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SingaPlural 2019: Designers Morph Materials into 'New' Effects
Missed Singapore Design Week? No problem – these designers can still teach a thing or two about evolving and innovating
Chiquit Brammall
18 March 2019
Design journalist and freelance editor. Dollhouse architect. Serial renter.
The National Design Centre was abuzz with creative activity over the past two weeks as we celebrated Singapore Design Week. SingaPlural, the festival’s anchor exhibit, drew in design aficionados, students and even the occasional curious passerby. With the theme ‘Unnatural Phenomena’, a curated group of creative industry professionals collaborated with local manufacturers to “draw on evolution in nature to inspire innovation in design”.
If you missed it, here are some concepts that you can still take inspiration from, in their designers’ words.
If you missed it, here are some concepts that you can still take inspiration from, in their designers’ words.
Image courtesy of DesignCouncil Singapore
Celine Ng of Fraction explains Autumn:
Materials: Cumin & Cayenne paper from RJ paper
Why did you choose these materials?
We wanted our pinwheels to be similar to the texture and grain of the fan blades, to bring out the feel of autumn through colours and tactility
How did you transform these materials?
To complement the theme ‘Unnatural Phenomena’, we carved a physically odd landscape filled with pinwheels, representing the season of harvest, which is also evident in the orange-hued woodgrain fan blades. To enhance the experience, we incorporated a VR function where visitors are transported into a 360-degree video filmed in a natural landscape. As you put on the goggles and pinwheels turn, you’ll hear the sound of rustling leaves.
What other applications do you think these materials can evolve into?
Paper is easy to manipulate and sculpt, hence it can also be expressed into other 3D forms for art installations and decorations.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
I’m a furniture designer. Working with Aaron from Decor Fan Singapore has pushed me to understand complex topics like wind dynamics, and how a change in the form of his fan blade and the material choice can have a huge impact on the fan’s efficiency. We love how the technicalities can spark ideas for our installation, which led us to custom-cutting all pinwheels so that our installation is also sensible in terms of aerodynamics.
Celine Ng of Fraction explains Autumn:
Materials: Cumin & Cayenne paper from RJ paper
Why did you choose these materials?
We wanted our pinwheels to be similar to the texture and grain of the fan blades, to bring out the feel of autumn through colours and tactility
How did you transform these materials?
To complement the theme ‘Unnatural Phenomena’, we carved a physically odd landscape filled with pinwheels, representing the season of harvest, which is also evident in the orange-hued woodgrain fan blades. To enhance the experience, we incorporated a VR function where visitors are transported into a 360-degree video filmed in a natural landscape. As you put on the goggles and pinwheels turn, you’ll hear the sound of rustling leaves.
What other applications do you think these materials can evolve into?
Paper is easy to manipulate and sculpt, hence it can also be expressed into other 3D forms for art installations and decorations.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
I’m a furniture designer. Working with Aaron from Decor Fan Singapore has pushed me to understand complex topics like wind dynamics, and how a change in the form of his fan blade and the material choice can have a huge impact on the fan’s efficiency. We love how the technicalities can spark ideas for our installation, which led us to custom-cutting all pinwheels so that our installation is also sensible in terms of aerodynamics.
Photo by Anita Yee
Eugene Kosgoron of Formwerkz Architects explains Bo(u)lder:
Material: HPL (High Pressure Laminates) from EDL Laminates; specifically, 0.8mm laminate called Luserna Nero
Why did you choose this material?
The brief from EDL was to use either a stone or wood (looking) material, as their previous collaborations had creatives using Fenix NTM materials only (singular colours with no textures or grains). We arrived at selecting Luserna Nero (stone effect laminate) to challenge ourselves to create the illusion of Bo(u)lder.
How did you transform this material?
We applied this into the sculpture called Bo(u)lder. The agenda is to create the illusion of stone at first glance and gradually transform its perception into something else as one observes closer. The design takes on the shape, look, and behaviour of a natural stone in silhouette. Meanwhile, the smaller details let the object morph from a smooth, hard solid to an airy, soft veil. This is what Bo(u)lder is all about.
What other applications do you think this material can evolve into?
We could see how the technique we invented transforms how laminates can be used. On a smaller scale, we can see it as lampshades or even scaled up into decorative wall systems with three-dimensional qualities.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
The fabric of our team is made of cross-disciplinary creatives with humble beginnings in architecture. Over the years, we have dabbled in products, fabrication, interiors, sculptures, installations and 3D printing. Embedded in craft, we have always emphasised the need to cross disciplines and be comfortable in doing so.
Eugene Kosgoron of Formwerkz Architects explains Bo(u)lder:
Material: HPL (High Pressure Laminates) from EDL Laminates; specifically, 0.8mm laminate called Luserna Nero
Why did you choose this material?
The brief from EDL was to use either a stone or wood (looking) material, as their previous collaborations had creatives using Fenix NTM materials only (singular colours with no textures or grains). We arrived at selecting Luserna Nero (stone effect laminate) to challenge ourselves to create the illusion of Bo(u)lder.
How did you transform this material?
We applied this into the sculpture called Bo(u)lder. The agenda is to create the illusion of stone at first glance and gradually transform its perception into something else as one observes closer. The design takes on the shape, look, and behaviour of a natural stone in silhouette. Meanwhile, the smaller details let the object morph from a smooth, hard solid to an airy, soft veil. This is what Bo(u)lder is all about.
What other applications do you think this material can evolve into?
We could see how the technique we invented transforms how laminates can be used. On a smaller scale, we can see it as lampshades or even scaled up into decorative wall systems with three-dimensional qualities.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
The fabric of our team is made of cross-disciplinary creatives with humble beginnings in architecture. Over the years, we have dabbled in products, fabrication, interiors, sculptures, installations and 3D printing. Embedded in craft, we have always emphasised the need to cross disciplines and be comfortable in doing so.
Image courtesy of UniSA
Dan McLean, Program Director for Product Design at University of South Australia UniSA, explains Renaturation:
Materials: The main structure is fabricated from latex balloons, polyester/spandex jersey, and metallic vinyl
Why did you choose these materials?
We chose the materials described above for the following reasons:
How did you transform these materials?
The polyester/spandex material is usually used in applications such as sportswear due to its light weight, flexible and hard-wearing nature. The material can expand up to 600% from its original shape while maintaining its elasticity, which enables it to return to its original size and shape. We used the material in a way where we took advantage of its light-weight, elastic nature. Instead of it hugging a body, as in the case of sportswear, we have used the material to tightly retain air-filled balloons. The combination of compression on the air-filled balloons and Polyester/Spandex’s elasticity allows the renaturation structure to be self-supporting.
What other applications do you think these materials can evolve into?
We have designed this structure to be modular, which makes the design inherently scalable and modifiable. By increasing the number of components, adjusting their size and experimenting with form, the design can evolve to respond to different contexts and applications.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
Two members of our team are industrial designers. We worked with a fashion designer who has expertise in industrial design and product fabrication to develop the design of the Renaturation installation. Industrial designers are generally involved with materials that are hard and technical, whereas fashion designs work with materials that stretch, fold, flow and transform. The different approaches to the form and experiential elements of the installation were informed by a coming together of the experience and skills of the team and their backgrounds.
Dan McLean, Program Director for Product Design at University of South Australia UniSA, explains Renaturation:
Materials: The main structure is fabricated from latex balloons, polyester/spandex jersey, and metallic vinyl
Why did you choose these materials?
We chose the materials described above for the following reasons:
- Firstly, scale and packability. We gave ourselves the constraint of being able to transport our exhibit from Australia by check-in luggage only. The main structure of our exhibit packs into a single suitcase!
- Secondly, visual impact. The air-filled polyester/spandex material interacts with different light sources in a visually interesting way. The polyester/spandex fibres have a cross-polarising nature when light interacts with the fibres. This can be witnessed in the National Design Centre atrium space; throughout the day as the light changes from morning to evening, the renaturation structure changes its colour and glows, reacting to the lighting conditions. As evening sets in, the internal mapped projections dominate the interior spaces of the structure, leaking out to the surrounding vertical surfaces on the National Design Centre.
How did you transform these materials?
The polyester/spandex material is usually used in applications such as sportswear due to its light weight, flexible and hard-wearing nature. The material can expand up to 600% from its original shape while maintaining its elasticity, which enables it to return to its original size and shape. We used the material in a way where we took advantage of its light-weight, elastic nature. Instead of it hugging a body, as in the case of sportswear, we have used the material to tightly retain air-filled balloons. The combination of compression on the air-filled balloons and Polyester/Spandex’s elasticity allows the renaturation structure to be self-supporting.
What other applications do you think these materials can evolve into?
We have designed this structure to be modular, which makes the design inherently scalable and modifiable. By increasing the number of components, adjusting their size and experimenting with form, the design can evolve to respond to different contexts and applications.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
Two members of our team are industrial designers. We worked with a fashion designer who has expertise in industrial design and product fabrication to develop the design of the Renaturation installation. Industrial designers are generally involved with materials that are hard and technical, whereas fashion designs work with materials that stretch, fold, flow and transform. The different approaches to the form and experiential elements of the installation were informed by a coming together of the experience and skills of the team and their backgrounds.
Image courtesy of Lian Architects
Aloysius Lian of Lian Architects explains Graceful Fig:
Material: Portoro gold marble from Stone Amperor
Why did you choose this material?
It is an exclusive marble material quarried from Italy, yet it shares the same chemical composition (calcium carbonate) as our inspiration, the graceful fig shell.
How did you transform this material?
We were able to push the limits of marble bending by using the thinnest possible thickness (20mm) with maximal span (2200mm).
What other applications do you think this material can evolve into?
This material can evolve into a dynamic facade material or other furniture pieces.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
As architects, we have always aspired to influence our interior spaces. By designing a furniture piece, we feel that we have placed another piece in the giant jigsaw puzzle that is design.
Aloysius Lian of Lian Architects explains Graceful Fig:
Material: Portoro gold marble from Stone Amperor
Why did you choose this material?
It is an exclusive marble material quarried from Italy, yet it shares the same chemical composition (calcium carbonate) as our inspiration, the graceful fig shell.
How did you transform this material?
We were able to push the limits of marble bending by using the thinnest possible thickness (20mm) with maximal span (2200mm).
What other applications do you think this material can evolve into?
This material can evolve into a dynamic facade material or other furniture pieces.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
As architects, we have always aspired to influence our interior spaces. By designing a furniture piece, we feel that we have placed another piece in the giant jigsaw puzzle that is design.
Image courtesy of STUDIO DAM
Debby Yu and Matthijs Rikken of STUDIO DAM explain A Portraiture of Facets:
Material: 138 different laminates from Admira
Why did you choose this material?
ADMIRA (a Singapore based laminate supplier) and STUDIO DAM (a Singapore based design studio) were paired up by the curators of Singaplural 2019 to work together and showcase ADMIRA’s laminates.
How did you transform this material?
Laminate by itself is already an Unnatural Phenomena, it’s a man-made material mimicking natural materials.
STUDIO DAM wanted to apply the traditional craft of inlay, which is originally done with natural materials like wood, metal and stone, using as many different laminates from the ADMIRA collection [as possible], showing the possibilities of combining different colours, materials and textures. This way, giving laminate more value.
STUDIO DAM created 32 different graphical portraits built up out of 400 pieces and using 138 different types of laminates. All of these were cut by laser and finished by hand.
What other applications do you think this material can evolve into?
After creating the portraits STUDIO DAM saw the portraits themselves as pieces you can hang on the wall, but they can also be integrated in wall features, cabinets and closets.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
STUDIO DAM had never worked with laminates prior to this collaboration. We are trained as graphic and industrial designers focussing on natural materials and traditional craft.
Using a material that we are absolutely unfamiliar with put us in a position to really think differently because the material is very rigid and 2-dimensional. That’s why we used our graphic background to create the graphics, and our design background for the technique using traditional inlay craft combined with modern machinery like laser cutting.
SingaPlural was organised by the Singapore Furniture Industries Council (SFIC), with the support of DesignSingapore Council, Enterprise Singapore and Singapore Tourism Board, This year’s exhibit was curated by the award-winning Formwerkz Architects and branding and marketing agency Bravo.
Debby Yu and Matthijs Rikken of STUDIO DAM explain A Portraiture of Facets:
Material: 138 different laminates from Admira
Why did you choose this material?
ADMIRA (a Singapore based laminate supplier) and STUDIO DAM (a Singapore based design studio) were paired up by the curators of Singaplural 2019 to work together and showcase ADMIRA’s laminates.
How did you transform this material?
Laminate by itself is already an Unnatural Phenomena, it’s a man-made material mimicking natural materials.
STUDIO DAM wanted to apply the traditional craft of inlay, which is originally done with natural materials like wood, metal and stone, using as many different laminates from the ADMIRA collection [as possible], showing the possibilities of combining different colours, materials and textures. This way, giving laminate more value.
STUDIO DAM created 32 different graphical portraits built up out of 400 pieces and using 138 different types of laminates. All of these were cut by laser and finished by hand.
What other applications do you think this material can evolve into?
After creating the portraits STUDIO DAM saw the portraits themselves as pieces you can hang on the wall, but they can also be integrated in wall features, cabinets and closets.
How different was this experience, and what was the evolution into a new discipline like for you/your team?
STUDIO DAM had never worked with laminates prior to this collaboration. We are trained as graphic and industrial designers focussing on natural materials and traditional craft.
Using a material that we are absolutely unfamiliar with put us in a position to really think differently because the material is very rigid and 2-dimensional. That’s why we used our graphic background to create the graphics, and our design background for the technique using traditional inlay craft combined with modern machinery like laser cutting.
SingaPlural was organised by the Singapore Furniture Industries Council (SFIC), with the support of DesignSingapore Council, Enterprise Singapore and Singapore Tourism Board, This year’s exhibit was curated by the award-winning Formwerkz Architects and branding and marketing agency Bravo.
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