From afar, the building resembles a vibrant birthday cake for a toddler, adorned with bright, clashing colors and topped with a golden cupola that glistens in the sunlight. Upon closer inspection, its sinuous shapes, intricate tile work, and cheerful color palette become unmistakably identified as the creation of the late Friedensreich Hundertwasser (1928-2000), the Austrian artist and “organic” architect whose social housing project, the Hundertwasserhaus, is one of the most sought-after attractions in Vienna.
Hundertwasser designed buildings across various countries in Europe, California’s Napa Valley, Israel, and Japan. However, I find myself thousands of miles away in Whangārei, a small regional city located two hours north of Auckland in New Zealand.
Although he spent a significant portion of his later life in New Zealand, the Hundertwasser Art Centre stands as one of only two Hundertwasser buildings in the Southern Hemisphere, with the other being a toilet facility located about 50 kilometers up the road.
Friedensreich Hundertwasser’s toilet block in Kawakawa, New Zealand. Photograph: Barac Underwood
Since my first trip to Vienna in the early 1990s, I have been mesmerized by Hundertwasser’s unique style. Beyond painting, he delved into textiles, ceramics, objects, and architectural designs. He was also a radical thinker and a prolific writer, passionately authoring manifestos on various topics, including personal freedom, architecture, nature, and even human waste.
In his 1958 Mouldiness Manifesto against Rationalism in Architecture, he famously proclaimed, “the straight line is godless and immoral,” a principle he steadfastly upheld. Art critic and curator Robert Fleck described him as “one of the most strikingly visionary artists of the second half of the 20th century.”
‘It is the only public toilet I’ve ever visited where I was tempted to run my fingers across the walls.’ Photograph: Richard Smart
When Hundertwasser’s toilet block opened in Kawakawa, New Zealand, in 1999, it brought newfound attention to the small town, marking the last project completed during his lifetime. Renowned for its flowing lines, colorful tiles, bottle glass, and grass-covered roof, it’s a public restroom that invites visitors to run their fingers along the walls or feel the ground beneath their bare feet.
Whangārei is undoubtedly hopeful that the Hundertwasser Art Centre will attract visitors as well. However, its launch has faced significant challenges. The center opened in February 2022, while New Zealand’s international borders remained closed to tourists.
Just as tourism was beginning to rebound, two severe floods damaged local roads, hindering access and discouraging visitors from traveling north. Additionally, there has been limited coverage outside New Zealand regarding this remarkable architectural addition to the country.
Although the idea for a Hundertwasser-designed art gallery in Whangārei originated decades ago, Hundertwasser had passed away by the time it was finally approved.
In response, Joram Harel, the chairman of the Hundertwasser Foundation, proposed creating the art center to honor Hundertwasser’s legacy in New Zealand. The original 1993 design, which has been closely adhered to, also features the Wairau Māori Art Gallery, a contemporary art space central to Hundertwasser’s vision.
The Small Way (1991), an artwork from the Hundertwasser Art Centre collection. Photograph: Namida Ag
Inside the center, a spiral staircase leads to a rooftop terrace featuring 150 trees and a total of 4,000 plants, creating one of the largest green roofs in the Southern Hemisphere—a tribute to Hundertwasser’s cherished “tree tenants,” designed to integrate the forest into the urban environment.
Along with the building itself, a curated exhibition by the Hundertwasser Foundation showcases his works from New Zealand, including paintings, textiles, architectural models, and his well-known Koru design for an alternative New Zealand flag. The 1972 documentary “Hundertwassers Regentag” (rainy day) captures the architect in his element, embodying his engaging and unfiltered persona.
Disguised Tree (1987). Photograph: Namida Ag
Much like his art and philosophies regarding nature and human-shaped spaces, the colorful environmental protest posters Hundertwasser created in the 1970s seem strikingly relevant today.
Later this year, visitors will have the opportunity to experience Hundertwasser’s life more intimately when his Northland farm, Kaurinui, opens for guided tours.
Critics have not always fully appreciated Hundertwasser’s creativity. Harel notes that even the mere mention of his name could evoke strong reactions among other architects. However, when asked if public perception of Hundertwasser has evolved over time, he brushes off the question: “Time has caught up with his ideas, his visions, his manifestos, and his commitment,” he asserts. “Hundertwasser’s life was his message.”
