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

Singapore

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

Get Lost

Often we become too focused on getting to our destination that we've forgotten the joy of being lost in the foreign paths and scenery. I had the opportunity to experience that excitement once again in Glasgow and designed a maze with no starting or ending point, allowing the ball to roam around the maze aimlessly with the map coordinates of the places I was lost in along the walls of the maze.

You Deserve Better

We are in a toxic relationship with plastics. The more we love it, the more it’ll hurt us, and yet we keep coming for more. This campaign aims to reduce the use of plastic bags through realising the love-hate relationship between us.

Celestien

In the year 2090, space travelling technology is advanced enough for everyday people outside of the 1% to travel to Mars and Moon for outdoor recreational purposes such as hiking and skiing. As the first space tour agency for recreational activities, Celestien believes that when humans get to enjoy space for leisure, we will truly be a species beyond Earth, becoming one with the celestial.

Celestien

In the year 2090, space travelling technology is advanced enough for everyday people outside of the 1% to travel to Mars and Moon for outdoor recreational purposes such as hiking and skiing. As the first space tour agency for recreational activities, Celestien believes that when humans get to enjoy space for leisure, we will truly be a species beyond Earth, becoming one with the celestial.

Project 1: The Plastic Problem - WE ARE AT WAR

The Plastic Problem - WE ARE AT WAR I had to frame a new narrative to approach this as the overuse of plastic is still prevalent, despite many efforts to help reduce the use of it. My target audience were the Singaporean men as they are the ones who seem the most indifferent about any type of situation. Singaporeans tend to like marketed messages that were more locally relatable and also things that had more comedic value. The use of social media is the go-to for social cause these days. Keeping the video under one-minute to fit the restrictions of Instagram and still be able to post on Facebook. Drawing similarities to that of a Singaporean Man(Target audience) who has completed National Service but fighting a different enemy- plastic. Continuing the connection with the Singaporean context of post #OperationReadyDate #ORDLO on social media and changing it to fit my narrative. Caption: It is a battle against convenience. They know our weaknesses, They know our strengths. We know they are bad for us, But they know we need them. We need to fight back, We need to protect our land. Help us fight against the use of plastic bags and spread the cause. #OperationReusableBag #ORBLO #ShoppingBagOrder #SBO . . "Got my new tote bag, gonna use it tomorrow #ORBLO"

Project 2: Add, Subtract, Multiply, Divide - Dimensions

I used this project to push the orthodox boundaries of image-making relevant to Architecture and space photography. I wanted to combine the photography of the image on different canvas to create a new and different image, as there are a lot of ways we can see how “add subtract, multiply, divide” can be translated into photography and image making. I found that origami also expressed certain aspects of what the buildings and architecture represented; a structured and geometrical medium. It demands precision, intricate construction and attention to detail. I experimented with different forms and shapes with origami from polyhedral shapes like diamonds, prisms, pyramids and cubes to tessellated design, where we also see much of what inspired modern architecture. In my experimentation, I used base origami patterns and experimented with different ratios and forms.

Project 2: Add, Subtract, Multiply, Divide - Dimensions

Experimentation with printed images. The printed images on the origami created different intersecting lines and divisions that relate back to the brief. This still felt rather stagnant and dead as i wanted to disrupt the symbolism of the structured and rigid idea of what the architecture and origami is. I decided to experiment with projecting onto an origami installation instead. The projection consists of video and stills onto the installation. The moving images over the origami created a more organic and lively feel compared to the structured and rigidity of the elements individually. The elements of the installation were also interactive, such as the kaleidocycles and tessellated objects. This allows the viewer to distort and disrupt the image in different ways and by doing so, creating a new image in the process.

Project 3: Self-initiated - Aiwa

While doing my project, I chanced upon this old lady still using and listening to her 20 year old Aiwa radio. It gave me the inspiration to do the video advertisement with Henry Heng. The video production was directed towards going onto social media, as marketing and digital appliances purchases are mainly done online.

Humanity Washed Ashore.

A civilisation forced to abandon their home by the government and to seek asylum elsewhere. Hundreds of Rohingya refugees who are attempting to escape desperate conditions in their hometown remain stuck at sea. Even in these desperate times, the refugees' entry is being denied in countries. While some refugees are able to make it onto land, unfortunately, many wash ashore. 'Sarnar' is a typeface designed around the idea of micro-expressionism around the eye area. It is a typeface that translates human expressions into a semiotic. The semiotics are constructed and layered to compound meaning, just as how we learn to read expressions and emotions. The typeface, 'Sarnar', is designed to raise awareness of the plight and sufferings of the refugees stuck in the sea. Emotion is an innate human language. Governments tend to lack empathy in favour of economic and political gain. This seemingly abstract typeface is designed to elicit emotional response & encourage emotional decoding to understand the conditions these refugees are going through, in hopes of stirring up empathy from people.

Humanity Washed Ashore.

Guidebook.

Humanity Washed Ashore.

Artefact of communication.

Humanity Washed Ashore.

Artefact of communication.

Humanity Washed Ashore.

Overview

Plastic's Not Cheap.

Everyone knows that plastic bags are choking our planet. However, here in Singapore, many still expect supermarkets to provide plastic bags for the convenience of transporting home the goods. As plastic bags are free in supermarkets, many fail to see the consequence of plastic pollution. To persuade Singaporeans to change their behaviour, we have got to make the audience reconsider the value of free plastic bags and the cost it has on the future. 'Plastic is not cheap. It costs our future' is a campaign designed towards adults with kids. The campaign consists of a series of posters to raise awareness of the danger and consequences of using plastic excessively. It uses the play of famous and catchy nursery rhymes for the basis of the headlines. The poster art direction design encapsulates the consequences to the future generation if we continue the habit of using excessive plastic bags. The poster forces the audience to question what their price in the future is, and forces the agency back to them. The placement of the posters will be at areas where families usually hang out - bus stops near schools, playground, beach and parks.

Plastic's Not Cheap.

Plastic's Not Cheap.

Gaslight.

Gaslight is to manipulate (someone) by psychological means into doubting their sanity. With the majority of the world’s population already on social media, many of us may be unknowing victims of gaslight. Society invents a spuriously complex logic to change people whose conduct is beyond their mainstream. With the continued rise of using social media, many of us are naive into being conformed into adopting the socially acceptable form of opinions and thoughts. This magazine encourages the audience to form their morals. Always to be aware of the information received and to equip themselves with knowledge of being gaslighted into society’s norm. The magazine takes the audience on the journey of being gaslighted. It starts with the article on lying is a huge mistake, and honesty is the best policy. It then proceeds to the middle, where it suggests that maybe being truthful all the time is not healthy. The magazine ends with a suggestion that lying is okay and it encourages creativity in doing so.

IN YOUR FACE

IN YOUR FACE is an installation work that aims to send a message to individuals who are carelessly and thoughtlessly using plastic. It seeks to question old habits and hopefully get everyone to do their part in reducing plastic use. In order for us to fix the problem, we have to acknowledge that we are not doing enough and we have to amp up our efforts. Start saying no to excessive plastic use, especially when we shop.

DON'T ASK

Excessive plastic use is a global problem that has plagued the modern world for a few decades now. While media coverage on this issue is at an all time high, changing mindsets still proves to be a challenge, especially when certain societies are so deep-set in their ways. To create ONE identity and to bring all organisations to work together to create a nation-wide campaign to tackle plastic problems in Singapore. To bring about a collective realisation among Singaporeans on the severity of our plastic use. It is our responsibility to take charge of plastic matters. We have to keep reminding ourselves to ‘DON’T ASK’ for plastic bags.

ODD GENESIS

In year 2219, A man-made Virus was released to the atmosphere through heavy industrialisations. M.O.B virus confined exclusively or largely to biomes, however, posed the formidable problem of finding a susceptible human infection and cause death. For-Profit company ODD GENESIS has monopoly over food sources. Ferro Subsistence cure, provides all seven nutrients on a daily basis to help build our bodies and maintain health.

CHAIRNNEL

Reveals some very good insights into what a chair can represent - how it can be a metaphor for aspects of being human or for states of the human condition. To highlight our basic need to give and receive compassion in all its various forms and to create a centerpiece which communicates the idea of compassion and evoke a response and reflection of our basic aspects as a human being.

Internetto Magazine

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

Unveiled

Context in the form of assumptions leads to mental bias. My project is about how the media frames the truth in a political context. I used a colour-based illusion designed to trick the brain into thinking the same colour is two different ones. Colour acts as a metaphor for context and the media and the optical illusions is essentially a parallel for the illusion you are put under by the media.

Utopia Is Death 01

Utopia is Death is a series of photographs exploring the change of what we deem a ‘Landscape’ and how that change affects us as a species. The first image details the classic definition of a landscape; pristine nature untouched by man. Or so it seems. Unfortunately such a location does not exist within Singapore. This is a man-made quarry and is a pristine as nature gets here.

Utopia Is Death 02

The purpose of the second image is to portray what mankind has done with nature. Our industrialization and almost automation of it. Which begets the question; is a tree planted by man part of nature or is it man made?

Utopia Is Death 03

Working in conjunction with image 3, these two images are a modernization of John B. Calhoun’s behavioral sink theory; as we continue to shape our landscape for efficiency, its utilitarian appearance is a breeding ground for socio-cultural chaos.

Utopia Is Death 04

I photographed and processed both images to make them look as though they are both the same place; however they are taken in different countries. Through the use of colour, my intention is evoke a pretense of harmony between these two images because of their colour and likeness while at the same thing creating dissonance because of their subject matter; one being geometrically ordered and the other a chaotic sprawl.

Utopia Is Death 05

A common sight and landscape of modern day Singapore. High rise flats built for space-efficiency is how majority of the population here lives. I composed the image ‘tightly’ in such a way so that the individual apartments appear as prison cells; uniform and almost voyeuristic.

Utopia Is Death 06

Construction and its instruments are often used to depict progress. I took this image from a low angle at a crane yard to show the monstrous scale of our industrialization of the world. The photo was framed in a way to have a visible sky but blocked out and almost offensively obscured by the cranes. Reminiscent of how nature is still visible to us but only through a machine lens.

Utopia Is Death 07

My aim was to shoot tombstones to look like the typical close-up facade of a building. Bringing home the point that the continued mechanization of our landscape to construct a utopia will figuratively and literally result in death. Printed out and framed in A1, it has an effect of looking like something else completely from far and only from a close distance do viewers realize it is a graveyard.

Civilization Typography - Creating a writing system in a pandemic

Are we prepared when a pandemic is no longer containable? A dystopian writing system of a re imagined future that mirrors the present we live today, The Dead Counter’s Medical Journal portrays a world where infection and diseases are rampant and a cure is non-existent. With medical staff being shorthanded , an entirely new writing system is needed to teach new medical residents at rapid pace. Amalgamating ancient medical symbolism, prefixes and futuristic code, medicine has never been more crucial.

Peruse - A publication exploring the symbolism in Japanese cinema

Cinema is a form of art, and thus is a way of expressing our ideas, and putting them into audiovisual media. Yet not many know the inspirations behind their favourite films or the message it’s trying to get across. Peruse is a publication I’ve created that is dedicated to to exploring the intersections between film and its deeper meanings. The first issue explores Japan’s influence in film-making around the world and the use of symbolism in cult classics.

Obsessed - Flogging a narrative in the psychological horror genre in books

Psychological Horror is a genre that people tend to look down upon and not take very seriously. It has a reputation of being a low, somewhat trashy, titillating genre that appeals to our basest instincts. And more often than not, it’s always through the eyes of the protagonist. Obsessed is a storybook project that is an adaptation of Daphne Du Maurier’s short story titled “The Doll”. An exaggeration on the concept of love to the extreme; Incest, the story is told in the perspective of the antagonist whereby an obsessive, sexually abusive father finds out that his daughter has eloped with Julio, her fiance. The narrative portrays him writing love letters to her, hoping she’d come back. All the while showing his descent into madness

A publication on the freedom to express

This project is a reflection of my experience I had during my overseas immersion trip to Glasgow. Titled Disclaimer, it’s a visual synopsis of what had inspired and affected my overall perspective of design. Disclaimer is a publication that highlights the lack of freedom of expression in design thinking as well as design outcome in Singapore’s culture compared to art culture overseas.

Killiney Rebranding

The new design features a more minimalistic and modern ziplock packaging, made of kraft material. The raw and unpolished line drawing against the kraft packaging creates a world where old meets new, when traditions meet modernity.

Killiney Rebranding

The back of the packaging features a summarised history of Killiney for easy reading, and the recipe for each respective dish. A QR code will be provided on every packaging that links to a video tutorial which will help guide customers who are new to cooking or unfamiliar with the recipe. Millennials who have settled down and are unfamiliar with cooking are the main audience for this QR code feature.

Killiney Rebranding

An app for Killiney would help build a closer relationship between the brand and every customer.It serves as a touchpoint for Killiney to personalise each experience for every customer. It can also create a more seamless and fuss-free experience when ordering food through the app.

Rewiring Brown Nosers Everywhere

Brown-nosing. A common sight in working culture. The term originated from early 20th century, from an association of subservience with having one’s nose in the anus of a more powerful person. Creating a virus to deter brown-nosers from the flattery phenomenonwould benefit the workplace, employees and eventually, the world. But what would actually deter brown-nosers from what they do best? A series of uncomfortable and embarrassing symptoms would suffice to help brown-nosers kick the habit. Drawing inspiration from its roots, I decided to invent a virus based off a literal translation of the term’s origin . Xianophoic Suayalitis Virus, or Xia Suay, is a viral infection that attacks the respiratory system - mainly nose, throat and lungs, causing fecal matter to form on the inner walls of the windpipe and mouth. For most, it resolves on its own, provided the patients, for a period of 5 working days, avoid any form of brown nosing however, it comes with an increased tendency to insult work superiors. The treatment for the virus is Brown’s Kit for Brown Nosers. A specially formulated office wellness kit used to treat the Xia Suay Virus, found in brown nosers. The kit consists of a set of antibiotics, medicated tissues, dental care set, aromatherapy and notepads specially designed to help brown nosers fight the nasty symptoms of the virus.

blur magazine

The supernatural world has always intrigued millions around the world. The unknown and the possibility of a co-existing dimension on Earth have been a part of humanity’s story since the beginning. The history of the supernatural can be linked back to ancient Greece. Earlier accounts of the supernatural appeared in Mesopotamian records. Life after death and supernatural beings has always been a controversial topic which left many todebate on the possibility of it. Some say it’s a myth, while others believe in its existence. But one thing is for sure, is that these tales of the paranormal and supernatural reveal a truth about humanity. Ghosts and spirits are no strangers to Asia. In Asia, the culture of the living dead is ingrained in our society. From the Chinese folklore to the spine-chilling entities of Japan, these tales resonate and roots the belief in our community. We grew up listening to stories about the afterlife on Earth, some even experiencing them firsthand. blur provides a different perspective on these paranormal beings and their tales that strike fear and terror in us.


I was not Here Before

The call for exploration is rarely acted upon when one is stuck in a routine. In another country, exploring the local environment with no agenda but to experience the location is an exhilarating process. However, back at home, the need to wander disappears. What happens when you do wander from your routine? This project is about my experience of wandering familiar places and how we can discover new places at home. It is a photo book that visually documents the poster pieces I leave in places around Singapore that I have wandered across.

I was not Here Before

I was not Here Before

Pretty Period

Pretty Period is a photo series that defies how many conservative communities perceive feminine hygiene products. In many Asian cultures, the act of menstruation is considered a dirty process, taboo to talk about freely in the open. What would it take to change that perspective? Here, ordinary feminine products are photographed with mirrors to represent flowers, something beautiful and full of life.

Pretty Period

Pretty Period

#SoCultural

After investigating the topic of Asian cultures being appropriated in pop culture, I realised that when the online communities call out the appropriators, they tend to point fingers without context on the cultural aspect they are defending. This project is a social campaign that addresses the online herd mentality in blindly ‘defending’ against cultural appropriation without a deeper understanding of the cultures at hand.

The Alien Generation

The generation of youths that grow up in the 2000s have many quirky attributes. The Alien Generation is a quirky and addictive publication that explores the strange trends and habits that this special classification of people indulge in. Hopefully deciphering why and how they came to be, even if they do not understand it themselves.

Itten X Aēsop

Initial collage showcasing the synergy between Swiss Colour theorist Johannes Itten and Melbourne’s health and beauty franchise Aēsop. The bold contrasting colours of Itten’s art works complements the colour scheme used by Aēsop.

Aēsop X Itten

Window design grounded by the principles and theories of Swiss Painter and Colour theorist Johannes Itten designed for Aēsop’s stores.

Axonometric Study

Site study diagram of Golden Mile Complex The intention for the structure was to create a lively environment and a vertical city in contrast to the homogenized cities. Golden Mile Complex comes from the concepts of the Linear Cities of architect Le Corbusier.

Impressions

Artistic impression of envisioned design concept of play space located in Golden Mile Complex.

Play Space Perspective (East Lobby)

A new play space located in the Golden Mile Complex, focusing on the effects of light and shadow where sun shades rotate anti-clock wise throughout the day.

Play Space Perspective (West Lobby)

The play space focuses on generating a space that caters for relaxation enabling users of the space to experience Live, Work and Play in the same building.

Reclaiming Spaces

Typical shop in Golden Mile Complex where shop spills out beyond boundaries while the tenant place make shift markers defining their own boundaries. A lawless spillage of shops creating a reclamation of space demonstrates The Right to the City concept developed by French sociologist Henri Lefebvre in 1968.

Accentuated Pipelines

Unique pipelines that forms character, identity and uniqueness to the Golden Mile Complex.

Unique Characteristics

The image shows shops spilling out of their de-marketed zones and unique floor tile patterns in relation to the accentuated pipelines across the atrium of the Golden Mile Complex.

Lawlessness

The image shows the plan in relation to the pipes added years after original construction running above unique floor tile patterns that cover the ground floor. Further demonstrating how shops spill out.

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.

A New Housing Typology for Rental Flats

Strong community ties is capable of providing a form of social support and resource network. Despite its importance, it rarely exists in HDB flats today. This project aims to investigate a new typology for rental flats that incorporates the notion of community within the housing estate. It sought to improve the standard of living for lower income families and strive towards achieving self-empowerment to break away from the cycle of poverty.

Utopian Vision

Le Corbusier’s idea of “vertical garden city” in Unite d’Habitation focused on communal living for residents to shop, eat, play, live and gather together outside their private dwelling space. This integration of communal service into the housing model has further encouraged interaction to take place among inhabitants. Drawing reference to Unite d’Habitation, a utopian vision on the future of a community orientated rental flat is being projected in the form of a sectional elevation collage.

Reconfigured Layout Plan

As compared to the void deck, the corridor has a greater possibility that residents would linger around as it is more accessible from their units. However, the linear and narrow nature of the corridor in block 1 Jalan Kukoh is not the most efficient space for residents to gather in. As an attempt to bring in communal spaces that encourage prolonged interaction, the linear walkway is transformed into an enclosed space by deconstructing and rearranging the layout plan, eventually coming up with multiple iterations.

Breaking Away from Standardization

Referencing Habitat 67 where the units are interconnected and stacked on one another, it allowed for a private garden terrace to every unit and play area throughout the building for children. By breaking away from the standardized design of HDB, new possibilities of interaction are introduced. Therefore, taking two reconstructed levels and stacking above each other turning it into a single floor increases the chance of interaction by half.

Eyes on the Street

The concept of "Eyes on the Street" as a form of surveillance provides a safety measure as residents help to keep a lookout for one another. Breaking up solid walls and having screens allow residents to have visual or verbal contact. These are explored with different degrees of privacy. With screens at the feet level, it provide clues on the safety of residents without taking away their privacy.

Persona: Single elderly living alone

With safety as the main priority, the unit is designed with a communal herb garden that allows residents to be involved in nurturing the plants. While doing so, residents are able to ensure the safety of the elderly through verbal contact. To a certain degree, it also allows a glimpse into a small area of the room such that the privacy of the elderly is still present.

Privacy is a common issue face in large family. Curtains fitted in bunk bed allow children to be entitled to a small personal space. By staggering the beds, these children get a private play corner of their own, accessible from all four beds. An opening is created at an eye level of a child for children outside to invite them out to play.

Persona: Single mother, 4 children, 1 baby

The vertical screen frames the amount of area to be seen in the room to retain privacy for the other family members. However, it is sufficient for the baby cot to be visible for residents to help keep an eye on the baby while the mother attends to her other children. When the sofa bed is folded, the space transforms into a living room.

Persona: Parents and a teenager

From the conceptual models, the idea of encouraging interaction to occur through close proximity by blurring the boundaries between the private units and communal space is executed in this unit. A cohesive language with the usage of panels are extruded from the steps of the stairs to seating in the living room and further extruded to form platforms for residents' use in the communal space.

Overview

The concept of interfaces as a form of threshold between public and private domain is explored through different implementation throughout the housing model. It is integrated to work as a system that encourages residents to not only interact but also to connect with one another.

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.

The transition of light to this sacred corridor

The light guides us and sets the mood. “In the right light, at the right time, everything is extraordinary.” By Le Corbusier.

At a state-of-mind

The lighting goes seamlessly through our journey. At the start, the lights define the familiarity between us and the object that represents the dead.

The movement of bricks

The attention of the loose bricks starts to reunite as we walk further into the corridor, creating a wall of memories.

The transition back to reality

At the end of the journey. The brick wall starts to lose its tension and fades off to the lights, that transits us back to reality and daily routine.

Roof Terrace of Chong Pang Community Club

Located away from the crowd and noise of the community club, the unused roof terrace creates the opportunity to take us away from our hectic and stressful lives to peace and relaxation. Natural-like and flowing water feature helps to set the mood of this space.

Pods for 2

Pods for two is where personal information are keep safe, with the adjustable soundproof curtains the amount of privacy can be controlled. The fabric paper on the outsides blurs our identity to make us feel comfortable and confident.

Pods for 5

Pods for five is where a small group can exchange ideas and remarks. This idea was inspired by the Japanese seating culture. In this case, we are submerging ourselves, making us feel like we are diving into our journey of overcoming our loss.

Pods for 9

Pods for nine is the maximum amount of people that a counsellor can handle on the topic of grief. The gap between the ceiling and the pod allows us to look out to the sky and view the movements of the clouds as we overcome our thoughts.

The Men's Mall

A collage of *SCAPE in its current condition. In our fast-paced city-state, economic development occurs an unprecedented rate. To keep up and increase density, the wasteful practice of replacing older buildings with new ones is considered the norm. Existing properties are also under constant pressure to renovate and upgrade to keep relevant. The purpose of this project is to speculate the possibilities of how under-utilised spaces in *SCAPE can be readaptedto give it a new breath of life.

The Men's Mall

Site map of *SCAPE and its surrounding in Orchard Road.

The Men's Mall

Process. Sketches and ideation of how the users will be moving through the space with swinging walls and display fixtures.

The Men's Mall

A diagram on layout studies that will be adopted in the Men’s Mall. (top) A maze layout has a fixed path and a maze of spaces for product displays. It also extends the distance users traveled in the store. (middle) A grid layout, most common in stores as it is very convenient and speedy. (bottom) Freeform layout facilitate in exploration and brings users to visit more parts in the store

The Men's Mall

Layout Plan of the Men’s Mall.

The Men's Mall

Interior of the high-end men’s fashion store. A tightly curated selection of products is displayed, encouraging customers to explore other parts of the store.

The Men's Mall

Interior of the high-end men’s fashion store. A tightly curated selection of products is displayed, encouraging customers to explore other parts of the store.

The Men's Mall

The Fashion Gallery is a flexible space that can be converted to suit various events such as workshops, seminars and product displays and aims to increase the awareness of the brand’s philosophy.

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.

Inhabitation

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.

Urban Mobility in Singapore

It seems that vehicles take precedence and acquire privileges in the form of transportation in Singapore. However, a far more affordable and environmentally friendly mode of transport like bicycles and PMDs has insufficient opportunities and relevance in our country. Singapore is still lacking in offering traveling alternatives for car-less commuters other than its existing high standard of public transport.

Urban Mobility Devices

Over the years, bicycles, PMDs (personal mobility devices) and e-scooters have been a new mode of transportation for a handful of individuals in Singapore. It does not merely serve as a form of transportation but also as an important asset for some users to perform their daily jobs. However, pedestrians are anxious and unpleased as how these devices cause public alarm over the risk that it put to others.

Reactions From The PMD Ban

A large number of individuals were upset after being informed of the PMD ban on shared pathways in Singapore. It seems that these users are not given the rights and access in moving around the city freely. Besides, there are plenty of solutions that can be executed to facilitate them. Thus, banning of the PMDs is not a final resolution.

Collage of Site Settings

Collage of different site settings – hawker centre, market, MRT station and cinema.

Diagram of Hawker Centre

Diagram of inhabitation – hawker centre

Visual 1

To make use of the double volume space in the existing site, a second level was designed to particularly accommodate cyclists who prefer dining in the hawker centre. It also includes a parking space for users to park their bicycles safely while they enjoy their meal.

Visual 2

Food stalls were designed with double openings so that one of each can be used to facilitate customers on foot and the other for cyclists or delivery riders. This will allow a better interaction between hawkers, customers and cyclists as it avoids the intersection of purchasing and collecting of food within one another.

Visual 3

To avoid any collision between a pedestrian and a cyclist, the implementation of zebra crossings can alert both individuals. Hence, arrows and signages on the double bicycle lanes play a major role in creating a safe and comprehensive pedestrian-cycling network. So do the choice of colours used to differentiate between various zones respectively.

Visual 4

Cyclists can utilize the ramp that brings them to their dedicated eating space while non-cyclists have the entire ground level to dine in the hawker centre comfortably.

Visual 5

Food stalls were also designed in a fluid form as to display the flexibility of movement and interaction between pedestrians and cyclists in the hawker centre. Thus, each stall owns a distinct form of space.