Six Emerging Designers You Should See At Singapore Design Week 2024
Who decides what is valuable? How do we prescribe or decide the value in something? At Singapore Design Week 2024's EMERGE @ FIND showcase, five Singapore designers probe the meaning of value through meaningful design.
By Lucy Lauron,
Singapore Design Week (SDW) is back - this year running from September 26 to October 6 across various venues. This year's theme, People of Design, honours the value of design in Singapore and the thought leaders who aim to enhance life with it. With larger design districts and a refreshed programme, everyone from design traders to casual viewers have a bigger stomping ground this year.
If you're looking to get your hands on pieces from homegrown and regional designers, make your way to EMERGE @ FIND, a section within FIND – Design Fair Asia (billed as the region's largest design fair) that's dedicated to showcasing the works of emerging designers from Southeast Asia.
There are over 50 local and regional designers participating at EMERGE @ FIND, each interpreting the event's theme of These Precious Things by considering this question: In light of the climate crisis and a culture of overconsumption, what and who defines 'value'?
This year, EMERGE @ FIND's curator, Suzy Annetta, has deliberately included works from freshly graduated and young designers, bringing fresh perspectives on environmentalism and consumerism. Ahead of SDW, we highlight and get to know six local talents that shouldn't be missed.
EMERGE @ FIND takes place September 26-27 (for trade visitors only), September 28 (for general public), 10am-6pm, at Hall F (Basement 2), Marina Bay Sands Expo & Convention Centre, 10 Bayfront Avenue
Collaborators Frank Quek (left) and Zhao Qiuyu (right) are co-directors of the Singapore-based art and design studio, Calybraid. With experience in designing private residential architecture, bespoke interiors, furniture and objects, their pieces are visually reminiscent of Art Deco and retro styles. With backgrounds in architecture, they find inspiration from "the most unexpected details or smaller-scale things" from quirky ceramics or antique lighting. For SDW 2024, their work CO3: Square Side Table reflects the interactions between their craftsmanship and digital processes.
What is your SDW project about?
"CO3: Square Side Table is from our ongoing collection C, a series of stainless steel pieces. The starting point for this collection was Xavier Corbero’s surreal Espai Corbero complex in Barcelona, which captivated us with its geometry and dreamlike spaces. We were inspired to replicate certain vignettes from the complex, and began an exercise into translating them into smaller, algorithmically-driven forms. The collection is produced by sheet metal fabrication, and polished to a mirror-like finish, capturing the interplay between contemporary digital aesthetics and metalwork craftsmanship."
What’s something you want your viewers to take away when viewing your designs at SDW 2024?
"We want people to know that our pieces are locally made here in Singapore, and through the designs, we hope they get a sense of who we are as a practice. We’re open to all kinds of reactions and enjoy seeing how different people interpret what we create."
How do you inspire each other creatively?
"There's definitely a contrast in creative styles—one is more systematic and logical, while the other is more intuitive and abstract. This dynamic keeps things fun, specially in our interior architecture projects, which make up the core of our work. It also brings out fresh perspectives throughout the process."
Currently pursuing a PhD at NUS' Division of Industrial Design, Siew believes in the power of design for problem-solving. As a designer, he emphasises giving the materials he uses "agency," empowering his work to "feel raw, pure and driven by the materials themselves." With a distinct interest in healthcare innovation, his work and passion for design has gained him recognition from a collection of international awards, such as the James Dyson Award, iF Design, and Red Dot Award. His work for SDW 2024, (Air)ssembly, focuses on functionality and the use of air as a design resource.
What is your SDW project about?
"My work for SDW24 explores the potential of using air as a process for both assembly and disassembly, focusing on the essence of its functionality. (Air)ssembly takes the form of a stool and challenges traditional furniture joinery methods like screws, glue, and nails. In this investigation, I examine how air can be harnessed to assemble structures made from non-inflatable, solid materials. (Air)ssembly relies on an inflated bladder, which serves not only as the seat but also as the core structural element. When inflated, the bladder’s outward force secures and stabilises the stool legs to the frame, using friction to hold the assemblage together.
The proposed new work titled (Air)ssembly delves into the conversations surrounding the creation and disassembly of objects, focusing on their deconstruction, assembly, and the essence of functionality. Construction of objects is something that is increasingly being discussed as the age of materials, fabrication tools and methods become more efficient for humans, but harmful for the environment. Air can be seen as the world's most abundant and freely accessible material, and has been utilised in various past and contemporary designs for inflatable structures, furniture, and essential human use."
What’s something you want your viewers to take away when viewing your designs at SDW 2024?
"One of the things I'm excited about is challenging the conventional ways people think about assembly and disassembly. In my current work, I've chosen to express this through the form of a stool. My hope is that people will begin to think more critically about assembly and disassembly, not just as a final outcome, but as an integral process in realising certain objects."
You’ve mentioned that you “derive creative satisfaction from observing your environment and exploring societal behaviours.” What such observation did you have that was most impactful to you or your design work?
"What fascinates me is being present in the moment, without feeling any pressure to create—just observing. There's a line from writer and artist Austin Kleon that resonates with how I approach my work: 'Creative people need time to just sit around and do nothing.' For me, being bored, people-watching, and simply observing how groups interact with their environment often sparks some of the most fun and unexpected ideas."
Tell us more about the construction process for your work.
"In an effort to explore the potential of air beyond just material, we challenge traditional furniture joinery methods. Common techniques such as screws, glue, and nails are widely used, but how can we harness air to assemble structures made from non-inflatable solid materials? This probe aims to question the relationship between widely available materials and depleting natural resources, allowing the audience/interactor to decide the value of future material systems in a wavering world.
This investigation introduces (Air)ssembly - a concept manifested in the form of a stool that redefines conventional assembly methods with a surprising twist. The (Air)ssembly stool relies on an inflated bladder, which serves not only as the seat but also as the core structural element. When inflated, the bladder's outward force secures and stabilises the stool legs to the frame, utilising friction to hold the assemblage together. (Air)ssembly could be constructed & deconstructed in a matter of seconds. This play between made materials and air (inflated) materials opens up discussions surrounding the value of future or potential fabrication methods within complex material systems and how opposites could work together for a more sustainable approach."
An alumna of NUS' School of Design and Environment, Cynthia's interests lie in exploratory, experience and graphic design. She finds inspiration in the mundane; the everyday conversations, objects and places that one might overlook. In experimenting during her design process, Cynthia discovers unconventional materials and methods that allow her to push the envelope and foster critical interactions between viewers and her work. Cynthia's core design ethos is that design can be functional, beautiful, and meaningful—not just in the objects people create but also in the ideas they represent. For SDW 2024, her piece, titled The Tied Stool, is a critique against commodification and access.
What is your SDW project about?
"The Tied Stool challenges viewers to reevaluate their relationship with materiality and consumption. By harnessing metal cable ties as both medium and muse, the project explores the inherent worth embedded within overlooked materials, inviting contemplation on the subjective nature of value. Through a process of weaving, typically reserved for textiles, metal cable ties are transformed into bespoke furniture pieces that transcend their utilitarian origins, embodying a narrative of resilience and reinvention.
The project is more than a mere showcase of craftsmanship; each creation serves as a tangible manifestation of the evolving concept of value—a testament to the transformative power of human ingenuity and perception. By challenging preconceived notions and expanding the boundaries of material value, the project seeks to provoke dialogue, inspire introspection, and catalyse meaningful change in our collective perception of value."
What’s something you want your viewers to take away when viewing your designs at SDW 2024?
"The project I will be showcasing at SDW 2o24 is set through the lens of material perception, urging viewers to reconsider their perceptions of worth through an exploration of unconventional materials. It delves into the multifaceted dimensions of value—its origins, arbiters, and interpretations—through the unconventional medium of metal cable ties. I hope to invite viewers to embark on a journey of discovery, exploring the nuances of value in all its forms and forging new connections between materiality, meaning, and the human experience."
Ivan Ho is the founder of Tizumuka, an award-winning Singapore-based design studio. With much experience as a designer, Ivan has collaborated with various brands and has showcased his work at exhibits across the region. With a passion in education, Ivan has just completed his Masters in Education (ART) and is an active academic and educator, shaping the development of future designers in Singapore. He often works with discarded materials and is deeply influenced by human attitudes towards waste and exploited materials. For SDW 2024, Ivan presents a series of five pieces titled Parasitic, meant to be a critique on the culture of wastefulness.
What is your SDW project about?
"Parasitic explores the balance between conflict and unity, using discarded materials to create objects of desire. It’s a visual and material metaphor for the way relationships can be exploited for personal gain and then abandoned. The project challenges viewers to rethink what they consider valuable and to confront the unsustainable consumer habits that parallel these exploitative tendencies. At its core, Parasitic is a critique on how we consume—materials, relationships, and ideas—without considering the long-term consequences."
What’s something you want your viewers to take away when viewing your designs at SDW 2024?
"I want viewers to feel a deep connection to the tension that exists in both materiality and human relationships. Parasitic is about more than just repurposing waste into aesthetically pleasing objects. It’s a commentary on our approach to sustainability and how we treat resources—both environmental and interpersonal. I hope viewers walk away questioning their own consumption patterns, not only of materials but of relationships as well."
Parasitic is a “critical commentary on sustainability and the urgent need to shift consumer habits towards more mindful practices.” Describe the crafting process for Parasitic in representing this social commentary.
"The crafting process for Parasitic begins with the collection of discarded or unwanted materials. These materials, much like exploited relationships, are often left behind once they’ve served their immediate purpose. I work with these elements to transform them into something desirable, representing the potential for change and renewal. The process is both intuitive and calculated, with careful consideration of how each element interacts with the others. By uniting materials with conflicting origins, I symbolize the tensions in human behaviour and consumer habits. The result is a series that visually encapsulates both conflict and resolution, encouraging viewers to reflect on their role in fostering more sustainable, thoughtful practices."
Emeline is a fresh graduate from the Industrial Design programme at NUS and is already making waves in the design scene. Having just showcased her work at Salone del Mobile during Milan Design Week 2024, Emeline's work is a whimsical celebration of the joy of creating. Her creative process begins with emotions and her desire to bring a playful touch to spaces. Influenced by her love for sugary treats, her work hits the sweet spot between function and fun. In describing her style, she says "imagine yourself stepping into the world of Willy Wonka’s Chocolate Factory!" For SDW 2024, Emeline introduces the Pastille Collection which is a series of tables that embodies her distinct and eccentric design style.
What is your SDW project about?
"The Pastille Collection features a series of monolithic tables adorned with minimal graphic lines, each piece celebrating its distinctive casting process in its finished outcome. The collection is an expression of intricate craftsmanship, bearing the traces of the maker and showcasing the beauty of the construction process in the final product."
What’s something you want your viewers to take away when viewing your designs at SDW 2024?
"When encountering the pieces, I hope for viewers to come to appreciate the beauty of the construction process that can often be overlooked, revealed through its distinct seams and compressed layers."
You’ve stated that you’re often “inspired by your love of sugary treats.” Could you share the story of how you first felt inspired by desserts and sweets, and how your style has evolved over the years.
"As a child, my favourite places were the candy and toy stores. I think these joyful memories naturally find their way into my work. As an emerging designer, I'm excited to see how this playful style continues to evolve!"