La distinción entre competencias sectoriales y funcionales

Relationships between materials:

Physical/Hard materials (human or other origin i.e. geological/cultural source

Living/Soft materials (human or other origin i.e. ecological/biological source)

Observed Artefacts & Surfaces: [Key Features & Landmarks] Geological form/deposit Ecological feature/species Hydrological feature Built form/structure Remnant/marker (trace) [Layers Present} Track Surface (Material) Track Surface (Form) Exotic species Native Species Built form/intervention Time

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Recorded materials as section columns with individual theme:

Location on map:

Soil/loess Igneous rock

Erosion and drought De-vegetation/clearance Intrusion Deposition ad thickening

Mixed Native & exotic park species (grass/scrub/tree) Overgrown scrub Wetland Quarry operations Drainage pond Quarry operations Pasture Bush Native scrub Plant pests Pest clearance/replant Plant pests Pasture Bush

Friends of park/regen schedule Park formed (recreational & scenic) Quarry work & Land ‘improvement’

Conversion (European settlers) Native Bush Pasture Walkers track Pasture Bush Fire Rest area/shelter Pest control

Pest species (possums/weeds) Native plants/scrub Clearance Quarry operations Native bush/scrub

Events (weddings/social venue) Restoration Regrowth Fire Planting Quarry operations Recreation/rest site Pasture

Status change / Scenic Reserve established

Bush

Mixed Native & exotic park species (grass/scrub/tree)

Overgrown scrub & surface disturbance. Quarry operations

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Other Observations, comments and reflections:

In choosing to look for various surfaces and in attempting to see beneath the surface there are many things that might be found. Many of these items and layers are easily overlooked, disregarded or drowned out by other more voluminous things. Without careful attention, prior knowledge or an active interest many items would not be recognised or sought after. Seeing thickly involved an active, informed looking but it also involve intuitive knowing. In looking I must move past what I think I see, what I want to see and I must delve deeper: I must learn to see others footsteps and histories. Some of this learning comes from books and photos and reading local histories but other knowledge comes from drawing connections. I know this, I see this… I put the two together and what do I see? The line thickens, and as it coalesces it gains traction. An example of this comes from an afternoon’s walk in Purau Bay –

undertaken as a preliminary walk to Sighting Walk Two.

View from Stoddard Point overlooking Purau Bay and Ripapa Island.

The following text comes from Walking Journal (Purau & Ripapa). When I first walked out to the Bay, stood at the headland at stared out across Ripapa Island I did not expect to feel such strong reactions or to draw such connections. Looking across to that island, on a sunny peninsula day my mind travels back to Taranaki. Like an echo, I think of the people from there, transported south to this part of the country. From under the shadow of the mountain to this harbour. Stolen away, imprisoned. That mountain, Taranaki /Egmont, is my mountain too. Under its shadow, is home. From its green slopes flows the Stony River, the Hangatahua, down to the Tasman Sea. Far from here and this Pacific outlook. So different yet a journey we have both made: they captured by soldiers, me here of my own accord. Different routes and modes, different histories, different bloodlines yet I feel a kindred spirit, we are

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both of from the mountains shadow. I state at Ripapa Island and think how I cannot go there (not after the post-earthquake closure). I think how those who were imprisoned there could not leave, they could only dream of a mountain and western shores far away.

As a child I was taught to ‘ask that mountain’ (Scott, 1981) … It is an asking that resides in me. I am conscious of its presence as I walk in these hills. Conscious of histories and memories not my own but which mingle with my own knowing, seeing, and learning because I am here. Walking the paths above Purau Bay, Parihaka seems like distant history, it also seems very alive and present. The land has a story to tell, beyond my own – the story of its formation, the story of other people who have passed before me. I bring these voice with me, and I find them as I walk. I must learn to discern these voices apart from my own.

In his poem ‘Not by wind ravaged’ Hone Tuwhare (1964) writes of a land stripped of its voice. A voiceless land, muted not only by its own loss, but the loss of its people. People and landscape intertwined. The land echoes of people, who echo of land – a living incarnation, in dwelt. The path takes me past my own familiarity, into this new knowing. New scenes, new experiences - limited only by my capacity to observe and take in. As I walk in landscape I must learn to observe deeply: not just using my eyes, but my ears, my fingers, my feet, my heart. Using all of my senses to truly understand and to know. Beyond this, there is yet more, for I must also recognise time. Over time – dwelling in place, in revisiting and with attention, my view expands. The echo takes a new form as I add my own voice.

How I touch the land, how I will design within, upon and of this place is bound to how I know and experience. Observing, knowing, hearing the echo – letting land, letting people past and present speak.

In the context of the walking exercise – this reaction, this knowing of space is but a layer. It is not insignificant, quite the reverse, but in terms of a visible trace it is almost invisible, it is immaterial, just a view to an island. This in itself reveals the depth of landscape, that one thing viewed in one particular way by one person can have huge depth. When connections are made between two peoples this is exponentially so.

‘O voiceless land. Let me echo your desolation. The mana of my house had fled….’

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B3: Sighting Walk Three – Sustained Seeing

Packhorse Hut Track/ Gebbies Pass to Kaituna Pass

Exercise Brief

5. Identify a site of interest found during a previous walk and obtain a visual survey at site. Review observations and inventory recorded at the site.

OR: IF a survey has not been completed complete a full survey of site and record observations: compile walk notes, maps, and

sketches/diagrams.

NB: This exercise is intended to explore what is additionally seen after a first survey exercise. Having already obtained detailed records of site subsequent viewings should be treated differently, as separate and the walker-observer should feel free to explore new avenues of seeing.

6. Having reviewed the previous survey information. Re-visit site and explore what is now able to be seen. Take time, pay careful attention in re-looking at the same site. Record and describe what is new, what has changed, what might be seen given time.

7. Repeat. (This exercises may be aided by the establishment of set viewing criteria or checklist of objectives e.g. a specified range of survey criteria or length of time per view).

8. Analyse observations and identify new information, new insights or changes in process. Compare and contrast two surveys and identify differences

Track Section Survey Point Featured Site

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Notes:

In this exercises the same scene was viewed and six different lenses or frames of view were established. Responses drew on previous

knowledge of materials and site. Questions also helped in re-looking at site: i.e. what is considered natural? How long has it been here?

Each ‘looking’ revealed new materials to add to inventory.

The first look involved photographing/sketching a view from a section of track previously explored during a field survey exercises. This looking was centred on surface materials and identification of objects within the frame of view. The subsequent looking

undertaken as part of the exercises used a specific focus and a sketch of a particular surface was created:

Perceived temperate changes in materials Native vs. Exotic species and elements Felt textural changes

Lines and mass (material volume and form creates linear patterns of process and movement)

Removal of cultural features (‘erasing’ man-made elements) Structural lines seen in topology and form)

Study Site:

Located along the Gebbies Pass – Kaituna Saddle Track,

approximately 800m west of the Packhorse Hut. The track curves east towards Mt Bradley, around steep hillside through the Remarkables dyke system (a series of long thin magma intrusions). Photo show localised area around feature site. Land use is

predominately pastoral grazing on open tussock with pine

plantation to the south-west in the valley below. Original land cover was thought to be mixed podocarp forest and low montane scrub.

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Interpretation One / First Look

Warm & Cold: Sitting, waiting for an epiphany. What is new? Can I see something different? The rock where I sit is warm in the sun and so I start to look around and out. A sunny day and rock will slowly accumulate heat, in winter this melts snow (on a local scale) and forms pock marks, in summer heat exchange creates a thin layer of condensation, enough to support lichens. So I beginning to look for cues of heat exchange, and to look for those things which respond and require such exchanges. I see a landscape of conductivity, of exchange, of consequence.