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‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Some behind-the-scenes shots of ‘City of New Ruins’, a multi-disciplinary installation exhibited as part of Singapore Art Week 2026.
[1] ‘City of New Ruins’
[2-3] Detail drawings of joinery for lanterns
[4-5] Jigs and prototypes as part of the design and fabrication process
[6-7] Process shots of lantern-making
[8] Lantern prototypes and model of exhibition layout
[9-10] Texture of canvas after stretching and starching process
[11] Initial sketch of how lanterns can be interacted with
[12] Timeline of fabrication
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves.
The second spatial act of the installation is a ruinous landscape of concrete and light, taking visual reference from the nighttime landscape of Forest City. Come dusk, the massive monumentality of these concrete towers blends into the night, lit only from the occupied units, few and far between. No longer overwhelmed by the repetitive, repressive materiality of the urban landscape seen from the day, the intimate lives of these few inhabitants come into focus. In their isolation, these lit interiorities feel fragile yet hopeful.
The lanterns are designed to reflect this disposition, full of romance, longing and ephemerality. The faint light from the singular bulb fills up the translucent shell – sturdy in its rectilinear form but hauntingly delicate when touched. Through simple locking mechanisms, the lanterns can be assembled into various configurations in relation to the concrete blocks, allowing visitors to compose their own ethereal landscape of dreams. In playful irony, the stanza of poem etched onto the soft glowing surface of these lanterns speak of the hard industrial materials through which we try to manifest our aspirations – ‘foundations’, ‘composite finishes’, ‘fenestration’.
Object design and fabrication by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @kai_mclaughlin and @spiderkats
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
‘City of New Ruins’
2026
Featured as part of Singapore Art Week 2026, 'City of New Ruins' is a deconstructed stage-set of Forest City - a simulacrum of Singapore that sits just across the causeway. Through this proxy of a proxy, we hold up a mirror to ourselves. Using sound, moving image, poetry, glyphs, architectural ruins and artefacts, the foreboding lore of an uncanny landscape is told. At once familiar and alien, unnerving yet serene, the installation invites visitors to explore the ruined landscapes of tomorrow where dreams falter but the brutal material reality of failed urbanism remains.
The journey through this facsimile of Forest City is split into three spatial acts – the first encounter, the ruinous landscape of concrete and light, and the dream-like departure. Snippets of Forest City are captured in the multiple layers of screens, projections and sounds embedded within the stage-set – a retrospective glimpse of what came before the ruins. An omen is woven through the space, etched onto walls and artefacts in enigmatic hieroglyphs. ‘City of New Ruins’ invites visitors to dwell within the uncertain space between concrete walls – the vacuous shells that were erected in the shape of our relentless aspirations, looking back at the vast city-machine that continues to reproduce itself.
Spatial design by @annabelle_tan_kl & @kai_mclaughlin of @studio____mess and @marcusmohan
In collaboration with @kyatos (poet), @darius_ou (graphic design), @spiderkats (videography), @keyr_tea (curator), @nattiecoo (director/curator), @syafiqhalid (soundscape), @trtrist_ (technical design)
Part of @sgartweek , supported by National Arts Council
Sponsored by @armo_design_studio and @hologrix
Main structure fabricated by @spacelogicgroup
Photos by @spiderkats and @kai_mclaughlin
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
'Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Housing Block
[2] Digital drawings
[3] Schedule of model fabrication
[4] Hand-painted shrubs
[5-8] Model fabrication
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Flyer
[2-4] Digital drawings and sketches
[5] Wooden model base at @rogerandsons workshop
[6-7] 3D-printed jig for joinery
[8-10] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Some behind-the-scene shots of our latest large-scale models, commissioned by the ArtScience Museum.
[1] Conceptual drawing of the Bridge
[2-4] Digital drawings and sketches
[5] Iconic Benjamin Sheares Bridge under siege from a wave of vegetation
[6] Wooden model base fabricated by @rogerandsons
[7-11] Model fabrication and touch-ups
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
'Tropicalia Vulgaris' presents an alternative future for three icons of Singapore modernist infrastructure. Each represents a different way existing infrastructure is used to manipulate the tropical environment and how we may rewrite these narratives to support new relations of generosity and mutual care.
With less energy-guzzling cars in Singapore, the Benjamin Sheares Bridge was on the brink of obsoletion after years of service. In a bold move, the loadbearing capacity of the bridge is put to use to support the weight of new housing that clings onto the underbelly of the bridge itself. Instead of supporting the load of transient cars, thebridge now finds new purpose in harbouring an evolving community of dwellings.
HDB blocks were designed to lift people off the ground, away from the dirt, noise and pollution at ground level. Although meant to exclude nature, these large sun-facing surfaces and long horizontal bands are perfect for the cultivation of certain runner plants like bamboo. These ‘machines for living’ are transformed into whole living ecosystems that nourish both human and non-human dwellers.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl , @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
Upsetting Singapore’s obsessively managed urban systems, ‘Tropicalia Vulgaris’ puts forward bold new forms of socio-eco-infrastructural relationships, expressed as abstracted sculptures that juxtapose infrastructure and filigree, organisation and spontaneity. These hybrid structures challenge the organisational hegemony of modern infrastructure and support new relations of generosity and mutual care that tend to be alienated in capitalist systems.
The models depict three iconic pieces of infrastructure instantly recognisable in Singapore’s cityscape - the Singapore Flyer, the Benjamin Sheares Bridge and a HDB block.
In this imagined world, the Singapore Flyer has been powered down in light of global energy shortage. It is then repurposed for its prime unshaded airspace, scaffolding a series of delightful communal gardens that float in the sky, with cabins becoming a series of self-sustaining interconnected homes and greenhouses.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
Upsetting Singapore’s obsessively managed urban systems, ‘Tropicalia Vulgaris’ puts forward bold new forms of socio-eco-infrastructural relationships, expressed as abstracted sculptures that juxtapose infrastructure and filigree, organisation and spontaneity. These hybrid structures challenge the organisational hegemony of modern infrastructure and support new relations of generosity and mutual care that tend to be alienated in capitalist systems.
The models depict three iconic pieces of infrastructure instantly recognisable in Singapore’s cityscape - the Singapore Flyer, the Benjamin Sheares Bridge and a HDB block.
In this imagined world, the Singapore Flyer has been powered down in light of global energy shortage. It is then repurposed for its prime unshaded airspace, scaffolding a series of delightful communal gardens that float in the sky, with cabins becoming a series of self-sustaining interconnected homes and greenhouses.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
Upsetting Singapore’s obsessively managed urban systems, ‘Tropicalia Vulgaris’ puts forward bold new forms of socio-eco-infrastructural relationships, expressed as abstracted sculptures that juxtapose infrastructure and filigree, organisation and spontaneity. These hybrid structures challenge the organisational hegemony of modern infrastructure and support new relations of generosity and mutual care that tend to be alienated in capitalist systems.
The models depict three iconic pieces of infrastructure instantly recognisable in Singapore’s cityscape - the Singapore Flyer, the Benjamin Sheares Bridge and a HDB block.
In this imagined world, the Singapore Flyer has been powered down in light of global energy shortage. It is then repurposed for its prime unshaded airspace, scaffolding a series of delightful communal gardens that float in the sky, with cabins becoming a series of self-sustaining interconnected homes and greenhouses.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
Upsetting Singapore’s obsessively managed urban systems, ‘Tropicalia Vulgaris’ puts forward bold new forms of socio-eco-infrastructural relationships, expressed as abstracted sculptures that juxtapose infrastructure and filigree, organisation and spontaneity. These hybrid structures challenge the organisational hegemony of modern infrastructure and support new relations of generosity and mutual care that tend to be alienated in capitalist systems.
The models depict three iconic pieces of infrastructure instantly recognisable in Singapore’s cityscape - the Singapore Flyer, the Benjamin Sheares Bridge and a HDB block.
In this imagined world, the Singapore Flyer has been powered down in light of global energy shortage. It is then repurposed for its prime unshaded airspace, scaffolding a series of delightful communal gardens that float in the sky, with cabins becoming a series of self-sustaining interconnected homes and greenhouses.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
Upsetting Singapore’s obsessively managed urban systems, ‘Tropicalia Vulgaris’ puts forward bold new forms of socio-eco-infrastructural relationships, expressed as abstracted sculptures that juxtapose infrastructure and filigree, organisation and spontaneity. These hybrid structures challenge the organisational hegemony of modern infrastructure and support new relations of generosity and mutual care that tend to be alienated in capitalist systems.
The models depict three iconic pieces of infrastructure instantly recognisable in Singapore’s cityscape - the Singapore Flyer, the Benjamin Sheares Bridge and a HDB block.
In this imagined world, the Singapore Flyer has been powered down in light of global energy shortage. It is then repurposed for its prime unshaded airspace, scaffolding a series of delightful communal gardens that float in the sky, with cabins becoming a series of self-sustaining interconnected homes and greenhouses.
Catch the exhibition, ‘Another World is Possible’, at ArtScience from now till February 2026.
Photographs - @fin.barr
Models - @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
‘Tropicalia Vulgaris’ aims to pick at our underlying discomfort towards all things inherently ‘tropical’, and by doing so unpack other possible worlds. ‘Tropicalia’ refers to the Brazilian 1960s art movement that was revolutionary in its critical rejection of both colonial portrayals of Brazil and rising military dictatorship at that time; while ‘Vulgaris’ is Latin for ‘common or of the people’, used in the scientific names given to species of flora and fauna. Paired together, ‘Tropicalia Vulgaris’ is simultaneously reminiscent of either a tantalisingly exotic plant species found only in an imagined paradise, or a rare disease that looms in hidden depths of the jungle. Either way, it is a statement that plays on these tropes of the tropics to elicit alternative ways to engage with tropicality.
The installation is presented as three large-scale models that depict three iconic pieces of Singaporean infrastructure, contextualised by immersive photographs of breakthrough moments where these presumably immutable infrastructures exhibit signs of vulnerability. We often pit man against nature in a battle of order versus chaos. In our imagined future, human and non-human actors create new typologies out of existing infrastructural topographies. ‘Tropicalia Vulgaris’ imagines a new wave of socio-eco formations that challenge the organisational and disciplinary hegemony of modern infrastructure, embodying a mindset that is more akin to the nonhuman collaborators whom we must involve in our next steps of world-building.
Catch the exhibition, ‘Another World is Possible’, at ArtScience Museum from now till February 2026.
Photographs by @fin.barr
Models by @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
‘Tropicalia Vulgaris’ aims to pick at our underlying discomfort towards all things inherently ‘tropical’, and by doing so unpack other possible worlds. ‘Tropicalia’ refers to the Brazilian 1960s art movement that was revolutionary in its critical rejection of both colonial portrayals of Brazil and rising military dictatorship at that time; while ‘Vulgaris’ is Latin for ‘common or of the people’, used in the scientific names given to species of flora and fauna. Paired together, ‘Tropicalia Vulgaris’ is simultaneously reminiscent of either a tantalisingly exotic plant species found only in an imagined paradise, or a rare disease that looms in hidden depths of the jungle. Either way, it is a statement that plays on these tropes of the tropics to elicit alternative ways to engage with tropicality.
The installation is presented as three large-scale models that depict three iconic pieces of Singaporean infrastructure, contextualised by immersive photographs of breakthrough moments where these presumably immutable infrastructures exhibit signs of vulnerability. We often pit man against nature in a battle of order versus chaos. In our imagined future, human and non-human actors create new typologies out of existing infrastructural topographies. ‘Tropicalia Vulgaris’ imagines a new wave of socio-eco formations that challenge the organisational and disciplinary hegemony of modern infrastructure, embodying a mindset that is more akin to the nonhuman collaborators whom we must involve in our next steps of world-building.
Catch the exhibition, ‘Another World is Possible’, at ArtScience Museum from now till February 2026.
Photographs by @fin.barr
Models by @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
‘Tropicalia Vulgaris’ aims to pick at our underlying discomfort towards all things inherently ‘tropical’, and by doing so unpack other possible worlds. ‘Tropicalia’ refers to the Brazilian 1960s art movement that was revolutionary in its critical rejection of both colonial portrayals of Brazil and rising military dictatorship at that time; while ‘Vulgaris’ is Latin for ‘common or of the people’, used in the scientific names given to species of flora and fauna. Paired together, ‘Tropicalia Vulgaris’ is simultaneously reminiscent of either a tantalisingly exotic plant species found only in an imagined paradise, or a rare disease that looms in hidden depths of the jungle. Either way, it is a statement that plays on these tropes of the tropics to elicit alternative ways to engage with tropicality.
The installation is presented as three large-scale models that depict three iconic pieces of Singaporean infrastructure, contextualised by immersive photographs of breakthrough moments where these presumably immutable infrastructures exhibit signs of vulnerability. We often pit man against nature in a battle of order versus chaos. In our imagined future, human and non-human actors create new typologies out of existing infrastructural topographies. ‘Tropicalia Vulgaris’ imagines a new wave of socio-eco formations that challenge the organisational and disciplinary hegemony of modern infrastructure, embodying a mindset that is more akin to the nonhuman collaborators whom we must involve in our next steps of world-building.
Catch the exhibition, ‘Another World is Possible’, at ArtScience Museum from now till February 2026.
Photographs by @fin.barr
Models by @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
‘Tropicalia Vulgaris’ aims to pick at our underlying discomfort towards all things inherently ‘tropical’, and by doing so unpack other possible worlds. ‘Tropicalia’ refers to the Brazilian 1960s art movement that was revolutionary in its critical rejection of both colonial portrayals of Brazil and rising military dictatorship at that time; while ‘Vulgaris’ is Latin for ‘common or of the people’, used in the scientific names given to species of flora and fauna. Paired together, ‘Tropicalia Vulgaris’ is simultaneously reminiscent of either a tantalisingly exotic plant species found only in an imagined paradise, or a rare disease that looms in hidden depths of the jungle. Either way, it is a statement that plays on these tropes of the tropics to elicit alternative ways to engage with tropicality.
The installation is presented as three large-scale models that depict three iconic pieces of Singaporean infrastructure, contextualised by immersive photographs of breakthrough moments where these presumably immutable infrastructures exhibit signs of vulnerability. We often pit man against nature in a battle of order versus chaos. In our imagined future, human and non-human actors create new typologies out of existing infrastructural topographies. ‘Tropicalia Vulgaris’ imagines a new wave of socio-eco formations that challenge the organisational and disciplinary hegemony of modern infrastructure, embodying a mindset that is more akin to the nonhuman collaborators whom we must involve in our next steps of world-building.
Catch the exhibition, ‘Another World is Possible’, at ArtScience Museum from now till February 2026.
Photographs by @fin.barr
Models by @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘Tropicalia Vulgaris’
2025
Commission for ArtScience Museum
‘Tropicalia Vulgaris’ aims to pick at our underlying discomfort towards all things inherently ‘tropical’, and by doing so unpack other possible worlds. ‘Tropicalia’ refers to the Brazilian 1960s art movement that was revolutionary in its critical rejection of both colonial portrayals of Brazil and rising military dictatorship at that time; while ‘Vulgaris’ is Latin for ‘common or of the people’, used in the scientific names given to species of flora and fauna. Paired together, ‘Tropicalia Vulgaris’ is simultaneously reminiscent of either a tantalisingly exotic plant species found only in an imagined paradise, or a rare disease that looms in hidden depths of the jungle. Either way, it is a statement that plays on these tropes of the tropics to elicit alternative ways to engage with tropicality.
The installation is presented as three large-scale models that depict three iconic pieces of Singaporean infrastructure, contextualised by immersive photographs of breakthrough moments where these presumably immutable infrastructures exhibit signs of vulnerability. We often pit man against nature in a battle of order versus chaos. In our imagined future, human and non-human actors create new typologies out of existing infrastructural topographies. ‘Tropicalia Vulgaris’ imagines a new wave of socio-eco formations that challenge the organisational and disciplinary hegemony of modern infrastructure, embodying a mindset that is more akin to the nonhuman collaborators whom we must involve in our next steps of world-building.
Catch the exhibition, ‘Another World is Possible’, at ArtScience Museum from now till February 2026.
Photographs by @fin.barr
Models by @annabelle_tan_kl & @kai_mclaughlin (@studio____mess )
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Like the fruit-offering towers in Bali, these miniature edifices are artfully made in gratitude to the land that nourishes the crop beds nearby. Trimmings and other ‘waste’ from agriculture return nutrients back to the soil; wild flowers start to grow and entangle with the intricate structure, crafted with ample opportunities for heliotropic appendages to weave in and out. These flowers are in turn gently curated to create an edifice of hybrid beauty.
Though of no utility compared to the cultivation of edible species, the craft, labour and devotion to these wild flower towers invoke a mindset of gratitude and deepen our aesthetic sensitivities to the wonders of the ecosystem that surrounds us.
'A Family of Post-Tropical Playthings'
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things 'tropical' from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual 'playthings' are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Floating farms and gardens are nothing new where bountiful water bodies lay. Artificial reservoirs however tend to be more guarded, with strict rules that sterilise the use of these large infrastructures. Usurping this authoritative ownership, miraculous towers on pontoons float exuberantly across the water, under the vague excuse of food security. These shrine-like hydroponic towers are far from efficient, and yet entirely necessary to fulfil a more spirited need to celebrate the water, sun and harvest. Bits of crops that fall into the reservoir are not seen as waste, but rather reparations to the ecosystem beneath.
At the scale of a garden, these 'towers' stand amid crop beds, to receive trimmings, spoilt produce or offerings from a particularly bounteous harvest. Devotion and care to these ornamental towers challenge our extractive attitudes towards nature.
'A Family of Post-Tropical Playthings'
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things 'tropical' from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual 'playthings' are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Floating farms and gardens are nothing new where bountiful water bodies lay. Artificial reservoirs however tend to be more guarded, with strict rules that sterilise the use of these large infrastructures. Usurping this authoritative ownership, miraculous towers on pontoons float exuberantly across the water, under the vague excuse of food security. These shrine-like hydroponic towers are far from efficient, and yet entirely necessary to fulfil a more spirited need to celebrate the water, sun and harvest. Bits of crops that fall into the reservoir are not seen as waste, but rather reparations to the ecosystem beneath.
At the scale of a garden, these 'towers' stand amid crop beds, to receive trimmings, spoilt produce or offerings from a particularly bounteous harvest. Devotion and care to these ornamental towers challenge our extractive attitudes towards nature.
'A Family of Post-Tropical Playthings'
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things 'tropical' from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual 'playthings' are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
Floating farms and gardens are nothing new where bountiful water bodies lay. Artificial reservoirs however tend to be more guarded, with strict rules that sterilise the use of these large infrastructures. Usurping this authoritative ownership, miraculous towers on pontoons float exuberantly across the water, under the vague excuse of food security. These shrine-like hydroponic towers are far from efficient, and yet entirely necessary to fulfil a more spirited need to celebrate the water, sun and harvest. Bits of crops that fall into the reservoir are not seen as waste, but rather reparations to the ecosystem beneath.
At the scale of a garden, these 'towers' stand amid crop beds, to receive trimmings, spoilt produce or offerings from a particularly bounteous harvest. Devotion and care to these ornamental towers challenge our extractive attitudes towards nature.
‘A Family of Post-Tropical Playthings’
2025
Toying with the idea of post-tropicality - a condition that hopes to wrestle all things ‘tropical’ from the hegemony of neocolonial and capitalist thought, this series imagines interventions that are born from the whimsical interaction between a pseudo-scientific manipulation of earthly materials and a fictive anthropology of rituals, loosely situated in the Southeast Asian region. These conceptual ‘playthings’ are elastic in scale, stretching between space and object to describe the all-encompassing permeation of ecological subjectivities in everyday life.
The making process combines precise forms of digital fabrication with more instinctive and happenstance analogue methods.
Przeglądaj historie na Instagramie w tajemnicy
Instagram Story Viewer to proste narzędzie, które pozwala na ciche oglądanie i zapisywanie historii Instagram, filmów, zdjęć lub IGTV. Dzięki tej usłudze możesz pobrać zawartość i cieszyć się nią offline, kiedy chcesz. Jeśli znajdziesz coś interesującego na Instagramie, co chcesz sprawdzić później, lub chcesz oglądać historie pozostając anonimowym, nasz Viewer jest idealny dla Ciebie. Anonstories oferuje doskonałe rozwiązanie do ukrywania swojej tożsamości. Instagram po raz pierwszy uruchomił funkcję historii w sierpniu 2023 roku, która szybko została zaadoptowana przez inne platformy ze względu na jej angażujący, czasowo ograniczony format. Historie pozwalają użytkownikom dzielić się szybkimi aktualizacjami, czy to zdjęciami, filmami, czy selfie, wzbogaconymi o tekst, emotikony lub filtry, i są widoczne tylko przez 24 godziny. Ten ograniczony czas sprawia, że historie cieszą się dużym zaangażowaniem w porównaniu do zwykłych postów. W dzisiejszym świecie historie to jeden z najpopularniejszych sposobów komunikacji na mediach społecznościowych. Jednak gdy oglądasz historię, twórca może zobaczyć Twoje imię na liście oglądających, co może stanowić problem związany z prywatnością. Co jeśli chcesz przeglądać historie, nie będąc zauważonym? Tutaj Anonstories staje się przydatne. Umożliwia oglądanie publicznej zawartości Instagram bez ujawniania tożsamości. Wystarczy wpisać nazwę użytkownika profilu, który Cię interesuje, a narzędzie wyświetli ich najnowsze historie. Cechy Anonstories Viewer: - Anonimowe przeglądanie: Oglądaj historie bez pojawiania się na liście oglądających. - Brak konta: Oglądaj publiczną zawartość bez logowania się na konto Instagram. - Pobieranie zawartości: Zapisuj dowolną zawartość historii bezpośrednio na swoje urządzenie do użytku offline. - Przeglądaj najważniejsze: Dostęp do Instagram Highlights, nawet po 24 godzinach. - Monitorowanie repostów: Śledź reposty lub poziom zaangażowania w historię na prywatnych profilach. Ograniczenia: - Narzędzie działa tylko z publicznymi kontami; konta prywatne pozostają niedostępne. Korzyści: - Przyjazne dla prywatności: Oglądaj zawartość Instagram bez bycia zauważonym. - Proste i łatwe: Brak potrzeby instalacji aplikacji lub rejestracji. - Ekskluzywne narzędzia: Pobieraj i zarządzaj zawartością w sposób, którego Instagram nie oferuje.
Zalety Anonstories
Oglądaj IG Stories Prywatnie
Śledź aktualizacje na Instagramie dyskretnie, chroniąc swoją prywatność i pozostając anonimowym.
Prywatny Viewer na Instagramie
Oglądaj profile i zdjęcia anonimowo za pomocą Prywatnego Viewera.
Bezpłatny Story Viewer
To darmowe narzędzie pozwala oglądać historie Instagram anonimowo, zapewniając, że Twoja aktywność pozostaje ukryta przed twórcą historii.
Najczęściej zadawane pytania
Anonimowość
Anonstories pozwala użytkownikom oglądać historie na Instagramie bez informowania twórcy.
Kompatybilność z urządzeniami
Funkcjonuje płynnie na iOS, Android, Windows, macOS i nowoczesnych przeglądarkach takich jak Chrome i Safari.
Bezpieczeństwo i Prywatność
Priorytetem jest bezpieczne, anonimowe przeglądanie bez konieczności logowania się.
Brak rejestracji
Użytkownicy mogą oglądać publiczne historie, wpisując nazwę użytkownika – bez konieczności zakładania konta.
Obsługiwane formaty
Pobiera zdjęcia (JPEG) i filmy (MP4) z łatwością.
Koszt
Usługa jest bezpłatna.
Konta prywatne
Treści z prywatnych kont mogą być dostępne tylko dla obserwujących.
Użycie plików
Pliki są przeznaczone do użytku osobistego lub edukacyjnego i muszą być zgodne z przepisami dotyczącymi praw autorskich.
Jak to działa
Wpisz publiczną nazwę użytkownika, aby oglądać lub pobrać historie. Usługa generuje bezpośrednie linki do zapis