The whare whakairo or traditional Māori meeting house plays an important part in Māori society and identity. These whare tell the tale of their origin, and in so doing, the origins of their people. The analysis of the meeting house, the histories expressed in its decorative carvings and structural elements are inextricably linked with and dependent upon the structure of the world created by myth and the Māori worldview. However, due to the deleterious effects of colonisation, the art of wood carving and associated architectural practices - central to Māori identity, suffered decline in many parts of the country, leading to the decline of Māori culture and identity. Sir Apirana Ngata instigated the National Institute of Māori Arts and Crafts to resurrect the dying art of Māori carving and carved houses would be a catalyst for the restoration of Māori culture throughout the country. Ngata saw these whare whakairo as being the heart of Māori communities by establishing a renewed sense of belonging and identification with space for Māori, through the telling of tribal histories and emphasising key geographical features. New threats in the form of global hegemony and urbanisation have further impacted on Māori notions of identity, creating a generation of displaced urban Māori youth. This research proposes to establish an architectural response to capture displaced Māori youth through the resurrection of the Māori carving school and return to them the lost stories of their cultural history and identity. This program will be developed within the complex challenges that exist within post-earthquake Ōtautahi/Christchurch, where many have lost homes and livelihoods, especially Māori youth in the Eastern Suburbs. The building elements of the proposed Māori carving school give reference to the historio-cultural features of the original Ōtautahi/Christchurch landscape that are situated in tribal song and myth. It is envisioned that the development of a Māori carving school will help restore Māori identity and a renewed sense of belonging, and allow for the telling of this generations stories through traditional narratives.
Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.
Brooklands Lagoon / Te Riu o Te Aika Kawa (‘Brooklands’) is an important wetland and estuarine ecosystem in Canterbury. It is a site of cultural significance to Ngāi Tūāhuriri, and is also valued by the wider community. Home to an array of life, it is connected to the Pūharakekenui/Styx and Waimakariri rivers, and is part of a wetland landscape complex that includes the Avon-Heathcote / Ihutai estuary to the south and the Ashley / Rakahuri estuary to the north. Notionally situated within the territorial boundary of Christchurch City Council and jurisdictionally encompassed by the regional council Environment Canterbury, it has been legally determined to be part of the coastal marine area. The complicated administrative arrangements for the lagoon mirror the biophysical and human challenges to this surprisingly young ecosystem since its formation in 1940.
Here we present a synthesis of the historical events and environmental influences that have shaped Brooklands Lagoon. Before existing as an intertidal ecosystem, the Waimakariri river mouth was situated in what is now the southern end of the lagoon. A summary timeline of key events is set out in the table below. These included the diversion of the Waimakariri River mouth via the construction of Wrights Cut in the 1930s, which influenced the way that the lower reaches of the river interacted with the land and sea. A large flood in 1940 shifted the river mouth ~2 to 3 kilometres north, that created the landscape that we see today. However, this has not remained stable, as the earthquake sequence in 2010 and 2011 subsided the bed of the estuary.
The changes are ongoing, as sea level rise and coastal inundation will place ongoing pressure on the aquatic ecosystem and surrounding land. How to provide accommodation space for Brooklands as an estuary will be a key planning and community challenge, as Environment Canterbury begins the engagement for the review of its Regional Coastal Plan. There is also a requirement to safeguard its ecological health under the 2020 National Policy Statement on Freshwater Management. This will necessitate an integrated mountains to sea (ki uta ki tai) management approach as the lagoon is affected by wider catchment activities. We hope that this report will contribute to, and inform these processes by providing a comprehensive historical synthesis, and by identifying considerations for the future collaborative management of Brooklands Lagoon, and protection of its values. In essence, we suggest that Te Riu o Te Aika Kawa deserves some sustained aroha.
