Tag: Singapore Design

Singapore’s 3G Graphic Designers

As with any community that has been around long enough, there are several generations that lie within it. Identifying this is useful in understanding why they act and think differently, and helps us predict what future generations of this community could be like.

In my latest book INDEPENDENCE: The history of graphic design in Singapore since the 1960s, I’ve categorised the graphic design community here to three generations, each having different values and thoughts about graphic design and its roles. Briefly, they are:

ZERO (prior to 1980s): These were the graphic artists working in advertising agencies, sign-makers, and freelance commercial artists. Many of them were artists trying to make a living or trained as technicians in Singapore’s first design school, Baharuddin Vocational Institute. Designers of this generation were essentially craftsmen who sold their artistic skills to businesses, usually for advertising purposes.
Examples: Hagley & Hoyle · Central Design 

ONE (1980s-1997): Graphic designers of this era understood the role of good design in good business, and not just for advertising, but also in crafting a corporate image. This expanded role encouraged designers to professionalise so that they were taken seriously. These ideas came from several designs who received training overseas and returned to Singapore and started their own studios. Around the same time, the Singapore government also pushed local businesses to adopt design and take on a global market. The design industry in Singapore boomed during this period, until the 1997 Asian financial crisis.
Examples: Design Objectives · Su Yeang Design · Viscom Design 

TWO (1997-???): The arrival of the computer in the 1990s and the the Internet in the 2000s accelerated the progress of young designers who bypassed the existing Singapore design scene, and hence a generation gap. They got ideas from overseas faster and could now easily carry them out on their own. By then, Singapore had embraced globalisation, and loosened up at home as a consequence. This created new opportunities for designers to work on a very different genre of design besides corporate work, and designers became part of a growing Singapore creative community. When the government acknowledged the importance of the creative industries for its future economy in the early 2000s, the torchlight was shone upon these young creatives who became recognised as the new face of Singapore design.
Examples: :phunk studio · Asylum · H55 

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At this point in time, I’m unclear if we’ve seen the end of a second generation of Singapore’s graphic designers. In the last few years, many new design studios shave started up, but are they very different from their predecessors? It’s too early to tell.

Based on the age of studios, we could consider FARM (2005), silnt (2005), Couple (2007), Foreign Policy Design (2007), pupilpeople (2008) and Hjgher (2009) as one group, but how different are they from generation TWO? And when we compare these with the bumper crop of new studios last year — Somewhere Else, Studio Kaleido, ACRE, Roots, Relay Room, Terrain, STUDIO VBK, Swarm, Tofu  — are they another group? I’m very keen to find out.

The Heartlands: Blk 230G, Hougang, Playgrounds

I’ve recently got myself involved in a series of work that revolved around the heartlands of Singapore.

At Our Doorsteps Cover

AT OUR DOORSTEPS is a community project photographer Sam Kang Li started to get to know his neighbours better. He knocked on the doors of all the 44 units of  the block he stayed in and photographed portraits of his neighbours at their doorstep. These portraits were exhibited in May at the void deck of his block and compiled to a block album I helped Kang Li put together.

On the left is the album cover, which took reference from the elements found in the block, including the distinct coloured tiles and the lift buttons.

Find out about At Our Doorsteps through this video he made in the midst of doing it, and another after the exhibition was held.

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meet-the-people

MEET THE PEOPLE is a collection of videos that Samuel He put together over a few days in the run-up to the recent by-elections in Hougang. He wanted to reflect the voices of the people in the constituency by “eavesdropping” into their everyday conversations about the elections. During the hustings, he walked the constituency of Hougang, approaching residents to get them to talk about the elections, often putting his camera in front of them and letting it run till they forgot it was there.

Check out the videos here.

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Mosaic Memories

MOSAIC MEMORIES: Remembering the playgrounds Singapore grew up in is an e-book I authored that contains stories of four Singaporeans, including the designer Mr Khor Ean Ghee, and their memories of old playgrounds in Singapore. Inside, you will also find portraits of the interviewees by Zakaria Zainal and an illustrated map by Wee Ho Gai of where the remaining old playgrounds are still standing today. This was a publication commissioned by the Singapore Memory Project as part of their “Drawn from Memory” series.

This e-book is the third time I’ve produced a piece related to my fascination with these old playgrounds that were designed and produced in Singapore. It began with an article I wrote for Singapore Architect in 2009, which was updated with even more details and reference in my most recent piece for FIVEFOOTWAY. Mosaic Memories comes from a very different angle, featuring the playground users instead of the designs.

You can download the e-book and read an interview I did with irememberSG!

The rides of their lives

Kiddie-Rides-Singapore

Once a common sight outside stores in Singapore, kiddy rides have lost their space in the city

They come in all shapes and designs, but whether it is a swan, a horse, an elephant, a car, a boat, a scooter, or a spaceship, these machines offer children a ride of their lives. For a few minutes and a small fee, a child would be taken on a journey full of ups and downs (or lefts and rights) and cheerful music music as they made their way to… nowhere. This was the promise of a kiddy ride, a toy that brought joy to children, and relief for parents, as they went about the city.

For over three decades, Woo Hock Trading Co. has been supplying such kiddy rides to businesses in Singapore and the region. Mr Lee Kim Leng, started the business in 1980 after taking over six machines from a previous owner. Starting from a space outside a shop in Toa Payoh, he built up a fleet of over one thousand kiddy rides all across Singapore. Mr Lee’s daughter, Catherine, began helping her father when she turned 20, and over the last two decades, has witnessed the family business ride through the good times and the bad.

“During the golden age, each machine could make a 4-digit sum a month. Now one whole year, maybe I’ll only get fifty dollars,” says Catherine, who is certain the business will end with her.

The iconic round-headed swans on the top right were designed by Woo Hock, according to its owner.
The iconic round-headed swans on the top right were designed by Woo Hock, according to its owner.

According to Catherine, the first half of the ‘90s was the heydays for kiddy rides. Before the 1997 Asian financial crisis, Woo Hock’s rides were commonly seen outside neighbourhood stores and supermarkets such as NTUC FairPrice, Sheng Siong, and Oriental Emporium. Many also found their way to Indonesia, Hong Kong and even Mauritius. Businesses either bought these rides for a few thousand dollars or let Woo Hock place one outside their storefronts and shared the profits.

As the industry was very competitive then, Woo Hock started designing its own rides to stand out from those usually imported from Britain, Germany, Taiwan and Japan. One signature Woo Hock design is the duckling, which still appears on the company’s name card and its fading shop signage. However, this design was later copied by competitors who bought the mould from the manufacturer without their permission. Other rides designed by Woo Hock include models resembling a Vespa scooter and a boat, both which have been very popular with children.

Besides appealing to children, the rides also have to be designed to be safe. Woo Hock only supplies rides made of fibreglass, which last longer and are safer than those made of PVC. Catherine is proud to say that no accidents have happened on Woo Hock’s rides after all these years. Their designs have failed in other ways, however. Inside its shop, where the rides are serviced and stored, sits several rejected models. There is a race car so shallow a child may fall off, and there is a rabbit whose height is such that a child might hit its head on it during a ride. As we pass by another animal-shaped ride, Catherine asks if I could guess what it was.

A Merlion-shaped ride that looked more like a pig, turning away Muslim children especially.
A Merlion-shaped ride that looked more like a pig, turning away Muslim children especially.

“A Cow? A Pig?”

“Aiyoh, you cannot tell?” she said as she giggled embarrassingly. “It’s a Merlion! Don’t look like meh?”

This is one of Woo Hock’s design that failed. After investing S$30,000 to create the mould for manufacturing this ride, they found that nobody dared to ride it, especially the Muslim children, who thought it resembled a pig, an animal considered taboo in their religion.

Kiddie Rides Singapore 2
While Woo Hock kept on designing new rides to appeal to children, it did not stop its business from declining post-1997. Children had more alternatives for play, and clients also preferred rides featuring global cartoon stars like Mickey Mouse instead of Woo Hock’s designs. But what really killed the business was after an incident in 2007 when two siblings were killed in a fire at their public housing home in Hougang, says Catherine. When the brother and sister tried to escape, they were trapped by the stockpiles the businesses downstairs had left outside their shopfront overnight. The tragic incident led the authorities to clamp down on shopfront clutter, and as businesses found less space, kiddy rides no longer had a place in the neighbourhood.

Today, Woo Hock’s shop along Lichfield Road is a forgotten abode for its remaining kiddy rides. Once bustling with 6 workers and three vans, the shop floor has become the extended home of Mr Lee and his family who live upstairs this shophouse. A single van is now parked outside. While they used to work from morning to night with no holidays and off days, they struggle to find something to do now. Recently, Catherine even had to throw out some 300 pieces because there was not enough space for these rides, which used to call the city outside their home.

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A feature written for FIVEFOOTWAY magazine’s issue on PLAY