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A night out under the stars: Integrating Te Aranga and Feng Shui design principles into Auckland's heritage walk
No full textRESEARCH QUESTION:
How can Feng Shui and Te Aranga design principles be applied through ephemeral architecture in Auckland to bring together Asian, Māori and European cultures?
ABSTRACT:
Auckland's population is rich melting pot of cultures and ethnicities due to its history of immigration and colonisation. A society that embraces diversity can reap benefits in commercial, academic, artisic, and cultural developments and improve tolerance and world-wide open mindedness. Creative expression produced and created by different cultural approaches does exist. However, there has not been an architectural expression for it. Māori, Chinese and European culture are selected to promote and highlight their cultural diversity. The architectural design principles from these chosen cultures are utilised to work on the project itself. Feng Shui and Te Aranga design principles influence many aspects of the project.
The research project covers three different layers: the past reflecting Auckland's history (site); the present reflecting the Māori festival Matariki (function); and the future, reflecting the design collaboration between Feng Shui and Te Aranga design principles (design). The project also critically reviews different architectural precedents, analysing their design process to form a design criteria that the project requires. Substantial literature review and context review explore each of the three project layers, providing a deep understanding and design decisions and influence for the design outcome.
The result is a total of nine pavilion and architectural sculptures which reflected the past (Auckland's history), present (Matariki festival), and future (Feng Shui and Te Aranga collaboration). This design outcome is to explore their important history and heritage while embracing a future that is rich with cultural diversity and promotes social exchange. Different opinions and criticism regarding the project are expected since collaboration between Feng Shui and Te Aranga design principles have not been previously explored through architectural intervention. Therefore, cultural, symbolic and functional characteristics need to be compared and contrasted while developing the design
The Piki Toi
No full textPiki Toi is a project that seeks to create artist/poet role models and heroes from within a marginalised community who have experienced homelessness and incarceration, who can go on to inspire others to acknowledge their own value and in turn create a circular system of healing
Holistic ecological design: Sustainable building practices striving to promote positive engagement with the environment
No full textRESEARCH QUESTION
How can urban housing development employ holistic ecological design techniques to positively engage with the environment and enhance sustainable building practices?
ABSTRACT
Humans cannot live without impacting the environment, but this should not stop designers from creating sustainable buildings. Urban developments are moving further away from nature, with little to no integration with the biosphere, separating humans from the living world day by day. Cities are never-ending destructive developments that are constantly changing and growing. These built environments treat the planet as a pit of endless resources by unsustainably consuming natural and non-renewable resources and then simply throwing them away.
The research aims to produce a design with minimal environmental impact and thoughtful integration into the biosphere through a holistic ecological design. Literature, precedents, site and life-cycle reviews will be used to inform the design decisions throughout the project, with embodied carbon energy research backing up the concepts and design decisions applied within the project.
The scope of the project is focused on the construction methods of buildings. There are many elements to sustainability, with ecological design being one of the many theories used to achieve it. Designing passive and self-sufficient homes are common within the current solutions to creating sustainable buildings with the structural system commonly overlooked within sustainable design. Linear economy buildings cannot continue to be designed and developed as they produce large amounts of waste and negatively impact the environment through a lack of life-cycle considerations, producing large amounts of waste and raw materials that end up in landfills to be lost forever.
The project has focused on challenging ways in which Architecture can promote sustainable building practices, showcasing a modular and adaptable building that allows for disassembly and reuse of the materials used to construct it. However, sustainable design cannot be broken into singular elements; in order to achieve a fully sustainable design, it needs to consider every element as a whole. The whole infrastructure of the building, its life-cycle and how people occupy it all play large roles in the impacts a building have on the environment. The structure of a building is simply one piece of the puzzle
Transforming the School of Architecture’s Asylum journal publication
No full textWhat & Why is Asylum
Transforming
Quality Assurance
Publication outcome
Conclusion
Being (back) there : travel sketches that evoke a previous temporality
No full textDuring the recent Covid-19 lockdown I stumbled upon an sketchbook of my first trip overseas to the USA (in 1986). More particularly my month long stay in Manhattan, (where one didn’t need a car to get around). Within this urban island I would get going early, walk, walk and take in sights, sounds and smells which was all new to my (distant) Kiwi senses, then exhausted at the end of the day would take the subway home. Within the March 2020 lockdown viewing these sketches took me back, to the quiet times of finding a place, and looking, seeing, listening, rendering with just a Rotring pen, all the while, people going about their daily business, largely ignoring me, was it because I was so still? Or was it because they were rush rushing with their “Man-hectic” lives. Lingering longer as required for a sketch, not clicking one’s SLR camera and moving on to the next ‘image.” Manhattan a place where I too learnt to walk along a “sidewalk,” (a “footpath” to me), eating a folded slice of pizza like other “Manhattaners!” These drawings seem to me to hold unspoken memories that upon viewing afresh, rather like a smell (e.g. a perfume) can transport one back in time in an instant. The sketches remain silent, yet for me they bring back the 24/7 noise and bustle of a large urbanity. This offering will unpack these nuances, set within other writers’ armchair travel texts and attempt to position how hand sketching remains experiential and visceral in contrast to the uber-paced virtual world we now find ourselves in
Piki Toi: Micro credit app design
No full textPIKI TOI:
A brand that has been established to promote and market artworks created by those who have experienced homelessness. Runs workshops and stages exhibitions within the central city area.
THE PIKI TOI APP CONCEPT:
Mobile phone functional website. Enables micro-credits for skills attained. (Is not an NZQA approved system.) Builds a capability C.V. Creates a user profile. Connects providers with participants. Works with existing social enterprises. Works within a small geographic are
Examining identity with multimodal (inter)action as methodological framework
No full textMultimodal (inter)action analysis
Identity elements
Layers of discourse
Site of engagement
An illustration: Conflict between continuous and general identity elemen
The scope of talanoa research methodology: The place of research methods that are not rooted in Pasifika traditions
No full textThis paper explores the scope of Talanoa research methodology, a pan-Pacific approach to research. We ask about the implications of Talanoa research projects incorporating methods of data collection that have not been formulated from within Pasifika traditions. In the process, this paper examines distinctions as well as overlaps between the research categories of ‘methodology’ and ‘method.’ We argue that applying a Pasifika lens to this topic renders insights that are not available from Eurocentric perspectives. Ultimately, based on an analysis of existing Pasifika literature on the topic, we suggest that a range of research methods that are not uniquely Pasifika can be compatible with a Talanoa approach. In addition, we suggest that as a decolonising Indigenous methodology, Talanoa research – when examined alongside or in concert with Eurocentric research approaches – raises critical questions around contextualising research as cultural activity
Enacting culturally responsive pedagogies in early childhood education
No full textThe project focuses on teachers’ narratives of teaching and learning experiences within early childhood education setting that includes Maori, Pasifika, Pākehā, Indian and other communities in early childhood. The research explores different experiences of teachers as we believe that culture and experiences of teachers and learners affect the enactment of pedagogies and enhance learner outcomes. The study is a collaboration between two tertiary institutes and early childhood centres in Auckland New Zealand
Te Pūtaha Auaha: Avondale Graffiti Pavilion
No full textPublic architectural and art installations can enable leftover and forgotten urban spaces to be positively reinvigorated.
These interventions can be produced at different scales and placed in a variety of existing neighbourhood locations. Such projects aim to foster cultural recognition of a place within diverse communities.
In collaboration with Eke Panuku Development Auckland, students from the Unitec School of Architecture developed an architectural design intervention for a leftover space within the suburb of Avondale. The project’s aim required students to design an architectural product that considered community, place, material and function.
The project followed a three-step programme. The first step required architectural students to formulate a placemaking intervention for a defined space set by Eke Panuku. The second step required students and academic staff to prefabricate and install a pavilion on site. The project’s final step required students to observe The Pavilion being graffitied by six curated artists over six months.
At the end of the programme, the pedagogical outcomes highlighted the ability for students to reflect on and be resilient to evolving design problems. The success of the architectural intervention led Eke Panuku to extend the onsite programme to eighteen months, and the naming of The Pavilion in te reo Māori as Te Pūtahi Auaha