TAY J I D O N G J O E

INTERIOR DESIGN PORTFOLIO

 TA B L E O F
CONTENTS
Introduction

The Ways We Live: Religion

The Shop Window: Aesop

The Office

The Hotel with Fitch Design

Manifesto: Atmosphere
INTRODUCTION
The first project, The ways we live, require ourselves
to closely investigate the ways in which we occupy
domestic spaces in Singapore. Ethnographic research,
observations and communications will all take place in
our HDB neighbourhood. While this project cultivates
strong skills in information gathering and analysis, it
is also important to find an expanded explanation of what
it means to be at home in Singapore, and the theme
of this project is about Religion.
The second project, The shop window, require ourselves
to understand and to learn how to communicate the
design process through model making. As there are
many different mediums of explorations and design
process, it is important to learn how an idea is able to
translate into a tangible form , and in this project, the
brand Aesop was being assigned to myself.
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.
The fourth project, The hotel with Fitch Design, require
ourselves to study and understand the client’s ‘touch
points’ and ‘pain points’ before designing a signature
hotel experience to suit the client’s profile. Every
single detail is important and will have to look into
it specifically from the client’s arrival to departure
so as to provide them with a conducive and memorable
business trip.
The fifth project, Manifesto, require ourselves to
present using spatial language and interior design
techniques. It is concerned with exploration and
definition of site, context and content as well as a
close consideration of the implications of altering a
space, either temporarily or permanently and at the
same time, demanding the creation of a carefully
researched collection of objects. This project requires
myself to exhibit a collection of objects in an exhibition,
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

FURNITURE LAYOUT PLAN

SCALE 1:50

PROJECT TITLE: DRAWN BY: NOTE:

C:\Users\Joe\Downloads\nyp-logo-hor-300.jpg
MyTAYhouse
JI DONG
FIGURED DIMENSIONS SHALL BE TAKEN IN PREFERRED

DN1722 AUTOCAD ASSIGNMENT 5 CHECKED BY:

TO SCALE DIMENSION ANY DISCREPANCY MUST BE
REPORTED IMMEDIATELY TO DESIGNER BEFORE
PROCEEDING RELEVANT.
SCHOOL OF DESIGN ALAN ONG
DIPLOMA IN SPACE & INTERIOR DESIGN

CLIENT: DRAWING TITLE: SCALE: DRAWING NO:

AS SHOWN NYP1.007

FURNITURE LAYOUT PLAN DATE: REV / DATE:

07-02-2012
The altars are from two different houses.
Chinese will always consider the placement
of their altars as the highest priority in terms
of Fengshui as they believe very much in it.
Because a good placement and direction
will attract positive energy into the house.

The altars are not for decorative purpose.

It represents a family’s belief and culture.
A place where all the family members will
gather in certain occasions, in other words,
the altars have become the focal point in
almost every house.
Praying is a common practice for all religion
and it has become a part of our daily life.
Space constraint is an issue in HDB flats,
therefore some of these spaces are being
transformed for other purposes for eg;
a living area, an area for meditation and
praying etc.
REVEALING OF
OUR IDENTITY
Every single object in our home reveals
something about the family. The beliefs in
their religion, their culture and traditions
from the past are available in small details.
THE
DOORSTEPS
The doorsteps of the HDB flat is the best
example of Singapore’s multiculturalism.

It was amazing to stand before these homes

with something that represent their religions
affixed above or around the front door, and all
these symbols signify religious tolerances
among neighbours.
TRANSITION
OF INTERIOR
TO EXTERIOR
Domesticated space is porous beyond the
home perimeters and ventures outward
into domesticated public space. In other
words, the occupants went beyond the
boundaries. Even from far, things that
represent them are quite visible on the
outside of the house.
COMMON
PRACTICES
IN DIFFERENT
ESTATES
Sembawang is a new estate unlike Yishun,
a matured estate with plenty of facilities
and amenities to offer. It is possible
to differentiate these two estates just
by oberving their neighbourhood, the
building facade and the surrounding
environment even though they are just
four kilometres apart. However, some of
the common practices are being preserved
in the same way in these two estates.
At the end of this project, a booklet of all
the consolidated informations and images
was printed out. The booklet shows the
transition from the interior to the exterior
of the HDB and also some of the identities
revealed along the corridor by our neighbours
with regards to the theme, Religion.
The Shop Window: Aesop
COLLAGE
The abstract collage was inspired by the
arrangement of the apothecary bottles and
some of the other beauty products in the
shop. They are of different sizes and they are
also arranged neatly and horizontally on the
display racks. From far, it looks like a variety
of lines in different lineweights being spread
across the shop.

Aesop’s unique way in arrangement of their

products have value added the shop interiors
in terms of aesthetics. Therefore, I am making
use of the lines in various lineweights to create
different depths and transitions found in the
shop.
TEXTILE
REPEAT
PATTERN
The final pattern was being transferred
onto the silkscreen and it was repeated
in different colour paints. The lines join
from the first to the repeated pattern and it
gives a clearer picture of the depths created
by different lineweights.
The Shop Window
Furniture
FURNITURE
PROCESS
These are different techniques taught
and it allows myself to continue from
the previous textile repeat pattern
process as these techniques, when
applied, are able to transform the
2D print into 3D form. All these
techniques will be used subsequently
during the furniture making process.
FURNITURE
MOCK-UPS
Rather than giving the furniture a
texture, I would prefer the furniture
itself to be a texture. Therefore, these
are some of the attempts from different
mock-ups to create different lineweights
based on the textile repeat pattern.
DISPLAY
TA B L E
A display table in various sizes
and heights to create different
depths and transitions together
with the thin supporting structure
which makes the whole furniture
very light in a way.
DISPLAY
RACK
Multiple lineweights in various
thicknesses are being used in this
display rack to portray eternity,
showing that the lines are going
on and on, and also at the same
time, giving the meaning of
agelessness to Aesop’s product.
The Shop Window
Window Display
Ecopolis by Kiyonori Kikutake, 1990 City in the air by Arata Isozaki, 1961
 M E TA B O L I S M
A precedent study in metabolism was done before
the execution on the window display as Aesop uses
plant-based and laboratory made ingredients of highest
quality and proven efficacy to craft formulations of
exceptional quality that is so natural and benefits the
skin in many ways, regenerating new skin cells and
improving the overall skin conditions just like how
metabolist designers and architects believed that cities
and buildings are not static entities, but are ever-changing
organic with a “metabolism.” It is about the process of
maintaining living cells. This idealogy is very applicable
to Aesop and it provides a certain direction in the
subsequent development of the window display.
Nakagin Capsule Tower by Kisho Kurokawa, 1972
WINDOW
M O C K- U P S
Using raw materials such as gravels, cement
and newspaper to create a certain texture
on the surface that is related to Aesop.

Key elements of Metabolism are all about

Changeability and Flexibility. In this
movement, the traditional laws of fixed
form and function were obsolete. It is
about the flexible and expandable structure
that evoked the processes of organic growth.
Newspaper Cutout Folded into strips
WINDOW
PROCESS
Therefore, I will adopt the Metabolisim
movement and also to make use of
newspapers to create the window
display for Aesop. Small cutouts
of newspaper will be folded into
strips to form different layers of
curves and also extrusions from
the surface.
FINAL
WINDOW
DESIGN
Every single newspaper strip connects
to one another, it represents the
interconnections of how the body
functions, and also the curves represent
the flexibility in human body, like
how Aesop is able to respond to
genuine needs expressed by their
customers.
The Office
OFFICE
SPACE
DESIGN
To gain a comprehensive understanding
of the magazine or journals from the
Apartamento, Cabinet and AA Files,
and to better understand how office
design fulfils the needs of a client
before designing an office space.
A PA RTA M E N TO
Apartamento magazine is an indispensable resource for
individuals who are passionate about the way they live
and it is more about the lifestyles of the users. The
collages used vibrant colours to represent each issue and
the working environment was built to give people a
homely feeling.
CABINET
Cabinet magazine believe that curiousity is
the very basis of ethics insofar and aims
to be as open as possible in terms of art
and culture, always well informed about
the design and the latest trend. Therefore
the working environment in the collages
were built in such a way to create a certain
openings and gaps to make people curious
of what is on the other side.
AA FILES
AA Files focus towards more writerly
models of scholarship, to investigate
and to be critical on works from within
the school, and also an eclectic mix of
architectural works from all over the
world. Therefore the colours chosen
for these collages were mainly based
on the way they work, being formal,
serious and rigid, and also minimal
decorations as compared to the other
magazines.
Mock-up 1
Mock-up 2
CONCEPT
MODELS
Concept models were produced for all
three publications with the help of the
mock-ups for visualizing purposes.
Creating spaces based on the collages
together with the materiality of the
office space according to each of the
publications.
Apartamento Cabinet
AA Files
SPACE
PLANNING
The intention of extending the exhibition
area from the interior to the exterior
is to simply attract the public into the
compound and to give the public an
overview of the working environment
in AA Files. Pantry was omitted so as
to give the staffs an opportunity to step
out of the office, making full use of the
facilities in Chinatown.
 Storeroom
Material
Library

Lecture Room

Library Browsing Area

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

Wall in matte LC2 Chair by

white paint finish Le Corbusier
Bookshelves in matte
white laminate finish

Seats covered in white

synthetic leather

Polished blacktop Wall in matte Polished white

Polished white concrete flooring black paint concrete flooring 䰀䄀夀伀唀吀 倀䔀刀匀倀䔀䌀吀䤀嘀䔀
concrete flooring finish 匀挀愀氀攀 ㄀㨀㜀㔀
Layout Perspective
Sectional Perspective
RENDERING
Hand rendering is part of the final process to
display the office’s materiality and the sectional
perspective give us an overview of the transitional
office spaces from the interior to the exterior
together with the colour tones of different spaces.
FINAL
COLLAGE
As compared to hand rendering, collage is
able to show better quality in terms of
materiality and the depth of space is
clearly represented together with the overall
ambient. The colour tones used are almost
similar so as to create a smooth transition
from the exterior to the interior which is
only segregated by the sliding glass doors.
The Hotel with Fitch Design
HOTEL
TRANQUILITY

By using the human-centred design methods by

Fitch Singapore to design a signature hotel experience
to suit the client and customer profile that have been
chosen and also to journey the ‘touch points’ and
‘pain points’ that affects the traveller’s experience.
The business traveller’s profile will be as follow.

Woon is a food business traveler from Taiwan

who suffer from severe isomnia problem due to jet
lag and stress from her tight schedule. Hence our
design for Woon is to tackle insomnia through a
smooth and peaceful journey from the point when
Woon arrive at the airport to the hotel. In the
hotel, this calming, quiet and soothing experience
is further emphasize through specific furniture,
materials, plants, food and facilities as well as
interior programming to create a tranquil
atmosphere that stimulate different senses which
helps to improve the production of melatonin in
her brain to aid her in falling asleep and ensuring a
better sleep throughout the night. With that, we also
incorporated some design elements to have a more
pleasant process of waking up the next morning.
MINDMAPPING
The initial stage of the project is to mainly draw
out the plannings of different aspects in terms
of the client’s profile, characteristics, habits and
preferences. In addition, it is also important to take
into consideration of the current travel trends, the
existing travel applications and also paying special
attention to their pros and cons so as to design
a hotel that is able to impress the client and to
fulfil their needs during the whole duration of the
business trip.
Existing Travel Applications
Current Travel Trends Contemporary Style
PAIN POINTS
Client’s Profile: Woon It is painful to do all the planning and research before the trip.
- 48 years old - Travel itinerary
- Lives in Taiwan - Accomodation
- Single - Location of accomodation
- Food Business Traveller - Transport
- Purpose here is to understand - Communication
Singapore’s food cultures
It is painful for Woon to sleep in the new environment and to
Language: wake up early for business meeting.
- Mainly Chinese dialect - Stress
- Not fluent in English - Jetlag
- Insomnia
Character:
- Indepedent It is painful for Woon to face difficulties in hotel check-in.
- Mission-focused - Long queue
- Efficient - Bulky luggage
- Sociable - Lack of entertainment
- Smart and neat with slight OCD
- Workaholic
- Thrifty and practical
It is painful for Woon to find a place for business meeting.
- Function rooms
- Maintain hierarchy at work
- Conference rooms
- Prefers more personal space for
- Meeting rooms
communication
- Hotel lobby

Interest: It is painful for Woon to find food during midnight especially

- Enjoys eating food of different cultures
- Likes cooking and prefers local delight
when there is difficulty falling asleep.
- Variety of food
- 24 hours
- Shophouses nearby
- Hawker Centre
- Cafes
- Coffee shops
JOURNEY
EXPERIENCE
Woon’s journey experience will start all the way from
the planning stage of the business trip where booking of
the air tickets and hotels will take place and subsequently
on the arrival at the airport and also taking note on the
journey towards the hotel from the airport. Every part of
the journey is being illustrated with the ideal facilities that
is required by Woon. The hotel’s surroundings are equally
important as Woon is more towards functional needs and
prefer places like the shopping mall or entertainment hub
to be close to the hotel. This illustrated journey experience
will take place in the whole duration of the business trip
until Woon departs from the airport.
Food Travelator
 ISOMETRIC
DRAWINGS
The main purpose of these isometric drawings is part
of a process where it is better to visualise the spatial
qualities of the surroundings of the hotel, making
decision on what is needed and not needed, and also at
the same time prioritise the main facilities according
to Woon’s profile. As Woon is a food business traveller
and is always occupied with the work, a special food
travelator that sends the food all the way to the hotel
room is being conceptually drawn out and will be
Cityscape further developed in the subsequent stage.
Hotel Lobby Lift Lobby
 The interiors of the hotel lobby, rooms
as well as the corridor are being drawn
out together with the facilities that are
needed by Woon. The interiors will have
to answer the pain points of Woon so as
to provide a pleasant journey throughout
the stay. Some of these improvements will
come from the fixtures, furniture and most
importantly the lightings.
Corridor Hotel Room Interior concept
RENDERING
This final layout of the overall process and
designed spaces was being hand rendered in
detail to show materiality at different levels
and also the lighting intensity that changes
the overall ambient when transiting from
space to space.
TUNNEL &
T R AV E L ATO R
The moment Woon reaches Singapore, a tunnel is
implemented which links from the airport to the
hotel. During the drive in the the tunnel, orange
tinted lights are implemented throughout which
dimmed along the way to slowly reduce the amount
of sleep-inhibiting blue light emitted from the busy
city that mess with Woon’s circadian rhythms.

As it will be painful for Woon to get out of the hotel

to look for food during the night if she has trouble
falling asleep at night which is also not benificial for
sleeping with the massive blue light emmiting from
the city. Since she is a food busniness traveler, we
installed the hotel’s very own food travelator to transport
food of different culture from different places that
will send directly to her room without having to step
out of the room.
HOTEL LOBBY
As Woon’s reaches the the lobby, it will be painful for
Woon to have a long wait for her turn to check in
and this frustration from the wait is not acceptable to
stimulate the ideal mood to rest and sleep. Thus we
implement sound-reducing chair in the lobby which
allow her to calm her mind and rest during the wait.
A chamomile tea will be served upon her avrival as
a form of refreshment which helps to soothes the
nervous system.

Instead of having a standard bar in a hotel, our

hotel have it’s very own tea house which Woon can
visit during the stay if she ever feel that other tea or
beverages are helpful in aiding her to sleep through
her stay in the hotel.

A park is implemented at the lobby level for her to

have a light stroll to relax and keep both body and
brain cool which helps in getting a more restful sleep.
FUNCTION
ROOMS
A small exercising room and discussion room are
located at the following level. The exercising room
will encourage Woon to do yoga which will help to
relieve stress as it slows down her breathing and also
by stretching the body, it will help to position her body
that is ideal for sleeping which will also improve her
sleeping patterns.

Discussion room is provided for Woon as it will be

painful for Woon to find a place for any meeting if she
had insufficient sleep the night before and also having
to leave the hotel to the bustling city will not help her
to sleep on the following night.
FA C I L I T I E S
A spa is also implemented on the same
level as Woon’s room where she will be able to
enjoy the spa treament to help relax her
body and stimulates a more peaceful mind
with the sound of the water to soothen her
mood so that it will prepare her body and
mind to be at a ideal state of sleeping just
before returning to her room.
Digital Forest Dome Resting Area Reading Area

A digital forest dome is located on the

roof of the hotel and this dome serves as a
place for Woon to rest if she have trouble
sleeping in the night, bean bag is provided
in the dome for her to cuddle and enjoy
the ambience created by the digital forest.
Additional smaller dome is available for
Woon to cuddle and do some light reading
to stimulate the brain to sleep easier or to
even sleep in the dome for the night.
CORRIDOR
The corridor helps customer to soothes
themselves with the use of natural material
like wood and every step will give off wood
creaking sound along with the dark ambience,
making them feel like they have fused with
the natural environment. The environment
is lighted up with the warmth of natural
sunlight and lavender scent which has one
of the most well-known sleep-inducing
aromas. This corridor will help to create an
ambience for Woon and slowly transiting
her mood to be more calming which helps
her to sleep better.
 Curtain Alarm Clock

INTERIOR Food Conveyor

The interior of the hotel has been programmed

in a way to help Woon to sleep better, slowly
transiting her to sleep. When she enters the
hotel room, she will undress herself, keep her
belongings, and followed by a shower to calm
down. After which, she will exit the showering room
by stepping onto the grass patch which stimulates
comfort with the use of natural elements. Once she
reaches the bedroom, there will be no distraction
from any form of technology but just a comfortable
bed for sleeping. Snake plant is placed beside the bed
to help her to sleep better as snake plant gives out
oxygen at night. As it is painful for Woon to wake up,
the curtain will have similiar function as an alarm
clock that will unravel itself slowly according to the
timing set by Woon. The unravelling of curtain will
bring in the warmth and natural light from the sun
followed by the smell of food which is delivered as she
pre-ordered the night before.
Interior Layout Plan
Manifesto: Atmosphere
M AT E R I A L I T Y
OF LIGHT
My interpretation in terms of materiality of light is about
the translation of light through various mediums and
how light is being expressed through various methods,
and at the same time, affecting the overall atmosphere
in the environment. The exhibition aims to highlight
the importance of light as people tend to neglect its
existence as it has become a part of our daily life. In
addition, it is also important to understand the capabilities
of light in different intensities that created the the overall
ambience.

In my collection, 21 objects from various artists, curators and

designers are put together and have been selected in
among categories from science, nature and technology.
These practitioners were able to subtract, reduce and
distill their concept and were also deliberate without
interfering its constraint.
 SEMINAR ROOM STORE ROOM

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.

After understanding on how lights are being translated through various

mediums, the second part of the exhibition is about programming the
lights of the installations to change in intensity over time, altering the
viewers perception of transparencies and the depth of the overall space,
showing people the capabilities of light. Video screening will fall into this
part of exhibition to educate people and also to allow them to get a first
hand experience with the installations after the video screening.

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.

As people walk through this exhibition, they will experience a transition of

the intensity of light from brightly illuminated spaces to totally darkened
spaces.
01 02 03 04

06 07

05

08 09 10 11 12
FIRST PART
01 Tokujin Yoshioka
The Gate (2014)
Site-specific Installation
Size Variable
Layers of transparent fibers alter
the whole room to a lens and allude
image that transcends dimensions.
Transparent fibers are affected by
the light and the enormous lens take
people to the gate of the future.
02 Miya Ando
Mokume Gane Grid(2016)
Silver Nitrate, Dye on wood panels
Size Variable
An exploration into the duality
of metal and its ability to convey
strength and permanence, yet in the
same instance, to absorb shifting
color and capture the fleetingness of
light.
03 Sabine Reckewell
Black String (2011)
Sculpture Installation
121.9 x 243.8 x 243.8 cm
Using linear materials, repetition and
geometry to create volumes. They
dissolve into linear patterns that shift
and change as the viewer’s position
shifts. Shadows from light sources
can create additional visual patterns.
04 SarahFinkle
Untitled work of the
“TAC” series
Sculpture Installation
Size Variable
Let the material, in a way, inform
how the piece develops.
05 Jun
Aoki
Taro Nasu Bambi (2006)
Sculpture Installation
Size Variable
The boards were considered as cells
that composed the space, and by
mutating these cells Aoki intended to
change the very qualities of the space
itself.
06 Yunjung
Kang
Rubber bands (2011)
Sculpture Installation
Size Variable
Making abstract creations that shrink
and expand, exhibiting the positive
and negative space. These organic,
sensual, and universal forms evoke
presence and absence, the emotion of
fullness and emptiness as well as the
qualities of solidity and fragility.
07 James
Welling
Choreograph (2015)
Inkjet Print
106.7 X 160 cm
By mixing architecture and dance, he
was creating a hybrid, objects and
movements first drawn by light (in
his photographs), and then combined
together to create surreal new land-
scapes.
08 Christiane
Baumgartner
Pfad (2003)
Woodcut on Japanese Misumi Paper
36 X 56 cm
A central aspect of the work is the
relation between materiality and
immateriality. Through the selection
and transformation of a video still,
a unique woodcut was created that
brings experience and weight to an
otherwise unexperienced moment.
09 RodneyEwing
Time and Place (2016)
Art Installation
Silkscreen and Dry pigment on paper
152.4 x 101.6 cm
Creating an intersection where body
and place, memory and fact are
merged to re-examine human
interactions and cultural conditions
to create a narrative that requires us
to be present and profound.
10 Ross Bleckner
Lights (1988)
Art Installation
Paintings, Oil on paper
40.6 x 30.5 cm
The works often employ recurring
symbolic imagery, rendered with a
blurred, glowing sense of light.
11 Davide Balula
Burnt Painting (2015)
Art Installation
Charred wood, coal dust on linen
217.2 x 125.7 cm
Harnesses all forms of natural matter,
as well as manmade structures and
systems to generate paintings,
sculptures, photographs,
performances, and site–specific
interventions.
12 Carol Bove
Herma (2013)
Sculpture Installation
304.8 x 38.1 x 38.1 cm
Combining found and made elements
while incorporating a wide range of
domestic, industrial, and natural
objects, the sculptures reveal the
poetry of their materials.
13 14 15

16 17 18
SECOND PART
13 Jun Aoki
Fibre (2004)
Art Installation
1800 X 600 cm
Layers of transparent nylon fibres
used for fishing nets with lightings
programmed to change in intensity
over time, altering the viewers
perception of transparencies and the
depth of the overall space.
14 Andreas Gursky
Paris, Montparnasse
(1993)
Photography Installation
c-print
149 x 354 cm
Colorful, bold, large-format
depictions of contemporary life.
Focusing on scenes and places
representing the international
sentiment of contemporary society.
15 Catherine Yaas
Lock (2006)
Video Screening
Duration: 09:42 minutes
Exploring the relationship between
physical and psychological space,
namely how environments are
constructed and experienced by their
inhabitants, through an emphasis on
temporal duration.
16 Olafur Eliasson
Moss Wall (1994)
Sculpture Installation
Size Variable
When it is watered, the lichen
expands and emits a pungent odor.
Bringing natural phenomena into the
constructed space of the museum,
where one becomes more aware that
nature is also a construction
17 Hannes Zweifel & Zimoun
Untitled (2013)
Video Screening
Duration: 00:55 minutes
The light transmits and visually
amplifies the movements of the
suspended boxes onto the floor. The
result is an atmosphere based on
sound, light and material, originating
from a very simple mechanical system
and commonplace materials.
18 Zimoun
Untitled (2017)
Sculpture Installation
255 prepared ac-motors,
328kg roof lath, 1.8km rope
Size Variable
Transforming everyday materials,
devices and objects, invisibly present
around us, in aesthetic environments,
defining the space, sound and
atmosphere of the beholder’s
experience.
19 20 21
THIRD PART
19 Carlo Bernardini
Vacuum (2011)
Site-specific Installation
Size Variable

Transforming dark spaces into

abstract light environments. The
site-specific installations are based
on triangular forms, where lines pass
through walls, floors, façades and
even between buildings.

20 Olafur Eliasson
Rainbow Assembly
(2016)
Site-specific Installation
Size Variable

Rays of light illuminate a circle of

mist in a darkened room, creating
rainbows. Approaching the rainbows,
you discover the machinery that
produces them: rings of sprinklers
and spotlights on the ceiling.

21 Pablo Valbuena
Quadratula (2010)
Site-specific Installation
Size Variable

The space is manipulated by means of

projected light. The main axis of the
room is extended and the limits of the
physical space is dissolved.
INITIAL Human Flow

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

EXISTING 250mm x 250mm x 66.5kg/M

STEEL COLUMN ENCASED WITH CONCRETE
SIZE: 365mm x 365mm

5000 4000
3000

8700
5000

5000

3600
TOILET

ENTRANCE

Exhibition Hall Plan

 SEMINAR ROOM STORE ROOM

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)

Rodney Ewing Pablo Valbuena

'Time & Place' (2016) 'Quadratula' (2010)

Carol Bove Carlo Bernardini

'Herma' (2013) 'Vacuum' (2011)

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)

Sarah Finkle Olafur Eliasson

'Untitled' 'Rainbow Assembly' (2016)

Jun Aoki
'Taro Nasu Bambi' (2006)

Section
01
TOILET

ENTRANCE

Exhibition Layout Plan

A NEW
EXPERIENCE
To get to the last part of the exhibition, people
will have to walk through the multiple rows
of oversized wooden poles. This installation
acts as a forest where people will have to
create their own path to get through the
wooden poles while following the random
light projections overhead. In short, the
purpose of this installation is to allow them to
understand the importance of light especially
in darkened areas and how light is able to
lead them through a path.
 Olafur Eliasson
'Moss Wall'
Floor to Ceiling,
10m in length

Olafur Eliasson Zimoun Hannes Zweifel & Zimoun

'Rainbow Assembly' Pablo Bernardini 'Untitled' 'Untitled', 00:55minutes
Machinery installed under 'Vacuum' Each pole is 3cm in Video screening area
the flooring to produce mist. Light projected onto diameter and 3m in height.
different wall surfaces.

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.