HOME TO THE BUSINESS COMMUNITY
SCCCI BUILDING DIAMOND JUBILEE CELEBRATION
FORTY-SEVEN HILL STREET
Gazing back a century from where we stand
A history of this once foreign land
For lives new and continuing, six meetings of merchants ensuing,
The Qing’s stamp of approval travelled across the seas
at forty-seven Hill Street
From migrants to locals,
From foreign merchants to native successors.
They make their homes on this land, taking root,
settling in
Looking back sixty years,
When mansions of the rich were plucked from the ground
where East meets West.
Steel and concrete, the pagoda’s peak reaching for the best.
Engraved pillars and glazed tiles, around which nine dragons coil, ever ascending.
Stone lions guard the red door and pillars, ever grounded.
clouds and rivers;
The green gardens rest as if for a painting or doing taiji.
A plaque, the legacy of might
From Kah Kee Hall, the journey starts
Pushing for the Chinese arts
Forward go their teachings and culture
Forming a foundation for the future
From Hill Street we commence,
Striding from forty-seven to posterity immense
For the people or for the world,
The spirit of Chinese entrepreneurs stays true,
Passing on for generations through!
ACKNOWLEDGEMENTS
CONCLUDING REMARKS
BENEFITTING FROM SOCIETY, GIVING BACK TO SOCIETY
MILESTONES REMEMBERING SINGAPORE’S NATIONBUILDING
CHAPTER 4
CULTURAL LEGACY: MEMORIES OF THE BUILDING
CHAPTER 3
SYNTHESIS OF TRADITION AND INNOVATION
CHAPTER 2
BUILDING OF STRENGTH, LEGACY OF TIME
CHAPTER 1 FROM GRAND MANSION TO THE HOME TO THE BUSINESS COMMUNITY
PRESIDENT’S MESSAGE
KHO CHOON KENG PRESIDENT OF SINGAPORE CHINESE CHAMBER OF COMMERCE & INDUSTRY’S 61 ST COUNCIL
This year marks the 60th anniversary of the Singapore Chinese Chamber of Commerce & Industry (SCCCI) building. To commemorate this milestone, SCCCI has launched a special exhibition and publication.
GRATEFUL FOR THE PAST, REMEMBERING OUR ROOTS
Since its completion in 1964, the SCCCI building has witnessed Singapore’s independence and united the business community to promote industrial and economic development in line with government policies. We are grateful to then Building Fund Appeal Committee for making this building a reality. It has seen the hardships of our nation-building efforts and laid the foundation for Singapore’s growth and prosperity.
Half a century later, with the SCCCI’s growing influence and accomplishments, a decision was made to refurbish the building. Refurbishment plans began in 2015, and the construction work commenced in 2017. Despite the challenges posed by the COVID-19 pandemic, the project was completed in 2022. On behalf of SCCCI, I would like to record our deep appreciation to former Presidents Mr Thomas Chua Kee Seng and Mr Roland Ng San Tiong, as well as the 58th, 59th, and 60th Councils for their collective efforts in achieving this milestone.
BUILDING ON THE PAST, SCALING NEW HEIGHTS
The refurbished SCCCI building was officiated at a ceremony by then Prime Minister Lee Hsien Loong on 10 September 2022. Prime Minister Lee gifted us a special couplet with sixteen Chinese characters that can be translated as “Integrity, Patriotism, Innovation, Giving back to society.” This pair of couplets are displayed at the entrance of the Tan Kah Kee Auditorium, reflecting SCCCI’s commitment to the beliefs and spirit of our Chinese business pioneers and commitment to leading its members and working towards a better future for Singapore.
The SCCCI building has stood tall on Hill Street for six decades. With this refurbishment, it has upgraded both its design and facilities, enabling SCCCI to offer more efficient and better-quality services to its members. Together with its members, I am confident that SCCCI, guided by the core values of “Patriotism, Integrity, Succession, Innovation, and Uniting Business,” will continue to strive, unite our people, and achieve sterling success for another 60 years and beyond.
FROM GRAND MANSION TO THE HOME TO THE BUSINESS COMMUNITY
The history of the Singapore Chinese Chamber of Commerce & Industry (the Chamber) premises on Hill Street dates back to 1906. That year, the Chamber initially rented the House of Wee Ah Hood, known as Da Fu Di, as its premises and later acquired it.
Street view of the House of Wee Ah Hood (Early 20th Century)
This reconstructed illustration is based on historic black and white photographs. The colour scheme is based on the contemporaneous Teochew architecture of its time.
ILLUSTRATION BY JEFFREY ANG
SCCCI BUILDING 60TH ANNIVERSARY
MAP OF SINGAPORE (1893)
The map shows the building footprint of the House of Wee Ah Hood (No. 49) and the House of Tan Seng Poh (No. 58).
COURTESY OF NATIONAL ARCHIVES OF SINGAPORE
HILL STREET (THE
1900S)
Directly across from Da Fu Di stood the Waverly Hotel. Further along Hill Street was the House of Tan Seng Poh (right of image).
COLLECTION OF SINGAPORE PHILATELIC
MUSEUM, DONATED BY PROFESSOR
CHEAH JIN SENG.
HOUSE OF TAN SENG POH
PLAQUE OF DA FU DI
(THE 1960S)
Granite plaque with a bas-relief carving of Da Fu Di above the main entrance.
The distinctive gap between the stone lintel (an integral part of the door frame) and the stone plaque, elevated by the
two stone lion plaque brackets, is one of the characteristics of Teochew architecture.
The door seal reads Fu Lu Shou Quan (Full of good fortune, prosperity and longevity), and Lian Deng Ke Jia (To achieve excellence in the imperial examination). The overlapping
percentage of thin roof tiles was also characteristic of Teochew architecture.
In late 19th century colonial Singapore, four Chinese residences stood out among the rest. These houses were known collectively as the “four grand mansions”. They belonged to four Teochew tycoons involved in the trading of pepper and gambier, namely Tan Seng Poh, Seah Eu Chin, Tan Yeok Nee, and Wee Ah Hood. Today, except for the House of Tan Yeok Nee, the rest are no longer standing.
Hill Street was one of the earliest streets to be paved in Singapore. Its prominent location at the foot of Government Hill (today’s Fort Canning) on its southern side, with a freshwater stream (today’s Stamford Canal) nearby, meant it was a muchsought-after site during the early days of the British settlements.
Wee Ah Hood (1828-1875), a Teochew with ancestry hailing from the Chao’an district in Chao-zhou, Guangzhou province, first worked as an assistant in a cloth dealer’s shop along Telok Ayer Street and eventually became a prominent pepper and gambier trader. He was the father of Wee Kim Yam (1855-1914), a very successful businessman who was highly active in Chinese community work in Singapore. Wee Ah Hood built his house diagonally opposite that of a fellow Teochew, Tan Seng Poh. It was located at No. 49 Hill Street (renumbered today as No. 47 Hill Street), and the site measured 26,602 square feet. The House of Wee Ah Hood was known as Da Fu Di, and it was later the premises of the Singapore Chinese Chamber of Commerce.
MEETING MINUTES RECORDING THE DECISION TO LEASE DA FU DI (1906)
On 21 April 1906, the Council decided to lease Da Fu Di as its premises. The monthly rental was 150 Straits Dollars.
MEETING MINUTES RECORDING THE DECISION TO PURCHASE DA FU DI (1912)
After negotiation with the owner, both parties agreed on a purchase price of $55,000, down from the initial $60,000 on 3 February 1912.
3 16
4 11 5
Syed Ali bin Mohamed Alsagoff Syed Omar bin Mohamed
FROM LEASE TO PURCHASE
On 16 March 1906, local Chinese merchants officially set up the “Singapore Chinese Chamber of Commerce” (now known as the Singapore Chinese Chamber of Commerce & Industry, hereinafter referred to as “the Chamber”). On 21 April, the Chamber decided to rent Da Fu Di for three years, with two years of agreed rental and subsequently renegotiate the rental for the final year.
The Chamber decided to purchase the property on 3 February 1912. On 11 April 1912, the Chamber purchased the property for $55,000 from Syed Ali bin Mohamed Alsagoff and Syed Omar bin Mohamed Alsagoff. Da Fu Di was officially the Chamber’s premises.
PROPERTY TITLE DEED OF DA FU DI (1912)
REPRODUCED WITH PERMISSION FROM THE SINGAPORE LAND AUTHORITY
FLOOR PLAN OF DA FU DI
Dr Yeo redrew the floor plan based on 1930s building plans.
COLLECTION OF YEO KANG SHUA
SECTION PLAN OF DA FU DI
Dr Yeo redrew the section plan based on 1930s building plans.
COLLECTION OF YEO KANG SHUA
ARCHITECTURAL STYLE OF DA FU DI
Although Da Fu Di was a traditional Teochew house, it had incorporated some Western architectural influences. The only traditional Teochew structural elements were its main entrance gateway, the corbels and internal gateways leading to fire alleys. Nevertheless, its spatial arrangements and motifs, such as column detailing and decorative plaques
GROUP PHOTOGRAPH TAKEN IN FRONT OF DA FU DI (1938)
This photograph shows the front elevation of the entrance gateway, which was already modified with a faux brickwork finish – that is, no mouldings. A timber lattice screen casement door had also been placed in the space beyond the threshold at the entrance gateway.
above the windows of the main building, were essentially traditional Chinese ones. Based on the 1930s alteration plans, the symmetrical layout of Da Fu Di is a permutation of the classic si dian jin ( ) configuration. This configuration refers to “the four double-pitched gable ends that recall the Chinese character for gold”.
ENTRANCE GATEWAY, BOUNDARY WALL AND COURTYARD
The distinctive Teochew roof form at the entrance gateway at Da Fu Di stood out in contrast with the high, whitewashed brick boundary walls. At first glance, the most striking feature was its colour scheme, predominantly white walls and grey roof tiles. This starkly contrasts with Hokkien architecture’s primarily red colour scheme, which is more commonly found in Singapore due to the island’s large Hokkien population.
The high boundary walls of the mansion also blocked the view of what lies beyond. The continuous white wall was punctuated only by the entrance gateway, and only through this gateway can one get a glimpse of the mansion’s compound from the street. The gateway’s central bay featured a gablet roof (or hip-and-gable roof). The roof ridge and the four hip rafter ridges have gentle curves terminating in ornamental ceramic spiral finials. Qianci is found on the main ridge, the
gablet ridge (also known as the sloping ridge) and the hip ridges. There is no qianci on the slope of the roof. The fascia board, typical of Teochew architecture, is carved. The gable wall of the gateway is topped by an “earth” gable motif, while the two side entrances of the boundary wall were topped by a “timber” gable motif.
A set of timber doors punctuates the wall. The mansion’s name Da Fu Di was inscribed on the granite plaque above the door, elevated by two stone lion plaque brackets. The two lion plaque brackets rest in the characteristic void between the lintel and the granite plaque. Immediately after crossing the threshold of the gateway, there used to be a timber lattice screen casement door in the centre to prevent prying eyes from peering into the courtyard, thus providing privacy. There was also a room on either side of this space. The rooms were accessed through moon gates. Each room also had a semi-circular arch door and an octagonal window facing the courtyard.
The front courtyard was between the entrance gateway and the two-storey main building. It had three parallel paved granite slab walkways. The centre walkway linked the entrance gateway to the main door of the main house. The two side walkways linked the side entrances of the boundary wall to the two fire alleys and the inner courtyards.
MAIN HOUSE
The main house had three bays. The second-level elevation had five louvred portes-fenêtres or French casement windows. In contrast, the recessed firstlevel elevation had one main door opening with two window fenestrations on each side. The first-level verandah had four granite columns supporting the second level above. Two more granite columns were added along the same alignment to support the two gateways to the fire alleys and inner courtyards. This created a visual impression of a five-bay building, even though it spanned only three bays. The “gold” gable motif topped the two gateways' gable walls.
Upon entering the main building, there was an antehall. There was one room on either side of the antehall. Behind the two rooms were staircases leading to the second level. The central internal courtyard followed this. Beyond the courtyard was the main hall, which had one room on either side. Behind the main hall was an inner chamber before the rear courtyard. The layout of the second level was similar to that of the ground level.
FIRE ALLEYS AND SIDE WINGS
Fire alleys lined both sides of the main building and separated the two side wings from the main enclosure. Each fire alley had a gateway which segregated it from the front courtyard. The alley floors were tiled instead of cement or lime concrete floors, which were more commonplace. Two sets of linkways connected the side wings to the main building in the rear half of the house. Side wings spanned half the length of the main building. Open-air lawn plots were at the front sections of the house’s side wings.
EXTERIOR OF DA FU DI (THE 1960S)
The 1934 section drawings showed the presence of ceiling boards, which suggests the use of a Western truss system. If Chinese roof truss systems were used, there would have been no need to hide the trusses with ceiling boards. Another set of alteration drawings indicated that, by 1941, the building used king post and queen post trusses for its roof. The Western roofing system was probably used in Wee Ah Hood‘s house initially. Changing the house’s roofing system halfway through made no financial sense, as this entailed removing all roof tiles and reconstructing the ridge. The use of Western truss systems would also have been more economical. The Chinese truss systems required solid timber of greater length and bigger girth. Although more timber members were needed in Western truss systems, they were smaller in size and less timber was required. Moreover, the Western roofing system required less construction skill and could be built without skilled craftsmen.
SUMMARY
We must appreciate why Da Fu Di was once celebrated as one of the four grand mansions even though it was demolished since the 1960s.
We were able to gain insight into how the tides of history have shaped our understanding of traditional Chinese architecture by closely examining its social and architectural histories. The house was constructed to project an unmistakably Chinese identity, particularly in the more visible parts of the house, such as the entrance gateway. This may be attributed to the leadership roles played by Wee Ah Hood, and later the Chamber within the local Chinese communities and the necessity of preserving a unique ethnic identity in a setting where the colonial classification of race and ethnicity was especially evident.
Due to years of disrepair, the Chamber decided to demolish Da Fu Di in the early 1960s, and replacing it with a brand-new building.
CUTAWAY ISOMETRIC DRAWING OF THE HOUSE OF WEE AH HOOD
This reconstructed illustration is partially guided by the 1934 building plans and Dr Yeo Kang Shua’s knowledge of historic architecture. The entrance gateway was classic Teochew architecture. The main building was eclectic: a mixture of Teochew and Western architecture. It had Teochew architectural components such as the gable motifs, cantilever eaves beams, and Teochew grey clay roof tiles. Western architectural components such as cross-brace attic truss, a variation of the queen post truss, and double casement louvred windows were also found on the main building.
ILLUSTRATION BY JEFFREY ANG
EXTERIOR OF DA FU DI (THE 1960S)
The perception of a five-bay main house was created with the incorporation of the two side gateways into the front elevation.
MAIN HALL AT DA FU DI (THE 1960S)
The antehall with two side rooms (view from the main hall towards the front of the house). This photograph showed that the courtyard’s floor level had been raised to the same level as the rest of the area around the house.
INTERIOR FURNISHINGS OF DA FU DI (THE 1960S)
View of the antehall with the central courtyard in the middle ground and the main hall in the background.
MAIN HALL AT DA FU DI (THE 1960S)
The details of the timber frame around the opening of the main hall suggest the presence of a set
of timber casement screen doors. These doors were perhaps removed to accommodate a larger capacity and introduce the sense of openness required by the Chamber.
Open-air lawn plot on the right side of the main house. The right wing’s fire alley was accessible via a doorway.
LAWN AREA OF DA FU DI (THE 1960S)
Open-air lawn plot on the right side of the main house (viewed towards the front of the house). Beyond the gateway was the front courtyard.
BUILDING OF STRENGTH, LEGACY OF TIME
The Chamber building, completed in 1964, demonstrates the fusion of the essence of Oriental and Western architecture and cultures. It symbolises the beginning of the local Chinese business community taking root in Singapore. The building serves as a “home” for the local business community, as well as a place to bring businesses together for the benefit of the people, and in turn contribute to the development of Singapore.
Then Prime Minister Lee Kuan Yew addressing the guests from home and abroad at the spacious Tan Kah Kee Auditorium (1964)
MINISTRY OF INFORMATION AND THE ARTS COLLECTION, COURTESY OF NATIONAL ARCHIVES OF SINGAPORE.
SCCCI BUILDING 60TH ANNIVERSARY
According to the research done by Dr. Yeo Kang Shua from the Singapore University of Technology and Design (SUTD), then Chamber President Lee Choon Seng proposed the construction of a new Chamber building in 1932. However, this proposal was not taken up, and in late 1933, the Chamber’s Council discussed plans to renovate the right wing, which housed an old printing press, into a gallery for the exhibition of industrial products. As such, architectural building plans drawn by architects and engineers, as well as a certified plan surveyed by the authorities, were produced between 1934 and 1941, and these documents provided greater clarity on the building’s spatial layout.
COMING TOGETHER, WORKING TIRELESSLY
In 1934, the Chamber engaged the engineering firm C. Y. Kong & Co. to construct lavatories on the eastern lawn in front of the left wing. The building plan submitted in November 1934 to the Municipal Architect and Building Surveyor’s Department showed the ground-level building plan of the main building and side wings. In this drawing, a 15-foot-wide back lane was already drawn into the left and rear of the house. However, the cost of the works was estimated to be $10,000, and even with the plans to sell the old printing press to offset the cost, there was a shortfall of $5,800.
Shortly after the submission of C.Y. Kong & Co.’s drawing in December 1934, it appeared that architect Ho Kwong Yew took over the project. Ho Kwong Yew subsequently submitted a set of two drawings for additions and alterations to be carried out. The proposed works included the demolition of walls, insertion of rolled steel joist (R.S.J.) beams and stanchions (encased in teak) as columns, remodelling and addition of staircases, etc.
EXTERIOR OF DA FU DI (1957)
This photograph shows the entrance gateway, the front courtyard and the main building. The painted signages on the gable wall of No. 55 Hill
Street, which abuts No. 47 Hill Street, read “Lim Sing Hing Goldsmith & Jewellers”.
COURTESY OF NATIONAL ARCHIVES OF SINGAPORE
On 27 March 1939, the Chamber Council discussed the Singapore Improvement Trust’s enquiry on the Chamber’s proposed repair works that might have implications for the construction of the back lane. After deliberation, it was decided to go along with the plans proposed by the Singapore Improvement Trust.
During the same Chamber Council meeting on 6 June 1939, it was also mentioned that in conjunction with the Trust’s works, it would be opportune to revisit the Chamber’s repair works that had been delayed for years.
The Chamber had inspected the building and compiled a list of building defects, including termite damage to the timber purlins at the rear hall, rendering the structure dangerous; poor daylighting conditions; unsanitary environments; and cracks in its exterior walls.
Instead of discussing how to proceed with this work, then Chamber President Tan Lark Sye proposed
constructing a five-storey building, potentially on a separate site. He estimated that such a project would require a budget of $250,000 to $300,000. He would initiate the project by pledging between $40,000 to $50,000 to this cause. The remaining amount would have to be raised by members in the Chamber.
The project was cancelled in May 1940 because of the war in Europe. There were also increasing concerns about the Second Sino-Japanese War that was ongoing in China and the potential spreading of the war to Malaya.
Besides the looming threat of war, adding to the woes was the financial constraint of the Chamber. Between June 1940 and October 1941, the Chamber worked on fundraising for the building’s repair cost, which was estimated to be in the range of $7,000 to $8,000, as well as to pay off bank debts (approximately $30,000). The challenges were also compounded by the difficulties in procuring building
materials due to strict controls imposed by the authorities as a result of the threat of war.
In March 1941, Ho Kwong Yew once again submitted a set of three drawings for planning approval. The main differences between this 1941 set versus the earlier set of drawings were the changes to the left wing –that is, the total reconstruction of the left wing that the Singapore Improvement Trust undertook after a portion of the land was acquired for the back lane, as well as the addition of sheltered linkways between the entrance gateway and the main building. By May 1941, work was progressing at the rear hall.
However, the shortage of building materials in Singapore was dire. In June 1941, Ho Kwong Yew submitted a set of amendment drawings to reflect the changes requested by the Chamber to reduce the usage of metal, in addition to other changes such as the demolition of the rear hall’s rooms and main hall’s walls.
Singapore fell to the Japanese on 15 February 1942. Between February 1942 and the surrender of the Japanese in September 1945, little was known about the use of the Hill Street property other than that the Chamber ceased to operate and that the property served as the headquarters of the Overseas Chinese Association after its formation on 2 March 1942.
Efforts were made to resolve the acute post-war housing shortage and ensure economic activities recovered. In 1947, Lee Kong Chian, then President of the Chamber, suggested that a policy to restrict the construction of non-essential buildings be enacted by the authorities due to a shortage of building materials. It was not until 1950 that the Chamber, with then President Tan Lark Sye leading, once again mooted a new sixstorey building to be constructed on a piece of vacant land across from their current premises. The land was granted by the government in 1951 for 99 years on the condition that the building project be completed within two years and used solely as premises for the Chamber.
SITE PLAN OF THE MILLION DOLLAR CHAMBER BUILDING (1952)
The authorities initially granted this site a 99-year lease, and later revised it to 200 years after appeals by the Chamber. This site, an amalgamation of No. 18 Armenian Street and No. 59 Hill Street, was previously considered in 1939/40.
NANYANG SIANG PAU, 11 APRIL 1952
NANYANG SIANG PAU, © SPH MEDIA LIMITED.
PERMISSION REQUIRED FOR REPRODUCTION.
Although the authorities deregulated building materials on 12 December 1951 and the prices of some building materials fell, contributions remained inadequate. The Chamber cancelled the project in October 1953.
UNITY: CONSTRUCTING THE CHAMBER BUILDING
In 1954, the Council again proposed the idea of a new building. The difference was that the new building was to be constructed on the same site, meaning that it was a redevelopment project. However, fundraising efforts continued to fail, and the redevelopment plan was put on hold again, until in 1958, when a crack appeared in one of the eaves of the premises. Council Member Chuang Hui Tsuan reiterated the call for the construction of a new building on the same site, and in 1959, a subcommittee was set up to look into the matter. The Chamber finally decided to demolish the premises and Da Fu Di was eventually replaced by a new, taller building.
According to the Chamber’s meeting minutes, in 1959, under the tenure of President Ko Teck Kin, the Chamber set up a Building Fund Appeal Committee to take charge of building the new premises. The Council implemented reward guidelines to encourage Chamber Members and the public to donate generously. Article One of the reward guidelines states that: Individuals who donate more than $50,000 will be rewarded by having the building’s auditorium, board room, library, exhibition room or meeting room named after them as well as acknowledged through the display of 24-inch porcelain portraits in the board room, according to the sum donated. Through the efforts of the Council, the Chamber successfully raised over $2 million in construction funds.
The construction of the new Chamber building began in June 1961 and the demolition work started on 11 September 1961. On 15 September 1962, the Chamber buried a time capsule beneath the foundation stone of its building. The capsule contained a tin box with the new Chamber building floor plan, the list of the 31st Council Members, the old and new rules of the Chamber, historical photos of the old premises, a 1961 annual report of the Chamber, local newspapers dated 15 September 1962, as well as currency and commemorative coins of Singapore. Three years later, the building was successfully completed.
LAYING THE FOUNDATION STONE OF THE CHAMBER BUILDING CEREMONY (1962)
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TIME CAPSULE (1962)
LIANHE WANBAO © SPH MEDIA LIMITED. PERMISSION REQUIRED FOR REPRODUCTION.
1964 9 20
THE OPENING OF THE CHAMBER BUILDING ( 1964 )
TAKING ROOT:
BUILDING OUR HOME
On 20 September 1964, then Prime Minister of Singapore Lee Kuan Yew officiated the opening ceremony of the Chamber building. The opening day of the new building coincided with the MidAutumn Festival. It is significant that the opening ceremony was held during this traditional festival, which symbolises a bountiful harvest, family reunion and advocacy of social interaction.
As the apex body of the Chinese business community in Singapore, this more than $2 million building was the culmination of 30 years of hard work by the past Chamber’s Council Members and members. It is also a tangible manifestation of the local business community’s manpower, material and financial resources and determination. It signifies that the Chinese business community was settling down
in Singapore, and the community was determined to promote industrial and commercial development and economic prosperity. Since then, the new premises has been the “home” of the local business community.
1964 9 20
LEE KUAN YEW, THEN PRIME MINISTER, DELIVERED A SPEECH AT THE OPENING OF THE NEW CHAMBER BUILDING (20 SEPTEMBER 1964):
“THE BUILDING IS A SYMBOL OF A GREAT AND PROUD HERITAGE. IT SPEAKS OF SECURITY, FOR IT IS CONCRETE PROOF OF THE QUALITIES OF THRIFT AND INDUSTRY OF A PEOPLE WHO CAME TO THE SOUTH SEAS AND MADE GOOD AND SETTLED WITH THE INDIGENOUS PEOPLE HERE. IT IS THE SECURITY OF ACHIEVEMENT. IT IS IMMOVABLE PROOF THAT THE CHINESE HAD PUT THEIR LOT WITH THE OTHERS IN THIS COUNTRY.”
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(1918 - 1986)
REPRODUCED WITH PERMISSION FROM
BEAUTY OF THE NEW BUILDING
The new Chamber building embodies the essence of the fusion of Eastern and Western architecture and cultures.
The building’s design of lofty pavilions, vermilion doors, glazed roof tiles, carved beams and painted buildings, colourful reliefs, window decorations, and high-hanging palace lanterns was inspired by the Chinese palace. The reception and VIP rooms were furnished with Chinese rosewood furniture, full of Oriental sentiment, while the interior design focused on practicality and modernity. It was indeed a magnificent building of that era.
The design architect, Ho Beng Hong, proposed the Chinese Renaissance Style. The ten-storey Chamber building is designed with a symmetrical, tripartite arrangement, where the middle bay, serving as the building’s central axis and entranceway, is strongly articulated with elaborate motifs rendered in the traditional hues of red, blue, and green. Decorative
building elements, such as the large roof with double eaves and pointed corners of blue-green glazed tiles, with a red roof and yellow seats inlaid in the centre, are reminiscent of Chinese imperial architecture.
Sculpted ceramic figurines of mythical creatures and dragons, which commonly adorned roof ridges, were reconceptualised as symbolic abstract forms.
Even though the bracket sets (dougong) used for supporting the eaves of traditional wooden architecture were no longer required to support this building, they were retained and given a makeover by Ho Beng Hong in the form of yellow birds roosting on block-shaped trees under the extended big roof, which has become the defining element of the Chamber building.
The new Chamber building has a courtyard between the building’s relief walls, the main entrance and the main building. A pair of nine-dragon relief walls connect the main entrance and two side entrances of the perimeter. The nine-dragon relief walls were custom-made in China, each measuring 30 feet long and 5 feet high. Each wall is composed of 55 giant ceramic tiles, intricately carved with nine dragons flying amidst the clouds in various poses. The entire scene is three dimensional, with the relief prominently protruding. The central yellow dragon stands out the most, exuding energy and embodying the spirit of a leader among dragons.
SLEEK, CRISP WHITE EXTERIOR
On the parapet below each window is a simplified version of the Chinese motif, Ruyi Wen.
the son of Ho Beng Hong, the traditional Ruyi Wen was commonly found on the door leaves of imperial architecture. His father had simplified the decoration.
The two bays flanking the Chamber building’s front façade appear austere and utilitarian. The vibrancy of the central segment’s double-tiered big roof, traditional building forms, and abstract architectural features is offset by the stark white façade of its side bays.
On the parapet below each window is a simplified version of the Chinese motif, Ruyi Wen. According to Ho Puay Peng, Professor at the Department of Architecture, National University of Singapore and
The main entrance features a striking red door adorned with a roof of green glazed tiles, embodying the building's solemnity and stability. In front of the door stands a pair of stone lions from Xiamen, Fujian Province, each over six feet tall — male on the left and female on the right. With distinct expressions and lifelike details, they symbolise the balance of yin and yang, standing guard over the Chamber building.
TAN KAH KEE AUDITORIUM (1964)
The auditorium, named after Singapore pioneer Tan Kah Kee, has the capacity to accommodate hundreds of people, and has been a venue for numerous exhibitions and lectures.
SUMMARY
The completion of the new Chamber building in 1964 demonstrated that the local Chinese had put their lot in Singapore. It was also integrated with the essence of both Oriental and Western architectural styles. The Chamber building has been the “home” of the local business community. After Singapore gained independence in 1965, the Chamber shouldered an even greater responsibility in complementing the government’s efforts in nation building and leading local Chinese businesses to build a better future for our country.
It can therefore be imagined that numerous significant initiatives benefitting the Chinese community, as well as efforts to work closely with the government to improve cultural, economic and social aspects, were proposed and implemented at the Chamber building.
LEE KONG CHIAN LAYING THE FOUNDATION STONE FOR THE NEW BUILDING (1962)
THE STRAITS TIMES
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WORKERS REMOVING THE CHAMBER'S SIGNBOARD (1961)
CONSTRUCTION OF THE NINE-DRAGON RELIEF WALLS (THE 1960S)
LEVEL 1 THE CHAMBER SECRETARIAT OFFICE –
TEO HANG SAM ROOM (1964)
LEVEL 1 THE CHAMBER VIP ROOM –SIM LIM CO., LTD ROOM (1964 – THE 1980s)
LEVEL 2 THE CHAMBER CONFERENCE ROOM –KO TECK KIN ROOM (1964 – THE 1980s)
LEVEL 2 THE CHAMBER EXHIBITION HALL –HAW PAR HALL (1964 – THE 1980s)
The Chamber appointed a 17man committee responsible for erecting the Chamber building.
The demolition work of Da Fu Di, the Chamber’s old premises, started.
19591961
The Chamber held a weeklong celebration from 20 to 26 September, including an exhibition, performances, and evening galas. CONSTRUCTING THE CHAMBER BUILDING
Then Prime Minister Lee Kuan Yew officiated the opening ceremony of the new Chamber building.
The Chamber Secretariat moved to a temporary office space on the ground floor of the Ee Hoe Hean Club in Bukit Pasoh Road.
The Chamber awarded the tender to Nanyang Structural Co., Ltd. The company donated $29,000 towards the building fund.
Former Chamber President Lee Kong Chian laid the foundation stone for the new building.
The Chamber Secretariat moved into the new building.
The Chamber formed a subcommittee to manage the purchase of porcelain portraits from Jingdezhen, Jiangxi province in China.
In February 1963, the Chamber formed a sub-committee to manage the interior design of the building.
SYNTHESIS OF TRADITION AND INNOVATION
The refurbished Chamber building is a perfect blend of traditional and modern design, like two sides of the same coin, different yet intrinsically linked. It can be said to be the best interpretation and carrier of the Chamber’s commitment to embrace modernity while remaining true to its original vision.
Preserving the façade of the 1964 Chamber building reinforces the Chamber’s rich historical legacy.
