2021-10-15 fixed some broken links

Architecture and Jewellery ... Bohemian West Auckland in the 1950s

Gina Hochstein, University of Auckland 2018

Copyright: All images and photography within this thesis are owned by the author Gina Hochstein



It seems that the the human body and human scale are central to both architecture and jewellery. A student of architecture at Auckland University visited me and asked if I would be a collaborator for her design thesis.

from the Abstract
This design thesis looks at connections between jewellery and architecture. It culminates with the design of an artist-in-residence building on a steep slope in the Titirangi bush. The metaphor of the body as landscape and the brooch as dwelling underpins the thesis.

Jewellery and architecture disciplines were explored showing that both have links through the use of similar words and language.

Both disciplines underwent a history of incorporating similar aesthetic aspects.

Making-jewellery-as-research for the architectural design is discussed in two parts; the first informs the final design and the second focuses on making jewellery to convey architectural information about the building.

This thesis finds that the disciplines of jewellery and architecture incorporate similar histories, theories and aesthetics during the modernist movement and that relationships with the human body are of profound importance in both.

first we began at a beginning: metal and processes. Here we anneal to allow her to hand-work the copper.

then oxide removal with water-cooled tools.

et voila!
this little gem has now become the centre of attention when she returned after her thesis and continued making jewellery of her own.

now for an age-old technique, sand casting, when Delft clay is tamped into an aluminium ring and a model (a shape) is pressed into it and a second part is made.

The model is removed, metal is melted and poured into the cavity.

the casting is immediately available for removal from the sand.

making sheet metal take on a variety of surface textures.

a library of surface effects.


now we are ready for some more advanced jewellery-making.
A layered ring is started.

another layer is added.

the layers are cleaned, assembled and rivet holes drilled and aligned.

setting the rivets.

all assembly is by cold-joining.

a 3D print is pushed into sand and bronze poured into the cavity.

another piece is added to the bronze casting

'gemstones' are set here we have the (double shank) ring.

Scaling Up

Heat forming mild steel for a bracelet component

the bracelet

Now we get to the silicone mold-making and resin casting

and resin casting

grinding the resin

the tiara is displayed

elevation drawings given substance ...

... elevation earrings

Fibonacci's theorem was used to increase the scale of my jewellery.
Here's a rather large piece which might be right for the biggest item.

the sterling silver Stuckey House brooch

A complex relationship of 'wearing' can connect both jewellery and architecture.

design of a building

anodising titanium and niobium

to make colours

artist-in-residence building on a steep slope in the Titirangi bush



Brian Adam - www.adam.co.nz/bushjewellerytuition/graduates/gina/ - Auckland, New Zealand