THREE SEP 2014
NEW BUILDING OIP FEATURES
new BUIL dING By Christine Neo
Our friends over at Glasgow have moved into the new Reid building, and we look forward to the completion of our new campus at Temasek Polytechnic. The building boasts a great location within the campus, and the studios offer an unobstructed view of Bedok reservoir; a relief for those tired eyes after long hours of work. The SIT campus is designed to be visually different from the rest of Temasek Polytechnic and will house our schoolmates from Newcastle University as well as the Culinary Institute of America.
The building is scheduled to be complete some time around April 2014, and will host the first GSAS degree show in June. While the tireless workers put in the finishing touches of the building, excited students and staff were given a chance to tour the third and fourth levels where we will occupy.
a new beginning This issue of WOLF is particularly special for the GSAS WOLF Team. For the Fourth Years who started WOLF, this is the last time we will be working on the magazine. At the same time, it is the first issue with our new team members, the Third Years. The past two years have flown by so fast, and soon, the pioneer batch of students at the Glasgow School of Art Singapore will be graduating.
By Christabel Chew I entered the GSAS with high hopes and excitement, my head filled with possibilities for various creative projects. I was determined and motivated, and I believed that it would be a life-changing experience, and I thought that I knew exactly what I wanted to do. It was my new slate, but somehow, familiar patterns started to emerge. It was like a fresh sheet of paper;
beautifully blank, but you realise that you are making the same marks, and they get messier each time you try to erase them. Sometimes it is so hard to accept that the lines are visible, and it is difficult to remember that it is up to oneself to turn the marks into something new. The initial burst of inspiration comes with every project, and it often masks an existential crisis that slowly creeps up on us, and the lack of motivation is stifling. Your work starts to
Year 4 / 2014 Interior Design & Communication Design
By Christabel Chew
reveal more about yourself, and the uncertainty builds up. It is terrifying, and the self-doubt is crippling. You will question yourself repeatedly, but the answers never seem to satisfy you. The lecturers will tell you to trust in the process, to find your voice, and build your visual language. You will stare at them with glazed eyes, all determination and hope seemingly lost. But things like that get misplaced along the way, and it is up to us to look back sometimes, and pick them up again. You will learn how to remember the reasons why you started in the first place, and that passion for design will be reignited in you. Your weaknesses start to turn into strengths. You will start to push yourself further, and then you realise that you are way out of your comfort zone. You might be taking tiny steps that are barely noticeable, but you are moving; even if you wonder which direction you are heading to. The challenges start to get enjoyable. Particularly masochistic tenancies start to emerge; possibly a result of the many
Year 3 / 2015 Communication Design
all-nighters fuelled by copious amounts of caffeine, and way too much sugar. It might be overwhelming and difficult, but you are not alone. Before you know it, your project will be completed, and there will be a fierce pride burning in you when you talk about your work. This sparks off your next project, and the cycle continues, until you realise that your GSAS journey is nearing its end. Looking back, you have come so far, but there is still a long way to go. Soon, you will venture out into unchartered waters, driven by your creativity and passion. You will take a bit of the GSAS with you, and a part of you will be left behind.
The future might be intimidating but the possibilities are endless.
By Christabel Chew
Year 3 / 2015 Interior Design
Like handsome buildings that are large, attractive and impressive, so am I. I speak Doric but my face is baronial. Get lost, in my rabbit warren eyes. Poem written by GSA student, who prefers to stay anonymous
FEATURE - DIRECTOR
Frazer McDonald Hay Glasgow School of Art Singapore’s Programme Director Frazer McDonald Hay makes quite an impression for any student meeting him for the first time. He is someone who does not mince his words, speaking with an honesty that can be at once intimidating but refreshing for the listener. For the New Year, I sat down with Frazer to learn more about his life outside school, his professional practice and his vision for GSA Singapore.
by Christine Neo
Illustrated by: Chanel Hu
C: What was it that made you decide on leaving the UK to take up the position of Programme Director of Glasgow School of Art Singapore? F: It is a combination of lots of things. I was growing uncomfortable with the lecturing, so I started a small business at home called the Big Stone Collective. There was a particular project in which I invested quite a lot of time, effort and money. The project was to design a
coastal/cultural centre, with a lobster hatchery and exhibition area. With a million and a half pounds funding bid, the project never materialised. By chance, I was researching for this project, and my research brought me to the GSA job posting. I noticed it and I went back to it a few days later thinking “this sounds bloody interesting.� I was the same age as my kids are now, when I went to Dubai with my mum and dad. I still remember the smell of the sand, I still remember fondly Lassa, our domestic helper back then; and I thought it would be a really lovely thing for my own kids to experience a different culture and schooling, especially since they are so young, and their schooling would not be impacted too much. I applied
without my wife knowing, and Glasgow School of Art showed interest and invited me for an interview. I still did not talk about it with my wife, and only told her after I was offered the job. After that we decided on the practicalities such as whether to keep the house and Fennekes job. We were all happy to move to Singapore. It is a short contract, only three years, and it seemed like a great adventure. I love design, education and knowledge transfer; if you have a team of people who are of the same mind-set you can do something very impressive. So being programme director, I hope I can assemble a group of people who are
Illustrated by: Casey Yeo
like-minded and enthusiastic about the process of education and creativity. C: So how did your wife respond...well you don’t have to go into the details. F: Oh no no, my wife was ok. She knows me, she understands. To be honest I was selected for the crossAtlantic row in January, from Spain to Barbados. It was a world record attempt to get across in less than 30 days and my wife felt that it was too dangerous as there were only five of us in a boat with no support crew. Even though the other four-crew members are good, and one of them broke the solo crossing record, I was in good hands. So when the job came up, I had to step out of the crew, and this made her very happy. C: Ok. How is Big Stone Collective coming along? F: Oh, it’s coming along ok, there’s only two people running it at the moment, and it’s now very quiet, but I’m slowly coming to a conclusion that Big Stone collective will evolve. I think it’ll be a collective, but there will be an Asian aspect to it. It might be somewhere more along the lines of consultation in design and problem solving internationally. I think design in itself is a laborious process and a financial burden - but I don’t
know, because I’m not really there, although it’s definitely a passion of mine. I want to keep it going, even if it’s one or two projects a year. I’m happy as long as it pays the mortgage. C: Consultation meaning something like idea generation for your clients? F: Yeah. I mean there are so many people out there selling information to large companies, and even to countries about innovation, and many of those so-called innovators can’t develop an idea. I have working with me one or two people who pride themselves as authentic idea generators, and that’s a really good talent bass to have and develop from. C: Being such a free spirit with a penchant for adventure, having been a fireman and an expedition leader in Africa, kind of like Bear Grylls, how are you adapting to what some might think the
bureaucratic way we do things here? F: (laughs) Sir Ranulph Fiennes maybe, Bear Grylls, no. But I don’t find that much of bureaucracy here, to be honest. I find maybe there’s too much emphasis on the perception of a fearful existence, and how that can perpetuate the need to have everything managed and structured C: Ah, the Big Brother? F: Yeah, there’s an aspect to that, but I’ve been really lucky meeting very interesting people. The students are like live wires, and I don’t really bump into the stereotypical Singaporean, whatever that is supposed to be.
“I applied without my wife knowing, and Glasgow School of Art showed interest and invited me for interview.”
Illustrated by: KIT
Illustrated by: Christine Neo
C: Oh, so what have you been told? F: The typical Singaporean would be the managerial type, follows the rules to the last letter and is relatively inflexible. But I haven’t bumped into any yet. I mean I have met people who don’t find art or creativity inspiring, but there are lots of people like that in Scotland too. Stereotyping these days is crazy; the stereotypical Scottish for instance, is this aggressive person who likes to drink, and in some aspects it’s true, but there are lots of people who are not like that at all, and would be horrified to think that is the world’s view on the Scottish. The more I travel around, the more I realise that people are pretty much the same. People keep asking me how the Singaporean students are like, and I’m like “what do you mean?” It’s like they expect me to tell them this dinner table story of how I got to Singapore and struggled to teach or inspire Singaporean students. I tell them that they are exactly like Scottish students. There are the brainy ones, lazy ones, cheeky ones, funny ones, the supremely talented ones, articulate ones; exactly the same as students in Norway, Scotland, Malaysia and Australia – these places, I’ve taught there
too – there’s absolutely no difference, only a different context. So they look really disappointed when I tell them that, and they sigh “oh really?” C: You also entered architecture quite late, so what made you decide on making the switch over? F: As a fireman, I knew that I had different goals. The fire service was nice; for me it was an adrenaline and social thing, and I was at the station where there were 2500 a calls year, many of the shouts in the evenings. However, I would see the world go by whilst looking out from the fire-station window, and so I did a graphic design course part time... using all my annual leave but in weekly instalments during term time, for two years whilst being a full-time fireman. It was the problemsolving aspect of graphics that I was interested in. As a kid, I remember watching my stepfather change the tyres or engine of the car and I would ask him all these annoying questions, boring him to death trying to visualise a 3D image of the mechanics until I got it. So that’s the romantic side but the unromantic side was that when
Once I was in university, I was concerned at how easy it was; I was the first person in my family to get a degree, and I was always told that universities were for clever and affluent people. I went to university feeling not affluent and not clever [I am dyslexic], however I left with a BA Hons first class. I was disappointed that I was given a first in many respects, thinking, “is that it?” and so I challenged myself with a Master’s Degree. I sail through the Master’s course too – and thought the same thing but to a lesser degree, yeah, so it’s difficult. C: Why is it difficult? F: It was confrontational to accept that the universities I attended struggled in terms of challenge and connection, there were one or two lecturers who were inspiring, and the rest in my eyes were...well... not inspiring.
Illustrated by: Christabel
I came to Holland from Africa, the jobs that I got were menial jobs and there was no money to be made there, so I applied for the Dutch Fire Service and a University in Edinburgh and on the same day, I got in the post a reply from the two, being accepted for both. I knew I could do the fire service but I wouldn’t evolve much with regards to my ambitions, so I chose to venture into the world of academia via a degree in Scotland.
Illustrated by: Salikin
C: Is it because education is turning more and more into like a business today?
magic for us. The first and second year has been great so far, and hopefully the culture will grow, and that’s a lovely thing to be part of.
F: Education has to turn into a business but it doesn’t have to be the typical business. I think it should be a business that still has currency, reputation and quality in delivering the syllabus.
C: Could you elaborate a little more about the magic?
C: So, how has working in Glasgow School of Art Singapore been for you? F: My father was from Glasgow and he used to take me past the doors of Glasgow School of Art and he would tell me “there’s magic happening in there, son.” At that time, I never thought I’d get the opportunity to walk through those black doors. When I got the opportunity to work for the school, I saw the quality of lecturing, and I have to say, the amazing quality of students that come out of GSA and I was inspired. Coming to Singapore, I wanted to create an equal ethos of awesome students and hopefully the same
F: It’s a combination of intangible things that happens, when you walk through the doors of the Glasgow School of Art. It heightens your feeling of creativity, and then you meet other creative people that are creating art and design that’s being talked about by peers and press, so it’s current. That currency comes from the bravery and curiosity of the students, and the positions they take on their society, culture, politics, sexuality – but it is a sophisticated and considered approach to something that set s you thinking about yourself and your theories, or maybe it’s just superficial and you think “oh that’s pretty”, you know, it doesn’t matter what sort of connection it makes. To me it is such a fantastic thing, that through a piece of art and design, you can connect, engage, or even thrill.
C: Ok, last question, what do you hope to see Glasgow School of Art Singapore turn out to be like? F: It’ll be different from what it is now perhaps; GSA has a ten-year contract with SIT. Nobody knows what’s going to happen after that. C: So what’s your personal vision? F: Of course I’d like for GSAS to grow in its own right, and I would like people to come to us as they would to famous institutions like GSA, St. Martins or Bartlett and attract students from all areas the South East Asian region, maybe even Australia. I’d like it to be one of the rock stars of this region and I think it can be. The formula is all there, and it’s up to the ambitions of the students, SIT and Glasgow School of Art, and of course the Singaporean government. Illustrated by: Yi Lin
EVENT
T h e
D a r k H o r s e C o m m i t t e e
by Edwin Lau
In every journey, there are bound to be let downs. Even though there were disappointing moments, we must not let them take away the good ones.
I would like to start off by thanking everyone in the committee, with special thanks to our event ICs, Melvin Tan and Georgina Tan. Each and every one of us played an important role, ensuring that the event went well. Most of us might think that we did not contribute much to the show, or some of us might think that we could have done better. We not only did well, but we have done a great job standing together. We did not start off with a perfect committee, but we seemed to have ended with a perfect one. It was, and is still a shock to me to have seen how every piece of the puzzle came together during D-Day. I cannot express and emphasise how delighted I was to see all of us learn to trust and depend on each other. Staying together in the studio to complete the production, we ate countless dinners together and worked our differences out. I fondly remember the times when students from both ID and CD came together to plan the gallery setup.
In every journey, there are bound to be let downs. Even though there were disappointing moments, we must not let them take away the good ones. Always remember how much we have achieved in such a short time together, and look at how our individual capacities have been stretched — we have accomplished so much! My wish for all of us in the committee is that we can still have this spirit of excellence,whatever happens. Let us keep moving forward, believing that we can achieve more than we think we can. The Dark Horse Art Show was a resounding success, and I am actually looking forward to working with all of you once more!
FEATURE
1. Tell us how Muzeka was formed.
mUZEK
Salikin: I would say the ‘purpose’ behind Muzeka, and any other music club is to provide a platform for musicians to get together and do what they enjoy doing, to have fun with music. Jessica: The purpose of Muzeka is to create a platform for music lovers studying in Singapore Institute of Technology (SIT), to play their passion while juggling their studies. I always believe that a student shouldn’t just be mugging all day long. There should be a place where we can work on our passions as well. This is a place where musicians can gather to enjoy what they love to do! 2. How was it like in the early days of Muzeka? Salikin: I remember I wanted to form a ‘jamming CCA’, something like the one that I
used to be part of, when I was in polytechnic. I remember posting a notice on the SIT Student Life Facebook page, and Jessica and the rest approached me to be part of the initial set up for Muzeka. I was more than happy to be a part of it. Jessica: We had five members initially. Two of our seniors – Nicholas from University of Newcastle, and Hidayah from the University of Las Vegas, while the rest of us were from the GSA - Ivoly, Suzanna and I. It gradually grew to a ten-member group, with more GSA musicians joining us, and with Salikin taking the lead with me to make this club alive. It was a great journey as we worked together pretty well! 3. How long did the process take for you guys to make the CCA official?
by Jeremy Ong Salikin: It wasn’t easy. Jessica and I had to find out from each member the kind of music he or she prefers, and the type of instrument(s) he or she plays. We then grouped the members accordingly. I remember it was a tedious process. I think if it Founded in late 2012, weren’t for Jessica, I wouldn’t Muzeka has been makbe able to do it. She’s a very ing waves for the past responsible and reliable person, and I think it was appropriate months, performing at SIT for Muzeka to have her as the events such as the openfirst president of the club.
ing ceremony, and the graduation party. Muzeka continues to prepare for future performances, but not many know that two GSA students, Jessica and Salikin, formed the music group.
KA Salikin: Quite a while I would say. I think the club became ‘official’ after we performed for the SIT Welcome Ceremony 2013. After that performance, we received a lot of positive feedback, and I guess SIT finally recognised us and decided to make us official. You can now actually find us listed under SIT’s student clubs, under Arts and Culture. Jessica: It took roughly two to three months, but we got recognised as an Arts and Culture club in SIT, after our performance for the SIT Welcome Ceremony 2013. We are grateful to SIT for this opportunity, as we received positive feedbacks and performance invitations after that, and that proved the capability of this club. 4. With such a wide variety of talented musicians in Muzeka, how did you split the individuals into different groups?
Jessica: It was quite a complicated process, as each of them possessed their own talent. We had to consider the skills each member possessed, and the genres they preferred, before deciding to place them in the most suitable group. We also allowed a few months of trial for them to get used to their own bands. In any case of discomfort, they can also request to switch bands. 5. It seems like quite an amount of our GSA people are in Muzeka! Do you feel that their creative works have influenced their music or vice versa? Salikin: Initially, most of the members of Muzeka were from the GSA, but we’ve had our recruitment and now we have members from all the other overseas universities under SIT as well. In terms of creativity and influence, I think they are both inseparable. Music is an art form, and creativity definitely plays an important part in it. Creativity allows the musician to improvise and play with the ‘feel’. We can see the difference between a technical musician who plays an exact cover of a song, compared to a creative musician who improvises and arranges the song according to his/her style and voice.
STUDENT FEATURE
Co-Editors and Co-Founders of WOLF Magazine Christabel Chew & Christine Neo It’s crunch time now with the fourth years; everyone’s pretty much up to their necks in their self-initiated projects, and so we sheepishly decided to feature each other instead of approaching our rather stressed course mates. We sat down for half an hour, reflecting about our journey at GSAS, discussing how we were going to embark on the next chapter of our lives, and how we have evolved since Day One.
Christabel Benevolent Dictator
of WOLF Magazine
Interviewed by Christine Neo
Q: So Christabel, do you see yourself differently now compared to yourself 20 months ago? I studied in Australia for a couple of months, as I enrolled in a programme there, but the environment didn’t suit me, and I came back to Singapore for a new start. I really wanted to get good grades and I thought I was more confident, but the first assignment in the GSAS came as a shock, taking away that confidence. I got my lowest grade ever, and I saw how talented my other classmates were. At that point of time I really wondered what I was doing in GSAS. I had actually applied to Nanyang Technological University’s History, English and Literature courses, and the culinary programme offered by the CIA, but then I realised I could do all of those things in GSAS. Things became better in the following assignments, as my first grade was so bad I felt I had nothing to lose. I guess I was lucky too, because the second project was about reinterpreting a cookbook, and being someone who hoards cookbooks and likes to bake and cook, it was a redemption for me. Initially I felt stressful from being ‘inferior’ to my course mates, but now that I know them much better, it is safe for me to say that I have stopped seeing things as competition. There is no point in trying to be the ‘best’ when you’ve got potential good friends who have similar interests as you do, though I’m still concerned about perfection and to be good enough. Q: For who? For myself. Q: I don’t think it is ever possible to please yourself yeah? (Nods) Q: Anything you have discovered in yourself during the process of struggling?
The idea of development or process is really important because it is the best way to get to know you. Also, ‘trust in the process’ is this mantra every lecturer says, but I think I’m still trying to get it. Q: What about some good memories you’d be bringing away? Staying late in the studios, where it’s always more fun once it gets dark outside. I also really enjoyed the illustration workshop Paul held last year, and it was really useful in getting me draw more often. The life drawing lessons too! It was such a small group, but Camellia drew our model riding a unicorn, and it made us all laugh. Q: Anybody who has made an impact in your journey here? All the lecturers have helped me in my process in one way or another, even the lecturers who aren’t illustrators. I felt that they were still able to offer insights that you normally wouldn’t think of, and Jon Chan really helped me in building up my confidence in drawing. He gave me really good advice on how to draw, and how to just enjoy the drawing process, especially when you have lost interest in the project. Frazer, our director, is also interesting and…helpful in his own way. Q: What do you think your future plans are, or are you just taking it a step at a time? I thought that when I graduated I would know what I wanted to do, but it’s more of an existential crisis that I am getting. I thought I would be more confident, but instead I am questioning everything I do, and I guess it helps in growing as a designer, because you will always be pushing yourself to get better. On the flip side, it is like torturing yourself with self-doubt, but I do like challenging myself. For now, I think I want to continue building up my visual language and vocabulary, and stop stressing over developing a certain style, because someday, I hope to write and illustrate children books.
Christine Neo Co-Dictator and Resident Writer / Illustrator.
of WOLF Magazine
Interviewed by Christabel Chew
Q: How do you think you’ve grown as a designer since you’ve entered the GSAS, and where do you think this will lead you? I actually think that the biggest change that I got from the school was developing an increased curiosity. The theoretical classes helped out with this. My interest in history, sociology and even science grew, and it opened me up to the world of theory and writing. I didn’t know that these could be applied to everyday life as well, and I believe that it shapes the way we think of the world. Previously, I used to place an emphasis on drawing and art, and my thinking was very confined. GSAS opened up a new world to me. Q: Is that why you experimented with programming in Processing for one of your projects? It was just an experiment, I didn’t give too much thought into it, and I don’t want to dwell too much on it although there was good reception from some of the lecturers I didn’t like it at all. I felt like I’m trying to be someone I wasn’t, although I could do it. I was just falling back on what I knew as a digital designer. Q: Which project did you then find most enjoyable? I enjoyed Flogging a Narrative, because I have always liked stories and illustrations. Drawing is such a big part of my life; it helps me with my thinking and it really calms me, so it’s a marriage between two things I love. Q: What do you find difficult about the design process? I think that there is always this struggle, this conflict within you where you think of the results first. And over here, even with the whole process mantra that they keep repeating, where they tell you to trust in the process, it is very hard not to think about the end result. That is most likely because of my own character. I like control, and I don’t like to not know where my work is going. I am a control freak, and it bothers me when people tell me to stop drawing pretty pictures when in polytechnic everyone
strove for perfection. Why is that such a taboo in school? Rather than being a compliment, I feel that having your work called a ‘pretty picture’ is the worst thing your end product can be, but since coming to school I have been trying to push my work all the time, so that is great. Q: So what did you like about your time in the GSAS? Friends play a big part in making school so much more fun and interesting. All the times we stay late in the studios, whether to do work or not, just talking, and sharing ideas…I enjoy talking to the lecturers too, it’s a totally different experience from polytechnic because I talk to them like we’re friends, just that they’ve got this incredible extra wealth of experience and knowledge. The Overseas Immersion Trip to Glasgow was really fun too. We got to live with our friends, and that was an entirely different experience. It meant modifying my behaviour in a way. At home, I am quite the hermit. When you’re used to doing things a certain way, you realise that you have to adapt, or compromise when you are with your friends. I guess that experience really teaches you to be more of an adult, to be more independent and less self-absorbed. Q: What is your biggest parting lesson from the GSA? I came to the GSA rather obsessed with the idea of becoming a successful illustrator, and being successful for me meant a really nice body of work you could present to your potential clients so they’d give you projects and hire you. I knew that I wanted a degree, because I felt that it would help me get a job easier. Now that I am almost completing my degree, I don’t think that I am any closer to securing a good job. I feel as if I have even more insecurities than before. I was so bent on producing a beautiful body of work by the end of my degree, but I haven’t accomplished what I came here to do, so I don’t know what the hell I’m going to do now, but I suppose that’s going to keep me on my toes and not make me complacent.
INSPIRATION
Debbie Ding Dominic Ho
Debbie Ding is a self-taught local visual artist, designer and cartographer who also facilitates the Singapore Psychogeographical Society. Her works revolve around encouraging people to construct their own narratives from things that might be overlooked in a fast developing city like Singapore.
For the last few years, as a Singaporean artist and writer/researcher, I facilitated the us more about your practice Singapore Psychogeographical Society where I produced several projects –documenting and the Singapore Psychoand mapping real and imaginary images/ geographical Society? memories of the Singapore River and its urban built environment. Discarded construction rubble was turned into gallery artefacts by conducting barter trades of man-made rocks, and the archives of lost archaeological artefacts of the former islands of Singapore were reconstructed.
Hello Debbie, can you tell
Singapore is a young nation state where historical records and archaeological remains often appear incomplete or fragmented, and artists and writers alike often agonise over the lack of a national identity. I am interested in artefacts and archives because the physical record and the written word have the power to bring intangible things into existence - making them crucial in the process of creating a national narrative where one does not truly yet exist. Through my own work, my goal has been to encourage people to reconstruct the missing narrative of Singapore for themselves.
View Debbie’s works at: http://dbbd.sg
Lichen Mountain (Cornwall, 2011)
The Cobb (Lyme Bay, 2012)
Le Petit Arbre (Paris, 2012)
Lake of Dreams (London, 2011)
Ellipsis (London, 2013)
Gespenstermauer (Berlin, 2011)
What inspired you to set up the Singapore Psychogeographical Society? The society began as a vehicle for the various archival projects I wanted to work on. I did not want to put my name on the projects directly as they were archives and sometimes involved collections of memories from the public.
Some other artists I really like are Mark Dion, Laurent Grasso, and Robert Smithson. Tell us more about the Yangtze Scribbler you have been following over the years? How did you first discover his scribblings and what would you say if you were to meet him on the street one day? I encountered the signs one day when my ex-colleagues and I went to eat lunch at the top floor of the Yangtze Cinema. That was when I found that the stairwell of the Yangtze Cinema was covered in these strange signs, which I could not decipher. I took many pictures of the signs, and thought little of it until a year later, when I saw the same sign at the back of a bus stop near the Muslim cemetery in
Bugis. Bizarrely, almost creepily, I began finding more signs around the area - around the Bus Terminus, even along Jalan Besar Road. It seemed to suggest that the scribbler was now living in the same area, or commuting through the area. I’ve been trying to find the person but so far have no success. In a funny way, the sign seems almost made for replication - I can draw a good likeness of the sign on a piece of paper and show it to taxi drivers and old people whom I meet along the way, but sadly no one I’ve met has been able to tell me anything about it. I also am a little sad that I am not staying in Singapore at the moment, so I might be missing the chance to meet him. To be honest, I would just like to know the story behind the signs - what do they mean? Who were the signs left for? As your works span across a variety of mediums, ranging from illustrations to interactive installations, where do you think the direction of visual arts in Singapore is heading? It is hard for me to say where it is going as a whole. I think the definition of art is changing, and rightly so. I’m currently doing a Masters in Design Interactions at Royal College of Art, and although it is in the School of Design, the course is perfect for an artist. Design Interactions is - contrary to its name
INSPIRATION
- not an Interaction Design course but more of a “speculative design� programme, in which they have been encouraging us to explore designs for counterfactual histories, and how design can be applied to other new areas like alternative energy and synthetic biology. Although I think visual arts is changing in Singapore, I think Singaporean artists do need to go outside or travel more as I certainly could not be studying this in Singapore. Having been in both practices of design and art, would you say they are related and how do they relate to one another? I think of design as work which derives value from its functionality, and art as work in which value and functionality are not directly related, because it is impossible to quantify the aesthetic value of art, poetry, literature, music, performance, etc. I believe that I work with the process of a designer, but what I produce is art.
StUDIO LIFE Stepping into the GSA was a definite culture shock for most of us, as everything seemed to be mind-blowing. Though we might come from different backgrounds, we have one thing in common: a curious thirst for design.
Our first project, The Photograph, The Drawing and The Portrait, caught us off guard. Anxiety, confusion, and crazed heartbeats comes with every project, and initially, we clung on to our previous experiences, trying to bring out what we did best. At the end of it all, we realised that to grow wiser, one must let go of their biased views, and explore other ways of tackling a problem. We stepped out of our comfort zones, and had three weeks of experimenting with different mediums and colours. Experimentation and exploration were the main key elements that make this project successful, there were many unexpected outcomes that turned out great.
STUDIO LIFE
by Atiqah
With the second project, Underground Subculture, we got used to expecting the unexpected. We did not want to make the same mistakes, but at the same time, we did not want to make new mistakes either. We tried to stick within our boundaries, but as we progressed further, we realised that it would not work to play safe. A whole load of research was needed for this project to develop. Day by day, it seemed clear that everyone was not sure when to stop researching. We were piled under mountains of research, and yet we could not find an answer to the brief, because of the many possibilities. Maybe too much freedom is not all good. Just like the infamous quote, with great power comes great responsibility. The outcomes of this one-of-a-kind project were highly stunning. We got to know more about astonishing subcultures around the world that we never even knew existed. Some were really shocking. I mean, can these subcultures really exist in the 21st Century?! The people involved in the bizarre subcultures could be around you, and you would not even know. There were installations, sculptures, videos, and so much more. When one looks at it, design has no limits. A single message can be portrayed in many different ways. Project 3 seemed more appealing: An Alternative Typographic Manual. I mean, who doesn’t like typography? We had the choice
Project 1: The Photograph, The Drawing and The Portrait Project 2: Underground Subculture Project 3: An Alternative Typographic Manual
STUDIO LIFE
With the second project, Underground Subculture, we got used to expecting the unexpected. We did not want to make the same mistakes, but at the same time, we did not want to make new mistakes either. We tried to stick within our boundaries, but as we progressed further, we realised that it would not work to play safe. A whole load of research was needed for this project to develop. Day by day, it seemed clear that everyone was not sure when to stop researching. We were piled under mountains of research, and yet we could not find an answer to the brief, because of the many possibilities. Maybe too much freedom is not all good. Just like the infamous quote, with great power comes great responsibility. The outcomes of this one-of-a-kind project were highly stunning. We got to know more about astonishing subcultures around the world that we never even knew existed. Some were really shocking. I mean, can these subcultures really exist in the 21st Century?! The people involved in the bizarre subcultures could be around you, and you would not even know. There were installations, sculptures, videos, and so much more. When one looks at it, design has no limits. A single message can be portrayed in many different ways.
by Atiqah
Project 3 seemed more appealing: An Alternative Typographic Manual. I mean, who doesn’t like typography? We had the choice of choosing between three different types of books that are usually full of words; a car engine manual, a recipe book and a book on rewiring a house. This was before our long-awaited GSA 100 Days show, and we wanted to end off our first term of university with a bang. It was interesting to see how each of us had grown more open to group discussions, and through this, we managed to catch on to some unique ideas to continue on. We even had lecturers coming over from Glasgow, to help us with this project. That gave us the opportunity to look at how the students in Glasgow tackled this project. It definitely opened our eyes, and gave us a renewed perspective. Some of the end products of the project were really breathtaking; there were plenty of publications that were really interesting in terms of ideas and concept, like fantasy stories and the creation of Chinese characters. Nevertheless, this project marked the end of our first term in GSA, and we did not do as bad as we feared we would. Life in GSA has definitely got a lot better, with new friends and classmates that we can depend on. Here’s to another term filled with out-of-thisworld ideas, and insane executions!
STUDENT FEATURE
by Zylvia Chang
STUDENT FEATURE
Sandra Goh COMMUNICATION DESIGN
Sandra Goh, a Communication Design undergraduate, created an interesting guide on the afterlife, in response to one of our project briefs. Speaking to her, I got to understand her project better, and got a little glimpse into her life.
by Cui Xia
What made you decided on the concept for your Project Three? We were given a typographic brief with three options – a cookbook, a car repair manual and a houserewiring manual. I decided to choose work on a house-rewiring manual because it is complex and challenging. I wanted to break away from the conventional norms of a house with the traditional twist, so I decided on a 3-Part Guide to the
Afterlife. During this period of time, I was inspired by the array of incense paper, and the famous 18 Gates of Hell in Haw Par Villa. What made you decide to apply to the GSAS? I took a three-year diploma in NAFA (Nanyang Academy of Fine Arts), and they did offer a similar degree to what the GSAS offers. I chose the GSAS instead, because I wanted to leave my safe haven.
NAFA honed my skills in a particular and unique manner that I grown accustomed to. But right now, I would definitely want to broaden and change my perspective to learn more skills that I can. I definitely want to learn better as a designer, and also to grow as a designer. What sparked your interest in design? That is still a big question to me. I don’t quite know what inspired me to take up design as a course, and kept me interested. I guess it is more of a journey of self-exploration, to seek what you really, really like and just do it. I believe that passion can’t be ‘sparked.’ If it is something you have, then you have it. What’s one thing you want to tell the juniors? Be open to criticism, and never stop trying. Be afraid when you do something, because when you feel afraid, it means you are breaking out of your comfort zone.
STUDENT FEATURE
by Cui Xia
EDWIN LAU COMMUNICATION DESIGN
Edwin Lau has a very interesting view on time traveling, and is also known by his classmates for his hand-lettered typography skills. WOLF was able to catch him for an interview before he managed to time-travel away to another realm.
STUDENT FEATURE
What made you decide to work on a project on Time Travel? Do you believe in it? I think I’ve always had a thing for pseudoscience. I attribute the interest for such subject to its natural mysteriousness. Pseudoscience is simply fringe science; it could be entirely untrue, but to a certain extent, it could become our reality. Most physicists would conclude that the theory is possible, but physically impossible. I would say I wish I do believe in time travel, or at least I hope it will happen in the future. Wouldn’t it be nice to see your great-greatgrandchildren in person? You could have a conversation with them face to face. And wouldn’t it be fascinating to be able to see the future? You know how you’ll die, but I think it would be a dream come true to see how the future will be. I shall stop here before I become more of a time-travel-nerd.
What made you decide to apply to the GSAS? The funny story is, I did not plan or choose to come to GSA. I was persuaded to apply by Seng Jueh, a friend of mine. I came in without any expectations, and I think that is an important mindset if you are looking to improve or to reinvent yourself. Try new things, fail. Fail again, and fail better.
I see that you are really into hand-lettered typography (Looking at your Instagram posts). What sparked your interest in this? The interest in typography and hand-lettering came hand in hand. Anyone can become a typesetter nowadays, but I think that the basic principles of type are easily forgotten, and that is why I want to learn even more from the traditional methods of typesetting. I do believe that typography is the most basic fundamental and important skill a designer needs to have.
Any advices for people interested in applying to the GSAS? I would suggest that you come in with an empty cup. Don’t expect to be spoon-fed. Do not think that you are better than anyone out there. Be open to the criticisms and the suggestions given by the lecturers and friends. You will have to step up in becoming a professional designer. Most importantly, always be curious and humble.
STUDENT FEATURE
EUGENE LIM INTERIOR DESIGN
Eugene Lim makes quite an impression for any student meeting him for the first time. The friendly Club Head of Raid SIT, Eugene gives some of his time and advice to his fellow designers. At the end of the term, I sat down with Eugene to learn more about his life outside school, his studio life and his aspirations.
by Justin Liew
What was it that made you decide on applying to the Glasgow School of Art Singapore? The love of creativity. I wanted something that pushed the limits of standard conventions, constantly raising the question of ‘what ifs’ and I felt that the GSA Singapore is the place. What is the difference between Architecture courses from Polytechnics, compared to Interior Design in a university programme? It’s a great mix of both worlds. I am grateful for the technicalities I’ve learnt from Architecture, and I apply that knowledge to a university programme where I am taught to respect the quality of space even more.
Regarding your activities outside of school; could you tell me more about Raid SIT, and the many benefits it has brought to the student community? RAID SIT isn’t a martial art club that focuses on winning competitions. It’s a community where we educate just about anyone on the basics of selfdefence. Our techniques rely on instinct and reflex, making it easy to grasp. After several lessons, most students feel more confident about protecting themselves. What is it like organising and planning training sessions for your fellow undergraduates? How do you manage juggling projects with the extra responsibilities? It’s all about separating priorities and giving your undivided attention to the current matter. On a regular day, I’d set aside an hour or two for club matters, while the rest of the day will be dedicated to schoolwork. It is tough but worth it.
Looking ahead, what are your aspirations for the GSA? Personally, I’d like to dive deep down to try and fully understand myself in terms of design, to find my very own style and ‘voice’. I would also like to represent the school in a design competition. Do you have any advice for prospective students of GSA about the rigors of the Interior Design programme? Anticipate and embrace change, and never lose sight of what you are fighting for.
by Christine Neo
overseas immersion programme Your guide to traveling light, affordable places to dine, and finding special hidden gems along the streets, with some Scottish events that you can experience for yourself.
Q&A
Should we bring our own food, and if so what should we pack?
packing
While it’ll be great if you could try the great food Glasgow has to offer, it might be a burden on your wallet to eat out everyday while you’re there, so pack staples like rice and seasonings, and head down to the supermarket to stock up on fresh food to cook. I would personally recommend trying the berries during summer because they’re so cheap and good; nothing like the sour and expensive ones you get here in Singapore.
What can we expect to do in school? I’m not sure what the staff and students have in line for you, but I’m sure it’ll be really exciting complete with tutors in kilts who sing. I expect you’d have to be in school everyday but don’t worry about not being able to explore the city. There will be day trips and outings with the staff and student ambassadors who will bring you around better than your Google maps app will. Part of the fun in visiting a foreign country is also not knowing what’s going to happen next, so just have fun, everything will be a great experience!
Q&A
by Christine Neo illustrations by Chanel Hu
Useful apps to download? I really am not an apps person, so Google Maps and the Weather app on my iPhone was good enough for me. You could also download apps that help track how much you’ve spent.
What kind of clothing should we pack? Wear layers. The weather can be rather unpredictable (we checked the weather forecast everyday when we were there, something we rarely have to do in Singapore) so different layers of light clothing would go a long way. We’re often told summer in Glasgow is the best time to visit because it’s the warmest, usually ranging from 8°c to 17°c. That said, coming from a tropical country we’d still find it cold, so a light waterproof jacket worn over a cardigan or jumper helps. You’ll also have to do your own laundry, and since most of you would be staying at Caledonian Court, there’d be a laundry room so I don’t imagine there’ll be a problem. Set a laundry day for the week in your dorms, and collect all your clothes and wash them together to save money. Laundry day with friends is great fun.
My friends and I mostly cooked our own food for dinner,eating out only for lunches and on weekends when we had some time to explore the city.
food places
Our budget didn’t allow us to visit any posh restaurants.These places will be pretty wallet friendly:
Piece 1056 Argyle Street, Glasgow, Scotland We didn’t get to visit the Reid building because it was still under construction. The holding site was a building called Skypark, and although it’s about 20 minutes away on foot from the Mackintosh building there’s this really wonderful sandwich place called Piece. It will really redefine what you know about sandwiches, and you will always look at Subway with contempt after you’ve tried theirs. The staff are really friendly, and the ingredients are fresh, with really interesting ingredients like pulled pork, polish beer sausage and falafel.
Willow Tea Rooms 97 Buchanan Street, Glasgow G1 3HF, Scotland The Caledonian Court accommodations are just a few minutes walk away from Buchanan Street; so when you pass by the Willow Tea Rooms on a weekend (they close early), do drop in for breakfast. Try their tea, and black pudding, which you’ll find really nice as long as you don’t think about what goes in there. I visited the tearooms three times, even though food was a little pricey. The Art School GSA Students’ Association 20 Scott Street Glasgow G3 6PE Cheap and great tasting food in huge portions, wonderful atmosphere. Need I say more? P.S: During this time you might miss your nasi lemak and bubble tea and while Glasgow does offer some Asian food around, it wasn’t fantastic. (At least the ones that we tried.)
Glasgow has a couple of stores that sells really nice second hand books. I did go a little crazy with the book shopping (8kg worth in Glasgow alone), but there’re lots of out-of-print great art and design books for you to salivate over.
BOOK STORES
I managed to buy a few books on calligraphy and lettering techniques as well as old exhibition catalogues of western artists and painters.
Caledonia Books 483 Great Western Road, Glasgow G12 8HL West End, Kelvinbridge A wet dream for those at the forefront of nostalgic revivalism (my nice description for hipsters), Caledonia Books fulfils the Enid Blyton granny house fantasy we read of as kids. Looks aside, the bookshop boasts a cornucopia of second hand books that aren’t really organised, and so makes it a really nice place to browse and just admire the great collection of antiquarian books; some exquisitely bound and still in great condition, and so very expensive. If you like your literature, you’d be prostrating in front of the shelves and bawling your eyes out, which didn’t happen to me at all.
Waterstones 153-157 Sauchiehall Street, Glasgow, G2 3EW If you prefer something a little more contemporary, Waterstones at Sauchiehall would make a nice place to get your paperbacks and new books, although it might be wiser if you buy them online (to save on luggage space), but it’s a great place to hang out and just read what the store has to offer.
Voltaire and Rosseau 12-14 Otago Lane, Glasgow, Lanarkshire G12 8PB When I first heard about the name of the store I assumed it would be full of books by French philosophers, and thus snobbish, but a visit to the store proved that I couldn’t be more wrong. There was absolutely no sense of hierarchy and filled with books that I suspect even charities like Oxfam wouldn’t take in. If you are there specifically with a book to buy in mind, I say forget it and head to Waterstones, but if you’ve lot time to spare, make a visit and see your jaw drop from the amount of books. Did I mention you could find dirt-cheap books there? Also there’s a cat in the store.
EVENTS
Glasgow Science Festival 5th to 15th June 2014 Founded in 2007, the event holds science-themed events for everyone at various locations in the city. It is primarily funded by the University of Glasgow, which coincides with the West End Festival, so spend a weekend there and visit locations such as the Kelvingrove Art Gallery and Museum, and the campus grounds of University of Glasgow itself, where you can treat your eyes to the spectacular Hunterian collection, though some of its permanent displays are really not for the faint hearted.
West End Festival 1st to 29th June 2014 Biggest cultural event on Glasgow’s Calendar that takes place every June.
MY FIRST FLIGHT I look at the flight attendant, and smile as she shows the way to my seat beside the windows. Like a kid going to McDonald’s for the first time, I quickly pace my steps towards my special seat. I sit in the most disciplined manner, trying to maintain my composure before closing my eyes. There are rhythms in the sounding footsteps, as if preparing for a percussion ensemble. Just as the adults settle, laughter and cries of little children fill the air. There is a sense of excitement in the atmosphere, or it could possibly be just me. “This is the Captain speaking, we are now about to take off. Get ready. Sit back, and enjoy your flight. Thank you for flying with us!” Just as the Captain finishes his sentence, the colossal winged machine comes alive. The turbines start spinning, the oil fuels the wings and the machine begins to propel forward. Before I know it, the machine is already soaring in the air. I imagine myself looking
out of the window, awed by the sight. How fascinating it is, that a machine that big can be floating in the skies, touching the clouds and seemingly brushing by the stars? I will be flying for the first time on the 5th June 2014. Yes, you did not read that wrongly. This will be my first time traveling to a foreign country on a plane. And the description you read earlier is how I imagine my first flight will be. I know that I am over-romanticising it, but I will let you know that I am still very positive and optimistic about it. Other than this being my first flight, it will also be my first time studying in another country. I am sure that most of the third years are looking forward to arriving at the Mackintosh building. I will be looking forward to learn how we can expand our mindset — the way we think, generate ideas, and develop our creative process.
STUDENT’S ACCOUNT
Can all of this be pushed further? Can we actually see ourselves improving in terms of creative and critical thinking? Even though the trip is only for three weeks, I believe that it is an opportunity for us to learn from the lecturers of GSA. I hope that by having a new environment, we can learn better because we are constantly exposed to new cultures, lifestyles and experiences. To my fellow students who are going for the OIP trip, I hope that you will also have the same optimism as I do — the neverending hunger and curiosity to discover new things.
By Edwin Lau
e She p corn Sleep is often sacrificed with the hope of producing works of depth. However, some make an extra effort to recoup their losses.
By Christine Frances Lim
pish ner e An air of sheepishness lurks in the curious corners of the studios, inhabited by the Creatives.
Others made sure their efforts were commemorated.
SHEEPISH CORNER
They say we should be flexible, but does it not hurt to be that literal?
While studying the extended use for tables, chairs, and even the ground, I certainly did not imagine being greeted at the hallway by a row of gymnasts.
Despite creating some good and selfless designs that could possibly help make the world a better place, there are days when we just want to surrender to a little self-love.
Alternative ways to get around the studio...
Quite recently, I was asked if I noticed the Year 4s setting up their new fort, and I decided to pay it a visit. Stashed with their own miniature pantry, the Year 4s sure know how to prepare for a war.I got the strange feeling I wasn’t allowed in there.
Tired of hitting your head on the wall for ideas? Perhaps an #OOTD (outfit of the day) wall would be less painful. A group of Interior Design students took it upon themselves to set a new hashtag for the wall every week. I bust a gut when I saw the #xoxo wall they had for Valentine’s Day, although I would have preferred a #foreveralone wall instead.
By Melinda Tan
pro. cras. ti. nation. The act of delaying something Procrastination happens to everyone to a certain extent. As it turns out, the human brain is wired for it, and it is so universal. It may seem disparaging to think that humans are deemed to be procrastinators. However, with a little understanding on the subject and determination on our part, we may find hope in escaping from the vicious cycle that is procrastination. It is time to kiss the productivity killer goodbye! Don’t get trapped in the loop.
How does procrastination worK? The pre - frontal cortex
Let’s
The internal “planner”
Did you know that the pre-frontal cortex is the part of the brain that seperates humans from animals, who are just controlled by stimulus?
Work
Let’s
A weaker and newer part of the brain that tells you to do your work, integrate information and make decisions.
Our Fascinating Brain Limbic System V.S. pre-frontal cortex
Play The system limbic system The limbic
The unconscious zone that includes the pleasure center
1 2
One of the oldest and most dominant part of the brain that tells you to play. It is automatic and directs you to “immediate mood repair”.
3
Procrastination often begins with a distasteful activity at hand.
What happens in your mind is an agonizing internal battle between two parts of the brain, the limbic system and the pre-frontal cortex.
The moment you are not consciously engaged in a task, your limbic system takes charge and wins. You give in to what feels good and can only see the immediate effects of procrastination and thus, bring forth a seemingly tedious task to tommorrow.
I am a
a
Procrastinator.
Perfectionist “I have to be perfect.” Sets unrealistically high expectations and standards. Nobody is able to do everything perfectly, at some point the perfectionist will fail, causing him or her to avoid trying again in the future.
b
Angry
“I’m getting even!”
c
Expressing anger and resentment towards someone else and expresses rebelliousness by defying the rules.
Worried “I won’t be able to do well. This is too hard. Everyone will know how I screwed up” Often very self-critical and may feel inferior. Worrying they will not be able to do well becomes paralyzing, resulting in great anxiety and an avoidance of the work.
Why do you procrastinate? It is important to identify what kind of procrastinator you are. Being aware of the reasons behind your procrastination habits can help in understanding yourself better, so you can tackle it accordingly.
d Relaxed “ Work is boring!” Ignores tasks and concentrates on having fun instead.
9 Simple Tips To tackle procrastination
1. Always work towards a goal. When doing your daily activities, always ask yourself, “Will doing this now help in achieveing my goals?� Rememeber that after the task is done, there will always be the benefits. Achieving something for yourself will not only give you inherent joy, but satisfaction and self-achievement.
2. Time Yourself
FO STA CU Y SE D
50 m 5 m i n u te s inu tes work bre or... ak 25 m i n 5m u inu tes wo te s bre rk ak
Usually one is unable to start a task because it seems daunting. If you start for at least 25 minutes, you will find the task to be much easier as you go along. Also, if there is a time limit to the work you are about to do, you can easily let go of the other things on your mind. *Remember to time your breaks as well, otherwise they may turn to 30 minutes or even more!
To fight procrastination
3. Do not give excuses We mistakenly assume that we need to be in the right frame of mind to work on a project. However, there is no perfect time. Sometimes, you just have to get out and just force yourself to do it.
4. Do not underestimate and overestimate We usually overestimate the time left to perform a task and how motivated we will be in the future. We underestimate how long certain activities will take to complete. Thus, we push it backwards to another time.
5. Expect to fail and make mistakes It is okay to make mistakes. Be realistic and you will not have the fear to start.
6. It is not that difficult Do the worst thing first. Attack the hardest task when your energy is fresh and you give yourself the strongest chance of success. Checking it off from your list will make you feel productive. You can also try visualising the task in your mind. By doing so, you trick your mind in thinking that you have done this before. The task will then be completed briskly.
7. Renew your energy
PUT A SIDE
DIST
RACT
IONS
Remember to get enough of: Sleep Healthy food Excercise Breaks Take a quick power nap for about 5- 15 minutes. This will give you energy and willpower to get things done. Instead of feeling bad that your morning flew by without having dealt with your to-do list, combat this by implementing a reboot: At 2 p.m. every day, assess how much you have accomplished, remind yourself of what’s critical, and alter your plan so you can tackle the most important thing. Grant yourself a second morning.
8. Put aside distractions 9. Ask for help Make yourself accountable to a friend, and potential embarrassment becomes a powerful motivator. Fear of letting someone down might be the perfect motivator. Call a friend or a sibling and tell them what you plan to get done. Did you do your work?
Reward yourself if you make it through the task without getting distracted. If you have the urge to procrastinate, ask yourself, “Do I really deserve this break?” Plan your resources before starting so you will not have any excuse to procrastinate.
CONTRIBUTORS
Atiqah: Writer Christabel Chew: The Benevolent Dictator
Christine Neo: Co-Dictator/ Resident Writer
Dominic: Writer
Meet the Team: Chanel Hu: Illustrator Iffa Khalissa: Designer
Justin Liew: Writer
illustrated by Kit
Cui Xia: Writer
Kit: Illustrator
Jeremy: Web designer/ Writer Edwin Lau: Writer
Zylvia: Writer
Yi Lin: Resident Poet
Melinda: Writer/ Illustrator
Christine Frances Lim: Designer