DENISE CHUA CREATIVE & INTERIOR DESIGNER
PROFILE A fun-loving designer with a huge passion for events, interior and graphic design. The versatility of art and design makes me eager to explore different concepts as well as skillsets, utilising my creative soul with the ability to think outside of the box.
ACADEMIC ACHIEVEMENTS
EDUCATION THE GLASGOW SCHOOL OF ART 2018 — 2020 Singapore Institute of Technology Bachelor of Arts with Honours in Interior Design NANYANG POLYTECHNIC School of Design Diploma in Space & Interior Design
2014 — 2017
2016 — 2017 • Certificate of Academic Excellence 2017 • Edusave Merit Bursary 2017 • Director’s List for Semester 1 • Director’s List for Semester 2 2015 — 2016 • Director’s List for Semester 1 • Director’s List for Semester 2
INDUSTRY PARTICIPATIONS
2012 — 2013
FITCH RAW: SPRING 2019, HOTEL FITCH, Collaboration Overall Winner — RESET
2019
• Edusave Merit Bursary • Edusave Award for Achievement, Good Leadership & Service (EAGLES)
HALLOWEEN HORROR NIGHTS 6 Resorts World Sentosa, Universal Studios Singapore Selected Finalist for Project Design & Implementation
2016
2011
CHALLENGE FOR THE URBAN & BUILT ENVIRONMENT (CUBE) Urban Redevelopment Authority (URA), Competition Commendation
2015
• Edusave Scholarship 2011 2010 • Edusave Merit Bursary 2010 2009
DESIGN WITH HEART Nippon Paint Young Designer Award, Competition
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2015
• Certificate of Academic Excellence for Top Student 2009
WORKING EXPERIENCES FREELANCE DESIGNER Self-Employed
SKILLS APR 2020 — PRESENT
Clients include: MMMUNCH, 3DM Hospitality, Turnsteel Technology and One Eighty Concepts. • Design conceptualisation of brands from logo design, posters, menus, packaging and merchandises. • Digital illustration for logo designs and merchandises. • Oversee concepts from ideation to final execution and ensure the quality and standards are consistent and brand-aligned. • Production of 2D & 3D visualisation of projects. • Photography for food menu items. CREATIVE DESIGNER MAR 2017 — AUG 2019 BLVD Holding Pte Ltd (Full-time) Marketing Department • Graphic designing of posters, promotions and edms. • Develop branding across concept from logo design, menus and packaging. • Photography for outlet, food and events. • Videography editing and filming of promotional items. • Timely execution of marketing collaterals and print materials. DESIGN INTERN MAR 2016 — SEP 2016 Resorts World Sentosa (Internship) Entertainment, Arts & Design Department • Management of vendor’s negotiations & quotations. • Production of AutoCAD’s drawings & 3D visualisation. • Conduct site & factory recce of event for design inspections. • Involvement in event set-up and tear down. • Ensured design and decorations’ adherence to brief.
3DSMAX
ADOBE LIGHTROOM
ADOBE PHOTOSHOP
ADOBE PREMIERE
ADOBE ILLUSTRATOR
ADOBE INDESIGN
AUTOCAD
SKETCHUP
INTERESTS
PHOTOGRAPHY
SKETCHING
TRAVELLING
CONTACT MOBILE
WEBSITE
+65 9021 - 8018 denisechuayl@outlook.com
https://linkedin.com/in/denisechuayl https://denisechuayl.wixsite.com/portfolio
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table of content
PAGE 06
01
LUSH FLAGSHIP STORE RETAIL
— PAGE 20
02
INHABITATION INSTALLATION
— PAGE 34
03
MANIFESTO EXHIBITION
— PAGE 44
04
GRAPHIC WORKS WORKING EXPERIENCE
— PAGE 58
05
TURNSTEEL TECHNOLOGY FREELANCE PROJECT
— PAGE 66
06
MMMUNCH FREELANCE PROJECT
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02 —
LUSH FLAGSHIP STORE RETAIL
252 North Bridge Rd, #03-37, Singapore 179103 1.2938° N, 103.8534° E — 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 moves and react in a certain manner within the store itself. 3 senses, “See, Touch and Smell” were observed, thus it was 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. Final Year Project — BA (Hons) Interior Design The Glasgow School of Art 2020 7
circulation flow
tracing the steps of individuals
Multiple individuals were followed to provide a deeper insight of shopper’s habit within the LUSH outlet such the action that was made in the journey as well as the behavioural aspects. By analysing each individual’s behaviour and action in the store, it allows a comparison between the documentations, thus, narrowing down into the common action and behaviour that shoppers had in LUSH.
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reference Following Piece Vito Acconci, 1969.
observations
common behaviour and movement
touch — feel LUSH had a station where shoppers could test the products by using the metal bowl as a sink. By testing, it allows shoppers to feel the texture as well as the after effects of the products. This station serves as an interaction between the staff and shopper to understand more about the products.
smell — scent In the current LUSH store, the scent of LUSH becomes overwhelming due to the products displayed. The scent overwhelms the senses of shoppers such that they could not smell the products unless it was brought close to their nose.
see — colours Many of LUSH products were packaged in a black pot. The black pot in turn becomes a distraction such that shoppers were not able to focus on a section and were unable to differentiate the products. Therefore, most shoppers were drawn towards products that were coloured as it stands out amongst the black pots.
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product
selection of colours and scent
RED ROSES
JASON & THE ARGAN OIL shampoo bar
ROSY CHEEKS fresh face mask
ROSE JAM shampoo gel
ROSE JAM bath bomb
YELLOW CITRUS
BRAZILLIANT shampoo bar
LIKE A VIRGIN naked cold cream cleanser
LOVE solid perfume
NOT SLEEPY shower bomb
GREEN HERBAL/MINTY
MASK OF MAGNAMINTY face and body mask
JADE ROLLER naked cleansing balm
PARSLEY PORRIDGE soap
BLUE SEA SALT
SEANIK shampoo bar
RUB RUB RUB shower scrub
OCEAN SALT face and body scrub
SLEEPY shower gel
SLEEPY body lotion
SEAWEED GIANT BOMBSHELL bath bomb
SEA SALT BOMBSHELL bath bomb
PURPLE LAVENDER
JUMPING JUNIPER shampoo bar
To integrate the 3 senses with the products, a research was conducted on the products to carefully categorise the scent, colours and textures. 10
FRENCH KISS bubble bar
The colours selected were Red, Yellow, Green, Blue and Purple which was also determined through researching into LUSH’s best-selling products.
exploration
process model and sketches
Layering was explored in the secondary design process. Materials were tested out by layering them as an interpretation of different layers of scent that could be diffused and contained.
The pods (in circles) were first plot into the space before planning the overall flow as the intention was to have its form follows the function of the space.
Curves walls were experimented with the intention to provide visitors a ‘dreamy’ and ‘wandering’ experience while walking through the store using their senses. Using the fluidity of curves, it creates a smooth and flowy effect within the space. 11
layout plan
proposed zoning, circulation and material
08 Exit
07 Purple Zone Lavender 06 Blue Zone Sea Salt
05 Yellow Zone Citrus
03 Red Zone Roses
04 Green Zone Herbal/Mint
02 Transition Space
proposed zoning
proposed circulation
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01 Entrance/Exit
Exterior: Frosted Glass
Scratch and Sniff Textured Wall Lavender Petals
Interior: Plywood with Laminate Finish
Scratch and Sniff Textured Wall Sea Salt Vinyl Flooring with Concrete Design
LED Light Solid Plywood with Laminate Finish
Scratch and Sniff Textured Wall Citrus Skin
Scratch and Sniff Textured Wall Rose Petals
Vinyl Flooring with Wood Design
Acrylic
Scratch and Sniff Textured Wall Herbs
proposed material
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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. 14
texture wall
Rose Petal Used on scratch and sniff experiential wall
Plywood with White Laminate Finish
Plywood with Red Laminate Finish
experiential pod textured wall
Frosted glass was used as the exterior to create a mysterious, dreamy effect. When someone enters into pod, the space will darken. By dimming the space, it heightens the user’s senses such that they have a full immersive experience of the zone.
Frosted Glass
Acrylic with LED Floor Strips Lights
experiential wall scratch & sniff textured wall
Scratch and Sniff Textured Wall
Opening to put hand in (feel)
Opening to put head in (see) Frosted Glass Acrylic with LED Floor Strips Lights
The scratch and sniff wall were 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.
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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 onto as well as the link of colours that matches with the scent and senses. 16
passage way
The passage way mainly showed how shoppers could walk through the store by their senses through visually and smelling. Certain zone are placed closely so that allows shoppers to follow the type of scent they preferred as they could smell 2 different scents while walking through the space. 17
blue experiential zone
The texture walls for both blue and yellow zone were left exposed in comparison to the other zones as these 2 zone tapped onto it’s texture such as it’s rough (blue) and smooth (yellow) surfaces to provide a different experience to shoppers. 18
texture wall
Sea Salt Sea salt’s rough texture and scent as the experiential wall
yellow experiential zone
texture wall
Citrus Skin Used on scratch and sniff experiential wall 19
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03 —
INHABITATION INSTALLATION
Paya Lebar Central 1°19’05.4”N 103°53’36.0”E — 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 pertains to the routine of people. Paya Lebar was chosen as the site due to the difference in context during the weekday and weekend as well as the users of the place. This project is an installation, a temporary feature within the site of 3 – 6 months duration. Final Year Project — BA (Hons) Interior Design The Glasgow School of Art 2019 21
Vito Acconci’s Following Piece was used as reference in documenting the movement and flow of individuals within the space.
Multiple individuals were followed to provide a deeper insight of users’ habits and memories at Paya Lebar Central within the site context such as what they were doing. 22
reference Following Piece Vito Acconci, 1969.
observations
common behaviour and movement
transiting Most people in Paya Lebar Central transits from one place to another. Some from malls to malls, some from offices to malls or vice versa.
gathering During the weekends, many of the void spaces were used as spots for people to gather such as having picnic or to hang out. While gathering, many of them used this opportunity to take photographs for one another.
idling Similar to gathering, these people are usually individuals, sitting around spots that they identify as seats and just idling while waiting for time to pass.
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layout planning sketches
1. The planning was first done through sketches of process models. The walls were planned such that users could have their own private space yet at the same time sense other’s presence through the frosted glass which creates a faded silhouette. Different heights were added into the planning to evoke a sense of playfulness and volume into the design, inviting users to enter the space.
2. Understanding from 1, the layout planning did not work out as it is difficult to plan without grids as a guide. Therefore, this planning uses grid paper to plot the possibilities of the intervention within the site. The circulation flow was plot in the linkway to identify how people uses the space in site. 24
This has identified a daily habit (routine) that one has. Focusing on where was the highest and least intersection of routine, cubes were then plot as accordingly, into a transitional space where one interacts with the intervention.
2. Grids were used to plan the cubes in an orderly manner. This planning becomes neater and less random which worked better in translating the design as a form of transitional space as well as providing opportunity for inhabitation to take place.
1. Realising that by using grid papers to sketch out the plan, the outcome did not turn out as expected, SketchUp was then used to plan the cubes to better visualise the spatial context in different heights and volume.
1.
3.
3. Improvising from the previous plans, this uses 3 different scales of cubes, evoking curiosity and allowing users to take a pause in their moments to relax. Different scales creates a hierarchy within the cubes, allowing users to identify spaces such as the biggest scaled boxes which suggests inhabitation within it to the users.
2.
4.
4. Finding that 3. was still rigid despite the play of scales, the solid box was transformed into a hollow box, creating porosity within the space. 25
2d drawings
layout plan, front and side view
PLAN VIEW 1 SCALE 1:2000
20000
3800
12000
12000 3000
4100
500 300
500 300
PLAN VIEW (STRUCTURE) 1:125 PLAN VIEWSCALE 1 SCALE 1:2000
TRUSS STRUCTURE
METAL PLATE
PLAN VIEW SCALE 1:125
20000
MOD (100 PLYW WHI
12000
MODULAR CUBE (500MM X 5000M PLYWOOD WITH WHITE PAINT FI
PLAN VIEW SCALE 1:125
MODULAR CUBE 2 (1000MM X 1000MM) PLYWOOD WITH WHITE PAINT FINISH MODULAR CUBE 3 (500MM X 5000MM) PLYWOOD WITH WHITE PAINT FINISH
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FINISH FLOORING PLYWOOD WITH WHITE PAINT FINISH MODULAR CUBE 1 (2300MM X 2300MM) FROSTED GLASS FINISH
TRUSS STRUCTURE TRUSS STRUCTURE TRUSS STRUCTURE MOUNTING BRACKET MOUNTING BRACKET MOUNTING BRACKET EYE BOLT EYE EYE BOLT BOLT L BRACKET L BRACKET L BRACKET STEEL FRAME STEEL FRAME STEEL FRAME FROSTED GLASS FROSTED GLASS FROSTED GLASS
WIRE WIRE WIRE
20000 20000 20000
20000 EXT. EXT. EXT. CLCLCL FCL FCL FCL
5560
120 120 120
6000
6000 6000 6000 5560 5560 5560
320
320 320 320
EXT. CL FCL
120
FFL FFL FFL EXT. EXT. EXT. FLFLFL
FRONT VIEW (STRUCTURE) FRONT FRONT VIEW VIEW (STRUCTURE) (STRUCTURE) SCALE 1:125 SCALE 1:125 SCALE 1:125
FINISH FLOORING FINISH FINISH FLOORING FLOORING PLYWOOD WITH PLYWOOD WITH PLYWOOD WITH WHITE PAINT FINISH WHITE PAINT FINISH WHITE PAINT FINISH
FFL EXT. FL
FRONT VIEW SCALE 1:125
14400 12000
20000
EXT. CL FCL
6000
5560
120
120
6000
5560
320
320
EXT. CL FCL
FFL EXT. FL
FFL EXT. FL
SIDE VIEW SCALE 1:125
FRONT VIEW SCALE 1:125
14400 12000 MODULAR CUBE 1 (2300MM X 2300MM) FROSTED GLASS FINISH
MODULAR CUBE 2 (1000MM X 1000MM) PLYWOOD WITH WHITE PAINT FINISH
120
6000
5560
320
EXT. CL FCL
2300
SELECTIVE MODULAR CUBES TO BE MIRROR REFLECTIVE FINISH FFL EXT. FL
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00
ISOMETRIC VIEW SCALE 1:50
500
1000
SIDE VIEW SCALE 1:125
10
00
50
0
MODULAR CUBE 2 (1000MM X 1000MM) PLYWOOD WITH WHITE PAINT FINISH SELECTIVE MODULAR CUBES TO BE MIRROR REFLECTIVE FINISH ON THE INSIDE
The design consists of 3 modular cubes which were of different sizes, 500mm, 1000mm and 2300mm. The use of the different scales within the design intervention create a hierarchy in the overall design to users where one can identify the usage and purpose of the space easily. The modular cubes of 500mm and 1000mm cubes were ergonomically driven such that how one uses the cubes in terms of sitting and walking up on them as a step were considered before integrating into the design. 2300mm cubes were designed with the intention of inhabitation to take place and having users to transit from place to place, therefore, the scale was planned to fit users whereby the cubes were not too spacious or limited.
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3d model
section and isometric view
Frosted Glass
Plywood with White Paint Finish on Exterior
Mirror
Mirror on Interior
Plywood with White Paint Finish
material
Plywood Used on cubes (500mm/1000mm)
Frosted Glass Used on all cubes (2300mm) 28
Mirror Used on selective cubes (500mm/1000mm)
White Paint Used on Plywood as a finishing
20000
C A
12000
A B
B PLAN VIEW SCALE 1:125
C
SECTION A-A NOT TO SCALE
SECTION B-B NOT TO SCALE
SECTION C-C NOT TO SCALE
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day time — night time
day time
night time
30
The reflective memories used mirrors in selective modular boxes such as some were on the exterior of 1000mm cubes and some were on the interior of 500mm cubes.
Reflective Memories
Portal of Memories
The modular boxes were designed such that it represents fragmented memories of oneself. These memories were scattered all over into bits and pieces in portrayal of how memories were not fully clear to one and were in fragments. 31
reflective memories — portal of memories
reflective memories
portal of memories
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inhabitation — view from lighted box
inhabitation
view from lighted box
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04 —
MANIFESTO
THE IRREVERSIBLE CYCLE LIFE AND DEATH EXHIBITION
Gillman Barracks 9 Lock Rd, Singapore 108937 — The Manifesto project is a curation of an exhibition which requires a carefully constructed narrative that ties the selected collection of installations and art pieces together as a coherent whole, creating a themed exhibition space. The site provided is the Centre for Contemporary Art, Singapore (NTU CCA), situated on the old Gillman Barracks site (1936). 3rd Year Project — BA (Hons) Interior Design The Glasgow School of Art 2019 35
the irreversible cycle: life and death
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4
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10
8
7
9
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the irreversible cycle
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1
LA TRAVERSÉE DE LA VIE (THE CROSSING OF LIFE) Christian Boltanski 2015 31 printed veils, 12 light bulbs, electric wire, wire 180CM x 230CM
2
DÉPART (DEPARTURE) Christian Boltanski 2015 86 red light bulbs, 99 blue light bulbs, electric wire 185CM x 283CM x 65CM
3
ARRIVÉE (ARRIVAL) Christian Boltanski 2015 86 red light bulbs, 99 blue light bulbs, electric wire 190CM x 305CM x 65CM
4
BIRTH Jackson Pollock 1941 Oil paint on canvas 116.4CM x 55.1CM, Support 120.7CM x 59.7CM x 6.4CM, Frame
5
THE REFLECTING POOL Bill Viola 1977 – 1979 Color videotape, monoaural sound, 7 min Dimension Variable
a collection of exhibition objects —
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. There is no beginning or no end to the life of the soul. Everything in the universe is energy in motion. No matter how hard we try, we can’t escape the cycle of life and death. A sudden tragic death of a friend. The impending birth of a child. A life-threatening illness of someone you love. These things are the cycle of life.
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25
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ARROW OF TIME (UNFINISHED LIFE) Tatsuo Miyajima 2016 LED, IC, electric wire, iron (rod) 691CM x 1197CM, Dimension Variable
13
LES OMBRE Christian Boltanski 1986 Metal frame, wood, cardboard, tin, cork, 5 lamps, transformer, fan 100CM x 50CM x 82CM (CIRCA)
7
FLOATING TIME Tatsuo Miyajima 2000 Computer graphics, PC, projector 580CM x 600CM x 450CM
14
8
MOON IN THE GROUND Tatsuo Miyajima 2015 Plastic coated waterproof LED, IC, electric wire, stainless mirror, iron 150CM x 150CM
PILE UP LIFE NO. 2 - KATRINA Tatsuo Miyajima 2008 LED, IC, firebrick, mortar, electric wire, power supply transformer, wooden pallet 103.9CM x 119.7CM x 120.1CM
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9
LIFE NO. 6 (LE CORPS SANS ORGANES) Tatsuo Miyajima 2013 16 LED, IC, steel, plastic cover, sensor, electric wire 156CM x 134CM x 11CM
PILE UP LIFE NO. 4 - KATRINA Tatsuo Miyajima 2008 LED, IC, firebrick, mortar, electric wire, power supply transformer, wooden pallet 86.3CM x 62.4CM x 62.1CM FOUR HANDS Bill Viola 2001 Video, 4 flat screens, black and white 23CM x 130CM x 20.5CM
10
INNUMERABLE COUNTS 20180302 Tatsuo Miyajima 2018 Ink on Paper 50.4CM x 76.8CM
11
INNUMERABLE COUNTS 20180217 Tatsuo Miyajima 2018 Ink on Paper 26.1CM x 36.1CM
12
LES OMBRE BOUGIES (CANDLES) Christian Boltanski 1987 Oxidized copper, wire, tin, clay, candles, aluminium and wax in seven parts 30CM x 31CM x 4CM (CIRCA)
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DEC 29, 1977 On Kawara 1981 Acrylic on canvas 20.3CM x 25.4CM, Display 26.8CM x 27.2CM x 5CM, Box TODAY SERIES On Kawara 1966 - 2014 Acrylic on canvas Dimension Variable BLACK ICE Anya Gallaccio 2002 Screenprint on acrylic 60CM x 83.5CM
20
WHITE ICE Anya Gallaccio 2002 Etching on paper 61.5CM x 85.5CM
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BED Antony Gormley 1980 – 1981 Bread and parafin wax on aluminium panels 28CM x 220CM x 168CM (CIRCA)
22
MONUMENT TO THE LIVING AND THE DEAD Damien Hirst 2006 Butterflies, household gloss paint on 2 canvases 232.2CM x 464.5CM x 12CM, Display 232.2CM x 232.2CM x 12CM, Frame
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DERNIÉRES SECONDES (LAST SECONDS) Christian Boltanski 2012 LED counter, electric wire 500CM x 60CM x 9CM
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NANTES TRIPTYCH Bill Viola 1992 Video, 3 projections, colour, sound 320CM x 270CM
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ARCHIVE OF DEATHCLOCK Tatsuo Miyajima 2005 - 2008 21CM x 28CM, framed Digital prints of 495 participants
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MEGA DEATH Tatsuo Miyajima 1999/2016 LED, IC, electric wire, infrared sensor Dimension Variable
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arrivée Upon reaching Arrivée, it represented that the visitors have arrived to the destination of rebirth, showing the arrival to the new life cycle, starting from birth.
the reflecting pool A video, The Reflecting Pool by Bill Viola will be played in which it symbolises birth, baptism, time and memory.
mid life cycle A platform was used to create a transition of the exhibited artworks between birth to the passing movement of life cycle.
corridor tra Having the installation li red, a dark implemented gradual trans the installation
5. THE REFLECTING POOL
3. ARRIVEE (ARRIVAL)
TOILET 1. LA TRAVERSEE DE LA VIE (THE CROSSING OF LIFE)
4. BIRTH
8. MOON IN THE GROUND
ORGANES)
la traversée de la vie Before reaching Arrivée, visitors will be surrounded by the veils, La Traversée De La Vie which unearths nameless faces, ghosts of forgotten, untraceable identities.
2. DEPART (DEPARTURE)
10. INNUMERABLE COUNTS 20180302
11. INNUMERA COUNT 2018021
6. ARROW OF TIME (UNFINISHED LIFE)
ENTRANCE
25. ARCHIVE OF DEATHCLOCK
départ Visitors will pass by Départ as if they are departing from the outside world into the new world in this exhibition.
26. MEGA DEATH
the irreversible cycle exhibition — spatial context 38
24. NANTES TRIPTYCH
entrance Two routes were given at the entrances, allowing visitors to decide on the path they would like to go through.
mega death Mega Death is an installation of blinking blue LEDs, each representative of human life. The lights are programmed to switch off at intervals, plunging visitors into complete darkness momentarily.
The turning off is unexpected and unpredictable, much like the suddenness of death. Thus, once the installation turned dark, it meant that the visitor’s life have come to an end in this exhibition.
archive of Archive of D project which days of the re from the m imagined deat
ansition 1 Arrow of Time ighted in bright k corridor was to create a sition leading to n.
arrow of time Arrow of Time represents the concept of time’s irreversibility, that it cannot rewind itself and return again. Red LEDs were used to express caution and urgency.
floating time Floating Time shows each digital device counting down at different speed and way, and floating in space showing that the different people embraces time in their own ways.
13. LES OMBRE
7. FLOATING TIME
les ombre Les Ombre consists of hanged figures, skulls, fallen angels, skeletons and a man with a scythe which represents the personification of death.
9. LIFE NO. 6 (LE CORPS SANS 15. PILE UP LIFE NO. 4 - KATRINA
14. PILE UP LIFE NO. 2 - KATRINA
pile up life Pile Up Life is an homage to the fatalities caused by natural disasters. It reflects on human interaction with nature how it can be uncontrollable. Black curtain was used to separate the two artworks which emits different lights, yet allowing it to partially seep through, making the visitors curious what is on the other side.
22. MONUMENT TO THE LIVING AND THE DEAD
17. DEC 29, 1977 18. TODAY SERIES
21. BED
23. DERNIERES SECONDES (LAST SECONDS)
deathclock Deathclock is a counts down the emaining lifespan moment of the th.
12. LES OMBRE BOUGIES (CANDLES)
16. FOUR HANDS
ABLE TS 17
transition of artworks A black curtain was used to separate the artworks so the lights and it’s effect does not seep through the spaces.
20. WHITE ICE
19. BLACK ICE
decomposition The decomposition space consists of artworks which represents death and how it can also be in the form of decaying.
corridor transition 2 Leading to the next artwork, mirrors were placed with the intention of a preview of what the Archive of Deathclock have as well as seemingly like the visitors are part of the artwork.
nantes triptych Nantes Triptych consists of 3 videos which showed the life cycle from the beginning to the end thus, representing the flashback of a life cycle of the visitor’s.
dernières secondes Dernières Secondes measures the duration of a life. The counter will stop when the life comes to an end which this space is the visitor’s final moments of being alive.
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3d model plan view
14. Pile Up Life No. 2 15. Pile Up Life No. 4
17. Dec 29, 19
18. Today Series
13. Les Ombre
19. Black Ice 20. White Ice
12. Les Ombre Bougies
21. Bed
16. Four Hands
22. Monument to the Living and the Dead
7. Floating Time 6. Arrow of Time
23. Derniéres Secondes
9. Life No. 6 8. Moon In The Ground
24. Nantes Triptych
5. The Reflecting Pool 4. Birth
25. Archive of Deathclock
10. Innumerable Counts 20180302 11. Innumerable Counts 20180217
26. Mega Death 3. Arrivée
1. La Traversée De La Vie
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2. Départ
Entrance
display techniques
la traversée de la vie, four hands
LA TRAVERSÉE DE LA VIE
reference
artwork
FRONT ELEVATION NOT TO SCALE
proposed display
FOUR HANDS
artwork
proposed display
FRONT ELEVATION NOT TO SCALE
SIDE ELEVATION NOT TO SCALE
proposed display
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mid life cycle
dĂŠpart
the reflecting pool
corridor transition 2 archive of death clock & mega death
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decomposition
corridor transition 1 arrow of time (unfinished life)
transition of artworks
floating time
pile up life
nantes triptych
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05 —
GRAPHIC WORKS
WORKING EXPERIENCE
BLVD Holding Pte Ltd consists of a wide range of F&B Outlets such as Cafe, Corporate Restaurant Bars as well as an Italian Restaurant. The graphic works produced were mainly promotional items which requires the design to keep in line with the company and product brand’s identity as well as capturing consumer’s attention. Most of the content were provided by the Marketing Department in which, the Design team will then develop the visualisation, creating the final look of the promotional content. BLVD Holding Pte Ltd Creative Designer 2017 – 2019 45
magazine cover — news article
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all planned out for you
CAFE BY DAY BY NIGHT BLVD : BAR catering your needs
Constantly cooping up in a boring yet stressful working environment will drive everyone, even the calmest one crazy. Located amongst offices and factories in Changi Business Park, BLVD has specifically catered their menus to meet needs of the crowd during weekdays, going with the concept of being “Café by Day, Bar by Night”. Their Weekdays’ Special Lunch Menu, allows the crowd to have a quick yet satisfying lunch in an environment that is relaxing, giving one a space for breather. There is also a selection of sandwiches and salads to power a quick bit of work.
- are there would be their stone hearth pizzas. Unlike the usual pizzas you get, their pizzas were hand-stretched, topped with the freshest ingredients and baked in a built-in beech wood fire oven. With racks and racks of wines on display, BLVD went for the open concept of putting their available wines out there giving their guests the chance to handpick the wine of their choice. A perfect place to unwind from their hectic day I would say
If you are going for sustenance, have a look at their extensive menu, with All-Day Breakfast options such as “Smoked Salmon Truffle Scramble” and “BLVD’s Breakfast with Slayer X Coffee” to pick Not forgetting their evening menu with a vast from during the weekends. The Slayer X Espresso selection, from bar bites to pizzas and beverages. that drips from beans roasted exclusively for Something you would not want to miss while you - BLVD with caffeine-heads wired.
NEW EXPERIENCE page 02 Serving up classic Western fare with a modern touch from fresh made, hand stretched pizzas to sumptuous hot grill options of stacked burgers and rustic poultry picks...
DID YOU KNOW?
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BLVD is one of the latest offering and outlier in the among the BOULEVARD brand of outlets...
vol no. 01
singapore | saturday, 01 april 2017
THE FOOD TIMES KNOWING BLVD by: blvd singapore
— since 2017
BLVD is one of the latest offering and outlier in the BOULEVARD brand of outlets. Furthering our locality into the Eastern part of Singapore, the casual café bar can be found at Changi City Point, instilling a breath of excitement boasting plenty of personality unlike others.
In tie with a strong conviction for good quality food and drinks, BLVD only uses top of the line equipment featuring Beechwood Stone Hearth Oven and Slayer X Coffee Machines to present the best offerings such as stone-fired 18” pizzas and freshly made paninis while handpicked
selected beans will satiate the coffee aficionados with the best cuppa in town. A charming spot in this part of town, definitely a place worth the travel. BLVD is the perfect place to chill out and wind down from day till night.
5 Changi Business Park Central 1 #01-72/73, Singapore 486038
@blvdsg | fb.com/blvdsg http://www.blvd.sg info@blvd.sg
photo courtesy: blvd singapore
BOULEVARD the history of boulevard — since 2005
Having established itself in the local F&B scene for the last decade, BOULEVARD has since grown into a beloved timeless brand for corporate companies, individual regulars and well recognized by the rest.
photo courtesy: boulevard singapore
Back from a single outlet that started up in Red Dot Building in 2005, the company has since progressed leaps and bounds into the diversified portfolio of today. Varied and delectable gastronomic fare, centralized contemporary locations coupled with top-notch friendly service, these are some of the reasons why the brand remains a top choice for corporate functions and entertainment alike.
Scattered across Singapore’s multiple financial district, BOULEVARD now extends into several corporate and casual dining establishments, each with its own distinctive features and specialties, offering versatility for all occasions and festivities. In 2017, taking a brave bold step forward, BOULEVARD opened two different F&B establishments with brand new concepts. Its very first Café, BLVD, at Changi City Point, running as a café during the day, bar by night, has gained popularity among the offices nearby. BOULEVARD’s very first fusion restaurant, Cast Iron, a Modern Japanese Grill restaurant tucked away from the hustle and bustle of the city vibes opened in November 2017.
Cast Iron offers a wide range of delicacies ranging from traditional Japanese to Western Grills.
12 Marina View, Asia Square Tower 2 #01-04/05, Singapore 018961
Marina Bay Financial Centre Tower 1 #01-02, Singapore 018981
7 Fraser Street, Duo Galleria #01-30/31, Singapore 189356
9 Raffles Boulevard, Millenia Walk #01-23, Singapore 039596
7 Fraser Street, Duo Galleria #01-32/33, Singapore 189356
Magazine Covers in A4 News Articles in A3 A variation of magazine covers and news articles were designed to be placed as a wall display in the restaurant’s outlet by framing it up. 46
Softwares Used: Adobe Illustrator Adobe Lightroom Adobe Photoshop
poster
commercial
Commercial posters ranging from A1 to A3. Softwares Used: Adobe Illustrator Adobe Lightroom Adobe Photoshop
Many of the promotional content requires a poster to give consumers a visualisation of the product or food, thus, drawing their attention. 47
menu
poster stand
A variation of menu posters are designed for different restaurants based on the branding as well as its menu item. The posters are often placed outdoor to attract customers. 48
Menu Posters Stands ranging from A1, Banner Roll and Customized MasterCard Stands (826mm x 428mm).
menu order chit
Lunch Order Chit in A5 for multiple Boulevard outlets.
An order chit have been designed to give a fresher outlook on how a menu can be for a restaurant. Considering that many often had special orders, this allows customer to select their food items accordingly to how they wish to have it prepared. 49
menu
cafe & restobar
A difference of the menu designs such that BLVD (top) incorporates fun and casual elements whereas Boulevard Asia Square (bottom) consists of a more formal and corporate design style. 50
Menu in A3 for BLVD, a cafe by day, bar by night and for Boulevard Asia Square, a restaurant and bar located in the CBD.
menu
cafe — dinner
Booklet Menu in A3 for BLVD, a cafe by day, bar by night.
Being different from the Lunch Menu as Dinner contains more varieties of food and beverage items, a booklet design is required to fit the items while retaining the cafe’s rustic theme by using kraft texture. 51
branding t-shirt
front
back
front
back
T-shirt were designed for “d.o.c�, an Italian pizzeria and pasta restaurant. The concept was to design a trendy, casual graphical round neck t-shirt that one would wear on a daily basis. 52
Softwares Used: Adobe Illustrator Adobe Photoshop
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branding
takeaway pizza box
Pizza takeaway boxes for the d.o.c. With d.o.c being located around the working district and having pizza as it’s specialty, it is essential to have takeaway boxes to cater to the working adults. The design of the box consists of the food and drinks that restaurant is selling. Different typefaces were used to indicate the food and drinks. 54
Softwares Used: Adobe Illustrator
branding stickers
coffee bean packaging sticker
takeaway food packaging sticker
TAKE ME OUT STONE HEARTH PIZZAS
PANINIS & BURGERS
SLAYER X COFFEE
Stickers for coffee bean and takeaway food packaging.
Softwares Used: Adobe Illustrator Adobe Photoshop
Having to come in different sizes and colours, stickers were customized as it is minimized the cost and time of production as well as allowing a wider range of usage. 55
flyers
outlet’s opening
background image Overall outlook of outlet Edited with Adobe Lightroom
Flyers for outlet’s opening. With d.o.c opening it’s restaurant, flyers were designed to promote the outlet. The flyer consists of the overall outlet’s outlook as well as the lunch menu on it’s back. 56
Softwares Used: Adobe Illustrator Adobe Lightroom
flyers
outlet’s opening
background image Overall outlook of outlet Edited with Adobe Lightroom
Advertising Flyers for BLVD, a cafe by day, bar by night.
The flyer is designed with a cover which includes the outlet’s outlook as well as the signature food item. On the back includes a summarised menu and the direction in locating the outlet. 57
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06 —
TURNSTEEL TECHNOLOGY LOGO DESIGN
Turnsteel Technology is a start up IT company which mainly revolves around the digital identity and 2 factor authentication. The freelance project includes proposal of logo designs, providing mockups for both offline (namecards) and online usage (mobile & computer) as well as suggesting the colours for the overall branding. Freelance Project 2020 59
LOGO
COLOUR & DESIGN
#FFFFFF
R: 255 G: 255 B: 255 C: 0 M: 0 Y: 0 K: 0
#F4F4F4
R: 244 G: 244 B: 244 C: 3 M: 2 Y: 2 K: 0
#DB3826
R: 219 G: 56 B: 38 C: 8 M: 93 Y: 100 K: 1
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#989899
R: 152 G: 152 B: 153 C: 43 M: 35 Y: 35 K: 1
#000000
R: 0 G: 0 B: 0 C: 60 M: 60 Y: 60 K: 100
VARIATION 1 GRAY COLOUR
VARIATION 2 RED GRADIENT
61
LOGO CONCEPT
TURNSTILE ROLLING ROD
SILVER/GREY COLOUR TO COMPLEMENT WITH THE WORD ‘STEEL’
TURNSTILE GEAR
The logo uses a minimalist but yet edgy and futuristic concept with a mixture of round and sharp edges by playing with the font’s character outlook. 3 letters, ‘T’, ‘R’ and ‘L’ uses round edges to portray the turnstile’s rotation. Additionally, the letter ‘T’ has been designed such that it resembles the turnstile’s rolling rods with the circle in the middle as it’s gear. 62
REFERENCE Turnstile Gate
ICON
LETTERMARK, MOBILE APP
LETTERMARK WHITE / RED / BLACK
MOBILE APP WHITE / RED / RED GRADIENT
Using ‘T’ as it’s iconic trademark, it is then translated into a mobile application’s icon. A series of colours in relation to the logo have been suggested so that the company retains its overall branding’s outlook. 63
MOCKUP
OVERVIEW OF LOGO
In order to visualise how the logo looked like across products, mockups are provided to show the overall feel and colour schemes of the branding. Mockups are done showing the possible usage of the logo. 64
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MM
sa
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MU NC H
s nd ck a wic n ls hes, meats and other coo
07 —
MMMUNCH
MASCOT LOGO DESIGN & PHOTOGRAPHY
MMMUNCH is a F&B store which primarily sells sandwiches. The freelance project includes proposal of the logo designs, suggesting the colours for the overall branding and designing mascot icon to create a casual look. Freelance Project 2020 67
LOGO
COLOUR & DESIGN
#FFFFFF
R: 255 G: 255 B: 255 C: 0 M: 0 Y: 0 K: 0
68
#FFD114
R: 255 G: 209 B: 20 C: 1 M: 16 Y: 98 K: 0
#000000
R: 0 G: 0 B: 0 C: 60 M: 60 Y: 60 K: 100
LOGO DETAILS
EYES ARE CURVED UPWARDS TO MAKE THE MASCOT LOOK INVITING BOY MUNCHING ONTO SANDWICH
M
M M U NC H
YELLOW FRAME INCORPORATING WITH BRAND COLOUR
SUBTLE ‘M’ LOGO ON BOY’S T-SHIRT
MMMUNCH being a casual sandwich store, the client wishes to create a cute, friendly mascot character which attracts a younger crowd to it. Instead of using a rough, rigid style, the logo consists of round edges, giving a softer feeling to consumers. Yellow colours are also used to create a contrast while bringing an energetic and lively mood to the branding. 69
branding t-shirt
The concept was to design a trendy, illustrative round neck t-shirt that incorporates the brand’s identity — sandwiches. Although the main purpose is to design it as a staff t-shirt, the concept keeps it open-minded such as having the possibilities to turning them into a merchandises upon demand. 70
Softwares Used: Procreate Adobe Illustrator Adobe Photoshop
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PHOTOGRAPHY FOOD — SANDWICHES
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DENISECHUAYL@OUTLOOK.COM BEHANCE / LINKEDIN: DENISECHUAYL