A postcard from the past: Shaw House and Lido

29 06 2017

Another landmark of the Orchard Road that I loved was the old Shaw House. That, stood at the corner of Orchard and Scotts Road through the 1960s to the 1980s. What made the building special was the branch of The Chartered Bank that was housed on its ground floor, a branch that my mother frequented and one at which I obtained my favourite piggy bank that was modelled after the Disney cartoon character Donald Duck. Completed in 1958, the modern 10-storey block was lit the path for the eventual transformation of Orchard Road. It was one of two that the Shaw Brothers built, the other being Lido Theatre next to it – a cinema at which I caught many Pink Panther movies. In its latter years, Shaw House was also where a popular restaurant Copper Kettle opened.





A postcard from the past: a view over the Killiney Road area in the 1970s

22 06 2017

Another postcard from the past: a view over the Killiney Road and River Valley area in the early 1970s. What can quite clearly be made out is Killiney Road, Dublin Road, Lloyd Road, Tiverton Lane and Devonshire Road at the bottom of the picture. Some of the buildings that are identifiable in the foreground include the old Killiney Road Market (from its roof), Mitre Hotel, and if you look hard enough, the roof of 38 Oxley Road!

What this postcard brings to mind is in fact 38 Oxley Road, which has been very much in the news of late. I was first made aware of it being the house of the then Prime Minister from the backseat of the car of a neighbour, Uncle Singh. We were in the vicinity one evening and Uncle Singh decided to drive through the short stretch of Oxley Road (that was before entry to the stretch was restricted to residents) just to show his son and me where the Prime Minister lived, pointing the Gurkha guards manning the sentry posts out as he drove past. This would have been sometime in 1969 or 1970 as I was in kindergarten then. What I don’t recall was why we were in the area (we were living in Toa Payoh), or what I was doing in his car. I do remember the car, an old and rather beat up Austin Cambridge, which had a corroded floorboard and torn PVC upholstery on its backseat – so much so that the coconut husk used for the filling of its cushion was showing through.





A postcard from the past: Fitzpatrick’s on Orchard Road

21 06 2017

I miss the old Orchard Road. Laid back, when compared to the madness that now consumes the street, little remains of it except for a few memories and some precious photographs, which when they crop up are like postcards sent from the past.

One photograph that I was quite excited to come across is the one below. A scan that a new found friend kindly permitted me to scan, it is a rare shot taken inside Fitzpatrick’s supermarket in the very early 1970s, just as I remember it. The scene, complete with the inside ends of the checkout aisles and the cigarette display racks, brought back an instant recall of a place, its smell and of the brown paper bags the shopping would be packed into. I remember the latter especially well and a time when plastic bags, now a scourge to the environmental, were much less used widely used. Much was also reused and recycled such as the cartons that one picked up from a pile on the left after the checkouts that the shopping, particularly the heavier items were sometimes packed into.



 





Beautiful in its abandonment: the red-brick power station at Pasir Panjang

20 06 2017

There is a certain charm about the utilitarian, red-brick faced ‘A’ power station at Pasir Panjang. Comparable in appearance to the much-loved and now lost National Library at Stamford Road, the former station stands in relative obscurity in a neglected corner of Singapore.

Pasir Panjang ‘A’ Power Station. Commissioned in 1953, it was Singapore’s second power station. Decommisisoned in the early 1980s, it lost its two iconic 235 foot high chimneys in the 1990s.

‘A’ station, completed in 1952-53, acquired the designation ‘A’ when a second or ‘B’ station was added just adjacent to it in 1965. Built at a time when such red-brick faced constructions seemed the fashion, it is evocative of an age at which the foundations for Singapore’s huge transformation were being laid. The elegance that ‘A’ station wears, one that seems to be missing in the form of its nearby and more modern counterpart, belies the fact that the station had been built in desperate circumstances. At the point of its opening, Singapore’s second station, constructed almost three decades after the first, was badly needed due to an acute shortage in electricity supply. St. James, Singapore’s first power station, which had been built with an initial capacity of 2 MW in 1926., was producing a maximum of 37 MW by 1948 (see also Electricity in Singapore). However, by 1950, maximum demand stood at 43.5 MW, and with the supply clearly insufficient, load shedding was introduced. This affected one-third of the electrical consumers in the municipality turned city each night.

The red brick power station and its two 235 feet high chimneys in the early days of the station (online at https://roots.sg/).

‘A’ power station was opened by Governor Sir John Nicoll on 3 July 1953 to great promise. Two of the intended six 25 MW turbo-alternators had been commissioned by then. More were to be added and by 1958, it had reached it intended output of 150 MW – a number that was thought at the planning stage to be sufficient to meet power supply requirements for 20 years. In that time, 260 substations were also built, some 230 kilometres of 22kV distribution cables laid (there also was an upgrade from a 6.6 kV transmission system to a 22 kV one) and 34,700 consumers added. Bulk supply could also provided to Johor Bahru. Power supplied by the station also helped launch Singapore’s big industrial push in the 1960s. With demand already reaching 105.7 MW in at the point of the commissioning of the sixth alternator, an additional 25 kW was added to Pasir Panjang ‘A’ station’s capacity in 1962. With demand increasing,  the construction of a new station, the ‘B’ station, commenced soon after  in 1963.

The former Pasir Panjang ‘B’ Power Station, which was opened in October 1965.

‘B’ station opened with an initial capacity of 120 MW in October 1965, half of its planned capacity of 240 MW. Even this would not be enough to fuel the rapid growth in demand and a new 240 MW power station in Jurong Industrial Estate had to be planned for as the ‘B’ station was taking shape. The commissioning of ‘B’ Station also allowed electrical power supplied to the island of Pulau Bukom from November 1965. Power on the island, where Shell commissioned Singapore’s first refinery in the early 1960s, had to be drawn from the island’s own generating plant prior to this. The opening of the ‘B’ station also saw the transmission system upgraded to 66kV with the existing 22 kV system relegated to a sub-transmission system (the current high voltage transmission network, introduced in 1976, distributes electricity at 230 kV).

Inside the Turbine Hall of the ‘A’ power station (online at National Archives of Singapore Online).

The death knell for the stations was sounded in the late 1970s with more advanced, higher capacity, and cleaner (one common complaint was of soot falling from the sky in the area) power stations such as Senoko and Pulau Seraya being built. ‘A’ station was decommissioned in mid-1980 and ‘B’ in the late 1990s. The stations’ buildings were re-purposed following their decommissioning and are still standing today sans their iconic chimneys. While ‘A’ station is now left vacant, ‘B’ station’s main building is currently in use as the Pasir Panjang District Office of SP PowerGrid Ltd. It is not known what the future holds for the two sets of buildings as the only thing that the URA Master Plan tells us, is that the stations sit on a “reserve site”.

Related:


Note: My visit to the former Pasir Panjang Power Station was made with the kind permission of the Singapore Land Authority.


The abandoned Pasir Panjang ‘A’ Power Station

The cleared out Turbine Hall.

Tall steel columns of the Turbine Hall – part of the metal skeleton of the building.

Reflections on the Turbine Hall.

The building has a generous amount of windows to allow natural light in.

Space under the platform of the Turbine Hall.

Reflections of the skylight in the Turbine Hall.

A steel beam, marked with its origin.

Electricity was distributed at 6. 6 kV before Pasir Panjang was built, when high-voltage transmission was done at 22 kV. The Pasir Panjang generators produced electricity at distribution voltage, and this be fed directly into the transmission network.

Transmission was switched to a higher voltage of 66 kV when the ‘B’ station was completed in 1965 and the 22 kV transmission network was used as a sub-distribution system.

Colour coded fire hydrant.

Stairway to the platform level.

The Boiler Hall.

Steel columns on the platform level.

Another view of the platform level.

Bracing on the steel framework.

Storage tanks for the power station’s oil fired boilers.

A weighbridge.

A last look at the Turbine Hall.


Some ‘B’ station facilities

‘B’ station’s pump house – the cooling plant, originally supplied by Mather and Platt Ltd, could supply 50,000 gallons of water a minute.

Inside the pump house.

Inside the pump house.

The added capacity of the ‘B’ power station permitted the supply of power to Pulau Bukom in Nov 1965. The commissioning to the ‘B’ power station also saw a shift to a 66 kV high voltage distribution network with the 22 kV network relegated to a sub-transmission system.

A room inside the chlorine handling facility.

Inside the chlorine handling facility.


Electricity in Singapore

The use of electricity for the purposes of lighting in Singapore goes back to 1897 when the Tanjong Pagar Dock company introduced electric lighting to its machine shops. It would be some years before the Municipality would adopt electric street lighting, which was introduced to Raffles Place, North Bridge Road and Boat Quay in 1906. This move coincided with the installation of a generator by the Singapore Tramways Company (later Singapore Traction Company) at MacKenzie Road for the purposes of powering its electric trams. Excess electricity distributed via a 460 V D.C. three-wire network, was sold in bulk to the Municipality, who in turn also sold electricity to some 42 consumers. This grew to 110 consumers in the first year and expanded rapidly thereafter.

The generating station at Singapore Tramways Company’s MacKenzie Road depot.

This arrangement went on for some 20 years, with supply also provided by the Singapore Harbour Board from 1924, until the coal fired St. James Power Station was built in 1926. The construction of the station were on the recommendations of a commission appointed by the Municipal Commission. The site at the promontory at St. James was selected due to its location by the coast as well as its proximity to the railway line, which ran to Pasir Panjang. This allowed the coal required to fire the station’s boilers to be delivered either by sea or by rail.





Reflections at dawn

17 06 2017

Reflections at dawn, Kallang River, 6.54 am, 16 June 2017.


Kallang River, 6.54 am, 16 June 2017.





The knight whose works enriched a “cultural desert”

16 06 2017

I have long been fascinated by Cavaliere Rodolfo Nolli, the Italian sculptor who spent a better part of his life in Southeast Asia. Over a period spanning 35 years, his mastery in pre-cast decorative mouldings and finishes provided many of Singapore’s buildings with a finishing touch. All in all he would spend 42 years away from his native Italy, leaving his mark not just in Singapore, but also in Siam, Malaya and Brunei.

Collyer Quay at the end of the 1920s, a world that Cavaliere Rodolfo Nolli had a hand in decorating.

Of the numerous structures Cavaliere Nolli lent a hand to in Singapore, it is on the old Supreme Court that we see his impressive works. Built in 1939, the old Supreme Court features the largest concentration of Cavaliere Nolli’s efforts now found in the city-state. His decorative and finishing touches cover the grand old dame’s exterior with the exception of the friezes on the porch and a now missing coat of arms. It is however the massive sculptural pieces that adorn its pediment that is most eye-catching. Weighing a total of 13 tons, and measuring 2.7 metres high at the apex and 11 metres wide, the sculptural depiction of the Allegory of Justice in very classical form is the grandest of works that Cavaliere Nolli has here to his name. It is not just the sheer scale of the work that will impress, but also the display of artistic mastery found in the sculptures.

Much of the exterior decorative work on the old Supreme Court (now the Supreme Court Wing of the National Gallery) can be attributed to Cavaliere Rodolfo Nolli.

Cavaliere Nolli considered his efforts on the old Supreme Court to be his “proudest achievement”. They would have provided him with at least some measure of having achieved an ambition he had hoped to achieve by coming across to Asia in 1913 – to make a name as a famous sculptor. Once here, he found Singapore especially to be a “cultural desert” and most of what he did would be in a capacity as a stonework contractor.

A map showing the reach of Cavaliere Rodolfo Nolli’s work in Southeast Asia (Exhibtion panel from “The Italian Connection”).

As a stonework contractor, Cavaliere Nolli worked tirelessly. He excelled in plasterwork – a skill he picked up working on the finishing on the Ananta Samakhom Throne Hall in Bangkok – and also in casting artificial stone. There was particularly in high demand for the latter driven by the use of new building techniques such as the use of reinforced concrete. He produced artificial stone finishing tiles to clad these new edifices. These granolithic tiles, made from cement with aggregate mixed in, gave the new buildings the appearance of having been built out of solid granite without the expense involved. The lightweight tiles were made very economically through the use of moulds. This allowed both repeatability and consistency necessary for mass production.

The Billiard Room of the Singapore Club – showing the exquisite plasterwork of Cavaliere Rodolfo Nolli on its barrel vaulted ceiling. The room is now the Straits Room in the Fullerton Hotel (The Fullerton Heritage).

The technique could also extended to produce stone-like ornamental pieces and other decorative elements such as crests and coats of arms. It was for such work, commissioned for the completion of the (second) Ocean Building, that drew Cavaliere Nolli from Bangkok in 1921. Cavaliere Nolli was also employed to provide similar finishes for the Union Building and the Hongkong and Shanghai Bank Chambers, two more additions made to Collyer Quay in the 1920s.

A close-up of the smooth granolithic finish on the exterior of the old Supreme Court.

Nolli was heavily involved in the decorations of many more of the decade’s new buildings such as the David Elias Building, Connell House and the Netherlands Trading Society Building. Castings of crests, coats of arms and semi-sculptural work were also popular and that same decade, the Edward VII College of Medcine, Elgin Bridge, Crawford Bridge, and the Fullerton Building were beneficiaries of this work. Much, much more was to follow. Granolithic finishes produced by Nolli found their way to numerous new erections, one of which was the old Supreme Court.

One of the works of Cavaliere Rodolfo Nolli on the (Edward VII) College of Medicine Building – an eagle with spread wings (a symbol of protection).

Cavaliere Rodolfo Nolli’s skills in casting, also extended to the production of artificial stone columns and their capitals. The Ionic capitals he produced for the Hongkong and Shanghai Bank Chambers was one of the first he worked on. Also out of Cavaliere Nolli’s Scotts Road workshop were the huge columns and intricate Corinthian capitals that we see on the old Supreme Court.

Cavaliere Rodolfo Nolli at the top of the old Supreme Court with a close up of the columns and the intricate Corinthian capitals that were cast by him (Lina Brunner Collection, National Archives of Singapore).

Cavaliere Nolli was bestowed with the Order of the Crown of Italy – a form of knighthood that carried with it the title Cavaliere – in 1925. While his life here may have appeared to have gone on rather smoothly, it was not without incident or setback. A motoring accident, early one Sunday morning in October 1934 at Meyer Road, left him seriously injured. Both of the sculptor’s arms were fractured and he required surgery on the right arm. A citizen of one of the Axis states, Cavaliere Nolli was also interned in Australia during the Second World War from 1941 to 1945. On his return to Singapore in 1946, he found his Scotts Road studio and workshop in a rather poor state. All that he had left in it was also missing, including a collection of over 300 art books and his set of tools.

One of the first postwar works Cavaliere Nolli produced was this precast crest for Hongkong and Shanghai Bank on MacDonald House in Orchard Road.

Cavaliere Nolli overcame that setback and received several commissions before his retirement in 1956. Among his last works in Singapore were a pair of sculptured stone lions for the Bank of China and a coloured sculptured plaque for Van Kleef Aquarium. The last large scale project he worked on before his retirement was the decorative stonework for the magnificent Sultan Omar Ali Saifuddin Mosque in Bandar Seri Bagawan, Brunei. He returned to his native Italy following his retirement and passed away in December 1963 at the age of 75. He left a daughter, the then Hong Kong based Mrs Lina Brunner, behind.

One of Cavaliere Nolli’s last works in Singapore was a pair of lions for the Bank of China. Left: Cavaliere Nolli with one of the lions in his studio (Lina Brunner Collection, National Archives of Singapore). Right: The pair of lions seen today.

To discover more on Cavaliere Nolli’s life and work and his reach outside of Singapore, do visit The Italian Connection, which I had a hand in curating for The Fullerton Hotel. Held at the East Garden Foyer of The Fullerton Hotel, the exhibition has been put up as part of the Fullerton Building’s 89th Anniversary this June. Besides providing a glance at Cavaliere Nolli’s life, the exhibition also looks at the Italian community and  its connections with modern Singapore that go back to the early 19th century. There is also that connection that the Fullerton Building has, through Cavaliere Nolli at its very beginnings and today through the illustrious General Manager of The Fullerton Heritage, Cavaliere Giovanni Viterale.

One of Cavaliere Nolli’s more obscure works – reliefs of angels made for the chapel of St. Anthony’s Convent in 1952.


More on the exhibition and the works Cavaliere Rodolfo Nolli can also be found at:


The old Supreme Court’s Allegory of Justice

Cavaliere Nolli’s Allegory of Justice in the tympanum of the old Supreme Court.

The old Supreme Court’s sculptures, which took Cavaliere Nolli more than a year to complete, are as interesting as they are impressive. Its centrepiece is Lady Justice, which alone weighs 4 tons. Quite noticeably missing is the blindfold, an attribute thought to be central to the depictions of Justice representing impartiality.

There has been many suggestions as to why this may be so, but Justice’s depiction in this manner is actually quite consistent with many classical representations through history, which Cavaliere Nolli would have drawn inspiration from. A beautifully executed example of this is Luca Giordano’s 1680s Allegory of Justice. The blindfold, the use of which was apparently popularised in the 16th century, is also missing from several well-known depictions of Lady Justice, such as in the Old Bailey.

Two other attributes of Lady Justice, a pair of scales and a sword turned downwards, are in plain sight. The scales, weighing evidence, are positioned well above the sword delivering punishment; the symbolism of this being that evidence and court takes precedence above punishment in the administration of justice.

As with many classical representations, deceit, discord and strife is counterbalanced by the order and security that the administration of the law achieves. Deceit, represented by the the two-headed snake, is seen biting a man far to Justice’s right. Legislators and the bent figure of a supplicant, begging for mercy, are also depicted and represent the administration of justice. The fruits of order and security – abundance and prosperity – can be seen in the bull and a farmer leading a rich harvest of wheat on Justice’s left.


The old Supreme Court friezes and works incorrectly attributed to Nolli

The old Supreme Court friezes, which some have attributed to Cavaliere Nolli, are the work of Alec Wagstaff. They were based on designs made by George Thomas Squires as part of a competition. The son of the illustrious Hong Kong based British sculptor W W Wagstaff, Alec was killed in action during the Second World War. Squires, who lived at the Crescent Flats in Meyer Road, as it turns out was the father of Isabel Mary Ferrie – the wife of James Westwater Ferrie. Ferrie was a well-known figure in the field of architecture as well as being an artist known for his watercolours of local seascapes. Many were painted at his house by the sea in Sembawang, His architectural firm, James Ferrie & Partners, is now run by a son Alasdair. 

A number of other prominent sculptural works have also been incorrectly attributed to Cavaliere Nolli. These include the triumphal figures on the façade of Tanjong Pagar Railway Station, as well as the two lions of the Merdeka Bridge monument now hidden away in SAFTI Military Institute. Both sets of works were in fact contracted to Signor Raoul Bigazzi, a Florence based sculptor and businessman. Signor Bigazzi ran a successful marble supply and sculptural business and took on quite a fair bit of work in Asia. The railway station’s sculptures were crafted by his firm’s artistic director Professor Angelo Vannetti. The Merdeka Bridge lions were sculptured in the Philippines based on a design made by Mr L W Carpenter of the Public Works Department.

The friezes seen on the porch of the old Supreme Court are the works of Alec Wagstaff, the son of Hong Kong based sculptor W W Wagstaff.






The Italian captain who bought Pulau Bukom …

10 06 2017

Except perhaps for sculptor Cavaliere Rodolfo Nolli, whose magnificent work adorns the old Supreme Court, little is known of Singapore’s many connections with the Italian community – except perhaps of the community’s many culinary offerings we are now able to find. It may therefore come as a surprise that the connections do go well back –  even before Italy as an entity existed and that Singapore’s Pulau Bukom was once owned by an Italian man.

Explore Singapore’s surprising Italian connections at The Italian Connection at the Fullerton Hotel.

Pulau Bukom is perhaps better known to us as the island on which Singapore’s successful journey into the oil refining trade, had its beginnings. Shell, who built and operate the refinery, has long been associated with the island. 20 acres of it was bought by the company in 1891 for the purpose of kerosene storage. The transaction netted the island’s owner,  Capitano Giovanni Gaggino a tidy profit. Gaggino, an Italian master mariner, shipowner and adventurer, purchased the island for $500 in 1884 with the intention to supply freshwater to shipping. His purchase of “Freshwater Island” as it was informally known as, was one of many of Gaggino’s ventures here. He would spend 42 of his 72 years in Singapore from 1876 and passed on in 1918, whilst on a trip to Batavia. Capitano Gaggino was also known to have authored several books, one of which was the very first Malay-Italian dictionary.

Capitano Giovanni Gaggino, who once owned Pulau Bukom (source: Reproduction of “La Vallata del Yang-Tse-Kiang” by the Italian Ministry of Foreign Affairs. Open source).

Even before Gaggino, Italians – many of whom were involved in shipping and trade, made landfall. One rather famous Italian, the renowned botanist and contemporary of Charles Darwin, Odoardo Beccari, used Singapore as a stepping stone to his well documented explorations of the region’s forests. Credited with the discovery of the giant corpse flower, Beccari also documented a month he spent in March 1866 at the “wooden bungalow” of the Italian Consul, Signor Giovanni Leveson (a.k.a. Edward John Leveson) on the Johor Strait. The bungalow is thought to be where Woodlands in Singapore’s north got its name from.

Odoardo Beccari (source: Sailko, Creative Commons License 3.0).

Like Capitano Gaggino, Cavaliere Rodolfo Nolli spent a substantial part of his life in Singapore. He arrived from Bangkok in 1921 and remained – except for a period of internment during the Second World War (as a citizen of Italy, one of the Axis states, he was interned in Australia from 1941 to 1945), until his retirement in 1956 . He worked tirelessly and amassed a huge portfolio of work that began with the second Ocean Building on which he provided the decorative artificial stone facings.

Composite image of Rodolfo Nolli and the main (south) entrance of the GPO. Two sets of works – the coat of arms and a pair of flambeau compositions, went missing during the Japanese Occupation (source of images: National Archives of Singapore).

The majestic Ocean Building did not only launch Nolli’s career in Singapore, it also spelled a new era for the bund along Collyer Quay. Before the end of a decade, three even grander edifices would be added: the Union Building, a second generation Hongkong and Shanghai Bank Chambers, and the grandest of them all, the Fullerton Building. The additions, all of which Nolli had work done on, provided the bund with an appearance that could be compared to Shanghai’s more famous embankment.

Ocean Building in the 1920s (Source: W. A. Laxton, The Straits Steamship Fleets)..

Built to house the General Post Office, several municipal offices as well as the exclusive Singapore Club, the Fullerton was decorated with some of Nolli’s more exquisite pieces of the era. Two precast sculptural works: a pair of flambeau compositions and a royal coat of arms – symbols of enlightenment and empire – adorned the main entrance to the GPO. Sadly, these disappeared during the Japanese Occupation and all that can now be seen of Nolli’s contributions in the building is the magnificent plasterwork of the barrel vaulted ceiling of the Singapore Club’s Billiard Hall. The hall is now the Straits Room of The Fullerton Hotel. The hotel has occupied the Fullerton Building since 2001.

The Straits Room is now where the only works of Rodolfo Nolli’s in the Fullerton Building to have survived can be found.

The historic waterfront, 1932, to which Nolli added decorative finishing touches, and the waterfront today (source: top image, Singapore Philatelic Museum; lower image, Jerome Lim).

Cavaliere Rodolfo Nolli, whose works are also found in Bangkok – where he spent 7 years of his life, in parts of Malaysia and also in Brunei, was bestowed with a knighthood by the Italian Crown in 1925. This is an honour that another Italian gentleman connected with the Fullerton Building, Cavaliere Giovanni Viterale, has also received. Cavaliere Viterale, the GM of Fullerton Heritage, is a well respected member of the hospitality industry and it was for his contributions to it that he received the honour. The building, which was opened in June 1928, celebrates its 89th anniversary this month.

Nuns of the Canossian order speaking to Cavaliere Giovanni Viterale at the exhibition opening. The order, which has origins in Italy, first arrived in Singapore in 1894 (source: The Fullerton Heritage).

More on the Italian Community, including on an Italian order of missionaries whose work in tending to those in need continues to this very day, the Canossian Daughters of Charity, can be discovered at an exhibition that I curated with Zinke Aw, “The Italian Connection”. The exhibition, The Fullerton Hotel’s East Garden Foyer, runs until 18 July 2017. Information on the exhibition can also be found at The Fullerton Heritage’s website and through the official press release.

 

 

 








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