Not all Black and White at Mount Pleasant

1 11 2015

With much of Singapore now dominated by the clutter and monstrosities of the modernised world, “Black and White” housing estates are a breath of fresh air. Many of these estates can still be found scattered across the island. Set in lush greener, they contain houses that are characterised by their whitewashed exteriors and their black trimmings. Built in the early decades of the twentieth century, these houses were the homes of the colony’s administrators and wear a poise and an elegance that seems lacking in the residential architecture of the modern world.

The 'black and white' house at 159 Mount Pleasant Road.

The ‘black and white’ house at 159 Mount Pleasant Road.

The rear of the house - with the kitchen and servants quarters arranged in typical fashion behind the main house.

The rear of the house – with the kitchen and servants quarters arranged in typical fashion behind the main house.

I am always grateful for the opportunity to take a peek into one of these houses, a good number of which are being leased from the Singapore government for quite a tidy sum. One that I recently got to see — thanks to arrangements made by a friend and fellow blogger James Tann with the house’s occupant, was 159 Mount Pleasant Road. Laid out in a style typical of the early “Black and White” house — of single room depth, and with a carriage porch arranged under a projecting second storey verandah, the house is one of a cluster of similar houses built in the 1920s along the northern slope of Mount Pleasant as residences for the fast developing colony’s Municipal Councillors.

The carriage porch and projecting second storey verandah.

The carriage porch and projecting second storey verandah.

The projecting second storey verandah.

The projecting second storey verandah.

Located close to the top of Mount Pleasant, one of the high points in the series of undulations that extend to the municipal burial grounds to its northwest in the area of Bukit Brown, there is much to admire about the house and the expansive grounds it has been provided with. From James, I also discovered that what was most interesting about the house was not so much its architecture nor the beauty of its settings, but a secret that the house and its grounds held for some seventy years.

From the porch one steps into an entrance hall and the stairway - again typical of an daly 'Black and White' house design.

From the porch one steps into an entrance hall and the stairway – again typical of an early ‘Black and White’ house design.

The dining room on the ground level, as seen from the entrance hallway.

The dining room on the ground level, as seen from the entrance hallway.

James, who photographed the house for a book on the Adam Park Project, shared what had been learnt about No 159 and the houses in the vicinity through the piecing together of evidence found in history books, maps and also what had been unearthed on the grounds. The project, which is led by battlefield archeologist Jon Cooper, seeks to establish from archaeological evidence, what went on in and around Adam Park in the final days of the battle for Singapore in February 1942.

The area in the foreground was where both spent ammunition and a cache of unused British ammunition was recently uncovered.

The area in the foreground was where both spent ammunition and a cache of unused British ammunition was recently uncovered.

In a video on the dig that took place on the grounds of No 159 Mount Pleasant Road earlier in the year, Jon Cooper paints a picture of the events of the last days leading up to what seems to have happened on the morning of 15th February 1942 — the day of the surrender. Japanese forces, having met with stiff resistance from the 1st Cambridgeshire regiment, who had been holding the ground for three days at Adam Park, decided to move north. On the evening of 14th of February, the Japanese were able to penetrate positions held by 4th Battalion of the Royal Suffolks at the Singapore Island Country Club and at Bukit Brown. In retreat, the Suffolks retreat, falling back across a valley (which would be the low ground at Jalan Mashhor / Gymkhana Avenue), to positions on Mount Pleasant. Here, a mix of units including the 125th Anti Tank Regiment, the Royal Engineers and elements of the 9th Northumberland Fusiliers, brace for a Japanese attack and have the area fortified with the “Black and White” houses along the edge of the ridge serving as defensive positions.

In the video, Cooper also tells us of two well-documented attacks on Mount Pleasant that would follow. One comes from an account recorded by Henry Frei, who once taught at the NUS, through interviews with Japanese veterans. This account makes mention of an attack on “Hospital Hill” which wipes out a whole company of Japanese troops.

The house that was thought to be used as a hospital on the top of Mount Pleasant.

The house that was thought to be used as a hospital on the top of Mount Pleasant.

Another account that Cooper refers to, speaks of the attempts that were made on the morning of 15th February to retake a house that had been infiltrated by the Japanese. The house, on the north side of Mount Pleasant Road, is described as as hard to take due to its elevation below the road. After two failed attempts to retake it, the house is hit with twelve anti-tank shells which were fired from a gun positioned at the junction of Mount Pleasant Road and Thomson Road. The house, which catches fire, is cleared of Japanese troops before burning down. With the help of a 1948 aerial photograph, Cooper was able to identify this house as being No 160 through its new roof, which lies right across Mount Pleasant Road from No 159. An article in the Singapore Free Press dated 25 June 1948, which reports the discovery of the remains of eight soldiers on the grounds of a “bombed house” at 160 Mount Pleasant Road, provides further evidence. 

160 Mount Pleasant Road, which was infiltrated by Japanese troops and subsequently bombed.

160 Mount Pleasant Road, which was infiltrated by Japanese troops and subsequently bombed.

Remains were also found at the far end of No 159’s garden. They belonged to a British officer and were reburied in Kranji War Cemetery. An aim of the dig at No 159 was to find if anything else belonging to this officer could be found on the grounds.

A view towards the far end of the garden. The remains of a British officer killed in the course of fighting, was buried.

A view towards the far end of the garden. The remains of a British officer killed in the course of fighting, was buried.

While no further evidence was found of the officer, the main area of focus of the dig taking place at the near end of the huge garden, did meet with success. The recent removal of a tree coupled with the gradual washing away of the topsoil by rainwater provided a huge clue as to where to carry out this dig, through which thousands of pieces of ammunition were uncovered. The find, which includes both spent cases and a cache of unused ammunition that had deliberately been buried, confirmed that there was fighting in the garden of No 159, which would have been used as a staging point for the counterattack on No 160. The large quantity of unused ammunition, which was of British origin, also provided evidence of the final positions held by British troops as they made their preparations to surrender.

Mount Pleasant Road served as the final battle line before the capitulation.

Mount Pleasant Road, seen here running between #159 and #160, served as a final battle line before the capitulation.

There probably is a lot more that lies buried in and around No 159 and the “Black and White” houses in the vicinity and it is possible that the grounds of these houses may never reveal their secrets. Based on the Urban Redevelopment Authority’s 2014 Master Plan, the area will be the subject of future redevelopment — perhaps as part of the intended Bukit Brown estate and on the evidence of the two MRT stations that have been planned for. It would be a shame if and when this happens. Not only will we lose a lush green part of Singapore with its “Black and White” reminders of a forgotten age, we will also lose a crucial link to a chapter in our history that we must never be forget.

The URA Master Plan 2014 indicates that the area will be redeveloped in the future.

The URA Master Plan 2014 indicates that the area will be redeveloped in the future.


More photographs of 159 Mount Pleasant Road

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A light where there was only darkness: The Changi Murals

20 09 2013

It was an air of quiet calm that greeted me as I stepped into a room where the ghosts of a time we may otherwise have forgotten continue to haunt us. The room, bathed in the glow of light painted gold by the ochre of the walls the light reflected off, seemed to extend a warm welcome which it would have in the cold dark days when it offered hope when there might only have been despair.

The Chapel of St. Luke on the ground floor of Block 151.

The Chapel of St. Luke on the ground floor of Block 151.

The room, converted into the makeshift Chapel of St. Luke (dedicated to St. Luke the physician) during the Japanese Occupation, was where a Prisoner-of-War (POW) by the name of Stanley Warren who held the rank of Bombardier in the Royal Artillery, weakened by a severe bout of renal disorder and dysentery, drew on whatever reserves he had left in strength, to decorate, remarkably, two of the chapel’s walls with five paintings of biblical scenes from the New Testament which along with the chapel became a light in the darkness of days uncertain.

The chapel and murals were a light in the darkness of captivity during the dark days of World War II.

The chapel and murals were a light in the darkness of captivity for prisoners during the dark days of World War II.

The chapel which occupies a room in what was Barrack Block 151 in Roberts Barracks, which together with the neighbouring barracks and nearby Changi Prison became an extended gaol that the Japanese forces used to hold the large numbers of POWs they held. Block 151 was made part of the gaol’s hospital becoming part of a dysentery wing which included several other surrounding buildings.

Block 151 is one of a few structures from WWII which remain in the area.

Block 151 is one of a few structures from WWII which remain in the area.

Another view of Block 151.

Another view of Block 151.

Even if not for the weakened state of the painter, putting the paintings we now know as the ‘Changi Murals’ on the walls would have required an incredible effort. Based on information provided by the expert guide Mr. Vickna, we were told of how paints, pigments and even brushes were in extremely short supply, and they had to be procured through whatever means available – some which may have even put the men involved at risk.

A photograph of the late Stanley Warren who passed away in 1992.

A photograph of the late Stanley Warren who passed away in 1992.

There was also a huge degree of improvisation involved – the colour blue for example, was obtained from crushing chalk used on billiard cues.

A map of the POW camp sketched by Stanley Warren.

A map of the POW camp sketched by Stanley Warren.

Too ill to be sent to work on the Death Railway in Siam, which he is said to have said probably saved his life, Warren found himself recuperating in a ward above the chapel in 1942, Warren and many around him drew on the comfort provided by what could be heard of the strains of Merbecke’s arrangement of the Litany being sung in the chapel.

Mr Vickna the guide.

Mr Vickna the guide.

It was hearing the voices in song throughout his slow recovery which was to serve as an inspiration for Warren who was approached by the chaplain who knew of his artistic background to decorate the makeshift chapel. He struggled through the first, The Nativity, for over two months, managing to complete it in time for Christmas in 1942. Warren was to complete four more works – the last, a mural of St. Luke in Prison, was completed in May 1943.

The Nativity was the first mural painted. On a copy painted on a wallboard in 1963, Warren painted an albatross in place of the horse's head.

The Nativity was the first mural painted. On a copy painted on a wallboard in 1963, Warren painted an albatross in place of the horse’s head.

A feature of the murals is how Warren also used it depict what he did see around him – many of the faces were those of his fellow POWs and in the third mural, The Crucifixion, which I thought was the most moving, we do also see slaves dressed in loincloths in the same way the men around him were dressed in their rags. The words found above the mural “Father forgive them for they know not what they do” were we were told also a reference to his captors and the slaves crucifying Christ being the “slaves” many of his captors were to authority.

The Ascension - the second mural.

The Ascension – the second mural.

The murals were initially thought to have been destroyed – the Japanese later converted the room into a storeroom and were thought to have broken down walls as well as painting over the remaining murals. They were thought to have been discovered by Royal Air Force (RAF) personnel in 1958 and a search was made through the press in the UK for the painter – the name Stanley Warren cropping up only when a short description of the chapel and a reference to the murals was found in a book “The Churches of Captivity in Malaya”, which was discovered in the Far East Air Force Educational Library in Changi.

The Crucifixion, the third mural which was partly damaged by a doorway made in the wall - the evidence of which can still be seen.

The Crucifixion, the third mural which was partly damaged by a doorway made in the wall – the evidence of which can still be seen.

Then an art teacher in London, Warren was invited to restore the murals, first refusing to do so on the fear of having to confront the demons of the dark days in which he executed the work. He did eventually return after much soul searching – first just before Christmas in 1963, and then again in 1982 and 1988. One of the murals does remain unrestored – the last, the lower part of which was destroyed when the wall was knocked down by the Japanese.

The Last Supper - the fourth mural.

The Last Supper – the fourth mural.

It was one for which Warren did not have a copy of his original sketch of (which was found in the possession of a fellow prisoner later in 1985), and decided to leave what remains of in its original condition. Warren did paint a copy of it, a photograph of which can be seen below the mural in which he replaced one of the figures he orginally painted.

The unrestored upper portion of the fifth mural, St. Luke in Prison.

The unrestored upper portion of the fifth mural, St. Luke in Prison.

The Crucifixion is also one which was partly destroyed when a doorway was made in the wall – the evidence of which can still be seen.

A copy of the copy of the fifth mural which Warren painted.

A copy of the fifth mural which Warren painted.

Another interesting fact was one that we did learn about The Nativity mural – it was thought to have been destroyed and a copy was painted on a wallboard which was eventually removed by the RAF. The copy was one on which Warren replaced the head of the horse found on the original work with an albatross to as a symbol of flying men of the RAF which was using the barracks at the time. A part the original mural – that of the horse’s head, was found by one of the boys from the Singapore Armed Forces (SAF) Boys School (which occupied the building in the 1980s) tasked with helping Warren to restore the murals in 1982.

A view of the chapel.

A view of the chapel.

The work, which is said to have offered solace and hope to the many prisoners who used the chapel, is today a reminder not just of a event we should never again want to find ourselves confronting, but also one of the triumph of the human spirit in the face of adversity. The building which houses the chapel, lies today in a restricted area within the Republic of Singapore Air Force’s (RSAF) Changi Air Base (West) and I am grateful to MINDEF’s NS Policy Department and the RSAF for the opportunity to be moved by the murals in its original setting. A copy of the murals to which members of the public have access to, can be found in the Changi Museum.

The chapel offered hope where there seemed to have been none.

The chapel offered hope where there seemed to have been none.

Mr Vickna speaking about The Ascension.

Mr Vickna speaking about The Ascension.

The corridor outside the chapel.

The corridor outside the chapel.


Information on Stanley Warren and the Changi Murals

* with photographs of it in the condition it when it was originally uncovered