User:ZKang123/sandbox/Art and Architecture on the Singapore MRT

Source: Wikipedia, the free encyclopedia.

Art and Architecture on the

East West (NSEWL) lines) have basic station designs that were engineered to be cost-effective and safe. In subsequent stages of the network, architectural themes were implemented on elevated stations with varying roof designs to give stations an "ethnic touch" (for example curved Chinese roofs for Chinese Garden
station), or to make the stations more appealing (in the case of the EWL stations with a cylindrical roof design). For later stations, barrier-free measures (such as lifts and tactile routes) are implemented, with the evolution of station designs to reflect the modern era.

The initial MRT network also contains murals and sculptures that reflect the history or activity of the area the station serves, though these artworks were not part of initial station plans. In 1997, the Art-in-Transit (AIT) programme was launched which integrates artworks into the

Thomson East Coast (TEL) and Jurong Region
(JRL) lines. The programme is intended to enhance the commuters' experience on the network, strengthened people's sense of identity, and a platform to showcase local works by local artists, connecting people to local histories, geographies and communities.

North South and East West lines (NSEWL)

A variety of architecture on the NSEWL stations
The space-frame roof at Jurong East station.
The space-frame roof at Jurong East station.
Exterior of Tampines station
The segmented dome-shaped roof over the platforms of Tampines station
Two overlapping steel roofs over Expo station
Two overlapping steel roofs over the platforms of Expo station, designed by Foster and Partners.
Exterior of Canberra station
The exterior of Canberra station shaped like a ship.

The initial stations on the first MRT lines in Singapore have simple designs, with more focus on engineering and safety using simple aesthetics. One main concern back then (and still is) has been crowd movement. The size of the station platforms and the width and height of the entrances have been carefully conceptualised to ensure enhanced passenger movement in the network.[1] Nevertheless, some of these stations have artworks reflecting the area they serve, and key features were employed for the underground stations in the Central Business District (CBD).[2] One example is the distinctive dome above Orchard station, which is featured as the "showpiece" for the MRT network.[3][4][5] Each station also has a colour scheme which distinguishes them from one another.[2][6]

In the later Phase II of the network, the roofs of the elevated stations have distinct designs which reflect Singapore's heritage and the surroundings, proposed by architect Scott Danielson. The

Geylang Serai, a Malay enclave.[6][7] The roof of Jurong East station, meanwhile, is similar in design to the adjacent Jurong East Bus Interchange: a space frame roof made up of cylindrical steel tubes with ball joints arranged in a geometric style.[6][7] On the eastern stretch of the MRT network from the Kallang to Pasir Ris stations, the elevated stations have a dome-shaped roof, segmented like a caterpillar, over the platforms. The design was intended by the MRT Corporation (MRTC) to give the stations on the EWL stations an "attractive look".[8]

Changi Airport branch (2001)

Main articles: Expo MRT station and Changi Airport MRT station

The elevated Expo station is designed by British architectural firm Foster and Partners. The station features two roofs overlapping one another — a stainless-steel roof over the concourse and ticket level 40 metres (130 ft) in diameter, and a 130-metre (430 ft) long titanium roof stretching over the platform level.[9] The former reflects sunlight into the concourse which minimises the need for artificial lighting, while the latter deflects sun rays, which cools the platform by up to four degrees less than its surroundings. These materials for the roof were adapted to fit into warm tropical Singaporean climate.[9][10][11] The spacious interior of the station allows natural lighting and ventilation.[12][9] Its futuristic design reflects the country's willingness to experiment with new ideas and technology, symbolising the "thriving world-class city" that Singapore was building for in the 21st century.[12][10]

Various features have been incorporated into the design to make Changi Airport station aesthetically pleasing to travellers.

Ove Arup and Partners.[17][18] In 2011, the station was rated 10 out of 15 most beautiful subway stops in the world by BootsnAll.[16]

Dover station (2001)

Main article: Dover MRT station

Canberra station (2019)

Main article: Canberra MRT station

The station, designed by DP Architects and KTP Consultants (the latter of which is now a subsidiary of Surbana Jurong),[19] have a nautical theme;[20] thus, the station is shaped like a ship when viewed from the outside. This design was inspired by Sembawang's historical role as a British naval base. The station’s roof is modeled after wind blades to convey the speed of Singapore's public transportation.[21] The sides of the station were constructed using glass rather than concrete to allow natural light to enter. Louvers were installed to provide ventilation.[22] For the construction team's efforts to integrate landscaping and the use of eco-friendly materials, the station was awarded a Platinum certification under the Building and Construction Authority's new Green Mark scheme for transit stations. Canberra station is the first MRT station to attain such a rating.[23][24]

North East line (NEL)

Chinatown station (2007)

Main article: Chinatown MRT station

Dhoby Ghaut station

Sengkang station

Circle line (CCL)

A variety of architecture on the CCL stations
The reflecting pool at Bras Basah
The reflecting pool above Bras Basah station
Interior of Stadium station
The interior of Stadium station
Marina Bay station
The transculent canopy above the reflective pool at the Marina Bay station entrance

Bras Basah station (2010)

Main article: Bras Basah MRT station

Bras Basah station is one of two stations commissioned through the Marina line Architectural Design Competition jointly organised by the Land Transport Authority (LTA) and the Singapore Institute of Architects (SIA). Designed by WOHA, the station design resolves two conflicting conditions needed for the station: allowing a visual connection to the exterior to enhance the travel experience for the commuters, and enabling the station to blend into the landscape in the historic district and park location. A reflection pool, which also acts as the station roof, allows skylight to enter the station, and functions as a landscape element on the surface. With skylight entering the station, minimal artificial light is required for the station during the day. The natural light improves way-finding and safety for the commuters.[25] The ventilation shafts of the station blends into the landscape, avoiding obstruction of the view across the site to the surrounding civic buildings.[26][27]

At the 2001 SIA Awards, the SIA awarded LTA the prize for ‘Excellence in Architectural Design Competitions’.[26] In 2009, the station was awarded the "Best Transport Building" at the World Architecture Festival, on the basis that the design gives "precedence to the surrounding, historically important, colonial structures, creating a piazza-like urban space to the station underneath" and noted the design's functionality to allow natural light into the station.[26][28] The station later won the Award for International Architecture at the AIA's (American Institute of Architects) 2010 National Architecture Awards.[25] In addition, it won the Chicago Athenaeum and the European Centre for Architecture Art Design and Urban Studies and International Architecture Awards in 2011.[29]

Stadium station (2010)

Main article: Stadium MRT station

Stadium station was designed by an architectural team from WOHA, an architectural firm,[30] led by Wang Mun Summ and Richard Hassell.[31][32] The station was another station to be commissioned through the Marina Line Architectural Design Competition jointly organized by the Land Transport Authority (LTA) and the Singapore Institute of Architects (SIA) in 2000.[32][33] The station was designed to handle large passenger numbers during major events, featuring an open-air concourse and plaza space to accommodate the crowds and prevent overcrowding within the station.[31][33] The open-ended station allows it to be linked to future developments around the station at ground level.[33]

Initially, it was proposed by the design team to elevate the then-existing Stadium Boulevard and build a public space underneath which will link to the surrounding buildings. However, after analysing possible traffic patterns for the road bridge, the (LTA) recommended scrapping the bridge. As the bridge was a key feature of the design, the team had to redesign the station, but they kept the characteristics of a public plaza, a transparent diagram and basic yet massive elements for the new design.[32]

The new design contrasts a straight side against a curved opposite side.[33] According to WOHA, the change is just rotating the old design on its side, with the bridge changed to the curved side and the ground being the straight vertical side.[32] The curve side and the grey colour scheme draws reference to the old National Stadium, which has been demolished to make way for the current Singapore Sports Hub.[31][33] The station has a grand spacious interior inspired by European train stations built in the 19th century,[32] with the skylight naturally illuminating the platforms to make them visually appealing and eliminating the need to have excessive signage to navigate around.[31][32][33] The station exterior was cladded with ribbed aluminium to make the material ambiguous; making them look soft or hard depending on light conditions and time of the day.[32][33]

This station was awarded "Design Of The Year" of the President's Design Award in 2010,[34] nominated by Patrick Bingham-Hall, an architectural photographer.[32][35] Bingham-Hall, the nominator, praised the station as a 'brilliantly intuitive piece of architecture (which) defy imitation', while the jurors of the award commented that the station design was 'appropriate' to reflect the importance of the new Sports Hub the station serves.[32][35] The station also received the 9th SIA Architectural Design Awards for the Industrial, Transport & Infrastructure,[36] the Award for International Architecture by the Australian Institute of Architects and the 2010 International Architecture Award by the Chicago Athenaeum and the European Centre for Architecture Art Design and Urban Studies.[37][38] It was also one of the finalists for the 2008 World Architecture Festival.[37]

Marina Bay station (2012)

Main article: Marina Bay MRT station

The Circle line station was designed by Aedas, Quarry Bay & Aedas Pte Ltd (Station Architect).[39] Visibility, integration and efficiency were the focal points when designing the CCL part of the station, as the station entrances need to integrate into the park where the station is located.[40][41] The design also has provisions for a future underground pedestrian network (converted from a temporary maintenance facility near the station) and connections to future developments.[42] The translucent canopy acts as a skylight to allow natural light into the underground hall. The large entrance also allows large amounts of natural light to enter the station.[43] To limit the visual impact of the station to the surrounding park landscape, only the lift, escalators, the lightweight ETFE canopy and the reflective pool are visible from street level, giving users a full view of the park from the station entrance. The reflective pool also provides a smooth transition between the exits and the park.[44]

The station design was the winner of the Small Project Award at the World Architecture Festival in 2012.[45][44] Other awards includes the Land Transport Excellence Awards 2012 (as the Best Design Rail / Road Infrastructure – Project Partner),[46] the 2013 UIPT Asia-Pacific Grow with Public Transport Award[47] and honourable mention for the Singapore Institute of Architects Architectural Design Awards 2012.[48]

Downtown line (DTL)

Little India station (2015)

The Art in Transit artwork, “Woven Field” by Grace Tan, consisting of geometric, tessellated patterns made of aluminium, is integrated into the interior of the Downtown Line section of the station and is inspired by traditional Indian saris.[49]

Fort Canning station (2017)

Bencoolen station (2017)

The interior of the station with curved walls in earth-tone colours

The six-level underground station reaches 43 metres (141 ft) below ground and is the deepest station on the MRT network as of 2021, being 1 metre (3.3 feet) deeper than Promenade DTL station.[50] The station and the tunnels are placed at that depth to avoid the existing infrastructure at the surface, as well as the other rail tunnels in the way of the alignment.[50][51] The station, designed by Aedas, is only 22 metres (72 ft) wide and 140 metres (460 ft) long, as the distance between the buildings along the street is 25 metres (82 ft) wide.[50]

The station has three entrances.[52] Exit A of the station is within the NAFA Tower Block above the station and the underpass link to the SMU.[50][52] The station was constructed in tandem with NAFA's fourth campus. The integration allows students to access the campus easily regardless of the weather conditions.[53] The glass and frame structure of Exit B is designed in vintage style to "harmonise" with the colonial-style exterior of Hotel Rendezvous near the station.[50]

The curving interior walls are meant to resemble canyon walls, while earth-tone colours were used to represent the many layers of the soil,[54] emphasising the depth of space.[50] The glass walls of the passenger lifts are tinted in maroon, making the descent to the platforms appear as a descent to the Earth's core, thereby enhancing the commuters' experience in the station.[50][54]

At the surface, Bencoolen Street was transformed into an enhanced pedestrian walkway.[55][56] Two of the four lanes had been permanently closed to make way for a community space, which includes a wide footpath for pedestrians and a dedicated bicycle lane. The transformation was part of Singapore's government Walk-Cycle-Ride initiative, which was aimed to make the country "car-lite" and allow more opportunities to walk and cycle.[57] One of the remaining lanes on the street was converted into a dedicated bus lane to facilitate efficient bus services.[55][58]

The area is designed to be pedestrian-friendly, with sheltered linkways from the station to the surrounding developments.[55] The surface structures of the station, comprising the entrances and vent shafts, were placed to preserve the buildings' facades while establishing a "vibrant, comfortable" walking environment above ground.[50] The street also features seven "funky" benches designed by students and alumni through a competition held by NAFA.[53] The bench designs include a dog-shaped double-level bench, another shaped like a cat on its back, and animal-shaped branches made of fibreglass.[53] These benches were intended to add some innovation to the streetscape.[55] A total of 125 bicycle parking lots are installed at various places along the street.[55][58][59]

Thomson–East Coast line (TEL)

Stage 1 (2020)

Artworks

Art-in-Transit

The Art-in-Transit (AiT) programme is a commissioned art program directed by the Land Transport Authority for the Singapore MRT network. The artworks commissioned were integrated as part of the stations' designs.[60] Considered a "significant milestone" for public art in Singapore,[61] the artwork project aims to enhance the commuters' experience when travelling.[60] Unlike previous artworks featured in the original NSEWL stations, the artwork has to be integrated into the station, while reflecting the history and heritage of the station's locality.[62]

The AiT programme was launched in 1997 with the development of the North East line (NEL),[63] which features 18 artworks in the 16 NEL stations by 19 artists.[60] These artists were selected through the Art Review Panel, which reviews the artists' portfolios and manages the development of the art concepts.[64] With the AiT programme warmly received by the public, the Land Transport Authority (LTA) continued the programme through the Circle line (CCL). The programme was further expanded to include more art genres, with the public invited for artwork proposals for selected stations. An international competition was launched for two artistic seat designs for the CCL interchange stations.[63] The programme continued for the subsequent rail lines of the DTL[65] and the TEL.[66]

Artwork list

Station code Station name Artwork name Artist(s)
NSL
 NS12  Canberra Symbiosis MessyMsxi
 NS28  Marina South Pier SG50 Singapore Tapestry Delia Prvacki
NEL
 NE1  HarbourFront Engimatic Appearances Ian Woo
 NE3  Outram Park Memories Wang Lu Sheng
Commuters Teo Eng Seng
 NE4  Chinatown The Phoenix's-Eye Domain Tan Swie Hian
 NE5  Clarke Quay The Reflections Chua Ek Kay
 NE6  Dhoby Ghaut Interchange Milenko and Delia Prvacki
Universal Language Sun Yu-Li
 NE7  Little India Memoirs of the Past S. Chandrasekaran
 NE8  Farrer Park Rhythmic Exuberance Poh Siew Wah
 NE9  Boon Keng Metamorphosis Lim Poh Teck
 NE10  Potong Pasir Point of View Matthew Ngui
 NE11  Woodleigh Slow Motion April Ng
 NE12  Serangoon Memories of Childhood Eng Joo Heng
 NE13  Kovan The Trade-off Eng Tow
 NE14  Hougang Hands Up for Hougang Seck Yok Ying
 NE15  Buangkok Water, Nature & Contemporary Vincent Leow
 NE16  Sengkang T.R.A.N.S.I.T.I.O.N.S. Koh Bee Liang
 NE17  Punggol Water, Landscape & Future Goh Beng Kwan
CCL
 CC1  Dhoby Ghaut Man and Environment Baet Yeok Kuan
 CC2  Bras Basah The Amazing Neverending Underwater Adventures! Tan Kai Syng
 CC3  Esplanade A Piece of Ice-Clear Heart Lim Mu Hue
 CC4  Promenade Dreams in Social Cosmic Odyssey PHUNK
 CC5  Nicoll Highway Re-Claiming The Peripherals Khiew Huey Chian
 CC6  Stadium The Perfect Moment Roy Zhang
 CC7  Mountbatten Lord Mountbatten Thinks of Pink Jason Wee
 CC8  Dakota Little Things, Little Stories A Dose of Light
 CC9  Paya Lebar The Signs of Times Salleh Japar
 CC10  MacPherson Virtuous Cycle Kay Kok Chung Oi
 CC11  Tai Seng Equilibrium Francis Ng
 CC12  Bartley The Coin Mat Jane Lee
 CC13  Serangoon View of Life Sarkasi Said
 CC14  Lorong Chuan Through the Looking Glass A Dose of Light & Yoma Studio
 CC15  Bishan Move! Soh Ee Shaun
 CC16  Marymount Superstring Joshua Yang
 CC17  Caldecott The Cartography of Memories Hazel Lim
 CC19  Botanic Gardens Aquatic Fauna No. 1 Lam Hoi Lit & Chua Chye Teck
 CC20  Farrer Road Art Lineage Erzan Bin Adam
 CC21  Holland Village Holland Beat Jeremy Sharma
 CC22  Buona Vista The Tree of Life Gilles Massot
 CC23  one-north A Visual Narrative of Pandemonic Rhythmic Movement Yek Wong
 CC24  Kent Ridge Poetry Mix-Up Mixed Reality Lab
 CC25  Haw Par Villa Eroclamation Tan Wee Lit
 CC26  Pasir Panjang Lieutenant Adnan Ho Tzu Nyen
 CC27  Labrador Park Without Which / Would Have Been / Impossible Heman Chong
 CC28  Telok Blangah Notes Towards a Museum of Cooking Pot Bay Michael Lee
 CC29  HarbourFront Commuting Waves Jason Ong
 CE2  Bayfront When the Ship Comes In Lee Wen
 CE2  Marina Bay Train Rides on Rainy Days Nah Yong En
Flowers in Blossom II Tay Chee Toh
DTL
 DT1  Bukit Panjang Punctum of the Long Hills John Clang
 DT2  Cashew Project Eden Donna Ong
 DT3  Hillview What Remains Darren Soh
 DT5  Beauty World Asemic Lines Boedi Widjaja
 DT6  King Albert Park The Natural History of Singapore's Mythical Botanic Creatures Soh Pei Ling, Chan Mei Hsien & Long Yinghan (Artists Caravan)
 DT8  Tan Kah Kee Gratitude (饮水思源) and Resilience (自强不息) Hwa Chong Institution
 DT9  Botanic Gardens What is a tree? Shirley Soh
 DT10  Stevens PIN – 23040 Om Mee Ai
 DT11  Newton Newton Tan Zi Xi
 DT12  Little India Woven Field Grace Tan
 DT13  Rochor Tracing Memories LASALLE College of the Arts
 DT14  Bugis Ephemeral Patrick Chia
 DT15  Promenade Earthcake Ana Prvacki
 DT17  Downtown Leaves Jason Lim
 DT18  Telok Ayer Charm of Bay Lim Shing Ee
 DT19  Chinatown Flying Colours Cheo Chai-Hiang
 DT20  Fort Canning Through His Eyes Lim Tze Peng
 DT21  Bencoolen Tracing Memories Nanyang Academy of Fine Arts
 DT22  Jalan Besar A Kaleidoscopic World Lydia Wong
 DT23  Bendemeer And A New World Cristene Chang
 DT24  Geylang Bahru Constructed Memories Marienne Yang
 DT25  Mattar Agar Panel Genevieve Chua
 DT26  MacPherson Trails of Thoughts Aminah Mohd Sa'at (Neng)
 DT27  Ubi Staple Zainudin Samsuri
 DT28  Kaki Bukit Welcome to Kaki Bukit Hans Tan
 DT29  Bedok North Dedaun Masa (Leaves of Time) Ahmad Abu Bakar
 DT30  Bedok Reservoir Somewhere Else Ng Chee Yong
 DT31 
 DT34  		Tampines West

Tampines East

Welcome to Jingapore! Jing Quek
 DT32  Tampines The Big Round & The Tall Long Studio Juju
 DT34  Upper Changi I Am Anonymous Boo Junfeng
 DT35  Expo A Banquet Yeo Chee Kiong
TEL
 TE1  Woodlands North New Departures Amanda Heng
 TE2  Woodlands The Day’s Thoughts of a Homespun Journey into Night Terence Lin
 TE3  Woodlands South 3652 x 50 Kng Mian Tze
 TE4  Springleaf Tree of Memories Koh Hong Teng
 TE5  Lentor Interlude for Lentor Tan Guo-Liang
 TE6  Mayflower Bird Sculptures Song-Ming Ang
 TE7  Bright Hill A Kaleidoscopic Nature anGie seah
 TE8  Upper Thomson Lost In Our (Concrete) Jungle Troy Chin
 TE9  Caldecott : ) ( : Claire Lim
 TE11  Stevens A Syllabus For Stevens Shubigi Rao
 TE12  Napier Botanical Art National Parks Board
 TE13  Orchard Boulevard PULSE Twardzik Ching Chor Leng
 TE14  Orchard Scotts Road / Orchard Road from ION Sky Mintio
 TE15  Great World Great World, Great Times Deanna Ng
 TE16  Havelock Havelock Traces Anonymous
 TE17  Outram Park mata-mata Hafiz Osman
 TE18  Maxwell Old Chinatown In New Maxwell Life Justin Lee
 TE19  Shenton Way Everyday Singapore 每日所见 Quek Kiat Sing
 TE20  Marina Bay Walking Into The Interstitial Tang Ling Nah
 TE22  Gardens by the Bay Planting Shadows Vertical Submarine


Other features

Wayfinding

Safety

Barrier-free access

References

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  2. ^ a b "Reflections of our lifestyle". The Straits Times. 12 December 1987. Archived from the original on 10 September 2020.
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Further reading

External links
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