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EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak to two visionary young practitioners about the role of Māori women in shaping our physical environments, and the issue of diversity within our professions. GUESTS: Te Warihi Hetaraka, Elisapeta Heta, Haley Hooper FULL TRANSCRIPT: Modern Māori Quartet (Māreikura): Mā te wāhine, mā te whenua, ka ora ai te tangata. Wāhine. Māreikura. Te Warihi Hetaraka: At the root, at the core I think, of that understanding of it, is the understanding of mana wāhine. Mana wāhine under the korowai of Māreikura. Cause I think with colonisation, we've gone away from that understanding. And when our wāhine suffer, then we all suffer. and it's simply because we've gone away from that understanding, of the mana that our wāhine carry. We've gone completely away from that. And that's one of the tracks, that's one of the pathways that we need to establish first. Begin respecting the nurturers of our future. The first teachers, of our future, of our children. That has to be re-established, that understanding needs to be established, before we can even look at anything else. We come back again to the wahine. When the child is born, it's one of the most sacred moments of this planet. The birth of the child is the assurance of our future. Right here. And yet we've torn ourselves and our umbilical cord is sliced, is cut. The pito connects with Rangi and mother earth. So we've got to get back to that imagery. The moment you stop suckling from the breast of our mother, you suckle at the breast of Papatūānuku. So we've got to get back into that psychology. JK v/o: That was tohunga whakairo Te Warihi Hetaraka, nō Ngāti Wai. As Māori, we hold clear beliefs about the status and sanctity of women. Te Warihi’s whakaaro led me to reflect - how might our cultural attitudes towards women inform and direct the relationships that we have - with our environment? And what then, might be the role of wāhine Māori in shaping those environments? Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 24. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, we examine the role of Māori women in shaping our physical environments. We speak with two young wahine Māori practitioners - Elisapeta Heta, an architectural graduate from Ngāti Wai, and Haley Hooper, an urban designer from Ngāti Hau - about the thorny question of diversity within our professions. Both Elisapeta and Haley have featured on previous episodes on this season of Indigenous Urbanism, so do check those out. My first guest for this episode is Elisapeta Heta. Elisapeta is previous Co-Chair of Architecture Women, and the current Ngā Aho representative to the NZIA board, a role that was established through the Kawenata. There are very few Māori women in architecture, and even fewer Māori women who are registered architects. I asked Elisapeta - Why are the numbers so low? Why is it important to increase diversity across our industry? and How do we get there? Elisapeta Heta: From a representational point of view, which is something you touched on slightly, yeah, wow. I don't know that I have an easy answer around why there aren't many Māori in the profession. I can hazard a guess. And it's kind of partly based on, I suppose, anecdotal evidence, partly based on what I can see and observe myself, and partly through university as well, like the sorts of conversations I was having while I was a tuakana mentor at the University of Auckland. So, it seems like, and you can see this in some of the Pacific communities, the arts is, or hasn't necessarily historically been seen as a viable place to go. If you're going for higher education, you wanted to get thrown into law, and business, and medicine, and all the things that are seen as quite tangibly good careers. Architecture's a bit of an unknown. It's sort of seen as a little bit creative, some can see it as having links to engineering, but I think it's a little bit of an anomoly to our communities to some degree. But also I think it's something we just do inherently, all as humans, not just Māori and Pasifika, but all as humans, having housing housing is so fundamental to our ability to live. So, it baffles me as well. To some degree it's like, it's not necessarily seen as a career path, but it's so important to our sovereignty. JK: So part of it might be just the way the profession is communicated, so that it can be understand and be seen as relevant, which it obviously is. EH: Yes. And to not speak on behalf of anybody else but myself, it wasn't until I started university that I saw how much the profession looked nothing like me. And in no way represented my life, where I came from, and where I - quite naively at the time but probably ambitiously - thought I was heading. And that was always to be more helpful to my community. But, I suppose on first glance the profession has never presented itself as that. I realised it just took me having to carve that out for myself, so that's a little bit of blood, sweat and tears kind of thing. So we do have low numbers, and then the same, a lot of the similar issues around access, inclusivity, visibility, unconscious bias, all of those kinds of things, can be barriers towards long careers of Māori and Pasifika peoples in the industry. We already know when you look at stats around wāhine staying in the profession, for architecture we're really lucky, we have a good 50/50 kind of output of men and women, more or less. But we're still not necessarily retaining them in the ten years on position, and that's when the wage gap tends to appear. I haven't come across necessarily any good statistics that talk about the wage gap in relation to Māori within architecture. Partly because the numbers are probably so low that it would be fairly pointed I suppose, study, that would look at a very direct group of people. So you'd almost find out exactly what we were all earning, which may or may not be useful. It's looking at stats in different ways, and there's all sorts of ways you can slice it, but if you look at the general trajectory of average wage gaps or pay gaps amongst Māori and Pacific, and men and women, which are traditionally actually Pākehā men and Pākehā women in New Zealand as a whole, we already know that Māori women earn much less than Pākehā women, and Pasifika women earn less again. So, maybe we can extrapolate those numbers, I don't know. JK: I think you touched on the fact that we maybe don't have a complete picture of the problem, but we do have a pretty reasonable idea. So, my question would be, what can we do about that, knowing how complex it is, but what are some ways we can move forward? EH: Yeah. I think about that a lot. I think there a couple of potentially, deceptively - simple's not really fair - but, there are a couple of things we can do. As Māori, let's just think about Māori Pasifika, and I just talk about that I guess because for myself I am Māori and Pasifika. So, not trying to lump them all in as one, if anybody's listening to this and kind of going, what the? So, not lumping us into one, but this is my personal experience. I think we need to put our hands up more for being involved. What I mean by that, is getting on Boards, or speaking up in meetings, it can be that simple. Actually getting involved in your community. Kind of putting yourself out there to maybe be a judge on something, or to organise social events in your office, or speak on particular topics or issues. And I guess what I mean by that is, create visibility of yourself and of other Māori Pacific practitioners. And why that's important is that it helps maybe the practitioners that are standing beside them or around them to recognise the value of them, to recognise the value that Māori and Pacific points of views have, and also really critically important is for generations coming through. To actually be able to look to somebody and that is really crucial. And I suppose I have benefited from that through being involved in Architecture Women, where our entire sort of philosophy has been built on the idea of visibility and inclusivity. And the visibility part is literally just kind of social media, and newsletters and all those things that kind of go hey, these are people doing good things. But that could only really happen because those good people doing good things are putting their hands up to do stuff. Not saying be a chronic overachiever, cough cough, myself and yourself. But there are ways of speaking up slightly beyond what maybe comfortable, to just push a little bit. Because I think, in order for true change to happen we all need to pushing a little bit further. I think there needs to be a serious, very serious recognition of unconscious bias and what that does. Both from the wāhine tane perspective, so we get instances in which say, men don't realise that they have an unconscious bias to ask the male in the room a question over the female in the room. That's not necessarily something that they're doing out of malice, but it's actually something that they're doing unconsciously because it's a bias they have internally. That exists, that's one of those big barriers we see for women in a practice, that exists again as another layer for Māori Pacific. So everybody needs to get better at understanding what their unconscious biases are, pushing their practices - I think - to get more savvy around that. And I really think that people who are running businesses, who are directors, who are principals, actually need to just front up and be honest with themselves about what it is they are and are not doing as practices. And I'm seeing that with some practices, they are definitely making chang

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak with Cheyenne Thomas, an architectural designer from Peguis First Nation, about her work with First Nations communities in Manitoba, and her role as a designer and advocate. GUESTS: Cheyenne Thomas FULL TRANSCRIPT: Jade Kake v/o: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode twenty-three. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, we speak with Cheyenne Thomas, an architectural designer from Peguis First Nation, about her work with First Nations communities in Manitoba, and her role as a designer and advocate. Cheyenne Thomas: I am Anishanaabe, Ojibwe, that's my tribe. From Manitoba, Canada. I grew up in Winnipeg, my whole life, and my family is from Peguis First Nation and Saugeen First Nation, and I'm a designer in architecture, and I also do installations at a bigger scale with my father, who's also a designer. The focus is Indigenous design, and so that's who we try to work with. JK: So we were really excited to meet you this time two years ago, when you and your dad came over, and you met all of us, this Ngā Aho crew, and we started this awesome journey together. But it was really exciting for me just to meet another young woman just smashing it. And then we went over to see you again last year. And so, I just wanted to maybe ask you a little bit about your practice and projects over back home, and what are some of things you're working on, and how have you kind of connected that with some of the exchange and experiences we've had? CT: Okay, so, I did two buildings with my dad, we designed. They're 75,000 square foot buildings for two different First Nations in Manitoba. That was in the process when we met, two years ago. From that, we worked on the Assiniboine Park, revitalisation of the whole park, which is 1,000 acres in mass. They have a massive building, and a couple gardens. Part of it was to have an Indigenous garden, where they brought me and my dad on as lead designers. From when we did meet at the last hui, there was, it was more than just a conference, it was more people together, not so formal, where we could really connect without the labelling of architect, landscape architect, industrial designer. Where you actually have a collective of people just kind of supporting you, and from that there was different things we did during the conference, like sing songs, eat together, feast together, sleep together in the same marae. So for the Assiniboine Park I tried to architect the process, where we consulted with my community, our communities in Manitoba. So I got them to, I brought singers in, I brought food in as a component, to eat together, have discussions while you're nourishing your body. And those are all inspired by my experience at the last hui. JK: I'm hearing that community-based process is really important, and the way we kind of bring in our own cultural lens and way of doing and being into that process with our communities. What was the process of engagement for that community project? How did that come about, actually? CT: So that project, it actually, that park has been there for hundreds of years. And it's a European park. So they wanted to revitalise it, and they had the big building, designed by KPMP in Toronto, and they also had a couple gardens. The head of the park went to a community presentation, and this one Native girl said, I do not see myself in this park at all. So, she took, that was a pivotal moment for her, in the project. And for the Indigenous gardens, knew that was really important to have Indigenous designers. So, approached my dad and I, to start discussing and imagining this process of bringing our people into this consultation process. JK: Now you talked about your dad a bit, and so it's pretty amazing the two of you work together quite closely on a lot of projects. Was your dad a big part of the reason why you got into architecture, or what kind of led you into architecture? CT: I guess I was exposed to architecture, not just architecture, I was exposed to design, creativity, the whole creative process. Which at the time was not named the creative process. It was just exploring different ways of expressing building, and moving things around, creating or designing your own spaces to excite your childhood imagination, right? So I grew up with having that. Big pads of paper to draw on, this very loose way of moving around, and expressing yourself. So when I got older, went to University, all these courses I took. They weren't as exciting to me, they seemed very, not that there's anything wrong with those, I just grew up a totally different way, where I could freely express myself all the time. So, my dad exposed me to that, but I definitely chose architecture by myself. JK: So you live in Winnipeg. How far is that from Peguis First Nation? CT: Peguis First Nation is two hours away from Winnipeg. North. JK: Have you been involved in much work in your community there? CT: The first project outside of undergrad was the Multi-plex expansion on the existing hockey arena. Which we did the full construction drawings and everything for that, which took about a year. It still has yet to move forward, there was a change in Chiefs. So, politics. JK: Yeah, we're familiar with that scenario. So is it quite rural there, on reservation? CT: Yes, it is. We have a mall, but it's very small, it's basically a grocery store, bank, band office. And then we have a school, which is very nice. It was designed really nice, but not by native designers. Now we have a hockey rink, but we're one of the most, not progressive but biggest reserves in Manitoba. We have 10,000 people. So, I'm lucky to have that on my reserve. Other reserves don't have those things. JK: Yeah, I think something that we experience here, there's a real tension between hau kāinga or home communities in rural areas, and the cities where a majority of our people are now living. So I guess, how have you kind of navigated that space, and how is your approach different when working on reserve as opposed to working in our urban environments. CT: Okay, so, the one for Peguis, that project, I wouldn't say we successfully navigated that. Because, a lot of people, when you say architecture, they shut down. Because, for them, what does that mean. I am on the reserve, and never been exposed to anything like that. So we had a community presentations, and no-one would show up, really. No-one's excited about that. So, I think, that was the first project I was out of school. If I was to do that again, I would make it at schools, but not just present it on boards. I'd have interactive presentations, where you're one on one with kids, and you get them to see other than just that word. How these spaces are directly connected to how they, getting excited about things. JK: It was great to hear you talking about rangatahi or young people, cause I think in the conventional architecture process, our young people are often kind of marginalised or not involved. And I think something that we're consistently finding with our community-based projects, is that you absolutely need to find new ways to make the overall engagement process accessible to young people, but also do specific things with them, to show that you're really, they're voice matters, what they think matters, and their experiences matter. And you don't have to do that from the role of up here, being the professional. You can actually be on the same level and have an exchange. JK: In the last year I've had this idea, of how when you go into community you can't really get kids to get excited about architecture. They just shut down unless they've been exposed to it. I have this idea of this school, in the future, if I ever got to do this. This Indigenous design school that was not like the schools we have typically, the European schools, where you have the classroom, and you're very confined to each subject. But we have the schools where there's studios, and they're movable walls, and you can use the latest technology to interact with the wall with drawings, and it's like a big playground to learn. But how about we imagine these schools where it's just a big movable school, where we could adjust to what excites them, and we have the latest technology, projections, interactive walls where it's not just architecture, maybe it's architecture and pow-wow dancing, maybe it's singing, and poetry, and literature, where you get to explore things combined to what excites you. But you have these Indigenous teachers who are doing these really neat things that can like help you explore and expand your ideas as a young person. And it could be dance, it could be architecture and dance, it could be singing, and there's a performance stage where your community could come and watch. What is my child doing? And we have satellite schools to northern rural communities, where there's a transparency they can tune into, lectures, or studios in that home-based school. So they constantly have this access to our knowledge. JK: And it keeps them in the community. CT: But can stay in their community. And I have this idea of this big pow wow wall in the city, and it every week has a different pow wow. And, to be more specific, you walk into the school and it's this massive concrete wall or whatever, and you have a projection, cause in Manitoba every week we have pow wows in different communities, Saugeen, Peguis, Long Plains. And we have a live feed of the pow wow at a human scale, so when you walk in this school you immediately see your home, you have to acknowledge, okay, that's where I come from, don't forget that. You could tune in to an app and hear actually the announcer announce your famil

EPISODE SUMMARY: In part two of our story on the Ōtautahi rebuild, we look at the work of Ngāi Tahu and Regenerate Christchurch to develop alternative uses for the residential red zone area to the east of the City, including the re-establishment of biodiversity and food gathering areas. GUESTS: Teoti Jardine, Hugh Nicholson, Debbie Tikao, Te Marino Lenihan, Evan Smith FULL TRANSCRIPT: Jade Kake v/o: On September 4th 2010, February 22nd 2011, and many occasions afterwards, major earthquakes shook the city of Christchurch, allowing the old wetlands to temporarily re-establish themselves, and leaving swathes of land, especially to the east of the city, uninhabitable. After its century-old Treaty of Waitangi claim was settled in 1999, Ngāi Tahu made quick work of restoring its political, cultural, and economic influence. However, Christchurch remained visually and culturally dominated by English aesthetics and values. What’s happening in Christchurch today may be a world first situation, and in the wake of a devastating natural disaster, the local indigenous people are involved in the redesign of a city from the highest governance level right through to the actual physical reconstruction. Teoti Jardine: The empty places behind you, and the empty places where we were, they were filled with street after street of empty houses. The people had gone, their houses were there waiting to be demolished. And it was coming up to our Matariki celebration, that was over in our other little area which was a Council playground. Where for the first time after the earthquakes, people were coming to plant again, and to reconnect with the land. So, now, I'll shut up and tell you. It's called Rezoned. Empty breezes wander streets Where the windows of silent houses Gaze without any expectations There was no time for farewells Only the hurried leavings Come quickly, don't turn back Nothing is left here now Yet, around abandoned playgrounds Children's laughter lingers Making the invitation, to come Grow, plant, forage Among the stories of those who stayed Singing, swimming, roosting Through sunshine, rains and mist Filling the breezes with hope Kia ora koutou. JK v/o: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode twenty-two. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, part two of our story on the Ōtautahi rebuild, we look at the work of Ngāi Tahu and Regenerate Christchurch to develop alternative uses for the residential red zone area to the east of the City, including the re-establishment of biodiversity and food gathering areas. TJ: Tēnā koutou katoa, Ko Teoti Jardine ahau, Ko Waitahi, ko Kati Mamoe, ko Kai Tahu oku iwi. JK v/o: That was Teoti Jardine. Teoti is a poet from Ōtautahi and a kaumātua for the Avon-Ōtākaro network. TJ: It wasn’t long, that in my connection with the red zone, that I realised I'm walking through the memories and the stories of my Waitaha, Kati Mamoe, Kai Tahu tūpuna. Who came here for hundreds of years gathering food, and gathering resources and teaching their children how to do this mahi. And, when they did this, they came and they greeted the rivers, they greeted the land, and the land nourished them, and their greetings nourished the land. And for me, those memories, those stories of my tūpuna, are in this land. And whatever happens to the red zone, those memories and those stories need to be honoured in whatever way it's possible. We've just seen how some of these stories can be honoured in the city. The red zone is a clean slate. No-one knows quite what to do with it. But for me, it's a place that holds those memories from hundreds of years ago, and those stories from hundreds of years ago. And they feel, now with my connection to the red zone, they feel like they are my memories now. And they are my stories. And whatever happens in the red zone, I would like to see some honouring of what those stories are. My tūpuna, my ancestors, we were the first ones to be red zoned. When the settlers came we had to move, and now they came and they built in the place where, our old people said why are they building here? This was our food basket. But, oh no, we'll drain it and build houses. Well, you can see what happened. And, for me, Ruaumoko has returned the land to us, and given us the opportunity to allow the land to return to its original purpose, which was a mahika kai, a place where we gathered food. We’ve seen downtown how those reflections of our tūpuna are happening now. They weren't there before the earthquake. So, honestly, the earthquake has given us this opportunity to place our mark on the land once more, and tell the land's stories through it. There has been some kōrero around, can we designate this red zoned land to be its own personality? And under the kaitiaki, under the guardianship of Ngāi Tūāhuriri, so that’s still something that’s in the wind. This is an opportunity that very few people get. And that's thanks to Ruaumoko. I know a lot of damage was done, and a lot of heartache. But for me, he's been giving us this opportunity, and we need to take best advantage of that as we possibly can. Hugh Nicholson: Residential areas, and of course folk planted fruit trees in the sections. And nobody told the fruit trees that there'd been earthquakes, and so the trees continued to fruit, even after the sections had been abandoned. So community groups have come around and taken the fruit from those trees, and redistributed them to social organisations that could use them. In the City we saw some great examples of artworks, physical manifestations and here we’re trying to incorporate underlying design principles that gives us strategic direction for the whole project. My name is Hugh Nicholson, I’m a Pākehā and I live over in the base of the hills here. I work for an organisation called Regenerate Christchurch, which is owned half by the government, or the Crown, and half by the local Council. We're a planning agency, so our job is to plan for the future of regeneration Christchurch. JK v/o: Regenerate Christchurch was established in 2016 to lead the regeneration of Christchurch, and have been working closely with Ngāi Tahu on various projects, including the re-establishment of māra kai in the red zone. HN: One of the specific tasks we’ve got is planning for the future of the red zone, that we're walking amongst. There's lots I could talk to you about, but I thought what I'd talk to you a little bit about is how we're going about it. So I'm a designer, I originally trained as a landscape architect, and I became an urban designer, and I've kind of worked in all sorts of places. And look, for years, you know, we've grappled with the Treaty of Waitangi, and how do we collaborate, how do we partner with local iwi and design in partnership? To be honest, you know, I've been through all sorts, we've tried all sorts of stuff, and I don't mean to run it down, but you know, we sent plans off, we consulted, and sometimes we get comments back and sometimes the council or whoever makes changes, and sometimes they don't, and to me it never felt like a, felt like a partnership really. I don't know how to describe it. What we've done, what we've managed to do, I think, is to setup a relationship with Ngāi Tūāhuriri and the Matapopore Trust. Whom you've heard a lot from. So their designers, we setup a design team for the red zone, or you know, I set it up, and their designers are working, we're working at the same table, with pens. Well, not with pencils and pens, but with computers. But you know what I mean - metaphorically we're drawing plans together, we're making the plans as we go. We're having the discussions about values, and about how things should be. And to me that's the first time it's felt like a genuine partnership, in terms of design. That actually, you know, we're speaking the same language, we're using the same tools, and we're writing things down. So that's been a real, it's an eye opener for me. For that happen, and I think it's, there are a number of things which are really important. One of which is the Matapopore Trust. Look, all of these things are about having relationships with the right people. And you know, and I think Te Maire alluded to some fairly, some disastrous attempts, in the early days after the earthquakes, to start designing things which went wrong, by talking to the wrong people. Matapopore Trust is set up by the rūnanga, you know, it's established, and it has their mandate and their confidence to actually make some decisions, to design on their behalf. And that's essential. We're not just dealing with any Māori designer, we're sitting design with the people whom the rūnanga has said, your responsibility is to design on our behalf. So that relationship is really important, and that's something we have to keep checking back. And I guess, you know, for us it’s been a great partnership. I joke in terms of the design that my plans are really just an excuse to sort out three important things - funding, ownership, and governance. They are the things. I have a project where I have no funding, I don't know who owns it, and I have no agreed governance. So that's really the important questions that are on the table about this red zone. That's what's going on behind the scenes, as the various players are sorting those things out. And the plans are something that give them a reason to sort them out, to figure out what’s going on. We’ve tried to setup kind of a philosophy of mahinga kai, and I realise I'm amongst a group of people who know much more about this than I do, largely, my iwi colleagues. But what we realised is that Pākehā culture, we have a kind of long history of setting up National pa

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we travel to Ōtautahi Christchurch to see how Ngāi Tahu and Ngāi Tūāhuriri are working with the City, designers and developers to reveal and rebuild a world leading, authentic, post-colonial city of the future. GUESTS: Joseph Hullen, Te Marino Lenihan, Piri Cowie, Jo Petrie, Debbie Tikao, Te Aritaua Prendergast FULL TRANSCRIPT: Jade Kake v/o: Ru ana te whenua - the earth starts to tremble. Rūaumoko must be stirring. At the time that the sky father Ranginui was separated from the earth mother Papatūānuku, they had an unborn child, Rūaumoko, who was still inside his mother’s womb. Today he remains there, sometimes moving and turning. And when he moves, the earth shakes. The earthquakes that shook Christchurch in 2010 and 2011 were a traumatic series of events causing death and extreme adversity. But out of the wreck of what was Christchurch, a new city is being planned, and local iwi Ngāi Tahu have had a prominent role in the process. It has been seen as a chance to build, more or less from scratch, a post-colonial city, inclusive of everyone; and with a strong recognition of the mana whenua of local hapū, Ngāi Tūāhuriri. Joseph Hullen: Kia ora everybody. We’ve stopped here for a couple of reasons. From my perspective, across the river is the Pita Te Hori centre. Pita Te Hori was the first Ūpoko Rūnanga of Ngāi Tūāhuriri. The Pita Te Hori Centre is a Ngai Tahu properties development. JK v/o: That was Joseph Hullen. Joseph Hullen works for Te Rūnanga o Ngāi Tahu, is involved in a range of environmental and ecological projects, and is a Trustee for Matapopore Trust. And today, Joseph was our tour guide on a walking tour around Christchurch City. As part of our tour, we paused at the terraces on the banks of the Avon Ōtākaro river, opposite the Pita Te Hori centre. JH: I was talking a little bit earlier about stormwater treatment, and flowing into the river. So during the application for consents and stuff, in consultation with Ngāi Tūāhuriri, Ngāi Tahu properties understood that they needed to treat all of their stormwater onsite, before it goes into the plumbed stormwater network, and flows into the river. So it was a case of Ngāi Tūāhuriri and Ngāi Tahu walking the walk, and talking the talk. So, when the rōpū kaitiaki, when Ngāi Tūāhuriri representatives sit in on consent applications, give consultation to developments, one of the things we ask for is - wherever possible - stormwater is treated onsite, and then, in it's own way, that benefits the resource, the awa, improved water quality means improved values, and improved mahinga kai. The other part of it, we’re trying to normalise that whole kaitiakitanga aspect when it comes to development in the CBD. And so we’re trying to normalise that whole, be responsible for your own stuff onsite, and normalising that, in the same way we’re trying to normalise the language. Te Marino Lenihan: You’re sitting on the terraces and part of the vision is greater engagement between people and our river. That was Te Marino Lenihan, a Ngāi Tūāhuriri cultural landscape consultant who has worked extensively for his hapū and iwi in Ōtautahi. TML: Part of the vision is to host things on that side of the river, have people over here enjoying the sunshine, the seating arrangement. And so, further to what I was saying before about language and the use of language, we've put a little message over there into the steps. It's taken from a Māori land court session in 1879, when Wiremu Te Uki, I think my great-great grandfather's brother, older brother, presented evidence, and we started to claim all our mahinga kai sites in the city. We we weren't so successful. But what he said was, "the name of this river is Ōtākaro," and it says "nōku te awa" - "it belongs to me." What we haven't said here is, the next thing he said was, "nō ōku tūpuna." So basically saying, "this is our spot." And this is the reason why we get it, it's because we get our fish out of here. Unfortunately they said, sorry Māori mā, it's already been sold. So we just remind ourselves of those stories by putting those messages back into the landscape. Piri Cowie: Tēnā koutou, I just thought I might tautoko the kōrero. JK v/o: That was Ngai Tahu artist Piri Cowie. Piri has been involved in bringing Ngāi Tahu narratives to life visually in many of the projects in post-earthquake Christchurch. PC: One of our other projects that we worked on, in the Pita Te Kori Centre, which you can see across there, is a sculpture called Kirihao. Hao is a Ngāi Tahu word for eel. Kiri is your skin. But it talks about, somebody who's thick-skinned or tenacious, and who's resilient. The name of the sculpture if you see through there is called Kirihao, resilience. But it's a reminder of the connection to our awa here, to our tuna, to mahinga kai, but also just for us, that we belong here, and to be an tenacious as our tuna. JK v/o: The walking tour that we went on takes participants on a journey through a number of locations throughout Christchurch City. This is a guided tour, led by Matapopore Trust, of everything from integrated artworks brought to life by Ngāi Tūāhuriri and Ngāi Tahu artists, to the influence on Ngāi Tūāhuriri on urban design. Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode Twenty-One. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we travel to Ōtautahi Christchurch to see how Ngāi Tahu and Ngāi Tūāhuriri are working with the City, designers and developers to reveal and rebuild a world leading, authentic, post-colonial city of the future. Now, let’s continue on with our tour. The next stop: Te Omeka Justice and Emergency Services Precinct. TML: We’re just going to do a leg that way for a block to the Justice Precinct, to see a bit of stunning work from Lonnie Hutchinson and other beautiful artists, and then back around that side, back to where we started from. JK v/o: That was Te Marino Lenihan again. Jo Petrie: Kia ora koutou, tuatahi ki te whānau o Ngāi Tūāhuriri. He hoaka me he mahi kaihoaka he mahi kaitakata. Tēnā koutou. Ko Jo ahau. Ko Te Rarawa te iwi, ko Ngāi Tahu te iwi āku tamariki. Tēnā koutou. JK v/o: That was Jo Petrie. Jo is a communications specialist, and a consultant on the Justice and Emergency Services Precinct project. JP: Kia ora everyone, I’m Jo, it's an honour and a privilege to do work for my friends at Ngāi Tūāhuriri. It's been a really good project, the Justice precinct. So this is one of the main artworks, there's about eight throughout the precinct, some are on the inside. This one was quite a hard sell out of all of them, there were quite a lot of opportunities. This one was one of the bigger ones. So it represents a korowai, a cloak, made out of metal feathers. The feathers have been anodised, each one individually in a drum, and suspended and sprayed. So there's a functional purpose as well, and that is to let the air circulate into the carpark behind it. It was sort of a difficult thing to get just the right amount of air flowing through. So that's the functional purpose as well. Down on the ground as a whāriki. So as this grows, the garden here will form those tāniko patterns. To complement the kākahu up top. And the last sort of stage of it, that will hopefully happen quite soon, is lighting. It will be lit at night. So there was a test done recently, and it's quite striking, like, probably more so at night, when it's lit, and if it's lit well, which it will be. So, yeah, this is piece number one. This project started probably about six years ago, and Te Marino can tell us more about that, so the opportunity was obviously created by the earthquake, and then there were some smart people, Tasha and Te Marino, who opened the door. I don't know what they did, but by the time the rest of us got in there, the door was well and truly open. So, the mission then, was there were a lot of possible places throughout the precinct that we could integrate art. So the mission really then was how much could we do, with the restraints that we had. So the restraints being budget, and team. There was two artists, Tūī, the arts advisor, and myself. So, we just went to work to try to maximise as much as we could get in, within those constraints. JH: The Justice precinct was probably the worst one for us to work on because we came into the project so late. So the design had already started before mana whenua engagement. JK v/o: That’s Joseph Hullen again. JH: So as Jo said it was a hard sell getting some of our artworks embedded within the Justice Precinct itself. The concept of the kākahu, is the laying down of the kākahu over somebody to come under the authority of the owner. So, that whole thing about rangatiratanga, and also about the support of the iwi, or about the support of the law. So as you can see, I mean it's a stunning example, it was a case where the design once it had been agreed to, broke down the barriers about consultation with mana whenua - there can be some great outcomes out of it. This was one of them. And the tāniko patterns, the wefts and the feathers, combine stunningly in more than just the horizontal plane, or the vertical plane, but the the horizontal and around the corner. So, you know, a three dimensional artwork. JK v/o: Matapopore Trust - our hosts for the walking tour - emerged during the Christchurch rebuild process as a vehicle to ensure Ngāi Tūāhuriri and Ngāi Tahu values, aspirations and narratives were appropriately realised within the recovery. We spoke with Debbie Tīkao, a landscape architect of Cherokee and Pākehā des

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak with Dr Patrick Stewart, a citizen of the Nisga'a Nation in north-western British Columbia who has been operating his architectural practice in Sto:lo territory in Chilliwack B.C. since 1995. GUESTS: Patrick Stewart FULL TRANSCRIPT: Jade Kake v/o: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 20. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we speak with Dr Patrick Stewart, a citizen of the Nisga'a Nation in northwestern B.C. from the community of Gingolx, and a member of the Killerwhale House of Daxaan. His Nisga’a name is Luugigyoo, which means calm waters. Patrick is the founding principal of Patrick R. Stewart Architect, an architectural firm with a First Nations community development focus which has been operating in Sto:lo territory in Chilliwack B.C. since 1995. JK: Kia ora Patrick, thank you for sitting down with me. So my first question is, who are you, where are you from, and what do you do? Patrick Stewart: My name is Patrick Stewart. My Nisga'a name is Luugigyoo. I'm an architect, from Canada. I'm from North-Western British Columbia. JK: I met you, actually, two years ago, when you came over with a group of other Canadian First Nations Indigenous architects, and that was really exciting, because that was definitely a first for me. And since then, we came to visit you last year, and that was really wonderful, you showed us around some of your projects, and we spent time together also in Ottawa at the symposium. And now here we are again. And there's been some really cool stuff that's come out of that. So I'm just wondering if you could talk a little bit more about some of the collaboration that's emerged in this dialogue between Indigenous architects. PS: Well it has started in the last maybe three years, four years, where us as practitioners have started to find others. I mean it's sort of an organic thing in a sense. It's like, hey, you see some project designed by somebody, and you think, well, I should talk to them. And it just sort of grows like that. You find out names of people who have had a ten year long collaboration with Australia, so I've known those guys, and Rewi Thompson has been collaborating there, had been collaborating there as well, and he was the first Māori architect I met. We were at conferences together, we were on a speaking tour together in Australia, and so, yeah, it was good. And Kevin O'Brien, and Dillon Kombumerri, the two of them were our sort of anchor point there. Michael Mossman has come on since, over there. And that country being closer to here, than I am, they knew more people. So they knew Rau. So that's how that sort of happened, and then finding out about Ngā Aho, and thought, well, that's really big. We don't have an organisation like Ngā Aho, in a sense. I chair the Indigenous Task Force for RAIC, but that's the national architectural organisation. But they do, or did, see their way to having something Indigenous, and that's been a good rallying point for all of us. But we're not our own organisation, and you know, just leaving Tammy's presentation, on the AICAE. I'm a member of that, and I was in Albuquerque last year when they had their meeting, and Michael Laverdure, who's the president, we were talking about, we need to do something. So, we were talking about - and I've got to talk to the RAIC about that - if we can have some kind of link between organisations. It would be good if we had something like Ngā Aho as well. JK: Building our networks, we're getting strength in numbers. PS: We are. And when I was, last time in 2011, in Australia, we formed a loose organisation, and it actually had funding. I don't know if the funding's still there. But it was called the International Network of Indigenous Architects. That was just something we put up, and the University of Sydney funded it, and we had some money and we did a few things though that. But, everybody has a busy life, and everybody goes back to their own country, and it's like, time flies. JK: Especially for Indigenous architects, they're often wearing a million hats, and doing many projects, and network building. You feel like you have to carry the weight of a movement on your shoulders, but I think when you come somewhere like this, you kind of realise, actually, we are all really busy, but it's important to be able to come together and support one another. PS: It's true, we are busy, and we're always, I think, very positive despite the context we all work in. But we have to be positive because we have to look to the future, and I think that's one aspect that we all have. Because we're all looking to change how the countries we live in accept our cultures. JK: And having that very long range vision. I mean we're always thinking very far back but also very far forward. PS: Right. But, far forward is out there, but we still have to get through tomorrow, so. JK: It's a tension. PS: It is. JK: I heard you mention recently that a group of architects from Turtle Island are sending a delegation over to Venice and developing a pavilion for the Biennale. Could you talk a little bit more about how that came about? PS: Our Indigenous Task Force has been working on projects. Our mandate is to assist First Nations communities in their built environment - whatever that means, whatever a First Nation needs. And, they will pose problems. And we've been doing that, and I think that's how the symposium came about, because it's like, everybody's bursting with ideas, and we just thought, we have enough knowledge here we can share. So, hence our symposium. We invited a contingent from over here, and you guys came, and that was great. I mean, people are still raving about the symposium. And want to know when the next one is going to be. JK: It was life changing for us, that's for sure. PS: It was great. It was very good. And I think that why we have such a good response of people coming here, again, right. So, this is the next sort of event. But after the symposium was done, we just looked at each other and thought, what do we do now? JK: What next? We're ready. PS: So, Canada Council issued a call for proposals for representing Canada in the 2018 architecture biennale in Venice. So we thought, well, what the heck. We don't expect to win, but let's put in a proposal. And we put in a proposal, and heck, we won. So - JK: Oh hell, now we have to do it. PS: And now we have to do it. That's a big problem. When we put in the proposal, it was a couple of us, three of us I think, that were really putting the ideas in, and I thought, well we should honour Douglas, cause Douglas Cardinal is our elder architect in the country. He's going to be 84 this year, and we thought, well, we should hold him up as our leader. We thought it was a great idea. But it's turned out to be a bit of a responsibility, because all of a sudden the government says, okay, you're the leader you've got to sign the contract, and you've got to be responsible fiscally. JK: Oh no. So it's become the burden on him. PS: Oh yeah. So we didn't realise that, but we've all told Douglas that we didn't want this to be a burden on him. So, anything we can do, then let us know and we'll do it. We just pitch in, and do that. But it has been a challenge, I mean this, we haven't done this before, it's the first Indigenous entry into the architecture biennale, and from Canada. JK: Cause normally you come in under the colonial government's. I know that we have had involvement, Rau and Rewi had been involved in previous New Zealand pavilions. But, again, it wasn't entirely an Indigenous group, or entirely Indigenous concept. PS: But we've been at this now, to say that, you know, that's not good enough, to do it for us anymore, you know. So, we thought well, we'll do it. We'll put an all-Indigenous team in, and we did. And then, compromises and complexities set in, and it turns out to be what it is, and it's a big challenge. Canada's a big country, and we have people very scattered across the country. And that always increases the cost. We have a film team that has to travel across the country to film everybody and their work, and all that stuff, and that's expensive. JK: So how many architects involved, and what's the concept? PS: We have about 18 members on our team, and the idea is to showcase each architect's work. So, I think we call ourselves exhibiting architects, as part of the team. I don't know if that's our title. But we have formed research teams. We have four research teams. And we just divided us all up into those teams. We put a woman architect as the head of each team. That was important to honour the women on the teams. So, they've been charged with bringing us together, and we've had teleconferences trying to figure out within that area what we want to present, how we want to present that. The idea is that each territory that we're researching will be presented. Each architect, registered architect, will be presented, and then their work will be presented. We want to talk about the history of Canada and colonisation, and that's one of the territories. And, what that's done, and territories of Indigeneity, we'll talk about how we're trying to get out from under that colonising regime and be our own. JK: So it sounds like a really challenging project, but when you pull it off, which you will, what is that going to mean for Indigenous peoples in Canada, and for the architecture profession. PS: Well, already, the architectural profession has had to sit up and notice. It's like, that we'd won the right to represent Canada. Never happened before, nobody expected it, but, here we are. So, one thing we've found - and this has sort of fallen back to o

EPISODE SUMMARY: In part two of our story on the Imagining Decolonised Cities project, we talk to some of the practitioners who were involved in a day-long, free public hui held at Takapūwāhia Marae in Porirua which invited public dialogue on the question - "what is a decolonised city?" GUESTS: Lena Henry, Rebecca Kiddle FULL TRANSCRIPT: Jade Kake v/o: Our urban landscapes in Aotearoa New Zealand have been arranged and disciplined according to colonial values which favour private over communal land ownership. For mana whenua living in what have become urban environments, the city rose up around them, their land base eroded rapidly, acre by acre. They were pushed out, often forcibly. New Zealand has a long history of seeking to contain and erase indigeneity in urban places, swiftly quashing any assertions of Māori sovereignty in the urban environment. The occupation of Takaparawhau in 1977 and the 1995 occupation of Moutoa Gardens are both notable examples in New Zealand history. So what is a decolonised city anyway? And why does it matter? Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 19. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, part two of our story on the Imagining Decolonised Cities project, we talk to some of the practitioners who were involved in a day-long, free public hui held at Takapūwāhia Marae in Porirua which invited public dialogue on the question - "what is a decolonised city?" The Imagining Decolonised Cities project was initiated by a team of academics from Victoria University of Wellington and members of Ngāti Toa Rangatira to stimulate discussion around what our cities might be like in the future if they were decolonised. We spoke with Lena Henry, nō Ngāti Hine, a lecturer in planning at the University of Auckland, and one of the speakers at the symposium. Lena Henry: I te taha o tōku pāpā, ko Otamaewa te maunga, ko Mahururoa te awa, ko Ngāti Toro te hapū, ko Ngāpuhi te iwi. Nō te kāinga Otaua. Ko Piki Te Aroha te marae. I te taha o tōku māmā, nō Ngāti Hine, ko Hineamaru te rangatira. Āe. Ko au tenei. Lena Henry. JK: So as part of the Imagining Decolonised Cities project in Porirua, there was a one day symposium at Takapūwāhia Marae, that really just encouraged people to think about 'what is a decolonised city?' and what might it be like, and what is the process to get there? And there was a wide range of speakers talking about their mahi, and reflecting on that provocation. I just wondered if you could perhaps share some of your whakaaro around that topic? I think it was a really cool thing to provoke people to think and talk about this idea of a decolonised city. LH: So first of all, I really appreciated the privilege of being able to present some ideas. And I like to use these opportunities as a way to reflect back what communities have said to me in the past. And so, the actual kaupapa of decolonisation has been one that has been talked about for a long time, and I guess the adding onto that, decolonising cities, has been the new addition to the kōrero about decolonisation. So it was really about understanding 'what is decolonisation'? Because I think what we've tried to do, primarily, is to indigenise. And then decolonise really fits well with planning, because it's about the structural dimensions, as well as talking about, how do we reconstruct or reclaim the processes of planning, and develop policies that will provide the types of outcomes that we're looking at. So, what I talked about then was really looking at, what are the aspirations, that I know of? That would represent a decolonised city. And I quickly started off with an interaction or discussion I had with our then five year old, Toa. Toa Slavomir. Where he was, we were down on Queen St, waiting for Helen to finish work, and he looked up at these, he was just looking around his environment, and I was looking at my phone, and he said, he just said to me, 'why don't they like us?' And I sort of stopped, and put my phone away, and I thought, what have I missed? And I go, 'who doesn't like us?' And he goes, 'why don't they like Māori?' and I thought, have I missed something, is someone looking at us? And then I said, why do you ask that? And he just pointed up to the signs. So he goes to a rūmaki reo class called Whānau Ata down at Freeman's Bay, and he was learning how to read Māori. And so, obviously he's waiting and he's trying to engage with his environment, his urban environment, Queen St, and he just said, 'why don't they like Māori?' And he pointed up at this signs. He goes, 'there's no Māori words. I don't know how to read that.' And, so it really is apparent to, you know, a five year old, that their environment doesn't represent who they are, or their aspirations for fitting into these environments. So, I really started off with that, with quite an innocent child's perspective. And if we can hear from children again, at his age, really looking and feeling like they're engaged with the environment, and that they can see themselves reflected in their urban environment, then we're doing well. So I started off with that story, and I think that's going to be one of the indicators that we've reached a decolonised city, the imagined decolonised city, that we might set today. JK: Māori have been historically categorised as rural, but as we know the majority of our populations do live in cities, and I think there's starting to be a shift in thinking about what constitutes a Māori space. It's not just our marae and our papakāinga - which of course are important - but it's much wider than that, it extends into our landscape, it extends into our cities. And I suppose with these thoughts in mind, I wanted to ask, for those of us who are perhaps not mana whenua, who are built environment practitioners, what impact does that have on the way we approach our work, and the relationships we have with people and place. LH: For me, there's now a formal category around 'what is mana whenua?' And, how I always approach it, I mean we go through reframing what this actually means, but, for me, it's always trying to find the connection. As opposed to differentiating and identifying what you're not, I think it's identifying how you connect. So for me, there's tātai that I have been taught, or I've listened to and just heard in discussion around the tātai, the connections between us to our cousins here in Tāmaki Makaurau. And so, what that says to me is that, yes I've got these connections, and wherever we are, we should support the tangata whenua, the hapū, the iwi, mana whenua of that particular rohe. And, in terms of being a resident, a Māori resident, a Ngāpuhi person living in Tāmaki Makaurau, it doesn't mean that we're second class citizens. And that's what I fear about those differentiations around those categories, is that the way in which it is interpreted by institutions, start creating a separation, as opposed to what whakapapa should do, is to make these connections. That's why we get up, and we talk about our pepeha. We're trying to seek connection, as well as identify where we're from and how proud we are to be of that whakapapa. So, I'm very much into, like, not buying into legal frameworks of who we are and who we're not. I think the needs, the rights of participation, the rights to decision making, are clear within tīkanga, about our role. So I don't know about the deep heritage, the cultural significance, of areas that mana whenua will talk about. I know things about, say, a particular site, or a place. I do know some things. But I don't know that, and it's not my connection. So what I've always taught our students is to approach it in an inclusionary, as opposed to exclusionary, way. So what I have to offer, or anyone else has to offer, is adding to the decisions. It's not saying, that's more valid than that. It's more like, what does this person have to offer, in terms of what planning decisions, or what decisions are being made, as opposed to how a non-Māori approach would be, in terms of trying to build hierarchies consistently. So we're okay with multiple names on one site, and that's just an example of how we should operate in terms of connections and valid contributions to information being gathered about a particular site. So, that's how I approach it anyway. Yes, mana whenua have, definitely have a significant contribution to how we plan our cities, but so do others, other Māori living in these areas. Especially in this Treaty settlement era, where whakapapa is used to distinguish what's yours and what's not. So pulling back from that is just to go back to tīkanga, and we know that, when we go to pōwhiri, and we hear a mihimihi, somebody will talk about the connections, that they have or their iwi have, or the group has to that place. And so, I think just going back to tīkanga and what we observe still, those very basic traditions, will keep us in good stead. JK: The kaupapa of the podcast is Indigenous Urbanism, and I just wanted to invite you, if you had any final thoughts on that theme, or anything you wanted to talk about. LH: This idea around Indigenous Urbanism, you referred to it in the beginning about not separating rural to urban. Those categories really have derived from where our planning system has been imported from, and that's the British model, the UK system of planning, where they, you know, the whole Ebenezer Howard and all of those theorists around City planning. I believe what we can contribute to these environments, is maintaining a sense of kaitiakitanga, so the concrete jungle still has connections and, is still mindful of Papatūānuku, and the other flora, fauna, the environment that

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we travel to Porirua, Wellington to learn about Imagining Decolonised Cities, a project designed to stimulate discussion around what our cities could look, feel, sound, taste and smell like if they were decolonised. GUESTS: Rebecca Kiddle, Fiona Ting, Jessica Hulme FULL TRANSCRIPT: Jade Kake v/o: If we walk around our cities in Aotearoa, they feel like colonial spaces. This is changing, slowly, but on the whole they don’t feel very Māori. In general, they don’t reflect the hau kāinga or local people of that place. Our cities in New Zealand have, for the most part, taken shape according to Eurocentric values. Pre- and early- European contact, Māori had kāinga and pā where all the major cities were founded, but were dispossessed of their land in order for these cities to be built. Māori concerns have historically been understood as rural despite the fact that most Māori live in cities, and urban spaces are turangawaewae for a number of iwi and hapū. So, what is a decolonised city anyway? Rebecca Kiddle: We wanted to explore this idea of decolonisation, and that really started from not really understanding what that might mean, in relation, particularly to the build environment. New Zealand often understands itself to be a rural place. And maybe you've heard people talk about this before, but we're one of the most urbanised countries in the world, and yet we still understand ourselves to be, you know, people with sheep basically. The reasons for exploring that are, that it becomes pretty problematic if we conceptualise ourselves to be rural, in relation to Māori identity. So what I think happens, is people understand Māori-ness to be a rural thing. It's not an urban thing, it's not something that’s relevant to the City, and that’s problematic in two ways. First of all it kind of dismisses the mana of the iwi and hapū, for whom these places are theirs. So, Te Ātiawa, Ngāti Toa, Ngāti Whātua in Auckland, and so on. It means that their identities aren't represented well in the built environment. I think the second is really about a sort of general kind of erasure of indigeneity in the built environment. JK v/o: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 18. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we travel to Porirua to learn about Imagining Decolonised Cities, a project designed to stimulate discussion around what our cities could look, feel, sound, taste and smell like if they were decolonised. The project did this through eliciting utopian ideas for a decolonised city through a public urban design competition, and a public symposium where speakers were invited to respond to the provocation ‘What is a decolonised city?’ We spoke with Dr. Rebecca Kiddle, nō Ngāti Porou raua ko Ngāpuhi, a senior lecturer at Victoria University of Wellington, and leader of the Imagining Decolonised Cities project. RK: I te taha tōku kuia nō Ngāpuhi. I te taha tōku koroua, ko Hikurangi te maunga, ko Waiapu te awa, ko Ngāti Porou te iwi. I tipu ake au i Heretaunga, ko Becky Kiddle tōku ingoa. So I'm Ngāti Porou and Ngāpuhi, but I grew up in Kahungunu territory, and yeah, my name's Becky Kiddle and I'm a senior lecturer in environmental studies at Victoria University. JK: Could you talk us through the project, and how it came about? RK: That project came about cause I had spent a few years overseas. So I was overseas for about ten years, and I came back and sort of felt a little bit like our built environments hadn't moved on all that much, since I had left. There was obviously some real gains in some areas of the country, particularly around uptake of the Te Aranga principles in Auckland. But for the most part Māori were seen to be excluded from decision making processes around, just the form and function of our cities. In parallel with that, there was a real sense of pain, I guess, amongst Māori communities, around what cities were and meant to them. And that pain is for obvious reasons, all the government policies post-World War 2 that led Māori into the cities, and led to the demise of things like culture and language, and has caused a whole lot of pain amongst many Māori communities. Those are those coming from other rohe to be in the cities, but there's also pain amongst iwi for whom the city has always been their papakāinga or their tūrangawaewae or whatever. So, a sort of double-edged pain going on around cities and Māori. But I think the problem of conceptualising cities as all being about painful reminders of terrible government policy, is that we can miss out on the opportunities of cities, which I think there are many. And many of us younger Māori are quite keen to live in cities, because there's lots of opportunities to be who you want to be, and live in ways that you want to live. But there obviously could be more in terms of cities supporting Māori tīkanga, and just ways of being I guess. So, talking to some colleagues around the place here at Vic, we decided that we would really like to explore this idea of decolonisation. And it's kind of a lofty term decolonisation, it's used often in very highfalutin ways, and I was like, well what does that mean, exactly? What does it really, really mean. And, I think sometimes it's quite hard to make tangible the notion of decolonisation. So, the whole project was really about us trying to work out what decolonisation means for cities, and doing that in what we hoped was quite a democratic way actually. By opening up this competition to New Zealanders - all New Zealanders, not just Māori - and the reason it wasn't just for Māori is because we were very firmly of the opinion that decolonisation - whatever that might mean - is the work of everyone, not just Māori. Māori are so overcapitalised - is that the right word? They're drawn to be involved in a whole heap of things, and capacity is pretty low in terms of ability to be able to influence a whole host of things. So, decolonisation's got to be a shared effort, if we're actually ever going to achieve it. So, that was the impetus really, was about getting some tangible ideas about what it might mean for the built environment. JK: Could you tell us about the competition? RK: So the competition was funded by UNESCO, well the New Zealand arm of UNESCO, I think it's called the National Commission for UNESCO. And as I said, we opened it up to anyone, but we were particularly interested in three categories - so, under 18 year olds, we wanted a youth perspective, and the reason we wanted a youth perspective is because, our thinking was, that often young people are less muddied, I guess, by the impact of colonisation, and so we were hoping that they would have some really great ideas that perhaps are not rooted in a real strongly held sense of the impact of colonisation, which I think many of us older generation might have. And then we wanted to open it up to the general public, so we were really clear that we wanted anyone to be able to be involved in the competition, because those who live in cities are experts in living in cities, so therefore, why wouldn't they have good ideas in thinking about decolonisation for cities. And then finally, we were keen to involve professionals as well, because it's their bread and butter, and we wanted to see if they also had some interesting ideas for the city. With the young people, we were quite clear that we wanted to make sure that they felt able to participate. So we were concerned that if we just threw it open, young people might not necessarily take part. So we worked with secondary school aged children at Aotea and Mana colleges in Porirua, and we did a couple of two to three day wānanga with students to teach them and give them some urban design skills, and some communication skills that they might use to enter the competition. And a lot of them did enter. Not everyone entered, but many of them did enter, but in the meantime they got to experience the architecture school at Vic, and see what it might be like to come to university, and just give them some opportunities to understand what university life might be so they might be interested in coming. JK v/o: The public urban design competition encouraged people to think about how we might ‘decolonise’ cities in Aotearoa New Zealand. Two sites, at two different scales were offered on which to consider the question ‘What is a decolonised city?’ At the larger scale is the Onepoto arm of the Te Awarua o Porirua and shoreline. RK: Partly we chose that because with a new roading system, transmission gully, the Eastern side of that harbour is going to change dramatically over the next few years, and the local Council were keen to get ideas about how they might redevelop the harbour. The harbour also was a key site for Ngāti Toa Rangatira, the local iwi. It was their food basket, and it was also the place where they went to heal over the years, and often due to government policy - like the Public Works Act - the harbour had been systematically polluted, and now is somewhere that they can no longer collect kai moana, or go to bathe. JK v/o: At the smaller scale is a papakāinga site owned by the Parai whānau. One of the impacts of colonisation was the loss of what is now urban land from iwi and hapū ownership. In Porirua, Ngāti Toa Rangatira lost many acres of land, often via the Public Works Act. RK: We had a papakāinga site, which was based on some land that a local whānau, the Parai whānau, had actually bought back from the government, despite it being taken from them. Under the Public Works Act, they fought for many years, and finally were able to purchase it back. And their

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak to Daniel Glenn, an architect from the Crow tribe in Montana who leads a firm based in Seattle, Washington specializing in culturally and environmentally responsive architecture and planning. GUESTS: Daniel Glenn FULL TRANSCRIPT: Jade Kake v/o: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 17. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we speak to Daniel Glenn, an architect from the Crow tribe of Montana who leads a firm based in Seattle, Washington specialising in culturally and environmentally responsive architecture and planning. JK: Do you want to start off by just telling us who you are and what you do? Daniel Glenn: Yeah, I'm Daniel Glenn, I'm an architect based in Seattle now, originally from Montana, the Crow Reservation. Crow, we call ourselves Apsáalooke, in our language. I've really been focussing on tribal work for most parts of my career. Starting very young. My current firm, it's called 7 Directions Architects and Planners. We're a small firm, and we're working with tribes around our region in Washington, but also we have projects in California, we have a new one in Alabama. So we work in many parts of what we call Indian Country in the United States, primarily. JK: What brings you here to Aotearoa? DG: Well, this is my second trip. I was invited here two years ago to be part of this first Indigenous design conference. I was quite surprise actually, the first time I got the invitation. I didn't know anything about this place. I thought, the only thing I knew about New Zealand was Whale Rider, and the Māori. Which was one of kids' favourite movies, and I remember when I first met you I thought wow, you look like the girl in Whale Rider. But I thought, well that would be great, and I wasn't quite sure how they found me, but I agreed to come, and came with my partner Valerie. I was just taken by the place, and by the people, and I guess the significant thing was, when I came here I thought it would be an exciting trip, I would meet some interesting people, I would see some things, but I honestly didn't see how it would resonate directly with what I do, because it's such a different culture, a different place. And I think that's been the biggest revelation, is that the Māori are a colonised people, just like my own tribe and North American Native Americans, and First Nations peoples, and we share so many similar challenges and experiences and also, I think, opportunities, with the power of these cultures that we work within and are part of. Because of that I want to keep that relationship going, and keep that connection, and was very delighted to come back for the second annual. JK: Yeah, I felt similarly when I saw your work, as you were talking about your process of working with communities, and the kind of things that were important to them, and the kind of buildings and environments that we're developed as a result. There's a lot of similarities with what we're trying to do and what we are doing. And so that was kind of a surprise, because again, I mean, we have the same context of colonisation, but the cultures are quite different. But it's been really affirming, I think, as we've started developing this community, and seeing the ways that we can support one another, really cool. So it's great to see you here again. DG: Well thank you. Yeah, I would say there's more affinity, I've seen, now that I work on a Pacific coast, there's more direct affinity culturally, in some respects, with Māori, in terms of, in comparison to where I'm from, we're a buffalo people and horse people. So we don't have this strong connection to the sea, and like the whole. The Salish we're working with, they have the canoe journey and the strong connection to the canoe culture, and even the longhouse has real similar relationships to the whare here, and the way the marae is set up resonates with the communities that I'm working with. I do see some cultural parallels, but certainly very distinct in so many other ways. JK: So I was really fortunate to come and visit you at your place last year. So we had a small group go on a bit of a study tour around Seattle and then onward to Vancouver to see Patrick, and then over to Ottawa for the symposium where we all gathered. Now when we were with you in Seattle, we had an amazing whirlwind two days, I think it was, and we saw a great many things. But I wondered if we could talk about maybe some of those projects. DG: Yeah. Let's see, I think we started with the Puyallup, The Place of Hidden Waters. Yeah. So, it was exciting for me to be able to have visitors come all the way from New Zealand, and to bring them to that community. And when I told, talked to the tribe and said that you might be coming, they were excited about it too. And if you recall Annette Bryant, whose now a Council member of the Puyallup tribe, she was our client when we designed the building as the head of the housing authority. So she welcomed your delegation in a beautiful ceremony, which I was very happy to have that happen while you were there. Cause I always feel like we can't ever match ourselves the welcome that we receive here. But they welcomed you with song, and drums, so I'm glad that happened. And I'm glad you got to see in person, cause I'd shown the film, that certainly your viewers are welcome to see, there's this short clip of the Place of Hidden Waters, so you can actually see where we were. So I'm curious to hear your impressions in person, cause you saw it on film and then you saw it in person, what did you take away from that? JK: Yeah so I think the way it was designed really resonated with us around how we plan our papakāinga, which usually involves housing alongside other communal facilities integrated with the landscape as well. There's the community centre at the middle, which I believe was a basketball gymnasium or something that's been extended? DG: It was an old gymnasium that was just almost defunct, it was a concrete block structure and had been built there to serve a youth home that was on the site, for troubled youth that had been there. And then that was adjacent to 27 townhomes that were also sort of, they were still occupied and everything, but there's a lot of issues in the community with crime and with drugs, and challenges that they were facing, when we started the project. So yeah, the community's, we went through a process and one of the key questions at the beginning was, what do we do with that old gym? Do we keep it, do we take it down? And then actually what we came to, is we realised wait a minute, this is, the gym is, first of all it's a solid structure, it's large. We analysed it economically, it made sense to keep it, but also we realised that traditionally in the Salish culture, when they would expand a longhouse they just extend it longer, and make an additional space for additional families. Sometimes up to like fifth of a mile or more of longhouse. So we took that idea and expanded by extending it out and creating that, whole sort of living room, as we thought of it for the eventually 47 units that we created there. JK: And those units, they're a mixture of different sizes? DG: Yeah, so, the original development has two- and three- bedroom town homes, and some fours. So when we designed this, one of the needs that they had was housing for elders, seniors in the community, and so in our process that there was not a desire on the part of the elders to be isolated, like to have just elders community and then families. So, we developed this typology that kind of came about from the program, but also studying the archetype, which is what we often like to begin with, studying the tradition of the tribe, and that case the longhouse or plank house structure, which in that region was a shed, single slope roof. And when we were analysing that we realised that there was many ways that we could manipulate that structure, that form, but in section it worked to sort of get at that form, we found that if we had one side one storey, and the other side two-storey, we could create that overall concept of the longhouse. And so that gave us the opportunity on the one side to have flats that are for elders, fully accessible. And then on the other side, two storey town homes for families. So it's a mix. And then they share this long gathering space in the middle that's akin to the longhouse itself. So, historically, those structures had shared central long spaces that had fires along them, and each family had a fire in the middle, and then they had their sleeping spaces on platforms that were elevated, and they used woven mats to create privacy. So we took that idea of those sleeping spaces, and in a modern context made those into homes. So, townhouses, with the central common semi-covered open space. So, yeah, it was a mix of inter- multi-generational housing, which is something that we like to do, and it's reflecting the needs of these communities that we work with. So we ended up building, each building has ten units in it. Five elders, five families. We built two of these structures, so there's twenty altogether, and then the 27 we renovated and improved. So it's a 47 unit community, with the community centre at the heart, which includes now a refurbished gymnasium, and a gathering space. And then the other key part of it was that it's adjacent to a forest that is a slope down to the Puget Sound, because they're Salmon people and their very protective of the water. That was a big challenge of how to make this place in a way that would not disrupt the, or hurt harm the waters that were there. So, we went through a, we worked very closely with our landscape arc

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we visit Te Taiwhenua o Heretaunga to learn more about their emergency housing programmes, delivered through an innovative partnership with Emerge Aotearoa. GUESTS: James Lyver, Jo Hoera, Chris Paku FULL TRANSCRIPT: Jade Kake: In the Hawke’s Bay, homelessness has dramatically increased over the past few years and there are large waiting lists for social housing. Like many areas throughout Aotearoa, there is simply not enough affordable housing to meet demand, and reports of overcrowding, and families living in cars have increased. The kaupapa of Te Whare Huakina, funded by the Ministry of Social Development, is to provide emergency housing in the Hawke’s Bay area. Jo Hoera: This is one of our typical transitional homes provided for whānau. So, we're just walking into the front of the property. It's got a wee space in the front, a grass area. And then we're going to go into the front door, and straight into the Kitchen area. JH: Of course we have an oven, we have a pantry, a fridge, and we’ve got all the amenities that you need in the kitchen itself, so, we've got all the crockery that you need, whānau need. We've got all the utensils whānau need, we've got oven trays, we've got a toaster, we've got the jug, we've got pots, we've got pans. So when whānau come into the transitional home, the kitchen is all set to go for them. And so you’ve got a back door entrance as well, and in our back door entrance we've also got safety, so we've got a fence right round the property, this particular property, so that we can safely have children here. We've got some fruit trees, and of course the line outside. Then we have the amenities, got the toilet. We have a bathroom, so we have a shower. Most of the properties have a shower and a bath, because we allow for children, of course, and sometimes they're under one, or where they need a bath to be used. And in this particular house we've got two bedrooms, so the bedrooms are already set up with the beds. So we’ve got pretty much all the amenities that a whānau would need moving into a home. It's all set up with everything, including the washing machine, and we have everything that you would need, like mops and brooms. So, our tenancy manager would go through and make sure that all that's ticked off, the list that they need when they come into a home, including all your blankets, your linen, your towels, it’s all here. So the whānau are in here for 90 days, and they sign their tenancy for 30 days at a time, and so within that period our tenancy manager comes in and does inspections with the property, and renews the tenancy over that 90 day period. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 16. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we visit Te Taiwhenua o Heretaunga to learn more about their emergency housing programmes, delivered through an innovative partnership with Emerge Aotearoa. We met up with Jo Hoera and Chris Paku from Emerge Aotearoa, at one of Te Whare Huakina’s emergency houses in Napier. Jo is the Team Leader for the Emergency Housing Team within Emerge Aotearoa, and Chris is one of the the Navigators in her team. JH: Ko Jo Hoera taku ingoa, ko Rangitane me Te Atihaunui-a-paparangi ōku iwi. I'm the Team Leader for Emerge Aotearoa, for the Emergency Housing team. Based in Hastings, and we work collaboratively with Te Taiwhenua o Heretaunga. Chris Paku: Ko Chris Paku tōku ingoa. I work for Emerge Aotearoa as well, as a Navigator, and part of my role is to help our whānau in our area to find sustainable housing. JH: Te Whare Huakina came about through, I guess looking at the strength that both organisations have, and coming to an understanding that we both offer different strengths, and that's how we pretty much based ourselves together, but it works. It works really, really well. The team themselves, from Emerge Aotearoa's side, and our team, I can speak for our team, it's pretty awesome to be working inside of a kaupapa Māori service, and supporting whānau in our community to find long-term sustainable housing. We are one team, so we provide the emergency housing service together. So, it's pretty awesome actually. We're unique in the whole of the country, I believe we're the only service that runs that way, with two NGOs working side-by-side. My main role, I guess, is to make sure the service is running okay. The other thing is to, more importantly, is to support my Navigators that are out working out in the field. That might be in terms of making sure they've got the resources they need, training, whether they need upskilling or sending them away to our training, or running the mechanics at the base, really. So, yeah. But, I must say, I have an awesome team, that are out there working in the Hawke's Bay, they work fairly independently, and they are passionate for the kaupapa. And so am I. I've worked quite a while, a few years working with clients, and so I love to see them doing well, especially whānau. CP: And as a Navigator for Emerge Aotearoa, that's a role that I take really seriously, and using a lot of my background and the experience that I've had over the last 10-15 years, to see how I can help our people that are in the motels, or in the transitional homes that we have, to help them to look for sustainable homes, a sustainable home. And part of that service that we have is, also helping them to identify other wrap-around services that we can introduce them to, if they haven't been introduced to in the past. For example, we have a ready-to-rent programme that runs at the taiwhenua and also in Napier, and we also have Money Mates, which is part of the Hawke's Bay budgeting service. So all these little factors really play an important part to our families lives. So, that's what I do as a Navigator here in Hawke's Bay, along with the other two Navigators, Kate and Manuel. JK: Can you tell me what kind of difference it makes for these whānau to have somewhere stable to live for that period of twelve weeks, and to have a bit of awhi and a bit of support around them? CP: It makes a huge difference, because there's a huge difference especially when they have to come into the motels, they don't have to go and get their weekly quotes to stay in this motel that they're in, if they're with us. It means that they don't have to that side of things. However, there is the other side, their obligations that they have to adhere to. To continue to search themselves to look for a home, and if they do find something, then we're there to either take them along to have a look at a home viewing, in the private rental sector, or we're there to help them or awhi them considering their Housing New Zealand applications, the assessment that they may have already done with MSD housing line, on the 0800 line there, or the interviews that may take place there. But, in saying that, just knowing that they've got support in place, really helps our families. They feel encouraged, I think they do, yeah. JK: Need to stabilise their living circumstances, and then empower them so they can make positive choices. CP: Very much so, and that’s what it’s all about, is that empowerment, and the services that we have to embrace them with. JH: We’re a mainstream organisation on the whole, but we have a strong connection to kaupapa Māori practice. So there's a component of our services, that adhere to kaupapa Māori. So it's part and parcel of some of our principles, the organisation itself. So we have a cultural arm, and a training that's provided for practicing with kaupapa Māori values. So, that's our takarangi programme, that all our staff get to go on, yeah, and train with. So, yeah, in terms of that, but our housing team of course, is, we're right in the midst of it with Te Taiwhenua o Heretaunga. JK: It must be awesome working with whānau and just seeing their journey that they're on, particularly when you get to the point where they're seeing better outcomes for their family. CP: Oh, it's awesome. I love it. You know, especially when you've seen families stuck in the motels for certain periods of time, and as one of our kaumātua mentioned from the Heretaunga Te Taiwhenua, says that the person was very happy just to cook a meal on an oven. So I mean, they've been trapped in these places for that time, and now they've found a home for them to stay in, and just to cook a meal for the family, the basic necessities of life, meant a lot to him. So, even that, and just hearing those things is really cool. At the end of the day, we’ve still got to be positive, this is the roles that we're in and the job that we have, to have that positive attitude so that they can see that in us, and so that, you know, we don’t want to give up on them. JK: James Lyver, nō Kauhngungu, is the Contracts and Business Development Manager at Te Taiwhenua o Heretaunga. We met James outside a new 10-unit development in Maraenui, a neighbourhood in Napier that has traditionally been characterised by its high concentration of State housing. James Lyver: This particular project here was a Housing New Zealand initiative, and what's really exciting about this is they really looked at the waiting list, and knowing that we had some of the hardest people to house, are your individuals or your solo parents with one child. Because they're such a low ranking with Housing New Zealand, and there's just no one beddies in Hawke's Bay. So this was a really good initiative to show, and we've got demand already, and we're moving whānau on. So what's exciting about this is that we looked at the research, we were able to build to it, and then we were able to provide our wrap-around Te Whar

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we continue our haerenga across the Hawke’s Bay to visit a new five house papakāinga development, on the hills of beautiful Waimārama, which for the Renata whānau has been an opportunity to get back to their tūrangawaewae, and to reconnect with their marae and each other. GUESTS: Paora Sheeran, Eru Smith, Brenda Tatere FULL TRANSCRIPT: Jade Kake: Picturesque Waimārama. A beautiful seaside community, a place of halcyon summer days, hot chips and ice cream. But it’s not just a lovely holiday destination, it’s also the home of the Ngāti Hikatoa, Ngāti Kurukuru, Ngāti Urakiterangi, and Ngāti Whakaiti hapū of Kahungungu. In the 1860s the original Waimārama Block, some 35,000 acres, was leased to two European farmers. The promotion and development of Waimārama as a beach lifestyle area started in the early 1900s, when the large farming stations were broken up to create a beach settlement area. Today, the parts of the original Waimārama block that have been retained in Māori ownership are mostly leased out to Pākehā farmers. For the Renata whānau, the development of papakāinga on their ancestral land is an opportunity to get back to their tūrangawaewae, and to connect with their marae and wider whānau. Paora Sheeran: If we look over to the right over here, we’ve got a homeowner who moved over from Dannevirke - and I don't know if you remember on the opening day here back in March 2017, and our kaumātua got up and spoke and said that we've been able to return home, you know, so after about I think it was three generations ago, it might have even been four, they had to move away for farming reasons, and now one of the great-great-mokopuna has come back to Waimārama. And not only for her, with that brings back the other whānau. JK: That's huge. PS: Yeah, and that's what can happen in papakāinga. There's the hard items, like the houses, the infrastructure, and then there's also the add-on cultural, social benefits. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 15. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism: We travel to Heretaunga to visit a new five house papakāinga development, on the hills of beautiful Waimārama. We spoke with Paora Sheeran, a key driver of papakāinga activity in the Hawke’s Bay. PS: He mihi poto tenei kia a koutou, ko taimai ki Kahungungu nei, otira nō ki Waimārama te whenua nei, tenei whenua o te papakāinga o te whānau Renata, koira te tino tīpuna Renata. Nā reira nau mai. Nau mai haere mai, nau mai hoki mai. Ko wai tenei? Ko Takitimu te waka, ko Ngāti Kahungunu me Ngāti Pahauwera ngā iwi. Ko Rakau Tatahi me Te Rongo a Tahu ngā marae. Ko Ruahine te pai maunga. Ko Te Rangi Tapu Owhata te taumata. Ko Whatumā te waiu. Nā reira, titahi whakatau ki o tou matou nei rohe. Ko Puara kei runga, ko Whatumā kei raro. Tihei, mauri ora. Ko Paul Sheeran tōku ingoa. So we’re in Waimārama, which is in Hawke's Bay, Kahungunu. As you can see it's coastal, we're right on the beach there. This is the Waimārama 3A1C2 Incorporation, and this is their papakāinga. JK: So we’re up on the hill, overlooking the Ocean. Is that their marae down there? PS: Yes, we've got the marae in the background there. So that was part of the reason why this was such a great site, because the incorporation actually owns a number of lands. And so with the marae just across the road, papakāinga, I think there's a kohanga reo over at the marae as well. So it just, you know, the infrastructure works. JK: And how many acres or hectares? PS: Probably looking at 7 hectares for this block. JK: So the incorporation owns this block as well? PS: Correct. And then they have a number of other blocks they lease out as well. JK: Awesome. What are the kind of business things they've got? PS: Mainly leasing for grazing. As with a lot of Māori freehold land, quite often they’re uneconomic parcels. So, unless you can pull together whānau land around you, or work it a bit more intensely, then you're really just leasing out to the local farmer. But they chose this site because of the location with the marae, with the Waimārama township as well. Cause of the contours as well. You know, it's got a lot of character, this whenua. When the houses were designed, every kitchen window looks out at Motu-o-kura, which is their maunga, you know, their motu. So that was one of the design features that was sort of incorporated in the house design. So then when all the tamariki are doing the dishes they can talk about their motu. It was a good site. They’ve actually got resource consent to build 20 homes up here, and down on the flats, down below. So this is stage one, and stage one included five houses, so infrastructure for five houses, of which it's a mixed model, ownership. So we've got two home ownership here, and three affordable rentals under the incorporation. And the reason why they started off with five is because when they go back through their whakapapa, there's really five whānau lines. So although they've got a resource consent for 20, they started off with the five so then they could offer each line a house back on their whenua Māori. PS: So Eru, Eru Smith is the chairperson of the incorporation, he's a kaumātua, well respected kaumātua out here, a man who is well known for getting things done. It's that generation, you know. The phone goes on a Sunday evening, very few words. Kia ora - is this Paul Sheeran? Yes, kia ora. Eru Smith, I hear you do papakāinga. Yes. Good - we want you to help us. JK: Māori Television’s Te Kaea interviewed Eru Smith at the opening of the papakāinga in March 2017 Eru Smith: It feels great, I feel very proud I suppose. But ah, yeah I'm lucky that I live here too, and my family's from here. But yeah I do, I feel real proud. Out here you could pay anywhere up to $350 a week. So, you know, it's pretty reasonable for living here. And the if you go into the holiday makers they pay up to $1500 a night. Being back home and being back where you belong I think is one of the main things, but, also that we can support our marae. By being here, so you know, it’s easier to go down and help when help is needed. JK: And now back to Paora PS: And so that was in early 2016, we were able to secure feasibility study funding from TPK. As most Māori land is, rural, off-the grid, the only bit of infrastructure that is out here is the water pipe that runs from the reservoir up on the hill out to the beachfront community, the million dollar houses. Not a lot of whānau Māori in those houses. So, we have on site sewerage, we upgraded the power, telecom, a lot of earthworks had to happen here. But yeah, through the TPK grant, it was all possible. So you’ll notice on the rental properties, so there's two home ownership, three rentals. So we were able to secure some funding to instal the solar panels on the rental properties. It is tied to the grid, so i.e. when you're producing and you're using, that's one for one, that's the savings. But if you're not, if you're producing more than you're using then the excess gets exported back to the grid. JK: Is it a microgrid at a papakāinga scale, or is it just on the individual? PS: Individual. So, individual, because each whānau have different levels of power consciousness, if you know what I mean. And so, one whānau might be, they might set all their appliances to go during the day, so that when the sun's at its best and its producing then they're really making the savings. That's something that we try and do on handover, when the whānau takeover, is that we get the solar guy in, and just sort of talk about ways of maximising the savings. JK: But changing behaviours can be challenging if whānau have never lived in a solar powered home before, for example. PS: Exactly. And even with living off the grid, like on a water supply, you know, so, you've got to really be conscious of, it's not like in town where you can just turn the tap on and there's water, you know we've got three 25,000 litre tanks here. Goes through a UV filtration system pumped into the houses. But you've still got to be conscious of, in saving water. But you know, you live rural, you just got to be aware of all that. JK: Yeah actually where I grew up, it was, we were totally off-grid, so we had solar power, and composting toilet, and drew our own rainwater. But it's amazing how those behaviours can be so ingrained, but then the moment you move into town, your behaviour changes a lot. PS: We're doing another project, on a coastal block of land, and that's been a big part of the conversation throughout the process, is that the whānau coming out, because there are beach units there already, and they always run out of water. So, you imagine taking a whānau from in town out there, used to the constant water flow. So there's got to be a mind change. First home ownership, this house behind us, just gives people the opportunity to move back onto their whenua, close to their marae, in a whanau environment. You'll see down here the communal area that they're sort of slowly developing, which is sort of like the epicentre of most papakāinga, you know, where everyone congregates. But I'd imagine that a lot happens up on these types of levels too. JK: And are there many kids in this papakāinga? PS: Yeah. Yeah, there are actually, yeah. So down here, this whānau here moved back from Auckland. You know, house costs up there, rental and the ownership, so they've moved back home. So they've got three lovely little children over here. We've got two boys, young boys probably sort of 12, 13, that live over here. So, Brenda provide an at-home childcare service. So that's great, s

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we visit the site of a whānau papakāinga in Waiohiki, south of Taradale in the Hawke’s Bay, where the Hawaikirangi whānau of Ngāti Pārau are in the process of erecting a 5-dwelling development on their ancestral land. GUESTS: Paora Sheeran, Hinewai Hawaikirangi FULL TRANSCRIPT: Jade Kake: It’s a clear day in Waiohiki, just south of Taradale in the Hawke’s Bay. Otatara Pā looms in the distance, holding a commanding position on a nearby hill. Waiohiki Marae is just down the road, and Tutaekuri the awa meanders between the pā and the marae. Paora Sheeran: Kia ora, kia ora koutou, nau mai hoki mai ki Kahungungu, nau mai haere mai. O te rā ngā ki Waiohiki nei, ki tenei papakāinga o te whānau Rapihana Hawaikirangi. He whenua Māori tenei, he whenua mai mai. Nā reira, ko i riro ai te whānau nei te whenua, i te wā o rātou tīpuna. Ko mau rātou i te whenua nei. Nā reira, he taonga. He taonga te whenua nei mō te whānau. Nā reira, harikoa te ngākau, harikoa rātou ngākau. I hunga ai i tenei papakāinga, i runga anō i tenei whenua, tuku nei iho, i o rātou nā tīpuna. Nā reira ko te ingoa te whenua nei, ko Waiohiki. Nō reira tenei te mihi ki a koutou, puti puti huri noa i te motu. Nau mai, nau mai, nau mai. So Otatara is the Pā, so that was part of why they wanted to move here, so that they could be close to their maunga, their awa. Tutaekuri te awa, and of course the marae just over the road about 50 metres is their marae, Waiohiki Marae. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 14. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we visit the site of a whānau papakāinga in Waiohiki, south of Tarradale in the Hawke’s Bay, where the Hawaikirangi whānau of Ngāti Pārau are in the process of erecting a 5-dwelling development on their ancestral land. We spoke with Paora Sheeran, nō Kahungungu, a key driver of papakāinga activity in the Hawke’s Bay, and the project manager for this papakāinga. PS: We met with the whānau, probably in February 2017, here, on the side of Hatas lane over there. This was obviously just grass, at the time. And they had aspirations to build a papakāinga on their ancestral land. And so we met, we talked about the process, and very quickly we ran a feasibility study process to get from aspiration to a fully costed out project which includes five houses, all of the infrastructure, sewerage, water, upgrade the power, telecom, stormwater, new access way, landscaping, and all of that. So as you can see today, there's three of the houses are standing, closed in, and at a point of the building stage. Stage one's going to be around putting the infrastructure for the five houses in, but building three homes. So TPK approved funding for infrastructure for five homes, and a percentage to assist towards building three rental, affordable rental properties. The other two properties are, they're going to be home ownership. So whether that's home ownership under the trust, or whether that's home ownership in individual whānau. The houses consist of, so we've got two three-bedroom homes, and that's for Hinewai and her whānau. Her brother TK and his whānau, and then the middle house is for their mum, Karen. And so the houses are, the land is put into a whānau trust, and the whānau trust is the one who applied for the funding, and will own and administer the housing on behalf of the whānau. Cause they've got two sisters who are doing university degrees in Wellington, and that was the idea, was when they eventually come back, they will move to the papakāinga as well. So they don't know if it's going to be individual home ownership, or whether the trust will take on that as well. JK: Oh okay, so Hinewai and her brother both have young families, and they've got two sisters who are studying. And they're mum's going to be here in the middle house. PS: Yeah, real tight family. And I think that's been the key, to the speed of this whole process is that the whānau are tight, they are united, and just get things done. JK: We also spoke with Hinewai Hawaikirangi nō Ngāti Parau. Hinewai is a Trustee for the Rapihana Hawaikirangi Whānau Trust and the whānau driver for this project. Kia ora Hinewai, thank you so much for meeting with me. Hinewai Hawaikirangi: Tēnā koe, ngā mihi nui kia a koe. Ko Hinewai Hawaikirangi tōku ingoa, ko Ngāti Parau te hapū, ko Otatara te maunga me Hikurangi, ko Tutaehuri te awa, ko Te Whanganui a Rotu te moana. Āe. I'm Hinewai Hawaikirangi, and I'm a trustee of the Rapihana Hawaikirangi Ahu Whenua Trust. Our journey started for us as a family probably three years ago where we succeeded to Māori freehold land from our dad when he passed. Like a lot of Māori whānau do. We were lucky that it was only us four siblings who succeeded to one block of land. But that block of land wasn't big enough to be able to build the number of houses for us four siblings. But we all wanted to live there, because we understood that it's important that we occupy our whenua, that we're close to our marae, we're close to out maunga, we're close to our awa, and we're engaged in our whānau activities. So, what we looked at was, next to my father's block were two other vacant blocks. They were owned by whānau, they were left derelict because they had no connection to the whenua anymore. They either moved away from the region, or they weren't interested in building there, or using the land in any way. Our goal as a whānau was to look into these two land blocks next to our father's. We didn't really know who to go to, to find out how to get a hold of the blocks. But, through asking other whānau members around who the owners were, we eventually got to them. We were lucky that one block owner was just a koro, and the other block owner was a small trust of three siblings. So, in terms of being able to negotiate with the owners, we were lucky in that respect. But, before we did that we had to look at the Te Ture Whenua Māori Act. In order to see if this actually applicable, to buy Māori freehold land, and how we had to go about it. We had a vision as a whānau to all live there, so to realise that we needed the other two blocks, to have three blocks together, to have a big enough land block to put four to five houses. JK: And you were telling me that none of them were large enough to develop? HH: Yeah. So that was also advantageous for us as a trust was that, these two blocks were undevelopable, per the district council planning. In the Waiohiki area, we're classed as plains zone, which means you have to have at least 2500 square metres to be able to put one dwelling and a secondary. So, these two blocks that we were looking to buy were smaller than that. So for the owners, they weren't big enough to develop on anyway. But, with the three blocks combined, we could. What I did first was have that conversation with the owners. And say, look, we are whānau, and I talked about how we connected as whānau, where our common tīpuna had come from. So, we approached the land owners, and we started that initial discussion of, would the whānau like to sell? For the purpose of building a papakāinga for our whānau. And, initially they were on board with the idea, but then it was up to me to go away and put a proposal to them around the amount, who our lawyer would be, and some of the conditions we were thinking of in terms of a sale and purchase agreement. So, that's when I approached the Māori land court. Initially I spoke to the general manager, who has now left, at the Takitimu Māori Land Court. And she said, yes, yes there is a way to do it, and have a look at this part of the Act, and this section of the Act. So I went away and did that. And I felt that we met the criteria to be able to buy Māori freehold land, as first class alienee. So, I prepared all the evidence needed to show that we're a first class alienee, and at the same time started negotiating with the two block owners. I then started to prepare the documentation to firstly, send to the whānau, to the owners, the block owners, as well as preparing what the Māori land court would require. I then drew up a valuation assessment of the land that showed that the rateable value that the Hastings District Council put on those land blocks was inaccurate. And the way I found that out was, firstly asking Council how they calculate the rates. What equation do you use, and what specific things go into that equation, to get you to a rateable value. Particularly in the Waiohiki area. What that showed me was that they calculated the rates based on these town services, and that it's a block of land that can be developed on. So, I soon discovered that, in fact those two things aren't applicable to the blocks we wanted to buy. There are no town services to the two blocks, the two land blocks individually weren't big enough to develop on, so those two parts of the equation actually don't fit into how they calculated the rates. So that's when I could argue, well actually, we are going to take out those components of the equation, and look at a new equation, to actually look at the true value. Not incorporating the cultural or historical value - cause you can't put a value on that - but more the value in dollars. So I came up with a new equation, and explained that to the owners. But there's also real risks with buying those two pieces of land, because there was an easement that would take up 500 square metres, that we have to share with the nearby users. So, that was a risk, and then there was a power pole on one of the two blocks as well, that wasn't registered, but it's there and we weren't sure, at that stage we

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak with Kevin O’Brien, an architect from the Meriam and Kaurareg people of the Torres Strait, Australia. In his work, Kevin has explored a wide range of architectural processes that consider the emptying of the city in order to reveal Country. GUESTS: Kevin O'Brien FULL TRANSCRIPT: Jade Kake: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 13. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we speak with Kevin O’Brien, an indigenous architect practicing in Brisbane, Queensland, Australia. Kevin belongs to the Meriam and Kaurareg peoples of the Torres Strait, a group of islands located in north-eastern Australia. To kick off, could you tell me who you are, where you're from, and what you do? Kevin O'Brien: My name is Kevin O'Brien. I'm a descendant of the Kaurareg and Meriam people from the Torres Strait. I'm an architect, practising in Brisbane, and I’m Professor of Creative Design at the University of Sydney. JK: How did this relationship and collaboration internationally start? And how is this kind of sharing and dialogue influenced your practice? KOB: So I think this set of relationships that have developed for me have taken almost 20 years to happen. It started with a guy called Rewi Thompson, up in Auckland, but we actually met in Sydney at a student conference back in the late 90s. And at the time I was working with one other Aboriginal man in Australia, also in Sydney, another architect. And at the time we were the only two. And then we met Rewi, and we thought, oh maybe there's three of us. And we hadn't at any point really looked outside of where we were in Sydney. We were quite young at the time, and we were just trying to get by. Then as we met Rewi we met other people over here, and then slowly but surely over the last 20 years it's been sort of dripping, dripping, dripping, dripping, and the dripping's turning into a bit more of a flow now. And finally, sort of early 2000s we started to meet people up in Canada and the States, and the network sort of started to... you know, it was nice and social and easy and it's just sort of grown and grown. And then I think in the last 12 months it hit some kind of tipping point, which was fantastic, because it's ended up in a really big sort of critical mass between Australia, New Zealand and Canada. One of the fruits of that growing is I think this book that's just about to be published. JK: Something that is a recurring theme between our countries being settler-colonial nations is this real tension between rural and hau kāinga, like home communities, that might be quite geographically isolated from the urban centres where a lot of our people now live. So I'm just wondering, how do you kind of navigate that as an architect, and how your approaches might be different on Country versus being in these colonised cities. KOB: I think in the Australian setting, we've got a quilt work of Aboriginal countries across the continent, and then in understanding that, then it's easy to understand the two roles, or the two hats we wear, as architects. Because one is as a professional architect, in the modern sense, but there's something that informs that in terms of an obligation as an Aboriginal man, and that is that you have expectations and cultural obligations. And one of them is to understand precisely what Country you're standing on, before you do anything. Once you're aware of that as a starting point, it does two other things. One is it helps you to look inside yourself and understand who you are, but more importantly, you can only really do that if you have genuine relationships with the people of that place. So once those things are kind of set out, and they develop over time as well, the architecture can then be enabled and followed. So, what I tend to find is, from observing other people and other architects and how they practice, they tend to strike difficulty when they don't have those relationships, or they don't know themselves, or they try to impose work onto a community or onto a place. JK: And they imagine maybe sometimes a cultural blankness, I think that comes with being, you know, a colonising group. KOB: To be honest, it's not bound to one culture or the other. I've seen this [from] fellow Aboriginal people, and also non-Aboriginal people. And, it's not one easily explained, but in my experience I've seen some of that occur purely out of, not a lack of maturity, but someone who's in the process of maturing, and they're finding out or starting from a point of naivety, but they're on a search to get to another place. And inevitably, mistakes get made. You learn from those and move on. But in terms of like, when I encounter it in a colonising sort of capacity, or in my way of trying to figure out how to decolonise it, it's obviously complex. Because the relationship is one that has a lot of trauma attached to it historically, but equally, the challenge then becomes how do you move beyond a state of victimhood, where you can get stuck and never, you just can't move beyond things. I think that’s the really big challenge at the moment. JK: I’ve never been fortunate enough to visit any of your buildings, but I have seen you present a few times, and one of the projects that really struck me was a health centre, somewhere I think that was quite remote, I don't quite remember exactly where it was. But you had some really interesting ideas about trauma and healing, and how culture might influence the way spaces for health and healing are designed. KOB: I think the project you might be referring to is, it was a medical service in Casino, in Northern New South Wales. JK: Oh, that's not that remote, I grew up near there. KOB: It's regional. In the Australian sense. It's Northern New South Wales. It's in Bundjalung Country, and it's the fourth or fifth medical service I've worked on. But in terms of working with the community and understanding that Country, and their histories and their place, and trying to find something that gives you moments of inspiration, or things to draw upon, or things to develop with people, the one thing that kind of struck me about that place was just how amazingly beautiful and generous the people were. But in the face of that, there is some incredibly traumatic history with frontier wars and some of the most brutal massacre sites in the state, in that area. You'd be forgiven if you met people who harboured a lot of hate, and that's not what I've found. I've found a lot of people who were generous, and carried a lot of love, but there was a sense, I think, of melancholy behind the eyes. And I just thought, particularly when I work on this building, there was a couple of things going. One is that you have to make the architecture respond to people, or be a setting, or a background for the things they need to make happen or stage. Second was to figure out how to make materials come from that place, or that Country, to have sort of an imbued connection. And then the third was like, trying to figure out how to then bend all of those things and give another sense of identity. And that thing I usually look for in either a work of art, or working with artists, or affecting something in that space myself. And in this one the thing that ended up becoming the mediator of all of that was this brick. It was a brick that was made out of that land, out of that earth, from that Country, and it was a fired brick, so it had this fantastic reference to fire and how that was used to manage landscape. But in clipping the bricks, we were able to give a quality to one of the elevational treatments, where I thought about it in terms of the loss that people didn't necessarily express overtly, but was there. And the loss that men feel, as opposed to the loss that women feel. And these two fields of brick pattern were either side of a window that was framed in gun metal, framed a view of the local Catholic church. And it was, in one move was trying to reset that, but also acknowledge what was a pretty nasty relationship in the past. But place it into this facility which was all to do with healing, but then also use the material in a way that water would hit it, and it would start crying, and you'd have this tear mark down it. So the thing is, I've always understood that you can't really start healing till you've shed a tear or two. So that became part of the idea and then the brick itself organises the plan, and pops up in the middle as a courtyard for the staff. So they have this absolutely direct connection to Country through that material, and also the native garden that inhabits it. So, they have a place of tranquility, somewhere to recuperate from daily trauma with community, and all of the intensities that come with that. So yeah, it’s an interesting building that one. JK: I remember when I heard you speak once, you talked about where you're from, and you talked about, I think it was your Uncle's house being pinned down from above. Do you want to talk a bit more about that? I just thought it was an amazing story. KOB: So the house, or the hut, or the shed, you're talking about, is an Uncle's place out at Meriam, it's in the Murray Island group out East in the Torres Strait. But on the few very fortunate occasions I've been able to get there, I got to see this amazing shed structure. And this is a guy who's not in any way trained as an architect, but in terms of the kind of thinking and the absolute sort of rationalist and pragmatic approach to making a dwelling, this thing is one of the most amazing things I've seen. And it starts by being incredibly free. It makes, in my way of thinking, it makes a wind block, it makes protections from the s

EPISODE SUMMARY: On this episode of Indigenous Urbanism we visit Rangiriri Pā, and the site of a new symbolic reinterpretation developed in reverence to the original pā footprint, and as a setting for continued education about the Battle of Rangiriri and the subsequent invasion of the Waikato. GUESTS: Moko Tauriki, Dean Whiting, Sam Bourne FULL TRANSCRIPT: Jade Kake: If you look over to your right on State Highway 1, about 45 minutes north of Hamilton, you’ll see a site of cultural and historical significance. The wetlands and Pou mark the site of a pivotal battle in the 1863 Waikato land wars - The Battle of Rangiriri. Dean Whiting: So where we're standing at the moment, Rangiriri Pā, so this was the pā that, where one of the major battles, Waikato-Tainui and the British troops that were coming through from Auckland. So there were a series of battles that happened down that line. JK: In more modern times the significance of the site was overshadowed by the expansion of State Highway 1. DW: There was a huge cutting through the space, that cut right through the centre of the Pā site. JK: But now a collaboration between Waikato-Tainui, the New Zealand Transport Agency, and Heritage New Zealand has seen the repatriation of this significant site. Sam Bourne: When the opportunity came up to re-align State Highway one, that also opened up this opportunity to reimagine and acknowledge the damage that had been done in the past to the pā site, but also make that lineal infrastructure in service to that cultural landscape, and the story of Rangiriri, and the story of the battle that took place there. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 12. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we visit historic Rangiriri Pā, and the site of a new symbolic reinterpretation developed in reverence to the original pā footprint, and as a setting for continued education about the Battle of Rangiriri and the subsequent invasion of the Waikato. We spoke with Moko Tauariki nō Ngati Naho, who was the Waikato-Tainui lead for the Project. Kia ora Moko. Thank you so much for agreeing to be on the podcast. Just to start off with, ko wai koe? nō hea koe? Moko Tauariki: Ko Taupiri te maunga, Waikato te awa, Waikato te iwi, Tainui te waka, Mourea te marae, Ngāti Naho te hapū, ko Moko Tauariki taku ingoa. JK: Rangiri is a really significant site for Waikato and for all of New Zealand. Could you tell us a little bit about the significance of that site to your hapū and to your wider iwi? MT: The significance of Rangiriri to Ngāti Naho, Ngāti Hine, Ngāti Pou, Ngāti Mahut - Ngāti Mahuta ki uta - is that it's a place where many of our ancestors stood in defiance of an imminent invasion by the Crown, and basically made their sacrifices there. And so, it's significant to us today because we are actually the kaitiaki that takiwa, of that place, now. Which has been, I guess since the invasion of Rangiriri in 1863, has been under the ownership and the administration, if you like, of the Crown, right up until 2016 when we actually had that particular site handed back to Waikato-Tainui. The invasion into Waikato begins, if you like, at Mercer. That we currently know as Te Pina. And it's probably appropriate for me to focus a little bit on Te Pina, in terms of its significance to Te Puia. And so Te Puia, for many people would know her as the lady who established a cultural kapa haka group called Te Pou o Mangatawhiri. And that group was named after a significant that King Tawhiao did, prior to the invasion of Rangiriri, and he did that on the banks of a stream called the Mangatawhiri stream, which basically is a tributary to the Waikato river. And that became our aukati, or our landmark, and basically signalled to the Crown that you go past this particular landmark, where I have placed my pou, then you declare war. You declare an invasion into Waikato. And so in 1863, General Duncan Cameron, under the orders of Governor Grey, said, well up yours natives, we are the much superior power than you, so we will take this land by force. We challenge you to be rebellious against the Queen of England, and the inception of the Kīngitanga was certainly a threat to that. And so in the month of July, and in actual fact it was on the 12th of July of 1863, Te Pine, or Mercer, was invaded. They then continued to sack, or to invade, occupy other pā sites towards Rangiriri, and in particular Te Tiotio Pā, Te Koheroa Pā, and Meremere Pā. So these are all locations that anybody driving between Auckland and Rangiriri, they would naturally drive past these sites, without a second thought even knowing where they are. The reality is the proximity of where their vehicles is to some of these pā sites, is less than thirty metres. And that's how close it is. We get to Rangiriri in the month of November, the 20th of November, which is when that site was invaded, 1863. Essentially the British tried to take the site by force, were repelled, on several occasions. They then brought some gunships up on the river, that was the only mode of transport, and then decided to bombard their way through, which they essentially did in the end. Rangiriri wasn't just a fort hold, that was held by Waikato-Tainui alone. King, the second Māori King, King Tawhiao, he called on the allegiance of many iwi, all the iwi, from around the motu. He called on that allegiance because his father, the first Māori King Potatau Te Wherowhero, cemented those relationships in a place called Pūkawa, in Taupō. The big event that took place there was called Hinana ki Uta, Hinana ki Tai - search the seas, search the lands, for a king. And on the banks of Pūkawa is where all the rangatira, all the chiefs from around the motu, agreed that Potatau will be King. And then in 1863, Tawhiao was the King, and he called on that allegiance. And so, not all of those iwi came, many of the came. And so Rangiriri is significant to many iwi who actually have ancestors that have actually died there. So, Waikato, our role, we are merely the kaitiaki of that place, to ensure that significance of that particular site, the mauri of that particular site, is retained at the highest level. In 1963, the Crown wanted to build a road. Well they did, they just built their road. The consultation they undertook at that time was nothing more than, this is a piece of paper, it's called the Public Works Act. It says that we can actually do this. And so they used that piece of legislation to just ram through their infrastructure projects, and that's basically how New Zealand, is basically founded, if you like, on that piece of legislation alone, allowing them to do what they needed to do. Our iwi were very opposed to it at the time, signalling, bringing to the Crown's attention that this particular site here at Rangiriri, is a wāhi tapū, and that it shouldn't be messed with. They just said, well, we need to build this road for the public good, so, thank you very much for that - JK: Too bad Māoris MT: Yep, too bad Māoris, but we're going to carry on. Koiwi were discovered during the construction phase of that project. We're quite thankful that we had some very significant rangatira still alive at the time, and one of them in particular for Ngāti Maniapoto. His name is Pumi Taituha. And so he was responsible for overseeing the gathering up of those koiwi that were discovered, and returning them back to Taupiri Mountain, our sacred burial mountain, and reburying them there at the rightful place. Because after the Battle of Rangiriri, our people weren't afforded those protocols of having a tangi, they were just simply put over to where was going to be less in the way, if you like, of the colonial troops at that time. And so if they were over in the particular area in the pā site, then they just simply just buried them up and left them there. And then, 2008, the New Zealand Transport Agency, or Transit New Zealand they were called back then, wanted to improve the safety of the State Highway 1 road, and they had identified an alternative route. One of the first things that they said to themselves is that, we better look at how we do this, approach tangata whenua. And so this time, they never lodged a resource consent to build their road. What they decided to do this time around, was actually come and talk to the iwi first. And so, they actually spent near on nearly two years talking with us at Waikato-Tainui, before they even lodged a resource consent for their project. Which is pretty good. And I guess part of their reasoning for that is that they knew that we were going to be very resistant to their plans to build another road through a significant wāhi tapū site. The way and how we worked, we worked in partnership with the New Zealand Transport Agency on that particular project. I set up what's called a tangata whenua working group. And that tangata whenua working group was made up of representatives from the key marae from around that area. Namely, Mourea Marae, Horahora Marae, Waikare Marae, Taniwha Marae, Okaeria Marae. We had māngai from all of those marae, and they were responsible for conveying directly to the agency, their concerns and their views. Which is not typically how some of these things are done. But that's what our CEO at the time, his name was Hemi Rau, that's what he wanted to happen. Sometimes I think the Crown thinks that they should just talk only to the iwi consortium or the so-called iwi authority that's currently in place. That they actually hold the say, but in actual fact that's not the case. The case is that, down in Rangiriri for example, my marae and our other whānau marae, we have the last say, what happens there, and not the iwi

EPISODE SUMMARY: On this episode of Indigenous Urbanism we visit the Ranga-Bidois whānau of Waikato-Tainui, who have bought back their ancestral land in Ngāruawāhia and have worked together as a whānau to re-establish papakāinga. GUESTS: Trevor Ranga, Poppy Ranga FULL TRANSCRIPT: Jade Kake: Ngāruawāhia. Heart of the Waikato, and home of the Kīngitanga. Today, Waikato-Tainui is known as one of the most prosperous iwi in the country, but it hasn’t always been this way. The raupatu or confiscation of millions of acres of tribal territory during the land wars of the 1860s, saw the tribe become almost landless in their own rohe. Trevor Ranga: For us, being raupatu land, it’s about us gaining back what was lost, so the whenua, and everything that comes with the whenua, all the learnings, all the skills that were developing to help our family to become leaders in this field. Poppy Ranga: Papakāinga for me is about us looking after each other so that we can look after others, and also it's about tuku iho. So, this land found us as far as I'm concerned. So we're now looking after it so that it can find others too. And whether that means in the material world or whatever world, you know, doesn't mean to say that, but it's about us trying to look after ourselves so that we can look after, and to me papakāinga has been whānau ora. For us looking after ourselves, looking after our family. We definitely believe in that kaupapa, whānau ora. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode eleven. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, we visit the Ranga-Bidois whānau nō Tainui, who bought back their ancestral land in Ngāruawāhia and have worked together as a whānau to re-establish papakāinga. We spoke with mother and son whānau project team, Trevor and Poppy Ranga. TR: Yeah we were like a team, she took care of the social behaviours, and I took care of the technical aspects. Nazarene Mihaere nō Tūwharetoa raua ko Tainui is our special reporter for this story. TR: Kia ora. Ko Trevor tāku ingoa. Nō Kawhia Moana ahau. E noho ana ki Ngāruawāhia. So, in 2007 we had dreams to come together and work together as a whānau to stop the fragmentation that was happening in terms of our whānau structure, whānau ora. We were on our own individual ventures, trying to pretty much establish ourselves in the mainstream. And there were a couple of incidents or issues that arose when we went to go and purchase our own homes. And it just wasn't panning out for us. At the time there were so many barriers in the way, that we needed to look at how we were trying to achieve those home ownership goals. So we were gifted this whenua - well we say it's gifted, because we were up against so many other people, including the developers. But the ex-homeowner's really liked us and our vision, and what we wanted to bring here was all about families and communities. Yeah, so that was pretty much what dot us here. We ended up going through a pilgrimage, and looking at the possibilities on how we manage to obtain it, and when we did some background and some whakapapa mahi, we found out that our tūpuna had mana whenua over the land here. And how we found out is by that hill over there, there was a pā site up on the hill there, and it was called Puke Ahua, and so that's where one of our tūpuna had settled. And that’s where the name Ngāruawāhia came from, that hill. Nazarene Mihaere: You’ve mentioned that we’re standing on a papakāinga. Do you want to explain to those of us who don't know what a papakāinga is, what a papakāinga is? TR: Yeah, there's lots of understandings around papakāinga, but for us it's about whanaungatanga, it's about connecting as a whānau again, re-establishing some tikanga, some new ways of coping really, in the ever changing world that's happening. Things are moving so fast we tend to get caught up in the grind of everyday life. So with us being here together we can keep each other grounded, build relationships, and also have our own space, while we're here. And also for us, papakāinga is about papa, which is the foundation, and building that foundation and then the kāinga is like the kai, and how we eat it. This is my own interpretation. So it's about looking after our resources, and how does that look. Well, you've got to look at how you use it, how you grow it, nurture it, manaaki it. So yeah, that's what papakāinga is for us. NM: Now that we’re walking down the papakāinga, how did you guys get your street name, Ania Way? TR: Yeah, it wasn't actually a long journey to get there. It was a bit of common sense I suppose. Poppy Ranga: It was, because we originally were told, go and get the Māori name, the history and that and find a name for that. So, we were told to go to the King and ask for him to give a name. But the long journey to get to the King during his period of illness. So that's what I talk about, long. But then commonsense happened through all that, through all those learnings. And when I say common sense, I thought it was quite witty actually. TR: Yeah, so the name comes from pretty much, it was actually three influential women that helped to make this happen, this papakāinga. It was my wife, Pania Ranga, and my sister Tania Bidois, and our lawyer Mania Hope. So they had a bit of a similarity happening with their names, so we just dropped their front letters and made it Ania Way. So, yeah, that’s how we came up with the name Ania Way. Yeah so we were quite lucky in how we ended up with this right of way, we had a few engineering hiccups, it's around traffic movement and safety for the kids. So how we got around it is by creating driveways or areas on the - as you can see, you can manoeuvre on there so you can reverse, not reversing out onto the right of way. As you know, a lot of kids get run over by reversing vehicles, so we did turning bays on our section, same over here. PR: We try not to park on our street if we can, so that it's safe. Who lives where NM: As we walk, did you want to give us a description on who lives in what property, and what's it like living with your whānau on a papakāinga, and whether or not you guys have those pot luck dinners, and that kind of thing. Do you guys have specific whānau events? Just that kind of stuff. TR: Yeah so in the cottage here we've got mum's sister, my aunty. She's what, you're third youngest sister? PR: She's number four in the family of 12. She's got a granddaughter there with her, living with her. It's a two bedroom cottage. Originally that's where I was, but it's more fitting that they stay there. She was living down there. So really awesome, one of the concepts of our papakāinga is, like we say, look after our own. And so my children and their partners have decided that there's a space for my sister and her moko, and that's what we're about. I think she's been in the most wonderful place for a long, long time. NM: So we know that to our right there's a hundred year old villa. Was that dwelling that your aunty lives in built around the same time? TR: No, that was built in the 1990s as an auxiliary flat to the main. NM: Oh, as the auxiliary. TR: So this used to be a driveway where we're walking down to, used to turn into the shed here. But we just carried it on. Just cause it was down the middle of our - PR: Used to be stables here before. TR: Yeah, used to be a horse track, race track, around here. PR: So this is an auxiliary to that there, so that's 20 and that 20a. And that's 20b. NM: So 20b is when you started the new development for the dwellings. TR: Yeah, that's right. Yeah so these two homes are now one title, the cottage and 20b. So we took that off this site and put it on that site. PR: It's just the way you could get that whare there. One of the Council things. TR: Yeah so the ruling is around how many dwellings you can have on one title. We managed to keep that on the title. Just because of the size of the lot that we're able to achieve that. NM: What was the size? TR: So nothing less than 900 square metres, you can have two dwellings of those sizes. Yeah, so it was about maximising the land, but not being detrimental to how we live. We need our space and to grow. Yeah, so to the right is the original home here, the homestead. We've got a whānau here, that whakapapa back to Kawhia. And then my mum stays in number 2 Ania Way. That's a four bedroom home. And then my sister over here in 20b, with her husband and her daughter. NM: Is that a four bedroom as well? TR: Yeah, that's a four bedroom. PR: The intention is to have more children. TR: Yeah, so we've designed the homes on how we would want them. Not to how our funders would want them. Yeah, so this is number 1 Ania Way, this is my whare, me and my wife and my four kids. That’s a five bedroom. NM: Okay, and whose lovely house are we standing in front of now? TR: So this is number 6 Ania Way. This is my mother-in-law, my sister-in-law, my nephew, and another nephew and another niece. So we've left a spot there for a building that we're not quite sure what's going, a multifunctional building where the caravan is, we've left a space there. It might be a learning centre, might be a crossfit box gym, or whatever. PR: Hauora, yeah. NM: What was the typical process that you and your whānau went through when actually securing the land and then building? TR: We did a lot of Rangahau, looking at Council records, doing all the LIM reports, zoning rules and all those things, to build up a bit of a papakāinga plan really. But at the time, we didn't know that that's what you needed to do, for say, step one of a papakāinga. PR: We had no idea. Yeah so it came down to, we had a plan. And whānau ora, and what

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak with Haley Hooper nō Ngāti Hau, an urban designer living in Tāmaki Makaurau, who explains just what an urban designer is, and how we navigate our role as mataawaka practitioners. GUESTS: Haley Hooper FULL TRANSCRIPT: Jade Kake: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 10. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, we speak with Haley Hooper nō Ngāti Hau, an urban designer living in Tāmaki Makaurau, who explains just what an urban designer is, and how we navigate our role as mataawaka practitioners. Kia ora Haley. Thanks for meeting me, and thanks for being on the podcast. The first thing I'd like to ask is, ko wai koe? Nō hea koe? Who are you and where are you from? Haley Hooper: Kia ora Jade, thank you for having me today. It's a pleasure to be here and to be able to speak with you. Ko Huruiki to maunga, ko Whakapara te awa, Ngāpuhi te iwi, ko Ngāti Hau to hapū, ko Whakapara te marae, ko Ray raua ko Sheree ōku mātua, ko Haley tōku ingoa. Nō Whangārei ahau, engari nō Tāmaki Makaurau ahau ināianei. My name is Haley Hooper from up north, I'm from Whangārei originally. My mum's from Whangārei, and my dad's from Kaitaia. I moved to Auckland when I was 14 and lived in Takapuna and then followed on, went to university in Auckland, and here I still am in Tāmaki today. JK: We've met here at the top of Maungawhau Mt Eden in Tāmaki. I just wanted to ask you, why did you chose this place? HH: So I guess for me, when you asked me to be interviewed I was trying to think of where we would be a place that does the kōrero justice, and a place where I really like to be. I think I always enjoy to be in outdoor environments, and being on the top of a maunga looking out across Tāmaki seemed like a pretty inspirational place and I was hoping that my thoughts might flow a little bit better up here. JK: Kia ora to that. Now Haley you're an urban designer, but you're trained in and have started out your career in architecture. Which makes sense, because traditionally architects, as well as planners and landscape architects, took on that role of urban design, before it emerged as a distinct discipline. So, for those who don't know what urban design is, and what an urban designer does, could you explain that and how that has become its own thing? HH: So I guess urban design is a fairly recent profession to have emerged. I would say kind of from around the 1950s, but much more predominantly in the last 20 to 30 years. Jane Jacobs was probably one of the founders of the profession in a sense I think. And yeah, it is a shift from architecture, landscape and planning. So, urban design is kind of like the crossroads of those three things coming together. People often speak about it being the design of the spaces in between, so the space in between buildings, or the stuff that knits cities together. So if you think about traditional European cities, it's much more evident what the urban design part is, because the space is so much stronger, the spatial dominance of what's actually in between the building. And you really feel and recognise what those spaces are, and the space as a thing and the buildings are a frame. Whereas I think sometimes in New Zealand you often find that the buildings are the object, and the space in between is secondary, and it's something you can't even almost read. So it lacks a form, and it kind of leaks everywhere. So, going back to the original question, urban design I think is most commonly known as the design of cities, and it's integration of the public realm, infrastructure, social and transport and servicing infrastructures. The negotiation of politics and planning - as joyous as that sometimes is or isn't - and development controls, and it's generally looking at design from that broader scale. Involving a number of buildings or spaces as opposed to one thing, but the collection of parts. And it can also be things like looking at economics, feasibility and evaluations, identifying opportunities for growth in the city or growth management, and looking at targeted areas where future urban development might happen. Plus it's definitely about culture, and it's absolutely about heritage, resilience, and things like accessibility as well. So I think it's a very difficult profession to define succinctly. JK: Because it sounds like it's everything HH: It's a little bit of everything, yeah, and that's probably why I like it. JK: And so what did lead you to move on from purely architectural work, to more urban design mahi? HH: So I think originally when I was studying at university I was always interested in things from an urban scale, and I kind of followed lecturers like John Hewitt, who were urban designers, just naturally, because I think of the social motivation, and the fact that you are doing things that change the common good or interested in the broader picture or the vision, strategy, for the design, as opposed to the architectural side, which can sometimes be about the object - it not always is, but. So, I guess, started at university, and then I went off and worked in a number of different areas of architecture, which was interesting from a design point of view, but I kept struggling with the fact that I wasn't able to contribute to things that are concerning, for me, really concerning the city, and community, and the bigger, broader scale ideas. JK: So architecture felt quite limited and it perhaps didn't go far enough to achieve some of these broader social aims that we might hope that our work might encompass? HH: Yes, and I think the thing is, architecture, all of the disciplines, has it's place, but I was just interested in the bigger ideas part of design, and that seemed to be urban design. So a job came up at Jasmax and I was like, oh cool, I'll give that a shot. And that's where it kind of started from there under Al Ray. JK: How have you found it as you've continued on that journey? Obviously you had an interest, and you thought urban design might be the way to achieve some of these things, that'll give that a crack. How do you feel now, a few years later? HH: Big question. JK: Loaded question. HH: I think, my first thing I would say, I still feel really good about the decision that I made to take that path for me, because I think it has enabled me to be involved in projects at a broader scale, and across architecture, landscape, planning, economics and those types of things that I'm interested in. I think I probably didn't really understand what urban design was, and what the environment, the development environment is like in Auckland all the time. I think that sometimes has been probably challenging or revealing, like any growth and education is. But I still see it as a very aspirational discipline, and I think the relationship of urban design to architecture is something that is a continuum and I still see those things not as one or the other, even though I've selected to be in - JK: This part of the continuum, it's not one or the other, it's yeah, like you said a continuum, and you're just kind of sitting here, rather than maybe over here where you would have been before. HH: Yes, yeah. And I think that shifts too, you know, like you start in architecture, and I've moved into urban design, and who knows where I'll end up. JK: I asked Haley about the role and relevance of The Treaty of Waitangi within the built environment professions. HH: So yeah I think there's a really strong place in design now for recognising the tino rangatiratanga of place, or of tangata whenua. And, I think to me it means that the environment is then considered from a holistic point of view, and it's considered as a taonga, and as soon as you make that transition in your thinking of the environment as a taonga you take a duty of care around it that's much different to looking at it as a product or an object for development sole purposes. And that is a fundamental thing that I think the Treaty offers New Zealand and that partnership offers New Zealand going forward. And when you look at resource management, urban design, architecture and development, if we have that kind of embrace from Māori, and Pākehā who come on board with it, it's a really beautiful thing. Because, it means that you take on the idea of being kaitiaki. You take on the idea and the responsibility of being kaitiaki, and you're stopping to take the time to understand the land, and the importance of the land, and everything that that offers, first. Before you start to look at how you may intervene into that space. And that's, like, phenomenally important. The Treaty offers New Zealand or Aotearoa an opportunity to acknowledge and uphold a relationship between two people, but it also has an opportunity for us as designers to really create an incredible country - which we already have - but in an urban way. JK: I really like that whakaaro, I'm glad you took it there. HH: Part of the thing that I find really interesting is the conversation or the kōrero around New Zealand being a bicultural place, but co-governance and co-management. And how those types of ideologies are evolving. I know that they're still developing and there's a lot of teething problems in those areas, but I am really inspired by the fact that we are going down that path, that we have started on that path. We started on it a long, long time ago, but that we in this modern contemporary context are discussing things like co-governance and co-management, because we should be one hundred percent doing that. JK: And the amount of, I guess, activities and relationships that are Treaty-based that, in the not so distant past would have been dismissed

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we visit the site of the upcoming Paoa Whanake development in Point England, which will see 300 homes and a new marae built on Treaty settlement land. GUESTS: Hauāuru Rawiri FULL TRANSCRIPT: Jade Kake: With mana whenua groups throughout Tāmaki achieving or approaching settlement, there are significant emerging opportunities for iwi to play a leading role in urban development projects within their rohe, and to develop their land returned or purchased through settlement for housing. Hauāuru Rawiri: During our Treaty negotiations, the opportunity presented itself to look at a 2 hectare marae site, which we called Te Whanake or Paoa Whanake, and we seized that opportunity. Part and parcel of that was around social housing, and that commercial opportunity came about as well. So, one of the main things for us is about coming home. What we wanted to do as negotiators for our people, is to repatriate our people back in this particular area, where we once were. And we're mindful about other tribes that were here with us. The Treaty settlements provided us with the opportunity for that to happen. Cultural repatriation, an opportunity to look at housing in the commercial sense, social housing as well. So, yeah. We're mindful about the differences of thinking from the community, but you know, we've had 100% support by - I say our whanaunga - which is the other iwi mana whenua tribes. Of us doing what we're doing. Of course, with the unknown, if we don't understand the context, and the history, and the whys - in terms of why we're doing this - you only know what you know. For Ngāti Paoa, and for the leadership of Ngāti Paoa, it was just to continue to move forward, based on our principles of tika, doing things correct, doing things right; pono, just be honest to ourselves, and honest to others as well; but the important thing is the aroha. Aroha can take many forms, but for Ngāti Paoa it's about compassion. Ans actually valuing people for who they are, and the thoughts that they have. But, you know, it's just putting some light in terms of the why and how we're going to go about doing that. And that's, if you think about a tikanga process, or tikanga, it's the how we go about doing that. What is the point of difference that we bring? The point of difference that we bring is that it's not about creating housing alone, it's about creating a community. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 9. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we speak with Hau Rawiri, Chair of Ngāti Paoa, about the upcoming Paoa Whanake development in Point England, which will see 300 homes and a new marae built on Treaty settlement land. HR: Kia ora Jade, kia ora koutou. Whakarongo mai nā. Ka tīmata whēnei ana, Ko Tainui te waka, ko Kohukohunui te maunga, te Wharekawa te marae, Ko Ngāti Paoa me Ngāti Whanaunga ōku iwi, Ko Hauāuru tōku ingoa. Yeah, my name's Hau, Hauāuru Rawiri, and I'm the Kaihautū for the Ngāti Paoa iwi trust and I just lead our people, in the path through Treaty settlements as a negotiator. I was fortunate to be in the right place at the right time, at one of our hui-a-iwi, and really humbled to and privileged to help our people of Ngāti Paoa in this way. JK: I've asked you to meet me here at Te Whanake, and the reason I was interested in coming here is because we heard a lot in the media around the Point England development Enabling Bill, and the proposal here, and there was a lot of, I think misinformation about what exactly the intention was, and what the plans were moving forward. And I guess I just wanted to give you the opportunity to tell the story from your perspective, of, firstly the importance of this area, historically, but also the importance of the plans moving forward. HR: And again Jade, and to your organisation, thank you for the opportunity, to allow me to speak my thoughts and voice our intentions. I mean, it's all about connecting. I talked about our waka being Tainui, and we think of the Tāmaki river or Te Wai-o-Taiki, the Tāmaki river, and the cross of the Tainui waka that we connect to, into the Manukau Harbour. Well this is where it happened. And I'm mindful, in the early 1800s, is where our people lived along, in this particular area. Especially around Mokoia Pā, was an important pā site for Ngāti Paoa Mauinaina. And, you know, the many people, Pākehā alike, that came to this particular area. And we're mindful about other tribes that were here with us. The thing is, is that they were with Ngāti Paoa. And that's not being disrespectful, because as whanaunga with our tribes of Hauraki, with our tribes of Tāmaki, we lived together. But for us is that this is a stronghold along this particular river we know as Wai Mokoia, was very, very important place for us. JK: I'm wondering, if you could maybe describe a bit of where we are, and what is planned for the area that we're walking through and looking at right now. HR: So, where we are now is that we're at the sports fields, and it's Auckland Council owned and managed. And right next to this particular sports field, is the reserve, owned by the Crown, by DOC, and managed by Auckland Council. On that particular piece of land that's owned by the Crown, by DOC. JK: So is that the area across the fence? HR: It's the area across the fence. The highest point on there is where we've allocated, in discussion with the Office of Treaty Settlements, is the area for the marae. Which is the highest point over there. We're still in discussions in terms of the particular area for the housing development, and with the change of government those discussions are continuing. We're mindful that, in terms of what we've locked in, and what we've locked in terms of the initialing of our deed of settlement, is 2 hectares for the marae, and 11.69 hectares for housing, mixed housing. So that's been locked in in terms of our deed of settlement. JK: So how many homes would be on that 11 point something hectares? HR: We talk around 300, but really it comes down to the quality of the homes, it comes down to affordability, and that actual mix. JK: What I wanted to ask you about, is this plan for marae. Where is the nearest Ngāti Paoa marae to this location? HR: Okay, we're mindful that we have a connect to Ruapotaka Marae, and has been acknowledged as Ngāti Paoa being iwi mana whenua, or one of the iwi mana whenua for the marae. But in terms of having a Ngāti Paoa marae, the closest marae that we do have is back in Wharekawa, Kaiaua. We're mindful that in terms of the decision that was made, in terms of a marae site here, actually aligns to back in the early 1800s, around Mokoia Pā, was a stronghold, was a site, was a marae, was a pā site, for Ngāti Paoa. An important pā site in this particular area. JK: Could you describe where Mokoia Pā is in relation to this site? HR: So Mokoia Pā is on the northern side of the Panmure bridge JK: So, is that kind of directly across the water there? HR: Directly across the water there. And it's probably one of the most important pā sites, and recognised archaeological areas in the whole of Auckland. And I don't say that flippantly, but you know, archaeologists and others and the history around it, and what they're doing there at the moment, has uncovered some unbelievable finds. That's where it was. I remember in the stories that were handed down by our tūpuna, by our ancestors, in 1821 when Ngāpuhi came through this particular area, and pretty much the battles that happened, there was a lot of, there were a lot of deaths that happened in this particular area. It's all in the history there. For us is the opportunity to repatriate this area, and honour those ancestors that actually died here and lived here in the past. In terms of the particular marae site, the 2 hectares here at Paoa Whanake, it's around being inclusive with the community, and working with the community. And the fundamental difference is that it is a Ngāti Paoa marae. For us as Ngāti Paoa, it's being inclusive, and using the general gist of the marae, it's the people of that particular area. But also for us is that, we understand the diversity that we have in this particular part of Auckland. And when we think about, there's over 170 ethnicities, nobody's not going anywhere, it's probably going to increase more. So how do we work together, as a community, and really enable and empower the community, and bring the community into our world. It's not about pitting ourselves against each other, it's about working together. And you know, I use this kōrero, Ngāti Paoa would provide the foundation to allow all Nations to grow. It's about the and not the or. Really sincere about that. When I talk about foundation, the marae is that. We talk about, as mana whenua, as Ngāti Paoa, it's about your whenua, and creating that foundation. In terms of our values of manaaki, of kaitiakitanga, not only of the whenua, of the environment, of the sea, but of people. How do we practice and exercise that, and that's key. I mean I come back to the marae, in terms of the thinking around the marae, although it's in its early phases, if we plant the whakaaro, the thought, and the wairua into the intent and what we want to do, then everything else will just manifest. Because it's about creating the foundations for all nations to grow. JK: And having the marae, and the homes, and having the living presence in that area, I suppose it fulfils two really important functions for Ngāti Paoa, in that in having that living presence, you're able to better fulfil your role as kaitiaki, and better manaaki all who live in this area, and everybody who comes here. HR: Whe

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we visit the Vinegar Lane precinct in inner-city Ponsonby, and learn about how a bi-cultural design ethos has been successfully applied to multi-residential housing within a mixed-use development. GUESTS: Nicholas Dalton FULL TRANSCRIPT: Jade Kake: Medium-density housing, transit-oriented development, mixed use. The principles of new urbanism have reached Tāmaki Makaurau. These core tenets of urban design have become accepted as international best practice for creating better communities, and more liveable urban spaces. So how exactly does a te ao Māori perspective factor in? Nick Dalton: Yeah so we're here at Vinegar Lane, some four years after we started the process. So, 31 different lots formed on the site around Vinegar Lane. Now Vinegar Lane is named after the DYC Vinegar Factory that was on this site. JK: Did it fill the whole site? ND: Yes. So it was here from late 1800s to 1950s I think, 1960s. And interestingly, we found out quite a bit later that the factory itself was made of totara. JK: It's a beautiful facade. Tell me about this shape here? ND: So, there's a number of references and from the black concrete, obviously, just relating the black volcanic soils, or cones of Tāmaki Makaurau, and also the timber referencing, initially being totara, but even as another species it still speaks to the New Zealand vernacular of a vertical house. JK: And it's a nod to the heritage of this space. ND: Yeah. The clients actually came to us and they had a very modest budget at the start, and we designed something that was quite striking but modest, and they sort of said, no, we want this to be a statement. So show us what that looks like. JK: Show us what you can do. ND: Yeah. So we ended up doing this giant X basically, which is a really cool sort of device, cause those are bedrooms behind there, and they've got louvred screens for privacy to the street. So it's still got a practical purpose. We like everything at Toa to have not just an aesthetic kind of idea, it's usually some kind of concept or idea behind that, and then a practical reason as well. So if we're standing virtually near the top of Vinegar Lane itself, and looking basically due North, we've got three sites, and two of them are visible right now. So straight ahead is Aria Apartments, Vinegar Lane. Really, really dense for the site. So only 376 square metre footprint, and we managed to get 20 apartments on there. Quite an affordable design. That's actually quite a lot of young people are actually occupying that building, which is what we really want, what we wanted. That was our vision to kind of mix up this whole sort of precinct. I mean interestingly there's a design panel, and we got quite a bit of resistance with having so many apartments, and it was like, what minimum standards are you using. And I said, well have you been Copenhagen, have you been to Tokyo, have you, you know, the rest of the world has 30 square metre apartments and they function quite well. And so we didn't want this to be 120 square metre foot plate at 1.5 million dollars. That's not affordable. A number of the apartments in Lot 7 were under, were just over $400,000. That's pretty amazing value for Ponsonby. We were really proud of, you know we hung onto our guns there, they were quite bolshy in terms of, these should be bigger and we basically said, no. JK: How did you get that across the line? ND: I think that they listened to the rationale. It's just like, we want this to be a vibrant mix. The whole idea is the ground level, all of these sites have an option to make them either residential or some kind of commercial use. The key sites like the corner ones have a list of functions that they were allowed, for example a cafe or an art gallery. So it was very much about creating this urban kind of village. And so we were like, if you want that to happen we've got to have people that live here. JK: Now is this site, is this all one developer or a variety of developers working together? ND: So interestingly Vinegar Lane, the whole precinct, was in environment court for about two decades because the initial developer that bought it from DYC Company had really awful visions of a big faux villa. Three levels, monolithic, colonial, filigrees and polystyrene windows surrounds. So, Ponsonby got very, very angry and like all good community groups, fought it off. Then, so, actually Progressive came around in 2007 and bought the site and said, well how about we want to do a commercial development on the front, but let's do something different on the back. So, it was a combination of Isthmus Group, an evolution of Rhubarb Lane, which sort of happened about ten years prior to that, and that had a lot of the top architects like Pip Cheshire and Pete Bossley and stuff involved, but it fell over because it was leasehold land. This is freehold, so it's really, really great. So, thirty-one different sites, and up to 16m vertical, so, quite a neat idea actually. JK: I mean, so this really exemplifies the principles of mixed use development, which is where urban design internationally is going and where it's going in this City. For those who don't know, could you explain what mixed-use development is. ND: Yeah, so, mixed-use is something that we - Toa as a practice - really embrace. It's the idea of Māori design principles of old, of a vertical papakāinga. You know, papakāinga where we worked on site, we lived, we ate, we played, we educated, we trained for war. Everything was done within the pā. And so, the idea of taking that vertically is really quite exciting for us. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 8. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, we visit the Vinegar Lane precinct in inner-city Ponsonby, and learn about how a bi-cultural design ethos has been successfully applied to multi-residential housing within a mixed-use development. We spoke with Nick Dalton, nō Ngāti Pikiao raua ko Ngāti Whakaue, Founding Director of TOA Architects, a firm based in Tāmaki Makaurau. TOA are the architects for three of the buildings within the Vinegar Lane precinct - Lot 4, Aria Apartments, and Rua Tekau. ND: Ko Ngongotahā te maunga, Ko Rotorua-nui-a-Kahumatamomoe te roto, Ko Te Arawa te waka, Ko Ngāti Whakaue te hapū, Ko Nicholas Dalton taku ingoa. JK: So you've talked a little bit about this project here, what's the name of that one? ND: So, it's just Lot 4. Lot 4 Vinegar Lane. JK: Lot 4. Okay, we've talked about Lot Four a little bit. Do you want a bit about Aria? So you talked about smaller apartment size, and affordability, and kind of creating these vibrant communities. Could you tell me about the inspiration behind the facade design. Because that's quite striking. ND: Yeah, totally. Let's, shall we? JK: Yes, let's walk and talk. ND: Move a little bit closer. It being a key corner site, and I guess it was a bit of give and take with the design panel, and the fact that they wanted something great there, you know. And it was interesting that again there was resistance, they had sort of ideas of vertical connection being to the front corner, and we're just like, why would you do that? We find that really, really quite strange. So, we wanted a facade which kind of activated, but also spoke to the idea of looking, certainly at a Māori reference. So, geometric tāniko or pātiki, the school of flounder. One of the jurors from the NZIA sort of said, well, what relevance does it have. And I said, well, the whole idea of the pātiki, the school of flounder, it's about whānau but it's also about prosperity. So, being together. And so that idea that, even though it's an apartment, there's actually many kind of families, it's a community in itself. And so that idea of expressing that on the facade is not only acknowledgement of this really, kind of age old Māori archetype or philosophy, or kaupapa sorry, in a modern context. So, yeah, really, really wrapped with how it's turned out. JK: Well, it looks really beautiful. Are there communal spaces within the building. ND: We initially when were going through the feasibility at the start we did have a roof terrace. We found that it did actually add quite a lot of cost, which meant those affordable units would actually no longer be affordable. And plus, I think in the context we've got to remember in the context of Vinegar Lane, there's actually a central courtyard there which is landscaped, and some of the spaces on ground level are protected in terms of they have to be a communal use. JK: So the whole ground plane is kind of your communal space? ND: Yeah. So I think that we found solace in that. JK: And you can do that because it's a precinct, rather than just a building in isolation. ND: Yes, that's right. Yeah, if there wasn't anything around, we'd probably be pushing harder for that idea of having that space for gathering. JK: Well, context is everything ND: Kia ora. JK: Do you have any ideas what this tenancy underneath might end up being? ND: Well, we initially designed it as a cafe. So, if you see from the original renders we had seats and tables on the ground floor, out on the street here. Unfortunately, because I think one of the failings of the setup of the precinct is there's no time restriction on when these guys have to have things built. So as you can see, this side of the street is completely intact, which is great, but actually a lot of the site is still a construction site. So, I think that we're going to find that a lot of the spaces are going to be empty, or not as they will end up in the next few years. JK: And it's tricky as the architect as you don't have a lot of control, or any over that. ND: No. JK: H

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we speak with Elisapeta Heta nō Ngāti Wai, an architectural graduate working at Jasmax. Elisapeta is also an artist and academic, and has held various significant advocacy roles. GUESTS: Elisapeta Heta FULL TRANSCRIPT: Jade Kake: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 7. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism, we speak with Elisapeta Heta nō Ngāti Wai, an architectural graduate working at Jasmax. Elisapeta is also an artist and academic, and has held significant advocacy roles, including her previous role as Co-Chair of Architecture Women, and current role as the Ngā Aho representative to the New Zealand Institute of Architects Board. We caught up with Elisapeta at the Jasmax offices in Parnell. JK: Ko wai koe? Nō hea koe? Where are you from, and who are you? Elisapeta Heta: I am from many places actually. On my father's side I'm from up north, and a little bit south of here, so nō Ngāti Wai ahau, me Waikato-Tainui, and on my mother's side I am Samoan, Tokelauan, and English. So she's first generation New Zealander, whatever that means. Her mother was born in Apia, and her father was born in Portsmouth in England. So, from everywhere. Ko Elisapeta Hinemoa Heta ahau. I'm an architectural graduate at Jasmax, but I'm also part of a roopu here called Waka Maia. We are three architectural graduates, who run a lot of the - for want of better words - Māori navigation type stuff for projects. So we have boldly given ourselves the title of Kaihautū Whaihanga, so Māori design leaders within the practice. JK: And so you find yourself in a really large firm, being one of a few Māori practitioners. So could you talk a little bit, just about that experience. EH: Yeah, for me, for starters, it's quite funny as a graduate I think you sort of assuming you are going out into the world begging somebody to take you on as some kind of strange liability to them, or something. But I was very deliberate about choosing to want to come and work with Jasmax. And that was partly because Jasmax had a known reputation for working on community projects that involved Māori that I was really intrigued by. A lot of that was led and run by Ivan Mercep, who's since passed away. But he had quite the legacy, effectively, with Māori communities, with Māori projects. Even though he wasn't Māori himself, and had mentored Brendan Himona and sort of a little bit at the end there as well, Rameka Tu'inukuafe, who are both my colleagues in Waka Maia. Jasmax I think, sort of had a cultural capacity, shall we say. It had an understanding. It had a bit of - when I sort of found out the history of why Jasmad began, little bit of a radical sort of beginnings, and wanting to make the city a better place. And I suppose that's considered radical sometimes. JK: Shockingly EH: Shockingly, yeah. Protesting against motorways being built in ridiculous places, and all sorts of things like that. So, I think Jasmax just had, there was an inbuilt sort of sense for me, from the outside looking in, that it was something I could get in on. It's hard, I think, to build cultural capacity from scratch. Knowing that there were Māori colleagues already here that were trying to make things happen, that was sort of a nice transition, I suppose. It had some momentum, it had some legs. I came on at a time that Haley Hooper, another Māori wahine, had also joined Jasmax only six months prior to me starting here, so there ended up being four of us, which was a little bit of a bubble. And we, I think in sort of a momentum, kind of riding the wave of a whole lot of things happening outside of the office. So, the first time Māori had ever met officially with the NZIA had happened at the same time, and there were talks about the kawenata which eventually comes into being later on, I suppose, in the chronology of my life. So, being here, or coming here to Jasmax was kind of wanting to push myself where I thought was really important, with the kind of powerhouse that this already had, I suppose. Nothing's perfect, everybody, every group, every collective, every office, has things they can do better. I think that's what's been pretty amazing, personally from my point of view, is the willingness of this office to actually let us roam a little bit far, and then come back, and sort of genuinely start to initiate and embed a lot of the things that we thought were important from a te ao Māori point of view into business as usual at this practice. Which is pretty amazing, steering a ship of - you know last year it was over 300 people. So, you'd think change like that would take a long time, but it's been surprisingly flexible and adaptable. JK: I liked what you said a bit earlier when you mentioned Ivan and the kind of relationships that he had with Māori communities, and they were very deep enduring relationships. And what I was really encouraged by is when you also talked about how he was bringing young Māori practitioners through in this process. Cause that's something I see a lot is that sometimes quite experienced Pākehā architects feel that they should occupy that space as a matter of right. And I kind of want to, I often want to challenge them on that, saying well, you don't occupy that space as a matter of right, and what are you doing to bring Māori practitioners into this space. EH: Yeah well that's, we're seeing now, that now really bubble up as a conversation around cultural appropriation, right? Is the question of, what right do Pākehā have to occupy our spaces, our knowledge, our things that represent us. And for me, I always start with questions. What is it that they are giving back? How is it that they are supporting Māori, Māori communities? The knowledge where that has come from. What permissions have they sought out? Where does the mana lie? And I don't like to talk about mana often, because I find it's used as a means of currency, where it should not. But, I do genuinely mean, where - who is being uplifted, truly? Who is being empowered by what you are doing? That question actually applies to anybody. Pākehā, Māori, tauiwi alike. I think there's a lot to be said for Pākehā who have occupied and do occupy those spaces, and do it in such a way that they are breaking down barriers, and enabling those other people to step into those spaces. And I think of a lot of people off the top of my head who have been huge, hugely instrumental for me, I suppose, breaking through a barrier, demonstrating that it was possible, and then kind of pushing me through it. So I guess what I mean by that is, somebody like Ivan would be a really great example. You know, the kind of semi-invisible Maurits Kelderman at designTRIBE is another really good example of that. And he will never, he will never talk about himself in such a way that he is occupying that knowledge for himself. He is very much present for the kaupapa, and he will give you whatever knowledge he has. And, I have always found that very humbling, and quite inspiring. And I'm actually getting teary about it. And if he ever listens to this he'll laugh at me. But that's okay, and it's people like that who are really, really important. I saw a huge discussion about cultural appropriation breakdown on facebook. It was fascinating actually. On Tracey Tawhiao's facebook page. Yeah, but it was something like 600 comments deep. And there was this one comment from Aroha Gossage about her dad's mahi, Peter Gossage. All of the beautiful drawings that he did that brought us as children, like the whole country, you know the Maui stories, and he was a Pākehā man. And, I thought about that actually, her sort of challenge to that space of cultural appropriation. And she said, my dad has spoken, he did this, and everybody was kind of jumping in and going, oh my god yeah that wasn't cultural appropriation, and you know, we're really appreciative. And we are really appreciative, and I think in those times as well, that was Pākehā stepping into spaces that the mainstream probably weren't super stoked about. But it's breaking down barriers and enabling other things to happen. Whether or not that was exactly what they were thinking about at the time, I don't know, I can't speak to that. But, you know, I guess all I'm saying is, for me it's those critical questions around where the kaupapa sits, what your true intentions are - the road to hell is paved with good intentions - what those good intentions actually form, in terms of intangible outcomes and actions, and then just constantly being rigorous and critical about how you check yourself in that. That would be what I would ask of anybody operating in that space, but definitely of I think our Pākehā practitioners who sometimes mean well but maybe don't hit the mark, I suppose. And I still don't think about that in a, kind of like, I'm not giving anybody a lecture, or telling anyone off about it. I just think we all have the opportunity to grow. So I would hope this is people's opportunity to grow. JK: Yeah and I think what you've described is actually just, like, the conditions for a really solid Treaty-based relationship. EH: Exactly! JK: Based on respect. EH: Please! EH: I really - gosh, if I had one sort of wish, it would be that people stopped seeing the Treaty as a negative, as associated with negative connotations. And I feel like what I mean by that, is that it was, it should have been and it was - to my mind - predicated on the idea that we had two peoples coming together. And working together. And negotiating what that meant. That's why it was so amazing, that we as an indigenous people would have an actual Treaty that would be honoured. JK: Yeah, a

EPISODE SUMMARY: In part two of our story on Tāmaki Makaurau cultural landscapes, we look at how mana whenua are working with Māori designers to re-shape the City to better reflect their unique identity and culture, and to create a distinctive sense of place that benefits us all. GUESTS: Lucy Tukua, Bernadette Aperahama FULL TRANSCRIPT: Jade Kake: The rural to urban migration that began after World War 2 saw a generation of Māori flock to the cities. But mana whenua in Tāmaki Makaurau never moved to the City - the metropolis that is Auckland has grown up around them, historically without their participation and often resulting in the destruction of settlements and important sites. In recent years, mana whenua participation in development has increased exponentially. Tools like Te Aranga have supported mana whenua to work collaboratively as part of project teams to creatively reinterpret their own narratives and histories, and to apply these to the construction of new buildings and landscapes. Lucy Tukua: Tēnā tatou katoa, i tū ana, maua i runga i te maunga a Maungarei, te tihi maunga o Tāmaki Makaurau. E whariki nei, ngā maunga e maha, ngā maunga i rongonui o Tāmaki, i te taha nei, ko te Wai-o-Taiki, e rere atu ra ki te Waitematā. Āe, me mihi hoki ki ngā tangata ngā tūpuna, ngā wāhi tapu, kei waenganui. He uri o hau o Ngāti Paoa, Ngāti Whanaunga. I noho ana au e Papakura. Ko Lucy Tukua ahau. JK: So we're standing here on top of Maungarei, looking out over the harbour and over the city, and it's a really beautiful clear, sunny day. So we've been very blessed with the weather. Could you tell me a bit about this place where we're standing, and what it means to you, and to your iwi of Ngāti Paoa? LT: So Ngāti Paoa were at one point in time the dominant mana whenua iwi here in this particular area. The Pā site that they occupied is known as Mokoia Pā, which sits at the headland at the mouth of Te Kai a Hiku, the Panmure Lagoon. There were a number of Ngāti Paoa that resided here along the foreshore of the Wai-o-Taiki, and it was very well known for it's māra, for it's gardens. And Ngāti Paoa - in terms of their kaitiaki - was the taniwha Moko-ika-hiku-waru. So hence where Panmure Lagoon gets its name from - Te Kai a Hiku, shorted to Hiku, Moko-ika-hiku-waru. And, it's said that this kaitiaki used to corral fish into the Panmure Lagoon, and that's why it's called Te Kai a Hiku, the food bowl of Hiku. As we know, the Tāmaki River, Te Wai o Taiki, was one of the important highways, State Highway 1 for our waka, back in the day, and also with the Tainui waka coming through this area, accessing the Manukau Harbour over the Otahuhu portage. It was a place where many lived, and interacted with other tribes. But also acknowledging that, Ngāti Paoa weren't the only occupiers of this area, and just acknowledge the other mana whenua in this area as well. I think in this day in age, a lot of people are really interested about the purakau and the cultural narratives of Māori, of mana whenua, and in particular, like the names of places and mountains and rivers. The harbour. You know, the beautiful story about Te Kai a Hiku. That was his food bowl. Maungarei, about the sisters Reitū and Reipae. Like most good narratives, everybody's got their own story, but the story that I know is, so Reitū and Reipae, beautiful Waikato wāhine that were keen on a chief from up in the north. And so, they were on a mission to partner with this chief, and they summoned their kaitiaki, which was a manu. So this particular maunga is named after that event of them journeying up into the north, and coming here to Maungarei. So if we take that particular narrative, and the work that was done on the Auckland Transport project, the Panmure Station roofline represents the manu or the kaitiaki of those two wāhine. JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 6. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. In part two of our story on Tāmaki Makaurau cultural landscapes, we look at how mana whenua are shaping the city to better reflect the culture and history of place, and to promote a more responsible and regenerative ongoing relationship with our environment. We spoke with Lucy Tukua, nō Ngāti Paoa raua ko Ngāti Whanaunga. Lucy has been a driving force behind the application of the principles from a mana whenua perspective. We met with Lucy at Panmure Station, which is in shadow of Maungarei and is part of the first stage of the Auckland Manukau Eastern Transport Initiative. LT: In my capacity as the Environment Manager for Ngāti Paoa I was involved in the Panmure Station quite closely, and the mana whenua that were involved on the project basically supported Ngāti Paoa being the lead on this particular project. And because of our close association to this area, and the pā site being a Km up the road, down to the mouth of the lagoon, we were able to work closely alongside Auckland Transport. JK: Now we're standing here on the bus platform and then there's the train platform over there, and I can see what looks like native plantings. Could you talk about that a little bit? Adjacent the train platform. LT: So in terms of the biodiversity and those environmental taiao matters, mana whenua have been really strong advocates in terms of returning native plantings where possible. So nine times out of ten, with developments and stuff that are going on, it's always going to be kind of, it's a standard now, which is really cool. And also in terms of how do we green up this infrastructure. So, there's plantings up the side of the wall. So that's been really good. One of the things for Auckland Transport is really around the maintenance, and the stuff that you can't see. Where's all the heavy metals and that going, and that kind of stuff, and so mana whenua are always happy to push those boundaries. So, where you have the various standards in Council, mana whenua are always saying to the likes of Auckland Transport and others, we actually don't like the standards, we actually want you to do better. JK: So instead of just having the least worst impact, you're actually wanting to have a positive impact on the environment through development. So leaving it better than it was when you found it. LT: It's not okay to just go with what's there currently, in terms of if it's bad well then, we're not making it any worse. That's a really poor attitude. JK: We spoke with Bernadette Aperahama, nō Ngāti Kahu ki Whangaroa raua ko Te Arawa, a resource consent planner who previously worked on the Auckland Unitary Plan. Bernadette Aperahama: Within the Unitary Plan I was working on two key parts of the plan, within the Treaty of Waitangi section, and that included the integration of mana whenua values within resource management processes. So, how Māori values would be considered at the conceptual stage, all the way through to monitoring of a resource consent, that resulted in new provisions within the plan, which were integrated mainly through assessment criteria. Through objectives, policies and assessment criteria in the plan, as well as rules. The purpose of them was really to encourage engagement with mana whenua in Tāmaki, and ensuring that their values were at the forefront or influential within resource consent applications, and that Council was considering those, their values, as they assess an application, to make sure that mana whenua were engaged, because often they're completely ignored in resource consent and all Council processes. In terms of the cultural heritage component, there were two different approaches that were really driven by a lack of focus on Māori cultural heritage by the legacy Councils. So, in some cases, some iwi had no cultural heritage places protected by any formal mechanisms. Others had a few, but overall all Councils had done a pretty poor job. So we were trying to ensure that there were objectives, policies and rules that were driven by the outcomes that mana whenua wanted for their special places. Stage two of that is kind of underway at the moment, where Auckland Council has put together a ten year cultural heritage project, where it's resourcing and supporting iwi authorities through identifying and assessing their cultural heritage places, and then identifying the best mechanism that will protect those places. So for some of them, it will mean that scheduling through the Unitary plan will be the ultimate outcome. And for others, that mechanism might not be so appropriate and Council will work with the iwi authorities and the landowners to determine the best method. So that project is currently preparing to work towards it's first plan change, and it’ll be the first plan change that the Unitary plan goes through. JK: Now something that I’m really interested in, is how does the work of protecting special places and taonga relate to proactive development, and the role of iwi in that space. Did you have any thoughts on that? I know that protection is kind of inherent in the way the RMA is structured, but I also know that Auckland Council - I've been involved with some work with Auckland Council to proactively get Te Aranga principles integrated and articulating a role for mana whenua in design and development, and I'm just wondering if you have any thoughts on the connection between the two. BA: It’s all a spectrum. Scheduling is one tool, and the limitations with scheduling is that it doesn't look at the entire landscape, and the landscape - sometimes - can be as important, or more important than the place itself. The place doesn't exist in isolation, for example, if you think about your kāinga, you'll have an urupā nearby, you'll have your marae nearby, you will have places from whi

EPISODE SUMMARY: On this episode of Indigenous Urbanism, we travel to Tāmaki Makaurau, our largest city, to look at how Māori designers are working alongside mana whenua to re-shape the city to better reflect their unique identity and culture and to create a distinctive sense of place that benefits us all. GUESTS: Rau Hoskins, Phil Wihongi FULL TRANSCRIPT: Jade Kake: Tāmaki Makaurau. The land desired by many. Our nation’s largest city, and home to almost 1.6 million people. Auckland’s tribal landscape is complex, with 19 tribal groups holding mana whenua status within the wider Auckland area. The city is also our most ethnically diverse, a place that people from many different cultures call home. So, what is Auckland’s point of difference? And how do tangata whenua - the people of this place - see themselves in the City. Rau Hoskins: So we've just arrived down here at the Wynyard quarter. That’s architect Rau Hoskins, nō Ngāti Hau RH: I guess the very name of the precinct is one of the issues that is the focus of our discussion, which is these colonial names. And of course Wynyard being a significant... JK: Coloniser? RH: Well, a military person of significance in the Northern Wars. This is of course primarily reclaimed land here, a lot of the work we've been doing in this area has been about saying well, looking at the names that applied to the foreshore, to the streams that ran out into the upper Waitematā, and to the names of the seabed. And sometimes there are known names for shellfishing beds and so on. So, just a bit further down there, there's a shellfish bed there called Te Raukai, which remembers the significance of that site. Some of us know where freshwater meets seawater, that's where certain species of shellfish always live. Titiko - that's cockles - they do need some freshwater, and also the kōkota. Kōkota is a type of pipi. That also needs some freshwater as well. That's why in estuaries - Maketū and others - that you get such plentiful amounts of kai moana. So, in this area here are several streams that flowed out, and Waikōkota was one of those streams that flowed out in this general area, and there's a little lane that's been named after the kōkota, called Waikōkota, just to remember the significance of that site. And of course in this location here we've got some pretty amazing views through to Te Pae o te Raki in particular. Over there we've got Takarunga, also known as Mt Victoria, and Maungauika, also known as Takapuna, also known as North Head. And so, the tohu principle of the Te Aranga principles is really about saying, well these are incredibly important landmarks to us, and the ancestors associated with them are held in such high regard that we do need to preserve our connections to these. Not just cause it's a beautiful view, but because there's a cultural connection. And so, similarly when we look to the inland, it's very difficult to see any of the other cultural landmarks from this vantage point. A lot of the projects that we've been doing in the Wynyard Quarter here of mapping those compass directions where significant sites are located. The harbour bridge is significant, because there's Te Onewa pā site there just below the harbour bridge, which is significant to Ngāti Paoa and other iwi as well. We're often about trying to highlight significance in the landscape which is just not known, is still held by mana whenua. This gantry structure here, is apparently designed around the inspiration of the paparewa or the hākari stages, so that's what I understand Megan Wraight, who was involved with the project here used that structure, those traditional hākari stage structures as a method of displaying wealth, primarily the wealth in terms of food - seafood, riwai, kumara, karaka berries and so on. So, from Thames through to the North, our iwi were known to build these very large structures. Kororāreka (Russell), there was one that was measured 130 feet high, 230 feet wide, and all built with no nails, weighed down with tons and tons of food. So, some significant engineering feats. It's difficult to directly ascribe the paparewa visual identity to this structure, but that's what we understand it was inspired by. I think this structure here is quite helpful in terms of the conversation around overt / covert, or overt vs covert approaches to design. Fair to say that, in the Māori design community and in talking with iwi mana whenua, they don't appreciate the subtle. The subtle gets lost. And when you're really trying hard to see yourselves in the built environment, you really do have to be overt. Overt as in, identifiably Māori, identifiably of this hapū, versus tacky. We've got this design aesthetic amongst our urban design and architecture community which favours the subtle. The ability for something which is too overt to become hackneyed, or too readily read, or simplistic. We're not asking for that. But we are asking for the test of legibility to be applied, and that test has to be applied from the lens of mana whenua. Can mana whenua see themselves in this environment? JK: Tēnā koutou katoa Nau mai haere mai ki te Indigenous Urbanism, Aotearoa Edition, Episode 5. I’m your host Jade Kake and this is Indigenous Urbanism, stories about the spaces we inhabit, and the community drivers and practitioners who are shaping those environments and decolonising through design. On this episode of Indigenous Urbanism we look at how Māori designers are working alongside mana whenua to re-shape the City to better reflect Tāmaki’s unique identity and to create a distinctive sense of place that benefits us all. Over the past decade or so, Māori built environment practitioners in collaboration with Tāmaki mana whenua have developed the Te Aranga principles, a set of seven Māori urban design principles. The principles have arisen from a widely held desire to enhance mana whenua presence, visibility and participation in the design of the physical environment, and to assist mana whenua to engage in urban design and architecture within their local rohe in a meaningful way. We spoke with architect Rau Hoskins, nō Ngāti Hau, co-author of the Te Aranga Māori urban design principles and a pivotal figure in the development and application of the principles in Tāmaki Makaurau. RH: Nō Whakapara marae, Ngāti Hau, Ngāpuhi. Whangaruru te moana, Whakapara te awa, Huruiki te maunga. Tū i te pō, tū i te ao. JK: What was the driver behind the emergence of these principles? Where did they come from? RH: So, in 2005 we had the urban design protocol released by the Ministry for the Environment, and they had developed this protocol with its seven Cs. Interestingly, none of those Cs were culture. Wayne Knox, who was then working for TPK, approached me and said, would I like to comment on this, or think about how Māori design professionals might wish to respond to this. And I think MfE were thinking that we might become a chapter in their protocol. I organised a hui in Waitakere City, in July '06, and then a larger hui in Te Aranga marae in Flaxmere November '06, and we collectively developed the Te Aranga Māori cultural landscape design strategy. Now that was then, that strategy document was then taken around the motu and given good support. But what was effectively missing from that strategy was a concise set of principles which would inform the engagement of landowning groups - mainly local government, central government, hapū/iwi and their design experts. So that's really where the Te Aranga principles came from. They came from a distillation of the Te Aranga Māori cultural landscape design strategy, but the desire to have a tool which could be readily communicated to user groups, and readily adopted. I began developing the principles where there were four principles, and I remember going to a conference in Christchurch, well before the earthquakes, and effectively the theme of my presentation was, what makes a difference to Māori in the built environment, or the urban environment? And that type I had four, there were four principles. What we did, working with mana whenua, from 2012 onwards, 2012-13-14, on some Auckland Transport projects, including CRL, was to say start with those four principles and then to work with them to look for a) the application of those principles, but b) the extension of the principles, and we actually did arrive at seven. With the last principle being the ahi kā principle, which really talks about that living presence, and that last principle came last, and it came from a reflection on some other projects, saying well okay, we've got good outcomes in all these other areas, but if iwi aren't naturally using those spaces, making them their own on a day to day basis, then we actually can't call that a truly successful project. From 2006 through to 2012/13/14 when we began to anchor the principles, and then as you know, get them adopted within the Auckland Design Manual, was quite a few twists and turns along the way. It also came from the former Auckland Council urban design framework, which had five principles. They only had four to begin with, which from memory they were: a green city, a beautiful city, a connected city, and a compact city. And I managed to add the fifth principle, which was: a distinctive city. And by adding the distinctive term, I was really saying, well, the distinction is actually mana whenua. At that time, in the 2006/7, it wasn't politically tenable to talk about, overtly talk about Māori things and expect them to get through the processes that existed at that time. JK: You've talked a bit about the City Rail Link project, which has been going on for quite a long time in terms of planning and which is under construction now. So what was the process like? How have those principles, or how will those principles be manifest in the physical environment upon completion? RH: Well, I was brought on board by Jasmax at th