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Unitec Interior Design GRADUATE SHOW 2013


Unfolding the Interior would like to give a huge thanks to all of our sponsors for making our graduate show an unforgettable event. MAJOR

SUSTAINABLE BEAUTY

PLATINUM

GOLD

GOLD

SILVER

BRONZE


WELCOME Welcome to our 2013 Graduation Show ‘Unfolding the Interior’. The exhibition is an opportunity to present multiple perspectives of what interior design can encompass in the contemporary world. This collection of work was driven by our own brief written in our final semester of the degree. We would like to take this opportunity to thank Dr Susan Hedges. You have made such an immense contribution to our success as budding designers, and your generosity of knowledge, time and encouragement to push our critical thinking forward and produce our best work makes us very proud to have had you as our tutor. We would also like to thank Dr Rachel Carley, Dr Janine Randerson and Matthew Cooke for your support and guidance throughout our degree here at Unitec. As we each take the next steps in our journey, we look forward to remaining in contact and sharing our on-going achievements with you in the future. We wish you all the best. Interior Design Graduates for 2013


INDEX

Emily Cain Emma Creighton Emma Hoyle Iris Bosman Mingyue Lao (Amanda) Patrice Towers Rebecca Archer Rebecca Dobbs Shellyanne Simmons Stephanie Rush Sunny Moon Tahsina Islam


URBAN DECAY Emily Cain Decay is commonly seen as a negative state, but this project has investigated whether there is romanticism to be found within an existing site of decay - Carlile House in Grey Lynn. I have proposed that the site be restored and re-purposed as a house to grow moth orchids and take afternoon tea. The site was originally built as a training institute for boys and later became an orphanage. It is currently in a state of abandonment and dereliction allowing the elements to enter the building and act upon the surfaces. Through this transformation of weathering a patina is formed.

emily.cain@hotmail.com emilycainspatialdesign.com emilycainblog.wordpress.com

These augmented surfaces become an ‘Aesthetic of Decay’ specific to a site and reveal the natural processes changing the state of the building. Through applying an aesthetic of decay back into the interior it offers the opportunity to comment on the past, present and future of Carlile house allowing the romantic notions to coalesce with a contemporary purpose. The aesthetic of decay specific to Carlile House has been layered back into the restored interior through wallpapers, patterns and motifs, permitting the “age value” of the site to remain. Over time the surfaces and the nature of water upon them will create patinas and stain transfers, these allow for the design to reinforce and remind us of the impermanence of materials and the nature of decay. Just as the orchids take time to grow and mature so will the interior as stains build up on the materials and a weathering of surface occurs through human occupation and use.


Carlile House, 84-96 Richmond Road, Grey Lynn

(…) the greatest glory of a building is not in its stones, nor in its gold. Its glory is in its Age, and in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay, even of approval or condemnation, which we feel in walls that have long been washed by the passing waves of humanity. “The Seven Lamps of Architecture” John Ruskin

Aesthetic of Decay


Bloom Room Section S2 NTS

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Carlile House Plan Ground Floor

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BACTERIA: THE BENIGN, THE BAD, AND THE BEAUTIFUL Emma Creighton In the short-story ‘The Yellow Wallpaper,’ author Charlotte Gilman is certain that her domestic situation is driving her mad, while her husband is convinced she is suffering from mental illness. Gilman writes about how the wallpaper in her bedroom captivates her, she writes of seeing a woman trapped in the wallpaper, who is behind bars in daylight, yet when the moonlight hit the walls at a particular angle, she is free and dancing. A contemporary comparison of domestic fears is the obsession with germs, bacteria and a compulsion to clean. To highlight these fears and to suggest that these are irrational, like those of the permeable interior and mental illness, a series of wallpapers aims to make a commentary on the madness of the domestic chintz and our cleaning mania. emma@creighton.co.nz

Lounge wallpaper repeat

Viewing Gilman’s ‘The Yellow Wallpaper’ in a New Zealand context and extending its nature through our obsession with germs, the bacterial chintz spills out from the confines of the paper and leeches into the carpet and tiles, heightening the paranoia surrounding sterile environments, while confronting the occupants with the impossibility of a completely clean kitchen, dining room or lounge.

Dining wallpaper repeat

Kitchen wallpaper repeat


Tea towel

Television remote

Staphylococci

Kitchen cloth

Lounge door

Staphylococcus aureus

Fridge door handle

Rubbish bin handle

Soap pump handle

Dusting brush

Cleaned kitchen surface

Dining table

Bacillus cereus

Cryptosporidium

Staphylococci epidermidis


“How can wallpaper become a contemporary commentary on the domestic chintz while referencing the madness and obsession of bacteria and germs?�


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STILL LIFE Emma Hoyle Still life is a genre of art often depicting inanimate objects through painting, drawing or photography. It was used a method of exploring the artists’ palette through materiality and tonal quality and often incorporated objects of symbolic value to establish an underlying narrative within the chosen imagery. The works were portrayed in a moment of pause while suggesting the acts of feasting, gluttony and celebration. Still life would seek to intrigue the viewer while interiority and domesticity was also set within the frame of the surrounds.

emma_hoyle@hotmail.com emmahoyledesign.viewbook.com

This project is a temporary dining installation within the Auckland Wintergardens that explores the role of the interior in relation to food, eating and consumption. It could be viewed that the compositional qualities and techniques used such as wall to table, depth to surface, horizontal and verticality could be applied to both the realm of still life and architecture. The table becomes a focal point for ongoing investigation where the surface allows objects to be laid and still life’s to be curated, while the convergence around the table and the process of a meal unfolding establishes a delicate choreography within.


“Food events move towards the theatrical, a convergence of taste as a sensory experience and taste as an aesthetic faculty. Like the table itself, food stages events, congregating and segregating people, and food becomes an architecture that inhabits the body�. - Barbara Kirshenblatt-Gimblett


A COLOURED JOURNEY... Iris Bosman ‘A Coloured Journey’ is a project that investigates the contextual significance of colour and light of a particular landscape. Te Atatu Peninsula has been used as a testing ground as it is both, unique within and typical of the wider Auckland landscape. Pigments were sourced from terrestrial materials found on the Peninsula and turned into paint by applying traditional and contemporary methods of binding. Marine light was captured and made visible through photography. Using these methods allowed for a redefining of each as tangible light instances and tactile material colour.

irisbosman@hotmail.com 021-02368201 irisbosmandesign.com

‘A Coloured Journey’ is a series of transitions undertaken from a home in the city, to the Peninsula and onto the sea. A repurposed boatshed becomes part of this journey and is activated through a design based on the discovered terrestrial pigment and marine light. Within the boatshed travelers can experience an assemblage of colour, materials and light while waiting for the boat to arrive and are left with a deeper impression of the location they are passing through.


Terrestrial palette

Capturing local terrestrial colours through paint - egg tempera

Capturing local marine light through photography

3-dimensional hexagonal openings in the wall

Marine palette


a coloured journey... the journey from the colour source to the interior N

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A SHELTERED HAVEN Mingyue Lao (Amanda) My project serves as a shelter and seating arrangement in the courtyard of building 180 on the Unitec campus. A wooden bench generated from thousands of plywood components derived from the harakeke plant’s structure. The structure sinuously travels along the Owairaka Spring and recreation ‘Hub’ following the contours of the landscape of Owairaka. The design establishes an engaging dialogue between the natural geography of the site and the people who occupy the ‘Hub’. This project addresses the current problems of the ‘Hub’ as it is windy, exposed, hot and weighted with geometric concrete froms.

laomingyue@hotmail.com 0220102002

A series of bending wooden benches offer space for students to sit, relax, play, eat and read. This multi-use environmental installation serves as a dynamic meeting place for students to contemplate and interact with their surroundings, acting as a type of outdoor respite from the stresses of study. The undulating wooden landscape offers unique and unconstrained seating for the enjoyment of the surrounding natural landscape. Owairaka Spring

Te Noho Kotahitanga marae Building 180 Owairaka spring


Manuka tree

Harakeke

Griselinia

Cabbage tree

Toetoe

Rappo

Mapping the contour and plant life of Owairaka spring

The fan-shaped flax represents a family

Component testing

Model testing


Space planning of building 180

Plan of courtyard NTS

Section 01 NTS

Section 02 NTS


Final renders


Baffles and Waffles Patrice Towers Baffles and Waffles asks the question, can the emotive elements that make a house a ‘home’ be incorporated into an emergency shelter? The intention of this project is to design a flexible system that will provide an immediate response to a lack of shelter in the aftermath of a disaster. The design of this shelter enables the emotional recovery process by trying to give control back to the disaster victims and the flexible nature of this system gives the chance for occupants to personalize the interior according to their individual needs.

patricetowers@hotmail.com

Exploration of NZ disasters through the medium of paper.


Packaging

Instructions


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Wilderness series Treble Beech

Coronet Beech

Coastal Elm

Dusky Elm

Tasman Elm

Mardi Gras

Azure

Wasabi

Fantastical

Dare Devil

Typhoon

Burnt Umber

Chai

Mineral

Mother Earth

Dusty Mule

Jaguar

Pumice

Sable

Sandstone

Whetstone

Fiordland Elm

Much like New Zealand’s diverse landscape, we search for balance through the variety of hues and textures Mother Nature has created for us.

Outrageous

Colour by Bestwood® is contemporary design at its best. The sophisticated range of colours and textures delivers an authentic appeal with a variety of creative finishes to enhance both commercial and residential product applications.

Siena has been derived from the desire for technically innovative features whilst giving the finishes a very natural look – in both visual and haptic quality. Subtle natural hues underscore the rustically natural style of the collection.


THE EPHEMERAL FEAST Rebecca Archer The Ephemeral Feast is a commentary on the relationship between the picnic, the domestic and the landscape. Inspired by the works of Superstudio, architectural achivists fromt the sixties and seventies, I began unpacking the picninc; using tools such as videography and collage. The collages revealed the journey of the domestic into the landscape in order to picnic, specifically the domestic debris that one may take or leave behind. It was the conversation between these collages and my own domestic space that I began designing a kit set dining room fitted with wall like structures and shelter qualities. This diningroom can be unpacked and erected within landscapes to create a an ephemeral domestic space in which picnickers can inhabit, injecting the domestic into the landscape. rebecca.archer.design@gmail.com youllfindmehere.com

The Picnic Set

The Feast


In and Out of the Domestic


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Instructional Drawings

600mm


THE CORNER Rebecca Dobbs

rebeccadobbs@hotmail.com

‘The Corner’ is a commentary on the changes the domestic home has experienced in conjunction with the advances brought about by ‘Women’s Suffrage’. The work explores the relationship between the interior corner and the hidden layers of complexity that exist within it. Four corners of the domestic kitchen have been explored to provide an active installation within Auckland City, allowing for public freedom for debate and discussion. By overlapping public and private life and bringing the domestic to the city, two sites of significance to New Zealand women, ‘Pioneer Women’s and Ellen Melville Hall’ and the ‘Women’s Suffrage Memorial’ have been revitalized. The addition of extra structures within the public square demonstrates an awareness of the place and the history associated with it, investigating the combining of public and private life. The speaker’s platform encourages public gathering, opening up to Ellen Melville Hall and the Women’s Suffrage Centenary Memorial. It is an effective way of drawing people to the site and increasing public awareness of the history of women’s suffrage in New Zealand. The four corners make a statement about International Suffrage Day, as New Zealand became the first country to grant full suffrage to women.


Exploded axonometric plan corners 01 & 02


Speaker’s platform Extrusion of house plan


THE PUMPHOUSE Shellyanne Simmons As a final project, the pumphouse is explored through the notions of stratification and movement of water. This project is an articulation of the historical context in which the pumphouse once sat within the farming region of South Auckland and the stratification of the area through population growth leading to its development. The Site is anylised in terms of water movement and stratification to inform the design of the pumphouse as a pedestrians drinking station.

shellyannesimmons@hotmail.co.uk

The physical stratification of the site with the development of the pumphouse adds to the Auckland Councils proposal by offering a connection between the pre existing infustructure and allowing an interaction with the natural environment. Its relationship to totara park, one of aucklands largests recreational domains, can enhance the experience of the public as they utilize the site and engage with its history.

“In water lurk the mysteries of time, Ripples in ponds expand from the plunk of a stone endlessly outward, while the gravitational tugs from the moon hypnotically seduce the oceans tides in and out...� -Charles W. Moore and Janet Linde


...Like an eddy of water diverting from the main current, the space will act as a place to rest, drink and recuperate before heading back out on the road.


SETTING THE SCENE Stephanie Rush “Setting the Scene� is a project that explores how memory of a 1920s theatre can be emphasized through the shadow, light and architectural detail of the interior. This project also looks at how film can be compared to the interior, as a means for spatial planning and design. Chiaroscuro is used to reveal otherwise hidden detail of the interior. High contrasting shadow and light can be used to alter the perception of a space, mobilizing an occupant in to a participant experiencing the space, and imprinting interior details in memory.

stephrush@live.com stephanierushdesign.com

I selected the old Ambassador theatre on 1218 Great North Road to explore how the theatricality of light in the interior can be activated. Through visualizing memories of events held in the historic theatre, and developing a pattern based on these experiments - as well as details of the interior - as a process to reach a final design. This project is a site-specific installation that utilizes the refraction of light to emphasize otherwise unnoticed detail of the interior, but also to give occupants an experience of the adventure to come in watching a film, as immobile spectators on a venture of space and time through the refraction of light projections.


Memory and light testing

Camera viewpoints recorded for storyboard of my grandmother’s memory of crowds moving through the space.

Final wall pattern


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Cross Section AA NTS

Auditorium

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15660 Plan NTS

Pavement

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Long Section BB NTS

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A ROOM WITH NATURAL LIGHT Sunny Moon This research explores light and shadow in a small inner city apartment. The facade of this site lacks depth and the cladding materials are flat. The apartment has small windows which allow limited natural light, but only occasionally. This site leads me to consider the following question; how can interior designers improve the quality of light by changing the thickness of the construction materials? This leads to a broader question; how can spatial design improve the experience of inhabiting small living spaces? As a result of experimentation into light and shadow, as affected by the depth of modern apartment apertures, I have proposed an alternative design. My process has revealed that external elements such as glass panels or widths of sills can enliven or poetically use light in an otherwise standardized space. 021 807 794

sunnym.designer@gmail.com

Phenomenon of Light

The creation of moments of delight through the use of natural light.


421 Queen Street. Auckland. It has 4 bedrooms in 54 sqm of space.

Experimentation

Interplay of light and perception. In these tests several transparent acrylic panels layers are added or subtracted to see how light diffuses into the space.

The deep window ledge collects the light and integrates interior and exterior light condition.


In my final design solution, I have knocked through the wall and extended the room and expanded the window depth into exterior space. The windowsill gives depth allowing the harshness of light to be toned down. I have splayed the frame so these sloped surfaces help soften glare and installed tessellated window glass into the side apertures.

Plan NTS

Exterior

Wall Section and Elevation NTS

Interior

New perceptual experiences of the given space. It is shown from my light testing.


MASHRABIY’YA Tahsina Islam Can the notion of veil be translated into a secure space for woman? The veil is a means to cover a woman’s body, however, the idea of veiling can also be applied to architecture. My chosen site is a women’s refuge located on the North Shore. My intention is to translate the idea of the veil into a protective space for women. Mashrabiya’ya refers to a wooden lattice screen that allows women to look through without being seen. The veil can be seen as a prison and equally as a protection that is hidden and private. To me when I wear the veil it makes me feel safe, secure and protected.

tnmislam@hotmail.com 021 163 0254

I have designed a veiling system that can be used to cover the windows. The veil consists of three layers to give flexibility to the level of privacy. The first layer is made of translucent sheer fabric, the second layer is a pattern perforated in cotton, and the third layer is a tessellated pattern etched in cotton. The design allows for the occupants to be concealed but also for light to penetrate into the interior walls so they become enlivened.


 e terrain of the site acts as a veil. Th By overlaying perforated materials on the site’s terrain, a moire effect was created.


Ground floor plan NTS

Upper floor plan NTS

Section 1 NTS

Section 2 NTS


Exterior facade of the playroom


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CREDITS

Coordinators Emily Cain Iris Bosman

Sponsorship Emily Cain Emma Creighton

Publication Iris Bosman Patrice Towers Shellyanne Simmons Stephanie Rush

Fundraising Tahsina Islam

Design Emma Hoyle Rebecca Archer Rebecca Dobbs Health & Safety Amanda Lao Sunny Moon

A special thank you to Rachel Walker Photography - www.thisisrachelwalker.com and thank you 2012 Graduates for your generosity. Copyright is retained by the authors. Please credit appropriately.

Unfolding the Interior would like to give a great thanks to our Printing Company


Unfolding the Interior  

'Unfolding the Interior' was the 2013 Graduation show at Unitec Auckland. This book is the catalogue of the exhibition that presented the w...

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