#new bahru

[tevyontum]

WOII: Week 4 & 5 - Design Analysis and Field Trip

Objects carry layers of meaning beyond their practical use. They are extensions of our identity, memory, and values. 

Our activity was to bring objects to class and as a group, select 2 objects under different themes. We chose memory and materiality. Memory in objects carry the experience, emotions, and associations tied to the object. The materiality of objects are its physical properties; texture, weight, color, shape, and scent. With “memory”, objects act as triggers, accessing memories. With “materiality”, it affects how we perceive, handle, and emotionally connect with the object.

The next activity we selected objects from the class under a different theme, “humor”. Objects can be humorous in different ways; physically and emotionally. Physically, they could stand out in comparison to other objects. Emotionally, there is a backstory that triggers the humor in it. 

During the New Bahru field trip, I came across a plant from soilboy which I thought connected to “humor” quite well. It was visually funny looking because the roots/trunk/branches were intertwined and looked like humans having intimacy to me. 

Furthermore, I explored objects under a new theme on this trip, “structure”. I had no plan on the types of objects to photograph but after looking through them, I tend to capture objects that follow or challenge the idea of manmade vs natural. 

Manmade objects are created, designed, altered by us for a purpose. They often express identity, creativity, or status and reflect human intention and imagination. 

Natural objects occur without human invention. They often symbolize connection, temporality, or grounding. It is a reminder of life. 

Some objects are made to look natural. They are crafted to mimic natural forms in order to create a sense of connection to nature in spaces where it’s absent. 

Objects carry memory, meaning, and emotion. They act as storytellers of who we are. They blend materiality and imagination, turning the simplest form into reflection. 

(316 words)

Works Cited

“OBJECT | Meaning in the Cambridge English Dictionary.” Dictionary.cambridge.org, dictionary.cambridge.org/dictionary/english/object.

“Unicus Olympiads.” Unicus Olympiads, 2018, www.unicusolympiads.com/concepts/how-do-materials-like-cotton-or-glass-show-natural-vs-man-made.

Vedantu. “Natural Things in Biology: Definition, Types & Examples.” VEDANTU, Vedantu, 30 Nov. 2021, www.vedantu.com/biology/natural-things.

[vforvernise]

WOII | Week 4&5 -Design analysis & Field trip

Although I missed the field trip to New Bahru with my classmates, I decided to visit the space alone. This became a valuable opportunity for me to observe and analyse the environment from my own perspective, without being influenced by others’ interpretations. Experiencing the space independently allowed me to slow down, notice details more carefully, and form my own understanding of how design operates within a real commercial setting.

New Bahru gave me a deeper understanding of how brands use design not only visually, but experientially, to engage their audience. One example that stood out was Make by GINLEE. Instead of relying on traditional posters or printed promotions, they used their bags as a medium for storytelling and advertising. This allowed visitors to physically touch, hold, and interact with the material. By transforming a functional object into a promotional tool, they blurred the boundary between product and advertisement, making the experience feel more personal, tactile, and memorable.

Similarly, Beyond The Vines made strong use of colour as a defining part of its brand identity. The store was filled with bold and vibrant tones that immediately captured attention and created a strong visual presence. This consistent use of colour reinforced brand recognition while also shaping the mood of the space. It encouraged visitors to feel more open and curious, naturally drawing them into the environment and inviting exploration of the products.

From this experience, I learned that design is not just about how something looks, but how it shapes behaviour, emotion, and interaction. Both brands demonstrated how thoughtful spatial and visual design can influence how people move, feel, and engage within a space.

This experience has influenced my own design process by encouraging me to think beyond static visuals. I now consider how my work can create interaction, evoke emotion, and build meaningful experiences that stay with the audience beyond first impressions.

Word count: 283

[juhaaa24]

WOII | Week 4 & 5 Design Analysis and New Bahru Field Trip

This lecture really made me think deeply about craftsmanship for the first time. I was impressed by the artist Kelly Limerick. I actually saw her work in person at the MBS Art Fair before. She explained that crochet is her language. It was amazing to see how she takes a simple ball of yarn and makes it a special meaning through her stitches. I think craftsmanship is basically the voice of the maker. Last time, I used to look at the design of an object only. But now, I started to think more about “Why did the maker choose this material? and what were they trying to say?” For the class activity, our group theme was Functionality. It was very interesting because I realised that even the same object can be seen in many different ways depending on our category. This class really changed how I look at the things around me.

I focused on lighting during the field trip. Most of the lights are technically functional but I wanted to categorise them differently. I noticed some of the lights seem very useful for houses, but some of their designs are too special and I do not think it is easy to fit in just random places. So I categorised them into “utility vs emotion.” Some lights, such as the linear crossed LED and the woven rattan ceiling light brighten up the space efficiently, with minimal attention to decorative form. But, something like a meteorite shaped plastic light and circular thin fabric light creates soft diffusion. These lights were less about brightness and more about atmosphere and mood. The material choice played a big role in shaping this difference. I think the hard materials and exposed structures produce light directly and more focus on lighting but the textured and layered materials softened the glow. This made me realise that even when the function remains the same, the emotional experience of light can change completely depending on form and medium.

(325 words)

References :

“ The Originals – Crochet Artist, Kelly Lim.” YouTube, VisitSingapore, 12 Sept. 2017, youtu.be/EVsGLQ3e26M?si=FyLRjwKDFc7iBO0w. 

[beixiann]

World of Ideas and Imaginations, WEEK 4 and 5 How to Analyze a Work of Design / Field Trip (New Bahru)  — AY25.26 WOII 

In Week 4, we were asked to bring three objects that we felt were thoughtfully made, handmade, or visually and materially engaging. This activity pushed me to look past an object’s basic function and pay closer attention to its texture, structure, and the intention behind its design. We extended this exploration during our field trip to New Bahru, where we searched for new objects that connected to and expanded on our original selections.

For this exercise, I chose objects that felt meaningful because of their handmade quality and material character. The crocheted dolls stood out as they clearly show the maker’s hand through their stitching, texture, and slight imperfections, which give each piece a sense of care and individuality. The yarn material also adds warmth and tactility, making the objects memorable beyond their visual appearance.

I also selected everyday items such as fabric pouches and small containers, which may seem simple but are well-crafted through their construction, durability, and thoughtful use of recyclable or reusable materials. Together, these objects reflect intention in both making and use, showing how design can be expressive, personal, and rooted in material choices rather than just function.

The first object stands out because of how it combines different materials to tell a story. I consider it well-crafted as it invites touch and close observation, rather than only being viewed from a distance. The layered use of materials such as mesh, embroidery, and small textured elements creates depth and turns the surface into a physical narrative. Instead of relying on images alone, the object uses texture and form to suggest ideas of nature, labour, and sustenance. This makes it memorable, as the materials themselves become part of the storytelling.

The second object focuses on structure and precision. Its repeated lines and patterns show a strong sense of control and careful making, whether done by hand or with digital assistance. The craft here lies in consistency and discipline, as small details come together to form a larger visual system. What makes this object interesting is how it plays with perception, encouraging the eye to move between fine details and overall shapes. It reflects a more systematic approach to craft, where beauty comes from order, balance, and repetition.

The third object highlights how delicate materials can be transformed into something strong and functional. The lanterns appear soft and gentle when lit, but their internal framework reveals the careful construction that supports them. This contrast between fragility and structure makes them materially engaging. They show that good craft is not always obvious at first glance and often relies on thoughtful engineering to achieve a simple and elegant outcome.

The final object, the collapsible bowls, represents a different type of craftsmanship rooted in modern design and everyday use. While they may seem ordinary, their material choice allows them to change form easily, shifting between flat and functional states. This adaptability makes them memorable and reflects a design approach focused on convenience, portability, and efficient use of space. The craft here lies in material innovation rather than decoration. Overall, these objects demonstrate that craftsmanship can take many forms, from expressive handmade textures to precise patterns and innovative materials. What connects them is the intention behind their making each object uses material and structure to communicate an idea, solve a problem, or create an experience. Together, they show how design is not just about appearance, but about how materials, form, and function work together to shape meaning and imagination. Word count: 593 words

Cultural values: why Heritage Crafts is redefining 'craft'

[yxpost]

WOII | Week 4 & 5 — Design Analysis and Field Trip

WEEK 4

Design as Spatial Experience and Curated Minimalism

This field trip demonstrates how design operates as a spatial system where meaning is constructed through movement, atmosphere, and material control rather than isolated objects. At New Bahru, the adaptive reuse of the former Nan Chiau High School transforms circulation, lighting, and architectural preservation into an embodied experience that shapes perception. As Pallasmaa argues, architectural experience is fundamentally sensory and bodily rather than purely visual (The Eyes of the Skin, 2005), which is evident in how spatial transitions guide attention through shifts in light, texture, and enclosure.

Studio Yono is a key addition to my Week 3 semiotics grouping, extending it into spatial form. Its restrained palette, controlled spacing, and curatorial display structure meaning through reduction rather than excess. As Zumthor states, atmosphere is produced through material precision and sensory calibration (Atmospheres, 2006). Studio Yono therefore demonstrates how minimalism operates as a communicative system, where emotional calm is constructed through deliberate spatial and material decisions rather than decoration.

Word count: 150 words

WEEK 5

Materiality as Narrative and Identity Construction

Materiality emerges as the central theme across Studio Yono, Morning café, Soilboy, and New Bahru’s adaptive architecture. Each space constructs identity through surface, texture, and material interaction rather than visual representation alone. Morning uses exposed concrete and timber to balance warmth with structural clarity, while Soilboy combines ceramics and botanical forms to express care and organic tactility.

As Zumthor argues, material is not decorative but foundational to architectural meaning (Thinking Architecture, 2010). Similarly, Rossi’s theory of urban memory explains how architecture preserves historical layers through transformation (The Architecture of the City, 1982). This is visible in New Bahru’s conversion from school to cultural-commercial space, where old and new coexist within one spatial system.

Together, these works form a coherent material grouping where identity is constructed through physical encounter, spatial memory, and sensory engagement.

Word count: 150 words

References:

WEEK 4

Pallasmaa, Juhani. The Eyes of the Skin: Architecture and the Senses. Wiley, 2005.

Zumthor, Peter. Atmospheres: Architectural Environments. Surrounding Objects. Birkhäuser, 2006.

WEEK 5

Zumthor, Peter. Thinking Architecture. Birkhäuser, 2010.

Rossi, Aldo. The Architecture of the City. MIT Press, 1982.

Böhme, Gernot. Atmosphere as the Fundamental Concept of a New Aesthetics. Routledge, 2017.

[yanfeichen]

World of Ideas and Imaginations, Design Analysis  — AY25.26 WOII

In Week 4, we were tasked with bringing at least three objects that we considered well-crafted, handmade, materially interesting, or memorable. The exercise encouraged us to look beyond function and think more carefully about texture, construction, and the intention behind each piece. During our field trip to New Bahru, we continued this investigation by searching for additional objects that related to our initial selections.

As we observed the items around us, I paid closer attention to material choices, surface finishes, and small details that revealed the maker’s hand. I aimed to identify connections between objects I had brought and the new ones I encountered, whether through shared craftsmanship, similar material qualities, or comparable design philosophies. This process pushed me to think more critically about why certain objects feel meaningful or distinctive. Instead of viewing them as isolated pieces, I began to see them as part of a broader conversation about tactility, intentionality, and the value of thoughtful making.

I would categorise this under memory

"Through gestures of kneading, weaving, casting, folding, cutting, stitching, or even copying and pasting, the artists in Rituals of Perception embody the presentiment by dwelling within the temporal cyclicality of making” Philosopher Byung-Chul Han,

Below are artworks from Rituals of Perception exhibition.

This work by Suki Seokyeong Kang, I would categorise her work under identity. Kang’s process and her visual language are rooted in a distinctly Korean artistic genealogy. 

This work by Anicka Yi would be catergorized under transformation.

This tufted artwork by Claudia Martínez Garay would be categorised under protest. Garay’s works are mostly related to the historical and social problems in Peru.

Through this process, I came to understand that design extends beyond surface appearance. It involves recognising how objects relate to specific categories, their historical context, material qualities, and the intentions behind their creation.

(word count 304)

References :

An investigation into the relationship between product form and perceived meanings

Multidisciplinary artwork connected to the histories of Peru

Exploring Design Thinking Methodologies

[aimanhdyt]

WOII // WK4&5 / Design analysis & Field trip

During Week 4, I learned how to analyse a work of design by looking beyond its appearance and understanding its purpose, context, and visual elements. This helped prepare me for the Week 5 field trip, where I observed real design applications in public spaces. For my analysis, I chose two storefront designs that stood out to me because of their strong visual identity and use of display.

The first storefront, a coffee shop entrance, uses bold graphic elements and playful illustrations on the glass facade. The use of simple shapes, bright colours, and typography creates a welcoming and friendly atmosphere. I noticed how transparency and layering were used to blend interior and exterior spaces, which invites curiosity and encourages people to look inside. The design feels contemporary and approachable, showing how branding and environmental graphics work together to shape customer experience.

The second storefront, a clothing boutique, presents a contrasting design approach. It uses warm wooden textures, soft lighting, and curated window displays to create a more elegant and intimate atmosphere. The mannequins and arrangement of clothing act as visual storytelling, allowing passersby to imagine the lifestyle associated with the brand. The use of framing and symmetry also guides the viewer’s attention and highlights key products.

Through this exercise, I realised that design analysis requires careful observation and interpretation of both visual and emotional aspects. Initially, I focused only on aesthetics, but I learned to consider function, audience, and context as well. The field trip helped me connect classroom theory with real-world design, making the learning experience more engaging and meaningful. Overall, this activity improved my ability to critically observe and understand how design communicates within everyday environments.

word count (277)

[lucasjavier05]

WOII: Compulsory | Week 4 & 5 - Design Analysis and Field Trip

One of the most notable ideas from today’s session was learning how to analyse design more systematically using the How Design Means framework. Instead of simply saying whether something looks nice or well designed,The lecture encouraged us to analyse design through its process, purpose, medium, form, and context, not just its appearance. I found the focus on medium and craftsmanship especially interesting, as it made me realise how material choices influence meaning.

During the activity, we had to discuss everyday objects which helped me see how design exists beyond posters and advertisements. We brought our items like the power bank and earphones lean more toward function, as their primary purpose is utility. However, objects such as the fluffy bear pouch, branded perfume, and customised pink camera express more identity and personality. When applying the framework, I began thinking about processes and purposes, choice of medium, aspects of form, and context.

This connects strongly to my design training, where we are taught to justify decisions. The framework gives me clearer structure when analysing and creating work, helping me think more critically about how design communicates beyond appearance.

week 5

On week 4, our group explored the theme Function ↔ Identity, examining how everyday objects shift from purely practical tools to markers of personal expression. Items like the cap, camera, perfume, and keychains demonstrated this spectrum clearly while they serve clear functions, their colours, textures, and branding strongly signal personality and lifestyle. The discussion helped me realise that design is rarely neutral even the most functional object carries identity through material, form, and visual language.

During the field trip to New Bahru, I was drawn to the tiled HÜVOS sign. I see this as a meaningful addition to our previous grouping because it transforms something functional a restaurant sign into a strong identity marker. The grid tiles and bold lettering do more than inform; they construct a brand personality rooted in tactility and material honesty. It reinforces our idea that function and identity are not opposites, but constantly intertwined through design decisions.