CHAN SUI HIM
FORGING FIRM FOUNDATIONS
MCI (P) 016/10/2015
KEY APPOINTMENTS AND PROMOTIONS
DP ARCHITECTS ANNOUNCES
双语版 2016 年 1号
陈少谦致辞 MESSAGE FROM
CHAN SUI HIM
DP Architects Directors 1 Francis Lee, Chairman | 2 Angelene Chan, CEO | 3 Chan Sui Him, Senior Director | 4 Ti Lian Seng | 5 Teoh Hai Pin 6 Wu Tzu Chiang | 7 Chin Thoe Chong | 8 Vikas M Gore | 9 Lesley Lim | 10 Dadi Surya | 11 Suneeth Changaroth | 12 Jeremy Tan 13 Toh Sze Chong 14 Tong Bin Sin | 15 Seah Chee Huang | 16 Mike Lim | 17 Tan Chee Kiang | 18 Chan Hui Min
当我还在以学生身份实习时， DP 对 于伙伴关系的重视就已经吸引了我，而在 50 年之后的今天， DP 依然是五十年如一 日。 DP 建立于平等的“设计伙伴关系” 之上，遵循着建筑精神——建筑专业是一 个富有创造力的专业，它一方面影响着社 会、文化与经济，同时也受这三个因素所 影响；它依赖于协作以及对共同目标或愿 景的追求。一栋建筑物之所以高大，是因 为它建立在诸多组成部分之上，正如每个 团队成员的创造性贡献对于创意的最终实 现都起到至关重要的作用一样。 DP看重人文精神——强调通过设计改
善城市居民的生活体验，重视将每位员工 都视为亲人对待。正因如此，我们过去一 直都是在经济危机中奋勇前进，今后，我 们将依然如此。 DP 挺过了 5 次经济衰退， 我们相信，如果我们能够将成本节约措施 坚持下来，并且利用间歇期发展自身能 力， 待到经济衰退之势有所转变之际， 我们将能够承担更大的职责。我很开心， 也十分坚信，我可以将 DP 集团各公司以 及 DP 丰富的 遗 产 托 付 给 我 们 的 新 任 主 席 F ra n c i s L e e 先 生 以 及 新 任 C E O 陈 丽 君 ( A n ge l e n e C h a n ) 女 士 。 我们不仅重 视 在 公 司 内 部 进 行 协 作 ， 也会与客户 以 及 咨 询 公 司 确 立 伙 伴 关 系 。 我们相信与 合 作 伙 伴 携 手 提 供 卓 越 建 筑 服 务的必要性 。 我 们 在 接 收 每 个 项 目 时 都 从 未忘记过长 远 性 ， 也 就 是 与 我 们 的 客 户 、 行业合作伙 伴 共 同 踏 上 无 穷 的 学 习 与 发 掘 之旅。正是 因 为 有 了 强 大 的 伙 伴 关 系 ， 我 们才能够继 续 提 炼 、 提 升 我 们 的 设 计 以 及 交付标准。
这场无穷的旅途也延展到了我的个人 实践中。建筑需要终生的学习与实践。建 筑已经不仅是我选择的专业，它还是我的 生活方式。建筑行业的人永远不会真正停 止工作，或是考虑正式退休，特别是当我 们觉得我们仍然有如此多的经验和知识 可以传授给那些渴求学习的后辈，或是当 我们觉得我们还需要向那些能够赋予我 们能量的、充满热情与创造力的人们学习 的时候。我们将会在未来面临新挑战，我 们需要做出前所未有的创新性设计解决方 案——而我，将全力以赴。
In my 50-year career, beginning from the time I was a student intern, the unique thing about DP has always been its emphasis on partnership. The origin of DP was an establishment of an equal ‘Design Partnership’, true to the spirit of architecture – a creative profession that shapes and is shaped by society, culture and the economy; a profession that thrives on collaboration and the sharing of a common goal or vision. Just as a building stands tall because it is the sum of many parts, the creative contribution of each team member matters in the final realisation of an idea. DP’s focus on the human spirit – in designs that uplift the urban dweller’s experience, and in cherishing every DPian as a family member – meant that we have and will continue to weather crises in the economy. DP has been resilient in five recessions, optimistic that if we keep the firm together through cost-saving measures and use the lull period to grow our capabilities, the firm would be ready to take on bigger jobs when the tide turns. I am happy and confident about entrusting the DP group of companies and its rich legacy to the new Chairman, Francis Lee and new CEO, Angelene Chan. Just as we believe in collaboration within the firm, we also believe in forming partnerships with clients and consultants. We believe in the importance of working hand-in-hand with our partners to deliver excellent service in architecture. Every project we take on is with the long-term journey in mind; a never-ending journey of learning and discovery with the client and industry partners. It is through strong partnerships that we continue to refine and raise design and delivery standards. The never-ending journey is an analogy that I extend to my personal practice. Architecture is a lifelong practice and journey of knowledge. It is my chosen profession and a way of life; you never really stop being an architect, or think about an official retirement age – especially when you feel you still have so much experience and knowledge to share with those eager to learn, and also to learn from those with passion and creativity who can energise you. The future will see new challenges that require unprecedented, innovative design solutions; and I am wholeheartedly diving into it.
CHAIRMAN’S MESSAGE “ 我们将继续提升各个附属公司的专业技能 与成 长 ， 保 证 D P 的 各 个 项 目 和 谐 并进 。 我们的当务之急，便是要强化我们的跨领 域实践，扩展各个附属公司的能力资质。”
值新加坡刚刚庆祝完建国五十周年之际，作为一家成立于 新加坡独立两周年之后的本土企业， DP 的成长史可以说是与 新加坡的过去、现在以及将来不可分割地联系在一起。明年， 我们公司将迎来我们自己的五十周年。在我们的客户以及行业 合作伙伴的支持下，创造了许多值得自豪的里程碑和项目。 当前，全球经济、建筑行业，以及我们公司都在经历新 的转变期。值得我们乐观的因素还是有很多的。例如，本着变 革精神，我们的公司迎来了新一任的领导。他们将带领着我们 公司、我们的客户，以及我们的合作伙伴朝着更大的成长坚定 地前进。 我非常自豪地宣布，陈丽君 ( Angelene Chan ) 女士将成为 我们的新任总裁。 DP 将会在陈女士的带领下焕发活力。与陈 女士一道的，还有最近升职的各位董事、高级副董事以及副董 事。作为公司的新任主席，我将专注于拓展海外事业、制定有 效的接班人规划、培养未来领导者。他们将共同成为促进公司 可持续发展的智囊团。 他们将与我一道，与各自的团队进行沟通和交流，鼓励 每位员工提高绩效，使每个 DP 员工都在工作中带着信任与源
源不断的使命感。为带领 DP 跨越新领域，新任领导们必须为 员工做好负责、正直、自我更新以及追求卓越的榜样——这些 也是我们 DP 的先驱所确立的核心价值观，是我们公司当前文 化的基本原则。 随着项目工程复杂化而使得时间表变的更严格，我们将 需要完全整合化的设计服务来确保更为高效的成果交付。我们 将继续提升各个附属公司的专业技能与成长，保证 D P 的各个 项目和谐并进。我们的当务之急，便是要强化我们的跨领域实 践，扩展各个附属公司的能力资质。 尽管 2015 年的经济发展有所减缓，但是我们依然取得了 积极的结果。我们在格鲁吉亚、哈萨克斯坦、韩国的各个项目 使得我们公司跻身国际市场。我们位于伦敦的办事处也正在欧 洲市场为我们寻求机遇。 我们将在 2 0 1 6 年 做 出 更 大 的 变 革 ， 我 们 不 仅 要 增 加 我 们在现有市场的参与度，还要在伊斯坦布尔设立一个办事 处 ， 以 提 升 DP 在 亚 洲 之 外 的 知 名 度 。 我 们 希 望 各 位 能 够 继 续 坚 信 DP 的 宝 贵 遗 产 ， 伴 随 我 们 踏 上 一 条 全 新 的 、 富有 意 义 的 成长之路。 – 李成威
Singapore just celebrated its Golden Jubilee, and as a homegrown firm formed just two years after Singapore’s independence, our growth story is intricately tied with Singapore’s past, present and future. With our own 50th anniversary coming up next year, we have, with the support of our clients and industry partners, many milestones and projects to be proud of. We stand now at the threshold of transitions that the world economy, the industry and our firm are going through. Yet we have much to be optimistic about. Embracing the spirit of change, we are refreshing the organisation with new leadership that will staunchly steer the firm, our clients and partners towards greater growth ahead. I take great pride in announcing the promotion of Angelene Chan to CEO. DP will be re-energised under her leadership, together with the newly promoted directors, senior associate directors and associate directors. In my new position as Chairman, I will focus on the expansion of our overseas reach, effective succession planning and the grooming of future leaders, as the firm’s sustainability will be shaped by their collective vision. They will join me in bonding, communicating and connecting – Angelene Chan with their teams to inspire every DPian to become high
performers that work with trust and a relentless sense of purpose. These new leaders must set the example for DPians to work with responsibility, integrity, self-renewal and excellence – core values established by DP pioneers that are now keystones of our work culture – to bring DP to greater heights. As projects become more complicated with tighter timeframes, fully integrated design services will ensure more efficient delivery; we will continue to build on the expertise and growth of our subsidiaries to ensure projects by DP are well coordinated and cohesive. It is our priority to strengthen our multidisciplinary practice and foster the expansion of our subsidiaries’ portfolios. Despite the slowing economy, 2015 ended on a positive note as we increased our global presence with projects in Georgia, Kazakhstan, South Korea, and an office in London to pursue opportunities in the European market. We will continue to drive greater changes in 2016 as we step up engagement in our existing markets and open an office in Istanbul to raise awareness of DP’s capabilities beyond Asia. We ask for your continued confidence in the DP legacy, as we embark on a renewed, rewarding journey to grow from strength to strength. – Francis Lee
CHIEF EXECUTIVE OFFICER’S MESSAGE
我感到非常荣幸，能够出任公司的新总裁一职，担负 起传承与发扬 DP50年以来所形成的独特文化、价值观， 以及卓越的设计水准。如同建筑一样，领导艺术亦是一门 需要终生学习的创造性课程。管理诸如我们这样的一家企 业，责任更是重于泰山。所幸，我也并没有孤军奋战。作 为一位妻子、母亲、女儿、建筑师，我很幸运，能够得 到两个大家庭的不懈支持——其中一个是我个人的家庭， 另一个，则是 DP大家庭。在 DP的这 25年间，我收获了强 而有力的指引、值得信赖的友谊，以及温暖人心的善意。 公司的同事们每时每刻都在慷慨给予，与我分享宝贵的知 识、经验，为我提供帮助。 作为总裁，我的首要关注点便是提升 DP 的“ D”—— 也就是“设计第一”。 DP一向都因为我们高水准的设计 与服务而备受重视。现在，我们将专注于更高的设计和服 务交付基准，这些基准将是变革性的、真正的世界级水 准。作为一家新加坡本土公司，我们不仅要为我们公司摇 旗呐喊，我们还要在全球范围内宣传新加坡品牌。我们将 一如既往，追求更好、更为鼓舞人心的获奖设计。 在过去的 50年里，我们创造了佳绩。但是，我们必须 继续学习，并努力地去达成更多的佳绩。建筑行业不仅是 一个传统行业，它也是一个持续创新的行业、充满活力的 行业，需要我们永不止步，去不断挥洒我们的想象力。接 下来，我要谈的，就是 DP里的“ P”—— 也就是“员工 授权”。正如每个地标建筑都需要有数栋单独建筑一样， 公司的成功，也必须依靠员工的支持。我们要想跨越新领 域，为客户提供更好地服务，就必须提升与授权我们公司 最宝贵的资产。我们保证， DP的每位员工所贡献出来的 创意都会得到重视，我们力求让每位员工都自信满满地为 设计以及好的作品发挥个体职能。为此，我们会创建 DP 学院，通过提供技术课程，不断拓展全体员工的技能，并 且我们还会开展讲习班，提升重要价值观，从而实现员工 个人的全面发展。 在将近 50 年的时光里， DP 在新加坡构建了各种 地 标 建筑，改变了新加坡的国家形象。同时，我们也负 责 了功能各异的大型国际项目，为 D P 品牌拓展了国 际 知 名度。 2 01 7 年将是我们 D P 公司的五十周年庆典。在 迎 来这里程碑式的一年之前，回望我们的征程，我们深深感 激我们的客户以及合作伙伴所赋予我们的合作关系。展望 DP五 十周年以及未来的日子，我们将继续强化这些意 义深远的伙伴关系。同时，我们也会继续通过建筑塑造我 们的环境，丰富我们的生活方式。 – 陈丽君
I am humbled by my new appointment as CEO, and the responsibility to build on the 50-year legacy of DP’s unique culture, values and design excellence. Just as architecture is a lifelong learning and creative process, so is leadership. Running a firm like ours is a big responsibility. I did not do this on my own. As a wife, mother, daughter and architect, I am fortunate to have the unfailing support of two families – my family at home and the DP family at work. With 25 years of strong mentorship, personal friendship and kindness at the firm, I have always felt the generosity of colleagues in sharing valuable knowledge, experience and help on my DP journey. Serving as CEO, my primary focus is to drive the ‘D’ in DP – Design First. DP has always been valued for our high standards of design and service. Now, we will focus on even higher design and service delivery benchmarks that are transformative; that are truly world-class. As a home-grown firm, we not only fly the flag for DP, but also for the Singapore brand around the world; we will consistently strive for better, inspirational, award-winning design. While we have success stories in the past five decades, we must keep learning and be hungry to do more. The architecture industry is one born not only of tradition, but of constant innovation; it is an ever-dynamic industry that demands restless, creative imaginations. That brings me to the ‘P’ in DP – People Empowerment. Just as a landmark cannot be created without individual building blocks, a firm cannot succeed without its people. It is through enhancing and empowering our greatest assets that the firm can scale new heights, to serve our clients better. We will ensure every DPian is valued for the ideas they contribute and confident of their role in design and delivering good work. For this reason, we are launching DP Academy to continuously update everyone’s skills through technical courses, and to ensure the well-rounded development of every individual through workshops that enhance important values. For nearly five decades, DP has created landmarks in Singapore that shaped the nation’s identity, and has worked on global projects of immense scale and diverse functions that expanded the DP brand internationally. We will be celebrating our golden jubilee in 2017. As we approach this milestone year and reflect on our journey so far, we are thankful of the collaborative relationships we have with our clients and partners. Looking forward to DP50 and beyond, we will continue to strengthen these meaningful partnerships, as we continue to shape the built environment and empower lives through architecture. – Angelene Chan
“ 我的首要关注 点便是提升DP里 的“ D ”—— 也就是 “ 设 计 第一”。作为 一家新加坡本土公司， 我们不仅要为我们公 司摇旗呐喊，我们 还要在全球范围内宣 传新加坡品牌。我们 将一如既往，追求更 好、更为鼓舞人心的 获奖设计。”
双 语 版 ， 2 0 1 6 年 ， 1 号
CONTENTS Short takes on new & notable projects 摘要
01 Dulwich College
德威士学院 02 Fuk Tak Chi Museum
福德祠博物馆 03 Serini Melawati Serini Melawati 公寓 04 Biji @ Section 17 Biji @ Section 17 综合项目 05 Pelican Paradise Resort and Golf
鹈鹕天堂度假村和高尔夫俱乐部 06 Sheraton Danang Sheraton Danang 项目 07 Mall of Dilmunia Dilmunia 购物中心
Featured projects 主要项目
Chan Sui Him: Forging Firm Foundations
DP interview DP 人物专访
Celebration of past projects 历史回顾
Angelene Chan Chan Hui Min Bonnie Oeni Toh Bee Ping
DESIGN IN PRINT TEAM
Chan Sui Him
Loh Yew Cheng Lee Hui Yee
Writers: Anwar Rashid, Lee Boon Woei, Leong Wei Lin & Taib Shabbir. Contributors: Jackie Poh & Pocholo Mauricio.
Century Square 1995
Cover photo of Chan Sui Him by Sean Lee | 封面人物陈少谦由李培炀所摄
All Rights Reserved. No material may be reproduced without prior permission. DP Architects accepts no responsibility or liability for any errors, omissions or resultant consequences including any loss or damage arising from reliance on information in Design in Print.
Published by DP Architects Pte Ltd 6 Raffles Boulevard, #04-100 Marina Square, Singapore 039594 T: +65 6338 3988 F: +65 6337 9989 E: email@example.com W: www.dpa.com.sg
Any opinions in Design in Print are solely those of the named authors of the article in which they appear. Unless named as author, DP Architects, Editorial Panel and other Contributors do not endorse any such views and disclaim all liability from their publication.
Copyright © DP Architects Pte Ltd MCI (P) 016/10/2015 Printed by SC (Sang Choy) International Pte Ltd L009/03/2016
Short takes on new & notable projects | 摘要
Dulwich College Singapore 德威士学院
德威士学院 ( Dulwich College) 新加坡分校是一所国际学 校，占地 5公顷，坐落于武吉巴督 ( Bukit Batok ) 。从规划、 室内设计、景观美化到选材，该分校的核心设计概念是以孩 子们的身高与需求为基础参考： ( S ) 小型建筑针对的是小学 生、 ( M ) 中型建筑针对初中生、 ( L ) 大型建筑针对高中生、 ( F ) 则是指公用设施，例如艺术表演中心、室内体育中心、 寄宿学校等。分校建筑对于砖块的应用仿照了伦敦主校风 格，同时也构成了林荫道的主轴。位于较高层的单个建筑 通过桥梁连接，学生可以随着升级顺畅地搬到新教室。天然 材料的颜色、如原木、铜等突出了图书馆“世界之窗”的特 色。校园中央是艺术表演中心，中心的正面再造了伦敦德威 士学院的立面设计。
Dulwich College Singapore is an international school occupying a fivehectare site in Bukit Batok. From planning, interior design, landscaping to material selection, the concept revolves around the size and needs of the children: Small (S) for the early years, medium (M) for the junior school, large (L) for the senior school, and free-size (F) for shared facilities such as the Performing Arts Centre, the Indoor Sport Centre and the boarding school. The use of brick references the parent college in London and marks the main boulevard axis. On the upper floors, the individual buildings are linked by bridges, creating a seamless flow for the students as they progress up the years. Colours of natural materials such as wood and copper accentuate the libraries which are presented as ‘Windows to the World’. At the heart of the campus is the Performing Arts Centre, its frontage a re-creation of Dulwich College London’s façade.
Fuk Tak Chi Museum Singapore
Serini Melawati Malaysia Serini Melawati 公寓
First established as a temple in 1824 by the early Hakka and Cantonese migrants, Fuk Tak Chi was converted into a street museum in 1998. Ravaged by Singapore’s tropical climate with high humidity and abundant rainfall, the Fuk Tak Chi museum closed for a second restoration at the end of 2014. The restoration work was driven by two factors – continuity and authenticity. Roof repair works constituted the major part of the restoration work. Rotting purlins were replaced, and new technologies of roof waterproofing systems were adopted to ensure the longevity of the museum with minimal damage from weather elements. Damaged decorative elements that required replacement were handcrafted by artisans in China. In addition, rising damp treatment was carried out on the parti walls, and special plaster and mineral paint were used to achieve long-term durability.
福德祠在最初是一座庙宇，由早期客家移民和广东移民 于1824 年建立。1998 年，福德祠被改造为街道博物馆。由 于新加坡属热带气候，空气潮湿，雨水充足，因而福德祠 博物馆受到了侵蚀，于 2014 年末关闭，接受第二次整修。 整修工程的两大要素是连续性和真实性。整修工程大部分 集中在屋顶修复方面，替换掉了腐化的桁条，采用了屋顶 防水新技术，以保证博物馆因天气因素而遭到的破坏降到 最低点，延长博物馆寿命。博物馆损毁的装饰性物件由来 自中国的手工艺人制作的作品替代。此外，博物馆的隔断 墙接受了防潮处理，并且采用了特殊的石膏及矿质油漆， 借以缓和岁月的侵袭。
Serini Melawati is a 38-storey serviced residence strategically located at the heart of Taman Melawati, a sought-after suburban area along Kuala Lumpur Middle Ring Road and easily accessible to Kuala Lumpur City Centre via major highways. The development consists of 528 units within two identical towers with a shared car-park podium. The façade is articulated with various carefully mapped planes that are rendered with tones of greys, giving the perception of enhanced depth and creating an interplay of light and shadow. Lush landscaping at the ground level creates a welcoming haven as one approaches the elevated double-height arrival plaza and foyer at each tower. Shared communal facilities, including a swimming pool, gymnasium and children’s play room, are located on the podium roof.
Serini Melawati 是一栋38层 高的服务式公寓，位于 Taman Melawati 中心地带。Taman Melawati 是一个热门郊区，位于 吉隆坡中环路沿路，走高速到吉 隆坡市中心十分便利。该建筑包 括两栋完全一样的大楼，共计有 528个单元房，两栋大楼合用一 个停车裙楼。立面通过各种细致 的灰色平面铰接在一起来增加深 度感，同时也营造出光影交错的 效果。一层建筑采用了葱郁的景 观设计，客人在走进高阔的入口 广场和大厅的同时，将会体验到 温暖的欢迎感。公用设施——包 括泳池、体育馆和儿童玩乐 室——都位于裙楼楼顶上。 DP 01
Short takes on new & notable projects | 摘要
Biji @ Section 17 Malaysia Biji @ Section 17 综合项目
The mixed development is located in Section 17, Petaling Jaya, next to the famous open-air wet market and night hawker, one of the five main commercial centres in the city. The development consists of three zones: commercial, studio apartment and serviced apartment. The commercial zone comprises retail spaces on the first two storeys, of similar scale to a neighbourhood mall. The commercial component will generate opportunities for future socio-economic growth in the area. Sitting above a seven-storey car-park podium, the residential zone is made up of two 17-storey towers: Tower A consists of 136 units of three-bedroom serviced apartments; and Tower B holds 289 studio units. The facilities deck is located between the towers and the podium block, and includes a swimming pool, wading pool, gymnasium, landscape garden, nursery and multipurpose hall.
该综合建筑位于八打灵再也市 (Petaling Jaya) 第17区，靠近 著名的露天湿货市场和街头小吃夜市，也就是八打灵再也市五 大商业中心之一。建筑分为三个区域：商业区、小型公寓区、 酒店式公寓区。商业区包括有与邻近购物中心规模相似的零售 区（位于前两层）。商业区将为该市未来的社会经济发展制造 机遇。住宅区位于一个7层高的停车裙楼上，包括两栋17层高的 大楼。A 栋大楼设计有136个三卧室酒店公寓间，B 栋大楼设计 有289个小型公寓间。公用设施位于大楼和裙楼之间，包括有泳 池、浅水池、体育馆、风景园林、托儿所以及多功能大厅。
Pelican Paradise Resort and Golf East Timor 鹈鹕天堂度假村和高尔夫俱乐部
The resort development at East Timor comprises 464 rooms, 4 speciality restaurants, a 1,400-person ballroom and conference hall, an exhibition hall, 13 villas and a golf clubhouse; and caters to different groups of hotel guests, such as families, golf enthusiasts, seasport lovers and newly-weds. The resort’s tropical architecture design is most prominently presented in the enormous roof structure of the main building, with its high ceiling and generous roof overhangs. The form of the hotel wings respond to the natural curve of the site. A large swimming pool that spans the length of the hotel wings sits at the centre of the development. The landscape design features lush greenery, strategically positioned around the expansive swimming pool and the entire development to create an idyllic and peaceful atmosphere.
该度假村位于东帝汶，包括 464 个房间、 4 家特色餐厅、可容纳 1400 人的舞厅及会议室、 一个展厅、 13 座别墅、一个高尔夫俱乐部。度 假村旨在服务不同的酒店顾客群，例如家庭顾 客、高尔夫球爱好者、海边运动爱好者、新婚 夫妇等。 度假村主楼巨大的屋顶结构、高高的天花 板以及宽阔的挑檐反映出了热带建筑的设计特 色。酒店侧翼的形态与其所在位置的天然曲线 融为一体。位于度假村中心位置的大型泳池沿 着各个侧翼横向延伸。景观设计采用了郁郁葱 葱的绿植，围绕在宽阔的泳池以及整个度假村 四周，营造出田园诗歌般的宁静氛围。
Vietnam Sheraton Danang 项目
Mall of Dilmunia Bahrain Dilmunia 购物中心
The Mall of Dilmunia is a family-oriented shopping mall, estimated to open in 2018. It is located on the reclaimed Dilmunia Health Island in Bahrain, which was master-planned by DP Architects. The mall is sited along a bend that follows the Grand Canal on the island.
The Sheraton Danang, located along Danang Bay, comprises several low-rise blocks that surround an extended stretch of water features and attractions. The two keystone blocks of the establishment, the Reception Block and the Ballroom Block, are fronted by a lushly landscaped forecourt. These blocks house amenities such as restaurants, lounges, retail spaces, a gym and spa, business and meeting areas, and event spaces. The two six-storey hotel blocks are oriented with views to the sea. These blocks are surrounded by intricately landscaped terrain and features, including play areas for children and manicured gardens, to create a charming and luxurious environment. Sheraton Danang 位于岘港海湾 (Danang Bay) ，包括数 栋围绕着延伸的水景分布的低层建筑。 Sheraton Danang 的两栋拱心石建筑 ——接待处和舞厅 ——面对的是一个 葱郁的景观前院。这两栋建筑内部配备有便利设施，如 餐厅、休息室、零售区、健身水疗馆、商务会议区、活 动举办区等。两栋六层高的酒店建筑可观赏到海景。精 致的景观带和特色建筑 ——包括儿童玩乐区、修剪整齐 的花园等 ——围绕着酒店，力求营造迷人的奢华感。
Taking advantage of the waterfront location, steps and terraces are integrated into the promenade landscape design as informal social spaces. Restaurants and alfresco areas are strategically located to overlook the waterway. The building façade plays with the curve of the waterway, through a series of staggered façade portals. Internally, the dumbbell circulation design places anchor tenants and attractions at the two ends of the mall to induce maximum pedestrian activity. Circulation spaces are also designed to have distinguishing features, such as a boulevard-style atrium, a central main atrium and souk quarters, to differentiate various shopping zones and facilitate wayfinding. The mall integrates a number of family entertainment areas under one roof, including an ice-skating rink, indoor theme park, roof gardens and children play-areas, to attract different age-groups. Dilumunia 购物中心是一个以家庭为导向的购物商场，据估
将于 2018 年开业。购物中心位于巴林 Dilmunia 健康岛( Dilmunia Health Island) 上。该岛是一个再生岛，其总体规划由 DP Architects 负责。购物中心坐落于岛上大运河后面的弯曲处。 购物中心台阶和露台的设计利用了水滨位置的优势，与景观 设计融为一体，营造成非正式的社交空间。餐厅和户外区域被精 心地安排在能够俯瞰水路的位置。建筑物的立面与水路的曲线通 过数个错列分布的立面大门互为衬托。在购物中心内部，哑铃式 交通设计将知名租户与揽客热点安排在中心两端，以吸引最大 的客流量。交通空间的设计还考虑到了特色问题，例如引入了林 荫式中庭、一个中央主中庭和几个露天区域，以区分不同的购物 区，同时也有利于顾客辨别方向。购物中心在一处集合了数个家 庭娱乐区域，包括溜冰场、室内主题公园、屋顶花园、儿童玩乐 场等，以吸引不同年龄群体的顾客。 DP 03
CHAN SUI HIM
FORGING FIRM FOUNDATIONS “It takes ten years to grow trees but a century to nurture a generation of good men.” – a favourite quote of Mr Chan’s
陈少谦先生刚从建筑学校毕业 ( 1968年 )便加入 了 DP Architects。从最初的建筑师身份到后来的副 董事、合伙人、总裁以及主席，陈少谦先生为 DP 今天坐拥的成就立下了汗马功劳。他热爱建筑历 史、尊重建筑伟人、通晓各个建筑学科，是在公 司里受人尊敬的导师。他在刚刚成为一名建筑师 时，就自然而然担当起了这一职责。 陈少谦先生职业生涯中的高低起伏，反映的是 行业以及经济方面的变迁，以及 DP 的成长轨迹。 陈少谦先生在其 50年的职业生涯中设计了多种类 型的著名项目。不过，他设计的各个项目都有一 个共性 —— 即体现了交通性、连续性、社区性理 念。在接下来的文章中， Design in Print 将会介绍陈 少谦先生众多项目中的知名项目：步行购物区、 获奖住宅，以及提倡连续性的社区项目。我们还 将提及他为两处城市景观 ——滨海湾 ( Marina Bay ) 和樟宜 ( Changi ) ——所设计的作品。 Mr Chan Sui Him joined DP Architects in 1968, right after architecture school. Moving through the ranks as architect, associate, partner, CEO and Chairman over the years, he has been instrumental in building the success the firm enjoys today. His love of architecture history, respect for the greats, and understanding of the various building disciplines made him a respected and insightful design mentor in the office; a role that came naturally to him and which he has assumed since his early days as an architect.
Top: A photo from 1982 taken at DP’s old office in Golden Mile Complex. Standing next to Chan is DP director, Vikas M Gore. Below: Chan (left) heading a design review session.
The course of Chan’s career, the high-lows and turns, reflected the industry and economy shifts, and DP’s growth trajectory. In his 50-year career, Chan has designed notable projects of different typologies; but a common thread connects all his projects – the idea of circulation, continuity and community. In the following articles, Design in Print examines some of the notable works in his considerable oeuvre: the pedestrian malls, award-winning residential developments, and community projects that promote continuity. We also take a look at his works that have shaped two urban landscapes, that of Marina Bay and Changi.
保护式购物街：探 索 步 行 购 物 区
SHELTERED SHOPPING STREETS EXPLORING THE PEDESTRIAN MALL By Leong Wei Lin
CIRCULATION, ACTIVITY GENERATORS, AND LINKAGES BETWEEN SPACES ARE KEY DRIVERS IN CHAN’S DESIGN OF THE MALL TYPOLOGY
Left: Diagram showing the retail and hotel components of
Bugis Junction. Below: Glass roof canopies unify a network of 63 reconstructed OP
and preserved shophouses at Bugis Junction, transforming
historical streetscapes into enclosed air-conditioned shopping corridors.
数年来， DP Architects 一直都在坚持 不懈地探索零售功能的建筑类型。虽 然每个项目在设计语言和设计策略上 各有不同，但是陈少谦先生在设计此 类建筑时却保留了一些共有的关键常 量，包括购物区的整体交通性、增加 购物区活动量的要素，以及各个空间 之间的连接性。
在设计每个项目的过程中，陈少谦 先生从来都未遗忘是人赋予了建筑生 命和活力。在零售购物商场中，无论 是要创造新的零售空间体验，还是要 营造熟悉的感觉，设计师们都需要关 注用户的舒适度以及愉悦度。接下来 我们将介绍 4个在不同形势下所采用 的“遮阳式街道”设计项目。
There has been an enduring and constant exploration of the retail typology within DP Architects over the years.
Bugis Junction was completed in 1994. It consists of a commercial complex, built among a network of 63 reconstructed shophouses, which engendered a transformation of historical streetscapes into enclosed shopping corridors.
While the design language and strategies evolve with each project, there are constants that remain key drivers and linchpins in Mr Chan Sui Him’s design of this typology. These refer to the overall circulation of the mall, the presence of activity generators within the shopping environment, and linkages between such spaces. In all projects, Chan is always aware of the human factor that gives life to the built form. In retail malls, it is the comfort and enjoyment of the pedestrian user that designers need to cater to, whether in crafting new ways of experiencing retail spaces or bringing a sense of the familiar. Following are four projects that exemplify the concept of a pedestrian mall that makes use of the creation of ‘sheltered streets’ in different manifestations.
Reconstruction permitted the glass arcade to be structurally embedded within the shophouse forms, freeing space within the internal corridors, and unifying the old and new. The small scale of the old existing streets is retained, and the two and threestorey shophouses are reconstructed in a sympathetic manner to reinforce and enhance the local identity. The qualities of the preserved shophouses are celebrated and seen as dominant in the development. The historic memory is juxtaposed with large-scale, modern structures that bookend the site – a 16-storey, 400-room InterContinental Hotel, and a 15-storey office block. The result is an urban intervention that implants a 21st century network of public spaces, pedestrian-only and all-weather, within the city’s rooted fabric. DP 05
In 1998, Chan completed Far East Square, a heritage conservation project located in a historic district which used to be an enclave for early Chinese immigrants, and contains many buildings of historical significance. Similar to Bugis Junction, the site was a tapestry of layers of history, with structures dating from different architectural periods. Under the Urban Redevelopment Authority’s (URA) China Square Concept Plan, the area was to be transformed into a unique transition zone with a blend of old and new developments. Situated between the CBD and Chinatown, it consists of a vibrant and modern commercial centre with a combination of new inﬁll and restored structures of different architectural roots. The Fuk Tak Chi Temple was restored and converted to the Fuk Tak Chi Musuem to preserve as much of its historic fabric as possible. A new cultural pavilion that serves as an arts and culture venue was constructed. The design is rooted in the five elements of ancient Chinese philosophy – fire, water, metal, wood and earth – and ties the different developments together. Far East Square received the URA Architectural Heritage Award in 1999 and the FIABCI Prix d’Excellence Award in 2001. The Central, which is located above the Clarke Quay MRT station, was completed in 2007. The Central’s SOHO units were the first purpose-built SOHO project to go on the market which garnered great interest and market response at that time. The site planning also created a 24-hour pedestrian access through the ground floor of the development, which complemented the train station at the basement. Retail and F&B outlets line this pedestrian ‘street’ which serves as an activity generating node for the residents in the area as well as a connector to the Central Business District. The development also encapsulated the example of how the concept of ‘Live, Work and Play’ could come together as a spatial construct. The combination of residential, office and retail typologies enabled the blurring of lines between office and after-office hours, and ensured a steady flow of user interaction throughout the day.
Top to bottom: Far East Square’s design rediscovers the arcade typology and is rooted in the five elements of ancient Chinese philosophy – fire, water, metal, wood and earth. The Fuk Tak Chi Temple within Far East Square was restored and converted to the present-day Fuk Tak Chi Museum. The Central was pivotal in the rejuvenation of the Singapore River along Clarke Quay.
IT IS THE COMFORT AND ENJOYMENT OF THE PEDESTRIAN USER THAT DESIGNERS MUST CATER TO, WHETHER IN CRAFTING NEW WAYS OF EXPERIENCING RETAIL SPACES OR BRINGING A SENSE OF THE FAMILIAR
Left: Elevation diagram of Orchard Central. Clockwise from bottom left: An extensive, segmented external rain screen doubles as a canvas for nighttime performance of light and colour. Breaks in Orchard Central’s façade offer city views through glass enclosures and open-air routes. The design of Orchard Central injects commercial space with the public space of Orchard Road, activating all 11 storeys with street connectivity. A.30.02.dgn 6/11/2009 6:10:10 PM
Orchard Central, completed in 2009, is part of the evolution of URA’s plans for Orchard Road’s street-integrated mall architecture. It began with a simple question on the significance and implications of being the first high-rise mall within the Orchard Road corridor. It raised questions not just about architectural form, but also about social habits of shopping and other lifestyle-related activities. The activity of shopping was no longer confined to the simple act of consumption, and was fast moving away from an introverted experience. Orchard Central makes great strides in the extroversion of retail space, communicating a new mode of connectivity with its urban site and
environs. Traditionally, the cost of rental space is inversely related with floor height, as upper floors become unlikely destinations for shoppers. By hosting a series of dining spaces and gardens positioned to attract visitors to the uppermost level, the roof is transformed into a high-value space, coupled with the unique experience of travelling along the façade of the building, overlooking the rest of Orchard Road. The typical shopping mall model of inwardlooking space mediated by a large central atrium, and a flat dormant façade on the outside is reversed in this mall, defying mall-design conventions. By omitting a central atrium,
an extended ‘living room’ is formed to allow consumers to stroll, shop, rest, watch, wait, read. Clusters of different retail themes were designed with overlapping volumes and distinctive interior architecture to accompany this pedestrian spine. In addition to the porosity of the ground-level pedestrian space, the façade was also designed to be a surface for social interaction. The volumetric pop-outs, recessed façade and four superescalators facing Orchard Road create shaded verandah spaces. This movement of people from street level to the outdoor verandahs also challenged the notion of a traditional façade as well as that of the ground-level pedestrian street.
打造优质家园：卓 越 住 宅 项 目
CRAFTING QUALITY HOMES WINNING RESIDENTIAL DEVELOPMENTS By Leong Wei Lin
Left: The interplay of building elements on the façade of The Bayshore creates a sculptured massing capped by a
项目的成功在某种程度上有赖于建筑 师与开发商之间的坚固友谊。 DP Architects 对于卓越服务的重视吸引了众多回头 客。 DP 将自己视为服务型建筑公司， 对于每个大小项目都会倾注同等的专注 与重视，正是这种做法赢得了客户的信 任，促使着客户将项目托付给 DP。 自 20世纪 90年代起， DP便与远东机 构 ( Far East Organization) 建立了合作关系，
时 至 今 日 ，这种关系依然经久不衰。在 过去的20年间，DP 为远东机构完成的 多 个 住 宅 项 目 —— 包 括 本 文 提 及 的 四 个 项 目 —— 均 赢 得 了 世 界 不 动 产 联 盟 ( FIABCI)和新加坡建设局 ( BCA ) 的建筑 卓 越 奖 —— 印 证 了 D P 与 客 户 之 间 的 坚 固友谊以及良好的工作关系。大奖在为 开发商提高其作为住宅地产界领袖的声 誉的同时，也为DP 赢得了新的工程与 客户。
cantilevered trellis. Right: Heritage View’s three 20-storey towers are arranged to form an equilateral triangle; each tower has a three-sided plan with apartments arranged around a central court open to the sky. Far right: The façade of The Clift is composed of a tapestry of rectilinear lines of varying sizes, spacing and depth which visually induces the façade to reverberate with movement.
The success of a development takes into certain account the working rapport between the architect and the developer. DP Architects’ emphasis on service excellence has brought the firm repeat clients. Seeing itself as an architect in service, DPA approaches every job, regardless of size, with the same dedication and regard; and this gave clients the confidence to entrust their developments to the firm. DPA’s association with Far East Organization stretches from the 1990s till today. Over the past two decades, a significant number of the firm’s residential developments with Far East Organization have won FIABCI and BCA Construction Excellence awards – including the four projects described in this article – a testament to the good rapport and working relationship between client and architect. The awards helped to enhance the developer’s reputation as a leader in the residential property field, and won DPA new jobs and clients.
East Organization. This reinforced the importance of having a stable portfolio of work to sustain the firm in lean years, especially as the size of the firm grew with the increasing complexity of projects that it took on. The Bayshore, completed in 1997, was designed as an up-market condominium within a lush tropical setting, with good views towards the sea. With a high level of visibility along East Coast Parkway, the objective was to create an identifiable architectural statement. The condominium has a relatively formal layout with a strong symmetrical axis in the overall site plan. Two pairs of 30-storey blocks dominate the development, each pair linked by a 12-storey block. Articulation of the façade is created by the interplay of building elements, which results in a sculptured massing capped by a cantilevered trellis. Typical unit layouts are arranged symmetrically around the service core. The success of The Bayshore lies in the generous garden setting which provides ample outdoor space for the occupants.
Mr Chan Sui Him recalled that DPA was in part buffered from the impact of the 1997 Asian financial crisis because it was working on several jobs for Far
River Place, completed just two years after The Bayshore, is situated at a strategic location at the fringe of the downtown district. The site is bound
Bottom: The planning strategy for River Place offered three different architectural forms within a single development.
by Havelock Road, Clemenceau Avenue and the Singapore River, as well as being adjacent to the historical district of Robertson Quay. The planning strategy responds to the variety of urban conditions present in the unique site location, offering three architectural forms within a single development, which was not commonly seen during that time. It consisted of a high-density slab block that contained the majority of the required apartment floor area lining the city edges, a low-density block at a more intimate scale for the communal open spaces and the riverfront, and a taller point block as a focus. This design approach gave rise to more than a hundred different types of apartment layouts, dispelling any form of anonymity normally associated with large housing developments and catered to a varied group of potential buyers. This approach also offered each resident a unique sense of place and identity. In 2000, Heritage View, a luxurious resort-style condominium located along Dover Rise in a suburban area of Singapore, was completed with
FAR EAST ORGANIZATION
three 20-storey towers holding a total of 618 units amid a large tropical landscape incorporating pools and water features. Each tower has a three-sided plan with apartments arranged around a central court open to the sky. The modern tropical resort-style residential haven provides a relaxed, quiet and cool environment for families. Greenery and water features are used abundantly throughout the development, and pavilions are placed throughout the site, to create a tropical oasis as a welcome contrast from the city. Consistent with URAâ€™s vision to inject vibrancy into the city centre, Far East Organization initiated the redevelopment of a commercial building in the Central Business District into residential apartments, the first developer at that time to do so. Now standing at the former Natwest Centre is The Clift, a 43-storey tower completed in 2011, which redefined a whole new identity of urban living.
THE SUCCESS OF A DEVELOPMENT TAKES INTO CERTAIN ACCOUNT THE WORKING RAPPORT BETWEEN THE ARCHITECT AND THE DEVELOPER The Clift offers contemporary urban dwellers an integrated lifestyle concept, where living, working, leisure and connectivity come together in one address. Units are designed to be functional and compact, yet flexible enough to suit varying lifestyles. For example, in the one-bedroom apartment, the partition wall at the living room and the master bedroom is a non-structural wall which can be easily removed to transform the room into a single large internal space for use as a home office.
The open kitchen blends elegantly with the living and dining room, exhibiting spatial luxury. The development’s central location and architectural sensitivity to the surroundings are also the key reasons for its success.
Top to bottom: In Jardin, extensive gardens extend from the loft units, serving as deep communal balconies. The typical floor plan of Jardin shows that each unit has access to a garden balcony. Various vertical greenery further accentuates Jardin’s garden-like atmosphere.
Today, many developments provide landscaping not just at the grounds, but also at sky terraces and gardens. Vertical greening has also become popular in recent years. The advent of sky terraces, gardens and vertical green can be attributed in part to URA’s and BCA’s urban and Green Mark guidelines. One example that demonstrates creativity in the use of greening and landscaping options is Jardin, completed in 2012. The design of Jardin incorporates two main ideas – a ‘vertical’ garden setting and the French notion of living. These concepts are pivotal architectural form-generators, and encapsulate new pleasures of high-rise living and modern lifestyles. In Jardin, where architecture and landscape merge into a living environment, the pleasure of living in a high-rise garden environment is
SEEING ITSELF AS AN ARCHITECT IN SERVICE, DP ARCHITECTS APPROACHES EVERY JOB WITH THE SAME DEDICATION AND REGARD realised. At each alternate level, extensive gardens extend from the loft units, serving as deep communal ‘balconies’. Besides functionally providing shade and buffer from city noise, these gardens connect the units’ living spaces, allowing for use as social spaces. Also in 2012, DPA completed Floridian, a development situated along Bukit Timah Road that redefines residential living via a hospitalityoriented approach. The experience celebrates the daily act of returning home, taking reference from the coastal lifestyle of Miami, Florida. Comprising 11 ten-storey towers with a total of 336 units, the towers fall under different themes and, through subtle differences in architectural language, manage to have varying characters while still belonging to a collective whole. The Keys’ two towers are positioned like a promontory right in between the lap pool and
main swimming pool, and characterise the entrance with the corner timber treatment at the communal green platforms on alternate levels. Adjacent to the lap pool, the two Downtown towers play up an urban quality of clean solid lines and accent colours as a reflection of the young urbanite’s lifestyle. Aligned next to The Keys is The Verandah, three distinctive towers with communal rooftop terraces and gardens that embellish the façade and roofscape with lush green foliage. The three Hideaway and Pavilion towers house most of the prime four and four-plus bedroom units and are defined by the generous, screened balconies. Overall, the various towers with their varied attributes and distinctive designs echo the theme of Floridian living – a touch of good living with many lifestyle alternatives amid a lush waterfront environment.
Above: The extensive water body along the spine of the development is a key feature of Floridian. Left: Floridian’s design takes reference from the coastal lifestyle of Miami, Florida.
连续性：构 建 持 久 的 关 系
BUILDING LASTING RELATIONSHIPS By Leong Wei Lin
DPA HAS SERVED THE ANGLICAN DIOCESE OF SINGAPORE FOR 30 YEARS, AN EXAMPLE OF THE ENDURING RELATIONSHIPS THAT THE FIRM HAS WITH MANY OF ITS CLIENTS
DP Architects 的核心价值观之一是追 求卓越，这里不仅是为了达成杰出指在 的设计和履行专业职责方面追求卓越， 还包括也是为了要向客户提供卓越的服 务。 DP Architects 与圣公会新加坡教区 ( Anglican Diocese of Singapore) 的伙伴关系 已经延续了 30多年，是 DP 与诸多客户之 间拥有持久关系的案例之一。
原本的新加坡圣安德烈初级学院 (St Andrew’s Junior College) 于 1979年竣工。 之后， DP公司又于 1990年参与设计了该 学院的改善与扩建工作。此外， DP 还 于 1987年为圣公会新加坡教区建成了义 顺基督教堂 ( Yishun Christian Church)，于 1997年建成了圣安德烈中心 (St Andrew’s Centre) —— 该中心隶属于圣安德烈教会 医院 ( St Andrew’s Mission Hospital )。 DP与 圣公会新加坡教区的持久关系再次在 2005 年得到验证，并在该年完成了圣安德烈村 ( St Andrew’s Village ) 综合校区的建设。
This page, clockwise from left: Yishun Christian Church, St Andrew’s Junior College, and St Andrew’s Centre. Facing page, top to bottom: Elevation diagram of St Andrew’s Cathedral and the new addition. The quadrangle of the former St Andrew’s School and its distinctive fish-scale walls in peachy orange has been carefully restored and now serves as the Diocesan Centre inside St Andrew’s Village. An amphitheatre cuts into the site of St Andrew’s Cathedral to reveal the additional underground programming.
THE ST ANDREW’S CATHEDRAL ADDITION SERVES AS A STRONG CONNECTIVE TISSUE LINKING LONGSTANDING TRADITION WITH CONTEMPORARY CHANGE The original St Andrew’s Junior College was completed in 1979. There was no formal entrance to the college. From the driveway and carpark, the most visible building was the auditorium. A covered walkway from the open lobby leads past a brick-paved plaza which was the gathering space and focal point of the college. Subsequently, the firm was also engaged to design the upgrading and extension works to the campus in 1990. With the same client, the Anglican Diocese of Singapore, DPA completed the Yishun Christian Church in 1987 and the St Andrew’s Centre, under the ownership of the St Andrew’s Mission Hospital, in 1997. One of the firm’s core values is excellence, and it refers not only to excellence in design and the execution of professional responsibilities, but also excellence in service to its clients. This particularly rings true here, where DPA served the same client over the course of 30 years. The firm’s longstanding relationship with the client was also evident when it was again appointed to design its comprehensive campus, St Andrew’s Village, which was completed in 2005. In 2010, the new extension to the historic St Andrew’s Cathedral was completed. It is a modern interpretation of the religious facility which respectfully eschews all the ornate features of the existing cathedral. The church is one of Singapore’s oldest and most legible buildings, a protected national monument, and a testament to public memory that has stood since 1856 through many political and social transitions. The expansion was required to house a growing congregation, additional facilities and to offer increased accessibility as a site more compliant for visitors. The design for the extension sought neutrality both in massing and material as a backdrop supportive of the established Early Gothic architectural language of the original church, even as changing times and evolving social patterns dictate the need for change and adaptation. Projects like the St Andrew’s Cathedral Addition serve as strong connective tissues linking longstanding tradition with contemporary change.
滨海湾：追 溯 城 市 与 建 筑 遗 产
RETRACING THE URBAN AND ARCHITECTURAL LEGACY By Anwar Rashid
在过去的 50 年间，新加坡取得了巨大 的进展。新加坡的城市景观也在不断地 进化以及被重新定义。这座现代化城市 的前身是一个位于新加坡河畔口的小渔 村。它之所以能够有如此巨大的成长， 是因为滨海湾地区繁盛的贸易活动。该 地区建设有许多历史性地标和建筑，日 积月累下，该地区就形成了一种新的城 市生活及建筑语言，为新加坡注入了新 的活力。 DP在滨海湾以及滨海湾周边建成的 地标建筑包括皇后坊大厦 (Empress Place Building )、圣安德烈教堂 ( St Andrew’s Cathedral )、滨海林荫道 1号 ( One Marina Boulevard )、富丽敦海湾酒店 ( Fullerton Bay Hotel )、华联海湾大厦 (OUE Bayfront ) 等。
这些建筑有些起源于以砖石建筑为主 要建筑语言的时代。时至今日，对于建 筑师们而言，在现代与历史之间找到平 衡点便成为一个挑战。要在一个既具有 历史意义、又肩负新加坡繁盛责任的区 域重新塑造或构建地标，陈少谦先生是 深谙这其中所要求的设计敏感度的。 Singapore has progressed tremendously within just five decades, its urban landscape continually growing and being redefined. This modern city grew from a rural fishing village which started along the mouth of Singapore River. This growth was made possible by the flourishing trade within the area of what is now known as Marina Bay. Many historical landmarks and buildings were built in this area, and gradually, a new form of urbanism
and architectural language began to exist, breathing new life into Singapore. Landmarks such as the Empress Place Building, St Andrew’s Cathedral, One Marina Boulevard, Fullerton Bay Hotel and OUE Bayfront are some of the DP projects on and around Marina Bay. Some of these landmarks originated from a time when architecture was intimately expressed by the language of masonry. Today, it is a challenge for architects to negotiate the forces of modernity and at the same time respect influences from the past. Mr Chan Sui Him understands the sensitivity required to rework or create landmarks in a district of significance to the history and rise to prominence of Singapore. Originally designed by JFA McNair, the Empress Place Building was erected in 1865 in the
Neo-Classical Palladian style, and laid out symmetrically along a central axis facing the waterfront at the mouth of the Singapore River. It was built alongside one of the nation’s first public spaces on the Singapore River’s eastern bank. The Empress Place Building was first constructed to serve as a courthouse, but instead functioned as a collection of government offices. By respecting the existing axis and architecture, this 8,000sqm landmark was restored by DP Architects in 1989. The intent was to transform the building into an art museum. The project included the integration of the building’s multiple and disjointed extensions, and material replacement for roofing timber joinery, flooring and intricate plaster mouldings. The structural integrity of the building and the carvings of the interiors were retained as much as possible, while elements of functionality demanded of a modern museum were introduced. The result is a lasting testament to the possibility that both the old and new can co-exist harmoniously and enhance the architectural experience of a building.
One Marina Boulevard was conceived as a gateway to Singapore’s new downtown, serving as headquarters to the National Trades Union Congress (NTUC) and as an office space for multinational corporations and local companies. The 32-storey building, completed in 2004, is sited at the edge of the city’s financial district and adjacent to the public promenade that lines Marina Bay. As a testament to the enduring economic benefits of the tripartite compact between the NTUC, the employers and the government, the architects sought to attain a high degree of transparency and connectivity with the public spaces of the surrounding downtown, an expression of the programme’s civic nature. Projects like the St Andrew’s Cathedral addition serve as link between the old and new amid the relentless modernity that permeates Singapore. St Andrew’s Cathedral is the church of the Anglican Diocese of Singapore and one of Singapore’s oldest buildings.
extension sought neutrality both in massing and in materiality. The intended architecture of the extension was never to overwhelm nor simply function as a mere backdrop for the magnificence of the church’s famed Early Gothic architecture. The outcome of this intervention was an extension that blends well with the church while remaining instantly recognisable and distinctive. This was done by selecting neutral materials for the extension and opening up the church’s surrounding landscape, creating more intersections and porosity.
Facing page, top to bottom: The Empress Place Building was restored and transformed into an art museum. Elevation diagram showing the
In 2005, an expansion was required to house a growing congregation. The design for the
Neo-Classical Palladian style of the Empress Place Building.
Above: St Andrew’s Cathedral’s additional wing references the cathedral it serves, with skylights aligned to frame views of the North Transept. Left: The design of One Marina Boulevard provides a high degree of visual transparency and connectivity with its surrounding public spaces.
The Fullerton Bay Hotel was a restoration project unlike any other. Apart from the conventional requirements in restoring an old landmark, it was surrounded by other classical buildings – namely Customs House and Clifford Pier, both icons of Singapore’s maritime heritage. Both buildings were functional until 2006, when traditional pier operations ceased with the construction of the Marina Barrage and the conversion of Marina Bay into a closed reservoir. Customs House was formerly the headquarters of Singapore’s customs police force, a two-storey structure identified by a façade of butterfly fascia boards and concrete columns, beams and railings – a hallmark on its own. The development was a hybrid project that balanced the need for conservation with new construction to redevelop a segment of the historic Marina Bay waterfront. It consisted of the revitalisation of the Clifford Pier and Customs House buildings, as well as the design of an additional six-storey hotel block. The project, completed in 2010, focuses on the intersections between new and old, preserving existing structures in a manner respectful of the site’s original architectural elements. The height of the hotel block establishes compositional hierarchies: being double the height of its historic neighbours, it draws attention to the hotel block to highlight the project’s primary function; it also performs as a proportion-balancing agent among the historic low-rise buildings and the high-rise towers of the city beyond. The OUE Bayfront project, completed in 2011, redeveloped the former Overseas Union House into an 18-storey office block. The structure’s design reflects its dialectic position between the height of Singapore’s tallest towers that it stands with and the sea-level flatness of the bay waters. Two conjoined block forms are designed
with differing façade treatments: on one side, the façade is enveloped by an articulation of fins enhancing the verticality of the building; the other side of the block, facing the bay, accentuates the horizontality of the waters. The structure and site layout are designed to augment urban connectivity and to encourage public use. The tower base is lifted by 12m from the ground plane to produce visual corridors linking the street with the bay, and the placement of services in the basement makes way for additional public circulation space at the ground level. Of the developments undertaken by DPA on and around Marina Bay, this collection of five projects represents a dialogue between a master architect and the civic downtown area of Singapore that is deeply associated with the nation’s economic history. These projects were also acts of respect and honour as the architect negotiates his way around history, ensuring that our architectural heritage and urban planning legacy are preserved and celebrated to inspire generations to come.
This page: Photos courtesy of The Fullerton Bay Hotel. Clifford Pier was transformed into the entrance and hotel lobby of The Fullerton Bay Hotel. The project mixes conservation with new construction to redevelop a segment of the Marina Bay waterfront. Facing page: OUE Bayfront’s façade features two recessed pockets for public recreational use, and horizontal sunshading fins.
樟宜：怀 旧 风 的 融 入
CONTEXTUALISING NOSTALGIA By Anwar Rashid
樟宜区给人的感觉通常是环境悠闲、绿色植被众多的地方。在二战以 前，该地区是黑白建筑的主要标志性区域，区域建筑与新加坡殖民建筑语言 类似。该建筑类型和谐地将本国热带特色与英国殖民特色融合在了一起。陈 少谦在樟宜区此类建筑的修复和保护工程中发挥了主要作用，当时负责后续 项目的主要建筑师兼设计师是陈少谦先生。 The area of Changi has often been associated with an environment that is laid back and rich in greenery and forested areas. Before World War II, the area was known as a prime location for iconic black-and-white houses, synonymous with the colonial architecture language of Singapore. This architectural typology is a harmonious blend of vernacular and tropical sensitivity with British colonial style elements. DP Architects has played a major role in the restoration and conservation efforts of these buildings in the Changi district, with Mr Chan Sui Him at the helm as the main architect and designer for the following projects.
Courtesy of Changi Cove Pte Ltd
Left: The design of the Singapore Aviation Academy pays homage to the colonial bungalow architecture. Below: Lit at night, the façade of Village Hotel Changi, with the colourful
The design of the Singapore Aviation Academy responds to the classic colonial bungalow style of architecture; its terracotta-tiled roof is a common feature of tropical architecture and prevalent in buildings found along the eastern coast of Singapore. Completed in 1992, the building appears modest in scale, in both the building’s exterior and interior. The planning took its cues from the surrounding lush greenery, effectively creating a visual dialogue between the users and the natural environment that surrounds them. Village Hotel Changi was a refurbishment project, completed in 2004, that involved an increase in the number of guestrooms, meeting facilities, recreational areas and commercial spaces, while retaining most of the existing structure. Spaces in the existing building were adapted for new uses to support current and future hotel operations. The setting for Village Hotel Changi is its charming natural surroundings and luxuriant greenery and foliage. Taking advantage of the setting, beautiful landscaped decks with water features that overlook the Changi coastline were created. The façade of the building is made more vibrant by a series of multi-coloured glass balconies placed at selected rooms.
glass boxes, projects a vibrant image.
These colourful glass boxes give the otherwise understated building a refreshing facelift, while retaining its existing charm and architecture at the same time. Located near the popular dining and recreational destination of Changi Village, and situated on a listed heritage site comprising almost four hectares of lush natural greenery and conserved heritage trees, Changi Cove Hotel was built around the trees and the natural topography of the site. Completed in 2012, the intervention and configuration of spaces respected the site’s natural attributes. The design provides for 112 modern rooms, located in the new extension branching out from the existing Command House. The Command House itself was sensitively restored to its former glory; the bucolic setting is embraced through the deep verandahs and the external corridors of the building. Civil Service Club at Changi is an additionand-alteration project to rejuvenate the former one-storey clubhouse through the introduction of new recreational and hospitality facilities. Situated along the Changi Coast shoreline, the development was designed to integrate with the laidback charm of the Changi Village area while preserving the existing colonial buildings. It includes a new recreation complex, a new chalet block and conserved colonial buildings. Taking cues from the way the building was laid out, a different hierarchy of spaces was created – each with its own unique spatial quality. Lush green spaces were designed around existing mature trees, which were retained. The project was completed in 2014. The eastern part of Singapore has always been known for its richness in history and heritage, as
THESE PROJECTS IN CHANGI, KNOWN FOR ITS HISTORY AND UNTOUCHED GREENERY, BRING HISTORY AND NATURE CLOSER TO THE USERS well as its ribbons of verdant, untouched greenery. The projects that Chan and teams undertook enhanced these natural qualities and bring history and nature closer to the users of these buildings. Through a respectful architecture language that pays homage to the country’s colonial heritage, these projects capture remnants of the past and romantically hark back to the yesteryears, while making it relevant for users.
Top: Changi Cove Hotel comprises the sensitively restored Command House, a two-storey building designed in the Neoclassical style. Above: Lush green spaces in Civil Service Club at Changi are designed around existing mature raintrees, imbuing the complex with a sense of tranquility.
CS H |
An interview with
IM by Toh Bee Ping
Pillar of strength Mr Chan Sui Him’s 50-year journey with DP Architects began when he first entered the firm as a student intern. His curiosity, willingness to learn, high design and service standards and affable personality meant he developed close working relationships with clients and DPians. From 1999 to 2004, he led DP Architects as CEO, and from 2004 to 2015, he assumed the role of Chairman. For his contributions to the community and the development of design in Singapore, Chan was awarded the Public Service Medal and the Singapore Design Golden Jubilee Award. A lifelong learner, avid reader, and history enthusiast, Chan is passionate about the cultivation of young minds and shares his lessons with Design in Print.
陈少谦先生最初以学生身份在 DP Architects 实习，至今已陪伴 DP走过 50个年头。 Chan Sui Him先生富有好奇 心、热爱学习、谨守设计与服务高标 准，且为人和蔼可亲，与客户和 DP员 工建立了密切的工作关系。在 1999年到 2004年之间，他担任了 DP Architects 的首 席执行官 (CEO)一职。在 2004到 2015年期 间，他担任主席一职。陈少谦先生因其 对新加坡社区和设计发展的卓越贡献而 荣获公共服务奖章 ( Public Service Medal ) 和新加坡五十周年设计奖 ( Design Golden Jubilee Award)。作为一名孜孜不倦的学 习者、博览群书的爱好者以及历史的追 随者，陈少谦先生对培养新一代年轻人 充满激情，并与 Design in Print分享了他 的经历。
What made you decide to devote your life’s work to architecture? How did your interest in architecture begin? I have a speech handicap and cannot pronounce accurately, so my mother was very concerned with my career development. When I was 13 years old, my family decided to worship at Newton Life Church. There, my mother noticed a prominent pioneer architect, Ang Kheng Leng, and it was because of him that my mother decided I should be an architect. At that time, I was studying at Catholic High School at Queen Street, a stone’s throw away from the National Library at Stamford Road.
Below: Chan Sui Him’s career at DP spans five decades.
“As an architect, you have to walk the site, understand the genius loci, the environmental issues, the cultural impact.” – Chan Sui Him The library’s reference section was full of architecture books, especially books on Le Corbusier and Frank Lloyd Wright. My father was a paper merchant and he received a lot of catalogues from Germany and Norway. Germany by the 60s was very much influenced by Mies van der Rohe. So, in my early secondary school days, I already knew of these three masters. My nickname in architecture school was Corbu. Many of my friends who knew me from my student days still call me Corbu, including my lecturer. I studied architecture from 1963 to 1968. During this time, Walter Gropius’ Harvard students like IM Pei, Paul Rudolph and Philip Johnson were emerging as great architects. This development in the field further fuelled my interest. Among architects, there are a few whom I admire a lot. Besides Le Corbusier and Frank Lloyd Wright, there is Richard Neutra. To understand a complex building as a student, I walked into Richard Neutra’s houses by walking the floor plan. In that way, I believe I became quite good at floor plans, interior spaces and space-planning. The architect who inspired me most was Eero Saarinen. Every building of his is contextual. He never repeated his buildings. As an architect, you have to walk the site, understand the genius loci, the environmental issues, the cultural impact. Eero Saarinen did that. Whenever I travel to New York, I will make a trip to New England to look at his buildings. These were the development and influences of my formative years.
Could you share with us your experience as a new architect, later as the leader of the firm, and as a design mentor to young architects? My early interest in architecture history gave me a headstart at architecture school. Unlike other students who were studying very hard and sleeping under tables, I never did any overtime work. By year four, I became kind of a teaching assistant, walking around the studio giving the girls advice. I never gave the
boys advice. Boys were my competitors. In my final design project, in front of my studio master, I engaged a whole team of juniors to draw my plan. I was already acting as a senior architect to junior architects. That was a form of leadership training I had in school. When I started work, I became an external tutor at the University of Singapore until 1981. In between, I had to take a break from teaching as a DP partner’s leftist thinking was not quite welcomed by the government at the time. During this break, I did my master’s in urban planning at the University of Singapore and also became a council member of the Singapore Institute of Architects. So, from 1969 to 1981 I had continuously act as a tutor to students and as a mentor to DPA interns; that was an extension of what I was doing at university.
Clockwise from left: Chan in his Marina Square office in 1996. Chan Sui Him (right) with DP Architects’ founder Koh Seow Chuan (left) and pioneer Gan Eng Oon in 1998. Chan leading a design critique in DP’s Kuala Lumpur office in 2001.
Professional Milestones 1968 1969 to 1973
Joins Design Partnership upon graduation from Singapore Polytechnic with Diploma in Architecture External Tutor at University of Singapore
Registered as Architect
Promoted to Associate at Design Partnership
1974 to 1978
Council member, Singapore Institute of Architects
Conferred Master’s degree in urban planning by the University of Singapore
Made partner of Design Partnership at age 29
Appointed director of DP Architects Pte
1978 to 1981
External Tutor at University of Singapore
1985 to 1991
Chairman, Coordinating Committee for Kampong Glam Constituency
1987 to 1988
Council member, Singapore Institute of Architects
1990 to 1995
Examiner, Professional Practice Examination, Board of Architects
Fellow Member, Singapore Institute of Architects
1996 to 1999
Chief Examiner, Professional Practice Examination, Board of Architects
1997 to 2000
Board member, Board of Architects
1998 to 2000
Member, Architectural Design Panel, URA
1999 to present
Chairman, School Management Board, Anglican High School
2008 to present
Chairman, School Advisory Committee, NUS School of Design and Environment
1999 to 2000 1999 to 2004
Board Member, Professional Engineers Board CEO of DP Architects Pte Ltd
2000 to 2015
Member, then Chairman, Design Advisory Committee, URA
2001 to 2009
President of Board of Architects
2004 to 2015
Chairman of DP Architects Pte Ltd
2006 to 2015
Board Member of URA
Awarded the Public Service Medal by the Singapore Government
Conferred Singapore Design Golden Jubilee Award for his contributions as a design pioneer
Working at Design Partnership in the early years, we would all go out to lunch together every day. I had the good fortune to listen and learn from the three partners. William Lim is a philosopher and economist, Tay Kheng Soon was very political, Koh Seow Chuan was very professional. How could you not learn? William Lim took me to Hong Kong, Bangkok, Manila, and Colombo during that period. I became internationalised at a young age. That is why I encourage young architects to travel, because I benefitted from that experience. If you look at the list of DP projects I was involved in, you could see I was doing a lot of work, including small projects like interiors, houses and petrol stations in my early years. A young architect should relish the opportunity to take on small projects where the boss is not very involved, where you can be independent. You will make mistakes and you will sweat, but you will learn fast. I passed my Professional Practice Exam two years after graduation because I went through that process of doing everything myself. As a leader of the firm, I’ve always advised my young colleagues to be independent. You gain confidence from your independence, and slowly you can manage three to five assistants, become a team leader, then a studio leader. To lead, you must train to be a leader first; be involved totally in the process. Learn and analyse what is required of any project; don’t wait for clients and consultants to tell you. William Lim was my teacher in development economics. Joseph Huang of Ove Arup was my structural engineering teacher. CN Hng from PC&R was my M&E
teacher. I learned from the best during my formative years. What I’m saying is: to be a leader, you must first master your trade.
If the heart is not pumping blood, our body will not be able to get nourishment from the food we eat. So it’s all about circulation. Circulation is the key.
As a mentor in design, I tell my young colleagues about the development of the great architects and who the current emerging architects are. I have one other great interest – history. I always ask team members, “Who are your three great inspiring architects?” And I would explain who among their favourites is a fitting source of inspiration for their own projects because I know about architecture history and the contributions of the architects.
How have the times and practice change over the course of your 50-year career, beginning as an intern in 1965?
For those who said they have no favourite architects, I would share a quote with them: “What has been is what will be, and what has been done is what will be done, and there is nothing new under the sun (Ecclesiastes 1:9).” This is an important quote. In architecture, in any development, nothing is new; whatever you think you have created has been done before.
I did my internship at Malayan Architect Copartnership, the forerunner of Design Partnership. At that time, there were two masters, Lim Chong Keat and William Lim. I remember very clearly working at my table on a William Lim project. One day Lim Chong Keat came, looked at the design and said, “No, not that way.” Then William Lim said,
“To be a leader, you must first master your trade.” – Chan Sui Him
Could you share with us the design philosophy that you have carried with you through your career? I learned about architecture from the greats. Eero Saarinen taught me to think contextually. Louis Kahn taught me about the structuring of architecture, about thought process. Le Corbusier taught me, and is still teaching me, to think laterally. Every time I look at the drawing of Villa Savoye, it strikes me how modern the building is even though it was done about 80 years ago. This idea of linkages, circulation and accessibility as a generator in design is obvious.
This page: Chan mentors his team of architects during regular review sessions.
This page: Left: An early project, People’s Park Complex was celebrated as the first mixeduse development and the first shopping mall with an atrium in Singapore. Bottom: Chan talks animatedly about a great influence, Le Corbusier. Facing page: Top: Chan’s affable personality and passion earns him respect within the firm and industry. Middle: Chan was involved in the design of many significant public institutions, including (clockwise from left) the SAFTI Military Institute, Temasek Polytechnic, and Nanyang Polytechnic.
“No, not that way.” Serving two strong-minded bosses was very difficult. I witnessed how the partnership broke. When Design Partnership came about, I was watching and learning from the three partners. The first ten years, 1965-1975, was all about learning and working hard. Any job given to me I was happy to take on. I didn’t reject. Every project becomes your experience. As I mentioned earlier, I was learning from engineers, economists and from travelling around SEA. In 1973, the economy was badly hit by the oil crisis. We began to understand the value of money, the value of savings. The second ten years, 1976-1985, saw a slight upturn, then again a major downturn. The Cultural Revolution was over; China opened its market in 1981 and the firm was very optimistic about China’s development. Projects like Katong Shopping Centre and Tanglin Shopping Centre were done before the recession. We began to realise that to sustain the business, we could not depend on small-time developers. We must work with established developers, and the best establishment is the government. The government will provide a consistent flow of jobs if you service well. So the second ten years was the realisation of the importance of architecture as a service industry, and the architect as a service person, not a prima donna. So we became a service firm. We changed our client profile from mainly speculative developers to established developers and governmentrelated services. We knocked on the doors of City Development and Far East Organization; get ourselves into the government’s good books. Coincidentally, in the mid-80s, I became involved in community service. Gan Eng Oon became president of SIA, and was given government jobs like the Construction Industry Training Institute at
Braddell Road. Koh Seow Chuan was also an advisor to the then-Ministry of Culture. So the profile of the directorship changed from somewhat provocative to somewhat measured. That coupled with a willingness to work with foreign architects was how we secured Marina Square. Look at our new CEO Angelene; her experience with established foreign architects has enhanced her capability to helm large developments on her own. By the time of the third decade, 1986-1995, about 70 to 80 per cent of our Singapore projects were government-related. We became known as the architect able to complete major projects on our own. Before, projects like People’s Park Complex, Golden Mile Complex were about 20,000 to 30,000sqm in size. But after Marina Square, we began to do SAFTI Military Institute, Nanyang Polytechnic, Temasek Polytechnic, CITI, Singapore Aviation Academy, all larger-scale governmentrelated projects. Some of them with foreign architects, some on our own.
In this period, computers came about through a company called Computervision. Koh Seow Chuan said, let’s spend money. We wanted to be a leader in architecture service. When we moved into Marina Square in 1992, we had a whole place set up as a computer studio. That was very expensive, over four million dollars to buy all the computers which could do very little. In the following decade, 1996-2005, there was another recession – the Asian financial crisis. Fortunately, DPA in the third decade was blessed with many government jobs of long duration, so we were able to ride this 1997 recession and grow from strength to strength. By the next decade, 2006-2015, Francis Lee had become CEO when I stepped down in 2004. This is an important milestone and the key change during this era – the handing over of leadership reins to the next generation. During 1996-2005, the firm introduced the retirement of directorship at age 65.
“In our second decade, we came to realise the importance of architecture as a service industry, and the architect as a service person, not a prima donna.” – Chan Sui Him Koh Seow Chuan and Gan Eng Oon retired but kept their office and maintain their involvement in the office to this day. This is the DP culture.
It is clear that you are still very passionate about design and good architecture. How do you sustain this passion and enthusiasm? Don’t stop learning. In June, I went to San Diego by myself to look at Louis Kahn’s Salk Institute. I also went to France’s Villa Savoye. I went to San Francisco in December to look at Frank Lloyd Wright’s Marin County Civic Center, completed some five to ten years after he passed away. Every trip I make, I look at architecture. That’s one part. Second part, I’ve been going to museums in the past five years,
something I could not do when I was younger. To enjoy art galleries, you must read up on the artists, the art periods like the Renaissance, Neo-Classicism, Impressionism, Abstract Expressionism, etc. You must learn. As you learn and travel, you see things.
What are your plans for the future? Learn and work. I’m going to enjoy myself 100 percent, travelling and working. For architects, designers, artists, musicians there is no such thing as retirement age. Frank Lloyd Wright lived till 91-92 years old; many of his buildings were completed after he passed way. But you have to continuously learn, don’t stop. Your heart doesn’t stop, so you don’t stop. I’m still around. It’s my black hair. I look like I’m still young. One day when my hair turns all white, I will retire (smiles). DP 27
One of DPA’s first projects after coming out of a major recession in the mid-1980s, Century Square is a 29,600sqm suburban shopping and entertainment centre that caters to the increasingly sophisticated expectations of the middle class. Situated at the heart of Tampines New Town with links to the public transportation network, the mall comprises departmental stores, a supermarket, speciality shops, cinemas and dining outlets. The design facilitates convenient circulation within the mall with six lifts, 22 escalators, and trolley conveyors with easy access to the 300-bay basement car park. Glass walls framed by curved granite cladding create a contemporary exterior.
项目团队 : 陈少谦 , 宋耀基 , 陈福顺和戴礼翔
史纳延城是个坐落于史纳延市中心的多功能开发项目， 包括一座占地 12 万平方米的八层购物商场以及三座相互连通 的酒店、办公和住宅大楼，共同形成一个方便人们工作、生 活和娱乐的一体化商业综合体。 项目中心坐落着一个规模庞大的公共空间，置身于七层 楼的零售中庭内，在每一层都可以看到商店和购物者的身 影。规模较小的设计元素，例如雅加达市内的首个下沉广 场，不仅有助于减少城市交通拥堵，而且融入自然元素， 例如采用木板人行道和水景来降低噪音污染。其他亮点包括 一座巨大的红色高跟鞋雕塑，用以重塑支撑主中庭内自动扶 梯的一处柱基；现在这里是购物商场内一个辨识度极高的元 素，吸引很多人前往参观。本项目在突显 DP Architects 为印 尼社区打造以环境为导向、以人为本设计解决方案方面发挥 重大作用。
Century Square 世纪广场
Design In Print 6. 4 陈少谦 双语版 2016年1号