Ten Rules on Being an Architecture Student

In 2007, Dr Peter Wood (aka P-Dubs), Senior Lecturer at the Victoria University of Wellington School of Architecture, gave a cutting and hilarious assessment of student culture to open the first formal day of Ctrl Shift 07, the Biennial Pacific Student Congress of Architecture.  A few of the Freerangers who put the Congress on recently revisited his lecture, and had to share his Ten Rules on Being an Architecture Student, transcribed here to capture Peter’s deliciously acerbic critique.

1. Dress right.  Cheap clothes should look expensive, and expensive clothes should look cheap. Under no circumstances should cheap clothes look cheap, or expensive clothes look expensive, except at crits.

2. Always work at least one all-nighter for every studio. Two is better as it suggests that you’re not doing the first one to follow the rules. Never do more then three in a row as this suggests genuine psychological problems, or it will lead to genuine psychological problems.

3. Meet the right people. This is a tough one because architecture students, architectural academics, academics, and in fact anyone from your immediate cultural grouping, is not the right people. The right people should meet three criteria: they should have money, they should want to give you their money, and they should not be interested in telling you how you should spend their money. Your parents are a good place to start.

4. Show dismissive scorn toward successful architects. After all, they are just cynical old fuddy-duddies who sold their creative integrity to developers because their bums like leather car seats, and anyway, you’ll never be like them.

5. Attend all openings. Art exhibitions, public lectures, new buildings, roof shouts, car doors, the only thing that matters is how disdainful you look, and the amount of free food and drinks.

6. Be I.T. savvy. It’s a digital world, and the more digital you look, the easier it will be to pass architecture off as a modern activity. Fortunately this has never been easier, it doesn’t matter what you listen to, whether its Burt Bacherach or anything else on your MP3 player, or that your laptop contains pictures of dairy cows, or that you only pretend to text-message due to the inability of bovine hooves to operate cellphones. The only real point is how shiny, expensive and visible your gadgets are.

7. Become moderately proficient at espousing the views of a continental philosopher.  Avoid the big names as its most likely that someone will know more about them than you. Choose instead a minor player from some Marxist circle and pick out the bits of their writing that might possibly have something to do with architecture. Liberally sprinkle these through your comments at openings.

8. Learn the lingo. Every attempt must be made to speak in architectural jargon. People might live in houses, but architects design responsive environments that challenge domestic paradoxes which combine atavistic references with new post-post-modern epistemologies.

9. Avoid student counseling. Conventional wisdom has it that student counseling is the quickest way to arrange a medical certificate for an assignment deadline extension. But once they have you on the couch describing your childhood, who knows what might happen. Instead, go to Student Health, tell them it hurts to tinkle, and save the antibiotic prescription for the bronchial condition your all-nighters will give you.

10. Organise an international congress. If only because it makes achieving the other criteria much easier.


Peter Wood, on Ctrl Shift 07: Biennial Pacific Student Congress of Architecture. [DVD] is available in most architecture Libraries across Australia & New Zealand.

UP THE PUNKS 2012: The City Seen Through Thirty Something Noisy Years of Wellington Punk Culture.

“Not in the habit of saving things for posterity or thinking themselves as history. Not caring about the past, not seeing too much future to look forward too. Whether or not that was really true, it was definitely the understood attitude and mood… I’ve just started on this book and already I’m on a tangent…”

Aaron Cometbus


Time. It’s treated quite strangely in the world of punk rock. Most people arrive as though they were the first. And they leave out the back door to make way for a younger, more energised generation. Aaron Cometbus, of the Bay Area fanzine Cometbus, nailed it in a retrospective on his first 20 years of zine-making. When it came to cultural self-awareness, he claimed that punks were decidedly evasive. Whether fueled by  idealism or nihilism, they were preoccupied in a haze of the ‘spirit of the times’. The view from the blazing vehicle of punk rock is framed by a combination of radical ideas, growing pains and fast guitars. Vision under such speed is surely fuzzy. Beyond the ‘here and now’ getting a cultural perspective to the past (or future) is hard. But the last decade or so has seen a renewed interest from within and without Wellington’s punk community with a call to explore the vestiges of time and uncover the recesses of the city’s nearly forgotten punk past.

Enter Wellington’s own unique and peculiar cultural time-machine – UP THE PUNKS! It travels to depths of 35 years ago and up to the active present, exhibiting the stories and artefacts of a vibrant, living underground community. The ongoing documenting and open source archiving initiative provides an important means of linking together a body of diverse works such as music, arts, literature, activism and various aspects of DIY culture, which would otherwise seem disparate across generations past and present. Youth culture is rarely this prolific and broadly expressed. It is a showcase of spirit – the good, the bad and the downright ugly.


Original poster for UP THE PUNKS 2002 designed by Kerry Ann Lee


To claw back the history of an obscure society, obsessed with its very obscurity, is not an easy task. Works can be as fleeting as youth itself, leaving little trace, if any at all. But memory will still prevail. People still fondly recall the legendary performance of influential bands which never lasted long enough to produce more than a rough demo and play at some house parties; rants from a younger version of someone-you-know found in a photocopied zine which was subsequently lost to time and a small print run; piles of old screen-printed posters and merch; dusty records and cordially exchanged mixtapes now warped and stretched; abandoned film negatives of rallies and hangouts with cherished friends. Interesting and unexpected things happens when returning to these places.


Punk was always positioned in relation to a wider context, differentiating itself from mainstream society. But over time, as we all know, things change, the mainstream changes too, and so each generational iteration of punk rockers bear traces of that change too. I can’t help but recall the backdrop of a transitional Wellington city in the 1990s, its people waking up from the quiet slumber of economic downturn. People were crawling out of brutalist buildings determined to paint over the grey walls that had only served to compliment the depressive color of the sky.
Whether or not these are actually my own memories, I’m reminded of something geographic, something spatial and material, tangible and almost graspable; squats on the waterfront as Te Papa was still in construction; un-refurbished flats with remnants of 70’s décor; walking home after school via The Freedom Shop, the local anarchist bookstore which was housed in a rustic shed on upper Cuba St before being squeezed out by the Bypass; the hired-out community halls; picking bottles off the street during shows; skinhead encounters in Newlands; skateboarding with mates in the Hutt; the patience required to order records and zines from overseas…


The Cure jamming at a house party in Mount Victoria, August 4, 198.1


UP THE PUNKS presents a case for continuity between generations otherwise fragmented and disjointed. In doing so it proves, in my mind at least, that the past 35 years wasn’t just an excuse for playing silly buggers after all (although there was a great deal of that too). It’s evidence of a sustained cultural activity. In such a hotbed for ideals put into action, ideas can last a long time, or burn out alongside musical trends, fashion, and haircuts. I’m curious as to how punk – peripheral by nature – has extended and adapted to other aspects of society, or whether (in many cases I imagine) it is left to the embarrassments of youth. It would be interesting to know what happened to those kids as they enter different areas of society, as they develop skill-sets for new contexts and responsibilities. It is contributions from these people that keeps the UP THE PUNKS online archive lively. I can think proudly of punk friends who are now educators, union organisers, lawyers, academics, artists, health care professionals, engineers, innovators, activists, musicians, amazing parents, and just all round good people.


A film made by Chris Knox on the punk and post-punk ‘Wellington Scene’ otherwise known as the ‘Terrace Scene’ in 1980. 


Without continuing to sound like a back-in-the-day-old-timer, it has to be said that a big aspect of the UP THE PUNKS effort is to present Wellington punk culture as a living community, uniquely localised and continuing today in full force. It stands in contrast to the picture painted by a Te Papa exhibition ten years ago that presented punk as a petrified historical nomenclature that only happened elsewhere. The ongoing spirit of participation from enthusiastic new blood will ensure that punk respond to a changing world, ultimately securing the promise of it’s future.


And because of the open sourced, participatory nature of the UP THE PUNKS archive, we now have a means of looking back through the noise of time. With the raw information available to all, the historical narrative of punk in Wellington can be constantly rewritten and contested.

At 16 years and counting, Punkfest is New Zealand’s longest running annual punk event.


UP THE PUNKS proposes one last important thing; that this living history is also a slice of the city’s history. It’s “the Wellington you didn’t know you didn’t know” as aptly put by John Lake in the Pledgeme fundraising campaign. The minor stories told here reveal the material culture of life in Wellington as told by the people themselves. It is also relevant for the story of independent music in New Zealand. These stories are our history and it’s a history to be shared by all.



A Pledgeme campaign to fund UP THE PUNKS 2012 has just started. Come along and check it out if you like!

UP THE PUNKS 2012 exhibition and celebrations: November 6-10


Exhibition Opening Night: November 6, 2012, 6PM, Thistle Hall
Gettin’ Worse: Punx Still Angry, November 7, San Fran Bathhouse. Check out the new breed with Numbskull, DILFS, Influence and more…


Closing Night Party, November 10, Thistle Hall Upstairs
All ages gig expanding the definition of punk with So So Modern, Rogernomix, All Seeing Hand, Mr Sterile Assembly, Johnny and The Felchers and more…



New Book: 10.98 Seconds Of Wellington Artists

Freerange Press is now selling copies of Lennart Maschmeyer’s fabulous new book 10.98 Seconds of Wellington Artists. 


Click Here to go the Freerange shop to buy it. 

Over the past two years, German-born photographer Lennart Maschmeyer has been working on a Portrait of Wellington’s thriving art community. The resulting book titled “10.98 seconds of Wellington Artists” is the first work of its kind in Wellington. Its aim is to capture an authentic impression of the people creating and carrying the spirit of the city.

Read more

Reserve the Basin

Dear residents of Wellington.

I know these things are a pest, but I really don’t want a flyover to walk/bike under on my way to town. I think it would be depressing. Better options are around, and NZTA will consider them if enough of the public say that’s what they want. So please send a letter to info@witi.co.nz. (Before Friday, 26 August 2011) Here’s a proforma;

Re: Cobham Drive to Buckle Street Transport Improvements – Community Engagement – July to August 2011

Dear NZTA,

I support neither of the proposals currently put forward for public consultation by the NZTA for improvements to the Basin Reserve area. I would like the options for consultation to be broadened to include the NZTA report’s Option F and Architecture Centre’s Option X.



For more information about Option F;

For more information about Option X;


The Architecture Centre is leading the campaign for option x.  This is the important stuff that cities are made of, have your say.

“The NZTA have proposed options for redeveloping the roading of the Basin Reserve.  But these are not really options. They are two schemes for flyovers which have very little difference.  We believe that the scheme/s proposed by NZTA exclude the public from making a real choice.

Currently the Basin is a mess.  From a multi-modal perspective (pedestrian, cyclist, car) the Basin is not a safe place.  Aesthetically it is a dog.  The inward facing cricket ground alienates its surroundings.  Recent building has reneged on its public responsibilities, creating some of the worst public street faces of architecture in Wellington.

We have no doubt that something needs to be done, but the choices to be made are at least on two levels.

1) Should the remediation work to improve the urban design of the Basin assume traffic levels will increase or not? and how should it respond to consequent changes in local conditions?  Data from the NZTA website suggest traffic levels have been plateauing for quite some time.

2) Should the remediation work use a tunnel or a flyover?

We think grade separation is critical to ensure better safety to all road users, and to help achieve speed consistency of motor vehicles, which will reduce emissions and noise pollution.  Both tunnels and flyovers have their problems for designers.  The scale of such infrastructure must respect the scale of the urban or suburban fabric it sits within.  Both can cause issues of severance or undesirable residual spaces.  We recognise that the NZTA images of the flyovers presented to the public do not reflect the potential design quality of the flyover structures, as these are yet to be properly designed.

Both flyovers and tunnel entrances can be poetic, elegant, and inspiring design.  Both will cost money to get the design right, and to guarantee that Wellingtonians end up with a Basin Reserve that we are proud of.”

Some Free Tunes

Our friends Spartacus R are putting the finishing touches on their 2nd album at the moment and are doing a little NZ tour.  To celebrate they are offering up a nice 4 track download for free. Something old, something new, something borrowed and something purple.  One new track of the up coming album, one old rare track from the 2007 Octophonic performance, and 2 new remix’s from guest artists of songs from their 2009 album When The Fever Takes Hold.   Cluck on the picture below for some nice freeness.