Common Module — AY25.26 WOII

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WOII Compulsory: Summary

Across the module, World of Ideas & Imagination developed my understanding of design as a system of constructed meaning rather than surface expression. The key learning outcome for me was recognising how observation, interpretation, and context work together to shape how visual and spatial works are understood. Instead of viewing artworks and environments as fixed objects with singular meanings, I learned to approach them as open systems that shift depending on perception, cultural knowledge, and material conditions.

The module also strengthened my ability to articulate design thinking in a structured and reflective way. I learned to move beyond description into analysis by linking observations to broader theoretical ideas and design principles. This helped me understand design not only as a creative output but as a critical discipline shaped by cultural, historical, and perceptual frameworks.

Overall, World of Ideas & Imagination has developed my ability to observe more critically, think more conceptually, and express ideas with greater clarity. It has also helped me identify my own inclination toward designs that operate through atmosphere, material sensitivity, and interpretive depth rather than purely functional clarity.

Word count: 198 words

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WOII: Week 11 - Postmodernism

Fragmentation, Typography, and Visual Disruption

This session explores the shift from modernist design principles of clarity, hierarchy, and functional communication toward postmodern strategies that embrace fragmentation, distortion, and plurality. Modernism prioritises order and readability, where meaning is stabilised through structured visual systems. In contrast, postmodernism destabilises these conventions, allowing meaning to become layered, ambiguous, and open to interpretation.

In the workshop activity, an everyday object was photographed and transformed into a postmodern advertisement. Through deliberate manipulation of typography, fragmentation of composition, and visual distortion, the object was decontextualised from a functional item into a conceptual visual system. Typography was treated not only as language but also as image, where readability was intentionally disrupted to produce visual tension and expressive ambiguity.

The introduction of plurality was particularly significant, as multiple visual languages were combined within a single frame. This layering disrupted traditional hierarchy and created competing focal points, forcing the viewer to navigate meaning rather than passively receive it. Distortion further challenged perception by breaking spatial and typographic stability, aligning with postmodern design’s rejection of fixed structure.

From a design perspective, this session demonstrates that clarity is not always the primary objective of communication. While modernism values efficiency and order, postmodernism reveals that controlled chaos can generate stronger conceptual engagement. Meaning becomes something constructed through interpretation rather than delivered directly.

For my own practice, this reinforces that breaking design rules is not arbitrary, but a deliberate strategy for creating visual impact and conceptual depth through fragmentation and ambiguity.

Word count: 250 words

Works Cited (MLA)

Lyotard, Jean-François. The Postmodern Condition. 1979. Venturi, Robert. Complexity and Contradiction in Architecture. 1966.

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WOII | Week 10 — Post-Structuralism

Instability of Meaning and Deconstruction

This session argues that meaning is not fixed within visual or textual systems but is instead constructed through relational interpretation, where context, fragmentation, and juxtaposition destabilise structural certainty. Post-structuralism challenges the idea of stable meaning by proposing that interpretation is fluid and continuously reconstructed through interaction between signs.

The workshop activity of separately photographing “texts” and “images” during a walk demonstrated this instability. Without coordination, we had to produced independent visual material, which was later combined in class. When juxtaposed, the relationship between text and image shifted depending on pairing, scale, and placement, producing multiple interpretations rather than a singular reading. This shows that meaning is not embedded in the object itself but emerges through relational context.

Drawing on Derrida’s concept of deconstruction, meaning is always deferred and never fully resolved (Of Grammatology, 1967). This was evident in how visual hierarchy collapsed when texts were placed alongside images, disrupting conventional reading structures. Instead of a clear narrative, meaning became fragmented and open-ended.

From a design perspective, this challenges traditional principles of hierarchy, readability, and controlled user pathways. Instead, it suggests that ambiguity and instability can function as intentional design strategies, where meaning is activated through user interpretation rather than direct communication. This aligns with contemporary design practices such as generative systems and responsive visual environments, where outcomes shift based on interaction.

For my own practice, this reinforces that design is not a fixed system of communication, but an open structure where meaning is continuously reconstructed through context and perception.

Word count: 250 words

Works Cited (MLA)

Derrida, Jacques. Of Grammatology. 1967. Eco, Umberto. The Open Work. 1962.

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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.

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WOII_Wk3 - Semiotics 

Cultural Codes, Reduction, and Constructed Meaning

This lesson argues that visual communication operates through semiotic systems in which meaning is not inherent in images but constructed through culturally stabilised signs activated through recognition. Design therefore functions less as direct representation and more as a structured system of cultural decoding.

The Coca-Cola advertisement A Bottle for Everyone constructs meaning through extreme visual reduction, where two hands form the silhouette of the iconic bottle, completed only by a red cap. The composition relies on strong figure–ground contrast, central balance, and minimal graphic information, removing textual explanation in favour of visual recognition. This reduction shifts meaning production away from description and toward perceptual activation.

Drawing on Roland Barthes’ theory of myth, cultural signs become naturalised through repetition and ideological reinforcement (Mythologies, 1957). The Coca-Cola bottle functions as a stabilised cultural signifier within global consumer culture, where meaning is not generated within the image itself but activated through prior cultural exposure. The hands reframe the product as a shared social object, transforming consumption into symbolic inclusion rather than direct advertisement.

The red cap operates as a condensed brand signifier, anchoring recognition within global visual culture. Therefore constructed through alignment between bodily gesture and pre-existing cultural knowledge, where interpretation is completed by the viewer rather than fully delivered by the image.

This demonstrates that effective design communication relies on controlled reduction, where meaning is intensified through elimination rather than addition. For my design practice, this reinforces that clarity is not achieved through excess information, but through the strategic use of shared cultural codes that allow recognition to complete meaning. Word Count : 250 words

Works Cited (MLA)

Barthes, Roland. Mythologies. 1957. Chandler, Daniel. Semiotics: The Basics. 2017.

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WOII Wk 1 - Phenomenology

Perception, Embodiment, and Temporal Instability

This theme argues that perception is not a direct reading of reality but an embodied and interpretive process shaped through sensory contradiction, where shadow and time destabilise visual certainty and produce meaning through ambiguity rather than clarity.

René Magritte’s The Empire of Light constructs perceptual instability through the simultaneous presence of contradictory temporal conditions. A nocturnal street scene is placed beneath a bright daytime sky, producing a structural disjunction between natural and artificial systems of light. This contradiction disrupts spatial and temporal coherence, preventing the viewer from forming a unified reading of time or environment. Shadow here functions not as absence but as an active perceptual condition that reshapes visual interpretation.

Drawing on Maurice Merleau-Ponty’s phenomenology, perception is understood as embodied rather than objective, formed through lived sensory engagement (Phenomenology of Perception, 1945). Within this framework, Magritte’s work forces the viewer into perceptual negotiation, where conflicting visual information must be reconciled through interpretation rather than logic.

"The Lovers" (Les Amants)

In The Lovers, perception is further destabilised through concealment. The veiled faces interrupt visual access to identity, transforming intimacy into ambiguity. Although physical proximity is present, emotional clarity is withheld, producing tension between presence and absence. The fabric functions as a perceptual barrier, limiting visual certainty and reinforcing the instability of meaning.

These works demonstrate that perception is constructed through controlled visibility and sensory limitation. This reinforces that meaning is not embedded in what is shown, but shaped by what is withheld, obscured, or made ambiguous within visual systems.

Word Count: 247 words

Image Captions

René Magritte, The Empire of Light, 1954, MoMA.

René Magritte, The Lovers, 1928, Royal Museums of Fine Arts of Belgium.

Works Cited (MLA)

Merleau-Ponty, Maurice. Phenomenology of Perception. 1945.

Magritte, René. The Empire of Light. 1954.

Magritte, René. The Lovers. 1928.

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CTS A Week 13 | Connect CTS A to your learning and professional journey

I am interested in collaborating with students from the Diploma in Creative Direction on a mini collection using upcycled fabrics and discarded materials.

Inspired by Tonlé, a zero-waste fashion brand in Cambodia that transforms pre-consumer fabric waste into new garments, this project would involve designing wearable pieces such as jackets from old denim, tote bags from leftover textiles, or dresses from fabric scraps.

https://tonle.com/pages/about-tonle

My role as a designer for communication and experiences would focus on developing the visual identity, including logo, typography, colour palette, and overall aesthetics, as well as campaign graphics, lookbooks, posters, and social media content to showcase the collection. Interactive elements, such as QR codes linking to behind-the-scenes videos or the story behind each garment, would further engage audiences, creating a cohesive, immersive, and shareable experience.

For my final project, I want to collaborate with the Diploma in Broadcast Media to explore Mental Health, Isolation, and COVID‑19, emphasising the psychological and emotional impact of being cut off from everyday life. I could design posters, websites, and interactive digital resources to spread self-awareness and provide support, drawing inspiration from SOS Singapore, which offer guidance and mental health assistance and media examples such as the Canadian short film How to Be At Home (Dorfman, 2020).

I would engage with SOS Singapore and similar local mental health groups through workshops, digital campaigns, and awareness events, sharing tools for coping with isolation and fostering open conversations about emotional wellbeing.

CTS A strengthens my collaborative, creative, and communication skills, essential for my career in experience and communication design. By integrating multiple disciplines like Collaborative Skills, Growth Mindset, Assertion and Conflict Resolution,I can develop the ability to conceptualise ideas, work in diverse teams, leadership and communicate effectively. These skills would support my goal in becoming a creative director or campaign designer, enabling me to design meaningful, socially aware, and experiences that connect with audiences across multiple platforms.

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References :

Tonlé. “About Us.” Tonlé, https://tonle.com/pages/about-us

SOS Singapore. “Mental Health Services.” SOS, https://sossingapore.org. Accessed 21 Nov. 2025.

Dorfman, Andrea, director. How to Be At Home. Canadian Film Centre, 2020.

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CTS A Week 12 | Connect CTS A to all your other modules (and components).

Throughout this course, I gained a clearer understanding of key themes in art and design, especially the relationship between critical thinking, experimentation, and collaboration.

Boetti’s idea of Mettere al mondo il mondo (“bringing the world into the world”) strongly influenced how I approached my work, as his emphasis on diversity and collective input helped me see each module and technique as interconnected rather than isolated (Boetti). Integrating colour theory, abstraction, and research frameworks across projects allowed me to merge learning from multiple sources and understand how ideas evolve through experimentation and reflection.

Kelley’s belief that “none of us is smarter than all of us” became a key reference that shaped my understanding of collective creativity (Kelley).

Developing collaborative skills shifted this mindset. Through group projects, critiques, and shared workshops, I learned how open dialogue, negotiation, and feedback can enhance the creative process and I also gained exposure to a wide range of artistic styles and approaches from other students, including groups from different classes. Observing how others interpreted concepts such as colour, form, and narrative inspired me to explore new techniques and experiment with ideas I might not have considered on my own. Seeing the connections we have between CTS A themes and our other modules helped me appreciate how diverse perspectives can enrich creative practice.

This experience has strengthened my practical and transferable skills. Now I approach projects with better adaptability and curiosity, valuing collaboration while maintaining independent research and reflection. My process from a closed, individual practice to a more open, integrated, and grounded way of working that reflects deeper engagement in both theory and practice.

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References:

Boetti, A. (1990). Mettere al mondo il mondo [Bringing the world into the world]. Conceptual art framework.

Kelley, T. (2012). The Art of Innovation: Lessons in Creativity from IDEO, America’s Leading Design Firm. Crown Business.

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CTS A Week 11 | Discuss the seven weekly topics as a whole.

When I think of critical thinking skills, the word “intentional” comes to mind. Learning is not just about absorbing information but about questioning, analysing, and making deliberate choices. David Kelley, founder of IDEO, emphasises the link between creativity and confidence. “A little confidence in creativity leads to a lot of confidence in everything else” (Kelley, 2014). This inspired me to approach problems thoughtfully rather than reacting impulsively.

These topics helped me visualise how they are interconnected across learning and life. Each “continent” in my group and I's mind map represented a topic, illustrating how they support one another, similar to Kelley’s emphasis on iterative design. “The best way to gain confidence in your creative ability is through action , taken one step at a time” (Kelley, 2016). Creating the mind map made these connections tangible, and I could see and helped me identify where I needed to grow or focus more intentionally.

Collaborative skills and emotional intelligence gained new significance when I considered Kelley’s focus on empathy : “The main tenet of design thinking is empathy for the people you're trying to design for” (Kelley, 2019). Working on the mind map provided opportunities to practice listening, sharing ideas, and integrating different perspectives, reinforcing the importance of collaboration in practice.

Learning assertion and conflict resolution aligns with Kelley’s belief that “none of us is smarter than all of us” (Kelley, 2012). Expressing ideas thoughtfully while valuing others’ input made collaboration more effective and respectful.

Overall, integrating these topics with Kelley’s philosophy by representing them through my mind map with his ideals has helped me see learning as intentional, interconnected, and iterative. This approach has strengthened my critical thinking, collaborative skills, and creative problem-solving, preparing me to approach challenges thoughtfully in both school and life.

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References :

Kelley, D. (2012). Building a Culture of Innovation. Dartmouth College. Retrieved from https://sites.dartmouth.edu/dujs/2012/03/05/david-kelley-speaks-on-building-a-culture-of-innovation

Kelley, D. (2014). How to Build Your Creative Confidence. MIT Sloan Management Review. Retrieved from https://sloanreview.mit.edu/article/how-to-build-your-creative-confidence/

Kelley, D. (2016). Creative Confidence: Unleashing the Creative Potential Within Us All. Medium. Retrieved from https://medium.com/design-thinking-spring/creative-confidence-unleashing-the-creative-potential-within-us-all-da212942161f

Kelley, D. (2019). Quote on empathy. AZ Quotes. Retrieved from https://www.azquotes.com/author/58932-David_M_Kelley

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CTS A | Week 5 Growth Mindset

Describe an eventful moment from the class, bearing in mind the key ideas of the day.

An eventful moment in class was when we were instructed to use our non-dominant hand to draw our sketches. Initially, many of us were hesitant or resistant to this challenge, feeling self-conscious about our messy and imperfect drawings and worrying about what it looks like. Despite this, I gave it a try, and the experience turned out to be surprisingly valuable. Completing the sketches alongside classmates allowed me to see that everyone struggled in similar ways, which highlighted that the exercise was not about perfection but about engaging with a new and playful challenge.

This activity reminded me of Pablo Picasso’s idea that “Every child is an artist. The problem is how to remain an artist once we grow up” (Picasso, n.d.).

This encouraging me to embrace experimentation and imperfection in the creative process. It taught me that challenges can be fun and engaging rather than stressful or fear-inducing.

Were any sketches more or less ‘successful’ in your view? Why? How would you develop any of them if you had more time?

My personal sketches were simple and straightforward, as I wanted the design to be easy on the eye, reflecting the initials “PC” for the logo. In my view, some sketches were more successful. Drawing inspiration from designers like Saul Bass, who emphasised simplicity and visual storytelling in logos (Heller & Vienne, 2003).

My not-so-successful sketches felt incomplete and awkward because I drew it with my left hand . If I had more time, I would have used my dominant hand to redo the design properly and refine the proportions and experiment with bolder lines, textures and dimensions to enhance the clarity and impact of the designs,

Word count: 250

References:

Picasso, P. (n.d.). Quote on creativity and art.

Heller, S., & Vienne, V. (2003). 100 Ideas that Changed Graphic Design. Laurence King Publishing.

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CTS A | Week 3 Emotional Intelligence

We talked about “Self-awareness”, “Self-management”, “Empathy” and “Relationship management”. Which aspect do you think you are strongest at, and which is something you should try to improve? Discuss with reference to today’s activities, and your collaborations in other classes.

Reflecting on these, I believe my strongest aspect is self-awareness.

Over the years, I have developed introspectiveness, reflecting on my thoughts, emotions, and values to understand what truly matters to me. For example, during a collaborative design project, I noticed frustration when group decisions overlooked careful planning but rather dong it in a lenient manner.

An area I need to improve is self-management. While I understand my emotions, I often struggle to regulate them under stress and intense pressure. During a tight deadline, I procrastinate and overthought my contributions. Strengthening self-management involves handling stress effectively, staying organised, and maintaining emotional balance, aligning with Goleman’s emphasis on emotional regulation as a core competency (Working with Emotional Intelligence, Goleman 1998). Further developing this skill would help me act more consistently, make decisions with greater clarity, and maintain composure in challenging situations.

Reflecting on these aspects through class activities and collaborative experience has helped me recognise my strengths and growth areas. Integrating Goleman’s principles has reinforced the importance of intentional, empathetic, and reflective behaviour. This approach nurtures personal growth while supporting meaningful collaboration, allowing me to approach challenges thoughtfully, creatively, and authentically across academic, artistic, and professionally in life.

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References:

Aristotle. Nicomachean Ethics. Translated by W. D. Ross, Oxford University Press, 1925.

Boetti, Alighiero e. Mettere al mondo il mondo. 1990. Conceptual artwork.

Goleman, Daniel. Emotional Intelligence. Bantam, 1995.

Goleman, Daniel. Working with Emotional Intelligence. Bantam, 1998.

Goleman, Daniel. Focus: The Hidden Driver of Excellence. Harper, 2013.

Kelley, David. The Art of Innovation: Lessons in Creativity from IDEO, America’s Leading Design Firm. Crown Business, 2012.

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CTS A | Week 2 Collaborative Skills

Describe your strengths and weaknesses as a collaborator. 

Jeff Bezos said, “We are stubborn on vision. We are flexible on details.”

As a collaborator, one of my strengths is adaptability. I can adjust to take on different roles and work well with my team, whether through public speaking, researching, or encouraging teamwork and mutual support, contributing in whatever way is needed to achieve our goals and remain flexible when unexpected challenges arise. As Jeff Bezos said, “We are stubborn on vision. We are flexible on details.” I embrace this mindset by staying committed to our objectives while remaining open to different approaches and ideas, which helps the team find creative solutions and maintain a positive, cooperative atmosphere that can respond effectively to our goals.

George Bernard Shaw’s words: “The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself.”

I also value perspective and compromise. Guided by George Bernard Shaw’s words: “The reasonable man adapts himself to the world; the unreasonable one persists in trying to adapt the world to himself” adapting to situations and the needs of others rather than insisting on my own way, I help the team navigate challenges more positively and collaboratively.

One area I am working to improve is time management. To address this, I am actively following Shaw’s principle of adaptation ; "The reasonable man adapts himself to the world" by developing better planning and prioritisation skills. This allows me to contribute more consistently and become a reliable collaborator who can support the team in any situation, with flexibility and a collaborative spirit that strengthens group performance.

If you had more time and an unlimited budget, how would you design the monument differently?

Regarding the monument, I appreciated its design because it reflects our vision and interpretation of nature and war, with whimsical features that engage the group. If I had unlimited resources, I would refine the intricacies, make the design cleaner, and use more stable materials to enhance both structure and durability.

References

Jeff Bezos Quotes on Leadership and Innovation, BrainyQuote: https://www.brainyquote.com/quotes/jeff_bezos_763881

George Bernard Shaw, Shaw’s play “Man and Superman” (1903), Act III.

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