Sem 2, 2020 Representing & Remembering Places Jounarl
Do I agree or disagree with this authors approach? Are there some really notable quotes I could take away? Does the piece inspire any particular response in the way I am thinking about my Atlas and the recording of places?
page 02
Are there other things I have read or seen that relate to the topic?
page 03
Representing & Remembering Places Jounarl
Sem 2, 2020
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 1 SPACE & PLACES
08/03
Lecture1 Notes. Space & Places
• Representing = ways of documenting, presenting, recording (photography/mapping) • Remembering = capturing the dimension of change over TIME (historical/collective memory/sense of change over time & space) • “place”: - interrelating concept e.g. site, place, space, context, ground
page 04
• “site”: - sources of site research: • historical (general contextual cultural history/specific site history/ architectural and building history/ conservation study) • physical (climate/ geography/ botany/fauna&flora both above & below ground) , • representational (recording/drawing/mapping/photography) • meta-physical (imaginary-poetry/painting/memory/self-influenced understanding ) • economic (value/future value/development restriction) • social (occupants/social network that make up this place) • “space”: - related to human existence/human experience - definition: in which human dewell/work/think - sensory&physical thing - relationship between space & place based on lived/sensual experience recognizable place is created by memory & meaning
Sem 2, 2020 02 01 Place 02 Place 03 Space 04 Space
04
01
- architecture - anchor in space - fixing of a reference point in infinite space in a meaningful way - situation/location/interior&exterior - space as a cognitive/measured/constructed thing - scale/boundary/size/movement - space as a socially & culturally constructed thing - society’s different notion of inhabitation
Representing & Remembering Places Jounarl
03
• “Place”: - as a meaning location - has a physical loci but with memory/sensory attachment - interchangeable - transformation of a undifferentiated space into a specific place
- places made out of space by special event through the moment of people - map-making as a record of the transformation from unknown space into a place at a scale of history and geography - transformation of space into place at a micro-person scale through personal routine - place as a technical/constructed thing: setting up a habitable place (i.e. architecture) is constructed/unnatural - space is not always empty and nature - space has been culturally constructed - place has flexibility/stimulated by new technology
page 05
“ what begins a undifferentiated space becomes place as we know it better and endow it with value, the ideas of space and place require each other for definition. So from the security and stability of place, we aware of openness, freedom and thread of space, and vice verse.”
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 1 SPACE & PLACES
08/04
Reading Response In my own design practices, I always start a design project with site analysis. I believe it is important to primarily understand the existing local conditions, which then informs design strategies to deal with the problems that specific to the site. Otherwise, it will be a generic design solution. However, I also found that the way I analyze a new site is gradually becoming repetitive and narrow. For example, I always start with historical research, followed by analyzing the surrounding urban or natural conditions such as transportation/access/ landscape/view etc. Despite that these aspects seem to be the most commonly studied site conditions, I think it is not necessary to look at a site in such sequences. Thus, I would like to learn some new perspectives to look at the site throughout this subject. With such expectation, I found the following quotes from the Introduction worth dissecting and discussing: The potential exists to misrepresent a place by neglecting some aspect of it, and to create architecture with a flawed relationship to site through this neglect. ...But the potential fallibility and subjectivity in constructing a site through representation frame the process of designing architecture.1 There is no doubt that site analysis is a critical seeing process - the way we knowing a site should be informed by objective data and informations rather than the invented. However, from ‘knowing a place’ to ‘designing a place’, there is a intermediate stage called ‘reinterpretation’. The reinterpretation process requires designers extract meaningful information and apply personal perspective to process the information, which is subjective but creative and narrative at the same time. In Andrea Kahn’s reading, she also talks about “representation is not about depicting reality, but about making knowledge”2. So I think site analysis is more than showing what is there. In more details, site can be considered as an assemblage of varied facts, from which designers are meant to extract identifiable realities & rethink them, and then re-represent them as site analysis under certain manifesto or narrative. Such outcome can be considered as a sitebased design solution because it construct new knowledge and inspiration from the existing conditions.
History
etc
Site
Culture Transport-ation
Demography
page 06
Landscape
1
NB, Week1 reading Introduction
2
Andrea Kahn, Defining Urban Sites, 289
representation construct new knowledge under certain manifesto
History Culture
Analysis Demography
Sem 2, 2020
Kahn also talks about how interactions between the site and its surrounding urban context could potentially unbounded the site from its legal perimeter.3 I think here the author is referring to a ‘impact boundary’ rather than ‘physical boundary’. It reminds me of a project called the Shed in New York. Like the following diagrams shows, it designs a mobile “shed” to change the site condition and its performing function flexibly. I can imagined in the early stage of site research, the design team must value the openness of the Hudson square in the heart of such intensed urban context. So instead of occupying the entire site perimeter by erecting a tower and creating a hush facade to the street, the architects returned the owner of space to the public, but also added extra value to the site. I think it is good design. The Shed, Art Centre By Diller Scofidio + Renfro
Loading Bay
Loading Bay
Loading Bay has been seperated from the Loading Bay has been seperated from the visitors´entry and connected with the metro visitors´entry and connected with the metro tunnel, which prevent the interface of different tunnel, which prevent the interface of different transport stream. transport stream.
Portal Frame Structure Portal Frame Structure Loading Bay The steel portal frame allows easy set up of any
The steel portal frame allows easy set up of any infilled structured Loading Bay has for been seperated from and theforittemporary activities, and it infilled structured temporary activities, alsowith allows visitors´entry and connected thenatural metrolight emercing into the space also allows natural light emercing into the space tunnel, which prevent the interface of different transport stream.
A’
A
Portal Frame Structure The steel portal frame allows easy set up of any infilled structured for temporary activities, and it also allows natural light emercing into the space
A’
A
Flexible Shed - Unexpand Flexible Shed - Unexpand
Flexible Shed - Unexpand Flexible Shed - Expand Flexible Shed - Expand
When it is not sheded, it gives back a generous When it is not sheded, it gives back a generous space for the public, and relief the tension space for the public, and relief the tension caused by the high density commercial caused by the high density commercial developments in small allotments developments in small allotments
When it is not sheded, it gives back a generous When it expands, it offers shelter to accomodate When it it offers accomodate space forexpands, the public, andshelter relief tothe tension various activities including art markets, conserts, various activities art markets, conserts, caused by the including high density commercial exhibitions, etc. exhibitions, etc. developments in small allotments
Representing & Remembering Places Jounarl
New York Hudson Yard, 2019
In the other reading Everything Sings by Denis Wood A’
A
Flexible Shed - Expand
Section AA’
Section AA’ 3 Kahn, Defining Urban Sites, 282-285
Section AA’
page 07
When it expands, it offers shelter to accomodate various activities including art markets, conserts, exhibitions, etc.
Sem 2, 2020
WEEK 1 SPACE & PLACES
08/08
Weekly Task - Site Selection
page 08
Representing & Remembering Places Jounarl
+ Why I choose this site? I decided to select the Tadao Ando’s Liangzhu Cultural & Art Centre as my research site for this semester. First of all, I always appreciate Ando’s works. As one of the 20th century masters, he plays with the material of concrete in a very poetic way and his appreciation of connecting with nature has also informed many of my design practices. This project happens to be close to grandparent’s place where I can pay regular visit. I think it is a great opportunity to study how such sophisticated architect dealt with the site and compare it with my own observations. Also my grandparent have lived near the site for half a century, whereas this piece architecture is newly added in 2014, and thus they probably can provide some insight knowledge of how the place has been changed over time. + Basic knowledge of the site? The historic Liangzhu Village in Hangzhou, China has a new monumental cultural center by the Japanese architect Tadao Ando. Opened in 2016, the building has become another popular cultural site in the village following the opening of David Chipperfield’s Liangzhu Museum a decade ago.1
1
Laurene Cen, “Tadao Ando’s Liangzhu Village Cultural Art Centre Through the Lens of Zheng Shi”, Archdaily, accessed 08/08/2020, https://
www.archdaily.com/897963/tadao-andos-liangzhu-village-cultural-art-centre-through-the-lens-of-zheng-shi.
1. How I feel about the site for my first visit 2. What size the site is in terms of human scale? More about first impression rather than specific measurements. 3. How it has been used since opened from 2016? 4. Is it a popular site? What activities it holds at the moment? 5. How such contemporary architecture fits within the surroundings? Does it feel alienated or wellintegrated with the context? 6. What kind of maps can I produce?
Sem 2, 2020
+ My questions for next site visit?
Representing & Remembering Places Jounarl
etc...
page 09
Photos taken by Zheng Shi https://www.archdaily.com/897963/tadao-andos-liangzhu-village-cultural-art-centrethrough-the-lens-of-zheng-shi.
page 10
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 2 MAPPING
08/10
Lecture2.1 Notes. Mapping
• map-making is a creative/political/personal/ • mapwalker - overlay historical map on top of inventive process - remaking it according to contemporary image some agenda/experience/data • Nolli map • maps as a constructed representations: - reality: “accurate” to imaginary • Charles Booth - geodemographic survey - purpose: action to decorative/visual insight action about social/housing reform - representational agenda: documentary to propositional/ speculative • “The Situationist” (20th century): - rebelling against truthful /rational/accurate • category of map: agenda of mapping - symbolic map - try to map feel/emotions/randomness - picture map - bring psychology to geography - 3D/narrative map - unpredictable journey into the city - playful - animated map and with no purpose - Insurgent Public Space: Guerrilla urbanism • map has cultural identity, a meeting point of what happen in the empty space? geography and history events in time - influential - mental maps of rethinking the journal • map as an abstraction: - tone • Mario Gandelsonas <The Urban Text>: - texture - abstracting&knowing the city of Chicago in - size/shape different way - the city as a urban text - orientation - river/termination of street/grid/moments of -color accidental shifts
Sem 2, 2020 Representing & Remembering Places Jounarl
01
01 The Situationist, The Naked City (1957)
02 Mario Gandelsonas, The Order of the American City: Analytic Drawing of Boston (1987)
page 11
02
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 2 MAPPING
01
page 12
02 01 Kelvin Lynch, The image of the City
02 Denis Wood, Everything Sings
• Dennis Wood <Everything Sings>: - maps as poetry in micro-scale in local neighborhood/community - a social indicator • Mapping/Tracing a journey: - Richard Long: blur the boundary of what is mapping and what is art - trace motion • Maps of imaginary places: • Maps of spectral hauntings/ the unseen/ emotional responses in a place • Maps as a collection of artifacts associated with people and place: - by collecting things and relocate and reassemble them - hanging maps • Maps as places of activism & political resistance: - counter the drive towards conformity • Maps of crafted work • Map is never neutral, it is creative/ performative/ recording historical changes/ an active agent
• critical mapping: - not overly detailed - from what privilege the author stands • analytical mapping: - beyond the physical description of land into more complex concepts: population/economy /psychology - misused because it is not critically read - misinterpret because of the way people put it together - not confined to geography but also exist in visualizing data information • mapping is repeatable and rigorous: - although it can be personal/creative but there are rules attached to map-making - the Quadrat: a grid of fixed units and spread it across the area you document e.g. a meter/kilometer grid - the Transect: a cut-across sample • mapping unfolds potential: an interesting tool to understand territory by applying our views of the world onto the place which then reshape our ideas • - transect of different species of trees • - intricate diagram of photo-shot plan: interaction with places, experiential elements • - the Situationist <memory>: freely moving through the space, combining cartography and literature • - Aldo Rossi collage <the city of collective memory> • - not limited to visual: can be writings
Sem 2, 2020 Representing & Remembering Places Jounarl
• Kevin Lynch: - mental maps/ memory maps - not to copy the world from pre-existing map or image but reply on personal memory - both known/unknown place and how it communicate with other persons - how to symbolize the natural/urban features from memory
• spatial modeling: - geographic study to support strategic planing and policy of city planing e.g. clear access to the park protection from overshadowing - development activity model to help public understand future city development - use mapping to talk about history&cultural activity in city e.g. aboriginal Melbourne - uplift and showcase the depth of identity that exist in the city
page 13
• Other ways of abstracting: - units of blocks - dimension of characteristics about areas - social events as collage
page 14
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 2 MAPPING
08/15
Reading Response This week I have mainly focused on James Corner’s reading. The most impressive idea for me from his article is that mapping is not just accurately reflecting the real world like a mirror, rather it is a creative/inspiring process that informs design and that discovers what is unseen or unimagined1, which I think is cohesive with the contents in the lecture. In Corner’s word, it is a ‘re-shaping’ activity. I think the most arguable question raised from both the lecture and the reading is how to understand both the inventive characteristic and the ‘scientific’ nature of map-making. For me, map-making is analogous to a diagrammatic representation of the site analysis. As discussed last week, site analysis requires personal reinterpretation, and thus mapmaking is not a neutral process either. As Corner stated, maps are derived from the ‘true’ and ‘objective’ measurements of the reality, but the way it is represented must has been subjectively clarified with redundant information deleted.2 Here, it also needs to be pointed out that one map only focuses on one particular information of the site instead of overlaying multiple and varied contexts. In this case, mapping is analogous to a certain framed view or a filter through which the reality is represented and the selection of such frame or filter inevitably needs inventiveness and abstractness. This reinterpreted diagrammatic maps help us to acquire the meaningful knowledge of the site in return. Another interesting point made by Corner is that in spite of the creative and informative characteristic mapping possesses, there has been constantly evolution in design theories but a great shortage of development in map-making discipline. Most of maps are still using the orthodox ways of presentation such as a typical aerial view plan. And why is it so? Although it has been encouraged to be more creative in map-making, there is still difference between mapping and art. I do not think a map equals a drawing or other forms of art work. I believe the fundamental function of a map is to communicate - to help its readers better understand the site. Unlike an artwork which can be considered as meaningful if it could merely arouse emotions or questions or anything, it matters that what a map is trying to convey is correctly received and understood. In this case, as Corner explained, “the readers must first learn the relevant mapping codes and conversations”.3
1
James Corner, The Agency of Mapping: Speculation, Critique and Invention, 213
2 Corner, The Agency of Mapping, 214-215 3 Corner, The Agency of Mapping, 218
- natural condition: wind/sun - historical events & local stories - economic and legislative conditions - political interests - regulatory mechanisms and programmatic structure
4 Corner, The Agency of Mapping, 214
page 15
Representing & Remembering Places Jounarl
I also found some precedents to help me better understand these aspects and when to prioritize certain condition:
Sem 2, 2020
Besides, Corner also give some examples of site conditions to look at, which I want to list here because it offers me other aspects to consider when approaching a new site4:
Sem 2, 2020
WEEK 2 MAPPING
Representing & Remembering Places Jounarl
Test 1: vegetation coverage - comparing site and surroundings
page 16
Precedents: how it can be improved using similar style?
This is what I have tried to test with mapping out the landscape with my first impression of the site. Actually, before I visited the site on Friday, I learned that the site is located in the big region of Liangzhu Heritage Park. The park was built in memory of the archaeological findings of the Liangzhu culture. It aims to build an ecological habitat for the local community to live in harmony with the nature. So there are many residential settlements within the park. And therefore the Liangzhu Culture and Art centre was developed to provide the local community with certain cultural infrastructure, acting as an anchor points of attraction. However, in my first visit I surprisingly found that it is on the edge of the park and the vegetation coverage is much poorer compared to the other parts of the park. So I am trying to show that in the map on the left hand side. With the green color emphasizes the high density of green coverage of the surrounding areas in the park, and the red color highlight the site area. I also use the a grid pattern overlay on top of the map because from the readings, I think it is important to incorporate a consistency or order in an artistic mapping so that the it conveys some sense of order and regularity and therefore more comprehensive. However, I find this test did not come out so well. I criticize it because it fails to express the comparison between the site and the surroundings accept from the color contrast. For example, the volumetric comparison is not clear. I barely replicate what is already shown in the original map and paint a contrasting colors on top of it. I think the colors are too striking as well and it loses lots of detailed topographic information of the map lying underneath. Therefore, I think it will be better if I can redraw the maps instead of using a google map as a base image and paint on top of it. This re-representation can also delete some details and only extract the information I want to show in this particular map - in this case the green coverage.
Sem 2, 2020
Weekly Task - Mapping Exersise
Representing & Remembering Places Jounarl
08/15
In the further research of some precedents of mappings using the similar style, I found those maps use color/images in a restrained way. The normally use one colors as the theme color and contrast it with the black & white. Useful links below for further reference:
03 http://pr2012.aaschool.ac.uk/students/wynn-chandra
page 17
01 https://www.atlasofplaces.com/academia/filter/academic/Flooding-MechanismsBra-Driva-Ribot?/filter/Academic/filter/academic/Flooding-Mechanisms-Bra-DrivaRibot
page 18
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 2 MAPPING
page 19
Representing & Remembering Places Jounarl
Sem 2, 2020
page 20
Representing & Remembering Places Jounarl
Sem 2, 2020
page 21
Representing & Remembering Places Jounarl
Sem 2, 2020
page 22
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
Sem 2, 2020 •
19th century: - faithful reproduction of reality: a authorless mirror rather than eye • 20th century: - intervene and mediate in the world in which we see - deal with time/places/seriality/memory • Time: - Cartier-Bresson: i) capture decisive moment in time ii) unlike painting, fraction of second Muybridge: i) - respond to stillness/singular image ii) not singular moment but duration of movement - motion study Micheal Wesely: i) multi-angle to capture the building process ii) collecting time - softer, no aggressive click moment David Hockney <Joiners>
Representing & Remembering Places Jounarl
Lecture3 Notes. Photography
• Everyday context:
page 23
08/17
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
08/20
Reading Response
page 24
Representing & Remembering Places Jounarl
This week, I mainly focused on James Corner’s reading about collage and Celine Condorelli’s reading Instance. First of all, collage and photomontage are techniques that I use a lot in my own design practices, especially in the early stage of exploring and conveying conceptual ideas. I agree with Corner that the most essential quality of collage lies in its compositional relationship of disparate parts. Generally, it can be summarized that two main steps are involved in the collage practice, one of which is collecting bits and pieces of disparate materials, such as images/writings/drawings ect, and the other step is compositing them. Information is thus primarily contained in these loose pieces of materials, and then emphasized in their composition. For example, in figure one, the famous artwork of Dadaism by artist Raoul Hausmann, the dominant image materials are a figure acting as an art critic in the middle and a fragment of banknote and some print-work as the background, from which the theme of this artwork is revealed about art critic and capital forces. It is interesting that the banknote piece is placed just behind the art critic’s neck and it strengthens that the capital forces controlled the art critic, which is a very comprehensive and powerful composition. In Corner’s reading, he talks about that the construction of a collage reveals the process of thinking, which is also an emancipated idea for me. Collage can be considered as a layered collection of ideas. However, it is not intended to be made neither as beautiful for its appearance per se nor as real as a rendering image. Sometimes, the messiness and distortion of a collage arouses the interest to explore the inner logic behind it. In my own practices, it is easily to get overcautious when the canvas gets messy because it doesn’t look like a well-organized work, but now I think there should be no pressure to make it messy compositional-wise because it is all about the logic behind it.
Sem 2, 2020 figure 1. Raoul Hausmann The Art Critic 1919–20 Tate © ADAGP, Paris and DACS, London 2020
Representing & Remembering Places Jounarl
figure 1. Raoul Hausmann The Art Critic 1919–20 Tate © ADAGP, Paris and DACS, London 2020
figure 1. Raoul Hausmann The Art Critic 1919–20 Tate © ADAGP, Paris and DACS, London 2020
page 25
figure 1. Raoul Hausmann The Art Critic 1919–20 Tate © ADAGP, Paris and DACS, London 2020
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
08/22 Weekly Task
page 26
Representing & Remembering Places Jounarl
Test 1: collage of overlaying history onto the present
Sem 2, 2020 Representing & Remembering Places Jounarl page 27
From feedbacks of last weekâ&#x20AC;&#x2122;s tutorial, I am suggested to make some mapping with erasing effect. Since this project is built upon the archaeological site that is once inhabited by the Liangzhu people, I think it will be interesting if I overlay what once perhaps happened on this land onto the current context. The most difficult part is to find image reference of the Liangzhu peopleâ&#x20AC;&#x2122;s daily life because it is actually 5000 years ago. It is a very ancient culture and no records of that time was preserved. Therefore I use the image of exhibition in the Liangzhu culture which reproduces the Liangzhu ancient peopleâ&#x20AC;&#x2122;s living conditions through modeling. I think the second one does not work so well because the image reference is pixellated. The first one can go to the Atlas. I am also thinking print this collage image on a perspex paper and create a see-through image screening on the photo of the present.
page 28
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
Test 2: photo with narrative
page 29
Representing & Remembering Places Jounarl
Test 2: photo with narrative Sem 2, 2020
page 30
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
Test 3: motions in photos - use long exposure Using the long exposure function on iPhone, I am able to test with several shots of live photos which capture the motions of people during a short period of time. I think the outcome is very related to the topic of this week that capture the change over time. In those photos, the people who are relatively static will be clearly presented whereas people in motion will be blurred. Such contrast between the clearness and the blurriness represents the different use of the site, creating a dynamic atmosphere.
page 31
Representing & Remembering Places Jounarl
Sem 2, 2020
page 32
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
page 33
Representing & Remembering Places Jounarl
Sem 2, 2020
page 34
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
page 35
Representing & Remembering Places Jounarl
Sem 2, 2020
page 36
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 3 PHOTOGRAPHING
01
03
Representing & Remembering Places Jounarl
04
page 37
Sem 2, 2020
02
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 4 ARCHIVE
08/24
Lecture4 Notes. Archive
• Public Records Office of Victoria • - search on/off Beta search - homepage > search website first - homepage > catalogue search > online - homepage > explore the collection tab > topics - homepage > explore the collection tab > Photograph collection • • Map walker tool: - change over time through images
State Library of Victoria: - homepage > search & discover > research guides to our collection - > picture research - > maps for local and family history > directories UniMelb > Historical maps of melbourne
• UniMelb Archives
• ABP Library > Collection > Sections (building • it is not about getting historically accurate, type) focus on scale/ how the map is made/etc\ • look at what it was - digging under the surface • Trove: • a site that is remade - search “x” all categories > newspaper & • not only visual material, but also historical gazettes narrative/ event that happen/ crime records - +key word, like new building /architect
From Week4 Handout • Add depth to maps - think about the layered archaeology of the site - Aldo Rossi - digging under the surface - 3d map • Peter Eisenman - to understand the site before design - layers of intervention/ grid lines/ orientation - dig downwards instead of flattening image • Invent a map out of document
page 38
• Find different medias about one idea - tell different story -painting/photos/ historical events and documents -translate to maps • Escape the flatness of map
page 39
Representing & Remembering Places Jounarl
Sem 2, 2020
page 40
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 4 ARCHIVE
Sem 2, 2020 Representing & Remembering Places Jounarl page 41
Main concept: - The varied and ever-changing activities will determine the form of the site. - Thus, the prime motivation of creating this installation for the atlas is caused by the people and their activities and the resultant form is continually dependent on them.
page 42
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 5 FILM
page 43
Representing & Remembering Places Jounarl
Sem 2, 2020
Sem 2, 2020
WEEK 5 FILM
Line 1 - dashed 0.05
page 44
Representing & Remembering Places Jounarl
Hatch 1 - checker
Line 2 - solid 0.1 Hatch 2 - slash Hatch 3 - thick slash
Hatch 4 - grey fill Line 3 - solid 0.5 Line 4 - dashed 0.5
page 45
Representing & Remembering Places Jounarl
Sem 2, 2020
page 46
Representing & Remembering Places Jounarl
Sem 2, 2020
WEEK 6 WALKING & EXPLORING
page 47
Representing & Remembering Places Jounarl
Sem 2, 2020
page 48
Representing & Remembering Places Jounarl
Sem 2, 2020
page 49
Representing & Remembering Places Jounarl
Sem 2, 2020
page 50
Representing & Remembering Places Jounarl
Sem 2, 2020
page 51
Representing & Remembering Places Jounarl
Sem 2, 2020
page 52
Representing & Remembering Places Jounarl
Sem 2, 2020
page 53
Representing & Remembering Places Jounarl
Sem 2, 2020
page 54
Representing & Remembering Places Jounarl
Sem 2, 2020
page 55
Representing & Remembering Places Jounarl
Sem 2, 2020
page 56
Representing & Remembering Places Jounarl
Sem 2, 2020
page 57
Representing & Remembering Places Jounarl
Sem 2, 2020
page 58
Representing & Remembering Places Jounarl
Sem 2, 2020
page 59
Representing & Remembering Places Jounarl
Sem 2, 2020
page 60
Representing & Remembering Places Jounarl
Sem 2, 2020
page 61
Representing & Remembering Places Jounarl
Sem 2, 2020
page 62
Representing & Remembering Places Jounarl
Sem 2, 2020
page 63
Representing & Remembering Places Jounarl
Sem 2, 2020
page 64
Representing & Remembering Places Jounarl
Sem 2, 2020
page 65
Representing & Remembering Places Jounarl
Sem 2, 2020
page 66
Representing & Remembering Places Jounarl
Sem 2, 2020
page 67
Representing & Remembering Places Jounarl
Sem 2, 2020
page 68
Representing & Remembering Places Jounarl
Sem 2, 2020
page 69
Representing & Remembering Places Jounarl
Sem 2, 2020
page 70
Representing & Remembering Places Jounarl
Sem 2, 2020
page 71
Representing & Remembering Places Jounarl
Sem 2, 2020
page 72
Representing & Remembering Places Jounarl
Sem 2, 2020