GSA BA (Hons) Interior Design Year 3 Portfolio by Raymond Wong by Raymond Wong

VOLUME ONE

portfolio A COMPILATION of PROJECTS

© 2017 Portfolio: A Compilation of Projects All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying or other electronic or mechanical methods, without the prior written permission of the editor, except in the case of brief quotations embodied in critical reviews and certain other non-commercial uses permitted by copyright law. For permission requests, write to the editor, addressed “Attention: Portfolio Permissions,” at the address below. R.wong1@student.gsa.ac.uk www.rwportfolio.com Printed in Singapore Cover illustration, photos and words by Raymond Wong

portfolio

I SSU E ONE

WELCOME “Great design is a multi-layered relationship between human life and its environment.” –NAOTO FUK AS AWA and implemented in the design phase to celebrate the client’s identity through a journey of illustrations and narrations. The Hotel provides an opportunity for us to work with FITCH Design in designing a complete and unique experience for our target audience. It interrogates on the pain points which provides us with opportunities for intervention through design. Last but not least, The Manifesto creates an unique standpoint and allow us to develop our principles of design intervention in context of the site. Many ideas are shared exclusively through imagery and drawings without rigid step-by-step guides, leaving room for your own interpretation and creative touch. My goal is for each issue to be an inspiring and reflective experience for the readers, suggesting and hinting on key ideas and frameworks. Throughout the process of compiling this issue I have learned that the value of these projects is not only in the quality of the outcome, but is also in the process that reveals myself through my thoughts. Mostly this portfolio is all about reviewing the journey as a designer and constantly reflecting on the key notion of designing to change lives, to be the generation that improves the life of others through design, a step at a time—my Portfolio.

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Portfolio: A Compilation of Projects is a documentation of past projects done in Year 3 Interior Design offered by Glasgow School of Arts. It seeks to explore and understand design methodologies, typologies and theory in the University level. The aim of producing this issue is to document the growth of my design journey in GSA. You will notice that every element—the features, photography, and general aesthetics—reflects the way I feel designing should be: simple yet complex, thought provoking, fun and real. I recognize that design is deeply personal and anchors on our principles, beliefs and views on what esthetic is and should be. In this issue, I present to you on several design methodologies and theoretical frameworks on defining the foundation of our design. Features begin with questioning our understanding and definition of Home and its spaces; investigating on The Ways We Live, thus revealing the unique typology of HDB housing and its spaces. The issue progresses to The Shop Window where we explore and experiment with design methodologies and materiality. Theoretical frameworks were introduced to guide on our approach on the final conceived design for our supposed client. The Office challenges the understanding of our client’s ideology, extensive research was conducted

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2 WELCOME 5 CONTENT PAGE 202 THE MAKING OF PORTFOLIO VOL:1 205 BIBLIOGRAPHY 207 CREDITS 208 KEEP IN TOUCH

ONE

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10 THE WAYS WE LIVE

42 THE SHOP WINDOW

Introduction

14 SITE ANALYSIS

44 MARGIELA & THEIR IDEOLOGY

Understanding Singapore and its Public Spaces

Maison Margiela

46 METHODS OF CONSTRUCTING

22 DOCUMENTING HOME

Construction Techniques & Methodologies

A Critical Investigation on Defining ‘Home’

52 EXPLORE & EXPERIMENT

30 DECLARING SPACE Ethnographic Research & Findings of Declared Space as a Theme

Understanding Materiality

58 TEXTILE Establising the Foundation of the Project

68 FURNITURE Translating from 2D to 3D

78 WINDOW Theoretical Framework & Collaboration of Client

86 OBSERVATIONS Conclusion

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92 THE OFFICE

128 THE HOTEL

158 THE MANIFESTO

Introduction

94 THE CLIENTS & THEIR IDEOLOGY

132 FITCH & THE CLIENT

162 HISTORY OF GILLMAN BARRACKS

AA Files Apartamento Cabinet

Fitch Design Singapore Gene Chong

The Origins

96 EXPLORE & EXPERIMENT Understanding Client Identity

136 DELA & THE PAIN POINTS The Client and his experiences

142 HOSTEL TYPOLOGY

168 GENIUS LOCI Christian Norberg-Schulz

170 SITE ANALYSIS

Research on: Hostels and its Functions

Understanding NTU Centre for Contemporary Art Singapore and its Spaces

146 A COMPLETE USER EXPERIENCE

174 THE “GENIUS” MANIFESTO

Developing and investigating of correlation between Client and Space

Socrates and His approach Spirit and Place: The Essence of Gillman

Understanding Chinatown and its locality

150 HOSTEL INTERIOR & COLLAGES

120 PLANS & RENDERING

Translating from Research to A complete Designed Journey

176 DIAGRAMMATIC STUDIES & RESEARCH

114 DIAGRAMMATIC STUDIES & RESEARCH Understanding correlation between Client and Space

118 SITE ANALYSIS

Translating from Research to Space Creation

Translating Beliefs to Design

180 THE ARTEFACTS A Narrative to the Journey of Gillman Baracks and Singapore

186 A RENEWED LIFE The Exhibition at NTU CCA

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HDB : THE WAYS W E LIVE

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THE WAYS WE LIVE “Home is where the heart is” – G AIUS PLINUS S ECUNDUS

HDB: The Ways We Live seeks to understand and investigate on the differences between ‘home’ and ‘domesticity’. In defining the differences between the terms, we were able to better understand the construct of ‘domesticity’ and what makes a ‘home’. The term ‘home’ to me is deeply personal. It is a sanctuary, a place where you can retreat to after a long day out in a fast paced environment. It is a place full of memories and habits that forms our daily routine. It shapes our behavior in a space confined to a number that determines the size of your house. In Lilian Chee’s Domesticity + Home, she mentions that “Home is the locus of domesticity. Home is where the ideologies (concepts), practices (rituals/habits) and material (objects) manifestations of domesticity are realised...Home is thus both a physical location and a set of emotions/ ideologies/feelings.”1 The relationship between the physical and emotional aspects determines the notion of ‘Home’ and ‘Domesticity’ as a process

of constructing a home. Domestic practices allow the space to be more personal and comfortable, criterias to construct a ‘Home’. It also reflects on the social relationship and hierarchies that suggests on the structure of the family for instance. Domesticity is marked by specifics and material objects connoting the ideas of hearth and home.2 The investigation leads us in interrogating the spaces within the HDB estate, questioning on the declared spaces as a key theme of the estate. The project brings us through the journey from investigation on the differences of ‘home’ and ‘domesticity’ to interrogation of the interior and domestic environment. The observations collected during the site visits provide an in-depth analysis on what it means to be at home for the majority of the Singapore’s population. Thus, the presented conclusion aims to provide a better in sight of public housing in Singapore in general.

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1. Lilian Chee, Home + Bound: Narratives Of Domesticity In Singapore And Beyond, (Singapore: NUS School of Design and Environment, 2013), pp.11-12. 2. Chee, p.13.

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SITE ANALYSIS “Home, however, connotes not only a physical or spatial condition but also social and habitual conditions.”

–Theano S. Terkenli

design of the precincts, HDB aims to evoke a better sense of security.5 Singapore is divided into towns, within the towns are estates and within the estates are units. More than 80% of the resident population live in HDB estates.6 Towns are planned to encompass amenities like schools, supermarkets, clinics, hawker centres, parks and sports and recreational facilities.7 Estates are usually bounded by main roads and comprising of fitness corners and outdoor seating areas that define the communal space. Estates contains many small units that are stacked vertically on top of one another, to save space due to the limited land space that we have. Each estate is considered a vertical community with common areas built into the design to promote social interaction. The importance of social interaction has carried on from the ‘kampong’ (village) spirit as we investigate and understand that the two sites although different, but could very well be similar at the same time.

1. History SG, ‘Temasek/Singapura - 1369’, National Library Board, 2014, <http://eresources.nlb.gov.sg/history/events/d24d6da6-0013-4a12-a6bc68ad1497148e> [Accessed 20 December 2016) 2. Vernon Cornelius-Takahama, ‘Singapore River communities’, National Library Board, 2016, < http://eresources.nlb.gov.sg/infopedia/articles/ SIP_498_2004-12-27.html> [Accessed 20 December 2016) 3. Wikipedia, ‘History of Singapore’, Wikipedia, <https://en.wikipedia.org/wiki/History_of_Singapore> [Accessed 3 November 2016) 4. Valerie Chew, ‘Public housing in Singapore’, National Library Board, 2010, <http://eresources.nlb.gov.sg/infopedia/articles/SIP_1585_2009-10-26. html?s=housing> [Accessed 20 December 2016) 5. Wikipedia, ‘Public housing in Singapore’, Wikipedia, <https://en.wikipedia.org/wiki/Public_housing_in_Singapore> [Accessed 3 November 2016) 6. Singstat, “Resident Households by Selected Type of Dwelling”, Singstat.Gov.Sg, 2017 <http://www.singstat.gov.sg/statistics/visualising-data/infographics/population#reshhla> [accessed 12 March 2017]. 7. Chew, ‘Public housing in Singapore’, [Accessed 20 December 2016)

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Singapore was known as Temasek and Singapura which translates to Sea Town and Lion City in Old Javanese and Sanskrit respectively.1 It consists of many fishing villages as the main livelihood and trade prior to the founding of Singapore by Sir Thomas Stamford Raffles in 1819.2 Since then, Singapore had endured through turbulent times through the Second world war to its independence in 1965.Singapore embarked in an attempt to modernise beginning in the late 1960s through the 1970s due to the severe unemployment and housing crisis after the war. Singapore started its rebuilding by establising a manufactoring industry and developing large public housing estates to combat the issues that we had.3 Housing Development Board (HDB) was established in 1960 and since then, have provided public housing to Singapore’s majority. Living conditions has changed drastically for the better, adopting the precinct concept in 1978 based on the importance of social interaction and community bonding.4 Due to the smaller community created by the

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DOCUMENTING HOME “I want to understand the world from your point of view. I want to know what you know in the way you know it. I want to understand the meaning of your experience, to walk in your shoes, to feel things as you feel them, to explain things as you explain them. Will you become my teacher and help me understand?”

–James P. Spradley

graphy essay tells a story that words alone cannot, it brings you in a journey that informs, excites and evokes our senses and feelings. In this part of the portfolio, I will be looking out for interesting spaces that allows for different activities, objects positioned in and around the HDB estate. The Photographic essay will transit from a macro to micro perspective, showcasing common and public spaces within the estate to investigating on two individual’s HDB unit. Through the essay, I aim to share on Singapore’s unique culture of HDB estates. Community and structured spaces that compliments the estate to achieve social interaction and community bonding of majority of Singapore’s residents, regardless of race, ethnicity and identity

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In an attempt to better understand the context of ‘home’ and ‘domesticity’, ethnographic research was carried out and observations and data were collected in a form of a photographic essay, allowing us to document home. In this particular photographic essay, I will be focusing on spaces and how the majority of the residents shape and utilise space in Singapore. The collection of photographs will be able to inform on key notions of ‘home’ and ‘domesticity’. In this particular context, I will be gathering the data in the view of a tourist with the knowledge of a local resident. This helps in our observation of our surrounding as we attempt to present our findings looking into the smallest of details that are usually forgotten as a local. The Photo-

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ence offered by our environment. This kind of action takes place solely within the framework of spatial opportunities in our immediate surroundings, those available spatial choices and deeds which we can assess and out of which we can arrange our courses of action.” -HENRY SHEPPARD PLUMMER, LIBERATIVE SPACE

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“ WE CANNOT ACT IN VACUUM, but only in concert with the possibilities of experi-

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“ THE MORNING, which is the most memorable season of the day, is the awakening

hour. Then there is least somnolence in us; and for an hour, at least, some part of us awakes which slumbers all the rest of the day and night. Morning is when I am awake and there is dawn in me.” —HENRY DAVID THOREAU, WALDEN

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DECLARING SPACE “Home, however, connotes not only a physical or spatial condition but also social and habitual conditions.”

–Theano S. Terkenli

Upon investigating and understanding the key notions on the differences between ‘home’ and ‘domesticity’. There are distinct similarities between the different estates. The unique spaces that transit from public to semi-public and private spaces, from exterior to interior-exterior and interior subsequently. It was interesting how the spaces are demarcated by different residents, but yet similar in result. In Theano S. Terkenli’s Home as a Region, he mentions that “In daily lives people interact with their environment through personally and culturally apprehended behaviors.”1 The behaviors and habits shaped the residents’ basis for home making. Objects were laid around the resident’s house and clutters can be seen. In Witold Rybezynski’s Home, he mentioned that “Hominess is not neatness. Otherwise everyone would live in replicas of the kinds sterile and impersonal homes that appear in interior-design and architectural magazines. What these spotless

rooms lack, or what crafty photographers have carefully removed, is any evidence of human occupation. In spite of the artfully placed vases and casually arranged art books, the imprint of their inhabitants is missing. Can people really live without clutter?”2 The experiences and habits of people shaped the unique clutters that can be seen along the corridors and in their homes. For example, the afternoon sun that shines into the corridor of the HDB allows the residents to hang their laundry for drying. Planters are also placed along the corridors due to the Sun’s path. The seemingly messy clutter of objects are consistent amongst the different estates, showing a similar language, imaginary guidelines are in placed to govern the clutters and boundaries are thus demarcated. The last part of this photography essay will showcase HDB’s unique declaring of spaces.

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1. Theano S. Terkenli, “Home as a Region”, in Geographical Review, 85:3 (American Geographical Society, 1995), p.324. 2. Witold Rybczynski, Home: A Short History of an Idea, 2nd edn (California: Penguin Books, 1987), pp.17-18.

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declaring SPACES In Theano S. Terkenli’s Home as a Region, he mentions the essence of home which lies in the recurrent, regular investment of meaning which people personalize and identify through some measure of control. This form of control originates from self and develops due to familiarity which anchors on their past actions and their ongoing activities, feelings, preoccupations, tendencies, and intentions. People construct their geographies of home at the interface between their self and their world.1 Habits repetitively unfold in specific contexts differentiate these locales or circumstances from the rest of the known world. lies the meaning of home as “a place where every day is multiplied the days before it”.2 Over time, an individual develops numerous behavioral, cognitive, and affective routines by investing sources and emotional commitment. The routines shape the individual’s response in declaring space their space that is personal. The space and its materiality supplements and helps guide the daily routines as we grow more attached to it.

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1. Theano S. Terkenli, “Home as a Region”, in Geographical Review, 85:3 (American Geographical Society, 1995), pp.325-326. 2. Yi-Fu Tuan, Space and Place: The Perspective of Experience, 1st edn (Minneapolis: University of Minnesota Press, 1977), p.144

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THE SHOP WINDOW “Design process is an endless loop of hope.” –M. Cobanli

ods of construction as a start to the project. Subsequently, the product of the making workshops was used to translate into furniture and shop window pieces that reflects the identity of the chosen client. The project was guided by the framework of Jacques Derrida that discusses about deconstruction in literature sense, which allows us to discover, recognise and understand underlying assumptions, both unspoken and implied. The aim of the project is to produce a set of furniture and window display that is consistent as a language, the translation of the said theoretical framework posed a key challenge as understanding different forms of deconstruction forms and methods becomes blurred and confusing. The end result of the project might not fully represent the ideologies of Jacques Derrida but act as a framework to guide and as an expression in a personal context. My aim is then to create a set of models that is cohesive and consistent in language to represent the client’s identity.

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The Shop Window project seeks to explore and understand design processes through a series of making. In understanding materiality and design processes, we were able to better translate the design process and the identity of the client. The project is broken down into 4 segments: understanding and clarification on design processes, making with various materials as a process, developing of constructed materials into furniture and shop window and last but not least, evaluate and communicate the process. The design process to me is a complex journey of selfexploration. It shows the thought process and originality of the individual. The different decisions that I make should be grounded on beliefs and existing frameworks that guides me through the final outcome. Through making and playing of the materials available I was able to understand its qualities and limitations. Making workshops were conducted to provide introduction and exploration of different meth-

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Pulp Magazine, Margiela For The Walls (PULP, 2014), <http://pulp-magazine.com/2014/05/margiela-for-the-walls/> [accessed 11 October 2016] Margiela For The Walls, a collaboration with Belgian interior design company Omexco, embroideries, marbles and geometry were printed into recycled fibres to create the designs.

MA RGIELA & THEIR IDEOLOGY “You are the only person I know who uses silence in this way. In your absence, I felt your presence more than ever, your silence, permanently echoing in the background.” –Unknown

their story for posterity. With a unified colour scheme that encouraged anonymity. Maison Margiela’s anonymity is a genuine attempt that allows the re-focus of the subject (Fashion and the clothing) which was clouded with glamour and media. In 2009, Martin Margiela officially resigned from his position as creative director from the Maison. Martin’s anonymity and absence was greatly felt. His secrecy lead to a higher recognition from the general public. The poetic gesture reemphasized his beliefs and ideology of discovery, recognition and understanding the underlying assumptions, both unspoken and implied. His way of deconstructing his materials and questioning the purpose and materiality of clothes was done with precision. As emphasized in YOOX’s The Artist is Absent, anybody can take a sheet and tear it up, but it did not necessarily make it a great garment. The outcome of the product is therefore unique and original.

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The shop window project was issued for Maison Margiela as our client. The initial phrase requires a clear understanding on Margiela through extensive research. Maison Margiela’s ideology was to construct by deconstructing, excesses and the transformations of everyday life. Applying ‘grunge’ techniques such as deconstruction, recycling and raw finishes, in an intelligent and sleek manner to give life again to used material of all types and purposes with meticulous craftsmanship. The used materials are transformed into new objects that are surprising and extraordinary, while maintaining the traces of time and history. The designs of the object should then speak for itself. The use of white as a universal colour in varying shades, tones, and textures is the signature of Maison Margiela as it is practical and conceptual. Traces of time and history can be narrated in the shades of white and any wear and tear caused by daily comings and goings are therefore left to tell

collaging WITH SCRAPS

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A conceptual spatial collage was created as a method to illustrate the materiality of used materials, the universal colour of differing shades of white and Margielaâ&#x20AC;&#x2122;s anonymity in creating a re-focus to the clothing rather than branding.

METHODS OF CONSTRUCTING “Methodology gives those with no ideas something to do.” –Mason Cooley

that intrigued us the most. Dotting was introduced as we highlighted the hierarchy of light and shadow by using the density of the dots. The outcome shows a clear understanding of light and shadows through the drawing. Last but not least, smudging was introduced as we highlighted the softness of the charcoal. The outcome shows a clear control of the charcoal to achieve a soft or hard drawing based on the pressure applied to it. Last but not least, Weaving workshop was conducted and we were asked to create a piece of fabric using wool as a start. Subsequently, we were able to incorporate different materials as we understood the materiality and technique for pattern making. The outcome shows a clear understanding of technique and materiality of the weaved fabric.

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The initial phase of the project brings us back to the fundamentals of design. Different techniques were reintroduced which include: Collaging, Drawing and Weaving. We started with the Collage making workshop where we looked into the identity of our clients. The end product was used to narrate the key ideologies and beliefs of the client. Next, Drawing workshop was conducted and we were asked to re-look on drawing techniques. Line drawing, dotting and smudging to create a variety of effects and outcomes. Line Drawing was introduced as we focused on the subject that we are drawing without looking at our pencil and paper. The line that we were drawing has to be continuous and the outcome of the onthography was interesting as we were forced to focus on the details and therefore reflected the different details

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Eva Fydrych, Maison Margiela Paris Autumn/Winter 2015, 2015 <http://www.fashionstudiomagazine.com/2015/07/ paris-haute-couture-week.html> [accessed 10 September 2016].

Elite New York City, Maison Martin Margiela Spring 2015 Couture Show, 2015 <http://www.elitemanagementnyc.com/ category/tami-w/page/7/> [accessed 10 September 2016].

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Line Drawing method was used to create the outlines of the dress made by Maison Margiela in 2015. The outcome highlighted the interesting details of the dresses that intriqued me while I was focusing on the dress and drawing without looking at the paper.

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weave WITH THREADS

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Weaving method was used to incorporate different materials to create a piece of fabric. The outcome shows a clear understanding of technique and materiality of the weaved fabric and pattern making.

clay & cement SCULPTURE

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Experimenting with clay and cement mixture to create, using recycled egg cartons as a mold. The clay and cement mixture castings reflects the texture and materiality of the cartons and allows for interesting developments in creating possible furniture pieces for Margiela.

EXPLORE & EXPERIMENT “In wisdom gathered over time I have found that every experience is a form of exploration.” –Ansel Adams

layers. The outcome showed the clear understanding of layering, light and shadows. The depth of the layering created a contrast on positive and negative spaces that creates a 3-dimensional expression of the line drawing. Nail portrait was used to translate the dotted drawing, the size of the nails allowed for emphasis and attention to the dots. The representation of the density of the dots correlates to the size of the nails to show detail. The layered nails then create a unique hierarchy of levels that again showed depth and originality. During the exploration phase, techniques and materials were carefully chosen and used as a aim to show relations with the clients ideology. The products were then curated and selected for further development into furniture pieces and shop window display. The unused products narrate the many struggles in curating my own work and through the process, the thoughts were revealed, allowing the audience to understand myself better.

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The second phase brings us into developing the drawings, collage and fabric of the techniques and extracted the essence of the product. The fundamentals brought us to explore and experiment on wire sculpting, clay and plaster modeling, paper layering and nail portraits. Wire sculpting was used to translate the line drawings from a 2-dimensional drawing to a 3-dimensional object. The outcome showed the clear understanding of hierarchy and layering which creates a unique representation of the drawing. Similarly, the wire follows through in accordance to the line drawing to focus on the details. Clay and plaster modeling was used to experiment on forms. The outcome showed the sensitivity to material choice as the texture of object created an imprint of material textures. This allowed for attention to detail in the object which creates a intricate model of clay and plaster. Paper layering was used to translate the collages that the layering of materials to emphasis on the

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Line drawing technique was used to extract the unique qualities of two Margiela dresses. Wire sculpting technique was used to transform the 2D drawing into 3D reality. The layering of the wire and emphasis of the details has to be carefully planned to highlight the qualities of the dresses in contrast. The end result are two wire sculptures of the dresses fitting properly, layered and organised amidst the chaos which co-exists with one another.

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wire SCULPTURE

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TEXTILE “There is a weird tension that he throws into the clothes that is poetic, but it can also be unnerving in that it pushes you a little further. It’s not just pretty or simple clothing. It’s something that challenges you, even subliminally.” – Harold Koda to allow the rest of the textures to emerge. Additional strokes and texture patterns were used to provide seamless interaction between 2 different texture groups, thus bringing the collage to an unified end. The outcome of this particular phase showcases the understanding of deconstructivism and Margiela’s sensitivity to objects and its materials. The textile process was influenced by Margiela’s way of breaking down materials and questioning its purpose and his sensibility and finesse in then constructing and putting the pieces together to create a seamless product. My aim for the textile making was to highlight the individuality of the object that has withstood the test of time and presenting the imperfection of the material textures that create the perfect pattern.

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My theoretical framework follows the writing of Jacques Derrida who influenced Margiela’s ideology of deconstruction and methods of creation and questioning the norm to find an underlying meaning. The usage of everyday object or recycled materials as a medium, offers a second chance for the materials. The used objects are given a renewed life through the process of deconstruction and construction. In this particular textile pattern process, the objects and materials used were broken down into its simplest form - its textures. The textures were used to create a repetition of patterns that narrates time. Textures were layered to create a visual collage in an organised grid system. The result is an aesthetically pleasing chaos of textures that overlaps. The overlaps were emphasized and brought into contrast by inverting its properties, therefore, using the negatives

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deconstructing MATERIALS

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Materials were deconstructed into their textures and translated into scribblings. The process of deconstructing and constructing of the collaged textures to create a pattern that is seamless.

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constructing PATTERNS

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The constructed pattern was arranged to create a continuous assemblage of deconstructed materials. The aim is to create a textile design that is striped off its regularity and rigidity. A irregular design that seeks to interrogate the meaning of materials, its textures and its regular and rigid form.

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FURNITURE “It was all about giving a new life to old and abandoned pieces, so they could be worn again in a different way.” – Maison Margiela

the side facade shows a series of well-coordinated and layered planes that create different slots for multi-purpose. Similar to the first furniture piece, the second furniture piece utilised the elements extracted from the textile pattern to create its form. Subsequently, the elements were layered and placed to act as different profiles for form making. The elements chosen created a seamless interaction of profiles that give life to a unique furniture piece. The outcome of this phase showcases the methods for deconstructing and constructing that are used in the textile process, creating a coherent development through a single design language. The aim was to create two furniture pieces that are aesthetically pleasing, but disturbing and ambiguous in nature. The furniture’s form suggests the functionality and resemblance to certain furniture types, however, uneven surfaces and dislocated elements suggests otherwise.

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Following from the textile pattern, both furniture pieces utilised the patterns. The usage of the textile pattern provided a distinct depth and foundation for the creation of the furniture pieces for the client. The patterns were deconstructed by its elements and were used to create elements of the furniture piece. The result was two distinct furniture pieces that challenged the concept of a stereotypical furniture that is 3 or 4 legged, consists of basic shapes and pleasing to the eye. For the first furniture piece, the elements of the furniture pieces were extracted from the textile pattern. The paper that recorded the material texture was broken down and its borders were used to create the unique grid system and planes of the first furniture. The vertical lines of the grid system act as supporting columns, while the horizontal lines act as surfaces of the furniture piece. The furniture plays with perspectives, the front facade shows a chaotic assemblage of planes, while

Elements of the furniture piece were broken down in its rigidity and tectonic quality of the piece. The elements were repeatedly challenged and questioned in its meaning. What does it mean for the surface to be straight? Can the furniture still function in its entirety with elements that are distorted? What is the structual norm of a furniture? In finding the underlying mean, the furniture piece in turn creates a whole new meaning of existence and provides for different sets of functions based on userâ&#x20AC;&#x2122;s perspective.

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furniture MAQUETTE 1

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furniture MAQUETTE 2

Elements of the furniture maquette were extracted from the textile design and given a whole new meaning in its functionality. What does it mean if the furniture has holes and openings in it? Is the furniture piece brittle and fragile as a result of the openings? Can it be mitigated by exploring on its materiality? In questioning the structural stability and function of the furniture, therefore, accentuates the quality of the furniture piece.

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WINDOW “I am no doubt not the only one who writes in order to have no face. Do not ask who I am, and do not ask me to remain the same: Leave it to our bureaucrats to see that our papers are in order.” -– Michel Foucault Object materiality and its properties were questioned as of Margiela’s deconstructivist methods. The materials used, portrays the negative properties of its construct. For example: strong and rigid paper marche, soft and fluid metal, flat bubble wrap and embracing of the fragility of glassware. The objects and elements were broken down in question of its properties which in turn highlighted its original state. Deconstructed elements were used to represent the drawing and translated into a 3-dimensional space. The aim is to create a window display that coexists harmoniously in tension using deconstructed materials to recreate a constructivism installation. As without constructivism, there is no deconstructivism, both opposing ends coming together as a singular construct.

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The final phase of the project brings us to the shop window. For this phase, we were introduced to multiple practitioners in an attempt to better understand the notion of a theoretical framework. My theoretical framework follows the works of El Lissitzky that discusses about Russian constructivism. El Lissitzky identified the graphic arts, particularly posters and books, and architecture as effective conduits for reaching the public. His designs are abstract and consists of geometric shapes. The Proun series showcased the basic forms grouped together and featuring shifting axes, attempted to provide multiple perspectives of spatial amalgams despite their two-dimensional nature. A series of El Lissitzky’s Proun art work were deconstructed and re-constructed into a individual piece. Thus, forming the foundation for the 3-Dimensional window display.

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El Lissitzky, Proun GK, (MoMA, 1922-23), <https://www.moma.org/collection/works/36937?locale=en> [accessed 18 October 2016] Gouache, ink, and pencil on paper

El Lissitzky, Untitled from Proun, (MoMA, 1919-23), <https://www.moma.org/collection/ works/86774?locale=en> [accessed 18 October 2016] Lithograph with collage additions from a portfolio of six lithographs, two with collage additions

window SHOP DISPLAY

El Lissitzky, Proun 93, (1923), <https://monoskop.org/File:Lissitzky_El_c1923_Proun_93.jpg> [accessed 18 October 2016]

The aim is to create a window display that shows the tension and harmony at the same time using deconstructed materials to recreate a constructivism installation. A series of El Lissitzkyâ&#x20AC;&#x2122;s Proun art work were extracted, deconstructed and reconstructed into an individual piece. Deconstructed elements were used to recreate the 2-Dimensional drawing into a 3-Dimensional Space. In questioning the underlying meaning of deconstructivism, I have realised that both are inseperable. Deconstructivism is the reaction to constructivism, without constructivism, deconstructivism will cease to exist. It is the two opposite poles of a magnet. Opposite forces that coexist harmoniously together. Despite the opposition of both movements, they are concerned with the tectonics of making an abstract assemblage and the radical simplicity of geometric forms. The end product is a constructivism piece that coexists harmoniously in tension with all the deconstructed elements. A work that intentionally questions its existence, the underlying meaning, the existential absence of an element that echoes loudly in silence. Emphasizing on Margielaâ&#x20AC;&#x2122;s anonymousity that echoes loudly in the fashion scene which refocuses on the object rather than the designer.

El Lissitzky, Proun 99, (1924), <https://monoskop.org/El_Lissitzky> [accessed 18 October 2016] Water-soluble and metallic paint on wood

El Lissitzky, Proun 23 No. 6, (1919), <https://thecharnelhouse.org/201 tercox_dekosmos_2311/> [accessed 18 October 2016]

El Lissitzky, Proun 10, (1919), <https://monoskop.org/File:Lissitzky_El_1919_Proun_10. jpg> [accessed 18 October 2016] Water-soluble and metallic paint on wood

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OBSERVATIONS “The key to great design is capturing the spirit of the client and the essence of the space” -– Tony Stavish

of the shop window. The dilemma now is to then choose between what is interesting in my perspective or what is uniform as a entirety of the project for Maison Margiela. Therefore, the bothoutcomes of the window display should be presented: a personal outcome and a outcome for the Maison Margiela. My theoretical framework of the new outcome follows Bernard Tschumi’s methods of deconstruction. The development of the new outcome uses the techniques and methods of the initial phases by extracting elements from the textile pattern and creating a display that interacts with the surrounding. Object materiality and properties were again questioned to show opposing qualities of the material: a flowing metal, the transparency of paper and its uses and fabric in tension.

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As the project comes into a end, I started to contemplate on the outcomes of the individual components of the project and re-looked into it as a whole. The singular design language that threads throughout the first few phases seemed to be lost in transition. Despite the final outcome of the shop window being influenced and guided by principles of Constructivism and Deconstrutivism to narrate the tensions and harmony between both as they are inseparable, it does not show a continuity between the phases. The intent outcome of the entirety of the project was to create a set of furniture piece and a shop window display that as a whole, narrates and portrays the identity of Maison Margiela’s ideology. In turn, I came to question on the meaning

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The aim is to create a window display that shows the tension and harmony in its materiality. The questioning of the material properties and its intended use. Could I then design and create a display that highlights the negative properties of the material/ object? By highlighting the negative, would the positive then be further emphasised? The new shop window maquette seeks to provide an interrogation and development from the previous window design. The process of the new shop window display, ties back with the usage of the textile pattern, drawing on key elements of the patterns and using that as layers to blur the sight beyond. The new shop window becomes a series within the project along with the textile and furniture proposition, a common design language through out the entire series.

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THE OFFICE “I’ve got a theory: if you love your workspace, you’ll love your work a little more.” –Cynthia Rowley

client identity which result to the final outcome. Through research and understanding of the identities of the clients, I was able to show the essence of the individual clients. Collage making was done to quickly illustrate the essence of the client, subsequently, concept models were produced that show possible material choice for the clients. The concept model narrates and sets the scene of the client, highlighting the details. Both mediums were placed together to form a complete narrative of the client. Site Analysis and research on office archetype was done to understand the relation between the site and office which guides the decisions on the approach to create a ideal space within the office for the client. The aim of the project is to produce collages and concept model that best portray the identity of the client and a perspective drawings that are able to narrate the daily goings of the client in their office space.

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The Office project seeks to understand client ideology and identity through extensive research. In understanding the client’s ideology and identity, we were able to better design a space that is unique and celebrates the identity of the client. The project is broken down into 4 segments: understanding client ideology and identity, exploration through collage and concept model making, analysis and research on existing site and office construct and lastly to produce a set of perspective drawings. The office project to me is an exciting journey of exploration and problem solving. It shows sensitivity and attention to detail. I was deeply inspired and held a great memory of a particular office space that i have previously worked in. The light, windows, materiality and interaction between coworkers were important in creating a strong working environment, it allows for individuals to thrive and strive for success. The decisions that I make are grounded on guidelines and

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THE CLIENTS & THEIR IDEOLOGY “Interiors reveal the personality of the person better than anything else can.” –Nacho Alegre

Apartamento magazine was founded in 2008 by Nacho Alegre and Omar Sosa. Having started from a tiny room in Alegre’s house, the magazine can now be found on newsstands from London to Lebanon. Unlike many traditional interiors magazines, which feature cold, minimalist rooms full of unaffordable designer gadgets, the living spaces in Apartamento are often small, cluttered and have a lived-in feel, cementing an honest view of everyday life and living, even when profiling some of the most prolific creatives in the world. Cabinet magazine was founded as a non-profi t in 2000, publishing quarterly magazine of art and culture based in New York that confounds expectations of what is typically meant by the words “art,” “culture,” and sometimes even “magazine.” Its hybrid sensibility merges the popular appeal of an arts periodical, the visually engaging style of a design magazine, and the in-depth exploration of a scholarly journal to create a sourcebook of ideas for an eclectic international audience of readers. Using essays, interviews, and artist projects to present a wide range of topics in language accessible to the non-specialist.

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Three journal/magazine publisher were selected and acts as the client of the project. The aim of the project was to create a ideal office space that reflects the ideologies and identity of the client. A short narative and description is provided for the clients to provide the basic understanding of the different journal/magazine publishers. AA Files is the Architectural Association School of Architecture’s journal of record. Launched in 1981 by the AA’s then chairman, Alvin Boyarsky, the journal appears twice a year and is sent out to members of the Architectural Association, individual subscribers and is distributed to a global network of bookshops. Since 2007 AA Files has been under the editorship of Thomas Weaver, who, with issue 57, initiated a redesign that saw the introduction of a new graphic design template, developed and still produced by the John Morgan studio, and a shift of focus in terms of its content towards more writerly models of scholarship, criticism and investigation that are of a rich and eclectic mix of architectural enquiry from all over the world.

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Design Proposal for Apartamento.

EXPLORE & EXPERIMENT “Exploration is really the essence of the human spirit.” –Frank Borman

of the client through their works, which provides a certain narrative to the collage, poetic and minimal. Likewise, for the concept models, the approach was to utilise the understanding of the client to set the context to the model. The concept model was able to highlight materiality of the client and appropriate materials were chosen to set the context of the space and scene. In doing so, the concept models were also able to narrate the essence of the different profiles and its characteristics. During the exploration phase, techniques and materials were carefully chosen and used as an aim to show relations with the clients’ ideology. The developed collages and concept models shows an improvement and understand to the methods. It is an important skill to develop, as collage making and concept models are quick, the visuals allow our clients to better understand the concept and narrative as a whole.

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The second phase brings us to translating our understanding of the 3 chosen publishers’ identity and ideologies. Gathering from previous experiences on collage and concept model making, our approach to this project was to utilise the two methods to quickly produce works that were able to highlight the unique characteristics of indivdual publishers. Collage making method was used initially to quickly portray possible working spaces of our clients. However, the approach was stylistic in nature, lacked depth and did not fully communicate the essence of the client. Subsequently, after extensive research and reading on client profile and influences, I was able to portray and highlight the essence of the client profile. In using existing materials from the client and their works in making the collage, the collages were able to piece together different narratives and information to recreate a single scene. The result, highlights the deep understanding

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Design Proposal for Cabinet.

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aa files COLLAGE & CONCEPT MODEL

The AA Files consists of the AA Print studio team of 8 people and the AA Publication team of 3 people. A total of 11 people that keeps their daily operations functional. The print studio doubles up as a studio for existing students of AA. AA Bookstore is managed by them as well. The collage and concept model of AA files intends to convey a balance of conservative and innovative methods in their approach to design, set in a formal setting of an institution, it celebrates technology and its advancement by producing inspiring designs and critique of works.

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Apartamento Publication team consists of founders: Nacho Alegre and Omar Sosa, who is joined by Marco Velardi as chief editor and Robbie as managing editor. The 4 of them keeps their daily operations functional. Content are usually collected by collaboration or by contributers. The collage and concept model of Apartamento intends to convey the personality of its content, a real, unstaged and lively space that the individuals can call their dwelling, their home and a place where they belong. It is intimate, in a organised mess and unique in its own rights as compared to conventional stylistic modern homes.

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apartamento COLLAGE & CONCEPT MODEL

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Cabinet Publication team consists of a team of 12 in-house staffs and 36 other contributing editors. A total of 48 staffs that keeps their daily operations functional. Their belief in a collective number of small knowledges that contributes to a richer and fresh perspective to thinking. The collage and concept model of Cabinet intends to invoke a sense of curiousity to the space and its objects, emphasizing in the variety of elements and â&#x20AC;&#x153;knowledgesâ&#x20AC;? that contributes to what Cabinet is: simplicity, practical, knowledgeable, provides different perspectives and fun in its own way.

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cabinet COLLAGE & CONCEPT MODEL

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SITE ANALYSIS “If you learn a little bit about something, this may seem like dilettantism from the specialist’s point of view. But gaining little bits of knowledge about many things can also be an additive process whereby you start to care about the histories and the artefacts that surround us.” –Cabinet WY-TO Singapore is located within walking distance from Chinatown, a place rich in history and cultural identity of Singapore. WY-TO Singapore is bounded by Upper Cross Street/Havelock Road to the North-East, Pearl’s Hill City Park and Reservoir to the West and Eu Tong Sen Street to the South. The HDB Block is located just opposite The State Court with People’s Park Complex, People’s Park Centre, OG People’s Park, Yue Hwa Chinese, The Majestic and a food centre right at its vicinity. Cross Street is a one-way street beginning from Raffles Quay. After meeting with South Bridge Road, the street becomes Upper Cross Street. Upper Cross Street then branches into 2 points, one to connect to Havelock Road, and the other to the junction of Havelock Road and Upper Pickering Street.1 Our specific site is Block 34, Upper Cross Street, Level 4 of a HDB Estate, accompanied by The

State Court at the North-east side, Block 51 at the North, Chinatown Carpark Complex, Pearl Hill at the South-west and a food centre at the South-east. The office space located at the 4th level of an old HDB block, has an open concept and its paneled sliding glass doors and windows frames are orientated towards the North-east and Southwest, allowing for natural sunlight into the space when applicable. General wind direction distribution towards North-North-East and South-SouthWest,3 ensures proper natural ventilation throughout the unit. Right in front of the office is a huge balcony that is unobstructed by tall buildings at its frontage allows for a straight view towards the State Court. The traffic and noise level of the site is of a moderate level due to its height, the contributing noise comes from the moderate incoming traffic from Eu Tong Sen Road and the construction works at the State Court.

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1. SingaporeInfopedia, “Cross Street”, NLB, <http://eresources.nlb.gov.sg/infopedia/articles/SIP_346_2005-01-26.html> [Accessed 20 February 2017] 2. WindFinder, “Wind Statistics”, WindFinder, 2017, <https://www.windfinder.com/windstatistics/singapore_changi> [Accessed 20 April 2017]

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wy-to EXISTING PROGRAM One glimpse into the existing WY-TO Singapore Office, brings my attention to the distinct columns of office table that dominates the direct frontal of the office. The two distinct columns helped shaped the transitional space, creating a clear passage way to the back of the office. I would say, the only downside of this is the column that is situated at the middle of the unit which blocks the passage way. Directly behind the working space is a library/ material catalogues on the left and a small pantry to the right. Further in, separated from the main workspace is the directorâ&#x20AC;&#x2122;s office that oversees the entire workspace. The office has an extension of an additional works pace, acquired from the existing Laundro-mat, creates a unique inverted L shaped space that provides for an additional meeting room and storage room for the occupant. The open floor plan of the office allows for natural lighting and ventilation across the unit thus provides a key consideration on the latter part of the project in erecting walls in the unit which blocks out the qualities of the site and unit. The unique construct of a inverted L-shaped space provides unique opportunities in injecting fluidity into the rigid space.

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DIAGRAMMATIC STUDIES & RESEARCH “We want an attention to style, and we also like to offer the freedom to mix genres and voices within the same text, but we also want to always signal our commitment to the factual and historical and the idea that there is some staje there that needs to be taken seriously.” –Cabinet The client that I have decided to design for is Apartamento. Through the critique of the produced visuals and models for the 3 publishers, I felt that the works produced for Apartamento was best narrated and conveyed. The next phrase of the project is to understand the office space, its programme and its relations to the client. What makes a successful office interior? In interrogating the conventional office environment, I seek to provide an alternative where the work space was able to function distinctively and that was uniquely Apartamento. Firstly, bubble diagrams were produced in interrogating the relations between public and private spaces in a working environment. Subsequently, the required spaces and its importance to the client was created as an overlay to the definition of public and private spaces. As such, the overlays create an interesting dialogue and interaction between the spaces and how individual spaces can be made available to the public and private for the client at the same time. Axes were added to

connect the spaces together as a transitional space between alternating spaces. The bubble diagrams were implemented into the office plan to create its programmes. In Edward Soja’s Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places,1 he proposes a different way of thinking about space and spatiality. First and second spaces are two different, and conflicting, spatial groupings where people interact physically and socially: such as home and school. Third spaces are the in-between, hybrid spaces, where the first and second spaces work together to generate a new third space.2 This aligns with Apartamento’s belief of home making and giving the space a unique personality of the owner, spaces that have different purposes based on its spatial construct and owner behaviors. In providing an overarching framework, I went on to researching on the possible furnitures and fixtures, art and decoratives to create the unique Apartamento Office in Singapore.

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1. Edward W. Soja, Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places, 1st Edn (Wiley-Blackwell, 1996), pp. 57-61. 2. Oxford Reference, “Third Space Theory”, Oxford Reference, <http://www.oxfordreference.com/view/10.1093/oi/authority.20110803103943995> [Accessed 15 April 2017]

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PLANS & RENDERING “A real living space is made from living, not decorating. A bored materialist can’t understand that a house has to become a home. It happens not through perfection but by participation.” –Apartamento his bookself. Tokyo Style by Kyoichi Tsuzuki. Kyoichi photographed different houses from different urban tribes and showcased the diversity of Tokyo’s inhabitants, and their solutions to the lack of space and exacerbated consumerism with non-styled photography. “Why don’t we bring apartamento to southeast asia? Omar asked. This idea sparked new opportunities for apartamento and not long after, apartamento opened a new office in Singapore to connect to the rest of southeast asia. The office is situated in Chinatown. A place rich in heritage and allows for a start to investigate on everyday interiors of Singapore. The new office consists of 5 staff members to keep the operation of apartamento running. A Chief Editor, Managing Editor, Graphic Designer, Marketing executive and a Administrative/Finance clerk. Nacho will also be joining the Singapore Office temporary to get first hand content and help on stabilising the office.

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The last part of the project is to integrate the existing site analysis and research on Apartamento to create a single narrative that highlights the identity, ideology and essence of Apartamento. The office space allows for different configuration and usage of space based on Apartamento’s needs. The design of the office is intentionally left in a opened concept to allow for sunlight and ventilation throughout the entire unit. The Apartamento Singapore Office Story: After yet another successful issue of apartamento, Omar, Nacho and Marco came together for a small celebration in the main office at Barcelona. The small get to gather and celebration soon turned to drinks and brainstorming session for the next issue. Nacho and Marco were both wondering on what would be interesting as a contrast to all the past issues of apartamento. A series of ideas were generated and shared. But amongst all the ideas, one stood out the most. Omar recalled on a book that was lying around

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THE HOTEL “You’ve got to start with the customer experience and work back toward the technology - not the other way round.” –Steve Jobs

The user specific design methodology provides an explorable alternative. In understanding the user and his/her pain points. we were presented with the opportunity to intervene with designed solutions, both conventional and un conventional that is unique to the site and user. In doing so, the outcome becomes personal and therefore, allows the user to relate with its intentions. Research and analysis were conducted to better understand the hotel/hostel typology. The different considerations and programming of spaces between the 2 types of dwelling. The aim of the project is to design a signature experience for the client profile with rendered isometric drawings to narrate the journey of the client in travelling to a foreign country, turning pain points into opportunities and attempting to provide a solution with a designed outcome.

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The Hotel project provides an opportunity for us to work with FITCH Design, in a team of 4 people, in designing a complete and unique experience for our customer profile. It interrogates on the pain points which provides us with opportunities for intervention through design. The project is broken down into 4 segments: understanding Fitch design methodology, client profile, emotional and functional needs, DELA journey mapping and identifying of touch points and pain points, analysis and research on hotel/ hostel typology and lastly to translate the findings into a signature experience for the client profile. The hotel project to me is a interesting project where by a different approach to design was introduced. It is also the first group project where 4 interior design students have to work together, through our strengths and weaknesses as individuals to provide and present a signature experience in the methodology of user experience.

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The project started off with a random allocation of equal hotel and hostel typology. The students were introduced to the Fitch Design lingo. The understanding of phrases like: pain points, DELA mapping, conventions, breaking conventions, a narrative journey and signature experiences, became very important and allowed us to adopt and apply their design principles and methodology in creating a brand signature experience. For this project, my team was awarded with the hostel typology and with Gene as our customer profile. Extensive research was conducted to understand the 2 different types of hospice and its functions, followed by site visits to the hostels to gather information and photo documentation as research materials.

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FITCH & THE CLIENT “I travel to create meaningful connections with people and places, and above all, myself.” –Gene Cheung

Gene is a 24-year-old, architectural student currently studying in The Chinese University of Hong Kong, Bachelor of Social Science (Architectural Studies). He is a fun loving and exciting individual who likes to immerse in the deep local history which provides an insight to the unique cultural experience of the place. He is a gym enthusiast as well as a real foodie who likes to cook. Sadly, Gene broke up with his girlfriend recently due to their differences in life goals. He decided to take a gap year in his studies to find himself and decided to travel to Singapore as his first destination. Amidst the many similarities of Singapore and Hong Kong. he is attracted to the unique dynamics of multi-racialism. He found that by travelling to Singapore, he would be able to immerse himself in the rich historical heritage and cultural diversity in Singapore. His journey began, in his dreaming stage of coming to Singapore and having to research and find information about the country

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The customer profile that was awarded to my group is a 24-year-old Millennial Flash packer, named Gene. He is from Hong Kong, he usually travels with his friends during the weekend or extended weekend and takes nearly 9 trips in a year. In planning for a weekend getaway, Gene’s consideration to the places of interest has to have free internet, allows for local immersion which enhances the cultural experience of the place and tourist destinations. Emotionally, Gene needs to feel welcomed to the country, relaxed and secure in his travel. The group and I went on to develop the customer profile and added characteristics and his reason for choosing Singapore as his intended country to travel to. In providing a complete narrative to the journey and snapshot of Gene, we were able to better understand his point of view and thus allows us to touch on possible touch and pain points. The Story of Gene Cheung:

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dela MAPPING & IDEA DISTILLATION Initial phase of the project, aimed at brainstorming and generating of pain points, where the quality of the points were not the main focus, but the quantity. Subsequently, the points were reviewed and taken out based on its quality and its opportunities for s design intervention. The remaining pain points and their opportunities to stay on convention or break the convention were then aligned and classified into 4 different moments in a complete narrative journey.

DELA & TH E PAIN POINTS “We cannot learn without pain.” –Aristotle

1) It is painful for Gene to not know where the fun and sociable places to go to at night. 2) It is painful for Gene to be constrained by four walls with poor ambience, bad vibes and zero visual stimulation. 3) It is painful for Gene to not know where community volunteer work can be done. 4) It is painful for Gene to worry about safety in a foreign country. 5) It is painful for Gene to constantly worry about overspending on food while eating out. 6) It is painful for Gene to be faced with foul odours upon arrival at the hostel. 7) It is painful for Gene to be unsure of the directions to the hostel. 8) It is painful for Gene to lug heavy luggage after arriving at the hostel early. 9) It is painful for Gene to be unsure and clueless about the route to get a certain destination. 10) It is painful for Gene have little personal space in communal spaces.

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In aligning to Fitch’s design methodology, the journey of Dreaming, Exploring, Locating and Achieving (DELA) were considered and explored as key moments in Gene’s travelling experience. Our objective was to map out his key moments in his entire travelling journey, therefore allowing us to identify possible pain points and opportunities to provide for a design intervention. Generate ideal future ideas based on the pain point and its influences on the emotions of Gene, providing conventional/unconventional design interventions to improve the situation and provide a better and more efficient service and holistic experience. Subsequently, we were to distil through the different unconventional ideas and select a single signature experience for Gene in his experience journey. In understanding Gene and his profile as a millennial flash packer, we were able to point out 10 main pain points from our pool of ideas generated from the DELA mapping. The Pain Points:

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The 2 key pain points that we have identified are the pain of having to worry about expenditure on necessities like food, as well as not knowing the avenues to community work, to engage the elderlies and listen to their rich cultural heritage and experiences. Therefore, the opportunity for us here is to create a self-sustaining system of cooking workshop as well as urban farming. The idea is to work for your food, and in turn, the product of the urban farming is used in the cooking workshops that are conducted by our local elderlies. Every time they are in the kitchen cooking, we have hundreds of years of culture coming out from their fingertips. The sharing of different cultures of the participants with our elderlies through food that is common throughout everyone in the world, is worthy to be explored and provides an interesting intervention as our signature experience. Which allows the customer to bridge and connect with the different cultures and experience that Singapore has to offer. The remaining products from the urban farming are used to benefit the less fortunate and the needy. Again, allowing our customers to have a complete cultural experience through work, dialogue and engagement.

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The 2 other pain points that we have identified are the pain of having to worry about expenditure on necessities like transportation, as well as not knowing the fun and sociable places to go to at night. Therefore, the opportunity for us here is to integrate transportation means and services as well as the best nightlife experience. Every customer is entitled to a bicycle that can be parked in our hostel through a centralised and a private parking area based on the different pod/room types. The centralised parking areas allow for interaction and sharing between one another. The experience to cycle through the city and explore the different areas Singapore has to offer is reinforced by an interactive map and integrated cycling social platform, allows and arranges available local cyclists to link up and bring the customer around on a planned trip agreed with the customer. The interactive map and social platform are in-built into our brandâ&#x20AC;&#x2122;s application that can be downloaded via the App store/Google Play to further enhance their overall experience with the locals through communication, sharing and having fun together. The hostel offers a wide range of activities, with a in-house rooftop bar and infinity pool at the rooftop for the customer to participate and mingle with others, these ensures that the customers of the hostel to have a complete experience of cultural, historical and social interaction with the time that they are staying with us.

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collaging SECONDARY OPPORTUNITIES

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HOSTEL T YPOLOGY “Command that in no way there be in your household any who make strife, discord or divisions in the hostel, but all shall be of one accord, of one will as of one heart and one soul.” –Robert Grosseteste due to its competitive prices. Therefore, in recent years, we were able to see a trend and boom of hostel accommodations in Singapore. Common to most established hostels are their unique design elements and minimal stylistic approach to their interiors to appeal to the targeted demographic. For this phrase of the project, the team decided to travel to Bugis/Bras Basah region to look for hostels in the area. The rationale for the chosen site was due to its location and its accessibility to different tourists attraction and cultural sites, one of the needs of Gene, that was previously addressed. Therefore, we could better understand the hostel typography and translate the understanding to a desirable signature experience and design outcome best suited for Gene. Bunc Hostel was chosen as my case study in understanding the programmes and spaces in a hostel, the correlation between space, people and culture.

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Hostels provide budget-oriented, sociable accommodation where guests can rent a bed, usually a bunk bed, in a dormitory and share a bathroom, lounge and sometimes a kitchen. Rooms can be mixed or single-sex, and private rooms may also be available. Hostels are often cheaper for both the operator and occupants; many hostels have long-term residents whom they employ as desk agents or housekeeping staff in exchange for experience or discounted accommodation. The words “hotel”, “hostel”, and “hostal” are etymologically related, coming into the English language from Old French hostel, itself from Late Latin hospitale, denoting a “hospice” or place of rest. Nowadays, however, they each refer to distinct types of accommodation. With the increase in the number of tourists that visits Singapore, the demand for affordable accommodation becomes higher, with millennials/backpackers the main consumer for the spaces

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bunc hostel CASE STUDY

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Bunc Hostel is a well known hostel set up and managed by managed by The Uncharted Co., it is a re-imagination of a Hostel, brought to life by carefully refining and reassembling the essential elements of a hostel. It unifies the functional luxuries of a boutique hotel with the culture of a hostel, making it a conducive meeting space for like-minded travellers. The lobby features an open floor plan with pockets of spaces embedded within, creates little nooks for interaction with fellow travellors. The communal seating area allows for multiple use of the space.

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A COMPLETE USER EXPERIENCE “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.” –Maya Angelou

taste buds while picking up new skills? 6) II don’t want to get lost while travelling. What is the best way to get there? Locating stage (Arrival in country and Travelling): 7) I didn’t get lost and now I’m actually early! What do I do with my bags then? 8) Thank you for arranging a bicycle for me. Where are the places that I should explore? 9) I don’t want to travel 5 mins for a 1 min smoke, is there anywhere else I can go? Achieving stage (Value Added Opportunities): 10) I love socialising, but I also like my space. 11)What is that smell? 12) Hey Gene, we met at the cooking workshop! You mentioned that you were an architect graduate, right? In his journey to self-exploration and discovery, Gene was able to experience the unique cultural, historical heritage and social interaction with locals within a span of 3 days.

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The journey of Gene begins in his apartment at Kowloon City, where he is thinking of travelling overseas for an extended weekend. In this particular phrase, we will be following Gene’s thought process and his experiential journey in Singapore. Dreaming Stage (Accumulation of an idea/ideas): 1) I’m looking for all the highlights in town, where it’s affordable and I’ll have a night to remember. 2) Four walls constrain me too much, I wouldn’t want to stay in my room all day. What are the sights to see from this hostel? 3) I’ve been blessed with so much, and I would like to do my part in giving back as well. Singapore in a first world country, but I’m sure there are people who need help too. Where can I find them? Exploration stage (Research and Data Collection): 4) Travelling from country to country, I want to feel secure, lesser chance of being pickpocket. 5) I want to try local delicacies, but at an affordable rate. Can I satisfy my

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HOSTEL INTERIOR & COLLAGES “I love the freedom that the narrative form provides.” –Sidney Sheldon

smell of the food coming from the workshop upon entering the hostel. Baggage storage facilities are available for customers that requires them. Payment and confirmation of the booking can be done on the LoCo app while waiting for the pod to be ready. On levels 2 & 3, Gene will be greeted by large communal spaces and many pocket of spaces available that allows for interaction between other customers. Each booking of accommodation comes with a complimentary rental of bicycle that are parked at our centralised bicycle parking areas or inside the private dorms, allowing for a cheap alternative to roam around Singapore with. In short, Loco provides a programme that immerses the customer in our local culture by tapping into a typical Singaporean’s habit. Most Singaporeans live hectic lives and what many look forward to is a good meal. Hence, we make ourselves unique through cooking. Bridging local connections, experiences and friendships in his journey. Thus, providing a complete experience away from home. Come get LoCo with us! Thank you!

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LoCo, short for local community aims to bridge communities and culture through cooking and cycling. The LoCo app helps to connect our customers with our community, ensuring that every step is taken care of. The experiential journey with LoCo begins with Gene arriving at the airport. Our friendly staff will be there waiting for his arrival. Gene will be accompanied with our staff in taking the public transport to our hostel, meanwhile, explaining and providing tips on transportation in Singapore. Our hostel is a 3 storey building with a rooftop pool and open deck space. The first level consists of the lobby, our signature cooking workshop, main communal spaces and a greenhouse for our urban farming needs. The second level consists of living pods, centralised bicycle parking system, communal spaces and urban farming area. The third level consists of private individual rooms, library and travelers collection, small communal spaces and urban farming area. The roof top consists of a infinity pool, mass activity area and urban farming area. Gene will be greeted with the strong aromatic

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THE MANIFESTO “Employ your time in improving yourself by other men’s writings, so that you shall gain easily what others have labored hard for.” –Socrates

Subsequently, the collection of artefacts should be curated and included into the design of a museum/exhibition space as a overarching narrative. The project was guided by the framework of Christian Norberg-Schulz that discusses about genius loci, latin for “spirit of the place”. It is the understanding of site and its distinctive characteristics which contributes to the essence of place. The aim of the project is to produce a manifesto in guiding our design intentions, the translation of our beliefs should then be consistent in the design language. The development of the manifesto with existing theoretical frameworks posed a key challenge in our attempt in self exploration and realisation of our personal principles of design. The end result of the project is an attempt in rehearsing the possible issues of the development of our personal project in Year 4 and a test of self-discipline and project management skills in delivering the intended deliverables.

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The Manifesto seeks to understand the designer and his beliefs, opinions and intentions. It showcases the guiding principles of a designer and his thought process, before realising his designed intention. This intention is subsequently translated into a narrative of journey through space and exploration. In creating a spatial narrative, we were able to better connect with our design and its intentions. The project is broken down into 3 segments: understanding the site and its history, museum and exhibition design and developing our manifesto through extensive research, critical curatorial of intended artefact collection and its relation to space and audience, last but not least, synthesis of site, design strategy and the narrative of space through the journey of the museum/exhibition space. The manifesto to me is a complex journey of self realisation. It shows the beliefs and principles of the individual. The different decisions that I make are grounded on existing frameworks that guides me through the final outcome.

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William Wee, “Gillman Barracks” (Singapore, 1957), National Archives of Singapore, William Wee Collection.

HISTORY OF GILLMAN BARRACKS “I think you need to, as an architect, understand the essence of a place and create a building that feels like it resonates with the culture of a place.” –Moshe Safdie

government allowed the buildings to be used for commercial purposes and the name was changed to Gillman Village in 1996. In 2002, it was included in an Identity Plan unveiled by the Urban Redevelopment Authority (URA) that sought to not only preserve the distinctive character of 15 areas in Singapore but also enhance them.4 Under the proposed plan for Gillman Village, new commercial uses would be introduced and new buildings and car parks would be built while retaining the area’s old-world colonial charm. The current Gillman Barracks has since been taken over by surrounding secondary forest and developments which differs from the initial built Barracks. There are no official records/documentation of the size of the area, however, image archives were able to highlight the vastness of it. The colonial buildings transcend through time and was able to withstand and endure through the difficult times of Singapore, witnessing the rise and fall of Singapore.

1. NewspaperSG, ‘New Army Headquarters in Singapore’, The Straits Times, 1935, <http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19350602.2.12> [Accessed 20 April 2017] 2. NewspaperSG, ‘Plaque honours the Loyals for their last stand’, The Straits Times, 1958, <http://eresources.nlb.gov.sg/newspapers/Digitised/Article/ straitstimes19581222.2.53> [Accessed 20 April 2017] 3. NewspaperSG, ‘Barracks ‘sold’ to S’pore Govt for a dollar’, The Straits Times, 1971, <http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19710821.2.148> [Accessed 20 April 2017] 4. The Straits Times, “Giving 15 Areas A New Lease Of Life”, 2002, p. 9.

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Gillman Barracks was completed in 1936, on a site that was once jungle and swamp. It was specially built to accommodate the 1st Battalion, Middlesex Regiment, which was sent to double the British army’s infantry strength in Singapore. It included barrack buildings, married quarters, messes, regimental institutes and sports facilities.1 The camp later became home to the 2nd Battalion, Loyal Regiment, and was the site of a fierce battle between the regiment and the Japanese invaders during the three days before Singapore fell in February 1942. It was one of the last British posts in Singapore to fall to the Japanese.2 In August 1971, Gillman Barracks was handed over to the Singapore government for a token sum of $1 as part of the British military’s withdrawal from Singapore.3 SAF moved into the camp and two months later held a passing-out parade there. The camp’s swimming pool, tennis court, three sports fields and two badminton courts were opened the facilities to the public. After SAF vacated the camp in the 1990s, the

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1936 Completion of Gillman Barracks to accomodate 1st Battalion, the Middlesex Regiment

1996 Government allowed for commercial purposes and the name was changed to Gillman Village.

2002 URA launches its Identity Plan for Gillman Village.

The camp later became home to the 2nd Battalion, the Loyal Regiment

1990s SAF vacated the camp

1984 SAF units in the camp start moving to other locations.

2010 Economic Strategies Committee proposes turning Gillman Village into an arts and creative cluster.

2011

Existing tena the area.

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1971

The site of a fierce battle between the regiment and the Japanese invaders during the three days before Singapore fell in February 1942. It was one of the last British posts in Singapore to fall to the Japanese.

In August 1971, Gillman Barracks was handed over to the Singapore government for a token sum of $1 as part of the British military’s withdrawal from Singapore.

The camp’s swimming pool, tennis court, three sports fields and two badminton courts were transferred to the National Sports Promotion Board, which opened the facilities to the public.

SAF moved into the camp and two months later held a passing-out parade.

1 Economic Development Board calls for expressions of interest for the setting up of art galleries in Gillman Village.

Jurong Town Corporation (JTC), the site’s master tenant, invites tenders for the refurbishment of existing buildings, improvement works to surrounding facilities and the construction of ancillary buildings at the site.

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ants move out of

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William Wee, “Corridors Of Gillman Barracks” (Singapore, 1957), National Archives of Singapore, William Wee Collection.

GENIUS LOCI “To dwell means to belong to a given place” –Christian Norberg-Schulz

The notion of a spirit “inhabiting” a place recalls the concept of genius loci as defined as the “spirit of place.”1 In Christian Norberg-Schulz’s Genius Loci: Towards a Phenomenology of Architecture, he evolved the concept of dwelling, as considered by Heidegger in “Building Dwelling Thinking,” 2 alongside genius loci and used it to define the particular processes and phenomena of making a place. He adopted the ontological base of Heidegger: “Light reveals the genius loci of a place.” and the standpoint of Aletheia, in finding disclosure and truth of the loci. He mentions that “a concrete term for environment is place. It is common usage to say that acts and occurrences take place. In fact, it is meaningless to imagine any happening without reference to a locality.

Place is evidently an integral part of existence.”3 He defined a place as a space with character and as somewhere that events occur. “Space” in this sense is a 3 dimensional organisation of elements which makes up a place. The elements can be geometrical or perceptual. “Character” in this sense is the general “atmosphere” which is the most comprehensive property of any place. The character is defined by material and formal constitution of the place.4 Historic events should be taken into consideration, understood and be taken as a base of knowledge for future developments, change is inevitable and we can only embrace change.5 Therefore allowing the harmonic integration of old and new, human and nature that is specific to the loci.

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1. Wikipedia, ‘Genius Loci’, Wikipedia, <https://en.wikipedia.org/wiki/Genius_loci> [Accessed 26 April 2017] 2. Martin Heidegger, “Building Dwelling Thinking”, trans. Albert Hofstadter, in Poetry, Language, Thought, (New York: Harper Perennial Modern Thought, 1971), pp.145-161. 3. Christian Norberg-Schulz, Genius Loci: Towards a Phenomenology of Architecture (London: Rizzoli International Publications, 1979), p.6. 4. Indah Widiastuti, ‘Genius Loci, Christian Norberg-Schulz’, Culture and Architecture, 2010, <https://indahwidiastuti.wordpress.com/2010/07/07/9genius-loci-christian-norberg-schulze/> [Accessed 27 April 2017] 5. Christopher Day, Spirit & Place, 2nd edn (Massachusetts: Architectural Press, 2003), pp.164-167.

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SITE ANALYSIS “I don’t believe architecture has to speak too much. It should remain silent and let nature in the guise of sunlight and wind.” –Tadao Ando

bition Space located along Malen Road accompanied by Block 47, a former military warehouse converted into a design/arts cluster at the Northeast side and Block 45, Red Baron at the West. The entrance of the building is facing towards the North with a slight variation to the East. The exhibition space has windows orientated towards the East and West, allowing for natural sunlight into the space when applicable and general wind direction distribution towards North-North-East and South-South-West.3 The NTU CCA Singapore positions itself as a space for critical discourse and encourages new ways of thinking about Spaces of the Curatorial in Southeast Asia and beyond. The Centre’s dynamic public programmes serve to engage with various audiences through lectures, workshops, open studios, film screenings, Exhibition (de)Tours, and stagings. As a research centre, it aims to provide visiting researchers and curators a comprehensive study on the contemporary art ecosystem in Singapore and the region.4

1. Wikipedia, “Gillman Barracks”, Wikipedia, <https://en.wikipedia.org/wiki/Gillman_Barracks> [Accessed 18 April 2017] 2. NTU CCA, “NTU Centre for Contemporary Art Singapore (NTU CCA SINGAPORE)”, Gillman Barracks, 2017, < https://www.gillmanbarracks. com/ntu-cca-singapore > [Accessed 18 April 2017] 3. WindFinder, “Wind Statistics”, WindFinder, 2017, <https://www.windfinder.com/windstatistics/singapore_changi> [Accessed 20 April 2017) 4. NTU CCA, 2017 [Accessed 18 April 2017]

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Gillman Barracks is a contemporary arts cluster in Singapore that is home to international art galleries, restaurants and the NTU Centre for Contemporary Art (CCA) Singapore, which are all housed in conserved colonial barracks. Gillman Barracks is bounded by Depot Road to the North, Alexandra Road to the West and the West Coast Highway Viaduct to the South. The 6.4-hectare site covers Lock Road and Malan Road amidst secondary forests that has grown through the years since the Singapore Armed Forces vacated the camp in the 1990s.1 The NTU Centre for Contemporary Art Singapore (NTU CCA Singapore), located in Gillman Barracks, is a national research centre of Nanyang Technological University and is supported by a grant from the Economic Development Board, Singapore. The Centre is unique in its threefold constellation of exhibitions, international residencies, research and academic education, engaging in knowledge production and dissemination.2 Our specific site is Block 43, NTU CCA’s Exhi-

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THE “GENIUS” MANIFESTO “A manifesto is a communication made to the whole world, whose only pretension is to the discovery of an instant cure for political, astronomical, artistic, parliamentary, agronomical and literary syphilis. It may be pleasant, and good-natured, it’s always right, it’s strong, vigorous and logical.” –Tristan Tzara The “Genius” Manifesto: 1. A socratic approach in seeking the essence of truth and its hierarchy by defining the common understanding in order to acquire the essence.1 2. Everything that involves life also involves development, movement and interaction - all time related processes.2 3. That the continued history of human settlement within the fabric of the built and grown environment is natural and unavoidable. 4. That the spatial organizations of the human body is reflected in how architectural elements, proportions and balance affect us.4 5. The solid objects, physical facts, the ‘bedrock’ of the place.5 6. That which lends character to a place, gives its uniqueness, ‘atmosphere’ and appeal.6 7. Emotional experiences create memory - the stronger the emotional experience, the stronger the memory, it is constructed by invoking the senses with material reality.7

1. Travis Price, The Mythic Modern: Architectural Expeditions Into The Spirit Of Place, 1st edn (ORO editions, 2012), p.9. 2. Christopher Day, Spirit & Place, 2nd edn (Massachusetts: Architectural Press, 2003), p.164. 3. Christopher Day, pp.164,165. 4. Christopher Day, p.128. 5. Christopher Day, p.165. 6. Christopher Day, p.165. 7. Maria Lorena Lehman, Adaptive Sensory Environments: An Introduction, 1st edn (New York: Routledge, 2016), p.168.

T H E MA N I F E ST O

I was intrigued by how forms and architecture derives from nature. Can we do without nature and the surrounding? What meaning does the architecture or built environment has if it does not corelate to its surrounding? In my attempt to create my manifesto to designing, I looked into ideas and frameworks of Christian Norberg-Schulz’s Genius Loci: Towards a Phenomenology of Architecture, Travis Price’s The Mythic Modern: Architectural Expeditions into The Spirit of Place, Christopher Day’s Spirit and Place and Maria Lorena Lehman’s Adaptive Sensory Environments: An Introduction. The objective of the manifesto is to counter the lifelessness of designing with a set template, rigid implementation of design styles and creation of iconic structures without the consideration of site. Design should be personal, unique in its entirety and value adds to the existing surrounding. It should represent the historic and culture of place bringing forth the essence that gives the place an identity.

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DIAGRAMMATIC STUDIES & RESEARCH “To be on Earth means to be under the Sky” –Heidegger

1. A socratic approach in seeking the essence of truth and its hierarchy by defining the common understanding in order to acquire the essence.1

Different elements of design that speaks the “truth” of the site which creates a multi layered design that is rich in essence. 2. Everything that involves life also involves development, movement and interaction - all time related processes.2

The studying of the sun, light and shadow created at the site, the shadows created from the windows narrates the movement and effects of time, the study of the wind direction provides a flow of the internal circulation in the space. 3. That the continued history of human settlement within the fabric of the built and grown

environment

naturaland

unavoidable.3

The key events of Gillman Barracks and creating 6 zones in the exhibition space. 4. That the spatial organizations of the human body is reflected in how architectural elements, proportions and balance affect us.4

The hierarchy of space and the relations of “Earth” (Ground) and “Sky” (Ceiling). The ceiling height symbolizes the settled/unsettled times of the event. 5. The solid objects, physical facts, the ‘bedrock’ of the place.5

The artefacts place an important role in defining the essence of the place. 6. That which lends character to a place, gives its uniqueness, ‘atmosphere’ and appeal.6

The properties of the loci allow for the unique atmosphere of place and belonging, thus the importance of the exterior and its surrounding. 7. Emotional experiences create memory - the stronger the emotional experience, the stronger the memory, it is constructed by invoking the senses with material reality.7

The importance of material choices to invoke the different senses: Material and Sound tells time, Material and Light tells Space.

T H E MA N I F E ST O

The next phrase of the project is to translate the beliefs and principles of The “Genius” Manifesto into the designed exhibition space. In the word “Genius”, the spirit/essence was translated and researched upon. In Asian context, the word spirit denotes the spiritual entity, while in the Western context, denotes the atmosphere. The manifesto states that:

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THE ARTEFACTS “To bring this idea into the domain of urban artifacts, we must return to the value of images, to the physical analysis of artifacts and their surroundings; and perhaps this will lead us to a pure and simple understanding of the value of the locus.” –Aldo Rossi be shaped by reality. This shaping is a permanent aspect of a city’s unique artifacts, monuments, and the idea we have of it.3 The collection of urban artefacts ranges from a selection of outdoor art installations, sculptures, existing colonial remnants and archives that narrates the spirit of place in Gillman Barracks. The curated outdoor installations are mainly made of bronze and stainless steel that are able to withstand time and the remnants of Gillman found at the site, slowly withering away through time, highlights the essence of the locus. The imagery and newspaper archives were incorporated into the exhibition space to invoke memories and nostalgia of the forgotten place. The urban artefacts were curated to align with the narrative of the space. They are placed in 6 different zones in the exhibition that tells the transformative story of Gillman Barracks based on historical events, from a swampy and forested area, to the transformation of a army camp and barracks to the current contemporary arts cluster.

1. Aldo Rossi, The Architecture of the City, (Cambridge:MIT Press, 1984), p130. 2. Aldo Rossi, p130. 3. Aldo Rossi, p131.

T H E MA N I F E ST O

In Aldo Rossi’s The Architecture of the City, he mentions that ““The soul of the city” becomes the city’s history, the sign on the walls of the municipium, the city’s distinctive and definitive character, its memory.”1 It is the collective memory2 of the people and their experiences which associates with objects and places. The urban artefacts that invokes deep memories and emotions becomes the city’s predominant image, a reflection of herself. Memory becomes the guiding thread of the entire complex notion of essence. Therefore, the urban artefacts contribute to the genius of Gillman Barracks and in its entirety, Singapore. He further elaborated that “This individuality ultimately is connected to an original artifact-in the sense of Cattaneo’s principle; it is an event and a form. Thus, the union between the past and the future exists in the very idea of the city that it flows through in the same way that memory flows through the life of a person; and always, in order to be realized, this idea must not only shape but

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A RENEWED LIFE “A great exhibit can change visitor outlook about a particular subject, it can change their behaviour, or it can reinforce a belief system they already have.” –Maria Lorena Lehman

place at the particular time frame. The elevation of the interior space was interrogated and examined through the different zones in the space. A continuous ceiling panel was incorporated and spans through the different zones, lowering and rising based on the notion of challenging times and renewed life respectively. The hierarchy of space allows for the audience to feel opened and oppressed in exploring the narrative of Gillman Barracks. The study of sunlight, wind, hierarchy of space and its materiality throughout the exhibition space creates a certain unknown familiarity of atmosphere of the locus. The programme of the exhibition is guided by the elements and incorporates the collection of urban artefacts, therefore, tying the collection of artefacts with the space. The intended result of the exhibition is to bring forth the Genius Loci of Gillman Barracks through the designed space and curated artefacts that withstand through the test of time, a renewed life and purpose that is uniquely local to the site.

T H E MA N I F E ST O

Genius Loci: A Renewed Life of Gillman Barracks guides us through a narrative of Gillman Barracks by incorporating the multiple elements of the site and its history. The layering of the different elements creates a rich and informative essence of the locus, based on the common entity of the site. The existing windows of the exhibition were utilised to bring in light into the exhibition space. The study of the sunlight can be seen in the demarcation of spaces through different floor and wall materiality and was intentionally left opened to bring in the atmosphere from the exterior. It blurs the line between the building and its locus. The study of wind direction determines the circulation of the exhibition space, as wind is seen as the flow of movement. A common theme of Gillman Barracks is the renewed life of its entity, withstanding and stood grounded through the test of time. The space is divided into 6 different zones depicting a particular critical event of Gillman Barracks and its transformation throughout the years. A play of materiality was imposed to elevate the essence of

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I was intrigued by the art of book making and binding from the exposure of finding inspiration to good magazines and book. The entire process of producing a magazine spread made me realise on the amount of work and planning needed to create a magazine spread. In the spirit of experimentation and constant review of the process, I managed to conclude Year 3 in GSA with a bang, attempting and experimenting with things that I have never done before, constantly pushing the boundaries of design and crafting.

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BIBLIOGRAPHY Chee, Lilian, Home + Bound: Narratives Of Domesticity In Singapore And Beyond, 1st edn (Singapore: NUS School of Design and Environment, 2013), pp. 11-19. Chew, Valerie, ‘Public housing in Singapore’, National Library Board, 2010, <http://eresources.nlb.gov.sg/infopedia/articles/SIP_1585_2009-10-26.html?s=housing> [Accessed 20 December 2016). Colomina, Beatriz, “INTIMACY AND SPECTACLE: THE INTERIORS OF ADOLF LOOS”, AA Files, 1990, pp.5-15. Cornelius-Takahama, Vernon, ‘Singapore River communities’, National Library Board, 2016, < http://eresources.nlb.gov.sg/infopedia/articles/SIP_498_2004-1227.html> [Accessed 20 December 2016) Day, Christopher, Spirit & Place, 2nd edn (Massachusetts: Architectural Press, 2003), pp.164-167. El Lissitzky, Proun GK, (MoMA, 1922-23), <https://www.moma.org/collection/works/36937?locale=en> [accessed 18 October 2016]. El Lissitzky, Untitled from Proun, (MoMA, 1919-23), <https://www.moma.org/collection/works/86774?locale=en> [accessed 18 October 2016]. El Lissitzky, Proun 93, (1923), <https://monoskop.org/File:Lissitzky_El_c1923_Proun_93.jpg> [accessed 18 October 2016]. El Lissitzky, Proun 99, (1924), <https://monoskop.org/El_Lissitzky> [accessed 18 October 2016]. El Lissitzky, Proun 23 No. 6, (1919), <https://thecharnelhouse.org/2013/09/16/proun/el-lissitzky_-proun-p23-no6_1919_collectionvam_photopetercox_dekosmos_2311/> [accessed 18 October 2016] . El Lissitzky, Proun 10, (1919), <https://monoskop.org/File:Lissitzky_El_1919_Proun_10.jpg> [accessed 18 October 2016] . Elite New York City, MAISON MARTIN MARGIELA SPRING 2015 COUTURE SHOW, 2015 <http://www.elitemanagementnyc.com/category/tami-w/ page/7/> [accessed 10 September 2016]. Eva Fydrych, Maison Margiela PARIS Autumn/Winter 2015, 2015 <http://www.fashionstudiomagazine.com/2015/07/paris-haute-couture-week.html> [accessed 10 September 2016]. Falsario II, Don, A Minute In Hong Kong, 2017 <https://vimeo.com/213304137> [accessed 13 May 2017]. Heidegger, Martin, “Building Dwelling Thinking”, trans. Albert Hofstadter, in Poetry, Language, Thought, (New York: Harper Perennial Modern Thought, 1971), pp.145-161. History SG, ‘Temasek/Singapura - 1369’, National Library Board, 2014, <http://eresources.nlb.gov.sg/history/events/d24d6da6-0013-4a12-a6bc-68ad1497148e> [Accessed 20 December 2016). Lehman, Maria Lorena, Adaptive Sensory Environments: An Introduction, 1st edn (New York: Routledge, 2016), p. 168. “Margiela For The Walls”, 2014 <http://pulp-magazine.com/2014/05/margiela-for-the-walls/> [accessed 11 October 2016]. NewspaperSG, ‘New Army Headquarters in Singapore’, The Straits Times, 1935, <http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19350602.2.12> [Accessed 20 April 2017].

NewspaperSG, ‘Plaque honours the Loyals for their last stand’, The Straits Times, 1958, <http://eresources.nlb.gov.sg/newspapers/Digitised/Article/straitstimes19581222.2.53> [Accessed 20 April 2017]. NewspaperSG, ‘Barracks ‘sold’ to S’pore Govt for a dollar’, The Straits Times, 1971, <http://eresources.nlb.gov.sg/newspapers/Digitised/

Article/straitstimes19710821.2.148> [Accessed 20 April 2017]. Norberg-Schulz, Christian, Genius Loci: Towards A Phenomenology Of Architecture, 1st edn (New York: Rizzoli, 1980), pp. 6, 10-11 NTU CCA, “NTU Centre for Contemporary Art Singapore (NTU CCA SINGAPORE)”, Gillman Barracks, 2017, < https://www. gillmanbarracks.com/ntu-cca-singapore > [Accessed 18 April 2017] Oxford Reference, “Third Space Theory”, Oxford ity.20110803103943995> [Accessed 15 April 2017]

Reference,

<http://www.oxfordreference.com/view/10.1093/oi/author-

Plummer, Henry Sheppard, “Liberative Space”, Journal Of Architectural Education (1984-), 40 (1987), 12-23 https://doi. org/10.2307/1424850 Price, Travis, The Mythic Modern: Architectural Expeditions Into The Spirit Of Place, 1st edn (ORO editions, 2012), p. 9 Rossi, Aldo, The Architecture Of The City, 2nd edn (Cambridge: MIT Press, 1984), pp. 130,131 Rybczynski, Witold, Home, 2nd edn (California: Penguin Books, 1987), pp.17-18 SingaporeInfopedia, “Cross Street”, NLB, <http://eresources.nlb.gov.sg/infopedia/articles/SIP_346_2005-01-26.html> [Accessed 20 February 2017] Singstat, “Resident Households by Selected Type of Dwelling”, Singstat.Gov.Sg, 2017 <http://www.singstat.gov.sg/statistics/visualising-data/infographics/population#reshhla> [accessed 12 March 2017]. Soja, Edward W., Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places, 1st Edn (Wiley-Blackwell, 1996), pp. 57-61. The Straits Times, “Giving 15 Areas A New Lease Of Life”, 2002, p. 9. Terkenli, Theano S., “Home As A Region”, Geographical Review, 85 (1995), pp.324-334 Tuan, Yi-Fu, Space and Place: The Perspective of Experience, 1st edn (Minneapolis: University of Minnesota Press, 1977), p.144. Wee, William, “Corridors Of Gillman Barracks” (Singapore, 1957), National Archives of Singapore, William Wee Collection Widiastuti, Indah, ‘Genius Loci, Christian Norberg-Schulz’, Culture and Architecture, 2010, <https://indahwidiastuti.wordpress. com/2010/07/07/9-genius-loci-christian-norberg-schulze/> [Accessed 27 April 2017] Wikipedia, ‘Genius Loci’, Wikipedia, <https://en.wikipedia.org/wiki/Genius_loci> [Accessed 26 April 2017] Wikipedia, “Gillman Barracks”, Wikipedia, <https://en.wikipedia.org/wiki/Gillman_Barracks> [Accessed 18 April 2017] Wikipedia, ‘History of Singapore’, Wikipedia, <https://en.wikipedia.org/wiki/History_of_Singapore> [Accessed 3 November 2016)

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CREDITS Raymond Wong

Icons: House Idea by arejoenah from the Noun Project, Office by Istiko Rahadi from the Noun Project and Georgian Variant by Made Somewhere from the Noun Project, Hostel by Eucalyp from the Noun Project and Exhibition Place by Andrew from the Noun Project Portfolio Layout: Inspired by Kinfolk Magazine

Jace Ong

Naqib Yusop

Amanda Cheng

Individual Projects: The Ways We Live, The Shop Window, The Office & The Manifesto Collaborative Project: The Hotel Team Leader: Raymond Wong Dela Journey: Raymond Wong, Jace Ong, Naqib Yusop & Amanda Cheng Logo & Branding Design: Jace Ong 3D Modelling: Raymond Wong, Naqib Yusop & Amanda Cheng Autocad Drafting: Raymond Wong, Jace Ong, Naqib Yusop & Amanda Cheng Illustrations & Collages: Raymond Wong

KEEP IN TOUCH “I wanted a perfect ending. Now I’ve learned, the hard way, that some poems don’t rhyme, and some stories don’t have a clear beginning, middle, and end. Life is about not knowing, having to change, taking the moment and making the best of it, without knowing what’s going to happen next.” -GILDA RADNER

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