Karanga O Wāhine Toa: She Calls, But do you Hear Her?

Following events, such as the Mana Wāhine Kaupapa inquiry, and in a time of more elevated discussion for change, this thesis is motivated by the continued resistance around generational oppression of Wāhine Māori in Western society. The current day positioning of Wāhine Māori is a result of bearing the disproportionate brunt of overlayed dominant perspectives, and both their and Atua Wāhine roles being (re)written out of History.

As a response, this thesis investigates the (Mis.)Translation and Redaction of Atua Wāhine depictions within pūrākau, specifically following the narrative of Hinetitama / Hine-nui-te-pō. Within different versions, she is a figure that has typically been 'demonised' and whose image tends to show greater variation across the different depictions. In imbuing her story within a subterranean 'underworld' architecture, the project seeks to re-translate the Mana and Identity of Atua Wāhine's image through narrative architecture.

This research instils the importance of ReStor(y)ing Wāhine Presence and Voice within our Pūrākau. It follows previous investigations completed by experts Maureen Lander, Dr Aroha Yates, Robyn Kahukiwa, Patricia Grace, etc., demonstrating a broader spread of interest in the topic. This research aims to reclaim Atua Wāhine & Wāhine Māori's understood value within past and future contexts.

The proposal is a dedicated space that embodies the story of Hinetitama's transformation to Hine-nui-te-pō. Located within the Auckland domain as a site of pre-existing sad and rich histories, it seeks to translate this sadness into hope, as Hine-nui-te-pō did to herself when moving to the Underworld. Acknowledging that no singular version is considered the true depiction, the space acts as a Whare Taonga (Space for Treasures), where a collection of her depictions is conceptualised within the walls to help build a clearer version of her. It takes an understanding that each source reflects the author's perception and that their interpretation is an added layer in building her image.

Site section 1 — Long Section cutting through design, Te Puea’s Totara Tree and Tāmaki Paenga Hira

Site Plan 1 — Site plan showing connection of size and space between design, Te Puea’s Totara Tree and Tāmaki Paenga Hira

Entrance The Descent — Entrance Perspective

A line of Pou continue lead you into the depths, as the knowledge of the house posts lead Hine-nui-te-pō to her decision. The Entrance is large and very visible, reflecting Her intentional decision to descent into the darkness and unknown. Its large earth arms reach out to embrace you, as Hine-nui-te-pō embraces her children in death.

Of the daybreak — Perspective looking up into the space and oculous above - Looking to Hinetitama as the Light

Emerging from the darkness, we enter into the carved whenua that holds the idea and memory of Hine nuit e po – literally sitting between darkness and light. The form and curved ramps of the space are an echo and reflection of Hine’s voice calling up from the depths of the Whenua. We look up to an oculus opening floods the space with light as we ascend the levels, going through each of the exhibition niches to take in the various visual and audio stories of Hine-nui-te-pō

Of the abyss — Perspective looking down into the space and void below - Looking to Hine-nui-te-pō as the Darkness

As we ascend the space, we look back down below on what we have left. Looking down over the depths, at a dark well of water that continues on into the underworld indefinitely.