Massey Documents by Type
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Item Environmental narratives sustainable futures : exploring spatial storytelling in games design to elicit ecological empathy and action : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Design at Massey University, Wellington, New Zealand(Massey University, 2024) Lai, YiningIn the last decade, gaming has emerged as the fastest-growing media platform, with numerous studies highlighting its impact on individuals' perceptions and behaviour. This practice-based research investigates how spatial storytelling in video games can foster ecological empathy, particularly regarding declining mangrove ecosystems. Spatial storytelling enhances immersion in virtual environments, making it a central focus in contemporary game design. This project examines the evolution of educational game design, delves into the definition and framework of spatial narrative in video games, and integrates cognitive empathy theory with the MDA (Mechanics, Dynamics, Aesthetics) framework. The goal is to offer a novel approach to designing environmental-themed games. The resulting design features a third-person perspective where players assume the role of a fishing cat travelling from an industrialised city to mangrove ecosystems. This journey allows players to experience firsthand the impacts of human civilisation on these crucial habitats, aiming to build cognitive empathy. The eco-centred gaming experience incorporates transpersonal thinking exercises, encouraging players to view the world from perspectives beyond their own and fostering a deeper connection with nature. By providing positive feedback on players' environmental conservation efforts within the game, the design motivates players to adopt ecologically responsible behaviours in their daily lives. This project highlights the potential of spatial storytelling in video games to educate and inspire real-world environmental action.Item Contemporary jewellery as affective experience : resisting biopolitics : an exegesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Fine Arts at Massey University, Wellington, New Zealand(Massey University, 2024-11-05) Zellmer, JohannaThrough this creative, practice-led research I consider the affective aesthetic experience of contemporary jewellery as an interactive event of resistance. ‘Contemporary jewellery’ is a field of visual art practice distinct from commercial, fashion and costume jewellery. Its objects relate the body to the world through affective events, through which they may be considered as a mode of political intervention. As a jeweller, I am working in the space between craft and bioart, where materials are in a continuous visceral process of transformation. My project focusses on the making of collars and chokers out of used Illumina flow cells, waste products of the data collection technology known as DNA sequencing. Encircling and adorning a neck with these materials can create a significant affective experience. The human neck is a site of vulnerability and affect, where acts of power are displayed and experienced. Both jewellery and genomics are instruments of identity construction: the former a technology of the self and the latter a study of human bodies through scientific observation. Contemporary scholars such as Pravu Mazumdar, Elizabeth Povinelli, Stefan Muecke, and Thomas Lemke have undertaken extended research on such biopolitical conditioning. As an outcome of my craft training, my research inquiry is led by a creative, object-based practice. I have adopted the methodological framework known as speculative experimentation. This approach aligns with jewellery’s affective aesthetics through ‘critical hesitation, reflective questioning and thinking with unthinkable futures’. The experience of the resulting work can be destabilising and in turn creates hesitation, tension, and resistance. Artists and theorists Lauren Kalman, Tiffany Parbs, Agnieszka Wołodźko, and Renée Hoogland draw on these affective qualities of contemporary art and adornment. Informed by these key sources, this research project considers the agency of collars and chokers made from DNA sequencing tools as resistive ‘noise’ or irritants undermining the biopolitical standardisation of life and self. By fastening adornments firmly around the bare skin of a human neck, I am seeking to channel the haptic experience of these affective material objects into modes of resistance.Item The Underfoot : an exploration into eco-fiction character toy design : dissertation presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy, Ngā Pae Māhutonga School of Design, College of Creative Arts Toi Rauwhārangi, Massey University Tu Kunenga Ki Pūrehuroa(Massey University, 2024) Marriott, TanyaChildren engage in less outdoor play than previous generations. This global trend has impacted on a child’s ability to understand and form a relationship with the natural world. Described as “nature deficit disorder”, the decline in nature play can affect a child’s ability to self-actualise and develop relationships with non-human living beings. This practice-led creative research used eco-fiction design criteria to develop The Underfoot range of five-character toys and a pitch document that encourages Aotearoa New Zealand children aged between five and seven years old to engage with environmental narratives while playing with the toys in nature. The Underfoot character toys are themed around the nitrogen cycle system and focus on character play in outdoor spaces. A core design feature is the integration of natural materials such as soil, leaves and water during play as part of each toy’s character. The pitch document describes the toys’ story world, the characters’ motivations and their ecosystem. The Underfoot toys demonstrate how eco-fiction character toys can enhance a child’s relationship with the natural world, as evidenced by appraisal by industry experts and playtesting with child user groups.Item Systems of play : activating creative play through generative systems : an exegesis presented in partial fulfilment of the requirements for the degree of Masters of Design, Massey University, College of Creative Arts, Wellington, New Zealand(Massey University, 2023) Peters, MichaelThe visual design process can be exciting and challenging as designers strive to create innovative and impactful solutions. However, the challenge of producing original outputs within the time constraints of commercial context can lead to designers falling back on well-worn techniques, templated solutions, or imitating others’ work. This fast-tracking of the divergent ideation phase of the design process reduces the possibility for experimentation and play, resulting in safe and expected outputs. Research indicates that creative play has potential to enrich the creative process, improving divergent thinking and well-being. This project explores the potential of generative design systems to enable creative play through a series of visual design experiments using mixed methods inspired by practitioners in the generative art, music and design fields. Employing an auto-ethnographic perspective, these experiments are analysed through the lens of play theory and contextualised with insights drawn from a decade of experience working within the communication design industry. The outcome of this research demonstrates that generative systems can help enrich the divergent ideation phase through enabling creative play. Experiment results indicate that these systems can encourage focused creativity, variety and quantity, creative risk-taking and novel outputs and have great potential for application in industry.Item Being a kite : an interactive narrative exhibition in the Weifang Kite Museum : a thesis presented in partial fulfilment of the requirements for a Master in Design at Massey University, Wellington, New Zealand(Massey University, 2023) Wang, YuanThe kite is the primary cultural heritage artefact of Weifang City in China, representing key points in history and historical change. The Weifang Kite Museum is responsible for developing and continuing traditional culture, displaying the kite as cultural heritage and various related collections in a traditional exhibition framework. However, as young visitors have declined recently, its curatorial approach and philosophy have faced significant challenges. This research aims to generate more interest and enthusiasm among young visitors for Weifang Kite Museum’s traditional exhibition, aiming to transform the existing single exhibition strategy into a holistic narrative interactive experience exhibition. Through this strategy, the background narrative and significance of the kite are explored, encouraging young people to better understand traditional cultural heritage and understand the purpose of sustainable development. This project bases its innovation exhibition strategy of the Weifang Kite Museum on Philip Hughes’ exhibition design framework. It combines the cultural background and dynamic trajectory of kites, supporting a new narrative space to enhance the interactive and emotional experience of the younger visitor. The project presents a new exhibition masterplan that connects a storytelling route from the entrance to the exit while highlighting the experience’s sensory elements. This project offers an immersive narrative experience different from the previous exhibition strategy, as it seeks new inspiration and reflection on the exhibition framework of traditional cultural heritage in practice. As a sustainable development plan, it aims to encourage young groups to enter Weifang Kite Museum, become a carrier of traditional cultural transmission, and enhance the sense of national identity. This project offers design insights for the preservation of traditional cultural heritage beyond the Weifang Kite Museum strategy.Item Invisible coast : creating connection between people and Wellington’s coastal marine environments through design(Massey University, 2023) Donaldson, JeanInvisible Coast is a web-tool prototype created to grow the connection between people in Wellington and our coasts. Aotearoa’s coastlines are facing unprecedented ecological challenges due to human-created climate change. In Te Whanganui-a-Tara our sea levels are rising by 3mm a year, the water temperature is increasing and habitats are being destroyed by infrastructure encroaching along our coasts. This is in part due to our disconnected relationship with the natural world around us. My research aims to understand how we might use design as a catalyst to strengthen the connection between Wellingtonians and our coastal marine spaces, creatures and habitats. This research uses a planet-oriented design methodology to make sure that creating an output that has benefits to the natural world around us remains at the heart of the project. Invisible Coast is built using a framework called The Five Pathways to Nature Connectedness. Activating the five pathways of contact through beauty, emotion, cultural meaning and compassion through the web-tool creates an increased feeling of connection between the audience and our natural world. The pathways have been modified slightly from their original form to work within an online and Aotearoa-specific context. While remaining engaging for all Wellingtonians, the tool is primarily designed for those who have limited prior knowledge about our marine spaces. Much of the available information about our coastal marine environments is created by scientists and is hard to understand for people who are new to the language around marine conservation. Through the use of accessible language and storytelling, Invisible Coast aims to create a space where everyone can learn about the creatures and habitats on our doorstep. Invisible Coast is a prototype and proposed as a case study for how we might increase our connection to the coastal marine environment using design methodology and the Five Pathways to Nature Connectedness. As we look towards the future this tool might act as a springboard for further research.Item Breast cancer rehabilitation : a holistic approach to wearable product design : an exegesis presented in partial fulfilment of the requirements of the degree of Master of Design at Massey University, Wellington, New Zealand. EMBARGOED until futher notice.(Massey University, 2023) Grunfeld, LucyBreast cancer is a devastating disease that affects millions of women worldwide, often resulting in traumatic experiences with lasting physical and emotional consequences. A significant challenge for breast cancer patients is finding well-fitting bras that accommodate their unique shapes, sizes, and healing requirements. Despite being one of the most engineered and patented ready-to-wear garments, functional bra designs still leave much to be desired, particularly in postoperative care. In addition, the current focus on functionality over emotional connection neglects their unique physical and physiological healing requirements, resulting in a lack of suitable options and exacerbating feelings of self-consciousness and anxiety. This Master of Design research drew on the intersections between appraisal theories, co-design processes, and empathetic design methodologies to develop a comprehensive understanding of how to design bras that address breast cancer patients’ physical and emotional challenges. The method employed a multi-stage human-centred co-design practice to ensure original quantitative and qualitative insights and validations provided by all stakeholders throughout the design development. It highlighted the importance of interdisciplinary design incorporating fashion, textiles, design, and manufacturing processes to create a more personalised and effective solution that addresses the complex needs of the user group—combining innovative technologies, 3D body scanning, 3D knitting, 3D printing, and wearable technology, alongside specialised CAD software allowed for an iterative design process that streamlined development and manufacturing workflows. Contextual research compared, contrasted, and identified the gap between contemporary and traditional bra fit and design methods. In addition, it considered the challenge of innovating a product ingrained in our daily lives, aiming to inform future developments and increase engagement and awareness surrounding the wearers’ rehabilitation, identity, and individual fit. Design, in addressing these challenges, can provide a more holistic approach to patient rehabilitation and lead to improvement in their quality of life.Item Wearable multi-sensory design for adults with SPD : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design at Massey University, Wellington, New Zealand(Massey University, 2022) Guieb, TraceyOur senses are extremely important in helping us understand and respond to environmental changes. Someone with Sensory Processing Disorder (SPD) may struggle to create appropriate responses to input through these sensory systems - leading to sensory overload or anxiety. There is limited support for adults living with SPD due to the misconception that only children experience it or that it is a condition that can be ‘grown out of' as you get older. Most sensory products in the market are targeted at children and are not suitable for individuals who may want to self-regulate discreetly. My thesis explores how wearable multi-sensory design in apparel can help adults with SPD cope in situations and environments that may cause them discomfort, stress, or anxiety in a way that is appealing and specific to their unique sensory challenges. Universal design strategies were implemented within an empathic and iterative design process. Secondary contextual research combined with expert consultancy, questionnaires, surveys, and wearer testing, identified specific user needs. Multiple design explorations responding to identified criteria and adult sensory profiles created a range of visually appealing, discreet, customisable sensory wear. This modular apparel range aids adults who experience SPD, as well as a much wider group of individuals who identify with associated sensory challenges.Item Porous alterities : excavating relational agency through site-specific performative intervention : a thesis presented in partial fulfilment of the requirements for the degree of Master of Design at Massey University, Wellington, New Zealand(Massey University, 2022) Swann, TamarindPorous Alterities is a temporary performative intervention into Te Whanganui-a-Tara, Wellington waterfront that sets out to generate audience encounters with alternate readings of this public space. The project seeks to reveal the embedded narratives of relational agency within the site, uncovering the micro-political interactions between human and nonhuman forces through performance design practice. The result of this design research is a projection mapped intervention into this area of reclaimed land, a concrete and bitumen wharf that hides the manmade intertidal foreshore. The project addresses the complexity of spatial power dynamics by conducting a close reading of the site using observation and documentation to uncover site narratives that form the basis of the final design work. Through a critique of the hegemonic powers that shaped the landscape, the hidden ecology of nonhuman actants below the surface, and the transient socio-spatial connections that produce this place, I question how we might attune to our urban environment more inclusively. This design research makes use of digital technologies to capture and animate audio and visual data from the site. The use of projection mapping enables a non-destructive augmentation of the real environment, building on the site’s pre-existing atmospheric conditions to develop an immersive encounter between the audience and the performing agents of the site. Porous Alterities represents the development of a critical spatial practice through the generation of a site-specific intervention.