Sembawang Hot Spring Park

A celebration of the kampung set around Singapore’s only mainland hot spring, where water and nature become wellsprings for the fostering of communities.

The passage of time heralds change and creates history. In any nation’s past, we find ways of living and building typologies that have been relegated to historic records, remembered but no longer necessarily relevant. While Singapore has its fair share of these social and architectural artefacts, locales still remain within the city that retain both the spatial and cultural traits of the kampung—a vernacular way of village living, which values community, slow living and suggests a connection to natural landscapes.

Sembawang Hot Spring Park is one of these rare spaces, unique for containing the only natural hot spring emergence on mainland Singapore. Over the last decade, a faithful community of users has built up around the hot spring and its quiet, rustic surroundings, making it a local treasure.

With its redevelopment under NParks, our key intention is to retain, enhance and celebrate the rustic nature and kampung spirit inherent to Sembawang Hot Spring Park. The one-hectare site is divided into two parts by a canal and connected via a pedestrian bridge. Much of this land will be given to landscaping, with the only new structures being a café and washroom near the entrance before the bridge crossing, and shelters near the hot spring water collection points at the back of the site.
The existing concrete slab around the existing hot spring taps is kept and continues as the main area of activity within the park. The hot spring points—previously simple tee-off taps—have been built into three key features: a cascading pool footbath, a water collection point, and an educational water feature, all communal facilities that encourage users to interact and socialize. Concrete, brick, steel structures and metal roofing sheets form the material palette, echoing the practicality and simplicity of kampung construction.

In tandem with the architectural intention, the landscaping brings back a planting scheme more common to the kampung era. Ornamental, floral planting is introduced to the front of the site, while the back portion features wilder, tropical trees and shrubs. Edible plants, common in kampungs, dot the landscape. The key natural feature, a stream, replaces a series of earth drains and collects hot spring water runoff from the hot spring facilities for discharge into the nearby canal. Adjacent to an activity lawn, the stream—along with the hot spring facilities and a rain garden—expands the range of interactivity with hot spring water.

Sembawang Hot Spring Park is not just a historic gem for reminiscence, but proof that one of the nation’s most valued traditions—the kampung spirit—is well and alive. Simultaneously, it is a geological rarity for this island nation, a singular occurrence. Our hope for its redevelopment is that design can not only retain these valuable traits, but will augment and celebrate them, and foster a community around the park that will last for generations to come.
LOCATION
Singapore
YEAR
Estimated Completion 2019
DISCIPLINE
ARCHITECTURE
TYPOLOGY
PUBLIC SPACE
SIZE
11,196
TEAM
Tiah Nan Chyuan, Teo Guan Sin, Tan Qian Rou, Panna Chee 
This project is designed and realised by FARM Architects.

The Barracks

The Barracks takes guests back to a cherished time of romance and charm, offering attention to detail, exquisite service, and an overall timeless experience. The hotel is housed in a designated conserved building; its architecture a window to the island’s past. This is where heritage comes to life.

The name Sentosa brings to mind the sun, the sea, and the sand. But the island itself has a layered and fascinating history. Early records show that Sentosa had begun as a secret pirate hideout, then a tranquil fishing village, before being used by the British to build forts and coastal defence systems. In fact, on the very site of The Barracks, the Blakang Mati Artillery Barracks once stood. It was home to the British soldiers who came from afar. Away from their family and kin, it was here that they had forged a sense of camaraderie and friendship with one another.
The building itself dates back to colonial times. With its architectural details meticulously preserved and restored, The Barracks commands a sense of time and place. Guests enjoy modern amenities in a setting that is timeless and atmospheric.
LOCATION
Singapore
YEAR
Completion 2019
DISCIPLINE
GRAPHIC, BRANDING
TYPOLOGY
HOTEL
SIZE
40 Rooms
TEAM
Tiah Nan Chyuan, Elwin Chan, Oh Wen Xin, Sarah Lew 

1 Hotel Sanya

Sensitivity to materiality is at the heart of a new hotel that pays homage to its breathtaking surroundings. Throughout the space, nature is seamlessly integrated to soften the boundaries of the interior and exterior.

From the forests to the seas.

With mild and balmy weather, tropical flora and fauna, and seas blue and alive, Hainan island is often described as ‘China’s Hawaii’. The design of the interior spaces of 1Hotel Sanya, draws its inspiration from the rugged and raw beauty of the island. The design is of the place. Surfaces and materials are always textured and never overly processed. The materials used seek to tell their own story of where they come from. Locally sourced and reclaimed materials are used where possible. Nothing is too overly complicated or complex. The planning and interiors maximise natural light and ventilation wherever possible.

In the lobby, Hainan’s lush tropical forested hills are echoed in tall vertical weathered steel and timber ‘tree trunks’, with a screened skylight filtering dappled light into the space below like shadows cast by leaves in a canopy. The backdrop of walls of raw, textured pigmented concrete, local volcanic stone and salvaged stacked Chinese roof tiles suggest the sheer rock escarpments.
The restaurants and bars, and lift lobbies combine an assortment of unpolished materials: rammed earth, natural stone, rusty steel and reclaimed timber from old fishing boats, to evoke dramatic rugged coastal cliffs, pristine silica beaches, sun bleached driftwood, and sleepy seaside villages. Smaller spaces take clues from modest agrarian and quotidian spaces like garden sheds, greenhouses and traditional timber inns.

Throughout the interior, greenery is integrated seamlessly to soften the boundaries of interior and exterior, of that which is man-made and that which is natural. The intention is to always remind the guest of where they are and what is special about it.

In the guest rooms, textured surfaces, live edged timber ledges, tree stump stools, raw Chinese cedar trunks, unpolished locally sourced natural stone and bespoke nature inspired artworks complete the experience of a retreat into the island.
LOCATION
China
YEAR
Estimated Completion 2020
DISCIPLINE
INTERIOR
TYPOLOGY
HOTEL
SIZE
60,000
TEAM
Peter Sim, Selwyn Low, Weiming Hong, Supertini Tjang, Nina Arily, Cindy Lee, Limay Foo, Jaclyn Chan, Lijin Tan, Ratnah Hafizah, Kartika Sani, Panna Chee, Peijin Lim  |    

One Holland Village

One Holland Village is a new mixed-use development made up of retail, residential, offices and hospitality components. This development, set to launch at the heart of Holland Village, will enliven and elevate the identity of the precinct. The challenge was to imbue the brand with a sense of liveable luxury, while staying true to its bohemian charm.

Holland Village has a distinctive character, which is why URA made the precinct an identity node in its Draft Master Plan 2014. The charm of Holland Village is that it grew organically. Layer upon layer, history and stories were added, giving the village its unique flavour. The new Holland Village builds upon these layers of history, while adding new life to an already well-known and well-loved precinct.
Imagine more meeting spaces, more exciting lifestyle choices, more homes, more families, more ways to work, more play, more green, more community, more integrated. Holland Village will be better, bigger and greater than ever.
LOCATION
Singapore
YEAR
Estimated Completion 2025
DISCIPLINE
GRAPHIC, BRANDING
TYPOLOGY
PRECINCT, RESIDENTIAL
TEAM
Tiah Nan Chyuan, Oh Wenxin, Susanne Teng, Goh Si Jie 

Aesop 1 Utama

Aesop 1 Utama is an exploration into how corrugated roofing sheets can be adapted in inventive ways,
without losing their essential character and materiality. The store is a homage to tin,
and the place it has in the greater Selangor region’s life and history.

An abstraction of local, vernacular tin roofs.

Commonly seen in large Cities and Kampungs, along highways and side street, homes and markets, hawker stalls and factories all over Malaysia, the corrugated “tin” roof sheet is almost part of the vernacular architecture. It is a humble, affordable, and versatile material. Originally made entirely of tin, and today more commonly of alloys, the sheets have an intrinsic link to the region of Selangor which is rich in tin mining history.

Aesop 1 Utama is an exploration into how corrugated roofing sheets can be adapted in inventive ways, without losing their essential character and materiality. The store is a homage to tin, and the place it has in the greater Selangor region’s life and history.

The layout of the store is simple and symmetrical with a large display window at the front; it is the material which takes center stage. The store is built essentially around two expressions of the corrugated tin, a vertical planar use of the sheets, which expresses its undulating surface, and a horizontal stacked cross-sectional approach to using the material, expressing its mass and edge profile.
In its vertical application, the sheets are used as formwork to cast concrete walls. In this way, an imprint of the actual tin sheets are left upon the concrete, and the perception and materiality of the original tin is transformed via a complementary material. The service counters are expressed as simple blocks of concrete.

In its horizontal expression, densely packed corrugated metal sheets reveal a shimmering and often unseen perspective of the corrugated tin roof: its stacked edges as a form of visual expression. By varying the width and thicknesses of the stacking, a range of elements can be created: slim product display shelves, a sturdy plinth for seating and weighty platforms for visual merchandising. Here the tactility of the tin sheets are literally seen from another angle, reinterpreted and appreciated anew.

Aesop 1 Utama takes inspiration from its location and its history. It adopts a humble and simple material and reinterprets and transforms it. It makes the ubiquitous tin roofing sheet strangely familiar and in doing so heightens one’s awareness of its innate qualities.
LOCATION
Malaysia
YEAR
Completion 2019
DISCIPLINE
INTERIOR
TYPOLOGY
RETAIL
SIZE
80
TEAM
Peter Sim, Selwyn Low, Jaclyn Chan, Limay Foo 

100

‘100’ is a typology study of landed terrace housing, a series of schematic explorations into how a singular plot of land can yield various design outcomes, by focusing on different thematic concerns.

Sub-urban landed housing developments are infamously known for their uniformity and blandness. Facilitated by the ubiquitous use of automobiles, they are situated a distance away from the city centers, and can occupy large tracts of empty land, sometimes cleared and flattened from natural habitats or agricultural uses. Each development comprises of a small number of housing modules, identical to one another in outlook, which are then arrayed in the most efficient manner. This characteristic cloning or cookie-cutting, together with the individual units’ gated fronts, results in a homogeneous streetscape that is boring, disorientating and unengaging.

Gamuda Land, whom this study was conducted for, sought to build homes different from the usual run-of-the-mill landed terrace housing, incorporating creative working environments and catering to a target group of Gen-Y owners that value individuality more strongly than their older counterparts. With an experimental starting point, ‘100’ conceptually categorizes the spatial possibilities of the terrace landed housing typology, and what each could mean programmatically to the end user.
The 100 schemes anticipate a multitude of lifestyles and family units, serving as a platform for homeowners to creatively engage with their environments. A house with a large double volume living space opening out into the garden lends itself well to the home-owner who loves to entertain. A terraced building form offers multiple gardening grounds for the plant-lover. An elevated living space gives the wood-worker a potential workshop just below his home. Tower forms allow multi- generation living. Applying these spatial concepts to a range of different lot sizes with fixed lengths and widths, the resulting matrix of possibilities was a breakthrough in itself – that even cookie-cutting can be an eclectic and thoughtful process.

From the typology study, 4 unit types were plucked out to be incorporated in the housing masterplan. Even at that stage, we envisioned the streetscape to be even more varied, creating an urban fabric without any discernible patterns or repetitions. Thus, the typology study was pushed one step further, and we looked into the building elevations to investigate how facades can be created to cater to individual aesthetic and practical preferences. The result is a vibrant streetscape, where specific homes are identifiable, while still belonging within the same community. The aim of this study is one shared by FARM and Gamuda Land: that these new possibilities of living will be widely welcome, and that residents will enjoy and adapt these houses to their own customs, turning them into homes.
LOCATION
Malaysia
YEAR
Proposed, 2016
DISCIPLINE
ARCHITECTURE
TYPOLOGY
HOUSE
TEAM
Tiah Nan Chyuan, Teo Guan Sin, Lee Hui Lian, Kenneth Koh Qibao, Clifford See, Cheung Yuting, Tan Qian Rou, Benedict Tay, Sarah Lew 
This project is designed and realised by FARM Architects.

Air House

A home of many spaces, where every room is filled with an abundance of natural light and cross ventilated, created through the simple yet disciplined gesture of inserting a continuous air well into its center.

The line between efficient utilisation and aesthetic consideration of space is a fine line to walk. This was one of the key considerations in Air House, which sits on a site which results in a buildable area that is almost a perfect square. Within this footprint, there were a variety of spaces to be considered and catered for. This necessitated the construction of a substantial built-up, extending to include the provision of a basement level.

To strategically engage the site, we first conceptualized the house as a cube. A central air well was then introduced at its core, extending all the way into the basement. This allows the cubic volume to be maximised in terms of floor area, while ensuring that all the necessary rooms are well lit and well ventilated. The air well also allows for visual connection across the entire house, creating a sense of wholeness despite its generous sizing and 4-storey height.

The main circulation corridor is wrapped around the air well, so that floor area is prioritised for functional spaces. Simultaneously, windows and terrace access on the attic floor are attached to this circulation route at the stair core and particular points, so that light and air flow through the house, retaining the house’s connection to natural elements.
As Air House is mostly inward looking, the exterior is articulated as a composition of boxes and terraces, playing with a variety of materials and finishes. The façade thus gives Air House the privacy its occupants needed, while softening the structural mass through its depth of layers and assembly of textures. Internally, planting was introduced throughout the deep air well at various levels, culminating at the courtyard, creating the atmosphere of a secret oasis within the home.

Through its form and mass, Air House displays a sense of strength, while simultaneously exuding lightness through its carefully considered proportions, materials and engagement with nature. The result is a house that is powerful, yet not overpowering, and a home that aims to serve as a sanctuary for its inhabitants.
LOCATION
Singapore
YEAR
2018
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
HOUSE
SIZE
760
TEAM
Tiah Nan Chyuan, Teo Guan Sin, Benedict Tay, Hu Xin Wen, Janice Chu, Michelle Lim 
This project is designed and realised by FARM Architects.

STT Leap Office

Leap is in the business of transformation. The logo shows a singular continuous line of a frog in projectile motion, over a clearly defined and confident brand name. Spatially, Leap’s office is a bold and characterful re-interpretation of the traditional shophouse archetype.

An Office in Several Slices.

The shophouse is a southeast Asian archetype that is narrow, linear and long, often with courtyards or ‘air wells’ to bring light and air into deep plan. Located on the second storeys of a row of parallel shophouses that had interconnecting openings in their dividing walls, the office space and its design respond to the Client’s company philosophy of having a global influence while being firmly rooted in Asia. The challenge of this project was to create a workspace that was contemporary, modern and forward-looking while enhancing the character and unique nature of the architecture.

We were inspired by the idea that when originally separated by a wall, the interiors of the neighbouring shophouses would have had their own character. We tried to accentuate the difference between each ‘slice’ with their own identity and ambience. 
One shophouse slice takes on a more contemporary language, echoing the contemporary city of glass and steel outside, another re-interprets and re-invents traditional architectural elements of the shophouse such as ventilation blocks and timber louvered windows, yet another takes inspiration from the tropical verandah space. The threshold between each shophouse slice is accentuated by a brass portal which punctuates the movement from one space into another.

The previously cellular and labyrinthine spaces were opened up and the air wells within each shophouse were ‘liberated’ in plan; meeting rooms are deliberately placed away from the courtyards, allowing maximum daylight into the open office spaces and creating a clear ‘heart’ to each shophouse.
LOCATION
Singapore
YEAR
Completed 2018
DISCIPLINE
INTERIOR, GRAPHIC, BRANDING, ENVIROMENTAL GRAPHIC
TYPOLOGY
OFFICE
SIZE
740
TEAM
Peter Sim, Michelle Lim, Cheung Yuting, Elwin Chan, Oh Wenxin, Rebekah Lee  |    

SMRT Headquarters

The design for the SMRT headquarters was inspired by understanding the very nature of the company’s business. Locomotive elements found in various spaces form a coherent and consistent design narrative.

The design of the SMRT office was inspired by initial visits to the company’s various spaces to understand how it operates. These included the station back of house, offices, primary control rooms, depots and maintenance facilities. Once we got a better understanding, we interpreted some of what we saw, like the tunnel view of the train driver, the space occupied by the maintenance man, and the work environment of the control room.
In the new office, as visitors and staff members enter, they are greeted by the curves of the tunnels, with tracks guiding them to the various workspaces. The xchange pantry is also created with the depot in mind and has an industrial touch, while the meeting areas and workspaces have a curvaceous element to them.
LOCATION
Singapore
YEAR
Completion 2019
DISCIPLINE
INTERIOR
TYPOLOGY
OFFICE
SIZE
6000
TEAM
Peter Sim, Torrance Goh, Shuwei Ho, Jaclyn Chan, Mervin Loh, Ratnah Hafizah, Veronica Chia, Rebekah Lee 

Museum House

A home rooted in traditions and collections, Museum House is a modern interpretation of Chinese architecture, crafting spaces through increasing heights and volumes, and introducing light via internal courtyards.

What makes Museum House categorically unique to other houses is its floor plan, almost entirely free from walls beyond the functional separation of wet and dry areas. Instead of solid walls, collections of objects gathered over time by the inhabitants form the language that defines boundaries between spatial use.

To maximise the land use of this ancestral site, grids were used to define and portion out the various spatial requirements of the family. The house was then sequentially crafted through the segregation of activities. Envisioned as a ‘house within a house’, each bedroom is curated as an individualistic space, interconnected by thresholds separating private areas from the communal portions of the house. The gradual build-up in volume and height seen from the front elevation signals the importance of spaces within the house, with the communal cluster culminating in a towering prayer hall. High external walls shield the house from eyeline of surrounding residences and help to consolidate external courtyards as part of the house rather than simply boundary spaces.

Clad in fair-faced bricks, Museum House’s exterior exudes monolithism and monumentality, while the interior suggests a certain softness by connecting spaces via thresholds and views, rather than separations. Internal courtyards carved out from bedroom spaces are reminiscent of gardens within Chinese houses; these courtyards also act as light wells, drawing natural light into the rooms.
While Museum House is designed to be largely contained, great expanses of glass doors and windows allow the eastern sun in during the early day, while the hotter western sun is repelled by the high external walls. These openings create visual connections between various spaces, their opacities curated through the placement of the family’s collections. Introducing these openings to the central internal courtyard visually links the threshold spaces, creating opportunities for the family to be aware of each other’s presence, signaling movement between the communal and private spaces.

The result of these spatial maneuvers is a house that explores the notion of articulated monumentality, referenced from traditional Chinese architecture. Museum House re-thinks the ideas of enclosure, spatial hierarchy and partition to create a home that while volumetrically large, still feels intimate.
LOCATION
Singapore
YEAR
Completed, 2018
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
HOUSE
SIZE
573
TEAM
Tiah Nan Chyuan, Lee Hui Lian, Mervin Loh 
This project is designed and realised by FARM Architects.

88 Armenian

The historical context, and the opportunity to reinterpret it, formed the basis for the design and branding of this hotel. Attention to detail introduced further layers to the narrative, so guests can experience a keener sense of space and time.

Old Picture Postcard – Campbell Street Courtesy of Penang State Museum
88 Armenian Hotel is an intimate and personal sanctuary located in Penang’s heritage core. While being in the historical core, the building itself was not original. It was a new erection after the two original shophouses were lost in a fire. That set the tone of how we approached the design.

In a way we were given a blank slate, an opportunity to rethink the meaning of history from a hospitality perspective. Do we recreate a past that may be relevant to the city but not to the actual building? Does it need to be a thematic experience? Is it always about nostalgia? Or is there an alternative way to think about history that may be more open, more progressive and less defined?

In reinterpreting history, we saw an opportunity for the hotel to fill an important gap in the narrative of the street, the city and its place and time in the world. We adapted copper and brass as a key material palette to help us interpret the different spaces and experiences. The resulting spaces were logical but were also unusual in their configurations allowing guest to have different experiences staying in a shophouse and Penang.
The overall palette was meant to be darker at the ground floor while the rooms were envisaged to be lighter with white walls and day light. The different layers of the history of the building is showcased on the ground floor in the lobby with the exposed ceiling revealing the new concrete structure with the old existing brick walls. Shou-shugi ban burnt wood lined the dining space narrating the history of the building and its fiery past. Copper tinted mirrors help to enhance the atmosphere of the space with its glow, its reflection and indirect lighting within a dark space.

While the design of the building and rooms responded more to the local context, we wanted a more global narrative when it comes the naming and furnishings within the rooms. In a way, the romance of travel is to connect with new worlds, we wanted to connect the hotel and their guests with the past, the present and future of Penang and the rest of the world.
LOCATION
Penang, Malaysia
YEAR
Completion 2018
DISCIPLINE
INTERIOR, GRAPHIC, ENVIROMENTAL GRAPHIC
TYPOLOGY
HOTEL, RESTAURANT/BAR
TEAM
Tiah Nan Chyuan, Lee Hui Lian, Selwyn Low, Gareth Low, Trina Ang, Janice Chu, Xin Wen Hu, Oh Wenxin, Panna Chee, Xiu Hui Wong, Georgina Tan 

The Near & Far East

The Near & Far East by Far East Hospitality consists of the Village Hotel, The Outpost Hotel, and the soon to be launched The Barracks Hotel. Three distinct brands that target three different tiers of travellers. The properties are made up of new and heritage buildings. While each hotel has their own branding, they are unified by a common narrative. The historical context provided a starting point, and a family of brand values was conceived to set the tone for the precinct.

FROM MILITARY OUTPOST TO GLOBAL VILLAGE OUTPOST
The name Sentosa brings to mind the sun, the sea, and the sand. But the island itself has a layered and fascinating history. Early records show that Sentosa had begun as a secret pirate hideout, then a tranquil fishing village, before being used by the British to build forts and coastal defence systems. Formerly known as Pulau Blakang Mati and what used to be a British military base, Sentosa has come a long way to be the holiday destination that it is today.

A NEW FRONTIER IN HISTORY RE-EMERGES
Located at 1 Artillery Avenue in Sentosa sits three hotels developed by Far East Hospitality. Here is a new frontier with renewed customs, rituals, festivals and communities. Village Hotel Sentosa will present an experiential stay for families. The Outpost Hotel harks back to the golden age of travel. A time of discovery, breaking frontiers, and exploration. On the very site of The Barracks Hotel, the Blakang Mati Artillery Barracks once stood. It was home to the British soldiers who came from afar. Away from their family and kin, it was here that they had forged a sense of camaraderie and friendship with one another.
A CONDUIT LINKING THE PAST, PRESENT AND FUTURE
This is a back-island. An outpost. A frontier paradise. On the edge of this island, a forgotten world awaits. This was where the east met the west. Where the land still greets the sea. Where the old shall encounter the new. This is a world of brave new frontiers. A gateway and a getaway where new adventures beckon. This is the Village. The Outpost. The Barracks. This is where new worlds come together.

A TOTAL SENTOSA EXPERIENCE
Filled with boundless energy and discoveries, the Precinct is always surprising, pushing boundaries and crossing frontiers. It brings people together. They come to enrich their lives, create shared memories, and have fun doing so.

A new gateway and getaway, where new adventures beckon.
LOCATION
Singapore
YEAR
Completion, 2018
DISCIPLINE
GRAPHIC, BRANDING
TYPOLOGY
HOTEL, PRECINCT
TEAM
TIAH NAN CHYUAN, OH WENXIN, SARAH LEW, WONG XIUHUI, SHERMAN FU 

Lloyd’s Inn Bali

By integrating an immersive experience of nature with hospitality, Lloyd’s Inn Bali provides a restorative, meaningful journey for guests.

Growing their ethos of hospitality focusing on guests’ relationship with nature, Lloyd’s Inn Bali is the brand’s first foray outside Singapore, and part of several sites in Southeast Asia currently being developed. Nature—light, openness, greenery and material beauty—is the impetus of the spatial and experiential design, with every aspect of the hotel kept minimal and fuss-free for guests.

Lloyd’s Inn Bali started with an existing 4-storey budget hotel in Legian. We retained most of the structure, adding front and side extensions to house new facilities like a spa, lounge/library, pool and deck. The hotel is located behind a main street and accessed via a small alleyway. This alley transitions into the reception, finally discharging past a threshold into the central courtyard garden. The obscurity of this entrance sequence creates sufficient distance from the main road, heightening the hotel’s atmosphere of peaceful seclusion.

The main circulation path is moved from the perimeter to an existing service corridor between rooms, and this perimeter is converted into balconies, creating more privacy in access and outdoor space. Balconies facing the courtyard garden are tiered, ensuring ample daylight without allowing visual access. To translate the identity and intimacy of the original small boutique hotel into a site nearly three times that size, in Bali, we were careful to layer and decentralise, rather than creating large singular spaces. By staggering programs, circulation becomes a journey-based experience, with possibilities for discovery.
At the core of Lloyd’s Inn’s philosophy is the garden. We were cognizant that this relationship with nature requires differing expressions across sites. For Bali, where nature is more immersive experience than backdrop, opportunities for meaningful natural interactions were orchestrated. Hidden from external view, the courtyard garden becomes the focal point of the hotel. The constraints— terminating the entrance sequence, providing open gardens and privacy for every room, the existing structure—lead us to a solution of staggering the balconies and using curvature to filter daylight into rooms. Every room has a little sanctuary of landscape, to allow natural light and ventilation in. Layers of landscape on the ground level and with the large stone walls create a tiered landscape that frames the view from ground to sky, creating a serene, hidden garden that anchors the guest experience.

To draw links across various Lloyd’s Inn locations, the same humble palette of light oak, cement, white and greenery was used in Bali for the interiors. External spaces were rendered in locally sourced lava stone and pebblewash to contrast. So that the hotel can be anchored in its greater context, local handmade sinks and loose furniture, and finishes such as sukabumi tiles and marble were sourced from the immediate Bali region.
Lloyd’s Inn Bali is a continuation of the intentions set in Singapore, to integrate the experience of nature into hospitality, providing an restorative, meaningful journey rather than simply a place to stay

the night. As Lloyd’s Inn spans across locations, the principles behind its particular approach to hospitality must evolve as well. Bali is an optimistic first step in that direction, paving the way for future explorations into what it means to be in nature.
LOCATION
Seminyak, Bali
YEAR
Completed, 2018
DISCIPLINE
ARCHITECTURE, INTERIOR, GRAPHIC
TYPOLOGY
HOTEL
SIZE
5,600
TEAM
Tiah Nan Chyuan, Clifford See, Susanne Teng, Edwin Tan 

House Behind

A home that engages and celebrates the relationship between new and old, through the interactions of an existing tropical modern house and a new annex behind.

Built for a family with an openness to unconventional architectural ideas, the House Behind is situated in a typical Singaporean landed residential estate comprising of semi-detached houses. Ostensibly, the house is an amalgamation of two structures: the house in front, an existing specimen of early modern tropical architecture, and the house behind, a new extension built in response. While the original intention was to demolish the existing house, we convinced the family that conservation was worthwhile due to its charming elements: its pitched tile roof, ventilation blocks and decorative metal grilles, characteristic of its era.

The new block behind was inserted at the rear of the plot, an independent 2-storey pitched structure in monolithic board-formed concrete. This contains new bedrooms, utility spaces, as well as an entertainment room and children’s playroom in the basement. A side extension was also added to the house in front, widening existing spaces and carving out new access points. These gestures allow the architecture to retain its past, while evolving to suit the needs of its new occupants.

The new annex behind is built tall due to the small footprint available, contrasting the strong horizontality of the old house. This contrast is further emphasized through the finishing. The old house is in smooth white plaster except for the elevation of its new extension, rendered in textured black paint. The new extension is cast in off-form concrete that picks up the grain of its wooden formwork, its rough texture weathering over time to reflect the tropical climate.
The annex is intentionally pulled apart from the existing house, forming a double volume threshold which serves as the key feature of the House Behind. Two objects—a bridge connecting the two house structures at the 2nd storey, and a drum of weathered steel containing the staircase leading up to the attic study—are suspended in this gap, which bathed in natural light from the glass roof above and opens out to the side garden via double-storey wooden doors. The gap, designed to be open and ethereal, serves as both connector and separator between the two house structures, a ‘non-building’ space which becomes a reminder of the nuanced relationship between past, present and future.

Framing of views throughout the house became crucial, due to its proximity to neighbours, and lack of any significant distant landscapes. The entrance, living and dining areas are instead orientated towards the side garden, creating a sense of privacy and intimacy. The large doors at the gap between frame a small pocket garden, where a specimen tree of Brazilian ironwood is planted to provide a focal point.

The House Behind is named for the new annex, in recognition that the existing conserved house becomes site, inspiration and pivot for the overall architecture. In this home, old and new not only co- exist, but interact with each other, creating a variety of spatial experiences that can be enjoyed by the family in their day-to-day living.
LOCATION
Singapore
YEAR
Completed 2018
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
HOUSE
SIZE
410
TEAM
Peter Sim, Cheung Yu Ting 
This project is designed and realised by FARM Architects.

Project R

Eschewing the usual monotony of an office building, Project R is a space devoted to the cult of gamers, showcasing the richness of gaming culture through a total ecosystem designed for the gaming community.

In designing a place meant uniquely for gamers, we took the opportunity to explore the brief from the perspective of user experience. Questions relating to different ways in which gamers engage the building—through approach, context, program, massing and even game structures—were asked, and examined through dialogue with end users. This investigation was then distilled into guiding principles which organize spaces and relationships, fueling our vision of a gaming ‘city’ within the bigger context of the Biopolis Business Park.

Signaling a return of the Razer brand to Singapore, Project R required a strong sense of presence, while still encouraging familiarity. We wanted the office building to be both mysterious and inviting, formal in approach yet informal in circulation. For this, the idea of deep vertical fins was adopted, which open up as one moves from point to point, both internally and externally.

While the exterior of the building is irregular due to site profile and envelope control requirements, we felt that strong axes should be introduced to instill a sense of experiential sequencing and formality. Laid on the ground plane, these axes allow user experience to build up towards a semi- sunken central space that borders on being reverent: the stage, where talks, product launches and tournaments can be held, and events can grow spontaneously without a definite boundary.
To emphasize the virtual nature of video gaming, overhanging boxes were introduced, seemingly floating above the ground, creating an inverse or reflection of the indented plane below. This mirror- like quality of arranging the ‘city’ on the ground and the ‘city’ above challenges one’s perception of space and groundedness, while functionally allowing the different spatial zones to merge into one another. The office spaces above open downwards into a public realm below, and both public and office users become observers of each other’s activities.

The design of Project R not only reevaluates of a spatial typology from the point of view of the physical, but also encompasses in-depth research into the nature and uniqueness of people in a social community. In that integration, it envisions a building not merely to site, but also to support the ecosystem of gaming.
LOCATION
Singapore
YEAR
Competition, 2018
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
OFFICE
SIZE
19,287
TEAM
Tiah Nan Chyuan, Teo Guan Sin, Clifford See, Benedict Tay, Nowelle Tan, Mervin Loh, Choi Seung Hyeok, Phuchong Yamchomsuan, Susanne Teng, Elwin Chan, Panna Chee, Georgina Tan 
This project is designed and realised by FARM Architects.

Barn Houses

A cluster of four houses for a multi-generational family, staggered yet connected
by a central communal garden, enabling both moments of gathering and solitary calm.

How do you achieve balance between family and personal space, especially in a domestic setting? This question was the impetus for the Barn Houses, stemming from the client’s desire as a multi- generational family to live in close proximity without intruding onto each other’s space. The site, previously housing a single storey detached home, was subdivided into four plots with four structures: two bungalows and two semi-detached houses.

The original site was teased apart into four plots, and its irregular footprint became advantageous in allowing the four houses to be angled away from each other. To provide sufficient breathing room between the houses, landscape was used as a meaningful transition, actively connecting and dividing spaces simultaneously. Intermediate roof gardens and terraces extend the landscape across various floors, creating break out spaces that allow for situated visual interaction between houses. Simultaneously, planting provides barriers between private spaces within eyeline of each other.
Landscape, openings and directionality work in tandem to articulate various opacities between the houses, balancing between interaction and privacy. A double-volume living and dining space is also situated at the ground floor of each house, creating a sheltered pocket of respite. This orchestration is finished off by the communal garden situated at the heart of the cluster, overlooked by all four units. The garden defines the negative space between houses whilst occupants are indoors, while also serving as an outdoor gathering space for the entire family, connected through separate access points to each plot.

While maintaining spatial separation, the Barn Houses cohere through a common geometric, material and textural language. Terracotta-clad, pitched barn structures sit atop the main mass of each structure, signaling unity across the cluster. Internally, a common palette of clean, simple finishes is used, but each house is programmed specifically to cater for its occupants. The result is a cluster of homes that transition seamlessly from individual to familial, from separate houses to a collective whole.
LOCATION
Singapore
YEAR
Completed, 2018
DISCIPLINE
ARCHITECTURE
TYPOLOGY
HOUSE
SIZE
1,263
TEAM
Tiah Nan Chyuan, Lee Hui Lian, Clifford See 
This project is designed and realised by FARM Architects.

Silo Temple

Silo is a new solution to private office spaces in the market. Silo aims to be the connection between businesses and industry experts. Silo is technology and design collaborating to drive efficiency. Silo is a collection of essential spaces.

Situated in the heart of Chinatown, Silo is a new and savvy private office that is dedicated to the union of design and technology in the workplace. Taking over the carcass of four conservation shophouses, thirteen private rooms designed to fit offices of various sizes are carefully lined along the perimeters of the space to ensure that sufficient daylight can be achieved. The mantra of co-working space was shoved, instead privacy became the core of the design which was something we could not compromise on.

The unassuming entrance foyer lined with brass mesh screens sits amidst various provision shops along the shared five-foot walkway, creating a portal between a discreet, intimate exclusivity and the boisterous, bustling characteristic of the streetscape. Upon entering the main circulation, one will be greeted by the timber cladded hallway that inconspicuously leads you throughout the office, carefully concealing the entrances to the private rooms. Subtle wayfinding in brass details reflected by the lights seemingly appears and fades as you progress through the space, providing yet another layer of privacy to the clientele.
Different textures and materials are inserted along the corridors to identify intermediate facilities and meeting rooms, which also helps to break up the monotony of the timber hues without being too obstructive. These little break-out spaces allow for conversations and meetings to occur without being intrusive.

The private office spaces are designed in stark contrast to the warm, earthy tones of the corridors, where it features a bright and inviting palette that adopts a minimalistic and functional approach. Careful planning of the office locations allowed us to capitalize on the front and rear facades, where ample daylight can be flushed into the workspace. System furnitures and height adjustable tables form up the technological aspect of the space that helps to drive workplace efficiency.
LOCATION
Singapore
YEAR
Completion 2018
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
OFFICE
SIZE
557
TEAM
Tiah Nan Chyuan, Selwyn Low, Clifford See, Phuchong Yamchomsuan, Edwin Tan 

The Great Madras

The design objective of The Great Madras was to reflect the character of Little India.
Not quite a melting pot, but a mishmash of different influences.
A layered, considered response in what is seemingly a cacophonous neighbourhood.

The Great Madras is a new boutique hotel in the heart of Little India in Singapore. Made up of 35 rooms, both private and shared, with a cafe, barbershop, laundromat, and a rooftop pool bathed in sunshine, The Great Madras recently reopened after going through an extensive 24-month renovation.

Little India is a wonderful and intoxicating riot of sights, sounds, and smells. Colours collide, customs clash, and cultures coexist – resulting in a unique precinct that is layered, vibrant, and big on character.

The design objective of The Great Madras was to reflect the character of Little India. Not quite a melting pot, but a mishmash of different influences. A layered, considered response in what is seemingly a cacophonous neighbourhood. The branding narrative adds to the storyline by cleverly injecting irony, whimsy, and wit. Both interior design and branding work in unison to create a cohesive and compelling user experience that evokes a sense of time and place.

Unlike a typical conservation project, where the strategy often seems to point towards reviving a building’s past, the design team took a different approach to The Great Madras. Discarding the reductive stance, layers of narratives were added instead to build upon the existing character of the architecture. The exterior was also left largely untouched as a nod to the heritage of the building. Instead, new life was injected to the interiors, with the thoughtful use of spaces, materials, shapes, and colours.
One of the goals was to create a different function for the lobby – for it to bring people together. As such, indoor and outdoor boundaries are blurred, as are both the private and public spheres. The lobby, completely opened to the street, is envisioned as a living room for the neighbourhood. Both guests and neighbours are invited to linger and mingle.

The communal spirit is extended to the all-female and mixed hostels on the ground floor. Named after well-known travel writers such as Rudyard Kipling and Peter Mayle, each of these rooms close up to become private dwellings while sharing bathroom facilities.

The rest of the rooms are on the upper storeys. The use of colours help to define the different areas and functions in each room. A series of botanical inspired wallpapers adds vintage charm to the setting, while a curated selection of classic furniture pieces pays homage to an era that is consistent with the heritage of the architecture.

The Great Madras is a spirited building, imbued with great character that is drawn from its locality and history. In this way, its legacy continues, a stage for encounters to be had and stories to be lived.
LOCATION
Singapore
YEAR
Completion 2018
DISCIPLINE
ARCHITECTURE, INTERIOR, GRAPHIC
TYPOLOGY
HOTEL
SIZE
1,100
TEAM
Peter Sim, Selwyn Low, Lee Hui Lian, Kenneth Koh, Ho Shuwei, Jaclyn Chan, Oh Wenxin, Edwin Tan, Wong Xiu Hui, Heng Deng Hui 
This project is designed and realised by FARM Architects.

Century of Light

The archways are made exaggeratedly tall. They are painted a golden hue, as a reference
to the gold frames used by the paintings in the show. They are also intentionally skewed
to constantly frame key artworks and guide the visitors orientation.

Century of Light, the second blockbuster exhibition we designed for National Gallery Singapore in 2017 features two exhibitions, Colours of Impressionism: Masterpieces from the Musée d'Orsay and Between Worlds: Raden Saleh and Juan Luna. The two exhibitions demonstrate the range of painting styles and art movements that developed in 19th century Europe.

To capture the essence and spirit of the two shows, we envision a series of huge rooms, similar to those drawing rooms of old, interlinked by arches and openings that play upon the transition from one space to the next.

For Between Worlds, the two artists are each assigned a strong thematic colour that plays off their works - a deep blue for Raden Saleh, and a dusty salmon pink for Juan Luna. And as one traverses from artist's space to the next, the wall colours literally blend and transition into the next colour as well.
The archways that interlink between the various sections are made exaggeratedly tall, dwarfing the visitors as they pass under them. They are painted a luminescence golden hue, as a reference to gilded gold frames used by the paintings in the show. They are also intentionally skewed to constantly frame and re-frame key artworks and guide the visitors orientation.

Over at Colours of Impressionism: Masterpieces from the Musée d'Orsay, seven different thematic colours are chosen, each of them picked for their relationship to the subject matter and ethos of that particular section. They serve as subtle backdrops to aid the sub-conscious understanding of the artworks.

The arches here are more simplified and deconstructed, as a response to the scale of the space. Sometimes, they peel apart. Other times they simply demarcate a visual break between the different sections.
LOCATION
Singapore
YEAR
Completion 2017
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
TEAM
Willie Koh, Lee Hui Lian, Benedict Tay, Georgina Tan, Wong Xiu Hui 

Village Houses

3 homes for a family of 3 generations, where the interactions between volumes and a main portal frame create deliberate spaces for coming together, while setting aside private areas for each member of the family.

They say it takes a village to raise a child. The Village Houses are a spatial rendition of that idiom, where an extended, multi-generational family gathers for meals and activities, while retaining their own private spaces, within a series of 3 conjoined terraces houses.

Conceived from the family’s wish of shared living, the grandparents’ single storey house was demolished, and the Village Houses built upon that same plot of land. The initial gesture of a large portal frame with a smaller one sitting atop defines the built area of the site. Within those frames, volumes of family and private spaces are inserted, amalgamated and teased apart, creating circulation, outdoor and utility rooms which allow for transitions between gathering and individual areas.

Akin to the structure of a family tree, the organization of the Village Houses moves downwards through the generations. The smaller frame on the attic floor holds the elders’ private living areas, separated by a shared lounge and dining space for the whole family. The larger frame below is subdivided into 3 segments, each housing a sibling and their own families. Bedrooms are located on the 2nd floor, with parents’ and children’s rooms separated by a circulation core. On the 1st floor, a utility corridor transitions the car porch into the living/dining double-volumes, which is overlooked by a flexible mezzanine space.
Gatherings are a frequent occurrence within the Village Houses, ranging from daily meals to large celebrations. Each of the Village Houses’ double-volumes have an elevation of fixed windows and full- length sliding glass doors, inviting natural light and forming a seamless transition with the back terraces and yard. Similarly, the attic communal space opens out through sliding glass doors into a roof terrace. Activities are able to spill over from internal to external, while maintaining a sense of togetherness.

With a number of young children and elders in the family, creating a safe environment was key. The parents’ bedrooms overlook the rear, and the children are allowed full run of the backyard, while remaining safe within view of family members at various indoor areas. The children’s bedrooms facing the main road are shielded by an angled façade, affording light and views while retaining their privacy. A lift was installed within the central Village House to ease the physical stress of vertical circulation for elders and toddlers, and common areas are kept as open as possible, allowing the family to reconfigure them to suit changing needs.

The Village Houses were conceptualized as a safe space for raising children, for growing old, and for coming together as a family. And just as a village grows and changes with its inhabitants, we hope that the Village Houses too will serve the family well for many generations, as an expression of their lives and enabling their bonds.
LOCATION
Singapore
YEAR
Completed, 2018
DISCIPLINE
ARCHITECTURE
TYPOLOGY
HOUSE
SIZE
920
TEAM
Tiah Nan Chyuan, Lee Hui Lian, Tan Qian Rou 
This project is designed and realised by FARM Architects.

Cara Cara

Cara Cara, the new hip hotel in the sunny island of Bali
embodies a certain free spirited & wanderlust nature
which we seek to capture through the architecture of the space.

Cara Cara, the new hip hotel in the sunny island of Bali embodies a certain free spirited & wanderlust nature which we seek to capture through the architecture of the space. Taking over the shell of an existing hotel, the spaces are transformed and given life through vibrant splashes of colours and textures. They are deliberately juxtaposed with the raw structural elements for an edgy contrast. The activities of the hotel are layered across the four levels of the building’s frontage to create an overlapping terrace. This created a lively visual communication across the various programs.
Circulations and corridors are naturally ventilated and voids are created to allow daylight to fill the space. The screens along the sides of the building frames the hotel to direct the visitors' focus within the space which is followed by the slanted towering screens which guides the circulation to the open double volume foyer.

Every room tells the tale of a different adventurer and the typology of each room is catered specifically to the needs of the guest’s choice. For the rooms, a simple combination of timber and light-coloured hues are used. Every little corner is fully utilised and the details of the bunkbed allows for maximum storage.
LOCATION
Bali, Indonesia
YEAR
Completion 2017
DISCIPLINE
TYPOLOGY
SIZE
3,200

Core Collective

Creating a home of many spaces in which every room is always filled with an abundance of natural light and cross ventilation, through the simple yet disciplined gesture of inserting a continuous air well into the center of the house.

The brief was to create a collaborative fitness and wellness space in Singapore. It is a place that brings both fitness trainers and wellness professionals together as one community. The name Core Collective was developed to reflect both the focus towards the betterment of people’s lives and the diversity and coming together of the various disciplines in the fitness and wellness community. The design of the space is an attempt to translate the Brand values of Empowerment, Community, Betterment and Care into a series of spaces and programs. The spaces are designed in varying scales, from the small to big, quiet to loud, low to high energy, catering to the wide range of activities and events. We hope to create an environment that is conducive for individuals to find both their core interest and collective synergy with the community.

It was originally an office with an open plan, with the lift and services core. We kept the existing ducting and services, and where exposed, we gave it a fresh coat of paint. Within this shell, everything is new. Level 1 studio being on the ground floor, is the most public facing space. It is designed as a multi-use studio and event space. Level 21 houses the private consultation rooms and is designed to be calmer. Level 22 has the higher energy programs, accommodating variety of studio spaces, open training area and a boxing ring.
Upon entering the various floors, the reception and lounge areas form the central pivoting social & working space. The studios, consultation rooms and training areas flank both sides via corridors that are visually demarcated with arch-like portals.

Core Collective holistic approach mirrors Asian philosophy on well-being. The project celebrates honesty in material by enhancing the beauty in natural texture and tone. We use an earth tone to create a calm base, and added Asian influenced elements such as rattan, glazed tiles and terracotta tiles as highlights to create nodes and vistas within the space. Most of the healthcare equipment are from specialist suppliers. For the customised pieces we had a booth seating with integrated planter and worked with a landscape supplier to create a little cosy and conducive discussion corner. Alongside the booth is a rattan partition that is hand crafted by a local rattan furniture maker. We also worked with local artists that created wall murals for some areas. For carpentry, we explored using a variety of knobs to create a layer of individualism and fun.
LOCATION
Singapore
YEAR
Completion 2018
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
OFFICE, HEALTH
SIZE
760
TEAM
Tiah Nan Chyuan, Lee Hui Lian, Foo Limay, Susanne Teng, Sarah Lew 

Life is the Heart of a Rainbow

The design intent was to create a clean, unobtrusive and neutral space
that respect and work with the strong artworks on display.

Yayoi Kusama: Life is the Heart of the Rainbow is the first blockbuster show at National Gallery Singapore in 2017. FARM was engaged as the overall exhibition designer, and graphics and wayfinding designer for the exhibition.

The design intent was to create a clean, unobtrusive and neutral space that respect and work with the strong artworks on display, and is in harmony with the existing architectural qualities of the National Gallery.


It was a close tripartite working relationship between FARM, the National Gallery team and the Yayoi Kusama studio to overcome the numerous technical constraints and challenges to install the artworks. Most of the works require a visually 'clean' and uncluttered wall and ceiling space. Therefore a lot of time and care was taken to hide the various existing M&E services.

Wayfinding and exhibition graphics was designed to visually bring out and strengthen the brand of Kusama, employing colours and patterns which relate to her current oeuvre of works.
LOCATION
Singapore
YEAR
Completion 2017
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
1,800
TEAM
Willie Koh, Benedict Tay, Oh Wenxin, Steve Lim, Wong Xiu Hui 

Verandah House

Verandah House appropriates the age-old solution of verandas,
typical to colonial bungalows, as an in-between space
to protect the interior from harsh tropical extremities & afford privacy.

As time and technology march on, vernacular ways of building are often confined to the past. In Singapore, an island nation situated near the equator and constantly beset by sun, rain & humidity, the vernacular of tropical architecture has been rendered largely irrelevant by the modern conveniences of air-conditioning and concrete.

Situated on a gentle hillside in the suburbs off the Orchard area, the site of Verandah House boasts a near-constant breeze, creating the perfect opportunity for rethinking tropical architecture in a modern context. North-south cross-ventilation sets up the house’s basic form, culminating in a central double volume living space on the first storey that catches the breeze.

While in the north-south orientation, the site also posed a challenge as the entire façade is exposed to the western sun. With neighbours on higher ground and several residential high-rises in the area, privacy is also important to the client’s small, growing family. To mitigate these issues, Verandah House appropriates the age-old solution of verandas, typical to colonial bungalows, as an in-between space to protect the interior from harsh tropical extremities & afford privacy.
The idea was adapted into a series of ‘connected verandas’ which are linked across various floors, forming the main circulation spine on the external edges of the house, with private spaces
and bedrooms looking inward onto the double volume. Movement through the house becomes a journey of various framed views of the surroundings, afforded by the house’s elevated site. This
circulation space is kept naturally ventilated, with a composite wood façade screen providing protection from sun and rain.

Eschewing the flat concrete roof typical of modern construction, the house pitch roof profile references the form of historic vernacular architecture. By levelling out the house’s main floor, the site’s incline creates a basement which serves as a garage and new entrance. The house forms a natural relationship with its site, and the elements of roof, corridor and height blur the lines between shell and shelter, interior and exterior; the interaction of nature and architecture is not side-lined, but celebrated in Verandah House.
LOCATION
Singapore
YEAR
Completion 2017
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
HOUSE
SIZE
435
TEAM
Tiah Nan Chyuan, Cheung Yu Ting, Jaclyn Chan, River Law 
This project is designed and realised by FARM Architects.

Airbnb Singapore

More info coming soon!
LOCATION
Singapore
YEAR
Completion 2016
DISCIPLINE
INTERIOR
TYPOLOGY
OFFICE
SIZE
2,800
TEAM
Peter Sim, Selwyn Low, Trina Ang, Ho Shuwei 

lyf

lyf is a new way of staying. of staying connected. and living as a community. lyf is a building that builds connections. shared spaces that share new ideas. at lyf, residents become friends. friends become community. lyf is a gathering of minds. lyf is home wherever you go. with others just like you. stay at lyf. say it like life.

LOCATION
Singapore
YEAR
Completion, 2016
DISCIPLINE
GRAPHIC
TYPOLOGY
CO-WORKING, CO-LIVING
TEAM
Tiah Nanchyuan, Selwyn Low, Elwin Chan, Oh Wenxin, Steve Lim 

The Co. at The Row

More info coming soon!
LOCATION
Kuala Lumpur
DISCIPLINE
INTERIOR
TYPOLOGY
OFFICE
TEAM
Selwyn Low, Clifford See 

Polar

As Polar reached its 90th anniversary, it also needed a brand refresh. A new visual vocabulary was created, harking back to the heritage of the brand, as well as making it relevant to the modern consumer. Patterns were inspired by the textures of pastries, while a curated palette of deep greens lent weight, clarity and freshness to one of Singapore’s oldest brands.

LOCATION
Singapore
YEAR
Completion, 2016
DISCIPLINE
INTERIOR, GRAPHIC, BRANDING
TYPOLOGY
RESTAURANT/BAR
TEAM
Tiah Nanchyuan, Oh Wenxin, Steve Lim, Rebekah Lee 

Lloyd’s Inn Kuala Lumpur

By using interior design to determine the scale and logic of architecture,
Lloyd’s KL commits to the belief that hospitality can be tailored to the
individual without compromising the overall experience.

How do you recreate the feeling of ground in the sky? This was the challenge faced in translating Lloyd’s Inn Singapore, a 2-storey boutique hotel surrounded by dense greenery into Lloyd’s KL, its high-rise iteration near Bukit Bintang in Kuala Lumpur.

To retain the serenity brought about by the immediacy of nature —a defining characteristic of Lloyd’s Inn— the design returns to the ethos of the hotel: bringing greenery into the hospitality experience, while catering for a varied guest list with the understanding that every visitor’s needs are different.

Mirroring Lloyd’s Inn’s eclectic mix of room typologies, Lloyd’s KL houses lofts, suites and rooms with their own private terrace, amongst others. Every room is lined with planter boxes, private verandas or small balconies, each a little hint of green. These natural spaces also aid in segmenting rooms and shading, creating maximum privacy with minimal visual obstruction. Businessmen, vacationing families and solo travellers all get to sit back at the end of the day and enjoy a quiet moment communing with nature, even on double-digit floors.
This focus on the individual guest is what informs the overall design of Lloyd’s KL; by establishing the spatial identity of the core hospitality experience, the room, circulation, service and common spaces can then come together to further strengthen this narrative. Corridors are kept naturally ventilated, and fins are introduced as sunshading devices. Coupled with the ever-present vegetation, which comes together to form a green façade for the hotel, a feeling of rawness, light and the natural is created.

Lloyd’s KL is an exercise in the bottom-up approach to designing large structures. It understands that ultimately, the strongest impression in hospitality comes from the guest room. Instead of generic spaces determined by structure, each room seeks to provide its inhabitant with a little patch of earth, suspended in the sky. By using interior design to determine the scale and logic of architecture, Lloyd’s KL commits to the belief that hospitality can be tailored to the individual without compromising the overall experience.
LOCATION
Kuala Lumpur
YEAR
Estimated Completion 2017
DISCIPLINE
ARCHITECTURE, INTERIOR, GRAPHIC
TYPOLOGY
HOTEL
TEAM
Peter Sim, Tiah Nan Chyuan, Teo Guan Sin, Cheung Yuting, Dylan Quek, Trina Ang, Oh Wenxin 

Tang Shipwreck Gallery

The most outstanding element is a wave of Changsha ceramic bowls, which crests along
the length of two display areas. An abstraction of turbulence and momentum,
the wave mimics the origins of the artefacts.

Geographically located along many historical trade routes, Singapore’s origins as a state and country are deeply anchored in its previous status as a fishing town and port. Maritime history becomes a key part of situating Singapore within the 9th century, through tracing its interactions with the world at large.

The Tang Shipwreck permanent exhibition, housed in the Khoo Teck Puat Gallery of the Asian Civilisations Museum’s new Riverfront Wing, comprises an impressive collection of ceramics, gold and silver objects chronicling trade between China, the Islamic world and Southeast Asia.

In deference to the beauty and importance of these artefacts, the exhibition layout is kept porous, flexible and quiet. A circulation path is not dictated, encouraging visitors to wander through at their own pace. Exhibit plinths are raised off the floor and are coloured in a darker, neutral palette, taking a back seat to the objects on display. Glass cases house the collection, inviting examination from a multitude of angles. The physical infrastructure is non-intrusive, creating a sense of transparency that permeates the exhibit.
This transparency allows visitors to immediately glimpse the entirety of the exhibition, provoking their curiosity to draw closer and consider each object at length. The most outstanding element is a wave of Changsha ceramic bowls, which crests along the length of two display areas. An abstraction of turbulence and momentum, the wave mimics the origins of the artefacts.

Through an honest and respectful presentation of these beautiful objects, the Tang Shipwreck exhibition places the interaction between visitor and artefact at the forefront of its design considerations. The narrative conclusion of the exhibit becomes unique to each individual, a private understanding reached between them and the remnants of history.
LOCATION
Singapore
YEAR
Completion 2015
DISCIPLINE
GRAPHIC, EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
TEAM
Peter Sim, Dylan Quek, Kenneth Koh, Benedict Tay, Susanne Teng 

National Museum of Singapore Galleries

Starting from the 1902s in a colonial black-and-white house, moving to the war-torn
cityscapes during the Syonan-To period, to the carefree kampong days in the 60s,
and culminating in the nostalgic drive-through cinema in the 80s.

Every few years, our national heritage institutions undergo a major revamp to refresh both its contents and design. FARM is honoured to be the designer for the revamp of the four permanent galleries at level two of the National Museum of Singapore.

The four galleries previously themed after Fashion, Food, Film, and Photography, are now reshaped collectively to become the “Life in Singapore” galleries, spanning from the 1920s up till the 80s in Singapore, each one delving on personal stories and voices of the people. They are now called Modern Colony, Surviving Syonan, Growing Up and Voices of Singapore.
The main intention of the galleries is to transport visitors back to the eras where the stories took place. Each of the galleries is designed around a key identifiable contextual setting. Starting from the 1902s in a colonial black-and-white house, moving to the war-torn cityscapes during the Syonan-To period, to the carefree kampong days in the 60s, and culminating in the nostalgic drive-through cinema in the 80s.

In creating a highly immersive atmosphere, interactive multimedia installations, ambient soundscapes and even smells were employed to heighten the experience. The verandah of the colonial house has scent of an afternoon tea with soundscapes of jazz music and chatter in the background. Things take a sinister turn in the Syonan-To galleries with sounds of bombings and air raids and a city up in smokes.
LOCATION
Singapore
YEAR
Completion 2015
DISCIPLINE
GRAPHIC, EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
TEAM
Willie Koh, Lee Huilian, Dylan Quek, Clifford See, Kenneth Koh, Susanne Teng 

Breeze Block Shophouse

More info coming soon!
LOCATION
Singapore
YEAR
Completion 2016
DISCIPLINE
INTERIOR
TYPOLOGY
HOUSE
SIZE
440
TEAM
Peter Sim, Tiah Nan Chyuan, Clifford See 

Singapura700

Every section is created with an immersive, atmospheric
and theatrical setting to flesh out the storyline and contents.

The exhibition traces 700 years in Singapore’s history through rich and atmospheric contextual settings that bring visitors back to the various eras. It served as the main anchor show at the National Museum whilst the museum is closed for a major revamp for one and half years.

The space is divided into 5 different sections, each presenting a key critical period in Singapore's history. Every section is created with an immersive, contextual and theatrical setting to flesh out the storyline and contents. The first section opens with a swampy forest, leading to an abstracted, multi-ramped hilly landscape containing the all-important Singapore's founding stone. This then leads through a time-leap into an old colonial streetscape populated with shophouses, godowns, Indian temples, Malay kampong houses.
The next section employs dramatic lighting and props to present the horrors and climate of Singapore during the Japanese Occupation from 1942-1945. Walls are awashed with huge graphics, flooded with intense red lights and deep shadows. Overhead planes, explosive bombs, and a re-creation of a prison cell added various details. At this point, we also introduced the use of soundscape - sirens, explosions, etc to add on to the atmosphere of fear.

The following section covers the tumult of our founding years leading up to our independence in 1965. Larger than life lightboxes, and a recreation of a rally stage brought these issues to life. Multimedia was also used to recreate and immerse the visitors in a racial riot scene.

Finally the story ends with the charms of the everyday in a typical HDB void deck estate in Singapore during the 1970s. To engage the kids and add more element of fun, a life size, old school merry-go-round was specially fabricated for the exhibition.
LOCATION
Singapore
YEAR
Completion 2015
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
TEAM
Willie Koh, Susanne Teng, Sarah Liew, Kenneth Koh, Lucille Lee 

The Projector

The Projector resides in Golden Mile tower, a modernist architectural icon. The space calls subtle attention to the past glory of a beloved old cinema. Special elements of the space harken back to its past: vintage signage, original flip-up theatre seats, fabric walls, and floor lettering denoting rows of seat.

LOCATION
Singapore
YEAR
Completion 2014
DISCIPLINE
INTERIOR, GRAPHIC, BRANDING
TYPOLOGY
CINEMA
TEAM
Torrance Goh, Panna Chee 

Art Connector

The Art Connector brings the public to art and to the nation’s
two most prominent monuments. It connects two realms: the mundane with the cultural,
the everyday with art, the public with the state’s monuments.

The Art Connector brings the public to art and to the nation’s two most prominent monuments. It connects two realms: the mundane with the cultural, the everyday with art, the public with the state’s monuments.

The Art Connector is inspired by the very substance which connects these divergent realms. Drawing from the constituent matter of the ground beneath our feet, the Art Connector is a public connector which speaks about the complex construction of Singapore’s ground—connecting millenarian natural geological formations to more recent manmade interventions borne from reclamation and building works. More importantly, it engages the natural instinct of the citizenry whose stake in the formation of this city-state is reciprocated with a visual understanding of how these different networks, processes, and agents come together to create the unseen layers on which we all stand today.On one hand, the underpinnings of this idea relate to evidence on site.

The two monuments—the old Supreme Court and the former City Hall— though adjacent and visually of similar Neo-classical architectural style, are in fact vastly differentiated in their construction processes precisely because of the variations of ground on which each monument is standing. On the other hand, in land-scarce Singapore, ground is commodified, valorized and fragile, and so, justifies some kind of poetic recognition. The Art Connector is complex. It is physical geography, natural geology and economic asset. It is also where we start families, grow neighbourhoods, cultivate communities, build a city, found a nation. It is the stuff we are made of.

In the Art Connector, the floor is made of these two components—the objective physical manifestations of ground, and the faces and voices of its people.
Bands of different colours made of materials collected from the built and natural environments—concrete, earth clay, iron oxides, granite, quartzite, marble, limestone, sand, brick, and washed copper slag, steel slag —create a new topography. These bands weave the natural and the man-made together. In so doing, this imaginative topography reflects the various materials’ actual proximities and complexities in the built environment. Like an intricate network of rivulets inscribed into bands of metal, the public will chance upon thousands of self-portraits.

People are the final layer that makes up Singapore’s ground. Drawing from the affirmative message of the National pledge, members of the public are invited to reflect upon their identities as Singaporeans by drawing expressive self-portraits, which will be then rendered as an accumulative pattern in the bands of the structure. This act of drawing and leaving a mark on the ground is instinctual, natural and is emblematic of a formalisation of ideas, thoughts and beliefs.

The Art Connector creates a new topography that reconciles a physical landscape with the emotive maps of individual identity and memories.

As a counterpoint to the floor, the underside of the roof is made of stainless steel rendered a rippled mirror finish. It quietly reflects the movements and connections made on the ground as well as between the art connector and its surrounding. The roof relates to the environment through its reflective surfaces and cloud-like canopy. This canopy echoes the shadows cast by trees in the adjacent Saint Andrew’s Cathedral. The organically placed columns further enhance this nature-inspired design. The overall imagery is resonant with that of a geological formation—crystallizing, layering, banding, folding, encrusting, binding.
LOCATION
Singapore
YEAR
Completion 2015
DISCIPLINE
ARCHITECTURE, SCULPTURE
TYPOLOGY
PUBLIC SPACE
SIZE
2,100
AWARD
Winner of The Art Connector Competition (Invited)
TEAM
Peter Sim, Tiah Nan Chyuan, Kenneth Koh, Cheung Yuting  

Lloyd’s Inn Singapore

Everyone is different. But whilst different,
we also share a common appreciation for things of beauty and nature.
This is the main ethos that guided us for the revamp of Lloyd's Inn.

Everyone is different. But whilst different, we also share a common appreciation for nature, space, light and texture - sensorial attributes that appeal to each of us. This is the main ethos that guided our design direction for the revamp of Lloyd's Inn - a 34-room boutique hotel in a quiet stretch of Singapore's shopping district, Orchard Road.

We were tasked to rebrand the hotel from the its logo, collaterals and website right down to the spaces and details for a holistic experience that will capture the essence of what it means to stay at Lloyd's.

The hotel's new logo is a playful take on the uniqueness and individuality of every traveller.
Each alphabet is slightly different in size and alignment coming together as a whole. The rest of collaterals and website follows this playful yet minimalist look which will dovetail into the spatial experience eventually.

The spatial design presents and layers the relationships between the city, the hotel, nature and the traveller via a minimalist and reductionist design language. There's no unnecessary ornamentations or symbolism. Instead each room and their interstitial spaces are designed to celebrate the beauty of raw materials like concrete and timber, with unexpected touches of nature creeping in via huge skylights, intimate courtyards, and double volume spaces that open to the skies. The rooms are also labelled as such - the Big Garden, The Skyroom, The Patio, The Reading etc.
LOCATION
Singapore
YEAR
Completed 2014
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
HOTEL
TEAM
Tiah Nan Chyuan, Selwyn Low, Torrance Goh, Lee Hui Lian, Lucille Lee, Gareth Low, Susanne Teng, Trina Ang 

Wheeler’s Yard

With the burgeoning of the cycling culture in Singapore, the site has all the right ingredients
to become just that - a laid-back, lifestyle place for cyclists, where they can rest,
get their repairs done, have a cuppa, and watch the world go by.

We were immediately drawn to the site, and who wouldn't? It was a huge industrial factory beside a park connector, nestled in the quaint neighborhood of Whampoa where residents would strolled, jogged or cycled in the quiet evenings. Previously used as a car repair workshop, the family-run business needed new ideas to revamp the place.

The brief was literally invented along the way. With the burgeoning of the cycling culture in Singapore, the site has all the right ingredients to become just that - a laid-back, lifestyle place for cyclists, where they can rest, get their repairs done, have a cuppa, and watch the world go by.
The voluminous space was split into two - a cafe and a huge open bicycle workshop. This makes for a rare commercial proposition as there would be no rental pressure. And the owners can have free play in the space. It is open and flexible, and totally programmable to cater for various events. The place has since hosted launch parties, fashion events and the likes.

Of course these days, it's not just your cyclists who drop by, the place is slowly becoming the hangout place in the neighborhood. Not bad at all, for an old factory.
LOCATION
Singapore
YEAR
Completion 2013
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
RESTAURANT/BAR
TEAM
Tiah Nan Chyuan, Trina Ang, Oh Wenxin 

The Wall House

This is a tale of two houses - similar looking, yet independent and coming together
to form a coherent whole. What links these two volumes together
is the huge central courtyard at the entrance.

This is a tale of two houses - similar looking, yet independent and coming together to form a coherent whole. The two blocks sit on a sprawling piece of land, belonging respectively to the retired parents and one of their children.

This separation of the house into two blocks, in part a response to the sheer scale of the land, is also a requirement brief given by the clients. Programmatically, it consists of a two-storey block with the main living and master bedroom area, and a single-storey block housing the entertainment areas of the house.
What links these two volumes together is the huge central courtyard at the entrance expressed in an austere geometry of granite floor and wall, an organically shaped oculus and a minimalist planting of six willowy trees. Like a sparse yet artful Chinese landscape painting, this sets the tone for the rest of the spaces.

The landscape design, similar to the house, is also experienced in multiple correlated layers. It takes its inspiration from the philosophy of classical Chinese Garden where views are borrowed through cutouts and vistas, and where sight lines and spaces begin to overlap.
LOCATION
Singapore
YEAR
Completion 2016
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
HOUSE
TEAM
Tiah Nan Chyuan, Lee Hui Lian 

Jewel Cafe+Bar

We interpreted the brief as that of placing a shiny jewel amongst
the rough and tumble that is Rangoon road.
We wanted it to be a design of contrasts.

The design of Jewel cafe and bar drew reference from the quirky character of the area and the name of the cafe, and interpreted the brief as that of placing a shiny jewel amongst the rough and tumble that is Rangoon road. We wanted it to be a design of contrasts.

We stripped the space down to its bare, rough concrete bones, to create an edgy and industrial
feel echoing the nature of the building and the street. This raw shell is then contrasted with "jewel-like" details and features made of more refined materials - crystal light bulbs, glass doors, teakwood paneling, and a brass and copper ceiling feature, amongst others. Overall we sought to create a series of dining spaces that was laid-back and relaxing yet elegant.
LOCATION
Singapore
YEAR
2013 Completion
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
RESTAURANT/BAR
TEAM
Peter Sim, Selwyn Low, Jesieca Sun, Sarah Lew 

The Pool Shophouse

Through spatial and formal gestures, the dialogue between the old and the new
is constantly questioned and new discoveries revealed through
the shift in geometry, height, volume and material.

The Lorong 24A Shophouse Series was conceived as a collection of architectural experiments and showpiece for each architect. FARM, in collaboration with KD architects were thrilled to be invited as one of the 7 studios involved.

The conversation with the existing shophouse started with the intention to read the ‘new’ not as a ‘rear extension’ but as an ‘insertion’. We wanted to explore the spatial opportunities within such a configuration while heightening a unique experience inherent within the spatial structure of a shophouse.

The monolithic lap pool on the first storey emphasizes the linear typology of the space, as it guides one’s experience from the front to the rear. Extending this idea of linearity is the
monolithic volume at the rear which houses the private quarters on the upper levels.

One experiences the continuity of space through a series of stairs that loop through the shophouse. Central to this continuous loop is the skylight that marks the vital interface. It bathes this narrow linear space with resplendent sunlight, and visually connects different parts of the house.

Through these spatial and formal gestures, the dialogue between the old and the new is constantly questioned and new discoveries revealed through the shift in geometry, height, volume and material.
LOCATION
Singapore
YEAR
Completion 2016
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
HOUSE
TEAM
Tiah Nan Chyuan, Lee Hui Lian 

In The Mood for Cheongsam

Evoking the sensual quality of the Cheongsam, the exhibition takes the form
of curvaceous walls similar to a large dress, sculpting pockets of spaces
where each display conceals and reveals, teases and surprises.

Alluding to the title of the show, the design plays up the mysteries and subtleties of the Cheongsam. Evoked by the sensual quality of the Cheongsam, the exhibition takes the form of curvaceous walls like a large dress, sculpting pockets of spaces where each display conceals and reveals, teases and surprises.

What is key to this idea are how the visitors encounter these soft pockets of spaces throughout the exhibition. Sometimes convex, other times concave in nature; sometimes expansive, at times intimate, we want to create an exhibition spatial experience that continues to surprise at
various sections within the singular idea. What's more, as a singular continuous space, the curvaceous walls teases the coming sections as the visitor walks along these gentle curves.

Providing a context to the various sections is key to provide differentiation and a narrative to the exhibition. Circular plinths, employed throughout, alter in form to suggest these changes in narrative and contect. Objects or simple furniture relevant to the era or theme of the section are also integrated together with the Cheongsam on display to create a mise-en-scene within the section.
LOCATION
Singapore
YEAR
Completion 2012
DISCIPLINE
GRAPHIC, EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
TEAM
Torrance Goh, Willie Koh, Clifford See, Susanne Teng 

Skyve

In the spirit of playfulness and remembrances of lulling school days, the design for
Skyve Bistro was born. The bistro, thus named, also harks back to the
compounds' previous usage as a secondary school.

Who hasn't, in their school-going days, skip a class or two, just to sleep in late or catch a movie on a quiet afternoon? In that spirit of playfulness and remembrances of lulling languid days, the design for Skyve Bistro was born. The bistro, thus named, also harks back to the compounds' previous usage as a secondary school.

The bistro's interior is experienced in multiple layers, and can be separated into two main parts - the main dining area and the bar & drinks section. In response to the client's brief for a flexible spatial arrangement, folding metal screens are used to segregate the areas, but when collapsed together, opens into one huge space. And on closer look, these metal screens are cut in patterns inspired by traditional floor tile motifs.
Here, materials and choice of furnishings are selected and reinterpreted to evoke a laid-back old school charm. Wired glass, usually used as window louvres, now becomes tabletop surfaces. Dining chairs are made to look like old wooden classroom chairs. These are complemented with the terrazzo flooring and glass pendant lamps. Specially noteworthy is the commission of local furniture group Bureau, for designing a set of whimsical rocking chairs and other school canteen-inspired seating. We were told the rocking chairs are very irresistible, especially after a drink or two.

The theme of schooling and skyving extends to the overall branding and collaterals too. The menus look like a thick hardcover tome of a graduate thesis's book, whilst the write-up within is sprinkled playfully with notes and gibberish, all with good doses of humour ad well-intended irony.
LOCATION
Singapore
YEAR
Completion 2011
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
RESTAURANT/BAR
TEAM
Peter Sim, Selwyn Low, Lee Hui Lian, Wenxin Oh 

The Brick Loft

Situated on the second storey of an old shophouse unit in the charming
Joo Chiat area, we wanted to reinvent, with a localised design language,
the concept of a modern and chic industrial loft.

It is hard to imagine that this apartment was previously a dingy looking office unit. But obviously its new owners saw its potential, and we too, as well. Situated on the second storey of a shophouse unit in the charming Joo Chiat area, we wanted to reinvent, with a localised design language, the concept of a chic industrial loft. Well, we end up calling this apartment endearingly by the name of 'the brick loft house'.

From the onset, we knew the importance of bringing light and the sense of lightness to the space within. The apartment has to feel as if it's suffused with light. To do that, walls were knocked down to create an outdoor verandah area upon entry. Huge timber framed glass sliding doors are used to further increase light porosity. Generous amount of louvres are used at the rooftop to bring in more light to the mezzanine bedroom.
The feel of the industrial is brought out through the sensitive use of building materials and the reinvention of their vocabulary and usage. Taking a cue from concrete ventilation blocks found in old houses, we updated the look with a new custom-made pattern. This pattern is then abstracted and transformed again and brought into the living area via a laser-cut metal screen folding door.

The old plaster of the house was also peeled off to reveal bricks in their original gritty but charming condition. What are 'industrial lofts' without some bricks eh? Then using the idea of these bricks as basic building blocks, we created continuous wall shelving with a similar structure and framing. The key unmissable feature in the apartment is the spiral staircase constructed entirely out of metal, spray-painted all glossy white, and with its balustrade in the dangerously-sexy form of a curving brick wall.
LOCATION
Singapore
YEAR
Completion 2011
DISCIPLINE
INTERIOR
TYPOLOGY
HOUSE
TEAM
Torrance Goh, Peter Sim, Hong Weiming 

A Little Light Magic

A Little Night Magic invites artists and designers to use the medium of
architectural lighting to dream and imagine narratives via the canvasses
of these buildings. These narratives can be fantastical, surreal or factual.

The Civic-Cultural district of Bras Brasah-Bugis has some of our oldest buildings and public institutions gracing its grounds. These buildings aren't just architectural monuments, but are vessels of rich histories, untold stories and forgotten memories, inextricably linked to their contextual surroundings. Conserved and re-adapted to modern use, each of them has evolved through the ages into its current status.

Lighting on our buildings, streetscape and landscape plays a huge and important part in sculpting a bewitching atmosphere. Good lighting and lighting installations, when employed subtly and cleverly, not only can reveal, but also highlight features, details and nuances of the city and its buildings not seen in bright daylight.
A Little Night Magic invites artists and designers to use the medium of architectural lighting to dream and imagine narratives via the canvasses of these buildings. These narratives can be fantastical, surreal or factual. As daylight slowly disappears, and nighttime comes on, these buildings, together with the cityscapes around them can become places of respite, a reverie of dreams, inviting the city dwellers to slow down, ponder and wonder about them.

A total of six buildings are involved in the lightup. They are the Armenian Church, The Peranakan Museum, SAM at 8Q, Singapore Art Museum, SOTA and National Museum of Singapore. The six artists and collective specially commissioned for A Little Night Magic are Lim Woan Wen, Michael Lee, 10AM+Eli Marc, :phunk, kwodrent and whenligtswork+Luke Smith-Wightman. A Little Night Magic is proudly presented by the National Heritage Board.
LOCATION
Singapore
YEAR
Completion 2011
DISCIPLINE
GRAPHIC, CURATORIAL
TYPOLOGY
PUBLIC SPACE
TEAM
Selwyn Low, Willie Koh, Lyn-Ann Loy, Oh Wenxin 

The Porcelain

The spatial solutions are highly graphic and stylised with the porcelain emblem
serving as motifs in its various forms - from prints to actual vases and bowls
decorating the spaces, to the various guests rooms inspired by the porcelain motifs

The project began with a first time hotelier in need of creating a hotel concept with rooms already planned out. We were tasked to make an all-round brand experience that is both unique in a popular hospitality spot and befitting the existing planning conditions.

The key was the location. The hotel, located in historic Chinatown, is also along Mosque Street (which was named after the Jamae Mosque at the end of the street). This provides an interesting proposition - the hotel can possibly express this confluence of cultures. "Blue Flowers" porcelain (青花 in mandarin) was subsequently devised, as it was developed in China
during the Tang Dynasty using cobalt blue pigments originating from the Middle East.

The spatial solutions are highly graphic and stylised with the porcelain emblem serving as motifs in its various forms - from prints to actual vases and bowls decorating the spaces, to the various guests rooms inspired by the porcelain motifs. A key feature that is consistently applied in the lobby and most rooms is the overhead circular barrisol light ceiling with intricate imprints of the Porcelain branding, suffusing the rooms with a gentle glow. Elsewhere, this graphic hand is carried throughout to the special interior fittings such as mirrors and various wayfinding elements.
LOCATION
YEAR
Completion 2011
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
RESTAURANT/BAR
TEAM
Tiah Nan Chyuan, Torrance Goh, Gene Tan, Susanne Teng 

Al-Ansar Mosque

FARM, in partnership with KD Architects, is ecstatic to announce
our first win in a national architectural competition for
the rejuvenation of the ageing Al-Ansar Mosque.

FARM, in partnership with KD Architects, is ecstatic to announce our first win in a national architectural competition organised by the Islamic Religious Council of Singapore (MUIS) and Singapore Institute of Architects (SIA) for the rejuvenation of the ageing Al-Ansar Mosque.

The mosque is situated at a traffic junction and sits on a steep slope. The key design intent was to improve the accessibility and connectivity of the mosque to the surrounding estates by increasing the visual and physical porosity of the existing building, making it a truly community mosque.
A large ground plaza, sheltered from the weather and filled with huge steps and ramps is created as the main urban gesture. The identity of the mosque is strengthened with a clear relationship between old and new. The new, while it is boldly expressed as an addition, also gently embraces the old and maintains a separation with a series of airwells and high volume spaces which allows daylight to enter into the building.

The facade to the new volume reinstates the mosque's presence in the neighborhood. Constructed from a overlapping series of metal structures and mesh screens, it forms a highly intricate Arabesque-inspired pattern which filters daylight and views into the spaces within.
LOCATION
Singapore
YEAR
Competition 2011, Estimated Completion 2013
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
PUBLIC SPACE
SIZE
4500
AWARD
Winning Competition Entry
TEAM
Architect: Tiah Nan Chyuan, Peter Sim, Dr Lilian Chee, Lee Hui Lian  |   Interior: Adib Jalal 

Indian Heritage Centre

The building is inspired by everything we love about Indian culture:
the energy, the dynamism and diversity; a wonderful kaleidoscope of cultures,
religions, landscapes, food, colour, sounds and smell.

FARM was one of four finalists in an architectural competition organised for the new Indian Heritage Centre to be built at the heart of Little India Historical District.

The building is inspired by everything we love about India: the energy, the dynamism and diversity; a wonderful kaleidoscope of cultures, religions, landscapes, food, color, sounds and smell. It is a collage of differences and everything in between; from the mountains to the sea, from the super rural to the super urban, from the ancient to the modern.

These thoughts are translated to a series of shifting layers stacked upon each other as a collage of differences. The individual layers will be cladded with different building materials
related to specific Indian motifs or materials to express the richness and diversity of India. A distinctive green mound at the roof level becomes an urban statement and focal point to capture the imagination of the visitors drawing them towards the new museum. The roof garden, which is open to the public, offers panoramic views of the surrounding area.

A series of long escalators at the backlane bring visitors to the roof garden before descending through the building into the various galleries and back into the street. This inverted circulation presents a unique way of experiencing a museum that complements the colorful and unique character of Little India.

This is a joint submission between FARM and Point Architects.
LOCATION
Singapore
YEAR
Competition 2011
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
PUBLIC SPACE
AWARD
Competition Finalist
TEAM
Architect: Tiah Nan Chyuan, Peter Sim, Dr Lilian Chee  |   Interior Designer: Torrance Goh  

Beauty in Black

The design takes its spin from a fashion runway show where the
surrounding is always quite dark, and attention is focused
on the models and clothes.

Beauty in Black is an intimate exhibition featuring black dresses from the 1950s to 2000s from renowned designers like Rei Kawakubo, Karl Lagerfeld, and local names such as Benny Ong and Thomas Wee.

The design takes its spin from a fashion runway show where the surrounding is always quite dark, and attention is focused on the models and clothes. We wanted to explore finishes and materials for the space that are ‘softer’ in nature, which allude to the dresses, and with various textures.

A central platform is created as a distinctive feature to gather all the dresses. This allows one to walk around the dresses and take a closer look. The platform is lit from within, with all the
captions printed on it, each relating to the dresses suspended from above. From afar, it presents a mysterious sight of 18 intricate dresses afloat dramatically over a huge lantern.

We have also created a black felt carpet wall that wraps the surrounding spaces. This black ribbon wall extends outwards at the entrance, with its top gently curved to form a graceful collar, welcoming the visitor. The experience of this wall is highly textural too, as the exhibition texts are printed directly on it, giving the words a sensual quality.

In addition to spatial design, we are also responsible for the overall visual & graphic branding of the exhibition, which includes the main title logo, and all the captions and text within the exhibition.
LOCATION
Singapore
YEAR
Completed 2011
DISCIPLINE
GRAPHIC, EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
100
TEAM
Torrance Goh, Willie Koh, Ella Hadi, Susanne Teng 

Eye Care People

Reflecting the brand image, we wanted to create a warm homely experience using
a singular language of timber boxes to form
the walls, floor and the furniture.

Eyecare People is a boutique optical shop nestled in the charming district of Holland Village. It stocks the latest eyewear from top-notched frame designers and is equipped with state-of-the-art instrument for a highly personalised experience that truly cares for your eyes.

Reflecting the brand image, we wanted to create a warm homely experience using a singular language of timber boxes to form the walls, floor and the furniture. These timber elements, in
different shades of lacquer, work together to create display showcases, mirrors, storage cabinets, and even a sink.

The branding of the store takes on a more quirky approach. We took the name, abstracted the spectacle's silhouette and created an anthropomorphic logo. From this, we also created graphical monograms from a stash of falling spectacle frames.
LOCATION
Singapore
YEAR
Completion 2011
DISCIPLINE
INTERIOR, GRAPHIC
TYPOLOGY
RETAIL
TEAM
Torrance Goh, Gene Tan, Oh Wenxin  

Rasapura Masters

The design centres around giving importance and highlighting these culinary Masters
in a large open site overlooking a central atrium. The master chefs are eventually housed in
individual islands, topped with a golden light ring, situated randomly across the site.

Under the umbrella brand of local dining group Koufu's chain of eateries, the "Masters" sub-brand ranks as the most premium. With the opening of its Marina Bay Sands outlet, the "Rasapura Masters" foodcourt celebrates the culinary skills of Asian master chefs. We were tasked to create an Asian dining space befitting these masters.

The design centres around giving importance and highlighting these culinary "Masters" in a large open site overlooking a central atrium. The master chefs are eventually housed in individual islands, topped with a golden light ring, situated randomly across the site. These islands anchor the main space by creating a open frontage without closing off from the atrium.
They also create different pockets of smaller dining spaces within the larger foodcourt. This basic arrangement sets the backdrop for a ceiling feature that radiates outwards from the master chef islands and defines each smaller dining zone.

Elsewhere, the design details and other features reflect the atmosphere of eating street food and Asian cuisine. Different types of traditional floor tiles, ironmongery details, furniture and traditional glass pendant lamps are used and mixed throughout the space in a non-traditional sense to create unique pockets of eating corners and spaces. The resultant of these is a tactile and ever-changing spatial experience.
LOCATION
Singapore
YEAR
Completion 2011
DISCIPLINE
INTERIOR
TYPOLOGY
SIZE
2600
TEAM
Peter Sim, Tiah Nan Chyuan, Hong Weiming, Oh Wenxin  

Beyond the Pyramids

LOCATION
DISCIPLINE
TYPOLOGY

Ramayana Revisited

LOCATION
DISCIPLINE
TYPOLOGY

Peek!

Peek! – the new toy & vintage camera shop in town goes the opposite direction
in a nostalgic throwback to the days of yore when the camera is all film and mechanical,
makes alot of sounds and lets the user recapture abit of their lost childhood, all over again.

In our modern age of speed and efficiency, the camera – the tool for recording and capturing life has also become increasingly more high tech: faster, smaller, and packing in more and more pixels.

Peek! – the new toy & vintage camera shop in town goes the opposite direction in a nostalgic throwback to the days of yore when the camera is all film and mechanical, makes alot of sounds and lets the user recapture abit of their lost childhood, all over again.

The design of the shop is a response to this sentiment. The main retail store at the 1st storey is
reminiscent of an oldarchival library, complete with bookcases doubling up as display and a sliding ladder. But the treatment is contemporary – the bookcases are all glossy white with dashes of bright green. The intimate space is anchored by an oversized long golden table, where the merchandise are displayed adoringly under a canopy of old-style glass pendant lamps.

Upstairs at the 2nd storey where the office is, one enters yet into another nostalgic world – that of the old classrooms. What is immediately striking is the long chalk wall that spans the space. Here, you can jot down your notes to fellow colleagues, to-dos list or random quotes.
LOCATION
Singapore
YEAR
Completion 2010
DISCIPLINE
INTERIOR
TYPOLOGY
SIZE
200

X-Ray Specs

The reception room – the Room of Mirrors, is a dream-like box inspired by
the surreal spaces of cult films. It is part Alice in Wonderland,
part Matrix, and part David Lynch.

This little advertising studio located in a charming shophouse in the Chinatown district is about our whims and choices. And rightfully so, as advertising is about persuading people to make certain choices – to buy this over that; to go here over there.

The reception room – the Room of Mirrors, is a dream-like box inspired by the surreal spaces of cult films. It is part Alice in Wonderland, part Matrix, and part David Lynch. It is a dark, mysterious, heavily panelled room, complete with Victorian armchairs and a console with a reading lamp. There are various doors leading to different spaces within the main office. Mirrored end walls multiply the space ad infinitum to a perfect symmetry.
The working office area is a striking departure from the reception. It is a mostly white space with little whimsical touches like cutouts of animals, lamps, bowler hats peeking out from cabinets and partitions. They are obvious nods to the owner’s penchant for pop culture comics and films.

The meeting room – The Room of Windows, is bathed in light and swathed with white curtains all round. Real and artifical windows (fitted with lights) behind the curtains constantly fill the room with bright daylight, no matter the hours or weather of the day.
LOCATION
Singapore
YEAR
Completion 2010
DISCIPLINE
INTERIOR
TYPOLOGY
SIZE
110
TEAM
Peter Sim, Tiah Nan Chyuan, Dylan Quek  

Congo River

Using these plinths, we created a entire abstracted and sinuous landscape where one
circulates through the various sections of the exhibition in a linear fashion,
although experientially, it is more of an indirect and organic experience.

The three countries of the African continent in this exhibition share several common traits - the Bantu language, the majestic Congo River and the great land of Africa herself. We were inspired to design an exhibition that responds to the varied geography of these countries where these artifacts were originally found.

A study of the artifacts reveals similar characteristics amongst them -they are mostly figurines; they are not very large, and can be housed within a fixed dimension; and most of them will benefit from a all round view to be studied in closeups.
We wanted to ask if the method of display can be something more intrinsic and coherent to the whole spatial experience. We created plinths of various heights for the artifacts. They also serve as caption surfaces, seats, guide stands etc. As a design language, they form an organizational structure and logic to the space.

Using these plinths, we created a entire abstracted and sinuous landscape where one circulates through the various sections of the exhibition in a linear fashion, although experientially, it is more of an indirect and organic experience. They suggest, in parts, a forest, a meandering river, a hill, a temple, and a savannah grassland.
LOCATION
Singapore
YEAR
Completed 2011
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
460
TEAM
Torrance Goh, Willie Koh, Ella Hadi, Susanne Teng 

The Conch

This particular image keeps playing in our heads : An idyllic stroll along the beach,
we chance upon a conch, we hold it to our ears and
listen to the sounds of the sea.

Conceived as part of the lush landscape and the ‘Atoll’ open plaza at the Mapletree Business City, we imagined a work that gently reminds one of the various coral forms and lulling experiences at the beach.

This particular image keeps playing in our heads : An idyllic stroll along the beach, we chance upon a conch, we hold it to our ears and listen to the sounds of the sea.

The ‘Conch’ is both an outdoor steel sculpture and pavilion sculpted by its environment. Surrounded by tower blocks of the new business development, it presents itself as a highly fluid, wave-like sea of bells – its shape also reminiscent of the trumpet’s elegant sprouting form.
One can imagine walking beneath the sculpture as if one’s below the canopy of a lush forest. And then, from above at the offices’ floors, the view is of a singular organic shape land-art form, the multiplicity of parts playing out like the twirling polyps of a rich coral island.

It is also a poetic wind instrument, enabling one to listen to the ‘sea’, to the slight movement of the air. Each of the ‘Conch’s’ bells comes together to the ground collectively as stalks. They are dotted with funnels where one can put their ears and listen to the wind. Behaving like nature and taking from nature, the Conch is reactive and interacts in its own ways to people.
LOCATION
Singapore
YEAR
Completion 2010
DISCIPLINE
SCULPTURE
TYPOLOGY
PUBLIC SPACE
SIZE
500
TEAM
Torrance Goh, Hong Weiming 

NDP 2O1O

The theme for the 45th National Day Parade 2O1O is a mix of the grandeur of our
aspirations and the intimacies of our wishes. We were the first design agency given
the opportunity to brand and design Singapore's birthday.

The theme for the 45th National Day Parade 2O1O is a mix of the grandeur of our aspirations and the intimacies of our wishes – Live Our Dreams, Fly Our Flag. We were the first design agency ever given the opportunity to brand and design Singapore's birthday.

Our process began with the design of the main logo. We took inspiration from the Singapore flag and made a many many logos! The winning one depicts the five stars of our national flag with the accompanying shooting trails that resemble the movement of the crescent moon. A recurrent image we have is that of someone wishing upon a shooting star. It’s a classic and romantic image that appeals to all.
The branding aims to create a holistic experience. The overall look is kept elegant and minimal, favouring clean modern fonts, structured lines, centred-justified composition which we wanted to allude to the formality of having the parade held at the Padang once every 5 years.

Everything was carefully thought out – from tote bags to the magazine to ticket stubs to poncho cover, all in the national colours! A series of illustrated figures - we called them the NDP people - symbolising the different races of Singapore was created. They are found everywhere and ties together the whole look. We’ve also created a ‘fun box’ – a specially designed container for all the take-home souvenirs. The box attractively organises the various items, and feature different sets of mini board games designed just for NDP 2O1O!
LOCATION
Singapore
YEAR
Completion 2010
DISCIPLINE
GRAPHIC
TYPOLOGY
PUBLIC SPACE
TEAM
Torrance Goh, Oh Wenxin, Susanne Teng 

Figaro House

LOCATION
DISCIPLINE
TYPOLOGY

FARM Waterloo Studio

The space is a reflection of our working culture – openness, and the
intermingling of work and play. Strategically, everything is angled in such a way as a
welcoming gesture and layered spatial experience as one walks down the office.

For those who’ve known us for quite abit and even popped by to say hello, yes, we’ve moved! From a modest space at the 2nd storey of a traditional pre-war shophouse, we are now at Waterloo Centre – a HDB and podium block typology built in the 1970s.

In subverting this conventional housing block-podium office design, we have chose to retain some of its original elements and gave it a contemporary treatment. We’ve kept the typical roller-shutter doors spanning the frontage, turning them into one gigantic signage. The main entrance door becomes a blown-up picture frame that pivots and rotates and draws one in.

The space is a reflection of our working culture – openness, and the intermingling of work and play. The central working zone is defined by a series of strong diagonals that cut through the
orthogonal space and are manifested as pieces of low-lying black furniture - long working tables and storage cabinets that keep the space open and allow unblocked views out to the luscious greenery and the streets. These diagonals then taper towards the entrance to become a casual seating-waiting and products display area.

Strategically, everything is angled in such a way as a welcoming gesture and layered spatial experience as one walks down the office. Elsewhere, this cheeky work and play idea continues in the meeting room where a fully functional table tennis table can be turned into a large meeting area when the need arises!

Come and pay us a visit. We'd love to welcome you to our new place!
LOCATION
Singapore
YEAR
Completion 2010
DISCIPLINE
INTERIOR
TYPOLOGY
OFFICE
SIZE
400
TEAM
Selwyn Low, Torrance Goh, Hong Weiming 

Classic Contemporary Exhibition

Full height white curtains are used as the main element. They organise the space and
narrate the experience. They frame views and create vistas to artworks,
and sometimes, they provide a dramatic backdrop.

This exhibition focuses on some of the most iconic contemporary Southeast Asian artworks in the collection of Singapore Art Museum collection and playfully asks the question: what makes an artwork ‘classic’ or ‘contemporary’ or both?

In addressing the curatorial direction of imbuing the show with a red carpet treatment, we wanted to use as minimal elements as possible which give hints of that stature and even a slight feel of glamour to the artists and their works. They should work together to create a neutral background so as not to overpower the works and provide a unified coherent experience.
Full height white curtains are used as the main element. They organise the space and narrate the experience. They frame views and create vistas to artworks, and sometimes, they provide a dramatic backdrop. The curtains lend an air of grandeur and austerity but at the same time provide a quiet contemplative space.

To complement the curtains, huge white lampshades are scattered throughout the space. Not only do they serve as ambient lighting and markers to each artwork, they are also designed to hold captions for each work.
LOCATION
Singapore
YEAR
Completion 2010
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
1000
TEAM
Torrance Goh, Willie Koh, Susanne Teng 

JAMS

We started by playing on the homophonic nature of the two words – jam and gems.
It is all about creating a new wonderful kind of precious desserts,
similar to the treasured stones and gems that we adore.

JAMS is a new venture under the Bakery Depot group that differentiates itself by creating dessert concepts that appeal to a young but increasingly sophisticated crowd.

JAMS is a multi-collaborative effort. We are responsible for both the branding and design of the interior store. We started by playing on the homophonic nature of the two words – jam and gems. It is all about creating a new wonderful kind of precious desserts, similar to the treasured stones and gems that we adore. And thus the name JAMS was born. The idea of ‘jams’ as ‘gems’ is translated visually to the logo and all the collaterals (signages, menu etc), with them looking like diamonds and stones in various hues.
The design of the store addresses the odd-shaped plan and maximises the uninterrupted views of the busy Orchard road thoroughfare below. The main seating area lines the perimeter of these windows and custom built octogonal armchairs appear like scattered gems across the space. In this way, everyone gets a wonderful view out while indulging on sweet treats and dreaming away on coffee.

The rest of the store is anchored by a series of precisely cut furniture, as how one would shape and cut diamonds, with the long serving counter and island display table finished as multi-faceted angular objects (of desire).
LOCATION
Singapore
YEAR
Completion 2009
DISCIPLINE
INTERIOR
TYPOLOGY
RESTAURANT/BAR
SIZE
100
TEAM
Torrance Goh, Ella Hadi  |    

The Forest

We wanted to create a porous architecture with generous views and light for the occupants.
Inspired by the organic forms of nature, our design strategy was to create a building
that has separate private and public faces

Located in the Novena area, the site for this 5-storey serviced apartment fronts a large and busy road.  The client asked for a luxurious and special building, with a distinctive façade.

We wanted to create a porous architecture with generous views and light for the occupants.  Inspired by the organic forms of nature, our design strategy was to create a building that has separate private and public faces.  By dividing the accommodation into two distinct but connected parts, the apartments could have two fronts, one facing the street and the other facing a landscaped poolside area.
The trees on the site inform our design – the façade facing the street is clad in a layered mesh screen inspired by the forms of tree trunks and the translucency of leaves.  The façade facing the pool area consists of an organic undulating screen and overlapping balconies.

And here's just a sneak preview.
LOCATION
Singapore
YEAR
Completion 2011
DISCIPLINE
INTERIOR, GRAPHIC, ENVIROMENTAL GRAPHIC
TYPOLOGY
HOTEL
SIZE
1700
TEAM
Peter Sim, Dylan Quek, Adib Jalal, Hong Weiming, Oh Wenxin 

Dental On The Bay

LOCATION
DISCIPLINE
TYPOLOGY

Christian Lacroix Dresser

The dressing table is paramount to every performer. For the Christian Lacroix exhibition,
the dressing table forms the basis of our design where fun facts
about the opera will be introduced to the kids.

The dressing table is paramount to every performer. It is the very threshold where transformation takes place – first physically, where the actor goes through make-up and costume; then symbolically where he conditions himself to become the character.

For the Christian Lacroix exhibition, the dressing table forms the basis of our design where fun facts about the opera will be introduced to the kids. To play up the theatricality, we blew up
the scale of the dressing table to incorporate the various information. Tabletops provide generous spaces for drawing activities and placement of objects. Mirrors are used as background for text and information. Drawers hide and reveal multitude of objects and other surprises.

Like a fantastical object from Alice in Wonderland, this table encourages everyone to have fun in exploring the world of opera.
LOCATION
Singapore
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
TEAM
Torrance Goh, Ella Hadi 

The Tree

"And as Paul Simon wistfully reminds us in his 1990 song Spirit Voices,
And slept on the banks on the leaves o a banyan tree...
Some stories are magical, meant to be sung."

When we think about the National Museum of Singapore, association with another grand old dame comes to mind. It is the huge old banyan tree that sits majestically on the museum’s front lawn, seemingly holding fort to a place full of histories, stories and magic.

We wanted to allude to all these richness and symbolism through a contemporary reading of the banyan tree. The Tree is a reconstruction from a series of interlocking frames with lights that pulsates gently in the night. Hanging microphones simulating that of aerial roots will also detect environment sounds and alter the lighting nature of the Tree – glowing intensely and dimming down with the rising and falling sound levels.
Just like in the past, as it is now, we hope this Tree will inspire people to slow down, take a breather and simply bask and partake in this recreation of nature’s wonder.

And as Paul Simon wistfully reminds us in his 1990 song Spirit Voices, “And slept on the banks on the leaves of a banyan tree… Some stories are magical, meant to be sung.”

The Tree was awarded President Design Award 2010 for Design of the Year.
LOCATION
Singapore
YEAR
Completion 2009
DISCIPLINE
SCULPTURE
TYPOLOGY
PUBLIC SPACE
SIZE
100
AWARD
President Design Award 2010 for Design of the Year.
TEAM
Torrance Goh, Peter Sim, Dr Lilian Chee, Willie Koh, Dylan Quek 

Kizuki + LIM

The salon is a dialogue between two fictive spaces and narratives originating from
Isolation Unit’s and FARM’s design directions. We imagined this
white cube as a token from Japan, nesting itself within the local typology of the shophouse.

‘Kizuki’ is the result of a collaboration between FARM and Japanese design studio Isolation Unit who is responsible for most of hair group LessisMore’s (LIM) ultra minimalist and chic salons in Japan.  The salon is a dialogue between two fictive spaces and narratives originating from Isolation Unit’s and FARM’s design directions.

Isolation Unit’s subtle intervention is manifested in the form of an oversized white rectilinear volume inserted into the exisiting shophouse fabric.  This juxtaposition of three volumes immediately creates spaces (new and existing) of various sizes, heights and angles, prompting encounters of pleasant surprises and discoveries, which in fact, is a titular response to the word ‘kizuki’.
FARM imagined this white cube as a token from Japan, nesting itself within the local typology of the shophouse.  We then seek to recreate a previous reincarnation of this unit (akin to the mise-en-scène of an old shophouse) – through various antique furniture & lighting that appeared to have shifted themselves and melted into the walls, generously welcoming the addition of our new Japanese cubes.  In this confluence of imagined dialogues and new quirky spaces, we hoped we have brought out the essence of Kizuki – both the word and the spirit of the salon.
LOCATION
Singapore
YEAR
Completion 2009
DISCIPLINE
INTERIOR
TYPOLOGY
RETAIL
SIZE
200
TEAM
Torrance Goh, Hong Weiming, Ella Hadi 

Our Punggol

The new Slope is a continuous ground plane for the community to enjoy the parks and
communal facilities.  It sits on several bases of SOHO housing
that decreases in height from the East to the West.

If we go back in time, the town of Punggol was once a thriving farming and fishing village.  It was a time replete with idyll and laid-back charms.

We took this as the genius loci of the place and created the identity of a new neighbourhood as a charming low-rise enclave just like it was before.  It will be set in a endless parkspace, where people choose to live to escape the stresses of everyday life.

Akin to a river delta landform, the master plan is conceived as distributaries fragmenting into various land parcels.  The spatial experiences vary as they start out as lush valleys at the East.
Within the central area, they are intimately scaled streets with lively streams and waterfalls.  Nearer to the river front, they are open promenades.

The new Slope is a continuous ground plane for the community to enjoy the parks and communal facilities.  It sits on several bases of SOHO housing that decreases in height from the East to the West.  A person can walk in a traffic-free environment from the peak of the slope all the way to Sungei Punggol at the other end!  And strategic placement of the housing blocks combined with the Slope also affords panaromic sea views to the majority of the dwellings on the slope.
LOCATION
Singapore
YEAR
Competition 2009
DISCIPLINE
ARCHITECTURE
TYPOLOGY
HOUSE
TEAM
Architect: Tiah Nan Chyuan, Peter Sim 

Take Two Asia Headquarters

Inspired by the trailer of ‘Grand Theft Auto’ , the spatial experience is translated
into a monolithic black table that welcomes the visitor, dissects the main space and
spans 40m across the entire length of the office.

Some of us here at FARM are avid fans of those highly-charged, adrenaline pumping interactive video games, and so when approached to create a whole immersive gaming experience in our design for a game headquarters office in Asia, you can imagine we are especially thrilled.

Take Two is a worldwide publisher, developer and distributor of those abovementioned games that we like and include the immensely popular ‘Grand Theft Auto’. To create these games, the Take Two guys worked in a very collaborative fashion, with frequent small team meetings, just like a startup, and they want a space where they can have fun together.
Inspired by the trailer of ‘Grand Theft Auto’ that features the protagonist amidst an ever-changing backdrop of storylines and cityscapes, the spatial experience is translated into a monolithic black table that welcomes the visitor, dissects the main space and spans 40m across the entire length of the office. We call this the Vice Table. Eventually culminating at the President’s room, the Vice Table serves a multitude of functions – meetings, casual chats, creative discussions or even a game or two. More than a piece of furniture, this table as a spatial connector and experience brings everyone together to the communal zone where they can chill and engage in some ‘healthy vices’.

The design of the whole office is emblematic of what we’ve always believed in – that spaces should fulfill more than their functional requirements; they should be fun, delightful and altogether surprising too.
LOCATION
Singapore
YEAR
Completion 2009
DISCIPLINE
INTERIOR
TYPOLOGY
OFFICE
SIZE
500
TEAM
Selwyn Low, Hong Weiming 

Serenity In Stone Exhibition

LOCATION
DISCIPLINE
TYPOLOGY

Baba House Gallery

It is almost dictum that a contemporary art gallery space has to be as neutral
as possible to view and contemplate artworks. How do you design a contemporary
gallery space within a richly ornate historical building?

Peranakan architecture in all its ornate richness, consists of an eclectic mix of influences from the Southern Chinese, Malay, colonial Dutch and the British cultures.

To site a contemporary art gallery within the faithfully restored Baba House, we run into some dilemma. It is almost dictum that a contemporary art gallery space has to be as neutral as possible to view and contemplate artworks. How do you design a contemporary gallery space within a richly ornate historical building?
This new gallery, envisaged as a pure white room, is inserted into the restored fabric of the house. A ‘respectful distance’ is created between the ornate qualities of the conserved house and the neutrality of a contemporary art space. The new walls and floor planes are treated like a blank canvas - they are finished in white enamel, gently curved at the edges and ‘float’ above the existing structure, leaving a gap of light that defines and differentiates between the traditional and the contemporary.

(The exhibition on show features Michael Lee Hong Hwee's - A Psychotaxonomy of Home.)
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
INTERIOR
TYPOLOGY
MUSEUM/GALLERY
SIZE
100
TEAM
Peter Sim, Torrance Goh, Hong Weiming 

Tong Tong Friendship Store

This rosy-tinted curved wall swirls through the shop, serves as an intricate backdrop
to display the dresses, and like a coquettish woman who coyly reveals and seduces,
beckons the visitor into an exquisite tea room at the end of the shop.

It’s perhaps second nature that as architects we pay attention to what we wear; fashion and architecture share close bonds – the texture of materials, colors, structure, geometry, crafting and the perfect ‘fit’. The Tong Tong Friendship Store is a quaint little shop selling quirky and cheekily reinvented traditional Chinese-inspired dresses and clothes designed by Tan Sheau Yun.

The site and surrounding context provide challenges and direction to the design. Tucked in a corner of the mall, it clearly needs attention. But also, we wanted to create an intimate ambience within the shop – an inner sanctum that is shielded from the public thoroughfare.
Our main design gesture is simple and achieves these aims. Alluding to the Tong Tong’s design philosophy of reinvention of the old, we designed a sinuous curved wall using concrete ventilation blocks commonly found in our old local shophouse. This rosy-tinted curved wall swirls through the shop, serves as an intricate backdrop to display the dresses, and like a coquettish woman who coyly reveals and seduces, beckons the visitor into an exquisite tea room at the end of the shop. From here the visitor can rest her weary feet, sip a warm cup of tea, and "be friends with chinese culture".
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
INTERIOR
TYPOLOGY
RETAIL
SIZE
50
TEAM
Peter Sim, Torrance Goh, Hong Weiming 

SUPERGARDEN

SUPERGARDEN presents design culture in Singapore at a moment where
architecture is actively redefining its aesthetic, professional and
intellectual boundaries in relation to other design fields.

FARM was appointed the lead curator and designer of the Singapore Pavilion at the 11th Venice International Architecture Biennale 2008 after winning an open competition organised by DesignSingapore Council.

The pavilion is called SUPERGARDEN. SUPERGARDEN presents design culture in Singapore at a moment where architecture is actively redefining its aesthetic, professional and intellectual boundaries in relation to other design fields. The main focus of the Singapore Pavilion is housed within a room where a huge table stretches across its entire length and displays 22 different
objects each contributed by artists and designers.

Each object is accompanied by a series of conversations documenting an exchange of ideas between the contributor and other designers. These conversations emanate from specially constructed sound domes that hover above the audience, and create a symphonious banter of design ideas. Together, this enmeshed aural soundscape and visual landscape of objects create fresh and unseen connections between a new generation of Singaporean architects and designers.
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
500
TEAM
Torrance Goh, Peter Sim, Dr Lilian Chee 

170, Telok Kurau

An architect’s own abode is as intriguing and prone to inquisitive eyes as
your Hollywood celebrity’s villa. We eagerly want to know
how they live and what’s in their living room.

An architect’s own abode is as intriguing and prone to inquisitive eyes as your Hollywood celebrity’s villa. We eagerly want to know how they live and what’s in their living room – the former an arbiter of taste; the latter tries to uphold such taste, in the public’s eye.

Serving as the home for an architectural academic, her family and an enormous collection of books, meant that the study had to come first. The house was built in the late 1960s and we wanted to keep the original feel of those terrace houses with its generous balconies and bedrooms. The study was given pride of place at the front of the house on the ground floor,
facing a new walled garden, and the rest of the house fell naturally into place.

The entire design then pivots around this study. We envisioned one at the writing desk, looking outwards. Thus, views become important. We replaced the original windows and doors with large sliding glass doors which now frame views out into the gardens and inwards into the house.

We reclaimed the front porch and turned it into timber decked verandah so that the study faces the wooden decked porch and flows seamlessly into tranquil garden.
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
INTERIOR
TYPOLOGY
HOUSE
SIZE
220
TEAM
Peter Sim 

2494

The possibility to produce architecture by negotiating between two different mediums -
a media-based representation, and a more systematic and hands-on manipulation
of the material itself, is attractive in itself.

When approached by Grace Tan of kwodrent to collaborate on her newest project "envelop", we were immediately intrigued by the proposal - a process-driven project with an emphasis on manifesting concept and technique.

We love how kwodrent’s work methodology is derivative from a tactile relationship with her medium, in her case fabric, in order to discover its inherent logic. The possibility to produce architecture by negotiating between two different mediums - a media-based representation, and a more systematic and hands-on manipulation of the material itself, is attractive in itself.
Although the traditional materials of buildings are bricks, mortar, steel and glass, the architect’s primary medium of expression is ostensibly paper. We doodle, sketch, and draw on this medium. As much as we love computers and 3D modelling software, our first step in translating an idea is usually through sketches on paper.

Using 2494 folded sheets of standard A4 sized paper, we have attempted to explore the relationship between idea, representation, media and object. Paper is used to conceive, draw, and then make this installation.
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
SCULPTURE
TYPOLOGY
MUSEUM/GALLERY
SIZE
40
TEAM
Peter Sim, Xu Naiyan 

HIDE&SEEK

This simple game of hide-and-seek engages us in the eagerness to
explore and find, and the thrill of discovery. With these ideas in our mind,
we started our design for HIDE&SEEK,

“Close your eyes and count to ten….”

We’ve all played this childhood game before: I close my eyes, you run off, hiding in some secret corner and I’ll seek you out. This simple game of hide-and-seek engages us in the eagerness to explore and find, and the thrill of discovery. With these ideas in our mind, we started our design for HIDE&SEEK, a 2 storey fashion boutique in a postwar building in Chinatown by local designer Keith Png.

The lower floor, ‘HIDE’ is a dark, mysterious space, where the haute couture KOOPS label is
accommodated. Here surfaces are sleek and black, and individual dresses are shown like exhibits which float in space, each beneath its own line of glowing light.

The upper floor, ‘SEEK’ is the exact opposite of ‘HIDE’, it’s a multi coloured tunnel where each band of colour is occupied by a different local designer label.
Here the clothes are hung from wooden planks suspended from the ceiling with manila ropes, much like rudimentary swings. The colour bands envelopes all: floor walls, ceiling and even the windows.

“Ready or not here I come…”
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
INTERIOR
TYPOLOGY
SIZE
200
TEAM
Torrance Goh, Hong Weiming 

KULT Office

The office is designed like a lab. Staff work at rows of lab benches, and
the pantry and entrance gallery are designed like gas extract chambers,
only here, these are painted a mesmerizing blue

Office design frequently involves producing boring cubicles, which in turn breed a work culture of isolation, lack of communication, and ultimately, despair. Not here.

Located in a former school atop Mount Sophia, the inspiration for this PR and advertising agency was to return to the uncertainty and excitement of the classroom laboratory.

The office is designed like a lab. Staff work at rows of lab benches, and the pantry and entrance gallery are designed like gas extract chambers, only here, these are painted a mesmerizing
blue. The ceiling is a vast sea of test tubes that form a lighting installation spelling out the name K U L T. Sitting on the shelves alongside magazines, graphic books and A4 ring binders are vials, beaker and pipettes containing unknown substances and various multi-coloured liquids.

This classroom theme references the previous life and use of the building. It also reflects the quirky and experimental nature of the agency’s work. The Kult Office is meant to be a laboratory for ideas. We certainly hope this space will breed some truly eccentric creative types.
LOCATION
Singapore
YEAR
Completion 2008
DISCIPLINE
INTERIOR
TYPOLOGY
OFFICE
SIZE
130
TEAM
Peter Sim, Adib Jalal 

The Prince of Gowns Exhibition

Exploring the two-dimensionality of paintings, we collaborated with graphic artist
Sek Eng to design the exhibition as a series of life size papertole drawings. Eng created
a series of pen and ink drawings of objects from various romantic paintings.

Benny Ong is arguably one of Singapore’s most well known fashion designers. With a clientele of celebrities, royalty and renowned companies such as Harrods and Raffles Hotel, we were terribly excited to add a touch of glamour to our oeuvre of work.

Prince of Gowns was an exhibition showing 10 gowns inspired by romantic Neo-Classical oil paintings.

We wanted to reflect this influence of art in Ong’s work and re-imagined the space as an art gallery. Exploring the two-dimensionality of paintings, we collaborated with graphic artist
Sek Eng to design the exhibition as a series of life size papertole drawings. Eng created a series of pen and ink drawings of objects from various romantic paintings. We then layered these to create backdrops with the illusion of depth.

Ong’s gowns were centrepieces to these “paintings”. The gowns were composed behind oversized picture frames and suspended from the ceiling. On a glamorous opening night full of beautiful and well dressed people, we were especially pleased when Ong told us that he was delighted with the way the exhibition had turned out.
LOCATION
Singapore
YEAR
Completion 2007
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
80
TEAM
Torrance Goh 

TheatreWorks V.I.S.T.A Lab

In the case of VISTA, our role as the set designer takes on a wider meaning -
the performances occurs in a single space, blurring the boundaries
between performers and audience.

There’s always something seductive about theatre set design. Built to represent narratives using architectural and spatial language, freedom and imagination are given free rein here (well almost, and more than a real building project, of course).

In the case of multimedia performance, VISTA, our role as the set designer takes on a wider meaning - the performances occurs in a single space, blurring the boundaries between performers and audience. The set would thus include the entire spatial configuration for performers and audience.

The first performance, Impetus, explores how events in our history are being recorded,
forgotten and fabricated. A network of PVC pipes was created as a metaphor of the HDB flats. But instead of wastewater and sewage, the pipes are used to transmit multimedia visuals and audio to the audience.

In the second performance, Interference, the direction was to have a common space shared by audience and performers. Reacting to the theme of frequencies, the stage becomes circumambulative. The audience are seated in the middle where a hill was created out of existing gallery risers. The performance took place around this hill, turning existing spatial corners and walls between columns into works of colours, videos and dance.
LOCATION
Singapore
YEAR
Completion 2007
DISCIPLINE
EXHIBITION
TYPOLOGY
MUSEUM/GALLERY
SIZE
300
TEAM
Exhibition: Torrance Goh 

Eng Hoon Street Apartment

Call us sentimental, but we wanted this apartment interior to capture
some of that filmic nostalgia and romanticism, which we felt
was deeply embedded in this area.

We are a bunch of romantics.

At Tiong Bahru, the mix of conserved modernist architecture, back lanes and narrow streets set the perfect stage for a melancholic urban narrative.
Call us sentimental, but we wanted this apartment interior to capture some of that filmic nostalgia and romanticism, which we felt was deeply embedded in this area.

The client wanted to explore how his new pad could be configured to cater to his needs and collection of eclectic furniture.
Spatial reconfiguration was kept minimal and subtle. To us, it was essential also to pay homage to the inherent aesthetics of the original apartment. A main wall was removed to create a larger and more defined living room.

As idiosyncratic as they are eclectic, the collected furniture ranges from Konstantin Grcic’s Chair One to Eero Saarinen’s Tulip Chair. Justin Lee’s Pop art inspired fiery-red Chinese motifs adorns a sliding partition in the living space that hides a study. Fellow local artist Tang Ling Nah’s haunting black and white charcoal drawing of the Singapore cityscape acts a balanced counterpoint in the dining room.
LOCATION
Singapore
YEAR
Completion 2007
DISCIPLINE
INTERIOR
TYPOLOGY
HOUSE
TEAM
Selwyn Low, Hong Weiming 

Woodcut Table

This has got to be our simplest brief - to design a table. We like this return to basics, but we also couldn’t resist doing something more. Commissioned as part of the ‘Archive in Motion: 50 Years Documenta 1955 – 2005’ exhibition, this 12-metre long table was designed to compliment artist Justin Lee’s woodcut interactive art installation.

Lee’s artwork was a series of wood relief carvings or ‘woodcuts’ which would be used by the viewers as stencils to create their own compositions. It actively engages the viewer in the making of art and to a certain extent, relinquishes the idea of artist as master. We were inspired by this simple transformation of the individual woodcuts to an infinite number of varied artworks.
We wanted to make a table that ‘transforms’ and morphs literally from a flat rectilinear tabletop surface to an amorphous organic base that behaves like molten lava. To achieve this, we simply stuck layers upon layers of precision cut plywood on top of one another where each layer has a slightly different outline resulting in a truly fluid appearance.
LOCATION
DISCIPLINE
TYPOLOGY

Stiff Chilli Restaurant

We loved the original shophouse for its rough and dilapidated beauty. We wanted
these features to be retained rather than papered over. Instinctively, it called for a robust
yet laid back response, which would allow the original building to be appreciated.

A restaurateur from Australia opening an Italian restaurant originating from Bali, and located in the historic district of Jalan Besar, below a traditional Chinese Clan shophouse – what an absolutely fantastic combination!

We loved the original shophouse for its rough and dilapidated beauty. We wanted these features to be retained rather than papered over. Instinctively, it called for a robust yet laid back response, which would allow the original building to be appreciated.

The existing shophouse was divided into three distinct spaces - entrance, middle and rear yard, which would offer different dining experiences. We tie these spaces together with a bright green
pathway that traverses through the house. At the entrance is an open cafe space. In the middle, there are intimate dining booths and a bar area. At the rear, the green path steps up through an existing window opening (now serving as a doorway), into the external courtyard dining area where a large wood oven is also located.

We collaborated with product designer Casey Chen in the lamp designs. Playing inventively with local plastic food covers, Casey created a series of delightful lamps of varying sizes. These lamps add texture and ambience to the space by bringing back the familiar in quirky new ways.
LOCATION
Singapore
YEAR
Completion 2007
DISCIPLINE
INTERIOR
TYPOLOGY
SIZE
160
TEAM
Torrance Goh, Selwyn Low 

National Art Gallery

A contemporary architectural element inspired by the mythical Southeast Asian dragon
called the Naga, weaves through these monuments to connect, enclose,
and invite, bringing together the City and Art.

An architectural competition was organised to convert the former City Hall and Supreme Court buildings to our new National Art Gallery.

We read this twinned site as a rich historical-artistic object in itself, capable of generating a contemporary response from artists and their public. Our proposal attempts to engage three key notions. First, to contemporize the historical event space of the ‘Surrender Chamber’ at City Hall as a thematic strategy for curating art. Second, to create a new vast public arena on the second level of the City Hall. Lastly, to make two spatially different homes for art, drawing on the distinct spatialities of each monument.
A contemporary architectural element inspired by the mythical Southeast Asian dragon called the Naga, weaves through these monuments to connect, enclose, and invite, bringing together the City and Art. The Naga as an architectural device takes on various functions, forms and scales to reinforce the historical contexts and negotiate future spaces. Rising and uncoiling from within the interior of City Hall, it infiltrates the two monuments variously as skin, façade, wall, roof, platform, gallery and bridge. It creates exciting new spaces, moments and events to embrace the city, to enclose art, to provide orientation and to breathe new life into the old.
LOCATION
YEAR
Competition 2007
DISCIPLINE
ARCHITECTURE, INTERIOR
TYPOLOGY
MUSEUM/GALLERY
SIZE
60000
TEAM
Peter Sim, Selwyn Low, Torrance Goh 

Ho Wah Travel Shop

The layout of the shop, a longitudinal space that is open on both ends,
prompted us to imagine the shop as a continuous, swirling organic
red surface that stretched between the two open ends.

Situated in a long and narrow unit in People’s Park Centre, the design for this travel agency sought to re-interpret the idiosyncratic Chinatown retail experience. The layout of the shop, a longitudinal space that is open on both ends, prompted us to imagine the shop as a continuous, swirling organic red surface that stretched between the two open ends.

Acting both as a directional and defining architectural element in the space, the red surface serves several functions. It is a catwalk that traverses across the entire space drawing in customers and leads them to reception areas. It defines working zones and forms the
working surfaces and storage. It is an enclosure that provides privacy to the luxurious boss’s office. It is a seat. It is a refreshment area for customers.

The design was developed through collaboration with Pop Artist Justin Lee, well known for his use of cross-cultural pop motifs. He designed intricate abstracted Chinese patterns of wafting clouds alongside secondary motifs of trees, birds and flowers. This rich visual tapestry was realized using in-laid mosaic tiles, turning the entire space into a highly sensuous and tactile experience.
LOCATION
Singapore
YEAR
Completion 2007
DISCIPLINE
INTERIOR
TYPOLOGY
TEAM
Torrance Goh, Selwyn Low 

Doghouse

This living space and dog biscuit bakery was commissioned for a young couple and their 2 dogs - Bd and WangWang. Right from the beginning, the clients wanted a unique space.

They were very keen to explore the design possibilities within their existing apartment’s awkward layout. The idea had to reflect a unique lifestyle where the dogs could play a central role.
Doghouse is a structure that nestles within, and reacts organically to, the oddly shaped living room. It operates like a piece of furniture that surrounds, changes and adapts to the lives and habits of its 4 inhabitants. It is simultaneously many things: a chill out area, a kitchen, a dining space, a doghouse, a showcase and a study! Doghouse morphs from one function to another, re-defining space with each transformation.

Bd & WangWang were not only a source of inspiration for features such as the dog-sized holes cut into furniture and the dog specific route, but were also actively involved in the building process - you can find their paw prints on the concrete entrance platform!
LOCATION
YEAR
Completion 2006
DISCIPLINE
TYPOLOGY