Established in 1958, Warren and Mahoney has established the benchmark of New Zealand modernist architecture, winning awards for hospitals, observatories, power stations, convention centers and homesteads. While both founders (Sir Miles Warren and Maurice Mahoney) are deceased, the firm has expanded to include eight studios spanning the two “Kiwi” islands plus Australia and is looking to grow overseas. A resident of Christchurch who survived the devastating 2011 earthquake, Jonathan Coote works in the office there as studio head of design for the practice’s South Island studios.
How do you describe the firm’s renowned style?
We don’t restrict ourselves to a style. Instead of approaching a project with preconceptions, our work is underpinned by a consistent design approach and a philosophy of achieving work that is aspirational, actionable and sustainable. We balance those three in every project, in conversation with the client.
What are you aiming to achieve?
To provide buildings that reflect and influence our society. We believe a building can shape the way we behave and serve the community we live within.
How is the South Pacific reflected in your work?
Through the first nations people—the Maori and Polynesians—we gain a deeper understanding of our land and culture. The indigenous way of thinking is that the land is here, but it’s not owned, it’s looked after. We’re guardians of the beautiful environment and have to treat it with deference.
What’s the effect of New Zealand’s constantly shifting geology?
Our ground is literally moving, we’re on tectonic plates sliding against each other, and our work acknowledges that kind of constant change, the ability to take risks in our designs.
How does your work pertain to the future?
One of our projects is an interesting blend of library, space for community activities, areas for government meetings—a confluence of functions that go together. We see a kind of cross pollination in the future. Society is changing and we need to provide buildings that are incredibly flexible and accommodate future change.
Why is sustainability so crucial to your work?
We have finite valuable resources. We have to use them wisely and efficiently and account for how we use the available resources we have left on the globe and put them to best use.
How would you adapt your work to New England?
We would use the same approach. Through our framework, we can transcend any style and look for what are the best things in each particular region—go straight to the core of what it means to be human.
What American building do you particularly admire?
I think the Barnes Foundation in Philadelphia by Tod Williams Billie Tsien is a very well-considered work. It elevates the senses you feel when you’re in it—you’re thinking and feeling more clearly.
Your buildings are so sharp and geometric. Do you ever miss detailing and curves?
I don’t mind curves, but a lot of the time our budget doesn’t allow it; curvilinear geometry costs a lot more.
How do you describe the “world class experiences” your projects try to deliver?
I think it means when you walk in, it raises the hairs on the back of your neck.