The process of imagining, forming and constructing environments
that consider space, time and sensory inhabitation.
April 30th, 2016
April 29th, 2016
Somes Island expedition.
Workshopping 4th year research and symposium and the 3rd years Performing Writing project.
April 28th, 2016
August 12th, 2015
June 23rd, 2015
CoCA alumna Meg Rowntree of Jasmax took home the Emerging Design Professional Award in an intensely contested category at the 2015 Interior Awards.
Along with a bespoke trophy, a $1, 500 cash prize was also presented to Rowntree at the awards and networking evening that took place on 17 June at St-Matthew-in-the-city, Auckland.
May 26th, 2015
When: 6-8pm, Friday 29 May
Where: The Flux space, CoCA staff area, Block 1
Who: Spatial Design students and CoCA staff
Please join us for drinks, nibbles and chats this Friday!
To celebrate the end of semester and the opening of an exhibition of student work, Spatial Design 3rd and 4th year students are hosting an event in the Flux space – all CoCA staff welcome!
10 projects from our Whitiwhiti Korero: A Place to Practise brief will be on display. This work puts forward a series of speculative visions for the future of our creative campus, with a particular focus on the teaching, learning and making of art and design. It aims to generate conversation within our CoCA community about how the built environment of our campus might support our activities and aspirations.
We know you all have opinions about this important subject, so come and share them!
We will also be launching our 4th year student research publication –
SHIFT: Emerging perspectives in spatial design practice & theory.
More info about the Whitiwhiti Korero brief: www.spatialdesign.info/…/design-studio-iiia-project…/
May 18th, 2015
Assemble, a collective of artists, designers and architects based in London, have been shortlisted for the Turner Prize – the UK’s foremost annual award for British visual artists. Much to the delight and surprise of members of the profession, this young collaborative team are the first spatial designers to be recognised by this prize in its three decade history, leading Sam Jacob to assert that they “represent something different: a validation of the belief that there are other ways of doing things.” The four nominees for the award also include London artist Bonnie Camplin and German-born Nicole Wermers.
Comprised of eighteen members and established in 2010, their working practice “seeks to address the typical disconnection between the public and the process by which places are made.” They have championed a working practice which is both independent and collaborative, developing projects which engage the public as both a participant and collaboration in the on-going realisation of the work. Although the majority of the collective studied architecture at Cambridge University, others are from backgrounds rooted in the study of English, History, Philosophy, or construction.
The project which clinched their inclusion on the shortlist is Granby Four Streets, a cluster of terraced houses in Toxteth, Liverpool. Their approach to this project has centred on “a sustainable and incremental vision for the area that builds on the hard work already done by local residents and translates it to the refurbishment of housing, public space and the provision of new work and enterprise opportunities.”
Taylor-Foster, James. “London Collective Assemble Shortlisted For The Turner Prize” 13 May 2015.ArchDaily. Accessed 15 May 2015. <www.archdaily.com/?p=630987>
March 31st, 2015
Wellington – Thursday May 21st
City Gallery, Civi Square, 101 Wakefield Street, Wellington
Drinks at 6:00pm
ALL Students and Graduates: FREE
IMO Group Ltd – Sam Haughton
CUSTANCE – Jonathan Custance
Fisher & Paykel Product Development
Designworks and Massey University, Co-nnect – Adam Cansino and Chloe Lassen
Coffee Supreme Ltd – Al Keating and Doug Johns
One Design – David Macdonald
March 26th, 2015
Design drawings, renders and visualizations are part of the design process.
James Corner describes this in his collection of essays
“The Landscape Imagination”
Drawing and making in the landscape medium Pg 182-184
The Misuse of Drawing
“Projections, notations, and representations are all, though in differing ways, indirect, abstract, incongruous, and anterior in relation to the landscape medium. These qualities have led to two major misconceptions about the value and action of drawing in contemporary design. The first misuse occurs when emphasis is placed on the drawing itself, as if the drawing is the artistic and prized artifact. In this camp, the seductive qualities of drawing promote a detached and personal preoccupation with it, whereupon the drawing is over privileged as an art form unto itself. It is commonplace today to see autonomous and self-referential drawings as the bearers of effect and focus of attention. Such works are eminently consumable, affording a visual feast for those with an appetite, while remaining ineffectual with regard to the actual production and experience of landscape.”
“The second misuse of drawing is a reaction against the former. This party is suspicious of any meaning a drawing may hold beyond that of the strictly instrumental. Consequently, the potential richness of drawing is suppressed through a reductive and overly technical practice. Here, the emphasis is on the mute language of objective, denotative systems (plans, sections, isometrics).”
“Both the mystical ‘artist’ and the pragmatic ‘technician’ effectively sever any authentic dialogue the drawing may have with built experience and the material world, significantly misunderstanding the function of drawing in landscape architectural production. The frequent discrepancies between what is represented and what gets built means that there is often a rift or translatory failure between drawing and building. In effect, the landscape medium becomes ‘contaminated’ by drawing; that is to say, the innate richness of the landscape itself is suppressed or suffocated by another medium, which is either excessively privileged or significantly undervalued.”
“The emphasis shifts from drawing as image to drawing as work or process, a creative act that is somehow analogous to the actual construing and constructing of built landscapes”