The process of imagining, forming and constructing environments
2015 Emerging Design Professional Award winner
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.
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: http://www.spatialdesign.info/…/design-studio-iiia-project…/
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. <http://www.archdaily.com/?p=630987>
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
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”
Massey students and staff have access to all Lynda.com software tutorials. Login to Lynda.com using “massey.ac.nz” and agreeing to the terms, you’ll use your student ID and PIN too.
Still so good.
Dulux would love for you Massey Spatial Design students to enter the INTERNATIONAL and the STUDENT CATEGORIES, a paint specification & digital photo is all that is required. Your chances are very high now we have an international category and there is prize money and a trip to Melbourne for the New Zealand finalists.
A Few Key things to remember!
The application process is so much easier this year!! No boards for the first round!
We’ve created the new ‘international’ category’ – enter this category for all of your projects in addition to other categories you enter as all NZ projects are eligible for this.
Complete the online Entry From, including project description and digital images of the project by 12 February 2015 – See more at: www.dulux.co.nz/colourawards
Dulux will cover travel costs of up to $500 for the New Zealand finalists to travel to Melbourne for the awards night. There’s also a $5,000 AUD Grand Prix prize, $1,000 AUD Category prizes and a $500 AUD Student prize.
Judging Panel includes Simon James, Simon James develops and manufacturers innovative contemporary furniture for residential and commercial markets.
Student (Years 1 – 6) Paint specification by architecture or interior design students who are currently attending or have just completed – within the past 12 months – a course at a recognised University or College. Grand Prix The best of the show selected from individual category winners. This must be a complete, built project. –
See more at: http://www.dulux.co.nz/colourawards/
EXPRESSIONS OF INTEREST FOR WELLINGTON LUX LIGHT FESTIVAL 2015 OPEN NOW!
Wellington LUX 2015 is inviting expressions of interest for its 2015 light festival. We are encouraging any students, creative practitioners and businesses interested in creating exciting light based installations that will illuminate Wellington’s laneways and waterfront for the 9 day festival to apply now!
Wellington LUX is a free public light festival that turns Wellington’s waterfront and laneways into a captivating celebration of light, art, technology and design.
In 2014 the festival showcased a fantastical array of light sculptures that wound their way through an urban light trail within the city’s laneways and then spilt out into a promenade of light installations along the waterfront. These were accompanied by artist talks from national and international artists, designers, and researchers; pop up exhibitions and installations; and fun free activities.
Over 65,000 people attended the event in 2014, and 2015 promises to be even bigger!
Expressions of interest for 2015 will close at midnight NZST on Friday February 13th.
Apply online at http://lux.org.nz and fill in the step-by-step application form on our site.
The Large Format Printing process is now streamlined through this google form:
The large format printer can print 910mm by any length.
The cost is $10 per full color A1, $5 for black and white.
Per lm (linear meter) (910mm x 1000mm)
Please complete this form,
Copy the print file to the server \\student shared\Large Format Printing\
Pickup and Pay at the Toystore in Block 12 on level C (eftpos only) 11am – 1pm daily