Although the building was originally envisioned as a beach-based structure, it is now to be located near the marae where it will function as a space of welcome for manuhiri (visitors) on the marae.
Through close co-operation with the iwi and Muriwai community, James based his design on the concept that a building can be constructed using local materials, solar power and local labour.
Guided by local people, he investigated and mapped potential resources such as flax, raupo and clay from the immediate environment. He listened to people’s stories and histories and settled on the motif of the iwi’s kaitieki (guardian), the whai.
“We shared our culture with James,” says Ngai Tamanuhiri Iwi Trust deputy general manager Jody Toroa.
“He knows what our history is and understands what our aspirations are. We are learning together.”
As a result, James’s digitally-driven design breaks from traditional marae building types, but sustainability is key to the concept.
Science, technology and indigenous knowledgeThe sharing of science, technology and indigenous knowledge is what makes the concept different from traditional approaches to marae-building design, says the architect.
To create the tiles that make up the shelter, the clay will be dried, crushed, mixed with water and left to soak for a day or two before the excess water is separated. The clay is then pultruded into a specially-designed 3D printer and individually shaped according to a file from a complex computer program.
Construction of an off-the-grid 3D printer has been a major part of the Victoria University School of Architecture masters student’s final year project. 3D printing has gained strong momentum within the design industry but the jump from printing objects to printing buildings was a primary focus of James’s research this year.
“The design and construction of the 3D printer has been a major part of my thesis, and enables the use of the great local material clay as a viable building material.”
Sustainability is key to the structure’s design so the printer will be powered from an off-grid source. Firing the tiles will be done off-grid as well. The tiles will be pit-fired overnight in an on-site earth oven similar to a hangi. This process will transform the raw clay into a durable ceramic material.
“My project bridges the gap between digital fabrication and how you can do that in a culturally-sound and site-specific way,” says James.
“The 3D printer has been a big part of my project but the project also looked at how to use local materials. It’s still a pretty experimental process. It’s still evolving. We are trying something new so it can be a bit daunting.”
Respect to past and presentJames’s design for the structure does not compete with traditional whare. The new design pays respect to past and present artisans, says Jody.
“It is a progression of who we are. Our collaboration has involved layer-upon-layer of research with no compromise of tikanga (custom). We respect our people, kaupapa and sustainability — but we are interested in new techniques, developments and processes.”
The structure will incorporate resources used by ancestors such as clay and flax but in a 21st century way, says Jody.
Maori have always been quick to adopt and adapt new technologies, and architectural developments in marae building design is nothing new either. People originally lived in whare constructed from punga and raupo, a dense fibre with high insulation properties. Carved buildings came later, she says.
“They say adornment was more for waka than whare. Carved buildings were part of an evolution in culture. We know these things but with James and other people’s input we can throw it all up in the air. James has been a catcher. He took all our korero and put it into his design.”
