DTR2 EJOURNAL
TAN JIA HUI P1627783 DID03
CONTENTS 01
INDUSTRIALISATION
02
THE GALLERIES
03
HYPER RETAIL
04
THE INDUSTRIAL STYLE
05
MINIMALISM
06
DUTCH DESIGN
07
THE ART OF DESIGN
08
YAYOI KUSAMA
09
FUN PALACE & CYBERNATICS
10
HAPTIC & TACTILE
11
GOODBYE PAD THAI
12
NO LOGO / NAOMI KLIEN
13
CONSUMERISM, CAPTITALISM, ENVIRONMENT
14
CHINA DESIGN
15
AUSTRALIA : BYOD & CORRIGAN
16
SINGAPORE SONGLINES
01
INDUSTRIALISATION As a designer in this industry-sensitive culture, I feel that is is very important to ensure that the design of an objects or space must still be able to convey certain traits or feelings even though they are being mass produced. For example, the parts for a space, like a wall, can be pre-fabricated by machine. However, the way the designers uses the space and the walls is still very crucial. If all the spaces and buildings look very similar, it would appear very monotonous, appearing as just a concrete jungle, with no feelings. I feel that the same concept applies to products as well. With technology and machines, we are able to easily replicate other products from other parts of the world. One of the product that is currently in-trend is the ďŹ dget spinner. Because of its popularity, it’s being sold everywhere. Due to its wide availablity, the ďŹ rst thing that consumers would consider is actually the design. Hence, in this industry-sensitive culture, I feel that a designer role is to understand consumer needs and to convey ideas through thier designs.
For my family, television is still the most luxurious item in our house. The television is placed at the middle of the wall, with the sofa facing it so that we can sit on the sofa while watching shows.
Fig. 1 Television, 2017
Compared to the past, the quality of the television model has deďŹ nitely improved. In the past, the images on TV were not of high deďŹ nition. Now, it has become clearer, brighter and higher image quality.
02
THE GALLERIES I think that in Singapore, shopping places have adapted the ideas of Arcades. Most of the shopping places have shops that are facing each other, with the walkway in the middle. It is like walking in an art gallery where there are paintings showcased from both sides. Just like the arcades, consumers can find everything they need within a single shopping centre. You can buy grocery from the supermarket, clothes from clothing stores and books from bookstore, all in the same centre. Shopping centres are also created for profit, earning from the sales of the shops operating in it. Displays of products at shopfronts intrigued consumers’ desire to purchase it.
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Fig. 2 Chinatown Street, Derek Tait
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Another example can be seen in Chinatown. In the past, Chinatown is full of street hawkers that sell local delights. The ďŹ ve-foot ways are always cramped and the streets are always full of people. Now, it is still full of food stalls selling local delights. But the streets are now less cramped.
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N Fig. 3 Chinatown Food Street, Choo Yut Sing, 2014
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03
HYPER RETAIL
As designers in this hyper-consumerism society, I think that it is important to cater to what the consumers want, and at the same time ensure that the function of the product is still there. Advertisements of products is now very common, it is available everywhere; on the television, internet, radio and on the streets. Advertisements would aect consumers’ decisions to buy a product. Products that are endorsed by idols or celebrities are even more popular due to their fans. Consumers buy these products because they feel that the products must be of a certain standard since the celebrities also use it. Hence, I think that it is still important to ensure that the products still serve their functions well. The advertisements raised products’ standards. If the consumers bought the products but it is not as good as what advertised, they will not buy it the second time. Therefore, as designers, function is still a key point.
Fig. 4 Queue for Balmain x H&M collection, 2015
Another example would be the sale of the limitededition Balmain x H&M collection on November 5, 2015. It was on sale at H&M’s Ion Orchard store. About 400 shoppers were queueing in line to get the products, some even queued for 3 days.
04
THE INDUSTRIAL STYLE As designers in a stylised society, I think it is very important for us to understand the essence of the space itself, before implementing a design on it. Every space tells a different story. For example, in this lecture, one of the slides talk about CSHH Coffee. It was a hardware company in the past and is now converted into a coffee shop. The coffee shop’s industrial style fits because of its history. It speaks about the history it had.
// To design a space that encourages its own style, the styles that we choose for each space must compliment it. We should not just blindly go for the most popular style. Instead we should pick a style that would truly bring out the atmosphere of the space. We need to consider the concept of the space itself, what they want people to feel in this certain space.
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Fig. 5 House@Dempsey
Another example of an industrialstyled design in Singapore is the House@Dempsey.
05 MINIMALISM Chichu Art Museum | Tadao Ando
Fig. 6 Chichu Art Museum
Wabi-Sabi is featured in this work. Chichu Art Museum is built entirely underground. The building itself ďŹ ts into the tranquillity of the natural scenery without much disturbance to it. There is harmony and balance between the building and the surroundings.
Fig. 7 Chichu Art Museum
Natural light can shine in to the interior spaces. This creates changes in mood and appearances of spaces throughout the day and night as well as the four seasons. It largely uses concrete as a material, showing simplicity and beauty in its rustic form. There is a lack of harsh and strong colour. The architect opted to use the original colour of the concrete material, which is greyish.
The price of a “Dutch” design is how much you are willing to pay for a product that will makes you feel happy. The pricing of a “Dutch” design does not define how useful the product is to you. Consumers pay for the products because they love it, they feel happy when they see that product. The products have a meaning to the consumers; they would want to have or keep the product for a very long time.
06
DUTCH DESIGN
Fig. 8 Gem Biscuit Cushion
I think that there is a “Singaporean” design. Some products that I see reflects the local culture and traditions. One example is the design of this pillow, which is in the shape of a gem biscuit. Every Singaporean would had eaten this biscuit before. It was a very popular snack back then for kids. Thus, when one see this pillow, it brings about a nostalgic feeling and happy memories.
BERTJAN POT
Fig. 9 Bertjan Pot, 2013
“If you can explain something in words, then you don’t need to make it.”
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I feel that if you can explain the design in words, then it is just like a story-telling session, people can just imagine the design in their minds. There isn’t any need to create the design manually then. I think that creating a design is creating something you can’t explain fully in words which is why there is a need to make it to represent our thoughts.
REMCO VAN DE CRAATS
Fig. 10 Remco Van De Craats, 2013
“You can make something ugly 5 times in a row and end up making something beautiful without knowing it.”
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I like this quote as I find myself always trying to pursue perfection even at the beginning stages of designing something. This quote encourages me to not give up even when the results are not what I expected. I should instead rethink and improve my designs.
07 THE ART OF DESIGN At the beginning of my Interior Design learning journey, I always prioritize how the space looks. I always considered the aesthetics first and focus on the space’s appearances.
// With the start of my second year in the course, I realised that experience is also very important. From the start of the 9-grid project we had in the first term, there was an emphasis on experience, of how people would feel when they are in a space.
// I think it is interesting to see how people would experience different emotions in different spaces. Incorporating experience in a space also makes the space more dynamic. With an experience, it allows people to establish a connection with the space, it becomes more relevant to them.
Fig. 11 9-Grid Prototype, 2017
For me personally, I want to design things that can evoke feelings in other people. Everyone can design things, but I think that a good design is something that people can relate to. Something that a person that is using it or within it, can feel a connection with.
08
YAYOI KUSAMA NATIONAL GALLERY
Fig. 12 Former Supreme Court Terrace
Key concept/ design language of the restored building and the extension? It preserves the historical characteristics of both the Former Supreme Court and the City Hall, while introducing modern architecture into it as well. The architect, Jean-Francois Milou took inspiration from the local culture and added a patterned metal ďŹ ligree roof inspired by rattan, creating interesting shadows that spill across the oor of the Supreme Court Terrace. This roof also drapes across the two buildings, creating a connection between the formerly open space.
Fig. 13 Link Bridges: Upper Link & Lower Link
Support of link bridge between the old building and the new extension The link bridge is suspended between the two buildings. It is supported by the various metal sturcutres as well columns. The oorings of the two buildings were also at a dierent height hence the link bridge is slightly tilted as well.
Why was the “Pumpkin” so fascinating for the artist? For Kusama, the pumpkin symbolises comfort and security. Kusama’s family owned a nusery and grew fields of pumpkins and flowers; pumpkins were also a major part of her diet as a child during WW2.
Fig. 14 & 15 Pumpkins, 2017
The pumpkins’ “generous unpretentiousness” and “solid spiritual balance” appeals to her. Its bulbous form also suggests fertility.
Fig. 16 Elizabeth Taylor
Experience that inspired “Infinity Nets”? Kusama was inspired by her own hallucinations that she experienced as a child. She sees this continual reworkng of this pattern as a way of integrating herself with the world.
// Correlation between the medium and “Elizabeth Taylor” The medium used for “Elizabeth Taylor” is painted wire netting and oil on canvas. This painting is part of a series called Bad Girl Portraits, the layer of wire over the painting creates a symbolism being caged. It looks 3D.
Fig. 17 Galaxy AQ: 1993
Observe the piece “The Galaxy AQ: 1993”. Describe observations of this piece. When I first saw the piece “The Galaxy AQ: 1993”, it was a bit overwhelming to the sight. There were a lot of white circles against the black background. The usage of white against black create a very strong contrast and impact to the viewer.
Fig. 18 Transmigration
What was the key medium/ material that inspired the piece “Transmigration”? “Transmigration” uses the same technique as other pieces in the Infinity Nets series. It is composed of small loops painted over a bright pink background which glows through the loops of nets to create a screen of dots. The relationship between the patterns of nets and dots, and between the surface layer and the background, is the key feature of the Infinity Net paintings. It makes us aware of the material aspect of the painting and the visual illusion of infinite space.
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Fig. 19 Walking Piece, 1966
The key theme in the “Walking Piece” is the sterotyping of culture. Through the “Walking Piece”, Kusama wants to point out the sterotype in which the white American audience catgorizes her, by showing the absurdity of culturally categorizing people. I think that this also a happening issue in Singapore. Singapore, being one of the global hub, is experiencing an infux of more and more foreigners. Locals and foreigner; they do not understand each other well. Hence, when one people of the race did something, most would assume that the other people of the same race, are the same, creating a stereotype that is unfair.
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Fig. 20 Gleaming Lights of the Soul, 2008
The sequencing of the exhibtion allows us to see her development of her key motifs and exploration of colour, forms and space. For the first gallery, we can see how she started painting wih single panels and then moving onto multi-panels in bright contrasting colours. The entry of each exhibition allows us to know intent of the gallery, what she is trying to express, what is the theme here. They classified different paintings and sculptures that are related to each other, At the end of each gallery will be an installation by Kusama where we can experience these feelings ourself.
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Fig. 21 Fun Palace
With a design like the Fun Palace in the neighbourhood, it allows residents, especially those who don’t frequent art venues, a chance to appreciate and understand art. The beauty of Fun Palace is that the spaces within it is not limited to only a certain type of event, it can be modified accordingly to different events. This meant that the neighbourhood would be exposed to different modes of arts. It also makes it easier for the creative society to find a venue that bring the arts closer to the people.
09
FUN PALACE CYBERNATICS 3 design intents of Fun Palace 1. To make it accessible people that don’t frequent art venues and centres of learning 2. Spaces that are unique to each with different activities yet able to co-exist and fit in with each other seamlessly 3. Spaces that do not only cater to one activity; it can be modified to fit other activities as well
Fig. 22 Serendipity, 2017
Yes, I agree with the notion of cybernetics. I agree with the idea that both living and non-living things have a purpose. Although non-living things does not move or talk like living things, but they are still able to interact with us through the senses like touch.
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A blanket is a non-living thing but can provide us with warmth and comfort, and that is its purpose. All objects and things are made with a reason, and with that reason, is its purpose in existing.
10 HAPTIC TACTILE The body occupies the space in terms of its presence, through the senses. The space changes with our presence and our habits. We add on things to a space that we ďŹ nd visually pleasing or things that are physically comforting to us.
// The space is just like an empty room with white walls. We changed the space with our dierent senses. For example, I would place an air freshener in the space to make it smell better. This is through the usage of our sense of smell. I would also have many pillows on my bed as it gives me a sense of comfort and security when I hug them.
// We experience space through our body and emotions. Hence, we also modify space itself to suit our body and emotions as well.
Fig. 23 Curtains, 2017
I picked curtains. Using sense of touch, the surface of the curtain is smooth, there isn’t any rough textures. From looks, it gives o a feeling of softness.
11 GOODBYE PAD THAI I don’t think there is any right or wrong for Bangkok to follow our model of food courts and hawker centres.
// By following this model, it allows the different street food stalls to come together in a single place. This makes it easier for patrons to find different food in the same place. This also makes it easier to keep track of the hygiene.
// However, following this model also has its disadvantages. Street food stalls require little or no rent fee at all, which makes the prices of food more affordable for the less wealthy. However, rent fees for stalls in food courts are generally higher, which makes the food prices higher. The ambience and surroundings of the streets won’t be the same as the streets as well.
Fig. 24 Thailand Street Food
I don’t think that design is able to express Thailand’s street food culture. The design may be able to recreate the street look by using ornaments, wallpaper etc. but the ambience and surroundings will still be different.
Expectations of a Good Brand For me personally, I expect good quality and craftsmanship from a good brand. Usually a more wellknown brand sells their products at a higher price as compared to other not so well-known brands. With such high price, I think that high quality is expected to maintain brands’ reputation and standing in the market. Good craftsmanship is also expected from a good brand. Attention are paid to details during the making. I would also expect higher durability.
New Balance They are a footwear manufacturing company that manufacture athletic footwear to usual walking footwear. Their footwear is very durable; it can be worn for a very long time. The footwear is comfortable to walk in even during the ďŹ rst few times you wear it.
12 NO LOGO
I feel that my real identity is who I am as a person when I’m alone by myself. I think that a lot of us hides our true real identity through how we act when others are around; what we wear; what we eat.
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Through consuming different brands, it allows us to portray ourselves in a different light to others. But, we might not even like what we are consuming, just that we consume these brands because it is the in-thing and that we should follow the trends.
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I think that it all stem from a fear of being left behind by others. Therefore, I think that it is an illusion when you consume such goods just to fit in and not because you truly like it.
NAOMI KLIEN
13 CONSUMERISM CAPITALISM ENVIRONMENT I disagree that design is something that is wasteful. Designs change with time and according to trends, but these designs will come back again when the trend comes back. We can re-use and re-design things that have already been produced and used before. One example is the reusing of old boots as ower pots. The worn and torn boots add on a special aesthetics as a ower pot.
Fig. 25 Garden Ideas
14
CHINA
Fig. 26 Poster, 1968
DESIGN
Design in China are inuenced by the events occurring. In times of the cultural revolution, poster art was very popular. Most of these posters portray the Chinese leader at that point of time, Mao Ze Dong, as a hero. Hence the main colour used for these poster designs is red with the military.
In reaction to the cultural movement, a community of underground artists formed an expressive movement, the 85 New Wave. They wanted more freedom in artistic expression. With foreign inuences such as Andy Warhol, the art style has a fusion of both western pop art and Chinese socialist realism.
15 AUSTRALIA ROBIN BYOD PETER CORRIGAN The “Singapore Ugliness” I think that the so called “Singapore Ugliness” is the way we act when we are in our comfort zone that is away from the public eye. It is the way we act and do things where no one is there to judge us.
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Fig. 27 Flowers, 2018
Singapore is considered a garden city because of the green landscaping and clean streets in the city. People don’t litter on the streets; hence the streets are kept clean. However, at home, in their most comfortable environment, are these people as clean as they seem to be in public? It might not necessary be so. As most people would think, since this is my home, no one is going to see this state of mess. Hence, most of the time, their room or home are untidy. However, in public, they had to keep up to a certain image of cleanliness. This is because of their public image and the ďŹ nes implemented for litter bugs.
16 SINGAPORE SONGLINES Golden Mile Complex
Fig. 28 Golden Mile Complex, 2018
Golden Mile Complex was designed by DP Architects and was completed in 1973. The lower floors of the building houses shops and eateries. The upper floors houses residential units as well as offices.This mix usage of the building brings the spaces and functions of work, play and residential closer to each other.
Singapore’s Design Culture Singapore is widely known as a garden city, hence most of its most iconic landmarks and buildings are also greatly influenced or directly incorporating greenery. One such example is Changi Airport. Within the airport itself, one can see walls of greenery and assorments of plants.
Park Royal Hotel The Park Royal Hotel was designed by WOHA. The design intent was to create a hotel in a garden. It cleverly made use of spaces in between the building to create greenery and landscape design. It creates a space whereby there is a connection between the interior and the exterior environment.
Fig. 29 Park Royal Hotel
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