Close to Culture, Close to Creativity, Spot on Asia.

Articles tagged “architecture

A Wizard in Oz

Posted on June 4, 2017

Kitt Santos

Illustrator and UX Designer, AUSTRALIA

Let’s start with your name — what’s the story there?

If you were born in the ’80s or ’90s, you might be familiar with David Hasselhoff’s series, Knight Rider. His superpower car’s name is where my mum got my name from. (As in, Knight Industries Two Thousand — an autonomous car with a mind of its own.)

What do you do and where do you live currently?

I would like to say I do design mostly, but — in reality — I do all sorts of creative stuff from painting and illustrating to sculpting, and other crafts.

I am currently based in Canberra, a three-hour drive south-west of Sydney. It’s a pretty quiet city, mostly a network of suburbs, surrounded with majestic landscapes.

And how long have you been living and working in Canberra?

I have been living and working in Canberra for almost a year now, and it has been great so far.

You’ve had quite a journey; you’ve been living and working in different cities — big ones — away from your home country. Was this a lifelong dream of yours? What has the ride been like?

When I “quit” architecture and decided to venture into other creative disciplines, I struggled with making connections with other creatives in my own country. It was quite challenging to introduce yourself in a very tight-knit community where everyone knows each other. That was part of my motivation to move out and make a start somewhere.

In hindsight, living and working in a different country only became a dream for me when I immersed myself in a different culture, and realized that the possibility of going places further was within arms reach.


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Pretty Lights: Singapore's urban metropolis at night

Examining a Contemporary Cityscape Through a Kinder Lens

Posted on August 31, 2013

In Singapore, city planning is conducted in an ivory tower governed by the authorities. One could fully leave the incessant process of tearing down and building for bigger and better horizons to the Urban Redevelopment Authority (URA) or private property developers such as Far East Organisation and CapitaLand, to name a few. In fact, entering the building of the URA is like visiting the museum of Singapore’s entire city planning history and, in fact, you can gather a repository of historical material from its in-house library. But concept plans and ivory towers hardly capture the spirit of a city, and one should dig deeper into the motivations and influences in a city’s design in order to unravel the nooks and crannies of city planning.
Taking Singapore as a case study, I hope to draw attention to the intricacies of our contemporary cityscape and what these reveal about our culture, in an attempt to view my hometown through a kinder lens and in light of its 48th birthday.

Architectural Geomancy

From conducting an informal research into the design of Marina Bay Sands, Singapore’s casino complex comprising of a luxury mall (with an indoor Vienna-style stream) that directly links to an equally ambitious ArtScience Museum, the wisdom behind the architecture is informed by conventional Fengshui wisdom. Without going into specifics in the confines of this article, one can pursue more information from websites detailing hypotheses in architectural geomancy here and here. It is hard not to imagine some tiger-fisted blueprint being helmed by the likes of Cambridge-educated Harry Lee, who could still heed to the conventional superstitions of the old-school fengshui masters. In any case, ever since returning to Singapore in July 2012, the view of Marina Bay Sands from the Benjamin Sheares Bridge has never been more beautiful.


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Source: NursesSimple

Architecture: How to Create A Time Machine Effect into the Past

Posted on April 17, 2013

The walls inside Kam Leng Hotel show signs of age, in a style disconnected from today. Sun rays from outside, its eternal companion, had discolored it into a light hue, leaving much imagination as to what was the original paint color. Earlier, someone rode a bicycle into the premises and parked it at the foot of a stairwell, as if in a hurry to a lunch date upstairs, the faded paint sign above it depicting a restaurant serving European food on the building’s fourth storey.

There is no indication of whether the rider had left; the bicycle itself upon inspection had aged in years. A poster cast along the stairs, which may have listed notices, is left blank—as though it was silenced. A clock perched above an elevator around the corner had froze its hours of the day in time.

Nothing here seems willing to reveal its secrets to the visitor.


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