RELATIONAL ENCOUNTERS
Negotiating Communication Barriers during the COVID-19 Pandemic

by

Abeer Tahir
B.Des Furniture Design & Manufacture,
Pakistan Institute of Fashion & Design, 2013

Supervisor: Louise St. Pierre

A critical and process documentation thesis paper submitted in partial fulfillment of the
requirements for the degree of Masters of Design (Interdisciplinary)

EMILY CARR UNIVERSITY OF ART + DESIGN, 2021
©Abeer Tahir, 2021

Abstract
This thesis aims to explore and honor how people are trying to connect with each other
during the isolation required by COVID-19. I embarked on a personal journey to understand
how people were experiencing the barriers of communication when social distancing became
necessary. The relational encounters among family, friends, and strangers have changed
drastically. The care and connection that was once expressed through physical contact like
hugs, pats on the shoulder, or wrapping one’s arms around each other, is now reduced to
a restricted point of contact, such as through a window or across a distance. These small
moments of interactions have proven to be jewels of connections under challenging times.
Experiencing this firsthand myself further validated the trajectory of my research.
Through a process of journaling, auto-ethnography, storytelling, story gathering, and story
listening, I researched new characteristics of human relationships and connections formed
among families and communities. The unconventional interactions that I saw taking place
through windows and across other thresholds have deeply resonated with me. I asked myself,
as a designer, how can I use storytelling as a method to aid social innovation to create a space
of engagement within a community? Can design support the generation of new narratives
where the families, friends, and fellow community members feel included and connected to each
other?
I have been observing interactions happening through windows outside of care homes. It
inspired me to search for ways to support interactions and channels of communication in these
constrained and challenging times. The design-driven outcome, Khirki, has proposed a narrative
environment where the audience can physically, emotionally, and intellectually participate that
will help to bring people together safely across barriers and appreciate precious moments of
shared time.

Keywords
COVID-19 Pandemic.
Relational Encounter.
Social Distancing.
Communication Barriers.
Care & Concern.
Narrative Environment.
Social Innovation.
Kamishabai.
Storytelling.

Acknowledgments

There are several people I am greatly indebted to and without whom this thesis might not
have come into existence.
Foremost, I would like to express my sincere gratitude to my supervisor, Louise St. Pierre,
for her uninterrupted support, patience, motivation, enthusiasm, and immense knowledge.
Her guidance helped me throughout the research and writing of the thesis. I could not have
imagined having a better mentor for my thesis.
Besides her, I would like to extend my thanks to Sophie Gaur for insightful discussions about
our shared culture and her immensely valuable feedback as an internal reviewer. A heartfelt
thanks to the rest of the faculty members Gillian Russel, Helene Day Fraser, Craig Badke, and
Keith Doyle for their encouragement, thoughtful comments, and challenging questions. A special
shout out to my entire cohort for their unwavering support and positive feedback throughout the
course.
I thank all my friends for countless video calls to keep me motivated, for the fruitful
discussions, and for the sleepless nights I made them work with me before deadlines. I am
blessed to have these people assist me with their knowledge and grant me their precious time.
Last but not least, I would like to thank my parents and my siblings for their constant love,
kindness, and encouragement at every stage of my life. Without them all, I would not have been
able to achieve my goals.

Table of Contents
2

Abstract

3

Keywords

4

Acknowledgments

7

List of Figures

9

Land Acknowledgments

10

Glossary of Terms

12

A note the Reader

Background
13

Coronavirus: A Novel Disease

14

The Notion of Care and Connection in Emerging
Practices of Social Innovation during COVID-19
Pandemic

17

Once Upon a Time in Coronavirus Era
Introduction

18
20

Limited Physical Connection.
Research Methods

Part One
24

Project Explorations

25

Story Collection

29

A Lonely Tree

30

Story Generation

30

Story One

31

Story Two

Table of Contents

32

Story Three

32

Story Four

34

Illustrations
Part Two

40

Narrative Environments

44

Ocean Confessional

45

Vietnam War Memorial

47

Shrines in Pakistan

49

Puppetry

51

Khirki Theater Design

56

The Designer’s Role

57

Reflection

59

Epilogue

60

Bibliography
Appendix 1

66

Initial Design Proposal of Portable Theater Design
Appendix 2

70

Stills from Video 1

71

Stills from Video 2

72

Stills from Video 3

List of Figures
15
19

48
49
50
50
51

Figure 1. Max Neef’s model of Human Scale Development, 1986.
Figure 2. Trumpeter Sam Monckton played for her father, a resident at Haro
Park Centre, Vancouver, BC, Canada.
Figure 3. Research Methods.
Figure 4. Window at Lakeshore Care Home, Coquitlam.
Figure 5. A man sitting outside the window reading a book at Lakeshore Care
Center, Coquitlam, BC, Canada.
Figure 6. Sketch of a tree near Gatensbury Street, Coquitlam, BC, Canada.
Figure 7-8. Sketch of intimate hand gestures done in my journal.
Figure 9. Mother hugging her infant son.
Figure 10. Children standing outside the window talking to their grandparents.
Figure 11. A pair of mother and daughter standing outside the care home
talking to some-one.
Figure 12. Probe for Stories gathered through Public Prompts.
Figure 13. Stories gathered through Public Prompts.
Figure 14. Stories gathered through Public Prompts.
Figure 15. The site of Ocean Confessional.
Figure 16. Two men writing their confessions for the ocean.
Figure 17. Maya Lin: Vietnam Veterans Memorial.
Figure 18. The Vietnam Veterans Memorial in Washington, D.C.
Figure 19. Man pours oil in clay lamps at the shrine of Data Ganj Bakhsh,
which is decorated with lights.
Figure 20. Mannat Dhaaga- Wish Threads at Shah Rukhne Alam, Multan,
Pakistan.
Figure 21. Devotee whirls as he beats drums while another hangs from his
back to balance their weight, at the shrine of Sufi Saint Data Ganj Bakhsh in
Lahore.
Figure 22. Wish Locks, Bibi Pak Daman, Lahore, Pakistan.
Figure 23. Puppets displayed at Rafi Peer Cultural Center, Lahore, Pakistan.
Figure 24. Folk Puppet Festival, Pakistan.
Figure 25. Kamishibai and the first Superhero – Street Storytelling.
Figure 26. Khirki Theater Renderings.

52

Figure 27. Inside & Outside of Khirki.

53

Figure 28. Interactions happening through Khirki.

21
27
28
29
34
35
36
37
40
41
43
44
44
45
46
48
48
48

7

List of Figures
54
55
55
59

8

Figure 29. Waiting areas in hospitals.
Figure 30. Common room of care homes.
Figure 31. Occasional Event outside a park.
Figure 32. My Mum

Land Acknowledgment

I would like to begin by respectfully acknowledging that this thesis was researched and
written in Vancouver and Coquitlam, which are situated on the unceded territory of Coast
Salish Peoples, including the territories of the xʷməθkwəy̓əm (Musqueam), Skwxwú7mesh
(Squamish), Səl̓ílwətaʔ/Selilwitulh (Tsleil-Waututh), sq̓əc̓iy̓ aɁɬtəməxʷ (Katzie), qiqéyt (Qayqayt),
and ˈstɔːloʊ (Sto:lo) First Nations.

9

Glossary of Terms
Behavior Change

It is any modification in behavior (mainly human) in public
health. The change may happen spontaneously and
involuntarily without any intervention, or it may be systematic
and motivated as prompted by conditioning or by design
interventions. Whatever the transformation, it affects one’s
overall function as an individual.
“In altering the way you act and react, behavior change also
affects how you function as a whole” (N., 2015).

COVID-19 Pandemic

Also known as the coronavirus pandemic, is an infectious
disease caused by the transmission of severe acute
respiratory syndrome coronavirus 2 (SARS-CoV-2). To
avoid it from spreading, it is important to practice respiratory
etiquette and maintain a distance (WHO, n.d.).

Design of Social Innovation

It is designed initiatives that “tend to (re)connect people,(re)

(DESIS)

connect people with the places where they live, and
regenerate mutual trust and ability to dialogue – and by so
doing they create new communities” (Manzini 2019, p. 9)

Humanist Notion of Care

In this thesis, it means care, empathy and compassion are
human characteristics and should not be primarily associated
with the female gender.

Kamishibai

It literally means “paper drama”. It is a form of storytelling
originated from Japan in 12th century (Enjelvin, 2021)

Narrative Environment/

It is an immersive storytelling experience where audience can

Spatial Narrative

also physically, emotionally, and intellectually participate in
the storytelling world in contrast to reading a book or watching
a screen which always keeps one outside the story (Ponticelli,
2014).

10

Glossary of Terms

Pandemic

It is an outbreak of a disease that occurs over a
wide geographic area (such as multiple countries or
continents) and typically affects a significant proportion of
the population (Merriam-Webster dictionary, n.d.).

Relational Encounter

It is an interaction in which people stand face to face with
one another and establish a deep relationship, which
requires trust and implies intimacy. During COVID-19,
relational encounters have changed and been delimited
by social distancing measures.

Storytelling

In this thesis, the act of storytelling and story listening
has been used to illuminate different experiences
of people navigating communication barriers during
covid-19 and how it can facilitate social innovation.

11

A Note to the Reader

The writing of this thesis is a juxtaposition of my lived experience and gathered human
experiences during a long period of social distancing due to the COVID-19 virus. It offers a
personal commentary of my own knowledge and understanding of navigating life through
unprecedented times. The use of the first person perspective in my writing embeds me in my
arguments, rendering them more immediate, embodied, and (hopefully) compelling (Duke
University n.d.). So, it is written in a personal writing style, and I include my own stories and
reflections throughout.
Throughout the course of this thesis, my journey was like a roller coaster ride. Every turn
and corner contained self-doubt and new learning experience about the value of the care,
communications, and relational encounters.
As a design student, this is the first time I have let my own emotions and circumstances
carve the path of my research. It was an opportunity to question the role of a designer in
emerging events implicitly and explicitly. The exploration of the unknown territory even let me
pick up my pen and write poems and stories about my own dealings and circumstances.
Living a secluded routine within a new country has influenced me to embark on a selfreflective lived experience of the covid-19 pandemic. I explored how care and concern can
create ways to communicate and pave ways for creating more spaces of engagement for
people who are experiencing a restricted connection with their loved ones.

12

Background
Coronavirus: A Novel Disease

A novel strain of Coronavirus, Severe Acute Respiratory Syndrome (SAR-CoV-2), was
detected in December 2019 in Wuhan, a city in China (Stewart, Connelly, & Robinson, 2020).
The World Health Organization (WHO) declared it a pandemic on March 11, 2020 when the
COVID-19 outbreak did not “respect the borders” (Ottenhoff, 2020) and spread in more than
200 countries. By the time of writing this thesis, the disease has infected more than 122 million
people around the globe and continues to increase with each passing day. The cumulative
number of deaths has surpassed the 2.5 million mark (WHO, March 18, 2021).
The proliferation of coronavirus caught everyone’s attention. Few could have imagined
that in a few months, the spread of disease would change entire societies. The Coronavirus
pandemic is unprecedented. Never in recent decades has the threat of a disease consumed
so much of mankind’s time, resources, and attention (Mair, 2020). Not a day goes by when the
media, newspapers, radio, social media does not report the terrifying and alarming facts and
figures about covid-19.
The novel virus has brought uncertainty about the future of our health, jobs, habits, society,
and economy. The tiny yet deadly virus forced societies to drastically alter ways of living.

13

The Notion of Care and Connection in Emerging
Practices of Social Innovation during COVID-19
Pandemic

Manfred Max-Neef (1986), in his model of Human Scale Development, states that basic
human needs are finite and remain the same over time and across cultures. Human interaction
and collective actions/attributes are key to achieving a level of satisfaction in life (Khandelwal,
2018).
Human interaction, mostly referred to as Relational Encounter throughout this writing,
remains at the core of most of the needs. In my understanding, a Relational Encounter is an
encounter in which people stand face to face with one another, in presence with one another,
and establish the foundation for a deep relationship. This requires trust and implies intimacy
(Manzini, 2015). Design anthropologist Arturo Escobar (2018, as cited in Morris, 2018) also
advocates a “Relational Ontology” to reconstitute the ways in which people communicate with
one another and the world in a multi-directional axis instead of a solitary straight line. A look
at Max Neef’s model (Figure 1) shows that the settings for leisure, participation, affection all
require interactions in a physical state. In most contemporary societies, most of our activities
and routines involve interaction with others in family gatherings, workplaces, schools, shopping,
entertainment, and so on. The conventional concept of contact, connection, and human care
takes place in the physicality of the engagement. Human contact and care are essential for
physical and emotional wellbeing. Humans crave attention from fellow beings. We thrive on
affection, trust, emotions, and care (Rhodes, 2017). However, what changes over time and
across cultures is how these needs are met and satisfied (Khandelwal, 2018). As I describe
in this thesis, the conditions of covid-19 have radically changed how we are able to meet our
needs for attention and human contact.
Most of us first gain attention and human contact in our families. The notion of care is
inculcated in everyone early on through the family. In my culture, parents look after their
children; older siblings nurture the baby brothers or sisters; later, these children grow up and

14

The Notion of Care and Connection in Emerging Practices

Image retrieved from http://sds.parsons.edu/inclusion/2020/05/29/max-neefs-fundamental-human-needs-2/

Figure 1. Max Neef’s model of Human Scale Development, 1986

take care of their old parents. In other words, care is omnipresent, and caring is passed along
in our relationships. Maria Puig de la Bellacasa (2017), a contemporary researcher about care,
explains that “reciprocity of care is rarely bilateral, the living web of care is not maintained by
individuals giving and receiving back again but by a collective disseminated force” (p.20).
This is congruent with the work of philosopher Nel Noddings (1984; 2002). In 2002,
Noddings clarified that caring relationships are asymmetric in nature. She terms one party A
as “Carer” and the other B as “Cared-for”. She explains that it is not mandatory for B to turn
into a carer for A. If B recognizes A’s caring, then it will be a caring relation; the key is in the
recognition. She further clarifies, “Caring will always depend on the connection between the
carer and cared-for” (p. 20). This understanding is validated by Gandovetter’s (1973) theory of
strength of ties. He said that the strength (and weakness) of the interpersonal ties was a result
of the “combination of the amount of time, the affective intensity, the intimacy (mutual confiding),
and the reciprocal services that characterize the tie” (as cited in Manzini, 2015, p. 101). The
relationships we build, define and shape us to become who we are. It gives humans a cause to
live and connect with other members of the community.
For me, this explains how the family is not the only bond we rely on. We make friends
and develop genuine and trustworthy bonds with our neighbors and other members of the
community. This can bring us warmth, care, and affection. These interactions have a certain
level of personal engagement and empathy (Manzini, 2015). Ezio Manzini’s research (2015;

15

The Notion of Care and Connection in Emerging Practices

2018) expresses how relationships and bonds are foundational to building community. He
describes how collaboration among people builds the kind of strong ties that are needed
for resilient communities. Yoko Akama (2017), a design researcher, also advocates interrelatedness, respect, and reciprocity to situate ourselves in social and cultural encounters.
Manzini, in his conversation with Hillary Cottam in Nurturing Communities of Care webinar
(2020), expanded on this to say that care and nurturing among the communities would result in
greater social welfare and resilient cities. Relational bonds are essential for many reasons.
Manzini (2015) says for Buber, the relational encounter is deep, demanding, and risky.
The persons involved become vulnerable by opening up and depending on each other. The
relational encounter represents humanity. These encounters encourage compassion and care
for others. This is related to characteristics of empathy, interconnectedness, and a feeling of
inclusion in the community.
Moving forward in the context of the covid-19 pandemic, relational encounters have changed
significantly. How we meet and collaborate in public is changing, especially when we are
constantly being reminded to undertake social distancing to keep ourselves and others safe.
To limit the dispersion of virus, governments have had to implement curfew and lockdown.
Many borders have had to be sealed. Places where people once met casually, like recreational
centers, cafes, malls, have been closed. Staying indoors had to become part of the new normal,
the changed behaviors that are becoming habitual. Unnecessary travel, recreational, and
outdoor activities came to a halt. The coronavirus pandemic has led to a major decrease in
contact between people.
This is a serious constraint on our physical engagement. We rarely get to have intimate
contact with our families and friends. What we are left with are the brief and limited moments
of connection across distance and through barriers. In my thesis, I have been exploring how
the care and connection that we once expressed through physical contact, such as hugs, a
reassuring pat on the shoulder, or wrapping one’s arms around each other, is now reduced to
the restricted point of contact, such as through a window, or across a threshold. I speculate that
these precious moments of shared time are deeply appreciated. Are they jewels of connections
in difficult times?

16

Excerpt from my Journal
Once upon a Time, Life in the Coronavirus Era
It is 9 pm, and I need a distraction. I grabbed my jacket and umbrella to go out for a
walk. Darkness prevailed over the calm, peaceful night as the clouds thickened, covering the
moonlight and stars. The wind slammed the rain into my face. It always cheered me up but not
today. The blasting music in my ears is not helping either. Usually, I find people out on the street
with their kids or dogs. It lets me be a part of a community where I can pat a dog or smile at
others to feel less lonely, but COVID-19 has taken it away from all of us.
Walking around the neighborhood has kept me sane. Sometimes, I am bestowed with
the rare glimpses of families happily eating or watching tv when the curtains are drawn open.
It makes me hopeful, and I always murmur a silent prayer for their safety and bliss. Tonight,
bleakness has enveloped the entire neighborhood.
So, I walk back to my apartment to wallow in my despair. I am grateful to have a vivid
imagination. It allows me to envision myself among my loved ones, which is exactly what I am
going to do right now.
You ask, why? It is because, back in Pakistan, my family is preparing a barbecue brunch for
my sister’s birthday. And here I am, missing out on another family gathering. I am invited to join
via Zoom, but it is not the same. It does not allow me to blow those candles for her, as I have
done countless times. It will not let me sip water from my sister’s glass when she is not looking
or guzzle all the peppers from my brother’s pizza or peck at my mum’s plate when I am too lazy
to get my own food. Is it even safe to do it anymore in these circumstances? It is better to stick
to one’s own plate and utensils so that it does not jeopardize anyone’s health, especially my
parents.
It aches my heart to be unable to share such moments with my family. Hence, these trivial
moments have become my most cherished memories. (A.Tahir Journal, November 25, 2020)

17

Introduction
Limited Physical Connection

This thesis project aims to understand how people are trying to relate to each other during
the COVID-19 crisis when social distancing has become necessary. The relational encounters,
which involved hugs, pats on the shoulder, and handshakes, have been replaced by nods of
recognition. Doors are being pushed open with elbows or feet; actions which might once have
been considered rude or ill-mannered are now socially acceptable.
During the pandemic, some people have been fortunate to spend time with their families
locked in their houses doing a variety of indoor activities. At the same time, many people have
been struggling to spend time with their loved ones or connect with other members of the
community. Sadly, I belong to the latter. Due to the travel ban to limit the spread of coronavirus,
I was alone in Vancouver for almost a year. It was a difficult time, being so far away from my
home and family in Pakistan. Living in total isolation, I missed small moments spent with my
family, such as sharing meals, especially pecking at my mum’s plate, carpools with my brother
when I am broke, movie nights with my sister, spa days with my friends. The list is endless. I
know that many people had worse experiences. People confined within the four walls due to
weak immune systems, or age, have been feeling most disconnected from the outside world.
I started collecting narratives, personally, in print journalism and digital media, which
revealed the emotions and struggles of many people trying to adapt to the constraints of
distance. They told of a variety of innovative ways to interact and connect with others. Sam
Monckonton is one of the many examples.
Sam Monckonton is a resident of Vancouver who loves her father and cannot meet him
in person, because at the time, her father was battling COVID-19 at Haro Park Center (Care
Home), in Vancouver, BC (Vermes, 2020). As is now well-understood, patients at the care home
were not allowed visitors. Seeking connection, Sam took her trumpet and went to the care home
where she played a tune outside his window (Figure 2). It was her way to relate to her father,
who had been away for several weeks now. The performance was a source of joy for her father
including several other residents who enjoyed her music.

18

Limited Physical Connection

Image retrieved from https://www.cbc.ca/radio/thecurrent/the-current-for-april-1-2020-1.5517314/trumpets-window-visits-and-virtual-cards-how-families-are-connecting-with-loved-ones-in-nursing-homes-1.5517425

Figure 2. Trumpeter Sam Monckton played for her father, a resident at Haro Park Centre,
Vancouver, BC, Canada.

I noticed many more such examples, personally and via digital media, where people have
been overcoming hurdles to be with their families, even briefly and at a distance. I asked myself,
as a designer, how might I use storytelling as a method to research and to create a space of
engagement within a community?
The act of storytelling and story listening illuminated different experiences of people
navigating the barriers of communication. The small moments of interaction in these stories are
beautiful yet equally powerful and evocative. The unconventional interactions through windows
and other thresholds have deeply resonated with me. These interactions could be appreciated
and facilitated in these difficult times to help deal with isolation, sense of loss and detachment.
My own personal journey and these narratives have validated the need to create an opportunity
and space where these moments are experienced and appreciated. Even after the pandemic is
over, this practice can continue and evolve to serve the community. It expresses optimism and
care – something that this world can never get enough of.

19

Research Methods

In my former work as a furniture designer, my experience was based in material practice.
The research trajectory in every furniture project comprised of the same linear pattern–
ideate, sketch, draft, prototype, user-testing, final product– it left no room for drifting. Krogh
and Koshinen (2020) explain that “drifting opens doors to inquiries into many important yet
overlooked aspects of design” (p. 8). Drifting invited me into an unchartered territory that
challenged my conservative beliefs that the designer’s role is narrowed to solving a problem.
It allowed me the freedom to move away from preplanned practices to more self-reflective
exploratory practices.
My self-reflective practices about my own isolation and lack of connection with other
members of a community influenced me to embark on an exploratory and experimental journey
to inquire about the barriers of communication experienced by people when social distancing
became necessary. It was not easy to observe everything from a distance, and frustrating
that I could not go up to someone and ask about the problems they were encountering at
the moment. It is one of the reasons why I had to constantly reevaluate my trajectory as I
progressed through my journey. This was a heuristic approach. Moustakas (as cited in Given,
2008) describes heuristics inquiry as a process of inner search of knowledge that focuses on
discovering the nature and significance of the experience. The researcher’s self-search and
self-dialogue deeply invest him in the process that the researcher’s lived experience becomes
the focus of the research. I engaged with myself and my emotions as a way of understanding
and empathizing with others who are also on this journey. This heuristic inquiry was supported
by specific methods like auto-ethnography, journaling, life writing, storytelling, story gathering,
and story-generating (Figure 3).
In the summer of 2020, I was writing and drawing my observations in my journal about how
people were trying to make sense of and adjust to the new routine. This offered tremendous
insights. Douglass and Moustakas (1985) state, “Heuristics encourages the researcher to go
wide open and to pursue an original path that has its origins within the self, and that discovers
its direction and meaning within the self” (p. 53). Summer started with vague and uncertain

20

Research Methods

Auto-Ethnography

Journaling

Story Generating

Heuristic Inquiry
Story Gathering

Life Writing

Storytelling

Figure 3. Research Methods.

wanderings, but with time it gained momentum and a sense of meaning and direction as
I grasped the parameters of the situation. Douglass and Moustakas (1985) describe this
as “passionate and discerning personal involvement in problem-solving, an effort to know
the essence of some aspect of life through internal pathways of the self” (p. 39). This,
combined with auto-ethnographical narratives and life writing, led to new discoveries and new
experiences.
This ‘self-disclosure’ left me feeling somewhat vulnerable (Etherington, 2007 as cited in
Preez, 2008), yet I saw that this situated me with others in a similar social context. I think
vulnerability has been the common denominator in these stressed times. The life writing, which
included observations, embodied experience, and narratives, informed my curiosity and steered
my journey to engage design in “initiating social conversations” (Meroni et al., 2013, p. 3) about
the connections – or lack of in some cases – between individuals and communities, in private
and in public.
These methods have fueled my curiosity, encouraged me to explore and expand my
imagination. These instigated conversations that led to the act of listening to stories and telling
stories which steered me from “an abstract towards a concrete, experienced-based knowledge
of reality” (Bertolotti et al., 2016, p. 21). It helped to inquire how storytelling can aid social
innovation. “Storytelling itself is also a process of discovery for the teller” (Parrish, 2006, p. 73).
The storyteller is, first and foremost, a story-listener (Bertolotti et al., 2016), someone who can

21

Research Methods

look at things other people disregard as being too small or insignificant. My experience taught
me to look beyond the surface of human behavior to find deeper clues to help cultivate the
creation of more meaningful experiences.
Cynthia Chambers (2009) suggests to “write with your ears– hear and write the silences
between the words” (p. 85). For me, interpreting the silence into words was a challenge. After
all, how can one transcribe silence into words? Once I listened deeply, the words automatically
poured out of my pen. While I wrote, I also gathered. As I detail later, I gathered stories from
the digital media and informally asked a network of friends to provide their stories about life in
covid-19. The act of collecting and generating stories has generated compassion in me.
According to Bell (2002), narrative inquiry entails moving beyond using narrative as a
rhetorical structure, that is, actually telling stories, to an analytic study of the story’s underlying
ideas and assumptions. This inspired me to review and analyze every story from different
angles. There is always more than one perspective to the story. I have tried to be sure that my
one story does not become the only story. It became necessary to weave different narratives
together to involve, engage, and initiate dialogues. These stories weaved contrasting elements
together into an organic, integral whole, offering new meanings (Bertolotti et al., 2016).
The next chapter describes how I applied these methods in my project explorations.

22

Part One

23

Project Explorations

In this chapter, I describe three different ways of storytelling. I gathered different stories and
experiences about how people were navigating their lives during covid-19. It was fascinating to
witness how people were inventing new ways to connect with each other through a distance or
across the barriers. The next step in the process was to generate narratives that used windows
as a main source of interaction. I aimed to emphasize the optimistic approach by people to
continue to care about the loved ones and fellow community members. It is said that a picture is
worth a thousand words. So, the last step in the explorations was making visuals to convey and
preserve some of the meaningful interactions that took place during covid-19 when people were
trying to interact while maintaining a safe distance to protect each other.

24

Story Collection

During the summer 2020, I was observing and recording every minute detail of the things
happening around me. My observations and stories were not only restricted to my journal. I
also shared these stories with my friends. Many of the stories were about how people were
struggling to connect during these difficult times. One of my friends, Maria, shared a story
about her friend who was also finding her life very difficult. I asked if she could write this in a
letter. Maria informally spoke to her friends, residing in Pakistan, England, and Canada, and
requested they write me letters about their experiences in covid-19. They were all kind enough
to send me the letters. Some even went to the trouble of sending these letters to me in postal
mail. I was not expecting such a tremendous turnover of responses from people I had never
met before. In the collection of the stories, some are depressing, others uplifting, and some hold
factual data. The stories revealed that despite the workload and the strain covid-19 was putting
on everyone, people were wanting to share their fears, frustrations, and anxieties to unburden
themselves. Unconsciously I formed a bond with all these people, and every night before going
to bed I make sure to remember them in my prayers. I informally gathered these stories through
a network of friends, but because I did not have the approval from the Research Ethics Board
(REB), I could not share them here. But these stories moved me to continue my research in this
direction.
I belong to a culture that still promotes the joint family system. Joint family is an extended
family arrangement popular in Pakistan and India where many generations (grandparents,
parents, uncles, aunts, and grandkids) live under the same roof. It strengthens the bonds
and connections among the members of the families, and inculcates values such as respect,
kindness, and care. Even as mature, self-earning adults, my siblings and I still prefer to live with
our parents. So, I live with a belief that family is the strongest foundational pillar in everyone’s
life. Their encouragement and motivation will help one through all the challenging times. The
pandemic has highlighted the importance of immediate and extended family. Earlier, it used to
be easy to take a raincheck on having dinner with your parents or relatives, due to an urgent
important meeting. Now, people are trying their best to connect with their families as much as

25

Story Collection

COVID-19 rules allow.
Inspired by the stories that were mailed to me, I continued to search for stories in print
journalism and digital media. It is evident from stories published in Confessions of Coronavirus
(2020) that, now more than ever, people are cherishing all those moments spent with their
families, moments that might have been taken for granted before. For example, A daughter
who is a teacher by profession lives with her elderly mother. She is her caretaker and is afraid
of exposing her to covid-19. There is a son who lives 5 minutes from his parents’ house and
hasn’t seen them because his father has cancer and only converses through a video call.
A grandmother who has not seen her kids or grandkids because she is high risk. It breaks
her heart that she cannot hug her babies. A father, who is a front-line nurse, is away from his
pregnant wife and 2-year-old kid and is concerned that to keep them all safe, he would miss
the birth of his child. Grandkids who make banners for their grandparents and hold it outside
their living room window to know how much they miss them. A lonely friend who wants to hang
out with his friends. Stefano Bozzini, an 81year old husband, was unable to visit his wife in the
hospital due to COVID-19 restrictions (Giuffrida, 2020). He serenaded his wife by playing tunes
on his accordion, from beneath the hospital window to show his love.
There are hundreds of similar stories that highlight the beauty of different relationships. I
once had a notion that care, and nurturing is only in women’s nature. But these stories have
changed my perspective. These stories reveal that nurturing is a part of every human being’s
nature. It is not defined by gender or even relationship – otherwise all the nurses, doctors and
care givers would not have endangered themselves and their families to look after patients
and vulnerable people. That is why, as I mentioned earlier in section Emerging Practices,
family is not the only bond we rely on. We develop bonds with our neighbors and community
for the warmth, care, affection, and relational connection. It is further proven by the local
residents across the province of British Columbia, Canada, who adopted a phenomenon of
banging the pots as loudly as they could every night at 7pm as a way to thank the health care
workers (Crawford, 2020). During a time of fear and loneliness, this was an exceptional and
unforgettable few minutes where people felt connected and hopeful.
The pain and the loss of connection among family, friends and community members was
profound in these stories. These stories showed me that I am not the only one facing difficulties
in my life. It has encouraged me to face my challenges with perseverance. These narratives

26

Story Collection

reveal so many different emotions and struggles that I am sure many of us would find resonance
with our own lives. There is a possibility that, like me, other people would also find solace in
reading these stories.
The gathering of the stories gave me a perspective about which stories are being shared.
And how these narratives can help bring communities together.

There is a care home, Lakeshore Care Center, at the end of the block where I lived in
the summer of 2020. During my routine walks, I always had mixed feelings walking past it.
Sometimes I would see old people sitting by the window looking out. A few would happily wave
back at me or respond with a smile. Overall, there was a melancholic aura to the entire building.
The window (Figure 4) became a pivotal and integral part of my research. The severe harsh
gray surfaces would instantly transform and speak volumes when people come to this space to
connect with their families.

Figure 4. Window at Lakeshore Care Home, Coquitlam, BC, Canada.

27

Story Collection

Figure 5. A man sitting outside the window reading a book at Lakeshore Care Center,
Coquitlam, BC, Canada.

One day, I was taking a stroll in the street when I saw a man sitting outside the care home
(Figure 5). He was reading a book. I managed to capture the shot but not the audio. It was
obvious from the tone that he was reading a book to someone he cared about.
Another day, I saw a pair of mother and daughter standing in front of the window waving to
someone inside, perhaps a grandmother. I could hear the little girl saying that she missed her
and will visit her inside once the pandemic is over. I could not take a picture, but I sketched it.
(Shared later in the chapter)
Being away from my own family, I could totally understand their feelings. The distance has
kept me away from my family, but for them to be just a wall apart and still unable to hug or
touch. A 3–5-minute interaction may seem trivial, but they have brightened someone’s whole
day, as well as given meaning to their own day. The unconventional interactions through the
windows deeply resonated with me. The windows play a significant role in promoting the new
relational encounters without compromising on the safety and health of the loved ones.

28

A Lonely Tree
A lonely tree is standing in the middle of the sidewalk. I am glad that the tree has not been
cut down because of the hindrance it causes to the pedestrians. Even on a bright sunny day, the
tree has a serene melancholy. I can see the gloominess of the past few months of my own life
reflected from the tree. I am alone, stranded in another continent, but still striving to live my life.
It feels relatable. Whenever I am feeling low, I walk to the tree and marvel at its magnificence. It
gives me strength and lifts my spirit. (A.Tahir Journal, June 5, 2020)

Figure 6. Sketch of a tree near Gatensbury
Street, Coquitlam, BC, Canada.
29

Story Generation

I belong to the land of rich literature and storytelling traditions. Dastangoi, which
comes from “Dastan” in Persian, meaning ‘story,’ and ‘goi,’ meaning ‘to tell.’ Colonialism,
together with its radically different standards of western poetry and literature, resulted in
the death of the popular art of Dastangoi (Welle, 2019). It is no longer a strong part of
my cultural heritage, but it is never too late to try my own skills of Dastangoi. I wanted to
use the window and its context as an opportunity to generate different narratives about
the interactions happening through the windows. Humans are not built for solitude.
The windows have become a threshold for greeting, grieving, singing, reading, and
celebrating (Hine, 2020).
The following stories use the windows as a symbolized gesture of kindness, care,
and compassion. Story one is about a covid-19 positive patient trying to reconnect to his
family through a window. Story two is about an elderly married couple who is still trying
to connect with each other following the protocols of covid-19 restrictions. Story three is
about two people who are not related but still have formed a bond over the years. Story
four is about the bond shared between two sisters.

Story One
I have been in a lot of pain for the last two weeks. I cannot breathe, I cannot talk, I cannot
even go to the restroom on my own. My bones are aching as if I had fallen from the sky and
smashed into the ground. I don’t know when would my agony end.
I keep hearing people coughing all around me. I am only half-conscious, but I can hear the
nurses screaming for oxygen cylinders and emergency injections. I can feel them running from
one bed to the other. It’s total chaos here. It feels like the walls are closing onto you, and the
roof would fall any minute. The heavy doses of medicines leave you so numb and confused.
There are new people coming in every day, and old dead bodies being removed every hour.

30

Story Generation

I hope I am not one of those. I wish I had listened to my wife and been more careful. I wish I
had stayed indoors and not been to all those bars and partied with my friends.
My wife has been coming to see me every day. Today, my five-year-old daughter has also
come along. She’s been waving at me from the window, and I am so weak I cannot even wave
back. It is crushing me from the inside. I know she would go back home and make a million “get
well soon” cards for me, thinking that’s the only cure I need. Little does she know this is the last
time she is waving at her Da-Da. I wish I could just hug her once before the remaining 20% of
my lungs stop functioning.

Story Two
Living at an old age home, if I ever did believe in true love, I had long forgotten it. The
same will happen to anyone if they would live with neglected mothers, forgotten fathers,
dumped aunts, and unremembered uncles. I had been living there for 11 years when something
changed.
A woman with advanced dementia was admitted. One morning, she was just there. After
breakfast, she quietly sat down on a chair near the window. I went and sat near her, my back
towards the glorious sunshine outside. I asked her name, and she looked blankly at me. A wave
of empathy covered my heart. It could happen to me. If it did, I hope someone in the home will
still talk to me. With this thought, I started talking about the book I was reading.
At first, she did not seem to be listening, and then her eyes slowly became animated. I even
got her to nod. Hardly 3-4 minutes passed when she suddenly grabbed my sleeve and eagerly
pointed outside. With a huge and radiant smile covering her face, she suddenly looked years
younger. The sunshine illuminated her lined face, and I was dumbstruck. In that instant, I knew I
was witnessing something extraordinary. My arms were covered in goosebumps. I slowly turned
around to see a smiling old man pulling up a chair and sitting right outside the window. His eyes
were fixed on the woman inside as he sat down and then motioned for me to open the window.
I automatically looked for the nurse. The nurse came, asked the man to keep wearing the mask,
and then opened the window halfway. The man immediately started talking to his ‘darling Mary’.
He did not say anything important, but he didn’t have to. His smile and gestures had said it all.
He loved her.
31

Story Generation

Story Three
The old man came every day. He would come, politely talk to Sasha, who would then call
the nurse on duty, usually me, and I would then take him to talk to Mr. Smith, who had not
spoken a word since the last 26 years. He was a classic case of clinical depression treated with
wrong and probably too much medication.
I was fascinated by the old man and Mr. Smith. When we went on lockdown because of
COVID-19, I was sure he would be unable to visit again, but the day we relaxed the restrictions,
there he was, sitting outside Mr. Smith’s window. I was still on probation, with no access to
patient files. I could not openly listen to conversations in the lounge where everything was
visible-but today was my chance.
There was a cupboard right next to Mr. Smith near the window. I silently crept behind it. The
old man was talking in an extremely low voice, but I was close enough to hear. As he continued
talking and I continued listening, my body slowly became frozen with horror, my heart was
beating like a drum, but I could not move. The old man was recounting in great detail how he
had killed an 11-year-old girl more than 40 years ago. The story was so smooth that I was sure
he had recounted it a thousand times before. When he got to the part about how he disposed of
the body, I instinctively covered my ears, which is when I must have made some sound because
when I opened my eyes again, he was gone. Mr. Smith sat as impassive and still as always. In
an instant, I knew the cause of his deep depression and silence. I never saw the old man again.

Story Four
Angela and Christina looked in through the window. The woman with the red scarf looked
sadder than usual. She was looking morosely at the album in her hands, clearly not seeing anything. Christina turned to her sister, ‘Whose picture do you think she’s looking at?’
‘Maybe her sister?’ Angela replied.
‘Yeah…that makes sense. I know I will be sad if I am away from you.’
‘Really?’

32

Story Generation

‘Of course. I will have no one to play with.’ Christina said matter-of-factly, unaware of the
huge smile which spread on Angela’s face.
The care home was down the street from their home, and they regularly peered in through
the window on the street. They both had one particular person they always looked for when
they peered in. Sometimes they found them, sometimes not, but it was fun to imagine their life.
Christina liked to look for the woman who always wore the red scarf, and Angela looked for the
old man who liked to wear a bow-tie.
Mr. Bow-tie was nowhere to be seen, so they both concentrated on the red scarfed woman.
‘Why do you think she always wears the red scarf?’ Angela asked. They had talked about
this before, but this was a central question they kept coming back to.
‘Maybe it was given to her by her sister, who she misses.’ Christina replied.
‘That makes sense. If I make you something, will you always wear it like her? Angela asked.
‘Of course, I will.’ Christina said. ‘And when I miss you this much when I am old, I will always
wear it.’
‘If you miss me, then I will come myself. You will not need the bracelet.’ Angela replied with
a bright smile, putting her hand in Christina’s. They skipped back home, hand in hand, full of
sibling camaraderie.

I explored the diverse context in which the window has been used to connect or emphasize
the beauty of associations among the community members. Writing simple narratives
established different ways to reflect on multi-faceted relationships. The narratives reflected on
the strength of the connection within the family and community members so that even in difficult
times, the affectionate and caring bond with one another did not wither.

33

Illustrations

All the experiences and stories gathered and written so far were in words. Storytelling is not
limited to verbal or written words. It can also consist of visuals. Visuals are a strong medium
of storytelling. They overcome the barrier of understanding different or foreign languages. I
captured photographs as another medium to capture these stories (already documented in the
previous chapter). I illustrated some of the interactions to preserve the precious moments.

Figure 7. Sketch of intimate hand gestures
done in my journal.

34

Figure 8. Sketch of intimate hand gestures
done in my journal.

Illustrations

Figure 4. Window at Lakeshore Care Home, Coquitlam, BC, Canada.

Figure 9. Mother hugging her infant son.

My first illustration (Figure 9) was about the idealized vision of care and nurture that involves
enveloping and close body contact. Personally, I think the bond between a mother and a child
perfectly depicts the essence of care and concern. It is a 20” by 25” dry pastel on paper. I think
that the beauty of this medium is the ability to illuminate and express the poetic soul of the
moment.
I contrast this intense contact with the many moments of separation that are part of covid-19.
In particular, as I mentioned earlier, there were many moments of people trying to speak or read
to each other through windows. The following illustrations depict such interactions. They are
done in watercolors on paper.

35

Illustrations

Figure 10. Children standing outside the window talking to their grandparents.

36

Illustrations

Figure 11. A pair of mother and daughter standing outside the care home talking
to someone.

37

Illustrations

These illustrations let me use my imagination to conceive how a deserted window outside
a house or care home, hospital is transformed when loved ones stand outside to meet their
parents, siblings or grandparents. For me, the photograph captures a moment, and it becomes
a finite, a memory etched in the past, with no possibility for alteration. But when one sketches,
one’s imagination can visualize the reality in different ways. It does not become a memory of the
past. Instead, it can represent the past, present or the future. In other words, it is timeless.
With each passing day, windows are becoming a metaphor for the relational encounters
in the challenging times of covid-19. The aim of the illustrations was to honor the relational
encounters. I wanted these illustrations to epitomize optimism and hope.

38

Part Two

39

Narrative Environments

I assumed that collecting and writing all the stories eventually leads to a book containing
all the narratives. But the physical act of reading a book elucidated the lack of engagement
between the reader, speaker, and space. The important questions raised were, ““How can I
create a space for the kind of engagement I want to support? How can stories be part of this
space where the families, friends, and fellow community members feel included and connected
to each other? And how can I do this within the constraints of Covid-19 restrictions?”
As a quick experiment (Figure 12), I tried to create a space where people would also
participate in the act of storytelling through a public prompt. I printed images of a man sitting
in front of a window and two girls standing in front of a window on colorful pages with a prompt
that asked, “What story does this photo tell?” Some other prompts did not include an image,
only a few words to start the story. I attached these prompts on a notice board and left them on
benches at different parks around Rupert street. I placed at least ten copies of each prompt over
the course of two weeks.

Figure 12. Probe for stories gathered through public prompts.

40

Narrative Environments

Figure 13. Stories gathered through public prompts.

As I have already mentioned, I wanted my audience to participate in the storytelling world
physically or emotionally in contrast to just looking at an image or reading a story. For me, it
was an opportunity to gather their accounts of relational encounters described through their own
stories and storytelling.
Many people participated and it was interesting to read their narratives about the
interactions happening through windows. Many people saw the window as a symbol, that
something desirable was happening on the other side. I had begun to see the window as a
gateway to inclusion, as a symbol, and as an opportunity because it told of care and the need
to connect with other human beings. These narratives (Figures 13-14) once again emphasized
the importance of kindness in relational encounters. Caring about others, treating others
with respect and warmth, and considering others’ feelings are the small acts of kindness that
strengthen the relational encounters.
Although people participated, it was through words, and not everybody wants to write
down a story. It would be more interesting if there was more freedom to express their stories.
I continued to search for a more inclusive way of gathering and sharing stories. I wondered
about an active space where families, friends, and members of the community feel included and
connected to each other through verbal storytelling.
I looked into the ancient Japanese storytelling that is gradually being revived and used in
many schools and nursing homes. This is called Kamisbhai, from kami, meaning paper and
41

Narrative Environments

shibai, meaning play or theatre (Enjelvin, 2021). Kamishibai is a group activity – a shared
experience. Storytellers engage their audience, eliciting reactions and answers from the
community. Kamishibai was known as an easy way to educate children and grown-ups who
could not read or write.
I further delved into the narrative environments. Ponticelli (2014), in his project, explains
spatial narratives as an immersive storytelling experience where the audience can physically,
emotionally, and intellectually participate in the storytelling world. This is in contrast to reading a
book or watching a screen which always keeps one outside the story.
Allan Parsons in Narrative Environments: How Do They Matter? (2009) explains, “‘Narrative’
and ‘environment’ could be seen as two ends of a single spectrum” (p. 1). At the narrative end,
the world is overwhelmed by culture, with order formed through material cultural artifacts. At the
environment end, the world remains in its presumed innocent, normal, and/or wild state beyond
cultural order.
Design for narrative environments is also a social innovation strategy in that it can highlight
social issues and bring communities together (DESIS: Our Vision, n.d.). This project can
contribute towards bringing the community together through social innovation and storytelling.
Ezio Manzini (2014) in Making Things Happen: Social Innovation and Design defines Social
innovation as a “process of change emerging from the creative recombination of existing assets
(from social capital to historical heritage, from traditional craftsmanship to accessible advanced
technology), [where] the aim is to achieve socially recognized goals in a new way”. (p.1) A
shared storytelling experience can generate new narratives where the families, friends, and
fellow community members feel included and connected to each other. Narrative environments
are no longer confined to the museums. As I describe below, designers are using these mobile
exhibition spaces and installations in order to shed light on the socio-ecological issues and start
a dialogue among people.
Apart from talking about social issues, a narrative environment creates an opportunity for
people to weave their own stories, leaving behind good narratives and taking with them the
memories they would cherish for many more years to come. The important aspect of a narrative
environment is the creation of a comfort zone for people to immerse in and freely engage with
others.

42

Narrative Environments

Figure 14. Stories gathered through public prompts.

I selected the examples below as inspiring representations of narrative environments.
These diverse environments illuminate how the environment and space provide an immersive
experience for weaving new stories and unconsciously (or consciously) making new bonds with
fellow beings. The first example is Ocean Confessional, which demonstrates how a defined
space within the site is used as a non-judgmental place for openly talking about ecological
issues. The second example is the Vietnam War Memorial in New York, a narrative environment
that is kept alive not just by loved ones but by a wide variety of visitors. The third example is a
holy place to offer prayers for the fulfillment of wishes and to spread kindness. Many people are
brought together by faith and leave with new bonds formed by their mutual wishes and prayers.
The last example in the group is puppetry, a form of storytelling that is similar to kamishabai.
Like Kamishabi, puppetry brings an audience together, ranging from kids to adults, to participate
in the stories. These examples show the diverse potential of narrative environments for an
immersive storytelling experience.

43

Ocean Confessional

“Ocean Confessional is a public ceremony where passersby are invited to reconsider their
relationship with the ocean. With the ocean acting as confessor, participants can express
and seek forgiveness of past and present environmental transgressions” (Fung, Shamsher,
Kristiansen, 2016, as cited Bongino, 2019).
In the spring of 2016, design students from Emily Carr University, Pete Fung, Samein
Shamsher, and Hjalmar Kristiansen, in collaboration with Living Oceans Society, and the False
Creek Harbor Authority, were asked to examine how the conceptual tools and processes of
design for narrative environments could be used to explore issues around local fisheries,
industrial practices, and sustainability (Fung et al., 2016). The designers used probes
to research different ways to generate conversations among the public about ecological
sustainability and the implications of their personal actions on the ocean. They developed a
non-judgmental ritual of writing confessions to the ocean on dissolvable paper (Figures. 1516). The details of the defined space like the signage, painted ground plane, and water-soluble
paper invited the public to come, explore and engage. Observers became part of the story while
witnessing the paper dissolving when dropped in the ocean.

Images retrieved from https://www.behance.net/gallery/89759505/Ocean-Confessional

Figure 15.The Site of Ocean
Confessional.

44

Figure 16. Two men writing their
confessions for the ocean.

Vietnam War Memorial

Vietnam War Memorial honors the US army men and women who served, died, and went
missing in the controversial Vietnam War from 1955 to 1975. It consists of The Three Soldiers
statue, The Vietnam Women’s Memorial, and the Vietnam Veterans Memorial Wall (Figures
17-18), which is by far the most popular attraction. Design by the architect Maya Lin in 1982, the
wall is made of black granite that is approximately 247 feet long and features 58000 names. The
names are listed in chronological order based on the date of the casualty, and within each day,
names are shown in alphabetical order (Vietnam Veterans Memorial, 2017). Using chronological
order instead of alphabetical order unfolds the events of history gives more meaning and
respect to the fallen heroes. They are not mere names listed in a dictionary alphabetically; they
are known in time.

Image retrieved from https://www.britannica.com/topic/Vietnam-Veterans-Memorial#/media/1/628470/119291

Figure 17. Maya Lin: Vietnam Veterans Memorial

45

Vietnam War Memorial

Image retrieved from https://www.britannica.com/topic/Vietnam-Veterans-Memorial#/media/1/628470/227226

Figure 18. The Vietnam Veterans Memorial in Washington, D.C.

One of the most defining characteristics of the wall is the ability of a visitor to see his or
her reflection at the same time as the engraved names, connecting the past and the present.
(Visiting the Vietnam Veterans Memorial in Washington, n.d.). I have never been to this
memorial, but I think it would be an immersive experience to place your hands or fingers across
the names on the wall regardless of if you know these heroes or not. These heroes have been
kept alive and remembered after five decades by their families, fellow countrymen, and tourists.

46

Shrines of Pakistan

Pakistan is home to a number of celebrated shrines dating back to the 10th century. Shah
Rukhne Alam, Data Ganj Baksh (Ali Hajvery), and Bibi Pak Daman (Chaste Lady) are only a
few of these. Every day at a shrine is celebrated like a festival. On the death anniversary of Sufi
saints, locally called Urs, the festivities are quadrupled and celebrated with zeal and zest. The
shrines are decorated with lights and people visit from all over Pakistan.
People light candles, incense, and diyas- oil lamps made from clay. Food is donated for the
poor; Sufi dance and music are played for hours. Several people with wishes tie threads around
the grave guard and sacred tree trunk for the fulfillment of their wishes(Figures 19-22). As love
padlocks are famous in Pont des Arts in Paris, many devotees put wish locks around the railings
and grave guards in the shrine (Tariq, 2018). Once their wish is fulfilled, they come back to
unlock it and donate money or food to the poor people.
Once, I was at Bibi Pak Daman’s Shrine, where another girl had come to pray. She had
been trying to have a baby for a long time. She loudly requested that everyone present make
a mutual prayer for her. And I saw all the women and men raising their hands and praying
together for her. It was an extraordinary moment, seeing everyone leaving their own worries
behind and praying, some tying the thread on the grave guard, with a full conviction for a total
stranger. It is a supreme gesture of goodwill among the people. Moments like these keep
reminding me the world is full of kind-hearted and caring people, and I should never forget to
follow in their footsteps.

47

Shrines in Pakistan

Image retrieved from https://www.dawn.com/news/11506322

Figure 19. Man pours oil in clay lamps at the shrine of
Data Ganj Bakhsh, which is decorated with lights.

Figure 20. Mannat Dhaaga- Wish Threads at Shah
Rukhne Alam, Multan, Pakistan.

Image retrieved from https://www.dawn.com/news/11506322

Figure 21. Devotee whirls as he beats drums while
another hangs from his back to balance their weight, at
the shrine of Sufi Saint Data Ganj Bakhsh in Lahore.

48

Image retrieved from https://www.charcoalgravel.
com/bibi-pak-daman/amp/

Figure 22. Wish Locks, Bibi Pak Daman,
Lahore, Pakistan.

Puppetry

Puppetry is a form of storytelling that involves puppets, which are animated or
manipulated by the human puppeteer. It is similar to Kamishabai, except instead of
paper printed with images, puppets, stick puppets, marionettes are used to perform the
stories. It is used for entertainment as well as to educate about social and moral issues.
It is equally popular among children and adults.
In Pakistan, this is called Kathputli. Katha means “story,” and putli means Puppet or
Putli-tamasha, and Tamasha means show. It dates back to the Indus Valley Civilization
around 3000bc. (Mahmood, 2018) It is a dying art, but Rafi Peer Cultural Center has
built a puppet theater and museum to promote and revive the art.

Image retrieved from http://www.rafipeer.com/rafipeer-theatre-workshop/festivals/folk-puppet-festivals/

Figure 23. Puppets displayed at Rafi Peer Cultural Center, Lahore, Pakistan

49

Puppetry

Images retrieved from http://www.rafipeer.com/rafipeer-theatre-workshop/festivals/folk-puppet-festivals
Image retrieved from https://tokyobling.wordpress.
com/2014/08/15/kamishibai-and-the-first-superhero-street-storytelling/

Figure 24. Folk Puppet Festival, Pakistan.

Figure 25. Kamishibai and the first
Superhero – Street Storytelling.

It is also performed as kamishabai on the streets by many puppeteers. This becomes
an informal theater on wheels where the audience can also use their vivid imaginations to
participate to enhance the story. An inspiring aspect of this form is that it can be performed
anywhere, out in the streets, in the parking lots, or in the subway station. A few minutes of
performance creates memories. This kind of shared storytelling experience among people is
something I was looking forward to creating.

As Gatt and Ingold (2013) state, design does not transform the world rather it is part of
the world transforming itself. “Due to varieties of story, narrative environments impel, pervade
and mediate our understandings of our everyday, experiential worlds” (Parsons, 2009). These
examples of narrative environments entwine narratives and experiences so that people become
part of the stories. They inspire me to create environments where people can come to create
their own stories with their families and friends and leave with many more precious stories.

50

Khirki Theater Design

This project has been focused on the context of restricted physical engagement due to
covid-19. The limited engagement among people and loved ones has been challenging for
many. At times like these, I noticed how small moments of interactions through the windows of
loved one’s homes, care homes, and hospitals offered relief to people who were struggling to
connect with family and other members of the community. I observed, witnessed, and gathered
many different stories where people were singing, playing an instrument, or reading a book
to their loved ones using the window as a channel for communication. As I mentioned earlier,
windows have become a metaphor for these precious interactions.
My final design outcome started out as a portable theater box (appendix 1) which later
evolved into an experimental piece of design called Khirki. It means Window in Urdu. The
outcome plays with the image of the window and invites a theatrical experience where everyone
can come and tell their stories, have conversations and perhaps sing a song. Khirki is a
representation of an emotional time. It is an invitation to come, sit and tell your stories.

Figure 26. Khirki Theater Renderings.
51

Khirki Theater

Figure 27. Inside & Outside of Khirki.

The concept takes inspiration from the relationship of the speaker to the audience in times of
covid-19 restrictions. The window is opening the interior to the outside. It is inviting the outside
to look inside. This project flips the typical positioning of speaker and audience. The person on
the outside is the speaker, implying that anyone can speak. The speaker’s position or chair, is
there for anyone who feels impelled to tell their story to those who are “inside”.
I believe the renegotiation of relational encounters that was needed during covid-19, lead
to windows becoming an emotionally charged symbol. I didn’t want a window to only serve as
a symbol. I decontextualized the window so that it carries both old meanings and acquire new
meanings as we progress by accepting new stories, visits and performances from anybody
making it ‘every person’s theater.’

52

Khirki Theater

Figure 28. Interactions happening through Khirki.

53

Khirki Theater

People can feel free to participate in the narrative environment created by Khirki by
performing in turns or contributing their vivid imaginations to the ongoing stories. The
installations can happen in many places. It can be placed in the waiting areas of the hospitals
where people can unburden their worries or concerns (Figure 29). It can be placed in the
common room of care homes or hospitals (Figure 30). People can sit down and listen or
just be sitting there at the tables doing their own activities. It can also be arranged as an
occasional event outside in a park or a pavilion where different people contribute to the narrative
environment by performing their stories or singing a song (Figure 31).
The transient environment created by this theater can convert ordinary places into active
and lively spaces for a limited period at a time and leave behind memories and stories. It can
spread kindness, bring a smile to someone’s face and provide a meaningful new environment
for relational encounters, especially in the challenging times of covid-19.

Figure 29. Waiting areas in hospitals.

54

Ideation: Khirki

Figure 30. Common room of care homes.

Figure 31. Occasional Event outside in a park

55

The Designer’s Role

This thesis provided me with an opportunity to explore and reflect on the role a designer
plays in creating and supporting an interrelated community. It began as an exploration in
the socially distanced context of the covid-19 pandemic. I observed the powerful need for
connection and storytelling and understood that this need could be alleviated through brief
relational encounters. The art of story collecting, storytelling, and story-generating is central
to the collaborative creative environment I have designed. It is a small initiative within a
local community. As the DESIS Network (2019) explains, if a small initiative meets favorable
conditions, these small and local inventions can be scaled out, and the working models can
be replicated. This proposed narrative environment is easy to make, and can be replicated in
different places such as parking lots, parks, hospitals and care homes.
Space and storytelling can potentially allow diverse interpretations and perspectives to
influence how the proposed environment at different locations is approached. The narrative
environment gives people the freedom to engage with space as they deem suitable. The active
participation in the spatial narratives can illuminate the care and concern that is embedded in a
community.

56

Reflection

I joined Emily Carr University with the conviction that I would not use my former linear,
methodical practices; instead, I would embrace a diverse range of methods design has to offer.
My ambition came with its own sets of challenges, ambiguities, and chaos. Now that I am almost
finished with my thesis, I can more easily reflect and voice the fears and concerns I had during
the course of my degree. Initially, I had planned on working on sustainable food packaging, but
due to the coronavirus pandemic, the direction of my research shifted altogether.
At the time of deciding the new thesis trajectory, we were already a month in the lockdown.
Everything was changing. There was uncertainty in routines, culture, and social behaviors.
It seemed timely and worthwhile to observe the changing dynamics of relationships among
families, friends, and fellow community members. The journey of my thesis has been an eventful
ride. Most of the time, the drifting and uncertainty were liberating; other times, I was afraid to
question the validity of my thesis out loud, even to myself. I was conflicted, morally and ethically,
about questioning the duration of this pandemic. What if it was not as severe as the media was
portraying it to be? What would happen if it disappeared within two or four or six months? Would
my thesis still be relevant?
The journey helped me to grow as a designer. I was able to discover the complicated
relationship between the designer and the community. I am no longer afraid to understand
my own limits as a designer or the parameters of this project (or a project in the future). From
my discussions with peers and faculty members, and my learning in the span of two years, I
realized that design does not necessarily need to lead to a solution. It can prompt dialogues,
debates, and conversations about issues. The project does not necessarily come with an
expiration date once it reaches its last stage, mostly termed as ‘Final Product’. The work
continues.
It took me time to realize that my aim was not to offer a solution to a global pandemic, but
to offer a step towards initiating a dialogue about evolving relational encounters in this new
context. I attempted to generate design for an easy-to-make narrative environment where
families, friends, and fellow community members can come together and weave new stories

57

Reflection

together. It was about appreciating and acknowledging these small yet equally precious
moments spent with loved ones.
The journey taught me that care and nurture should not be primarily regarded as feminine
or woman centered. There is a common misunderstanding that women are more empathetic,
compassionate, and caring in comparison to men. Rose Marie Tong (2009), a feminist
philosopher, argues that establishing that women are “naturally caring” devalues the whole
essence of care. It should be considered a human trait, developed and nurtured in both men
and women. The fathers concerned for their kid’s health, husbands looking after their wives,
and the man sitting outside the care home reading are examples that prove men, like women,
also have empathy, compassion, and care. Care, empathy, compassion, and kindness are
human characteristics and are not defined by a specific gender. This project has taught me the
humanist notion of care.
My own insights about how I care have changed. It does not revolve around looking after
a loved one only. I realized that care includes respecting other people, listening to them, and
reaching out to those who are too shy to ask for help. It is about praying for everyone’s safety
before going to bed at night. In covid-19, it is about protecting vulnerable community members
by maintaining safe distance from others. Sometimes, care is disguised as responsibility.
As time progresses, relational encounters will continue to evolve, as dictated by the
requirements of the pandemic and post-pandemic world. I hope my work contributes to bringing
communities together.

58

Epilogue

After a year, I was finally able to go back to my family in Pakistan during the Christmas
break of 2020. Spending time with my family was therapeutic. It offered me a well-deserved
break from the depressing isolation I was experiencing in Canada. It validated my speculations
about the importance of relational encounters with family, friends, and other members of the
community. I appreciated and cherished every moment spent with my family. I returned to
Canada happy and content because I had spent three amazing weeks with my family. It was not
the same, though. We
maintained a distance; I did
not hug until I got tested
for covid-19, and the result
came back negative; we
did not share food from
each other’s plates as my
siblings were still going to
their respective offices. But
it was enough that we were
in proximity. I was so happy
being under the same roof.
The way my mum
greeted me at the entrance
door of my home is etched
in my mind (Figure 30). I
painted it to preserve the
moment. Every day, I look
at it and count the days until
I go back, and she greets
me again in the same way.
Figure 32. My Mum.
59

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65

Appendix 1
Initial Design Proposal of Portable Theater Design

My final design outcome is like a portable theater box called Khirki, which means window
in Urdu. It is inspired by kamishabai and puppetry, where the storyteller and the audience can
use different props such as stick puppets, marionettes, and shadow puppetry to create an
intertwined new story. The size of the box is approximately 20” by 15”. The back is detachable
so that the person performing can stand behind it. It also creates a safety barrier and resembles
the interactions through the windows. This is one of the reasons why it is called Khirki and
resembles one too.
There will be different levels of engagement between the storyteller and the audience. In
level one, due to necessary social distancing, people from the audience can call out the ideas,
and the storyteller can perform them. In level two, as social distancing eases, people can take
turns to narrate or perform a story. In level three, when it is safe to sit together in close proximity
among strangers, people can also create their own props and puppets according to their stories
and perform them.

Figure 33. Khirki, maintaining six feet distance.
66

Ideation: Khirki

Figure 34. Khirki, sketches.

67

Ideation: Khirki

Figure 35. Khirki, sketches.

68

Ideation: Khirki

Figure 36
69

. Storytelling in Khirki with different props.

Appendix 2
Stills from Video 1

70

Appendix 2
Stills from Video 2

71

Appendix 2
Stills from Video 3

72

Thank You.

73