Next event:
ERINN SAVAGE – Performance
Tomorrow 15:00 GMT


This year we celebrate the extraordinary achievements of GSA Singapore’s second to last cohort of BA graduands. Once again, both staff and students pulled out every stop to surpass our previous efforts. This year has been a turbulent one for us. The news surrounding GSA’s anticipated departure from Singapore in 2021 struck us with surprise. The responses from our industry friends and from our academic partners pay testimony to the profound impact which GSA Singapore has had, and will continue to have, on Singapore’s creative scene.

GSA’s graduating cohort this year will increase the number of GSA Singapore alumni to around 700. They will contribute to GSA’s growing legacy. Our alumni are known for their independent thinking, their readiness to take risks, their critical-reflective skills, and their adaptability. Trained to make a difference, our outgoing students this year are yet again destined to join the small but growing group of future vanguards in Singapore’s design industry and beyond. One of our furthest-travelling alumni, Abdul Rahman, has just returned from New York City, where he was stationed as Associate Strategist by Ogilvy.

Of course, the Covid-19 situation imposes challenges upon all of us. Good designers hone not only creative skills and passion, but also perseverance. Some of our students have already taken the initiative to design guidance information for locals to connect them to the most essential support services in Singapore. Adversity has a way of sifting out those who see opportunity in difficulty, and those who see difficulty in opportunity. There can be no doubt that our new cohort of graduating students will thrive throughout their careers.

Matthias Hillner, Director of Programmes GSA Singapore

Stand Out Magazine

Drag queens; not just men with makeup and dressed in women’s clothing, and more than meets the eye. Beyond just performance, it is an art form. In this issue, take a peek into the transformation process of our local drag queens and be drawn into the artistry of it all.

Stand Out Magazine

Gen X, Y and Z in Singapore

This is a not so typical alphabet book about Generation X, Y and Z in Singapore. From queuing for the latest bubble tea for over an hour, complaining about little things and taking as many samples as you can carry, because they’re freebies. You ask what else seems absurd when you think about these situations. Having said that, this behaviour is sometimes what make us a true blue Singaporean.

OBTD (Obsessive Bubble Tea Disorder )

Bubble tea here. Bubble tea there. Bubble tea everywhere. This obsession locally, is getting out of hand. The resulting disorder, OBTD (Obsessive Bubble Tea Disorder) is showing up. A 10-day BBT Detox programme aims to soothe the withdrawal symptoms of this condition, and eventually cure it. The kit consists of all the essentials you need to cope with it

OBTD (Obsessive Bubble Tea Disorder)

OBTD (Obsessive Bubble Tea Disorder)

OBTD (Obsessive Bubble Tea Disorder)

Sexual Crime

Sexual crimes are rising, with 56 cases reported in Singapore's local universities in the last 3 years. Even though disciplinary action has been taken and security measures heightened, tech-enabled sexual violence has tripled since 2016. These series of posters are targeted at student perpetrators as well as victims, telling them that they can be reprimanded or molested anytime and anywhere; A single message that covers both sides of the spectrum.

Verda Motus

Verda Motus, an exclusive brand that is directed towards working adults which aims to reduce the use of plastic bags in supermarkets. The brand works around a reward system whereby users are rewarded with credit card rebates whenever they chose to use VM's reusable bags for their groceries instead of plastic bags. It targets existing members of chosen credit card types, especially those with a higher annual income and those who have higher purchasing power. Verda Motus Brand Guidelines. This page exhibits how the brand's logo should be used and the amount of clear space that is required when using the logo whether on a physical surface or digital platform.

The following pages in the Verda Motus Brand Guidelines shows all the do's and don'ts about the brand such as Logo Misuse, Primary & Secondary colours and Typography. These factors ensure consistency in how the brand is being showcased on products and various platforms.

Presenting Verda Motus’s member package. Includes beautiful, classy and versatile Verda Motus bag, lucky charm, and the exclusive membership credit card.

Verda Motus club website, exclusively for powerful people. The website provides insightful information on how to qualify and how to start being a member of the Verda Motus club.

The Lazzy Diner

This project brief requires me to forge community bonds over food hence I created The Lazzy Diner, a mobile food service that aims to connect working adults living in Punggol. Based on site surveys gathered, these residents only have a handful of eateries where they are able to socialise within Punggol. Unlike a delivery service, The Lazzy Diner will partner up with different restaurants islandwide each month and will park its truck at various neighbourhoods in Punggol. Residents will be able to book slots and have to sit down to dine together as a community.

The Lazzy Diner's mobile website is optimized and user-friendly for hungry owls in mind. The reservation process can be completed in a breeze. Diners will be able to read up on the partnered restaurant for the month. They will have to key in their personal particulars and book a dine in slot so that orders can be processed. Diners will be done ordering in a couple of minutes and they will know exactly what goes inside their stomachs as shown in the dietary information. All they have to do is to simply browse and select the cuisine and food that they will like to have, and complete the order list.

I illustrated food and ingredient elements to try and create a motif that represents The Lazzy Diner brand. I also experimented with various contrasting colours to see which one suits the brand persona.

Killiney's Brand Awareness

A conceptual project work with Killiney that requires a boost in their sales. According to the client, working adults are their main and current patrons however, I decided to target University students as it was an opportunity to gain more brand awareness since based on gathered research, University students hardly have breakfast or proper meals. The illustrated posters are designed to look hip and grungy as they will be placed around campuses to serve as a reminder for students to grab a bite from Killiney.

It's Not Okay

In Singapore, about 700 million kg of plastic waste is discarded every year. Less than 10% of the plastic usage were being recycled (WWF). Plastic was the largest category of waste disposed of in Singapore last year — 763,400 tons. Reality perception — “When truth is blurred by lies and misinformation, perception becomes reality and all is lost.” What people perceive is usually what they believe, and this is based on what they hear, see and think. The government in Singapore has yet to take serious action in reducing the Plastic usage in Singapore. However, I believe that the consumption of bubble tea is one of the culprit that contributes to this issue. Yet, Singaporeans fail to see / experience the fact that the usage of plastic is a factor to the environment. I’ve created a series of illustration that could be potential posters, as a reminder / awareness to Singaporeans that there is always an alternative. By bringing their personal mugs or bags could help to save lives.

It's Not Okay

It's Not Okay


Introduction This exploratory painting represents the contrast in culture between Singapore and Glasgow in which I have experienced through this study exchange. This painting was inspired by a Scottish poem (Auld Lang Syne) written by Robert Burns.


Concept - Chaos is a definition of what the world is today, and being a part of this world, we are often blinded by the hiccup that is placed right in front of us. How often can we acknowledge that we are conscious of our actions all the time, namely our experiences, the things we purchase and consume? In this project of Place – Non-Place, it’s a creation of my experience in Glasgow, the visual comprises of parts taken from the poem of ‘Auld Lang Syne’ and the words were assembled in an unsystematic order. I have come to realise that, chaos itself, might not actually be what we think it is. Being in a state of chaos is a feeling that one may feel perpetually under certain circumstances. It is not an unfamiliar feeling yet we still let ourselves immerse into that state. As I was sitting by the ledge in Glasgow, I’ve came to an understanding that, the unknown always appears to be LOUDER compared to my ordinary, that might be where the feeling of chaos is found.


The Ways of Seeing

This project was created with a combination of Spark AR (Augmented Reality) and Cinema 4D. The concept is a reaction to how society has advanced into something so absurd with the use of the mechanical eye. Everything that can be seen on the internet in this day and age, might not be the actual truth. In fact, a captured moment by an individual could easily be manipulated. Hence, I’ve chosen the use of Augmented Reality and a metaphorical theme (alienation) to explain the message of what we see from our phones, does not always represent reality.

The Ways of Seeing

Mona Lisa

Mona Lisa, a publication that speaks of the imperfections of the world that can’t always be seen with the naked eye. Mona Lisa embraces the imperfections using art and literature from the history and the present times to disclose a positive spirit for its readers. In the first issue of Mona Lisa, it has discussed the different viewpoints and ideas about the nature of love by Plato (The Symposium).


A psychological phenomenon involving a stimulus (an image or a sound) where in the mind perceives a familiar pattern where none exists called Pareidolia that allows human to perceive faces in places where they do not exist. These images have been taken around Chinatown, Singapore and it forms a similar style and colour to create a typeface.

Arsenal Football Club Official Magazine - Feb Issue

Me being a huge Arsenal fan, I did not want to have football players on the cover page as most designers would, instead I used their mascots to portray the clubs, Arsenal (Cannon) and Tottenham Hotspur (Blue Chicken) respectively. The main attraction is in the centre, The cannon is ready to blast the chicken to outer-space. This way I could add some fun to the cover page design.

It was quite a challenge to design this page. This was my first time doing a “print design” as I’ve been designing for the screen (digital) my whole life. Layout placements in print design can be very important, but I didn’t want to compromise on my digital skillset for this particular page. Therefore I fused both styles. Now read the RED letters from top to bottom. What do you get?

I thought it would be quite interesting to show all the French players who have played for Arsenal Football Club during it’s 134 year old history. As such this would be the complete list of French players from the year 1886 - 2019.

I had a lot of flexibility and fun working on the design on this page in particular because of how I managed to cleverly merged 2 different Arsenal Third Kits (Pink & Cyan) into 1 page. By doing so, not only does it not look regular and dull anymore… It also looks energetic and youthful!

The last one would be a collage of many more different page layouts and designs that are featured in my own edition of the Arsenal Magazine. 

For more information, visit

Incuba - Luxury Healthcare Packaging

INCUBA is a microchip that is inserted and incubates in the human body which reverses the effects of procrastination by monitoring and re-balancing the different levels of hormonal and negative chemicals changes in the human body.

This is my design process where I came out with some rough sketches digitally with pin-point accuracy and measurements done to scale for the development stage for product prototyping. I also made a breakdown of the different parts needed to put the prototype together to finalise the design.

This is the “Chip base Plate” where the placement of INCUBA chip will be for display.

Once the top half of the packaging is opened and remove, underneath this is what you will see. The Emblem of the INCUBA chip design (hexagon-shaped) and a Manual for the user to know how the product functions.

The last one would be a collage of many more different page layouts and designs that are featured during the Product shot on INCUBA.

For more information, visit

Love Letter to Chinese Cinema

Love Letter To Chinese Cinema is a project that explores the overlap between today’s Chinese youth, and their relationship with Chinese Cinema. How to Judge a Chinese Film by it’s Chinese-ness is an ironic and satirical kit, where warped and often Eurocentric perception of Asian cinema manifests itself into a tangible product. This kit uses hypocrisy as a visual language to question contradiction and double standards in the way that movies are now perceived.

Banana is local street description for Asians who have chosen to abandon or neglect their cultural identity in favour of a western one – yellow on the outside & white on the inside. Pinkerton syndrome.

Western vs Asian comparison – the notion of “worth” is often brought up when discussing Asian films, whether it is “worth” the watch, time and money. An endless handout of excuses.

Civi Type: The Man, The Skies, The Earth

A writing system born out of a dystopian future in 2064 that eerily mirrors the (future) present; war, environmental decline and viruses. Where mother tongues are forgotten, this system is used to indoctrinate and communicate — its purpose entirely functional and devoid of emotion. A writing system produced from analog and digital mediums, its form is derived from the functionality of Chinese logography and carries the characteristics of blackletter.

The system's handbook, bound in tradition Chinese bookbinding to echo its influence.

The four core functions of the writing system, conveyed purely through visuals. It lacks phonics & no symbol represents feelings nor inquiry. The cold, robotic nature reflects in its stiff and angular form.


#endthecommitment is an initiative to end the toxic commitment we have with single-use plastic bags and opt for greener alternatives while doing our daily shopping.

The Bees are Coming (Back)

The Bees are Coming (Back) is a travel scrapbook of my experience in Glasgow and these are a few selected spreads from it that I really enjoy. This was also my first attempt at creating a travel log and I assure you it looks a lot better in real life.

Thank You and Goodbye

Thank You and Goodbye can be seen as the unofficial Part Two of The Bees are Coming (Back). This travel log documents my experiences in London, Paris, Brussels, Cologne and other parts of Germany. Once again, I assure you it looks a lot better in real life.

Mr Nobody

Mr Nobody is a short film follows a lonely phantom who lives in a deserted city. Consumed by loneliness and desire to connect he spends his days collecting ‘friends’. His quiet days soon changed when an unfamiliar sound resonates through the city.

Mr Nobody Still

A screen capture from the film, when Mr. Nobody was distracted while looking for a ‘friend’.

Mr Nobody Environment Paintings

The environment in the film was painted in watercolour. Using grey tones express how the Phantoms view life, devoid of anything, dreary.

Mr Nobody Development

These are some development sketches for the film.The phantom’s walk pattern is not expressive, hearkening back to how his character view his life; a lack of excitement, mundane and repetitive.

Mr Nobody Storyboard

Storyboards for the film.

The Cost of Love

The Cost of Love is a spin on an old story by Oscar Wilde. It speaks of the woes of love and the idea that everyone has a different perception of love, shining a light inside us and causing us to ask if we truly know what love is.

The Cost of Love Key Image

One of the key images of the story, it symbolizes how sacrifice can lead to another’s happiness, but is it worth it?

The Cost of Love Storyboard

The final storyboard for the storybook.

Booker Book Jacket

“What these three stories have a common?” was the challenge this brief presented. Underlying in all three narratives is a recurring theme that ties these narratives together; Deterioration. Each story tells a different tale about the deterioration of a certain aspect; Sense of Self, Memory and Acceptance

Booker Book Jacket Original Paintings

The original artwork for each cover.

Good Grief

Good Grief is a mobile app that explores an alternative way of facing one’s mortality by learning the impermanence of life and that death is not an isolated event. The app examines ways a digital tool would redefine current practices and attitude towards commemoration and legacy. Through pre-planning exercises, it empowers one to live fully by coming to terms with what they have at an early start and guides one at the later stages, making a good grief for all.

Good Grief

The 3 main categories of the app are the planning, memories making and grieving phases. This feature let one start a living will and pre-pay a funeral over time.

Good Grief

The app landing page prompt viewers to download.

Good Grief

The posters are copy focused with an indirect expression of death. Dark humour is used to normalise and direct the viewers, particularly the young adults to be less serious about it by relating the app features to the context of millennials’ behaviours. These aim to invite them to start a culture of openness on a taboo topic and eventually spread the word to their older loved ones.

Good Grief

This project went through multiple iterations that started with a concept of providing a modern intuitive funeral service found lacking in the deathcare sector into a wholesome guiding tool. The visual style evolved from a dull palette into a balanced muted organic tone with animated euphemism images put together, allowing one to see two sides of the same coin, similar to the idea of death comes with life.

The Subversive Smile

The Subversive Smile explores the hidden smiles consumed in the capitalist world as the spectacle evolved. By decontextualising (divide) familiar images to form new visual metaphors (addition), it disrupts (minus) and reveals (plus) what we've overlooked. Using subtle visual manipulation and irony, it challenges viewers to rethink their consumption habits and question if we’ve been endlessly pulled into desires dictated by false images of happiness.

The Subversive Smile

We are attracted to the allure of smiles that romanticise instant gratification and fast consumption.

The Subversive Smile

(L) As the spectacle evolved with the rise of technology, social influencers on social media endlessly pull us into desires and images of false happiness. (R) The dark side of a happy meal’s allure that leads to obesity.

The Subversive Smile

The hidden side that consumers do not see behind fast fashion of exploited sweat shop workers. “Have a nice day” is the slogan of capitalism that reveals the irony.

The Subversive Smile

Politicians are known to conceal the truth with a smile. Using juxtaposition and subtle manipulation, it shows the hero turning into a villain.

Internetto Magazine

Internetto is a magazine that covers Internet slangs and trends in bit-sized information for the Masses.

The Fisherman and His Soul

The Fisherman and His Soul is a short story (6209 words) written by Oscar Wilde. It features a young fisherman and his yearning for a mermaid, his obsession drove him to commit unholy and unthinkable actions. Upon reading the story, it is apparent that the main cause of the story’s tragedy was due to the actions of the stubborn priest in the story. The priest then is one of the core parts of the story. In this revised version, I attempted to retell the story in the point of view of the priest, the story accompanied by a set of hand-drawn illustrations.

Phase Plastic Out

A habit becomes an addiction when we continue to engage in an activity despite knowing the adverse consequences of it. Comparably, people are using plastic whilst understanding the impact of plastic usage on the world and themselves. The difference, however, is that they don’t recognise their plastic dependence as a form of addiction, but rather a necessity. In my research and observation, I came across a few uncles carrying a newspaper roll in a single plastic bag. I found that they do so as to not dirty their hands. If only plastic leaves a mark as a newspaper does, it would be less popular. I then connected these with self-abuse, abuse, then addiction - all of which is obvious visually, and heavily stigmatised by society. My project, therefore, aims to liken our plastic reliance to other severe forms of addiction such as drugs, in the form of a campaign to stop plastic use.

Gravity's Spiral - One and the same

To point a finger at the self (myself) - to uncomfortably yet essentially deny denial, I believe, is a step closer towards human flourishing. This is a personal project aimed at visualising and reflecting and interpreting my daily occurrence. One and the same: Someone preached that the problem with social media and the digital world is that it creates an antisocial world. Well, for me, I rate his statement a “maybe, but not really”. Regardless of device or tech, we still tend to be immersed in the self a lot. We are normally anti-social. However, biology states that we are normally social too. Maybe, momentary isolation is just a way of coping with the constant noise and stresses of our environments - perfectly fine, really. In his defence, he might be referring to the overindulgence of media - how normal consumption easily becomes an addiction.

Gravity's Spiral - The Assembly Men

I was watching a trending video of a man listlessly working at his customer service job., a fake smile plastered onto his face. This man me think about how manufactured the actions of people have become. How different are we from mass-produced items?

Gravity's Spiral - Curled up. (Acrylic paint on cardboard.)

I was watching a trending video of a man listlessly working at his customer service job., a fake smile plastered onto his face. This man me think about how manufactured the actions of people have become. How different are we from mass-produced items?

Wayfinding Project at SIT@Dover

This project aims to make SIT@DOVER a place of effortless navigation through wayfinding signages without compromising the appearance of its “SIT-DNA”. The signages have been designed to mimic the patterns of polarising light, which migratory birds depend on for a correct orientation towards their destination - it is a symbolism for SIT’s guidance of students that have travelled great lengths to get and complete their degree.


Presented with a magazine brief, I was tasked to write the copy and design its graphics of a random topic. The topic I went for was about “mimicry”, the imitation of someone or something. The content is written about different subjects that touch on different aspects of copying, and I have illustrated and collaged visuals according to the written content, stringing them into a proper magazine.

LUSH Flagship Store (retail)

This project analyses how existing shopper’s habits in LUSH could be adapted and triggered in a flagship store by tapping into the sensorial aspects of a consumer. The project taps onto the existing senses of shoppers that makes them move and react in a certain manner within the store itself. 3 senses, “See, Touch and Smell” are observed, thus these senses are being used to develop deeper into the flagship store experience tapping onto these sensorial aspects, allowing shoppers to wander into the space, finding their own preferences. ​

Layout Plan: Proposed Zoning, Circulation and Material

The flagship store is separated into different zones which consists of different scents. These zones are separated based on the experience and scent. The proposed zoning, circulation and material provides an overall view of the space as well as the possible journey that could take place within the store.

Red Experiential Zone

Shoppers could place their head into the opening to get closer and feel the texture of the wall. LED strips from the bottom would shine in enhancement of the experience. The experiential wall (scratch and sniff wall) are used to contain the smell within the space instead of having it diffuse around the store, overwhelming the senses of shoppers. Upon scratching onto the experiential wall, it releases the scent of roses allowing shoppers to get a preview of the smell.

Transitional Space

The transitional space serves as a preview of the overall flagship store before shoppers enters. Different coloured pod gives a sneak preview of the senses that will be tapped into as well as associating the specific colours that matches with the scent and senses.

Yellow Experiential Zone

The texture wall for the yellow zone is left exposed in comparison to the other zones as the zone tapped onto its texture such as its smooth, citrus surfaces to provide a different experience to shoppers.

Passage Way

The passage(way) shows how shoppers can walk through the store by their senses through visuals and scents. Certain zones are placed closely to allow shoppers to follow the type of scent they prefer as they can smell 2 different scents while walking through the space

Inhabitation (Installation)

Inhabitation is an experimentation on multiple design concepts by studying the existing habits within the site, thus creating an installation which enhances and invites the existing habits to take place within the installation. Habits in this project pertain to the routine of people. This project is an installation, a temporary feature on site for a 3 – 6 months duration.

Portal of Memories

Modular cubes that are hollow serve as a portal of memories to users. These boxes are like a frame captured in one’s mind, creating memories. What one sees in each box may not be what others see, hence the “memories” captured in these modular cubes differ for each individual.

Reflective Memories

Mirrors trigger a form of reflected memories such that when one peers into a mirror, what they are seeing is being reflected. This reflection alters memory, as what lies before their eyes will eventually become a memory of the past. What one sees today will become a memory tomorrow. The mirrors reflect what users see, turning it into the past.


This installation allows users to identify and interact with the modular cubes such that the big modular cubes can be used as a space where one sits to read. The smaller cube serves as a step to get from one space to another. It also provides users use it as a sitting or discussion spot.

The Irreversible Cycle: Life and Death (Exhibition)

The Manifesto project is a curation of an exhibition which consists of a constructed narrative that ties the selected collection of installations and art pieces together as a coherent whole, creating a themed exhibition space. A life cycle is defined as the developmental stages that occur during an organism’s lifetime. A life cycle ends when an organism dies. Life and death are a continuous cycle, making birth and death different ends of the same spectrum of existence. This continuing loop of life, death, and rebirth is at the heart of everyday living.

The Irreversible Cycle: Life and Death (Exhibition)

Spatial context of the exhibition which includes a summarised overview of the exhibition’s narrative and its journey from the beginning to the end.

Floating Time (Mid Life Cycle)

In the dark space where lights emitting are mainly from the exhibited pieces, a black curtain is used to separate the artworks so that the lights and its effect does not seep through the spaces, allowing visitors to immerse each space fully.

Decomposition (Dying/Decomposing Cycle)

The decomposition space consists of artworks which represents death and how it can also be in the form of decaying.

Corridor Transition (Death Cycle)

Leading to the next exhibited object, mirrors are placed with the intention of providing a preview of the next artwork, Archive of Deathclock, as well as having the visitors to be a part of the artwork.

A collage that shows the overall aim of the project which is to understand the sensorial needs of hypersensitive individuals with autism and support them in spaces where they transit into an existing community.

Exploration of the spatial qualities of the communal garden by thinking through making.

In case of sensory overload within the community centre, hypersensitive individuals with autism could use the lounge, which is designed as a therapeutic healing space with interior elements that promote mental curiosity and stimulate the desire of experiencing the space.

The second part of the project is a redesigned hawker centre. The food stalls are placed within the high-stress areas while the seating area is placed nearer to the low-stress areas. The two areas are separated with the main circulation path. This redefines a spatial hierarchy which would help hypersensitive individuals with autism.

Seats that allows configuration are integrated with the redesigned hawker centre. The seats can be converted into booth seating if hypersensitive individuals with autism require a space of a sense of enclosure.

Pause spaces with seating are added into the hawker centre to provide opportunities for prospect while consuming meals. These pause spaces are clearly distinguished with a ring of landscape design which also helps with odour abatement.

The third part of the project is a community library. The library cantilevers above the communal garden, blurs the transition of exterior spaces into interior spaces and creates an inclusive environment for the local community.

Environmental issues have been so much more important to me in recent years, and that has influenced the ways I approach the type of projects I want to do and how I want to execute them. For my Final Year Project, I wanted to explore the possibilities of how we can live with the least carbon footprint as possible. This will be done by tackling how HDBs can be reconfigured in order to be more self-reliant and self-sustainable. As we live through a strange time, through the COVID-19 pandemic, the notion of being more self-reliant and self-sustainable is more relevant than ever.

This collage was my way of expressing a ‘futuristic’ Singapore and how Archigram’s unbuilt projects could become a reality. My project was very inspired by Archigram and the theory of Rubanisation by Tay Kheng Soon. The idea of Plug-In City constantly evolving to meet the needs of people, and by having all the resources needed in one mega-machine – without harming the environment, was something that intrigued me. I wanted to combine those ideas, with the strategies of Rubanisation, to redefine how we live today so that we live with the least carbon footprint.

This is a series of materials made from waste. Gas, oil, consumerism, electricity, transportation and every other form of human activity, contributes to our carbon footprint. I asked myself, what if I could make my own spoon? Knowing that waste is a great carbon footprint contributor, I wanted to explore how household waste could be reused and made into something new, to kick-start the project. What if I made my own spoon using banana peels? That would mean I do not have to buy a new spoon - I do not contribute to consumerism and energy to produce a new spoon, and I get to reduce and reuse my waste, promoting a circular economy. 1. Milk + Vinegar 2. New-paper (made from waste paper) 3. New-clay (made from waste paper) 4. New-clay 5. Alternative Banana Peel Material 6. ABPM lamp shade 7. New-paper + ABPM 8. Slab of ABPM 9. New-paper 10. Weaving ABPM 11. New-paper + ABPM 12. Weaving ABPM with mesh

This neighbourhood is the site I chose as it already had a lot of existing amenities that I could work with to create a new masterplan. The analysis and masterplans done were based on the strategies of Rubanisation. My main objective was to ensure that no building was just purely residential, it had to be combined with another programming.

The diagrams of different configurations were a process of redistributing the existing amenities from the site, to one HDB building. Although this idea sounds like a Mixed Used Development, I was exploring an idea away from that typology, hence I decided on Diagram 6 as its configuration was most different from a MUD. I then translated this idea to a very draft collage to envision the type of spaces I wanted to have. To continue, I traced over the collages so that I could draw out how certain spaces could relate to one another. It was very important to sketch them so that they came together as one whole space. In order to redefine the way, we live, I chose to focus on a HDB building because it is the most common form of local housing.

What if HDB blocks had everything we needed? A pandemic-proof, zombie apocalypse-proof housing, because we would not need to leave our homes? My vision of a new HDB typology was to combine everything in a neighbourhood, into a singular block. Having urban farms are integral for residents to be able to grow their own food. This new typology is all about self-reliance, self-sustainability and a circular economy. This compilation shows the final iteration of the collage and how in reflects on a HDB from the site. The diagrams on the right show the circulation of the different spaces, programming and space planning.

To decrease carbon footprint, the principle of sharing is very important. For instance, not everyone cooks, hence, not everyone needs a kitchen. Layout explorations 1 and 2 were to explore the optimal potential of a HDB floor plate and how many bedrooms there could be by creating a central node of common areas. Traditional HDB units were eliminated for a floor to become one. With reference to my envisioned HDB typology, I decided to develop Level 9, which consisted of co-working spaces, farm, common areas and residential.

Inspired by Archigram’s Plug-In city and how it is able to adapt and change to the needs of its users, I wanted to incorporate this idea to the residential quarters by designing adaptable bedrooms. The bedrooms can be made bigger or smaller depending on the user. By having this flexibility, it lessens the likelihood of people having to move homes which in turn decreases the demand for new housing. Hence, this could possibly lessen buildings that need to be built and thus decreasing our carbon footprint.

This series of models is an ideation of furniture design. There is also potential to incorporate the earlier exploration of alternative materials, with the construction of the furniture.

This series of models is to explore the design of the common areas. I wanted to explore how people could come together, their co-existence in this new typology and their co-existence with nature. The idea was to create spaces without having to build solid walls, so that the spaces could be open and allow for natural ventilation to take place. By being more open, the common areas are also able to seamlessly connect with the other spaces.

From entertainment to salvation, the former Venus Theatre in Singapore

In 1983, the Venus theatre in Singapore’s west went through a metamorphosis by adaptive reuse after the cinema suffered economically. In 1985, the Church of Our Saviour became its new occupant. Today, the church continues to operate in the community, struggling to stay relevant. This project aims to create a greater connection to the community through a multi functional, therapeutic space bringing people together whilst being relevant to the current context.


This collage shows how the project proposes to open up the enclosed space, bringing people together and breathing new life into an old building. The site happens to be strategically located along the Queenstown MRT and Queenstown Secondary School. Because of its favourable location, the church adapted the space to fit the needs of the youth who can use the site’s facilities for quick foosball games, water break, resting spot and meeting point. However, the main church auditorium remains untouched during the weekdays making this space underutilised.

Model Exploration

With a desire to open up the enclosed space, model explorations have been undertaken to break the buidling’s rigidity by adding alternate circulation, playing with volume height and width, yet celebrating the original structure, and taking both its interior and exterior activities into consideration. Some of Singapore’s buildings seem greatly influenced by Le Corbusier’s modernist, 1960s practice, especially his “Five points of architecture”. In the case of the Church of Our Saviour pilotis act as a primary support of the building.

Redefining the Church

While adaptive reuse gives a space new purpose, the church community was forced to dwell in a building that was not originally meant for its use. This photo montage hopes to represent how a church hall could look- drawing individuals into the holiness of God through considerations of form, materiality, zoning, light and shadow.

Forms, Light and Shadow

Martin Luther gave birth to the reformation and protestantism, changing Christianity through a rejection of ornamentation, the legacy of empire and majestic socio-spatial power. These model explorations look at the influence that materiality and light can have on atmospheres that may draw individual to sacredness. Taking influence from monolithic architecture where buildings were carved from a single piece of material, these models try to replicate a similar raw, intimate dwelling space.

The journey into the main sanctuary

To create a dynamic and versatile interior space that enhances the look and creates a timeless, classic feel, materials such as natural stone, in particular limestone, were used, as well as both elements of wood and glass. Lime stone is known to be strong and able to withstand abrasion. A tunnel was designed to play with depth, and a low ceiling creates a space that allows for individual contemplation.


In reference to Peter Zumthor’s Bruder Klaus Field Chapel of which he says: “In order to design building with a sensuous connection to life, one must think in a way that goes beyond form and construction” this design was established from a foundation of two contrasting materials: rock and light. With minimal ornamentation, this design hopes to bring people atmospherically into an experience of holiness.

Interior Space

This image shows the exploration undertaken, to captures both materiality, form and texture in render.

Space for the community

This project looks into creating a dual functional design, i.e. two programmes that operate at the same time in the same space. The first floor caters to a public crowd, while the upper floor caters to the existing Church of Our Saviour community. This design hopes to revitalised and be relevant to current community activities in the face of urbanisation.

Creativity in Everyday Life

Project: Creativity in Everyday Life. The project intention is to allow the user to unveil their own sense of creativity. The project aim is to build an awareness that creativity is present in everyday life. Designing the circumstances for creativity to arise.

Creativity in Everyday Life

Conceptual models and sketches done to interpret the frameworks by practitioners (Bruno Munari, Johannes Itten and Tim Ingold) that motivated the study of Creativity in Everyday Life.

Creativity in Everyday Life

An exhibition showcasing the subtle presence of creativity in everyday life at home. Site: HDB Estate (Hougang Street 91 Block 909 Singapore) Taxonomy Poster: Exhibits of everyday household items in their settings and their multiple uses as created by the user.

Creativity in Everyday Life

Initial exploration of the exhibition - circulation and spatial planning. The site of the exhibition was suppose to be at Gilmann Barrack AFA Block 28.

Creativity in Everyday Life

The circulation and spatial planning were reorganised to the new site, the HDB Estate. A sense of unveiling in an inconvenient setting that allows the user a greater sense of curiosity in stimulation. A spontaneous reaction between the user and the exhibition. Evoke a higher catalyst for awareness.

Creativity in Everyday Life

Exhibition Design. Modules of the various different settings in a Home. The modules are fully interactive. Users may inhabit the space and interact with everything in the module. The interaction between the user, object and the space is a key part in evoking the sense of awareness in the presence of creativity in everyday life.

Creativity in Everyday Life

Exhibition Design. Highlighting the placement of the exhibits within the module space.

Creativity in Everyday Life

Creating from imagination rather than following instructions. This gives users the tools to create. Users are free to imagine, explore ideas and invent new things. Site: Kallang Rivergreen Building - Singapore. Taxonomy Poster: Understanding creativity in everyday life in the context of the workplace.

Creativity in Everyday Life

Perspective of intended spatial design - I. Building the workstation is intuitive and fun and resembles the direct creative output of work (precedent studies that were referenced are the Caroline Pratt Unit Blocks and Interslot by Rodger Limbrick).

Creativity in Everyday Life

Perspective of intended spatial design - II


IntrThe original definition of panopticon in relation to the prison environment, as discussed by Foucault has changed dramatically in the present day - to an all pervasive digital form of surveillance by governments and technology firms.oduction

HDB Corridor - Thief Deterrence

This project aims to explore states of ease and discomfort in public and private environments brought about by digital surveillance. Can interior design mitigate the fine line between surveillance for crime prevention and the crime of voyeurism?

HDB Corridor - Thief Deterrence

An initial idea of space appropriation by residential unit along a corridor.

Workplace - Controlled supervision

The use of views and perspectives are used in this office setup to maximise efficiency.

Workplace - Controlled supervision

Screens are used for privacy.

Workplace - Controlled supervision

Subtle differentiation of spaces within the same volume help to mitigate the ill of the open office plan.

Workplace - Controlled supervision

View from a workstation.

Adjacent Play Space

This project explores ways to bring about playfulness in adults; to relieve stress relief, develop social skills, to allow for relaxation and to provide “escapism”. The installation is located in front of Ocean Financial Centre and is open to use for all who are passing-by. Enhancing their experience on what they deem as escapism / leisure in Raffles Place is key rather than physical play.

Adjacent Play Space

My models made were inspired by Bruno Munari’s geometrical shapes and Alexander Calder’s theory of the relation between things, to create “private-ness” as most adults there are comfortable being in their own zones like using their phones, talking to friends and looking around. Iteration one consists of most models but seem too enclosed. While visual play is being explored, play in this project is about embracing “private-ness” in the open space.

Adjacent Play Space

The proposed design works around existing circulation with visual play, movement, and interaction. Having natural lighting, there can be a play of colours that will reflect on the ground. The shapes hanging is an interactive installation, allowing to be pulled down or rotated while able for one to sit on it. This might make one feel more comfortable if they want to have a certain private physical boundary.

Retail Play

“Retail Play” This project leverages on the activeness in teenagers to create an interactive experience with the displayed products. Located in 313 Somerset, Level 1 and 1M, for the fashion brand, Bershka, the design centers on the idea of decentralisation. Bershka is about fashionable colours, contemporary furniture designs, and for it positions itself for adventurous young people who are aware of the latest trends, music and social networks.

Retail Play

Observations of consumers were made, and models were presented on how products can be interacted differently. The circular shape is chosen as the final as it is more cohesive with boundless circulation as compared to rigid fluidity, and there can be interaction with both merchandise and forms.

Retail Play

Being a retail space, play in this project is interactivity. Although being able to see the merchandise from afar, there might be a gap between the levels that forces them to figure out how to get there. The coloured areas indicate fitting rooms, rails, and a platform for the products.

Retail Play

With decentralisation, all the non-load bearing walls and the mezzanine level were removed to create one space. Similar to model 7, the levels allow one to figure how to get to certain products. Fitting rooms are incorporated throughout the forms so that consumers do not need to carry so many items all the way to fitting rooms at the end of the shop like most do.

Retail Play

Products are placed on different heights, materials, and colours to engage consumers. These platforms blur the line of a resting space and an area for merchandises.

Retail Play

Lights of different colours, shine from the grout of the surfaces giving it vibrancy. The different levels allow one to explore where they want to go next.

Retail Play

Tablets are provided for consumers to look at the merchandise all at once at the entrance. Similar to model 8, this spiral allows a clearer view of the merchandises on the red rail and green display.

Retail Play

A workshop area is found at the corner of the left, while the right has an alteration area and seating at the front for the seasonal fashion show. During the fashion show, models will be coming from all areas and have a runway at the empty space in the middle.

Retail Play

Similar to model 9, the extruded circle serves not only as a platform as there is different heights. The left shows an area for evening dresses while the right shows the alteration area, with the fitting rooms on the extruded platform.

Margiela+Moholy-Nagy Collage

A conceptual collage forming visual links between the brand, Maison Margiela, and chosen practitioner, Laszlo Moholy-Nagy, was crafted to aid the process for The Window Project.

Spirit of Geylang Serai

The genius loci or character of Geylang is represented by a vibrant, crowded environment and its Malay community shown in this collage as part of the research study for the final year project.

Material & Activities Collage

The conceptual collage propose the use of materials and the idea of sharing knowledge through different means. It guides the process for the final year project, A Cultural Mosaic, to achieve the essence of Malayness and the importance of interaction.

Learning Space Entrance

A Cultural Mosaic is a learning space that allows a glimpse of Malayness to both the Malays and non-Malays. With an integrated library that curates books about the Malay identity and culture, it serves as a useful resource for people to learn about the Malays.

The 'Kitchen'

The furnitures were designed to play with different levels of height to create the kitchen experience inspired by the Malay rituals in a traditional Malay house. The use of screens instead of walls aims to open up opportunities for interaction and knowledge sharing.

Emotional Canvas

A look into the Vandilist Expression, a space where the youths and students can release their pent-up emotions onto a canvas, as part of the proposed intervention for The Ways We Shop.

Shooting Range

The entire facade of the assembly for The Ways We Shop uses one-way mirror to provide the freedom to express freely without fear of being stared by the public. However, from the outside, the public are able to view the emotions that are being expressed by the users.

Pandora Box

Tackling the repressed, negative emotions of youths and students which may come from peer pressure, a utopian space for students was ideated. The collage expresses the concept of the intervention for The Ways We Shop, inspired by rage rooms.

The Ways We Inhabit This Space

The proposed inhabitations for A Cultural Mosaic was illustrated through a sectional perspective view. The key ideas of the learning space’s design plays with the different ways a person can sit, referenced to the sitting rituals where a single mat can accomodate for multiple needs.

Sectional Perspective of Cinema

An open-cinema was designed for Reminiscene which aims to bring back the spirit of Malayness, the spirit of community gathering, that was lost in the present. The use of the roof abstraction was to symbolise nostalgia due to the past site, the Geylang Serai Malay Village.