Y3S2 Creative Process Journal

Y3S2 – LASALLE COLLEGE OF THE ARTS 1

CREATIVE PROCESS JOURNAL 2

Y3S2 – LASALLE COLLEGE OF THE ARTS FOREWORD The Creative Process Journal (CPJ) for this semester in the final year is meant to serve as both a reflection in process and documentation of thoughts and progress of both dissertation and studio projects, because of the high connectivity in the nature of both parts that would not make sense without the presence of each other: which is why this version of the CPJ is meant to include for processes and feedbacks for both the dissertation module as well as the studio module. 3

CREATIVE PROCESS JOURNAL The format of this Creative Process Journal follows a chronological order, in which it is intended to be read from start to finish, sequentially. *** It will begin with the holiday homework that has been assigned at the end of semester one, followed by lessons in both dissertation and studio classes, with weavings of design processes concerned with studio work in the process. 4

Y3S2 – LASALLE COLLEGE OF THE ARTS CCCCC HHHHH RRRRR OOOOO NNNNN OOOOO SSSSS ! You may start reading ! 5

CREATIVE PROCESS JOURNAL WEEK 0 – HOLIDAY ASSIGNMENT (Feedback) The holiday assignment begun with sourcing for visual references that would aid in bringing further clarity in my key visual that would be one step forward from the key visual that I’ve done in semester one. Since most of my deliverables this semester are print-based or in the form of presentations, I have sketched for more ideas in the forms of sketches instead of visuals or objects that would’ve occurred in other instances. I have also decided the timeline of the project to flow according to this time phases. Collaterals would then be designed to prepare for leading up to each part: 6

Y3S2 – LASALLE COLLEGE OF THE ARTS Part I (leading up to trial workshop) (Week 1 - 5) 1. Workshop Key Visual Key Visual that will be appropriated to the rest of the collaterals 2. Published Script / Manifesto A script and manifesto to the descriptions in running of the workshop. 3. Workshop Slides The slides serve as instructional and verbal guides to which the speaker will establish the workshop on. The artistic direction will be similar to that established in the flyers and posters. 4. Workshop Handouts A simplified instructional booklet to the exercises that will be carried out in the workshop. 5. Visual-Tool Aids for the workshop Designed printed artefacts that selected exercises in the workshop would require. This would include the 3 Horizons template which will be large and suitable for mapping. Week 6 (Trial Run) 7

CREATIVE PROCESS JOURNAL WEEK 0 – HOLIDAY ASSIGNMENT (Feedback) Part II – Revising collaterals, Prepping for Actual Workshop (After Trial, Week 6-7) 1. Workshop Flyers + Posters + Decals (Key visual adaptations) Event flyers and posters that will be distributed around level 3 studios across the BA faculties within LASALLE College of the Arts. 2. Published Script / Manifesto A script and manifesto to the descriptions in running of the workshop. 3. Workshop Slides The slides serve as instructional and verbal guides to which the speaker will establish the workshop on. The artistic direction will be similar to that established in the flyers and posters. 4. Workshop Handouts A simplified instructional booklet to the exercises that will be carried out in the workshop. 5. Visual-Tool Aids for the workshop Designed printed artefacts that selected exercises in the workshop would require. This would include the 3 Horizons template which will be large and suitable for mapping. 6. Documentation of Workshop (Website) Documentation of workshop and its outcomes in the means of a website. 8

Y3S2 – LASALLE COLLEGE OF THE ARTS Part III – After the Workshop (Week 8) 1. Designed Artefacts as outcomes of the Workshop These artefacts will exist as objects, assemblages, 3D printed objects, 2D designed prints, or multimedia formats. Grad Show – 14th May 2020 1. Workshop Flyers + Posters + Decals (Key visual adaptations) Event flyers and posters that will be distributed around level 3 studios across the BA faculties within LASALLE College of the Arts. 2. Published Script / Manifesto A script and manifesto to the descriptions in running of the workshop. 3. Workshop Slides The slides serve as instructional and verbal guides to which the speaker will establish the workshop on. The artistic direction will be similar to that established in the flyers and posters. 4. Workshop Handouts A simplified instructional booklet to the exercises that will be carried out in the workshop. 5. Designed Artefacts as outcomes of the Workshop These artefacts will exist as objects, assemblages, 3D printed objects, 2D designed prints, or multimedia formats. 9

CREATIVE PROCESS JOURNAL WEEK 0 – HOLIDAY ASSIGNMENT Reflections Knowing the rubrics and having established an earlier system of working in semester one had allowed for a smoother transition of working styles and formats this semester. It has definitely sped up the working process and time allocation to the tasks at hand. However, with such, as much as I am knowingly working at a faster speed, the amount of expectations placed on myself is also greater. But I believe that this little added bit of push and determination would help in the designing process because the timeline for this semester, at least for myself, is shorter compared to other peers, for there are two parts to how this semester should go. There is also an apparent growth in the knowledge of directing the body of work cohesively as a body as opposed to distinctively separate collaterals as compared to the beginning of last semester, which would not have been possible if I did not push myself as hard last semester as well. A lot of what I have now is a consequent of past efforts made in the last semester, which goes to show of the nature of design as an incremental process in which one builds upon after rounds of trying and experimenting. The goal is to do it at a comfortable pace and not tire yourself out before it is said to be done. 10

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 1 – Dissertation Class 7th January 2020 Briefing The first dissertation class began with a briefing on the upcoming submission of the dissertation. It was made clear that interview transcripts should only be included if the student has already done them, if not students are to prioritise the dissertation writing and transcribe the components that they will be referencing only. For my case, I have long gone ahead and transcribed the interview and decided to include the transcripts in full in the appendix of my paper. I feel that it is always good to start early and be consistent in work progress. Leaving things until the last always culminates in disasters. Along the same strain of thought, it was noted that there will be incremental work and check- ins across the cohort. For instance, week 4 is the check-in date for the first deliverable to be ready. 11

CREATIVE PROCESS JOURNAL WEEK 1 – DISSERTATION CLASS Group Discussion Stanley notes that in the latest update that we provide for him that we would be looking at chapter 3: discussion as well as the lessons drawn. He will also be going through issues noticed via online updates, specifically on the chapter that supports your stand on something important that you have to say in relation to the key argument of the paper: to connect primary with secondary research and explicitly make clear your points in an attempt to prove or disprove a point previously mentioned. In doing so it is important to quote any statistics specifically and remember to paraphrase quotes from the interviews. 12

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 1 – DISSERTATION CLASS Reflections The feedback that I had gotten from Stanley specifically were of minor grammar here and there, but the key comment was the structuring of the essay’s chapter 3. Initially I had structured the chapter in terms of its methods and thereby the analyses, but Stanley later revealed that the whole point of the chapter was to facilitate discussion and thus needed to be organised in terms of key insights. At first, I was baffled with such an idea, but later came to think of it as the right step forward. It only felt alienist because I have been used to writing in such a structure since the start of the dissertation. It was definitely something I could do, as long as I take time to sit down to really restructure the chapter and making sure that they still convey the same intended message. The learning lesson here is also to not always be too quick to be affirmative about processes that happen be it in dissertation class or studio sessions, but to look of it as a continual progression and incremental work that gets better each time you look at it. 13

CREATIVE PROCESS JOURNAL Week 1 – Studio Class 9th January 2020 Briefing The studio session began with an induction briefing, firstly with the timelines that would follow in this semester. Week 7 is the work check, 12 the open studio, and 16 the final submissions and Viva Voce, a 7 minutes seminal presentation. There would also be round table sessions, open critiques that allow for original voice for visual and verbal expression. It was also rehashed that the work in semester one established the topic’s history as a contemporary issue, while semester two establishes the project in its acts of application, explanation, provocation and peer contribution. Referring back to Blooms Taxonomy and aligning that to semester one and two, semester one is of analyses (identify, analyse, organising ideas, recognise trends) while semester two would be using old concepts as a basis for new ideas (design and invention, composing, imagining, inferring, modifying, predicting, combining). 14

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 1 – STUDIO CLASS Briefing In this semester, term one would involve user- testing and visualisation in context. Term 2 would be the actualisation of the project (in- situ/real-world) and the showing of outcomes of the in-situ. For workshops and exhibitions, an in-situ report that documents the process of the initiative is required. There will also be student research seminars starting from Thursday Week 5, a 7 minutes presentation followed by a 3 minutes Q&A of the student’s current body of work. There were also pathways in which the works could be matched with in order to establish a stronger narrative. It is to note that they are fluid: certain components of each pathway can be replaced laterally in the process. They are: 1. Provocation > Evidence > Test > Exhibition 2. Speculate > Experiment > Production > Artefact 3. Problem Solving > Investigation > Comparison > Solution 4. Narrate > Focus> Methodology > Reflection 15

CREATIVE PROCESS JOURNAL In such, a preferred route of my project would be: Provocat Evidence and Prod > Artefac 16

Y3S2 – LASALLE COLLEGE OF THE ARTS ation > e > Test duction ct *Noting that such examples of pathways are malleable and highly adaptable. 17

CREATIVE PROCESS JOURNAL WEEK 1 – STUDIO CLASS Open Critique The open critique began with us pinning up our works in the main atrium of the studio, and selected students were invited to talk about their work along with explanations of their sketches and intended pathways for semester 2. Recorded down are some of my thoughts and notes of which they have presented for. 1. Arsh - interesting premise of memetic political cartoons - however, pressing need to consider autonomy of designers, to consider our actions and accountability - unexpected outcomes of ‘fake news’ or misrepresentation of actual events may also occur - the original stance of the cartoonist is also lost with such an intervention - look at Sonny Liew - getting people to understand his comics via participation workshops 2. Vena - Exhibition on the Torajans - Gave a room sheet setup but did not consider what exactly are the artefacts and the format in which the exhibition will be designed - Location of the exhibition: if in Singapore, why? If the project is meant to raise awareness of the Torajans in the local community, then why have the exhibition in Singapore? 18

Y3S2 – LASALLE COLLEGE OF THE ARTS 3. Adriel - a visual study in filmmaker’s styles by referencing other film makers in his own production - unclear project objective - celebratory? educational? - design something because there is a reason to do it, e.g. merging Indonesian or less-known styles with the studied and established styles - For whom? - not for filmmakers, intrinsic need to convey who its communicating to 4. Keith - AR - participatory, co-creation: expanding library of sources with user input - exhibition: showcasing body of Singapore work not of economic value but of socio-political causes - aim: to let the everyday Singaporean know that creative things exist and they can be creative too - good example: Singapore Bicentennial 5. Michelle - Establishing collection of research of data in a website of loosely represented local brands having case studies on themes models as well should have been done in semester one - To question what is for semester two - the intrinsic project objective is..? - proactive: championing local brand, or changing behaviour towards local brands? 19

CREATIVE PROCESS JOURNAL WEEK 1 – STUDIO CLASS Open Critique 6. Darren - the disconnect with what the advertising industry provides vs what criticality’s the buyers have - to make more engaging and personal in advertising - a ‘fake’ agency to support the strategy in educating new designers about the possibilities of alternative strategies - considers what the ‘agency’ could produce via discovery, for instance posters on the independent explorer (referenced from 1984’s Hitchhiker’s Game), personalised guide to experience the plan - to think maybe also about speculative design sprints for specific industries - need to try and apply it on specific brands and compare outcomes 20

Y3S2 – LASALLE COLLEGE OF THE ARTS WEEK 1 – STUDIO CLASS Reflections After the first round of open critique session, I ruminated on the overarching theme that would bind my studio project, and came to a conclusion of a speculative imagining agency. The artistic direction for this semester is modelled after a speculative-investigative agency the exists in an Anthropocenic landscape within Singapore. In the manner of participatory imagining workshops, the agency calls for millennial designers from multi-disciplines to gather and participate in imaginations of speculative outcomes as a response to the Anthropocenic era. The collaterals belonging to this participatory imagining workshop are efforts of the agency. The collective of these collaterals serve as informative dockets that the agency would collect and design off. The designer’s role here is to act as a member and volunteer within the agency to collate these formats of information which will be curated and exhibited at the graduation show. Noting that the timeline was tight, even though the work needed for next week’s pinup is only two outcomes and two ideas, I went ahead to ask Stan if I could go ahead with sketching up more ideas for next week, since by week 5 they would have to be ready for the trial run of the workshop. Stanley approved of the idea, and I took the assignment home to accomplish. In the process of doing so, Stan told 21

CREATIVE PROCESS JOURNAL WEEK 1 – STUDIO CLASS Reflections us to look at the look and feel of the deliverables as well as possible layouts that the deliverables by week 5 could look like. Stanley has also noted that it is important to keep him updated on processes, especially when the alternate week consultations puts more authority on our individualism and independence. Always come prepared with sketches or ideas, move on to refining sketches and always start with the most important outcome. The is also a reconsideration of target group meant specifically for the workshop, specifically Singaporean Millennial Designers. It is more of a practical reason to involve specifically designers who are born in the millennium, as a means to leverage on their already creative aspect of their everyday go-to job scopes. This is because i) they are the target audience that is already concerned about the issue, and ii) they have the competency to conceptualist ideas of deeper depth. This is hereby not attempting to discriminate non-designers or creatives, but placing an obvious and more practical concern as to having an intensified depth of the imagining outcomes. It would also be noted that should the impacts project objective workshop is not limited to millennials; this would be a plus point if it becomes more widespread to larger audiences. 22

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 1 – Weekends 11th January 2020 Sketching for the Key Visual The key visual involved using humans as arching visuals, in this case the Vitruvian man. The Vitruvian Man stands for: - The divine proportion/the perfect proportions of human beings, - In the Vitrivian theory, it represents strength, functionality and beauty of the human frame By using such a reference, it brings out the last of beauty in mankind in the Anthropocenic era, of humanity standing together in perfection. Such a reference is amplified using male and female models that join hands in a stronger symbolism of humanity standing together. 23

CREATIVE PROCESS JOURNAL WEEK 1 – WEEKENDS Continuing Metahaven The stylistic representation of the key visuals that surround the body of work would still be related to that of Metahaven’s. Metahaven is out to dismantle the notion and the dangerous powers of branding and to combat it with a new aesthetic of politics. In times when post-internet art has blurred the lines between fashion, art and (corporate) design and post-factual politics have shown that the ability to (visually) trigger emotions has become the most important skill a politician can possess today, designers can be filmmakers, publishers and political activists. https://www.sleek-mag.com/article/metahaven-sleekart/: Founded by Vinca Kruk and Daniel van der Velden, Metahaven ingeniously creates odd assemblages into a variety of art forms ranging from installation work to apparel. Their work, both commissioned and self-directed, approaches branding and identity in such a way to depict contemporary forms of power, in an age where power is especially designed to exclude as many people as possible from its operating system, its code. https://theinfluencers.org/en/metahaven They are particularly interested in an aesthetic of transparency at the intersection of design, architecture and pop culture. http://transparencies.de/en/metahaven/ 24

Y3S2 – LASALLE COLLEGE OF THE ARTS Digital Art fundamentally changes the relationship between artist and viewer. In Digital Arts, the viewer has the potential to become fully instrumental to the aesthetic experience far beyond that possible in traditional work. Furthermore, with networked technology the artist cannot define the exactnature of the experience alone or prior to an audience experiencing it. https://www.researchgate.net/publication/319560341_ The_Aesthetics_of_The_Artificial_-_Critical_Design’s_Lost_ Dominion A sense of the uncanny pervades much of Metahaven’s work, which draws on the heavily mediated visual detritus that defines the corporate and government worlds. Microsoft’s pre- installed font package, drop-shadow effects, garish colours, pirated logos and other dated graphic elements are the marks that make the work feel vaguely familiar yet perfectly pitched. https://frieze.com/article/what-metahaven ... I would say its about preserving the special quality of not having a routine formula. ... Now I’m interested in the sort of politics that point to the hidden ideology of critical design itself. If you talk about the ideology of critical design in the late 90s, you could talk about Dunne & Raby, Design Noir and the hidden narratives of consumer objects. What are the secret narratives of electronics? ... But again, critical design from the 90s no longer produces the same effect. We’ve seen other things. And we’ve seen a total breakdown of the free market and social democratic ideology, yet without another model taking over. We fully experience the ‘lack’ or shortage of a new model that Ulrich Beck talked about in his “Risk Society” thesis, written over two decades ago. ... Exactly. They (settling for comfy zones) challenged us. And that’s so valuable. https://thatnewdesignsmell.net/daniel-van-der-velden- explains-himself/ 25

CREATIVE PROCESS JOURNAL WEEK 1 – WEEKENDS Continuing Metahaven In short, Metahaven has intentions of criticality in design by: • Defying powers of branding • Combats norm with new aesthetics • Provokes intentions of design • Drawing heavily on mediated visuals of corporate and governments • Challenges comfort zones of commonplace aesthetics • Reaches wider target audience And thus In illustrating these unknown futures about the humans with a Metahaven aesthetic, I was looking through references to Metahaven in the anti-establishment with the pattern in the typography as well as ultra-serif typfaces that are brutalised and bevelled. The current typography is an adaptation and a step further from last semester’s treatment. Lens flares are added to simulate the posturing of futures along with the gradient representing fluid futures. 26

Y3S2 – LASALLE COLLEGE OF THE ARTS 27 Brutalist Typefaces, Flares and Gradient Futures

CREATIVE PROCESS JOURNAL WEEK 1 – WEEKENDS Crafting the 1st Key Visual 1. I had first sourced for free 3D models for a man and woman who was in the Vitruvian Man’s stance, and modelled them to make sure they were applicable as visuals in different renders. 2. I then appropriated the gradient from last semester, a metaphorical use of transients in the representation of ‘flux’ and ‘futures’, and applied them onto the models. 3. Then, referencing highly from the visual references sourced, I sketched out certain elements that could go into the key visual. 4. After some comments from the first draft, some peers feedback that it was perhaps too similar a format to the original reference, more of a format similarity than an aesthetic one. 5. I decided to consult Stanley on the next studio class to see what his comments were. 28

Y3S2 – LASALLE COLLEGE OF THE ARTS 29

CREATIVE PROCESS JOURNAL 1.0 Key Visual References LOOK FEEL LAYOUT/FORMAT LOGOS 30

Y3S2 – LASALLE COLLEGE OF THE ARTS 1.1 Sketches for Key Visual 31

CREATIVE PROCESS JOURNAL 2.0 Published Manifesto (A5-Size) FORMAT LAYOUT TREATMENT 32

Y3S2 – LASALLE COLLEGE OF THE ARTS 2.1 Manifesto Sketches 33

CREATIVE PROCESS JOURNAL 3.0 Presentation Slides LAYOUT STYLES 34

Y3S2 – LASALLE COLLEGE OF THE ARTS 3.1 Slide Sketches 35

CREATIVE PROCESS JOURNAL 4.0 Workshop Handouts (A4 Size) FORMAT LAYOUT 36

Y3S2 – LASALLE COLLEGE OF THE ARTS 4.1 Handout Sketches 37

CREATIVE PROCESS JOURNAL 5.0 Workshop Flyers (A4 Size) FORMAT ONE LAYOUT FORMAT TWO 38

Y3S2 – LASALLE COLLEGE OF THE ARTS 5.1 Flyers Sketches 39

CREATIVE PROCESS JOURNAL 6.0 Workshop Documentation – Website 40

Y3S2 – LASALLE COLLEGE OF THE ARTS 6.1 Website Sketches 41

CREATIVE PROCESS JOURNAL WEEK 1 – WEEKEND JOYWORK Reflections I think that sometimes it takes one’s wisdom to push certain work qualities to its maximum before we can truly say, “okay, maybe that’s enough and perhaps I should take some time off from my current work to hear from others and look at it again with keener eyes.” That sense of insecurity has always been a huge part of my work process, that unknown and fleeting nuance in never knowing how the outcome could result in. And perhaps that is okay. Perhaps as a designer, as a creator, revelling in the unknown once in a while and being lost is crucial in the leadup to greater forms of creations and work. Perhaps saying ‘I am exhausted now, but hey maybe if I give it a go tomorrow, things will look better,’ can be a way out too. Press on! 42

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 2 – Dissertation Class 13th January 2020 Process and Thoughts: The dissertation class dived right into that of a consultation. The first comment made by Stanley was a point brought up by my friend Daryl, who questioned if malleability would be more of a bane than boon for curious design practitioners; Stanley’s point was that whilst maintaining its malleability, it should be a guided workflow made to be adapted and changed later and should not be a hard and fast rule to practice CD. When opened up to practitioners, there is need to consider and have concern for which stage the notion of the workflow being participatory should be opened up at; ideally there should already be some discourse that exists within the context that it is going to be applied upon. It is also to be noted that for the designer to take lead we must provide the context and information required to allow other participants to agree on the project. It is thus important for the designer to be clear on 1) when such workflows are needed and 2) the profile of the people included in the participatory imagining process and who you are opening the participatory imagining process to. ... 43

CREATIVE PROCESS JOURNAL WEEK 2 – DISSERTATION CLASS (continued) It is also important that malleability is a designer’s choice and decision on what can or would be prioritised. Malleability in forms of content analysis can happen also, such as choosing the appropriate lenses for imagining for transitions. Kayla’s insight from the exercise docket also proved valuable insights, such as not just the implications and importance for such imagining projects but also their important role, as well as the need for important instructions that need to happen within such workshop formats for imaginings to be clear and succinct. It is however, to be noted that we only have Kayla’s insight; it is prudent to test the workflow with an actual audience an see what can be improved on. 44

Y3S2 – LASALLE COLLEGE OF THE ARTS Week 2 – Studio Class 15th January 2020 Mass Criqitue: The studio session delved right into the class’ mass critique session. Students were selected to talk about their work, elaborating on their sketches and intended pathways for semester 2. Recorded are some of my notes that were taken during the session. 1. Fai - intended to hold a mini exhibition with a type workshop - there was need to consider the context and intention for the exhibition, who it is meant to reach (whether type designers or calligraphers) and whether it is meant to look for a methodology that works for type design - some comments made were whether Fai could consult the Arabic Association fo Singapore to collaborate and to be more site specific with her intentions - the school as a starting focus is good, but identifying a bigger player would be beneficial (considering costs, venues, logistics) - it is also important to identify the best format to design and address the right target audience 45

CREATIVE PROCESS JOURNAL WEEK 1 – STUDIO CLASS Open Critique 2. Jun Kiat - identifying his own role and autonomy in the project (having his own say) is important, and ultimately not just end-up as a in-house designer - there is also need to expand beyond the zine & publication, even if the zine is the only thing that the organisation sees value in - he can still create separate collaterals on the side as additional portfolio or further chances in expanding his range of work 3. Anusha - on the topic of slums - architecture and residents vs. its social dynamic - concerned in its process of redevelopment, employment and commuting to work as factors; educating the locals on what development entails - ideally through non-electronic/news media, means of communications need to be quick and simple - need to consider what the binding factor to the timing of the distribution is - weekly updates? (why weekly?), via brochures? Or talking to them personally? - of participatory means, for volunteers from smalls scale organisations to communicate to them and have two way discussions with them - there is a need for the project to be more centric focused - the current audience is too wide a web to handle as a final year project alone - need to consider other parties who may be involved, 46

Y3S2 – LASALLE COLLEGE OF THE ARTS like grassroots or NGOs - the benefit of such a project is because it is a real-life project with actual consequences and benefits on said target audience 4. YiXuan - on games and aggression - parents think that gaming affects the lifestyles of children - there is a tendency to blame the game - instead, the project focuses on healthy gaming habits and aims to teach parents on how to cultivate healthy gaming habits - done through moderating screenplay duration, awareness in moderation - there is however need to consider credibility of the student as an individual wrt. her authority within such an issue; there is a need to work with organisations to have credibility in the campaign, but still having creative control - using creative tactics to entice collaborators 5. QiShan - narrative architecture to human interaction of the place - Golden Mile - Markings of the palace of inhabitants, such as doors or stairs, in the manner of publications and illustrations - with such, there is a need to consider what does the project aim for - apparent gaps and disconnect in the project - such as collective memory of the space but makes no sense if much of the places of residence are prohibited - What is the narrative tale here too? Are they long-term significance; who needs it, and why do we need it? 47

CREATIVE PROCESS JOURNAL WEEK 1 – STUDIO CLASS Open Critique - Is the collective memory a means to educate the speculative ‘preservation of a building? A cautionary tale for another iconic piece of architecture? 6. Joseph - utilising space and colours in fast fashion - invites individuals to interact w the space - could be a speculative experience in retail, but need to consider the goal of the outcome, the one thing he wants to say with such a method of representation - bringing back shopfronts/visual merchandising 7. YiJun - Buddhist material culture - space incorporates material culture, but need to reevaluate cultural appropriation and its definitions within the project - perhaps she could speak with people who think that appropriation is not good, or looks at things superficially rather than blanket statement - also the credibility of the self, if in the formate of an exhibition (authority) - to reflect on multiculturalism 8. Agnes - to rethink the key idea that plagiarism is okay, but to think of the means of construction as a sped up means of production in working to test it out 48

Y3S2 – LASALLE COLLEGE OF THE ARTS - it is inherently dangerous for such a topic to exist with the key idea that plagiarism is okay, especially within such a specific field where authenticity is the thing most people champion for. It may go wayward if not handled well and tactfully, and may end up as a project propagating plagiarism 9. HuiMing - Use of ethnographic study within Ang Mo Kio estates - Goal: To foster social inclusion for elderly at rented housing. They are lonely but not lonely ?? - Primary Research findings through Cultural Probe: Lack of social cohesion, go to void deck but not much activities together - Creating better lighting and airflow at dark corridor - Mobility issues, DIY create their own space - Aim: To create s flexible space with modular furniture and create sub-communities. A model that is portable - Creating different spaces at every level - Integrating activities than just furniture, give them a purpose to socialise, a system that encourages socialising but find out what they really need - using objects and visualisation as interactive mediums - IMO interesting if actualised - could reference the People’s Studio, related activities pertaining to Singaporean HDB dwellers - inclusivity - relatability of context is important 49

CREATIVE PROCESS JOURNAL WEEK 2 – STUDIO CLASS Reflections Mass Critic I had the courage to pick myself up and presented voluntarily at the end of the session. I thought it helped align and make specific some of the doubts that I had with regards to my project; questions posed were clarified and updated in my design brief. It was, however, still overwhelming to be doing public speaking in front of a mass crowd. I immediately zoned out shortly after, but was glad I gave it a shot anyway. Workshop logistics After which, I consulted Stanley with regards to the necessary arrangements and logistical needs of the workshop. There is first a need to consider the credentials of the invitees. Selecting people with the right academic or creative rigour and not just ‘ordinary’ millennials would mean deeper imaginings, whereas opening it up would equate to inviting people who are genuinely concerned about the issue of climate change. A need to consider prior industry experience (may exist in the form of internships) may be a criterion too. After much thought, I decided that it be both, that I pen the sign up sheet but be selective about the applicants and select the applicants with half of them with creative rigour selective and the other half open up to individuals keen on the topic? 50