Tag: Singapore Institute of Architects (SIA)

Bringing Architecture to the Crowd

It’s all about you, me, and them, at this year’s Archifest. Singapore’s annual architecture festival turns to the “Crowd” for its eighth edition as it looks at the impact of communities and collaborations in the built environment.

From a pavilion created by two architecture teams to “crowd pricing” workshops that demonstrate the economic benefits of purchasing as a group, this two-week long festival organised by the Singapore Institute of Architects will address how individuals can work with one another to affect change in the city from the ground-up.

This year’s focus on people is not just apt for a festival which aims to bring architecture closer to the public, but also reflects the beliefs of a new team. Taking over from previous director Adib Jalal and his team is PLUS Collaboratives, a two-year-old design collective who say they are all about working together to making work that the common man can appreciate.

“We feel creating programmes out of thin air is not something that a short festival should do. Instead, the programmes created should have a lasting reference,” said member Mervin Tan who is also this year’s Archifest director. “What we tried to do is to collect parallel voices to sing the same tune, and to sing louder together for this festival. We aim to show to the public the idea of ‘crowd’ does exist amongst the creative industries and is something real.”

New to this year’s festival is working closely with students from various design schools to create projects that address this years’ theme. The students of Ngee Ann Polytechnic designed spaces for Little India to promote interaction and integration between the users of different social and cultural backgrounds in this ethnic enclave, while the architecture undergraduates of the National University of Singapore (NUS) studied appropriate materials and designs to better shade the city’s public spaces from the sun. These projects and more will be showcased at Marina Bay Sands where Archifest has erected a pavilion which is a design collaboration between HCF and Associates as well as Agfacadesign and the NUS. Both teams were winners for this year’s pavilion design competition, an unexpected decision made by the jury.

his year’s Archifest pavilion will be designed by HCF and Associates as well as Agfacadesign and the NUS, whose respective concepts “Fugue 1357″ (left) and “Cloud Arch” (right) were picked as joint winners for this year’s design competition. | ARCHIFEST
This year’s Archifest pavilion will be designed by HCF and Associates as well as Agfacadesign and the NUS, whose respective concepts “Fugue 1357″ (left) and “Cloud Arch” (right) were picked as joint winners for this year’s design competition. | ARCHIFEST

“This year we experienced the highest number of entries (28) since the beginning of the competition (in 2012) and the final shortlisted entries were really outstanding in their own rights,” explained Mervin. “Although it was not conventional to commission two winners, the jury decided to go ahead with this decision, which also bolts well with the overall theme of crowd and collaboration.”

Even as Archifest continues to make architecture relevant to the Singapore public, the festival has also not forgotten about the industry. From this year on, the festival will be launching ArchXpo, a new tradeshow component. Unlike other industry-specific events in Singapore such as the recent International Green Building Conference or the upcoming World Architecture Festival, Mervin said their show will be less topical and “a direct showcase of new ideas, future, projects” instead. More importantly, it is part of an effort to make the home-grown Archifest internationally relevant, as the Singapore Institute of Architects has partnered event organisers Conference & Exhibition Management Services for this event.

Highlights of Singapore Design in 2012

Here are my five trends of the Singapore design scene last year, which I think could possibly impact what we see in 2013.

1. The continuing rise of craft and Singapore designs
From coffee to bags, homeware to letterpress and even haircuts, these are just some examples of what young Singaporeans are getting their hands into nowadays. The interest in craft and the Do-It-Yourself culture started before 2012, but last year we saw many of such initiatives blossom and even more new ones join in the fray. This has since hti critical mass in the form of “Handmade Movement“, a fair for independent craftsmen and women that will be held in Singapore in January this year.

With more Singaporeans crafting a career, means more designs and products inspired by this city, as witnessed in the growing collection of Singapore design products — so don’t be surprised if we see our own MUJI or G.O.D soon.

2. Singapore design is entering mainstream
My confidence that Singapore might one day see a ‘national’ design label  is fueled by the growing awareness of the business of design here. Supporting our local designers is an emerging network of shops, online stores, flea markets, and even neighbourhoods such as Tiong Bahru, that sell Singapore design products as part of an assortment of lifestyle goods ‘curated’ from all around the world.

One interesting Singapore retail project is Outeredit, which not only sells designed T-shirts, but the creation process too. For each collection, customers are introduced to the designers, get to see them cross-collaborate, and finally vote for the designs to be printed.

Such avenues are exposing and defining local design to the Singaporean consumer, and if they grow and take off, that can only mean the same for Singapore design too.

3. ‘Designer’ cafés and restaurants
Who hasn’t visited or at least heard of one of these ‘designer’ cafes and restaurants that have sprouted up across the island? This has to be one project type that will define portfolios of the 2000s of Singapore design studios when we look back one day. While they all serve all-day breakfast, artisan coffee and indie magazines (ranging from just one to all three), one is amazed at how many different ways designers have come up with to brand and package their interiors! They have certainly introduced the dimension of design to the dining experience for Singaporeans, but as William Chan of TMRRW and PHUNK fame tweeted last year: “Nice to know that cafes here are paying proper designers for interior & branding. now they just need to hire proper chefs to do the cooking.”

Remember bubble tea and ice-cream parlours? I think this trend will go bust this year and we’ll be left with only those have the best design taste.

4. More Documentation of Singapore Design
With publishers turning their sights to Asia for new revenue streams, Singapore’s design scene has started receiving attention too.  The architecture scene here, in particular, has seen the most activity. Pesaro Publishing this year published a guide to 21st Century Singapore Architecture, and is working on books for WOHA (its third), K2LD and Cicada Designs. Some design firms have even went into self-publishing, such as DP Architects, and Ong & Ong’s Three Sixty Review.

Graphic designers here also got into the act too. The Design Society published a book detailing the historical evolution of the scene (which I authored), and the studio Hjgher published Creative Cultures, a directory of 100 individuals and groups from Singapore’s creative scene. There’s also a growing buzz between the nexus of graphic design and publishing with Epigram and Studio Kaledio coming up with books that have given the Singapore literary scene a much more exciting face. Finally, if the rumour mills are to be trusted, we are looking forward to books in 2013 about d.lab, and the Singapore Institute of Architects, who celebrate their 50th anniversary in 2013.

Publications are important materials that represent a design scene. They provide potential clients a glimpse into the work of studios; researchers a documentation of the work of designers here, and fellow designers a reflection of the scene they are in.

5. International recognition of Singapore Design
From the Design & Advertising Direction (D&AD) to the SaloneSatellite, and the World Architecture Festival, Singapore designers received many accolades and awards this year. While we did not show  at the Venice Architecture Biennale, Singapore design still travelled overseas with Thesus Chan holding an exhibition for the latest issue of his two-decades old WERK magazine in Japan’s Ginza Graphic Gallery, and Hjgher’s Creative Cultures featuring  as part of DesignTide Tokyo. This year, I hear there will be a Singapore pavilion at the SaloneSatellite for the first time — we have indeed grown.

At home, it was relatively quieter last year. Even though we held the World Architecture Festival and 100% Design Singapore for the first time, these were trade shows that confined themselves to the scene. What was missing were public-centric design programmes, with the only two major on-going events being the annual ArchiFest and President’s Design Award exhibition. The Singapore Design Festival did not make a return in 2012, but at the end of this year we will see the launch of the National Design Centre. Hopefully, that will be more than just a business hub for design.

Singapore Institute of Architects Journal in the ’80s

Singapore Architect has been published by the Singapore Institute of Architects since the 1960s and is one of the oldest architecture magazine in the region. It used to be called the SIAJ or Singapore Institute Architects Journal.

I flipped through its old issues a while back and was very captivated by the magazine’s covers. I decided to look through the archives in detail again, and here are even more gems that I discovered. These were the covers of magazines published between 1979-1981

I’m really curious who did these covers! Sounds like a story to chase.

After this phase of graphic covers, the magazine switched to photography on its covers, presumably because the technology allowed it to. It was only in 2008, when Kelley Cheng took over the magazine, did it start using graphic covers all over again. But, while the current graphic covers are a stylistic choice, I think these in the past were so because technology only offered these options!