This poem was written by former Central City Librarian Robert Sullivan. The work reflects the area’s vibrancy both past and present, and celebrates the relationship between Auckland Libraries, the city and its people.
The poem is about the library’s location near Te Wai Horotiu stream and Lorne Street and is engraved into the basalt steps. The three bronze seats spelling REO have the Te Reo Māori translation of the poem engraved around them.
The theme of a word being made into seating was drawn from the library with its many books and words within.
“Voice carries us from the foot of Rangipuke / Sky Hill / Albert Park to the Wai Horotiu stream chuckling down Queen Street carrying a hii-haa-hii story—from prams and seats with names and rhymes, words from books and kitchen tables.
Now we laugh again in the St James stalls, in the bookstores, Seddon Tech, Paterson’s Stables, Odd Fellows Hall, art galleries and our great Library gifted by our people who saved the words of our ancestors for one and all…”
This whare wānanga (place of learning) was created for whānau (family groups), tāuira (students) and kaimahi (library staff).
The panels by master carver Nopera are like those in traditional whare wānanga and reinforce the special nature of the space. The patterns on the glass by Nathan reflect the Ngāti Whātua tribal style of carving and are unaunahi (fish scale), pākura (hen feet), kiri kiore (rat skin) and pakāti (dog’s tooth).
The central motif is the pūpūtarakihi (paper nautilus shell) referencing Ngāti Whātua’s He aha te hau – Winds of Change prophecy issued by Titahi just before James Cook’s arrival.
This sculpture acknowledges the important historical role of migratory birds as guides for early seafarers seeking new lands and the satellite links the past to the present.
Manu (birds) had huge traditional importance to early Māori. They were a source of food and were thought to be spiritual messengers. The behaviour of some birds was believed to foretell the future, and some would bring good or bad luck. Many birds were felt to be chiefly; their feathers were used as adornment by high-born people. Graham often uses images and patterns found in nature in his work, reflecting his concern for our environment and the important role it played in the culture of indigenous people.
The centrepiece represents Kahungunu the ancestor who gave his name to the Ngāti Kahungunu iwi (tribe). It is surrounded by manaia mythological creatures) denoting the strength of character for which Kahungunu is known. It represents scholarship and leadership and was gifted to AUT by the Māori people of Auckland.
Nopera’s carving is framed by exquisite tukutuku panels woven by Nopera’s wife Wanairangi. The rimu (native timber) is repurposed from former army buildings on nearby Rangitoto Island and is decorated with pāua (abalone).
The Marae is named after the stream which now flows under Queen Street. Local iwi (tribal people) were involved in the marae’s planning, building and blessing. A team of artisans expert in kōwhaiwhai (scroll shape) and tukutuku (latticework) created carvings which are Pacific, Celtic and Māori representing the diversity of cultures at AUT.
The marae’s meeting house name means Te Pūrengi (ropes supporting a canoemast) by Ngāti Whātua. The whare kai (dining hall) is named Te Kaiparan after the west coast harbour which historically provided food to tangata whenua (local indigenous people). The marae enables Māori culture to be understood and experienced.
Graham’s Jurassic stone artwork references the building as a waka huia (a traditional richly carved vessel for safekeeping of one’s most precious possessions). The gallery’s building is a waka in the symbolic sense. It highlights the gallery’s role as keeper of Auckland’s taonga toi (art treasure).
The triangles relate to the location of the gallery on the side of Rangipuke (hill of the skies) which once held three pā (fortified villages). Rangipuke is the ridge which forms the eastern watershed for the Queen Street valley, which includes Albert Park and Symonds Street.
The wave patterning symbolises the wai (waters) of the Waiariki (spring of chiefly waters) and the Waihorotiu (a stream which was home to a legendary taniwha or spirit).
Arnold Wilson and his son Anthony carved three giant columns to grace the entrance of the gallery. They used kauri (native tree) - one of the rākau rangatira (great trees of the forest).
The columns represent Māori atua (deities), Ranginui (Sky Father), Papatūānuku (Earth Mother) and Tāne Mahuta atua (God of the forest) who was responsible for the separation of his parents Ranginui and Papatūānuku).
Pakati (dog-tooth style) on the columns references ruru (the morepork, native owl) as kaitiaki (guardians) of the building.
Waharoa (thresholds) are important in Māori culture as markers between spaces and realms. Hutchinson’s waharoa separate the space between the tapu (sacred) nature of the artworks within, and the noa (ordinary) nature of life outside.
Kōwhaiwhai patterns (traditional designs inspired by nature) are found on wharenui heke (meeting house rafters). The designs reflect a journey from the ground upwards.
Hutchinson was inspired by systems that exist in nature and art to nurture and support connection between tāngata (people), whenua (land) and toi (origins, source of mankind).
Gateway is a magnificent 18-meter-tall structure welcoming visitors to Albert Park. Booth created this sculpture using basalt stone boulders, stainless steel and aluminium.
The stones Booth used for this sculpture were carefully considered and selected by elders of Ngāti Kura and Ngāti Rehia hapū iwi (tribal people). Ngāti Kura elders lifted the tapu (supernatural restriction/protection) from the stones and donated them to the project as a gift to Auckland City. The Department of Conservation and local landowners were also a part of the selection of the stones for the sculpture.
The work was created for Auckland Art Gallery Toi o Tāmaki.
During the remodelling of Freyberg Place a rigorous strategy for stormwater management and planting was developed in consultation with mana whenua (tribal group with guardianship rights).
The importance to iwi (extended kinship group) of the water that once flowed through the area has been acknowledged and expressed in the integration of Tipene’s artwork. Tipene etched the stone in the water feature that cascades in a series of pools among the steps. The design of the Freyberg square is based on artist John Reynolds’ narrative One hundred and eighty-nine steps – a design that sees myriad and intersecting flights of steps and terraces applied to the square’s banked edge.
These hand woven tukutuku (latticework) panels by Ngāti Porou weavers were presented to the New Zealand Pioneers’ & Descendants Club by Mr and Mrs Eruera Stirling as a gift to mark the opening of the Pioneer Womens Hall in 1962. Ōrākei marae weavers restored both the pātū (screen) and tukutuku areas for the reopening of the restored venue in 2017, renamed Ellen Melville Centre.
Historically tukutuku were used around the walls of Māori meeting houses, particularly between carvings. The Panels’ vertical stakes are often made of toetoe - kākaho (stems of a native plant).
The interwoven horizontal rods are traditionally made from tōtara (native timber) or stalks of bracken-fern. Kiekie (native flax) and pīngao (golden sand sedge) form the patterning.
Reihana’s bronze sculpture forms the centrepiece of the Ellen Melville Centre façade and is her first public artwork
in bronze. The sculpture is a strong singular form with gentle curves. It is set on the 1950s style whimsical abstract wall. It honours the life of Ellen Melville; a prominent advocate for women to fully participate in public life during the first half of last century. Melville was one of the country’s first female lawyers and in 1913 became the first woman elected to a city council in New Zealand, serving as an Auckland City Councillor for 33 years.
Justice honours Melville’s achievements as a politician, women’s advocate and pioneer. The scales of justice are a testimony to her 37-year legal career.