Professional Documents
Culture Documents
The Office
Manifesto: Atmosphere
INTRODUCTION
The first project, The ways we live, require ourselves The fourth project, The hotel with Fitch Design, require
to closely investigate the ways in which we occupy ourselves to study and understand the client’s ‘touch
domestic spaces in Singapore. Ethnographic research, points’ and ‘pain points’ before designing a signature
observations and communications will all take place in hotel experience to suit the client’s profile. Every
our HDB neighbourhood. While this project cultivates single detail is important and will have to look into
strong skills in information gathering and analysis, it it specifically from the client’s arrival to departure
is also important to find an expanded explanation of what so as to provide them with a conducive and memorable
it means to be at home in Singapore, and the theme business trip.
of this project is about Religion.
The fifth project, Manifesto, require ourselves to
The second project, The shop window, require ourselves present using spatial language and interior design
to understand and to learn how to communicate the techniques. It is concerned with exploration and
design process through model making. As there are definition of site, context and content as well as a
many different mediums of explorations and design close consideration of the implications of altering a
process, it is important to learn how an idea is able to space, either temporarily or permanently and at the
translate into a tangible form , and in this project, the same time, demanding the creation of a carefully
brand Aesop was being assigned to myself. researched collection of objects. This project requires
myself to exhibit a collection of objects in an exhibition,
The third project, The office, require ourselves to research making interventions at an interior-design scale
and understand each of the publications, fulfilling the which relate to our own manifesto.
needs of a client through laying out and space planning,
and at the same time, studying the meaning of each
material and furniture. Most importantly, it is to translate
these research and findings into the actual office spaces.
T h e Way s We L i ve : Re l i g i o n
THE
I N F I LT R AT E D
INTERIOR
Religion in Singapore is characterised by a diversity
of religious beliefs and practices due to its diverse
ethnic mix of peoples originating from various
countries. Especially in HDB flats, the rituals and the
practices have infiltrated our daily life and influenced
most of the interiors of our home.
Darren’s house
COMMON
BATHROOM MASTER
BATHROOM
W
KITCHEN M
MASTER
BEDROOM
BEDROOM 1
LIVING ROOM
DINING AREA
BEDROOM 2
FOYER
C:\Users\Joe\Downloads\nyp-logo-hor-300.jpg
MyTAYhouse
JI DONG
FIGURED DIMENSIONS SHALL BE TAKEN IN PREFERRED
Lecture Room
Lounge
Workspace
Editor’s Room Entrance
Exhibition Area
M AT E R I A L I T Y
AA Files will be used for further development and the
materials used in the office will mainly based on the
office and studio environment in London. This office
will adopt the monochrome colours and raw materials
such as concrete and glass as finishing. The intention
is to make a contrast with the surroundings which is a
HDB in Chinatown.
Polished blacktop
concrete flooring
Conference table
in matte white
laminate finish
Wall in concrete
Glass partition finish
with sliding door
Second Part
(Installations and Video screening)
First Part
(Photographs, Paintings and Sculptures)
Third Part
(Floor installations and Light projection)
TOILET
ENTRANCE
SPACE PLANNING
The exhibition will come in three different parts and the first part will
mainly exhibit artworks and sculptures done by different artists and
sculptors. It is to provide people with the idea and to understand that
the existence of light is something that is being neglected by them most
of the time, and at the same time allowing them to visualise on the
characteristics and essential qualities of the space with the use of light
which created a certain atmosphere when they are walking through this
exhibition. In addition, it is also to inform people that lights can be translated
onto many different mediums and materials, especially through photography
and artworks.
Third part of the exhibition will be a totally darkened space that only
shows the raw light projection. The space is being manipulated by the
means of projected light where the main axis of the exhibition is extended
and the limits of the physical space being dissolved. In this situation,
people will have to trust the projected light in bringing them throughout
the final part of the exhibition. The overall atmosphere becomes so
surreal because the projected light for instance, have changed the way
we perceive the space, believing that the spaces are widely extended even
though the actual space is quite constraint.
06 07
05
08 09 10 11 12
FIRST PART
16 17 18
SECOND PART
13 Jun Aoki 16 Olafur Eliasson
Fibre (2004) Moss Wall (1994)
Art Installation Sculpture Installation
1800 X 600 cm Size Variable
20 Olafur Eliasson
Rainbow Assembly
(2016)
Site-specific Installation
Size Variable
21 Pablo Valbuena
Quadratula (2010)
Site-specific Installation
Size Variable
LAYOUT
The angled pathway was shown in this
initial layout together with the human
flow and the possible pathways that
people are likely to take. As the exhibition
is segregated into three different parts,
the placement of each installation will
be important and have to take into
consideration of the transition from one
installation to another so that the people
who visits the exhibition will understand
and sense a gradual flow throughout the
exhibition.
Initial Sketch
Installations Layout Divided Segments
M O C K- U P
1:125
An initial mock-up at the stage of
spatial planning, trying out angled
pathway and finding the relationship
between the spaces and the objects. It
is also important to understand how
does the placement of the installations
allow people to interact and engage
better while walking through this
exhibition that will give them a new
experience in terms of how lights
materialise in our daily life.
People walking along the angled pathway will find
their path becoming narrower as they walk deeper
into the exhibition. This angled pathway was initially
designed in such a way so as to make sure that the
people are experiencing something different at
various angles. However, such angled pathway is
not something that one will experience in their daily
life and here in the exhibition, there are constant
emphasising about lights in our daily life. Therefore,
this mock-up was important and was made for
space planning and to study on the relationships
between the spaces and the installations that links
back to the manifesto.
Initial Sketch Partitions Layout Divided Segments
FINAL
LAYOUT
Edited the pathways and some of the
placements of the installations so as to
strengthen the flow of narrative from
installations to installations throughout
the exhibition. With a parallel pathway,
it will also allow people to create their
own experience through the interaction
of each installation.
Installations Layout
M O C K- U P
1:75
Changing the angled pathway of the
previous mock-up to a parallel pathway
as mentioned in this exhibition that
people tend to neglect the existence of
light in our everyday life. Therefore, a
parallel space is something that is more
relatable to our daily life and is also a
space that everyone is very used to
it. Rather than intentionally creating
an angled pathway to make sure that
the people experience something from
the exhibition, it will be better for the
people to position themselves in a free
and easy way especially in this parallel
spaces, where they will be able to
experience differently at various position.
In this mock-up, the pathway was being redesigned
into a parallel one as well as some of the installations
were being repositioned. As compared to the
previous mock-up which has a more restricted
pathway, the overall flow of the pathway in this
mock-up has become much more open that allows
free and easy movement to take place. This also
allows people to define their own experience when
walking through this exhibition.
Final
Model
1:50
As people walk through the exhibition
from the first part to the last part,
they will experience the intensity of
light slowly decreasing along the way,
and eventually into a totally darkened
space. As shown in the model that the
initial part of the exhibition is of white
finishing whereas the last part of the
exhibition is of a darker tone finishing.
Light comes into play in all three
parts of the exhibition and is crucial
to create different atmosphere in each
part of the exhibition with the light
dimming system.
As shown in the model that the last part
of the exhibition and the initial part of
the exhibition where people first enter
and encounter the installations, were
segregated by a black and white double
layer curtain. This is done as both
spaces are of different light intensity.
I n s t e a d o f fo l l ow i n g t h e u s u a l f l ow
of the exhibition, people can choose
to go the reverse way by entering from
this curtains to start their jouney in this
exhibition. The end results of this two
different pathways will be similar as the
main purpose is to allow people to
create their own experience throughout
their journey as well as understanding the
mater ialit y of light that creates the
subsequent atmosphere.
SEMINAR ROOM STORE ROOM
5000
EXHIBITION SPACE
(ceiling height: 4850mm)
9500
12000 6400 3000
18250
6000
5000 4000
3000
8700
5000
5000
3600
TOILET
ENTRANCE
Section
01
Olafur Eliasson
'Moss Wall' (1994)
Hannes Zweifel
Jun Aoki & Zimoun
'Fibre' (2004) 'Untitled' (2013)
Davide Balula
'Burnt Painting' (2015)
Zimoun
'Untitled' (2017)
Ross Bleckner
'Lights' (1988) Catherine Yaas
'Lock' (2006)
James Welling
'Choreograph' (2015) White Curtain Black Curtain
Miya Ando
Andreas Gursky 'Mokume Gane Grid' (2016)
'Paris, Montparnasse' (1993)
Sabine Reckewell
'Black String' (2011) Black Curtain
Tokujin Yoshioka
Christiane Baumgartner
'The Gate' (2014)
'Pfad' (2003)
Yunjung Kang
'Rubber Bands' (2011)
Jun Aoki
'Taro Nasu Bambi' (2006)
Section
01
TOILET
ENTRANCE
Sectional Elevation
RENDERED
PERSPECTIVES
The perspectives are photographs taken from the
final model and collaged with the installations together
with the human interactions in the exhibition. The
lighting on each installation plays an important role in
every perspective as it is crucial that the installations
are able to convey the intended messages with regards
to the manifesto when the people are walking through
this exhibition.
ENTRANCE
The entrance is a fibre installation which
have layers of fibres that will alter the whole
space to a lens and allude image that transcends
dimensions. These fibres are greatly affected
by different intensity of light and the enormous
lens will take people to the gate where light
materialise. Every step forward through the
layers of fibres, the people will experience
the increasing intensity of light, before
encountering the first artwork by Miya Ando.
People who got through the gate will require
some time to adjust their eyes due to the
great intensity of light. While adjusting their
eyes, this is when the people get to see many
different colours at various positions from
the artwork by Miya Ando. The artwork offers
a couple of configurations like the horizontal
or grid patterns for various viewing purposes
to achieve different kind of effects together
with the lightings used.
I N S TA L L AT I O N S
First part of the exhibition is brightly illuminated
as these areas are mainly displaying the photographs,
paintings and sculptures of various artists, allowing people
to learn and understand how lights materialise and are
being translated onto many mediums like the nature,
architecture, raw materials as well as human interactions.
Light projected onto the water mist
Light projected onto the wall
LIGHT
PROJECTION
The last part of the exhibition are totally
darkened spaces with only light projections as
the ambient lightings are totally removed. The
purpose of this is to allow people to understand
even in situation where the environment is in
total darkness, the source of light is something
people can rely on to tell the depth of space
especially the directions. Lastly, this part of
exhibition also shows people the effects of
light when it is projected onto various mediums,
displaying the possibilities of light in the darkness.