Saint Andrew's Cathedral

And so we begin.

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Alluring repeated arches invite you in.

We begin our tour with the majestic, towering Saint Andrew’s Cathedral, first designed by George Coleman, an architect from Calcutta. The Cathedral is constructed in a Palladial style; this is a style which finds its origins in the temple architecture of Greece and Rome. Some signature features of Palladial architecture include symmetry, a cruciform architecture and porticos. These same features are present in the architecture of St Andrew’s Cathedral. Symmetry is observed from the West End and despite its simplicity, it is culturally important. Its importance arises because symmetry is a symbol of harmony where the line of symmetry – likened to the path a Christian takes towards the Kingdom of God - can be drawn along the east-west axis.


Stepping into the Cathedral’s interior, we now turn our attention to the (relatively newer) interior walls and pillars. The smooth unadorned walls (see below) may seem plain to the eyes but are however rich in cultural meanings. The mixture that is used to cover the interior walls and pillars is known as Madras Chunam—a blend of shell lime, egg white, sugar and water in which coconut husks were soaked. This was a common building material used for other buildings in Singapore during the period that the Cathedral was constructed. Also the Cathedral, like other buildings built in Singapore at that time, was built by Indian convicts. Both the material and labour used to construct St Andrew’s Cathedral demonstrate the church’s historical significance to Singapore. Saint Andrew’s Cathedral was not built in isolation; rather it was and still is firmly situated within a particular socio-political context defined by time and power-holders.

Unadorned walls and repeated arches with stained glass windows.

The Cathedral underwent several transformations since it was first built. In each of these architectural transformations, the centralised municipal authority played an influential role.During the third renovations Ronald Macpherson, an officer in the Municipal Commission, used a Early English Gothic style and incorporated pointed arches and lancets in its architecture. Pointed arches can be found shaping the window, or in the wall, or as a support for the ceiling. The unique engineering qualities of the arches allow for a weight distribution on them, hence they are able to take greater weights. As a result, the arches not only give the structure an aesthetic-ornamented look but also in terms of engineering feats, allowed the building to reach greater heights. Coupled with the use of (stained glass) windows, abundant light flow into the church is permitted. The lancets, which refer to the tall and thin stained glass windows at the East end, were constructed in memory of three historically significant colonial leaders in Singapore – one of them was Sir Stamford Raffles. This work of commemoration bears cultural and historical significance of the Cathedral to Singapore.

The Cathedral had no steeple and spire initially during its first construction. But because religious and political leaders decided that it was important to emphasise the superiority of both Christianity and their class, both a steeple and a spire were added. The spire has a religious meaning as its erect form looks like it is reaching for the skies. Also because of its resemblance to a spear point, it signifies martial power and strength of the colonisers. Moreover, these features are often connoted with wealth and eminence. The lines between secular and religious spheres in Singapore’s colonial history are thus blurred. 

Singapore culture: domination of one. 

Stained glass windows at the East Windows

Till this point, there are minimal elements in the architecture which suggest an influence of local culture. Even after repeated renovations, European cultural influences dominate the Cathedral design and architecture. This retention thus demonstrates the Eurocentric view of its own superiority of culture and religion (Christianity). But this does not mean that the Cathedral is devoid of local cultures and arts. One of the few areas where we see localised elements entering into the sacred compound of the Cathedral is the use of the rattan in the construction of the back and seat of the chairs. The use of rattan – a distinctive Asian material – allows for wind to keep the person-sitter cool especially in Singapore’s humid weather conditions.

In sum, the architecture of the cathedral has aesthetic importance, as it was inspired by different architectural movements (Palladial, Early English Gothic) in history. Moreover, it has historical importance, showing us the beliefs of Eurocentric views of superiority amongst the colonial leaders as exemplified in this architectural structure.

Merlion Park

An icon and a sculpture

As we make our way to the Singapore River, the history of the Merlion will be shared: it started out firstly as an icon to market Singapore as a tourist destination. It was considered a suitable 'Singaporean' icon because of its distinctive traits of being a half-lion, half-fish. While the lion head invokes of the still-mystical account of Sang Nila Utama (a Javanese prince), the fish tail embodies Singapore’s history as a fishing village. In other words, the merlion is a symbol of both Singapore's location in Southeast Asia as well as its humble beginnings.

Half-lion, half-fish, the Merlion stands proudly along the Marina Bay.

The Merlion icon was used by the Singapore Tourist Promotion Board (STPB) for about 8 years before the decision to erect a 26-foot Merlion sculpture at the Singapore River. Like the smooth white walls of cathedrals, this sculpture is largely unadorned with a smooth finish hence giving it a form of majesty and purity. Moreover, the whiteness of the Merlion demonstrates the ethnic-neutral value highly regarded by an ethnically and culturally-diverse nation-state. It is thus little wonder why you will never feel out-of-place near the Merlion because the space surrounding it is thronged by tourists that hail from different nations! Indeed the iconic Merlion encourages a common vision amongst both its locals and tourists alike.

Photos, Chocolates, Hotel and Dresses
(bring it home, share it, reminisce about it, wear it!)
 
After taking pictures with the Merlion (which is a definite must!) we proceed next to the souvenir store near the Merlion. There the commercialisation of our nation's cultural icon is exemplified through the personal gifts and edible foods, such as Merlion-shaped chocolate (even cheese!), one can buy for their family and friends back home!
 

Interior of the Merlion Hotel

Die-hard Merlion fans would be devastated to know that as part of the 2011 Singapore Biennale, a Merlion Hotel was built around the head of the Merlion. This hotel was created as an art installation by Japanese artist, Tatzu Nishi, and was open for stay for one month. In the same reminscent spirit, look out for Merly too--- the mascot for the inaugural Youth Olympic Games. If you're looking for inspirations for an exciting costume party include dresses, such as the one created for Miss Singapore, with designs based on the Merlion.
 
 
Distinctively Singaporean: awkwardness
 
To the observant, the Merlion is representative of Singapore: its history and current context. Indeed as Singapore experiences a rapid modernisation, it bemoans a lack of deep historical roots to tap from. Simultaneously we rush and desperately clasp onto images of local-Asian identity. Nonetheless despite the challenges the Merlion, as a personification of Singapore's character, always looks towards the open waters ahead; it sits comfortably on the waves beneath and like Singapore, the Merlion remains forward-looking.

Forward-looking in majesty

While some may say that the Merlion lacks historical depth, it is exactly that characteristic that adds to its mystical nature. Unlike other 'Asian' legendary creatures (such as the dragon and phoenix) which can find a rich heritage in the many cultural traditions and folklores, the Merlion relies on a relatively-new fictional tale created by man. But its strange bodily makeup and mysterious heritage is reminiscent of the 'Asian' legendary creatures. In that sense, it is indeed an icon of Asian quality. But the Merlion is also a tourist attraction - where tourism remains to be one of Singapore's key engines for economic growth. As it turns out the Merlion, as both a sculpture and a cultural icon, remains equally rooted in a Western capitalistic modernity.

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Suntec City

Unique Architecture blending of East and West.



Four towers-fingers of Suntec City


Following Chinese fengshui beliefs, the architectural layout of Suntec City is built in the formation of a left hand with the five buildings as the fingers, circular fountain as the palm and the convention centre as the wrist. The central water feature represents a ring-signet placed firmly in the middle of the palm. Even the small fountain in the centre has twelve spokes, each representing the twelve Chinese horoscopes.  





left hand: 1 wrist, 5 fingers & 1 golden ring

Also the architecture is based on the centuries-old concept of the mandala. The mandala, as used in old South Asian architecture, helps 'believers' visualize the universe and their place in it, often in relation to a specific deity found in the centre of the image. The influence of the mandala, which often times feature a circular centrepiece (symbolising a sacred centre), is showcased as Suntec City's central water feature. The combination of fengshui and the use of the mandala make up the distinctive Asian cultual quality as expressed through the architecture of Suntec City.

 

Yet the buildings are built with modern materials of steel, concrete and glass. The windows are structured along straight lines and the building itself is largely unadorned. Coupled with the large window panes that allow a two-way visibility, the five towers are truly modernist. Moreover the five towers are commercial buildings with offices and retail shops. While some have likened the five buildings to the five elements of feng shui (Gold, Water, Fire, Wood and Metal), it is clear that the rational workings of modernity is not ignored.

 

Singapore culture: totally immersive.



A warm, enticing invitation.

According to fengshui, the Fountain of Wealth is a circle symbolising perfection and unity; also Suntec City is located in an area that is believed to bring much luck and success. Since good things ought to be shared, the general public are encouraged to walk around the central water feature in a fixed direction with one hand outstretched towards the water. Before leaving, throw coins into the water for good luck! ​It is believed that one's provisions in life will increase, hence resulting in a prosperous life! ​

 

So come participate in a unique Chinese culture, while being surrounded by the towering structures of Western modernity! Come be part of the diverse and interweaving cultures found within Singapore culture and arts! This is indeed UNIQUELY SINGAPORE!

 

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