Studio 1 - Semester 1 2021 - Hanny Paing

EXPRESSION_ through activity

Hanny Paing 3814629 ARCH1342 Reflective Practise & Curation

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Chapter one: Conscious

Chapter two: Repetitive

Contents: Expression through Activity

Chapter three: Meditative

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4-6 Artifact 24 Epilogue 26 Glossary &

Key. Statement

Bibliography

Drawing

Personal reflection Peer/Tutor comment

Glossary

Free Flowing

Linear

Rigid

6-7

8-9

10-11

12-13

14-15

16-17

18-19

20-21

22-23

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Expression as Artifact.

The creative process of every indivudial is a highly personal and responsive event. This was made evident through the unique perspectives each person has. Engaging in the intiutive dialogue that was let to flourish through reflection, I found myself actively asking the question ‘Who am I?’. The Whole Earth Catalog 1968’ was an inspiring piece to start.

Graphically beautiful and powerful artifact.

It represents the power of the individual, the paradox of man’s creative potential. It was a catalyst in my realisation of how I wanted to represent myself, therefore my work.

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Peers saw my work as dynamic, abstract, with a key focus on graphic elements. I realised that it is through expression internally that I comunnicate externally. Through the initial layout of expression, upon reading ‘Building a Wilderness’ on Louis Le Roy I added the layer of activity. A repeated critique from peers was asking how do you define expression? It is in fact a very broad term. When adding the layer of activity it became far more personal and comprehensive. Expression as artifact. As a cohesive, critical and open body of work. To create with expression through activity is to go through stages of critical thinking and reflection. To be aware that you know nothing but to persevere, to be curious. To express is to be raw, vulnerable and naked. To create with expression is to be purposeful. Expression does not need to have a fortified end narrative but a lofty one.

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Chapter One: Conscious Being conscious of ones work means to be hyper aware of the activity in which one is engaging with. The act of being conscious reveals the notion of striving towards a particular objective or ‘end’ product. Through conversations with peers both within class and out of it, I discovered that my most rigid-linear works were produced when I held doubt, I was thinking first, making second. The body of work within this chapter all are a product of conscious activity.

According to Leroy, almost always in his production of artifact, it was through the banal and thoughtless activity that was catalyst in his most abstract and intellectual creations.

Between immersive and purposeful - your description of direction vs. no direction.

Really cool addition to your first artefact i like the exploration of the previous categories and translating that into feelings, says a lot about your style and what you enjoy more when comparing the work.

Section: Study of water garden and Ryokan in original Kyoto landscape

Section: Study of water garden and framing of the State Library in new Melbourne landscape

Section: Study of The Zen Garden and framing in orginal Kyoto landscape

Section: Study of the Zen Garden and city streets in new Melbourne landscape

Do you think that there is a cross-over for you between these groups? You have aspects of abstract work in each group, what is it about the last group of work that makes you feel a ‘cautiousness’.

Compare to your last iteration from mid sem, do you find grouping through modes of thinking helps you make sense of your work more than physical attributes?

Conscious_Rigid

Base plan_Territories Design Studio 1

Top right: The project required deep exploration into a chosen precedent project. I chose to do the Hoshinoya Kyoto Resort.

Through these drawings qualities of conscious and doubtful expression of ideas is reflected. I was unsure of where I wanted to head, whether what I was doing was correct.

Bottom left : The journey into a completely foreign and new subject. How do I adapt what I have previously learnt to this whole new environment and retain my personal flair. Doubt creates conscious work, this peice when looking back at it shows times and dedication, knowledge of what to do but with no particular excitement or curiousity.

Elevated section drawings _Theoretical frameworks 1

The resulting sections communicate the city as a zen garden. The strict linear geometry of the city’s building forms act as borrowed scenery against the placed Japanese Flora, an ode to the exotica introduced post-colonisation to the Royal Botanic Gardens. Framing the State Library of Victoria which is an epicentre of knowledge against the reflective garden, acts as a symbol of connectivity between the east and west.The Australian 2016 Census revealed that for the first time since colonization, the majority of overseas-born Australians came from Asia. More than ever, Asian investors are contributing to the growth of Australia’s cities (Walliss, Rahmann & Ricardo 2018, p, 1).

Caption Image Credit:

Caption Image Credit:

Permeability_Territories Design Studio 1

Flatness overlay_ Territories Design Studio 1

The term rigid, defines immovable, stiff, inflexible. What is apparent is that the drawings within this grouping do not impose high hierachy within the overall body of work. They seem frail in comparision to the other groupings.

Water registers_Territories Design Studio 1

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Flatness water variation_ Territories Design Studio 1

I really like your chosen categories and the way that they express your feelings when undertaking each project. i would be think it would also be interesting to speculate how you might re draw specific tasks with complete clarity and certainty,for instance; what ‘i am water’ may look like under the free flowing style of drawing.

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Conscious_Linear

A few comments I had about my previous arrangement of artifact was the ambiguity of the reasoning behind grouping.

Was it based on expression of space or expression through doing?

Collage eidetic plan_Assemblage Studio 1

Permeability outline_Territories Studio 1

There is a quality to this work that is very interpretative. Others looked at my work and would perhaps group the drawings due to its very apparent exterior presence. The results are a very personal view of my own work and my active expression behind them.

The similarity within the drawings of this grouping - freeflowing, although done unintentionally show a clear relationship to eachother through use of dynamic linework and usually have a strong sense of hierachy. This is perhaps because the ideas I was trying to capture through the drawings were open to an array of possiblities and conclusions with a strong sense of unending directions.

Reworked collage plan_Assemblage Studio 1

There is a quality to this work that is very interpretative. Others looked at my work and would perhaps group the drawings due to its very apparent exterior presence. The results are a very personal view of my own work and my intention behind them.

Flatness outline_Territories Studio 1 The drawings within 'linear' itself appear to be quite controlled and detailed. This reflects how the ideas moved in a linear fashion. Very clear, succinct, which is also captured in the placement of actual images within the artifact.

Notes from class: prompts from Milli and Katya

A peer asked me to speculate how I think I would redraw specific drawings in difference categories to further emphasize the difference within them. If i wanted to include a version of the 'I am Water' drawing from 'freeflowing' into 'rigid'. How would I go about that? I would try to change my thought processes into categories, I realise that sometimes my most rigid work is created from uncertainty and overworking.

Drawings here demonstrate the difference between 'freeflowing,' 'rigid,' and 'linear,' intent. Section drawings are straightforward, with space for creative ideas but compared to the section drawing in 'free flowing', they are much more of a controlled and less energetic outcome. Compared to those in 'rigid' they have more exploration within them.

Upon observing others work I had an urge to try and categorise my artifact into a more concise and clearcut groupings - ie plan, section, mapping. I realised that this is not something that would successfully connect the way I work. I chose to further delve into movement as the intention behind it - what, why, how.

Rather than movement through a space.

A few comments I had about my previous arrangement or artifact was the ambiguity of the reasoning behind grouping.

Was it based on movement within a space? Was it movement of my thought processes?

Notes from class: prompts from Milli and Katya -What is my intention?

-Why do I go about it in this way? - the reasoning -How is this shown?

-Speculate how I might redraw specific tasks.

What is movement in reference to?

-Does placement of drawing correspond to category?

Intention.

-Did not want to conform to a straight category.

-Convey the way you think through working

- What is my intention?

- Why do I go about it in this way? - the reasoning - How is this shown?

- Speculate how I might redraw specific tasks.

What is activity w in reference to?

- Does placement of drawing correspond to category?

Expression - Did not want to conform to a straight category.

- Convey the way you think through working

The term rigid, defines immovable, stiff, inflexible. What is apparent is that the drawings within this grouping do not impose high hierachy within the overall body of work. They seem frail in comparision to the other groupings.

I think its really great how you visually organised your work, with the free flowing all spread out to your more rigid work being very organised and well spread on the table. would you say when you can move throughout a space you work was more dynamic? how could you carry some of this style into the linear and rigid sections when completling work down the track?

- Kinnan

The final chosen artifact reflects the intention behind my thought and processes of this body of work. Through feedback and critique from both tutors and peers I realised I have a very intuitive way of working. I explode my thoughts out on paper through visual and graphic means as I find that is the easiest way for me to communicate my ideas effectively and with conviction.

Permeability water variation_Territories Studio 1

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I see your 'freeflowing' movement even throughout your 'linear' sub-category & slightly in the water experiments under the 'rigid' sub-category.

There is a certain freedom that I see throughout your entire work, which really reflects your title 'movement'. It clearly shows how you design, think & make.

- Gabrielle

Hanny, are you able to clarify for me, the movement is in reference to?

Thought? Water?

Design process? - Andrew

I really like your chosen categories and the way that they express your feelings when undertaking each project. i would be think it would also be interesting to speculate how you might re draw specific tasks with complete clarity and certainty, for instance; what 'i am water' may look like under the free flowing style of drawing. All round the drawings show great detail and care taken in all forms of movement. Tom :)

SStudent critique of first iteration.

OrOriginal Artifact diagram - 'Movement'

Component 1 Mid-sem submission_Reflective Practise and Curation

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Conscious_Free-flowing

The similarity within the drawings of this grouping - freeflowing, although done unintentionally show a clear relationship to eachother through use of dynamic linework and usually have a strong sense of hierachy. This is perhaps because the ideas I was trying to capture through the drawings were opento an array of possiblities and conclusions with a strong sense of unending directions.

Urban water systems study_Territories Studio 1

Base conditions_Territories Studio 1

Above: Tim Ingolds thinking through making diagram.

Duisburg Nord study_Territories Studio 1

Contours water variation_Territories Studio 1

Contours overlay_Territories Studio 1

A few comments I had about my previous arrangement or artifact was the ambiguity of the reasoning behind grouping.

Was it based on expression of space or expression through doing?

Contours outline_Territories Studio 1

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Section Collage 1, light leaf beds, natural deposits_Assemblages Studio 1

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Chapter Two: Repetitive It is through thoughtless and repetitive action that ideas and intellectual inspiration can be crafted (Raxworthy 2016). The time spent in the work within this chapter is more linear. An idea of what to do, but rather than purely thinking first- there is the submission of the human body. To create one must believe in the strength and capability of the human mental and physical psyche. The body of work present here represents the growth of ideas and understanding through repeated learning. Through coming back again, seeing the artifact grow stronger as the mind starts to intuitively engage in the act of repetition and thus, familiarisation of environment.

Leaf experiment 5_Assemblage Studio 1

Leaf experiment 4_Assemblage Studio 1

A peer asked me to speculate how I think I would redraw specific drawings in difference categories to further emphasize the difference within them. If I wanted to include a version of the 'I am Water' drawing from 'linear' into 'rigid'. How would I go about that? I would try to change my thought processes into categories, I realise that sometimes my most rigid work is created from uncertainty and overworking.

Leaf experiment 1_Assemblage Studio 1

Drawings from assemblage how do you think about them in relation the the work from territories ? The groupings make sense consider the order of how these drawing tell the story if how you work

second iteration shows refinements and consideration for the associated reading task. the renaming helps clarify groupings of work.

Below: Merri Creek elevated section drawing_ Environments 1.

It was through familiarising myself I was able to grasp the concept of what the intention of learning was through a repetitive activity of completeing the series of elevated sections. I started to understand their purpose, what they were communicating in terms of landscape.

Leaf experiment 6_Assemblage Studio 1

Repetitive_Rigid

Image Below: This was my state of artifact at its third

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Leaf experiment 2_Assemblage Studio 1

stage. Movement to Intention to Expression. The categories that defined it were immersive, purposeful and cautious. When adding the layer of activity it prompted me to think about how I work rather than just what I think. The final artifact becomes meditative, repetitive and conscious.

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Se Th Th er lo hi of ta th as el sy sil

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Leaf experiment 3_Assemblage Studio 1

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Expression iteration 3_Reflective Practice and Curation

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Scale 1:100

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Repetitive_Linear

Phenomena 1052_Assemblage Studio 1

I am water diagram _Territories Studio 1

Phenomena 1456_Assemblage Studio 1

The drawings within ‘linear’ itself appear to be quite controlled and detailed. This reflects how the ideas moved in a linear fashion. Very clear, succinct, which is also captured in the placement of actual images within the artifact, done in a repetitive fashion.I was grounding myself to learn.

Proposed conditions _Territories Studio 1

Occupation 1702_Assemblage Studio 1

Phenomena 0713_Assemblage Studio 1

Occupation 0713_Assemblage Studio 1

Drawings here demonstrate the difference between ‘freeflowing,’ ‘rigid,’ and ‘linear,’ intent. Drawings are straightforward, with space for creative ideas but compared to the drawings in ‘free flowing’, they are much more of a controlled and less energetic outcome. Compared to those in ‘rigid’ they have more exploration within them.

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Occupation 2000_Assemblage Studio 1

Base conditions _Territories Studio 1

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Repetitive_Free-flowing

“Thinking through making, rather than making through thinking. Nothing is ever finished.

Every artefact is a way station, on its way to something else. It may be the next artifact to be made in the series or it may be that artifact will go on in due course to become something else.

And likewise, every thought is just a passing moment in a process of thinking that continuously carries on.” (Tim Ingold)

Phenomena 1702_Assemblage Studio 1

strengthening mind - repetition as building blocks

Phenomena 2000_Assemblage Studio 1

Occupation 1456_Assemblage Studio 1

Eidetic collage plan, manipulation of leaf beds_ Assemblage Studio 1

Thinking of my an aspect of my design process this way, creating the new iteration of espression as ACTIVITY became clear.

Through observation and empathetic listening of others work I had an urge to try and categorise my artifact into a more concise and clearcut groupings - ie plan, section, mapping.

I realised that this is not something that would successfully connect the way I work. I chose to furtherdelve into expression as the activity behind it - concious, repetitive or meditative. Rather than expression through a space. This tapped into the mode of downloading (Brearley 2010).

Occupation 1052_Assemblage Studio 1

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Section collage trial, Manipulation of leaf beds _Assemblage Studio 1

Section collage 2, Manipulation of leaf beds _Assemblage Studio 1

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Chapter Three: Meditative

How I viewed my own work process using Ingolds method of 'Thinking through making'

The Portfolio as 'Movement'.

Representational of the ways in which I work, the ways in which I choose to flow, communicate and address my bodies of work.

The diagram of 'Movement' reflects the rigid works as those that come full circle.

There is a concise ending and not much exploration which reflects in the quality of the work.

One reaches a meditative state when completely at a state of calmness and immersion. The expression of work within this chapter therefore represent the works created when at a comfortability or eager curiousness.

The work represents the power of mans creative potential when tapped into the right frame of mind and engagement. The act of meditation is at its core, thinking through making. Making first and letting that guide where the creation leads. In doing this, I beleive it results in my most enigmatic, poetic and inspired works.

To reach this state cannot be done without the latter two before it. Everything is interlinked. Creation is an endless cycle of learning, admitting you know nothing, and letting that ignite the process.

Relationship drawing, leaf deposition and human movement_Assemblage Studio 1

Tell us more about your reflections on each of these expressions of activity. What felt good/bad? Which one did you get the most out of?

Linear groupings are clear thought processes that move in a systematic fashion. The work is not so much inspired but known with a final obsolete objective.

Hoshinoya Kyoto is a testament to the ability of man’s artistry to curate spaces that offer the feeling of seclusion through the landscaping of its gardens and vegetation. The second of the Hoshinoya resort projects, the Kyoto project opened in 2009 and was built upon the former home of a wealthy merchant Ryoi Suminokura, who died in 1614. The riverside retreat is burrowed on the embankment along the Oi River in Arashiyama.

"The artifact is the materialisation of thought" Tim Ingold

To be free is to create and articulate without constrictions, to feel comfortable in expressing ones own style. To flow is to be at ease. The overarching narrative I want to reflect is related to flow - the three modes as defined by Henrik Schlutz, a process of searching. All drawings within freeflowing bounce off one another, are continously inspired by the other.

Ancient forests of Arashiyama are often referred to as ‘Yugen’, which translates to ‘the sense of the mysterious quiescence beneath all things.

The world this imagery evokes is a muted, tranquil world in which nothing remains immutably fixed’ (Tsubaki 1971). The magnificence of the retreat lay in its Zen gardens, deeply rooted by Japanese beliefs of Shintoism, the idea of human harmony with nature and forest spirits, and Buddhism, the idea that life is suffering. The gardens are spaces that encourage its occupants to look outward, to reflect.

Highly influenced by my attraction to the layout and artifact of 'The Whole Earth Catalog 1968,' I would like to further capture the order within chaos for my own portfolio. The motifs, the strong visual imagery.

Component 2 Mid-sem submission_Reflective Practise and Curation

what is your favourite medium? which do you feel is the strongest? why?

When I was asked this question I had a nolstalgia for the past. I realised I tend to undermine myself and alot of my work through having been in situations of constant critique. I have always been into painting, drawing, visual expression as a way to communicate my internal feeling. My favourite medium would be to hold a pencil or paintbrush and let that guide my design process. I feel strongest when I can use that rather than trying to be precise or mathematical in my thinking.

Left (From top to bottom): Fig. 2 Arashiyama (Hoshinoresorts 2009) Fig. 3 The water garden (Hoshinoresorts 2009) Fig. 4 The Zen Garden (Hoshinoya 2009) Fig. 5 Scenic spot for tea(Hoshinoya 2009) Top Right: Fig. 6 Hoshino Ryokan circa 1930s (Hoshinoresorts 2013)

Hoshinoya historical study_Theoretical Frameworks 1

Proposed condtions_Territories Studio 1

Meditative_Rigid

Collation hatch experiment_Territories Studio 1

“Critical reflection is about being aware of the complexities within a situation and the different perspectives from which one situation can be viewed. It is not about being cynical or judgmental” (Brearley, 2010)

Collation final_Territories Studio 1

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Urban Nature study_Territories Studio 1

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Meditative_Linear

Caption Image Credit:

The drawings within this grouping all rise from tapping into a state of meditative expression.

There is still an element of linear thinking - I was given a comment that asked if I could group certain drawings into two sets. In my mind it is clear when I am thinking in a rigid, linear or free-flowing path. My linear works are almost inspired but something confuses and muddles them. A slight doubt.

The key components that make up the Hoshinoya resort can be broken into four parts: Building form, water bodies, curated gardens and vegetation. Combined, they make up the points in which a person can reflect, through looking outward (see Fig 12). ‘Scenery in a garden can be characterized by view settings and viewpoint settings. A view from the viewpoint wherein an observer views the scenery is composed of visual objects and their compositions, especially landforms. And a viewpoint is composed of both landforms and the building’ (Yamaguchi, Nakajima & Kawasaki 2008, p, 656). The importance of framing a view and thus constructing an experience, highlights similarities to the Picturesque qualities of 18th and 19th century England.

The resort is divided into 6 main complexes of strict square geometric form (see fig 11). The application of materials such as moss, roof tiling and pebbles aim to emulate the traditional spatial qualities surrounding a Zen Garden (Rahmann 2021). Incorporating building form against vegetation to frame a view is attempted through the concept of borrowed scenery. One is encouraged to feel at peace, immersed in nature, whilst gazing towards the crafted sights of the mountainous ranges and expansive views over the gorge. How can a tranquil garden be placed into the bustle of an urban city? Can the essence of a Zen garden dominate and influence a hierarchical society that values individualism rather than the emphasis on group harmony that influences Japan’s spatial and cultural fluidity?

Left (From top to bottom): Fig. 9 Hoshinoya Resort Kyoto:Water bodies study Fig. 10 Hoshinoya Resort Kyoto: Curated Gardens study Fig. 11 Hoshinoya Resort Kyoto: Building form study Fig. 12 Hoshinoya Resort Kyoto: Looking outward study

Eidetic construct drawing trial_Assemblage Studio 1

Top Right: Fig. 13 Hoshinoya Resort Kyoto: Vegetation study

Hoshinoya drawing study_Theoretical Frameworks 1

all of your drawings are really expressive and/ or dynamic. either through the composition or line weight. it feels like you’ve put a lot into everything.

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Reworked collage view_Assemblage Studio 1

Notational relationship experiement drawing 1_Assemblage Studio 1

Notational relationship experiement drawing 2_Assemblage Studio 1

Reoworked plan of added iteration_Assemblage Studio 1

I go into anything with a resolve to do my best. No matter the outcome I believe it is the journey through it that is truly valuable.

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Meditative_Free-flowing

what are the bricks and what are the forests? what are the gaps then, the process?

According to Le Roy the intellectual aspects came from the openness to think while one completes the banal activity of stacking. Hard-work, labor, productivity, the potential of the human body to make. Liberation of labor from monetery value. A collaboration between human and nature (Raxworthy 2016).

Molineria leaf, parallel veins, with long, textured, fibrous leaves. Fibres from the plant have been used for making nets.

P. Superbum has adapted to the poor light conditions within the rain garden, by leaving the ground and modifying its root system to grow in the air (Kirkpatrick 2021).

Shield fronds protect the plants roots and takes up water and nutrients.

They absorb water and nutrients through their fronds.

They grow without soil. Staghorns are generally epiphytic meaning they grow on trees, or lithophytic meaning they grow on rocks (Liber 2016).

They are non parasitic to supporting plants.

P. Superbum also has large green leaves that increase the amount of C3 photosynthesis that can occur due to heightened surface area. This is due to their surplus of water, it being pumped out is not detrimental to them.

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Invasive root system

Up to 28cm in length

Yellow to white central midrib

Variegated veins

Lanceolate leaf, bunches around the branchlet. Slightly leathery. Luminscent deeplight green hue.

R. Caffra was one of these plants. The cultural significance of the Quinine tree is its representation of British Colonisation of Melbourne in 1835. The tree was a heavily grown colonial tree, prized for its healing bark. Purified quinine then replaced the bark as the standard treatment for malaria (Achan 2011).

The Botanic Garden of Melbourne is a repository of exotic spieces of plants throughout the world, limited largely by climate, cultures subjected to colonisation collate here.

It is a harrowing reminder of land taken and controlled.

4mm long

Flowering branches White, waxy flowers are porduced at the ends of branches.

They are sweetly scented, attractive to bees, wasps and butterflies. Clusters of dense hair at the flowers mouth.

Flowering from May - October.

Fruiting branches Large clusters of fruit, very spherical in shape dark green when young, black and wrinkled when mature.

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Culural Significance of Quinine tree_Envrionments 1

Quinine Tree 24

Hardy evergreen, briefly deciduous, naturally grows in swamp forests, high indicator of ground water.

Cultural significance During the 19th century, the United Kingdom commenced on an aggressive takeover of the world. London’s docklands were the epicenter of global trading. Wharfs were full to the brim with exotic cargos from distant lands.The East India Company was at the heart of this activity (EIC 2018). They were a private company that dealt with alot of trading through South East Asia. They enslaved the indigenous and harvested tropical and rare crops such as coffee, tea, rubber, pepper.

Rauvolfia Caffra

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Up to 30m tall

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Roots need drainage, prone to root rotting.

The rootball holds the plant in place.

Eidetic construct drawing final_Assemblage Studio 1

M. Capitulata is a bunch forming herb. An evergreen perennial plant. Native to Eastern and Southern Asia, Indonesia and North Australia. It is a species of flowering plant.

EPIPHYTES The term epiphyte directly translates from Greek to (epi = on top of; phyte = plant). They derive their nutrients from the air, water, dust and debris that surround them.

Platycerium Superbum

MONOCOTS Defined as a single seed leaf.

A form of angiosperm that evolved about 50 million years ago (Kirkpatrick 2021). Monocots are able to be distinguished from DICOTS through looking at their parallel veined leaves.

Palm Grass

Monocots and Epiphytes_Envrionments 1

Up to 1m tall

Up to 2m tall

Staghorn Fern

Small yellow flowers sprouting at base. Star shaped monocotic leaves.No scent. The fruit is edible.

1cm long

“From shade to shadow. From a dormant form to an active shape. From a noun to a verb. A premise turned into intent.”(Pais 2016)

Antler fronds, large bifureated leaves that grow from the centre of the plant.

Molineria Capitulata

I realised through staying true to myself, that I work best when I am expression myself through a meditative process. By engaging in critical thoughts with peers I wanted to ensure I remained true to my personal self. That is where I can produce my mose enigmatic work, work that I can present and support with vigour. This realisation gave birth to generative listening, an excitement to explore the open future.

Reworked section with added iteration _Assemblage Studio 1

what state is your strongest? which is your favourite? be vulnerable and stick to your guns.

Process model _Assemblage Studio 1

Process model at transformative stage _Assemblage Studio 1

Image to right: Whole Earth Catalog 1968 diagram.

The representation of mans creative potential through a cosmic and graphical potent lens.

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Epilogue A key narrative of my work that I realised through creation of artifact was, no matter the process, I don’t want to lose a sense of self or identity through safe reworkings. I enjoy critical thinking on how to adapt to chosen points highlighted by peers through attentive listening. This was evident with my final artifact diagram being an extension of previously explored. I had suggestions to perhaps be more literal and compartmentalise my work into plan, section or hatch but I chose to purposely avoid that.

Through reflective curation, I realised the way in which I work is quite fluid. The expression of the drawings is communicated both within the groupings and the way in which they have been represented. A strong hierarchy with the intention to express myself visually and with freedom. To continue my journey into Landscape Architecture, I will aim to challenge myself, inward and outward.

I will make it my personal objective to create bodies of work that reflect me expressively but do not result in a lower quality of work. Growth and creation is never an end product but a journey of self .

Hanny Paing 10/05/2021

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Glossary Iterate: To reach new conclusions and ideas through the activity of repetition. This includes the engagement in dialogue with peers and tutors aswell as the constant reflection on ones own body of work to reach developed artifact.

Process: To breakdown ones thinking through a series of steps. The act of compartmentalizing while striving for answers to the queries of how we work. The active intent of making and creating in the present.

Critical thinking: Reaching a certain understanding through various steps. To think critically is to be aware of how much we dont know and being open to give and receive in order for growth in how we think and conceptualise. It is not judgemental but all encompassing.

Artifact: Artifact as a portfolio, as an insight into the minds of each individuals unique way of processing, expressing and communicating reflected through their design process.

Catalyst: A moment of provoking thought that results in an inspired action for artifact.

Downloading: A mode of listening that confirms what we already know.

Attentive listening: Moments of realising others perspectives and how they differ from ones own.

How we can grow from listening.

Empathetic listening: Taking the time to try and understand the way others work, putting myself and looking through another lens to observe the differences in design processes.

Generative listening: A form of taking in reflection that gives inspiration and growth to the future. How one may work through past experience and gather knowledge. A prospective and curiousity led approach that remainds open ended.

Bibliography Institute for Northern Culture. (2013, November 1). Ingold -- Thinking through making [Video].

Youtube. https://www.youtube.com/watch?v=Ygne72-4zyo Brearley, L., Thompson, K., Sista Girl Productions Staff, Tolo, J., & Sista Girl Productions.

(2010). Gulpa Ngawal. In Indigenous Research Methodologies (pp. 11–17).

Pais, A. P., Unfolding potentials (within and across), pp. 20-28 (2016) Slow reader : a resource for design thinking and practice / [eReserve]. Astrid Vorstermans, Valiz.

Eliasson, O., Ellingsen, E., & Werner, C., From the past with love, pp. 135-137 (2016). Slow reader : a resource for design thinking and practice / [eReserve]. Astrid Vorstermans, Valiz.

Raxworthy, J., Building a wilderness with Louis le Roy, pp. 98-109 (2016). Slow reader : a resource for design thinking and practice / [eReserve]. Astrid Vorstermans, Valiz.

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