b'right and opposite: Giving a voice to the wind was a key concept that Chris, Matt, Seth and William wanted to achieve through their design. The follys outer kkahu (cloak) is comprised of layers of recycled kwila shingles that were salvaged from former decks around Christchurch. The team removed nails, cut, sanded and refinished the kwila in Resene paints and timber stains that both blend in and contrast with the surrounding landscape. Each shingle is fixed to a tensioned wire in a way that allows even subtle breaths of wind to affect their movements, and as a result, become audible. The structure that holds the kkahu draws from the history of boatbuilding that took place on site. The art of waka construction informs the primary structure, with sisal rope lashings being used as a way to bring the folly together. The lashings tie large cross beams together, strongly expressing the overall form and its connection to the chosen materials. Vertical poles stained in Resene Waterborne Woodsman Dark Oak CoolColour, horizontal longitudinal poles painted in Resene Lumbersider Low Sheen Porcelain CoolColour, horizontal transverse poles in Resene Lumbersider Low Sheen Rock Blue CoolColour, stained shingles in Resene Waterborne Woodsman tinted to Resene Whero, Resene Driftwood, Resene Nutmeg and Resene Pickled Bean and painted shingles in Resene Lumbersider Low Sheen Porcelain CoolColour.Resene Resene WB Woodsman Porcelain Pickled Bean ReseneResene Resene WB WoodsmanWB Woodsman Rock Blue Dark Oak DriftwoodResene WB WoodsmanResene WB Woodsman Whero Nutmegthis consultation, design adjustments were made to better reflect the kaupapa (mission) of the project in alignment with the gifted prkau.The team says Te Reo o te Hau was inspired by nearby Mangatawhiri (Omaha Beach), Mangatawhiri refers to the kkhau (wind) which sweeps across the bay. The shape presents a kkahu (cloak) that imbues the wind into the landscape by allowing it the chance to be seen and heard rather than just felt. Central to the project was finding a way to embody the winds voice within the follys design. Through the use of tension cables, sections of timber panels hang freely to create an interplay of movement in response to the breeze as it flows through. This was intended not only to embody the cultural narrative, but to connect those experiencing the folly to the unseen aspects of nature that are always present on the site. The use of recycled decking panels made it so that the folly effectively became an oversized wind chime and brought a whimsical element that engages visitors in an interactive and immersive experience.The prkau also informed the patterning on the kkahu (cloak) anddeepenedtheteamsunderstandingofthesite.NearbyTe Hauturu-o-Toi (Little Barrier) is the final resting place of the God of Windsand a cloud rests over it, almost like a crown, explains William. The diagonal pattern runs up the kkahu to give the effect 70 blackwhitemag.com'