PDIV – |7-1 the form of smell

” SMELL. “


Heng Tong  x  Hong Sheng


As discussed in the previous week, we have narrowed down our direction into an installation that takes in the smell of people in NTU. As such, the smell that the installation is idealised to emit is dependent on the very people that interact with it. 

We envision our installation to take ‘form’ in the collection of scent only after a given duration in a particular location. 

Our thoughts are really complicated and difficult to explain, so to give you a clearer understanding, below is an analogy. 

Disclaimer: Bear with us…




We have previously put much focus on the given location and environment as our starting point for our installation. However as we looked deeper into the idea, we realised that a given location is only deemed from the objects, people and activities happening within it. In that very sense, the outcome of the collection of smell will be determined by the very catalyst of the human activities happening within the vicinity.

We looked at the article shared with us by Fabrizio regarding scent marketing. We understand the idea of a given scent in a particular place allows familiarization of people to a brand. In the case study of Changi Airport, a distinct perfume is created to induce travellers and locals a familiar ‘home’ scent. 

In the case of our idea, we want to twist the very idea by amplifying the very scent within a given location, determined by the objects and people of NTU. We have previously confirmed that at different parts of NTU, there is a distinct difference in a scent of the given vicinity, and by collecting it can we amplify the scent.

To put our direction in a more layman term, we found a similar everyday activity that we are acclimatised to do that in a way that epitomise our idea – the rubbish bin.

The primary function of a rubbish bin is a container that holds trash, with a cap that induces people to throw rubbish into the void it contains. As a stand-alone, the single entity of a rubbish bin is scentless. 

Rather, the form of the rubbish bin induces trash to be stored within it; and the human activity of throwing trash into the rubbish bin stores trash inside, resulting in a stench created over time.  As such, the rubbish bin is characterised by the trashes that are dumped into it.

In the sense that the human activity of throwing trash characterised the rubbish bin through the result of stench forming over time. The rubbish bin can then be seen as a tangible installation that collects and emit the very smell.   

Similar to the function of a rubbish bin, we would like to create an installation that collects the smell of activities of NTU students; by inducing human activities in the form of interaction with the installation.

Still… bear with us…please

At this point, we realised that we are working towards creating an ‘anti-installation’. We understand that the purpose of our project is to enrich the lives of NTU students through a positive outcome.

Perhaps in your mind at this current moment, the outcome of our installation is somewhat negative. Perhaps over time, the smell collected and emitted will be cluttered with the stench of cigarettes, grease, trash etc. Perhaps the analogy of the rubbish bin is a negative example that trails your mind into thinking that way.

However, at this juncture, we cannot foresee the outcome of the installation, for the outcome is variable. Rather, can we envision the collection of ‘positive’ scent, just like the pages of books, off-cut wood, green cut grass etc? (Of course, these are all idealistic interpretations, but you get my point…right?)


From suggestions of our peers and Professor Ker Siang, we look upon more similar research. 

Yankee Candle

Yankee candles are known for characterising each distinctive scent with a extravagant name or phrase.

In a way, the Yankee candle epitomises the ideals of smell-branding.

By giving an extravagant name to each particular scent, Yankee candle generates interest into a user to want to find out what exactly the scent smells like, whilst in truth has already defined the scent to the user even before they smell the candle- with the very name.

By ‘planting’ such information to the user results in the user being induced to combining the notion of the name to the smell, into the mind.

We feel for this, as we envisioned our users to be induced to our inviting installation in a tangible form which induces interaction. Then, with the emitted smell allows a point of reminiscence in the user.

Arte Povera

Untitled 1968 Jannis Kounellis born 1936 Purchased 1996 http://www.tate.org.uk/art/work/T07074

Literally termed ‘poor art’, Arte Povera is an art movement originated from Italy from the late 1960s to 1970s where artists created art through unconventional process and material.

The movement can be seen as a starting point for conceptual art.

Some notable art pieces are as follows:

From Surface to Surface 1971, remade 1986 Susumu Koshimizu born 1944 Purchased with funds provided by the Asia Pacific Acquisitions Committee 2008 http://www.tate.org.uk/art/work/T12822

Long Weekend 09: Robert Morris

Long Weekend 09: Robert Morris is a 2009 recreation of the interactive art designed by American artist Robert Morris in 1971. Robert Morris’s installation was prematurely closed due to safety concerns of the reaction of the audience. Long Weekend 09: Robert Morris shows an interactive exhibition which allows people to interact with platforms, rollers, tunnels and ramps.

(Watch video)

More to follow.

PDIV – |6-1 the form of smell

” SMELL. “


Heng Tong  x  Hong Sheng

Review of the comments from Exercise Sponge conducted the previous week

Exercise Sponge conducted during the previous week was a study of both material testing; as well as the collective data of absorbed smell at the various location within the premise of NTU.

We understand that the depiction of the form of smell is the ultimate aim of our project. We also know that the choice of material used will heavily dictate the final outcome, hence we conducted the study. Another important factor lies in the chosen site for placement of the final outcome. 

The study proved that within a short span of 40 hours, we were already able to use a readily found material in ‘magic sponge’ to have a collective data of smell. We uncovered the familiar scent of wet grass to ambiguous sniffs of faint. As such, we were able to open up questions and in such ignite conversations with our peers regarding what the smells were, which we feel really embodied our direction towards the aim of our outcome.

Moving forward…

Looking forward, we have some points to filter and confirm:

1. We want to set the main objective of our project. Whether our installation is to serve as a point that collects scent or to give off a scent.

2. We hope to source for a more sustainable material to fit the permanent installation.

3. Lastly, we also want to work with a feasible location in mind. 

Objective of Smell in a Permanent Installation

Smell is an olfactory trigger that is instantaneous and primitive, in beings. Smell is also the sense that is perceived and then acclimatised the quickest through sensory adaptation. Smell is usually the companying subset of the series of senses in a being. We find interest in the notion of smell, thus we took it on as the main theme of our project. Our aim for the final outcome is to curate smell within the premise of NTU as the strongest element of a permanent installation, such that people in NTU are able to remember the installation through the sense of smell.

As we looked upon curating smell in a permanent installation, we came upon 2 directions, both of distinctive differences – one is to formulate the smell within the NTU premise into a form that exudes a certain scent ; the other is to allow the smell of a certain vicinity of NTU to be absorbed into the installation. As such we stand at the crossroad of 2 distinctive different directions, we decided to weigh the pros and cons of each idea to have a clear diction to pick our chosen direction:

1. A permanent installation that gives off a distinct scent that embodies the school as a commentary.


* A resulting outcome will be interesting and distinct
* Creates an identity within a certain space
* Can be created through scent-giving material choice


* Time constraint for the study of NTU to formulate a distinct olfactory sense
* Use of scent-giving material does not tie into the theme of NTU for NTU students, but purely on the choice of material
* Dictating a universally-pleasing scent is difficult to muster as smell is subjective, not objective
* Maintainence of such permanent installation is not easy

2. To amplify the scent of smell through a permanent installation that absorbs smell within a vicinity.


*  Resulting outcome creates the identity of a certain vicinity of NTU through amplification of scent
* Uses scent that is amplified from scents already witihin a premise 
* Resulting outcome 'grows' with time, allows an element of surprise for students to uncover

* Smell absorbing materials sourced thus far are not sustainable
* May not be pleasant smelling scent, rather may result in a odour
* Maintanence easier compared to Idea 1

As we weigh the pros and cons, we are more inclined towards idea 2; thus have set our minds to concentrate on curating the allocated scent to be diffused into our proposed permanent installation.

Curating smell

Curating the absorbed smell, thus amplifying the smell is improbable, simply because the smell is formless. 

We began to look at forms that invite or suggest smelling. Some examples given by Ker Siang was to look at air freshener or perfume bottles forms, and how embalming/ taxidermy works to find possibly inspiration.

Use of weather-proof materials that also smell absorbent is not easy to source for, and we are currently still in the process of sourcing.

Alternatively, we would not want our choice of material to dictate the discovery of smell in the installation, yet it has to fulfil its task of absorbing smell whilst maintaining its sustainable feature.

One consideration is to have the people inside NTU to be able to interact with the installation, and through that process allow the diffusion of the smell of the people into the installation to be absorbed and in turn, amplified by diffusing the scent into the surrounding air.

As such, the installation will be able to absorb smell from the very people that interact with it. Perhaps, both I and Hong Sheng have constantly perceived the environment to be the factor of smell but it is instead the people, activities and that are happening within the environment that dictates the smell. 


Proposed Location

(view video link)


As we considered a suitable location for the placement of our installation, a chanced discovery of this particular location came to me and Hong Sheng.

In the video seen above depicts crowds of people walking through the sheltered walkway. Yet, all have failed to realise the spot that is designed and paved, right beside the walkway. 

We feel for that particular spot. We questioned the intention of having that spot designed and paved. We drew parallels of the ‘neglected’ spot with the sense of smell. The smell that is adapted to pave way for other senses. 

We feel that the location in a way shows similarity with the usage of smell as a sense, and we feel that the location embodied the sense of smell. As such, we view this as a potential location for our installation placement.

To be continued . . .

PDIV- |4 smell research

” SMELL. “


Heng Tong  x  Hong Sheng

As we reviewed the feedback from last week, idea 3 regarding smell-absorbing idea was the most interesting concept to develop. Thus, we took into consideration of smell-absorbing agents as our main topic for research.


Nasevo is the nickname given to Ernesto Ventos, a recognised perfumer and creator of scents. He has since presented books and artworks with regards to smell.

* Unfortunately since most of his published articles are in Spanish, we are unable to fully comprehend his points of view.


Smell Colour: chemistry, art and pedagogy by Ventos, Ernesto

Book published by Nasevo. Tells of the radical way of looking at art with regards to smell.

Book features works from all around the world, based upon the criteria of olfactory agent. Book showcases the notion of olfactory senses that can be classified as chemistry; and how it can exist in the world of perception.


Excerpts from the book

Javier Peñafiel (España, 1964)

(Natural greenery, chlorine, bleach)

Even if the person who provoked it disappears, the smell remains. 

Is desire provoked? Can democracy be provoked?


Mayte Vieta (El cebo, 2003)

(White flowers)

Invisible, it has the virtue of surprising, it appears when you least expect it, it incubates like the little buds of spring, like past times, faraway places, the reunion with a loved one, absenses, little particles in the air, it transports us back in time, unpredictable.


Bill Durgin (Cyc 9, 2007)


I have now begun to associate in my mind memories of the session when I took the photos with the memory of the smells given off by the various objects that accompanied the model. 


We also explored materials which actually absorb smells. We feel that the choice of material will play an important factor in creating our project. We found that carbon filter sponge, newspaper, peace lilies and sandalwood do take in smells to remove odours/filter air particles.

Carbon filter sponge

Carbon filter sponge is a material that we looked into previously.

Carbon filter is a material used in industry for purification and removal of contaminants in both air and water. It is a water-proof material that is also shapable.



The use of newspaper is an interesting choice of material that also absorbs smelling agents. In addition to being a smell-absorbant, the prints on the paper make the material visually interesting and malleable.

We, however, felt that the property of newspaper is not water-resistant and also could be a potential fire hazard, therefore, we will keep the use of newspaper as a material in view. 


In our research regarding natural air filters, we came across plants. In the report ‘NASA Clean Air Study’ published by NASA in 1989 is conducted to find out how plants improve air quality. The focus of the study looked at plants that thrive indoors in low-light conditions and actively remove pollutants from the air.

The peace lily is a plant that is considered the best natural air filter. The peace lily absorbs the pollutants from the air through the leaves before sending them down into the roots of the plant where the microbes in the soil will break down the pollutants; while providing moisture into the surrounding air.

We take particular interest in both the form and the natural air-filtering property of the peace lily.

Air Plants

Another interesting plant that we uncovered is the air plants that are mainly used in indoor spaces to clean the air by absorbing nutrients from the moisture and dirt fibres found drifting in the air.

In addition to their properties, we again take particular interest in their alienating form.


Through the vastly different projects taken from our research, smell as an olfactory agent can become the trigger to a certain memory. Yet that certain memory is subjective to each and every individual. This is an interesting point that we would want to look into to develop further.

We would like to create an exclusive olfactory trigger to any individual in NTU through our project. By creating a particular project that allows people to interact through the olfactory agent, in a way we are creating a ‘starting point’ of the experience of the NTU individuals.

We hope that our project can serve as a point of reminiscence for these individuals come the end of their journey in NTU, through the olfactory agent. As each individuals sense of smell is subjective, their memory experience will be in such a way exclusive.

Our main consideration is to use the olfactory agent as our primary element in our project, hence the outcome should remain ambiguous in the form. One inspiration that we gathered is the Visiona II by Verner Panton where the undulating organic forms, made from bright glossy materials, captured the imagination of a free-thinking society.

We hope to position our project in a place where many of the NTU people can congregate.*

* Points to consider, indoor or outdoor setting

To be continued.

PDIV – |2 the infra-ordinary

” SMELL. “


Heng Tong  x  Hong Sheng

As we went through the thought-provoking reading ‘The Infra-Ordinary’ by Georges Perec,  one paragraph really resonated between Hong Sheng and me, of which is:

” To question the habitual. But that’s just it, we’re habituated to it. We don’t question it, it doesn’t question us, it doesn’t seem to pose a problem, we live it without thinking, as if it carried within it neither question nor answers, as if it weren’t the bearer of any information. This is not longer even conditioning, it’s anaesthesia. 

As both Hong Sheng and I started questioning and revisiting the idea of the ‘Infra-Ordinary’ in our everyday-experience within the NTU campus, we came across the idea of smell

Smell is a sensory agent that kicks in within one, as soon as one begets in a new environment. Smell, in that sense, denotes any particular environment. Yet, it is also the sense that acclimatises within one the fastest. Picture yourself entering a somewhat foul-smelling room, and having to stay inside the room for an hour. You would realise that somewhere within the hour, somehow you stopped smelling that strange foul-smell. Being in that vicinity has acclimatised your sense of smell. We found this to be particularly interesting.

Therefore, we decided to use smell as the catalysis of our sculpture. The aim of the sculpture is to amplify smell. We took inspiration from the pollens of flower scents and created an abstract form, with multiple holes where the scent will resonate with the surrounding. By enlarging the scale of the sculpture, a physical form of ‘smell’ is emulated. 

*Unfortunately, the smell cannot be replicated in this post; or any blog post for that matter. 

As we developed upon the concept, we created 2 sculptures. One which a fragrance scent; and another with cigarette-filled foul-scent. While placing the sculptures beside one another, our peers pointed to us that it reminds them of the pair of lungs, which is a chance discovery.

All in all, ‘smell’ is an interesting starting point and we will look to develop the idea.

Hi Harvey ~


The visit to Harvey Norman was pretty cool. The experience I had from the get-go is pretty special as the consumer goods are placed and displayed strategically right from the store front. The trend is pretty evident and clear right from  these strategic placement of the permutations of consumer goods for the customers’ experience  walkthrough.


The growing trend seems to be captured in the form of high-class contemporary lifestyle. This is evident in the placement of bulky coffee makers, almost flashy flasks, toasters and mixers right at the store front. All these points to the higher living of the high-tea ‘coffee or tea’ lifestyle that we all can associate with from our lifestyle (Even as the beverages we would associate with are mostly packet kopi-o kosongs and teh tariks). These goods are seemingly heavy duty and packed with eye-catching pastel colours; or precious bronze, gold and silver finishings, which in itself breaks away from the white-dominant consumer goods. Also the mechanism that lies within the products are almost seamless and perhaps even to a certain extent redundant, but does their job to ignite conversations.

Such trend extends inside the store, albeit more affordable permutations of the models clumped on single sides of shelves. Such can be seen in chosen models that customers are able to be given a test-run, with automated floor cleaners, flashy refrigerators that are apparently too small to store food within, and heavy duty shavers, hairdryers and electric toothbrushes. All these points to the trend of a higher-lifestyle. Such consumer goods comes with a hefty price tag, but adds into the faster-paced lifestyle.


2 consumer goods that I find particular interesting is the 2 types of toasters pictured below.

One the left is the toaster, whose brand is rather popular within the store,  and it boasts of four slots for the breads, breaking away from the conventional toaster with two slots.  Not only that, but its also has particularly more functions as seen with the knobs. This is probably catered to a larger household. The high-quality finish of a gloss black also boosts its appeal to perhaps a housewife.

On the right shows a rather peculiar looking toaster, with the conventional 2 slots for the breads. However, it adds onto its function with a mini pan on the side, perhaps used for a sunny side up, or even cooking tea/coffee. This brings forth the idea where the whole act of toasting is quickened. Also, the finishing is relatively of a lower-grade as compared to the toaster on the left, showing that its added function trumps the the appearance of the toaster. Such can point that the toaster is catered for perhaps a person living alone.

Overall thoughts

The experience I have walking through this Millenia Walk outlet of Harvey Norman shows a slightly different side from the other outlets located at the heartland malls. The strategic placement of the higher-end consumer goods seemingly cater to higher-class families, perhaps living around the vicinity. This is opposed to the outlets at heartland malls where the store front is flooded with computers, laptops and routers. Perhaps this shows the trending lifestyle of a first-world Singapore.



Aesthetics – Function . Human . Emotion .

Previously, the class touched upon 3 modes of aesthetics in design; function-dominant aesthetics, human-dominant aesthetics and emotion-dominant aesthetics.

Function – dominant Aesthetics

Products that follow function are designed to serve its’ purpose. Living in a modern age where vast permutations of any particular product can be found, function-dominant products retains its normality in which its form and material choices are derived from its function. Such products are usually less emotional. One example is the Stapler.

Permutation of Stapler designs

Human – Dominant Aesthetics

Products that are human-dominant, are designed with the intent to aid in a human issue. Such products, I feel can still bring forth the sense of emotion, but still mainly focus on the function. An example of a human-dominant product is an ‘One-hand’ Industrial staple the fundamental function of the stapler is retained, whilst adding tweaks such as a bigger body to contain the bigger stapler bullets, as well as a gauge to ensure the stapler maintains its straight path. Also, together with the function of the ‘One-Hand’ all ensue the Industrial stapler to be used for the specific purpose of efficiency.

A ‘One-hand’ Industrial Stapler

Emotion – Dominant Aesthetics

Emotion-dominant products add an extra touch for the specific user. Many at times, such products make the user conforms to the function. One such example is a MUJI Award 2003 bronze prize winner, the Precise Stapler by Joonhyun Kim from South Korea. Even though the main element for the design of the stapler is to provide accuracy for the user, the whole subtraction of the metal piece, providing the right-angled slot for the paper to be inserted within the staple actually conforms the user to use the stapler in that certain manner/ practise.


FINAL Thoughts

For this exercise, I made use of the Stapler designs for my examples. Honestly I was really confused when attempting to classify the stapler designs into the 3 categories. This actually made me realise how closely interlinked the 3 categories are. Also they are useful in their particular sense as they all serve a particular function for a particular group of target audience. However, each example will probably falter when switched upon the target audience. All in all, I realised the importance of each category of aesthetics.


Captain Organic

Ross Lovegrove is a designer that really inspires me as a student. I first came across Ross Lovegrove from his presentation on TEDTALKS, where he showcased his water bottle design, as well as his ingenious car concept, while explaining his design philosophies. I was really awed by the incredible zest and belief that he possessed for his designs, which can be felt by the energy in the way that his talked. I really admired that level of enthusiasm.

Ty Nant Water Bottle

Ross Lovegrove bases his works on material technology where he actively seeks out to new material technologies, but the fundamental basis of his designs lies in the organic form of nature. Nicknamed as ‘Captain Organic’, Ross Lovegrove looks to nature for his inspiration in design, and the outcomes are inadvertently aesthetically pleasing. I am particularly impressed with his ability to sieve out the redundancy of a particular object and in that changing the way one is to perceive the design. For instance, in the ripple-water bottle, he created the ‘shell’ of water, changing its known properties into something physical and tangible, and in that changed the way people perceive the water bottle.


This can also be seen in the furniture he designed, such as the ‘Supernatural Chair’ and the ‘Go Chair’; as well as the concept car he designed for Renault called ‘Twin-X’. I love the way that Ross Lovegrove is able to create a new burst of appreciation for the product, whereby the product becomes a showpiece design while maintaining the rudimental functionality.

Ross Lovegrove X RENAULT Twin-X

All in all, Ross Lovegrove’s philosophy for design and his incredible bolt of energy and enthusiasm for his designs intrigues me a lot.

Garden | City [Final]

Garden | City





‘Garden | City’ is a screen-based installation that draws human interaction. Based on a disjoint in Singapore residents with Nature.

In a bid to industrialise Singapore, more than 95 per cent of land has been cleared for architectures. What results is the destruction of natural habitats, in flora and fauna, of animals in Singapore leading to extinctions as well as potentially critically-harming the populations. Other reasons like war as well as eliminating the threats of potential predators to Singaporeans (like the tiger) also contribute to extinctions of animals in Singapore.

Conservation techniques have already began since 1963, with the movement of turning Singapore into a ‘Garden City’. This movement further developed to ‘City in a Garden’ in its 50 year commemoration, in 2013, with planting of more trees in Singapore, as well as allocating more conservation parks.

However more often than not, we have a lack of information about critically-endangered animals in Singapore, and animal-conservation techniques and actions are not widely spread. Therefore in installing such temporary screen-based installation, we hope to raise awareness to Singaporeans about the matter of critically-endangered animals in Singapore, as well as be notified of such conservation techniques available and how to participate.



‘Garden | City’ takes people to another realm through a temporary screen-based installation, placed at the site of the ‘Supertree Grove’ at Gardens by the bay, through the usage of 2 different types of touch features using existing technology.

Firstly, featuring the use of the nostalgic action of shadow gestures, people are able to dictate the narrative of the life animal characters and trees on the screen through the use of different hand gestures for  different animals and trees, which are captured recorded into the screens as people watches their animal gestures come to life as a narrative.

Also, the narrative screen lies a touch-feature where touching on the trees will transform them into architectures of man-made establishments. As the screen fills with such structures, the narrative shifts as too much structures will warrant the vanish of animals as their ‘natural habitats’ are destroyed. The key is to allow people to maintain the balance of animals to live harmoniously within the realm of ‘Garden | City’.

The key of ‘Garden | City’ is the use of human touch to dictate the narratives. For it is Us that resulted in the imbalance of nature. And again, it is up to Us to shift back the balance of nature.

Screen-based installation is designed for people of all ages. Screen features the interactive narrative screen flanked by an information board and a capture screen on each side.



We incorporated the use of hand gestures to dictate the narrative of the animal and trees.

As the users are able to create animals and trees into the narrative screen, they also have the power to eliminate the animals as they ‘creates architectures’ when touching the trees.

The use of hand gestures show a poetic notion that nature conservation is within our hands, our power. 

Educating the people

garden-city-8We incorporated the use of narrative to allow people to dictate. Once there is an imbalance, the scene closes with a permutation of text that shows the end of an era.


In addition, an information board raises awareness to the people of the facts of critically endangered species in Singapore, and how they are able to help with nature conservation.



garden-city-3We incorporated the use of 2 technologies. Leap Motion, and Touch features, for the Capture screen and Narrative Screen respectively.

The use of leap motion enable us to track the gestures of the hand into the screen, while the use of touch receptive allow response of the user’s touch on the narrative screen.


The placement of the temporary installation is in Gardens by the Bay, the Supertree Grove.

In placing at Gardens by the Bay, we feel that the space is compatible to our installation as it fits the nature view, and the sustainability philosophy of the ground is in tune with our project.

During our site visit, we feel that the placement at Supertree Grove is the most coherent as it is a place where people congregate, thus will be able to look into our installation as they rest within the area.

Possible collaboration


Our purpose of the installation is to create awareness to the public regarding the existing nature conservation movements that are already available. We feel that our installation can create more exposure to the public to these movements, that the NParks have organised.


Also, as the i Light Singapore movement warrants similar use of sustainability as their philosophy, and the placement to be within Marina Bay, we feel that perhaps it would be coherent to collaborate with them during the temporary showcase.

final deliverables




  • Incorporating Conservation Movements into the Ending of the Narratives
  • Bridging the idea of Balance / Imbalance to be more clear
  • More Endings
  • An introduction Video for users to understand how to use the installation
  • Ambience state during the idle period where nobody experiences the installation can bring forth more Conservation movements
  • Narrative may be better with a time-frame

Final thoughts

We hope that through the interactive temporary installation of ‘Garden | City’, within the fun of using the installation, Singapore residents will be more equipped with the required knowledges of nature conservation, and the animal species that are close to extinction, and be more apprehensive to nature conservation movements.

Our progress regarding the project was hindered by a lot of obstacles. One of which is a lack of information regarding the issue of nature conservation. Seemingly, there is a lack of empathy regarding wild animals in Singapore, that their co-existence with the Singapore residents is not important. Only the people involved in nature conservation industry are empathetic to the issue. Therefore there was much difficulty collating researches regarding the aspect.

The other obstacle was the raw footage that we needed to obtain for the final video cut. As we were incorporating animal movements, we needed raw footages of these animals working in green screen as we were not able to film these wild animals in an enclosed area. Therefore a lot of the animals and nature had to be compromised. Nik who edited the video also had to pick up a new software in After Effects.

All in all, we are really pleased with the outcome. We feel that the final outcome correlates with our agenda. In the whole process, the 3 of us complemented each other very well and we did our jobs to the best of our own abilities.

That’s all folks!


(12) Garden | City (name updated) – PROGRESS (4)

Garden | City



Final Concept

‘Garden | City’ takes people to another realm through a temporary screen-based installation, placed at the site of the ‘Supertree Grove’ at Gardens by the bay, through the usage of 2 different types of touch features using existing technology.

Firstly, featuring the use of the nostalgic action of shadow gestures, people are able to dictate the narrative of the life animal characters and trees on the screen through the use of different hand gestures for  different animals and trees, which are captured recorded into the screens as people watches their animal gestures come to life as a narrative.

[ Concept Video #1 ]

Also, the narrative screen lies a touch-feature where touching on the trees will transform them into architectures of man-made establishments. As the screen fills with such structures, the narrative shifts as too much structures will warrant the vanish of animals as their ‘natural habitats’ are destroyed. The key is to allow people to maintain the balance of animals to live harmoniously within the realm of ‘Garden | City’.

[ Concept Video #2 ]

The key of ‘Garden | City’ is the use of human touch to dictate the narratives. For it is Us that resulted in the imbalance of nature. And again, it is up to Us to shift back the balance of nature.

Screen-based installation is designed for people of all ages. Screen features the interactive narrative screen flanked by an information board and a capture screen on each side.


(more to follow)


We researched on existing technologies that can be incorporated in our screen-based installation.

Leap Motion

[ Leap Motion Website ]

Leap Motion is a technological company that develop a  unique combination of software and hardware tracks the movement of hands and fingers with very low latency, converting in into 3D input, for digital content in virtual and augmented reality.



We feel that the technology can be incorporated in our screen-based installation through the capture of hand gestures into the screen.


The company behind the exhibition of the Future World at the Art Science Museum, features a lot of really interesting technology based art installations.

One particular project that we feel is similar to our screen-based installation is the ‘Sketch Animals’.

[teamLab website ]

‘Sketch Animals’ features the idea of creating animals and making them come to life, as well as interacting with the animals by touching them. We feel that our concept is pretty similar in the use of touch to interact with the animals and trees in our installation.

All in all, we feel that the technologies researched can be incorporated in our screen-based installation.


(to be updated)

to be continued.

(11) Depreciation of the World – PROGRESS (3)

Garden | City



Research (cont.)

Look at Existing Events that are similar to concept.

Case Study #1

Singapore Lights Festival

Singapore Night Festival presents art installations within Bugis, Bras Basah. Using the streets and facade and spaces inside  Museums located the vicinity, promotes art installations that sets upon a different theme every year.


Case Study #2

i Light Marina Bay


i light marina bay is a 3-week light art festival that presents light installations designed by artists around the world, within Marina Bay. At the same time turning off lights of the buildings around and using the light installations to illuminate the place.


i Light Marina Bay too supports the idea of sustainability through the ‘Switch off, Turn Up” action, where offices are encouraged to switch off lights and turning up air-condition temperatures.

We feel that i Light Marina Bay supports our installation idea, our message of screen-based experience has a deeper meaning and content to the poetic screen-based portray.

Message to be finalised with more research.


Look back at the researched animals, trees and man-made infrastructures and came out with a Life-Cycle table.


Considerations of the amount of animal types as  too much may resulting in confusion of gestures. We do NOT want to overcomplicate the gestures which will hinder the fun of the screen-based experience. Gestures considered has to be simple and relatable.

Amount of animals, trees and man-made infrastructures to be finalised.


On-screen experience based upon the chosen site (Supertree Grove).


Usage of physical backdrop, and incorporating the screen-based technology.

Visualised based upon the size of the proposed screen canvas. Considerations on whether the experience can be optimised with the amount of animals on the limited canvas.


to be continued.