216 results for Creative work

  • 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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  • Dominion Road: the shifting urbanscape

    Ho, KT (2011-12-01)

    Creative work
    Auckland University of Technology

    The Dominion Road project is a photographic project proposed and developed by King Tong HO, the Chairman of Photowhisper Incorporated. Its intention is to explore the ongoing cultural activities on Dominion Road and, in time, to develop a photo-based archive to represent the creative works of New Zealand Chinese photographers, and to support the historical and cultural studies of the local communities.

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  • As it is Now [Director: Lesley Kaiser. Animation and Editing : Logan Austin]

    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 we are biological beings (and that any encounter with a work of art is 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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  • Pier 21 (interior design proposal)

    Young, E (2012-05-28)

    Creative work
    Auckland University of Technology

    No abstract

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  • Blue Latitude (urban design proposal)

    Young, E (2012-05-29)

    Creative work
    Auckland University of Technology

    No abstract

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  • Components of a special collection: a collaboration with the university of auckland fine arts library

    White, M (2011-12-01)

    Creative work
    Auckland University of Technology

    The exhibition was initiated with a survey of the entire collection of artists books in the university of auckland fine arts library. Through this process various approaches, or components, to the practice of book making were identified, which were then used as a curatorial tool to select books for display. Subsequently by working closely with librarians, these books were presented in projectspace as a pop up reading room and extension of the university of auckland fine arts library.

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  • Janet Charman’s "cold snack"

    White, M (2011-12-01)

    Creative work
    Auckland University of Technology

    Book Design: Cover design and photographic images: "St Jude's Crossing". Plus section title photographic images: One, Two and Three, from "All the Numbers from 1 to 96"

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  • Time dancers

    Piper, G (2011-12-02)

    Creative work
    Auckland University of Technology

    Involves motorised movement and fibre optic lighting

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  • Panelbeating. Automotive landscape. Competition entry for Auckland Architecture Association Cavalier Bremworth awards '07

    Douglas, C; Douglas, L (2011-10-20)

    Creative work
    Auckland University of Technology

    Carparks are not to be thought of as simply service-spaces. Large carparks typically have distant corners which are rarely used for parking. These spaces take on another life, serving a range of complex functions: kicking it, demonstrating the volume of car audio systems, ghost-riding the whip, eating KFC, waiting up, showing off, making trademe meetings, performing minor repairs and upgrades. This project proposes a strategic excess of parking in order to allow for these events. Rather than a place to leave your car, this project provides a space which is inhabited in continual reference to the mobile space of the car. The site is located on Ti Rakau Drive in Pakuranga, a main arterial route to the Botany Downs shopping centre, and the rapid suburban developments of East Auckland. The area is dominated by vehicular traffic, big-box retail, and industry. The large scale of the site is unfriendly to pedestrians. A panelbeating shop is a sophisticated formal laboratory. Sheets of metal are shaped three-dimensionally through bending, hammering, moulding, routing, punching, denting. Aftermarket modification is often sneered at as an amateur pursuit, aesthetically unworthy. The technologies and formal strategies of car modification are used in this project to address the primarily surface-based condition of a carpark. Solar panel surfaces made from laminate of toughened glass and extruded photovoltaic sheets collect power for lighting. Future increases in efficiency of photovoltaics will allow recharging of electric vehicles. Plates are folded up into low islands and oriented to collect sunlight. Service masts made of folded and welded steel sheets provide lighting and patchy surveillance. Selected masts also incorporate self-service fuel pumps and recharge ports. Rubbish bins are recessed into the ground. Surface water is gathered into shallow puddles which become sheets of slightly oily water when it rains. When puddles reach a predetermined size they drain into a system of shallow channels and culverts cut into the parking surface and run off into tidal sedimentation basins. Mangroves trap anoxic sediment and prevent trace metals and contaminants from entering groundwater and waterways. The existing tidal creek at the north boundary has been dredged and extended into large tidal sedimentation basins which collect surface water. Sediment will accumulate as mangroves take hold, and the system will stabilise according to the amount of runoff.

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  • Emily place kindergarten. Competition entry for Auckland Architecture Association Cavalier Bremworth Awards 10

    Douglas, C; Douglas, L (2011-10-20)

    Creative work
    Auckland University of Technology

    Auckland will densify, but Aucklanders are skeptical that quality of life can be maintained in a dense city. Proliferation of poor-quality city apartments has reinforced this skepticism. It is not enough to simply pack in more living quarters. For a viable, denser city, the whole range of urban and suburban programmes need to be reconsidered – the Ministry of Education, for example, has recently begun planning for an urban school in the central city. Kindergartens in New Zealand are a suburban typology, typically following the domestic pattern of house, verandah, and yard. Children learn to learn through play. Play is experimental and provisional engagement with other people, places, or things. Friedrich Fröbel, the instigator of the kindergarten movement, prescribed a series of tactile exercises aimed to help children develop spatial skills by slowing down perception. Emily Place Kindergarten is not a passive territory to be explored, but a dynamic system in which children participate. It is a space that children can affect; a medium for their developing sense of the world and their place in it.

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  • Te Ao Taketake

    King, JS (2011-12-19)

    Creative work
    Auckland University of Technology

    Kua roa tā tātou whawhai, arā, tā te ao taketake whawhai ki a tauiwi, mō te mana motuhake o te tangata. Kei roto i ngā pukapuka hītori me ngā kōrero tuku iho a ngā tūpuna te taunakitanga o ngā taukumekume, o ngā kakaritanga ki a tauiwi. I pae mai a tauiwi ki uta ki ngā takutai o ngā whenua katoa o te ao. Ko tā tauiwi mahi ki te ao taketake, he patu tikanga, he kōhuru tāngata, he raupatu whenua, ā, monemone noa. Ki ngētehi tāngata kua panoni ngā tai, kua mutu tēneki mahi, ā, kua murua ngā hara o tauiwi mā. Engari kē, ki ngētehi atu, e whakamau tonu ana i ngā kinonga a tauiwi. E patua tonutia ana ngā tikanga taketake, e raupatu whenua tonu ana a tauiwi. Heoti anō, ko te tino e whakararuraru ana i ngā mātanga mātauranga o te ao taketake, ko te kōhurutanga o te mana motuhake, ā, ko te tūrakitanga hoki o te tino rangatiratanga. He āhua kino, he whakaaro kino kua āta kuhu haere i ngā poka o te hinengaro, i ngā kokonga o te ngākau, ā, i ngā awe o te wairua. E pā kaha tonu ana tēneki āhua ki ngā tāngata o te ao taketake.

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  • Dynamic geometries. Te Wero bridge as a pacific monument

    Young, E; Davis, M; Douglas, C; Ceelen, V; Stevens, B; Phuong, DK; Jones, W; Fordham, F; Xu, C; Chou, W; Neville, H (2011-10-20)

    Creative work
    Auckland University of Technology

    Te Wero bridge re-interprets traditional notions of monumentality by projecting itself as a dynamic point of exchange. The bridge is a new kind of icon for Auckland. Positioned to articulate a subtle adjustment on the Quay St / Jellicoe St axis, it plays its part in a series of urban callings. It offers the challenge of arrival and departure, and sets up a continual dialogue between the city and Wynyard Quarter. Gently wavering masts respond to environmental shifts. On opening, the structure becomes taut, and the roadway rises to scribe an anthropomorphic arc. On closing, the bridge lowers itself back into place, gesturing a precise offering, and providing the necessary tolerance. The event is a study of poise and elegance. The bridge is structurally efficient, with its tensegrity tower, geometrically folded decks, and a gravity and spring-assisted cable and winch system. Te Wero bridge acts as a symbol of the First City of the Pacific not only by its physical presence, but through its articulation of what it means to be Pacific.

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  • ‘He poroporoaki ki te rangatira nā tana irāmutu’

    King, JS (2011-12-19)

    Creative work
    Auckland University of Technology

    He kupu whakataki: I te 29 o ngā rā o Whiringa ā-nuku, 2010, i mate mai tētehi o ngā tino kaumātua nō te kāinga nei, nō Te Tahaaroa. Ko te iwi ko Waikato, ko te hapū ko Ngāti Mahuta (ki te tai hauāuru). Ko tōna marae ko Te Kōraha, ā, ko Wharetoroa Robert (Bob) Kerr tōna ingoa. He pou whakakikiwā, he teo herenga waka, he rākau tau matua nō roto tonu mai i te rohe o Tainui. I taetae atu te iti, te rahi, me kī rā, te hārakerake ki te tuku mihi, tuku poroporoaki me te whakatakoto kōrero ki te marae ātea mō te rangatira nei i te wā i takahia ai e ia te mata o te whenua.

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  • Taku Maukura e Rere Rā

    King, JS (2011-12-19)

    Creative work
    Auckland University of Technology

    He Poroporoaki ki a Tā Pāora Reeves, Te Manukura o Te Wānanga Aronui o Tāmaki Makaurau 2005-20011. Poroporoaki are eulogies, or farewell speeches to the dead, and contain beautiful language and express people’s grief. Metaphoric language and allusions to the tribal connections, geographic places of significance, traditional places that the spirits of the dead are believed to travel to, and the status and work of the deceased, are a feature of poroporoaki. For these reasons they are difficult to translate so that the full meaning is expressed in English. Poroporoaki are delivered as though the person is alive, as the belief is that the wairua (spirit) remains with the body for a time before burial.

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  • Revolutions per minute

    Cullen, P (2012-04-12)

    Creative work
    Auckland University of Technology

    Six sculptures forming a part of my ongoing r/p/m project. With the exception of one work none had previously been exhibited. Chartwell collection purchased two of the sculptures from this exhibition.

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  • Taku Manu Tāwhiowhio

    King, JS (2011-12-19)

    Creative work
    Auckland University of Technology

    I te marama o Hakihea, i te tau 2010, i toko ake te huatau kia titoa tētehi waiata mō Tā Pāora Reeves. Nā tōna kaha ki te mahi i te ao Māori, i te ao Pākehā, ā, i te ao Atua anō hoki. E mohiotia whānuitia ana e te tī, e te tā, ehake a Tā Pāora Reeves i te tangata, he ata kē ia nō te Atua. Ko ia rā hoki te Manukura o te Wānanga Aronui o Tāmaki Makau Rau. Nō reira, he waiata tautoko tēneki waiata. He waiata whakareka hoki i ngana kupu, i ngana kōrero waiwaiā. He waiata e tiutiu atu ana ki ngā manu o te kī, kia whakapiripiri mai ki te rākau taumatua, ki reira kōrerorero ai ngā take o te wā. He pātere e takitaki haere ana i ngā tohu whenua, tohu maunga, tohu awa, tohu moana anō hoki. Kei roto tonu i ngā ingoa o ngā wāhi he kōrero hītori tāngata, he kōrero hītori whenua mō Tāmaki Makau Rau.

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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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  • Kirihaehae

    Maxwell, Te Kahautu (2013)

    Creative work
    University of Waikato

    A haka composed about moko. My grand aunt Tangiwai took the moko chin tattoo so when the man from Tauranga, Kōraurau Te Kani that she had been betrothed to arrived at Whitianga Bay on the East Coast of the Bay of Plenty, he would readily recognise her his intended bride to be. This haka was composed for Te Kapa Haka o Tūtawake. This composition will be performed at the Mātaatua Kapa Haka regional Competition in Ruatoki 2016.

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  • Te Tarata

    Maxwell, Te Kahautu (2014-10-10)

    Creative work
    University of Waikato

    This composition placed second in the Haka Composition Section. Te Tarata this composition commemorates the battle of Te Tarata in Te Whakatōhea 15 October 1865. This was the aftermath of the killing of the missionary Rev Carl Sylvius Volkner on the 2 March 1865. At the battle of Te Tarata it is recorded as the only calvary charge in the New Zealand Land Wars. Te Whakatōhea ingeniously wove around the palisade walls tī kouka (Cordyline australis) or cabbage tree. When the canon ball hit the palisades the tī kouka absorbed the force of the canon ball and rebounded the ball. 20 Te Whakatohea were killed and a number of others were wounded. This composition was performed by Ōpōtiki Mai Tawhiti at the Te Matatini World Championship Kapa Haka Competition 2015.

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  • Tāwharautia Aotearoa

    Maxwell, Te Kahautu (2013)

    Creative work
    University of Waikato

    Tāwharautia Aotearoa was composed in opposition to the National Governments attempt to remove Section 9 of the Principles of the Treaty of Waitangi which would give the Government power to sell State assets. Performed by Ōpōtiki Mai Tawhiti at the Te Matatini World Championship Kapa Haa Competition 2013.

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