This year there are five Brick Bay Folly finalists; the winner will be announced in May 2023. Image: rendering provided
500 Trees by Miro Sumich, Sacha Kapadia, Graham Garcia and Katrina Nielsen (all University of Auckland). Image: Provided render
500 Trees was inspired by the fickleness of the dandelion. After living for two years, the silly bird scattered 500 cowrie chicks she had raised from seedlings. Image: provided render
500 Trees by Miro Sumich, Sachi Kapadia, Graham Garcia and Katrina Nielsen (all University of Auckland). Image: drawing provided
Materials for the structure were assembled from materials found in Brick Bay – pallets, fence posts and bolts. Image: blueprint provided
“E rua ngā kete – The Two Baskets” by Jessica Varney, Michaela Buckle, Samantha Bell and Jeremy Cleland (all University of Auckland). Image: Courtesy render
“Hay Folly” by Terry Cheng, Wooyoung Jang and Tim Lee (all from the University of Auckland). Image: Provided render
“Hay Folly” is a maze of haystacks and individual layers of planks that fall apart and blend into the scene, leaving only memories. Image: Provided render
“Hay Folly” by Terry Cheng, Wooyoung Jang and Tim Lee (all from the University of Auckland). Image: Drawing provided
“Periscope” by William du Toit and Clark Murray (both Wellington School of Architecture). Image: Provided render
“Te reo te hau – the voice of the kōkōhau” by Matthew Green, William Creighton, Seth Trozio and Chris Gandy (all Wellington School of Architecture). Image: Courtesy render
The structure “Te reo ote hau – The voice of kokohau” is derived from the waka structures. Image: drawing provided
Brick Bay Folly judge and mentor Pip Cheshire reviewed this year’s finalists’ proposals and concluded that each of them reflects the moral and cultural climate of our times.
Ultimately, this is an everyday architecture inoculation, and Brick Bay Folly joins a handful of other types of projects that offer fairly quick validation of ideas, thankfully without bureaucratic interference. Stupid competitors secretly take advantage of these conditions and offer designs that give an idea of the current architectural spirit. For example, all of this year’s competition finalists have shown commitment to the responsible use of materials and Te Tiriti’s sensitivity to accountability. Some have also proposed projects that explore the possibilities hidden in the ephemeral existence of stupidity.
500 Trees was inspired by the fickleness of the dandelion: nurturing and then, after a foolish two-year life, dispersing a fledgling cowrie. In keeping with Brick Bay’s sustainability vision, materials for the structure were recycled from materials found in Brick Bay – pallets, fence posts and bolts. They are used to make shelves with pots that we can move around. Growers grow 500 kauri seedlings, whose growth has changed relentlessly throughout their life cycle, before they are transplanted to selected locations scattered across the motu. The silly structure was redesigned again after visiting Brick Bay, leaving behind a legacy of forest rebirth where silly is just one stage in a tree’s life cycle.
E rua ngā kete – two baskets: “Nāu te rourou, nāku te rourou, ka ora ai te iwi – with your and my food basket, people (lands and contracts) will prosper.” This whakataukī is a concise statement of the value of the project, a ground for folly that offers a view of New Zealand’s Aotearoa multiculturalism. Madness is a fence made of wooden slats and foundation pillars from which visitors can look out over the valley and bay below. The whimsical shape of the basket symbolizes the interweaving of society: red for the venua tangata and natural wood for the tiriti tangata. The colors are taken from the surrounding flora and fauna, specifically the native pohutukawa trees that line Brick Bay, Snells and other nearby beaches. These materials are often used for truss fencing and then repurposed as fencing.
Made from corral material, Hay Folly is a labyrinth of hay bales and individual layers of planks that will inexorably fall apart and merge with the stage, leaving only memories. A single opening draws visitors into a frenzy, and the plan follows a spiral where spaces contract and expand as hay-bale corridors get shorter and tighter. Visitors enter a quiet “room” at its center with an elaborate view of Kawau Bay, a madness that enhances the world on an intimate scale.
The Periscopes proposal aims to activate stupidity as a tool to “reset” our perception, to “interact” with the surrounding landscape and damage that is slowly happening and to which we may have become desensitized. The three structures highlight the three pillars of the natural world – sea, land and sky – creating points of reflection, each of which isolates visitors in space, creating distinct views. Offering a vernacular approach of a timber frame, corrugated iron panels, two mirrors tilted in opposite directions forming a periscope that activates intervention and invites us to interact with the sea, landscape and sky through silly mechanisms.
Te reo te hau – The kōkōhau sound is inspired by the kōkōhau (wind), which catches and sounds the breeze blowing over Brick Bay. The structure is borrowed from Waka architecture: ties hold together large beams that support walls of cloak-like sound-producing installations that also shelter visitors who venture inside. Revered by the local Ngati Manuhiri Maori tribe, the kokohau carries a lot of stories as it whizzes by, activating a wacky soundboard that looks like a wind chime; he talks about the health and well-being of people, groans and venua, sometimes louder, depending on the strength. wind, sometimes gently.
This year’s judges were Pip Cheshire of Cheshire Architects, Steve Cassidy of Cassidy Construction, Keith Mann of Unitec, Karen Warman of Resene (represented by Hadley Armstrong), Peter Boardman of Structure Design, Chris Burton of Architecture NZ, Richard of Brick and Anna Didsbury . Bay and Nicholas Roseby from last year’s winning stupid team The Nest.
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Post time: Nov-23-2022