Discovered by aerial scouts in 1998, the Alexander family farm near Matamata became Hobbiton for Peter Jackson’s The Lord of the Rings (1999 set build) and was rebuilt as a permanent, detailed set for The Hobbit (2009–12). Today it operates as a guided visitor experience with ongoing landscape, structure, and prop maintenance to preserve the Shire’s cinematic authenticity.
Location scouts sought rolling, hedged pasture without visible modern intrusions. Aerial surveys identified the Alexander farm in Waikato. Negotiations secured access, and earthworks created lanes, pools, and cuts while respecting farming operations.
For The Lord of the Rings, crews built 37 hobbit‑hole façades, The Mill, and the double‑arch bridge in largely temporary form. Planting schemes, hedgerows, and orchards embedded the set into the landscape. After filming, partial removal left traces that drew early visitors and ad‑hoc tours.
With a tourism future clear, the set was reconstructed in durable materials: timber frames, masonry, and weatherable finishes. Bag End, the Green Dragon Inn, pathways, fencing, and micro‑props (tools, crockery, signage) were fabricated for close viewing. Drainage, irrigation, and power were discreetly integrated. The rebuild balanced cinematic composition with visitor safety and operations.
Hobbiton runs timed, guided tours that choreograph views across the Party Tree, Bywater, the Mill, and Bag End. Wayfinding, storytelling, and controlled group sizes preserve atmosphere and protect planting. Seasonal gardening keeps ‘lived‑in’ realism: vegetable beds, laundry lines, and smoke from chimneys.
The set is a managed garden and village. Teams repaint, re‑thatch, and repair façades; replace props; and maintain bridges, paths, and fences. Arboriculture and turf care keep slopes stable and shade healthy. Discrete barriers, staff presence, and maintenance windows limit wear.
Though fictional, Hobbiton has become a cultural destination, anchoring film tourism in New Zealand and supporting local employment. It demonstrates how film sets can transition into permanent visitor places when landscape, craft, and operations align.
