- Home
- Award Recipients
- 2018
*
OF
THE YEAR
Hans Tan
Founder, Hans Tan Studio; and Assistant Professor, Division of Industrial Design,
National University of Singapore
Hans Tan Studio
DISCIPLINE
Product & Industrial Design
China Fuzhou Jin Niushan Trans-Urban Connector Fudao
Architect/Urban Designer
LOOK Architects Pte Ltd
DISCIPLINE
Architecture
‘‘Nature is always seen as an obstacle. You have to bulldoze and clean it up to have development. But a sustainable urban design enables a green infrastructure like this to coexist with cities which are becoming denser.’’
Bringing the mountains to the people
Fudao connects Fuzhou’s Minjiang River in the southwest to the West Lake Park in the northwest. This 19-kilometre walkway stitches together a network of 10 different entrances that brings together communities previously separated by the mountainous terrain.
Engaging a historical district
Located in Fuzhou’s historical San Fang Qi Xiang district, the connector’s curvilinear designn was inspired by the ancient city’s traditional roofscapes while the walkway weaves in and out of the mountains like in a Chinese landscape painting.
Welcoming connections
Complementing the walkway are 10 different entrances each with bold urban interventions. At Meifeng Hill, a new park houses a stunning spiral ramp. The existing water body was transformed from a village fish pond into a bio-retention basin that purifies runoff from the surrounding hills.
Revitalising existing places
The Jin Niu Shan Spiral Knoll, a five-storey spiral ramp measuring 24-metres in diameter, was introduced next to an indoor sports hall to transform a disused plaza space. The existing bus depot at West Station, which was previously underutilised, is being transformed into a food and beverage enclave as well as a visitor centre
A walkway for people of all abilities
By ensuring a constant 1:16 gradient, the walkway’s universal design allows both the able-bodied and less-abled to enjoy Fudao. Along the stretch are also various modern conveniences, including rest shelters, observatories and tea rooms with wash facilities.
Treading gently in the forest
To minimise impact on the natural landscape, the walkway was planned to take advantage of the mountain’s undulating character and preserved much of the existing vegetation. The grating on the decks lets sunlight penetrate to the ground level, encouraging the growth of low-lying plants below.
‘‘We thought long and hard about what media is and realised it is always changing and something that interacts with the world. Can we create a building that reflects this ephemerality and will always be changing?’’
Reflecting media in form and function
Mediacorp Campus was designed to express the spirit of media today and in the future. The architecture integrates a variety of functions—a theatre, production studios, news room, radio suites and offices—into a single 12-storey building that is highly accessible to the public. A distinctive façade reflects the ever-changing surroundings, just as media does.
A welcoming landmark
The campus’ Broadcast Theatre with a plaza as a forecourt greets visitors coming up via One-North station to the west corner along Ayer Rajah and Stars Avenue. As one of the first buildings to be built in Singapore’s upcoming digital media hub, Mediapolis, the campus is also a landmark that invites future developments to be part of this ecosystem.
A gateway into the future
Between the campus’ Broadcast Theatre and Broadcast Centre, a majestic 50-step staircase— a homage to Singapore’s 50th anniversary in 2015—leads to a park offering a grand vista overlooking the future Mediapolis. This connection was created as the site was next to this public park.
A star theatre
The state-of-the-art Broadcast Theatre, which can accommodate 1,549 seats on three levels, was designed to host a wide variety of performances, including musicals, dramas, concerts, variety shows and festivals. It is now the permanent venue for the Prime Minister’s annual National Day Rally speech.
A public attraction
The campus is open to the public while ensuring that operations could go on securely. Today, visitors can pay to go on the Mediacorp Experience, a 60-minute guided tour that takes visitors through 15 curated exhibits and into the Broadcast Centre where they can look down into the newsroom and radio conty to watch live production and broadcast of media.
Room for endless
The corporate offices take full advantage of the 225-metre long site with floor plates that span the entire length. Like rings, these workspaces encircle a central atrium with a green wall—a feature that is imagined as Mediacorp’s living room. This design gives the company the flexibility to reconfigure operations as the media environment changes.
Working together as one
The four levels of the corporate offices are naturally lit by five large conical skylights that are nine metres in diameter. Themed in red, green and blue—reflecting the RGB colour model that enables television to output colours—the offices are designed for staff to collaborate. Stairs and bridges connect the different levels, while the breakout spaces are supported by a hot-desking concept.
Working together as one
The four levels of the corporate offices are naturally lit by five large conical skylights that are nine metres in diameter. Themed in red, green and blue—reflecting the RGB colour model that enables television to output colours—the offices are designed for staff to collaborate. Stairs and bridges connect the different levels, while the breakout spaces are supported by a hot-desking concept.
‘‘The building does not just look like a tree, it performs like one too.’’
A skyscraper for the tropics
Unlike traditional glass towers that are sealed, the Oasia opens up to the environment with a permeable red aluminium façade which incorporates plants that thrive in Singapore’s tropical climate. Sky terraces at various levels offer views of the city and cool spaces for the building users and the public to enjoy.
Opening up social spaces
Despite being hemmed in by buildings all around, the Oasia’s L-shaped floor plans allow the building to open up strategically to views of the city such as this one on the 21st storey. The sky terraces, which are all open to the public except for the one on the 6th floor, also introduce a sense of intimacy and humanscale in the city as it builds upwards and becomes denser.
A tropical crown
The rooftop of Oasia has been converted to a sky terrace by neatly tucking the building services below. Sitting above are sun pools for the hotel guests, a restaurant that is open to the public and an event deck—all surrounded by a tropical bower.
Green from the ground-up
Anticipating a future linear park to be developed next to it, Oasia’s façade is lowered right to the ground to look as if it grew out of the site like a giant tree. The façade hosts 21 different species of creepers which were placed depending on sun and shade. The result is a building that looks different every day and has also reintroduced biodiversity to the city.
Shining out from the crowd
Like an illuminated Chinese lantern, Oasia stands out in Tanjong Pagar, which borders the Central Business District on one side and Chinatown on the other. This contrast of modern and old Singapore gave rise to a façade in red, a colour that is very auspicious in Chinese culture.
Good design, Good business
The Oasia’s distinctive design has given the developer a signature imagery that has been a hit. The office units have all been sold, while the hotel has managed above 80 per cent occupancy rate since opening in April 2016. The unique architecture has also translated into a high social media profile too.
Singapore Changi Airport Terminal 4
Designer
Changi Airport Group (S) Pte Ltd
DISCIPLINE
Design Strategy & Management
Engineering Design
Experience Design
Interior Design
Landscape Design
Product & Industrial Design
Service Design
Systems Design
UX/UI DESIGN
‘‘The future of airports is not just a place of transportation but really a lifestyle destination. When you bring in the different experiences and elements of design, an airport will be a place that is cool and hip to be at. That defines the next level of airport experience.’’
Travel your way
T4 is designed for the passenger to take control of the entire airport experience beginning from a kerb-less entrance where passengers can simply roll their luggage in.
Travel your way
Another key feature is the Fast and Seamless Travel (FAST) initiative that enables passengers to check in and drop off their luggage, and go through immigration and boarding all by themselves.
Travel your way
From an easy-to understand user interface to a comfortable height for ease of dropping luggage or passport scanning, the kiosks were designed and tested extensively to ensure passengers can easily take over a service traditionally done by airport staff.
Elevating the airport experience
T4 offers both passengers and staff a new definition of the airport journey. From check-in to security screening, many of the processes have been redesigned to be more convenient and pleasant while meeting international standards for air travel.
A lifestyle destination
T4 represents the future of airports as more than just a travel node, but an experiential space for passengers. T4’s integrated duty-free zone and new double-volume shops allow tenants to offer a high-quality shopping experience similar to downtown malls.
The art of travel
Artworks installed throughout T4 add another dimension to the airport experience. The centrepiece is “Petalclouds”, a grand kinetic sculpture suspended 200 metres across the airport and synchronised to animated light and music. Another work in the transit area is “Steel in Bloom”, a six-metre sculpture featuring intricate botanical motifs.
Redefining the Changi experience
Changi Airport Group developed T4 to offer its much-celebrated airport experience with a twist. The new terminal is less formal than its predecessors and uses design to inject a sense of fun into the airport experience. This extends from the colourful chairs and interiors to the vibrant graphics that greet passengers everywhere they turn.
Redefining the Changi experience
Changi Airport Group developed T4 to offer its much-celebrated airport experience with a twist. The new terminal is less formal than its predecessors and uses design to inject a sense of fun into the airport experience. This extends from the colourful chairs and interiors to the vibrant graphics that greet passengers everywhere they turn.
The Future of Us Pavilion
Designer
SUTD Advanced Architecture Laboratory
DISCIPLINE
Engineering Design
Exhibition Design
‘‘The true power of this technology is that everything can be customised easily and it makes no difference… This is also the main message: there is absolutely no reason to have buildings that are the same anymore.’’
For the SG50 celebrations
Located between Marina Bay Sands and Gardens by the Bay, the pavilion was originally built to house The Future of Us , an exhibition to commemorate Singapore’s golden jubilee in 2015.
Complexity made simple
The pavilion consists of 11,000 unique perforated aluminium panels, 12,040 bolts, 11,188 plates and 4,620 elements for the main steel structure. After the designers set the parameters for the pavilion, they left it to the computers to generate each of the panels which were prefabricated overseas. Everything was then delivered on-site with a map for the construction team to simply put together the pavilion like a giant jigsaw puzzle. The speed and ease of construction impressed the chairman of the
Future of Us exhibition steering committee, Benny Lim: “While most visitors were struck by the finesse and degree of detail of the design, those of us working on the exhibition were more impressed by the ingenious execution that allowed such a complex structure to be constructed so efficiently within a short time.”
Complexity made simple
The pavilion consists of 11,000 unique perforated aluminium panels, 12,040 bolts, 11,188 plates and 4,620 elements for the main steel structure. After the designers set the parameters for the pavilion, they left it to the computers to generate each of the panels which were prefabricated overseas. Everything was then delivered on-site with a map for the construction team to simply put together the pavilion like a giant jigsaw puzzle. The speed and ease of construction impressed the chairman of the Future of Us exhibition steering committee, Benny Lim: “While most visitors were struck by the finesse and degree of detail of the design, those of us working on the exhibition were more impressed by the ingenious execution that allowed such a complex structure to be constructed so efficiently within a short time.”
Tailored for the site
The pavilion’s unique form is based on the analysis of environmental data such as sun path and wind direction, as well as views from inside the structure. The designers created digital tools that derived forms based on these data while taking into consideration the need to build sustainably with the optimum amount of materials.
Tailored for the site
The pavilion’s unique form is based on the analysis of environmental data such as sun path and wind direction, as well as views from inside the structure. The designers created digital tools that derived forms based on these data while taking into consideration the need to build sustainably with the optimum amount of materials.
Designing a “future nature”
The pavilion is made up of triangular units that become more open and dense based on the need to allow in sunlight, wind and views. Beyond this functional aspect of providing shade, the designers wanted to create a form that mimics walking under the shade of trees in the tropics.
Designing a "future nature"
The pavilion is made up of triangular units that become more open and dense based on the need to allow in sunlight, wind and views. Beyond this functional aspect of providing shade, the designers wanted to create a form that mimics walking under the shade of trees in the tropics.
Home in the gardens
After the Future of Us exhibition, which attracted over 400,000 visitors, the pavilion continued to host a variety of community and cultural events such as the Singapore Garden Festival 2016. It proved so popular that the Gardens by the Bay adopted it as a permanent landmark in 2017 and renamed it the Silver Pavilion.
‘‘As a city grows, people and communities look for identity. Architecture has the power to give that presence and unique identity.’’
A living skin
The Tembusu breathes life to the typically static façade of a building. Greenery flows down the 18-storey residential towers and a series of sky links connect one block to another. The greenery reduces the harshness of the vertical steel columns and acts as a giant environmental filter. It also brings nature closer to residents and promotes greater social interaction.
Residing within a forest
Nature is tightly interwoven within the development. The ground floor is landscaped with lush greenery, pavilions and an efficient rainwater drainage system that is integrated with the landscape to create streams and ponds. The sky links also have planting surfaces that offer nature to the residents at multiple levels.
Homes with a story to tell
To create a distinct development for residents, the architects referenced the developer’s former garment factory that sat on this very site. Like a fabric, the architecture embodies qualities of softness and layering with a tapestry of forms, colours and textures. Even the pavilion’s concrete roof is created as a curve hanging freely from two points such that it feels like a piece of cloth.
The “kampung spirit” in the sky
Sky links on the development’s 6th and 12th storeys blur the boundary between public and private. The links contain sky pods where residents can meet and allow residents of different blocks to get to one another’s home without having to go to the ground floor. A sky terrace on the 18th storey also hosts a community herb garden for residents.
Overcoming a sky-high challenge
Constructing sky terraces that span across five building blocks at different levels was a challenge that required precision in construction. The sky terraces were constructed using precast concrete slabs to ensure accuracy and reduce workplace danger.
An intimate high-rise
A series of design interventions gives the development a sensation of “low-rise apartment living”, particularly since The Tembusu is surrounded by landed properties. The 337 homes are divided into six-storey blocks each wrapped with a sky link at the base, bringing the ground closer to residents.
The Warehouse Hotel
Designer
Asylum Creative Pte Ltd
DISCIPLINE
Interior Design
Visual Communication
‘‘With the warehouse’s history and narrative, I don’t think the design needed to further accentuate Singaporean-ess. In fact, what is Singaporean design? We are international before we are national.’’
Reviving Singapore’s built heritage
The Warehouse Hotel breathes new life to three 19th century godowns, the Asian term for warehouses, along the banks of the Singapore River. Once used to store spices and goods, and more recently, house a disco, this conserved building has been restored by Zarch Collaboratives and redesigned by Asylum into a modern 37-room boutique hotel.
An industrial design for today
Aware of how the industrial look has become blatantly appropriated around the world regardless of context, the interior of the Warehouse Hotel subtly references its past but brings it to the present. The hotel retains its industrial architecture but is layered with modern fittings and touches that inject comfort and warmth to the space.
Telling histories through design
The hotel’s branding is inspired by its past lives. For instance, the use of traditional Chinese characters as a secondary brand references the old name of the warehouse on its façade that has been retained. This is just one example of how the Warehouse Hotel uses design to subtly tell stories about its past as well as that of the neighbourhood it sits in.
A welcoming buzz
Visitors and guests to the hotel are greeted not by the reception, which has been pushed to the side, but a large social space containing a public bar and a restaurant, Pó. Bringing such amenities upfront ensures guests always return to a lively lobby and this also supports the financial operations of this hotel that only has 37 rooms. The open lobby also invites the public, especially locals, to come in and enjoy a slice of Singapore’s industrial past.
Perfectly pitched rooms
To preserve the warehouses’ original pitch roofs while creating a comfortable living environment, the hotel rooms had to be each individually designed to carve out pockets of windows or roofs that could bring in natural daylight. As a result, almost no two rooms are the same, which turned out to be a unique selling point for the hotel.
‘‘People will pay, or find people to pay, if we are providing the right thing. Hence, we never design what I call as poor quality products for the poor. We design what we think is the right thing.’’
A Singapore design for the world
WeatherHYDE is a product by Singapore-based Billion Bricks, which uses design to solve the global problem of homelessness. Since its launch in April 2017, the tents have been bought by homeless people in India, USA and Europe. The designers have also distributed 300 tents in cities across India such as Delhi. More recently, they successfully funded a campaign to ship 100 tents to refugees of the Rohingya crisis.
A skin that matters
The tent can withstand a variety of weather conditions because of its flysheet design. A waterproof outer skin and three-layered stitching ensures it achieves water tightness. The innovative use of mylar makes the tent adaptable to different seasons and climates. The reflective layer traps body heat for warmth in winter and reflects solar heat to keep the interior temperature cool during summer.
Not just for the homeless
WeatherHYDE’s design quality has also attracted recreational users and over 30 tents —the same ones sold to the homeless— have been bought by campers in Singapore, USA and Europe.
Keeping families together
WeatherHYDE is designed to be large enough to fit a family of five—up to two adults and three children. Billion Bricks gave one of its first tents to a woman named Khushi in Jama Masjid, Delhi. She shared that it was her first home in 23 years and it had given her family the opportunity to be together as city-run shelters often separate families by housing them according to their gender.
Keeping families together
WeatherHYDE is designed to be large enough to fit a family of five—up to two adults and three children. Billion Bricks gave one of its first tents to a woman named Khushi in Jama Masjid, Delhi. She shared that it was her first home in 23 years and it had given her family the opportunity to be together as city-run shelters often separate families by housing them according to their gender.
Tracking the impact
Each weatherHYDE is geotagged with a unique ID. This allows donors and sponsors to go online to Billion Bricks’ website to see whom the tent has been gifted to and learn about the impact of their contribution.
Who Cares? Transforming The Caregiving Experience in Singapore
Designer
fuelfor
DISCIPLINE
Design Strategy & Management
Experience Design
Service Design
Systems Design
‘‘Our role as designers is to facilitate change and enable people to see where they might want to go.’’
The complexities of providing care
To understand their needs, values, hopes and fears, the designers interviewed and shadowed 10 caregivers. This ranged from a lady who cares for both her mother with dementia and a child with distal arthrogryposis to an individual with disability who has to care for himself. The participants, aged between 21 and 78, came from a range of income classes, educational levels and belief systems.
Co-creating a strategy
The designers, the client and other stakeholders worked closely to create Who Cares?. This included a creative workshop, where the designers and Marceline of NCSS (top left) watched videos about the caregivers before coming up with ideas. There were also several co-creation workshops — such as this one led by Lekshmy— held with caregivers, service providers, and decisionmakers across different sectors.
Bringing alive stories of care
The design strategy is accompanied by seven short films and a book that communicate the complexity of caregiving to stakeholders across different sectors. Through the personal stories of caregivers, audiences could better understand this invisible and abstract issue. This was a key reason why policymakers adopted the strategies as part of Singapore’s Enabling Masterplan 2017-2021.
Turning insights into action
Through the design thinking approach, the designers first gathered insights and then prototyped solutions. One example is a toolkit that social care workers can use to better understand caregivers and how to support them.
Concepts for caregiving tomorrow
Who Cares? proposes seven concepts—From Crises to Prizes, Smooth Care Touch Points, The WayForward Programme, Caregiver Wellbeing, Care Concierge, Compassionate Community and Empathetic Education—to create an eco-system of new products, services, tools, spaces, policies, programmes and campaigns that will improve caregiving in the future.
Concepts for caregiving tomorrow
Who Cares? proposes seven concepts—From Crises to Prizes, Smooth Care Touch Points, The WayForward Programme, Caregiver Wellbeing, Care Concierge, Compassionate Community and Empathetic Education—to create an eco-system of new products, services, tools, spaces, policies, programmes and campaigns that will improve caregiving in the future.