Measina o Samoa Preserving the treasures of Samoa Venus Mataia 1445739 Principal Supervisor: Christoph Schnoor Associate Supervisor: Rau Hoskins An Explanatory Document submitted in partial fulfilment of the requirements for the degree of Master of Architecture (Professional). Unitec Institute of Technology, New Zealand 2019 2 Abstract The arrival of the first settlers in the late 1760s ignited the influx of foreign cultures to Samoa, resulting in the colonisation and the loss of traditional knowledge and culture. Its effects on the nation today are evident within the architecture of Samoa and the relevance of cultural traditions. The introduction of new materials and tools, as well as globalisation, have shaped the traditional art forms and their relevance within modern-day society. The demand for certain art forms, including siapo, has decreased over the years with the ie toga remaining prominent within Samoan customs. The traditional knowledge associated with Samoan culture has been passed on to future generations, through oral tradition. The result of foreign influences has impacted this form of communication and has lead to the loss of cultural heritage. Foreigners brought their architectural styles to Samoa impacting the previous aesthetics of the country. The influence of foreign styles replaced traditional vernacular architecture of Samoa, resulting in a lack of Samoan culture. An example of this is the current museum of Samoa. Although its intention is to preserve the intangible culture of Samoa, the museum itself, which was previously a German school, is of colonial style. Traditional knowledge is in danger of becoming extinct and the Samoan landscape is becoming more vulnerable. This calls for a new method that helps to return the previous vernacular architecture. This research project refers to traditional Samoan culture and heritage to influence the design of a new museum. The museum’s intention is to preserve the traditional knowledge and customs of Samoa that are at risk, while celebrating both its tangible and intangible material culture. Figure 1. Samoan Fale 4 Acknowledgements First and foremost, I would like to thank my supervisor Christoph Schnoor, for all your encouraging words and guidance throughout this project. To my mum, dad, and my siblings, Fetu, Fa’afetai and Doreen, thank you for all your endless support during my studies. I appreciate everything you have done for me and I would not have been able to do this without you all. To my extended family, thank you for all your encouragement and help during my time in Samoa. A special thank you to my aunty Lepa, for your constant support in anything that I pursue. To my uni friends Angel Leung Wo, Daniel Amanaki, Nayla Hossain, Celine Pearn, Shivani Narsai, Ser- ena Arora, John Tagi, Losa Nimo and Phillipp Muller, thank you for sharing this journey with me. With all the stress and late nights we have encountered, you have all kept me sane. These past five years have been the most memorable and I wish you all the best in your future endeavours. Fa’afetai tele lava 6 TABLE OF CONTENTS Abstract 4 SAMOAN MATERIAL CULTURE 40 Acknowledgements 6 Samoa Material Culture 1800s - 1930s 42 CONCLUSION 128 - The Forked Centre: Duality and Privacy in Polynesian Spaces and Architecture 44 INTRODUCTION - How the Tā Vā Theory of Reality constructs a Spatial Exposition of Samoan Architecture 46 Glossary 130 Background of the Project 10 - Ie Toga 48 Bibliography 132 Project Outline 10 - Siapo 54 List of Figures 134 Aims and Objectives 10 Current State of Change 64 Appendices 138 Scope and Limitations 11 - Architecture of Apia today 66 Methodology 11 - MESC Building 68 Research Question 12 - EFKS Museum 70 FINAL DESIGN 140 - Architecture 72 - Ie Toga (Fine Mats) 74 FA’A SAMOA 14 - Siapo (Tapa Cloth) 76 - Tatau (Traditional Samoan Tattooing) 78 In Search of Harmony: Peace in the Samoan Indigenous Religion 16 HISTORY OF SAMOA 20 DESIGN Timeline 20 Programme 80 - Origin 22 Site Context 82 - Missionaries 24 Apia Waterfront Plan 88 - German Samoa 26 - New Zealand Samoa 28 Architectural Design Tools - Samoan Independence 30 - Samoan Village Layout 92 MUSEOLOGY 32 - Production and Distribution Schema 108 - Movement of Art Forms 110 Vanuatu Cultural Centre 34 Polynesian Cultural Centre 36 Chosen Site 112 Precedents Summary 38 Spatial Planning 114 Classification of Mats 120 Form Design 124 Preliminary Design 126 8 INTRODUCTION Background of the Project Aims and Objectives Scope & Limitations Methodology Samoa has undergone numerous influential events over the past two centuries, that have shaped Located in the South Pacific, Samoa comprises of four main islands – Upolu, Savai’i, Manono, and The museum design consists of both workshop and gallery areas that celebrates As the typology of a museum seeks to preserve the history of a nation, an analysis of historical 1 aspects of their daily life. Colonisation, the influenza pandemic, and the introduction of mod- Apolima. The capital city of Apia is situated on the northern side of the main island of Upolu. the tangible and intangible material culture of Samoa. The workshop spaces provide an events within Samoa have been performed. This research highlighted influential events that the ern technology have impacted the traditional knowledge of Samoa. Before written history was The current Museum of Samoa is situated five minutes away from Apia in the village of Malifa. educational area in which traditional methods of arts and crafts can be taught so that the art country experienced and the impact that it had on Samoa at present. Historical background introduced to Samoa in the 1800s, the form of oral accounts was used to pass down traditional Previously a German school, the two-storey building is currently used to house artefacts of forms as well as oral traditions are be retained. The target audience for the proposed design knowledge provided the necessary information needed regarding the preservation of cultural 2 knowledge from generation to generation. Information was passed on through the storytelling, cultural significance. The museum consists of five gallery spaces split between the two levels with are the locals, but most specifically the younger generation within Samoa. For this reason, the heritage. legends, fa’alupega (genealogical ties) and songs. However, the practice of oral communication is a library, bathroom, and store room. The restricted size of the building limits the galleries and museum provides relevant information that can be easily accessed by school-goers. The gallery rarely used, as other options of documentation are readily available. Indigenous knowledge is vital number of artefacts that can be stored there at one time. The building’s conversion from a school space will be used to display an object’s physicality that is influenced by traditional display and As the aim of the project is to preserve and celebrate Samoan cultural identity, the most important in creating a relationship with the past with the future, and if this connection is lost, the informa- to a museum has impacted its functionality. As the space was not designed to be a museum, the storage techniques. The curation of the exhibition will contextualise the artefact so that its use concept that was required for this research is fa’a Samoa. Fa’a Samoa is described as the lifestyle tion is unable to be carried through into future generations. Currently, this information is only curation of the spaces becomes difficult. and purpose are apparent. It will differ from the general curation of a museum that collects and that Samoans adhere to in relation to their customs and traditions. It is understood as one of held by the elders of Samoa which increases the risk of potentially losing this knowledge. exhibits artefacts using displays. the core elements that differentiate a Samoan from any other culture. The notion of fa’a Samoa The vision imbedded in the museum is “to preserve, conserve, and interpret the material and represents what it is to be of Samoan identity. The proposed design is heavily influenced by this intangible culture of Samoa”.3 At present, the gallery’s display is limited to artefacts and display concept to ensure a sense of authenticity and legitimacy is apparent. Project Outline boards. The curation of the exhibitions scarcely represents Samoa and its rich culture and history. The architecture style of the current museum follows the colonial style that was brought by An exploration of Samoan material culture and its evolution has been investigated to analyse foreigners to Samoa. The building itself is not influenced by the vernacular architecture of Samoa the similarities and changes that have occurred. It provided information about the traditional and therefore is lacks relevance within its context. and modern methods of material culture, as well as the relevance of an object in terms of its use To ensure that this knowledge is preserved and revived, this research will be exploring how within daily life. architecture can be used as a solution for this problem. As the role of a museum is to preserve The design of a proposed museum consists of two main aims that would offer a solution in and showcase objects of a culture, this research project will look in to redesigning and relocating regards to Samoa’s at-risk cultural heritage as well as their inadequately represented culture.The Literature that discuss material culture pre-colonisation are non-existent, as oral accounts were a new museum design for Samoa. The new site for the museum will be located along the Apia first aim is to preserve the cultural knowledge associated with Samoa’s tangible and intangible the only form of documentation. The arrival of missionaries and ethnographers, during the waterfront, a central hub for locals and tourists. The proposed design of the new museum will be material culture, so that it can encourage the continuation of inherited knowledge.