Unit1

Shared Orders

Blog 1 — First Observation

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Last Monday I finally decided to work on the Round Pond in Kensington Gardens. I spent one hour sitting by the Round Pond, just watching. Swans, ducks, and gulls moved across the water while people ran, fed birds, or took photos. It felt peaceful but full of tiny movements — like a quiet system I didn’t understand yet.
Blog 2 — Recording Methods

I used photos, notes, and sound to capture what I saw.
Writing the time helped me notice patterns — who came when, who stayed longer.
It was strange how routine everything felt, even chaos had rhythm.
Blog 3 — First Findings
After reviewing the notes, I started seeing invisible borders.
People and birds rarely crossed each other’s space.
Only feeding moments broke that separation — short, messy, and alive.
Blog 4 — Mapping Behaviour
I drew lines showing movement — swans circling, joggers looping, ducks queueing.
It looked like choreography.
Maybe the pond is a stage where everyone repeats their own role.
Blog 5 — Boundaries
I identified three types of boundaries: physical, behavioural, and temporal.
They overlap, creating balance in the space.
It changes constantly — fragile but stable at the same time.
Blog 6 — Visual Outcomes
I created three hand-drawn posters, each showing one kind of boundary.
Orange marks show where humans and birds meet.
The drawings are not just data — they feel like a diary of observation.
Blog 7 — Reflection
Through this project I learned to slow down and really look.
Everyday life hides its own logic if we pay attention.
The Round Pond became a mirror — showing how we share space, quietly, with others.
Written Response – Round Pond Investigation
My investigation at the Round Pond began with simple observation — watching how humans and birds share one space through their everyday actions. I spent an hour taking notes, photos, and recordings of movements, gestures, and sounds. From this, I discovered three types of boundaries that shape the pond: physical, behavioural, and temporal. These small, ordinary patterns became a way to understand how a place holds its own social order.
The first reading that connects closely to my work is Georges Perec’s An Attempt at Exhausting a Place in Paris (1975). Perec’s process of observing a public square through time inspired the way I approached the Round Pond. His method is not about finding something extraordinary but about paying attention to what usually goes unnoticed — the slow rhythms of everyday life. I followed a similar approach: sitting still, watching, and writing down what happens. Both of us use repetition and time as a way of thinking, turning small fragments of observation into knowledge about space. While Perec works through language, I used visual forms — hand-drawn diagrams and charts — to map these rhythms. My drawings are a translation of his textual method into a visual one, transforming observation into something that can be seen and felt at the same time.
The second reading I found meaningful is Diane Borsato’s Olfactory Mapping (2007). In her project, she maps a city through smell, showing that knowledge of place can come from sensory experience rather than only from sight. This connects to my own work in form and intention. Like Borsato, I wanted to use my body as part of the research process — to observe through feeling, not just measuring. My hand-drawn style carries traces of that personal perception. It makes the data emotional, imperfect, and alive. Both Borsato’s and my projects shift away from objective documentation and move towards a more embodied way of knowing — where the act of observing is also an act of connecting.
Through these two readings, I realised that writing and drawing can both be forms of investigation. They are not only tools to record but also to think and sense. Observation, when done slowly and attentively, becomes a kind of knowledge-making. My Round Pond study continues this conversation — between text and image, between human and non-human, and between the ordinary and the poetic.