Anna Zvezdinaanyazve@gmail.com

Small domestic environments have fascinated me as long as I can remember, I enjoy their thoughtful use of space and emphasis on efficiency. My personal projects feature themes of translation and transformation which spring from my hyphenated Russian-New Zealander identity.

Delivering quality and sincere service is of uttermost importance to me. Having worked in customer service for the last 12 years, I feel it is very important to do right by the client, creating ground for mutual respect and repeat business.

- Anna Zvezdina Bachelor of Design (Interior)

C O N T E N T S

4-7 Kitchen Design

8-11 Apartment Fit-Out

12-13 Furniture Design

14-15 Art Department

16-18 Moving Image

My clients have shown me that the right kitchen can make a difference between a great house and a truly great home, by improving their enjoyment of life.

It is a fascinating mix of necessity, function, and different dreams which often requires something very special - compromise. But an outside perspective is usually all that is needed to clarify and make the few choices simple. Then, balancing budget and family members wishes, appliance benefits, future-proofing and resale potential is possible and different for every project and family.

While working for Moda I took more than 25 kitchen projects from inception through to completion.

“I have appreciated all the help and support you have given. You have done a wonderful job and Moda are fortunate to have you on their team.“ - Noeline

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This project was realised to very tight deadlines, having started spontaneously not long before Christmas! It was later sold at the desired price - at least a third greater than prior to renovation.

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2512 to rangehood centre

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Anya Zvezdina

John Hill

Note: Design is made jointly by the moda rep and the customer

Floor cabinetsBenchtops

Wall cabinetsPlumbing Signature

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Cutlery, white, 600mm

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C-Door *C-Door *

Bi Fold System

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htop

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Fridge

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Change from sign off:

Kitchen Height 2100 with 60mm scribe.

Bulkhead to be built 2160 off the floor prior to install.

Panells, toe kicks and fillers oversized

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The only piece of furniture for which Carre-Benoit ever felt real affection was his solid oak filing cabinet. Here, at last, was something that was reliable, that could be counted on.

You saw what you were looking at and you touched what you were touching. He said that they were “the foundations of the human mind.” But one day he opened the drawers

to find that the maid has been using them as a place to store lentils, coffee and sugar. His reasoning cabinet had become a pantry. 1

-1 Gaston Bachelard. “The Poetics of Space.” Boston: Beacon Press, 1958. p77.

Philosophy of Living

This fit out of apartment No. 24 in the Courtville building built in 1915 on Waterloo Quadrant is inspired by Jean Luc Godard’s 1967 film ‘Two or Three Things I know About Her’. The floor plan reflects one’s temptation to follow expectations of normality but at once, the desire to escape these restrictions and to take a short cut. The clusters or what can seem like mountains of cabinetry, keep their secrets but when investigated are uncovered one by one. As their potential is realised openings become apparent and what is commonly covered or neglected (in terms of construction as well as psyche) is able to be explored and rooms begin to interact with new paths between them and boundaries are undermined.

Dining RoomSitting RoomBed Room

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1 Generic Perspective 1:21.4043

In his film-essay Godard comments on the modern way of life, the

consumerist society that has emerged since the 1950’s. It was incited

by the housing developments springing up in Paris, which were built

for profit rather than purpose. To call a place ‘home’ one has to

acknowledge its relationship to one’s self, an interdependency. This film

makes a link between the built environment and the integrity of one’s

character, it is the reason I chose the Courtville apartments. They are

a spectacular example of intelligent architecture sure of its character.

Closet - a place of secrets and of transformation it is between private and public realms. What can at first appear to be an excess of storage space points out the emphasis we place on possessions, and will probably prove accurate.

A bookshelf which pivots of the wall to act as a secret door, it leads from the bedroom closet into the sitting room. A smaller shelf, hinged onto the bookshelf swings out to serve as a desk.

The reading den takes advantage of the airy sitting room with its French doors leading out to the balcony to create air circulation and create a surveillance point in the heart of the homet

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Kitchen

While dining guests can choose to lounge on the second tier of seating (which is otherwise cabinetry) to interact with the street below. Despite the distance, the boundary between street and apartment begins to be tested this way. As the apartment dweller and guests gain an ability to gaze down onto the street, they are put on display, lit by interntal lighting they become an unlikely shop front to the pedestrians.

Godard hoped that through the film the audience may be able to see the structures that exist in society and therefore be better placed to take advantage of them.

In the tiny bathroom, necessities open via unexpected means.

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Is there a psychic/mental interior? - a territory

that accommodates and extends our thought

processes, one that is an image of us, of our

character. If there is, is it simply a reflection oft our

psychological interior or an engaged exchange

with environment influencing mental space

and mental space interpreting environment?

Furniture has been a long term passion of mine and building something as big as the ‘Accordion Shelf ’ (1800h x 1500w x 310d mm) was a challenge, both in managing to do it in my home, and due to the mass of materials required.

USED: RECYCLED PINE, CASTORS, HINGES,

A C C O R D I O N S H E L F

The only piece of furniture for which Carre-Benoit ever felt real affection

was his solid oak filing cabinet. Here, at last, was something that was reliable,

that could be counted on. You saw what you were looking at and you

touched what you were touching. He said that they were “the foundations of

the human mind.” But one day he opened the drawers to find that the maid

has been using them as a place to store lentils, coffee and sugar.

His reasoning cabinet had become a pantry. 1

-1 Gaston Bachelard. “The Poetics of Space.” Boston: Beacon Press, 1958. p77.

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I was responsible for realising 2 of 10 sets from plans, elevations and stylistic refferences provided. We were a team of 6 and we had 6 weeks for pre-production on site and shot most of the feature film in just 15 days. During production, art department team became stage hands; almost all of the sets were mobile and the rooms and their wall movements were scripted (often in shot and with actors). Sometimes we acted as safety officers, emergency prop care and performed as extras (pictured in black body suits on the right).

Directed by Sally Tran the feature length film is currently in post-production getting ready for its festival release.

T I M E S L O W - F E A T U R E F I L M

For this short film I sourced appropriate props and some of the costumes, all on a tight budget, then dressed the sites. The house we used was an hour out of the city so preporation was key. We had three shooting locations; busking in the city, beer in a bar, and a family home. I came prepared and dressed the sites as we had found sponsours product placement was an important part.

This short film was directed by Jon Waters and produced by Auckward Productions.

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P I X I E A N G E L - S H O R T F I L M

This animation portrays the development of ideas in my self directed research project which is featured on pages 8-10 of this portfolio. It unpacks the links between the brief, the chosen site and Godard’s philosophical film ‘2 or 3 Things I Know About Her’. This proved to be the best method of delivery to show how one idea flows into the next; contemplation of dynamics of apartment life - the contract between the cold street and warmly lit apartment windows and depiction of Godard’s themes.

EXECUTED USING: SLR CAMERA, ARCHIVAL DRAWINGS, AFTER EFFECTS, FINAL CUT PRO, PHOTOSHOP.

C O N C E P T A N I M A T I O N

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I N S T A L L A T I O N D O C U M E N T A T I O N

This installation was made for the same project about the Courtville building. But translated ideas found in Godard’s work into language of form and household this time. It was a play in openning up structures, when light would overwhelm the rest of the image a question of beauty is put forward - is that not what beauty is? Surprising detail, discovery and radiance.

EXECUTED USING: FINAL CUT PRO, ADOBE AFTER EFFECTS, SONY PMW-EX1 CAMERA, DOLLY, HMI MONO LIGHTS.

This was a pilot Digital Storytelling project for a Multidisciplinary Arts Gallery - MIC. We were funded by Auckland City Council and Mental Health Foundation of New Zealand to work with elderly residents of Blockhouse Bay. I played a pivotal role between the three organisations as I was the only person present at all stages of the project; out in the field working with the participants, editing the stories with them, rendering the results and reporting at the funders’ meetings. There was a lot of work put in to accommodate goals of each organisation within the one project.

Blockhouse BayLiving History project

Lives lived, lessons learned and laughter sharedOlder people’s storiestt

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Stories from the Bay

- Story of Ramon Opie*

Elizabeth

- Boating in the Bay*- Horse car- Sharks in the Bay- John Douglas Stark

Trevor

- Journey to the area*- The dress on layby- Wash-Day- Virtues of Yesteryear- Boys sewing- Embracing Grandparents

Melba

- The Story of Johnny’s mother*- Johnny’s love- About eggcups- The Library- Bricklaying

Johnny

- How the Church was built*- Development and the Depression- Double-Decker trams- Tram culture- The white frocks- Larrikins- The Open Baptist ChurchRuby

- Meander the market with Gail- Historical Society stall- Blockhouse Bay Historical Society- Lorraine Wilson’s story- The Lady with the dog chariot

From the Community

*Titles in black represent the DVD’s main feature presentation.

- Introduction by Marie Hull- Brown from the Mental Health Foundation of New Zealand*

D I G I T A L S T O R Y T E L L I N G

10 11

Stories from the Bay

- Story of Ramon Opie*

Elizabeth

- Boating in the Bay*- Horse car- Sharks in the Bay- John Douglas Stark

Trevor

- Journey to the area*- The dress on layby- Wash-Day- Virtues of Yesteryear- Boys sewing- Embracing Grandparents

Melba

- The Story of Johnny’s mother*- Johnny’s love- About eggcups- The Library- Bricklaying

Johnny

- How the Church was built*- Development and the Depression- Double-Decker trams- Tram culture- The white frocks- Larrikins- The Open Baptist ChurchRuby

- Meander the market with Gail- Historical Society stall- Blockhouse Bay Historical Society- Lorraine Wilson’s story- The Lady with the dog chariot

From the Community

*Titles in black represent the DVD’s main feature presentation.

- Introduction by Marie Hull- Brown from the Mental Health Foundation of New Zealand*

“Digital Storytelling” Refers to the then, emerging efforts to democratise film, usually taught in a workshop format. The organisers seek to impart basic film making skills to the participant to enable them to tell their own stories in the moving-image language; using any mixture of narration, music, photos, images, scans, video, and interview recordings and techniques. This is valued as a means to inject the skills into the community as the participants can then show others, to give a voice to communities sometimes perceived to be voiceless (minorities of any description). It hopes to empower participants by placing a high value on their stories and excite them by offering new communication methods.

The high quality of our footage inspired the funders to double the project in length and fund a full length DVD.

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Thanks to all the filmmakers for sharing their stories and to all those who helped make it happen including:

Gail Fotheringham, Marie Hull-Brown, Barbara Procter, Simon Raby, Anya Zvezdina, Dale Little, Blockhouse Bay Community Centre, Blockhouse Bay Historical Society, Blockhouse Bay Baptist Church, Blockhouse Bay Mainstreet Association, Deborah Lawler-Dormer, Emma Law, Josh Preston, David Rhodes, Te’Nika, Unitec Realisation Lab, Jason Horner, Amarbir Singh, the Department of Internal Affairs’ Digital Strategy, and Creative New Zealand.

F e e d b a c k : a n y a z v e @ g m a i l . c o m

T H A N K Y O U F O R Y O U R A T T E N T I O N