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crazy property

OPINIONSocietyMarch 24, 2021

Kia kaha, property speculators

crazy property

Many property investors are on struggle street following Labour’s big housing announcement yesterday. Hayden Donnell offers some comfort and advice to the nation’s reeling landlord class.

On the surface, Labour’s big housing announcement contained glimmers of good news for those struggling in New Zealand’s housing crisis. A $3.8 billion infrastructure fund could remove one barrier to new housing development. A $2 billion loan package for Kāinga Ora will go some way toward funding much-needed social and affordable housing. Both moves could help address our housing shortage, which is the biggest factor behind spiralling property prices.

Though those still don’t do enough to address our supply shortfall, prime minister Jacinda Ardern was likely hoping her announcement would be met with at least cautious hints of praise after she took the podium at the Beehive theatrette yesterday morning. She was badly mistaken. Unfortunately for Labour, all its waffly words about wanting to “make things better for first home buyers” and “cool off a housing bubble which might cause the catastrophic collapse of the entire economy” ended up being drowned out by a multi-hour plaintive wail of pain. The government had forgotten about one vulnerable group affected by its housing changes, and its members were absolutely steamed.

Chilling: The Herald’s front page yesterday says it all

Upset property speculators dominated the homepages of our biggest news sites following the housing announcement. Their most stinging criticism was reserved for the removal of a rule allowing them to claim a tax deduction on the interest payments on investment properties. “What, so every other business in New Zealand can still claim tax deductions, but not landlords? You’re joking! This is just bizarre, it’s crazy,” said Property Investors Federation president Andrew King. He said investors were already struggling with a healthy homes law forcing them to create survivable conditions inside their rentals, and now stood to lose out on tens of millions of dollars in tax breaks. The federation’s chief executive Sharon Cullwick said the law changes would cause large numbers of landlords to exit the market. Property investment consultant Ana Meredith, who recently said she bought five houses in one year “by not spending [her] evenings in front of mindless TV”, was upset at the tax break being removed. “This is a legitimate business expense,” she wrote on Instagram. “Where is John Key when you need him!”.

Even if Meredith can’t make up for the lost cash with her tele-watching time already cut to the bone, property investors might take some comfort in the fact their properties went up in value by an average of 21% last year, and $50,000 between January and February. Many economists would say that represents a “huge shitload” of profit, even if they bought recently.

Money isn’t everything though. Even a ginormous, Scrooge McDuck money vault-esque reservoir of lightly taxed profit might still be cold comfort to someone who’s used to having five or more properties, and may now have to make do with just  two, three, or even one. Renters United spokesman Ashok Jacob finds it hard to imagine that kind of suffering, having never owned a home. But he said some of his experiences might be helpful for investors as they face a new changed reality. “I survive on zero properties, so I have a lot of tips,” he said. “I try to make coffee instead of buying it, so that’s one. I get my vegetables from the farmer’s market. Just because the vegetables might look ugly doesn’t mean they can’t taste the same.”

Former BNZ chief economist Tony Alexander once urged aspiring homeowners to “go to cafes and spend as much on lattes, muffins, frappes, wraps, etc as often as the Baby Boomers did”. Lawyer Bruce Dell once said young people had to scrap their twice-yearly trips to Bali and addiction to leased BMWs to get a home. Jacob had similar advice for property investors now faced with paying a small amount more in tax. They had to realise that owning a home is meant to be hard, and self-sacrifice is necessary if they want to get a foothold in the current market, he said. “I support the landlord community in their struggle. I just think sometimes learning to love what you have, learning to be content, is important. It’s about personal growth.”

Green MP Chlöe Swarbrick said she could only pass on the advice she heard as a prospective first home buyer. “We were told to pull ourselves up by our bootstraps. [Get] maybe a part-time job… and reduce our avocado and flat white intake.” She pointed out that the game Monopoly was originally designed to warn against monopolisation of the inelastic resource of land, to the benefit of a few by excluding the many. “I guess the lesson is life isn’t an intentionally unfair board game, and we can change the rules,” she said. Women In Urbanism’s Emma McInnes was more magnanimous, saying she sent “aroha to this male-dominated profession, during this crisis”.

Jacob said it wasn’t just property investors; he had disappointments of his own with Labour’s housing announcement. He’d hoped there would be more to curb rent rises, given the bottom quintile of New Zealand renters currently hand over more than 50% of their income to landlords on average. That  statistic is associated with a host of social ills: people living in cars, spiralling government expenditure on emergency housing, and worst of all, children from cold, mouldy homes contracting and sometimes dying of diseases that have mostly been eliminated in developed countries.

“This housing crisis has hit renters the hardest. Not only are they locked out of the buyers market by ever-increasing rents but because of this shortage of supply, people are forced to live in substandard housing,” Jacob said. “If a landlord has to downsize or get rid of some of their homes, I hope they still have somewhere warm, spacious, and comfortable to live a healthy life.” 

There’s no doubt property speculators are feeling the sting of Labour’s tax announcements. Finances might feel a little bit tight. There’s less certainty about how they’re going to put a roof over someone else’s head, in exchange for a tidy profit margin and, eventually, a huge capital windfall. But the good news for them is that it could always be worse: they could be the people who rent their extra houses.

The entrance to Tāmaki Herenga Waka (Photo: Auckland War Memorial Museum Tāmaki Paenga Hira, Richard Ng)
The entrance to Tāmaki Herenga Waka (Photo: Auckland War Memorial Museum Tāmaki Paenga Hira, Richard Ng)

SocietyMarch 23, 2021

The immense, intimate exhibition defining the future of Auckland Museum

The entrance to Tāmaki Herenga Waka (Photo: Auckland War Memorial Museum Tāmaki Paenga Hira, Richard Ng)
The entrance to Tāmaki Herenga Waka (Photo: Auckland War Memorial Museum Tāmaki Paenga Hira, Richard Ng)

Today sees the opening of Tāmaki Herenga Waka: Stories of Auckland, Auckland Museum’s biggest new exhibition in years. Alex Braae took a preview tour of a project that is massive in scope, but intimate in tone. 

“The phrase that I keep remembering was that they didn’t want people to feel stink about this place,” said Chris McDowall. 

The acclaimed data journalist, whose work has appeared many times on this site, was joining The Spinoff on a tour through Tāmaki Herenga Waka: Stories of Auckland, an ambitious new exhibition that opens to the public today. McDowall was speaking in a small, dimly lit room lined with screens that take great screeds of data and translate it into visualisations. It was a throwaway comment about one corner of the exhibition, but it could have stood for everything about this remarkable exploration of Auckland and the people who live there. 

Finding the right data sets to give visitors an insight to the city was a challenge for the curators, said McDowall, who consulted on the data work made by Greg More at OOM Creative. Data isn’t necessarily neutral, nor is history, and both can be wielded to send the wrong message about people’s lives. 

“They wanted data that would have integrity and be honest and truthful, and accurately represent this place. But also stories within data, [so] that if a child came through here, they would leave feeling hopeful and better.” 

It’s thrilling to watch, for example, a display of all the public transport trips taken over an average day by Auckland commuters. Vast flows of humanity are depicted as warm beads of light, streaking across the isthmus. It captures both the scale of the systems that allow Auckland to exist, while also noting a moment central to the lives of the individuals who live in it. 

There are several distinct areas in the exhibition, and walking into the first room, a striking panorama catches the eye. Slowly rotating on a slight tilt, the full sweep of Auckland is presented on a circular screen, pictured from the top of the hill that the museum sits on. 

The 360° panorama stretches so far into the distance that you can’t see the edges of the city. It serves as both an acknowledgement and a statement of intent – that the exhibition will try and fit in as much as it can, but won’t get everything. 

A view of the panorama exhibit (Auckland War Memorial Museum Tāmaki Paenga Hira, Richard Ng)

Because how do you even begin to tell the story of Auckland? It is a city of astonishing diversity, complexity and scale compared to the rest of the country. Immense waves of migration have repeatedly reshaped it. And in recent decades at least, there has been a dynamism about Auckland that would make it close to unrecognisable to a visitor from the past. 

Grappling with change is essential to the story of Auckland. McDowall mentioned an anecdote from his own family history that could just as easily have been included. 

“My mum – the first house she ever lived in was actually in the carpark of the museum. That was all housing, after World War Two, just prefab housing for the servicemen returning from overseas. My grandfather had been in the army, and before they moved into a state house in Roskill, they lived in what’s now the carpark,” he said. 

“To think back to the 1950s, what Auckland was like compared to the 70s, the 90s, today, it’s just extraordinary the amount of change.” 

The choice of what to display reflects both the challenge of capturing everything, and an immense level of confidence from the curators in their ability to tell stories with brief glimpses. It focuses not on objects as mere artefacts of the past, but as symbols for the cultures that make up the city. 

A traditional museum might have focused heavily on the city founders, former mayors, the richest titans of industry and so on. But as content and interpretation planner Lizzie Wratislav explained, the museum’s goal was to achieve something different. 

“Part of what we set out to do was to go about this story of Auckland in a different way. We wanted to step back from what you might call a traditional approach, we didn’t want to do a timeline or more linear singular story. It’s very much about multiplicity – the many stories of Auckland.” 

Chris McDowall in the data visualisation room (Alex Braae)

On topics like the great migration of Māori people from ancestral whenua into Auckland, the story is told not through dry accounts or statistics, but depictions of “how people connected with each other,” said Auckland Museum content lead Rebecca Lal, who was heavily involved in the creation of Tāmaki Herenga Waka. “It’s things like churches, sports clubs, marae, workplaces, the kind of places that you hang out.”

She pointed out a beautiful quilt on one of the walls. “This tivaevae was commissioned for the gallery from the Pacifica Mamas, and obviously that’s a way for people to connect with their culture, and also just hang out together and have some fun.” 

Wratislav said the object choices reflected a desire to reveal the “hidden histories” and lesser known stories of the city. “It’s not just about the finished product – the gallery that you can visit. It’s also about the new collecting and new research that has gone into these contemporary stories of Auckland.” 

There’s a jacket that belonged to a member of the Polynesian Panthers, evoking memories of staunch resistance to racism against Pacific migrants. There’s a phone you can pick up to hear Dame Naida Glavish say “Kia ora” on the other end, as she once did to nationwide controversy. There are artefacts of some of the great families of Auckland’s history, both mana whenua and from further afield. 

Some displays are counter-intuitive, but no less brilliant for it. Next to a wall-sized print of a sweaty rock gig is a side door. Open it, and you’re presented with the door of a toilet stall from the old Kings Arms pub, unedited and in its full graffitied glory. Just the sight of it conjures up muffled drums and the smell of piss. 

McDowall and Lal looking at the panorama exhibition (Alex Braae)

A favourite object for Wratislav is an industrial potato peeler, which was an important piece of technology for Māori living in Auckland. “You can have alongside each other in such a small space the kahu kiwi – the kiwi feather cloak worn by King Tāwhiao – just steps away from this industrial potato peeler, and they’re both taonga Māori. They’re both telling the stories of Māori living in Auckland, and that potato peeler is really such an evocative object and speaks to lived experience.” 

Nor does the exhibition shy away from the grim side of life in the big city. Behind a glass screen, a mattress has been set up on the floor, representing one of the beds for the homeless provided by Te Puea Memorial Marae in Māngere. Without passing judgement on those who found themselves in such a bed, the exhibition makes it clear they are just as much a part of Auckland’s story as everyone else. 

“We were really aware we didn’t want everything to be a celebration as such – it’s not always shining a positive light on everything,” said Wratislav.

“But on the other side, where we’ve positioned the Te Puea Marae [display], it’s in a space where there are stories of community. And it’s very much about the response of Te Puea Marae, which was a huge community effort to an overwhelming challenge.” 

Stepping out of the data room, and across the great entrance foyer, you’re once again presented with the vast panorama of Auckland, from the commanding heights of the Auckland domain. But you see it with fresh eyes. 

The construction sites show a city desperately trying to accommodate growth. The traffic jams on the motorway look like the tides, sweeping in and out. You notice details about the pedestrians that walk past, each an individual with a rich and complex life – lives which have been deemed important enough to include snippets of in a hallowed space like the city’s grandest museum. 

Tāmaki Herenga Waka chronicles the many different eras of Auckland, each one barely recognisable from the last. It is intended to stand for 10 years, time enough for the city to once again become something completely different for the millions who will call it home.

Tāmaki Herenga Waka: Stories of Auckland opens at Auckland Museum Tāmaki Paenga Hira on Wednesday, March 24.