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Embarking on the journey of discovery....

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Embarking on the journey of discovery....

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Initial research into Matariki and Kengo  Kuma

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Wikipedia:
Kengo Kuma (隈 研吾, Kuma Kengo, born 1954) is a Japanese architect and professor in the Department of Architecture (Graduate School of Engineering) at the University of Tokyo. Frequently compared to contemporaries Shigeru Ban and Kazuyo Sejima, Kuma is also noted for his prolific writings. He is the designer of the New National Stadium, Tokyo which has been built for 2020 Summer Olympics
Kuma's stated goal is to recover the tradition of Japanese buildings and to reinterpret these traditions for the 21st century. In 1997, he won the Architectural Institute of Japan Award and in 2009 was made an Officier de L'Ordre des Arts et des Lettres in France. Kuma lectures extensively and is the author of numerous books and articles discussing and criticizing approaches in contemporary architecture. His seminal text Anti-Object: The Dissolution and Disintegration of Architecture written in 2008, calls for an architecture of relations, respecting its surroundings instead of dominating them. Kuma's projects maintain a keen interest in the manipulation of light with nature through materiality

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Asakusa Culture Tourism Center, Taito-ku, Tokyo by Kuma

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Asakusa Culture Tourism Center, Taito-ku, Tokyo by Kuma

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https://www.mcguinnessinstitute.org/foresightnz/matariki-and-maori-astronomy-with-dr-rangi-matamua/

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" Makeru kenchiku (losing architecture)" and " Shizen na kenchiku (natural architecture)"-these catchphrases have been familiarly linked with "building-designer" Kengo Kuma. "Losing architecture" is Kuma's radical take on the fixated way mass architecture in Japan has occupied stiff, cold and stoic concrete-pasted territories.

Prefabricated construction has been the general building method in Japan as early as the postwar days. After the country opened its doors to the West in 1867 (early Meiji period), the compelling desire for rapid transformation became visibly prevalent. With more than 30% of Japanese homes swiftly destroyed after WWII, prefabrication had turned Japanese urban construction into a quick "built-in" scale model convenient store-wherein you can "order" home and retail building designs using precast concrete, structural steel, and timber-framed wood. However, Kuma had a more diverse vision.

" 20th century was the period of concrete, but now the concrete material is very related with industrialization. We live already in a different period, where people like to live without concrete, I think it's an evidence that people start to hate it, his rigidness, his tactility, this is why I want to overcome it using authentic material."

Kuma has, hence, been practicing his profession from the baseline of a "conversation between materials and human beings", on " shizen na kenchiku (natural architecture) that reintroduces warm, natural materials ". He uses the texture of natural materials cleverly in order to establish a stronger perceptible relationship between spaces-inside and outside, and from room to room. The building designer, after all, calls himself a materialist, in this regard, and believes that every material is connected to a designated place.

Kengo Kuma, who has taught at Columbia University, University of Illinois at Urbana-Champaign, Keio University, and currently at the Graduate School of Architecture at the University of Tokyo, has always been intimately inspired by the tradition of Japanese buildings and the transmission of this heritage to innovative design possibilities of the 21st century. As a curious boy at ten years old, he had already been exposed by his father to masterpieces by Kisho Kurokawa, Kunio Maekawa, and especially Kenzo Tange and his 1964 Olympic Gymnasium, which impressed him deeply. For him, Tange possessed the ingenuity to "combine Japanese tradition with a contemporary vocabulary" and to " create Japanese symbols with then-current technology."
While most of his contemporaries explored architectural visions abroad, especially during the burst of the Japanese bubble economy in the 1990s, Kuma decided to put a lock on his Japanese domain and to associate with many local craftsmen, which eventually led to his reinvention of natural materials.

" I have been driven to create architecture by the desire to recover the material, and to reconnect people and physical things...this is because the world itself is material. There is a wealth of new and different things and materials waiting to be discovered."
( "Return to Materials", Kengo Kuma: a LAB for materials, Tokyo Station Gallery exhibition).

This powerful endeavor is being displayed at Kengo Kuma's enormous exhibition, "Kengo Kuma: a LAB for materials" at the Tokyo Station Gallery until May 6 this year. The highly impressive showcase is an explosive revelation of the architect's major projects in the last 30 years that encompass Eastern and Western ideologies reflecting his intense passion for harmonizing man, life, and the environment through three layers of building philosophy: materials, methods, and geometry. Represented by models, mock-ups, videos, material samples and more, Kuma's selected materials for the exhibition (bamboo, wood, paper, earth, stone, fire, metal, and membrane/fiber) communicate the profound relevance and dynamic diversity of the natural environment we live in, and the ways by which we can absorb these indigenous materials into our daily lifestyle.

Bamboo

In the "Great Bamboo Wall" for the hotel design beside the Great Wall in China, Kuma employed the komagaeshi traditional pattern from the late 18th century that lines up the bamboo membranes of a given width at intervals of the same width, therefore, beautifully creating a sound rhythm throughout the entire structure.

Wood

The marvelous "Coeda House" in Shizuoka, Japan, is one of Kengo Kuma's most admired designs. The tree-like structure stacks Japanese cedar boards reinforced with a carbon fiber rod, and eliminates columns to provide an open-air continuity with the Pacific Ocean view.

Paper

A creative cutout arch is installed in the exhibition that is made from vulcanized paper (soaked in zinc chloride). The "Paper Cocoon" designed for a pavilion in Milan, Italy, is composed of rolled paper tubes stylishly woven to increase the stiffness for supporting the tunnel structure.

Earth

The idea to "cover" the exterior walls of a house may appear indifferent, but Kuma wanted a private residence in Tokyo to blend harmoniously with the plum grove surrounding it. The result is the "Mesh/Earth" residential project in Tokyo. Occupying a site area of 158.11m2, the house was covered with soil-coated metal mesh, woven from stainless steel members and sprayed with a mixture of glass fiber and soil.

Stone

Opening soon in 2018 is one of Kuma's most colossal projects, the "V&A Dundee" Museum in Scotland. The entire floor area covering 8,500m2 is supported by 2,500 cast stone panels, hung on the jagged exterior walls, which curve in vertical and horizontal directions. The precast concrete uses rough, crushed stones as the aggregate that were then, sandblasted to expose it. Sitting on an expansive waterfront, the building's exterior wall flaunts a linear flow in varied sizes, shapes, and placements, producing striking, changing patterns on the water.

Fire

Never have tiles been so spread out from top to bottom, side to side, in all directions, and suspended in stainless steel wire, woven in diagonal patterns to create exquisite shadow patterns on the floors, walls and roof. Kuma's "China Academy of Art's Folks Art Museum" in Hangzhou, China is a magnificent design creatively employing the tile material to block sunlight, and at the same time, catering to the aesthetics of its layered exterior walls.

Metal

An eye-catching cast aluminum in organic texture façade stands out in a local town of Odawara, Japan. The "Green Cast" building is a five-story multiplex residence, office, clinic and pharmacy. The aluminum die-cast panels, made of monoblock casting from decayed styrene foam, serve as vertical planters, therefore exposing green plants hanging from each block. Kuma has successfully blended his materials with the living environment.

Membrane/Fiber

The "Komatsu Seiren Fabric Laboratory fa-bo" in Ishikawa, Japan, is unique for its usage of carbon fiber, which also has a high heat-resistance feature to strengthen the concrete structure. A traditional twisting technique is also applied to the carbon fiber that seems to wrap the entire structure like a protective net.

"For me, the visual effect is only [a small] part of the design. Totality of architectural design includes textures, the soft and hardness of the material, the smell of the material and the acoustic effect of the material...In the normal process of architecture, the decision of the material is often the last part of the design. I think that causes many mistakes. The decision for the material should come at the beginning of the design. -Kengo Kuma (" Kengo Kuma urges architects to 'be humble ", dezeen, 11 March 2014).

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" Makeru kenchiku (losing architecture)" and " Shizen na kenchiku (natural architecture)"-these catchphrases have been familiarly linked with "building-designer" Kengo Kuma. "Losing architecture" is Kuma's radical take on the fixated way mass architecture in Japan has occupied stiff, cold and stoic concrete-pasted territories.

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The wooden panels on this building remind me of a flax skirt or feathers on a cloak.  This  could be an idea to explore .  Another feature of this building is the space we can see in this picture that connects the street to the baack garden, this is also the cafe area.  As the shipping containers are small I wonder about how the illusion of space coule be created, or the reality of more space could be achieved.?

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In a documentary I watched on Kuma he spoke about how the wooden 'sticks'  were used in a join inspired by  an old childrens 'game' Chidori where you join wooden sticks together.  He descirbed this space as beign long and narrow and intended for the wooden sticks to  direct the flow of the space.  This idea of using materials in certain directions to alter the way the space is perceived and shape the flow of the space will be helpful to consider in my design

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This project was completed in 2015 and is quite different to the designs with wooden panels, however I can Kuma's aesthetic of organic contours and the forest light infliuence.  The cables could  be compared to rays of light.

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Looking at similiarities between piupiu and the layers of wooden panels . Might work as a way of creating layers and texture

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Dr Matamua explained that the stars are both female and male, in balance with each other. He talked about the connection between the meanings of the stars and their position in the sky. Tupuarangi is above Tupuanuku because the sky is above the earth, Waitī is above Waitā because fresh water flows down to salt water, Waipunarangi and Ururangi are above all the rest because the rain and wind come from above. The two sacred stars Pōhutukawa and Hiwa-i-terangi are away from the other stars because there is no tapu in the areas relating to food.

Reading Matariki
Dr Matamua went on to explain how his ancestors would look to Matariki to see what the year ahead would bring. Matariki is read in combinations, comparing parts of the whole. If one star is brighter than the others, food from that source would be plentiful or the weather would be good, but if a star is dim or missing, the outcomes represented by that star will be negative in the coming year. Dr Matamua then went into further detail about the proper time of year in which to read Matariki, pointing out that many celebrations are held when Matariki is not yet visible. This is partially because Māori tradition follows a lunar calendar, not the European calendar; Pipiri, the time of Matariki’s rising in the early morning, does not match up with June. Additionally, just because Matariki is visible does not mean it is the right time to read the stars for what the year ahead will bring. Matariki must be read when the moon is in the right phase in Pipiri: when the moon is in Tangaroa at the end of its third quarter and into the last quarter. The celebrations take place after this.

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1. Both  are  concerned with the quality of  light. The brightness of the Matariki stars stars predict the season ahead.  Kuma looks to create forest light (dappled light) through the use of materials which could be likened to the blinking of stars.

2. The passage of time/cycles of life.  Matariki in its very nature is the marking of the time, the signal to preserve and harvest.  Kuma talks about the Japanese concept of 'iki'  which he explains as  being about teh passage of time and that we must enjoy the present.  Iki seems to be very much in keeping with the ethos of modern day Matariki celebrations.

3. Humbleness in the face of nature.  Kuma speaks about architecture after  the tsunami that destroyed 30% of homes in Japan as needing to be humble.  This humility to acknowledge the forces of nature are far more powerful than people and to respect this is also obvious in his incorporation of the outside  or transparency  in his  designs.
Matariki is also about acknowledgement that people are at the mercy of the natural elements and weather.

4. Social and environmental responsibility. Kuma believes that architects are responsible for social and ecological systems. Another tie with Te Ao Maori.

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In thinking about the similarities between Kuma's philosophies and Matariki - I have exlored the avenue below:
layers
passage of time
light
nature
lifecycles/seasons
endings and beginnings
New life
Chrysalis
cocoon

I could use textures and colours related to cocoons, eg: the NZ casemoth to tie in with the aesthetic and philosophies of Kuma. It also seems appropriate to think about the community emerging from our cocoons after this pandemic, changed and different to before. Just as the Matariki Star cluster reemerges into the sky after it sets.
In regards to the theme of cocoons/ chrysalis or butterfly - I have found the Maori words for these
Cocoon: Raukatauri
Chrysalis: Tungoungou
Moth/butterfly: Pepe or Purerehua
Raukatauri

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Noticing how many cocoons have a basket like appearance, thiis is also relevant to the Matariki theme as it is a time of food harvest. Food would be carried and stored in woven baskets traditionally.

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Exploring the cocoon idea - Aesops Melbourne

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Exploring the cocoon idea - Aesops Melbourne

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A store I visited on Flinders Lane in Melbourne had the loveliest fit out that felt cave/coccon like.  They have used industrial corrugated card in layers to achieve the look.  I have read that it is intended to soften over time.. Paired with  wood and stone the effect was very luxe.  Researching this store,  I see all their locations have amazing fit out designs.  Plenty of inspiration for this project as they all connect to Kumas style.

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Giving fresh interpretation to the space while acknowledging its original materiality, the design features prominent use of industrial cardboard. A bold feature wall created from 1,550 cardboard sheets, modified by hand, envelops the right-hand wall-its curvature gently encouraging exploration.

Intended to soften, wear and evolve with age, this striking fixture reflects the connection between built forms and their occupants. In complement, a darker palette marks the rest of the interior, via use of concrete, lacquered Oak and blackened steel.

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Giving fresh interpretation to the space while acknowledging its original materiality, the design features prominent use of industrial cardboard. A bold feature wall created from 1,550 cardboard sheets, modified by hand, envelops the right-hand wall-its curvature gently encouraging exploration. Intended to soften, wear and evolve with age, this striking fixture reflects the connection between built forms and their occupants.

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I like how the perferations allow the light in, like Kuma aims to do. They holes are alos like stars against.

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soft draping - unsure if this could work in a small space as the wall textures (could look amazing outside?) but could make interesting lights

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loving the natural colours and texture to this image.  I've been focussing on the walls/ceilings as a major feature of the cafe to create the cocoon like feel. Need to be thinking about the furniture and textiles as well. It feels like there will be wood in keeping with Kuma's philosophies and the/natural/organic  theme.

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Derzeit zeigt die PFORZHEIM GALERIE die Schau 'Aufbruch Textil', die in einer Reihe von Ausstellungen, die sich in der letzten Zeit mit der Erneuerung der klassischen 'Tapisserie' beschäftigen, steht, wie z.B. kürzlich in Zürich die Ausstellung 'Der textile Raum' im Museum Bellerive oder ganz aktuell die gerade im Moment in Lausanne noch laufende 'Tapisseries Nomades'. Hier präsentiert das Musée cantonal des Beaux-Arts de Lausanne eine von der Fondation Toms Pauli kuratierte Auswahl von rund dreissig bedeutenden Werken aus der Sammlung der Fondation, die aus den in Lausanne von 1962 bis 1995 durchgeführten 'Biennales de la tapisserie' hervorgegangen sind. Diese sechzehn internationalen Biennalen lieferten den Rahmen für eine radikale Erneuerung in der Textilkunst.

Europäische, amerikanische und japanische Künstler wie Magdalena Abakanowicz, Olga de Amaral, Jagoda Buić, Ritzi und Peter Jacobi, Elsi Giauque oder Naomi Kobayashi wandten sich von den alten Traditionen ab und schufen mit vollkommen neuen Ideen, ungewöhnlichen Techniken und Materialien neue künstlerische Ausdrucksformen, die ein fundamentales Umdenken einleiteten. Wie ausführlich berichtet führt der Weg vom flach gewirkten, an der Wand hängenden (Bild-)Teppich hin zum Relief, zur Räumlichkeit und Dreidimensionalität, zur Textilskulptur.

In der Pforzheimer Ausstellung sind neben Leihgaben aus der Fondation Toms Pauli in Lausanne mit Werken von Magdalena Abakanovicz, Olga de Amaral, Jagoda Buić und Jean Lurçat verschiedene beeindruckende Arbeiten von Peter und Ritzi Jacobi zu sehen. Sie belegen, wie spannend diese Zeit des Umdenkens und Aufbruchs ist.

Diese Pioniere der Erneuerung der Tapisserie erforschten nicht nur neue Formen, Techniken und Materialien. Sie verwandelten den traditionellen Wandteppich auch in eine raumgreifende Kunst und trugen damit zum neuen Verständnis der Textilkunst als eines der wichtigsten künstlerischen Ausdrucksmittel bei.

Beginnen wir den Rundgang mit einem Detail aus der Arbeit von Jagoda Buić aus Kroatien, die im oberen Bild rechts zu sehen ist. Sie spielt in ihren Kompositionen mit Durchbrechungen und Leerstellen, mit Oberflächenstrukturen und metallischen Effekten.

Die Polin Magdalena Abakanovicz, im damaligen Ostblockstaat auf sich allein gestellt und ...

... von den heute selbstverständlich gewordenen internationalen Verbindungen abgeschnitten, fand vollkommen selbstständige Lösungen und ...

... überraschte mit Werken, die sich von der Wand lösten.

Olga de Amaral aus Kolumbien erlangte ...

... mit eigenwilligen Techniken internationale Anerkennung. Sie verwebt oder, wenn man so will, verflicht ...

... bereits gewebte Streifen zur neuen Fläche und integriert - oftmals noch auch dick - umwickelte Stränge.

Ausgangspunkt der Ausstellung in der PFORZHEIM GALERIE sind drei Arbeiten von Ritzi und Peter Jacobi, deren Schaffen eng mit Pforzheim verknüpft ist.

Von 1960 bis ca. 1980 waren Prof. Peter Jacobi und seine damalige Lebenspartnerin Ritzi Jacobi gemeinsam künstlerisch tätig. Die zu dieser Zeit entstandenen textilen Reliefs wurden auf der Biennale in Venedig gezeigt und weltweit in bekannten Kunstmuseen ausgestellt und angekauft.

In der Pforzheimer Ausstellung, die ich anlässlich des hochinteressanten Vortrags 'Textilkunst' der Kuratorin Regina M. Fischer besuchte, sind verschiedene beeindruckende Arbeiten von Peter und Ritzi Jacobi zu sehen ...

... teils überdimensional gross, ja monumental und angesichts der Materialfülle ...

... auch so schwer, dass sie nur mit Hilfe von Manpower und einer Hebevorrichtung an die Wand zu bringen sind.

Ebenfalls als Zuhörerin anwesend war eine Dame, die in über 100 Arbeitsstunden in Prof. Peter Jacobis Atelier restaurierte - Schwerarbeit!

Diesen klassischen Werken der Textilkunst hat die Ausstellunskuratorin Regina M. Fischer Arbeiten von zeitgenössischen Künstlerinnen und Künstlern, die im Bereich Textilkunst interessante Positionen vertreten, gegenübergestellt.

Vertreten sind Angelika Arendt (1975) aus Berlin, Nora Bachel aus Wien (1950), Olaf Holzapfel, Berlin (1969), Sybille Hotz, Berlin (1968), Dorit Kempe aus Halle (1968), Yvonne Kendall, Reutlingen (1965), Jens Risch aus Berlin (1973), Peter Rösel, Berlin (1966), Heike Weber aus Köln (1962). Leider bestand für diese Werke - bis auf die 'Fadeninstallaltion' von Angelika Arendt (im unteren Bild links) jedoch keine Fotoerlaubnis. Das ist sehr schade, aber zu respektieren. Ein Besuch der Ausstellung lohnt sich!

Textile Materialien sind in der Gegenwartskunst zu selbstverständlichen Werkstoffen geworden, die neben vielen anderen Materialien frei Verwendung finden. Kunstschaffende bedienen sich alter Stoffe oder Naturmaterialien wie Stroh und Seidenschnüren ...

... ebenso wie verschiedener Techniken, auch aus dem Bereich der traditionellen 'Handarbeiten'. Dabei arbeiten sie nicht in erster Linie auf bzw. gegen eine Tradition bezogen, sondern in vielfältigen Kontexten, zuweilen mit einem Augenzwinkern, als Symbole oder Grundlage für abstrakte Ausdrucksformen.

Die PFORZHEIM GALERIE zeigt - wie bereits angekündigt - die Ausstellung 'Aufbruch Textil' noch bis zum 22. Mai 2016, dem diesjährigen internationalen Museumstag, an dem eine sehr empfehlenswerte Kuratorinnenführung mit Regina M. Fischer stattfindet.

***
Info:
14. Februar - 22. Mai 2016

Aufbruch Textil

PFORZHEIM GALERIE
Bleichstrasse 81
75173 Pforzheim
www.pforzheim.de
Eintritt frei

So, 22. Mai 2016, 11 Uhr:
Kuratorinnenführung mit Regina M. Fischer
Alle Fotos: © 2016 Gudrun Heinz mit freundlicher Erlaubnis der Galerie

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Derzeit zeigt die PFORZHEIM GALERIE die Schau 'Aufbruch Textil', die in einer Reihe von Ausstellungen, die sich in der letzten Zeit mit der Erneuerung der klassischen 'Tapisserie' beschäftigen, steht, wie z.B. kürzlich in Zürich die Ausstellung 'Der textile Raum' im Museum Bellerive oder ganz aktuell die gerade im Moment in Lausanne noch laufende 'Tapisseries Nomades'.

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Love how much this artwork resembles the case moth cocoon. Has a very bark like texture to it also

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Love how much this artwork resembles the case moth cocoon. Has a very bark like texture to it also

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From 1960 to about 1980 Prof. Peter Jacobi and his then life partner Ritzi Jacobi worked together as artists. The textile reliefs created at that time were shown at the Venice Biennale and exhibited and purchased in well-known art museums worldwide.
https://blog.bernina.com/de/2016/05/aufbruch-textil/

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Questions to ask Katherine in progress session

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Questions to ask Katherine in progress session

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1. Is there a professional standard/preference for teh presentation slide orientation

2. Are we considering the exterior designseating area

3. Can we put windows in/take walls out/ add stairs and decks etc.

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The simple wood furniture and futons create a humble, Japanese inspired look. This image is from interiors Kengo Kuma designed in collaboration with Commune, in the Ace hotel.

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https://www.dezeen.com/2019/09/14/kengo-kuma-bamboo-ring-carbon-fibre-va-london-design-festival/

https://www.dezeen.com/2018/10/15/kengo-kuma-shipping-container-starbucks-coffee-shop-taiwan-architecture/

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Had a catch up with Katherine  to refine down my slides as they just kept growing!
As a result of this discussion I will
- combine the brainstorming and commonalities boards
- cut to one images board
- incorporate colour palette
- add images for Matariki

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Looking to comunicate the ideas of emerge, embrace, cocoon , nature and light. The images I found werent really the colours I had in mind... and it ended up looking colder than I intended. An ice cave will do that I suppose.... trying another combo to see if I can get a warmer feel

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Feedback is thiis is still quite dark. I agree, but I like dark, although I want to portray a more uplifting feeling.

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Swapped out the bamboo image from the bottom left and added the chrysalis back in, also layere dteh images and played around with the transparency. I'll call it a day on this and look with a fresh pair f eyes tomorrw.

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swapped out the people image for a lighter, more family related  image. Had to play around with the focus of the image so it didnt have the baby's face in it.  Images with people can get a little cliche and cheesy if you're not careful.
Ive layered the images as a nod to Kuma's style of layering and striving for transparency

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Pretty sure I'm done here. Have a couple of extra slides at the end that will be removed for teh presentation. Ended up with a very textural mood board in greens, greys and blacks. Actually looking forward to teh next stage to see how the ideas are interpreted by the rest of the team!

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Concept intro and brainstorming with MDT group

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Concept intro and brainstorming with MDT group

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Excellent first (and second) meeting with with Tessa and Georgina. Both are excited about the concept and inspired by the cocoon idea and using this to link to Matariki by using Maori name for the cafe. We have created a shortlist of names all related to different life cycles of the moth/butterfly and the significance of these in Maori symbolism and tradition. Georgina has emailed Fozzie on behalf of the group as part of the consultation process on the appropriateness of these words to insure we use the words sensitively and in a way that uplifts and celebrates Maori culture.

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When we were first given the assignment I was really keen to get stuck into the design of the cafe... but we had to take a step back and come up with the comcept. From here I will attach ideas I have already found and new ones that I find. So glad we can think big!

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I like how open this one is and the deck on the top.

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The way the containers are stacked perpendicularly with the stairs extended out to the side is great. This gives room on top of the bottom container as a deck while defining an area that sits inside the L shape for ground floor seating. Gives the cafe a good combination of indoor and outdoor areas and visual interest.

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Another cool design, this has given me the idea of potentially having a wall where people can write messages/remembrance wall somewhere.

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Anuhe
"The humble  caterpillar"

We have named our cafe Anuhe and given  it the slogan - The Humble Caterpillar.  We  looked at  quite a few options and thought that this one was short and punchy.  It is also easy to pronounce and includes both Maori and Pakeha to encourage sue of the Maori language.
The name also tie in with the childrens book "The Hungry Caterpillar" which brings back warm memories of childhood. appealing to children and adults.
The caterpillar undergoes a metamorphosis into a butterfly after consuming enough food to fuel this amazing change. This links to the consuming of food, nourishment, change and new beginnings.

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When are accessible showers needed?

MBIE is often asked when accessible showers should be installed in commercial buildings, such as office buildings for people with disabilities. Often a shower is provided in an office building for people who cycle to work or exercise during their lunch break.

The relevant Acceptable Solution is G1/AS1 in the G1 Compliance Document which also cites NZS 4121:2001, the Standard for access and facilities for people with disabilities.

Table 2 in G1/AS1 does not require showers in commercial buildings or most communal non-residential buildings, such as clubrooms and halls. However, Table 2 does require showers in 'places of active recreation' such as swimming pools and gymnasiums.

Regardless of whether showers are required, Table 2 states "where showers are provided include at least one accessible shower compartment". MBIE interprets the reference to "showers" in this statement to mean that if more than one shower is provided, then one of the showers must be accessible. This interpretation is supported by NZS 4121:2001, which states in Clause 10.5.11 that "where showers are required for staff or public use, a wet-area shower shall be provided for people with disabilities".

Soon after the publication of NZS 4121:2001, the committee for this Standard was asked to clarify the meaning of Clause 10.5.11. The committee's view was that if only one shower is to be provided, it need not be an accessible shower, but if two or more showers are provided then at least one must be accessible.

Distance between the hand basin and pan

Acceptable Solution G1/AS1 and NZS 4121:2001 both state that a hand basin in an accessible toilet provided for people with disabilities must be '300 mm minimum' from the pan. No maximum is specified. The hand basin may be further away, but it should not be so close to the end wall that a wheelchair user cannot use it.

Neither Acceptable Solution G1/AS1 nor NZS 4121:2001 require that a hand basin be within easy reach of a person seated on the pan.

Where the toilet compartment is bigger than the standard 1600 x 1900 mm size, the minimum distances still apply, and the hand basin should be located so that access to the pan is not restricted and a 1500 mm diameter manoeuvring space is maintained.

Download a free* copy of NZS 4121: 2001 Design for access and mobility - buildings and associated facilities

*Access to NZS 4121:2001 Design for access and mobility: Buildings and associated facilities is permitted by Standards New Zealand under Copyright Licence 001096. Any proposed use of content from NZS 4121:2001 in any format or media must be the subject of a copyright request, in writing, to copyright@standards.co.nz

All guidance related to G1 Personal hygiene

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Ministry of Business, Innovation and Employment

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MBIE is often asked when accessible showers should be installed in commercial buildings, such as office buildings for people with disabilities. Often a shower is provided in an office building for people who cycle to work or exercise during their lunch break.

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http://clubhousebarberini.com/accessible-bathroom-layout-nz/

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The containers are a very long and narrow space. This image helps get my head around the space I'm working with. There is a shipping container at a house down the road from me, I was surprised at how large it is actually. Will find any information on requirements for servery ergonomics and then start building some models and play around with configurations and layouts now that

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Ive done some research on the minimum dimensions:
the bench must be atleast 600mm deep.
The space behind the counter should be 1000mm. Thinking about the shelving unit behind the the counter, this will need to be considered when calculating the space.

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Excellent comms with the visual arts team, we've been communicating through Slack and I have shared access to this padlet.  I have answered (or attempted to) some questions tp help with the brand persona for the designers.
Georgina has championed the email correspondence with Jordan as art of our consultative process.
I have focused on gathering some information on the specs and standards for the physical space.
First sharing of graphic design concepts will be with Tessa this afternoon at 3.30 - really looking forward to it.

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Tessa has come up with some great concept sketches which she showed me this afternoon. I've provided some feedback on what appeals the most. Tessa will produce some digital mock ups and has worked on a mood board for colours too.

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Goergina and I have communicated via the Slack channel and she had produced some colour scheme and log ideas. Her logo's with the cocoon shape are really lovely and compliment the ideas I had for the cafe design and feel. I've started some drawings to the shelving based on these logos

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This shelving is custom made and laser cut to create a unique, cave like shape. Very cool - Lawd nows how I'd draw that..... haha. Will give it a go

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I like this shelving unit for its light wood and unusual shape, it is also versatile. Another appealing aspect is that this design allows you to see through it to the colour on the wall.
The shapes and lines of this are reminiscent of Kuma's work. I would like to keep the ideas he has of light, wood and transparency coming through in the final concept

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Bookcases don't have to be boring. After you see these 10 designs, you may never be satisfied with plain old, run-of-the-mill bookcases ever again. Sorry about that.

This installation by Merge Architects (via Custom Home Online) balances books on a collection of thousands of wooden dowels fitted into a pegboard-like frame. (A bit like the designy, grown-up version of one of these toys.) Obviously not available to purchase off the shelf, but it could inspire a pretty impressive DIY. Send us pics!

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The Beautiful, the Bizarre, the Wonderful: 10 Crazy Bookcases We Can't Get Enough Of

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Bookcases don't have to be boring. After you see these 10 designs, you may never be satisfied with plain old, run-of-the-mill bookcases ever again. Sorry about that. Above: Russian architect Andrei Saltykov created this USA bookshelf for his London home.

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This concept is just what I've been looking for as it compliments the theme of the cafe in aesthetic and materiality. Ideally it wouldnt be confined to just above the servery and may not be overly practical, but makes a big visual statement.  Will discuss with Katherine.
It looks to be comprised of a backing board with holes that the different length pegs can be slot into.
Dowling? A light wood regardless.

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Showed Katherine the pegboard and dowel idea. The plan and elevation would be simple enough, however the isometric would be challenging.

Another idea Katherine suggested was to use the peg board idea but have ply shelves instead of dowels.

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Another idea that seems a little more easy to draw as it is rectangles and not circles! But still maybe a bit too ambitious at this stage.
I do like the aesthetic though. Unsure if the shelves are fixed or adjustable. Could make a great feature

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After deliberating the other shelving designs I was inspired by, I have settled on this one. I still get the wooden materiality, texture and irregularly spaced shelves.
The backing board would be made of reclaimed lighter coloured timber and the shleving could be powder coated steel in the colours the design students selected as the branding colour.
More for decorative purposes than anything else.
Have asked Megan how to fix the shelves to the backing.

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I have selected Tessa's concept to move forwards with as I like her geometric cocoon design and think the colours will be easy to work with.