87 results for 2000, Creative work

  • Mio Frame: commissioned modular system

    Young, E; Richards, E; Boardman, P (2012-05-29)

    Creative work
    Auckland University of Technology

    Mio Frame - Commissioned Practice based research project into demountable modular steel framed structural system with case study boutique demountable commercial office building, 2009.

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  • Eunoia S,M,L,XL: Modular light timber framed structural systems

    Young, E; Richards, E; Boardman, P (2012-05-28)

    Creative work
    Auckland University of Technology

    Eunoia S,M,L,XL - Commissioned Practice based research project into modular light timber framed structural systems and their application to a range of five bach designs for the New Zealand market. Commissioned by Eunoia Holdings Limited to create an optimized modular light timber framed construction system. Developed to allow for efficient construction on remote building sites and minimize wastage as well as factory modular.

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  • E Tu Ake - standing strong

    Robertson, N (2011-12-01)

    Creative work
    Auckland University of Technology

    This exhibition was shown at Te Papa from 9 April to 26 June 2011. It will be on display at musée du quai Branly in Paris, France, from 4 October 2011 to 22 January 2012. Visit the quai Branly website Tino rangatiratanga (the ability to choose one’s own destiny) lies at the heart of E Tū Ake: Standing Strong – an exhibition in which ancestral Māori treasures from Aotearoa New Zealand stand alongside contemporary works. E Tū Ake reflects the artistic depth and political aspirations of the vibrant indigenous culture of Aotearoa.

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  • Ultra Neon

    Thomson, A; Heng, E; Pahoki, S; Robinson, K; Macdonald, F; Haylock, B (2012-04-15)

    Creative work
    Auckland University of Technology

    Light Projects presents a mini-survey of neon works. Text-based or abstract, wall-based or sculptural, Ultra Neon assembles neon works from a variety of practices into a densely hung dialogue. This is a single artwork exhibited in a group show curated by Light Projects (Lesley Eastman and Tamsin Green). The artwork took the form of a long pink neon tube that represents the vertical meridian of the Light Project's gallery space, displayed in conjunction with other neon light works exhibited by the other participating artists including Euan Heng,Brad Haylock, Fiona MacDonald, Sanja Pahoki,Kiron Robinson and Andy Thomson.

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  • Canopy: proposal for Wynyard wharf. Auckland architecture week 09 invited design charette

    Young, E; Douglas, C; Richards, H; Xu, C; Fisher, CPRW (2011-10-20)

    Creative work
    Auckland University of Technology

    As part of Auckland Architecture Week 09, a one-day invited design charette was held in a public venue in the Britomart Quarter. The charette was intended to show people what architects do, and to generate concepts for the Auckland City Council's intended redevelopment of the Wynyard Quarter. Teams were briefed at 8:30am, with the final presentation at 5:30pm. The brief called for open public space, retail, community facilities, offices, apartments, and a 'Big Idea' to activate the site. We proposed a non-destructive evolution of the existing fabric, beginning with some 'quick-and-dirty' temporary interventions to begin building community on the site. A layered canopy would be progressively built over the site for monolithic programmatic elements, with ground-level development maintaining a smaller urban grain to keep the existing working character of the site.

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  • The Barricades Commission

    Douglas, C (2011-10-19)

    Creative work
    Auckland University of Technology

    The initial drawing in this series was a response to the Auckland Architecture Association Urban Gaze 2006 competition, which invited spatial speculations on the city themed around the concept of the 'gift'. The work suggested, in line with Jacques Derrida's writing on gifts, that the truest gift was something without expectation of repayment, and that giving may overlap in strange ways with claiming. The drawing was awarded second prize. Along with two subsequent drawings, it became part of my research into barricading as a "redistribution of the sensible" (Rancière). The series won a contest on the high-profile website BLDGBLOG, and was published in Block, the newsletter of the Auckland Branch of the New Zealand Institute of Architects.

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  • Pool Complex, in Making Worlds.

    Cullen, P (2012-04-12)

    Creative work
    Auckland University of Technology

    Pool complex was made in 1994-1995 and was never exhibited before going into the collection of the Auckland Art Gallery. In common with many works I've made since the early 1990's it employed found furniture and dexion.

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  • As it is Now [Director: Lesley Kaiser. Animation: Logan Austin] in Animacall Animation Project 2011, The Contemporary Art Center of Thessaloniki (part of the State Museum of Contemporary Art in Greece).

    Kaiser, L; Austin, L (2011-08-19)

    Creative work
    Auckland University of Technology

    This animation of daily photos (by Lesley Kaiser) of a blossom tree over a period of one year tracks the changing seasons in the microcosm of a Ponsonby garden and responds to the fact that a work of art can be seen as a biological encounter. This work looks at digital aesthetics in nature within the wider context of cognitive science, evocriticism, poetry, and from an art practitioner’s perspective. Created in an era of climate change, the work is set against a background of a dying native cabbage tree, and nostalgically captures for the future the delight that springtime may bring, as well the sadness inherent in things (the Japanese concept of mono no aware). Technical aspects of animation: Logan Austin

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  • Stockholm Falsework

    Cullen, P (2012-04-12)

    Creative work
    Auckland University of Technology

    Falsework is a temporary scaffold-like architectural support which is used to hold elements in place during construction and until they become self supporting. Paul Cullen’s Falsework sculptures are makeshift constructions in which items of furniture are inverted and supported off the floor and against the ceiling. These sculptures could be said to model the unlikely situation in which gravity is suspended and objects are able to float free from their usual restraints. Or they could be regarded as modelling a situation in which the inverse of the everyday, in which objects sit upon the floor, is presented. The do-it-yourself aesthetic of these sculptures has a basis in the drawings of Heath Robinson and Rube Goldberg. Both men drew complex, makeshift and illogical devices designed to perform simple tasks by indirect means and to represent the application of irrational principles to the pursuit of rational outcomes. The Falsework sculptures are improvised constructions of relationships between ordinary objects reliant, like the whimsies of Goldberg and Robinson, on impractical and makeshift means. Although they are model-like, the Falsework sculptures only imitate the act of representation up to a certain point; they serve no real purpose and instead refer insistently to the processes of their own making and materiality.

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  • A diagram (Geology)(2011)

    Cullen, P (2012-04-10)

    Creative work
    Auckland University of Technology

    A Diagram was an outdoor site-based sculptural work comprising a tower, a deck structure, a vertical ladder and support structure, benches and a field of rocks. The installation of spatially dispersed objects configured a site through which viewers could walk.

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  • 3-D knit transformations

    Smith, AE; Kalyanji, J; Fraser, G (2014-05-07)

    Creative work
    Auckland University of Technology

    Rapid advances in seamless knitting technology are opening up significant opportunities in the design, production and application of knitted textile preforms. Introduced in the mid 1990’s, seamless machinery enables shaped, 3-dimensional knitted forms to be produced entirely by machine. While garment producers globally adopted the technology for its economic efficiencies, the standardised templates in the technology’s software have generally reduced the sophistication of designs produced. Although the signifi cant unrealised potential in seamless technology is widely acknowledged, designers and manufacturers are facing diffi culties in understanding and integrating the complex technology into their practice. There remains a fundamental gap in knowledge and skills, in part due to a simplified and modular garment based user interface, which fronts a complex and sophisticated technology. Of the limited research in this area, most relates to garment shaping. More recently, we have started to see sophisticated applications of this technology in highly technical or artisanal design outcomes emerging from textile research centres. The design and production of knitted textile forms in 3-dimensions, as opposed to the 2-dimensional fl at pattern and construction of the past, is a significant conceptual shift for traditional textile design practice. Traditional craft and design practices are often disrupted by the emergence of new technologies. We believe that the disruption created by seamless knit technology has the potential to vastly change both the design and application of knitted textiles, moving knitted textile manufacturing up the value chain. This installation showcases the advanced capabilities of seamless knitting technology for innovative, 3-dimensional form building and high-end design outcomes. The group submitting this proposal consists of a knitwear designer, knitted textile designer and knit technician. All are experienced in this field, and will draw on current research and developments to work collaboratively in producing a collection of seamless knitted products that demonstrate unique shaping, 3-dimensionality, pattern and texture. The collection includes both garment and non-garment applications and may incorporate smart textile applications.

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  • Garden window. Public space for ambient intelligence. Competition entry for NTT DoCoMo, Inc. Mobile society research institute international architectural design competition 2006

    Douglas, C (2011-10-20)

    Creative work
    Auckland University of Technology

    Ambient intelligence is a public garden in which capabilities appear as flowers. This garden overlays the city precisely. We are all in two places at once: the city, and the garden of ambient intelligence. Keitai is a window for observing this other space. The most mundane and overlooked corners of the city blossom furiously! Flowers can be interacted with: to make a connection, to get some information. But the keitai can also be used to spy on the flowers interacting with each other - flourishing as their connections and abilities multiply.

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  • Streaming. An intelligence agency for an unspecified city in a hot climate. Competition entry for Auckland Architecture Association Cavalier Bremworth Awards 06

    Douglas, C (2011-10-20)

    Creative work
    Auckland University of Technology

    This competition entry for the AAA Cavalier Bremworth Awards 06 was an exploration of the use of pattern generation and interference patterns in generating operational architectural space. It sought to create strategic inefficiencies as a contribution to the capacity for imagination in the institution it housed. A in-situ cast concrete shell is proposed, which would be partitioned and filled in according to the specific needs of the agency (a sample program is given on the far right). The subtle misfitting of the heirarchical program and the concrete shell will promote mismatches and shortcuts through the hierarchy in an attempt to multiply the accidental meetings: noticing a piece of paper on someone's desk; meeting someone over the watercooler; double-bookings of meeting rooms; encounters in the corridor; one department overflowing into the next. The building is apprehended through circulation. It is not a building which shows you your place. Although local fixity may be found in the circles and niches, movement reveals the continual streaming-away of the architecture. The project built on techniques and processes I developed for my previous project "Offshore" (2004), which won a Open Category Award at the AAA Cavalier Bremworth Awards.

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  • Ultralocal: design proposals for the Kaipatiki project environment centre

    Austin, A; Cooper, F; Kane, D; Kumar, A; Lin, S; Sun, YK; Thorp, S; Anderson, S; Crawcour, H; Gruiters, M; Janpiam, W; Lee, C; Pan, E; Song, A (2011-10-18)

    Creative work
    Auckland University of Technology

    ULTRALOCAL is a collaboration which brings together architectural design works from seven postgraduate students at the University of Auckland School of Architecture and Planning, and spatial design works from seven undergraduate students at the AUT University Department of Spatial Design. The work shares the common focus of projecting visions for a new Environment Centre for the Kaipatiki Project, a non-profit community group based on Auckland's North Shore. The Kaipatiki Project currently focuses on environmental education and bush restoration services, and has initiated the design of an Environment Centre to advance its wider vision of 'inspiring communities to live sustainably'.

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  • Surrender

    White, M; Charman, J (2011-12-01)

    Creative work
    Auckland University of Technology

    A collaborative event between poet and photographer, presented as a simultaneous poetry reading and video performance for "rhythm & verse" series for the Titirangi Music Festival and Poetry Event

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  • Boy

    Ings, Welby (2011-12-07)

    Creative work
    Auckland University of Technology

    Boy is Welby Ings' short film about a young male prostitute in a small New Zealand town who discovers the truth behind a fatal hit and run accident. When news of the death spreads through the district, the family of the responsible driver realise that the boy must be kept silent. Using local gossip they set out to frighten him into submission. The pressure becomes increasingly aggressive and through it the boy [who never speaks] battles to expose the truth. Boy was a multi-award winning experiment in poetic narrative as film. Between 2004 and 2007 it was officially selected in competition for over 50 international film festivals. It was also long-listed for the 2006 Academy awards after winning Best Short Film in the prestigious Cinequest International Film Festival. The film flows as a single, linear thread. Its aesthetic references stylistic approaches taken to advertising narratives in New Zealand [integrated colour palettes, editing rhythms and structures]. A significant feature of this approach is the highly condensed nature of the story. The narrative [which might normally be told as a 55 minute drama] is now heavily compressed into less than a quarter of that time. As a result edited sequences average out at 1.2 seconds in duration. The effect establishes an unusually condensed, dreamlike, visually rich form of storytelling that alludes to the world of music video and TVCs but uses these references to develop a very intricate, intensified form of storytelling. [35mm silent, short film with typography.]

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  • Dew Drop (product design proposal)

    Young, E (2012-05-29)

    Creative work
    Auckland University of Technology

    No abstract

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  • The Palms (commercial architecture proposal)

    Young, E (2012-05-28)

    Creative work
    Auckland University of Technology

    No abstract

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  • Drei Equali

    Taylor, SM (2011-09-29)

    Creative work
    Auckland University of Technology

    This is a high quality type-setting of a trombone quartet composed by Beethoven, created using LilyPond software from an old public domain scanned score. The original source was Breitkopf & Härtel, Beethoven Gesamtausgabe, 1862-1865, located on the IMSLP website.

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  • Headland sculpture on the gulf: a diagram headland 2011

    Cullen, P (2011-11-03)

    Creative work
    Auckland University of Technology

    A coastal site with southerly aspect, overlooking Motukaha Island and Sergeant Channel. On the raised edge of a steep cliff. Views of the harbour and island. Geology: argillite, indurated marine mudstone: dark grey-green, well-sorted, well-cemented. A tower, ladder, platform, and benches. Auckland-based Paul Cullen is a senior lecturer in Visual Arts at the Auckland University of Technology. He studied at both the University of Auckland and the University of Canterbury, achieving honours in sculpture. He has a Diploma of Fine Arts, Canterbury, First Class; Master of Fine Arts, Auckland; and a Doctorate of Fine Arts, Auckland. His recent international projects include The Halifax Project (2009), Port Loggia Gallery, NSCAD University, Nova Scotia Canada. New Zealand projects include Garden (2009-2010) at Museum of New Zealand Te Papa Tongarewa; Wellington, Table (2009-2010) at the Waikato Museum Te Whare Taonga o Waikato, Revolutions per Minute (2010) at the Jane Sanders Gallery Auckland and Motel (2010-2011) at Te Tuhi Gallery Auckland. Cullen exhibited Weather Stations at headland SCULPTURE ON THE GULF 2009.

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