Search

found 65 results

Images for beauty; more images...

Research papers, The University of Auckland Library

While societal messages can encourage an unhealthy strive for perfection, the notion of embracing individual flaws and openly displaying vulnerabilities can appear foreign and outlandish. However, when fallibility is acknowledged and imperfection embraced, intimate relationships built on foundations of acceptance, trust and understanding can be established. In an architectural context, similar deep-rooted connections can be formed between a people and a place through the retention of layers of historical identity. When a building is allowed to age with blemishes laid bare for all to see, an architectural work can exhibit a sense of 'humanising vulnerability' where the bruises and scars it bears are able to visually communicate its contextual narrative. This thesis explores the notion of designing to capitalise on past decay through revitalisation of the former Wood Brothers Flour Mill in Addington, Christchurch (1891). Known as one of the city's last great industrial buildings, the 130-year-old structure remains hugely impressive due to its sheer size and scale despite being abandoned and subject to vandalism for a number of years. Its condition of obsolescence ensured the retention of visible signs of wear and tear in addition to the extensive damage caused by the 2010-12 Canterbury earthquakes. In offering a challenge to renovation and reconstruction as a means of conservation, this thesis asks if 'doing less' has the potential to 'do more'. How can an understanding of architecture as an ongoing process inform a design approach to celebrate ageing and patina? While the complex is undergoing redevelopment at the time of writing, the design project embraces the condition of the historic buildings in the immediate aftermath of the earthquakes and builds upon the patina of the mill and adjacent flour and grain store in developing a design for their adaptation as a micro-distillery. Research into the traditional Japanese ideology of wabi-sabi and its practical applications form the basis for a regenerative design approach which finds value in imperfection, impermanence and incompleteness. The thesis combines a literature review, precedent review and site analysis together with a design proposal. This thesis shows that adaptive reuse projects can benefit from an active collaboration with the processes of decay. Instead of a mindset where an architectural work is considered the finished article upon completion of construction, an empathetic and sensitive design philosophy is employed in which careful thought is given to the continued preservation and evolution of a structure with the recognition that evidence of past wear, tear, patina and weathering can all contribute positively to a building's future. In this fashion, rather than simply remaining as relics of the past, buildings can allow the landscape of their urban context to shape and mould them to ensure that their architectural experience can continue to be enjoyed by generations to come.

Images, UC QuakeStudies

A digitally manipulated image of a damaged building in Madras Street. The photographer comments, "After the 22 February earthquake in Christchurch there was a lot of damaged buildings. Sometimes there is the odd one where being unclothed or de-bricked let the world see their beauty".

Images, UC QuakeStudies

A photograph of Emily Arps, Health Promoter for All Right?, taking part in #FiveYearsOn. Arps holds a sign which reads, "Five years on, I feel... Proud of our community and in awe of CHCH's natural beauty! Emily, St Albans." All Right? posted the photograph on their Facebook Timeline on 21 February at 9:12am. All Right? captioned the photograph. "Emily from St Albans s feeling proud of our community and in awe of Chch's natural beauty. #fiveyears on #5yearson #allrightnz".

Videos, NZ On Screen

New Brighton beach in Christchurch: Peter Donnelly is busy creating art, art with a lifespan that can be measured in hours. Using a rake and a piece of wood, Donnelly draws elaborate artworks in the sand - more than 700 of them to date. "I bring something to life, and then its life is over, and at the end of the four hours it wants to go, it's worn out ... it just wants to be gifted, and it goes to the sea." Beautifully shot by director Peter Young, this Artsville documentary captures Donnelly both in action, and musing on the beauty of impermanence.

Images, UC QuakeStudies

A felt heart sewn to the wire fencing in front of the Ground Culinary Centre in Lyttelton. The heart provides a bit of beauty and hope to an otherwise depressing scene, with the word "Love" embroided in the centre.

Images, UC QuakeStudies

The Surreal Hair & Beauty store on Victoria Street has been given a yellow sticker. This was a building assessment system used following the February earthquake and indicates that this building has limited access and needs further evaluation.

Images, UC QuakeStudies

The Surreal Hair & Beauty store on Victoria Street has been given a yellow sticker. This was a building assessment system used following the February earthquake and indicates that this building has limited access and needs further evaluation.

Images, UC QuakeStudies

A felt heart with "Live, Love, Life" sewn on it has been sewn to the wire fencing in front of the Volcano Cafe and Lava Bar in Lyttelton. The heart provides a bit of beauty and hope to an otherwise depressing scene.

Images, UC QuakeStudies

A felt heart with "get well soon" embroided on the front, sewn to the wire fencing in front of in front of Bill Hammond's house in Lyttelton. The heart offers a bit of beauty and hope to an otherwise depressing scene.

Images, UC QuakeStudies

A 'sand volcano' of liquefaction silt in Bexley. The photographer comments, "Liquefaction is just a mixture of sand and water squeezed up from the ground, but with a little imagination it has a beauty in its untouched state".

Images, UC QuakeStudies

A felt heart sewn to the wire fence in front of the Lyttelton Borough Council Chambers Building, a pile of bricks fallen from which are visible on the street. The heart provides a bit of beauty and hope to an otherwise depressing scene, the words "say yes often" embroided on the felt.

Images, eqnz.chch.2010

This winter-eve is warm, Humid the air! leafless, yet soft as spring, The tender purple spray on copse and briers! And that sweet city with her dreaming spires, She needs not June for beauty's heightening, Lovely all times she lies, lovely to-night!— From "Thyrsis: A Monody" by Matthew Arnold 1822–1888

Images, UC QuakeStudies

Allison, one of the heart stitchers outside the library. The felt hearts were a healing outlet during the Canterbury earthquakes. The goal was to create beauty in the midst of chaos, to keep people's hands busy and their minds off the terrifying reality of the earthquakes, as well as to give a gift of love to workers and businesses who helped improve life in Lyttelton.

Images, UC QuakeStudies

Maria, one of the heart stitchers outside the library. The felt hearts were a healing outlet during the Canterbury earthquakes. The goal was to create beauty in the midst of chaos, to keep people's hands busy and their minds off the terrifying reality of the earthquakes, as well as to give a gift of love to workers and businesses who helped improve life in Lyttelton.

Images, UC QuakeStudies

People stitching felt hearts under a marquee at Lyttelton's grassy market. The felt hearts were a healing outlet during the Canterbury earthquakes. The goal was to create beauty in the midst of chaos, to keep people's hands busy and their minds off the terrifying reality of the earthquakes, as well as to give a gift of love to workers and businesses who helped improve life in Lyttelton.