‘The Maori House’, ‘Te Pa’ and ‘Captain Hankey's House’: bicultural architecture in New Zealand at the turn of the century

Notes

• Neich , Roger . “The Maori Carving Art of Tene Waltere: Traditionalist and Innovator” . Art New Zealand , 57 (Summer 1990–91): 75; Wolfe notes that “the carved meeting house, whare whakairo…may have been large but they could be dismantled. Consequently, complete examples are now found in Chicago, Hamburg, Bremen, Stuttgart and the Onslow Estate, England.” Richard Wolfe, “Souvenirs of Maoriland: The Art of the Early Tourist Trad Art New Zealand, 61, (Summer 1991/2): 70.
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• Petersen , Anna . “Signs of higher life: a cultural history of domestic interiors in New Zealand c1814–1914”, PhD thesis, University of Otago, 1998.
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• Dunedin examples include: ‘Nga-Wiro’, Forbury Comer, Kew; ‘Tiromoana’, Queen street; ‘Kia Ora House’, 239 High St. See also James Cowan, “Maori Place Names”, New Zealand Illustrated Magazine, (June 1900): 647–656.
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• Cowan , James . “Maori Place Names”, New Zealand Illustrated Magazine, (June 1900): 647.
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• In England, in 1900, Hankey (1883–1951) was commissioned as 2nd lieutenant in the Militia Forces 3rd Battalion of the Royal West Surrey Regiment. He arrived in New Zealand c1908 with an amount of money, that varies in anecdotes from £40,000 [telephone interview with Myra (nee Sprague) Cook by Christine McCarthy, 19 March 1998] to £90,000 [telephone interview with Garth Porteous by Christine McCarthy, 14 April 1998]. Hankey's remittance enabled a number of investments: a boat, ‘Mana’ (1917–1918) [Index to the New Zealand Section of the register of all British ships 1840–1950: Ownership, vol 4, p 57,]; a number of farms (in Waipahi [New Zealand Certificate of Title 149/27] and Purakanui); land in Warrington; and, according to his daughter, New Zealand's first Cadillac. He and Rose met and eloped to marry in Auckland in 1913 [Register-book of Deaths, 1950, folio no. 2299/50].
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• “ Colonial Outcasts: A search for the remittance men ” . In Telephone interview with George Chance by Christine McCarthy Morrinsville : Arrow Press . 17 March 1998; telephone interview with Myra (nee Sprague) Cook by Christine McCarthy, 19 March 1998; interview with Albi Padgett by Christine McCarthy, 8 May 1998; interview with Eileen Morganty by Christine McCarthy, 13 May 1998. Remittance men were “men from ‘good’ families whose unacceptable conduct was sufficient reason for parents to sentence a son to life in oue of the colonies and so remove a source of family embarrassment”. Nell Hartley, 1993, p 16.
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• Firm(ness) commodity delight?: questioning the canons Melbourne : SAHANZ . The concrete water tanks on the property have the date “Jan 1916” inscribed on them and the property was brought in the name of Rose Meronea Hankey on the 28th September 1–915. Land Certificate, Land Registration District of Otago, vol 175, folio. 244. Albi Padgett, who witnessed the building of the house as a boy, moved to Warrington in 1914 and the house was not built then. He recalls that the house was built during WWI. Interview with Padgett by McCarthy. The Waikouaiti County Rate Books from 1916–1926 for Merton Riding show a rates increase from £600 (1916), and £630 (19171920) to £1005 (1920–1927). From 1918 lots 13/14 (the site of Te Pa) was parcelled with lots 8/9. These were separated in 1928 with the transfer of lots 13/14 to Louisa Sprague and the rates due were £785. The change in rates from 1920 (indicated in brackets next to the 1919 figure) indicates an increase in the value of the property that may have been due to completion of building the house. Bill MacKay gives an unreferenced date of the house as the early 1920s. Bill MacKay, “The Whare Face of Modernism”, in Julie Willis, Philip Goad & Andrew Hutson (eds), Papers from the Fifteenth Annual SAHANZ Conference, 1998, p 259.
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• 1993 . Painted Histories: early Maori Figurative Painting Auckland : Auckland University Press . For an elaboration on the meaning of whakairo see Roger Neich, p 17.
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• After Groube. Neich, Painted Histories, p 90; earlier (p 15) Neich locates the meeting house as a mid-nineteenth century development.
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• “In the traditional meeting house…group identity was expressed preeminently through the idiom of descent, by means of the ancestors represented in the house and the genealogical links running between them in the form of the ridgepole and rafters bearing kowhaiwhai patterns. Scenes of daily life or historical events were never shown among the timeless ancestors rendered in aspective [sic]…Then in many later meeting houses built after the 1870s, and especially in those with figurative paintings, there is a change to the expression of an ideology of group identity based more on history…In some houses, this identity defined by a specific history replaced the expression of group. identity based on descent, But more often, the expression of these two bases of identity ran concurrently in the scheme of the house, with one or the other being dominant.” Neich, Painted Histories, pp 147–148.
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• Salmond , Anne . 1996 . Hui: A Study of Maori Ceremonial Gatherings Auckland : Reed . [1975], p 39, Salmond continues “There are important exceptions, thongh, as when houses are named after some event in their building…an event in tribal history…or the tribal canoe itself…In some cases such as the East Coast, where women have traditionally played an important role in tribal history, an ancestress may be commemorated…However, it remains true that the majority of house names can be traced to a male progenitor of the group.”
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• “The meeting-house does not symbolise the ancestor in name alone, for its structure represents the ancestor's body in quite a literal way…and the interior is his belly.” Salmond, Hui, p 40.
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• Salmond . Hui 40
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• The Pa Maori Wellington : Museum of New Zealand Te Papa Tongarewa . Best described the pa as “if possible built on hills or other elevated places…At certain times, when not threatened by enemies, these people spent much of their time in unfortified hamlets, merely retiring to their pa when expecting to be attacked.” Elsdon Best, 1995 [1927], pp 3–4.
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• “ Evansdale-Warrington: A Centennial History ” . In “[t]he seaside resort of Warrington was entirely a farming community until Dunedin : Otago Foundation Books . 1905 when Dunedin residents…[particularly] well known Dunedin families built summer homes there.” Frank Tod, 1978, pp 54–55.
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• 1992 . The New Zealand Villa past and present Auckland : Vikiug Pacific . Di Stewart, p 36.
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• Salmond . Hui 40
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• Prickett , Nigel . “An Archaeologists' Guide to the Maori Dwelling” . New Zealand Journal of Archaeology , 4 (1982): 137.
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• Stewart . The New Zealand Villa 48
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• Old New Zealand Houses 1800–1940 Auckland : Reed Methuen . The spine of the passageway caused, according to Jeremy Salmoud, the spine of the central gutter: “The slightly larger or ‘better class’ four-room cottages had the added refinement of a passage between the front rooms…as ordinary houses began to get bigger, the hall ran deeper into the plan…To cover this enlarged plan…parallel gables along the plan turned and met at the front, with hipped corners, and with a rainwater gutter between them…This was the basic form of The centre gutter villa” Jeremy Salmond, 1986, p 155.
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• Noa and tapu are associated opposites whose exact meanings are contestable. The popular attribution of tapu as sacred and noa as profane simplifies the complexity of the concepts and does not fully address their shifting relativities. A discussion of tapu, noa relative to The marae, wharenui can be found in Salmond, Hui, pp 44ff.
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• “The verandah often swept around the house on two or three sides, and when it found its way to the back door it sheltered boots, children at play, and the washing line in relative privacy.” Salmond, Old New Zealand Houses, p 78.
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• Salmond . Old New Zealand Houses 77 cf. “The idea of the verandah seems to have originated in colonial India…The roof [of the Indian “bangala”] extended beyond the walls, sloping downward to provide outside spaces known as ‘viranders.’ In New Zealand, verandahs were often a simple lean-to on the front of the house supported by light timber posts. Later, the verandah might be extended to surround two or three sides of the house.” Stewart, The New Zealand Villa, pp 10–11.
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• Stewart . The New Zealand Villa 49
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• New Zealand Architecture: from Polynesian Beginnings to 1990 Auckland : Hodder & Stoughton . Peter Shaw, 1991, p 10.
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• 1924 . The Maori Wellington : Board of Maori Ethnological Research . Elsdon Best, vol 2, p 377.
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• Prickett . “An Archaeologists' Guide”, p 132.
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• Stewart . The New Zealand Villa 11
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• Salmond . Old New Zealand Houses 78
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• “The term “marae” is ambiguous, since it denotes both the total complex and the ceremonial courtyard, so in some areas the complex is referred to as a “Pa” instead.” Salmond, Hui, p 31.
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• Salmond . Hui 31
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• The Mutual Interaction of People and their Built Environment: A Cross- Cultural Perspective The Hague : Mouton . M R Austin, “A Description of the Maori Marae”, in Amos Rapoport (ed), 1976, p 236. See also Salmond, Hui, p 45; and Neich, Painted Histories, p 127.
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• Salmond. Old New Zealand Houses, p 197.
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• Tannock , David . Manual of Gardening in New Zealand Auckland : Whitcombe & Tombs . c1920, p 43; Manuka for rustic work was advertised (eg Neilson, Vickers, Caversham, Otago Daily Times, 22 February 1915, p 6) as was the design of rustic work (eg F Barton who advertised “Designs all Kinds of Rustic Work and Rockeries. Plans drawn and prices given” “Miscellaneous Wants”, Otago Daily Times, 16 October 1911, p 1.)
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• Tannock . Manual of Gardening in New Zealand 44
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• Raine , Katherine . 1995 . A History of The Garden in New Zealand Auckland : Viking . “1900–1920 Early Twentieth-century Gardens” in Matthew Bradbury (ed),. p 121.
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• “Under the influence of arts and crafts design, the spaces within the garden were subdivided and became more complex. Passageways and arches often linked a series of enclosures and led to garden buildings such as tea houses, arbours or ferneries.” Raine, “Early Twentieth-century Gardens”, p 121.
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• “it is assumed that The marae was previously the open-air living room, or rather rooms, in a Maori settlement” Austin, “A Description of the Maori Marae”, p 231.
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• Interview with Padgett by McCarthy.
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• Jeffrey Orchiston, MacPherson Valuation “Property Valuation: 9 The Terrace, Warrington”, 23 sept 1994, 2; Jeffery Orchiston has no recollection of where this information came from. Interview with Jeffrey Orchiston by Christine McCarthy, S April 1998.
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• McKay refers to “the carved maihi and amo from a Rotorua carving school” (McKay, “The Whare Face of Modernism”, p 259) and it is likely that this Rotorua carving school derives from the same unknown origin as the valuers' assertions.
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• Letter from Roger Neich to Christine McCarthy 20 April 1998
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• Wolfe, “Souvenirs of Maoriland”, p 70.
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• Neich, “The Maori Carving Art of Tene Waitere”, p 73.
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• 1993 . Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection Durham & London : Duke University Press . “the souvenir also domesticates on the level of its operation: external experience is internalized; the beast is taken home” Susan Stewart, On, p 134.
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• Maori Carving New Plymouth : Thomas Avery & Sons . “The carved lower portion of The maihi, or barge board, of a Maori whare is termed raparapa. This raparapa ends in a series of three to five projections which appear to have been derived from fingers in some remote past.” W J Phillipps, 1941, pp 9–10.
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• “Anderson Park” tourist brochure.
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• Neich, “The Maori Carving Art of Tene Waitere”, p 75.
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• Weku where “obliquely-slanting eyes are present…the slanting eye sockets are each adorned in the centre with a circular piece of paua shell…Such eyes are called tiwha or mata a ruru.” Phillipps, Maori Carving, p 37.
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• Best , Elsdon . “Notes on the Occurrence of the Lizard in Maori Carvings, and various Myths and Superstitions connected with Lizards”, New Zealand Journal of Science and Technology, V, 6 (March 1923): 322.
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• Best, “Notes on the Occurrence of the Lizard”, p 328.
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• Best, “Notes on the Occurrence of the Lizard”, p 333.
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• Best, “Notes on the Occurrence of the Lizard”, p 335.
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• Best, “Notes on the Occurrence of the Lizard”, p 330.
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• Best, “Notes on the Occurrence of the Lizard”, p 330.
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• Best, “Notes on the Occurrence of the Lizard”, p 335.
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• Best, “Notes on the Occurrence of the Lizard”, p 335.
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• Telephone interview with Murray Holland by Christine McCarthy 15 April 1998.
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• Telephone interview with Ray Watson by Christine McCarthy 2 May 1998.
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• Dunedin City Council Application for Building Consent 93/1331, file 93041318TH, held Dunedin City Council.
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• Albi Padgett witnessed the building of the house as a boy. Interview with Padgett by McCarthy, cf. Melissa Beel, the tenant of the house in 1998, who tells of how the house was a barn dating from 1906 before the carvings were attached, Telephone interview with Melissa Beel by Christine McCarthy, 6 May 1998.
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• Reynolds , David . 1992 . tin: proceedings of the first Icomos New Zealand Conference on the conservation of vernacular structures 1990 Auckland : ICOMOS New Zealand . “Iron Thatch and Orthodoxy”, Timber A, p 20.
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• Neich . Painted Histories 101
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• Neich . Painted Histories 105
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• Neich . Painted Histories 105
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• Shaw, New Zealand Architecture, pp 14–15.
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