New Zealand's Rural Enigma

Isaac Sweetapple

New Zealand’s Rural Enigma

Thesis submitted in partial fulfillment of the requirements for the Master of Architecture (Professional) degree, The University of Auckland, 2018.

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New Zealand’s Rural Enigma searches for ways in which bucolic idealisations of rural New Zealand can be architecturally scrutinised, observed and redefined. The thesis interrogates how architecture can manipulate perceptions of the rural by identifying sites of discontent and reinterpreting how they are communicated and discussed within architectural discourse.

New Zealand’s Rural Enigma is a series of five episodes that requires their latent observers to implicate themselves.

The work – an installation of five cardboard boxes employing shadow boxes, collage and architectural drawings – is intended to be accessible to a nonexclusive public. It plays dumb and embraces its DIY quality. Posing as a collection of makeshift screens, the boxes question ways in which an architectural investigation is presented, explored and understood by both its ‘creator’ and its audience. The materials and methods implemented allow New Zealand’s Rural Enigma to negotiate the past, present and future through a series of curated capsules of 21st century consumer culture.

Here the place of architecture in rural New Zealand is presented as a pervasive, continuous relationship between the commercialisation and consumption of space. Rather than solving problems, each episode of New Zealand’s Rural Enigma unearths the unknown knowns potently present within the architecture of the rural. This architectural exploration of New Zealand’s regions through absurd spatial adaptations promotes architectural conflicts and exposes latent truths that offer a humble, sardonic reflection upon the rural that New Zealanders have long admired and disdained but continue to construct.

Abstract

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To my Mother, who taught me to love books and opened the door to Narnia, AlagaĂŤsia and Middle Earth.

And to my Father, who taught me that if I was going to do something, I might as well take my time an do it right.

Dedication

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I would first like to acknowledge the crucial support of my supervisor Chris Barton. Thank you for your perspective, humour and patience. Your dedication to your students is invaluable.

Thank you to my friends and family for their wit and support over the last five years. In particular, to Maito, Kevin, and Sam for their company and insight throughout the course of this thesis. * Thanks to Graham Burgess for the crate

Acknowledgments

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Contents

13.

Introduction

31.

Episode 1: The Promised Land LLC

57.

Episode 2: Raising the Steaks

83.

Episode 3: St Adium

111.

Episode 4: BARthtime

135.

Episode 5: BOLThole

161.

The Making of...

197.

Reflection and Conclusion

209.

Bibliography

225.

List of Figures

233.

Appendix

New Zealand’s Rural Enigma

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Introduction

New Zealand’s Rural Enigma

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[Fig.0.1]

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[Fig.0.1] Verkaveld Drents Landschap

by Han Jansen Screen print 70 x 70cm

This thesis is an ongoing exploration into how the bucolic perceptions of the rural can be architecturally scrutinised, observed and redefined. It presents five bizarre episodes that delve into the personalities, tensions, and reticence within New Zealand’s rural regions. It tells New Zealanders something about themselves that they either didn’t know, or knew in part - tweaking and unearthing conventions of the rural that ultimately define our place in the world. Here, architecture has been harnessed as a myth-making machine to promote communal reflection, observation, and engagement within the ‘playground of the Pacific’. In his seminal text The Penguin History of New Zealand, Michael King states that; “what distinguishes New Zealand’s history from that of other human societies is that these themes have been played out in a more intensive manner, and at a more accelerated pace, than almost anywhere else on Earth, For this reason, their course and consequences have interest and relevance for human history as a whole.”1This is what makes the findings and position of this thesis not just an interesting or entertaining work, but a necessary one.2 From the first discovery of New Zealand by Polynesian navigator Kupe, to the operations of the colonial enterprise The New Zealand Company, New Zealand has had a long history of perpetuating its own mythical origins, and capitalising on them.3 This work is based on and dependent of, New Zealand’s obsession with mythological self-promotion, whilst at the same time aiming to critique and satirically pay tribute to rural ‘ways’ of acting architecturally and expressing ‘identity’.

The power of mythology as an ideological force is discovered through the identification of traditional mythical elements within cultures. This thesis openly exploits a history which “pivots on the active relationship between the past and the present, (the) subjective and objective, (the) poetic and political.”4 The myths of rural New Zealand are constantly manipulated and maintained, its imagery and value systems providing the crucial ideological framework that represents the ‘kiwi way of life’.

1 2 3 4

Introduction

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King, The Penguin history of New Zealand, 26.

Hirschhorn, “Quality, No! Energy, Yes!”, 6.

King, The Penguin history of New Zealand, 38, 47.

Samuel and Thompson, The Myths We Live By, 5.

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This myth-making is seen most potently within rural New Zealand. Despite being only a small portion of the population, rural New Zealand is still branded as the economic backbone of the county; particularly in regard to tourism and agriculture.

As a result “New Zealanders interpret notions and imagery of the rural way of life differently from people in societies where national wealth does not depend on agriculture.”5 This was recently articulated within the New Zealand Institute of Architects’ Future Islands exhibition for the 2016 Venice Architecture Biennale; in which a herd of 413 cows inhabited the exhibitions 20 floating archipelago.6 Associate director Kathy Waghorn stated that this was because “It just seems that dairy is a powerful force in shaping the future of these islands and the cows are a small way to point to this.”7 This idyllic view of the land and livestock as a central component to prosperity is further perpetuated by the romantic notions of pioneering farming families and individuals within the scoping of the rural ethos. This fictional idealisation of the rural is the hyper-rural - most commonly depicted in shows such as Country Calendar in which a “mass stimulation, (is) both promulgated by the media, and lived and rebroadcast by the present day actors, facilitators and entrepreneurs.”8 In this project, nestled amongst the bucolic tales of vertical farming, fishing, and forestry, are a series of absurd adaptations that promote architectural conflicts, which offer humble, sardonic reflections upon the rural that we have long disdained but continue to construct. New Zealand is no longer the untouched paradise it once was. An environment often presented as a pristine totality now navigates the murky intersection between isolation and the worldly.9 Much like Taihape’s giant gumboot or Te Kuiti’s shearer statue [Fig.0.2-3], the episodes of New Zealand’s Rural Enigma find their roots in the cultural rituals, ideologies and economic stimulants of the regions in which they reside. However, like other hyperbolic representations of the rural they also – ironically - “draw from and perpetuate Pakeha colonial mythologies.” 10 5 6 7 8 9 10

[Fig.0.2] Corrugate Gumboot Taihape

[Fig.0.3] Shearer Statue Te Kuiti (shearing captial of the world)

Bell, “Local Claims to Fame: Rural Identity Assertion in New Zealand”, 130.

Barton,“Biennale Bovines.”

Waghorn, in Barton,“Biennale Bovines.”

Bell, “The ‘real’ New Zealand: Rural mythologies perpetuated and commodified, 145.

Mike Austin in Ross,Noel Lane Architect: Recent New Zealand Projects, 18.

Bell, “Local Claims to Fame: Rural Identity Assertion in New Zealand”,

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[Fig.0.2]

[Fig.0.3]

Introduction

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[Fig.0.4]

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[Fig.0.4] Charette Collage Fred Dagg impaled by Parekowhai’s Acts wearing a 81’ protest helmet.

420x294mm

But in contrast to these representations the products of New Zealand’s Rural Enigma aim to critique our understanding of the rural condition and give it a political voice that opposes the current conservative perception, ultimately becoming a drive for change.11 It openly embraces geo-piety “that curious mix of romantic imagination, historical rectitude and attachment to a particular place”12 In 2014 Rem Koolhaas proclaimed that “the countryside is now the frontline of transformation. A world formerly dictated by the seasons and the organisation of agriculture is now a toxic mix of genetic experiment, science, industrial nostalgia, seasonal immigration, territorial buying sprees, massive subsidies, incidental inhabitation, tax incentives, investment, (and) political turmoil, in other words more volatile than the most accelerated city.”13 Within this thesis, these issues (and more) are critically examined within New Zealand’s rural environment; as New Zealand’s short history of human intervention makes it a potent example of the effects of colonial experimentation and western influence. The design issues addressed within this thesis focus on the transformation and representation of the hyper-rural; comparing, contrasting and contradicting architecture’s role within agriculture, immigration, sport, religion, recreation and relocation. This exploration of the personalities, tensions and reticence within New Zealand’s regions has been constructed through the lens of absurd satirical adaptations, promoting architectural conflicts and exposing latent truths. The absurd offers an extravagant, sardonic reflection upon the rural that architects have long disdained but continue to construct.

A figure of interest, particularly at the start of this thesis, was the anti-modern rural flaneur; a term coined by Mike Grimshaw, a kind of male Pakeha version of Walter Benjamin’s flaneur figure who is essentially a by-product of modernity and the city.14 However the anti-modern rural flaneur “rejects the towns and cities and goes rural: an exile, a searching wandering, critical figure walking the coastlines and inland byways of New Zealand, situating themselves against the towns and their limitations, their imitations of a 11 12 13 14

Introduction

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Bell, “Local Claims to Fame: Rural Identity Assertion in New Zealand”, 3 Long, Imagining the Holy Land: maps, models, and fantasy travels, 1.

Koolhaas, “Countryside.”

Tester, The Flaneur, 138; The flâneur is seen as male.

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modern, urban life.”15 The flaneur “was the protest of spirit in the face of encroaching materialism, of human time in the face of artificial acceleration. Thus, he made a cult of the materially useless. His prized possession was the observation, the insight.”16 This figure is present throughout New Zealand literature, television and film. A most potent evocation is seen in John Mulgan’s Man Alone, in which the main character Johnson epitomises the anti-modern rural flaneur mentality. Johnson claims New Zealand “had always been a lucky country where, if a man were well and strong, he could wander about and live well and eat well, where everybody was your friend in a hard, casual way, where a man tramping the roads in the back country could be sure of a night’s rest and meal wherever he stopped.”17 Through his wanderings, Johnson “reveals the mythological secrets of society.”18 This thesis proposes a similar sensibility, in which both the reader and the author partake in the role of the flaneur as they traverse and observe the contents of New Zealand’s Rural Enigma.

A number of the traits of the anti-modern rural flaneur can be seen within the trope of the ‘Kiwi joker’, which has ingrained itself into both media and culture within New Zealand.19 From Fred Dagg, to Flight of the Conchords, this mythological figure tactically partakes in tall-poppy-cropping from the inside.20 It takes critical humour past the point of mere parody to a realm of seriously subversive social commentary.

In New Zealand’s highly wound architecture community, this is often seen as futile, as the sardonic ploys of the ‘kiwi joker’ or larrikin are viewed as lacklustre. But these responses are vain, the pensive laconicism deployed is a way in which groups and individuals make sense of themselves and the world they live in and this is every bit as important as the latest snazzy holiday home, or housing block.

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[Fig.0.5] Man Alone Cardobard Relief 300x200mm

Grimshaw, The Antimodern Manifesto of the Rural Flaneur: When DArcy and John Go For a Wander, 145.

Birkerts, “Walter Benjamin, Flâneur: A Flanerie”, 167.

Mulgan, Man Alone, 36.

Plate, Walter Benjamin, Religion, and Aesthetics: Rethinking Religion through the Arts, 131.

Grimshaw, Landfall 215 - Waiting for Godzone, 95 Morris and Ricketts, ‘Irreverent but not Irreligious - Gook Kiwi Joker Spirituality from Allen Curnow to Flight of the Conchords’, Landfall 215, 98-99.

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[Fig.0.5]

Introduction

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[Fig.0.6]

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[Fig.0.6] Outsiders on the inside Collage 240x200mm

In architectural discourse, similar methods of satirical critique are deployed to unpack and observe spatial conditions.

Works that occupy this realm, such as Rem Koolhaas’s Delirious New York, have been used to critique urban conditions, while projects like Keith Krumwiede’s Atlas of Another America and Hubert de Cronin Hastings’ Civilia: The End of the Sub Urban Man, have set out to critique the suburban.21 New Zealand’s Rural Enigma occupies a space on this spectrum as it critically evaluates the rural context; the next intellectual morsel to be reframed by Koolhaas.22 Projects such as these “critique the complex and contradictory relationship humans have with the environment through architecture.”23 Within this thesis the author’s position “rests on a carefully nuanced ambiguity poised on the edge of satire” to intensify the intrinsic spatial qualities of the hyper-rural.24 The output is ultimately the conversation that is stimulated by the fictional narratives themselves. Narratives that are a form of strategic abstraction that produce a subtle and unexpected separation from reality. “Existing as fiction and reality simultaneously...

The actualization of the imaginary to the real is architecture‘s fundamental mode, its inescapable condition as a medium”.25 A reality in which our own subjectivity is augmented and altered through the subjectivity of object and form.

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22 23 24 25

Introduction

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Koolhaas, Delirious New York: a Retroactive Manifesto for Manhattan; Krumwiede, Atlas of Another America; Hastings, Civilia: the End of Sub Urban Man, a Challenge to Semidetsia.

Self, “Rem Koolhass (1944-).”

Mulla, “Perception & Projection : Augmenting the Relationship between Architecture & Landscape in New Zealand Tourism.”

Sudjic, B is for Bauhaus, Y Is for YouTube: Designing the Modern World, from A to Z, 294.

Sam Jacob, Make it Real: Architecture as Enactment, 87.

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[Fig.0.7]

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[Fig.0.7] Shake Up Collage 210x210mm

New Zealand’s Rural Enigma uses architecture to unearth problems within the rural’s ideological framework. However, its first task is not to propose solutions but to raise the right questions.26 Before this can take place one must first identify the problem with a meaningful methodology and an open mind. The thesis sees the methods in which issues are discussed and represented playing a major role in how they are perceived and understood within polemic discourse. This is somewhat of a new paradigm, which not only requires the reconsideration of how economics and technologies affect architecture, but one that should also be dependent on the political, social and psychological implications of architectural design. The main problem in New Zealand’s rural communities are unknown knowns; things that we know but also don’t know that we know them. Whilst examples of architectural multiculturalism can be seen in New Zealand’s provincial and urban centres, the more conservative occupants of rural New Zealand fail to follow up this egalitarian doctrine. This is exemplified in its architecture as the hierarchical spirit can be seen within “the mute language of its buildings.”27 This could be seen as ‘authentic’ architecture, which is a product of the social system at play articulating its own truths. New Zealand’s Rural Enigma is a series of unknown knowns. Get to know them. After all, in the words of Zizek, “what the official ideology cannot openly talk about can be shown by the mute signs of a building.”28 26 27 28

Introduction

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Zizek, “Cambridge Union”.

Zizek, “Architectural Parallax Spandrels and Other Phenomena of Class Struggle” Zizek.

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The objects of architecture within this thesis are thematically loaded with personal inquiries and experiences that implicate the spectator into thoughts of contradictory social awareness.29 The tension between form and context is capitalised on, and amalgamates as an explicit critique of architecture as a commodity.30 Just like individual goods or services, we consume architecture to gain the experience provided by it.31 Conceptions of the exclusive architectural object in the land(scape) are challenged by the pre-packaged products of the hyper-rural. New Zealand’s Rural Enigma delineates architecture as materialised ideology, turning the viewer into a consumer.32 The boxed products of New Zealand’s Rural Enigma construct a tension between form and context that scathingly celebrates commodity culture as much as it holds it up for examination and critique.33 It holds architecture responsible for its role in the materialisation and manifestation of the current bourgeois rural condition. This is backed up by Peter Sloterdijk, who states that; “being-in designed spaces constitutes our fundamental condition, it seems obvious that architecture must remain conscious of its responsibility for the shaping of situations. Architecture is, above all, the design of immersions. Part of the ethics of the production of space is the responsibility for the atmosphere.”34 29 30 31 32 33 34

[Fig.0.8] Silent Witnesses John Hejduk, 1974 Although going seemingly unnoticed within the body of his work, John Hejduk’s Silent Witnesses architecturally definines the spirit or mood of a particular period of history. The diorama like models, sketches and line drawings are accompanied by a writer and a time period, successively forming a timeline of the last 120 years. For example, in the third section, titled ‘Camus’, 1938-1968, Hejduk draws light upon the rising sea levels, the disappearing of the land mass shown in the previous two installments ‘Proust’ and ‘Gide’, the title is a nod toward the work of French absurdist philosopher Albert Camus. The final zeitgeist of the work is dedicated to postmodern novelist John Hawkes, and presents a bland grey world post 1998.

A similar conclusion is reached in NZRE...

Sachs, Survey; America-Modernism-Fashion, 14.

Sachs, 16.

Zizek, “Architectural Parallax Spandrels and Other Phenomena of Class Struggle” Zizek Sachs, Survey; America-Modernism-Fashion, 12.

Sloterdijk, “Architecture as an Art of Immersion”, 109.

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[Fig.0.8]

Introduction

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[Fig.0.9]

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[Fig.0.9] The Ultimate Anti-Modern Observer Collage 200x200mm

Observation and reflection both play major roles in the presentation of this thesis. New Zealand’s Rural Enigma is presented as a post digital experience, in which the cardboard boxes emulate the function of digital presentation tools such as screens, virtual reality or augmented reality. They ultimately become an exercise in how architecture is viewed, interacted with and consumed. This manipulation of contemporary methods of presentation re-evaluates and repositions the limits of both architectural representation and polemical discourse. Much like the works of John Clarke, Gregg McGee and John Hejduk [Fig.0.8] the contents of New Zealand’s Rural Enigma become a secret on stage, a secret between the person who made it and the people who are consuming it.35 This thesis has inhabited the murky zone between ideals and reality as it continuously feeds off the incongruity between rhetoric and practice. As Donald Meinig states: “… landscape is defined by our vision and interpreted by our minds. It is a panorama which continuously changes as we move along any route. Strictly speaking we are never in it, it lies before our eyes and it becomes real only as we become conscious of it.”36 35 36

Introduction

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Clarke, “tell us something we all know” Meinig, The Interpretation of Ordinary Landscapes: Geographical Essays, 3.

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[Fig.1.1]

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Episode 1

The Promised Land LLC

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[Fig.1.2]

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Overview

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[Fig.1.1] Box 1 Exterior Collage / Assemblage 600x500x900mm

[Fig.1.2] Box 1 Interior Collage / Assemblage 600x500x900mm

“To the world New Zealand is paradise - the Garden of Eden; an idyllic dreamland, uncorrupted by the excess of contemporary man and uncorrupted by architecture.”37 - Mark Wigley The pilot episode of New Zealand’s Rural Enigma, The Promised Land LLC, explores the promotional exploitation and perception of rural New Zealand as an uncorrupted picturesque landscape. For the first instalment we visit the gateway to the Promised Land. A space that guards the boundary between the urban North and the rural South. The Promised Land LLC promotes prosperity to the oncoming immigrant, and proves a fitting starting point for our journey through New Zealand’s Rural Enigma.38 37 38

Wigley, Paradise lost and found : The insinuation of architecture in New Zealand, 279-280.

McKay, “The Story up to Now.”

The Promised Land LLC

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Coming up...

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The Promised Land LLC

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“Aucklanders and other New Zealanders have a mostly light-hearted “love-hate” relationship. Stereotypically, Aucklanders view parts of the country “south of the Bombay Hills” as provincial and unsophisticated, while the rest of the country view Aucklanders as brash and arrogant (Jafas). For this reason, the boundary between Auckland and its southern neighbours bears great significance. People on both sides of the boundary are as likely to say New Zealand stops at the Bombay Hills”.39 Any urban ruralist venturing south of Auckland finds themselves navigating the murky divide between the suburban outposts of South Auckland and the Auckland/Waikato border - the Bombay Hills. This small settlement sits on top of an eroded volcano; a rather symbolic end to the volcanic isthmus of the mangrove metropolis, that marks the end of the south western arm of the Hunua Range and forms a natural barrier between greater Auckland and the Waikato.40 Named after settlers of a British emigrant ship the Bombay, who came to farm the region in 1863, It is now a boiling pot of farmland, lifestyle blocks and a thriving Sikh community.41 The small township is a mix of the two worlds it straddles and epitomises the intersection between the isolation and the worldly.

Martin Heidegger wrote that “Boundary is not that at which something stops but, as the Greeks recognized, the boundary is that from which something begins its presenting”.42 Essentially the Bombay hills simultaneously symbolise the beginning and the end of a journey. However, in the realm of this thesis, the Bombay’s are only the beginning …

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[Fig.1.3] Map 1 Scan of edited map from atlas 297x230mm

McClure, “Auckland places - Papakura and the rural south-east.”

Field, “Auckland’s Bombay hills, the frontier.”

Orsman, The Dictionary of New Zealand English, 75.

Martin Heidegger, quoted in Soja, Thirdspace, 142.

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Location: Bombay Hills

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The shadow box condenses the ideas explored on the exterior assemblages. Its message is simple - a curated version of clean green New Zealand, forcibly put on display.

A collection of ferns are preserved behind a 15mm protective layer of acrylic and backed by a layer of corrugated cardboard; a material that is no stranger to New Zealand architecture. To emphasise the literal framing of the land, the shadow box includes two frames; the outer frame is from a corkboard, while the inner rougher frame, is laminated plywood, both courtesy of a recycling skip.

[Fig.1.4] Diagram of Shadow Box 1 Pen on paper 180mmx250mm

[Fig.1.5] Shadow Box 1 Mixed Media 300x400x150mm

[Fig.1.4]

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Shadow Box 1

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[Fig.1.6]

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Episode 1

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[Fig.1.6] The Promised land Colin McCahon Oil on canvas 920x1370mm [Fig.1.7] Ep1 Box Triptych Collage / Assemblage 900x1600mm

The boxes’ collaged exterior is a curated collection of the archival influences of this episode. These include notable New Zealand films that explore isolation and intrusion, such as, Vincent Ward’s Vigil to Roger Donaldson’s Sleeping Dogs, and influential books The Scarecrow by Ronald Hugh Morrieson and Coal Flat by Bill Pearson, which both unmask the intricacies of small town New Zealand.43 Interspersed amongst these influences are the paintings by artists such as Colin McCahon [Fig.1.6] and Rita Angus that delve into much more than just the picturesque landscape.44 Additionally, both historic and current events, which also find themselves at odds, are included within the assemblage. Conflicts such as, the 1981 Springbok Tour and its riots, sit side-by-side the voyages of Sir Peter Blake.45 Moreover, awkwardly hovering above a series of Trump’s Mexico/ USA wall swatches is a photo from last week’s newspaper, which highlights Winston Peters Respecting New Zealand Values Bill [Fig.1.7].46 From the exploits of the New Zealand Company (A 19th Century British company that played a major role in the colonisation and promotion of New Zealand in the 1840’s47) to the ‘New Zealand and South Seas Exhibitions’ (1889), the picturesque kiwi lifestyle has been a key selling point of the ‘playground of the Pacific’. Through the world’s eyes, New Zealand has been sold as a bucolic natural destination; this embellished ‘self-promotion’ has resulted in little progression. Seminal texts such as Geoff Park’s, Theater Country, question New Zealand’s historical awareness of land and place.48 More recently, Sarosh Mulla’s ‘Perception and Projection: Augmenting the relationship between architecture and landscape in New Zealand Tourism’ more specifically “critiques the complex and contradictory relationship humans have with the environment through architecture.”49

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Ward, Vigil; Donaldson, Sleeping Dogs; Morrieson, The Scarecrow; Pearson, Coal Flat Pound, The Invention of New Zealand: Art & National Identity, 1930-1970, 7-8.

“1981 Springbok tour: A country divided”; “Sir Peter Blake: Kiwi yachting hero” Soboroff, “See All 8 Prototypes for Trump’s ‘Big, Beautiful’ Border Wall.”; Bennett, “NZ First to Discuss Respecting New Zealand Values Bill.”

Phillips, “History of immigration.”

Park, Theater Country: Essays on Landscape & Whenua, 19.

Mulla, “ Perception & Projection : Augmenting the Relationship between Architecture & Landscape in New Zealand Tourism.”

The Promised Land LLC

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[Fig.1.7]

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Episode 1

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The Promised Land LLC

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[Fig.1.8]

[Fig.1.9]

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Episode 1

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[Fig.1.8] Waharoa

by Selqyn Muru Gateway to Aotea Square [Fig.1.9] Welcoming arch Auckland Celebrating the arrival of the “Great White Fleet” in 1908.

In the words of the legendary branding and communications expert, Howard Greive, “you’ve seen it a zillion times and you’re bored of it, but the consumers are only seeing it every now and then. ‘100% Pure’ has legs.”50 In essence, the branding of New Zealand reaches an apotheosis within contemporary advertising - often pollyannaish and usually generalised for commercial gain. This is eloquently confirmed by New Zealand’s former Prime Minister John Key, who likened the ‘100% Pure’ slogan to McDonalds’ ‘I’m loving it’, “it’s got to be taken with a bit of a pinch of salt.”51 Various New Zealand gateways also find a place within the collage, such as the Aotea Squares expressionist Waharoa by Selwyn Muru [Fig.1.8] and the welcoming cabbage tree archway, for the US ‘Great White Fleet’ of 1908 [Fig.1.9].52 Also included is the carved gateway of Rotorua’s Whakarewarewa thermal village Pa – with its effective physical signifier of threshold highlighting the transition from one realm to another.

Architecture has at times had a turbulent relationship with both historic and contemporary facades. More often than not it is the monolithic, all over composition, that is typically fetishized to the extent that it is the only thing standing after a demolition; almost as if it had been designed separately from the building itself. Similarly, The Promised Land LLC presents itself as though it too is the only remaining remnants of a larger structure. The first layer of the façade is glass, a material typically associated with societal transparency, with its murkier ties to exhibitionism and consumerism.53 The second layer of façade is a collection of lush native plants – green is in – protected and preserved by the outer glass layer. The final layer of the façade is the corrugated iron silhouettes that are the universal representation of things to come. In totality the gateway is a media façade. Typically associated with advertising, media facades like those of Las Vegas and Coney Island have a long history of being used to not only convey information but to also generate atmosphere.54 This compositional layering sees the land south of the Bombay as its interior and brands itself toward the incoming traffic of the urban north.

50 51 52 53 54

Leonard, Lister, and Lawson, This Is New Zealand, 105. “‘100% Pure’ Is like McDonald’s Ad, Says Key.” Graham, “Waharoa at Aotea Square”;”US ‘Great White Fleet’ Arrives in Auckland” Koolhaas, Fundamentals, 248.

Koolhaas, Fundamentals, 249.

The Promised Land LLC

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However, it is not just our tourism that falsely depicts New Zealand, but also the architectural representation of New Zealand aboard which continues to be sold as ‘clean and green’.

‘The New Zealand Concept Store’ by Patterson’s Architects [Fig.1.10] is a classic example of this, as the literal transitions, from an oversized rippling corrugated façade, to a transparent ‘long white cloud’ exterior façade. Its website states that “the concept store interior is a clean, light and water filled world, to sculpturally articulate the nature of New Zealand and its relationship to China in an upside down environment of cloud and land”.55 A similar approach is sardonically exploited in The Promised Land LLC. Where the gateway acts as a spirit wall, and is framed by the landscape as it attempts to guard the path ahead from those “not actually kosher with New Zealand’s way of life.”56 In both the West and the East walls have always become areas of omnipotent tension; one of particular interest, at present being the border between Mexico and the United States of America [Fig.1.11].57 While these types of boundaries are often monumental, the wall qualities of The Promised Land LLC are more in line with those of Eastern spirit walls. Gottfried Semper saw these as community defining symbolic membranes, where the social and symbolic are primary factors, allowing the dynamics of the wall to mimic the beings that it is meant to contain.58 Spirit walls are essentially non-structural walls that screen the household entrance.

The Promised Land employs a similar tactic. Ronald Knapp concluded that, “a screen wall creates a barrier that masks the interior from the gaze of passing strangers, hiding the contents of the dwelling while serving as a focal point for ornamentation that in scale and colour traditionally reveals the rank of the owner”59; as well as keeping the ‘bad spirits’ out.60 The building acts as a symbol in space rather than a form.

The space itself is a literal representation of both the ‘decorated shed’ – a generic shelter with decorated surfaces – and 55 56 57 58 59 60

[Fig.1.10] NZ Concept Store Patterson Architects China 2014 [Fig.1.11] Trump’s Wall Swatches USA/Mexico border

Pattersons, “New Zealand Concept Store.”

Bennett, “NZ First Plans Law Change to Make Migrants, Refugees ‘respect New Zealand Values’.”

Soboroff, “See All 8 Prototypes for Trump’s ‘Big, Beautiful’ Border Wall.”

Kafka, Description of a struggle and the Great Wall of China.

Knapp, China’s Living Houses: Folk Beliefs, Symbols, and Household Ornamentation, 68.

Boden, The Wall Behind China’s Open Foor: Toward Efficient Intercultural Management in China, 17.

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[Fig.1.10]

[Fig.1.11]

The Promised Land LLC

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the ‘duck’ – a building as articulated sculpture - that aims to exploit the one dimensional view of the New Zealand landscape as picturesque.61 Similar approaches are applied in the controversial work of F.A.T (Fashion Architecture Taste) which explicitly exaggerates the facades of their buildings, giving them a childish appearance [Fig.1.12]. A more theoretically articulated version of this is Ron Herron’s SET projects in which “the Architecture was a paper-thin scenery reflecting the public face which people choose to present to other...people building their own myth or reality [or narrative] into their own homes”[Fig.1.13].62 The forms of the ‘buildings’ within Herron SET projects are barely visible behind the elaborate entablature of the exterior façade’s. Like The Promised Land LLC, the form remains secondary to the visual impact and symbolic content.63 In the words of Venturi “a rhetorical front and a conventional behind”.64 The Apple silhouette campaign was one of the most commercially successful advertising campaigns of all time, with its seamless blend of product and universal representation.65 The post racial icon promoted diversity through music choice or dance style, rather than race or gender.66 This use of the universal silhouette has been applied within the façade of The Promised Land LLC. Apple’s all-glass architecture has (ever since 2001) been the built representation of its iconic branding campaigns. In addition, like most other perpetual modernist dreams it has been one the most photographed buildings in the world [Fig.1.14].67 However, the allglass approach taken by Apple is not to display its products, it is about selling a brand – an identity, to the world. The Apple product is no longer an object, the only thing seen within the façade displays are the glowing logo, as the demands of consumer culture have driven the company to display itself.68 61 62 63 64 65 66 67 68

[Fig.1.12] A House for Essex

by FAT and Grayson Perry

[Fig.1.13] Suburban SET Projects

by Ron Herron

[Fig.1.14] Apple Store, Fifth Avenue

by Bohlin Cywinski Jackson

[Fig.1.15] Collage of sketches and drawings for episode 1 297x420mm [next page]

Venturi, Iconography and Electronics Upon A Generic Architecture: A View from the Drafting Room, 124-125 Banham, The visions of Ron Herron, 87.

Venturi, Ugly and ordinary architecture or the decorated shed, 35.

Venturi, 35.

Denny and Byrt. The Founders Paradox: A Compendium, 31 Denny and Byrt, 30.

Koolhaas, Façade, 835.

Koolhaas, 835.

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[Fig.1.12]

[Fig.1.13]

[Fig.1.14]

The Promised Land LLC

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This use of figurative symbolism within the façade of The Promised Land LLC exemplifies rural New Zealand’s idealised contemporary appearance. and its longing to become “a destination in its own right, as well as performing the function of a stage on a holy pilgrimage.”69 Corrugated sheets were first produced in Britain in the 1830’s, in a period of time when it was only considered suitable for temporary dwellings. However, in New Zealand, the standard use of corrugated iron as a building material was quickly favoured. In 1983, the New Zealand writer Geoff Chapple described the ‘unremitting ripple’ of corrugated iron in this country.70 The use of the material is in a sense an exercise in the timeless ironic richness of banality. Corrugated iron is used as both the backing to the gateways billboard, as the preliminary material of the entry and exit toll booths; these small structures are also a nod toward the fetishisation of the decorated shed in New Zealand. The Promised Land LLC takes pride in its ability to provide customers with a safe and authentic rural experience. It exploits a condensed two-dimensional articulation of the rural.

Guarding the southern side of the Bombay Hills, is a border control immigrant processing facility, The Promised Land LLC, specialise in assessing and assisting urban ruralists in their transition south of the Bombays. Part gateway, part-advertising billboard The Promised Land LLC is an exercise in facadism. The gateway to the Promised Land, like the shadow box, preserves the native flora of the land and assertively symbolises the symbiotic relationship between the north and south sides of the Bombay hills. Like the decorated sheds of Tirau, the embellished corrugated facade welcomes, in a world where borders and walls are becoming an increasingly hot topic. Discover the new you now. Your unique journey awaits.

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[Fig.1.16] The view South Perspective collage 297x420mm [Fig.1.17] Facade Breakdown Axonometric Post Digital Sketch 300x500mm [Next page]

[Fig.1.18] Drawing Set 1 Elevation, Plan, Section Post Digital Sketch 597x841mm [Next page]

Gold, “Crossed swords, Gateway to Mecca” Wolfe, Crikey! Talk about Kiwiana, 87.

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[Fig.1.16]

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[Fig.1.17]

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[Fig.2.1]

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Episode 2

Raising The Steaks

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[Fig.2.2]

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Overview

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[Fig.2.1] Box 2 Exterior Collage / Assemblage 600x500x900mm

[Fig.2.2] Box 2 Interior Collage / Assemblage 600x500x900mm

Raising the Steaks takes everyday consumers on a dining experience like no other. It draws on historical practices and architectural enigma, as well as international and national films, art and music to both expose and confront current agribusiness practices. It attempts to question why and how the processing of food has been hidden behind closed doors for so long. And reintroduces ceremonies of ritual and sacrifice; practices that, once seated at the dinner table, have become commercialised and exposed within an architecture that reinvigorates and perverts one of New Zealand’s largest export industries.

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The small eastern settlement of Wairoa is a major rural service centre between Napier and Gisborne.71 First home to Ngati Kahungunu, the area was settled and colonised in the early 1940’s.72 Like most of northern Hawke’s Bay it has a predominantly Maori population - 66.3% in 2013.73 Over the last 30 years the town has struggled with the effects of mechanisation in the agricultural sectors; particularly in the meat industry. The community’s primary source of employment is the Auckland Farmers Freezing Company (AFFCO). The freezing works is a catalyst for controversy in the region. Unsafe working conditions (one referred to as the ‘meat hook incident’) and sewage discharge, as well as a series of strikes and shock redundancies, AFFCO is no stranger to the courtroom.74 But despite being visually hidden and segregated from the township, by the river, the slaughter house still plays a vital role in the community.

71 72 73 74

[Fig.2.3] Map 2 Scan of edited map from atlas 297x230mm

Pollock, “Hawke’s Bay places - Wairoa” Whaanga, “Tribes and Lands” Pollock, “Hawke’s Bay places - Wairoa” Morton, “Affco meatworking plant to pay $55,000 after worker hooked in head”

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Location: Wairoa

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A crucifix barbeque grill holds a skewer of recently terminated livestock. This shadow box remains frameless, and exposes the gruesome contents to viewer. The miniature animals have been crudely cut and stuffed with dyed building insulation. The backing frame of an old 3D printer takes the form of the black steel crucifix and becomes the vertical grill plate of the barbeque.

[Fig.2.4] Diagram of Shadow Box 2 Pencil and crayon 180mmx250mm

[Fig.2.5] Shadow Box 2 Mixed Media 330x400x50mm

[Fig.2.4]

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Shadow Box 2

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In his essay The Purposes of Architecture, Peter Buchanan attempts to tackle whether or not architecture has lost its “enriching sense of purpose”75. This loss or distortion of purpose is also evident within the agriculture industry; an industry previously based around not only the cultivation of food but also one that encourages communities to live on and with the land76. What was once a ‘culture’ is now a business, hence the term agribusiness; which is simply about maximizing short term profits for absent shareholders and shows an increasing disregard for soil quality, biodiversity, wildlife and community77. Raising the Steaks explores how architecture can facilitate and encourage the unification of both agriculture and agribusiness.

Founded in 1865, The Great Union Stockyards of Chicago are the perfect example of the sheer force of agribusiness [Fig.2.7], as they depict the relentless upscaling of the production of meat, post industrial revolution. Famously described by Upton Sinclair in his book The Jungle “...North and South as far as the eye can see there stretches a sea of pens. And they were filled - so many cattle no one had ever dreamed existed in the world”78. This, coupled with the poster [Fig.2.6] is both a literal and visual representation of the extent of the scale of this slaughterhouse operation. Production was then ramped to a monstrous scale when The United States of America entered The First World War, transforming the industrial south side of Chicago into (at the time) the largest meat processing facility on earth79 - the ultimate representation of agribusiness.

Raising the Steaks implements a change in the way that livestock experience the transition from pasture to plate, and attempts to guide them spiritually through the sterile slaughter process. Domestic mammals have always been the preferred animal of choice for ritualistic sacrifice; mainly due to their economic value80. Throughout history, from Mesoamerica to China, the size and scale of sacrificial assemblages directly associated with both political and economic prowess.

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[Fig.2.6] The Great union stockyards of Chicago Map Charles Rascher for Walsh & Company

[Fig.2.7] The maze of livestock pens and walkways at Chicago’s stockyards 1947

[Fig.2.8] Ep2 Box Triptych Collage / Assemblage 900x1600mm (next page)

P. Buchanan, “The Big Rethink Part 4: The Purposes of Architecture.”

P. Buchanan P. Buchanan Upton Sinclair, The Jungle, 56.

Barrett, William Z. Foster and The Tragedy of American radicalism, 76.

Pluskowski, The Ritual killing and Burial of Animals’, 5.

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[Fig.2.6]

[Fig.2.7]

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[Fig.2.8]

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[Fig.2.9]

[Fig.2.10]

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[Fig.2.9] A Human Sacrifice, in a Morai, in Otaheite “A Voyage to the Pacific Ocean ... in the years 1776-80”: preparations for a human sacrifice watched

by Captain Cook and others from the expedition.

1784

[Fig.2.10] Meat Piece with Warhol Brillo Box

by Paul Thek 1965 356x432x432mm

And the implementation of prehistoric sacrificial practices, such as burying the remains of butchered sheep carcasses in the foundations of a building81, helps to uphold both the moral and spiritual integrity of the agricultural practice. This is related to sacrifice as a group event where “the responsibility and reward are shared by the community” as well as respected guests82. An example of this is seen in the image of Captain James Cook experiencing human sacrifice during one of his visits to Tahiti in 177783 [Fig.2.9]. Sacrifice ultimately becomes a celebration of the transformation of an object; whether it be through killing of a living being, destroying an object, or the burning of food.84 Subsequently, sacrifice becomes a celebrated occasion in which the livestock is transformed from a living thing to a product, echoing the strong relationship between sacrifice and consumption.

Prior to European contact, Maori consumed a range of foods, from indigenous plants to shellfish and reptiles, these were predominantly cooked by steaming, grilling or boiling85.

However, as New Zealand’s colonial economy shifted from one of extraction (whale and seal products as well as timber and gold) to a pastoral production based economy (wool, meat and dairy produce) Pakeha were able to revert to more familiar consumption aspirations.86 Thus, the common diet became one similar to that of other ‘settler capitalist’ European colonies; Argentina, South Africa and Australia - a diet that became largely meat (and alcohol) based.87 With agriculture appealing to both their pockets and palates, farming became a noble cornerstone of the New Zealand economy.

81 82 83 84 85 86 87

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Pluskowski, 6.

Aldhouse-Green, Dying for the Gods, Human Sacrifice in the Iron Age and Roman Europe, 134.

Webber, “A Human Sacrifice, in a Morai, in Otaheite.”

Pluskowski, The Ritual killing and Burial of Animals’, 46.

Te Rangi Hiroa, The Coming of the Maori, 111-112.

Bell, Carter and Mayard, Sociology of Everyday Life in New Zealand, 91.

Denoon, Settler Capitalism: The Dynamics of Dependent Development in the Southern Hemisphere, 56; Simpson, Distant Feast, 148.

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Arguably, one of the most successfully local commentaries on meat production was A.F.F.C.O by The Skeptics, described

by Rocked the Nation host Karyn Hay as “New Zealand’s most disturbing video”88. The video follows the stunning, butchering and packaging of beef and lamb (cow and sheep) at an industrial early 90’s processing plant. It questions the absurdity of the country’s moral distaste with a vital chunk of the idyllic farming narrative; the missing piece, that sits between grazing livestock and a sizzling steak. In an interview a number of years later The Skeptics frontman Nick Roughan questioned the disconnection between the consumer and the product: “This country has a major industry based on butchering meat, growing meat and butchering it, why shouldn’t people be a bit more comfortable about it?”.89 Roughan goes as far as to describe the cultivation of livestock as ‘growing meat’. This is an explicit example of the animal losing its status as “man’s fellow creature”, as in order for an animal to be consumed it must first become a thing90. And that brings us to the crux of this episode, in which architecture can become the unifying thread between life, death and lunch.

Human impact on climatic and ecological systems triggers an “architectural impulse to reimagine the terms by which we define our present and future relationship to the environment, challenging binaries such as natural and artificial, inside and outside, subject and object”91. Here architecture manifests itself as a vehicle for cultural inquiry and reflection.92 Architectural caricature (such as the episodes) playfully, shamelessly and humorously amplifies the perspectives of both the author and subject through a selective inclusion of information and biased promotion of a particular lifestyle and accompanying worldview.93 Effectively cutting the fat off the boundaries of architectural liberation.

Narrative based practices such as Design With Company exercise this form of architectural liberation within a number of their projects [Fig.2.12]; Animal Farmatures is 88 89 90 91 92 93

[Fig.2.11] Big Sheep and Big Ram House a visitor center and woll shop in Tirau

[Fig.2.12] Bessie Animal Farmatures

by Design with Company

“Meat The Skeptics.”

“Meat The Skeptics.”

Bataille, Theory of Religion, 39.

Allen and Pearson, Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, 162.

Fry, “On Design intelligence”, 137.

Allen and Pearson, Drawing Futures: Speculations in Contemporary Drawing or Art and Architecture, 162

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[Fig.2.11]

[Fig.2.12]

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the perfect example of this.94 The zoomorphic caricatures of the everyday elements of a farm mashed up with mechanical components within an exaggerated animal’s anatomy. The works effectively facilitate new agricultural interactions between farmers and their implements, which allude to a new form of subjective architectural intervention. The architectural enigma of Jean-Jacques Lequeu, such as his famous renderings of L’étable à vache tournée au midi est sur la fraîche prairie are (like Animal Farmatures) a rare and prime example of architecture parlante; structures that incorporate pictorial references and symbolism to advertise the buildings identity or function95. Buildings such as Tirau’s sheep, ram and dog corrugated iron sheds crudely implement the same form of architectural enigma [Fig.2.11].

First shown in 1964, Paul ‘meat man’ Thek’s ‘meat pieces’ (later coined ‘technological reliquaries’) are inherently architectural [Fig.2.10].96 They contrast “hyper-prosaicism” with “hyper-opulence”, employing a putrid finesse into their sadistic geometry.97 The precisely cut hunks of meat, presented man within a “feelingly, meaningful, fleshy subjectivity encased in transparent objectification”98 This formal application has been implemented with episode two as the firm also attempts to question the “conditionality of the distinction – and contradiction – between contexts and container”99.

This presents an environment where architecture ultimately controls the erratic uncontrollability of slaughter, in an effort to transform through a disturbing spatial detachment.100 Unlike the somewhat immoral performances of Robert Denford Brown, the owners of Raising the Steaks are guiltless. Like Thek “the flesh is not mutilated, it is rigidly and orderly cut forcing it into a precise shape101, in a celebration of the transformation from being to object, an idea that Smithson concluded, was borrowed from science fiction and horror movies of the late 1960’s and early 1970’s.102 94 95 96 97 98 99 100 101 102

Allen and Pearson, 162.

Allen and Pearson, 162.

Falckenberg, Paul Thek: Artist’s Artist, 107.

Smithson, Entropy and New Monuments, 14.

Wilson, ‘Paul Thek; love death’, 23.

Falckenberg, Paul Thek: Artist’s Artist, 82.

Falckenberg, 107.

Falckenberg, 348.

Smithson, Entropy and New Monuments, 14.

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[Fig.2.13] Collage of sketches and drawings for episode 2 297x420mm [next page]

Commentary on dietary morals in pop culture is nothing new.

In one of the many absurd scenes from ‘The Hitchhiker’s Guide to the Galaxy’, the naive earthling Arthur Dent has an estranged encounter with the ‘dish of the day’ at Millways – “a five star restaurant situated at the end of time and matter”.

Ironically the ‘dish of the day’ is a fully self-aware/conscious of the fact that it has been bred to be consumed.

“A large dairy animal approached Zaphod Beeblebrox’s table, a large fat meaty quadruped of the bovine type with large watery eyes, small horns and what might almost have been an ingratiating smile on its lips.

“Good evening,” it lowed and sat back heavily on its haunches. “I am the main Dish of the Day. May I interest you in parts of my body?” It harrumphed and gurgled a bit, wriggled its hind quarters into a comfortable position and gazed peacefully at them”.103 The scene challenges the tunnel-minded view held

by Dent. Who views the process as ‘heartless’ and fails to allow his moral compass to accept the universal – arguably more moral practices of The Restaurant at the End of the universe104. Like the works of Thek, The Skeptics and Design With Company, The Hitchhiker’s Guide to the Galaxy confronts, obscures and questions the accepted practices of humanity by pushing the boundaries of dinner participation.

Top contemporary restaurants often encourage diner participation as it encourages and stimulates the diners senses.105 This is translated within Raising the Steaks throughout the entire process, from selecting livestock, to participating in the ritual sacrifice of slaughter as well as the preparation of the meat. Here the culinary process and its associated elements become a performative experience in which the architecture encourages an absurd communal appreciation for preparation and production processes.

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Adams, Restaurant at the End of the Universe, 91-92.

Allen and Pearson, Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, 162 Rayner, “Into the Abattoir”

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Raising the Steaks effectively houses the entire consumption experience. It acts as a catalyst for the selection, education and appreciation of the production process and its associated components. By introducing modern day sacrificial rituals both the community and consumer experience a more holistic understanding of the journey from pasture to plate.

The building takes the form of a vertical abattoir, and puts its product and process on show for all to see. This is in direct opposition to all other structures of this typology; which often open plan interiors hidden from the world by the building’s exterior. Raising the Steaks separates the operation’s intricate stages into the various floor levels. Upon entry the consumer picks their dinner from a nearby holding pen.

Together the two ascend the tower to the pinnacle, where the sacrifice is made. Here the animal is transformed from a thing into a product.106 The animal no longer exists for itself and is transported to the heavens above. However, it’s all downhill from here, literally as the limp hunk of meat is then attached to a traditional chain drive that moves the product from one stage of the abattoir to the other; bleeding room, evisceration, offal processing, inspection etc. From this point the visitor has the choice to either dine in – and admire the spectacular panoramic views – or take away. In theory this process personalises the slaughter process, and reveals that in a world full of the obese, lack isn’t the real problem. Here both physical, visual and metaphysical consumption becomes an end in itself.107 Unable to escape the autonomous industrialisation of agribusiness in the 21st Century, the Wairoa AFFCO embraces it.108

[Fig.2.14] A Monument to Slaughter Collage Perspective

[Fig.2.15] Facade Breakdown Elevation Post Digital Sketch 300x500mm [Next page]

[Fig.2.16] Drawing Set 2 Section and Plan Post Digital Sketch 597x841mm [Next page]

NOTE: The Raising the Steaks experience has future plans to implement a ‘kiwi hunting package’. In which visitors track and hunt animals on the company’s private grounds. However this is currently under inspection due to a rise of sodium phosphate (1080) drops in the area and the menacing emergence of the new ‘impossible burger’109

106 107 108 109

Sumrell and Varnelis, Blue Monday: Stories of Absurd Realities and Natural Philosophies, 137.

Jean Baudrillard, Revenge of the crystal, 165-166 Bataille, 92-94. Georg Lukacs, History of Class Consciousness, 224.

Edmunds, “Air NZ Defends Impossible Burger Again.”

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[Fig.2.15]

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[Fig.3.1]

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Episode 3

St Adium

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[Fig.3.2]

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[Fig.3.1] Box 3 Exterior Collage / Assemblage 600x500x900mm

[Fig.3.2] Box 3 Interior Collage / Assemblage 600x500x900mm

This week we visit a ‘unique’ Canterbury community, whose tight knit team band’s together to reinvigorate and reinstate the values of their derelict place of worship, in the wake of the 2011 earthquakes. The New Zealand Rugby Union is in full support of the decision to erect a sacred space for players and their coaches – between, during and after matches. A space previously dubbed the ‘changing room/changing shed will be New Zealand’s first Rugby Chapel, and will be dedicated to St Richie of Kurow.110 110

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Born Richard Hugh McCaw, McCaw is commonly referred to as ‘Richie’ in sport and journalism.

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The portable chapel will reside in St Richie’s hometown of Kurow during the off season, and will be transported by helicopter to any field that the Canterbury Crusaders play on.

Kurow is a small farming town adjacent to Oamaru, and is often referred to as the “town that made an All Blacks legend”; although others may argue that it is McCaw’s success that has put the town on the map. Nevertheless this part of the South Pacific is known to locals as ‘McCaw Country’[Fig.3.3].111 This follows the recent decision by the New Zealand Government and Christchurch City Council to fast track the completion of a permanent, roofed stadium that will be great for the All Blacks, and the Crusaders, as well as the odd Ed Sheeran concert.112 The necessity of a ‘great stadium’ was elegantly summarised by Sir Bob Parker who stated that…

“A great city, without a great stadium, is a bit like a country without a flag. It’s something that you rally around, it’s a pride, and it’s a community place. It’s where we get together to celebrate not just sports, but the great musical events. The things that make a great city [is] more than just houses, streets and jobs. It’s actually about how we feel about the place.” 113 And he’s not wrong, the new stadium is set to be complete by the end of 2021. And preparations are well underway for the completion of St Richie’s, which is said to be completed just in time for the Crusaders final against the Lions at home on Saturday.114 111 112 113 114

[Fig.3.3] McCaw Country Kurow entry sign

[Fig.3.4] Map 3 Scan of edited map from atlas 297x230mm

Roy, “Welcome to Richie McCaw country- the town that made an All Blacks legend.”

“Christchurch set for decision about city’s stadium.”

Sir Bob Jones in “Christchurch set for decision about city’s stadium.”

A game that the Crusaders won 37-18

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The shadow box for this design is a humble shrine to Saint Richie of Kurnow. The frame of the box takes the form of both a medieval shield and a trophy shield. It houses and protects a framed portrait of the legendary St Richie.A cross pendant from the Vatican and a blood-red mouth-guard also sit within the confines of the box. The red felt interior resembles the body’s soft internal contents while the coarse cardboard exterior is made up of an old shed model originally made to house the exploits of The Promised Land LLC.

[Fig.3.5] Diagram of Shadow Box 3 Pen on paper 300mmx210mm

[Fig.3.6] Shadow Box 3 Mixed Media 300x400x150mm

[Fig.3.5]

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Like all religious fables, rugby has its own creation myth; a symbolic fable that grounds the ideology of rugby in an uncertain, but assumed truth.115 William Webb Ellis was said to have picked up the ball and run with it during a school boy game of football in 1823. However, during an investigation in 1895, the ‘Old Rugbeian Society’ was “unable to produce any first hand evidence of the occurrence”.116 Despite this, Ellis’ is still regarded as the ‘inventor’ of the rugby style of play and his legend lives on through various memorabilia such as the ‘The Webb Ellis Cup’, world rugby’s most distinguished prize.117 In New Zealand, rugby was quoted by John Mulgan, as being “the best of all our pleasures…religion, desire and fulfilment all in one”.118 And years earlier by his father Alan Mulgan as “a religion that was the stronger because it caught its devotees young. The game [that] knew no class. Navvies played alongside lawyers, and young Anglican clergy on the wing gladly accepted passes from centres who professed the most ‘fancy’ religion or none at all… the greater heart of the people was touched by rugby alone”119. Whilst professional rugby has, like most popular sports, become increasingly commercialised, the mythical values of provincial grass roots rugby remains. It continues to be seen as a prime example of the physical prowess gained from living in New Zealand’s rural environment. This rural ruggedness is seen and highlighted in a number of players – including McCaw - but is most explicitly personified in Sir Colin Meads [Fig.3.7]; Meads’ biographer Alex Veysey states that: “The land he was to farm was like the man he became, the rugby player he became – craggy, forbidding, reluctant to yield… The same land-to-man similarity might be drawn of many of New Zealand’s finest rugby players, especially those forwards upon whom the country’s vitality in the game is founded – men for all seasons, men hardened by winter and energised by summer.”120 115 116 117 118 119 120

[Fig.3.7] The Harwd Man Colin Meads All Black hero and farmer, the quintessential New Zealander

[Fig.3.8] The Lost Lamb

by Del Parson “For the Son of Man is come to save that which is lost. How think ye? If a man have an hundred sheep, and one of them be gone astray, doeth he not leave the ninety and nine, and goeth into the mountains, and seeketh that which is gone astray?”

- Matthew 18:11-12

[Fig.3.9] Ep3 Box Triptych Collage / Assemblage 900x1600mm (next page)

Womack, Symbols and meaning: A concise introduction, 81.

Harvey, Football, the First Hundred Years: the Untold Story, 247.

Ryan, “Rugby and Its Place in New Zealand.”

Mulgan, Report on Experience, 7 Mulgan, Spur of Morning, 12.

Veysey, Colin Meads, All Black, 17, 18.

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[Fig.3.10]

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[Fig.3.10] Rugby Round-Up Collage 200x300mm

This pairing of ‘man and land’ is still seen in the 21st Century, and can be seen in sacred objects as the soil urns taken to the Rugby World Cup in 2007 and the team promo posters that anthropomorphise land, player and sky.

With New Zealand’s population becoming predominantly urban, males needed the ‘vicarious assurance’ of rugby’s caricatures of muscle-bound pioneers, to represent their fleeting ties to the rural ‘ways of life’.121 Rugby continues to be regarded in New Zealand as “a ritualised activity in which boys could learn physical courage and heroism, engage in violent combat, and yet the violence was kept within bounds – it could be stopped at the blow of the whistle”.122 Although, ironically the most violent moments of rugby in New Zealand were not seen in the rural or on the rugby pitch. The 1981 Springbok tour - and surrounding events - [Fig.3.10], saw New Zealand at an arm’s length from civil war.123 Whilst “many of the protestors - particularly the urban liberals and intelligentsia - also saw rugby as the enemy, as the embodiment of a value system they loathed: rural, misogynist, rednecked and National...it was difficult to have aspirations in the arts or indeed to have any pretension to an intellect and also be a rugby player or fan.”124 The Tour, outed rugby atheists and ultimately divided the nation, “rugby’s place in New Zealand identity would never be the same again.”125 The kings of provincial rugby, The Crusaders, have dominated the Super Rugby competition for the last twentyyears.126 Under the watchful command of McCaw and Carter it’s not hard to see why. But could this dominance be accredited to a higher power? Or is it merely a manifestation of the strength of Canterbury rugby community as a whole? Presumably named after the Crusades, the Crusaders visual branding capitalised upon and perpetuates the team’s holy roots.127 Whilst the new branding was chosen due to Christchurch’s British heritage it was also said to “define the crusading spirit of Canterbury rugby.”128 121 122 123 124 125 126 127

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Philips, A Man’s Country? The image of the Pakeha Male-A history, 122.

Philips, A Man’s Country? The image of the Pakeha Male-A history, 122.

“1981 Springbok Tour.”

McGee, Tall Tales (Some True), 42.

Murray, “Foreskin’s Lament, 1981” “The Building of the Crusaders’ Dynasty,” The Key Moments That Mattered The Crusades were major expeditions resulting in a series of religious wars from 1095-1492 between Muslims and Christians, predominantly fought to secure holy sitesconsidered sacred by both sides.

“What’s in a Name”

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In the lead up to the game itself knights on horseback, dressed in the teams red and black circle the field and salute the crowd [Fig.3.13]. During this spectacular event the theme song Conquer Paradise by Vangelis played; due to its success it is now considered the anthem for all of Canterbury 129.

At half time a similar series of events occurs as well as various physical competitions such as log carrying, all adding to the spectacular experience. Although some see the naming of the team after the widespread massacre of Muslims, Jews and other non-Christians as being “a bit much”, the ironic links to the estimated massacre of 1-2 million people are hardly futile.130 “Rugby is often referred to as a religion in New Zealand, and in many ways it is. It is a form of worship at least, a means for young and old to gather and pay homage to a sport that pushes all their buttons.”131Despite being one of the most irreligious countries in the world, Christianity played a key role in the British colonial enterprise, and had an especially turbulent relationship with Maori culture and religious belief.132 Bill McKay stated that “in Pakeha society, churches were often constructed for social reasons as much as ecclesiastical need. ”.133 Although churches are still places of religious faith, they also represent cultural and social phenomena and should continuously change with the times and needs of new generations.134 An example of this is the Notre Dame du Rugby, in France, [Fig.3.11,12] a medieval chapel that is now a shrine to the region’s favourite sport.135 The abandoned chapel was renovated in 1956 by the local community to honour three young rugby players who died in a car accident nearby.136 The Chapel’s prayer translates to: “Stand beside us to give us strength and desire in our quest for victory. But also stand beside us in the terrible scrum of existence until we emerge victorious in the great game of life.”137 In the words of Paul Tillich, “religion is the substance of culture and culture is the form of religion.”138 129 130 131 132 133 134 135 136 137 138

[Fig.3.11] Notre Dame du Rugby Chapelle Larriviere Saint Savin France

[Fig.3.12] Jesus and Mary feeding a rugby ball into a lineout.

Window detail of Notre Dame du Rugby Larriviere Saint Savin France

“What’s in a Name” Williams, “Do the Crusaders Have Kiwi Sports Worst Name?”

Pall, Black Obsession: The All Blacks Quest for World Cup Success, 164.

Mckay, Worship: A History of New Zealand Church Design, 7.

Mckay, 7.

Mckay, 10.

Ugc, “This Medieval Chapel Is a Shrine to Rugby.”

Ugc Ugc Tillich and Church, The Essential Tillich: An Anthology of the Writings of Paul Tillich, 103.

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[Fig.3.13] A mounted Knight circles AMI Stadium in front of a crowd lost in focused intensity

[Fig.3.14 Sam Whitelock captain of the Crusaders celebrates with a sword on the pitch

Davidson and Lineham believe that “the Church cannot offer society a practical solution to its problems… [nor] provide answers to society’s questions, but it can offer the way to the answers. It offers society not so much a content but a method, not a destination but a journey.”139 Inherently suggesting that the built form of religious architectures is not the final solution but a space in which beliefs and ideas are explored and expressed - a key component to this thesis, as the architectural outputs allow an exploration and exposition.

Rugby’s emergence as a pagan religion in New Zealand is solidified by four factors. The first of these is that the athlete’s performance is equivalent to that of a miracle.140 The second is that the spectator’s experience is akin to that of an epiphany; as a temporalized form, a form that begins to vanish in the very process of its emergence.141 This experience of a temporal moment in which form emerges from chaos is often what draws in the most unwilling of rugby supporter.

Once experienced, this unexpected element of transcendence is preyed upon during every second of play. MacAloon would go on the state that…

“In cultures that already emphasize individuality, minimize the sense of obligation and responsibility for collective action, and inbreed hostility toward, for example, ritual, spectacle may have an unanticipated ‘positive’ effect. The spectacle frame erected around ritual may serve as recruiting device, dissembling suspicion toward ‘mere ritual’ and luring the proudly uncommitted. Those who have come simply to watch and to be watched, to enjoy the spectacle or to profit from it, may find themselves suddenly caught up in actions of intensity and involvement that they could not have foreseen and from which they would have retreated had such participation been directly required or requested of them.”142 As moments of this calibre take place, the locations of these spectacular events become omnipotent. Gumbrecht describes this as the stadium becoming a sacred space. In this 139 140

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Davidson and Lineham, Transplanted Christianity: Documents Illustrating Aspects of New Zealand Church History, 361.

Gumbrecht,‘”Lost in Focused Intensity”: Spectator sports and Strategies of Re-Enchantment’, in The Re-Enchantment of the World: Secular Magic in a Rational Age, 149 Gumbrecht, 150 MacAloon, Rite, Drama, Festival, Spectacle: Rehearsals toward a Theory of Cultural Performance, 269

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way even the most visibly dysfunctional stadium becomes demonstratively different from spaces and buildings that fulfil predefined functions in our everyday lives.143 For the All Blacks this is the fortress of Eden Park, which has not seen an All Black team lose since July 1994.144 Thus stories of stadiums become, in the words of Clifford Geertz, “(hi)story, told ‘for one another’. At the same time, they are creators and interpreters of identity; a meta-social comment on being a citizen of a city, which people exchange among themselves, or read about in the city’s newspaper on Monday mornings.”145 This gives spectators a sense of spatial attachment to a place due to the events experienced on ‘game day’. The final factor identified by Gumbrecht is that the relationship between spectators and players parallels that of worshipers and Gods.146 Figures like Sir Colin Meads and Richie McCaw become household names, examples of excellence, of not only the rugby community but the nation as a whole.

In a 2014 study titled ‘It is where blokes can be blokes’ Campenhout and Hoven found that the different spaces of a rugby club offered “different interactional contexts”.147 The three spaces of most significance were the field (upon which the battle takes place), the clubhouse (in which wins are celebrated and losses are drowned) and the changing shed.

These spaces become sacred as they all create a sense of self ‘through place’.148 In turn, they also have their own daily rituals like that of Muslim prayers towards Mecca, tell stories like those of the Bible and the Koran and visit spaces of religious significance such as Jerusalem or the Kaaba.149 The self-identification of supporters, commentators, coaches and players is “significantly, influenced by and influences

[Fig.3.15] Apartheid Is Not A Game Collage 200x310mm

[Fig.3.16] Collage of sketches and drawings for episode 3 297x420mm [next page]

Gumbrecht, ‘”Lost in Focused Intensity”: Spectator sports and Strategies of Re-Enchantment’, 150.

Johnson, ‘Ten reasons why the All Blacks don’t lose at Eden Park.’

144 145 Geertz, The Interpretation of Cultures, 120.

MacAloon, Rite, Drama, Festival, Spectacle: Rehearsals toward a Theory of 146 Cultural Performance, 269 Campenhout and Hoven, ‘It is where blokes can be blokes’, Gender, Place and 147 Culture, 1091 May, “Self, Belonging and Social Change.” Sociology 45, 367.

148 Mazumdar and Mazumdar, “Religion and Place Attachment: A Study of Sacred 149 Places.” Journal of Environmental Psychology, 395 143

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the religious and sacred spaces” that rugby takes place in.150 But while the positive successes of New Zealand rugby are often relished in, the negative shortcomings of rugby are not.

Trophies, like the Webb Ellis Cup or the Ranfurly Shield are presented as symbolic artefacts, of success and victory. Kellet and Dayaratne state that “meanings and identities (of both the individual and the place) are constructed and reinforced through such displays which are not intended only for outsiders: through such processes the inhabitants are able to see their achievements and aspirations consolidated and reflected back to themselves”.151 The Chapel itself is humble yet strong, it is divided into a number of sections based on the familiar layout of a rugby field (halfway line, ten metre line, twenty two, five metre, try and dead ball lines). Much like the geodesic domes of Buckminster Fuller it is transported to any field the Crusaders play on by Richie himself.152 The curvature of structure is based on that of a rugby ball but also mimics the arched vaulting of renaissance structures. The buildings eastern and western facades mimic that of a medieval helmet. At the chapel’s altar a 5 metre bronze statue of St Richie stands tall above the occupants.153 Unlike the traditional Gothic Revival timber churches built in Canterbury, the chapel is built out of aluminium.154 This is a space where the team’s logistics, prayers, and celebrations attempt to manifest themselves.

[Fig.3.17] Knights Salute the arrival of the chapel at the new stadium

Collage Perspective

[Fig.3.18] Helmet Elevation Post Digital Sketch 300x100mm [Next page]

[Fig.3.19] Drawing Set 3 Section(s) and Plan Post Digital Sketch 597x841mm [Next page]

A small town couple have built up a thriving rural retreat, in which visitors may take part in in “The Four Ps” cleansing 150 151 152 153

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Campenhout and Hoven, ‘It is where blokes can be blokes’, Gender, Place and Culture, 1091 Dayaratne and Kellett, “Housing and Home-making in Low income Urban Settlements”, Journal of Housing and the Built environment 23, 64.

Christchurch Helicopters, “Richie McCaw-Profile”.

This mimics the Givealittle campaign that was created by the Waitaki Valley Community Society (a sub community of the Kurow Museum) to erect a bronze statue of McCaw at the junction of two regional highways.

Lockheed, A Dream of Spires: Benjamin Mountfort and the Gothic Revival, 134.

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[Fig.4.1]

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[Fig.4.1] Box 4 Exterior Collage / Assemblage 600x500x900mm

[Fig.4.2] Box 4 Interior Collage / Assemblage 600x500x900mm

process. Piss, Pot, P and Pies155 - always blow on the pie.156 This episode focusses on providing a space to facilitate and expose New Zealand’s drinking culture and the many problems that arise out of its abuse, particularly in relation to personal wellbeing.

The ‘geothermal wonderland’ of Waiotapu is located 30km south of Rotorua, in the heart of the central plateau. Whilst 155 156

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Alcohol, cannabis, fast food and methamphetamine “Police Ten 7 (Always Blow on the Pie), NZ On Screen”

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the thermal attractions of Waiotapu make it a thriving tourist attraction, the lesser known Kerosene creek is something of a treasure to locals - Just a hop, skip and jump south of Rainbow Mountain, a stop off at the geothermal spring is a must for those returning from Roto-Vegas.157

[Fig.4.3] Visitors crowd around the Lady Knox Geyser The geyser is stimulated daily at 10:15am as tour guides drop a surfactant into it, cansuing it to erupt prematurely.

Waiotapu

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[Fig.4.4] Map 4 Scan of edited map from atlas 297x230mm

One of many nicknames for Rotorua

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A Tui swappa crate has been repurposed as a bathroom cabinet.158 The only thing that breaks the crate’s 3x4 compartment structure is the beer can - other objects include: soap, gin, a bath bomb, cigarettes, bourbon, shot glasses and a candle.

The clear door represents the easy access and makes exhibits of the objects inside.

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[Fig.4.5] Diagram of Shadow Box 4 Pen on paper 300mmx210mm

[Fig.4.6] Shadow Box 4 Mixed Media 300x400x150mm

12 pack of 40oz beers sold in New Zealand. They cost around $40 NZ the first time, but once you’ve finished drinking the beers the crate and beers are swapped for new beers.

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[Fig.4.7] The Infamous Tui Brewery Brewing Legends Since 1889 Mangatainoka

[Fig.4.8] Boys Being Boys A group of teens with a ‘Wa’ or beerbong

“In a world where to admit weakness or inner stress was to be effeminate, drinking possibly provided the one acceptable masculine outlet for the insecure.” 159 Drinking, particularly among men, is one of the most acceptable props for those struggling to be independent and confident in a capitalist individualistic society, Research conducted by the University of Auckland’s Centre for Addiction Research and Massey University’s School of Health Sciences shows that excessive binge drinking isn’t something that New Zealanders grow out of.160 Currently, 33 percent of New Zealanders are “hazardous drinkers” by their 20’s.161 Whilst “many older adults and their GPs feel uncomfortable discussing alcohol use, many do not understand what a standard drink is nor what the lowrisk guidelines are, and many labour under the assumption - now seriously in question - that a bit of alcohol is good for you.”162 Stereotypically this nonchalant view of alcoholism is optimised by rural New Zealand as there is still a fundamental problem with how alcohol and its effects are viewed and consumed in contemporary New Zealand.

The paradoxical effects of drinking were always publicly visible in New Zealand, as alcohol was predominantly consumed in a public pub, hotel or bar.163 Phillips in A Man’s Country argues that drinking often drew men away from their family circle and into a bar circle, whereby instead of seeking help at home, patrons would engage in collective debauchery to drown their sorrows; here the spaces of private home and public house played off against one another.164 The concerns are summed up by MacDonald in a ‘Report of the Royal Commission’: “The young are given very defective teaching as far as alcoholic consumption is concerned, summed up in the number of conflicting attitudes which parents usually have about liquor which, I think, are very confusing to young children. On one hand, they say that it is very bad to get drunk and you must not be a drunkard and all the rest of it and then on the other hand while not say159 160 161 162 163 164

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Phillips, A Man’s Country?: the image of the Pakeha male, a history, 45 NZ Herald, “New Research Shows Binge Drinking Isn’t Something We Grow out Of” NZ Herald, “New Research Shows Binge Drinking Isn’t Something We Grow out Of” Dr David Newcombe, quoted in “Kiwis over 50 Drinking More than Adults in Nine Other Countries, Study Finds.”

Philips, A Man’s Country? The Image of the Pakeha Male – A History, 58.

Philips, 59.

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ing anything to the children about it, very often the only time that they see their parents laughing and joking and appearing to have a wonderful time is when they are almost totally intoxicated at a party once a month or when they stagger home from the hotel in a most unpleasant state as far as childish eyes are concerned. So… they are being told don’t drink but…they are (also) being told the only way to get pleasure from this dreadful world is to go out and get intoxicated.”165 Whilst there were once two traditions at conflict with one another in Pakeha society, “the boozer and the decent bloke”, most Pakeha men today seem to fill the void between the two.166 Regardless the bottle is still the psychological prop/antidote to oppressive loneliness.

Pockets of New Zealand’s rural fabric are often viewed as ‘frozen in time’. Former butcheries, postal offices and banks have over the years become restored and repurposed.

However, the small town pub, hotel or inn has somehow managed to transcend repurposing and instead remains as a distinct landmark of rural New Zealand’s built environment. The pub was, and to a degree still is, the main institution of colonial male culture. A space where savoured periods of excess were encouraged. This was mainly due to the 6 o’clock swill; were pubs, bars and hotels had to shut off their taps by 6pm, leaving the patrons to stagger back to their families.167 Today alcohol consumption can take place at just about any time of day (as long as the proper preparation takes place).

New Zealand’s approach to drinking and its accompanying aliases (drink driving, abuse etc.) has been addressed to the nation in a range of media campaigns. However, the cause for concern here is that society is consciously aware of the harm our drinking causes yet it is seen as both a social and personal release from the troubles of everyday life. Despite being an accepted addiction, alcohol does occasionally endorse reconciliation within public space. This is demonstrated during a confrontation between Al Capone and author John Kobler; “I had a close immediate contact with Al Capone in about 1926. He urinated on my shoes. It happened in the men’s room of the Croydon Hotel. He was drunk, and 165 166 167

[Fig.4.9] The Delta Tavern Ngaruawahia

[Fig.4.10] Bathing Pavilion

by Sanely Tigerman

[Fig.4.11] Ep4 Box Triptych Collage / Assemblage 900x1600mm [next page]

MacDonald, “Report of the Royal Commission”, The Sale of Liquor in New Zealand: Report, 257.

Philips, A Man’s Country? The Image of the Pakeha Male – A History, 80. “‘Six O’clock Swill’ Begins.”

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[Fig.4.12] Ruins Of A Roman Bath

by Hubert Robert Oil on canvas 137.2x105.4mm

[Fig.4.13] Collage of sketches and drawings for episode 4 297x420mm [next page]

I was drunk. He didn’t know who I was but I knew him. I had the reputation of being the most vicious left-hook puncher in Chicago, that’s God’s truth. We were on the verge of slugging it out when Al thought the better of it. He didn’t exactly apologise, but he admitted to the social error. I decided to overlook the indiscretion. We had a drink and whenever he saw me around town after that, it was ‘Hello, kid, how you doing?’”. 168 (The team at The Pitt encourage such confrontations.)

In this sense, public space was facilitating drinking as a leisurely vice. Such basic needs to return ‘psychic regression’ still plague New Zealand’s drinking culture today.169 Bathing has had a range of uses throughout the ages.

But regardless of the fashion in which it was performed, bathing’s ultimate concern is with the care of the body. Regardless of whether or not bathing was regarded as total regeneration or a practical external ablution, “the manner in which a civilization integrates bathing within its life, as well as the type of bathing it prefers, yields searching insight into the nature of the period…and reveals the cultures attitude toward human relaxation.”170 Instinctively, the extent to which the practice of bathing was regarded, was seen by Sigfried Giedion as being “a measure of how far individual well-being is regarded as an indispensable part of community life”.171 The baths of classical antiquity were a popular social institution that, exceeded the functional tasks of routine washing. Ancient Roman bathing was seen as personal regeneration, and was deeply rooted within the society’s social and cultural practices.172 It was seen as an institution. In a sense, antiquity took the practice of a basic function and elevated it to a cultural and recreational act. A “civic institution for which there was no real counterpart in modern western civilization”173. Until now.

168 169 170 171 172 173

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Kobler, Ardent Spirits: The Rise and Fall of Prohibition, 335.

Gumbrecht, In 1925: Living at The Edge of Time, 36.

Giedion, Mechanisation Takes Command, 628.

Giedion, 628.

Yegil, Baths and Bathing in Classical Antiquity, 1.

Yegil, Baths and Bathing in Classical Antiquity, 2.

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The team at The Pitt have produced the perfect pairing to stimulate mind, body and soul. The combination of recreational bathing and drinking aims to appeal to all classes. And stands alone as the one true place a bloke can go to relax. Entry is by manu only; and there is more than one way to drown your sorrows.174 It requires patrons to ‘man up’ and take a leap of faith into the geothermal abyss below - “a metaphor for the addict’s condition...the one mode of life which always helps a person cross the abyss without avoiding it.”175 Like the ancient baths of antiquity The Pitt is the architectural embodiment of the balance between a physically oriented lifestyle and a mentally orientated one.176 As addiction is often associated with “spaces that exclude movement”, The Pitt, is open and allows one to momentarily embrace different forms of sensual liberation.177 Giedion saw leisure as “a concern for matters that lie outside of our practical values. The intensity of life can only be tasted and fully appreciated when rhythmic pulls of activity and leisure – doing and not doing – are able to operate as two strongly magnetic poles”.178 This is evident in other bathing proposals such as Stanley Tigermans Bathing pavilion project; as a Homage to Dante’s Inferno, in which the bather is liberated from the “excesses of Victorian privacy” and is able to experience bathing leisurely [Fig.4.10].179 The walls of The Pitt are in-situ concrete cast in corrugate that mimic the vertical forms of classical fluted columns. The three pools are coupled by a series of small bars, in which alcohol, cannabis, food and methamphetamine can be consumed. The open floor plan of The Pitt exhibits a parade of personalities, bodies and vices, in what Koolhaas describes as a “stage for a cynical dialectic between exhibitionism and spectatorship.”180 The building is a social condenser.

“As one pounds meat to tenderize it for eating, so should one, in order to feast on one’s own body, prepare oneself for consumption/ (Drink schnapps, which gently caresses the palate) ... For lack of volition is what makes life worthwhile” 174 175 176 177 178 179 180

[Fig.4.14] A brave young man pops a manu into the main pool of The Pitt

Collage Perspective

A water ‘bombing’ technique that simulates a bird taking flight; Te Kea, “Porirua Local Sets Record Straight after Water Bomb Video Goes Viral.”

Gumbrecht, In 1925: Living at The Edge of Time, 39.

Yegil, Baths and Bathing in Classical Antiquity, 2.

Gumbrecht, In 1925: Living at The Edge of Time, 39.

Giedion, Architecture and the Phenomena of Transition, 252.

Tigerman and Mollman, Stanley Tigerman: Buildings and Projects: 1966-1989, 102.

Koolhaas, “Exodus, or the Voluntary Prisoners of Architecture.” in Small, Medium, Large, Extra-Large: Office for Metropolitan Architecture, 16.

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says Brecht suggesting that the elimination of volition is essential in order to gain a greater intensity of relaxation.181 The Pitt unearths hidden motivations, desires, and impulses to the surface to be redefined for recognition, provocation, and development;182 which is especially attractive to those who have just visited Rotavagas and are struggling to deal with the comedown.

181 182

[Fig.4.15] Consumption Booth axonometric post digital sketch

[Fig.4.16] Drawing Set 4 Plan, secion, roof plan Post Digital Sketch 597x841mm [Next page]

Brecht, “Sonett fur Trinker” in Gesammelte Werke, 162.

Koolhaas, “Exodus, or the Voluntary Prisoners of Architecture.” in Small, Medium, Large, Extra-Large: Office for Metropolitan Architecture, 16.

[Fig.4.15]

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[Fig.5.1] Box 5 Exterior Collage / Assemblage 600x500x900mm

[Fig.5.2] Box 5 Interior Collage / Assemblage 600x500x900mm

"In a hole in the ground there lived a hobbit. Not a nasty dirty wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.”

- J.R.R. Tolkien, The Hobbit (1937) ”The new Sovereign Individual will operate like the gods of myth in the same physical environment as the ordinary, subject citizen, but in a separate realm politically...The state has grown used to treating its taxpayers as a farmer treats his cows, keeping them in a field to be milked. Soon, the cows will have wings.”

- J. Dale Davidson, The Sovereign Individual: How to survive and thrive during the Collapse of the Welfare State A small pre-apocalyptic group of sovereign freethinkers begin to hunker down in Wanaka, where they are preparing for the collapse of the welfare state. The final installment of New Zealand’s Rural Enigma provides a sneak peek into the bitcoin-stocked bolthole of the seemingly immoral immortal venture capitalist Peter Thiel.

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Wanaka is an affluent lakeside township that has become a hot spot for those looking to live out the downfall of the north-ern Hemisphere in luxury, apocalypse-proof bolt holes - un-derstandable given the pristine landscape and geographical isolation New Zealand has on offer. Wanaka was also home to a number of the Lord of the Rings trilogy

[Fig.5.3] Map 5 Scan of edited map from atlas 297x230mm

film set locations; notably the Elven stronghold of Rivendell and the ominous Misty Mountains.183 But as the sovereign freethinkers of west-ern world’s 1% begin to hunker down in their pockets of the Promised Land, one begins to wonder what on earth all the fuss is about.

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“Lord of the Rings Locations - Queenstown and Fiordland New Zealand.”

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This shadow box is based on the tech server hardware. The vault-like encasing panels are made from repurposed parts of a 3D printer that protect the knowledge held inside – “break in case of emergency”. The safe holds one book, A Rough Guide to Lord of the Rings which hangs suspended in the centre of the capsule and is lit by ominous purple LEDs. The book includes character and set location descriptions as well as “the 10 most expensive Lord of the Rings items on eBay”.184 The text is a must-have for any Tolkien fanatic, as it conveniently outlines, “Everything you ever wanted to know about Middle Earth.”185 184 185

[Fig.5.4] Diagram of Shadow Box 5 Pen on paper 300mmx210mm

[Fig.5.5] Shadow Box 5 Mixed Media 300x400x150mm

Simpson, A Rough Guide to Lord of the Rings Simpson.

[Fig.5.4]

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[Fig.5.6] The Michael Hill Golf Clubhouse

by Patterson Architects Queenstown 2008

[Fig.5.7] Proposal by Jonathan Herz It’s Not For Everyone Surviving the Nuclear Holocaust A Modest Proposal Berkeley, CA

[Fig.5.8] Ep5 Box Triptych Collage / Assemblage 900x1600mm [next page]

New Zealand and the South Pacific have had a particularly bad run when it comes to land ‘ownership’. From the land scaring settlements by Edward Gibbon Wakefield to the more recent island building attempts of the Seasteading Institute, everyone seems to be looking for a way to escape the “impending demise of Western society.”186 And whilst the geographical isolation of New Zealand is still appealing to the world’s elite, their vision of the South Pacific mimics the ideological isolation highlighted by the cultural nationalists of the twentieth century; particularly evident in the works of Allen Curnow and Collin McCahon.187 And while academics are beginning to question the idealistic view of New Zealand’s beautiful isolation, tourist campaigns, advertisers and architects still continue to exploit the pristine emptiness of New Zealand.188 The absurdity of survival in a post nuclear world is nothing new. In 1987 the bomb shelter design book Quonset Huts on the River Styx was created, sponsored by ‘Architects, Designers, and Planners for Social Responsibility’ following a national design competition [Fig.5.7]. It was a response to the proposed $US 1.5 billion the United States Government planned to spend on the construction of 656 fallout shelters for American officials.189 The public had been told by T.K. Jones (American Arms Negotiator during the Cold war and resulting nuclear arms race) to “Dig a hole, cover it with a couple of doors and then throw three feet of dirt on top, it’s the dirt that does it”.190 Quonset Huts argues that the ‘absurdity of nuclear war demands an architecture of the absurd.”191 An exceptional example of local architecture adopting the bunker typology is seen in Andrew Patterson’s Michael Hill Clubhouse [Fig.5.6].192 A building that finds itself “hunkered into the earth with less than a third of its volume penetrating above the ground plane, the Clubhouse seeks to integrate and intensify the experience of golf’s primary relationship with the landscape.

186 187 188 189 190 191 192

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Hamilton, “Peter Thiel Is Looking for Paradise in New Zealand. History Is against Him.” Pound, The Invention of New Zealand: Art and National Identity 1930-1970, 9.

Leonard, This Is New Zealand, 104.

ADPSR, Quonset huts on the river Styx: the Bomb Shelter Design Book, 3.

Geyelin, “Chilling Talk of a ‘Secret Plan’.”

ADPSR, Quonset huts on the river Styx: the Bomb Shelter Design Book, 7.

“Michael Hills Golf Club - Sports and Leisure Architecture.”

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[Fig.5.8]

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In doing so the building seeks to become a pattern within the environment, amplifying and reinforcing the relationships between player, game and land.”193 Much like the bunkers of the Atlantic wall [Fig.5.9] the clubhouse is inextricably “linked to the ground, to the surrounding earth, the bunker, for camouflage, tends to coalesce with the geological forms whose geometry results from the forces and exterior conditions that for centuries have modelled them. The bunker’s form anticipates this erosion by suppressing all superfluous forms; the bunker is prematurely worn and smoothed to avoid all impact. It nestles in the uninterrupted expanse of the landscape and disappears from our perception.”194 Much like Thiel, “the bunker has become a myth, present and absent at the same time: Present as an object of disgust instead of a transparent and open civilian architecture, absent insofar as the essence of the new fortress is elsewhere, underfoot, invisible form here on in.”195 At the same time as the nuclear arms race between Russia and the USA was in full swing, a small committee had been rustled up in the South Pacific to assess how New Zealand would fare during nuclear fallout. Commissioned by the New Zealand Planning Council in 1987, New Zealand After Nuclear War: The Background Papers, were ironically funded with compensation paid to New Zealand by France for its bombing the Rainbow Warrior.196 The papers were compiled over a two-year period by the DUSC (Down Under Survival Committee). The report outlines a range of topics, from the ‘mass grieving’ to ‘international migration to New Zealand’ and at 342 pages is quite the read.197 In short, it doesn’t work out well for Kiwis, our futile society just wouldn’t cope. Journalist Steve Braunias states, “New Zealand will collapse like a house of cards. We’re all gonna die.”198 In an exclusive interview, Megaupload bad boy, Kim Dotcom scorned Thiel and his compatriots for being naive; “Because it’s just not enough to have a nice piece of land.

You’re a fool if you think your beautiful property isn’t one of the first that’s going to be taken over by a stronger group.”199 193 194 195 196 197 198 199

[Fig.5.9] The ‘Todt Front’ The overhung solid mass complements the vertical gradings of the embrasure

“Michael Hills Golf Club - Sports and Leisure Architecture.”

Virillo, Bunker Archeology, 44.

Virillo, Bunker Archeology, 46.

Braunias, “Back to the Future of Doomsday.”

New Zealand Planning Council, New Zealand After Nuclear War: The Background Papers, 3.

Braunias, “Back to the Future of Doomsday.”

Braunias, “Spending Doomsday with Kim Dotcom.”

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[Fig.5.10]

[Fig.5.11]

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[Fig.5.10] “New Zealand Like Lord of The Rings” One of the tourism posters see in Murray’s office in Flight of the Conchords (TV Show)

[Fig.5.11] Barad-dur (Dark Fortress) The Dark Lord Sauron’s primary stronghold in Mordor Tower Model Lord of the Rings

But don’t tell that to the hordes of Silicon Valley’s elite planning to escape to ‘The Playground of the Pacific’ if all hell breaks loose in the Northern hemisphere.

The trend to invest in New Zealand land first gained traction in 2001 following the September 11 attacks, and escalated in November 2016 following the inauguration of Donald Trump; Within seven days 13,000 American’s submitted registrations of interest in land (17 times the usual amount).200 The future exodus was crudely described by the co-founder of Linken, and former PayPal founder Reid Hoffman, who stated: “saying you’re ‘buying a house in New Zealand’ is kind of a ‘wink, wink, say no more.”201 But for all Dotcom’s intriguing quirks, he isn’t half as interesting as the final actor in this saga. Venture capitalist Peter Thiel’s ideologies, investments, companies and land purchases make Dotcom’s antics seem trivial. Thiel miraculously gained New Zealand citizenship after spending just 11 days in the country.202 Ideologically Thiel is a hardcore libertarian, with interests in the mimetic philosophy of Girard and the Christian world-building fantasies of Tolkien.203 Thiel outlines his vision of the future in his 2014 book Zero to One. He states, ironically the paradox of “think(ing) outside the box in order to create something completely new, whilst also needing both the leadership skills to have the people understand your vision and come along with you.”204 Thiel recognises such radical thinking requires awareness: “The single greatest danger for a founder is to become so certain of his own myth that he loses his mind. But an equally insidious danger for every business is to lose all sense of myth and mistake disenchantment for wisdom.”205 The tales written by Tolkien, and brought to the screen

by Peter Jackson have contributed exponentially to New Zealand’s economy; so much so that in 2001 the government appointed Peter Hodgson as the Minister of the Rings.206 However, with the passing of ‘The Hobbit Law’ in 2010 Jackson proved that New Zealand’s Labour laws were – for the right price – morally pliable.207 200 201 202 203 204 205 206 207

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Tapaleao, “Trump Apocalypse - 13,000 Americans Register Interest in Moving to NZ.” Osnos, “Survival of the Richest.”

Nippet, “Citizen Thiel.”

Byrt and Denny, The Founder’s Paradox; A Compendium, 10.

Byrt and Denny, 10.

Thiel and Masters, Zero to One: Notes on Startups, Or How to Build the Future “Minister of the Rings.”

Brynt, ‘Economic Management; Rogernomics, The lord of the Rings, an the Fantasy of a Free-Market Utopia’,in This is New Zealand, 114.

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The mythological exploits of ‘Middle Earth’ were paramount in globally establishing New Zealand and its people as being “bright, talented and exploitable too! What a place to invest!”208 Enter, Tolkien geek Peter Thiel, “In the course of pursuing my international business opportunities, my travel, personal philosophical commitments and benefaction, I am happy to say categorically that I have found no other country that aligns more with my view of the future than New Zealand,” Thiel stated in his citizenship application in 2011.209 This speaks to a wider concern than just a hideout away from the hustle and bustle of Silicon Valley. Thiel’s interest in New Zealand is not only one of sanctuary, but one in which he can manifest his own liberal fantasies of monopoly tech companies independant of the welfare state.210 The New Zealand government’s soft spot for Thiel is somewhat understandable, as his influence on New Zealand’s fledgling innovative tech sectors will be tremendously beneficial. This ‘success breed of success’ philosophy makes sense if one subscribes to the view that New Zealand has to some degree always been an ‘experiment’; particularly the ‘social laboratory’ constructed by British settler-colonization.

After all, in the words of Thiel himself: “All the crazy things you can do in New Zealand you can’t do anywhere else, risky things that are probably not allowed (elsewhere).”211 This belief is outlined by artist Simon Denny and writer Anthony Byrt in The Founders Paradox. The exhibition presents Thiel’s utilization of New Zealand as ‘stepping stone’ or safe haven for those looking to escape the limitations imposed on human activity by the state. Additionally, the notion of ‘stepping stones’ also fittingly describe Thiel’s property investments in New Zealand. After first purchasing a home in Parnell in 2010, Thiel purchased a holiday home in Queenstown in 2011 – known locally as the “Plasma Screen” – which after a recent addition now includes a panic room. However, in 2015 Thiel purchased a 193ha block of Crown farmland on the shores of Lake Wanaka, and it is here, at the bottom of the world, that the final instalment of New Zealand’s Rural Enigma plays out.

208 209 210 211

[Fig.5.12] Ascent Hero Portrait Projection (Lord Tybalt)

By Simon Denny UV print on canvas 2017

[Fig.5.13] Collage of sketches and drawings for episode 5 297x420mm [next page]

Brynt, 114.

Streitfeld and Williams, “New Zealand Is ‘the Future,’ Peter Thiel Said in His Push for Citizenship There.

Brynt, ‘Economic Management; Rogernomics, The lord of the Rings, an the Fantasy of a Free-Market Utopia’, This is New Zealand, 115.

Nippet, “Citizen Thiel.”

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Thiel’s iconic bunker takes the form of a bolt in a hole – one which is forcefully screwed into the earth. The bunker is Thiel’s personal hideout containing a logistics room on the ground floor which holds a concept model of his new vision for the Wanaka Township. The individual sections of the bunker are independent of one another and are only accessible by a rotating nut access lift that orbits the structure.

Level 1 is home to a reading room reflecting the great value Thiel places on knowledge. Notable texts include; The Sovereign Individual, The origins of Totalitarianism, The Great Reckoning, Towards Prosperity as well as everything ever written by or about Tolkien. Level 2 holds a logistics chamber with a sizeable map of Middle Earth and a big x marking the eastern point of the Mahia Peninsula.212 Level 3 is a private dining room, with a board-game table and large mirror as its going to get lonely during the demise of civilization as we know it, so the mirror allows Thiel to play himself.

Level 4 holds a blood infusion bath tub. With the help of one of his new start-ups, Thiel harvests the blood of youth, in order to prolong the ageing process.213 The final level is Thiel’s private sleeping quarters which instead of a bed has a bar from which he is suspended (during times of hibernation) conveniently leaving space for a set of Mithril chainmail. Virilio proclaims, “if man has no need for the machine to live in his natural environment, he needs the machine to survive in a hostile one.”214 Therefore, the bunker is also able to ascend out of its bolthole in the earth to form a Tolkienesque tower, like those of Barad-dur [Fig.5.11] and Orthanc.215 Once it has solidified itself as a tower in the land, it will dwarf Jono Williams’ Skysphere man-cave.216 212 213 214 215 216

[Fig.5.14] Thiels bunker assumes its final form as a towering fortress Perspective collage 297x420mm [Fig.5.15] Bunker-towne ascension Thiel unearths himself axonometric Post digital sketch 300x100mm [Next page] [Fig.5.16] Drawing Set 5 Plan and section Post Digital Sketch 597x841mm [Next page]

The location of Rocket Lab. Cuthbertson, “Billionaire Trump Supporter Peter Thiel Denies Being a Vampire.”

Virillo, Bunker Archeology, 41.

The Two towers referred of the Lord of the Rings trilogy.

Forrester, “Williams’ Skysphere Man-Cave Takes Rugby to New Heights.”

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The Making of...

New Zealand’s Rural Enigma

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[Fig.6.1]

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[Fig.6.1] A View of Freedomland

by Keith Krumwiede Atlas of Another America after “Meadows near Greifswald”

by Caspar David Friedrich 1822.

[Fig.6.2] The Literal with the Poetic A collage of Parekowhai, Clarke and Robinson 2017

The ideological and critical framework of this thesis was first explored within two design papers taken in 2017. The first of these was a advanced design paper tutored by Richard Reid and Jacob Barratt-Boyes, titled Five Uneasy Pieces. This would be my first attempt at ‘academic’ satire, and would prove to be quite the learning experience. The exploration would also introduce me to a number of key figures (some of which would go on to heavily influence this thesis) such as Keith Krumwiede [Fig.6.1], Christopher Hawthorne and David Lynch. The project, titled, ‘Big Dirty Ugly Building’ was an uncanny elevated mass that combined the familiar with the unexpected and like New Zealand’s Rural Enigma intended to pervert the contradictory nature of architecture in a world riddled with shifting ecological, social and political conditions.217 Whilst the notions of ‘unearthing’ and ‘provoking’ were explored successfully, the satirical edge of the design was frivolous.

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Zeiger, “Rem Koolhaas’ Upcoming Wilshire Boulevard Temple expansion will balance openness with security.”

Big Dirty Ugly Building - AD1

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The second, and most influential was of these papers was ‘Can’t Buy A Thrill’, the product of a lucrative design studio titled Spectacle, run by Chris Barton and Kim Sinclair in the second semester of 2017. In this paper architecture’s role in ‘the spectacle’ was explored through the design of four sets (two interior and two exterior). These sets were the product of a series of scripted kaleidoscopic wanderings through four chance encounters within Auckland’s central business district. The project was a critique of contemporary architecture’s attempts to purify life’s grandeur within the city. Its protagonist, Frank, explored the CBD through a series of situationist inspired dérives.218 These notions would ultimately lead to the discovery and incorporation of the flaneur and anti-modern rural flaneur within this thesis.219 Like New Zealand’s Rural Enigma, ‘Can’t Buy A Thrill’ provoked architectural reflection through the juxtaposition of a series of spatial performances, that would go on to inform and generate new types of social spaces within their chosen sites. ‘Can’t Buy A Thrill’ relished the tragic irony of the present. Only in the heat of the moment did it allow slithers of ingrained optimism to step into frame, cunningly suggesting that not all hope is lost.

However, the estranged transformational environments within ‘Can’t Buy A Thrill’ were temporal; a delirium of interpretation, they never resulted in a solution to the protagonist’s problems, but they did raise some interesting questions, particularly around the use of public spaces within the CBD. Yet again, I was using architecture as a tool to navigate the social and ecological problems of the Anthropocene.

218 219

[Fig.6.3] The Simple with the Decorative Collage pairing of Clarke, Margiela and Robinson 2017 [Fig.6.4] The Familiar with the Unexpected Collage pairing of Flight of the Conchords, Whiteread, McCaw, Smithson, and Jackson’s Bad Taste 2017

A term coined by Guy Debord, the goal of derive is to study the terrain and experience emotional disorientation.

It may be of interest to note that both the derive and the flaneur are French concepts.

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[Fig.6.3]

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Can’t Buy a Thrill - AD2

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[Fig.6.5] Champions Collage 100x300mm [Fig.6.6] Oi! Collage 100x100mm [Fig.6.7] International Waters Collage 320x120mm

Collage has been used extensively within this thesis to explore and represent rural New Zealand’s role in society. It allows for the creation of a range of scenarios that reinforce and contradict one another, allowing me to hold multiple views and opinions in the space of one project.220 In this respect the process is similar to that followed by C.J Lim in Short Stories: London in two-and-a-half dimensions: “Collage has been chosen for this work to take advantage of the medium’s inherent plurality - pieces of a collage or assemblage are only ever half - assumed into their new context, bringing with them a wealth of connoted meaning from their original time and place. We usually expect objects to exist in a singular location, but the elements in a collage or assemblage oscillate between existences like Schrodinger’s cat, presenting a flexible vessel in which the reader is encouraged to deposit his or her historical and cultural montage.”221 The individual and collective colleges produced, cover a variety of thematic fictional and non-fictional media wich just like Lim’s work encourage the reader/viewer to unearth their personal perceptions of the images, both pre and post juxtaposition. This allows the appropriation of ideas and tropes related to the content to form a layer of pre-existing critical thinking within the collage.222 While they all appear to assimilate social imperatives, in-fact, they counter these models through the techniques of appropriation, irony and subversion.223 Images, quotations and news articles collide, and are at times left to awkwardly interact with one another.

Whilst some images work together to perpetuate past nostalgias, others are forced into awkward confrontations. In turn, the viewer becomes “a scavenger in a gigantic garbage heap of information”.224 The collages, particularly the larger ones - are resistant and often escape my control. The most important element of collage is that it is a universal opening to a non-exclusive public. It’s easy, sometimes painfully so: that’s why it is the first technique used during the 2018 charrette conducted by Dr Sarosh Mulla and Martin Axe.225 Everyone has created a collage at some point.

220 221 222 223 224 225

Collage

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Lim and Liu, Short Stories: London in Two-and-a-Half Dimensions, 10.

Lim and Liu, 10.

Lim and Liu, 13.

Celant and Sachs,Tom Sachs, 33.

Vriesendrop, “The Head/Hand Dialogue”, in Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, 10.

A workshop for University of Auckland MArch (prof) students, which aims to provoke designing through making.

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[Fig.6.6]

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[Fig.6.7]

More Collage

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The Cardbored series, was an early exploration that inhabited the margin between modelling and drawing. A range of cultural influences, ranging from John Clarke’s Fred Dagg to Vincent Ward’s Vigil were laser-cut into cardboard. The pieces play with the alienation of both techne and poiesis whereby the method is disengaged with the context.226 The surgical precision of the laser cutter allows for the cardboard laceration to reveal the corrugated surface beneath the initial layer of cardboard; a surface that is potently present within vernacular art and architecture in New Zealand. The subtraction of the surface reveals that often what is underneath is just as, if not more, important than what is constantly present on the surface. Gorge Harjin was interested in recycled cardboard as a material because of the transfiguration it undertakes in its lifecycle as net/box. Peter Wood states; “an ongoing polemical discourse within architecture that began with Giovanni Battista Piranesi, and involves JeanJacques Lequeu, Étienne-Louis Boullée, the De Stijl and Constructivist movements, Situationist influenced architects such as Bernard Tschumi, and more recently Peter Eisenman, Daniel Libeskind, Zaha Hadid, and Nigel Coates. Each has manipulated the representational syntax of the day in order to re-evaluate the limits of architectural representation, and thereby initiate change. Similarly, each has also attempted to advance the program of architecture from within the discourse of representation, and in doing so has emphasized the drawing as a site of analogous spatiality (not simply metaphorically).”227 Whilst to some, cardboard is banal waste, for others (particularly those less fortunate) cardboard is the only available medium in which one can articulate their needs, wants and intent.

From street beggars to naive hitchhikers, Marshall McLuhan’s statement holds true “the medium is the message.”228 Venturi stated that, “each medium has its day, and the grand environmental statements of our time will come from media more purely symbolic, perhaps less static and more adaptable to the scale of our environment.”229 Could cardboard become the ‘representational syntax’ of contemporary architecture? It certainly obfuscates the current mould of digital based design.

226 227 228 229

[Fig.6.8] Colonial Package Net Cardbored series 300x200mm [Fig.6.9] Dagg Wanted Cardbored series 400x300mm [next page]

[Fig.6.10] Vigil Cover Cardbored series 400x300mm [next page]

Libeskind, “Stars at High Noon; An introduction to the Work of John Hejduk”, in Mask of Medusa: works, 14.

Wood, Drawing the Line: A Working Epistemology for the Study of Architectural Drawing, 103.

McLuthan, Understanding Media: The Extensions of Man, 1.

Venturi and Brown, Learning from Las Vegas, 87.

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[Fig.6.8]

Cardboard

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[Fig.6.9]

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[Fig.6.10]

Cardboard

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[Fig.6.11]

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[Fig.6.11] Andromeda:Grand Hotel de l’Observatorie

by Joseph Cornell Mixed Media Shadow box 1954 465x330x98 mm

Shadow Boxes were sculptural theatres made by early 20th century surrealist Joseph Cornell. Cornell’s dreamlike creations were bricolage capsules that explored the poetic theatre of memory that inspired the viewer to perceive the contents in a new light.230 Much like the shadow boxes of New Zealand’s Rural Enigma, the objects within Cornell’s boxes were personal representations that employed the juxtaposition of artisanal surrealism.231 In the afterword of Atlas of Another America, Albert Pope states that “objects function as irrefutable material evidence of both the outermost ambitions and the innermost fears of the cultures that produce them…The way (in which) objects are constructed, and the manner in which they are interrelated and set upon the earth, encodes a legible social order – a way of being in the world – that can be read back as a comprehensive material culture.”232 Pope suggests that a key form of critical reflection is to turn this “anthropological gaze upon ourselves.”233 Which is tricky to say the least, “it must be done with skill, with humour and with compassion. Especially if the goal is to recover some measure of faith in which to work from.”234 And whilst architects operating in rural New Zealand continue to capitalize upon the fetishization of ‘traditional’ forms of architecture, the communities they serve remain helpless in the face of problems they cannot even come to recognise, let alone solve.235 New Zealand’s Rural Enigma tweaks the conventions of the Arcadian rural idyll, to reveal the true face(s) of the hyper-rural. The boxes are bricolage works, that like Sach’s, show the ‘scars of labour’ and break free of the effects of awe and wonder.236 230 231 232 233 234 235 236

Shadow Boxes

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Solomon, “Joseph Cornell: Pioneer of Assemblage Art.” Solomon.

Krumwiede, Atlas of Another America, 249.

Krumwiede, 249.

Krumwiede, 250.

Krumwiede, 250.

Gell, Art and Agency: an Anthropological Theory, 68.

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“Architecture is a fuzzy amalgamation of ancient knowledge and contemporary practice, an awkward way to look at the world and an inadequate medium to operate on it. Any architectural project takes five years; no single enterprise—ambition, intention, need—remains unchanged in the contemporary maelstrom. Architecture is too slow. Yes, the word ‘architecture’ is still pronounced with certain reverence (outside the profession). It embodies the lingering hope—or the vague memory of a hope —that shape, form, coherence could be imposed on the violent surf of information that washes over us daily. Maybe, architecture doesn’t have to be stupid after all. Liberated from the obligation to construct, it can become a way of thinking about anything—a discipline that represents relationships, proportions, connections, effects, the diagram of everything.”237 Throughout the course of this thesis investigation, an experimental approach was formulated to creatively explore and express my ideas and interests. After coming under heavy fire during a cross-crit in the final months leading up to D-day, I stumbled across the works of Simon Denny, Tom Sachs and Thomas Hirschhorn.238 The critique questioned the experiential qualities of the work being presented, as it had not yet moved off the plinth or the wall (It was still just drawings and models). This marked one of the most pivotal turning points in the thesis year, as the discovery would go on to heavily inform my design methodology. Denny’s ‘content mining’,239 Sachs’ artisanal prowess and Hirschhorn’s spatial ‘ramifications’,240 provide the footing for the following unorthodox technique undertaken ans was to become the backbone for both my current and future personal practise.

237 238 239 240

[Fig.6.12] Simon Denny Modded Server-Rack Display with Some Interpretations of Imagery from NSA MYSTIC, FOXACID, QUANTUMTHEORY, and Other SSO/TAO Slides mixed media 2015

[Fig.6.13] Tom Sachs Master of Pleasures Mixed Media 2008-2010 [next page]

[Fig.6.14] Thomas Hirschhorn Crystal of Resistance Swiss Pavilion Venice Biennale Mixed Media 2011 [next page]

Koolhass, Content, 16.

A form of presentation to a panel of critics.

Bryt, The Founders Paradox: A compendium, 9.

Foster, “An archival Impulse”, 145.

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[Fig.6.12]

Boxes

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177

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[Fig.6.13]

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[Fig.6.14]

Boxes

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The technique found its roots in the large scale collaged assemblages produced throughout the year, and became a way to formalise and exhibit the architectural investigation at hand with both the speed and potency required to fruitfully understand and represent the individual episodes. Dubbed “the box technique”, it is a method that questions “the storytelling capacity of architecture as well as the ability an architectural project has in transferring and conveying knowledge and information that lies beyond the brief”.241 It was this realisation that led to the box technique becoming paramount in both the cultivation and representation of the components within this thesis.

The steps to producing a box are as follows: 1.

Find a cardboard box; preferably one that has already explored the world in some way shape or form.

2.

Collect a series of images, statements and examples of the key components of your chosen topic(s) of interest.

3.

Cover the exterior of the box – as fast as possible – in these images (the key here is to allow unexpected elements to collide and contradict one another). This is the thinking outside the box.

4.

Reflect on the work. What is interesting and what isn’t?

If there is an opportunity to exploit the emergence of a new idea - do it, quickly.

5.

From the amalgamation of content on the exterior of the box, produce a shadow box.242 The ideas explored within the shadow box should be far more potent than that of the exterior assemblage and should aim to incorporate materials and objects that symbolically represent the content of the box. The shadow box will sit in the centre of the box

6.

After producing a shadow box, begin to draw out architectural expressions of the ideas explored in the exterior collage. This will ultimately lead to the design of a ‘built’ form.

241 242

[Fig.6.15] Thomas Hirschhorn Robert Walser Kiosk The original inspiration for the box technique comes from Hirschhorn’s provisionally constructed Kiosks, which were dedicated to philosophers and cultural figures and crudely inhabited university science buildings in Europe.

Culek, “A Flat Tale”.

See shadow box (pg 175)

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7.

Design said building using whatever tools you are comfortable with; this could include a combination of 3D surface modelling, CAD drawing, developed analogue drawing or physical modelling, the faster the better.

8.

Construct an A1 scale drawing set for the intended ee building; this should include, but is not limited to plan, section and elevation. Label distinct elements within your design as they may not be obvious to those outside of the architectural ‘profession’; these should be done by hand as this gives the work a #personal touch.

Any changes or alterations to the building’s design should be noted and dated in the drawing block in the bottom left hand corner under ‘Revisions’.

9.

Produce a final perspective or elevation for your design, using images from both your drawing set and exterior collage. This will be immediately consumed by those viewing your work. So it is best to hide it on the inner right panel of the box.

10. Attach said box to a Lazy Susan base plate.243 This will allow the box to be rotated, allowing confused observers to personally activate and explore the box at will.

11. Feel free to light the boxes with LED’s or head torches. This will allow the box to become an autonomous foreign body.244 This technique parallels the Kiosks and Monuments produced by Hirschhorn. Hirschhorn’s sculptures reposition themselves within the semiotic dimensions of architecture.245 Made of materials of ‘waste and impoverishment.246 This strategy can be applied to any creative practice or interrogation, it is flexible, cheap and laconic.

243 244 245 246

The Box Technique

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A rotating mechanism used to aid the distribution of food around a table Hirschhorn, Skulptur-Sortier-Station, 128 Buchloh, Gingeras and Basualdo, Thomas Hirschhorn, 79.

Buchloh, Gingeras and Basualdo, Thomas Hirschhorn, 82.

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[Fig.6.16]

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The Making of...

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[Fig.6.16] Presentation of Pilot Episode 1 Mid Year Crit 2018 (Originally there were 6 episodes)

[Fig.6.17] NZRE:Unpacked Closed Final body of work [next page]

Throughout this project, I have striven to produce work that encourages viewer implication. The exhibited boxes attempt to unpack, reveal and represent topics not often expressed openly in architectural academic discourse. The work provides a universal opening to a nonexclusive public, it plays dumb and embraces its lack of quality; ultimately mimicking the new global model of cheap materiality and hyper-productivity.247 The observer plays a special role in activating the boxes, allowing them to “be experienced as a series of partitions of infinite space by an observer moving through them on a prescribed route - route is the very word used by Le Corbusier.”248 The five boxes produced for this thesis were – due to spatial constrictions - originally placed on top of three 2000mm x 800mm trestle tables, which were also covered in cardboard. At the beginning of the final presentation, all boxes would have their backs to the audience [Fig.6.17]. Only on activation by the author were the interior contents of the boxes revealed [Fig.6.18]. The slightly bewildered critics were then free to interrogate the boxes and their contents visually, physically and verbally. Much to my dismay, it was mainly verbal.

247 248

A Presentation

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Sachs, Tom Sachs, Nutsys, 97.

Banham, Age of the Masters: a Personal View of Modern Architecture, 51.

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The second public appearance of New Zealand’s Rural Enigma, was at the MODOS Exhibition at the offices of the architecture firm of Warren and Mahoney. However, the project was relegated to the backbenches of the exhibition, away from the giltz and glam of the other thesis exhibits which was perfect. It allowed for the entire set of five boxes to be included in the show. General consensus: Fan favourite [Fig.6.19].249 Amongst the uniform black presentation boards the boxes had well and truly proven there point.

The third manifestation of the project was for the 2018 Student Design Awards shortlist. The only catch was that the project had to be presented as a slideshow. However, with the ‘outside the box’ mentality in mind I decided to produce a rough handycam video [Fig.6.20] exploring the project from an outsiders point of view. Despite getting a few laughs and a pat on the back from colleagues, the project didn’t make it past this point. Bugger.

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[Fig.6.18] NZRE:Unpacked Open Final body of work [previous page] [Fig.6.19] Stoked Author and R.Yang MODOS Exhibition 2018 [Fig.6.20] NZRE: Exposed The video shows the delivery, revealing and exploration of NZRE

Based on feedback from the author’s friends and flatmates, they also enjoyed the free beers.

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[Fig.6.19]

An Exhibition

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[Fig.6.20]

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A Film

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Regardless, New Zealand’s Rural Enigma pulled up its socks and tucked it’s shirt in, as it sought solace outside the clutches of the University of Auckland. The project is now in conversation with Objectspace as it hopes to engage in confrontation with a new type of audience.250 For now, the mildly sinister demonstration of architecture, as a social fiction, stands stacked in silent protest outside the Architecture and Planning Library.251 [Fig.6.21] Like Hejduk’s Masques, “what appears playful is also deadly serious… [Overturning] daily routines and commonplace thoughts, upsetting hierarchies and crowing fools”.252 This method of architectural representation challenges the fixed monumentality of architecture both abroad and in rural New Zealand. It’s an exercise that has no interest in finding or forcing solutions, but instead calls for a reboot of how we make and think that manifests itself as pre-packaged cultural inquiry.253 The perfection of the box is irrelevant, as I place far more importance on creating work that instinctively perpetuates its own mythical origins in order to reinvigorate the stale traditions of architecture exploration and representation. Within this thesis architecture has been used as a tool to think through and evaluate problems. As Beatriz Colomina states: “Architecture is not simply something represented, but is a way of representing. The building itself should be understood in the same terms as drawings, photographs, writings, films, advertisements, and so on, not only because these are the media in which we often encounter it, but because the building is a mechanism of representation in its own right. It is a ‘construction’ in all senses of the word. This means, among other things, that the building is not simply represented in images but is a mechanism for producing images.”254 250 251 252 253 254

[Fig.6.21] NZRE:Stacked Outside the University of Auckland Architecture and Planning Library

A gallery in Auckland that exhibits design, craft and architecture.

Robinson, “Auckland University Confirms Library Closures despite Huge Protests.”

Vidler, The Architectural Uncanny: Essays in the Modern Unhomely, 209.

Allen and Caspar, Drawing Futures: Speculations in Contemporary Drawing for Art and Architecture, 164.

Colomina, “Mies Not”, in The Presence of Mies, 214.

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[Fig.6.21]

A Monument

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[Fig.6.22]

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[Fig.6.22] NZRE:Unpacked Final Crit

The boxes invite action, reaction and interaction. They are not stagnant, and are clearly unfinished but despite their rough edges, they are potently artisanal. The finger prints, pencil marks and glue stains show the viewer that they are constructed realities. And whilst the vast majority of architectural presentations hide their imperfections, the awkward incantations of New Zealand’s Rural Enigma embrace them. Painfully intentional as it may be, it is intended to critique both the seamlessness of architectural practice and the DIY (do it yourself) attitude ingrained in the New Zealand psyche.255 “The motor that drives my work is the human condition and my concerns about it. I do not believe that the process of making art can exist without taking a critical position.

An artist does not make a work of art so that it works or succeeds. To not agree with the system requires courage.” 256 In both the architectural profession and also in architectural education the main focus is on the production of architecture, which mostly encourages debate or reflection; somthing which is of the upmost importance in the age of the Anthropocene. The instalments of New Zealand’s Rural Enigma aim to be provocative, to use architectural design to question and critique the conditions and context that brings buildings into being. Here the place of architecture in rural New Zealand is pervasively presented as a continuous relationship between maker and observer. New Zealand’s Rural Enigma is not concerned with solving problems, rather each episode poses questions about the purpose of architecture in rural landscapes. New Zealand’s Rural Enigma identifies problems and reinterprets how they are communicated and discussed within architectural discourse; interrogating the way in which architecture helps to manipulate the world’s perceptions of the hyper rural.257 255 256 257

A Statement

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Wootton, “On the Fence: The History of Number 8 Wire.”

Enwezor, ‘Interview with Thomas Hirschhorn, in Thomas Hirschhorn: Jumbo Spoons and Big Cake/World Airport, 30.

Sudjic, B is for Bauhaus, Y Is for YouTube, 125.

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[Fig.7.1]

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Conclusion and Reflection

New Zealand’s Rural Enigma

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[Fig.7.2]

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[Fig.7.1] Hope for the Tui Collage 200x90mm [Fig.7.2] Nation Circumnavigation a bridge building exercise Collage 200x310mm

Conclusion

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“Our youthfulness allows us to be playful, lively, experimental, not over burdened by the weight of our past. Our architecture is about the land, the sea and the sky…grounded, sometimes submerged, suspended, divorced from it, but always in a continuous process of negotiation”258 - Rewi Thompson On the completion of this thesis it has become apparent that it has unearthed an unexpected interrogation into fundamental anxieties about the place of male Pakeha identity and how it continues to scar New Zealand’s built environment. The thesis articulation of the hyper-rural is a series of post truths of the past and present that attempt to give insight into the ways in which prescribed ideals still dominate personal and collective understanding of place in rural New Zealand. Although at times scathingly sardonic, the underlying intention is to represent these uneasy realities with the utmost sincerity. This thesis was an ongoing exploration into how the bucolic perceptions of the rural could be architecturally scrutinised observed and redefined. Although not fully understood at the time, the essence of the episodes was that they openly scrutinised the spatial confrontations of the rural, whilst the boxes and resulting exhibition actively observed and represented the various topics of interest. This resulted in a redefining of both architecture’s role in rural New Zealand and the role of architectural presentation in academic discourse.

This thesis scathingly explores the remnants of the now commercialized neo-colonial doctrine that continues to dominate the landscape of rural New Zealand. Whilst works like Pound’s The Invention of New Zealand did unearth the views of the 20th Century Nationalists, it shied away from the uncomfortable realities still present in modern day New Zealand.259 Architecture has been harnessed as a medium to project ideas and problems towards the viewer, as an outlook on a different reality, which liberates new or unknown energies; to question not the illusion of New Zealand’s reality, but the reality of illusion itself.260 As architecture no longer requires the validation of construction to maintain itself within architectural discourse, this oscillating set of imagined realities sets out to reinterpret the limits of research and creative academic practice.261 258 259 260 261

Future Islands catalogue, Pound, The Invention of New Zealand: Art & National Identity, 1930-1970.

Rushton, The Reality of Film: Theories of Filmic Reality, 149.

Parnell, “Post-Truth Architecture.”

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Like the episodes of Country Calendar, the five instalments of New Zealand’s Rural Enigma, provide an allegorical entry into a variety of spatial anomalies and their mythical narratives.

They take a critical look at the stories we tell ourselves and others.262 Episode One (pilot), The Promised Land LLC investigates the implications of the urban/rural divide, migration to the rural, and the overwhelming promotion of the idealised rural condition to the world. Episode Two, Raising the Steaks, presents a new approach to vertical farming and meat production in which the Wairoa community, the worker and the consumer are able to experience a holistic understanding of sacrifice and the role of the slaughter process in New Zealand’s meat industry. Episode Three, St Adium, identifies rugby as New Zealand’s pagan religion, showing that despite playing a major role in New Zealand ‘identity’, rugby is hopelessly neglected in academic discourse. Episode Four, BARthtime, combines the ritualistic practices of bathing and binge drinking to provide a spatial commentary on the role of alcohol in rural New Zealand. Episode Five (finale), BOLThole, unearths venture capitalist Peter Thiel’s plans to build a bunker on the shores of Lake Wanaka, as he attempts of escape the clutches and limitations of the welfare state and build his idealistic vision of the future in little old New Zealand.

Although not realised at first, the episodic structure of New Zealand’s Rural Enigma has, like every good tale, a logical beginning and conclusion. Starting with the entry into the rural through The Promised Land LLC’s border control centre, and ending in the total destruction of Democracy, as we know it, at the hands of the tech tyrant Peter Thiel.

[Fig.7.3] Takeaways Collage 200x310mm

262 Country Calender is an iconic New Zealand television program that looks into marketable trends within rural Kiwi life. It is also New Zealand’s longest running television series.

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[Fig.7.3]

Conclusion

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[Fig.7.4]

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[Fig.7.4.]

110% Pure Protesters and police clash during the 81’ Springbok Tour protests. How far will we go to achieve ‘purity’?

Cardbored Series Relief 300x400

Within this thesis the five episodes manifest themselves as architectural commodities; pre-packaged, interactive products of reflective investigation. This is evident throughout my making process, as both the images, ideas and materials used are products of my consumption both literally and figuratively. And it is here, that collage, cardboard and curation formulate their “programmatic and multi-pronged assault” on the fetishism of architectural representation. They mimic the 21st century’s capitalist model of mass consumption.263 One that is almost instant, an effective conduit for the products of a post truth, hyper-rural environment. The advancement of capitalism could be seen as a crisis of representation.264 A crisis that has engaged in a continuous process of symbolic exchange, ‘commodity fetishism’ at its finest. New Zealand’s Rural Enigma is a symphony of stimulation that is fuelled by ideology, culture and representation. The output is the hyper-rural; “mass stimulation, both promulgated by the media, and lived and rebroadcast by the present day actors, facilitators and entrepreneurs.”265 The materials and methods implemented into New Zealand’s Rural Enigma allow it to negotiate the past, present and future through this series of curated capsules of 21st century consumer culture.

263 264 265

Conclusion

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Sachs, Tom Sachs: Nutsys, 96.

Bell, “The ‘real’ New Zealand: Rural mythologies perpetuated and commodfied.”

Bell.

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This manipulation of contemporary methods of presentation, re-evaluats and repositions the limits of both architectural representation and polemical discourse. By resisting the entrapment of current methods of representation and reinterpreting them to its advantage, New Zealand’s Rural Enigma flips contemporary strategies of architecture on their head to disestablish and refashion the perceptions of spatial identity within rural New Zealand. The materials used are both banal and precarious. In their original form there is no doubt, no mystery, and no surplus value.266 Acting as architect, I have created the mystery and given these supposedly mundane objects power and meaning. In the same way as John Hejduk’s, Silent Witnesses are a physical panorama that “represent all the issues of the last 120 years in one statement.”267 The episodes of New Zealand’s Rural Enigma, operate within a similar framework, which “is in reality nothing new or foreign, but something which is familiar and old-established in the mind and which has become alienated from it only through the process of repression... something which ought to have been kept concealed but which has nevertheless come to light.”268 Using architecture I have tried to get to grips with a variety of unsettling topics and to move past mere satire into a realm where cynicism and ambivalence fester and evolve to a point beyond one’s control. The ‘box technique’ allows the essence of New Zealand’s Rural Enigma to live on, as its aesthetic, methodology and overall obtrusiveness can be applied to any research or creative based practice.

266 267 268

[Fig.7.5.]

Milk Carton Net Cardbored series relief 400x600

Enwezor, “Interview with Thomas Hirschhorn”, in Thomas Hirschhorn: Jumbo Spoons and Big Cake/World Airport, 30.

Hejduk, Mask of Medusa: Works 1947-1983, 137.

Freud, “The Uncanny”

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[Fig.7.5]

Conclusion

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[Fig.7.6]

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[Fig.7.6] Dog Off to see a man about a dog An anti-modern rural flaneur in action Cardbored Series Relief 300x500

The various physical appearances of New Zealand’s Rural Enigma turned the presentation space into a handcrafted multidimensional viewing experience. Ultimately, it became an architecture in its own regard; a structure that produced consumers rather than sheltering them, provoking desire rather than satisfying it.269 After all, as stated by Aldo Rossi; “...in life is an architecture, whenever we search for something we do not find merely what we have sought; in every search there is always a degree of unforeseeability, a sort of troubling feeling at the conclusion. Thus the architect must prepare his instruments with the modesty of a technician; they are the instruments of an action that he can only glimpse, or imagine although he knows that the instrument itself can evoke and suggest the action. I particularly love the empty theatres with few lights lit and, most of all those partial rehearsals where the voices repeat the same bar, interrupt it, resume it, remaining in the potentiality of an action. Likewise in my projects, repetition, collage, the displacement of an element from one design to another, always places me before another potential project which I would like to do but which is also a memory of some other thing.”270 Through this process I discovered that being an architect or acting architecturally is not a question of form or context, it is a question of responsibility that has nothing to do with romanticism or idealism, and it is a question of courage.271 It became clear during the course of the year that removing my personal biases and interests from the work would be nugatory. Therefore as the author of New Zealand’s Rural Enigma I have cynically assumed the role of the anti-modern rural flaneur, the rugged practical bloke, the kiwi joker and the master builder. It is clear that within this thesis the mythical image of the kiwi architect as a self-deprecating rugged individualist is alive and well.

269 270 271

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Foster, Recodings: Art, Spectacle, Cultural Politics, 79.

Rossi, Aldo Rossi: a Scientific Autoboigraphy, 20.

Hirschhorn, “Quality, No! Energy, Yes!”, 6.

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March 21, 2018. https://www.atlasobscura.com/places/notre-dame-du-rugby “US ‘Great White Fleet’ Arrives in Auckland.” n.d. RSS. Accessed November 16, 2018. https://nzhistory.govt.nz/the-us-great-white-fleet-arrives-in-auckland.

Venturi, Robert. Iconography and Electronics upon a Generic Architecture: A View from the Drafting Room. Cambridge, MA: MIT Press, 1996.

Venturi, Robert, Denise Scott Brown, and Steven Izenour. 2017. Learning from Las Vegas. Cambridge, MA: The MIT Press.

Veysey, Alex. 2002. Colin Meads, All Black. HarperSports: Auckland.

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Virilio, Paul. 2012. Bunker Archeology. Princeton, NJ: Princeton Architectural Press.

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Yegul, Fikret. 1995. Baths and Bathing in Classical Antiquity. New York: The Architectural History Foundation ; Cambridge.

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Bibliography

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*All figures are by author unless stated otherwise [Fig.0.1] Verkaveld Drents Landschap, by Han Jansen Screen print 70x70cm - https://www.wiekxx.nl/ toonkunstwerk.php?id=3865&rubriek=&lang=# [Fig.0.2] Taihape’s corrugate gumboot -https://forums.somethingawful.com/showthread.php?threadid=3687644&pagenumber=4 [Fig.0.3] Statue of shearer, Te Kūiti (shearing captial of the world) - https://advrider.com/f/threads/the-other-downunder-new-zealand-by-v-strom.667793/page-4 [Fig.0.4] Charette Collage, Fred Dagg impaled by Parekowhai’s Acts wearing a 81’ protestor’s helmet , 420x294mm [Fig.0.5] Man Alone, Cardboard Relief 300x200mm [Fig.0.6] Outsiders on the inside, Collage, 240x200mm [Fig.0.7] Shake up, Collage, 210x210mm [Fig.0.8] Silent Witnesses, by John Hejduk, 1974. http://www.quondam.com/57/5701q.htm [Fig.0.9] The Ultimate Anti-Modern Observer,Collage, 200x200mm [Fig.1.1] Box 1 (exterior), Collage/Assemblage, 600x900x500mm [Fig.1.2] Box 1 (interior), Collage/Assemblage, 600x900x500mm [Fig.1.3] Map 1, scan of edited map from atlas,297x230mm [Fig.1.4] Diagram of Shadow Box 1, pen on paper, 180x250mm [Fig.1.5] Shadow Box 1, Mixed Media, 300x400x150mm [Fig.1.6] The Promised Land, by Colin McCahon, Oil on canvas, 920mmx1370mm- https://www.aucklandartgallery. com/explore-art-and-ideas/artwork/7236/the-promised-land [Fig.1.7] Ep1 Box Triptych, Collage / Assemblage, 900x1600mm [Fig.1.8] Waharoa, by Selwyn Muru, Gateway to Aotea Square https://www.flickr.com/photos/russellstreet/8093191579 [Fig.1.9] Welcoming arch, Auckland celebrating the arrival of the “Great White Fleet” 1908 - https://www.ibiblio.org/ hyperwar/OnlineLibrary/photos/events/ev-1900s/gwf07-09/gwf-4e.htm [Fig.1.10] New Zealand Concept Store, Paterson Architects - http://pattersons.com/commercial/new-zealand-concept-store/ [Fig.1.11] Trump’s Wall swatches, USA/Mexico border https://ktla.com/2018/04/10/california-atty-general-becerra-says-hell-appeal-ruling-allowing-trump-border-wall-projects-to-continue/ [Fig.1.12] A House for Essex, FAT and Grayson Perry, https://www.archilovers.com/projects/158694/a-house-foressex.html [Fig.1.13] Suburban SET Projects, Ron Herron https://relationalthought.wordpress.com/2013/04/12/1502/ [Fig.1.14] Apple Store, Fifth Avenue, by Bohlin Cywinski Jackson https://www.archilovers.com/projects/30795/apple-store-fifth-avenue.html [Fig.1.15] Collage of sketches and drawings for episode 1 [Fig.1.16] The View South, Perspective collage, 297x420mm

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[Fig.1.17] Facade Breakdown, axonometric post digital sketch [Fig.1.18] Drawing Set 1, Elevation, Plan, Section post digital sketches 597x841mm [Fig.2.1] Box 2 (exterior), Collage/Assemblage, 600x900x500mm [Fig.2.2] Box 2 (interior), Collage/Assemblage, 600x900x500mm [Fig.2.3] Map 2, scan of edited map from atlas,297x230mm [Fig.2.4] Diagram of Shadow Box 2, pencil and crayon, 180x250mm [Fig.2.5] Shadow Box 2, Mixed Media, 330x400x50mm [Fig.2.6] The Great Union Stock Yards of Chicago, photo by Charles Rascher for Walsh & Company, c. 1878 , (Library of Congress)- https://www.google.co.nz/url?sa=i&source=images&cd=&ved=2ahUKEwiCkr2qkPHeAhUCWCsKHbG6CvAQjRx6BAgBEAU&url=http%3A%2F%2Ftomclarkblog.blogspot.com%2F2011%2F04%2Fjungle-upton-sinclair-stockyard.html&psig=AOvVaw3YlnRxB1GUnmZW3Tg5Fz4Z&ust=1543289701001399 [Fig.2.7] The maze of livestock pens and walkways at Chicago’s stockyards, ca. 1947.https://www.archives.gov/ research/american-cities [Fig.2.8] Ep1 Box Triptych, Collage / Assemblage, 900x1600mm [Fig.2.9] A Human Sacrifice, in a Morai, in Otaheite, Illustration to “A Voyage to the Pacific Ocean ... in the years 1776-80”: preparations for a human sacrifice watched by Captain Cook and others from the expedition. 1784 https://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1527040&partId=1&images=true [Fig.2.10] Meat Piece with Warhol Brillo Box, 1965, by Paul Thek, painted wood and plexiglass, 356x.432.x432 mm https://www.whitney.org/WatchAndListen/597 [Fig.2.11] Big Sheep and Big Ram, House a visitor center and wool shop, Tirau https://www.atlasobscura.com/ places/big-dog-and-sheep [Fig.2.12] Bessie, Animal Farmatures by Design with Company http://www.designwith.co/Animal-Farmatures39 [Fig.2.13] Collage of sketches and drawing for episode 2, 297x420mm [Fig.2.14] A Monument to Slaughter, Collage Perspective [Fig.2.15]Facade Breakdown, Elevation, Post digital Sketch, 300x500mm [Fig.2.16] Drawing Set 2, Section and Plan, Post digital sketch, 597x841mm [Fig.3.1] Box 3 Exterior, Collage / Assemblage, 600x500x900mm [Fig.3.2] Box 3 Interior, Collage / Assemblage, 600x500x900mm [Fig.3.3] McCaw Country, Kurow entry sign https://www.theguardian.com/world/2015/oct/30/welcome-richie-mccaw-country-town-kurow-new-zealand-all-blacks [Fig.3.4] Map 3, Scan of edited map from atlas, 297x230mm [Fig.3.5] Diagram of Shadow Box 3, Pen on paper, 300x210mm [Fig.3.6] Shadow Box 3, Mixed Media, 300x420x240mm [Fig.3.7] The hard Man, Colin Meads, All Black hero and farmer, the quintessential New Zealander, https://teara. govt.nz/en/photograph/20325/colin-meads

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[Fig.3.8] The Lost Lamb, by Del Parson, http://www.delparson.com/gallery_pages/lost_lamb.html [Fig.3.9] Ep3 Box Triptych, Collage / Assemblage, 900x1600mm [Fig.3.10] Rugby Round-Up, Collage, 200x300mm [Fig.3.11] Notre Dame du Rugby, Chapelle, Larriviere Saint Savin, France http://recteurrocamadour.eklablog.com/ lundi-de-pentecote-messe-a-notre-dame-du-rugby-landes-a130396864 [Fig.3.12] Jesus and Mary feeding a rugby ball into a lineout, Window detail of Notre Dame du Rugby Larriviere Saint Savin, France. http://liturgy.co.nz/rugby-cafe-worship [Fig.3.13] A mounted Knight circles AMI Stadium in front of a crowd lost in focused intensity https://allblacksopenforum.wordpress.com/tag/crusaders-super-rugby-2015/ [Fig.3.14] Sam Whitelock (C) captain of the Crusaders celebrates with a sword on the pitch https://www.dailymail. co.uk/sport/rugbyunion/article-6026257/Canterbury-Crusaders-37-18-Lions-Richie-Mounga-provides-inspiration. html [Fig.3.15] Apartheid is not a game, Collage 200x310mm [Fig.3.16] Collage of sketches and drawings for episode 3, 297x420mm [Fig.3.17] Knights Salute the arrival of the chapel at the new stadium, Collage Perspective [Fig.3.18] Helmet Elevation, Post Digital Sketch, 300x100mm [Fig.3.19] Drawing Set 3, Section(s) and elevation, 597x841mm [Fig.4.1] Box 4 (exterior), Collage/Assemblage, 600x900x500mm [Fig.4.2] Box 4 (interior), Collage/Assemblage, 600x900x500mm [Fig.4.3] Visitors crowd around the Lady Knox Geyser, The geyser is stimulated daily at 10:15am as tour guides drop a surfactant into it, causing it to erupt prematurely. https://www.flickr.com/photos/4nitsirk/5505256387/in/photostream/lightbox/ [Fig.4.4] Map 4 scan of edited map from atlas,297x230mm [Fig.4.5] Diagram of Shadow Box 4, pen on paper, 180x250mm [Fig.4.6] Shadow Box 4, Mixed Media, 300x400x200mm [Fig.4.7] The Infamous Tui Brewery. Brewing Legends Since 1889, Mangatainoka [Fig.4.8] Boys Being Boys,A group of teens with a ‘Wa’ or bearbong, https://teara.govt.nz/en/photograph/29314/ teen-binge-drinking [Fig.4.9] The Delta Tavern, Ngaruawahia, http://www.localpokies.co.nz/ntl/ngaruawahia/ngaruawahia-delta-tavern/ [Fig.4.10] Bathing Pavilion, by Stanely Tigerman http://www.tigerman-mccurry.com/project/bathing-pavilion [Fig.4.11] Ep4 Box Triptych, Collage / Assemblage, 900x1600mm [Fig.4.12] Ruins Of A Roman Bath With Washerwomen, by Hubert Robert,Oil on canvas, 137.2x105.4mm https:// www.philamuseum.org/collections/permanent/58575.html [Fig.4.13] Collage of sketches and drawings for episode 4 [Fig.4.14] A Young man pops a manu into the main pool of The Pitt, Perspective collage, 297x420mm

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[Fig.4.15] Consumption Booth, axonometric post digital sketch [Fig.4.16] Drawing Set 4, Plan, section, roof plan, post digital sketches 597x841mm [Fig.5.1] Box 5 (exterior), Collage/Assemblage, 600x900x500mm [Fig.5.2] Box 5 (interior), Collage/Assemblage, 600x900x500mm [Fig.5.3] Map 5 scan of edited map from atlas,297x230mm [Fig.5.4] Diagram of Shadow Box 5, pen on paper, 180x250mm [Fig.5.5] Shadow Box 5, Mixed Media, 300x400x200mm [Fig.5.6] The Michael Hill Golf Clubhouse, by Paterson Architects, Queenstown, 2008 http://pattersons.com/commercial/michael-hill-golf-clubhouse/ [Fig.5.7] Jonathan Herz, It’s Not For Everyone, Surviving the Nuclear Holocaust, A Modest Proposal, Berkeley, CA, From Quonset Huts On The River Styx: The Bomb Shelter Design Book [Fig.5.8] Ep5 Box Triptych, Collage / Assemblage, 900x1600mm [Fig.5.9] The ‘Todt Front’ The overhung solid mass complements the vertical gradings of the embrasure, from Paul Virillo’s Bunker Archeology p145.

[Fig.5.10] “New Zealand Like Lord of The Rings” One of the tourism posters see in Murray’s office in Flight of the Conchords (TV Show) https://www.flickr.com/photos/denee/3286245341/in/photostream/ [Fig.5.11] Barad-dur (Dark Fortress), The Dark Lord Sauron’s primary stronghold in Mordor, Tower Model, Lord of the Rings http://lotr.wikia.com/wiki/Barad-d%C3%BBr [Fig.5.12] Ascent Hero Portrait Projection (Lord Tybalt), By Simon Denny, UV print on canvas,2017 [Fig.5.13] Collage of sketches and drawings for episode 5 [Fig.5.14]Thiels bunker assumes its final form as a towering fortress, Perspective collage, 297x420mm [Fig.5.15] Bunker-towne ascension, Thiel unearths himself, axonometric post digital sketch [Fig.5.16] Drawing Set5, Plan, section, roof plan, post digital sketches 597x841mm.

[Fig.6.1] A View of Freedomland after “Meadows near Greifswald” by Caspar David Friedrich, 1822. https://soa. princeton.edu/content/soa-exhibit-keith-krumwiede-freedomland [Fig.6.2] The Literal with the Poetic, A collage of Parekowhai, Clarke and Robinson [Fig.6.3] The Simple with the Decorative, Collage pairing of Clarke, Margiela and Robinson [Fig.6.4] The Familiar with the Unexpected, Collage pairing of Flight of the conchords, Whiteread, McCaw, Smithson, and Jackson’s Bad Taste [Fig.6.5] Champions, Collage, 100x300mm [Fig.6.6] Oi!, Collage, 100x100mm [Fig.6.7] International Waters, Collage, 320x120mm [Fig.6.8] Colonial Package Net, Cardbored series, 300x200mm [Fig.6.9] Dagg Wanted, Cardbored series, 400x300mm

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[Fig.6.10] Vigil Cover, Cardbored series, 400x300mm [Fig.6.11] Joseph Cornell, Andromeda: Grand Hôtel de l’Observatoire, 1954, (46.5 x 33 x 9.8 cm) - https://www. guggenheim.org/artwork/904 [Fig.6.12] Simon Denny, Modded Server-Rack Display with Some Interpretations of Imagery from NSA MYSTIC, FOXACID, QUANTUMTHEORY, and Other SSO/TAO Slides, 2015, mixed media. https://www.tepapa.govt.nz/ about/past-exhibitions/2016-past-exhibitions/simon-denny-secret-power [Fig.6.13] Tom Sachs, Master, 2008-2010 mixed media 73.5 x 57 x 13.5 in. https://www.tomsachs.org/work/master [Fig.6.14] Thomas Hirschhorn, Crystal of Resistance, 2011, Swiss Pavilion, Venice Biennale, Venice, Italy, 2011 https://gladstonegallery.com/artist/thomas-hirschhorn/work/fullscreen#&panel1-3 [Fig.6.15] Thomas Hirschhorn, Robert Walser Kiosk https://theartstack.com/artist/thomas-hirschhorn/robert-walser-kiosk [Fig.6.16] Presentation of Pilot Episode 1, Mid Year Presentation, Originally there were 6 episodes [Fig.6.17] NZRE:Unpacked Closed, Final body of work [Fig.6.18] NZRE:Unpacked Open, Final body of work [Fig.6.19] Stoked, Author and R.Yang ,MODOS Exhibition 2018, photo by Bret Walton [Fig.6.20] NZRE: Exposed, The video shows the delivery, revealing and exploration of New Zealand’s Rural Enigma [Fig.6.21] NZRE:Stacked, Outside the University of Auckland Architecture and Planning library [Fig.6.21] NZRE:Unpacked, Final Crit, photo by Brooke Ngarimu [Fig.7.1] Hope for the Tui, collage, 200x90mm [Fig.7.2] National Circumnavigation, a bridge building exercise, collage, 200x310mm [Fig.7.3] Takeaways, Collage, 200x310mm [Fig.7.4.] 110% Pure, Protesters and police clash during the 81’ Springbok Tour protests, how far will we go to achieve ‘purity’? Cardbored Series Relief, 300x400 [Fig.7.5] Milk Carton Net, Cardbored series relief, 400x600 [Fig.7.6] Dog, going to see a man about a dog, an anti-modern rural flaneur in action, Cardbored Series Relief, 300x500

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Appendix Figures [Fig.8.1] Episode 3 Collage [Fig.8.2] Episode 2 Drawing Set A1 [Fig.8.3] Episode 4 Drawing Set A1 [Fig.8.4] Episode 3 Drawing Set A1 [Fig.8.5] How lucky are we? Collage, 210x70mm [Fig.8.6] Dreamland, Collage, 200x90mm [Fig.8.7] Jack of all trades, Cardbored relief [Fig.8.8] Toss’ Intolerance, Collage 200x420 [Fig.8.9] Charette drawing 3, Cardbored relief [Fig.8.10] Charette drawing 1 & 2, Cardbored relief [Fig.8.11] Wan*ka Map [Fig.8.12] Tirau map, Cardbored relief [Fig.8.13] Tirau map, scan of Cardbored relief

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[Fig.8.1]

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[Fig.8.2]

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[Fig.8.3]

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[Fig.8.4]

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[Fig.8.5]

[Fig.8.6]

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[Fig.8.7]

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[Fig.8.8]

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[Fig.8.9]

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[Fig.8.10]

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[Fig.8.12]

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[Fig.8.12]

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