Driving Question:

How might I refurbish a van to a standard at which I can comfortably travel, live, and thrive in ?

Project Summary:

Sally, a grade 12 student from the UK, has always had a passion for adventure and the outdoors. Whether playing rugby, helping in the garden, or camping, she was often found outside, regardless of the weather. This love for nature inspired her mastery project: transforming a cargo van into a tiny home on wheels, aptly named “Vroom Room.”

The project began with Sally purchasing a 2016 Renault Kangoo van, which she named Reggie. The process was lengthy, involving careful consideration of mileage, age, and build size. Once she had the van, Sally embarked on learning interior design, focusing on color schemes and creating electrical systems, particularly solar-powered ones. She developed a 3D model using an analogous color scheme with yellows, greens, and oranges.

Sally faced significant challenges, especially with the electrical system. Despite seeking help from friends experienced in robotics, she had to experiment repeatedly before successfully creating a dual system powered by solar energy and the van’s starter battery. This system now supports a fridge, USB ports, spotlights, and a water pump.

The construction phase involved measuring, cutting, insulating, and wiring the van. Sally encountered multiple obstacles, such as ensuring the wiring wouldn’t break from the van’s vibrations and addressing condensation issues to prevent mold. Time constraints also pressured her, but with the help of an external mentor specializing in furniture design, she completed the interior furnishings swiftly.

With the assistance of another mentor in renewable engineering, Sally learned wiring, soldering, and connecting systems. After overcoming numerous hurdles, she successfully transformed the bare cargo van into a functional tiny home. The finished van includes a bed, foldable tables, flowing water, and fully operational electrics.

Driving Question:

How can I promote political and civic education in my local community in Belo Horizonte through engaging workshops for young people?

Product output from this module:

A curriculum created by me to teach political education and securing external funding to allow for its implementation.

Project Summary:

Luiza, a senior from Brazil, has always been passionate about politics. Her Service Learning Mastery project, “Agents of Change: Empowering Brazilian Youth through Political Education,” stemmed from her concern about the political apathy prevalent in Brazil. Statistics show that two-thirds of the Brazilian population feel disconnected from politics, posing a threat to the country’s democracy.

Through the service learning curriculum, Luiza delved into this issue, discovering that the root cause of political apathy was a lack of political education. She conducted a strategic statistics project, engaging with young people in her community to understand their views on politics and education’s role in shaping political engagement. She found that politics were not effectively communicated to young people, making it difficult for them to see their potential impact.

To address this, Luiza aimed to promote political and civic education through engaging workshops for young people. She invested time in learning about politics and education, drawing inspiration from Paulo Freire’s critical pedagogy, which emphasizes active, reflective learning rather than traditional, passive education.

Luiza designed a three-lesson plan focusing on public policy creation in Brazil, emphasizing hands-on, interactive activities. The first session introduced students to politics and democratic values, encouraging them to see themselves as current political agents. The second session involved analyzing local issues and developing solutions. In the final session, students implemented their solutions to effect change in their community.

Securing an international grant through Civics Unplugged, Luiza conducted her workshops with 20 students at an NGO in her hometown. Initially, students associated politics with corruption, but by the end, they saw it as a means for social change and collective effort. They identified and addressed hygiene issues at the NGO, benefiting 400 students.

Luiza found the project both challenging and rewarding, witnessing significant personal growth and the empowerment of other students. She expressed gratitude to her teachers, mentors, and the NGO for their support and belief in her vision.

Driving Question:

How can I promote global awareness in New Zealand youth through teaching primary school students about different countries and cultures around the world?

Product output from this module:

A collection of classes I have taught and lesson plans inspired by the classes I teach and the different countries. 

Module Summary:

Rianon, from New Zealand, undertook a service learning project called “Beyond NZ” to address the lack of global awareness among New Zealand primary school students. Geographic isolation has made New Zealand a peaceful country but has also limited its interaction with the rest of the world. Rianon observed that New Zealand’s education, especially at the primary level, is heavily focused on local content, leading to cultural insensitivity, limited problem-solving skills, and ineffective communication.

To tackle this issue, Rianon reconnected with her old primary school, where her former teacher became her external mentor. She observed his teaching methods and then taught classes herself. Her goal was to inspire interest in global awareness through engaging and fun lessons about different countries. Rianon taught six classes with three different teachers, totaling eight hours of teaching time. The students, aged 8 to 9, were taught about Botswana, South Korea, and India.

For Botswana, Rianon shared personal stories from her travels and had the students create informational posters. The South Korea lesson included fun facts and cultural traditions, and the students planned their own trips. The India lesson focused on cultural diversity and celebrations, ending with a competitive quiz.

Rianon used visual communication and collaborative activities to keep the students engaged. Although she acknowledges that the project didn’t change the primary school education system, it successfully made the world seem a little closer for these children in Devonport, New Zealand.

Driving Question:

How might we demonstrate the knowledge and skills to achieve and maintain a health-enhancing level of physical activity and fitness while attending TGS?

Project Summary:

Andrea, David, and Doeun presented their project, “Building Grit Through Physical Education,” highlighting how physical activity at TGS fosters resilience, community, and personal growth. Each shared personal anecdotes illustrating their journeys through physical challenges and the support they received from their peers and mentors.

David shared his experience of running a quarter marathon in Greece despite a shin splint, emphasizing how community support helped him recover and persevere. Doeun recounted her struggle to maintain physical activity, ultimately achieving a 10K run through persistence and encouragement from friends. Andrea discussed her fencing project across different countries, overcoming challenges like adapting to new teachers and techniques, and how sports can unite people regardless of cultural differences.

The trio emphasized the importance of community in PE, citing their weekly “tough tummy time” sessions led by their PE coach, Shasta, which fostered a sense of togetherness. They also highlighted student-led sports sessions, where students like Aryna, Luiza, Sally, and Liam took on leadership roles to coach and support their peers, developing personal skills and contributing to the community.

The project showcased how TGS’s physical education program instills values such as grit, ubuntu (togetherness), and responsibility, leaving a lasting impact on the students.

Driving Question:

How does Japan’s culture perceive the concept of “existence”?

Project Summary:

Koko K., a Grade 10 student at TGs from Japan and Singapore, undertook a personal project titled “Between Nothing and Being.” This project explored Noh, a traditional Japanese theater form dating back to the 14th century. Through her research, Koko discovered that Noh theater requires an actor to possess inner solitude and concentration, allowing them to transcend their body and achieve a unique state of presence and groundedness.

Her project delved into the Japanese cultural concept of existence, using Noh and the pine tree (matsunoi), a symbol of eternity and longevity, as central themes. She examined how Shinto, which emphasizes the worship of nature and inanimate objects, and Buddhism, which focuses on change and impermanence, shape Japanese views on existence.

Koko engaged with multicultural literacy through this project, rediscovering and appreciating her Japanese culture. Her research included analyzing and reflecting on books about Shinto and Buddhism, attending Noh lessons with Kinue Ooshima Sensei, and studying Noh routines. She also compared Japanese concepts of existence with Western philosophical ideas from thinkers such as Victor Frankl, Sigmund Freud, Friedrich Nietzsche, and Aristotle.

Koko concluded that Japanese culture perceives existence as a balance between Shinto’s eternity and Buddhism’s impermanence. In Japan, the worship of kami (gods) in nature symbolizes eternity, while the frequent natural disasters and seasonal changes emphasize the impermanence of life. This cultural balance is reflected in the construction of buildings like shrines, which are designed to be periodically destroyed and rebuilt.

In her final summative product, Koko aimed to manifest this concept of existence by performing the Noh routine “Yuya,” striving to achieve neutrality in her physicality and mentality. She reflected on her learning process, acknowledging the need for better time management and a more chronological approach to her research.

Overall, the project deepened Koko’s understanding of Japanese customs, values, and beliefs, helping her to embrace her Japanese identity with confidence.

Driving Question:

How might we understand the relationship between humans and energy in the past, present, and future of Japan?

Module Summary:

The module “Wall-EEE: Exploring the Eras of Energy” investigated the relationship between humans and energy in Japan, focusing on past, present, and future perspectives. Students learned about energy management, use, and production from cultural, spiritual, and scientific viewpoints. The module included guest speakers: one discussed Shinto Buddhism, another from the Japanese government, and a historian/scientist on atomic bomb survivors.

Their investigations involved exploring Hiroshima’s energy systems, experimenting with renewable energy models, and visiting various sites. These included a Shinto Buddhist temple, Disneyland, museums, a nuclear power plant, and Mazda’s factory, to understand different aspects of energy use and management.

The module culminated in creating a model and theoretical framework for an energy system in Hiroshima, addressing existing gaps. They employed human-centered design principles, inspired by insights from Disney and Mazda, to ensure user-friendly and efficient designs. They concluded by inviting attendees to see their demonstrations and final products.

For their final product, Sigurd R. and Sarfo A. developed an automated circuit designed to store and utilize the limited power generated by solar panels for Hiroshima’s tram system. Their aim was to eventually take tram stations off the grid with an effective battery management system. During their survey of Hiroshima, they noticed tram stops that provided shelter to passengers. Inspired by this, they proposed installing solar panels at these stops to harness energy.

In Hiroshima, trams are much more prolific there than in most other cities, which typically have metro systems without above-ground stations and therefore cannot utilize solar energy. Additionally, the tram system of Hiroshima was one of the first infrastructures rebuilt after the bomb, symbolizing hope and reconstruction after the war.

Driving Question:

How can we apply the Japanese approach of cultural conservation to design for architectural renovation or innovation in our own home cities?

Module Summary:

The teacher-led module “A Tale of Two Cities” focuses on architectural innovation and cultural conservation. The students got to explore how Japanese cultural conservation approaches could be applied to architectural renovation in their home cities. Throughout the term, they had the opportunity to learn from local and global architectural techniques and delve deeper into their own cultural techniques.

Kenzo W.’s 3D design for the Tale of Two Cities module is a modern Japanese resort/vacation home located in Karuizawa, a town in Nagano prefecture, Japan. This house is designed to accommodate 2-4 residents during the summertime and integrates both traditional and modern Japanese architectural concepts and furnishings, reflecting a blend of his artistic choices and elements from the Japanese lifestyle.

The key Japanese architectural concepts Kenzo W. focused on were Oku (depth) and the Doma (earthen floor), which were highlighted by guest speaker Professor Daniel during the Kyoto Wexplore. Professor Daniel explained these concepts and their connection to Japanese culture, and the session venue itself represented Oku, the Doma, and the Nakaniwa. In Kenzo’s design, Oku is represented through the flow of the house, emphasizing the concept of depth within a building. The bedroom, the most private part of the house, is the room that requires the most walking to reach, with personal activity spaces like the living room, recreational room, and dining room leading up to it. Despite the large windows on the second floor, there is no direct access to the outside environment.

The Doma is incorporated through the literal use of an earthen floor in the entryway, serving as a foundation and a slight height difference from the garden and the interior of the house. This facilitates the Japanese tradition of removing shoes when going inside and outside, supported by a shoe box, and acts as a border and gateway to the outside spaces of the house. Kenzo also included Shoji, Tatami, and Futon furnishings to suit the Japanese lifestyle for the intended residents, making the house cozy and representative of a traditional Japanese lifestyle, ideal for his family as a vacation home.

One of the unique elements Kenzo W. focused on is the roofing, which he considers a key identifying feature of a Japanese house. The design features an angled sloped gable roof fused with a smaller gable roof at a 90˚ angle, emulating the curves of natural environments and avoiding a cubic appearance. This roof design opens up on one side to create more space for windows in the living and recreational areas, directing the house’s face towards a scenic view.

Kenzo chose to incorporate modern architectural elements as a personal aesthetic preference, inspired by the style of Japanese villa homes, such as those designed by M’s architect. This is reflected in his choice of a gray and brown color scheme from wood and metal materials. He also considered the environment by incorporating large windows facing a predominant direction to take advantage of views such as a sunrise, sunset, or mountain scenery.

Driving Question:

How can Japanese visual storytelling techniques document historical and cultural events?

Module Summary:

The Manga Evolution module explored how Japanese visual storytelling techniques document historical and cultural events. The module covers traditional Japanese art forms like sumi-e (ink painting), ukiyo-e (woodblock printing), kamishibai (oral storytelling), and manga (contemporary art form).

The students practiced dynamic movement in sumi-e, created layered prints in ukiyo-e, analyzed anime like “Demon Slayer,” and learned to read and draw manga. They visited the Manga Museum in Kyoto, attended drawing workshops, and honed their storytelling skills by creating narrative storyboards based on photos taken in Hiroshima.

Field experiences in Kyoto and Tokyo included visits to the Studio Ghibli Museum, TeamLab Planets, and the Tokyo National Museum. The final project required students to choose a significant historical or cultural event in Japan, create an eight-frame storyboard, and bring one panel to life using their chosen medium.

Esha V.’s final product is a scaled-up version of a Hanafuda card of her own design. This artwork incorporates watercolor, an element she integrated based on her experience with sumi-e. Through practicing sumi-e, Esha learned about opacity and color, skills she then applied to her final product. By iterating on her design and creating multiple drafts before commencing the final piece, she ensured she evaluated numerous ways of presenting her ideas. This thorough process allowed her to ultimately decide on a composition that effectively communicates the story within the frame.

For her final project, Nefertari J. chose a historical and cultural event to explore the meaning of being in Japan: the Atomic Bomb. Creating a storyboard helped her turn complex events into a coherent visual story, enhancing her narrative skills, whilst the module’s workshops and practice improved her artistic abilities. She examined the distinctions between Japanese culture and her own, particularly the Atomic Bomb.

Balancing research, creativity, and technical skills, she thoughtfully selected scenes, showcasing her growth in visual storytelling. The project refined her techniques and allowed her to experiment with traditional art forms.

Driving Question:

How can we use media to respectfully share Indigenous Australian Dreamtime stories and cultural knowledge while honoring Aboriginal rights and sensitivities?

Module Summary:

The module titled “I See You” challenged students to engage deeply with complex themes of power dynamics, equity, and oppression, examining their manifestations both in Australia and their respective cultural contexts. Emphasizing experiential learning, the module aims to cultivate an understanding of media’s multifaceted roles.

A significant focus of the module was on respectfully sharing Indigenous Australian Dreamtime stories and cultural knowledge, while honoring Aboriginal rights and sensitivities. With over 500 distinct Aboriginal groups and a history spanning 60,000 years, Aboriginal culture’s profound connection to the land is central. The module included immersive experiences in Aboriginal communities, such as in North Queensland, where students explore fundamental questions about land and its significance.

The culmination of these experiences often results in creative projects like films. For instance, “Dear Yabula” and “Lore of the Land” are films crafted by students. These works aim to convey the deep perspectives and wisdom of Aboriginal cultures, particularly their relationship with ancestral lands. Inspired by the songlines of various Aboriginal peoples, including the Wurundjeri Woi-wurrung, Bunurong/Boon Wurrung, Gimuy-walubarra Yidi, and Dyirribarra Bagirbarr, the films are developed with permission and serve as respectful conduits for sharing Indigenous stories and knowledge. The module thus underscores the importance of media in fostering understanding and appreciation of Indigenous cultures while navigating ethical considerations and respecting cultural protocols.

Driving Question:

How can the art of analogue film photography serve as a powerful conservation tool, revealing the intricate interplay between plants and animals within vulnerable ecosystems?

Module Summary:

The module titled “Snapshots of Nature Symphony,” explored how analog film photography can serve as a powerful conservation tool by revealing the intricate interplay between plants and animals in vulnerable ecosystems. They began by explaining their use of pinhole cameras, which were made from cans and operated by capturing images through a small hole acting as a lens. These images, initially inverted, were then processed digitally to reveal their true colors.

The students also learned from Doug Gimy, a renowned wildlife conservation photographer, who taught them how to create compelling stories using photographs. Additionally, they experimented with cyanotypes, a photographic process that involves creating images on fabric or paper using light-sensitive chemicals and natural elements like leaves and flowers, which were then developed in sunlight.

A visit to the zoo provided them with insights into ongoing conservation efforts and allowed them to apply their film photography skills to capture images of wildlife. They also had the opportunity to visit a dark room, where they learned about the film development process, including techniques such as developing, stopping, enlarging, burning, and dodging.

The module included a field trip to the Daintree Rainforest, where they engaged in field studies to analyze water quality and learned about local conservation initiatives. They also designed and printed conservation-themed t-shirts using a silk-screening process, which involved coating screens with emulsion and exposing them to create designs.

For their final project, Keetah B. wanted to focus on the relationship between wildlife conservation and the dying cultures of the aboriginals while also celebrating the diversity and beauty of Australian nature. In the Daintree, the Eastern Kuku Yalanji people are nowadays part of the wildlife conservation effort, but in the past, they had their land taken away from them by colonizers who destroyed their native land. Although these issues mainly occurred in the past, there are still cases of this today. A sacred birthing hole was taken away from the Eastern Kuku Yalanji people, and they are no longer allowed on the site. Not only that, but climate change and other environmental factors pose a huge risk to Australian wildlife conservation, and the Daintree is not exempt from this. Although it has been around for hundreds of millions of years, it can very quickly be destroyed by human actions.

Keetah wanted to bring these themes together into one image by taking a piece of aboriginal culture, the boomerang, an object known for “coming back,” and placing it with the wildlife that is at risk, all while showing the beauty that is important to preserve.