the landscape. The theme of regeneration is used to test a new approach whereby native ecologies can minimise the effects of farming in ways that also convey the story of these effects to help prevent them recurring in future. Currently the Marlborough Sounds area has groups lobbying to turn the pine forests and farmland back into native bush. Arapaoa Island is made up of a mosaic of vegetation, defined by the land ownership; natives in DOC areas, exotics in forestry and farm blocks and scrubland elsewhere on private land. The areas that retained their indigenous forest cover were generally either gullies or southfacing slopes, which did not easily burn, or upland sites, which were unsuitable for farming and not targeted for burning in the first place. These areas today form the bulk of the public conservation estate in the Sounds – Macalister, 4 These Department of Conservation estates in the Marlborough Sounds consist of areas of land fenced off and left to regenerate. However, this takes a long period of time and only the areas fenced off become native, further separating the landscape types, while the points of erosion on private land only worsen. This chapter investigates the use of ecological nodes throughout deprived parts of farmland to benefit both ecological diversity and farming practices.
French Landscape Architect, Michel Desvigne’s theories of landscape planning provide an interesting approach to the rejuvenation of landscape ecologies. The showcasing of traces is not enough. To content oneself with that would be like doing restoration work. But to commandeer these traces, to invert or distort them – therein lies the innovation – Desvigne, 13 Here Desvigne suggests more inventive approaches to landscape regeneration than the Department of Conservation. He suggests that instead of a hand-off approach we should in fact embrace these heritage remnants and create awareness about them through intervention. The contrast created from the typical DOC procedure raises awareness about them, allowing people a chance to understand them through their transformation. Applying this theory to the context of this thesis, areas of regeneration are no longer just about creating a natural experience for tourists but about evidencing the distinct characteristics of the landscape through its contrast and inversion. Farming is part of the island’s identity and history, and offers benefits to local economies, therefore providing positive reasons for its retention. The thesis argues for a regeneration plan built into the design which creates a hybrid; mix use landscape evolves where native flora and fauna can co-exist with a productive landscape. To enable this, the design experiments will test how rhythms of enclosed native vegetated streams can offer meaningful contrasts to the open agricultural fields creating a harmony between the native and non-native environments.
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“We must talk now. I am no longer sure of the words, the clockwork of the world. ‌ we have become the present. We must talk now. Fear is fear. But we abandon one another.â€? - George Oppen, 1962
Fig 4.04 Shane Cotton, Daze, 1994 The land has been collected into cabinets and pots, owned, relocated where it does not naturally belong. in the uppermost cabinets, even time has been collected and quantified by the alarm clocks. The word FUTURE has both a mountain and a pot set upon it. The large pot near the top is bigger than the mountain next to it. On the bottom band, the mountains on the left are captured and becoming compressed; on the right they are now artificial forms next to a colourless plant captured in a manmade vessel.
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Landscape as a timepiece and map: (Purriton and Potteinger / Cotton) A theme of reading the landscape as both a timepiece and a map is explored as it invites landscape narrative to emerge through time and ordering devices. As each site is reflective of multiple periods, this thesis seeks to highlight a prominent period that defines each site’s identity as well as the overall narrative of all five sites. The use of narrative design helps enable users to understand each site’s heritage both individually and as a larger on going story that interconnects them. Narrative within landscape design helps establish meaning and understanding of the landscape features, allowing seemingly ordinary objects to take on a larger and more influential meaning. In the book Landscape Narratives by Jamie Purinton & Matthew Potteiger explore ways in which the landscape can portray different narratives and the techniques used to convey them. Purinton & Potteiger argue that the landscape acts like a mnemonic device, evidencing its history of natural and human intervention in its form. Besides transforming place through association, the narratives of events, or even fiction and myth are ‘written into’ the physical form of the landscape becoming concrete, tangible…real. – Purriton and Potteinger, 6 This chapter investigates how to both time and order can be used as narrative technqiues. Time allows the narrative to be understood as a changing and dynamic element. Cathy J. Ganoe in “Design as Narrative” suggests that ‘an environment should be viewed as occurring at a particular time but also as unfolding over a period of time. The time involved, however, ‘is human time rather than abstract or clock time’’ (Ganoe, 5). Here Ganoe argues that the implementation of narrative should be viewed in its current contextual time while also evidencing its continual change. This thesis chapter investigates how to mirror this rationale, looking to the unique characteristics of the environment,
which are in a state of continual flux, allowing them to evidence time and change. This invites the identification of dynamic environmental elements relating to each site and incorporating them into the design as a didactic tool. The implementation of ordering devices allows the users to understand narratives through the structuring of environmental features. Techniques of creating order within the landscape are evident in the mapping of colonial heritage landscapes with the interpretation of applied orthogonal lines. Europeans surveyed the land using orthogonal grids that differentiated variances of land and were used when claiming ownership. These lines are evident across the thesis investigation sites and are a cultural statement about land ownership imposed by Europeans. This chapter introduces tools of mapping in the landscape to help address how orientation can help people to become aware of unique characteristics of the landscape that help convey its narrative. New Zealand Maori artist Shane Cotton includes themes in his paintings that enhance our awareness of issues of the ‘ownership’ of the natural environment. In Cotton’s painting Daze his representation of the landscape using section symbolises a European interpretation of the landscape and the horizontal and vertical lines that frame the objects can be understood as the European vision of ownership lines. Cotton also uses plants held in pots to symbolise European notions of ‘owning the landscape’. and categorise it. This idea of categorising the landscape is explored in this chapter and the design experiments as an ordering tool that helps identify and highlight important landscape features which contain heritage value. Both time and ordering devices help to convey the narrative of the landscape. These tools will be tested to help enable narrative design that encourages people to interpret each site’s history as well as the greater narrative.
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Fig 4.05 Decaying remnant of farming on Site 1
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Fig 4.06 Shane Cotton, Kiddy Kiddy, 1997 The painting (and the land) is a series of horizon lines. But they have been 'collected' and presented almost like weatherboards of a house. Place names are located along them. Letters of the place names cast long shadows, which suggests the sun is setting.
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Points of Pause: (Hewett / Cotton) To aid the idea of implementing time-based elements and ordering devices, points of pause will enable the users to become aware of these features in the context of the trail. The theme of Points of Pause looks at specific points throughout the design where the users are provided an opportunity to witness something important they may have otherwise missed. A tool to achieving this is to invite an intervention to frame or orientate an element that would benefit from being understand more fully. In relation to the journey, Points of Pause help raise awareness of the story of both the individual sites and the overall narrative. As some important narrative landscape features may be obscured or difficult to distinguish, establishing points of pause can help ensure people realise the importance of seemingly common elements. Shane Cotton’s work Kiddy Kiddy provides an interesting example of how points of pause can be implemented. Within his work horizon lines become prominent elements of his paintings. In order to convey the understanding of these horizon lines, Cotton implements points along them that indicate the subject matter. These points do not themselves form the story of the painting, instead they introduce additional componentry to the overall narrative.
In being exposed to the subtle changes occurring within a specific place, we begin to recognize a relationship between cause and effect. – Hewett, 4 Hewett argues that it is through being stationary that certain types of perceptual change occur to a person. He argues that movement blurs the periphery, causing us to situate ourselves according to things in the distance; it is through pause we are able to better understand the dynamics around us, involving us more fully in our environment. Through understanding the relationship between cause and effect, this chapter explores raising awareness of the environment using important points of the landscape that evidence elements of its heritage. The design of interventions at the main sites and along the journey will offer users the chance to better understand the dynamics of the environment. Through this the technique used by Cotton and discussed Hewett will be tested to implicate a larger narrative and provide points at which they can begin to understand it.
While Cotton’s points symbolically contribute to the overall story Daniel Merritt Hewett’s 1992 Master’s Thesis from Rice University titled Architecture and the Productive Implications of Pause argues that these points hold a deeper purpose – creating a vital connection between us and our interpretation of our surroundings. Hewett explores how, in the context of architecture, pause at specific points can provide productive implications with commitment to a specific site.
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Fig 4.07 Shane Cotton, View, 1995 The land is seen as horizon lines. A mountain peak is the focal point, repeated, so far away as to almost be invisible on the top line, becoming larger and larger toward the bottom, as if we are approaching it from a distance, coming closer.
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Curation: (Macleod, Hanks, Hale / Cotton) The use of narrative design facilitates interpretation the understanding of features while the implementation of points of pause raises awareness about individual features that contribute to the narrative. In order to contextualise and frame these themes this section introduces an idea of Curation. The five selected sites for this design research investigation contain architectural and landscape traces which infer past activities and events providing insight into the sites’ individual and related histories. These traces act as ‘cultural witnesses’ and represent strong narratives about cultural history and the landscape. This section investigates how curation can highlight these remnants and frame them in a way that their narratives can be better recognised and understood. Shane Cotton introduces a technique of layering into his paintings through the use of horizon line. Used to curate the evolution of the landscape, Cotton’s painting View depicts a changing mountain range set upon horizon lines vertically on a page evidencing a technique of sequencing. This creates a connection between the layers of the landscape and the layers of history, allowing a narrative to evolve for the viewer. This technique of curating allows layers, both past and present, to become apparent and reinforces a historical importance, even if the object is seen every day. The past is a foreign country, as David Lowenthal says, but it is one we can visit freely. We can include it in our lived be respecting its fragments and even by reconstructing a simulacrum of it, revealing the idea behind, as in experimental archaeology or botany. Story telling provides shape and gives us clues to deploy whatever images and forms we need to take us on that journey. – Macleod, 103
The idea of curation is most commonly used by museums to display works of art in a way that helps convey their importance and story. Curation can transform a seemingly ordinary object into one that evokes a personal response and allows the imagination to embrace it as extraordinary. The book Museum Making: Narratives, Architectures, Exhibitions by Suzzane Macleod, Laura Hanks and Jonathan Hale explores how through the inception of narrative within an exhibition, there is a strong connection made between the exhibitions, the artwork and the visitors. They argue that the application of a narrative to a space is necessary to evoke a deep personal response to the artwork enabling a better understanding. It is through this deeper understanding that stories of heritage can become evident allowing people to form ideas of not only what a curated element is but also the story behind how and why it has formed. “It is important for the audience to be made aware they are in a theatrical space, looking at staged objects. A certain expectation is created in the spectator by the framing of the spectacle and the act of looking becomes performative. – Macleod, 16 This suggests framing the external environment in a way that is purposeful and therefore creates an ‘expectation’ to witness something. This idea will be explored further in this thesis investigation through the design of the landscape surrounding remnants, allowing ordinary elements and landscape features to be understood as important elements in a site’s ongoing history. The preliminary design experiments will explore ways to curate architectural remnants on the sites as well as important landscape features through the use of points of pause, framing and orientation.
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Fig 5.01 Collage of contemporary Landscape Architecture design case studies representing successful design approaches to Regenerative Design, Landscape as a Timepiece and Map, Points of Pause and Curation, that were collected during the course of the design research investigation. Each of these contributed to development of strategic design concepts; the three most important ones will be discussed in detail within the Project Review and several others will be referenced and re-interpreted in relation to the Preliminary Design chapter.
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Fig 5.02 Tudela-Culip Restoration Project, EMF, 2010
Fig 5.03 Quarry Garden - Thupdi and Tsinghua University, 2012
Fig 5.04 Inujima Seirensho Art Museum- Hiroshi Sambuichi, 2007 The following chapter analyses how the themes of Regeneration Design, Landscape as Timepiece and Map, Points of Pause, and Curation developed in the Literature Review chapter are interpreted within contemporary landscape architects’ projects. These designs consist of both landscape architecture and architecture projects to provide a diverse range of approaches. Techniques for implementing these themes such as contrast, focus and form will be explored. The chapter looks in detail at Tedula-Culip as a design exemplar of Regeneration and Landscape as Timepiece and Map; it considers Quarry Garden as a design exemplar of Regeneration and Points of Pause; and it looks at Inujima as a design exemplar of Curation and Points of Pause.
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Tu d e l a - Cu l i p Re s to rat i o n Pro j e c t
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Fig 5.05 Photo of shadowline, focal elements, establishing a point of pause, and integrating natural and man-made features.
The Tudela-Culip Restoration Project completed in 2010 by landscape architect Martí Franch (principal of EMF) and architecture firm Ardèvol is located on the eastern tip of the Iberian Peninsula, Cap de Creus in eastern Spain. This holiday village area, purchased by the local government, was transformed into a nature reserve to help preserve the area’s fragile environment and the natural character of the coastline. Martí Franch was tasked to restore the area through selective deconstruction and minimal, harmonious, intervention. Situated on the Mediterranean coastline the site’s outstanding natural character created a desirable location for the development of a holiday village. In 1960 this area had been transformed into ClubMed a holiday village comprised of 400 rooms. With this development the site’s natural streams began to dry up and exotic species of flora began to emerge. With the main purpose of the restoration being to restore the site to its natural state the design looked to a regenerative design scheme to achieve this. The design used a reductive
Fig 5.06 Context of precedent
technique and schematically removed all exotic species from the area allowing natives to flourish. This technique allows the site’s heritage to become evident through the transformation while also representing important landscape features of the site. The design by Franch implemented contemporary walkways throughout the area to enable access to the coastline without degrading the landscape. These walkways appear to blend into the landscape while also remaining evident as a new addition, creating a narrative journey whereby the transformations in the landscape allow it to be read as a timepiece.
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This has been achieved with the use of a shadow line (fig 5.05), through which the unique features are curated. The formality of the shadow line contrasts and curates the opposite side of the pathway as it engages with the forms of the landscape. As the pathway is constantly adapting and moving in relation to the varying landforms the use of curating allows users to become more aware of the undulating, exposed environment Focal points intersect this narrative journey, suggesting points of pause. These points take the form of corten walls, which act as wind shelters (fig 5.08). The texture of the corten panels harmonises with the rugged terrain, as they are reflective of the eroding effects of the environment, while their rigid, geometric form contrasts with the undulating terrain. A similar design technique was used in the introduction of viewing platforms, which form points of pause (fig 5.07). These platforms take on a similar form to the original houses on the site, creating an allegorical representation to help users understand the site’s heritage. At these points, the users can begin to make a direct correlation between the cause and effect of manmade interventions within the environment and the site’s layers of heritage. Both the use of shadow lines and focal points allows Franch to curate the unique landscape features. Through locating and emphasising the unique features of the landscape, the design allows users to become aware of not just the environment but also the layers of its heritage and the transformation it has undertaken. The trail within this thesis also will highlight the dynamic environment through which the users journey. This will be achieved with ordering devices; like the shadow line, these ordering devices use the contrast between rigid and organic to evidence the dynamic, and help raise awareness about the journey’s narrative. The use of focal points will also be evident in this thesis with markers. These markers will provide points where elements of heritage can be understood, aiding the understanding of the narrative connections between the sites.
Fig 5.07 Viewing platforms referential of history as a holiday village
Fig 5.08 Wind elements act as focal points that evidence site dynamics
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Q u a r r y Ga rd e n -
T hup d i and Ts i ng hu a Un ive rs it y
Fig 5.09 Image of organic forms being used to suggest points of importance. The Quarry Garden, located at the center of Shanghai Chen Mountain Botanical Garden, rejuvenates a degraded quarry into a new botanical garden. This 4.26hectare design by Thupdi and Tsinghua University addresses the re-inhabitation of a landscape left in a state of decay after economic decline. The design does not try to cover up the scarred landscape; instead it incorporates the manmade decay in a way that highlights its unique characteristics. Once a tourist destination within Shanghai, the Chen Mountain boasted wide vistas of the city. With the introduction of quarrying the mountain underwent drastic change as a large quarry hole was excavated. This saw a severe degradation of the ecological environment, leaving the mountain bare and scarred. The approach for this design addresses this issue through the introduction of a new program, a botanical garden. The use of this program is focused around the drastic need to regenerate the site and restore ecological diversity, while in the process revealing the site’s environmental heritage.
Fig 5.10 Context of precedent
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The introduction of a pathway provides users with an opportunity to enter into the quarry creating a narrative experience whereby the scale of the quarry is emphasised to raise awareness about mankind’s invention on the landscape. The wall in which the pathway first begins looking into the quarry from the top and then enters into the quarry enhances the memory of the landscape as visitors make the connection between the drastically contrasting environments. This pathway allows visitors “to experience the quarry from more angles and to enjoy dramatic spaces, which will further strengthen their understanding of the oriental cultures of landscape and mining industry” (“Quarry Garden in Shanghai”). The unique shape and form of the pathway highlights this narrative while reflection points are used to enable a better understanding of the environment. This is achieved through the contrast of the organic/geometric form the pathway takes on. Where the designer wants to highlight the dramatic erosion of the landscape, the pathway lines the walls of the quarry emphasising its scale. Where the designer implies points of reflection, the pathway becomes rigid and formal, creating a connection between the framing device at the top and the points of pause within the quarry. The design’s new program and the strategic design of the pathway to create points of pause help to curate the natural features of the landscape’s heritage. These techniques utilised along the sequencing of the pathway from the ‘ecological enriching botanical garden’ down into the bottom of the quarry reinforce the story of the quarry, revealing important layers the site’s history.
Fig 5.11 Scale emphasised by pathway leading visitors down into the bottom of the quarry.
The narrative journey of this precedent provides a useful technique to help increase the effectiveness of the narratives. This technique will be used in the thesis design research experiments through the introduction of multiple perspectives enhancing the memory of the landscape to help the narratives be better recognised and understood. The use of organic and geometric forms in the landscape will help this narrative journey to signify points of interest to raise awareness about important heritage features.
Fig 5.12 Design interventions highlight visual connection of the above and below created by points of pause
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I nu j i m a S e i re n s h o A r t Mu s e u m - Hi ro sh i S ambu i ch i
Fig 5.14 Image highlights introduction of contemporary design elements contrasting the existing The 2008 Inujima Seirensho Art Museum by architect Hiroshi Sambuichi and artist Yukinori Yanagi explores how a landscape marred by human industry can allow for the reinterpretation of its scarring to become an important part of its heritage. This project saw the rejuvenation of a derelict copper refinery on the island of Inujima, Japan, which operated from 1909-1919. The design used contemporary interventions interwoven into the ruins and reconstructed as a fully self-sustaining art museum. This is achieved through the reuse of the existing smoke stacks of the factory as well as new materials; the smoke stacks act as cooling devices, sucking hot air out of the museum, while the use of grass allows sunlight to heat the building. The project is also a rehabilitation project. As the refinery Fig 5.13 Context of precedent had a very negative environmental impact on the site, the designers have consciously made the redevelopment of the site self-sustainable and have ‘cleansed’ the site. The new renovation envisions a “recycling-based society through its focus on industrial heritage, architecture, art, and the environment” (“Inujima Seirensho Art Museum”). Making the entire project self-sustainable (fig 5.16), the design not only regenerates the site, but it also makes an important statement about the past and future of the environment. Introduction of contemporary materiality creates a distinction between the original structure and the new interventions. This contrast enhances our awareness of what the original materials imply about the site’s heritage. These interventions fuse with the existing structure and provide a platform for the introduction of a new program. This program encourages
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public engagement, and by bringing more people to a site, the narratives established about its heritage become apparent. The design implements a walkway throughout where artefacts are curated to assist in conveying the sites story (fig 5.15). The placement of these artefacts along the walkway reinforces points of pause as they reflect on the site’s history. This is achieved through setting the elements in their original positions, providing glimpses into the site’s history while allowing for interpretation of the missing pieces. The design of these spatial qualities allows the views to become part of the experience. The effect humankind has on the landscape as been historically negative and these sites can be seen to evidence some examples of this. Like this case study, the thesis design research experiments will seek to reinterpret this negative into a positive through enhancing our awareness about the historical practices in the hope that this awareness about our future approaches to the landscape will be more environmental. This will be achieved through the curation of existing heritage elements throughout the landscape through the framing and use of points of pause. The use of these tools along the trail will allow a framework to evolve whereby people’s awareness of the important heritage chapters represented by a landscape is enhanced - even if the chapters are evidenced by elements we might normally consider ordinary or concealed.
Fig 5.15 Hanging element referential past narratives through their arrangement into their original arrangement.
Fig 5.16 Diagram of sites sustainable systems
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Fig 6.01 Photograph of ships in Fisherman’s Bay c1920s
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- D e s i g n S c h e m at i c s The principal aim of the Preliminary Design Experiments is to explore ways to enhance our awareness of our landscape heritage and related environmental challenges, as well as use this awareness to help prevent further impact in the future. The five sites selected to help convey this narrative contain a combination of architectural ruins and landscapes moulded by mankind. The experiments in this Preliminary Deign chapter, have been organised in relation to four different landscape scale perspectives to address all the issues and opportunities arising from the research. They include: the individual sites, the coastal perspective, the regional and the macro relationships. Each perspective relates to a specific research question relating to the aims of this thesis.
A. Local Perspective (each design site) Preliminary Design Experiments explored approaches to address Research Question 1: How can heritage stories associated with the transformed landscape be strategically activated to help ensure that historic destructive changes help inform our future approach to the environment?
B. Coastal Perspective (coastal trail connecting the five design sites) Preliminary Design Experiments explored approaches to address Research Question 2: How can landscape architecture help increase people’s awareness of important heritage and environmental issues they may typically walk past without ever recognising?
C. Macro Perspective (Arapawa Island) Preliminary Design Experiments explored approaches to address Research Question 3: How can new landscape interventions on Arapawa Island allow for the continuation of farming while reducing negative impacts of intensive farming through the introduction of ecological diversity?
D. Regional Perspective (Marlborough Sounds) Preliminary Design Experiments were used to explore approaches to address Research Question 4: How can we enhance our nation’s awareness of the fundamental interconnection of natural systems, understanding that a change in one aspect of our environment can have a huge effect on many others?
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Fig 6.02 Concept image of site 2 for June Review
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- D e s i g n Rev i ews Over the course of the year design reviews provided valuable critiques to help mould the thesis into a diverse and rich investigation. The investigation commenced on 2 March 2015, and the three reviews were held on 18 June, 20 August, and 30 October. The initial design experiments leading up to the June review primarily focused on the design of Site 2 – the old whaling station, which contained a significant number of historic architectural relics. The first critiques in June consisted both internal and external academics reviewers included: Joshua Zeunert (Writtle School of Design), Leonardo Carta (CCM Architects, Wellington), Nikolay Popov (Unitec, Auckland) and Bruno Marques (Victoria University of Wellington). The key points of feedback received were: Consider expanding the design scope to include Te Awaiti (site 1); this could in turn help inform people about Fisherman’s Bay (site 2). Also design of the first site could inform the design of site 2. Environmental changes contribute only one part; the real aim is to look at how both built and environmental heritage can be integrated. With this critique in mind, the next stages of the investigation looked at how the design of two sites could in turn develop narrative criteria through which each site was addressed. Following this rationale, the scope of the investigation ultimately grew to 5 sites to increase the number of opportunities for narratives moving beyond the artefacts of whaling stations to stories involving the greater landscape. The August review consisted of practitioners included: Boyden Evans (Boffa Miskell), Nicole Thompson (Wraight and Associates) and Averill Clarke (Wellington City Council). The key points of feedback received were: Very focused on the five individual sites; now consider looking at connections between the points. How are these read as a whole and how are they interpreted? Location has a diverse range of heritage, which is a strength and should be emphasized in the design. With this feedback the investigation commenced incorporating various scales as well as perspectives; this saw the introduction of markers between sites and also incorporated the more distant perspective of the ferry passengers. This enlarged scope allowed the design experiments to engage the aims of the thesis from multiple perspectives while providing even more layers to the overall narrative.
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Fig 6.03 Old photograph of Te Awaiti (site 1) c.1890
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- L o c a l Pe rs p e c t ive -
The local scale addresses each site individually to generate site specific responses accurately portraying each site and its heritage values. The preliminary design experiments for each site introduce or transform elements which address important environmental issues as well as important narratives associated with each site. This preliminary design chapter reinterprets important heritage narratives that arose in the site analysis chapter to help enhance our awareness of these environmental issues and heritage narratives, while also helping to ensure that the historic destructive changes inform our future approach to the environment.
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Site - 01
Te Awa i ti
Cemetery land Site of Maori huts Whaling remnants
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150m
Fig 6.04 Site 1 plan locating key design areas and elements to be explored The original shore-based whaling infrastructure (ramps and seaside shacks, etc.) around Te Awaiti has mostly eroded and become overgrown. Only the try works and chimneys remain as artefacts of a time of economic stability and growth in the area. Although a time of prosperity it was also a time of loss, both of whales and of the whalers. The cemetery land currently on the site begins to reference this loss although fails to convey the importance this site had not only to the island but the whole region. The following experiments explore ways in which the design could reveal these lost historical layers of the site. Two main locations for these experiments have been chosen: the cemetery land and the site of the old Maori huts. The cemetery land explores how the area can not only represent the lost lives of the whalers but also the loss of the native rain forest that once defined this environment, to create a connection between the site’s heritage narratives and the natural environment. The design relating to the Maori huts raises awareness of the site’s lost cultural heritage, allowing its new program to reflect upon their original use.
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Case Study Analysis: A - rigid geometric form acts as ordering device raising awareness about the ruin’s hill top location. B A
C
B - steel structure suggests points of pause to highlight the view shafts of the ruins. C - gable retaining walls, representing lost forms, reinvent lost layers of the landscape curating the footprints of the missing buildings.
Fig 6.05 Adaptation of the Ancient Roman Deposit Of Can Tacó by Toni Gironès Saderra 2012
Fig 6.06 Sketches testing how the landscape surrounding remnants and cultural sites could be designed to infer revealing of site’s narratives.
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Fig 6.07 Sketch exploring the curation of MÄ ori remnants could be achieved through the implemntation of points of pause highlighting key features of their orientation and positioning.
Fig 6.08 Section of campsite as new program
Camping space
Retaining Walls
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Corten steel
Wind shelter / predator proof fencing 125mm, perforated, drainage pipe Fig 6.09 Kohekohe Tree - Dysoxylum spectabile Historically there were entire forests of this tree throughout New Zealand; however due to the burning of forest and the introduction of pests its numbers have reduced. Although widespread in the North Island, this tree is specific to Marlborough in the South Island, mostly reduced to small vulnerable remnants. Thus the use of this tree in this thesis signifies reintroducing the lost vegetation of the Marlborough region (Sounds Ecological District).
Fig 6.10 Diagram exploring constuction of planter box The concept of placing the Kohekohe trees in large scale planters, reminiscent of Shane Cotton’s paintings, was tested as a way in which vegetation is able to be framed while protected. In Site 1, these planters (like tomb stones) are arranged in two parallel lines as a memorial to the landscape and particularly to the loss of the Kohekohe trees. Constructed out of weathered corten steel, this references the existing materials of site 2, helping to establish a visual and material connection between the two sites, encouraging visitors to become aware of a larger narrative.
Fig 6.11 Image exploring datum lines throughout the site. Datum lines create a standard line used for comparison and can be implemented as an ordering device whereby variations of the landscape become evident.
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Fig 6.12 Section of memorial concept highlighting how the use of datum lines for the tree boxes emphasises the topography of the site, suggesting a revealing of narratives. The boxes frame the trees as well as existing grave stones and relocated tryworks.
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25m
Fig 6.13 Perspective visualising how an axial and formal arrangement of trees can help raise awareness about the importance of elements in the memorial space.
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Campsites Curated whaling remnants and Kohekohe tree planting
Fig 6.14 Inital conceptual axonometric conveying spatial characteristics of design elements
Reflection: -
Exploring the idea of using datum lines creates an interesting junction between the curating and revealing of architectural and environmental remnants.
-
Rigidity of structure creates an imposing space and should be more site responsive.
-
Addition of new program to Maori hut site creates a unique approach from which awareness is raised about previous use although it does not emphasise the sanctity of the site.
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Site - 02
Fish er m a n ’s Bay
Existing Farm Pathway
Remnants of whaling station
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100m
Fig 6.15 Site plan locating whaling station and its orientation to the waters edge This site holds great importance in the growth of New Zealand’s economy as whaling from such stations supplied oil and meat to local communities as well as being exported overseas. The site still contains the frame work of the original station which elude to the past narratives of the site. Like the first site, this station evidences a time that created economic stability in the area, but also a time that also almost destroyed the whale population. The preliminary design experiments look at ways to bring these stories to life so that the positive nature of each story can be remembered, while the negative aspects can be ameliorated or serve as vital reminders. This is achieved through the introduction of didactic tools such as collection devices, set between the tide lines to collect ever-changing artefacts. These devices represent a story about the coastal edge; they utilise the dynamic coastal environment to reflect upon the ways in which mankind’s previous activities had a negative impact on the sea edge. This allows users to understand the site’s unique environment and history helping to establish a connection to its place identity.
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Case Study Analysis: A - The pathway through this design creates a linear narrative journey that highlights the coastal environment. The use of geometric forms contrasts with the organic forms of the rocks and sand dunes.
C
B - The use of datum lines throughout the design emphasise the shift in different levels from the land to the sea. This is evident in the pathway, the surface of the pool and the surface of the sea.
B
A
C - The horizon line creates a focal point that emphasises linear pathway.
Fig 6.16 Leรงa Swimming Pools, Alvaro Siza 1966
Fig 6.17 Sketches of wave barriers to help defuse the waves from the ferry, decreasing the erosion of the station.
Fig 6.18 Images exploring how collection devices could be implemented along the coastal edge. These devices also provide sheltered locations for visitors to access the water and for marine habitats to thrive, reflecting upon the negative environmental history of the site.
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Fig 6.19 Perspective highlights how the design defuses the sea edge reflecting upon mankind’s past negative impact’s on the site; it introduces groins and collection devices to help visitors understand the environment and how to better preserve it.
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Main Winch Top Floor
Anchor Hydraulic rams Ground Floor
Main winch rope led through block and tackle system
Ramp lifts to increase top floor area
Fig 6.20 Exploration into how scale and materiality of elements past could be introduced into the design to reference past narratives. This raises visitors’ awareness about the important historical layers of the site’s history through a physical connection with the site.
Viewing Platform
Fig 6.21 Section showing how the new tidal pools and stairs can suggest a connection between the land and sea. This suggests a narrative of the whales being dragged out of the ocean and shifted up to the top floor via a hydraulic ramp. Arrows evident the use of scale.
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Fig 6.22 Perspective showing connections between water’s edge and the whale winch. The viewing platform provides points of pause at which users are offered the opportunity to make this connection, while the platform itself is referential of the lost top floor of the building.
Tidal Pool
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Fig 6.23 Iterations of how a tidal pool could introduce a recreational layer while reducing sediment shift from surrounding Pinus radiata.
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Fig 6.24 Perspective from pool back towards station.
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Collection Recreational Devices Interventions
Wave barriers
Fig 6.25 Initial conceptual axonometric conveying spatial characteristics of design elements
Reflection:
-
Idea of referential scale successfully represents a physical narrative. The design could explore this further in regard to how it is understood by users.
-
Tidal pools introduce an element to the design that actively reflects upon mankind’s past negative approach to the marine environment at this site through defusing the edge while providing a new area for marine habitats, enabling future generations to positively engage with the edge.
-
Although adding an interesting perspective and addressing one of the site’s main environmental issues, the coastal pool needs to appear more connected to the overall main design.
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Site - 03
Gun E m p la c ement
Viewing Hut
Gun Emplacement Existing farm trail Pinus radiata
0
20m
Fig 6.26 Site plan showing Viewing Hut in relation to Gun Emplacement
This site represents an important WWII gun emplacement, built to protect the Marlborough Sounds during the war and help achieve an important sense of security during very troubled time. The site utilises the vista as a tactical positioning at the head of Tory Channel. The gun emplacement’s topographical location will be emphasised as it exemplifies the site’s narrative and the landscape in which it is set. The design explores how further loss of the site due to overgrowth could be prevented through the alleviation of exotic species of Pinus radiata. To help minimise the erosion of surrounding farmland while providing access for tourists, retaining walls are incorporated that also provide provide platforms for native scrubland to establish. The regeneration of this site allows the design to emphasise the positive key landscape features of the site while reflecting upon the manipulation of the landscape caused by the introduction of the large concrete WWII structures.
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Case Study Analysis: A - A point of pause is created inside the bunker where the users are offered an opportunity to further understand the bunker through revealing its internal structure.
C
B - Introduction of staircase creates an axial journey whereby the users are able to contextualise the bunker within its environment.
A
B
C - The use of scale emphasises size of structure evident in length of the bunker as it is exactly 2 pole lengths along the wharf.
Fig 6.27 Bunker 599 / RAAAF + Atelier Lyon 2010
Fig 6.28 Sketches investigating how the introduction of stairs and regenerative planting both highlight the site’s war narrative while addressing the preservation of the structures and landscape.
Fig 6.29 Sketches explore how a pathway could offer an opportunity to address the journey through which visitors experience the site’s narrative.
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Fig 6.30 Section exploring how stairs connecting the WWII gun emplacement with the viewing hut can help raise awareness about the site’s tactical historical location during WWII.
Fig 6.31 Perspective looking up to viewing hut evidencing the linear narrative created between regenerating vegetation at the bottom to the exposed ridgeline viewing hut at the top; this helps visitors to recognise important transformations in the landscape.
0
30m
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Case Study Analysis: B
A
A - the flowers are curated in the center of the building as a centerpiece. This is created through the pathway around the perimeter and the opening in the roof mirroring the footprint of the plants. This creates a narrative about how mankind cultivates the landscape inside imposed boundaries, in this case the building. B - The curved roof allows the vegetation to grow as sunlight and rain is able to enter.
Fig 6.32 Serpentine Pavilion, Peter Zumthor 2011
Fig 6.33 Sketches exploring how the gun emplacement could curate a protected nursery.
Pest control fence
Fig 6.34 The retrofitting of this structure signify the lost undergrowth of the landscape forming a device to help people understand the landscape and how to better preserve the environment it.
Drainage
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Renovated gun emplacement Rain/sun holes Hole allows birds to enter, providing a protected habitat and allowing seeds to spread
Fig 6.35 Concept redevelopment of gun emplacement into ecological hub provides a rich habitat where birds could nest and aid the spread of native seedlings. The plants could also be used for regenerative planting elsewhere.
Fig 6.36 Perspective showing how the staircase frames the emerging plants inside the structure creating a point of pause, curating the vegetation.
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Stairs/retaining wall Renovated bunker/nursery
Fig 6.37 Intial conceptual axonometric conveying spatial characteristics of design elements
Reflection:
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The overall concept of an ecological hub still needs refining to better connect with the overall concept.
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The stairs provide an effective tool through which the site’s unique steep topography is emphasised while reflecting upon the site’s heritage.
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The design of the area directly behind the gun emplacement should be explored even further to allow a framing device that establishes a strategic point of pause through which the gun emplacement is perceived.
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Site - 04
Okuka r i B ay
Existing defective farm bridge
Eroded stream
0
100n
Fig 6.38 Site plan locating key design areas and elements to be explored
The fourth site along this coastal journey represents the arrival of farming to the island, through to our present time. Farming has helped enhance New Zealand’s global economy; but at the same time, runoff from farms is eroding New Zealand’s natural landscape features and allowing pollutants to enter our waterways. The gullies and ravines resulting from this runoff often look deceptively pastoral – but they are actually evidence of environmental damage. The stream will form an integral part of the pathway as it serves as an ecological marker while also reflecting Arapawa Island’s historical reliance on farming. The design reduces the erosion and limits farm runoff through the construction of a wetland system reminiscent of the original environment before farming. This wetland will reduce nitrogen and pH levels of the stream before it enters the ocean. A crossing for both the animals and visitors will be provided creating a junction at which visitors can reflect upon the farming while also identifying the need for environmental awareness.
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Concentrated Concept - balanced design allowing for continual farming of dune area, while providing a wetland to address pollution
Coastal Concept - addresses farm runoff while regenerating and protecting dune land
Progressive Concept - Allowing farming practices, increasing bio-diversity and drawing users to the junction between farmland and wetland.
Fig 6.39 Concepts for Riverine wetland investigating how the form of the wetland addresses farming requirements and provides an experience whereby the contrast between environments becomes evident.
- Kapungawha (Lake Clubrush)
- Toetoe
-Manuka (Leptospermum scoparium)
- Purei (Carex secta)
- Harakeke (flax)
- Makomako (Aristotelia serrata)
- Manihi (Potamogeton cheesemanii)
- Ti kouka (cabbage tree)
- Kowhai (Sophora microphylla)
Fig 6.40 Investigation of wetland margin and how these environments could present a new chapter in the landscape. (Hamill)
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Case Study Analysis: A - The use of ordering devices is evident in geometric forms which emphasise the variations in the landscape.
C B
A
B - The use of narrative design is evident in the bending of the concrete walls into the circle. This represents the power of nature and the environment’s ability to triumph over the manmade. C - The linear pathway through the center of the pond highlights the transition from one environment to the next.
Fig 6.41 Water Temple, Tadao Ando 1991
Fig 6.42 Sketches exploring how a dam can also serve as a farm bridge to provide a linear journey, raising awareness about the heritage of the farming environemnt while addressing environmental issues.
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Fig 6.43 Diagram of retention basin’s construction
Fig 6.44 Preliminary design concept of dam and bridge structure. Dam allows water to be retained creating a more controlled environment for the establishment of a wetland to reduced erosion and pollution of stream.
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Wetland
Introduced bridge
Fig 6.45 Inital conceptual axonometric conveying spatial characteristics of design elements
Reflection:
-
The design creates a unique, alternative to a farm bridge which highlights the dynamics of the stream both in form and function. This design introduces a point at which the visitors can both can understand the degradation of the farmland through its contrast with the wetland system.
-
The wetland system needs to be refined to successfully achieve remediation. This will see the construction of the wetland explored to withstand periods of high rainfall.
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The experience of users through the wetland should be explored further, helping to emphasise the more natural environment to strengthen the contrast with the farmland.
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Site - 05
E a st Head
0
7m
Open area behind hut Whaler’s hut Regenerating scrubland
Wide expanding views Fig 6.46 Site plan locating the DOC hut used by retired whalers
The fifth and final site along the journey, a whaler’s outlook, returns the visitor to the story of whaling. At the same time, it provides an outlook into the distance, helping visitors understand the relationship of this journey to the larger environment – all integrated and affecting one another. Although the final site of this investigation, the journey can carry on along the ridgeline walkway over the other side of the island if desired. The design of this site explores how the introduction of a rest area and shelter could be curated to reflect the whaler’s hut that still exists and the ones that have existed in the past. The exploration of a lookout will provide an opportunity for reflection as it emphasises the dramatic topography and wide expanding views, raising awareness about the importance of vistas in the distance to historical narratives of whaling.
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Case Study Analysis: A - scale of the viewing platform and the materiality allows it to harmoniously blend into the landscape. B - The linear form suggests the narrative importance of the surrounding landscape.
A
C - The horizonality of the platform emphasises the dramatic topography of landscape.
B
C Fig 6.47 Aurland Lookout, Saunders arkitektur + Wilhelmsen arkitektur 2005
Fig 6.48 Inital concept sketchs exploring how the implementation of a view platform could form an ordering device to infer site narratives.
Horizon line - connection with the wider environment Fig 6.49 Vista narratives
Navigation light - historical connection
Fig 6.50 Explorations into how a viewing platform can emphasise the topography while connecting users with wider narratives.
Trail - reflective opportunity as previous sites become visible
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Fig 6.51 The viewing platform raises awareness about the importance of the horizon line through providing a vista into the distance. The horizontality of the viewing platform highlights the site’s dramatic topography.
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Fig 6.52 Investigation exploring how the design of an old whaler’s hut responds to the landscape; addressing environmental conditions while acknowledging and undisrupted vista.
Fig 6.53 Sketch investigating how landform can be manipulated to provide a similar experience to whaler’s hut enhancing awareness about the whaling narrative.
Fig 6.54 Plan sketches exploring how the introduction of a new shelter could reflect upon the existing whaler’s hut to allow users to recognise what it represents.
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Existing Hut
Shelter Rest Area
Viewing Platform
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25m
Fig 6.55 Implementation of a circle as an ordering device, whereby the dramatic natural topography becomes more apparent
Fig 6.56 Collage exploring how the implementation of a shelter and curved retaining wall can raise awareness about the dramatic landscape and its historical whaling narratives.
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Hutt Viewing Platform
Fig 6.57 Initial conceptual axonometric conveying spatial characteristics of design elements
Reflection:
-
Overall design elements have the potential to successfully enhance the experience of the dramatic site.
-
The continual use of the site by DOC and whalers must be researched further to more fully understand what requirements etc. are needed.
-
Think about how the design could further convey the ideas of landscape transformation to help raise the awareness of the site’s unique whaling story and dramatic landscape.
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- C o a s t a l Pe rs p e c t ive In addition to enabling visitors to enhance their understanding of each individual site, it is equally important to understand how each of them contributes to an overall journey. The following preliminary design concepts explore how markers strategically located along the path between the five sites can help integrate the five different sites into a common narrative. Use of a common materiality appearing in the markers and sites helps visitors recognise this continuity, while the markers also help visitors identify unique landscape features that contribute to understanding an overall narrative along the trail. At the same time, these markers help establish points of pause or framing to guide visitors into seeing important elements of the narrative that they otherwise may have walked past without recognising. The design of the markers reflects not only to landscape analysis but also the nautical cartography of the area. Through these mapping techniques the markers to guide people along the trail, while establishing a connection to the navigational narratives of the area.
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Navigation lights
Stream exposing rock
Stream crossing path
Tryworks
Fig 6.58 Exploration into different features along the journey that could curated.
Boilers
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Old farming infrastructure
Vista connections
Whaling memorabilia
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1km
Fig 6.59 Exploration of how orthogonal lines in the landscape participate with contextual navagation lines to suggest points for markers
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Fig 6.60 Preliminary design sketches exploring existing elements in the landscape which suggest navigation and how these could be used as wayfinding devices while raising awareness about heritage elements in the landscape.
Fig 6.61 Image exploring how the use of points of pause and ordering devices could be used to orientate users along the pathway, allowing them to understand they are part of a continual narrative.
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Fig 6.62 Exploring how a marker could facilitate regrowth of native vegetation
Fig 6.63 Sketch of retaining wall being implemented to reduce erosion of stream and facilitate growth of native vegetaion.
Fig 6.64 Exporing idea of a bridge to provide an orientational constant across the design, allowing users to understand the shifting nature of the pathway as they tranverse hillsides.
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Fig 6.65 Concepts exploring how markers might frame landscape features and help raise awareness to important heritage elements
Fig 6.66 Sketchesshowing how contemporary interventions could aid ecological growth through protecting plants from the elements while framing unique features.
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3 4 1
2
Fig 6.67 Plan locating Marker points along the journey
M a r ke r C o n ce p t s
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1 Fig 6.68 Marker concept exploring how a stream exposed the geology as a result of the introduction of a farm trail.
2 Fig 6.69 Marker concept exploring how the introduction of a retention wall could facilitate the growth of eroded stream as it crosses the trail.
3 Fig 6.70 Marker concept exploring how the form and structure of existing navigation lights could be used as additional wayfinding devices which offer points of orientation.
4 Fig 6.71 Marker concept exploring how walls introduced into the landscape could frame views and aid the regeneration of native scrubland. Corten wind shelters
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Fig 6.72 Plan of trail concept with existng farm fences
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- M a c ro Pe rs p e c t ive -
The macro scale considers the perspective of Arapaoa Island as a whole. It explores how the design recognises the continuation of farming while helping to reduce its negative effects through the introduction of ecological diversity. This investigation introduces an idea of ecological nodes to create connections between ecological environments along the journey while addressing erosion points along the pathway.
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This concept investigates how the ecological regeneration of key points of erosion could be addressed.
Concept exploring how regeneration of streams could create a diverse ecological network through farmland.
Concept investigating how key points of erosion that directly intersect with pathway could suggest points of regeneration Fig 6.73 Exploration into networks of ecological regeneration
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Fig 6.74 Regeneration concept using ecological nodes to create vegetated environment surrounding each site while addressing key points of erosion
These concepts investigate how nodes placed throughout the area could facilitate regeneration of parts of the landscape to address negative effects created by farm animals. The different concepts take into account the main areas of soil erosion, the amount of native versus exotic vegetation and the existing farm infrastructure. This is indicative of an island wide issue of erosion caused by animals and people. The final concept introduces ecological nodes in parts of the farmland that have most evident erosion and which are situated in close proximity to the five sites. The resulting scheme allows the regenerative environment to signify the arrival of visitors at each one of the five sites. This connection when experienced from the trail allows the contrasting environments of farmland and regenerating scrubland to aid visitor’s awareness of the effects the farmland has on the environment while creating a varying journey through open and closed spaces.
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Fig 6.75 Plan of regeneration concept creating an ecological connection between larger area of regenerating scrubland
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500m
Re ge n e rat i o n C o n ce p t
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Fig 6.76 Site analysis sketches in relation to conceiving preliminary design concepts
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The initial design experiments for island wide concepts began by considering how, at a macro scale, the design could engage with the greater story of the island as a whole, other heritage sites and areas of interest across the island. This led to concepts developed which addressed the natural systems of the island as well as the existing infrastructure. The resulting schemes proposed incorporating the existing ridgeline walkways, forestry roading and bush trails across the island and repurposing them to create a network of walking trails. Primary sites of the design would act as points of pause, raising awareness about the landscape’s heritage, along the pathway between the two existing DOC and a fourth proposed campsite (fig 6.77). This scheme also integrates the regeneration of points along the eastern coastline, connecting separated areas of native vegetation.
Campsites: Proposed Existing
Fig 6.77 Island wide concept of a network of walking trails through utilising existing infrastructure
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0
3km
Fig 6.78 Image investigating regional points of reference and ocean cartography to aid the understanding of how the points are perceived from the ocean.
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- Re g i o n a l Pe rs p e c t ive -
The regional scale looks at how the design can engage a wider audience to create a multi-layered design with a range of perspectives to allow narratives ranging from the regional to the site-specific to become legible. The regional perspective will be most evident from the Interislander Ferry as it passes by the sites and through the Marlborough Sounds to Picton. This investigation tests how people from the ferry could engage the sites through a more distant visual narrative. The introduction of this perspective aids the curation of the sites themselves, allowing people to engage with individual narratives of each site while being taken along a sequencing through which the overall story unfolds.
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0
500m
Fig 6.79 Image exploring distance between sites and ferry
Reflecting upon the initial narrative analysis from the ferry, there is a limited amount of information that can be read from the distance. To address this the following concepts convey a more refined and broader narrative than those of the individual sites. This is explored through the use of various forms. The use of white for the existing lights adequately achieved the visual captivation necessary for a ferry narrative and was therefore implemented into the concepts.
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Revealing/ Memorial
Above and Below
Dramatic Verticality
Environmental Dynamics
Organic/ Continuity
Fig 6.80 Images exploring how the arrangement of white forms in the landscape convey narratives that help reinforce reading of the topographical changes.
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500m
Fig 6.81 Final program concept of walkway with 5 main sites identified
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- Su m m a r y The ongoing decay of the sites requires an innovative solution to ensure the heritage of Arapawa Island can be recognised in a way that helps to prevent any negative future impact. The preliminary design experiments within this thesis investigation implement an integrative solution by designing through a range of scales and perspectives. This creates a diverse, resilient design as it engages a wider audience and allows for adaption over time. The theoretical approach, which included the development of four key themes, helps the design develop a coherent response at all four of the different scales, addressing each of the aims and objectives of the thesis. A large part of this chapter became the development of programs that were suitable for each site while enabling the design to express the heritage narrative. Element where then used to address both environmental issues as well as reflection of heritage. These design elements throughout the individual site chapter need to be refined further to enable them to be read not only as an individual site but as parts of a larger narrative.
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Fig 7.01 Memorial space
Fig 7.02 Whaling Station
Fig 7.03 Gun Emplacement stairs
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Fig 7.04 Navigation Lights
Fig 7.05 Wind Walls
Ferry Narrative This Developed Design integrates the successful preliminary design ideas and elements and tests them against the research aims and objectives. The ferry narrative allows ferry passengers to engage with the sites as they pass by the sites. Methods for understanding the sites from a distance include: the use of white to allow certain forms to become visible from afar. Views from the ferry convey the common narrative of mankind’s intervention on the environment. Markers are used to strategically locate important environmental changes caused by mankind.
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Master plan It became evident in the preliminary design chapter that the regeneration plan still required refining to enable it to achieve its aim of allowing the continuation of farming while helping to mitigate its negative effects by increasing ecological diversity. This saw the farming practices investigated further and a plan produced that better responded to both the farmers’ needs as well as the ecological nodes. The developed regeneration plan is evident in the developed master plan through the more structural formation of these ecological nodes. This technique allows the nodes to become more integrated as they reduce the amount of curve and help limit the small spaces for stock to hide. At this masterplan scale the narrative of the individual sites becomes apparent through forms used within each site. These forms explore mapping of the landscape through ordering devices to emphasise unique features of the landscape. This technique allows landscape heritage elements begin to emerge while informing people about potential adverse effects to the environment through their active mediation of environmental issues. The use of markers along the pathway have been developed further to allow them to better serve as points of pause that highlight and address environmental issues. These markers begin to evidence the change of environments, from pastoral land to regenerating scrubland, as well as helping to integrate the narratives of individual sites with the navigation of land and sea.
Fig 7.06 Master Plan
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M a s te r p l a n
1km
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Fig 7.07 Plan of updated infrastructure
Fig 7.08 Updated program diagram
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1 ye ar -
2 yea r s -
•
- Introduction of site designs
•
Planting of native vegetation
•
-Recongifuration of fencing/introduction of pathways
•
Regrading/implementation of wetland
•
Introduction of Markers
5 ye ar s -
1 0 yea r s -
•
•
Establishing of plants
Establishing of wider pathway network
Fig 7.09 Phasing Diagrams
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a
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5m
Relocated tryworks
Exsiting graves
Tree boxes serve as drainage pits
Swamp Kauri poles
B
b
Tiled grass area Kohekohe trees
Fig 7.10 Memorial plan
Fig 7.11 Section Aa - Memorial
A
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Site 01
Te Awa i ti Site 1 is designed to act as a memorial about key events related to whaling that occurred on the site. It explores how as a result of settlement and shore-based whaling, the natural environment was required to be changed, evidencing this key period in transformations to environment. The design incorporates a memorial in conjunction with the current cemetery land to signify the loss of the native rainforest in the area; the design also acts to curate historic whaling remnants and grave sites. Lost narratives of pre-colonial heritage are further referenced by in the introduction of a new campsite. Whaling narratives associated with the campsite and memorial are strategically activated to help ensure the destructive changes to land development can help inform our future approach to the environment. The final design develops boxes the Kohekohe trees, taking inspiration taken from the remnants at Site 2. The boxing uses vertical columns made of swamp Kauri to emphasise the changing vertical nature of the boxes as the ground plane slopes downward; in this way, the aligned tops of the boxes form a horizontal datum plane as a reference line. This reinforces the design idea of unveiling the lost narratives of the site while also allowing visitors to realise the site is part of a larger narrative through association. The swamp Kauri is used as it is a widely available resource throughout New Zealand, representative of New Zealand’s landscape heritage and represents an important story of New Zealand’s heritage being shipped overseas. The layout of the trees establishes a formal space at the lower end of the memorial while the rhythm of the trees spreads out as users progress up the hill, evidencing the gradient of the topography while representing the uncovering of the site’s narratives.
Fig 7.12 Section Bb - Tree boxing
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Kauri poles in front of gabion retaining walls
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Fig 7.13 Campsite Plan Shelter belt from wind
Fig 7.14 Planting Plan
Camp Sites
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The developed design of the Site 01 campsite has furthered the preliminary campsite design to ensure the introduction of heritage architecture can inform our future approach to the environment. To achieve this the campsites have been relocated into spaces in counterpoint to the historic site on which the Maori huts once long ago had been situated. The sites of the Maori huts are now transformed into an open rest area and viewing terraces where visitors can look over the site. Along with discrete signage, the development of the campsite design allows users to recognise what the rest area represents while still respecting the sanctity of the sites.
Fig 7.15 Section Cc - Campsite
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Fig 7.16 Memorial space perspective, Site 01
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Fig 7.17 Campsite perspective, Site 01
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Fig 7.18 Perspective of Marker 1
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Beams referential of remnants on sites 2 Fig 7.19 Marker 1 plan
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Marker 1 Markers were further developed to help visitors realise that all elements on the journey are part of a continuous narrative. Marker 1 introduces posts which are referential of the ones used on both Sites 1 and 2. The posts help to add stability to the bank, addressing the erosion caused by recent farming practices. The logarithmical rhythm blends the marker into the landscape while the central poles, where they are the closest, highlight a stream by strategically implementing a point of pause. The posts create framing devices which categorise the margin zone of the stream, highlighting the way in which the stream reveals the underlying Mesozoic sandstone raising awareness about the landscape and man’s transformations of it.
Fig 7.20 Section Dd - Marker 1
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F E f
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Vegetated drainage Erosion walls
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Fig 7.21 Whaling station plan
Fig 7.22 Section Ee - Viewing platform and tidal pools
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Site - 02
Fish er m a n ’s Bay
As identified in the Preliminary Design the incorporation of erosion barriers introduced into the coastal edge of the Site 2 whaling station decreases the effect waves have on the degradation of remnants of the historic whaling station, while the introduction of collection ponds provides a habitat area for marine life within the littoral zone. Scaled elements have been used through the design to reference the overwhelming size of the whales, creating an allegorical representation of the site’s history (fig 7.22). The development of the site’s connection to the hill behind the station included modifications made to the drainage lines within the station which connect to the end of a stream that runs down the hillside. On the gradient leading down from the farmland, native wetland plants, such as Carex secta and Typha orientalis, will be used to ‘cleanse’ the water from this stream, which was once used to wash away the whales’ blood. This allows the vegetation to grow within the structure, highlighting the site’s boundary between fresh and salt water while actively reflecting on a negative past narrative turning it into a positive. The new elements added to the site will use a white coloured terrazzo concrete. Through this a contrast between the grey of the existing concrete and the white of the new will enable visitors to differentiate between the old and the new while allowing the elements to also achieve better integration. The use of terrazzo will also enable the new white interventions to remain clean more readily than barren white concrete.
Fig 7.23 Section Ff - Drainage planting Repurposed drain network filtering stream water
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Fig 7.24 Perspective of Whaling station, Site 02
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Fig 7.25 Perspective of Marker 2
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Marker 2 Marker 2 was designed and located to help facilitate ecological growth while evidencing the issues farming gullies face. This marker uses a similar technique of logarithmically sequencing poles to enable the marker to establish a point of pause while also being referential to the five principal designed sites. The incorporation of a strategically designed retaining wall allows for a more habitable environment for native vegetation to establish. This wall allows the stream, at which it is placed, to still continue down the hill while the grooved slots aerate the water as it pours through. Through this the visitors are offered a point at which they can witness the cause and effect of the farming and the need for the structure.
Fig 7.26 Section Gg - Marker 2
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Fig 7.27 Marker 2 plan
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Terrace planting Stairs to viewers hut
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Fig 7.28 Gun Emplacement plan
Fig 7.29 Section Hh - Gun Emplacement rest area
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Site - 03
Gun E m p la cement
The developed design of the gun emplacement explored how the narratives relating to this site could be further understood in a way that the cultural heritage of the site could be preserved. This led to the area behind the gun emplacement being explored further, to address how the sites would be perceived by visitors. The introduction of a point of pause at the intersection of the trail and the stairs is referential to the key features of both the gun emplacement and the viewing hut — the circles that held both a large gun and a telescope. This point allows visitors to begin to better understand the historical importance of the circles when they enter the structures. A line of posts guides visitors up and down the stairs. The materiality and form of these posts is referential to the posts used on the previous sites, enhancing a continuation of the narrative. The posts emphasise both the topography of the site as well as evidencing the way in which large amounts of land were excavated when these structures were introduced. The stairs leading up to the viewing hut provide focus away from the trail and down to the gun emplacement to enhance our awareness of the steep topography while preventing erosion of the hillside that would be caused by indiscriminate climbing. The introduction of terraces creates a more stable environment for the regeneration of native plants to emerge connecting the site with the edge of the ecological node.
Fig 7.30 Section Ii - terraced planting and stairs
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Fig 7.31 Perspective of Gun Emplacement, Site 03
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Fig 7.32 Perspective of Marker 3
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Marker 3 The developed design of Marker 3 saw the initial concept reassessed to allow it to achieve its aim of raising people’s awareness of important heritage issues they might typically walk past. To address this the design utilises the existing navigational lights, reflecting upon their use of helping people navigate through the entrance to Tory Channel. The lights are on farmed DOC land which evidences significant erosion of their banks from stock. To address this the design implements a crib wall and steps while also offering a point of pause. The orientation of the point of pause allows the visitors to view the entrance as if they are one of the lights. This offers them a chance to understand the narrative connection between the two lights and the entrance to the channel. The use of a crib wall allows vegetation to grow on the bank limiting erosion while the materiality of the steel and wood reference the narrative of the overall journey. Pimelea prostrate would be a suitable native to use as it is found in subalpine areas throughout the country and is a notable ground cover with a capacity to thrive in dry conditions and disturbed human landscapes (Plant Profiles Pimelea).
Crib retaining wall - steel and wood construction
Fig 7.34 Section Jj - Marker 3
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Fig 7.35 Section Kk - Detention basin construction
Primary-flow pipe Overflow outlet
Introduced secondary dams
Fig 7.36 Drainage network plan
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Site - 04
Okuka ri Bay Site 4 introduces a dam, also serving as a bridge, enabling the establishment of a new wetland system to help restore the stream, while also addressing the needs of both the farmer and tourists. This is achieved through the implementation of a tourist walkway which aligns with, but is separated from, a farm bridge. It creates a unique structure which allows visitors to make a connection between the requirement of a bridge for farming purposes and the resulting need for a wetland forming dam. The development of the dam’s design evolved through the consideration of flooding in the area. With this it has changed from a retention basin to a detention basin. This will allow for a constant amount of water to enter down the stream from the dam; while during high rain events, detention basins will hold the extra capacity of water limiting the eroding effect the turbulent water would have on the wetland plants. These detention ponds also alter visitors’ experiences as they walk through the wetland as the dynamics of the environment moulds the perceived spaces. At the intersection where the drains (fig 7.36) meet the wetland there are additional, smaller dams which retain water. The introduction of this extra infrastructure helps protect the established native wetland plants during flood events adding resiliency to the system. The wetland forms at the lowest points of the pastoral land, reducing the amount of excavation needed. While the placement of the dam is located at the point of the currently ineffective bridge. This junction creates a vital point at which the visitors are offered an opportunity to understand the importance of the farming practices while the contrast to the wetland highlights our ongoing need for environmental awareness.
Tourist Bridge
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Fig 7.37 Plan of introduced bridge
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Fig 7.38 Perspective of introduced dam/bridge, Site 04
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Fig 7.39 Marker 4 perspective
Fig 7.40 Section Ll - Marker 4
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Marker 4 The fourth marker leading up to the whaler’s hut consists of corten wind walls, providing relief for users while aiding growth of the regenerating scrubland. These walls act as points of pause that frame the existing whaler’s hut and its relationship to the horizon line, beginning to return the visitors back to the story of whaling. This is achieved through the way in which these structures cut the axial perspective when approaching the site.
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Fig 7.41 Marker 4 plan
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Raised platform provides uninterupted views and forms a seat/safety barrier
Fig 7.42 Section Mm - Viewing platform
Fig 7.43 Section Nn - Rest area
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Site - 05
E a st Head
The developed design of Site 5 further explored how the new interventions could reflect upon the site’s whaling narrative and its unique landscape features. The design consists of a rest area that implements a circular, curved retaining wall which forms an ordering device. This allows the undulating, natural forms of the landscape to become evident through the geometric form of the circle. The use of an ordering device raises the visitor’s awareness about how this landscape has been transformed and its dramatic nature. The lookout was redesigned into one that was more reflective of an old whaler’s lookout. The horizontal nature of the gangway leading to the structure follows a horizontal datum line (fig 7.42) providing the users with an experience of emerging from the undergrowth to one on top, evidencing the regenerative planting of the site. The lookout provides wide, uninterrupted views of the horizon, helping the visitors to better understand the relationship of the journey to the larger environment.
Existing DOC hut
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Fig 7.44 Plan of whaler’s hut
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Fig 7.45 Perspective of Viewing Platform, Site 05
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Conclusion and critical reflection about the developed design: The regional perspective increases the effectiveness of the design as thousands of people can be engaged from the ferry. To enable this to remain effective, however, the structures would benefit from ongoing maintenance. The macro scale adds a large benefit to ecological diversity through the introduction of ecological nodes. The redesign of these nodes allows for continual farming practices to continue. To achieve this the farmers would be required to buy into the scheme and would lose small areas of their current farms. Funding could be provided by the tourists who use the new facilities, or the regional council, Department of Conservation and ferry companies. The coastal design creates a connected structure of sites and markers, allowing a continuous narrative to emerge. Through these points important issues relating to the environment and heritage become apparent, helping to raise awareness about the overall narrative. The positioning of these markers at the edge of the sites helps to identify larger changes in the environment; however, this could see the markers interpreted as part of the site’s design by visitors. The individual sites have a reflective and representative design which enables the presentation of heritage elements to help raise awareness about mankind’s effects on the environment while suggesting techniques and approaches to design with the environment. By using these criteria the sites were able to be individually addressed as well as understood as part of a larger scheme.
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This thesis investigation began with a personal concern about the potential loss of ‘industrial heritage’ stories along New Zealand’s coastlines. Many historic coastal industries have been abandoned over time due to economic shifts. These include not only whaling stations, but sheep works, army fortifications, factories, power stations, etc. Once abandoned and left to decay, their stories may be lost forever. During the course of this investigation, another highly related story emerged about New Zealand’s ‘landscape heritage’. Industrial heritage has transformed the New Zealand landscape, often leading to erosion, polluted streams, introduction of exotic wildlife, and loss of native flora and fauna. These transformations have tended to disconnect us from understanding the natural environment, making us blind to the fundamental importance of the interconnected systems that are at play. This thesis investigation proposed that both these stories – industrial heritage and landscape heritage – are highly interconnected and need to be told together as one. A deep ravine cut into the landscape by a century of farm runoff cannot be repaired to its original condition. But we can help mitigate further destruction – of both our industrial artefacts and our landscape ‘artefacts’. Most importantly, we can tell their story, enhancing people’s awareness of New Zealand heritage in a way that helps preserve our future ‘heritage’ as well. Through landscape architecture, redesign of these sites can both rejuvenate the landscape and see them participate actively in the region’s economy. Landscape architecture provides a unique perspective to decaying ruins as it understands how the erosive nature of the environment reclaims the sites, and by understanding the environmental dynamics and the contexts in which they are set. Jennifer Hill’s heritage restoration theories provided a useful basis from which four themes were employed to guide the development of a restoration framework for a coastal landscape. Reinterpreting her heritage architecture theories into approaches for addressing heritage landscapes, the thesis design
research interventions evidence the importance of understanding and preserving New Zealand heritage even when architectural ruins are not present. The thesis design explores how new interventions can also erode and become part of a site’s ongoing narrative. This thesis investigation furthers our understanding of New Zealand heritage by integrating stories of environmental damage created by the past with stories of environmental restoration established by the future. The design experiments explored efficient land use, the dynamics of the environment to evidence time, framing and pause, which were tested were tested by the thesis as ways curate the landscape to enhance people’s awareness of important heritage features in the larger story. Like Jennifer Hill’s theories about architectural heritage interiors, this thesis investigation allows for the continual changes to our environments. Landscape architecture primarily has to work with these changes, making it a compelling exploration of how new landscape interventions can help achieve a deeper understanding than architecture alone. The seclusion of the site means that a limited amount of design intervention is paramount. To eventually achieve this project a range of different stakeholders would need to agree to allow the development to take place, which could be a limitation when looking to implement this design. If the scope of this investigation were increased, each site would be developed to a higher level of detail. The sequential nature of these five sites allowed them to be both contrasted and related to one another. The use of forms and materials in common enables the narratives to be readable in both directions of the journey. This investigation encouraged users to understand some key aspects of the history while also allowing for the users to create their own narratives as they interpret the everchanging sites and interventions. This thesis investigation helps further our understanding of New Zealand heritage by integrating stories of environmental damage created by the past with stories of environmental restoration established by the future.
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- B i b l i o g ra p hy “About Queen Elizabeth II National Trust.” Publications & Resources. Queen Elizabeth II National Trust, n.d. Web. 15 Dec. 2015. Bell, Cathie. “Tourism Challenge Set Out for Marlborough.” Stuff.co.nz. N.p., 13 June 2013. Web. 15 Dec. 2015. Gamble, Warren. “Truth behind the Queen’s Chain - National - NZ Herald News.” The New Zealand Herald. N.p., 23 Aug. 2003. Web. 15 Dec. 2015. Ganoe, Cathy J. “Design as Narrative: A Theory of Inhabiting Interior Space. “Journal of Interior Design 25.2 (1999): 5. Web. Grady, Don. “Guards of the Sea”. Christchurch, Whitcoulls, 1978. Print. Grady, Don. “The Perano Whalers of Cook Strait, 1911-1964”. Book, 1982. 24 Feb. 2016. Hamill, Peter. “A Guide to Wetland Restoration”. Marlborough District Council. Web. 16 Dec. 2015 Hewett, Daniel Merritt. “Architecture and the productive implications of pause.” (1992) Master’s Thesis, Rice University. Hill, Jennifer. Jennifer “Six Degrees of Intervention” in Jennifer Hill (ed) The Double Dimension: Heritage & Innovation. Canberra, ACT: Royal Australian Institute of Architects, 2004. Print. Pp63-85. “Inujima Seirensho Art Museum | Art | Benesse Art Site Naoshima.” Benesse Art Site Naoshima. N.p., n.d. Web. 02 Dec. 2015. Lewis, Oliver. “Tourism Key to Marlborough’s Economic Future”. Stuff. N.p., n.d. Web. 24 Feb. 2016. “Leviathan in Popular Culture”. 31 Dec. 2015. Web. 12 Jun. 2015. <http://en.wikipedia.org/wiki/Leviathan_in_ popular_culture>. Macleod, Suzanne, Laura Hourston Hanks, and Jonathan Hale. Museum Making: Narratives, Architectures, Exhibitions. Abingdon, Oxon: Routledge, 2012. Print. Macalister, Andrew & Butler, David. Ungulate-proof Fences in the Marlborough Sounds. Marlborough District Council, (n.d.): n. pag. Web. 15 Dec. 2015. McDonald, Pete. Foot-tracks in New Zealand: Origins, Access Issues and Recent Development. Dunedin, N.Z.: P. McDonald, 2011. Print. “Plant Profiles Pimelea.” O2 Landscapes. n.d. Web. 20 Dec. 2015. Proust, Marcel. In Search of Lost Time. 1913. Ed. C. K. Scott-Moncrieff, Terence Kilmartin, and D. J. Enright. New York: Modern Library, 1992. Print. “Quarry Garden in Shanghai Botanical Garden Songjiang District, Shanghai, China.” ASLA 2012 Professional Awards. N.p., n.d. Web. 18 July 2015. “The Geological History of New Zealand.” The Universtiy of Waikato, n.d. Web. 16 Dec. 2015. Tiberghien, Gilles A., Michel Desvigne, and James Corner. Intermediate Natures: The Landscapes of Michel Desvigne. Basel: Birkhäuser, 2009. Print. “Tudela-Culip Restoration Project / EMF” 23 May 2013. ArchDaily. Accessed 15 Jul 2015.
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List of Figures *All figures and photos, unless stated, are that of the authors. Fig 1.01 “Marlborough Sounds Whaling.”. Web. 02 Feb. 2016. Fig 1.02 “Coastal Landforms and Sediments of the Marlborough Sounds.”. Web. 02 Feb. 2016. Fig 1.03 “Hamish McKay Gallery.”. Web. 02 Feb. 2016. Fig 1.04 “Marlborough Sounds Whaling.”. Web. 02 Feb. 2016 Fig 1.05 “Whales in New Zealand Waters” Whales . Te Ara Encylopedia of New Zealand. Web. 02 Feb. 2016. Fig 2.06 Gillespie P, Knight BR, MacKenzie L 2011. The New Zealand King Salmon Company Limited: Assessment of Environmental Effects. 1985. Fig 2.07 “QMAP Wellington.” / QMAP Text & Maps / Web. 02 Feb. 2016. Fig 2.08 “Te Awaiti | National Library of New Zealand.” Te Awaiti. Web. 02 Feb. 2016. Fig 2.10 “Google Earth”. Web. 02 Feb. 2016. Fig 2.11 Microsoft; Nokia (26 January 2016). “Grand Rapids, MI” (Map). Bing Maps. Microsoft. Retrieved 26 January 2016. Fig 2.20 GNS Science - Geology Web Map Client”.Web. 02 Feb. 2016. Fig 2.27”Ngā Tohuwhenua Mai Te Rangi: A New Zealand Archeology in Aerial Photographs.” Te Awaiti, in Tory Channel, Site of the First Shore Whaling Station of 1827. 25 Feb. 2016. Fig 2.44 Fig 2.39 Blaschke, Pual. Vegetation and landscape dynamics in eastern Taranaki hill country. Wellington, New Zealand. Victoria University of Wellington Press.1988. Thesis Fig 4.01 “Public Library in Ceuta / Paredes Pedrosa.” ArchDaily. 27 June 2013. Web. 25 Feb. 2016.ublic Library in Ceuta / Paredes Pedrosa Fig 4.02 “Old/new, Porch House.” HH Blog Oldnew Porch House Comments. N.p., n.d. Web. 25 Feb. 2016. Fig 4.04 Cotton, Shane, and Lara Strongman. Shane Cotton. Wellington, N.Z.: City Gallery Wellington in Conjunction with Victoria UP, 2004. Print. Fig 4.06 Cotton, Shane, and Lara Strongman. Shane Cotton. Wellington, N.Z.: City Gallery Wellington in Conjunction with Victoria UP, 2004. Print. Fig 4.07 Cotton, Shane, and Lara Strongman. Shane Cotton. Wellington, N.Z.: City Gallery Wellington in Conjunction with Victoria UP, 2004. Print. Fig 5.02 “Tudela-Culip Restoration Project / EMF.” ArchDaily. 22 May 2013. Web. 25 Feb. 2016. Fig 5.03 “Inujima Seirensho Art Museum | Art | Benesse Art Site Naoshima.” Web. 25 Feb. 2016. Fig 5.04 “Quarry Garden in Shanghai Botanical GardenSongjiang District, Shanghai, China.” ASLA 2012 Professional Awards. Web. 25 Feb. 2016. Fig.5.05 “Tudela-Culip Restoration Project / EMF.” ArchDaily. 22 May 2013. Web. 25 Feb. 2016. Fig 5.07 “Tudela-Culip Restoration Project / EMF.” ArchDaily. 22 May 2013. Web. 25 Feb. 2016.
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Fig 5.08 “Tudela-Culip Restoration Project / EMF.” ArchDaily. 22 May 2013. Web. 25 Feb. 2016. Fig 5.09 “Inujima Seirensho Art Museum | Art | Benesse Art Site Naoshima.” Web. 25 Feb. 2016. Fig 5.11 “Inujima Seirensho Art Museum | Art | Benesse Art Site Naoshima.” Web. 25 Feb. 2016. Fig 5.12 s “Inujima Seirensho Art Museum | Art | Benesse Art Site Naoshima.” Web. 25 Feb. 2016. Fig 5.14 “Quarry Garden in Shanghai Botanical GardenSongjiang District, Shanghai, China.” ASLA 2012 Professional Awards. Web. 25 Feb. 2016. Fig 5.15 “Quarry Garden in Shanghai Botanical GardenSongjiang District, Shanghai, China.” ASLA 2012 Professional Awards. Web. 25 Feb. 2016. Fig 5.16 “Quarry Garden in Shanghai Botanical GardenSongjiang District, Shanghai, China.” ASLA 2012 Professional Awards. Web. 25 Feb. 2016. Fig 6.01 “Whaling through the Ages.” Stuff. Web. 02 Feb. 2016. Fig 6.03 “Te Awaiti”. National Library of New Zealand. Web. 02 Feb. 2016. Fig 6.05 “Can Tacó Archaeological Site.” Landscape Architecture Works Landezine RSS.Web. 25 Feb. 2016. Fig 6.16 “AD Classics: AD Classics: Leça Swimming Pools / Alvaro Siza.” ArchDaily. 05 Aug. 2011. Web. 25 Feb. 2016. Fig 6.27 “Bunker 599 / RAAAF + Atelier Lyon.” ArchDaily. 24 July 2012. Web. 25 Feb. 2016. Fig 6.33 “Serpentine Gallery Pavilion 2011 / Peter Zumthor.” ArchDaily. 27 June 2011. Web. 25 Feb. 2016. Fig 6.41 “Water Temple.” - Architecture of the World. Web. 25 Feb. 2016. Fig 6.47 “Aurland Look out / Saunders Arkitektur + Wilhelmsen Arkitektur.” ArchDaily. 21 Oct. 2008. Web. 25 Feb. 2016.
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"Sounds Ecological District." North Marlborough - Significant Natural Areas Project. Marlborough District Council, n.d. Web. 20 Dec. 2015.
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