Interactive Installation of Light Sculpture, Endless
Artwork & Sound by teamLab
This monumental, immersive and interactive work by teamLab, puts the viewer at the heart of the universe, enabling them to experience astrophysical phenomena such as planets, stars, galaxies and even the recently detected gravitational waves predicted by Einstein a century ago. The viewer experiences the universe from within, it surrounds them and responds to their presence, helping them understand their part of the vastness of celestial space.
The ArtScience Museum in Singapore is devoted to the exploration of art and science and the connection between them. In the permanent exhibition, Future World – Where Art Meets Science, the creative threads by which art, science, technology and culture are inextricably bound are expressed in immersive, interactive works by teamLab, a globally renowned Japanese group of ultra-technologists and multi-award winning art collective.
The exhibition was launched in 2016 to mark the museum’s fifth anniversary.
Crows are Chased and the Chasing Crows are Destined to be Chased as well,
Digital Installation, 4 min 20 sec
This immersive audio-visual installation depicts the creation of life and takes visitors (and little bears!) inside the heart of nature. The artwork features crows, rendered in light, that fly around the space leaving trails of light in their path. Swooping through the space and chasing one another, the crows collide, creating colourful flowers in their wake. They represent the Yatagarasu, a three-legged crow described in Japanese mythology, which is believed to be the embodiment of the Sun. The formation of flowers resulting from the crows’ collisions alludes to the genesis of life from the Sun’s energy.
An incredible experience!
Digital Installation, Continuous Loop
Artwork by teamLab, Sound by Hideaki Takahashi
Black Waves is an expression of nature, rendered entirely by digital technology. It depicts the sea in the style of traditional Japanese painting. In the Japanese tradition, oceans, rivers and bodies of water are often represented as a series of curvilinear lines. The movement of those lines gives the impression that water itself is alive.
Consisting of fiberglass light cube chairs, these cubes can be seen as the building blocks. Adults and children alike are invited to construct high-tech furniture, like chairs and benches, or architectural structures such as walls and partitions. Each block communicates information to each other when they are connected, changing colour in the process. The installation encourages visitors to be both innovative and practical in the process of creation.
Little bears thought the cubes had the right idea, some time out to recharge 🙂
Every country has its own culture, social mannerisms; etiquette and habits.
In Singapore it is common to be greeted with “Have you eaten?” or “Where are you going?” instead of “Good Morning / Afternoon / Evening” or “How are you?”
Of course, it was 3 days before I remembered this… until then I took the question literally, while finding it quite odd 🙂 No doubt they found my literal answer odd 🙂 Angmoh!
It all stems from Singapore’s early days, before they were established as a nation, and probably originated in China. Most people were poor and food was scarce, so if you met a friend in the street you would ask him if he had eaten yet. If he answered no, it was usually because he could not afford to buy food, so you would invite him back to your house to share what little you had. On another occasion they might reciprocate the gesture and in this way everyone shared their food with everyone else. Of course, nowadays it has become a rhetorical question, more of a greeting than a genuine inquiry into one’s welfare.
Food in Singapore is a national obsession. Everyone eats all the time. Every housing block has a food court with 20 or more stalls serving delicious Chinese, Malay, Indian, Thai or Indonesian food. Many food courts are open 24 hours, and outside of the housing blocks these eateries are sometimes known as hawker centers. All major hotels have an international buffet and the streets beside the Singapore River are lined with restaurants. Eating out is so relatively inexpensive that it doesn’t make sense to cook at home. Just go down to the food court and enjoy a big plate of steaming hot noodles with seafood and a rich gravy for a couple of bucks.
Recognising that “Have you eaten?” is a greeting, part of phatic communication, rather than a request for detailed information or an actual invitation to dine, is part of communicative competence – our ability to connect with others on the basis of shared cultural norms and familiarity with social context and conventions. The same goes for the English “How are you?” being understood as a greeting and not a question about the details of one’s health. Many Singaporeans use the greeting “How are you?” when dealing with Westerners, but obviously not all. No doubt, the odd responses they received to “Have you eaten?” provided an incentive to use a different greeting 🙂
So, back to “Have you eaten?” The answer is “Yes”, without discussing what, if anything, was eaten. In case you’re wondering, my answer was “No”, which no doubt was even more odd given the national obsession with food. And I didn’t expect them to feed me.
Another common greeting “Are you busy?” elicits the response “Very”, a much respected quality in Singaporean culture. The answer to “How’s business?” is “Moderate” since it’s considered rude to talk about success.
The one thing you hear constantly is “Lah”. Singaporeans love to add this to the end of every other sentence. It’s as if this one meaningless word gives the Singlish speaker an extra space that is absent in English to further refine, amplify or otherwise adjust the tone of the entire sentence preceding it. I have noticed that Singaporeans who speak English, as opposed to Singlish, do not use lah.
Lah is used to change the tone of a sentence, and doesn’t have a meaning itself. If you listen closely to the habits of a Singlish speaker, you might be able to tell what tone is being conveyed, and how lah helps. There are so many different ways to use it that it’s difficult to fully explain how it works, but here are some examples:
Can lah. (That’s fine, but with a suggestion that it’s just barely so.)
No lah! (No, and you’re clearly wrong to suggest otherwise.)
Don’t like that lah. (Don’t be like that, but in a slightly placating tone.)
Enough lah! 🙂 Time to go out and face the heat and the humidity 😦
Land is Singapore’s most cherished resource and its dearest ambition. Since it became an independent nation 52 years ago, Singapore has, through assiduous land reclamation, grown in size by almost a quarter: to 717 square kilometres from 580. By 2030, the government wants Singapore to measure nearly 777 square kilometres.
Reclaiming land from the ocean has its limits, particularly in an age of a warming planet. Scientists warn that by 2100, sea levels may rise by as much as 1.8 metres, and furious storms will pound the coastal regions. All over the world, the governments of small islands are working to respond to these hazards. Kiribati, an island nation in the Central Pacific, has bought 6,000 acres of forested land in Fiji, more than a thousand miles away, hoping to resettle some of its 100,000 people if a crisis hits. The Maldives, similarly, has talked about buying land in Australia. People have begun to leave Tuvalu, in the South Pacific; the Marshall Islands; and Nauru, in Micronesia. Five of the lowest Solomon Islands have already vanished. In humanity’s battle to save itself from a harsher climate, these diminutive islands find themselves on the front lines.
Jurong Island, a man-made smear of sand, just off the southern coast of Singapore, is thoroughly given over to the petrochemical industry, so crowded with spindly cracking towers and squat oil-storage tanks that the landscape is a blur of brand names — BASF, AkzoNobel, Exxon Mobil, Vopak. One of the island’s most distinctive features, though, remains hidden: the Jurong Rock Caverns, which hold 126 million gallons of crude oil. To get there, you ride an industrial elevator more than 100 meters into the earth, and that brings you to the operations tunnel, a curving space as lofty as a cathedral. It is so long that workers get around on bicycles. Safety goggles mist up with the heat and the humidity; the rock walls, wet from dripping water, look so soft they might have been scooped out of chocolate ice cream. This is as far as anyone — even the workers — can go. The caverns themselves are an additional 30 meters beneath the ocean: two sealed cylindrical vaults, extending away from Jurong. They opened for business in 2014. In 2018, three new vaults will be ready. Then, if all goes according to plan, there will be six more.
As a concept, underground reservoirs are not new. Sweden has been building them since the 1950s; a pair in the port of Gothenburg has a titanic capacity of 370 million gallons of oil. So the Jurong Rock Caverns are less an emblem of the marvels of technology than of the anxiety of a nation. Singapore is the 192nd-largest country in the world. Tinier than Tonga and just three-fifths the area of New York City, it has long fretted about its congenital puniness. “Bigger countries have the luxury of not having to think about this,” said David Tan, the assistant chief executive of a government agency called the Jurong Town Corporation, which built Jurong Island as well as the caverns. “We’ve always been acutely aware of our small size.”
The caverns were designed to free up land above ground. The phrase “freeing up land” occurs like clockwork in conversations with Singapore’s planners.
Most of the small islands — in the Pacific or in Asia — are impoverished, reliant on larger nations for assistance and resources. Singapore is an exception. In countries ranked by per capita gross domestic product, it places fourth — far above Nauru, at 112, or Kiribati, at 212. Over the past half-century, building upon its function as one of the world’s great ports, Singapore has turned into a capital of finance and services. The country is so devotedly pro-business that it can feel like a corporation; its constitution includes several pages on how the government’s investments should be managed. Singapore doesn’t reveal how much money its two sovereign wealth funds administer, but a senior economist at the Macquarie Group estimated their value at just under a trillion dollars.
Among the world’s smattering of small islands, then, Singapore, with a population of 5.6 million, is a special case: a country that’s also a city, a government that owns 90 percent of all real estate, a one-party state in all but name. But how it fends off the ocean will be of deep interest to many other populous and productive cities near the water: New York, Miami, Rio de Janeiro, Mumbai, Guangzhou, all miniature nations of a sort.
Much of Singapore lies less than 15 meters above sea level. A third of the island sits around 5 meters above the water — low enough to give planners the jitters. Coastal roads are being raised; a new airport terminal is being built 5.5 meters above sea level. All the while, the island receives more and more rain each year. “If global temperatures continue to rise,” a government official said last year, “many parts of Singapore could eventually be submerged.”
The Jurong Rock Caverns are just one answer to a pair of intriguing questions: What does a tremendously rich and ambitious country do when it is running out of land? And what can the rest of the world learn from these experiments?
In the Tolstoy short story How Much Land Does a Man Need? a peasant muses in frustration: “Our only trouble is that we haven’t land enough. If I had plenty of land, I shouldn’t fear the Devil himself.” Similar thoughts must have struck Lee Kuan Yew, who cast Singapore in his vision. Through his three decades as prime minister, Lee saw his country as locked in a struggle against its size. Singapore was a tiny nation, and dire fates awaited tiny nations that could not take care of themselves. “In a world where the big fish eat small fish and the small fish eat shrimps, Singapore must become a poisonous shrimp,” he once said.
The island is still awash in his apprehensions. Bureaucrats assemble reports on topics like Maximizing Value From Land as a Scarce Resource. The government works from a Concept Plan, a land-use scheme that looks half a century into the future; the plan itself is reviewed every 10 years. On the first floor of a city museum in the Urban Redevelopment Authority building, a wall is engraved with letters that spell SMALL ISLAND. It’s not until the second floor that the second half of the message materializes: BIG PLANS.
A 10-minute walk from the museum is Boat Quay, the site of the island’s very first land reclamation. In 1822, having just colonized Singapore, the British dismantled a hill and packed the material along the bank of the Singapore River. “Some two or three hundred labourers were paid one rupee per head per day to dig and carry the earth,” Abdullah bin Abdul Kadir, who acted as an informal secretary to British officials at the time, wrote in his 1849 memoir. “Every afternoon, sacks of money were brought to pay the workmen.” Boat Quay’s old shop-houses — shops that doubled as their owners’ residences — have been converted into restaurants, bars and massage parlours. In the evenings, the tables heave with workers from the nearby financial district, much like Manhattan’s South Street Seaport and other ribbons of waterfront realty around the world. In the spirit of preservation, the buildings of Boat Quay have remained low, crouched close to the ground. One street away, however, Singapore’s skyscrapers begin in earnest. At the spot where the hill was broken down and carted off to build Boat Quay, there now stands One Raffles Place, clad in steel and glass, taller, in all probability, than its rock-and-mud forefather.
Reclaimed land is everywhere. The five towers of the Marina Bay Financial Centre are built on reclaimed land; as are the Esplanade Theatres by the Bay. So is an assortment of parks, wharves and a coastal highway. Beach Road, in the island’s belly, at one time had a self-evident name; now it reads like a wry joke, given how much new land separates it from the ocean. Most of Singapore’s Changi Airport sits on earth where there was once only water. The artist Charles Lim Yi Yong grew up in a kampong, or village, near where work on the airport began in 1975, so his house looked out onto reclaimed land. “It was a wooded area, but if you walked there, the ground would be sand and not soil,” Lim said. “Then you went through this desert space. It felt like I was in ‘The Little Prince.’ ”
Before he turned to art, Lim, now 43, sailed in the 1996 Olympics on the Singapore team. He grew interested in the sea because he sailed, and he sailed because he came from a kampong on the coast. The kampong has long since disappeared, and the coast has changed beyond recognition. Lim’s major creation, Sea State, is an anthology of artefacts and installations: videos and charts, buoys and other nautical paraphernalia. Shown at the Venice Biennale two years ago, Sea State embodies Lim’s obsession with his country’s transactional relationship with the ocean. His art is a form of urban exploration, roving over, into and around Singapore, studying what few others see: outlying islets, sewage tunnels, buoys, lighthouses, sand barges. For Lim, most of these are easy to access. “I can just take a small sailboat and go. I look very innocuous when I’m out at sea.”
Lim is able to narrate, practically by himself, a fine-grained history of the island’s reclamation projects. One of the videos in Sea State shows an engineer who surveyed Singapore’s neighbourhoods in the 1990s to determine where it would be best to haul away sand for reclamation. Close to the coast, he found more silt than sand, so he and his colleagues went farther out to sea, to “suck the sand into the barges and deliver the sand over to Singapore.” Once, having strayed into Indonesia’s territorial waters without a permit, they were arrested. “We weren’t criminals,” he said. “We were just doing our job.”
Several countries have tired of feeding Singapore’s endless appetite for sand; Indonesia, Malaysia and, most recently, Cambodia have halted exports altogether. These bans have affected some of Singapore’s reclamation schedules, David Tan said, although he insisted that the supply lines from Myanmar were “still robust”. In any case, Singapore is trying to shrink its reliance on sand imports. “We do a lot of tunnelling work for the subway, so that material goes into reclamation,” he said. Most of the infill in the reclamations under a coming shipping-container terminal — planned to be the world’s largest — is rock and soil debris from construction projects.
But the desire to reclaim never-ending shelves of land, farther and farther into the sea, will inevitably be outfoxed by physics – first, building a wall in the water, reaching all the way down into the seabed; next, draining the water behind the wall and replacing it with infill. As the ocean grows less shallow, it becomes harder and harder to build the wall, to stabilize the infill, to protect it all from collapse. Singapore is already reclaiming in water that is 20 meters deep. It could be viable to reclaim in 30 meters, if land prices go up. But 40 and 50 meters becomes physically very difficult and economically unviable.
Singapore holds a strategic sand reserve, for emergencies. The site lies somewhere in the area called Bedok, and it’s strewn with No Trespassing signs installed by the Housing and Development Board, a government agency. Fenced off from the public, the giant trapezoidal dunes shone bone-white in the sun and caramel in the shade, as the sand waited to be summoned. When the plane was circling above the tiny industrial islands surrounding Singapore, I could have sworn that one of the islands looks like it had stockpiles of sand.
The most miserable truth about this moment of the Anthropocene is the inevitability of it all; even if the whole world switched to solar power and turned vegetarian tomorrow, we cannot remove the carbon we’ve released into the atmosphere. To live within an altered climate will require deep pockets — a fact that punishes billions of poor people with negligible carbon footprints. When Kiribati bought its land in Fiji for $7 million, critics worried that the money was being squandered; the nation’s gross domestic product, after all, is only $211 million. By contrast, the first phase of a single Singapore government project — L2 NIC, which clumsily stands for Land and Liveability National Innovation Challenge — has $96 million to disburse to finance creative ideas. When countries face up to climate change, money can expand the imagination, swell the sense of the possible.
C.M. Wang, a professor of civil engineering at the National University of Singapore, served as a project reviewer for L2 NIC, sifting through proposals for how Singapore might create more space. Wang even has an idea of his own. Approached by Singapore’s ports authority six years ago, he developed and patented a way for coastal cities to create land in the sea. At least, this is the way his staple PowerPoint presentation describes his idea for Very Large Floating Structures, which can bob about on the ocean, hold a range of facilities and “free up land”. “Singapore is the largest bunkering base in the world. Ships sail from the Suez, where they refuel, and then the next refuelling stop is Singapore.” To be the Texaco station of the high seas, the island needs to maintain vast farms of oil tanks, enough to store the 53.6 million tons of fuel sold to ships last year.
“A logical move would be to store fuel in the sea, because fuel is lighter than water, so it should float,” Wang said. “What we need is a skin to go around it, a container.” He sketched a plan on a scrap of paper: two rectangular concrete decks laid out in parallel, holding oil tanks made of prestressed concrete partly submerged in the water. A ship could slide between the two decks, refuel and steam back out. Wang is working on making his design more economical, but he already has other ideas for floats. On his computer, he flicked through them: dormitories, a restaurant that resembles a crab, bridges, even miniature cities. Last October, to test a proposal from two government agencies, Singapore floated a hectare of solar panels in one of its reservoirs; it hopes, eventually, to build a four-gigawatt solar plant at sea.
The Float at Marina Bay is the world’s largest floating stage, a 1,000-square-meter slice of steel that clings to the lip of Singapore’s esplanade.
It might look unnatural, but unnaturalness may well be the world’s conceivable future; certainly it will be Singapore’s, as the country prepares to terraform itself in search of space. There will be more underground caverns: a warren of research laboratories within the folds of Kent Ridge, right under the university; perhaps a warehousing facility beneath Jurong Bird Park. “Most of this space will be for industrial use,” David Tan said. “People aren’t likely to live underground.” The island’s geology — a heart of granite in the west, compacted alluvium in the east — is such that most of it could be hollowed out. “Now, I’m not saying we should use it all,” he went on, in the tone of an eminently prudent man. Then he added, “But we can use two-thirds of it.”
Singapore also plans to reclaim its air. “Twelve percent of the island is occupied by roads,” Tan said. “What’s above roads? Nothing! If you put roads under buildings, you free up some land.” Sky bridges and midair concourses are already a part of some public-housing estates. As Wang said: “In the future, you might see a little town or offices above the expressways. We might create space above our container ports.”
Singapore already has high-rise factories: towers occupied by dozens of manufacturing units, all sharing amenities like cargo elevators, electricity and truck ramps. Since 2012, the government has funded vertical farms, shelves of aluminium planters that grow spinach, lettuce and Chinese cabbage. Singapore grows only 7 percent of its food, having decided long ago that its land has more profitable uses. In the 1980s, it began dispatching its pig farms to outlying Indonesian islands like Batam, which still supplies Singapore with pork. The government has invested $380 million in agricultural projects in Australia, and it is renting land in northeast China to build itself a farm that will measure double the area of the island of Singapore. The farm will take 15 years to complete and will cost $18 billion. Given enough ready money, thorny issues of territorial sovereignty swiftly dissolve.
Whether many of these ventures will bear fruit is difficult to say. When you’re talking to a typically matter-of-fact city planner, each of these ideas seems to possess the heft of certainty. Collected together, though, this vision of Singapore — on the ground and under it, in the air and beneath the sea, a city and a country and a transnational entity all at once — feels fantastic. Then again, even Singapore as it is — born a slum-ridden speck with no oil, no hinterland and a volatile mix of ethnicities, raised with an authoritarian hand and transformed into one of the most prosperous, most politically meek nations on earth — even this Singapore tugs at the bounds of our credulity.
Singapore has always held elections, but only one party — Lee Kuan Yew’s People’s Action Party — has ever ruled the island, and only three men have ever been prime minister. Opposition parties have never been permitted to be anything more than frail invertebrates, so the P.A.P. can do as it pleases. The environmental consequences of remodelling the coastline — an altered ecology, wetlands rubbed off the map — can be waved away. Residents can be moved so that projects can proceed. In Singapore’s quandary of where to put its people, the people themselves — the living as well as the dead — can seem like pieces on a checkerboard.
The Bukit Brown Municipal Cemetery lies as close to Singapore’s geographical midpoint as is possible without intruding into the grounds of the Singapore Island Country Club. No one has been buried here since 1973, but it still holds more than 200,000 human remains within its 400 acres, making it one of the largest Chinese graveyards outside China. Burials began on this site in the 1830s, and the interred include several Singaporean pioneers, men and women who settled and built the island. Someone told me that the man who introduced the governess Anna Leonowens to the king of Siam was buried in a Bukit Brown tomb, but the casual visitor will be hard-pressed to find it. The cemetery is so overgrown with weeds that it is one of Singapore’s few truly untended spaces. There is no signage, and most inscriptions are in Chinese. The tombs are dignified affairs, shaped like thrones, broad enough to hold full families. On some of the short plinths, in front of the headstone, people had placed lighted joss sticks that had long since burned down; only their stems remained, like the surviving bristles of an ancient toothbrush.
One side of the path into the cemetery was lined with a green metal fence hiding construction work on a new expressway that will soon tear through the heart of Bukit Brown. “We can’t have that graveyard in the centre of the island forever,” a former city planner told me. Singapore prefers columbaria, in which urns of cremated remains are stored in cavities on a wall. “All our graves are high-rise too!” he said with a laugh. A group of citizens is campaigning to save Bukit Brown, calling it a vital piece of the island’s heritage, but more than 4,000 graves have already been exhumed, and the ground that contained them has been levelled.
In a restless polity, such single-mindedness would earn the ruling party a risky degree of unpopularity, but nothing seems to dent the P.A.P. It won an election in 2011, even though Singaporeans were angry over housing shortages and an overburdened public-transportation system. It won even more handily in 2015, after land prices rose by 30 percent three years in a row and after the government’s migration-led population target of 6.9 million by 2030 — necessary to fill out the work force, but also a strain on the island’s finite resources — kindled a public protest, a singular event in this country. But stopping the state from doing something it wants to do is, in Singapore, a task primed for defeat. An inert citizenry gives the government the freest of hands in confronting climate change, just as it does in every other sphere, far into the foreseeable future.
On 12 October 2002, Esplanade – Theatres on the Bay opened as Singapore’s national arts centre. It was the first purpose-built arts centre in Singapore in almost 40 years.
The theatre and concert halls are located directly on the bank of the Singapore River, next to a bridge linking the historical part of the city, the river and the modern commercial parts of the city.
The architectural design of the ensemble has a contemporary style, avoiding any reference to superficial ethnic symbolism. The centre combines the standard size and form of concert halls and theatres with expressive architectural features, which are specific to the local climate and the cultural environment.
The entire centre comprises of five performance venues – primarily a 2000-seat theatre and an 1800-seat concert hall; including three smaller studios and a 450-seat outdoor theatre on the waterfront.
The principal idea is based on a three-sided creation, opening out from the central entrance hall and comprising the concert hall, the classical theatre as well as the smaller studios. All parts of the design have their distinct position in the structural hierarchy, with the entrance and a small round courtyard, which opens up to the waterfront, forming the centre of the object. The open design concept gives space for the most different approaches and trends. Archways, balconies and roof terraces form the links between the larger individual elements. They reduce the overall impression to a more perceivable scale, while at the same time smoothly bridging the gap between the internal and external spaces.
The complex comprises a shopping and restaurant arcade, with a multimedia library for theatre, cinematography, music and ballet. The most prominent elements of the new arts centre are the twin glass domes of the two large auditoriums (the Theatre and the Concert Hall) and the aluminium sunshades designed to shield the glass domes, allowing light in while keeping the heat out at the same time.
With superb acoustics, the Esplanade Concert Hall was designed by world-renowned acoustician, the late Russell Johnson of ARTEC Consultants Inc, US. Noteworthy acoustics features of the Concert Hall include the acoustic canopy, reverberation chambers and acoustic curtains which enable the hall to adapt to different musical styles and to provide optimum sound quality.
The acoustic canopy above the stage, comprising three separate sections each weighing 17 tonnes, acts as an acoustic reflector that enables onstage musicians to hear themselves. Each section is adjustable and hangs above, roughly, the three sections of an orchestra and chorus – the strings; the woodwinds, brass and percussion; and the chorus. By manipulating the height of the three sections as well as the gaps between them, it is possible to affect the way the musicians hear themselves onstage, as well as the way the audience hears them.
The reverberations chambers, with a volume of 9,500m3, amount to separate rooms, isolated from the main concert hall by a series of airtight wall panels, or chamber doors. But the idea isn’t to keep the doors closed. All of the chamber doors can be opened in increments, anywhere from 0 to 90 degrees. Depending on how many doors are open, where those doors are (at the top, middle or bottom of the hall), and how wide they are open, the sound in the hall can be changed in a variety of ways. For instance, Open doors means there are fewer reflective surfaces in the hall for the sound to bounce off of. The reverberation chambers also provide sound isolation against extraneous noises and an environment which can be temperature, pressure and humidity controlled. The temperature in the Concert Hall is maintained at a constant 21C.
The luxurious curtains that can wrap around the hall are no ordinary decorative draperies, but magical sound soaker-uppers of voluminous velour. The acoustic curtains consist of around 15,000m2 of acoustic velour that can be deployed to wrap the entire hall to reduce unwanted reverberations during amplified performances. When not in use, the curtains are stored in pockets behind the walls.
While the Concert hall is designed especially for symphonic music it is also flexible enough to be used for other types of events.
In addition, the design and choice of materials of the hall’s interior surfaces maximise clarity and quality of music within the hall. The wood used in the hall is Tasmanian Oak.
The Concert Hall also houses a 4,740-pipe organ with 61 stops which was designed and built by Johannes Klais Orgelbau, from one of the world’s most renowned organ building families. The orchestra platform can accommodate 120 musicians. And four bears 🙂
The theatre, with a sitting capacity of 2000, houses Singapore’s largest performing stage and is easily adaptable to a variety of performances. It is designed to present all genres of the performing arts, from classical, traditional or contemporary dance to intimate or large-scale theatre performances. The state-of-the-art stage system has more than 100 functions for hoisting, illumination and screening, and offers more than a thousand variations in stage settings.
Little bears are spying on the rehearsals for Forbidden City: Portrait of an Empress 🙂
Forbidden City: Portrait of an Empress explores the life of one of the most controversial figures in Chinese history – Empress Dowager Tzu Hsi – adored, revered, feared and hated.
The most successful Singapore musical, the story is vividly brought to life with a stirring score and sumptuous costumes designed by London-based Singapore designer Yang Derong.
Forbidden City: Portrait of an Empress was staged by the Singapore Repertory Theatre originally on 17-19 October 2002 at the Esplanade – Theatres on the Bay, as part of its opening festival. Little bears loved it!
The Grand Foyer is the showcase of Esplanade-Theatres on the Bay and is the meeting place for guests attending performances. Three types of specially manufactured sheet glass have been utilized to provide high insulation value while shielding occupants from the sun’s infrared rays.
Esplanade – Theatres on the Bay also have a Visual Arts Program, with visual arts presentations located in the unusual spaces offered by Esplanade’s unique architecture. Featuring international and regional artists, the focus on contemporary Singapore and Asian artistic expressions gives a visual dimension to the centre’s performing arts events and festivals.
Imagining the intimate and domestic scene of a couple conversing after their meal, Vertical Submarine’s sculptural installation expands the dining table in scale, fragmenting and flipping the pieces, with all the meaningful elements that are usually above and below the table packed into a “sandwich” that exists within the typically overlooked space of a table top. The abstracted shards seem as if they are emerging from and sinking into the Concourse steps in a moment of simultaneous creation and destruction.
Vertical Submarine often construct elaborate narratives alongside their installations, and here they draw analogies to the big bang theory, which describes how the universe was formed by the explosion of a tiny, compressed singularity into complex galaxies. At the same time, the split structures of the installation hint at how more than two persons may be involved in a relationship, as the memories or reality of previous personal affairs and familial ties inevitably intrude upon any blissful pair.
This site-specific installation combines the distinct illustration styles and subjects of Adeline Tan and Chris Chai of Organisation of Illustrators Council (OIC). Chris’s arresting black and white pattern sets reference the geometries of machinery, architecture and other aspects of the built environment. Meanwhile, Adeline’s work takes the natural world as a source of inspiration for its strange and beautifully mutated flora and fauna. Together, the artists have created an installation that draws upon individual elements of each other’s work to create new forms, using diverse media such as drawing, painting, printing, sound and the moving image. The artists’ collaborative exchange is further symbolised by images of portals and passageways that suggest the movement between contrasting time periods of art styles and influences, making their works look at once both figurative and geometrically abstract, as well as futuristic and primeval.
The panoramic view of the surrounding city from the roof garden is spectacular.
Little bears had a great tour of the Esplanade – Theatres on the Bay. Thank you Isni!