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William is an urban identity designer based in Kuala Lumpur, Malaysia. He consults on the shaping of distinctive Asian identities and physical living environments for new Asian cities, integrated urban mixed-use developments as well as for public and retail spaces in Malaysia and Vietnam. He received the 2009–2010 International Design Achievement Award from Construction Industry Sub-council of China Council for the Promotion of International Trade and Qinghua University Fine Arts College, Beijing.
Current projects include Nusajaya, the new regional city in southern Malaysia (24,000 acres); SetiaCity, one of Malaysia’s first green and sustainable city masterplanned by Jon Jerde; Teluk Bidara, selected to catalyse tourism and real estate development on the Mainland East Coast under Malaysia’s East Coast Economic Region Masterplan; Urban renewal of central Kuala Lumpur, and Cat Ba Amatina integrated marina resorts, one of the largest property investments in Vietnam.
William is a keen photographer who documents aspects of Southeast Asian culture. Projects include “Tokoh-tokoh Seniman Werdha” a two-year island-wide search for the ‘missing’ legendary Balinese dancers and musicians who were active in the early 1900s; and “Main Petri” shamanistic healing rituals that are now performed surreptitiously in Islamic Malaysia.
His first solo exhibition “Naga, the Serpent Spirit of Southeast Asia”, a research / photo-documentation project covering five Asian countries, was held at Sanwon Gallery in South Korea. Group exhibitions include “Six Asian Designers” (DDD Gallery, Osaka) and “33 Designers from around the World” (DDD Gallery, Osaka and GGG Gallery,Tokyo).
William co-founded wREGA, the graphic design association of Malaysia. He is also Founder and Chairman of The Design Alliance (tDA), a collaborative network of designers and consultancies currently represented in 11 Asian countries and a member of the Regional Expert Panel (Design for Asia Award), Hong Kong Design Centre. www.tdaasia.blogspot.com
William survived a rudimentary course in commercial art at Malaysian Institute of Art, Kuala Lumpur, well known (at that time) for its Chinese painting and fine arts. He picked up some ideas during his internship at Ogilvy & Mather, stayed on for a good one and a half years, then went his own way doing freelance typography for advertising agencies and creating many posters for theatre and performing arts groups on a shoestring budget.