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Ko Tūranga-a-Mua, Tūranga the traditional
Ko Tūranga Ararau, Tūranga the pathway of many
Ko Tūranga Makaurau, Tūranga of a thousand lovers
Ko Tūranga Tangata-rite, Tūranga the assembly place of individuals
Ko Tūranganui-a-Kiwa, the lengthy ready place of Kiwa
The story of arrival is engrained within the expertise of Tūranganui-a-Kiwa (Poverty Bay). Kiwa, the excessive priest of the waka Horouta, gave Tūranga its title. Horouta was adopted by the waka Nukutere and Tākitimu. Paikea then famously arrived on the again of a whale and, generations later, Captain James Prepare dinner arrived on the Endeavour. Certainly, the story of Aotearoa may be instructed by way of the shores of Tūranga. However, right this moment, the story of arrival begins not by land or sea however by air. It’s the structure of Tairāwhiti Gisborne Airport and its function in welcoming guests that proceed this legacy of arrival.
The mission, initially deliberate as a refurbishment however one which become a rebuild, started when regional infrastructure firm Eastland Group approached native architect Dan King of Architects 44, who then linked with Ewan Brown and Hugh Tennent of Tennent Brown Architects in Wellington. Having labored on Wellington Airport, Brown says Tairāwhiti was comparatively simple however nonetheless got here with the problem of retaining the airport working whereas establishing a complete new constructing on the identical web site. His expertise was invaluable, when it comes to working by way of the problems on web site in addition to lowering the work to 2 levels.
Airports, by definition, are lengthy, skinny buildings, every with an airside and a landside. The general public perform is within the centre; there’s baggage out and in, and the unseen operations. The architects designed ‘a easy shed’ on this case, with an upturned finish just like the waka tauihu and a downturned finish like a whare bringing you residence, linked by a protracted tāhuhu spanning the size of the constructing. Consistent with a robust sustainability focus, the tāhuhu additionally helped to combine the constructing providers designed by eCubed so the latter wouldn’t compete with the general simplicity of the design.
A proactive consumer, Eastland Group launched the design group to Karl Johnstone (Rongowhakaata) firstly of the mission. Johnstone grew to become a crucial collaborator and hyperlink to all of the native knowledge-holders and artists, making certain the voices of manawhenua have been heard and that their needs have been built-in into the design by way of the co-design course of. “We noticed this as a possibility to create, collectively, essentially the most Māori airport within the nation,” says Brown, “and to be a robust car for Rongowhakaata, for manawhenua, because the gateway expertise for Gisborne and Te Tairāwhiti.” It was from that foundation that the conversations started with Johnstone, who, as a designer himself, was an efficient conduit between the design group and manawhenua artists, represented by grasp carver Tā Derek Lardelli and kaiako whakairo Tiopira Rauna.
To start the mission, a hui was referred to as on the native Ngāi Tāwhiri marae with kaumātua and artists from Rongowhakaata. Kōrero started round conceptual concepts for the mahi toi and the methods by which these might be included into the structure of the brand new airport constructing. It was a couple of illustration of manawhenua, the folks of this land, mana moana, the folks of the ocean and mana tāngata, the folks of significance. “The very first thing we at all times start with from a Māori structure perspective is ‘Te Ao Wairua’, the non secular facet, and something we do is guided by that non secular context,” explains Rauna. “Consistent with this, a karakia whakawātea was carried out to bless the location with the planting of a rākau, to have a non secular connection to the mission by way of to the completion.”
The artists reviewed the preliminary structure plans, with Rauna engaged on the kei āhau te mahau o te whare (exterior) and Lardelli on the kei a koe te poho o te whare (inside). “It was about marrying these ideas collectively by way of the context of up to date toi Māori,” says Rauna. “We noticed this preliminary engagement as ‘he waewae pākura’, a stable footprint, whereby we have been resourced to do the work and engaged early on so we may contribute to our fullest talents.”
There was a lot dialogue about how a customer landed and was supported by the airport. The pare have a beautiful story concerning the kuia and their relationship with welcome. As the fashionable embodiment of welcome, the 2 pare at every entrance acknowledge key tūpuna kuia that hook up with the hapū of the world, and the function kai kāranga play within the welcoming of guests.
The place the inside holds the mana of Ngāi Tāwhiri, the outside displays the manawhenua of Te Aitanga a Māhaki, Ngāi Tāmanuhiri and Ngāti Oneone, in addition to Ngāti Porou, paying homage to all these iwi of Te Tairāwhiti. “We are saying of te ao wairua that they don’t sleep,” says Rauna, “so the kuia are doing the karanga, ‘ao noa, pō noa’, 24/7.”
Rauna explains that each exterior pare signify Rongowhakaata, Te Aitanga a Māhaki, Ngai Tāmanuhiri and Ngāti Oneone with {our relationships} to Te Tairāwhiti.
The landside pare is called ‘Ngā Tararere kārangaranga a Hine Hakirirangi’, the progeny of Hine Hakirirangi. The kuia within the center is Hakirirangi, “our tūpuna wāhine who arrived on the Horouta waka”. On each side are two wāhine: to her left are Rawinia Te Kani, kai kāranga at Te Poho-o-Rawiri marae and Riria Puehu, a matriarch of Ngāi Tāwhiri; to her proper are Riperata Kahutia, who gifted the land the airport is on, and Waioeka Brown of Te Aitanga a Māhaki, who embodied these values of welcome to all, regardless of who they’re or the place they’re from. The three kuia based mostly in the midst of the pare maintain the manawhenua for Ngāi Tāwhiri of Rongowhakaata. “This pare is a illustration of our mana-atua (non secular connection), mana-tipua (guardian connection), mana-moana (seaward connection) and mana-whenua (land connection).”
On the airside, the pare is called ‘Te Waerea o Ruakapanga’, the incantation of Ruakapanga. “He’s conducting a prayer of welcome to elevate the tapu of their travels,” explains Rauna. “This pare is a illustration of ngā manu nui a Ruakapanga, the prized birds of Ruakapanga. His two manu have been referred to as Harongarangi and Tiungarangi. The pare represents our connection to Ranginui and the way our ancestors arrived right here on birds.”
Inside, the idea of the manaia runs alongside the tāhuhu, historically the primary construction of the whare. As a up to date spin on the normal tāhuhu, Wellington-based Makers of Structure helped create the tāhuhu utilizing a CNC machine to ‘carve’ the manaia, supervised by Lardelli. These manaia, once more, mirror the completely different iwi and hapū of Rongowhakaata and people tūpuna who’ve paved the best way for us, which, in a non secular sense, is the assembly of the outdated world and the brand new. That is the place the worth of getting these early conversations with the design group and marrying collectively these tales of tūpuna with the architectural ideas is so vital.
The rammed-earth wall to the landside of the constructing continues this connection to the land and likewise harks to the first industries which have constructed the native financial system. Rammed earth is a neighborhood materials, from papatūānuku: a grounded, stable anchoring and likewise a sustainable materials with comparatively low carbon. The feel of the rammed-earth wall helps to convey nature into the constructing. The twisted columns communicate of propellers but in addition flip in the direction of Te Kurī-a-Pāoa, a nod to the panorama. The straightforward, darkened ceiling helps to emphasize the inside options, such because the tāhuhu. The manaia on the tāhuhu breaks what in any other case may need been a industrial really feel and enhances the wairua of those that work inside and facilitates the human points of manaakitanga. The constructing’s giant open areas are recurrently utilized by faculties and different teams for occasions, and this supplies a connection to the area people. In addition to performing a cultural perform, the supplies chosen are non-toxic and have been chosen to assist scale back the carbon influence of the constructing. All through the mission, there’s a synergy of mixing the narratives to the panorama within the artworks and materiality, coupled with the sustainable design points. As Tennent says, “If you happen to make it lovely and nice to be in, and it’s telling a narrative, then it may be greater than only a place to get a ticket.” King provides, “then it feels genuine; it feels of its place.”
Right here, the idea of kaitiakitanga has discovered synchronicity with up to date sustainability. In addition to this being the ‘most Māori’ airport in Aotearoa, there was a need, additionally, for it to be the ‘most sustainable’ and an try to be the primary Residing Constructing Problem (LBC) airport. Tennent Brown had beforehand labored on two tasks utilizing the LBC as a sustainability driver. Eastland Group was on this, and the architects provided to hold out supplies analysis to see if they may obtain this degree of efficiency. LBC requires a constructing to generate 10 per cent of its energy wants, be water self-sufficient on its web site, do a full life-cycle evaluation (LCA) and minimise carbon and offset the rest in addition to choose non-red-list chemical substances for every thing throughout the constructing. They managed this very difficult course of to element, specify and tender however, ultimately, they needed to value-manage some objects out to take care of funds. Unlucky, but it surely offered a terrific studying curve that has enabled different LBC initiatives on web site; there are plans to construct a big photovoltaic array and the chance for LBC zero-energy certification within the future.
For Māori, the end result of the structure course of is the opening ceremony the place the constructing is made protected from the tapu of its creation. The success of the opening ceremony is indicative of a well-run course of and, whereas the remainder of the world was ‘closing’ amongst the challenges of Covid-19, Tairāwhiti nonetheless “opened an airport”.
It’s mentioned of Pritzker Structure Prize recipient Francis Kéré that his structure is “not concerning the object however the goal; not the product, however the course of”.1 This mission, like within the work of Kéré, has elevated the method and goal of structure by way of the reference to manawhenua, mana moana and mana tāngata, and, consequently, the structure is thus the embodiment of the expertise of arrival and welcome.
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