Chavelling

Chavelling is a series of light sculptures that aim to cultivate empathic curiosity within tea drinkers seeking rejuvenation by bridging screen-based and real experiences. Through stimulation of visual, tactile and olfactory senses, Chavelling encourages exploration of tea origins.

Displayed in tea establishments, Chavelling serves to promote tea’s origin, culture and sustainability.

Hawker Centers Re-imagined

A hawker center accommodates a group of stalls selling a variety of cooked food in a sheltered and open complex with a common seating area for its customers. Its’ convenience, affordability and quality of food are the primary reasons why hawker centers continue to draw crowds today.

Hawker Centers are also the social leveler in Singapore where people of different backgrounds gather together. For many of us, it is the kitchen, dining and living room in our lives. However, a wide target audience results in a wide range of needs and wants. This project aims to reconsider what a new hawker center experience could be like and engage in a universal design methodology to meet the changing wants of its’ customers.

Rojak Cypher

This project aims to document the street dance community in Singapore to showcase how it is unique in these four aspects .

  1. Location and historical context
  2. Unspoken Vocabulary
  3. Spoken Vocabulary
  4. Short documented stories

Street Dance is a dance style that evolved outside of dance studios in any available open space. The term is used to describe vernacular dances in the urban content whereby the genre of the dance is broad. Vernacular dances are often improvisations ( Freestyle) and social in nature.

As a dancer myself, I’ve come to realise dance being a form of expression of the human intention is considered a language. The idea of doing this topic for my FYP came about while I was pondering on the idea of how Singlish, a local dialect was evolved from English, a foreign language. Similarly ,the initial philosophy and practice of street dance was something that was foreign to the culture here and was adopted by Singaporeans in the late 1970s and only started getting popular traction in mid 1990s . It is no surprise that the dance styles in Singapore has also evolved in a way that is localised. However a quick google search will show that street dance in Singapore is not being structurally documented and if so, it is rare. This is why this FYP is important to me as it serves as a platform to showcase a part of our much seeked after cultural identity.

The Fourth Island

I spent 20 years outside of my country of birth, Singapore. As a child my family relocated often, and I floated between different environments, each with different comfort zones, conversations and food. I developed a childhood routine of finding comfort and familiarity in small details – did these strangers leave their shoes on or take them off before entering a home? What was the most popular brand of instant coffee? Is the way they speak at home the same way they’d speak at a job interview? Doing this helped me find continuity and piece together the world around me.

The Fourth island explores three far-apart islands, Mauritius, Singapore and O’ahu, Hawai’i – as focal points to discuss home and identity as a fluid entities. Not bound by four walls or one country, but entities that sail in all directions across the Earth and are inherited by people who don’t know just how much their daily lives intersect with those of strangers across the oceans.

Pantang – Perspectives and Realities of Mortality

‘Pantang’ attempts to discuss the significance of death and remembrance of identity through a multidimensional exhibition. Using the play of perspectives and stimulation of different realities of mortality, ‘Pantang’ intends to open a discourse around cultural practices, remembrance and respect on our individuality; for who you are is intrinsically tied to your own life and death. These realities will reflect how death is confronted in the contemporary society.
Through the exhibition, “pantang-ness” is being deconstructed and viewers will be led to affront to their identity as they explore the different dimensions of life and death.

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