Architecture NZ - #6 November December 2021

design Mario Bellini - www.bebitalia.
com
Auckland 99 The Strand, Parnell +64 9 302 2284

Christchurch 134 Victoria Street +64 3 366 0623
Queenstown 179a Glenda Drive +64 21 246 9980
design@matisse.co.nz - www.matisse.co.n z
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Reserve APT is a leading New Zealand distributor of some In order to do this, however, the NFRT relies on
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Photography
we pride ourselves on working with those who buy protection of native trees, as well as the acquisition
Bruce Jarvis
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Sustainability
in Action
Contents
29
Contents
12 EDITORIAL
12 Chris Barton calls for our industry to be “carbon better,
now” in the wake of COP26 in Glasgow
17 COLUMNS
17 Pip Cheshire recommends an industry-wide road map
to survival and resilience
21 Karamia Müller looks forward to a return to people and
place with a renewed sense of aroha
24 ACROSS THE BOARD

24 The Pacifica opens its doors; University of Auckland’s
timber lab receives an award; Claude Megson profiled in
the UK Journal of Civic Architecture
26 YMCA Ōtautahi in construction; Bader Ventura public
housing project meets Passive House standards
29 Whanganui velodrome design concept;
The Machine Stops: The Allegorical Architectural Project
30 Kengo Kuma plans for Wānaka lakeside residence
32 Obituary: Jack Manning
34 The Duncraft House; Interior Awards’ founding sponsors
36
36
PRACTICE
Instagrammable moments – Scott Compton discusses
the changing face of workplace design
36
8 Architecture New Zealand
Contents
56
47 WORK
48 The space between – TE WĀNANGA
56 Ebb and flow – TE NGAU O HOROTIU
64 Watching the collectives – SURREY CRESCENT COHAUS
75 2021 NEW ZEALAND

ARCHITECTURE AWARDS
76 Sir Miles Warren Award for Commercial Architecture
80 Commercial, Enduring, Hospitality
84 Education, Heritage, International, Interior
92 Sir Ian Athfield Award for Housing
96 Housing, Housing Additions, Multi-Unit, Small Project
112 John Scott Award for Public Architecture
117 Public, Planning and Urban Design
124 Convenor’s message
127 CRIT
127 Itinerary: City Guide, Office buildings
133 Book: The Architects and the Artists
136 Exhibition: Learning from Trees:
Transforming timber culture in Aotearoa
140 CARTOON
136
Altherm Window Systems feature in NZIA
award-winning research institute
Altherm’s commercial facade systems and ThermalHEART windows were used in
the Bragato Research Institute which NZIA award judges described as simple in
form but sophisticated in function.
Bragato Research Institute, Marlborough | Altherm manufacturer: Design Windows Nelson | Architects: JTB Architects | Builder: Scott Construction Marlborough
Read more about this project

https://www.altherm.co.nz/bragato
APL Windows Solutions are proud co-sponsors of the NZIA Awards Programme.
No more blah, blah, blah
Chris Barton
Attenborough pleaded for attendees to see
the opportunity: “We need to rewrite our
story to turn this tragedy into a triumph.”
There were also plenty of messages by
architects expressing concerns that the
built environment’s part in the crisis is not
being talked about enough. Greater action
is needed, they say, to acknowledge the
embodied carbon footprint of buildings
derived from material sourcing and ON THE COVER
Designed by Studio Nord, the Surrey Crescent
construction. And there’s an urgent need to Cohaus in Auckland’s Grey Lynn explores
embed embodied carbon in sustainability new options in housing affordability. The
20-unit cohousing development is home to
standards and building regulations. There 50 people who share resources, facilities
One night in Jerusalem, 2017, Chris Barton.
Photo Diana Wichtel. were calls, too, for more architects to think and common spaces. Image: Adam Luxton.
more about circularity in their work, keeping PUBLISHER

ONE TRIES, WITH INCREASINGLY UNRULY both buildings and their materials in use as Nathan Inkpen
EDITOR
hair, to remain hopeful. Auckland has moved long as possible, minimising the waste and Chris Barton
to Covid Alert Level 3.2 (lockdown with pollution of construction and demolition. ASSISTANT & INTERIOR EDITOR
Amanda Harkness
bigger picnics and shopping). A daily visit to Rays of hope emanated from the COP26
ART & PRODUCTION DIRECTOR
stare at the Ministry of Health vaccinations ‘Build Better Now’ virtual pavilion, André Kini
data updates is strangely therapeutic. showcasing 17 “exemplary sustainable
ADVERTISING SALES
Watching the second week of the 26th projects” and explaining the ways in which Mark Lipman – mark.lipman@agm.co.nz
Conference of the Parties (COP26), aka construction has contributed to climate
ADMINISTRATION
the UN Climate Change Conference in change and how future buildings could office@agm.co.nz
Glasgow, hope is harder to find. The clichés be less carbon intensive. CEO
Damian Eastman
don’t help: “a critical juncture for humanity” The pavilion includes Kāinga Ora’s Ngā
SUBSCRIPTIONS
says Royal Institute of British Architects Kāinga Anamata, ‘Homes of the Future’, a net- agm.co.nz/store
(RIBA) president Simon Allford. The same zero-energy social housing pilot comprising ANNUAL RATES
New Zealand $68
sentiment – “This is the critical moment Australia / South Pacific $110
Rest of world $158
for humanity” – is the overriding message
of Burning, Eva Orner’s new documentary
Rays of hope DISTRIBUTION
Ovato Retail Distribution
about Australia’s devastating Black Summer emanated from
bushfires, which convincingly lays the
disaster on Scott Morrison’s government
the COP26 ‘Build PRINTER
Ovato
(and preceding governments) for refusing Better Now’ virtual ISSN 0113-4566
Copyright: 2021 BCI New Zealand Pty Ltd
to address the underlying existential threat. pavilion, showcasing
Then again, you have to say our government
and preceding governments have mostly
17 “exemplary The Warren Trust supports
Architecture NZ by way
ignored that underlying threat, too; last year, sustainable projects” of an editorial grant.
New Zealand topped up its domestic coal and explaining

production with a million tonnes of low-
grade, high-emissions, sub-bituminous coal the ways in which
imported from Indonesia to keep the lights construction has Architecture New Zealand (Architecture NZ),
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on in our homes and businesses.
Calls to action rather than, as Greta
contributed to climate Ltd. BCI New Zealand and its parent company
BCI Media Pty Ltd also own and publish Archify,
Thunberg put it, more “blah, blah, blah” change and how ArchitectureNow and the Interior Awards.
are everywhere. Prince Charles told world future buildings BCI NEW ZEALAND PTY LTD
Level 2, 409 New North Road
leaders in Rome: “Quite literally, it is the
last-chance saloon. We must now translate
could be less carbon Kingsland, Auckland, New Zealand
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fine words into still finer actions.” Sir David intensive. POSTAL ADDRESS
Private Bag 99915, Newmarket, Auckland 1149

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Scope 1 & 2 is based on CEMARS® audits since 2015/16.
OUR ALUMINIUM IS GREEN TO THE CORE

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Specify Thermosash – we believe it simply makes buildings better.

40 dwellings in Glendowie, Auckland, starting
construction in 2022. The pilot is designed by
Context Architects in collaboration with Aurecon
and other consultants. The core focus is to
influence change by achieving the government’s
2030 carbon emission targets by 2024 and lead the
way in advancing whole-building life-cycle carbon
assessments. Key features include Passive House
Certification, a rooftop photovoltaic array, and the
use of cross-laminated timber (CLT) to reduce
embodied carbon emissions massively.
By vowing to deliver six years early on our
2030 carbon emissions targets, Ngā Kāinga
Anamata highlights the urgency for architects
to act now, largely because building takes time.
A large timber build designed today will probably
take at least three years to be completed. As one
architect put it to me recently, with emissions
targets looming, “we each have to be carbon
better and be it right now”.
So it’s heartening to see so many projects in this
year’s NZIA Awards doing just that. Many tout
high Green Star ratings and other sustainability
features that are always part of the architect’s stock-
NZ in-trade. Some project processes cry out for more

information. On the face of it, the recovery of the
MADE Christchurch Town Hall must rate highly on the

circularity front of keeping both buildings and their
materials in use as long as possible. But I’d love to
know just how much concrete, with its attendant
PASSIVE emissions, was pumped into the new foundations

to stabilise the building’s liquefied ground.
FIRE SYSTEMS I also reckon there are at least three projects

which deserve special mention. Call them the
“No More Blah, Blah, Blah, Doing it Right Now
for the Planet” Awards. They are:
NEW ELECTRICAL & MIXED • Threepwood House (see page 97)
SERVICE TESTING For being Passive House Plus with
an 8 Homestar rating
• Gisborne Airport (see page 121)
NEW COMPOSITE FLOOR For complying with rigorous Living
ASSESSMENT Building Challenge requirements.
• SCION Innovation Hub (see page 81)
For being the first building in New Zealand
UPDATED BRANZ APPRAISAL to achieve certified net-zero embodied
carbon emissions.
Install Image: Visit our website
59 France Street to learn more Next year, I’m sure we’ll see a much longer list.
Eden Terrace about this Being carbon better now.
Auckland project
EMAIL chris.barton@agm.co.nz
Appraisal No.1088 [2019]
allproof.com INSTAGRAM @architecture.nz
WEBSITE architecturenow.co.nz
ecc.co.nz
iGuzzini
Light Up
Photography by Simon Devitt

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Opinion
Off with my head!

Pip Cheshire
the tweeter’s call evokes, it does hinted at in publications like the
put one of my vintage in a rather Whole Earth Catalog and The Dome
uncomfortable position as I reflect Builder’s Handbook: No. 1, was
on a rapid transition from enfant lost amid drugs, war and resurgent
terrible to being a major contributor capitalism, there are some in our
to the world’s ills. What happened flock who have continued to ring
to a gentle autumnal phase of being the doomsday bell. Alas, the
an éminence grise? Has it been mainstream profession has more
bypassed as planet and society consistently been seduced by matters
race headlong into a murky future, of style rather than acknowledged
assuming, of course, Rangi and the vital concerns of the earth, our
Papatūānuku allow us one? silent client.
Designer Milton Glasser, he of Without delay, we must
the ‘IsNY’ fame, said “I am totally acknowledge that the requirements
a believer in the idea that style of a sustainable, healthy and
IT’S A CHALLENGING TIME FOR is a limitation of perception and resilient ecosystem are as
an old white bloke. Not that I am understanding”. This is a salient fundamental to our designs as are
complaining; we have probably had comment for a time in which we the pragmatic expectations of a
too many good years stuffing up the must rapidly recalibrate our way of brief, the requirements of resisting
planet’s ecosystem and marginalising living in what Buckminster Fuller Rūaumoko’s restlessness or winning
Aotearoa’s first arrivals to begrudge called ‘spaceship earth’. The billionaire a gong in the plethora of awards.
the odd bit of disdain and a few privateers taking joyrides through the This should be a fairly simple
epithets. I saw that the University of ionosphere and sprinkling thousands business; a small population, good
Auckland’s Professor Elizabeth Rata, of satellites into the ether to better education and a generally free
writing in the New Zealand Listener transmit photos of cats and what we press should allow us to address
a while back, quoted an unidentified ate for dinner have done no favours issues rapidly to effect significant
tweeter calling for “white male and only affirm Glasser’s sentiment. change. We are, too, blessedly free,
boomer profs” to be the first to go If occluding the night sky was not so far, of the paralysing impacts of a
in university staffing cuts. Though I proof enough, the trivialisation sharply divided electorate, a federal
have only briefly been identified as a of human endeavour is no better system riddled with chicanery and
professor, I am at once hurt, appalled illustrated than by the intergalactic the lurking presence of a failed
and excited by this call to arms. journey of Elon Musk’s red Tesla, a demagogue. Despite this, we struggle
Were I still to be on the professorial prelude, he says, to the “spreading of for traction in addressing big issues
payroll, I would certainly be in the humanity to other planets”. I think he and are sometimes caught, I suspect,
firing line and, no doubt, lament the meant ‘humans’, with our attendant between a too-short election cycle,
loss of academic endeavour and the piles of junk and trivia. a too-small gene pool and an undue
regular pay-cheques. And what of we architects chewing regard for central government’s
For all that, there is something that up resources and fouling the air? ability to deliver the goods.
stirs in the breasts of many boomers Well, I think with the exception of a I suspect the latter has its genesis
when we hear a call to arms. Is it few brave and far-sighted souls, we in the mythology of a few historical
only me or does the thought of have rather belatedly realised that we acts of social manipulation, like the
tumbrels filled with elderly white have some special responsibility for state house, voting rights, the welfare
blokes heading out of the ivory the miseries assailing the earth. For state and so on. These have given
towers evoke in others those chants a while, in the 1970s, the so-called rise to a potent legacy of faith in the
of a turbulent past: “Amandla”, “hey, ‘counter-culture’ held the possibility power of central government and an
Late night at
hey we don’t want your fascist war” Cape Evans, of a society having greater regard to assumption of its authority to sort
and the eloquent, one-size-fits-all Ross Island. the physical and psychic well-being things out, be they flattened cities,
Pip Cheshire,
“up against the wall, motherfuckers”? photo
of individual and planet. Though the pandemics and even rising sea levels.
For all that the surge of blood Lizzie Meek. momentum of a new way of living, Our own organisation, Te Kāhui
Architecture New Zealand 17

Opinion
Whaihanga, suffers much the same machinations as they spew out issues at hand, that collective
burden. On the one hand, it is seen as regulations and legislation like a action and the aggregation of
having come into being by some sort malevolent volcano. For all the wisdom, which is surely the
of divine intervention rather than the outstanding work the Institute Institute’s raison d’être, is vital.
concerted effort and commitment does, we desperately need Let us take as our model those
of member volunteers and the hard focused and insistent guidance who have suggested it is time for
work of the organisation’s hired hands. on addressing our role in the the guillotine to be brought out
Members’ expectations of it, though, complex mix of science and to remove the universities’ aging,
are unbounded and it does seem as politics that drives the response to white departmental heads. Let
though the diffusion of energy brought climate change and the collapse of every communication to members
about by meeting the unrestrained biodiversity. be insistent and demanding,
demands of its members has I again urge Te Kāhui Whaihanga framed in an action plan: a road
weakened the organisation’s ability to to focus its, our, resources on map to survival and resilience. It
effect change in more critical matters that most pressing of issues: our is time, too, to speak clearly and
in which we are key players: our professional role in and response to publicly on behalf of members. We
complicity in the despoliation of the the parlous state of spaceship earth. have an ethical responsibility to act
planet, for example. If that means a reduction in other in the best interests of our fellow
ABOVE
I am grateful for the Institute’s areas to balance the books, so be it. Even in this
citizens, be that care of their brief
constant supply of advice on keeping The organisation has made a good most far-flung and budget or the best interests of
of buildings,
the zoomed-out studio going and start in organising and promoting their children’s children. If you feel
‘the Ritz of
navigating a construction industry talks and webinars on the mysteries the Ross Sea’, this is departing too far from Te
thrown on its head by site and of embedded and active carbon, and we are facing Kāhui Whaihanga’s core business, I
the effects of
factory shutdowns, labour shortages sifting through the many competing climate change: am certain that demonstrating the
and choked supply lines. Those of energy and carbon-measuring rising sea levels profession’s commitment to putting
and the arrival
us not yet affected by floods, fires schema but now is the time to ‘go of microbes our house in order would be good
and the other manifestations of hard and go fast’. Our team of five not previously marketing for a profession too
found here.
global warming value, too, advice thousand is committed to action Pip Cheshire,
often seen as involved in little more
on navigating MBIE et al.’s endless but, such is the complexity of 2002. than the manipulation of luxury.

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Opinion
Architecture: to love people and place

Karamia Müller
and continue to be, when people spaces, by contrast, are now offices,
and place are brought together classrooms, crèches, meeting rooms,
under metaphorical and physical gyms: hosting digital occasions that
roofs. In this period of quiet, civic keep us connected, until we can
buildings can feel, from the outside come back together again.
looking in, as though they are in Reflecting on this, I marvel
the early stages of decline. It is as repeatedly that we humans are
if, in the quietness of lockdown, magnificent in our resilience. We are
the limitations of neoliberalism so adaptive in the matters of survival;
come home to roost as more than this can give us reason to pause and
an abstract and distant gigantic consider what would happen if we
cog impossible to stop turning, and were to act with similar commitment
more as an ideological consequence to other challenges. As a new
shaping our collective realities. season opens a fresh blue dome for
Emptied out of all the daily doings, a sky, and the air is fragranced with
they can appear like looming spring’s shy flush, this internalised
concrete tombs of a life pre-Covid. time feels to me like an invitation
(I am sorry; hopefully, it lightens to fall in love with the world and
up from here on, although I cannot its future potentials. I use the word
promise anything.) love, and the metaphor ‘fall in love’,
My current makeshift workspace intentionally here. I mean to conjure
takes in oblique views of the city the same sensations we traditionally
and her built realm, and this gives reserve for other human beings:
architecture’s rising forms a sense when all the lovely feelings flood our
of the monumental. Tower blocks bodies and make us over anew, and
that went up in the past year appear, capable of acting on that newness.
from my perch, as if already a This is when, according to Wikipedia,
memorial to our current moment. our emotional states are so positive
When will we circulate about them that we are capable of sublime
DEAR READER, IT IS THE like we once did pre-pandemic? And, virtues, good habits, the deepest
Sunday before the Prime Minister is as the daily numbers come in – will interpersonal affections and openness
to announce whether or not Tāmaki we? While we did return to them to the simplest of pleasures.1
Makaurau will stay in a level four in the past year, since we were last An Aristotelian way of thinking
lockdown. It has been four weeks asked to step into our bubbles, with is that one of the values of love
and we will find out if it is to be new viral strains developing, it is is it promotes self-knowledge,
more. Which is to say, I feel a touch, certain that we are living through by way of the beloved acting as a
shall we say, cuckoo. What and how an extraordinary event that will mirror reflecting the self.2 To me,
does one write an opinion piece in continue to play out for some time. these ideas can be strung together
such a mood? You are about to find While public health specialists in a way that I find hopeful about
out. (Siri – look up architecture across the world present different architecture in service of people and
opinion piece.) perspectives on national responses place, and the possibilities of the
Curiously, my own cuckoo to Covid, cities and their buildings future, especially when the globe
state of mind is backdropped by look on, towns and their centres can feel as though it is continually
the earthly calm that a lockdown bear witness to absence, and bustling under a flashing red alert light. If
precipitates, producing a real airports seem as far, far away as we are to take up the invitation to
longing for people and place: to fairy tales. One has a sense that, fall in the love with the world, and
be with people and with place. My ABOVE perhaps, we are eerily spiralling into see ourselves as capable of sublime
Karamia, in her
most devotional experiences of the garden. Photo
extinction with the noiselessness virtue, what is in the mirror that
architectural discipline have been, Leilani Heather. of outer space. Still, domestic reflects to us about how we are,

Opinion
and what does this mean for the ABOVE has well been had so, now, we must and waters, and those that reside in
Bhaveeka
discipline and its practitioners? turn our minds to action. them, human and non-human. It
Madagammana,
If we were to take in our reflection ‘Pleasure with While denial remains a position, may sound a touch cuckoo, but it is
right now, we would find the crisis Waiatarua it is uplifting that, in our profession, about falling in love with people and
Reserve’, 2021,
of climate change gazing back. She from MArch it is the perspective of the outlier. place, again, and again.
has, in fact, been gazing at us for (Prof) thesis (to Barton argued so excitingly for
be submitted)
some time. The National Institute of Pleasurable a more engaged response from
Water and Atmospheric Research’s Methodology: the industry and its regulating,
Cultivating with
climate data for winter 2021 shows Waiatarua,
institutional bodies for accountability REFERENCES
we just experienced our warmest supervised by to sustainability, it gave me pause. 1
Wikipedia 3
NIWA Taihoro
Karamia Müller. contributors, Nukurangi, ‘Record
winter on record; seven out of the What motivates us when there ‘Love’, Wikipedia, warmth so far this
The drawing
10 warmest winters since 1909 is so much to do, and the task is The Free winter’, media
envisions pleasure
Encyclopedia. release 5 August
occurred since 2000.3 Our beloved entangling overwhelmingly too big for the en.wikipedia.org/w/ 2021. niwa.co.nz/
outwards from index.php?title= news/record-
is, very literally, hot for us. And we the earth and individual but depends on the many Love&oldid= warmth
know it. The ensuing discussion of her ecologies parts of the individual to succeed? As 1044831987 -so-far-this-winter
in Waiatarua (accessed 23 (accessed 13
Te Kāhui Whaihanga New Zealand Reserve. Colours, I take in the empty streets, and fellow September 2021) September 2021)
Institute of Architects and New plant litter, lockdowneers behind masks, I feel 2
Bennett Helm, 4
Chris Barton,
water and wire ‘Love’, in the ‘Editorial: Chris
Zealand Registered Architects Board are bound by
excited to return to people and place Stanford Barton on a duty
in response to editor Chris Barton’s joy and passion, with a renewed sense of care, love Encyclopedia of of care’.
Philosophy, edited architecturenow.
nurturing a living
challenge to the industry proves and aroha, for the many relationships by Edward N. Zalta. co.nz
architecture plato.stanford.edu/ /articles/editorial-
this.4 Reading the responses, I felt inseparable from between our industry and the world. archives/fall2021/ chris-barton-on-a-
heartened that our industry knows whenua. I am excited, in particular, about entries/love/ duty-of-care/
(accessed 13 (accessed 13
that the debate on climate change the relationships with our lands, sky September 2021) September 2021)

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Across the Board
TOWERING ABOVE THE REST

Australasian studio Plus Architecture’s apartment and hotel plates, with two levels at double-height space. If it sells fitted
tower in downtown Auckland, The Pacifica, opened its doors out according to the developer’s concept, its price could,
in September, almost five years after construction commenced. potentially, exceed the $38.5m paid for what is currently the
At 57 storeys (178 metres), the project is the country’s tallest country’s most expensive home.
residential building, currently providing 273 apartments, with a Atkins says that one of the key challenges the architects
35-suite boutique hotel and restaurant and café in the pipeline. faced in the design of the building was not being able to dig a
Project director Jaimin Atkins says the tower’s design is inspired basement, “because the cost of time ‘in the ground’ due to the
by its location; the totem-like twist, which plays out on the water table would have rendered the development unfeasible”.
exterior, references a Māori pikorua (symbolising togetherness) Plus Architecture’s solution was to design a six-level podium
and the shifting glass façade mirrors the Waitematā Harbour. car park sheathed within the hotel offering, providing 142 car
The design, says Atkins, also alludes to the Auckland parks and 39 motorbike spaces accessible via two lifts off the
laneway. “We represent that laneway experience within the through-site laneway.
architecture of the base of the tower, before it becomes vertical The structural mechanics of building a tall tower to
elements within the skyline.” earthquake code also required some resourceful design
The tower’s ‘super penthouse’ has received significant thinking; this resulted in a ‘mega column’ perimeter
media attention, offering a 1272m2 apartment over two floor construction tied back to the core at level 25 and the roof.

TIMBER LAB RECEIVES AWARD
The University of Auckland’s timber structures thesis ‘lab’,
supervised by Andrew Barrie, has been recognised in the
international Kelley Tanner Innovation Award programme.
A global prize presented by the Association for Learning
Environments, the award celebrates innovative and pioneering
practices that “enhance learning, our profession, and the
communities we serve”.
Produced over the past nine years, the lab’s 13 completed
projects are largely innovative outdoor teaching spaces in
local schools, creating structural variety with repetitive timber
elements or joints, developing innovative timber structural
systems, and using CNC milling to create new jointing timber
techniques. The lab’s projects are supported by industry through
the donation of, or discounts on, materials and services.
Individually, these projects have received several awards
and the methodology developed in recent thesis projects was
extended to produce the Learning from Trees installation
currently being exhibited in the Italian Pavilion at the 2021
Venice Biennale, as part of an exhibit on the role of timber in
urban resilience (see page 136).
Photograph: Simon Devitt.
Photography: Jackie Meiring.

“This allowed for common areas for the residents on
level 25, while also providing an earthquake-sound
structure,” explains Atkins.
Wind pressure at a certain height meant that
MEGSON RECOGNISED IN UK
balconies on levels above the 21st floor were CIVIC ARCHITECTURE JOURNAL
untenable so the architects designed enclosed winter A comprehensive review of the work of New Zealand architect
gardens, which “simultaneously provide proximity to Claude Megson and its relevance to the UK contemporary
natural elements while also shielding residents from scene has appeared in the UK Journal of Civic Architecture,
exposure to high winds”. edited by Patrick Lynch.
The Pacifica’s Melbourne-based developers, Hengyi, The 18-page feature, by UK-based Kiwi architect Giles Reid,
responsible for projects such as The William and Light is extensively illustrated with Megson’s drawings from the
House, teamed up with Australasian construction University of Auckland’s School of Architecture collection and
company Icon on the $220-million project. The tower is includes new photographs by Jackie Meiring.
positioned close to Britomart’s retail and hospitality and Reid says the feature is published alongside an interview with
to Commercial Bay, and the developers believe it will Tony Fretton, a photo essay by Sue Barr and a piece on the late
encourage a move to more inner-city living. Luigi Snozzi. canalsidepress.com/joca-issue-7/

Across the Board
SENSE OF IDENTITY
Render: Architectus.
A provision of funding via the Stage 2, a dedicated new building for of the development. “The overriding
government’s ‘shovel ready’ initiative YMCA’s community-based activities, aim is to help nurture and shape youth
has given the green light to a major also designed by Architectus, is in into confident, grounded people with a
development of YMCA’s Ōtautahi construction. The project will house a strong sense of identity,” says Auer.
Christchurch city centre site. black-box theatre, preschool, health and The cultural framework centres on the
Stage 1 of the project, the Dominion- well-being spaces, education facilities activities of Tāne, a role model whose
led refurbishment of Hotel Give, for young people, dance and movement qualities, it is believed, will inspire young
supported by Architectus, was officially studios, and a range of support tenants, people today and in the future. Cultural
re-opened by the Prime Minister, including a general medical practice and design elements can be found in the
Jacinda Ardern, in early August. All physiotherapy clinic. landscaping and ground treatments,
profits from the YMCA-run hotel – the Architectus principal Carsten Auer artworks integrated into exterior
country’s first socially sustainable hotel says the studio developed an intricate, cladding panels, and interior artworks
– are reinvested into the organisation’s multilayered cultural design strategy, curated by YMCA and produced by
programmes and services, to support in partnership with Matapopore Trust, young people.
better outcomes for young people and to guide the integration of cultural The project is scheduled for
vulnerable members of the community. values and narratives into the heart completion in mid-2023.
PUBLIC PASSIVE HOUSING

In what is believed to be Australasia’s reducing energy consumption and
first central-government-funded public carbon emissions will inform design
housing project to be built to Passive from the first mark on paper to plans for
House standards, architectural practice end-of-life,” says Diaz.
Peddlethorp has designed a three-storey, The programme mandates a reduction
18-home building in Auckland’s Māngere in thermal demand from 80–90kWh/
for client Kāinga Ora. m2.a (kilowatt hours per square metre per
The Bader Ventura housing project annum), today, to 15kWh/m2.a by 2035.
will reduce embodied carbon as well as The Bader Ventura homes will meet the
heating costs, with tenants likely to save 2035 energy efficiency standards more
more than 80 per cent on their energy than 12 years ahead of schedule.
bills over the winter period alone. Reducing carbon emissions was
Lead architect Manuel Diaz says also a key priority. “Bader Ventura’s
Kāinga Ora is setting an example of what sustainability strategy influenced our
is possible in the construction industry material selection, mechanical systems,
and looking to prove passive housing can structural connections and construction
Renders: Supplied.
work at scale in New Zealand. methodology,” says Diaz. “It’s no longer

“The Government’s Building for business as usual and this project enabled
Climate Change programme signals a us to test and deliver homes that provide
quantum shift for our industry, whereby exceptional building performance.”

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Across the Board
THE MACHINE STOPS:

THE ALLEGORICAL
ARCHITECTURAL
PROJECT
An exhibition of drawings
and models by 13
postgraduate students
from the Wellington School
of Architecture Te Kura
Imagery: Supplied.
Waihanga at Te Herenga
Waka Victoria University of
Wellington has been curated
by Professor of Design
Studio Daniel Brown. The
VELODROME PLAN SPINS ITS WHEELS architectural representations
Designed and built by former cycling champion and London Olympic track are generated by bringing
designer Ron Webb, the Whanganui velodrome, with its world-class Malaysian narratives from oral, visual
hardwood track, was considered one of the world’s fastest when it opened in and literary traditions
1995. Webb signalled at the time that the track would need to be covered within together with actual and
five years to preserve the integrity of the structure. imagined sites.
An Opus pitch to build a roof over the velodrome in 2000 was turned down Te Pātaka Toi, Adam Art
by the Whanganui District Council and, since 2007, a consortium has offered Gallery, 20 November
up several design iterations to upgrade and cover the track, and extend its use 2021 – 27 March 2022
to a wider recreational facility. adamartgallery.org.nz
A multi-use, covered velodrome scheme, deriving from the structural
principles of a bicycle wheel and including a 7000m2 tension-membrane roof
structure incorporating steel cables and tubular arches, was put forward by
Copeland Associates Architects. Its column-free design enabled the integration
of a 200m roller-skating track inside the velodrome track, while also opening
up the facility for wider community use.
Architect Barry Copeland says the $25-million design made for lower energy and
running costs when compared to more conventional antecedents. The translucent
shell, measuring 75m across by 135m long, offered natural light and ventilation, and
the permeable wind screen enclosure and roof openings saved on the installation
of costly mechanical ventilation plant and associated running costs.
The scheme, backed by the Regional Velodrome Development Trust, was first
presented to the Whanganui District Council in 2015 and then again in May
this year, where a split vote resulted in the motion to roof the velodrome being
defeated. “This despite having been granted resource consent, having been
promised government financial backing and having raised $2 million towards
the cost of the project,” says Copeland, who hopes that, one day, the scheme
will see the light of day.
Whanganui District Council Mayor Hamish McDouall admits that the
decision would have been disappointing for many. “The Regional Velodrome
Development Trust, the cycling community and others... have worked to realise
this aspiration for the velodrome over many years,” he says. “I acknowledge that
successive councils have failed to resolve the problem, largely because it was so
difficult to make a convincing case to government. As a result, we have all been
through two decades of frustration and debate.”
The velodrome is currently closed as a result of weather damage to the
track rendering it unsafe for riders and, while its future remains uncertain, the
council has put aside $2.5 million in funding “to complete some works,” says ABOVE William du Toit, The Machine Stops,
the council’s General Manager, Property and Open Spaces, Sarah O’Hagan. 2021, digital collage, pen and ink on paper.

Across the Board
BOLT-HOLE BY
THE LAKE
Isaac Sweetapple considers
Kengo Kuma and local
surrogates Rough and
Milne’s “hummocky” design
for Peter Thiel’s proposed
luxury lodge on the shores
of Lake Wānaka.
It appears that the myths of an isolated,
pure landscape that Aotearoa has
projected to the world have received
serious attention and, now, a literal
interpretation.
Billionaire venture capitalist Peter
Thiel has commissioned internationally
renowned architects Kengo Kuma
and Associates for the design of his
controversial lakefront hide-out in
Wānaka. Choosing Kengo Kuma
– a practice known for its careful
consideration of context and materiality
Render and plan: Supplied.

– seems surprising. Kuma’s modest
design ethos appears in jarring contrast
to Thiel’s libertarian-infused, futurist
fantasies. Yet, the move to acquire
a starchitect of such calibre for the
project mimics the velvet glove, iron fist
tactics previously used by Thiel to gain
citizenship downunder in 2011. a series of unique pods that blend into views used to continue to promote
The project is composed of a series what the landscape architects describe as Aotearoa’s ‘purity’ and isolation to the
of stand-alone buildings that appear “hummocky hill landforms”. Split across world. Here, the age-old narrative of an
to hunker down seductively into the two levels, the primary lodge houses four external ‘nature’ is weaponised by both
polarising landscape. Like most swathes guest pods and is fitted out with all the local community lobby groups and the
of farmland in Aotearoa, the 193-hectare luxuries required to wait out the collapse architect. All the while, the ongoing
Damper Bay site is subject to the usual of the welfare state. The lodge itself can quest for ecological interrelationship is
fragmentation and disorientation that accommodate up to 24 guests, while the further muddied by the ideologies of a
come hand in hand with the colonial owner’s private pod provides asylum client who unapologetically sees himself
project. The proposal has been instantly for six. All pods are subject to a similar as an autonomous individual capable of
opposed by local gatekeepers, the formal treatment: gaussian curvature fit bending nature to his will.
Upper Clutha Environmental Society, with a green roof to boot. Ultimately, this continued pursuit for
which claims that those visiting “highly Kuma’s concept – and, by proxy, a self-contained community – whether
frequented public locations will be assailed landscape architects Rough and Milne’s that be a bolt-hole in Wānaka or a bach
by a large number of buildings spread – strives to achieve topographical on Great Barrier Island – perpetuates
laterally across the subject site”. Here, we integration with an “organic architecture mythical tropes of nationhood and
find local nimbyism masquerading as eco- that fuses into the landscape and exclusion that continue to limit
conscious stewardship while sovereign respects indigenous nature”. The Aotearoa’s ability to respond to the
seclusion attempts to camouflage itself as design undulates both horizontally challenges of the present. It would
humble idealism. and vertically, in an attempt to engage appear that it is not only architecture but
Much like the meadow-like mounds in a symbiotic relationship with the society as a whole that needs to reframe
of Hobbiton, the proposal comprises site’s picturesque views – the same its fetishisation of the landscape.

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Across the Board
02 03
01
OBITUARY:
JACK MANNING
(1928–2021)
Julie Stout, Bill McKay,
Julian Mitchell and
Hunter Gillies pay tribute
to a celebrated New Zealand
architect. 04
After a long life and an illustrious career, 2011 NZIA Hunter Gillies recalls working on the School of Music
Gold Medal winner Jack Manning passed away just a with Jack as both personally and architecturally
few days short of his 93rd birthday. He was responsible liberating. Jack also designed a number of houses, his
for some of Auckland’s more refined and expressive own being an outstanding example of Pacific-rim,
buildings over his lengthy career. post-war timber modernism, with Japanese influences, 01 Jack
Manning at
Following a period with the Auckland Education Board, on a cliff in Stanley Bay. That house sprouted several his Stanley Bay
Jack started with Group Architects in 1955 before moving additions over the years as his family grew, each stage home.
to the Auckland City Council Architect’s office, where expressing Jack’s continuing engagement with the way 02–03 The
he was involved in the Auckland Central City Library in which architecture was evolving internationally. Auckland
College of
design. In the 1960s, he shifted to another large modernist Jack’s biggest project came later in his career, in Education in
practice of the era, Thorpe, Cutter, Pickmere and Douglas 1989–1991: the towering Majestic Centre in Wellington Epsom (late
1960s to 1972).
(TCPD). Jack was the key designer for Queen Street’s for Evan Davies and PrimAcq Holdings, on which he The project
elegant AMP tower. At TCPD, he also worked with his worked as Manning Associates, with the key team of included
future architectural partners David Mitchell and Pete Hill. Hunter Gillies and Peter Davidson. JASMaD/Jasmax primary and
secondary
Their design for the new Auckland College of Education undertook the documentation. Hunter remembers teaching
campus in Epsom showed the influence of UK architects it as a 30-storey tower conceived and developed on buildings,
gymnasiums
and the beginnings of High-tech architecture, leavened sheaves of A4 detail sheets: “Jack letting his ideas rip” and a library.
with playful form-making. and designing the antithesis of the big, black BNZ tower 04 The
Hill Manning Mitchell Architects was an energetic, further down Willis Street. In 2006, his Cathcart House, University
of Auckland
somewhat rebellious practice, embracing the free- with a client-builder who put as much thought and skill
School of
spirited times. Its most celebrated design was for the into it as Jack did, won an NZIA Supreme Award. It is a Music (1985).
University of Auckland’s School of Music, completed meticulously crafted work and, in many ways, blends a 05–06 The
as Manning Mitchell, its blazing-yellow piano wall lifetime of Jack’s influences. Majestic
Centre in
invigorating Symonds Street and adding energy and Jack loved life in architecture, to the extent that Wellington
excitement to the campus’ excellent array of buildings. he would take his drawing board away on holiday. (1991).

06 09
07 10
05 08 11 12
When Peter Davidson formed the partnership Brewer He was kind, cultured and civilised, believing in
Davidson and took over the Canterbury Arcade architecture as a progressive art. He loved being
studio, there was always a place for Jack to come in surrounded by the passing parade of very talented
every day. He continued on smaller projects and, young people, always encouraging and drawing the best
despite the scale, his continuing passion for detailing from them. Also welcome were partners and families,
and “nutting it all out” added to the vast archive of usually greeted with a blasting stereo. It was fun to be
his hand-drawn A4s. When part of his cliff-top land working there and Jack liked to control the stereo: often
tumbled into the harbour, Jack was able to erect a boat The Velvet Underground but, frequently, something
shed on his new riparian territory. Julian Mitchell new and out there. He loved his iPod. His musical
remembers building it as a highlight of his life; Jack experimentation stands in contrast to his adamant
presented him with a thick A4 booklet of beautifully refusal to his dying day to learn any aspect of CAD,
drawn freehand drawings for a building that was just so that any diffident client request for a change to his
2.4m x 4.2m. Every possible instruction was contained design would be met by extreme reluctance, not just 07–08 The
in those pages, from the lightest planed arris on a because this would necessitate the plans being redrawn Hall House
in Tauranga
timber member to the exact spacing between each by hand but, also, because Jack was convinced that he (2002).
screw and nail on every stick. Like a little vessel, that had got it “right” first time around. 09–10
beautifully crafted building is rich with meaning, Recently, Jack asked Julian Mitchell to help him design The Cathcart
House in
lightly tethered to the land and clad in specially a lift from the house down to the boat shed. That project Glendowie,
profiled weatherboards, evocative of the stratified cliff never happened but, if it had, we imagine he’d be sitting Auckland
(2004).
face it accompanies. More than just a little shed, it is down there now in a butterfly chair with a pencil and A4
a piece of highly considered architecture, typical of pad in hand while listening to the Velvets playing loudly 11–12
Manning’s own
Jack’s passion. on his iPod. Jack has gone now, his funeral attended, in Stanley Bay
In the office, Jack was often referred to as Manning, these Covid-constrained times, only by closest family. A house (1960)
and boat shed
or The Man: a gracious person, quietly spoken but celebration of Jack’s life will be held when times permit, on Auckland’s
forthright, with a great sense of humour and irony. hopefully at his own old home in Stanley Bay. North Shore.

Across the Board
FOUNDING SPONSORS
CELEBRATED
In October this year, Architecture NZ’s publisher,
AGM, celebrated the 10th anniversary of the launch
of the Interior Awards. Today, the awards are widely
recognised as the premier programme for industry
recognition of interior design and interior or spatial
architecture in New Zealand.
“This was not always the case,” explains AGM publisher
and event director Nathan Inkpen. “The first edition was
something new, featuring a number of unique elements
within the programme, such as live-streaming, in-person
project presentations and a cocktail-style awards night
without the customary speeches.”
Like all programmes, the Interior Awards needed
sponsors when it launched and, notably, businesses who
were prepared to invest in a new and untested format.
Kada, Resene, Luxaflex and Inzide were all willing to
take a risk and help create a new programme that
reflected and rewarded the work and efforts of designers
and architects throughout New Zealand and overseas.
“Without doubt, the Awards would not be what they
are today without the family of sponsors we have,”
says Inkpen. “The investment each organisation makes
allows the judges and entrants to enjoy a transparent
and fair process, which uses technology to enhance the
experience for all and makes the Interior Awards the
hottest award ticket in town each year.”
The Interior Awards’ four founding sponsors have
remained committed to the programme, which is now in
its 11th year, from the outset. “We’d like to congratulate
them and thank them for their meaningful investment
in the industry,” says Inkpen.
Images: Supplied.
CLOCKWISE, FROM TOP LEFT: The Interior Awards founding sponsors
display their 10-year sponsor certificates: Kada directors John Gilbert
and David White; Resene managing director Nick Nightingale; the team
from Luxaflex – Ellis Mitchell, Shane Harris, Kim Jarman and Lance
Mitchell; Inzide managing director Steve Aschebrock.
THE DUNCRAFT HOUSE (1974–1986)

A collaboration between London-based architect Giles Reid and
photographer David Straight, this 38-page soft-cover book documents
John and Wendy Duncraft’s Christchurch home. Having bought the property
in the late 1960s, the couple commissioned a large extension by architect
Nicholas Kennedy not long after. Kennedy had worked at Warren and
Mahoney before setting up his own practice in the early 1970s but he died
in 1977, aged just 33. Ian Bisman took over the project, adopting Kennedy’s
initial concept and making subtle improvements to aspects of the plan.
This limited-edition book is available at davidstraight.net/shop/duncraft-house

Warwick Fabrics Promotion
MATERIAL FOCUS:
THE CENTRAL
Queenstown’s Central Private Hotel
was named as this year’s Grand Prix
award-winner at the Dulux Colour
Awards. We talk to Undercurrent
director Liv Macfarlane about the
thinking behind this stand-out
design and how the selection of
Warwick Fabrics was integral to
the final result.
Photography: The Central Private Hotel by Tim Pierce.

What was your client looking for in the design
of this interior?
Naumi has a strong brand identity. It is expressed
well by explaining that the design of every Naumi
hotel is built behind a story of architectural and
artistic concept, brought to life by modern, cutting-
edge design visions. Each Naumi property represents
a definitive hospitality style, “fuelled by the desire
to be whimsical, experiential and innovative”. This
hotel was to have a dramatic point of difference – by
merging the boundaries between landscape, interiors
and art – so it needed a dramatic material selection.
How did you arrive at the overall concept?

Flying into Queenstown is a surreal experience. The
proportions, shapes, shadows, textures and colours
combine to create a sense of utter wonder. All this needed to work with every other colour from
unfolds in a single moment: a single feeling. It is this each floor’s scheme, in order to come together
impression that we set out to capture in our interior. in the hotel’s lounge area.
This moment brings to mind the snow globe – an
iconic childhood artefact that, when shaken, opens Warwick Fabrics’ velvet seemed to be an entirely
the door to a whole new world. We strove for a bold fitting material selection for this project. Tell
aesthetic, verging on biophilic surrealism, in a bid us about where and how you used it.
to recreate that moment of child-like wonder sensed We were looking for fabrics with extensive and
with a glimpse of the Alps or a shake of a snow globe. diverse colour palettes so that we could colour-
ABOVE, FROM TOP:
match the fabric selection with other finishes The Central Private
The colourways in each room and every space are across the interior. The depth of colour saturation Hotel’s bar and
different. What led you to choose deep red and across the velvet collection palettes is profound. lounge area features
Warwick Fabrics’
dark green for the lounge and bar area? For the booth seating, we wanted a fabric that Mystic velvet curtains
The client had one request: that we avoid whites, would exaggerate the curves of the furniture, reflect and Plush velvet-
covered boothseats.
neutrals and grey tones. We responded by aligning light and add depth so we applied Plush velvet for
Warwick Fabrics
the levels of the three-storey building with their all the lounge furniture. It provided the ideal fabric swatches: Theodora
outlooks: the ground floor nods to the pink and red and colour solution for the space. The deep, rich Thyme, Fabio Spruce,
Noyack Mist, Copeland
tones of the flora outside; the first floor alludes to tone and luxurious texture of Warwick Mystic velvet Sumac, Pelle Java,
the greens of the treetops; and the second storey was perfect for all of the curtains throughout the Theodora Port, Elton
reflects the moody blue tones of the sky. From the reception, bar/lounge, bedrooms and corridors Musk and Noyack
Poppy. Art direction
outset, we were careful in our palette selection. while also offering the fire-resistant properties and photography by
The challenge was that every singular colour and price point we needed. Thomas Cannings.

Practice in Profile
Instagrammable
moments
Scott Compton discusses changing workplace design in the age
of Covid, the rise of the distributed campus model and creating
magnetic, experiential workspaces for empowered employees.
Practice in Prof ile

Supported by
01

THE TITLE OF VELDHOEN + COMPANY’S longer the fundamental reason for a person to
2011 project journal for Macquarie Group’s One be in a purpose-built space to undertake their
Shelley Street in Sydney is It’s Not About the work. Big Tech businesses have known for some
Building. The publication details the financial time that having good tech hygiene is an enabler
giant’s revelatory move to team a Californian but not a place-maker. If businesses like Google
interior designer with a Dutch workplace and Vodafone have known this since the early
strategist to win the battle for talent through 2000s, why has it taken a pandemic to uncouple
progressive workplace practice. Ostensibly, it the relationship between working in an office
turned the bank from a corporate filing cabinet and working from home? The answer is trust.
into a MacBook overnight. The pervading lack of trust is brought about
The journal summarises the cultural impact of by some business leaders’ continued belief in
workplace design, along with a healthy dose of the presenteeism theory; if employees cannot
marketing the virtues of Activity Based Working be seen to be doing work, they are not trusted
(ABW). At the time, this was the go-to model for to undertake their work. Amazingly, this is still
offices but have things changed 10 years on? While evident in many workplaces.
ABW is now commonplace in large organisations, The pandemic has shifted organisational
there is a more nuanced discussion around mindsets to offer work from home as a necessary
agility and which ‘agile’ spaces are conducive to facility of the employee experience. A simplistic
productive work. Most companies adopt sharing view has developed, where one is either ‘at the
ratios of their work points, based on long-observed
data that points out that spaces are often at 70
per cent capacity and rarely full on a day-to-day While technological progression and
basis. There are furniture and spatial solutions for
everything and, while many of these are gimmicks,
a pandemic have seen the world of
some, such as the small video conferencing rooms workplace design continue to evolve
now prevalent in most workspaces, have enhanced at pace, the message remains the
the ways in which we interact.
While technological progression and a same – it’s not about the building.
pandemic have seen the world of workplace
design continue to evolve at pace, the message
remains the same – it’s not about the building. office’ or ‘at home’ and that business protocol
If a workplace cannot be measured and judged and processes should cater for both those
by its physical design, which is purely additive to environments. But, it is not as simple as the home
a bigger picture, by what is it measured and why? becoming an extension of one’s office; what the
To answer this, we need to go back to the root of pandemic has opened up is the ability to work
the challenge of a workplace, which is to identify from anywhere. With trust and technology in
the needs of its working population. We need place that enable employees to roam, they can
to quantify and study workplace behaviours and choose their destinations and preferred modes
amplify the influence of the inherent culture of of work, and move as they see fit. This is where
the brand that entices people to join it. things become tricky for business owners and
workplace designers. In order to lure people back
WORK FROM ANYWHERE into the workplace, we are competing not only
If we look at the acceleration of technology in against their homes but also against every single
the past 20 years, the transformation of digital fit-for-purpose, WiFi-enabled facility in the city.
tools into enablers of mobility has empowered Cafés, lobbies, co-working suites, wellness spaces
the individual to be more selective about how and parks are all perfectly adequate workspaces, 01
Instagrammable
and where they work. Tech agility has untethered should the employee have the appropriate task to and immersive
the user from real estate and the need to be undertake in them. moments are
provided for
in a particular place to work. WiFi, Bluetooth, The most interesting developing workplace Googlers to
VPNs (virtual private networks) and other high- mode is the distributed campus model, which share over their
social channels.
powered wireless capabilities have dealt the organisations such as WPP (considered the Image: Sam
workplace a significant blow – technology is no world’s largest advertising company) and Big Tech Hartnett.

Practice in Profile
02
are adopting. Multiple sites throughout a city For this model to be successful, a workplace or
offer different buildings in which to work – a type campus must provide safety and support for its
of co-work, with unique identities at each site people, not only through leadership and mentoring
but consistent tools and tech. While multi-site but also by way of security and stability. It is no
organisations are nothing new, the potency in this coincidence that Big Tech sees security as a top
version is that the power of choice lies with the agenda for its workplaces and people. Culture 02 Shared
employee, not the employer. This model enables thrives when we are allowed to embrace failure workspaces in the
lobby at HSBC
better workplace investment; it consolidates and, for this to happen, the workplace must truly Tower, with
spend and avoids duplication on larger sites, be a ‘safe place’. Privacy and support for employees settings and WiFi,
are open to the
by offering more diverse and extensive suites is non-negotiable and this is evident in the growth public. Image:
of spaces that support productive work. This of multi-faith and parenting rooms, and wellness, Jono Parker.
manifests in different types of wellness spaces, mental and physical well-being spaces dotted 03 Premium
food offerings, meeting and event spaces, and around workplaces that understand the cultures of meeting suites
are located in the
unique creative environments, such as workshops, their people. If the workplace is the safest place for lobby at HSBC
play spaces and things that are traditionally employees to be, it will also be much higher on the Tower for tenants
to leverage as part
considered purely recreational. Employees trust index. of their amenity.
can situate themselves where they feel most The paradox here is that the trend of Image: Jono
comfortable to work on a given task. Described by monitoring employees’ locations and behaviours Parker.
a Google employee as ‘workplace tourism’, having a while on campus will become more prevalent. A 04 Multi storeys
of multiple-choice
choice of destinations from which to work offers a worker’s phone is their beacon; it is the link to workspaces are
potent blend of stimuli and cross-communication, data and evidence that businesses will monitor available for
employees at
and leads to a richer network of relations across to improve productivity. It is commonplace for PwC Auckland in
the business. Variety is the spice of life. workplace design to follow the path of evidence Commercial Bay.

03
through data – traditionally, data was gathered

visually by people and the employees were aware
of it. With technological advancement, the data
is automatically captured digitally, through
smart systems linked to work points, lockers
and meeting rooms. The future will leverage
employees’ phones, with permission, and, no
matter how scary that might be, it already
happens – we are being watched and this is
contrary to the privacy required to achieve trust.
CULTURE THAT DIFFERENTIATES

A workplace is the only place that can culturally
unite a group of minds with a common purpose.
No home, café or lobby can ever offer that. As
one of our industry-leading technology partners
says: “We need a place to come together and to
rally around things that matter.” People come
together to deal with big issues and the power of
many can make a difference, providing the ability
for each to speak their mind and find the like-
minded to share in the experience.
In the current and likely future era of work, 04

Practice in Profile
employees are very much attuned to the bigger and necessary process of modern culture. All
climate and societal issues that organisations are workplaces should consider ‘instagrammable’
tasked with solving so the culture of a business moments because they offer employees the ability
is often considered more important than are to project pride in their decision to work there.
financial or other incentives. How a business Working at Google is of enormous pride to
responds to these issues is significant. Workplaces its employees because, in their minds, there is a
must embody the meaningful cultural positions genuine ability to make change, at scale, across
they represent – the words diversity, inclusion the globe. Google’s workplaces cater for nearly
and sustainability are commonplace in corporate every imaginable desire and each destination is
culture now. Without them, it is simply not locally embellished to speak to its native location.
possible to attract the ‘next gen’. This manifests The broad theory applied by these organisations
in distinctive workplace outcomes if harnessed is that the more they provide for and support the 05 Buddle
Findlay’s
correctly and aligned employees will recognise employee lifestyle, the less distraction there is social space
this and celebrate it in their own forum. when it comes to the task at hand. Interestingly, is a softened,
A workplace must reflect the unique this theory is common with elite sportspeople, hospitality-style
experience
characteristics of its brand, projecting the each of whom has their every whim catered for to where employees
company’s ideals and providing moments enable their sole focus to be on their training and can come
together. It
where employees can take selfies and convey profession. They literally think about sport 24/7, is equal to
those values to their peers. Digital projection, without distraction, and such streamlining of the any client
experience.
acceptance or even rejection of the reinforcement mind has proved effective. Perhaps we will reach a Image: Jono
of personal values and ethics is an important new era of ‘elite’ employment programmes. Parker.
05

CREATING COMMUNITY
Large events and gatherings are under increasing
pressure. The pandemic, potentially, will see
many seminar spaces mothballed and businesses
must now consider their capital investment in
workplace event facilities. Do they need to be
on site? There is every chance that they could
become high-cost, low-yield spaces for health
reasons. In recent years, co-working has boomed
and, despite initial projections of the potential
collapse of the market, we see a different
proposition. Take Warren and Mahoney’s
Auckland studio – within a 1km radius, there
are state-of-the-art hosting facilities we can use
for all occasions and at all scales. Generator in
Wynyard Quarter, along with its meeting suites
in Commercial Bay and 188 Quay Street, offers
all the amenities and event experiences without
the capital costs. Similar facilities can be found
mid-city with other independently operated event
spaces. In a campus model, these facilities don’t
have to be duplicated – they live in one site, giving
that site a purpose and freeing valuable real estate
for other important amenities.
Food and wellness facilities are a big cultural
catalyst. Big Tech organisations are providers of
these in every sense; food is not the reason to
come to work, it’s a necessity. Similarly, sports,
hobbies, wellness and mindfulness are catered
for. Work is life. The more a workplace can cater
to its audience and respond to its unified culture,
the more likely it is to be a thriving workspace. 06
Delivering ‘life’ to their people is a significant

consideration for all organisations now.
Traditionally, the legal, advertising and banking
industries all had hierarchical attitudes to amenity.
It was reserved for the important people and
was earned through merit. That has changed in
recent years. In our work with top-tier legal firms, 06 The
investment in staff amenities and facility is parallel professional
espresso machine
with investment in the client experience. What at Colliers takes
an organisation offers to its people is a serious pride of place
in the co-work
bartering tool in the battle for talent. Good coffee area and is a vital
won’t necessarily attract employees but bad coffee social magnet
for bringing
might well turn them away. employees
So, the question is, what level of amenity will together. Image:
Sam Hartnett.
have the most impact in the workplace and what
are the chances that it will remain relevant in 07 Posts of
the workplace
the future? It’s a tough one because great hosting on Instagram’s
brings a social dimension that is pivotal to an “Life at Google”
reached 17,000
organisation’s culture, often as the lynchpin in views in a few
creating a bond between user and place. 07 hours.

Practice in Profile
The fundamental issue is that of necessity to

create community. The challenge is to broaden
that community beyond the walls of your
workplace and to create a network of support for
everyone that interacts with your business. All
roads lead back to the discussion around culture,
which is the unique bond and energy of a united
community. It appears that to unlock the true
potential of a workplace, culture is key.
MASTER AND APPRENTICE

For legal and professional services, and in our
own studio, the workplace is crucial to the
growth of employees, particularly those who are
graduates or a few years out of education. Every
day is a learning day. The danger of working
from home is that business leaders are likely to
have homes with well-equipped private spaces
and access to quality connectivity, enabling high
productivity. They have the means to work well 08
from home but young professionals may not

have such luxuries. They can be isolated and
ill-equipped as a result of their economic and
living situations. In isolation, there is no leader
adjacent or within earshot; there is no learning
by osmosis and less opportunity for ad-hoc
conversations. Connectivity to peers and leaders
becomes more dependent on booked meetings,
dictated by the leader’s meeting schedule, which
is likely to be overbooked.
The younger cohort needs the workplace to
support their growth, from both general welfare
and learning positions. For the ‘workplace’ to
work, they need to know that their leader is
there and available to support and nurture their
growth. This sounds a lot like a tertiary education
environment, where the student is autonomous
and self-motivated but is reassured by the fact
that their tutor is on site, within the network
of teaching spaces to which they are assigned,
and will be available to mentor when needed.
09
Perhaps the workplace will finally catch up –
leaders will dependably reside in the workplace,
making themselves available for mentoring and
growth. And, in turn, if leaders are to be at home, 08 Waipārūrū 09 The days
the employee knows there is a need for privacy Hall at the of appraising
University of productivity through
and respects the diversity of roles required. The Auckland: what industrial-era
scenario, therefore, is that the workplace is a can we learn measures are gone.
from our tertiary Workplaces need
learning space, purposely catering for interaction education to be magnetic and
and knowledge sharing, with less focus on work experience to experiential but,
inform the future mostly, accepting
points and more on group spaces or interactive of work? Image: of all ways of work.
areas for sharing that knowledge. Sam Hartnett. Image: Sam Hartnett.

GET THE LOOK
POWER TO THE WORKER ON YOUR WALLS
What is the future of work? For the employee,
with empowerment and choice available to them,
we are at a new frontier. It is one that places the
onus on the individual to understand what is
important to them, how they wish to go about
their business (both technologically and physically)
and how to work effectively. Employees should be
encouraged to find their ‘flow’. Finding that flow
is about embracing longer gestation periods of
thought and short sprints of targeted productivity.
Endless coffee consumption may, in fact, signal
someone toiling deeply over the challenges they Resene Slipstream™
have in their mind before action. Harking back to
the sporting analogy and the mindset of a sprinter,
the race is won on the line if the athlete can find
deep focus and visualise the outcome they seek –
when they get that right, then the sprint itself is
a process of manifesting the vision.
To enhance productivity, we need to shift the
power of influence in the way we approach work.
When we are briefing with organisations about
how we work, the evidence must come from the
people, not the leaders. If we follow the evidence, Resene Bismark™
it is more likely that the workplace will reflect the
usage and purpose of the spaces being utilised
by the employees. Leaders need to be enablers,
embracing a vision that creates opportunity and
empowerment for employees and measures outputs
and not time. This shift requires egos to be left at
the door and, with that, everything is up for grabs.
As for the workplace, it’s about creating the
right place, at the right time, for the right reason,
and remaining relevant while striving to find that
Resene Daredevil™
unique culture that sets it apart. A workplace
cannot be judged by its aesthetic – for a more
truthful measure, look for the smiles on people’s
faces because creating a unique culture now
is more challenging than it ever was.
Scott Compton is Head of Design at Warren

and Mahoney’s Auckland studio, advocating an Resene Harmony™
inclusive approach to design to achieve unique
outcomes. He has extensive project experience in
workplace, retail, hotels and hospitality, having Colours from The Range fashion
colours fandeck, only from
worked in the United Kingdom, China and New
Zealand. He is focused on producing innovative
environments for renowned brands such as
TVNZ, Microsoft, SkyCity, Dexus, Precinct
Properties and, more recently, Google.
www.resene.co.nz
0800 RESENE (737 363)
Architecture NZ X Resene Colour Collab
around the country, and to meet the architects and owners,

designers and artists. When I work as a stylist in some of these
spaces, I love the challenge of responding to the architecture,
the finishing and the location. Sometimes, it’s about adding
just a few carefully selected and researched items that enhance
the intent of the architecture and, at other times, you need to
bring warmth, texture and character. At home, I’m constantly
changing things around; you can quickly get accustomed to a
space and I like interiors to evolve – changing configurations
and moving art around lets me see each thing in a new light.
What was the concept behind your artwork?

As it is for many of us, the restrictions on travel in the
last year or so have led to a rediscovery of my immediate
surroundings and given me a deeper appreciation for nature.
As lucky as we are in New Zealand to have fared much better
than those in many other countries have and be surrounded
by nature, there’s also the awareness that there’s been a shift
and we’re now further away than before. More isolated. So,
THOMAS CANNINGS this beauty in nature sometimes feels bitter-sweet. With this
British-born art director and photographer sentiment in mind and inspired by those ominous still lifes of
Thomas Cannings recently swapped the the 17th-century Dutch artists who painted fruit bowls with
insects and skulls, I wanted to create my own, slightly subdued
world of magazine publishing for a global
still life that captured this moment in time for me.
design role with a leading appliances
brand. Here, he talks about the ongoing What led to your colour choices?
influence of art, architecture and interiors, I’m currently renovating a mid-century Californian-style
at work and at home. bungalow surrounded by native bush, which has been largely
unaltered since it was built, and have been looking for ways
You’ve lived in New Zealand for more than a decade now. to update it that stay true to its style and character. I’ve been
Where did you train and work prior to this and what inspired by a clever restoration of a Claude Megson house,
brought you to New Zealand? on Auckland’s North Shore, by the owner, spatial design
I first studied furniture design in London and then went lecturer Rafik Patel. He’s taken a modernist palette of primary
on to complete a degree in Fine Art and Photography in colours and geometric black beams and translated these into
Milan. I loved living in Italy and was there for about 10 years. bold teals, sage greens and ochres that keep the same design
I worked with some fantastic and well-established brands: language but feel more fitting in a New Zealand setting and
from designing in-house for Versace, to art-directing also more liveable in a home. I chose Resene Shark and Resene
photoshoots for a variety of brands, such as Armani, IWC Sea Fog for the structural elements that soften the traditional
Schaffhausen, Maserati and Park Hyatt. I started seeing some black and white. Then the Resene Blue Smoke and Resene
great design coming from New Zealand and Australia that Pirate Gold – akin to hues from a Herman Miller mid-century
felt completely different from what was coming out of Europe colour swatch – add contrast and warmth.
at the time so, when the opportunity to move over here came
up, I jumped at it.
As creative director of Urbis and Houses magazines,

you have lived and breathed some sublime interiors and
architecture. Has this influenced your personal life?
I’ve always loved architecture and interior design so it’s
Resene Resene Resene Resene
been fascinating to visit so many extraordinary homes Sea Fog Pirate Gold Shark Blue Smoke

THIS PAGE
Resene Shark,
Resene Pirate Gold,
Resene Blue Smoke
and Resene Sea Fog.
Art direction by
Thomas Cannings.
Photography by
Toaki Okano.
Artist Tessa Harris and her mokopuna sit on the kōrimurimu she designed. Photograph: Auckland Council.
Work
The space between – Te Wānanga, Auckland Ferry Basin Isthmus — p.48
Ebb and flow – Te Ngau o Horotiu, Downtown Ferry Terminal Isthmus — p.56
Watching the collectives – Surrey Crescent Cohaus Studio Nord — p.64

Work
The space
between
Chris Barton explores
Te Wānanga, the long-
planned replacement
public space for
the former Queen
Elizabeth II Square,
and Te Ngau o Horotiu,
the new Downtown
Ferry Terminal. The
Auckland Council
and Auckland
Transport projects,
designed by Isthmus,
in collaboration with
11 mana whenua
iwi, bring a vibrant
new interface to Te
Waitematā’s waterline.
Photography
DAVID ST GEORGE
RIGHT
The new waterfront public
plaza replaces Queen
Elizabeth II Square, sold
to Precinct Properties for
$27.2 million in 2015 to
allow for the development
of Commercial Bay. Image:
Auckland Transport.

Work
1 FERRY BUILDING
2 FERRY SHELTER
3 ELEVATED
TIDAL SHELF
– DOWNTOWN
PUBLIC SPACE
4 COASTAL TREES,
UNDERPLANTED
5 APERTURES,
OPEN WITH
BALUSTRADING
6 APERTURES
WITH NETS
(KŌRIMURIMU)
7 APERTURE
WITH GRATING/
STEEL GRATE
(OVERLAND
FLOW OUTLET)
8 MARINE ECOLOGY
ROPES BENEATH
SHELF, INDICATIVE
LOCATIONS
9 PROPOSED
MARINE ECOLOGY
PONTOON
10 BENCH SEATS,
WITH BACK AND
ARM RESTS
11 PLATFORM SEATS,
WITH BACK AND
18
ARM RESTS
12 LIGHT
13
9 COLUMNS
13 TIMBER FENDER
PILES
14 LAUNCH STEPS,
5
11
RETAINED
15 ‘BLUE FENCE’,
14 14 INCLUDING LAMP
12 STANDARDS
14 5 AND MOORING
16
17
8
4
3
BOLLARDS
15 1 16 ‘RED FENCE’
6 PILLARS,
2 10
7 2
RETAINED
15 (OUTSIDE EOW)
17 SEA WALL BASALT
QUAY STREET COPING STONES
AND BOLLARDS
RETAINED
N
18 EXISTING PIER 2
SITE PLAN 01
WHEN THE FIRST OF TWO KŌRIMURIMU kōrimurimu is one of several large holes – Isthmus
was revealed in July, Mayor Phil Goff encouraged calls them apertures – cut into the 73m-wide,
Aucklanders to lie on the flax-like surface and 600–950mm-deep concrete platform alongside the
“breathe in the sea air, look up to the sky and hear revamped two-lane, tree-lined Quay Street boulevard.
the movement of the tide below”. Not the first thing Conceived as an intertidal shelf, it extends 36m over
that comes to mind to do in Te Wānanga, Auckland’s the Waitematā Harbour, hovering on 49 piles.
new waterfront public plaza beside the Ferry Building Getting into the kōrimurimu requires a 600mm
between Princes and Queens Wharves. But people step down and a leap of trust that’s worth the effort.
are standing and sitting on it. Kids seem to love its Its name means to be covered in seaweed – rimurimu
bounciness. And some are lying on it – a sleeping bag being a seaweed native to Te Waitematā. The work, by
was spotted in it recently. artist Tessa Harris (Ngai Tai ki Tāmaki) in co-design 01 Artist
Tessa Harris
What if a whole lot of drunken people climbed into with Isthmus, using traditional Māori weaving cross- sees the
it and went a bit crazy late at night? “That is exactly hatched like a basket, is a “visual ecological response” kōrimurimu
as a “visual
what it is loaded for,” says Isthmus architect Sarah – a kind of memorial to a time when the downtown
ecological
Bishop, pointing out there is a secondary system, a foreshore was covered in seaweed, a vital food source response”,
safety net, underneath. The mat is also strong: made for many fish species now also in decline. referencing
a time when
of woven strands of military-grade, camouflage-green You might say the whole of the porous public space of the downtown
stropping used in haulage nets for heavy lifting. Te Wānanga is a memorial. Its undulating, jagged edge, foreshore was
You have to admire the bravery, not to mention the jutting into the harbour in sharp contrast to the straight covered with
seaweed. Image:
innovation, of installing this interactive artwork in a line of the now-strengthened sea wall along the Quay Auckland
public place. About the size of a big trampoline, the Street edge, takes its organic shape from the historic Council.

02
03
01 01 04
natural shoreline of sandstone headlands, present Here, Isthmus worked with Richelle Kahui-McConnell
in 1840, but now long gone through successive land (Ngāti Maniapoto) and Jarrod Walker (Ngāpuhi) to
reclamations. A trace of what was in pre-colonial times. anchor some 38 seeded kūtai (mussel) ropes with
“Conceptually, we are trying to create an intertidal floats – as used in mussel farming – beneath the public
shelf,” says Isthmus principal David Irwin. “And, in deck. The aim is to support the re-establishment of the 02 Te
that, we have ecologies for humans and for nature.” extensive kūtai beds that once covered the seabed of Wānanga takes
its organic
That includes massive transplanted pōhutukawa Te Waitematā while also filtering its grossly polluted
shape from
reintroduced as a “coastal forest grove” surrounded water. Despite their remarkable filtering ability – each the natural
by other native planting, including rongoā (medicine) mussel capable of filtering between 150 and 200 litres of shoreline of
sandstone
species and harakeke (flax), now flourishing in six huge seawater a day – such are the pollutants here, these are headlands,
steel planters slung to the underside of the shelf like sacrificial kūtai, not for eating, except by the fish who present in
giant limpets. The gardens are surrounded by bench don’t know any better. As such, the kūtai act as perfect 1840.
seating in reddish-brown Tonka hardwood from South bio-indicators of the aquatic health in the inner harbour. 03–04 Rock-
pool-like
America. The tidal shelf concept is also expressed in You have to admire the ambition but it’s also hard to
apertures with
the strip of shelly concrete following Te Wānanga’s see how the seabed mud here, thick with decades of kina-shell-
harbour edge, giving a washed-up-on-a-beach effect. petroleum heavy metals and other stormwater run-off inspired steel
balustrades
The other apertures are framed by steel balustrades nasties, will ever be cleaned via filtering alone. One open to
styled like giant kina shells and invitingly shaped to lean imagines more drastic intervention is needed. reveal kūtai
on and look down to the water. “The point is really to A later stage of the Te Wānanga design integrates (mussel) ropes
attached to the
demonstrate that there is an ecology under here and floating, open-aperture pontoons offshore from the underside of
that we should be looking after our water,” says Irwin. public deck. Moving vertically with the rising and the platform.

Work
falling tide, the pontoons hold marine ecology ropes

and nets for kelp beds to provide habitat for other
marine species. It’s possible the pontoons may become
a ‘floating research station’, containing scientific
equipment measuring indicators of water quality and
marine species health.
Leaning over the eastern balustrade aperture gives a
view of the past – the 1920 stone stairway of Auckland’s
historic ferry infrastructure alongside a portion of the
now earthquake-strengthened Quay Street sea wall.
Other heritage components that seem unnecessary
clutter include the blue steel Auckland Harbour Fence,
first erected in 1923 along Quay Street, and a 1915
memorial obelisk to harbour board staff serving in
World War One. One can’t help thinking Te Wānanga
might be better off without these colonial reassertions
on the space. Surely the new access to the water’s edge
means the jarring intrusion of the fence should now
be gone and the war memorial obelisk perhaps better
located at the museum. Let Te Wānanga, which weaves
mātauranga Māori through its spaces and narratives,
speak as a masterclass in delivering on Auckland
Council’s Te Aranga Māori Design Principles. As seen,
for example, in the timber handrails of the concertina
steel balustrade that snakes around the harbour edge of
Te Wānanga.
Here, Reuben Kirkwood (Ngai Tai ki Tāmaki) has
carved a contemporary rendering of a Te Wairere motif
symbolising the relationship between the land and the
sea. The whakairo (carving) is complemented by Harris’ 05
tightly laced natural fibre bindings or haumi – an
expression of joining together.
In Isthmus descriptions of the space, much is made
of how the design offers a new invitation to the water’s
edge, the space between land and sea, city and harbour.
“It will restore the edge as a place of respite and refuge: a
knowledge basket for all who visit, and a breathing point
for everyone and everything that filters through this
busy place where the city meets the sea.” At times, the
descriptions use spiritual metaphors: “Stitching together
the land and the sea, the design brings to life Te hā o Te
Tangaroa, the breath of Tangaroa the sea god: the natural
rhythm and space between high and low tides…”.
In the face of all this, it’s disappointing the design
does little to address climate change. You could say, in
the massive amount of carbon emissions used in its
concrete construction, it’s contributing to the crisis.
Irwin says the choice of concrete was to ensure that
06
Te Wānanga was robust enough to “survive in a big
catastrophe event”. But if that is a flooded waterfront,
whether by sea-level rise or extreme weather storm 05 Kūtai 06 The century-
surge, then Te Wānanga will be a fitting island memorial (mussel) ropes old stone
filter seawater stairway for ferry
to Auckland Council and Auckland Transport putting from beneath passengers has
their heads in the sandstone. Te Wānanga. been preserved.

1 2 2 1
3 3
6 6
5 4 5
1 2
CANTILEVER AND KŌRIMURIMU FIXING DETAIL

1 CANTILEVER DECK 3 ENTRAPMENT SAFETY NET 4 WOVEN GREEN 5 STRUCTURAL DECK
2 PRE-POURED RUBBER SURFACE WITH STROP BORDER SAFETY WEBBING 6 BRACKET, BOLT, 9
TURNBUCKLE
AND FRAME
3 6
7
3 3
ENTRAPMENT SAFETY NET DETAIL
1 CANTILEVER DECK 5 TOP STROP

2 2 2 PRE-POURED 6 BOTTOM STROP
RUBBER SURFACE 7 STAINLESS-STEEL
3 WOVEN GREEN TENSILE CABLE
SAFETY WEBBING 8 STAINLESS-STEEL
TYPICAL KŌRIMURIMU EDGE AT 90° CORNER 4 ENTRAPMENT EYE BOLT
SAFETY NET WITH 9 STAINLESS-STEEL
STROP BORDER THREADED INSERT
1 STROPPING WEAVE 2 PIPE FRAME AND FIXING ROD 3 STRAP FIXINGS
12
10
8
2 11
1
5
3
TIDAL SHELF ECOLOGY AXONOMETRIC CROSS-SECTION
1 TIMBER FENDER PILE 3 SUBSTRUCTURE 5 TEXTURED SLAB 7 PILES PROVIDE 9 PLANTERS EXTEND 11 EXISTING
PROVIDES PERCH MUSSEL ROPES FRONT FACE ENABLES INTERTIDAL AND BELOW SHELF LEVEL SEA WALL
FOR SEABIRDS WEIGHTED TO GROWTH OF PIONEER SUBTIDAL HABITAT 10 PŌHUTUKAWA (STRENGTHENING
2 KŌRIMURIMU SEA FLOOR SPECIES 8 BALUSTRADED AND NATIVE BY OTHERS)
APERTURE LETS 4 MARINE ECOLOGY 6 EPIPHYTE GROWTH APERTURES UNDERSTOREY 12 QUAY STREET
LIGHT THROUGH TO PONTOON ENABLED BY ENABLE LIGHT PLANTING NATIVE TREES
WATER BELOW PŌHUTUKAWA TREES THROUGH TO (BY OTHERS)
WATER BELOW

Work
10
8 8
8
5
7
9
6 6 6 6
3 3
ELEVATED TIDAL SHELF SECTION AA
10
8
8 8
7 7
1
5
4 2
9
6 6 6 6
3 3
ELEVATED TIDAL SHELF SECTION BB
1 TIMBER 2 NET 4 FLOATING PONTOON 6 PILES 8 PŌHUTUKAWA AND 9 EXISTING SEA WALL
FENDER PILE 3 MUSSEL ROPES 5 SLAB FRONT FACE 7 PLANTERS NATIVE PLANTING 10 QUAY STREET NATIVE TREES
Project Information
LOCATION Quay Street, LIGHTING AND ELECTRICAL MANA WHENUA ARTISTS
Downtown, Auckland ENGINEER eCubed Tessa Harris (Ngai Tai ki Tāmaki),
SITE AREA 1700m2 QUANTITY SURVEYOR RLB Reuben Kirkwood (Ngai Tai ki Tāmaki)
ARCHITECT Isthmus Group HERITAGE CONSULTANT TĀMAKI MAKAURAU MANA WHENUA
PROJECT TEAM David Irwin, Plan.Heritage Ngāti Whātua Ōrākei, Patukirikiri, Ngaati
Gavin Lister, Sarah Bishop, Nada Stanish, GEOTECHNICAL, MARINE Whanaunga, Ngāti Maru, Ngāi Tai ki Tāmaki,
Travis Wooller, Alex Foxon, Sophie Fisher, ECOLOGY CONSULTANT Te Ākitai Waiohua, Ngāti Whātua ki Kaipara,
Travis McGee, Mihali Katsougiannis Tonkin + Taylor Ngāti Whātua Runanga, Ngāti Te Ata Waiohua,
CLIENT PLANNING CONSULTANT Ngāti Tamaoho, Te Ahiwaru
Auckland Council, Auckland Transport Tattico SEAWARD EDGE BALUSTRADE
BUILDER/CONTRACTOR PROJECT MANAGER McConnell Dowell
Downer HEB, JFC TSA Project Management SCULPTURAL BALUSTRADES
STRUCTURAL ENGINEER MANA WHENUA MARINE Eastbridge
Tonkin + Taylor AND ECOLOGY SPECIALISTS PLATFORM SEATING
STRUCTURAL ENGINEER Dr Jarrod Walker, Tātaki Limited; Complete Construction
(KŌRIMURIMU AND SCULPTURAL Richelle Kahui-McConnell, Mealofa;
BALUSTRADES) Airey Consultants Charmaine Bailie, URU Whakaaro

Steel
Builds
Beauty
Steel elevates architectural detail and showcases
our design innovation. Beauty matched with
performance; creating dynamic and unique spaces
for us to live, work and enjoy. Steel builds beauty.
sustainablesteel.org.nz #steelisbeautiful Ironbank Building, Auckland

Work
Ebb
and
flow
Chris Barton finds Te Ngau
o Horotiu, Auckland Council
and Auckland Transport’s new
Downtown Ferry Terminal
designed by Isthmus, speaks
to the moon.
Photography
DAVID ST GEORGE
01
PERHAPS THE MOST SURPRISING SPATIAL

aspect of the gangways of Te Ngau o Horotiu is that
when Te Waitematā’s king tides are at their highest,
ferry passengers find themselves standing above
the top of Queens Wharf. For some, disembarking
the gentle slope downhill to the wharf might be a
lovely way to attune to the phases of the moon – its
5
gravitational pull, when it’s new or full and orbiting
closest to Earth, lifting the harbour waters to their 8
peak. The moon is perhaps even more present at the 1
very lowest tide, when disembarking passengers find 3 9
themselves toiling up an unusually steep 1:10 gradient

instead of its more normal 1:14 at low tides. 2
As a regular ferry commuter, the very high spring
tides always make me feel uneasy – a constant
reminder of the climate crisis we blithely inhabit. 7
6
I look at the about-half-a-metre clearance between the

top of the wharf and the sea and think about sea-level 4
10
rise and storm surges and imagine what the wharf, QUAY STREET
indeed, much of the reclaimed land of downtown

Auckland, will look like when that happens. I think N
about Venice’s acqua alta, the ages-old phenomenon SITE PLAN
when the Adriatic Sea tide rises at least 90cm and 1 FERRY BASIN 4 TE WĀNANGA 6 EXISTING FERRY 8 THE CLOUD
2 QUEENS WHARF 5 NEW FERRY BERTHS TERMINAL 9 SHED 10
the city is temporarily flooded at various times each 3 PRINCES WHARF AND SHELTERS 7 EXISTING PIER 2 10 HERITAGE FERRY BUILDING

year. When it happens, sirens sound, raised walkways
are put out and people wear gumboots. Then climate
change began making the acqua alta more frequent
and more severe.
In 2019, a tide rose to 187cm above sea level,
submerging more than 80 per cent of the city.
Ground-floor spaces were devastated and ancient
monuments irreparably damaged. Since then, Mose,
an US$8-billion floodgate system, has been deployed
to stop the surge and protect the city. It’s true
Auckland has spent up large to strengthen its Quay
Street sea wall but it’s done nothing to increase its
height to deal with an inevitable sea-level rise.
When I share my concerns with Isthmus principal 01 The six
Andrew Mirams, he says: “We have allowed for 50 new pontoon
berths line up
years of sea-level rise so we added about another half alongside The
a metre for sea-level rise on top of the height for tides Cloud, on the
and storms.” Which sounds fairly standard for council western side of
Queens Wharf.
guidelines around New Zealand that use scenarios
02 The first
based on one-in-100-year storm surges, combined of the three
with a one-metre rise in sea level forecast by 2100. covered
But it also seems somewhat short-sighted, as does gangways,
each of which
the new infrastructure design life of 25 years for services two
02
the pontoons and 50 years for the steel-encased ferry berths.

Work
03
concrete piles. Never mind. As Mirams points out, new berths in front of the Ferry Building. Te Ngau o
all the components of the design, the pontoons and Horotiu, the name gifted by mana whenua, refers to
the gangways, are prefabricated and can be moved, the sawtooth shape of the new pontoons being like the 03 The new
perhaps modified, if things go horribly wrong in the teeth of the taniwha. piers have
been designed
next 50 years. One can only hope. Three hinged, covered gangways, 33m long and 6m for growing
The terminal design is elegantly functional. A new wide, run parallel to the wharf and connect to 16m passenger
numbers and the
piled breakwater runs along the length of Queens by 8m pontoons, rising and falling with the tide to introduction of
Wharf to provide more sheltered waters for six new provide passenger access. With three lanes providing electric ferries.
pontoon ferry berths. Over a 300m length, these two waiting queues and one egress queue per gangway, 04 The etched
are arranged in a ‘reverse sawtooth’ layout at 17–20 each can accommodate between 230 and 330 queued pattern on the
degrees to the wharf, enabling ferries to circulate passengers. While highly efficient, with each gangway canopy soffit
references the
anticlockwise around the ferry basin and enter operating as a separate terminal with its own Hop card sails on double-
the berths bow first, then reverse astern to depart. tag-on/tag-off facility, waiting while standing, often on hulled sea waka.
Ultimately, with the removal of Pier Two (currently an incline, isn’t the most comfortable experience. Then 05 Pontoons
used by the Waiheke ferries), all ferry services will again, commuter comfort, or the idea of convivial between the
gangways and
berth using this anticlockwise movement to this waiting by the sea, doesn’t really feature in this design. ferries rise and
western edge of the wharf and to a couple of extra There’s also the issue of commuting in Auckland’s rain. fall with the tide.

05
04 06 07
Te Ngau o Horotiu, the name gifted by mana whenua, refers to the

sawtooth shape of the new pontoons being like the teeth of the taniwha.
06 The
manaia figure
4
Te Wairere
3
is cast into
1 the concrete
2 breakwater
capping beam.
07 Kaitiaki
figures
adorning
selected piles
TERMINAL SECTION welcome
and farewell
1 GANGWAY 2 LANDING PONTOON 3 LOADING PLATFORM 4 SHELTER GLAZED SCREEN passengers.

Work
08
QUEENS WHARF BREAKWATER GANGWAYS PONTOON
INFRASTRUCTURE COMPONENTS
Those catching a ferry at the gangway at the far end cast into the concrete breakwater capping beam; the
of Queens Wharf gain some shelter from the gangway kaitiaki figures adorning selected piles to welcome and
canopies, which extend 2.7m over the pier, but there’s farewell; and the etched pattern on the canopy soffit,
no cover between the three canopies or when moving which references sails on waka hourua (double-hulled
08 Weighing
from the gangways to the uncovered pontoons. sea waka), which brought Māori here. Narratives that
105 tonnes
Getting wet twice before one even boards the boat make these light, airy, liminal volumes spectacular; each, the
seems an unnecessarily puritan way to catch public their soaring, craned-in, prefabricated, 65m by 15m three 65m by
15m gangway
transport. Always bring an umbrella. canopies creating a dramatic kinetic transition. canopies were
That said, the 4m-tall glass gangway enclosures Especially when the gangway entrance at the pontoon prefabricated
are beautifully enhanced by mana whenua narratives expands from a 4.4m height at maximum high tide to off site and
then barged in
by artists Maaka Potini, Reuben Kirkwood and Ted a cavernous 8m at maximum low tide, reflecting the and lifted into
Ngataki. These include: the manaia figure Te Wairere might of Te Waitematā’s lunar ebb and flow. place by crane.

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Work
QUEENS WHARF
2
2
6 8
4 4
BER
TH
4 BER
T H5
TERMINAL PLAN
1 LANDING PLATFORM 3 LOADING PLATFORM 5 NEW SEA WALL AND 6 SHELTER PILE 8 PONTOON GUIDE PILE
2 GANGWAY 4 BERTHING PONTOON CAPPING BEAM 7 SHELTER GLAZED SCREEN 9 INFORMATION CABINET
Project Information
LOCATION Queens Wharf, PLANNING CONSULTANT Tattico
Downtown, Auckland PROJECT MANAGER TSA Project Management
ARCHITECT Isthmus Group MANA WHENUA ARTISTS
PROJECT TEAM David Irwin, Gavin Lister, Reuben Kirkwood, Ted Ngataki, Maaka Potini
Sarah Bishop, Andrew Mirams, Greg Lee, TĀMAKI MAKAURAU MANA WHENUA
Paulo Costa, William Brooks, Gabrielle Free, Ngāti Whātua Ōrākei, Patukirikiri, Ngaati
Salva Shah, Azmon Chetty Whanaunga, Ngāti Maru, Ngāi Tai ki Tāmaki,
BUILDER/CONTRACTOR Te Ākitai Waiohua, Ngāti Whātua ki Kaipara,
Downer HEB, NZ Force Construction Ngāti Whātua Runanga, Ngāti Te Ata Waiohua,
STRUCTURAL ENGINEER Structure Design Ngāti Tamaoho, Te Ahiwaru
MARINE ENGINEER GHD ROOFING Décortech, Roofing Industries,
MECHANICAL ENGINEER Tonkin + Taylor Nuralite, Symonite
ELECTRICAL ENGINEER eCubed WINDOWS Thermosash, Woods Glass
QUANTITY SURVEYOR RLB PILE CLADDING Liquidstone
WAYFINDING Maynard FLOORING Burgess Matting and Surfaces,
SURVEYOR CKL Firth Concrete

Specify right
Build once
Auckland Downtown Ferry Terminal
“We selected Trespa Meteon panels to line the

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Paulo Costa
Principal Architect, Isthmus Group
Work
Watching the
collectives
From December 2019
to March 2021, the
value of New Zealand’s
housing stock increased
by $324 billion or about
$65K per person in our
team of five million.
Christopher Kelly looks
to Greek philosopher
Epictetus for a clue for
managing this careening
inequality, asking what
we can control. You can
choose your mates, he
says, and that’s exactly
what 20 Auckland
families did to put the
Surrey Crescent Cohaus
together, showing the
path to a new standard
in affordability.
Photography
ADAM LUXTON
RIGHT
A row of two-storey
terraces, a three-
storey apartment
building and a villa
are set around a
central garden space.

Work
THOM GILL AND HELLE WESTERGAARD OF

12
Studio Nord architects were one of the two lead 10
‘driver families’ (DFs) who funded the $4.95-million

purchase of the land, the design and the Resource 3
9
Management Act planning process, and formed a 11
8
consultative development company for the four-year
BROWNING ST
Cohaus Grey Lynn build. 7
The DFs required some serious intestinal fortitude, 2
high levels of financial nous and professional skill,
REET
13
a sensitivity to the group’s requirements and an 14
ongoing commitment to and faith in each other – a 6

15 1
radical array of skills that they freely admit evolved 14
16
during the project. On the way, they developed
a grudging admiration for the risk resilience of 5
developers and an understanding of the finely poised SU

RRE 4
Y CR
balance between success and failure. ESC
EN
T
Both DFs were biking families. After initially
AD
RO
exploring smaller sites, they expanded their search to FIR
TH
N
include 1900–2500m2 sites that could accommodate SITE PLAN

12–20 units and were within a comfortable 30-minute 1 SURREY BUILDING 5 CYCLE STORE 9 GARDEN HOUSE 14 PASSAGEWAY
cycling range of the city. Initially, they joined with 2 COURTYARD
TERRACES
6
7
COMMON YARD
COURTYARD
10
11
GREEN
ORCHARD
15 COMMUNITY
CORNER
“two or three dead-keen people with a common will” 3 VILLA
4 CAR STACKER
8 PRODUCTIVE
GARDEN
12
13
COMPOSTING
TERRACES ACCESS
16 BINS
and looked for people they “knew a bit, who were

prepared to go on a big journey and discover new
ground on the way”. To give the community a chance each household participated in the design of its unit to
of working together, the Cohaus group wanted to individualise elements within typical unit typologies.
include people of a range of ages, gathering insights The second commitment was the signing of a Group
as they went into an ideal scale and mix. There was Agreement (GA), which set out the organisation/
no trouble assembling a list of would-be purchasers; governance structure sufficient to apply for the
“five might not be enough, 40 would be too many, but construction loan from Kiwibank and procure the
we could have sold 100 two-bedders”. Middle-aged main building contract. After the DA and before
women, apparently, were more insightful about the starting the build, the group lost four households at
social benefits of co-housing than the men. different times and for different reasons. They were
An initial QS project estimate of $8.28 million replaced with new households.
(including fit-out, site works, 10 per cent contingency
and GST) was interrogated by the DFs and THE DEVELOPMENT PROCESS
considered during their anecdotal discussions with After missing out on a couple of sites and with their
banks, real estate agents and other developers. They eye on Grey Lynn, the DFs built up community
then felt comfortable giving prospective participants support by talking with the nearby primary school,
a target price point of $750K for a two-bed 73m2 Kiwibank, Grey Lynn 2030, the Residents Association,
unit, including the common property assets. The Ockham, Kāinga Ora and the Waitematā Local Board.
final built cost was $850K. They also organised a local mail drop, information
The first commitment for the group was signing stalls at the Farmers Market and an open Q+A evening
the Development Agreement (DA). “At that point, for locals, to which only opponents turned up.
we had a firm scheme plan that was moving through They watched and learned how the developers,
Resource Consent. This gave households a legal with their pre-arranged finance and big-picture
ownership in the project and made everyone jointly market experience, courted the agents. Finally, thanks
liable before we went unconditional on the site.” The to cultivating their own friendly agent, they were
company (not GST-registered) was owned by 20 given ‘the inside lane’ to negotiate directly with an
separate trusts: one for each unit that provided the owner. The land cost of $2446/m2 was more than
required 20 per cent deposit. The combined deposits budgeted and they negotiated an extended nine-month
became the working capital for the company. Weekly settlement to allow time to gain Planning Consent.
Oversight Committee meetings and monthly group After the site was purchased, Studio Nord sustainably
meetings with the wider collective were held and reused the old Maternity and Adoption Centre’s listed

01 02
villa by moving it to the edge of the site to stitch Cohaus builders offering the best two prices and selected a
into the Browning Street heritage neighbourhood. preferred one at $10.56 million, whom they then paid
Surprisingly, this refurbished dwelling was the hardest extra to collaborate on a six-week intensive value
one to sell. The architects then added a two-storey engineering negotiation with the architects. Together,
terrace type and a three-storey apartment ‘walk-up’ they pulled 10 per cent out of the cost. The GA group
around the three boundaries in which to fit their 20 then signed a fixed-price construction contract for
units (and attain approximately 200 dwelling/hectare $9.24 million, excluding kitchens, fittings, landscaping,
density). The dwellings enclose a large, sheltered garden house and contingency.
garden, sloping away to the north from the busy ridge- The second price shock, to test further the resilience
top arterial road. “The development includes a mix of of the registered co-housers, was the Kiwibank
units, each with between one and four bedrooms, and requirement to hold a 7.5 per cent site contingency 01 Cohaus’s
residents range from single adults to families of five,” (instead of the 5.0 per cent previously advised) on top walk-up,
explains Gill. “All units were designed to be light-filled, of the agreed lump sum price. The builder completed three-storey
apartment
compact homes with dual aspects, providing above- within two months of the programmed date and, once building,
code thermal and sound insulation and large external the Code of Compliance was granted, each household looking
decks protected from the rain.” trust drew down its own mortgage and paid its balance along Surrey
Crescent.
There were two major cost shocks along the way. owing in full for its title at the price agreed in the DA
02 Entry from
Firstly, Kiwibank required the appointment of an to clear the development company’s $27-million loan the ridge-line
independent project manager who organised an overdraft with Kiwibank. road offers
extensive pre-qualification builder list for tender. The The total cost was $19.9 million, including land, glimpses
through to
builders’ tender estimates received were 25 per cent consultants, consents, construction and GST. Overall, the shared
higher than the QS estimate. They interviewed the they built 1920m2 of gross floor for $12,364/m2. garden space.

Work
03 04
05 06
THE PLANNING CONTEXT

03 Vehicle
The large 2024m2 site meant the Cohaus scheme met an additional storey but were forced to go entrance to the
the special Unitary Plan definition of “an integrated unconditional on the land purchase without planning site is off Firth
Road.
residential development”, where there is no density permission. Sixteen units, instead of the planned 20,
limit to a “multiple-dwelling shared facility creating would have resulted in a significant cost increase 04 The
apartment
a community”. per participant and, eventually, at the Planning building snakes
Despite this density relaxation, the Council Committee hearing, Nord’s argument for three-storey along the
southern and
remained insistent that Studio Nord’s unfussy, living was accepted. Given the solar orientation
western edges
European-inspired walk-up block had to comply fully meant height shading impacted only the main road, of the site.
with the two-storey planning setbacks on the busy rather than any adjacent houses, the site could have 05 A shared
Surrey Crescent road boundary. This was an anomaly, effortlessly accommodated a four-to-five-storey fruit and
given the two 16m-high, five-storey residential blocks ‘residential wall’ along the roadside boundary.1 vegetable garden
is positioned
across the road. The CoHoHui, organised by Victoria University in between the
The site is located on the boundary between two Wellington in June 2021, advocated for an urgently garden house
zones: a “mixed-use”, five-storey zone and a “single needed Independent Collective Housing Agency and terraces.
house with Special Character overlay” two-storey zone. to provide guidance for risk-averse planners and 06 The site’s
original villa,
Inflexibility in the Unitary Plan makes no allowance expand council options for non-profit housing. pictured right,
for any ‘transitional zoning’, which would permit an Also, they lobbied the Government to allocate was shifted from
intermediate range of urban scale and grain. land that is not contestable in the open market to the centre of the
site to within the
Over the nine-month period, the DFs unsuccessfully provide perpetually affordable housing options for character heritage
submitted two further design iterations to incorporate Cooperatives and Community Land Trusts. overlay.

COMMON PROPERTY ASSETS
Cohaus developed an integrated passive design
with an energy-management system that distributes
low-cost power, hot water and internet to all
units. Standard industry engineering assessed the
maximum electrical demand at 250 amps. So far, SOUTH-WEST ELEVATION FROM SURREY CRESCENT ARTERIAL ROAD
the project draws about 85 amps, which meant

a proposed new $150K site transformer was not
required. A solar PV system, funded by borrowing,
is to be repaid over seven years from the power
rate charged by the Body Corporate to each unit.
Cohaus’s energy tour de force was recognised by
the 2021 Sustainable Electricity Association of New
Zealand (SEANZ) award for Best Environmental WEST ELEVATION SHOWING RELOCATED VILLA
Impact, with its consultant Re/volve Energy winning
the Innovation Award.
It is a badge of honour for cooperatives to provide
a long list of shared facilities – a tick box of
incentives to join, maybe. To stay on budget, the
Cohaus amenities were trimmed to:
• a guestroom with en suite – reducing the need
for each unit to include a spare room SOUTH ELEVATION
• a large common laundry and clothes line
• cultivated and uncultivated central green space.
I can’t help feeling that this enforced frugality and
doing less might have better served the space and its
occupants. However, the additional contingency sum
left over from the ‘Kiwibank price shock’ was used to
reinstate the full list of common assets in the order of
priority agreed by the group: SECTION THROUGH COURTYARD GARDEN AND SURREY BUILDING
a. addition of a mezzanine to the high-bay storage

b. kitting out the 35-bike shed
c. purchase of two EV and four hybrid share cars has subconsciously crept into the exterior and the
REFERENCES
and a car stacker landscapers’ tendency to embroider all the ‘leftover
1
d. landscape budget expansion (from $50K to $200K) space’ has resulted in a cluttered backyard. The 1970 Ralph
Erskine-designed
for a richer mix of cultivated and uncultivated The balconies and terrace houses all look inward over six-storey
green space this crowded commons. The addition of the garden Byker Wall in
Newcastle upon
e. construction of a green ‘common hall’ for gatherings house adds further infill and reduces the park-like luxury
Tyne, UK, has
of the whole community. the large site offered.3 aged well and
It is, perhaps, a missed opportunity not to have is still a valid
precedent.
COLLECTIVE LIVING positioned this much-desired gathering place over the 2
See Andy Fergus’
Residential buildings make up 70 per cent of a city. car park on the Surrey Crescent/Firth Road corner. This ‘Redesigning
Good residential design is good city design and the would have strengthened and extended the east end the Housing
Market’ diagram
adoption of a more diverse New Zealand planning of the residential roadside wall as well as offered users
in ‘First THAB
policy that supports the complete spectrum of profit to elevated north-east views of the Ponsonby ridge line off the rank’,
non-profit housing types is required.2 that, otherwise, only the upper apartments enjoy. architecturenow.
co.nz/articles/
A century ago, the suburbs were radical places. The There are cosy retreat areas in the terrace houses, first-thab-off
socialist ideas that initiated the discipline of town especially upstairs – the result of the carefully exposed -the-rank/
3
planning and the capture of value for the good of all timber (CLT) floors. However, the smartly detailed I’m imagining
a calm, light-
(such as the UK’s Hampstead Gardens) were later steel tube balustrades on the walk-up block actually dappled orchard
stripped out by mass house builders who, beholden provide too much transparency to the apartments. over wild long
to shareholders rather than residents, applied the The development hasn’t quite balanced the needs for grasses, like the
Sissinghurst
aesthetics rather than the ideology. connection and for private retreat, and the landscape Castle Garden
At Surrey Crescent, it appears a ‘commune aesthetic’ and garden house placement might have helped to in the UK.

Work
07 08 07–08 Open-
plan kitchen/
dining/living
spaces in the
apartments
include
customisable
IKEA kitchens.
Photography:
Greta van der
Star.
09 Every
dwelling looks
onto the
shared garden
space.
10–11
Entrance to
the terraced
units is via the
east boundary.
Each dwelling
offers between
two and four
09 10 11
bedrooms.
establish more clarity and manage the subtle distinctions

between private, semi-private and shared.
2
It’s early days. The landscape is not established and the
47 occupants are still moving in, which is particularly 2
commendable in itself and testament to their resolute 1 2
response to Epictetus’ advice. As the June CoHoHui had

tearfully recorded, quite a few collectives stall or fail.
Post-Covid, life will place increased demands on SECTION THROUGH COURTYARD
the quality of our residential infrastructure. The 1 TWO-BEDROOM TERRACE 2 THREE-BEDROOM FLAT
connectedness of people that this project enables has yet
to be organised into larger bubbles. There is untapped
potential for more extensive support networks during
Covid lockdown – for instance, with childcare.
Wider recognition of Aotearoa’s rich tangata 2 1
whenua history and further development of modern 1

7
papakāinga and their ecological interconnectedness 3
5
6 6
7
will help collate a library of local collective typologies 4 5
to complement the international precedents that

architects traditionally research. Cohaus’ high-density
development is a worthy addition to this resource SECTION THROUGH SURREY AND COURTYARD BUILDINGS
and will grow into its place as an enduring Auckland 1 TWO-BEDROOM FLAT 4 CYCLE STORE 7 THREE-BEDROOM TERRACE
2 GUEST FLAT 5 ONE-BEDROOM FLAT
exemplar of antipodean collective living. 3 STORAGE MEZANNINE 6 TWO-BEDROOM TERRACE

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Work
Project 7
Information 6
LOCATION Surrey Crescent,

6
Grey Lynn, Auckland 3
5
FLOOR SIZE 1920m2 gross
ARCHITECT Studio Nord 5
PROJECT TEAM
4
Thom Gill, Helle Westergaard, Matteo 2
Garbagnati, Gabriela Kopacikova 2
ACOUSTIC ENGINEER Marshall Day

ARBORIST Peers Brown Miller
2
CIVIL ENGINEER Maven
ELECTRICAL ENGINEER Cosgroves 1
ENERGY DESIGN Re/volve Energy

FIRE ENGINEER
Anvil Fire Consultants
GEOTECHNICAL ENGINEER N
LEVEL 1 FLOOR PLAN

Geoconsult
1 STUDIO FLAT 4 ONE-BEDROOM FLAT 7 FOUR-BEDROOM TERRACE
HERITAGE CONSULTANTS 2 TWO-BEDROOM FLAT 5 TWO-BEDROOM TERRACE
Burgess Treep & Knight Architects, 3 THREE-BEDROOM FLAT 6 THREE-BEDROOM TERRACE
Salmond Reed
HYDRAULIC ENGINEER Cosgroves
INTERIOR ARCHITECT Studio Nord
LANDSCAPE ARCHITECT Beca,
Xanthe White Design, Studio Nord,
Resilio Studio 5
8
MECHANICAL ENGINEER Cosgroves

9
PROJECT MANAGER Stella Projects
7
QUANTITY SURVEYOR
Emmitt Consultants
STRUCTURAL ENGINEER
BROWNING ST
7
4
Thorne Dwyer Structures 6
TOWN PLANNER 6
REET
Barker & Associates, Campbell Brown

3
TRANSPORT ENGINEER 3
Flow Transportation Specialists 3
URBAN DESIGN 2
R A Skidmore Urban Design

1
SU
R RE
Y
CR
ES
CE
N T
OAD
HR
FIRT
N
GROUND-LEVEL FLOOR PLAN
1 CYCLE STORE 4 THREE-BEDROOM FLAT 7 THREE-BEDROOM TERRACE

2 COMMON LAUNDRY 5 THREE-BEDROOM VILLA 8 FOUR-BEDROOM TERRACE
3 ONE-BEDROOM FLAT 6 TWO-BEDROOM TERRACE 9 GARDEN HOUSE

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Photography ©Jackie Meiring
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CONGRATULATIONS TO THIS YEAR’S AWARD-WINNERS,
PROFILED OVER THE FOLLOWING 41 PAGES.

SIR MILES WARREN AWARD FOR COMMERCIAL ARCHITECTURE
NZIA architect
PIP CHESHIRE
Project team
NAT CHESHIRE, DAJIANG
TAI, TOM WEBSTER, ELLIE
GREEN, SIMON MCLEAN,
JIN YOUNG JEONG, AIDEN
THORNHILL, CALUM
MCNAUGHT, IAN SCOTT,
SHAUN GODDARD, EMILY
PRIEST, ASCINDA STARK
Photography
SAM HARTNETT

NEW ZEALAND ARCHITECTURE AWARDS 2021
The Hotel
Britomart
Cheshire Architects has created a place of discovery
and delight with an absolute focus on design
excellence and sustainability.

SIR MILES WARREN AWARD FOR COMMERCIAL ARCHITECTURE
Jury Commentary
Sharon Jansen, John Hardwick-Smith,
Gary Lawson and Grant Edwards
A successful new addition to the

cityscape of Tāmaki Makaurau, the
Hotel Britomart interfaces gracefully
with adjacent heritage architecture,
creating intricate spatial experiences
for those who move through this
building and the laneway it creates.
Beautifully planned and executed,
the hotel is a place of discovery
and delight – from the architects’
reinvention of the hotel room into
something clever and unusual yet
luxurious, to the seamless integration
of its thoughtful exterior with a rich
and sumptuous materiality within.
This is New Zealand’s first 5 Green
Star rated hotel; the commitment
and passion of client, contractor
and architects to design excellence
and sustainability through concept,
execution and delivery has resulted
in an outstanding building for
Tāmaki Makaurau.
– NZIA CITATION
The Hotel Britomart is a 10-storey object

crafted from handmade clay bricks, its rough
surface punctuated by a constellation of sleekly
glazed windows, its mass appearing to hover
weightlessly over an urban tapestry of cobbled
lanes and dockside warehouses. The hotel was
designed to feel as if it belongs to Aotearoa and
its people, not just the guests who stay there.
– CHESHIRE ARCHITECTS PROJECT DESCRIPTION

NORTH ELEVATION
“... the Hotel Britomart

interfaces gracefully
with adjacent heritage
architecture, creating
intricate spatial
experiences for those who
move through this building
and the laneway...”
EAST ELEVATION
SOUTH ELEVATION

COMMERCIAL ARCHITECTURE AWARD
CENTRAL AUCKLAND
COMMERCIAL BAY
BY WARREN AND MAHONEY, WOODS BAGOT AND NH ARCHITECTURE IN ASSOCIATION
“Design excellence is revealed in this Project team

ambitious project, which creates WARREN AND MAHONEY: PETER
a transformational destination in WESTBROOK, MICHAEL MASON,
downtown Auckland. From the generous NICK WHITE, DAVID MAHON, JI
and luxurious Sky Lobby to the Green- HYE KIM, SEBASTIAN HAMILTON,
Star-rated tower and the re-imagining MIKE JACKSON, DAN MCGLONE,
of an entire city block, Commercial BARRY TOBIN, LOGAN PRICE,
Bay achieves a remarkable level of CAMERON PATTULLO, DAMON

ASPDEN, TESSA LLOYD-
sophistication and design richness.
HAGEMANN, SIMON FARREN,
Providing connections to multiple
CHRIS BROWN, ANDREW
transport networks, and negotiating the
BARCLAY, DARCY UTTING
challenge of accommodating tunnels
for the under-construction City Rail WOODS BAGOT (SAN FRANCISCO):
PATRICK DALY, LUCILLE
Link, this project of epic proportions
YNOSENCIO
is testament to the excellence of its
design team and is a precinct for Tāmaki NH ARCHITECTURE (MELBOURNE):
Makaurau that is truly worth celebrating.” ROGER NELSON, MICHAEL NEVE
Photography: Giulia Caponetto and Sam Hartnett.

COMMERCIAL ARCHITECTURE AWARD
ROTORUA
SCION INNOVATION HUB TE WHARE NUI O TUTEATA

BY RTA STUDIO AND IRVING SMITH ARCHITECTS
“In creating this striking new public interface

and showcase for timber technology, the
architects have successfully embraced their
client’s desire to maximise the use of wood,
resulting in benchmark-setting innovation.
Formed as a patterned glass box façade that
references the adjacent Whakarewarewa Forest
canopy, and layered over an articulated timber
framework to deliver dappled light into the
interior, the generous open core of this Crown
research building shapes an interconnected
structure with a welcoming heart. Extensive use
of sustainably grown, local timber has enabled
the building to achieve net-zero embodied
carbon emissions, creating a blueprint for the
future of timber construction.”
Project team
RICHARD NAISH, JEREMY SMITH, ANDREW IRVING
Photography: Patrick Reynolds.

ENDURING ARCHITECTURE AWARD
CENTRAL CHRISTCHURCH
CHRISTCHURCH TOWN HALL (1972)

BY WARREN AND MAHONEY
“How could architects so young design with

such vision? This project is testament to
the very rare skills of Sir Miles Warren and
Maurice Mahoney (both 35 at the time),
and acoustician Sir Harold Marshall (33),
and the ways in which they combined their
abilities to create a masterpiece of national
and international significance. Rugged, robust,
refined and delicate, this architecture is one
of contrast and contradiction that harmonises
into a jaw-dropping effect. From carpet colours
to door handles, and from lampshades to
acoustic baffles, nothing was left to accident
and nothing could be better. The Christchurch
Town Hall has truly endured, and risen again
to take its rightful place in the canon of
New Zealand architecture.”
Project team
SIR MILES WARREN, MAURICE MAHONEY,
SIR HAROLD MARSHALL
Photography: Stephen Goodenough and Olivia Spencer-Bower.

HOSPITALITY ARCHITECTURE AWARD
PARNELL, AUCKLAND
TUITUI
BY JACK MCKINNEY ARCHITECTS
“Sometimes simple is best, as is the case

with this perfectly executed insertion into
Tāmaki Paenga Hira Auckland War Memorial
Museum. With details that are both sweet and
robust, and a back-of-house space creatively
shoehorned around a heritage structure, the
front-of-house area has been maximised in
a manner that is contemporary, chic and
intriguing. As a centrepiece of this bistro and
café, a long, curved, green marble counter is
at once a spatial organiser, social prompt and
service zone. With his use of sculpted concave
forms that brilliantly echo the fluted columns
of their neoclassical museum backdrop, the
architect has skilfully deployed heft, colour,
texture and form – with subtle nods to 1950s’
diners – to create a wonderful environment in
which to dine.”
Project team
JACK MCKINNEY
Photography: David Straight.

EDUCATION ARCHITECTURE AWARD
PHILLIPSTOWN, CHRISTCHURCH
TE HOHEPA KŌHANGA REO

BY BULL O'SULLIVAN ARCHITECTURE
“A hip roof over a nine-square plan forms the

foundational narrative of this small Kōhanga
Reo in urban Ōtautahi Christchurch. The
internally orientated building uses a central
square as the rā courtyard – a sheltered and
light-filled gathering space that provides
a semi-outdoor play area during the cold
Canterbury winters. Adjacent learning
spaces radiate from this central point in
the manner of a star, which is the colourful
tohu (symbol) used to underpin the centre’s
kaupapa. Beautifully scaled with niches
that create a secondary layer of child-sized
spaces within the main rooms, this elegant,
well-crafted building is full of colour, energy,
interconnectedness and aroha, and weaves
tikanga and tradition into the lives of its
young users.”
Project team
MICHAEL O’SULLIVAN, PAUL ANSELMI
Photography: Sam Hartnett.

EDUCATION ARCHITECTURE AWARD
GREENHITHE, AUCKLAND
NEW SHOOTS EARLY CHILDHOOD EDUCATION CENTRE

BY COPELAND ASSOCIATES ARCHITECTS
“With this innovative project, the architects

have transformed a marginal and contaminated
site near a motorway into a tranquil sanctuary
for a brand-new preschool. A gentle and
considered sequence of entry via a footbridge
over a restored wetland provides a delightful
sense of arrival at a protected triangular
courtyard formed by three pavilions. Designed
as ‘nature classrooms’, these pavilions are
naturally ventilated and situated to take
advantage of sun and light, while their cross-
laminated timber interiors and soft colour
palette create a calming connection to the
surrounding mature trees. New Shoots is a
rich spatial experience and a magical,
nurturing environment for children.”
Project team
BARRY COPELAND, MARCO DUTHIE,
FRANKLIN MWANZA, TUHIENA BHAUMIK
Photography: Kelvin Lim.

HERITAGE ARCHITECTURE AWARD
CHRISTCHURCH TOWN HALL

“With their work barely visible in parts, yet

still confident and bold, the architects have
successfully restored this iconic piece of
Christchurch. One of the very best examples
of the city’s brutalist style, this landmark
building was nearly lost to demolition in the
aftermath of the February 2011 earthquake.
The team involved in the reconstruction,
restoration and refurbishment of the town
hall have shown respect and integrity in their
handling of such a sensitive project. By finding
appropriate ways to add substantial additional
space and making the necessary accessibility,
safety and technological upgrades, the
architects have shown that the vision and skill
of this town hall’s original designers lives on.”
Project team
PETER MARSHALL, SIMON LAURIE, RICHARD
MCGOWAN, NAT MILLER, SHANE HORGAN,
ANGELA PELHAM
Photography: Olivia Spencer-Bower and Ian Hutchinson.

HERITAGE ARCHITECTURE AWARD
PARNELL, AUCKLAND
AUCKLAND WAR MEMORIAL MUSEUM TĀMAKI PAENGA HIRA

– TE AO MĀRAMA AND CENOTAPH GALLERIES
BY JASMAX, FJMT, DESIGNTRIBE AND SALMOND REED
“This exemplary project threads a series Project team

of bold new architectural elements JASMAX: MARIANNE RILEY,
and integrated artworks through the NEIL MARTIN, PAUL LELIEVELD,
existing layers of Tāmaki Paenga Hira HUNTER GILLIES, JUSTINE

GOODE, ROBERTA JOHNSON,
Auckland War Memorial Museum,
ALEX THOMAS, ICAO TISELI,
transforming it into a cohesive entity fit
CHAD BISHOP, ERINNA WONG,
for its multicultural future. A new entry
SAM LAU, DAVID PUGH
sequence from the south creates an epic
civic greeting and orientation space FJMT: RICHARD FRANCIS-
within the South Atrium. New spaces JONES, SIMON BARR
and linkages have been elegantly designed DESIGNTRIBE: RAU HOSKINS

to connect rooms and navigate between SALMOND REED: JEREMY
existing layers of heritage fabric. Rich SALMOND, ALI DE HORA
materiality, local timbers, sculpted forms
and diverse narratives reinforce cultural
connections, and strongly ground the
building in its unique place.”
Photography: Dennis Radermacher.

PFL 698
Time to colour
your thinking.
peterfell.co.nz
Colours may look different on print,

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INTERNATIONAL ARCHITECTURE AWARD
PECKHAM, LONDON
COSTA STREET
BY WHAT_ARCHITECTURE
“... in the heart of South London's Peckham stands

this build-to-rent block of houses by a Māori
architect, who also filled the roles of developer
and contractor. The leaning mansard, a play
on the predominant neighbourhood roof type,
presents a dramatic profile that also interacts with
the protected mature trees and greenery behind.
Four unique rental houses are tightly interwoven
within the building’s four levels, and each has its
own independent street access, outdoor space and
varied aspect via punched openings. Structured
with digitally cut cross-laminated timber, this
project challenges planning, material, development
and construction norms to provide high-quality,
affordable, sustainable rental housing... that could
inform our architectural thinking here in Aotearoa.”
Project team
ANTHONY HOETE, DIANA KULACKA, MAGDA SZERLA-
GONÇALVES, NAZ ATALAY, ŠÁRKA GUĽAŠIOVÁ,
ALESSANDRO VISONE, ALESSANDRO CARUBIA,
BUSENUR DENIZ, ANTONIO MORA
Photography: Manuel Rodriguez.

INTERIOR ARCHITECTURE AWARD
MĀNGERE, AUCKLAND
WHARE KOA MĀNGERE COMMUNITY HOUSE

BY BURGESS TREEP & KNIGHT ARCHITECTS
“As one of Auckland Council’s most heavily

used community facilities, Whare Koa needed
upgrading to meet demand in a manner that
was respectful to the Cook Island community
it serves. Through subtle changes to its plan
and the introduction of light into service
spaces, the architects have transformed this
bungalow’s functionality while graciously
preserving its interior – including the
restoration of original wallpaper and the use of
high-quality fittings and finishes. By embracing
the bungalow’s dark nucleus, and juxtaposing
it with the vibrant colours of the Pacific,
the architects have created a rich, culturally
responsive interior where rooms glow with a
vibrancy further enriched by the people who
use them.”
Project team
GRAEME BURGESS, LILLI KNIGHT
Photography: Emilio Garcia.

INTERIOR ARCHITECTURE AWARD
CENTRAL AUCKLAND
THE HOTEL BRITOMART

BY CHESHIRE ARCHITECTS
“From reception to room, the Hotel Britomart Project team

does everything differently. At street level, PIP CHESHIRE,
the threshold between light-filled lobby and NAT CHESHIRE,
public pavement is barely visible. Pockets DAJIANG TAI,

EMILY PRIEST, TOM
of seating within create links with adjacent
WEBSTER, ELLIE
restaurants and the architects have taken
GREEN, SIMON
cues from neighbouring heritage buildings
MCLEAN, JIN
to weave together old and new elegantly.
YOUNG JEONG,
On the upper floors, dark, muted colours of
AIDEN THORNHILL,
glass-ended corridors create a mysterious and
SHAUN GODDARD,
shadowy journey to the hotel’s ingeniously
IAN SCOTT
arranged rooms, which reorder the usual
placement of sleeping space and bathroom.
With a material palette that relates strongly
to place through locally sourced products and
crafted fittings, the hotel has a textural and
sumptuous interior.”

SIR IAN ATHFIELD AWARD FOR HOUSING
NZIA architect
LISA WEBB
Project team
LISA WEBB
Photography
SAM HARTNETT

Our House
This beautiful home by studio/LWA provides
an inspirational window into what the future
of Auckland housing could look like.

SIR IAN ATHFIELD AWARD FOR HOUSING
“Carefully directed natural

light reveals an exquisite
interior, and each
carefully placed window
and textured surface
adds layers of sensory
experience to everyday
domestic space.”

3 Jury Commentary
5
2
1 3
6 This modest, contemporary bungalow built

3 on a subdivided front lawn on the ‘wrong side
of the street’ is an inspirational window into
4 what the future of Auckland could look like.
Considerate of its surroundings and honestly
grappling with multiple layers of local body
FIRST-FLOOR PLAN
rules and covenants, Our House has been
1 WC
2 STORE
3 BEDROOM
4 BATHROOM
5 DRESSING
6 HALL designed with minute attention to detail and
not a single inch is wasted. From the road,
subtle folds and shifts in the wall and façade
gently reinterpret expectations of suburban
frontage, drawing from and contributing
11
to the local streetscape. Inside, deceptively
9 simple volumes cleverly overlap and
interconnect, each with a sense of generosity
beyond its compact dimensions. Carefully
directed natural light reveals an exquisite
10
interior, and each carefully placed window
and textured surface adds layers of sensory
experience to everyday domestic space. As
6 1
well as being beautiful, this home also works
7
hard. Natural light falls from skylights, which
pull air through it in summer, solar panels
provide heating in winter, warm timbers
5
2
were sourced from cyclone-felled trees, and
4 the crisp brick exterior is designed to be low
3
maintenance and long-lasting. This is a deftly
8
planned project that warms the spirit and
demonstrates a fresh model for the humble
family bungalow.
– NZIA CITATION
12
This is a small house, built on a subdivided front

lawn on the ‘wrong side of the road’. The architect's
N intention was to explore the idea of a contemporary
GROUND-FLOOR PLAN
bungalow, as a way of thinking about how to live
1 ENTRY
2 WC
4 KITCHEN 7 DINING 10 DECK smaller in an increasingly dense built environment.
5 STUDY/TV 8 STORAGE 11 POOL
3 LAUNDRY 6 SITTING ROOM 9 GARDEN 12 CARPORT – STUDIO/LWA PROJECT DESCRIPTION

HOUSING AWARD
WAIHEKE ISLAND, AUCKLAND
AWAAWAROA
BY CHESHIRE ARCHITECTS
“Efficiency and economy are balanced with

opulence in this delightfully crafted house set amid
a raw Waiheke Island landscape. A trio of structures
facilitates an informal-yet-intricate sequence of
experiences that open up a rich dialogue between
built form and landscape. Deep-set openings frame
the views and the main pavilion itself acts like
an architectural periscope. Inside, intimate and
sumptuous interiors have been carefully thought
through, and arrival thresholds, areas for cooking,
bathing and working occupy the spaces between
the inner and outer skins. The main pavilion’s living
space unfurls seamlessly out to a central courtyard
and two canvas-clad bedroom pods, each with
its own aspect and outlook, loosely contain this
exterior space. Together, these deceptively simple
pavilions form an off-the-grid encampment and
well-loved home for the owners.”
Project team
PIP CHESHIRE, NAT CHESHIRE, SARAH GILBERTSON,
KATE WALKER, GEORGE GREGORY, LAUREN VAN TIEL
Photography: Jackie Meiring.

HOUSING AWARD
ARROWTOWN, OTAGO
THREEPWOOD PASSIVE HOUSE

BY TEAM GREEN ARCHITECTS
“Threepwood Passive House is a small, well-

proportioned and robust family home that
rests lightly amid its beautiful South Island
surroundings. Its bold and simple form mimics
the slope of the land while, inside, two levels
connected by a ladder and tiny playroom create
flexible spaces for work and living. Through
clever and compact planning, the functionality
of entry, kitchen and laundry are merged, and
generous volumes make living areas feel spacious
and light. Outside, a wide, north-facing verandah
provides essential shading and beautifully framed
views that hold meaning for the home-owners.
A certified Passive House Plus with an 8
Homestar rating, this relaxed home full of
warmth and delight is a strong example of how
responsible and sustainable design can be used
to create delightful living environments.”
Project team
SIÂN TAYLOR, MARK READ, ARTHUR LEE, ANNA AJKAY

HOUSING AWARD
TE ARAI, RODNEY
TE ARAI
BY FEARON HAY ARCHITECTS
“Conceived as a pair of big sheds sitting alongside

the sand dunes, this large family getaway is
testament to an architect–client relationship that
has resulted in a beautiful, serene encampment.
Here, sumptuous and elegant materials and
details appear simple and effortless, undoubtedly
in contrast to the huge effort and care this
stunning project demonstrates. The natural flow
of the spaces into one another offers connection
balanced with appropriate separation, all the
while maintaining wonderful engagement with
the outside and its stunning vistas. Design
elements that encourage relaxation – built-in
seating, sheltered verandahs, sunscreens and
fireplaces – are beautifully crafted and generously
proportioned, combining to create a calm and
luxurious beachside environment.”
Project team
JEFF FEARON, TIM HAY, PIERS KAY, VANESSA
MORRISON, MATT ROBERTS, JOHANN EVIN
Photography: Simon Wilson.

HOUSING AWARD
KŪAOTUNU BEACH
LIGHT MINE
BY CROSSON ARCHITECTS
“Meandering arrival paths lead you to a trio of

pavilions that distil the essence of seaside living.
Leveraging the most from the site’s topography
and mature trees, Light Mine’s relaxed
arrangement of forms provides seclusion,
peace and privacy. Deceptively casual planning
provides a flexibility of habitation that could
easily cater for two or for the entire extended
family. The use of timber on Light Mine’s
strong, sculptural exterior – which references
the history of mining in the area – has been
expertly detailed by the architect and beautifully
crafted by the owner, a builder. The result is a
restful-yet-exciting retreat, thoughtfully tailored
to its location.”
Project team
KEN CROSSON, SAM CARADUS, JAMES YOUNG,
CORBETT MADDEN, BRENT HORE
Photography: Simon Devitt.

HOUSING – ALTERATIONS AND ADDITIONS AWARD
OXFORD TERRACE
BY DALMAN ARCHITECTS
“This former Trengrove & Blunt office

building designed in the late 1970s has
been lovingly and meticulously restored
and repurposed as an inner-city home
and studio. The proportions of the
original riverfront elevation have been
honoured while a beautiful and refined
new architecture of textures, elements and
artwork has been layered into the building.
The architect (who once worked in the
building), in collaboration with the owners,
has created a beautiful inner-city home
within this carefully revived and transformed
icon on the Christchurch riverfront.”
Project team
JOHN MCGRAIL, KIRSTY HYND, OWEN LAMB
Photography: Stephen Goodenough.

HOUSING – ALTERATIONS AND ADDITIONS AWARD
REMUERA, AUCKLAND
RECRAFTED ART HOUSE

BY CROSSON ARCHITECTS
“Bold and explorative in its essence,

Recrafted Art House is an example of
architects taking an inventive approach
to preserving and extending the life of
an important historic residence. A new
pavilion of slick, white metal harmonises
with the substantial existing elements
of this arts and crafts mansion in a
manner that is consistent, immaculate
and beautiful. Deft touches and luxury
detailing have been used to create both
sympathetic harmony and striking contrast,
and the project is finished both inside and
out with a level of care and attention that
the original architects, Bamford & Pierce,
would undoubtedly marvel at.”
Project team
KEN CROSSON, JUSTINE GOODE, JAMES YOUNG,
CORBETT MADDEN
Photography: Simon Devitt.

HOUSING – MULTI-UNIT AWARD
ŌTAUTAHI CHRISTCHURCH
ONE CENTRAL – BEDFORD APARTMENTS

AND BEDFORD TERRACES
BY ARCHITECTUS
“This diverse and dynamic housing precinct Project team

contains a range of typologies that are CARSTEN AUER,
rigorously and tightly planned. Central PATRICK CLIFFORD,
pedestrian courtyards and lanes create SEVERIN SODER, KELLY
a people-orientated neighbourhood that CLARK, EDUARDO
encourages integration and engagement FERNANDEZ-MOSCOSO,

MATTHEW HOLLOWAY,
between residents while carefully managing
JAMES DURCAN, RYAN
privacy. A modulation of form breaks
NEWMAN, CHLOE
the scale of this precinct, while brick and
COLES, MICHAEL
metal cladding materials are a nod to the
WEST, SARA ANDES,
industrial heritage of its site. Providing
MICHAEL THOMSON,
protection from Christchurch’s prevailing
ANDREW BUCHANAN,
north-easterly, a taller apartment form is HAMISH MCPHAIL, LUIS
orientated to provide living and balcony CUELLO, MONIQUE
spaces that soak up the afternoon sun. MACKENZIE, SASHA
All units benefit from dual aspect, and SAMARDZISKA, JAVIER
necessary service areas and bike storage CUELLO, CHARLOTTE
spaces are well considered and integrated.” HOARE, JANE ROONEY,
REBECCA HIGGS
Photography: Sarah Rowlands.

WATERVIEW, AUCKLAND
KĀINGA ORA – WATERVIEW COURT

BY ASHTON MITCHELL
“Densely massed along busy Great North Project team

Road, Waterview Court provides a group of BEN SANDO,
120 striking and memorable homes. Utilising PETER ASHTON,
shadow, depth and colour to create interest, DANIEL VAN
the five-storey block of road-facing apartments DE WYDEVEN,

FREDDY
constructed of pre-cast concrete is robust
NG, TESSA
and durable, and generates a high-quality
SONG, VESKO
streetscape that will stand the test of time.
KOVATCHEV,
Away from the road and encircled by housing
XIAOPING JIANG
of differing scales, a generous green space and
play area creates a safe, engaging heart and
a unique sense of place for the residents of
this social housing complex. Through careful
planning, all residents benefit from naturally
light-filled homes with considered window
placement and deck spaces. Kāinga Ora’s
collaboration with architects, iwi, community
groups and contractors has driven a diverse
and integrated living outcome that must
be admired.”
Photography: Simon Arms.

RANGIORA, CHRISTCHURCH
KĀINGA ORA – SOCIAL HOUSING REDEVELOPMENT

BY ROHAN COLLETT ARCHITECTS
“Addressing an urgent need to house single

occupants in low-rise, suburban Rangiora,
this social housing development creates an
accessible and welcoming enclave of homes.
With a nod to Warren and Mahoney’s
Christchurch flats of the 1960s, the architects
have carefully created clusters of two-,
three- and four-unit groups that appear as
individual homes with familiar gable roof
forms. Thoughtfully proportioned and
planned, the 28-residence development has
integrated accessible ramps into its landscaping,
with paths, roads and small outdoor spaces
creating a sense of home, sociability, safety
and community. Built with low-maintenance
brick and precoated metal, this quality urban
environment provides a strong model for the
future provision of state housing in Aotearoa.”
Project team
ROHAN COLLETT, JASON ROOME,
LIAM MCEWAN, IVOR MCCHESNEY

GRAFTON, AUCKLAND
WAIPĀRŪRŪ HALL
“Within a crowded precinct of student halls of

residence, this pair of attractive, nuanced towers,
poised between city’s edge and motorway, stand
tall and apart. Thoughtfully created to foster
a sense of community, generous spaces offer
large dining areas, smaller group study and
meeting places, and private study spaces, which
are arranged over a two-storey podium. Highly
glazed, this podium allows views into and out
of this busy and vibrant student community.
Central common spaces on each floor help to
foster connection and a sense of belonging,
making Waipārūrū Hall an exemplar of the way
student wellbeing can be nurtured and enhanced
by quality architecture.”
Project team
SHANNON JOE, MAT BROWN, STEPHEN DE VRIJ,
SCOTT COMPTON, ARRON O’HAGAN, MARTIN SEARLE,
DAVID HOAD, BRENDAN HIGHT, JUSTIN CROOK
Photography: Supplied.

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SMALL PROJECT ARCHITECTURE AWARD
BAY OF PLENTY
ELEGANT SHEDS
BY COMMON SPACE
“The simple brief for a carport, clothesline

and garden shed has been thoughtfully
resolved into a collection of forms that brings
delight and convenience to everyday tasks.
Large overhangs, slatted screens, hinged
window awnings and seats add a generosity to
utilitarian functions, and the architect’s skilful
use of everyday materials, such as concrete
block and treated pine, give a tip of the hat
to architects Julie Stout and the late David
Mitchell, as the project’s name suggests. A
superb demonstration of the architect’s ability
to bring joy to the most basic, but important,
of structures, this is indeed an elegant shed.”
Project team
CLAIRE NATUSCH
Photography: Patrick Loo.

AUCKLAND
MY WHARE
BY SGA – STRACHAN GROUP ARCHITECTS
“In response to the crisis of youth homelessness,

these well-executed, transportable buildings
provide rangatahi with the opportunity for a
brighter future. Designed to be transported onto
the property of a host family, the My Whare builds
help facilitate care and connection alongside
independence, as their inhabitants transition out
of state care or homelessness. By approaching this
project with care and thoughtfulness, the architect
has created aspirational and exquisite spaces that
demonstrate the role the profession should play
in creating a built environment for our most
vulnerable people.”
Project team
PAT DE PONT, KELLY O'SULLIVAN
Photography: Ross Keane.

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PETONE, WELLINGTON
THE CUBE
BY FIRST LIGHT STUDIO
“On the 6x6-metre footprint of a former

garage, this backyard infill home for downsizers
complements and draws from a 112-year-old
main villa on a suburban Petone site. With
its cleverly worked diagonal plan, The Cube
provides surprisingly loose-fit volumes for
personalised living and working across two
zones, that each extend out under a slim canopy
of steel and recycled timber to adjacent gardens.
This deceptively simple and well-loved little
house has a spatial complexity and generosity
well beyond its humble dimensions and budget,
and provides an excellent and timely precedent
for densification and multi-generational living
on suburban sites.”
Project team
BEN JAGERSMA, MITCH HOLDEN, OLLY SYME,
OLIVER SHEARER
Photography: Andy Spain.

JOHN SCOTT AWARD FOR PUBLIC ARCHITECTURE
Christchurch
Town Hall
Demonstrating leadership, sensitivity and intelligence,
Warren and Mahoney has breathed new life into
this magnificent building.

NZIA architect
PETER MARSHALL
Project team
RICHARD MCGOWAN
SIMON LAURIE
ANGELA PELHAM
SHANE HORGAN
EOIN HUDSON
Photography
STEPHEN GOODENOUGH

JOHN SCOTT AWARD FOR PUBLIC ARCHITECTURE
“... this town hall complex

is now perhaps better than
it ever was, and stands as
testament to the power
of architecture and the
importance of culture.”
NORTH ELEVATION EAST ELEVATION
SOUTH ELEVATION WEST ELEVATION

Jury Commentary
The terms ‘world class’, ‘iconic’ and ‘beloved’ are

often overused but, in this instance, they are
truly apt. Tossed towards the Avon River by the
2011 Canterbury earthquakes, this magnificent
building sat awaiting almost certain demolition
until the Christchurch City Council’s brave and
visionary decision to restore and upgrade the entire
complex – to include a substantial annex for the
Christchurch Symphony Orchestra, as well as
improved accessibility, occupant safety, flexibility
and upgraded technology. This ambitious project,
guided wholly by the principle of ‘do as little as
possible but as much as necessary’ has seen a small
army of architects, engineers and contractors
working closely together in the most trying
conditions. The architects have shown leadership,
sensitivity and intelligence in bringing this building
back to life with the finest level of care and detail –
slavish in some areas and bold in others – breathing
new joy into this important building. Built around
one of the country’s best rooms, the Douglas
Lilburn Auditorium (also known as the ‘living
room of Christchurch’), this town hall complex
is now perhaps better than it ever was, and stands
as testament to the power of architecture and
the importance of culture.
– NZIA CITATION
Originally completed in 1972 and designed by Warren and

Mahoney, the Christchurch Town Hall, often described as
the city’s ‘living room’, has served as a gathering place for
performances, cultural events and meetings for 50 years.
A much-loved and well-patronised building, the Town Hall
has been rebuilt and refurbished following the 2011 earthquake
with the finest level of care and detail.
– WARREN AND MAHONEY PROJECT DESCRIPTION

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PUBLIC ARCHITECTURE AWARD
PARNELL, AUCKLAND
AUCKLAND WAR MEMORIAL MUSEUM TĀMAKI PAENGA HIRA

– TE AO MĀRAMA AND CENOTAPH GALLERIES
BY JASMAX, FJMT, DESIGNTRIBE AND SALMOND REED
“Through diverse and responsive stakeholder Project team

engagement, and respectful intervention with JASMAX: MARIANNE RILEY,
heritage, this collaborative team has created NEIL MARTIN, PAUL LELIEVELD,
critical new connections and facilitated HUNTER GILLIES, JUSTINE

GOODE, ROBERTA JOHNSON,
improved accessibility to Tāmaki Paenga Hira
ALEX THOMAS, ICAO TISELI,
Auckland War Memorial Museum. A new
CHAD BISHOP, ERINNA WONG,
entry sequence welcomes visitors through
SAM LAU, DAVID PUGH
carved fins into Te Ao Mārama, the South
Atrium, and new pathways navigate visitors FJMT: RICHARD FRANCIS-
through the building. Rich materiality, local JONES, SIMON BARR
timbers and sculpted forms with diverse DESIGNTRIBE: RAU HOSKINS

narratives connect old with new, reinforcing SALMOND REED: JEREMY
cultural connections, and strongly grounding SALMOND, ALI DE HORA
the building in its unique place.”

ŌTĀHUHU, AUCKLAND
TIAHO MAI ACUTE MENTAL HEALTH

INPATIENT UNIT, MIDDLEMORE HOSPITAL
BY KLEIN
“Tiaho Mai represents a new model of care where a

focus on health, wellness, whānau and community
are at the heart of recovery for people requiring
acute-level mental health care. As a result of
extensive research and collaboration with the
district health board, the architects have structured
this building around seven courtyards and light-
wells, inverting the traditional hub-and-spoke
design. Social spaces and open-air courtyards are
accessible from light-filled corridors, and cross
views allow staff to observe from a respectful
distance. Tiaho Mai proves that good architecture
can help enable the delivery of mental health care
that is uplifting and respectful of the people who
access it, as well as their whānau and staff.”
Project team
RACHAEL RUSH, RICKY LAM, MELANIE MASON,
NICHOLAS WEDDE, DANIEL BARRINGTON, CRAIG WILSON
Photography: Mark Scowen.

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ELGIN, GISBORNE
GISBORNE AIRPORT
BY TENNENT BROWN ARCHITECTS AND ARCHITECTS 44 IN ASSOCIATION
“A well-functioning regional airport with a

grounded sense of belonging, this simple structure
has been embraced as a community building
by, and for, the people of Tairāwhiti. Suggesting
both the whare and the waka, the terminal’s form
and folded roof are elegantly structured. The
rich interior is anchored by a patterned tāhuhu
(ridge pole) at its spine, alongside toi whakairo
(carvings) that embody a sense of well-being and
welcome. In developing Gisborne Airport, the
architects have complied with rigorous Living
Building Challenge requirements, while their deep
commitment to material research and project
delivery has realised a sustainable, bicultural
building that reflects the mana of mana whenua
and provides a fitting gateway to Tairāwhiti.”
Project team
EWAN BROWN, STUART MACKAY, HUGH TENNENT,
MAURICE PIPSON, KEVIN LUX, NICK WENHAM, ROBERT
PAULIN, CAITLYN LEE, DEVO STAPLES, JULIE COOK
Photography: Andy Spain.

PLANNING AND URBAN DESIGN AWARD
ŌTAUTAHI CHRISTCHURCH
ONE CENTRAL – BEDFORD APARTMENTS

AND BEDFORD TERRACES
BY ARCHITECTUS
“Bordered by two busy roads and an open Project team

CARSTEN AUER,
public space, this housing precinct is an PATRICK CLIFFORD,
exemplary response to its context, providing SEVERIN SODER, KELLY
people-focused inner-city living designed for CLARK, EDUARDO
FERNANDEZ-MOSCOSO,
young professionals and families. Car parking MATTHEW HOLLOWAY,
on a side lane allows for the arrangement of JAMES DURCAN, RYAN
NEWMAN, CHLOE
buildings around two central courtyards, which, COLES, MICHAEL
alongside an urban pedestrian lane, create quiet WEST, SARA ANDES,
pockets of shared space to encourage strong MICHAEL THOMSON,
ANDREW BUCHANAN,
community engagement. At the precinct’s HAMISH MCPHAIL, LUIS
eastern perimeter, a taller apartment block CUELLO, MONIQUE
MACKENZIE, SASHA
provides a buffer from the impact of a busy
SAMARDZISKA, JAVIER
main road, protection from prevailing wind and CUELLO, CHARLOTTE
passive surveillance of internal public spaces HOARE, JANE ROONEY,
REBECCA HIGGS
from west-facing living and balcony areas. The
rigorous and tight planning of these 6 Homestar
rated one-, two- and three-bedroom units
has resulted in a well-considered and resolved
addition of 94 homes to the housing stock of
Ōtautahi Christchurch.”
Photography: Sarah Rowlands.

PLANNING AND URBAN DESIGN AWARD
CENTRAL AUCKLAND
COMMERCIAL BAY
BY WARREN AND MAHONEY, WOODS BAGOT AND NH ARCHITECTURE IN ASSOCIATION
“The transformation of an entire city Project team

block on a pivotal downtown site has been WARREN AND MAHONEY: PETER
expertly handled to create an engaging WESTBROOK, MICHAEL MASON,
urban experience. By successfully opening NICK WHITE, DAVID MAHON, JI
up the project’s centre with laneways that HYE KIM, SEBASTIAN HAMILTON,
MIKE JACKSON, DAN MCGLONE,
form connections and reinforce linkages to
BARRY TOBIN, LOGAN PRICE,
the wider site context, the architects have
CAMERON PATTULLO, DAMON
crafted a public space that is an extension
ASPDEN, TESSA LLOYD-
of the urban fabric beyond its threshold.
HAGEMANN, SIMON FARREN,
Connections to multiple transport networks
CHRIS BROWN, ANDREW
– including bus, rail and ferry – have been
BARCLAY, DARCY UTTING
integrated and tunnels for the underground
WOODS BAGOT (SAN FRANCISCO):
City Rail Link are accommodated beneath.
PATRICK DALY, LUCILLE
This is a project that seeks to represent
YNOSENCIO
Auckland’s unique identity with skill and care,
and that triumphantly enriches the city far NH ARCHITECTURE (MELBOURNE):
ROGER NELSON, MICHAEL NEVE
beyond the boundaries of its site.”
Photography: Sam Hartnett and Simon Devitt.

FROM THE JURY
CONVENOR’S MESSAGE
SHARON JANSEN
It is a huge honour to be on the Te Kāhui Whaihanga

New Zealand Architecture Awards jury, especially as
its convenor. Firstly, and foremost, I would like to thank
my fellow jurors, John Hardwick-Smith, Gary Lawson
and Grant Edwards. To Grant, who dropped all his
commitments and replaced our international juror,
Mel Bright from Melbourne, with just 10 days’ notice,
I am particularly thankful. As convenor, I was fortunate
indeed – you are feisty critics, with considered,
thoughtful and succinct perspectives. Thank you for
your excellent company, conversation and skilful writing.
Grant summed up this tour as being the architectural
equivalent of reality television show The Amazing
Race. And, although this was a whirlwind tour, it was
a privilege to visit these projects in reality. As jurors,
we aim to assess the essence of each project – its
siting, its expression and function, its place in the built
environment, and the way in which it contributes to
the lives of its occupants and community. While we
may have varied opinions and approaches, we all seek
that intangible ‘magic’ that is manifest in a site visit.
This is when we can see and feel architecture’s ability to
improve lives and uplift the human spirit.
This year, we saw many excellent entries in the Housing
– Multi-Unit category, which is significant as our property
market changes and adapts to new residential living
models. In this time of urgent need for housing across
the spectrum of our society, we found ourselves needing
to break our own rules by adding a fourth winner to this
category, where two vying for a place were inseparable.
We also assessed all stand-alone residential housing
projects together – except for a tiny house, which sat in
relation to its host. In the Housing category, we look to
celebrate what it is that makes a good home, regardless
of budget or size. With these winners, we recognise
that excellent design in housing is not only about a
beautiful photograph, but also about space, thermal
performance, functionality and connections to place.
This year, the jury experience was different, as Covid-
19 impacted the tour several times, delaying short-listing, Finally, I would like to acknowledge all the clients
causing two strandings in Australia and, finally, halting who allowed us access to their places of work, learning,
the tour itself. As well as having to assess the last five living and more, and give special thanks to the final few
projects virtually, we were conscious that we lacked an who kindly adapted to the restrictions we encountered;
international juror – that overseas arbiter who gives such you are architecture’s great advocates, and we CLOCKWISE
a valuable perspective to our national-level projects. acknowledge your time and commitment, not only to FROM
TOP LEFT
But, through many a robust discussion and extended (!) your projects but to this process. I would also like to Sharon Jansen
deliberations, we worked hard to look at each project on thank Daryne Begbie, our awards organiser from Te (convenor),
the continuum of excellence achieved by New Zealand Kāhui Whaihanga. Her grace, good spirit and efficiency Grant Edwards,
Gary Lawson
Architecture Award-winning projects. In the end, it was make her a pleasure to work alongside, and I thank her and John
those projects that were joyous to experience. for her efforts and company in this strange Covid year. Hardwick-Smith.

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Crit / Itinerary Supported by
01
ITINERARY_ 1972–1984
BNZ Building
1 Willis Street, Wellington
Stephenson & Turner
City Guide: 02 03 06 08
09 10 11 14
Offïce 13
buildings
The clean lines and minimalist detailing
01 04 05 07 of the BNZ (‘the big, black BNZ’) place
this building firmly in the modernist
tradition. It took 12 years to complete
because of a lengthy consenting process
and because of strikes and go-slows
12
by boilermakers. The latter meant the
building’s steel frame was a Wellington
landmark for years and postmodern
buildings were being completed
contemporaneously. Underground
connections to the Old Bank Arcade
came later. The BNZ building still
seems to say “HAHA” at top and
bottom. See New Zealand Architect,
Words by Andrew Barrie and Julia Gatley. no. 5, 1986.
There’s a Koolhaas quote for every reflect organisational structures up to their own liking; on the other, The climate crisis is presenting
occasion: “People can inhabit – diminished or disappeared. The providing fewer desks was much new and urgent design challenges
anything. And they can be miserable specialist stuff people needed to do cheaper. And, like all freedoms, it for office buildings. It is
in anything and ecstatic in anything. their work – product catalogues, was not without its costs; constantly encouraging the renewal of older
More and more, I think that company libraries, paper records, hunting around the building for buildings rather than sticking with
architecture has nothing to do with drawing boards, adding machines co-workers could be draining and the established model of demolish
it.” Both freeing and depressing, this – vanished, much of it into initial enthusiasm for such loose and replace. We are all accustomed
view might be truest of all about computers or onto CDs and then arrangements waned. to the adaptive reuse of redundant
office design. into the cloud, and office design More recently, there has been old commercial buildings as
In the 1880s, the technologies of became largely about supporting a focus on balancing the need for apartments; this practice took off in
the steel frame and the lift detached the relationships between workers workplaces to be efficient and a the 1990s. The climate crisis now
office space from the ground plane, and their computers (which is fairly desire that they be energising. demands that more of this ingenuity
giving us the corporate skyscraper. easy), and between the workers and To foster the interactions and be brought to other types of reuse.
Since that time, downtown office their colleagues (which is much chance encounters that promote Most recently, however, Covid-
buildings have often been vertical harder). Office designers began to collaboration, or simply to allow 19 has thrown the whole office
extrusions of their sites, while the think the latter relationships could members of staff to see one another, building type into question. It has
lower floor–area ratios on city be managed through the former. designers have been inserting shown that many office workers can
fringes have allowed more freedom Thus, the 2000s saw the atrium spaces and social hubs. Slabs work productively from home and,
to shape buildings to create integration of various forms of office space have been opened indeed, that many of them want to
distinctive spaces. of hot-desking. Staff members up, making room for natural light, continue working from home. AMP
Just as technology enabled the were divided into tribes, such as dramatic staircases and places to was one of the earlier companies
advent of the skyscraper, a little ‘home-ers’, ‘zone-ers’ and ‘roam- meet. And, as in other building in this country to exit its inner-city
over a century later, the advent of ers’ – some might have permanent types, there has also been a office tower. We have to anticipate
laptop computers, mobile phones desks, some might choose different commingling of functions: retail on that the effects of Covid-19 on office
and WiFi allowed workers to be desks on different days, and others pedestrian frontages, a café in the culture will be long term, with shifts
unshackled from their desks. Things might need desks only on occasion. foyer, a mini-supermarket tucked in expectations and norms, and with
that had previously been important Motivations were mixed: on the into the basement, a bar on the microbe-awareness reducing the
in office design – uniform lighting, one hand, change was driven by roof. In buildings such as Site 3 or appeal of hot-desking and, for some
the ability to rearrange cabling, the notion that staff would be more Geyser in Auckland, the slick atrium people, even the appeal of working
orderly positioning of desks to productive if free to set themselves becomes an attractive courtyard. in close proximity with others.
Victoria Street Architecture New Zealand 127

Crit / Itinerary
02 03 04 05
1980–1984 1988 1986–1988 1987–1991

Union Building Fay Richwhite Building Telecom House The Majestic
2 Commerce Street, Auckland 151 Queen Street, Auckland 13–27 Manners Street, Wellington 100 Willis Street, Wellington
Warren and Mahoney Dino Burattini with Peddle Thorp & Aitken Athfield Architects Manning & Associates and Jasmax
The site of this building has historic

associations – the Union Company Telecom House is distinctive for The Majestic replaced Wellington’s
had occupied it since the 1920s – but Clad in Dutch glass and Argentinian its wavy façade and green ceramic old Majestic Theatre, demolished in
the design focused on developing new granite to a concept design by Aussie tiling and glass. The façade has been 1987. The tower was the country’s
models. The external pre-cast concrete architect Dino Burattini, this project is compared to that of Gummer and tallest when it was completed, but
bracing for absorbing earthquake loads Auckland’s most sculptural tower; Peter Ford’s State Fire Insurance Building was overtaken a short time later by
was a first for high-rise buildings in Sargisson went so far as to describe it in Wellington (1938–1941), which, the Hassell-designed ANZ Building,
New Zealand; the cunning piles-in- as “a virtuoso display of architectural in turn, has been compared to Emil 23–29 Albert Street, Auckland (1991).
tubes base-isolation system was a skills”. Very much of its time, in Fahrenkamp’s Shell-Haus in Berlin According to Emporis, the Majestic has
global first. The project received an addition to office, retail and residential (1930–1931). It is surely coincidental, 29 storeys above ground and reaches
NZIA Regional Award and an NZ space, the design included a private though, that the green tiles on to 116 metres, while the ANZ has
Concrete Society Award in 1984. See club, complete with fitness centre, Telecom House were imported from 35 storeys above ground and reaches
Home & Building Dec/Jan 1984/1985 tennis court, 25-metre pool and dining Germany. By the 1980s, Wellington 152 metres. The Majestic is said
and NZ Concrete Construction May facilities. It won an NZIA National City Council was giving plot-ratio to be the furthest south skyscraper
1984. Warren and Mahoney’s Citibank Award in 1992 and an Enduring Award bonuses for commercial buildings that (i.e. building over 100 metres tall) in
Building, completed just five years later in 2017. See Architecture NZ Nov/Dec included apartments, and Telecom the world. See emporis.com. It earned
and a block away at 23 Customs Street, 1988. Peddle Thorp fans might visit its House included five, with contrasting an NZIA National Award in 1992.
shows the firm’s swift transition to former ASB Bank Centre at 135 Albert terracotta colouring. See Gatley, See Architecture NZ Jul/Aug 1991
PoMo classicism. Street (1991). Athfield Architects (2012). and May/Jun 1992.
06 07 08 09
1998 2007 2009 2009

Site 3 Meridian Building NZI Centre Ironbank
30 St Benedicts Street, Auckland 33 Customhouse Quay, Wellington 1 Fanshawe Street, Auckland 150 Karangahape Road, Auckland
Patterson Associates Studio Pacific Architecture with Jasmax RTA Studio
Peddlethorp
After Axis (91 St Georges Bay Road,

1992–1996) and D72 (72 Dominion This building’s diagrid glazed façade
Road, 1996), Site 3 was Pattersons’ The Meridian Building was New makes it one of Auckland’s most
third project (hence its name) for the Zealand’s first purpose-built 5 Green striking commercial buildings but Spanning a city block, this retail and
developer Samson. An understated gem Star-rated office. Said to use 60 per there is further excitement within. office complex is arranged around
comprising five buildings, a courtyard cent less energy and 70 per cent less Those too shy to stroll the five-storey a path that connects two streets.
and open-air staircases, laneways and water than comparable buildings, it is a atrium might still visit the public café The path expands mid-way to create
bridges, it included the adaptive reuse flagship for a power company wanting to take in the spatial and corporate a plaza, and the highly sculptural
of a historic stable building. The Site to demonstrate its commitment to drama unfolding on the floating floor composition is further enlivened by the
3 building received an NZIA New sustainability through its embrace of slabs, flying stairs and projecting rich textures of pressed metal, Corten
Zealand Award in 2002. See Urbis energy-efficient design. It is in two meeting rooms. The building picked and coloured glass. Given this generous
Autumn 2002, Monument Commercial parts; an elevated white box faces the up Timber Design and NZIA Auckland and urbane sensibility, it is no surprise
Special 2002. The relationship with harbour and a timber-louvred portion Architecture Awards in 2009. See the building is full of architects’ offices.
Samson has continued to produce addresses historic shed buildings. It Architecture NZ Sept/Oct 2009. While See Metro Dec 2009, Architecture NZ
mixed-use projects that represent some earned an NZIA National Award for in that vicinity, check out Jasmax’s Sept/Oct 2009, Nov/Dec 2009 and
of Pattersons’ best work: Cumulus sustainable architecture in 2009. Nearby, Vodafone V.nue at 20 Viaduct Harbour May/Jun 2010. Check out RTA’s other
(8a Cleveland Road, 2003), Anvil 20 Customhouse Quay earned Studio Avenue (2005) and Architectus’ Grant nearby office projects – start at
(109 Dominion Road, 2012) and Geyser Pacific Architecture a National Award Thornton House at 152 Fanshawe 582 K’ Road and head towards
(100 Parnell Road, 2012). for commercial architecture in 2019. Street (2006). 54 Pollen Street, Ponsonby.

Supported by
10 11 12
Other addresses
2009 2013 2012–2014
21 Queen Street ASB North Wharf Stranges and Glendenning Hill
21 Queen Street, Auckland 12 Jellicoe Street, Auckland 219 High Street, Christchurch National Bank Centre
Peddle Thorp Architects BVN Donovan Hill and Jasmax Sheppard & Rout (1987)
205 Queen Street,
Auckland
Glossop Chan Partnership
HQ for Southland
Bldg and Investment
Society (1993)
51 Don Street, Invercargill
Barclay Architects and
An early example of the more Baxter Hesselin McDowell
sustainable alternative to demo Architects
and replace, this project reused the This project became the poster Perhaps the world’s
structure of Peddle Thorp and Walker’s child for activity-based working, southern-most example
Downtown House (ca 1974), adding six in which staff could locate and One old building and two new ones are of postmodern classicism.
floors before recladding and refitting. arrange themselves to suit the together known as the Stranges and
Bestowing an NZIA National Award in needs of the moment. The project Glendenning Hill Building. A sharp,
2011, the jury described the project as also included many other strong glazed corner with coloured glass fins Deloitte Centre
a “Cinderella-like transformation” and design moves – an urban laneway, creates a vivid image. It was the first (2008)
“a timely and standard-setting lesson sophisticated shading and ventilation project to be built in the city’s post- 80 Queen Street,
in adaptive reuse”. See Architecture NZ systems, and restaurants on the street quake red zone and its structure was Auckland
Jan/Feb 2010. Other award-winning frontage – and was awarded the engineered to 180 per cent of building Warren and Mahoney
examples of adaptive reuse for office 2014 NZIA Architecture Medal. code requirements. The complex is also
purposes are Architecture +’s See Architecture NZ Nov/Dec 2013. highly permeable, with laneways and a with Woods Bagot
2006 Conservation House, 18–32 BVN Donovan Hill and Jasmax have central courtyard for bars to spill into.
Manners Street, Wellington, and collaborated on several office projects, It earned an NZIA National Award Chews Lane
Athfield Architects’ 2010 Te Hononga including C-Drive, 33 Corinthian Drive, and the Sir Miles Warren Award for Precinct (2009)
Christchurch Civic Building, Albany (2002) and Sovereign House, Commercial Architecture in 2015. Chews Lane, Wellington
53 Hereford Street, Christchurch. 74 Taharoto Road, Takapuna (2008). See Architecture NZ, Nov/Dec 2014. Athfield Architects
An exemplar mixed-
use project organised
13 14 around and over an urban
2017–2019 2020 laneway.
Mezz Box Foodstuffs Headquarters
298 Victoria Street, Hamilton 35 Landing Drive, Auckland Sources Telecom Place
Edwards White Monk Mackenzie (2010)
New office buildings have a 167–191 Victoria Street
comparatively high hit rate for being West, Auckland
reviewed in architecture magazines,
and the existence of commercial Architectus
architecture awards ensures further A spectacular atrium
recognition for the good ones. Such with four buildings linked
articles have been an important source by dramatic bridges
for this itinerary as, while there is a and stairs.
swathe of books on some building
types (New Zealand houses), there is
little writing that attempts to connect Telecom Central
Photography: Andrew Barrie, Julia Gatley and Robin Skinner.
the dots provided by individual office (2011)

This project is part of an ongoing buildings and offer analysis of the 42–52 Willis Street,
initiative to reinvigorate and extend development of the building type over Wellington
a 1960s office building designed by The backstreets around airports aren’t time. Gerald Melling’s series of essays Architecture +
the Ministry of Works. The Mezz usually promising places to look for in the National Business Review and
Box required particular innovation architecture but this headquarters for elsewhere, republished as The Mid-
in craning a prefabricated studio the Kiwi supermarket giant is one of City Crisis and other Stories back in 12 Madden
space high into the structure, and many sharp buildings commissioned 1989, is something of an exception, (2017)
was rewarded with the NZIA’s Sir by Auckland Airport’s property arm. although very much of its time. On 12 Madden Street,
Miles Warren Award for Commercial Responding to the vast scale of the particular themes that are important Auckland
Architecture in 2018. With the adjacent distribution centre shed – designed to the building type, the New Zealand Warren and Mahoney
Victoria on the River, Riverbank by Eclipse Architecture – the glazed Green Building Council is doing a
Chambers and Riverbank Lane by the office block is sheltered under a huge good job of tracking those with green Winner of the NZIA
same architects, this project injects concrete roof that arcs up out of the credentials (nzgbc.org.nz/green-star/ Sir Miles Warren Award
a sizeable dose of relaxed urbanity ground plane. Internally, a swooping green-star-case-studies) and there are for Commercial
into central Hamilton and renews the atrium injects further drama into the people who are obsessed with ranking Architecture in 2019.
central city’s connection to the Waikato stack of office zones, meeting rooms buildings and structures according to
River. See Architecture NZ Nov/Dec and social spaces. See Architecture NZ height (en.wikipedia.org/wiki/List_of_
2018. May/June 2021. tallest_structures_in_New_Zealand).
Victoria Street Architecture New Zealand 129

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Crit / Book
The Architect and the Artists:

Hackshaw McCahon Dibble
The collaborative projects
1965–1979 THIS PAGE
BRIDGET HACKSHAW Colin McCahon’s
entry windows
MASSEY UNIVERSITY PRESS 2021
and clerestory
windows at St
The Architect and the Artists offers a Ignatius Church,
Saint Heliers,
refreshing approach to documenting our Auckland (1977).
art and architectural histories: disciplines The windows
integrated panels
that are generally recorded in their separate, from the original
specialised fields. Bridget Hackshaw instead church building.
Images: Bridget
maintains a collaborative point of view, Hackshaw, 2020.
highlighting and reinforcing the desire of
architect James (Jim) Hackshaw to bring art
and architecture together in his projects. of years in Western histories): a difficult The author and photographer for this
The publication focuses on 12 building balancing act in a publication that will be used book is Bridget Hackshaw, daughter of
projects over a 14-year period (1965–1979) for research in both fields. architect and father Jim Hackshaw. Bridget
where Hackshaw worked with artists Colin “I’m lucky James and I can question and has a background in education and business,
McCahon, who was at the height of his career, criticise our work and arrive at good answers. has recently trained as an architectural
and Paul Dibble, who was at the start of his. I lop off bits on his buildings – he changes my photographer, and is producer of the
Collaboration sits at the core of this glass panels.” (Letter from Colin McCahon to documentary that this book accompanies;
wonderful book; it is in the subtitle, reinforced Peter McLeavey, 6 June 1978, p. 181.) the film is directed by Christopher Dudman.
throughout the text – both academic In addition to this emphasis on This familial relationship has allowed for a
and personal – and emphasised in the collaboration, the publication interweaves more personalised view, although it is the
acknowledgements. The result is a successful a sense of the personal throughout, which deliberate mix of architectural drawings
reframing of the works of already well- provides an alternative reading to the more (from the Architecture Archive, Special
published artists and architect, providing a usual ‘Nationalist’ positioning in New Collections at the University of Auckland
simultaneous view of art through architecture, Zealand’s history of work of this period.1 Here, Library), stunning recent photographs of
and architecture through art. This intertwining a more personal lens is applied to the projects; the buildings (which are now approximately
of art and architecture is, in itself, rare (the two this has the effect of softening the more typical 50 years old) by the author, historical images,
disciplines have been separated for hundreds stoic, solitary, ‘man alone’ discussion. concept drawings and personal letters that

Crit / Book
cleverly establishes the sense of closeness experience of the spaces and interviews.
to these 12 projects. A sense of intimacy is The essays of Part 1 (by Julia Gatley, Peter
provided throughout, and we begin to relate Shaw, Peter Simpson, Christopher Dudman
to the artists and architect as people rather and Bridget Hackshaw) range from academic
than only examine their work. to personal reflection. In Part 2, project
“And I am right in the middle of the largest descriptions are supported by excerpts
window for Te Puke (and a somewhat terrified from other sources (Andrew Barrie’s Block
architect).” (Letter from Colin McCahon to Itineraries, historical and contemporary gallery
Ron O’Reilly, 25 November 1969, p. 120.) publication blurbs and essays), as well as
Most publications on the work and text from clients and their experiences of the
life of architects tend to avoid including processes of the projects and the spaces (Sister
any information on their lives outside of Maria Park, Upland Road chapel, Oketi Fahina,
architecture, actively removing any evidence Year 13 student, Liston College, 2020) and the
of family life or personal connections, as if already-mentioned personal letters from the
somehow it devalues the seriousness of the McCahon Trust Archives. (Dibble is the most CLOCKWISE FROM TOP LEFT McCahon’s
work itself. Here, it is a delight to glimpse under-represented in Part 2, leaving the reader north window at St Francis de Sales Church,
various personal insights via letters written thankful for his interview with Dudman in Part Torbay, Auckland (1976);
(1976); the conclusion of
Mass, St Francis de Sales Church; McCahon
McCahon’s ’s
by Colin McCahon to close friends, offering 1, with mentions of sketches and his backyard chapel windows with their cross-like metal grids
a broader and more inclusive understanding foundry set-ups, as well as an insight into the at the Otara Convent, Otara, Auckland (1966).
Images: Bridget Hackshaw, 2020.
of the making processes. For example, there personal relationship between these three
are several mentions by McCahon of the culturally and creatively influential men.) REFERENCE
involvement in some projects of his wife This approach provides a balance 1
See F. Pound, The Invention of New Zealand:
Anne McCahon, who was also an Elam in experiencing the projects – in their Art & National Identity, 1930–1970
1930–1970,,
Auckland University Press, Auckland, 2009.
(University of Auckland) graduate. presentation from multiple lenses of
The structure of the book is in two clearly architecture, art and personal life. But it is
separated parts: Part 1 a collection of five through the eye of the daughter-photographer By the book’s end, you have gained the sense
essays and Part 2 focusing on the 12 projects, that the real sense of collaboration and that the main creative connection, worked
a mix of chapels and (religious) schools and personal connection is conveyed. The carefully on by all three, is the coloured light itself that
houses from the ’60s and ’70s. composed images are infused with subjective floods Hackshaw’s spaces. The ephemeral,
In both parts, there is an easy coexistence connection, allowing the reader to experience seemingly immaterial light, balanced by
of academic research and opinion, with a the work of McCahon, Dibble and Hackshaw the grounded weight of the cast bronzes, is
clever combination of text written by experts with a softened view not typical of most evidence of a true collaboration.
in the subject field, as well as personal presentations of their work. Lynda Simmons

Car Parking Solutions + Architecture New Zealand Advertorial
MECHANICAL PARKING IN NEW ZEALAND

Car Parking Solutions’ Bob Haswell looks back at the introduction of car stacking into
this country in 2002 and how the system is as sought after today as it has ever been.
NINETEEN YEARS AGO, A SMALL

Nelson company saw the opportunity to
introduce car stacking to New Zealand.
The need for additional car parking,
particularly in the country’s CBD areas,
was becoming very obvious. With an
increasing number of cars, limited public
transport options and the high cost of
buying a car parking space, developers and
building owners wanted to add additional
car parks to both new and existing
buildings in the hope of encouraging
tenants into high-value, inner-city
premises. The timing was perfect for car
stacking to be introduced in New Zealand.
In comparison to Europe and Asia,
New Zealand was relatively slow to 01
embrace this innovative new parking
01 Apartment car stacking in Auckland CBD. 02 A residential car turntable.
method. After three years of extensive
research, obtaining licenses for the finest
European equipment, a targeted marketing have now completed over 120 projects
campaign and a number of introductions, – some small, some large – throughout
installations began to take place. At this New Zealand. Auckland’s CBD has
stage, business owners simply wanted to the greatest need and it is now almost
increase car numbers with simple systems commonplace to see our systems in
but, over the years, with automated and architects’ drawings. In addition to our
semi-automated systems coming on commercial clients, we also have more
stream and being specified in new builds, than 40 residential homeowners who have 02
it was obvious we could double or even doubled or trebled the number of car
treble the car parking numbers. All it takes spaces on their property.
is some minor design changes – extra While car stacking is still our core The cost to supply and install car
height and width – and, in some cases, the business, we saw the opportunity to look at stacking equipment can vary, from
creation of pit systems. After all, two to car and truck turntables, to make turning approximately $8K to $50–60K a car
three cars on top of each other may need in tight areas easy and affordable. With space, which is now a relatively minor
more space but it is on the same footprint local authority changes requiring front cost compared to the value of a car
of valuable land. entry onto busy streets, our turntables space. But what most of our clients
To counter some initial scepticism are now even more in demand. Another appreciate is the sheer convenience of
about mechanical parking, we realised side to our CBD business is car elevator having a car space handy to either work
the best way to combat this was to install systems – where it is not feasible to or home and at the press of a button, or
and demonstrate. With high European accommodate a ramp, a simple car elevator having a turntable to rotate your vehicle
standards and trusted, reliable, safe system can take cars up to a floor above or to the desired position. It makes life so
equipment from Germany and Italy, we down to a basement below. much easier.
For more information, visit carstakers.co.nz, truckturntables.co.nz or call 0274 350 580

Crit / Exhibition
Learning from Trees: Transforming

timber culture in Aotearoa
VENICE ARCHITECTURE
BIENNALE
22 MAY – 21 NOVEMBER 2021
After the 2020 Venice Architecture Biennale

was postponed as a result of the pandemic,
a container full of engineered timber shipped
from New Zealand spent a year in storage
in a Venetian warehouse. When, finally, the
go-ahead for the Biennale was announced
in early 2021, the architectural team behind
Learning from Trees worked remotely with
an Italian team of builders to put together
the intricately engineered timber structure
to be displayed in the Italian pavilion.
Back in 2018, the creative director of the
Italian pavilion, architect Alessandro Melis
(a senior lecturer at the University of Auckland),
had invited a team from the University of
Auckland School of Architecture and Planning
to develop a project for the Italian pavilion.
The project team included Kathy Waghorn,
Andrew Barrie, Mike Davis and Paola Boarin
(research and design), Max Smitheram,
Denice Belsten, Melanie Milicich and Robyn
Chin (delivery support team), Ruamoko
Solutions (structural engineering) and Mark
Photography: Mary Gaudin.

Andresen, Dylan Waddell, Josh Crandall,
William Challacombe-King, and Bronte Perry
(construction).
Whilst in New Zealand, Melis had become
interested in the country’s culture of timber
frame construction: a much lighter architecture
than the heavier masonry tradition of building
ABOVE AND OPPOSITE The 15-metre-long intricate timber enclosure sits within the Italian Pavilion
in Italy. Within the overall theme of the at this year’s Venice Architecture Biennale and provides a space for exhibition and gathering.
Biennale of ‘How Will We Live Together?’, he
chose the theme of ‘Resilient Communities’. piece of timber, each notch, can be different. Located in the vast Arsenale (the old
Melis was particularly interested in the way Working with students at the university, Venetian ship-building dock area), the
timber locks up carbon and its performance the team pushed this technology to the max, Italian pavilion is an immense display.
in earthquakes; it is an area of research in producing much longer lengths of timber Although an outdoor setting would have,
which Andrew Barrie had been interested than the machines were meant to handle. perhaps, better showcased the New Zealand
since undertaking his doctoral studies in The final structure is a timber enclosure structure, its position in the midst of the
Japan. Barrie had long been fascinated by that acts as a space for specialist exhibition Arsenale offers a pause – an architectural
Japanese timber construction and, particularly, and gathering, and appears as a woven moment. The structure also nicely mirrors
traditional jointing techniques. lattice structure with openings on two the wooden ceiling of the old building:
Learning from Trees was a real opportunity sides. The result is a slender, lightweight, a satisfying contrast of the old Arsenale
to push the limits of how we think about sustainable structure, pointing the way for wooden ceiling with the new engineered
timber construction in New Zealand. New a different kind of construction with mass wooden New Zealand structure.
digital technologies have meant that each customisation potential. Mary Gaudin

Crit / Exhibition

A Godfrey Hirst Commercial Promotion
THE NATURAL OPTION FOR COMMERCIAL FITOUTS

Following the 2010 Canterbury earthquake, Lincoln University embarked
on a 10-year journey to redesign and rebuild its science facilities.
01
LOCATED AT THE SOUTHERN END OF THE SHEPPARD & ROUT ARCHITECTS:

campus, the Agricultural Sciences building is the “We had a mandate from Lincoln University to deliver a new, cutting-
first of the university’s two new science facilities edge science facility in line with their sustainable infrastructure goals.
to be completed. Our recommendation was to use wool carpet, wherever possible, due
Taking just 12 months to build, this new facility to the renewable credentials and its hard-wearing properties.”
delivers modern teaching, research and collaboration
spaces to more than 50 academic staff, researchers
and postgraduate students. solution, as tiles facilitate ongoing maintenance and
Lincoln University is committed to being an serviceability.
exemplar of sustainable practices for the land-based Godfrey Hirst was acknowledged as the preferred
sector and the ecosystems within it, not only through supplier to design, produce and supply the modular
teaching and research but in everything it does. wool tiles and a new bespoke product was developed 01 The
Following on this ethos and determined to honour from scratch in collaboration with Sheppard & Rout Territoire
wool-tile
Lincoln University’s heritage as the oldest agricultural Architects and GH Commercial. flooring
teaching institution in the Southern Hemisphere, Godfrey Hirst’s Australasian product development solution
the university’s procurement team resolved to use team worked to develop a wool tile that would not was created
specifically
New Zealand wool as the primary flooring solution. only be aesthetically pleasing but would also perform for the new
From experience, they knew they needed a modular well in a busy university environment. So, from the building.
138
02 03
outset, an ACCS Commercial Extra Heavy-Duty CREDIT LIST

Project:
grading was specified. Lincoln University
Using a combination of yarns originally developed Agricultural
for commercial broadloom products, coupled with Sciences Building,
1408 Springs
their tile manufacturing experience, the Godfrey
Road, Lincoln
Hirst team developed Territoire. The seemingly 7674
random grid-like pattern was emphasised by Flooring: Godfrey
using a subtly heathered bluish-grey yarn together Hirst Territoire in
colour Corsica,
with a black yarn; both woollen-spun yarns were
wool textured loop
manufactured in Oamaru. This pattern works pile, 38oz
well with the decorative glass panels and exposed Ratings: ACCS
industrial ceilings in the Agricultural Sciences Commercial Extra
building. The grid-like motif was further enhanced Heavy Duty 4 stars
and ECS Level 4
by installation of the wool tiles in an ashlar pattern,
which echoes the building’s façade.
This new Godfrey Hirst flooring solution,
developed specifically for Lincoln University, signals
the important role customer-supplier partnerships
02–04 The
play in shaping a more productive and sustainable bespoke 100
future for the New Zealand building industry. per cent New
Zealand wool
Lincoln University has always been a chief driver
tiles are used
of innovation in the land-based sector, particularly in in teaching,
the food and fibre industries, and the Godfrey Hirst meeting and
collaboration
flooring solution for the university’s new Agricultural spaces. Their
Sciences building reflects that forward thinking. heavy-duty
rating is ideal
for the busy
LINCOLN UNIVERSITY: university
04
“Our new Agricultural Sciences building demonstrates environment.
our leadership in sustainability practice and our support
for the New Zealand food and fibre sector in its design
and performance. In its choice of a sustainable flooring
product, our project management team were clear in
their demand for wool carpet tiles grown by For more information, visit ghcommercial.co.nz
New Zealand farmers.” call 0800 500 210 or email commercial@godfreyhirst.co.nz
139
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K ADA .CO.NZ

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design Mario Bellini - www.bebitalia.

Auckland 99 The Strand, Parnell +64 9 302 2284

As timeless as the moon. Features

Request your sample at equitone.com. Weight 17.4 kg/m2

Etex Exteriors ANZ, Distributed by The Building Agency

— Made in New Zealand*

— Waste Recycling and Composting

For more info visit gib.co.nz/

** Go to gib.co.nz/sustainability for further

24 ACROSS THE BOARD

75 2021 NEW ZEALAND

Read more about this project

more about circularity in their work, keeping PUBLISHER

New Zealand topped up its domestic coal and explaining

12 Architecture New Zealand

OUR ALUMINIUM IS GREEN TO THE CORE

Specify Thermosash – we believe it simply makes buildings better.

NZ in-trade. Some project processes cry out for more

MADE Christchurch Town Hall must rate highly on the

PASSIVE emissions, was pumped into the new foundations

FIRE SYSTEMS I also reckon there are at least three projects

Photography by Simon Devitt

Off with my head!

Architecture New Zealand 17

18 Architecture New Zealand

One of our most popular neutrals.

Architecture: to love people and place

Architecture New Zealand 21

22 Architecture New Zealand

• High recycled content with

• Only window and door supplier

TOWERING ABOVE THE REST

24 Architecture New Zealand

Photography: Jackie Meiring.

Architecture New Zealand 25

PUBLIC PASSIVE HOUSING

work at scale in New Zealand. methodology,” says Diaz. “It’s no longer

26 Architecture New Zealand

Introducing the new MODE KS1460 Series.

Available exclusively at Stoke Fireplace Studio.

THE MACHINE STOPS:

Architecture New Zealand 29

Render and plan: Supplied.

30 Architecture New Zealand

32 Architecture New Zealand

Architecture New Zealand 33

THE DUNCRAFT HOUSE (1974–1986)

34 Architecture New Zealand

Photography: The Central Private Hotel by Tim Pierce.

How did you arrive at the overall concept?

Architecture New Zealand 35

Practice in Prof ile

36 Architecture New Zealand

Architecture New Zealand 37

38 Architecture New Zealand

through data – traditionally, data was gathered

CULTURE THAT DIFFERENTIATES

Architecture New Zealand 39

40 Architecture New Zealand