YEAR TWO

Anderson, W, Rudin, S, Rales, S, Dawson, J. (Producers), & Anderson, W. (Writer/Director). (2014). The Grand Budapest Hotel (Motion picture). United States: Fox Searchlight Pictures

Wide angle frames, straight on view.

Monochromatic (tonal/warm or cool.)

Lack of depth – slightly off symmetry 

Lighting and colour used meaningfully. symbolism 

Yellow – friendship

Grey – Sorrow

Brown – wisdom

Black – evil

Repetition

“As long as you maintain your ability to look and listen.”

Tracking film technique

The exchange of a black sofa and artificial white light and to soft yellowish light and a leathery beige sofa dramatically changes the tone of the frame from sophistication and class to passion and romance. 

Anderson, W, Rudin, S, Rales, S, Dawson, J. (Producers), & Anderson, W. (Writer/Director). (2014). The Grand Budapest Hotel (Motion picture). United States: Fox Searchlight Pictures

The comedy-drama based fiction film, ‘The Grand Budapest Hotel’ directed by academy award-winning, Wes Anderson, paints the unordinary narrative featuring the oddly fused themes of war, sex, prison break, murder and romance. The uniquely composed film is based mainly in the year of 1932, where Zero Moustafa, a junior lobby boy at the eminent European ski resort, the Grand Budapest Hotel, is befriended by the hotel’s well-known concierge Monsieur Gustave and taken under his wing becoming his protege. Gustave finds gratification in his premium service to the upper-class guests which often results in himself sleeping with well-off elderly women, satisfying their sexual needs. When Madame.D, his mistress, is mysteriously poisoned, Gustave is accused although finding himself the beneficiary of ‘the boy and an apple,’ a priceless painting. 

Anderson’s meticulous monochromatic colours applied to characters and scenes are a significant element as it impacts the viewer’s sensory perception across the film. This guides the viewer’s to follow each role of the colour creating a distinguishable visual map through the storyline, character portrayal and indication of who they should trust. 

The author’s wisdom and intellect, when giving an inspiring and informative monologue, is represented by the brown hue of his surroundings, generated by traditional libraries hues. Beginning with the quote “As long as you maintain your ability to look and listen,” he indicates for the viewers to be observant to colour pattern.

The colour yellow within the film conveys friendship and trustworthiness between characters. When Agatha sneaks through policemen swarming in the Grand Budapest, the walls, elevator doors and safe are all light yellow, representing her love and loyalty to Zero. When Gustave arrives in prison, the colour scheme is desaturated symbolising abandonment and misery however when friendships blossom the frames transition into vibrant yellows.

Dmitri and Jopling, the murderers, are coated in black, representing lifelessness and wickedness. The viewer is simply communicated from the introduction that they are villains. 

As a designer, I am very interested in my journey with deliberate colour choice and symbolism in design. Colour is often overlooked but a key aspect of our lives, producing emotional responses in all people and therefore their spacial experience.

Wagner, K. (2018). Looking Around: All Buildings Are Interesting. Retrieved from: https://mcmansionhell.com/post/171906495491/looking-around-all-buildings-are-interesting

‘All buildings are interesting’ is a thought provoking article written by Kate Wagner, a Master Professionnel in Arts in Audio Science, specializing in architectural acoustics. This article is based on the interesting qualities of all categories of architecture. ‘Interesting’ was described as not a qualitative term, but simply captivating to the human eye. Wagner describes lack of interest in architecture as being similar to “Tree Blindness”: a phenomenon where trees are only a green background which holds people from having a personal gratefulness with the surrounding environment.

Figure 1

Commonly identified as a boring piece of architecture, the typical suburban home’s interesting features can be resurfaced with allocated attention. Without formal training, any normal civilian is able to develop a system of analysis to differentiate building from another and their expense. Analysing the period it was constructed, location; whether it is French country or New York City, floor plan dimensions, materials and the different architectural features such as porches, attached garages or stick-on embellishments. We are then led to ask, as a society, will we revisit mid-century modern homes? What lifestyle did those have back in the generic 1950 home? This generates a fascination in this building. By studying past infrastructure through economic change we are able to read a great deal about the sociopolitical and socioeconomic history and then can predict our future desired lifestyle.

Fast Food brands have created their own architectural icons to remain in people’s conscious mind. Documentation is created universally to specifically generate excitement by reliving childhood memories, nostalgia, triggered by photographs, and its relationship to abandoned everyday architecture. It is interesting how by reliving the memories, the buildings we considered permanent as a child now seem temporary. 

Figure 2

However the architecture designed by well-known architects have different structural qualities and execution. It’s more likely to be preserved and studied. These buildings will beat time, protected by ancient institutions.

This article reminded me of a quote by Leonardo Da Vinci, an italian architect, artist, mathematician and scientist.“Details make perfection, and perfection is not a detail.” As a designer, I desire to build upon my analysis and reduce neglect of ‘mundane’ looking property and begin learning from every stage of architecture in history.

Colomina, B. (2015). Radical Interiority: Playboy Architecture. Retrieved from:http://volumeproject.org/volume-33-beatriz-colomina-radical-interiority-playboy-architecture-1953-1979/

Written by an architectural historian, Beatriz Colomina, the article ‘Radical Interiority: Playboy Architecture.’ focuses on how Playboy magazine shaped our modern design world, lifestyle, sexualization of pop culture and media, design and architecture. Play boy was more influential than most interiors magazines and art institutions and proved that architecture can be enjoyed by the everyday person. Media’s relationship with Architecture revealed weak areas to focus on for both research and practice.

The Playboy apartment is a modern design layout progressable with a female acquaintance from listening to jazz on the phonograph, mixing cocktails, dance floor, then maneuvering towards the bed, the epicenter of the design, covered in Tasmanian possum skin. The magazine published articles enlightening people on the ideal bed and its sophistication, rotating and vibrating engineering, bar, TV, work surfaces, the control for all the lighting fixtures and more. The magazine features illustrations of playboy bunny, dressed in a bathrobe, standing beside modern furniture and features naked playmate girls photographed on the Hardoy Butterfly chair, a signature piece. PlayBoy bachelors ask for more detailed plans and where to buy furniture, rather than for seductive images. The playful architectural geometry became the model of seduction.

Hugh Hefner, the editor-in-chief of Playboy magazine, famously never left his bed. He made his bed his office in 1960 when he moved into the Playboy Mansion in Chicago. This proved to many males that his designs created a lavish lifestyle. Playboy rapidly grew from one Chicago club in 1960 to thirty-three around the world in 1965. Playboy was the most popular article in the magazine’s history, proving a missing focus in design. 

Frank Lloyd Wright, Mies van der Rohe, and Buckminster Fuller, high profile architects featured as major cultural figures, praised for creating sleek modern design in homes. Rejecting the status quo that homes are only furnished by women, encouraging men to be interested in the modern design making their homes thier masculine interior. 

As a designer, I want to satisfy the weak spot in design and architecture like that of playboy, finding the area which hasn’t been addressed. Breaking from the status quo, I desire to find more ignored needs.

Solnit, R. (2007) Storming the gates of paradise; landscapes for politics. Berkeley, California, United States: University of California Press.

Rebecca Solnit, American author of feminism, the environment, politics, place, and art, wrote ‘Storming the gates of paradise; landscapes for politics,’ a beautiful piece of literature targeting the topic of nature, and its definition. She begins the chapter by recounting her, a common New York City woman, regular summer visits to her friend’s peaceful country-style home in rural New Mexico surrounded by cattle ranches. Deer roaming the neighbouring paddocks for tulips, golden sunsets falling below the horizon, listening to coyotes howl, being able to identify star constellations in the night sky, this all can be perceived as the definition of nature.

Solnit, reflecting on her country lifestyle experience, realises that by living rurally, road vehicles become a whole lot more familiar and the pedestrian scaled lifestyle begins to be more distant, the necessity of driving on a noisy highway to get her hands on the classic newspaper, a stamp or a glass bottle of milk was certainly unpractical and time wasting. The irony of having to drive from the country out to do a hike was certainly the furthest thing from natural. 

The fact was that by living rurally, far from a community, driving became the unspoken foundation, being locked away from the outside life. Whoever considered themselves rural truly only slept rurally then commuted to their true communities. Mark Davis, an urbanist, states that to have a great quality of life nearby public luxury, such as local tennis courts, swimming pools and libraries must be accessible.

In most communities, driving is now a necessity, disqualifying and forcing those who do not have the funds or mentally or physically unable to become disadvantaged. Gone are the days where most suburbs had grocery stores a short stroll away, communicating with neighbours from different socioeconomic or sociopolitical backgrounds; trapped with only our opinions and views, unnatural. 

More natural do the larger cities seem like New York or San Francisco, pedestrian scaled, car less. More natural it is to observe your elderly neighbour for a walk than a stunning pheasant. Natural human habitat.

Through my design work I would love to encourage strolls among the local community. By creating an intriguing natural habitat, endorsing those to intricate with one another and observe the surrounding changes. Nature to me is the phenomena of the physical world collectively.

Essay

Interests as a designer: creating a place of comfort and interest, drawing people in to using land more, visiting it. Representing the people, a place to feel is a local space, building memories. Creating an experience, feeling of “wow.” creating a new New Zealand culture

Week 7

Love the phrase from Nicola, “Heritage value changes depending on who determines it.” There is always someone who will value something or doesn’t value something.

Week 8

Sarah Ahmed, a feminist writer, british australian (born in UK) grew up in Australia. Sara Ahmed (30 August 1969)[1] is a British-Australian scholar whose area of study includes the intersection of feminist theory, lesbian feminism, queer theory, critical race theory and post-colonialism.

Wiggle room: structure – Paragraph one, introduction, identifying roominess with wiggle room.

Paragraph two: about gender being a constrained – squeezing someone until uncomfort, stereotyping and restricting those into who they seem to be “throwing like a girl.”. Women being forced to take up less room as men man spread “feel entitled” and therefore women are left with less.

Paragraph three: family pressure, creating no room of one creating their individuality. A room that gives more room to some than others. Pressure to have children, of gender, of sexual orientation.

Paragraph four: race, feeling uncomfortable around white spaces, and people.

Paragraph five: women seem to push and wiggle more often, fighting for their space.

Expectations, wiggling out of the normal. breaking out of the box – wiggling out.

Constraints can be used as support, guidance or advise. Without rules and regulations, freedom can be scary

Good designers find the freedom among the constraints, finding the unexpected, thinking out of the box.

Designing in a too small room – thinking about everyone’s feelings, including all. Keeping in mind those who have disabilities, religions, beliefs. What is the social situation? Which people dont have wiggle wiggle room in this space?

Judith Pamela Butler (born February 24, 1956) is an American philosopher and gender theorist whose work has influenced political philosophy, ethics, and the fields of third-wave feminist, queer, and literary theory.

Jane Bennett (born July 31, 1957)[2] is an American political theorist and philosopher. She is the Andrew W. Mellon Professor of the Humanities at the Department of Political Science, Johns Hopkins University School of Arts and Sciences. She was also the editor of the academic journal Political Theory between 2012-2017.

Eve Kosofsky Sedgwick was an American academic scholar in the fields of gender studies, queer theory, and critical theory. Sedgwick published several books considered “groundbreaking” in the field of queer theory, including Between Men: English Literature and Male Homosocial Desire (1985), Epistemology of the Closet (1990), and Tendencies (1993). Her critical writings helped create the field of queer studies. Her works reflect an interest in a range of issues, including queer performativity; experimental critical writing; the works of Marcel Proust; non-Lacanian psychoanalysis; artists’ books; Buddhism and pedagogy; the affective theories of Silvan Tomkins and Melanie Klein; and material culture, especially textiles and texture.

Wiggling

Being in the midst

Pushing against

Irritations and entanglements

Before final edited:

Contextual Essay

By being educated in an array of environments, from being sheltered domestically, through to being drowned by diverse opinions, cultures and experiences in an academic institution; Mt Roskill Grammar, the largest international school in New Zealand with over 70 different cultures. I have been thrown into experiencing and understanding all kinds of lifestyles. Becoming hyper aware of judgement as your differences scream out; anxiety. I grew the need to create harmony of minds through empathy, to establish an escape for those in hardship, and compassion for the differentiation of values. Refining my interests and inspirations, I am defined by my experiences, bonded to the knowledge others live without rest in a variety of ways, for example depression and insomnia, no simple solution. Through my design practise shown through my Spatial Fabrications Studio paper, my inspirations in my designs are aiming for “wow”, the nagging feeling to capture the experience, to pause and absorb the utopia. Comfort, to feel one with. My spaces cushion the shame, the insecurities, the fear of precious hearts, where people feel like they belong and are their true selves. Compromising history and modernism. Incorporating and restoring historic and cultural elements. Maintaining sustainability by creating a classic yet contemporary style which withstands time. Preventing regular demolition or renovations, preserving material.   

Amazement, a feeling of great surprise or wonder. To Discover a transformative space, instantly transporting your mind into a new frame of thinking. Abandoning all sense of the past, a fresh mindset. “There are three responses to a piece of design — yes, no and WOW! Wow is the one to aim for.” states Milton Glaser, an American graphic designer. “Wow” is a verbal instinctive response to a positive visual stimulus, a powerful impact, leaving a body with no control, overwhelmed in observation. Automatically supplanting previous worries with wonder.

 

I have identified with the piece of literature ‘The Dollhouse, by professor Susan Stewart, which addresses the fantasies of control which people hold through keeping their physical space systematised and spruce represented by the dollhouse. Concentrating on how toxic the action of yearning the impossible to become reality in our uncontrollable life. Expectations are weighted. Being exposed to a blissful and meticulously arranged interior encourages the exploration and curiosity of our unrealistic fantasy of a controllable reality, triggering a theory and perhaps an opportunity that the once impossible has become a graspable possibility, hope. Susan Stewart reinforces that all classes of people experience this natural sensation. “Worlds of inversion, of contamination and crudeness, are controlled within the dollhouse by an absolute manipulation and control of the boundaries of time and space.”(1992) This mannerism that all minds are familiar with, is a vital phase of epiphany. Reassurance.   

Experimental model-making, exploring colour and form

Through the materialistic values of my confined interior space of the St James Theatre foyer and aquarium, contrasted with the outer public city life, busy erratic chaos, time and space is not so easily captured and transformed. The communication of this concept, trialled through model-making, experimenting and analysing the effects of colour and form. Interiority is the ease of control – orderly and aesthetic. All minds are born with a necessity to be an executive of an aspect of life, visually needing order. The acceptance of the incapability of controlling outer aspects of reality is vital. 

A space of comfort and acceptance. Despite presumptions, the common between all hearts is insecurity, a discovery I have come upon, in what means may differ. Through my intervention I desire to cushion these shames, reinforcing confidence, a space for a proud parade of purpose. Space to ponder, space to socialise. Wiggle room, room for freedom and expression, a concept composed by Sara Ahmed, a British-Australian scholar. The social expectations and judgement create a suffocation of discomfort, anxiety or fear. Some social environments are roomier than others, allowing more freedom. The lack of delegated space for those who require different needs enforces a mental struggle. Feeling out of place. Now easily accessible, weight lifted.

Private unisex bathrooms located in St James foyer (far left and far right doors)

Theatre, a place for diversity, crowds presenting themselves majestically, a place to dance, sing, entertain. A place to love and feel whole, freeing. Naturally we restrict our bodies use of space to accommodate others, sacrificing ourselves for others comfort, a sense of hosting, females conventionally do so more than males, impulsive hierarchy. Designing my spatial layout with fluidity and an expansive openness, the minds don’t hold guilt; roaming, conversing and standing tall. My intervention environment dissents the need of removing oneself to be comfortable, or to push back against those who are reducing our breathable area. Catering with assurance to those minds that do not have the strength to attain a solution to their discomfort. A quote that inspires me in practice is of Doctor Jakob Nielsen, a Danish web usability consultant, quoting “designers are not users and they shouldn’t rely on their assumptions of what the user wants or needs.” To refrain from ignorance and prejudice in design, improving the environment, I have analysed and shown cognisance to all. In the well-known text ‘The Allegory of the Cave, Plato encourages readers to become critical thinkers and tear away from ignorance. In many ways, ignorance is effortless where being educated and knowledgeable requires sacrifice and time. Accepting all circumstances yet maintaining a questioning mindset. The education of myself as a designer is the personal progression from oblivion to knowledge and affects many through the impact of space. Wes Anderson’s meticulous use of colour within the ‘The Grand Budapest Hotel’ has impacted my design, educating myself on the significant impact colour has on the mind, manipulating sensory perception through colour symbolism, differentiating within cultures. Universally blue has a calming effect and gold enhances confidence. Colour is often overlooked but a key aspect of our lives, producing emotional responses in all people and therefore impacting their spatial experience. ‘The Poor Little Rich Man, a story based on an architect named Josef Hoffman who designed a palace meticulously disregarding his client, leaving him regretful. Adolf Loos, the narrator, believed design is a collaboration of the designer’s vision and clients’ needs. “The house has to please everyone, contrary to the work of art, which does not. The work of art is a private matter for the artist. The house is not.” (c1900)A public place, a site for all to have ownership of. A place to reside, cry, study, experience, dream. If the public is proud of the space and feels utter most comfort in the space, the place will be protected and fought for.

Inspired by Art Deco (1920) interior. Simplicity and contemporary. 

Collaborating contemporary design with classical historic elements establishes sustainability through maintaining a timeless yet current appearance which therefore withstands time, the archway is an example of this. The core and permanence of a space should attempt to be enduring, while having interchangeable features such as wallpaper and furniture preventing demolition and heavy renovations, wasting material which is incapable of decomposing. A harmonious environment where time has already impacted the space through style, results in the disability to date and be challenged, designed to cultivate. Herman Melville’s  “I and My Chimney,” focuses on the debate of the appreciation and protection of history and its significance and the necessity for change and its adaptable efficiency “To take out the backbone of anything is a hazardous affair. Spines out of backs and chimneys out of houses.”(2004) An artist can never please all, compromising is the finest solution. Opposition is most definitely inevitable. Design itself reflects the society as a whole, ever changing and not in seclusion, dependent. Designing St James to be adaptable, conforming to the expeditious demand for development. The backbone being a timeless element, simple and neutral. 

Growth through adolescence from experiences and exposure from others has impacted the way which my mind processes ideas in developing design. The understanding that no individual is a replica of another, and therefore every individual is incomparable, culture, experiences, family, education, needs and values vary. Developing the need to nurture the shaken minds through compassion. Offering space to elude internal conflict, a sense of peace. Illustrated in my Spatial Fabrications Studio paper design of St James Theatre, my concepts which I operate as a designer are to capture minds and encourage astonishment, a break from the continuous cycle of stress, forming relaxation and peace. A place to cater those with unwanted troubles, subtly offering the necessary facilities of comfort. Emboldening individuals to have courage and self-assurance. Preventing the routine demolition by creating an adaptable space, a neat relationship between modernism and historical elements. Through analysing and studying these pieces of literature in which I have applied to the design of the site,  St James Theatre, I have been able to advance my technique from the influence of designers and intellectuals of more experience. I have resulted in a project with more character and design perspective than I could alone without the professional’s input. Deep insight has been taught to me, activating effective ideas, leading the enlargement of knowledge impacting my practice. My designs framework, structure and communication process has matured and developed.  

Anderson, W, Rudin, S, Rales, S, Dawson, J. (Producers), & Anderson, W. (Writer/Director). (2014). The Grand Budapest Hotel (Motion picture). United States: Fox Searchlight Pictures 

Stewart, S. (1992). On Longing: The Dollhouse, North Carolina, the USA Published by Duke University Press

Melville. H (2004). I and My Chimney. Published by Kessinger Publishing (first published 1856)

Loos. A, (c1900). The Poor Little Rich Man. In J. J. Gieseking, W. Mangold, C. Katz, S. Low, & S. Saegert (Eds.), The People, Place, and Space Reader (Chapter 16, Page 97).

Plato. (1935). The Republic of Plato. Davies. J. L and Vaughan. D.J (Eds.), Book VII, The Simile of the Cave. (Pages 235-238). London, England: Macmillan and co. Limited

Ahmed. S (2014). Wiggle Room. feministkilljoys. retrieved from: https://feministkilljoys.com/2014/09/28/wiggle-room/

Abstract

My design intervention within St James theatre is meticulously constructed to absorb restless minds to pause and assimilate the utopia. Isolated from the busy erratic city. Crossing the threshold, becoming an inquisitive participant of the dominating aquatic experience. Transported into the depths of the sea, instantly transforming your mind into a fresh mindset, the freeing of outside pressures. Exploring the means of communication through model-making, experimenting with the articulation of form and hues in detail. Manipulating the viewers sensory perception throughout the St James intervention, through symbolism represented by the often-neglected colour application. The visitors, once advancing forward from the serene opportunity of education strung overhead with the contemporary yet historic arched feature, encounter a moment of acceptance. Catering the essential facilities of assuage, unisex bathrooms and elevators, soothing a commonly triggered internal conflict. Venturing further into the depths of the interventions, immersing viewers into a dance of modern classical elegance, a restored 1920 Art Deco Theatre. Indulging in the grand stairway, a process of acceleration. A mindfully in appreciation of the view of fine diversity laid out before the viewer, not one feeling out of place. The unconscious social dance due to the lack of restricting bodies, no need to sacrifice their comfort, the thriving of confidence. Embracing the expansiveness of the high ceilings and spacious foyer, consuming nourishing treats, conversing and relaxing. The nostalgia of the venue’s core communicates to the viewer subtly transporting their minds to a different era, one of ballrooms in moonlit hues, a familiarity of history and an untold narrative, the continuity of archways. The knowledge of sustainability is hidden from the viewers, an aesthetic environment, no need to interrupt the viewers’ conscience. 

After final edited, final hand in:

Abstract

My design intervention of St James theatre is meticulously constructed to absolve restless minds to pause and assimilate the utopian atmosphere, isolated from the frenetic city. Crossing the threshold, like being transported into the depths of the sea, you become an inquisitive participant of the dominating aquatic experience. This instantly transforms your thoughts into a fresh mindset, the freeing of outside pressures. Exploring the means of the communication of my visual concept through model-making, I experimented with the articulation of form and hues in detail. Manipulating the viewers sensory perception throughout the St James intervention, with symbolism represented by the often-neglected colour application. The visitors, once advancing forward from the serene opportunity of education strung overhead with the contemporary yet historic arched feature encounter a moment of acceptance. Catering for the essential facilities, elevators and unisex bathrooms, provides a soothing comfort to solve a common internal conflict. Venturing further into the depths of the interventions, viewers are immersed into a dance of modern classical elegance, a restored 1920 Art Deco Theatre. The grand stairway indulges. Mindfully in appreciation of the view from the raised balcony, finely diverse beings laid out below before the viewer, not one feeling out of place. The unconscious social dance is created by the freedom of space for bodies, no need to sacrifice comfort. It establishes a thriving of confidence. Embracing the expansiveness of the high ceilings and spacious foyer, consuming specialty treats allows time for conversing and relaxing; the culture of leisure. The nostalgia of the venue’s core communicates to the viewer subtly transporting their minds to a different era. An era of ballrooms in moonlit hues, the familiarity of history and an untold narrative enhanced by the continuity of dramatic archways. The impact of sustainability is hidden from the viewers, an aesthetic environment, unknowingly settles the viewers’ conscience. 

Contextual Essay

Educated in an array of environments, sheltered domestically through to being exposed by a large culturally diverse academic institution. Being overwhelmed by diverse cultures and experiences and opinions in I felt like I had been thrown into and drowned in the variety of life expressions. Confused and hyper-aware of judgement from others, my differences screamed out; anxiety. I discovered the need to create a harmony of minds through empathy; to establish an escape for those in hardship, and compassion for differing values. Refining my inspirations and interests, I am defined by my experiences, bonded to the knowledge others live without rest, beginning with the struggles of fear and heartbreak. There is no simple solution. Accepting all circumstances yet maintaining a questioning mindset is difficult. The education of myself as a designer is the personal progression from ignorance to knowledge and affects many through the impact of space. The core concepts which define my design narrative are Aim for the “Wow”, Provision of comfort and belonging, and the Integration of contemporary and classical elements. The ‘Wow’ is the desire to capture experience, to rest, and absorb utopia. The comfort is to feel one with. My spaces cushion the shame, the insecurities, the weight of sensitive hearts where people feel like they belong and are their true selves. The collaboration of history and modernism incorporates restored historic and cultural elements, sustainability is valued.

Amazement, WOW, a feeling of great surprise or wonder. To discover a transformative space, instantly transporting minds into a new frame of thinking. Abandoning all sense of the past, a fresh mindset. “There are three responses to a piece of design — yes, no and WOW! Wow is the one to aim for.” states Milton Glaser, an American graphic designer. “Wow” is a verbal instinctive response to a positive visual stimulus, a powerful impact, leaving a body with no control, overwhelmed. It automatically supplants previous worries with wonder.

 

The aquarium, the moment of transportation into amazement.

The amazement, the “Wow” I identified in this piece of literature ‘The Dollhouse’ by Professor Susan Stewart. ‘The Dollhouse’ communicates the idea of the fantasy of control which people hold on to by keeping their physical space systematised and polished, the “wow,” represented by the amazing perfection of the dollhouse. Expectations are weighted. Being exposed to a blissful and meticulously arranged interior encourages the exploration and curiosity of our unrealistic fantasy, triggering thoughts and perhaps opportunities that once thought impossible can become a grasped possibility, hope. Susan Stewart reinforces that all classes of people experience this natural sensation. “Worlds of inversion, of contamination and crudeness, are controlled within the dollhouse by an absolute manipulation and control of the boundaries of time and space.” (1992) This mannerism that all minds are familiar with, is a vital phase of epiphany.  

Experimental model-making, exploring colour and form

 The materialistic values of the intimate interior space of the St James Theatre foyer and aquarium, contrasts with the outer frenetic and chaotic city life, however time and space is not so easily captured and transformed. The acceptance of the incapability of controlling outer aspects of reality is vital. I experimented with the communication of capturing time and space through model-making and analysing the effects of colour and form. Interiority is the ease of control – orderly and aesthetic. All minds are born with a necessity to be an executive of an aspect of life, visually needing order. Amazement.

Comfort. A space of acceptance. Despite presumptions, the commonality between all hearts is insecurity, a discovery I seized upon, in which means may differ. Through my intervention I desire to cushion these insecurities and shames, reinforcing confidence, a space for a proud parade of purpose. Space to ponder, space to socialise. Wiggle room, room for freedom and expression, a concept composed by Sara Ahmed, a British-Australian scholar. The social expectations and judgement create a suffocation of discomfort, anxiety or fear. Some social environments are roomier than others, allowing more freedom. The lack of delegated space for those who require different solutions enforces a mental struggle. The solution is found in non-gender specific restrooms and mobility accessible elevators. Otherwise opportunity for feeling out of place. Now easily accessible, weight lifted.

Private unisex bathrooms located in St James foyer (far left and far right doors)

Theatre, a place for diversity, crowds presenting themselves majestically, a place to dance, sing, entertain. A place to love and feel whole, freeing. Naturally we restrict our bodies use of space to accommodate others, sacrificing ourselves for others’ comfort, a sense of hosting, females conventionally do so more than males, impulsive hierarchy. Designing my spatial layout with fluidity and an expansive openness, the minds don’t hold guilt; roaming, conversing and standing tall. My intervention environment rejects the need of removing oneself to be comfortable, or to push back against those who are reducing our personal space. This caters with assurance to those minds that do not have the strength to attain a solution to their discomfort. A quote that inspires me in practice is of Doctor Jakob Nielsen, a Danish web usability consultant, quoting “designers are not users and they shouldn’t rely on their assumptions of what the user wants or needs.” To refrain from ignorance and prejudice in design improving the environment, I have analysed and shown cognisance to all social categories. In the well-known text ‘The Allegory of the Cave, Plato encourages readers to become critical thinkers and tear away from ignorance. In many ways, ignorance is effortless where being educated and knowledgeable requires sacrifice and time. Wes Anderson’s meticulous use of colour within the ‘The Grand Budapest Hotel’ has impacted my design, educating myself on the significant impact colour has on the mind, manipulating sensory perception through colour symbolism differentiating of cultures. Universally blue has a calming effect and gold enhances confidence. Colour is often overlooked but a key aspect of our lives, producing an emotional response in all people and therefore impacting their spatial experience. ‘The Poor Little Rich Man’, a story based on an architect named Josef Hoffman who designed a palace disregarding his client’s needs or wants leaves the client with intense regret. Adolf Loos, the narrator, believed design is a collaboration of the designer’s vision and clients’ needs. “The house has to please everyone, contrary to the work of art, which does not. The work of art is a private matter for the artist. The house is not.” (c1900) A public place, a site for all to have ownership of. A place to reside, cry, study, experience, dream. If the public is proud of the space and feels uttermost comfort in the space, the place will be protected and fought for.

Inspired by Art Deco (1920) interior. Simplicity and contemporary. 

Collaborating contemporary design with classical historic elements establishes sustainability through maintaining a timeless yet contemporary appearance which therefore withstands time. The archway is an example of this. The permanent core  of a space should attempt to be enduring, while having interchangeable features such as wallpaper and furniture preventing major structural renovations and/or demolition wasting unrecyclable material. A harmonious environment where time has already impacted the space through style results in the tendency not to become outdated.  Herman Melville’s  “I and My Chimney,” focuses on the debate of the appreciation and protection of history, its significance and the necessity for change and its adaptable efficiency “To take out the backbone of anything is a hazardous affair. Spines out of backs and chimneys out of houses.” (2004) An artist can never please all, therefore compromise is the finest solution. Opposition is most definitely inevitable. Design itself reflects the society as a whole, everchanging and not in seclusion, it’s dependent. Designing St James needs to be adaptable, conforming to the expeditious demand for development. The backbone being a timeless element, simple and neutral. 

Evolved through adolescence with exposure of the lives of others has impacted the way my mind processes ideas and concepts when developing design. The acceptance that no individual is a replica of another, and therefore every individual is incomparable coupled with variations in culture, experiences, family background and education instil my processing. I have developed a desire to nurture shaken minds with compassion offering room to elude internal conflict. Illustrated in my Spatial Fabrications Studio paper design of St James Theatre, my core concepts held as a designer are to free minds and therefore encourage amazement and astonishment, a break from the continuous cycle of stress forming relaxation and peace. I desire a place to cater to those with unwanted troubles, subtly offering the necessary facilities of comfort. To embolden individuals to have courage and self-assurance. It’s ethically imperative to prevent the routine demolition of valuable materials by creating an adaptive space, a cohesive relationship between modernism and historical elements. By analysing and studying these pieces of literature I have applied to my design intervention of the St James Theatre site. I have been able to advance my personal design techniques through the impact of influential designers and intellectuals with many years of experience. Their quotes have challenged my perspectives. The result of my project is of greater depth of character, greater awareness and design perspective than I could alone without these professional’s input. Deeper insight has been provided to me, activating effective ideas, enlarging my limited knowledge which therefore has impacted my practice. My designs’ framework, structure and communication process have matured and developed.  

References:

Anderson, W, Rudin, S, Rales, S, Dawson, J. (Producers), & Anderson, W. (Writer/Director). (2014). The Grand Budapest Hotel (Motion picture). United States: Fox Searchlight Pictures 

Stewart, S. (1992). On Longing: The Dollhouse, North Carolina, the USA Published by Duke University Press

Melville. H (2004). I and My Chimney. Published by Kessinger Publishing (first published 1856)

Loos. A, (c1900). The Poor Little Rich Man. In J. J. Gieseking, W. Mangold, C. Katz, S. Low, & S. Saegert (Eds.), The People, Place, and Space Reader (Chapter 16, Page 97).

Plato. (1935). The Republic of Plato. Davies. J. L and Vaughan. D.J (Eds.), Book VII, The Simile of the Cave. (Pages 235-238). London, England: Macmillan and co. Limited

Ahmed. S (2014). Wiggle Room. feministkilljoys. retrieved from: https://feministkilljoys.com/2014/09/28/wiggle-room/

Year Three

Research Methods: 

•  Historical/Cultural research: A collection of qualitative techniques and guidelines to explore the past and present cultural, conceptual and theoretical data of a proposed site, in order to interpret a rich well rounded understanding of the true narratives of all unwritten documents (buildings, environment, and physical land) and their effect on tangata whenua (people of the land) and  future events. “To provide meaningful architecture is not to parody history, but to articulate it.” – Daniel Libeskind
• Site Research/Human observation: A qualitative field observation which consists of observing the natural or subconsciously manipulated responsive behaviour of humans and vehicles surrounding and within the proposed site’s perimeters.  Systematically investigating physiological, practical and emotional movement patterns, (external and internal influence). Design victory decays without the synergy of life interaction.  
•  Colour/ Material exploration: Investigation of pre-existing and conceptually related colour (hue, tint, tone and shade)-, materiality and textiles (Latin root meaning “to weave”.) in the context of architectural design. A colour and material partnership directly stimulates a specific behavioural response of a person and therefore manipulates the overall atmosphere of the design. This method increases the comprehensive understanding of the associations between the symbolic concepts of materials and colour and its intensity of an intentional or subconscious physiological or emotional response from the community. 
• Collaborative inspiration/literature study: A qualitative literature focused research with extensive conceptual depth undertaken and developed by professionals in similar fields. These industry experts which to inquire include architects, engineers, geographers, artists, authors, and product manufacturers. By broadening a narrow perspective due to analysing beyond visuals, the narratives significance found amongst the site and historic analysis surface, ignorance is distant and therefore  inadvertently designers in practise are more inclusively supportive of  all Tangata whanau. 

Contexts 

The ultimate version of individualism is expressed through art and design, every designer has unknown influences in their lives which create who they have become and how they will develop further. A few of my most influential contexts that have formed my design practise are found from architectural and geographical history, literature and photography. The four most significant contexts that have shaped my practice in design include Plato. (1935). The Republic of Plato. The simile of the cave, ‘The Guggenheim Museum’ Bilbao, Spain (1997) designed by architect Frank Gehry, The Bible (1200-165 BC), a holy scripture of Christianity which tells the history of the Earth from its earliest creation, and D’souza, N. (2019). The Multi-Skilled Designer : A Cognitive Foundation for Inclusive Architectural Thinking, . 

The awareness, acceptance, and appreciation of our individualism is crucial in modern society. The Republic of Plato, The simile of the cave is a meticulously crafted piece of lecture which has heavily influenced my mindset especially in my practice, emphasising that closed-mindedness and ignorance limit creativity and inquisitiveness. Our narrow-minded human perspective is demonstrated by the detained prisoners, perceiving only what is projected to them, effortless and unambiguous, oblivious to the truth that exists elsewhere.  “If someone, using force, were to pull him away from there and to drag him up the cave’s rough and steep ascent and not to let go of him until he had dragged him out into the light of the sun… Pain, rage, blindness,” This quote graphically illustrates the laborious challenge of which the former detainee must humble oneself by admitting ignorance while being enlightened by fresh knowledge and the ability to recognise the complexity of ‘perspective’. Plato emphasises the detrimental consequences of ignorance which with  assiduousness can deter. 

Architect Frank Gehry’s ‘The Guggenheim Museum’ in Bilbao, Spain, induces an epiphany in my design practice, that beauty is in imperfection, a lack of structure and perpendicularity opens up the freedom of interpretation and movement. Being exposed to Gehry’s well-crafted ‘The Guggenheim Museum’, my mathematically wired brain became conscious of the weight of restricting designs to the linear form, being interpreted as intimidating as it towers over in perfection. Organic form creates character, dancing throughout time, relatable and vulnerable. “It would cradle you, it would be warmer and friendlier. You’d feel better in the space,” Frank Gehry  expresses. Unpredictability exerts charm. 

The foundation of my morals and values originate from the old testament and the new testament within the Holy bible, supernaturally inscribed, the Bible contains 66 ancient books that influenced the world through culture, law and lifestyle. This historic document contains wisdom and guidance as which to apply when journeying through the frustration of life. Projecting the values in the bible upon others with grace through the beauty of design would generate fulfillment. Ephesians 4:32 – Be kind to one another, tenderhearted, forgiving one another, as God in Christ forgave you. Romans 12:15-18 – Rejoice with those who rejoice, weep with those who weep. Live in harmony with one another. Do not be haughty, but associate with the lowly. Never be wise in your own sight. Repay no one evil for evil, but give thought to do what is honorable in the sight of all. If possible, so far as it depends on you, live peaceably with all. Creating designs for our Tangata whenua to unite and bond over our humanness in support, spreading aroha (love) and atawhai (grace.).The final text which impacted my design practice is the novel ‘The Multi-Skilled Designer : A Cognitive Foundation for Inclusive Architectural Thinking.’ by the author Newton D’souza. This novel positively manipulated my viewpoint that the influence of architecture on people is incredibly under-praised. D’souza states, “the architect, like those of a director, affects what happens in space intuitively.  Observes that a conception of architecture as a performance, places the buildings back into time, and speculates how the physical design plays out among people in short and long duration. The body-subject can complete countless acts and gestures that accumulate into compositional activities, sustaining a certain purpose or intention, otherwise known as ‘body ballets’.” As a designer, we hold the power to adjust the narrative of our city, subconsciously impacting everyone in contact, a change of permanence as time advances on. Recognising my responsibility to educate, introduce joy and respect our Whaea Whenua (mother earth.) Acknowledging the significance of every minute decisions affects the overall intention.  

Whakakotahi- all-embracing

How can a comprehensive understanding of photographic methods activate dialogue on how spatial narratives are formed? 

“Beauty Lies In The Eyes Of The Beholder,” – Irish Novelist Margaret Wolfe Hungerford (1878.) The acknowledgment of the ‘beholder’ recognises the diversity of perspectives and varying experiences within a common. Change in a narrative is a change in perspective. Diversity is a constant, a limitless and timeless affair, a factor that must be faced with welcome, nau mai. Tāmaki Makaurau (Auckland) translates to ‘Tāmaki of a hundred lovers’, a beautiful city that hosts over 160 ethnic groups, over 300 thousand people with significant impairments, and over 66 thousand adults who identify with the LGBTQ+ community. Stats NZ Tatauranga Aotearoa (2019; 2020). We are a land of rich diversity. 

He uri ahau no Norway, no England, no Scotland. I whānau mai au i te taha o te awa o Tāmaki Makaurau/Auckland. I raro i te maru o te maunga Maungakiekie/One Tree Hill. Ko Lane tōku whānau. Ko Zara tōku ingoa. My roots, culture, and mahi as a Photographer and Spatial Designer contribute in the writing of Tāmaki Makaurau’s narrative, thus the fruitfulness of Aotearoa/New Zealand. The collaboration of conceptual theories and the practice of photographic methods – relationships, framing, and post-production write a narrative of truth. This truth should project aroha through equality and opportunity, enhanced through the spatial design of Tāmaki Makaurau. 

By creating a qualitative archive to analyse past and present cultural, conceptual and theoretical statistics of a proposed design site, the depth of the project is formed. Hidden stories surfacing;  a rich, understanding of the narratives of all unwritten documents (buildings, environment, and physical land) and their effect on Tangata whenua (people of the land). “To provide meaningful architecture is not to parody history, but to articulate it.” Daniel Libeskind (n.d.) By diving into the wealth of the National Library of New Zealand, the Auckland University of Technology library, and the Auckland Museum Research Library, my education of the proposed design site is deepened with the vast range of documents of many brilliant minds. Raw and unedited photographic documents expose the history of the whenua/land manifestly, with no opportunity for manipulation. Tangata whenua /local Māori have a spiritual connection with the Papatūānuku/Mother earth, Kanohi ki te Kanohi/ face to face conversation with Ngāti Whātua Ōrākei, passing on experiences and legends, the significance of the weight that a site has had on the history of Tangata whenua is shared, sorrows and triumph.  

The external elements – climate, vehicle and pedestrian traffic, have a stronghold on the purpose of the proposed site—qualitative field observation of the natural sun path affecting shaded portions, wind and rain patterns. The observation of subconsciously manipulated pedestrians and vehicle behaviour surrounding and within the proposed site’s perimeters widen the potential storyline of a design. Photography can reveal certain aspects which can not otherwise be captured; the fluidity of time can be frozen using varying shutter speed, solidifying the movement of a site. The urban form livens as the climate shifts; the wind breathes air into the city’s lungs. Pace, direction and intention of movement reflect the physiological comprehension of the location; a mass of absorbed experiences inadvertently communicated. A deep understanding of people’s needs, sociocultural norms, and behavioural patterns are critical. 

By investigating the visual properties possessed by forms in a proposed site, light, texture, orientation and position, a developed narrative surfaces regarding the era in which the forms originate. The physiological effects are stimulated by the collaboration of visual properties such as a pairing of colour (hue, tint, shade, tone and temperature,) and material. This physiological manipulation alters the perspective and, therefore, the overall atmosphere of the design. This research method informs the comprehensive understanding of the associations between the symbolic concepts of material and colour culturally and theoretically increases the intensity of the community’s intentional or subconscious physiological or emotional response toward a proposed site. The definition of ‘colour’ is “n. The sensation produced on eye by rays of light when resolved as by prism into different wavelengths.” The New Zealand Pocket Oxford Dictionary (1984.) Photography is the art of capturing and processing sharp images by registering light rays, gathering the rays with glass to reroute them toward one point. Analysing light is essential in photography to capture the ideal narrative to project; the slight change in exposure or colour temperature can significantly alter the mood.  

A qualitative collaboration with intellectuals in artform and literature enhances the ability to form knowledge filled well-rounded spatial experience designs. This research covers extensive conceptual depth undertaken and developed by professionals. Building upon the study, foundations are laid, and designs are strengthened. These industry experts, whose work I study, include architects, engineers, geographers, artists, authors, product manufacturers and photographers. By broadening a limited perspective due to analysing beyond visuals, the significance of the narrative found amongst the site and historic analysis surface. Ignorance becomes distant. Therefore, there is greater opportunity dor spatial inclusivity.  “A brilliant design will always benefit from the input of others.” Hadid, Z. (n.d.) 

The temporary relationship between the photographer and the subject alone influences the potential of the narrative. An entire story is captured through the lens of a camera in one photograph, therefore the connection is essential. Empathy is all-important in shaping art; educating our limited perspective by acknowledging and being sensitive to others’ motivation and emotional state. Bachelard, G (1964.) The foundation of my morals and values originates within the Bible. “Rejoice with those who rejoice… live in harmony with one another… associate with the lowly. Never be wise in your own sight. Repay no one evil for evil, but give thought to do what is honourable in the sight of all. If possible, so far as it depends on you, live peaceably with all,” Romans 12:15-18. Spatial narrative should encourage community building and acknowledge that we all have stories to tell through our humanness, spreading aroha (love) and atawhai (grace.) “Ko ō tātou whakapono ngā kaiwehewehe i a tātau. Ko ō tātau moemoeā me ō tātau pākatokato ngā kaiwhakakotahi i a tātau.” Elder (2020.) Ideologies, beliefs and learnt behaviours drive relationships apart, clouding judgement. Humanity and aroha unite everyone in support of each other. The positioning of rapport is most critical; an overpowering bias is detrimental. Twisting a story through the face of an unknown is the definition of manipulation. Either an unyielding narrative must weaken or a more appropriate subject found “The architect must get to know the people who will live in the planned house. From their needs, the rest inevitably follows.”- German-American architect Ludwig Mies van der Rohe. 

However a ‘truth’ can never be fully represented through the perspective of another. Having a singular narrative focus isn’t realistic. Life itself is multifaceted, chaotic, but genuine. Communication is a pivotal movement for storytelling to be both accurate and sincere. “The truth is more important than the facts.” (Architect Frank Lloyd Wright, n.d.), suggesting that the chance for balance is nonexistent. Discipline is necessary to develop an image that evokes emotion; asymmetry – prioritising feelings lacks functionality, however, prioritising statistics and practicality produces a mechanical quality. A symbiotic relationship – The practical narrative derives from emotions. Bachelard, G (1964). Spatial design revolves around communication, whether inspired by history or anecdotes – feelings and memories are always tied back to the process. The ease of the narrative requires a formation of a trusting relationship for the story to flow. 

Figure 1. Raw nature, Auckland, photography studio (own photograph).

Photography directly records the raw exactness of the world more so than other art forms; recently, photographs demand some element of manipulation to enhance open interpretation and ambiguity to encourage the viewer’s imaginations instead of handing the meaning to them. Their quasi-realistic appearance may convey as conniving, unable to differentiate reality from the idealist. Wolf, M. (2017). The angle and focal length of a lens can significantly alter the formation of a photograph, creating a multi-perspectival environment. The influence on a story can be either revelational by uncovering hidden beauties or heavily damaging by ignoring a vital portion by deliberately highlighting chosen interests. This framing technique can also represent alternative perspectives. The awareness, acceptance, and appreciation of our individualism are crucial in modern society. “If someone, using force, were to pull him away from there and to drag him up the cave’s rough and steep ascent and not to let go of him until he had dragged him out into the light of the sun… Pain, rage, blindness,” Plato. (1935) The detained prisoners demonstrate our narrow-minded human perspective, perceiving what is projected to them exclusively, effortless and unambiguous, oblivious to the truth elsewhere, illustrating the laborious challenge of which the former detainee must humble oneself by admitting ignorance while being enlightened by new knowledge and the ability to recognise the complexity of ‘perspective,’ allowing for self-improvement. 

Photography algorithms gather a diversity of images from multiple digital cameras to portray a thorough comprehension of a scene accurately. With multiple viewpoints, occlusion will decrease, a subject can be viewed at varying qualities of resolutions. Wolf, M. (2017). “The architect, like those of a director, affects what happens in space intuitively,” D’souza, N (2019).  We hold the power to adjust our city’s narrative, as a scene is being shifted in photography, subconsciously recognising my responsibility to educate, introduce joy and respect our whaea whenua (Mother earth.) Acknowledging the significance that every minute decision affects the overall intention, carefully framing the narrative to include required detail to tell an honest yet prepossessing tale. The neglect of specific detail can be a poetic symbol for focusing on potential, creating an awe-provoking photograph, highlighting the beauty, emphasising the good for all to appreciate. “Architecture is bound to the situation. And I feel like the site is a metaphysical link, a poetic link, to what a building can be,” identifying the opportunity to create metaphorical connections and encourage a characteristic of playfulness in art while remaining to be honouring. Steven Holl (n.d.) The Guggenheim Museum’ in Bilbao, Spain, reiterates that beauty is imperfection; a lack of structure and perpendicularity opens up the freedom of interpretation and movement. The organic forms create character, relatable and vulnerable. “It would cradle you; it would be warmer and friendlier.” Gehry, F. (1937) Unpredictability exerts charm.

Figure 2. Plato’s Cave. (Source: Mike Bedard May 31, 2020).

Figure 3. Peace by nature, Manukau Harbour, Auckland (own photograph).

Figure 4. Behind the scenes of ‘Peace by nature,’ Manukau Harbour, Auckland (own photograph).

Post-production can arguably be the most vital segment of the image-making process, with the purpose to ameliorate and strengthen what is produced in-camera. Alteration of temperature hue, covering imperfections with dodge and burn, and manipulation of the image to exaggerate the finest qualities are utilised. The process finalises the meaning of photographic images, building clarity and purpose. “God is in the details,” explores the importance of the minute changes in the overall narratives, completely altering meaning and intention. Mies-van-der-Rohe, L (n.d.)  The adjusting of colour temperature and exposure (highlights and shadows) can change the complete connotation of art from mystery and depression to light and whimsical. The rawness of history, through the editing process, should be honoured poetically. Deliberately cropping out the truths of a proposed site can be interpreted as ignorant. Considered components, textile, materiality and hue, are the spatial iteration of digital editing. Crucial decision-making which stands against time. Acting as a visual document representing this epoch, these art forms have significance. Creative editing provides an opportunity to pursue meanings figuratively. Metaphorical connections broaden the intended narrative of a design, increase ambiguity and free constraints. The capacity for creativity is enhanced by an active imagination; however, fixed variables are required to create a margin for relativity. “Art lives from constraints and dies from freedom,”Leonardo da Vinci.

Figure 5. Support, Hillsborough, Auckland (self-portrait).

Being blessed with a photographer’s mindset, beauty can be found in the most unexpected places. There’s a responsibility to unveil these findings from unique perspectives. Every form has a history, a journey, a lesson. The quote by the poet Robert Fost communicates this statement with clarity, “Any work of art must, first of all, tell a story.” Tāmaki Makaurau, the land of many perspectives, must be a place of understanding through self-expression, an art form itself, educating of experiences. Spatial design can help develop these journeys by investing in the relationship and further deep connections. Attentive framing assures perspectives otherwise hidden, revealing rare viewpoints, alluring and playful, a symbolic gesture. The alteration of images advances the tale forward; the spatial narrative is complete due to fine details. The cropping and colour adjustment strengthen the success of the interpretation of the art, concluding the project, an active stretch to absorb the viewer’s hearts. All narratives build upon the overall identity of Tāmaki Makaurau, like an image in a collage. Like spatial design and architecture, photography establishes and visually spreads the value of culture and history through a sense of permanence: stories that need to be told, the beauty of humanness. Beauty is in the eye of the beholder. 

Bibliography

Archbold, R., Brown, M., Hansen, J & Markham, N., (Hosts). (2014–present). Talking architecture: 76 Small Rooms [Audio podcast]. Architecture Now. https://architecturenow.co.nz/articles/76-rooms-podcast/

Bauhaus Movement.(2016, November 4.) Ludwig Mies van der Rohe – Architecture as language Youtube. https://www.youtube.com/watch?v=Z8VdhVJQm9U&t=118s

Bachelard, G. (1964). Jolas, M., Stilgoe, J,R., (Eds -1994) The poetics of Space: The classic look at how we experience intimate experiences. Beacon Press, Boston. https://sites.evergreen.edu/wp-content/uploads/sites/88/2015/05/Gaston-Bachelard-the-Poetics-of-Space.pdf

Blackwood, B. (2005). Frank Gehry: An Architecture of Joy [Video]. Kanopy, Auckland University of Technology. https://aut.kanopy.com/product/frank-gehry-0

Burchfield, R., & Allen, R. E., (1984). The New Zealand Pocket Oxford Dictionary. Auckland Oxford University Press.

D’souza, N. (2019). The Multi-Skilled Designer: A Cognitive Foundation for Inclusive Architectural Thinking. Taylor & Francis Group. https://ebookcentral.proquest.com/lib/aut/reader.action?docID=5982849

Elder, H. (2020). Aroha, Māori wisdom for a contented life lived in harmony with our planet. Penguin Random House New Zealand. 

Figure 1. One with nature, Auckland, photography studio(own photograph). 

Figure 2. Pluto’s Cave. (Source: Mike Bedard May 31, 2020). 

Figure 3. Raw nature, Manukau Harbour, Auckland(own photograph). 

Figure 4. Behind the scenes, Manukau Harbour, Auckland(own photograph). 

Figure 5.Support, Hillsborough, Auckland(self-portrait).

Fleck, J. (2019). Are You an Inclusive Designer? RIBA Publications. https://ebookcentral.proquest.com/lib/aut/reader.action?docID=5962816

Gehry, F. (1997) ‘The Guggenheim Museum’ Bilbao, Spain 

Holy Bible (1200-165 BC)

Hungerford, M. W (1878). Molly Bawn. Ireland. 

Keskeys, P. (2020). 10 Photographs That Changed Architecture. Architizer. https://architizer.com/blog/inspiration/collections/photographs-that-changed-architecture/

Langdon, P., Lazar, J., Heylighen, A., Dong, H., (2020). Inclusive Design: Looking Towards the Future. Springer Nature Switzerland AG. https://link-springer-com.ezproxy.aut.ac.nz/content/pdf/10.1007%2F978-3-030-43865-4.pdf

Lees-Maffei, G. (2017). Writing Design: Words and Objects. Bloomsbury Design Library. https://www-bloomsburydesignlibrary-com.ezproxy.aut.ac.nz/encyclopedia?docid=b-9781474294089

McCormick, J, R, J. (2014). This Was Now Here! Filmic Exploration of Hidden Meanings Imbued in the Architectural Model [ Exegesis, Auckland University of Technology]. Open repository, AUT library. https://openrepository.aut.ac.nz/handle/10292/8539

Ndelicato, D (2021). The Impact of Photography on Architecture. Contrastly. https://contrastly.com/the-impact-of-photography-on-architecture/

Plato. (1935). The Republic of Plato. Davies. J. L and Vaughan. D.J (Eds.), Book VII, The Simile of the Cave. (Pages 235-238). London, England: Macmillan and co. Limited

Rukschcio, B. (2013). Precise Poetry: Lina Bo Bardi’s Architecture [Video]. Kanopy, Auckland University of Technology. https://aut.kanopy.com/product/precise-poetry-lina-bo-bardis-architecture

Skipper, G. (2010). Photography and instability: Rhythms of reflections and repetitions in space [Exegesis, Auckland University of Technology]. open repository, AUT library. https://openrepository.aut.ac.nz/handle/10292/1183

Stats NZ Tatauranga Aotearoa (2019, June 26). New sexual identity wellbeing data reflects diversity of New Zealanders. https://www.stats.govt.nz/news/new-sexual-identity-wellbeing-data-reflects-diversity-of-new-zealanders

Stats NZ Tatauranga Aotearoa (2020, Semptember 3). Ethnic group summaries reveal New Zealand’s multicultural make-up https://www.stats.govt.nz/news/ethnic-group-summaries-reveal-new-zealands-multicultural-make-up

Webb, J. (2020). Design Principles for Photography. Taylor & Francis Group. https://ebookcentral.proquest.com/lib/aut/reader.action?docID=6346644

Wilkinson, T. (2016). Gray, Eileen, (1878-1976). Badovici, J., Le Corbusier, (1887-1965). Reputations. Architectural Review. Sep2016, Vol. 240 Issue 1434, p37-41. 4p. EMAP Publishing Ltd
Wolf, M. (2017). Smart Camera Design: Algorithms, Architectures, and Art. Springer International Publishing AG. https://ebookcentral.proquest.com/lib/aut/reader.action?docID=5164420