PRESIDENT’S DESIGN AWARD SINGAPORE - A DECADE OF DESIGN EXCELLENCE by Ministry of Communications and Information

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The annual Presidentâ&#x20AC;&#x2122;s Design Award was established in 2006 as an eco-system for designers to inspire one another in design thinking and innovation. Through a diverse range of projects, it celebrates the best of Singaporean design by raising the bar for creativity â&#x20AC;&#x201C; one design at a time â&#x20AC;&#x201C; in architecture and urban design; exhibition, interior and landscape design; product and industrial design; visual communications, fashion and more.

It motivates designers to engage in an ongoing dialogue amongst themselves, and with consumers about design: what it means, what it could mean, and why good design is important in the first place. It challenges designers to debate these fundamental questions through the creative process: What does it mean to be an architect or a designer in Singapore? As our society matures, what are the ways in which design can evolve and respond? How should good design be incorporated into the daily lives of Singaporeans in a practical and, above all, meaningful way? 2015 marks the decennial of the President’s Design Award. It is both a milestone that coincides with Singapore’s designation as a UNESCO Creative City of Design, and an opportunity to reflect on the achievements and impact that the Award has had over the past decade.

Today, Singapore’s design community continues to engage with equally important challenges. If we accept that creative and innovative talent is key to sparking economic growth, it is just as important to set new benchmarks in innovation and creativity, and to nurture our creative community in a way that benefits one and all in the wider society. These issues are extraordinarily wideranging simply because the canvas is so immense, and society’s needs change at a tremendous pace. However, if the recipients of the President’s Design Award commemorated on the following pages are any indication, the future is, we believe, in very capable hands.

CONTENTS

DESIGNER OF THE YEAR

DESIGN OF THE YEAR

PRESIDENT’S DESIGN AWARD 10 TH ANNIVERSARY

CHAN SAU YAN, SONNY CSYA Pte Ltd 2011

MOK WEI WEI W Architects Pte Ltd 2007

PRESIDENT’S DESIGN AWARD Designer of the Year & Design of the Year Award Recipients 2006–2015

CHAN SOO KHIAN SCDA Architects Pte Ltd 2006

DR COLIN K. OKASHIMO Colin K. Okashimo and Associates 2015

LARRY PEH &Larry Pte Ltd 2014

MESSAGE FROM DR TONY TAN KENG YAM President of the Republic of Singapore

THESEUS CHAN WORK Pte Ltd 2006

FRANKLIN PO SUI SENG Tierra Design (S) Pte Ltd 2015

MESSAGE FROM ROBERT M TOMLIN Chairman President’s Design Award Steering Committee & Chairman DesignSingapore Council

WILLIAM CHAN, MELVIN CHEE, ALVIN TAN & JACKSON TAN PHUNK 2007 PATRICK CHIA Squeeze Design Design Incubation Centre 2013

HARIJANTO SETIAWAN Boenga Pte Ltd 2013

SIEW MAN KOK MKPL Architects Pte Ltd 2015

JOHN CLANG Clang Photography, Inc 2010

TAN CHENG SIONG ARCHURBAN Architects Planners 2012

ENG SIAK LOY 2007 CASEY GAN & LIM SWE TING Cicada Pte Ltd 2007

TAN KOK HIANG Forum Architects Pte Ltd 2014

ANDREW GN Andrew Gn Designs (Paris) 2007

TANG GUAN BEE TANGGUANBEE Architects 2011

DR KERRY HILL Kerry Hill Architects Pte Ltd 2010

PETER TAY Peter Tay Studio 2014

HANSON HO H55 2012

PROF RICHARD K F HO RichardHo Architects 2013

THAM KHAI MENG Ogilvy & Mather (Formerly with Ogilvy & Mather (New York)) 2009

KOICHIRO IKEBUCHI Atelier Ikebuchi Pte Ltd 2009

EDMUND WEE Epigram Books Epigram Design (Formerly Epigram Pte Ltd) 2008

CHRIS LEE Asylum Creative Pte Ltd 2009

WONG MUN SUMM & RICHARD HASSELL WOHA Architects Pte Ltd 2008

ALFIE LEONG The Little Voice Pte Ltd 2013

PANN LIM Kinetic Singapore 2013

VOON WONG Viewport Studio (Formerly VW+BS) 2012

LIM SAU HOONG (Formerly with 10AM Communications Pte Ltd) 2007

YANG YEO Wieden+Kennedy (China) (Formerly with JWT (Shanghai)) 2012

LOOK BOON GEE LOOK Architects Pte Ltd 2009

YIP YUEN HONG ip:li Architects 2013 NATHAN YONG Nathan Yong Design Pte Ltd (Formerly with Air Division Pte Ltd) 2008

MESSAGE FROM JEFFREY HO Executive Director DesignSingapore Council

MESSAGE FROM NG LANG Chief Executive Officer Urban Redevelopment Authority

0501 The Finger Players Lim Wei Ling (and Team) 2007

1 MOULMEIN RISE WOHA Architects Pte Ltd Wong Mun Summ and Richard Hassell (and Team) 2007

6 SPECIAL EXHIBITIONS AT THE ASIAN CIVILISATIONS MUSEUM (EMPRESS PLACE) Asian Civilisations Museum Sebastian Chun (and Team) 2006

19 JALAN ELOK CHANG Architects Chang Yong Ter (and Team) 2008

19 SUNSET PLACE ip:li Architects Yip Yuen Hong (and Team) 2012

101

26 CABLE ROAD ip:li Architects Yip Yuen Hong 2011

103

1000 SINGAPORES – 105 A MODEL OF THE COMPACT CITY Khoo Peng Beng and Belinda Huang Associate Prof Erik G L’Heureux and Assistant Prof Florian Schaetz (and Team) 2011 A GUIDE TO THE FLORA AND FAUNA OF THE WORLD H55 Hanson Ho (and Team) In collaboration with Institute of Critical Zoologists Robert Zhao Renhui 2014

107

AIR + SMART MASKS AND MICRO VENTILATORS Innosparks Pte Ltd Jerome Lee (and Team) In collaboration with STUCK Design Pte Ltd 2015

109

ARCHITECT’S OFFICE AT KIM YAM ROAD Park + Associates Pte Ltd Lim Koon Park (and Team) 2015

111

CHURCH OF ST MARY OF THE ANGELS WOHA Architects Pte Ltd Wong Mun Summ and Richard Hassell (and Team) 2006

133

DECK – PEOPLE, PLACE, PHOTOGRAPHY LAUD Architects Pte Ltd Ho Tzu Yin (and Team) 2015

135

DELL 966 ALL-IN-ONE PHOTO PRINTER Dell Global BV (Singapore Branch) Experience Design Group Michael Ellis Smith (and Team) 2007

137

DELL ALL-IN-ONE DESKTOP PC FAMILY Dell Global BV (Singapore Branch) Experience Design Group Chan Wai Lim (and Team) 2012

139

DELL INSPIRON 23: ALL-IN-ONE PC Dell Global BV (Singapore Branch) Experience Design Group Chan Wai Lim (and Team) 2013

141

DITA, THE ANSWER EARPHONES Project Perfection Pte Ltd (Dita Audio) Danny Tan (and Team) 2015

143

DYSON DIGITAL MOTOR Dyson James Dyson (and Team) 2011

145

147

129

ESPLANADE – THEATRES ON THE BAY DP Architects Pte Ltd Koh Seow Chuan (and Team) In association with Michael Wilford & Partners (London) 2006

149

131

EUBIQ POWER OUTLET SYSTEM Eubiq Pte Ltd Yong Choon (and Team) 2008 EYELET FLIP Nanyang Optical Co Pte Ltd Yang Wah Kiang (and Team) 2014

151

BARTLE BOGLE HEGARTY OFFICE (SHANGHAI) Asylum Creative Pte Ltd Chris Lee (and Team) 2010

113

BBH OFFICE IN A WAREHOUSE Ministry of Design Pte Ltd Colin Seah (and Team) 2008

115

BEING TOGETHER: FAMILY & PORTRAITS – PHOTOGRAPHING WITH JOHN CLANG Kingsmen Exhibits Pte Ltd Brett Cameron (and Team) In collaboration with Clang Photography, Inc John Clang 2013

117

BISHAN-ANG MO KIO PARK Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Herbert Dreiseitl (and Team) 2012

119

BISHAN COMMUNITY LIBRARY LOOK Architects Pte Ltd Look Boon Gee (and Team) 2007

121

BLACK FOREST TABLE Outofstock Outofstock Team 2010

123

THE BROWSING COPY PROJECT A Beautiful Design Roy Poh 2012

125

BUCCANEER 3D PRINTER Pirate3DP Pte Ltd Tsang You Jun (and Team) 2014

127

BUILDING AS A BODY kwodrent Grace Tan In collaboration with Zarch Collaboratives Pte Ltd Randy Chan 2012 THE CATERPILLAR’S COVE CHILD DEVELOPMENT AND STUDY CENTRE Lekker Architects Pte Ltd Ong Ker-Shing and Joshua Comaroff (and Team) 2015

DESIGN OF THE YEAR

FUGUE 1, 3, 5, 7 – ARCHIFEST PAVILION 2014 HCF and Associates Fong Hoo Cheong (and Team) 2015

153

FULLERTON HOTEL AND ONE FULLERTON Architects 61 Pte Ltd Tay Lee Soon (and Team) 2006

155

GARDENS BY THE BAY (BAY SOUTH GARDEN) Gardens By The Bay Dr Kiat W Tan (and Team) 2013

157

GENEXIS THEATRE, FUSIONOPOLIS Arup and WOHA Architects Pte Ltd Andrew Nicol and Wong Mun Summ (and Team) 2009

159

HENDERSON WAVES RSP Architects Planners & Engineers Pte Ltd IJP Corporation Ltd (UK) Dr Liu Thai Ker and George Liaropoulos-Legendre (and Team) 2009

161

HP DESKJET 460 MOBILE PRINTER Hewlett-Packard (Singapore) Mylene Tjin (and Team) In association with Philips Design 2006

163

INITIAL ‘SIGNATURE’ RANGE Orcadesign Consultants Jeremy Sun Ting Kung (and Team) 2013

165

JURONG ECO-GARDEN Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Leonard Ng (and Team) 2014

167

KENT VALE MKPL Architects Pte Ltd Siew Man Kok (and Team) 2014

169

KHOO TECK PUAT HOSPITAL CPG Consultants Pte Ltd Lee Soo Khoong (and Team) 2011

171

LASALLE COLLEGE OF THE ARTS RSP Architects Planners & Engineers Pte Ltd Pok Siew Fatt (and Team) 2008

173

LIBRARY@ORCHARD Singapore Polytechnic Gareth Lai (and Team) In collaboration with DIA Brand Consultants Pte Ltd, New Space Architects Pte Ltd, National Library Board, 2015

175

LIGHTING MASTERPLAN FOR SINGAPORE CITY CENTRE Lighting Planners Associates Kaoru Mende (and Team) 2010

177

LUCKY SHOPHOUSE CHANG Architects Chang Yong Ter 2013

179

MARINA BAY SANDS INTEGRATED RESORT, SINGAPORE Moshie Safdie International LLC, Boston Massachusetts Moshe Safdie (and Team) In collaboration with Aedas Pte Ltd Tony Ang (and Team) 2011

181

MARTIN NO. 38 Kerry Hill Architects Pte Ltd Dr Kerry Hill (and Team) 2012

183

THE MET (BANGKOK, THAILAND) WOHA Architects Pte Ltd Wong Mun Summ and Richard Hassell (and Team) 2009

185

MINI HABITAT Kingsmen Exhibits Pte Ltd Brett Cameron (and Team) 2006

187

NATIONAL GALLERY SINGAPORE Studio Milou Singapore Pte Ltd and CPG Consultants Pte Ltd Jean-François Milou and Lee Soo Khoong (and Team) 2015

189

NATIONAL MUSEUM OF SINGAPORE CPG Consultants Pte Ltd Lee Soo Khoong (and Team) In collaboration with W Architects Pte Ltd 2008

191

NAUMI, SINGAPORE Eco-id Architects Pte Ltd Sim Boon Yang (and Team) 2008

PEDIGUARD TM PSB Technologies Pte Ltd (Now known as XentiQ Pte Ltd) Ulrich Schraudolph (and Team) 2007

211

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193

PELÉ SPORTS TRINITY 3E Pelé Sports Innovation Team Sonny Lim (and Team) 2012

215

NEW MAJESTIC HOTEL Ministry of Design Pte Ltd Colin Seah (and Team) In association with DP Architects Pte Ltd Tai Lee Siang (and Team) 2006

195

PHILIPS SINGAPORE LEARNING CENTRE Philips Design Low Cheaw Hwei (and Team) 2007

217

NEW MAJESTIC HOTEL, FRONT LAWN Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Leonard Ng (and Team) (Formerly with Lush Studio) 2008

197

THE PINNACLE@DUXTON arc studio architecture + urbanism Khoo Peng Beng and Belinda Huang (and Team) In collaboration with RSP Architects Planners & Engineers Pte Ltd Albert Hong Hin Kay and Lee Kut Cheung (and Team) 2010

219

OBJECTS AROUND THE TABLESCAPE d.lab, Design Incubation Centre National University of Singapore Patrick Chia (and Team) 2010

199

POUR Hans Tan Studio Hans Tan (and Team) 2015

221

THE OLIV W Architects Pte Ltd Mok Wei Wei (and Team) 2015

201

PROLOGUE COLLECTION Outofstock Outofstock Team 2015

223

OUYI REFRIGERATOR Electrolux SEA Pte Ltd Leonard Tan Bahroocha (and Team) 2014

203

PRYDE GROUP BICYCLE DESIGN DEVELOPMENT BMW Group DesignworksUSA (Singapore) (Now known as Designworks, a BMW Group Company) Magnus Aspegren (and Team) 2011

PAGE ONE BOOKSTORE AT VIVOCITY Kay Ngee Tan Architects Tan Kay Ngee (and Team) 2007

205

QUEST FOR IMMORTALITY – THE WORLD OF ANCIENT EGYPT Gsmprjct Creation Pte Ltd Laura Miotto (and Team) 2010

225

PAPER FOLD Exit Design Kelvin Teo (and Team) 2009

207

227

PARKROYAL ON PICKERING WOHA Architects Pte Ltd Wong Mun Summ and Richard Hassell (and Team) 2013

209

RABBIT & THE TORTOISE COLLECTION Studio Juju Timothy Wong and Priscilla Lui (and Team) 2014

STADIUM MRT STATION WOHA Architects Pte Ltd Wong Mun Summ and Richard Hassell (and Team) 2010

249

STATE THEATRE CENTRE OF WESTERN AUSTRALIA Kerry Hill Architects Pte Ltd Dr Kerry Hill (and Team) 2011

251

STREETWAVE SWAVEBOARD Streetwave Pte Ltd Imran Othman 2011

253

SUNRAY WOODCRAFT CONSTRUCTION HEADQUARTERS DP Architects Pte Ltd Angelene Chan (and Team) 2015

255

SUTD GRIDSHELL SUTD City Form Lab Andres Sevtsuk (and Team) 2014

257

T HOUSE Linghao Architects Ling Hao (and Team) 2014

259

THE TREE FARM Peter Sim (and Team) 2010

261

UNDERSCORE MAGAZINE Hjgher Justin Long (and Team) 2011

263

URBAND ORIGAMI Nanyang Optical Pte Ltd Yang Wah Kiang (and Team) 2009

265

245

WONDER BOX Spacedge Designs William Chan 2012

267

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X-HALO BREATH THERMOMETER Philips Design Michael Paterson (and Team) 2009

269

REPUBLIC POLYTECHNIC Maki & Associates In association with DP Architects Pte Ltd Fumihiko Maki and Angelene Chan (and Team) 2009

229

RUBBISH FAMZINE SERIES Kinetic Singapore Pann Lim In collaboration with Holycrap.sg 2015

231

SANDCRAWLER Aedas Pte Ltd 2014

233

SATAY BY THE BAY Linghao Architects Ling Hao (and Team) 2013

235

SCHOOL OF THE ARTS WOHA Architects Pte Ltd Wong Mun Summ and Richard Hassell (and Team) 2011

237

SENNHEISER EARPHONES BMW Group DesignworksUSA (Singapore) (Now known as Designworks, a BMW Group Company) Magnus Aspegren (and Team) 2010

239

SINGAPORE ICONS Supermama Edwin Low Chee Siong (and Team) 2013

241

SNAPWARE ECO FLIP World Kitchen (Asia Pacific) Pte Ltd Lee Eng Leong (and Team) 2013

243

SOUND BLASTER ROAR SR20 Creative Technology Pte Ltd Vince Ang (and Team) 2014 SPOTTED NYONYA COLLECTION Hans Tan Studio Hans Tan 2012

PRESIDENT OF THE REPUBLIC OF SINGAPORE

MESSAGE FROM DR TONY TAN KENG YAM Since the Presidentâ&#x20AC;&#x2122;s Design Award was first established 10 years ago, the Award has grown in stature and significance. It has become the standard bearer for design excellence in Singapore. Over the past decade, the Award has honoured the contributions of designers who have enhanced the quality of life for Singaporeans and the global community. Last year, Singapore was designated as a UNESCO Creative City of Design. This is a testament to the remarkable progress that our designers have made, and to the development of our eco-system, comprising clients, educational institutions and industry associations, that supports and grows the design sector. Creativity and design innovation will be more important for the success of our economy and can continue to contribute to a more liveable environment for our people. As we mark the 10 th anniversary of the Award, I am confident that the design community will bring Singapore design to new heights over the next decade.

PRESIDENTâ&#x20AC;&#x2122;S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

CHAIRMAN PRESIDENTâ&#x20AC;&#x2122;S DESIGN AWARD STEERING COMMITTEE & CHAIRMAN DESIGNSINGAPORE COUNCIL

MESSAGE FROM ROBERT M TOMLIN The Presidentâ&#x20AC;&#x2122;s Design Award (PDA) is the highest award the nation gives to the best of Singaporean design. In the past decade, we have identified and honoured many designs and designers, including Singaporeans working internationally and making an impact worldwide. Their designs have made a powerful impact on the lives of Singaporeans and others who encounter their work. The PDA has also helped to build a community of designers, all united in a pursuit to engender greater awareness of, and appreciation for, excellent design. On behalf of all those who have served as Steering Committee members and Jurors, a very distinguished body of talented people, I wish to express my wholehearted congratulations to all PDA recipients from across the years. To those who have made it possible to attain and maintain our high selection standards, I wish to convey my deep gratitude. This includes the Jury panels, the past and present PDA Steering Committees, and the joint-secretariat of the DesignSingapore Council and Urban Redevelopment Authority. Your combined efforts have made the PDA something which all designers seek to attain. You have set the bar high for the next decade of design, and the next generation of Singapore designers. We in the PDA team look forward to seeing how the design community rises to the economic and social challenges facing our nation and our citizens.

EXECUTIVE DIRECTOR DESIGNSINGAPORE COUNCIL

MESSAGE FROM JEFFREY HO The President’s Design Award (PDA) was conceived 10 years ago to give recognition to Singapore’s design talents at the highest level, as well as to acknowledge their professional achievements, and contribution to society. Today, the PDA has become a symbol of our design successes, and an aspirational accolade for designers. Over the years, the PDA has been awarded to talents from architecture, urban, exhibition, interior, landscape, product and industrial design; visual communications and fashion. This 10 th year juncture is a milestone to take stock and consider how the PDA might advance from here. We now hope to look farther ahead and aim towards implementing the Design 2025 Master Plan. The plan describes how design and our creative industries can engender economic growth through innovation. The plan also contains Singapore’s vision for a harmonious, gracious and lovable society. The PDA began as an encouragement for Singapore’s design talents. In the following 10 years, we hope it becomes a beacon to people beyond our shores – that design moves the world.

CHIEF EXECUTIVE OFFICER URBAN REDEVELOPMENT AUTHORITY

MESSAGE FROM NG LANG As the President’s Design Award marks its 10 th anniversary, we are delighted to commemorate 10 excellent years of distinctive design. Collectively, the works awarded are testimony to a vibrant and talented professional design community in Singapore. Since the inception of the Award in 2006, we are in particular proud that the architecture fraternity has produced 12 President’s Designers of the Year and 29 President’s Designs of the Year. Their work has created attractive and delightful places for live, work and play, and enhanced the character and quality of our built environment. Their relentless pursuit of good architecture and design with our own Singaporean character helps distinguish our city. I want to congratulate every Award recipient past and present for their bold vision, imaginative design, and ingenious innovation. Their achievements will spur future generations of designers to continue pushing the boundaries of good design to enrich our lives and inspire the human spirit.

DESIGNER OF THE YEAR

DESIGNER OF T HE YE AR 2011

CHAN SAU YAN, SONNY FOUNDER & DIRECTOR CSYA PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS AN ARCHITECT IN SINGAPORE?

Our role and responsibility extends beyond design and aesthetics or fashion. Being the principal player in the shaping of our physical and spatial environment, we also have a social responsibility to society as our works are not transient – instead, they have a permanence that impacts the way people live. For me, these are critical concerns of our profession. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

I began practising in the 1960s. Since then, Singapore’s building industry has become more complex, less collegial, and more litigious. There are now more forms of procurement, which has led to a plethora of players and specialisation in the delivery system. It has also become commoditised and a source of speculative consumptive trading, and less of an essential social need, a raison d’être for building. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

Design is now increasingly seen as an integral part of national development. The state has embarked on this course to establish Singapore as a centre of excellence. Backed by this connectivity and liberal policy towards foreign participation and innovation, the design community will become more diverse and attractive to those seeking its services.

JURY CITATION (2011) Chan Sau Yau Sonny pursues authenticity with a deep passion. Guided by his three key precepts — sensitive response to climatic conditions, harnessing of appropriate technology, and a deep understanding of local culture — his designs achieve a high level of sensitivity, originality and intelligence that has become a hallmark of his works. This remarkable body of work, which has emerged over a long career, is characterised by rigour, serious intent, and rich architectural expression. Sonny’s technical knowledge is exemplary. His passion for tropical architecture translates into designs that demonstrate strong contextual and cultural relevance. His acute sensibilities towards local vernacular architecture, such as natural ventilation and minimal mechanical intervention, were adopted early in his career, and through his diligent application and skills, tropical architecture has been brought into a modern idiom. Sonny continues his successful practice after almost 50 years, and remains committed to practising architecture. He is an excellent role model and an inspiring mentor to the local and wider architectural community of the region.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT:

Mandarin Oriental Sanya, China (Photo: Mandarin Oriental Sanya) Tokio Marine Centre, Singapore (Photo: Aaron Pocock Photography) House at Bishopsgate, Singapore (Photo: Aaron Pocock Photography) 8 Nassim Hill, Singapore (Photo: Aaron Pocock Photography)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2006

CHAN SOO KHIAN

PRINCIPAL ARCHITECT SCDA ARCHITECTS PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

Singapore is a cosmopolitan city whose strong sense of landscape is instilled by the concept of the garden city. This has motivated architects to design with sky terraces, vertical greens and other landscape-driven ideas. The climate also allows for exploration of the transitional spaces between the indoors and the outdoors, an important part of living in the tropical city. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

Increasingly, Singaporean architects are practising abroad. This is partly necessitated by a smaller market and a demand by neighbouring emerging economies for an evolved professional design service. To market regionally, Singapore architects have had to rely on bringing a specialty to the market. There is an increasing expectation that the Singaporean practice be proficient and design-driven.

JURY CITATION (2006) Chan Soo Khian has impressed the Jury with a wide repertoire of projects in Singapore and abroad. His design is driven by an interest in new ways of organising space, resulting in the creation of distinctive forms. His work displays originality and skilful control over proportion, massing, and the use of colour. The high level of ambition evident in his work is also complemented by his drive to experiment and constantly challenge accepted norms within the framework of a consistent architectural language. Soo Khian’s work challenges us to remain modern yet rooted in the Southeast Asian context. His design solutions have demonstrated an awareness of wider urban design considerations. He is an excellent role model.

AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

I am committed to work within my design beliefs and to designs that are driven by my own sensibility and formal design vocabulary. This means a vertically integrated and holistic approach to design that encompasses architecture, landscape and interior design. I strive for designs that can create a sense of place and stand the test of time.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT:

The Ladyhill, Singapore The Skyterrace@Dawson, Singapore Heeren, Malaysia The Lincoln Modern, Singapore (Photos: SCDA Architects Pte Ltd)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2006

THESEUS CHAN ARTIST/HEAD DESIGNER WORK PTE LTD

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

There has been a renewal as a new generation is now taking charge. This change also means expectations will be different for them – expectations that are determined by experience and exposure, not just academically. Design is now accepted and acknowledged not only as an important economic differentiator, but also a strong social adhesive for our nation. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

As designers, we are closer to the forefront of design matters. Therefore, domestically, we need to energise, educate, enlighten and elevate Singaporeans and help them realise that a better life can be achieved through design. My personal responsibility and commitment is to produce consistently great work that is recognised in a global arena. This will, collectively with other designers in Singapore, drive home the message that Singapore’s design scene can be on par with established design cities of the world.

JURY CITATION (2006) Theseus Chan’s diverse portfolio and his prolific career bear testimony to a journey of discovery and self-reflection. His work is experimental and contemporary, yet naturally so, and displays refreshing genuineness borne from a real desire to push the boundaries of creativity. This has been invaluable in inspiring the next generation of young designers. His distinct personal style strikes the balance between international relevance, while capturing the spirit of the Singaporean and Asian identity without being contrived. Unconventional, edgy and irreverent, Theseus challenges our thinking to the extent that we constantly expect him to surprise. And he does not disappoint.

WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

If our design can inspire someone to change the world for the better and elevate the lives of people, we will have fulfilled the purpose of design. This alone makes the efforts of the President’s Design Award worth its weight in gold.

OPPOSITE PAGE:

WERK Magazine 2000–2016

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2007

WILLIAM CHAN, MELVIN CHEE, ALVIN TAN & JACKSON TAN PARTNERS PHUNK

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means having a unique outlook that is shaped by our multi-cultural background and diverse influences. Singapore’s design industry has grown significantly. When we first started, we were a cultural desert. Today, we are a global design city. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

To create positive value, meaning and purpose. In the context of Singapore, this requires designers to ensure that design influences the shaping of our national identity. Only by doing so do we become a global design leader. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS A DESIGNER/ARCHITECT?

It has brought recognition from beyond the industry.

JURY CITATION (2007) This innovative design firm exemplifies a new visual energy in the Singaporean design scene. With its quirky interpretation of diverse influences that are expressed in a spontaneous, pulsating manner, the firm makes the audience feel like they are in the middle of a designer music video. This is not surprising given the fact that the four founding members actually knew each other previously as ‘Rock and Roll’ band pals, but who have since evolved into an experimental multi-disciplinary design studio. Their diverse creations include fashionable snowboard patterns, editorial illustrations, brand identities for music videos, and complex largescale brand retail environments. Their works are absolutely unpredictable, unorthodox, fun and vibrant, which suit the many different international clienteles from the sports, fashion, and telecom industries.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT:

Love Bomb [Black-100%] Kraftwerk Electricity [Neon] The Bees – Cover for Creative Review Magazine (Photos: PHUNK)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2013

PATRICK CHIA

DIRECTOR, SQUEEZE DESIGN; FOUNDING DIRECTOR, DESIGN INCUBATION CENTRE

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means you have to evolve constantly. How you practise, the domains in which you practise, the values you bring, your skill sets and their relevance are constantly being questioned and challenged. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Designers have a unique skills set: we can conceptualise, build, and communicate. Inherently, we are best equipped to make and affect changes. Our responsibility and challenge is to act on what we see is wrong, instead of leaving it to someone else. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

Wide, deep and diverse. I would like design to be adopted and applied beyond its current domain to a larger part of our economy and society. I would like to see designers develop deep verticals and knowledge in their area of research and practice. I would also like the definition of design to be more fluid and diverse – meaning, design is not just a practice by designers, and the designer’s role is not only to design.

JURY CITATION (2013) Patrick Chia is a rare breed of designer. Rare because he creates his own wonderful, thought-provoking, cutting-edge design work, and also because he invests his time to inspire future generations of designers to go beyond existing ideas and to continually push themselves in exploring the boundaries of design. It is also rare indeed that a creative designer who, at the top of his game, exudes such warm and embracing humility. This characteristic, the Jury felt, makes him such a great role model and inspirational figure for young people. His broad spectrum of work ranges from product to furniture, and all of it is beautifully crafted, sensitively realised, and truly world-class. Patrick is also the founding director of the Design Incubation Centre (d.lab) at the National University of Singapore, a strategic centre that works on projects in different disciplines that encompass human needs, social trends, emerging technologies and research. Patrick has built an enviable reputation in the design world, as evidenced by his awards and recognitions. In combination with his inspiration to others, Patrick is a special and deserving recipient of the President’s Design Award.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT:

Botanika Touch Hear Towers Stick (Photos: Design Incubation Centre)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2010

JOHN CL ANG PHOTOGRAPHER-ARTIST CLANG PHOTOGRAPHY, INC

WHAT DO YOU THINK IT MEANS TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means you have a much smaller audience to truly appreciate your creation. You therefore have to get their attention somehow by creating work that will impact their lives. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

We used to be heavily influenced by what we saw overseas. Now, we are spending more time and taking a greater effort to craft our own identity, our own style. The industry is beginning to believe in its own talents. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

JURY CITATION (2010) John Clang has the rare gift of being both a photographer who knows his art and also a successful commercial photographer in the advertising field. He balances both patience and passion in equal measure. The fact that he is colour-blind shows that one can beat the odds to excel in one’s chosen field. As a commercial photographer, John has achieved great success in New York, arguably the most difficult art and commercial capital in the world to break into. His well-known campaigns for Levi’s and Hermès have lifted the game significantly and continue to be enduring, relevant and fresh today. His personal work is highly evocative, exploratory and moves one to think. His commercial work has helped build brands such as IBM, Sony and Godiva. Having shifted from using stills to video work, he used simple video conferencing in his ‘Separation’ series to capture his severance from the family he left in Singapore, and projected his family into his New York home. One segment in particular where he and his brother flex their muscles like schoolboys in the yard dramatised his personal loss and technology’s inability to bridge the gap as completely as a brother’s physical hug.

The responsibility is to create a social discourse, a dialogue for people who encounter your work. This will, in turn, help make them reflect on their roles in society.

John’s work is exceptional. We applaud his courage to experiment and his relentless search for a different point of view. As Designer of the Year, he will be a worthy ambassador for Singapore.

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Levi’s, New York On Pedder, New York Hermès, Paris Faculty, Singapore (Photos: Clang)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2007

ENG SIAK LOY ARTIST/DESIGNER

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

As a designer, I attempt to bring out art in every aspect of our lives. I think it’s important to inspire and promote the public’s interest in art through my designs. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

The arts scene in Singapore has evolved in tandem with the city’s transformation into the ideal of a city in a garden. The public’s appreciation of the arts and design is much more sophisticated than when I first started as a designer more than fifty years ago. This has been an important driving force behind the flourishing and development of Singapore’s design industry. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

JURY CITATION (2007) In an age where we are inundated with digital design, it is very inspiring to see that the Arts and Crafts tradition is still alive and thriving in Singapore through the versatile public design works of this Grand Master. His sense of precision, attention to details and application of delicate texture manifest in many different forms and media. These wonderful works range from very small-scale designs such as stamps, currency notes, and coins, to the very large with huge murals and six-tonne sculptures that greet visitors at many national parks in Singapore. This award recognises and honours the long, prolific career of Eng Siak Loy who has dedicated himself to his craft and who has created truly exceptional bodies of work for the public domain that many generations can continue to enjoy.

The role of a designer is to use art and artistic direction to create works that can be enjoyed by the people, to bring out important ideas that excite, inspire and resonate with the community. A designer must stand firm by his principles and design perspectives, to develop a piece of work that is original and that positively influences the environment and the society.

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Singapore Botanic Gardens UNESCO World Heritage Site Commemorative Stamps The Yusof Ishak Portrait Series Botanic Gardens Main Gate, Singapore (Photos: Eng Siak Loy)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2007

CASE Y GAN & LIM SWE TING DIRECTORS CICADA PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

On the global stage, Singaporean design is at a new high. The projects here challenge us to think beyond conventional norms. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

The essence of superlative design is defined by a poetic response to functional requirements while being culturally sensitive and ecologically sustainable. Design for us at Cicada means a process of understanding and celebrating our relationship with the natural and cultural environments. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS A DESIGNER/ARCHITECT?

Through its radical design approach, Cicada has always encouraged its clients to think beyond conforming norms to create a better project. Receiving the President’s Design Award affirms this conviction, that we should continue to push boundaries in the process of creating delightful and experiential landscapes.

JURY CITATION (2007) For more than a decade, Casey Gan and Lim Swe Ting have shown a steadfast approach, consistency and high quality in their landscape design. They are eager to explore new designs and, at the same time, their meticulous attention to detail is evident right down to the texture of the pavement. Their project for the renovation of an old town in Shanghai is a perfect example of all these wonderful attributes, as well as the balanced collaborative role each architect plays. Designers like Casey and Swe Ting are important for the unique development of beautiful urban landscapes and, therefore, they deserve to be nominated as ‘Designer of the Year’ for the 2007 President’s Design Award.

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Riverside Garden, China (Photo: Cicada Pte Ltd) Xin Tian Di, China (Photo: Patrick Bingham-Hall) Alila Villas Uluwatu, Indonesia (Photo: Patrick Bingham-Hall) Charming Bay, China (Photo: Patrick Bingham-Hall)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2007

ANDREW GN

PRINCIPAL ANDREW GN DESIGNS, PARIS

WHAT IS YOUR DESIGN PHILOSOPHY?

Continuous renewal. The fact that I have to come up with four collections of clothing and two collections of accessories each year enables me to renew myself all the time. I could not imagine there is another métier that is more challenging and inspiring than fashion. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

Many emerging Singaporean fashion designers are becoming more confident in developing a unique style that merges visual historical influences with contemporary haute couture sensibilities.

JURY CITATION (2007) Andrew Gn’s works are symbolic of the emerging individuality of many Singaporean fashion designers who are becoming more confident in developing their own unique style that merges visual historical influences with contemporary haute couture sensibilities. His fashion pieces for Ungaro, Balmain, and his personal collections have graced the catwalks of Paris, Milan, Tokyo and New York and we anticipate an exciting evolution of his artistic fashion style.

WHAT ADVICE DO YOU HAVE FOR YOUNG DESIGNERS IN SINGAPORE?

It is very important to know your true self and to establish your own taste before you start evolving. Otherwise, you might get lost somewhere in the rapidly changing fashion world.

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Spring Summer 2008 PreFall 2016 (Photo: Anne Combaz)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2010

DR KERRY HILL

DIRECTOR KERRY HILL ARCHITECTS PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

Over the years, we have been fortunate to have had many people of like-mind and different nationalities pass through our doors. This is largely a result of location, and it has brought a high level of energy and cultural diversity to our practice. This is, of course, one of the advantages of living and working in Singapore. For me, it has been a life-rewarding experience. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

There is definitely a growing sense of an architectural community in Singapore, together with an increasing awareness amongst clients that good design sells. The design culture is maturing, and I am optimistic for the future.

JURY CITATION (2010) Over many decades, the work of Dr Kerry Hill has explored and extended the idea of rooted regionalist architecture. This has resulted in an extraordinarily wide range of building types in different countries that has been achieved with quiet confidence. This confidence is derived from a thorough analysis of place; a belief that intuition as well as formal skill is important, and that cultural differences should be regarded as a generator of new ideas rather than a hurdle to be overcome. The hallmark of this architect’s work is a clear articulation of simple and effective techniques to synthesise issues of scale, climate and material.

WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

There has been discourse about a ‘Singapore Style’ in architecture. I don’t agree with a stylistic approach. However, I would like Singapore, which has changed enormously, to develop an approach to architecture. This doesn’t mean that all buildings will end up looking the same. Instead, it can produce many diverse responses. In the end, all of those responses should arise from thinking about Singapore – the place in which we live.

Kerry’s belief that house design is a key element in the thinking of any architect is a clue to the way in which his own exploration of weather and climate coupled with scale, plan and site can produce anything from modest projects to major buildings. The current concern with sustainability and low-energy buildings has required European and American architects to understand the relationships between ventilation, light, space and insulation, a relation that has long been critical to Kerry’s works. Indeed, his practice is a reminder that integrity of design, which includes responsibility for interiors and energy strategies, will be necessary if the architectural profession is to respond to the environmental challenges that face development and construction sectors across the world.

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The Lalu, Taiwan (Photo: Albert Lim K S) Garlick Avenue House, Singapore (Photo: Albert Lim K S) City of Perth Library, Australia (Photo: Nicholas Putrasia) (Portrait: Brett Broadman)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2012

HANSON HO CREATIVE DIRECTOR H55

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means we have to be global, relevant, efficient, and contemporary in the way we approach ideas and design. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

To ensure that our work is functional, that it is a pleasure to view, that it is well thought out and meaningful, and that, hopefully, we will be able to renew the relationship between people and design. WHAT DO YOU SEE AS THE FUTURE OF DESIGN IN SINGAPORE?

Many more people and clients will inevitably be more appreciative of design in Singapore in the future, as they will be more exposed to the importance of design and media in a more competitive economic environment. I hope this trend will continue and that design will become a conscious part of everyday life.

JURY CITATION (2012) Hanson Ho is one of the most articulate and intelligent designers practising today. He brings a level of style, class, economy, purity and method to his work that few of his contemporaries can achieve. His body of work is consistently based on simple truth and logic. He expresses every element with simplicity, restraint and intelligence in a way that is very much in keeping with his personality. Hanson sets a new standard for designers who wish to be nominated and recognised for the Designer of the Year.

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Ong Siew May Distinguished Lecture Series (Photo: Caleb Ming) Being: The Thoughts and Work of Nathan Yong, 2006–2011 (Photo: H55) Snore Louder If You Can (Photo: Caleb Ming)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2013

PROF RICHARD K F HO PRINCIPAL ARCHITECT RICHARDHO ARCHITECTS

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

I have been practising for more than three decades and the design industry has definitely evolved. For one, there is a greater awareness of what good design is about. Clients are much more knowledgeable and, therefore, their expectations are higher. As a result, we, as architects, have to rise to the challenge. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

I see the responsibility of a designer as twofold. Not only is he responsible for whatever he is designing, be it a product or architecture, the design has to be fit for the purpose of the community that uses it. But, more importantly, the design should inspire the community to have higher aspirations for the future, not just the present. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

JURY CITATION (2013) Prof Richard Ho is one of the most respected and recognised architects in Singapore. Displaying great sensitivity for the history, culture and climate of sites and places, his body of work shows an innate talent to create architecture that has resonance with those who use the spaces, and that rekindles memories of the past. Richard is also an active and exemplary mentor who has devoted himself to teaching and cultivating the next generation of architects through his position as adjunct professor with the Department of Architecture at the National University of Singapore, and as advisor to young designers. The Jury applauds Richard’s steadfast contribution to the architectural profession as practitioner, mentor, and role model.

My integrity.

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Bungalow at Sentosa Cove, Singapore (Photo: Sanjay Kewlani, Skewed Eye) Redemptorist Monastery, Thomson Road, Singapore (Photo: Lim Kee Hua)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2009

KOICHIRO IKEBUCHI DIRECTOR ATELIER IKEBUCHI PTE LTD

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

The evolution has been very fast and very widespread, not just locally, but internationally as well. I believe the design industry here will open up even more in another decade or more. Singapore is a young growing country – there are many opportunities to make, and to explore, statements of design. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Design involves and affects many things. It is not simply fashion, architecture, product or graphic. Everything in our daily life is influenced by design. As designers, we must be aware of how each single element influences society.

JURY CITATION (2009) The comprehensive portfolio of Koichiro Ikebuchi encompasses a broad spectrum of design. This diversity of creations is underscored by a strong sense of discipline with an Asian perspective that is not rigid, but is, instead, permissive of evolution. This quality comes through strongly in his work, especially since the establishment of Atelier Ikebuchi Pte Ltd in Singapore in 2004. Quality and quiet elegance inform all his designs, but his work is now enriched as a result of a fresh perspective he has gained from working in a tropical context. New directions in design have been developed with great sophistication and beauty, and the response to the tropical light and environment permeates his work. During the interview with the Jury, cultural differences and language barriers posed communication difficulties, but the Jurors came to a consensus that Koichiro’s body of work clearly articulated his passion and commitment to making each project uniquely his, while meeting the highest standards required by his clients and himself. His impressive portfolio includes a series of intriguing products for Salone del Mobile, Milan (2000-2001), Residence D, Hong Kong (2001), Hotel Uma Ubud, Bali (2004), COMO Shambhala Estate, Bali (2006), Huize van Wely, Jakarta (2008), and Club 21 Men, Bangkok (2009).

WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

Singapore is a multi-cultural, multi-religion, multinational junction. As a result, there is a high chance that a global sense of design will grow here.

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The Westminster Terrace, Hong Kong Maalifushi, Maldives Residence D, Hong Kong The Westminster Terrace, Hong Kong

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2009

CHRIS LEE FOUNDER & CREATIVE DIRECTOR ASYLUM CREATIVE PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

As we have such an open economy, the potential to work on regional and global projects is tremendous. We have the opportunity to present our practice to the rest of the world. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

We have the ability to transform a city and its inhabitants, so we need to ensure that responsibility is not lost. What we do needs to transcend the daily grind and the forces of commercialism. Specifically, I would say that the well-being of people should be a spiritual guide to whatever we do. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

I would like to see a lot more diversity, as well as an eco-system that supports young designers, the small studios, and corporate studios. I would also like Singaporeans in general to be more engaged in design-based activities.

JURY CITATION (2009) In a communications world that is driven by ideas that can come from anywhere, Chris Lee is acknowledged by the Jury to be setting standards in Singapore that are being admired both locally and internationally. Chris is spoken of highly in terms of his modern approach to communications and his ability to solve problems in novel ways. This can be seen in how he created a unique look and feel for quotidian products like frozen yoghurt and chocolates. Young and ambitious, what Chris has achieved in ten years at Asylum is not only bold and witty, but also entirely lives up to his own aspirations. The Jury agrees that there is clearly much more to come. In fact, Chris cannot be defined by a single discipline, for his talent and achievements respect no boundaries. Indeed, his immense gift and talent cannot be ignored. He is a shining inspiration to the new generation – a living example of the idea that when an individual directs his energies to building dreams, the impossible can be achieved. The Jury observes that Chris is a natural designer, curator, teacher, barista, and client. In today’s dynamic and integrated world, he is destined to lead from the front.

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Frolick Artisan Cellars Chocolate Research Facility Asylum Shopping Bag TripleOne Somerset Brochure (Photos: Asylum; Portrait: Shooting Gallery)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2013

ALFIE LEONG

DESIGNER/OWNER THE LITTLE VOICE PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means challenges. It means having to be really selfmotivated, looking out of the box, being open-minded, and staying humble. In the end, designers are designers no matter where we are from. The only difference is that we will be brought up influenced by different cultures. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

There is no definitive responsibility. It depends very much on the individual or community. Personally, I hope to able to educate my clients about my design and philosophy in a way that they are able to come out of their comfort zone, and understand this new era of design whilst finding their individuality. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

I would say that Singapore’s design industry will change with technology, with the arrival of newcomers, and with the world’s shifting politics. Each of these will have an effect on design. Furthermore, design will have no restrictions and no boundaries. In fact, to maintain one’s aesthetics and unique viewpoint, it is important to communicate with consumers or one’s followers. My wish is that Singaporeans can build a more open society that is even more accepting, keen to comprehend, and willing to encourage the fostering of better design.

For the last 20 years, Alfie has been consistently unwavering in his design conviction based on Asian influences coupled with modern sensibilities. His attention to craft, fine detailing and technical excellence in cut and drape coupled with his persistence and dedication to quality compel him to operate his own factory, thus allowing him to control the finishing of his work. Despite his achievements, he remains humble and continues to exude positivity. Alfie has an infectious personality. His desire to help emerging designers through his Workshop Element initiative, a retail pop-up, is testimony to his support for the fashion design community. The export of his autumn/winter collection has opened new possibilities for Singaporean fashion designers. His willingness to share his experiences and industry know-how makes him an inspirational mentor for the next generation of fashion designers. Alfie is a beacon for Singapore’s fashion design industry.

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MU Fall Winter 2011.12 (Photo: Upfront Models) MU Fall Winter 2011.12 (Photo: Avenue Models)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

JURY CITATION (2013) Singapore’s fashion industry is extremely challenging in terms of commercial viability, retail longevity and limited resources. In spite of these daunting conditions, Alfie Leong has persevered and excelled. His success is due to his understanding of the entire value chain of the fashion design industry. Not only is he a role model, he is also a catalyst for the industry. He has a rare ability to fuse creative fashion design with the realities of business, manufacturing and marketing.

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2013

PANN LIM CREATIVE DIRECTOR KINETIC SINGAPORE

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It really means a lot being a Singaporean. I don’t think I did much when I was serving my National Service, so working on design is my way of serving my country. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

The process of working, the way projects are researched, the possibilities as a result of the internet boom in 2000, the arrival of social media that made communications ‘transparent’ and every portable device that now allows everyone to be connected online – all have made the world a fast-paced information-hungry society. The appreciation for design has improved greatly because everyone can easily research the world’s best practices of design simply by Google-ing them. The flip side to this will be the difficulty of creating world-class original work. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

I will never compromise on being honest to the project. After honesty comes creativity. Creativity will include how fresh and original the idea is, the meticulous design craft, answering and fulfilling the client or design objectives. A project will never touch people if it is not designed with honesty in the first place; somehow, your audience will feel it.

JURY CITATION (2013) Beyond being a professional, Pann Lim deeply cares about the people around him: the community, society, country as well as the next generation. The Jury believes that Pann has the exemplary qualities of a Designer of the Year. He is a motivation for future generations. His works are approachable. They connect on a human level. He is dedicated to his craft and he has done outstanding work for both big and small clients. His projects are extremely well thought through and meaningful, without being contrived. Pann’s contagious passion and dedication to his work flow over to the people who work with him. Not only does he influence those around him, he also extends himself to teaching, mentoring and grooming the next generation. Pann is exceptionally inspirational. The Jury is unanimous in selecting Pann for the Designer of the Year award.

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Uu 3D Store Ultimate Zerohz Renn Lim by Renn Lim Nike Game on World MAKI-SAN Poster (Photos: Kinetic Singapore)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2007

LIM SAU HOONG FREELANCE CONSULTANT

(FORMERLY: CREATIVE DIRECTOR & CEO, 10AM COMMUNICATIONS PTE LTD)

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

To be honest, I see myself more as a creative than a traditional designer. From small things in my daily life to big projects, I’ve always believed that we should design not for design’s sake. Rather, we need to make sure that our work makes sense. This is what I enjoy doing the most in my life. Being creative is part of my daily life and it forms part of my own personal identity. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

As a designer, the key role is to pay attention to details, and to never compromise on even the smallest aspect of whatever it is that I’m working on. I will never compromise on what I believe is right for the brand, and I’ll do whatever I feel is right for the task. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

My wish is for design in Singapore to be truly world-class. Hopefully, and this is my deepest wish, we can eventually develop our own uniquely Singaporean style, rather than copying and adapting from other nations and regions.

JURY CITATION (2007) As creative director, CEO and designer, Lim Sau Hoong’s advertising portfolio covers not just many important Asian markets; it is filled with great storytelling adventures. In a career which includes being a creative director for a multi-national agency as well as managing her own internationally renowned advertising agency, 10AM Communications in Singapore, she has created an impressive array of work for CCTV, Sony Ericsson, Nippon Paint, Bank of China, and Sony. Each advertising campaign captures the indigenous cultural spirit of the East, and is imbued with pure, poetic compositions of lush images that move with hauntingly beautiful music. Sau Hoong’s work resonates with a serene, sophisticated style that is unmistakably hers and stirs our innermost human emotions. She is a great ambassador for Singaporean design as exemplified by some of her work in China, many of which have earned her a reputation for making some of the most memorable television work of all time. She is a truly international storyteller.

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Bank of China, Mountain Bank of China, River CCTV2, Stage Nong Fu Guo Yuan Fruit Juice, Shake (Photos: Extracted from President’s Design Award 2007 Publication)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2009

LOOK BOON GEE

MANAGING DIRECTOR LOOK ARCHITECTS PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means having to be versatile and resilient. Increasingly, it has become essential to expand our approach to one that is multi-disciplinary and collaborative. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

The industry has gained more self-awareness and drive to export a local brand. In a way, there has been greater focus on the art of craft and making, interestingly corresponding with a departure from theorising. The architectural community could see further growth if there were greater camaraderie among practitioners to share knowledge and experience. As of now, it is still a challenge to create a level playing field with global competitors. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS A DESIGNER/ARCHITECT?

The Award is a high accolade that is conferred on only the most outstanding and dedicated practitioners. Receiving this recognition was a proud moment, and it has spurred me and my colleagues to conduct greater experimentation in our works.

Over the years, Boon Gee’s portfolio of works has matured to focus on the creative use of architectural design for the community. His recent projects, Kampong Kembangan Community Club, Bishan Community Library, and the Alexandra Arch & Forest Walk are intuitively accessible, delightful to experience, and easy to use in a way that proposes new perspectives for engaging people and their environments. Not distracted by commercialism, Boon Gee has remained steadfast in committing time, effort and thought to exploring the creative possibilities of each unique project, and to arrive at design solutions that display a balance between control and aesthetic reward. He exhibits qualities such as sensitivity, dedication and thoughtfulness. For that, the Jury applauds him and hopes he will continue to serve as an inspiring model of an architect dedicated to serving the needs of the community.

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SUTD Housing & Sports Complex, Singapore (Photo: Daniel Swee) No. 5 Gemmill Lane, Singapore (Photo: Tim Nolan) Alexandra Arch & Forest Walk, Singapore (Photo: Tim Nolan) Alexandra Arch & Forest Walk, Singapore (Photo: Tim Nolan)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

JURY CITATION (2009) Look Boon Gee is a proficient and adept designer who treats each new project creatively and brings new ideas to all of his work. His portfolio is noted for the variety of materials and construction technologies he employs and for applying new approaches skilfully across a diverse range of projects. In his earliest projects, Boon Gee displayed a bold pragmatism and innovation. One particular project that stands out, No. 5 Gemmill Lane, consists of interlocking pigmented precast concrete planes that collectively form a delightful collage – a visionary and daring work for its time.

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2007

MOK WEI WEI

MANAGING DIRECTOR W ARCHITECTS PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It means that one has to constantly innovate because it is a very competitive field. This is particularly so since Singapore’s design industry has generally improved over the years – there is now a greater design awareness. In particular, good design is embraced both as a way of life, and as a business strategy.

JURY CITATION (2007) Mok Wei Wei’s body of work is characterised by thoughtfulness, introspection and precise articulation. Drawing on his Chinese roots, Wei Wei extracts the spatial qualities of traditional courtyards to arrive at contemporary solutions that emphasise place-making over stylistic moves. His sensitive approach to architecture and urban design is all the more remarkable as it is coupled with a directness and certainty in execution. Whether designing a poetic sequence of spaces within a family house, or making a bold incision into a monument to reveal the National Museum dome, Wei Wei’s designs prove to be radical and contextual simultaneously.

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

To excel as a professional, and to do good design that improves the quality of life. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

I would like to see that our design is a product of our unique environment and culture, and that Singapore is regarded as a city that excels in good design.

Wei Wei is an architect with integrity and there is a certain inevitability in the way his design decisions transpire. He builds with a clear sense of purpose, knowing what he wants the architecture to be and why. This talent extends to his technical grasp and the ability to put together finely detailed buildings such as his 33 Robin Apartment building which stands out not only in terms of its quality design, but also its clear demonstration of the adage that ‘quality sells’. Through the course of 25 years, Wei Wei has managed to develop and inject his highly regarded practice with a fresh identity and guide the next generation of young architects.

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Restaurant Da Paolo e Judie, Singapore (Photo: Albert Lim K S) National Museum Singapore, Singapore (Photo: Frank Pinckers and National Museum of Singapore) 33 Robin, Singapore (Photo: Patrick Bingham-Hall) Education Resource Centre, National University of Singapore, Singapore (Photo: Albert Lim K S)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

His practice has established a clear identity that continues to grow in its ambition to design and build largerscale projects while maintaining rigorous discipline in their execution.

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2015

DR COLIN K. OK ASHIMO SCULPTOR & LANDSCAPE ARCHITECT COLIN K. OKASHIMO AND ASSOCIATES

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

As sculptor and landscape architect, my works investigate every possibility of creating a sense of calm in an otherwise hectic, chaotic and very distracted environment. How does one minimise distractions as a designer and bring meaning and memory? Has Singapore evolved beyond the point where design not only addresses function and aesthetics, but also gets us to pause, relax, and reflect? HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

When I arrived in Singapore in 1983, design, apart from architecture, was not even recognised as an industry! The fact that Singapore, through the President’s Design Award, identifies and recognises both designers and projects of outstanding design merit speaks volumes. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

Having a fine arts background, I believe design needs to provoke the viewer to question the work in the same way that art does. In that way, perhaps design solutions can begin to do more than merely answer a need or function, and begin to ask, and seek answers to, bigger questions about our very existence. Good design should take the user somewhere, to another place, to wonder, and reflect about one’s own being.

JURY CITATION (2015) Dr Colin Katsumi Okashimo’s exceptional career spans over 33 years, during which time he has built a reputation for designing outdoor places of contemplation. He represents a new level in the maturity of design in Singapore and the region. As an antidote to the hectic pace of life in cities today, he introduces us to a process that can be best described as ʻSlow Designʼ, a movement like ʻSlow Foodʼ and ʻSlow Citiesʼ that shifts our value system from quantity to quality. ʻSlowʼ does not mean a glacial pace of development. Instead, the key to Colin’s successful work lies in a refined attempt to introduce feeling and a deeper meaning to design. He strives to introduce every person who engages with the space to an experience of provocative calm. He describes the ideal client as one who deeply understands the meaning of the place they are activating. He is particularly inspired by the insight that is achieved through meditation and through the value of experiential research. This inspiration allows Colin to develop a state where there are no distractions, to not over-intellectualise the programme, but to learn from it. The architect Louis Kahn would describe the idea as “becoming what it wants to be”. In the same way, Colin creates content with memory and meaning, and space and experience to find a path that unifies the body with mind and spirit.

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Ephelia Resort, Seychelles (Photo: Patrick Bingham-Hall, Pesaro Publishing) Five Stones Residences, Malaysia (Photo: Song Boon Keat, Staek Photography) Victoria Park Residence, Singapore (Photo: Patrick Bingham-Hall, Pesaro Publishing)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2014

LARRY PEH CREATIVE DIRECTOR &LARRY PTE LTD

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

It has evolved from being pragmatic and commercially driven to one that is more inclusive, social and self-exploratory. There is a need to learn from the best in the world, but there is also a pressing need to develop our own identity, systems and unique way of thinking. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Empathy and humility have always been at the core of what I do. Design can help us resolve bigger issues and influence the general public towards the idea that being a designer extends beyond the creative boundaries. For instance, a lighting designer can have an impact on energy consumption while answering the specific commercial needs of a public space. In the future, everything will need to be designed to work efficiently, and to reduce waste, time and resources. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS A DESIGNER?

It is an affirmation beyond any accolade in the world that my folks and relatives can comprehend. I think it’s also great branding for Singapore – in no other country is the president personally involved in design. My overseas clients see it as the equivalent of being knighted by the queen or honoured by the emperor.

JURY CITATION (2014) Larry Peh is an intuitive and intelligent designer. His commercial and personal design projects are highly conceptual, multi-dimensional and inspirational. His commercial projects are fresh and captivating, and his personal objects engage and evoke emotions by questioning societal norms. Since 2004, Larry has sprinkled these artistic and well-designed objects across Singapore, telling his version of Singaporean stories to a wider contemporary audience. Determined to show that he has more to offer than stereotypes, Larry has designed his social commentaries with the highest level of originality, sophistication and cultural relevance, so that even non-Singaporeans can enjoy them. For a creative individual with such a committed vision, Larry is deserving of Singapore’s highest accolade for the designer: the President’s Design Award for Designer of the Year.

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Anything But Red Casting a Global Light Takashimaya Timeless 7 Letters Yellow Puff (Photos: &Larry)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2015

FRANKLIN PO SUI SENG PRINCIPAL TIERRA DESIGN (S) PTE LTD

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

It has gone from strength to strength. We have had some very good designers mature through the first two decades since I returned from my overseas experience. Singapore design can stand the scrutiny of the best in the world. I do not think that we need to play second fiddle to designers from abroad. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

It is not so much a responsibility but a sense of inner philosophy. As designers, my team and I take on each project with a holistic understanding of how people might use and enjoy the environments we create. I also believe that there are many other ways in which designers can make a contribution to their community. For example, Tierra holds an annual walkabout of our projects so that the public are better informed about design and the role it plays in the betterment of our society. Also, as I am personally interested in the initiation of design for people with dementia, we are currently engaging with researchers and stakeholders on this issue, which I feel is going to be a significant one in the future of our country. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

Singapore already leads the world in green city planning. However, I believe that there are still many aspects to explore, of how integrative architecture can benefit communities at the same time as we continue to improve our built environment in a thoughtful and sustainable manner. I refer here to a definition of integration in our future of design, whereby the treatment of landscape in any project should be considered not as an afterthought, but as one that has mutual significance.

JURY CITATION (2015) Franklin Po Sui Seng’s work has been greatly influenced by the International Style. This is partly the result of having spent many years with the architecture masters who worked in California in the 1960s and 1970s. His multi-disciplinary path – beginning with studies in biology and botanical morphology before graduating to architecture – has informed his understanding of natural systems and holistic intersections. Inspired by the verticality of Singapore’s built landscape and by the progression of modern design, Franklin’s mastery of his craft is infused with a bionomic sensitivity for humanity’s relationship with nature. Throughout his career, Franklin’s landscape solutions have been informed by a profound rigour and acknowledgment of the architectural context. In particular, his special affinity with ecology, derived from his biology background and love for Ian McHarg’s work, has created a work style that is as astute as it is technically masterful. His portfolio of works is especially interesting for its interactive discourse on architecture, the urban setting and, in particular, an on-going search to give definition to the ideal of ʻLiving in a Garden Cityʼ.

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Lee Kong Chian Natural History Museum, Singapore Banyan Tree Lijiang, China Changi Airport Terminal 3, Singapore (Photos: Tierra Design)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2013

HARIJANTO SE TIAWAN PRINCIPAL DESIGNER BOENGA PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

It is to share our knowledge with our fellow designers and the public. This requires us, as designers, to be dedicated to improving and keep growing so that we become better designers who set the benchmark for the industry. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

It’s improved tremendously. It’s improved not only because of the demand for better design, but also because there is a greater awareness of designers and a more educated appreciation for design and the arts. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

JURY CITATION (2013) Harijanto Setiawan is an extraordinary design talent whose creations reside between the category of art, fashion and sculpture. His medium happens to be flowers. His training as an architect allows him to approach floral design spatially with a structural spirit, while engaging the human body. His compositions are anthropomorphic installations that are experiences unto themselves. His creative use of form, space, colour, texture and light co-mingle with plants and people to produce truly unusual and unique encounters. His vast portfolio of temporal installations, sets and composition uses photography to skilfully capture the ephemeral and fantastical quality of living materials.

It is to cultivate a culture of giving back and to help society grow to a stage where it’s more appreciative of design. The only limitation we should impose on ourselves is to have no limitations.

The Jury was particularly impressed with his ability to create other worlds; transform static still lives into experiential statements; and his commitment to elevate the awareness of floral design and to acknowledge it as a valid design discipline. His work is innovative, noteworthy, and deserves to be recognised.

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Puff (Photo: ND Photography) Stage & Floral Design (Photo: Boenga Pte Ltd) Texture (Photo: Ivanho Harlim) The Morgue (Photo: ND Photography)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2015

SIEW MAN KOK CHAIRMAN & FOUNDING DIRECTOR MKPL ARCHITECTS PTE LTD

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

There has clearly been more design awareness over the last twenty years. However, increasing density and aspirations demand even higher levels of design competence. Architects must develop more depth in both their conceptual and technical ideas. While the general standard of design may have improved, we need to see the development of truly bold and unique design that don’t just meet our own needs, but that also become exemplars for the world. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Design must make the site better. The ultimate goal of architectural design is to create an architectural cultural legacy of a place. It must give a strong sense of place, and create a new memorable place. Good design can offer bold and unique solutions that create strength from constraint. An example is how we have solved high-density issues through urban planning and design. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS AN ARCHITECT?

To be toasted as one of the best is a great honour. It has encouraged and re-affirmed my commitment towards making good architecture. It has generated a lot of publicity for my office and is definitely good for the morale of my staff and colleagues.

JURY CITATION (2015) Siew Man Kok is an extraordinarily accomplished architect who has spearheaded a spectrum of projects including master planning, institutional and commercial projects, public housing and private residences. Despite the different nature and scale of his projects, he has been admirably consistent in his sensitivity to, and exploration of, the social, cultural and tropical context. A distinct strand of passion, rigour and commitment runs through his designs. We see, for instance, in the Cuff Road shophouse, a fresh interpretation of the ubiquitous typology that is expressed with finesse and maturity, and achieved through the thoughtful selection of materials and use of light. The HortPark Visitor Centre is another elegant example of a re-elucidation of a pavilion; it is also an homage to Singapore’s greenery that hides its complexity behind an apparently simple articulation. Throughout the creative process, Man Kok’s positive spirit brings people together, whilst contributing to the discourse on the important issues we face today. He is an active member of the architectural fraternity who contributes his expertise to numerous advisory and jury panels. The Jury recognises his commitment and architectural vision, and his contribution to the architectural profession.

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Duchess Residences, Singapore (Photo: Albert Lim K S) HortPark Visitor Centre, Singapore (Photo: Tim Griffith) Glentrees, Singapore (Photo: Albert Lim K S) Branksome Hall Asia, South Korea (Photo: Tim Griffith)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2012

TAN CHENG SIONG

PRINCIPAL ARCHURBAN ARCHITECTS PLANNERS

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

The process and value system in Singapore today dictates a framework of legal and financial exigencies. In that context, I like to think that it is more important than ever that the designer should take full responsibility for what he creates in the community. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

A designer needs freedom to perform. For me, independence cannot be compromised. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

A designer must be committed to create higher value, to enrich people’s lives, and to transform society. Urbanisation cannot be unbridled. It must be sensitive to human needs. It achieves this through design. Indeed, without comprehensive and humane design, a city has no future.

JURY CITATION (2012) Tan Cheng Siong has been at the forefront of developing residential design in Singapore and China for decades. In a distinguished career characterised by rigour, innovation, and a keen interest in providing good living environments, his contributions to Singapore’s residential development and architecture is undeniable. In a career that spans five decades, his portfolio reflects the development of Singaporean architecture. In the late 60s, he created Pearl Bank, the first super high-rise in Singapore that introduced quality living on the ground while living in the air. For the Pandan Valley condominium, he pioneered the first condominium housing typology in Singapore where community spaces were created for residents. Cheng Siong has demonstrated his ability to skilfully mediate between the distinct characteristics of architectural sites with the function and experience of spaces. His buildings continue to resonate with the everyday users they serve, as well as with the architectural community. Most notably, he brought the condominium concept to Shenzhen in the 90s thus benefiting the Chinese communities with Singapore’s experience in housing and property development. The Jury recognises Cheng Siong’s exemplary passion, courage and perseverance in creating architectural innovations despite the challenges of the rapidly changing times. His unwavering pursuit of architectural excellence makes him a role model for the younger generation.

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Pearl Bank Apartments, Singapore Jindu Han Palace, China Pearl Bank Apartments, Singapore Pandan Valley, Singapore (Photos: ARCHURBAN)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2014

TAN KOK HIANG

FOUNDING DIRECTOR FORUM ARCHITECTS PTE LTD

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

I used to begrudge the conservativeness of architecture in Singapore. Then I look at some other countries that have been ahead of the curve. Maybe they have gone overboard and consequently their architecture has sometimes become wasteful and supercilious. Singapore’s pace, on the other hand, has been measured and always in consideration of careful use of resources and technology. There has been extensive emphasis on urban planning and less desire for icons. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

To me, the architectural design industry started in 2004 when Singapore participated for the first time in the Architectural Biennale in Venice. Around that period, a series of initiatives by the Urban Redevelopment Authority and DesignSingapore Council, helped by flourishing design publications, created an incredible ethos of design appreciation and environmental consciousness. Suddenly, clients sought good design. It didn’t matter that sometimes, nobody knew what that meant.

JURY CITATION (2014) Tan Kok Hiang is one of the most versatile architects in Singapore. He has worked on a wide range of projects from master planning and healthcare to institutional, multi-user residential, commercial and hospitality developments, to religious buildings and private homes. Throughout the different scales of projects, he has demonstrated consistency in relating buildings to their contexts, and shown an ability to incorporate local elements into architecture in a way that remains relevant to a global audience. Kok Hiang is also an active member of the architectural fraternity. He has shared his expertise on numerous advisory panels and he is also dedicated to cultivating the next generation of architects. The Jury recognises Kok Hiang’s pursuit of consistency in achieving architectural excellence and his steadfast contribution to the architectural profession as practitioner and mentor.

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

The architect’s role is to be the guardian of the built environment. A house owner may not care too much about the visual or environmental impact of his house, but the architect must be concerned about this.

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Rohde & Schwarz Office, Singapore International Arbitration Centre, Singapore Temasek Polytechnic South Wing, Singapore Assyafaah Mosque, Singapore (Photos: Albert Lim K S)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2011

TANG GUAN BEE PRINCIPAL TANGGUANBEE ARCHITECTS

WHAT IS YOUR DESIGN PHILOSOPHY?

People want to build utopian architecture, I want to build an ‘eco-topia’ instead, where my buildings are ecologically-friendly and porous. In that sense, every design job is an opportunity to explore, to go beyond a frontier. It becomes an obstacle if you don’t like to do something, then you’ll see danger in everything. To me, the more dangerous it is, the tougher a client is, the better a job it will be. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Architects have a responsibility to build for people. Most architects will look at forms and shapes and never look inside to see how someone lives. When you don’t allow someone to experiment in his own space, you create a house that is like a showroom, where everything is so clean and no one dares to touch anything. WHAT ADVICE DO YOU HAVE FOR YOUNG DESIGNERS IN SINGAPORE?

Go beyond what you see, and treat the world as a blank canvas. A vision has no form. Be daring and explore the formless form.

JURY CITATION (2011) Tang Guan Bee is one of the most respected and inventive architects in Singapore, and the Jury is amazed by his youthful, infectious energy and strong passion for design. Following his own beliefs, he approaches each project with his unique set of values and styles. His extensive body of work showcases elements of great experimentation and bold expressions of forms, colours and materials. Possessing a quirky attitude and easy charm, Guan Bee is admired for his ability to follow through his visions even as he, at times, breaks conventions and sets new standards. He derives tremendous joy in working with the younger generation of architects and is an inspiration to them. The Jury applauds Guan Bee’s steadfast passion for architecture and the significant contributions he has made to the profession throughout his many years of practice, both as a practitioner and as a mentor.

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Forest One, China (Photo: Tang Guan Bee) Gallery Hotel, Singapore (Photo: Albert Lim K S) Windsor House, Singapore (Photo: Albert Lim K S) Fortredale Apartment, Singapore (Photo: Albert Lim K S)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2014

PE TER TAY DESIGN DIRECTOR PETER TAY STUDIO

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

A good designer is one who respects the different cultures and races living in Singapore. This connection cannot be lost. If you do, you will ultimately lose the true nature of what it means to be Singaporean. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

I cannot compromise on the quality of the finished product or work. Neither am I willing to lose the identity of a brand (in commercial spaces) or the characteristics of the owner living within the space (residential). I need to continually produce design that reflects my identity and my design traits. We cannot compromise in a way that we simply follow or emulate design that just looks good. We also cannot copy designs that are done overseas without understanding the real meaning or rationale behind those designs. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS AN ARCHITECT?

I feel so humble to have received the Award. It’s made me start again from fundamentals and try to continue to do better work that will showcase good design to the community. It’s made me work harder to build a design identity for my own work. It’s pushed me harder and harder.

JURY CITATION (2014) With Peter Tay, it is clear that we are leaving the known spatial world and stepping into an illusionary realm – one where his interior spaces question the relationship of qualities in a way that extends beyond the materials. In his career, he has been able to transform negatives into positives. He has learned to express humility in his work, and to show an understanding that personal ego is secondary to the act of creation. Early struggles in his training at the Architectural Association School of Architecture in London also forged an appreciation to follow his passion. He was taught in his early work with leading brands that product identity should be the focus. The Jury is struck by Peter’s incredible passion and his driving desire to create meaningful work. He has demonstrated a desire to share his knowledge and experience with young designers and is constantly looking at how he can create a better life for his clients. As a Singaporean designer, he has brought his worldwide experience to bear in a way that has enabled him to build a prosperous practice in his place of birth.

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Salon by Surrender, Singapore Church of St Peter and Paul, Singapore House at Holland Park, Singapore (Photos: John Heng)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2009

THAM KHAI MENG WORLDWIDE CHIEF CREATIVE OFFICER & CO-CHAIRMAN, OGILVY & MATHER

(FORMERLY: WORLDWIDE CREATIVE DIRECTOR, OGILVY & MATHER (NEW YORK))

WHAT IS YOUR DESIGN PHILOSOPHY?

The designer’s role has evolved. What we have long considered to be designers – the architect, or the graphic, product and fashion designer – is only one facet of design. Today, these forms exist co-dependently with design thinking, computational design, and the fastest growing sector in design – design and technology. When great design is able to break the mould and it is at the cutting edge of innovation, that’s when it has the greatest impact in shaping culture, business and the world. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

The same place the city of Singapore seems to be going, namely helping provide solutions to shape a more liveable city. What Singapore has done for the environment and the economy can be done with arts and design too. To achieve this, we need businesses to support the local designers. It is also important to develop design literacy. Great design is not about embellishment. It is about solving problems with aesthetics, economy of form, efficiencies and empathy. WHAT ADVICE DO YOU HAVE FOR YOUNG DESIGNERS IN SINGAPORE?

Thinking of yourself as a designer in Singapore, even in Asia, puts you in a little box and keeps you small. Singapore can challenge the best in the world in so many fields these days, and there is no reason for design not to be up there too. Ambition, courage, tenacity are needed. Irreverence is key. Keep only the truly great, and you will get to a better idea. However hard it is, never give up. And always work with the best people you can find.

JURY CITATION (2009) As the first worldwide Asian creative director of any Western international holding company, Tham Khai Meng has now been charged with the role of turning Ogilvy into a worldwide creative powerhouse in the same way that he turned Ogilvy in Asia into a regional creative tiger. One of his recent projects includes the United Nations’ movement ‘Hopenhagen’, which signifies a moment and a chance at a new beginning; the hope that we can create a global community that will lead our leaders into making the right decisions; the hope that we can solve the two greatest problems of our time – the economy and our environment. This movement is expected to culminate at the UN Climate Change Conference to be held in Copenhagen on 7 December 2009. Khai Meng is recognised for being a global figure who does an enormous amount for raising the profile of Singapore as a centre of creative thinking, thus making him a lodestar for young talents across the region. The Jury unanimously agrees that Khai Meng is an international giant who is inspiring an entire generation of creatives around the world. His remarkable talent shapes, changes, and improves the way we all live.

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Hopenhagen, United Nations Share a Coke (Photo: Tony Kaye) Anglican Welfare Council

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2008

EDMUND WEE

PUBLISHER & CEO, EPIGRAM BOOKS; MANAGING & CREATIVE DIRECTOR, EPIGRAM DESIGN (FORMERLY: MANAGING & CREATIVE DIRECTOR, EPIGRAM PTE LTD)

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

These days, I am mainly a book publisher, so I hardly practise design. At most, I will art direct and supervise the design of our book covers. Fortunately, that is a critical part of publishing, and I am glad that my more than twenty years of design practice and experience can be put to such good use. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

I’m old fashioned in believing that a designer is paid to execute a brief. So he is responsible only, or mainly, to his client. Insofar as he is responsible to the community or society, he should avoid adding to the existing eyesores in the world. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

As far as possible, one should always compromise. I am being deliberately provocative here, of course.

JURY CITATION (2008) Edmund Wee is being recognised for his dedicated contribution to sustaining the creative integrity of the discipline of designing annual reports. In a career spanning several decades, he has effectively used original Singaporean themes and contexts to project the holistic communication agendas of many institutions and corporations. His editorial works have received numerous international awards for their creative excellence from important design competitions such as AR100, Red Dot, Graphis and HKDA. Edmund has also delved into various publishing activities while experimenting with a diverse range of interesting subjects, including travel and stylish cookbooks. He has long been an ardent proponent of using local artists, illustrators and photographers in his annual reports – a practice that has been instrumental in fostering the overall talent in this region. In an era when communication media is automatically associated with only things digital, it is reassuring that the annual report medium will continue to evolve with Edmund. The Jury truly commends his creative resilience.

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Singapore Land Authority Annual Report 2005/06 Sampoerna Annual Report 2000 Intellectual Property Office of Singapore Annual Report 2005/06 (Photos: Epigram Design)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2008

WONG MUN SUMM & RICHARD HASSELL FOUNDING DIRECTORS WOHA ARCHITECTS PTE LTD

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

Singapore has led a Southeast Asian direction in architecture. The implications of this Singaporean work are now being worked through around the region, in many different scales and sites that are not possible in tiny Singapore. This has been a period of divesting nationalist and vernacular architecture in favour of a more international tropical modernist approach. We think there will be reaction against this, and that some of the national and vernacular architectures are going to be re-examined, but through the lens of sustainability and density, rather than nostalgic imagery. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

The basic responsibility of a designer to the community or society is to do good, in all senses of the word – do good ethically, good urbanistically, good climatically, good socially, good in terms of proportions and materials. Being good brings benefits to everybody – the developer, the public, the end-user. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

We won’t please our clients at the expense of the enduser or the public who are equally important stakeholders in our projects. However, there is usually a way to align everybody’s interests and benefit all parties. That is, for us, the key to a great design solution.

JURY CITATION (2008) Wong Mun Summ and Richard Hassell have assembled an impressive body of work since they started WOHA in 1994. Characterised by a consistently high level of design, quality of execution and careful attention to detail, their wide repertoire of projects ranges from houses and high-rise buildings, to commercial and institutional projects. As their body of work demonstrates, they are advocates of sustainable design in high-rise tropical housing and draw inspiration from vernacular sources in designing for a tropical climate. Their works display an impressive all-round mastery of architectural design – form, proportion, massing and detailing. Their skilful handling of materials and elements like water has created delightful sensual experiences in many of their projects, notably in the Church of St Mary of the Angels and the Bras Basah MRT Station. Mun Summ and Richard have contributed actively to the development and exploration of architecture and design in Singapore. Both have served as members of various design panels, and as external examiners for architectural courses. They are an inspiration to a new generation of architects who are encouraged to create environments where people enjoy their lives more because of the quality of the spaces created. The Jury notes the on-going evolution of WOHA’s design philosophy and strategy, and applauds their commitment to urban and humane concerns.

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Skyville@Dawson, Singapore Newton Suites, Singapore Stadium MRT Station, Singapore (Photos: Patrick Bingham-Hall)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

DESIGNER OF T HE YEAR

DESIGNER OF T HE YE AR 2012

VOON WONG CREATIVE DIRECTOR VIEWPORT STUDIO

(FORMERLY: DIRECTOR, VW+BS)

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

Singapore is a hub for the Asian region, and a designer in Singapore is very likely to work internationally. Otherwise, it’s the same game as elsewhere: an ongoing dialogue to convince your clients to take a risk. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

The industry has been developing so quickly over recent years that it is completely unrecognisable from when I started work as an architect in Singapore in the early 1990s. Today, it is a thriving scene, well-established, and attracting international interest. Not surprisingly, we are still looking outwards for our inspiration, but that is the same everywhere simply because we all work in a global industry. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

The responsibility is twofold: one, to design with longevity in mind, and two, to imagine ideas beyond your client’s expectations. I want to see design in Singapore move ever forward.

JURY CITATION (2012) Voon Wong has built a global reputation and a comprehensive collection of great design works which is widely recognised by his peers. He is a multi-disciplinary designer who displays consistency in his work, which covers a wide spectrum of products, architecture, interiors and, more recently, aircraft interiors. He consistently demonstrates a deep thought process, blending consultancy with the creation of his own products, and exploring material possibilities in new and surprising ways. The Jury was particularly impressed by Voon’s venture into the difficult area of aircraft interiors, where the complexities of weight reduction, structure, and space usage in an environment that presents complex functional needs, is a notorious challenge for designers. His solution for Virgin Atlantic’s Upper Class bar and cabin captures the spirit and vibrancy of the brand, whilst presenting passengers with an iconic and impressive welcome as they board the aircraft, and settle in for a memorable in-flight experience.

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Tripod Bar Stool (Photo: Chris King) SHELL Side Chair (Photo: Gautier Pelegrin) Virgin Atlantic Airlines Upper Class Bar (Photo: Virgin Atlantic Airlines) TRIM Timber Tray Tidy (Photo: Ronald Teo)

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

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YANG YEO EXECUTIVE CREATIVE DIRECTOR, WIEDEN+KENNEDY (CHINA)

(FORMERLY: CHIEF CREATIVE OFFICER, JWT (SHANGHAI))

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE?

The most evolved disciplines are clearly in the fields of architectural and environmental design. Singapore is producing some of the most iconic landmarks and the very best talents that are winning the world over. Fashion design continues to be challenged, and will need much support from the public to dress and look better, and our leaders of the society to promote and encourage it. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

If it doesn’t look or feel great, don’t do it. WHERE DO YOU WANT TO SEE DESIGN IN SINGAPORE GO?

Singapore could, one day, become the official global hub for design. But to get there, our practising professionals, governing boards, and the general public need to put in more effort, and adopt a culture that thrives on design, style, and creativity. That would make me a very happy and proud Singaporean.

JURY CITATION (2012) Yang Yeo is an important regional voice for advertising. His concepts involve strategic thinking that not many creative directors deliver these days. Yang has an outstanding portfolio, the outcome of many years of work. It is not an easy task to join the start up of Bartle Bogle Hegarty and Fallon in Asia without being great. His achievements in China are tremendous, including winning Agency of the Year and Creative Director of the Year in Asia. For his original thinking and for being a mentor and role model to other Singaporeans, Yang deserves the Designer of the Year award.

OPPOSITE PAGE, TOP TO BOTTOM:

‘Come Together’ 2008 Beijing Olympics Campaign (Photo: TBWA Shanghai) Heaven and Hell Poster for Samsonite Asia Pacific (Photo: JWT Shanghai) ShanShui – Global Warming Poster for China Environmental Protection Foundation (Photo: JWT Shanghai)

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YIP YUEN HONG PARTNER IP:LI ARCHITECTS

HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

For better or for worse, it has evolved a lot. We began with having very little concern for the bigger issues, and now, we have a lot more to talk about. I do wish there is a lot more sensibility to how and what we design – not everything with some random dash of colour and some formal acrobatics should be passed off as design. WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

As an architect, I believe that the buildings we design stand for a period of time. And so, they should be able to stand the test of time, not just in how they look, but also how they work. Because when something lasts long enough, it becomes part of our history. It becomes the backdrop against which our lives play out. AS A DESIGNER, WHAT WILL YOU NEVER COMPROMISE ON?

Our designs have to work. Preferably, they must mean something and also be delightful. As a result, you need to have more thought, more discernment. After all, design should be useful and beneficial for everyone, and not just accessible to a few.

JURY CITATION (2013) Yip Yuen Hong’s pragmatic yet inventive architecture is a novel approach to Singapore’s tropical climate and the ideal of the sustainable lifestyle. Rooted in the quintessential vernacular typologies of dwelling in Southeast Asia, he considers the weather and climate to create an expression of local identity. Stemming from singular ideas, Yuen Hong explores construction and materiality to achieve emotional aspirations. Simple ideas as well as the innovative use of inexpensive materials connect and relate the landscape to the built form. Through the years, he has been constantly evolving in his experiments in architectonics, and he serves as an inspiration in the search for a local identity. His unbridled dedication to supporting architectural education is admirable. The Jury recognises Yuen Hong’s exemplary passion and sensitivity in pursuing his architectural ideals and for translating these motifs into beautiful works characterised by discipline and consistency.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT:

36 Victoria Park, Singapore (Photo: Goh Kim Hui and Desmond Han) Watten Residences, Singapore (Photo: Jeremy San) 9 Leedon Park, Singapore (Photo: Jeremy San)

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NATHAN YONG

FOUNDER/DESIGNER NATHAN YONG DESIGN PTE LTD

(FORMERLY: FOUNDER/DESIGNER, AIR DIVISION PTE LTD)

WHAT DOES IT MEAN TO PRACTISE AS A DESIGNER IN SINGAPORE?

As an industrial designer, I have to be more resilient and resourceful in the way I hone my craft. This is because Singapore is a small country with a limited manufacturing sector. Conversely, since it is also a country that is much influenced by the west, I am able to experience and study the influences that come with it. HOW HAS SINGAPORE’S DESIGN INDUSTRY EVOLVED OVER THE PAST DECADE OR, INDEED, SINCE YOU STARTED PRACTISING?

I started designing in 1999. At the time, the role of a furniture/industrial designer was unheard of. Since then, much has changed. I think our understanding of design has matured, thanks largely to public education and the success stories of design-led companies. HOW HAS RECEIVING THE PRESIDENT’S DESIGN AWARD BENEFITTED YOU AS A DESIGNER?

It is an honour to be selected by the best design practitioners. The Award has opened doors that would otherwise have taken years for me to walk through. It has given me the confidence to want to fight at a time when the media, the design agencies, the public and even peers are doubting our design capabilities. Yes, we are good. Period.

In commending Nathan’s strong body of successful work, the Jury would like to cite two particular aspects. First, his designs have a distinctive voice that is often characterised by a left-field sense of humour that is casual, approachable and resonant of the Singaporean lifestyle. Secondly, the Jury is impressed by his proactiveness in going international. His designs are currently exported to many parts of the world and are sold by renowned furniture houses like France’s Ligne Rosset and Flemish producer Ethnicraft. Nathan is an inspiration to young designers for his combination of design originality, business competency, and his ambitions and achievements beyond Singapore.

OPPOSITE PAGE, CLOCKWISE FROM TOP LEFT:

Pebble Table (Photo: Ligne Roset) LINE Collection (Photo: Design Within Reach, USA) Bolle Tables (Photo: Living Divani, Italy)

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JURY CITATION (2008) Nathan Yong is the quintessential designer/entrepreneur. Since setting up his company Air Division in 1999, he has enjoyed both marketplace success and critical acclaim. His work combines design flair and commercial acumen. A graduate of Temasek Polytechnic, he has a deep understanding of technical issues and business reality. He is innovative not only in design but also in product development, manufacturing and the use of materials; in business development and business models, including retailing and franchising; and in creative collaboration. Most recently, he started a design consultancy to help other companies in design. He has skilfully used marketing communication to build presence for his brands in a crowded marketplace. He and his work are regularly featured in international publications.

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WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Lim Wei Ling: That one should always observe, listen, learn, experience, explore, try out, adjust and keep an open mind. That it’s always important to begin every project by carefully examining the intricacies of human relationships and their unique space of interaction. Then, to delicately weave an environment that captures all these human sensitivities. It’s important to adopt, if you can, a neutral approach where the design elements are kept to the fundamental. By exploring the synergies between philosophical, intellectual and artistic interpretations, one can then create deeply intimate spaces imbued with colours and textures that help tell the story. JURY CITATION (2007) Visualise this – countless strands of spindly string with cans attached to the ends hang from batons in a stage performance played by 11 people. When one can is pulled upon, another can which is attached at the other end of the thread lifts up to reveal a special message.

The name implies that even though lives in the contemporary world seem to be determined by accidents, there is always an invisible inevitability behind them. This intensely abstract space filled with acute tensions, forces us to re-think the meaning of design in a metaphysical way.

The players seated on the stage wait patiently for the arrival of messages, delivered from the cans suspended amongst them. Performed in this fashion, the players start to build relationships with one another, through an intertwined network of accidents and inevitability. This installation-cum-performance is aptly named ‘A Map of Life’.

DESIGNER: Lim Wei Ling In collaboration with OVERALL CONCEPT & DIRECTION: Ong Kian Sin LIGHTS INSTALLATION: Lim Woan Wen SOUND ART: Darren Ng FOH INSTALLATION: Cecilia Chow DIRECTORS/ARTISTES/DESIGNERS OF ISLANDS AND INDIVIDUAL WORKS: Tan Wan Sze Lim Chin Huat Koh Leng Leng Doreen Toh Lee Yeong Wen Darren Ng Jo Kwek Lim Woan Wen PRODUCTION MANAGER: Cecilia Chow PRODUCER: The Finger Players

Text and Photos: Extracted from President’s Design Award 2007 Publication

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1 MOULMEIN RISE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Sim Choon Heok: The project aimed to create a more environmentally responsible building in a commercially speculative context of Singapore’s real estate environment. The design is important in that it shows that developer housing can be both environmentally innovative and yet celebrate diversity. In Singapore, certain elements of a building are exempt from development tax, but are saleable areas under the strata act. As a result of this situation, developers add elements such as bay windows, planters and air-conditioning ledges to increase their profitability of their projects. As designers, we made these elements useful by turning them into environmental devices like introducing monsoon windows into the bay windows.

ARCHITECT: WOHA Architects Pte Ltd Wong Mun Summ Richard Hassell Gerry Richardson Sim Choon Heok Punpong Wiwatkul Esther Soh Sabrina Foong Lisa Yun Lee Li Leng Timothy Tan Susan Tan OWNER: UOL Group Limited CIVIL & STRUCTURAL ENGINEER: Meinhardt (Singapore) Pte Ltd MECHANICAL & ELECTRICAL ENGINEER: Meinhardt (Singapore) Pte Ltd

JURY CITATION (2007) 1 Moulmein Rise is a highly accomplished building executed with finesse and sophistication. The clarity in thinking is evident in its planning and design, from the way the building engages the ground to its command of the skyline. Orientated north-south with a slim east-west elevation, the building offers impressive views from the apartments. Each façade is differentiated in response to climate. On the south elevation, traditional monsoon windows are re-interpreted as modern bay windows with perforated panels. On the north elevation, a rhythmic series of metal screens is used as sunshades and rain overhangs, which conceal services and fireescape staircases at the same time.

1 Moulmein Rise is immediately recognisable as a sophisticated design that sets an extremely high quality benchmark for future projects. Beyond its aesthetic appeal, the Jury also appreciates how the design is resolved holistically and in relation to its context. An example is the way the existing sloping terrain is used to create swimming pools in tiers. It serves as a good example of how intelligent architecture and urban design – carried through from concept to actual experience – can create excellent living spaces in high-rise residential towers.

QUANTITY SURVEYOR: KPK Quantity Surveyors (1995) Singapore Pte Ltd FIRE CONSULTANT: ABL Lim (FPC) Pte Ltd MAIN CONTRACTOR: Shining Construction Pte Ltd

Photos (clockwise from top left): Albert Lim K S; Tim Griffith; Tim Griffith

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6 SPECIAL EXHIBITIONS AT THE ASIAN CIVILISATIONS MUSEUM (EMPRESS PLACE) WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Sebastian Chun: My main objective was not to over-design the exhibitions. Socially responsible design is an attitude that emphasises the needs and experiences of people over concerns of form or aesthetics. It was therefore important to understand each exhibition’s learning objective and target audience. This allowed us to develop new channels of communication with stakeholders and to streamline the creative design processes. Through in-depth design research, we created a relevant design language for each exhibition that enhanced but did not overpower the content and display. This provided the public with a visual and learning experience that was interesting.

DESIGNER: Asian Civilisations Museum Sebastian Chun Ng Pei Kie Teng Yoke Kim LIGHTING AND LOGISTICS SUPPORT: Asian Civilisations Museum Alvin Lee Liang Meng

JURY CITATION (2006) The 6 Special Exhibitions at the Asian Civilisations Museum – Spirit of Wood, Sari to Sarong, From the Land of the Ottoman Sultans, Nyonya Kebaya, Journey of Faith, and Power Dressing – deftly cross-pollinate design and theatrical elements to provide viewers with a complete and immersive visual experience. Rather than tread the conventional path of transporting the visitor back into the past, the exhibitions employ the language of theatre to ‘float’ the visitor through a dreamlike panorama of images and evocative memories of the past. The exhibitions show consistent quality and attention to detail throughout, and elegantly utilise design to enhance the subject matter.

Photos: Sebastian Chun

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19 JALAN ELOK

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Chang Yong Ter: With landscape as the main setting for the spaces, this house offers a magical experience of being in an intimate relationship with nature. As city-dwellers and urbanites, most of us have lost this connection. This house demonstrates the possibilities and beauty of living with nature, even in an urban context. Besides a very stringent budget, one of the main challenges was to keep to the original design intent. The owner had been sceptical of this relatively unconventional house design and its outcome during site visits. A strong self-conviction of the design was necessary to earn the client’s trust and support.

JURY CITATION (2008) 19 Jalan Elok is a house designed in a bold and innovative manner. The three-storey intermediate terrace house is a clear manifestation of great collaboration between the client and the architect, and their combined commitment to good design. It demonstrates the potential for a new housing typology that is appropriate to a dense urban setting and Singapore’s tropical climate. Conceived as a three-dimensional landscaped installation where living spaces were then inserted, the house is both traditional and radical. With a central courtyard, its layout is almost conventional. At the same time, it breaks the norms in terms of the lifestyle it caters to, and in the way it is exposed to street-life. A visitor enters the house through the kitchen space and is greeted by a series of slender tree trunks that

ARCHITECT: CHANG Architects Chang Yong Ter OWNER: Richard Wong Clara Yue ENGINEER: DPC Consulting Engineers Er Lau Tung Ngiu LANDSCAPE: Zinco Singapore Pte Ltd Greenscape Pte Ltd FURNISHING: East Interior Pte Ltd IRRIGATION SYSTEM : Chistensen Irrigation Singapore Pte Ltd

penetrate through to the landscape deck above like an art installation that becomes the centrepiece of the space. Beyond the open kitchen, the lush green living space emerges, resembling the setting of a tropical rainforest. The huge retaining wall at the rear is cleverly transformed into a feature wall that allows rainwater to cascade through spaces in the house. On the upper levels, a series of rooms appears to float in a larger volume of space amidst the natural setting. The Jury applauds the boldness in the project’s design and execution. It is a clever attempt to create a contemporary living environment that truly responds to the climate by minimising dependence on air-conditioning. The house therefore sets new directions for landed housing in Singapore.

Photo: Albert Lim K S

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19 SUNSET PLACE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Yip Yuen Hong: To design a tropical house without a big roof. The new concrete shell covering the existing brick building protects inner spaces from sun and rain. The openings can now be enlarged to get more air and light while retaining the low scale of the surrounding area. It wasn’t easy convincing the client to use raw and rough concrete in a way that the external façade and texture blends with the landscape. But the clients accepted the proposal and the full potential of the design was realised. They were very happy, especially since maintenance is very minimal.

JURY CITATION (2012) 19 Sunset Place was created in response to the client’s desire to accommodate additional spaces whilst preserving the original brick house built in the 70s. The radical solution was to build an off-form board-marked concrete shell over the existing structure to generate new and interesting in-between spaces. The house is a simple abode with a pitched roof form, derived from the roof profile of the existing brick house. In its raw form, it recalls the naive sketch of a house drawn by a child. This elemental treatment of the house questions its typology: What is a house?

ARCHITECT: ip:li architects Yip Yuen Hong Matthew See Thanyaphat Sukhonthatam Koh Kai Li LANDSCAPE ARCHITECT: Tinderbox Landscape Studio Pte Ltd CLIENT: Liew Ling Lih STRUCTURAL ENGINEER: KKC Consultancy MECHANICAL & ELECTRICAL ENGINEER: PTP Engineers QUANTITY SURVEYOR: K H Lim Quantity

to their near flawless composition and execution. The building appears still and serene, but on closer inspection, it teems with excitement. The off-form concrete — with a timber texture to tone down raw concrete — will age with time and the deliberate placement of wild lalang on the porch roof evokes a rustic aesthetic.

SURVEYORS CONTRACTOR: Lifestyle Construction Pte Ltd

Architects have a pressing global challenge: to successfully integrate the new with the old, so that the history and quality of spaces and structures are enhanced. 19 Sunset Place is an intelligent and clear response to that challenge.

The Jury commends the exceptional integration of the old and new, resulting in an elegant solution to a difficult task. The architect has demonstrated remarkable sensitivity to the existing structure by introducing new elements to give new life to the old. His passion for his art is evident: from the painstaking sourcing of materials

Photos: Jeremy San

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26 CABLE ROAD

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Yip Yuen Hong: To re-interpret the typology of a Malay kampong house. We had a low budget so we had to monitor where and how to use the money. So we based the design on a rigid grid on the basis that simplicity can still be interesting and beautiful. Designing with a discipline grid created a simplicity that gave the contractors confidence and when that happens, the pricing invariably has no contingencies and the building is cheaper to build.

ARCHITECT: ip:li architects Yip Yuen Hong CLIENT: Mike Ho CONTRACTOR: QS Builders Pte Ltd ENGINEER: KKC Consultancy

JURY CITATION (2011) The design of the house at 26 Cable Road is an excellent example of modesty, economy and refined craftsmanship. The house reinterprets the best practices of tropical vernacular architecture in Southeast Asia, blending the traditional with more modern elements. The imaginative use of coated steel and timber materials complement each other, offering a rich, beautiful experience of the house that makes one feel entirely at home. The walls were designed with flexibility for movement, so as to open the house completely to its lush external environment. This creates a seamless flow of space from the garden to the interior, allowing the house and its occupants to fully embrace our local tropical climate in comfort and beauty.

Photos: Jeremy San

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1000 SINGAPORES – A MODEL OF THE COMPACT CIT Y

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Khoo Peng Beng: Design has the power to transform lives. Our responsibility as designers therefore must be to know life and to create without prejudice. Belinda Huang: We must learn to see from as many different vantage points as possible – to have vast concepts and then to have the thoughtfulness to translate our ideas into reality in great detail. Erik G L’Heureux: The designer works to envision, project, and sometimes challenge the community to move us into a new future. Florian Schaetz: We need to inform, communicate and return to the community a different perspective of home, and the complexity of our society. JURY CITATION (2011) ‘1000 Singapores – A Model of the Compact City’ addressed the theme of the 2010 International Architecture Exhibition (La Biennale di Venezia) which was ‘People meet in architecture’, and the Jury feels it was executed in a very Singaporean way. The design team understood from past experience that successful pavilions at Biennales were those that worked with a very singular idea. Following this observation, they developed a range of detailed concepts to showcase how Singapore’s urban life operates at many levels, from simple to complex. Using the traditional Singapore breeze-block as a building material, they created a pavilion that presented a range of ideas about living in Singapore and the country’s housing model as a paradigm for the world.

The choice of a linear model, which is a slice through Singapore, was a very original one that demonstrated the balance between development density and open spaces as a model for the city. It also incorporated the notion of community housing and sustainability. It explained that 83 percent of the public housing was built by the government, but owned by the people so that they felt a strong sense of ownership and took pride in their way of life. Additionally, the introduction of 1,000 postcards in the exhibition celebrated the ordinary life in this city. They were not tourist postcards, but were diverse, humorous, and full of humanity, and captured the essence of Singapore.

CURATORIAL AND DESIGN TEAM: Khoo Peng Beng Belinda Huang Associate Prof Erik G L’Heureux Assistant Prof Florian Schaetz DIAGRAMS AND CONCEPTS: ‘Exuberant Singapore’ Thesis Studio 2009/2010 Associate Prof Erik G L’Heureux Diong Fuhan Kenneth Koh Qibao Loo Bo Yan Ma Xiao Yang Han GRAPHIC DESIGN: H55 Hanson Ho WEBSITE DESIGN: Plate Interactive Pte Ltd Sean Lam Jason Chan ADDITIONAL DIAGRAMS AND PHOTOS: Owen Lam Prime Tambayong Wong Rouwan WITH ASSISTANCE FROM: Lee Huilian Chen Kian Wee Chen Yanyi Kao Shu Lian Konnie Quek Li-En Wu Huei Siang Tan Yong Shen Duc Duy Ngyuyen Hoang COLOUR PHOTOGRAPHS: Jing Quek COMMISSIONED BY: DesignSingapore Council Singapore Institute of Architects CONTRACTOR: Kingsmen Exhibits Pte Ltd

Photos: Jing Quek

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A GUIDE TO THE FLORA AND FAUNA OF THE WORLD

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Hanson Ho: Presenting the diverse content as a single publication. This was resolved by placing everything in an ‘archival box’, and implementing several visual systems. I was also mindful that our design should not be overly intrusive and distract the reader from the artwork, while having sufficient design intervention.

DESIGNER: H55 Hanson Ho Stephanie Ng In collaboration with: PHOTOGRAPHER/ARTIST Institute Of Critical Zoologists Robert Zhao Renhui EDITOR: Adeline Chia PRINTER: Dominie Press Junny Saw

JURY CITATION (2014) A highly promising collaboration between 2012 Designer of the Year recipient Hanson Ho of H55, and 2010 Young Artist Award winner Robert Zhao Renhui has resulted in an absolutely engaging, intriguing and, at times, mind-boggling design masterpiece. The complexity of the artist’s work, a fictitious science journal for the fictitious Institute of Critical Zoologists, is wonderfully presented through an archival box. The latter comprises loose sheets of photographs with supporting documents that explore the myriad ways in which human intervention in science and nature has caused creatures and life forms to evolve in often unexpected ways in order to cope with the stresses and pressures of an altered world.

Hanson’s design direction appropriates diagrammatic charts, computer programming language and old software interfaces, and juxtaposes these with Robert’s images to suggest the human race’s use of technology and data analyses to control nature. The work embodies aesthetic and intellectual originality, as well as achievements in both design and art. It is a testament to the unexpected possibilities of cross-disciplinary collaboration that has created a product that is greater than the sum of its collaborative parts.

Photos: Caleb Ming

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AIR+ SMART MASKS AND MICRO VENTILATORS

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Jerome Lee: I don’t think that the designer should design something just for the sake of designing. His works should, instead, be an amalgam of functional practicality and aesthetic presence. By aesthetic presence, I don’t simply mean something that looks nice, but that it should encompass the culture and thoughts of the age and the community. This quality is the hallmark of a designer, and it differentiates him from other professions.

DESIGNER: Innosparks Pte Ltd Jerome Lee Gareth Tang Fong Saik Hay Karl Erik Birgersson Daniel Tan Steven Sak Li Fuyun Lin Jin-Jyr Natalie Lin INDUSTRIAL DESIGNER: STUCK Design Pte Ltd Donn Koh Lim Chi Yong Lee Tze Ming Yong Jieyu Ng Xin Nie Cheng Siew Ming

JURY CITATION (2015) The AIR + Smart Mask is truly an innovation brought to life through advanced engineering ingenuity and intuitive industrial design. The task was simple: to challenge the status quo by engineering a protective mask that delivers protection without compromising comfort. Users can choose from three mask sizes, as well as two types of detachable ventilators to suit individual requirements. Lateral thinking, a spirit of invention and a rigorous design process informed every aspect of the design. The result is an utterly convincing product. The fact that it is a collaboration between Innosparks, a subsidiary of ST Engineering, and STUCK, a home-grown design practice, is all the more significant since the commercial possibility of this product has the potential to extend beyond Singapore.

Photos: Innosparks Pte Ltd

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ARCHITECT’S OFFICE AT KIM YAM ROAD

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Lim Koon Park: There were two fundamental challenges. The first was working out how to introduce distinct character and interest into a series of traditional office spaces without being contrived and gimmicky. We treated each space as a mini-commission and created a series of experiential journeys, each of which demonstrated our design philosophy. The second challenge involved the introduction of modern necessities of an office into an old structure, while preserving its inherent charm. Our solution organised the exposed mechanical services in a rational and visually neutral way.

DESIGNER: Park + Associates Pte Ltd Lim Koon Park Christina Thean Roberto Felix Juan Limbaga Nuntawat Tasanasangsoon Molina Hun MAIN CONTRACTOR & ELECTRICAL ENGINEER: Crystallite Construction & Engineering Pte Ltd MECHANICAL ENGINEER: PCA Consulting Engineers STEEL SUB-CONTRACTOR: Luen Soon Iron Works SUB-CONTRACTOR: QS Builders Pte Ltd

JURY CITATION (2015) The vaulted ceiling, part of an existing structure in a former school built in the 1960s, is emphasised and punctuated with black steel forms. This makes for a remarkable office for architecture firm, Park + Associates. The design also establishes the firm’s signature design expression: specific, refined, elegant. The visitor is surprised by the unconventional sequence of spaces. One first enters into a chamber where the staff gathers or meets to share a meal – the intent emphasises the focus on community and the Singaporean love of food. In the studio beyond, the barrel-vaulted ceilings with up-lighting deliver a softly lit effect into the heart of the workspace to create a calm and serene setting.

Photos: Edward Hendricks

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BARTLE BOGLE HEGART Y OFFICE (SHANGHAI)

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Chris Lee: Our task was to redesign and integrate different departments of the agency into a new space. Through our design, we had to demonstrate the values of the agency and to create a space in which an internal culture could develop. Seamlessly fitting different functions of the office into the space was crucial. We found a language that was bold, playful and edgy. The result was a two-storey building with its walls torn down to reveal the different themes of the rooms – there was a kitchen, a living room, a bedroom and a bathroom.

JURY CITATION (2010) A setting not in new Shanghai but embedded in the old city fabric provided the starting point for this building fit-out. The brief was to provide a new office for a creative agency that “was edgy, conducive to creativity and tinged with fun… and a catalyst for social commentary”. The resulting space has a raw and always-under-construction design language that echoes the city’s mood, and which stands at ease with the creative surrounding.

DESIGNER: Asylum Creative Pte Ltd Chris Lee Cherin Tan Cara Ang Ng Chee Yong CLIENT: Bartle Bogle Hegarty (Shanghai)

The synthesis of unfinished wood with industrial elements such as raw concrete, exposed beams and fluorescent lights emphasises the industrial rawness of the interior. The inherent differences between the bursts of colour and design in the austere backdrop serve to start a dialogue born from the design language, one that turns the Bartle Bogle Hegarty Office (Shanghai) into a platform for social commentary.

The design combines an amusing and thoughtful commentary on the demolition of old Shanghai as a backdrop to the activities of the advertising agency. It is the state of flux experienced by the city that then becomes the metaphor for the nature of the agency’s activities.

Photos: CLIQ Photography

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BBH OFFICE IN A WAREHOUSE

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Colin Seah: It was that complex problems are often best solved with elegant and simple solutions. The client’s brief was to create a collective space that would unify an entire office, and yet allow for distinctly private creative zones. As such, we worked on understanding the client deeply, especially in how each segment in the office worked.

JURY CITATION (2008) The BBH office is a huge office that used to be an old warehouse. The most striking thing about the project that has impressed the Jury most is how the designer followed the client’s brief closely and delivered results that exceeded expectations. From the brilliant application of colour to the material used, the space is conducive to effective workflow, and the design is of exceptional quality. Every corner of the office has been thoughtfully considered and exquisitely executed. The designer complements the simplicity and functionality of the space with excellent spatial development in the form of an intriguing modulation of enclosures that function as work and meeting rooms.

DESIGNER: Ministry of Design Pte Ltd Colin Seah Kevin Leong Chong Xiaoran CLIENT: Bartle Bogle Hegarty John Hadfield

The design of the office radiates an aura of being a great place to be in, and a wonderful place to work in. It also projects a light-hearted and relaxed ambience, which is especially important for an advertising agency like BBH. The Jury unanimously agrees that the designer delivered the brief beautifully.

Photos: Ministry of Design Pte Ltd

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BEING TOGETHER: FAMILY & PORTRAITS – PHOTOGRAPHING WITH JOHN CLANG

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Crystal Chu: Content is extremely important to the development of any design. When content has an emotive element, the journey of the audience is heightened. The use of positive and negative spaces also provides them with space to engage and reflect. John Clang: I learnt that all limitations and restrictions can be overcome if you keep your mind open. As an artist myself, the main challenge is to collaborate with other designers whilst ensuring that my points of view are understood. Also, design for the sake of designing is not my thing – it needs to have a function, to resonate with the audience. JURY CITATION (2013) This collaborative project between the artist, designers and curator, is noteworthy for the dimensional expression of narrative through photography and space. The exhibition explores the theme of the family, the central building block of Singaporean society, by looking at Singaporeans’ sense of identity, rootedness and connection to their families, despite being separated from one another in an increasingly globalised world.

DESIGNER: Kingsmen Exhibits Pte Ltd Brett Cameron Thomas Morris Crystal Chu In collaboration with: Clang Photography, Inc John Clang CURATOR: National Museum of Singapore Szan Tan

In the centre core, a white cubed room is constructed to contrast the diaspora conditions documented in the Being Together series outside. Inside, The Moment series focuses on families situated in a country.

Fragmented, slanted walls in a dark environment were used to reinforce the underlying dynamic time and space distortion demonstrated in the works. It’s about familial bonding and yearning, people and their stories. The simple, minimalist approach to design heightens and enhances the emotional and intimate part of the story in a way that allows the audience to contemplate their own personal history and experience.

Photos: Kingsmen Exhibits Pte Ltd

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BISHANANG MO KIO PARK

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Leonard Ng: Having to juggle all the different needs of aesthetics, safety and functionality. Safety was a big concern and it had to be dealt with extensively and thoroughly. The hydraulic performance of the river had to be complied with, and this affected the design of the park and planting.

DESIGNER: Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Herbert Dreiseitl Tobias Baur Leonard Ng Stefan Brueckmann Hendrik Prost CLIENTS: Public Utilities Board National Parks Board ENGINEER: CH2M Hill BIOENGINEERING SPECIALIST: Geitz & Partners HORTICULTURALIST: Uvaria Tide

JURY CITATION (2012) With political leadership and committed designers, a significant new physical and social environment has taken shape in the Bishan-Ang Mo Kio Park, enhancing the lives of the community living around it. The design team has transformed a storm water canal that had separated residents from an existing park into an outstanding new facility for users, young and old.

CONTRACTOR: Chye Joo Construction Pte Ltd

Through years of research and development by a team of dedicated on-site landscape architects, a soil bioengineering technique was devised to ensure that the riverbank does not erode and is safe for communal use. In successfully resolving a series of interrelated challenges, the design fosters in Singaporeans a confident attitude towards water and its uses. The project has a potential to influence, and be replicated in, the region.

Photos: Ramboll Studio Dreiseitl

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BISHAN COMMUNIT Y LIBRARY

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Look Boon Gee: Our main objective was to celebrate architecture as an all-inclusive, egalitarian platform for the people. After all, architecture has an important social role to play in the digital age, and it has the power to (re)shape public perceptions of cultural institutions. In this case, a public library has a unique function in contemporary society – here, learning takes precedence over consumerism. Preserving the personal touch in the experience of visiting the library was an important element in the design.

ARCHITECT: LOOK Architects Pte Ltd Look Boon Gee Ng Sor Hiang Lim Eng Kwee Ng Jia Hui Esther Yong Tinjein OWNER: National Library Board CIVIL & STRUCTURAL ENGINEER: Meinhardt (Singapore) Pte Ltd MECHANICAL & ELECTRICAL ENGINEER: Meinhardt (Singapore) Pte Ltd QUANTITY SURVEYOR: BEC Consultants

JURY CITATION (2007) As a recent addition to a public housing estate, the Bishan Community Library has rapidly grown to become a symbolic centre of the community that has impacted positively on local life and the streetscape. With a modest budget and programme, the library appears to be a simple building, but there is a high concentration of delightful details that demonstrate virtuosity and commitment to good design. A clear solution of projecting glass boxes is deployed on its main façade, and by extending these boxes from outside into the ramped internal street, a feeling of continuity is created. When one makes a transition from the entrance to the bookshelves, the promenade evokes a quiet sense of drama, space and volume. In terms of building orientation and façade treatment, the design also takes environmental considerations into account. The east and west walls are given a more opaque treatment, with services located at, and shielded by, the west wall.

Attention is consistently given to details such as the semi-public/private spaces for reading, splayed treatment of the east wall windows, and in the graphics and carpets. Through the clever choice of colours and furnishings, the design creates a cheerful environment and engages users across all ages, effectively making a particularly distinctive public building with a few deceptively simple devices.

MAIN CONTRACTOR: Sunhuan Construction Pte Ltd LANDSCAPE/INTERIOR DESIGNER: LOOK Architects Pte Ltd

The Jury applauds the design for fulfilling its promise of being a community building in every way.

Photo: Patrick Bingham-Hall

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BLACK FOREST TABLE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Outofstock: The table was inspired by our childhood memories – when we were young and we used to play with fallen tree branches we found on the forest floor. The idea was to bring back this memory and to communicate the beauty of nature through a piece of furniture.

DESIGNER: Outofstock Wendy Chua Gabriel Tan Sebastian Alberdi Gustavo Maggio CLIENT: Ligne Roset PROTOTYPE CRAFTSMAN: Yi Chang Furniture

JURY CITATION (2010) The designers of Outofstock have created this visually memorable piece of furniture with a light touch. Their inspiration from natural elements like ink droplets and branches are alluded to, but not over-laboured. Their nod to these initial starting points is just sufficient to create the table’s unique visual identity. It consists of interlocking Y-shaped wooden branches that form three points of contact with the floor, and three points of contact with the steel-faced tabletop. The organic contours of these branches act in counterpoint to the droplet-shaped polished stainless steel table surface.

none. Similarly, the tops of the branches seem to lightly touch the underside of the table surface. Here again, hidden fixings between the branches and the tabletop enable a solid connection between the two. The simplicity and subtlety of design attest to the designers’ sureness of hand and well-formed understanding of the commercial value in furniture. The subtle introduction of craft in the context of mass production could point to a future path in modern furniture design.

The physical and visual fulcrum is in the interlocked branches. The branches touch but not at the elbow of each piece, thus leaving a gap where one thinks there should be a solid connection. Hidden fixings facilitate this visual illusion, enabling stability where one thinks there is Photo: Outofstock

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THE BROWSING COPY PROJECT

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Roy Poh: Besides learning about the process of discarding unsold books, it was also interesting to see how different designers from different fields – such as graphic design, interior design, product design, the arts and so on – approached this project. For example, illustrators would add their drawing skills into the content, but a product designer would turn the book into another object. Also, I learnt that it is never easy working with so many good designers from around the world. They were doing me a favour with their wonderful contributions, so it was a bit stressful as I was constantly reminding myself not to let them down.

DESIGNER: A Beautiful Design Roy Poh PHOTOGRAPHER: VisualMind LLP WEB PARTNER: Studio Roots

JURY CITATION (2012) The Browsing Copy Project is an exceptional initiative that was originally developed to save the books discarded by bookstores. Engaging other creative individuals to participate in the project is a part of its ingenuity. More than simply an exercise in print design layout, the project pulls together and builds a global fraternity of designers, illustrators and artists. The Browsing Copy Project demonstrates design quality of the highest standard.

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BUCCANEER 3D PRINTER

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Tsang You Jun: It had to put a non-technical user at ease and be small enough to fit in a confined space. These elements were shaped by our philosophy that safety, pleasure and aesthetics are fundamental to design. Anything we design must be safe and not cause injury; it must be simple and accessible to a large user base; and it must be delightful and calming, and make life more pleasant. Brendan Goh: To create an aesthetic that would appear professional, yet be friendly to consumers new to 3D printing. It needed to look as though it belonged on their desks, unlike most 3D printers which look like hobby kits. JURY CITATION (2014) This is a low-cost, desktop 3D printer that started as a project on the crowd-funding platform Kickstarter. Purposeful in their design approach, the designers have managed to conceal complex electronics within a minimalist design aesthetic that is perfectly suited to a domestic environment. The interior component layout has been carefully considered with a clever arrangement of the cooling system to optimise footprint and functionality. The designers analysed many of the challenges found in existing 3D printers and identified safety as a key priority. This led to the development of a patented material that is used to house the printed object, and an innovative lowering platform that houses the 3D printed object as it is being printed. The feature also results in the user not having to calibrate the printer each time it is used.

DESIGNER: Pirate3DP Pte Ltd Tsang You Jun Brendan Goh Neo Kok Beng Chang Wai Kit Roger Lee Yun Yi Feng Xuming PROCESS DESIGN: REI PromaxTechnologies Pte Ltd Hein Henry NSP Tech Pte Ltd Lum Joseph ADVISOR: The Institution of Engineers Singapore Tan Shu Min Emily

The designers exceeded their US$100,000 target by raising US$1.4m, an amount that indicates a strong market appeal for a product in this segment. The Jury praises the holistic approach to the process of designing the product, which included a specially designed software application that allows users to create designs and upload them to a platform where they can be printed directly from a smart device. The Jury is particularly impressed by the potential of the project.

Photos: Tsang You Jun

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BUILDING AS A BODY

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN AND HOW DID YOU RESOLVE THEM?

Grace Tan & Randy Chan: Commissioned by the Singapore Art Museum, this project was the result of conversations between an architect and an artist investigating the history, function and presence of The Substation as a key arts institution and national icon. As a conserved heritage building, the construction and design of the installation had to consider methods that would not damage the building. Likewise, extra care was taken by the crew during installation. More importantly, the installation had to convey the team’s artistic expression while reflecting the memories of the building and the individuals related to it.

DESIGNER: kwodrent Grace Tan In collaboration with ARCHITECT: Zarch Collaboratives Pte Ltd Randy Chan COMMISSIONED BY: Singapore Art Museum (In collaboration with The Substation) CONTRACTOR: Alpha Construction Engineering Pte Ltd

JURY CITATION (2012) With stylish visual impact, Building As A Body transformed the façade of the arts venue, The Substation, on Armenian Street. The extraordinary act of subversion by intervention changed the way art and architecture are viewed in relation to the historical street. An architect and a fashion designer collaborated on the project. Working around building conservation regulations, the duo cleverly executed their idea in an inexpensive yet effective way. They explored materials and assembly methods on a limited budget. The results have impressed the Jury. This approach to design has the potential to influence and inspire further dialogue between existing buildings and temporary façades.

Photos: Jeremy San

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THE CATERPILLAR’S COVE CHILD DEVELOPMENT AND STUDY CENTRE

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Ong Ker-Shing: It is to show the community a very simple idea – that the built environment, and the objects and spaces within it, can always be imagined in other, sometimes better, ways. Designers are best equipped to demonstrate this idea, and it is a crucial belief for a dynamic society. Joshua Comaroff: Never condescend to our users or clients. In the course of this design, we rediscovered a basic notion – that the user is a co-designer. He or she will ‘complete’ our work, so we have to respect their intelligence and input. The space for Caterpillar’s Cove only came alive when the teachers and students were there, living with it.

JURY CITATION (2015) This compelling space, in which the environment is the ‘third teacher’*, demonstrates a thorough understanding of early childhood development. Its learning landscape – intended to serve multiple school groups with diverse activities being taught in parallel – is created within a dense and restricted architectural environment. The project represents a great example of the value and potential of well-designed educational spaces. Terraced seating clusters shift the learning and storytelling activities into a less formal posture – specifically, one that is aligned with the time devoted to the process as well as the attention span of young learners. The space supports the dynamic nature of the ‘work’ the students engage in, and allows it to be owned by the students. Parents can observe and follow a strict ritual of arrival and departure of the students.

DESIGNER: Lekker Architects Pte Ltd Ong Ker-Shing Joshua Comaroff Germain Goh Hui Mei Yee Hui Xian Chen Shunann Harry Lam Valerie Guo CLIENT: The Caterpillarʼs Cove Child Development and Study Centre Geraldine Teo-Zuzarte Cynthia Tan

This project truly represents a new generation of childcare centres that incorporates a human touch, and gives hope for future generations. * With parents being the ‘first teachers’ and school educators, the second, the term ‘third teacher’ expresses the deep impact and value a learning space can have on learning and education.

Photos: Darren Soh

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CHURCH OF ST MARY OF THE ANGELS

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Alina Yeo: Listen first and listen well. In this case, we were not familiar with Catholic liturgy, so it helped to drop all preconceived notions and to go back to first principles. We asked: What does the church want to be, who does it serve, how can the spaces facilitate the activities and rituals that happen within it, what budget is available? Understanding all of these influences required us to carefully listen to the needs and aspirations of the end-users, and to create innovative solutions that addressed the realities of our climate and the uniqueness of our culture.

ARCHITECT: WOHA Architects Pte Ltd Wong Mun Summ Richard Hassell Esther Soh Sim Choon Heok Alina Yeo Puiphai Khunawat Punpong Wiwatkul Phyllis Chua Janita Han Lee Li Leng Gerry Richardson OWNER: Franciscans, Order of Friars Minor, Custody of St Mary CIVIL & STRUCTURAL ENGINEER: Worley Parsons Pte Ltd Adrian Billinghurst

JURY CITATION (2006) The Church of St Mary of the Angels demonstrates the depth and richness embedded in architecture and urban design, regardless of the physical size. Central to the project is the idea of building a community in relation to its surroundings, in a way that infuses the experience of space, light and nature with spiritual and social significance.

MECHANICAL & ELECTRICAL ENGINEER: AE&T Consultants Andrew Tang QUANTITY SURVEYOR: A. Peter Tan Associates Pte Ltd Peter Tan BUILDING CONTRACTOR: Soil Build Pte Ltd Lim Chap Huat

Although the material palette is muted, the design is never too austere, allowing flexibility for secular or social activities in the central plaza. At the detailed level, the design displays an in-depth understanding of the individual’s need for both a corporeal and incorporeal inner sanctum.

INTERIOR CONTRACTOR: Shanghai Chong Kee Furniture & Construction Pte Ltd K H Tan

The Jury appreciates how the design draws deeply from early liturgy and traditions, yet proves to be one of the most forward-looking, nuanced expressions of our modern times, context and climate.

Photos: Tim Griffith

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DECK – PEOPLE, PLACE, PHOTOGRAPHY

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Ho Tzu Yin: The project is an excellent example of a private initiative, an independent art-space. With a construction methodology that is markedly different from traditional techniques of construction, we’ve found it to be a positive expression of how clients, designers and contractors can collaborate effectively by capitalising on each other’s unique strengths and bring about good design solutions.

DESIGNER: LAUD Architects Pte Ltd Ho Tzu Yin Joseph Lau Melvin Tan Toh Minghui Benjamin Yeo Pichan Vatanotai Cherie Zabala Carino ENGINEER: Auston Consulting Engineers Tang Ing Hua MAIN CONTRACTOR: Tong Hai Yang Construction Pte Ltd Lim Wei Ping CONTAINER SPECIALIST: TA Asia Albert Koh

JURY CITATION (2015) This project uses de-commissioned shipping containers. These are not an unusual resource in the Jury’s view, but they have been developed with a skill rarely seen in temporary structures. The site is an urban gap, essentially a no-man’s-land. DECK is an architectural intervention with a lively vibe that actively links two neighbouring art schools. The interiors deliver dynamic spaces comprising galleries, a photography studio, and a resource library. The exterior is configured into multiple zones that further animate the overall structure. Overall, the project exudes a quality of space that few other temporary structures have achieved. Its very existence demonstrates innovation and resourcefulness in surmounting the problems of land scarcity and high leasing cost in Singapore. For its exceptional execution and clarity of vision, the Jury is unanimous in awarding Design of the Year to DECK. Photos: Daniel Swee

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DELL 966 ALL-IN-ONE PHOTO PRINTER

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Chan Wai Lim: As a designer, we must always be positive and sensitive to social changes. We have a responsibility to improve lives, by providing purposeful and sustainable solutions that benefit the user, the brand, and the environment. To that end, we need to constantly rethink, innovate, connect with the user, and educate society on the value of a good design experience.

DESIGNER: Dell Global BV (Singapore Branch) Dell Experience Design Group Michael Ellis Smith Kuoyong Huang Steve Gluskoter Lee Leong Chye Ken Ding Tan Lun Cheak Chan Wai Lim Ken Musgrave Nicole Proulx Drin Duvall Corinna Liao CLIENT/BRAND: Dell

JURY CITATION (2007) The great majority of design is not radical innovation involving technological breakthrough or new venture entrepreneurship. Rather, it involves the continuous, incremental improvement of existing products. The Dell 966 All-in-One Scanner/ Copier/Fax/Photo Printer uses design to elegantly refine a familiar product genre of electronic business equipment. This is part of Dell’s strategy to move away from re-badging products purchased from other suppliers and towards asserting its own distinctive Dell-design brand identity. Aimed at the small home office, the 966’s design language conveys precision, reliability and usability. Particular attention is given to user interface interaction design, including fast ‘out-of-the-box’ set-up time, colour-coded touch points, a simplified control panel, universal icons, a tilting display screen to combat glare, and

easy service accessibility. Design for recyclability is also optimised. Most multi-function printers resemble mash-ups of disparate electronic and electro-mechanical parts, and look unsightly especially when they include an automatic document feeder. The 966 accomplishes the difficult task of integrating it all into a simplified, coherent, crisply detailed, minimum footprint design statement that is more akin to a consumer appliance than a piece of office equipment. Its sleek appearance and multi-purpose features make the Dell 966 All-in-One Photo Printer a cut above the rest.

Photo: Dell Global BV (Singapore Branch), Experience Design Group

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DELL ALL-IN-ONE DESKTOP PC FAMILY

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Chan Wai Lim: To infuse design values through the product. To do this, we had to thoroughly understand the users, their environment, pain points, habits, and to identify opportunities. A global user insight research and design validation programme informed the final design â&#x20AC;&#x201C; the goal was to enhance productivity and ergonomics. Yong Khang Chian: To design a solution that enhanced productivity while saving space and creating a clutter-free environment. The design needed to purposefully communicate the key attributes of lightweight and thinness. It also needed to address the needs of the different users. In other words, we needed a design that was ideal for the home and small office. JURY CITATION (2012) The Dell All-In-One Desktop PC Family shows the effectiveness and value of high quality industrial design for mass-produced consumer products. The Jury recognises the enormous difficulties the Dell team faced in creating a product that matches the competition on quality, performance and design, but which can sell at a more affordable price. The design resolution is thoughtful and detailed. This is demonstrated by the context sensitive touch keys, camera-lock, and discreet ventilation. The power switch is perfectly placed at the centre and the stand that supports the computer is simple, but well engineered. The combination provides finger touch adjustability when required, and stability in regular use. And the aluminium back of the product is

resolved with solutions for effective but discreet cable management.

DESIGNERS: Dell Global BV (Singapore Branch) Dell Experience Design Group Chan Wai Lim Yong Khang Chian Mark Chan Lee Leong Chye Kenneth Ding Yin Hean Greg Breinholt Etienne Thetard Celia Law Erene Teo Tan Lun Cheak Darren Lin Joyce Lu Tay Yan Bing Shamindri Perera Dell Austin Design Centre Mike Morten Ed Boyd Joe Jasinski Michael Ellis Paula Cox INDUSTRIAL DESIGN: Minimal Inc

The hard work, imagination and sheer craft of in-house designers around the world, who bring passion and creativity to that most difficult task of delivering great design at an affordable price, is rarely acknowledged by design competitions. This award does just that by recognising the issues the design team had to overcome in order to deliver a fine piece of industrial design while, at the same time, keeping costs down, and so making it accessible to many more people.

Photos: Dell Global BV (Singapore Branch), Experience Design Group

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DELL INSPIRON 23: ALL-IN-ONE PC

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Chan Wai Lim: A designer’s role is not only to create aesthetics, but also to enhance the user experience. So, we re-designed the form and system architecture to address what we felt were the user’s changing needs. The stand, for instance, has an arm with two hinge points that enable the thin screen to fold at different angles for comfort and ergonomics.

DESIGNER: Dell Global BV (Singapore Branch) Dell Experience Design Group Chan Wai Lim Yong Khang Chian James Hallar

Yong Khang Chian: One challenge was how to make the PC even thinner and easier to use than the previous generation. To achieve this, instead of designing a conventional computer, the team moved the motherboard to the base of the stand, and re-designed the form, the system architecture and the connectivity port layout. JURY CITATION (2013) Great companies that invest in, and have a commitment to, design consistently win awards. Dell is such a company and its Singaporean design team, which won with an All-In-One PC last year, has again created an exceptionally crafted solution to win Design of the Year for the second year running. The Dell Inspiron 23, unlike last year’s business product, is targeted at home users seeking a minimal footprint for more desk space as well as a product that keeps their desk free of clutter and that is, most critically, affordably priced. Its touchscreen interface requires the thinnest possible screen, so the motherboard was moved to the base. And this, combined with a new kinetic movement, allows it to be brought to the horizontal,

a particularly nice touch for activities like gaming between two people. The Jury loves the emotional ergonomics of the barely noticeable but cleverly designed mechanism which prevents the bottom of the screen from clashing with the base. The support arm structure is in aluminium for robustness, and it conceals wiring without compromising assembly. The base, with its associated electronics and clutter inducing ports, is housed under an aluminium pressing of great quality which, with its micro perforated speaker grille, was extremely challenging to realise, but which yielded significant cost savings. The Jury cites the Dell Inspiron 23 as an exceptional example of the professional industrial designer’s skill and craft for a mass-produced consumer product.

Photos: Dell Global BV (Singapore Branch), Experience Design Group

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DITA, THE ANSWER EARPHONES

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Danny Tan: We wanted to build and design an aesthetically pleasing product that performed at the highest standards. Given our resources, the design had to be simple, easy to use, and durable, but belie its technical achievements. Maintaining a critical seal between the ear-canal and the earphone was essential to the kind of sound quality we wanted. Most earphones on the market provide a seal upon insertion, but the seal and sitting position are lost quickly. We had to engineer the product’s centre of gravity to be as close as possible to the ear, so that its position would be naturally secure. JURY CITATION (2015) The designer, Project Perfection, is commendably undaunted by the crowded market for earphones. Its design team has created a product that is not just meticulously designed and uncompromising in its detailing, it is also a worthy addition to this homegrown brand’s growing reputation. The team’s passionate attention to detail is accompanied by a profound understanding of how technical and design details can enhance the user’s experience. This is evidenced by the choice of T6061 aluminium as the chassis for the speakers, the etching of the logo onto the housing, the angled nozzle for the earpiece, the thickness of the cables that lead from the housing, the step detail at the end of the plug, the nub detail on the left earphone, the sliding chin stop, and the output jack position in the aircraft adaptor.

DESIGNER: Project Perfection Pte Ltd (Dita Audio) Danny Tan Desmond Tan Darren Goh

All touch-points of the user experience have been considered, especially the oversized box that lays out the components in a beautifully graphic way, and the accompanying tote bag. Last but not least, judging by the effusive praise in consumer reviews and blogs, the all-important sound quality of the Dita, The Answer Earphones achieves the same level of excellence as the design.

Photos: Dita

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DYSON DIGITAL MOTOR

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

James Dyson: We wanted to create a new kind of motor that was efficient, light and durable. Conventional motors tend to be big and clumsy with copper windings and carbon brushes that wear out and need replacing. They create lots of heat and waste energy. Since the Dyson Digital Motor V2 won the Design of the Year award in 2011, our engineers have created a leaner and meaner machine. Using digital pulse technology, the V6 spins at up to 110,000 times a minute. It is small and power-efficient, weighing just 218 grams while generating 425 watts of power.

JURY CITATION (2011) The Dyson Digital Motor, a single component within a larger entity, would not normally be considered for this award as it is entirely about brilliant design for manufacture. However, the resolution is so competent that the Jury has made an exception. The Singapore-based engineering design office of UK manufacturer, Dyson, took the existing concept of a high-speed, digital motor/turbine assembly, and created a device that is way ahead of its competition.

DESIGNER: Dyson James Dyson Singapore and UK Motors Team

The considerable weight, material and volume reduction over its predecessor is linked to a 30 percent increase in turbine speed, and demonstrates world-class Singaporean core competences at work. The Jury is refreshed by the presence of a totally manufactured solution in a field of generally less resolved concepts and prototypes.

Photos: Dyson

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ESPLANADE – THEATRES ON THE BAY

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Koh Seow Chuan: The Esplanade was built in the heart of an Asian city evolving into a cultural nerve centre for the region. The design responds to this urban setting. We tried to reconcile the inherent contradictions between three elements: the magnificent views, the hot sun, and the efficiency in airconditioning. The solution we evolved uses glass shells around the foyers of the two major performing venues shaded by a unique system of sunshades. The sunshades are arranged on an organic mesh pattern that evokes the geometry in nature as well as in Asian traditions of craft and art.

Michael Wilford & Partners Michael Wilford Russell Bevington David Turnbull CLIENT: Ministry of Information, Communications and the Arts (Now known as Ministry of Communications and Information) END USER: The Esplanade Company Limited

JURY CITATION (2006) The Esplanade Theatres rise up to the urban design challenge of creating a 360º building with no true rear or backyard, thus fully addressing the waterfront and the surrounding developments in the Marina Bay area and the Civic District.

THEATRE CONSULTANT: Theatre Project Consultants, UK ACOUSTIC CONSULTANT: Artec Consultants Inc, New York PIPE ORGAN BUILDER: Johannes Klais Orgelbau GmbH & Co KG CIVIL & STRUCTURAL, MECHANICAL & ELECTRICAL ENGINEERS & QUANTITY SURVEYOR: Public Works Department (Now known as CPG Consultants Pte Ltd)

The Jury commends the Esplanade’s exemplary provision of public spaces to encourage vibrant activities and technical dexterity through its seamless transition from the outside to inside. With its distinctive roof, the Esplanade Theatres emerge from the foreground of Marina Bay as a contemporary icon, anchoring the northwest corner of the waterfront with a sweeping view of the bay. It has also placed a high value on achieving superb acoustic performance.

PROJECT MANAGEMENT: Public Works Department (Now known as CPG Consultants Pte Ltd) INTERIOR DESIGN: DP Design Pte Ltd Gan Eng Oon Lydia Fong Kwan Moh Yin LANDSCAPE DESIGN: ACLA Pte Ltd CLADDING CONSULTANT: Atelier One, London

The Esplanade Theatres have grown to become a talking point for Singaporeans and visitors alike and is one of the most recognisable icons of Singapore.

ENVIRONMENT ENGINEERING: Atelier Ten Consulting Engineers, London LIGHTING CONSULTANT: Bo Steiber Lighting Design Consultancy MAIN CONTRACTOR: Penta Ocean Construction Pte Ltd

Photos: DP Architects Pte Ltd

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ARCHITECTS: DP Architects Pte Ltd Koh Seow Chuan Gan Eng Oon Vikas Gore Steven Gan Cheang Mei Ling Ti Lian Seng Chin Thoe Chong

SPECIALIST CLADDING CONTRACTOR: Mero Systeme GmbH & Co 147

DESIGN OF T HE YEAR

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EUBIQ POWER OUTLET SYSTEM

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Yong Choon: Our goal was to create an innovative system in which users are able to add, remove and reposition power outlets anywhere along a streamlined track with a simple push and turn. The toughest aspect of the venture was to create a complete system, and not just a product, that had the potential to become a global platform. This platform had to be so easy to use that people across all industries and countries would welcome it without any hesitation because of its strong fundamentals. This was in line with our philosophy of creating products that are simple, functional, desirable and intuitive to use. JURY CITATION (2008) The Eubiq Power Outlet System is a superb example of Singaporean entrepreneurship that has been combined with technological innovation, rigorous design methodology and aesthetic elegance to create a product of global significance. By combining the best practices of vision, innovation, design and scalable commercialisation, Eubiq innovates the way people plug into power. The traditional power socket has not changed in the hundred years since its invention. Instead of the archaic method of deciding where to install wall sockets, threading wiring through walls, repairing and replacing parts, Eubiq’s imaginative system of universal sockets plug in with a simple push and turn anywhere along a streamlined rubber and metal raceway. The system becomes part of the architectural infrastructure, or a component of workstation panels or furniture.

DESIGNER: Eubiq Pte Ltd Yong Choon Chaw Keat Hoe Low Yeow Siang Ang Yau Fei

Developed from scratch in Singapore, the system is now sold on the international market. The company has also adopted an inclusive business strategy and model, offering partnerships to potential competitors. The combination of major technological advancement and elegant design has won many international awards. The plug connector and rubberised strip are patented, as is the proprietary ultra-safe grounding technology. From a design point of view, Eubiq is sleek, handsome and beautifully detailed. The company, with its design-driven philosophy of ‘taking something ordinary and making it extraordinary’ is an inspiring example of what a creative economy looks like.

Photos: Eubiq Pte Ltd

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EYELET FLIP

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Yang Wah Kiang: It is never about designing for a purely aesthetic purpose. We push the envelope on other design frontiers and keep a laser sharp focus on functionality. For the Eyelet Flip, we asked how we could enhance the functionality and performance of eyewear, and improve the wearerâ&#x20AC;&#x2122;s lifestyle. Zooming out for the larger perspective, we hope we can encourage and motivate more young aspiring designers to join the design community. Together, whether directly or indirectly, we develop, and contribute to, the better living of Singaporeans. JURY CITATION (2014) This is a pair of spectacles whose flip function uses an innovative design. Traditionally, optometrists specify progressive lenses for users who require two levels of sight function. Existing flip-up spectacles have design limitations and fail in function due to their reliance on a screw hinge that loosens following multiple usage. The designers set out to redesign the existing offering. This resulted in a patented leaf-spring hinge that is also used in the side arms of the spectacles. The hinge system was tested for 10,000 cycles over a sevenday period, at the end of which it still operated with full functionality.

DESIGNER: Nanyang Optical Co Pte Ltd Yang Wah Kiang Zhang Andong

As a standalone pair of spectacles, it is elegant and sophisticated with perfect proportions. Another clever design feature is that users are able to change lenses without the need for screws. New lenses can simply be snapped in. The Jury commends the attention to detail and it is unanimous in its decision to select this project as an outstanding example of design excellence.

The Jury praises the use of titanium in the construction of the spectacles. This premium material adds to the overall design aesthetic, resulting in a beautiful synthesis of form and function. Even though the designers incorporated additional functionality with a flipping lens system, there has been no compromise on form. Photos: Nanyang Optical Co Pte Ltd

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FUGUE 1, 3, 5,7 – ARCHIFEST PAVILION 2014

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Fong Hoo Cheong: Within the Festival’s theme of ‘Crowd’, we wanted to explore architecture beyond the normal definitions of how space and form are conceived; to create a disjuncture in the way the viewer sees the object and the space; to make found objects and sound and light a woven theme. The logistical challenges were very large considering the need to set up several thousand units. The inventions of beams, walls, columns and vaults were also demanding. The entire process required a quick, but sure understanding of the necessary fabrication strategy, so that it could be replicated quickly and be modularised.

DESIGNER: HCF and Associates Fong Hoo Cheong Jason Lee Shiuh Liang Jonathan Lin Dongwei STRUCTURAL ENGINEER: Tham & Wong LLP Er Wong Seng SOUND ARTIST: Zai Tang LIGHTING DESIGNER: The Lightbox Warinya Pintongkam Willis Turner Henry SITE COORDINATOR: Deenn Engineering Pte Ltd Tan Sen Ming

JURY CITATION (2015) The common plastic stool, a quintessential seat of choice for coffee-shops in Singapore, forms the core of the outstanding pavilion that was created for Archifest 2014. The use of this everyday object to form a festival space was an apt response to the festival theme of ʻCrowdʼ, a state in which no one is stronger than anyone else. The pavilion not only met the festival objectives of providing a venue in which to engage the crowds, it also emphasised the idea of reusing and repurposing. When the pavilion was eventually dismantled, the humble stool was liberated to its original use. The sounds of Singapore – of people talking, religious bells, traffic, construction – were woven into the installation to reflect the diversity of Singapore, as a secondary layer of experience.

Photos: HCF and Associates

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FULLERTON HOTEL & ONE FULLERTON

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Architects 61: At Architects 61, we strive to contribute to the urban fabric, and facilitate the conservation of our built heritage. In this case, the restoration of the old Fullerton Building and its transformation from office to hotel required us to not only treasure and enhance the memorable features that were entrenched in the building’s history but, at the same time, our design needed to reflect the trends and meet the expectations of the modern day traveller.

JURY CITATION (2006) The Fullerton Hotel & One Fullerton combination encompasses boldness and sensitivity both in its adaptive reuse and contemporary approach. The Fullerton Hotel is an excellent example of how built-heritage can be successfully adapted for modern use, resulting in a high quality development with memorable spatial qualities. One Fullerton sports a dynamic, modern look but maintains a low building profile that complements the neo-classical Fullerton Hotel. It weaves in a ‘city room’ that maintains visual porosity to Marina Bay. Although the two buildings appear as independent structures, the Jury appreciates how they are seamlessly connected to each other

and the waterfront. This sensitivity to context and urban design is further expressed through the strategic positioning of a view corridor, allowing glimpses of the bay when travelling along Fullerton Road. Together with the Merlion and city skyline, the Fullerton Hotel & One Fullerton project forms a distinctive, signature view of Singapore which is reflective of the city’s growth across the ages.

ARCHITECT: Architects 61 Pte Ltd Tay Lee Soon Helen Chen Un Wai Kay Siti Suriah Bte Taib Wu Zhiwei Asnee Tasnaruangrong Evelyn Houng OWNER: Precious Treasure Pte Ltd END USER: The Fullerton Singapore CIVIL & STRUCTURAL ENGINEER: Oscar Faber Asia Pte Ltd (Now known as Maunsell Consultants Pte Ltd) Thomas Sit Lee Tuck Cheong PROJECT MANAGEMENT: DP Consultants Pte Ltd Chan Sui Him INTERIOR DESIGNER: Hirsch Bedner Associates Pte Ltd Andrew Moore MAIN CONTRACTOR: Dragages Singapore Pte Ltd Ludwig Reichhold

Photos: Architects 61 Pte Ltd

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GARDENS BY THE BAY ( BAY SOUTH GARDEN )

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Dr Kiat W Tan: Singapore is home to people of many cultures, so the objective was to create and develop a tropical garden that presents a kaleidoscope of colours, and showcases unique plants from all corners of the world. Andrew Grant: We felt strongly the project should advance ecological and environmental design and be an exemplar for tropical water management, energy efficiency and habitat creation. Paul Baker: To fulfil the unique, and extremely tough brief: to create a world-class tropical garden that would become a global attraction that would help boost the tourism economy. Khew Sin Khoon: To realise the client’s vision for the premier horticultural showcase at Marina Bay, the jewel in the crown of a City in a Garden. JURY CITATION (2013) The Gardens by the Bay have become an instantly recognisable emblem of Singapore. The entire complex is composed of many small elements that create contextualised layered spaces. Important sustainability and environmental issues are woven into the design, as form and function – read, aesthetics and engineering systems – are carefully integrated. The relationship between disciplines – architecture, engineering, economics, landscape architecture, horticulture and botany – open up opportunities for educational programmes and immersive experiences. The Gardens are a wonderful example of a sustainable environmental and business model where the outdoor gardens are free to the public while the revenue

generated by the food and beverage spaces and the conservatories create an economic eco-system. The distinctive forms of the two conservatories create different environmental conditions and experiences. The exceptional integration of different disciplines and professions to work as one allows a conscious and explicit appreciation of the different aspects of nature like wind, water, and energy. It allows for the enjoyment of sounds, changes of cold and warm temperatures, as well as for the rough and smooth textures in the city.

LEAD DESIGNER & CLIENT: Gardens by the Bay Dr Kiat W Tan Peggy Chong Kenneth Er and Team LANDSCAPE ARCHITECT: Grant Associates (UK) Andrew Grant and Team DESIGN CONSULTANT: Wilkinson Eyre Architects (UK) Paul Baker and Team ARCHITECT: CPG Consultants Pte Ltd Khew Sin Khoon and Team PROJECT MANAGER: PM Link Pte Ltd ENGINEERS: CPG Consultants Pte Ltd Atelier One Ltd Meinhardt Infrastructure Pte Ltd Transsolar Energietechnik GmbH Atelier Ten Ltd QUANTITY SURVEYORS: CPG Consultants Pte Ltd Langdon & Seah Singapore Pte Ltd CONTRACTORS: Swee Hong Limited Woh Hup (Private) Limited Expand Construction Pte Ltd Planar One & Associates Pte Ltd Precise Development Pte Ltd LANDSCAPE CONTRACTORS: Tropical Environment Pte Ltd TEHC International Pte Ltd Horti-Flora Services Pte Ltd

This ambitious project is of national importance because it catalyses the new downtown urban space in a way that draws local Singaporeans and visitors alike to enjoy the place.

Photos: Gardens by the Bay

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GENEXIS THEATRE, FUSIONOPOLIS

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN AND HOW DID YOU RESOLVE THEM?

Schirin Taraz-Breinholt: Fulfilling the theatre’s complex acoustic, functional and operational requirements was a challenge. The cladding’s 400,000 timber beads were manufactured in prefabricated panels by regional craftsmen in Javanese cottage industries; and with a local contractor who used CNC technology to accurately control the gradually changing setting out of the beads on the panel. Andrew Nicol: Given the theatre’s relatively thin envelope, we needed to develop a sound insulation strategy that would control the noise intrusion whilst adding as little additional weight as possible. Extensive acoustic analysis was done to ensure that despite the air-conditioning plant being within the body of the theatre, the noise was virtually inaudible.

Arup Andrew Nicol Tan Suan Wee Theatreplan LLP Neil Morton John Whitaker WOHA Architects Pte Ltd Wong Mun Summ Schirin Taraz-Breinholt Jadesupa Pipatsuporn CLIENT/OWNER: JTC Corporation (JTC) THEATRE CONTRACTORS: Jurong Consultants Pte Ltd (Early Stages) Shimizu Corporation (Later Stages) MECHANICAL & ELECTRICAL ENGINEER: Jurong Consultants Pte Ltd CIVIL & STRUCTURAL ENGINEER: Jurong Consultants Pte Ltd

JURY CITATION (2009) The design of the Genexis Theatre rises to the challenge of an extremely difficult site, and succeeds through a wonderfully cohesive amalgamation of highly technical solutions and innovative design. The result is a composite work of art and technology that transcends the site, and raises the bar for architectural and audiovisual system design for a performing arts venue. The theatre’s unique features include 560 adjustable seats that are retractable to create a thrust stage that is moveable multi-directionally. The use of 400,000 timber beads to line the internally curved walls of an ovoid space is an ingenious acoustic solution that simultaneously provides

a richly textural curtain that works particularly well with the spherical space. The voluptuous curves that festoon the façade of the theatre are only minimally muted by the timber material deployed, presenting a marvellously theatrical treatment that, while quite at odds with the rest of Fusionopolis, is strangely suitable for the occasion.

QUANTITY SURVEYOR: Rider Levett Bucknall LLP

The Jury particularly commends the strong integration of technical and sensory design delivered with panache in an extremely challenging space.

Photos: Patrick Bingham-Hall

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HENDERSON WAVES

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Dr Liu Thai Ker: A designer should strive to create an object of beauty that is suited to the surroundings while fulfilling the functional purpose for which it is created. Here, our goal was to create a beautiful man-made object that blends in well with the natural environment. Every step of the design and construction process presented a big challenge – whether it was to create the mathematical formula for the design by our collaborator, to convert it into physical form, or to control the quality of every detail.

ARCHITECTS: RSP Architects Planners & Engineers (Pte) Ltd Dr Liu Thai Ker Yang Soo Suan Raymond Hoe Lawrence Ler Bing Huan Teong Mee Chen IJP Corporation Ltd, UK George Liaropoulos-Legendre CLIENT/MASTERPLANNER: Urban Redevelopment Authority CIVIL & STRUCTURAL ENGINEERS: RSP Architects Planners & Engineers (Pte) Ltd Lai Huen Poh

JURY CITATION (2009) The Henderson Waves is Singapore’s highest pedestrian bridge. Standing at 36 metres above ground, it spans across Henderson Road in an iconic, sculptural leap. Based on the principle of parametric design, this new visual symbol has attracted the community to its walkways and shelters. Its threedimensional surface-form integrates structure and form in a unique wave that undulates dramatically over and under the bridge deck and cleverly forms sheltered seating areas on every upward curve.

With the sensitive use of the natural organic form and materials such as wood and steel, this structure helps unite the Southern Ridges, which comprise a nine-kilometre chain of green, open spaces spanning the rolling hills of Mount Faber Park, Telok Blangah Hill Park and Kent Ridge Park before ending at West Coast Park. The Henderson Waves, together with the Alexandra Arch and the HortPark, brings to reality the Urban Redevelopment Authority’s vision of seamlessly connecting the hills and parks to transform the Southern Ridges into a new recreational destination.

Adam Kara Taylor Consulting Civil and Structural Engineers, UK Paul Scott MECHANICAL & ELECTRICAL ENGINEER: Squire Mech Pte Ltd, Singapore QUANTITY SURVEYOR: KPK Quantity Surveyors (Singapore) Pte Ltd LIGHTING CONSULTANT: Parsons Brinckerhoff Pte Ltd, Singapore MAIN CONTRACTOR: Evan Lim & Co Pte Ltd CONCRETE: Ah Boon Civil Engineering & Building Contractor Pte Ltd TIMBER: Venturer Pte Ltd STEEL: TTJ Design & Engineering Pte Ltd M&E: Hoong Kong Pte Ltd SIGNAGE: Fuji Signcrafts Industrial Pte Ltd

Photos: IJP Architects

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HP DESKJET 460 MOBILE PRINTER

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Mylene Tjin: We wanted to transform a very functional business tool into a stylish professional device that would be delightful to use, and that would enable people to be successful in their work. This required us to deliver not just a package that was as compact as possible, but also one that was a compelling design. These factors required a lot of back-and-forth with the engineering team to determine the best solutions.

DESIGNER: Hewlett-Packard Singapore (Pte) Ltd Mylene Tjin MECHANICAL ENGINEER: Hewlett-Packard Singapore (Pte) Ltd Koh Chee Hiang

JURY CITATION (2006) The DeskJet printer’s design is classical, well-executed and not overtly expressive, showing a high level of maturity in approach. Its sleek, stylish and mobile appearance is visually inviting, while offering the user a tactile experience. Being both functional and aesthetically appealing, the printer has enjoyed market success and demonstrates the value of design in lending a competitive edge to products in the marketplace.

Photos: HP Inc

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INITIAL ‘SIGNATURE’ RANGE

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Jeremy Sun: One of the main challenges was to understand the needs and concerns of the different stakeholders who are critical to making, marketing, using and maintaining the products. We needed to create solutions that addressed those needs and concerns, while optimising resources and investments. We resolved these issues by adopting user-centred design thinking to gain the empathy of the stakeholders. To that end, we conducted thorough field research, built quick prototypes to validate solutions, and continuously refined the selected solutions. JURY CITATION (2013) The Initial ‘Signature’ Range is a complete set of hygiene service products that was created to express Initial’s new brand consistently through the design of its products. Most critically, these humble everyday products are the physical touch-points for the Initial brand to provide an essential public service. It is also evident that this project was a critical part of a wider strategic business transformation.

DESIGNER: Orcadesign Consultants Jeremy Sun Ting Kung Michael Toh Chong Nam Ryan Toh Kian Seng Da Ze Lee Kwek Chin Leong In collaboration with: Greaves Best Design Michael Best CLIENT: Rentokil Initial Xuemei Bennink-Bai Mike Errey Lee Suan Gaik Dave Rhodes Gary Wingett

The result is a range of sanitary products that addresses real and difficult sanitary and service needs, and which improve the washroom experience. The Jury is very impressed by the contemporary but appropriate design language of the ‘Signature’ Range, which pioneers a new look and feel for the Initial brand and its business transformation.

The professional approach to this very demanding project was impressive as it encompassed research with both users and service staff to address real needs and issues. The result is that these products work with grace and simplicity. They are clean, calm, simple and intuitive to the user. The Jury acknowledges that, while that is easy for all of us to see and appreciate, it is, paradoxically, very challenging to achieve.

Photos: Orcadesign Consultants Pte Ltd

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JURONG ECO-GARDEN

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Leonard Ng: The vision was to create a business park that is in harmony with the surrounding nature. As we were dealing with a former illegal dumping site laden with pollutants, we adopted ABC Waters’ design using phyto-remediation to improve the water quality. The planting strategy also allowed for a gradual plant succession programme to achieve a very natural transition into the surrounding secondary forest.

DESIGNER: Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Leonard Ng Keok Poh Ryan Shubin Huei-Lyn Liu Kathrin Schmiele Christina Ting ADVISOR: Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Dieter Grau OWNER: JTC Corporation Leow Thiam Seng ENGINEER: Surbana International Consultants Pte Ltd Peter Khoo Tau Khiang

JURY CITATION (2014) Led by the idea of the Green Core as a fundamental guiding principle in planning the site, the designers of Jurong Eco-Garden gave a high level of consideration to users, and the natural inhabitants that define the experience of the space.

MAIN CONTRACTOR: Hortiflora Pte Ltd Lim Kim Lee LOWLAND FOREST ECOLOGIST: National Institute of Education, Nanyang Technological University Shawn Lum

The design resolves complex ecosystems at a high level of detail in terms of managing soils remediation, water management and movement. Fast growing plant species have been germinated to develop a richer experience as the larger tree canopies grow. The crafting of options for moving through the site with vistas of water, art and architecture is balanced and refined. The designers have done this while demonstrating a fundamental respect for species life, migration and sustenance.

ARBORIST: Camphora Pte Ltd Derek Yap BIODIVERSITY CONSULTANT: Strix Wildlife Consultants Subaraj Rajathurai

Only a physical visit can do justice to the on-site experience of a world-class design.

Photos (clockwise from top left): Ong Wei Jie Julian; Ng Guan Shyh; Ramboll Studio Dreiseitl; Ng Guan Shyh

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KENT VALE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Siew Man Kok: It was to create a memorable experience for the faculty and their families through a strong, civic public space within a housing community in a university. A place where the architecture can influence and set up opportunities for chance encounters; a place of moments to take in the beauty of our tropical climate; and a place where occasions to celebrate the diverse origins of the faculties can take place. Due to its prominent location in the university, the design also had to be a statement of the university.

ARCHITECT: MKPL Architects Pte Ltd Siew Man Kok John Andrews McLaughlin Cheng Pai Ling Phan Pit Li OWNER: National University of Singapore Allan Tan LANDSCAPE CONSULTANT: Sitetectonix Pte Ltd Helen Smith-Yeo LIGHTING CONSULTANT: Lighting Planners Associates (S) Pte Ltd Kaoru Mende

JURY CITATION (2014) An extension to the existing faculty housing at the National University of Singaporeâ&#x20AC;&#x2122;s campus in Clementi, Kent Vale offers an innovative housing solution that caters to a range of users while maintaining the quality of spaces. The seamless masterplan integrates the new and existing Kent Vale in a way that is highly commended for creating a sense of order, orientation, and a space for the residents to interact. The design mediates the delicate balance between public and private realms through a progression of spaces that range from institutional to domestic.

The landscape design offers a delightful sensorial experience of wind, light, water and nature to those arriving at, or passing through, the verandah. Tranquil corners for contemplation and lively spaces for interaction are interspersed with private living quarters. The courtyards on the ground level, pockets of sky gardens, and vertical green walls offer visual interest to the monolithic, off-form concrete residential blocks.

CIVIL & STRUCTURAL ENGINEERING CONSULTANT: KTP Consultants Pte Ltd Song Wee Ngee MAIN CONTRACTOR: Tiong Seng Contractors (Pte) Ltd Pek Lian Guan

The Jury commends the mature, responsible and rational approach to the integration of elements that create the environment.

Photo: Tim Griffith

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KHOO TECK PUAT HOSPITAL

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Jerry Ong: Hospitals are not merely places where sick people go to get well. They also provide an avenue for healthy people to learn how to maintain a healthy lifestyle. Architects like us are empowered to bring these ideals to fruition. The other point to make is that hospitals are one of the largest consumers of energy within the built environment. As architects, we also place the issue of environmental degradation close to our hearts and hence are constantly in search of sustainable design solutions to keep energy consumption to a minimum.

ARCHITECT: CPG Consultants Pte Ltd Lee Soo Khoong Lim Lip Chuan Pauline Tan Jerry Ong Kanda Narasimhan Tang Kai Vern Cherilyn Chan Mahesh Madhavan Girija Kong Tiang Son Jenny Ngooi DESIGN CONSULTANT & MEDICAL PLANNER: RMJM Hillier LANDSCAPE CONSULTANT: Peridian Asia Pte Ltd

JURY CITATION (2011) Designed as both a hospital in a garden and a garden in a hospital, the Khoo Teck Puat Hospital offers a radically different setting that challenges the stereotype of healthcare environments. The extensive landscaping in and around the hospital, including a view to the adjacent Yishun Pond, creates a calming atmosphere that is conducive for healing. Much care and compassion underline the design of the layout. The subsidised wards are deliberately placed at the breeziest sections of the site for optimal natural ventilation. Patients’ needs are taken into careful consideration, with provisions for specialised visiting rooms and even specially designed cutlery.

The hospital has gone the extra mile to provide welcoming and inclusive premises for the community, with the creation of wonderful public spaces. The Jury applauds the sensitive treatment and care taken in the development of this building to create a memorable spatial experience that harnesses nature as the restorative wellspring of healing and health.

INTERIOR DESIGN CONSULTANT: Bent Severin & Associates Pte Ltd SIGNAGE CONSULTANT: Design Objectives Pte Ltd CLIENT/OWNER: Ministry of Health/ Alexandra Health Pte Ltd PROJECT MANAGER: PM Link Pte Ltd CIVIL & STRUCTURAL ENGINEER: CPG Consultants Pte Ltd MECHANICAL & ELECTRICAL ENGINEER: CPG Consultants Pte Ltd QUANTITY SURVEYOR: CPG Consultants Pte Ltd FAÇADE CONSULTANT: Aurecon Singapore Pte Ltd GREEN CONSULTANT: Total Building Performance Team MAIN CONTRACTOR: Hyundai Engineering & Construction Co Ltd

Photos: CPG Consultants Pte Ltd

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LASALLE COLLEGE OF THE ARTS

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Pok Siew Fatt: Schools are an integral part of any society. Our design showed how this can be integrated into the city fabric. Not only does the school physically extend into the surroundings, in a reversal of roles, it has also played host by inviting the wider community into its environment. We are glad that the city had accepted and assimilated the school, and vice versa. To us, this shows very clearly the important role that buildings play in contributing to the social and economic vitality of their environments.

JURY CITATION (2008) The LASALLE College of the Arts makes a bold and courageous statement by creating a powerful place within the city. A monolithic block with an imposing external façade has been sculpted to create six pavilions traversed by a network of public paths, and a transparent and open central public space and alleyways that connect with the established pedestrian networks in the neighbourhood. The open space creates a ‘city room’ with dynamic layers of public engagement that draws people into the building and provides a delightful place for the interaction between students and the community. The interior glass façade, tilted at various angles to create a prismatic effect, offers the public a glimpse into the classrooms, studios and exhibition spaces and serves to demystify

the arts and the creative processes involved. The 25 metre-long sky bridge and other smaller bridges connect the six blocks into a single campus while providing unusual performance and display platforms to showcase the students’ works.

ARCHITECT: RSP Architects Planners & Engineers (Pte) Ltd Pok Siew Fatt Hazel Ang Gabriel Chen Suen Wee Kwok Teo Chiek Chin Alicia Wong OWNER: LASALLE Foundation Limited ENGINEER: RSP Architects Planners & Engineers (Pte) Ltd Lai Huen Poh Chua Chiow Chye Anthony Tan CONTRACTOR: Takenaka Corporation Masaru Chayama

The College has fashioned a noble space for the celebration of the arts. The architecture for the campus presents a paradigm shift in how an arts institution can engage the community. As one of the pioneer arts institutions situated in the Arts, Culture, Learning and Entertainment hub in the Bras Basah.Bugis district, the College has defined the country’s emergence as a global city of the arts.

Photos (clockwise from top left): Mori Hidetaka; RSP Architects Planners & Engineers; LASALLE College of the Arts; Mori Hidetaka

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LIBRARY @ORCHARD

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Gareth Lai: We found that when we really focus on creating a product that gives its users genuine value, people appreciate it way beyond its looks. Nigel Smith: The concept of the library can be interpreted as an accessible ‘wonderland’ where people can learn, be entertained and engage with design in inspiring ways. Kevin Sim: Curating and designing all the bits that go into a library to make a coherent whole required many challenging rounds of design reviews. Jasna Dhansukhlal: In design thinking, the user is at the heart of the design concept. As we brainstormed ideas, it was vital to test these ideas with real users.

DESIGNER: Singapore Polytechnic Gareth Lai Dennis Goh Phyllis Peter Low Lay Leng Chris Ho Ng Wen Yi Phyllis Low Madhura Chavan Khoo Ai Ling Students of Singapore Polytechnic (Diploma in Architecture, Year 2, 2012/2013) DESIGN COLLABORATORS: DIA Brand Consultants Pte Ltd Nigel Smith Tetuko Hanggoro Quek Oon Hong Lorena Kwek New Space Architects Pte Ltd Kevin Sim

JURY CITATION (2015) library@orchard is a testament to the process and approach of the entire design team to define a library experience that is more relevant and accessible to the public. Designed around a community with a common interest, the library is a repository of design content including books, periodicals and other media. The space introduces us to a ‘lifestyle’ touch point as a respite from the Orchard Road activity. It offers refuge from commercial pursuits to one of contemplation and exploration. The library features include new forms of engagement with materials, self-navigation and check-out counters, giving the user control over the library experience he or she desires.

National Library Board Cheong May Fong Jasna Dhansukhlal Chan Wai Ling Annusia Jaybalan Sufyan Alimon

Photos (clockwise from top left): The Picture Makers; The Picture Makers; National Library Board; The Picture Makers

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LIGHTING MASTERPLAN FOR SINGAPORE CIT Y CENTRE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Kaoru Mende: An urban nightscape symbolises the culture of its country. As a city-state right at the equator, we felt that Singapore could potentially create a very unique nightscape that cannot be found anywhere else in the world. Our lighting masterplan was designed to set the vision for how Singapore will look like in 30 years. It was therefore essential to create something distinctive that reflected the city’s unique character. Specifically, how could we translate this uniqueness into a lighting design? That was the main theme.

JURY CITATION (2010) From a cursory look, the depth of thinking involved in this design, itself based on something so fundamental as ambient lighting, is not immediately obvious. However, the project was a demonstration of the control necessary for an undertaking as important and large-scale as a lighting masterplan that aims to bring life back to parts of the city that were previously ignored or deserted.

DESIGNER: Lighting Planners Associates Kaoru Mende Mari Kubota Reiko Kasai Emiko Nagata Gaurav Jain

A project on such an impressive scale and execution cannot go unnoticed or unrewarded. It may look deceptively utilitarian, yet, on closer examination, it is aesthetically beautiful and it has already enhanced the lives of many people, both directly and obliquely.

This project will have a major impact on the lives of many Singaporeans. It has such an epic scale it is best viewed not only from above but also especially at street level. The goal is to give Singapore’s town planners, architects and social scientists a simple palette and a single-minded vision for the future of the city, from skyscraper rooftops to reflections in the harbour. The lighting is designed so naturally and indigenously that it looks like it has always been there. The trick is not to overlight the city.

Photos: Lighting Planners Associates

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LUCKY SHOPHOUSE

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Chang Yong Ter: Part of the brief was to revive the idea of a kampong – of living in a community where homes are interconnected social spaces, of spaces that are simple and adaptive. As our urban spaces become ever more exclusive, these social aspects are disappearing. Increasingly, we are conditioned to operate with speed and efficiency. Besides some technical issues, one of the main challenges was to strike a delicate balance between restoring the past and rejuvenating the present. As the work progressed, a number of design variations were made on site. Particularly in the context of conservation projects, clarity for the most appropriate design option comes with constant engagement and feeling for the place. JURY CITATION (2013) Lucky Shophouse offers a unique, delightful experience that contributes to a sense of place and history while meeting the needs of a modern lifestyle. In the refurbishment of the shophouse from a book shop to a private residence, traces of the original shop were retained to reveal and preserve the existing structure, finishes and detailing. Simple insertions reinvent the shophouse typology in which services are clustered in the middle for basic residential needs. Skylights in the bathroom bring warmth and daylight to darkened interiors. In the long, narrow and vacant land behind the

DESIGNER: CHANG Architects Chang Yong Ter CLIENT: Yang Yeo & Wee Ching Ian STRUCTURAL ENGINEER: City-Tech Associates CONTRACTOR: Allegiance Construction Pte Ltd LANDSCAPE SPECIALIST: Greenscape Pte Ltd CARPENTER: East Interior Pte Ltd

shophouse, a surprising new annexe – consisting of a series of boxes – contains a study and additional living spaces that complement the main residence and create a seamless flow of space between the exterior gardens. The healthy respect between the creative designer and enlightened client has created an exceptional piece of work. The Jury commends the imaginative design, as well as the sensitivity and finesse demonstrated in the integration and preservation of the old and new. What results is a rich and beautiful re-interpretation of shophouse living.

Photos (clockwise from top left): Albert Lim K S; Albert Lim K S; Shooting Gallery Asia; Shooting Gallery Asia

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MARINA BAY SANDS INTEGRATED RESORT, SINGAPORE

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Moshe Safdie: It was a challenge to integrate multiple uses and diverse requirements of access, daylight and space into a single complex so that the whole is greater than the parts, but each part maintains its identity and utility and is not compromised. Ingenious planning is required. Now that the resort has been operating for several years, it has been fascinating to observe how it has been used and how the public has responded to it. It affirms our conviction that urban design strategies that incorporate a wholesome public realm pay off in terms of appreciation and acceptance by the public. JURY CITATION (2011) Marina Bay Sands skilfully weaves together a complex range of uses – hotel, shops and exhibition convention, and entertainment – into a stunning building for the new downtown area.

Marina Bay Sands is fast becoming an internationally recognised landmark of Singapore and serves as a new gateway to the Central Business District.

Its urban design approach is organised around two principal axes, and places a strong emphasis on connectivity and the flow of people throughout its premises. To accommodate the intensive needs of the hotel, three towers were built instead of a typical singular structure. This has resulted in a new icon for Singapore. Sited prominently along the Marina Bay, these majestic towers provide a unique frame for breathtaking views of the city and the sea. The rooftop SkyPark has also become a new urban space, with stunning views of Singapore’s skyline.

ARCHITECT: Moshe Safdie International LLC, Boston, Massachusetts Moshe Safdie Easley Hamner Gene Dyer David Robins Carrie Yoon Isaac Franco Michael Guran Charu Kokate Tunch Gungor Jeffrey Huggins Jeff Jacoby Jaron Lubin Toshihiko Taketomo Rafael Acosta Siebrandus Wichers In collaboration with EXECUTIVE ARCHITECT: Aedas Pte Ltd Tony Ang Kevin Jose Low Soo Sing Gruffudd ab Owain Simon Griffiths Alen Nikolovski Dennis Chan Eric Hoong Ian Wigmore Olivia Chan M/E/P ENGINEERS (DESIGN): Vanderweil Engineers LANDSCAPE ARCHITECT (DESIGN): Peter Walker and Partners Landscape Architecture CLIENT/OWNER: Las Vegas Sands Corporation STRUCTURAL, CIVIL, FAÇADE, GEOTECHNICAL, ACOUSTIC ENGINEER: Arup Singapore Pte Ltd M/E/P ENGINEERS (PRODUCTION): Parsons Brinckerhoff LANDSCAPE ARCHITECT (PRODUCTION): Peridian International ARTISTS: James Carpenter Antony Gormley with Tristan Simmons Ned Kahn Sol LeWitt Chongbin Zheng

Photos (clockwise from top left): Timothy Hursley; Timothy Hursley; Frank Pinckers

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MARTIN NO. 38

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Dr Kerry Hill: Good design sells. So, our design concept needed to differentiate itself from what is currently a very mature condominium market. We took our cues from the history of the site which used to house godowns that stored goods transported up the Singapore River. We decided that a building that is related to the idea of a warehouse in materiality and spirit would be appropriate.

ARCHITECT: Kerry Hill Architects Pte Ltd Dr Kerry Hill Henry Sauerbier Lim Chee Hong Goh Wei Kiat Paul Semple Bernard Lee LANDSCAPE ARCHITECT: Sitetectonix Pte Ltd LIGHTING CONSULTANT: Project Lighting Design Pte Ltd CLIENT: SC Global Developments Ltd ENGINEER: P & T Consultants Pte Ltd

JURY CITATION (2012) Martin No. 38 is located in a former warehouse district close to the Singapore River. The building takes inspiration from the history of the site. It exudes a quiet presence in its raw yet refined and elegant form. Structure is used to create architecture for delightful spatial experiences. A crafted sequence of spaces together with precise and consistent detailing creates flexibility. The design encourages residents to inhabit the space according to their lifestyles, whilst maintaining its coherent architectural integrity. On the roof level of a lower block, communal facilities such as a gymnasium, sky terrace and swimming pool encourage residents to interact. A restaurant on the ground level establishes connectivity with pedestrians on the street, drawing the public into a private realm. The design mediates, in a clear and sensitive way, the transition between the house

and the city, and establishes connectivity between private and public spaces. Passive design strategies have been cleverly employed to reduce the energy consumption in the building. Orientated to the south, daylight enters deep into the building, reducing the need for artificial lighting. Operable aluminium sun louvres ensure cross-ventilation in all units, keeping internal spaces comfortable and cool. The exposed off-form concrete wall and ceiling with integrated services skilfully complement the simplicity and elegance of the faĂ§ade.

MECHANICAL & ELECTRICAL CONSULTANT: Bescon Consulting Engineers Pte Ltd QUANTITY SURVEYOR: Langdon & Seah Pte Ltd CONTRACTOR: Daiya Engineering & Construction Pte Ltd

The Jury is impressed by the masterful execution of structure and elements that results in spaces of pure beauty. Martin No. 38 marks a milestone in the creation of disciplined, exceptional residential design in the urban context.

Photo: Albert Lim K S

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THE MET ( BANGKOK, THAILAND)

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Sim Choon Heok: Most tropical high-rise housing in developing countries is designed by consultants from temperate countries who tend to replicate cold-climate models. In the tropics, light winds, year-round balmy weather, constant temperatures and high humidity make outdoor living desirable. To make the most of these opportunities, we created cross-ventilated tropical houses in the sky with breezeways, full exposure to light and views, outdoor living areas, planters and high-rise gardens, and open-air communal terraces with barbeques, libraries, spas and other facilities. These sky terraces, both private and public, link the blocks every five storeys, creating dramatic yet human-scaled external spaces in the sky. JURY CITATION (2009) The Met in Bangkok represents an innovative approach towards high-rise tropical living. At 66 storeys high, it is impressive not only for being a strong visual landmark within a crowded Bangkok landscape, but also for its thoughtfully designed spaces. The Jury appreciates its highly resolved design, with its staggered plan of apartment blocks that stimulate crossventilation through the individual units. The building also engages its overall organisation to facilitate the movement of breezes and to provide sunlight and views for the occupants. Besides cross-ventilation, the tropicality of the building is clearly evident from its numerous exterior environments, such as pool areas,

ARCHITECT: WOHA Architects Pte Ltd Wong Mun Summ Richard Hassell Sim Choon Heok Punpong Wiwatkul Puiphai Khunawat Esther Soh Alan Lau Alina Yeo Cheah Boon Kwan Goh Soon Kim Jose Nixon Sicat Techit Romraruk ARCHITECT IN ASSOCIATION: Tandem Architects (2001) Co Ltd OWNER: Pebble Bay Thailand Co Ltd (HPL Singapore) CIVIL & STRUCTURAL ENGINEER: Worley Pte Ltd

balconies, sky gardens and sky terraces spread throughout the tower. The building has succeeded in creating microclimates that shield its occupants from the harsh tropical elements. Sunshades and overhangs provide weather protection, and filter direct sunlight to provide a comfortable living environment. Seen from afar, the building’s active façade with its mirror-finished stainless steel inserts and sky gardens is a bold addition to the Bangkok landscape. More than just a new edifice, the Jury commends The Met for creatively redefining the concept of tropical high-rise living, making it a model within a high-density environment.

MECHANICAL ENGINEER: Lincolne Scott Ng Pte Ltd LANDSCAPE CONSULTANT: Cicada Pte Ltd QUANTITY SURVEYOR: KPK Quantity Surveyors Pte Ltd ENVIRONMENTAL IMPACT ASSESSMENT CONSULTANT: ERM–SIAM Co Ltd CONTRACTOR: Bouygues Thai Ltd

Photos (left to right): Tim Griffith; Patrick Bingham-Hall

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MINI HABITAT

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Crystal Chu: A designer’s role is to bring to life creative concepts and artistic installations while, simultaneously, weaving in an intricate language that speaks to people and communicates its varied perspectives and interpretations to a larger audience. In other words, it’s essential to create an immersive and engaging experience. Design is brought to life when visitors are brought along on a journey and they ultimately walk away with a lasting, impactful impression.

DESIGNER: Kingsmen Exhibits Pte Ltd Brett Cameron Jason Chua Gerald Tan Crystal Chu CLIENT: Trans Eurokars Pte Ltd Karsono Kwee

JURY CITATION (2006) The project is the first freestanding, experiential hub for the MINI brand that takes the art of showcasing cars to a new level by incorporating lifestyle elements into the buying experience. The showroom skilfully draws on the interior architecture to articulate the philosophy and visual experience of the MINI brand to a niche market. The resolution of the interior design is achieved by using appropriate materials and demonstrates comprehensive and consistent design detail throughout. Natural and artificial light is used in an innovative way. As the first of its kind in the world, the MINI Habitat in Singapore is now used by BMW Group worldwide as a benchmark for how the MINI brand should be presented. It also amply demonstrates the success of design as a tool for competitive advantage.

Photos: Kingsmen Exhibits Pte Ltd

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NATIONAL GALLERY SINGAPORE

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Jean-François Milou: The greatest challenge was to balance the extremely complex requirements of keeping things simple, whilst ensuring the two monuments remain entirely recognisable and true to their historic character despite the transformation of their functions. We’ve strived for a sense of unity and cohesion to create a more familiar and welcoming environment for Singaporeans. Tan Hooi Ong: The existing buildings were never designed for use as a gallery. A set of stringent environmental conditions had to be achieved. Extensive studies on the buildings were conducted for us to develop a sound understanding of how the new and old conditions impacted the design, enabling us to tailor specific solutions accordingly. JURY CITATION (2015) The transformation of the former Supreme Court and the adjacent City Hall to become the National Gallery Singapore demonstrates great sensitivity and respect for historical architecture, while meeting the exacting requirements of a major art institution. The design’s key elements – an elegant new roofing structure and massive basement concourse – unite the monuments from above and below, leaving the existing structures intact to the greatest extent possible, while accommodating new functions that a national gallery demands. The tree-like structures supporting the new filigree metallic roof structure are a wonderful architectural gesture that is both spectacular and protective of the historical fabric.

The newly created rooftop and sky bridges in the atrium offer visitors new vantage points to experience the monuments. Underlying the visual simplicity of the design is the creation of a new identity. The Jury commends the design for striking a balance between preservation and innovation, and offering visitors new perspectives of the buildings and the surrounding cityscape.

ARCHITECTS: Studio Milou Singapore Pte Ltd Jean-François Milou Wenmin Ho and Team CPG Consultants Pte Ltd Lee Soo Khoong Tan Hooi Ong and Team CLIENT: National Gallery Singapore STRUCTURAL ENGINEER: CPG Consultants Pte Ltd Batiserf Ingénierie MECHANICAL & ELECTRICAL ENGINEER: CPG Consultants Pte Ltd QUANTITY SURVEYOR: CPG Consultants Pte Ltd CONSERVATION CONSULTANT: Architectural Restoration Consultants Pte Ltd (ARC) FAÇADE CONSULTANTS: Arup Société Européenne de Mécanique LIGHTING CONSULTANT: Lighting Planners Associates (S) Pte Ltd LANDSCAPE CONSULTANT: ICN Design International Pte Ltd ACOUSTICS & AV/IT CONSULTANT: Shen Milsom & Wilke (SM&W) SIGNAGE CONSULTANT: The Press Room MAIN CONTRACTOR: Takenaka – Singapore Piling Joint Venture (TCSP JV)

Photos: Fernando Javier Urquijo and Studio Milou

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NATIONAL MUSEUM OF SINGAPORE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Colin Wu: This was a great opportunity to make use of the building as an urban connector between the city and Fort Canning. As the new extension would be largely hidden from view, we needed a marker that would give the new extension a visual prominence even as it defers to its natural and green setting at the rear. Mok Wei Wei: It was to differentiate the new from the old, and to orchestrate an experience of moving from the old to the new, and vice versa. I was brought in as a design consultant quite late in the process, so the challenge was to dovetail this objective with thoughtful design in a very short period of time.

ARCHITECTS: CPG Consultants Pte Ltd Lee Soo Khoong Colin Wu Deirdre Lee Tan Shin Wei Tan Pheng Chee Peter How W Architects Pte Ltd Mok Wei Wei Joan Loo Yuen Wah Ratiwat Suwannatrai Nui Goh Wei Kiat OWNER: National Museum of Singapore/ National Heritage Board PROJECT MANAGEMENT: PM Link Pte Ltd

JURY CITATION (2008) The National Museum of Singapore is a building of national significance and iconic value. The project unites the dual tasks of restoration and creating a new extension with great sensitivity and finesse to achieve a high civic quality. Through the change in architectural language, spatial quality and materiality, the visitor experiences a seamless transition from the existing neo-classical monument to the contemporary annexe. To achieve a full frontage view of the building and to create a new civic space ubiquitously associated with institutional monuments, the existing boundary walls were removed. This created an important new feature – an urban corridor linking two major historical green spaces sited at the front of the building (Bras Basah City Park) and the rear (Fort Canning Hill Park).

CIVIL & STRUCTURAL ENGINEER: CPG Consultants Pte Ltd

The Jury applauds the architect’s bold decisions to place much of the new extension underground to meet height controls and to replace part of the old roof in order to reveal the dome, thereby dramatising the transition from old to new. The resulting multi-volumed space enables the penetration of daylight into the lower levels. Adhering to a conservation guideline requiring a gap between the monument and the new addition, an expansive concourse space was created under a fully self-supporting glass atrium. This allows for a full visual appreciation of the monument’s façade while offering a setting for a variety of events and programmes. The National Museum of Singapore has achieved high international standards and now forms part of a redefined museum experience that Singaporeans and visitors alike can enjoy.

MECHANICAL & ELECTRICAL ENGINEER: CPG Consultants Pte Ltd QUANTITY SURVEYOR: CPG Consultants Pte Ltd MAIN CONTRACTOR: Sato Kogyo (S) Pte Ltd

Photos (clockwise from top left): National Museum of Singapore and Frank Pinckers; CPG Consultants Pte Ltd; Tim Griffith

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NAUMI, SINGAPORE

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Sim Boon Yang: This project called for the architectural transformation of an older building into a boutique hotel. Despite a limited budget, it was clear that the design solution needed to be bold in order to create a strong identity for the property. It is often the case that a problematic issue inspires a unique design solution. The building has a west-facing façade that required a cost effective means of screening the climatic impact of the afternoon sun. This created an opportunity to create a green ribbon façade that would give the building its signature look. JURY CITATION (2008) Naumi, Singapore is a boutique hotel that was retrofitted from the old Metropole Hotel. The design called for a total transformation of the old hotel through the infusion of art, architecture and interior design, resulting in a new art-influenced holistic environment. The external façade is clever and individual, and the interior shows a very intelligent use of space. The Jury was impressed by the consistency in design in terms of design treatment and identity design, resulting in an extraordinary coherence throughout the entire hotel. The floral motif, textures and colours clearly follow through in all areas and in every detail. This softens the angular structure of the building. The retrofitted rooms are very stylish and comfortable and the furniture selection is very tasteful.

The central bar is a special work of art, and the roof top is a surprising gem that gives the best views of the city. The Jury feels that the overall hotel design is top of the range, which is evident in the fact that the hotel frequently operates at full capacity.

DESIGNER: Eco-id Architects Pte Ltd Sim Boon Yang Patricia Ho Chua Xuan Yi OWNER: Naumi Surya Jhunjhnuwala Francis Tan ENGINEER: Elead Associates Sean Ying Kee Yeow GRAPHICS: WORK Pte Ltd Theseus Chan CONTRACTOR: Shanghai Chong Kee Furniture and Construction Lim Thiam Hooi

Photo: Eco-id Architects Pte Ltd

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NEW MAJESTIC HOTEL

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Colin Seah: At that time, Singapore’s hotel scene was dominated by global hotel brands creating mostly generic experiences. We wanted to create something authentic yet contemporary; so we strived to redefine conventional hotel typology, both at the level of spatial planning, as well as cultural identity.

DESIGNER: Ministry of Design Pte Ltd Colin Seah ARCHITECT: DP Architects Pte Ltd Tai Lee Siang BRANDING/PRINT DESIGNER: Mind Wasabi Pte Ltd Shaun Martin ART CONSULTANT: Asian Art Options Claudia Cellini CLIENT: KMC Holdings Pte Ltd Loh Lik Peng

JURY CITATION (2006) The New Majestic Hotel is an imaginative change-of-use of the traditional Singaporean terrace house and provides a welcome alternative to the standard international hotel experience. The project is an excellent example of design collaboration involving the client, consultants and other artists. The design solution displays creativity and fun, with the integration of art and the clever use of small spaces to provide a memorable experience. Light is skilfully used to bring new life to historically dark spaces. The Jury enjoys the sense of theatre the designers have brought to this project. Always provocative, the hotel is a talking point for both visitors and Singapore residents alike, and is an icon among boutique hotels.

Photos: New Majestic Hotel

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NEW MAJESTIC HOTEL, FRONT LAWN

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Leonard Ng: Constraints bring out the best in design. I wanted to create a beautiful foreground for the hotel that would be sensitive to the cultural context while still complying with the authorities’ restrictions. I also wanted it to be more than a prop for the hotel. So, the design had to enhance the user experience of a green space and a place for children to play, but without compromising the environment.

JURY CITATION (2008) The Front Lawn of the New Majestic Hotel is a tiny piece of surprising landscape that sits on an odd corner of the land outside the hotel. The hotel’s owner (an art connoisseur) and the hotel management persuaded the National Parks Board to allow them to carve this thin strip from Bukit Pasoh Road so that they could install a landscape that would enhance the frontage of the hotel and benefit the public. The Jury is won over by this eye-catching strip with its clear design strategy for such a smallsized project. The design thinking from the hotel lobby to the street is integrated and works to present a

DESIGNER: Atelier Dreiseitl Asia Pte Ltd (Now known as Ramboll Studio Dreiseitl) Leonard Ng (Formerly with Lush Studio) CONTRACTORS: M S Kong Contracts Service Pte Ltd Universal Gardens

holistic design identity. A magnificent intervention into the street, it results in a piece of land sculpture on an ordinary street that invites the public to interact with it. In the evening, the grass doubles up as landscaped seats when the neighbouring Majestic Bar opens for business. The Front Lawn is a contemporary interpretation of Chinese mountain and lake paintings. The Jury thinks it is a bold, imaginative and inventive piece of work that succeeds in conveying a sense of light-hearted urban humour.

Photos: Ramboll Studio Dreiseitl

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OBJECTS AROUND THE TABLESCAPE

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Patrick Chia: The project was created for the Design Incubation Centre to communicate its research and outcomes through commercial distribution channels. It was also an opportunity for us to develop our own point of view and to benchmark ourselves against the best on a global stage. The biggest challenge was the lack of good fabricators and craftsmen in Singapore. We turned this constraint into opportunity by employing advanced processes such as CNC milling and 3D printing which gave our products a unique language and identity.

JURY CITATION (2010) d.lab is a design incubator nestled within the Division of Industrial Design, School of Design and Environment at the National University of Singapore. This remarkable facility has the luxury of access to the incredibly wellequipped workshops of the university (including a milling machine big enough to machine an entire vehicle, and extensive rapid prototyping equipment) and functions as an autonomous design and limited production atelier. The Objects Around the Tablescape programme examines the visceral and emotive qualities of materials such as translucency, texture, weight, feel and appearance to produce a series of domestic products with almost supernatural qualities. A range of nesting nylon bowls – ‘printed’ from sintered nylon and possessing properties of incredible lightness and flexibility, yet is also semi-porous to water (which has led to further investigation for hydroponic

DESIGNER: d.lab, Design Incubation Centre Division of Industrial Design School of Design and Environment National University of Singapore Patrick Chia Abdul Basit Khan Ang Ee Sock Chang Shian Wei Cheong Yian Ling Fang Siwei Priscilla Lui Thiam Sai Cheong Timothy Wong Dominic Poon Liang Yanjie Tan Jun Yuan Yong Jieyu Wu Yixiu

applications) – demonstrates the fine line between rapid prototyping and rapid manufacture. Bold steel and timber table lamps demonstrate exquisite metal-folding details with unnerving authority. Simple serving plates milled from solid stone-filled acrylic possess an eerily generous mass for such visually weightless forms. Weight, form and surface finishes are combined in unlikely ratios to continually delight and confound the user. There is nothing ‘normal’ here. d.lab’s output in this range represents far more than a mere collection of objects. It is an exciting, new, unique, twenty-first century design ethos made physical. The paradoxical question here is, ‘What is the product?’ – the extraordinary artefacts, or the extraordinary manner of their creation?

Photos: Design Incubation Centre

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THE OLIV

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Mok Wei Wei: There were several. To soften the impact of high-density living by providing green spaces vertically. To demonstrate that a building regulation, far from being restrictive, can be used as a design impetus to generate good design. To find an exciting language for the sky terraces. To use the concept of elevated topography to express the sky terraces as undulating ground in such a way that they became the main feature of the façade.

ARCHITECT: W Architects Pte Ltd Mok Wei Wei Joan Loo Yuen Wah Ho Yenn Ginn Darren Tee Jhy Jian LANDSCAPE CONSULTANT: ICN Design International Pte Ltd Terrence Fernando MAIN CONTRACTOR: Thye Chuan Engineering Construction Co Pte Ltd Ong Boon Chuan

JURY CITATION (2015) The Oliv is exemplary of an innovative interpretation of existing building regulations, and how that can transform and create new opportunities for multi-level living in Singapore. The building successfully achieves a unique integration of landscape and hardscape architecture. The clarity of the composition creates a sequence of unique spatial experiences with a hierarchy of different volumes that clearly demarcates the character of the spaces. The project exemplifies a carefully considered environment for tropical living in the city. The Jury commends the architect for harnessing construction guidelines as the impetus for innovation and for his imaginative and constant pursuit of a high level of craftsmanship, detail and construction.

Photo: Teo Zi Tong

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OUYI REFRIGERATOR

WHAT DID YOU LEARN FROM WORKING ON THE DESIGN?

Leonard Tan: The biggest take-away lesson was that we need to design in the dual contexts of understanding how consumers use their products, and the business environment. Before starting to design, we conducted consumer research and studied the competitive landscape. A well-designed product needs to be well considered from every perspective. We need to create value for consumers. What are the functional benefits of the product? Once we understand the users’ requirements, we design the experience around that. We also need to consider consistently the manufacturing process and how to drive sustainability for the environment. JURY CITATION (2014) The Ouyi is a two-door refrigerator designed specifically for the Chinese market. This is a crowded market segment where consumers are spoilt for choice. The design team established a clear design brief from the start of the project and executed it with utmost professionalism. The exterior form incorporates a subtle curve across the front doors that gives the fridge a unique design language. The team carefully considered the manufacturing process throughout the project. An example of this is the use of rolled tempered glass for the door covering that added minimal costs to the overall manufacturing process. The doors include an intuitive touchscreen interface to control the fridge as well as an innovative motion detection system that activates a subtle light in the exterior door profile when a user approaches – a clever feature for night-time use.

DESIGNER: Electrolux SEA Pte Ltd Electrolux Group Design Leonard Tan Bahroocha Low Ko Wee Lyndon Craig Ola Lantz

The light pulsates when the fridge door is left open, offering a clear visual indicator to users that the door has not been properly shut. The interior design of the fridge is clean and simple, and reflects a modular approach to the design. The designers introduced an innovative clip system in the door to allow plastic bags to be clipped and stored – a feature particularly appreciated by Chinese users. From a sustainable design perspective, the manufacturing processes and materials used show careful consideration. Its energy usage gives the fridge the highest energy rating for a product in this category. The Jury commends the design team for its pursuit of design excellence at every stage of this project.

Photos: Electrolux SEA Pte Ltd

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PAGE ONE BOOKSTORE AT VIVOCITY

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Tan Kay Ngee: We had to ensure the curvilinear forms used in the bookstore reflected the shopping mall designed by Toyo Ito. It was a challenge to achieve the free flowing forms whilst ensuring the functional aspects of bookstore design. We experimented with different materials. By using local materials such as plywood, stone from Indonesia, and simple locally sourced materials in an innovative way, we were able to create a local modern identity as well as be environmentally friendly.

DESIGNER: Kay Ngee Tan Architects Tan Kay Ngee Lai Chu, Miao-En Han Kiang Siew CLIENT: Page One The Bookshop Pte Ltd MECHANICAL & ELECTRICAL CONSULTANT: William Ng Consultants Pte Ltd LIGHTING CONSULTANT: Spectrum Design & Associates (Asia) GRAPHIC DESIGNER: Page One Publishing Pte Ltd MAIN CONTRACTOR: Grandwork Interior Pte Ltd

JURY CITATION (2007) White fluid shapes on the ceiling like those of a Matisse painting beckon shoppers into a cosy and relaxing environment. Tall, whimsical shelves of different heights and sizes house a sea of brightly coloured books, publications and paraphernalia. This is by no means an ordinary bookstore. The creative interplay of lights, bookshelves and spaces at Page One at VivoCity allows the visitor to navigate effortlessly from one end to another. With each step, the path opens up into a breathtaking view of the harbour front – a visual transparency that is bold, refreshing and completely unique.

PHOTOGRAPHER: Tay Kay Chin

Photos: Tay Kay Chin

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PAPER FOLD

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Kelvin Teo: I faced two main challenges. The first involved the form of the chair. Because of the organic shape we wanted, it was very difficult to design the form. The second involved the cost of manufacturing. In the end, I used a more primitive technique – I manually shaped the structure out of steel bars to which I then applied sheets of fiberglass to form the surface.

JURY CITATION (2009) Singapore-based furniture design and manufacturing company Exit Design fuses art and design in everyday products that respond to contemporary lifestyles. Since starting the company in 1997, the founder, P C Ee, has emerged as a distinctive design voice, producing a series of furnishings that is now becoming well-known worldwide as an expression of the contemporary zeitgeist. His designs have an aesthetic personality that is recognisably playful and inventive, while also shaping materials in original and challenging ways. P C’s commitment to creative collaboration has made Exit an entrepreneurial incubator for other designers in Singapore and overseas. An example is the Paper Fold chair, a fluid-form rocking lounge chair that was created for Exit by Kelvin Teo. Paper Fold is a continuous folded strip of moulded fiberglass. Available in five

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DESIGNER: Exit Design Kelvin Teo P C Ee MANUFACTURER: Exit Design

gloss lacquer colours and five fabric coverings, it has a well thought-out use of materials and is a skilful solution to challenging technical problems of production. Paper Fold is both a functional piece of furniture and an arresting piece of art. It exercises a kind of emotional magnetism in any space. Its Mobiuslike arabesque shape insinuates itself into your consciousness. You can’t ignore it and you can’t resist sitting on it. Rocking in its embrace turns out to be an agreeably comfortable and happy experience. It just makes you smile. Paper Fold’s photogenic qualities have made it a favourite image in design magazines around the world, like Wallpaper* and ICON, where it is viewed as much as a sculptural commentary on the idea of a chair as it is a functional piece of furniture. Paper Fold was featured at the Milan Furniture Fair, and imm cologne exhibition in 2009.

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PARKROYAL ON PICKERING

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Sim Choon Heok: PARKROYAL on Pickering was designed as a hotel and office development in a garden. The project is a study of how we can conserve our greenery in a built-up, high-density city and multiply it in a manner that is architecturally striking, integrated and sustainable. By relentlessly pursuing sustainable design, we learnt to design strategically the landscapes to be self-sustaining and to rely minimally on precious resources. Rainwater is collected from the upper floors to irrigate, by gravity, planters on the lower floors. Photovoltaic cell arrays on the roof power grow-lamps and soft-scape lighting, making these Singapore’s, and perhaps the world’s, first zero energy sky-gardens.

DESIGNER: WOHA Architects Pte Ltd Wong Mun Summ Richard Hassell Sim Choon Heok Bernard Lee Mappaudang Ridwan Saleh Evelyn Ng John Paul Gonzalez Josephine Isip Donovan Soon Toh Hua Jack Amber Dar Wagh Goh Kai Shien Luu Dieu Khanh Tan Szue Hann Alen Low Vanessa Ong Novita Johana Andre Kumar Alexander LANDSCAPE CONSULTANT: Tierra Design (S) Pte Ltd

JURY CITATION (2013) PARKROYAL on Pickering is a unique hotel that creates a lush resort experience in the heart of the city. The architects considered the site located between Hong Lim Park and Chinatown and proposed varying open and enclosed volumes that allow a porous solution to what might otherwise have been a monolithic urban block. The project strikes a balance that is environmentally sound by returning natural systems to the landscape it displaces. The sky-gardens bring lush greenery into the hotel spaces and offer a measure of green relief to the surrounding streets. The open air corridors bring fresh air and an immediate connection to Chinatown.

The cocoon-like rooms provide comfort, privacy and glimpses of the city, itself framed by the garden setting. The extremely complex planning and execution have been well considered down to small details, so that one feels exuberance in the overall design. The sustainable strategies, as exemplified by vertical green walls, open doors to future urban visions set within a dense environment. The Jury commends the project for radically solving a complex problem with imagination and flair by bringing lush greenery and integrated landscape to high-rise development.

CLIENT: UOL Group Limited LIGHTING CONSULTANT: Lighting Planners Associates (S) Pte Ltd CIVIL & STRUCTURAL ENGINEER: TEP Consultants Pte Ltd MECHANICAL & ELECTRICAL ENGINEER: BECA Carter Hollings & Ferner (S E Asia) Pte Ltd QUANTITY SURVEYOR: Rider Levett Bucknall LLP CONTRACTOR: Tiong Seng Contractors (Pte) Ltd

Photos: Patrick Bingham-Hall

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PEDIGUARD™

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Ulrich Schraudolph: Our goal was to enhance the surgeon’s skill by adding a new layer of digital feedback with the help of a sensor at the tip of the tool. To make this technology, which had been developed in the lab, a reality, it was necessary to blend the new functionality with the surgeon’s skill, training and experience. We collaborated closely with clinicians in order to get the ergonomics right. It was important that we prevented the new technology from taking something important away from the act of surgery.

JURY CITATION (2007) PediGuard™ is an outstanding example of rigorous problem analysis, human-centred innovation and ingenious use of materials and technology. It is a smart hand-drill for spinal surgery that addresses a very specific, life-critical medical need that is widespread. A back ailment is one of the most common medical conditions, and more than one million spinal surgeries are performed annually. Amongst the various frequent medical procedures, spinal surgery has one of the highest failure rates.

DESIGNER: PSB Technologies Pte Ltd (Now known as XentiQ Pte Ltd) Ulrich Schraudolph Wu Zhu Lai Koh Soon Wee Ang Hock Leong, Steven MANUFACTURER: SpineVision (Now known as SpineGuard)

into soft tissue or nerve tissue. By electronically sensing tissue density, PediGuard™ guides the surgeon in correctly drilling a pilot hole for the screw. The drill gives an audible signal and visual LED feedback to guide the surgeon into solid bone and away from soft tissue and nerve tissue. PediGuard™ is only licensed to surgeons who have passed a thorough training certification programme. The product is disposable.

One of the most delicate aspects of this procedure is the accurate placement of titanium or stainless steel screws, called pedicles, into the spinal bone to reinforce the vertebrae while the spinal fusion heals. Accurate placement depends greatly on a surgeon’s skill, which sometimes is supplemented by costly 3D imaging. Twenty percent of the time, screws are misplaced and end up going

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PELÉ SPORTS TRINIT Y 3E

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Sonny Lim: Good design is not just about solving presentday problems. It looks for possibilities and possible futures. Products are a means of getting people to behave and feel in a particular way. Conversely, the way you use a product is determined by the context for which it is designed. This context can be the world today or it may lie years ahead. Future contexts demand different behaviours. My creative process is context-driven: “Why does this product exist? And why does it exist in this way? What aesthetic conventions does it use? How has it evolved to be like it is?” JURY CITATION (2012) The Pelé Sports Trinity 3E was thoroughly researched to find ways to reduce foot injuries and improve foot stability. There are three innovations. The first is the positioning of the front studs as close as possible to the edge of the boots to stabilise the foot better in fast directional changes, to reduce the most common incidence of ankle injury. The second is the positioning of the rear studs further back to allow the wearer to accelerate faster and increase stability. The third is the asymmetrical stud layout to improve traction in acceleration and deceleration.

DESIGNER: Pelé Sports Innovation Team Sonny Lim Greg Lever-O’Keefe Ezio Margiotta Darryl Cassingham

The studs and sole of the boots are triple injected. The pre-moulded studs are first placed in the mould, then double injected to create a sole of the right structure and characteristics for the player. The design process also considered sustainability, using lightweight but durable materials and an eco-friendly water-based solvent to glue the parts and joints of the shoes, giving a simple resolution and design. The Jury appreciates that the design process of the Pelé Sports Trinity 3E was a thorough, persuasive and innovative new design.

Photos: Pelé Sports

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PHILIPS SINGAPORE LEARNING CENTRE

WHAT WERE THE MAIN CHALLENGES YOU HAD WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Low Cheaw Hwei: We had to transform a passive ‘sit-back’ training location into a ‘lean-forward’ engaging environment. We sculpted space, material and light to create an ambient experience that convinced the heart and seduced the mind. Faced with the challenge of maximising seating capacity in a limited space, we experimented with layouts to create a hybrid of a lecture auditorium and amphitheatre. The Amphitorium is a semi-circular space with a protruding stage that creates a more intimate and interactive learning experience. It encourages users to interact in a much more open and dynamic way than the traditional parallel-line rectangular lecture set-up.

DESIGNER: Philips Design Low Cheaw Hwei Daphne Flynn Audrey Tan Nic Ng Rahul Pradhan Alok Marathe CLIENT: Philips Medical Systems/ Philips Electronics Singapore

JURY CITATION (2007) An amazing interior design project has been created at the Learning Centre in Asia, where people can interact in a uniquely designed environment and learn how to use Philips’ extensive range of medical devices. The clever design execution reflects the company’s philosophy, which is to capture the very essence of modern, contemporary design. Through its minimalistic approach, design is distilled into its simplest and purest form by shaving off elements such as the entrance counter, waiting hall and auditorium. By eliminating these conventional spaces, an entirely new spatial realm and experience is opened up, thus facilitating smoother interaction between users and their immediate environment. The warm glow and luminosity of the specially designed lamps are exceptionally beautiful, and evoke a magical feel.

Photos: Philips Electronics Singapore Pte Ltd

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THE PINNACLE @DUXTON

WHAT WERE THE MAIN CHALLENGES YOU HAD WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Khoo Peng Beng & Belinda Huang: The most challenging aspect of the design was to find a form that is open and porous with a strong urban identity, while addressing the sheer mass of the building. We knew we had to solve all these complex issues with a simple yet elegant solution. The answer was to string together seven relatively simple tower blocks along a curvilinear line and connect them with two levels of bridges. This effectively created a massive building that has a unique silhouette, but which also provides residents with a humanised environment.

DESIGNERS: arc studio architecture + urbanism Khoo Peng Beng Belinda Huang Lim Khim Guan Cheng Boon Ping Tan Hooi Ong Debbie Loo RSP Architects Planners & Engineers Pte Ltd Albert Hong Hin Kay Lee Kut Cheung Nina Loo Lyn Ang Chen Yik Ying Aaron Ong Tan CLIENT: Housing & Development Board

JURY CITATION (2010) This complex represents an experiment in high-rise, high-density public housing that gives a new dynamic to a familiar residential form. In the process, it provides architecture for a broad public with a new attitude to the use of vertical public space.

Above all, The Pinnacle@Duxton is a striking addition to central Singapore’s skyline which announces that height, views and amenities can be the province of ordinary families.

PROJECT MANAGER: SIPM Consultants Pte Ltd

This project serves as a reminder of the social value of design.

MECHANICAL & ELECTRICAL ENGINEER: Surbana International Consultants Pte Ltd

The provision of health and wellbeing amenities on exterior links is combined with an intelligent set of interior plans. These include a sensible division between wet and dry zones, and internal wall arrangements that anticipate potential demolition to provide both flexible and adaptable space.

CIVIL & STRUCTURAL ENGINEER: Surbana International Consultants Pte Ltd

QUANTITY SURVEYOR: Surbana International Consultants Pte Ltd LIGHTING CONSULTANT: Lighting Planners Associates (S) Pte Ltd LANDSCAPE CONSULTANT: Envirospace Consultants Pte Ltd MAIN CONTRACTOR: Chip Eng Seng Corporation Ltd

Façade variations that remove a feeling of institutional conformity are derived from a palette of plan types combined with the economic disposition of lowcost pre-cast elements.

Photos: arc studio

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POUR

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Hans Tan: The aim was to ‘mould without a mould’. Working with a completely unfamiliar material, I did not know if the idea was even feasible. Eventually, each table was made by casting the table surface upside down without any walls to hold the liquid resin in. The production concept was inspired by kueh lapis sagu, a traditional Malay/ Peranakan steamed pastry. Each colour was individually poured with precise control of curing durations in succession, so that each colour did not mix with the adjacent one. Like the kueh, this resulted in a multi-coloured effect within a single seamless surface. JURY CITATION (2015) Hans Tan has turned the process of furniture-making on its head. The Pour table is literally that – a tabletop made of an agglomeration of poured resin puddles on a simple pedestal base. The meticulous and painstaking experiments of putting additives to resin, controlling the duration between pours to attain the required viscosity, and mixing dyes to achieve a visually pleasing palette of distinct puddles – all point to a process that is part chemistry, part cake-making. The process of casting without a mould creates a

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free-form tabletop, albeit within controlled parameters. The result is surprising and beautiful – a lava flow of colours that has been frozen, defying gravity as the poured surface is then turned upside down to lay bare the production process. This adept deployment of an industrial material with an artisanal approach challenges our notions of production and craft. It is rare that a piece of furniture can open up conversations beyond the parameters of the project itself. With Pour, Hans does exactly that.

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PROLOGUE COLLECTION

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Outofstock: Scanteak approached us to design something they could offer to their Japanese clients. That informed our objective – to create a unique furniture collection that could fit small spaces (especially in Japan) whilst maintaining a simple and contemporary aesthetic that was timeless and long-lasting. To achieve this, it was important, as a starting point for any design, to observe carefully how people behave in different cultures or contexts.

DESIGNER: Outofstock Gustavo Maggio Gabriel Tan Wendy Chua Sebastian Alberdi CLIENT: Scanteak (Hawaii Furnishing Pte Ltd)

JURY CITATION (2015) Outofstock was commissioned by Singaporean manufacturer Scanteak to create a furniture range for the Japanese market. Before committing anything to paper, the principal designers decided to embark on an intensive research trip to Japan to study the country’s typologies, living spaces and cultural habits. Their home visits and interviews resulted in a human-centric furniture collection that is full of subtle, sensitive and insightful details. The flippable back-rest of the Duo Swivel Bench allows users to sit facing either the dining table or the living room simply by changing the direction of the back-rest. Equally ingenious is the angled shelf under the coffee table that provides storage without impeding leg-room when the user is using the coffee table as an impromptu work surface.

Photos: Jessica Wong, Oats Studio

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PRYDE GROUP BICYCLE DESIGN DEVELOPMENT

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Magnus Aspegren: One of the biggest challenges Designworks faced was how to design a high performance bicycle that met the exacting regulations of the Union Cycliste Internationale, the organisation that determines the rules and regulations of the world’s major cycling competitions. Translating NeilPryde’s successful brand into a completely new industry with a fresh approach while keeping the essence of the brand, Designworks used a process of first, second and third read to ensure that the bicycles were instantly recognisable, while also attending to the fine details.

DESIGNER: BMW Group DesignworksUSA (Singapore) (Now known as Designworks, a BMW Group Company) Magnus Aspegren Joe Tan Nils Uellendahl CLIENT: NeilPryde Michael Pryde

JURY CITATION (2011) This extremely competent set of design solutions was delivered by an enthusiastic team of designers and design engineers from the Singapore division of DesignworksUSA. These sleek and contemporary designs demonstrated a thoughtful resolution of aerodynamic and constructional issues within the tight legal constraints on bicycle racing frames. These are the very first cycling products created for the ski- and surf-based sports brand NeilPryde, yet they immediately established a world-class benchmark for the brand in this highly competitive marketplace. The Jury appreciates the seamless fusion of aesthetic, surface, graphic and materials technology into a product that is authoritative and yet virtually weightless.

Photos: NeilPryde Bikes

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QUEST FOR IMMORTALIT Y – THE WORLD OF ANCIENT EGYPT

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Laura Miotto: In general, the work of a designer is inseparable from the society for which the design is created. They are an important mediator in synthesising all the creative forces of a project. He has a crucial responsibility to always keep the human experience central to the process in spite of the complexity of the project. The effort must communicate, provoke thinking, create cultural exchanges and involve a meaningful experience. He must never forget that although a design might express the ‘signature’ of the team that created it, it will come to life only when people feel it belongs to them. JURY CITATION (2010) The originality of the thinking in this project is evident. It avoids the pitfalls normally associated with the display of collections by taking a traditional black box environment and then structuring a physical journey that provides a high level of intuitive engagement.

DESIGNER: Gsmprjct Creation Pte Ltd Laura Miotto Jessie Er Jeddie Cheong Melissa Chang Ramesh Krishnan CLIENT: National Museum of Singapore Hairani Hassan-Joshi CONTRACTOR: AE Models Team Pte Ltd C K Lee

The spaces created out of the basic rectangular gallery are rich and varied. From the triangular entry area, through a long corridor focused on a singular object and along ramps and elevated platforms down into the final burial chamber area, it is the quality of the spatial organisation that creates the power of the experience.

According to the design team, “The concept was to create an evocative sequence of spaces that could lead the visitor into an understanding of the collection and to experience the passage of the ancient Egyptians from life into afterlife, illustrating the idea that death is not an end but a transition to a new state of being.”

Photos: Gsmprjct Creation Pte Ltd

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RABBIT AND THE TORTOISE COLLECTION

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Studio Juju: Rabbit & Tortoise was born out of our favourite explorations of drawing fluid organic shapes – shapes that have no reference to anything but that could look like an animal, a cloud, or a lake. It was a simple idea, but it caught our imagination like a child’s drawing. We scanned many of our sketches into the computer and made graphical illustrations, and small models. The design process was fluid and imaginative and, at the same time, we knew we wanted to have a new typology for the living space, a new experience.

JURY CITATION (2014) This elegant collection comprises coffee tables and side tables constructed from 3mm-thick laser cut, poly-coated steel, with stainless steel legs that are discreetly threaded into the base of the table. This design feature allows for flat packaging and ease of shipping. The project gained its designers international recognition from an Italian manufacturer. It is an inspiration to other young Singaporean designers.

DESIGNER: Studio Juju Timothy Wong Priscilla Lui

The execution of the design demonstrates the delicate sensibility of the designers and the result provides a complementary accent to the surrounding environment. The Jury praises the beauty that lies in the design’s versatility, and its ability to integrate with other furniture to bring a sense of lightness and energy to a space. This project re-examines the typology of coffee tables and offers a fresh, alternative perspective.

The design exudes a poetic elegance reflective of its designers’ approach. Despite its minimalistic form and simplicity, the product applies well to both an indoor and outdoor space. The simple, child-like quality allows for many possibilities of arrangements.

Photo: Living Divani

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REPUBLIC POLY TECHNIC

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Fumihiko Maki: Given the location along the equator, outdoor spaces in Singapore are not very comfortable in the daytime. Also, there are frequent rain storms. The campus has an extremely high population density and so, the concept of the Agora space was developed as a large interior space that envelops all of the primary learning spaces into one single shell, providing protection from the elements and connected academic spaces. Angelene Chan: It was a fantastic opportunity to explore the design for a new pedagogical model of collaboration-based learning. We were challenged to rethink learning spaces and how to create chance encounters and learning opportunities through the design of the physical environment.

JURY CITATION (2009) The Republic Polytechnic, an ambitious and complex campus, brings order and high execution to institutional design. Conceived as a ‘campus in the park’ by the architect, the plan brings a strong parti to the organisation of the polytechnic’s various functions. At the centre of the campus, a large community space called the Agora links 11 learning pods together. The Agora is multi-dimensional – inside, students are sheltered; above, the sloping typography is reflected in a green roof that becomes an outdoor park. The Agora brings educational spaces such as the library together with social and interactive spaces in a unique, bold, single solution. Organised and rising around the Agora, the carefully placed learning pods permit a new kind of education system predicated on problem-based learning.

The Jury is impressed by the individual components of the site layout, including the sports complex, which is powerfully designed, as well as incidental spaces and public spaces such as courtyards and promenades.

ARCHITECTS: Maki & Associates Fumihiko Maki Gary Kamemoto DP Architects Pte Ltd Angelene Chan Toh Sze Chong Leo J R Mauricio Yong Hock Seng Villy Tampi Leonard Cheok Sheela Pillay Jeremy Tan OWNER: Republic Polytechnic ENGINEERS: Meinhardt (Singapore) Pte Ltd Kam Munwai BECA Carter Hollings & Ferner (S E Asia) Pte Ltd Lee Ang Seng CONTRACTOR: China Construction (South Pacific) Development Co Ltd – Tai Sei Corporation Joint Venture Li Xiao Qian

Despite the success of planning and executing such a complex programme, the Jury feels that the project lacks sufficient adaptation to the tropical climate and seems better suited environmentally to a temperate zone. Furthermore, the project could benefit from a closer integration with surrounding vegetation. Overall, this project brings a clear rational solution to a difficult sloping site for 13,000 students, and it has been handled with authority and masterful control.

Photos: DP Architects

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RUBBISH FAMZINE SERIES

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Pann Lim: I believe one of our duties is to ensure that every project we put out is of an international standard. Only in this way do we raise the collective benchmark of design. Every single issue of Rubbish has won major international awards, and we want to continue to contribute to Singapore’s design scene by pushing creative boundaries. And to be able to do this as a family is truly a blessing. We hope we can encourage and even inspire other families to work together on anything that they love.

JURY CITATION (2015) RUBBISH FAMzine, a mash-up of ʻfamilyʼ and ʻmagazineʼ, is both a creative project and a passionate pursuit for the Lim family: a father and a mother – both designers – and their young son and daughter. It is original in concept, daring in design and detailed in execution. Three issues have been produced so far. Each takes a different form: a travelogue of a family holiday in Tokyo; a file folder containing reproductions of vintage photos and love letters; and a traditional biscuit tin that’s used as a time capsule of sorts to hold a family’s memorabilia.

DESIGNER: Kinetic Singapore Pann Lim In collaboration with: Holycrap.sg Claire Lim Renn Lim Aira Lim Pann Lim

and encourages familial bonding and values, tradition and heritage. Because the Lim family wears its heart on its sleeve in sharing with the reader (or viewer) its family life experiences, the narrative is first-hand and textured. Expressing the content through design enriches the stories. For its exceptional, inspiring and holistic design concept, the Jury is unanimous in awarding Design of the Year to the RUBBISH FAMzine series.

The final expressions are as remarkable as they are surprising. RUBBISH FAMzine is, however, much more than a design project. It is an endeavour of two parents and their children to showcase a contemporary Singaporean family that is living life meaningfully, purposefully and creatively. It demonstrates

Photos: John Nursalim, VisualMind

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SANDCRAWLER

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

ARCHITECT: Aedas Pte Ltd

Aedas: As designers of the built environment, it is important to understand the society and culture of the communities we design for. We are always motivated by the desire to inspire and uplift the everyday lives of people through architecture. With limited urban green space in Asia, improving and extending the public realm as well as blurring the boundary between public and private thresholds are important to enriching the user experience.

CLIENT: Lucas Real Estate Singapore LANDSCAPE CONSULTANT: Adrian L Norman LIGHTING CONSULTANT: Lighting Design Partnership STRUCTURAL ENGINEER: Arup Singapore M&E CONSULTANT: J Roger Preston THEATRE CONSULTANT: Arup Acoustics

JURY CITATION (2014) The Sandcrawler skilfully weaves together an elegant office building and a public garden in a way that relates well to their environment.

FAÇADE CONSULTANT: ALT PROJECT MANAGER/ QUANTITY SURVEYOR: Faithful+Gould

Nestled in the centre of a horseshoeshaped building is a public garden that gives office workers in the building a view of the central green space. The complexity of the largescale project is sensitively handled from functional requirements to the material palette and design details.

MAIN CONTRACTOR: Obayashi Corporation

The Jury commends the designers for the rigour and control of their design of Sandcrawler.

Photo: Paul Warchol

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SATAY BY THE BAY

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Ling Hao: We were interested in making a space open to the surroundings and be part of it. How big, how deep, what were the dimensions that allowed for this kind of experience where you could always relate to the outside? These questions were necessary as the spaces for Satay by the Bay have a large footprint of 2,000sqm. Big trees and other landscaping come in and out in relation to a concrete roof which curves in and out or dips down here and there, and below which the users are usually not more than 12m away from the exterior.

ARCHITECT: Linghao Architects Ling Hao DESIGN COLLABORATOR: KUU Tan Kok Meng Satoko Saeki CLIENT: Planar One & Associates Pte Ltd STRUCTURAL ENGINEER: Consultants United MECHANICAL & ELECTRICAL ENGINEER: CMP Consultants Pte Ltd MAIN CONTRACTOR: Planar One & Associates Pte Ltd

JURY CITATION (2013) Located next to the Marina Bay waterways and nestled between the Gardens by the Bay and the Marina Barrage, Satay by the Bay reinterprets the quintessential Singaporean food centre. The project celebrates the experience of outdoor dining by allowing users to enjoy the sea-breeze and garden setting. A cool and comfortable environment created by a covering of green plants, the project fits seamlessly within the context of the Gardens by the Bay. The unique roof form creates various spaces underneath for patrons.

The well-conceived design with islands of cooking stalls encourages exploration in and around the gardens and pavilion. Imaginatively conceived central corridors and service areas ensure that the food centre functions efficiently. The raw materiality and carefully placed elements orchestrate the open space and help form a coherent and welcoming environment. The Jury commends the practical and simple design that resonates with local culture while incorporating a modern style that is very much an authentic expression of Singapore.

Photos (clockwise from top left): Jeremy San; Tan Hai Han; Jeremy San

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SCHOOL OF THE ARTS

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Alina Yeo: The school sits on a prime city plot where there are more traffic, noise and dust, and less social spaces and play areas. The model for the school is an imagined Laboratory of Creativity where research is conducted, and creative work fostered, and the results of this work are communicated within the school and to the wider community. Our design solution was to create the building as a ‘machine for wind’. The singleroom-thick design allows cross ventilation to every classroom, while generous circulation breezeways lined with green screens reduce glare and dust, dampen traffic noise, and cool rooms. JURY CITATION (2011) Located at one of Singapore’s major intersections within the city centre, the School of the Arts has become a distinctive icon and gateway to the Bras Basah.Bugis arts and cultural district. In spite of the building’s considerable depth, dynamic volumes and generous spaces have been used to channel natural light and ventilation.

With a view of the surrounding city, a central public podium serves as a delightful open space for performances and informal interaction. A series of steps descending towards Bras Basah Road extends the building into the public realm, making it a popular and vibrant rest place for students and passers-by.

The design of the building ably addressed two objectives – providing a safe, secure and inspiring learning environment in the upper floors, and enabling active public interaction on the lower levels. Empty walls on the upper floors of the school area serve as blank canvases, where space interplays with curriculum in a way that allows students to reflect, while encouraging the free play of new ideas.

ARCHITECT: WOHA Architects Pte Ltd Wong Mun Summ Richard Hassell Sim Choon Heok Chan Ee Mun Esther Soh Ian Donlan Teh Tien Hwa Alina Yeo Burapa Prommul Kwong Lay Lay Jose Nixon Sicat Alen Low Christina Ong Evi Syariffudin Germain Goh Merlinda Song Muhammad Halim Bin Wahab Ong Ker-Shing Pamela Choo Sabrina Foong LANDSCAPE ARCHITECT: Cicada Pte Ltd LIGHTING CONSULTANT: Lighting Planners Associates CLIENT: Ministry of Information, Communications and the Arts (Now known as Ministry of Communications and Information) CONTRACTOR: Tiong Aik Construction Pte Ltd MECHANICAL & ELECTRICAL ENGINEER: Lincolne Scott Ng Pte Ltd CIVIL & STRUCTURAL ENGINEER: WorleyParsons Pte Ltd QUANTITY SURVEYOR: Rider Levett Bucknall LLP THEATRE ACOUSTICS: Arup Acoustics/Theatreplan LLP

Photos: Patrick Bingham-Hall

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SENNHEISER EARPHONES

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Magnus Aspegren: Our first collaboration with Sennheiser was to create compelling and distinct designs for the three ranges of earphones and line accessories in a way that catered to their respective target clientele while sharing a unified design language. By thoroughly understanding the core brand values of Sennheiser, the ergonomics of the ear, and the use of earphones, Designworks worked closely with Sennheiser’s engineering team to create an aesthetic that was based on a highly distinctive silhouette. This provides an ideal synthesis of increased audio performance, excellent ergonomics and manufacturing through the efficient merger of multiple parts, while also establishing an instantly recognisable visual expression that heightens brand value. JURY CITATION (2010) The German manufacturer Sennheiser has a 60-year tradition of excellence in acoustic products. It has built a reputation for being one of the best professional and semi-professional headphone manufacturers globally. After forming a successful relationship with Designworks, the Singaporebased arm of the agency was approached to design three earphone ranges: the Expression Range, the Classic Range and the Sennheiser/ adidas Sports 680 Range. The result is a world-class range of products that has evolved and reformed the Sennheiser DNA and provided a unique design language that complements the outstanding technical and ergonomic performance of the brand.

DESIGNER: BMW Group DesignworksUSA (Singapore) (Now known as Designworks, a BMW Group Company) Magnus Aspegren Sonny Lim Joe Tan Nils Uellendahl CLIENT: Sennheiser Consumer Electronics GmbH Maurice Quarre

The Jury wishes to draw particular attention to the Sennheiser/adidas Sports 680 Range, which demonstrates a passionate adherence to the highest ergonomic principles while optimising the acoustic performance under difficult and dynamic environmental conditions. In a world of ubiquity, these products make a bold visual as well as aural statement, while aptly demonstrating the close working relationship between designer and acoustic engineer. The quality of design does not end with the product. The retail packaging also contributes to lifting the brand’s credentials to new levels of excellence. By committing to this level of detail and material quality, Sennheiser’s products now look, behave and feel like they perform. It is an internationally calibrated aesthetic that has been consummately created for a German company by a Singapore-based company.

Photos: Sennheiser

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SINGAPORE ICONS

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Edwin Low: The only way to create a Singapore identity is to involve as many local designers as possible in the design process – each giving their perspective of what makes a Singapore Icon. I wanted to create souvenirs that present a real and current aspect of the Singaporean culture, and not just the Merlion which is a mythical creature. That was the intent for this project. As designers, we tend to push our own ideals onto our clients and end up being inward looking. This project showed me how different designers, designs, price points, and customer behaviours are all linked to the design process.

DESIGNERS: SUPERMAMA Edwin Low Chee Siong ampulets James Teo Chye Koon Relay Room De Winne Mark Yehan Quiet Studio Fion Lum Pui Mun Desinere Melvin Ong Yit Leong Chang Shian Wei

JURY CITATION (2013) This Design of the Year Award goes to an entrancing and delightful range of Singaporean souvenirs that transform that genre from the usual clichés associated with such products into contemporary expressions of Singapore that are imbued with exceptional craft and beauty. The Jury is impressed by the entrepreneurial spirit of the venture which sought out a small, highly skilled, traditional Japanese ceramics and glazing company, itself on the verge of extinction, and applied their master craft skills to these new expressions of Singapore. Each set of ceramics abstracts a well-known aspect of Singapore, from Housing and Development Board public housing and the cranes on its skyline to the national orchid and Singapore’s tropical climate. Each design expression is manifested with exceptional craft and a touch of wit to make us smile! Photo: SUPERMAMA

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SNAPWARE ECO FLIP

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Lee Eng Leong: The Snapware Eco Flip was designed for the user’s confidence and peace of mind when drinking from a glass bottle. The design shows that it is possible to encourage healthy and responsible drinking in Singaporeans while uplifting the nation’s image towards the environment. It reinforced my conviction that the market requires, and is more ready to accept, products that are straightforward. Designers should therefore be curious about products already in the market and pick them up to try. They should also observe trends with the goal of creating products that users intuitively know how to use. The future of product design is to remove the instruction manual.

JURY CITATION (2013) There is more to the Snapware Eco Flip than initially meets the eye. What looks like a very nicely designed drinking bottle is, in fact, a successful resolution of a whole series of small design problems which seamlessly comes together to make a compelling product. At its core is the ecological choice of a recyclable borosilicate glass bottle, instead of the ubiquitous blow-moulded plastic. This makes for a hygienic, easy to clean and temperature-resistant container for all kinds of drinks. To provide insulation and protect from breakage, it is sheathed in a silicone jacket. The cap itself, with an easy to carry handle, is designed so that you can drink from the glass, rather than from the cap, which is both more convenient

DESIGNER: World Kitchen (Asia Pacific) Pte Ltd Lee Eng Leong Lin Shini Park Eunsung

and hygienic. The cap incorporates a one-handed flick-to-open mechanism and, cleverly, the hinge has a click-in detente mechanism to keep the lid away from the nose when drinking. What’s more, the two parts of the cap twist apart easily for cleaning. The Jury praises the thoughtfulness, care and uncompromising attitude of the team in optimising every little design detail to achieve the best possible solution.

Photo: World Kitchen (Asia Pacific)

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SOUND BLASTER ROAR SR20

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Vince Ang: Our main objective was to create a well-designed, innovative speaker product that allows everyone to enjoy premium quality wireless audio in music, videos, movies and games – anywhere, anytime. The Sound Blaster Roar SR20 is the mother of all portable Bluetooth speakers. It boasts killer audio, killer looks, killer features and a killer price.

DESIGNER: Creative Technology Ltd Vince Ang GiGi Cho Eddy Toh

JURY CITATION (2014) This is a premium wireless speaker that is extremely well priced in a competitive market. The execution of the design is seamless and should be held as a benchmark of industrial design for others to follow. The Sound Blaster Roar’s compact form, design language, simple user interface, material selection, branding, packaging and detailed engineering of the internal components, all show that this is a world-class product. Its sound quality is phenomenal and will challenge similar products on the market. The unit has an excellent user interface, with a considered approach to the grouping of function buttons. The use of integrated moulded rubber in the design is meticulously detailed, and gives the product an air of premium quality. The Jury commends the designers and praises their end-to-end design professionalism. Photos: Creative Technology Ltd

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SPOTTED NYONYA COLLECTION

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Hans Tan: The project is an industrial re-interpretation of the Nyonya porcelain vessel, a traditional domestic ware that is native to Chinese-Peranakans in Southeast Asia. By resistblasting the original multi-coloured surface into a new dotted pattern, we created a contemporary context. Resist-blasting every piece by hand was a challenge. As the process involves the removal of the glaze porcelain surface, it is irreversible. Therefore, if a mistake is made in the blasting process, the piece is damaged and cannot be recovered. It took years of practice to reduce the casualty rate to its minimal level today.

DESIGNER: Hans Tan Studio Hans Tan

JURY CITATION (2012) The design process of the Spotted Nyonya Collection reinterprets and transforms traditional objects of the past and invests them with a contemporary attitude. The collection is a particularly important reflection on Asian culture and craft, but re-purposed in a modern way. The Jury is impressed by the originality of the idea and its beautiful and painstaking execution. A high level of craftsmanship reflects the craft values of past traditions. The merging of classic craft with contemporary design changes our perception of these traditional, and originally functional Peranakan products, and invests them with authenticity yet with a twist. In the process, completely new and beautiful pieces are created.

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STADIUM MRT STATION

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Pearl Chee: It was how to address the large ground-level crowds. The station was designed with an at-grade, open-air concourse and plaza. By contrasting the formal design language of linearity against curved forms, we were able to create a major dramatic space that gives the public a moment of spatial grandeur in their daily commute, just as traditional train stations in Europe do. Careful design and openings of the above-ground forms let in natural daylight and views of the exterior. The design literally elevates an otherwise confined underground space into a light-filled, spatial interior. JURY CITATION (2010) The dramatic volume the architects have delivered makes this a landmark station appropriate to the importance of the new stadium facility that it will serve. This volume is derived from a large curved wall that compresses the deep space through which visitors ascend or descend via escalators. The design enhances the experience of entering the earth or rising toward the sky.

The key design decision to manage crowds above ground rather than at lower levels has produced a less costly project that will be far better for passengers who benefit from what should be a seamless journey from exterior to train.

ARCHITECT: WOHA Architects Pte Ltd Richard Hassell Wong Mun Summ Pearl Chee Dharmaraj Subramaniam CLIENT: Land Transport Authority MAIN CONTRACTOR: Nishimatsu Construction/ Lum Chang Joint Venture MECHANICAL & ELECTRICAL ENGINEER: Meinhardt (Singapore) Pte Ltd STRUCTURAL ENGINEER: AECOM Singapore Pte Ltd LANDSCAPE CONSULTANT: Cicada Pte Ltd ACOUSTICS CONSULTANT: Acviron Acoustics Consultants Pte Ltd

The artworks incorporated into the project are a welcome announcement of the sporting buildings beyond.

Cost control has been used as a creative mainspring rather than a tiresome constraint, and the limited range of materials has strengthened the integrity of the design.

Photos (top to bottom): Patrick Bingham-Hall; Tim Griffith; Patrick Bingham-Hall

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STATE THEATRE CENTRE OF WESTERN AUSTRALIA

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Dr Kerry Hill: The site is located on a prominent corner site of the Perth Cultural Centre, and it was an opportunity to contribute to the revitalisation of the Cultural Precinct. The project began as a two-stage international competition. Obviously, the challenge was to formulate a concept that would win the commission. So we decided to take a gamble and break the rules. The brief asked for two theatres to be aligned horizontally in order for them both to be serviced at road level. Our proposal was to stack the theatres vertically. By reducing the footprint, the outcome provided a venue with an additional outdoor performance space.

JURY CITATION (2011) The design of the State Theatre Centre of Western Australia has raised the bar for civic design, going beyond simply meeting the demands of a challenging project brief. Its design and purpose are clearly articulated in the organisation of the theatre’s spaces and functions.

LANDSCAPE ARCHITECT: Tierra Design (S) Pte Ltd

The Jury commends the significant role the building’s architecture plays in enhancing the theatre’s contributions to invigorating the arts and local communities, and in the regeneration of Perth’s Cultural Centre.

HERITAGE ARCHITECT: Kelsall Binet Architects LIGHTING DESIGN: Electrolight CLIENT: Department of Treasury and Finance, Building Management and Works, Department of Culture and the Arts, Western Australia PROJECT MANAGER: NS Projects

What is laudable is the creation of multi-layered foyers where activities and performances can take place, and connect the building to the street outside. Windows are cleverly used in the expansive rehearsal room to let in daylight. The use of materials is remarkably rich, bringing out the beauty and elegance of the theatre. Key architectural elements are appropriately scaled, respecting the adjacent heritage buildings while relating well to the Cultural Centre context.

QUANTITY SURVEYOR: Ralph Beattie Bosworth ACOUSTICS & THEATRE TECHNICAL CONSULTANT: Marshall Day Acoustics/MDA Entertech MECHANIAL, ESD, PEDESTRIAN ANALYSIS & FIRE ENGINEER: Aurecon ELECTRICAL, LIFT, HYDRAULIC & FIRE HYDRAULIC ENGINEER: Wood and Grieve STRUCTURAL & CIVIL ENGINEER: Airey Taylor Consultants MAIN CONTRACTOR: John Holland Group

Photos (clockwise from top left): Adrian Lambert; Robert Firth; Adrian Lambert; Robert Firth; Adrian Lambert – Acorn Photo

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ARCHITECT: Kerry Hill Architects Pte Ltd Dr Kerry Hill Simon Cundy Justin Hill Patrick Kosky Albano Daminato Terry Galvin Bernard Lee Tan Cheng Ling Helena Nikola Andrew Yang Chin Siew Chin Nina van der Grinten Elizabeth Armstrong William Stuart Ryan Brown Rhys Bowring Phivo Georgiou Dean Adams Richard Stone Angeline Tan

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STREET WAVE SWAVEBOARD

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Imran Othman: I learnt that dreams can come true. The lack of experience doesn’t necessarily mean that we will end up with an inferior solution. In fact, in many situations, the lack of relevant experience helps us discard preconceived notions of what is possible and what is not. I learnt that it is important that, as much as possible, we embrace the limitations instead of working against them. You especially need to believe in yourself and in what you do. No one will believe in you unless you are confident about your abilities. Do not be intimidated by people who are more senior or who have more experience. There is no one in this world who knows everything.

DESIGNER: Streetwave Pte Ltd Imran Othman CLIENT: Streetwave Pte Ltd

JURY CITATION (2011) The Streetwave Swaveboard is a stylish and technically well-resolved product from a young designer who exhibits maturity and focus beyond his few years of commercial experience. The Jury is impressed by his dedication to functionality that is born from a real passion to engage with the behaviour and performance of the product coupled with a no-nonsense, hands-on approach to the design process. In a world dominated by the abstractions of computer rendering and digital manipulation, it is very refreshing to see such an analogue approach to a complex object. The product is filled with modest, yet effective, design solutions, such as using the flexure and deformation of the deck to create the suspension system.

Photos: Extracted from President’s Design Award 2011 Publication

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SUNRAY WOODCRAFT CONSTRUCTION HEADQUARTERS

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Angelene Chan: That it is good to fight tenaciously for the design you believe in. Alternative solutions can be proposed, but they must not compromise that belief. Typically, when a client constructs a factory, the main priority is an efficient and onbudget building that optimises the operating processes. A good designer has to exceed these practical and fiscal expectations by designing a building that is both attractive, and instils a feeling of pride and purpose in the owners and employees. In other words, experimenting with the factory building typology is a real test of the designer’s skills. It challenges the designer to really re-think the purpose of a utilitarian building. JURY CITATION (2015) Sunray Woodcraft Construction Headquarters is a ray of light in the midst of a bleak industrial area. The bright and cheerful eight-storey building accommodates production spaces, workers’ dormitory, warehouse, offices and showrooms. The spaces are designed to facilitate a seamless workflow for different user groups. Their different functions are expressed by varying volumes and variations in surface treatment which depart from the usual industrial factory typology typically found in Singapore. Factory production and warehouse spaces, for instance, are clad in yellow horizontal aluminium louvres; and office spaces in vertical aluminium louvres. The showroom is in concrete, whilst the workers’ dormitory at the rear is clad in vertical louvres with chequerboard openings that allow maximum natural ventilation while maintaining privacy.

The Jury commends Sunray Woodcraft Construction Headquarters for its refreshing interpretation of an industrial factory building. The project is a welcome departure from the norm whilst providing a benchmark for future developments of this kind.

ARCHITECT: DP Architects Pte Ltd Angelene Chan Claudia Nam Widari Bahrin Arjun Rosha Alvin Arre Yong Hock Seng Doan Quang Hiep Syahirah Binte Abbas CLIENT: Sunray Woodcraft Construction Pte Ltd MECHANICAL & ELECTRICAL ENGINEER: DP Engineers Pte Ltd Goh Yong Ping Leslie Khuan Renee Cheong CIVIL & STRUCTURAL ENGINEER: DP Engineers Pte Ltd Tan Yew Chai Louiechito Nino Walter Parcero QUANTITY SURVEYOR: Chin Cost & Management Consultants Pte Ltd Chin Bay Fah MAIN CONTRACTOR: SWC Builders & Engineering Pte Ltd Charles Tan

Photos: DP Architects

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SUTD GRIDSHELL

WHAT IS THE RESPONSIBILITY OF A DESIGNER TO THE COMMUNITY OR SOCIETY?

Andres Sevtsuk: I think the responsibility is, first and foremost, to produce spaces that people like to use, and that serve their purpose well. But beyond that, I think architecture also needs to inspire, to push the boundary a bit, and to expand the imagination. If, after a project, a place ends up being better than it was before, then I think the architect has generally done a good job. This might sound like a low bar, but it is actually not that easy. For many different constituents and stakeholders to agree that something is good requires inclusive planning and a lot of responsibility. JURY CITATION (2014) As a temporary structure, the pavilion is a model of the possibilities when human-centric design, innovative engineering, and computation solutions meet an incredibly low budget. It is a kit-of-parts project that revolutionises the way we conceive and define how we make things. The project reflects the continuing study of prefabrication ideas. It is another step forward for mass-produced technologies that aim to resolve the inherent contradiction between prefabricated and bespoke products.

DESIGNER: SUTD City Form Lab Andres Sevtsuk Raul Kalvo CLIENT: SUTD Julie Sabaratnam ENGINEER: Arup Mike King Ben Sitler CONTRACTOR: Arina Hogan Builder Richard Tan

The undertaking is the collaboration of students, faculty members and professionals. They started with the engineering of the structure using low-tech 2D plywood and successfully achieved a complex form using cut steel plates. Together, the flat linear elements take on a compound form with a natural ease and simplicity. The Jury looks forward to seeing this exemplary project inspire progress in prefabricated architecture.

Photos: Philip Aldrup

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T HOUSE

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Ling Hao: We learnt how to imagine living in this part of the world – in the tropics, and in the midst of a growing city. To make a small house that is a world amongst plants. A world where changes in the weather or daily activity, where you walk, sit, chat, and eat – all these activities and circumstances are next to each other. How much of the exterior, the sun, air, rain, light, plants, and breeze could become part of the everyday spaces.

ARCHITECT: Linghao Architects Ling Hao STRUCTURAL ENGINEER: KH Consultants Wong Ka How QUANTITY SURVEYOR: Construction Cost Quantity Surveyors Koh Hung Phing MAIN CONTRACTOR: Kian Huat Decoration Construction Pte Ltd A S Pang GARDENER: Nemesu Garden Design Tan Yung Ming

JURY CITATION (2014) T House is a statement of resistance with a clear and honest position that offers a different experience of living in the tropics. It challenges the norms of millennial design and construction of homes in Singapore. The house is an open, airy structure that incorporates multiple courtyards and gardens in a small space. It is organised around a central, doublevolumed internal courtyard that allows air and light to penetrate into the space. The open structure and humble material palette evoke memories of old Singaporean houses, while accommodating the modern lifestyles of its owners. Indoor planting strips with creeper plants keep the naturally ventilated environment green and cool. The Jury commends the radical simplicity inherent in the interpretation of this tropical house. It is a model of how we can live life simply.

Photos (clockwise from top left): Jeremy San; Jovian Lim; Jovian Lim

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THE TREE

WHAT DID YOU LEARN OR TAKE AWAY FROM WORKING ON THE DESIGN?

Peter Sim: The designer is but one member of a team. It is therefore important to work together as a team towards a shared vision. To think of ways in which design can make how we live individually and collectively better. Design can bring joy and wonder and, in this case, our objective was to create a playful, fun and meaningful site-responsive installation.

DESIGNER: FARM Peter Sim Torrance Goh Tiah Nan Chyuan Selwyn Low Willie Koh Dylan Quek CLIENT: National Museum of Singapore CONTRACTOR: AE Models Team Pte Ltd ENGINEER: NCK Associates

JURY CITATION (2010) The Tree represents a new type of landscape design that observes nature and that operates on multiple levels of cultural memory. It represents the knitting of man and nature through form, sound and light, and acts as a gathering point that favours social interaction. The designers of The Tree say that “the huge old Banyan tree that sits majestically on the front lawn of the National Museum is a place full of histories, stories and magic”. The project is a contemporary re-interpretation of this tree, alluding to all its richness and symbolism and “inspiring people to slow down, take a breather and simply bask and partake in this re-creation of nature’s wonder”. The techno-tree lantern reacts to the sounds of the public, pulsating with light in a delightfully interactive way. The Jury would like to see The Tree in a more permanent state.

Photo: Jeremy San

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UNDERSCORE MAGAZINE

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Justin Long: We studied all formats of print media – from books to magazines to newspapers – to create the perfect experience for reading. We considered our contributors. We considered every aspect of content: writing, photography, sincerity, legibility, font type and size, colours, background colours, overall weight, smell of print, texture of the paper stock, size for portability, how it would look on the newsstand, hand-carried, on a coffee table, in a cafe, on a flat tray. Just about everything we could design better, we did, including the soundtrack to accompany the reading experience.

DESIGNER: Hjgher Justin Long Jerry Goh Stephanie Peh Jovian Lim

JURY CITATION (2011) Underscore is a magazine you want to read. It is emotional, it has depth, it has heart. You want to feel it, open it, and devour it voraciously. Not only is the magazine well-balanced with good design and thought provoking articles, the contents are outstanding. It is not a run-of-the-mill magazine. Rather, it is a labour of love. Sign us up! We want to read every issue.

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URBAND ORIGAMI

WHAT WERE THE MAIN CHALLENGES YOU FACED WHEN YOU WERE WORKING ON THE DESIGN, AND HOW DID YOU RESOLVE THEM?

Yang Wah Kiang: Since paper can be folded into various different forms and objects, why, we wondered, can’t we fold a piece of stainless steel sheet metal to form a frame? So, that was our objective and the challenge. We took the inspiration from the Japanese art of paper folding. We succeeded after many failed attempts. The process demonstrated that there are no shortcuts to the development of good design. It will take up lots of time. The process involves experimenting and testing with prototypes, encountering failures, and facing criticism in the face of such failures. JURY CITATION (2009) Urband Origami glasses are aesthetically minimalist, technologically ingenious and stylistically cool. The ultra-thin frame is a single strip of 0.4mmthin laser-cut metal bent in 23 places using sophisticated bending technology. An integrated S-clip mechanism connects the frame to the side pieces to form a strong, flexible, feather-light, highly comfortable ensemble. Urband Origami is also environmentally friendly in that the manufacturing technique does not require any soldering. The lead designer, Yang Wah Kiang, has lifelong experience with optical technology and glasses manufacture. Urband Origami is only one of a range of ingeniously designed eyewear that he creates, manufactures and markets.

DESIGNER: Nanyang Optical Co Pte Ltd Yang Wah Kiang Zhang Andong

Not formally trained as a designer, Wah Kiang nevertheless meets the highest standards for original thinking, innovative problem-solving, formal sensibility, and technical understanding. He is single-minded in his pursuit of originality, quality, and his goal to advance the state of design for his business. The Jury is impressed by the elegant, simple, clean, sophisticated, and ingenious design of Urband Origami. But perhaps even more, it is moved by Wah Kiang’s unique and profound sensibility toward materials and production craft, which is, more often than not, lost in the design industry today. It is not surprising that Urband Origami has won many other prestigious international design awards.

Photos: Nanyang Optical Co Pte Ltd

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WONDER BOX

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

William Chan: Optimisation. Singapore is well known for its HDB flats, which tend to follow a cookie-cutter approach. But my view is that owning an HDB flat does not mean having to conform to a standard way of living. The interior, regardless of the size, can be recreated aesthetically and yet remain functional with unconventional design methods. This means manipulating the existing space in a small apartment to achieve openness, versatility and maximise the living and storage spaces with striking design aesthetics, all while taking into account natural light, ventilation, and flow of human traffic.

JURY CITATION (2012) Wonder Box exemplifies the ‘small is beautiful’ concept. The designer has demonstrated a meticulous understanding of the client’s needs for extra storage by encapsulating the back of house, wet areas and bomb shelter into a compact whole. The contents within the box unfold, telling a story of the homeowners’ lives as they eat, live and play.

DESIGNER: Spacedge Designs William Chan CLIENT: Dean & Laura CONTRACTOR: U Lee Furniture & Decoration

Through clever use of resources, Wonder Box redefines the space of an HDB flat and changes the experience of living in one. It will inspire other HDB dwellers and homeowners to improve their quality of living by exploring and adopting good home design. This is a scalable precedent for mitigating restricted space provision in Singapore housing.

This is a brilliant piece of crafted design. The designer sacrificed some space to achieve a more significant overall result. As a pristine yet humble solution, Wonder Box, delivered on a low budget, is a huge achievement.

Photos: Yong Woei Na

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X-HALO BREATH THERMOMETER

WHAT WAS YOUR MAIN OBJECTIVE FOR THE DESIGN?

Michael Paterson: A designer’s job is to create products with empathy for the user and the context of use. You have to be aware of the environmental repercussions of your design decisions. In this context, the X-Halo had to be functional in both clinical and consumer settings. Asthma primarily affects children, so the device also needed to be easy for a child to use while existing comfortably in a hospital or clinic as a professional diagnostic tool. Our objective was to create a simple, holistic design whereby users in both situations were well considered, but without prioritising one over the other.

JURY CITATION (2009) X-halo, a revolutionary new tool that literally breathes new life into the fight against asthma, is a reusable handheld device that predicts an imminent asthmatic attack. Asthma is a chronic inflammatory disorder of the airways that causes over 250,000 deaths a year because of a lack of proper treatment. The X-halo breath thermometer promises to change that. Based on breakthrough research that has found that airway inflammation in asthma is directly linked to a 1.2 degree Celsius rise in breath temperature before an attack, the X-halo accurately measures this rise in a non-invasive and user-friendly way. This gives doctors, care-givers and patients a new way to manage the condition before the onset of acute symptoms.

The Jury applauds X-halo for its aesthetic character and emotional appeal. For a patient-used, handheld device, the form is elegant, non-threatening and sturdy. This combination of qualities is unusual for first-generation medical equipment.

DESIGNER: Philips Design Michael Paterson Darrell Chung Rod White Amy Wan Nic Ng Cecilia Go Daphne Flynn CLIENT/OWNER: Delmedica Investments (Singapore) Pte Ltd Jas Gill Mourad Mankarios MANUFACTURER: Mdesign Solutions Pte Ltd S C Chong ENGINEER: Mdesign Solutions Pte Ltd S C Chong

The Jury is impressed by the superior quality of technical innovation that its designer Philips Design Singapore based on solid and substantial front-end design research. It also cites the elegant user interface, interaction design based on human factors, and intuitive use of colour-shifting LED lighting and audible sounds to indicate when to start and finish blowing. X-halo is a technology platform that has the potential to apply to diseases beyond asthma. It belongs to the major emerging shift in the healthcare sector from medical repair and the doctor’s office toward a more anticipatory and preventive consumer approach based on self-monitoring and self-awareness.

Photos: Delmedica Investments (Singapore) Pte Ltd

PRESIDENT’S DESIGN AWARD SINGAPORE A DECADE OF DESIGN EXCELLENCE

269

DESIGN OF T HE YEAR

INDEX BY DISCIPLINES ARCHITECTURE

EXHIBITION

INTEGRATED

1 Moulmein Rise ................................................ 95

0501 ................................................................. 93

Gardens by the Bay (Bay South Garden) .......... 157

19 Jalan Elok .................................................... 99

6 Special Exhibitions at the Asian Civilisations Museum (Empress Road) ..... 97

19 Sunset Place .............................................. 101 26 Cable Road ................................................ 103 Bishan Community Library ............................... 121

1000 Singapores – A Model of the Compact City ................................................. 105

INTERIOR Architect’s Office at Kim Yam Road .................. 111

Being Together: Family & Portraits – Photographing with John Clang ....................... 117

Bartle Bogle Hegarty Office (Shanghai) ............. 113

Chan Sau Yan, Sonny ........................................ 21 Chan Soo Khian ................................................ 23

Building As A Body .......................................... 129

Church of St Mary of the Angels ...................... 133

DECK – People, Place, Photography ................ 135

The Caterpillar’s Cove Child Development and Study Centre ....................... 131

Esplanade – Theatres on the Bay ..................... 147

Fugue 1, 3, 5, 7 – Archifest Pavilion 2014 ........ 153

Genexis Theatre, Fusionopolis ......................... 159

Fullerton Hotel & One Fullerton ........................ 155

MINI Habitat .................................................... 187

Koichiro Ikebuchi ............................................... 45

Gardens by the Bay (Bay South Garden) .......... 157

library@orchard ............................................... 175

Richard Hassell .... 81, 95, 133, 185, 209, 237, 249

Quest for Immortality – The World of Ancient Egypt ............................ 225

Henderson Waves ........................................... 161

SUTD Gridshell ................................................ 257

New Majestic Hotel ......................................... 195

Dr Kerry Hill ........................................ 39, 183, 251

The Tree .......................................................... 261

Page One Bookstore at Vivocity ....................... 205

Prof Richard K F Ho .......................................... 43

BBH Office in a Warehouse .............................. 115

Naumi, Singapore ............................................ 193

Peter Tay ........................................................... 75

Kent Vale ........................................................ 169

FASHION

Philips Singapore Learning Centre ................... 215

Khoo Teck Puat Hospital ................................. 171

Andrew Gn ........................................................ 37

Wonder Box .................................................... 267

LASALLE College of the Arts ........................... 173

Alfie Leong ........................................................ 49

Voon Wong ....................................................... 83

FLORAL

LANDSCAPE

Harijanto Setiawan ............................................ 65

Bishan-Ang Mo Kio Park .................................. 119

Lucky Shophouse ........................................... 179 Look Boon Gee ......................................... 55, 121 Marina Bay Sands Integrated Resort, Singapore ........................................................ 181

Casey Gan ........................................................ 35

Martin No. 38 .................................................. 183

INDUSTRIAL/PRODUCT

Mok Wei Wei ...................................... 57, 191, 201

AIR+ Smart Masks and Micro Ventilators .......... 109

National Gallery Singapore ............................... 189

Black Forest Table ........................................... 123

National Museum of Singapore ........................ 191

Buccaneer 3D Printer ...................................... 127

The Oliv ......................................................... 201

Patrick Chia .............................................. 29, 199

PARKROYAL on Pickering .............................. 209

Dell 966 All-in-One Photo Printer ..................... 137

The Pinnacle@Duxton ..................................... 217

Dell All-in-One Desktop PC Family ................... 139

Republic Polytechnic ...................................... 229

Dell Inspiron 23: All-in-One PC ......................... 141

VISUAL COMMUNICATION

Sandcrawler ................................................... 233

Dita, The Answer Earphones ............................ 143

A Guide to the Flora and Fauna of the World .... 107

Satay by the Bay ............................................. 235

Dyson Digital Motor ......................................... 145

The Browsing Copy Project ............................. 125

School of the Arts ........................................... 237

Eubiq Power Outlet System ............................. 149

Theseus Chan ........................................... 25, 193

Siew Man Kok ........................................... 67, 169

Eyelet Flip ....................................................... 151

William Chan – PHUNK ...................................... 27

Stadium MRT Station ...................................... 249

HP Deskjet 460 Mobile Printer ......................... 163

Melvin Chee ...................................................... 27

State Theatre Centre of Western Australia ........ 251

Initial ‘Signature’ Range ................................... 165

John Clang ....................................................... 31

Sunray Woodcraft Construction Headquarters .. 255

Objects Around the Tablescape ....................... 199

Eng Siak Loy .................................................... 33

T House .......................................................... 259

Ouyi Refrigerator ............................................. 203

Hanson Ho ........................................ 41, 105, 107

Tan Cheng Siong ............................................... 69

Paper Fold ...................................................... 207

Chris Lee .......................................................... 47

Tang Guan Bee ................................................. 73

PediGuard

Tan Kok Hiang ................................................... 71

Pelé Sports Trinity 3E ...................................... 213

Lighting Masterplan for Singapore City Centre ................................ 177

Wong Mun Summ .... 81, 95, 133, 159, 185, 209, 237, 249

Pour ............................................................... 219

Yip Yuen Hong ................................... 87, 101, 103

Pryde Group Bicycle Design Development ........ 223

.................................................... 211

Prologue Collection ......................................... 221 Rabbit and the Tortoise Collection .................... 227 Sennheiser Earphones ..................................... 239 Singapore Icons .............................................. 241 Snapware Eco Flip .......................................... 243 Sound Blaster Roar SR20 ................................ 245 Spotted Nyonya Collection .............................. 247 Streetwave Swaveboard .................................. 253 Urband Origami ............................................... 265 Voon Wong ....................................................... 83 X-Halo Breath Thermometer ............................ 269 Nathan Yong ..................................................... 89

270

Gardens by the Bay (Bay South Garden) .......... 157

The Met (Bangkok, Thailand) ........................... 185

271

Jurong Eco-Garden ........................................ 167 Lim Swe Ting .................................................... 35 New Majestic Hotel, Front Lawn ...................... 197 Dr Colin K. Okashimo ....................................... 59 Franklin Po Sui Seng ........................................ 63

Pann Lim ................................................... 51, 231 Lim Sau Hoong ................................................. 53 Larry Peh .......................................................... 61 RUBBISH FAMzine Series ............................... 231 Alvin Tan ........................................................... 27 Jackson Tan ..................................................... 27 Tham Khai Meng .............................................. 77 Underscore Magazine ..................................... 263 Edmund Wee .................................................... 79 Yang Yeo .......................................................... 85

INDEX BY COMPANIES &Larry Pte Ltd .................................................. 61 10AM Communications Pte Ltd ........................ 53 A Beautiful Design ........................................... 125 A. Peter Tan Associates Pte Ltd ...................... 133

Chin Cost & Management Consultants Pte Ltd ........................................ 255 China Construction (South Pacific) Development Co Ltd ....................................... 229

SUPERMAMA .................................................. 241

Forum Architects Pte Ltd .................................. 71

The Little Voice Pte Ltd ..................................... 49

Franciscans, Order of Friars Minor, Custody of St Mary ......................................... 133

LOOK Architects Pte Ltd ............................ 55, 121

Peter Walker and Partners Landscape Architecture .................................. 181

Lucas Real Estate Singapore .......................... 233

Philips Design .......................................... 215, 269

Surbana International Consultants Pte Ltd ................................. 167, 217

Fuji Signcrafts Industrial Pte Ltd ...................... 161

Luen Soon Iron Works ..................................... 111

Philips Electronics Singapore .......................... 215

SUTD ............................................................. 257

Lush Studio ..................................................... 197

Philips Medical Systems .................................. 215

SUTD City Form Lab ....................................... 257

M S Kong Contracts Service Pte Ltd ................ 197

PHUNK ............................................................. 27

SWC Builders & Engineering Pte Ltd ............... 255

Maki & Associates .......................................... 229

Pirate3DP Pte Ltd ............................................ 127

Swee Hong Limited ........................................ 157

Marshall Day Acoustics ................................... 251

Planar One & Associates Pte Ltd ............. 157, 235

TA Asia ........................................................... 135

Maunsell Consultants Pte Ltd ......................... 155

Plate Interactive Pte Ltd .................................. 105

Tai Sei Corporation ......................................... 229

MDA Entertech ................................................ 251

PM Link Pte Ltd ................................ 157, 171, 191

Takenaka Corporation ..................................... 173

Chip Eng Seng Corporation Ltd ....................... 217

The Fullerton Singapore .................................. 155

Chistensen Irrigation Singapore Pte Ltd ............ 99

Gardens by the Bay ........................................ 157

Chye Joo Construction Pte Ltd ........................ 119

Geitz & Partners .............................................. 119

Cicada Pte Ltd ........................... 35, 185, 237, 249

Grandwork Interior Pte Ltd ............................. 205

City-Tech Associates ....................................... 179

Grant Associates (UK) .................................... 157

Adrian L Norman ............................................ 233

Clang Photography, Inc ............................. 31, 117

Greaves Best Design ...................................... 165

AE Models Team Pte Ltd ......................... 225, 261

CMP Consultants Pte Ltd ............................... 235

Greenscape Pte Ltd ................................... 99, 179

AE&T Consultants ........................................... 133

Colin K. Okashimo and Associates ................... 59

Mdesign Solutions Pte Ltd .............................. 269

Precious Treasure Pte Ltd ............................... 155

Gsmprjct Creation Pte Ltd .............................. 225

Takenaka-Singapore Piling Joint Venture (TCSP JV) ................................. 189

AECOM Singapore Pte Ltd ............................. 249

Construction Cost Quantity Surveyors ............ 259

Meinhardt (Singapore) Pte Ltd ... 95, 121, 229, 249

Precise Development Pte Ltd .......................... 157

H55 ................................................... 41, 105, 107

Meinhardt Infrastructure Pte Ltd ..................... 157

The Press Room ............................................. 189

Tandem Architects (2001) Co Ltd .................... 185

Aedas Pte Ltd .......................................... 181, 233

Consultants United ......................................... 235

Hans Tan Studio ...................................... 219, 247

Mero Systeme GmbH & Co .............................. 147

Project Lighting Design Pte Ltd ...................... 183

TANGGUANBEE Architects ............................... 73

Ah Boon Civil Engineering & Building Contractor Pte Ltd ............................. 161

CPG Consultants Pte Ltd ... 147, 157, 171, 189, 191

HCF and Associates ....................................... 153

Michael Wilford & Partners ............................... 147

Project Perfection Pte Ltd (Dita Audio) ............ 143

TEHC International Pte Ltd ............................. 157

Creative Technology Ltd ................................. 245

Hewlett-Packard Singapore (Pte) Ltd .............. 163

Tham & Wong LLP .......................................... 153

Hirsch Bedner Associates Pte Ltd .................. 155

Minimal Inc ..................................................... 139

PTP Engineers ................................................ 101

Theatre Project Consultants, UK ...................... 147

Airey Taylor Consultants .................................. 251

Crystallite Construction & Engineering Pte Ltd ......................................... 111

Mind Wasabi Pte Ltd ....................................... 195

PSB Technologies Pte Ltd ............................... 211

Air Division Pte Ltd ........................................... 89

Public Utilities Board ....................................... 119

Holycrap.sg .................................................... 231

Public Works Department ................................ 147

Allegiance Construction Pte Ltd ...................... 179

d.lab, Design Incubation Centre ................. 29, 199

Ministry of Communications and Information ....................................... 147, 237

Theatreplan LLP ...................................... 159, 237

CSYA Pte Ltd .................................................... 21

Hjgher ............................................................ 263

Alexandra Health Pte Ltd ................................. 171

Ministry of Design Pte Ltd ........................ 115, 195

QS Builders Pte Ltd ................................. 103, 111

Alpha Construction Engineering Pte Ltd ......... 129

Daiya Engineering & Construction Pte Ltd ...... 183

Hoong Kong Pte Ltd ........................................ 161

Thye Chuan Engineering Construction Co Pte Ltd ................................. 201

Ministry of Health ............................................. 171

Quiet Studio .................................................... 241

ALT ................................................................. 233

Deenn Engineering Pte Ltd ............................. 153

Horti-Flora Services Pte Ltd ........................... 157 Hortiflora Pte Ltd ............................................ 167

Andrew Gn Designs (Paris) ............................... 37

Dell Austin Design Centre ............................... 139

Housing & Development Board ........................ 217

Ministry of Information, Communications and the Arts ................. 147, 237

Ralph Beattie Bosworth ................................... 251

ampulets ......................................................... 241

Dell .................................................................. 137

MKPL Architects Pte Ltd ............................ 67, 169

Dell Experience Design Group .......... 137, 139, 141

Hyundai Engineering & Construction Co Ltd .... 171

REI PromaxTechnologies Pte Ltd ..................... 127

arc studio architecture + urbanism .................. 217

Moshe Safdie International LLC, Boston, Massachusetts ................................... 181

Relay Room ..................................................... 241

Architects 61 Pte Ltd ...................................... 155

Dell Global BV (Singapore Branch) .... 137, 139, 141

ICN Design International Pte Ltd .............. 189, 201

Architectural Restoration Consultants Pte Ltd (ARC) .............................. 189

Delmedica Investments (Singapore) Pte Ltd .... 269

ABL Lim (FPC) Pte Ltd ...................................... 95 ACLA Pte Ltd ................................................... 147 Acviron Acoustics Consultants Pte Ltd ........... 249 Adam Kara Taylor Consulting Civil and Structural Engineers, UK .......................... 161

IJP Corporation Ltd, UK ................................... 161 Innosparks Pte Ltd ......................................... 109

ARCHURBAN Architects Planners .................... 69

Department of Culture and the Arts, Western Australia ............................................ 251

Arina Hogan Builder ....................................... 257

Department of Treasury and Finance, Building

The Institution of Engineers Singapore ............ 127

Artec Consultants Inc, New York ..................... 147

Management and Works, Western Australia ..... 251

ip:li Architects ..................................... 87, 101, 103

Arup ................................................ 159, 189, 257

Design Objectives Pte Ltd ............................... 171

J Roger Preston ............................................. 233

Arup Acoustics ....................................... 233, 237

DesignSingapore Council ............................... 105

Johannes Klais Orgelbau GmbH & Co KG ....... 147

Arup Singapore ....................................... 181, 233

Designworks, a BMW Group Company ... 223, 239

John Holland Group ........................................ 251

Asian Art Options ........................................... 195

Desinere .......................................................... 241

JTC Corporation (JTC) ............................. 159, 167

Asian Civilisations Museum .............................. 97

DIA Brand Consultants Pte Ltd ........................ 175

Jurong Consultants Pte Ltd ............................ 159

Asylum Creative Pte Ltd ............................. 47, 113

Dominie Press ................................................ 107

JWT (Shanghai) ................................................ 85

Atelier Dreiseitl Asia Pte Ltd .............. 119, 167, 197

DP Architects Pte Ltd ............... 147, 195, 229, 255

K H Lim Quantity ............................................ 101

Atelier Ikebuchi Pte Ltd ..................................... 45

DP Consultants Pte Ltd .................................. 155

Kay Ngee Tan Architects ................................ 205

Atelier One Ltd ................................................ 157

DP Design Pte Ltd ........................................... 147

Kelsall Binet Architects .................................... 251

Atelier One, London ......................................... 147

DP Engineers Pte Ltd ..................................... 255

Kerry Hill Architects Pte Ltd ............... 39, 183, 251

Atelier Ten Consulting Engineers, London ........ 147

DPC Consulting Engineers ............................... 99

KH Consultants .............................................. 259

Atelier Ten Ltd ................................................ 157

Dragages Singapore Pte Ltd ........................... 155

Aurecon ........................................................... 251

Institute Of Critical Zoologists ......................... 107

Nanyang Optical Co Pte Ltd .................... 151, 265 Nanyang Technological University .................. 167 Nathan Yong Design Pte Ltd ............................. 89 National Gallery Singapore ............................. 189 National Heritage Board .................................. 191

Ramboll Studio Dreiseitl ................... 119, 167, 197

Rentokil Initial ................................................. 165 Republic Polytechnic ...................................... 229 RichardHo Architects ....................................... 43 Rider Levett Bucknall LLP ................ 159, 209, 237 RMJM Hillier .................................................... 171

Tierra Design (S) Pte Ltd .................... 63, 209, 251 Tinderbox Landscape Studio Pte Ltd .............. 101 Tiong Aik Construction Pte Ltd ....................... 237 Tiong Seng Contractors (Pte) Ltd ............. 169, 209 Tong Hai Yang Construction Pte Ltd ............... 135 Total Building Performance Team .................... 171 Trans Eurokars Pte Ltd .................................... 187 Transsolar Energietechnik GmbH .................... 157 Tropical Environment Pte Ltd .......................... 157 TTJ Design & Engineering Pte Ltd .................... 161 U Lee Furniture & Decoration .......................... 267

National Institute of Education ........................ 167

RSP Architects Planners & Engineers (Pte) Ltd ........................... 161, 173, 217

National Library Board ............................. 121, 175

Sato Kogyo (S) Pte Ltd ..................................... 191

UOL Group Limited ................................... 95, 209

National Museum of Singapore . 117, 191, 225, 261

Scanteak (Hawaii Furnishing Pte Ltd) .............. 221

Urban Redevelopment Authority ...................... 161

National Parks Board ....................................... 119

SCDA Architects Pte Ltd ................................... 23

Uvaria Tide ...................................................... 119

National University of Singapore .............. 169, 199

SC Global Developments Ltd .......................... 183

Vanderweil Engineers ...................................... 181

Naumi ............................................................. 193

Sennheiser Consumer Electronics GmbH ....... 239

Venturer Pte Ltd .............................................. 161

NCK Associates ............................................. 261

Shanghai Chong Kee Furniture & Construction Pte Ltd ............................... 133, 193

Viewport Studio ................................................ 83

NeilPryde ........................................................ 223 Nemesu Garden Design .................................. 259

Shen Milsom & Wilke (SM&W) ......................... 189

VW+BS ............................................................. 83

New Space Architects Pte Ltd ......................... 175

Shimizu Corporation ....................................... 159

W Architects Pte Ltd .......................... 57, 191, 201

Kian Huat Decoration Construction Pte Ltd .... 259

Nishimatsu Construction/ Lum Chang Joint Venture ............................... 249

Shining Construction Pte Ltd ............................ 95

Wieden+Kennedy (China) .................................. 85 Wilkinson Eyre Architects (UK) ........................ 157

Dyson ............................................................. 145

Kinetic Singapore ...................................... 51, 231

Singapore Art Museum ................................... 129

NS Projects ..................................................... 251

William Ng Consultants Pte Ltd ....................... 205

Aurecon Singapore Pte Ltd .............................. 171

East Interior Pte Ltd ................................... 99, 179

Kingsmen Exhibits Pte Ltd ................ 105, 117, 187

Singapore Institute of Architects ..................... 105

NSP Tech Pte Ltd ............................................ 127

Woh Hup (Private) Limited .............................. 157

Auston Consulting Engineers .......................... 135

Eco-id Architects Pte Ltd ................................ 193

KKC Consultancy .................................... 101, 103

Singapore Polytechnic ..................................... 175

Obayashi Corporation ..................................... 233

Bartle Bogle Hegarty ....................................... 115

Elead Associates ............................................ 193

KMC Holdings Pte Ltd .................................... 195

SIPM Consultants Pte Ltd ................................ 217

Ogilvy & Mather ................................................ 77

WOHA Architects Pte Ltd ........... 81, 95, 133, 159, 185, 209, 237, 249

Bartle Bogle Hegarty (Shanghai) ...................... 113

Electrolight ...................................................... 251

KPK Quantity Surveyors Pte Ltd ........ 95, 161, 185

Sitetectonix Pte Ltd ................................. 169, 183

Ogilvy & Mather (New York) .............................. 77

Wood and Grieve ............................................. 251

Electrolux Group Design ................................. 203

KTP Consultants Pte Ltd ................................ 169

Société Européenne de Mécanique ............... 189

Batiserf Ingénierie ........................................... 189

Orcadesign Consultants ................................. 165

WORK Pte Ltd ........................................... 25, 193

BEC Consultants ............................................. 121

Electrolux SEA Pte Ltd .................................... 203

KUU ............................................................... 235

Soil Build Pte Ltd ............................................ 133

Oscar Faber Asia Pte Ltd ................................ 155

World Kitchen (Asia Pacific) Pte Ltd ................ 243

BECA Carter Hollings & Ferner (S E Asia) Pte Ltd .................................... 209, 229

Envirospace Consultants Pte Ltd ..................... 217

kwodrent ........................................................ 129

Spacedge Designs ......................................... 267

Outofstock ............................................... 123, 221

Worley Pte Ltd ................................................ 185

Epigram Books ................................................. 79

Land Transport Authority ................................ 249

Spectrum Design & Associates (Asia) ............ 205

P & T Consultants Pte Ltd ............................... 183

WorleyParsons Pte Ltd ............................ 133, 237

Bent Severin & Associates Pte Ltd ................... 171

Epigram Design ................................................ 79

Langdon & Seah Pte Ltd .......................... 157, 183

SpineGuard ..................................................... 211

Page One Publishing Pte Ltd .......................... 205

XentiQ Pte Ltd ................................................. 211

Bescon Consulting Engineers Pte Ltd ............. 183

Epigram Pte Ltd ................................................ 79

Las Vegas Sands Corporation ......................... 181

SpineVision ...................................................... 211

Page One The Bookshop Pte Ltd .................... 205

Yi Chang Furniture .......................................... 123

BMW Group DesignworksUSA (Singapore) ................. 223, 239

ERM–SIAM Co Ltd .......................................... 185

LASALLE Foundation Limited .......................... 173

Squeeze Design ............................................... 29

Park + Associates Pte Ltd ............................... 111

Zarch Collaboratives Pte Ltd ........................... 129

The Esplanade Company Limited .................... 147

LAUD Architects Pte Ltd ................................. 135

Squire Mech Pte Ltd, Singapore ...................... 161

Parsons Brinckerhoff ............................... 161, 181

Zinco Singapore Pte Ltd ................................... 99

Bo Steiber Lighting Design Consultancy .......... 147

Eubiq Pte Ltd .................................................. 149

Lekker Architects Pte Ltd ................................ 131

Streetwave Pte Ltd ......................................... 253

PCA Consulting Engineers ............................... 111

Boenga Pte Ltd ................................................ 65

Strix Wildlife Consultants ................................ 167 STUCK Design Pte Ltd ................................... 109

Evan Lim & Co Pte Ltd ..................................... 161

Lifestyle Construction Pte Ltd ......................... 101

Bouygues Thai Ltd .......................................... 185

Exit Design ..................................................... 207

The Lightbox .................................................. 153

Pebble Bay Thailand Co Ltd (HPL Singapore) ............................................. 185

Camphora Pte Ltd .......................................... 167

Expand Construction Pte Ltd .......................... 157

Lighting Design Partnership ............................ 233

Pelé Sports Innovation Team ........................... 213

The Caterpillar’s Cove Child Development and Study Centre ....................... 131

‘Exuberant Singapore’ Thesis Studio 2009/2010 ................................ 105

Lighting Planners Associates ................. 169, 177, 189, 209, 217, 237

Penta Ocean Construction Pte Ltd .................. 147 Peridian Asia Pte Ltd ....................................... 171

CH2M Hill ........................................................ 119

Faithful+Gould ................................................ 233

Ligne Roset .................................................... 123

Peridian International ....................................... 181

CHANG Architects ..................................... 99, 179

FARM ............................................................. 261

Lincolne Scott Ng Pte Ltd ........................ 185, 237

Peter Tay Studio ............................................... 75

The Finger Players ............................................ 93

Linghao Architects .................................. 235, 259

272

Studio Juju ..................................................... 227 Studio Milou Singapore Pte Ltd ...................... 189 Studio Roots ................................................... 125 The Substation ............................................... 129 Sunhuan Construction Pte Ltd ......................... 121 Sunray Woodcraft Construction Pte Ltd ......... 255

273

Universal Gardens ........................................... 197

VisualMind LLP ................................................ 125

INDEX BY LEAD DESIGNERS

ACKNOWLEDGEMENTS

Sebastian Alberdi ................................... 123, 221

Laura Miotto ................................................... 225

Tony Ang ......................................................... 181

Mok Wei Wei ...................................... 57, 191, 201

Vince Ang ....................................................... 245

Leonard Ng ...................................... 119, 167, 197

Magnus Aspegren .................................. 223, 239

Andrew Nicol .................................................. 159

Brett Cameron .......................................... 117, 187

Dr Colin K. Okashimo ....................................... 59

Angelene Chan ....................................... 229, 255

Ong Ker-Shing ................................................. 131

Randy Chan ................................................... 129

Imran Othman ................................................ 253

Chan Sau Yan, Sonny ....................................... 21

Michael Paterson ............................................ 269

Chan Soo Khian ............................................... 23

Larry Peh .......................................................... 61

Theseus Chan ........................................... 25, 193

Franklin Po Sui Seng ........................................ 63

Chan Wai Lim .......................................... 139, 141

Roy Poh ........................................................... 125

William Chan – PHUNK ..................................... 27

Pok Siew Fatt .................................................. 173

William Chan – Spacedge Designs ................. 267

Moshe Safdie .................................................. 181

Chang Yong Ter ......................................... 99, 179

Assistant Prof Florian Schaetz ........................ 105

Melvin Chee ...................................................... 27

Ulrich Schraudolph .......................................... 211

Patrick Chia ............................................... 29, 199

Colin Seah ............................................... 115, 195

Wendy Chua ............................................ 123, 221

Harijanto Setiawan ............................................ 65

Sebastian Chun ................................................ 97

Andres Sevtsuk .............................................. 257

John Clang ................................................ 31, 117

Siew Man Kok ............................................ 67, 169

Joshua Comaroff ............................................. 131

Sim Boon Yang ............................................... 193

Jasna Dhansukhlal .......................................... 175

Kevin Sim ........................................................ 175

Herbert Dreiseitl .............................................. 119

Peter Sim ........................................................ 261

James Dyson .................................................. 145

Michael Elis Smith ........................................... 137

Eng Siak Loy .................................................... 33

Nigel Smith ...................................................... 175

Fong Hoo Cheong .......................................... 153

Jeremy Sun Ting Kung .................................... 165

Casey Gan ........................................................ 35

Tai Lee Siang .................................................. 195

Andrew Gn ....................................................... 37

Alvin Tan ........................................................... 27

Brendan Goh ................................................... 127

Tan Cheng Siong .............................................. 69

Ling Hao ................................................. 235, 259

Danny Tan ...................................................... 143

Richard Hassell .... 81, 95, 133, 185, 209, 237, 249

Gabriel Tan .............................................. 123, 221

Dr Kerry Hill ....................................... 39, 183, 251

Grace Tan ....................................................... 129

Hanson Ho ................................................ 41, 107

Hans Tan ................................................. 219, 247

Prof Richard K F Ho .......................................... 43

Tan Hooi Ong ................................................. 189

Ho Tzu Yin ...................................................... 135

Jackson Tan ..................................................... 27

Albert Hong Hin Kay ........................................ 217

Tan Kay Ngee ................................................. 205

Belinda Huang ......................................... 105, 217

Dr Kiat W Tan ................................................. 157

Koichiro Ikebuchi .............................................. 45

Tan Kok Hiang .................................................. 71

Khoo Peng Beng ..................................... 105, 217

Leonard Tan Bahroocha ................................. 203

Donn Koh ....................................................... 109

Tang Guan Bee ................................................. 73

Koh Seow Chuan ............................................. 147

Tay Lee Soon .................................................. 155

Associate Prof Erik G L’Heureux ..................... 105

Peter Tay .......................................................... 75

Gareth Lai ........................................................ 175

Kelvin Teo ....................................................... 207

Chris Lee ................................................... 47, 113

Tham Khai Meng .............................................. 77

Lee Eng Leong ............................................... 243

Mylene Tjin ..................................................... 163

Jerome Lee .................................................... 109

Tsang You Jun ................................................. 127

Lee Soo Khoong ............................... 171, 189, 191

Edmund Wee .................................................... 79

Alfie Leong ....................................................... 49

Michael Wilford ................................................ 147

George Liaropoulos-Legendre ......................... 161 Lim Koon Park ................................................. 111

Wong Mun Summ .... 81, 95, 133, 159, 185, 209, 237, 249

Pann Lim ................................................... 51, 231

Timothy Wong ................................................ 227

Lim Sau Hoong ................................................. 53

Voon Wong ....................................................... 83

Sonny Lim ....................................................... 213

Yang Yeo .......................................................... 85

Lim Swe Ting .................................................... 35

Yang Wah Kiang ...................................... 151, 265

Lim Wei Ling ..................................................... 93

Yong Khang Chian ................................... 139, 141

Dr Liu Thai Ker ................................................. 161

Yip Yuen Hong ................................... 87, 101, 103

Justin Long ..................................................... 263

Yong Choon ................................................... 149

Look Boon Gee ......................................... 55, 121

Nathan Yong ..................................................... 89

Low Cheaw Hwei ............................................. 215

Robert Zhao Renhui ....................................... 107

Edwin Low Chee Siong .................................... 241 Priscilla Lui ..................................................... 227 Gustavo Maggio ...................................... 123, 221 Fumihiko Maki ................................................ 229 Kaoru Mende ................................................... 177

PATRONS OF THE AWARD President of the Republic of Singapore Dr Tony Tan Keng Yam (2011–present) Ex-President of the Republic of Singapore S R Nathan (2006–2010) Dr Yaacob Ibrahim Minister for Information, Communications and the Arts (2011–present) Lui Tuck Yew Acting Minister for Information, Communications and the Arts (2009) Minister for Information, Communications and the Arts (2010) Dr Lee Boon Yang Minister for Information, Communication and the Arts (2006–2008) Lawrence Wong Minister for National Development (2015–present) Khaw Boon Wan Minister for National Development (2011–2014) Mah Bow Tan Minister for National Development (2006–2010)

JURY PANEL 2015 Chan Soo Khian Patrick Chia Prof Herbert Dreiseitl Dr Kerry Hill Bhanu Inkawat Tim Kobe Alfie Leong Dr Li Xiaodong Lord Richard Rogers Kazuo Tanaka Peter Tay Dr Erwin Viray Voon Wong Yang Yeo 2014 Werner Aisslinger Theseus Chan Patrick Chia Dr Brandon Gien Annette Gigon Tim Kobe Prof Thomas Kong Alfie Leong Dr Li Xiaodong Thom Mayne Ng Sek San Norihiko Shinya Jureeporn Thaidumrong Dr Erwin Viray Yang Yeo Yip Yuen Hong

2013 Shashi Caan Chan Sau Yan, Sonny Chan Soo Khian Dr Brandon Gien Robert A Ivy Freeman Lau Chris Lee Look Boon Gee Ryue Nishizawa Dick Powell Lisa Switkin Dr Erwin Viray David Wang Voon Wong Yang Yeo 2012 Werner Aisslinger Chan Sau Yan, Sonny Lei-Mei Julia Chiu Paul Finch Garrick Hamm Bhanu Inkawat Kengo Kuma Chris Lee Ng Sek San Dick Powell Rita Soh Siow Lan Dan Stubbergaard Tai Lee Siang Dr Erwin Viray Thomas Wee Nathan Yong 2011 Lei-Mei Julia Chiu John Denton Dr Brandon Gien Garrick Hamm Prof Heng Chye Kiang Fernando Menis Mok Wei Wei Neil Porter Matthias Sauerbruch Prof Richard Seymour Michael Sorkin Tai Lee Siang Tan Yoong Jureeporn Thaidumrong Tham Khai Meng Nathan Yong 2010 Prof Yung Ho Chang Dr Cheong-Chua Koon Hean John Denton Paul Finch Kathryn Gustafson Paul MacKay Colin McDowell Mok Wei Wei Dick Powell Richard Seymour Jae-Jin Shim Rita Soh Siow Lan Dr Milton Tan Tan Yoong Tham Khai Meng Simon Waterfall Voon Wong

Jean-François Milou ....................................... 189

274

275

2009 Dr Hitoshi Abe Ban Yinh Jheow Dr Mark Breitenberg Theseus Chan Dr Cheong-Chua Koon Hean Sebastian Conran Andrew Grant Prof Heng Chye Kiang Barry Hill Robert A Ivy Paul MacKay Colin McDowell MBE Mok Wei Wei Terry Savage Dr Kiat W Tan Arnold Wasserman Simon Waterfall 2008 Theseus Chan Dr Cheong-Chua Koon Hean Colin McDowell Prof Don Ryun Chang Prof Heng Chye Kiang Dr Kerry Hill Prof Carlos Hinrichsen Paul MacKay Shrikant Nivasarkar Moshe Safdie Henry Steed Arnold Wasserman Voon Wong Nobuyuki Yoshida 2007 Dr Cheong-Chua Koon Hean Prof Don Ryun Chang George Ferguson Paul Finch Dr Kerry Hill Huang Cheng Eng Toyo Ito Madeline Lester Jae-Jin Shim Rita Soh Siow Lan Henry Steed Shigeru Uchida Arnold Wasserman Simon Waterfall Prof Dr Peter Zec 2006 Shozo Baba Shashi Caan Prof Don Ryun Chang Alan Choe Dr Cheong-Chua Koon Hean Dr Kerry Hill Verena Kloos Madeline Lester Lim Sau Hoong Jae-Jin Shim Rita Soh Siow Lan Dr Milton Tan Prof Dr Peter Zec

ACKNOWLEDGEMENTS STEERING COMMITTEE 2015 Robert M Tomlin (Chairman) Jeffrey Ho Ng Lang Philip Ng Dr Ming Tan Edmund Wee

2009 Robert M Tomlin (Chairman) Dr Suresh Balan Dr Cheong-Chua Koon Hean Patrick Daniel Dr Milton Tan

2014 Robert M Tomlin (Chairman) Jeffrey Ho Ann Kositchotitana Loh Lik Peng Ng Lang Philip Ng

2008 Robert M Tomlin (Chairman, September 2008–present) Edmund Cheng (Chairman, January–August 2008) Dr Suresh Balan Dr Cheong-Chua Koon Hean Patrick Daniel Dr Milton Tan

2013 Robert M Tomlin (Chairman) Jeffrey Ho Ann Kositchotitana Loh Lik Peng Ng Lang Debra Soon

2007 Edmund Cheng (Chairman) Dr Cheong-Chua Koon Hean Ho Kwon Ping Cynthia Phua Dr Milton Tan

2012 Robert M Tomlin (Chairman) Claire Chiang Jeffrey Ho Ng Lang Debra Soon Tina Tan-Leo 2011 Robert M Tomlin (Chairman) Claire Chiang Geoffrey Eu Jeffrey Ho Ng Lang Tina Tan-Leo 2010 Robert M Tomlin (Chairman) Claire Chiang Geoffrey Eu Jeffrey Ho Ng Lang

Presented By

2006 Edmund Cheng (Chairman) Dr Cheong-Chua Koon Hean Roland Krueger Lee Suan Hiang Dr Milton Tan

PDA 10 TH ANNIVERSARY ORGANISING COMMITTEE DESIGNSINGAPORE COUNCIL Award Secretariat: Yeo Piah Choo Serene Bek Genine Loo Ben Tan Sarasvathy Chandra URBAN REDEVELOPMENT AUTHORITY Award Secretariat: Ng Lye Hock, Larry Clement Lim Chang Jun Biao Geraldine Chng Melanie Chew CREATIVE DIRECTION & DESIGN Couple COPYWRITING Daven Wu Ricky Yeo The DesignSingapore Council and Urban Redevelopment Authority would like to thank all PDA recipients, nominators, members of the Steering Committee (2006–2015) and members of the Jury Panel (2006–2015) for realising 10 years of PDA through their dedication and support. ISBN 978-981-09-8577-6