Interior Architecture student Karunikah Pere-Walker explores mātauranga Māori and sustainable design

We had a chat with Karunikah, ​Rongowhakataa, Ngāti Porou, Te Aitanga-a-Māhaki​, third year Bachelor of Architectural Studies student about her experiences at Te Herenga Waka and her light project ‘Re-purpose’ that she created for the Living Pā.

4 December 2024

Q: What made you move to Wellington?

I wanted to come down to Wellington as I had heard how creative and accepting the city is. I love the city and everything about it.

Q: What inspired you to study Interior Architecture at Te Herenga Waka—Victoria University of Wellington?

I've always been drawn to creating spaces that feel welcoming and meaningful. Originally, I wanted to be a carpenter or a painter for buildings, but then I moved towards architecture.

Growing up, my family moved around a lot, so I didn’t always have a fixed place that felt like home. That experience gave me a strong desire to design spaces that provide comfort and a sense of belonging, especially for others who might feel the same way.

Studying Interior Architecture felt like the right path to develop those skills and create spaces that resonate culturally and emotionally. I’m very glad I chose to study at Victoria University of Wellington. It’s a good institute for an Interior Architecture student.

Q: Can you tell us about your Re-purpose light?

Victoria University of Wellington has redeveloped Te Herenga Waka Marae with the goal of transforming the space into a hub of environmental responsibility. The project, called Living Pā, is all about integrating sustainable and cultural principles in a meaningful way to the overall design and construction of the building and its use. The Living Pā is also meant to be a place of cultural harmony, where Aotearoa’s values and indigenous knowledge can be seen and appreciated in everyday spaces.

In my SARC 312 Furniture Design, Construction and Technologies / Ngā Tikanga me ngā Tukanga Waihanga Taputapu Whare course, we were challenged to design furniture pieces for Living Pā that embodied the principles of Circular Economy.

My design recalls the creative art of making hīnaki, transporting us back in time to the traditional method of collecting kaimoana, an integral part of Māori culture. I wanted to design a light piece that reflects mātauranga Māori, especially for a project that is intended to become a model of cultural harmony. Introducing and maintaining Aotearoa’s culture into spaces of learning is crucial for creating comfortable, equitable and inspiring spaces to occupy.

Q: What sustainability aspects did you consider in your design?

To emphasise the circular economy aspect, I wanted to use reclaimed wood, especially rimu, but it wasn’t feasible with the resources I had available at the time.

I also explored how to prolong the design's life cycle through the method of stacking multiple units and removable lampshades. This expands the purpose of the design, allowing it to be adaptable to different space and needs, as well as offering interchangeable designs that are relevant to your space.

The combination of mātauranga Māori and contemporary techniques I used creates a rich and sustainable design that brings forward appreciation for not only our planet but our culture.

Q: How did mātauranga Māori influence your design work?

Mātauranga Māori is at the heart of my project. I wanted the design to embody a part of Māori heritage, so I also took inspiration from traditional tukutuku patterns that I remember admiring as a child on my marae​ Rongopai ​in Gisborne. I used the patterns in the cross-stitching of the light.

When I later saw the Hīnaki: Contemplation of Form exhibition at Te Papa, it was a turning point. Seeing those eel traps displayed like light pendants gave me the idea to translate hīnaki weaving techniques into my light fixture.

Q: What were some of your design choices, especially around harmony and color?

When I was researching Living Pā I admired the enthusiasm towards creating spaces that would integrate moments of Aoetearoa’s culture and values. I wanted to convey the same principles with my design and really highlight the beauty of Māori culture and practices.

When I saw the initial renders of the interior of Living Pā, I felt that the idea of integrating Mātauranga Māori was lost so I wanted to make sure to design something that would create a more inspiring interior to occupy through referencing the beautiful craft of hīnaki.

I felt that the renders of the interior were quite cold, and I wanted to introduce a sense of warmth. My aim was to create a comfortable, intimate feeling that reflects cultural harmony. I chose a warm light color that would emit a cozy glow, complemented by earthy tones in the materials.

Q: How did the SARC 312 course shape your approach to this project?

I've learnt the most at SARC 312 out of all my courses that I've done so far. It's been incredible and I'm planning on taking it again next year. I learned about sustainable design from both theoretical and practical perspectives, including how to work within the strict requirements of the Living Building Challenge applied for the Living Pā project.

There were restrictions on materials, finishes, and emissions that added complexity but also sparked creative solutions. We also learned about fabrication methods and finishes—skills that I can now apply to other design projects. Overall, this course taught me how to balance cultural, aesthetic, and environmental considerations in my designs.

Q: What are your aspirations for a career in interior architecture?

In the future, I’d love to work in furniture design.

At the moment I am really passionate about learning. Throughout my studies I have learnt about many problems within the built environment and it is the act of discovering solutions to these problems that have piqued my interest.

Some issues that I am currently focused on designing better for are accessibility, sustainability and achieving a sense of cultural harmony. The overarching goal is to create interiors and spaces that maximise comfortability for all occupants.

In the future I would also love to work in the furniture design industry, creating pieces that accomplish their functional purpose as well as becoming meaningful part interiors.

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