National Gallery Singapore Branding: A Decade After the Memes

Genius or Cash Grab? 👾

You may have noticed some red blocks while shopping in town or jogging at a park during the past two weeks. At the right angle, these blocks reveal that they are the 3D version of National Gallery Singapore’s logo.

Known as “Gallery Benches”, they were placed across the island as a symbolic gesture to reinforce the idea that art should be accessible beyond museum walls. They are also available for adoption from $6,000, with proceeds going to support the National Gallery’s efforts to keep art inclusive and accessible for all visitors.

A decade ago, many netizens would have scoffed at the idea that a bench in the form of the National Gallery logo could command a four-figure donation. Yet here we are now.

Cold Reception

When the National Gallery Singapore logo was first revealed in 2014, it received mixed reviews online. Some created memes comparing it to a Tetris or Space Invaders game, while others were harsher, labelling it a waste of taxpayers’ money due to how easy it appeared to draw.

Designed by creative agency Asylum, founder Chris Lee said the project took three months where they explored over 50 designs before landing on the two red blocks, which he described as most compelling.

“We wanted to give the Gallery an expression that offers limitless interpretations which in turn encourages and inspires creativity. Distilling the silhouette of the two buildings’ architecture, the logo took on the form of two rectangular blocks which can be interpreted in every imaginable way - two building blocks, two dialogue boxes, two platforms; two plinths or simply two spaces for visual arts. The visual identity is bold while remaining respectful of the buildings’ heritage and the Gallery’s vision”.
-Chris Lee

Just as art can be as complicated or simple as the artist wants it to be, the National Gallery (formerly Singapore Art Gallery) did not need a visually complex logo to fulfil its role. Granted, this abstract logo requires some background understanding of the Gallery’s architecture for views to fully appreciate it, but it could also pique the interest of those who are unfamiliar. Ultimately, it is not a net loss that the logo looks like that.

For what it’s worth, Lee said Asylum charged a nominal fee for the project as they felt they were doing a “national service”.

Lee was also unfazed about the criticism that a child could have come up with the logo.

“To say that a young child could have drawn this is actually a compliment. I think we can learn a lot from a young child's purity.”
-Chris Lee

Having a simple logo fits the National Gallery’s goal of making art accessible for all. An intricate logo like a crest would have projected exclusivity, which does not make sense for a museum with free general admission for locals.

Much Ado About Nothing?

It is not a radical idea for building logos to be simple silhouettes. From Marina Bay Sands to Reflections at Keppel Bay to the Ministry of Home Affairs, many institutions reference their architecture with varying degrees of abstraction.

Even the Supreme Court — which sits next to the National Gallery — uses a curve inspired by its disc-shaped dome as its logo.

Overseas, museum logos of Centre Pompidou in Paris and Tokyo Metropolitan Art Museum also take cues from the buildings’ forms. In fact, the Tokyo Metropolitan Art Museum’s logo is literally a maroon block.

Building on the Blocks

An anniversary logo was created to celebrate National Gallery Singapore’s 10th birthday in 2025,cleverly reconfiguring the two blocks to form a “1”.

More impressively, a microsite which was launched as part of the Gallery’s celebrations featured colourful complementary shapes and animations, which added to the festive feel. The inclusion of subtle logo elements made the Gallery’s visuals uniquely theirs.

National Gallery’s fifth anniversary also deserves an honourable mention for incorporating the logo elements in its celebratory visuals.

These examples show that logos are just one part of the overall brand system. What matters more is how well its supporting elements work together in real-world applications. Simple shapes help brands easily plug-and-play elements to achieve brand-distinct looks.

Andy Warhol once said that “art is anything you can get away with”. While some may still feel that National Gallery Singapore’s logo was a con job, its longevity, adaptability, and range of applications suggest otherwise. Over time, the two red blocks have proven capable of carrying the Gallery’s vision of accessible art.

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Branding Singapore is a series which highlights notable local brand identities. Explore Singapore’s design scene with us on Facebook, Instagram, TikTok, LinkedIn, and Telegram.