By John O’Hare 

The ones and twos of heritage loos. 

The heritage significance of a Northland icon, whose design quirkiness has put Kawakawa on the international map, has been recognised by Heritage New Zealand Pouhere Taonga.

As part of the listing process, significant research is undertaken into a site nominated for inclusion. The research guides our staff to understand if a site meets the criteria to be listed, and if it warrants a Category 1 or Category 2 status. 

Demonstrating outstanding historical significance, the Hundertwasser Public Toilets have been listed as a Category 1 historic place, joining a small but growing number of public toilets on the List – the Symonds Street Bus Shelter and Toilets (Category 2), Wellington’s ‘Taj Mahal’ Public Toilets (Category 2), and the also newly listed Manor Place Conveniences in Dunedin (Category 2). 

The listing is a well-deserved recognition of the unique characteristics of this particularly public convenience according to our Northland Manager Bill Edwards who researched and wrote the proposal for the listing.

“Although the Hundertwasser Public Toilets building in Kawakawa is less than 25 years old, its heritage values are remarkable,” he says.  

“The distinctive structure is unique and is the only public building in New Zealand Hundertwasser was directly involved with. Today it is a Northland icon, drawing an estimated 250,000 visitors a year.” 

Internationally renowned as an architect with buildings in Europe, North America and Japan, Hundertwasser’s commitment to repurposing Kawakawa’s prosaic 1960s public toilet block into something truly unique was a reflection of the relationship he had with the local Bay of Islands community.  

“Friedensreich Regentag Dunklebunt Hundertwasser was born Friedrich Stowasser in Vienna to a Catholic father and a Jewish mother. To avoid persecution during World War II, Fredrick joined the Hitler Youth to cement the deception – a brilliant but very dangerous strategy which, in his case, worked,” says Bill.  

“After the war Fredrick, as he became known locally in New Zealand, trained at the Academy of Fine Arts in Vienna launching an artistic career that took him around the world.” 

A visit to New Zealand in 1973 for an exhibition of his work at the Auckland Art Gallery changed Hundertwasser’s life. After the opening of the exhibition, he bought a Morris Mini and travelled around the country meeting local people, exploring and swimming in the sea as much as possible.  

“Frederick was smitten with what he saw. His first stay lasted 148 days and he was enthralled with the people and the country,” says Bill.  

“The following year he visited New Zealand twice, and on his second visit bought a 200ha property in the Kaurinui Valley near Kawakawa where he was to live and work until he died in 2000.”  

During his lifetime the valley was reforested with over 150,000 trees planted as he worked closely with neighbours to realise his vision of a place in a ‘peace treaty’ with nature. 

“Hundertwasser’s design mirrored his own philosophy which incorporated ideas about conservation and living with nature, and which were decades ahead of their time,” says Bill.  

“Hundertwasser also believed that architecture should elevate and not subdue man, famously saying that he believed the straight line leads to the downfall of our civilisation. He also believed it is good for people to walk on uneven floors and regain our human balance. Both aspects of his philosophy – harmony with nature and human-friendly architecture – strongly influenced the design of the Kawakawa public toilets.” 

Another aspect of Hundertwasser’s philosophy was to modify rather than tear down modern buildings, improving them to reduce their environmental impact and beautify their appearance. 

“Hundertwasser approached the concrete block public toilet building in Kawakawa as an architectural doctor curing the ailments of unsustainable, uniform structures,” he says.  

“It’s fair to say that Hundertwasser’s treatment for the building was radical surgery.” 

Recycled bottles were used at the back of the building, cleverly allowing light in while at the same time providing privacy. Another design element he incorporated was a living roof whose purpose was pure Hundertwasser design:  

“The tree tenant pays rent in a more valuable currency than a human tenant,” he explained – by supplying oxygen, regulating climate, absorbing sound, “dispensing beauty”, acting as curtains, hosting butterflies and birds, and improving the mood. All of which he described as “a symbol of reparation towards nature.” 

Other characteristics of Hundertwasser’s design style also found expression in the building, including bright colours and non-uniformity.

“The building has a playful golden orb serving as a vent, as well as recycled bricks from the old BNZ building, donated bottles and columns at the front of the building created by assembling brightly coloured Asian ceramics,” says Bill.

“True to type, the cobbles laid on the floor have an undulating form on an uneven surface.”

Ceramic tiles were prepared by local Bay of Islands College students, and construction was completed by community volunteers.  

“The result is a manifestation of his vision of the philosophy that the building should be a peace accord with nature. What he and the wider community created is a building that brings joy,” he says.  

Norma Shepherd, Hundertwasser’s neighbour, read his message at the opening of the building: 

“Even small things can bring beauty into our life … it is harmony with beauty and harmony with nature, which makes us feel good. Beauty has an important function. Beauty is always underestimated.” 

“That really sums up the philosophy and vision that inspired this exceptional take on what is the humblest of public facilities,” says Bill.  

“It is utterly unique – an authentic one-off from an artist who embraced the community at Kawakawa, and who was in turn embraced. We are proud to acknowledge this building’s special heritage attributes through this listing.”