The Old Vic’s ticking once again

22 07 2014

The Old Vic’s finally back. Having seen it look increasingly tired over the years, it’s nice to see that it’s not just been freshened up during a four year hibernation, but has also been done up very nicely for its role as a mid-sized performing arts venue for the future.

Ticking once again is the clock at the Old Vic.

Ticking once again is the clock at the Old Vic.

The Old Vic's definitely back!

The Old Vic’ made new.

A passageway regained by the side of the concert hall.

A passageway regained by the side of the concert hall.

I had the opportunity to have a quick glance at the newly refurbished Vic at an exclusive tour organised for a group of bloggers over the weekend of the Open House, with a visit to the top of what to me has always been the mysterious clock tower thrown in; and I must say, there isn’t anything there is to dislike about its latest makeover – except that is that everyone now seems to want to refer to the well-loved monument by its acronym VTCH (for Victoria Theatre and Concert Hall). We in Singapore do have a penchant for using acronym, but extending the practice to our well loved icons, doesn’t seem quite right.

The queue at the opening of the Open House.

The queue at the opening of the Open House.

We got a peek at the inside of the clock tower.

We got a peek at the inside of the clock tower.

It will always the old Vic to me, a landmark that we have long identified with our Lion City. It is where the founder of modern Singapore, Sir Stamford Raffles, has maintained his proud position – almost uninterrupted (the statue was removed from its position during the Japanese Occupation in 1942 and restored in 1946) since 1919, the centenary of him setting foot on the island at a point not far away on the river bank and setting the ball rolling on a chain of events that has brought us to where we are today. The chimes from its clock tower were ones that flavoured my childhood and it was something I looked forward to hearing on the many occasions I found myself in the area in the days of my childhood.

Inside the refurbished Old Vic - seen on the third level below the glass roof of the Central Atrium.

Inside the refurbished Old Vic – seen on the third level below the glass roof of the Central Atrium.

The refurbished theatre.

The refurbished theatre.

The section of the building that has served as the concert hall since the late 197os was of course the Victoria Memorial Hall back in the days of my youth, a name I still have the tendency, as with many of my generation, to use in referring to the National Monument. There were several occasions when I did have a chance to pop into it – it had been the site of many exhibitions in the days before the former World Trade Centre and the former Harbourfront took over as Singapore’s main exhibition venues.

The entrance to the former Victoria Memorial Hall - the area below the concert hall where the box office is located.

The entrance to the former Victoria Memorial Hall – the area below the concert hall where the box office is located.

The concert hall, which served as the home of the Singapore Symphony Orchestra (SSO) from 1979 until the SSO shifted to the Esplanade in 2002, was actually a 1905 addition to the building, built in the memory of Queen Victoria. The original section, built as a town hall in 1862, was then remodelled to complement the memorial hall in a symmetrical fashion and reopened as a theatre in 1909. The clock tower, with chimes and clock by the Straits Trading Company, was completed in 1906.

A view from the clock tower.

A view from the clock tower.

Over the years, several modifications were made to the buildings. This included a significant makeover in the 1950s, which saw the two buildings air-conditioned, and the seating capacity of the theatre doubled. That makeover also saw the incorporation of the previously open courtyard between the two buildings into the structure with it being covered up – a modification that has to an extent, now been reversed.

The Central Atrium - where the courtyard between the two buildings had been.

The Central Atrium – where the courtyard between the two buildings had been.

A look through the old arches to the new relief etched panels of the theatre.

A look through the old arches to the new relief etched panels of the theatre.

A glass roof now allows light into a rather pleasant looking and air-conditioned courtyard, the Central Atrium, restored partially on the side of the concert hall. Not only does this allow a wonderful view of the clock tower, it allows it to serve as a through passageway from the front of the buildings to the back. At the back a magnificent view of Old Parliament House, now The Arts House, Singapore’s oldest government building, in its full glory awaits.

The Arts House - at the end of the passageway.

The Arts House – at the end of the passageway.

The Central Atrium is where we see a tasteful blend of old and new. The rolling back of the modifications made to maximise the capacities of both the theatre and the concert hall, sees the boundaries of both pushed back to the original locations, allowing the columns and arches to be brought out. On the side of the concert hall, we see how it may have been with its ornate archways and rusticated columns restored. It is however the side of the theatre that seems most interesting, it is there that we now see a reinterpretation of courtyard side of the old theatre, with the use of relief etched precast panels providing a modern and forward looking impression, partly to compensate for the absence of information relating to the original architectural details, in contrast to that on the side of the concert hall.

The precast etched relief panels.

The precast relief etched panels on the theatre side of the atrium.

It was also nice to see how Victoria Theatre has been redone – its seating arranged in the horseshoe shape as it might originally have been with a provision of an orchestral pit. This has reduced its capacity from 900  to 614, providing it with a more intimate setting. More importantly, the modifications must now give it much improved acoustics – one of the few impressions of the theatre that I have from watching Lea Salonga in a Singapore Repertory Theatre production of the musical “Into the Woods” sometime in the 1990s, was of its rather poor acoustics.

The refurbished theatre.

The refurbished theatre.

It is interesting to see that several items from the old theatre have been incorporated into the new – with the backs of the old seats decorating the entrance foyer, seen in a floating “Rubik’s Cube”. Frames and material from the old seating are now also seen in the remodelled theatre, such as the cast-iron components incorporated into the newly installed acoustic timber walls.

A re-used part of the frame of the old seating.

A re-used part of the frame of the old seating.

The 'Rubik's Cube' in the theatre's foyer and a reflection of it on a counter top.

The ‘Rubik’s Cube’ in the theatre’s foyer and a reflection of it on a counter top.

While some of us did not get to see the 673 seat concert hall, we did hear the glorious strains from Dr Margaret Chan’s masterful pipe-organ performance from the foyer where we got to see the suspended balcony - replacing the previously added balcony that had to be supported by intrusive structures, to free up volume and improve acoustics.

The refurbished concert hall (photo courtesy of Victoria Theatre and Concert Hall).

The refurbished concert hall (photo courtesy of Victoria Theatre and Concert Hall).

The suspended balcony.

The suspended balcony.

What we got to see that most visitors during the Open House didn’t was the clock tower (which incidentally has had its crown restored), which I had been curious about throughout  my childhood. The inside of the clock tower turned out to be quite different from the one I had envisaged - the clock’s mechanism and the five bells seemed a lot smaller than what I had imagined as a child.

The chime bells and a clock face on the platform below.

The chime bells and a clock face on the platform below.

The writing on the largest bell: 'This clock and chime of bells were presented to the Queen Victoria Memorial Hall by the Straits Trading Company, 1905'.

The writing on the largest bell: ‘This clock and chime of bells were presented to the Queen Victoria Memorial Hall by the Straits Trading Company, 1905′.

The clock has seen an improvement during the refurbishment – an automatic winding mechanism was added. Prior to this, the clock had to be rewound manually, requiring a winder and maintenance man to ascent up 176 steps once a week to spend up to an hour winding the clock.

The long road to the top - 176 steps for the winder who would have to ascend once a week.

The long road to the top – 176 steps for the winder who would have to make the acsent once a week.

An automatic winder has been added to the clock's mechanism.

An automatic winder has been added to the clock’s mechanism.

While the chimes I am told, can be heard as far away as the Esplanade, it didn’t quite sound as loud as one might have expected standing right by the bells, seemed minute compared to the bells that Quasimodo lent his hand in ringing. Beside the thrill of hearing the bells chime at 11 o’clock, there was also the bonus of taking in the magnificent views of the surroundings and the contrast of the old Padang surrounded by the architectural symbols of colonial power next to what architectural historian Lai Chee Kien, calls a new “liquid padang” - surrounded by the architectural symbols representing the new power.

The clock level.

The clock level.

The refurbishment of the old Vic coincides with an effort that will also see a renovation of the Asian Civilisations Museum and the transformation of the Old Supreme Court and City Hall into the National Gallery Singapore – all scheduled to be completed next year. That will complete the transformation of an area that had been at the heart of the colonial administration into an arts and cultural hub – what the Urban Redevelopment Authority (URA), in their 2014 Master Plan, terms as a “Civic and Cultural District by the Bay“.

More information on what is envisaged for the Civic District as part of URA Master Plan 2014, do visit the following links:

More information on Victoria Theatre and Concert Hall and its recent refurbishment can be found on their website.


Some key dates relating to the Victoria Theatre and Concert Hall:

17 March 1855

The foundation stone for the new Town Hall was laid by the Governor of Singapore, Colonel W. J. Butterworth.

1902 – 1905

Victoria Memorial Hall was built in memory of Queen Victoria’s reign. Victoria Memorial Hall and Tower were joined to the existing theatre by R. A. J. Bidwell of Swan and Maclaren, with passageway between the two buildings.

18 October 1905

Victoria Memorial Hall was officially opened by the Governor of the Straits Settlements, John Anderson.

1906

The construction of the signature clock tower was completed. This was later than expected due to the delay in donation of the clock and chimes by the Straits Trading Company.

1909

The first performance that took place in the newly completed Victoria Theatre was Sirs William S. Gilbert and Arthur S. Sullivan’s well-known and amusing opera, The Pirates of Penzance, staged by the Singapore Amateur Dramatic Committee.

6 February 1919

On Centenary Day, T. Woolner’s statue of Sir Stamford Raffles was moved from the Padang to Victoria Memorial Hall, taking the place of the bronze elephant presented to Singapore by King Chulalongkorn.

Early 1942

The Victoria Memorial Hall was used as a hospital for victims of bombing raids by the Japanese forces during World War II.

1946 – 1947

Victoria Memorial Hall was used as a location for war crimes courts.

21 November 1954

The inaugural meeting of the People’s Action Party was held at the Victoria Memorial Hall.

1954 – 1958

Major renovations were carried out including a complete restructuring of the interior of the theatre. Air-conditioning and sound-proofing was added and the courtyard covered up.

4 November 1957

The public had its first glimpse at television when William Jacks and Co presented a full length variety show on television at the annual Philips Radio Convention held at the Victoria Memorial Hall.

15 February 1963

Television Singapura (Singapore’s first TV station) was launched with a pilot monochrome service at the Victoria Memorial Hall.

1979

Victoria Memorial Hall was renamed the Victoria Concert Hall and named as the official home of the Singapore Symphony Orchestra.

1980s

A gallery was added to the Concert Hall, adding seating capacity and enclosing the second storey balconies on the front and back facades with glass.

1990s

Renovations were carried out to Victoria Theatre to make it a more efficient performing venue.

February 1992

Victoria Theatre and Concert Hall was gazetted as a national monument of Singapore.

2010

The Victoria Theatre and Concert Hall was closed for a $158 million renovation.

2014

Victoria Theatre and Concert Hall reopened its doors after a four-year renovation.


 





Rediscovering the romance of Chap Goh Mei

19 02 2014

The fifteenth day of the Chinese New Year, Chap Goh Mei (Hokkien for 15th night) as it has been commonly referred to in Singapore, has traditionally been associated with romance. It was perhaps in the hope of rediscovering the romance of a festival that has been lost in the embrace of modernity that drew a healthy crowd of participants to a walk through the streets of Chinatown on the evening of the fifteenth day this year on what coincidentally was also the western day for the celebration of romance, St. Valentine’s Day that was organised by the Conservation Management Department of the Urban Redevelopment Authority (URA).

A romantic spot on the streets of Chinatown on Chap Goh Mei.

A romantic spot on the streets of Chinatown on Chap Goh Mei.

The fifteenth night of any Chinese lunar month is of course one that, weather conditions permitting, would be illuminated by the light of the full moon – a setting that certainly is ideal for romance. In the case of Chap Goh Mei, it is a night when Yuanxiao Jie (元宵节) is celebrated, providing an evening for romance to be found not only in the light of the moon, but also in the glow of colourful lanterns; it having been a tradition to have lanterns displayed outside homes and along five-foot-ways, as it was for children to take to the streets carrying lanterns in a fashion similar to the Mid-Autumn festival.

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The search for romance would take many eligible young men and women to the water’s edge - the waterfront along Esplanade was, I am told, a particularly popular spot, from which fruits would be aimed into the water. For the ladies, it would be oranges, representing good husbands, that would be thrown, and for men, good wives taking the form of apples – a practice that I actually did not know about until more recent times.

The lantern parade through the streets of Chinatown on what can be seen as a double Valentine's Day in search for a lost romance.

The search for romance.

While we did not get the chance to toss oranges or apples in the name of romance, we did however get an opportunity to rediscover the romance of Chap Goh Mei and of a Chinatown that would otherwise lie hidden behind the recoloured labyrinth of streets of what would once have been referred to as Tua Poh or the ‘Greater Town’.

The lantern parade.

The lantern parade.

The route we were to take, lanterns in hand, was one of many twists and turns, taking us through a complex of streets that in being referred to as Chinatown, belies the intra-ethnic divisions that did once exist within the greater Chinese immigrant community, divisions that would once have been apparent in moving across the area’s many streets.

Only a thin Ho may enter? The Thin Ho clan association on Ann Siang Road.

Only a thin Ho may enter? The Thin Ho clan association on Ann Siang Road.

The first pause we made was the Ann Siang Hill area where the Cantonese dialect group did have a strong presence. Besides the well known Yeung Ching School (now referred to in the Mandarin form of the name as Yangzheng School) that was perched on top of Ann Siang Hill, there were the many Cantonese clan associations – many of which are still present in the area. Amongst the school alumni are many well known names. This included one that is synonymous with the the lost art of story telling and Redifussion’s Cantonese broadcasts in the 1950s and 1960s, Lee Dai Soh. Another, perhaps lesser known in Singapore, is a certain Xian Xinghai, the composer of the Yellow River Cantata – a work which was to become used as a Chinese revolutionary song. The Yeung Ching foundation does still maintain a presence in the area as is evident from a signboard seen atop a building it owns along Club Street close to its junction with Ann Siang Hill.

The condo in the background would have been where the Yeung Ching school would have stood - atop a since levelled hill the base of which would have been at the condo's sixth floor.

The condo in the background would have been where the Yeung Ching school would have stood – atop a since levelled hill the base of which would have been at the condo’s sixth floor.

Ann Siang Road.

Ann Siang Road.

Club Street.

Club Street.

From Ann Siang Road and Club Street, the procession made its way up to Ann Siang Hill before continuing down to Amoy Street, once a predominantly a Hokkien street, as was Telok Ayer Street where the group was to make a stop in the glow of the beautifully restored Thian Hock Keng temple, a magnificent example of Hokkien temple architecture and a National Monument.

Up Ann Siang Hill.

Up Ann Siang Hill.

The view at the top.

The view at the top.

The pathway down.

The pathway down.

Down Ann Siang Hill.

Down Ann Siang Hill.

Lantern bearers during a pause in the search for romance.

Lantern bearers posing for a photograph outside the Thain Hock Keng temple in the search for romance.

The temple, which now stands across from the watchful eyes of the Singapore Hokkien Huay Kuan, is dedicated to the protector of seafarers, the Taoist goddess of the sea, Ma Zu, does point to the fact that the temple did once find itself by the sea, as did the street it is located at – Telok Ayer Street was in the early days of post-Raffles Singapore, a waterfront to which many immigrants would have come ashore at (it was also interesting to learn that the rebuilt Hokkien Huay Kuan, sitting on the site of the temple’s wayang or Chinese Opera stage built over the then shoreline, was designed with a wide through corridor on its ground floor to provide a symbolic passage from the temple to the now distant sea). This did provide the street with a flavour that went beyond the Hokkiens with several other houses of worship and immigrant reception point coming along the street that were put up by other groups of immigrants including a Hakka clan association, Ying Fo Fui Kuan (also a National Monument) and the former Hakka Fuk Tak Chi Temple which was also used by Cantonese immigrants.

The 'watchful eyes' of the Hokkien Huay Kuan.

The ‘watchful eyes’ of the Singapore Hokkien Huay Kuan.

The rather interesting walk ended at another magnificent work of temple architecture, the very recently restored Yueh Hai Ching or Wak Hai Cheng temple at Phillip Street. Set inside a within a walled compound accessible through a narrow doorway from which the sight of coils of incense would first greet the eye, the temple (actually two temples side-by-side), also a National Monument, is another wonderful example of temple architecture, -this time in Teochew style. 

The Yueh Hai Ching temple.

The Yueh Hai Ching temple.

Through the doorway to the newly restored Yueh Hai Ching.

Through the doorway to the newly restored Yueh Hai Ching.

Incense coils.

Incense coils.

The oldest Teochew temple in Singapore (its building dates back to the 1850s), the Yueh Hai Ching features a elaborately decorated roof and is dedicated to Ma Zu and Xuan Tian Shang Di. The temple besides catering to the Teochew community, does also attract worshipers from the Cantonese community – especially during the Chinese New Year – the Cantonese and Teochew communities having an affinity with both having originated from Guangdong (Canton) province. More on the temple can be found at the Ngee Ann Kongsi’s website.

Inside the temple.

Inside the temple.

Another view inside the temple.

Another view inside the temple.

While taking a walk in the company of strangers through now sanitised streets of an old world we in modern times may have seemed to have over-romanticised might not fit into everyone’s idea of how they would want to spend an evening businesses have turned into an excuse for money making, it was a walk in which I was rewarded with the rediscovery of the romance of a festival and of times I might not have otherwise been reminded of.

Smoke from large joss sticks in the compound.

Smoke from large joss sticks in the compound.





Work resumes at St. Joseph’s Church

9 09 2013

Great news delivered over the weekend – the much delayed work on the stained glass restoration at St. Joseph’s Church will be resuming today. The work will restart at the south (or west) transept where the first batch of stained glass windows were taken down in the second half of last year. Work on this batch of windows has in fact been completed and that does mean we shall soon have a first glimpse of some of the beautiful windows restored to its full glory when the windows are finally re-installed.

A look across to the west transept.

A look across to the west transept.

Part of the west transept seen to the right of the sanctuary.

Part of the west transept seen to the right of the sanctuary.

Close up of the window at the end of the west transept.

Close up of the window at the end of the west transept.





Exposing the Convent

6 07 2013

Work has begun on a facelift which will see another significant change occur to a place I will always see as the convent, a lifestyle complex we now know as CHIJMES. The convent was one which dates back to February 1854, when three nuns from the religious order of the Sisters of the Infant Jesus arrived to set it up, with a French Catholic missionary, Fr. Jean Marie Beurel, who is also credited with work to establish St. Joseph’s Institution two years before that, instrumental in bringing them here, having purchased Caldwell House for the purpose. The current work, expected to be completed next year, based on news reports, is aimed at turning it into an upmarket venue and will see part of a wall which has featured through much of the convent’s history, come down to provide an almost full frontal exposure of the former convent – in particularly two of its buildings, the gloriously designed French Gothic style former chapel and Caldwell House, both of which have been gazetted as a National Monument.

Caldwell House and the beautiful former chapel of the convent.

Caldwell House and the beautiful former chapel of the former convent – both buildings have since 1990 been gazetted as National Monuments.

Based on the same news reports, the top part of the wall will be replaced by a grille. While this does permit a fuller exposure of the monument from Victoria Street, it does also mean that what little has been left of the character of the former convent, already significantly altered by the redevelopment on the side along Stamford Road as the SMRT Headquarters, and the digging of a huge hole in the ground behind the chapel to create the sunken courtyard, will soon be lost.

A postcard showing the convent and its walls in the early 1900s.

A postcard showing the convent and its walls in the early 1900s.

While the attempts to restore and conserve many of the buildings of the old convent, once bound by walls along Victoria Street, Bras Basah Road, North Bridge Road and the side of Stamford Canal across from Stamford Road through its redevelopment as CHIJMES in 1996, should be commended, one of the unfortunate outcomes of it is that it does take much of the dignity as well as the soul of the place away – a dignity which will be eroded further with the lowering of its walls. The convent, which was forced out of it premises by land acquisition for urban redevelopment after some 130 years in 1983, had been one established to be of service to those in dire need – providing care and education for the numerous orphans, the unwanted, and the destitute. In its place today is a very different institution – one with which the aim is serve and reap profits for those already well off by the standards of the society.

The former convent seen along Victoria Street and the part of the walls which will come tumbling down.

The former convent seen along Victoria Street and the part of the walls which will come tumbling down.

An artist's impression of how the boundary wall with the wrought iron grille will look like.

An artist’s impression of how the boundary wall with the wrought iron grille will look like.

The alteration to the boundary wall will very much change the way we see CHIJMES. What is a shame is the way conservation in Singapore does seem to focus not on the buildings in their environment, but on the individual buildings as it is the case of CHIJMES. With it this way, there will be little that we will remember, not just of what may the buildings what they were, but what it was that put them there.

A view of the Gate of Hope - and the boundary wall further down which will come tumbling down.

A view of the Gate of Hope – and the boundary wall further down which will come tumbling down.

Unholy spirits being delivered to a former holy place.

Unholy spirits being delivered to a former holy place.

A view of the offending wall through the arches.

A view of the offending wall through the arches of its walkways.

Another view through the archways.

Another view through the archways.

The out-of-character staircase from the sunken courtyard.

The out-of-character staircase from the sunken courtyard.

A view along the walkway leading to the former chapel.

A view along the walkway leading to the former chapel.

A hole where there wasn't - the sunken courtyard over which a glass cover will be put up.

A hole where there wasn’t – the sunken courtyard over which a glass cover will be put up.

The beautiful interior of CHIJMES Hall with its stained glass.

The beautiful interior of CHIJMES Hall with its stained glass.


The upper part of the boundary wall being hacked away as seen on Saturday 6 July 2013.

The upper part of the boundary wall being hacked away as seen on Saturday 6 July 2013.






The Chinese Church – another National Monument in need

24 05 2013

The Bras Basah Road area is one blessed with several monuments which date back to the 1800s. It was at the heart of an area where four of these monuments were erected largely through the efforts of the early French Catholic missionaries. Built to serve the needs of the growing Catholic community in Singapore, as well as to provide education for those in need, the monuments were not built to be functional but also were expressions of the love and dedication that they had been built with. While two of the four, the buildings of the former St. Joseph’s Institution (SJI) and the Convent of the Holy Infant Jesus (CHIJ), have since been converted for uses other than what they had been attended for, the other two, the Cathedral of the Good Shepherd and the Church of Sts. Peter and Paul, are still used as they had been meant to be.

The Church of Sts. Peter and Paul in Queen Street.

The Church of Sts. Peter and Paul in Queen Street.

The two are also ones which are also badly in need of repair and restoration. The plight of the Cathedral, Singapore’s oldest Catholic church building,  is of course a more dire one. Its structure, ravaged by both time and nearby construction activity, shows obvious signs of damage. Repairs which are due to commence sometime this year will cost the Cathedral  some S$40 million, of which it has raised only a quarter of. The Church of Sts. Peter and Paul, the  second oldest Catholic church building, while less in need of repair, does still need to raise some S$10 million to have, among other work, its roof and termite infested wooden structures repaired.

An appeal for funds at the church's entrance.

An appeal for funds at the church’s entrance.

The Church of Sts. Peter and Paul, built from 1869 to 1870, its steeple once featuring prominently in the area’s skyline alongside that of the Cathedral’s and the Chapel of CHIJ, and the dome of SJI, is one of several beautiful examples of the tropical adapted Neo-Gothic religious architecture the French Missionaries gave to Singapore (other examples include the CHIJ Chapel and Nativity Church). Built to house the growing Chinese and Tamil speaking Catholic community by a certain Fr. Pierre Paris (whose remains are buried in the church), the church also features some beautiful wrought iron work as well as stained glass panels (which are said to have been made by French artisans).

Ironwork at the church's entrance.

Ironwork at the church’s entrance.

A view towards the sanctuary behind which five long stained panels can be be seen.

A view towards the sanctuary behind which five long stained panels can be be seen.

A close-up of the five panels of stained glass.

A close-up of the five panels of stained glass.

A close-up of the central panel.

A close-up of the central panel.

A stained glass rose window.

A stained glass rose window.

The church is also one I have had many interactions with through the days of my youth. My parents who often referred to it as “Chinese Church” did on occasion take me there for mass and it was in this church as well as the Cathedral where I, as a schoolboy in SJI, would attend masses organised by the school – the school’s chapel was too small to accommodate the school’s population of Catholics. The church is also one I often associate with Catholic High School – the school having been housed at buildings within the church’s compound (now 222 Queen Street) and across the road (now SAM at 8Q).

A view through the grills of  the building which once housed Catholic High School.

A view through the grilles of the building which once housed Catholic High School.

The grills of the stairwell - the building is now used as an arts centre.

The grilles of the stairwell – the building is now used as an arts centre.

That it was commonly referred to as the “Chinese Church” stems from it having housed the Chinese Mission which saw to the needs of the various dialect speaking groups including the large number of Teochew speakers who remained with the church after the other communities moved out. The other communities included the Hakka and Cantonese speaking congregation who would in 1910 move to the Church of the Sacred Heart in Tank Road, and the small Hokkien Catholic community who moved to the Church of St. Teresa in 1929. Interestingly, the church also housed the the Tamil speaking community as Fr. Paris who built the church, also administered to that community having had a command of the Tamil language. The Tamil community was the first to move when the Church of Our Lady of Lourdes completed in 1888 was built to house them.

Fr. Paris' remains are buried in the church.

Fr. Paris’ remains are buried in the church.

In silent prayer.

In silent prayer.

There are several interesting facts about the church. One is that it once housed a pipe organ built by the renowned 19th Century French organ builder Aristide Cavaillé-Coll in 1877 which unfortunately fell into disrepair and was removed in the 1960s. Another is that the boundary wall is thought to have been paid for by Napoleon III based on a 1914 report attributed to the then Bishop of Malacca (the diocese of which included Singapore), Monseigneur  Emile Barillon who served as Bishop of Malacca from 1904 to 1933.  The building as we see it today is also one that has been enlarged – the transept, sacristy and sanctuary were added in 1891-92. More on the building and the history of the church can be found at:

The boundary wall seen on Waterloo Street today - the original wall was said to have been paid for by Napoleon III of France.

The boundary wall seen on Waterloo Street today – the original wall was said to have been paid for by Napoleon III of France.

A look down the nave - the nave had originally had three sections, separated by huge hardwood columns which were removed in the 1890s.

A look down the nave – the nave had originally had three sections, separated by huge hardwood columns which were removed in the 1890s.

The choir loft at the end of the nave.

The choir loft at the end of the nave.

A wooden door at the transept entrance.

A wooden door at the transept entrance.

A view across the transept - the transept was added in 1891-92.

A view across the transept – the transept was added in 1891-92.

Another view down the nave.

Another view down the nave.

The tropical adapted neo-gothic design features windows which allow both light and ventilation into the church.

The tropical adapted neo-gothic design features windows which allow both light and ventilation into the church.

The statue of St. Peter at the entrance.

A statue of St. Peter at the entrance.

And one of St. Paul.

And one of St. Paul.





Perspectives of the museum

4 05 2013

As a child, the Museum, as I referred to the National Museum of Singapore, was a dark, somewhat mysterious and not a particularly interesting place to me. My earliest encounters were ones which besides being filled with tales of the supernatural occurrences the museum had a reputation for, I would most remember for the overpowering smell of the museum preservatives which filled some of the galleries, and also for the huge skeleton of a whale suspended from its ceiling.

The museum today attracts a lot more visitors than it did in my younger days.

The museum today attracts a lot more visitors than it did in my younger days.

The encounters I had with the museum during my days attending nearby St. Joseph’s Institution were to be the ones I was to remember most. The time my schoolmates and I had in between technical workshop sessions on Tuesdays and a quick lunch before school, meant there was ample time to wander around. The museum, as was the MPH bookstore at the corner of Stamford Road and Armenian Street, was an obvious destination on days when it was a little too hot to out, because of the cool relief its air-conditioning provided.

The skeleton of a whale which hung inside the museum until 1974 when it was presented to the Muzium Negara in Kuala Lumpur.

The skeleton of a whale which hung inside the museum until 1974 when it was presented to the Muzium Negara in Kuala Lumpur (photograph: National Archives online catalogue http://a2o.nas.sg/picas).

A gallery we would frequent was one where full length portraits hung along its long hallway. Located in the museum’s west wing, it was part of the National Museum’s Art Gallery which had been opened at the end of 1974. The portraits which seemed to glow in their illuminations would at times appear to come alive – which could be a reason why that particular gallery did not receive many visitors. This made it a wonderful place to escape to and to read and find some quiet in, particularly with the generously wide cushioned benches found in the gallery which were especially comfortable.

A couple viewing a photography exhibit at "Being Together: Family & Portraits - Photographing with John Clang".

A couple viewing a photography exhibit at “Being Together: Family & Portraits – Photographing with John Clang”.

Another look at "Being Together: Family & Portraits - Photographing with John Clang".

Another look at “Being Together: Family & Portraits – Photographing with John Clang”.

The museum has undergone tremendous changes over the three and a half decades or so since my youthful encounters, and has certainly become a much more interesting destination. Physically, the museum was to undergo a makeover in the mid 2000s during which time a modern glass and steel extension was added to the existing neo-classical building which has been a landmark in the area. Gazetted as a National Monument in 1992, the original building built to house the Raffles Library and Museum, is one that dates back to 1887.

The National Museum of Singapore.

The original National Museum of Singapore building was gazetted as a National Monument in 1992.

Yet another look at "Being Together: Family & Portraits - Photographing with John Clang".

Yet another look at “Being Together: Family & Portraits – Photographing with John Clang”.

These days, it is not so much for the air-conditioning that I find myself visiting the museum. The museum’s many galleries which have been made a lot more interesting and changing exhibitions provide not just a reason to do that, but also an opportunity to take delight in the wonderful mix of old and new in its architecture. The permanent exhibitions in the Singapore Living Galleries and in the Singapore History Gallery provides a wonderful appreciation of what makes us who we are as Singaporean today and certainly ones which every Singaporean should visit. For me, the museum offers a little more than all this, it does also provide me with many opportunities to capture moments in photographs beyond what the streets outside do offer and what perhaps is another perspective of the building and its exhibits.

A glass ceiling added at the original buiding's rear.

A glass ceiling added at the original buiding’s rear.

Information portal.

Information portal?





A cross at a crossroad

15 04 2013

The long and somewhat winding road journeys of my childhood are ones I now look back with much fondness. They are ones that were to put in touch with a Singapore that I grew to love, and a Singapore we have long forgotten. One of these drives which would take place during the Chinese New Year and on the occasions we ventured to one of the “ends of Singapore” to indulge in seafood, was to Punggol. Punggol was then a world away where the livestock population would in all probability have outnumbered the area’s human inhabitants.

A church which was one of two landmark which marked the start of Punggol.

A church which was one of two landmark which marked the start of Punggol.

Punggol for me began at the junction where we would have to make a left turn from a busy Upper Serangoon Road even then to Punggol Road. It was at this point that it felt we would leave the built-up world behind and turn-off into what could probably have been considered a countryside we no longer have. It was where coconut trees seem to dominate the landscape (that at least was my impression) – that I noticed them more than anything else was probably because of the curious sight of many of them without their lightning struck tops – a sight that was in fact common throughout rural Singapore.

Coconut trees with their tops struck off by lightning were once a common sight in much of rural Singapore, including in Punggol.

Coconut trees with their tops struck off by lightning were once a common sight in much of rural Singapore, including in Punggol.

The junction was one which was marked by two structures. One was the St. Francis Xavier Minor Seminary and the other a beautiful church which seemed out of place in the environment around it. And while much of the landscape of the area has been altered beyond recognition – the trees and high-density dwellings of pigs and poultry have now been replaced by towering blocks of high-density human dwellings and the stretch of Punggol Road where the junction is has been renamed as Hougang Avenue 8, the two structures – now looking further out of place in the new environment, are still there to serve as reminders of a time and place we would otherwise have little memories of.

Windows into a world we have forgotten.

Windows into a world we have forgotten.

The church, the Church of the Nativity of the Blessed Virgin Mary – Nativity Church in short, is one that is hard to miss, with its steeple rising high above the structures around it. One of several beautiful examples of a legacy that the French Catholic Missionaries left behind in South-East Asia, the church is of a form we seem to have forgotten to appreciate. Several examples of the style, commonly used in Catholic houses of worship built by the French missionaries in the 1800s and in early 1900s exhibit, do exist on the island. These include the Church of Sts. Peter and Paul, the de-consecrated CHIJ Chapel (now part of the CHIJMES complex) and the Church of Our Lady of Lourdes, all of which now feature in the growing list of Singapore’s National Monuments.

The Church of the Nativity of the Blessed Virgin Mary is one of several examples of the French Gothic church architecture adapted for the tropics.

The Church of the Nativity of the Blessed Virgin Mary is one of several examples of Neo-Gothic church architecture adapted for the tropics. The marble statue of Mary in the foreground is interestingly a gift from Sultan Ibrahim of Johor in 1946.

Built in what can possibly be described as a European inspired Neo-Gothic style adapted for the tropics, the buildings are very similar in appearance. Nativity Church which was completed in 1901, is however, the only one that was placed in a rural setting – pointing not just to a pattern of faith of the community in the area, but also perhaps of a pattern of immigration to and settlement on the island of Singapore.

The transept which was an addition to the original church building illuminated by the soft natural light of the morning.

The transept which was an addition made in 1933 to the original church building illuminated by the soft natural light of the morning.

The area is of course one of several rural areas in which the Teochew community, the second largest group of Chinese immigrants to Singapore, was dominant. The community, many of whom converted to the Catholic faith as well as to other forms of Christianity, were involved in fishing, in farming, as well as in the rubber (and before that pineapple) plantations through much of the countryside along the northern coast of Singapore. With the community and the adoption of faith, missionaries erected several houses of worship – and there are, as a result, several reminders of this in the form of churches, or in the absence of them, parishes which had their origins in these rural Teochew communities. These include the Nativity Church, the Parish of St. Anthony (now in Woodlands) which was previously based off Stephen Lee Road in Mandai, and also a church with a very distinct Teochew flavour in its architecture, St. Joseph’s Church at Upper Bukit Timah Road.

Seeing the light - the soft light illuminating the nave - part of the original structure.

Seeing the light – the soft light illuminating the nave – part of the original structure.

The background to the parish community, the church, as well as on the architecture of the beautiful building is well documented. Much of this information is available on the church’s website, as well as on the Preservation of Monuments Board’s page on the building. Being a Catholic myself, buildings such as these represent a time when architecture and much of what when on around the church, was dedicated to the greater glory of the maker. On a personal level, my interactions with the parish and church are limited, coming to the church only on occasion – the last time I did spend some time in it was on the occasion of my sister’s wedding at the church some years ago. The opportunity to step in to the church again came recently when I found myself nearby with some time to spare.

A holy water font at the entrance of the church.

A holy water font at the entrance of the church.

The nave of the church.

The nave of the church.

Churches are always places where I find a great sense of peace in and in the quiet of the Saturday morning I was there, it was just that I found in stepping through the huge doors at the entrance, finding the interior bathed in the soft natural light of the morning streaming through the generous openings typically found in the tropically adapted Neo-Gothic church design. The church both internally and externally is a visual treat. On the insides, its high vaulted ceiling is accompanied by the rows of arches which would typically line the nave. Focus is drawn towards the Sanctuary bathed in the coloured light of stained glass a building such as this would look bare without.

Some of the church's stained glass windows.

Some of the church’s stained glass windows.

The interior with its adornments and furnishings, is a wonderful reminder of how Catholic churches used to be. The dark stained carved wooden pews is a rare find now with most churches around having been built in more modern times. The walls of the transept are where the statues representing the various saints are placed. These are typical of most Catholic churches and in the older ones it would be in purpose built niches as the ones found in this church in which the statues are placed. The windows, which can be opened, provide not just natural ventilation, but also light – typical of architecture adapted for the tropically environment which we do not see in modern buildings built to be air-conditioned.

A view down the aisle.

A view down the aisle.

A statue of St. Vainney placed in a niche at the transept.

A statue of St. John Vianney placed in a niche at the transept.

There is a lot as well that is interesting about the church’s history, including that a statue of Mary was donated by Sultan Ibrahim of Johor (the great grandfather of the current Sultan of Johor). Placed in a prominent position in front of the church, that is a reminder of the close ties bewteen the southern sultanate and colony which was once a part of it. The church today, while serving the needs of the parish community – which is still predominently Teochew, has also reached out to newer migrants – since the end of last year, it is also where the Korean Catholic community has been based at.

Coloured glass windows.

Coloured glass windows which can be opened allow the church to be naturally illuminated and ventilated.

The church in continuing to serve the spiritual needs of the evolving community does stand as a reminder of the purpose it was built to serve. Gazetted as a National Monument since 2005, it is one that will also stand as a reminder of the area’s past, a past which with the spread of the urban world to the area, is one which is increasing hard to remember.





Recoloured memories

21 03 2013

It is in the silence of a once familiar world disfigured by the winds of change, that I often wander, clinging on to what little there is to remember of a forgotten time that the winds have not swept away. The memories I have are plenty. They are of wonderful times past painted in the colours of a world we have sought to discard. They are today, recoloured by bright hues that mask the grayness painting the world today.

A recoloured memory seen silos that seek to recolour another memory -  the former Stamford College repainted in the colours of the Oxford Hotel, seen through construction storage silos on the site of the former Stamford Community Centre.

A recoloured memory seen silos that seek to recolour another memory – the former Stamford College on Queen Street repainted in the colours of the Oxford Hotel, seen through construction storage silos on the site of the former Stamford Community Centre.

Along with the recoluring of the reminders, a gust from the winds of change has recently blown through, taking buildings which once belonged to the community which since has been dispersed – that of the former Stamford Community Centre on Queen Street. Rising in place of that will be a building that looks like another that will take attention away from the ones we should really be paying attention to.

The former Stamford Community Centre - where with schoolmates I often climbed into to kick a football on the basketball court has been demolished - in its place, a China Cultural Centre is bing built.

A window into a changing world. The former Stamford Community Centre – where with schoolmates I often climbed into to kick a football on the basketball court has been demolished – in its place, a China Cultural Centre is bing built.

The new building will be the home of the China Cultural Centre, intended to promote the understanding of Chinese culture and deepen ties with between China, which is setting it up with Singapore. The setting up of the centre in the heart of a historically rich district of Singapore is representative perhaps of the growing influence of an economically powerful and increasingly influential China and the influx of the new Chinese immigrants from that new China which all have the effect of recolouring the rich mix of Chinese cultures and sub-cultures that were brought in by the early Chinese immigrants who gave Singapore a huge part of its culturally rich and diverse flavour.

Signs of the times - the growing influence of a people descends on a world once built for the people.

Signs of the times – the growing influence of a people descends on a world once built for the people.

The school that I spent four wonderful years in, has also since moved, a contemporary art museum now occupies the buildings which were left behind. The main building – with its beautiful façade, its curved wings and portico giving it a very distinct and welcoming appearance, was one that welcomed the many white uniformed schoolboys – as many as 2200 were enrolled at its peak. Gazetted as a National Monument in 1992, it is one that I am thankful is being preserved, allowing me to keep some of my memories of the space intact, recoloured or otherwise.

A building that was the school I went to - recoloured as a museum for contemporary art. The far corner to the right of the portico was where a fish pond shaded by a guava tree was in my schooldays.

A building that was the school I went to – recoloured as a museum for contemporary art. The far corner to the right of the portico was where a fish pond shaded by a guava tree was in my schooldays.

A view recoloured - looking towards at the end of the wing where the 2104 Pelandok Scout Den had been.

A view recoloured – looking towards at the end of the wing where the 2104 Pelandok Scout Den had been.

Another that is recoloured, the former Middle Road Church at the corner of Middle Road and Waterloo Street, thankfully in this case for the better, is a favourite of mine for the curious sight it offered in my younger days – a motor workshop. That is the subject of a very recent post and a memory that, as with the others I am still fortunate to have, I will long hold on to.

The recoloured former church which was coloured by the oil and grease of a motor workshop in the days of my childhood.

The recoloured former church which was coloured by the oil and grease of a motor workshop in the days of my childhood.





A bay of plenty from which we came

7 03 2013

One of Singapore’s urban spaces in which there is always much to discover is what we have come to know as Chinatown. It may seem that Chinatown today, cleansed of the people and business that made it what it was, is without a soul. It does indeed seem in many parts like a neighbourhood that has been conserved and revived more to draw the tourist dollar than to preserve the memories it holds, but it is in some of the quieter streets of the area designated as a Chinese settlement by Raffles not long after modern Singapore’s founding, that we do find many traces, some still very much alive, of a world that for most part has ceased to exist.

Part of the Thian Hock Keng Temple on Telok Ayer Street.

Part of the Thian Hock Keng Temple on Telok Ayer Street – one of the traces left behind by a long forgotten time.

One especially quiet area, seemingly in an area cut off from the busier streets of the neighbourhood, is where there is a wealth of these reminders. It was on a street in the area, now caught between the past and the present, Telok Ayer Street, where in fact the first chapters in the story of Singapore from the perspective of our forefathers did in fact begin in the early days that followed the arrival of the British. The street’s name, Telok Ayer, suggests proximity to the sea – “telok” being Malay for “bay” and “ayer” the word for “water”, although a field of glass and steel and beyond that, the makings of a future city, puts some distance between it and the waters of the Straits of Singapore. Given that, it may surprise some that the land on which the street was built was one where waves of Telok Ayer Bay might have washed up to – and it was where many who made the long and perilous journey in search of fortune in the early days of Singapore, would have first set foot on the island.

Non-organic business now occupy many of the conserved shophouses in the area today.

Non-organic business now occupy many of the conserved shophouses in the area today.

Telok Ayer Street today would in all likelihood, look little like the street the early immigrants made landfall on. But despite the many changes that have come about including the land reclamation exercise that took place from 1879 to 1887 during which its lost its shoreline and more recent urban redevelopment and conservation efforts during which its residents and organic businesses were moved out, it still very much alive with many reminders left by our early founders and very much a living monument to their memory, one which perhaps can serve in place of that intended monument to our early founders that was never built.

The Jackson Plan of 1822 shows the location of Telok Ayer Street relative to the shoreline.

The Jackson Plan of 1822 shows the location of Telok Ayer Street relative to the shoreline.

A diorama of Telok Ayer Street in the early days of modern Singapore showing where the shoreline was. The low building across from the Chinese Opera stage is the Fuk Tak Chi Temple.

A diorama of Telok Ayer Street in the early days of modern Singapore showing where the shoreline was. The low building across from the Chinese Opera stage is the Fuk Tak Chi Temple built by Hakka immigrants and used by both Hakkas and Cantonese. It is now the Fuk Tak Chi Museum.

The most significant reminder that we find on the street would be the Taoist Temple the name in Chinese of which translates into of Heavenly Bliss (Thian Hock Keng, 天福宫, in the Hokkien or Fujian dialect). The temple is probably the most popularly visited religious site for tourists coming to Singapore and is a joy to behold. Dedicated to the protector of sailors and fishermen, the Taoist Goddess of the Sea, MaZu (妈祖), the temple’s origins can be traced to the earliest days of modern Singapore. It was built on the site of a joss house put up around 1820/21 by early Hokkien immigrants close to the first landing points to allow thanks to be offered to the goddess for protection provided over the long sea voyage.

The side of the main hall of the temple. The temple is a fine example of Minan arhcitecture, characterised by its curved "swallow-tail" roof ridge.

The side of the main hall of the temple. The temple is a fine example of Minan arhcitecture, characterised by its curved “swallow-tail” roof ridge.

The temple we see today, even with alterations made during a 1906 renovation in which western style floor and wall tiling was added), must be counted as one of the best examples of Southern Chinese Minan temple architecture (found on many Hokkien built temples such as the Hong San See) in Singapore. Distinctive features of Minan temple architecture are the curved “swallow tail” roof ridge and the intricate timber post and beam structure. Completed in 1842, the main altar (of which photographs of are not permitted) has two statues of Ma Zu. One – the darker and smaller of the two, which dates to building’s construction, is said to have been blackened by burning incense offered at the altar over the many years of the temple’s existence.

Lanterns for the Chinese New Year at the Thian Hock Keng.

Lanterns for the Chinese New Year at the Thian Hock Keng.

The temple is also home to several other deities and provides the visitor with a good appreciation of the folk religious practices the Hokkien (and other southern Chinese) immigrants brought in with them. One of the deities, is the popularly worshiped Bodhisattva of Thousand Hands and Thousand Eyes, more commonly referred to as the Goddess of Mercy, Kuan Yin. The altar dedicated to her is found behind the main altar, housed in a beautiful part of the temple complex. Other deities include Kai Zhang Seng Wang (The Sacred Governor Kai Zhang), Cheng Huang Ye (City God) flanked by the Da Er Ye Bo (The Two Great Generals, 大二爷伯), or, Qi Ye Ba Ye, 七爷八爷 (which translates to Seventh and Eight Lords). More on the deities can be found at the temple’s website.

The altar dedicated to Kuan Yin in the Thian Hock Keng.

The altar dedicated to Kuan Yin in the Thian Hock Keng.

Another view of the altar dedicated to Kuan Yin.

Another view of the altar dedicated to Kuan Yin.

The altar where Cheng Huang Ye (City God) is, flanked by the two Great Generals.

The altar where Cheng Huang Ye (City God) is, flanked by the two Great Generals.

A close-up of Ba Ye.

A close-up of Qi Ye.

The temple’s construction which started in 1839 could not have been done without the generous donations made by the members of the early Hokkien Chinese community. Chief among the donors was Tan Tock Seng, a well known philanthropist and an early immigrant from Malacca, best known perhaps for the paupers’ hospital he helped set up and which is now named after him. As was the case with many early temples, Thian Hock Keng served to also provide social support for the community. It initially housed the oldest Hokkien clan, the Singapore Hokkien Huay Kuan (Hokkien Clan Association), which has since moved across the street (it was apparently where a Chinese opera or wayang had been positioned in the early days of the temple). The Singapore Hokkien Huay Kuan still runs the Thian Hock Keng.

Two types of Door Gods guard the entrance to the Thian Hock Keng.

Two types of Door Gods guard the entrance to the Thian Hock Keng.

Two types of Door Gods guard the entrance of the Thian Hock Keng.

Besides the commonly found ones, there the the more passive looking eunuch Door Gods more to welcome the good – commonly found in temples where the main deity is a goddess.

On the temple’s right (seen from the deity’s perspective), on what is considered part of the temple complex is the beautifully built Chong Hock Pavilion and Chung Wen (or Chong Boon) Pagoda. Access is via a normally closed separate entrance, the Chong Boon Gate, on Telok Ayer Street. The pagoda (and gate) was built in 1849 and housed what is said to be the earliest Chinese private school in Singapore, the Chong-Wen Ge (or the “Institute for the Veneration of Literature”). The Chong Hock Pavilion, built in 1913, housed the Chong Hock Girls’ School which was set up in 1915. The school in 1930 was moved partly across the street (where the Hokkien Association Building is today). It has since been renamed Chongfu school and is now located in Yishun.

The entrance to the Chong Hock Pavilion and the Chung Wen Pagoda.

The entrance to the Chong Hock Pavilion and the Chung Wen Pagoda, the Chong Boon Gate .

The Chong Hock Pavilion.

The Chong Hock Pavilion.

The temple complex, which was gazetted as a National Monument in 1973, went through a major restoration effort from 1998 to 2000, during which craftsmen from China were employed. Those efforts won it an Honourable Mention for the UNSECO Asia-Pacific Heritage Awards in 2001. An important discovery made during that restoration was a calligraphic scroll, with the imperial seal of Emperor Guang Xu of the Qing Dynasty. Placed in a previously unidentified scroll holder on a panel, which incidentally is a display copy of the scroll placed above the main altar, the scroll was presented to the temple by the Emperor in 1907.

The Chong Boon Gate and the Chung Wen Pagoda.

The Chong Boon Gate and the Chung Wen Pagoda.

Besides the Thian Hock Keng, several other important religious or clan buildings established by the immigrants can also be found along the same street. One was a Hakka built temple, the Fuk Tak Chi temple, dedicated to the Earth God Da Bo Gong. Although the temple has since ceased to operate, its building can be still found and is part of the Far East Square complex and is a reconstruction built in the Hokkien style with a curved roof ridge. Its main hall and entrance is said to have been constructed in the style of a Chinese Magistrate’s Court as a symbol of power and authority.

The Fuk Tak Chi Museum.

The Fuk Tak Chi Museum.

The temple which dates back to 1824, served both the Hakka and Cantonese communities (which tells of the close relationship between the two communities in Singapore). Closed in 1994, it has since been restored and converted into a museum. A important artifact that is still housed in the building is a wooden screen found at its entrance. Just a few doors away from the Fuk Tak Chi, is another important link to the early Hakka immigrants, the Ying Fo Fui Kun. This is a Hakka clan association which was founded in 1822. “Ying Fo” translates into “mutual co-operation for peaceful co-existence” which provides a clue to why clan associations were established. The building which dates back to a reconstruction in 1843/44, underwent renovation in 1997 and was gazetted as a National Monument in 1998.

Inside the Fuk Tak Chi Museum.

Inside the Fuk Tak Chi Museum.

The wooden screen at the entrance of the Fuk Tak Chi.

The wooden screen at the entrance of the Fuk Tak Chi.

Odd as it may seem, being on the fringe of Chinatown, one finds on the very same street, two structures erected by Chulia Muslim immigrants who originated from the Coromandel Coast of India. The structures are of course not out-of-place – the Chulias, many of whom were merchants, very naturally found spaces to conduct their businesses amongst the Chinese traders along what was the seafront. The area would also have been close to the original area Raffles has set aside for the Chulia settlement just north of the Chinese settlement.

The Al-Abrar Mosque.

The Al-Abrar Mosque built by the Chulias.

One of these structures, the Al-Abrar Mosque which sometimes is referred to as Masjid Chulia or Chulia Mosque, is still in use (not to be confused with another Chulia Mosque Masjid Jamae in South Bridge Road). The mosque was first set up in 1827 by Tamil Muslim immigrants, and is also known in Tamil as the Kuchu Palli (kuchu means “hut”, palli means “mosque’). The current building was completed in 1855 and was gazetted as a National Monument in 1974.

The former Nagore Durgha Shrine.

The former Nagore Durgha Shrine.

The other structure built by the community, the former Nagore Durgha Shrine, is one that will certainly catch the eye. Sitting prominently at the corner of Telok Ayer and Boon Tat Streets, it had long been closed to the public. The former mashhad or memorial, has since May 2011 been reopened as the Nagore Dargah Heritage Centre. Built between 1827-1830, the Nagore Durgha was built as a memorial to a Sayyid Abdul Qadir Shahul Hamid, a holy man from Northern India based at Nagore in Tamil Nadu. The mashhad, originally known as Shahul Hamid Durgha, is rather distinctive from an architectural viewpoint. It features a mix of east and west – Palladian features on the lower part of the building, topped with an Islamic style upper part, and is thought to be an attempt to replicate the original Nagore Durgha shrine in Negapatnam (Nagapattinam) which is just south of Nagore. The heirtage centre is well worth a visit. Besides the insights it offers to the early days of the Indian Muslim community in Singapore, and their cultural and religious practices, there is also an opportunity to enjoy the beautiful column and arch lined interior that is illuminated by light streaming through its stained glass windows. The now beautifully restored Nagore Durgha has been a National Monument since 1974.

Inside the Nagore Durgha.

Inside the Nagore Durgha.

Walking around today, it would be easy to miss one of more recently gazetted monuments on the street, the last of the monuments I wish to mention. That, the former Keng Teck Whay, lies hidden behind hoardings, somewhere between the Nagore Durgha and the Thian Hock Keng. With a distinguishing three tiered pagoda which has octagonal plan upper floors on a square base, it would certainly be one to admire – if not for the much needed restoration work that is going on at the moment. Built to house the Keng Teck Whay, a self-help association set up by Hokkien-Peranakan merchants from Malacca in 1831, the buildings we see today came up between 1847 and 1875 and were constructed by traditional Chinese craftsmen in the Minan style. The building at the rear which is said to feature details borrowed from Teochew style architecture and was used as an ancestral hall. The Taoist Mission has since taken over the buildings which were in rather a dilapidated state. Repairs and restoration of the buildings are currently being done and the mission will run the complex as the Singapore Yu Huang Gong, 新加坡玉皇宫, or Temple of Heavenly Jade Emperor.

An aerial view of the former Keng Teck Whay (source: http://pictures.nl.sg). All rights reserved. Preservation of Monuments Board Singapore 2010).

An aerial view of the former Keng Teck Whay (source: http://pictures.nl.sg). All rights reserved. Preservation of Monuments Board Singapore 2010).

With the pace of change not just robbing us, residents of what has become an increasing congested island, of places and experiences that help us connect with a country we call home, but also replacing many familiar places with that brave new world we find hard to identify with, it is perhaps only in places such as this we can hold on to. While they perhaps do not hold the personal memories and experiences we may hold dear, they do hold the memory of who we are as a nation, of where we came from and how we got here, and most importantly, of what made Singapore, Singapore.





A synagogue on Church Street

21 11 2012

A street in Singapore that I have long been familiar with from my many encounters with it throughout my childhood and my days going to school in the area is Waterloo Street. Well-known back in the 1970s for the ‘sarabat stalls’ – a row of food stalls which was a destination for not just good teh sarabat (ginger tea), but also where some of the best Indian rojak in Singapore was to be found, Waterloo Street was also where many rather stately looking buildings could be found – particularly along the stretch that is directly opposite the former St. Joseph’s Institution (now the Singapore Art Museum) which I attended. One which did stand out – was a white building with blue windows and a blue Star of David which we referred to as the synagogue, the Maghain Aboth Synagogue.

Glass at the synagogue’s porch.

The synagogue as seen from Waterloo Street today.

The synagogue was always a place that seemed mysterious to me, and one that has remained a mystery until very recently when I had an opportunity to see its insides through a Preservation of Monuments Board (PMB) Monument Open House walking tour. Maghain Aboth Synagogue, which translates as “Shield of our Fathers”, one of two Jewish houses of worship found in Singapore (the other being the Chesed-El), is the oldest existing synagogue not only in Singapore, but also in South-East Asia. Gazetted as a National Monument in 1998, the synagogue provides a link not just to a small but historically significant ethno-religious community in Singapore, but also to the trade motivated diaspora of Baghdadi Jews which saw the arrival from India of the first members of the community in Singapore in the 1830s.

Maghain Aboth Synagogue in 1982 (source: from the Lee Kip Lin Collection. All rights reserved. Lee Kip Lin and National Library Board, Singapore 2009).

The synagogue from inside the compound.

An aerial view of the Bras Basah area in the 1970s in which the Maghain Aboth Synagogue can be seen at the top (left) of the picture.

The Maghain Aboth wasn’t the first synagogue in Singapore. The first was one that was housed in a shophouse. Established in 1841, it was to give Synagogue Street its name and served the community until the 1870s. The limited to its capacity coupled with a fast growing Jewish population in Singapore required a larger building than the shophouse which house a congregation of forty. The land at Waterloo Street (which until 1858 had been known as Church Street) on which the present synagogue, the Maghain Aboth stands, was secured in the 1870s by Sir Manasseh Meyer (who later also built the Chesed-El as a private synagogue) and the Maghain Aboth was built. The synagogue designed in the neo-classical style was completed in 1878 with several extensions added over its 134 years, including a second level seating gallery to allow women to worship. It was close to the synagogue that a larger community of Baghdadi Jews began to settle around – giving rise to the Jewish quarter around the nearby Middle Road and Selegie Road area that came to be known as the Mahallah.

The entrance to the synagogue in the 1970s (source: National Archives of Singapore http://a2o.nas.sg/picas).

A map of the Bras Basah area in the mid 1800s well before the Maghain Aboth was built. Waterloo Street had then been named Church Street.

The layout of the synagogue is very similar to but is much less elaborated decorated than the Chesed-El. The centre of the hall which faces Jerusalem features a bimah, a raised wooden pulpit where the rabbi leads prayers and reads from Torah scrolls (Sefer Torah) during services. At the west end of the hall, the most sacred part of the synagogue, the the ahel or ark is arranged. The ark is where the Torah scrolls are kept, covered by a parochet or curtain.

The prayer hall points west towards Jerusalem. At the end of the hall is the ahel or ark. The pulpit or bimah is seen in the centre.

The eastward view of the prayer hall from the west end.

The ark or ahel behind the parochet or curtains is most sacred part of the synagogue and where the Torah scrolls are kept.

The bimah.

The part of the bimah on which the rabbi leads the prayers.

The ahel or ark.

A more recent extension to the compound on which the synagogue stands is where the stained glass fronted Jacob Ballas Centre now towers over the Maghain Aboth. Built as a community centre, the Jacob Ballas Centre is named after a very successful stock broker, the late Jacob Ballas, who was a prominent member of the community. The centre houses function rooms, offices and accommodation for the rabbis, a kosher slaughter room for fresh chicken, a kosher restaurant as well as a kosher shop. For more information on the Maghain Aboth and the Jacob Ballas Centre, do visit the links below.

Stained glass at the Jacob Ballas Centre.

Stained glass at the Jacob Ballas Centre.

A reading room at the Jacob Ballas Centre.


Resources on the Jewish Community, Sir Manasseh Meyer and the Maghain Aboth Synagogue:

Jewish Community in Singapore (on The Jewish Community of Singapore)
Jewish Community in Singapore (on The Jewish Times Asia)
Sir Manasseh Meyer (on infopedia)
Maghain Aboth (on infopedia)
Maghain Aboth Synagogue (on The Jewish Community of Singapore)
Maghain Aboth Synagogue (on PMB’s website)


More views around the Maghain Aboth





The synagogue at Belle Vue

19 10 2012

One of the wonderful things about Singapore is the diverse cultural and religious practices, some modified with time, some influenced by the environment, but many that remain distinct reflecting the many lands far and wide from which immigrants to Singapore have arrived from. Besides the myriad of festivals that seem to go on all year around, this diversity is also reflected in its architectural heritage – some 28 of its 64 National Monuments are places of worship which are very much in use today.

A page from religious diversity of Singapore – a Sefer Torah at the Chesed-El Synagogue.

Two of the 64 that I had an opportunity to visit during a recent Preservation of Monuments Board (PMB) walking tour were the Hong San See Temple and the Chesed-El Synagogue. The Hong San See or Temple on Phoenix Hill is one that I already am familiar with from a previous visit. A magnificent and beautifully restored example of Fujian Lam Ann (Nan’an) religious architecture, its last restoration effort from 2007 to 2009 earned a UNESCO Asia-Pacific Heritage Award for Cultural Heritage Conservation in 2010. More information on the temple can be found in my previous post The Temple on Phoenix Hill.

The Chesed-El Synagogue at Oxley Rise was one of two religious monuments I recently had an opportunity to see as part of a Monumental Walking Tour organised by the PMB.

The main motivation for my participation in the tour was more for the opportunity it provided to visit a synagogue as I had never in stepped into one. While there are two such places of worship in Singapore, such opportunities are rare, especially due to more recent security concerns and this provided me with a look of what it was like behind the façade of a religious building belonging to a small and sometimes lesser known local community which has made a significant contribution to Singapore.

Opportunities to visit a synagogue are rare especially with more recent security concerns.

A look beyond the Chesed-El’s façade. The wooden pulpit or bimah is seen in the centre of the hall with the ahel or ark at the end.

The Jews in Singapore have certainly made a huge contribution to its development with many notable names through Singapore’s history, members of the community. One of its prominent members in the early days of Singapore was a certain Sir Manasseh Meyer, a highly successful businessman and property owner, who counted among his properties, the Sea View Hotel and the Adelphi Hotel, lending his name to Meyer Road. It was also Manasseh Meyer who built the Chesed-El, Singapore’s second synagogue (after Maghain Aboth in Waterloo Street).

Participants on the walking tour had a chance to look at the second of two synagogues in Singapore.

The Chesed-El completed in 1905 on Manasseh Meyer’s sprawling estate in Oxley Rise, Belle Vue, was designed by Regent Alfred John Bidwell of architectural frim Swan & Maclaren (which was responsible for many of the monumental works of architecture in Singapore) in the Palladian style. What had prompted Manasseh Meyer to build Chesed-El, which translates as the “bountiful mercy and goodness of God” were differences of opinions which members of the community from differing backgrounds had at the Maghain Aboth, which was built as a private synagogue.

The synagogue was completed in 1905.

The building was built in the grand Palladian style.

Besides providing the opportunity to have a look into the synagogue, the visit also allowed a better appreciation of the layout of a synagogue. Placed in a westward facing direction to Judaism’s eternal city, Jerusalem, a wooden pulpit rises at centre of the hall. The pulpit or bimah, is where prayers where the rabbi leads the prayers, and where the Torah scrolls (Sefer Torah) are placed and read during services.

The entrance to the synagogue.

A closer look at the bimah.

The entrance and the balconies on the upper gallery.

Inside the lower gallery.

A reminder.

The visit also allowed us a peek at the upper gallery where the women are kept separated from the men during services. The balconies on the upper gallery feature iron work that we were told were imported from Scotland which provided an appreciation of the effort taken in the building of the house of worship for the greater glory of the Maker.

The balconies on the upper gallery, reserved for women, feature beautifully crafted ironwork imported from Scotland.

The staircase to the upper gallery.

A view through an arch on the upper gallery.

The women’s perspective.

A quiet room on the upper gallery.

Another view from the upper gallery.

The upper gallery.

The highlight of the visit was a close-up look we had at Sefer Torah as well as a look into the holiest part of the synagogue, the ark or ahel – a room where the Sefer Torahs are stored. The sefers or scrolls are made from specially handwritten parchment and are ones donated by members of the congregation, and includes one that is a hundred years old.

The ahel at the front end of the hall is behind three curtains.

A rabbi opening a Sefer Torah.

A hundred year old Sefer Torah in the ahel.

Floor tiles.

The ahel’s entrances are covered by a curtain or parochet.

Ironwork above the ahel.

The look at the synagogue was one that provided not only an insight into the religious practices of a small but important community in Singapore, but also one which offered a window into the role the many successful immigrants who came from far and wide played in building and supporting their respective communities. It is these communities which have provided the foundation on which Singapore’s success is built and which makes Singapore that wonderful celebration of cultures and religions that it is today.

The grounds of the synagogue.


Resources on the Jewish Community, Sir Manasseh Meyer and the Chesed-El Synagogue:

Jewish Community in Singapore (on The Jewish Community of Singapore)
Jewish Community in Singapore (on The Jewish Times Asia)
Sir Manasseh Meyer (on infopedia)
Chesed-El Synagogue (on infopedia)
Chesed-El Synagogue (on The Jewish Community of Singapore)
Chesed-El Synagogue (on PMB’s website)






Tanjong Pagar: a promise that we now know would never be fulfilled

11 07 2012

Standing silently and somewhat forgotten is a building that, only a year ago, attracted many people’s attention in Singapore. This building, the former Tanjong Pagar Railway Station, a magnificent architectural achievement once described as having a “palatial appearance”, recently joined Singapore’s list of National Monuments. Completed in 1932, the station was built as a centrepiece to underline Singapore’s growing importance as an economic centre in the British Far East, serving as a gateway for the southernmost point in continental Asia to the Pacific and Indian Oceans.

Located opposite the docks at Tanjong Pagar, the station was one that had been well-considered. The then Governor of Singapore, Sir Cecil Clementi, in his address at the station’s opening on 2 May 1932, had made the observation that it was “a natural junction between land-borne and sea-borne traffic” and mentioned that it was “where every facility will be afforded for interchange between railway and ocean shipping”. The promise was, however, not fulfilled – Sir Cecil could not have predicted that the railway’s importance as a means of transportation in the Malayan peninsula would diminish.

The station’s opening that day was marked by the 5.15 pm arrival, from Bukit Panjang Station, of its first train. This train carried several dignitaries, including the Governor, the Sultan of Perak and Mr J Strachan, the General Manager of the Federated Malay States Railway. Several months prior to the opening (on 2 January 1932), the station had already made its public debut – by playing host to a Manufacturers’ Exhibition – an indication perhaps of its eventual destiny.

The station’s façade with the four large triumphal figures.

My first encounters with the station took place at the end of the 1960s and early 1970s. My parents often drove past, drawn by the hawker stalls which operated in the evenings in a car-park facing the station’s entrance. It was while sitting at the tables in the car-park that I would gaze across to the station’s façade and stare at the four large, triumphal figures that flanked the portico’s arches. The figures were the work of Angelo Vannetti of the Raoul Bigazzi Studios Florence and represented the pillars of the Malayan economy. These triumphal figures are evidence of the Art Deco style chosen by its architects, Swan and MacLaren. Thought to have been inspired by Helsinki’s Central Station, it is believed the station also shares some of Washington DC’s Union Station’s design features. In fact Tanjong Pagar Station’s architectural elements reveal both western and eastern influences; the green-tiled roof structures were inspired by the roofs of Chinese Temples.

The main hall of the station. Part of the vaulted ceiling and batik-style mosaic panels can be seen.

On the rare occasions when I found myself in the main hall, the high vaulted ceiling that rises some 22 metres above the ground caught my attention, as did the six sets of mosaic panels that resemble giant batik paintings. The mosaic panels, which contain a total of 9,000 tiles, looked very much like the batik prints hanging in my home. The panels depict scenes that represent the economies of the then Federated Malay States. At that time, the station had also housed a hotel on the upper floors, around the main hall. A huge sign in the north-east corner of the hall made sure this did not go unnoticed.

It was in the 1990s that I first took a train out of the station. Seemingly in defiance of its location, a huge blue “Welcome to Malaysia” sign stood above the station’s entrance. A Points of Agreement (POA) had been signed in 1990 between the Malaysian Government and their Singapore counterparts. This was to pave the way for the eventual moving of the station from Tanjong Pagar and would involve its handover along with the land the railway ran through (whose ownership was transferred to the railway administration through a 1918 ordinance – effectively making it part of Malaysia).

Two decades of protracted negotiations followed the 1990 POA before the differences in its interpretation resulted in a renegotiation of land swap arrangements between the two governments. The moving of the station from Tanjong Pagar and the handover of land was agreed on only in May 2010.

It was perhaps at the beginning of 2011 that interest in the station and in train journeys from Tanjong Pagar started to build. The realisation that the station was soon to close drew crowds not previously seen at the station. Many turned up for a final look, to make a last departure or to have a last meal at the station, joined by a frenzy of photographers and members of both the local and overseas media, who seemed intent on recording the station’s last days.

A few former food stall operators having a last breakfast on 30 June 2011.

The final day of operations at the station, 30 June 2011, came all too soon. It was an especially poignant day for the station’s railway staff and also for the food-stall operators – some were seen having a last breakfast in the almost empty room that only days before had been filled with food-stalls and tables filled with diners. Well before the first train was to depart, a crowd had already gathered in the main hall. Many had come to witness the final moments. Some had come to start a journey that would end with a final homecoming to the station on the very last train that evening.

The crowds grew as the day passed. As night fell, many more gathered to witness the historic departure of the last train out, to be driven by the Sultan of Johor. I had come on the very last in-bound train and was prepared for the reception at the station by the scenes I had seen along the way. Huge crowds had gathered at Bukit Timah Station and at each of the five level crossings, to bid goodbye. After the train finally pulled in following a long delay at Bukit Timah, I lingered a while before stepping out onto the platform. I turned back for a final glance at the platform, realising that would be the last of my many homecomings into Tanjong Pagar.

The crowd at Tanjong Pagar late on 30 June 2011 to witness the departure of the last train.

As I stepped through the barrier, a crowd of would-be passengers heading towards the same train that had pulled in (now the last train out) almost swept me along with them. I managed to squeeze my way out while a frenzy was developing in the public areas. Through the crowd I spotted the Sultan, dressed in a checked shirt and speaking to reporters with tears in his eyes. At the final hour a huge cheer could be heard as the train pulled out, driven by the Sultan. In a daze I stared after it as the train faded into the darkness. It was then that I heard the silence that was there despite the noise coming from the crowd. It was one that filled the air – a silence that after some 79 years would never again be broken by the once-familiar sounds, a silence that spoke of the promise that we now know would never be fulfilled.


This article was written to coincide with the first anniversary of the closure of Tanjong Pagar Railway Station and has been published as “Tanjong Pagar Railway Station” in the July / August issue of Passage, a bi-monthly magazine produced by the Friends of the Museums (FOM).


Further information on Tanjong Pagar Railway Station and on the anniversary of the handover:

  • Photographs of Tanjong Pagar Railway Station on the anniversary of its handover can be found at my post Tanjong Pagar One Year On.
  • A complete series of posts related to my encounters with Tanjong Pagar Railway Station, the railway and the journeys I have made through the station can be found at my “Journeys Through Tanjong Pagar” page.
  • Article (in Chinese) that may be of interest published in the Chinese daily Lianhe Zaobao on the 1st of July in which some my views connected with the Rail Corridor were sought can be found at this link.




Faces from a forgotten place

3 07 2012

This post features a selection of photographs intended to capture part of what had made the much loved Tanjong Pagar Railway Station what it was just prior to its closure, one to celebrate the many faces that provided the station with its heart and soul. The faces are ones that would be familiar, and are not just of the people who were part of the fabric the station, but also of the many that came and went and of the sights and sounds that gave the station its unique flavour, a flavour that, despite the conservation of the building as a National Monument, will fade as memories fade. The photographs are the same ones which were presented during a sharing session at the Tanjong Pagar Railway Station open house held on the afternoon of 1st July 2012 – the first anniversary of the handover of the station and the railway land to the Singapore government. The open house was held as part of the Rail Corridor Open Day and also included guided walks around Bukit Timah Railway Station.

While the building, now gazetted as a National Monument still stands, it is the memory of what had made the station what it was – the familiar sights, the people that came and went, and most of all the people who were very much a part of the fabric of the station that will with time fade.

Tanjong Pagar Railway Station as it was is a place that always will be dear to me. I have many fond memories of the station from my previous encounters, encounters that go back to the earliest days of my life. Then, it was the food stalls that magically appeared in the evenings at a car park the lights of which dimly illuminate the station’s grand façade and its four triumphal figures. That was in the late 1960s and early 1970s. It was after the latter half of the 1970s that the station would become a feature in my Chinese New Year reunion dinners – my aunt who hosted the dinners moved to a flat in Spottiswoode Park just by the station and reunion dinners would not be the same without the accompaniment of the sounds of whistles and of the noisy diesel locomotives from the station. The 1990s brought me my many encounters with the station through which I made numerous trips up to the Malaysian capital Kuala Lumpur and back – journeys that would forever be etched in my memory. These encounters with the station, and the memorable journeys I made through it, I have attempted to capture through a series of blog posts which many of you might have already read. However if they are of interest, the posts can be found through the page “Journeys through Tanjong Pagar“.

Once familiar sights

A car belonging to the Malayan Railway, KTM, parked in front of the building.

The main hall as it looked at eye level in its latter days – a Tourism Malaysia hut was placed right in the middle of the hall.

The ticket counter in quieter days – well before the madness of the last two months descended on the station.

Waiting to buy a ticket often required some patience.

Especially when the ticketing system is down – that in my experience often happened.

Another sign one might encounter ….

We were always reminded that we had to pay not the equivalent in the local currency for the price of a ticket but one unit of the local currency for every unit of the weaker Ringgit.

And when you did finally get your hands on the ticket, you could find a seat in the main hall to pass your time away …

… which provides many opportunities for people watching …

… or as I often do, have a cup of teh tarik at the platform – a popular spot for watching the coming and going of not just the trains and the locomotives.

Access to the departure platform was through a gate that would only be opened about half an hour prior to the scheduled departure of the trains to facilitate immigration clearance. On the commuter services on which seating is not assigned, passengers would often crowd at the gate prior to departure, ready to make a dash first for the Immigration counters. After clearing Immigration and Customs, the same thing would happen at a barrier which when opened will see a mad rush of passengers to the train carriages.

Tickets would be checked and punched at the departure gate.

From which one would proceed to the immigration counters.

With the shift of Singapore’s CIQ to Woodlands in mid 1998 and the Malaysian authorities maintaining their Immigration and Customs counters at the station, passengers would effectively enter Malaysia before leaving Singapore.

Passengers boarding the last luxury E&O train to depart from Tanjong Pagar posing next to Malaysian Immigration booths.

The last E&O train to depart at the platform.

Returning home, one of the first things that would greet you (post mid 1998) as you walked to the end of the platform was the barrier before you got into the public area. Prior to the move of the SIngapore CIQ, you would first have to pass through Singapore Immigration, Customs and a narrow passage through a fenced area where K9 unit dogs would sniff passengers for smuggled narcotics.

The next thing one would encounter would be the canteen / coffee shop at which one could stop to have a meal or a drink prior to leaving. I often picked up my breakfast from the canteen after coming in on the overnight train from KL.

The canteen would also be a great place to wait for returning members of the family and friends.

It was also a wonderful place to catch up with friends over a cup of tea ….

.. or to have dinner with the family.

It would be common to see passengers with large pieces of luggage leaving the station.

The station had a hotel which closed in the 1980s. Towards the end of its life, it hosted a hostel with dormitory type double bunk bed accommodation which offered a cheap place to spend the night or even take a short rest – this closed in late 2010.

Trying to get a taxi home was always a challenge as many taxi drivers did not like to wait at the station as trains arrival times were unpredictable.

Once familiar faces

One of the first faces one would encounter driving to the station’s car park.

And if one needed to use the rest room.

One that you might have seen at the Habib Railway Book Store and Money Changer, Mr Syed Ahmad.

Mr Syed’s nephew – ‘Nazir’ would probably have been seen more frequently.

The hardworking last Station Master at Tanjong Pagar – En. Ayub.

A very helpful ticketing clerk, En. Azmi, who was posted to the station on 1st July 1990. He completed a full 21 years at the station when it ceased operations on 30th June 2011.

A few more of the familiar faces (and less familiar ones) …

Mr Mahmoodul Hasan who ran the two canteens in the station before its closure.

Some of those who assisted him at the drinks counter and the popular Ramly Burger stand.

One of the ladies from the food stall at the corner of M Hasan 2.

One of the stall assistants at the platform.

The chapati man at M Hasan 2.

One who is always ready with a smile – the Satay stall’s assistant at M Hasan 2.

And last of all one that should not be forgotten – one of the many cats the station was home to.





Tanjong Pagar one year on

2 07 2012

I stepped into the eerie silence of a world that a little over a year ago, had been one that had seen the frenzy that accompanied the last moments of the old Malayan Railway’s operations through Singapore. The now silent world, Tanjong Pagar Railway Station, is now but an empty shell, abandoned by the trains that regularly punctured the air with the deafening roar of their diesel locomotives as well as by the people who made the station what it was – the hardworking staff of the railway, those who saw to providing it with essential services, and those who came and went with the comings and goings of the trains.

Tanjong Pagar Railway Station 1 year on.

The station was able to momentarily break out of its solitude due to a kind offer by the Singapore Land Authority (SLA) to the Nature Society Singapore (NSS) and the Friends of the Rail Corridor to open up both Tanjong Pagar Railway Station to the public on the first anniversary of the handover of the station and the Rail Corridor to the Government of Singapore. As a result of this, a Rail Corridor Open Day was very quickly put together. This included a guided walk in the morning held at Bukit Timah Station which was followed by an open house at Tanjong Pagar Railway Station in the afternoon. The handful of people that did turn up at Tanjong Pagar, probably numbering about a hundred during the course of the afternoon comprising rail enthusiasts, familiar faces that I met during last year’s frenzy, the curious and some who hail from distant shores, got an opportunity to participate in a guided tour conducted by Dr Lai Chee Kien and learn more about the station and its and the railway’s history.

The main hall during the guided tour – now clear of the Tourism Malaysia hut that had got in the way of achieving a nice perspective in photographs that were taken before the handover.

The open house also allowed some to share some of what they have put together on the station. This included a poignant and very interesting documentary made in 2008, Project 1932, by Zinkie Aw that touches on some of the people who were part of the station’s history. I also had to opportunity to share a series of photographs that I had captured to help me reconnect with the station as it once had been. The series which I named ‘Faces from a forgotten place’ includes once common scenes and once familiar faces, ones that we see now only in the memories we have of a little over a year ago. It is these very memories that I tried to find as I took the opportunity that was presented to explore what I could of the silence. In its emptiness and abandonment, it was not the memories that I was able to find, but ironically, the beauty of the station that I would otherwise not have known – spaces previously occupied and closed to us that even in the state of the two decades of neglect during which time its status had been in limbo is still obvious.

The station in its solitude was able to reveal some of its otherwise hidden beauty.

This beauty that we can still see takes us back to a time when the world had been a different place, to a time when it was thought the station would take its place as the grand southern terminal of the Malayan Railway and the gateway to the Pacific and Indian oceans – a promise that a little over 79 years after it was opened has proven to be one that was never to be fulfilled. What will become of the former station we do not know, its possible second life will be explored in a Design Competition that aims to develop concepts for the future use of the station which has been gazetted as a National Monument, Bukit Timah Railway Station (which has conservation status), and the 26 kilometres of the former Rail Corridor. What I do hope to see would be a use that will not just preserve the memory of the role it was meant to assume and the memories we have of the railway, but also one that with minimum intervention will see it retain not just the beauty that we have seen but also the beauty that has until now been one that has been hidden.

Tanjong Pagar Railway Station in its solitude

The emptiness that now fills the station offers another perspective of its beauty.

Once hidden spaces that in the station’s abandonment can now be seen, reveal a side of the station that has until now has not been seen by many.

A view out of the window at the white iron fence that lines the station’s boundary with Keppel Road.

The writing on the wall … a memory in an otherwise hidden space of what the station once was …

Recent writings on the wall … collection of wishes for the station written by visitors to the open house.

View through what was a freight forwarder’s office.

A storage area that was used by the canteen operator.

Windows to a forgotten world.

The silence of a once busy space.

More silence ….

Signs of a forgotten time.

The silence of departure (photo taken with Sony Xperia S).

Last act of the day – security personnel trying to close a platform gate that just refused to be closed …


Do visit my series of posts on my previous encounters with the station, the railway and the journeys I have made through the station which can be found at the “Journeys Through Tanjong Pagar” page on this site.


An article of that may be of interest in the Chinese newspaper Zaobao published on the 1st of July in which some my views on the preservation of memories connected with the Rail Corridor were sought: http://www.zaobao.com.sg/sp/sp120701_020_2.shtml … I’ll try to get that translated and posted here for the benefit of those that don’t read Chinese.






A one hundred year old beauty

26 06 2012

Of the places that remain of a childhood in a Singapore that I will never be able to see again, there is one which carries not just the memories of yesterday, but also the memory of an emotion that has almost been forgotten. The place, a church – St. Joseph’s Church in Victoria Street, which is housed in a building which on the 30th of June will celebrate its centenary, is one that takes me back to years which hold my earliest memories. It was a place where I had spent many Sunday mornings at mass after which I could look forward to sitting by tables and chairs laid by St. Anthony’s Boys’ School in the church’s compound where I could enjoy a bowl fishball noodles from the enterprising school canteen vendor who opened just to serve churchgoers on Sunday. It was also a place to which my grandmother would take me to every Good Friday, when arriving early to get a seat inside the church for its very popular Good Friday service, I would spend hours seated next to my grandmother as she sat in quiet contemplation.

St. Joseph’s Church, Victoria Street.

The church was known then to me as the ‘Portuguese Church’, a name which pointed to its origins in the Portuguese Mission in Singapore and its administration by Dioceses in the Portuguese colony of Goa and later in the Portuguese colony of Macau. The mission’s presence had dated back to the early 1820s – not long after Raffles founded modern Singapore, and predated the French Mission under which the Catholic churches in Singapore were later to come under. The Portuguese presence was to continue through the church which came under the jurisdiction of the Diocese of Macau until 1981 and after through priests appointed to the church until 1999 by the Bishop of Macau. This long association with the Portuguese Mission has not only provided us with the beautiful building that houses the church, but also with a little bit of Portugal that manifests itself in the Iberian flavour of the church’s interior as well as traditions and practices that are unique to St. Joseph’s Church which even to this day is still very much in evidence.

The portico of the church with the marble statues of St. Joseph in the centre, flanked by St. John de Brito and St. John of God.

The rectory of the church seen through one of the arches at the entrance portico of the church.

The current church building was blessed by the Bishop of Macau, Dom João Paulino Azevedo e Castro on the 30th of June 1912. The grand ceremony had commenced at 7 am with a procession during which various points around the exterior of the church were blessed before the congregation was admitted into the new church building’s interior in which as newspaper reports would have it “nearly every available space” was occupied.

The interior of St. Joseph’s Church dressed up in red for Easter this year. Newspaper reports mention that ‘nearly every available space’ in the church was occupied for its opening solemnities.

Darkness and light – the beautiful illuminated interior of the church.

The congregation that morning would have been the first to marvel at the splendour that was the new church building’s interior, one that even with the worn appearance that it now wears, is still very much a sight to behold. It is this interior, and its 14th Century style Gothic design that for me makes the church the most beautiful in Singapore. The interior is one that at time of the day is illuminated by a soft and beautiful pale green light that streams through the generous panels of stained glass it is provided with that casts both light and shadow on the many niches that line the walls of the church. The niches are ones which contain statues of Saints – statues which in the Catholic tradition are not as is popularly believed, idols, but reminders of ordinary people who have achieved the pinnacle of holiness. It is a statue of one of the Saints high up on the south wall in the middle of the church’s nave that in my childhood I had a fascination with – that of St. Sebastian depicted as he popularly is, bloodied and tied to a tree.

The church is naturally illuminated by the soft green light that streams through the generously provided stained glass windows.

Windows on the south wall of the nave. The upper windows catch the light beautifully. The upper walls of the nave are lined with niches in which the statues of Saints are placed.

The statue of St. Sebastian on the south wall of the nave.

The church is laid out as was the tradition on a plan in the shape of a cross – a Latin cross in this instance. The nave which ends with the apse in the shape of five sides of an incomplete hexagon in the west which houses the Chancel and the main entrance to the east, is crossed by a transept. The high ceiling allows the provision of the many stained glass windows along the upper levels of the nave and the transept and those that attended the blessing ceremony would have seen this but not the stained glass that has to be seen as the church’s crowning glory – the beautiful panels in the Chancel which although now in a state of disrepair, can still be appreciated as one of the more elaborate works of such kind found in Singapore. The panels were the work of Belgian artisans from Jules Dobbelaere’s studio in Bruges. The church’s stained glass which are now in an obvious state of disrepair will be part of a restoration effort that will commence soon after the church celebrates the building’s 100th Anniversary. The work which will take two years of painstaking effort to complete will be carried out by a Singaporean stained glass artist, Bee Liang, who has extensive experience in the work from her stints in Canada and training in Germany.

The exterior of the south transept – even the exterior of the building catches the light beautifully at certain times of the day.

Closer inspection of a stained soft green glass window on the south transept, illuminated partially by another window across on the rear wall of the transept.

Stained glass panels in the Chancel – work of Belgian artisans from Jules Dobbelaere’s studio in Bruges.

Looking towards the east end of the nave – the gallery can be seen on the upper level.

Another view of the east end of the nave.

The central panels depicting the Sacred Heart of Jesus flanked by Our Lady and St. Joseph.

A stained glass panel depicting St. John Berchmans.

A panel depicting St. Francis Xavier.

A panel depicting St. Agnes.

Five panel stained glass window at the end of the south transept.

Morning light streaming into the north transept.

Besides the beautiful stained glass – the very elaborate high altar of white and coloured marble dedicated to St. Joseph is another that is worth taking a notice of. The church also features some excellent carved teak wood pieces – one which runs along the transept is a 40 metre long altar rail along which the faithful would once have knelt to receive Holy Communion. The carved piece that will certainly be noticed is the ornamented teak pulpit with its canopy, one that I never failed to notice every time I visited the church.

The stained glass of the Chancel and the high altar dedicated to St. Joseph.

The ornamented craved teak pulpit and canopy.

The church which once shared its compound with two schools – St. Anthony’s Boys’ School and St. Anthony’s Convent, is the last of the three to remain and having been gazetted as a National Monument in 2005, will be one that will certainly be there for a much more than the 100 years it has stood, for which a mass will be held at 10.30 am on 30th June 2012. Besides the work on the stained glass, there is much more repair work that needs to be done – the ravages not just of time, but also of nearby construction activity are clearly evident which will require funds to be raised. It will not just be the magnificent building and all that it holds that will with its restoration and conservation be retained, but also of a tradition that its has been proud to maintain that dates back to the early days of Singapore.

More views around the church in the morning light

Seeing the light.

Darkness and light.

Statue of St. Anthony of Padua.

The nave windows of the church.

Floor tiles in the church.

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Whispers of an otherwise silent world

26 03 2012

The streets around the Singapore Art Museum (SAM) are ones that once spoke to me. It was on these streets and some that are no more that as a schoolboy, I had spent four years wandering through a little more than three decades ago, developing a strong attachment to them as they were back then. My schooldays in the area ended at the end of 1980, and leaving that behind me, I did not realise that that it was the world around it that I so loved that I was to leave behind as well.

The streets around the Singapore Art Museum are ones that were familiar to me from my school days at the end of the 1970s. The streets are colourless and silent now, a silence that is broken by the sounds of traffic that pass it by.

I often wander down the same streets today, hoping to find that world that in the distractions of my passage into adulthood was swept away by the winds of change that blew over the area in the decade that followed my last days of school. It is not the voices that I had been familiar with that now greet me, but the screams of a deafening silence that I am unable to close my ears to. The world that was coloured by the uniforms of school children scurrying to school or thronging the many book shops the area had a reputation for; its silence broken by the passing of those who lived, worked and shopped along the well worn sidewalks and five-foot ways; is but a pale shadow of its former self, rendered silent and colourless by the world we have chosen to embrace.

A world that has changed.

Once a world dominated by the towering spires and domes that flavoured the area, it is now a world where the same spires and domes have become mere reflections on the glass and steel edifices that now tower over the area. It is in these reflections that the voices of that old world are sometimes heard. They no longer are the loud and confident voices I had grown accustomed to, but fading whispers which I struggle to hear over the loudness of the silence that has befallen the area.

A world once dominated by the spires and domes, is now one where the spires and domes have become mere reflections of that world in the glass and steel of the new world.

A reflection on a world that I once knew - the SAM reflected on the polished walls of the NTUC INCOME Centre.

One whose whispers I can sometimes hear is the soul of the magnificent domed building that is today’s SAM. The building, gazetted as a National Monument in 1992, was where I attended school – St. Joseph’s Institution (SJI), one that I spent four wonderful years going to. Although a lot has changed since it held airy classrooms behind the green louvered wooden doors that are now painted grey, it is a building that I still have a deep attachment to. Beyond the coolness of the climate controlled galleries that now fill the spaces behind the grey doors, there are many areas in which I can hear those whispers of its forgotten past.

The buildings of the former St. Joseph's Institution now houses the Singapore Art Museum.

It is no longer through gates manned by school prefects identifiable by the green ties that stood out against the all white uniforms we wore that I now pass through – the half height walls on which iron grilles had stood are no more, but across a lawn that I rebelliously can now walk across to arrive at the portico on top of which a famous statue stands. The lawn had been a garden populated not just by shrubs, but also a weather station and a fountain that I don’t remember seeing come on.

SJI in the 1970s

St. Joseph's Institution by night in the 1970s.

The garden in front of the school building in the 1980s.

The famous statue is that of St. John the Baptist de la Salle, showing what seems to be the way to two boys beside him. St. John the Baptist de la Salle was the founder of the De La Salle Brothers – a Catholic missionary organisation dedicated to the education of boys from poor backgrounds. Aside from the many jokes we heard about the statue that wore a coat of silver paint back then, it was famous as a landmark for the area, having stood in its place above the portico since 1913. The bronze statue was cast with money donated, coincidentally it may seem, by an old boy of the school John La Salle on the occasion of the school’s Diamond Jubilee in 1912. The statue is a replica a marble sculpture by Cesare Aureli that stands in Saint Peter’s Basilica.

The statue of St. John the Baptist de la Salle above the portico of the former school building (seen here in 1980), served as a landmark for the area.

To the right of the portico is another area that whispers loud enough to be heard. The shallow fishpond coloured green by algae lay and the guava tree which lent its shade to the pond is now an area that has been paved. The pond had been a convenient point for several of us to meet. Immediately behind the area where the pond was, the corridor beyond the arches of the building had been one that led towards first the staff room and turning left at the end of it, the tuck-shop. The tuck-shop was on the ground level of a building which had above it, the Brothers’ Quarters, along Queen Street. The building is one that has since been replaced by a new building. The Brothers’ Quarters with flagpoles mounted on the ledge on the second level was where we faced as we said our prayers, sung the National Anthem and recited the Pledge during our school assemblies that were held on the tarred surface of a courtyard that has now been made much smaller. At right angles to the Brothers’ Quarters with its back to the Church of Sts. Peter and Paul, was another building that lined the courtyard that has been replaced. This held rooms for several societies including the Co-op and the 2013 Hippo Scout troupe’s den.

Assembly at the Courtyard.

The 2103 Hippo Scout Unit had its den at a building that lined one side of the courtyard.

Prize giving during school assembly. The doors led to the school's tuck-shop on the ground level of the building that housed the Brothers' Quarters.

Across from the Brothers’ Quarters was the building (still there) which held the dark school hall (now the very bright Glass Hall) on the lower floor, and the school’s chapel (now the Chapel) on the upper floor. The chapel was where as schoolboys we could sit in quiet contemplation. The chapel stripped of its benches and Sanctuary does still fill me with a sense of calm and peace. It does still thankfully bear some reminders of its days as the school’s chapel: the floor tiles; the ceiling panels; and the plaques that served as the 14 Stations of the Cross a Catholic place of worship is never usually without.

The chapel in 1977.

The building we see today, wasn’t always how it had looked like. It took on its distinctive appearance in 1903 when the curved wings and the portico were added. The school the building was home to dates back long before 1903. It started its illustrious life as Saint John’s School on 1 May 1852 on the premises of an old Catholic church on the same grounds. It establishment in 1852 was due largely to the efforts of a French missionary priest, Father Jean Marie Beurel. Father Beurel, who arrived in Singapore in October 1839, had spared no effort in the early years of his posting to Singapore in trying to enlist the services of the De La Salle Brothers to set up what was to be the first De La Salle school in the Far East. Father Beurel was also instrumental in the construction of the new prior to that – the Church of the Good Shepherd (which is the present Cathedral of the Good Shepherd) and also in bringing the Convent of the Holy Infant Jesus (CHIJ) to our shores two years later in 1854.

Fr Jean Marie Beurel, a French priest whose efforts were instrumental in the setting up of not just SJI, but also the setting up of the Convent of the Holy Infant Jesus and the construction of the Church (now Cathedral) of the Good Shepherd.

A view of CHIJ as it was in its early days. Father Beurel is credited with bringing the Convent in two years after his efforts brought the De La Salle Brothers to our shores.

The complex of buildings that housed CHIJ and also the Cathedral are ones where the spires that dominated the area stands, along with that of the Church of Sts. Peter and Paul (then referred to as ‘Chinese Church’) on Queen Street. The three (or parts of then in the case of CHIJ) have also been gazetted as National Monuments. The most beautiful of the buildings that hold up the spires is the beautiful Gothic styled former chapel of CHIJ – now the CHIJMES complex. It is however the other two whose whispers I hear, having interacted with them both as a child and during my days in school when we attended many school Masses in both churches. The earliest of the buildings to be gazetted as a National Monument, the Cathedral of the Good Shepherd (gazetted in 1973) is one that is perhaps one that is most in need of attention. The structure of the building has suffered not just from its age (it was opened on 6 June 1847), but also from more recent construction activity in the area – ironically ones that were to have a minimal impact on the character of the area, the tunnelling work for the MRT as well as the construction of the Singapore Management University campus which was to blend in with the surroundings (some think it otherwise).

Temporary shoring of the Cathedral's structure is obvious when seen from Victoria Street.

Stepping into the Cathedral, one can’t help but notice the large crack at the wall at the far end to the right above the Sanctuary, and behind that – very obvious temporary shoring can be seen supporting the building’s structure on the outside. Being a National Monument that is run by a religious or non-profit organisation, the Cathedral is only able to draw on the limited public funds available to such monuments badly in need of repair. Based on information on the Preservation of Monuments Board’s (PMB) website, the funds available for the 29 monuments run by a religious or non-profit organisations for such urgent repair work is limited to a total of $5 million that is to be distributed to qualifying monuments over a five-year period (i.e. $1 million per year) from 2009. A pre-requisite for monuments to qualify for the funding is that the organisations involved must first have the means to fund the required work. The amount does seem rather misery considering the amounts being spent on some of the other National Monuments. The repair has been estimated to cost up to some $35 million. As of now only a fifth of the amount needed has been raised. The Cathedral is attempting to raise the remainder of the much-needed funds privately with fund raising activities organised at the Cathedral.

A large crack is clearly visible on the wall of the Cathedral's Sanctuary.

The Cathedral is attempting to raise much needed money - some S$35 million is needed, to repair and restore the building.

A close-up of an information board providing the progress of the fund raising shows that only about a fifth of the money required had been rasied as of December 2011.

As I leave behind the whispers of familiar voices, the contrast that the silent new world is becomes apparent. In the coldness and greyness and in the hush of that new world, I can sometimes hear the silent screams of the faces of the old. The screams are ones that fade with the passage of time. The whispers are ones that in the decrescendo of voices that I hope I would still be able to listen to, in a world where the only other sounds are the sounds of traffic that passes it by, much as the new world that has now passed it by.

The Cathedral is an oasis of calm in a sea of deafening silence.





The Temple on Phoenix Hill

4 03 2012

Sitting up on an incline overlooking Mohamed Sultan Road, is a gem of a Chinese temple that is well worth the climb up the incline to. The temple, a wonderfully restored work of Chinese Minnan temple architecture, is the Hong San See (凤山寺) which translates into “Temple on Phoenix Hill” in the Hokkien (or Fujian) dialect, is a gazetted National Monument which dates back a century. The Temple on Phoenix Hill is one that has undergone several renovations over the years – the last was a restoration effort that was undertaken from 2007 to 2009 for which the temple earned a UNESCO Asia-Pacific Heritage Award for Cultural Heritage Conservation in 2010.

The main courtyard of the Hong San See Temple.

The temple traces its history back 175 years to 1836 when a pioneer from the Lam Ann clan, Neo Lim Kwee, built a temple at the Wallich Road area in Tanjong Pagar which was based on the Hong San See temple at Lam Ann (Nan’an) in China, dedicated to the deity Guang Ze Zun Wang (广泽尊王) who is also referred to by several names including Guo Sheng Wang (郭圣王) and Guo Sheng Gong (郭圣公). The land on which the original temple was built was however, acquired in 1907, and the temple moved to its present location on which the current temple was built from 1908 to 1913. Amongst the clan leaders involved in the rebuilding of the temple was a certain Lim Loh who was the father of a World War II hero, Lim Bo Seng. The new temple was built at a cost of $56,000 and was laid out in the traditional Min-nan style with its alignment in a North-South axis, and features courtyards and walled enclosures.

A door god seen on a door panel. Door gods are painted on temple doors to stop evil spirits from entering.

The names of those who contributed to the building of the temple can be found inscribed in the elaborately decorated pillars of the temple. Lim Bo Seng's father Lim Loh, also known as Lim Hoon Leong's (Lin Yun Long or 林云龙 - 林雲龍 in traditional Chinese script) name is seen inscribed on one of the pillars.

I have not previously taken much interest in the wealth of Chinese temples we have in Singapore, and it was during a guided visit to the temple back in November last year, that I was to learn of the temple. The tour, which was expertly guided by Yik Han, also touched on the interesting history of the temple, its architecture, the early Lam Ann immigrants who brought the temple to Singapore, and also about the very interesting story behind the deity Guang Ze Zun Wang. There were also several Taoist customs that were shared which were very new to me. One interesting one was that there is a proper way to enter the temple – which is through the Dragon Door on the right, through which one should step over (and not on) the threshold. The exit is through the Tiger Door on the left and a centre door – which is usually kept closed, is reserved for the passage of the gods.

The entrance to the temple consists of three doors - the Dragon Door on the right through which one should enter, the Tiger Door on the left which one uses to exit and a Centre Door which is reserved for the gods.

It is at the entrance to the temple that attention was drawn by Yik Han to the exquisite wood carvings painted in red lacquer and gold leaf and the elaborately decorated stone dragon and phoenix columns. Materials for these, as with most of the materials for construction, based on the temple’s records, were imported from China, as were the two teams of skilled craftsmen from Quanzhou in Fujian Province – each to work on the carvings on one of the left or right sides. This apparently was a standard practice that is referred to as “Corresponding Workmanship” (对场作) where the two teams in friendly competition provides a result that is not just different but gets the best out of the two teams.

Elaborate wooden carvings decorate the temple - two competing teams from Quanzhou were used to get the best results for the temple.

More of the exquisite wooden carvings that decorate the temple.

Reliefs on the stone pillar - the legend of a carp passing through the Dragon Gate and transforms into a dragon.

One interesting fact that I was also to learn was that a school had once operated within the temple. Temples in the early days had become focal points for the respective communities they had catered to making them natural for them to function as social and welfare centres for the communities. It wasn’t any different for Hong San See which not just brought the Lam Ann community in Singapore together, but also became a centre that served the welfare needs and for a brief period of about 10 years, provided free education to the children of poor Chinese migrants in the community with the Nan Ming School that opened in 1914 and operated at the sides of the temple. Lessons were conducted primarily in the Hokkien dialect. The school unfortunately closed due to a lack of funds to continue running it – evidence of the school does still exist in the wooden benches at a open room at the side of the temple that were once used by the school.

Wooden benches that were once used by a school that briefly operated in the temple's grounds.

A lantern in the temple.

The recent restoration of the temple involved a massive and meticulous effort that took three years to complete. The restoration committee included a consultant for the Beijing Palace Museum and required extensive historical research to ensure the effort, including additions, are true to the original structure. The restoration not just restored the temple to what it must have been at the height of its glory, but also has given the temple’s aging structure a new lease of life – an effort that will ensure that the beauty of the work that has been with us for over a hundred years, can be appreciated for many more generations to come.

A dragon sits atop the roof of the temple.

A coil of incense burns at the altar.


Resources on Hong San See:

Preservation of Monuments Board’s entry on Hong San See.

Hong San See in its glory – Straits Times 25 September 2010.

Wikipedia page on Hong San See.

Infopedia article on Hong San See.

Wikipedia on Guang Ze Zun Wang.






Order out of the chaos on Hill Street

8 06 2011

The Preservations of Monuments Board (PMB) would be conducting a series of 20 Mounmental Walking Tours of Singapore’s National Monuments in the civic and cultural district during the weekends commencing Saturday 11th June up until the end of July, with an intended aim of bringing history to the whole family. I had the opportunity to have a special preview of the upcoming tours yesterday morning as part of a group yesterday made up of members of the mainstream which was led by Volunteer Guide Ms Jill Wong, during which we were given not just an insight into two of the monuments covered, but also into the background and history of the public institutions that the two monuments were built to house.

The PMB is organising Monumental Walking Tours starting 11th June 2011.

At the starting point of the brief tour, now a pavement outside Funan Centre, which is directly opposite the first of the two monuments we were to cover, the Central Fire Station, we were transported by our guide Jill into a very different Singapore. It was a Singapore of the early years where large gangs of Chinamen with darkened faces had, in the darkness of night, created mischief on the first streets or a new and fast growing colony, taking advantage perhaps of the lack of order that the Singapore of today has come to be known for. It was a Singapore that struggled to cope with the pressures of sudden urbanisation, as the colony grew around the first paved street, High Street, just a stone’s throw away from where we stood, listening to Jill. Indeed, it was a Singapore or “Sin-Galore” as it was known then where chaos had reigned, and one in desperate need for the public institutions that the monuments we were to learn about that morning (the other being the former Hill Street Police Station and now MICA Building), were built to house – hence the name of the tour “Order out of Chaos” from which I borrowed the title of this post.

The Central Fire Station, completed in 1909, features a 110 feet high watchtower which also served as a hose-drying tower.

One of the public institutions that was certainly sorely needed on the congested streets was a fire brigade, which the Central Fire Station was later built to serve. It was only some fifty years after the founding of modern Singapore that the first brigade was formed – a volunteer fire brigade in 1869, developing into a professional outfit close to two decades later. Even with the establishment of a professional force of fire-fighters, the fire brigade was still ill-equipped and ill-prepared to deal with many situations that arose, a fact highlighted by a news article in the 24th September 1890 edition Straits Times (excerpts of which can be found below) relating to a fire on Hock Lam Street – which had once met Hill Street at right angles at the very spot on the pavement on which we stood, which Jill read from. The article makes for interesting reading and in it we are told of a crowd that had gathered to witness a fire that had broken out at a house at No. 8 Hock Lam Street, which, “had the pleasure of watching a fire work its own way without let or hindrance”. What comes out from the article is that it took an hour before water could be doused on the fire, having been delayed partly by the inability of the fire-fighters to locate hydrants on a street just across from where they were based.

Volunteer Guide Ms Jill Wong describing the construction of the Central Fire Station.

The construction of the red and white fire station which was completed in 1909, a National Monument gazetted in December 1998 and the most recognisable in Singapore, represented a change in fortunes of the fire brigade, having being prompted by the arrival of the first professionally trained Superintendent of the Fire Brigade, Montague William Pett from England in 1905. The construction also prompted a modernisation of the brigade’s equipment with motorised fire engines being introduced, which is evident in the various size of exit doors of the station. The station, with its distinctive red and white brick façade, a style often described as “blood and bandages”, also features a 110 feet high watch tower, which when was the tallest structure in the city when it was built, providing a vantage from which a 24 hour watch could then be kept over the city. It also served as a hose drying tower – a feature in many fire stations. The station was later expanded, with a new wing added as well as quarters expanded on land purchased at the corner of Hill Street and Coleman Street from the Chinese Girls’ School which moved to Emerald Hill in the 1920s.

A feature of the pavement outside the Central Fire Station that was explained is that there is no kerb where it meets the road allowing it to be flushed for the passage of emergency vehicles coming out of the station.

The second (and last) stop in the short introductory tour was the former Hill Street Police Station, a six storey Neo-Classical styled building designed by PWD Chief Architect Frank Dorrington Ward completed in 1934, which was also gazetted as a National Monument at the same time as the Central Fire Station. Where the fire station is still used in a function that the building was built for, the Hill Street Police Station is now used by the Ministry of Information, Communication and the Arts (MICA). The building, when built, was an imposing structure which was described as the “Police Skyscraper” and was in fact the largest structure in Malaya. The building featured two open courtyards (now enclosed by a glass roof) and numerous windows (that one can’t help but notice) that opened to the outside as well as into the courtyards, giving the rooms in the building a airy and bright feel – a feature of Frank Dorrington Ward designed municipal buildings. The structure besides serving a function as a police station, also provided housing to policemen and their families with accommodation for up to a thousand people.

Another, an imposing structure that, at the time of its completion, was the largest man made structure in Malaya.

The once largest structure in Malaya, despite being dwarfed by the modern buildings that have come up in the area, is still pretty imposing.

The once open-air courtyard of the former Hill Street Police Station is now encased by a glass roof.

The construction of the building, built at a cost of $494,000, had in the case of the fire station, heralded a change of fortunes for the force, which started as a police force of 12 men in 1820 who weren’t, we were told, too well paid – a combined monthly salary of some $300 was put together by William Farquhar raised through licensing fee for the sale of opium and liquor. The force had apparently attracted the likes of desperate men, stranded sailors for one, seeking a means to obtain money for a passage home, and was poorly equipped unitl the 1930s when improved funding allowed the force was expanded to some 2000 and modern equipment to be introduced. Our attention was also drawn to a series of wall mounted information panels at the second smaller courtyard which provided some of the history of the building as well as provided insights into how life in the separate quarters for the families of the rank and file and the senior policemen was. All in all it was certainly an hour well spent, allowing me to discover more of the monuments in question and some of the conditions that existed when they were built as well as learning a little more on the history of Singapore. Information on the series of Monumental Walking Tours that the PMB has organised can be found below, as well as on the PMB’s website.

A feature of Frank Dorrington Ward designed buildings is the light and airy feel in interiors ventilated and brightened by generous windows which even in the less colourful days of the building, never goes unnoticed.

The Neo-Classical style is commonly seen in municipal buildings in Singapore and has features such as symmetry, the use of columns and pediments such as is seen over the main entrance of the former Hill Street Police Station.



PMB Media Release:

LEARN ABOUT HISTORY THE MONUMENTAL WAY
Monumental Walking Tours and My Monumental Playground offer fun for the whole family

7 June 2011 – History comes alive for the whole family as the Preservation of Monuments Board (PMB) launches 20 new Monumental Walking Tours of Singapore’s National Monuments in the civic and cultural district and My Monumental Playground at the Esplanade Park Memorials.

Monumental Walking Tours
Presented with distinct storylines and unique perspectives, Monumental Walking Tours cast our National Monuments in a new light, weaving in stories of Singapore’s diverse immigrant communities. The 20 tours, conducted in English, will be introduced each weekend from 11 June to end July. Along with two existing tours, these will form PMB’s stable of Monumental Walking Tours which will be offered weekly for the rest of the year. Leading the tours are PMB’s adult Volunteer Guides and student Monument Ambassadors who have a strong background and interest in heritage. For the month of June, the Monumental Walking Tours will be available at a special rate of $5 per adult and will feature colonial buildings such as The Arts House and Peranakan Museum.

My Monumental Playground
Specially planned for the little ones, My Monumental Playground will reveal little-known facts about the Esplanade Memorials through storytelling sessions, silent precision drill performances, a treasure hunt and more. Held on 11 and 12 June, this event is part of Children’s Season 2011. Through these exciting events, PMB hopes to develop greater public interest and appreciation for Singapore’s 64 National Monuments. More information on the upcoming events can be found Annexes, and members of the public can refer to www.pmb.sg.

PMB Monumental Walking Tour and My Monumental Playground Programmes:

Administrative Information

Monumental Walking Tour Programme 11th – 12th June 2011

Monumental Walking Tour Programme 18th – 26th June 2011

Monumental Walking Tour Programme to be released in July 2011

My Monumental Playground



Excerpts from the article “Fire on Hocklam Street” from the 24th September 1890 edition of the Straits Times:

“About 9.30 p.m. a fire began in a house No. 8 Hocklam Street, and a crowd immediately commenced to gather and found that they had the pleasure of watching a fire work its own way without let or hindrance. Very soon Chief Inspector Jennings arrived, and pending the arrival of the fire engines did all he could, i.e. watched the crowd. At 10 o’clock the fire had obtained complete possession of the house, and the flames lapped round the casements, and mounted high into the air illuminating the whole town”.

The article goes on to describe how the crowd had admired the uniform of the superintendent as he watched on horseback as the fire made its progress, with water arriving only an hour after the fire by which time No. 8 and 9 were “completely gutted” and added that the “organisation did not know where the nearest hydrants were situated” in spite of the “barracks of the Fire Brigade” being “in the same street as, and exactly opposite to, the burnt houses”.









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