NZILA Awards: Landscape Planning Section Citations
Landscape Planning And Environmental Studies Silver Awards
Barry Curtis Park Developed Design Booklet: Isthmus Group Ltd
The design booklet for Barry Curtis Park communicates the design intent and vision for this 100 ha strategic park in
Manukau City. The park brings together hydrological and ecological networks with a range of cultural elements and
recreational facilities adjoining the new town centre at Flat Bush.
The booklet presents a complex layered strategy in a professional, well-illustrated format. It provides a sophisticated
framework for park development that incorporates hydrological corridors and catchment basins, and expresses the dynamic
tension between cultural and natural elements in the city in a highly creative way. The project has potential to
influence the future development of Flat Bush in a way which would provide added benefits throughout the wider
community.
This entry is deserving of a silver award for the way in which it presents a strategic long-term vision and
comprehensive analysis and rationale for a major urban park development.
Natural Character Assessment of the Firth of Thames and Kaipara Harbour: Boffa Miskell Ltd- John Goodwin and Sue Dick
This study describes the methodological results of an assessment of natural character of the coastal environment. as a
guide to the location of aquaculture activities in the Firth of Thames and Kaipara Harbour.
The particular feature of this study is the way in which it clearly presents a rational method of assessment for a
complex issue spanning both marine and land-based parts of the coastal environment. It combines a scoring method with
qualitative descriptors of landscape modification which will provide a robust framework for policy development. In being
linked to guidelines prepared for the MFE in it’s environmental performance indicator programme this entry develops and
implements a methodology which can be integrated within a wide policy context.
This entry is deserving of a silver award for developing a robust analytical approach to a planning issue of wide
interest and relevance.
Papatoetoe and Hunters Corner Revitalisation: Isthmus Group Ltd
This project draws together a number of linked investigations into an urban area requiring revitalisation. It features a
designed-orientated approach to community consultation, develops a vision for the future, and presents design-based
guidelines for urban intensification.
A particular strength of this entry is the way in which urban history, transportation, economic activity and
infrastructure are integrated with community perceptions. The documentation presents a possible future direction in an
attractive and accessible format which communicates the richness of the social and historical fabric of the area.
This entry is deserving of a silver award because of the way in which technical and economic issues are drawn together
within a strong sense of place and townscape to provide a positive future vision for this community.
Landscape Evidence for Queenstown Landscape Decisions 1-8: Ralf Kruger
This entry comprises evidence presented to the Environment Court on behalf of a local environmental society in a series
of hearings linked to the Queenstown Lakes District Plan and the subsequent Environment Court decisions. The focus of
the evidence is on defining the landscape qualities of the Queenstown Lakes District and the development of a policy
regime that would address the requirements of the Resource Management Act 1991 (RMA).
The notable feature of this evidence is the way a subtle understanding of cultural and natural landscape values was used
to undertake evaluations that led to specific recommendations for landscape management. The evidence was effective in
influencing Environment Court decisions and in clarifying the implementation of the RMA in respect of landscape.
This entry is worthy of a silver award because of the impact it has had on a major series of Environment Court decisions
which has had wide landscape ramifications.
BRONZE AWARDS
Review of Chaffers Park Competition: Ralph Johns, Linda Kirkmeester and Graeme McIndoe
This entry was a review of the short-listed entries for the Chaffers Park design competition in a key location on the
Wellington waterfront. It is based on a systematic application of competition criteria and illustrates the value of a
transparent and objective judging process undertaken in an intensely political climate.
The entry is notable for the systematic way in which it elaborates and applies the competition criteria to an analysis
of the entries. It also draws out design aspects requiring further development in order to meet the brief and identifies
the most effective entry. The process is very clearly documented and communicated and was a major influence on the
subsequent decision by council.
This entry deserves recognition in the form of a bronze award for the way it maintains consistency in evaluation across
a diverse range of design solutions.
SUSTAINABILITY LANDSCAPE PLANNING: BRONZE
Managing naturally regenerating totara on farmland under the Forests Act: Paul Quinlan
This entry comprises an application for registration of a sustainable forest management plan under the Forests Act 1949
for a lifestyle farm in Northland. The plan identifies the potential for sustainable harvesting of naturally
regenerating native species, predominantly totara, as part of an integrated farm management plan.
This entry deserves recognition because it demonstrates an additional tool for sustainable rural land management, to
complement the normal RMA processes. It develops an approach which has potentially wide application to the regeneration
of marginal areas in Northland.
STUDENT AWARDS RESEARCH CATEGORY: AWARD OF EXCELLENCE
Motorway Design within an Aural Topography: Paula Wilkinson
This entry focuses upon a little recognised aspect of landscape design. It maps the aural topography of a proposed
highway corridor, and combines this with the aqueous and visual dimensions of that route. The process uses different
layers of analysis to generate new possibilities for roading design and alignment.
The study is conceptually and graphically engaging and innovative. The different layers of analysis successfully reveal
dimensions of the road environment that are typically overlooked as design potentials and builds up a range of exciting
possibilities for design intervention.
As a student project this deserves an award of excellence.
OTHER ENTRIES
Greening Central Wellington: Boffa Miskell Ltd
This study presents a vision and guidelines for the use and management of plants, trees and green open spaces in central
Wellington. The study is predominantly a series of microscale analyses and design suggestions which, whilst systematic
in detail, do not appear to address the ecological basis for action. The material would have been of more value if the
underlying strategic contribution of urban greening to the urban ecology of Wellington had been more fully recognised,
and if more critical consideration had been given to the way that the functionality and aesthetics of urban vegetation
link to a strategic urban design framework.
Banks Peninsula Marine Farm Review: Boffa Miskell Ltd- Sue Dick and Allan Rackham
This is an assessment of the natural character of the coastline of the Banks Peninsula for the purpose of assisting with
the evaluation of marine farm applications. While being a competent and professional piece of work it uses conventional
expert based techniques and does not extend the body of knowledge in any significant way.
Auckland City Community Gardens: High Lusk and Doug Craig
This entry is a discussion document on the concept of community gardens and their potential applicability within the
local government policy and planning framework for Auckland City. Whilst a useful consolidation of information on the
issues related to the establishment of community gardens, the study offers few new insights or strategic direction.
Tiverton Road: Thresher Associates and Hugh Forsyth
This entry is a landscape appraisal of the existing streetscape and potential impact of new carriageway proposals on
Tiverton Road in Auckland. It is focused on a detailed description and prescription for landscape treatment of the road
reserve. The entry would have been much stronger had it placed these solutions within a broader landscape and
neighbourhood context.
Paeroa Community Consultation: Boffa Miskell
This entry informs the community about streetscape proposals for Paeroa and illustrates the way the District Council
intended to fund the project. It clearly communicates information about the financial implications of the proposal in a
professional format. Although the entry is a generally competent presentation it does not significantly extend current
practice.
STUDENT ENTRIES
Indigenous wildlife habitat regeneration in New Zealand production lands: species ecology as a basis for spatial
arrangements of habitat structure: Bruce McKenzie
This entry consists of a comprehensive literature review on the use of species ecology as a basis for landscape design
and planning in production lands. It looks at the habitat structure in the context of European cultural landscapes and
reviews habitat methodologies against the New Zealand landscape. It is a competent literature review and an interesting
application of the European experience to the New Zealand cultural landscape. However it fails to fully explore the
implications of this process and to develop its application to the local context.
The Application of GIS in Sustainable Neighbourhood Development: Jeff Myles
This entry utilises GIS to identify sites for sustainable urban communities. The macro scale analysis is competent but
offers little new, and the study shows the limitations of utilising GIS at the finer site level. Perhaps this was not
the ideal project to test new GIS techniques, as was concluded in the study. LANDSCAPE DESIGN RESDENTIAL
GOLD
Pie Melon Farm Ted Smyth
Ted Smythe has yet again demonstrated how incredibly successful a pared back design can be, evident in this latest
masterpiece at Pie Melon Bay, Waiheke Island. Inherent here is a sophisticated understanding of the natural surrounds,
and how elegant minimalism backed with flawless implementations can actually amplify ones appreciation of this most
beautiful locale
Pie Melon Farm is a 600-acre working private farm, with some areas of existing mature native forest. The site is within
Pie Melon Bay (Roro Hara), located on Waiheke Island in the Hauraki Gulf. The terrain covers steep coastal slopes
through to a sandy beach punctuated with rocky headlands. Just above the beach rests a substantial new stone-clad home,
with boatshed, all ‘anchored’ to the land with a contemporary landscape of rock wing-walls, sweeping terraces, wide
patios, lawns and bold planting. Substantial native revegetation is being carried out on the land above and to landward
of the new home.
There was no formal brief from the client, apart from a desire to see rainwater “falling freely from the roof”, and to
reuse some existing palms, cacti and succulents. Apart from this, the only verbal instruction from the client to the
landscape architect was, “Do what you think is right, Ted”. There were however, stringent ARC sediment controls and the
requirement for a sustainable planting program needing only minimal establishment watering.
Smyth has gone to great lengths to address and thoroughly resolve the stormwater issues (this was the first part of the
design) in creative ways, from deep rock-filled filtering channels next to the long sealed access drive to exquisitely
detailed cobbled beds fringed with the thinnest of slot drains to take the roof runoff. Much of the flanking slopes have
been fenced off and extensively revegetated to reduce surface flow, and in short time a seemingly established planted
theme will evolve, knitting together a land previously extensively grazed.
The resulting landscape is one of pared-back simplicity and elegance, from the wildness of the rapidly re-establishing
bush, to the poetry of the house ‘clearing’ on the edge of the beach. The forms of the terracing, planted beds, and
sculptural rock placements serve to highlight the breathtaking beauty of the natural surrounds. Nothing that Smyth has
done here fights against the nature of the site. The hard edges and bold sweeps, the planting and boulder placement have
all been detailed, supervised and constructed in the most refined manner, and curiously serve to focus one’s attention
beyond to the ruggedness and intricacy of the coast and the wonderful setting. What we saw here is an absolute design
confidence, gained from a wealth of experience in knowing when to stop with pen and ruler, to ensure that the expression
of the nature of the place comes foremost.
LANDSCAPE DESIGN RESDENTIAL
GOLD
Walter-Krüger garden Ralf Krüger
Ralf Kruger has eked every drop of possibility from this incredibly tight site overlooking the Frankton Arm of Lake
Wakatipu, Queenstown. A delightful series of sheltered, sunny garden-ettes, inextricably interwoven between the fabric
of the land and house itself leaves no doubt that designing for small spaces is highly challenging but also infinitely
rewarding.
This is a garden that goes beyond just the normal surrounds of the home. Critical to the success of this garden design
is the relationship with the architecture of the house, internally as well as externally and the connection with the
rugged nature of the open rural slopes above and deeply incised gully below. House and garden have been conceived as one
over several years. A long-standing friendship and continual collaboration with Arrowtown architect Max Wild shows
clearly in the success of this home and garden.
The 1500m2 site is steep and in places rocky, with a 34 metre difference in elevation. A narrow ledge halfway up
overlooking the Frankton Arm of Lake Wakatipu, is where the house and garden have been sited. The house has been
carefully aligned around this narrow ledge - a natural pivot point in the landscape. The form of the house also pivots,
following this natural cue which has created a series of tiny, but very well used outdoor living spaces in sheltered
‘nooks’ around the house.
Gabrielle and Ralf lived in the house for a full year before doing anything with the garden. The landscape design has
literally evolved “in the blank margins of old newspapers”. Frequent spraying and pegging out of the garden forms were
experimented with, assessed, removed and tried again until solutions were found. This is a landscape that has been
patiently created after much thought and understanding of the nuances of the site.
The garden is small but is a part of and responds to a larger landscape. It has been designed and built in the
Queenstown vernacular – a rugged look. It’s a classic example of good landscape design – keeping small intimate human
spaces close to the house, rapidly extending into the natural landscape. The various views and microclimates have been
eloquently considered and spaces have been designed accordingly to maximise these.
Local materials from the site have been used in very elegant ways, such as the local schist used to create a rugged
retaining wall to support a small raised potager garden built against the bank, set on edge at right angles to the
gradient to form a non-skid sloping path, or crushed for a patio below the outdoor dining furniture.
Planting sites have been carefully prepared, displaying great understanding of implementation, maximising the sites
potential and the natural processes at work such as the local micro-climatic extremes. The fern spore riddled soil that
has been collected from the wild and incorporated into the rock wall crevices displays the sort of thorough
understanding of natural processes at their smallest scale. The use of plant material shows a finely considered
understanding of the possibilities of mixing the exotic and native, celebrating the form, texture and colour of each and
combining them in exciting, clever ways. Even the weed species – their control and their visual connection with the
hillsides above and around the site- have been intelligently considered.
The clear success of this garden is the result of patience, a thorough understanding of the ecology and nature and
possibilities of the site I implemented through a genuine collaboration between client, landscape architect and
architect.
LANDSCAPE DESIGN RESDENTIAL
BRONZE
FLACKS GARDEN Ralf Krüger
Ralf Kruger has shown us yet again how successful an honest approach to design can be, when it is combined with his
clear understanding of the historically evolved landuse culture of this part of the Queenstown basin. With bold
confidence and creativity at all scales, he is marrying a potentially incongruous building into a large rapidly
establishing formal garden and the wider landscape.
The Flack garden surrounds a grand ‘Italianate villa’ located on the western side of Slope Hill near Queenstown. This
landscape has evolved over a series of development phases since 1995 and is currently undergoing further additions.
The main aim of this large-scale landscape design – to marry the inherent formality and geometric bulk of the house with
the surrounding landscape has worked well. It is clearly an honest response to a cultural layer, emphasizing the
historic well-lived in and highly modified aspect of this verdant part of the Queenstown basin. It does not attempt to
hide the house or inappropriately naturalise the setting, now long gone. Looking outward, key vistas to the wider
landscape and important natural features have been incorporated into the design where possible.
The design resolution is good, the forms of the planted beds, and species mix is apparently minimal and bold, the size
of steps, walling, pergolas and other hard elements is massive and equally plain but sits well with the scale of the
house, without being too influenced by the architectural symmetry. The garden sits comfortably and confidently in its
immediate site and greater context.
The detailed level of (planting) design thinking is excellent, taking cues from the architecture, in particular where
the house is intended to ‘age’. The landscape addresses this by using climbers to eventually envelop the house, and
plants spill among the cloisters while grasses push up through the graveled forecourt area, between the schist steps and
retaining walls.
This garden is clearly in its infancy, but shows signs that with a continuing involvement from Krüger, it will look
fabulous given time and maturity. The slow mellowing of the house combined with its leafy covering, will gradually
reduce its apparent bulk and encourage a stronger connection with the land.
Whilst this is a very impressive work in progress, it is clear that the best is still to come, trees will come into
‘scale’ with the house, there will be some fleshing out of the finer planting details. The closer this garden comes to
being complete, and with an ongoing commitment its long-term management, it will just get better and better.
LANDSCAPE DESIGN RESDENTIAL
BRONZE
MOLLER/YING RESIDENCE, HAMILTON Deitmar Bostfleisch
Deitmar Bostfleisch breaks down the boundaries between indoors and out in this most successful and modest of garden
designs. A sensible and considered understanding of his clients backgrounds and their newly modernized house has led to
a garden mixing flair with home comforts, with a surprise around every corner.
This small garden design has been designed to strongly integrate with a completely transformed older home in suburban
Hamilton. The clients’ cultural backgrounds (Asian and Scandinavian), in conjunction with an obvious New Zealand theme,
is well reflected in the final outcome.
There has been an excellent response to the form of the building with bold modern elemental and geometric shapes.
Indoor-outdoor connections have been cleverly manipulated with captive views from within to landscape features such as
the water feature alignment with the picture window. Sophisticated landscape design connections outside, link with the
Scandinavian furniture inside, evident when viewing the simple paving grid forms mimicking the rhythm of the ‘egg-crate’
book shelving.
Detailing is inexpensive, but well resolved, simple and restrained and will stand the test of time. The clients’
requirements that the landscape design be low maintenance, comprise a series of well-sized linked outdoor rooms, and
become an extension of the (internal) fabric of the house has been achieved. One of the living rooms is now used quite
differently due to the success of the garden design outside. In places window coverings have been revised!
The bold chunky pattern of paving grids in a curious way gives so much emphasis to the open spaces; it obviates the need
to focus on the edges. The native planting theme is simple and strong, featuring bold forms, textures and colours - a
pleasant complimentary contrast with the extensive hard grey- coloured vertical and horizontal landscape elements.
This design has really maximised a fairly limited site. It focuses the essential elements in the right places, it
creates drama and atmosphere through the use of water, hard and soft landscape components, dramatic night lighting and
decking to gain views down into a surprisingly large established older garden. Best of all, it very successfully relates
indoor living with out. LANDSCAPE DESIGN URBAN DESIGN
Gold
TARANAKI WHARFAREA REDEVELOPMENT Wraight and Associates Ltd.
The Taranaki Wharf project fits perfectly into the tough wind-blown Wellington working waterfront. It is innovative and
surprising in its design. Bold moves were made to remove reclamation material and re-form levels and the shape of the
shoreline. The popular waterfront concourse now satisfies people on all levels.
The Taranaki Wharf project had its genesis in the Lambton Harbour Public Spaces Concept Plan. Megan Wraight was part of
the winning team that developed the principles for connecting the city back to its waterfront and developing a linked
“necklace” of open spaces that would form a braided promenade around the inner harbour. Fundamental to the concept was
being able to choose from a variety of routes and places, with differing degrees of activity, shelter, height above the
water, etc.
An important first move for the design was “declamation.” Although it probably goes un-noticed now, the original finger
wharf form of Taranaki Wharf was revealed by reducing the level of the backfill behind it, which also established a
better setting for the rowing club buildings on the lagoon. Wharf structures are also revealed through the use of
cutouts and access to the underside, where there can be shade and shelter and beautiful reflections onto the underside
of beams. Megan’s site research included paddling a kayak into the deep recesses beneath the wharf to find the line of
the seawall.
The other important “declamation” was around the entrance to the lagoon. This opened up a broader channel to be spanned
by a spectacular new bridge, allowed more functional use by rowing crews, and allowed the detailed reconstruction of a
semi-naturalistic shoreline.
This new shoreline wraps around a headland known as “Treasure Island.” This is a place where the visitor can wander
amongst maritime paraphernalia and Wellington coastal vegetation, to little intimate spaces where the sea can be
experienced close-up. It is a playful environment, where the bric-a-brac is concentrated, allowing the main promenade to
remain open and elemental.
The indented rip-rap shoreline has attracted a lot of fish life back into an inner harbour which was considered to be
almost ecologically dead.
The Taranaki Wharf design was completed in close collaboration with Athfield Architects. One of its strengths is that
neither architecture nor landscape architecture is an obvious feature of the wharf. Components such as the inlaid timber
beams that span the wharf in line with the bollards could be read on many levels - as an original functional part of the
wharf, as an artwork, as an exact reflection through the surface of the underlying structure - it doesn’t matter which,
but it is unlikely to be seen by most people as “landscape architecture.”
This is characteristic of most of the features in this project. They can seem undesigned and accidental (reflected light
through gridded decking at the Te Papa breastwork) or mystifyingly bold (Odlins timber garden). Megan rarely produces
the expected.
Because this design aesthetic fits so seamlessly into the rough functional character of the wharves, one is scarcely
aware that the master plan is far from finished and that other parts (a major new bridge, a parallel walk further
inland, a waka structure, etc) are yet to be added.
The design does not overtly copy historical maritime models, but re-interprets them. The timber garden, for instance
comprises a geometric grove of massive recycled wharf piles standing vertically within the gridded expanse of the Odlins
Plaza. The timber, its over-scale dimensions, and the steel detailing by which it is fixed to the paving grid all speak
of the waterfront.
This timber garden looks like a bold sculptural piece when no-one is there. However it also incorporates lighting and
big eye-bolts to fix market canopies, and on festive occasions the upright piles are unbolted, lowered by crane onto the
ground, and used as seating for an outdoor waterfront auditorium.
Nearby a stand of karaka trees is thriving within a sheltering cage, from which they will be released when the trees
have grown tall enough for people to walk beneath them. Beyond Taranaki Wharf itself, the project has carefully refined
the breastwork along the western foreshore of Te Papa, helping to clarify the relationships between the natural
planting, the wharf edge, the geological wall of Te Papa and its pool. There is new seating and the small charms of
light playing up off the water below.
The grand vision for Wellington’s inner harbour waterfront is yet to be fully realised but Taranaki Wharf works superbly
well as it is. It still has the raw hard honesty of a working wharf area. And it attracts Wellingtonians in their
thousands to walk, ride, sit watch and enjoy the ever-changing edge of the sea.
LANDSCAPE DESIGN URBAN DESIGN
Gold
HASTINGS CBD Isthmus Group
This is the most sophisticated redevelopment of a town centre yet seen in New Zealand. It integrates community
aspirations, the cultural context, art, the landscape, and, and the highest quality of urban detailing, to create a
vigorous new identity for central Hastings
The centre of Hastings was rundown and struggling economically. This project began as a fast-track millennium project
and then grew in three stages to a full-scale rescue package for the CBD. The first stage removed the East Mall,
restored two-way traffic to the main street, and restored the mainstreet viewshaft to Te Mata Peak. Stage 2 rebuilt
Russell and Market Streets, restoring two-way traffic and stimulating a new café precinct in Russell St. Stage 3 rebuilt
the West Mall as the central pedestrian space.
Isthmus Group have followed up their sound urban development strategy with polished design work that reflects the
essence of Hastings – the heat, the wine country, the local landmarks, the Art Deco and Spanish Mission architecture.
A sophisticated incentive scheme was initiated to encourage appropriate paint schemes for the attractive commercial
buildings. And without descending into kitsch, Isthmus Group complemented the style in their streetscape design – most
notably with the spectacularly sinuous lamp standards – known to the locals as the “snake lights.”
Other street furniture is executed with equal class, the layout is classical in its inspiration, and the large polished
off-white kerb blocks reflect the limestone colours of the Hastings landscape. The circular planter boxes are surfaced
with high quality tiles and topped with a polished granite coping. The large central water feature, which spans the
railway line and connects the two sides of the city, has been rebuilt with granite edging to let people get close up and
touch the water.
The “fruit bowl” identity of Hastings is celebrated with hanging flower baskets and olive trees – the produce of which
will be harvested, pressed, and bottled for civic gifts.
Artworks have been incorporated into the city centre on a scale not previously seen in New Zealand. They range from
“high art” by Neil Dawson and Virginia King through “arbours” of community works by local artists extending their scope,
to a flock of beloved sheep inherited from the old mall. In all cases they have been designed to be integral with the
project rather than an add-on. They help to define spaces, to highlight focal points, to add a touch of magic at a
waiting point.
The arts programme represents an enormous commitment to collaboration between the Council, the arts advisory panel, the
designers and the community. The programme was co-ordinated by David Irwin of Isthmus and Georgina King of EMS. The
process of commissioning artworks was a source of community celebration and fun.
The project has rejuvenated the central business district of Hastings. Not only have the spaces between the buildings
been improved, but there is a whole sense of re-awakening of the town centre. The streets are busy again, vacant shops
have been filled, footpath cafes have sprung up, and people express pride in their city centre. It has become a focus
for community activities and has re-established itself as the centre of the city.
LANDSCAPE DESIGN URBAN DESIGN
SILVER
WAITARA CBD Isthmus Group
The Waitara project is more than a quality upgrade of a town center - it is a vehicle for a community healing process,
which acknowledged, for the first time within the town, the local events that initiated the New Zealand land wars.
The river port of Waitara was the first European settlement in Taranaki. The New Zealand land wars started here when the
Pekapeka block alongside the town was taken from the local iwi in an underhand deal.
Waitara’s riverfront quays eventually fell into disuse, its dairy factory and freezing works closed down, and the town
suffered from unemployment and a weak economy. Within this context Isthmus Group were commissioned in 1996 to develop a
project plan to upgrade the main street, and re-develop the disused riverfront area. Later, the opportunity was taken to
develop a vacant section - connecting the main street to the rear parking areas. This became the Pekapeka walkway, with
much of the work carried out by local carver, Rangi Bailey and a team of at-risk youth.
The centerpiece of the project is undoubtedly the riverfront park – West Quay. The adjacent street was narrowed and a
raft of pedestrian focused facilities were established in clear view of the river. At the highest level a broad hardwood
timber boardwalk recalls the earlier wharf and doubles as a stage for community events. Connecting back to the street,
and forming the auditorium, is a meandering “net” of lime chip paths, interspersed with seating, play equipment and
exuberant coastal planting.
The detailing and patterns reference the geology, history and cultures of the area. The lamp standards, for instance
recall the sweeping shapes of a waka or a Polynesian navigation chart. Most significantly, a large stone at the entry to
the park has been carved in acknowledgement of the historical leadership role of Wiremu Kingi Rangitake. This was a
first for the local municipality, and is an important part of the healing process within the community. Waitara is
fortunate to have local councillors with long-term vision.
In projects around the country Isthmus Group have demonstrated command of a wide-ranging palette, from the rugged
simplicity of the New Plymouth boardwalk to the polished sophistication of the Hastings town centre. The Jury debated
whether the Waitara project has hit the right note in the scale, or whether a simpler approach could have achieved more
for the resources.
However we concluded that the great achievement of Waitara is the role the ongoing project is playing in bringing a
wounded community together, and in creating a new sense of pride and purpose.
LANDSCAPE DESIGN URBAN DESIGN Silver
WAIHI TOWN CENTRE Boffa Miskell Ltd.
The Waihi community’s brief has been fulfilled with a powerfully dramatic expression of Waihi’s mining heritage
Boffa Miskell were appointed in 1999 to re-start a streetscape improvement for the main street of Waihi. They reviewed
the previous work, carried out a 2-day design exercise and undertook extensive consultation with the local community.
They were not too precious to provide the community with what they wanted – a very literal expression of the town’s gold
mining heritage.
They reconstructed an 18-metre high poppet-head structure – the big winch structure that acts as the lift machinery at
the top of an underground mine. They picked the ideal position for this, at the highest point of the main street against
the green backdrop of Martha’s Hill. It can be seen directly ahead on the Highway 2 approach from Tauranga, and much
more dramatically on the approach from Auckland, where it stands out into the line of the street to form the climax
point of an ascending line of historical street lamps that march rhythmically up the median line of the street.
The centerline of the street also features the town’s original Seddon Memorial, re-modelled and returned to its rightful
place, and dramatic roundabouts in the form of a low steelbound cone, dotted with the metal balls used to crush quartz
ore.
There are many other direct references to the gold mining – historical photos imprinted on the seat shelters, some
rather lovely statues that recall local customs and events, rubbish bins formed in the shape of crucibles, a paving
pattern of gold-bearing quartz veins snaking across the width of Miners’ Square.
Boffa Miskell identified two small vacant lots to develop as pocket parks. On one of them a water feature makes clever
use of submerged gold lighting to re-create the image of molten gold being poured into a line of pots.
A new footpath was formed on the upper side of the street to link with the poppet head structure. As a millennium
project the local schoolkids produced lively tiles that have been incorporated cleverly into the coping of a low
retaining wall adjacent to the footpath as a double-row frieze.
Clearly,the impact of the project on the town’s image has been massive. Even the passing motorist must have no doubt as
to what Waihi is about, and new pride has obviously engendered the refurbishment of many shopfronts, most notably a
couple of historic hotels in prominent positions. Waihi has finally acquired a townscape that reflects it s historic
past and sets the scene for the future.
Some of the work has been let down by inattention to detail. The crucible rubbish bins are chipping badly, and the
poppet-head tree grills look good but the narrow aperture at the top is damaging tree trunks. The water feature in
Wallnut Park is awkwardly sited and the detailing and drainage round its base are tacky. It looks like the installation
was resolved on site. Some of the planting is too fiddly (hebes) and the species chosen are low and prone to pedestrian
damage. The designers may have been better to have applied their strong gold-coloured theme more consistently.
In particular the seating and plaques mounted on the rock planters in front of the Miners’Hall, are set to the slope of
the ground rather than horizontal. Sitting or reading at this gradient is discomforting.
Some of these problems may have stemmed from site supervision by a separate Hamilton-based project management
consultant, but clearly the drawings and specifications were not thorough enough to take into account subtle site level
changes, building frontage and laneway positions. There are some awkward paver junctions and alignments at 90 degree
junction points.
The design has been further compromised by the subsequent failure to adhere to the concept of properly detailed kerbs
and crossings – the new visitor centre was allowed to install a wide concrete kerb crossing that is seemingly oblivious
to the paving standards set by Boffa Miskell.
LANDSCAPE DESIGN URBAN DESIGN
BRONZE
ELLERSLIE TOWN SQUARE Thresher Associates
The Ellerslie project is a thoughtful creation of a small public space for community events, which also feels right when
it is empty. It is designed with an elegantly assured restraint.
Thresher Associates were asked to prepare a concept for redeveloping the Ellerslie town centre. They identified a need
for a focal point and gathering place and the site was chosen after much discussion with the commercial and professional
community over the rights of people over cars. The site was originally part of a carpark so replacement parking was
identified in nearby streets.
Will Thresher’s concept for the focal square was about building a space. The space had to have enough structure in it
without impinging on the space as a square or on the potential use of that space. The objective has been achieved by
defining the boundaries of the space with bluestone walls of different heights to allow views into and out of the site
into the adjacent community. The floor plane is Australian bluestone. The dominant shape is a square paver which is used
throughout the bulk of the square, but with subtle variations at a couple of thresholds and around fountain set flush
with the paving.
Hard elements have been handled well with three different heights of walls and subtle variations of austere texture. The
rock walls add a natural tactile friendly boundary to the space. Ground level fountains can be turned off to create a
larger space. The combination of grey stone work, paving, and gray hedging, contrasting with the red-brown of timber and
the silver of the aluminium is elegantly subdued. He has created a structure for the people to add colour Will has given
a lot of thought to the degree and nature of enclosure such a square needs, and also to the problem of how it can
provide uncluttered space for community events, yet not look empty when no-one is there. His solution to these issues is
assured.
The square is “populated” by the fountain, by a row of three trees, and by a complementary row of five concrete seats.
The design jury differed about these seats - on the one hand they were seen as cold and hard and set at a slight
gradient, on the other as a sculptural element that lent the square interest when it was empty of people.
The design generally exhibits an effective use of different seating elements, allowing different ways and experiences of
sitting. There is a school bus stop opposite and the area gets a lot of use from school-age users who do not appear to
have vandalised it. The planting is appropriate to the site and the corokia hedging relates well to the greys of the
walls and the paving. However the way the plants have been planted and maintained almost assures their long term
failure.
When the six-jet fountain is switched off the square can comfortably accommodate a stage and an audience of two or three
hundred. The development of the Ellerslie Square has completely changed the community and has given the area a real
heart and focus for community events.
LANDSCAPE DESIGN URBAN DESIGN
BRONZE
TELECOM @ TORY Boffa Miskell Ltd.
The Telecom @ Tory Courtyard is an intelligent insertion of amenity and elegant design into a very challenging urban
context
This was a very difficult job – to transform an amorphous carpark overshadowed by aesthetically challenged buildings
with red 1970s canopies into a carpark and courtyard with class. In addition the budget was arbitrarily reduced at one
stage, and the promised coffee kiosk didn’t finally turn up until the day after the design jury visited (which was the
morning of Wellington’s big storm).
In these circumstances the design response has been impressive. The carparking was rationalized and Boffa Miskell
identified an opportunity to capture one corner of the site for public use. It was defined by hedging and seating, with
concrete coffee leaners adding sculptural interest.
A “walking sticks” shelter canopy – a collaboration between sculptor Kingsley Baird and Nada Stanish of Boffa Miskell –
snakes across the back of the courtyard. This shelter is the result of a genuinely two-way collaboration, where both
contributed to the evolution of the form, the striped colours on the angled legs and the sand-blasted dot patterns on
the glass roof, which cast ever-changing pattern on the plain concrete paving below.
While there is some poor execution of the paving construction, and it doesn’t always relate well to the buildings (Large
blank walls rising straight out of concrete), the paving forms a sophisticated linear pattern that kinks around the
pedestrian desire lines. There are good contrasts between the polished finishes of the paving, canopy and sign with the
rough textures of stone tree surrounds and plant materials.
Telecom courtyard is an excellent concept for a quiet courtyard by the street, it is elegantly designed and creates a
welcome respite in an area not known for its outdoor spaces
LANDSCAPE DESIGN RURAL/PARK/RECREATIONAL
ORIENTAL BAY Isthmus Group
Isthmus Group’s Oriental Bay project is not only a bold design carried out with elegantly restrained detailing, but it
also shows deep insight into the cultural and physical character of the bay. The landscape architect played a key role
in changing the original brief and in hydrological and master planning decisions. The beaches, headland, pier and
promenade now constitute a superb amenity for central Wellington.
This project represents a very successful team collaboration with Tonkin & Taylor as the principal engineering consultant and Architectural Workshop.
Wellington’s only inner city beach was first created in the 1840s from sailing ships ballast. Over the years, however,
the sea had washed this away, leaving only a narrow strip of coarse sand.
The original brief called for a large “Miami-style” beach stretching across the full width of the bay. The first major
achievement was in re-defining the brief to build three much smaller beaches. This decision respected the crenellated
character of the existing inner city bay and its headland landscape forms. It means the sea at high tide still crashes
up against the seawall at Fitzgerald Point and at the band rotunda.
To achieve this, a sophisticated design-led process modelled the coastal processes and designed sea structures that
would retain the desired shape and location of the three smaller beaches. This resulted in the filling of a harbour hole
into which beach material was disappearing, and the design of three different artificial groynes to control sand drift.
One of the three is made of large chunky rubble, but a gap at the landward end carefully maintains the integrity of
Fitzgerald Point, allowing beach walkers, or the sea at high tide to pass between. One is completely underwater: a
finely balanced exercise of ensuring it remains hidden and doesn’t constitute a hazard to small boats, but at the same
time works effectively in controlling sand drift.
The third sand control point was identified a considerable distance out into the harbour. To form this, David Irwin of
Isthmus Group designed an abstract landscape headland from pre-cast stacked concrete slabs.
The slabs offer a variety of spaces for people to sit, sunbathe, climb, and explore. Ramps allow disabled access into
the water, and as the tide falls it exposes successive rock/paddling pools. Bright green algae and the draping of swells
over the faceted slabs create a dynamic artwork. It has passed the “wedding test” – used more than once as a venue for
wedding ceremonies. When the design jury visited, on the day of Wellington’s big storm, a large fur seal had chosen it
as a refuge.
Most artificial headlands around New Zealand go for the big rubbly look - unconvincingly naturalistic. The more
engineered ones are generally unsympathetically rigid, or too tentative in their expression. This one is both bold and
simple – it looks “right” in its setting.
While the headland juts out at an angle determined by the modelling of coastal processes, the pier aligns itself with
the street and wharf grid of Wellington’s inner harbour. It is simple, robust, and elegant – carefully detailed to avoid
clutter, pulling the elements back to the bare essentials and doing it very well. The seating is chunky and simple,
doubling as edge restraint.
Above the newly augmented beaches, many old stormwater outlets through the seawall have been gathered together and taken
along under the footpath to exit through a semi-circle of slots around the walkable skirt of the band rotunda. At the
right point of the tide the sea creates satisfying geometric patterns here as it surges out through the slots.
The wide foreshore footpath around Oriental Bay is very heavily used by strollers, joggers and cyclists - especially at
lunchtimes and in the weekends. The Isthmus group went to enormous trouble to underground services and the excavated
spaces around the trees were backfilled with structural soils to ensure that the present and future trees would thrive.
But impressively, the temptation to add decoration and designer furniture has been resisted. In fact clutter - lamp
standards, kerb extensions, tree planters - has been removed and a broad simple sweep of asphalt runs between the
seawall and the street. A strong new kerb broadens the footpath and narrows the road to reduce traffic speeds. At the
other edge the original seawall has been respected.
The landscape architect’s restraint is exemplified by the lighting. Rather than designing new lamp standards, they have
removed the original ones and carefully hung unobtrusive lights in the trees. At night they shine gently down onto the
flush limestone chip surface beneath the trees to mark the path, but minimize the glare that would detract from people’s
enjoyment of the harbour.
The apparently simple broad footpath has been achieved by careful design and engineering input, and the tenacity to keep
to the primary objective is admirable.
The judges have spent some time debating the question of sustainability and still differ over the desirability of
creating artificial beaches. The sand type and colour is not natural in this setting, but ameliorating factors include:
The landscape architect was influential in considerably reducing the amount of sand imported, Coastal modelling and
design scenarios were trialled before settling on a configuration of headlands that ensures the sand will stay in place
and require minimal ‘topping up’ and maintenance The sand supply was from a large new road cutting, and has not been
removed from another beach somewhere else The beach is located in the inner city where everyone can easily access it
without needing private transport. The beach area has increased useable open space and is very heavily used
All in all, the design jury believe this project is a model for complex design-led projects with a recreational and
amenity focus.
LANDSCAPE DESIGN RURAL/PARK/RECREATIONAL
SILVER
MAIN BEACH BOARDWALK, MT MAUNGANUI. Isthmus Group
The Mount Maunganui boardwalk is polished, yet understated, sophisticated yet cost effective. It is a great improvement
to the beach environment and is a very successful part of a much larger project to enhance the recreational experience
along the Mount Maunganui foreshore.
Mt Maunganui is one of New Zealand’s best known and most loved summer beach destinations. It is the venue for key
national surf lifesaving events and multisport events. As a result of this it has suffered extensive wear and tear.
Tauranga District Council has upgraded Main Beach over the last 10 years and work has included toilets, refurbishing the
foreshore area, installing coastal care works and latterly constructing the boardwalks. Isthmus group has been involved
in many of these projects and their last project has been to design and manage the construction of a boardwalk running
along the grass berm between Marine Parade and the sand.
The brief for the boardwalk area was to accommodate the intensive use of the area in a way that respected its natural
amenity.
A three metre wide timber boardwalk winds its way along the fore dune. The boardwalk widens to accommodate pedestrian
crossings and the road kerb. Access to the beach is along existing desire lines and down wide generous steps directly
onto the sand.
The line of the boardwalk in the grass is sinuous and sculptural, particularly when viewed from apartments above the
beach or from the Mount. The boardwalk separates pedestrian activities from vehicles and clearly supplies a satisfying
surface to run, walk, skate or ride on. Details are simple and tough, but have been well thought through.
The boardwalk rests in the sand to enable the dune to move around it. Stainless steel screws provide solid anchorage on
the edges. Changes in the direction of the timber signal access to the beach and the road. Grass grows over the edges
and between the timbers softening the lines and integrating the boardwalk into the landscape.
The landscape is manicured yet the boardwalk sits very comfortably within that setting. It is at once casual and
understated yet refined, sophisticated and cost effective. It is a great enhancement to the recreational experience
along the Mount Maunganui foreshore.
LANDSCAPE DESIGN RURAL/PARK/RECREATIONAL
BRONZE
BALMORAL HEIGHTS RESERVE Boffa Miskell Ltd. _ Rachel de Lambert and Renee Lambert
Balmoral Heights Reserve is an accomplished landscape design which reflects the aspirations and open space needs of the
local community whilst making a significant contribution to the landscape quality of the Balmoral Road journey west.
When Auckland City widened the intersection between Balmoral and Mount Eden Roads, houses were bought and removed, and,
after pressure from the local community, the residual land was turned into a park,
As part of the process towards establishing residential land as public open space, Auckland landscape architects, Boffa
Miskell were asked to undertake a study of the area to establish the need for additional reserves in the area. The local
community provided a very specific brief.
Balmoral Reserve is a small linear space which sits above a busy road. It is a key visual component of the road journey,
however it has been developed as a strictly local park separated physically from the road itself by a high rock
retaining wall.
The wall is the result of extensive lobbying by the landscape architects. (The proposal originally featured a batter
back into the bank which effectively eroded most of the flat land, and then a crib wall.) The rock wall reflects the
hard edged and often inaccessible rock walling common to the Mount Eden landscape. This element is repeated in this
wall; road edge access is deliberately avoided, and step and ramp access is provided at the ends of the park.
The designers have also avoided the standard park attraction of play equipment. Instead sinuous paths snake around the
edges of the space providing a route for young children learning to ride bikes, roller blade or rollerskate. Open spaces
can be used for casual ball games or to fly a kite. Planting reflects adjacent garden planting and extends them out into
the park. Carefully located seating focuses on expansive views to the west.
The space is also part of the road corridor and as trees grow they will help define the intersection and road corridor.
The organic form of the park is pleasant, shrub and tree planting defines the space and flowering trees, shrubs and
wildflowers provide seasonal visual interest, Balmoral reserve is a pleasant space which clearly belongs to the local
community. The park is a terrace clearing waiting for people to populate it, for an event, a set for future activity.
The location of the park above the road and wall deadens noise, however it also sets it apart from the road corridor and
makes it accessible to locals only. Its lack of play equipment and the proximity close to a busy roadway ensure it will
not attract mothers with pre schoolers nor will it be well used by unattended children. It is clearly a park for locals
- almost a private park or extension of the gardens that surround it. This park would have benefited from a more robust
response to the needs of the wider community irrespective of the demands of the locals.
LANDSCAPE DESIGN COMMERCIAL/INDUSTRAIL/INSTITUTIONAL
GOLD
CHAMPION CENTRE THERAPY GARDEN AND PLAYGROUND Jenny Moore
Jenny Moore’s Champion Centre playground is a delightful child-centred garden; an intimate space that slowly reveals its
secrets and provides delight and stimulus to adult and child alike throughout the year.
The Champion Centre at Burwood Hospital in Christchurch provides individual teaching programmes for children with
multiple disabilities. A multi-disciplinary team comprising physiotherapists, occupational and speech language
therapists, an early intervention teacher, play specialist, computer trainer, music therapist, and others, devise a
programme specific to the needs of each individual child. The children come for the day in the company of their parents
or caregivers, who often need some instructional and emotional support themselves.
Such a holistic programme is unique in the world, and the garden designed and executed by Jenny Moore is now central to
its application.
The site is a small flat north-east facing courtyard within the grounds of Burwood Hospital. The building defines two
sides of the space and an existing paling fence confines the space on the other two sides.
The brief evolved from extensive consultation with therapists and parents and a range of specific items of equipment
plant materials and spaces were installed. In some instances these were modified to provide additional specific sensory
experiences – for example there are 8 steps up to the slide so a child can sing through the notes of a musical scale.
Moore designed a simple sinuous circular circuit path that links together separate activity areas, each signposted by
inlaid mosaics. Careful choice of materials and gradient make the path interesting, and create varied environments
through the space. At the far end the path divides in two to provide a challenging gradient and surface, or an easier
alternative route.
The design provides multi sensory stimulus to the children, parents and therapists involved in the outdoor therapy,
hence the choice of a multitude of colours, forms, textures and smells in the plant material. The glorious mix of plant
species, including sweet peas, cabbages and sunflowers, were chosen for their stimulus and experience value rather than
their current status in the design world.
The design was well implemented within a very tight budget ($35,000 was fund-raised). Care and attention was paid to the
details, which are robust and simple but very well executed. Macrocarpa seating and a swing frame structure are devoid
of unnecessary ornamentation, practical with well chamfered edges etc, but also sculptural in their simplicity.
Safety standards were not always adhered to because children are supervised at all times, and dealing with more
challenging surfaces is part of the learning experience.
The project is clearly not the usual approach to landscape design, however the result is a garden that caters for the
fragility of families with developmentally delayed children. People visibly relax on entering the garden and become at
one with their children and the environment. The garden also contributes to the ambience of the therapy rooms in the
flanking clinic.
The Champion Centre’s multi-disciplinary therapy programme is a world leader, and this magical garden is an inspiration
for preschool playgrounds everywhere. .
LANDSCAPE DESIGN COMMERCIAL/INDUSTRIAL/INSTITUTIONAL
SILVER
THE PALMS MALL -ENTRY PLAZA Boffa Miskell Ltd.
A subtle arrangement of space and sophisticated detailing has transformed the entry forecourt of the Palms shopping mall
into a genuine destination for the community of Shirley
The brief was for a functional yet eye-catching landscape where people could go to eat and relax at the main pedestrian
entry point to this large mall and cinema complex. Boffa Miskell have responded by creating a public node for Shirley, a
site for commercial exchange and gathering, an attractive and functional high-use area where safety, comfort, shelter,
circulation and vandalism have all been allowed for. They have avoided the superficial scenography and the patronising
motifs often found in such places and have created an entry court with real class.
The site is flat, but a raised level creates a curving terrace for the food outlets to open out onto, This change of
level is part of the success as it enables a ring of outdoor tables to sit comfortably and overlook the main plaza and
its circulation routes. Boffa Miskell have exploited the change of levels with clever use of walls, steps and ramps. The
usually blank exterior wall of a mall has been broken down, and the café culture is taken outside with tables set off
the entry to the mall like an eddy in the current.
The main pedestrian route in and out of the complex is defined by the paving grid and by a break in the grove of olive
trees. Traffic calming slows and buffers vehicles from the occupants of the square without removing the interest of
passing cars.
Although the retail cycle of a mall is expected to be about ten years before refurbishment, the materials used here are
timeless and we would like to think they are sustainable in the long term.
Thorough attention has been paid to detail, with furniture carefully considered to be part of a family. The shape of
bollards, bins and lighting poles reflect the dominant curves in the mall entry. The same Timaru bluestone is used
throughout, but the finishes on the stone reflect different use areas or elements in the space. Careful attention has
also been paid to the connections between the stone, and design thought has gone into the exact cut and shape of every
stone in the construction.
In contrast the small creamy yellow stones – epoxied into the tree grates, provide interest and light within the
predominant grey of the paving. They are also permeable to allow rain to feed the tree roots as well as providing a hard
flush surface for walking.
Tree and groundcover species around the car park were chosen to tie in with dominant tree species used in the local
neighbourhood. Olives are used in the mall area to complement the predominant greys of the paving. Plants indigenous to
the area such as lancewoods, have been used to partially screen the terrace and these are perhaps a little incongruous
in their detail and colour when they are compared to the strength and simplicity of other planting around the site.
The entry court of The Palms is a community gathering point. The mall is located in the suburban neighbourhood of
Shirley, but it has become a destination for socialising locals and movie goers from all over Christchurch. The
attention to detail and finish has lifted this design above the usual and created a sophisticated community space.
LANDSCAPE DESIGN RESDENTIAL
SILVER
FISHER AND PAYKEL GARDEN Boffa Miskell
With great gusto, Chris Bentley of Boffa Miskell Ltd. has created a landscape ablaze with a riot of texture, colour and
diversity, which provides a dramatic setting for the Fisher and Paykel (Healthcare) center in South Auckland. An
exuberance of Pacifica flourishes laid out in the style of Roberto Burle Marx on the grandest of garden scales and with
a core ethic of environmental responsibility.
This design comprises a large-scale, park-like landscape redevelopment for the Fisher and Paykel Healthcare facility in
Waiouru Road, South Auckland. The site is located on the north-eastern corner of the Waiouru peninsula, on softly
undulating rural peatlands, criss-crossed and creased by waterways of varying stature.
Boffa Miskell’s brief has been to liaise with the client, engineers and architects and to develop a comprehensive,
quality commercial landscape redevelopment for the 45 hectare greenfield property. The design involved input on the
building placement, access roading and carpark layout, stormwater collection and processing (via the introduction of a
large retention pond including boardwalks and stony beaches,) extensive planted beds and lawns, pathways and internal
courtyards to the main buildings.
The 1 hectare pond constitutes a serious exercise in sustainability, with reticulating storm water, a litter trap,
absorbent boom, sediment trap and cleansing wetland.
Chris Bentley from Boffa Miskell’s Auckland office has designed an extensive garden which exceeds the level of design
normally found in light industrial developments. This ‘garden’ sets new standards, and raises the bar in terms of
bringing an idea to fruition in such a successful way.
A high quality landscape environment has been achieved by developing simple, strong and inherently reliable hard works
juxtaposed with large and boldly planted areas. Seating, decks, steps and paths are deliberately not elaborate, but work
well in this very large ‘garden’ environment.
The result is an excellent response, introducing an accessible human scale to a huge sprawling building complex, both
outside and within, through a series of small internal courtyards splashing colour into the very heart of the vast
building footprint
Outside, the success has been achieved through a carefully articulated spatial layout created by an extensive sinuous
path network, allied with planted beds conceived as if by the painterly sweep of a brush on canvas. The varying ‘drifts’
of species within these beds are very striking in their texture and colour - there are unashamedly, shades of Roberto
Burle Marx here. Plant species chosen are massed in such a way as to create a pseudo sub-tropical mix, the aim being to
celebrate the site’s location in the South Pacific rather than just using a purely local native palette. A decision in
places to use miniature and variegated forms of otherwise well known native plants has worked well, the brighter and
contrasting colours and textures address the scale of the built structures and the open nature of the wider landscape
well. This provides a great deal of interest and excitement in an otherwise relatively treeless landscape scheme.
It could almost be described as a 2-dimensional design (no slur intended), an artwork that has jumped off the canvas and
come to life.
LANDSCAPE DESIGN SUSTAINABILITY
GOLD
MEADOWBANK SCHOOL ENVRONMENTAL TRAIL. Boffa Miskell Ltd - Sarah Collins
The Meadowbank School Environmental Trail has transformed a weedy overgrown gully and rubbish tip into an attractive
teaching resource, totally in harmony with the local ecology. The involving process and commitment to its creation will
also ensure its sustainability.
Meadowbank Primary School in the Auckland Suburb of Meadowbank is divided in two by a perennial stream gully. Sarah
Collins of Boffa Miskell became involved as a parent in refurbishing the banks of the small stream, which splits the
school in two – a junior campus and a senior campus. She and fellow parent, Nicki Elmore - also national co-ordinator of
the ‘Trees for Survival project’ - led the creation of a major teaching resource within the school, which should become
a model for environmental teaching for the country.
The site’s previous use as a rubbish dump, its steep slopes and a collapsed rock retaining wall meant the area was out
of bounds to children. Sporadic attempts to tidy it up had resulted in trees being planted without any overall
sustainable vision.
Development began with the removal of major tree weeds. Steps down into the space, a rock and concrete ampitheatre
((utilising rock material from the collapsed wall to form a teaching gathering space), and specialist teaching spaces
were constructed by landscape contractors. An extensive pathway system constructed in part by PD gangs runs through the
site, connects both sides of the stream, the teaching spaces and provides an alternative route between the school
campuses and a circuit through the site.
Planting is designed along general ecological principles, however allowance is made for the children who carefully
nurture kowhai seedlings within the planting. Over 900 plants were planted in one day by the school and the wider
community, including local members of Forest and Bird. Children have an ongoing involvement in maintenance and happily
form bucket lines to spread mulch donated by local arborists.
Further understorey and stream side planting is proposed. Further research on the stream ecology is also planned.
The school integrates environmental education into the curriculum. A specialist teacher is employed for two days a week
and she and other staff utilise the stream environs for maths, social studies, arts, technology and language.
Sustainable practices have been set up throughout the rest of the school and include hydroponics, vegetable garden,
flowers, worms, ‘Trees for survival’ and composting.
Extensive liaision with the wider community, including local politicians, for funding and support from the community and
a new principal, has resulted in an under-utilised resource (or liability) being developed into a major environmental
education resource. This resource is not only an integral part of the school environment and a hub of learning, but it
is also part of a public walkway (with the blessing of the school) and a wonderful weekend playground for neighbourhood
children.
Meadowbank School’s commitment to developing this area created a sustainable resource and a blueprint for environmental
education in schools throughout the country.
LANDSCAPE DESIGN SUSTAINABILITY
GOLD
OKEOVER STREAM Jeff Weston
Jeff Weston has orchestrated a brilliant team and restored a previously shunned stretch of waterway within the grounds
of the University of Canterbury, close to the level of thoroughness that only nature can better. This waterway
enhancement sets new standards of environmental improvement and habitat creation, and proves that even in the most urban
of settings a place for nature can be found.
Okeover Stream is one of three streams that run through the grounds of the University of Canterbury. The objective of
this project is to create a self-sustaining urban ecosystem, through innovative restoration techniques. It is proposed
that endemic freshwater species, in particular the rare and threatened Canterbury Mudfish will be released into this
restored habitat.
There is an obvious complete commitment to the research, trialling and re-creation of an ideal habitat for freshwater
species. A holistic team approach has been taken, utilising the top experts in their respective fields and a wealth of
enthusiastic student help. There is a clear passion and drive from all involved that this restoration is successful. A
serious approach and a long-term commitment to ensuring as ‘natural’ a job as possible is evident in all aspects.
A ‘soft’ engineering approach has been used here to create a stream environment that is as near to nature as possible.
The intent that nature eventually takes more and more control of the form of the stream is a sensible sustainable
approach. Deep, slow moving water (the mudfish’ habitat), has been ingeniously created only after much careful study of
nature, and a team-based design process. A manipulation of the nature of the stream has been successful through the use
of bank re-profiling, subtle weirs and gabions. Creating this sort of habitat is something that is not easy to achieve
in such a narrow stream as this, and must be commended.
It is clear that in time the associated in-stream simple and practical detailing such as the rock bank toes, and gabion
structures will be overgrown by the rapidly colonising vegetation – as it already has in the two year old Engineering
Pond downstream, cleverly converted from a muddy stagnant pond into a lush wetland with a flowing stream.
It is appreciated that the ‘terrestrial’ hard detailing is simple, strong, practical and natural looking to complement
the naturalising of the stream rather than fight it for recognition. A responsible and thorough approach to protecting
the ecology of the area is clearly evident through the use of non-treated timber and non- galvanised steel coatings.
The streambanks have been densely planted and well mulched and use the most ‘correct’ sequence of indigenous species as
nature would have intended here. The planting is very healthy and is now showing signs of regeneration, the idea being
to become self-sustaining and so reduce or obviate the need for maintenance. The team’s plans to start introducing
in-stream plants to the actual waterway are a further commendation of the success of the stream works and the desire to
create as complete an ecosystem as possible, in this very urban setting.
LANDSCAPE DESIGN SUSTAINABILITY
BRONZE
ARA HARAKEKE – THE FLAX PATHWAY, Andrew Gray, John Hudson and Robin Gay.
Ara Harekeke or the flax pathway is a walkway/cycleway that provides a safe and sustainable alternative to the car for a
wide range of users. Ara Harakeke is an excellent concept and an admirable stimulus to encourage people out of their
cars, onto the walkway, and into the community. It is even more admirable that much of its construction was achieved by
utilising an existing resource and recycling waste material.
Porirua City Council and Wellington Regional Council studies identified that there were few opportunities for cycling or
walking in the area. They asked the project landscape architects to work with key stakeholders to fit a pathway into a
narrow area between the new highway alignment and the swamp, without adversely affecting the swamp. Ara Harekeke is a 5
kilometres long pathway that runs between Plimmerton and Pukerua Bay and lies alongside a recently developed expressway
section of State Highway 1. The pathway is located either on or adjacent to the original road, crosses several streams,
and skirts the edge of the ‘Taupo Swamp’ wetland, before winding up the valley to the saddle of Pukerua Bay.
1.6 kilometres of the old road has been included in the pathway, and elsewhere road material has been recycled as base
course material (It is perfectly adequate for the pathway, but did not meet the specs for the new roadbed, so would have
been trucked a considerable distance to be dumped). By combining the construction of the pathway with the construction
of the highway, $60,000 in road construction costs was saved. This money was reallocated to the pathway project.
Additionally the pathway is located over underground services where there are planting restrictions.
The walkway has an even easy grade which has been achieved by paying careful attention to alignment. Traffic noise has
also been considered and where possible physical or visual buffers have been installed between the pathway and the road
from it.
The proximity of the roadway either adjacent to the swamp or adjacent to regenerating bush was considered, and
additional planting has been carefully detailed to reflect adjacent vegetation or to provide visual stimulus to users of
the pathway.
Ara Harekeke is dedicated to both cyclists and pedestrians and is obviously already a huge success. User experience will
only improve over time as weeds are eradicated and the planting matures.