GSA Interior Design Portfolio 2018-2020 by sharegrace

PORTFOLIO

GLASGOW SCHOOL OF ART, SINGAPORE | INTERIOR DESIGN

2018-2020

Share Grace

AY 2018-2020

Hello there! I am Share Grace, an interior designer with two years of work experience in the residential and hospitality sector. A graduate of the Glasgow School of Art, Singapore, Bachelor of Interior Design programme, where Iâ&#x20AC;&#x2122;ve trained to approach projects in a multidisciplinary way. Over the years I have explored different techniques to communicate my design work and showcase my individuality. I have particularly enjoyed playing with materials, textures and forms. I believe that everyone is gifted with creativity, and that it is through a process of making that we hone our ability to express ourselves.

GLASGOW SCHOOL OF ART, SINGAPORE

AY 2018-2020

Resume PERSONAL INFORMATION Share Grace Luza Cabisada Age: 25 (1994) E: share_grace_@hotmail.com L: https://www.linkedin.com/in/sharegrace/ B: https://www.behance.net/sharegrace Nationality: Filipino (Singapore PR)

EDUCATION Bachelor of Arts with Honours in Interior Design at the Glasgow School of Art Singapore in collaboration with Singapore Institute of Technology AY 2018- 2020 Diploma in Interior Design at Singapore Polytechnic GPA 3.68/4 AY 2013-2016

EMPLOYMENT HISTORY & EXTRA-CURRICULAR ACTIVITIES TOUCH Young Arrows Volunteering Community Service Jurong West Club Leader 2015- 2020 Design Executive at DISTINCTidENTITY.pte.ltd Residential, Commercial Projects July 2017-August 2018 Design Assistant at Hirsch Bedner Associates (HBA) Hospitality Projects May 2016- June 2017 Internship at Hirsch Bedner Associates (HBA) March 2015- May 2015

ACHIEVEMENTS Diploma+ in Applied Psychology at Singapore Polytechnic GPA 3.33/4 AY 2014-2015

SKILLS AutoCAD Adobe Photoshop Adobe Illustrator Adobe Indesign Sketchup Microsoft Office

GSA Freshman Orientation Facilitator, AY 2019 BCA Diploma Full Scholarship Award in Singapore Polytechnic AY 2014-2016 Awarded School of Design Ambassador AY 2015-2016 Singapore Polytechnic Outstanding Talent: Top 10% for 2013/2014 Cohort AY 2013- 2014

GLASGOW SCHOOL OF ART, SINGAPORE

AY 2018-2020

Content Page Works from 2018-2020 Glasgow School of Art Singapore Bachelor in Interior Design

Year 4/S2 Breathe: Community space through Adaptive Reuse

02 Year 4/S1 Redefining Church Space: Church of Our Saviour

Year 3/S2 Healthcare Project: Thye Hua Kwan Nursing Home Ltd

04 Year 3/S2 Exhibition for Yayoi Kusama

Year 3/S1 Shopping Project: Lucky Plaza x Ngee Ann Shopping Mall

Year 3/S 1 Window Project in collaboration with Maison Margiela x The Situationist International

GLASGOW SCHOOL OF ART, SINGAPORE

From Entertainment to Salvation, the former Venus Theatre in Singapore

W ith a significant increase in buildings facing en bloc in Singapore, and with numerous new skyscrapers, HDBs and condominiums rising up around the city, this project explores the adaptive reuse of architecture locally.

In 1983, the Venus theatre in Singaporeâ&#x20AC;&#x2122;s west went through a metamorphosis by adaptive reuse after the cinema suffered economically. In 1985, the Church of Our Saviour became its new occupant. Today, the church continues to operate in the community, struggling to stay relevant. This project aims to create a greater connection to the community through a multi functional, therapeutic space bringing people together whilst being relevant to the current context.

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PROJECT 01: COMMUNITY SPACE

GLASGOW SCHOOL OF ART, SINGAPORE

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PROJECT 01: COMMUNITY SPACE

Breathe The project proposes to open up the enclosed space, bringing people together and breathing new life into an old building. The site happens to be strategically located along the Queenstown MRT and Queenstown Secondary School. Because of its favourable location, the church adapted the space to fit the needs of the youth who can use the siteâ&#x20AC;&#x2122;s facilities for quick foosball games, water break, resting spot and meeting point. However, the main church auditorium remains untouched during the weekdays making this space underutilised. Breaking down the interior spaces into 2 major parts. The first floor caters to the community in Queenstown, which acts as a public space for the neighbourhood to gather around. while the second floor is for the existing church community space.

GLASGOW SCHOOL OF ART, SINGAPORE

AY 2018-2020

PROJECT 01: COMMUNITY SPACE

This collage shows how the project proposes to open up the enclosed space, bringing people together, both interior and exterior, breathing new life into an old building.

GLASGOW SCHOOL OF ART, SINGAPORE

Exploration With a desire to open up the enclosed space, model explorations have been undertaken to break the buidling’s rigidity by adding alternate circulation, playing with volume height and width, yet celebrating the original structure, and taking both its interior and exterior activities into consideration. Some of Singapore’s buildings seem greatly influenced by Le Corbusier’s modernist, 1960s practice, especially his “Five points of architecture”. In the case of the Church of Our Saviour pilotis act as a primary support of the building. Opening up the space

Villa Savoye (1928-1931)

Lifting up the auditorium and creating two different roof height

The illusion- mimicking the exact design of the previous model, I try to look playing with the different materials.

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PROJECT 01: COMMUNITY SPACE

Opening up the space and breaking the flow by providing an additional option of route

Hiding the column and giving a fluid-like design

Celebrating the building structures

Looking at interior and playing with the essence of comfort and sacred spaces

GLASGOW SCHOOL OF ART, SINGAPORE

AY 2018-2020

PROJECT 01: COMMUNITY SPACE

In referene to Bincho at Hua Bee at Tiong Bahru with dual concept of interior: A 70 year old Mee Pok stall by day (7am- 2pm) and a Japanese yaki-tori stall dining by night (6pm-12am).

Community Space This project looks into creating a dual functional design, i.e. two programmes that operate at the same time in the same space. The first floor caters to the public crowd, while the upper floor is for the existing Church of Our Saviour community. This design hopes to revitalised and be relevant to current community activities in the face of urbanisation.

Digital Material Board

GLASGOW SCHOOL OF ART, SINGAPORE

Redefining Church Space What makes a space church-like?

W hile adaptive reuse gives a space new life and purpose, Church of Our Saviour was forced to dwell in a building that was not originally meant for its use.

In reference to Peter Zumthor’s Bruder Klaus Field Chapel of which he says: “In order to design building with a sensuous connection to life, one must think in a way that goes beyond form and construction” This design was established from a foundation of two contrasting materials: rock and light. With minimal ornamentation, this design hopes to bring people atmospherically into an experience of holiness.

Bruder Klaus Field Chapel by Peter Zumthor

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PROJECT 02: CHURCH SPACE

GLASGOW SCHOOL OF ART, SINGAPORE

Exploration

through space, light & materiality

Martin Luther gave birth to the reformation and protestantism, changing Christianity through a rejection of ornamentation, the legacy of empire and majestic socio-spatial power. These model explorations look at the influence that materiality and light can have on atmospheres that may draw individual to sacredness. Taking influence from monolithic architecture where buildings were carved from a single piece of material, these models try to replicate a similar raw, intimate dwelling space. 20

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PROJECT 02: CHURCH SPACE

GLASGOW SCHOOL OF ART, SINGAPORE

The tunnel journey

experience 22

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PROJECT 02: CHURCH SPACE

To create a dynamic and versatile interior space that enhances the look and creates a timeless, classic feel, materials such as natural stone, in particular limestone, were used, as well as both elements of wood and glass. Lime stone is known to be strong and able to withstand abrasion. A tunnel was designed to play with depth, and a low ceiling creates a space that allows for individual contemplation.

Proposed Floorplan GLASGOW SCHOOL OF ART, SINGAPORE

Interior Space This image shows the exploration undertaken, to captures both materiality, form and texture in render.

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PROJECT 02: CHURCH SPACE

GLASGOW SCHOOL OF ART, SINGAPORE

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PROJECT 03: HEALTHCARE

Healthcare Project Thye Hua Kwan Nursing Home Ltd

ealthcare Project aims to re-design an ILTC environment that is sensitive and responsive to long-term human needs and well-being, both physical and emotional, at the ward areas as well as communal areas. THK was set up to provide quality nursing home, centre-based and in-community care for our seniors to meet the demands of an ageing population in Singapore. The project seeks to improve the quality of life for ageing Singaporeans and to facilitate ageing in the community. The Nursing Home has adopted a person-centric approach in providing physical, medical, emotional and social support for clients.

GLASGOW SCHOOL OF ART, SINGAPORE

W/C 1

W/C 2

WARD STORE

W/C 3

PANTRY

E XISTING F LO O R P LAN Reconfiguring the space: FRIDGE

STORAGE

1. Nursing Station to be placed at the entrance. 2. Pantry to be hacked down and expand to the inner most left side of the room 3. Catering a more intentionall sitting area. 4. Store room to be strategically be place at the old pantry corner. 5. Hacking down existing storages at the window area to space ou the room. 6. Maintaining a clear an open walking space at the middle portion of the day room.

DAY ROOM

NURSE STATION

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1 D1

EXISTING FLOOR PLAN SCALE :

1 : 100

PROJECT 03: HEALTHCARE

Proposed Floor Plan To create a space that reflects a sense of identity and dignity, a new and better configurated space was needed into the existing floorplan. The new design caters to different human personality that allows a sense of privacy for each client which hopes to increase a sense of individuality and ownership.

W/C 1

W/C 2

WARD STORE

W/C 3

PANTRY

W/C 1

W/C 2

WARD STORE

W/C 3

EQUIPMENTS

NURSE STATION PRINTER

FRIDGE

STORAGE

FRIDGE

PANTRY AREA

DAY ROOM STORAGES

GLASGOW SCHOOL OF ART, SINGAPORE

1 D1

EXISTING FLOOR PLAN SCALE :

1 : 100

STORAGES

ACTIVITY AREA

NURSE STATION

1 D2

PROPOSE FLOOR PLAN SCALE :

1 : 100

Homely Environment Through the years, Singapore continues to transform and provide top notched designers, striving to provide a better conducive environment for citizens where they will feel comfortable and safe. Because of the influence we receive from western countries, our residential design continues to evolve and we seek to provide ourselves a level of sophistication that makes us who we are. I once stumbled upon a quote that says, "The color and design of a home should be a reflection of the people who live inside."

Alis Morris, "Ruetemple creares small spartan apartment in Moscow", July 24, 2018, < https://www.dezeen.com/2018/07/24/ruetemple-studio-apartment-moscow-russia-interiors/> ALTS Design Office: Kofunaki House, < https://www.designboom.com/ architecture/alts-design-office-kofunaki-house/>

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PROJECT 03: HEALTHCARE

GLASGOW SCHOOL OF ART, SINGAPORE

Each spacial elevation helps to give a larger perspective on how each spaces are linked and work together. The design focuses in creating a warmer, sophisticated and comfortable space for elderly that lives in THK. Generally the design allows them to be themselves and find their own corner where they can proceed with their daily activities.

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PROJECT 03: HEALTHCARE

GLASGOW SCHOOL OF ART, SINGAPORE

Manifesto

Curation of Yayoi Kusama

Yayoi Kusama born 22 March 1929, turns 90 this year is the most famous living female artist in the world.

Her popularity however, have also translated into commercial success, and Kusama is consistently among the best-selling names in the global art market. Kusama may have claimed the ultimate victory in this lifetime, but her life story has been one of a trailblazing outsider who prevailed in the face of setbacks and mental illness.

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Crises, fears of psychiatric breakdown and her frenetic drive have all shaped a long and colorful career she had. At the age of 12, Kusama began experiencing hallucinations, seeing polka dots everywhere. Describing them not as a playful diversion but a contagious affliction. Throughout her life, Kusama expresses the desire to create as the only thing which made her keep on living. NP. Yayoi Kusama < https://www.kusamamovie.com/>

PROJECT 04: MANIFESTO

GLASGOW SCHOOL OF ART, SINGAPORE

Narrative To collect and compose 20-30 items related to chosen theme (Yayoi Kusama & Psychedelic Art) that explore exhibition narrative options that can further develop into spatial design strategy for exhibition space at NTU CCA.

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PROJECT 04: MANIFESTO

PSYCHEDELIC

The world of Yayoi Kusama is the kind of world that’s obsessive, molecular and psychedelic. Perhaps the kind of world that one might create on a mushroom trip. In this alternate universe of love and surreality lies an artist misunderstood from birth. Crippled by hallucinations ever since, Kusama found solace in art. And in-between multiple waves of art movements, her work has remained almost impossible to define and a mystery to many. Puzzling, but intriguing.

YAYOI KUSAMA & RUDOLF STEINER; WALDOF

30 Objects

1. KUSAMA : Infinity (2018) Film, Dvd “Artist Yayoi Kusama’s journey from a conservative upbringing in Japan to her brush with fame in America during the 1960s.”

310mm (W) x 240mm (L) x 120mm (H)

2. Yayoi Kusama (2017) Book by Akira Tatehata, Catherine Taft, Laura Hoptman, Udo Kultermann, and Yayoi Kusama “Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring.” -The New York Times

250 mm (W) x 290mm (L)

3. Infinity Net: The Autobiography of Yayoi Kusama (2003) Book written by Yayoi Kusama, 160mm (W) x 235mm (L)

4. Letter from Georgia O’Keeffe to Yayoi Kusama, 4 December 1955 5. Georgia O’Keeffe (1932) Jimson Weed/ White Flower No. 1 Oil on canvas 1010mm (W) x 1200mm (H)

6.‘Lovetown’ by Peter Gabriel (1992) Soundrack to ‘Philadelphia’ film, starring Tom Hanks as an AIDS victim.

2350mm (W) × 2350mm (L) x 2410mm (H)

8. Give me Love visionary death, 2014 Acrylic on canvas, Hong Kong 2015 1940mm (W) x 1940mm (L)

9. Festival of Life Clouds are Considering, 2013

Acrylic on canvas

Canvas filled with shredded foam rubber, painted with liquitex and enamel 1060mm(W) x 1080mm(L) x 110mm(THK)

14. Andy Warhol’s Cow Wallpaper; Leo Castelli Gallery; April 1966 VS. (pt.28)

760mm (W) x 1155mm (L)

The world of Yayoi Kusama is the kind of world that’s obsessive, molecular and psychedelic. In this alternate universe of love and surreality lies an artist misunderstood from birth. Crippled by hallucinations ever since, Kusama found solace in art. And in-between multiple waves of art movements, her work has remained almost impossible to define and a mystery to many.

GLASGOW SCHOOL OF ART, SINGAPORE

1420m

23. We Poster

“This ar as it ca sic, brig delic vi lion ag

360mm

24. Th Poster

“A first p most vi cult to r

26. Da

Paintin

“Goug paint a are ca centric

1220m

27.Kus Green

“My so bristle w “phallu cotton coated

940mm

760mm

16. Green Gallery, New York 1962 Yayoi Kusama’s shoe sculptures

29.Kus Caste (pt.15

“3-dimensional objects covered with repetitive patterns, covered with proliferation of sewn, stuffed fabric phalli.”

2440m

Puzzling, but intriguing. Every objects are filtered and selected strategically to create a narrative into the space of NTU CCA to create a space that allows user to further understood the artist beyond its vibrant art and works.

22. Kli

2440mm (W) x 2440mm (L) x 3050mm (H)

“Kusama saw a pumpkin for the first time during a childhood visit to a seed-harvesting farm

600mm

28. Ku Thous Galler

17.Infinity Mirrored Room—All the Eternal Love I Have for the Pumpkins, 2016 62 yellow-and-black pumpkins

“Euryal mythol connec X, Y, Z gationa

15. Lucas Samaras’s Mirrored Room; Pace Gallery, October 1965. VS (pt.29)

Storage: 1220mm (W) × 600mm (L) x 250mm (H)

Mixed

350mm

13. Claes Oldenberg’s soft sculptures August Calendar; September 1962 VS. (pt.27)

21. Z E

Conce

1300mm (W) × 1300mm (L) × 50mm(THK)

590mm

25. Do Avalo

Acrylic on canvas

20. Ho Paul K

355mm

970mm(W) x 1300mm (H)

500mm

10. Festival of Life My Soul is Wandering, 2013

12. Infinity- Nets [TSROI], 2014 Yayao Kusama, David Zwirner

19. Sig

Part of delic a

11. Infinity- Nets [WFCOT], 2017

4150m

1940mm (W) x 1940mm (L)

18. ‘Th The Ku Museu

Acrylic on canvas

4150m

Promo locate

7. Pumpkin (L), 2014 Sculpture, Bronze

with he shaped ist was ing and unprete

30. Pil

Paintin

From th ter”, Mu Gallery

890mm

Spatial Configuration To produce a spatial strategy that can provide a detail layout configuration that engage the audience and create an immersive experience, through materias, colour and lighting.

EXISTING FLOOR PLAN THE EXHIBITION HALL General Plan SEMINAR ROOM

STORE ROOM

NTU CENTRE FOR CONTEMPORARY ART SINGAPORE FLOORPLAN: THE EXHIBITION HALL General Plan

EXHIBITION SPACE (ceiling height: 4850mm)

4360

2600

14135

2600

5867

Full height entrance

14716

6697

25776

THE SINGLE SCREEN (film screenings, talks)

8103

5701

10695

EXISTING 250mm x 250mm x 66.5kg/M STEEL COLUMN ENCASED WITH CONCRETE SIZE: 365mm x 365mm

THE EXHIBITION HALL (ceiling height: 4850mm)

9890

~4000

~2500

~6000 TOILET

ENTRANCE

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~9800

PROJECT 04: MANIFESTO

Proposed Floor Plan The space is configured in the best way to represent Yayoi Kusama- one that is non-rigid and spontaneous artist- allowing her art works speaks volume into the space which comes with vibrant and playful character. Kusamaâ&#x20AC;&#x2122;s work are best known for its instagramable infinity mirror and her repeated dots-like identity.

GLASGOW SCHOOL OF ART, SINGAPORE

FLOOR PLAN

AY 2018-2020

PROJECT 04: MANIFESTO

PSYCHEDELIC

The world of Yayoi Kusama is the kind of world that’s obsessive, molecular and psychedelic. Perhaps the kind of world that one might create on a mushroom trip. In this alternate universe of love and surreality lies an artist misunderstood from birth. Crippled by hallucinations ever since, Kusama found solace in art. And in-between multiple waves of art movements, her work has remained almost 1 impossible to define and a mystery to many. Puzzling, but intriguing.

YAYOI KUSAMA & 3 RUDOLF STEINER; WALDOF

1. KUSAMA : Infinity (2018) Film, Dvd

CONTROVERSIAL ARTISTS & YAYOI KUSAMA

PSYCHEDELIC

The world of Yayoi Kusama is the kind of world that’s obsessive, molecular and psychedelic. Perhaps the kind of world that one might create on a mushroom trip. In this alternate universe of love and surreality lies an artist misunderstood from birth. Crippled by hallucinations ever since, Kusama found solace in art. And in-between multiple waves of art movements, her work has remained almost1impossible to define and a mystery to many. Puzzling, but intriguing.

“Artist Yayoi Kusama’s journey from a conservative upbringing in Japan to her brush with fame in America during the 1960s.”

PSYCHEDELIC

310mm (W) x 240mm (L) x 120mm (H)

The world of Yayoi Kusama is the kind of world that’s obsessive, molecular and psychedelic. Perhaps the kind of world that one might create on a mushroom trip. In this alternate universe of love and surreality lies an artist misunderstood from birth. Crippled by hallucinations ever since, Kusama found solace in art. And in-between multiple waves of art movements, her work has remained almost1impossible to define and a mystery to many. Puzzling, but intriguing.

3 Claes Oldenberg’s soft sculptures August Calendar; September 1962 VS. (pt.27)

1060mm(W) x 1080mm(L) x 110mm(THK)

CHEDELIC

oi Kusama is the kind of world that’s obsessive, molecular and psychedelic. Perhaps the at one might create on a mushroom trip. In this alternate universe of love and surreality nderstood from birth. Crippled by hallucinations ever since, Kusama found solace in art. multiple waves of art movements, her work has remained almost1 impossible to define o many. Puzzling, but intriguing.

1 7 2

8 3

7 2

“Artist Yayoi Kusama’s journey from a conservative upbringing in Japan to her brush with fame in America during the 1960s.”

13 8

2. Yayoi Kusama (2017) Book by Akira Tatehata, Catherine Taft, Laura Hoptman, Udo Kultermann, and Yayoi Kusama

13 8 KUSAMA 3

7 2

YAYOI & RUDOLF STEINER; WALDOF 10 5

11 6

“Artist Yayoi Kusama’s journey from a conservative upbringing in Japan to her brush with fame in America during the 1960s.”

310mm (W) x 240mm (L) x 120mm (H)

2. Yayoi Kusama (2017) Book by Akira Tatehata, Catherine Taft, Laura 19Hoptman, Udo Kultermann, and Yayoi 14Kusama

15 10 5

16 11 6

Lucas Samaras’s Mirrored Room; Pace Gallery, October 1965. VS (pt.29)

“Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring.” -The New York Times

17 12

250 mm (W) x 290mm (L)

21 16 11

6.‘Lovetown’ by Peter Gabriel (1992) Soundrack to ‘Philadelphia’ film, starring Tom Hanks as an AIDS victim.

23 18

Acrylic on canvas

1940mm (W) x 1940mm (L)

11. Infinity- Nets [WFCOT], 2017

29 24

Acrylic on canvas

970mm(W) x 1300mm (H)

12. Infinity- Nets [TSROI], 2014 Yayao Kusama, David Zwirner Acrylic on canvas

1300mm (W) × 1300mm (L) × 50mm(THK)

13. Claes Oldenberg’s soft sculptures August Calendar; September 1962 VS. (pt.27)

25 20

26 21

Canvas filled with shredded foam rubber, painted with liquitex and enamel

1060mm(W) x 1080mm(L) x 110mm(THK)

760mm (W) x 1155mm (L) 29

14. Andy Warhol’s Cow Wallpaper; Leo Castelli Gallery; April 1966 VS. (pt.28)

760mm (W) x 1155mm (L)

15. Lucas Samaras’s Mirrored Room; Pace Gallery, October 1965. VS (pt.29)

Kusama’s Infinity Mirror Room, Castellane Gallery; March 1965. VS. (pt.15)

Acrylic on canvas

18. ‘The Obliteration Room’ The Kusama Exhibit at the Hirshhorn Museum in Washington, D.C. 4150mm (W) x 4150mm (W) x 2940mm (H)

located in San Francisco, California. Acrylic on canvas

“This artwork is symbolic to the counterculture 970mm(W) x 1300mm (H) as it captures its essence in one free paper- music, bright colors, drug influences (the psychedelic visual stimulation) andNets rebellion (the rebel12. Infinity[TSROI], 2014 lion against normative typography style)”Zwirner Yayao Kusama, David

Acrylic on canvas 360mm (W) x 510mm (L) 1300mm (W) × 1300mm (L) × 50mm(THK)

“A first printing version of one of Victor Moscoso’s most vibrant designs and one of the most diffi760mm x 1155mm lettering.” (L) cult to read, due to the(W) “Psychedelic”

500mm (W) x 835mm (L)

20. House on the Water Paul Klee, 1930

1. KUSAMA : Infinity (2018) Film, Dvd

590mm(W) x 400mm (L)

21. Z Euryale, Bruce Riley- Resin Artist Mixed Media On Panel

“Euryale is one of three Gorgons from Greek mythology. She is immortal. The sisters were also connected with dangerous maritime travel. The X, Y, Z part of the triptych’s titles refers to navigational coordinates. “

600mm(W) x 760mm(L) x 60mm (THK)

22. Klimt Squares, Gustav Klimt 1420mm (W) x 1120mm (L)

16 11 23. Wes Wilson’s First Fillmore Poster 6 Poster during the summer of 1966.

“This artwork is symbolic to the counterculture as it captures its essence in one free paper- music, bright colors, drug influences (the psychedelic visual stimulation) and rebellion (the rebellion against normative typography style)”

360mm (W) x 510mm (L)

“Artist Yayoi Kusama’s journey fro servative upbringing in Japan to with fame in America during th

310mm (W) x 240mm (L) x 120mm

2. Yayoi Kusama (2017) Book by Akira Tatehata, Catherine Taft, Laura Hoptma Kultermann, and Yayoi Kusam

“Yayoi Kusama transcended the to become a fixture of popular cu league with Andy Warhol, David Hoc Keith Haring.” -The New York Times

250 mm (W) x 290mm (L)

3. Infinity Net: The Autobiograp Yayoi Kusama (2003) Book written by Yayoi Kusama 160mm (W) x 235mm (L)

4. Letter from Georgia O’Keeffe Yayoi Kusama, 4 December 19

5. Georgia O’Keeffe (1932) Jimson Weed/ White Flower N Oil on canvas

24. The Grateful Dead, 1966 Poster by Stanley Mouse

Part of the artist’s 1960s legacy of psychedelic art 355mm (W) x 500mm (L)

25. Doors/Miller Blues Band “Swirly” Avalon Ballroom 22

Concert Poster FD-57 by Victor Moscoso 17

“A first printing version of one of Victor Moscoso’s most vibrant designs and one of the most difficult to read, due to the “Psychedelic” lettering.”

1010mm (W) x 1200mm (H)

6.‘Lovetown’ by Peter Gabriel Soundrack to ‘Philadelphia’ fil ring Tom Hanks as an AIDS vict 7. Pumpkin (L), 2014 Sculpture, Bronze

2350mm (W) × 2350mm (L) x 2410

8. Give me Love visionary dea Acrylic on canvas, Hong Kong

350mm (W) x 510mm (L)

26. Dancer, Sara Willett

Painting: Acrylic on Wood

1940mm (W) x 1940mm (L)

“Gouged Acrylic on board. Layers of acrylic paint are applied to a board which when dry are carved into to create thousands of concentric circles”

9. Festival of Life Clouds are Considering, 2013

1220mm (W) x 1220mm (L) x 40mm (THK)

27.Kusama’s Accumulation No.1; Green Gallery; June 1962. VS. (pt.13) “My sofas, couches, dresses, and rowboats bristle with phalluses,” Kusama once said. The “phalluses” to which she refers are swatches of cotton duck canvas, stuffed with cotton and coated with enamel paint

28 23 18

940mm(W) x 990mm(L) x 1100mm(H)

Acrylic on canvas

1940mm (W) x 1940mm (L)

10. Festival of Life My Soul is Wandering, 2013 Acrylic on canvas

1940mm (W) x 1940mm (L)

11. Infinity- Nets [WFCOT], 2017 Acrylic on canvas

970mm(W) x 1300mm (H)

Lucas(L) Samaras’s Mirrored Room; 350mm (W) 15. x 510mm

28. Kusama’s “Aggregation: One Thousand Boats Show;” Gertrude Stein Gallery; Dec 1964. VS. (pt. 14)

2440mm (W) x 2440mm (L) x 3050mm (H) Painting: Acrylic on Wood

760mm (W) x 1155mm (L)

“Gouged Acrylic on board. LayersNew of acrylic 16. Green Gallery, York 1962 paint are applied a board which dry YayoitoKusama’s shoewhen sculptures are carved into to create thousands of concentric circles” “3-dimensional objects covered with repetitive patterns, covered with proliferation of sewn, 1220mm (W) x 1220mm (L) x 40mm (THK) stuffed fabric phalli.”

29.Kusama’s Infinity Mirror Room, Castellane Gallery; March 1965. VS. (pt.15)

27.Kusama’s Accumulation No.1; Storage: 1220mm (W) × 600mm (L) x 250mm Green Gallery; (H) June 1962. VS. (pt.13)

YAYOI KUSAMA & RUDOLF STEINER; W

10 19. Signs in Yellow, Paul Klee, 1937

12. Infinity- Nets [TSROI], 2014 Yayao Kusama, David Zwirner Acrylic on canvas

1300mm (W) × 1300mm (L) × 50m

2440mm (W) x 2440mm (L) x 3050mm (H)

30. Pillar Of Creation, Art Eric French Painting: Acrylic on Canvas.

13. Claes Oldenberg’s soft scu August Calendar; September 1 (pt.27)

Canvas filled with shredded foam painted with liquitex and enamel

1060mm(W) x 1080mm(L) x 110mm

In the latest film of Yayoi Kusama- Infinity by Magnolia Pictures film, it was described how three times Kusama's work was "copied" by a better known male artist in the year 19621966- Andy Warhol, Claes Oldenburg, and Lucas Samaras. Many time Kusama fought for her position as an avant-garde artist in the 1960s but to no avail due to male chauvinism.

22 Avalon Ballroom 14. Andy Cow Wallpaper; Leo Concert Poster FD-57 Warhol’s by Victor Moscoso Castelli Gallery; April 1966 VS. (pt.28) “A first printing version of one of Victor Moscoso’s most vibrant760mm designs (W) and xone of the (L) most diffi1155mm cult to read, due to the “Psychedelic” lettering.”

“My sofas, couches, dresses, and rowboats 17.Infinity Mirrored Room—All the Eterbristle with phalluses,” Kusama once said. The Love Haveare forswatches the Pumpkins, 2016 “phalluses” tonal which sheI refers of cotton duck canvas, stuffed with cotton and 62 yellow-and-black pumpkins coated with enamel paint “Kusama saw a pumpkin for the first time during 940mm(W) xa 990mm(L) 1100mm(H) childhoodx visit to a seed-harvesting farm

28 23

350mm (W) x 510mm (L)

28. Kusama’s “Aggregation: One Thousand Boats Show;” Gertrude Stein Gallery; Dec 1964. VS. (pt. 14)

26. Dancer, Sara Willett

2440mm (W) x 2440mm (L) x 3050mm (H) Painting: Acrylic on Wood

760mm (W) x 1155mm (L)

16. Green Gallery, New York 1962 “Gouged Acrylic on board. Layers of acrylic YayoitoKusama’s shoewhen sculptures paint are applied a board which dry are carved into to create thousands of concentric circles” “3-dimensional objects covered with repetitive patterns, covered with proliferation of sewn, 1220mm (W) x 1220mm (L) x 40mm (THK) stuffed fabric phalli.”

29.Kusama’s Infinity Mirror Room, Castellane Gallery; March 1965. VS. (pt.15)

Storage: 1220mm (W) × 600mm (L) x 250mm 27.Kusama’s Accumulation No.1; (H) June 1962. VS. (pt.13) Green Gallery;

Painting: Acrylic on Canvas.

“My sofas, couches, dresses, and rowboats 17.Infinity Mirrored Room—All the Eterbristle with phalluses,” said. The nal LoveKusama I Haveonce for the Pumpkins, 2016 “phalluses” to which she refers are swatches of 62 yellow-and-black pumpkins cotton duck canvas, stuffed with cotton and coated with enamel paint “Kusama saw a pumpkin for the first time during childhood xvisit to a seed-harvesting farm 940mm(W) ax 990mm(L) 1100mm(H)

From the series “Ten Billion Light years in diameter”, Museo De Arte De Puerto Rico, RJ Reynolds Gallery

29 24

890mm (W) x 1120mm (H) x 50mm(THK)

2440mm (W) x 2440mm (L) x 3050

16. Green Gallery, New York 1 Yayoi Kusama’s shoe sculpture

“3-dimensional objects covered with patterns, covered with proliferation stuffed fabric phalli.”

Storage: 1220mm (W) × 600mm (L) (H)

17.Infinity Mirrored Room—All nal Love I Have for the Pumpk 62 yellow-and-black pumpkin

30. Pillar Of Creation, Art Eric French

760mm (W) x 1155mm (L)

15. Lucas Samaras’s Mirrored R Pace Gallery, October 1965. V

2440mm (W) x 2440mm (L) x 3050mm (H)

From the series “Ten Billion Light years in diameter”, Museo De Arte De Puerto Rico, RJ Reynolds Gallery

14. Andy Warhol’s Cow Wallpa Castelli Gallery; April 1966 VS.

“Kusama saw a pumpkin for the first t a childhood visit to a seed-harve

890mm (W) x 1120mm (H) x 50mm(THK)

28. Kusama’s “Aggregation: One Thousand Boats Show;” Gertrude Stein Gallery; Dec 1964. VS. (pt. 14)

In this specific space catered, I would like to express justice and showcase the comparison between Kusama and the well the controversial artist that were linked to Kusama.

760mm (W) x 1155mm (L)

29.Kusama’s Infinity Mirror Room, Castellane Gallery; March 1965. VS. (pt.15)

“3-dimensional objects covered with repetitive patterns, covered with proliferation of sewn, stuffed fabric phalli.”

2440mm (W) x 2440mm (L) x 3050mm (H)

2440mm (W) x 2440mm (L) x 3050mm (H) 30

23. Wes Wilson’s First Fillmore Poster 1940mm (W) x 1940mm (L) Poster during the summer of 1966. Promoting rock and roll bands mainly 2017 11. InfinityNets [WFCOT],

Pace Gallery, October 1965. VS (pt.29) 26. Dancer, Sara Willett

“This artwork970mm(W) is symbolic xto1300mm the counterculture (H) as it captures its essence in one free paper- music, bright colors, drug influences (the psyche12. InfinityNets [TSROI], 2014 delic visual stimulation) and rebellion (the rebelYayao Kusama, David Zwirner lion against normative typography style)”

16. Green Gallery, New York 1962 Yayoi Kusama’s shoe sculptures

17.Infinity Mirrored Room—All the Eternal Love I Have for the Pumpkins, 2016 62 yellow-and-black pumpkins

4150mm (W) x 4150mm (W) x 2940mm (H)

Design ; Controversial 24

Acrylic on canvas located in San Francisco, California.

2440mm (W) x 2440mm (L) x 3050mm (H)

Storage: 1220mm (W) × 600mm (L) x 250mm (H)

1940mm (W)Fillmore x 1940mm (L) 23. Wes Wilson’s First Poster Poster during the summer of 1966. 11. Infinity[WFCOT], Promoting rock and roll Nets bands mainly 2017

15. Lucas Samaras’s Mirrored Room; Pace Gallery, October 1965. VS (pt.29)

Kusama’s “Aggregation: One Thousand Boats Show;” Gertrude Stein Gallery; Dec 1964. VS. (pt. 14)

16 11

27x 110mm(THK) 25. Doors/Miller Blues Band “Swirly” 1060mm(W) x 1080mm(L) Avalon Ballroom 22 Concert Poster FD-57 by Victor Moscoso 14. Andy Warhol’s Cow17 Wallpaper; Leo Castelli Gallery; April 1966 VS. (pt.28)

27 1060mm(W) 1080mm(L) x 110mm(THK) 25. Doors/Miller Blues xBand “Swirly”

26 10. Festival of Life My Soul is Wandering,21 2013

1420mm (W)Acrylic x 1120mm (L) on canvas

Canvas filled with shredded foam rubber, 355mm (W) painted x 500mmwith (L) liquitex and enamel

Canvas filled with shredded foam rubber, with 355mm (W)painted x 500mm (L) liquitex and enamel

1940mm (W) x 1940mm (L)

940mm(W) x 990mm(L) x 1100mm(H) 28

Acrylic on canvas 1420mm (W) x 1120mm (L)

22. Klimt Squares, Gustav Klimt 10. Festival of Life 212013 My Soul is Wandering,

24. The Grateful Dead, 1966 Poster by Stanley Mouse 13. Claes Oldenberg’s soft sculptures Part of the artist’s 1960s legacy of psyche- 1962 VS. August Calendar; September delic art (pt.27)

24. The Grateful Dead, 1966 13. Claes Oldenberg’s soft sculptures Poster by Stanley Mouse August1960s Calendar; Part of the artist’s legacy September of psyche- 1962 VS. delic art (pt.27)

9. Festival of Life Clouds are Considering, 2013

23 18

360mm (W) x 510mm (L) 1300mm (W) × 1300mm (L) × 50mm(THK)

1940mm (W) x 1940mm (L)

27 22 17

6.‘Lovetown’ by Peter 15 Gabriel (1992) 10 film, star19. Signs inSoundrack Yellow, Paul Klee, 1937 to ‘Philadelphia’ ring Tom Hanks as an AIDS victim.

10. Festival of Life 22. Klimt Squares, Gustav Klimt26 My Soul is Wandering,21 2013

2350mm (W) × 2350mm (L) x 2410mm (H)

26 21

1010mm (W) x 1200mm (H) 20 (H) 4150mm (W) x 4150mm (W) x 2940mm

(W)xx60mm 1940mm (L) 600mm(W) 1940mm x 760mm(L) (THK)

25 20 15

25 20

600mm(W) x1940mm 760mm(L) (THK) (W)x x60mm 1940mm (L)

1940mm (W) x 1940mm (L)

1010mm (W) x 1200mm (H)

7. Pumpkin (L), 2014 Sculpture, Bronze

5. Georgia O’Keeffe (1932) 18. ‘The Obliteration Room’ Jimson Weed/ White Flower No. 1 The Kusama at the Hirshhorn OilExhibit on canvas Museum in Washington, D.C.

“Euryale is one of three Gorgons from Greek mythology. She is immortal. The sisters were also 9. Festival of maritime Life connected with dangerous travel. The Clouds are Considering, 2013 X, Y, Z part of the triptych’s titles refers to naviAcrylic on gational coordinates. “ canvas

5. Georgia O’Keeffe (1932) Jimson Weed/ White Flower No. 1 Oil on canvas

22 17 12

4150mm (W) x 4150mm (W) x 2940mm (H)

with her grandfathershe spotted an unusually shaped gourd the size of a man’s head. The artist was attracted to the pumpkin for its “charming and winsome form,” celebrating its lumpy, unpretentious, organic shape.”

Promoting rock and roll bands mainly located in San Francisco, California.

7. Pumpkin (L), 2014 20. House on the Water Sculpture, Bronze Paul Klee, 1930

1940mm (W)Gorgons x 1940mm “Euryale is one of three from(L)Greek mythology. She is immortal. The sisters were also connected with dangerous travel. The 9. Festival ofmaritime Life X, Y, Z part ofClouds the triptych’s titles refers to naviare Considering, 2013 gational coordinates. “ canvas Acrylic on

Mixed Media On Panel

4. Letter from Georgia O’Keeffe to Yayoi Kusama, 4 December 1955

500mm (W) x 835mm (L)

Mixed Media On Panel

to Yayoi Kusama, 4 December 1955

7. Pumpkin (L), 2014 20. House Sculpture, on the Water Bronze Paul Klee, 1930

15 6.‘Lovetown’ by Peter Gabriel (1992) 19. Signs in Yellow, Paul Klee, 1937 10 Soundrack to ‘Philadelphia’ film, star5 ring Tom Hanks as an AIDS victim.

8. Give me Love visionary death, 2014 21. Z Euryale, Bruce Riley- Resin Artist Acrylic on canvas, Hong Kong 2015

Book written by Yayoi Kusama, with her grandfathershe spotted an unusually shaped gourd the size of a man’s head. The art160mm (W) x 235mm ist was attracted to the pumpkin for (L) its “charming and winsome form,” celebrating its lumpy, unpretentious, shape.” 4. organic Letter from Georgia O’Keeffe

500mm (W) x 835mm (L)

4. Letter from Georgia O’Keeffe to Yayoi Kusama, 4 December 1955

4150mm (W) x 4150mm (W) x 2940mm (H)

2350mm (W) × 2350mm (L) x 2410mm (H) 590mm(W) x 400mm (L)

8. Give me Love visionary death, 2014 21. Z Euryale, Bruce Resin Artist Acrylic onRileycanvas, Hong Kong 2015

160mm (W) x 235mm (L)

8. Give me Love visionary death, 2014 Acrylic on canvas, Hong Kong 2015

25 20 15

2350mm (W) × 2350mm (L) x 2410mm (H) 590mm(W) x 400mm (L)

3. Infinity Net: The Autobiography of Yayoi Kusama (2003) Book written by Yayoi Kusama,

Kusama’s Accumulation No.1; Green Gallery; June 1962. VS. (pt.13)

19 14

250 mm (W) x 290mm (L)

with her grandfathershe spotted an unusually Book written by Yayoi Kusama, shaped gourd the size of a man’s head. The artist was attracted to the pumpkin for its 160mm (W) x 235mm (L)“charming and winsome form,” celebrating its lumpy, unpretentious, organic shape.”

1010mm (W) x 1200mm (H) 4150mm (W) x 4150mm (W) x 2940mm (H)

14 9 4

“Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring.” -The New York Times

3. Infinity Net: The Autobiography of Yayoi Kusama (2003)

1. KUSAMA : Infinity (2018) Film, Dvd

13 8

250 mm (W) x 290mm (L)

5. Georgia O’Keeffe (1932) 18. ‘The Obliteration Room’ Jimson Weed/ White Flower No. 1 The Kusama Exhibit at the Hirshhorn Oil on canvas Museum in Washington, D.C.

310mm (W) x 240mm (L) x 120mm (H)

Andy Warhol’s Cow Wallpaper; Leo Castelli Gallery; April 1966 VS. (pt.28)

20 15 10

“Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring.” -The New York Times

3. Infinity Net: The Autobiography of Yayoi Kusama (2003)

2440mm (W) x 2440mm (L) x 3050mm (H) 1914 13 19 14 9

1. KUSAMA : Infinity (2018) Film, Dvd

9 4

7 14 9 4

8 YAYOI KUSAMA & 3 RUDOLF STEINER; WALDOF

760mm (W) x 1155mm (L) 13 8 3

2. Yayoi Kusama (2017) Book by Akira Tatehata, Catherine Taft, Laura Hoptman, Udo Kultermann, and Yayoi Kusama

30. Pillar Of Creation, Art Eric French Painting: Acrylic on Canvas.

From the series “Ten Billion Light years in diameter”, Museo De Arte De Puerto Rico, RJ Reynolds Gallery

890mm (W) x 1120mm (H) x 50mm(THK)

“Kusama saw a pumpkin for the first time during a childhood visit to a seed-harvesting farm

GLASGOW SCHOOL OF ART, SINGAPORE

FLOOR PLAN

AY 2018-2020

PROJECT 04: MANIFESTO

REFERENCE IMAGES

In one of Kusama's interview in BBC News recorded in September 2012, she was asked "What is your interest in polka dots and why did they appear at your art work so often?"

ENTRANCE YAYOI KUSAMA // PSYCHEDELIC GLASGOW SCHOOL OF ART, SINGAPORE

And Kusama's answer was, "Please ask that to my hand, I have drawn lots of dots since i was a child and covered my fashion and art with it. Dots are the symbol of the world- the cosmos- the earth is a dot, the moon, the sun, the stars are all made up of dots. You and me are made of dots." 43

FLOOR PLAN

AY 2018-2020

PROJECT 04: MANIFESTO

REFERENCE

THE OBLITERATION, WORKSHOP AND MERCHANDING ROOM

REFERENCE

Design; Towards the end of the exhibition, one will enter a room that is called "The obliteration Room" where visitors are able to have fun and cover the walls, floors and furnitures with bright colourful dots! As a young kid, Kusama started to see the world through a screen of tiny dots. These dots covered everything she saw- the walls, ceiling and even her own body. For 40 years she has made painting, sculpture and photographs using dots to cover surfaces and fill rooms. For Kusama, this process is called "obliteration", which means "the complete destruction of every trace of something." GLASGOW SCHOOL OF ART, SINGAPORE

Shopping Project

Lucky Plaza x Ngee Ann City Mall

â&#x20AC;&#x153;...the tiny country of Singapore has formulated a development plan by which it hopes to transform the city-state and its region into a highly coordinated shopping environment.â&#x20AC;? - Tran Vinh, Coopetition, The Harvard Guide to Shopping, 2001

AY 2018-2020

PROJECT 05: SHOPPING PROJECT

GLASGOW SCHOOL OF ART, SINGAPORE

Atelier Bow Wow

Autocad done by Share Grace 48

AY 2018-2020

EE ANN CITY

PROJECT 05: SHOPPING PROJECT

C-CHANNEL STRUCTURE

HANGER WIRE COMPRESSION POST MAIN TEE IN ALUMINUM STRUCTURE CROSS TEE IN ALUMINUM STRUCTURE

3 D2A

INTERNAL STRUCTURE CEILING(SECTION VIEW) NTS

LOOP HOLE STURCTURE HANGER WIRE C-CHANNEL STRUCTURE HANGER WIRE BOLT AND NUT FOR HANGER STURCTURE

MAIN AND CROSS TEE STRUCTURE IN ALUMINUM FINISH TRANSLUCENT CURVE GLASS PANEL WITH STRUCTURE

LIGHT HOLDER SUPPORT LED ROUND LIGHT

TRANSLUCENT GLASS PENDANT LIGHT COVER

PLYWOOD IN LAMINATED WOOD TEXTURE 600MM (DIA) PENDANT LIGHT IN GOLD FINISH

4 D2A

GLASGOW SCHOOL OF ART, SINGAPORE

PENDANT LIGHT (SECTION VIEW) 1 : 10

Material, Sectional & Perspective

The rights of the city? To me, the right of the city is when one can do what it seems inappropriate, where a locals can enjoy, interact, have fun with one another without feeling the sense of being watched over by the authority. Having that freedom to laugh and love. It is simply about being able to appreciate the moment and the now. And thus, my final proposal is to create a space where the civic plaza and basement 2 fountain, merge together as one, giving a full view interactive space for shoppers. Allowing them to experience, touch, play and engage with one another.

AY 2018-2020

PROJECT 05: SHOPPING PROJECT

The Interactive Water Playground Lovejoy Fountain Park is a city park in downtown Portland, Oregon, U.S. < https://tclf.org/sites/default/files/microsites/halprinlegacy/portland.html>

GLASGOW SCHOOL OF ART, SINGAPORE

PROPOSED PLAN VIEW CIVIC PLAZA (LEVEL 1)

PROPOSED PLAN VIEW CIVIC PLAZA (LEVEL 1) SCALE :

1 : 50

PROPOSED PLAN VIEW (BASEMENT 2) SCALE :

1 : 50

PROPOSED PLAN VIEW BASEMENT 2 52

AY 2018-2020

PROJECT 05: SHOPPING PROJECT

PROPOSED PERSPECTIVE VIEW (BASEMENT 2) SCALE :

1 : 50

PROPOSED ELEVATION VIEW (BASEMENT 2) SCALE :

1 : 50

GLASGOW SCHOOL OF ART, SINGAPORE

Window Project Maison Margiela x The Situationist International

Thinking through Making â&#x20AC;&#x153;Where the line between right and wrong was blurred out, breaking boundaries by allowing our creativity juices to flow out naturally through making process.â&#x20AC;?

AY 2018-2020

PROJECT 06: WINDOW PROJECT

The Situationist International with Deconstructivism GLASGOW SCHOOL OF ART, SINGAPORE

The making Detournement | The Society of Spectacle | Psychogeography

The situationist international desire to express their dissatisfaction against the government back in the 1950â&#x20AC;&#x2122;s, as they believe that the messages encoded to the society are filter out and has a hidden message from what the media publicize. Hence, they express themselves through distoration of comics, graffiti, journals, films and even evaluating society. Translation: With piles of magazine, Iâ&#x20AC;&#x2122;ve deconstruct the pages manually, tearing it to pieces and pasting a white crepe paper on top of the scrapped magazine that blurs the message of the deconstructed papers. I then splashed paints on top of the magazine to expresses my intention of the beauty hidden underneat the crepe paper just as what Situationist International believe.

AY 2018-2020

PROJECT 06: WINDOW PROJECT

WINDOW

INTUITIVE

GLASGOW SCHOOL OF ART, SINGAPORE

Thank you,

for visiting my portfolio! :)

AY 2018-2020

Signing off, Share Grace.

GLASGOW SCHOOL OF ART, SINGAPORE