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    Any order is appropriate : it's all in equal measure : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Fine Arts at Massey University, Wellington, New Zealand
    (Massey University, 2014) Dowling, Deanna
    Any order is appropriate; it’s all in equal measure. Multiple entry points, separating out the parts. Even by listing them I feel uncomfortable. This research enquiry takes the form of a number of different investigations over a period of two years, and within the scaffolding project there are a number of simultaneous explorations that have happened at once. It is for this reason that I have offered a document that aims to oppose a chronological order. This structure reflects how I consider each component in a project that contains objects, sites, place, people, and institutions. What has become apparent to me in this process is that the relationship between all these factors is more complex than I thought and warrants avoiding, or producing, a hierarchy. The task of translating a collection of art works from their separate periods of production has encouraged new outcomes in my own research and concerns that form around a system of interrelationships – raising questions such as what it means to be under construction or deconstruction, to be something in translation, in progress, in development? These thoughts have evolved from terms used to discuss thematic concerns in a number of my works and shift at times to a more abstract use of the words, notes and lists. I have made objects about construction in a city currently undergoing heavy urban modification.
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    Disappearing acts and spatial representation : designing 'The Heart of PQ' and 'Display' exhibition projects (2002-2004) : a thesis prepared in fulfilment of the requirements for the degree of Master of Design at Massey University
    (Massey University, 2005) Mehzoud, Sven
    This thesis investigates practices of spatial representation and is positioned at the intersection of space and performance. The thesis argues that the presence of the live body in a performance space constitutes a dilemma for its representation as well as a promise for its presentation. It mobilises Bernard Tschumi's notion of the 'event' by focussing on the actions of bodies in space, to re-formulate representation as an embodied practice. Two exhibition designs are presented and explored as research projects. The first project 'The Heart of PQ' was an interdisciplinary performance installation for the 2003 Prague Quadrennial (PQ); a four-yearly international exposition on theatre architecture and design. It explored the senses in performance and the active role that design plays in performance. The second project 'Display: remembering a performance landscape' was an exhibition at the Michael Hirschfeld Gallery, Wellington, in 2004. In this project 'The Heart of PQ' was represented as a site-specific installation, exhibiting the documentation of the event and the archival material of its design process. 'The Heart of PQ' and 'Display' are utilised as vehicles to discuss how the generation of spatial representation is re-formulated and described as an event in which embodied processes allow for a more complex engagement with spatial experience. For the design of the 'The Heart of PQ' project embodied practices of representation were developed which investigated 'prospective' aspects of spatial representation. 'Display' offered the opportunity to consider how one might work with the remains of a performance to represent the past and therefore addressed issues of 'retrospective' spatial representation.
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    Filmic space : reverie and matter : a thesis presented in partial fulfilment of the requirements of the degree of Master in Design at Massey University
    (Massey University, 2005) Wang, Ying
    Filmic Space: Reverie and Matter is an exploration of how to provoke emotive qualities into interior space through filmic and digital techniques. It proposes that emotions can be evoked spatially into the interior realm. This research, which has been worked through a design process, consists of three spatial sites. The space of a film is analysed through details and views of the film, which provoke the emotions of its audience. The space of a place (a gallery) is analysed to explore how we can rethink the privacy of imagination and the temporal nature of emotions in a physical condition. The space of digital virtuality is studied for its ability to reproduce a material, water, into an immaterial form as a digital design work. These studies establish the fourth site, the space of an installation, where a film, a place and an element, water, merge in a full-bodied experience. The final exploration, the space of text, documents and reflects upon the whole research project. The emotive qualities of Filmic Space: Reverie and Matter interweave in the form of creative writing, which expresses personal feelings and emotions about a film, a place and the process of designing. Each site privileges the subjective over the objective. And like emotions provoked by bodies of water, the real can only be felt.