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Visual identity for the arts and culture sector : the Singapore biennale from 2006 to 2016 as a case study
Tan, Melvin Ming'en
2020
Tan, M. M. (2020). Visual identity for the arts and culture sector : the Singapore biennale from 2006 to 2016 as a case study. Master's thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/137594 https://doi.org/10.32657/10356/137594
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NANYANG TECHNOLOGICAL UNIVERSITY SCHOOL OF ART, DESIGN & MEDIA
VISUAL IDENTITY FOR THE ARTS AND CULTURE SECTOR: THE SINGAPORE BIENNALE FROM 2006 TO 2016 AS A CASE STUDY
MELVIN TAN MING’EN G1700209A
A N T U S A , D & M fi M A (R )
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1
A
S L M D O H . S Y . J Z . H W S .
I I , , T G L C GOTO D , Z W K L , C D L O F .
M ADM G P ff , H C S J . I .
5
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I . I ' . E I , U . I N T U .
1 Feb 2020 ...... D M T
2 Supervisor Declaration Statement
I have reviewed the content of this thesis and to the best of my knowledge, it does not contain plagiarised materials. The presentation style is also consistent with what is expected of the degree awarded. To the best of my knowledge, the research and writing are those of the candidate except as acknowledged in the Author Attribution Statement. I confirm that the investigations were conducted in accordance with the ethics policies and integrity standards of Nanyang Technological University and that the research data are presented honestly and without prejudice.
1 Feb 2020 ...... Date Laura Miotto
3 A A S
T - I .
1 Feb 2020 ...... D M T
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C P
T P 1 INTRODUCTION 11 1.1 T P : V I D A 11 1.2 S R S B 12 1.3 R Q , A & O 16 1.4 O S R 18
2 REVIEW OF LITERATURE 20 2.1 P D fi V I 20 2.2 P - V I 24 2.2.1 W C V I D 26 2.3 P A B 29 2.4 S V I A B 34 2.5 S L - A E S 40 2.5.1 1960 – 1970 40 2.5.2 1970 – 2010 42 2.5.3 P 44
3 RESEARCH METHODOLOGY 46 3.1 C O V I A : 47 T A M 3.1.1 P V I 48 3.1.2 T V I C 51 3.2 A S 53 3.2.1 S P fi V I 54 3.2.2 F M V I 57 3.3 I G D S B 60 3.3.1 I Q 61
4 FINDINGS 63 4.1 F T A M 63 4.1.1 P V I 63 4.1.2 T V I C 67 4.2 F S M I 73
7
V I S B 4.2.1 S P fi V I 73 4.2.2 F M V I 77
5 DISCUSSION 85 5.1 C fi 86 S B 5.1.1 C C E D 86 5.1.2 D P B C C 89 D A 5.1.3 R R D A 91 5.1.4 S G S 95 5.2 C I S 101 5.3 A M A , C A B 107 5.4 A - V I 111 S B A B
6 CONCLUSION 113 6.1 S F R 117
7 BIBLIOGRAPHY 120
8 APPENDIX 127 8.1 C G 127 8.2 A S A 127 8.3 T I K L C 131 8.4 T I L O F 136 8.5 G T 142
8
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T . S fi , I V I A B fi fi S B 2006 2016.
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1 I 1.1 T P : V su I t ty D s Art
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1 Nick Bell is an exhibition designer and design critic, who penned the referenced Th e Steamroller of Branding, i n Eye international graphic design review journal. www.eyemagazine.com/feature/article/the-steamroller-of-branding-text-in-full 11
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2I refer to the arts and culture sector as a distinct branch of a nation’s economy. For the Arts aspect, it is defined as the expression or application of human creative skill and imagination, appreciated primarily for their beauty or emotional power. Some c ommon art endeavors include painting, sculpture, installation, film and dance. On the Cultural aspect of the sector, it refers to the ideas, customs, material objects and social behaviour of a particular society in the course of generations. 3 Ministry of Culture, Community, and Youth, Arts & Culture: An expression of our nation. How this intersects the Singapore Biennale’s positioning and its design can be found in page 42. www.mccy.gov.sg/sector/arts-and-heritage 12
B — - . T S ’ A C , S B .
1.2 S tu t R s r t t xt t S r B
A B 4 - - . I - fl (L 2012). T - . O , “ ” - fi (B , R. 2006). E A B . O , (N 2016). T 5 V I .
A B “ ” 21 , A (L 2012, B H , 2013). T A B . I ff . T .
F V I , A B ’ ff ff
4 I would be further elaborating on the unique characteristics of Art Biennales in chapter 2.3 Positions and characteristics of Art Biennales. 5 The creative brief often contains a cover letter, requirement specifications, the curatorial premise or theme and the conditions of contract. These documents instruct what is required for the job determined by the organising committee, outlining the edition’s objectives, as well as the responsibilities and targets of the agency engaged. 13
. T S B A B A .
I fi S B , I M F F O G P E 2006. O , S B ’ Re ai a ce Ci P a M I , C A . T ’ ffi “ ” - ” (T 2007). T - S R C P ’ I , P , H K N Y ’ ff S B . S fi , S B S .
W fi . 1 , ff fi S B .
Fig. 1 General Data & Characteristics of the Singapore Biennale 2006 to 2016
Singapore Singapore Singapore Singapore Singapore Edition Biennale Biennale 2013: Biennale Biennale Biennale 2016: An Titles 2011: Open If the World 2006: Belief 2008: Wonder Atlas of Mirrors House Changed
Masthead or Theme Logo
Curatorial Fumio Nanjo Fumio Nanjo Matthew Ngui Tan Boon Hui Susie Lingham Director* (JP) (JP) (SG/AU) (SG) (SG)
Suman Gopinath Roger McDonald Josefina Cruz Russell Storer 27 curators. (IN) (JP) (PH/SG) (AU) “Collaborative Nur Hanim Curators* Sharmini Pereira Matthew Ngui Trevor Smith curatorial Khairuddin (MY) (LK/UK) (SG) (AU) structure” Michael Lee, (SG) Eugene Tan (SG) Xiang Liping (CN)
14
Artists/ 95 68 63 82 63 Collectives
Design WORK Pte Ltd UP BrandBuzz GOTO DESIGN FFurious (SG) Couple (SG) Agency (SG) (SG) (NY)
Singapore Art Singapore Art Singapore Art Organiser National Arts Museum(Independ National Arts Museum Museum Council ent) Council National National Commissio Heritage Heritage Board National Arts National Arts National Arts ning Board Council Council Council Agency
Footfall 505,200 912,897 560,349 883,000 visitors 614,000 visitors Reception visitors visitors visitors
Fig 1 General Data & Characteristics of the Singapore Biennale 2006 to 2016. Footfall data taken from NLB Infopedia. Siew Kim, L., & Lee Kim, G. (2017). Singapore Biennale. Singapore infopedia.
F - , ff . T , , . F , SB2006: Be ief fl . F , SB2008: W de . T SB2016: A A a f Mi , . I . C . A SB2013: If he W d Cha ged, , . S , SB2011: O e H e , , fi , .
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6 This would be further described in the topic of Creative Briefs in chapter 2.2. 16
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fl .
F A B , I , fl ff . I A B - . I S V I . I S ’ . T S B . T , S ’ A B .
F , V I . I V I T V I fi S B . M - , .
M fi T A M . T fi V I ff S B . T T V I .
M . T S S ’ fi fi S B 2006 – 2016. T fi S P fi V I . T F M V I .
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20
. I A B . T fi S , A F 1960 fi S B 2006 2016. T S B .
2.1 T r t P s t s D fi t s V su I t ty
T fi V I .
H S , A P , “[ ] ” ff (S 1996). T ff . S fi V I , . G , , . T , , , , , .
I fi , V I fi “ ” 7 (W 2009, H 2015). D C , A W V I “ ”, . I “ , ff ”(W 2009).
E V I . I fl ’
7 Alina Wheeler is a Design consultant and author of the referenced comprehensive identity guide, D esigning Brand Identity. 21
. R B , “ - ”, fi (B L 1993).
D K L “ ”. I “ ” (L 2016). A , . T V I “ ” (H 2015, H 2016). H , fi V I , 8 — fi . I A C S , S B - .
T B . I S B , 9 N A C N H B S “ ” S (S K L K 2017).
R “V I ” 10 , A H V I . I , “ ,
8 By commercial, the study refers to a project that is created for economic value and success in the consumer market rather than artistic or other value as a primary aim. 9 Expanded in Chapter 3.5, these intentions are consistent with the development of Visual Identity for Singapore Biennale. 10 Agnus Hyland is a designer at the design studio, PENTAGRAM and Emily King of Angus Hyland of c /id: Visual Identity and branding for the arts. 22
”. M , fi (K H 2006).
T V I ’ , . 11 D F , P S S G . T “ " . T , “ ” (F , S . 2018).
12 W ff O , , 13 (W ff 1995, H 2018). P , T 14 C A - , “ ”. W , - (A 2005, T P 2017). O , fi V I . W , fl . (W 2012, H 2015).
15 J P , fi , “ - ” . H
11 Daniel Flint, Paola Signori and Susan Golicic are professors of marketing and management, who take a different view to establish identity in the Journal of Business Research’s article C orporate Identity Congruence: A meaning-based analysis. 12 Wolff Olins is a brand design consultant and author of the referenced speculative publication, The New Guide to Identity. 13 Business values here describes the determinants of the health and well-being of the firm in the long run. Thiry, M. (2013). A framework for value management practice, second edition. [electronic resource], Newtown Square, Pa. : Project Management Institute, c2013. 2nd ed. 14 Tandi Camilla Agrell is an exhibition designer who wrote the referenced article, A metaphor approach to exhibition design in Nordes Journal 15 Designer and researcher in graphic and communication design, W here do you want the label? The roles and possibilities of exhibition graphics 23
fi . I , ff , - - , (P 2012).
16 N B , , V I . V I ‘ - ’1 7 , (B 2006). B “ ”, , . H . H “ - ” fi (H 2016).
D fi A B fi fi . A B - . T V I ff . O , A B (L F 2006, B 2012, B H 2013). A , A B , V I , “ [ A B ] [ 18 ] ”, L W C A B (L F 2006).
G V I , fi . S fi , I
16 Nick Bell is an exhibition designer and design critic, who penned the referenced The Steamroller of Branding, in Eye international graphic design review journal. 17 Brandedness: the identifiability of one seller’s good or service as distinct from those of other sellers (American Marketing Association). Branding is endowing design applications with the power of a brand. (Keller, K. L., Kotler, P., 2016) 18 Lee Weng Choy is an art curator, who wrote the referenced article, Global Art Biennials, the International Art World, and the Shanghai Biennale.
24
S B .
2.2 Pr t - s r ur s r V su I t ty D s
R , A H F . 2. H fi , fi , “ ”. T . (K H 2006).
F . 2 S C P
Fig. 2 This process chart adapted from the brand identity process by King & Hyland in publication, c/id: Visual Identity and branding for the arts: London: Laurence King, 2006.
M , V I fi S 1 , . T fi 2 3. T .
F S B , S 2 S 1 1 9 . T V I V I . T - 2 0, ,
19 Competitive bidding is a transparent procurement method in which proposals from competing contractors, suppliers, or vendors are invited by openly advertising the scope, specifications, and terms and conditions of the proposed contract as well as the criteria by which the bids will be evaluated. (Taken from Online Business Dictionary) 20 Invitation to tender is the initiating step of a competitive tendering process in which qualified suppliers or contractors are invited to submit sealed bids for construction or for supply of specific and clearly defined goods or services during a specified timeframe. (Taken from Invitation To Tender For The Provision Of Branding, Design And Web Services For Singapore Biennale 2019) 25
ff . T . T .
T , fi , . T , ’ , .
T fi ’ S B . T fi fi . T N A C N H B fi 2006 2008, S A M 2016 2 1. D 1 ’ V I .
U , . T - . F , V I S B . S 2 S 3 fi fi V I .
S 4 5 V I ff . H . T
21 Refer to Fig. 1.2 General Data & C haracteristics of the Singapore Biennale 2006 to 2016 26
V I ff . I - fi B .
2.2.1 W C V I D
T V I ff “ ”. T . I S B .
D , A C “ fi ” ffi . H ff ’ (C 2017).
A C - , S J M P fi . T “ - ”. I , - . T , ‘ ’2 2 - .
T - . T ’ .
22 Participation here refers to techniques of involvement by end-users described by Stefanie and Maarten. These span across a combination of tools and techniques. Examples span from traditional quantitative market research, to qualitative market research crowdsourcing, control groups, and brainstorming sessions. 27
A , - ’ (J P 2018).
B fi , “ ” . D I R 1750 , . A 19 , . (J 2006).
P , ’ fl fi G 1920 1950 . T fi ‘V C ’. I fi ‘A C ’ ‘P D ’, fi fi , ff . P B , J U (M P 2011, B 2015). T ‘G D ’ , ‘V C ’ fi .
I S - , , . T (K 1990). D S R M N “ - ” . D “( ) , ”(Z N 1987). T , ff 2 3.
23 Examples of design styles and movements include Art Noveau, Modernism, Art Deco, Swiss Style, Resonance of Advertising and Digital Era. (Meggs and Purvis 2011) 28
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S S S . I fi “ ” " ” . R , , ‘ ’ (S 2017). A - , fi . W C N B . H fi “[ ] fi . I , .”
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T A B , fl ff V I . F , A B . T , . I E -A , A D 24 J.M 1980 “ ”, , - ffi . I (J.M 1996). B
24 Debora J.Meijers is an art historian and professor of museum studies who wrote the referenced journal article, Th e Museum & the Ahistorical Exhibition in the publication Thinking About Exhibitions. 29
25 , J -M P , fl . T , (P 1996).
A , - A B - . T 26 fl (L 2012). T S “ ” fl - (S 2016). C R é B A B - . T - fi . T (B , R. 2006).
A ff 27 . C Y L - - “ - ” - . S 28 ff . I - , ff (L 2012, S 2016).
25 Jean-Marc Poinsot is an Academic professor and art critic and historian who wrote the referenced journal article, Large Exhibitions: a sketch of a typology in the publication Thinking About Exhibitions. 26 Terry Smith is a Professor of Contemporary Art History and Theory who presented the H istory and Theory in Biennials: Four Fundamentals, Many Variations in a keynote lecture for Busan Biennale Symposium 2 013, published by the Biennial Foundation 27 Yongwoo Lee is an Art historian, critic and curator, who wrote the referenced preface, Th e Crisis and Opportunity of Biennals i n the publication, S hifting Gravity. 28 There is a longer history of large exhibitions some of which influenced the Biennale format such as the Royal Academy’s summer exhibition(1769), M agiciens de la terre (1989) or the Crystal Palace Exhibition (1851). However, these exhibitions are not centred on art but anthropological and cultural expos. 30
B - , A B “G -S E ” (B H 2013) “L E ” (P 1996). A B fi , . T fi fl , (B 2006, A T 2014). A , . E , “ ” (B H 2013).
29 A , J B B , A B . A “ ” (B , J. 2005). C - ff , B . P , V I , .
O A B ’ fi . H , S ’ , A B fi . T fl , , . C Y L ff “ ” B . A , ’ “ ” “ fi ” (L 2012, B H 2013) (W , H , & W , 2012).
29 John Byrne is a Senior Lecturer and author of the referenced, Contemporary Art and Globalisation : Biennials and the Emergence of the De-Centred Artist published in The International Journal of the Humanities. 31
30 S S . I , fl (S 2016).
C fi G H S , ‘ ’ - ‘ ’, ’ fl ” (H H , 2004). I , - (T 2007). T fi S B ’ , , S “ , - … ”. S , fl ’ . T 3 1 S B 2019, fi . 8.1.
T fi . T . A “A B ”, J S . H “ - ” , “ ” “ ” - (S 2005). H , A W C S , “ , , ”. T A B 3 2.
30 Simon Sheikh is a curator and writer who researches practices of exhibition-making and political imaginaries, who wrote the referenced essay, M arks of Distinction, Vectors of Possibility: Questions for the Biennial in Open 16. 31 N ote that these objectives are for an edition of the Singapore Biennale that is undertaken by the newly independent Singapore Art Museum. From an organiser’s perspective, these objectives are likely to be similar or lean even more so to cater to audiences and interests at a global-scale when it was run by the National Arts Council and the National Heritage Board. 32 B rand here, means the identifiability of one seller’s good or service as distinct from those of other sellers (American Marketing Association). Branding is endowing design applications with the power of a brand.(Keller, K. L., Kotler, P., 2016) 32
A 3.1, A B 3 3. W ff , ’ . I S , - ? T ’ S ’ A C , S ’ , fi . D " " . I fi .
T ’ , fl 90 . A 34 - J N A G A (AGA), ff G (Y 2016). L H S “A ”. H “ , ' . T : , ” (J 2017).
T V I . D ‘ ’. T - , , (S 2005). T -
33 I described how designs were influenced by war posters (page 36) as well as social ideologies. Specifically, Documenta reflected a Bauhaus influence, which was meant to challenge postwar West Germany’s ideology against the Nazi’s denigration of the Avant-Garde (page 38). The proliferation of Biennales into Asia-Pacific (page 37) can also be seen as design methods to signal postcolonial representation. 34 Josef Ng is a performance artist who in 1994, performed a work that involved the cutting of pubic hair. He was eventually fined and prohibited from performing for committing what was framed as an obscene act. The organiser and performance group was also fined and barred from grants and the state forbade performance art that didn't come with a script (Government Acts, 1994). 33
fi . A P Y S B 2011: O e H e “ ” , (Y 2011).
T - , S B , S ’ . T A B . A , S B , .
2.4 Surv y V su I t ty Art B s
T V I fi A B . V - - .
U K ’ C P G E W I A N fl . T - 1851. “V I ” , ff . E MIT P ’ D T D T , K F E S “ ”. T ’ (F , K., S , E. 2017). S fi , ff . O 1851 fl G E F 2.2, - , - .
34
T G E fl - , B V ( V B ) 1895. O , V C 2.3. T fi . W F 2.1, B 1890 R V A S . T G R . C I R , B , — G -R , — G R .
L fl 1920 50 . T 35 O G G E fl . M V B , B Sã P B 1951. T B .
Fig 2.1 survey of Visual identities of Venice biennale and documenta
Venice 1st Venice la Biennale di la Biennale di la Biennale di Biennale International Art Venezia,1974 Venezia, 2016 Viva Venezia,1932 Editions Exhibition 1895 Libertà per il Cile Arte Viva
Designer (If Franz Joseph Unimark Augusto Sezanne deValence available) Lenhart International
35 Olympic Posters within the same period, such as Olympics 1912 (Stockholm) to Olympics 1920 (Belgium) had utilised the representation of country flags to identify the international nature of the large-scale sporting event. 35
Masthead or Theme Logo
Fig. 2.1 Images taken from various print and online sources. Visual Identity is compared representationally by posters as a common key visual across the different exhibitions.
F 1960 , , V B fi V B . T U I ff - ffi V .
V B fi V B . E A B ’ . 1975’ L à C (F C ) fl , A P fi 2.1. T fi B V B .
T V B B . H S (48 & 49 ) A E E A . T . T
36
V . I B V 2016: V A V (L L A ) fi .
Fig. 2.2 survey of early large scale exhibitions
Asia Pacific Large-scale Great Exhibition, São Paulo Biennial, Fukuoka Asian Art Triennial of International 1851 1951 Triennale, 1979 Contemporary Art, Art Exhibition 1993
Masthead or Theme Logo
Fig. 2.2 Images taken from various print and online sources. Visual Identity is c ompared representationally by posters as a common key visual across the different exhibitions.
S V ’ , B , A -P fi . W F A A T (F , J ) 1979 T A P fi T C A (B , A ) 1993 A . T W (B 2012, G G 2016). T - fi . B V I F A A T A P fi T C A . T . T ’ - , - . T T ’ . T
37
(G G 2013).
I , ff . T : - .
Fig. 2.3 survey of Visual identities of Venice Biennale and documenta
Documenta documenta 1 documenta7 Kassel dOCUMENTA (13) documenta 14 editions Year: 1955 Year: 1982 Yea:r 2012 Year: 2017
Vier5, Ludovic Arnold Bode, Balland, Laurenz Designer (If Heinz Nickel, Walter Nikkels Leftloft Brunner & Julia Born, available) Ernst Schuh and Mevis & van Deursen
Masthead or Theme Logo
Fig. 2.3 Images are taken from Images taken from various print and online sources. Visual Identity is compared representationally by posters as a common key visual across the different exhibitions.
I . T fi G , . T A , F A A T T A P fi T C A , .
I ff fl . T , . A
38
36 K F fi V I 1955 . I fl B fl , W G ’ N ’ A -G . I fi . 2.3, fi , - - “D”— A B , H N E S fi . I , (G 1996, F 2017). W , L fi ’ . E ’ fi V I , ff fi .
T . I fi 2.3, I L ’ V I OCUMENTA (13) ff . d c e a 14 V I . T ( ) (M 2017). T ff ’ , , . A - , - . T V I , B .
T , V B A P fi , I ff V I . T . M
36 Kathryn Floyd is an Associate Professor of Art History at Auburn University in Auburn who wrote d is for documenta: institutional identity for a periodic exhibition. documenta: Curating the History of the Present. 39
fi . D , . A S B , - fl V I , , P B .
2.5 Surv y L r -s Arts Ex t s S r
2.5.1 1960 – 1970
T S ’ S B . I , S ’ A B . T S B fi - S . T - ff S F A (SFA) 1959 fi S . I S . F S A C , S T “ A S . I ’ ” (M , 1959) F , S A C F A 1963 fi S A . I fi ffi S ’ N T . M S , S A C “ - ” (T S T , 1959), 2013 S B .
40
Fig, 2.4 Survey of Visual Identities for SEACF, SFA & SIFA 1963 to 2017
Southeast Asia Singapore Singapore Singapore Singapore Cultural Edition Festival of Arts Festival of Arts Festival of Arts Festival of Arts Festival (SFA), 1982 (SFA), 1984 (SFA), 1986 (SFA), 1990 (SEACF), 1963
Masth ead or Theme Logo
Fig 2.4 Survey of Visual Identities for SEACF, SFA & SIFA 1963 to 2017. Images are taken from promotional materials presented in the National Museum of Singapore as well as promotional materials sharing about these events on the web.
D T , C 42’ ‘O N A F : A O S ’, 2.3’ A B . H “ ” S (T 2018). A - , S F A - 1977 S “C D ” (W 2003). T S B , , S ’ ‘ ’ A B . T S B S S A (S K L K 2017).
T S F A , 1960 1970 , . I . S fi , - N T , . A 1963, , fi - - . H ff , V I . H , S ’ fi S ’ . T fi S ' -
41
S .
2.5.2 1970 – 2010
T 1970 1990 , . A S (W , H , & W , 2012). H , 1977 S . S F A - M E , M C , . T “ A ”. I , N A C F A P A (FAPA), “ F A ’ W - ”. T , - 1997. A 1999, F A F A P A , S A F - (P 2007). T S F A 80 90 , ff . T , .
B ffl , . T 90 . T W ’ fi V I (W ff 1995). E ,
42
37. T fi S A F B A 1999. I fi E K , fi . D ff , . T 2011 - fi . 2.5.
Fig. 2.5 Logo Marks for Singapore Arts Festival in 1999 and 2011
Singapore Arts Festival 1999 Edition Singapore Arts Festival 2011 onwards
Masthead or Theme Logo
Fig. 2.5 Logo Marks for Singapore Arts Festival in 1999 and 2011. Logos are taken from Images taken from promotional material associated to the Singapore Arts Festival from the web.
L - 2012 . A , “ ”(N A C 2012). T , , fi . 2.5. T A C A F L , A H L 2014. R S I F A (SIFA), 2014 , fi . 2.6.
37 Th e most consistent use of colour systems and logo marks lasted for an average of three or four editions, most markedly in the 1980s to 90s. 43
Fig. 2.6 Survey of visual identities from 1963 to 2017
Singapore Singapore Singapore Singapore Singapore International Edition Festival of Arts Festival of Arts Festival of Arts Festival of Arts Festival of the (SFA), 1992 (SFA), 2000 (SFA), 2004 (SFA), 2011 Arts (SIFA), 2017
Masthea d or Theme Logo
Fig. 2.6 Survey of visual identities from 1963 to 2017. Images are taken from promotional materials and social media sources that share about these events on the web.
2.5.3 P
I 2006 S B . A , A B , V I A B . S ’ B , A (T 2007, L 2012). B , S B ff . B fl S ’ A C S , P P L (2006) A F ‘ ( ) - - ’ ’. T fl S ’ , 2.3.
I , , L W C (2006) A B ‘ - ’. T B fl ’ B ’ 3 8.
38 I would be breaking down in detail in Chapter 3. 44
39 F S B , . T S B , S I F A ’ ’ fi (N A C 2012). A - - , A F R C 2012 . I , fl “ , , .” (N A C 2012)
I S B , I M F F O G P E 2006. O , S B ’ ‘R C P ’ M I , C A . T ’ ffi “ : - ” (T 2007). T M I A S A F “ ”. L S B , SFA. S ’ ’ N A C (NAC) fi fi 2006. A , S - A - , S A M (SAM) 2011. E 2016, S B SAM, . F 2000 , S I F A
39 In fig. 1 we read that the S ingapore Biennale 2011: Open House edition was the most well attended edition with 912, 897 visitors, with the inaugural 2016 edition behind it by almost 30, 000 visitors. In comparison, this footfall matched the inaugural SFA in 1959 Times, T. S. (9 April 1959). At least 30000 saw the Festival Shows. The Straits Times. Singapore: . The least attended biennale, S ingapore Biennale 2008: Wonder, registered 505, 200 visitors (Siew Kim & Lee Kim, 2017). In contrast, the Consumer Report by economic professors, Sharon Chang and Renuka Mahadevan, developed for the edition with the lowest performing footfall, S ingapore Biennale 2008: Wonder mentioned the need of improving the interpretive aspect for its audiences (Chang and Mahadevan 2017) which was an observation within the roles of its Visual Identity. 45
“ - , .” (O , C. S., 2008).
T , fi 3.1 (H 2015, L 2016). S ’ - .
F SB2016: A A M B ‘I ’ (A 2016, N A C 2016/2017, Y F 8, 2017), , . S ’ ffl . F SB2006: B , “A M M M M ” ff ff B . A SB2016: A A M , fl , S A M . T , .
A - fi , , fl .
3 R M
M V I fi S B . T .
46
S , I S ’ - T . T S P fi F M . T ff V I S B .
L , I - V I S B . T fi .
3.1 C t Or z t V su I t ty A t s: Ty A ys s M t s
I 2.1, I fi fi . T ffi V I A , . T .
T , - . B C ’ ‘ ’ (C & P C , 2011), I V I . T ‘T A M ’ , fi , . I , I ff .
C fi “ ”. I - (C & P C , 2011).
47
M fi fi S B P T . T T .
T , “ ” (W 2009, H 2015). B ’ , ’ V I , fi , . T , ff ff , V I .
3.1.1 P V I
T fi T A M I V I . M V I S B . T I , .
F fi . 3.1 P - V I P , . T , , . T .
T - S B . T - .
48
Fig. 3.1 Pre-event Visual Identity Phase
Singapore Singapore Singapore Biennale Singapore Biennale Singapore Biennale Biennale 2006: Biennale 2011: 2013: If the World 2016: An Atlas of 2008: Wonder Belief Open House Changed Mirrors
Masthead or Theme Logo
Marketing Brochure, Ads, Posters
Periodicals, EDMs, Social media content
Website, app, event listing
Fig 3.1 Images are taken from printed form and web sources that share information about these editions of the Singapore Biennale on the web.
D , S B - V I . C fi 3.2 O - V I P , . D . A “ ” , . T . I , - .
49
Fig. 3.2 On-site Visual Identity Phase
Banners, Masthead, Art, Wall texts
Exhibition Design
Brand Structures
Maps, Wayfinding & Location
Markers
Day-book, Exhibition Guide
Fig 3.2. Images are taken from printed form and web sources that share information about these editions of the Singapore Biennale on the web.
F fi 3.3 P -E V I P , , fl . D - V I ‘ ’ .
Fig 3.3 Post-Event Visual Identity Phase
Exhibition catalogue
Programme specific guides
50
Merchandise, Momentos
Fig 3.3 Images are taken from printed form and web sources that share information about these editions of the Singapore Biennale on the web.
I fi . 3.1 – 3.3, ff ’ . T 4.1.
3.1.2 T V I C
T T A M I T V I . I 2.1, I . A , , V I 40 . D A H N B (B 2006). T , fi (H 2016).
D ff , . T fi ff . M V I fl fi 3.4. I ff S B T , T 1: B V , T 2: F V T 3: U V . A “ ” , fi V I T .
40 Nick Bell is an exhibition designer and design critic, who penned the referenced The Steamroller of Branding, in Eye international graphic design review journal. 51
C fi . I , .
D fi V I ff , .
F . 3.4 V I C T
Fig. 3.4 Visual Identity cohesive Types Flowchart
“T 1: B V ” , . I , fi “ ” (W 2009). T “ ” (W 2009, H 2015). S
52
4 1 V I .
“T 2: F V ” ff . H , . T fi fl , - - , (P 2012). T (B 2006).
“T 3: U V ” T , ff ff . T ff , . H , T 3 .
I 4.1, , I V I C T F F . 3.4 fi fi S B 2006 – 2016 V I fl .
C , I . H , . T V I ‘ ’ fi - . W fi fi ff .
3.2 A t S t M t s I t r r t t
41 B randed here refers to the identifiability of one seller’s good or service as distinct from those of other sellers (American Marketing Association). Branding is endowing design applications with the power of a brand. (Keller, K. L., Kotler, P., 2016) 53
I , I , S P fi V I F M V I . T . A , S B .
T S P fi . E . T , , , (W 2012). D ff . A , ff fl . W , fi ’ - .
M fi S S ’ fi . T fi 42 ff . I ’ .
3.2.1 S P fi V I
T fi ff ’ V I . T ff fi . 3.5.
42 Without forgetting Thomas’ point on design as an organic process, the study is not attempting to create a fixed formula for interpretation or to denature the ideation process. Instead, the clarifications I would expand on in this paper would mainly serve as a frame of reference for the context of the focused case study of the Singapore Biennale that which involves the designer and organising team. 54
Fig. 3.5 Affective & Conceptual Semantic profile types
Affective Registers Conceptual Registers
1. Presence 2. Expression 3. Denotation 4. Connotation
Strong associations Emotion due to form. Direct and explicit relation to Prominence / Gains attention connections dependent on Engages feelings. referenced material context
Fig. 3.5 Chart of Affective & Conceptual Semantic profile types.
T fi ff fi . T ff 43 . T ’ . B S ’ , fi . T ff , ff fi . T S P fi T :
Fig. 3.6 Semantic Profile Types
Permutations 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
Affective Register: Presence (Prominence / attention) Affective Register: Expression (Emotion evoking form) Conceptual Register: Denotation (Direct meaning of reference to) Conceptual Register: Connotation (Associative connections & dependent)
Approach “Projective Soufuls” “Projective Apathetics” “Recessive Soulfuls” “Recessive Apathetics”
43 Conceptualism in Contemporary Art is the technique of communication where the concept or idea involved in the work take precedence over traditional aesthetic, technical, and material concerns. 55
Description High in presence and High in presence and Low presence and less Low in presence and of approach contrasts with attractive, but devoid of noticeable, but once devoid of feeling. environment enoigh, feeling: low noticed, feelings can be while being also highly expressivity. evoked. effective in an expressive sense.
Fig. 3.6 Table of Semantic Profile Types based on Steven Skaggs’s definitions.
A S P fi , . T fi 3.6 S P fi ff . T ff , . H , ff .
H ff fi . 3.6 “ ” , . T ff .
D ff “ ”. T - .
I , . C fi . 3.6, “ ”. S - , , . T , ff “ ”. S .
56
E S B ff . T S P fi . T F 4.2.
3.2.2 F M V I
T F M S P fi . T . A , fi .
F , , . T fi . 3.7 .
Fig. 3.7 Functional Matrix: Hard & Soft semiotic attributes
Hard semiotic attributes Soft semiotic attributes Precise & Definite Contingent & Suggestive
Concrete Node Praxis Node Tonal Node Form Node
In-situ externalities, Mood & Feel, Arrangement, Recognisability conditions, Associations & Composition, Representation, Legibility contextual Sensibilities connoting. Unity
Figure 3.7, Table of Functional Matrix adapted from Steven Skaggs, S. (2017). F ireSigns: a semiotic theory for graphic design: Cambridge, Massachusetts: The MIT Press, [2017].
S fi “ ” “ ” fi . “H ” fi , fl . O , “S ” , , , . C , , fi . 3.9 .
57
F . 3.9 I F M
Fig. 3.9 Intersecting nodes of Functional Matrix adapted from FireSigns: a semiotic theory for graphic design: Cambridge, Massachusetts: The MIT Press, (2017). Leborg, C. (2006).
S . C , , . F - , . D V I . F - , ff . D V I .
C , . ● F , . D .
58
● F , . D .
W F , . ● F , . T . ● F , . T .
B S P fi F M , . T fl V I .
A , . S , . B , ff . T fi .
T fi . T V I ’ S B . T V I ,
59
ff ff S B .
I 4.2, I fi S B .
3.3 I t rv ws w t Gr D s rs t S r B
T — . I . A , .
I . T , S B . T - , H : C ( G 2012).
T , , fl . T .
T , . H ff V I . (S S 2007).
60
M , I . I fi ff V I T . I V I L O F , SB2003: I W C , T 1 . F T 2 , I K L C D , S B 2016 2019 . B . T .
M . T fi , ’ .
S - fl . T . I fi . T .
3.3.1 I Q
I , I V I . T S B .
B ff , I fi fi .
61
A S B ● W S B ? ● W S B ? ● E .
N , I V I . T S B . I .
D P V I ● A ff V I S B fi A ? ● W ? ● W ?
T - , .
H ● H S ’ / / ( ) V I ? ● I V I A B ? ● W V I S B ?
T . S fi fi
62
. W fl .
A , I ’ . T fi , C ff . C fi S B . F F , , I S B .
T C 8 A .
4 F
4.1 F C A T
I 3.1, I ‘T A M ’ C ’ ‘ ’ (C & P C , 2011). H ff S B , fi . T .
M fi fi S B 2006 2016 . T fi .
4.1.1 P V I
T fi T A M I V I . M V I 3.1.1, ff S B
63
P - fi . 3.1, O - fi . 3.2 P - fi 3.3 V I .
A , SB2011: O H SB2013: I T W C , - - fi 3.2 - fi . 3.3.
F SB2011: O H , . I fi fi -fi . T fl fi .
T , SB2013: I W C , S A . T , A . T , , . A L , . T , .
W , V I ff . I SB2006: B SB2016: A A M ff .
F SB2016: A A M , ff . Y , B ’ . T
64
ff . T ff fi , fi . 3.2 fi fi . 3.1.
T SB2006: B , , - . I ff -fi , . T ff , ff .
S fi , - , V I - . T - . T ff P . A fi fi . 3.1, -fi fi . 3.3 fi . 3.1 fi . 3.1 fi . 3.2.
S , SB2008: W ff . W S B W fi , ff . T C B D . T - . A fi ff ff . B ff ,
65
, S B .
I , . I 2.4, 44 ’ - ff . T fi V I . T . I , ff ff - .
M B . T P .
W SB2011 O H SB2013: I W C - - . O SB2006: B , .
T P V I . T , fi ’ . T V I ff .
44 Post-modern here refers t o the previously described era of industrialisation of visual communication as proper applied arts. 66
4.1.2 T V I C
T T A M I T V I 4 5. M V I I 3.1.2. I ff S B T , T 1: B , T 2: F T 3: U .
I fi ff S B fi . 3.4 V I C T . M T fi . 3.4, , fi 4 6 V I T .
A V I , ff . E - S B . T fl A B , .
F “T 1: B V ”, , . A fi S B , SB2011: O e H e SB2013: I f he W d Cha ged . SB2011: O e H e ’ — fi . I
45 C oherence of Visual Identity here is defined as a form of conceptual consistency by means of recurring or corresponding visual elements. Intentional incoherence on the other hand could be a strategy meant to oppose a consistent sensibility. An example is documenta 14’s refuting (and in turn questioning) the needs of a recurring identity that postures the image of corporate branding (Morley 2017), elaborated in chapter 2.4, fig. 2.3. 46 D istinctiveness of Visual Identity here is defined to be the characteristic of the Visual Identity across different applications as a whole, whether some phases or adaptations are developed to be distinguished from others. 67
( ) fl fi . A ff , ’ , - .
T SB2013: I f he W d Cha ged. T S A . T A . T . I ff .
I fi “T 2: F V ” ff , . A fi S B , SB2006: B e ief SB2016: A A a f Mi .
T V I fi B , SB2006: B e ief , fi S B - . T ff . T , , . S fi , F . 3.1 P - V I P , V I - - “ ” - . T ff . T
68
. T ’ F . 3.2 O - V I P ff . T P - P ff .
T ff , SB2016: A A a f Mi fl . I fl , - . I fl . T ff , ff B ’ . T ff .
I fi “T 3: U ” T , ff ff . SB2006: B e ief SB2008: W de . E , ff . T - - , fi ff ff . T Si ga e Bie a e W de fi . I ff . A C B D , ff . I , V I SB2008: W de “ ” . T
69
.
F “T 1: B V ” SB2011: O e H e SB2013: If he W d Cha ged, fi . I “T 2: F V ” SB2006: B e ief SB2016: A A a f Mi , fi . T . I - . T ff . A , “T 3: U ” , T - . H , “T 3: U ” fi V I ’ . T . (W 2009, H 2015).
T T . T . O , fi S B ff T . T fi T 1 2 , fi T 3. T ff S B .
C B , “T 1: B V ” A C . F , “ ”, . A ,
70
“ , ff ”(W 2009). H , “ ” , (L 2016). V I (M 2017), ff .
F “T 2: F V ” “T 3: U ”, fl fl . H , . I , ff . I V I .
T K ’ . T V I . F SB2016: A A a f Mi , K C “ - .” T ’ . I , ff . I . T ff . T ff .
M . T ff . O E i e Ba - , A i a d E i e: (E )c e i g C ia Legacie N G S . I
71
, M D E T fl “ ”.
S , ff , N Y -S ’ T S T Raffle I S hea A ia: Re i i i g The Sch a A d The S a e a A C M . H - fi R ffl " ", " ", " " - . T . T . H , fi “ ” , . F , V I - .
O , T A M T V I ff V I . C . W fi V I , . T fi V I . D ff .
I V I A B , fi
72
. I - .
4.2 F S M I V I S B
T fi fi fi S B 2006 – 2016. I 3.2, S P fi V I F M V I , S S ’ fi .
4.2.1 S P fi V I
T fi S P fi V I . T ff V I S B 2006 – 2015. W 4 7, ff S P fi . T fi 3.5 3.6.
I fi fi 4.1 , I S B ’ fi fi fi . F , fi ’ , “ ”. T , , . A , fi . B fi S B ff . E
47 Refer to 3.2.1 for procedure of categorisation. 73
V I .
Fig 4.1 Semantic Profiling of Singapore Biennale 2006–2016
Singapore Singapore Singapore Singapore Singapore Biennale 2013: Biennale 2016: Edition Biennale Biennale 2008: Biennale 2011: If the World An Atlas of 2006: Belief Wonder Open House Changed Mirrors
Affective Register: · Presence Dispersed use of Dispersed use of Fluorescent and Bright key colour Key use of colours and colours and bold key colour. and patterns. monotone graphics. graphics. Highly legible Logo and graphic gradients. Key “Singapore Familiar messaging is a legible visual is legible resembling forms dynamic key and dynamic Biennale” is set Cityscapes. of instructional visual that across different separately from An attempt to manual or adapts to its adaptations. the theme at a keep some wayfinding application. few key formats similar to deliverables. the past edition.
Affective · · Register: Expression Multiple textures, Some textures Logo/Symbol Key wind-vane Use of actual illustration and and illustration centric and graphic used artwork typography used across functional across all key alongside blending applications. Key modern applications dynamic shapes functional visual mood led approach. Devoid along with heavy to create a sense content with using of graphics and colour and tone of the sublime objects, mood Singapore’s representational to establish and establish the and words. cityscape. imagery. mood. mood for interpretation.
Conceptual Register: Denotation The textures, Key visual of Key details Key visuals refer Some details illustration and cityscape refers denote the to the theme of denote graphic use to one’s utilitarian change with suggestions of literal vernacular fascination with approach of arrows on the theme, with like money and the urban inquiry with directional lines the inverted R idols to denote cityscape. vernacular and way-finding and the gradient Belief . Communicates referencing forms. mirror planes the location of urbanity. Freight that give the idea the edition. and industrial of reflection. visuals and forms.
Conceptual Register: · Connotation
74
The symbolic The key visual is A shape that is The use of wind The use of maps forms such as quite direct in the an inverted house vanes and and landscapes the Bible as day idea of making an arrow. weather patterns of the artworks book and joss Singapore’s It functions as a to suggest featured further paper style appeal as a literal symbol themes of point to the title colours connote colourful and that refers to the change. Moving and its interpretations of wonderful city. theme of location storylines that associated ideas the theme of and home. rely on of migration and Belief . symbology of geographies. these forms.
“Projective “Recessive “Projective “Projective “Projective Approach Soufuls” Apathetics” Apathetics” Apathetics” Soufuls”
Fig. 4.1 Preliminary Table of Semantic profiling of visual identities and it’s strategies.
F fi 4.1, SB2011: O e H e SB2013: I f he W d Cha ged fl “P A ” . T - . O , fl - SB2011: O e H e - ff SB2013: If he W d Cha ged.
A , , . F SB2011: O e H e , O e H e. T , . O SB2013: I f he W d Cha ged, fi . T -fi .
T “P S ” S B “T 1: B V ”. T , , . T fi .
75
I fi 4.1, SB2006: Be ief SB2016: A A a f Mi fl “P S ” . T . T ff . T SB2006: B e ief , , . T B e ief . A , SB2016: A A a f Mi . T , ’ .
T “P S ” S B “T 2: F V ”. T ff , fi . T , T 1, , ff , . F S B , V I fl , N B ’ fi - H ’ “ - ” .
F fi 4.1, SB2008: W de fl “R S ” . T . T T , ff ff . I
76
, W de S ’ . I , .
T “R S ” “T 3: U ”. T , .
B ff , . F ff , J P ’ , S B .
W fi S B , fi V I T . T fi fi . T - “ - ” . B fi ff , fi - , A B .
4.2.2 F M V I
T fi F M V I . T fi ’ .
77
S fi “ ” “ ” ff fi . T fi . O fi 3.9 3.2.2, I . T ’ .
I S B ’ fi fi fi 4.2 . T fi . E V I .
F , ’ . I “ ” , , . A , fi .
Fig. 4.2 Preliminary Functional Matrix analysis for the Singapore biennale
Singapore Singapore Singapore Singapore Singapore Biennale 2013: Biennale 2006: Biennale 2008: Biennale 2011: Biennale 2016: If the World Belief Wonder Open House An Atlas of Mirrors Changed
Hard: Concret e Node Legible and A recurring “Iconic”, Largely legible Centrally functional in type cityscape that typography-led typography angled type-driven, and colour use, but corresponds to the and gridded in an on a pivot, arranged to reflect loosely connected brand of W onder. almost corporate resembling a across each other. and expanded in a Present across all and systematic directional sign. Gradients variety of graphic deliverables, manner. The curved correspond to application. despite different corners on glyphs shiny mirror-like styles. correspond to an surfaces. asian stylistic sensibility.
Hard: Praxis Node
78
Appropriate: Graphics are Appropriate: Its Abstract: Its Abstract: Its Localised vaguely symbolism and symbology and symbology and references and identifiable by typographic typographic typographic overall, familiar commonplace choices are choices are choices are vernacular to local connection of universal with no universal and universal and receivers. wonderment and particular modern with no modern with no the city. conditional particular particular element. conditional conditional element. element.
Soft: Tonal Node Captures a sense Differs across Plainly applied: The blues and Darker mood, of reality and time applications, neutral and greys projects a sublime glow, through familiar appearing in minimalist. Sleek sense of depth, the representation of vernacular, different industrial and expressive lines metallic and material and lo-fi spectrums of functional style. are confident and reflective effect photocopy effect. glitziness and coherent between through gradients. dazzle. all deliverables.
Soft: Form Applications are Not cohesive: Orderly: The Orderly: Clear, Versatile: conceptual and There is no strict designs hinge on a systematic and Reflection across loosely tied across unifying clear systematic proportionate, and different planes, each other, but has application, and grid and even repetitive. monotone a complex unity. visually disjointed. proportions. dynamic logo that can be unfolded.
Descrip Attitude-Praxis Primarily Text and Attitudinal Cluster: Attitudinal Cluster: Psychological tion Antagonists: content reliant Perceptual / Perceptual / Visual and copy Cognitive primarily Cognitive primarily driven copy driven copy driven appropriately conceptual.
Fig. 4.2. Preliminary Table of Functional Matrix analysis for the Singapor e Biennale
F fi 4.2, SB2011: O e H e SB2013: If he W d Cha ged C F . T P C 4 8, . T V I - V I fi . 4.2. F SB2011: O e H e , , - . S , SB2013: If he W d Cha ged , . T . H , , - .
48 T fi F . 3.9 I F M . 79
T .
B S ’ F M , C F , P T . W S B . T , , .
F fi 4.2, “T 2: F V ” V I , SB2006: Be ief SB2016: A A a f Mi ff F M . L SB2006: Be ief fi , T P . T . T , . T -fi ff . W ff , .
F SB2006: Be ief , T P , C F . T . I , C F . H , V I P . H , . B T ’ , J Z ,
80
“I , . T , .”
A , S B SB2008: W de . T . P P ’ . J Z T ’ :
“T ffi C WORK S ’ … I , , . L fl . P ff . W .” (Z , J. 2016)
T fi “T 2: F ” SB2016: A A a f Mi T . A , . T . T fl ff , . T , .
F , . T SB2016: A A a f Mi . O , , fl ff . T fl
81
’ “M .”B , SB2011: O e H e. T ’ .
F fi 4.2, “T 3: U V ” SB2016: A A a f Mi V . T C . T fi SB2006: B e ief V I “S B ” , W de fl . D ff , .
A , . D SB2008: W de , fi . H , S A B . T V I .
O , fi F . 4.2, C B . P , S . T S B “T 1: B V ” , fl - .
I F M , SB2006: B e ief . T
82
S B . W S , ff . F , SB2011: O e H e , - fi ’ .
T , B . I . T . B ff F M S P fi , “T 1: B V ”. T fi S B . T V I fi . T .
V I fi , , . T . C V I A B , . F , , .
C . C “ ” (H 1996),
83
, “ ” (G 1992). A , ff . S ff , .
H , S B fi S S ’ . T - . D , - B fi V I .
A , , ’ , .
I fi . H , , .
W . T , S P fi F M , . T ff ff . I , V I S P fi .
84
5 D
T fi , - S B . T , , S B 2006 2016.
I fi , A B . O , I , V I S B . T V I S B , fi fi S B .
O , I ff V I fi S B . T S B ’ ff fi V I .
W V I , I V I S B fi - B ’ .
O A , C A B , I S B V I . A , I - V I S B
85
S B , I - V I .
L , I V I , fi . T S B .
5.1 C t xtu Pr ur I s ts t F v E t s t S r B 5.1.1 C C E D
I , V I S B . I .
T , S B . F SB2013: If he W d Cha ged, , L O F - . I “ . I G 4 9 ( ) .”
T . T . T . E ’
49 G S G ' - . A ' , , . 86
fi . L O fi - . I , “F S B , , , . Y , ’ , , I , .”
T K L C SB2016: A A a f Mi SB2019: E e S e i he Righ Di ec i , . H “F A M , ’ , . W [ ] . E [SB2019: E e S e i he Righ Di ec i ], ”.
T V I . B fi fi fi .
W - , . T , . I , L fl . T , . I , “Y ’ . T - , ff . Y [ ]
87
.”
O , K L fi fi . T . H “(G ) ’ . S , , , ’ , ( ) . I ' B .”
E B fi , K ff . H “T : Y , , ff , [ ] [ ].”
A , fi fi S B . T fi - .
I , , . I fi . T
88
’ V I .
R - V I , S B . I V I K , . I ffi , , ff . H “F , fl : . T ( ) , ( ) , .” H , K - . H , “T , - . I , .”
T ’ S B . K , . A . T , fi .
5.1.2 D C C D A
V I S B
89
. L V I , . H “ , ff S B [ ].”
O , K fi , , . I , “I - ( ) , - , ( ) .”
I . K , “F V I , . W S B . T , B , . W . B , ... F V I , . W S B .”
A , fi . L 27 . T . T L , fi fi . H “[ ] , fi . S
90
… F S B , , . L , , . ”
T , I fl . T ff ’ . T fi V I . T .
5.1.3 R R D A
A S B . I , I (J.M 1996). I , ff (L 2012, S 2016). A , fi . H , . T ff fi V I 5 0. I , “ ” “ fi ” (L 2012, B H 2013).
I , I fl . T ’ . T , S . I K L ,
50 The general objectives of the Singapore Biennale can be found in Tender for the Provision of Branding, Design and Web Services for Singapore Biennale in Chapter 2.3 91
.
K “ .” E , K C “ ( S B ) .” I , . T . K , ’ . I , V I “ .”
D V I SB2013: I f The W d Cha ged, L S A . T - If he W d Cha ged. I , K ’ . T . I , “(O ) : A S A fl . I . T , , . T .” T B , , .
U , K , V I . H “ ( ) ” “ A B ”.
92
A , . T SB2016: A A a f Mi , . T . T fi “ ” “ ”— . T - . T K , .
O , L . S fi , ff A B . L “T ( )” “ ‘ ’ .” H J S ’ “ - ” , “ ” “ ” - (S 2005). T L ’ SB2013: I f he W d Cha ged .
O ff , L “[ ] .” W “ ff ,” ffi , SB2011: O e H e , “ , GOTO D ’ [V I S B 2011] .”
O , . S fi , I
93
ff ffi ’ .
T . I , S B .
H , . W , fl S ’ , . T . V , . T . A , V I .
T ff . T ff , ff . M S J M P ’ - , S B . P - 2.2.
T - . T ’ . A ,
94
- ’ (J P 2018).
F S B , fi , , - . S . W - , S B . I , fl V I .
A . T V I , . H (F , S . 2018). T . T ’ V I S B . T ff - fl .
5.1.4 S G S
I , I , , S ’ . T A B , I - G fl
95
(M P 2011, B 2015). T ’ fi 5 1, , “ ” ’ (F , K., S , E. 2017).
I 2.4, B V ’ . V B 1890 . P A S G -R . A , fl . I ffi .
T . A . M fi . A G fl . T . T . D “( ) , ”(Z N 1987). T , (K 1990) “ - ” .
51 In section 2.4, designing for Biennales leaned more toward the idea of an art commission in the early 1890s used Renaissance revival style inspired renders of Venice by painter and decorator Augusto Sezanne. This was largely because of the revival in classical values of ancient Greece and Rome. C ommissioned by the Italian Royalty, the art served as what we consider as design today for the Biennale, —an expression of classical Greco-Roman traditions that through representation, captured beauty and mystery of the world — was likely was done to emulate the classical learning and values of ancient Greece and Rome. 96
M ff V I A B . T A P fi T C A (B , A ) 1993 , A W (B 2012, G G 2016). T - , - . D S ’ A B 2006, A B A . E B ‘B ‘W ’ WORK U B B , S B fl ‘ ’ . C S S Y L - A B fl ff .
T fi I M F F O G P E 2006 ‘R C P III’5 2 M I , C A ’ ffi “ ” - (T 2007).
V I . I ’ , S ’ ff “T 1: B V ” - (T 2007). T S B V I
52 Th is exhibition series is distinctly part of the state-wide initiative and aim to invest in the arts for the purposes of designing Singapore as a vibrant cultural capital and the Renaissance City Plan’s citation of other lively arts cities such as Italy, Paris, Hong Kong and New York further accounts for the state’s efforts in funding and developing the Singapore Biennale consistently. Since its first edition, Singapore Biennale is held in Singapore once every two years. 97
, fi fi , B .
P R C P , S A B ’ . I F M , SB2006: B e ief . T S B . P , S fl ’ . T S B “T 1: B V ” , fl - . T J B ’ B , A B .
S C ’ , K B . H B “ .” F K , S B ’ “ ”, B ’ .
B B , . T ’ . O fi
98
, N B fl 5 3, :
“... fi ffi , PR , . I - , , , , .” (B 2006)
F S B , , — fi . I A C S , S B . - .
V I , SB2006, . W V I fi ff — . B ff , . F ff , J P ’ , S B . I B
53 Cultural Identity is a nuanced approach to visual identity that integrates both the designer’s creative vision and the curatorial vision and narratives. This is unconventionally what distinguishes the visual identities for arts and cultural contexts as compared to the more corporate aligning sort of visual identities. 99
fl , , .
T B ’ V I V B . O fi . T S B ffi . I V B , fl S A F . H , - .
F S , A B fl , . C Y L ff “ ” B .
I , , B , S B S . T fi . A - , - , S B . T , . W fi B . T ff S B .
100
5.2 Cu tur I t ty s s s t
T fi S B . I S B ’ ff fi “V I .”
T , , ff . O S B , K L C L O F . K ffi fi “ , .” F L , , fi , “ ” B .
T . T . H , ff ff . I ff . B K L V I S B . I B ’ V I - . I , . I ( , ) ( ).
101
C , I ff , V I ff . M ff . K L . T ff ff . W - fi . L “[ ] ff , , fi .” T “ ” fi . L I V I . T “ ” fi fi ’ . C I fi fi . W “T 1: B V ”.
T , S B fi fi ’ . H , , “T 1: B V ”, ff - fi , , , .
M - S B “ ” , N B “ ”. T K , “ ” V I
102
. T “ ” . A , . I , ff . A , C . A “ [ ] [ ]. B , [ ] .” K , ’ .
T L , fi . F , “C ff , I ff .” H , . F SB2013: If he W d Cha ged, L . W “ ”. V I ff . T L . W , ff , “ ( S B ) . W S B . W .”
B , V I B ’ S B B . F C , S B ” .
103
O , . I J Z T D S , SB2006: Be ief, T C WORK, fi . H
“ ff , ’ .”(Z , J. 2016)
S fi - . I , T ’ fi A B . F SB2006: B e ief , , V I . T fl V I P . T A B , L W C , . T fi .
W , “ ” V I . H , .
T . R , , . A I “ ,'' H ’ B ’ “C I ”. H
104
, A fi .
F S B , fi V I . T . S , , .
T V I . I fi , , . A V I . T , , .
T , fi S B , . H , . I . T V I . T fi . F S B , S B .
M - S B fi . I ff
105
B ’ , ff . I , I ’ .
M - S B “ ” . V I N B “ ”.
T 5 4 . C “T 1: B V ” . T , .
T V I T V I . A fi . T , .
I , V I . H , . I , . T fi fi . T
54 Nick Bell’s definition of Cultural Identity is a nuanced approach to visual identity that integrates both the designer’s creative vision and the curatorial vision and narratives. This is unconventionally what distinguishes the visual identities for arts and cultural contexts as compared to the more corporate aligning sort of visual identities. 106
, -
H , . I , fi . T . T fi . 8.2.
T fi . T . T fi .
A , - . T , - - .
5.3 A M r v w Art, Cu tur Art B s
T V I - . T V I fi , A B fi ff . T ff V I .
F S B , . T - fi ,
107
. T , A B . T fi fi S B .
T ’ , fl ff ? A , fi “ ” (W 2009, H 2015). A , V I .
T V I S B - - . T - V I ’ - . W , I - S B . S A F S I F A . W . H , - . L - 1999 2012 , “ ”(N A C 2012). T , , , fi . 2.5. I , - .
108
E ’ - V I . T ffi ff . O , V I .
O V I S B , L O F ff . H , “[ ] V I ’ . I .” T , . H , fi ff . K L C S B . T ff . A 2019 S B , B . K ff “ ”, “ ( B ) .” K — fi .
I , fi V B ’ . I fi ffi . T fi , fi . S V I - . T - ff . I ‘ ’ , S B , .
109
A , fi V I . I - fi B . D S B , ’ V I - V I S B .
W , , fi , . F , . T V I . S . K - , “(G ) ’ . I ' B .” L “( ) - , ff . Y .”
F , . T . K “ .” I , , “ ( ) , .” L . H , “I fi ( ) .”
110
5.4 A r ss t s tu t -r s r V su I t ty r t S r B r t t Art B s t r
T ’ A C fi . T V I S B fi fi . T S B . L - , S B A B - I C A E . O - A B .
T S B - . T ’ S B ’ , fi , . T .
S , . S ’ S fi . H , ’ fl , . M fi S .
T ’ . T
111
. I ff V I , . T S ’ ff ’ . T . A , . D fl .
T , . T . I V I , fi .
T A B . T , V I . T fi , . B ff fi , - . W , fi S B . T . T fi - . I , -
112
.
S fi , fi S B A B . A , S S B . I fi V I - V I . O S I F A , fi .
6 C
T V I fi fi S B 2006–2016. T , I .
T , . F V I , , , S B . T fi fl .
W , fi V I . I S B . M ’ . I fl
113
ff ’ . T C B fi ff .
T , . H , . I ' .
B S B , - , fi - . T fi “ ”. I , fi “ ” .
T , I S B , “ ” . A fi , fi S J M P ’ - . T , - S B , , . P , .
114
W “ ” V I . T ffi V I ’ P T V I .
T fi . T ff V I ff V I T fi . T fi V I ff .
A , V I P T . T . T . T S B fi . H , . I - ff V I .
O S , S ’ - , fi S B .
F , S P fi V I ff
115
V I S B 2006 2015. F ff , . W fi S B , fi V I T . T , S P fi - .
I F M V I . T fi ’ . I . C C , P , T F . B ff F M S P fi , “T 1: B V ”. T fi S B . T V I fi .
T P fi - . I , - A B .
F fi , I V I . T fi V I . T
116
B .
L , S B . I . T .
6.1 Su st s r Futur R s r .
S B - V I , A B . H , fi S . M . T , fi .
H , fi A B S . S B ’ fi fi fi fi “ ” , A , A . T V I ff - - , ff S B .
117
O , . T V I . T , “ ” (F , S . 2018). T . S V I .
A , B . I . T . B ff F M S P fi , fi . T .
S fi , I fl . T I ff , ffi ’ . T , ff ’ . W S B . I , fl V I . T ’
118
S B .
A 5 5 , . T . I : I . T , . T fi S B . T V I fi . T , 8.2 A S A .
55 The expanded research is not included in the main paper because it is an offshoot from my main research objectives which is to clarify aspects of design practice and processes, making a case for the role of design in large-scale arts projects like biennales. I will pursue to further develop the applications of my findings beyond this paper. 119
7 B
Pri ary S urces — (2019). I T T F T P O B , D A W S F S B 2019 [P ] — (2017). T S B 2016 S [P ] N A C (2012). A F R C R . C. . Y. M C . S , N A C , S . 1: 14. M , L. (1959). P E . T S T . N SG . Z , J. (2016). A T H O : T C WORK. The De ig S cie ’ Pa e N°0: The e Cha WORK, 0.
Sec dary S urces — (1959). A 30000 F S . T S T . S : 9. — . B D . . W F , I . A 12, 2019 :// . . / fi / - . — (2017). H B A . 2017. R . . / / - - A , T. C. (2005). "A ." N : 3. A , M. C. T (2014). C A A E : C W - . C , A , ANU P . A , P. (2004). D A . I Q e i f P ac ice: Wha Ma e a G ea E hibi i ( . 184): P , PA : T P C A & H , 2015. B , R. A. L (1993). M , V . B , U. M. H. H (2013). S , O fi : H C V , [2013]. B , N. (2006). "T ." E 1(53). B , R. (2012). W H O , W H Off: T E - S C B . S G . M. T. C . S K , T G B F . 1: 225.
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B , W., J , M. D. T., & B , A. L. M. (2018). C : ff V I . J a f Ma e i g C ica i , 24 (1), 3-16. :10.1080/13527266.2015.1067244 B , J. (2006). "C A G : B E D -C A ." T I J H A R 3: 169-172. C , J. (2014) T W A M . I . C , A : ANU P . D , D. (2006). E hibi i de ig : L : L K , 2006. D , A., D , D., & W , V. (2013). P : : L : R , 2013. E , M., E , E., & D , C. (2014). S P M C . L i g i ic & Phi hica I e iga i , 13 , 592-605. F , D. J., P. S S. L. G (2018). "C I C : A - ." J B R 86: 68-82. F , K. M. (2017). " : ." : C H P (33). F , C., F , D. . (2016). V I S : W Y B I N M T L . ide i Wi e, I e N .55 . R P B I F +F : :// . fi . / / - - - - - - - - - - - / G , A. C. G (2013). "B S E G ." T T 27(4): 442-455. G , D. P. S. (2014). W G C : T P R M S . S ace & C e, 17(1) , 16. G , W. (1996). F , D , , H A H P ? T . R. G , B. W. F S. N , L ; N Y : R , 1996.: 27-48. G , C. A. G (2016). B , , : , C , W S ; M , MA : J W & S L , 2016.
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G , C., & G , A. (2016). B , , : : C , W S ; M , MA : J W & S L , 2016. G , M. K., & J , T. S. (2018). C V I : . C a e C ica i : A I e a i a J a , 23(3) , 342-356. :10.1108/CCIJ-10-2017-0088 G , J. F., H , J. A., M , A. B., & M K , K. D. (2012). T he SAGE ha db f i e ie e ea ch: The c e i f he c a . T O , CA: SAGE P , I . : 10.4135/9781452218403 H , G. H , M. (2004) ‘N “C C ”’. :// . . / . . H , J. (2018) "N ." M . H ff , J. (2013). T e f da e a e i f c a i g : M , I : M P ; [L ] : F A T , 2013. H , G. (2016). T he P e e i D ag. B : KW I C A . H , F. (2015). H S Y B : E Y N K C D B I , C B P . H , P. (2015). E , L : L K , 2015. 2 . H , A. (2016). C/ID: V I B A , L K . L , H. (2015). R D : T A D S D . D e ig I e , 31 (4), 56-66. :10.1162/DESI_ _00351 I , W. (1978). T A R : A A R . J , B. (2017). 'A ': H S fl 30 . C N A . S , M . J.M , D. (1996). T M & A E . T . R. G , B. W. F S. N . 11 N F L , L , L ; N Y : R , 1996.: 5-14. J , R. (2006). T : , P : F , 2006. K , K. L., K , P. (2016). Ma e i g Ma age e (15 .): P H E .
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K -J , S. (2006). S : , S . T - fi , , , 49. K , E. A. H (2006). / : V I , L : L K , 2006. L , S. (2006). B R - . A M h (301) , 32-34. L , N. (2013). S - fi : M N Y H M M . J a f Ma e ia C e, 18(2) , 93-116. :10.1177/1359183513486231 L , W. C. R. F (2006). A ; , W , N.S.W. : A V A C , 2006. L , W. C. (2006) ‘E F ’, A f , S : 188. L , P. (2006) ‘2006 S B /6 G B ’, A f , N : 289–91. L , Y. (2012). T C O B . S G . M. T. C . S K , T G B F . 1: 225. L , K. (2016) "D & C ." L , S. (2016). C S : S B 2016 — A A a f Mi [P ]. R :// . . / - - -2016. M , O. (2014). T ‘B R ’: . W d A , 4 (2), 263-276. :10.1080/21500894.2014.961645 M , P. (2015). Q P : W M G E . I ( . 184): P , PA : T P C A & H , 2015. M , P. (2012). G A B , I A W , S B . M , P. B. A. W. P (2011). M ' . [ ], C : W , 2011. 5 . M , A. R., & B , J. M. (1998). Wha L g D a d h The D i : R P . M , M. (2017) "G ’ H A E , 14, Q O C I ." AIGA E D .
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N , H. (2016). A D fi : B , E . R O , W. (1990). C : : B , M . : H B S P , 1990. O , C. S. (2008). R S : T . P B P D , 4(4), 287-302. :10.1057/ .2008.18 P , J. M., S (2012). W ? T . USA C , R . P , J.-M. (1996). L E : . T . R. G , B. W. F S. N . 11 N F L , L , L ; N Y : R , 1996.: 27-47. P , V. (2007). M : T S A F . S , N A C . R , M. W. (2002). C I : M , A , C S : M : U M P , 2002. S , J. J. (2003). C I . M , A , C S M , W. R. [C I . M , A , C S , M W. R ]. G e a S die Re ie , 26 (2), 474-475. :10.2307/1433407 R , G.C.; B M , D B , BJ R & A R (2008), P : C , , 5 , K /H P , D , I . ISBN 0-7575-5212-9 S , J. (2005). T . S K , L. G. L K (2017) "S B ." S . S , H. A. (1996). T S A fi , MIT P . S , S. (2016). "‘M D , V P Q B ’." OPEN 16. S , S. (2011). C i i e Effec : The Tech i e f he C a : C , W S ; M , MA : W -B , 2011. S , S. (2017). F S : , C , M : T MIT P , [2017].
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S, L. B. S (2007). T S H Q R . N K. D Y S. L (E .).: R ñ Bá S J Ló M í . S , T. (2016) "B : F F , M V ." T , J. (2007). "S ’ P S B ." J V C 6(3): 365-277. T , D. (2018). "O : ." F D . T , T. S. (9 A 1959). A 30000 F S . T S T . S : 9. T , R. M. P (2017). "M . T , I ." D J 20: S261. B , H. (2015). D S C . D e ig I e , 31 (1), 83-93. :10.1162/DESI_ _00312 W , C. J. W. L. (2003). "C H C G "C D " S ." TDR (1988-) 47(4): 84-97. W , C. J. W. L. (2007). T A . [ ] : , , S : H K : H K U P , [2007]. W , A. (2009). D : , H , N.J. : J W & S , 2009. 3 . W , C. (2012). I , A , O [E ] ; N Y , NY : R , 2012. 1 . W , B., H , T., & W , B. (2012). C H T . O , O , C : C H C . W ff, O. (1995). T N G I : H C S C T M I , G . W , D. (2016). U C R O V I D . (D P ), T U T A , A . Y , J. (2016). S : C , I , A W , N U S . Z , R. D. M. N (1987).S , A M . J C M .
125
Z , E., & C U , T. (2014). S V C : C P . N T , UK: C S P .
126
8 A 8.1 C rts Gr s
O t v s t T r r t Pr v s Br , D s W S rv s r S r B .
P S S B , SAM. P S B , - / - SAM’ . B S B S ff . S S B ’ S A . D - , S A , ( . I C ) . Taken from the 2019 Tender for the Provision of Branding, Design and Web Services for Singapore Biennale.
8.2 A w r v t Str t y Ass ss t r ur
T . K . T . T I “S A Q ” . T
127
“S R ” ff . I . T ’ .
S A Q T , . 1. P siti i g W ? I ff ? W ?
I , ff : 2. Differe tiati O ______ ______ ______.
F , , ’ . T :
3. Va ues D ? I , ? A ? A ?
B ff , fi - :
128
4. Audie ces W ? D ?
A , ’ : 5. Sta eh ders W ? W ? A ( . . - ff) ?
A , . 6. Cha e s W ’ ? W ? A ? W ?
S A R T S A R ’ . T , .
F 8.1 C . I ff , . E ff .
129
Fig 8.1 Coordinates of semiotic intersection for visual identity strategy assessment
A - ’ – , , . . , . O , , . A - ’ – , , , , . O , , fi .
O readi gs c cer i g c ve ti s
130
A - - . O F 8.1. I fl fi fi .
O readi gs c cer i g c -auth rshi T P ’ , - , , . T fi “A – M ” . A SB2006, “E — F , ” .
T S A , I I ff fi S B .
8.3 Tr s r t I t rv w w t K v L C u
Why did y u decide t w r Si ga re Bie a e? I . [W ] ’ . T [ B ] . W , fi , . [A ], .
131
F S B [ ] , . S ], [ ] ' [ ].
D & - fi [ ] . [U ] ff B2B . I , < > .
Are there a ythi g differe t ab ut the deve e t f Visua Ide tity f r the Si ga re Bie a e as c ared t art visua ide tities? F , , . W . F [ ] . F [ ], [ ] [ ] .
[T ]. F , ’ , [ ], [ ] , [ ].
Whe a d h w was desig uti ised i the deve e t f the Si ga re Bie a e? [3.35 i ] F A M , , fi [ S B ], S L . E , , fi .
[T ] , [ ] .
S it is t s uch curat ria y r c te t drive ? I [ ] , , [ ]
132
. F 2016 , - .
F V I , [ ]. [W ] [ S B ] [ ] .
T , [ B ] [ ] , [ ]. W [ ] [ ]. [B ], [ ] .
E ab rate the c siderati s f the desig a d why the Bie a e tea fe t it w r ed. W ’ [ ] . [W ] [ ], [ ], . [S ], . [V I ] [ B ] [ . W .]
T , . [F A ] ’ , ’ [ ?] ff .
Is a ide tity syste that is ada tive a d dy a ic, re ated t a r achi g Art Bie a es? W [ ]. W , . A , [ ] . T fl
133
- fl , fi , [ ] .
Wh are the tea s i v ved a d h w c ab rative is it? Is it c ab rati ? Is c ab rati a sig ifica t art f the r cess? T [S B ]. S ff . F T A M , . T “ ” . B , fi fi : . W [ ] , . F V I , [ ] [ ] . W . A , S [ ].
What u ti ate y decides a d wh a r ves / decisi a e acr ss the hases? S S B [S A M ]. T [ ff ] [ ] S B 2019, [ , ] P , - . T [ ], ff [ 2016] .
Is there a ythi g that ca i r ve the deve e ta r cess f Visua Ide tity f r a Art Bie a e? I , . T ff [ ]. F , fl : .
134
T [ ] , [ ] , . T , - . I , .
H w r ductive is Si ga re’s e bid / ub ic te der syste / creative brief [if a y] a d h w did it i f r the Visua Ide tity? I . I B , ’ . I , , / , . T : Y , , ff , [ ] [ ].
Is there a ythi g that ca i r ve the deve e ta r cess f Visua Ide tity f r a Art Bie a e? [G ] ’ . S , , , ’ , [ ] . I ' B .
F A M , ’ , . W [ ] . E [SB2019], .
135
E . T , , , , .
What did the Visua Ide tity d f r the ide tity d as a si g e editi a d as a series? Is the Si ga re Bie a e s ethi g t be syste ised? [35:13 i ] F . W V I . C . W .
W . T [ ] [ B ] . I S A W V B .
D y u see the r e f desig er as s e e wh w u d c ect the differe t eeds a d targets f the Bie a e? W ff , A M , fi “S B ” . E A B . W . A , ' .
W , , . B B . O . W , A B [ ]. B . I ’ [ ], , .
8.4 Tr s r t I t rv w w t L tt O F ur us 136
Why did y u decide t w r deve i g the Si ga re Bie a e? W . B T , E , . F S B , . T [ ].
T S B . W , 2013 ! [T ] . W !
I ’ [ ] . B I’ , . T , I ’ .
T ff . W 100% , . S , . F , ' .
Whe a d h w was desig uti ised i the deve e t f the Si ga re Bie a e? T fi , . T G [ ] .
T fi . T 90% , , .
W [ S A ]. I S A M . T , . I
137
, I f he W d Cha ged. I ff . A .
E ab rate the c siderati s f the desig a d why the Bie a e tea fe t it w r ed. I’ [ ] , ff S B [ ].
[O ] : A S A fl . I . T , , . T . W I A B , . W fi ff ff .
Wh are the tea s i v ved i the desig a d h w c ab rative was its deve e t? T . I ’ . I ' . W S A M , , 1 . T , . , , . T [ ]. A .
What d y u thi the Visua Ide tity did f r the Si ga re Bie a e editi a d as a series?
138
C ff , I ff . I S B , . [H ,] , ’ . W M1 F F , ff , . F . A [ ] .
Was there a ythi g differe t ab ut the deve e t f Visua Ide tity f r the Si ga re Bie a e as c ared t art visua ide tities? T , [ , ] ff . I , fi . S .
T ff . [A ], . I I “ ”, . S 5-8 [ ] , . S .
[A - ] . F , , . [T ] [ ,] I ff .
F S B , , . L , , .
139
I I , , [ ] ff . T ff , , fi . I .
H w r ductive is Si ga re’s e bid / ub ic te der syste / creative brief [if a y] a d h w did it i f r the Visua Ide tity? S fi I , I ’ ' ff , , . T [ ] . , . . ’ . T G . . F S B , , , . Y , ' , , I , .
O . T , I ’ , I I , . I’ .
Is there a ythi g that ca i r ve the deve e ta r cess f Visua Ide tity f r a Art Bie a e?
140
I fi [ ] . Y ’ . Y ’ . T - , ff . Y .
Was there a ythi g differe t ab ut the deve e t f Visua Ide tity f r the Si ga re Bie a e as c ared t art visua ide tities? I’ fi , . I ’ S B ff . S [ V I ] . W . W .
H w d y u fi d desig s that a s are c ce tua gestures, critica ers ectives t the issues, erf r at ry eth ds t cha e ge audie ce’s urview? W . I , , [ ] ff .
What d y u thi the Visua Ide tity did f r the Si ga re Bie a e editi a d as a series? T V I ’ . I . [W ] ff , , GOTO D ’ [V I S B 2011] . WORK’ . I , [ S B ] . W S B . W .
141
W , , . “ ” .
8.5 G ss ry T r s
A C S I ’ . F A , fi , . C , , , , fi . O C , , , .
B A , , , , fi ’ . B .
C B T , , , fi , . (O B D )
C B , .
C (V I )
142
C V I fi . I .
C I (N B ’ fi ) C I ’ . T .
D A A , ' .
I T T fi fi fi fi . (I T T F T P O B , D A W S F S B 2019)
O C A - . I , , , . (R , G.C., 2008)
V I V , , , , . T .
143