Isn’t it fascinating how a bridge can be more than just a way to cross from one point to another? Today we’re standing before Bridge 9. It’s a pedestrian bridge called City to Sea Bridge.
Opened in 1993, Bridge 9 represents a bold attempt to reconnect Wellington City with its waterfront. Before its construction, the city felt separated from the harbour. The bridge was designed to address this.
In 1983, the Wellington Civic Trust held a competition seeking ideas to solve the separation of city from harbour. The Wellington City Council then developed a brief for the bridge. They wanted to celebrate the relationship between Māori and Pākehā cultures. Rewi Thompson, a globally renowned Māori architect, was appointed alongside John Gray. They were tasked to deliver on the bicultural aspect of the bridge. Gray was a founder of Victoria University of Wellington’s architecture department. He led the Paperchase team, which transformed the waterfront from an industrial wasteland into a public space. Artists Paratene Matchitt and Matt Pine added their sculptural artworks to Bridge 9.
Bridge 9 was designed as a public meeting place. It was meant as space for reflection on public and environmental issues.
Notice how the materials change as you walk from the city side toward the harbour. Man-made materials shift to natural forms. This symbolizes the transition from city to the ocean.
Look at the pyramid shape and Matt Pine’s limestone sculptures at the base. They frame the steps leading from the library and City Gallery. On the other side, you can see lengths of hardwood that once lined the wharf. These form the original steps down to the sea. The steepness of the bridge mimics Wellington’s uplifted landforms. It symbolizes arrival and change.
Pay attention to the wooden sculptures carved by Matchitt. These adorn Bridge 9. They include hidden alcoves for people to sit and look out. Whale sculptures represent the taniwha Ngake and Whātaitai. According to Māori legend, they carved a path to the open sea. They then turned to stone and earth. Seagulls represent welcome and festivity. Matchitt noted seagulls always perch on bridges.
Six tall pouwhenua point upwards. They feature metal shapes of stars and moons. These celebrate Māori arrival to Aotearoa. One shape is an arrowed heart. It symbolizes the sufferings of the Māori people. Matchitt’s work was influenced by Te Kooti’s philosophies. He used these symbols in other sculptures as well.
At the Civic Square base, observe Matt Pine’s Oamaru stone sculptures, Prow and Capital. Capital is based on European architectural elements. It has koru forms on the edges. Prow depicts a Māori canoe prow with Tāniko weave. These sculptures mix European and Māori cultural elements.
Bridge 9 has faced challenges. There were issues with drainage and rotting wood. Urgent strengthening work was undertaken. There were even discussions about demolition. However, many people rallied to save it.
Despite mixed initial reactions, Bridge 9 has become a tourist attraction. It stands as a testament to Wellington’s commitment to art, culture, and connection. It also shows the city’s will to remember its past. The future of Bridge 9 is uncertain, but its legacy as a bold statement in Wellington’s urban landscape remains.