Tag: Do Not Design

Constructing Singapore for the Venice Architecture Biennale

From its first foray into the Venice Architecture Biennale over a decade ago, Singapore has sought to project an image of a city-state defined by progressive architecture and urban planning. As part of efforts to develop itself into a creative city since the millennium, the city-state began participating in both the the art and architecture editions of the Venice Biennale, a world’s fair for the avant-garde.

But while Singapore’s participation in the art biennales have largely been driven the interest of individual artists (and handled by the National Arts Council), the architecture pavilions commissioned by the DesignSingapore Council, the national design agency, are closely tied with how the state sees the city. From the claim that the world’s population can be housed in a thousand Singapores to the latest presentation on how the state is co-creating a city with its citizens, here is a lookback at Singapore’s 5 architecture pavilions. (This piece was inspired by The Substation’s on-going competition to dream up alternative visions for Singapore’s participation in 2018.)

 

Catalogue cover for the “Singapore: Second Nature” exhibition.

2004—Singapore: Second Nature
Commissioner: Dr. Milton Tan, DesignSingapore Council
Curator: Dr. Wong Yunn Chii, National University of Singapore

In an effort to promote local designers overseas, the then newly set-up national design agency, DesignSingapore Council, debuted at the 9th biennale with Singapore’s first national pavilion. In response to the theme of “Metamorph”,  “Second Nature” (originally titled Tropical Genteelity) explored the relationship between architecture and nature, and how it affects Singaporeans’ lifestyles. Inside a mosaic room was images of the city’s skyline, buildings and places of significance, as well as four timeline panels that archived Singapore’s history and cultural statistics. In all, some 15 works by 13 local architectural firms and the National Parks Board were featured. Lead curator Dr. Wong explained, “Second Nature highlights the city-state’s creative ways of responding to and transforming Nature in its urban landscape. The selection illustrates the emergent conditions and the response of Singapore’s architects that is unique and exciting. It is a phenomenon that extends to a wider discourse of design.”

 

2006—Singapore Built & Unbuilt
Commissioner: Dr. Milton Tan, DesignSingapore Council
Advisor: Toyo Ito (Toyo Ito & Associates)

Design: ECO.ID (Space Consultant) / H55 (Graphic) / Dear Design Studio (Installation Artist) / Designation (Space Designer)

Controversy overshadowed Singapore’s second showing at Venice. Just two months before the pavilion was unveiled, the original curators—Dr. Erwin Viray, Randy Chan (DesignAct), Christopher Lee (Asylum), Tay I-Lin and Budi Wijaya (PlasticSoldierFactory)—quit after a last-minute rejection of their proposal, Singapore Shopping. According to a press release, their pavilion was a “flagship store” and “metaphor” that celebrated shopping and how it transformed the city and its people. It was the winning entry selected from 18 proposals.

Dr. Viray told The Straits Times that their entry was approved as Singapore’s response to the theme of “Cities, people, society and architecture” until they presented it to Dr. Tan Chin Nam, then permanent secretary of the former Ministry of Information, Communication and the Arts, which oversaw the national design agency. The bureaucrat felt the idea of shopping misrepresented Singapore and the team was asked to come up with alternatives—instead, they resigned.

DesignSingapore director, Dr. Milton Tan, called the pullout surprising and disappointing. Eventually, Ito, who was also an international advisor to DesignSingapore, worked with a new team to put together a showcase of  built and unbuilt proposals of architecture in Singapore. These included the winning proposal for Marina Bay Sands, as well as the finalists for several design competitions, including the School of the Arts and the what is today Pinnacle@Duxton.

 

2008—Singapore Supergarden
Commissioner: Dr. Milton Tan, DesignSingapore Council
Co-commissioner: Richard Hassell, Founding director, WOHA

Curator: FARMWORK, DesignAct, and ReallyArchitecture [re:act]
Design: FARMWORK (Pavilion) / MAKE (Graphic) / Eeshaun (Illustration)

More images on FARM’s website.

In response to the biennale theme of “Out There: Architecture Beyond Building,” this edition presented Singapore’s emerging design culture instead of previous building-centric pavilions. The works of 22 of the country’s new generation of creatives—including Ministry of Design, Donna Ong, Outofstock, Lekker Design, &Larry, amongst others—were exhibited on a lawn to show the creative network that made up a Singapore Supergarden. The pavilion was developed by three young architectural groups that were selected following an open call for nominations. Co-chairman of the commissioning panel, Richard Hassell, characterised this next generation of Singapore creatives as fluid in identity, highly networked, global in outlook, and the first to exist in a design eco-system supported by the state.

 

2010—1000 Singapores: A Model of the Compact City
Commissioner: Jeffrey Ho, DesignSingapore Council
Co-commissioner: Ashvinkumar, President of the Singapore Institute of Architects
Curators: Khoo Peng Beng (ARC Studio), Belinda Huang (ARC Studio), Assistant Professor Erik G. L’Heureux and Assistant Prof Florian Schaetz

Designers: ARC Studio, Assistant Professor Erik G. L’Heureux and Assistant Prof Florian Schaetz (Pavilion) | H55 (Graphic) | Plate Interactive (Website)

Arguably Singapore’s most provocative pavilion to date, this national pavilion put forth the idea that 1000 Singapores could house the entire world population—a density which only took up 0.5 per cent of the Earth’s land area. Using a 35-metres tube as a scale model to represent a slice of Singapore, the pavilion highlighted the city’s compact nature in response to the biennale’s theme of “People meet in Architecture.” The pavilion won a Design of the Year at the 2011 President’s Design Award and was re-staged in Paris and then Singapore as 1000 Singapores: Eight Points of the Compact City.

 

2012 and 2014—No national pavilions
Singapore sat out the 2012 edition to shift its focus to more trade-focused and product centric events such as the Maison et Objet in Paris and International Contemporary Furniture Fair in New York. There was notably no public outcry from local architects, unlike the Singapore arts community who publicly petitioned against the government’s decision to pull out of the Venice Art Biennale in 2013. The petition saw the country return to the art biennale in the next edition.

Architect Edmund Ng of Suying Metropolitan Studio | GETTY IMAGES

While Singapore continued to sit out the architecture biennale in 2014, two Singaporeans stepped up to fly the national flag. Local architect Edmund Ng (Suying Metropolitan Studio) and interior designer Peter Tay both showed works at the Time Space Existence exhibition organised by Dutch non-profit group Global Art Affairs Foundation.

 

2016—Space to Imagine, Room for Everyone
Commissioner: Jeffrey Ho, DesignSingapore Council
Co-commissioner: Tai Lee Siang
Curator: Dr. Wong Yunn Chii, National University of Singapore
Co-curators: Tomohisa Miyauchi (National University of Singapore), Teo Yee Chin (Red Bean Architects)

Design: Teo Yee Chin (Exhibition) | Do Not Design (Branding)

Singapore returned to the biennale with a feel good exhibition that showcased the state’s public housing programme and community-building efforts in response to the theme, “Reporting From the Front”. The highlight was a installation of 81 glass lanterns that each contained images showcasing the interiors of public housing. This was accompanied by case studies of non-governmental organisations working with the state to design the city—all examples of “participatory design, which is softening Singapore’s hardened edges,” explained curator Dr. Wong. After the show ended in November, it was showcased the following year in Singapore’s National Design Centre.

Architecture & Design Publishing from Singapore: Some Hard Truths

I was invited to speak on the topic of local publishing at Allscript x Comman Man Coffee Roaster’s “50 Titles” event last weekend. Yanda of Do Not Design selected for this event 50 examples of contemporary local books and magazines. Below is my response, a presentation on some of the titles and what we can learn about designers expanding their role in Singapore’s publishing scene.

I recently moved back to Singapore from New York. One of the things my girlfriend noticed was how difficult it was to pack my collection of architecture and design books into shipping boxes. Anyone who buys them knows how this genre of books come in all shapes and sizes, and seldom fit neatly into a box. In a sense, design books tend to emphasise a quality of difference, and I hope to explore this element in my presentation on contemporary architecture and design publishing from Singapore.

A few years ago, I fully immersed into the subject of Singapore design when I was commissioned to retrace the history of graphic design in this country. This resulted in my book, Independence: The history of graphic design in Singapore since the 1960s, which chronicles the evolution of the profession over the last five decades.

As a journalism graduate, one thread that attracted me while researching for this book was the rise of independent publishing in Singapore. From the mid to late 2000s, designers were putting out a trickle of local books and magazines, including Underscore, Brckt, The Design Society Journal, and kult. The periodical Singapore Architect had also just undergone a revamp under Kelley Cheng of The Press Room. Incidentally, this issue (#287) is her last as there is a new team coming on.

Designers who traditionally came at the end to give form to a publication are now creating the content, either by themselves or commissioning writers. It isn’t entire new nor unique to Singapore, but there is certainly a new generation of local designers who are putting together niche books and magazines all by themselves instead of trying to convince big name publishers to do them. With designers expanding their roles, what differences have they brought to publishing in Singapore?

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Déjà vu: A review of I Have A Room With Everything Too

COURTESY I HAVE A ROOM WITH EVERYTHING
COURTESY I HAVE A ROOM WITH EVERYTHING

Many would have recognized, but few actually seen IRL (in real life) the works displayed in I Have A Room With Everything Too. This recent exhibition at The Substation Gallery (2-12 July) showcased over a hundred books, magazines, and printed ephemera by design studios around the world—offering a rare opportunity to appreciate avant-garde graphic design outside the digital screen. Instead of viewing endless studio shots on infinite scroll and click thumbs up, graphic design aficionados could actually pick up design and flip, stroke, or even smell.

An annual report retold as a travel diary by Singapore design duo Couple, an art catalogue with a cover made from amusement park tickets by Indonesian studio Artnivora, and a calendar resembling a miniature pallet of printed sheets by Hong Kong based Co.Design were part of a line-up of eclectic projects assembled by curator Yanda Tan. Laid out across a single row of makeshift tables spanning the 23-metres long gallery were the mostly arts and cultural projects Tan had acquired from bookstores and designers via his art and design blog THEARTISTANDHISMODEL and recent travels to other cities.

The collection is a diverse portfolio of graphic design production possibilities which reminded visitors of “the joy of holding something tangible in our hands that took hours, days, months to put together.” But this worked only up to a point. There was little context besides the name of the designer and their city of origin in order for visitors to appreciate the works beyond design as a process of production. This was particularly telling for the foreign language publications whose contents were indecipherable, rendering them no different from a mockup by printers. Even as many of the works wowed with their cool surfaces and exteriors, the lack of details on production processes or a nod to the printers meant how the designs were created remained a mystery unless the curator was on hold to conduct a walk-through. For instance, Yoshie Watanabe’s One Plus One Crossing book is an intriguing flip book of die-cut pages, but what makes it even more impressive is it was actually a packaging designed in 2006 to hold the story behind an engagement or wedding ring. 

COURTESY I HAVE A ROOM WITH EVERYTHING TOO
COURTESY I HAVE A ROOM WITH EVERYTHING TOO

As the exhibition title suggests, the showcase is the personal inspiration library of Tan who runs the creative studio DO NOT DESIGN. The self-taught designer has clearly studied his materials well, as seen in his works which also feature in the showcase. The elaborate cut-out cover of his latest DEAR magazine and the hand-scrawled marks plus torn edges of his album design for Monster Cat both echo Tan’s obsession for the materiality of design—an aspect that the exhibition rightly points out isn’t always evident in a time where the digital image is our most common encounter of graphic design. I Have A Room With Everything Too presents graphic design in third-dimension, but still keeps it on a pedestal that is to be appreciated as an objet, rather than a material we encounter in our everyday lives.

Visitors may have felt déjà vu at the exhibition for another reason. In 2011, Tan held the first edition of a similar exhibition featuring several of the same works, such as Theseus Chan’s WERK magazines and Stefan Sagmeister’s 1998 album design for song-writer Jamie Block. Back then, Tans’ exhibition was larger and even had a day of presentations by designers. This time around there was a printed supplement featuring question-and-answer interview with designers, as well as personal essays by lovers of print.

Without the shock of the new from four years ago, I Have A Room With Everything Too was less fresh, but still a welcome relief in a city where exhibitions on graphic design remain few and far between.