Maori treasures
The earliest forms of Maori housing consisted of semi-permanent oval or circular constructions, half-buried for better protection from the climate, and formed of a wooden frame covered with palm leaves, bark or reeds, leaving only a low opening. Inside, mats were laid on the earthen floors, while clods of earth were used to fill the gaps and retain the heat released by the central hearth. From the 15th century onwards, Maori communities grew in size and, above all, became sedentary, organizing themselves into kainga, villages made up of wooden dwellings, gardens and special pits for storing foodstuffs, notably kumara (Pacific sweet potato). But when danger threatened, the villagers retreated to fortified villages. These fortified villages, known as pa, were usually built on hilltops and required extensive earthworks, as well as the construction of dry-stone retaining walls and platforms. They were then protected by defensive ditches, earthen ramparts and wooden or wicker fences. Many remains of these villages can be seen in the volcanic cones of Auckland and Northland, or on the banks of the legendary Whanganui River. Whether fortified or not, Maori villages all followed a precise organization charged with strong symbolic power. The marae is the social space where community life is organized. The most sacred part is the altar or ahu, a pyramid-shaped mound. Sacred platforms, offering tables, standing stones and areas paved with volcanic or coral stone, which act as foundations for wooden constructions, are also part of the marae; as are the unu, large carved wooden steles, often painted in bright colors, the tira or decorative poles, and the many treasure boxes and sacred niches. Alongside these sacred spaces, the marae also included community buildings: the wharenui or communal house, whose lintels and posts could be decorated and whose porch served as a meeting area; the pataka or storage space, often placed on wooden platforms; and the kauta or kitchen, consisting of a thatched roof supported by posts and whose "walls" consisted of a stack of the pieces of wood used for the fire. These marae could be enclosed by masonry or plant walls. From the 19th century onwards, a new type of community house appeared: the whare whakairo, with sculpted gables and ridge purlins. The various elements are intended as architectural translations of the ancestor the house represents: head (gable), mouth (door), spine (ridge purlin), ribs (rafters). The building always faces east, towards Hawaiki, Polynesia's motherland. The back of the building represents the past, while the front porch represents the present and future; each part is carved with elements recounting the clan's history. In contact with the Pakeha (the Whites), some clans developed a hybrid style, using European techniques such as veneering or varnishing of facades, and the use of corrugated iron and nails. But these borrowings were temporary, and by the early 20th century, the Maoris were returning to tradition. An Institute of Arts and Crafts opened in Rotorua, perpetuating this tradition of architectural sculpture. From the 1960s onwards, the Maoris moved closer to urban areas and decided to build new marae. Today, many contemporary structures keep these rich traditions alive. Some Maori communities, such as Tamaki and Mitai, not far from Rotorua, and Waiora in the Geyser Valley, have reinvested the money they received as compensation for the despoilment of their land, in the reconstruction of villages with communal houses and workshops. In Wellington, the Te Papa Tongarewa Museum, literally "the place of the treasures of this land", is inspired by Maori treasure chests or boxes. The striking shapes of the Lower Hatea Bridge, meanwhile, were inspired by those of Maori fish hooks. Another inspiring site is the Kopupaka Reserve, completely redesigned by Agence Isthmus and awarded the World Landscape of the Year 2016 for this project. To delineate the water collection ponds, the architects designed conical wooden structures inspired by Maori woven baskets. But this rich culture can be seen all over the country!
On a European theme
Founded in 1819, Kerikeri Mission Station is New Zealand's oldest European site, and is home to the Stone Store, the country's oldest stone trading post, and Kerikeri Mission House. The latter is a typical example of the colonial architecture that developed at the time, combining borrowing from classic British styles, in this case the Georgian style (brilliant whiteness, 4-sided roof, symmetrical facade), and adaptation to the climate (wooden structure, wide veranda around the house, wooden shingle roof). These characteristics are echoed in Opotiki's superb Tuki-Tuki Homestead, which is even more elaborate, with ground- and upper-floor galleries and exquisite wood-carving. This religious "colonization" finds its most obvious representatives in the churches. These borrowed from neo styles, such as the sublime and resolutely Gothic Old Saint Paul's in Wellington, famous for its magnificent wooden framework in the shape of an inverted ship's hull, supported by an elegant latticework of beams and rafters.
The 19th century was also marked by the discovery of gold and the creation of new towns, reminiscent of American boomtowns, with their eclectic style of houses, stores and hotels in wood and stone. These towns also often have a Chinatown, witness to the presence of the thousands of coolies who were put to work on the most dangerous jobs, building bridges, roads and mines. Arrowtown and Queenstown are perfect examples. But the influence of Europe, and of Britain in particular, is most evident in the urban centers. The English often used their grid layout, as in Christchurch... but they didn't always take into account the realities of the often rugged terrain, as in Dunedin. The settlers applied a geometric plan to a city of hills, giving rise to Baldwin Street, one of the steepest streets in the world, with houses that literally seem to sink into the ground. But this didn't stop them from establishing large urban centers, of which the Civic Centers were the flagship spaces. Parliaments, courts and other administrative buildings, such as the marble New Zealand Parliement, the Old Government House and Auckland City Hall, shine in all their splendor. In terms of style, the era was marked by an eclecticism that borrowed from both Victorian historicism, with frequent use of Tudor and Queen Anne styles, and the classicism of Georgian and Edwardian styles. In Rotorua, examples of Tudor Revival are legion. Intended as replicas of picturesque English cottages, buildings in this style can be recognized by their pitched roofs, half-timbered structures, tall mullioned windows, corbelled second floors and ornate gables. In Wellington, the Turnbull House is a perfect example of Victorian style with industrial overtones and red brick. In Auckland, Villa Highwic is largely inspired by Carpenter Gothic, with its superb woodwork, chiselled mantling and stained-glass windows. The period also saw the emergence of metal architecture, as seen in bridges such as Queenstown's Kawarau Bridge, and in infrastructure linked to the development of the railroads. 16 tunnels, dozens of metal bridges spanning vertiginous gorges, such as the Staircase Gully Bridge, whose T-shaped central pier links two mountains... the TranzAlpine line is a masterpiece of engineering! Ravaged by an earthquake in 1931, the town of Napier had to be completely rebuilt. Drawing lessons from the number of victims killed by collapsing buildings and falling decorative elements, the public authorities decided to limit buildings to 1 or 2 storeys, and decorative elements to low-relief ornamentation. Reinforced concrete was used everywhere. The city took on the colors of Art Deco. Smooth surfaces, parapet walls, flat roofs, stucco cladding, rounded corners, geometric or exotic motifs, elaborate metal grilles and sober window bands characterize this style. Among the city's masterpieces are the Daily Telegraph Building, the National Tobacco Company building, and the beautiful mansions in the suburb of Marewa. Hastings also boasts some fine examples of Art Deco, tinged here with the colors of the Spanish Colonial style, which can be recognized by its arches, large windows with beautiful metal grilles and pastel colors, as exemplified by the Westerman's Building. In New Zealand, this pared-down approach was taken even further by international modernism, particularly in the attempts at social housing in the 1940s and 1950s, with the rise of rectangular-plan houses with recessed porches, small windows, neutral colors and prefabricated, integrated furniture... the great Formica era!
Since the 1950s
Since the early 20thcentury , the majority of New Zealanders have lived in or near major urban centers, resulting in the steady development of residential architecture which, in its own way, illustrates the country's principles of egalitarianism. Identical in size and layout, organized around similar lawns and gardens, these houses offer an impression of great homogeneity. They are often single-storey, made of wood, brick cladding on a wooden frame or concrete, and almost always with a corrugated iron roof, much like the Californian bungalow. From the 1980s onwards, these houses began to feature upper floors and ancillary spaces such as garages, with the emphasis on prefabricated concrete structures. Considering it essential to know how to build with their hands, New Zealanders quench their passion for DIY and the handmade by working on the legendary bach (pronounced batch), or small second homes, which have been around since the 1950s. Initially made from cheap or recycled materials, sometimes in kit form, these vacation homes are becoming ever more elaborate. Some have even been made from caravans or old tramcars to which new spaces have been added! The sublime island of Waiheke is overflowing with bach... but as luxurious as they are, these homes must have cisterns, as the island has no running water! But all this mustn't obscure the fact that New Zealand is "the country where cities dance on volcanoes". In 2011, a terrible earthquake destroyed 80% of the city of Christchurch, killing over 180 people. But from this tragedy, the city drew a fascinating creative energy, mobilizing builders and residents to rethink a city more able to withstand the wrath of the earth. The 20-year reconstruction plan calls for a compact city center with low-rise buildings, neighborhoods with green spaces and parks, and more bicycle and pedestrian paths. A way of returning the city to its inhabitants, while curbing the harmful effects of over-urbanization. The city's most emblematic building is the Transitional Cathedral. Designed by the famous Japanese architect Shigeru Ban, a specialist in post-natural disaster emergency architecture, the cathedral's structure is made of cardboard tubes, wooden beams and steel - inexpensive, highly resistant materials. As for the skyscrapers and tall chimneys, they're not made of cardboard! At a height of 328 m, the Sky Tower dominates Auckland, whose skyline continues to evolve with the construction of new towers, such as the Pacifica Residential Tower which, at 178 m of glass and steel, is the tallest residential tower in the country. It is also one of the flagship buildings of the Central Business District. But the country has no intention of transforming these large urban centers into sprawling metropolises, and every effort is made to maintain a human scale. Many cities have opted for rehabilitation, such as Hamilton, which has transformed its old brick and stone warehouses into trendy bars and restaurants. With the Victoria on the River project, the city has also rethought its relationship with the river, reworking the space with amphitheater-like stone terraces. Contemporary architects, meanwhile, are opting for strong architectural gestures, as exemplified by the beautiful Auckland Art Gallery with its elegant glass façade, wooden vault and Maori motifs, and the incredible Len Lye Art Museum in New Plymouth by Patersons Architects, which impresses with its undulating, iridescent stainless steel façade. Other fine contemporary buildings include the Supreme Court in Wellington, with its stunning decorative screens in recycled bronze, whose organic shapes are inspired by local flora, and whose materials have been designed to save energy; or the beautiful Te Ara Atea Library and Community Center in Christchurch, with its undulating forms inspired by the movement of water, its wooden panels and its interior spaces reminiscent of craggy mountain reliefs. Breathtaking landscapes are also the setting for architectural gems such as the Knoll Ridge Café on Mount Ruapehu, with its angular volumes recalling the geological forms of the area; the Lindis Lodge in the heart of the ice valleys, with its undulating roof and structure of laminated or woven wood panels; or the Brancott Estate Heritage Centre, whose vast flat roof offers panoramic views of the surrounding vineyards. But when it comes to blending in with nature, nothing beats the Wilderness Huts, log cabins with green roofs that dot New Zealand's great outdoors!
