88 results for Creative work, 2010

  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • 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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  • Pier 21 (interior design proposal)

    Young, E (2012-05-28)

    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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  • 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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  • Blue Latitude (urban design proposal)

    Young, E (2012-05-29)

    Creative work
    Auckland University of Technology

    No abstract

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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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  • 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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  • 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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  • 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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  • 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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  • 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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