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.

Realitea

Existing in our twenties, I feel that some form of Quarter-Life Crisis lives in each of us, and it's perfectly normal. Some have it harder than others, but I wish to look at this 'condition' light-heartedly, and try to have fun with it.

Realitea

Identity.

Realitea

The menu features various flavours that customers get to choose what they feel they need in their day.

Realitea

A 3D rendering of envisioned bottle

Unappreciated Maps

Maps have become more than just a tool for us when we’re lost or when we have places to go. However, it remains something quite a niche topic or subject. I believe that maps are also narratives. The goal is to provide a new way of looking at maps and building a sense of appreciation of maps in people.

They See U

Imitation is a key in any child's learning and development. Hence the idea that parents need to lead by example is crucial, and most parents recognize that. Most.

They See U

However, I'm not convinced that ALL parents are actively aware of it. As such, this publication servers as a reinforcement or reminder. The aim is to cultivate the habit of recycling and to reduce the use of plastics. Having said that, parents have to sacrifice a degree of convenience that they once had, to give their child a foreseeably better world to live in the future.

Travel Receipt

With the influence of fast and suggestive figure drawing techniques and compilation of photos of my adventures in Glasgow, I illustrated my journey with a continuous line drawing on a receipt roll. My aim for this project is to merchandise it like a gift in a museum shop where it could be more relatable to the public.

Travel Receipt

An object of nostalgia and remembrance of places of interest.

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

Place-Non-Place

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.

Place-Non-Place

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.

Place-Non-Place

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).

Pareidolia

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.

Booker Prize Collection

An unraveling of the plot and characters as the story is revealed stems as my main inspiration for the redesigns of these Booker Prize winners. Readers can interpret their favourite stories through these covers, using the foldable segments to change the image on the front. This lets them continue engaging with the story even after finishing the book and create a memorable experience for the reader.

Booker Prize Collection

Extraterrestrial

'Extraterrestrial' explores the relationship between human behaviour and the mobile phone. How does it affect the way we see things and how do we act in these times when a video can spread across the world with a single click? The hand-drawn animation is used to create an ominous, almost horror-like tone, to drive a stronger message.

Anomiedia

The word anomie is a term used to describe a condition where society provides little moral guidance to individuals. And when the actions of certain social media ‘influencers’ are used as guidance for impressionable teenagers, what becomes of their own actions? Anomiedia is an image series that explores the link between the reality of social media and the facades clouding the true nature of these posts.

Anomiedia

The Epic of Gilgamesh

An adaptation of the historical 'Epic of Gilgamesh' based from the BBC podcast 'In Our Time', this version is retold from the point-of-view of the demigod Gilgamesh himself. The illustrations and typography evoke a more personal story than the original text which lets the reader relate to this larger than life character and even possibly see parallels in his situation to stories told in modern day.

The Epic of Gilgamesh

Real Plastic Love

#endthecommitment

#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.

Project Proxima

The world, stunned by our first contact, is set on the brink of nuclear war, when the message is misintepreted and manipulated to serve mankind’s vile nature. A linguist races against time to translate the message and steer humanity from destroying themselves. The Space Race died 3 decades ago and with it, the public imagination. Project Proxima attempts to reinvigorate the passion for space exploration. The search for ET has always piqued our interest. From the mass hysteria of The War of the Worlds to the claustrophobia of Alien, the prospects of alien lifeforms has no doubt, kept us on the edge of our seats. Themes of astrophysics, communication and humanity are explored using an imagined dialogue between us and extra-terrestrial beings from our neighboring star system, Proxima Centauri.

Project Proxima

Project Proxima

Project Proxima is the decryption, translation, and study of photometric messages from an extra-terrestrial civilisation in the Proxima Centauri System, the closest to our Sun. This facilitates communication between mankind and our neighrbor 4.47 lightyears away.

Project Proxima

Low on options, resources and time, the International Commission devises an ingenious and dead simple way of emitting a comparable energy output we had observed from Proxima Centauri. Well, here's the plan: We humans sure love to stockpile on nukes ey? Modify them to emit the light spectrum that we want. Send them into space, so that our atmosphere does not interfere with the light transmission. Put them at the right altitude and then BOOOM! No gigantic lasers, No costly electricity bill, get rid of our nukes at the same time! I'm not kidding.

Project Proxima

This is a set of vocabulary to guide the celestial dialogue, based on our common understanding of physics, metaphysics and mathematics, the universal constants. The language is based on the Arecibo message, designed by physicist Frank Drake, Carl Sagan and fellow scientists.The Binary message was transmitted in 1974, from the powerful Arecibo Dish Array in Puerto Rico. I adapted it into a more direct and visual form, using the same 73 X 23 grid, in which the nukes will be coordinated to denotate. Nuclear fusion = Emission of light = dots on the imaginary 73X23 Grid.

Project Proxima

This is a set of dialogues,for the purpose of human comprehension. The language relies on a form of universal sign language that can be best compared to frantic hand waving between two people who has not a single clue about each other's languages. But it works most of the times. For example, shouting in a conversation suggests an emphasis. Denoting a bigger nuke in space, emitting more energy, also suggests an emphasis.

KOPE Fest

One man’s trash, Another man’s treasure. KOPE Fest is an exhibition to showcase what can be done using little resources and skills. The interactive nature allows people of varied ages to have a haptic experience. Living in Singapore’s fast conveniences and exorbitant mercantile, we often take for granted what treasures lie beneath our HDB. By creating a series of engaging assemblages out of salvaged material, I aim to spur youth imagination and educate The public about prudency and resourcefulness. using these objects as posters, I also aim to explore unconventional mediums for advertising

Annabelle Tay

Human

Maybe we should see life with an open mind of what can be, instead of through the narrow lens of what should be. Part 1: ‘Human’ is a reflection of my biggest takeaway studying abroad for the first time. I realised how we humans subject ourselves to preconceived notions and perspectives instead of cherishing the freedom of what could be and are often disappointed if not achieved. With this poster as the base design, I continue by physically adding things on, to create an interactive experience for my audience. "A human is only a human because we have an image of it”

Human

Part 2: Attached are needles to create a string play board to encourage audiences in creating their own image of a human. With every unique interaction, I am hoping to break boundaries of what should be and reinforce the concept of what could be.

Perception of Peace

Living in a fast-paced city-state, it comes as second nature to find peace away from the hustle and bustle. Albeit often associated with vast spaces and tranquility, this publication hopes to bring awareness to another perspective of peace by documenting the raw emotion of the things that make our city-state fast moving :- The People

Perception of Peace

Several spreads of the publication

Lunching with Lunch-in'

Facing the issue regarding our over usage of plastic, Lunching with Lunch-in’ aims to tackle a habit with a matter of convenience by pitching to companies in the Central Business District, an idea of creating a more bonded company culture through the usage of a more convenient and sustainable take away container amongst themselves during their lunchtime.

Lunching with Lunch-in'

An improved version of the well known, Ting Kat! Not only does it have individual layer lids for separate take aways, one of these containers, can save 3 take away boxes! Leave the office with 1 container, come back with three meals!

Lunching with Lunch-in'

Every Lunch-in’ comes with a one page zine as an instruction manual and an informative sheet! Open it all up and turn it around to double it up as a poster to spice up your pantry as both a reminder to save the Earth and a decoration.

Lunching with Lunch-in'

Three possible designs behind the zine.

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.

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.

The In-Between

A simple Question of Inhabitation: What would happen in that in-between space between modern corporate shops and traditional strata shops? How would the audience from each typology interact with one another? How would the intended program in the in-between space turn out? The in-between space isn't solely owned by either party. A no man's land.

Corporate

Elevation 1 of the intended proposed design of the In-Between space.

Strata

Elevation 2 of the intended proposed design of the In-Between space.

Changing Home

A simple Question of Inhabitation: Shouldn't space be determined by the play and inhabitation of the users rather than the play and inhabitation of the users to be determined by the space layout? Boundaries and Territories are always referred to as built-in and rigid structures. Boundaries and Territories should be easily moved around to cater to the ever-changing needs of the audience.

Changing Home- An Axo

An axonometric overview of the intended proposed design.

Kitchen

A movable kitchen wall/cabinet that can extend the use of the kitchen and dining space or to minimize it in order to use the extra space for other activities.

Gym & Art

Likewise a movable gym wall/cabinet acts as a door for two rooms, and when not in use can be extended to facilitate gym and art activities.

Re-Imagined Spaces: The play of light and shadow in our everyday life

This project started with questions of how the duality of light and shadow, that is so significant in our lives, impact us on a daily basis. I believe that light and shadow has the ability to evoke one’s emotions in a space even in very mundane spaces. 'Re-imagined Spaces' aims to investigate the notion of light and shadow and how it can affect in representing a space. Through a selection of ordinary and common spaces, the projects questions the possibilities of how these spaces can be re-imagined when light and shadow is used as the driving force of the space.

Part One: Exploration of light and shadow

The documentation covers 8 various sites in Singapore to explore the existence of light and shadow in our daily life. Ideas from the collection of photographs from the site visits are translated into simple study models. Through it, making discoveries on how light and shadow can affect our spatial experience.

Part Two: The Rhythm of Shadows

Looking into the play of light and shadow in everyday spaces, a transitional space was chosen as the typology of this project. A hospital can be a very anxiety charged place for some visitors. Thus, this project aims to target users from the hospital and explore how light and shadow can momentarily evoke a sense of calmness through the transition. The idea of rhythm and intensity of light and shadow was explored. Darkness evokes a form of mysteriousness and portrays silence. The forms of shadow becomes more rigid and darker when reaching the middle of the transition walkway. The idea of darkness, minimal light and stillness evoke silence in the space and aims to create a contemplative atmosphere.

At the darkest and most still point of the walkway, a slit allows a ray of light to enter the space. The only benches are placed here to encourage one to momentarily remain at this place.

Part Three: Sanctuary Café

This part looks into the typology of an ordinary food court. The project aims to create a relaxing space for people to dine in, contrasting to the surrounding fast paced and crowded environment. It will explore how the interplay of light and shadow create a comfortable experience in such a setting. The project explores calmness through the use of water. In particular, the experience is catered for solo diners.

Moving forward, the glass floor is removed and replaced with glass steps, revealing the texture of the water. The light strips aims to entice people to continue walking forward, while the black tiles gives a sense of depth.

Nearest to the kitchen is the short-term dining area. The curved seating is intended to break the linear geometry and also make it harder for users to communicate, giving more privacy to solo diners. Sounds from the cascading water fountain behind the panels can be heard to create the calming sound.

For the private pods, shoji screens are used as the materials for the partitions to keep it less rigid yet maintain the level of privacy. The screens will also reveal the shadows of people. As it is a really long corridor, the alcove will give depth to the shadows and users will be drawn towards that as they walk through.

The visual and audio aspects of water is strategically integrated into the design of each space to help create the calming experience.

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.

Space in Place

My idea of Space in Place in a Collage from

Place in Space

My idea of Place in Space in Collage form

A take of a Modern + Historical Reading Place

A Perspective view of Modern + Historical Reading Space

A take of a Modern + Historical Reading Place

Perspective view of Modern + Historical Reading Space

A take of a Modern + Historical Reading Place

Perspective view of Modern + Historical Reading Space

A Step to a better Reading Environment

Perspective View of a steps / reading space / Amphitheater

A Step to a better Reading Environment

Perspective View of a steps / reading space / Amphitheater

A Step to a better Reading Environment

Perspective View of a steps / reading space / Amphitheater

A Step to a better Reading Environment

Perspective View of a steps / reading space / Amphitheater

Function, aesthetics and construction

Throughout history, the triad of aspects corresponding to function, aesthetics and construction has been proposed as the fundamental components in design, from Vitruvius to various contemporary authors. This year-long research, titled 'Optimal design: function, aesthetics and construction', builds upon these theoretical underpinnings, and through a series of exercises, this idea is investigated and clarified within the context of interior design. The lobby-seating area of SIT@TP was chosen as the site.

Designing to the context

The optimality of the design to its context is explored. For example, in 'Project 1: Function', a 'double-decker' strategy (shown on the left) may be better when there is space constraints, while a flexible programme and capacity may require collapsible furniture (shown on the right).

Finding the context

Factors, such as the pedestrian flow or circulation of the site, largely influence its function. In this case, the circulation reaffirms that the site is heart of the building. Thus, it may serve as a kind of landmark as one of its main function.

Functional design explorations

The circular design is explored, which conveys the centrality of the space, and contrasts against the straight lines of the building. Refinements are made on the basis of the functional concerns – its primary uses (programmes, activities and users), comfort (such as privacy, access and noise) and safety.

Spatial arrangement

Atelier-Bow-Wow style perspective plan of the design.

Aesthetics

In 'Project 2: Aesthetics', the design is approached first as a kind of sculpture or art before dealing with functional concerns. Through collages like this, the atmosphere of the space and the visual composition can be quickly explored. For the site, the quiet and darker study and resting area is contrasted with the brighter and more busy lobby area.

Aesthetics design explorations

Through understanding the formal visual language of the existing building, the new design can be conceived as the continuation of a visual composition of the whole gestalt. Different aesthetics forms can be produced based on the formal language, although they are functionally similar.

Modular furniture

A modular approach may be interesting, where the furniture can be arranged to form many different seating configurations.

Different arrangements of furniture

Physical models exploring the modular furniture configurations.

Track details

Exploration of how the modular furniture can be moved along a track. In A, a metal floor strip provides only visual feedback on where it should be. In B, a custom-extruded strip provides a small slope along the edges, allowing the furniture to slide more easily into its track. In C, a wheel-and-grove design enables users themselves to easily reconfigure the furniture arrangements, although more maintenance may be required.

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.

UOB Plaza installation

We commonly perceive boundary as a form of physical segregation, rather than as a state of mind. Using the construct of efficiency as a focus on this study, the physical intervention is designed disrupt the psychological boundary. The idea of boundary as a state of mind stems from the observation of people's behaviors during the course of their commute. In a journey, different events may occur, efficiency results in people being fixated on their next destination, often forgoing interacting with their surroundings, like an intangible imaginary boundary around an individual.

UOB Plaza installation

Much of these observations lay testament to Pierre Bourdieu's theory of Habitus, which mentions ingrained habits, skills and dispositions, the way that individuals perceive the social world around them and react to it. An intervention in the end brings about a platform of interaction to an open fast paced region. However this opens up a new question, must boundaries be blurred? or can they be balanced.

243 Joo Chiat Road

This project explores the notion of balance, using a shophouse unit at Joo Chiat Road to carry out this investigation. Joo Chiat has an interesting mix of contrasting functions under one roof, typically segregated by levels. Using existing functions of a bar, habitation and KTV, this project tries to build a reciprocal relationship by blurring the physically boundaries through an interconnection of the functions.

243 Joo Chiat Road

This project uses the idea that lights give preeminence to the active functions at a given time and vice versa. Forms used create different levels of privacy for various functions, whilst light and materials determine the degree of privacy. The denotation of shadows, light exposure over times of the day and form allow for allocating of functions, functions categorized according to their levels of privacy

243 Joo Chiat Road

In the space, activities of each function are exposed to one another. The KTV here can be seen in contrast to the bar, artificial lights from the KTV indicate its dominance in activity at night, while daylight of day reveals the bar open as an eatery and the active function of the moment.

243 Joo Chiat Road

Apart from lights to denote boundaries, forms and materials are important. Consistent materials that pertain to particular functions subtly indicate the domain of public and private. Difference in forms denote the difference in domains. The denser and more rigid forms indicate the habitation area, while more open areas denote the public areas. All of which are connected to each other in different ways. The question of balance in boundaries among functions may not solve immediate problems, but rather opens up avenues on boundaries and their intangibility, and how they can experiment with in the vast domain of interior design.

HOME, TOO

Location: Interior design studio @ SIT, TP. When i first spoke to a group of migrant construction workers, it sparked off the idea of wanting to find out more about how one feels a sense of homeliness and how do one build their own home away from home. In his book titled "HOME: A SHORT HISTORY OF AN IDEA", Rybczynski compares the sense of homeliness to an onion. Onions are simple on the outside but complex on the inside, like homeliness, when dissected - it just does not make any sense and it cannot be measured. Anyone can recognise the sense of homeliness but have troubles explaining why they like it. However, he states that the Onion theory of comfort (domestic comfort) is essentially about convenience, efficiency, leisure, ease, pleasure, domesticity, intimacy and privacy. As my first project, i would want to find out how do one create a sense of home in the most minimal amount of space away from home. Everyone has a certain sense of attachment to a certain place, as for me, I decided to use my school's studio as my chosen site. The studio is where students spend most of their day there (design intervention can be used in offices and classrooms also) and my design intervention draws inspiration from our very own bedroom spaces. The way how i approached my intervention is based on these 4 main pointers: 1. the different degrees of private/ public spaces 2. the control over your own boundaries 3. the flexibility of space for interaction between people 4. the need for personalization of objects.This table shows the exploration of new materials in co-relation to the modules proposed.

HOME, TOO

In due respect to the current layout of the studio and not break the openness, I did a minor addition to the existing space. I implemented a grid ceiling that holds several elements in which the user can pull down/ take out to configure their own desired space and outcome. This current view shows the plastic netting (made out of deconstructed ziplock bags) acting as a form of partition when pulled down, hence the user can configure it based on their preferred privacy level.

HOME, TOO

The modular blocks are made out of material scraps found around the studio, all wrapped up inside a sewn-together ziplock bag. These blocks can be used however the user prefers - lying down, sitting, leaning, etc.

PLASTEAC

Location: Tekka centre Ultimately, to build the essence of home is about the people and I personally feel the need for not only the Migrant Workers, but also our own locals to not chase the papers but build communities instead. . I drew a parallel of our very own living and dining room where our families commune. Hence, I decided to use Tekka Market as my site as it is a public commune space. Having their vision as the "People’s Market" and a wide variety of audience, it made a good touch point to promote it as a space for interaction and communing there. Also,Tekka Market is home to the Migrant Workers during Sundays. My design intervention and program intends to push optimisation and promote this movement where we make use of things around us to build our own homes anywhere as a community. As there are several tea shops in the vicinity, I have chosen to promote tea culture into the space as tea is a common multi-cultural element and a good catalyst for conversation starters. The scattered layout contrasts with the traditional linear layout so as to give a sense of adventure to the patrons in the space to go around and attend different tea related workshops and source for the different flowers and herbs available for tea blending.

PLASTEAC

Plastic crates are readily available in the wet market and hawker centre. Inspired by the stacking of crates in the existing space, this terrain is where people can enjoy a different dining experience as compared to the original hawker seating. Patrons can also forage from the hanging down plants and from the crates.

PLASTEAC

This space holds the various workshops - tea-infused cooking workshop in the open kitchen, tea dye fabric and paper workshop. Also, this is where patrons blend their foraged herbs or flowers with tea here, This various workshops are marked out by the various coloured scrap fabrics canopy hanging down, In which, the fabrics are sourced from the 2nd storey retail area.

RE-KEA

The existing sewing service is instead, incorporated into the space to be used for sewing workshops. The exisiting walls separating the AS-IS section to the customer service area is removed so that the patrons do not have to walk through the whole of IKEA just to get to the exit.The netting on top acts a dumping ground of the unwanted furniture parts and celebrates the “unsightly” instead.

Location: IKEA (Tampines), AS-IS section To create a home away from home, one just requires a community and they would be resourceful to find what’s around them to build their own shelter. Applying what I have explored from my previous 2 projects, I chose IKEA as the first baby step to promote this movement for the masses to learn and apply it to their daily lives. IKEA pride themselves as a DIY company, however everything is still controlled based on what generates income - from their store layout that restricts consumers from walking around freely and the products flat-packed for one to build. People are drawn to IKEA’s products as when one DIYs, they build a stronger sense of accomplishment and attachment to the product. However, if one deconstructs IKEA’s furniture, you would realize that they actually use found materials, hidden beneath the mask of a capitalist / a major company supporting capitalism. Hence, i would want to further push the idea of DIY - just by being resourceful and make use of any found objects/ materials lying around your own and piece them yourself, you might even get a more durable furniture that you can personalize and feel a bigger sense of achievement. I would like patrons to find more value in the furnitures of IKEA's AS-IS section. That section is already strategically placed near the exit, with its main purpose is to sell rejected or defected goods from customers.Issues: underutilized recycling area, wrapping station and sewing service could serve more purpose, the as-is section is just not curated as compared to the self-serve furniture area. Materials I could consider to use: the IKEA catalogue, the FRAKTA shopping bags and the free pencils and rulers.

RE-KEA

The broken ‘frakta’ bags are repurposed by sewing them together to form a partition. It can even store the loose furniture parts for patrons to create our very own furniture by piecing them themselves. The Original MALM bed is placed beside the DIY bed to serve as inspiration for the patrons to configure their own furnitures. The exisiting underutilized wrapping station outside is instead, incoporated into the space and scattered around the whole area to be used for DIYfurniture and wrapping workshops.

RE-KEA

The wall is made of the scrap furniture parts, and the gaps creates a sense of semi-privacy between the as-is section and the staff area. With the power of repetition, even to the micro level - the free IKEA pencils, can be repurposed to form a ceiling feature for zoning, or a work mat or even a partition to give a little more privacy for the user using the sewing machine.