Group Aspirations

I'm just going through the, for us, someone, like, the world view, everything is about harmony, and this, I would say this, not radical, but, like, total egalitarianism, where they see, or the creation account, they see themselves coming from the Earth, and that's a cycle of forming a, along, they're part of everything's part of the biggest system, and they people go back into it. So it's all these these cycles of life. It's sort of semi, almost has a sort of beyond cultural idea. It almost starts to become like a, quite religious, but a canter religion. A spiritual continuity as well. Yeah, right. Oh, from it. So, this diagram here is just showing that more cosmos, 4 and 4 are always seeing the society, they will share the same power and value. And then the value system is based on believe things and they believe in harmony. So these 3 main values of balance of reciprocity and respect. And with these 3 things, that's how they achieve harmony. And I also found, like, throughout your notice, almost triadic structures forming to achieve this harmony. It's just something I've obser it not a particular thing that they will or what I found. And then again, going back to that constability, was that that bird, life and death, they share a room with one whole collective system and they see an old, rather as, like, birth being a stockbolt and death being an endpoint, that's all continuity, that's always regenerated. And that's where the whole essence of their, like, belief and driver behind regeneration, cohesion with their environment is because they all believe that they're part of they're an equal part of playing. Has anyone looked at agricultural practises and things then? you're looking at that I have. Does there sort of, like, agricultural practice that would sort of be forwarded by? Yeah, like, the way that they maintain their plantations and project their soil, everything's like, they don't they'll have it. So they have kind of big, uh, like a 10 year kind of planting scheme almost within their agricultural setup. So, like, you start off with these smaller plants and you plant bigger plants than those plots, the bigger plots come up. It's a big multicropping setup. Yeah, it just for years, you slash about everything and that feeds the ground. Isn't it a hundred? 100 years. It's probably different cycles. Well, it's like, I guess it's over Polynesia. Because one of the, isn't there an agro at the forestry? One of the components, one of the, there's an agra forestry type. agra forest. Yeah What what would you call what do you mean what does agro forest streaming? So it's, yeah, it is. And this multi-crop. So all the plants are actually, you create, you know, the canopy system within your pointing, like growing setup. So you use the bigger plants to deal for the smaller ones and they all kind of feed each other and help each other to grow in. So it's like all really interconnected in each plant. You see the wonder, like how, in terms of, you know, we're going to be doing some architectural interventions. You start to wonder, like, what's that vulnerable to? With regards to, say, climate change? So, like, you know, you, you get any incidents of, um, they're dropping sciphos coming through, you know, what we used to be routine years, they're coming a little bit viable too. Is this something that, you know, within, as you're building up your break for your buildings, you know, do you think about sort of seed stores or someone who just, you know, here's a quick storm goes through and wipes out everything, how you can build some resilience into that by, you know, perhaps protecting a certain amount of stock or it feels like, you know, there's something within, like, how that holistic thinking, but, you know, expanding it to an environment that's perhaps not in harmony. You know, you could argue that nature's neither and harmony. It's always sort of, you know, flipping between different conditions and, you know, how you can sort of fill down, I guess, some strength of them. So yeah, they actually believe in the culture because, um, I think it's part of the earth, and they would enhance the result of like natural disasters and stuff is the nature trying to reconcile itself with men. I mean, that's sort of that flash to achieve on me, but that's how it's hard upon you. Yeah. So you can sort of audience and your architectural intervention, like, showing the story, yeah. Yeah. it. They don't seek to completely negate natural disaster, they build to be able to regal. Yeah, yeah, it's not, it's, yeah, they're not, they don't think as permanently. Because you'd think, and like point isn't permanent. No, no, no, because, you know, there's, I guess, the Western idiom cut off there's, like, the fortress thing. But, you know, there's different ways of being resilient, I guess. You know, fortresses, maybe one. I don't get to do safer in the storms, but how then, you know, perhaps thinking, you know, when you're thinking about the wider, you know, the whole region, you know, how do you build in areas that are forestry for rebuilding, if there is a cyclone or something, you know, how do you have these, a kidhead? Yeah, I mean, these 2 views just, uh, I'll try to visualise the more, you know, loving systems, you know, and then, you see the, you try it, structure, and then, and the whole listed system, a whole, sort of a system, in a whole, in that itself, as a whole, in the system, as well. US New one's good. So, um, I was looking into one of the harmonies, which is um, already in itself, and I found that the harmony in itself has key other armies, which is probably harmony with body, mind and soul. So there's that informed, but whoops, do you have maybe charging with towing? Would you know that? Uh, there's a there's a scene. So how you're in that button form. The visitors, see. I don't I don't know. I was just looking into the... But I'm not, you know, in terms of, you get walk and talk on board and then, you know, it is a body part, body part. And so, um, is that, is that starts to speak in different types of spices that you might go visit or a way that you might curate, um, you know, what do you do when you go to business? Was it? Yeah, right. But are you visiting something that is literally learning for that stuff? Yeah, it's like a welcoming... area for foreheaders, like, for travellers to really welcome to this new culture and pop some more. Yeah, yeah, right. So, I mean, so in a way, you can start to look at, you know, the pets, it fits your, um, building technology and are you looking for a way to organise the spaces? And this is, you know, it's about sort of visiting people, but sort of learning about some own way of understanding. So maybe that, you know, maybe there's a space that is more physical and it's more about sort of thinking, another one, it's about some... And, you know, it could be, you can start to sort of find, use this stuff as a lens to, you guys will be looking, in most architecture practises, you do something called a return brief or reverse brief. My client says, you know, we want all this stuff. So, I forgot the kids. You know, you'll be sort of going back to that point, saying, you know, you've said you want a library, you've said you want this, you know, our understanding is, you know, is protecting that, someone if I ask someone, um, idea around mind, body and soul. Um, and so we've decided to use that as a way to organise the spaces within it. Does that sound like it aligns with your values and client will either go, oh, yeah, yeah, yeah, that's, you know, you know, something would do it, but it's sort of a study point. So I reckon that's, that's just a point where you can use conceptual ideas, how you use them to function, correct? So, uh, I did a lot of reading on uh, Tows Mal Moana, and I kind of just was synthesising some of the ideas that I was having and seeing throughout the, my reading. Um, this one's kind of just an overall, uh, view of the, uh, living system that they have. So similar to what Jong's done over there. But yeah, just some of the key considerations that it was in each of those levels. So yeah, at the like wider group, it's a bit more of like a, sorry, at the wider Fuyana level. It's, uh, A bit more, hmm, what's the worst? Like a little more fluid, it's less about like really structured areas. Everything's kind of a bit more loose, but it creates the connection points between the other parts and other villages and spaces like that. The, uh, Peter Nu, is like the main kind of overall village and kind of holds the communal aspect of it and is where you kind of act communally within the village. And then, yeah, the uh, E level is your family living, real close family living in your individual house bases living course, uh, and things like that. A couple of these, just some, yeah, doodles, as I was reading through, I found this, yeah, like a lot of mentions of weaving and bringing things together to end the practice, how the practice of weaving can be used to inform a whole lot of other aspects of design and you can play. The, yeah, the... Because even the active waving is sort of social activity as well, right? Yeah, exactly. That's that's like the same to you, Arabic group and the main point to each other and joking. One of the main quotes actually that I don't remember is the... the guy telling the story about how his 1st interaction with teaching and being taught was through weaving with his parents and like how that, yeah, really brought together community, but also, yeah, really reinforced his understanding of self and like he was, yeah, really kind of central to that. But yeah, I kind of got real interested in the fact that you can't weed, if you don't know materials, weed, you can't do all these things. So, like, if you don't have the water to feed the trees and you don't take the trees to make it to weed. If you don't have any of these pieces, you can't do all the things involved. So, yeah, it's just a little bit of a big drawing, a bit more to get somewhere. Have you actually started tweeting or done anything? Oh, okay. It went a little bit further. I took a bunch of the key terms as well that I kind of pulled out of. Yeah. It was always got an overtiller, yeah. It's one big one. But yeah, just pulled some of the key thumbs out and like really kind of embedded them into the paper and then woke them all together because like these things are, yeah, really embedded and central into the art of weaving. Did you look at... they make I mean tap is not weaving but I haven't gone that far yet. You know, because like, you're, you know, the stuff, and Ben was just pushing it out and then stamping it and all the rest of it. And then, you know, some, I mean, I reckon that all of these things are kind of, that bring about like a craft or a technique and then you can sort of think about that as a stuff, you know, to, and maybe, you know, like you've done here, but you're actually impressed something into it or start to start to work with fabrics or something, but, you know, not just a, you know, a GSM or a GSM, like if someone has a grain to it, and you really start to get you know, want to do layers and layers of weaving into that.. Like, so you get you get some grain to that fabric and one that way, you know, you got images or ideas pressed into it, and I suppose we go. Yeah, just on the real cool idea of weaving to kind of help me tile my thinking together. Yeah, yeah. Yeah, look, I reckon, like, you know, waving's like real, you know, it's a, there's box up colour, and we're looking at specific cultures and not quite unconscious as well. But I reckon it's worth getting through their internet. I actually look at looking at the techniques, look at the looms, because within that, you'll end up getting like a, like almost like a design language or a design narrative. It's about sort of stretching or pulling, you know, words like stretching and pulling... Oh, I have hand. What do they do with the, you know, this big, you know, the tub is caught up and they have those real bright coloured edges and so forth. It's really nice stomach over the wall. Yeah, look, this looks super cool. Because I know I know you weave with the core, but the, the program fibres. Yeah. You can do all that kind of stuff. But I don't know if they had them. It's a nice one. because if you had a hand there. Looms are fine. I've got a lot of that stuff too, so... But yeah, but I reckon all those things are sort of starting points for design language. And, you know, from that designing, which you come to like, you know, you start to about sort of stretching or pressing or something else and stretching and pressing is sort of something that you can immediately translate to an architectural language. You know, it might be about sort of stretch fabrics or some press rocks or, you know, using the, you know, impression into a mud wall or something like that. And that's a really interesting place to see go to with architecture, I think. And then the final thing was, yeah, if you don't have even one of these things... What do you think? That's great, man. So what would you, what's the sort of big slot? What were you gonna go to with that? I'll show you. This was you, just my initial readthrough and my, like, initial impression of, hey, these are some of the kind of key things that are really sticking out for me. Yeah. But not any further fork than that. Yeah, yeah. So very much I'm taking things at a little bit of face belt, you know. Yeah, I, everyone should sort of be, be like that, but go, like, dive into it, like, actually get this, like, while you're done, like, take it through there, go get different materials and, you know, get a bit of rope and, like, pull it apart. I just really... play with it a lot more. Yeah, sweet, okay, starting board. Cool. Who else has gotten stuff? I'll come all on. semester, man, like, how many wishes we got? World Cup, you know. All right. Who's getting someone else pulls up some stuff?. Thanks, guys. Was everyone else on the menu? Oh, yeah, sweet, thank you. Wait Is yours? John, like, talk, like, a lot. I don't know. Yeah.