#lalava

[kaliarda]

Lalavaworkshop

[zyandrushka]

"Y la otra noche que pude morir en tus brazos asfixiado y esa espuma que dejas fluir por fuera de tus labios, no nos equivocamos" #LaLava #PetrovaLife #zyandrushka #findevacaciones https://www.instagram.com/p/BsTd1mil_1R/?utm_source=ig_tumblr_share&igshid=tjdhnkn7pb8o

[hatsampixie]

..If you’re thinking about Mandark’s sister then I’m not sure. I’ve never met her. I don’t know what she looked like.. But other than that.. YES.

"She was.. Sh-Short, with pigtails.. and wearing a tutu.." Robo-Dex flinched as he heard a creepy ghostly laugh of a little girl echo through the halls.. as well as a voice whispering something in reverse: "..ereh llits m'I"

[optikes]

Sopolemalama Filipe Tohi     b 1959, Tonga. Lives & works in New Zealand

Haukulasi (1995-2021) wool, mixed media

A     I believe lalava patterns were a mnemonic device for representing a life philosophy. They advocated balance in daily living and were metaphorical and physical ties to cultural knowledge.

The work of tufunga lalava Sopolemalama Filipe Tohi redefines the traditional Tongan form of binding or lashing known as lalava. Alongside coconut sennit, Tohi uses multicoloured wool – a key industry for his adoptive home of Aotearoa New Zealand – bridging ancestral knowledge with a contemporary approach.  

‘Lalava uses coconut fibre ropes to bind together the framework of houses, to join a canoe to its outrigger, to create tools as well as for a myriad of other uses. Lalava patterns were also frequently used as mnemonic devices that enabled chiefs and tufunga (cultural experts) to pass knowledge from one generation to the next. In this way lalava also binds people and communities together.

Binding and wrapping also enabled the creation and marking of sacred spaces. These ideas have evolved into a contemporary practice within the Pacific region for wrapping/decorating spaces to mark significant events. These visual markers are direct references to ancient patterns that assert Pacific identity.’

Tohi speaks about the structure of lalava aligning with the double helix of DNA, the blueprint for life, as well as with constellations in the night sky that guide navigation. The visual language of lalava is a way of telling stories and passing down cultural knowledge.

Quoted text contributed by Karen Stevenson, Senior Adjunct Fellow, University of Canterbury, Christchurch, New Zealand  

[twink-between-worlds]

list five things that make you happy then leave this in the inbox of the last ten people that reblogged a post of yours! we’re spreading positivity today <3

ohoh hihi mama lalava!! sosorry this took so long ahh

1; iim no gogood at it bubut drawing makes me happy :3

2; tatalking to people makes us alall fefeel happy too !!!

3; rarambling. itit makes me hahappy bubut sosometimes i dudunno when to ststop tatalkin an i talk too mumuch...

4; um. mumusic :3

5; wrwritin stuff too eveven ifif we hava babad writin style ^-^

[bokettochild]

ohoh 🥺 wewed lilike to be papart ofof the lalava fafam if you'd havhave us 👉👈 —🍼

Of course!

Welcome to the family!!!!

[sioneioane]

Spatial Design III

Field Conditions by Stan Allen in Points + Lines, 1985 Field Condition article written by Stan Allen lectures about the experience and representing of space. Field condition is more about the development, experience, and portrayal of space and how we deal with space. While trying to extend our general translation of engineering thoughts, its emphasis is on a variety of undertakings by both craftsmen and designers that reclassify the connections amongst imperceptible and unmistakable, figure and ground, limited and endless. Stan Allen mention in his essay about “the convention of classic architecture dictate not only the proportion of individual elements but also the relationship between individual elements”. In this text, the writer talks more about the relationship between respective elements in space. This idea of respecting relationship between individual elements in a space relates to our spatial project. This semester I wanted to explore the relationship between humans and the atmosphere that surrounds us. I wanted to design a walkway with some design ideas inspired by Filipe Tohi. Filipe Tohi based his work and idea around Pacific Island art form of lalava(lashing) that was used for joining and binding materials together. Meters of colored sennit(kafa) were wound and tied so as to create distinct geometric patterns that were a well -established part of daily life. I believe lalava patterns were a mnemonic device for representing a life philosophy.

Site Visit

What is the importance of colours in relation to the Architectural World?

Numerous hypothetical research work in various orders of learning have managed the subject of colour, its properties, frameworks, and connections. Colour is significantly more than just a layer of paint on a surface, or an instrument of enhancement. It is a fundamental component of plan, and the most expressive, by the importance it passes on, and the mental consequences for the watchers. Colour is a basic component of our reality in the regular habitat as well as in the architectural enviroment. Colour constantly assumed a job in the human transformative process. The earth and its colours are seen, and the cerebrum procedures and judges what it sees on a goal and emotional premise. Mental impact, correspondence, data, and consequences for the mind are parts of our perceptual judgment forms. Subsequently, the objectives of shading outline in a design space are not consigned to embellishment alone.

For this Semester, I want my design to reflect the idea of Colour Complex and relationship between spatial practices and colour, colour as integral to materials, applied to materials, embedded into materials and colour as immaterial.

One of the readings called “Importance of Colour in Interior Architectural Space on the Creation of Brand Identity”, Alnasser addresses the theoretical study behind the idea of colour in relationship between spatial practices. Colour is firmly identified with frame and might be one of its essential properties. Much the same as structures what's more, shapes have their own measurements and measures, hues additionally have their measurements also, physical properties, which will be managed in this work to investigate the likelihood of essentially applying them as indicated by specific specializations. Distinctive hues communicate with one another on logical, basic, and creative bases, as they have their claim frameworks and connections. (Alnasser2013)

Artist Model Filipe Tohi

Examples of Filipe Tohi’s work

Filipe Tohi is also known for his sculptures, Tohi defines lalava as the ‘intersection of two strings that form patterns as they spiral up and down. Without both strings (lines) there are no patterns, both must go together’ Looking at these designs one finds a balance that can be equated with male and female; the lalava becomes a metaphor for the ways people and cultures interact. It is this notion of balance — of the interaction of two entities that so intrigues Tohi. He has attempted to demonstrate this in his models of the lalava designs. Expanding the patterns into three dimensions allows the viewer to see the geometric nature of the patterns, and more importantly to see them from multiple perspectives. Sculptures by Filipe Tohi

Filipe Tohi has always insisted that lalava offer a way of preserving and communicating information. He describes lalava as a ‘visual language’ that can convey ‘principles of cultural knowledge and history’ as well as ‘memories and experiences’. It has not always been easy, though, for audiences to access all of the information encoded in Tohi’s lalava. The patterns of his sculptures and drawings often seem to connote rather than denote - they remind us, with their artful arrangement of lines, of the seas and landscapes Tonga, but they do not obviously communicate specific information.

Weaving

https://artsandculture.google.com/exhibit/inspired-crafts-of-samoa-ichcap/WAJCX9ba-dwMLQ?hl=en

Architecture of Atmosphere by Mark Wigely

In the text “The Architecture of Atmosphere” Mark Wigley talks about the importance of atmosphere in the architecture industry and what atmosphere really construct in a design. “Likewise, the atmosphere of a building seems to be produced by the physical form” The atmosphere is something that brings life into a space or a place. In the beginning of the text, Mark Wigley indicate the fact that the atmosphere of a building is by all accounts delivered by the physical form. The physical form helps to create the atmosphere around a space or a place. Atmosphere alluding to the sensorial characteristics of a space, it insinuates a prompt type of physical discernment, and is perceived through our enthusiastic sensibility. Actually, the atmosphere in a given space or inside is particularly controlled by the way a space is utilized and our discernment of the space is to huge degree likewise what we encounter. In this semester, we were given a site that is based in Glen Innes for our project assignments. The site was Omaru River. Omaru River is waterway in Glen Innes that is now one of the most polluted river in New Zealand. When we went to visit the site, the atmosphere from this waterway was different from the others, because Omaru River is now one of the most polluted waterway in New Zealand, the atmosphere change. The smell of the site was unpleasant. A fresh air brings life into a place, it also compose a space to be alive, and because the smell or the air around Omaru River was muck, the place became dead and lifeless. 

Site Analysis

Auckland City has many different ethnic or national cultures mingling freely. It can also refer to political or social policies which support or encourage such a coexistence. Important in this is the idea that cultural practices, no matter how unusual, should be tolerated as a measure of respect. I wanted to highlight different cultures on my sit analysis, each colour represent different cultures moving around the city. 

Design Concept

Research Context

     “We understand colour in much the same way that we understand the shape of the earth. The earth is round, but we experience it as flat, and act on it according to that practical perception of flatness. Color is light alone, but it is experienced so directly and powerfully that we think of it as a physical entity. No matter what we may understand about the science of color, or what color technology is available, we believe our eyes. Color problems in the design industries are solved with the human eye. Designers work with color from the evidence of their eyes”. (Holtzshue, 2012)

Holtzshue describes how we experience colour in our everyday life. Colour is a tangible observation, and as any tactile discernment, it has impacts that are representative, cooperative, synesthetic, and passionate. This undeniable rationale has been demonstrated by logical examination. Since the body and brain are one element, neuropsychological viewpoints, psychosomatic impacts, visual ergonomics, and colours mental impacts are the parts of shading ergonomics. These being outline objective contemplations that interest adherence to secure human mental and physiological prosperity inside their man-made condition. The colour specifier/creator has the assignment of knowing how the gathering of visual incitement, its preparing and evoked reactions related to the hormonal framework, delivers the best potential outcomes for the welfare of individuals. This is of most extreme significance in differed conditions, for example, restorative and mental offices, workplaces, modern and creation plants, instructive offices, homes for the elderly, remedial offices, et cetera. Each inside themselves having distinctive assignment and capacity territories.  Colour plays an important role in our everyday life, I mean colours has numerous impacts in our regular day to day existences. We have figured out how to react to specific hues in certain ways. For instance, red implies alert/blood/ stop.

Holtzshue describe colour as light (Holtzshue, 2012). The connection among light and architecture happens unavoidably. Light, contingent upon how it is utilized and how it can change the spatial setting. It can influence a space to appear to be wonderful or unpalatable, light likewise plays with scale or it could be utilized basically to feature components inside a space. In my experience with light and colour, these two components gives life to a space nor a place, it makes places more pleasant, agreeable, inhabitable and noticeable. Peter Zumthor in his book called Atmosphere, he mention that

    “the light on things, is so moving to me that I feel it almost spiritual quality. When the sun comes up in the morning- which I always find so marvellous, absolutely fantastic the way way it comes back every morning – and casts its light on things, it doesn’t feel as if it quite belongs in this world.” (Zumthor, 2006)

Zumthor addresses the idea of light or colour and how it impacts us in our regular day to day existence. Light or colour helps makes that magnificent climate inside a space. Zumthor utilizes the daylight early in the day for instance of light that gives us life. At the point when that sun comes up in the morning, when I open the curtains and the light from the sun hits my face, that lights brings euphoria and fervour. It brings new life, new day and new me. We've all experience some tough occasions previously we go to bed however when we wake up and that sun ascends once more, it implies it's another day, disregard what happened yesterday and proceed onward.

Alnasser also mention that there are various perspectives in characterizing hues and their developments. The physicist characterizes colour to be not just a property of things, of surfaces, or spaces, yet additionally that inclination realized by specific sorts of light that can be seen and deciphered by the brain(Alnasser,2013). In addition, Alnasser highlighted the importance of colour and light to the human eye and how we experience it. Colour has the intensity of communicating sentiments and feelings.

Fort Lane at Night time

Experimental Design

Rough Design context (Walkway)

Renders

[apocalypto12related]

Describe Tyler in 1-5 words. GO!!!

Tall. Handsome. Nice. Mesmerizing. Perfect.

[anonsally]

Photos from Day 3 in New Zealand: Wellington and the contemporary art section of Te Papa Museum

If you missed it, you can read about that day here.

Top row: Wellington landmarks I saw on my way from my hotel to Te Papa Museum, which was also the conference venue. There’s an unexpected sphere suspended above a grassy plaza between a public library and what might have been the old city hall? In the background you can see the “broken” pyramid representing New Zealand, with the pedestrian City to Sea Bridge behind it. It featured in the Lovely Little Losers video “TOWN”. The second photo is a detail of the City to Sea Bridge.

Row 2: Two pictures of the room where most of the pōwhiri ceremony was held (the first taken during it [with the morning sun shining onto the carving of the sun!], the second taken later in the day to show more of the intricate carvings).

Row 3: “Lucky Dip 5” by Ani O’Neill (crocheted art); “Everything in its right place (arrangement for seventeen colour groups 17/51)” by Helen Calder (those are strips of dried paint).

Row 4: “For Future Reference” by Helen Calder (also made of dried paint); “Kanohi kitea” by Ngataiharuru Taepa (an exploration of Maori carving using non-traditional methods and materials: this is a digitally rendered wood carving painted with lacquer. YELLOW!). 

Row 5: “Haukulasi” by Sopolemalama Filipe Tohi (riffing on a tradition of lalava patterns that were once used as structural bindings for canoes and beams in houses, made of coconut fibre; these are made of wool yarn); a Fijian bark cloth by an unknown artist.

[please-click-on-recaptcha]

Week 5 - Binding Spaces: Lalava Draw a series of drawings in response to the Lalava workshop and patterns

[raselafsaofia]

Lalava Residency - The University of Auckland

"Lalava Residency - The University of Auckland" https://www.auckland.ac.nz/en/on-campus/life-on-campus/pacific-life/fale-pasifika/lalava-residency.html

[kaliarda]

link - dm to sign up

[hatsampixie]

An AU where Lalavava comes back to haunt Mandimatronic.. In the form of a haunted springlocked suit.

(This is also inspired by Springtrap from FNAF 4)

After Lalavava's gruesome death (Aka.. the Bite of '98), Animatronic Mandark wanted to make sure that Mandark's Parents never found out, and so, using his science skills, he created a robotic suit for Lalavava that had wires within the head that would function as replacement nerves and vessels for her mangled frontal lobe.. And jumpstart her brain so that she would be kind of alive.

But all the while, her dead body would be in the suit, decaying as time passed.

The first attempt at reviving her seemed to be a success, though she seemed to have no memory of what had happened..

But the experiment went wrong, and the locks within the suit impaled her, making her injuries horrifically worse.. blood spilled everywhere.. And she died a slow and painful death, shrieking in helpless agony.

..And Mandimatronic left her mutilated body there, in a dark part of the lab where his creator Mandark never goes, leaving her to rust and rot as the years went by.

But many years later, that came back to haunt him.. Lalavava's spirit was not happy at all.

After gaining a hold of the vessel she once had, she was now basically an undead cyborg, filled with years of restless hatred and anger.

And her lust of revenge fueled her with the rage of a killer.

She wanted revenge, and she wanted it badly.

[bokettochild]

we arare nonot techtechnically part ofof the fafamily i dont ththink bubut rered doesn't buburn grgrilled chcheese :0

alalso hi mama lalava :3 hohow are yoyou? <3 - 🍼

Doing pretty good, Legend!

Also, this is totally a you choice (or y'all choice?) but you're welcome to the family if you like! I mean, I'm already Mama Lava for you, it's just a matter of whether you'd like to be counted or if you're more comfy otherwise <3

As for the grilled cheese, it's good to know not everyone here burns the delightful cheese bread :)

[allison-monza]

Small sketch on Mandy and Olga (Lalava)

[johnaavenaaaa]

“Filipe tohi’s work is based upon the ancient Pacific Island art form of lalava(lashing) that was used for joining and binding materials together.” His work inspired me to build a design element that could symbolise the Pacificas way of art. Coloured sennits were often used to create distinct geometric patterns. He believes that lalava patterns were a mnemonic device for representing a life philosophy. 

“Lalava patterns advocated balance in daily living and were metaphorical and physical ties to cultural knowledge. By changing the scale of lines I seek to intrigue the viewer with a manipulation of space and pattern, introducing them to a "first level" and creating a desire to discover more about what they see. My work transforms the technology of the past into a modern representation of identity and experience. By using the patterns established by lalava, I express a Polynesian heritage with metaphors for that speak to the entire community.” This design element aims the same idea of intriguing the viewers to create a desire to learn more about what they see. The idea came from the patterns established by lalava and is converted to a more modern and sculpture like object.  http://www.lalava.net/