_ ANIKAARO ROSS HOSKINS_ GRADUATE LANDSCAPE ARCHITECT (HONS)_ COMPLETING MASTERS OF LANDSCAPE ARCHITECTURE_ LINCOLN UNIVERSITY _ PORTFOLIO

Ko huruiki te maungaKo waiariki te awaKo whakapara te maraeKo te ihi o nehua te whare huiKo te tawaka te whare manaakiKo kahukuri te tangataKo Ngati Hau te hapuKo Ngati Hau te hapuKo Nga Puhi tonu nui te iwiKo Nga Puhi tonu nui te iwiKo mataatua te wakaKo Anikaaro Ross Hoskins ahau

_PERSONAL MANIFESTO_ I am passionate about considering landscape as a holistic entity, balancing sedimentary layers of landscape character, environmental sustainability, as well as social and cultural philosophies.

_ I believe it is important to have a strong theoretical base for landscape analysis, and to create methodologies that strengthen the validity of design outcomes.

_SELECTED WORKS

1_ MASTERS 2013 _ DESIGN BASED THESIS...........................3. _ INTERPRETING TERRAIN FOR REMEMBRANCE

1.2_ METHODOLOGY.................................................................4 _ FILM _ EXAGGERATED ENGAGEMENTS WITH SURFACE

2_ KAIKOHE _ LANDSCAPE AT THE HEART OF NGAPUHI.......5 _ MAJOR DESIGN 2012 _ RANGE OF SCALES [MASTERPLAN, DETAIL DESIGN]

3_ STRATEGIC PLANNING _ CHRISTCHURCH CBD................... _ EMBEDDED MEMORY _ EARTHQUAKE RECOVERY

7

_EXTRACT

Ko au te awa ‘ I am the river, and the river is me’. For the people of Christchurch, the Avon River is seen as the linear heart of the city. It’s veins touch the people on collective and individual levels. The river is a passage of individual and collective The river is a passage of individual and collective memory dotted within and along the edges. The river holds many secrets, weather encounters with lovers, memories of conversations or gatherings, or as a place of refuge for quiet reflection, nostalgia or mel-ancholy.

_ RESEARCH AIMS AND CORE ASSUMPTIONS

This thesis was sparked from a curiosity of awareThis thesis was sparked from a curiosity of aware-ness for the need to remember. Often design is used to clear and disguise unseemly elements from the land. Whether physical or emotional, design has the ability to wipe the slate clean of unsavory or hard to accept details. After the tragic Christchurch Earth-quakes there is a heightened need to use design as a projection for remembrance in the landscape. The scale and intensity of remembrance and memory trig-gers may vary on individual basis, however the land-scape may become a vessel for reflection on these varying levels.

_PROCESS _AVON RIVER

REM

EMB

RA

NC

E

_MASTERS 2013 _ DESIGN BASED THESIS_INTERPRETING TERRAIN FOR REMEMBRANCE_PERSONAL MANIFESTO

_ I am passionate about considering landscape as a holistic entity, balancing sedimentary layers of landscape character, environmental sustainability, as well as social and cultural philosophies.

_ I believe it is important to have a strong theoretical base for landscape analysis, and to create methodologies that strengthen the validity of design outcomes.

_SELECTED WORKS

1_ MASTERS 2013 _ DESIGN BASED THESIS...........................3. _ INTERPRETING TERRAIN FOR REMEMBRANCE

1.2_ METHODOLOGY.................................................................4 _ FILM _ EXAGGERATED ENGAGEMENTS WITH SURFACE

2_ KAIKOHE _ LANDSCAPE AT THE HEART OF NGAPUHI.......5 _ MAJOR DESIGN 2012 _ RANGE OF SCALES [MASTERPLAN, DETAIL DESIGN]

3_ STRATEGIC PLANNING _ CHRISTCHURCH CBD................... _ EMBEDDED MEMORY _ EARTHQUAKE RECOVERY

_METHODOLOGY _FILM

_AVON

Film as a method of edititing, and focus on specific landscape elements. Often what the eye sees and what the brain pro-cesses are different. Using film I able to analyse symbolism in the landscape and articulate elements, which may spark an enhanced experience for remembrance.

Isolating stills from films of relevant landscape aspects likens itself to traditional cinematography and creates a storyboard of changes, a developing library of sedimentary layers in the landscape, thumbnails for site analysis.

Isolating the round plane, walking and sounds enhanced the change in texture, bird song and repetitiveness of footfall.

Links to filmic site analysis:-FILM 1_ https://vimeo.com/75819112FILM 1_ https://vimeo.com/75819112FILM 2_ http://vimeo.com/71232524

The land is a stage. The land possesses a setting for social interaction and response. The land remembers the past, and allows a projection into the present. Memory reverberates through the strata of place, the repMemory reverberates through the strata of place, the rep-etition of footprints and tread marks imprint the land-scape. The land does not forget.

As people pass through place, a memory of what has been remains. Sedimentary layers of individuals and cultural groups are embedded in the land, adding richness to the surface of place.

_EXAGGERATED ENGAGEMENT WITH SURFACE

The track most trodden is worn, used, while the path less explored has sediment build up, the dust left at the edges, in the corners of unused, unattainable or neglected space.

Engagement with surface allows insight into the old and new, as changes in the rivers skin occurs. Boot marks im-print the muddy banks of the Avon, allowing an observance of inescapable remnants of people passed.

_METHODOLOGY _FILM

_AVON

Film as a method of edititing, and focus on specific landscape elements. Often what the eye sees and what the brain pro-cesses are different. Using film I able to analyse symbolism in the landscape and articulate elements, which may spark an enhanced experience for remembrance.

Isolating stills from films of relevant landscape aspects likens itself to traditional cinematography and creates a storyboard of changes, a developing library of sedimentary layers in the landscape, thumbnails for site analysis.

Isolating the round plane, walking and sounds enhanced the change in texture, bird song and repetitiveness of footfall.

Links to filmic site analysis:-FILM 1_ https://vimeo.com/75819112FILM 1_ https://vimeo.com/75819112FILM 2_ http://vimeo.com/71232524

The land is a stage. The land possesses a setting for social interaction and response. The land remembers the past, and allows a projection into the present. Memory reverberates through the strata of place, the repMemory reverberates through the strata of place, the rep-etition of footprints and tread marks imprint the land-scape. The land does not forget.

As people pass through place, a memory of what has been remains. Sedimentary layers of individuals and cultural groups are embedded in the land, adding richness to the surface of place.

_EXAGGERATED ENGAGEMENT WITH SURFACE

The track most trodden is worn, used, while the path less explored has sediment build up, the dust left at the edges, in the corners of unused, unattainable or neglected space.

Engagement with surface allows insight into the old and new, as changes in the rivers skin occurs. Boot marks im-print the muddy banks of the Avon, allowing an observance of inescapable remnants of people passed.

_MAJOR DESIGN 2012_KAIKOHE _ LANDSCAPE AT THE HEART OF NGA PUHI

_CONTEXT

_MASTERPLAN 1:1000

_MASTERPLAN 1:1000 _INTERMEDIATE PLAN 1:500

_DESIGN DETAIL 1:100

_GRE

EN C

ORR

IDO

R CO

NN

ECTI

ON

S

_PLANTING PLAN 1:100

_STRATEGIC PLANNING CHRISTCHURCH_EMBEDDED MEMORY _ EARTHQUAKE RECOVERY

_ ANIKAARO ROSS HOSKINS_ GRADUATE LANDSCAPE ARCHITECT (HONS)_ COMPLETING MASTERS OF LANDSCAPE ARCHITECTURE_ LINCOLN UNIVERSITY _ PORTFOLIO

Ko huruiki te maungaKo waiariki te awaKo whakapara te maraeKo te ihi o nehua te whare huiKo te tawaka te whare manaakiKo kahukuri te tangataKo Ngati Hau te hapuKo Ngati Hau te hapuKo Nga Puhi tonu nui te iwiKo Nga Puhi tonu nui te iwiKo mataatua te wakaKo Anikaaro Ross Hoskins ahau

_CONTACT INFORMATION

_ANIKAARO ROSS HOSKINSPH: 0274285516EMAIL: anikaaro.ross-hoskins@lincolnuni.ac.nz