Journals@Lincoln (Lincoln University)
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Oceanscape as Landscape
No full text‘Landscapes are part of who we are. They are natural systems of which we depend, how we live with our land, and the meaning and pleasure we take from them and our surroundings. They are part of our identity. Landscapes are important to us all’. These words open the book, ‘Te Tangi a te Manu - Aotearoa New Zealand Landscape Assessment Guidelines’ and I agree with them fully. But, I wonder, can we not say the same thing about the ocean? What follows is a personal narration of my immersion in oceanscape. The reflection forms the beginnings of my understanding of what oceanscape is and how it is organised. My approach here is not a structured assessment of oceanscapes in accord with ‘Te Tangi a te Manu’, but instead opens up an accord between landscape and oceanscapes, and possibly new ways of seeing and feeling the vast water bodies of Moana Oceania
Edge Reprised
No full textThis essay reviews relationships towards the land sea interface in the currency of professional landscape practice in Aotearoa New Zealand. With changing climates and failing infrastructure there is urgent demand to repair, yet further, to reframe and reposition how landscape practice engages in such modification. At stake is the necessity for repair to be in service of relationships across the many life worlds past and present that move with and through the coastal edge. Drawing on a project in Petone, Wellington that ‘reclaims’ a strip of land from the sea, the essay takes a personal journey through this ambition touching aspects of the project and context including cultural, legislative, and synthetic materiality. Reflective commentary offers an intimate window on current tensions and opportunities in landscape practice at the mercurial edges of the land where stakes are high
Against Architectures of Degradation: Pōhaku and Protection on Mauna Kea
No full textThis paper examines practices of erasure and resistance through the use of pōhaku (stone) on the Mauna Kea volcano Hawai‘i island, and within the boundaries of the Mauna Kea Science Reserve. Mauna Kea is a sacred site point of genealogical connection for Kānaka Maoli, it is also a contested landscape: Crown and Government land seized from the Hawaiian Kingdom in 1898, held in trust by the territorial and then state government, and leased in 1968 to the University of Hawai‘i to host an ever-expanding astronomy industry. Since the inception of the Mauna Kea observatories, Kānaka Maoli kia‘i (protectors) and environmental activists have resisted the increasing construction of large scale telescopes on Mauna Kea for both their degradation of the land and their violation of Hawaiian sovereignty. One way they have done that is through the built environment.
Pōhaku is a material that registers and refuses settler colonial attempts to expropriate land and control Indigenous political relationships to place. Through oral history and archival research this paper centers the stones erected as shrines within the jurisdiction of the Mauna Kea Science Reserve removed by Department of Land and Natural Resources officers and discounted by archaeologists only to be returned again and again by kia‘i. It brings these stones into dialogue with the Hale Pōhaku (stone house) architecture built for the astronomy industry in the 1970s and 80s, which became a site for direct action against the construction of the massive Thirty Meter Telescope from 2014-2019. During protests pōhaku became an essential architecture of protection that blocked construction equipment from ascending the road
Planning-Relevant Peer Reviewed Staff Publications: Selected works by Lincoln University Staff from 2021-2024
No full textTe Karanga Ki Ngākengake The Call of the Shifting Forces
No full textThis design proposal extends and intensifies the powerfully present geological conditions of Te Whanganui-a-Tara–Wellington’s harbour. Originally conceived for an international design competition it contextualises the magnitude of geologic time and imagines an embodied experience of suspension, a quality of being between worlds yet in the felt immediacy of nothing but kenetic change. The design emerges from and is given meaning by Te Ātiawa pūrākau of taniwha Ngake and Whātaitai. Together these taniwha give the why and how of Pōneke Wellington’s land and seascape; they contextualise geomorphology in deep time and express the entangled alliance between mana whenua and the specificity of place, a quality defining Pōneke Wellington. With the design we touch into multiple relational intersections made possible by the forever mercurial space where the sea and the land meet, yet do so in such a way to unsettle settler colonial schemas of landscape-seascape experience
