Clement Zheng Portfolio

Page 1

CL EMENT ZHENG


ABOUT Clement is a Singaporean designer. He graduated from the industrial design programme at the National University of Singapore in 2012, with first class honours. To Clement, design is not merely a profession, but rather a way of looking at the world around him. His work often employs mathematics and algorithms, and he operates frequently within the intersection of design, craft, and industrial fabrication. Since graduation, Clement has been practicing design independently, while teaching industrial design at his Alma mater. He is particularly passionate about communicating the role computational logic can play within design, and is happy to share this portfolio with you.

C O N TAC T Personal— clement.zheng@gmail.com Work— clement.zheng@nus.edu.sg

ONLINE PORTFOLIO cargocollective.com/clementzheng

About

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CONTENTS

D ES I G N

Fusilli 4 Sine Bowl 12 Torus Lamp 16

RESEARCH

Stitched Metal Bowls

22

Mosaic STL

26

Unfolding algorithm 30 Dress Code 32 Boundaries 38

TEACHING

Digital Design and Fabrication

44

PLAY 46 Digital Wellness 48

3

Digital Wellness for Children

50

Sunday Showcase

52

Contents


Fusilli

design

4


FUSIL LI An accessory fabricated in poly-amide via selective laser sintering. Fusilli’s form is derived from a series of periodic mathematical formulae. Form and material come together to create this curiously elastic object, while the algorithm and 3D printing allows each piece to be made differently. An interface allows end-users to explore the logic of Fusilli. A leap-motion device tracks hand movements within a physical space, and the algorithm converts them to define different design parameters. By exploring a physical space, one also explores Fusilli’s entire digital solution space. This allows users to intuitively explore, manipulate and arrive at a Fusilli of their design.

Fusilli variants in white poly-amide. 

15 variants generated by the Fusilli algorithm. 

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design

Fusilli


Fusilli

design

6


E X P LO R ATO RY I N T E R FAC E

Explore

Fusilli’s interface consists of the physical space defined by the Leap Motion sensor, as well as the graphic user interface displayed on screen. By exploring the physical space with their hands, users vary the parameters that define

Lock

Fusilli; this gesture creates the experience of exploring a digital space.

T WO M OV E M E N T S S I X D EG R E ES While the user’s hands explore the physical

Digital space

space, the sensor captures their Cartesian

y: Wave height

coordinates. These coordinates are separated

z: Wave sides

y: Blob height

into the three fields that define them—with two hands, a maximum of six fields can be obtained.

x: Blob period x: Wave period

This fields are used as input to vary different parameters in the algorithm, offering up to six degrees of control. In the case of Fusilli’s algorithm, three associated parameters are defined by the x, y, z fields of the left hand, while two associated parameters are defined by the x, y fields of the right.

Physical space 

V I D EO To view the interface at work: http://cargocollective.com/clementzheng/FusilliAPP 7

design

Fusilli


Fusilli

design

8


SIGNIFICANT VA R I AT I O N Upon deciding on the typology窶馬ecklace, bracelet, ring, and individual fitting, the Fusilli algorithm offers over 60,000 visually distinct solutions. Within a mass customisation model for a wearable accessory, this significant variation allows different users to define their own unique design.

9

design

Fusilli


Fusilli

design

10


11

design

Fusilli


Sine Bowl

design

12


SINE BOWL Everyday mathematical waves were

Sine bowl was inspired by basket weaving,

investigated. Essentially, they can be derived

which is essentially formed from waves.

from manipulating the basic trigonometric

These oscillations were abstracted to simple

formula:

trigonometric equations in space, and through an algorithm, interwoven threads are wrapped

[sin θ, cos θ, z]

around three dimensional surfaces. Sine bowl was formed from this algorithm. The mathematically controlled weaving results in a vessel with an unexpected visual lightness, and a tactility that blurs the line between a handwoven textile and the digitally fabricated.

Sine Bowl's weaving pattern. 

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design

Sine Bowl


Sine Bowl

design

14


SCAL ABILIT Y + D I G I TA L C R A F T The weaving algorithm can be applied to different surfaces, generating Sine Bowls of varying forms and scales. The precise control over the weaving pattern allows the designer to manipulate the balance between rigidity and flexibility, which is exactly reproduced via the process of selective laser sintering (SLS). This fastidious control over the artefact’s details explores the notion of a digital craft, with the computer as a tool and medium which the craftsman engrosses in.

The SLS poly-amide has a porous structure, allowing colour to be transferred via a synthetic textile dyeing procedure. ďƒ˘

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design

Sine Bowl


Torus Lamp

design

16


TORUS L A MP Torus lamp, is a logic of a lamp, rather than a lamp in itself. A pendant lamp digitally fabricated from sheet materials. This design explores a mass customisation system, whereby the design, fabrication, and distribution of the artefact can be carried out within a local context. Via a programme, one can manipulate the form of the Torus Lamp to suit its context. The unfolding algorithm then unfolds the modules required, generating the drawings required for fabrication.

Torus Lamp module assembly. ďƒ

Torus Lamp variations. ďƒ&#x;

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design

Torus Lamp


Torus Lamp

design

18


Torus Lamp design interface. 

M A S S C U S TO M IS AT I O N + D I G I TA L FA B R I C AT I O N Designing the formal logic, rather than the form behind the lamp body’s surface, one has the flexibility to generate a myriad of object forms within the algorithm’s rules. Via its interface, the designer can specify a design, size and volume appropriate to a context, while the automation of the part drawings allows for efficient smallbatch production using two-axis plotters. Using only one fabrication process, as well as readily available sheet materials, this mass customisation concept can be easily adopted in a local fabrication scene, while the ease of cocreation makes it accessible to end-users. Unfolding algorithm and joint generation. 

V I D EO To view Torus Lamp’s process: http://cargocollective.com/clementzheng/TorusLamp

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design

Torus Lamp


ďƒĄ Torus Lamp assembly process.

C AT E A R J O I N T S Inspired by plastic snap fits commonly found in electronic devices, the cat-ear joints snap snugly into place via its directional flap. This allows the assembled modules to stay in position while other modules are being assembled, and more importantly it ensures that the final module can be secured ‘blindly’, therefore concealing all joints on the inner surface.

Torus Lamp

design

20


CENTR AL COLUMN The paper lamps begin with a toroid surface geometry. This results in a faceted central column when the geometry passes through the triangle unfolding algorithm. This central column plays two important roles. The density of joints and facets on the central column strengthens the structure; providing structural integrity despite the thin paper material used. The central column also acts as a funnel, securing the lamp body’s surface between the bulb and bulb holder.

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design

Torus Lamp


Stitched Metal Bowls

design

22


STITCHED ME TA L BOWLS

A series of vessels crafted by hand from lasercut brass sheets. The joints between the bowl’s two surfaces are parametrically generated; a calculated tolerance allowing the malleable metal to be assembled by hand, yet providing a firm grip between the two surfaces. The result is a series of scales running along the seams, resembling stitches typically associated with fabric goods.

Metal scales gripping the surfaces in place. 

“Stitching” lines running along the seams of the metal bowls. 

23

design

Stitched Metal Bowls


CR AF T I N T R I C ACY + C O M P U TAT I O N A L E F F I CI E N CY As a craft, the fabrication process requires a certain experience and preparation—a precise sequence of steps, creating jigs to hold the parts in place, and the controlled use of tools. As a craft, the prototyping process went through the typical iterations—exploring material and their properties, as well as different construction methods and tolerances. As a parametric design, the vessel is first designed in 3D on the computer. The algorithm allows the density and size of the joints to be adjusted, while preserving the tolerances based on the compiled logic of previous prototypes. Part drawings are generated in response to these changes, ready for fabrication. The intricacies of the craft are supported by the efficiency of the computer, creating an inseparable feedback between these two disciplines.

Assembly of the brass modules via hand tools and jigs.

Paper prototypes investigating stitching method and tolerances.  Stitched Metal Bowls

design

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25

design

Stitched Metal Bowls


Mosaic STL

research

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MOSAIC ST L Colour print of man and baby.

The STL format is a convention used for most

ďƒ&#x;

3D digital fabrication techniques. It defines three-dimensional geometries from the simplest digital building block; a mesh constructed from a tessellation of triangles. Mosaic STL looks at the expressive qualities of this file format. By computing the various parameters defining each mesh triangle, the Mosaic algorithm offers a range of rendering modes, visualising these otherwise hidden properties of the STL. An ordinary file is thus transformed into a gaudi-esque sculpture, surfacing the format’s intangible logic into something visceral. The remastered STL file can then be sent to a 3D printer to be fabricated in colour. Tiling generated by

computing adjacent STL triangle centers. ďƒ˘

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research

Mosaic STL


ďƒ&#x; Rendering by Triangle Perimeter: By visualising a STL of the Moon via the triangles' perimeter, the geographically significant features like ridges and craters are highlighted.

Rendering by triangle area: Visualising the busolli spiral via a two colour gradient for each triangle based on its area. A consistent gradient pattern emerges, illustrating the formation of the STL mesh from the mathematical formula. ďƒ˘

Mosaic STL

research

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ďƒ Random with red bias. Random with blue bias.

Checkers algorithm applied to mosaic mesh and STL mesh. ďƒ

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research

Mosaic STL


UNFOL D A LGORIT HM This research was driven by the motivation

1.

The decrease in resolution results in a faceted

to explore sheet media within the Singapore

aesthetic, which one can adjust and update in

context. Being a small country lacking in natural

real-time.

resources and accessible heavy industries, many designers looking for prototyping or

2.

By decreasing the resolution through

production avenues have to work within the

triangulation, the reconstructed geometry gains

constraints of small–medium industries, or

structural integrity, enabling it to hold its shape.

outsource overseas. 3.

Customised joints are then created for the

Within the local context, sheet media, be it

unfolded layers, with material properties and

in paper, wood, textiles or metal, are easily

tolerances taken into account.

sourced. The ease of storage and fabrication of these sheets, in addition to their relatively low

4.

The algorithm exports a drawing for processing

cost, makes them an affordable medium for

and fabrication by a two-axis plotter, which

local production.

scores and cuts the parts from sheet media.

The unfolding algorithm deconstructs complex non-developable surfaces via triangulation, into flat modules for 2D cutting.

Unfold algorithm

1—

2—

NURBS surface.

Geometry faceting.

research

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4—

31

3—

Unfold and

Unfolding path.

Joint generation.

research

Unfold algorithm


Dress Code

research

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DRESS CODE Dress Code envisions a mass customisation model for the collaborative tailoring, design and fabrication of a dress. An algorithm captures body measurements through the familiar process of taking a photograph; thereafter allowing one to design and fabricate a dress tailored for that individual. This project also explores different methods of deconstructing complex surfaces, into two-dimensional modules that are fabricated via different digital fabrication processes, and assembled together with customised joints. Research assistants: Jessica Toh, Gloria Ngiam

Body measurement set-up. ďƒ˘

Dresses fabricated and assembled in Tyvek. ďƒ&#x;

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research

Dress Code


I M AG E ME ASUREMENT The front and side silhouettes of the body are captured via a high contrast photography set-up. This is calibrated against an object of a known dimension. This straightforward process allows the algorithm to accurately measure the cross sections of the body.

1­— Calibration tool. 

2—Front silhouette. 

3—Side silhouette. 

Dress Code

research

34


 The image processing algorithm generates a three dimensional NURBS surface from the two silhouettes. The dress is then designed either in the programme by editing key-points, or through painting on the silhouettes directly in another programme like Photoshop.

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Raw body surface in Rhinoceros.

Dress surface in Rhinoceros.

research

Dress Code


D R ES S D EC O N S T R U C T I O N Various methods of deconstructing the dress

Quad Dress

surface were explored. Different 2D digital

Dress deconstructed via planar quadrilaterals; the

fabrication processes, such as laser cutting

snap-fit joints allow it dress to be dissembled along

and two-axis plotting were used to fabricate

any path following its two axes.

the modules. Customised joints were designed based on the material’s unique properties, and

Diamond Dress

the deconstruction method used, resulting

Dress deconstructed via triangulation and assembled

in novel ways of assembling and wearing the

without any stitching, resembling a low-polygon

dresses.

3D model. Spiral Dress Dress deconstructed via a peeling sequence, akin to winding the measuring tape down the body. ďƒ

Dress Code

research

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37

research

Dress Code


BOUNDA RIES Boundaries was a research topic carried out as the self-directed project for my undergraduate industrial design thesis. This research tackled the concept of a “boundary” from two ends; the boundary was explored as a phenomena, extracting the essence of our experience and perception of boundaries, and concurrently, it was investigated as a functional object, using the construction site boundary as a case study, which eventually formed the design context. Read the full report here.

P H E N O M E N O LO G I C A L S T U DY

 A boundary defines two spaces

Boundaries were investigated as a phenomena.

Abstracting Wolfgang Kohler’s 1929 experiment in

This increased sensitivity to our perception

gestalt psychology, the rectilinear to curvilinear forms

of boundaries uncovered insights which were

represent the increasing level of intimacy experienced

useful in driving the design outcome.

in a space. This grid of double-walled symbols illustrates the vast dichotomy of spaces possibly

A boundary defines two spaces.

defined by a boundary.

Boundaries are tangible. A boundary interfaces with within and without. Intimacy defines a boundary’s experience. A boundary forms the locus of its space. Boundaries

research

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CONSTRUCTION SITE B O U N DA R I ES Construction site boundaries were the chosen

This design research looks beyond the

design context for this thesis. The research

construction site boundary as a temporary

focuses on sites that are long in duration and

hoarding between the public and construction

high in dynamism, typified by major road traffic

space, rather, a boundary that interfaces with

constructions.

residents, pedestrians, motorists without, and engineers, contractors and workers within.

Singapore is in the midst of constructing extensions to its existing mass rapid transit infrastructure. With a majority of the construction sites tucked within built-up residential areas, they have become an indelible feature in the city’s urban landscape.

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research

Boundaries


PATC H WO R K B O U N DA RY

LO C U S O F S PAC E

A boundary serves to segregate, both physically

The boundary is intuitively the locus of the

and psychologically; the patchwork nature of the

spaces it defines. The construction site

current construction site boundary projects the

boundary is the anchor of its space, and it

chaotic nature of construction further outwards.

should coherently accommodate various functions of the space along its perimeter.

A LG O R I T H M I C ARR ANGEMENT An algorithm was designed to arrange the components designed based on the varying requirements along the construction site boundary. This tool allows engineers to assess the components required for the construction boundary, cutting down on unnecessary storage and transport costs. It also provides a blueprint for all the stakeholders to refer to, improving the efficiency of setting up the boundary.

Boundaries

research

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ďƒ&#x; The components were designed to have an efficient footprint when disassembled. The reusable components reduce the logistic costs and environmental impact of the construction site boundary.

ďƒĄ A three men team is all that is required to assemble the boundary, while its design removes the need for tools during set-up.

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research

Boundaries


 The panel’s design hides all naked metal edges, protecting the public, in particular curious children, from injury. Shelter protects pedestrian from weather elements, while the cantilever also houses lighting improving the safety and security of the walkway. Signs attached to the pedestrian façade provides pedestrians with clear way finding. The sign uses graphic design consistent with the city’s public transport system, integrating the space into the urban city-scape.

 Scale one prototype during outdoor testing.

Boundaries

research

42


ďƒĄ The same supports used to form the construction site

When assembled, the panels conceal a grid for the

boundary can be used by workers within the site as

organisation of signs and visual markers. These

structures for shelving as noticeboards. The boundary

can now be arranged neatly with ease along the

thus provides for both the spaces within and without

construction site, communicating clearly to motorists

coherently.

and pedestrians. ďƒ˘

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research

Boundaries


ID2112 - DECONSTRUWCTING FACES

Generating facial outcomes with Grasshopper with a similar set of data.

PHASE 01- Inspiration Setting a exploratory direction of surfaces treated with textures. 01| Exploration involves how complex organic surfaces can use textures to bring meaning and imagination to the art piece. The use of texture helped break the surface contour of a familiar object into a canvas where the texture is the focus.

PHASE 02 - Experimentation

Developing a facial contour with lines and exploring with simple facet, Hexagon meshes & polylines webbing. 02| Working with a NURBS surface in developing outcomes into faceted faces, hexagonal mesh and even cordian-liked contours. These outcomes explored how the surface can be made translucent with mass reduction while retaining its identity of a human face.

PHASE 03 - Implementation Obtaining mesh data of a human face with 3D scanning and exploring possibilities from meshes. 03| Using a 3D scanner to obtain a face CAD file that has fine details and reworking the Grasshopper’s definitions in its “Mesh” language. Deriving a pure, direct and new outcome of a mask by fine-tuning the results by point attractors and matching closest points.

FINAL PHASE - Outcome

MAZE| With the similar set of points gathered from the mesh surface, the maze

mask is derived by linking the closest point from one point to another and creating a surface. By linking alternate points together, the outcome forms a maze-liked effect.

BUMP| Linking points with a point attractor definition limiting the next offset point from the point normal to mesh surface. Using a conical surface that has a heavy base and light top, the surface forms a haptic texture that is linked by the crossed path of surfaces.

Project by Eason Chow Wai Tung

Digital Design and Fabrication

teaching

44


DIGITA L DESIGN A ND FA BRICATION Role: Module Leader.

The elective module Digital Design and Fabrication explores the role of algorithms and logic in design. Students are taught Grasshopper, the parametric plug-in for Rhinoceros 3D, as well as various digital fabrication processes, such as two axis cutters, five axis CNC, and additive manufacturing tools as such FDM and SLS. Through this course, students are exposed to various related concepts, such as 3D scanning, parametric and generative design, mass customisation, and their relevance in design today. As an assignment, they decide on a direction in digital design to explore, eventually prototyping the research in 2D, 3D or 4D.

Contrasting Textures of a

Deconstructing Faces

Surface,

by Eason Chow.

by Mabel Low. Mabel conducted her

Eason was directed

investigating on origami

to investigate the

and tessellations. After

properties of a digital

her initial explorations,

mesh, using 3D scanned

she was directed to

data of his face as a

explore how a single flat

context of exploration.

module could be folded

Various methods of

and arranged to give

deconstructing the

surface with contrasting

mesh, yielded different

textures on its two

“masks”, which were

faces.

eventually 3D printed.

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teaching

Digital Design and Fabrication


 Luma, by Alfred Lim and Lim Kim. A series of toy vehicles that leave glowing trails in the dark. Each vehicle leaves a unique trace which fades over time; tracks from trains, exhaust from cars, and even ripples from boats. The night comes alive as children weave together stories through Luma.

 Zig Zig, by Valerie Tan and Yu Yue. A children’s tee shirt that magically transforms into imaginative landscapes. Children create their own ‘playgrounds’ with a series of soft attachable modules designed to simulate different scenes.

Design Platform: PL AY

teaching

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DESIGN PL AT FOR M:

PL AY Role: Platform Leader with Studio Juju.

Playing is an activity, but playing is also a sensation. For play brings pleasant experiences and positive emotions by appealing to our senses and stirring our imagination. Over a course of 11 weeks, the students explored the act of play and meaningfully introduced play into a series of various contexts. Each project, not mere toys, is an investigation into designs that bring out refreshing play experiences. ďƒ&#x; Hidie Hut,

The studio primarily adopts a hands-on

by Wang Ying Hsuan and

approach in its investigation, setting out to

Kiera Lin.

express the essence of play through prototypes and story telling.

Hide Hut is a scenographics play

PLAY was exhibited in Singaplural 2013.

tent that is attached to walls, allowing children to create their own imaginative play spaces.

ďƒ&#x; Up in the Air, by Joanne Low and Corina Tan. Up in the Air is about visual playfulness through stacking bold shapes and colors to create various seating and table heights, introducing a sense of playfulness into everyday furniture.

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teaching

Design Platform: PL AY


Design Platform: Digital Wellness

teaching

48


DESIGN PL AT FOR M:

DIGITA L WEL L NESS Role: Platform Leader with Professor Ellen Do.

Digital Wellness was ran in collaboration with CUTE Center NUS. This platform investigates the role digital design innovations in our pursuit of a higher quality of life. In this platform, students are exposed to various digital sensors and prototyping tools, such as the Kinect and Arduino, eventually realising their ideas through functional prototypes and storytelling.

ďƒ&#x; Word Out, by Kelly Yap, Christabel Goh and Felicia Paul. Word Out teaches pre-school children letters and spelling by engaging their entire body. By twisting and forming alphabets with their body, kids experience the form of each alphabet. Word Out detects when a letter has been formed, moving on to another letter, eventually spelling a word for the player. This educational game aims to help children learn better through engaging them in a fun and kinaesthetic manner. Word Out was exhibited during the January 2014 Sunday Showcase at ArtScience Museum Singapore.

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teaching

Design Platform: Digital Wellness


Design Platform: Digital Wellness for Children

teaching

50


DESIGN PL AT FOR M:

DIGITA L WEL L NESS FOR CHIL DREN Role: Platform Leader with Professor Ellen Do.

As digital natives, children today grow, learn and play in an environment that is increasingly digital. The digital context is a rich medium that provides many opportunities to improve our children’s wellbeing. In this platform, students engage the subject through prototyping and testing, designing new scenarios for not just the young, but also the young at heart.

SAM,

Furu,

by Xin-Cheng Abel Fam.

by Loh Zhide.

Children with autism face difficulties in identifying

Furu aims to explore how basic technology and

facial expressions and the emotions behind

accompanying programming logic can be used to

them. These difficulties results in their lack of

transform a mundane everyday tool into an interactive

empathy towards others, causing them to respond

companion. Simple sensors imbue Furu with the

inappropriately in social-emotional scenarios. SAM is

ability to be aware of what the users are doing, and

an educational tool that seeks to build up an autistic

to express a dynamic range of behavior, responding

child’s bank of facial expressions and emotions

in its unique and idiosyncratic manner. In the end we

vocabulary, through associating facial expressions to

may ask: Is Furu only a lamp, or is it something more?

emotions. Matching the correct features to a chosen emotion gives a positive feedback, packaging this tool into a simple game for caregivers and the child.

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teaching

Design Platform: Digital Wellness for Children


Sunday Showcase

teaching

52


SUNDAY SHOWCASE January 2014 Sunday Showcase at the Artscience Museum, Marina Bay Sands, Singapore. Role: Curatorial Coordinator and Exhibition Designer. The Sunday Showcase is a monthly event held at the ArtScience Museum at Marina Bay Sands, Singapore. Sunday Showcase allows visitors unique access to cutting edge projects being undertaken by different tertiary institutions across Singapore. The January 2014 event showcased works from the Division of Industrial Design and Design Incubation Centre (DIC), surrounding the theme of Design for Innovation and Technology. The works were divided thematically into three spaces:

1. The entrance space, with a mini workshop for visitors to design their own storytelling pop-up cards. 2. A warm, light-hearted space, showcasing projects centered around Designing Interactions for Children. 3. An experimental space, showcasing projects around Digital Design and Fabrication, including 3D Printing and Scanning.

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teaching

Sunday Showcase


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