Project: Te Tumu (NZICC)
Architecture: Warren and Mahoney, Woods Bagot, Moller Architects
Photo: Dennis Radermacher, Jono Parker
Geo: Auckland, New Zealand
Te Tumu caught fire during construction, took ten years to build instead of the planned three, nearly doubled its budget, and was hit with a $ 200 million lawsuit shortly before completion. To make matters worse, it even lost the vote in our Project TheWeek feature. We consider that its greatest failure and hope the bad luck is finally over: the building opened in February, and we’ve prepared a full review.
The New Zealand International Convention Centre (NZICC) was announced in 2013, with an opening scheduled for 2017 and a budget of $ 230 million. Three architectural firms joined forces on the project. Warren and Mahoney, established in 1955, played a major role in shaping New Zealand modernism. Woods Bagot brought extensive convention-center experience, having designed major venues in Melbourne, Adelaide, and Christchurch. The third member of the team was Moller Architects.
In October 2019, a technical error caused a fire on the roof. The resulting smoke disrupted central Auckland for two days. Fortunately, no one was injured. However, the water used to extinguish the fire flooded the lower levels, leading to mold growth and damage to structural elements. The recovery became one of the most technically challenging construction projects in New Zealand’s history. Five months later, the COVID-19 pandemic struck, destroying an already optimistic timeline. The budget rose to $ 440 million. Construction required 14.5 million labor hours—for comparison, the Burj Khalifa took 22 million.
In 2025, client SkyCity filed a $ 200 million lawsuit against contractor Fletcher Construction, alleging negligence that led to the fire and a six-and-a-half-year delay. Fletcher denies responsibility, and the case is still ongoing. Nevertheless, New Zealand’s largest convention center finally opened its doors.
The 32,500-square-meter building sits on a site constrained by three major roads, leaving little room for the typical scale of a convention center. Warren and Mahoney placed a 2,850-seat plenary hall above 8,000 square meters of exhibition space and connected them with a linear atrium running through all eight levels of the building. The exhibition hall features floor-to-ceiling glazing along the entire facade, allowing pedestrians to see inside while delegates remain visually connected to the city. The structure is modular and partially demountable, enabling future adaptation without complete demolition.
The interiors, designed by Woods Bagot, are built around the contrast between blackened steel and silver beech wood, referencing New Zealand’s natural landscape. The exterior is defined by two major artworks: 475 colored glass panels by abstract artist Sarah Hughes and 3,360 ceramic tiles with tukutuku patterns by Māori artist Peata Larkin. Together they cover more than 10,000 square meters of facade, wrapping the building like a korowai (a traditional Māori ceremonial cloak). The artwork is collectively titled Te Pekerangi o te Iwi Rau — "The Ascension of Many Generations."
The convention center’s second name was gifted by the Māori tribe Ngāti Whātua Ōrākei. Te Tumu translates as "foundation," "root," or "tree stump"—a strong source from which growth begins. The Māori community also named the key venues within the building, including Ariki Hall, Te Wharau, Te Waha, and Te Paepae Theatre.
For 2026, NZICC has already confirmed 120 events and expects approximately 33,000 international delegates, generating around $ 53 million annually for Auckland’s economy. Fire, pandemic, cost overruns, and legal battles only strengthen the symbolism behind the name—the stump has finally begun to grow new shoots.
We were initially drawn to the building’s appearance, but behind the facade we discovered an equally compelling story.
@gorkjournal · GORK
3D · Photo · Render · Ai
Architecture: Warren and Mahoney, Woods Bagot, Moller Architects
Photo: Dennis Radermacher, Jono Parker
Geo: Auckland, New Zealand
Te Tumu caught fire during construction, took ten years to build instead of the planned three, nearly doubled its budget, and was hit with a $ 200 million lawsuit shortly before completion. To make matters worse, it even lost the vote in our Project TheWeek feature. We consider that its greatest failure and hope the bad luck is finally over: the building opened in February, and we’ve prepared a full review.
The New Zealand International Convention Centre (NZICC) was announced in 2013, with an opening scheduled for 2017 and a budget of $ 230 million. Three architectural firms joined forces on the project. Warren and Mahoney, established in 1955, played a major role in shaping New Zealand modernism. Woods Bagot brought extensive convention-center experience, having designed major venues in Melbourne, Adelaide, and Christchurch. The third member of the team was Moller Architects.
In October 2019, a technical error caused a fire on the roof. The resulting smoke disrupted central Auckland for two days. Fortunately, no one was injured. However, the water used to extinguish the fire flooded the lower levels, leading to mold growth and damage to structural elements. The recovery became one of the most technically challenging construction projects in New Zealand’s history. Five months later, the COVID-19 pandemic struck, destroying an already optimistic timeline. The budget rose to $ 440 million. Construction required 14.5 million labor hours—for comparison, the Burj Khalifa took 22 million.
In 2025, client SkyCity filed a $ 200 million lawsuit against contractor Fletcher Construction, alleging negligence that led to the fire and a six-and-a-half-year delay. Fletcher denies responsibility, and the case is still ongoing. Nevertheless, New Zealand’s largest convention center finally opened its doors.
The 32,500-square-meter building sits on a site constrained by three major roads, leaving little room for the typical scale of a convention center. Warren and Mahoney placed a 2,850-seat plenary hall above 8,000 square meters of exhibition space and connected them with a linear atrium running through all eight levels of the building. The exhibition hall features floor-to-ceiling glazing along the entire facade, allowing pedestrians to see inside while delegates remain visually connected to the city. The structure is modular and partially demountable, enabling future adaptation without complete demolition.
The interiors, designed by Woods Bagot, are built around the contrast between blackened steel and silver beech wood, referencing New Zealand’s natural landscape. The exterior is defined by two major artworks: 475 colored glass panels by abstract artist Sarah Hughes and 3,360 ceramic tiles with tukutuku patterns by Māori artist Peata Larkin. Together they cover more than 10,000 square meters of facade, wrapping the building like a korowai (a traditional Māori ceremonial cloak). The artwork is collectively titled Te Pekerangi o te Iwi Rau — "The Ascension of Many Generations."
The convention center’s second name was gifted by the Māori tribe Ngāti Whātua Ōrākei. Te Tumu translates as "foundation," "root," or "tree stump"—a strong source from which growth begins. The Māori community also named the key venues within the building, including Ariki Hall, Te Wharau, Te Waha, and Te Paepae Theatre.
For 2026, NZICC has already confirmed 120 events and expects approximately 33,000 international delegates, generating around $ 53 million annually for Auckland’s economy. Fire, pandemic, cost overruns, and legal battles only strengthen the symbolism behind the name—the stump has finally begun to grow new shoots.
We were initially drawn to the building’s appearance, but behind the facade we discovered an equally compelling story.
@gorkjournal · GORK
3D · Photo · Render · Ai