Filigree Submissons

Lara

This work has allusions to stone-work, weaving, snow, rain and fields. The design has a sense of solidity.

This work has allusions to cycling, cogs, rain, rivers, landscape, knitting, braids and wire-link. This contemporary abstract design is friendly and welcoming.

This work has allusions to taniko, weaving, diamonds, roads, rain, snow, gardens, fields, mountains, plowed fields, jewels, sparkle and shine. The motifs interlock, and may represent different things to different people.

This work represents different cultures coming together with motifs interlocking, which have aspects found in design elements found throughout the world and NZ. eg. classical (ancient greek/roman); taniko; chinese.

This work represents different cultures coming together with interlocking motifs that have aspects found in design elements found throughout the world and NZ. There are also allusions to jewel, rainbow, snow, rain, fields, gardens and weaving.

This work has allusions to the mechanical/motors, knitting, tiki, cycling, rivers, lakes, mountains, linkups and connections.

The work has allusions to weaving, taniko, diamonds, roads, rainbows, snow and rain. The playful, abstract design represents connectivity through the interlocking motifs which may have different meanings to different people.

Marie and Paul

Waipa is made up of various streams and currents that provided food, transport and kept communities connected.

The designs below represent water and the movement of stream, peat lakes, lakes, rivers. Embedded in the name Te Awamutu (the end of Manga o hoi stream) water is a fundamental source of life. The designs connect to modern living across the Waipa landscape with Karapiro and Waikato River which then leads out to the sea , and to the world.

These designs can be refined with engineers and architects.

Net - inspired pattern ( Hinaki - weave) used to catch Tuna and fresh water crayfish.

Christine

Our meeting house'

• Representing the faade of a marae
• A stylist representation, created in a pointalist' design, or pop art' style.

This is no longer a place to get books out. This is our modern day meeting house. This is where:

• Mothers with toddlers meet and sing
• Creativity abounds
• New hobbies start
• People connect with home via the internet
• In one space, every member of our family can be doing something different, but we are together
• We seek a quiet refuge
• We see the world, in one place, through books
• We seek a quiet refuge
• Intergenerational chance meetings occur
• School holiday and activities bring laughter and educate.

Cindy

Traditional Maori thinking presents us with three sources of knowledge.

First there is the experience of our senses. Secondly there is our understanding of what lies behind our sense experience. Thirdly there is the experience we have, particularly in ritual, of our oneness with each other and with the past.

These three sources of knowledge are spoken of as the three baskets or kete of knowledge brought done from the heavens by Taane.

The idea is to use kete weaving patterns on the library (done badly in my picture! ) which representationally links the future knowledge that people will get from the library with the past 3 kete of knowledge, and links the present people of NZ with the Maori people of the past.

There should be 3 weaving patterns used on the building to represent the 3 kete.

Hannah

Line arrows representing knowledge, learning etc, join up parts of Waipa District - connecting people, places, ideas, minds. Pirongia and Kakepuku are represented by the triangles. The awa flows thorugh in curves against the hard angles.

The world' is represented at the end as a curve radiating back out. The curves or waves from the far end serves as background emanating back to the start. The line arrows converge at the centre of the world.

Kathy

The koroi, the fruit of the Kaihikatea or white pine, is the image I have chosen to represent this area for the following reasons:

• This tree, which is an ancient Jurassic survivor and the tallest in the New Zealand forest, is unique to lowland areas like the Waipa district.
• It naturally grows in groups which seems to symbolise the social aspect of a library.
• The Kaihikatea is very much part of our history, the seed being used as an important Maori food source, and the wood for canoe building and later for butter boxes in this dairy rich area.
• A fruit or seed is the embryonic plant, suggesting potential and development - great to represent books and the knowledge they bring to people of all ages. (the form of the Kaihikatea seed is very unusual and recognisable).

I feel this design would highlight the importance of the Kaihikatea in its homeland', and its iconic seed, the future development of people and the area.

Jason

I have chosen to submit a group of images, each referencing communication, technology and thereby connectivity.

The images are copyrighted and used under license, similar to corporate logos and overall my submission examines ownership and value in regard to communication, ideas and art.

I find the differences between commercial value and creative value are interesting. There is diametric opposition between the two -commercial value often relies on standardised reproductions and global uniformity, while creative value is often related to innovation or originality. Unique has limited commercial viability, but sometimes has a profound effect on connecting people.

This conflict is representative of tensions in modern life: leisure vs. work, wealth vs. happiness, morality vs. reality, philanthropy vs. self-reliance.

The images are characters of the freeware fonts Webdings and Wingdings and their license is acquired with the purchase of various Microsoft products. Their value has been assigned - however an original image is only assigned value once there is a market for its consumption.

I propose that the appropriation of some aspects of this type face as artwork is no more a breach of copyright than a commercial sign using Arial or Comic sans fonts. However if required minor changes could be made to each image to ensure there are no legal issues. This treatment would further confuse ideas of originality, homogeneity, ownership and value.

The specific layout of the images (perhaps one per panel) is not critical - but some compositional consideration would be needed.

I hope you like my work,

Jason

Jenny