At its core, research is driven by curiosity and critical thinking. It requires us to step outside established frameworks, to uncover overlooked connections, and to challenge accepted truths. Research is a dialogue—with texts, with data, with oneself, and with others.

My creative practice, whether it’s writing or design, is an extension of this spirit of research. The process of creation is itself a form of research—it demands observation, analysis, experimentation, and finding new ways of expression through trial and error. Each piece of work is my response to a question, my interpretation and reimagining of the world. In this way, research becomes less of a cold academic exercise and more of a vibrant practice, deeply intertwined with creation, each nourishing the other.

I’ve come to understand that research and creation are not opposites but two sides of the same coin. Together, they shape how I explore the world and define my relationship with knowledge. Moving forward, I hope to integrate these two more deeply, letting research become the foundation of creation and creation the expression of research. This, perhaps, is my truest understanding of “research”—it’s not just about discovery but also about creation; not just about answers but about the questions themselves.

• Mine project focuses on reconnecting people with nature through spatial design, which ties into your broader interests in ecological restoration, accessibility, and urban well-being.

• The daylighting of Waitangi Stream symbolizes a larger theme of revealing hidden systems—both natural and social.

• Mine emphasis on inclusivity (ramps, wooden walkways, stepping stones) reflects a concern for equitable access to public space.

2. Research Methods That Informed the Work

• Site Analysis: Understanding the history, geology, and ecology of the Waitangi Stream and its surroundings.

• Case Studies: Looking at successful daylighting projects (e.g., Cheonggyecheon Stream in Seoul) and how they influenced urban wellbeing.

• Community Engagement: Considering how local people might interact with and benefit from the space.

• Material Studies: Researching local, sustainable materials like Totara wood for durability in wet environments.

3. Group Suggestions for a Revised Video

• Content Suggestions:

  • Clarify your personal connection to the project—why is this important to you?

  • Highlight how your design choices impact different communities.

  • Show more about the process, including sketches, models, or references.

• Technical Tips:

  • Improve audio clarity—ensure voiceovers are clear and background noise is minimal.

  • Use visual layering—overlay sketches, maps, and process images with your narration.

  • Keep pacing engaging—make sure the video is structured logically and concisely.

Book: Gehl, Jan. Cities for People. Island Press, 2010.
Chapter: "Lively, Safe, Sustainable, and Healthy Cities"

• Summary: This chapter explores how urban design shapes human behavior, arguing that cities should prioritize livability, accessibility, and ecological sustainability. Gehl emphasizes the need for people-centered design that fosters inclusivity and engagement.

• Relevance: Aligns with mine project’s goals of designing an inclusive and ecologically sustainable public space by daylighting Waitangi Stream and making it accessible through ramps, wooden walkways, and stepping stones.

Lynch, Kevin. (1960). The Image of the City.

Chapter: "The Legibility of the City"

• Summary:
  Lynch explores how people perceive and navigate urban environments through key elements like paths, edges, districts, nodes, and landmarks. He argues that urban design should create clear, engaging spaces that foster a strong sense of place and identity.

• Relevance:
  This helps in structuring the eco-park’s layout—ensuring that the stream, wooden walkways, and stepping stones form a recognizable and engaging urban landscape.

Carmona, M. (2019). Principles for public space design. Journal of Urban Design, 24(1), 1-34.

• Summary:
  This article outlines key principles for successful public spaces, including accessibility, comfort, sociability, and ecological integration. Carmona emphasizes multi-functional, adaptable spaces that serve diverse communities and respond to environmental needs.

• Relevance:
  Supports the eco-park’s inclusive design, highlighting how smooth ramps, wooden walkways, and stepping stones enhance accessibility and user experience.

Chiesura, A. (2004). The role of urban parks for sustainable city life. Landscape and Urban Planning, 68(1), 129-138.

• Summary:
  This study examines urban parks as essential spaces for ecological balance and mental wellbeing. It discusses the role of nature in cities, emphasizing how green spaces reduce stress, foster social cohesion, and enhance urban resilience.

• Relevance:
  This reinforces the eco-park’s focus on nature-based solutions, daylighting Waitangi Stream, and promoting wellbeing for both humans and ecosystems.

Isamu Noguchi’s Urban Playgrounds

• Summary:
  Noguchi designed playful, sculptural urban spaces that encouraged interaction between people and nature. His parks integrate fluid, organic forms that invite exploration.

• Relevance:
  This connects to the eco-park’s emphasis on sensory experience, where people can move through different textures like wooden walkways, stepping stones, and water edges.

• Summary:
  This project revived a buried urban river, transforming it into a public space with walking paths, stepping stones, and ecological habitats. It improved urban biodiversity, cooled the city, and boosted community engagement.

• Relevance:
  Provides a direct precedent for daylighting Waitangi Stream, showing the ecological and social benefits of restoring water in urban environments.

• My process began with site analysis—examining Waitangi Stream’s history, urban conditions, and existing ecological challenges.

• I researched nature-based solutions, urban waterways, and accessibility in public spaces to inform the park’s design.

Sourcing and Analyzing Other Materials

• I studied case studies like Cheonggyecheon Stream Restoration and Jan Gehl’s urban design principles to understand how water can shape public space.

• I analyzed local policies and planning guidelines to align the project with Wellington’s urban and environmental strategies.

Understanding Place and History

• I explored Waitangi Stream’s colonial history and its impact on local ecology, using historical maps and community insights.

• I researched Māori perspectives on water as a living entity and its cultural significance.

Referencing Policies, Guidelines, or Specifications

• I reviewed Wellington’s climate resilience plans and accessibility standards to ensure inclusivity in design.

• I looked into stormwater management regulations and the feasibility of daylighting the stream.

Seeking Expert Advice

• I consulted with landscape architects, urban planners, and ecologists for insights on material choices and biodiversity impact.

• I engaged with the local community to understand their needs and aspirations for public space.

Testing and Experimentation

• I created physical models and digital mock-ups to test spatial relationships, pathways, and accessibility.

• I experimented with stepping stone arrangements, wooden walkway structures, and soil stabilization methods on sloped areas.

Feedback and Evaluation

• I received peer and tutor critiques, which helped refine the park’s layout and accessibility features.

• Community feedback emphasized the importance of seating, shade, and interactive water features, leading to design adjustments.

Digesting and Acting on Feedback

• I modified the stepping stone placement to enhance safety and accessibility.

• I adjusted the wooden walkway structure based on material recommendations for durability near water.

Finalizing the Work’s Form

• The design took shape after testing material feasibility, circulation flow, and ecological impact.

• The final form evolved into a layered landscape with walkways, seating, biodiversity zones, and interactive water crossings.

Significant Changes and Why

• Initially, I planned a linear park, but after studying ecological water flow, I adopted a more organic, meandering stream design.

• The original stepping stones evolved into a hybrid crossing system after feedback on accessibility concerns.

Hindsight: What Would I Do Differently?

• Begin community consultation earlier to integrate their insights from the start.

• Conduct material durability tests in real conditions to refine walkway structures.

• Explore more immersive elements, like sensor-based water features or interactive lighting.

In The Magic Is in the Handling, Bolt explores the importance of practice in research, particularly in the field of creative arts. She believes that the process of creating art itself has research value, not just the final product. Bolt emphasizes how the process of "handling" materials and technologies can generate new knowledge and understanding. She believes that through practical operation and experiment, artists can discover new possibilities in the creative process, and this practice is itself a form of research.

Bolt's views provide important theoretical support for the practice-oriented approach to Research (PaR), especially in the fields of art and design. Her work helps scholars and artists recognize that the creative process is not only an artistic expression, but also a means of knowledge generation

Research Methods for Product Design is a book about product design research methods, which aims to provide product designers with a systematic methodology to help them enhance the design process and innovation through research. The book covers a variety of research methods and tools, including user research, market analysis, design thinking, prototyping, and testing. Milton and Rodgers emphasized the importance of research in product design, arguing that through systematic research, designers can better understand user needs, market trends, and technical possibilities to create more innovative and practical products.

At its core, research is driven by curiosity and critical thinking. It requires us to step outside established frameworks, to uncover overlooked connections, and to challenge accepted truths. Research is a dialogue—with texts, with data, with oneself, and with others.

My creative practice, whether it’s writing or design, is an extension of this spirit of research. The process of creation is itself a form of research—it demands observation, analysis, experimentation, and finding new ways of expression through trial and error. Each piece of work is my response to a question, my interpretation and reimagining of the world. In this way, research becomes less of a cold academic exercise and more of a vibrant practice, deeply intertwined with creation, each nourishing the other.

I’ve come to understand that research and creation are not opposites but two sides of the same coin. Together, they shape how I explore the world and define my relationship with knowledge. Moving forward, I hope to integrate these two more deeply, letting research become the foundation of creation and creation the expression of research. This, perhaps, is my truest understanding of “research”—it’s not just about discovery but also about creation; not just about answers but about the questions themselves.