Close Reading Historical Images
Written By Sophia Rigg. Photo by: (Moore, “Parorangi”, Feilding, 1923)
Dedicated to my 3rd Great-Grandparents, E & J Short
THE BEGINNINGS OF PARORANGI - A place of Prospect, Refuge and Retreat
When we think of New Zealand we think of the crystal blue sky line and dense bush, but deep within, it is adorned with stunning natural structures, mountains and water sources. It is a place of refuge, prospect and essential life resources. Hidden within its confines contain icons of sheep, birds, nourishments and culture; a place of freedom, travel and modern progression. The image is one of the first panoramic images by Robert Percy Moore, a famous travelling photographer on a Cirkut camera throughout New Zealand from c1923-1931. Moore captured life and culture in New Zealand across a range of developing structures and idyllic rural scenery producing post card views (NZMS, n.d.).
1- Hand drawn New Zealand Icons (Fraser, 2017) 2- Mt Cook winding river with plantings and stones like parorangi (Luke & Rapkin, 1898) 3- The winding lake of Parorangi with plantings and stones (Brooker) 4- “Parorangi Icon” – A New Zealand Country Home – Mr Ernest Short’s Parorangi Residence (refer to appendix)
Parorangi homestead was one of the two properties commissioned by leading Landscape Architect Afred Buxton for his article publication ‘The Garden Beautiful’ (Gleeson C. , 2022, p. 18). Ernest Short of Parorangi was Alfred’s first client in his expanding business to the North Island, and to the succession of future stud farmer clients. Buxton made clear in the beginning of every advertisement that clients must consult him before building as so many houses were spoiled by being located in the wrong position (Tipples, 1989). His renowned perfectionism and foundational ideas led him, Moore, and the Short’s to curate a romanticized architectural icon capturing “The New Zealand Dream”. The journeying driveways and lakes speak to the flow of the New Zealand landscape, displaying in its grounds a macro diverse accumulation of cultures and ancient theories.
The image left behind also marks a visual icon and legacy of Mr Ernest Shorts lifelong accomplishments and contributions to New Zealand history. It displays the rich “estancia” of grounding agricultural development and community leadership during the 20th Century, attributed to the crucial success of the Romney Sheep breed winning World Championship in 1910 (Coach House Museum). The Romney sheep, the most common breed in New Zealand was so changed “towards a type specifically adapted to its environment and suited to our needs” (McMeekan, 1946). Similarly, Short’s same dedication and adaption to the environment in order to suit our natural climate and psychological needs is seen in the landscape and architecture of Parorangi. Not only were the stories of fine dining, community contributions, employment and founding educations set within these walls; but the extensive global cultural elements, futuristic engineering, architectural patterning, and passive design thinking are beyond the scope of a home built in New Zealand in c1913.
The “JOURNEY” colourized version of original Image (Sophia Rigg 2025)
The pitched roofline with a towering belvedere marks a symbolic epitaph of an empire elevated in the clouds. The surrounding forefront provides a vast and verdant landscape. The eye is transfixed to the electrically lit icon in the central point of the image marking the progression and development of advanced colonial engineering. Superseding the nearby Feilding district with the installment of electricity by approximately 7 years (MDC, n.d.) seen in the electrically lit pagoda. The pagoda was a famous element of Buxton’s designs seen in his future garden designs from Japanese Yokohama Nursey (Tipples, 1989).
1- Descriptive Catalogue of The Yokohama Nursery Co 1909-10 (Japan) (Catalogue of the Yokohama Nursery co, Ltd, 1912, p. 107)
2- Olive Woods diary (Wood)
3- Zoom in Original image of Car (Moore, 1923)
4- 1920 Willys-Overland (The Competition 1920, c1920)
5- Transportation Icon over Parorangi (Flights over Parorangi 1920. Pilot Capt Richard Russell, 1920)
Central to the home in sight is a 1920s Willys-overland, a major player in the automotive industry. A symbolic representation of Shorts dedication and commitment to the development of automotive engineering where he financed and contributed to the Wackrill and Stewart automotive company in 1907 ( (Pilkington, 2007, p. 36) who 10 years later formed the New Zealand Motor Association (MTA, 2025). Another milestone of the views and progression of transportation was the arrival of the first airfield in Feilding, with the pilot Captain Richard Russell taking passengers paying five guineas for flights (Bowman & Burr, 2017). With cross-country flights landing here, the future of transportation was a defining and symbolic memoir in the life of Parorangi.
Of the two Panoramas produced by Moore for Buxton’s advertisements neither of them uncover the hidden mysteries within Parorangi grounds. The images instead serve to showcase the iconic rooflines, flowing driveways and extensive plantings in the time of a new age. The car was relocated to be aligned centrally with the home in the second Panorama with Jessie Short placed centrally between the car icon and entrance of her home; where scattered alongside the home are her daughters and granddaughters. Buxton only placed the female members of the family in the portrait aligning with the “intriguing story of a man who played an important role in developing Aotearoa’s horticultural landscape through the lens of the ‘fairer sex’ who supported and took pleasure in his work” (Gleeson C. , 2024).
1- The female members of the Short family placed around Parorangi (Moore, “Parorangi” Homestead, Feilding, 1923)
2- Parorangi Homestead, Feilding (Moore, Robert Percy – 1923) (Moore, “Parorangi” Homestead, Feilding, 1923)
3- Aerial Photograph of ‘Parorangi’ circa 1920s – Identifying features (Feilding Archives)
4- Google Earth view of Location of Parorangi (Google, Earth, 2023)
Travelling down the long winding driveway (approx. 500m from the road) are the design techniques of compression and release where a long narrow pathway leads to a divergence of paths offering both symmetrical and balanced views of prospect and refuge. Three paths are divided by canopies of trees, which can be seen approaching the teardrop driveway with two formal routes and a path of mystery within the trees on the left. The home is orientated in a U and placed to best capture the full day sun and views throughout the interior panorama. The grounds cover a large area and are bordered with trees to protect. The home has been “placed upon an artificially-raised eminence” (Evening Post, 1915) providing the opportunity to see without being seen.
Grid Composition of Parorangi Panorama (Sophia Rigg, 2025) of original (Moore, 1923)
The same characteristic would be felt in the compression beneath the pediments of the main entrances, confined by the groupings of colonnades and released into the expansive reception room. Following through into the design of the belvedere, protruding through the pronounced array of asymmetrical rooflines, thus providing a vantage point of the inner areas of the estate and be yonder. The turret room within the belvedere tower reaffirms this theory where “the visitor who climbs the narrow staircase to stand at the windows cannot but picture Ernest Short planning this unusual crowning feature for his family home” (Pilkington, 2007). This main prospect point in conjunction with the window dormers set within the gables provides views from every angle of the home. The same symmetry, balance and division of thirds is felt in the composition and layout of spaces within the home and the three gables along the North and West faces.
Annotated Views and Prospects of Floor and Roof Plan – suggested plan and room names by NZHPT (Dangerfield, Registration Report for a Historic Place Ihake House, 2009)
While an Architect for this masterpiece remains unnamed, it is plausible that Ernest and Jessie Short designed the home based off their own experiences and travels abroad as denoted in Jessie diary; with the current news stating “The house embodies many of the ideas of the owner which were gathered in a recent world tour” (Evening Post, 1915). Jessie recorded a love of this photography, later reflected in her ward Olive Wood’s diary highlighting the various landmarks hidden within the landscape. There was a passion for diverse ancient civilizations reflected in the design of Parorangi, highlighted examples capture landmarks from Cairo, Egypt nicknamed “the city of a thousand minarets” (Fakharany, 2024).
1- Original Image to compare Minarets (Moore, “Parorangi”, Feilding, 1923)
2- Cairo Minarets from Jessie’s Diary (Short)
3- Comparing Minarets on South side of Parorangi (Wood)
4- Mosque of Muhammad Ali (Zararia, 2016)
Evident from Jessie’s diary is, from a rooftop in Cairo the Mosque of Muhammad Ali, to the far right (the identifying feature of the region). Protruding into the Skyline are the array of Minarets, Domes and Finials striking attention just like the array of protruding chimneys, viewing belvedere and finial atop Parorangi in a softer more English Colonial tone.
Top Images depicting Minarets in Cairo with octagonal forms merging into rectangular protrusions.
1- A Thousand Minarets (Khalid, 2023)
2- Single and Double Minarets (Wiggers)
3- Zoom in of Double Minaret details (Wiggers)
4- Zoom in of Original Image showing Minaret Chimneys
5- Publication showing the array of minaret chimneys (“Parorangi”, c1916)
6- View of Parorangi skyline from afar (Fowler, 1916-1920)
Below Images depicting the pyramid roof forms (Rules of three – composition)
1- The Step Pyramid at Saqqara (Short)
2- The rules of Three: The Pyramids Surrounding a thousand minarets (Khalid, 2023)
3- Stepping Structure into the skyline (Building of Homestead, Parorangi)
4- Parorangi Peaks (Brooker)
Sought from his British ancestors just like the name Parorangi derives from an important historical link of his former estate. Named after a landing on the Rangitikei River near Arapata was called Paroro-rangi by the legendary Maori explorer Matangi (Pilkington, 2007). According to Matangi’s travels the name signifies the ‘screaming or howling of the birds at this place’ (Pilkington, 2007); an undoubtable experience that must have been felt by those who entered the estate. Similarly, the lake surrounding Parorangi appears to resemble the wrap around river of his former estate in Waituna West with a north facing surround above meandering waters.
1- 1929 Past Maps – The Rangitikei River (1929 Map – Old Parorangi Estate, n.d.)
2- (A New Zealand Country Home – Mr Ernest Shorts Parorangi Residence)
3- A copy of RP Moore’s Panoramic photographs of Parorangi from beyond the lake c.1925 (Tipples, 1989)
4- Stacked structures: Squares and Octagons (Yellow House Station. Buenos Aires. Circa 1900.)
5- Zoom in of Belvedere original image (Moore, “Parorangi”, Feilding, 1923)
6- Pointed Structures at Yellow House station (Carte postale – Buenos Aires)
The location of his top prizing winnings and office in Buenos Aires, Argentina (Pilkington, 2007), provided Ernest with forward-thinking ideas of diverse and metamorphosized cities and modern transport. New urban spaces connecting strangers and neighborhoods stretched along an enormous streetcar network and subway line, powered by modern electric trams while coexisting with traditional horse-drawn carriages (Yellow House Station. Buenos Aires. Circa 1900., n.d.).
Furthermore, the Belvedere provides a functional purpose within the home, as described a “glass brick floor gives borrowed light to a magnificent stained-glass ceiling into the spacious lounge room below” (Pilkington, 2007). Whether this idea was inspired from the Pantheon in Rome, Unity Temple or another design featured in the Shorts travels cannot be certain but the original light fittings below the belvedere share a similar box structure to that of Frank Lloyd Wright’s early design.
1- Floor of Belvedere Tower allowing light to leadlight skylight below (Dangerfield & NZHPT, 2006)
4- Frank Lloyd Wright Unity Temple built 1908 (Caulfield)
2- Leadlight Skylight below belvedere tower (Wagstaff, 2009)
5- Lighting below Paroragi skylight (Dangerfield & NZHPT, 2006)
3- Pantheon dome (Zucker)
6- Lights in Unity Temple – Frank Lloyd Wright (Cohen Rose & Rose)
The Shorts had lived on farms all their lives and developed a deep connection with their history, natural environment and the philosophies of ancient cultures. Their intrinsic awareness of the psychological experience of space and connection guided by Alfred Buxton allowed the Shorts to develop a homestead with all the embellishments of human comfort. Parorangi enacts as a palatial centerpiece and trophy of the winnings and contribution to New Zealand agriculture as an extension of the diversity and culture that inspired the family through their travels of the worlds architectural wonders. The home was said to be filled with hundreds of gold and silver cups, trophies and rosebowls earned by the Romney Stud stock as well as a keep-safe for the exotic collections of contents contained within its walls (Pilkington, 2007).
Hidden in the grounds contains further notions of prospect-refuge through the vast fields, gardens and water valleys. Retreats and semi-enclosed spaces like thatched tea house shelters, rustic timber bridges, and extensive timber garden pathways are scattered evidence of sophisticated self-sufficiency and comfort. The Parorangi buildings and landscape live in harmony with the diversity of styles and cultures echoed through the craftmanship and principles of the Arts and Crafts era. A unique amalgamation of modern, vernacular and monumental components.
1,2,3: The Mysteries of Parorangi (Feilding Coach House Museum Digital Archives)
4,5,6: Olive woods diary (Feilding Coach House Museum Physical Archives – Peter Short Collection)