A 120 year old vessel prepares to set sail

23 04 2012

Currently berthed at the Marina at Keppel Bay is a 120 year old historic ketch, the H/V Vega, which I first visited in early 2010 and following which I made several more visits during her subsequent stays in Singapore. The vessel, which is owned by Shane Granger and Meggi Macoun, is a beautifully restored top-sail ketch which was originally put to service as an open decked vessel that carried stone and slate along the tempestuous waters off the Norwegian coastline. I was able to drop by again yesterday to say hello to Shane and Meggi, who were in the midst of getting the H/V Vega ready for what has become an annual 6 month-long voyage of mercy which she is taken out on every April or so. The voyage is one that will take the Vega to the distant eastern distant reaches of the Indonesian archipelago with a cargo of much-needed items – medical supplies, farming tools, books, stationery and even sporting gear – a lifeline that many of the remote and often overlooked island communities especially in the Banda Sea area depend very much on.

A coil of rope. The H/V Vega is being prepared for what has become an annual mission that will take her to the Banda Sea.

The H/V Vega is a 120 year old ketch that has been very nicely restored and is now used to bring aid to remote island communities in the Indonesian Archipelago.

With most of the supplies they are carrying over from Singapore already packed in, what was left for Meggi and Shane and two volunteers to do was in packing in the last few items of aid they are carrying from Singapore, as well as getting the boat’s gear prepared for the voyage. The H/V Vega is due to set sail on 25 April 2012 for Jakarta where she will pick up some more supplies for the island communities. A peek below decks revealed the amount that is being carried. Having been designed as a high density cargo carrier, the Vega is limited not so much by the displacement but by its available volume and this was very evident below decks where the items the Vega is carrying seem to spill over into all available space that will possibly make the voyage a rather uncomfortable one for Shane, Meggi and two other crew members who are joining them. Besides the boxes of medical supplies, books and stationery, loose items such as CPUs, toys and sports gear were seen to have been stowed on sleeping berths as well as free spaces in the accommodation areas, including a mechanical sewing machine – once a common household items in Singapore that will be very useful to the island community that it is being delivered to, in the dining area.

Shortlink anchor chain being readied on deck.

Ropes being prepared deck seen through a portlight.

While the Vega has been able to obtain much of what is needed by the communities, as of yesterday, there are some small but essential items that she is short of (see also: http://sailvega.wordpress.com/2012/03/27/list-of-one-off-items-needed-by-the-communities-we-assist/):

  • 1 x 12 Vdc cool box for vaccine storage
  • Reading glasses
  • Battery for Dell Inspiron 6000 laptop
  • Battery for Dell XPS M1210 Battery type HF674
  • 200x Nail / Hand scrubbing brushes
  • 100x Plastic closeable hand soap carrier (should have a snap to keep it closed in bag)
  • Sharpening Stones
  • Thread and sewing needles
  • Guitar strings (Metal and Nylon)
  • Power cables for desktop computers
  • Cables between monitors and CPU for desktop computers

Anyone be in a position to help with any of the items may get in touch with Shane Granger.

The annual clutter in the living spaces - aid items stowed in the accommodation spaces for delivery to the island communities include books, stationery, medical supplies and a mechanical sewing machine.

Supplies stacked up on a bunk.

The view down into the forward accommodation space filled with medical supplies.

Used sports equipment and CPUs being packed.

More boxes to be brought below decks.

A cabin being partially used to stow supplies.

The forward accommodation space as seen from below decks.

Even Elmo is going along on the voyage.





A gem of a find in the heart of Joo Chiat

17 04 2012

Set in the heart of an area that is synonymous with the Chinese Peranakan community in Singapore, Joo Chiat, is a little gem of a place that awaits discovery – The Intan, which in Malay translates to ‘rose-cut diamond’. The Intan is a Peranakan home-museum which is owned by an antique collector, Alvin Yapp and is set in a somewhat nondescript house that is typical of the area. It is only in stepping through the door that the pure delight of the place becomes evident as one sets foot in a world where the rich culture of a forgotten time awaits discovery.

The Intan is a home-museum owned by an antique collector, Mr Alvin Yapp, located in the heart of the Joo Chiat area.

The entrance of The Intan as seen from the loft.

The ancestral altar is one of three altars usually found in a Peranakan house.

The house that The Intan is set in, is typical of houses that are associated with the community. It is long and narrow – an architectural feature that takes one back to a time when taxes to be paid were determined based on the number of windows a house had. Once inside, the soft light that filters through its narrow openings and skylights reveals the wealth of what The Intan holds – a superb collection of all things unmistakably Peranakan. This includes larger items of furniture, very distinctly coloured Peranakan pieces of porcelain, as well as personal items that include jewellery, embroidery and kasut manek (beaded slippers).

The long and narrow showcase of all things Peranakan that is The Intan.

A view of the loft.

Beaded slippers or kasut manek.

Old tiffin carriers form part of the collection - the trophy is a personal item on which Alvin has an interesting story to share.

The collection and the acquisition of knowledge of the culture for Alvin started when back as a teenager, watching a play triggered an increased awareness of his cultural background. This brought about a quest to understand a sub-culture that was fast being diluted by the gravitation towards a common Chinese identity. With requests received from friends first to view his collection which extended to requests to sample food from the kitchen, the idea to convert his home – then a flat in Marine Parade, into a museum. The Intan itself was started in 2003 and today hosts visits (by appointment only for a minimum of eight persons) for tea or dinner which includes a guided tour of the house, a sharing of insights into the Peranakan culture as well as a sharing of some fascinating personal stories. The Intan also hosts private functions, art sales and small concerts. More information on The Intan, which was invited to become a member of the Museum Roundtable and won the Best Overall Experience Award at the Museum Roundtable Awards 2011, is available at their website www.the-intan.com. Appointments can be made by calling +65 6440 1148.

Alvin Yapp shares his passion for all things Peranakan.

The Intan is open for visits by appointment which include either tea or dinner (for a minimum of eight).

Porcelain pieces on the ancestral altar. The Peranakans commissioned uniquely and very distinctly coloured porcelain to be made in Jiangxi, China. Colours displayed also have a significance - with the blue and white pieces displayed during periods of mourning.

A wedding altar from Penang.

The collection includes quite a few pieces of Peranakan furniture which features intricately carved floral and phoenix motifs.

Furniture details.

Bead work on display on the altar.





A Bangsawan revival by the river

16 04 2012

The Singapore River has played a vital role in the settlement and early development of Singapore, long-serving as a gateway for the arrival of influences which has given Singapore its rich cultural diversity. While that role has since been minimised by the shift in the means by which people arrive to our shores as well as with the cutting-off of the river from the sea, it is nice to see that it still, as a venue, has a role to play in keeping the traditions that it previously played a role in bringing in, alive with an initiative ‘Regenerating Communities at Empress Place’. The initiative, conceived by The Old Parliament House Limited which runs The Arts House at Empress Place saw a three-instalment programme curated by Jeremiah Choy that featured performances of fading performing art-forms which were once common on our streets. This included a Chinese puppet theatre show and in its third and last instalment, a very rare Bangsawan performance by Singapore’s last exclusive Bangsawan troupe, Sri Anggerik Bangsawan at the ACM Green.

The third instalment of the first series of the 'Regenerating Communities at Empress Place' initiative saw a rare performance of Bangsawan or Malay Opera.

The first series of 'Regenerating Communities at Empress Place' was curated by Jeremiah Choy who is seen introducing Noor Azhar Mohamed of the Sri Anggerik Bangsawan troupe.

A Bangsawan performer before the performance.

Bangsawan or Malay Opera, is an art form that has its origins in commercial 19th Century Parsi theatre, arriving first in Penang at the end of the 19th Century via travelling troupes coming from Bombay. The name ‘Bangsawan’ is a combination of two words, ‘bangsa’ which means ‘race’ or ‘a group of people’ in Malay, and ‘wan’ which is a reference to ‘stature’. Being performed purely for entertainment, Bangsawan was always an evolving form that adapted very much to the taste of the audiences it attracted and at the height of its popularity in the 1920s and 1930s, drew audiences which included those from the other races across society. The typical Bangsawan performance would include both dialogue and song and dance segments which incorporates influences across several cultures and involves very elaborate stage sets, make-up and costumes, making the performances a very colourful and musical experience.

Bangsawan involves very elaborate stage sets as well as make-up and costumes - and requires quite a fair bit of preparation prior to each performance.

A performer having her make-up applied.

The clasped hands of a performer waiting for her make-up to be done.

The performance over two evenings over the weekend was of an excerpt from Dang Anum, the retelling of a touching tale which revolves around the unfortunate Dang Anum, the daughter of Sang Rajuna Tapa – a Minister in the court of Sultan Iskandar Shah (who ruled Singapore from 1399 to 1402). The performance was a special one for the troupe, Sri Anggerik Bangsawan, which traces its origins to 1986, when its founder, the late Haji Hamid Ahmad, formed it with the aim of preserving what was already then a vanishing art form. The performance of the excerpt represents a comeback for the troupe which took a two-year break due to Pak Haji Hamid’s(as he is affectionately known) illness and eventual passing last year. The performance, though brief, required much love and effort to put together, was one that the troupe dedicated as a tribute to their late founder.

Performers in full costume.

On the evidence of the thoroughly enjoyable performance, it would be certainly be a wonderful experience to be able to see a full performance of Dang Anum, which the troupe has previously performed twice – once in the early 2000s and a second time as part of a larger performance in 2007. The troupe which does not have any immediate plans to stage a full performance, does hope to be in a position to put what must be an ambitious attempt at a large scale in one to two years. It one we are told that which will be very elaborate, featuring a Javanese epic tale that was written by Pak Haji Hamid, and one on which the troupe certainly would require support of various bodies and groups supporting the performing arts, as well as sponsors on.

The opening of the performance.

Scenes from the performance.

More scenes from the performance.

The audience was captivated by the performance.





Launch of NHB’s Our Void Decks, Our Shared Spaces

13 04 2012

Void decks became a common feature of blocks of flats in Housing and Development Board (HDB) estates back in the 1970s. Offering shade and shelter, they quite naturally found use as common spaces for social interaction as well as for community events. Over time, the use of void decks have evolved beyond this and uses of the common spaces have extended to children’s toy libraries, bird singing corners, civil defence shelters, retail spaces, playgrounds and community art galleries.

Dr Yaacob Ibrahim opening 'Our Void Decks, Our Shared Spaces' exhibition at Blk 2, Saint George's Road on 12 April 2012. Looking on is James Seah.

To discover more of the history and evolution of void decks and their use, do visit National Heritage Board’s (NHB) exhibition “Our Void Decks, Our Shared Spaces”, which was opened by Dr Yaacob Ibrahim, Minister for Information, Communications and the Arts, and Advisor for Kolam Ayer, on 12 April 2012. The exhibition is the third in a series of travelling exhibitions focusing on community heritage and highlights the history and development of void decks in the Housing Development Board (HDB) heartlands, their common features and uses, and their role in providing shelter, building community, and promoting racial integration. The exhibition will also feature learning games related to the exhibition for which NHB has partnered Handson Learning, an educational consultancy specialising in museum and heritage programmes. The games will be conducted by students from schools in the proximity of the exhibition and for the preview during the opening, involved National Education Captains from Bendemeer Secondary School.

Handons Learning with which NHB has partnered is training students from neighbourhood schools to conduct learning games related to the exhibition to help raise awareness of the vital role that void decks play .

Representatives from Handons Learning together with National Education Captains from Bendemeer Secondary School were on hand to demonstrate the Snakes and Ladder game.

Besides the exhibition which is currently at Blk 2 Saint George’s Road Singapore 320002 until the end of April, there are also a group of bloggers (including myself) who have written personal stories and experiences and shared photographs to the exhibition.
The exhibition moves to Marine Parade in May 2012 and after to other void decks around Singapore.

Children from the neighbourhood having a go at the game.

Supporting blog entries for Our Void Decks, Our Shared Spaces are:





Voids that have filled our lives

12 04 2012

It was in the first generation of the Housing and Development Board’s (HDB) flats in Queenstown and in Toa Payoh in the 1960s and 1970s that I grew up in. Then, many of the new residents were moving into HDB flats for the first time and were just coming to terms with the new reality of high-rise living. Ground floor units – a common feature of blocks of HDB flats built up to the early 1970s, as well as lower floor units were much sought-after – many felt an unease living high-up. For those that had moved in from the kampongs, the confines of the new dwellings needed a fair amount of adjustment to. Where their previous dwellings might have offered them access to a free space beyond the walls, the new dwellings opened to what must have seemed like a cold cemented common space. It was no surprise that ground floor units were particularly popular as they allowed a semblance of life as it might once have been – little plots of vegetables and the chickens running around at the back of these units were then quite a common sight.

The open space that used to be a huge playground when I moved to Toa Payoh at the end of the 1960s. Open spaces and other common spaces became extensions of dwellings as residents moving from kampongs sought to adapt to a new life in a very different environment.

The same open space at the end of the 1960s (scan of a postcard courtesy of David Jess James as posted in Facebook Group 'On a Little Street in Singapore').

It was perhaps natural in the context of this, that common spaces became spaces for social interaction – opened doors, much as they had been a feature in the kampongs, made common corridors one such place. Beyond the common corridors – there were also the generous open spaces that brought neighbours seeking an escape out of the confines of their new flats together. For the younger ones, the common spaces naturally became an extended playground during a time when the boisterous screams of children in such common spaces would have been tolerated a lot more than it would be today.

The Front Door of the Toa Payoh flat I lived in, 1968. Front doors were usually opened then and much interaction took place with neighbours and itinerant vendors on the common corridors through the front door.

Common corridors had once served as an extension of dwelling spaces as residents adapted to high-rise living.

As a child – the world beyond the doorway besides being that extended play area, was a fascinating place. There was lots to observe – the comings and goings of itinerant vendors, salesmen, swill collectors, rag and bone men and the opportunity to meet people who often looked and dressed differently. It was in interactions that took place in these spaces that many new friendships were forged and where much of my extra-curricular education was received. The generously sized corridor – one that wrapped around the cylinder that was the central lift well of the block of flats in Toa Payoh that I lived in, was one such space. It was wide and (circumferentially) long enough for me to join the neighbours’ children not only in games such as “Catching”, “Police and Thief” or “Cowboys and Indians”, but also in a game of football.

Before the appearance of Void Decks as a feature in public housing apartment blocks in Singapore, common corridors and generous open spaces served as common spaces where people came together, and as a child, spaces in which I played.

Common spaces such as staircases also became play areas.

When my family next moved, it was to a larger flat in the then new estate of Ang Mo Kio at the end of 1976. By that time, the common spaces had included one that was a design feature introduced to blocks of HDB flats in the early 1970s – the void deck. This introduction had been motivated in part by falling demand for ground floor units – those living in them quickly realised that there were several inconveniences they had to bear with such as a lack of privacy, litter thrown from higher floors that would accumulate outside ground floor units and that ever-present stench that came from the rubbish collected in the rubbish chutes. With the space on the ground floor that was freed up, there was now a sheltered space where residents could interact and play in, as well as where communal events could be held – and the void deck took over from the common corridor, just as common corridors also started becoming less common and residents began to take greater value in privacy, shutting their front doors up.

Void decks became a feature of the ground floors of blocks of HDB flats from the early 1970s. Features and amenities were added as residents found new uses of the freed up space.

The early void decks were quite literally voids – not much decorated them other than signs that prohibited just about everything that as children we might have found the spaces useful for – and the bicycle racks and letter boxes that naturally found their way there. Terrazzo tables were added as an afterthought – most were marked with a chess board and had stools arranged around them, as did green topped table-tennis tables. The odd convenience store also made an appearance and over the years, many other amenities did too including police posts, kindergartens and crèches, Residents’ Committees rooms, and old folks corners.

Tables and stools soon made an appearance in the void decks which provide a comfortable environment for neighbours to interact in outside of their private spaces.

Tables tops were also marked with chess / chequer boards.

As with the common spaces around my previous home, I was a regular user of the void deck when I moved to Ang Mo Kio. I had, by that time, outgrown many of the childhood games I would have played in the common corridors in Toa Payoh and the new common space was a place to catch up with friends and schoolmates from the neighbourhood, have a game of table-tennis tables and chat or catch up over the latest music we played on a portable cassette player.

Table-tennis tables also were common finds in the void decks.

What used to be a field we played football in - many open spaces also now feature amenities and have become extensions of the void deck.

Over the years, the usefulness of void decks has grown as the community finds new uses for the space. No longer is the void deck confined to hosting the odd wedding reception or funeral wake, or the small gathering of friends and old folks, but also where other social and communal gatherings and activities are held. These include book fairs, exhibitions, bazaars and cultural activities. The void deck does also hold an occasional surprise – one such surprise is the sound of the dizzying strains – gamelan like, that point to the performance of a rare cultural dance, one that would have been more commonly seen in the days before the void deck – Kuda Kepang. The dance sees performers mount two-dimensional horse-shaped cut-outs and is believed to have originated from pre-Islamic Java – its roots being in the retelling of the Ramayana and Mahabharata. While most of the performance of this does take place beyond the void deck, it is in the void deck, that the dizzying accompaniment does originate from – instruments that produce these strains would usually be set up in the void deck. The use of the void deck is certainly one that is evolving, some now include features such as old folks corners, privately run child-care centres and kindergartens, and also study areas. Common spaces and the successor to some of the original common spaces, the void deck, have certainly come a long way over the years – besides being called a void for the absence of housing units, there is no doubt that it is hardly a void – but a common space that has evolved to one that fills the lives of the many residents who do use it.

A rare sight that makes an appearance at the void deck - Kuda Kepang, a cultural dance that is thought to have originated from pre-Islamic Java.

Performers on two-dimensional horse shaped cut-outs dance to dizzying strains of Javanese instruments that are set up in the void deck.


This blog entry is written in support of NHB’s third community heritage exhibition on void decks entitled “Our Void Decks, Our Shared Spaces.” The exhibition highlights the history and development of void decks in the HDB heartlands, their common features and uses, and their role in providing shelter, building community and promoting racial integration. The exhibition is currently on display at the void deck of Blk 2, Saint George’s Road for the month of April before travelling to Marine Parade and over void decks around Singapore.






A face that I still see

9 04 2012

One of my favourite roads to take a journey on in Singapore is a stretch of Mandai Road that has got to be one of the more gorgeous drives in Singapore. It is a stretch that takes you past an area that is reminiscent of an older world at its junction with Sembawang road, around a bend where the road starts to rise northwards to an area where a short stretch of it runs along a body of water that in reflecting the colours of the setting sun takes on the appearance of a magical world. It is a drive I have enjoyed for four decades now – my first encounters with the stretch dating back to the end of the 1960s when the road was diverted around what had been a newly expanded body of water – what then was Seletar Reservoir (now Upper Seletar Reservoir). Those first encounters had been ones that would have involved a visit to the area around the large dam that contributed to the reservoir’s expansion – then a manicured area that offered some wonderful views of the reservoir not just from the top of the 20 metre high dam, but also the panorama one got of it from the top of a newly constructed lookout tower which still stands today.

The lookout tower at what is today Upper Seletar Reservoir Park.

The area which later was developed into a park and the expanded reservoir, was opened by HRH Princess Alexandra in August 1969. The work to expand of the capacity reservoir which traces it origins back to the 1920s, resulted in an increase in its capacity from a previous expansion in 1940 by some 35 times, giving the northern fringe of Singapore’s Central Catchment Reserve a large and very picturesque body of water. This was made possible by the erection of a larger dam across the Seletar valley which required a part of Mandai Road to be diverted. The reservoir started its life as a temporary source of water supply which was developed out of an abandoned effort in the 1920s to build a third impounding reservoir on the island. Work on that was halted when it became apparent that it was feasible to draw on the abundant sources of water across the Straits in Southern Johor with pipelines to feed much-needed resource integrated into the construction of the Causeway. It was in 1940 that the reservoir was made a permanent one having its capacity expanded to feed the island’s growing population.

The expansion was made possible by constructing a larger dam across the Seletar valley.

The expansion of the reservoir in 1969 increased the capacity of Seletar Reservoir by some 35 times.

The work which commenced in 1967 to expand the reservoir, also allowed its position on the northern fringe the Central Catchment Reserve to be exploited to provide a recreational area around it with access to large parts of it possible by road. Besides the park with its now iconic tower that was constructed, plans were also drawn up to use an area to the north-west of the reservoir for a zoological gardens what is today the highly acclaimed Singapore Zoo.

Upper Seletar Reservoir seen here along Mandai Road is one of the more scenic areas of Singapore takes on a magical glow during the sunset.

The setting of the sun over Upper Seletar Reservoir.

It is for the climbs up the lookout tower that I would look forward most to on my early visits to the area, my first visit being in October 1969 on the evidence of photographs that I have taken of my sister and me. It wasn’t however only the tower that occupied me during my visits to the park – the slope of the dam was a constant source of delight with the grasshoppers that seemed to thrive in the grass that lined the slope. The slope – or rather the road that ran down from the top of the dam where the tower is along the slop of the dam was also where I once, in the foolishness of youth, responded to a dare to go down the road on my roller-skates. Finding myself gaining momentum after setting off, it was probably fortunate that I decided not to go through with the dare and managed to pull out of it by turning into a turn-off not far from the top of the slope. Sliding across the rough surface as I lost my balance in turning off at speed, I was bloodied and bruised with abrasions that ran down the entire length of my right leg and a little embarrassed, but quite thankful that I had decided not to go through with the dare.

Adventures of a five-year-old around the lookout tower at Seletar Reservoir (now Upper Seletar Reservoir) Park not long after it first opened in 1969.

The road down from the top of the dam. I made an attempt to roller-skate down the road (which then did not have the gate we now see across it). I managed to turn at a turn-off to the car park (seen just beyond the gate).

The park today is one that I still frequent, not so much for the tower which does still somehow fascinate me, but for the escape it offers from the concrete world that I find myself now surrounded by. And, in those escapes that I take, it is comforting to find that in a Singapore where the relentless winds of change have rendered many places of my childhood for which I had a fondness for unrecognisable, the area beneath the changes it has seen in the four decades that have passed, is a face from that world that I still am able to see.





The sun rises on a Sembawang tradition

5 04 2012

The Panguni Uthiram festival is a Hindu festival that is celebrated annually during the full moon of the Tamil month of Panguni. In Singapore, this is celebrated at the Holy Tree Sri Balasubramaniar Temple, now located at Yishun Industrial Park A. The celebration of the festival in the area traces its history back to 1967 when the temple was located off Canberra Road which was then part of the Royal Navy Naval Base in Sembawang. More information can be found on a previous post, A lesser known Hindu festival with a Kavadi procession: Panguni Uthiram, and also on the Holy Tree Sri Balasubramaniar Temple’s website.


Photographs taken at Sunrise today of this year’s Panguni Uthiram






An ascent into the clouds

4 04 2012

Taking an elevator up to the top of a new world that will soon be added to the Marina Bay area in Singapore, a visitor is transported high up into a cloud forest 2000 metres above sea-level. It is a lost world that the doors of the elevator will open to, a world fed by a cool and moist climate in which carnivorous plants, ferns and mosses thrive with the accompaniment of sounds of a cascading waterfall. It was a world that I got a peek at yesterday at a preview of the Cloud Forest which is set within the Bay South Garden one of the three section Gardens by the Bay which will open to the public from 29 June 2012. The elevator that takes one up, doesn’t of course travel that 2000 metres, climbing six floors or 35 metres up a man-made ‘mountain’ right on top of which the Lost World is found. The ‘mountain’, Cloud Mountain, that greets the visitor to the Cloud Forest, the taller of the two cooled conservatories in the Bay South Garden (the other being the Flower Dome), is one that will come the opening of the garden, be covered in lush vegetation and feature some 130,000 plants found in high altitude tropical zones such as on Mount Kinabalu and the mountain regions of tropical Africa and South America.

The Cloud Forest, one of two cooled conservatories at the soon-to-be opened Gardens by the Bay takes one on an ascent up into the clouds. Members of the media were given a preview of the conservatory in which the cool-moist climate of the Tropical Montane regions 1000 to 3500 metres above sea level is replicated.

The Bay South Garden, just across from Marina Bay Sands, will open to the public on 29 June 2012.

The Cloud Forest has some 2577 glass panels spread over the 12000 square metre of its surface.

The 58 metre high glass panelled structure which is the Cloud Forest is one within which the cool-moist climate of the Tropical Montane regions between 1000 and 3500 metres above sea level is replicated and besides the Lost World right on top of the man-made ‘mountain’ inside the amazing structure which features some 2577 glass panels of 690 varying shapes and sizes laid over its surface ares of 12000 square metres, is where one discovers eight other unique zones. The nine zones will offer a variety of experiences that aims to provide the visitor with a sense of the biodiversity and ecology of the so-called cloud forests and the various threats the environments they exist in now face. The eight other zones are the Cloud Walk, The Cavern, Waterfall View, Crystal Mountain, Tree Top Walk, Earth Check, +5 Degrees and Secret Garden.

An artist's impression of the inside of the Cloud Forest which features a 35 metre 'Cloud Mountain' with a 30 metre waterfall (image: Gardens by the Bay).

An external view of the Cloud Forest.

The inside of the Cloud Forest today - very much work that is still in progress.

The Lost World will feature carnivorous plants including pitcher-plants.

Ferns already thriving in the Lost World.

The Lost World, as well as the rest of the Cloud Forest, is still work-in-progress as it is being readied for the official launch of the Bay South Garden which will take place on 28 June 2012 (the garden will be opened to the public from 29 June 2012).

The waterfall flows down from the Lost World.

While the Cloud Forest is very much still ‘work-in-progress’ with it’s primary structure complete with finishing touches being put to it and with it in a ‘planting stage’, it wasn’t hard to visualise what it would be like when it opens in June. Besides the spray of the 30 metre high waterfall on yesterday’s visitors, I could also see that some of the ferns, flowering plants and carnivorous plants of the Lost World seemed to already be thriving. We also got to have a feel of the Cloud Walk – which takes visitors down a cantilevered walkway from the Lost World to the world down below it. Walking down the open metal gratings of the walkway, it wasn’t hard to imagine the view it will offer not just of the epiphytic plants that will clad the side of the ‘mountain’ when completed, but also the sensory experience of the descent down the mountain and the spectacular views of the inside and outside of the Cloud Forest.

The 30 metre high waterfall down the 'mountain' in the Cloud Forest.

The Cloud Walk which takes one on a descent down a cantilevered walkway on the outside of the 'mountain'.

The view downwards from the Cloud Walk.

Another view of the Cloud Walk (and the Tree Top Walk far below).

The descent down the Cloud Walk leads one towards The Cavern inside the ‘mountain’ – an education zone where visitors are able to learn more about the cloud forests, as well as to the back of the waterfall – the Waterfall View that prompts the visitor to consider the importance of fresh water and how cloud forests are able to capture water droplets from mist and fog. It is also on the inside that one finds the Crystal Mountain – where one is surrounded by stalactites and stalagmites typical of caves which are a common feature of mountains. Here the visitor will find a showcase on the formation of the continents, the age of the earth and the role that fossils play in helping us understand our planet’s past.

A view of the waterfall from inside the 'mountain'.

The Cavern will feature stalactites and stalagmites.

Planks for scaffolding inside The Cavern.

Another walkway that the Cloud Forest will feature is the Tree Top Walk which will take visitors, as the name suggests, over a tree canopy. Besides this, visitors will also find a special lab which provides a view of the state of the earth today and the threats to the earth from climate change and habitat loss – Earth Check. +5 Degrees will provide an experience of the effects of temperature increase due to climate change and Secret Garden at the foot of the mountain is a gentle ravine walk through a narrow gorge that provides visitors close to once abundant but now threatened plants.

The glass panels of the Cloud Forest being cleaned.

Besides the cool climate of the cloud forests which will be maintained in the conservatory between 23 and 25 degrees C, we got a feel of what the garden will be like. Again, that is very much work-in-progress. Along with the Heritage Gardens, the Dragonfly Bridge and Dragonfly Lake which was opened to the public during the 20th World Orchid Conference World Orchid Show in November last year, we also were taken through the World of Plants. This along with the Flower Dome, a sneak peek of which was given in November, and the Supertrees of the Golden Garden, Silver Garden and the Supertree Grove and Kingfisher Lake will be ready when the 54 hectare Bay South Garden opens in June. The Supertrees of the Supertree Grove will feature a cable suspended Aerial Walkway which we got to see for the first time yesterday.

A view of the Dragonfly Lake today from the Dragonfly Bridge.

The view of the clusters of 'Supertrees' around the Dragonfly Lake.

In conjunction with the opening (the official launch will be on 28 June 2012 and the garden opened to the public from 29 June 2012), events will be held in the garden over a period spanning two weekends from 29 June to 8 July 2012. The events will include live concerts by Grammy Award winner Jason Mraz and Corrine May, and other activities that include an outdoor movie under the stars.

The suspended Aerial Walkway on the Supertrees of the Supertree Grove.

The Bay South Garden will be opened from 5 am to 2 am daily and the cooled conservatories and aerial walkway in the Supertree Grove will open from 9 am to 9 pm daily. Admission to the Bay South Garden will be free, while admission charges will apply for the cooled conservatories and aerial walkway. Rates for local residents for entry to a single conservatory are S$12 (adults), S$8 (senior citizens above 60 years old / children 3-12 years old). Entry to two conservatories will cost local residents S$20 (adults), S$15 (senior citizens above 60 years old), S$12 (children 3-12 years old) and non-residents S$28 (adults), S$15 (children 3-12 years old). Discounts will be available for holders of PAssion Card, NTUC Plus! Card, SAFRA Card and Home Team NS Card. For entry to the Aerial Walkway, rates will be S$5 for adults and S$3 for children. Annual passes will also be available and in conjunction with the Singapore Garden Festival from 7 to 15 July 2012, a joint promotion will be held which offers discounted entry to the conservatories and for the Festival.


Information on Jason Mraz’s and Corrine May’s Live Concerts

Ticket prices (excluding SISTIC charges) for Jason Mraz’s 29 June 2012 Concert are S$98 (purchased before event day) or S$112 (purchased at the door on event day itself) and Corrine May’s 30 June 2012 Concert are S$38 (purchased before event day) / S$45 (purchased at the door on event day itself). Ticket sales start on 20 April 2012 at 9am (online) and 10am (at SISTIC booths).






A final dance with the lights

1 04 2012

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After what has been a wonderful three weeks of fun in glow of the light art installations at Marina Bay, here for Asia’s first and only sustainable light art festival – i Light Marina Bay 2012, it is time to say goodbye. With it being the last day of the event today, there is still that chance for those who have not yet been down to bathe in the glow of lights as well as the many I am sure who have not had their fill of the festival to have a last dance with the light art installations – many of which do certainly make one want to dance with.

A child is seen dancing in the light of Parmendies I. Have a last dance this evening with the installations at i Light Marina Bay 2012..

There is little doubt about the buzz the festival has generated. The numbers thronging the waterfront promenade around Marina Bay where most of the 31 installations have been sited, even during the weekdays has been clear to see. The festival attracted both visitors from Singapore, as well as many from further afield, including the “overly caffeinated, full time travel photographer & Monkey to blame for a BlameTheMonkey.com“, Elia Locardi who hails from the Florida Keys. I had an opportunity to meet and and also speak at length with Elia, who had linked-up with a newly formed group of landscape photography enthusiasts Landscape Hunters Asia to conduct (cup of coffee in hand of course) a well attended photo-walk and a Q&A session for the group. I will be posting on the interview I did with Elia little later.

A stick-figure from Groupe LAPS installation, Key Frames, seems to use the Singapore Flyer as a running wheel.

It is probably the large-scale installations and those that permit some level of interaction that have perhaps gone down the best with the many visitors to the festival. One can’t help but be enthralled by the 3D sound and light project on the ArtScience Museum Garden of Light – best viewed from the look-out platforms of the Helix, and be drawn to the flicker and the music of the 30 stick figures of Key Frames that seem to dance at the seating gallery of the Float @ Marina Bay. It is probably however what has been described as the “Rainbow Merlion” that is the crowd’s favourite – an installation that certainly encourages interaction – one that nobody, young or old can resist wanting to have a hand in. This installation entitled Light of The Merlion is one that a visitor can influence the colours that are projected on the much loved 40 year old icon of the new Singapore through a touch-screen LCD panel which sees large numbers queuing up each evening.

Light of the Merlion.

Besides the installations mentioned, each of the other 28 installations are ones that offer differing experiences and each definitely is worth a visit – each as I have mentioned an observer as saying, offering “small delights”. There are about four clusters of installations around the bay, the largest cluster of which is under and around the seating gallery of the Float which includes Key Frames, Immersion and enLIGHTenment on the outside. Under the gallery, are several installations – my favourites of which are Parmendies I and White Rain.

Immersion by the Float.

Dancing in the light and reflection of Edwin Tan's enLIGHTenment on a wet evening.

Along the waterfront promenade of Marina Bay Sands is another cluster which includes Garden of Light and MEGAPOV – interesting a vertical line of light which in panning one’s head or a camera, one is able to see subliminal images. Further down at the Marina Bay City Gallery is the red beams of The Gate. Close to the Marina Bay City Gallery are the installations of the Promontory as well as where the festival village is located. The festival village is where one can find many of the fringe activities – a few of which, including Light Painting by LUMIX are still available on the last evening and are definitely not to be missed. If you do feel like there is that urge to head down to have that final dance with the lights this evening at one of the four clusters or at the Light of The Merlion at Merlion Park, do also make it a point to pass by Esplanade Park. That might hold a reward of seeing one or two who are not dancing with the lights, but talking to the few forgotten trees there. That is this one little delight that somewhat off the beaten path, is one that awaits discovery – Angela Chong’s Tree Stories which compels the visitor to interact with the trees. The installations will on this last evening, as with the other evenings, be turned on from 7.30 to 11 pm. More information on the activities and the event can be found on the i Light Marina Bay 2012 Activity Chart or at the event’s website: www.ilightmarinabay.sg.

Subliminal messages given by a vertical strip of light.

Another subliminal image.

No Emergency Exit is offered by The Gate.

Beams of light draw one into a portal that cannot be passed through - portraying Enlightenment as an unattainable goal.

After Light - an installation that involves 26 shipping containers at the Promontory which also incorporates two installations by Singapore based art college students.


All photographs in this post have been taken with a LUMIX GF-3.


Related posts:

Media Preview and an Overview of some of the installations

Opening Ceremony and the Light of The Merlion

Light Painting by LUMIX and other Fringe Activities

The View from Sands SkyPark and the Garden of Light

Lighting Up for Sustainability


About i Light Marina Bay 2012:

i Light Marina Bay 2012, the second edition of Asia’s first and only sustainable light art festival, will be held from 9 March to 1 April 2012. Themed “Light Meets Asia”, i Light Marina Bay 2012 features innovative and environmentally sustainable light art installations by 31 multi-disciplinary artists, with a strong focus on works from Asia. The festival is organised by the Urban Redevelopment Authority (URA) in collaboration with Smart Light Singapore. i Light Marina Bay will be on nightly from 7.30pm to 11.00pm from 9 March to 1 April 2012. For more information, please visit www.ilightmarinabay.sg. In conjunction with the festival, LUMIX is running a photography competition for which participants who can capture the magical atmosphere created by the light art installations around Marina Bay stand to win attractive prizes. More information can be found at the festival website.








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