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.

Driving Question:

How might we understand the relationship between physics and human performance in aerial and aquatic environments?

Module Summary:

The module Over/Under: Air, Water & Physics explored the relationship between physics and human performance in aerial and aquatic environments. Their project involved taking trapeze classes for five weeks, where they learned and practiced various tricks, reflecting on the physics involved in their movements. They focused on understanding forces, pendulums, and the transformation of kinetic and potential energy.

Midway through the term, they participated in a workshop in Cairns, where they learned additional aerial arts and tight roping, and completed a water safety diving course. This course included pool training in breath-holding techniques, streamlining, and basic swimming skills, which they later applied in a lake, encountering real-world aquatic conditions, such as swimming with a crocodile. They also visited the Great Barrier Reef, where they swam with turtles and saw sharks.

The educational components of their module emphasized the physics of trapeze, such as gravitational, centripetal, and air resistance forces, as well as pendulum motion and energy transformation. In diving, they focused on swimming strength, equalizing pressure, rescue techniques, and efficient breathing.

Rianon T.’s final product is a physical scrapbook titled “A Physicist’s Guide to Trapezing and Free Diving!”. This scrapbook serves as an educational and informative overview of the physics involved in trapezing and free diving. Throughout the module, she focused on developing the 21st-century skill of adaptability and managing complexity. This was exemplified through various activities, including trapezing, creating physics experiments, building a car, launching a baking soda rocket, experimenting with pendulums, learning to free dive, and adapting to new challenges constantly.

She found this module particularly engaging and enjoyable, especially the trapezing aspect. The open-ended nature of the summative assessment allowed her to creatively interpret your learning, resulting in a fulfilling and engaging final product.

Driving Question:

How can I design a wellness app that effectively promotes healthy lifestyle choices for individuals of all ages and fitness levels?

Project Summary:

ana P., from India and Zambia, decided to undertake her year-long mastery project to create a wellness app designed to promote healthy lifestyle choices suitable for individuals of all ages and fitness levels, which she called “Treat Yourself”

Yana’s passion for baking and yoga, which have been consistent interests in her life despite other fleeting hobbies, inspired her to create this app. As she grew older and became busier with school and travel, she found herself spending less time on these activities. Through this project, Yana aims to reconnect with her passions, master them, and share them with others via her app.

The primary goal of her project is to design a functioning wellness app that features healthy recipes and mindfulness activities. Currently halfway through the project, Yana has developed a prototype of the app using a low-code online platform. She prepared for the content creation by completing several online courses, including certifications in nutrition, vegan and gluten-free baking, and yoga teaching.

Yana provides a brief demonstration of the app, showcasing its blog section where users can read about her experiences, such as meditating in Bosnia or trying a digital detox. Another feature of the app is yoga videos, which was a new and somewhat embarrassing experience for her as she transitioned from teaching live classes to filming and narrating them. Additionally, the app includes various recipes contributed by Yana and fellow TGs students, like gluten-free cupcakes, protein balls, and yogurt bowls.

Looking ahead, Yana plans to consider publishing and the associated rights after graduating from TGS. She intends to create more content, develop additional prototypes, and release the app for feedback.

Driving Question:

How can I collect and analyze behavioral data to inform if species can survive and thrive in an artificial environment?

Project Summary:

Shangrila X, a Grade 10 student from TGs, undertook her first personal project around the topic of animal psychology and behavior. Initially inspired by Australia’s wildlife, she adjusted her project to study animals at the Melbourne Zoo, due to the lack of accessible wildlife in the urban area where she was studying.

Shangrila’s project was motivated by a childhood memory of seeing a gorilla in distress at a zoo, which made her want to better understand and improve animal well-being in captivity. She utilized ethograms, which are tools for categorizing and defining animal behaviors, to observe and record the actions of zoo animals. Her primary subjects were a Silverback Western lowland gorilla named Otana and Asian elephants.

During her observations, Shangrila noted a significant amount of inactivity in Otana, which she initially found concerning but later attributed to a possible midday rest period. She also observed stereotypic behaviors in the elephants, which are indicators of poor welfare in captive animals. The elephants often gathered at the edge of their enclosure, suggesting they were seeking interaction and stimulation.

Shangrila found that her data was insufficient for drawing scientific conclusions but emphasized the importance of public interest and involvement in animal welfare. She suggested that zoos have improved over time but acknowledged that they can never fully replicate the natural environment for animals. She proposed the use of technology, such as VR, to provide educational experiences about wildlife, potentially improving both public knowledge and animal care practices in zoos.

Overall, Shangrila’s project highlighted the complexity of animal psychology, the limitations of zoos, and the potential for technology to enhance education and animal welfare. She concluded with a hopeful outlook, believing that increased awareness and involvement can lead to a better future for zoo animals.