Praxis - Dominik Maschek

Praxis: A visual research essay on my personal design practice and position within the field of Landscape Architecture

Dominik Maschek Note: All of the following images, diagrams and other graphic materials are my own unless otherwise stated.

Acknowledgement of Country

Contents

I would like to respectfully acknowledge the Traditional Custodians of the land on which I have undertaken this project , the Wurundjeri Woi Wurrung Peoples of the Eastern Kulin Nation, and I pay my respects to their Elders past, present and emerging.

Visual Research Essay

“Historically, landscape has been used as a disciplinary tool to facilitate the control of land and to naturalise colonial hegemonies, including the cultural framing of landscape through art and architecture.” writes Dang (2021, p. 1).

Community of Practice Mapping....................................................................................................................................................6-7

Statement of Intention...................................................................................................................................................................4-5

Reflection on Community...............................................................................................................................................................8-9 In this way, landscape as a discipline “...not only reflects social and political power relations as a symbolic aesthetic medium; it is itself an instrument and agent of power.” (Dang 2021, p. 1) I therefore take on the responsibility that comes with my own position within the power structures inherent in the field of landscape architecture and commit myself to an ongoing process of decolonising my practice as way forward.

Reflection on Mapping Process...................................................................................................................................................10-11 Exercise 3 - Lens 1 (Zoom + Focus on Technique).....................................................................................................................12-13 Reflections on Technique ............................................................................................................................................................14-15

For this project, this process begins with acknowledging that sovereignty on this Country was never ceded. It also means engaging with First Peoples understandings of landscape (or rather Country), time and season.

Reflections on Language ..............................................................................................................................................................16-17 Exercise 5: Lens 3 (Focus on representation) ...........................................................................................................................18-19 Reflections on Representation ..................................................................................................................................................20-21 Trajectory ......................................................................................................................................................................................22-23 Reflection on Trajectory .............................................................................................................................................................24-25 References & Bibliography ........................................................................................................................................................26-27 Appendix: Community of Practice Mapping Iterations Community of Practice Mapping Iterations..............................................................................................................................29-54 Reflection on Community of Practice Mapping Iterations.....................................................................................................55-56

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Statement of Intention Broadly speaking I am interested in landscape architecture as a medium for social, environmental and personal healing.

For me (and for many others in the field), it has the potential to be a truly transformative process that can instigate positive change on a number of different levels and scales, from a personal level and local scale, to a global level and international scale. In this way it fascinates me and draws me further into world of opportunity that lies within the practice.

In a time where humans are becoming more disconnected from their ‘natural’ surroundings and each other, through addiction to digital technology, work-profit-orientated lifestyles, as well as reliance on unsustainable agriculture practices and resource extraction (to name only a few reasons), I see ‘landscape’ as holding many of the keys to reconnecting. Whether we choose to see it or not, landscape is the fabric that ties our lives and activities together; it is the backdrop and foreground, and if we allow ourselves to acknowledge it, it is an unmovable part of us, and we are a powerful part of it. In this way I also see landscape as a mirror, it reflects our values, our stories, history and the challenges that lie ahead of us as well the opportunities that these present.

For me, these challenges and opportunities come in the form of empowering and creating safe spaces (and design processes) for marginalised and oppressed peoples. They also come in the form of remediating damaged landscapes and helping to restore fractured ecosystems; and those of fighting climate change and creating healthy, resilient communities of plants and people alike. It might sound utopian or idealistic, but at its core, this is the reason why I practice as a landscape architect.

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Through my professional work, studies and ‘informal learning’ I have had the privilege of being exposed to both new and old ways of thinking that seem to make my ‘utopian dreams’ not completely unachievable. Most crucial among these ways of thinking for me is the notion of non-linear thinking, or perhaps rather the idea of circular thinking. In his book Sand Talk: How Indigenous Thinking Can Save the World, Tyson Yunkaporta explains “We don’t have a word for non-linear in our languages because nobody would consider traveling, thinking or talking in a straight path in the first place. The winding path is just how a path is, and therefore it needs no name,” (2019, para. 4). To me this statement characterises the ‘circular relationships’ that First Peoples in Australia and around the world have with ‘landscape’; relationships of deep respect, spiritual connection and reciprocity. While western thinking has for a large part been characterised by polar opposite relationships and behaviors, i.e. violence, greed and contempt for the environment and First Peoples, circular ways of thinking have more recently (re)emerged (or have perhaps been borrowed) in the form queering, rewilding, upcycling/recycling and of circular economy thinking. To me, these concepts suggest at a possible shift in cultural trajectory. Subsequently, exploring how I can decolonise and foster non-linear thought process in my design practice as well as interrogating the intersection of the aforementioned ‘movements’, forms the foundations for my design research practice and this course.

To further break down the ambitions I have for my personal practice, I am equally interested in interrogating perceived obstacles to the movements or ways of thinking outlined in the last paragraph, namely normative practices and aesthetics within the contemporary field of architecture. Through observing contradicting attitudes and policies in my professional workplace in local government (i.e. carbon reduction and re-naturalising strategies that are impaired by rigid maintenance regimes, council material palettes and preferences for ‘new, sanitised’ public landscapes’) I have identified the need to equip myself with both language, knowledge and ways to innovate against these constraints. I will begin undertaking this process by researching into my topics of interest at a conceptual level, thereafter analysing past personal and precedent projects and by testing graphic techniques through which they are communicated. In this way I hope to discover both effective new drawing/mapping techniques, as well as ways of working that allow me connect with landscape and Country in a closer, more visceral way.

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Community of Practice Mapping

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Reflection on Community The word ‘responsibility’ defines my design research practice, and in my final mapping I used this word to breakdown the complexity that comes with defining your way of working. Centering on this idea of responsibility, my community of practice is built around four axes, which I refer to as my Design Pillars (or values). These are Social Responsibility, Environmental Responsibility, Artistic Responsibility and Personal Responsibility.

Communities of practice have been formed around these design pillars, on the basis of both ideological and technical processes that tie into the core issues and concerns, which are visually dotted in a field around each pillar.

For example, in Social Responsibility a core concern is Reconciliation, which for me is bound to processes of truth telling and decolonising constructs of time and space. Tyson Yunkaporta’s Sand Talk is a key text in this community, articulating the idea that time is circular.

While the mapping still expresses an axis of sorts, I tried to move away from what I saw as a very colonial symbol (i.e. a cross), using biomorphic shapes to create ‘information fields’ and undertake a visual version of what James Corner refers to as a ‘drift’ mapping, where directions are taken at random, allowing room for undiscovered paths, connections and experiences to be revealed. Similarly, circles emanating from a central location within my mapping aim to create a circular rhythm and relationship between my communities of practice and my core design values.

I treat this final mapping as you would a graph produced through collecting and presenting raw data. It is a snapshot and incomplete in many ways, yet accurately reveals my priorities and self-positioning through its ‘weighting’.

Photo / 01 (above)

Sketch / 01 (right)

Chichu Art Museum (design by Tadao Ando).

Noashima, Japan. 35mm film shot on SLR Camera 2019.

Early visual exploration of my practice

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Reflection on Mapping Process While the experience was truly challenging, I found the process of mapping to be a very rewarding and useful design research technique for helping to identify and articulate my own communities of practice as well as a trajectory both within my professional work and masters program.

Two things that stood out to me are that it is actually quite hard to find out about other people’s processes or ways of working, and secondly that until now I have thought very little about the way that I work. Or, perhaps I am just only beginning to develop my skills in researching how my communities of practice work and which processes I would like to model my own practice after. In the past I think I have thought more about outcomes rather than process (process arguably being the most important part of design). This has lead to a somewhat unsustainable process at times steers me away from wanting to practice as a landscape architect (i.e. a reliance on computer software for drawing, modeling and even sketching).

Sketch / 02 (series - right) Written and visual exploratory process

While I found illustrator to be a really useful tool for iterating mappings and communicating my thoughts, I found equal value in hand sketching and note taking as a way of developing my thoughts and exploring ideas. When I felt stuck, often picking up a pencil and scribbling on paper would help move forward, no matter how messy or unreadable the scribbles would be. I think this says something about the way I need to approach future design and mapping exercises (explore with different techniques, mediums and materials to generate new knowledge within the field!)

KEY QUOTE “Kahn perceives landscape as a symbiotic action between the place and what is built there, but also as a process understood through the passage of time, through the transformation of the natural by means of architecture. In this sense, what is near us, what happens on the ground on which we walk, is a reflection of that passing time and of the metamorphosis produced as it goes on.” (Sandoval 2016, p. 86)

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Exercise 3 - Lens 1 (Zoom + Focus on Technique) Boerenhol’ [Park]ing

- Wagon Landscaping

Oh, Yoko - Seashore (Sprinkles' Ambient Ballroom)

Alter Flugplatz Kalbach Frankfurt am Main

- DJ Sprinkles (DJ, producer, educator)

- GTL

ES - DIAGRAM 1 (RECONSTRUCTING)

ES - DIAGRAM 2 (RECONSTRUCTING) 12

ES - DIAGRAM 3 (RECONSTRUCTING) 13

Reflections on Technique In this exercise I found it hard to research projects that focused on the verb ‘reconstruct’. It may just be the word I used, but after extensive research there seems only to be a small community within the platforms that I looked through. This made me think that while it is hard to find extensive precedents in this community, then perhaps it means that there is room for more rigorous academic research in this area?

Exploratory Studies (series - left) Diagramming technique

Another thing that stood out to me (and this added to the time it took to complete the exercise), is that projects can be viewed through a number of lenses or grouped by a variety verbs. One project is rarely defined by one verb or technique, as designing is such a rigorous and iterative process. Completing the exercise however has given me some ideas on how to refine my community of practice mapping (i.e. add new verbs such as ‘re-wilding’ or ‘superimposing’).

In regard to my own practice, the exercise has given me a more developed theoretical framework through which to position my project ideas. It has also provided me with key precedents that can be used to expand my interest in post-industrial design. Lastly, using the song of producer (as a different medium) has highlighted the possibility of using metaphors in design or applying technique from a another practice to landscape architecture (i.e. the subtle differences in meaning or process between the song I critiqued and the projects, could be used to further expand on the constructing or layering or uncovering history in landscape or beyond).

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Reflections on Language

Unsurprisingly, the communities built around my selected verbs, use them as ways to tackle and think about issues and opportunities that I am predominantly concerned with i.e. inclusivity, reconciliation and self, determination as well as biodiversity and climate change. This is why I was interested in these particular verbs. However, one way of thinking that I was not aware of was the connection between queering and conceptualizing climate resilient landscapes (by exploring binaries that exist within the ‘ecology attitudes’ and carefully and scientifically approaching exotic species as an opportunity to adapt to changing climates and landscapes.

In this exercise I focused on the verbs of: Reusing, Rewilding, Decolonizing,Sculpting, Layering and Queering.

The clearest typology that has emerged from my research into these verbs is the Post-Industrial landscape. This was most often associated with the verbs of re-using and rewilding. Secondary to this, queering seemed to be mostly associated with architecture, as well as urban public space, which I think this highlights the opportunity to explore what it means in rural, agricultural or other further ‘removed’ landscapes. Lastly, in my research on decolonizing, it became apparent that this most strongly relates to the notion of Country. For now, I will refer to this as a key typology, however I am very intrigued what the nuances within that concept may be, i.e. if there is a First Peoples term similar to typology, or whether this might fall into the realm of linear thinking. More to be learnt in this space!

There is a practicing community around queering landscape (in Naarm / Melbourne), which is exciting, one of which I am actually connect to through my undergraduate degree Studio 4: Designed Ecologies. It will be interesting to look further into this community as a move forwards in my masters, and look at the history and lineages in this community.

There is also a prominent community of practice in Naarm, Australia and internationally, which centers on decolonizing. Lastly, there are also a community around all the other verbs I focused on, however my research here mainly took me across international borders, with there seeming to be a stronger, clearer communities around rewilding and re-using in Europe (which exceptions of course i.e. Kyle Bush in Melbourne being one), and evident communities around sculpting in the USA (i.e. Noguchi, Khan etc.). This is not to say that there aren’t local communities in Australia that integrate the latter verbs, into their practice. I just need to research further.

Lexicon Adaptive re-use Aesthetic entanglements Agency Biomorphic Composite Cultivating Decolonizing Deconstructing Dissonance Fabrication Fait accompli First Nature

Fourth Nature Grafting Hegemonies Inter-cultural Juxtaposing Layering Metabolizing Orography Phenomenological Pluralistic Primordial Queering Re-assembling

Re-claiming Reconfiguring Reconfiguring Reindigenizing Repository Re-purposing Reusing, Rewilding Sculpting Second Nature Superimposing Telluric Third Nature

KEY QUOTE “As the team name indicates, Descombes and his team proposed to superimpose a new river on top of the existing situation, rather than restore the old river. This strategy led to a very interesting transformation project where different perceptions of nature are exposed and confronted.”

(Clemmensen 2014, p. 59)

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Exercise 5: Lens 3 (Focus on representation)

ES - TECHNIQUE 2.2 (COLLAGING / LAYERING)

te s t in g

ES - TECHNIQUE 2.1 (COLLAGING / TEXTURISING)

ES - TECHNIQUE 2.2 (COLLAGING / LAYERING)

ES - TECHNIQUE 1 (CHARCOAL / LAYERING) Figure 2: Alter Flugplatz Kalbach Frankfurt am Main. GTL, n.d., digital.

Figure 3: Wynyard Commons. Landlab, n.d., digital.

Figure 1: North Reach: SOM Redering of proposed changes.

Wild Mile Chicago, n.d., digital.

ES - TECHNIQUE 2 (COLLAGING / TEXTURISING)

ES -TECHNIQUE 1.1(CHARCOAL/LAYERING)

ES - TECHNIQUE 3 (SCULPTING / MODELLING)

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Figure 4: Red Turtle Sketch-Render. Michael Dudok de Wit, n.d., digital.

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Reflections on Representation Through researching representational techniques, it has become evident to me that there is real diversity in how my communities of practice convey their ideas and process visually. I would almost go as far saying that there is not a community that solely uses one technique. However, at the same time, I understand the value in researching further into technique and the communities that can be formed around suites of techniques, or perhaps ‘steps in process’.

Generally speaking, I have come to notice that some practices seem to place more emphasis on ‘artistic technique’, it almost sits in the forefront of the design process, whereas others put more emphasis on the technical documentation process. In my opinion both are equally important and both approaches can achieve outstanding results. More specifically, I have noticed that projects that deal with history, rewilding, or post-industrial landscapes, often use layering and collaging. While I hadn’t thought of this before explicitly, I think this makes sense as it ties into the notion of juxtaposing the concept and character of time in landscape, (something that I am definitely interested in pursuing further in my studies!). Moreover, projects which seem to focus on landscapes and buildings that aim to trigger an emotional response i.e. of nostalgia, familiarity, or even sadness, often include a technique early in the process that is raw, unrefined and textured.

Exploratory Studies (series - right) Exploring representation/emotional effect

I can now see the value in the techniques of connecting people to landscape (through curating an emotional response) as well as in restoring damaged landscapes through creating layered imagery.

KEY QUOTE “Texture is a quality of both the material world of landscape and the virtual world of drawing. Therefore the significance of texture relative to drawing landscape is the way it prompts the memory and triggers the imagination of both author and reader alike.” ( Mazzeo 2012, p. 182)

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Trajectory 22

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Reflections on Trajectory Through iterative mapping and completing visual and physical explorative studies and observing their physical, emotional and psychological impact on me, while also observing their varying abilities to effectively communicate my design ideas, I have been able to gain a comprehensive understanding of the ways in which my communities of practice work, but also of the ways in which I would like to work in the future. Here are some formative thoughts from my research and mapping: • Thought 1: Mediums which helps to create atmosphere in drawings (i.e. charcoal) bring forms to life before they are built.

• Thought 2: Working with clay allows us to connect with the earth upon which and with which we are designing.

• Thought 3: Hand drawing helps us connect designs to their site’s and help us give meaning (or consciousness) to construction details.

• Thought 4: Working with texture triggers our memory of the textures we see in everyday life around us, particularly plants, rocks, soil.

Sketch / 03 (right) Later visual exploration of my practice

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I now feel equipped with folders of readings and research material that specifically relate to my areas of interest, I have graphic tools which I will continue filling my research into and critique based on my design pillars and their potential to help me with my future masters research projects.

Through mapping my design research practice, I have defined four key values which will underpin my ongoing practice as a landscape architect and designer moving forward. I can now consciously focus on these values, as interrelating priorities, or I can consciously focus on them individually (if needed). However, as a result of a my mapping, my main focus from now will be on how my design pillars relate and interact with each other, and how I can find a balance between them within my practice.

The mapping process has also helped me uncover two possible thesis themes for my Design Research Projects A and B. Through reflecting on past and current professional projects and through researching language, precedents and techniques, the relationship between normative and binary aesthetics in landscape with ecology and rewilding movements has emerged a specific field of interest.

Similarly, the relationship between normative technical design practices in design (i.e. computer based design, drawing conventions etc.) and the aforementioned movements (as well as with mental health) has also emerged as a field of interest. To elaborate on this last idea, through researching and exploring more traditional, tactile drawing techniques (i.e. drawing with charcoal, building a sketch timber model with offcuts of cedar timber – included late into my work), I have identified an area that I have not heard much or read much about, being the ways in which tactile design processes can positively influence our designs and at the same time act as a form of healing through connecting us with the earth and encourage movement and feeling.

KEY QUOTE “While in Western paradigms land is considered an abiotic medium on which to grow and build, Indigenous concepts of Country are much more holistic. We regard Country as kin and as having agency, while also being a place of healing, a place of belonging to which to return. Country connects us with the Dreaming, our ancestors and the generations to come. The rights and responsibilities associated with Country are eternal and cannot be sold,bought or traded. We have duties, rights and obligations to keep it healthy;in return, Country takes care of us. In this paradigm, we exist as equals with plants, animals and insects; we are all kin, with roles to play in maintaining the health of the system. In this respect, our world view is highly relational,focusing on interconnectedness and ideals of reciprocity and shared responsibilities. The practice of caring for Country – effectively landscape design and management, but also much more – is integral to the expression of culture.” (Salvatori 2021, para. 6)

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References

Bibliography

• Clemmensen, T 2014, The management of disso-

• Mazzeo, A (ed.) 2012, Representing Landscapes : A

• Dang, T 2021, Decolonizing Landscape, Landscape

• Salvatori, K 2021, Indigenizing practice: Decolonizing

nance in nature restoration, Journal of Landscape Architecture, vol. 9, Issue 2 pp. 54-63.

Research, vol. 46, Issue 7, pp.1004-1016.

• Dudok de Wit, M n.d., Red Turtle Sketch-Render,

digital, Digital Art, viewed 15 October 2021 <https:// www.digitalartsonline.co.uk/features/motion-graphics/interview-michael-dudok-de-wit-on-directingstudio-ghiblis-new-film-red-turtle/>

• GTL, n.d., Alter Flugplatz Kalbach Frankfurt am Main, Landzine, viewed 15 October 2021 <https://landezine.com/alter-flugplatz-kalbach-frankfurt-am-mainby-gtl-landschaftsarchitekten/>

• Landlab, n.d., Wynyard Commons, digital, Landlab,

viewed 15 October 2021 <https://landlabblog.wordpress.com/>

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Visual Collection of Landscape Architectural Drawings, Taylor & Francis Group, Florence, Italy.

our approach to design, Architecure AU, viewed 15 October 2021<https://architectureau.com/articles/ indigenizing-practice-taking-too-much/>

• Sandoval, J, 2016, Louis I. Kahn, the telluric landscape and clay models, Universidad de Sevilla, pp. 84-89

• Wild Mile Chicago, n.d., North Reach: SOM Reder-

ing of proposed changes, digital, Wild Mile Chicago, viewed 15 October 2021 <https://www.wildmilechicago.org/>

• Yunkaporta, T 2019, Indigenous perspective lays out a path to save the planet, disruptr, viewed 15 October 2021,<https://disruptr.deakin.edu.au/society/ indigenous-perspective-lays-out-a-path-to-save-

• Fooks, M, 2021, Queering landscape architecture,

• Magowan, F, 2014, Empowering art: reconfiguring

• Gammon, A, 2018, The Many Meanings of Rewilding:

• Porter, L, 2018, From an urban country to urban

• Langton, M, 1996, What do we mean by wilderness?

• Rees, R, Pedersen, F, 2021, Indigenizing practice:

deconstructing binaries, Landscape Australia, viewed 15 October 2021 <https://landscapeaustralia.com/ articles/queer-ecologies-review/>

An Introduction and the Case for a Broad Conceptualisation, The White Horse Press. Environmental Values, vol. 27, pp. 331–350

Wilderness and terra nulius in Australian Art, The Sydney Papers, vol. 8, Issue 1, pp. 10-31

• Larrivee, S, 2011, Playscapes: Isamu Noguchi’s De-

signs for Play, Public Art Dialogue, vol. 1, Issue 1, pp.

53-80.

• Lyn, F, Dulaney, R, 2009, A Case for Drawing, ARCC Journal of Architecture, vol. 6 Issue 1, pp. 23-30

narratives of trauma and hope in the Australian national imaginary, Open Arts Journal, vol. 4, pp.

211-223

Country: confronting the cult of denial in Australian cities, Australian Geographer, vol. 49, Issue 2, 239246

Documenting Indigenousprojects for publication, viewed 15 October 2021 <https://architectureau. com/articles/indigenizing-practice-documenting-indigenous-projects-for-publication/>

• Wainright, O, 2020, The case for ... never demolishing another building, the Guardian, viewed 15 October 2021 <https://www.theguardian.com/cities/2020/ jan/13/the-case-for-never-demolishing-another-building>

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Appendix: Community of practice mapping iterations

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Exercise 01 - Gather (Iteration 1)

Source: https://theplanthunter.com.au/gardens/jacsemmlers-mad-perennial-garden/

Source: https://www.pikist.com/free-photo-xcrcw

Source: https://www.brightwalldarkroom. com/2020/10/15/nausicaa-of-the-valley-of-the-wind/

Source: https://www.nationalparks.nsw. gov.au/camping-and-accommodation/ campgrounds/saltwater-creek-campground

Source: https://onehourout.com.au/melbourne/ mornington-peninsula/glamping/glamping-and-24-7bathing-now-happening-at-peninsula-hot-springs/

Source: https://landezine.com/alter-flugplatz-kalbachfrankfurt-am-main-by-gtl-landschaftsarchitekten/

Source: https://landezine.com/jardin-des-joyeux-by-wagon-landscaping/

Source: https://twitter.com/LostInFilm/ status/1359128170365091841/photo/1

Source: https://oneworld-publications. com/boys-will-be-boys.html

Source: https://www.foreground.com.au/culture/from-anurban-country-to-urban-country-confronting-the-cult-ofdenial-in-australian-cities/

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Exercise 2: Connect (Concern / Iteration 2)

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Exercise 2: Connect (Technique / Iteration 3)

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Exercise 2: Connect (Action / Iteration 4)

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Combined Community of Practice Mapping (Iteration 5)

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Combined Community of Practice Mapping (Iteration 6)

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Exercise 3 - Lens 1 (Zoom + Focus on Technique) (Iteration 7)

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Iteration 8

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Exercise 4 - Lens 2 (Focus on Theory + Language) (Iteration 9)

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Exercise 5: Lens 3 (Focus on representation) (Iteration 10)

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Iteration 11

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Iteration 12

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Community of Practice Mapping (Final Iteration)

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Reflection on Community of Practice Mapping Iterations

KEY LEARNING - COMBINED COMMUNITY OF PRACTICE MAPPING (ITERATION 6) (page 39-40): Having worked mostly in monochrome in my previous mapping iteration I discovered how colour-coding can help to give clarity to your thinking as well as your ability to communicate it.

KEY LEARNING - EXERCISE 3 - LENS 1 (ZOOM + FOCUS ON TECHNIQUE) (ITERATION 7) (page 41-42):

KEY LEARNING - EXERCISE 01 - GATHER (ITERATION 1) (page 29-30): From this first mapping exercise I uncovered my personal interest in tactile forms of media, I.e. I enjoy the crackle of listening to a record/vinyl and enjoy the grain in film photography. I think this traces back to texture in landscape!

KEY LEARNING - EXERCISE 2: CONNECT (CONCERN / ITERATION 2) (page 31-32):

In this seventh iteration I was confronted with the challenge of reformatting my mapping iteration due to the inclusion of graphics (my exploratory studies). I stripped my communities back to the essential, which clarified key precedents.

KEY LEARNING - ITERATION 8 (page 43-44):

From this second exercise I consolidated a variety of projects and grouped them based on their key design values.

In this eighths iteration I took a step back from my previous diagramming and just focused on consolidating quotes and thoughts on language. This helped to prepare me for the next iteration and highlighted the importance of stepping back!

KEY LEARNING - EXERCISE 2: CONNECT (TECHNIQUE / ITERATION 3) (page 33-34):

KEY LEARNING - EXERCISE 4 - LENS 2 (FOCUS ON THEORY + LANGUAGE) (ITERATION 9) (page 45-46):

From this third exercise I consolidated the knowledge that design values can span across disciplines.

In this exercise I integrated my research and exploration of language with formative results. I started to see clearer links between key themes (i.e. the links between art and reconciliation and the links between art/sculpting and environmental issues such as rewilding). Through defining words and careful formatting (line and colour), my thoughts also begin to be clearer, which for me consolidates the value in personally defining the words you regularly use in your practice!

KEY LEARNING - EXERCISE 2: CONNECT (ACTION / ITERATION 4) (page 35-36): From this fourth exercise I consolidated the knowledge that communities of practice exist across multiple disciplines.

This learning forms the basis of my Combined Community of Practice Mapping.

KEY LEARNING - EXERCISE 5: LENS 3 (FOCUS ON REPRESENTATION) (ITERATION 10) (page 47-48):

KEY LEARNING - COMBINED COMMUNITY OF PRACTICE MAPPING (ITERATION 5) (page 37-38):

In this tenth exercise I again stepped back from my usual diagramming and treated it as an exercise in presenting images.

From this fifth exercise I was able to begin seeing connections between my individual communities of practice as well as between them and myself. Of particular interest were the intersection generated from the ‘connection lines’. As an experiment I actually printed and scanned this mapping iteration to explore the textural effect (I will explore this more!).

KEY LEARNING - ITERATION 11-12 (page 49-52):

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In these last two iterations I tried to loosen up and let my intuition and body help me find my final mapping iteration!

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