Karanga-a-Hape
Karanga-a-Hape can be translated as ‘The Call of Hape’. Hape was a name given to Rakataura, who was the tohunga (knowledge-holder) of the Tainui waka, one of the ocean-going canoes that migrated to Aotearoa. Hape was an ancestor of great mana or renown.
After being left behind, his skill and determination were such that, following karakia (prayer), Hape was carried by Kaiwhare (a guardian) and crossed the ocean to arrive in Tāmaki before the Tainui waka.
Hape explored the land, and it is from him that many of the ancient landmarks of the region are named.
When the Tainui waka arrived at the Manukau Harbour, Hape followed its progress from the ridgeline and called out a great welcome to the waka from the headland known as Karanga‑a‑Hape (Cornwallis Peninsula in Waitākere).
The ridgeline was an ara hikoi (traditional trail) and carries the name of Hape.
The name Karanga‑a‑Hape is a corrected form of the spelling Karangahape and acknowledges the welcoming call of Hape as told in this traditional story.
Today, in this modern location too, Hape welcomes us all.
Ko tētahi whakamāoritanga o Karanga-a-Hape, ko “Te Karanga a Hape”.
Ko Hape tētahi ingoa i tapaina ki a Rakataura, ko ia te tohunga o te waka o Tainui, o tētahi o ngā waka nui i tere mai ki Aotearoa.
He tupuna rongonui a Hape, he tangata whai mana nui.
Mana whenua cultural stories are expressed at Karanga-a-Hape Station through 4 design elements: the sky, earth, threshold and fourth elements.
Together, these elements shape how the station is seen and experienced.
Sky element
At Karanga-a-Hape, the sky element is formed using aluminium fins in 3 colours: blue, light blue and champagne.
The fins wrap around the upper level of the Mercury Lane entrance building. The look of the wrap changes depending on where you stand, symbolising the different ways the sky can appear.
A taimana (diamond) pattern seen on the wrap symbolises Ranginui (Sky Father) and Te Ikaroa (the Milky Way galaxy).
Fourth element
The fourth element represents te whaiao, the first glimmer of daylight. It connects the earth and sky elements, adding layers of strength and light to the design.
At Karanga-a-Hape, the fourth element is expressed through glass, dark columns, escalators and lifts. Together, they recall the moment light entered the world.
These features are a physical reminder of the moment when Tāne pushed apart his parents, Ranginui (Sky Father) and Papatūānuku (Earth Mother).
Threshold element
The threshold element marks the transition from the street into the station.
At Karanga-a-Hape, the threshold is located above the ticket gates at the Mercury Lane entrance. Three pūpūrangi (kauri snail) sculptures are located overhead.
The pūpūrangi speak to the bond between people and the natural world, the health of the environment and the life force of Tāne.
Positioned above the flow of passengers, they watch over this moment of passage.
Earth element
The earth element represents Papatūānuku (Earth Mother).
At Karanga-a-Hape, this element is expressed through earth-coloured concrete panels that cover the lower exterior and interior of the Mercury Lane entrance building.
Their colour and texture draw from Waitematā sandstone, commonly seen on cliffs around Tāmaki Makaurau.
Extending the earth element, Elingamita johnsonii (also known as the Three Kings Elingamita) are planted in front of the Mercury Lane entrance.
The paved area in Beresford Square surrounding Karanga-a-Hape Station’s other entrance has been designed as a garden of Tāne, atua of the forests.
Different shades of pavers create the effect of moving light shining through a forest canopy onto the ground.
Mana whenua artist
Reuben Kirkwood (Ngāi Tai ki Tāmaki, Waikato Tainui, Waiohua, Ngāti Ruanui).
"I am a kaiwhakairo (traditional carver) and urban designer. My work specialises in binding traditional practice and philosophy into public spaces, civic buildings and infrastructure.
At Karanga-a-Hape Station my intent was to convey our creation stories throughout art and architecture. The designs honour the iwi whenua whose stories shape Karanga-a-Hape through artwork that everyone can relate to.
These elements are designed to complement the station’s architecture and purpose.
My design process has been a collaborative achievement with the architectural team. They have been open‑minded and innovative in finding ways to incorporate my work into the station."