{"id":{"repo_id":"auckland-tech","oai_identifier":"oai:openrepository.aut.ac.nz:10292/16761"},"canonical_url":"https://search.dev.ndltd.org/etd/auckland-tech/oai:openrepository.aut.ac.nz:10292/16761","repository":{"repo_id":"auckland-tech","name":"AUT University","base_url":"https://openrepository.aut.ac.nz/server/oai/request"},"display":{"title":"Turning Toward (The Space of a Name, a Grain, a Waterdrop)","abstract":"This practice-led research integrates spatial disciplines of jewellery, documentation, and installation. These modes of practice work to establish sea, atmosphere, and cosmos as more-than-human collaborators. The inquiry draws attention to their vast scales by materialising them in macro-structures (a grain of salt, a waterdrop). As a queer practice, witnessing opens worlds by making their intangible scales physical. Jewellery objects seed weathering events into otherwise paralysed architecture through ritualising, fluxing, and scaling methods. They operate as a bridge between body and building and emerge as biorhythm amplifying documents. A seeding methodology turns architecture towards ephemeral matter, reorienting and opening to the mercurial forces they attempt to keep out. This site-writing engages two primary locations: a seaside architectural workplace and biblical sister cities. Between them, their histories set in motion an affectionate turn toward objects, determining inexplicable life within them. Each site documents a life-sustaining, mutual affinity between salt, water, sea, and non-human (m)others. How might intangible, more-than-human scales be made into physical ‘documents’ through an object-based spatial practice? Could thinking through the scale of a waterdrop or grain of salt queer architectural fixity and reorient how we design, enter, and seed alternate rhythms within built environments?","abstract_html":"This practice-led research integrates spatial disciplines of jewellery, documentation, and installation. These modes of practice work to establish sea, atmosphere, and cosmos as more-than-human collaborators. The inquiry draws attention to their vast scales by materialising them in macro-structures (a grain of salt, a waterdrop). As a queer practice, witnessing opens worlds by making their intangible scales physical. Jewellery objects seed weathering events into otherwise paralysed architecture through ritualising, fluxing, and scaling methods. They operate as a bridge between body and building and emerge as biorhythm amplifying documents. A seeding methodology turns architecture towards ephemeral matter, reorienting and opening to the mercurial forces they attempt to keep out. This site-writing engages two primary locations: a seaside architectural workplace and biblical sister cities. Between them, their histories set in motion an affectionate turn toward objects, determining inexplicable life within them. Each site documents a life-sustaining, mutual affinity between salt, water, sea, and non-human (m)others. How might intangible, more-than-human scales be made into physical ‘documents’ through an object-based spatial practice? Could thinking through the scale of a waterdrop or grain of salt queer architectural fixity and reorient how we design, enter, and seed alternate rhythms within built environments?","abstract_has_math":false,"creators":["Eaton, Daniel"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2023,"date_issued":"2023","date_published":"2023","updated_at":"2026-07-27T18:45:53Z","subjects":[],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["hdl:10292/16761"],"render_values":[{"text":"hdl:10292/16761","href":null,"code":true}]}]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2023"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["hdl:10292/16761"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.other","label":"Dc Description Other","values":["This practice-led research integrates spatial disciplines of jewellery, documentation, and installation. These modes of practice work to establish sea, atmosphere, and cosmos as more-than-human collaborators. The inquiry draws attention to their vast scales by materialising them in macro-structures (a grain of salt, a waterdrop). As a queer practice, witnessing opens worlds by making their intangible scales physical. Jewellery objects seed weathering events into otherwise paralysed architecture through ritualising, fluxing, and scaling methods. They operate as a bridge between body and building and emerge as biorhythm amplifying documents. A seeding methodology turns architecture towards ephemeral matter, reorienting and opening to the mercurial forces they attempt to keep out. This site-writing engages two primary locations: a seaside architectural workplace and biblical sister cities. Between them, their histories set in motion an affectionate turn toward objects, determining inexplicable life within them. Each site documents a life-sustaining, mutual affinity between salt, water, sea, and non-human (m)others. How might intangible, more-than-human scales be made into physical ‘documents’ through an object-based spatial practice? Could thinking through the scale of a waterdrop or grain of salt queer architectural fixity and reorient how we design, enter, and seed alternate rhythms within built environments?"]},{"key":"dc:title","label":"Title","values":["Turning Toward (The Space of a Name, a Grain, a Waterdrop)"]}]}],"canonical_facts":{"dc:date.issued":["2023"],"dc:description.other":["This practice-led research integrates spatial disciplines of jewellery, documentation, and installation. These modes of practice work to establish sea, atmosphere, and cosmos as more-than-human collaborators. The inquiry draws attention to their vast scales by materialising them in macro-structures (a grain of salt, a waterdrop). As a queer practice, witnessing opens worlds by making their intangible scales physical. Jewellery objects seed weathering events into otherwise paralysed architecture through ritualising, fluxing, and scaling methods. They operate as a bridge between body and building and emerge as biorhythm amplifying documents. A seeding methodology turns architecture towards ephemeral matter, reorienting and opening to the mercurial forces they attempt to keep out. This site-writing engages two primary locations: a seaside architectural workplace and biblical sister cities. Between them, their histories set in motion an affectionate turn toward objects, determining inexplicable life within them. Each site documents a life-sustaining, mutual affinity between salt, water, sea, and non-human (m)others. How might intangible, more-than-human scales be made into physical ‘documents’ through an object-based spatial practice? Could thinking through the scale of a waterdrop or grain of salt queer architectural fixity and reorient how we design, enter, and seed alternate rhythms within built environments?"],"dc:identifier":["hdl:10292/16761"],"dc:title":["Turning Toward (The Space of a Name, a Grain, a Waterdrop)"],"dc:type":["Thesis"]},"updated_at":"2026-07-27T18:45:53Z"}