Tag: Singapore Design

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.

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

Enter the Dragon

Looking back to see the future of Singapore design

Dragons, those harbingers of growth and vitality, are twisting through Singapore once again. A design icon once ubiquitous in this city, the “Singapore dragon” is an angular, pixelated head with one octagonal eye. The rudimentary logo was conceived in the late 1970s, when the former British colony, having gained independence in 1965, was still conjuring an identity.

The dragon was designer Ean Ghee Khor’s response. Tasked to create “Singapore playgrounds” for the government’s massive public housing program, Khor sought to imbue them with the nation’s personality by employing representations of local fruits and animals throughout them. Over the next two decades, across Singapore, it was the lively dragon of Chinese origin that became the playground model of choice. Since the 1990s, however, all but two of Khor’s playgrounds have been replaced by uninspiring, modular plastic units made by multinational playground companies. But of late his serpent is reappearing in a variety of forms.

Ean Ghee Khor in front of one of his playground dragons. | ZAKARIA ZAINAL
Ean Ghee Khor in front of one of his playground dragons. | ZAKARIA ZAINAL

Read the rest at Design Observer

Not Just ‘Looking’ at Design

Launched in October 2013, “Science of the Secondary” promises to map an “atlas of things not yet discovered.” | ATELIER HOKO
Launched in October 2013, “Science of the Secondary” promises to map an “atlas of things not yet discovered.” | ATELIER HOKO

Many of us experience the world primarily through our eyes. We are quick to make judgements based on how things look, while considering how they work is of secondary importance. It’s as if we can only see when we actually have four other senses: smell, hearing, taste, and touch.

Science of the Secondary” is an on-going series of bi-annual booklets by design studio Atelier HOKO. The series aims to expand our narrow view of the world through a close examination of the everyday things that surround us. As if by teaching us how to read a new language, the first issue begins with the apple, taking the reader step-by-step through the seemingly mundane experience of eating this fruit. The Singapore-based studio (led by Alvin Ho and Clara Koh) draws out a series of unexpected insights that makes you chomp through the 44-page booklet in one sitting.

What is the role of each finger when holding an apple? Does the sound of crunching into an apple affect its taste? Why do we unconsciously bite into an apple in sequence? HOKO considers these questions and gives its answers by way of beautiful photography, illustrations, and short captions bound together in a handy comics-sized publication.
In May of this year, the duo released the second issue that looked at the cup and questioned the act of drinking. Alvin sums it up nicely in the introductory page:

“…but what does it mean to drink? Do we drink with our skin when the hands are hugging the cup? Are we drinking with our body posture while sipping earl grey in a team room? Are the ears drinking as we take each sip of the coffee? Can we consider the act of licking one’s lips drinking? Does the nose know that it is drinking as it hovers above the caramelised milk froth sitting atop a very large cup of coffee…?”

Although it may sound esoteric, Science of the Secondary’s content is meant to keep the general reader intrigued with plain, short captions, and by borrowing the visual language of science publications. Informative diagrams and photographic sequences give the duo’s observations and thoughts the weight of scientific objectivity.

More than just lessons about objects, one comes out of reading this series with a more mindful view of the world. Try closing your eyes for a moment to “see” — that’s how much more there is to the world than what lies in front of our eyes.

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