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Chapter I: Scene Chapter II: Memories Chapter III: Anatomy Chapter IV: Operation Chapter V: Archive Chapter VI: Archive extended
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Pirinoa is a small rural settlement in the Wairarapa. It sits west of the Rimutaka Ranges and East of Aorangi Forest. Lake Wairarapa lies to the north and Lake Ōnoke to the South. All of these land marks are significant to Māori and to Pākehā for very different reasons. Pirinoa was once part of one the largest wetlands in Te Ika a Maui. In 1963 the government changed the flow of the Ruamahanga river decimating Lake Wairarapa and draining the surrounding wetlands. Dairy farming is still intense in this area, causing concern for the future.
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wairarapa topography
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wairarapa topography
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print on paper
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“If we attribute a meaning to a thing that is present, that is, if we form an idea of what this thing may be in relation to us, we seem to attenuate, inevitably, the impact that this thing can have on our bodies and our senses.” ‘That any form of communication implies such a production of presence, that any form of communication, through its material elements, will “touch” the bodies of the persons who are communicating in specific and varying ways.” -Hans Ulrich Gumbrecht
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“Reality, then, as concepts such as ‘landscape’ or ‘space’, is not something external and ‘given’ for our apprehension; rather it is constituted, or ‘formed’, through our participation with things: material object, images, values,cultural codes, places, cognitive schemata, events and maps.” “Ideas about spatiality are moving away from physical objects and forms towrdas the variety of territorial, political,and psycological social processes that flow through space. The experiences of space cannot be separated from the events that happen in it; space is situated, contingent and differentiated.” -James Corner
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pen & pencil
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pen, ink & digital
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This investigation was aiming to understand site and the forces affecting the wairarapa landscape from invtensive farming to previeling wind flows. Printmaking becomes the driver for a fram topology as it is perfect translaton of Hans Ulrich Gumbrecht’s discourse surrounding the production of presence. I am enabling the prodution of presence through the unconscious interpretation of aerial and perspective images. This process is then scrutinised intensively over multiple scales through photography, with focus on depth of line, transparency, texture, contrast, edge conditions, and balance. When combined with conventional drawing, this process enables an abstrct understanding of site and its conditions and helps to define an architectural concept.
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Chapter II: Memories Mehemea koe kei te rongo i te tamūtamū i te takiwā, engari kāore koe i te kite tangata, he parangēki tērā, he tiramaka tērā, ko te hunga wairua tērā. / If you hear a murmur in the vicinity, but you can’t see anyone, that is a sense of foreboding, a portent of a tragic event, and that is the company of spirits.
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Pigeon Bush is a native forest reserve that sits just west of Wairarapa Moana in the Wairarapa. Pigeon Bush Railway Station operated here from 1878 to 1943 helping to move farmed goods from Wairarapa into Wellington City. These Chimneys are all that’s left of this station. The Chimneys act as a catalyst for the memory farm ideology. As ruins, they have lost their purpose, yet they still have a presence that can be harnessed. Through reinstating the train station programme, I will be investigating how memory can be farmed. This programme serves to reformat how architects prioritize programme within the discipline. This means that designed programme and occupance are separated, and post occupancy becomes the driver for building use.
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CLOSE SITE PLAN
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Chapter IV: Operation
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Railway house An inquiry into operation, this chapter investigates architectural form through the complex relationship of drawn and built. Using drawings to extract formal architctural typologies I was able to examine how one can use a varity of materials in three dimensions to represent something two-dimensional. This model then informed a mapping exercise on the following pages that lead to more physical and digital three-dimensional models. It helped to inform descisions and ideas such as the romance of the tower, formal grid structure, directionalism, collective composition individual composition, depth of line, complex light play, draped structure and tensioned structure. The romantic tower of the Railway Keeper is is formed through ritual living processes, sleeping, eating, bathing, and dwelling. This obsure figure exists as the sender and reciver of memories with his house as the transmission device.
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Chapter IV: Archive
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another plan to balance page
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Ruinomania has long been an obsession at least as protean as its subject, but a common strand from the ninth century to the twenty-first century has been the idea of the ruin as the vehicle, or ‘an allegory of memory… fragmentary, imperfect, partial and thoroughly incomplete. There is no clear sign that the meaning of the past is self-evident and easy to decode if you possess the necessary expertise. There is an excess of meaning in the remains: a plenitude of fragmented stories, elisions, fantasies, inexplicable objects and possible events which present a history that can begin and end anywhere, and refuses the master narratives of history…’ . - Edensor, Tim. Industrial Ruins: Space, Aesthetics and Materiality, Oxford: Berg Publishers, 2005, 140
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SECTION
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// Chapter IV: Archive Extended
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