Talk:Bishan MRT station

message: :Image:NS logo.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.
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BetacommandBot (talk) 23:52, 2 January 2008 (UTC)
thread_title: Fair use rationale for Image:NS logo.jpg

message: The lift needs changes: upgraded and connected to transfer level from Platform A (towards Jurong East) for a shorter travel. --Not-franc2k4 (talk) 12:54, 28 January 2014 (UTC)
thread_title:  Bishan Lift Northbound platform needs changes: It only serves B1 and 1 

message: There is a move discussion in progress on Talk:Aljunied MRT Station which affects this page. Please participate on that page and not in this talk page section. Thank you.  —RMCD bot 09:31, 7 January 2018 (UTC)
thread_title:  Move discussion in progress 

message: I have improved the sections for the article and tried to align it with a featured article, Dhoby Ghaut MRT station, so I feel it should be okay to nominate this for A-Class on the quality scale Brachy08 (Never Gonna Give You Up, Never Gonna Let You Down) 01:48, 29 March 2023 (UTC)
thread_title:  Promotion to A-Class for this article 

message: I've been a bit busy so I haven't been editing much these days. That said, I should further elaborate briefly why I find this article wouldn't pass FAC. This is also directed towards @Brachy0008 who wish to improve the article further.
The main issues for the article before it can even be promoted to FA are mainly the image replacements (Wikipedia:SANDWICH), lack of alt text, some prose flow needed, and source formatting. I suggest reading User:ZKang123/Improving Singapore MRT station articles for further details, particularly in the "Bringing a GA article to FA status". I will also appreciate if people don't go around randomly nominating articles to GA and FA without my consultation. ZKang123 (talk) 05:30, 21 April 2023 (UTC)
thread_title:  Thoughts on this article to FAC 

message: CC-BY-SA; text in this section was removed from the article; see that page's history for full attribution. I've removed this text because it is off-topic for this article; the article is about Bishan MRT station, not the artist or their works. I'm leaving it here for the benefit of future editors and in case its removal breaks any named references.
===Move!===
The artist was one of the youngest to be commissioned for artwork on the CCL. He was selected to design the art at Bishan as it was believed his dynamic drawings would be engaging to the youth and families in the town. Soh initially planned to create an abstract work of people moving around to reflect the bustle of a train station. However, it was thought to be "too literal" and Karen Lim, the curator who was guiding the artist in his work, urged Soh to incorporate thematic stories into the work.
Reflecting Lim's advice, each of the three art walls adopted a subject matter. Soh could not find inspiration from his first visit to Bishan and instead drew up murals centred on general life in Singapore – Garden Circus, The Control Room and The Living Room. The latter two developed into The Scientist and The Family respectively. Garden Circus, however, which illustrated the "pace of life" in Singapore, was withdrawn as it was considered "not strong enough conceptually". To overcome his mental block, the artist made another trip to Bishan and found inspiration for The Heartland. Though these artworks cover different subject matter, all express the artist's "silly and illogical" style. Usually, Soh's drawings are spontaneous, with the concepts produced "as an afterthought". In this work, however, Soh first devised various drafts and determined how to fuse the different parts into the final product. Being aware that his work would be a long-term feature of the station, Soh deeply considered the objects of his illustrations so that his work would remain relevant throughout time.
The work was reproduced digitally and enlarged to fit on the walls. Soh inspected each of the panels shipped from overseas and oversaw the installation of his work in the station, working with the station architects and production team. As a tribute to them, the artist included depictions of workers with construction hats in The Heartland. Soh was grateful for the guidance from the curator, as this was one of his first major works: Soh had started drawing seriously two years prior. The curator suggested the artist "tone down" his murals to avoid the viewers being "drawn away" from the narratives. Lim also provided guidance towards finalising the design, as Soh kept inserting more features and altering the work. Soh reflected that the work allowed him to mature as an artist, and he expressed hope that the work would "liven up" the plain environment of the station and provide something fresh to the commuters and brighten up their day.
 Cheers, Baffle☿gab 23:30, 20 June 2023 (UTC)
thread_title: Removed text

message: The artist was one of the youngest to be commissioned for artwork on the CCL. He was selected to design the art at Bishan as it was believed his dynamic drawings would be engaging to the youth and families in the town. Soh initially planned to create an abstract work of people moving around to reflect the bustle of a train station. However, it was thought to be "too literal" and Karen Lim, the curator who was guiding the artist in his work, urged Soh to incorporate thematic stories into the work.
Reflecting Lim's advice, each of the three art walls adopted a subject matter. Soh could not find inspiration from his first visit to Bishan and instead drew up murals centred on general life in Singapore – Garden Circus, The Control Room and The Living Room. The latter two developed into The Scientist and The Family respectively. Garden Circus, however, which illustrated the "pace of life" in Singapore, was withdrawn as it was considered "not strong enough conceptually". To overcome his mental block, the artist made another trip to Bishan and found inspiration for The Heartland. Though these artworks cover different subject matter, all express the artist's "silly and illogical" style. Usually, Soh's drawings are spontaneous, with the concepts produced "as an afterthought". In this work, however, Soh first devised various drafts and determined how to fuse the different parts into the final product. Being aware that his work would be a long-term feature of the station, Soh deeply considered the objects of his illustrations so that his work would remain relevant throughout time.
The work was reproduced digitally and enlarged to fit on the walls. Soh inspected each of the panels shipped from overseas and oversaw the installation of his work in the station, working with the station architects and production team. As a tribute to them, the artist included depictions of workers with construction hats in The Heartland. Soh was grateful for the guidance from the curator, as this was one of his first major works: Soh had started drawing seriously two years prior. The curator suggested the artist "tone down" his murals to avoid the viewers being "drawn away" from the narratives. Lim also provided guidance towards finalising the design, as Soh kept inserting more features and altering the work. Soh reflected that the work allowed him to mature as an artist, and he expressed hope that the work would "liven up" the plain environment of the station and provide something fresh to the commuters and brighten up their day.
</blockquote> Cheers, Baffle☿gab 23:30, 20 June 2023 (UTC)
thread_title: ''Move!''