The ‘Garden of (IM)permanence’ explores the past and future of Gdansk shipyard as a tool for understanding the wider politics and history of Poland, and imagines the redevelopment of the post-industrial site as a women’s centre. The architectural film acts as a protest against the patriarchal attitudes of the current government towards women, as well as towards the distortion of history and use of architecture as a tool for power.

Using the shadow, an organised seeding of forget-me-not flowers and Polish amber, as well as reusing the building material found on site, Hanna's project aims to commemorate the forgotten histories of the women working on the shipyard, which her heroine describes as a ‘mother’.

Drawing from UNESCO’s definitions of tangible and intangible heritage, the notion of 'anti-monument' by Polish architects Zofia and Oscar Hansen, as well as the brickwork techniques of Eladio Dieste, Hanna develops an original design that looks into ‘the future through a collective act, where the women disassemble the brick warehouse standing on the site to create a new form’.

The final arrangement of her impermanent ‘garden’, slowly taken over by nature, translates her unconventional use of materials and processes into a time-conscious monument to the past, present and future.