Common Module: AY25.26 CTS B

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CTS B - Compulsory Question 1

Our CTS B group manifesto from Week 11 was used as a design compass in trying to define how creative thinking translates into meaningful practice: it articulated a respect for mindfulness, collaboration, and ethical awareness in design. Visually, the manifesto employed a minimal palette and balanced typography a practice focused on intentionality and clarity in communication. Restraint was clarity, not limitation, every decision was made with intention and every space considered. Icons support the statements.

Beyond its formal composition, the manifesto positioned the designer as a reflective agent of change rather than a stylist of trends, more about self-reflection (looking inward). It emphasized that critical design necessitates awareness of how creative choices shape human experience. This certainly finds resonance in a number of socially responsive practices, such as Teo Yang Studio in South Korea. The studio fuses modern interior environments with Korean craft and symbolism (Yang 2022), making its work socially responsive through the active challenging of rapid, homogenizing modernization. Its approach keeps local Korean craft livelihoods going, while preserving tangible cultural heritage and hence providing a very important sense of cultural stability and continuity for the community.

Although I resonated with these shared values, the manifesto could better articulate vulnerability and the growth mindset as conditions for creativity. From my own process, I know the fear of failure can hold experimentation back, so I would add something like: "We embrace the uncomfortable; the misstep is the source of the breakthrough." Stefan Sagmeister voices something similar when he insists that "you have to be willing to be wrong. A lot" in order to create meaningful work (Sagmeister, 2009). For me, this means re-framing mistakes as milestone moments that refine intuition, rather than define inadequacy. Receiving imperfection within the conditions of the design process seems to build emotional resilience, which I now understand as foundational to ethical practice and critical self-reflectivity.

Design Communication as Critical Practice Applying them in this way, the relevance of the manifesto extends far beyond academic exercises. My Punjabi Cha project (for branding) is an example that echoes the manifesto's need to question rather than conform. This is an intentionally sterile rebranding of a deeply cultural drink, satire on how heritage is diluted for global appeal, a critique masked as design. It transforms introspection into communication.

In all, it is not a fixed belief, but a living framework-one that grows with me. It reminds me that design is not just about form but about values: clarity, empathy, and cultural awareness. It invites me to think hard, listen intentionally, and create work that has something real to offer the world around me.

(434 words)

References:

Sagmeister, Stefan. “The Power of Time Off.” TED, 2009, https://www.ted.com/talks/stefan_sagmeister_the_power_of_time_off

Teo Yang Studio. “Projects.” Teo Yang Studio, 2020, https://www.teoyangstudio.com/spaces

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CTS B - Compulsory Question 2

My artistic vision statement goes as follows: To create design that acts as a cultural weaver a place where deep personal narratives and rich, often overlooked traditions meld seamlessly with modern visual languages. My purpose is to challenge cultural erasure by making heritage both relatable and aspirational to a contemporary audience, cultivating a deeper sense of self and community.

This is a vision statement that crystallizes the themes of my journey through CTS B: Analyse Traditions and Lineages, Critical Self-Reflectivity, and the ultimate objective of Connecting Practice with Society. I now see design as living archives-preserving memory but always rewriting it for the present. This philosophy tallies with the New Regionalism movement in Punjabi Architecture, where ancestral material knowledge is put in conversation with modern needs toward the environment and society. New Regionalism resists global homogenization by reviving local craftsmanship, materials, and spatial ethics (Elgemaiey, 2021).

The jali (latticework) can be examined particularly as a complex cultural signifier. More than serving as a screen for sun and air, the geometric patterns of the jali often refer to Islamic or Indian architectural traditions as a means of symbolizing notions of order, unity, and the subtle control of light and privacy within the shared domestic space. This play of form and meaning echoes Barthes's view that cultural forms are "texts" encoding collective memory and shared symbolism (Barthes 1972). No longer just an ornament, the jali serves as a signifier of craft, community, and sophisticated climate intelligence.

Architects like Sanjay Puri have reinvented functional local materials like breathable chuna (lime plaster), passive cooling devices like the jali (latticework), vehra (courtyard), and other such elements. These are not acts of nostalgia; these are intelligent reinterpretations of vernacular systems for contemporary needs. Lime plaster regulates humidity, while vehra reinstates rhythm amongst people.

New Regionalism has completely redefined my creative responsibility. The most meaningful design comes not from novelty but from engagement with inherited knowledge. These architects personify Critical Self-Reflectivity in challenging imported models and embracing local intelligence. As Sister Corita Kent once said, creativity lies in being able to distinguish "knowing and being able to find out" Kent, 1992. The New Regionalists prove the point: they design not to show tradition but to keep it alive.

Moving forward:

1. Exploration: The next trip back, I will try to connect with the local community groups and artists (woodwork, design etc), for example, local craftsmen in Punjab, even my area. This might also help me find better clarity and maybe solidify what I want to do in the future.

2. Inclusion: I will try to include or use reclaimed textiles patterns into my work. My current design communication work already points toward this forecast direction. The Punjabi Cha project utilizes ironic branding as a critique of cultural sanitization, while my Memory Zine reinterprets rather than reproduces heritage, mixing the personal narrative. My artistic vision, similar to the jali itself, becomes a woven structure that balances openness and strength, identity and innovation, sustainability and soul.

(497 words)

References:

Barthes, Roland. Mythologies. Translated by Annette Lavers, Hill and Wang, 1972. https://soundenvironments.wordpress.com/wp-content/uploads/2011/11/roland-barthes-mythologies.pdf.

Elgemaiey, Ghada. "The Influences of Islamic Architecture on Sikh Architecture in Punjab Region from the 16th-19th CE.” SHEDET, vol. 8, no. 8, 2021, pp. 111-138. doi:10.21608/shedet.2021.207836.

Kent, Corita. Learning by Heart: Teachings to Free the Creative Spirit. Allworth Press, 1992, https://books.google.com/books/about/Learning_by_Heart.html?id=8HCCDwAAQBAJ.

Singh, Sandeep. “New Regionalism in Architecture: An Overview.” International Journal of Research in Engineering, Science and Management, vol. 3, no. 6, 2020.Sanjay Puri Architects. "Narsighar House." ArchiDiaries, https://archidiaries.com/projects/narsighar-house-sanjay-puri-architects/.

[ko-mal]

CTS B: Creative Practice and Critical Thinking.

In our initial CTS B session, I discovered that creative practice and critical thinking are not poles apart but complementary. Creativity gives us loose possibilities, while criticality provides tighter analysis, generating outcomes that are both imaginative and plausible. The mindfulness exercise of inwardness, outwardness, and forwardness emphasized the importance of pausing to observe before acting, and what it imparted to me was that reflection itself is integral to the design process.

My short fiction Skin invoked this link. By critiquing how fashion strips cultural meaning such as the chunni being rebranded as a “Scandinavian scarf” I learned that critique can itself be a form of creative practice. It's not destructive but productive, generating insight into how cultural value gets commodified. Kenya Hara suggests that design needs to reveal underlying systems and not just produce form (Hara, 2007) and my report showcased that by unveiling the way fashion flattens practice into aesthetics.

That was supported by a film. Miranda Priestly's "cerulean sweater" monologue (sweater seen above) in The Devil Wears Prada illustrates how everyday clothing is invested with cultural and economic systems (Frankel, 2006). Along the same lines, Ellen Lupton confirms again that typography is never neutral, but ideological (Lupton, 2010). Looking back at my units in branding and studio, this reminds me that I have to design identities that engage the history of symbols in a serious manner, and when I am working on catalogues or campaigns, I have to take note of the underlying structures of them. Criticism makes me question more, and creativity makes the job exciting. Together, they can convert design from a matter of style, but something meaningful

(245 words)

References:

Frankel, David, director. The Devil Wears Prada. 20th Century Fox, 2006, https://www.youtube.com/watch?v=-rDTRuCOs9g

Hara, Kenya. Designing Design. Lars Müller Publishers, 2007, https://www.scribd.com/document/821922917/Kenya-Hara-Designing-Design-Lars-Muller-Publishers-2007

White, Alex W. The Elements of Graphic Design. Allworth Press, 2002, https://www.researchgate.net/publication/262934023_The_Elements_of_Graphic_Design_Second_Edition

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CTS B: Connecting Theory and Practice.

This week built on my knowledge about how self-concept emerges from the crossing of personal and social identity. During the self-image collage activity, I associated internal factors such as being "chill" or being family-oriented with external factors such as my tendency to wear black. What looked like a small personal habit turned into a shared signal, reminding me that identity shifts depending on who’s reading it. This aligns with internal and external forces theories of identity development, who we think we are and what others see us as (Lecturio Medical, YouTube, 2019).

Design was the ground to test this negotiation. My "K." logo combined contrasting traits into a decorative persona that was both personal and socially legible. The trailing stroke created flexibility, while the dot ending added definition. Alex W. White shows that definition is the key to communication (White, 2002), and Josef Albers instructs that meaning is relative (Albers, 2013). The logo captures the conflict between inward self-expression and outward legibility.

These movie exemplified the pitfalls of balance, to me. Black Swan demonstrates the fragmentation of individual identity under social pressure (Aronofsky, 2010), and Fight Club is a critique of consumerist projections that drain individuality (Fincher, 1999). Both are warnings for design: when external forces dominate, identity crumbles or is commodified. Implementing it to design, this means balancing personality with typographical legibility, in studio practice, it means creating identities to ring socially without erasing self-authorship and in future projects, I'd like to experiment with zines (for craft) and exhibitions that allow for layered, collage-like identities to be viewed but not coerced into forced concision.

(259 words)

References:

Albers, Josef. Interaction of Color. Yale University Press, 2013, yalebooks.yale.edu/book/9780300179354/interaction-of-color/ 

Aronofsky, Darren, director. Black Swan. Fox Searchlight Pictures, 2010, https://www.searchlightpictures.com/blackswan 

Fincher, David, director. Fight Club. 20th Century Fox, 1999, https://cinephiliabeyond.org/fight-club-david-finchers-stylish-exploration-modern-day-mans-estrangement-disillusionment/  “Self-Concept, Self-Identity & Social Identity — Psychology & Sociology.” Lecturio Medical, YouTube, 2019, www.youtube.com/watch?v=gBaTbiWKB0w

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CTS B: Critical Self-Reflectivity.

Redesigning the HEAR vinyl shop logo demonstrated the importance of critical self-awareness in design activity. The illegibility of the original logo revealed a lack of clearance, it had not fulfilled its communicative purpose, illegible and lacking consistency. Using the Double Diamond method, we moved from identifying legibility issues to making readability the primary issue, developing versions, and finally submitting a logo that had brand colors but included bold word-mark and semicircle element (Design Council, 2005) to represent a vinyl because it is a record store. The process illustrated how criticism can be effective, converting failure into solution.

The process also tested my emotional intelligence. My simple approach opened me up to oversimplification at first. A little criticism, also my own personal uncertainty regarding the logo, I asked my group members for feedback, requiring me to be self-aware of this, and adjust myself to compromise and integrate feedback. Daniel Goleman states that motivation and social skills are the essence of working collaboratively (Goleman, 1996), and I witnessed it firsthand. Self-reflection wasn't only for the completed logo but for how I was involved in the process.

Theory of design guided those choices. Kenya Hara's "emptiness" principle led the open vinyl arc, establishing interpretative space (Hara, 2007). Ellen Lupton reminds us legibility is a social responsibility (Lupton, 2010), so our decision on behalf of readability. Applied to design, this retrospective means testing type and hierarchy for usability; in the studio, it means that identities need to balance on the tightrope of consistency and innovation; and in projects to come, I will aim to design brand systems that can stretch from signage to animation but stay true to cultural relevance and social responsibility.

(279 words)

References:

Design Council. “The Double Diamond: A Universally Accepted Depiction of the Design Process.” Design Council, 2005, www.designcouncil.org.uk/our-resources/the-double-diamond/

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam Books, 1996, https://www.penguinrandomhouse.com/books/69105/emotional-intelligence-by-daniel-goleman/

Hara, Kenya. Designing Design. Lars Müller Publishers, 2007, https://www.scribd.com/document/821922917/Kenya-Hara-Designing-Design-Lars-Muller-Publishers-2007

Lupton, Ellen. Thinking with Type. Princeton Architectural Press, 2010, https://ellenlupton.com/Thinking-with-Type

White, Alex W. The Elements of Graphic Design. Allworth Press, 2002, https://www.researchgate.net/publication/262934023_The_Elements_of_Graphic_Design_Second_Edition

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WOII: Final - In Summary

This module assisted me in becoming more critical in my thinking about design. I always perceived design to be emotional, expressive, and chaotic, but WOII equipped me with the tools and vocabularies to understand why and how this is. It enhanced my appreciation of design in how it communicates meaning, not simply through visuals but with regards to context, history, and culture. For example, postmodernism brought my thoughts on structure into different realms.

I've also turned to reading again more recently, especially non-fiction published on psychology, communication, and creativity. Non-fiction books such as Psycho-Cybernetics and Ogilvy on Advertising, have made me aware of how perception, messaging, and interactions shape and frame a piece. In Psycho-Cybernetics, Maxwell Maltz wrote: "We act, or fail to act, not because of will, as is so commonly believed, but because of imagination" (Makan, 2023). This made a lot of sense in terms of how vital emotional imagination is, not just in personal growth but in how we design and communicate everything.

There is a strong relation between what I read and what I learned in WOII with respect to symbolism and meaning making. Knowing how a design works culturally and emotionally taught me that (similar to words) images can convey subtle, complicated paths in shaping and guiding people. I will think of my projects differently now and with more curiosity and consideration, wondering not just what looks good but what communicates effectively.

(244 words)

References:

Makan, Ij. “Lessons From Maxwell Maltz (Psycho-Cybernetics).” Becoming Antifragile, 12 Dec. 2023, www.becomingantifragile.com/p/lessons-from-maxwell-maltz-psycho

Google Books. www.google.com.sg/books/edition/Psycho_Cybernetics_Updated_and_Expanded/GNVZEAAAQBAJ?hl=en&gbpv=1&printsec=frontcover.

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WOII: Week 11 - Postmodernism

Postmodernism was confusing to look at, no direction, and sometimes it was a little bit jumbled. The more I learned about it, the more I started noticing it. There is a lot of postmodern feel about fashion, for example. Gyouree Kim's Spring/Summer line, she blends 18th-century corsets with transparent latex, puffed-out forms, and winged shoes. It is theatrical, unconventional, and is nonconformist (Fashion Network, 2024).

In design, postmodernism strays away from the "clean and perfect" look. It uses loud colours, collage, distortion, and messy type all things that might have seemed "incorrect" in the past now seems expressive and genuine (Medium, 2018). It's less about function and more about emotion. That makes it hard to define, but also kinda freeing. Outside design, I saw postmodernism in the movie Beetlejuice. The house in Beetlejuice undergoes a transformation, shifting from a quaint Victorian with vintage charm to a chaotic postmodern statement with neon colours, geometric furniture, and surreal elements.

Before

After

Even though postmodernism still feels a bit fuzzy, I really want to try it out in my own work. I want to experiment by mixing different styles, like using hand-drawn stuff with digital textures or combining old and new images in a collage. If I’m designing a poster, I might play around with bold colours, quirky fonts. I think I might also try moving away from perfect, clean layouts and go for something more free and emotional. The class activity was actually really fun, and it made me want to explore postmodernism more and see how I can use it in my own designs. There is a sense of ‘’freedom’’ with post-modernism.

(272 Words)

References:

Fashion Network. (2024). Gyouree Kim Spring/Summer 2025 Collection. Retrieved from: https://us.fashionnetwork.com/galeries/photos/Gyouree-Kim%2C69588.html 

KIM. “GYOUREE KIM.” GYOUREE KIM, 2024, gyoureekim.com/fashionweek 

Medium. (2018). Postmodernism: The Effect on Graphic Design. Retrieved from: https://medium.com/debating-design-2-exploring-design-culture/postmodernism-the-effect-on-graphic-design-e053f5154ed4

Schwab, Julia. "Beetlejuice House Before & After Makeover." Hooked on Houses, 15 Oct. 2012, https://hookedonhouses.net/2012/10/15/beetlejuice-house-before-after-makeover/

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WOII: Week 10 - Poststructuralism

This week, we learned about Structuralism, Post-Structuralism, and Deconstruction, which help me understand how meaning works in things like language, images, and design. Structuralism says that meaning comes from how things are connected in a system using words or symbols. Post-Structuralism disagrees, saying that meaning is always changing depending on context and experience. 

We can see this in Singapore’s culture. For example, hawker food, once seen as just casual and everyday, has become more respected after being added to UNESCO’s heritage list. Now, places like Hawker Chan, which even got a Michelin star, mix the idea of “fancy” food with street food. In addition, KF Seetoh brought Singapore’s hawker food to New York with Urban Hawker, a food hall that opened in 2022(Urban Hawker, 2022). With the help of the late Anthony Bourdain, Seetoh brought 17 stalls featuring traditional Singaporean dishes to Midtown Manhattan (SCMP, 2022), showing how street food can be seen as high-end and valuable in a different context. This highlights how food can change in meaning depending on its setting and who’s consuming it, branding.

In design, Neville Brody is a good example:

His expressive, rule-breaking practices in composition and typography show that design can go beyond being just clear and utilitarian. It can be expressive, disruptive, even anarchic—and significant. It made me challenge myself a bit more on what I do on my personal projects. I'd like to become more experimental and open to rules breaking in the future. If that means distorting text, breaking the grid, or piling things in strange ways, I'd like to experiment with design as an arena where intuition and emotion get to come forward rather than precision and order.

My Photography Project:

(274 words)

References:

UNESCO. “Hawker Culture in Singapore.” UNESCO Intangible Cultural Heritage, 2020, https://ich.unesco.org/en/RL/hawker-culture-in-singapore-community-dining-and-culinary-practices-in-a-multicultural-urban-context-01568.

Urban Hawker: Authentic Singapore Street Food in New York. Urban Hawker, 2022, https://urbanhawker.com

“How Bourdain Inspired ‘guru of Grub’ to Open Singapore-Style Food Hall in NYC.” South China Morning Post (SCMP), 29 Sept. 2022, www.scmp.com/news/asia/southeast-asia/article/3194188/inspired-anthony-bourdain-guru-grub-kf-seetoh-launches 

Gray, Lauren. “Context Research.” Medium, Medium, 20 Oct. 2017, medium.com/@laurengray1598/context-research-fc46bc36564f

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WOII: Week 5 & 6 - Design Analysis & Field Trip

Design Analysis and Field Trip

Today's lesson was on design through "How Design Means" with an emphasis on function, context, and cultural meaning. I learned that design is not just about looks but also about meaning. Every choice, ranging from materials to typography and colour, influences perception. 

Week 5: Processes & Purposes in Design Analysis

The Week 5 design analysis model was aimed at analysing the Processes & Purposes of design by breaking it down into primary components of form, function, and symbolism. This allowed me to critically evaluate actual design in the world. It also made me more aware that each component of a design contributes to its overall impact.

Class Activity:

Week 6: Subject Matter & Meanings in Kampong Glam

As I strolled along Haji Lane, I also saw three instances of handwork that were noteworthy for both their artistry and cultural significance. The first was a bouquet of flowers crafted out of yarn that precisely duplicated the texture and colour of actual flowers, which demonstrated the artistry in textile arts. The other was a flower design painted by hand on a small plate wherein light brushstrokes revealed the finely lovely aspect of conventional design art. Finally, I discovered a small flat turtle-shaped keychain painted with evil eye motifs, mashing up cultural superstition with a whimsical, handmade style.

One structure that caught my attention was a mosque with intricate geometric patterns and vibrant tile-work. The craftsmanship showcased a balance between form and function, where aesthetics also played a role in guiding spiritual experience. The second structure was a row of shophouses with colonial influences, reflecting Singapore’s multicultural past through their colorful facades and ornate window details. Lastly, a modern steel-and-glass building stood in stark contrast, emphasising sleek minimalism and contemporary urbanism.

Applying Week 5 Insights to Week 6 Observations

By studying form, function, and symbolism, I saw how handmade items and structures reflect culture and history. For example, Masjid Sultan's patterns are not just ornamental, they focus attention, while the mixing of old and new patterns in Haji Lane shophouses demonstrates how culture can evolve yet stay linked. These observations remind me to think about the underlying meaning and impact of design.

In this process, I have learned how to critique design beyond aesthetics at the level of cultural narrative, user interaction, and symbolism. Week 5's process helped me better understand the design details that I noticed in Week 6. I will take forward and apply the learnings by ensuring my own design work employs meaningful purpose with a blend of tradition with modern influences.This experience added depth to my understanding of the function of design beyond beauty. Furthermore, I will try introducing this in my reflections with structured analysis, and sentence progression, especially for my CPJ. I need to break down & comment more on work instead of surface level thinking.

"Design is a conscious effort to impose meaningful order" - Victor Papanek

(325 Words)

References:

Papanek, Victor. "Interview with Victor Papanek." Found Subjects, 2008, https://foundsubjects.blogspot.com/2008/07/interview-with-victor-papanek-1988.html

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WOII: Week 2 - Aesthetics

Aesthetics impact the way we perceive and engage with design, from branding to public space. The relationship between form and function determines whether or not a design is beautiful and effective in communicating. Typography, colour, and composition are not just ornament, they construct meaning and interpretation.

Singapore's MRT system, clean sans-serif typefaces are used for signs legible, with colour-coded lines allowing users to figure it out on their own. These are principles that I tried applying into my Studio project about Margaret Calvert’s signage system that transformed British way-finding. Her fonts, such as the New Transport or Rail Alphabet font, balance form and function, offering clarity at high speeds. This carries over to my brochure, postcard, and poster, where I prioritise legibility and hierarchy (or atleast i am trying to). By studying her work, I am enhancing my layout process and type selection, ensuring my designs are straightforward in priority but still possessing strong visuals.

Moreover aesthetics influence social meaning and behaviour for example, in fashion branding, minimalist, monochrome branding communicates luxury and elitism as seen in Apple (Medium,2022), where simplicity and precision communicate refinement and prestige. While bold, experimental typography (seen in streetwear brands like Off-White or Supreme) communicates rebellion and youth culture. Dissonance in design, like glitch art or brutalist layout, can contradict expectations and provoke closer engagement. These contradictions appear in advertisements, political posters, and digital interfaces, where bold or disruptive aesthetics control emotional responses. Aesthetics are not just about style, they shape perception, trust, and cultural identity.

"Design is thinking made visual." - Saul Bass

(252 words)

References:

Nasikkar, Shrikant. “‘Design Thinking’ Made Visual - Shrikant Nasikkar - Medium.” Medium, 7 Jan. 2018, medium.com/@shrikantnasikkar/design-thinking-made-visual-905fd341c6b

“Rail Network - Singapore.” Land Transport Authority (LTA), 5 March 2025 https://www.lta.gov.sg/content/ltagov/en/getting_around/public_transport/rail_network.html

Technolotea. “Is Apple a Luxury Brand Now? - Technolotea - Medium.” Medium, 30 Mar. 2022, technolotea.medium.com/apple-and-the-luxury-experience-7bc87b5dbe67

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WOII: Week 1 - Phenomenology

In our session today, we discussed the shadow, and I interpreted this through Carl Jung's shadow self theory. In his theory, the shadow is the unconscious aspect of the psyche repressed traits, fears, and desires that are contrary to our idealised self-concept. This is related to phenomenology, which examines how we live and experience these repressed aspects on a daily basis. Literal and metaphorical shadows form our understanding of identity (Jeffrey,2025).

For my piece, I took a photo of my friend's shadow as she walked. The picture captures the ubiquitous yet frequently unobserved elements of the self. The shadow follows her, changing shape based on light and surface, similarly to how our unconscious plays out in our thinking and actions. Its distortion reminds us that perception is not rigid, and what we repress or overlook still lingers with us in subtle manners.

This exercise solidified the strength of visual storytelling in communicating abstract psychological ideas. As a design student, using Jungian psychology and phenomenology enables me to produce work that speaks more profoundly. Shadows are not simply the lack of light; they are metaphors for the underlying tensions of the self. By applying these theories to my practice, I am able to utilize design as a means of self-reflection, encouraging the viewer to interact with themes of identity, fear, and the invisible forces that govern human perception.

(215 words)

References:

Jeffrey, Scott. “Jungian Shadow Work: A Beginner's Guide (5 Key Exercises).” Scott Jeffrey, 25 January 2025, https://scottjeffrey.com/shadow-work/

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Compulsory Question 3

The skills gained in the Critical Thinking Skills (CTS) module have significant implications for my professional journey. The module’s focus on collaboration, emotional intelligence, & conflict resolution are particularly relevant for the type of roles I envision pursuing—positions centered around leadership & decision-making. In such roles, the ability to navigate interpersonal dynamics & mediate differing opinions is vital. For example, the lessons from Assertion & Conflict Resolution taught me how to employ balanced communication strategies. These skills ensure that even in tense discussions, I can create a space where ideas are shared openly & productively.

Furthermore, Emotional Intelligence reinforced the importance of empathy & understanding others’ perspectives. A leader equipped with high emotional intelligence fosters a supportive environment where team members feel valued & motivated. By applying these principles, I can facilitate collaboration, boost morale, & address challenges with a well-rounded approach.

For collaborative projects, I would love to be part of an initiative that integrates design, technology, & mental health awareness. One idea is a project called Mindful Spaces, which would involve designing public installations that use interactive elements like soundscapes, projections, & sensory deprivation tanks to create environments that promote relaxation & mental well-being. This could be a cross-disciplinary effort involving graphic designers, tech developers, psychologists, & artists. The project would leverage critical thinking to ensure the installations are accessible, engaging, & scientifically informed, promoting community mental health in a unique way.

“Silence is needed to germinate man & the divine.”

For community engagement, a culturally resonant initiative I’d pursue is a Punjabi Cha pop-up event. Cha (tea) is more than a beverage—it’s a medium for connection, conversation, & community. Hosting such pop-ups would bring people together, foster intercultural understanding, & create spaces for meaningful interactions.

Finally, CTS skills are crucial for professional roles involving leadership. These roles require the capacity to manage diverse viewpoints, make informed decisions, & inspire trust. By integrating conflict resolution, collaborative techniques, & emotional intelligence, I can create a harmonious, productive team culture. The CTS module has equipped me with a versatile toolkit to excel as a thoughtful & effective leader.

(329 Words)

References:

“Pop-Ups.” Chechi’s Chai, www.chechischai.co/pop-ups

Jiménez García, Ana. “Una Filósofa en el Exilio: María Zambrano.” Mujeres en la Historia, 30 Mar. 2014, www.mujeresenlahistoria.com/2014/03/una-filosofa-en-el-exilio-maria.html

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Compulsory Question 2

The Critical Thinking Skills (CTS) module provided a comprehensive foundation for developing essential personal & professional skills.

Week 1 introduced Critical Thinking & Mindfulness, emphasising how being present & aware can help sharpen analytical & reflective thinking. This foundational topic sets the stage for deeper exploration, as mindfulness encourages a calm & thoughtful approach to challenges. Week 2’s focus on Collaborative Skills highlighted the importance of teamwork, active listening, & shared responsibility. This week underscored that collective problem-solving often leads to more creative & effective solutions than working in isolation.

Week 3 addressed Emotional Intelligence, where the emphasis was placed on recognising, understanding, & managing emotions—both one’s own & others'. This was particularly eye-opening, revealing how empathy & emotional regulation can strengthen interactions & prevent misunderstandings. In Week 4, Assertion & Conflict Resolution equipped us with the tools to navigate disagreements constructively. By learning techniques such as being accountable & active listening, I gained strategies for approaching conflicts in a balanced & assertive manner.

Growth Mindset was the topic of Week 5, advocating for embracing challenges & learning from setbacks. This perspective promotes resilience & supports continuous self-improvement, fostering an attitude where obstacles are seen as learning opportunities.

Week 6 delved into Facts & Reliable Sources, reinforcing the importance of discerning credible information—an invaluable skill in a world saturated with misinformation. This week taught me how to vet sources effectively, an essential practice for anyone in the design field. Lastly, Week 7 emphasised the value of Journaling & Documenting Process. This practice was particularly helpful in consolidating my thoughts, capturing progress, & reflecting on experiences over time. Journaling has proven to be a powerful tool for tracking growth & enhancing self-awareness (more on this in the images below). Together, these weekly topics provided an interconnected framework that fosters critical thinking, collaboration, & reflection—key components for success in any professional & creative context.

“If your thoughts aren’t serving you, you don’t have to believe them. Instead, you can use journaling to see your thoughts as separate from you.”

(315 Words)

References:

Healthline. "The Benefits of Journaling." Healthline, 12 July 2023, www.healthline.com/health/benefits-of-journaling#self-discovery

[ko-mal]

Compulsory Question 1:

One of my favourite sessions during the CTS module was the collaborative group activities on mind mapping. These activities were memorable because I enjoy conversing with others & hearing different ideas. Working with a group allows me to listen to various perspectives, which often challenges my own thinking and helps refine my understanding of a problem. The exchange of ideas fosters a more comprehensive approach to problem-solving & opens up new ways of thinking.

I apply the “macro lens” approach in school to refine visual details in my design projects. For example, group projects require both a detailed focus & a “wide-angle” perspective to assess how individual contributions fit into the collective outcome, ensuring cohesion & quality. This dual approach parallels the need for alternating between detailed analysis & overarching synthesis in critical thinking.

However, I wish I had been more present during group discussions & class lessons. At times, I found myself distracted, which impacted my ability to engage fully. Being more attentive would have allowed me to contribute more effectively, enhancing both my own learning & the group's efforts. I aim to be more engaged moving forward, ensuring I remain present during discussions & lessons.

I considered other visual metaphors, such as a prism, which splits light into multiple colors, showcasing different perspectives of a single input. However, the camera lens resonated more due to its versatility & direct link to observation & interpretation—core aspects of critical thinking. This metaphor encapsulates how I perceive the CTS module: an invitation to view problems through different lenses & develop a comprehensive, adaptable approach to challenges.

(257 Words)

References:

Tamron. "What Is Angle of View?" Tamron, 2024, www.tamron.com/global/consumer/sp/impression/detail/article-what-is-angle-of-view.html

[ko-mal]

Emotional Intelligence

I personally think my strongest skill in self-management is empathy & relationship management. This means I’m good at understanding & connecting with the emotions of others, especially during group activities. A clear example of this was during a recent studio activity which involved the Jelly Beans. In this challenge, we had to talk about the fonts used & how it impacts our thoughts on the type of jelly bean it is. After we guessed blindly we had to taste different jelly beans, to describe if we were accurate in our guesses. I encouraged the group to discuss which colour we should try first. I made sure everyone had a chance to share their opinions and thoughts on the flavours.. By doing this, I helped create a more supportive & inclusive environment because I slightly felt that one of my group mates felt that he was the odd one out. 

I am confident in my abilities, but I know that I can always improve on myself. My goal is to continue to work on my self-awareness to boost my development. I need to care about my reactions/responses because some people might be more sensitive. Gaining control of my own emotions & how they affect me/my reactions will enable me to react more appropriately (responding instead of reacting). By becoming aware of my own feelings & their consequences on the people around me, which can help me to adjust the way I speak/my tone. I try to implement this quote: (by Greek stoic philosopher, Epictetus)

‘’It's not what happens to you, but how you react to it that matters.’’

(260 Words)

References:

Wikipedia contributors. (2024, September 8). Epictetus. Wikipedia. https://www.freepik.com/free-vector/work-discussion-vector-cartoon-business-icons-set_16396848.htm#from_view=detail_alsolike

[ko-mal]

Collaboration

I demonstrated adaptability in today's activity in the face of communication challenges. My ability to lead the discussion & contribute ideas demonstrated problem-solving skills. However, the language barrier posed challenges, resulting in occasional misunderstandings & slower progress (particularly in the idea-generating stage). To develop, I need to increase my skills for handling different ways of engagement, such as using visual aids like images on google or translating what I am saying to bridge communication gaps. Furthermore, using translation tools may result in clearer exchanges & ensure that everyone's viewpoint is properly expressed. Since some of my classmates are international students & may not understand English as well. Addressing such issues might make it easier to manoeuvre through exchanges with each other next time. 

Moreover, if i have more time to think about what i want as a sculpture with an unlimited budget I would still stay on the topic of fast fashion/waste-generation. Incorporating AI into the sculpture showing the textile breaking down. AI tech could let the sculpture have sensors and smart programs that keep an eye on and display real-time changes in the clothes (using VR maybe?). These sensors might track how things fall apart and what's going on around them, while showing pictures or moving images on the pile of clothes. As the fabrics fade and break down, the AI system updates its guesses to show this wear and tear telling a changing story that highlights how fast-fashion impacts the environment and how long it actually takes for clothes to deteriorate. This is a physical reminder about the waste produced by us that we choose to ignore or are unaware of.

"It is the long history of humankind (& animal kind, too) that those who learned to collaborate & improvise most effectively have prevailed."

(273 Words)

Reference:

“Charles Darwin: On the Origin of Species.” Encyclopaedia Britannica, Encyclopaedia Britannica, Inc., www.britannica.com/biography/Charles-Darwin/On-the-Origin-of-Species

[ko-mal]

Critical Thinking & Mindfulness

What comes to mind when I think of critical thinking is the analysing facts, questioning ideas, & checking for bias. I viewed it as a method to break down arguments & check their logic. During the class, I discovered that critical thinking goes beyond scepticism. It involves keeping an open-mind & trying to see things from different angles. I also learned that critical thinking means knowing my own limits &  always questioning my beliefs.

As for mindfulness, I thought it meant just relaxing or meditating. Now I understand &  that it is about staying in the moment & noticing my thoughts & feelings without judging them. I have discovered that doing mindfulness can boost my focus & cut down stress, which matters for learning. I can bring mindfulness into my studies by taking deep breaths before I start doing anything, having short breaks to keep me calm, & making an effort to stay focused.

"Your vision will become clear only when you look into your heart. Who looks outside, dreams; who looks inside, awakes."

Lastly, an eventful moment that I experienced in the class was probably the 'Pooja Nasni' video that was played. I realised that embracing difficulties is crucial as it allows room for improvement & self exploration. Asking questions such as "Where am I?" & "What is my lens?" prompted me to reflect on my environment, emotions, cultural background &  how they shape my view. I want to be able to incorporate who I am as a person into what I am doing. But before I can do that I need to know myself, which I still do not know how to navigate.

(255 Words)

Reference:

“Carl Jung.” Encyclopaedia Britannica, Encyclopaedia Britannica, Inc., www.britannica.com/biography/Carl-Jung