Group Presentation

So it's from... I'm satisfying about it. I'm just playing your station. Can't be asked. Impecise now. All right. Miguel, when you're a girl, is number one. Maybe you ready, Ross? number one How you doing your timing? One minute on each slide for the group once. And then one minute again, and then we'll go... Make a sense. Make a sense. for physical action, our whole design supports daily routine, like cooking and family life, while living room for spiritual activities that are making towards, uh, uh, people that have paid for. The mind, sensory, evidence, it's a clear meaning that uncluttered, intentional, they also provide some mental care, companies, for focus, aligning the, uh, state private talk. The solve interest, internal peace, symmetrical fight spaces of the room for meditation and prayer, uttering a higher divine presence, smustering this inner harmony, unlocks a different connection to the cosmos, the environment, and command. I heard. Uh, doing harmony with people and what I've tended for my research on it, is that it, um, all comes down into protecting muscle, uh, salon kosher. Uh, some more, some more life. Nice. And that's where I spent time with my research. Sweet, and other Tommy was the bombing, so I'll put it in the water. So we start off with self, when we move up to people, and then we move up to the harmony with environment, which is mine. So, traditional part someone belief is that the vitality and essence of being connotates akin connection to the natural environment and is strongly illustrated through the language. So, pala pala is both mud and blood, but too, rock, hot, funnel, land, placenta, and culiala, the ledge and onholding carpet. So this worldview expressed the language convergence illustrates a shift in our perception of linear start to finish timeframe, time constraints, towards a realisation of a systemic cycle of regeneration and potential motion. And this view offers a synthesis of the protocols and processes of the natural world we play at the pardon. This positions our role as humans nested within a greater living system of time and space time. It's just our incentives from how we can take to how we can give to our environment. And through this framework, we want to approach the ecologies of our project with reciprocity, understanding our relationship to the sites, environment, context, proposing design strategies that maintain, and enhance environmental harmony, and participating in a collective dialogue of knowledge toward an ecologically generated future. Yep, Levi, and been looking into the harmony of cosmos, and found the harmony of cosmos, begins by acknowledging the sacred tapu bomb between man and heavens. This was demonstrated by using the movements of heavenly bodies, daily activities, such as fishing, agriculture, and navigation. The legend of Taputea takes this further and teaches a deeper principle within the bond, remorse and forgiveness. Tapita, having transgressed against their own kin, sought to atone by transforming into the morning and evening star. In this form, she performs an eternal penance, driving fishermen and voyages across the ocean. At forgiveness granted, each time they can look to her, look to her light for guidance. Um, yeah, this story forms the basis of the Efamas ceremony. Um, where someone seek forgiveness for transgression, kneeling, drapes it in an e-fonga, a e-tonga. The transgressor is uncovered by those they have wrong, removing their shame, restoring peace. And lastly... Yeah, very. And also, I just looked up our interconnection between all those harmies. So I showed my illustration as, like, a tree with two distinct trunks. So I'll just explain what that is. So it's saying that bar isn't the material itself, it's more the relationship between. The two trunks, they distinct all the way up, and because a tree is alive and has to keep growing to survive. It also carries the idea that bar has to be tended over time. It's not a fixed structure, it's a living connection that can be lost if it's not locked after. So, again, vars a space between, but it's not empty. It's relational between multiple people, between people and land, even across time, from the old stone mans. So now, this relationship has to be tended or it's lost, same way, like, you can send a message on your phone about getting a signal, for example. The issue is conventional building, treats land as empty space to build on and extract from. They don't relate to it. And this weakens the exact connection that these programs are meant to protect. So via to be actively nurtured through the design, not just acknowledging as a concept. Yeah. For me, cycling here. blending, ancient tradition with most consolation. So most waters, most migratory green turtles, and physically endangered residents, hospitals. Both rely on local coral reefs, underwater caves, and volcanic reefs for shelter. This relationship, it inspires the artificial concept of buy a lot of private, or a new, or my, my visual centre. The design translates that the roads journey to the discord, very tourists, is a new culture, cavelike country, operate internal stillness, while food, pathways, mirror, migration. This creates a cultural beacon, honouring the sea turtle as a living garden of Samoan Heritage. With mine, right? Oh, that would be good. This way, yeah, yeah. Oh, suspense. We'll see. We see. So we're not very far. It's all good. all good. This is the 2nd slide, the 1st slide. Wait, quit cutting into our time. So I don't tend to envision pieces. And then, like, found out their problems and then how we can solve them to bring their numbers back up. Yeah. And their roles in the, um, their niches they take on and the the logical cycle. For example, the Pacific sheets that, which, they need more research into, which is they're not sure if it's extinct or not, and they're not, and very, very low numbers. Um, experience no numbers, no way. Yeah. They're not sure if it is or not. And then there's the mother mayor, um, and then now. Um, and the bat is, um, niches is control, and the maname is a heavy sea dispersal, and then now is a large pollinator. What I'm interested, oh, sorry. Well, I really, um... 2 1/2 minutes. left. So, you're, like, taking the perspective of how we're all in the continuum, I've found the continuity of birth, life, and being interesting, and it's cycled, they don't just see linear to, and they practice this through the agro forestry techniques. Everything has a role to play within this larger system, and this is how they practice their beliefs, and Aberforestry has 3 main, um, got ecological, economic, and cultural, and all of those together create things.. Yeah. So, archeological funding. So in 1977, they did a big survey, called a solar survey, and survey found over 3000 structures, and they found plantation. So platforms, house foundations, foods, and walkways. Further lighter, and lengthday surveys conducted in 2015, that, like, go on mini, mini, the wider island of Sabai, and even the Polu. And yet, we have a big, full of Malay mounds standing at about 60, 65 metres by 12 metres high. And that was developed in over time between 1100 to 1400 AD and has had many disputed uses throughout its existence. Around site, there are 1059 platforms made from basalt. They vary in size and shape, there's 50 of them, being less than 150 regions square. Nice.. All the various shapes and sizes or some of them that are found around. Huh. Still got tongue? Yep. Good. Prehistoric Polali was organised around household clusters and house platforms, bounded by walls and walkways that map kinship and hierarchy directly into the land. Pula Mele Mound, stood as a sacred centre of this network, linking households, terraces, and parkways across the landscape. who continues this legacy today, carrying forward the idea that every settlement needs a sacred centre, ordering it out. I got a global one. Last point, farming and living were inseparable, where your farm was where you lived, and how you found was how you governed. Merk Gardens, for instance, operated both household and communal scale. Larger ones for ceremonial feasting, and the homestead was where this whole system played out at human scale. Ceremonial, cosmological, and political order, all held within one territorial boundary.. Thank you, all right. Sorry. I'd like to do half of it. Yeah, yeah. So my... I'm replicating that... And I made a row... So I made... So visualisation. Yes. So, this is all 400s, all at once, and, for me, the solve as my main court, so this is the harmony itself, also the harmony with people, plus the people represent the person representing them. So, and the environment is the habitats of the sea tools, and the sea turtles, as part of the environment of solo, and also the, how many midposmos is the mimicry of solar system. And instead of the space, I used the underwater because of the environment of some more. And I also use the idea of guidance and guardianship, with the currents of the seetros. So they might understand it but painting. You don't taste them. Yeah. All right. I want to see you. I've been gifting up some underwhelming compliments. Scratch it. Sorry, the green sea turtle is... is representing as tourists because they're using tools by the migrators to the Subai Island, while the hospital turtle is the Samoan people, the natives. Yeah. So they're like, they're connected to each other, criminal. That's a lot, a lot of where you're engaged, not going to, quite a different... Do you want feedback, but you want to, I think. between, yeah, between. Yeah, because you sort of lose. Okay, you lose drag. Is that what you lose?. I like the 2 those. Is that complete? Was something they add to throughout the semester? I'm thinking of, uh, for the... Yeah, well, I, I think it's, I, I, I, I, to, uh, research quite well, um, and, I'm just committing new on, on those, on your analysis of it, how I'll expect winding your concept visualisation. And I guess the question, you're not kind of getting through too much about how does how does this whole process inform what you're designing? Because what are you designing? I'm designing a visitor centre. Visitor centre. Yeah, and then how, what, what, what, what, what, what, your designs from? So, my design process is to the idea of driving the, and also driving the culture on the, and then also thinking of using, uh, structure. So, I, the, how many of itself is in Bali with body, mind and soul? So the body is the body structure. So I'm thinking of the rocks for the idea of flow and so that's the idea of your for your bottle? Yep. Yes, that is good, okay. Oh. At least the views has an indicated tool. I thought those are Harry's. Which one's yours, Harry's? This one's hard, yeah. Okay, I see, I see. I see. The mind is, like, the purpose of the visitors in there, which is guys, and, or is, like, integrated from my interior. And then, the soul is, like, the filter of... And then, uh, There is this documentary of this... I mean, yeah.

Individual

I'm working on the Education Research Centre. So I wanted to look at the Cosmos and Va. That is my main idea. So, I'll just draw your attention to this post, tiger. Okay. Consider it, too. Yes. Very simple, but it just shows the idea that, um... It shows a connection as a line of sight that we can transform spaces in between programs from an empty space into a living bridge of unity and mutual respect, that has to stay visible, not cut off. It carries people's connection upward, where the cosmos is made visible, rather than cutting people off from it. Okay? So for the program, it means the strength of that connection isn't the same everywhere. There's the strongest, the thresholds, and gathering spaces. The entrance, atrium, and then where the sky is meant to be framed and encountered directly, and more strained in working and learning spaces, like labs, classrooms, and stuff like that. Um, just give me this. Yeah, connection is tended for orientation sequence, rather than physical openness, and the spaces aren't independent boxes. They only make sense as part of one whole. The way that past and future archeology and education are woven together rather than kept apart. So that's my concept navigator. looking at the relationship between binding and belonging, basically how lashing produces a system where belonging is not given, but actively made through the active record. The concept model demonstrates this physically where the binding generates the form, and the health centre emerges from the wrapping around it. It shows that you only belong to the assembly once you are bound into it, and the assembly only holds because every element remains distinct within the bonding. which is the same condition for va, where the relational space between those elements gives meaning to both sides. This is my consult visualisation. Demonstrates this at a cosmological scale, where a lashing note is suspended and binds the bar between traditional construction and bar made structural. Between the ancestral star field, above, and the result ground of Palali, Balar, and then the arm reaching upward into the cosmos, and the hand reaching downward toward the basel ground. So it explains the structure does not hold itself, and someone has to wrap it. The act of wrapping is also active belonging, not as a fixed condition, but it's something that must be continuously reinforced and maintained by the people who inhabit it. How much? Because I can go in for a hundred. 45 seconds. Oh, okay. Just skip it. This all gets... Do you have a mess model? It's being worked on. Like, I've made a contour. It's just actually getting the building as a 3D model. So, your form of your building is... It will be like this. Similar to this. So much of that, yeah? This is quite... This is quite neat, how these sort of weave around and over and in and out. Yeah. Why that? I wants to... Because it's, like, wrapping around. Like, the structures. Yeah. So, could you, could you actually do that and make it allow this thing to make space? Yes, yes. So there's, like, warm space. And then what would those be made out of? That's a good question. That's for me to think about it for the next... Yeah. Was it a wonder way that, you know, those elements, you know, there could be some long bamboo, you know, you can splice bamboo, you can grow bamboo, nice dimension. You can imagine that sort of, like, heavily woven mesh thing being a root structure, then a thatch on top of it. And it would be sort of a departure from your traditional po. Mm. Oh, two, oh, two, um, type structure, but it would be related, but different, and it could be beautifully, you know, imagine, imagine the ceiling, um, flick the ceiling, and that. See the Jazz Max building? Valim Malai? Down in one? I've heard of it, yeah. Yeah, they have a... Is that built? I think it's going through consent. Each government has the antique on it. So just warps, so the roof, like the roof is the architecture. Mm. So the roof, whatever the roof does, the space below responds and just... It's good that one, eh? at one end it starts a very traditional ballet looking form. And then we sort of go through this transition to this kind of contemporary version, I suppose. Which can be in, like, because from a full perspective, I'm like, oh, man, I'm gonna be interested to see how this pans out, but looking at this, and things that last was talking about, and how he can make it less plainer, like, here's my star. Oh, it's not a star. He's like a warping. I get what you mean. You know what I mean? Yeah, but then you just make, you're making a ginormous roof. Because, obviously, it's got to be ginormous to cover all the stuff that you've got in it. But looking at that scale, it's not dynormous, so that's gonna be the issue. Oh, that's gonna be the challenge. Got Joe Norman's enough, eh? So, mate, that's why... Could play around, like, you could play it here and make it, like, way bigger. Well, it doesn't need to be giant. But... I might have to, depending on your formal explorations? Sure. But it might be, honestly, the way I'd approach you, I'd start trying to make those out of some pieces of bamboo. Let them just make one of them, make a bigger model. And it gets, you know, probably not a little bit good. So that's scaled. sort of splice them and get them to go up and around and over and sort of get that nice, sinuous, woven, like, woven on a massive scale. You can even store some strips of paper. Or some kind of, you know, thicker paper, like a filled card. And then you can hold its form, like an envelope, it can curr, but it can walk. And then, again, it's just whatever it is that allows you to kind of do things freely, do things quickly, explore, create spaces. So, I'd stay away from the star as a foot, as it's useful for now, but let the formal exploration dictate what it ends up. Sure. Yeah, to scale. So that makes sense. Yeah. Not Norris. Is it great? Well done. Run and pause. Here.