Looking through the pictures of shophouses, there are clear characteristics which run through the architecture. Most notably is the 2 or 3 french windows across the upper floor, where the window in the middle is usually larger that the two on each side. The frames around these windows can also vary, some shophouses have straight rectangular frames whilst others have a curved beam as seen in the right shophouse. These windows can be used as a guide when forming the grid system. Taking it further, and using nest magazine as a reference, the shape of the shophouses window frame could also be used as a way to border copy or the pictures themselves. This design however will consequently change the publication's audience. Another iconic characteristic is the wooden covers on the windows, which have the recognisable slits in between. This feature could be implemented when producing the publications cover or the case if the idea to produce multiple publications is pursued having the shophouse's unique feature will explicitly tell the reader of the publication's content and draw readers in.
Another common feature is the shophouse's intricate tiling designs just below the window and around the framing. These patterns can be used as backgrounds to the publication's content, creating a more immersing reading experience.
Other recognisable features include the shophouses tall and narrow structure, the curved ceramic roof tiling on the edge of the upper level, the two main columns that go parallel and border either below or above the 3 windows that are used for signage.
Following on the feedback to clearly distinguish each location of the shophouses, analysis was also made on the shophouses in each of the 5 locations. Identifying the cultural influences each location has on the shophouses.
Arab Street
One of the main aspects which will help distinguish each location is through the use of colours associated by each culture. In Arab Street, the main colours seen are blue, gold and green. Although not commonly seen in the pictures, green is a colour associated with the Malay culture in Singapore. It is predominantly used during Eid, seen on money packets and the colour of the leaves used to make the rice cakes. Blues were chosen because of its significance within Turkish culture as seen in Sufi's Corner.
Another aspect to include within the section are the Islamic patterns.
Chinatown
The colours synonymous with Chinatown and Chinese culture in general is red and gold. These two are auspicious colours which will immediately distinguish this section in the publication. Other colours that are prevalent in this area is white, pink and orange. The association of gold also offers a opportunity for metal foiling. This would definitely add to the publication's level of production, the overall appeal for its audience and to the section's cultural influences. Another prominent fixture in Chinatown are the red lanterns.
The tassels that hang from the lantern will be an interesting aspect to implement into the publication. The tassels could be a factor in how the publication is bound. To use red stitching and possibly actual tassels that hang on the side. Like the shophouse windows, the recognisable lantern shape could be used as a border for copy or images.
Another important cultural aspect of the Chinese is the art of calligraphy. The strokes used in calligraphy can be seen through the Chinese lettering that is everywhere in Chinatown. Drawing from this, the publication's stock could be similar to that used in calligraphy and the copy could be screen printed to more explicitly connote the use of ink and of the human touch onto the publication.
Joo Chiat
The most prominent aspect of these Peranakan shophouses are the pastel colours. This will a dominant feature of this section in the publication. What will be interesting is finding the right colours that does not detract much attention from the content itself. Furthermore is how surrounding colour of the white space can often affect the way we see an image. The aim is to use colours that do not skew the perception of colour of the content.
Another characteristic feature of these shophouses are the unique tiling and detailing they use on the facade. These details could be embossed on the pages, giving the reader a more tactile and engaging reading experience.
Little India
The colourful garlands are a common sight around Little India. The flowers used could become a background motif within this section, lining the pages. However the vibrancy of colours used in Indian culture, for example the Holi Festival, is what is synonymous.
Telok Ayer
Despite not having any noticeable cultural influences in the area. Telok Ayers audience and proximity to the Central Business District offers an oppurtunity to play with contrast. Having this section be printed on glossy stock, modern binding techniques and a reserved page layout that contrasts against the antique nature of these shophouses. The contrast in the publication will relate to the contrasting old architecture of the shophouse to the ultra modern office buildings nearby and how the old shophouses have modern businesses and interiors. Bearing in mind the overall publication could be made up of 5 booklets, the production could match this idea. Having the cover reflecting the antique quality of the shophouses facade and inside, the pages reflecting the modern interiors.
As for colours, the professional audience that Telok Ayer attracts will be represented by colours such as black and white. These colours are neutral and is synonymous when creating a professional identity in Branding, Fashion and Commercial design.
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