An Atlas of Tricky Terrain - Louisa Exton by RMIT Landscape Architecture

An Atlas of Tricky Terrain Towards an ethical collective and archival practice

Louella Exton

2021

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09 10 artefacts of this semester. 01 - A can of pink chalk spray. I have had this lying around for a while now, left over from a project I did together with +Sitestudio. I wanted to use the spray in someway thi semester. [img-ref 01] 02 - My pink highlighter. An essential for marking up, extracting ideas, denoting smoething as significant. 03 - A cut out from my notebook. I take my notebook with me to bed each night and keep it next to me in case I get ideas during the night. Often I do, and sometimes the night becomes the most fruitfull time for these ideas to surface. 04-Myfineliner.Ifindithardtouseanything but 0.2 mm. I go through wuite a few of these... they often disappear and then re-appear in quite perculiar places. 05 - The folder with which I digitally store everything, all the work related to this Ways of Working course. as it stands there are over 2,618 items within this folder. 06 - An image of the work of These Are The Projects We Do Togeher and of Millie Cattlin. Borrowed from her instagram account, this image really resonated with me, and was something I looked back to reguarly throughout the semester as my ideas about the archive began to emerge. [img-ref 02] 07 - A peice of concrete I found one day on my regualr lockdown walks. I pass many pieces of cosnruction degree on my walks, but this one really stood out by its colour. I’m not quite sure how it aqquired it’s pinkness.. perhaps it was at some point mixed with brick dust. 08 - The tag of a tea bag. The brand of tea i drinkincludesadiaerentquoteoneachofits tea bags. This one, although a little tacky, has manages to stick with me. It reminds me to simply stay calm otherwise I am no use to myself and my work.

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09 - The legendary verb list of Richard Serra. I was introduced to this artwork in 2018 and continuetoworkandlivebyit.Itreallyoaersa new dimension to thinking about how I work, and what my work does in the world. It also encourages me to follow my tendancy to work through lists. [img-ref 03]

10 - The Slow Reader - a gem I picked up in 2017andcontinuetoreturnto.Itreallyoaers some grest insights and has become particuarly relevant during these more slower times of a global pandemic.

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Contents Part 04: Archive (Appendix)

Part 01: Introduction Introduction

Preamble On the ‘tricky’ terrain of practice

Statement of Intention* ProductiveSpacesofConflict

Community of Practice Mapping* The orange line

ReflectionsonMapping * Between generative and representative

Part 02: Focus Explorations Focus Exploration 01: Technique & Verb* Collecting ReflectionOnTechnique&Verb On Collecting

Community Of Practice Mapping Iterations* Fromweek01-2

105

Ongoing Collection Othersworkandmywork

171

Focus on Technique Lists,worksamplesandmini-communities

177

Focus on Theory & Language Lists, quotes and notes

189

Focus on Drawing & Representation Reflections,mark-upsandre-draws

213

Extra The Archive, Trajectory

243

Focus Exploration 02: Language & Theory* Thearchive,fieldwork,careandslowness

ReflectionOnLanguage&Theory * Onthearchive,fieldwork,careandslowness

Focus Exploration 03: Drawing & Representation* Drawing the line

ReflectiononDrawing&Representation * On drawing the line

Part 03: Conclusion ReflectionOnTrajectory * Toward Ethical Collective and Archival Ways of Working

Biblyography*

References*

Image Credit List*

98 *Required Deliverable 4

Introduction A brief introduction of myself

I am Dutch / Australian, currently living and working on the lands of the Wurundjeri people here in Melbourne. I acknowledge that I was born and raised on stolen land. I acknowledge that as a non-indigenous Australian, and as a non-indigenous designer,Ibenefiteverydayfromcolonisation,andthatthelandsandspacescentraltothefocusofmypracticearestolen I am very lucky to have learnt amongst some incredibly rich and diverse communities. I completed my Bachelors of Landscape Architecture at RMIT University in 2018, and have this year returned to undertake my Masters of Landscape Architecture. Within my time in the RMIT BLA programme I was very lucky to have been able to participate in a number of travelling studios including a road trip to regional new south wales where I was able to learn about ideas of Country. In between my time in the two programs, I have been fortunate to work with many interesting practitioners. I continue to work with These Are The Projects We Do Together, as well as +Sitestudio, whom I formed with Millicent Gunner at Siteworks, Brunswick. In 2019 I also commenced studies at the Design Academy Eindhoven in the Netherlands, and hope to continue these studies in the coming years. IwouldliketoacknowledgethatallthoseIhavejustmentionedhavesignificantlyinfluencedandguidedthe ork, wayIw the way I think about the world, and the way I practice. It is to them whom I owe a great deal of my practice; to Sophia and the Culpra Milli foundation who have kindly invited me to listen, share and learn, to the The Projects for continuously showing me how to approach ‘other’ sites, to +Sitestudio for reminding me to always experiment and remain critical, to the community at the Design Academy Eindhoven for reigniting my passion for making and working with my hands, and to the community at RMIT Landscape Architecture, where my practice started and now currently sits, thank you for opening my mind to the world of landscape, for exposing us to and including us within such a fruitful for community, and for giving us the opportunity to be able to value and think about our individual practices through a course like Ways Of Working. Notes on the document

ThisAtlasexistsin2parts,thefirstpartisanextractionfromthesecond.Thefirstpartisconsideredtheidea(anextraction asynthesis),thesecondisconsideredthearchive(asource,anappendix). The archive is just as important as the idea, it is the foundation, the formwork, the base form which the idea is derived and developed.TheArchive(orappendix)iscontinuallyreworked;addedto,takenawayfrom,rearranged,andre-assembled. The archive as seen here, in its exported state, is just one snapshot of the archive in time. This atlas is therefor as much a synthesis of this semesters explorations as it is a resource for future iterations of synthesis. /

Thebibliographyandreferencelisthavebeenintentionalityplacedin-betweenthefirstandsecondpartoftheatlas-asa waytobridgethetwo,thebibliographyandreferencelistthereforcontainallreferencesandimagecreditsfromboth and second half of the atlas. Please note, unless otherwise directly credited, any images that are not my own will be accompanied by a tag [img-ref 00], this will directly correspond to an Image Credit List, situated at the end of this design research essay.

Preamble Onthe‘tricky’terrainofpractice Being aware and understanding ones own practice is important work that must be done. Our practice, and the ways in which we work, impacts the world and those around us. We also contribute to the larger work of the profession. Taking the timetoreflect,andtoremaincriticallyawareofyourownpracticecannotonlybeconsideredaformofselfwork,butwill nevitbaly contribute to the ongoing work we need to do as a discipline. This awareness can only make us better designers. Through out this project I have encountered simultaneous feelings of satifaction and discomfort. I have been able to really question and think about why is it that I do things the ways I do. Unpacking this often results in a sense of relief or even excitement when you are able to put words to hunches, answers to ongoing questions, or have realisations that begin to explain a lot about why and how you operate. There is comfort in knowing. On the other hand however, this processes of coming to understand, can be deeply confronting. Sometimes you wish you never found out. For myself, I am coming to understand that I have been ingrained with and induchtronated into a western school of thought, in a colonial world which has most likely contributed to tendencies of order or control. This confrontation is often coupled with discomfort, the discomfort of not knowing.

AsignificantmomentformeinthiscoursewaslisteningtotheQ&AdiscussionoftheTheor eticalFrameworksSymposium: Open Spatial Workshop, in mid August. A group who’s practice is concerned with making and experimenting with materials, andwho’soriginslieinthedisciplineofsculpture,OpenSpatialWorkshopoaeredsomereallyinterestinginsights their work with Museums Victoria. Their project Coverging In Time saw a direct working with the archives of the Melbourne museum, from which they were able to produce a whole new body of work. While the discussion of the project was incredibly insightful, and has no doubt contributed to my now understanding of the archive and it’s role in design practice, it was not what resonated most with me. Towards the end of the discussion a question was asked about what to do with one’s rock collection, prompted by a collective acknowledgement of the troubling essence of taking, particularly in a colonised context. There was no simple answer to this question - not so much whether one should return their rock collection to all the numerous places from which they took them from, but more to that sort of unspoken question, or elephant in the room if you like: how do we decolonize? Orperhapshowdowedecolonizedesign?Andmorespecifically,howdoweasmakers,sculpters,designers,orlandscape architectsworkwithmaterial(extract,shape,re-work,re-purpose,sampleetc)thatattheendofthedaysimplyisnotours? To not know is not neccercarily a bad thing, rather to not be aware and to not ask these tricky questions is more problematic. These tricky questions, where we are unable to come to immediate answer are ones often coupled with the uncomfortable space of not knowing. These are the ones that need our work.

Statment of Intention ProductiveSpacesofConflict My creative practice is driven as much by an interest in the complex world around me as it is by the need to understand what role designers play in it; and subsequently how the ways in which we as designers’ work may impact the world around us. Complex material systems, processes and cultures of making, less traditional or ‘other’ landscapes, and then the relationship between the three are the aspects of landscape I am interested in. But in an attempt to understand how I as a designer go about approaching these conditions, I have been forced to question the very tools, frameworks or approaches with which I use to go about such work. This confrontation has currently resides with the archive. My practice is concerned with the archive, yet at it’s core, the way in which I work is deeply archival.

In order to interrogate the complexities of both the world around me, and the tools with which I approach it, I work through, and with, a number dualities. I work both impulsively, and slowly; through intuitive production and generation, but also with careandreflection.Iworkindividuallyandcollectively;throughthepersonalandsingularacts,andthemultiplicityofg action. I work chaotically and orderly; with calmness and composure, and scattered unclarity. I work through observation and participation; recording, documenting, and thinking, or making, intervening, and doing. Each duality needs its two opposers to create a space in-between, the space that my practice occupies. Additionally, each duality is a characteristic of the archive. The archive mutates gradually but also in fever, it is both public and private, its organisational systems and content are heterogeneous and homogenous, and the archive is both static and active.

The growing complexity of the world around us is the greatest challenge we as designers face, and so too are the very ways in which we as designers work. If everyday aesthetics have surprisingly serious implications on the globe, and if to make is tointerveneintheexistingmaterialflowsandforcesoftheworld,thenthereweaslandscapearchitectsneedtopaymore attention to what it means to design. This may not only help us to understand the cultures of production and consumption, and the dark shadows our urban life casts on the remote, but to also understand the power of our visual and spatial tools. WhileGiro’scallfornewwaysofrepresentinglandscapes,perhapsthereisequalneedforareflectiononthethoseth already exist. Ans while many remind us of the danger of the archive’s and it’s troubling origins, others excite us with its potential for creating. It is therefor useful for me to think of the archive, and many other ways of working for that matter, as a ‘productivespaceofconflict’;anuncomfortablespacethatdemandswe‘staywiththetrouble’.

I am always intrigued with the prospect of using design to interrogate themes such as the anthropocene*, cultures of labour and production, the invisible complex or logistical networks that keep our world running, or how these all relate to everyday life.

video through which to see, represent and understand landscape.

That is, at its routes, the archive has a dark past; evoking processes of taking, extracting, displacing and storing for later examination. Often lying dormant, contributing to damaging I am equally interested in the ethics of design, systems of control. Alternatively the archive is thesignificanceofinterveningintheworld,theconsidered to be a productive tool and is for power of aesthetics. producing new knowledge, new projects, new relationships, and new ideas. I use the archive, exist within the archive, contribute to the archive. For Meissen and aY nn, the archive is a Landscape as archive ‘productivespaceofconflict’.Theyreferto Designer as archive productionwhentheysayconflict,however Discipline as archive Iconsider‘conflict’tooaeranalternative Tool as archive understanding; describing more the Practice as archive uncomfortable space or the tension involved COP Map as archive when using a tool that has previously been used for questionable activity. According to Gu, “How we work in architecture isthedefinitivequestionofthisgeneration.” HereIborrowfromDonnaHarraway’sbook, And “…to share not what they do but how ‘StayingWithTheTrouble’. they do it: “how we do things, how we shape our bonds, how we give form to our worlds. This requires that we carefully revise roles, conditions of work, represeantitaiton as well as re-programme material and immaterial spaces of ourpractices.”” To quote Saito, “While appearing innocuous and inconsequential, everyday aesthetic judgments and preferences we make on daily basis do have surprisinglyseriousimplications.” To quote Ingold, “[the maker] the most he can do is to intervene in worldly processes that are already going on, and which give rise to the forms of the living world that we see all around us…” Here I borrow from the work of the Unknown Fields Division, “…a nomadic design studio that ventures out on expeditions into the shadows cast by the contemporary city, to uncover the alternative worlds, alien landscapes, industrial ecologies and precarious wilderness set in motion by the powerful push and pull of the city’sdesires.” Here I refer to Giro where in his essay, ‘Vission in Motion: Representing Landscape in Time’ he advocates for new mediums such as landscape

Community of Practice Mapping

The following Community of Practice mapping is a work in progress, an as it stands form of an ongoing iterative process ofdeveloping.Themapconsistsofclustersandfields.Thatiscommunities eestablished ar andarrangedeitherthrougha spatial grouping or gathering, or, by point line connection. The presence of me / my practice is established by the use of the colour orange; highlighting both my own work, and where thissitsinrelationtotheworkofothers,butalsohighlightingsignificantworksofothers,significantmovementsorstyl (lineages),orsignificanttools,sites,orconcernsthataredrawnoutwithinthemap.Italsoworkstohighlightsurfaced dualities(ideas)thatIseeasrelevantorkeytome/mypractice. Iweconsiderthismaparepresentationorvisualisationofterrain,theterrainofmypractice,butalsotheterrainofm of reference, then the work of others, and the work of myself is the key matter or material of this terrain. Annotative line work might then be considered a dynamic infrastructure of such terrain. The orange is my presence within the terrain. Follow the orange Themostsignificantcommunities,tools,andidea,thesevaryandliescatter edacrossthemap.Keyprojectsofsignificance includetheworkoftheUnknownFieldsDivision(LiamYoungandKateDavies,208-17),InterprativeWonderings(led bySophiaPearceandJockGilbert,2015),Re-Source(DesignAcademyEindhoven,2019),TokyoVoid(HeikeRahmanand MarieluiseJonas,2014),TheManhattanTranscripts(BernardTschumi,1974),VerbList(RichardSerra),andtheworkof TheseAreTheProjectsWeDoTogether(MillieCattlinandJosephNorster). KeyCommunitiesincludeTheExperimentalFieldworkers,TheThemedPhotographicDocumentersandThe ojects Pr Within ProjectsDesigners.Keytools,andthesubsequentcommunitytheyconnect,includeThePhotowalkandTheExhibition.Key sites include the Australian Remote, while key movements / styles within arts and design include Archival Arts and Dutch Design. A series of key dualities also emerge as guides idea: Order / Chaos, Inside / Outside, Australian / Dutch and Individual / Collective.

Anotablefeatureofthisterrainisapaleorangebodythatseemstocoveralmosthavethefield.Thisisthe‘collectingfever that is spreading amongst the communities, the various projects and practices that make up these communities. This fever sees a tendency to collect in various ways. Onemayalsonoticethatthesouthwestofthemapismoredenselypopulated,thisreflectstheareasthathavereceived morefocuswithinthepastfewmonthsofexploration.Ianticipate,asIcontinuetoworkthroughthefield,mynowvisualised fieldofreference,anarchiveofsorts,thatthecollectingfevermaycontinuetospread. Finally a semi guiding radial projection surfaces ideas of care and slowness - both central to my practice, but also broader guiding principles that sit within the bigger picture of how I work. Viewing the map Iinvitetheviewertozoomin,topanandtogetlostinthedetail. owonder T andfollowyournoseinthisextensivefieldof reference.Whileatfirstglancethismapappearstobeachaoticmess,thereisorder.

an underlying pattern or theme within society, landscape or culture that often goes unnoticed, or that cannot be full comprehended, grasped or appreciated unless presented through acollectionofobservations(inthis case photographers). This community exists within the larger community of The Documentary Photographers.

CommunityProfiles The Documentary Photographers

a collection of data from which to draw on, the catalogue can provide the seeds for an entire new probect or simply exist as a discovery in it’s own right. This community overlaps with The Documentary Photography community and The Variation Generators community.

Those who use photography to document the world around them. This way of working often exists as a form of observation, and it’s subject vary from human activity, events, phenomena, or landscapes or built Those who work to capture change form. Documentary photography has through time through the medium originswithinthefieldofjournalism of photography. This body of work andisoftenassociatedwithsignificant often takes place at a single position events or disasters. This community or place, there for capturing change of work is concerned with capturing Those who’s photographs capture through time, not change through thatwhichisoftenfleetingoronly human activity. Order and chaos are spaceandtime.Thespecificconcern exists as a moment in time. Within two key elements of the scenes within of each project and varies from either this community sits other community these photographs. Whether human a focus on the change of light, the such as The Themed Photographic figures,warehousesofmassobjects change of a landscape, or the change Documenters, The Order / Chaos or materials, or the textures and details of urban infrastructure for example. HumanActivityPhotographers,The of the landscape viewed from the birds While some work sees photographs Fashion Typology Cataloguers, The eye view, the work often blurs a sense taken repetitively over a period of time Landscape Re-photographers, and The of scale; making it hard to decipher to capture change, other work simply Change Through Time Photographers. whether you are looking at a landscape works through a ‘before and after’ This community also intersects with up close, or from afar. Often when approach to capturing change through communities such as The Spatial you blur your eyes this work appears time. This community includes the The Cataloguers, The Stochastic Imagers, as patters or textures of a surface or Landscape Re-photographers and The Landscape Sequence Drawers, field.Thisgenreofphotographyoften exists within the broader community of and The Documentary Drawers. places the viewer at a distance from The Documentary Photographers. the scene. This community exists within the larger community of The Documentary Photographers, and The Stochastic Imagers. It also intersects with The Variation Generators community. Those who work using the technique

The Change Through Time Photographers

The Order / Chaos HumanActivity Photographers

The Themed Photographic Documenters

The Landscape Re-photographers

Those who use photography to document a particular theme or phenomena that reoccurs throughout the everyday or the landscape. The theme of focus may be a particular Those who’s work exists in the object, scenario or phenomena, formofimages(eitherdrawings often which goes unnoticed or is or photographs) which embody a consideredoverlooked(forexample stochastic aesthetic. The stochastic large rocks in urban contexts, aesthetic is understood to be a abandoned architectural typologies, certain rhythm which has order, but street poles that are bent on an angle, also allows for inconsistencies or mattresses, airplanes, or even various spontaneous variations, it is also tape markings on the ground). The continuous and repetitive. These works position of the subject in focus is often are often grappled with ideas of both consistent throughout each frame. This chaos and order, and the bouncing work often accumulates into a larger between the two results in certain collection which is either displayed numbness. Visually, the work is often through exhibition or is captured made up of great amounts of detail, through a publication. In the case of but when observed from afar this detail most of the project in this community, blurs into a more singular consistent the work often reveals or uncovered a surface. Within this community site quality or characteristic of society that would not have otherwise been noticed theTheOrder/ChaosHumanActivity Photographers community. if it wasn’t repeated collected in mass. This community exists within the larger community of The Documentary Photographers.

The Stochastic Imagers

The Spatial Cataloguers Those whose work or project involves the focus on a particular spatial or landscapetypology(forexample urban void spaces, building rootops, or clearing in a forest). The particular spatial typology is often researched and analysed in depth, it’s multiple occurrences or presences either catalogued or indexed. The role of the catalogue or index in the project varies however it can serves as a resource,

of re-photography, the process of capturing the change of particular landscape or place by revisiting and taking a photograph. The increments between visits to the area of focus varies between projects and can be as a little as a day or week, or can beaslongastenyearsoffiftyyears. Landscape re-photography often involves a certain level of accuracy andspecificitywhenitcomesto the position and and framing of the photograph. It can be considered that the greater the accuracy of the rephotography process, the easier it is to document or capture change. This community existing with The Change Through Time Photographers and the larger community of The Documentary Photographers.

community, and intersects with The Recording Everyday Life Drawers, The Landscape Sequence Drawers and The Speculative Drawers.

same level as non human life or matter for example by abstracting them. This community exists within The Documentary Drawers community.

The Landscape Sequence Drawers

The Speculative Drawers

Those whose work involves the use of drawing to capture sequences within landscapes. This way of using drawing often involves a mixture of mediums including photographs and line work, working through images and diagrams to create a larger drawing set. These works are often concerned with time and in some way incorporated elements of movement in the drawings. The work is often recognisable through its use of sequence and series as well as the Frame as a way to divide, section and fragment space and time within a landscape. This community intersects with The Change Through Time Photographers, The Documentary Photographers, and the The Documentary Drawers.

The Recording Everyday Life Drawers Those whose work involves the use of drawing to capture sequences within landscapes. This way of using drawing often involves a mixture of mediums including photographs and line work, working through images and diagrams to create a larger drawing set. These works are often concerned with time and in some way incorporated elements of movement in the drawings. The work is often recognisable through its use of sequence and series as well as the Frame as a way to divide, section and fragment space and time within a landscape. This community intersects with The Change Through Time Photographers, The Documentary Photographers, and the

TheHumanBody Movement Drawers

Those whose work and documentary drawing practice is less concerned with space and the human activity that occurs within it, and more with the human body and how this relates to human activity within space. Notable for their use of point and line to extract the key the positions and poses of Those whose work involves a drawing thehumanfigure,theseprojects practice that is used to document the workthroughmovingimageorfilm world around them. The concern of the drawing medium. In some eachworkorprojectdiaershoweveras all deal with themes of change, movement cases the drawing is overlayed on Those who’s work documents and the photograph from which the line and everyday life. The drawing catalogues generes, themes, trends or work practices also diaer from analogue to is extracted from, in other cases phenomenas within human dress and we are not able to see the original digital mediums. A key characteristic fashion cultures through photography. humanfigure.Thesubjectofeach or quality of this community is that The projects within this community projectdiaersandrangesfromthe drawing is not simply used to visualise either focus on particular trend or human body moving down a fashion a design proposal, instead it is theme observed within society, or they runway, to the human body taking used a way to observe sites, human build on a number, or many, themes or place in a larger system of human behaviour, or lager systems; essentially genres. The degree to which the work bodies - operating as a human labour as a way to not only represent the is catalogued or index often depends machine. What this way of working is complexity within these subjects but to ontheamountofdiaerentgenresthe be able to gain a deeper understanding able to achieve is alternative way of work is dealing with. Much like the The viewing how our human bodies exist of them. This community includes the Themed Photographic Documenters within space. It brings them onto the TheHumanBodyMovementDrawers community, these practices often revel

The Documentary Drawers

The Fashion Typology Cataloguers

lineworkandhatchesthatreflect the a more creative adaptation of more tradition drafting techniques, and often see the integration of the photograph to introduce textures and materials. Importantly these drawings arealsounifiedbytheiruseofthe axonometric, section elevation or one - or two point perspective drawing conventions. Often like story book images, these drawings are often created with the intention of telling a story. This community exists within The Speculative Drawers community.

unifying the work under an umbrella theme or approach. That which uses a ‘projects within projects’ model. Acts of curation are central to this way of working as the outcomes are often through an exhibition, publication or even an album. Umbrella themes include Junk, remote locations of the planet that exist in the shadows cast by the city, airport landscapes Those whose work and drawing or remote soundscapes for example. practice is concerned for with This way of working often sees a speculating landscapes. Often this way richer body of research produced of using drawing involves beginning by the fact that it includes the work with an existing scenario or condition, of multiple practitioners, each with and building on from this, imagining their own approach or take on the what it could turn into or an alternative topic or theme. The theme of focus to what already exits. The subject of therefor often surfaces through theseworksdiaersgreatly,someare the relationships between works, more concerned with ideas related emerging from the various parts of to the anthropocene, while others Those whose work and drawing the larger project. This community are focused on what the drawing practice is known for it’s experimental my be understood as one that values technique can produce on the page and ambiguous qualities. Whether collective design research, collective itself. What unites all these works through a more graphic hand drawing making and collective learning. This however, is that the subject of these approach, or the assemblage of community intersects and includes drawings forces us to imagine, it forces matter extricated from imaging, these us to question, to be confused, or to drawingsoftenreflectthemechanicalother communities including The Travelling project Designers, The it takes us some place else. Detail ways in which they were produced, Material/SystemHumanActivity becomes a key quality of a lot of and because of this remain intriguing, Trackers, The Speculative Territorial this work, making for highly complex ambiguous, and often some what Mappers and The Material Samplers. and impressive constructions. This unclear. I like to consider this way community exists intersects with The of working to be one where a whole Documentary Drawers. landscape in itself is created on the page. There is often no set outcome or end point to these drawings, no narrative to tell, no spatial intervention to communicate. Instead these Those whose project or practice is drawings remain speculative in that nomadic and interrogates a particular they are in themselves a testing of concern or theme through the work of Those who’s work and drawing what can be generated on the page. multiple individuals and their respective practice is concerned with ‘other This community exists within The practices. Often these projects are landscapes’ and their invisible Speculative Drawers community. known by their outcomes in the form conditions, and seeks to interrogate

The Vivid Field Drawers

The Travelling Project Designers

The Speculative Territorial Mappers

althoughwithdiaerentpurposesand outcomes,theseprojectsareunified by their serial approach to unpacking material. Some projects use material samples to generate options for a new intervention, others use the idea of the sample to break down and understand larger system or network that expands from a single material. For some it starts with a particular resource and the project turns into an unpacking execise,realisingallthediaerent ways a single resource is used within society.Whatunifiestheseprojects is that they all deal with material flows,andideasofconsumptionand production. For many the work can only be appreciated through formats of exhibition or publication. This community intersects with the The Projects Within Projects Designers community.

The Object Material Tracers Those whose work is specially concerned with deconstructing an objectandtracingallthediaerent materials that are used to make that particularproject(orvis-versa).These projectsstartwithanobject(for example a microwave, or a toaster) or theystartwitharesource(forexample a pig). They then research and trace all the various elements and materials that go into that object, or they research all thediaerentplacesthatthisparticular resource ends up. In doing so, and through this deconstructive approach a whole system of complex material networks that often span far and wide emerges. This approach to material research is unique in that it uses a very specificstartingpoint.Thiscommunity intersects with The Material Samplers community.

of exhibitions or publications, however them through the territorial scale and what we are less privy to as the viewer cartographic mediums. These works is that this work is conducted out of are often detailed and some what the studio or institution and within the abstract. They see the translation field.Akeycomponenttothiswork ofdataplottedacrossfields,often is the road trip, or travel. Whether employing grids and coordinates to the project sets out to one location locate the information in space. These Those whose work is concerned or multiple, they work in the very works were all completed as part of the with complex material systems that landscapes that they are concerned project the Unknown Fields Division, operate across global scales, and with and often with others. In this which brought together a number of cultural frameworks. Whether through sense these projects also explore practiioners to explore various remote Those whose work or practice involves a road trip, and exhibition, an online ideas of the designer as outsider. The locations and the obscure human the use of list making. These works platformorthroughafilm,thisprojects intentionofeachprojectdiaers,for activity that takes place in these all see words assembled on a page, involve a great amount of research someitisaboutbringingtwodiaerent but in the a list format. Whether to locations. It is there for not a surprise that manifests through a multitude communities together through design, that qualities of the remote and the articulate through poem, or to generate of mediums. The research is often for others it is about exploring the obscure are evident in the works. or brainstorm, these projects often curated in a way that reveals hidden remote corners of the world which While these works are based on what explore the power of terminology histories, overlooked conditions, or are connected to urban life through was observed in landscapes, they when it comes to evokeing ideas. invisible systems at play within the complex material networks. While become highly speculative and often Often with minimal language, these world we live in. These projects deal for other projects, it is more about developtheirownfictionalnarratives works are able to achieve or evoke with themes of the urban and remote listening and recording the landscape, through a more technical aesthetics. alot. Not only do they play with words relationship, themes of material documenting and researching This community exists within The themselves, but they experiment with extraction and object production, conditions and phenomena that Speculative Drawers community. It how text is read, and they do this by consumer and maker cultures, as well when back in the gallery context are also intersects with The Projects Within playing with the ‘architecture of the as capitalist and colonial systems. re-presented. This community exists Projects Designers, The Material / page’ so to speak. Through spacing, The subject of these projects varies within The Projects Within Projects SystemHumanActivityTrackersand aligning, staggering or arranging, acrossdiaerentscalesanddiaerent Designers community, and intersects The Projects Within Projects Designers. words are composed in often less locations. These projects can be with communities such as The traditional ways forging alternative considered forms of tracking in that Speculative Territorial Mappers, and reading experiences for the viewer. In they often enter a system through the TheMaterial/SystemHumanActivity some cases the list itself is an artwork, scale of a material or object, and use Trackers. while in others, the list becomes this to reveal, unpack and discover. an alternative way to articulate that This community intersects with The which would otherwise be written in a Speculative Territorial Mappers, The Those whose work and drawing simple essay or paragraph style. For Travelling project Designers, and The practice is concerned with narrative, others the list is more of a graphic Projects Within Projects Designers. geology and matter. These works are element, while for others the list is often textural and capture futuristic Those whose work is concerned with itself an experiment. List making is as scenes that grapple with themes of materiality, making, and sampling. muchasanaestheticthatunifiesthis geology, geo politics, geographic While the subject of each of these community as much as it is a process and geo spatial. They are there for works varies, each project often or way or working. understood through this idea of the interrogatesaspecificmaterial, ‘geo’. These drawings are often Those whose work or projects bring object, or making process, and predominantly monochromatic, use together the work of others often by

The Material / SystemHuman Activity Trackers

The List Makers

The Geo Scene Drawers

The Material Samplers

The Projects Within Projects Designers

tool, devices or instruments to capture various conditions of the landscape. Some advocate for a non problem Those whose practice works with the solving approach to landscape, while medium of performance and can be others advocate for the use of more Those who’s work or projects, in considered to be in the form of a more sitespecificdataandrepresentations particular that which is considered temporal spatial intervention, rather of landscape within practice. What within an arts practice, takes the form than something formal and permanent. unites these all is that there is an of a structural intervention. These The various works and communities essence of daring, or going out and projects often operate at a scale that exist within this community trying some thing new. Even if just larger than the human body and utilise Those who’s works or art practices vary greatly in context, method and individual techniques, these projects all varying materials or making processes are denoted by their indoor context. intention,howeverareallunifiedunder serveasprecedentsforfieldworkor to construct their interventions. The Installations that vary in scale, but that the use of the human body. The human site observation. works included in this community span all require the gallery space for their body or bodies therefor becomes across mediums of art, sculpture and execution and appreciation. In one the tool through which to occupy, installation. They also operate across way or another I consider that all these transform, and make within space. diaerentcontexts,fromgalleryspace works talk to the idea of landscape Within this community exists The to the outdoor landscape. These works as indoors, or that the gallery itself is Collective Action Artists community areunifiedbythefacttheytheyrequire a landscape typology. These works and The Collective Action Artists. one to go and physically experience Those whose work or practice unfold question the assumptions of landscape them within space. through the generation of variation as something ‘out there’ or ‘outside’. This broader community encompasses within their design process. While This community exists within The a number of other communities theseprojectdiaerinmediumand Structural Intervenors community. whoworkindiaerentwayswiththis in their intent or outcome, they are medium. This community includes unifiedbythefactthattheyvalue Those whose work or projects are other communities such as The serial formats and the collection of created through collective activity. Land Based Artists, The Indoor Work iterations as a way to visualise design Performances that see either an Artists, The Sound Installationists and options or the deign process itself. everyday practice re-immagined, the TheHoused‘Ground’Artists’.This These practices work through and with Those whose work or project involves coming together of a large group of community can also be understood in options. The generation may follow a the assemblage of ‘ground’ within the people to build or create something, contrast to The Temporal Performance particular rule or it simply may be the gallery space. Whether a riverbed, a or the experimentation and testing of Artists. creationofthesamethingindiaerent grassland, a lake or a desert, in one materials In space through a group of waysorwithdiaerentsubjects.This way or another these artworks see likeminded people. All these projects community includes other communities the extraction and sampling of an explore what can be achieved spatially such as The Generative Collagers existinglandscape(whetherliterally and in terms of construction through and The Rule Based Generators. or conceptually) and the re-housing or the use of many bodies and many It also intersects with The Spatial reassembling of this landscape on the minds. They are all impressive in terms Those who’s work or practice is ground of the gallery space. This works ofscale.Individualsappearunified Cataloguers, The Order / Chaos HumanActivityPhotographersThe concerned with landscape phenomena are often made with the intention through similar process or action, Stochastic Imagers. or who’s medium is land. Artists of giving the viewer an alternative or through dress and appearance that work at a landscape scale, or experience, or an experience of being for example. All these works take who’s sculptures are situated within a taken ‘elsewhere’. These works may place outside in the landscape. This landscape. For some, their artworks be described as immersive in that community exists within The Temporal are concerned with capturing less they often far exceeds the scale of Performance Artists community. tangible landscape phenomena such the body, making them works that as light, time, seasons, astronomical one exists within, not simply observes Those whose work or practice sees the constellations and so forth - using a from a distance. These works are also medium of collage used to generate formal intervention. For others it is unifiedbytheirenvironmentalconcern a variety of options or iterations. The about introducing a formal addition or that their construction is linked to collageprocessdiaersandremains to an existing landscape form to some form of environmental agenda. unique to each project, however what Those whose work or projects are allow for the existing form to be This community exists within the The all these projects have in common created via an individual pursuit. These experienced or appreciated in a Indoor Work Artists community and is that their work does not exist as worksareunifiedthroughtheideaof diaerentway.Whilethiscommunity The Structural Intervenors. one collage, but as a series. There an individual challenging, testing, or appears small within my map, this is for it is the process of repeating taking on an idea or opportunity. Each only because I included those works and some times altering the collage work involves the motion or movement thatareofgreatestsignificanceto method that becomes the generative by an individual and takes place me at this time in my practice. It must process. All these projects collage withtheaidofanobjectortool(for be acknowledged however that land with photographs some in more example a motorbike, a block of ice, a artists as a community is much larger straight forward ways, others in less Those whose practice works with camera, or even a pair of shoes). Some (in-factitwouldneedanentiremapto the medium of sound through object clear ways. What become impressive works leave a mark on the landscape, itself). This community sits within The through the series format is their based installations. What is common others simply pass through it leaving Structural Intervenors community and method format is that it suggests their to both of these works is that use an invisible path or line in their wake. intersects with the The Sky Framers approach can be applied to various everyday materials, objects and or Ideas of solitude and intimacy in community. subjects, contexts or combinations of gadgetsandmechanics(suchas inherent to this community of works or material. This community exists within motors or robots), to create complex practices. These works also echo ideas The Variation Generators community. and unique sound experiences within of the sublime as the individual is often a gallery space. While the two works encountering the unknown, the remote diaerinscaleandcomposition,they or even just the outdoor landscape Those whose work is concerned both embody ideas of the system and itself. This community exists within with framing the sky and capturing elements of repetition and continuity. The Temporal Performance Artists landscape phenomena using a formal These works not only create an community. intervention. These works are quite audible experience but an immersive Those whose work, project, or practice similar that that build an enclosed experience for the body in that they sees the generation of design options space within which one can sit or design the source of the sound, and through a rule based approach. These inhabit(althoughallatdiaerentscales) , that source is the installation itself works, often in form of sequences and and these spaces have one major therefor the view is forced to exist series, are generated through following facade removed, or one major opening with and to confront the installation or applying a range of parameters or that points towards the sky. In doing Those whose work or landscape as itself a living breathing entity within so they frame, abstract, and isolate architectural practice is concerned with particular logics. Each sequence may the space. This community exists The be the exploration of a single rule, the sky. This allows for a sampling of testingdiaerentideasoffieldworkand Indoor Work Artists community and or in other cases multiple rules may phenomena and elements such as using this to critique more traditional The Structural Intervenors. be explored within the one series or light, colour, time and atmosphere. or common place aspects of sequence. This community echoes the Theseworksdodiaerinthatsomeare landscape architectural practice. Each genre of generative design, however architectural, others are gallery based of these projects involves working with installations, while others a land based datacollectioninthefield.Theyalluse while generative design is mostly

The Structural Intervenors

interventions. This community therefor intersects with The Land Based Artists community, and The Indoor Work Artists community.

Performance Artists

The Indoor Work Artists

understood in relation to computer generated outputs, both of these projectsexplorediaerentvariationsor sequences of a particular form through working tangibly and with analogue means. This community exists within The Variation Generators community.

The Variation Generators

The Collective Action Artists

TheHousedGround Artists

The Land Based Artists

The Generative Collagers

The Individual Act Artists

The Sound Installationists

The Sky Framers

The Rule Based Generators

The Experimental Fieldworkers

The Temporal

ReflectiononMapping What has the process allowed me to do / explore / achieve within the course? The mapping process, or rhizomatic mapping, has allowed me to draw new and unexpected relationships between things. It has led to the formation of new ideas, and new understandings, and, it has allowed me to spatially assemble my own work, others practices, and therefor gain an understanding of how my practice relates to theirs. Ultimately it has allowed to me to understand which communities of practice I see myself a part of. Because the rhizomatic mapping technique is spatial, I have been able to draw more connections between things, and ultimately work at greater level of complexity thansayworkinglinearlydownapage.Andbecausethetechniqueallowsformultiplemediums(text,imageand awing) dr diaerentanglesofunderstandingorideashaveemerged,perhapsmorethanifIhadbeensimplyworkingwithtextorwritten meansforexample.IcannowunderstandwhytheCommunityOfPracticeMap(COPMap)hasbecomeamor einteresting substituteforsomethinglikealiteraturereviewwithintheRMITDesignPDHprogram(oratleastthatswhereIunderstand the COP Map’s origins to be). Essentially, what the rhizomatic mapping process has allowed me to acquire is the uncovering of what was initially something vivid, a series of hunches, a collection of random and unlinked thoughts and pieces of knowledge, that have been slowly accumulating throughout the years, archived in brain waiting to be drawn out and collated; to be used to understand my own community of practice. Have I got the most out of mapping as design research tool? Yesandno.LaterinthesemesteritreallystruckmethatIhadwastedanopportunitybynotcommittingmyselftoproduce a variation of the map each week. Not only would this have reduced the stress at the various moments I did sit down to produce a number of iterations at a time, but I am sure it would have lead to more realisations or discoveries earlier in the course.Idon’tthinkItookadvantageofthemappingprocessasreflectivetoolinthiscase.NexttimeIwouldreallymake aneaorttocommittoaweaklyiterativeprocess,IthinkitcanbringanicerhythmtotheCourseofthesemesterandthen provideareallyrichsetofinformationwithwhichtoreflectonlaterinthedesignprocess.IfthisisoneofthewaysinwhichI usecollecting(seemyfocusworkontechnique)thenthisshouldbeawayIcanappr oachtherhizomaticprocessandmake it a regular exercise within my design practice.

butIdidn’tknowtheirposition.Butthrougheachiteration,eachreflection,eachpieceofwork,thesepiecesslowlyfounda home.Thingsthatdisappearedoatheradarweredrawnbackinlaterintheprocess. Some additional thoughts… I have come to learn that there is a relationship between the mapping process of the course with the archival process of my practice. I have also the nature of rhizhomatic mapping in particular at once immensely overwhelming and also incredibly exciting. Itfeelslikeaprocessthatonceyoustart,itishardtostoporturnoa;theprocessformeverymuchcontinuedpastthe realms of the operating table, the ‘plotting’ and ‘drawing out’ of relationships continued to take place in my mind, perhaps even subconsciously at times, where by moments of realisation - surfaced outcomes, would occur to me; on a walk, in the shower, laying in bed at night. This was consuming and exciting at the same time. And while it was really exciting to discover new connections, new trains of thought, new ideas that I wouldn’t of otherwise come across, my troubles were the tension between working between the mind and the page. These rhizomatic processes, ones that should occur on the operating table, and should more or less occur without an anticipated outcome or desired outcome, were hard to undertake when it constantly felt like the same process was being taking place in my mind. It was like my mind was always a step ahead, and then when it came to working on the operating table, I would struggle to come across something I hadn’t already thought. For me, it became about, how do you enter the rhizomatic mapping process without too much mental baggage, how to you keep a clear mind, open to new discoveries? Finally, every time I go to represent my ideas I end up forming new ones. The map bounces between order and chaos, and, the map has very much become a working archive.

WhereIdidfindIwasabletogetalotoutofthemappingprocesswasmyworkintheearliergatherstagesofthecourse. Ihavereallycometovaluemycollectingprocesses,bothwithinthespecificmappingexercise,butalsowithinthebroader senseofmypractice.Ihavelearntthatitreallypaysoatokeepareferenceofeverythingthatyoucomeacrossthat impactsorinfluencesyouasadesigner,particularthevariousworksofothers.Thismappingprocesshasreallyhelped me understand the role of gathering. There is no point mapping if you don’t have good data to put. The richer the data, the richer the mapping. Although at times my collecting frenzy proved to cause a headache when it came to mapping, I think my maps are all the stronger from pushing through headaches. What did I struggle with and what did I find worked well with regards to the mapping process? Ifoundthemostchallengingpartofrhizomaticmappingtobethesetupofthe‘field’.eating Thatis,the cr guides,structures, frameworks within which the data could be plotted - and and therefor how my map is given hierarchy for ‘me / my practice’. WhatIdidfindusefulhowever,andthisiswhereaclosereadingtoCorners’TheAgencyofMappingreallyhelped,was to keep thinking about ideas of the ‘operating table’ and the ‘data’. For me the ‘operating table’ became multiple surfaces within which I would operate; the Adobe Illustrator Board, the computer screen, the plywood board I set up to allow me to work tangibly, and the piece of paper used with a roll of trace. As for the ‘data’, I considered this to be everything I collected; the work and practices of others, my own work and projects, techniques and tools I work with, roles I see myself take on asadesigner,re-curingthemesideasornotions,diaerentsitesorspatialtypologiesIaminterestedin,anddiaerentartand design movements or styles. Ialsofoundthescaleofthemappingquiteoverwhelmingattimes.Strugglingtofiteverything,emy field entir ofreference, and the large collection data, all onto the same page made me realise that Sticking to both the idea, and the constraints of the A2 page as a map of my whole practice seemed to bog me down a little. It was too much to tackle all at once at times. For me it helped to expand my idea of where and how the mapping process took place. I’ve tried to open the scope, loosen thedefinitionalittle,widentheunderstandingtoincludetheotherwaysIwork,andhavedrawntogetheroughout ideasthr the course - as in one way or another, they still strongly echo the ideas of Rhizomatic mapping. These include: the initial explosion of annotations drawn across and within the initial collection. This felt like an idea dump of sorts, but really gave me the freedom to get all my ideas on the page - which in many cases, took the form of an idea that related two or more pieces ofmycollection.Thisiswheretheinitialkeyideas(manyofwhichcanbetracedthroughouttotheendofthecourse)aswell as securing themes that began to emerge. Mini mappings, for me, like with a lot of the work in this course, it felt useful to considersmaller,‘bit-size’assemblagesorcollections(littlescattersoftext,quote,image,annotation,diagram)thatisolated an idea or theme, as part of the mapping process. although these didn’t present a ‘whole’ or ‘large scale’ map, they present piecesofthepuzzle.IreallyfeltIcouldn’ttakeonthebigmap,withoutgettingtheseoutofmysystemfirst. What are my key take aways from the mapping process? One of my key take aways from the mapping process was realising the process itself was as much a generative processs as it was a means to visualise. That is, the map is both a tool through which to work and generate ideas, but it is also a communication device or something used to represent your ideas. The tension between generation and visualisation was somethingIreallygrappledwiththroughoutthesemesterandfindIamstilllearninghowandwhentousethetwomodes,if the two modes can infect be seperated…. Another big take away, and something that has really resonated with me, is how the mapping process can be so useful in bringing everything togehter, both literally on the operating board, but also conceptually. What I found really interesting / excitingwastheprocessofthingscomingtogether,startingoawiththisbigoverwhelmingcollectionofthings,whichin manywaysdidn’tmakesense,slowlybeguntofallintoplace.Ikneweachpieceofthecollectionwassignificanttome,

The board I used to tangibly explore the communities within my map. The board, sticky nots, and cut outs allowed to more freely arrange, re-arrange, and re-catergorisediaerentgroupingswithinthevariousworks.IoftensketcedoutthediaerentarrangemntsImadeontheboardontoasheetpaper.This allowed me to draw more additional connections and linkages, another layer of themes and ideas.

Focus Exploration 01: Technique & Verb The following section explores my practice, and my community of practice, through a focus on technique. While a number of techniques, or verbs, that can be used to understand the way in which I work have surfaced, one particular verb stood out; collecting.

Collecting, or to collect, is often understood in relation to the the collection as a medium, tool, or piece of work. It has become apparent that collecting as an action, is used in numerous ways, both implicitly and explicitly, within both landscape architecturalpracticeandothercreativefields.Inanimmediatesense,collectingmaybeunderstoodinrelationtoideaso acts of gathering, accumulating, taking, storing, keeping etc.

Whatfollowsisanexplorationintohowsomeprojects/practicesspecificallyusecollecting.Whiletheideaofthearchi doesn’t explicitly manifest here, it’s presence Is quietly waiting below the surface. Each way of using collecting is explored through diagram. Each diagram is accompanied by a short description, an extraction of a number of key ideas from literature surrounding the project in focus. Each short description is accompanied by a collection of footnotes, that in turn house a collection of key quotes that work to connect the ideas and words of others,withtheideasofmyown.TheDiagrambuildofthedescriptionwhichbuildoathefootnotes.

Ways of collecting Herecollectingisobserved,throughdiagram,withinandamongstanumberof keyprojects/practices.HavingBeenquicklyoverwhelmedbythevastnumber ofdiaerentprojects/practicesIcouldunpacktheuseofcollectingthrough,it becameusefultobeginbytryingtounderstandhowitisIspecificallycollect. Five key statements capture how I consider myself to collect through out my practice, each can directly be drawn to few examples of my own work. I use the collecting of artefacts as way to observe site/s I use the collecting of observations as a way to build a resource I use the collecting of variations as a way to generate design options I use the collecting of iterations as way to visualise the development of a design I use the collecting of photos as a way to visualise and document change Eachofthesefivewaysofcollecting,orusingthecollection,canbeunderstood through an existing probect of practice. The collecting of artefacts as a way to observe site/s can be seen in the work of Re-Source, a project that by through the collaboration of the Design Academy Eindhoven and the Rotterdam MunicipalityintheNetherlands(2019),see’sthematerialflowsofthecity catalouged and reimagined. The collecting of observations as a way to build a resourcecanbeseenthroughtheworkofHeikeRahmannandMarieluiseJonas in their project TokyoVoid(2014) as their recognition of the void phenomena provides the seed for a design research project. The collecting of variations as a way to generate design options may be understood through the Incomplete Open Cubesartwork(1974) by Sol LeWitt, as his accumulated alternatives visualise the numerous alternatives of a cubes. The collecting of iterations as a way to visualise the development of a design reminds me of the work of Peter Eisenman in his HouseIV,andHouseVIprojects(1971),wherethesequentialiterativedrawings capturehisworking.Andfinally,agreatexampleofhowthecollectingofphotos is used as a way to visualise and document change is the work of Marthur and Da Cunha in their project SOAK(209) where their photowalks lead to new ways of visualising a complex landscape system. Those marked in orange are captured and unpacked in further detail through the tool of the diagram. Two landscape architectural precedents’ and a artwork, capture the varied use of collecting. Within these examples the presence of the collection is both explicit and explicit. In many cases it grows over time. In some cases the collection leads to new collections, while in others the collection is the tangible outcome or work itself.

Collection of observations as a way to build a resource TokyoVoid,MarieluiseJonasandHeikeRahmann-2014 What is perhaps not immediately obvious when one explores the Tokyo Void project when reading the publication, is that this project manifested from the designers’ ongoing walks through the city of Tokyo and the re-curing spatial phenomena of the void space that were notices on these walks. Notonlydidtheirdocumentationofthesespaceswhilewalkingleadtoacollection,sodid(oratleastwhatwasto intended do so) their spatial interventions using this collection. Their existing collection could be added to and expanded upon by the public, contributing to a great public resource. Ultimately the designers were collected data, and this data served as a resource for both the public and it’s government. What started as a collection that gave birth to a design research project, soon became a larger collection that could serve beyond the immediate design practices of the designers. WhatIfindmostimpressiveaboutthisprojectistheverywayinwhichitwasformed;thatisnotbyadrawnupbriefby anexternalparty,orbyaconditionlabelledasa‘problem’needingtobefixed,butbythevaryobservationsmadeby the designers. This project shows how not only important are ones day-to-day observations within their practice, but if collected, these observations can be utilised and drawn on, and can potentially begin to write the brief for a project, or the very least articulate the need for further design research exploration. Collection as evidence Collection as resource Collection as material Collection as project

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01 - Walks through time

02 - Collecting while walking

The project begun by walking and observing1. The phenomenon of the urban The ongoing collection of void spaces worked to build a digital resource for both ‘void’ space noticed by the designers through the city of Tokyo, became the the city and its’ residents. With the projects’ initial aim ‘to investigate utilisation starting point for both inquiry and intervention. Throughout a four year period, and strategies for vacant spaces’ in the context of Tokyo’s urban conditions of density, 2 acrossfiveareasofthecity , walks were repeated and iterated upon to develop rapid transformation and urban growth7, the mapping and interpretation of the the designer’s ongoing collection of urban void spaces. These areas, or ‘case spatial typology began to surface the connection between urban void spaces and studies’3, were mapped and documented4. The products of which can been seen what is described as “underlying demographic, spatial and political dynamics”8. 5 as much an ‘interesting visual mapping process’ as the generated outputs of And, with one of the key project ambitions to acquire an understanding of the ‘insightful maps, graphs and visuals’6. As voids were revisited on yearly intervals, qualities of these void spaces9, notions of a ‘constantly shifting network’ and a repetitive and collective process emerges from the project; a collection of walks, patterns of ‘continued remaking and reconstructing’10 begin to characterise the acollectionofvoidspacesandacollectionofiterationsofeach ough space(thr phenomena throughout the city. The digital platform containing the ongoing time) is created. resource was arguably shifting and changing as the complex system of void spaces throughout the city.

03 - Collections build a resource

04 - Visualised through space and time?

The collective process through the use of the digital resource extended to then The extensive mapping of the void spaces, while ‘impressive’16, fails to provide 11 collect data from and with the assistance of city dwellers . The collection was a‘visualsummary’ofthe‘resultingnetworkorpattern’.However,thisvisual nolongerjustanoaering,butanexchange,beingcollectivelybuiltanded. alter summary would be a hard task given the ‘shifting network of voids remains Through ‘conducting urban interventions through digital technology’12, the some what unpredictable and ultimately ungraspable’17. If there were such a designers’ aimed to link the research with those who inhabited it, exploring the visualisation,itcouldnotbestaticandwouldhavetoreflectaneverchanging ‘potential of engaging with the city as a designer or agent of urban change’13. Two condition. While the collection of void space’s may not be a broad over view, the seperateinterventions,thesecondexpandingonthefirst,werebothtemporary work still uncovers the ‘nuance’ in the city/void relationship18, it ‘carefully and and are described as ‘alternative strategies to conventional market driven or imaginatively’ explores ideas of vacancy, forms a ‘rich’ way of understanding 14 architectural spatial development’ . In both, the use of an object that connects the city19, and an ‘intriguing overview of land use’ is created20. Ultimately, the throughaQRcode,linkspeople,voidspace,anddigitalplatform,inanattempt processes of collecting and mapping, build a strong case for the urban void as a to qualitatively grow the understand of the void spaces, but also quaitiatvily grow valuable spatial resource21. the mapping of void spaces15.

01 - Walks through time

04 - Visualised through space and time?

legislative, demographic and environmental forces that are constantly in play.” And “ what As described by Heike Rahman in the Ways of is does emphasise is the pattern of continual Working lecture RMIT, 02 August 2021 remaking and reconstruction that has been driven by a range of factors, and the unpredictable 2 As described by Minkjan (2015), “ Over the spatial interactions that they create.” course of four years they identified and revisited voids in five areas in okyo generating insightful maps graphs and visuals ” 03 - Collections build a resource As noted by Rahmann and Jonas (2013), “ Five areas in okyo were selected as case studies ”

When describing the project, Rahmann and Jonas (2013) write, “ Throughout the project we have explored various appropriation strategies, 4 As described by Rahmann and Jonas (2013), such as on site occupations, and installations “ ince 200 we have mapped and revisited the(i.e., formality, informality and hybrid forms of okyo voids in yearly intervals in each of the caseappropriation), we have tested their interrelation study areas” with various forms of ownership, levels of engagement and responsibilities.” 5 As described by Hansen (2013), “ hrough 12 recording urban voids since 200 the book The designers Rahmann and Jonas (2013) shows an interesting visual mapping process ” write, “. we have conducted urban interventions using digital technology.” 6 As described by Minkjan (2015), “ …revisited voids in five areas in okyo generating insightful13 Simon (2015) also writes, “ …and it explores the maps graphs and visuals ” potential of engaging with the city as a designer or agent of urban change” 3

As noted by Minkjan (2015) “ …a number of projects that show alternative strategies to Rahmann and Jonas (2013) state, “ he okyo conventional market-driven or architectural Void research project ongoing started out spatial development, many of them temporary, to investigate utilisation strategies for vacant others characterised by a sort of permanent spaces particularly in light of okyo s specific temporariness (a continuous sequence of urban conditions including issues of density temporary projects).” rapid transformation and urban growth ” 15 When describing their interventions, the 8 As noted by Minkjan (2015), “ By mapping and designers Rahmann and Jonas (2013) write, “ The interpreting voids in several parts of okyo theirfirst intervention concentrated on the tagging of interrelation to underlying demographic spatial void spaces that were already recorded in our and political dynamics are shown ” previous mapping. This strategy was intended to initiate discussions about those sites by bringing 9 Rahmann and Jonas (2013) write, “ One of the owners, potential users and other interested key ambitions of the okyo Void project is to people to the web platform.” ascertain the distinct qualities of the typologies They continue to describe the remaining of temporary vacant spaces while considering internetion, “ The second intervention — Space the distinct morphological and temporal qualities Ambassador — focused on engaging the public of the temporary vacant urban spaces in in the process of mapping new vacant sites development and design” and thus testing spatial connectivity, networks and interrelations of temporary vacant spaces.” 10 Simon (2015) writes, “ A network of constantly Where, “ First, plant material is collected from shifting void spaces within the city is to in a neglected vacant space — some weeds are opposition to okyos urban conditions but is removed from the site and are replanted into integrally connected to the range of economic small, custom-made containers.” 02 - Collecting while walking

As noted by Minkjan (2015), ”The mapping performed by the authors is impressive.” Simon (2015) adds, “By it’s very nature, the shifting network of voids remains somewhat unpredictable and ultimately ungraspable. Although there are many diagrams of the types of voids generated by di erent pressures there is no visual summary of the resulting network or pattern, and if there was such a drawing this could only ever be a snapshot in time.” 17

Simon (2015) continues “Where the cover suggests an either/or dichotomy between city and void, the test and images inside reveal a far more nuanced relationship.” 18

However Simon (2015) also states, “The quality of the book is that it carefully and imaginatively unpacks the ideas of vacancy and void in order to expose their richness as a way of understanding the city,” 19

Hansen (2013) also adds, “ With data visualized in charts and with maps of Tokyo’s urban lay-out, an intriguing overview of land use and green spaces is provided, as well as di erent typologies of voids in okyo and demographic trends since 1920.” 20

Finally designers Rahmann and Jonas (2013) write, “In this context, urban voids are valuable spatial resources. The activation of temporary urban void spaces, currently 3.1 per cent of Tokyo’s urban area, has the potential to immediately increase the total amount of open space by 50 per cent (Tokyo Metropolitan Government 2011: Urban Land Use Statistics).” 21

Collection of variations as a way to generate design options Incomplete Open Cubes, Sol LeWitt - 1974 LeWitts collection of incomplete open cubes is the outcome of his conceptual generation, and this collection itself is the artwork. While this precedent is less relevant to more open ended for of production that I consider this form of collecting to exist with a design practice, Le Witts way of working is still extremely relevant to understanding the role of collecting in designpractice.Thatis,IncompleteOpenCubesseesthegenerationofvariationswiththeaimorfindingall entthediaer options, while in my own practice I don’t always go in with this intention; however LeWitts serial production is a simple example of how the collection can become the generation itself. What LeWitts artwork captures nicely, is how the use of some form of underlying logic, whether rules or a spatial order, can assist in both the organisation of the generation, but also create further lines of inquiry. The grid is used less as a controlling tool of curation, and more as a matrix through which to generate. What I relate to most in this project, is the need to get all the ideas onto to the page so to speak. This desire to generate all sorts of ideas or options before committing or moving forward with one. The collection is not just an output, but the practice of collecting is considered itself a form of generation. Furthermore, I one is to generate with the intention of collecting the outputs as they go, perhaps this prompts the need for useful parameters or restrictions that can avoid the scope becoming too broad. Collecting as generation Collecting as iterating Collecting as producing Collection as outcome Collection as output

07] [img-ref

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01 - Expansion through reduction

02 - Inherent order to the chaos

03 - Perceived completeness

04 - A complete study of incompleteness?

The project that deals with themes of ‘seriality and variation’1, and that is described as ‘obsessive and irrational’ in character2, see’s 122 versions of an incomplete cube produced3. This notion of creating by subtracting embody’s the essence of dichotomy that runs throughout the work. The work is at one simple yet complex, reductive and expansive4, it deals with ideas of both complete incompleteness and incomplete completeness5, it is made with compulsion and also with ritual6, contains a method within madness7, and has qualities of randomness and disorganisation, but so to system and order8.

Behind the collection of options lies a body of work that spans a range of media; ranging from sketches to notes, drawings and photographs, diagrams to models9. Through ‘systematic geometry’ and ‘sets of rules’10, and by using the cube as a ‘grammatical device’11, the work is “…built up from the repetition”. (Salcman,201)The‘correspondingdiagrams’ofthe12models,arearranged on a matrix12, and although perhaps ‘meaningless’13, the matrix allows for the generation of options through two variables, or elements of change, to be organised14. It is this movement from one option to another, from one idea to the next, that may be described as the ‘and’, and for the this ongoing repetitive process, the larger collection of ‘and’s’ that we might consider LeWitts’ ‘babble’ asdescribedbyKruass15.

With the project ‘inviting contemplation’16, and as one views the array of all the While the project see’s an impressive output, where LeWitt was able to ‘analyze diaerent‘incompletecubes’theabsenceismentallygrappledwith.AsWeychert and disembody’ the cube19, we might look to Weycherts’ project, Incomplete describes, “The viewer is able to mentally reconstruct the complete form of the Open Cubes Revisited for critique, “LeWittmighthavetakenallthenecessary cube from the remaining parts.”(Weychert,2018),ourtendencytocompletethe stepstorealizeeachofthe12solutionstohisquery,asseenhere,butthework 17 18 incompleteness , and the ‘mental processing’ involved in this , may be what “… canhardlybeunderstoodasfinishedintheconventional”sense. (Weychert,2018) providesonewithanexperiencethatisobsessional ”(Krauss, inkind. 1978). Where LeWitt’s parameters of using a minimum of three segments, these segments must be connected, and any option cannot be rotated to create a new option, is considered by Weycherts as ‘limiting’ and ‘restricting’ of possibilities20. Analysed through elements of Dimensionality, Contiguity and Rotation, Weychert is able to produce additional variations of the ‘incomplete open cube’ where “…a vast landscape of additional cubes is introduced.”(Weychert,2018).

01 - Expansion through reduction

whole and comprehensible.”

and sculptural maquettes that as a process supports the “actual” work: 122 incomplete As described by Fabrizi (2016), “ …on the skeletal wooden cubes generated from a themes of seriality and variation ” paradoxical” - Fabrizi (2016) also states, “ The work was carried out by the artist through a 2 Fabrizi (2016) also states, “ …underlining longprocesswhichinvolveddiaerentmedia: the obsessive and irrational character of the atfirst,thecubesweresketchedandlabelled artist’s work. ” alphabetically and numerically. He then made models for each one of them and made sure no 3 As described by Salcman (2010), “…pursuit of configurationwasrepeatedoncethestructure a basic serial premise: the elaboration of every isrotated,thecubeswerethenbuilt inpainted variation of an open-sided cube missing between wood and in aluminium.” 1 and 9 of its edges. No 2 sculptures in the series 10 have the same form.” And then as described As described on the Art Basel Gallery Website on the Art Basel Gallery Website (n.d.), “ …an (n.d.) “ LeWitt turned to systematic geometry by arithmetic concept identifying all 122 unique devising basic sets of rules that would govern the variations in which a cube can be incomplete. ” design and execution of a work of art.” As Weychert (2018) describes, “ …concurrently simple and complex: It is at once reductive and expansive.” 4

Carson (2002) writes, “ …as Pamela Lee puts it, to present a “complete investigation into how one might not complete the form of the cube” ” - and as described by the Metropolitan Museum of Art (n.d.), “ …explored the 122 ways of “not making a cube, all the ways of the cube not being complete,” per the artist.” 5

The Art Basel Gallery Website (n.d.) describes the systems, “ The titles reveal where in the schematic progression the piece falls – for example,8/9indicatestheninthvariationofa cube with eight elements.” 15

Krauss (1978) writes, “ in that its refusal to summarize,tousethesingleexamplethatwould implythewhole,islikethosefeverishaccounts ofeventscomposedofalmostidenticaldetails, connected by “and.”” 03 - Perceived completeness As described by Weychert (2018), … “ inviting contemplation” 16

Salcman (2010) captures this idea, “One of the most beautiful aspects of such work is the degreetowhichitseaectivenessdependsupon the natural tendency of the brain to “complete” or“fillin”visualobjectssoastomakethem 17

H w the work was produced is described by o Carson (2002), “ For Incomplete Open Cubes is not a discrete work of art, but an amalgam of notes, doodles, working drawings, photographs, 9

Andfinally,capturedherebyWeychert(2018), “ …astheysignificantlyrestricttheconcepts possibilities.”“…Itsnotclear,however,why detached, grounded parts were not permitted.”

Krauss (1978) writes, “ …sit in regimented but meaninglesslines,thedemonstrationofakindof mad obstinacy…”

Krauss (1978) also states, “ There is, in Variations of Incomplete Open Cubes, as they say, a method to his madness.”

02 - Inherent order to the chaos

Krauss (1978) continues, “ repetitious detail, have about them a quality of randomness, disorganization… And LeWitt’s outpouring of example, his piling up of instance, is riddled with system, shot through with order. ”

As Fabrizi (2016) described, “LeWitt took the basic and universal known form of the cube and starts to analyze and disembody it” 19

Fabrizi (2016) also states, “The work is a collection of 122 frame structures presented together with the corresponding diagrams arranged on a matrix.”

Krauss (1978) captures this idea, “ …wefindis the “system” of compulsion, of the obsessional’s unwavering ritual, with its precision, its neatness, itsfinickyexactitude,coveringoveranabyssof irrationality.”

04 - A complete study of completeness?

Pace Gallery (n.d.) describes, “ Using the cube as a “grammatical device...” 11

Salcman (2010) continues, “ LeWitt knew that we would try to complete his incomplete cube within the realm of mental processing. We hardly miss the 5 aluminum sections or beams, the brain feasting on the remaining 7.”

Collection of site photographs as a way to visualise and document change Soak, Mathur & DaCunha - 2009

ThecollectionexistswithinmultipleaspectsoftheSoakproject.Youcouldconsiderthewholeprojectacollectionof drawingsandvisualisations.Yetwithineachofthesedrawingsfurthercollectionsreside;collectionsofthephotog theMumbairegion.Ofteninlineararrangements,thesegroupsofphotographsatfirstappearrepetitive,butquicklyunve a subtle change across a particular line in the landscape. Either through space, time, or space and time, these lines are the subjectofthephotowalksorphoto-worksthatthedesignerscreatewithinthefield.Thecollectionthen,isbuiltinthefield, andthentranslatedandworkedintothedrawingtorepresentthefield. What Soak is able to achieve through a collection, is what could not be captured, communicated, or visualised through the singular. They need a collection to work with ideas of change, because one single photograph would not achieve the same eaect. What I admire in these drawings is the aesthetic strength of the photo collection. While the drawings may appear complex or chaotic, it is the photo walks and their subsequent collections of photos that actually bring visual unity and order to the drawings. It suggests that collections built from a 1:1 or direct ‘on the ground’ undertaking, can allow for a simple or clear reading of the larger more complex scales of landscape systems - particularly those that are as dynamic as the Mumbai estuary.

Thisprojectsurfacestheideathatthecollectionisamanifestationofthedesignerspositioninthefield,thetool,and fielditself.Thecollectioncapturestheserelationships. Collecting as walking Collecting as photographing Collection as visualisation Collection as manifestation Collection as change

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01 - Blurring the line

02 - Construction

What is described as the ‘land sea divide’ or the ‘land sea dichotomy’1 is the With the estuary landscapes of Mumbai demanding a “…diaerentwayofseeing focus of the project. Soak, “...a new visualisation of Mumbai.”(Marthur/Da andadiaerentmodeofrepresentationthroughsection,horizon .” andtime 9 Cunha, n.d.)2,considerstheterrainasmoreofa‘filter’betweenlandandsea, (Marthur/DaCunha,n.d.) , the designers take to the ground through ‘photo 3 rather than a “…line between them”(Marthur/DaCunha,n.d.) . works’ and ‘photo walks’10. Shifting from the ‘military birds eye’ to a ‘ground level Contextually, the designers describe a general attitude towards the Mithi as perspective’, and through an ‘eye level’ position11, this way of working sees the 4 something that has shifted from welcoming to fear , from ‘awaiting a monsoon’ designers “communicate through demonstration… and through act”(Marthur& to ‘preparing for battle’5, and ultimately that land and water are seperate6. An Da Cunha, 2012)12. attitude that has led to a ‘landscape of hard edges’7. Their proposal to blur From an ordinary starting points to extraordinary representations13, the outputs the line between land and sea is articulated through a number of ‘this / that’ of the photowalks are described as ‘alternative mapping’14 and ‘intricate and 8 relationships . It is through this language; ‘from this to that’, ‘this rather than original visualisations’, that “…at once construct and peel away the many layers 15 that’, or ‘this over that’, an essence of shift is created. The designers set up of complex landscapes.”(Pevzner&Sen,201) This process of observing while dichotomies through language, which then they’re visualisations begin to break movingthroughthelandscapeisreflectedinthephotographicsectionaldrawings down. that it creates16.

03 - Estuary

04 - Initiation?

The‘openandfluidgradient’oftheestuary,andthelandscapesitismadeup While the project is a ‘new visualisation of Mumbai’23, where a series of ‘iniations’ of17,supporttheneedforadiaerentwayofrepresenting.Throughthe‘iterative’ are proposed24,thedrawingsdon’texactlyclearlyarticulatethespecifics 18 25 drawing, and the designers’ ‘obsessive’ collection of data , a process of ‘drawing ofeachinitiation(orintervention) .However,ifMumbaisestuariesworkby out’ occurs. The estuary, that which survives ‘beyond the delineating eye of the ‘possibilities’ not ‘propabilities’, calling not for “…end scenarios but initiations 26 surveyor and pervasive colonial descriptions’19 is visualised through a series that evolve”(Marthur/DaCunha,n.d.) ,thenitjustifiestheideathatthe of sequences. This serial approach echoes the ideas of prioritising ‘process of drawingsofSOAKaredescribedmoreas …seeds “ with the potential to unfurl 20 27 formationratherthanafixedoutcome’ . The essence of gradient, and gradual and emend possibilities”(Keane,201) . The drawings are then, as much about change captured in the photo works, carries ideas of enabling ‘permeable understanding the complexities of site, as a process of discovery28. They are as 21 boundaries between land and sea’ and really embodies the statement, “Soak much ‘works of art’ as they are documented design proposals, and while they challenges the colonial control of a landscape delineated by categories of use and might be more ‘photo essays’ then an articulated intention of implementation, 29 insteadreabrmstheopennessandfluidityofthespacesbetweenlandandsea, they do attempt to “…construct the ground for projects”(Pevzner&Sen,201) . 22 point and line, water and wave.”(Lister,209) .

01 - Blurring the line

02 - Construction

As described by Keane (2010), “ Their drawings consider Mumbai as a system rather than through the lens of a land/sea divide… ” and, “… the land / sea dichotomy.”

As stated on the designers website, Mathur / Da Cunha (n.d.), “ Soak is a new visualization of Mumbai. ” 2

03 - Estuary

The project also declares that “They demand As stated on the designers website (Marthur adiaerentwayofseeingandadiaerentmode / Da Cunha) (n.d.), “ These landscapes, which ofrepresentationthroughsection,horizonand include swamps, oarts, talaos, and bazaars, time. ” - The designers website, Mathur / Da occupythefluidandopengradientofan Cunha (n.d.) estuary…” 17

toresolvetheproblemoffloodnotbyenforcing linesbutbytransformingMumbaiintoaplace thatabsorbsthemonsoonandsea,aplacethat accommodatessoak.” As articulated by Keane (2010), “ Thenatureof theseinterventionsissomewhathardtodefine throughthedrawing… ” 25

18 As described by Pevzner & Sen (2010), As captured by Lehrman (2011), “ …Mathur 26 “Theiranswersoftentaketheformofintricate anddaCunha’sinquiryintoiterativedrawing… ” As captured by the designers, “Mumbai’s andoriginalvisualizations•whattheyterm and, “…in their obsessive analysis and data estuarydoesnotworkbyprobabilities.Instead 3 The designers website, Mathur / Da Cunha “photoworks”and“photowalks,”sectional collection.” itworksbypossibilities.”And“Itcallsnotfor (n.d.) writes, “ …a terrain that operates more as a drawingsandcollagesthatatonceconstruct endscenariosbutinitiationsthatevolve… ” - The 19 filterbetweenlandandseathanalinebetween andpeelawaythemanylayersofcomplex “InthesecondsectionofSoakwedrawout designers website (Marthur / Da Cunha) (n.d.) them. ” landscapes. ” landscapesthatsurvivebeyondthedelineating 27 eyeofthesurveyorandpervasivecolonial Keane (2010) also writes, “ Theyarerather 4 11 “Mumbai is shifting from welcoming or As described by Lister (2009), “... theypropose descriptions, both appreciative and critical, that seedswiththepotentialtounfoldandextend abhorring a soak by the monsoon to fearing and afundamentalshiftfromthemilitarybird’s- beginbyseeingMumbai’sterraindividedinto possibilitiesinmorethanone”way… fightingbeingfloodedbyit.” As stated on the eyeviewtoaground-levelperspective. ” And objectsingeographicspace. ” - As stated on the 28 designers website, Mathur / Da Cunha (n.d.) “Viewingthecityateyelevel,fromtheriver’s designers website (Marthur / Da Cunha) (n.d.), Keane (2010) also states, “ Mathurandda edge…” Cunhausetheconventionsofdrawingasaway 5 20 “Awaiting the monsoon for better or worse is Keane (2010) states, “ These moves prioritise to‘model’thevariousconnectedsystemsand 12 increasingly being replaced by a readying for As the designers state in the Australian Design theprocessofformationratherthanafixed toproposeaseriesofinterventions. ” And “… battle. ” Also as found on the designers website, Reveiw (2012), “ Wecommunicatethrough outcome…” using representational strategies, methods of Mathur / Da Cunha (n.d.) demonstrationandwecommunicatethroughan mapmakingandalayeredconstructionofthe 21 act. ” Lehrman (2011) writes, “ …requires a new imagetoformulatesite.MathuranddaCunha’s 6 The designers website, Mathur / Da Cunha approachtoplace-makingthatenables techniquesofdiscoverysuchasphotosections, 13 (n.d.) also states, “ …through the cultivation of As described by the designers in As described permeable boundaries between land and sea ” largescalesectionsandcomplexdrawings… ” an attitude grounded in the belief that land and by Pevzner & Sen (2010) “ Westartwithvery 22 29 water are separable.” ordinarythings,andwephotograph,wedraw, As writes Lister (2009), “ Soakchallenges As captured in Pevzner & Sen (2010) the wedigintohistories. ” And, “Perhapsitiswhat thecolonialcontrolofalandscapedelineated designers state, “Soourdrawingsoftenstraddle 7 “This attitude has encouraged a landscape of wephotograph,whatwelookatandresearch bycategoriesofuseandinsteadreabrmsthe theworldsofartandinformationcommunication; hard edges and clear and distinct entities, and thatmakestherepresentationsseemdiaerentopenness • andfluidityofthespacesbetweenland andtheyareindeedboth.Forustheyareworks fostered a spirit predisposed to privileging land unconventionalorevenextraordinary .” and sea, point and line, water and wave.” ofartandtheyarenarratives,visualessays over water…” - The designers website, Mathur / abouttheplaceswe’veresearched.Andthough 14 Da Cunha (n.d.) As captured by Lehrman (2011), “ …creatingan theyarenotalwaysdonewiththeintention alternativemappingofMumbaiusingsections 04 - Initiation? ofimplementingtheproject,theydooften 8 As captured in a number of passages on the andphotographs… ” constructthegroundforprojects. ” 23 designers website, Mathur / Da Cunha (n.d.) As stated by the designers, “Soakisanew 15 such as: “It does so by changing the terms of Again as described by Pevzner & Sen (2010), visualizationofMumbai. ” - The designers discourse and design from spatial land uses “Theiranswersoftentaketheformofintricate website (Marthur / Da Cunha) (n.d.) to temporal practices, from draining water to andoriginalvisualizations•whattheyterm 24 holding rain in multiple ways, from separating “photoworks”and“photowalks,”sectional Soak proposes a series of what the designers land and water to negotiating rain and tide. ” And, drawingsandcollagesthatatonceconstruct call “initiations,” as described by Lister (2009), “Anestuarydemandsgradientsnotwalls,fluid andpeelawaythemanylayersofcomplex “whatthedesignerscall“initiations,”speculative occupanciesnotdefinedlanduses,negotiated landscapes. ” interventionsatvariousplacesalongtheMithi, moments not hard edges.” And, “In short, it whereearthworks,vegetatedbermsandgentle 16 demands the accommodation of the sea not a Keane (2010) states, “ Throughthe swaleswouldbeintroducedtoformnatural war against it… ” And, “It encourages designs transformationoftheline–fromplantosection, sillsandcorrugatedsurfacesthatfacilitatethe that hold monsoon waters rather than channel fromdefinedtofluid–theprojectfinds“landandgradualspillage,holding,percolation,infiltration them out to sea; that work with the gradient of an seaonacontinuuminsection,inmovementand andslowabsorptionofwateraswellasecuent .” estuary; that accommodate uncertainty through intime…” And as described on the designers website resilience, not overcome it with prediction. ” (Marthur / Da Cunha) (n.d.), “ Eachinitiationworks

ReflectiononTechnique: What has the focus on technique allowed me to do / explore / achieve within the course? This focus exploration really allowed to me unpack and tease out a body of works by other practitioners that I knew I was drawn to but hasn’t had the time or space to really understand why it was I was intrigued by their work, or why it was that Irelatedtoitsomuch.Ihadalotofdiaerentworksandpracticesthatusedcollecting(asaprocess)andthecollection(a form), through the medium of photography, to document and observe the everyday, or the world around them. This started oaasareallylargecommunityofdiaerentpeople’swork,butthroughthisfocusexercisethislargercommunityquickly separatedintoahandfulofsmallercommunities,asIbeguntounderstandethe detailed mor waysinhowtheirworkdiaers from one another. While as a larger community they worked through documentary photography, some did so through approachingaphotographcollectionthroughaspecificthemeorspatialormaterialphenomena,whileothersundertook processes of re-photography, and, in the case of some others, their documentary photographic practice was more concerned with indexing and cataloguing human trends or fashion styles. I went from a simple understanding of a group of people who collect photos of things in the world, to the understanding thatthesepeopleallCollectphotographstodocumentandobservetheound world them arthroughdiaerentapproaches, techniques and focuses. I learnt that what I really related to most, was the community of people who followed a particular theme or phenomena in the landscape. While I already know that I work in this way, I have come to understand how this technique can then serve a purpose within a design process. Beyond the photographic documenters, a focus on unpacking three key projects really helped me understand that my use of and interest in processes of collecting goes beyond just building a nice or impressive collection for display. It helped me understand the ways in which collecting and the collection aid my own design process in ways I wasn’t aware of, while showing me additional ways in which collecting or the collection can play a key role in a design project. That is, the works HouseIV(PeterEissenman,1971)andIncompleteOpenCubes(SolLeWitt)r eallyhelpedmeshowedmeandarticulatedthe role of generating options and variations and how when collected these can aid your own understanding of your work, this wassomethingIwassemiawareofinmyprocessuntilnow.TheworkofSoak(Mathur&DaCunha,209)reallyreminded meofthepotentialofmyphotowalkcollections,andhowthesecanoaeradesign ocesspr morethanjustexistingas collection of photos but could be a rich addition to a drawing or representation of the very landscape they were taken in. The projectTokyoVoid(HeikeRahmann&MarieluiseJoans,2014)reallyemphasisedtomewhatacollectioncangiveriseto, and reminded me to never disregard a collection of observations, even if they don’t appear to have a purpose initially. And thenfinallytheprojectRe-Source(DesignAcademyEindhoven,2019)reallyshowedmehowdiaerenthandsonapproaches ofcollectinginthefield,particularlyinrelationtomaterialandtheideaofartefacts,cansimplyworktobuildareallyrich resource from which to draw on in the future.

collect with design practice, whether that be in relation to site observation, or idea generation, you have the potentially to create a really rich project and design outcomes. Collecting there for becomes useful when it is given more value, more thought, and more design itself within a design process. My second take away is that we as designers or architects can learn a lot from the arts. Artists are often an immediate point of call when it comes to providing a reference, I personally have struggled to not refer to the work of an artist at almost every point in this focus exploration. I come to understand that artists often do things, use techniques, in more simple, but no lesssignificantways.Whatweasdefinerscandoisdrawonthissimplicityandperhapstakeiteven .For further example, Bernd&HillaBescherareagreatexampleofusingdocumentaryphotographytocapturediaerentspatialandbuiltform typologiesthatgounnoticedwithinthelandscape.YoucouldarguethattheworkofHeikeRahmannandMarieluiseJonas also undertook this technique when walking around Tokyo and noticing the void spaces. What the Tokyo Void project does however, is uses this collection of photographic observations to give rise to an entire new project in itself. Some additional thoughts… I have come to learn that while using the collection and deigning collection exercises can be really useful within my practice, itisimportanttoremembernottogettoofixednotthecollectionitself.ThiscanbecomedangerousasImightbeginto collect for the sake of collecting…it also encourages ideas of extraction, taking and storing. Knowingwhattocollect,howtocollectandwhentocollectarereallyimportant.

What has the focus on technique revealed to me about my practice and my community of practice? Ithasallowedmetounderstandthemultiplicityofwaystheactionofcollectingisusedwithdesignfields.oIthasals shown me how a single verb or action can still be quite broad when It comes to really understanding how one works. It has revealed to me just how much I use collecting. And it has also revelled to me that with design disciplines we as designers collectinsomanydiaerentways. I have come to learn that we as designers collect both implicitly and explicitly and that acts of collecting occur every where youlook,atallsortsofdiaerentplaceswithinthedesignprocess.Whetheritbethecollectionofprecedents,thecollection ofdatainthefield,thecollectionofsiteobservations,thecollectionofsitephotos,undertakingaseriesofsitevisits, thecollectionofmaterialsamples,theduplicationofyourautocadfileeverytimeyougotomakeanotherchange uper s seeding your previous iterations, the collection of before and after photos of your site, the collection of research, or even the collection of project that one has done over their career to be then put into their portfolio. Collecting is everywhere in design and architecture. And in most cases we do it without knowing. What did I struggle with and what did I find worked well with regards to the exercises of focusing on technique? UponmyfirstattemptattheexerciseitquicklybecameapparentthatIwasapproachingthetechnique,ordefiningthe techniqueofcollectingtoobroadly.Iwasexpandingmyfieldofreference,andtherefortherangeofprojectsIwasfinding and collecting to wide. I found it hard to simply pick three projects to move forward with, simply because within the roughly 15diaerentprojectsorworks,Icouldreallyseeandfoundinterest,inthewaytheywereusingcollecting.Inanattemptto gain some direction, I tried to group and categories the ones I felt were using the technique of collecting in a similar way. Whilethiswasusefulinbeginningtorefinealistofspecificwaysthetechniqueofcollectingwasused,Istillstruggled tocommittothreeprojectswithwhichIwouldunpackthroughthediagram.Iwasalsostrugglingtofindlandscape architectural projects. My second attempt was prompted by a key moment for me in the exercise - and that was feedback from Jen; try to think abouthowyouspecificallyusecollecting,writetheseout,pickthr eeandthengofromthere.Thiswasareallyusefulstepin theprocess.Iusedaprocessofreflection,turningtomypastwork,inparticulartheprojectsorprocessesImostenjoyed, andveryquicklythediaerentwaysIusecollectingbecameapparent.Theliststartedlarge,butIwasabletonarrowitto5 key ways. For each of these, I could quite quickly and comfortably turn to a project I had researched and felt happy with thechoicesofprojectIchosethatIsawreflectedmywayofworking.Forthesakeoftime,Imovedforwardwiththree, and took comfort in keeping the remaining two as sort fo sub projects/ways of working. The three I moved forward with to diagram was not decided by the three techniques I use the most for example, but by which I could ensure I was analysing 2 landscapeprojectsandoneotherdiscipline(withinthe5therewere2landscape,1design,1artand1architecture). What are my key take aways from the focus on technique? Ithinkmybiggestreflectionorlearninghasbeenthatcollectingisnotanuncommonactionwithindesignandlandscape architecture, and, that collecting itself is not really a technique, but how one collects, and for what purpose, is when it becomes a technique. In this sense that I now understand that if you think creatively about how and what and how you

Focus Exploration 02: Theory & Language The following section explores my practice, and my community of practice, through a focus on theory and language. It carry’s on from the previous focus on technique in that is works with a handful of key ideas that surfaced from the exploration - but it also zooms back out and explores additional angles or ideas that exist within my practice beyond my ways of working with the collection. What linked the two was beginning to think through ideas of collecting, site, and observation. While simultaneously reading intotheoreticaltextsthatdealtspecificallywithideasofcollecting,thesethreetermsleadthewaytosomekeylandscape architectural methodology projects, which in themselves gave rise to a whole new set of terms and theories that related back to my practice. Theideaofthearchivebecomesalotmoreexplicithere,infactitbecamethetermIseemedtofindthemostrelevant literature.Itbecameareallysignificantideawithwhichtobringanumberofotherideastogether.Itprovidedanavenue through which to think and understand processes of collecting, and the tensions that lie within these practices. Begging to think of the archive as the product of the collection, the archive therefor becomes a key idea through which to begintothinkaboutfieldwork,siteobservationandotherfacetsofdesignpractice. spresence It’ isrichwithinthefieldsof philosophy and the arts, but has only recently found its way into architectural scholarship; giving both a rich base but also a fresh or less explored trajectory to its use in design practice.

Lexicon There is no one of theoretical idea or positioning that captures my practice. Instead my practice can be understood from a number of angles, and there for requires less a single multi-word phrase, but more a collection of single terms. And these terms, are built up from their own collection of multiple readings. These words both emerged or came to me, but also were sought after. Like my community of practice, this lexicon is very much a work a progress; and what is presented here can be considered the lexicon ‘as it stands’. These terms presented are more often the coming together of multiple readings, multiple sources, as opposed to just one ‘major’ source. Keywordsemergedfromtheirrecurringpresenceacrossmultipletextsandpapers(field,fever,impusle),whileinother cases,Iwascertainonaparticulartermandsoughtafter esence itsprinkeytexts(archive,collecting). Each term is just the face of a larger collection of quotes that deal with the term, and notes extracted from these quotes. This back log can be found in my archive, and sit ready to have new meanings or ideas extracted from them.

What follows is not just a written lexicon, but a series of diagrammatic descriptions that begin to unpack how each of these words begin to relate to one another. These relationships build up a few key understandings of my practice. These range fromunderstandingthediaerentrealmsor‘layers’ofmypractice,tothemoredetailedcomponentsofmypracticesuch fieldworkorarchiving. Insomecasesthetermswereone’sIhadeithernotheardofbefore(mnemonic,serial),orhadnotbeenthinkingaboutin thiscourseuntilnow(serial,impulse,fever).InothercasesIhadcomeoss acrtheterm,andsometimesevenuseditmyself withoutreallyknowwhatitmeantorhowIchosetodefineit(field,care,motion).And,inothercasesthetermwasalready known to me and I had my own ideas about it, but a theoretical text managed to change, alter or add to my understanding oftheterm(fieldwork,archive,tool,instrument,device).Inallcases,eachtermpromptedthediscoveryofanotherone,and whilethislexiconcoversalot,anumberofadditionalkeytermssitwaitingformynextopportunitytounpack these them( appearingrey).Whatfollowsisfirstavisualexplanationofhowonetermledtoanother,andthen,atextualandvisual lexicon.

Archive A collection, place or record. That which provides information about a place, ‘institution, or group of people’. A container; the place where ‘historical documents or records are kept’. To archive; to place, to store.1 An unavoidable presence, something that ‘emerges in fragments, regions, levels’2. The prompt, subject of, or product of ideas of fever or impulse3. Something that 4 ishardtodefineinonesingledefinition . Something static, or something alive5. Something dangerous or something productive6. A container, a ‘redundant form of storage’7, a ‘dim, musty place’, that which contains historical documents, that are housed away, often in institutions8. A ‘productive tool’ for research, somethingactiveorworking,a‘participatoryfield’oran‘openfieldforactivity’, a ‘futuristic laboratory’9, or ‘heterogeneous and relational aggregate’10. Physical and conceptual space11; as something that should always be questioned12. Something incomplete or in-determinant13. That which contains matter “as found yetconstructed,factualyetfictive,publicyetprivate”14, ‘potential memory’15 and ‘cultural artefacts’16. A ‘powerful document of exclusion’17, a ‘productive space of conflict’18. That which contributes to ‘the order of things’, that which is ‘plagued with the fears of death, loss and forgetting’19. A mnemonic tool20, orienting towards both the past and the future21. That which relates to ideas of recall. That which is ‘established along the trails which mark experience22. Archives are chaotic, and orderly; chaos in order, and order in chaos23. To archive is to contribute to systems of order24 and control; to take, to extract, to displace and to store. To archive is to sort material over and over again, to allow for new and unpacked relationships to emerge; to produce new knowledge25. Toreshuce,toextractnewmeaning 26.Archivesoaer‘newpointsofdeparture’, as they develop like a ‘rhizome’, ‘through mutations of connection and disconnection’27. In relation to my own practice, the archive is both a tool and a way of working. It can be an explicit, tangible thing - but also an implicit, intangible infrastructure or presence at play. The archive is a point of tension within my practice, as I very muchrelatetotheideaofthearchiveasa‘productivespaceofconflict’.Iam aware of the connotations and loaded canon the archive and its subsequent acts oftakingandstoringcarry,butatthesametimethearchiveoaersmeenormous potentialtoproduceideas.Withrelationtositeobservationorfieldworkfor example, the archive is used to aid the memory, to hold what I may potentially forget or want to be able to recall. Like for Obrists’ practice, the archive serves as a form of ‘compensation’ or works as ‘complementary’ for a temporal or fugitive medium, which in my case is landscape28. The archive is tool that should be used with care.

Archive:

18 TheideaputforwardbyMiessenandYann, ExtractedfromtheOxfordDictionarydefinition andtheverytitleoftheirbook.““Inthisway,we 2 believed,thearchivecouldbecomeaproductive As discussed by Enwezor, the curator of the spaceofconflict,conflictinthesenseofmeans exhibition ‘Archive Fever: Uses of the Document ofproduction.” in Contemporary Art’

Hal Foster writes on the archival impulse while Derrida coined the term Archive Fever. Archive fever especially has been the subject of much scholarship in philosophy, art and later architecture. 3

Again Enwezor opens with this idea.

Miessen, aY nn and Obrist disucsses this idea in relation to art curation, aY neva relates it to architectural and design practice.

Collecting A process, practice or way of working that involves the gathering, acquiring, accumulating and the bringing together of things over time29. An activity, source of leisure, hobby, or past time30. The regular removal of things31, consuming, extracting, hunting for, a sort of ‘possesion obsession’32, a way of regaining control. A habit, private act, instinctive process or daily ritual. A form or labour or work, research or record keeping. That which involves processes of classifying, categorising or storing. A collective act, a dynamic process, a repetitive cycle; recollecting. A collection, or the collection, may be understood as much as a static entity as something that is added to, that grows over time and maintained. A collection is a single body or group of multiple things. A collection may be a display, an artwork, a project, an aesthetic, an assortment, a place. With regards to my own practice, I acknowledge and work with the tension involved with the idea of the collection, and processes of collecting. The removal, displacement and separation of an object or thing from its context can cause 33 harm-whilethecollectioncanoaeritselfasatoolforillustrating , understanding or creating. Collecting occurs at multiple points in the design process, in fact it seemsasthoughIamalwayscollectinginonewayoranother.Specificallywith regards to site analysis, where artefacts, material samples, data, observations or experiences may be collected for example, the role of the collection can be understood in relation to the archive. Collections is a component of the archive / archiving34. Where the archive might be understood as the infrastructure needed for emerging new relationships between things, then the collection is the things itself, or the material housed in the archive. Collections are often tangible and are often built upon and developed. While collecting may remove an object from its context, rendering it ‘incomplete’, the place it takes in its new context, thecollection,oaersanewpurpose,newreadingsandnewunderstandingsarguably in a way in which would not be possible if it hadn’t been extracted and relocated35. See also: Archive, Series

Yanevaoaersthisidea

See also: Collecting, Rhizome, Tool, Fever

YanevareferstobothMichelFoucoults’ andJaquesDerrida’sideasonthearchive. ForFoucaultthearchiveoaersmultiplicityof menaing,whereasforDerridathearchiveis drivenbyafearoflossanddeath. 19

LikedescriptionsmadeofGerardRhitchers’ Atlas. 20

AsdiscussedbyDarmswhenreviewingthe exhibition‘ArchiveFever:UsesoftheDocument inContemporaryArt’ 6 Hong’sarticlereallyspeakstothesignificance 22 Againideasofrecallandlivedexperiencein of the archive with relation to governments and relationtothearchivearediscussedbyBowker international politics. He also states, “…the primary archival materials are injurious to human 23 Whenaskedabouthisownarchive,Obrist life…”. Miessen and aY nn however approach describesitasorderinchaos. the archive from more of an exploration into it’s productivity. 24 Ittoohasit’sownsystemsoforder,as 7 mentionedbyObrist. Again Miessen and aY nn try to move away from this idea in their book. 25 AsdiscussedbyMiessen,YannandObrist 8 A common passage used to describe what 26 Yanevaalsospeaksofthisworkingandreis commonly thought of when we think of the workingthrougharchivalmaterial. archive, Enwezor and aY neva both evoke these ideas. 27 AsmentionedbyFosterinhisdescriptionof 9 archivalart. For Miessen and Obrist, the archive becomes a tool through which to research and create 28 ForObrist,whocuratesexhibitions,“Archives new content. They also introduce the idea of areaformofcompensationinrelationtothe thinkingaboutthearchiveasafield.ForObrist fugitivenatureofmymedium.Itiskindof specifically,hestatesthatthearchivecanbe complementary.” thought of as a “a futuristic laboratory where these fragments contain sparks for something to happen”. Collecting: 10 AdescriptionoaeredbyYaneva. 29 ExtractedfromtheOxfordDictionarydefinition 11 As described in the media release for the 30 AsdiscussedbySpeaksinherdiscussionof exhibition ‘Archive Fever: Uses of the Document culturesofcollecting in Contemporary Art’ by the Interational Centre of Photography. 31 ExtractedfromtheOxfordDictionarydefinition 12 HereIrefertoHongwhooaersussome 32 AsperSpeaksdescriptionoftheartworkof really important questions when it comes to the LouiseNevelson archive, he states: “Three very basic questions are asked of any archive: 1. Why does this archive exist? 2. What is missing from the archive? 3. Why does this archive contain this item rather than another?” Bodinson speaks of the archives incompleteness and Foster speaks of it being in-determinant 13

AdescriptionoaeredbyFosterwhen describing archival art 14

Bowker speaks of the archive in relation to ideas of memory and recall 15

Bird, Hester and Mitchell refer to the ideas of Linda Tuhiwai Smith when describing the archive.Thisinclusionoaersanimportant reminder of the role that the archive can play in colonisation especially within the Australian contect. The Exert can be found in the archive of this document. 16

Ascapturedinthephotographiccollection projectbyKeys 33

AsdiscussedinvariouswaysbyYaneva,Hong andBuchloh. 34

HereIborrowfromSpeaksdescriptionof Nevelsonsworkwhereshestates,“…however, thesecollectedobjects,detachedfromtheir originalfunction,mightalsoamounttoanew typeofcompleteness,akindofencyclopaedic historyofwoodinitsvariousstatesof manufacturedbeing.” 35

term ‘plus’ to keep adding components to his description. This ‘plus’, similar to Kruass’s‘and’,becomesthe‘string’.

Fever A state of being, a way of working. Something felt by a group of people1, something that can be spread, something that can be caught. A term that can be understood in terms of measure, in relation to speed or quantity; that which is fast paced or ‘abnormally high’. Ones activity, pace, or accounts can be described as ‘feverish’2.

With regards to my own practice, babble is inevitable. It is both overwhelming and productive. Overwhelming in the sense that it keeps coming, keeps producing, all the while not making sense. Productive in the sense that things can emerge from it. While babble is a ‘thing’ or piece of my practice, often within the feverish phases of working and producing, babble can also be read as the ongoing introduction of Like the term impulse, the term fever is used within art and some architectural elements to the board or design process, elements who’s introduction often at scholarship to describe a movement, trend or recurring theme within creative 16 firstglancedoesn’tquitemakesense;seemrandomoreven‘foolish’ . But more fieldsordisciplines.Specificallyrelatedtothearchive,‘archivalfever’originated often than not, with time and more work, this babble is made sense of, and line or inphilosophy(coinedbyDerrida)andmadeitswaytothearts,andslowlyto narrative can be drawn through or attracted from the babble. architecture3. Compared to an ‘impulse, or ‘archival impulse’, ‘fever’ of the ‘archive fever’ may be understood less as the emergence of a movement or the See also: Fever, Impulse very presence of a trend, and more in regards to the nature or character of that movement; the way in which a movement or trend sustained or manifested. With regards to my own practice, I work with a feverish pace, an obsessive nature. Prompted by an impulse to do, an inclination or a hunch, the desire to follow through or to see ‘where this goes’ is often undertaken in a feverish way. Feverish ways of working can be productive, but like a literal fever, should be monitored and taken care of as they can lead to ‘burn outs’. I look the ways othersworkfeverish,andoftenfindthisimpressive.And,likeanimpulse,I seem to keep an eye out for fevers on my radar of the disciplines of landscape architecture and design. Fevers or trends are impressive, admirable but also dangerous. Compared to the term impulse4, fever is less a momentary or isolated thing, and more a durational, or ongoing. The impulse may be understood in terms of the singular, and fever the multiple. See also: Impulse, Babble, Archive

Impulse An urge, desire5, tendency or a form of energy. something that leads to formation of a genre, movement or community of practices. Something that is triggered by something6, something that can spread, and something at work7 within a place or field. Used within art scholarship and some architectural scholarship, the term as been adopted to describe a movement, trend or recurring theme that emerges within a disciplineorfield.Inthecaseofthearts,theideaoftheimpulsebecameawayto describe the emerging focus or presence of archival practice, leading to the genre of ‘archival arts’. Compared to ‘fever’ or the ‘archive fever’, ‘impulse’ or ‘archival impulse’ may be understood less as the nature or character of that movement and more as the emergence of the movement itself. With regards to my own practice, the idea of the impulse is considered within both the immediate and broader realms. I have impulses to do, to make to create. I indulge in these impulses without necessarily thinking. With an impulse usually prompted by something, I have come to trust my impulses and allow myself to follow them despite not always knowing what has prompted them. This however 8 requiresreflection on the source of the impulse post act. I relate to the archival impulse, the urge to capture to collect, the documentary impulse, to work with archival ideas and structures. I also relate to the idea that an archival impulse is in some cases prompted by a fear of loss9. I try to step back and trace ‘impulses’ orreoccurringthemesthatareemergingwithinthefieldofmyownwork.And similarly,Ihavealwayshadadesiretokeepmy‘fingeronthepulse’interms ofwhatishappeningaroundme,particularlywithinthefieldsoflandscape architecture and design. Compared to the term fever10, an impulse is more momentary, where as feverish ways of working are more ongoing. The impulse may be understood in terms of the singular, and fever the multiple.

Fever:

ExtractedfromtheOxfordDictionarydefinition

The Oxford dictionary speaks of feverish activity, Enwezor of feverish pace, and Krauss of feverish accounts

As captured by Kruass

ExtractedfromtheOxfordDictionarydefinition

As described by aY neva, “First, the “archive fever” in the arts, with Jacques Derrida and Paul Ricoeur as key protagonists, led to rethinking the role of archiving as a tool of memory, yet,somehowarrivedverylateinthefieldof architectural scholarship…..We witnessed how “archive fever” glided simultaneously through adjacent disciplines. Spreading infectiously in philosophy and the arts…” 3

ExtractedfromtheOxfordDictionarydefinition

Kruass works with the idea of the ‘and’ and aY neva uses the term ‘plus’ 14

What can also be seen as itself a form of babble… for the full passage please refer to the lexicon part of the document archive. 15

Also extracted from the Oxford Dictionary definition 17

Yanevadescribestheretobeadiaerence between the two terms, “Far from engaging in a feverish way with archiving—and there is certainly a contrast to be drawn with the impulsive way art…” 4

Impulse: 5

See also: Aesthetics, Ordinary, Banal

All ideas of Uzma Z. Rizvi

Banal

The lacking of originality, the boring. The obvious the repeated8. The mundane, the everyday. A condition, an aesthetic, a characteristic. The overlooked, the hidden, the unnoticed and the ordinary.

Slowness:

A common theme or aesthetic within the arts, whereby work may have a ‘lack ofeaect’,thebanalmaybeexploredas‘aconditionofeverydaylife’,andwhere the work might share qualities to that of the amateur9. As for landscape, banal 10 typologiesorurbanenvironmentshavealottooaerortobelearnt . from

Another set of ideas from Gu in Formats of Care

ExtractedfromtheOxfordDictionarydefinition

Here I refer solely to the book Slow Reader by Ana Paula Pais, Carolyn F. Strauss and their work within the Slow Research Lab 16

All ideas of Ana Paula Pais, Carolyn F. Strauss, as discussed in their forward. All ideas of Uzma Z. Rizvi in her contribution to the Slow Reader; ‘Decolinization as Care’ 18

In relation to my own practice, the banal is a quality of the everyday. I am drawn to, and interested in the banal perhaps because it is often the over looked or the undervalued, but at the same time can reveal or say a lot about a society or landscape. The banal is often considered in relation to the artefact. The way I work can also be considered banal; repetitive and some times boring, but this is also where the unique can emerge from. The banal can be something to contrast against. See also: Ordinary, Everyday, Aesthetics

Care Attention,consideration,concernoraaection.Thatwhichis‘necessaryfor the health, welfare, maintenance and protection of someone or something’11. Something to give or receive, an act or a process. Like slowness, ideas of care have also emerged with architectural and design scholarship12. Care is also understood in relation to ideas of labor and to ideas of decolonisation within design practice. For some, care is essential to approaching ‘intersectional praxis’ and is required for ‘thinking through an intersectional approach’, something that may begin to help us understand what it means to decolonize within design. Care is also understood as something that can be 13 investedinlandscapewhichallowsfora‘diaerentkindofresearch . toemerge’ For others, care is understood as activity, practice and as ‘labour deserving enquiry’. It is understood in relation to ideas of repair and maintenance; an idea that should shift from the domestic sphere and into ‘planetary scale systems’. Care is an exchange14. With regards to my own practice, I have begun to understand care in relation to slowness, and allowed it to sit as a more governing idea or notion. I see care as something I need to exchange with myself, with others I work with and with the landscape I work with. Caretaking practices involving repair or maintenance are formsofworkIengagewith.Theyoftenoaertherepetitive,slowanduneventful tasks and rhythms that allows the mind to wonder and produce in other ways. I see care as an approach that should be applied to all forms of work I do. Care is a wayofworking.Careallowsmetoappreciatetheeveryday,itallowsmetoreflect on the impulses, it allows me to mindful and aware of my own practice. See also: Slowness, Ethics, Everyday

On The Ground

On The Ground:

If ground is understood as the ‘solid surface of the earth’1, then on the ground may be understood in relation to the earths surface.

On the ground, like from oabove, should be understood as less as a clearly definedtermandmoreasaloosephrase,essence,notion,oridea.Thetwo should be understood in relation to one another. On the ground is used to capture andevokeanexperienceofbeingquiteliterallyfeetontheground,inthefieldor embodiment. It refers to a more immediate or direct engagement or experience of landscape. On the ground could be considered as an approach, a type of practice, a particular space one may occupy during practice. It is participatory, it is the active engagement, it is the intimate, the details of the ground. It is a position from which to experience, capture, visualise and understand landscape.

ExtractedfromtheOxfordDictionarydefinition

As Lutsky and Burkholder state: “…it’s important for us to push past those stereotypes to recover the value in open-ended, ground-level exploration, or what we call curious methods.”

Projects such as Curios Methods, which is referred to as ‘open-ended, ground level exploration’2 is an example that embodies the notions of on the ground. On the ground is the place where one can observe by ‘looking up and looking down’3. And, the ‘highly localised’ aspect of Field Exercises4 also speaks to an on the ground approach. See also: FromAbove,Field,FieldWork

Referring here to Lickwar and Crawfords’ project: ‘Looking Up, Looking Down’ Jenkins describes her Field Exercises as ‘highly localised’ 4

From Above: 5

ExtractedfromtheOxfordDictionarydefinition

As used by Corner in his Taking Measure Across the American Landscape 6

The project titles Almost Nature impressively captures human activity from the aerial perspective 7

On The Road: 8

ExtractedfromtheOxfordDictionarydefinition

The Unknown Fields Division by Kate Davies and Liam young (2008 - 2017) and Interprative Wonderings by Sophia Pearce and Jock Gilbert (2016). Both projects involve the collective travelling to sites for creative exploration. 9

From Above 5 Ifaboveisdefinedas‘theextendedspaceover’ora‘higherlevelor , then layer’ we might consider from above as positioned above see level.

Fromabove,likeontheground,shouldbeunderstoodaslessasaclearlydefined term and more as a loose phrase, essence, notion, or idea. The two should be understood in relation to one another. From above loosely encapsulates this idea of experiencing, perceiving, visualising and analysing landscape from a vertical, conceptual or metaphorical distance. It refers to a less immediate or indirect engagement or experience of landscape. From above could be considered as an approach, a type of practice, a particular space one may occupy during practice. It is observational, it is the distanced engagement, the overview or aerial view, it is the vague and the hazy, or the larger whole of a detailed ground. It is a position from which to experience, capture, visualise and understand landscape. From above is what Corner considers ‘from a high’6, the peculiar distance. While a top down approach or understanding may be troublesome, some times distance is necessary. And like the work of Gerco de Ruijter7, an aerial perspective can ignite the imagination. See also: On The Ground, Aerial

On The Road Iftheroadisdefinedasa‘wideway’,something‘leadingfromoneplaceto another’, a ‘series of events’ or ‘course of action’8, then we might consider the phrase on the road as something relating to ideas of liminality. Ontheroadshouldbeunderstoodaslessasaclearlydefinedtermandmore as a loose phrase, essence, notion, or idea. In relation to my own practice, on the road is a phrase I use to do describe a creative process that takes place while on the move. A nomadic or travelling practice. The experience of creative generation, or the production of ideas that are created while in motion. The space of transition, between one place and another. The liminal space of production, or the site itself for intervention. Projects that deal with ideas of the remote through nomadic or travelling studios such as the Unknown Fields Division or Interpretive Wonderings9, evoke the idea of on the road. See also: Liminal, Transition, Nomadic, Travel

ReflectiononTheory& Language: What has the focus on theory and language allowed me to do / explore / achieve within the course?

What are my key take aways from the focus on theory and language?

It has brought clarity to idea, given me words for hunches or inklings, and allowed to reconsider my values and ideas I hold most closely to my practice while exploring and uncovering new ones. Ithasallowedmetoexpanduponanddevelopmyfindingsfromthepreciousfocusontechniqueinthatallowedtothink about ideas of collecting in relation to ideas of archiving, and the collection in relation to the archive.

Again,likeinmyreflectiononthemappingprocess,thisfocusexercisereallyshowedmetheimportanceofmaintaining yourpersonalcollectionorfieldofreference;theworkofothersthatareofsignificancetoyou.Myexistingfieldofrefe intermsoftheoreticaltextsreallyhelpedmehere,andIamgladthatIhavemadeaneaortwithinmypracticetokeeptabs on the ideas and theories that I am being exposed to.

ThescholarshipsurroundingthearchiveoaeredtworeallyinterestingideastomethatIhadnotreallythoughtaboutbefore. Thefirstwasthinkingaboutthearchiveasa‘productivespaceofconflict’whichreallyseemedtocapturethetensionIwas feeling within archival ways of working, and working through collecting. The second was that most of the literature on the archivewithinfieldofartanddesignalsotouchedonideasofthefeverortheimpulse.Thesereallyresonatedwithmeas they made me realise that I myself work in feverish or impulsive ways. Essentially what theory and language in relation to ideas of the archive gave me was the words with which to describe not only some of the speed or natures through which I work, but how I think about tools that are at once productive but also have some troubling origins.

TheideaoftheArchiveandthe3examplesofexperimentalfieldworkmentionedaboveweredefinitelythebiggesttake aways.

It is here that ideas of slowness and care became all the more important to help reiterate to myself of how important an awareness to issues of colonisation and inequality are to me when deigning in the Australian context. Additionally, it was a handful of fascinating landscape methodology case studies if you like, that really managed to capture theessenceofsomeofthefieldworkexperimentsIhavedoingwithininmypractice,especiallywhenworkingwith +Sitestudio.Foreachofthesethreekeyreadings,thatisFieldExercisesbyKatherineJenkins(2018),LookingUp/Looking DownbyKatyaCrawfordandPhoebeLickwar(2014),andCuriosMethodsbyKarenLutskyandSeanBurkelder(2017), Ireallywasleftwiththisfeelingthatfinallymyideasdidn’tfeelsosilly,becausesomeoneelsesharesthem.Iwasleft with a sense of relief and excitement knowing that others are working and thinking in the same way, and that their work is taken seriously with the discipline of landscape architecture. At the very least I took away three really good precedents for experimentalapproachestofieldwork.

Some additional thoughts… It has become really apparent how important terminology is when understanding and developing an awareness of your own practice. Really forcing yourself to question what it is you mean when you use a term or phrase is really important. Ithasalsobecomeapparentitistosurveythefieldoftheoryaroundyou.IthasremindedmethatmostoftheideasIam thinking about have most likely been discussed by others, and how important it is to include these references in building a backing for your understanding or the ideas you put forward.

What these texts also revealed was that my acts of collecting are usually concerned with site observation, and collecting datainthefield.Butwhatallthreepointedtowasthatthiscannotbepossiblewithouttheaidofatool,deviceorinstrument. This added a whole other direction to my theoretical research and exploration into language. What has the focus on theory and language revealed to me about my practice and my community of practice? Picking up from my last point, ideas of the tool, the device and the instrument really made me think about how I use and wouldliketousethesemoreinmypractice,butalsohowmanyprojectsthatIconsideredsignificanttomypracticeused the aid of a tool, device or instrument within their projects. It almost opened up a potentially that I really want to take further. Iamstillstrugglingtoworkouthowtheideaofthearchivefitsintomycommunityofpractice.Againthisfeelsasthoughit couldrequiresawholeotherfocusexercisetounpackit.Ithashowevermademereflectonworkinginarchivalways,and how this is a way of working that I think is the reason I am drawn to some particular projects, and why they were included inmyinitialcollection.EspeciallysuchprojectsasCambiobyFormafantasma(2019)andDeStraatmakersbyAtelierNL (2019)wherematerialsamples,andresearchthatmanifestsinavarietyofmediumsthatrelatestomaterialisorganisedand catalogued. I now see the presence of the archive in many works that sit in my community of practice. I see The Projects web archive for example. But I also begin to read the archive at play in many other ways - for example a projects within projects approach, where by multiple practices are untied under an umbrella theme for example, often resulting in an exhibition, sees a project draw on the work from multiple places and in sense archives all these works that deal with similar ideas. Much like collecting, I have come to realise that in many ways we as designers are always archiving. It is whether we are aware of it or not, and whether we choose to acknowledge it and work with it is where it becomes important. As for ideas of making, while a sort of separate idea, the ideas I developed about it have made me realise how important making is to my practice, how much I need to be doing it more, and how much it is present within my community of practice, especially within a community of dutch designers. What did I struggle with and what did I find worked well with regards to the exercises of focusing on theory and language? Whenapproachingtheexercise,mypreliminarykeywordsquicklybecamealargelist.Howevereachwordonthelistfelt relevant to me and my practice. I tried to group them a little, as some felt similar. I found it easiest to draw hierarchy amongst the words through diagramming. I used the diagram to begin to think about my practice in three tiers, from my most immediate practice, to my broader practice. As per the exercise, I generated combinations of words, however this seemed to dissolve as a process rather quickly as I wasnotabletofindspecifictheoriesusingthesethreewordcombinations. InsteadIseemedtoreturnalittletomyexistingfieldsofreferenceandinterrogatedpastreadings,andbooksIhave collected over the years. This seemed to work well, and it made sense why Jen had previously said that it is often those texts that you have been sitting with for a long time that will become useful and incredibly relevant. In most cases I found it easiertofindtheoreticaltextsrelatingspecificallytooneofmykeywords,notagroupofkeywords.Forexampletheterm makingimmediatelyremindingmeofTimIngoldswritingonMaking,thetermeverydayremindedmethewritingofYuriko Saito, and the term Measure that of the writing of Corner and so on. In some cases a single term reminded me of multiple references and this allowed for me to expand my ideas of each term through multiple inputs and perspective of others.

Focus Exploration 03: Drawing & Representation The following section explores my practice, and my community of practice, through a focus on drawing and representation. HereIexpandontheprevioustwofocuses(ontechnique,andonlanguage)carryingideasofcollecting,thearchive, photographyandfieldwork,intothisfinalfocusexploration. What has been produced within this area of focus is the product of both an intensive scanning of various existing drawing practices,asmuchasitisanexplorationintoquestionsofwhatdefinesadrawing omanimage fr oraphotograph.

Withtheideaofthearchivenowmoreexplicitlypresentwithintheproject,itisnowtryingtofinditsplace.Throughdrawin and representation, I begin to question what purpose the archive can serve design production, or how a drawing practice can be an archival one. It see’s the use of the collection within the drawing, but also a drawing process exist as a collection process at the same time.

Visualising human movement within a system MadagascanPortraits:TheBodyasMachineSapphire Mine Conveyor Belt Unknown Fields Division, 2013

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The Unknown Fields Division have been able to create an annotatvie video by overlaying linework and text onto the moving image. The linework, lines that conntect key points of the bodies that form the subject of the video, forms a lergerstructureorsystemthatthenreflectsthechoreographyofunison.Itworks to depict the ‘human machine’. They have conveyed ideas of movement, motion, the human body and the tool working together with landsape, and the human force as another environemental system,bydocumentaryfilm.Theadditivelayerof‘annotation’,addsanother dimension, another layer, aother perspective of what might be considered hidden inthelandscape.TheworkdealswithsitesofwhatLiamYoungdescribes as ‘those that lie in the shadow of the contemporary city’ - so often remote landscapes, sites of human labour, sites of rescource extraction. There is a real sort of documentary, or reportive quality to the work. By nature of design research perhaps. There is a quality of ‘the outsider’ particuarly from the perspective of the viewer. Qualitiesforepition,rythym.

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Using point and line to unpack the position, compostiion, and choreography of the body, and then how this changes through time.

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Visualising sequences of spaces The Manhattan Transcripts Bernard Tschumi, 1974

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Bernard Tschumi has been able to create series and sequences of drawings through the use of frames, an underlying matrix or grid, as well as numbering. Through the use of plans, diagrams, and photographs, spaced out sequentially, a continution between frames is implied, while in other cases the connection is explicitly drawn out. Some moments where the drawing steps out of the frame, or breaks the grid, suggest continuoation beyond the drawing. Frames,orsnapshotsorsamplescapturesomethingdiaerentateachstageof the event or narrative. however the visual consitancy within the set, means that the change between frame to frame can convey movemnt and motion. Bynatureofdeconstructinganeventindiaerentscenes,andthesequenced drawings made from these, the drawings themselves become collections. Collections of drawings, photographs and diagrams, but also collections of moments and scenes. Using a ‘series’ and a ‘sequenced’ approach combines ideas of the collection with that of movement and motion. This technique captures change. Ideas and parts of landscape I am interested in observing. Perhpas more loosely, Tschumi can be seen to be apart of the Deconstructivits community, which I think lends itself to my practice through ideas of assemblage, kit of parts, multiple parts of a singular whole. [img-ref 17]

Thesettingoutofamatrixandcombiningmultipleperspectives oughthr diaerent media. Exploring transition between a set of drawings. Breaking the grid and slippage of a drawing.

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Visualising change through space and time Soak Marthur & DaCunha, 2009

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The designers have thickened their sequential section drawings by includng sequential photographss, annotative linework and text. Sequential photographs have been placed following a particualr logic, one that follows the directions within whcih the path of the photowalk took and how this corresponds to a site plan. Sequential section lines have also been drawn and built updwards from a plan view. Additional linework has been drawn out to communicate key axis and directions of the site, as well as features and details. The way in which all these elements have been combined to create a single drawing is through gradual layering, and through re-arranging the order of layers. Elements have been gathered and arranged on the page and then either brought forward or sent to the back depending on the desired outcome. They have worked with ideas of change through time, collecting and gathering, the inbetween which I relate to and see relvant to my practice. The sit’s here are not of particular interest, but the qualities of sequence and transition, through which these landscapes can be understood thorugh are qualities I am drawn to in my practice. The photo walk is a technique Id like to develop and continue to use, and explore howIcanincudetheseinmydrawingsmore.Hottoembedthiscontentinto drawn content. Layering and building up sequential sections.

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A drawing set The following drawing set is an experiment. I went into it with a few hunches, and left with even more ideas about drawing and representation.

FirstIbegunwiththeideathatdrawinginvolvessomeformofmechanical ocess pr ofthebody(oranextensionofthebody). Itinvolvesmakingsomeformofmarkingonasurface.Anideathat esdiaer fromexportinglineworkfromadigitalmodelfor example.Next,Ireturnedtoideasofthephotowalkandtoideasoffieldwork.Ideasofcollectingsiteobservationsorsite datainthefield.Inthiscase,thisdataisvisualandintheformofphotographs(orimages).Additionally ,Iwasadementon working outside, hands on, directly engaging with a site - and in light of the option to build on existing drawings or projects, I borrowed ideas from a project I did with +Sitestudio. Itooktostreetoutsidemyhousetocommencemydrawingprocess.Havingasparecanofleftoverpinktemporarychalk spray from the +Sitestudio work, I decided to consider this the pen, and the ground the paper. With an overwhelming amountofideasalreadyfloodingintomyheadaboutwhatIcoulddoorhowIcoulddocumentit,IdecidedIneededtokeep it very simple. Thedrawingprocessbecamethreefold;firstaprocessofdrawingontheground,secondaprocessofcapturingthe ground(s)thatImovedthrough,andthirdlyaprocessofcapturingmyselfcapturingandmarkingtheground. Iwasguidedbythefadingcentrelineoftheroad.Ipickedupfromwhereitleftoa.AteverystepIwouldmarktheground and then take a series of photos from my position at that point; a photo of what lay in front of me, a photo of what I could see above me, a photo of what I could see below me, a photo of what I could see to my right, and a photo of what I could see to my left. What was captured at each point was there for the ground, the sky, the two facades either side of me, and the road ahead. Meanwhile, at every point, I had my assistant capture my every move, resulting in another series of photographs. Through a very simple and repetitive process, I was able to capture and generate a lot. I had built a collection of ‘site content’ if you like that I could then use to produce a site visualisation; and in this case, one that captured my presence within all of this. The assemblage on the page was less straightforward, however it begun by drawing the line. This became the Skelton or central axis. From here I produced a number of visualisations which ranged from the scale of my body, to the scale of the road.

Figure 01.

Figure 02.

Figure 01.

Figure 02.

PinkDottedGrid +SiteStudio, 2020

Dotting the grid +SiteStudio, 2020

A drawing I produced with +SiteStudio as part of the proejct Spot Height, for TwoSixty. The drawng process was very much a 1:1, hands on, participatory one. It involved the marking out of a 1.5m grid across the ground using tape measures, string and pink chalk spray. I photographed the outcome, capturing each dot individually and then assembling these thorugh a gridded formate. The drawing abstracts a sense of scale, each zoomed in and up close phtograph buiding an image that resembles that of the bird eye or aerial view.

This triptych sampes the proces we undertook collectively to mark the ground. This 1:1 drawing exercise was a step in the process of preparing the gorund for our intervention to come.Howeverthisprocessinitselfbecamea dollective drawing exercise that gave rise to its own drawing set, and the production of images that came from this process.

Drawing 01 - 7 Positions of the body HereIuselineworktoextractthecompositionofmybodyateachposition.Seven compositions are repeated at each position, every one step interval of the line. Take a step, take a photo in from of me, take a photo above me, take a photo below me, take a photo to my left, take a photo to my right, spray a mark on the road, take another step, repeat. TheuseofpointinlineisborrowedfromtheHumanConveyorBeltprecedent.It allows me to explore composition, position and in some ways movement of the human body.

Drawing 02 - Positions in sequence HereIexpandonthesevenpositionsmybodymadewhendrawingtheline.I include the sequence my body made, repeating every 7 positions at each interval, acrossthefirst6dotsoftheline.Asthetwogapsreveal,sometimesIforgot topause.Youcanalsoseemyhelperpositionedintherighthandsidesetof photographs. This drawing helped to establish my work on the page, helping me gain a sense of composition and organisation needed to acquire an overview of all that I had collected and produced, but also an overview of all that had occurred in this experiment. In some ways this drawing is just a sample of what is still to come.

Drawing 03 - Expanding the line HereIintroducephotographstotheline.Photographsofthegroundandtheline as it appears on the ground, but also photographs of myself capturing this line. From these photographs I again use line work to extract changes in the surface as I move through the space. Textures and shapes are extracted to show the line moving from the fading white road line to my emerging sprayed pink dots. Diaerentfacades,diaerentobjectssuchascars,rubbishbinsortrees,comein and out of the sequence, in and out of frames.

Drawing 03 - An expanded collection working across the line at each point. I also include the photographs I took myself of the sky and the ground at each point. What becomes apparent here is just how much I collected in such a small exercise, but also a system, a sequence at play in the landscape. What also becomes apparent here is that there are multiple things happening in this drawing - there is the focus on what I capture personally (thesky,theground,andwhatisabove,below,totheleftandtotherightofme), but also the sequence of my body moving through space and time, moving and working in the landscape. While this drawing is impressive in scale, perhaps in trying to achieve too much it achieves too little.

ReflectiononDrawing& Representation: What has the focus on drawing and representation allowed me to do / explore / achieve within the course? This focus exploration has allowed to explore why it is I draw or visualise the way I do, but also what the drawing or representationalpracticesofotherscanoaermydesignpractice. Again, this focus has allowed me to expand upon the previous two focus lens; on the technique of collecting and on ideas offieldwork,makingandthearchive.Ifoundthearchivalimpulsetosurfacewithinthedrawingprocess.Butthishasraised really tricky and interesting questions, what role does the archive play in a drawing practice, or how does a drawing practice contribute to the archive? This focus exploration has also allowed me to challenge traditional modes of drawing, and test a more performative drawing process that I had begun to explore with +Sitestudio. Importantly, by unpacking the work of The Manhattan Transcripts and Soak, I have been able to visualise change through space and time in the landscape. Without focusing too much on the why, that is why do we need to capture change through time, I have really been able to explore ideas of the frame, the series and the sequence. With landscape being such a temporalorfleetingmedium,howcanonestillimageordrawingbeused epresent tor it? Iamstillreflectingontheideasofthesequencedrawing,especiallyasGirotadvocatesformediumssuchaslandscape video as a way to capture movement in landscape, but I am beginning to think the sequence drawing is less about documentingmovement,butattheveryleastcapturesoroaeresanessenceofnuance,subtleness,andtemporalitythat we often consider qualities of landscape. It is not about accuracy but about aesthetic, whether this is good or bad I am not sure. What has the focus on drawing and representation revealed to me about my practice and my community of practice? ThroughoutallthediaerentdrawingsImarkedupandanalysedIcametorealisethatIwaseitherdrawntoonesdrawing practice because of the technique, or because of the themes their drawings dealt with, or, in some cases it was both, and in this sense it may be considered the ‘aesthetic’ that I was drawn to. The work of Design Earth of Neme studio really made me realise how much I both rely on and value working with materials andtexturesinadrawing.CombiningthatwhichIfindonsite,throughcollage,intoarepresentationorspeculationofthat site. This became apparent when marking up my own work also. The various speculative territorial mappings I came across in the work of the Unknown Fields Division served as real inspiration when it comes to navigating my interest in the invisible or the over looked, especially in ‘other landscapes’. Togetherwithotherdrawingexamples(thosesuchasBradleyCantleyandOwenDuross)Ibeguntorealisemyintriguement in the drawings of whose subject is ambiguous or not necessarily obvious. These make me think about ideas of drawings or representationsbecominglandscapesorlivingbreathingfieldsinanduntothemselves.

drawing set that allowed me to give purpose to a collection, explore the idea of the archive as drawing, capture complexities ofchangethroughspaceandtime,andallowmetoworkphysicallyinthefieldasadrawingpractice. What are my key take aways from the focus on drawing and representation?

My key take away from these drawing exercises was that some times I really need to think less and just do. This is something I am aware of within my practice, but some how seem to keep forgetting until I put it into practice without knowingandthenIamremindedofhowbeneficialitistoadesignexercise.Idefinitelylearnmoreformdoingthanthinki sometimes, especially when it comes to making and creating. My second takeaway is more of an incling or hunch, but I feel as though, this multi layered drawing process that involves my bodyinthefieldasawaytorecordtheworldaroundmecouldreallybecomeadrawingpracticethatIdevelopaspartofa site observational practice. I get really excited at where I could take this but remain equally critical about what the drawing actuallyoaersorachives… Another key take away has been realising the need to unpack this ‘Stochastic’ aesthetic I keep referring to. This order/ chaosessencewasdefinitelyunpackedthroughanumberofthedrawingprecedent(forexampleintheworkofDrawing Architecture Studio, and in the work of Leon Ferrari). I am still struggling to articulate what I mean by stochastic, but this is all the more reason to follow this lead. Some additional thoughts…

While producing this work, I was simultaneously reading a paper some one had recommended to me, ‘Everything is Already anImage’byJohnMay(2017).Thispaperraisedsomereallyinterestingideasandhelpedmenavigatemyconfusionabout whatactuallydefinesadrawinginarchitectural/designpractice.Ihavereallybeenencounteringsomeinterestingquestio thatIamnotyetsureifIhavetheanswerto,butIfeelaredefinitelyworthholdingontoforfutureunpacking.Theseinclude, is simply placing some photographs on a page to create a drawing? Does a drawing need to include my own line work to be consideredadrawing?Whatisthediaerencebetweenadrawingandanimage?Andfinally,howfarcanyoupushtheidea that drawing is the product of some form of mechanical extension of the body making a mark on a surface? Andfinally,afewextraquestionsIamlefttoponderwith: Could a drawing practice or process be at once an archival process or practice? Can a site be understood as an archive when it comes to drawing? Whereby to draw is to borrow or to extract from the site, drawing out things that already exist within the site?

ThespecificdrawingsetthatIcreatedwithinthisfocusexplorationrevealedtomethatadrawingpracticecanbeasmucha physical outdoor process as it can be sit down, at the desk type of exercise. There are a number of practices of others that relatetothis,whetherthatbeMathurandDaCunha’sphotowalksthatinevitablyfindtheirwayintoavisualisation,orthat bethelineleftinthefieldafterRichardLongcontinuedtowalktoandfro.BynotthinkingtoomuchaboutthedrawingsI produced,IrevealedtomyselfthatmycollectingimpulseIsquitecommonwhenIamstandinginthefieldandnottoosure where to begin. It is as if the process of collecting is the easiest way to entering the unknown; pick a few elements that I can collect, build a repetitive process that can be followed while you work out what you are going to do. Funnily enough this suggests that acts of collecting can be an act of improvisation. It has also revealed to me that drawing across scales and contexts,from1:1inthefield,to1:10onthepageissomethingIhavereallyenjoyedandfoundinteresting. What did I struggle with and what did I find worked well with regards to the exercises of focusing on drawing and representation? There were aspects I really struggled with and others within I really thrived within this series of exercises. What I found dibcultwasapproachingthetranslationofthetechniquesofothersintomyowndrawings,morespecificallyworkingout which one’s were most relevant to my practice. I felt as though I had a really rich variety of drawing precedents, however within them was a really varied array of techniques andpurposesforthosedrawingtechniques.Ifoundmyselfquicklyoverwhelmedwithall ent the paths diaer Icouldtakethis drawing exercise. When it came to producing the drawings however, I really thrived. Amongst this feeling of being overwhelmed, I made a semi-consciousdecisiontostopthinkingandjustdo.LookingbackIamnot esur ifthiswastherightapproach.However it allowed to make and produce intuitively. I put aside all my thoughts and logics about how I should extract the most importanttechniquesusedbyothersandhowIcouldmakethemfitmyowndrawings.InsteadIjustdecidedtostar t drawing and let it see where it take me. I found this process really liberating, and in fact during the process it became really evidenthowtheworkofothershadbeguntoinfluencemydrawingocess. pr ItwasasifallthatIhadthoughtandlearntsat implicitly inside me waiting to manifest itself. WhileIacknowledgethatmydrawingsdefinitelyreflectonlysmallportionofthevariousdrawingpracticesofothersthatI marked up, and that there are probably 5 other versions of the same exercise I could complete that would turn out in very diaerentwaysbutstillbeearlyrelevanttomypractice,IamreallysatisfiedwithhowobservingtheworkofTheManhattan Transcripts(BernardTschumi,1976-1981),Soak(Mathur/DaCunha,209)andthevisualcommunicationprecedentThe BodyAsAMachine(UnknownFieldsDivision,2016)translatedintoadrawingset.Importantlytheirworktranslated intoa

ReflectiononTrajectory Towards ethical collective and archival practices

The archive has emerged as a key take away from this semester long exploration. As both tool and process, the archive has becomeasignificantideathroughwhichIcanunderstandmyownpractice,andthepracticesofotherswithinthedisciplin of landscape architecture and beyond. Through a focus on the technique of collecting, the idea of the archive was patiently waiting in the wings, and a focus on theoryandlanguagesawthearchiveemergedasforcetobereckonedwith,andfinallythroughafocusondrawing,archival ways of working and representing were put to the test. I want to simultaneously keep using archival ways of working in the future, but I also wish to keep applying a critical lens to it’s application.

Havingalreadygeneratedsomeideasregardingthearchive,its’origins,andit’sroleindesignpractice,itfeelshow though I have only encountered a fraction of what could become a project in itself; a project I intend to pursue.

A few key ideas and questions regarding the archive could begin to form the grounds of this potential future project, or simply critical self and collective work. These include ideas of the archive as ‘productive tool’, the archive as ‘storage container’, the archive as the place from and within which to draw new connections, new possibilities, new ideas and new projects.Keyquestionsinclude,whatroledoesthearchiveplayinmypractice?Whatcanthearchiveasa‘productive spaceofconflict’oaerthedisciplineoflandscapearchitecture?Andfinally,andperhapsmostimportantly,whatother ortechniquesmaywedescribeas‘productivespacesofconflict’andthatareinneedofsomecriticalattention? This trajectory of exploring the archive could take the form of a major a project or a personal project. It could be something for me and my colleagues at +Sitestudio to unravel. Project or no project however, I want to keep working with archives. Finally, I hope and like the idea, that this work I have done, and will continue to do, could perhaps serve as a precedent. For both the disciplines of landscape architecture and design, as well as within my own practice, I believe there are more tools, approaches, and ways of working that deserves our close attention, and a careful unpacking. I hope to advocate for my work of this kind so that individually and collectively, wearenotonlyaddressingsomeofthemostpressingissuesofourtime(climatechange,inequalityandcolonisation) through spatial and material interventions, but addressing the very ways we intervene, as these are potentially contributing to the very issues we are facing.

Biblyography Allen, S, 2012, Practice: Architecture, Technique and Representation, Routledge, London. Davidson,C&Roberts,B(eds),20 AnyoneCorporation,NewYork.

Log48: Expanding Modes of Practice,

Demos, T. J. 2017, Against the anthropocene : visual culture and environment today, Sternberg Press, Berlin. Foucault, M 2018, The Order of Things, 2nd edn, Routledge, London. Gissen, D 2009, Subnature:architecture’sotherenvironments , Princeton ArchitecturalPress,NewYork. Haraway,D2016, StayingwiththeTrouble:MakingKinintheChthulucene , Duke University Press, North Carolina. James, C 1999, ‘The Agency of Mapping: Speculation, Critique and Invention’, in DCosgrove(ed.), Mappings, Reaktion Books, London, pp. 188-225. Manaugh, G, 2013, Landscape Futures: Instruments, Devices and Architectural Inventions, Actar, Barcelona. Miessen,M&Yann,C(eds),2016 Sternberg Press, Berlin.

Thearchiveasaproductivespaceofconflict ,

Stevenson, A 2010, Oxford Dictionary of English, Oxford University Press, United Kingdom. Strauss,C&Pais,A.P(eds),2016 and Practice, Valiz, Amsterdam.

SlowReader:AresourceforDesignThinking

Zdebik, J 2012, DeleuzeandtheDiagram:AestheticThreadsinVisual Organization, Devices and Architectural Inventions, Bloomsbury Publishing, London.

Bordon, GP 2014, Process: material and representation in architecture, Routledge, England.

Reference List

Keller,S2018, Automatic Architecture : Motivating Form after Modernism, University of Chicago Press, Chicago.

Focus 01: Technique Project: Tokyo Void, Marieluise Jonas & HeikeRahmann Books Jonas,M,Rahmann,H2014, Tokyovoid: possibilities in absence, Jovis, Berlin. Book Chapters Jonas,M,Rahmann,H2013,‘VoidPotential: Spatial Dynamics and Cultural Manifestations of Residual Spaces’ in P Barron and M Mariani (eds), TerrainVague:IntersticesattheEdgeof the Pale, Routledge, England, pp. 89-104. Papers / Journal Articles Jonas,M,Rahmann,H2013,‘TokyoVoid: Possibilities in Absence’, Landscape Architecture Australia, no.146, pp. 79-80. Simon,K2015,‘Void.Interstitialpracticesof doubt and reward’, Craft + design enquiry, vol.5, no.5, pp. 87-104. Muminovic, M 2015, ‘Review of Jonas, Marieluise;Rahmann,Heike,TokyoVoid: Possibilities in Absence’, H-Urban ,H-Net Reviews, pp. 1-3. Websites Hansen,N2014, TokyoVoid:PossibilitiesIn Absence, Pop Up City, viewed 30 August 2021, <https://popupcity.net/observations/tokyo-voidpossibilities-in-absence/> Minkjan, M 2015, TokyoVoid:PossibilitiesIn Absence, Failed Architecture, viewed 30 August 2021, <https://failedarchitecture.com/tokyovoid-possibilities-in-absence/>

Project:SOAK, Mathur / Da Cunha Books Anuradha, M, Cunha, DD 2009, Soak:Mumbaiin an estuary, Rupa & Co., New Delhi. Papers / Journal Articles Farso,M,Keane,B,Douglas,L,Cortesi,I, Diedrich, L 2010, ‘Book Reviews’, Journal of Landscape Architecture, vol.4, no.2, pp. 84-88. Lehrman,B201,‘SOAK:Mumbaiinan Estuary’, Landscape Journal, vol.30, no.2, pp. 315-317 E-Journals Pevzner, N & Sen, S 2010, ‘Preparing Ground’, Places Journal, viewed 12 August 2021, <https:// placesjournal.org/article/preparing-groundinterview/> Lister, N.M. 2009, ‘Water/Front’, Places Journal, viewed 12 August 2021, <https://placesjournal. org/article/waterfront/?cn-reloaded=1>

Book Chapters

Australian Design Review 2012, Design activism: Dilip da Cunha & Anuradha Mathur, Australian Design Review, viewed 12 August 2021, <https:// www.australiandesignreview.com/architecture/ design-activism-dilip-da-cunha-anuradhamathur/> Netherlands Architecture News 2020, Watch ExclusiveKeynotesOfAnuradhaMathur AndDilipDaCunhaAtWAF2019 , World Architecture, viewed 12 August 2021, <https:// worldarchitecture.org/architecture-news/efgcv/ watch-exclusive-keynotes-of-anuradha-mathurand-dilip-da-cunha-at-waf-2019.html>

Project: Incomplete Open Cubes, Sol LeWitt Books LeWitt, S, Lee, PM, Baume, N, Flatley, J 2001, Sol Lewitt : incomplete open cubes,Hartford, Conn. : Wadsworth Atheneum Museum of Art, MIT Press distributor, Cambridge, Massachusetts. Papers / Journal Articles Carson, J 2002, ‘Review: Conceptualism and the Single Work of Art’, Art Journal, vol.61, no.4, pp. 110-111. Krauss,R1978,‘LeWittinProgress’, vol.6, pp. 46-60.

October,

Rozhkovskaya, N & Reb, M,2015, ‘Is the List of Incomplete Open Cubes Complete? ’, NexusNetworkJournal, vol.17, no.3, pp. 913925. Salcman, M 2010, ‘Incomplete Open Cube (1968)bySolLeWitt(1928–207)’, Neurosurgery, vol.67, no.1, pp. 1-2. Websites

Weychert, R 2018, Incomplete Open Cubes Revisited, viewed 31 August 2021, <https:// cubes-revisited.art> Art Basel, n.d., IncompleteOpenCube8/25, 1974-1990 , Art Basel, viewed 31 August 2021, <https://artbasel.com/catalog/artwork/46012/ Sol-LeWitt-Incomplete-Open-Cube-8-25>

Project: Re-Source, DAE

Dutch Design Awards, n.d., Ester van de Wiel X Joost Adriaanse X David Hamers X Ginette Verstraete.-RE-source , Dutch Design Awards, viewed 30 August 2021, <https://www. dutchdesignawards.nl/gallery/re-source/>

Pace Gallery, n.d., Sol LeWitt, Pace Gallery, viewed 31 August 2021, <https://www. pacegallery.com/artists/sol-lewitt/>

Videos San Francisco Museum of Modern Art 2013, UntanglingthepuzzleofSolLeWitt’s open cubes,YoutTube,19September,San Francisco Museum of Modern Art, viewed 31 August 2021, <https://www.youtube.com/ watch?v=w9ROCnWMPww>

Project:HouseIV, Peter Eisenman Books

E-Journals Stimson, B 2004, ‘The Photographic ComportmentofBerndandHillaBecher’, TatePapersno.1 , viewed 17 September 2021 <https://www.tate.org.uk/research/publications/ tate-papers/01/photographic-comportment-ofbernd-and-hilla-becher> Collins, M, n.d., ‘The Long Look’, Tate Magazine Issue01 , viewed 17 September 2021 <https:// www.tate.org.uk/art/artists/bernd-becher-andhilla-becher-718/long-look> Work by Hans Peter Feldmann

Desley, L 2014, ‘Architectural concepts in Peter Eisenman’saxonometricdrawingsofHouseVI’, Websites Journalofarchitecture(London,England) , vol.19, no.4, pp. 560-611 Tate Gallery, n.d., Hans-PeterFeldmann, Tate Gallery, viewed 17 September 2021, <https:// Websites www.tate.org.uk/art/artists/hans-peterfeldmann-12632> Eisenman Architects, n.d., HOUSEVI , Eisenman Architects, viewed 31 August 2021, <https:// Tate Gallery, n.d., All the Clothes of a Woman, eisenmanarchitects.com/House-VI-1975> Tate Gallery, viewed 17 September 2021, <https://www.tate.org.uk/art/artworks/feldmannEisenman Architects, n.d., HOUSEIV , Eisenman all-the-clothes-of-a-woman-p79778> Architects, viewed 31 August 2021, <https:// eisenmanarchitects.com/House-IV-1971> Simon Lee Gallery, n.d., Hans Peter Feldmann, Simon Lee Gallery, viewed 17 September 2021, Finken,KE20, EISENMAN:HOUSEVI <https://www.simonleegallery.com/artists/hans(1985) , Drawing Matter, viewed 31 August 2021, peter-feldmann/> <https://drawingmatter.org/eisenman-house-vi/> Guggenheim, n.d.,Hans-PeterFeldmann, MoMA, n.d., PeterEisenman-American, Guggenheim, viewed 17 September 2021, born1932 , Museum of Modern Art, viewed <https://www.guggenheim.org/artwork/artist/ 31 August 2021, <https://www.moma.org/ hans-peter-feldmann> artists/6969?=undefined&page=&direction=> MoMA,n.d.,HouseIVProject,FallsVillage, Magazine Articles Connecticut(Multipleaxonometrics),Museum of Modern Art, viewed 31 August 2021, <https:// Konig,K205,‘TheCollector’, Frieze, 12 May, www.moma.org/collection/works/81?artist_ viewed 29 August 2021, <https://www.frieze. id=6969&page=1&sov_referrer=artist> com/article/collector?

Re-Source, n.d.,ParticipationinRE-framing Residual Materials in Design Theory, Design Practice and Design Education., Re-Source, viewed 30 August 2021, <https://www.re-source. info>

Marthur / Da Cunha, n.d., SOAK-MumbaiInAn Estuary, Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/soak>

Marthur / Da Cunha, n.d., 3.3 Monsoon Surface, Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/monsoonsurface>

Luce,K201,‘TheCollisionofProcessand Form: Drawing’s Imprint on Peter Eisenman’s HouseVI’, Getty Research Journal, vol.2, no.2, pp. 125-137

Papers / Journal Articles Fabrizi, M 2016, “Irrational Thoughts Should be Followed Absolutely and Logically”: Sol Hamers,D,VanDeWiel,E,Adriaanse,J,& LeWitt’s“VariationsofIncompleteOpenCubes” Verstraete, G 2021., ‘A Caring Confrontation: Re(1974) , Socks, viewed 31 August 2021, <http:// Ordering as a Design Research Strategy Toward socks-studio.com/2016/06/15/irrationala Circular City’, GeoHumanities, vol.ahead-ofthoughts-should-be-followed-absolutely-andprint, pp. 1-15. logically-sol-lewitts-variations-of-incompleteopen-cubes-1974/> Hamers,D,VanDeWiel,E,Adriaanse,J,& Verstraete, G 2021, ‘Assembling Researchers The Metropolitan Museum of Art, n.d., inDesignandtheHumanitiesinaCircular Incomplete Open Cubes, The Metropolitan Ecology’, GeoHumanities, vol.ahead-of-print, pp. Museum of Art, viewed 31 August 2021, 1-18. <https://www.metmuseum.org/art/collection/ search/691091> Websites

Websites

Marthur / Da Cunha, n.d., 3.2NullahCrossings, Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/nullahcrossings>

Papers / Journal Articles

MoMA, n.d., HouseIVProject,FallsVillage, Connecticut(Axonometrics), Museum of Modern Art, viewed 31 August 2021, <https:// www.moma.org/collection/works/81?artist_ id=6969&page=1&sov_referrer=artist>

The LeWitt Collection, n.d., About, The LeWitt Collection, viewed 31 August 2021, <http://www. lewittcollection.org/about/>

Marthur / Da Cunha, n.d., 3.1CreekForts , Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/creek-forts>

Keller,S201,‘TheAnxietiesofAutonomy -PeterEisenmanfromCambridgetoHouse VI’inRSchuldenfrei(ed.), Atomic Dwelling : Anxiety, Domesticity, and Postwar Architecture, Routledge, England, pp. 141-160.

Tate Gallery, n.d., Cruel + Tender, artists, Bernd and Hilla Becher, Tate Gallery, viewed 17 September 2021, <https://www.tate.org.uk/ whats-on/tate-modern/exhibition/cruel-tender/ cruel-tender-artists/cruel-tender-artists-berndand>

We-Are-Amp, n.d., Re-Source-ALivingArchive , We-Are-Amp, viewed 30 August 2021, <https:// we-are-amp.com/re-source/>

Focus Themed Documentary Photography Work by Bernd & Hilla Becher Websites Tate Gallery, n.d., Who are Hilla and Bernd Becher?, Tate Gallery, viewed 17 September 2021, <https://www.tate.org.uk/art/artists/berndbecher-and-hilla-becher-718/who-are-bechers>

Videos Buchlabor 2018, hans-peterfeldmannhefte, Vimeo, 21 August 2018, Buchlabor, viewed 17 September 2021, <https://vimeo. com/286074798>. Scheve Pallen by Onno Blase Books Blase, O, 2020, Scheve Palen, Onno Blase Publishers, The Netherlands. Websites Scheve Palen, n.d., Scheve Palen, Scheve Palen, viewed 17 September 2021, <http:// schevepalen.nl> Scheve Palen, n.d., schevepalen, Instagram, viewed 17 September 2021, <https://www. instagram.com/schevepalen/> Idea Books, n.d., SchevePalen-OnnoBlase , Idea Books, viewed 17 September 2021, <https://www.ideabooks.nl/9789090333519scheve-palen-onno-blase> Olifentenpaadjes by Jan Dirk Van Der Burg Books Van Der Birk, J. D., 2011, Olifantenpaadjes Desire Lines, Jan Dirk Van Der Burg, The Netherlands. Websites Jan Dirk Van Der Burg, n.d., Olifantenpaadjes (201) , Jan Dirk Van Der Berg, viewed 17 September 2021, <https://www.jandirk.com/ olifantenpaadjes.html> Olifantenpaadjes, n.d., Olifantenpaadjes-De Site, Olifantenpaadjes, viewed 17 September 2021, <http://www.olifantenpaadjes.nl/?p=716> Mapping Of Extreme Human Occupation by Emmanuelle Blanc

17 September 2021, <http://www. francesterritoireliquide.fr/lesphotographes/ emmanuelle-blanc.html> Emmanuelle Blanc Images, n.d., Mapping Of Extreme Human Occupation, Emmanuelle Blanc Images, viewed 17 September 2021, <https:// emmanuelleblanc.com/portfolio/cartographiedune-extreme-occupation-humaine/#4> Work by Yann De Fareins Papers / Journal Articles Wombell,P,2016,‘France(s)TerritoireLiquide’, KerbJournal , no.24, pp. 46-51. Websites France(s)TerritoireLiquide,n.d. Yann , De Fareins,France(s)TerritoireLiquide, viewed 17 September 2021, <http://www. francesterritoireliquide.fr/lesphotographes/yannde-fareins.html> Concorde Grid by Wolfgang Tillmans

tasteofstreep, n.d., tasteofstreep, Instagram, viewed 17 September 2021, <https://www. instagram.com/tasteofstreep/>.

Re-photography Artists

Websites unexpectedrainbow, n.d., unexpectedrainbow, Instagram, viewed 17 September 2021, <https:// www.instagram.com/unexpectedrainbow/> Instagram Account: Urban Rocks Websites urban_rocks, n.d., urban_rocks , Instagram, viewed 17 September 2021, <https://www. instagram.com/urban__rocks/> Instagram Account: Matresses of Melbourne Websites mattressesofmelbourne, n.d., mattressesofmelbourne, Instagram, viewed 17 September 2021, <https://www.instagram.com/ mattressesofmelbourne/>

Photo Collage Generation Artists Conformi Websites conformi_, n.d., conformi_, Instagram, viewed 17 September 2021, <https://www.instagram.com/ conformi_/>

Books

Atelier NL, n.d., Polderfarmers-Drawnfrom Clay, Noordoostpolder, Atelier NL, viewed 17 September 2021, <https://www.ateliernl.com/ projects/polderfarmers>

Pearce, S, Campbell, D, Gilbert, J, James, C, Church,KandDouglass,M,2016, Interpretive Wonderings: Mapping Culpra Station, Mildura Arts Centre, Mildura.

Unknown Fields Division - Liam Young and Kate Davies Books Unknown Fields, 2016, TalesfromtheDarkSide of the City, vols 1-6, Bedford Press, London. Papers / Journal Articles Young,LandDavies,K,2013,‘ADistributed Ground: The Unknown Fields Division’, Architectural Design, vol. 83, no. 4, pp. 38-45.

Tate Gallery, n.d., WollfgangTillmans-ConcordeThe Eriskay Connection, n.d., Sorry For The Damage Done, The Eriskay Connection, Grid, Tate Gallery, viewed 17 September 2021, viewed 17 September 2021, <https://www. <https://www.tate.org.uk/art/artworks/tillmanseriskayconnection.com/home/60-sorry-forconcorde-grid-p11674> damage-done.html>

Instagram Account: Unexpected Rainbow

Websites

Wittenberg, V & Manshanden, W 2017, Sorry For The Damage Done, The Eriskay Connection, The Netherlands.

Studio Carel Fransen, n.d., Sorry For The Damage Done, Studio Carel Fransen, viewed 17 September 2021, <https://carelfransen.com/ Sorry-for-Damage-Done>

Phaidon, n.d., When Wolfgang Tillmans shot Concorde, Phaidon, viewed 17 September 2021, <https://www.phaidon.com/agenda/art/ articles/2016/august/16/when-wolfgang-tillmansshot-concorde/>

Interpretative Wonderings - Jock Gilbert and Sophia Pearce

Books

Sorry for the Damage Done

Websites Unknown Fields Divsion, n.d., Mission, Unknown Fields Division, viewed 18 September 2021, <http://www.unknownfieldsdivision.com/mission. html>

Recollecting Landscapes Books Notteboom,B&Uyttenhove,P(eds.)2018, Recollecting landscapes : rephotography, memoryandtransformation-1904-1980-24 2014 , Roma Publications, Amsterdam.

Unknown Fields Divsion, n.d., Projects, Unknown Fields Division, viewed 18 September 2021, <http://www.unknownfieldsdivision.com/ projects.html>

Websites

AA Conversations, n.d., UnknownFields:The DarkSideOfTheCity, AA Conversatoins, viewed 18 September 2021, <http://conversations. aaschool.ac.uk/unknown-fields-the-dark-side-ofthe-city/>

Recollecting Landscapes, n.d., History, Recollecting Landscapes, viewed 17 September 2021, <http://www.recollectinglandscapes.be/ en-algemeen-history>

Ghent University, n.d., Recollecting Landscapes: Airport Landscape - Charles Waldheim and re-photography,memoryandtransformation , Sonja Dumpelmann Ghent University, viewed 17 September 2021, <https://www.ugent.be/ea/architectuur/en/ Books research/research-projects/all-research-projects/ recollecting-landscapes-re-photographyDümpelmann, S and Waldheim, C 2016, Airport memory-and-transformation> Landscape-UrbanEcologiesintheAerialAge , HarvardUniversityPress,Cambridge. Work by Mark Klett

Papers / Journal Articles

Websites

Young,LandDavies,K,2013,‘ADistributed Ground: The Unknown Fields Division’, Architectural Design, vol. 83, no. 4, pp. 38-45.

MarkKlettPhotography,n.d.Project , Archives, MarkKlettPhotography,viewed17September 2021, <http://www.markklettphotography.com/ misc-projects>

Websites HarvardUniversityGraduateSchoolofDesign, n.d., AirportLandscape:UrbanEcologiesin the Aerial Age,HarvardUniversityGraduate School of Design, viewed 18 September 2021, <https://www.gsd.harvard.edu/exhibition/airportlandscape/>

E-Journals Klett,M&Rothman,A201,‘ViewsAcross Time - The Art of Rephotography’, Places Journal, viewed 12 August 2021, <https:// placesjournal.org/article/views-across-time/?cnreloaded=1#0>

Luis Callejas Landscape Architecture, n.d., Cambridge / Airport Landscape, Luis Callejas Landscape Architecture, viewed 18 September 2021, <https://www.luiscallejas.com/ CAMBRIDGE-Airport-Landscape>

HumanTypology Photographic Index

Davide Trabucco, n.d., conformi-Leformenon appartengono a nessuno, Davide Trabucco, viewed 17 September 2021, <http://www. davidetrabucco.it/conformi/le-forme-nonappartengono-a-nessuno/>

FRUITS

Super Field - Philip Samartzis and Madelynne Cornish

Books

Websites

Aoki, S, 2005, Fresh Fruits, Phaidon Press, London.

Work by Yann De Fareins

Websites

RMITDesignHubGallery,n.d., Superfield , RMIT DesignHubGallery,viewed18September201, <https://designhub.rmit.edu.au/exhibitionsprograms/super-field/>

Papers / Journal Articles

Phaidon, n.d., ThebookthatcapturedpreSartorialist street style, Phaidon, viewed 17 September 2021, <https://www.phaidon.com/ agenda/photography/articles/2014/april/14/thebook-that-captured-pre-sartorialist-street-style/>

Hunn,P,2018, Baracco and Wright design explorable landscape in audiovisual exhibition, Architecture AU, viewed 18 September 2021, <https://architectureau.com/articles/baraccoand-wright-design-explorable-landscape-inaudiovisual-exhibition/>

Exactitudes

Artadmin, 2017, SUPERFIELD@RMITDesign Hub, The Article, viewed 18 September 2021, <http://thearticle.com.au/2017/11/697/>

Wombell,P,2016,‘France(s)TerritoireLiquide’, KerbJournal , no.24, pp. 46-51

Wombell,P,2016,‘France(s)TerritoireLiquide’, KerbJournal , no.24, pp. 46-51.

France(s)TerritoireLiquide,n.d. Fred , Delangle,France(s)TerritoireLiquide, viewed 17 September 2021, <http://www. francesterritoireliquide.fr/lesphotographes/freddelangle.html>

Books Versluis, A and Uyttenbroek, E, 2002, Exatitudes, Nai010 Publishers, The Netherlands.

Assemble Papers, n.d., Super Field, Assemble Papers, viewed 18 September 2021, <https:// assemblepapers.com.au/happenings/superfield/>

Noordoostpolder - Atelier NL

Exhibition Projects With Multiple Practices

Tillmans, W, 2017, Concorde, Verlag der BuchhandlungWaltherKönig,Köln.

Websites

France(s)TerritoireLiquide,n.d. Emmanuelle , Blanc,France(s)TerritoireLiquide,viewed

Websites

Papers / Journal Articles

Websites

Exactitudes, n.d., About, Exactitudes, viewed 17 September 2021, <https://exactitudes.com/ about/>

Taste of Streep

Books

Websites

Fred Delangle Photographe, n.d., ParisDehli, Fred Delangle Photographe, viewed 17 September 2021, <http://www.fredericdelangle. fr/portfolio/paris-delhi/>

Australian Arts Review, 2017, Super Field, Australian Arts Review, viewed 18 September 201,<https://artsreview.com.au/super-field/>

Websites Lee, C, n.d., InterpretiveWonderings-Mapping Culpra Station, University of Technology Sydney, viewed 18 September 2021, <https://www.uts. edu.au/about/faculty-design-architecture-andbuilding/staa-showcase/interpretive-wonderingsmapping-culpra-station> Landscape Australia Editorial Desk, 2018, 2018NationalLandscapeArchitectureAwards: Landscape Architecture Award for Research, Policy and Communications, Landscape Architecture Australia, viewed 18 September 2021, <https://landscapeaustralia.com/ articles/2018-AILA-National-Awards-InterpretiveWonderings/> NITV, 2016, Migratory Wonderings: Exhibit oaersencounterwithcountrythroughart, Policy and Communications, NITV, viewed 18 September 2021, <https://www.sbs.com.au/ nitv/article/2016/11/18/migratory-wonderingsexhibit-oaers-encounter-country-through-art> GeoDesign - Martina Muzi Websites Geo-Design Exhibition Platform, n.d., Archive, Geo-Design Exhibition Platform, viewed 18 September 2021, <https://geodesign.online> E-Flux Architecture, n.d., Geo-Design:Sand /Geo-Design:Covid19 , E-Flux Archietcture, viewed18September201,<https://www.e-flux. com/announcements/354264/geo-design-sandgeo-design-covid-19/> Pownwall, A, 2019, DutchDesignWeek exhibitionexplores“complexnetworks”,ofjunk Dezeen, viewed 18 September 2021, <https:// www.dezeen.com/2019/10/25/geo-design-junkexhibition-dutch-design-week/> Van Abbe Museu, n.d., GEO-DESIGN:ALIBABA. FROMHERETOYOURHOME-BYDESIGN ACADEMYEINDHOVENFORDUTCHDESIGN WEEK2018 , Van Abbe Museum, viewed 18 September 2021, <https://vanabbemuseum.nl/ en/programme/programme/geo-design-alibabafrom-here-to-your-home/> Design Academy Eindhoven, 2020, GEO— DESIGN:Sand.TheBuildingBlockof Modernity, Issuu, viewed 18 September 2021, <https://issuu.com/designacademy/docs/ sandpressrelease.06>

Websites

Focus 02: Theory & Language document in contemporary photography,Göttin gen: Steidl, London.

Term: Archive Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Miessen,M&Yann,C(eds.),2016 The archive asaproductivespaceofconflict , Sternberg Press, Berlin.

Enwezor, O 2008, Archive fever : uses of the document in contemporary photography,Göttin gen: Steidl, London.

Miessen,M&Yann,C2016,‘Introduction: Productivespacesofconflict’,inMiessen,M& Yann,C(eds), The archive as a productive space ofconflict , Sternberg Press, Berlin, pp. 9-28. Bird,T,Hester,B&Mitchell,S2017,‘Termsof Reference’,inBird,T,Hester,B&Mitchell,S, Openspatialworkshop:converging,intime MonashUniversityMuseumofArt,Caulfield East, VIC, pp. 345-379. Papers / Journal Articles Bowker, GC 2010, ‘The Archive’, Communication and Critical/Cultural Studies, vol. 1, no. 1, pp. 212-214. Derrida, J & Prenowitz, E 1995, ‘Archive Fever: A Freudian Impression’, Diacritics, vol. 25, no.2, pp. 9-63. October,

Darms, L 2009, ‘Archive Fever: Uses of the Document in Contemporary Art’, The American Archivist, vol.72, no.1, pp. 253-257. Bodinson, S 2015, ‘Archive Fever: Uses of the Document in Contemporary Art’, Photography and Culture, vol.1, no.2, pp. 247-250. Buchloh,B.H.D1999,‘GerhardRichter’sAtlas: The Anomic Archive’, October, vol.88, pp. 117145. Miessen,M&Obrist,H.U201,‘ArchivingIn Formation:AConversationwithHansUlrich Obrist’, Log, no.21, pp. 39-46. E-Journals Hong,J.T.2016,‘TheSuspiciousArchive: A Prejudiced Interpretation of the Interpretations of Archives, Part I’,E-fluxJournal , no.75, viewed 29 August 2021 <https:// www.e-flux.com/journal/75/612the-suspi cious-archive-part-i-a-prejudiced-interpretation-of-the-interpretation-of-archives/> Websites International Center of Photography, n.d., ArchiveFever-UsesoftheDocumentinContem porary Art, International Center of Photography, viewed 17 September 2021, <https://www.icp. org/exhibitions/archive-fever-uses-of-the-document-in-contemporary-art>

Term: Collecting Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Shaw, M 2017, The Noble Art of Collecting: Words, Books,andtheSpacesTheyInhabit, Sternberg Press, Berlin. Yaneva,A20, Crafting History : Archiving and the Quest for Architectural Legacy, Cornell University Press, Ithaca.

Term: Impulse Books:

Miessen,M&Obrist,H.U201,‘ArchivingIn Formation:AConversationwithHansUlrich Obrist’, Log, no.21, pp. 39-46.

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Yaneva,A20, Crafting History : Archiving and the Quest for Architectural Legacy, Cornell University Press, Ithaca. Papers / Journal Articles Darms, L 2009, ‘Archive Fever: Uses of the Document in Contemporary Art’, The American Archivist, vol.72, no.1, pp. 253-257. Foster,H204,‘AnArchivalImpulse’, vol.110, pp. 3-22.

Buchloh,B.H.D1999,‘GerhardRichter’sAtlas: The Anomic Archive’, October, vol.88, pp. 117145. E-Journals Speaks, E 2016, ‘The Culture of Collecting’, in AlexJ.Taylor(ed.),InFocus:BlackWall1959 by Louise Nevelson, Tate Research Publication, viewed 3 September 2021 <https://www.tate.org. uk/research/publications/in-focus/black-wall-louise-nevelson/interview-as-assemblage> Keyes,P2016,‘StillLifewithCone,Standpipe, Caution Tape’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/architecture-of-barricades/> Dümpelmann,S201,‘GreenIsHope,and Grass the Future’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/inberlin-green-is-hope-and-grass-the-future/> Wark, M 2017, ‘My Collectible Ass’, E-flux Journal, no.85, viewed 29 August 2021 <https:// www.e-flux.com/journal/85/164my-collect ible-ass/>

October,

Term: Babble Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Yaneva,A20, Crafting History : Archiving and the Quest for Architectural Legacy, Cornell University Press, Ithaca.

October,

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Tschumi, B, Bierig, A, & Matatyaou, J 2014, Notations : diagrams & sequences,ArtificeBooks on Architecture, London. Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21. Lickwar,P&Crawford,K2014,‘LookingUp, Looking Down’, Journal of Landscape Architecture, vol. 9, no. 3, pp. 66-71.

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Yaneva,A20, Crafting History : Archiving and the Quest for Architectural Legacy, Cornell University Press, Ithaca. Enwezor, O 2008, Archive fever : uses of the document in contemporary photography,Göttin gen: Steidl, London.

E-Journals -

Book Chapters Miessen,M&Yann,C2016,‘Introduction: Productivespacesofconflict’,inMiessen,M& Yann,C(eds), The archive as a productive space ofconflict , Sternberg Press, Berlin, pp. 9-28. Papers / Journal Articles Derrida, J & Prenowitz, E 1995, ‘Archive Fever: A Freudian Impression’, Diacritics, vol. 25, no.2, pp. 9-63. Krauss,R1978,‘LeWittinProgress’, vol.6, pp. 46-60.

October,

Darms, L 2009, ‘Archive Fever: Uses of the Document in Contemporary Art’, The American Archivist, vol.72, no.1, pp. 253-257.

Ago,V2019,‘SeriesandOtherUnitkBased Alternatives: Notes on Contemporary Digital Operations’, Architectural Design, vol. 89, no. 2, pp. 110-117.

Enwezor, O 2008, Archive fever : uses of the

Papers / Journal Articles

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Book Chapters Girot, C 2006, ‘Vision in Motion: Representing LandscapeinTime’,inWaldheim,C(ed.), LandscapeUrbanismReader , Princeton Architectural Press,NewYork,pp.87-103. Papers / Journal Articles

Term: Serial

Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Foster,H204,‘AnArchivalImpulse’, vol.110, pp. 3-22.

October, October,

Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Papers / Journal Articles Buchloh,B.H.D1999,‘GerhardRichter’sAtlas: The Anomic Archive’, October, vol.88, pp. 117145.

Lickwar,P&Crawford,K2014,‘LookingUp, Looking Down’, Journal of Landscape Architecture, vol. 9, no. 3, pp. 66-71.

Videos

E-Journals

IAFOR Media 2015, Everyday Aesthetics and World-MakingbyYurikoSaito,RhodeIsland School of Design,YoutTube,4march,AFOR Media, viewed 29 August 2021, <https://www. youtube.com/watch?v=ktwTiUl_fEQ>

Lutsky,K&Burkholder,S2013,‘CuriousMeth ods’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/curious-methods/> Mettern, S 2013, ‘Methodolatry and the Art of Measure’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/methodolatry-and-the-art-of-measure/#0>

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Papers / Journal Articles

Term: Field

Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Enwezor, O 2008, Archive fever : uses of the document in contemporary photography,Göttin gen: Steidl, London.

Tschumi, B 1983, ‘Illustrated Index: Themes from the Manhattan Transcripts’, AA Files, vol. 34, no. 4, pp. 65-74.

Term: Care

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Term: Frame

Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54.

Papers / Journal Articles

Rizvi, U 2016, ‘Decolonisation as Care’, in C,Strauss&A.P,Pais(eds), Slow Reader: A RecourseforDesignThinkingandPractice , Valiz, Amsterdam, pp. 85-95.

Books

Miessen,M&Obrist,H.U201,‘ArchivingIn Formation:AConversationwithHansUlrich Obrist’, Log, no.21, pp. 39-46.

Book Chapters Girot, C 2006, ‘Vision in Motion: Representing LandscapeinTime’,inWaldheim,C(ed.), LandscapeUrbanismReader , Princeton Architectural Press,NewYork,pp.87-103. Papers / Journal Articles: Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21. Tschumi, B 1994, ‘Manhattan Transcripts’, Any: ArchitectureNewYork , no. 5, pp. 48-49. Tschumi, B 1987, ‘Disjunctions’, Perspecta, vol. 23, pp. 108-119. Tschumi, B 1983, ‘Illustrated Index: Themes from the Manhattan Transcripts’, AA Files, vol. 34, no. 4, pp. 65-74. Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54.

Term: Motion Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Book Chapters

Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21. Tschumi, B 1983, ‘Illustrated Index: Themes from the Manhattan Transcripts’, AA Files, vol. 34, no. 4, pp. 65-74. Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp.

Books

Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21. Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54.

Term: Probing Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21. Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54. October,

Buchloh,B.H.D1999,‘GerhardRichter’sAtlas: The Anomic Archive’, October, vol.88, pp. 117145. E-Journals Lutsky,K&Burkholder,S2013,‘Curious Methods’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/curiousmethods/>

Term: Tool

Gu,J.Y20,‘FormatsofCare’, 67-74.

Log, no. 48, pp.

Term: Slowness Books

E-Journals

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Foster,H204,‘AnArchivalImpulse’, vol.110, pp. 3-22.

Papers / Journal Articles

Young,L&Davies,K2013,‘ADistributed Ground: The Unknown Fields Division’, Architectural Design, vol. 83, no. 4, pp. 38-45.

Term: Fieldwork

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Mattern, S 2013, ‘Methodolatry and the Art of Measure’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/ methodolatry-and-the-art-of-measure/#0>

Strauss,C&Pais,A.P(eds),2016 Slow Reader: AresourceforDesignThinkingandPractice , Valiz, Amsterdam.

Websites

Book Chapters

Manaugh, G, 2014., Road Trips, Routes, and Landscape Instrumentation, Bldgblog, viewed 17 September 2021, <https://www.bldgblog. com/2014/07/road-trips-routes-and-landscapeinstrumentation/>

Rizvi, U 2016, ‘Decolonisation as Care’, in C,Strauss&A.P,Pais(eds), Slow Reader: A RecourseforDesignThinkingandPractice , Valiz, Amsterdam, pp. 85-95.

Term: Making

Term: On The Ground

Books

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Ingold, T 2013, Making:Anthropology, Archaeology, Art and Architecture, Taylor & Francis Group, London.

Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Papers / Journal Articles Ingold, T 2007, ‘Materials against materiality’, Archeological Dialouges, vol. 14, no. 1, pp. 1-16. Ingold, T 2010, ‘The Textility of Making’, Cambridge Journal of Economics, vol. 34, no. 1, pp. 91-102.

Term: From Above

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom. Saito,Y207, Everyday Aesthetics, Oxford UniversityPress,NewYork.

Lickwar,P&Crawford,K2014,‘LookingUp, Looking Down’, Journal of Landscape Architecture, vol. 9, no. 3, pp. 66-71. E-Journals Lutsky,K&Burkholder,S2013,‘Curious Methods’, Places Journal, viewed 29 August 2021 <https://placesjournal.org/article/curiousmethods/>

Term: Everyday

Unknown Fields, 2016, TalesfromtheDarkSide of the City, vols 1-6, Bedford Press, London.

Papers / Journal Articles

Unknown Fields Divsion, n.d., Mission, Unknown Fields Division, viewed 18 September 2021, <http://www.unknownfieldsdivision.com/mission. html>

Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Buchloh,B.H.D1999,‘GerhardRichter’sAtlas: The Anomic Archive’, October, vol.88, pp. 117145.

Book Chapters

Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54.

Books

Websites

Books

Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Term: On The Road

Papers / Journal Articles

Books

Konig,K205,‘TheCollector’, Frieze, 12 May, viewed 29 August 2021, <https://www.frieze. com/article/collector?

Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54.

Young,LandDavies,K,2013,‘ADistributed Ground: The Unknown Fields Division’, Architectural Design, vol. 83, no. 4, pp. 38-45.

Papers / Journal Articles

Magazine Articles

Papers / Journal Articles

Saito,Y207, Everyday Aesthetics, Oxford UniversityPress,NewYork.

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Weeldan, D. V. 2016, GercoDeRuijter-Almost Nature, Van Zoetendaal, Amsterdam, The Netherlands.

Pearce, S, Campbell, D, Gilbert, J, James, C, Church,KandDouglass,M,2016, Interpretive Wonderings: Mapping Culpra Station, Mildura Arts Centre, Mildura.

Books

Term: Device

Ingold, T 2014, ‘In conversation with Tim Ingold’, Journal of Landscape Architecture, vol. 9, no. 2, pp. 50-53.

Term: Banal

Term: Instrument

Girot, C 2006, ‘Vision in Motion: Representing LandscapeinTime’,inWaldheim,C(ed.), LandscapeUrbanismReader , Princeton Architectural Press,NewYork,pp.87-103.

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Girot, C 2006, ‘Vision in Motion: Representing LandscapeinTime’,inWaldheim,C(ed.), LandscapeUrbanismReader , Princeton ArchitecturalPress,NewYork,pp.87-103.

Corner, J 1994, ‘Taking Measures Across the American Landscape’, AA Files, no. 27, pp. 47-54.

Magazine Articles

Books

Term: Movement

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Tschumi, B 1983, ‘Illustrated Index: Themes from the Manhattan Transcripts’, AA Files, vol. 34, no. 4, pp. 65-74.

Speaks, E 2016, ‘The Culture of Collecting’, in AlexJ.Taylor(ed.),InFocus:BlackWall1959 by Louise Nevelson, Tate Research Publication, viewed 3 September 2021 <https://www.tate.org. uk/research/publications/in-focus/black-wall-louise-nevelson/interview-as-assemblage>

Term: Sequence

Book Chapters

Chapman,M2013,‘Bloodyfingerprints:Tschumi and the avant-garde’, Arq, vol.17, no. 3-4, pp. 293-302.

Books

Konig,K205,‘TheCollector’, Frieze, 12 May, viewed 29 August 2021, <https://www.frieze. com/article/collector?

Books

Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Krauss,R1978,‘LeWittinProgress’, vol.6, pp. 46-60.

Books

47-54.

Tschumi, B 1994, ‘Manhattan Transcripts’, Any: ArchitectureNewYork , no. 5, pp. 48-49.

Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Term: Series

Term: Fever

Tschumi, B 1983, ‘Illustrated Index: Themes from the Manhattan Transcripts’, AA Files, vol. 34, no. 4, pp. 65-74.

International Center of Photography, n.d., ArchiveFever-UsesoftheDocumentinContem porary Art, International Center of Photography, viewed 17 September 2021, <https://www.icp. org/exhibitions/archive-fever-uses-of-the-document-in-contemporary-art>

Coupland,D2015,‘Stuaed:HowHoardingand CollectingIstheStuaofLifeandDeath’, E-flux Buchloh,B.H.D1999,‘GerhardRichter’sAtlas: Journal, no.67, viewed 29 August 2021 <https:// The Anomic Archive’, October, vol.88, pp. 117www.e-flux.com/journal/67/089/stuaed-how145. hoarding-and-collecting-is-the-stua-of-life-anddeath/>

Konig,K205,‘TheCollector’, Frieze, 12 May, viewed 29 August 2021, <https://www.frieze. com/article/collector?

Tschumi, B 1987, ‘Disjunctions’, Perspecta, vol. 23, pp. 108-119.

Books

Krauss,R1978,‘LeWittinProgress’, vol.6, pp. 46-60.

Magazine Articles

Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Websites

Papers / Journal Articles

Hong,J.T.2016,‘TheSuspiciousArchive: A Prejudiced Interpretation of the Interpretations of Archives, Part I’, E-fluxJournal , no.75, viewed 29 August 2021 <https:// www.e-flux.com/journal/75/612the-suspi cious-archive-part-i-a-prejudiced-interpretation-of-the-interpretation-of-archives/>

Papers / Journal Articles

Lickwar,P&Crawford,K2014,‘LookingUp, Looking Down’, Journal of Landscape Architecture, vol. 9, no. 3, pp. 66-71.

Papers / Journal Articles

Mukerji,C1997,‘ReviewedWork(s):OnCol lecting: An Investigation into Collecting in the European Tradition by Susan M. Pearce’, Isis, vol. 88, no. 3, pp. 520-521.

Book Chapters

Duin, P. V 2017, Collector’sCabinetwithMin iatureApothecary’sShop , Nai010 Publishers, Rotterdam.

Bowker, GC 2010, ‘The Archive’, Communication and Critical/Cultural Studies, vol. 1, no. 1, pp. 212-214.

Yaneva,A20, Crafting History : Archiving and the Quest for Architectural Legacy, Cornell University Press, Ithaca.

Foster,H204,‘AnArchivalImpulse’, vol.110, pp. 3-22.

Tschumi, B, Bierig, A, & Matatyaou, J 2014, Notations:diagrams&sequences,ArtificeBooks on Architecture, London.

Books Stevenson, A 2010, Oxford Dictionary of English, OxfordUniversityPress,UnitedKingdom.

Websites

Focus 03: Drawing & Representation Drawing Theory Books

Nicola 2010, Dining Disorder, Edible Geography - Thinking Through Food, viewed 4 September 2021, <http://www.ediblegeography.com/dining-disorder/> Lucarelli, F 2011, Kitchenactionsdiagrams , SOCKS,viewed4September201,<http:// socks-studio.com/2011/11/03/kitchen-actions-diagrams/>

Experimental Jetset, n.d., Statement & Counter-St .,RmitDesignHubGallery,viewed7Sep tember 2021, <https://www.experimentaljetset. nl/archive/statement-counter-statement>

The Architectural Review 2018, Folio: Sarah Wigglesworth’sdiningtables , The Architectural Review, viewed 15 October 2021, <https://www. architectural-review.com/essays/folio/folio-sarah-wigglesworths-dining-tables>

Experimental Jetset, n.d., Superstructure, Rmit Allen,L&Casper,L(eds)2016, Drawing futures DesignHubGallery,viewed7September201, :specificationsincontemporarydrawingforart <https://www.experimentaljetset.nl/archive/suand architecture, UCL Press, London. perstructure> Palmboom,F,Notteboom,B,Dimitrova,K& Decroos,B(eds)20, OASE107:TheDrawing InLandscapeDesignandUrbanism , Nai101 Publishers, The Netherlands. Decroos, B, Patteeuw, V, Cicek, A & Engels, J (eds)20, OASE105:PracticesofDrawing , Nai101 Publishers, The Netherlands. Papers / Journal Articles May, J 2017, ‘Everything is Already An Image’, Log, no.40 pp. 79-26.

Visual Communication Precedent: The Body As Machine, Unknown Fields Division Books Unknown Fields Division 2016, Tales from the DarkSideoftheCity–TreasuredIsland , Bedford Press, London. Websites Unknown Fields Divsion, n.d., Summer2013_ Treasure Island_Madagascar, Unknown Fields Division, viewed 7 September 2021, <http://www. unknownfieldsdivision.com/summer2013mada gascar-journeytotreasureisland.html>

Visual Communication Precedent: The Living Room, Lucas Maassen & Alexandre Humbert Websites Pownall, A, 2020, Architects and designers act as furniture for The Living Room, Dezeen, viewed 7 September 2021, <https://www. dezeen.com/2020/01/09/the-living-room-alexandre-humbert-lucas-maassen-collage/> Lucas Maassen, n.d., Project: The Living Room, Lucas Maassen, viewed 7 September 2021, <http://lucasmaassen.com/thelivingroom>

Visual Communication Precedent: Work by Experimental Jetset Books Experimental Jetset, 2015, Statement and CounterStatement-NotesonExperimental Jetset, Roma Publications, Amsterdam. Websites RmitDesignHubGallery,n.d., ExperimentalJetset–Superstructure,RmitDesignHub Gallery, viewed 7 September 2021, <https:// designhub.rmit.edu.au/exhibitions-programs/ experimental-jetset-superstructure/>

SW Arch, n.d., The Everyday And Architecture, SW Arch, viewed 15 October 2021, <https://www.swarch.co.uk/wp-content/ uploads/2017/03/3_1998_Everyday-Architecture_SOS-1.pdf>

Drawing Precedent: KowloonWalledCity Drawing Precedent: Various Works, Neme Books Studio Kyuryujo,T1997, Kowloonlargeillustrated (1997)

, Iwanami Shoten, Japan.

Websites

E-Journals

NEMESTUDIO n.d., Matters Around Architecture, NEMESTUDIO, viewed 4 September 2021, <http://nemestudio.com/projects/matters-around-architecture>

Kafka,G2016,’Wall-to-Wall’, Uncubed , no.42, pp. 61, viewed 4 September 2021, <https://www.uncubemagazine.com/sixcms/detail.php?id=16520968&articleid=art1454319123849-85ccc57f-67fa-45ca-958284836131edcd#!/page61>

NEMESTUDIO n.d., About, NEMESTUDIO, viewed 4 September 2021, <http://nemestudio. com/projects/matters-around-architecture>

Websites

NEMESTUDIO n.d., Nine Islands, NEMESTUDIO, viewed 4 September 2021, <http://nemestudio. com/projects/nine-islands>

Johhny 2014, DetailedCross-sectionofthe KowloonWalledCityCreatedbyJapanese Researchers, Spoon & Tamago, viewed 4 September 2021, <https://www.spoon-tamago. com/2014/10/28/detailed-cross-section-of-thekowloon-walled-city-created-by-japanese-researchers/>

NEMESTUDIO n.d., MuseumofLostVolumes , NEMESTUDIO, viewed 4 September 2021, <http://nemestudio.com/projects/museum-of-lost-volumes>

Drawing Precedent: Drawing Precedent: Berlin, Larissa Fassler Various Works, E-Journals Design Earth Kafka,G2016,’Wall-to-Wall’, Uncubed , no.42, pp. 61, viewed 4 September 2021, <https://www.uncubemagazine.com/sixcms/detail.php?id=16520968&articleid=art1454319123849-85ccc57f-67fa-45ca-958284836131edcd#!/page61>

Books Jazairy,EH,Ghosn,R2018, Geostories: Another Architecture for the Environment, Actar Publishers,NewYork.

Websites

Uncube 2016, UnchartedGround-Larissa Fasslers Psychogeographic Cartographies, Uncube, viewed 4 September 2021, <https://www. uncubemagazine.com/blog/16549313>

DESIGNEARTHn.d., Projects,DESIGNEARTH, viewed 4 September 2021, <https://design-earth. org/projects/>

Larissa Fassler n.d., KottbusserTor:208,1 2014 , Larissa Fassler, viewed 4 September 2021, <http://www.larissafassler.com/kottidraw_1. html> Larissa Fassler n.d., Projects, Larissa Fassler, viewed 4 September 2021, <http://www.larissafassler.com/startside.html>

DESIGNEARTHn.d., After Oil,DESIGNEARTH, viewed 4 September 2021, <https://design-earth. org/projects/after-oil/> DESIGNEARTHn.d., Julia: The Submerged Volcano ,DESIGNEARTH,viewed4September 2021, <https://design-earth.org/projects/julia-the-submerged-volcano/> DESIGNEARTHn.d., PacificAquirium , DESIGN EARTH,viewed4September201,<https://de sign-earth.org/projects/pacific-aquarium/>

Drawing Precedent: Modernology,Kon Wajiro Websites Leleu, C 2020, Modernology,KonWajiro’s Science of Everyday Observation, Pen, viewed 4 September 2021, <https://pen-online.com/ culture/modernology-kon-wajiros-science-of-everyday-observation/?scrolled=2> Fabrizi, M 2017, KonWajiro’sArchaeologyof Present Times,SOCKS,viewed4September 2021, <http://socks-studio.com/2017/12/10/ kon-wajiros-archaeology-of-present-times/>

Drawing Precedent: Various Works, LateralObce Websites LateralObcen.d., AA: Nu Communities, Lateral Obce,viewed4September201,<http:// lateralobce.com/filter/Work/AA-NU-COMMUNI TIES-2013-14> LateralObcen.d., Boom/Bust,LateralObce, viewed4September201,<http://lateralobce. com/filter/Work/BOOM-BUST-2019>

Lucarelli, F 2014, “The Architecture of Madness”: LeónFerrari’sHéliographias ,SOCKS,viewed 4 September 2021, <https://socks-studio. com/2014/01/31/the-architecture-of-madness-leon-ferraris-heliographias/>

Drawing Precedent: Manhattan Transcripts, Bernard Tschumi Books Tschumi, B 1981, The Manhattan transcripts, Academy Editions, London. Websites Bernard Tschumi Architects n.d., The Manhattan Transcripts, Bernard Tschumi Architects, viewed 4 September 2021, <http://www.tschumi.com/ projects/18/> MoMA n.d., The Manhattan Transcripts Project, NewYork,NewYork, Episode 4: The Block, MoMA, viewed 4 September 2021, <https:// www.moma.org/collection/works/62> Fabrizi, M 2015, “The Set and the Script” in Architecture:TheManhattanTranscripts(19761981)byBernardTschumi ,SOCKS,viewed 4 September 2021, <http://socks-studio. com/2015/10/13/the-set-and-the-script-in-architecture-the-manhattan-transcripts-1976-1981by-bernard-tschumi/>

Drawing Precedent: Various Works, Drawing Architecture Studio

Unknown Fields, 2016, TalesfromtheDarkSide oftheCity–NeverNeverLands, Bedford Press, London.

Unknown Fields Divsion, n.d., Summer2013_ Treasure Island_Madagascar, Unknown Fields Division, viewed 7 September 2021, <http://www. unknownfieldsdivision.com/summer2013mada gascar-journeytotreasureisland.html> Unknown Fields Divsion, n.d., Winter201_Nev er Never Lands: Prospecting in Dreamtime_West AustralianOutback-KalgoorlietoBroome , Unknown Fields Division, viewed 7 September 201,<http://www.unknownfieldsdivision.com/ winter2010outbackaustralia-neverneverlands_ prospectingindreamtime.html>

Drawing Precedent: FieldExercises,Kate Jenkins Papers / Journal Articles Jenkins,K2018,‘FieldExercises’, Journal of Landscape Architecture, vol. 13, no. 1, pp. 6-21.

Drawing Precedent: Learning From FedEx, Clare Lyster Papers / Journal Articles Lyster, C 2017, ‘Learning from FedEx: Lessons for the city’, Journal of Landscape Architecture, vol. 7, no. 1, pp. 54-67.

Drawing Precedent: SOAK,Mathur/Da Cunha

Websites

Books

Drawing Architecture Studio, n.d., Drawings, Drawing Architecture Studio, viewed 4 September 2021, <http://www.d-a-s.cn/en/drawing. php>

Anuradha, M, Cunha, DD 2009, Soak:Mumbaiin an estuary, Rupa & Co., New Delhi.

Drawing Precedent: Various Works, Bryan Cantley

Farso,M,Keane,B,Douglas,L,Cortesi,I, Diedrich, L 2010, ‘Book Reviews’, Journal of Landscape Architecture, vol.4, no.2, pp. 84-88.

Book Chapters Cantley, B 2016, ‘Deviated Futures and FantasticalHistories’inLAllen&LCasper(eds.), Drawingfutures:specificationsincontemporary drawing for art and architecture, UCL Press, London. pp. 184-197.

Drawing Precedent: Various Works, Owen Duross Book Chapters Devilat,B2016,‘RecordingofHeritageBuild ings: From Measured Drawing to 3D laser Scanning’inLAllen&LCasper(eds.), Drawing futures:specificationsincontemporarydrawing for art and architecture, UCL Press, London. pp. 236-243.

Additional areas of research

Websites

Drawing Architecture Studio, 2016, ‘Architect as UrbanGhostpainter’inLAllen&LCasper(eds.), Drawingfutures:specificationsincontemporary drawing for art and architecture, UCL Press, London. pp. 135-138.

Book Chapters

Drawing Precedent: Various Works, Drawing Precedent: Unknown Fields Increasing disorder at Drawing Precedent: a dining table, Sarah Heliographies,LeonDivision Books Wiggler & Jeremy Till Ferrari Websites

Unknown Fields, 2016, TalesfromtheDarkSide oftheCity–TreasuredIsland , Bedford Press, London.

Papers / Journal Articles

Websites Marthur / Da Cunha, n.d., SOAK-MumbaiInAn Estuary, Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/soak> Marthur / Da Cunha, n.d., 3.1CreekForts , Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/creek-forts> Marthur / Da Cunha, n.d., 3.2NullahCrossings, Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/nullahcrossings> Marthur / Da Cunha, n.d., 3.3 Monsoon Surface, Marthur / Da Cunha, viewed 12 August 2021, <https://www.mathurdacunha.com/monsoonsurface>

Art / Design Movement / Style: Rephotography Books Notteboom,B&Uyttenhove,P(eds.)2018, Recollecting landscapes : rephotography, memoryandtransformation,1904-1980-24 2014, Roma Publications, Amsterdam. Cureton, P 2017, Strategies for landscape representation : digital and analogue techniques, Routledge,NewYork. Book Chapters Notteboom, B & Uyttenhove, P 2020, ‘Recollecting Landscapes: teaching and making landscapebiographies’inKJorgensen,N Karadeniz,EMertens&RStiles(eds.), Teaching Landscape : The Studio Experience, CRC Press, Florida, pp. 202-213. Papers / Journal Articles Notteboom, B 2011, ‘Recollecting Landscapes: landscape photography as a didactic tool’, Arq, vol.15, no.1, pp. 47-55. E-Journals Klett,M&Rothman,A201,‘ViewsAcross Time - The Art of Rephotography’, Places Journal, viewed 12 August 2021, <https:// placesjournal.org/article/views-across-time/?cnreloaded=1#0>

Art / Design Movement / Style: Documentary Photography Books Borge, M 2019, Documentary Photography Reconsidered : History, Theory and Practice, Taylor & Francis Group, Milton. Websites Tate Gallery, n.d., Art term: Documentary Photography, Tate Gallery, viewed 30 August 2021, <https://www.tate.org.uk/art/art-terms/d/ documentary-photography>

Art / Design Movement / Style: Assemblage Art Books Seitz, WC 1961, The Art of Assemblage, MuseumofModernArt,NewYork. Websites Tate Gallery, n.d., Art term: Assemblage, Tate Gallery, viewed 30 August 2021, <https://www. tate.org.uk/art/art-terms/a/assemblage>

Art / Design Movement / Style: Archival Art Papers / Journal Articles Carbone,K20,‘ArchivalArt:Memory Practices, Interventions, and Productions’, Curator, vol.63, no.2, pp. 257-263. Websites Tate Gallery, n.d., Art term: Archive, Tate Gallery,

viewed 30 August 2021, <https://www.tate.org. uk/art/art-terms/a/archive>

Art / Design Movement / Style: Serial Art Websites Tate Gallery, n.d., Art term: Serial Art, Tate Gallery, viewed 30 August 2021, <https://www. tate.org.uk/art/art-terms/s/serial-art>

Image Credit List Design Research Essay

01 - Inside Cover [img-ref 01] Dy-Mark350gFluoroPinkSpray&SprayPaint Dy-Mark, Date unknown Image via: Bunnigs Warehouse, https://www. bunnings.com.au/dy-mark-350g-fluoro-pinkspray-spray-paint_p1663651 [img-ref 02] Things. Millie Cattlin, 2020 Image via: Instagram: Millie Cattlin, https://www. instagram.com/p/CAZsnrylmos/

representation)

[img-ref 11] VideoStillfrom:TheBodyAsAMachine Unknown Fields Division, 2016 Image via: Unknown Fields Division, http://www.unknownfieldsdivision. com/summer2013madagascarjourneytotreasureisland.html [img-ref 12] VideoStillfrom:TheBodyAsAMachine Unknown Fields Division, 2016 Image via: Unknown Fields Division, http://www.unknownfieldsdivision. com/summer2013madagascarjourneytotreasureisland.html [img-ref 13] A selection of video stills from: The Body As A Machine Unknown Fields Division, 2016 Image via: Unknown Fields Division, http://www.unknownfieldsdivision. com/summer2013madagascarjourneytotreasureisland.html

[img-ref 03] Verblist Richard Serra, 1967-68 Image via: MoMA, https://www.moma.org/ collection/works/152793

[img-ref 14] The Manhattan Transcripts Bernard Tschumi, 1976-1981 Image via: Socks Studio, https://socks-studio. com/2015/10/13/the-set-and-the-script-inarchitecture-the-manhattan-transcripts-19761981-by-bernard-tschumi/

02-Diagrams(Focus on technique)

[img-ref 15] MT1(Page46&9) Bernard Tschumi, 1976-1981 Image via: Tschumi, B 1981, The Manhattan transcripts, Academy Editions, London.

[img-ref 04] Pages146&7(scanned) HeikeRahmann&MarieluiseJonas,2014 Imagevia:Jonas,M,Rahmann,H2014, Tokyo void : possibilities in absence, Jovis, Berlin.

[img-ref 16] The Manhattan Transcripts Bernard Tschumi, 1976-1981 Image via: Bernard Tschmi Architects, http:// www.tschumi.com/projects/18/ [img-ref 17] The Manhattan Transcripts Bernard Tschumi, 1976-1981 Image via: Bernard Tschmi Architects, http:// www.tschumi.com/projects/18/

[img-ref 05] 3B.SpaceEmbassador,201 HeikeRahmann&MarieluiseJonas,2013 Imagevia:Jonas,M,Rahmann,H2013,‘Void Potential: Spatial Dynamics and Cultural Manifestations of Residual Spaces’ in P Barron [img-ref 18] andMMariani(eds), TerrainVague:Interstices MT1(Page16&7) at the Edge of the Pale, Routledge, England, pp. Bernard Tschumi, 1976-1981 89-104. Image via: Tschumi, B 1981, The Manhattan transcripts, Academy Editions, London. [img-ref 06] 3A.TestingofSakuraTags,201 [img-ref 19] HeikeRahmann&MarieluiseJonas,2013 The Manhattan Transcripts Imagevia:Jonas,M,Rahmann,H2013,‘Void Bernard Tschumi, 1976-1981 Potential: Spatial Dynamics and Cultural Image via: Bernard Tschmi Architects, http:// Manifestations of Residual Spaces’ in P Barron www.tschumi.com/projects/18/ andMMariani(eds), TerrainVague:Interstices at the Edge of the Pale, Routledge, England, pp. [img-ref 20] 89-104. Airport Crossing Mathur & DaCunha, 2009 [img-ref 07] Image via: Mathur / DaCunha, https://www. Schematic drawing for incomplete open cubes, mathurdacunha.com/nullah-crossings 1974 Sol LeWitt, 1974 [img-ref 21] Image via: LeWitt, S, Lee, PM, Baume, N, Flatley, 1.MahimCrossing J 2001, Sol Lewitt : incomplete open cubes, Mathur & DaCunha, 2009 Hartford, Conn. : Wadsworth Atheneum Museum Image via: Mathur / DaCunha, https://www. of Art, MIT Press distributor, Cambridge, mathurdacunha.com/nullah-crossings Massachusetts. [img-ref 08] SolLewitt-IncompleteOpenCubes1974Installation view, San Francisco Museum of Modern Art Sol LeWitt, 1974 Image via: LeWitt, S, Lee, PM, Baume, N, Flatley, J 2001, Sol Lewitt : incomplete open cubes, Hartford, Conn. : Wadsworth Atheneum Museum of Art, MIT Press distributor, Cambridge, Massachusetts. [img-ref 09] Airport Crossing Mathur & DaCunha, 2009 Image via: Mathur / DaCunha, https://www. mathurdacunha.com/nullah-crossings [img-ref 10] Untitled Mathur & DaCunha, 2009 Image via: Mathur / DaCunha, https://www. mathurdacunha.com/soak

03 - Mark-Ups (focusondrawing&

[img-ref 22] 1.WorliFort Mathur & DaCunha, 2009 Image via: Mathur / DaCunha, https://www. mathurdacunha.com/creek-forts [img-ref 23] CroppedProjectKeyMap Mathur & DaCunha, 2009 Image via: Mathur / DaCunha, https://www. mathurdacunha.com/soak