Daughter of The Swamp.
By Ryan Mahon, Sacha Milojevic, Edward Roberts & Raphaela Rose.
The Folly is an architectural object that lacks a deliberate functional purpose. The Folly must instead examine its surroundings and allow them to bring it into existence. The question of what the Folly might be leads one to consider myths of eels, Hinaki (eel trap) and perhaps even taniwha. Following these lines, one arrives at Maui, who legend has it was first to catch the long eel, and his wife Hina, The daughter of the Swamp.
It is like a building envelope but, adhering to the traditions of the Folly, it provides no practical protection, only spatial definition. Instead it offers a bright interface between the viewer and the surrounding landscape that is observed through the gaps in the inter-laced steel. The Folly, within its organic setting, re-contextualises the material of the reinforcing bar. The steel, with its heavy associations of industrial progress and the modern age is put to an unexpected almost contradictory use in its emulation of a soft, traditional organic object. By overlapping and repeating forms, an effect like that of the delicately woven eel traps is achieved. The Folly is informed by the historic hinaki, formed from contemporary materials and rests beside the enduring lake and swamp. It simultaneously speaks of historic cultural artefacts and our modern day material condition.
Proudly supported by Fletcher, Resene, Unitec, AGM Publishing, Architecture Now, Architecture NZ, Samuel Hartnett Photography, New Zealand institute of Architects.