1st & 2nd Year Studio

Hi Everyone,
Thank you for your enthusiastic and energetic participation in the model making workshops today.
To clarify what you are required to do over the next few days please read the time line below:

MONDAY & TUESDAY NIGHT (self-directed)
Complete research of your designer and prepare your written statement and images. Research may take the form of books and magazines in the library (unitec or auckland city), internet (particularly the official website of the designer and any published writing about them). Remember to keep a record of research sources.

Come up with ideas and at least 5 options for you document. Think through scale, materials, format (2D or 3D). All decisions should be made with reference to your fashion designer & the ideas you are focusing on in the document. Record this process in your visual diary.

Choose your best option to present to the class on Wednesday.

WEDNESDAY 3 MARCH:
(with Kylie and Rachel)

1. Present your research on your fashion designer comprising of:

A written page summarising the key ideas you have drawn from your research (the designer's ideas, methodology, formal attributes of their work). You will need to bring 2 copies.

Visual research comprising of thoughtfully selected images of your designer's work (or details of their work), and/or drawings. These must be large enough to display on the wall.

2. Also present your ideas for your document. Present your idea visually (eg a sketch) as well as verbally.

3. Bring your chosen materials and media to commence work on the document.

THURSDAY 4 MARCH:
(with Jacqui and Kylie)

Work on your document.
Discuss your document with tutors (informal).

MONDAY 10 MARCH:
with Sue & Jacqui)

DEADLINE FOR DOCUMENT.
Present your document at 9.30am to the class.
Include a written paragraph about the ideas and process you have explored in your document.

Keep up the great work everyone.

AFTER EFFECTS : MORE NOTES...

HAND-IN MONDAY 05 NOV.

IMPORTANT NOTE: Please render your final movies as Quicktimes using the Soreson Video 3 codec. It will produce a smaller file and play back better on screen.

GETTING STARTED
Make sure on Screen Resolution is 72 dpi RGBFile > New ProjectComposition > New Composition.
Composition Settings;PAL DV/DV1 576 x 768 (very Important) Square Pixel25 Frames Per SecondDuration = any length of time you require.

SHORTCUTS
Apple Z = Undo Last Action
P = Position
R = Rotation
S = Scale
T = Opacity (transparency)
Stopwatch = Set Initial Keyframe

TO APPLY EASY EASE ON A KEY FRAME
Right click on the keyframe and select ’Keyframe Assistant’ > ‘easy ease in’ or ‘easy ease out’.

BLUE SCREENEFFECTS
> Keying > Colour KeyUse the eye dropper to select the colour you wish to key out.Toggle the Tolerance Value to maximise the effect.

SAVE YOURSELF TIME BY PREPARING FILES IN PHOTOSHOP
Images with transparency in Photoshop can be saved as PSD files which will retain transparency when imported into After Effects. (note - file must be imported as Composition not footage)Images with Layers in Photoshop can be saved as PSD files and imported intoAfter Effects as separate layers. (note - file must be imported as Composition not footage)

RENDERING A MOVIE
Composition > Make Movie If you are rendering a test or web sized movie...
1) In the Render Cue where it says ‘Render Settings’: click on ‘BestSettings’ and ensure frame rate is at ‘25 Frames Per Second’.Click ‘OK’
2) In the ‘Render Cue’ where it says ‘Output Module’: click on ‘Lossless’ andin the ‘Format Box’ select ‘Quick Time Movie’.Click on ‘Format Options’ and choose ‘Sorenson Video
3) (for web or testmovie)Tick on ‘stretch’ and select from the drop down menu to the right > WebVideo 320 x 240Tick on ‘Audio’ if you have sound. Click ‘OK’
4) In the ‘Render Cue’ where it says ‘Output to’: click on the comp name.Name your movie file. Browse and select the folder you wish to save yourmovie to. Click ‘OK’
5) In the ‘Render Cue’ on the far right hand side click ‘Render’

IF YOU ARE RENDERING A FINAL MOVIE ( FULL RESOLUTION)
1) In the Render Cue where it says Render Settings: click on ‘BestSettings’ and ensure frame rate is et at ‘25 Frames Per Second’ Click ‘OK’
2) In the Render Cue where it says ‘Output Module’: click on ‘Lossless’ and in the ‘Format Box’ select ‘Quick Time Movie’.Click on ‘Format Options’ and choose ‘Animation’.This time stretch should be ticked off and your dimensions should have setby default to your comp size ‘576 x 768’. Tick on ‘Audio’ if you have sound. Click ‘OK’.
3) In the ‘Render Cue’ where it says ‘Output’ to: click on the comp name.Name your movie file. Browse and select the folder you wish to save yourmovie to. Click ‘OK’.
4) In the ‘Render Cue’ on the far right hand side click ‘Render’. You will find a ‘Quicktime’ file as you named it in the folder you selected.This file will open in ‘Quicktime Player’.

MISSING FILES?
Missing files will appear with coloured bars next to the file name in the project bin. Usually because a file or folder has been shifted. To re-link missing files select the first missing file in your project bin, rightclick and select replace file. Browse your computer to find the foldercontaining your file and select that same file and replace it. Be very sure to select the same file. All other missing files contained in that samefolder will automatically re-link also.

YOU TUBE
go to www.youtube.com <http://www.youtube.com/>Click My Account and Create A New AccountYou should receive a confirmation email with your details and a link.Once your details are filled in and you have registered it is very easy to upload your websized Quick time movie.With your account open select Upload Video and browse and select yourfile. It may take a little time for your movie to upload. You movie fileshould appear in your account. You can title it as you wish and post comments along side. Be sure to enter key search words where it says ‘tags’.
It may be a few hours longer before you will be able to actually search andfind it online at http://www.youtube.com/

WHEN STUCK
See ‘Help’ in the top menu.

Alternatively Jill may be able to help: jill.wills@gmail.com she is happy to answerquestions.

ANIMATION HAND-IN : Monday 05 Nov

IMPORTATNT NOTE: please render your final movies as Quicktimes using the Soreson Video 3 codec. It will produce a smaller file and play back better on screen.


Hi everyone it’s been great working with you on your animations and seeing some of your superb acting skills!

We will be having a screening next week (a date, place and time yet to be confirmed)

Next Monday 05 Nov will be the hand-in date for both groups.
A folder called ‘INTERIOR DESIGN ANIMATIONS’ will be set up on the desktop of the Computer in Rm 1159.

Could all students copy their published animation file to this folder. Please only copy your published QuickTime movie, do not put your working files in this folder.

Please name the file with your name and year group (e.g. JONATHAN, THIRD YEAR). All animations should also have your name in the tile or credits of the movie.

It is very important that you copy your published movie to this folder as it will be partly assessed during the screening next week.

If you have any trouble publishing your work Jill has kindly offered to help you via email: : jill.wills@gmail.com

AFTER EFFECTS - NOTES

STEPS FOR CREATING A NEW DOCUMENT

1. Create a folder to save your files into (name it ‘After Effects’)
2. Open Adobe After Effects
3. Create a new composition by clicking:
» Composition » New Composition
4. In dialogue box check the following settings:
Preset : PALD1/DVSQUAREPIX768/576
Width : 768
Height : 576
Resolution : Full
5. Click OK
6. Save your new composition into your ‘After Effects’ folder

SHORTCUTS

p = position
s = scale
r = rotation
t = opacity
Apple z = undo
Hit spacebar to stop animation playing
Mouse scroll to zoom in and out

IMPORTING IMAGES

Files must be imported as RGB
Import images as ‘composition’ not ‘footage’

Foodspace: 2+3 year studio

Part 2:

Look at the lists below and choose at least one item from each list to form your brief. Carefully attend to the research document that you have produced over the last 3 weeks. Read the formal devices in this document in order to generate your design.
Crit Monday 17 September

Conceptual driver:
your document from weeks 2-4

Programme
fast food drive thru
private dining room including table setting, utensils, flatware, menu . . .
mobile food retail distribution cart
inner city high school canteen
studio apartment total size not larger than 20m sq
display stand for "The Foodshow"
a gastronomical event in an outdoor location

To accommodate:
1
2
5
8
13
21+

Serving:
breakfast
lunch
snacks
beverages
dinner
other

Foodspace: 2+3 year studio

Food Space
Studio 5201IN and 6301IN, semester 2, 2007 weeks 1-9

"The space of food is all around us. Food-related activities occur in a great many places and shape much of the built environment, indoors and out. Even though the food practices of a particular period and culture influence the design of restaurants, cafes and markets, barns, fields and other spaces of food, they are also relatively free of spatial or physical constraints. [ . . .] we encounter examples of this each day: steps or a low wall are sites of eating and drinking, pavements and car parks are popular locations for selling food, or a rooftop may become a vegetable garden. The presence of food often generates a feeling of intimacy, sometimes just for a short time, and even before we eat: a lunch truck at the side of the road, a picnic spread out on a blanket".
Karen A Franck, “The Space of Food’, AD, vol 72, no 6, Nov/Dec 2002


Food takes up space. The production, distribution, preparation, and consumption of food takes place in a variety of spaces. From vast agricultural enterprise and global distribution networks to an intimate meal in a domestic setting or a bowl of rice in a refugee camp the space of food varies. Food is an essential item for our existence; the space of food is an inescapable part of the environment, urban and rural.

This nine-week brief asks you to think hard about food. The project will work towards the design of space for the production, distribution and/or consumption of food at a particular scale.


Food Pace:
Crit: Monday 20 August

"Stand a cake for a few minutes before removing from the tin".
Edmonds Cookery Book, 30th edition, 1991

We know that not only does food take up space it also concerns time. From the fast food industry to slow food movement the pace of food is spelt out in the economy of its distribution and marketing. Think about the following: a wedding banquet, the Japanese tea ceremony, McDonalds drive thru, fish and chips at the beach, Sunday family dinner, meeting a friend for coffee and a cigarette; all of these occasions involve the consumption of food but some involve elaborate ritual and ceremony while other involve less formal, though still regulated processes of procurement and consumption. These processes take up both space and time and involve differing aspects of intimacy and/or community.
Your brief: Document the actual pace or speed of an aspect of food production, distribution, preparation and consumption. Consider how the passage of time required in this process can be documented. Use any media. Carefully consider how the media you use allows you to articulate concepts of time.

You are to present a considered and well crafted document – after all you are designer and communication is everything. We suggest that you work iteratively – that is reflect on what you have done and work on it again.

This three week Food Pace project will be developed into a design proposition in weeks 5 – 9. Final Crits for this project will take place in week nine.


Resources
Start with what you had for breakfast. What did you eat? Where/how was it made? How was it transported? How did you get it? Why did you choose it? How was it packaged? What did it do to your body? How long did it take to eat? How do you feel now . . .? That is, as a starting place think deeply about your own relationship to food, time and space.

Books and Periodicals
Geography of Home, Akiko Busch, Princeton Architectural Press, New York, 1999
The Uncommon Life of Common Objects, essays on design and the everyday, Akiko Busch, Metropolis, New York, 2004
Eating architecture, Jamie Horwitz, MIT Press, 2004. (on desk copy)
Flesh: Archtiectural Probes, Diller and Scofidio, , Princeton Architectural Press, New York, 1994
Food + Architecture, Karen A Franck ed., AD, vol 72, no 6, Nov/Dec 2002 (on desk copy)
Food + the City, Karen A Franck ed., AD, vol 75, no 3, May/June 2005 (on desk copy)
Granta, special issue “Food, the Vital Stuff”, Ian Jack, ed., No. 52, Winter 1995.
Culture in Action, Mary Jane Jacob ed., Bay Press, Seattle, 1995.
My Year of Meat, Ruth L. Ozeki, Viking, New York, 1998
Fast Food Nation, Eric Schlosser, Penguin, London, 2002.
Architectural Feasts and Remnants of Colonial Construction, Sarah Treadwell, The Pander issue 6/7 March 1999
The evolution of useful things, Henry Petroski, Vintage Books, 1994.

Websites
www.thefutureoffood.com
www.fao.org
www.accidentalhedonist.com
www.chowhound.com
www.foodmuseum.typepad.com
www.americanradioworks.publicradio.org
www.foodpolitics.com
www.ltlarchitects.com
www.radionz.co.nz/national/programmes/saturday
Paul Callaghan, the Alan MacDiarmid professor of physical sciences at Victoria University of Wellington, will discuss food we like to eat ... too much, like fats and sugar. You can download the podcast of this interveiw and listen to it.

Show
The Food Show, Auckland, 2-5 August, 2007

Projects
Jacob + McFarlane, Pompidou Centre
Lewis Tsurumaki Lewis, Fluff Bakery, Tides Restaurant, Xing Restaurant, New York
Diller and Scofidio, Seagram Building Restaurant, New York
Diller and Scofidio, Various installation projects.
Sarah Wigglesworth Architects, The Straw House
"Indigestion" Diller + Scofidio (web site below) http://www.sunderland.ac.uk/~as0bgr/serious/art/dillerhome.htm

Artists
Sophie Calle
Chantel Ackerman (film)
Janine Antonini, Knaw and Lick and Lather
Felix Gonzalez Torres, Candy Spills
Jana Sterbeck, Meat Dress

Films
Big Night, (1996) Stanley Tucci dir.
Eat Drink Man Woman, (1994) Ang Lee, dir.
Delicatessen (1991) Jean-Pierre Jeunet and Marc Caro
Tampopo (1985) Juzo Itami
The Cook The Thief His Wife and Her Lover (1989) Peter Greenaway
Babettes gæstebud (1987) Gabriel Axel. English Translation: Babette’s Feast
Como Agua Para Chocolate (1992) Alfonso Arau. English Translation: Like Water for Chocolate
Supersize Me (2004) Morgan Spurlock
Mùi du du xanh - L'odeur de la papaye verte (1993) Anh Hung Tran. English translation: The Scent of Green Papaya

Attendance
Studio is by nature a self-directed course of study, however, the following attendance is expected:
• Students are required to meet with their tutor and group for their allotted session (see below)
• Students are required to pin up and present work at all crits.
Assessement criteria
1. Analysis 20%
Analysis involves initial evaluation of a brief for opportunities and possibilities, i.e. the generation of ideas. It includes the establishment of parameters/boundaries for operating within the brief and the subsequent management of design process within these parameters/boundaries. On-going analysis of both practical work and theoretical research ensures that concepts are developed. Analysis also ensures design process is productively shaped and appropriately focused. Analysis of personal contexts, situational contexts and cultural contexts surrounding the making and 'reading' of work (i.e. of the implications of the work) will allow for strategic exploration, synthesis and communication.

2. Exploration 20%
The investigation and development of ideas through extensive practical exploration (i.e. the making of work). The making of work is a means to both explore and articulate the motivating concepts or intentions. It is also a means to explore the mechanisms of language, visual and other.

3. Research 20%
Research is the process by which the factors influencing the development of a design are identified, explored and framed within the context of the design intent. Resulting information or material gathered is used directly or indirectly to inform subsequent design decision making. Links between research activities and subsequent work need to be evident and justifiable in a form relevant to the design activity. There should be a considered and strategic approach to practical exploration and theoretical research with the one informing the other.

4. Synthesis 20%
The bringing together of all outcomes of practical exploration, theoretical research, and analysis so that they can interact to form an overall holistic entity. This whole may be complex or simple but is variously informed and thus constitutes an enrichment of design process and outcome. Synthesis is a key component in an on-going feedback loop that helps the design process develop through generation of new ideas, new explorations, new research, new analysis and new synthesis.

5. Communication 20%
Communication explicit and implicit means of all ideas, concepts and issues addressed within a brief including all aspects of the design process. The selective and appropriate use of elements of visual language as well as (where appropriate) verbal, written or other means of communication. Communication is affected through the process of making work (i.e. making ideas manifest through process and product) as well as by means of presentation. Communication strategies should be evident and appropriate. There should be, either explicitly or implicitly, a rationale for the communication strategies used to match perception (audience's 'reading') with concept (maker's intention).

Staff + Studio Sessions
Lotte Wotherspoon: Group meets Monday 9:30-12:30, interior seminar room
Kathy Waghorn:
Group A meets Monday 9:30-12:30, second year studio space
Group B meets Tuesday 9:30-12:30, interior seminar room
Jacqui Chan: Group meets Monday 9:30-12:30, interior seminar room

These group meetings are mandatory!

Sign up times: sign up on staff office doors, sign up as pairs or individuals. Sign up meetings are not mandatory but are recommended! You can chose to have a sign up tutorial with any available staff member on these days.

Lotte, Wednesday 9:30-12:30
Kathy Thursday 9:30-12:30

year 2 studio 5201IN + year 3 studio 6301IN, semester 2, 2007

Food Space
year 2 studio 5201IN+year 3 studio 6301IN
semester 2, 2007 weeks 1-9
Kathy Waghorn and Lotte Wotherspoon

WEEK 1: UTENSIL WEEKS 2-4: FOOD PACE WEEKS 5-8: FOOD SPACE WEEK 9: FINAL CRIT

WEEK 1: UTENSIL
Utensil Show + Tell
Monday 30 July
Pin up 9:30am, commences 10am sharp.
Building 1 Library Foyer.

Banquet
Building 1 Library Foyer
Bring : Eating Tool + Prepared dish
Arrive : set up 5pm Monday 30 July, banquet begins 6pm

INTRODUCTION
Have you ever tried to eat chocolate with a knife and fork? An orange with chopsticks? Or noodles with a teaspoon? Have you thought there must be an easier way of eating spaghetti? Well here’s your chance to design a new tool for eating!

BRIEF
Your task is to design a tool for eating. First you must decide what food you want to prepare and eat, then you must come up with a unique way of eating it.

Keep in mind that EATING is the conceptual starting point. Choose a dish and then make it. Analyse your food and how you eat it. Your analysis will give you a direction and will support your position.

RESEARCH
• The historical, cultural, social norms of eating
• The connection between food and utensil.
• The materiality and form of utensils in relation to their functional requirements.
• The spatial environment and its relationship to the object (and vice versa)

HAND-IN
x1 Eating Tool
x 1 Prepared food (see banquet instructions below)

And anything else that supports your design: Sketches, models, written and visual research, video, photographs…

CONSIDER
Utensils throughout history have been composed of a variety of materials - stone, clay, bone, ivory, wood, plant fibers, glass, and metal. These various materials illustrate the cultural development of food technologies for storing, preparing, cooking, serving and eating of food. Today fast foods are accompanied by plastic utensils or disposable chopsticks reflecting a preference for convenience over sustainability. Upmarket restaurants serving fine cuisine often favour heavy silverware in an effort to promote an image of style and sophistication. The materials used to produce utensils say as much about the social setting in which they are being used as they do about the food being served.

Utensils have a physical relationship with the body. Utensils help to keep the body clean, and stop the transmission of dirt or germs from the hands to the mouth. Utensils can usually be held comfortably, and fit safely inside the mouth. However, if you have ever watched someone learning to use chopsticks you will know how physically challenging it can be to use unfamiliar utensils for the first time!

In most societies there are codes of conduct governing the proper and correct way to use utensils. You may want to invent your own set of rules on how to use your utensils. Below is an step by step guide written specifically for Americans wanting instruction on how to use a knife and fork in England:

Step One:
Pick up the knife with your right hand and the fork with the left, with the handles in the palms of your hands.
Step Two:
Ensure that the sharp edge of the knife and the tines of the fork are pointing towards the plate.
Step Three:
Place the index finger of your right hand along the top edge of the knife. Position the index finger of your left hand on the back of the fork.
Step Four:
Spear food with the fork and cut with the knife, pushing the food with the knife against the tines of the fork.
Step Five:
Lift food to your mouth with the fork, always keeping the tines pointing down.
Step Six:
Rest the cutlery on your plate at a position of 20 past 8, if you want to take a drink. After drinking, pick up both knife and fork again simultaneously.

(from http://www.ehow.com)

FILM SCREENING
In Wednesday studio time this week we will show a selection of films about food. Room 2144 from 9:30, byo popcorn.
AN INVITATION TO A BANQUET . . .
On the evening of Monday 30 July we will have a banquet in the building 1 Library Foyer.
You must bring your eating tool and the dish that you made it for. We will be using video to document you eating your dish with your tool. We will then all be having dinner together, with the School of Design providing dessert! The briefing for the next part of this project will take place at the banquet.

Please set up at 5pm Monday 30 July, the banquet begins 6pm. Dress is formal!

SECOND YEAR STUDIO: Fashion Designers

Hi All

A few of you have asked me to suggest a fashion designer to research. Here are some names that you could follow up, remember fashion design ranges from the wearable arts and couture, to casual wear and traditional ethnic clothing. You could also choose to look at a shoe or jewellery designer.

Elsa Schiaparelli
Issey Miyake
Kenzo
Christian Dior
Jean Paul Gaultier
Vivienne Westwood
Leon Bakst
Paul Poiret

SECOND YEAR STUDIO: ASSIGNMENT 3

Unitec School of Design: Lotte Wotherspoon: May 2006
INT 5201: SECOND YEAR STUDIO

FLESH, FASHION AND FANTASY

DURATION 4 WEEKS. CRITIQUE: MONDAY 11 JUNE :

Seduce, Entice, Shock, Make heads turn, Stop them in their tracks!!!

You have been asked by your client (a prominent fashion designer) to come up with a unique design solution for displaying an item/ object /accessory. Your client wants you to step outside the confines of conventional retail design, to produce a display that captivates their buyers, AND encapsulates the design ideas, inspiration and creativity of their work.

PART ONE.

Exploratory research must form the basis of your conceptual ideas and will later inform your choice of materials and overall design strategy.

Either:
Investigate notions of the body and fashion in relation to identity, commodity and/or display.

Or:
Choose an artist or fashion designer whose work interests you. Investigate the design methodologies, principles, and conceptual ideas underpinning their work.

You must have a solid theoretical basis to your final design. You will achieve this through theoretical readings and visual research. Present to the class at least one article that you have read and explain how it, has informed your ideas. Collect visual data by ransacking magazines and books, etc. for images of installation art, fashion, sculpture, lighting, furniture design…

Produce:

- One type written page supported by visual research summarising your findings.
- One written article (photocopied) that you have found and read in
relation to your research.

Class discussion of research findings: Monday 21 May


PART TWO.

Choose an item/ object /accessory

Brainstorm the meanings and uses that are associated with this object.

Choose two key materials.

A) One of these materials must be a conventional building material, while the other must be a non-conventional material.

B) At least one of these materials must relate directly or indirectly to your object.

Play with your materials. Manipulate your materials . Investigate your materials.

Imagine that you are working with your fashion designer, ask yourself how they might work with the materials you have chosen. Think creatively, remain experimental, get inside the mind of your fashion designer. Ask yourself:

- How would they combine these materials?

- How would they transform these materials?

- How would they change the way we think about these materials?

- How would they work with these materials while exploring the meanings associated with their item/object/accessory?

Class discussion of investigations: Monday 28 May

PROJECT REQUIREMENTS:

-- A presentation exhibit, displaying a fashion item
-- investigative models and sketches
-- A workbook that includes all research, investigations, sketches and working drawings.

LEARNING OBJECTIVES:

-- Demonstrate an understanding of fashion and the body in relation to identity/ commodity/ display
-- Consider the display of an object in relation to its context
-- Continue to develop an architectural language that integrates spatial, formal, material, environmental, functional and conceptual concerns.
-- Imaginatively and effectively present the display of a object at 1:1 scale
-- Engage in class discussions and critique

SECOND YEAR STUDIO: Final Crit Monday 7 May

SON ET LUMIERE
PROJECT FIVE

DUE DATE: Monday 7 May

Re-read your original brief. Please note you are not required to make a presentation model for the final hand-in. The date of the final crit has been changed (to Monday 7 May) due to a reassessment of your workload and student work completed over the mid-semester break.

COMPLETE :

- Plans
- Sections
- X6 Elevations / Perspective drawings : Showing the main spaces in your film gallery.
- Light model studies

Your final design should illustrate a synthesis of your
A) Light models
B) Further investigation of ideas through your storyboard

Note:
You may use collage, photoshop, pencil drawings or watercolour to execute these images.

Studio briefs 3rd and 4th year second quarter: The Book Place, Natura Morta and MASH extended version

The Book Place, Kathy Waghorn and Jacqui Chan
The Book Place: Avondale Community library

The Place that is the library:
The developing role of the public library has created a set of new and complex challenges for those delivering library buildings and services. The libraries of the 21st century are no longer simply repositories for books. The typology of the library has transformed substantially; libraries now provide an increasing range of different services, using a multitude of media to reach a more diverse audience than ever before.

The technological revolution of the 1980s and 1990s was widely seen as sounding the death knell for the public library as we knew it. Why would people bother to borrow books when they could get all the information they needed from their home computers? These predictions have proved unfounded. Indeed, ironically the internet has proved to be one of the saviours of today’s public library. Public libraries have successfully rejuvenated themselves into places where you are as likely to meet a friend for coffee, do your homework, find out more about the history of the local community or take part in an activity, as borrow a book. Libraries can be thought of now as much as spaces for public recreation as for education.

A recent report identifies four crucial elements to today’s public library: people, programmes, partners and places. A larger number and a wider mix of people are using libraries thanks to the new and innovative programmes they are running. Having commercial partners, such as cafes or internet providers, has made the library into a different kind of place, open for longer hours and more accessible to many users. The imaginatively designed and responsive public library service can play a pivotal role in promoting greater social cohesion and a stronger sense of community and place.

The digital library:
Today, the library is more than a hushed place of learning. It has become a social place accommodating public activities. New technologies, particularly electronic media, have radically influenced the program and typology of the library.

Libraries, through their expanding use of computers and the internet, now hover between physical places and cyberspaces. As access to cyberspace will increasingly rely on our intuitive understanding of space, our libraries will become spatial hybrids, taking full advantage of these modes of existence, capitalizing on their relationship.


The Program – the hybrid library:
This project (based on a past competition brief) calls for the design of a community public library for Avondale that has both a physical and digital presence. The library will offer many of the experiences and spaces of conventional libraries yet the project also asks for designs incorporating digital technologies. The actual physical space of the library may, for instance, be extended into virtual space through the use of simple mobile phone technologies. For example, library customers may receive txt alerts to tell them a new book they may be interested in has arrived, they may then be able to txt back to reserve the book. (Consider how Amazon.com “profiles” customers and makes “personal” recommendations).

While the physical size and details of the library program are at the discretion of the designer, the minimum programmatic requirements are set. They are based on a conventional library program. The project asks you to consider “hybrid libraries” – it is up to designers to decide which program elements should be physical and which virtual. The degree to which the project is “real” or “virtual” is up to the designer. Think about ways in which you use digital technologies everyday to extend the spaces that you occupy. How could these technologies be lent to the new library typology.

Submitted proposals must present ways in which users are aware of each other and the spaces they occupy, whether these spaces are physical or electronic. Submissions should reflect aspects of libraries that transcend functional reduction: presence, place and community must be considered.

The following list of programmatic components is based on a conventional, physical library, and is provided for reference only, the program is free to interpretation.

Entrance
Circulation Counter
Information
Reference Areas
Reading Area
General Collection
Periodicals
Audio and Video (AV) Collection
Children’s Area
Café
Meeting Rooms
Administration Offices and Work Area
Bathrooms
Signage
Name

Many of the activities that normally take place in a library are not intrinsically physical and may be accomplished by electronic means. Each designer will determine to what degree the proposed library will require a physical or on-line presence but designers must establish clear relationships between the physical and virtual components of their projects.

Physical site/location:
Avondale is a western suburb of Auckland city. The design should consider the specific identity of this suburb. Site details will be given.


Project:
It is expected that the project will result in a detailed design; while time pressures will not allow for all aspects of the design to be detailed to the same degree it is expected that designers will choose certain aspects to be explored in depth in order to arrive at a level of detail for that aspect. For example, you might decide to undertake a detailed design for the children’s area or the issue desk.

Designers may choose to work in teams for all or part of the project. We would especially encourage students to work in their group of 8 to accumulate research material. As designers routinely work in cross-disciplinary teams we encourage you to look to your peers in other pathways as consultants for this project.

Timetable:
Mandatory workshop sessions – groups of 8
Group A Monday 9:30-11:30, Jacqui Chan
Group B Monday 9:30-11:30, Kathy Waghorn
Group C Tuesday 9:30-11:30, Kathy Waghorn

Drop In sessions (not mandatory)
Thursday, Kathy Waghorn
Group A 9:30-10:30
Group B 10:30-11:30
Group C 11:30-12:30

Monday 23 April 9:30-11:30 - Introduction to project
Tuesday 24 April 10:30-group research presentations
Monday 30 April 10:30 – Lecture by Sue Scott, Waitakere Public Libraries
Final crit date TBC
MONDAY 11 JUNE - END SEMESTER 1, pin-up of all semester 1 work by 9:30am

Resources:
Here are a few resources to get you started – of course this list will be come greatly expanded through the intensive group research exercise that we will undertake in the first week of the project.

Desk Copy Unitec building 1 library:
Architectural Review, libraries special issue, number 1312, June 2006
Architecture NZ no 5 2006 September October
Lushington, N. (2002). Libraries designed for users : a 21st century guide, Nolan Neal-Schuman Publishers. 022 LUS.

Projects:
http://www.ideastore.co.uk
http://www.rebargroup.org/projects/cnl/index.html
Seattle public library, OMA

Organisations
http://www.designinglibraries.org.uk

Assessment criteria: see this on the fale blog post





Natura Morta, Rachel Carley and Sue Hudson

Natura Morta: Architectures of Still Life

The Design of a House for a Still Life Painter

Introduction

“He lived and worked in a medium-sized sitting room. Its one window faced a small courtyard with trees, which we know from several pictures of his and which he painted surreptitiously, as it were, under cover of this window. Here was his narrow camp bed, an old fashioned combined desk and drawing table, a kind of bookcase, his easel. And all around, on narrow shelves, was the silent, patiently waiting arsenal of everyday objects, all of which we know from his still lifes: bottles, vessels, pitchers, kitchen utensils, tins.”
Werner Hoffman, quoted in Güse, E & Morat, F. (ed.), Giorgio Morandi: Paintings, Watercolours, Drawings, Etchings, Prestel Verlag, Munich, 1999, p.7.

“If a painter could, by a single transformation, take a three dimensional still life and paint it on a canvas into a natura morta, could it be possible for the architect (or designer) to take the natura morta of a painting and, by a single transformation, build it into a still life?”
John Hejduk in Architectures in Love, Rizzoli, New York, 1995, p.6.

The term still life (still leven) came into use in Dutch inventories around 1650 to describe a painting of a motionless model. It is only in recent years, however, that still life has been rescued from the margins of Western Art, where it had been considered one of the lesser genres. Up until the 1900’s still life’s subjects had been objects of mundane, precious or perishable provenance, which tended to be drawn from the domestic realm.

The genre has continued to fascinate both artists and architects alike. Issues regarding ‘space, scale, light, placement and profile’, which have been carefully investigated in the work of still-life artists like Giorgio Morandi, are also crucial concerns for architects and designers.

The architect Charles Edouard Jeanneret (Le Corbusier) and Amedee Ozenfant produced a collection of purist still life paintings in Paris between 1918 – 1925. Like the Cubists’ still life paintings, Le Corbusier elected to deploy subject matter found outside the domestic realm, where items such as wine bottles and glasses are combined with newspapers, pipes, chair caning and guitars to evoke the public space of bars and cafes.


Christopher Reed argues that Corbusier’s still life practice paralleled his “anti-domestic residential architecture,” de-domesticating “the accoutrements of daily life by translating them into the factories and temples his writings uphold as prototypes for the new architecture”. Under Corbusier’s direction, homely bottles and glasses are transformed into “forms recalling the marble columns of classical temples.”
Reed, C. (2000). “Domestic Strife; still life”, Tate: The Art Magazine, Issue 21, 52-3.

The late architect John Hejduk compiled a number of drawings for projects devoted to accommodating the still life painter, both alive and dead. Many of Aldo Rossi’s drawings of typological structures also convey an ambiguity of scale that makes them easily comparable to domestic objects of everyday use such as coffee pots and tea canisters (objects which Rossi designed for the Italian manufacturer Alessi).


How to get Started

Students selecting this design project are required to critically investigate the genre of still life, mining its potential for the design of innovative spaces.

Each student is required to conduct in-depth research into still life and identify their theoretical position in regard to this fascinating form of representation.

Precedent studies will be undertaken to investigate the range of subjects deployed in still life, including vanitas (memento mori), food, and objects of daily use.



Recent forays into media such as sculpture, photography and film will also be introduced. Initial design exercises for this project will be practice-based, involving the construction and documentation of still life ensembles in the studio using a variety of media. Particular attention will be paid to material selections, composition, observation, and the impact this collection of forms has on its environment. The spaces, hollows, distances and intervals between elements will be given as much consideration as the volumes themselves.

Following these projects, there will be a series of duration-based exercises investigating time and the image. These will lead to a project for the design of a house for a still life painter.

Learning Objectives

• To demonstrate an engagement with conceptual and theoretical ideas in relation to the genre of still life and thoroughly explore it’s potential to inspire innovative spatial design.

• To develop the early conceptually-driven investigations into well-crafted pieces of design.


Note: Regular attendance and participation in studio discussions and crits is essential.

References

The following books are available on Desk copy at the Building 1 library

Bryson, Norman, Looking at the Overlooked, Reaktion Books, London, 1990. (call number 758.4 BRY)

Culbert, Bill, Light Wine Things, Dunedin Public Art Gallery, Dunedin, 2005. (call number 770.92 CUL)

Culbert, Bill, Bill Culbert-Entre chien et loup - Afterdark, Ville De Mulhouse, France. (call number 770.92 CUL)

Hejduk, John, Adjusting Foundations, The Monacelli Press, New York, 1995. (call number 720.92 HEJ)

Paton, Justin, Jude Rae, Ouroborus Publishing, Auckland, 2006. (call number 750.92 RAE PAT)

Rowell, Margit, Objects of Desire: The Modern Still Life, Museum of Modern Art, New York, 1997. (call number: 709.9 435 ROW)

Schneider, Norbet, Still Life: Still Life Painting in the Early Modern Period, Taschen, Koln, 1994. (call number 758.4 SCH)

Other Recommended Reading

Bryson, Norman, Looking at the Overlooked: Four Essays on Still Life Painting, Cambridge, Massachusetts, 1990.

Gehl, Jan, Life Between Buildings: Using Public Space, Danish Architectural Press, Copenhagen, 2001.

Lowenthal, Anne W. (ed.), The Object as Subject: Studies in the Interpretation of Still Life, Princeton University Press, New Jersey, 1996.[For an extensive bibliography on still life painting refer to bibliography in above book p. 117-131.]

Reed, C. (2000). “Domestic Strife; still life,” Tate: The Art Magazine, Issue 21, 50-54.

Schapiro, Meyer, “The Apples of Cezanne: An essay on the meaning of Still Life” (1968) In Modern Art: Nineteenth and Twentieth Centuries, Selected Papers, New York, 1978 p. 1-38.

Le Corbusier

Eliel, Carol (ed.) L’Esprit nouveau: Purism in Paris 1918-1925, Los Angeles County Museum of Art, Los Angeles, 2001



John Hejduk

Hejduk, John, Architectures in Love, Rizzoli, New York, 1995.

Monographs on Giorgio Morandi

Bacchelli, Riccardo, et al, L’Opera di Giorgio Morandi, Edizioni Alfa, Bologna, 1966.

Davidson, Elizabeth (ed.), Giorgio Morandi, The Arts Council, London, 1970.

Demetrion, James T. (curator) Giorgio Morandi, Des Moines Art Centre, Des Moine, 1981.

Guse, Ernst-Gerhard & Morat, Franz Armin (ed.), Giorgio Morandi: Paintings, Watercolours, Drawings, Etchings, Prestal Verlag, Munich, 1999.

James, Phillip (curator), Giorgio Morandi: Paintings and Prints, Arts Council of Great Britain, London, 1954.

Klepac, Lou (ed.), Giorgio Morandi: the dimension of inner space, Art Gallery of New South Wales, Sydney, 1997.

Leymare, Jean, Gli Aquarelli di Morandi, Edizioni De’Foscherari, Bologna, 1968.

Marchiori, Guiseppe, Giorgio Morandi: le incisioni, A. Ronzon Editore, Rome, 1969.

Solmi, F & Vitali L, Morandi, Rizzoli, New York, 1988.

Tavoni, Efrem, Morandi: Designi Catalogo Generale, Electa, Milan, 1994.




Project Programme: Semester 1, Weeks 8 - 14

Week 8 Mon 23 Apr 10am –12.30pm ALL GROUPS

Project Discussion, Analysis of Precedent Studies, Slide Show

Students will be required to assemble a collection of still life images from at
least two of the following subject categories for next Monday morning:


• Vanitas (memento mori)
• Perishables (Food/Flowers)
• Objects of everyday use

You will be required to analyse your chosen precedents using writing, drawing,
and modelling practices, in order to answer the following questions:

- What is still life?
- In what social and political climates were your chosen works produced?
- If they were commissioned works, what is the relation of the work to the patron/client?
- How did the artist gain access to their subjects?
- Were the objects readily available or prized?
- How does the temporal dimension influence the still life ensembles construction and representation? Are the objects subject to deterioration?

Analyse your chosen images in detail considering the medium and techniques employed in producing the pieces and how these then alter the reception of the artist’s chosen subjects. (Eg. use of painting, drawing, collage, etching, sculpture, photography, film).

Collect and analyse technical information on the work. For example, what position is the object/s recorded from, is the use of perspective ‘accurate’ or fractured, and if so, to what emotional or psychological end?
Does this work challenge any prior representations of still life, and if so how does it challenge them?
[A list of a range of still life artists is featured below. Any other artist’s whose work you can confidently argue lies within this genre, may also be used].


A Selection of Still Life Artists

Bartel Bruyn the Elder (1524) (vanitas)
Willem Claesz. Heda (1628) (vanitas)
Pieter Claesz (1630) (vanitas)
Gerhard Richter (contemporary vanitas)
Andy Warhol (contemporary vanitas)

Juan Sanchez Cotan (c. 1600) (fruit)
Willem Kalf (1662) (fruit)
Jan Davidz. De Heem (1640’s) (fruit)
Luis Melendez
Georg Flegel
Chardin
Paul Cezanne
Henri Rousseau
Pablo Picasso
Georges Braque
Henri Matisse
Paul Klee
Juan Gris
Piet Mondrian
Fernand Leger
Marcel Duchamp
Giorgio De Chirico
Carlo Carra
Giorgio Morandi
Hannah Hoch
Salvador Dali
Merret Oppenheim
Joan Miro
Rene Magritte
Frida Kahlo
Le Corbusier
Amedee Ozenfant
Andy Warhol
Domenico Gnoli
Stuart Davies

Photography
Cindy Sherman
Gerhard Richter

Sculpture
Marcel Duchamp
Joseph Cornell
Claes Oldenburg
Allan McCollum
Robert Therrien
Charles Ray
Christo

New Zealand Artists
Bill Culbert
Emily Wolf
Jude Ray
Gavin Chilcott
Rodney Fumptson



Week 9 Groups A & B Monday 9.30-12.30
Group C Tuesday 9.30-12.30

Presentation of Research, Tableau: Still Life In Situ

It has been noted that the great still-life painter Giorgio Morandi’s skill lay not in his ability as a bottle painter but in the “profusion and inexhaustibility” in which he displayed his collections of Ovaltine tins, vases, bottles, cans, jugs, and fragments of broken china. The subjects of Morandi’s still life’s were:

“Ordinary objects probably bought at the Montagnola market which he examined, arranged and rearranged on a small platform or table, placed on sheets of paper where their position was carefully marked and even the shadows sometimes drawn in to emphasise it, ready for the next days painting session. He may have made a drawing first to see how the composition would look and if the proportions and intervals pleased him. The position of his feet was then carefully marked in chalk on the floor, to remember where to stand.”
[Klepac, Lou (ed.) Giorgio Morandi: the dimension of inner space, Art Gallery of New South Wales, Sydney, 1997, p.13.]

Students are required to construct and document individual still life ensembles in design studio.

For this exercise you must thoughtfully collect, assemble, and then observe and record your composition from a variety of different orientations and under differing lighting conditions. You may choose to record a number of differing arrangements of these objects before you settle on your final composition. Carefully consider the material nature of the objects that you choose, and the properties of the materials. e.g. Glass, ceramic, plastic, metal (with integral or applied colour or surface detail), perishable or disposable goods.

Choosing from a range of different media (drawing, watercolour, painting, photography, animation, film) carefully document and represent your still life ensemble.

As you are documenting the work, consider the impact this collection of forms has on their surrounding environment. (I.e. the shadows they cast, the reflective or light absorbing properties of your chosen materials). The ‘spaces, hollows, distances, and intervals’ between elements should be given as much consideration as the volumes themselves.



When studying his compositions of objects in space Morandi was “speculating on every effect of the light, hour by hour, day by day”, until a moment arrived when the composition appeared perfect to Morandi in ‘it’s spaces, hollows, distances and intervals.’ Mature as fruit that has reached its peak of ripeness, as Raimondi put it.”
-Joan Lukach in Demetrion, James T. (curator) Giorgio Morandi, Des Moines Art Centre, Des Moine, 1981, p.28.

Morandi waits patiently, until he is satisfied with the spaces between the objects. He waits for negative space to reveal itself in its most perfect form, endowing space with substantiality.

For this exercise students are required to undertake a series of time-based studies, which explore your critical position in regard to the still life genre. As you investigate the relationships between time and the still life image, consider the following questions:
• How does duration intervene with the construction, representation, and reception of still life?
• How do still life artists and you, still life designers, consider the aspect of time in your complementary practices?
• What has been the impact of new technologies on the relation between time and the image?

Each student is encouraged to utilise a range of different media for this conceptual study including photography, film, animation, drawings and models.




Week 11 Groups A & B Monday 9.30-12.30
Group C Tuesday 9.30-12.30


INTERIM CRIT
Pin up: Personal record of work done to date: drawings, models, photographs, films.



Having assembled, constructed and documented your own still life constructions, you are now required to design a house for a particular still life artist. Consider your own still life practice and identify any consonances between your forays into this genre and the work of other artists. For example, do you use similar still-life subjects, compositional techniques, media, or particular vantage points to those employed by other artists?

Undertake detailed research into the artist’s background – this is critical because the artist is your client! For next Monday you will be required to identify and present in drawings and/or models, the particular events that will be staged within the artist’s dwelling.

You will also be required to present at least 3 precedent studies that look at experimental housing solutions. This will be undertaken in order to look at the manifold ways in which design practitioners challenge our pre-conceptions about what constitutes a house – just as still life artists cast light on overlooked aspects of the quotidian realm.

Week 12 Groups A & B Monday 9.30-12.30
Group C Tuesday 9.30-12.30


Pin up: Conceptual sketches and models for a House for a Still Life Artist




Each student is to design a house for a still life artist. Your design investigations into composition and duration can be used to inspire this foray into domestic design.

Each student is encouraged to produce:
Models and drawings (sections, perspectives, plans, developed surface drawings, details). This documentation should be executed in at least 3 different media.

Spaces are required for:
- Artist’s studio
- Eating
- Living
- Sleeping
- Bathing

Carefully consider how you might design your artist’s dwelling. Bear in mind some of the following questions:

• Is the house a single structure or constituted of multiple parts separated from one another?

• Is it made of monolithic materials or lightweight materials, or an amalgamation of both?

• Where do the artists’ ‘subjects’ reside?

• How are rituals of daily life poetically integrated into your programme for the house?

• How might openings and exterior frames of reference impinge upon the interior life of the artist?

• Does the site play a significant role?



Week 13 Groups A & B Monday 9.30-12.30
Group C Tuesday 9.30-12.30


Design Development of a House for a Still Life Artist

Week 14 Tues 5 June 10.30 – 1.00pm ALL STUDENTS

FINAL CRIT: Project Pin Up and Presentation

Week 15 Mon 11 June – Fri 15 June
STUDY WEEK (No Classes)

Week 16 Mon 18 June: 9.30am
Assessment Semester 1 Ends

Requirements for Presentation

Refer to “Communication” in the Assessment Criteria.
You decide on a strategy to communicate this project, how best to ‘tell the story’ of your project.

Analyse what is best communicated by drawings (sketches, plans, sections, elevations, axonometrics and isometrics, perspective views), renderings, photographs or digital presentation, a built model or a series of maquettes, and then decide how best to make use of these communicative tools.

Note: All stages of the work you undergo during the seven week programme should be retained as they will be evaluated and will contribute to your final grade for the project.

It will be important to demonstrate full engagement with the brief, thorough exploration of your ideas, and development of your design to a well resolved, carefully considered and beautifully presented final project outcome.




The MASH extended (4th years only)

If you are a year 4 student interested in pursuing the original MASH brief into the next seven week block of the semester you are required to write your own project brief.

Your brief needs to be sent to Kathy by Friday 20 April.
(kwaghorn(at)unitec.ac.nz)


The project brief you will write supporting your desire and rationale for continuing on with this needs to carefully consider what you aim to achieve within the 7 week programme. Your brief must include a timetable.

We are looking for in depth analysis and design for one tenancy (out of the original three) of your choosing. As a result of the detailed research of this “client” you need to be very specific about who they are and what their needs are. While the second part of the project asks you to focus on one tenancy from your original three, the aspects of either “synergy” or “collision” that occur between the three original tenancies must continue to be explored, as and how they involve your chosen client.

We will be looking for two distinct projects at semester end, with this second project becoming a fully developed, well-resolved and detailed interior design project.

* Please note: the continuation of this project will be allowed at the discretion of the Interior Design Programme Coordinator. Each student wishing to continue with the MASH project is required to submit their own brief (as described above). The programme coordinator will then determine whether the brief is substantial and rigorous and therefore suitable for continued work. If the programme coordinator determines that the brief submitted by a student is insubstantial the student will be required to undertake one of the other two studio projects on offer in the second quarter.



A few reminder pointers from the first brief:

Think Green: Sustainable Architecture and Design

All students continuing with this project are required to undertake further research and exploration as to how thinking around sustainability would be achieved in their specific project. In terms of the client that you choose consider how their “philosophy” would engage with the many directions that can be taken in this area.

Mt Eden’s Urban Regeneration

This part of Mt Eden developed as an early industrial zone. Parts of it are well over 100 years old. It has in recent years become an area ‘under transition’, combining medium to high density housing with low rise commercial businesses, bars and restaurants. It’s proximity to Auckland’s CBD, plus it’s adjacency to the Mt Eden train station make it an ideal place to live and/or work. It is possible to walk into the city from here, or take a short train or bus ride.

Historical Background to the Enfield Street sites

In the first part of this project little attention was given to the research and exploration of the historical qualities of these sites. All students continuing with this project should consider this aspect.

SECOND YEAR STUDIO: Sub-brief

Unitec School of Design: Lotte Wotherspoon: April 2007
INT 5201: SECOND YEAR STUDIO

SECOND YEAR STUDIO
PROJECT TWO: SON ET LUMIERE
EXERCISE : TO CONTINUE…

Start to investigate your site through a series of conceptual sketches that combine elements explored in your LIGHT MODELS + VISUAL RESEARCH (chosen architect and film). Present your drawings in a storyboard format that takes us from the alleyway entrance through to the heart of the building, and then back on to the street. Refer to Tracey Collins storyboard (Aotea Centre).

PROCESS:

1. Make a series of conceptual sketches that explore different spaces in your gallery. Continue to investigate and develop your lighting ideas. Keep your drawings free and imaginative. Use your drawings to test different ideas. Accompany your sketches with notes that inform us about your thinking.

Consider:
Entrance
Viewing gallery
Café/bar
Reception
Amenities (staff/public toilets)
Archive/Film Storage

Remember your spaces can be multi-functional. For example, you may want people to view films from the café and the film archives to be visible in the same space. (Please refer to main brief)

2. Continue to develop your design through your own visual and written research to FORM A STRONG CONCEPTUAL BASIS TO YOUR WORK.

Your light models have already been informed by your research, continue this process. What connections have you made between filmic space and architectural space? How have you expressed these ideas through your light models and how will this feed into the design of your film gallery?

PRESENT:

•x15 sketches (To be presented in a storyboard format)

NB. Your sketches must be accompanied by notes that inform us about your conceptual thinking, this written information may be interspersed throughout your storyboard


HAND-IN: Tuesday 24 April

2nd Year Studio Brief: Son et Lumiere

Unitec School of Design: Lotte Wotherspoon: March 2007
INT 5201: SECOND YEAR STUDIO

PROJECT 2
SON ET LUMIÈRE

HAND IN: 03 MAY

INTRODUCTION:

You have been chosen as both the Interior designer and curator of the New Film Gallery situated at the heart of Auckland’s CBD. The film gallery is to house both historic and contemporary film footage which can be selected and viewed by the public. You will create a gallery where filmic space meets a space for film.

“By using all the possibilities inherent in film, and all of its technology, the medium could offer the architectonic potential to allow us to look far into the future by enabling us to immerse ourselves in previously unimaginable spaces.”
(Fantastic Combinations in Film. Architectural Design – Architecture and Film II. Vol 70, No.1, Jan 2001)

SITE:
• Cruise Lane (Between Shortland and Chancery Street Alleyway, CBD, Auckland)

CONSIDER:

• The Walkway; The entrance/exit walkway for the public from the street to the theatre. This space could potentially be developed as a multi-media interactive space, temporary or permanent. Think about how this space will incite public interest, it should help draw the public off the street and into the gallery.
• Reception desk: This is the public’s first point of contact with staff at the Film Gallery.
• Viewing Gallery; Think about how films are viewed, conventionally films are screened within a darkened theatre with rows of seating facing a screen. Consider how and where you want people to view films within your film gallery.
• Bar/Café; This area is a transition zone, a meeting ground for visitors.
• Archive Library and Film Storage; The film gallery is a valuable resource for students, film makers, actors, enthusiasts, and anyone generally interested in film as well as a safe-house for historic and contemporary film footage.
• Amenities; public and staff toilets

* Note: Your Film Gallery can accommodate multi-functional spaces

“The possibilities open to film and the methods by which it works are in themselves architectonic potential. Instead of analysing what is being represented, we should look more closely at film methods and techniques, as these are the board on which the game of space and time is being played” (Fantastic Combinations in Film. Architectural Design – Architecture and Film II.Vol 70, No.1, Jan 2001)

PRESENTATION: Final hand-in will consist of

• Workbook : A workbook that includes all research & investigations
• Drawings : sections, elevations, plan
• Model : scale 1.50 or 1;100
• Conceptual statement
• Light models : Exploratory models that investigate light and space
• Photographs : Photos that document your light models

Your Film Gallery must include:

- Walkway
- Viewing gallery
- Bar/Cafe
- Archive library/film storage
- Reception desk
- Toilets

LEARNING OUTCOMES:

- To investigate a public space within a urban context
- To consider the art of film making and its relationship to interior design
- To continue to develop an architectural language that effectively integrates spatial, formal,
material, environmental, functional and conceptual concerns.
- To concentrate on a design solution for cinematic viewing through a critical response to
exploratory work and visual research
- To engage in class discussions and critique

ASSESSMENT: The project will be assessed to the extent that it

- Investigates form, light, materiality.
- Explores a pubic building, in terms of the occupation, space, site, functions.
- Is conceptually strong and innovative, with a foundation of visual and written
research.
- Successfully synthesises ideas into a coherent, engaging built form that considers
its
relationship to the whole.
- Clearly communicates design intentions through drawing, presentation and model making

PROGRAMME + TIMETABLE

Week 1 / Wednesday 21 March:
HANDOUT: - MAIN BRIEF: SON ET LUMIÈRE
SUB-BRIEF (PART ONE) : LIGHT STUDY

Thursday 22 March
SITE VISIT

Week 2 / Monday 26 March :
INDIVIDUAL TUTORIALS

Tuesday 27 March
PRESENT EXERCISE 1A + EXERCISE 1B: RESEARCH INTO LIGHT
SHARE YOUR FINDINGS WITH THE REST OF THE CLASS.

Wednesday 28 March
INDIVIDUAL TUTORIALS

Thursday 29 March
INDIVIDUAL TUTORIALS

Week 3 / Monday 02 April:
INDIVIDUAL TUTORIALS

Tuesday 03 April
INDIVIDUAL TUTORIALS

Wednesday 04 April
INDIVIDUAL TUTORIALS
PRESENT EXERCISE 1C. : LIGHT MODELS AND PHOTOGRAPHIC DOCUMENTATION

Thursday 05 April
INDIVIDUAL TUTORIALS
POWERPOINT PRESENTATION
HANDOUT – PART 2

MID-SEMESTER BREAK / EASTER

Week 3 / Monday 23 April:

INDIVIDUAL TUTORIALS

Tuesday 24 April
INDIVIDUAL TUTORIALS
WATCH 4TH YEAR CRIT

ANZAC DAY Wednesday 25 April
SELF DIRECTED

Thursday 26 April
INDIVIDUAL TUTORIALS

Week 4 / Monday 30 April
PRESENT YOUR :

- STATEMENT
- LIGHT STUDIES THROUGH DRAWING

Tuesday 01 May
INDIVIDUAL TUTORIALS

Wednesday 02 May
INDIVIDUAL TUTORIALS

Thursday 03 May
INDIVIDUAL TUTORIALS

Week 5 / Monday 07 May
INDIVIDUAL TUTORIALS

Tuesday 08 May
INDIVIDUAL TUTORIALS

Wednesday 09 May
INDIVIDUAL TUTORIALS

Thursday 10 May
INDIVIDUAL TUTORIALS

Week 6 / Monday 14 May
INDIVIDUAL TUTORIALS

Tuesday 15 May
INDIVIDUAL TUTORIALS

Wednesday 16 May
INDIVIDUAL TUTORIALS

Thursday 17 May
PRESENTATION AND FINAL CRITIQUE – HAND IN

M.A.S.H

Interior Design 3+4 year, Semester 1 2007, weeks 2 - 8, Sue Hudson+Rachel Carley

A Multiple- use, Appropriated, Synergistic, Hub development, located into an existing
multiple level building somewhere in Auckland.
Select three tenants who you think would make an interesting ‘mix’ for your MASH project


Site Address: Options include to select either:
29 – 31 Enfield Street
Mt Eden
OR:
30 – 40 Enfield Street
Mt Eden
OR:
An Urban/City Site of your Choice



Selecting your Tenant Mix.

Selecting one of these buildings, or another of your choice, aim to integrate a mixed-use development of three tenants into one existing building that requires ‘re-generation’, new life.

The three tenants might have ‘synergistic’ qualities about their relationships to one another, or perhaps ‘contradict/contrast’ each others businesses. In the past students have arrived at some dynamic and interesting tenancy ‘mixes’. Spend some time considering who your three tenant bodies might be.
Also consider opportunities for 24/7 occupation of the building.
(Note for Sue: Exquisite Corpse).

Think Green: Sustainable Architecture and Design

In keeping with current best design practice around the world, we want you all to also consider the latest ideas centred on “green buildings”. New Zealand is closely following Australia in recognising the value and importance of incorporating green principles into building design. This directly affects architecture, interiors, construction and building services.
Buildings which successfully address and incorporate ‘Green’ principles are awarded a “Green Star Certification”. The highest level possible being a 6.
(You will all need to do some research into this and we have provided some useful reference websites to start you off at the end of this brief).

Mt Eden’s Urban Regeneration

This part of Mt Eden developed as an early industrial zone. Parts of it are well over 100 years old. It has in recent years become an area ‘under transition’, combining medium to high density housing with low rise commercial businesses, bars and restaurants. It’s proximity to Auckland’s CBD, plus it’s adjacency to the Mt Eden train station make it an ideal place to live and/or work. It is possible to walk into the city from here, or take a short train or bus ride. For the purposes of this project, we envisage these existing buildings are going to transformed by you and given a new life for their new occupants.

Historical Background to the Enfield Street sites.

Enfield Street in it’s earliest days consisted of, amongst other things, a saw milling business, a shot making plant, and a scattering of Victorian dwellings. Enfield Street was named by one of the original land owners: the Colonial Armaments Company who made weapons and shot, after the Enfield 303 rifle. The shot tower, used in the making shot for rifles, still stand’s very close to the 29 – 31 Enfield Street site.

At 29 – 31 Enfield Street, early buildings were demolished and a new timber/plywood making factory building was built, which judging by the architectural drawings, appears to date from the 1980’s. The factory closed in the late 80’s and the interiors were then re-configured to create commercial office spaces. This building features a roof top carpark.

At 30 – 40 Enfield Street, the building known as “Orion House” appears to date from the time of the areas original subdivision, around 1910 - 1930. It also appears to have been a factory or warehouse of some sort in it’s original form. Currently it has a ground floor restaurant/café with commercial tenants above.

We have sourced A4 size copies of the council drawings available for both buildings on their respective sites. (This information will be issued in Week 2 of Semester 1)

Site Opportunities.

Both sites have opportunities for major interior ‘re-working’, rejuvenating and improvement . Consider opportunities also for access to potential outdoor spaces and integrating that access into the interior spaces in a meaningful way, providing improved ’amenity’ for the tenants/users.



Site and Building Constraints

For each building, the building boundary lines and the building’s essential structural grid should be adhered to where possible, however, you may should you choose, add another level into either building, taking out the existing roof and reworking it to free up some additional usable space.


MASH: How to get started

Firstly, analyse your tenant options. Who are they? What do they need? When are they here? Why would they choose to be here?

Secondly, study and research the neighbourhood and the existing buildings and their uses/occupiers.

Thirdly, study and research the building you have selected in detail for potential opportunities and design ideas.

Re-visit your research on your tenants and begin to explore linkages between the tenants ‘activities’ (the nature of what they do in the building, both individually and collectively), the neighbourhood and the actual building you are focussing on.


Project Programme: Semester 1, Weeks 2 - 8

Week 2
Project Discussion Mon 26 Feb 9.30 –12.30pm Year 4 Studio
Research

Week 3
Presentation of Research Mon 5 Mar 9.30 – 12.30pm Year 4 Studio
Selection of Site
Client Nomination
Present Written Brief

Week 4
Pin Up:
Concept Sketches Mon 12 Mar 9.30 – 12.30pm Year 4 Studio
Ideas

Week 5
INTERIM CRIT Mon 19 Mar 9.30 – 12.30pm Year 4 Studio/
Pin up: Sketches, Plans, Room 1159
Design Development


Week 6
Pin up: Mon 26 Mar 9.30 – 12.30pm Year 4 Studio
Sketches, Plans,
Drwgs, demonstrating
design resolution

Week 7
FINAL CRIT Mon 2 Apr 9.30 – 12.30pm TBA
Project Pin up
and Presentation

Week 7 Tues 3 Apr 9.30 – 12.30pm TBA
Studio Project 3
Briefing

TWO WEEK MID - SEMESTER BREAK


Week 8 Mon 23 Apr 9.30 – 10.30am TBA
FINAL PIN UP
PROJECT CONCLUSION
(Work can be taken down
again at 5.00pm)

Week 8 Tue 24 Apr 9.30 – 12.30pm Year 4 Studio
Commencement
of Project 3
(Weeks 8 – 14)


Requirements for Presentation

Refer to “Communication” in the Assessment Criteria.
You decide on a strategy to communicate this project, how best to ‘tell the story’.

Analyse what is best communicated by drawings (sketches, plans, sections, elevations, axo and isometrics, perspective views), a built model or a series of renderings, and decide how best to make use of these communicative tools.

Note: The Assessment Criteria are at the end of this brief.





References

For finding out more about “Green Buildings”, try the following websites and articles:

Note: the following international articles written in the USA refer to “LEED” accreditation. This stands for “Leadership in Energy and Environmental Design”. The Australian “Green Star” rating, which we follow here in NZ is based on this earlier American standards authority rating system.

To read about New Zealand’s very own fledgling Green Building Council, go to: www.nzgbc.org.nz
(Look out for mention of Studio of Pacific Architecture’s project for Meridian Energy in Wellington).

To read about international architecture and design firm HOK’s new commercial office renovation in Toronto (for themselves) which has won awards and accolades for it’s approach to sustainable architecture and interiors, go to: www.metropolismag.com/cda/story.php?artid=2461

To read an interesting article written by Bernadette Upton, an American interior designer who lectures on “Green Interior Design”, go to:
www.metropolismag.com/CE and scroll down to “Green Interior Design”.

To read an interesting article on the winners of the inaugural Metropolis magazine Smart Environments Awards, go to:
www.metropolismag.com/cda/story.php?artid=2463

To read an interesting article about some highly awarded recently completed architecture and commercial interiors projects in Australia, go to:
www.qantas.com.au/infodetail/flying/inTheAir/inflightMagazine/ecobuild.pdf

"Room In The City"

Room in the city
Interior Design 3+4 year, Semester 1 2007, weeks 2 - 8, Kathy Waghorn + Jacqui Chan

The City
This project asks the question;
“what constitutes the interior in terms of the space and culture of the city”?

The form of the urban is relatively new in Aotearoa/New Zealand. Tamaki Makaurau Auckland, like many New Zealand cities, was designed on the other side of the world in response to the pressures of British industrialisation. Consequently, in some respects, the design of our cities reflects a desire to escape the congested and polluted city, giving us the sprawling sub-urban rather than the truly urban.

In Tamaki Makaurau/Auckland this imported city design became unsettled and disrupted when inscribed on the land. The volcanic field of the isthmus and the tidal pressures of the two harbours collapsed the neat and ordered planning bought from Britain. These geographical features have given Auckland a unique urban condition.

Maori occupation and subsequent and immigration patterns have also shaped the form of this city. Current regional policy aims to increase the density of occupation in the city center, rather than continuing sub-urban sprawl. Through this densification truly urban patterns are emerging in Auckland – for the first time since the middle of last century people are living in the city.

The city is not just the “bit outside the buildings” holding the buildings together. The city is made up of both exteriors and interiors, and states in-between. The city is a fluid space, a space of exchange and flow. People, traffic, data, goods and money circulate through the space of the city creating temporal changes. The city is not singular, that is we all have our own versions of the city, based on our experiences and memories of it. The writer Italo Calvino suggests that the city is less a space of objects and more the set of relations formed by these experience and memories:

“The city does not consist of this, but of relationships between the measurement of its spaces and the events of its past: the height of the lamppost and the distance from the ground of the usurper’s swaying feet; the line strung from the lamppost to the railing opposite and the festoons that decorate the course of the queen’s nuptial procession; the height of that railing and the leap of the adulterer who climbed over it at dawn; the tilt of a guttering and a cat’s progress along it as he slips into the same window; the firing range of a gunboat which has suddenly appeared beyond the cape and the bomb that destroys the guttering . . .”
Italo Calvino “Invisible Cities” p10

Cache too describes the city as “ . . .mobile and fluid . . . given to the continual distortions of memory”.
Bernard Cache, Earth Moves, The Furnishing of Territories, p11


The Room
For this project you will design a room in the city. Through the project we are interested in you individually pursuing your own investigation of spatial and cultural issues, which test conventional interpretations of the interior as simply defined by surfaces housed within architectural structure.

This project does not assume that “the room” or interior space is confined to the inside of buildings, but rather we are interested in the qualities, conditions and effects of the interior

Your research, investigations and analysis, might lead you to revise your current understanding of what a human being needs, expects, desires in terms of the internal. Rooms often contain objects and are “dressed’ with linings, fixtures and furnishings, how might these aspects of a room be addressed in the space of the city? Combined with this will be an understanding of the relationship of interior space to exteriority, encompassing issues of enclosure, framing, limit, shelter, movement, environmental control and regulation.


Research: Who are you making room for?

In this project you will open your mind to the wide range of references and research concerning aspects of human activity and occupation in the city. In broad terms this might be habitation, transportation (of things, of people, of information), sport, recreation and play, the production of culture, entertainment, education, ablution, ritual or many others.
Consider who engages in these activities and how these activities are currently controlled and directed. What are the spatial and temporal forms that currently contain these activities and why is this so? How could the relationship between the activity, those performing the activity and the spatial form be re-addressed? This consideration forms the kernel of this project.



Project Sequence

Week 2: The site, beginning with the “dérive” – (drifting)
Pin Up Week 3, Tuesday 6th March 10:30am

In philosophy, dérive is a French concept meaning an aimless walk through city streets, that follows the whim of the moment. It is sometimes translated as a drift.

French philosopher and Situationist Guy Debord used this idea to try and convince readers to revisit the way they looked at urban spaces. Rather than being prisoners to their daily route and routine, living in a complex city but treading the same path every day, he urged people to follow their emotions and to look at urban situations in a radical new way. The basic premise of the idea is for people to explore their environment without preconceptions, to understand their location, and therefore their existence. (Another term associated with this is psychogeography).

You might usefully adopt Debord’s ideas to locate a site. The site might be readily identifiable, such as the alleyway between Fort and Shortland Streets or Khartoum Place. However it is possible to choose a sequence of places, a strip, path, or route through the city as your site. (After all a corridor is also a room). Your first task is to observe and record this site producing a document of it.

Pin up for documents: Tuesday 6th March 10:30am, followed by introduction to the following -

Week 3: The Room, analysis
This week we will focus on the elements that make up or configure a room, these ideas will then be translated into the space of the city.

Week 4+5 : The inhabitants
Pin up in week 5: 20 March

Week 6+7: Finishing and Furnishing
Investigation of material and detail

Crit: Tuesday 3 April
9:30-10:30 – briefing for second quarter studio
10:30 – Crit invited critics
(mid-semester break)
Pin up of complete project Monday 23rd April by 10:30. (no crit)


Resources: Reading
The 100 Mile City. Sudjic, Deyan. Harcourt Brace, 1992
The City Reader. LeGates, Richard T., Routledge, 1996
The City Cultures Reader. Miles, Malcolm. Routledge, 2000
“Thick Edge, Architectural Boundaries in the Postmodern Metropolis”. Iain Borden, in, Intersections: Architectural Histories and Critical Theory, Routledge, 2000.
The Body and the City, Psychoanalysis, Space, and Subjectivity. Pile, Steve. Routledge, 1996.
“Bodies-Cities”. Grosz, E. (1992). In Colomina, B., (ed). Sexuality and Space, Princeton Architectural Press, New York, pg 241-252
The Activist Drawing : Retracing Situationist Architectures from Constant's New Babylon to Beyond. Drawing Center, 2001.

The Situationist City. Sadler, Simon. MIT Press, c1998.

** all of the above books would make excellent texts for the third year Annotated Bibliography theory assignment

The New York Trilogy, Auster, Paul. Penguin, New York, 1990
Invisible Cities, Calvino, Italo. Vintage, 2002
London Orbital : a walk around the M25, Sinclair, Iain. Penguin, London, 2003.


Websites: psychogeography
http://psychogeography.ca/
http://urbanrepair.blogspot.com/
http://www.glowlab.com/lab2/
http://timdevin.com/publicart.html
http://sanjose.murmur.info/

Auckland City
Auckland Archive, Auckland Public Library
Auckland Regional Council website and documents
Auckland City Council website http://www.aucklandcity.govt.nz/

What the council say!
“People's experience of Auckland's CBD will reflect the energy of Auckland as one of the most cosmopolitan cities of the Pacific. The CBD's character will be distinctively 'Auckland'. This will be evident in the ethnic and cultural diversity of the people in the CBD, the kinds of events, the artworks and the architecture.
The council plans to protect and promote the city's heritage and to ensure that all new developments look and feel distinctively 'Auckland'. Artworks, events and street activity will be actively encouraged in a bid to bring life back to the streets.

From “Auckland's CBD Into the future” http://www.aucklandcity.govt.nz


Possible ongoing projects:
work produced for this brief may be useful for entries in the following;
Auckland City Living Rooms projects 2007
(see http://www.aucklandcity.govt.nz/whatson/events/livingroom/default.asp)
AAA Urban Gaze competition entry (keep an eye out for this on aaa.org.nz)

one, one, one

February 2007 - Studio Project 1, semester 1, week 1


Insides without outsides?
In your assigned group build an interior. As a group inhabit this interior and record it in various ways.

Building - consider this:
Does an interior depend on an exterior in order to exist?
What might your interior contain? How might it be decorated? Is privacy a consideration? What proximities might you consider (to each other, to other interiors, to other objects)? Are you interested in comfort? How do the construction methods and materials that you employ fabricate the interior experience? How might you employ scavenging and found objects? (You might make deals with other groups to share materials). How might you attract others your interior? How will you dispose of the interior - what will its life cycle be?

Recording – consider this:
What is the haptic experience of your interior, how does this experience change over time? What is the interior experience when you are inside alone compared to when you are inside with others? How does the interior frame the exterior? Use many and varied media to record the interior experience and the construction. Also document the way you went about this project? – that is record your process.

Site: the garden area in front of building 1 (you will need to mark your chosen site on our map)

Timeline:
Monday:
11.00am meet in long space next to room 1159 (the fridge) in building 1
get brief, meet group and decide on a name, discuss, gather information and materials

Tuesday:
10:00 am meeting
12:30 Second Year Theory meeting, lecture theatre 1 or 2 (tbc), all second year students to attend
* 3rd and 4th year students: read first quarter briefs in The Fale and sign up for your choice on the notice board by the staff offices. You must sign up for a brief by 3pm Thursday.

Wednesday:
10:00am meeting
12:30 Third Year Theory meeting, lecture theatre 1 or 2 (tbc), all third year students to attend
(year 4 theory commences week 2)

Thursday:
10:00am meeting
Interior complete: Thursday 6:30pm
Dinner: Thursday 7:30pm – by cafe
Movie night and sleep over (document interior by night)

Friday:
Breakfast Friday 7:30am – by cafe
Pin up of recordings and awarding of prizes Friday 11:00
Demolition and recycling of materials by 3pm Friday
Drinks at The Point from 4pm Friday