Category: Cities

Hype + Property = “Starchitecture”

Reflections at Keppel Bay (2013) by Daniel Libeskind, The Interlace (2014) by OMA, artist’s impressions of Jean Nouvel's Nouvel 18 (2014) and Le Nouvel Ardmore (2014), rendering of Toyo Ito’s The Crest (2018) condominiums, and rendering of Zaha Hadid’s D’Leedon (2015).
Reflections at Keppel Bay (2013) by Daniel Libeskind, The Interlace (2014) by OMA, artist’s impressions of Jean Nouvel’s Nouvel 18 (2014) and Le Nouvel Ardmore (2014), rendering of Toyo Ito’s The Crest (2018) condominiums, and rendering of Zaha Hadid’s D’Leedon (2015). | STAKN, IWAN BAAN, NOUVEL-18.ORG, AND THE CREST

Architecture or property are different names for what most of us call a building.

But the emergence of starchitects has blurred the line between the two. Nowadays, there are buildings, and there are buildings designed by famous architects.

The city of Singapore has recently become the home of several condominium towers designed by starchitects such as Rem Koolhaas (The Interlace), Zaha Hadid (D’Leedon) and Jean Nouvel (Le Nouvel Ardmore). Local developers seem to believe that such architects renowned for their avant-garde designs can raise the values of their properties with a touch of designer class.

But what happens when such avant-garde architects meet the property market? Imagine Koolhaas or Hadid selling their architecture to the man on the street. You can’t — that’s the job of real estate agents. And the translation of these architects’ often abstract concepts into market language reveal the gaps between architecture and property.

Sky Habitat (2015) | SAFDIE ARCHITECTS
Sky Habitat (2015) | SAFDIE ARCHITECTS

Consider Moshie Safdie’s Sky Habitat, which became famous as the most expensive suburban condominium in Singapore when it was first launched in 2012.

This is how the project is introduced on a dreary grey backdrop with no photos on Safdie Architects website:

“Over the last four decades, Safdie Architects has created from the experimental project Habitat ’67 in Montreal a series of projects incorporating fractal-geometry surface patterns, a dramatic stepping of the structure that results in a network of gardens open to the sky, and streets that interconnect and bridge community gardens in the air.”

The developer’s website for potential buyers, however, begins like this:

Sky Habitat Property

This is just one of several blurbs including “Garden Living from Above” or “Dive into Our Sky Pool” that markets the “sky life” created by Safdie’s design. Selling such a view seems a strategic move considering the apartments are marketed to middle-class Singaporeans who are clueless about Safdie (“also known as ‘Who?’ to 99% of Singaporeans,” said one commentator). They would be familiar with his Marina Bay Sands design, however, a building which introduced the concept of a pool in the sky in a big way to Singaporeans.

Absent from the “sky life” hype, however, are how Safdie’s design attempts to foster a sense of the public amongst its residents with “generous community gardens and outdoor spaces on the ground”, according to the architect’s website. The developer’s descriptions of the design never expand beyond “you” and “your family”, highlighting how architecture is massaged into private property.

This struggle between architecture and property also surfaced in a recent Icon interview with Safide when he revealed that a woman wrote to him for help in getting a loan to buy a Sky Habitat apartment.

“When you take land and construction prices and the costs developers add on, it’s a struggle between affordability and the ideal. Moreover, the development was so desirable when it was built that it immediately became gentrified,” he said.

———–
Written for Elizabeth Spiers and Chappell Elison’s Online Publishing class at D-Crit.

From Garden City to Gardening City

What started five decades ago as a government-led project to build Singapore into a clean and green city, has today become a dialogue between the state and its citizens.

STRAITS TIMES
STRAITS TIMES

A Straits Times photo of former Prime Minister Lee Kuan Yew launching Singapore’s first-ver tree planting campaign in 1963 best depicts how the idea of building Singapore into a Garden City first took root. As Mr Lee bent over to dig a hole with a changkol to plant a Mempat tree in Farrer Circus, Singaporeans stood around and watched — none of them offering a helping hand.

Fast forward to 2012, and one finds a different landscape of Singapore’s Garden City. In August, a group of residents in Limau estate petitioned the government to conserve a stretch of greenery near their homes instead of selling the land for development. This was not an isolated case. In that year alone, residents in Dairy Farm, Pasir Ris and Clementi also clamoured for green plots near their estates to be preserved, using what has since become a tried-and-tested method of engaging the government: banding together to write petitions and meeting their Members of Parliaments to convey their thoughts and concerns.

Read the rest at BiblioAsia (April – June 2013) V9 Issue 1

The People’s City

Imagine the city as a space for borrowing instead of buying, says architecture studio MOTOElastico in their book “Borrowed City”. | MOTOElastico
Imagine the city as a space for borrowing instead of buying, says architecture studio MOTOElastico in their book “Borrowed City”. | MOTOElastico

The city is often portrayed as a playground for the rich and powerful: the real estate developer, the urban planner, the starchitect. From their point-of-view (often high up in skyscrapers), ordinary city inhabitants look nothing more than specks amidst the glitzy urban skyline.

Two recent books from Asia take us down to the streets of the city instead. Both publications are fascinating collections of hyper-local vernacular designs that demonstrate how two Asian cities are built from the ground-up.

For the cover of “Borrowed City”, graphic designer Fritz K. Park reappropriated the visual language of the yellow-and-black striped street barricades commonly found in Seoul.
For the cover of “Borrowed City”, graphic designer Fritz K. Park reappropriated the visual language of the yellow-and-black striped street barricades commonly found in Seoul.

 

Borrowed City (2013) is a tour through Seoul by MOTOElastico. The architecture studio has been documenting how private citizens use public space for their personal benefit in the capital since 2009. Turning sidewalks into stores with just a few baskets of goods, planting vegetables along public staircases, or ‘parking’ on the roadside to have a picnic lunch — these are just some of the book’s examples of how citizens have built their own spaces in the city; each intervention is photographed and enhanced with 3-D models. By reading such acts as “borrowing” as opposed to “buying” the city, the studio (headed by Italians Marco Bruno and Simone Carena) makes a case for how the considerate use of public spaces by citizens can help build a more participatory and inclusive city.

Siu King-chung’s lesser designs (2013) showcases similar projects from Hong Kong. Inspired by 19th century English designer and critic William Morris’s idea of the “Lesser Arts”, Siu created a book that celebrates the design wisdom of ordinary citizens. Beginning with a typical Hong Kong home and ending out on the city’s colourful neon-lit streets, the associate professor at the city’s PolyU Design points out the variety of anonymous designs in everyday life through photographs. The simple Chinese and English captions prove how design and creativity are not exclusively for professionals — “Lesser designs” for Siu are not lousier, just less obvious.

What makes both books particularly precious is that they offer another view of city life — one that is often transient and threatened by rapid urban development. Whether it is in Seoul, Hong Kong or any of the growing cities in Asia, “modern” solutions are increasingly introduced with the promise of order, efficiency, and a better living environment. But by re-framing seemingly chaotic street life through smart citizen interventions, both books offer a more humanistic reading of city living that begs a closer look.

———–
Written for Elizabeth Spiers and Chappell Elison’s Online Publishing class at D-Crit.