Senior Crit
Nik Johnston: Mau Performing Arts Centre Ruketutu Island, Tamakarau
Nik started off introducing his three key factors used to this project:
• Consideration to site
• Conception of Va and it’s conjunction with his use of the ‘pinch’
• Horizontal lines, ther use of repetition and etching like quality
Consideration to site was explained that the arts centre was located to the west, honoring a sacred puriri tree of the past located there (which was part of an ancient fertility rite, but was felled in 1863). His moment of the project was the platform (made from heavy slate) with a view to the ocean. The placement to the west was thought as interesting due to the predominant south-westerlies and gales.
This was to be the birthplace for the Va, Nik unpacked meaning with research into european pakeha in relation to pacifica. There was an idea of interlocking language with reference to the skin having a junction, a place of coming together. This junction, or pinch, was at the centre, and also was discussed as being at the axis or a centre of infinite realm.
The horizontal lines were cut into the land at the point of graduation. It was as if it were an etching into the land, the idea of repetition was express. There was the thought of propitiating aesthetic and honoring samoan traditions. The repeating lines was the driver behind the project.
The positioning of the arts centre was important for a procession to the space. Contemplation from land with arrival by car or by sea was highlighted. The area for waiting and the converging into the space was discussed. Entering the volume with glazing on the west facing wall and using exposed timber inside to give a sense of calm. This calm interior space was on the threshold into the theatre.
The project was thought as dramatic, violent, uncomfortable and subversive, but very much liked and also adhered to protocol and the brief. The simplicity worked and there was a symmetry of ideas and a resolution for the tension presented.
Criticism of the project was that with the brilliant concept and idea, everything was made to fit around the fabulous form. It was felt that sidling up to the building to be welcomed was unconventional and could you really find the entrance on the side. Nik agreed he was presenting a concept rather than a building.
I really liked Nik’s imagery and his model were frayed and the idea of etching came across well. He was well researched into Maori and Samoan cultures and site consideration was really well explained. I would have liked to see a clearer flat plan so that the theatre, school on the first floor and the centre (pito or belly button in Maori) which was discussed in great detail, could all be viewed in relation to each other. After my own discussion about using people in my crit to give scale and a sense of public space usage, Nik didn’t use any. From an art aesthetic his work was exquisite, but as the space was intended for public, Nik I’m sure could have included people while still maintaining his beautiful art aesthetic.
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