TRADITIONAL MEETS CONTEMPORARY

Architect Edmund Ng’s take on the contemporary tropical house looks back on traditional elements from the ubiquitous shophouse while boldly embracing modern materials

Homeowners Kevin and Joyce Teo bought a semidetached house at Mount Sinai Avenue with the intention of doing some Addition and Alteration (A&A) works so that the home could accommodate their family of six. But with an existing floor-to-ceiling height of only 2.7 metres and taking into consideration the fact that it would entail major A&A works to create sufficient space for the whole family on a challenging sloping site, the couple took the architect’s advice and decided to demolish the existing house, which was rather old anyway, and go for a total rebuild. Apart from a difference in level of almost two storeys between the front and the back of the house, the other major challenge was the long and narrow plot configuration. Architect Edmund Ng, director of Suying Metropolitan Studio, introduced an airwell that breaks up the massing into two volumes, de-linking the front and back of the house, while allowing cross-ventilation and natural daylight to penetrate the deep plan. One of two

architects from Singapore who was invited to exhibit his work at the 2014 Venice Biennale, Ng’s reinterpretation of the traditional courtyard draws reference from the shophouse typology. “Our forefathers knew exactly what they were doing with the shophouse, which has worked very well and which remains relevant even until today,” he says.

TO BOLDLY GO

The block at the front makes a statement with its off-form concrete structure and timber screens, a palette which Ng refers to as “honest” materials. To him, “Beauty arises from the purity of the materials.” While off-form concrete and timber screens are not considered new materials, they are less commonly used in home construction. Homeowners tend to go for walls that are plastered and painted over and screens fabricated from aluminium due to concerns over consistency and maintenance. “We kept an open mind and we were very excited when the architect proposed using off-form concrete,” Kevin recalls. “Initially, we were a little unsure as to whether the off-form concrete and timber screens would complement each other, but as a nature lover, I knew that you cannot go wrong with wood. I definitely did not want metal screens and I am okay with the ageing effect of the wood over time,” he adds. Ng echoes Kevin’s sentiments. “The non-uniformity and flaws are part of their beauty,” he agrees. In the evening, the house glows like a lantern, with slivers of light peeking through the timber screens. “The timber screens provide just the right balance of privacy and view, while allowing for crossventilation and natural light, as compared to a glass box form. Besides, a glass box would not have provided sufficient wall space for our art collection,” Kevin explains. The most striking piece has got to be the painting of Lee Kuan Yew

Apart from a difference in level of almost two storeys between the front and the back of the house, the other major challenge was the long and narrow plot configuration

by artist Ren Zhen Yu, from Ode to Art. It occupies an entire wall in the living room and it was a surprise present from Kevin to Joyce, who fell in love with the painting at first sight.

UPHILL CHALLENGE

Due to the sloping terrain, the entry level can be considered the basement even though it inclines slightly up from the road. By digging further into the existing slope, a larger footprint is created to accommodate a bigger car porch, as well as a proper lobby, media room and powder room in the basement. Unlike a typical house where the living room is usually located on the entry level, in this case, Ng elevated the living and dining spaces above the basement. To Ng, this reflects a contextual design response. “By elevating the living room above the road, we enhance the privacy. The park directly opposite the house also means that the homeowners can enjoy an unblocked treetop view from their living room,” Ng explains. Indeed, the living room and the outdoor terrace in front appear to extend all the way to the park, creating the sense of spaciousness that the homeowners wanted. The furniture is also deliberately kept low to enhance the sweeping vista. Of special interest is the 4.5-metre long coffee table imported from Bali, constructed from a single piece of wood. It was originally a dining table whose legs were shortened to transform it into a coffee table, which can also double up as a bench or even a platform for the children. The dining area and dry kitchen occupy the block behind, separated from the living area by the airwell. By using full-height movable glass walls on either side of the airwell, the various spaces within the two blocks flow seamlessly into one another and out towards the landscape. The openness surrounding the dining and dry kitchen give the rear massing a pavilion-like quality and allows the occupants to feel and see the raindrops rippling in the reflective pool at the base of the airwell. The light-filled and cool interior bears testimony to the effectiveness of the airwell and natural cross-ventilation and exemplifies what a contemporary tropical house is.

A VERSATILE MIX

The second storey is the children’s zone, where two bedrooms in the front block are connected to another two in the rear by bridges across the airwell. Kevin and Joyce’s four children will eventually have their own rooms, but as they are still young, the two girls, Maxine, 10 and Mia, five, share a room, as do their brothers, Zenith and Zander, who are eight and six respectively. For the time being, one pair of rooms is being used

as a study and a playroom. Being tucked against the party wall dividing the family’s semi-detached from the adjoining house, the boys’ room would have been rather dark so Ng introduced a skylight that runs the length of the room. Diffused daylight casts down the wall, illuminating the row of plants along it and brightening up the interior. The master suite on the top floor is Kevin and Joyce’s sanctuary. This is where the couple relaxes over music or exercise after tucking the children into bed. The off-form concrete wall extends all the way up to this level and sets the tone for the room; the rest of the monochromatic composition just falls into place. The high, sloping ceiling creates a loftiness that makes the room feel exceptionally spacious. By terminating the wall just shy of the roof soffit and inserting glass pockets below the monopitch roof, the room remains naturally well-lit even on overcast days without needing artificial lighting. Again, the choice of low furniture accentuates the horizontal and vertical sense of space. The master bath deserves special mention not just because it is bigger than a studio apartment, but because the skylight and plants create a semi-outdoor, garden setting that elevates mundane routines into celebratory rituals. Part of the skylight is non-covered and the light showering of rain into the bathroom makes you feel so close to nature. The long basin is carved from a single piece of granite and the rough surface lends contrast to the smooth marble and glass, while a long piece of wood, with its edges deliberately left uneven, serves as a step up to the bath and adds a touch of warmth to the predominantly cool palette. This is Kevin and Joyce’s first homebuilding project and Kevin admits that it was not without its challenges, but special nonetheless and the end result is worth it. “I think I got what I wanted – a home with abundant natural light and which is wellventilated, one that is spacious, open and not boring,” Kevin concludes.