Te Whakahou i te Tautuhinga mō te Nekenekehanga ā-Tāone City Rail Link

Naming of the stations was fundamental to reflect their sense of place. Four station names were gifted by the CRL’s Mana Whenua Forum representing important elements of iwi tradition and heritage and reflecting significant geographical features around the stations. This was an opportunity to hear from Mana Whenua, and the Geographic Board of New Zealand subsequently accepted the new names.

Sky Element (Ranginui)

Architectural façade (rain screen) that is representative of Ranginui the sky father. Challenges faced by the original reference design canopy prompted the development of the sky expression. This turned out to be a significant moment for weaving local history and landscape into design principles.

A notable achievement has been creating a clearer distinction between the earth and sky elements in the architecture, allowing the facades to stand out more prominently.

Earth Element (Papatūānuku)

Architectural façade representative of Papatūānuku the earth mother. The earth element embodies the earth mother, Papatūānuku, serving as both an anchor and a frame at the entrance. It supports life and bears station names, connecting the structure to its location. This architectural cladding symbolizes Papatūānuku's realm in the creation myth.

The renaming of Mangawhau (Mt. Eden Station) honours the volcanic landscape, integrating art and cultural narratives to depict Auckland's geological heritage. The name, gifted by Mana Whenua, and the water wall installation both celebrates Rangitoto's basaltic significance while reinforcing cultural ties.

Threshold Element - Atua (Deity)

A public art response representative of atua (Gods and Spirits) that represent the identity of the stations. Threshold elements have been added to serve as distinctive markers for the stations. Each Station has its own unique threshold.

The threshold expresses a cultural feature individual to that Station's environment, enhancing cultural expression in the cityscape.

Te Waihorotiu Station's Wellesley foyer will feature a striking high ceiling adorned with suspended aluminium rods. This design concept captures the essence of the former Horotiu River, which flowed through Queen Street, symbolizing its rippling water and reeds. The centerpiece of the rods is a resting taniwha, the guardian of the river, holding its significant name.

Karang-a-hape Station's interior threshold element draws inspiration from Tāne Mahuta's action of separating Rangi and Pāpā, referencing the kauri forests. This concept is conveyed through a ceiling carving that explores the design's connection to the pūpū rangi kauri snail.

Graham Tipene

Artist for Ngāti Whātua Ōrākei

Te Waihorotiu, named after the historic river that once flowed along Queen St, reflects its ties to Ngāti Whātua. The artist, Graeme Tipene, approached the project with a passion for integrating Māori design and engineering directly into the station’s construction rather than adding artwork later. Growing up in the 1970s and 1980s, Tipene observed Māori design primarily in museums and is committed to ensuring widespread cultural visibility for future generations. The Mana Whenua Forum provided a narrative guiding artists, emphasizing the historical significance of the nearby Horotiu river. The design pays homage to the spirit of the water, highlighting its connection to humanity and our role as guardians. It is deemed essential for artists with historical ties to the land and water to undertake this work, as they capture the essence that an artist from another region lacking such connections might miss. The artwork features reeds with an internal representation of a taniwha safeguarding the water’s life force. Augmented reality will animate the taniwha on people’s phones as they point them towards the ceiling, transforming the station into an engaging destination rather than just a transition area.

Reuben Kirkwood

Artist for Ngāi Tai ki Tāmaki

Reuben Kirkwood, the artist representing Ngāi Tai ki Tāmaki at Karanga-a-Hape Station, blended Tāne’s forest narrative with local representations of his essence, paying homage to the iwi-whenua of the Karanga-a-Hape story. Simultaneously, he aimed for universal resonance in the design, incorporating symbolism and art that complements the station’s architecture.

Drawing inspiration from the Waitākere Ranges, the main station’s elevated decorative ceiling reflects the tree canopy and includes references to the kauri snail, pūpūrangi. The Waitematā influence is evident in an artwork symbolising tidal movement. A large vent at Beresford Square, cloaked in concrete with lashing detail, honors wrapped rākau atua (godsticks), featuring moulded bronze manaia detail signifying guardianship, kaitiakitanga, of iwi-whenua.

The threshold of Karanga-a-Hape Station takes the form of a pare, with prominent moulded figures of Ira Atua and Ira Tangata underscoring whakapapa and the link between atua and tangata. The main building’s façade draws inspiration from the Milky Way, Te Ika Roa, portrayed by architectural fins resembling stars or diamonds.

Tessa Harris

Artist for Ngāi Tai ki Tāmaki

Tessa Harris, the artist representing Ngāi Tai ki Tāmaki at Maungawhau Station, weaves the area’s volcanic history with the theme of Atua Mataaho, the volcano deity, in her work. Basalt, sourced from both the project and Mount Eden, holds the essence or mauri, connecting back to Maungawhau and Mataaho.

Her design revolves around a triangle, mirroring the shape of a maunga, symbolising stability, strength, power, and purity. Upon entering the station, visitors are greeted by a substantial water wall made of basalt triangles, resembling a traditional tāniko weaving pattern. The water’s flow down the triangles symbolises Parawhenuamea, representing fresh water coursing through volcano crevices.