manifesto – written

Physical copy – in folder.

Content of the manifesto:

Design to me is a constant development of styles that marks each era with its own characteristics. Design has physically created and built our current world; from the design of toothbrushes that we use daily to the homes that we live in. To this day, many various forms of design including all that we have learnt this semester, interactive media, visual communication and product design, have proven to serve society with a purpose to progress and improve constantly.

good design to me is something that has a purpose and is designed for its purpose. it is smartly thought out for its function whilst possibly encompassing an aesthetic exterior.

but with that being said, designs are also very subjective to every individual. a design which I may deem as simple and classic could be thought as boring to someone else. but that is the beauty of design. the presence of its variety caters choice and options for everyone to express themselves in their own unique way.

  1. continue designing for a purpose
  2. continue designing for our future
  3. continue designing to improve
  4. continue designing to fulfil our desires
  5. continue designing because we want to

Moving forward, think we need to continue whatever mankind has been doing to further develop this world into a place we enjoy living in.

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Creative Response ~ Bauhaus

Inspired by vibrantly coloured hawker tables and seats, the rounded table setting reminds me of Chinese families; and how we always had a preference for round tables especially during family gatherings, for the easy sharing of food.

Creative response ~ Rebus Design

TEAR + (Return – turn) = tear`re aka teri



paper tear:

2013 – WHITEvoid – FLUIDIC Sculpture in Motion

FLUIDIC – Sculpture in Motion is a kinetic laser light sculpture created by Hyundai Motor Co. with WHITEvoid, an interactive design company and kinetic artist Reuben Margolin. This installation exhibited in 2013 won a prestigious Red Dot award for communication design. Comprising of 12,000 translucent spheres attached to almost invisible strings that act collectively as a screen and surrounded by 8 high powered lasers, the sculpture is suspended over a pool of water. This pool of water provides a reflective surface that mirrors the lit up sculpture. Within the world of multimedia concepts, I think that FLUIDIC includes traits of interactivity as well as immersion to certain extents.

The set up of this exhibition is amongst a darkened space whereby the viewer’s eyes will adapt to the dim lighting over time. Leading up to the core installation, there are also wide curved cascading podiums. (as seen in the image above) Clearly, the detailed considerations going into the exhibition space as a whole plays a very important role in the viewer’s experience as I would consider it an immersive one. Although the application of immersion here doesn’t exactly fit the definition of immersion as according to Ivan Sutherland in The Ultimate Display, “A display connected to a digital computer gives us a chance to gain familiarity with concepts not realizable in the physical world.”, immersion, in this case, refers more to the idea of having your senses immersed in a space that is slightly altered from your everyday space. One where your body will readjust from when you leave the exhibition.

Its performance begins with a recreation of virtual rain with the lasers, followed by an interactive segment whereby the human presence creates three-dimensional visuals. A 3D scanning system that registers body warmth has made its interactivity possible. Anyone involved in interacting with the switches become unwitting ‘puppeteers’ that are working as a collective to change the overall aesthetic exterior of the work. “For the last 20 years, I’ve been making kinetic sculptures that seek to combine the sensuousness of nature with the logic of math.” – Reuben Margolin. This interactivity links back to the concept of cybernetics where there is a presence of a relationship between man and machine; and the idea of action and reaction. Similar to Robert Rauschenberg’s Soundings, where the intensity of light would vary based upon sound pitches, light elements in FLUIDIC would flicker, rearrange and mimic the viewer’s movements. These interactions lead to a series of initiated communication.

“They are constantly in motion, reacting and adapting with the people who seek to engage with the installation.”

Technology has allowed for the programming of algorithms to react accordingly through senses other than touch. FLUIDIC’s ability to register body warmth allows for the automatic arrangement of the floating spheres as well as the positioning and projection of laser lights. Generating both bright and dim light points, seamless graphical compositions are formed. Examples of this interactivity are evident around the 1 min 25 sec mark of the video below.

Amongst the various aspects of interactivity, FLUIDIC also supports the idea of behavioural art whereby the presence of people aka participants makes the artwork complete. With the lack of human interaction, the installation would not be able to display itself to its full ability. The idea of interactivity, in this case, is not subjected to a one on one relationship between the work and one other viewer. Instead, it allows for collaboration between anyone who is involved.

FLUIDIC portrays the idea of nature and flow in life through instinctive rhythms and ability to adapt as human motions are reflected in its dynamic arrangements. This idea was based on Hyundai’s identity to embrace harmony with rhythm. It’s 4 principles: fluid, dynamic, motion made easy and driving pleasure. The fluidity presented in this work mimics the organic movements of the human body hence why this installation was probably made to be interactive.

Speaking of all this interactivity, interactive art was first explored in the early 1960s. Nam June Paik’s Magnet Tv was one of the earliest examples of interactive media art. “Paik challenged the notion of the art object as a self-contained entity and established a process of instant feedback, in which the viewer’s actions have a different effect on the form and meaning of the work.” – Whitney Museum of American Art

The phrase “process of instant feedback” really stuck with me because I felt that it is the key achievement in Paik’s production of his work. Without this ability for technology to react instantly, the interactive quality would not have been as engaging and exciting. As one of the pioneer interactive works, Magnet TV “anticipated the participatory nature of much contemporary art.” Increasing technological advancements have undoubtedly led to the evolution of today’s work where cybernetics and behavioural art plays an important part in contemporary art.


Explained: Understanding Hyundai’s Fluidic Sculpture Design Philosophy

Fluidic – Sculpture in Motion by WHITEvoid

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Artist Selection : WHITEvoid

FLUIDIC – Sculpture in Motion

was an installation created for Hyundai’s advanced design center installed for Milan design week and created by Berlin-based design studio WHITEvoid. The sculpture consists of 12,000 translucent spheres that float over a pool of water. This piece of work covers the concepts of interactivity as well as immersion to certain extents which I have covered in the hyperessay.

FLUIDIC was an updated selected choice of work because I realized that what I had initially chosen, which was CLOUD installation by Wayne Garrett, didn’t quite have elements of technology integrated into art even though it carried traits of interactivity. Below is the research I did for Wayne Garrett’s CLOUD sculpture before my updated change.

Art + Sustainability | Singapore

CLOUD – Wayne Garrett

Created from 6000 incandescent light bulbs, CLOUD is an interactive sculpture by Canadian artists Caitlind r.c. Brown and Wayne Garrett. Viewers can interact with the CLOUD during exhibitions by ‘initiating impromptu collaborations’, working together as a collective to activate lights on its surface. The strings dangling down are pull chain switches that control the CLOUD’s canopy exterior.

Beneath its beautiful illuminating facade, the CLOUD’s underbelly exposes it’s industrial and utilitarian side. Supported with structural beams, exposed electronics and imperfect hand-bent steel, the ‘reveal’ breaks our initial impression of its delicate exterior aesthetic. Similarly, with the bulbs, there are actually LED bulbs beneath the surface of incandescent bulbs filtering the bright LEDs.

The interactive aspect of this sculpture draws viewers underneath it, hence exposing them to the awareness of domestic waste and the presence of insignificant objects within our urban environments. This has been portrayed through the surface of incandescent bulbs; as they are phased out in the EU and various other countries, the sculpture demonstrates the ongoing transitions in today’s technological advancements.

“the sculpture gains new meaning as a beacon of transitional technologies and changing futures – where are we going next?”

In the midst of this collaborative action that alters the CLOUD as a whole, viewers engaging with the pull chains become performers and puppeteers that are orchestrating a changing visual for others observing from a distance. The viewer’s experience and takeaways from this piece vary depending on their level of participation and observation.

CLOUD relies on the universal symbol of our environment (rain clouds) to communicate against cultural differences and language barriers.


Relating this installation piece back to interactivity as discussed in class, the CLOUD supports the idea of behavioural art whereby the presence of people and participants makes the artwork complete. Without the human ‘factor’, the whole message about environmental sustainability and excess presence of insignificant objects will no longer be projected. Even though its purpose can still be communicated through displayed descriptions of the work, its impact would be a lot stronger through interactive experiences with the CLOUD up close.

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G a l l e r y

Teri Ng

1 // Is this my future? is a series of 4 mixed medium pieces that bring you through jobs I’ve dreamt of pursuing as a child from young to old. The concept of time and age is brought through the evolution of carelessness in craftsmanship.

my name is teri and i am an air stewardess

my name is teri and i am an interior designer

my name is teri and i am a baker

my name is teri and i am a supermarket cashier

2 // Haji is a digital abstract driven eight-page zine created to portray Haji Lane as a creative space in Singapore; a filled canvas that comprises of interesting boutiques, beautiful cafes, and the lively nightlife.

More information about both projects here!

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Locale ~ Final (Zine)


Art direction:

  • working with scans and edits
  • compositional arrangements in relation to the sound of the place
  • progression of time throughout the day with the use of colours
  • something representative in each spread to give context

Front and back cover

The background colours on the front and back cover ties in with the first and last spread while the colours included in general are all present throughout the zine. The entry and exit of a journey through my zine is represented with the entry and exit of a gachapon machine since I spotted them along Haji Lane.  Some textured scans of the machine itself are included in the front cover. 

First spread

The first spread is dedicated to the cafes along Haji Lane. With the pie scans being the main subject of this spread, it’s clustered arrangement resembles the sounds of chitter chatter and cutleries on plates in the cafes. The overlapping and rectangular framing of the pie scans also conveys the placing of plates. Incorporating the calm and beautiful exterior of this cafe, the plain yellow border represents that. Textures from napkins are also overlayed in this spread and the warm tones help to link to the next spread.

Middle spread

Targeted to express the boutiques along Haji Lane, this spread contains various forms of hand-made packagings from the shops. Replacing barcodes and commercial packaging, there is a presence of organic forms such as stamps, brown paper bags and handwritten price tags. This organicness is contrasted with the typed text “handmade, handpainted”. Compositionally, this spread holds a neater arrangement to mimic the calmness in the shops. The overlay of the scanned bag also conveys the crinkling of plastic sounds.  

Last Spread

Lastly, to end off the night, this spread expresses the nightlife at bars. The visual soundscape of the street at night overlaps with the double yellow lines. Amongst the soundscape is abstract block colours that have been extracted from raw images taken during the night which also represent the murals there. The 2 overlapping areas between the lines and the double yellow line represent two main parts of the street where bar seatings spill out onto the road. On the right is an abstract layout of barstools in the arrangement of the bar menu.


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Locale ~ Research + Process (Zine)


Main concepts: day vs night, creative space, a large canvas

  • abstract visual qualities of your site’s uniqueness
    • shophouses
    • very colourful
  • signages, soundscapes, motifs/patterns, the materiality of the space, tactility, architectural elements, the 5 senses
    • soundscapes, audacity, make abstract patterns (hear)
  • *”what are some ways I visually present my site’s uniqueness in an abstract manner?”
    • mark making, scanning, risograph printing
 favourite qualities of zines:
  • pictures, text, doodles
  • sectioned parts of the page
  • headline
  • image vs illustration, contrast
  • colours

Pinterest research ~~

First Consultation
 For the first consultation, one of the main queries I had to clear up about the overarching theme of my zine is Haji Lane as a creative space. It strayed away from the intent of ‘focusing on one aspect of our location’ but it was the aspect that incorporated many aspects; which was rather contradicting.

During my consult with Joy, we discussed that Haji Lane can still be looked at as a creative space, but narrowing it down to a specific population. e.g. for business owners. using the 3 spread in the zine, it could be grouped to target 3 different groups/types of business owners.

  1. Bars, nightlife
  2. Boutique owners
  3. Mural artists (may change)

Aside from these points, some data that I wanted to work with visually was :

  1. sounds from the street – audacity (day vs night)\
  2. letterboxes from shop fronts – individual characters of the boutiques
  3. murals – patterns
  4. bars – unique cocktail names
  5. products sold at haji lane
First Group Consultation

The following images were what I shared during the first group consult. As an art direction, I was trying to work towards line illustrations with minimal text as well as some images. Considering that I was still rather new to illustrator, I was playing around with the image trace function to obtain various visual outcomes.

boutique spread

Layering of visual qualities that I noticed inside and outside of the boutique shops. Plants, gate, shophouse, etc…

bar spread

Image of live gig, illustration of quirky mannequins outside the bars, stools, mic

cafe spread

Manipulated image of windowsill pies, ‘coffee and cakes for you?’, exploration with visual soundscapes

For these spreads, I definitely interpreted the abstract part of our zine in the arrangement of visuals rather than an actual abstract representation of Haji Lane. The sharing of other’s work definitely helped me to understand the abstract direction that I should be working towards. Hence, I decided to start anew and reorganize my zine.


one main quality for each business + respective soundscape

Listing of new ideas aka revisiting Haji lane:

  1. Boutiques
    1. The concept of purchasing/buying
      1. scanning of barcodes?
      2. personal packaging
  2. Cafes
    1. Working with pastries
      1. scanning in crumbs
      2. drink stains
      3. receipts
  3. Bars
    1. Gigs
      1. lyrics
      2. drinks menu?

Sourced packaging materials and scanned them it for digital manipulations

Bought a pie from windowsill pies and scanned it. I also recorded sounds from the boutiques, bars and cafes. These sounds were later reflected in the composition fo each spread. Following the scanning of these resources, I experimented with them to create new spreads.

Second Consultation

Although I brought in more abstract qualities this time, there were definitely things that I could further focus on for each spread.

  1. Boutiques
    1. handwritten vs printed
    2. texture of tape
    3. focal point on the 100% text
  2. Cafe
    1. add texture of napkin
    2. maybe an image of a fork to give context
  3. Bars
    1. spilling of gigs onto the street
    2. street lighting?
    3. double yellow line
    4. darker background with neon touches (with reference to images taken)
Further alterations / explorations

soundscape + double yellow line resembles street, solid colours abstracted from images of the nightlife at Haji lane with the eyedropper tool

Abstract icons of barstools along the street, arranged in menu format, overlapping of soundscapes similar to the boutique spread where there is also overlapping

Re-arrangement with a frame since the other spreads also had some sort of framing going on. I lot of rearranging went into the process of this zine and it was definitely a challenge for me in terms of deciding which would be best not only to fit the concept but also aesthetically. The final spreads of my zine will be explained in another post 🙂


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