P
O EN BEI
R F DESIGN
INTERIOR
T O I GLASGOW SCHOOL OF ART
L PORTFOLIO
O AY2019 - 2020
EN BEI
T
hank you for taking the time to investigate my journey as a designer. Through my portfolio, I hope you get a sense of my process from
conceptualizing ideas to the final presentation of my design. I always believe that space should have a balance of harmony and relaxation. We should feel that the design can set us at ease. A well thought-out and balanced design helps to promote peace and the purity of lines. Being at the beginning of my own journey, I’m looking forward to being bumbled by my future successes and learning from my failures.
GLASGOW SCHOOL OF ART
AY2019 - 2020
CURRICULUM VITAE
PERSONAL INFORMATION En Bei 恩貝 M: +65 81822953 E: lauenbei96@gmail.com L: https://www.linkedin.com/in/ lau-en-bei-a79a13131 W: https://ebinterior.wixsite.com/ebinterior
ACADEMIC Bachelor of Arts with Honours in Interior Design Singapore Institute of Technology x Glasgow School of Art, Singapore 2018 - 2020
Diploma in Interior Design with Merit Singapore Polytechnic GPA 3.938/4 2013 - 2016
AWARDS Ho Bee Scholarship Singapore Institute of Technology AY 2018 - 2020 SPADE Award Interior Designer Confederation Singapore Farming at Scotts, Silver Award AY 2017 Asia Interior Design Award Asia interior Design Institute Association Farming at Scotts, Honorable Mention AY 2017
INDUSTRY EXPERIENCE 2019 March - Current P+A Design Pte Ltd Interior Designer 2016 May - 2018 September DP Architect Pte Ltd Assistant Interior Designer 2016 March - 2016 April The Strangely Good Freelance Interior Designer 2015 March - 2015 May
BCA Diploma Scholarship Singapore Polytechnic AY 2014 - 2016
DP Architect Pte Ltd Intern Interior Designer
Director Honors Award Singapore Polytechnic AY 2013/2014/2015/2016
SOFTWARE AutoCAD Sketchup Adobe Indesign Adobe Photoshop Adobe Illustrator Microsoft Office Rhino
GLASGOW SCHOOL OF ART
AY2019 - 2020
TABLE OF CONTENT Selected Works from 2019 - 2020 Glasgow School of Art , Singapore - Interior Design
1 2 3 4 5 GLASGOW SCHOOL OF ART
p 8
Y4/ Commercial garden in a mall
p 18
Y4/ Commercial the hideout
p 26
Y3/ Workplace fun & play
p 36
Y3/ Exhibition the experience of esotericism
p 48
Y3/ Visual Merchandising kvadrat x gordon matta clark
AY2019 - 2020
8 Lucky Plaza
GARDEN IN THE MALL BRINGING BACK THE OLD GULONG PARK EXPERIENCE Year 4 Commercial Personal Project This project is an extended fieldwork studies from the Year 3 shopping project in Lucky plaza mall, a place well known for its Filipino community in Singapore. Borrowing from Singapore’s vision of ‘A City In A Garden’, The Garden in the Mall project seek to address the issue of gathering by the Filipinos in Lucky Plaza, by bringing back the ‘Gulong Gulong Park” experience (Gulong means to roll in Tagalog). The intervention is to transform the mall and provide a place for gathering and address their rights to the city.
PROJECT ONE | GARDEN IN THE MALL
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10 BRINGING IN THE OUTDOOR EXPERIENCE There used to be a “Gulong Gulong park� that was famous as a gathering spot to the community back in the 1980s, however, it was taken away for the development of Orchard road.
With the strong influence of The High Line project, this project seeks to transform a neglected corner into an inviting picnic garden space for people to enjoy. The project seeks to explore an approach to design in which walls, floors and ceilings function as permeable membranes to allow shoppers to dwell in the space, and evoke the outdoor experience of
on the top:
on the bottom :
Photograph taken in 1980s featuring the Gulong Park
Photograph taken in 2015 featuring ION Orchard
rolling in the park and improve the quality of community life through the play of leveling and staggered platform that is ideal for a wide range of events from performances to community gathering.
PROJECT ONE | GARDEN IN THE MALL
on the left : photograph featuring the community sitting outside Lucky Plaza
on the right : photo montage visioning the garden experience
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12 PROJECT ONE | GARDEN IN THE MALL
THE PLAY OF NATURAL LIGHTING The play of light, its intensity, its changes, its density.
Inspired by the shadow cast of the layer of leaves in a tree canopy creating a dim enclosed space that is calm and cozy. Layers of leaves from the Tree Canopy creates a kinetic movement of the shadow casting mimicking the trees movement. Every hour, every season creates a different light. Creating a welcoming ambience of a grand central plaza that allows the shoppers to have a moment of pause under the natural lighting.
on the left:
on the top :
on the bottom :
Sectional Model photograph featuring the directional lighting
Artist Impression of the ceiling design
Close up Model photograph featuring the shadow casting
The feeling of chilling under the trees experience was incorporated into the design. Visioning the idea of a welcoming and calm atmosphere for the
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community to come together. GLASGOW SCHOOL OF ART
14 INTERACTIVE EXPERIENCES “A different facade each day.” (Steven Holl, 1993) Seeking to introduce improbability
Users are able to choose their desirable
Each
and to puncture the façade, the
space for their ‘time out’ activity upon
relationship to other panels,
floor design is Versatile in every
crafting out their own spaces. Various
and open or closed condition
way imaginable, the retractable
type os public seatings are integrated to
creates, when combined with
seatings embodies creative freedom
the elements around the shopping malls
environmental
in the realm of public seating.
edges, allowing people to have moment
different facade each day.
of pauses.
on the left: peel-up design ideation of the transformable flooring system
PROJECT ONE | GARDEN IN THE MALL
panel’s
unique
shape,
conditions,
a
(Proposed Layout) Lucky Plaza Level 4
(Proposed Layout) Lucky Plaza Level 3
(Proposed Layout) Lucky Plaza Level 2
(Proposed Layout) Lucky Plaza Level 1
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16 PROJECT ONE | GARDEN IN THE MALL
ADDRESSING THE OVERCROWDING ISSUE The drive of this project started from an empathetic approach towards the needs of foreign workers based here who seek a sense of community and understandably crave a connection to home. The space is relatively hectic weekly (Sunday), there was not much space to hang out with restrictions everywhere. People are struggling to look for a place to interact comfortably without getting chased away. I hope by introducing the outdoor experience back into this space it changes the whole atmossphere of the space to be more calm and relaxing for the community to live in. To craft a better quality of living for a comfortable social interaction space instead of another commercial driven project.
on the left: Artist Impression featuring the social interaction in the space
on the bottom : Proposed Material Board for the mall interventions
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18 Lucky Plaza
THE HIDEOUT The Community Retreat Year 4 Commercial Personal Project This project puts focus on reclaiming existing space, readapting a disused atrium, bringing it to life as a community meeting and event space for people to connect. Each level forms an intimate yet connective space for small groups to gather and at the same time provides a public frontage and awareness of the ongoing cultural regeneration.
“
Inspired by a quote, There is no separation of floor, wall and ceiling here. A place that was thought as a floor transforms into a chair, a ceiling, or a wall from different perspectives. Floor levels are relative and people perceive the space according to where they are...The occupants discover various functions within those undulations.
(Sou Fujimoto, The Wooden House, 2008)
�
PROJECT TWO | THE HIDEOUT
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20 PROJECT TWO | THE HIDEOUT
DWELLING IN THE RETREAT
+0.750
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+0.600 Side Table
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designed as a place for connections
Group Seating Formation +0.150
+0.450 Typical Seating
+0.600
Housed in the Level 2 Plaza, the large, stacking freeform pavilion shapes took reference to the
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+0.600
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+0.150
square forms tiling of the existing building. Leaving
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no definitive lines between each of the structure’s components, thus blending the entire interior of
Leaning Backing
the space together, as well as, forming furniture, walls and ceiling to function as a retreat for the community. This project seek to create a space where function are determined based on human behavior with the play of levels. Using panels of 150mm square profile,
on the left:
on the top :
on the bottom :
Sectional Model drawing featuring the freeform pavilion
Zoomed in drawing of the possible seating configurations
Zoomed in plan view of the freeform pavilion
the space is crafted out to forms an intimate yet configurations for the community to connect. GLASGOW SCHOOL OF ART
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connective space that caters to different seatings
22 VERSATILITY DESIGN The versatility of the design is expressed around the periphery spaces in the mall, making subtle design implementation into elements such as the floors, ceiling, walls and built-in elements, also creating moments of pauses in which one can rest and enjoy
TOP VIEW
TOP VIEW
the serenity of their surroundings.
Inspired by the versatility to endless possibilities by Bruno Munari “ a low wall becomes a seat, the church steps become
L
L
a living room in which to meet, the open area behind the house hosts infinite soccer games in his hot playground project“ and the Storefront for Art and
TOP VIEW FRONT VIEW
Architecture project by Steven Holl that introduces improbability and punctures the façade. The space is designed to bring harmony between the environment and the way the human body behaves within the space.
FRONTSIDE VIEWVIEW on the left : detail drawing of the retractable system on the column.
on the right :
L
bow-wow sectionall drawing of the design intervention along the walkway
FRONT VIEW
PROJECT TWO | THE HIDEOUT
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24 PROJECT TWO | THE HIDEOUT
on the left: Small model exploring the idea of a retreat spaces
The design intervention aims to transform the mall and provide their rights to the city. GLASGOW SCHOOL OF ART
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a place for gathering and address
26 CoQoon Co-working Office
FUN N PLAY “ IDENTITY THROUGH PLAY “ Year 3 Workplace Project
The Existing CoQoon co-working space, felt too commercialized and lack of identity.
The design proposal seek to explore the play of Colors and Shapes into the public spaces. To create the value of the unique and fun experience of the cable car tower, into the co-working space for the working environment.
PROJECT THREE | FUN & PLAY
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28 JUXTAPOSITION OF FUNCTIONALITY AND FUN “ create the happiest and productive workplace. “ Social ‘play’ is a vital part in healthy creative development. Young children often learn best when they are playing, and that principle also applies to adults. This design explores ways to inject the fun experience into office designs to encourage workers to think more creatively and playfully.
PROJECT THREE | FUN & PLAY
on the right : Exploded Isometric of the Proposed CoQoon design
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30 PROJECT THREE | FUN & PLAY
on the top: Sectional drawing of the Hotdesking Zone
on the bottom: Artist Impression of the Hotdesking Zone
FLEXIBLE DESIGNS Designing Interactions with Furniture With every user craving for a personalized experience, modular furniture
are
introduced
into
the space for a customizable and playful experiences. Each piece of modular furniture can be rearranged to encourages an interactive and collaborative work experience.
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32 PROJECT THREE | FUN & PLAY
EMBRACING THE SCENERY The design build upon the idea of
appreciating the site scenery
overlooking Sentosa and the cable cars. By emphasizing the linear layout, the private offices re-allocated along the corner spaces. Allowing the appreciatation to the beauty of scenery and landscape. on the top: Sectional drawing of the Hotdesking Zone
on the bottom:
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Artist Impression of the Hotdesking Zone
34 PROJECT THREE | FUN & PLAY
COLORFUL WORKPLACE All spaces were dressed in bright colors on the floor, ceiling, walls, and
throughout
the
furniture
pieces with a mixture of playful and serious elements. By creating a dynamic blend of open and closed spaces, lounge style public areas, and tiny private conversational niches. This project hopes to redefine the notion of a ideal workplace setting by balancing
a fun and serious
environment.
on the top: Sectional drawing of the Hotdesking Zone
on the bottom:
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Artist Impression of the Hotdesking Zone
36 Year 3 Exhibition Project
THE EXPERIENCE OF ESOTERICISM CHIHARU SHIOTA . MARINA ABRAMOVIC . TROIKA
“unseeable.”
What is the “unseeable” energy? This is a question I want the visitor to find out in the exhibition journey. I believe the answer will be different for everyone, because the “Esoteric” forms of spirituality have no scientific evidence for the existence of such energy. It is up to how we react and feel about it.
This exhibit is driven by my curiousity towards fengshui notion of “Superstitious beliefs”. The aim of this exhibit is to create an immersive experience of esotericism. To see how different artist convey their message of the unseeable energy.
PROJECT FOUR | ESOTERICISM
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38 Manifesto | The Immersive Experience
01
Chiharu Shiota
Over the continents
2014
02
Chiharu Shiota
Wall
2010
03
Biblical history
Red thread, Kabbalahish
-
04
Biblical history
Red thread, Hinduism
-
05
Biblical history
Red thread, Christianity
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06
Biblical history
Red thread, Buddhism
-
07
Chiharu Shiota
UNTITLED
2005
08
Chiharu Shiota
HOLDING
2014
09
Chiharu Shiota
HANDS HOLDING THE BODY
2014
10
Chiharu Shiota
RED LINE, ONE HAND
2014
11
Chiharu Shiota
The Locked Room
2016
12
Chiharu Shiota
Skin
2016
13
Marina Abramovic
Rhythmn 10
1973
14
Marina Abramovic
Rhythmn 10
1973
15
Marina Abramovic
Rhythmn 10
1973
16
Marina Abramovic
Rhythmn 0
1974
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Marina Abramovic
Rhythmn 0
1974
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Troika
Black dust
2013
19
Troika
Squaring the circle
2013
20
Troika
Short cuts
2015
21
Troika
Dark Matter
2014
PROJECT FOUR | ESOTERICISM
FEEL THE ENERGY Every Artist depicts energy differently Every Visitors percieve the artwork differently
Chiharu Shiota creates experiences that she calls ‘the sensation of memory.’ In fact, she uses various objects in her work as narrative devices. ‘I always like to connect with people through my work, to move them with what my art expresses. The moment a visitor walks into the space of my installation, he or she is already involved and enters a world of memory, feelings, relationships – everything makes a person a human being.
on the top:
on the bottom :
Photograph of Chiharu Shiota with her artpieces
Artist Impression of proposed exhibits spaces
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40 1
12
12
3
2
4
5
13
8
6
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15 “unseeable.” What is the unseeable energy? This is a question I want the visitor to find out in the exhibition journey. I believe the answer will be different for everyone, because the “Esoteric” forms of spirituality have no scientific evidence for the existence of such energy. It is up to how we react and feel about it. This exhibit is driven by my curiousity towards fengshui notion of “Superstitious beliefs”. The aim of this exhibit is to create an immersive experience of esotericism. To see how different artist convey their message of the unseeable energy.
14
I believe,” Shiota says “that the truth emerges from a work for the first time when you can no longer see it with the eye.”
2. Chiharu Shiota, Wall, 2010 performance video
Chiharu Shiota (b.1972) is a Japanese installation artist known for her use of yarn and used possessions, which create networks of human experience.
8
She studied in Germany and was a student of Marina Abramović. 1. Chiharu Shiota, Over the continents, 2014 Installation art Haunted by the traces that the human body leaves behind, the work consist personal memories of nearly 400 individuals. Collected by the artist, each shoe comes with a note from the donor describing lost individuals and past moments. In this installation, almost 4 miles of red yarn will wrap around the shoes and attach to a single point in the pavilion, evoking the artist’s attention to the fundamental ties that connect humans to one another and the world. 700 × 500 cm (estimate installation size)
17 9
5. Hinduism, Kautuka thread Artifact object
In this video Shiota try different medium of interpreting connections beyond and boundaries around the body. Wall (2010) has Shiota lying on her side, dressed in a huge tangle of seemingly intravenous wires, spilling across the screen, through which blood ebbs and flows; her limbs occasionally twitch or jolt, while a heartbeat pulses quietly in the background. HD DSLR video, colour, sound, 16:9 3. Chiharu Shiota, Uncertain Journey, 2016 Installation & Public seating “I wanted to talk about humanity and human beings. It is entitled Uncertain Journey, so we don’t know where to go, where the end destination is. Technology is changing our lives, every day we get a lot of information, but we don’t know where to go with it. Also subconsciously, we’re in the boat, moving, not accepting: going somewhere but we don’t know where.” 200 x 50cm (per seating) 4. Kabbalahish, Red Thread Artifact object Kabbalah is the jewish version of the Bible, and in here the string is worn on the left wrist only. It is also believed that the red string bracelet can ward off misfortune and darkness brought about by the evil eye.
A Kautuka is a red-yellow coloured ritual protection thread, sometimes with knots or amulets, found on the Indian subcontinent. It represents divinity, teaches the wearers to be brave and generous, to have a kind soul. It is worn on the right wrist by men and left wrist by women. Length: 6 - 8.5” | 16 - 22cm 6. Christianity, Red thread Artifact object
8. Chiharu Shiota, The Locked Room, 2016 Installation art With her artworks the artist creates experiences that she calls ‘the sensation of memory.’ In fact, she uses various objects in her work as narrative devices. ‘I always like to connect with people through my work, to move them with what my art expresses.The moment a visitor walks into the space of my installation, he or she is already involved and enters a world of memory, feelings, relationships – everything makes a person a human being. 7000 x 300 cm (estimated installation size)
In this relegion, Genesis: 38 mentions the red string to “worn off misfortunes”. The red color symbolizes the blood of the saints, and it is also worn on the left wrist.
9. A. P. Sinnett, 1883 Esoteric Buddhism Book
Length: 6 - 8.5” | 16 - 22cm
13.9 × 21.5 cm , 215 pages
7. Buddhism, Red thread Artifact object
10. Richard Smoley, 2002 Inner Christianity: A Guide to the Esoteric Tradition Book
The red string in Buddhism is a symbol of compassion, life, and it represents the tongue. It reminds the wearer to always show compassion to other people and to bear his tongue, for it can make more damage than sword.
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PROJECT FOUR | ESOTERICISM
Length: 6 - 8.5” | 16 - 22cm
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Length: 6 - 8.5” | 16 - 22cm
15.2 × 22.8 cm , 350 pages
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MARINA ABR
SERBIAN PERFORMAN
Marina Abramovic (b.19 body art, endurance ar relationship between pe the limits of the body, a the mind.
The body has always b and medium.
13. Marina Abramovic, 1973 ‘Rhythm 10’ performance art audio and objec
This had always been a displayer will kneel down, play her casse one by one and keep stabbing down towards her left hand un knife. She shows her ability to be always attempting to conquer the
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20 knifes in different length 11. S. L. MacGregor Mathers, 2012 The Kabbalah Unveiled Book 15.2 × 22.8 cm , 384 pages
14. Marina Abramovic, 1973 ‘Rhythm 10’ performance art audio 0:01:20
EVERY ARTWORK TELLS A DIFFERENT STORY 1. Chiharu Shiota, Over the continents, 2014 Installation art Haunted by the traces that the human body leaves behind, the work consist personal memories of nearly 400 individuals. Collected by the artist, each shoe comes with a note from the donor describing lost individuals and past moments. In this installation, almost 4 miles of red yarn will wrap around the shoes and attach to a single point in the pavilion, evoking the artist’s attention to the fundamental ties that connect humans to one another and the world. 700 × 500 cm (estimate installation size)
13. Marina Abramovic, 1973 ‘Rhythm 10’ audio 0:01:20
14. Marina Abramovic, 1973 ‘Rhythm 10’ performance art show
2. Chiharu Shiota, Wall, 2010 performance video In this video Shiota try different medium of interpreting connections beyond and boundaries around the body. Wall (2010) has Shiota lying on her side, dressed in a huge tangle of seemingly intravenous wires, spilling across the screen, through which blood ebbs and flows; her limbs occasionally twitch or jolt, while a heartbeat pulses quietly in the background. HD DSLR video, colour, sound, 16:9
This had always been a displayer of ritual and gesture. Abramovic will kneel down, play her cassette recorder, pick up each knife one by one and keep stabbing the knife over and over again down towards her left hand until she cuts herself with every knife. She shows her ability to be consciously in taking pain while always attempting to conquer the fear of death. 20 knifes in different length
15. Marina Abramovic, 1973 ‘Rhythm 10’ photographs
11. Chiharu Shiota, The Locked Room, 2016 Installation art
Photographs of film footage
With her artworks the artist creates experiences that she calls ‘the sensation of memory.’ In fact, she uses various objects in her work as narrative devices. ‘I always like to connect with people through my work, to move them with what my art expresses.The moment a visitor walks into the space of my installation, he or she is already involved and enters a world of memory, feelings, relationships – everything makes a person a human being.
400 x 30 cm
16. Marina Abramovic, 1974 ‘Rhythm 0’ 72 objects 60 x 200cm
7000 x 300 cm (estimated installation size)
17. Marina Abramovic, 1974 ‘Rhythm 0’ performance art film
12. Chiharu Shiota, Skin, 2016 Paintings
Red thread on canvas. 140 x 80 cm each.
0:01:43 GLASGOW SCHOOL OF ART
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My creations with thread are reflections of my own feelings. A thread can be a cut, a knot or a loop, or can be loose or sometimes tangled. A thread to me is an analogy for feelings or human relationships.
Rhythm 0 was a six-hour work of performance art by Yugoslav artist Marina Abramović in Studio Morra, Naples. The work involved Abramović standing still while the audience was invited to do to her whatever they wished, using one of 72 objects she had placed on a table for 6hours.
42 RULE 1 : FOLLOW THE RED LINE Visitors would walk through this space with this rule. This project take place in Block 43, Malan Road Gillman Barracks, the NTU Gallery. The space is redesigned into a mazelike configuration with many wall partitions to isolate every piece of Artwork into different zones while connecting them up as a journey. The exhibits hope to bring a immersive experience to the visitors, to bring home a valuable learning.
PROJECT FOUR | ESOTERICISM
on the right : photo montage visioning the garden experience
43
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44 PROJECT FOUR | ESOTERICISM
IMMERSIVE EXPERIENCE Chiharu Shiota x Installation
I use red yarn because it resembles blood, the body and human relationships. Upon entering the space, the visitors would be welcome by Chiharu first installation Artpiece. Featuring traces that the human body leaves behind, the work consist personal memories of nearly 400 individuals. Collected by the artist, each shoe comes with a
on the left:
on the top :
on the bottom :
Artist Impression of Artwork along the corridor
Artist Impression of the artwork at the front Entrance
Artist Impression of the 2d Artwork by Chiharu Shiota
note from the donor describing lost individuals and past moments. In this installation, almost 4 miles of red yarn will wrap around the shoes and attach to a single point in the pavilion, evoking connect humans to one another and the world. GLASGOW SCHOOL OF ART
45
the artist’s attention to the fundamental ties that
46 PRESENCE IN A MEDIUM “Art is not just about another beautiful painting that matches your dining room floor. Art has to be disturbing, art has to ask a question, art has to predict the future.� - Marina Abramovic In this space, there will be live performance artist redoing the Rhytmn 0 performance act by Marina Abramovic. To challenge the extreme of the body.
on the left: peel-up design ideation of the transformable flooring system
PROJECT FOUR | ESOTERICISM
on the left: Photograph of Abramovic Rhythmn 0 performance
on the bottom right Artist Impression of the Screening Room
on the bottom left Artist Impression of the Live performance room
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GLASGOW SCHOOL OF ART
48 Year 3 Visual Merchandising Project
KVADRAT X GORDON MATTACLARK The window project aims to expand the approach to design processes via creative and iterative making methods.
To understand how the act of making can start a design process to craft out a speculative furniture and a shopfront visual merchandising design.
PROJECT FIVE | THE WINDOW
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GLASGOW SCHOOL OF ART
