blog 11

Blog 11     The Mangere Arts Centre – Nga Tohu o Uenuku

http://www.dulux.co.nz/media/931300/mangere%20arts%20centre%20hero.jpg

What is your impression of the arts centre as you approach the entrance? Does the design reflect a particular culture or community? Provide specific examples.

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My first impression of The Mangere Arts Centre was a large ship, a sailing ship on the sea to be specific, as I approached the entrance. Blue bubbles of exterior bottom symbolises the ocean and rainbow colors at the top symbolises the sky. The make and shape of the entrance made it look like the ship's keel.

The designer Mr Street says it is important for the building to represent and celebrate the region's 'Pacific-ness'. (Mangere centre pays tribute to Lange, 2007)

When it came selecting the colour scheme for the exterior of the Arts Centre, Creative Spaces looked to local Maori and Pacific Island mythology, legends and beliefs to inform their colour choices. Uenuku is known to the local Maori as the God of creativity, and his physical manifestation is the Rainbow. From this stemmed the colour palette for the exterior of the Arts Centre, which is expressed in the batons on the exterior entry facade. Te Puna is a traditional Maori and Pacific term that applies to a puna wai or a spring of naturally flowing water from the depths of papatuanuku – mother earth. Te Puna can also be applied to a source from which artistic skills and all things scholarly flow. This was expressed in a series of precast concrete panels with bubbles, which represents the water rising from the spring, and accented in two subtle shades of blue, which provide depth. (Dulux,2011)

Find out the following information:

Designer/Architects: Design Director is Harry Street.

Date Opened: The center opened on September 3, 2010.

Who do you think this particular space is intended for?

The venue is a hub for artists, performers, colleagues and Mangere community members. As a meeting, exhibition and performance space for the local community, Mangere Arts Centre provides a variety of areas for people to meet, learn, share, display and perform in.

The arts center is for people of all backgrounds and ages and features visual arts, crafts, heritage arts and multimedia to performing arts, theatre, dance, music and comedy. The centre has a particular focus on Maori and Pacific visual arts and performing arts – with the vision of developing a profile of national and international significance.

What is the intended use of this building?

One of the aims of the centre is to showcase artists in the community by providing a professional, high quality venue with knowledgeable and skilled staff that are passionate about Mangere.

The attraction types of this building are Art Gallery, Theatre, and Local government, Information & Services and working in a range of disciplines including photography, installation art, moving image and more. The centre has a particular focus on Maori and Pacific visual arts and performing arts - with the vision of developing a profile of national and international significance.

The Exhibition (50 words)

What is the whakatauaki associated with this exhibition?

Kia tupu, kia hua, kia puawai

What is the English translation?

To grow, to prosper, to sustain.

Who is Te Puea Herangi, and why would Tainui have been involved in providing this particular taonga?

Te Puea Herangi was a respected Māori leader region known by the name Princess Te Puea. She has been involved in providing this taonga, because she cared about everyone in this community and she wanted to see a growing prosperous and sustainable community.

Choose 1 work to discuss in the following response. (200 words max)

Title: The white book

Artist/Designers: Kvetoslava Sekanova

Date: 2011

How do you see the above whakatauaki discussed above embedded in this particular object?

Kvetoslava Sekanova’s piece, The White Book, a brooch created from newsprint, silver, paint and mixed media. The materials used represent sustainability of the knowledge that was passed onto us from our ancestors. The shape of the work implies the growing and expanding of the knowledge and it is knowledge to help us prosper. The white book displayed a consummate understanding of materials dovetailed with considered exploration and communication of ideas.

Works cited list:

Mangere centre pays tribute to Lange, (2007).

http://www.stuff.co.nz/auckland/local-news/manukau-courier/28770/Mangere-centre-pays-tribute-to-Lange

Dulux. “Dulux Colour Awards Finalist: Mangere Arts Centre Project”. Published June 27, 2011

http://www.ebossnow.co.nz/2011/dulux/dulux-colour-awards-finalist-mangere-arts-centre-project-georgia-pepper-creative-spaces.html

Image:

http://www.dulux.co.nz/media/931300/mangere%20arts%20centre%20hero.jpg

http://static2.stuff.co.nz/1301953631/523/4848523.jpg

blog 10

Blog Post 10     Hotunui at The Auckland War Memorial Museum

 

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1.              Describe your personal experience as you occupied this space. Think about how you approached the wharenui. How did the atmosphere differ from the exterior to the interior of the wharenui? Did it change the way you behaved? Was there anything unsettling about the experience? (100 words)

The visit to hotunui was a great experience to me. I was very interested in traditional Maori culture because I found that Maori culture has similarities with my own culture.

Hotunui was the most important wharenui of a Maori tribe. The exterior of hotunui has exquisite carving all over it. Those carvings represent Maori history and culture. During our observation from the outside, we could chat with each other and everyone was quite relaxed. Once we walked into the interior of the wharenui everyone became serious and everyone stopped talking because we felt the solemnity of the hotunui. I felt like that Uenuku was watching over on us.

Read the following and answer in your own words. If you use quotes, please make sure you reference appropriately. (400 words)

Austin, Michael. “A Descripton of the Maori Marae (1976).” New Dreamland: Writing New Zealand Architecture. Ed. D. L. Jenkins. Auckland: Random House New Zealand; 2005. pp. 222-235

2.         Who is Michael Austin? Where does he work and what does he specialise in?

Michael Austin is a professor of Unitec, and he is a programme leader of Master of Architecture. He specialized in Architecture.

3.         In what context does Austin say the “marae is not treated as architecture...”? How do you feel about this?

“With this orientation, meeting houses are studied as decorated art objects, and information is gleaned from the history and meanings of the carvings. The marea is not treated as architecture at all.”(Austin, 223)

I do agree with professor Michael Austin. Marea stay in the museum and does not have its original function. People treat it like an art and surviving monument rather than a community building.

4.         What three factors does Austin state are important to understanding the “significance of the marae?”

Three factors of the significance of the marae are architecture, social action and world view. These three factors need to be viewed as a whole.

5.         How does Austin describe a Maori concept of home? How might this differ from a western idea of home?

“This led to an awareness that for the way of life called Maori, the community home was of far more significance than the individual family home.” (Austin, 224) In the Maori culture, home has broader meanings rather than just places to live for individual families. Maori concept of home is for the marae and the whole tribe. 

While the Western idea of home is exactly opposite with Maori concept, they through an individual family is a home. The meaning of home of the Western socirty is quite narrow in contrast with Maori conpet of home.

6.         What/where is home for you? Elaborate.

I think the native place is my home. In Chinese traditional culture, hometown to people who live there is like roots to the trees. Trees would die without roots and people would not be brought to earth without hometown. It is a source of life. The emotion of hometown for Chinese is very similar to Maori with marae. “This community home is the marae, the place that a Maori refers to and expects to return to—on his death if not before.” (Austin, 224) The Chinese also expect the same thing happening on them after death.

7.         Austin offers the definition of the marae, what is it? How is this definition reflected in the social roles of Maori?

The definition of the marae is the space in front of the house.

A marae is the most important space in any Maori tribe. This is paralleled by social roles where those who speak on the marae are know as the ‘man in front’, emphasizing that the house is necessary for the marae to operate. (Austin, 228)

8.         How do these social roles start to discuss space? Pay attention to the translations offered for Tangata i mua, Tangata i waho + Tangata i muri. p. 228, 229+230.

Tangata i mua–––man in front. This space is further defined by the host group who range themselves on one side or the other of the façade of the house.

Tangata i waho—–liaison officers. They can relay in formation of a utilitarian nature from one party to other.

Tangata i muri­–––men who stand behind, Workers in the exclosure area. Because of the tapu of the meeting house, many activities take place in the dining hall. (Austin, 229-230)

9.         According to Austin, how does the meeting house discuss notions of embodiment?

Meeting houses can be interpreted at several different levels. Only the front wall of the house has light and air introduces an environmental gradation down the house, there is a corresponding social gradation in which the host leader is immediately inside the door, and the guest of honour under the window. In other words, one’s social position is defined by the actual position one occupies in the house. Social status decreases down both side of marae. In general the closer to the door the higher the status the person has. (Austin, 230)

Works cited list:

Austin, Michael. “A Descripton of the Maori Marae (1976).” New Dreamland: Writing New Zealand

Image:

http://media.lonelyplanet.com/lpimg/27477/27477-20/preview.jpg

blog 9

Blog 9:

Visit the Interior Designers Educators Association website and find the online Journal.

http://www.idea-edu.com/Journal/IDEA-Journal

Select one article to respond to in a 300-400 word critical analysis of the text.

Cys, Joanne., “Absence of Structure.” The internet Idea journal (2005): 31-39

In mainstream design practice, the disciplines of interior design and landscape architecture most commonly come together in the context of an architectural project. The two disciplines may not necessarily collaborate, but true collaboration between disciplines could occur in a new process of design that is informed by their collaborators from other professional areas.

The dominant mother------Architecture

Architecture as the mother has simultaneously nurtured and dominated the practices of landscape architecture and interior design. In the highly competitive area of architectural commissions, with relatively short time allowances and low fee percentages, it is common for interior design and landscape architecture consultants to supply their design expertise after the bulk work is complete. Such a situation separates the interior and landscape practitioners’ design contribution. (Cys, 31-32)

The c-word------Collaboration

True collaboration rarely enters commercial interior design and landscape architecture practice because true collaboration occurs only if practitioners step beyond their professional boundaries and engage new process of design. Structure of standard project processes does not provide opportunity for such collaboration. In fact there is no need for the two practices to collaborate. Restrictions of project flexibility in mainstream commercial practice may also restrict opportunities for design collaboration. (Cys, 32-35)

Unowned space, landscape architect and interior designer can collaborate well under certain circumstances.

Teams of different design practitioners develop their design solutions in “the match” tournament in 2004 Adelaide. An evaluation questionnaire was completed afterwards. Some described his normal experience as being highly influenced by fee and structures that resulted in the project consultants trying to keep their professional territory to themselves. The respondents commonly described the enthusiasm and commitment of their fellow team members as contributing to the success of the collaboration. Collaboration encouraged team members to move beyond their individual professional boundaries. (Cys, 35-38)

Absence of structure conclusion

After the first year studying of interior design, I agree with Joanne's point about collaboration. Although I did not have any opportunity to work with the designers in other areas, for a designer, teamwork and collaboration are a very important. For example, the weekly presentation in our studio wallpaper design, the critics from the classmates always give me different views of my design and new inspirations.

Interior designers and landscape architects collaboration provided an alternative way of thinking and making a different way of practicing design. Collaboration offers practitioners from these disciplines respite and freedom from what can often be a subjugated professional position in mainstream practice. (Cys, 39)

Works cite list:

Cys, Joanne., “Absence of Structure.” The internet Idea journal (2005): 31-39

blog 8

Blog 8

What are some of the important considerations for interior practitioners when designing for an historic site?

Understanding the heritage of the historic site is essential for interior practitioners. The fundamental challenge has been to restore the wonderful heritage building while developing a flexible and contemporary design. Designers need to make sure that the proposed function for the historic site is compatible with the existing condition and it is important to maintain the integrity and original style of the historic building. Original design and new design should interact with each other. Determine the appropriate treatment for a historic property before work begins, at project initiation. Generally, the least amount of change to the building's historic design and original architectural fabric is the preferred approach. Updating building systems in historic structures requires striking a balance between retaining original building features and accommodating new technologies and equipment. Building system updates require creativity to respect the original design and materials while meeting the needs. Minor modifications can be made to adapt existing buildings to compatible new uses. Systems can be upgraded to meet modern building requirements and codes. This not only makes good economic sense, but also preserves our legacy and is an inherently sustainable practice.

Recall an historic site/home that you have visited. What can you remember about the displays and the possibilities for interaction for the audience?

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I have visited Auckland art gallery. The main gallery is housed in one of the city's oldest civic buildings, a New Zealand Historic Places Trust category 1 building, much admired for its beauty and timeless architecture. Unfortunately, gallery could only show 3-4 per cent of its collection at any one time, and was often unable to accept large exhibitions due to constraints in the scale and flexibility of its space.

I can remember seeing some portrait paintings of previous Maori kings and princesses. Those displayed paintings and layout of the room provides a very strong sense of history. Audience might feel that time was rewinding back to the Maori kings era. These displays established a cultural presence and an opportunity for public ceremony and welcome to the building.

Works cited list:

Image: http://www.mch.govt.nz/files/aagmain_0.JPG

blog 6

Blog 6

How do Chareau’s particularly ingenious design strategies impact upon the users of the space?

This design was a masterpiece and way beyond his era. Even in comparison with the contemporary interior design, it is still quite bold and outstanding. Internally, spatial division is variable by the use of sliding, folding or rotating screens in glass, sheet or perforated metal, or in combination. “There are no plastered walls; the doors open without handles; the entire building is an amazing glass box set.” You will feel like that you are in an open space rather than a bathroom.

How do these design strategies challenge and contest the conventional segregation of bathing spaces within the home?

Speaking of bathrooms, the first thing comes in my mind was that bathroom is a small confined space fitted with a toilet, a shower cube, maybe a bath tub. Maison De Verre’s bathrooms were like from a different dimension they were huge. Just as telling are the dimensions: the size of the master bathroom equals the size of the master bedroom. “The interior space can be made to expand or shrink, thanks to the silently sliding perforated metal panels.” You can feel so much freedom in the house especially in the bath room. These perforated metal panels can divide the shower and bath separately. Users can also swing open and enable them to chat with each other while they bath.

“The bathroom is divided into feminine and masculine. The sexes live side by side in this house. The subtle arrangement of the folding duralumin doors that nowhere reach the ceiling screens the body but allows conversation to continue.” I really appreciate the house’s elasticity, allowing for varying degrees of solitude and intimacy. The house was a perfect balance between the need for company and privacy, an idealized combination of the senses.

What do you imaging bathing in these spaces would be like?

It would be a great experience bathing in these spaces. I would feel like swimming in the ocean like a fish and hopping in the woods like a deer. It is like expose myself into the nature just like Adam and Eve first arrived at the Garden of Eden.

Works Cited list:

Vellay, Dominique, La Maison De Verre: Pierre Chareau’s Modernist Masterwork. Thames and Hudson: London, 2007

Image:

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Blog 7

Blog 7

1. In Chapter 1, on the first page, Papanek exhorts that we each examine our ethical responsibilities towards our eco-system, based on our specific role in society.

Describe how you could, or already are, making an undertaking to consider the impact of your work/ lifestyle on the environment.

On an individual or family level, I always try my best to make less impact on our environment. I always consider sharing ride with my friends when we go to school or go shopping together and I drive a economical car. I separate and recycle the garbage perfectly and I always use eco-friendly bags when buying groceries. I donate old or unused clothes to Salvation Army instead of throwing them away. As a student, I store my data in my computer instead of having hard copies. If I have to print out my works, I will try to paint them out double sided for less paper consumption.

Do you agree with Papanek that environmental considerations are a contemporary necessity for designers? Why?

Yea I do agree with Papanek on this. I think environmental considerations are for everyone and every sole in the society especially for designers. If designers could come out with some eco-friendly and environmental-friendly ideas and take the lifetime of the product into consideration, this will reduce the waste that generated during production. If designers could choose more recyclable materials, the products would become raw materials again rather than waste.

2. In Chapter 2, pg. 29- 32, Papanek describes 6 stages to consider for designers to produce environmentally sound projects. Find a “green star” rated building or an “eco-friendly” product in a journal or on the internet with enough information provided to answer the following: How does the object or building fit into Papanek’s 6 categories? Is the product or building really Green?

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·      Choice of material

The MOTO w233 Renew delivers the quality you expect from a Motorola device while empowering you to reduce your carbon footprint. Not only is the plastic housing of Renew made from plastics comprised of recycled water bottles and 100 percent recyclable, but it is also the world’s first Carbon Free Certified phone.

·      The manufacture processes

Motorola offsets the carbon dioxide required to manufacture, distribute and operate the phone through investments in third-party validated renewable energy and reforestation projects.

·      Packaging the product

When designing the packaging, Motorola was able to reduce its size by 22 percent and the box and all of the materials inside are printed on 100 percent post-consumer recycled paper. In addition, a postage-paid recycling envelope in box makes it easy to return your previous mobile phone for recycling at no cost.

·      The finished product

Although MOTO w233 does the same job as all other mobile phones do, it is unique in its category. This one of a kind mobile device will certainly make the right impact with consumers and the environment.

·      Transporting the product

Transporting the product is more eco-friendly compared with transporting other mobile phones as MOTO w233 has a 22% smaller package. Other than that, transporting the product will have no difference with other mobile phones.

·      Waste

Although it’s an eco-friendly phone, I doubt that the battery will become waste after its useable lifetime.

Works cited:

http://www.carbonfund.org/site/more/carbonfree_partner/motorola1 

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