DESIGN AND ARCHITECTURE / WWW.DESIGNANDARCHITECTURE.COM / / ISSUE 118. 2020 • S$8 /
OTEMON GAKUIN UNIVERSITY ACADEMIC-ARK MITSUBISHI JISHO SEKKEI
AEMULUS AT THE RUNWAY DESIGN UNIT ARCHITECTS
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REFLECTIONS AND ASPIRATIONS
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REFLECTIONS AND ASPIRATIONS HOW DID 2020 IMPACT THE DESIGN AND ARCHITECTURE INDUSTRY? WE PRESENT A COLLECTION OF PERSPECTIVES AND ARE HEARTENED TO HEAR OPTIMISM IS IN THE AIR FOR NEXT YEAR. WOR DS LOW SHI PIN G
S E A H C H E E KIEN, MA N AG I N G D I R E C TO R, RS P
W
hat is a major project you completed in 2020? I would consider completing 2020
in itself a major project given how the world has changed and continues to do so. Such challenging times have also proved to us how
What can we expect from RSP in 2021?
resilient we can be, as long as we put our minds
We have a renewed focus on pursuing the most
to it. This has also presented an opportune time
fundamental part of our work: “design-ness”. This
for us to bring forward and accelerate some of
is an empathetic desire to explore and connect
our long-term plans to provide more value to
with whatever you are designing, and make it
our partners.
better for people. It covers both the aesthetic realm as well as the functional aspect, that looks
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What is the most important architectural lesson COVID-19 has taught you?
at everything from its relationship to the macro
COVID-19 reminded us that architecture can
work on it. Therefore, “design-ness” will create that
neither pre-empt nor lead our lives. It is but a
understanding of architecture’s role as a medium
medium that enables a certain set of outcomes
and the architect’s role as the mind behind that
within its context. Inevitably, the pandemic has
medium. This is ultimately what makes our work
altered how space is used. Building owners have
purposeful and will live on for longer than any
a renewed focus on wellness and with a change in
of us. We will also be focused on drawing out the
their brief as well as the new world we live in today,
best outcome from the entire firm. This will be
there will be new strategies, products and features
enabled by increased investment and accelerated
to tackle design post-COVID-19. At a deeper level,
implementation of our digital and technical
the pursuit of providing design solutions that are
initiatives, as well as a new dynamic workplace
relevant to the context as well as able to enrich
strategy that will support the incubation of ideas
and transform people’s lives does not change.
and push new frontiers.
environment, to the resources you have on hand to
FA B I A N TA N , P R I N C I PA L, FA B I A N TA N ARCHITECT
C
ompleted project in 2020:
Bewboc
House was finished recently. The project has a vaulted-shaped pavilion with a series of
platforms attached to the existing house at an angle, to allow different layers of light to penetrate. At the end of the pavilion are two large timbre doors that open out into the garden, extending the space into the outdoors. I wanted to create a sense of continuity, and that could only be achieved by making the wall and ceiling as “one”. The resulting shape that came to mind was an arch. This idea could also be inspired by my childhood fascination for caves and primal living.
Lessons learnt:
COVID-19 has taught me to
prioritise staying focused and time management. Although the lockdown has caused our work to slow down tremendously, I have also gained a lot
through reflection and contemplation of my ideas around architecture. This was something I did not do previously, as it is not easy to focus on these thoughts in a world filled with noise and distraction. I’ve also realised that how you choose to spend your time – on work, life and relationships – is a choice that requires mindfulness.
Looking ahead:
I am very excited for 2021, as
our firm is busy with small and larger projects that range from terrace houses to bungalows. We are also doing some new commercial projects, so the outlook is very positive.
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/ FEATUR E /
YI P YU EN HON G , PR I N CI PA L A R CHI TECT & FOU N DER , I PLI A R CHI TECTS
O
ne of the projects we completed this year was a house at Chartwell Drive. It has a small footprint for a bungalow
and is basically a cave to hide in. The cave has a means to be further compartmentalised to be more secretive, distancing oneself further from the outside world, or it can be completely open and engaged with the outside world. COVID-19 has reinforced that we need spaces to retreat to and that these spaces need not be big. Instead, they can be small but kept varied. In 2021, we will continue to explore if we can design small liveable spaces but still make them interesting. Humans instinctively want more and more, bigger and bigger... but seriously, small spaces will do too.�
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D R. TAN LOKE MU N , P RINCIPAL, DR TA N LM ARCH ITECT; DI R ECTOR , ARCHI CEN TR E; FO UND E R & DI R ECTOR , DTLM D E S IGN GR OU P
W
hat is a major project you completed in 2020? We have just completed the PJKita
Youth Centre for the Petaling Jaya City Council (MBPJ). It is based on the T-Canopy concept, which we developed and exhibited at the 2014 Venice Biennale, where the main spaces are lifted off the ground freeing up the ground level for different types of activities and gatherings.
What is the most important architectural lesson COVID-19 has taught you? We quickly adapted to the change and uncertainty, and adopted new technologies like virtual meeting with more than 100 architectural staff, so we run
What can we expect from your firms in 2021?
business scenarios with various permutations every
We anticipated and planned for a very rough
two weeks to ensure that our financial resources
remainder of 2020 and a bleak 2021. But to our
can last at least 12 months.
surprise, we were actually commissioned projects
software almost overnight. Our overheads are high,
since coming out of the lockdown in June, and our cash flow remains strong. This makes us excited about 2021. We are working on new master plans, institutional and corporate buildings and a wide array of residential projects both high-rise and landed. We also plan to keep up with doing the three customdesigned homes each year for design exploration and innovation purposes. We are concentrating our efforts on developing our business and strengths in the three core areas of creativity, compassion and collaboration. We believe that these will always create value and cannot be replaced by technology or artificial intelligence.
How do you think the architectural industry is going to change in 2021, if at all? Large architectural practices will likely be decimated due to reduced revenue and cash flow issues. Design practices will operate as smaller and leaner outfits, and will carry out more work in collaboration with others. Only the best and fittest will survive. Businesses will trim all the excess fat and do away with mediocrity.
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/ FEATUR E /
OUR RECENT PAST AS ONE OF THE MOST THOROUGHLY MODERNIST CITIES IN THE WORLD, SINGAPORE HAS A VERITABLE TREASURE TROVE OF BUILDINGS WITH THIS STYLE. IN AN ATTEMPT TO PROVIDE A SENSE OF THE GENERAL OUTLINE OF THE ARCHITECTURAL MOVEMENT HERE, NON-PROFIT DOCOMOMOSG HAS COMPILED A LIST OF 100 SUCH PROJECTS COMPRISING A MIX FROM THE HEROIC AND EVERYDAY CATEGORIES. HERE, WE FEATURE 10 AND DETAIL THEIR RESPECTIVE COUNTERPARTS. WOR DS D OCOM OM OSG / PHOTOGR A PHY DARREN SOH & SIN GA POR E H ERITAGE S OC IE T Y – JE R E M Y SAN COLLE C T ION
P E O P L E ’ S PARK CO MPLE X YE AR BUILT: 1973 ARC H ITECT: DESI GN PA R TN ER SHI P (TAY KHEN G SOON , WI LLI A M S.W. LI M, KO H S E OW C HUA N ) LO CATIO N: PAR K R OA D/ EU TON G SEN STR EET
People’s Park Complex resulted from the Urban Renewal Department’s first Sale of Sites programme in 1967. Located within Precinct South 1, the area also housed landmarks such as Pearl Bank Apartments (1976), Outram Park Complex (1970), as well as the neighbouring People’s Park Market (1969), People’s Park Centre (1976) and Furama Hotel (1984). Completed in 1973, People’s Park Complex is a large mixed-use development of offices and residential apartments above a retail podium. The integrated podium-tower block aims to consolidate all the activities under one roof, while the internal “city room” of interlocking atriums was designed to encapsulate the bustling street life of Chinatown.
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PANDAN VALLE Y CO NDO MINIU M YEA R B U I LT: 1978 A R CHI TECT: A R CHU R B A N A R CHI TECTS PLA N N ER S (TA N CHE N G SI ON G) LOCATI ON : PA N DA N VA LLEY
Singapore’s early luxury high-rise apartment projects, Beverly Mai (1974) and Futura (1976), were both designed by Timothy Seow & Partners. These were renowned for championing the concept of “bungalows-in-the-air”, introducing to middle-income families an alternative to landed housing. While both have since been demolished, Pandan Valley Condominium, developed by DBS Realty, still stands today as an example of such pioneering condominium design. Built on a 20-acre suburban site with a natural valley, it comprises 605 spacious residential units housed in a combination of slab blocks, stepped blocks and point blocks, merged seamlessly into the hilly terrain.
M A RI S ST E L L A C H AP E L Y E A R B U I LT: 19 67 A R C H I T E C T: BE P AKITE K (S INGAP O RE) LO C AT I O N : H O LLAND ROAD
Distinguished for their innovative architecture, tropical sensitivity and creative interpretation of liturgical requirements, post-war churches were a breed of their own. Notable examples include the Church of St. Bernadette (1959), Church of the Blessed Sacrament (1965) and Maris Stella Convent Chapel (1967) in Singapore. Established in 1953 by six sisters of the Franciscan Missionaries of Mary, the latter began as a kindergarten before growing into a vocational school for female primary school leavers. A new chapel was built in 1967, designed to be bold, modern, yet deeply engaging – all through the subtle play of tectonics, materiality and light.
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/ FEATUR E /
F O RM E R M O NK ’S HI L L SECON DA RY SC HO OL Y E A R B U I LT: 1 939, 195 8 A R C H I T E C T: P U B LIC WO RKS DEPA R T M E N T ( PWD) LO C AT I O N : W I N STE DT ROAD
The PWD developed a series of standardised designs for schools from the 1930s to 1970s, creating buildings that shaped the formative lives
of
many
Singaporeans.
They were designed to be simple and elegant, yet pragmatic and sensitive to the climate. One such example is Monk’s Hill Secondary School, which began as Monk’s Hill Elementary School in 1939. Its conversion after the war was part of the state’s plan to increase student enrolment into English-streamed institutions. With a focus on science and vocational education, a Science block and Home Economics block were added to the school compound in 1958.
GO L D E N MILE CO MPLE X YEAR BUILT: 1973 ARCH ITECT: DESI GN PA R TN ER SHI P (TAY KHEN G SOON , WILLIAM S.W. LI M, GA N EN G OON ) LO C ATIO N: B EACH R OA D
Between Nicoll Highway and Beach Road lies a strip of land known as the “Golden Mile”, planned by the government for high-rise developments. This extensive waterfront renewal saw the construction of several iconic modernist buildings, from Shaw Tower (1977), Gateway (1990) and Concourse (1994), to Crawford Estate (1969), Golden Mile Tower (1973) and Golden Mile Complex. Formerly known as Woh Hup Complex, the 16-storey mixed-use Brutalist building is an exemplary “megastructure” and “vertical city”, where occupants live, work and play. While its signature stepped-profile accommodates apartments with panoramic views, it also facilitates natural ventilation and shades the concourse at the mid-level.
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ABOUT DOCOMOMOSG DoCoMoMo International is a non-profit organisation dedicated to the documentation and conservation of buildings, sites and neighbourhoods of the modern movement. Currently, it includes 69 national chapters and more than 3,000 members in Europe, America, Asia, Oceania and Africa, comprising historians, architects, town planners, landscape architects, conservationists, teachers, students and public officials. DoCoMoMo Singapore was founded in 2018 as a working group, to be formalised as a National Chapter by end-2020. It is actively involved in the research, documentation, promotion and conservation of Singapore’s modern built heritage.
FO RME R CIT Y CO U NCIL FLATS YEA R B U I LT: 1950s A R CHI TECT: W. I . WATSON LOCATI ON : CLEMEN CEAU AVEN U E N OR TH
Singapore’s post-war colonial government, together with the Singapore Improvement Trust (SIT), built affordable public housing for the general population, as well as flats for civil servants, to address the many social problems arising from an overall lack of proper accommodation. The City Council Flats were built in the 1950s to house low-ranking civil servants of the then-City Council of Singapore. Their full-length corridors and rounded stairways bear a striking resemblance to the post-war flats designed by SIT in Tiong Bahru and Upper Pickering Street. A precursor to modern public housing architecture, this is the last block of its kind left in Singapore.
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/ EDUCATI ON /
TEMPLE OF LEARNING OCCUPYING A SITE THAT WAS FORMERLY PART OF A TOSHIBA FACTORY, ACADEMIC-ARK IS A NEW CAMPUS IN OTEMON GAKUIN UNIVERSITY IN IBARAKI CITY, OSAKA DESIGNED TO FOSTER A SENSE OF COMMUNITY. WORDS MICHELE KOH MOROLLO
01
/ PHOTOGRAPH Y S HINKENCH IKUSHA, H ISAO S UZUKI, N AOOMI KUROZUMI, YAMAGIWA
I
baraki City’s Otemon Gakuin University
“Since ancient times, Japan’s shrines
is not just a campus for higher learning,
and temples have drawn pilgrims from all
it was also designed to become a
corners of the country, so these sacred sites
neighbourhood landmark and community
turn into lively gathering places. This was
gathering area for residents who live near
the concept that informed our vision for the
the university.
new campus,”
Conceptualised by Tokyo-headquartered
Named Academic-Ark, the campus has
service architectural firm Mitsubishi Jisho
a total floor area of 20,409m2, and contains
Sekkei, the project was led by Yasuhiro Sube
classrooms, a library, cultural hall, studio
and his colleague Keisuke Aneha.
and
“Our task was to convince stakeholders
that
can
accommodate
that the campus could serve the community
Though the results are remarkable,
at all times, and as architects, we also had
the project was quite a challenge for the
to think about how to design a learning site
architects.
that would inspire students to make that trip to campus,” says Sube.
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cafeteria
approximately 3,600 students.
They
had
just
29
months
to
see
the project through from the design to
01. An aerial view of the triangular AcademicArk. The small triangular building to the side of the Ark houses the cafeteria.
02
construction phases, which is about twothirds the duration allocated as a timeline for such a large project. Their construction budget was also about two-thirds of what was typical. In addition, conservation regulations required that the building site be excavated prior to construction to search for historical
TRIANGULAR FOOTPRINT “We came up with the idea of minimising the area that had to be excavated by using a triangular shape, and by cantilevering each corner of the triangle, which made the footprint smaller. This significantly reduced construction time and cost,” reveals Sube. The
triangular
footprint
was
also
artifacts, as there are many ancient ruins
effective in encouraging all the excitement
buried around the site.
and energy of the university’s academic
02. The massing of the Academic-Ark is designed as an inverted triangular pyramid and has a stainlesssteel, eco-screen facade that gives it a high level of transparency.
33
/ EDUCATI ON /
03
activities to converge within a single space. By angling the building’s corners steeply inward,
the
architects
created
inviting
“gates” that serve as entrances for the building’s users. 03. A 40m overhang at the corner of one of the triangular planes serves as the “roof” of the grand entrance.
“A large town was located on this site the ancient tombs of emperors still stand to this day. “Archaeological research suggests that it was a lively, thriving area. Academic-
of the roofs of houses that stood here a long
Ark is our homage to the Japanese haniwa
time ago,” says Sube.
clay figurine of an ancient house that was discovered within the ancient tombs. “The design is intended to harmonise with
the
surrounding
residential
architecture while incorporating elements
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YAS U H I R O S UBE , AR CH I T E C T, M I TS U BI S H I J I S H O S E K K E I
around the fifth century AD, and nearby,
The exterior of the building is clad in environmentally
sustainable,
reflective
aluminum sheets with an embossed mirror finish that illuminates the atrium so it looks like a giant chandelier.
35
I. Park
H. Retail area
G. Residential area
F. High school + Junior high school
E. Parking
D. Garden
C. Cafeteria
B. Bus station
A. Academic arc
SITE PLAN
/ COMMER CI A L /
WISDOM FROM THE VINES CROWNED BY AN ELEGANT CONCRETE WAVE THAT ACTS AS A ROOFTOP AMPHITHEATRE, LAHOFER WINERY IS A CONTEMPORARY HOMAGE TO THE WINEMAKING TRADITIONS OF MORAVIA. WORDS PEARLIE TAN / PHOTOGRAPH Y ALEXANDRA TIMPAU & LAURIAN GHINITOIU
01. The stepped roof of the winery’s visitor centre creates an open-air amphitheatre used as a cultural venue for the community.
40
01
41
/ COMMER CI A L /
02
S
42
et gracefully on the rich soil of the
history and topography of the region, with
Moravia wine region, the Lahofer
a framework that takes cues from the
Winery in DobĹĄice is the new
traditional wine cellars of Moravia and
headquarters of one of the largest wine
a structural scheme based on the width
producers in the Czech Republic, extending
of the rows of grapevines, resulting in a
over 430 hectares and producing half a
powerful visual symmetry that mirrors
million bottles annually.
the landscape.
Architecture studio CHYBIK + KRISTOF
An undulating, walkable roof lies
presents an articulate response to the
between the production area and visitor
02. Visitors enjoy sweeping views across the landscape from the rooftop amphiteatre.
03
LAHOFER WINERY
LOCATION
Czech Republic / COMPLETION
2019 / SITE AREA
18,653m2 / BUILDING AREA
3,842m2 / ARCHITECT
CHYBIK + KRISTOF Architects & Urban Designers / LEAD ARCHITECT
04
Ondřej Chybík and Michal Krištof / CONTRACTOR
S-A-S STAVBY spol. s r.o. / C&S CONSULTANT
Hladík a Chalivopulos s.r.o. & Babka & Šuchma s.r.o. / M&E CONSULTANTS
ELSPACE s.r.o., CM projekt, s r.o., Alexaprojekce s.r.o., FaBa engineering, s.r.o., MARIO DESIGN s.r.o / QUANTITY SURVEYOR
Ing. Ladislav Křemeček - Znojmoinvesta, s.r.o. / LANDSCAPE
03-04. The complex houses three distinct, interconnected structures, with a glass façade along the southern side that opens to the vineyards.
centre, creating an amphitheatre that serves
structural elements,” explains architects
as a cultural venue for the community and
Ondřej Chybík and Michal Krištof.
brings together the distinct volumes. The 3,900m2 complex lies on a grid of arched beams housing three structures of varying heights that intersect and overlap. “The
building
is
integrated
within
BRANDS
A state-of-the-art wine production facility is concentrated in two horizontal halls. to
operations
fermentation
from and
ATELIER PARTERO S.R.O. / DESIGNER FURNITURE
CUES FROM THE LAND
Centralising
ARCHITECT
grape
the landscape in a way that the distance
harvest
bottling,
between the vine rows determines the
these spaces contain the wine press, cellar
Vitra / SANITWARYWARE BRANDS
Laufen + JIKA
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/ I N DUSTR I A L /
EYE TO THE SKY TAKING ON THE CHALLENGE OF A NEIGHBOURING AIRPORT RUNWAY, A NEW FACILITY BRINGS DESIGN VIVACITY TO PENANG’S INDUSTRIAL LANDSCAPE. WORDS NIZAR MUSA
01
/ PHOTOGRAPH Y H . LIN HO PHOTOGRAPH Y
01-02. Topped by a massive brise soleil, the Aemulus facility is an eye-catching superpavilion of layered slabs, thrusting planes and raw materiality that bucks the norms of industrial building design.
M
alaysian industrial architecture continues its upward trajectory in high design with Aemulus at the
Designed by John G N Bulcock and Chin
Runway, an electronics facility in the Bayan
Kuen Cheng, Aemulus immediately stands
Lepas Free Industrial Zone that directly
out with its red brick-on-pilotis aesthetic,
borders the Penang International Airport’s
providing over 9,000m2 of GFA expanded
3.4 km-long runway.
from a brief the architects found appealing
The idea of taxiing planes and roaring aircraft engines at the door may sound
from the get-go. “It really captured our imagination, it’s
Design
not often that this happens. The CEO is a
Unit Architects – no strangers to the
creative individual, and gets the best out of
manufacturing scene with their award-
people, which showed in the brief,” shares
winning Factory in the Forest – have
Bulcock on their initial involvement.
disconcerting,
but
KL-based
managed to flip that premise on its head to deliver a building both smart and sharp.
48
COMMON SPACE, MEETING SPACE
“There were unusual spaces for office (areas), a running track and special names
02
49
/ I N DUSTR I A L /
for various rooms. He (the CEO) wanted breakout spaces where you [can have] oneon-ones [or meetings with] small groups of people, and creative spaces for interaction.” That interaction becomes evident in 03. Projecting windows, mechanical ventilation apertures and angled screens generate dynamic contrast to the granular brick façades.
03
50
Aemulus’
central
staircase,
fulfilling
a
common meeting hall requirement.
J O H N G N BULCO C K , CH I N KU E N C H E NG, AR CH I T E C TS , D E S I G N UNI T AR C H I T E C TS
Situated in an atrium, the stepped edifice – a part stair, part seating structure of reinforced concrete – connects the building’s two wings, and is the locus of communal activity.
PANORAMIC ACTIVITY
The architect explains, “It functions
An active runway is no scenic lake, yet
like a huge meeting room, it can be used for
Aemulus has capitalised on the view instead
theatre, yoga, anything. You can go there on
of blocking it as other buildings in the zone
your own with your laptop, your coffee.
have done.
“There are even chance meetings with
Elaborates Bulcock, “For us straightaway,
colleagues you don’t normally meet. These
it was an asset. A window of light orients
are the things the client loves.”
you through the main entrance tunnel that
ELEVATIONS
FRONT ELEVATION
LEFT ELEVATION
REAR ELEVATION
RIGHT ELEVATION
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/ A B ODE /
TROPICAL REVIVAL INCORPORATING FEATURES FROM TROPICAL ARCHITECTURE, SINGAPORE PRACTICE VERSIFY STUDIO TRANSFORMED THIS APARTMENT INTO A COMMODIOUS, BRIGHT AND WELL-VENTILATED “HOUSE IN THE SKY”. WORDS MICHELE KOH MOROLLO / PHOTOGRAPH Y VIVIAN JOHNNY AND ALAN LAU
01. A verandah along the eastern aspect of the building overlooks a courtyard garden. / 02. The three bedrooms on the upper level have windows that enable its residents to look down at the westand east-facing verandahs, and out to garden or river views.
68
01
02
U Versify
pon returning home to Singapore
enhance the look and feel of the space.
after a stint at OMA in Hong Kong,
“When I came back to Singapore, I worked
architect Alan Lau, co-founder of
in an office with 180-degree views of Marina
Studio,
Bay, but the glare from the sun prevented me
noticed
that
Singapore’s
built landscape was heavily influenced by architecture from non-tropical regions. When
he
and
his
business
partner
architect Vivian Johnny were commissioned to
from enjoying that view,” recalls Lau. “Looking at the city skyline, I noticed that every tower built after The Sail@Marina Bay had glassed-up facades.
refurbish a 36-year-old, two-storey maisonette
“Cities and towns used to have distinct
in Potong Pasir, they saw it as an opportunity
architectural characteristics that responded
to apply tropical living design principles to
to their local climates and cultures. Now
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/ A B ODE /
03
“
In the last two decades, glass towers have become the norm for newbuilds in Singapore. It seems we architects have all forgotten how to design spaces that are appropriate for our tropical climate.
“
04
03-04. The dining area is seamlessly connected to the living area and kitchen, separated by the iconic Horse Lamp by designer Front from Moooi.
however, many cities look like what Rem Koolhaas refers to as ‘the generic city’.”
70
To prepare for the project, the duo visited and
studied
old
colonial-era
buildings
Johnny concurs, adding, “In the last two
in Singapore and other Southeast Asian
decades, glass towers have become the norm
countries, measuring the temperature, wind
for new-builds in Singapore.
speed and lighting level within those spaces.
“It seems we architects have all forgotten
When they compared measurements
how to design spaces that are appropriate for
obtained from these heritage buildings
our tropical climate.”
with measurements obtained from the
05
original Potong Pasir apartment, they
clerestory windows and light-coloured walls
were surprised by how dramatic the
and ceilings. Employing
differences were. They discovered that tropical-style,
elements
from
tropical
architecture, they turned the Potong Pasir
passive
maisonette into a 165m2 home with a layout
cooling features – notably verandahs
that is as spacious and lofty as a stand-
along the periphery of the buildings – that
alone house.
heritage
buildings
included
encourage better air circulation within the interiors.
OPENING UP
This meant that 100 years ago, people
The pair started by removing all the
could live comfortably in Singapore’s hot
original walls and sliding doors along the
and humid tropical climate without air-
balcony and corridors of the unit, as well
conditioning.
as the façade windows to create two semi-
Other features they saw in the old buildings included permeable façades,
05. A monochromatic colour scheme increases the multifunctionality of the living areas.
outdoor verandah spaces. The kitchen wall was replaced with
71
/ DI N E /
VERSATILITY AND CHINESE SENSIBILITY THE CHALLENGE OF JUGGLING A UNIQUE EXPERIENCE WITH MAXIMISING OPERATIONAL SPACE WAS OVERCOME AT THE CHINESE NATIONAL RESTAURANT THROUGH HIDDEN PANELS AND EYE-CATCHING D ESIGN ELEMENTS. WORDS PRAIS E POH
01
/ P H OTOGRAPHY OWEN RAGGETT
L
ocated on the seventh floor of
being located within the hotel,” says Michael
Swissotel Jakarta, The Chinese
Goodman, Partner and Managing Director at
National is definitely not your
EDG Design.
typical Chinese restaurant. Firstly, it offers diners not one, but four distinctive dining destinations.
82
“Aside from ensuring that we utilised the space in a clever way that meant that while the venue as a whole was able to
Drawing inspiration from China’s four
accommodate all guests over breakfast,
great inventions of papermaking, printing,
it was also critical that these specialty
gunpowder and the compass, the team at
venues didn’t compete with each other.
EDG Design transformed the space into a
“Beyond interior design, we had to
tea house by day and cocktail bar by night
consider the strategic approach as well...
(Letterpress); a dumpling and noodle shop
We knew that one restaurant would never
(Iron Needle); a Szechuan restaurant (Black
fill that many seats the rest of the day,
Powder Red); and a luxury Cantonese roast
but there was a huge demand for food
duck venue (Paper Duck).
in general.
“It was vital that The Chinese National
“From there it was logical to create
was positioned as an upscale F&B destination,
four different venues that spoke to four
with a freestanding restaurant spirit, despite
different types of guests and price points.”
01. Paper Duck’s seating is upholstered with suede and genuine leather and dressed with throw pillows using tone-ontone fabric. / 02. The arrival experience of Chinese National was inspired by the grand feel of a train station. The intricate metal screens, a combination of the 1900s Chinese shophouse scissor gate and Art Deco metal detail, were inspired by an old elevator in Shanghai.
02
83
/ PEOPLE /
THE LIFE COMPANION MEL YEO DESIGNS INTERIORS IMBUED WITH THOUGHTFULNESS AND AUTHENTICITY TO KEEP CLIENTS COMING BACK OVER AND OVER AGAIN. WORDS LOW S HI PING / P HOTOGRAPHY C HI N O SARDEA / YEO SI TS ON TH E STANFORD LOUNGE A RMC HAIR FROM POLIFORM
MEL YEO Director, Fahrenheit Age: 49 Important lesson learned: Collaborating, listening and keeping an open mind can often result in wonderful solutions
94
What is your design philosophy?
gives me a great sense of pride and joy. For example,
I believe that design should be thoughtful,
we have worked on eight different homes for the
intelligent and honest. It should always serve a
same client in the past 14 years.
purpose, be it functional or emotional, and evoke a feeling of indifference, then I would consider it a
How do you think interior design as a practice is being impacted by COVID-19?
failure. I always approach design by first studying
As a designer, we have to think of how we might live,
the setting and context of the project, and ensuring
socialise, consume and work in the future. I think
that the design engages the user and satisfy the
more people will consider having multi-generation
user’s needs.
homes where they can live in close proximity to their
an emotional reaction. If a design only generates
family. In the office, we need to create workspaces
Where do you draw inspiration from to create your designs?
that allow people to physically distance and feel
Inspiration can arise from a book, an artwork,
flow of ideas that open-plan offices and breakout
a piece of furniture, someone I met, a fictional
areas have brought to the workplace. Design has to
character in a film or intense discussions with my
help alleviate the anxieties that users have when
team and collaborators. Last year, we completed
interacting in the built environment. It has to
a conservation-status black-and-white bungalow,
consider not only the aesthetics of spaces, but also
which was largely inspired by an ink painting from
the users’ physical and mental wellbeing. Careful
the client’s impressive art collection. The painting
layout planning that minimises close proximity
depicts a traditional Chinese house with white
encounters between people in public settings
walls and black roof lines. There is a lone pine tree
can help to lower the physical risk and provide
sitting in front of a lake, its reflection silvery grey
assurances. The use of more gentle, tranquil and
on the water. The simple and minimalistic lines of
soothing colour and material palettes can offer a
the painting, with its sparse use of colour, inspired
sense of comfort to people.
comfortable, without sacrificing the synergies and
us to create a house with a mood that is almost a terrazzo flooring and expansive white walls with
Why do you enjoy purchasing pieces from Space Furniture?
thin, black-steel trimmings as accents.
Space Furniture has an excellent collection of
reflection of the painting – we used silvery grey
brands that showcases the best of modern Italian/
How does your design style differ from other designers?
European design. The quality of their products is also
While we do not have a fixed style, a Fahrenheit
is very much in line with our studio’s. I’ve always
identity exists in our body of work. This is our
enjoyed visiting the store as the furniture pieces
attention to detail, and penchant for creating
are well curated and it is a space for inspiration
homes that are warm, calming and timeless. I
and even education. I am a fan of Poliform for its
think this is due to our belief that our work should
timeless design and excellent quality. It is also
show thoughtfulness and authenticity. Many of
a big plus that the collection is very complete
our clients were referred to us by other clients.
and we never have issues finding pieces that can
Most of them have experienced and enjoyed the
help complete a project in a consistent style. For
spaces that we have created. But the bulk of the
instance, we recently paired the Kay lounger with
work we do are for repeat clients. Their belief in
the Mondrian sofa in the living area of a showflat.
our approach and style, allowing us to accompany
The clean lines and rich textured finishes of the
them through the different phases of their lives,
pieces complemented the space perfectly.
always assured. The selection is wide and the style
This story is produced in collaboration with SPACE FURNITURE. FURNITURE.
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PLACEMAKING PARTNER WORDS LOW SHI PING
sculptural concept dreamt up by American designer Chloe Rokelle Sun. Living Future, as it is called, is her response to the post-COVID-19 world, marrying heightened safety and hygiene measures with a welcoming, sustainable environment. Imagined as a permanent fixture on an outdoor plaza or piazza or shopping mall atrium, it is installed with nanoleaf, modular, smart LED light panels that can change colour and luminosity. Plants dot the structure, sustained by Living Machine technology. They support the wastewater filtration system attached to the There
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are
plants,
groovy
lighting,
handwashing station, and are part of Living
sustainable technology and a handwashing
Future’s built-in ecosystem to generate a clean,
station all integrated into this whimsical
reusable, lasting water source.