Urban Regeneration and Conservation Under the Vision of Future Art & Cultural Center: A Case Study of Bras Basah Bugis’s Transformation from 2003 to 2023
WU TONG (B.Arch, Royal Melbourne Institute of Technology)
A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS (ARCHITECTRUAL CONSERVATION) DEPARTMENT OF ARCHITECTURE NATIONAL UNIVERSITY OF SINGAPORE 2023
Acknowledgements I am deeply grateful to the following people for their invaluable contributions to or assistance in the preparation of this thesis: My mentor, Professor Wong Yunn Chii, who has guided me through all the phases of this dissertation and provided me with invaluable direction and counsel. I am grateful for his constant encouragement, incredible patience and concern. Professors Johannes Widodo, Ho Puay Peng and Nikhil Joshi for their construction advice and guidance at every thesis consultation meeting. MAARC friends and classmates, for their warm company and insightful feedback on my work. We will always advance together and support each another in the future, just as we did in the past one year. My bear family, for their endless love and support.
Abstract This thesis provides a critical analysis of the urban revitalization process and outcomes of the Bras Basah Bugis district since its inclusion in the URA's Master Plan in 2003 as an energetic hub for arts and culture. It explores the strategies employed to rejuvenate and conserve the culture essence of this district. In contrast to cities where artists naturally rejuvenate neglected urban areas due to affordability and an authentic ambiance, Singapore's art-driven urban renewal demonstrates a unique national identity: it is government-led with objectives that encompass social, cultural, and ideological aspects, aiming at distinguishing itself from other cities while attracting top talent and tourists. The ultimate goal is boosting economic progress and creating conducive environments for the new creative economy to thrive. This paper conducts a detailed analysis of the development and changes in the BBB area over the past twenty years through literature and policy analysis, field investigations, and mapping, covering topics such as land use and building functions, urban textures including architecture and street layout, heritage preservation and reuse, and events holding.
Contents Acknowledgements Abstract List of Tables & Illustrations 1. Introduction 2. Literature Review 2.1 Art & Cultural Industry and Urban Regeneration 2.2 Development of art & culture in Singapore 2.3 Research Gap and Study Direction 3. Research Methodology 4. Brief Development & History 5. Relative Policies & Strategies 5.1 Renaissance City Plan 5.2 Arts Housing Scheme 5.3 ‘Place Management’ Strategy 5.4 Heritage Link Project 5.5 Conclusion of Policies and Strategies 6. Urban Regeneration and Conservation 6.1 Change of Land use 6.2 Current Building Functions and Tenants 6.3 Change of Building Layout 6.4 Streets and Public Spaces 6.5 Festivals and Events 7. Discussion & Conclusion Bibliography
List of Tables & Illustrations Table 1: Current Tenants of Bras Basah Bugis Table 2: Heritage Renovations 2000-2023 Table 3: Outdoor Programs And Interventions Led By NHB Figure 1: The Arts Housing Tenants of BBB in 2010 Figure 2: URA’s Master Plan in 2003 Figure 3: URA’s Master Plan in 2024 Figure 4: Mapping of Building Functions Figure 5: Historic Map of 2000 Figure 6: Change of Building Layout 2000-2009 Figure 7: Historic Map of 2009 Figure 8: Change of Building Layout 2009-2023 Figure 9: Change of Street Layout 2000-2023
1. Introduction The first recognized of BBB precinct was URA’s Master Plan in 2003 signaled a change in urban planning by incorporating culture and the arts into the framework of urban renewal. Since then, this neighborhood has experienced tremendous change over the last 20 years. This dissertation explores the complex dynamics of urban renewal with a particular emphasis on the adaptive reuse of historic structures and the development of the BBB district as a result of many cultural and political initiatives.
2. Literature Review 2.1 Art & Cultural Industry and Urban Regeneration 1. Scholars have extensively researched and widely recognized the significant impact of the Art and Cultural industry on urban regeneration. In a study conducted by Jiang Yihao, Chen Zhaojin, and Zhang Yudan (2023), they analyzed cultural creative industry projects in Chongqing's central district. The study evaluated three distinct types of urban renewal projects: traditional neighborhood type, declining urban area type, and cultural resource type. Their findings emphasized the crucial role of cultural sustainability in driving urban renewal initiatives and proposed corresponding development strategies. Similarly, Ren Ziqi (2019) examined how Dafen Oil Painting Village in Shenzhen transformed into an international art district as part of efforts to revitalize the city. Ren (2016) also highlighted the importance of expanding spatially towards surrounding urban villages and old industrial areas while upgrading urban facility systems to facilitate interconnected development. This approach draws from successful experiences utilizing cultural creative industries for effective urban revitalization initiatives. Xu Chun's research on historical areas in Milan showcases how concentrated cultural centers can reshape cities into dynamic exhibition spaces, stimulating new enterprises and transforming urban demographics. James Jenkins Gregory (2016) focuses on Johannesburg's development of creative industries, highlighting the Maboneng district as a case where real estatedriven initiatives effectively rejuvenate post-industrial areas within the cityscape. Similarly, SU NANXI's research explores Shanghai's art factories that convert post-industrial spaces into vibrant cultural hubs while influencing government policies and shaping overall planning for waterfront districts. These studies highlight the significance of arts and cultural industries in urban renewal, cultural sustainability, spatial transformation, and the formulation of government policies. Their focus primarily lies on repurposing abandoned brownfields, factory sites, and urban villages. 2.2 Development of art & culture in Singapore Kirpal Singh (2013) critiques the top-down approach in his research and advocates for a more bottom-up methodology, particularly within the creative industry, highlighting how the majority of Singaporeans are influenced by Western arts and culture, resulting in a tendency to imitate Western practices while neglecting artistic and cultural aspects from
other Asian countries. Singh raises significant inquiries regarding the contribution of creative industries towards rediscovering Asia's diverse cultures, thereby shaping our self-awareness. Jun Gwee (2008) examines the development of Singapore's creative industry clusters and emphasizes their role in transitioning from manufacturing to innovation. His study discusses the evolution of cultural policies and the growth of the arts sector as outcomes of economic strategies aimed at developing creative industry clusters. Su Fern HOE (2020) explores the government's focus on museums since the late 20th century, acknowledging their potential in shaping Singapore’s historical and cultural narratives. She emphasizes that each institution possesses its unique ideological agenda that strengthens Singapore’s position as a regional art center. Yvonne Yanmei Low (2020) critiques the instrumentalization of the nation-state's contemporary art and visual culture shaped by the 'Global City for the Arts' (GCA) plan. The study reveals the complexities and contradictions in Singapore's efforts to position itself as a global art city while navigating the visibility of queer culture in its sociopolitical landscape. T.C. Chang and W.K. Lee (2003) comprehensively analyze the development and significance of art spaces in Singapore, examining the physical, social, and creative dimensions of these spaces and their role in the city's transformation. The study defines 'art spaces' broadly, encompassing tangible spaces like museums and theaters and intangible aspects such as societal acceptance and political ideology. Moreover, TC Chang (2014) also delves into how gentrification and aesthetics intersect with the Singapore’s development of cultural activities, especially in historical districts like Little India. He argues that Singapore's approach to gentrification and urban redevelopment forms a unique "Singapore-style gentrification”. 2.3 Research Gap and Study Direction Though a lot of research has been done on the role of the art and cultural industries in urban regeneration, not much is known about the particular situation of Bras Basah Bugis (BBB). The distinct developmental trajectory of BBB has not been fully covered in prior research, especially when considering Singapore's cultural and creative development. BBB has been the first one and only one cultural and art center in Singapore defined by the URA. The government has hade huge efforts to realize the vision, and it’s worth a detailed and comprehensive analysis of the outcomes. Through offering a thorough examination of BBB's transformation, this study seeks to close this gap. It will examine how, during the previous 20 years, policy-driven efforts have influenced BBB's physical layout and identity.
3. Research Methodology A thorough examination of the many urban redevelopment and historical conservation strategies that have affected the Bras Basah.Bugis (BBB) area is the first step in the research process. This entails gathering, reading, and integrating a broad range of materials, such as conference papers, books, newspapers, magazines, journals of architecture and urban planning, and periodicals. This literature review aims to appraise the planning and design goals of BBB's growth as well as the ways in which policy formation has affected urban renewal, conservation, and the district's humanistic atmosphere. The National Library Board (NLB) and Urban Redevelopment Authority (URA) archives, among other repositories, provide a substantial amount of the research material used in this study, guaranteeing an in-depth and knowledgeable examination of the policy environment. The research methodology's second component includes fieldwork and mapping. In order to gather empirical data and study the urban texture, spatial dynamics, and human-space interaction of the BBB precinct, extensive visits must be made. An essential tool in this process is mapping, which makes it possible to see and analyze changes in space, usage trends, and the distribution of historical and modern buildings in the precinct. This project intends to describe the complex ways in which urban policies and cultural practices appear in the physical environment and in day-to-day life by capturing the lived experience of the area through fieldwork.
4. Brief Development & History In the 1822 Raffles Town Plan, the European quarter was designated as the area of Bras Basah, which gradually evolved into a center for education and religion. As an integral part of Singapore's former hub for wholesale trading and transportation, Bras Basah was particularly associated with the distribution of rice as well. This connection is evident in its name, derived from the Malay term 'beras basah', signifying 'moist rice'. In contrast, Bugis Street, named after the seafaring Bugis people renowned for their maritime activities in the region, gained fame primarily during the 1950s due to its lively nightlife scene. The 1980s witnessed significant urban renewal efforts that involved relocating schools and residents to public housing. The establishment of spaces dedicated to culture, heritage, and commercial development was achieved by 1993 through the repurposing of former school sites and shophouses in accordance with the Rochor Development Guide Plan. This transformation continued until the implementation of URA masterplan in 2003 when both Bras Basah and Bugis districts merged into what is now known as Bras Basah Bugis (BBB) precinct – a vibrant enclave celebrated for its rich heritage, culture, and artistic endeavors.
5. Policies and Strategies 5.1 Renaissance City Plan
In Singapore, several master plans have played a pivotal role in the development of culture and the arts. These include the first Arts Blueprint in 1989, the three successive versions of the Renaissance City Plan, and the Arts and Culture Strategic Review (ACSR). These broad frameworks were enriched by supplementary plans and reports such as the Arts Development Plan and the Heritage Development Plan, which facilitated the review and revision of current practices, and fostered new developments in infrastructure, planning, education, and funding. Before 2000, there was a significant emphasis on improving the 'hardware' aspects of Singapore's arts and culture infrastructure. However, in the new millennium, the focus shifted more towards 'software', or the intangible aspects. As the new century dawned, in alignment with Singapore 21 – the new national vision emphasizing unity, resilience, and transforming the city into a true home, the Minister for Information and the Arts launched the landmark Renaissance City Plan. (Wong et al. 2017) The first Renaissance City Plan aimed to establish Singapore as a "global city of the arts", designed to attract international talent and tourists, and to strengthen the national identity and sense of belonging among citizens. In its initial five-year period, the government provided substantial financial support by allocating a significant amount of funds to implement key recommendations outlined in the plan, as well as supporting artistic activities, training programs and educational initiatives. Later, the Renaissance City Plan II adopted an industry-centric approach to nurture different industry clusters comprehensively. The Renaissance City Plan III, unveiled in 2008, marked a significant milestone. It set higher aspirations, emphasizing uniqueness and distinctiveness of Singapore’s art and culture. It focused on showcasing local culture and arts from Singapore and Southeast Asia, with a keen eye on community and public engagement development. Additionally, it underscored the importance of building creative clusters and supporting creative enterprises. The convergence of art resources and the establishment of clusters is another key emphasis of the plan. Art businesses, NGOs, and art talents, was seen as essential to create a synergistic effect, benefiting all participants involved. The specific measures include: Developing a base of art-related businesses, including auction houses, galleries, and support services like art storage and logistics, introducing seed funding programs and framework to support arts and heritage projects, working with EDB and URA to ease property regulations for cultural projects, providing incentives and creating new schemes to attract Private Developers, etc. (Wong et al. 2017) For the Bras Basah Bugis (BBB) area, a specific strategy was developed by the Ministry of Information, Communications and the Arts (MICA) in collaboration with public and private institutions. The plan was to transform the Bras Basah area into a multidisciplinary creative and educational hub. This included the development of mixeduse office spaces, residential areas, studios, private museums, educational institutions, and complementary lifestyle businesses. The aim was to enhance the vibrancy and
excitement of the area, turning it into an international incubator for creative talent and ideas. In 2013, the Urban Redevelopment Authority (URA) tailored a masterplan for BBB, focusing on establishing a pedestrian-friendly network. Following this, in 2010, the Arts and Culture Strategic Review was initiated, the first evaluation of arts and culture spearheaded by the public and private sectors. It was a comprehensive plan aimed at enhancing the nation's cultural landscape by 2025. The main strategies of the ACSR emphasized making culture and arts a part of everyone's daily life by reaching new audiences, deepening engagement, and spurring a national movement toward cultural participation. These long-term plans achieved notable success. In 2015, The designation of Creative City of Design was bestowed upon Singapore by UNESCO, thus enabling its inclusion in the UNESCO Creative Cities Network. This recognition was a testament to the effective implementation of these cultural and artistic strategies in Singapore. 5.2 Arts Housing Scheme In the year 1990, two significant statutory boards were established by the Ministry of Information and the Arts. One is the National Arts Council and the other is the National Heritage Board. Following their inception, the NAC has been actively allocating financial support to artists and art institutions. This includes providing scholarships to foster emerging talents and initiating several museums dedicated to art and culture. One of the strategic measures introduced to support arts groups and individuals is the Arts Housing Scheme. In 1985, Singapore implemented the Arts Housing Scheme, which designated certain historical buildings for use as arts housing and underwent refurbishment. Properties covered by the Arts Housing Scheme are often either multi-tenanted structures housing multiple arts groups or single-tenanted structures housing one arts group. Co-locating an arts organization in the same building with non-arts tenants is the third kind. (National Arts Council 2010) Evaluation criteria for creative organizations include things like housing requirements, artistic standards, past performance, quality of planned activities, management prowess, and room for expansion. For high-value applicants, housing subsidies of up to 90% are offered. The principal goal is to utilize arts spaces as a bridge, integrating arts into the broader community's daily life. In the Bras Basah.Bugis (BBB) district, Waterloo Street was designated as an arts belt. By 1995, various arts groups, including the Chinese Calligraphy Society and Dance Ensemble Singapore, started moving to Waterloo Street. In 1999, the opening of the The S$5 million Waterloo Street Arts Belt, a project funded by the Arts Housing Scheme, was completed with the dedication of Sculpture Square and Action Theatre buildings in the Waterloo neighborhood. (National Library Board n.d.)
Figure 1: The Arts Housing Tenants of BBB in 2010 Source: Review of National Arts Council’s Arts Housing Scheme
However, the 2010 Review of the Art Housing Scheme revealed that the current state of the Waterloo Art Belt was not fully meeting its objectives. Although the original purpose of these city center properties was to attract the local community and boost the area's vibrancy, the tenants weren't sufficiently motivated to engage with the community. There was a dearth of effort to create a collaborative creative community and liven up the environment, even in properties with many residents creating art. Furthermore, the evaluation pointed out that the "one-size-fits-all" methods to arts facilities did not sufficiently address the different demands of the artists sector. Due to aged properties and the necessity for modifications to maintain the premises, the prices for maintaining the arts housing were also rising. Most crucially, given the enormous growth of the arts sector over the last ten years, the National Arts Council (NAC) recognized the need to develop policies that meet the needs of both young and established artists. This highlights that heritage buildings may not always be the best choice for hosting artistic activities. Some artists have called for the National Arts Council (NAC) to collaborate with partners and utilize resources from institutions like schools and museums, industrial areas, or commercial buildings. These spaces could be repurposed to provide artists and art groups with venues for residencies or short-term practice. Regarding the integration of the Arts Housing Scheme (AHS) into communities, the influx of arts into historical districts isn't spontaneous. The integration of artistic and cultural activities with routine activities is, indeed, mandated by the government. The government strategically plans land use and architectural design to inject new vitality into historical areas with artistic/cultural enterprises. Furthermore, in order to facilitate the assimilation of art belts into the broader societal framework, the government endeavors to ensure their incorporation of diverse enterprises and activities, as well as their proximity to HDB highrise residential zones. However, some artists feel that cultural enclaves actually lead to the "isolation" of art, separating it from the "real world". (National Arts Council 2010) Artists need to be integrated into a more diversified community rather than a well-planned cluster composed solely of their peers. The Framework for Arts Spaces was announced after the review, focusing on fostering
collaboration among arts housing occupants. It aims to enhance their role in urban placemaking and generate wider impacts by encouraging the integration of arts spaces within civic centers and commercial projects, with the expectation that these arts residences will significantly influence urban renewal. 5.3 ‘Place Management’ Strategy In 2008, the Singapore government implemented a 'place management' strategy to revitalize key areas within the city center including Bras Basah.Bugis, aiming to infuse these areas with 'heart and soul'. (Hoe, 2020) The main difference of it with “placemaking” strategy is its top-down management mode. National Heritage Board (NHB) was designated as the lead agency for the Bras Basah-Bugis precinct. Place management is driven by five key factors: government policy, which shapes a region's identity and vision; the involvement of people, crucial for realizing and utilizing the area's vision; programs and initiatives that inject activity into the region; partnerships and engagement with multiple stakeholders; and performance assessment through tools like Key Performance Indicators to ensure the management effectively creates positive experiences for residents, users, and visitors. Government-initiated activities include various art festivals eg. Night Festival, Singapore River Festival, Light Marina Bay Festival, and car-free zone events where the URA designates certain roads as vehicle-free during specific times. Commercially driven interventions mostly market and profit driven, reimagining public spaces through the power of creative industries. Street markets are usually the most common form. People-initiated activities involve local artists and organizations activating underutilized spaces through performances, pop-up events, and temporary takeovers. Mr Ting from NHB emphasized that rather than adopt a top-down approach to manage BBB, NHB's strategy primarily emphasizes facilitation, fostering organic, ground-up relationships with stakeholders. (Hoe, S. F., & Liu, J. n.d.) 5.4 Heritage Link Project URA broadened its comprehensive conservation strategy by developing a conservation blueprint, pinpointing six historic areas for preservation: Chinatown, Kampong Glam, Little India, Singapore River, Emerald Hill, and the Heritage Link The Heritage Link, a civic and cultural zone, including Fort Canning Park, Empress Place, and Bras Basah Road. (HOE, S. F., & CHONG, T. 2018) The heritage link project suggested repurposing historic structures in Singapore's Central Area for artistic and heritage endeavors, thereby forming a trail rich in history and culture. The ultimate goal was to to boost Singapore's appeal as a tourist hub. Key sites selected for this transformation were the former St Joseph’s Institution, intended to become a Museum of Fine Arts, and the former Tao Nan School, set to be transformed into a Children’s Museum. Additionally, the site of the former Catholic High School was set aside for a possible future enlargement of the Fine Arts Museum. Regarding BBB district, in 1990s, the restoration of St Joseph's Institution commenced,
extending over a period of more than two years. In 2008, SAM 8 opened, adding six more galleries to the Singapore Art Museum. 5.5 Conclusion of Policies and Strategies The Arts Housing Scheme (AHS) aims to bring artists closer to the broader community by designating spaces specifically for artistic endeavors. Its goal is to foster interactions and dialogues between artists, arts groups, and the public, ultimately contributing to urban transformation. Following a review of the AHS, the Art Space Framework proposed a need for alternative spaces, considering the combination of art spaces with community centers and commercial buildings as viable options. The Renaissance City Plan III underscores the importance of showcasing local culture and arts from Singapore and Southeast Asia, focusing on the development of community and public engagement. It emphasizes the creation of creative clusters and supporting creative enterprises, pooling art resources to achieve a synergistic effect. The plan envisages developing the Bras Basah area into a multidisciplinary creative and educational hub, complete with mixed-use offices, residential spaces, studios, private museums, educational institutions, and lifestyle businesses, to enhance the area's vibrancy and liveliness. The 'Place Management' Strategy aims to transform spaces into areas with unique identities and vitality. It highlights the importance of activities and programs, as well as the participation and collaboration of various stakeholders like the government, individuals, and developers. Meanwhile, the National Heritage Board (NHB) plays a pivotal role as a facilitator in the BBB development, emphasizing a bottom-up approach. The Heritage Link Project focuses on the preservation and repurposing of landmark buildings. By transforming these structures into cultural centers and museums, it seeks to stimulate the flourishing of culture and arts, ultimately contributing to the prosperity of the tourism industry.
6. Urban Transformation and Conservation 6.1 Change of Land Use
Figure 2: URA’s Master Plan in 2003
Figure 3: URA’s Master Plan in 2024
Over the past twenty years, there hasn't been a significant shift in the usage of land parcels, with a few key changes observed: Six plots have transitioned from commercial and residential to hotel purposes, and there have been three additions of educational uses, along with one new commercial development. These adjustments reflect the Bras Basah Bugis (BBB) area's actual development trajectory, highlighting a targeted investment in tourism sector and arts education infrastructure. 6.2 Current Building Functions and Tenants
Figure 4: Mapping of Building Functions
Hotel/Hostel
Creative/Lifestyle Business
Educational Organization
Museum+Art Center
Religious building
• Rendezvous Hotel Singapore (heritage)
• Furniture Store (Space Furniture Asia Hub)
• Lim Hak Tai Gallery
• Sri Krishnan Temple
• Somerset Bencoolen Singapore
• high-end furniture (Heritage building)
• SMU • INMADE Business School
• NAFA Ngee Ann Kongsi Galleries
• Kwan Im Thong Hood Cho Temple
• Institute of Contemporary Arts Singapore
• Masjid Bencoolen (Mosque)
• Hotel Bencoolen • Hotel Mi Bencoolen • 30 Bencoolen • V Hotel Bencoolen • Hotel G Singapore • Nanyang Hostel
• Valoso (Videomaking Firm) • Teh Joo Heng Architects • Designshop Pte Ltd (Architecture firm) • Fashion Jewelry Design at JDMIS Singapore • M Group Interior Design • 興万里书局 Xin Wan Lee Book Hub • Eisfilm Photo & Video Studio • Retro Nutz (retro video game store) • STX Landscape Architects • Dance Ensemble Singapore • Dans Lab • Bolly Dancing Studio
• Inspiration Design International School • Queensfield International Business School Pte Ltd • LASALLE College of the Arts • Singapore Institute Of Commerce • Kaplan City Campus • OSAC International College • Leadership And Management Institute
• The Dance Collective
• Dance Channel Singapore
• Assemblé Studios (dance Studio)
• Manga350 Art School
• M Workshop (hobby Store)
• Jacob Ballas Centre and School
• The Lemon Stand Comedy Club • 222 Arts Club • K2LD Architects Pte Ltd
• School of the Arts, Singapore • Birmingham Academy Pte Ltd
• Merlin Gallery • Sooriya's Art Collection • LKY: THE EXPERIENCE • Objectifs Centre for Photography & Film • The Jews of Singapore Museum • SAM (heritage building) • Spot Pocket Opera Theatre • China Cultural Center • Deck Art Center • Stamford Arts Centre • Photographic Society of Singapore • Selegie Arts Centre
• Church of Saints Peter & Paul • Apostolic Nuncio • Kum Yan Methodist Church|卫理公 会感恩堂 • Grace (SCC) Church • Singapore Life Church • Prinsep Street Presbyterian Church • Tamil Methodist Church
Table 1: Current Tenants of Bras Basah Bugis
In the Bras Basah Bugis (BBB) area, office buildings are predominantly located along the main thoroughfares of Middle Road and Bras Basah Road. Commercial activities are concentrated to the northern half of BBB the original Bugis area. In the southern half, which used to be the original Bras Basah area, the buildings serve a more diverse and mixed purpose, hosting a greater number of creative corporations and galleries, as well as a significant number of hotels, particularly along Bencoolen Street. The diverse creative business in the BBB area do not exhibit a significant numerical advantage compared to other regions. The corporations include design studios (architecture, jewelry, interior), dance studios, furniture stores, game/hobby stores, bookstores, and video-making firms, etc., situated in older commercial buildings and mixed-use complexes. Waterloo Center, renowned for its affordable dining options, convenient amenities, and a thriving artistic community, has become an attractive destination for designers and artists. BBB is home to a large number of educational institutions. According to the statistics of Urban Systems Studies , BBB has taken on a more youthful characteristic with over 14,000 students. In addition to public art colleges, there are private schools and numerous training institutions, mostly lactated in the podium of HDBs, with a few in newer office buildings. The Arts Housing Scheme primarily provides heritage buildings on Waterloo Street for arts performance groups, while the Stamford Arts Centre is a significant venue for local artists. Galleries in BBB are mostly located within large institutions like the Singapore Art Museum (SAM), the National Design Centre, or within universities like LASALLE College of the Arts, NAFA, and SMU, with very few private galleries. The cultural and artistic institutions' numerical advantage mainly relies on the national construction of large galleries and educational institutions. The formation of a significant cluster in BBB has not been observed, and their interconnectivity is weak, failing to reflect the envisioned synergistic effect outlined in the Renaissance City Plan III. Compared to the cultural and artistic atmosphere, the commercial character, especially in the original Bugis area, is more pronounced. The integration of arts spaces with civic centers and commercial properties, as outlined in the Framework for Arts Spaces, appears to have achieved limited physical success. The only cultural center in the area established through grassroots efforts is Deck, a photography center located on the edge of BBB. Supported by public donations, Deck was created using 20 repurposed shipping containers in a modest vacant space on Prinsep Street. It actively hosts exhibitions, workshops, activities, and major events like the Singapore International Photography Festival. Built on and centered around community support, Deck engages with the local community through regular events and neighborhood walks, fostering connections. The establishment and operational model of it exemplify a bottom-up approach to reclaiming public spaces.
Compared to other cultural institutions, Deck stands out for its social vibrancy, which seems to be related to its unique establishment: it was formed by a group of artists who, after exploring various locations in the city, finally chose to settle there. Unlike governmentmandated arts housing, the cultural atmosphere and other intangible conditions of the site appear to better meet the needs of artists. The support it received from the community since its inception has also cemented its inseparable and close connection with the local community. 6.3 Change of Building Layout
Figure 5: Historic Map of 2000
Figure 6: Change of Building Layout 2000-2009
2000-2009 Significant developments in educational infrastructure have been observed in the region during the initial decade following the merger of the two areas, including the building of NAFA Campus 1, NAFA Campus 3, the SMU administrative building, Lasalle College of the Arts, Jacob Ballas Centre and School. Additionally, two hotels were added: Summer View Hotel and Bencoolen Hotel, along with an office building, Keng Soon Building, and a large shopping mall, Bugis+. The Renovated buildings in these ten years showed diversity. Religious Buildings include Masjid Bencoolen, the mosque founded in 1825 and rebuilt in 1845 was demolished again in 2001 for the Somerset Bencoolen redevelopment an integrated into this new mixed-use complex in 2004. Kum Yan Methodist Church underwent expansion, as did Prinsep Street Presbyterian Church. Singapore Life Church was redesigned and rebuilt during this period as well. Public Buildings renovated include National Design Center, which was renovated due to changes in its usage. The Singapore Art Museum (SAM) underwent a degree of expansion as well. The large commercial center Bugis Village was expanded and the three vacated former STI blocks at Prinsep Street were taken over by SMU in 2006 for redevelopment as its student hostel. The other renovated residential block is Selegie House, which used to be the tallest mixed development building in Singapore comprising both residential commercial uses. It has undergone some level of demolition and layout modifications to meet modern needs. To conclude, the first decade of the 21st century saw a concentrated effort to build arts education institutions and the expansion or construction of large commercial centers like Bugis+ and Bugis Village. Regarding the existing types of buildings, religious structures saw the most significant renovations or expansions. Buildings like Singapore Life Church, Kum Yan Methodist Church, and Masjid Bencoolen underwent redesign and rebuilding to meet modern needs. This period can be seen as a decade of major construction projects, where the government sought to rapidly transform the landscape of the Bras Basah Bugis (BBB) area and strengthen investment in arts education. This was in line with the goals of Renaissance City Plan I to swiftly enhance cultural soft power, ultimately aiming to realize the vision of a global art city. Fortunately, the unique values of the Singapore Improvement Trust (SIT) and Housing & Development Board (HDB) blocks haven’t been overlooked. The preservation of modern architecture, along with adaptive reuse, is well exemplified in projects like the Prinsep Residence and Selegie House at Singapore Management University (SMU).
Figure 7: Historic Map of 2009
Figure 8: Change of Building Layout 2009-2023
2009-2023 In the past decade, two hotels, one hostel and an office building have been built. The newly built civic buildings include the Life Childcare Center and the China Culture Center. Furthermore, an educational institution, OSAC International College, and a temporary photography center DECK, were established.
When it comes to redevelopment in the past ten years, many heritage buildings have undergone transformation. The projects include the Space Furniture Asia Hub, which features the fusion of modern designs and heritage buildings, Sri Krishnan Temple which was expanded with a new 4-story building at back, St. Joseph's Church whose parochial houses were under construction till present, and the former Middle Road Hospital which has been repurposed as shops and restaurants. The redeveloped modern buildings include Singapore Pools Main Branch and Hotel G, and Hotel Mi Bencoolen. In the first decade, the construction of major educational institutions was largely completed, leading to a shift in the second decade towards service-oriented buildings, such as hotels, childcare centers, and civic buildings like the China Cultural Center. The focus on building renovations continued to prioritize historical structures. This architectural evolution in the decade somewhat responded to the Renaissance City Plan III's vision of transforming the Bras Basah Bugis (BBB) area into a space with supporting services and mixed-use facilities. However, the developments did not significantly address the 2012 Framework for Arts Spaces' concept of integrating arts spaces with civic and commercial properties. Name
Photo
Previous Usage
Present Usage
Renovations (2000-2023)
Masjid Bencoolen
mosque
mosque
Previous mosque was demolished and integrated into a modern building during the redevelopment in 2000s
Prinsep Street Presbyteri an Church
church
church
Was declared a National Monument in Jan 2000 and undertaken
National design center
St Anthony's Convent (18791994), Nanyang Academy of Fine Arts (1995-2004), Chinese Opera Institute (19952009)
gallery, design lab, office
In 2011, the building was transformed to NDC with renovation works like facility and interior upgrading
SAM
St. Joseph's Institution
museum (since 1996)
In 2019, the museum closed for a second redevelopment. The connecting blocks and the Queen Block built in 1990s has been dismantled for reconstruction
SMU Prinsep Street Residence
Residential Complex
student residence
In 2006, SMU took over three ormer Singapore Improvement Trust (SIT) blocks to develop its student residences.
Selegie House
HDB Residential Complex
HDB residential complex
2-storey linking blocks were demolished and replaced with link ways
Space Furniture Asia Hub
karaoke bar (villa) commercial (shophouse)
showroom and retail space for furniture company SPACE
In 2010, two shophouses were connected by a new glass structure in between, serving as a retailer space as a whole
LKY: THE EXPERIE NCE
Elections Department
exhibition space for LKY: The Experience
The Election Department emptied the property in 2019. After interior renovation, it provides immersive exhibition experience
Sri Krishnan Temple
Indian Temple
indian temple
A supplementary block consisting of five stories was erected, with a multi-purpose hall
St Joseph's Church
Church
church
The church is underwent significant restoration and repainting work right now
Table 2: Heritage Renovations 2000-2023
6.4 Streets and Public Spaces
Figure 9: Change of Street Layout 2000-2023
Over the span of the last twenty years, the main thoroughfares in the area saw little change. However, there was an increase in the number of side streets, primarily back lanes. Some lanes have undergone positional changes due to the construction of new buildings. In the URA’s 2013 master plan, BBB is designed to be a district conducive to pedestrians,
featuring an extensive array of pedestrian malls, connectors that pass through blocks, sheltered pathways, elevated walkways at the second story, and narrow paths situated amidst buildings. This layout is intended to facilitate easy and comfortable movement for individuals. Queen Street and Waterloo Street’s sidewalks were planned to be expanded. These enhancements are designed to accommodate arts-related events for the enjoyment of the public. Additionally, specific developments along Albert Street, Queen Street, and Waterloo Street would be contributing spaces within their premises to augment the existing Albert Mall and Waterloo Malls. The design of building exteriors facing the laneways is encouraged to incorporate artworks or shop displays. This approach aims to enhance the distinct character of the area while also enriching the pedestrian experience with added intrigue and diversity. In the following discussion, the current situation of each main street is analyzed. Victoria Street, serving as a main artery, is lined with large malls and commercial streets connected by footbridges on its northern section, forming a bustling business area in BBB. The southern section is more diverse, featuring landmarks like the National Library and St. Joseph's Church, along with hotels and office buildings. Bras Basah Complex is a hub for art, music, and culture, housing art galleries, music stores, art supply shops, and more. On the ground floor of Carlton Hotel, Artcommune Gallery’s glass walls invite passersby to view exhibitions. Victoria street provides cool shade and various options for pedestrians to explore, creating a comfortable and rich walking experience. The large malls and numerous shops attract significant foot traffic, contributing to the vibrancy of BBB. In 1996, the northern part of Waterloo Street and Albert Street were pedestrianized. Today, the northern section of Waterloo Street has a strong folk religious culture, with vendors selling flowers, religious goods, and fortune-telling services. Nearby Albert Center offers a plethora of affordable and delicious food, drawing local crowds. Albert Street, once famous for popular Chinese restaurants and outdoor dining, has lost its vibrancy. Similar to Chinatown, after food stalls were relocated to the hawker center nearby, it has become a generic commercial street, indistinguishable from the new Bugis Street, offering cheap clothing, shoes, bags, mobile accessories, souvenirs, etc., an offers outdoor dining areas. The intersection of these two pedestrian streets is flanked by Bencoolen Mall and Fu Lu Shou Complex, the two old popular shopping center, giving the area a strong local flavor. The southern part of Waterloo Street, as the main area of the Waterloo art belt, hosts numerous arts institutions such as The Theatre Practice, Objectifs, Centre 42, and 51 Waterloo Street. Notably, as the cultural and artistic atmosphere in BBB intensifies, Waterloo Centre on 261 Waterloo Street has attracted more creative corporations like architecture and interior design studios, art galleries, and hobby stores, slowly becoming a creative hub. KO SHIOU HEE, an architect from K2LD Architects, mentioned the freedom they have in Waterloo Center to transform their workspace, like replacing brick walls with glass is one of the reason attracting them here. (National Heritage Board 2017) The bustling, everyday life in the building is appealing, and convenient and affordable food and services save much time for designers. The nearby art exhibitions and school lectures,
within walking distance can provoke new ideas for artists as well. However, across the street, 62 Waterloo Street’s Min Yuan and the Waterloo Apartment on 64 Waterloo Street have been demolished to make way for a 14-story hotel. The increasing number of hotels may change Waterloo Street and even the entire BBB area's landscape in the future, shifting focus more towards tourism rather than local community needs. Ironically, the surrounding arts housing was initially intended to radiate artistic activities into the neighboring HDBs and serves as the bridge to communities. The reduction of the local community runs counter to this objective. The southern part of Waterloo Street is a two-way road with parking lots on both sides. It is relatively quieter compared to other roads in BBB. However, during the day, it appears lifeless, and it’s seldom frequented at night. There is a lack of greenery and culturally distinctive features, making it somewhat monotonous. Aside from the arts housing on either side, it’s indistinguishable from ordinary streets in other areas. The daytime heat and the emptiness at night make it a less appealing walking destination. The vibrancy of the art studios doesn’t seem to radiate into the surrounding streets. Except during major festivals like the Singapore Night Festival or other events. Queen Street became narrowed in 2013 with curbside parking removed. The sidewalks were expanded for encouraging people to hang out and more cultural events to happen. New pavement and artistic benches were added as well. At present, The northern section of Queen Street is busier and noisier, primarily due to the presence of Bugis+, Bugis Street, and the ground-floor shops and hawker center in the HDB (Housing & Development Board) buildings. In contrast, the southern half, in front of landmarks like the Waterloo Centre, the Singapore Art Museum (SAM), and the Kum Yan Methodist Church, features more spacious areas that are often used for installation art and community events. This section also has neater and wider pedestrian walkways, making it more pedestrian-friendly. The northern section of Bencoolen Street is a busy dual-direction four-lane road, flanked by numerous hotels and old office buildings. As it extends south, the street narrows, with expanded sidewalks and greenery, and the roadway is reduced to two lanes. Street furniture designed by students enhances the area's sociability and appeal. The NAFA campus stretches along one side of Bencoolen Street, with art galleries at ground level. During the 2023 Singapore Night Festival, its ground-floor windows showcased a series of popular interactive installations. The opposite side features hotels and other commercial buildings with display windows, contributing to the street’s attractiveness. Compared to others, the southern part of Bencoolen Street is one of the most pedestrian-friendly sections in the BBB area. Prinsep Street, on the edge of BBB, is home to major art schools like Lasalle and SOTA, with their uniquely designed buildings inviting exploration. Its southern section, with shophouse-converted restaurants and bars, is a popular spot for young people. However, aside from these, the street seems to lack engaging cultural spots. The former site of DECK
is undergoing construction for their new home. The landmark Salmon's Maternity Home is currently somewhat neglected, with its future development unclear. he red brick facade of Prinsep Street Presbyterian Church has encountered challenges as a result of incorrect restoration methods and the use of inappropriate materials. A row of shop houses along Selegie Rd was demolished in the 1990s, leaving only the corner, wedge-shaped building, now preserved as the Selegie Arts Centre under the Art House Scheme. Besides these main roads, alleyways provide opportunities for artistic activities. The back lane of Bugis Village, with their artistic decorations, has become a popular spot for street performances. The alley next to 52 Waterloo Street serves as a canvas for graffiti artists. However, most other alleys remain unattractive, serving only as fire exits or service paths. In summary, BBB's road network somewhat fulfills the URA's vision of establishing a pedestrian-friendly network, particularly in the southern half, the original Bras Basah area. Wider sidewalks and green belt, as well as narrower vehicular lanes create a safer and more comfortable walking environment. Yet, the integration of art with the road network and open spaces seems lacking. The streets still miss the vibrancy and infusion of art, with alleyways and pedestrian spaces underutilized. Street installations from art festivals fail to generate sustained attraction and interaction. The primary art belt, Waterloo Street, appears monotonous and lifeless. The existing footfall is concentrated around Waterloo pedestrian mall, Albert pedestrian mall, Bugis+, and surrounding commercial areas. Historical and cultural characteristics of streets like Bugis Street and Albert Street have been erased in the urban renewal process, removing their unique cultural atmospheres. 6.5 Festival and Events The 2005 Singapore Population Survey on the Arts reveals key challenges in boosting arts engagement: Singaporeans often prioritize tangible leisure activities like shopping (87%) and dining (68%) over arts and culture, seen as less concrete. The primary reasons for not attending arts events were disinterest (53%) and time constraints (50%), suggesting a correlation where unappealing events lead to a lack of time allocation for them. (National Arts Council 2008) To inject sustained vibrancy into the Bras Basah Bugis (BBB) area, the National Heritage Board (NHB), in collaboration with institutions like the National Museum of Singapore and various stakeholders, has been annually hosting the Night Festival since 2008. This event offers a dynamic array of activities that showcase a blend of heritage, arts, and culture, contributing significantly to the cultural richness of the area. According to Hoe, S. F. and Liu, J. (n.d.), the number of visitors increased rapidly, growing from 40,000 per weekend in the initial years to nearly 700,000 over two weekends by 2015, with over 80% of the attendees being Singaporeans. In 2012, the National Heritage Board (NHB) underwent an internal reorganization, leading to the establishment of the Bras Basah and Bugis (BBB) Precinct Development Unit. This unit was tasked with transforming the district into a vibrant, 24/7 destination brimming with new and creative ideas set against its rich cultural backdrop. The following table
summarizes the programs and interventions that have taken place under the leadership of NHB. Outdoor Program/Intervention
Content
Venue
Date
Bras Basah.Bugis Arts Sprawl - Urban Youth Experiment
live bands, dance performances, beatbox showcases, street wrestling, movie screenings, instant photobooth, duct tape art wall
Whole BBB district
2017
Bras Basah.Bugis Urban Installations
quirky outdoor installations eg. outdoor furniture
CHIJMES, SMU Campus, The Cathy
2016
Mural Installations
mural installations showing lesser-known stories
Several places in BBB, eg. 229 Victoria Street, 171A Bencoolen Street, Bugis Alleyway
2021-now
Bras Basah.Bugis Arts Sprawl: Alley-vate
a series of programs, street art eg. pop-up café, local film screenings, local art market, workshops, mural painting
Several outdoor locations eg. alleyway, Back lanes, Artsplace at Waterloo Centre
2016
Singapore Night Festival
performances, art installations, and other cultural experiences, often emphasizing light and sound
Whole BBB district
Been held every year since 2008
Bras Basah.Bugis Arts Flea Market
vintage and craft products, snacks, and treats
National Museum of Singapore
2012, 2013
Guided Tours - Joint Exhibition by Nine Galleries
a tour showing the evolution of SG arts
Whole BBB district
2021
Arts Sprawl x Singapore Design Week
workshops, live band performances, arts installation, flea market & food stalls, street-side fashion show by NAFA
Queen Street
2018
BBB Urban
an immersive installation
National Design
2019
Interventions - Light Playground
transforming the mundane pedestrian walk
Centre, corridor along Middle Road
Let's Play Ball - Art That Fits in Your Palm
interactive visual arts programme
Knuckles & Notch, 261 Waterloo St, #02-25
2023
Trees Upside-down
outdoor installation
Outside Singapore Art Museum
2023
Harmony walks
a walking tour celebrating singapore's religious and cultural harmony
Religious buildings on Waterloo st, Queen st and Bencoolen st
2022
Singapore Footprints Project
interactive and experiential walking tour
Whole BBB district
Permanent Event
Urban InterventionPlayitForward Pianos
refurbished quirky old pianos in bbb
Museums & Schools
2016
Singapore Biennale 2013
contemporary art exhibition
National Museum of Singapore | BBB precinct
2013
Friday Late (Part of Design Week)
visual arts festival organized by: design singapore council. include pop-up retail market, food stalls, guided tours, open game session, etc.
Various locations across Bras Basah.Bugis
2023
Draw2play (part of 2022 Biennale) c o o p《合》
digital print on vinyl
8 Queen Street
2022
outdoor installation/climbing sturcture for relaxation, mindfulness and fun
The Theatre Practice, 58 Waterloo Street
Permanent
Table 3: Outdoor Programs And Interventions Led By NHB It can be found that the National Heritage Board (NHB) has implemented numerous urban interventions. These include outdoor performances, installations, art markets, workshops, walking tours, etc., often as part of larger festivals and involving collaborations between government agencies, artists, developers, and others. Apart from the outdoor activities and interventions, educational institutions, museums, and art centers, host a variety of events and exhibitions throughout the year. Many of them are part of major festivals like the Singapore International Festival of Arts (SIFA), Singapore Design Festival, Singapore Heritage Festival, Singapore Biennale (SB), and Singapore Art
Week (SAW). Institutions like NAFA and Lasalle frequently offer free classical concerts, student art exhibitions and shows. The lawns of SMU are often alive with student band performances, music and arts festivals. The National Library, National Museum, and the National Design Centre regularly host movie screenings and special exhibits. The Stamford Arts Centre features traditional dance and drama performances, and churches sometimes host heritage tours and classical music concerts as well. Artistic Organizations like Objectifs, a visual arts center dedicated to film and photography, periodically invite artists to showcase intriguing film screenings and photography exhibitions that explore the connection between art and society. They also host immersive installations like “Black Clocks” which delve into the concept of time. The Practice Theatre on Four Horse Road is a venue for a wide array of performances, including performance art, dance, sound art, theater, and more. The waterloo center was the venue presenting art works and performance for 2013’s International Singapore Biennale. Small scale exhibitions are sometimes held here as well. For instance, at the start of this year, the artwork "Weeds" by Robert Zhao showcased the resilience and intricacies of these small, yet robust, plant inhabitants. Performances and events in recent years have showcased local and Southeast Asian culture and arts, aligning with the Renaissance City Plan III's vision of establishing a "distinctive global city of culture and the arts". Schools and commercial properties have supported some artistic activities, partially responding to the alternative art space solutions proposed in the Framework for Arts Spaces. However, despite the regular organization of large-scale events like art festivals and design weeks, their long-term impact has been somewhat underwhelming. For instance, the Singapore Night Festival draws large crowds to BBB during the event, but once it concludes, the area reverts to its usual quiet and monotony, as if nothing had happened. While some art installations from these major events are preserved long-term, their impact remains minimal. The government's efforts to organize various arts activities and encourage artistic installations are commendable, but the overall top-down management approach still stifles the vitality and creativity of the BBB area. To Conclude, unlike creative districts in cities like New York and Melbourne, known for their vibrant artistic atmosphere and active artist communities, where lots of large and small artistic interventions happen daily at different locations, Singapore's arts districts appear too regulated and tidy. In cities like Melbourne, artists engage in urban interventions through spontaneous ideas or after careful deliberation. These artistic interventions may sometimes appear suddenly in the public eye, while at other times they are subtly tucked away in corners, serendipitously discovered by lucky individuals. These small interventions, like a bizarrely woven web, interlace messily, bestowing the city with a complex, diverse, and chaotically enchanting charm. They create a casual, free vibe and an urban space full
of exciting and surprises. More similar artistic groups and creative industries converge here, forming a complete cultural and artistic ecosystem. In contrast, Singapore's art districts are often too orderly. Art events are usually organized or coordinated with the involvement of government agencies, and the cost for individual artists to intervene in the city is high. Stakeholders must pay for a Temporary Occupation Lease to utilize pavements, green areas, or unoccupied state land for setting up installations and conducting performances. (Hoe, S. F., & Liu, J. n.d.) This has resulted in a district that appears somewhat rigid and deserted. When all artistic activities and installations are strictly planned, BBB resembles more of a tourist area rather than an authentic arts district. The exclusion of chaos also means the exclusion of spontaneity and democracy in the creative process. The Heritage trails or walking tours, exemplified by the Heritage Link Project, still focus predominantly on large, iconic buildings. The attention and emphasis on grand buildings can be seen from the guiding map on the BBB official website as well, where everydayuse buildings with rich history and are overlooked. Furthermore, these artistic activities don't fully utilize BBB's 'heritage capital.' The area is home to a diverse range of religious buildings, many of which are among the oldest in Singapore. Aside from walking tours, there are no dedicated workshops or other forms of programs to deeply explore and celebrate their art and aesthetics. The annual projections at the Singapore Night Festival appear somewhat monotonous. New forms of activities could be employed to enhance people's understanding and appreciation of heritage and culture.
7. Discussion & Conclusion The Singaporean government has formulated a series of overall plans to develop Singapore into a global city of culture and creativity since the start of the 21st century. The Renaissance City Plan, serving as the fundamental guideline, along with strategies like place management, has been implemented by government agencies in a top-down approach to strengthen the city's cultural attributes and vitality. Managed by the National Heritage Board, the BBB area as Singapore's art and culture district, has been at the forefront of these changes. Over the past twenty years, BBB has undergone significant development and transformation, especially in the construction of educational and cultural arts institutions and the rejuvenation of public spaces. However, these changes have had limited effectiveness in enhancing the area's vibrancy and cultural penetration. Changes of land use reflects an emphasis and investment in the tourism sector and arts education facilities. Educational institutions and the Art House Scheme provide venues for art performances and exhibitions, and the Waterloo Center and art houses have become home to increasing number of design studios and artistic groups. However, despite the quantitative advantage in cultural and arts institutions and industries, there is a lack of strong interconnection between them, failing to create a noticeable clustering effect. The road system in BBB to some extent meets the goal of establishing a pedestrian-friendly network. However, the streets and alleys still require improvement in terms of art infusion and vitality. As for events and activities, big festivals such as the Singapore Night Festival
and Singapore Design Week have attracted numerous participants but have limited impact on the long-term vibrancy and creativity of the BBB area. Moreover, despite BBB's rich cultural heritage, related cultural activities have not fully utilized their potentials. The development of BBB partially achieves the goals of the Renaissance City Plan, with significant improvements in cultural and arts education facilities and public participation in cultural activities. However, there is room for further enhancement in the distribution and utilization of art spaces, public participation and democracy, and in elevating the vibrancy and artistic permeation of the district. The recent trend towards the touristic development of the area also warrants careful observation and assessment. The continued development of culture and arts in Singapore requires further adjustments in policy and management strategies to truly realize the Renaissance City Plan’s vision. As Wong (2017) states, a true Renaissance City should not be defined merely by the rapid increase in the number of venues, foreign performances, and the influx of tourists. Instead, it should enable local artists to create new content and expand artistic boundaries. It's about nurturing a society where Singaporeans take pride in their own talents and embrace a mature and openminded approach to the diversity of worldviews expressed through art.
Bibliography