Modernity and Tradition

Shin Min Daily News, 现代与古典

(Translation)

I often take my grandson to Changi and recently to the Singapore University of Technology and Design (SUTD) for soccer lessons. I have been deeply impressed by the modern architectural design of the campus. Opened in 2012, the SUTD campus has no gates or walls—its open and accessible design is said to encourage more interaction between students and the outside world. It is no wonder I felt a sense of awe as soon as I stepped onto the campus; I was still searching for the entrance when I realised I had already walked in. There is no need to register or check in—you quickly find yourself among students. Standing in the central courtyard and looking up, the feeling is one of ease and openness, like being bathed in a spring breeze.

This openness in the university’s philosophy is also reflected in its architecture. To me, this is the very embodiment of modernity and progress. I went online and found a design explanation by Ben van Berkel, the architect. He said: “The main design goal for SUTD was to create an open and transparent campus space that accommodates both teaching and learning activities. The double-quadrant network layout—organised horizontally, vertically, and diagonally—allows for nodes where students and faculty can meet and interact, while also offering possibilities for ongoing interaction and future improvements.” Although a bit abstract, after visiting in person, it made sense.

I brought a camera to capture this sense of openness and modernity, but the first thing I saw upon entering was a traditional Chinese pavilion from the late Qing or early Republic of China era, called the Ke Zhong Pavilion, donated to the school by Jackie Chan. Suddenly, the classical East and the modern West stood side by side. Bamboo groves surrounded the modern rectangular buildings, while the intricately carved wooden ceiling of the Jiangnan-style pavilion contrasted with the horizontal, vertical, and diagonal grid layout of the campus architecture. Reading the information board in front of the pavilion helped me better understand the origins of this ancient building, now transplanted into a modern urban setting: “The Ke Zhong Pavilion is a double-roofed structure originally from Ninghai County, Zhejiang Province. It is believed to have been part of a wealthy family’s courtyard home from the late Qing or early Republic of China era. Due to the erosion of time, only parts of the original wooden structure and two large supporting brackets remain… Jackie Chan donated the double-roofed pavilion to Singapore in 2009. Mr Sam Goi (Wei Chenghui) funded its long-term maintenance and named it in honour of his father, Wei Kezhong.”

In addition, Jackie Chan also donated a 300-year-old traditional opera stage called Zhi Yin Pavilion and two other ancient Zhejiang buildings: Tang Zheng Tang and Zhai Xin Zhai. All are now located in the university’s main square, becoming visual highlights of the campus. Reportedly, Jackie originally bought and collected these structures to provide housing for his father. Later, due to space constraints and safety concerns, and out of a special affection for Singapore, he decided to donate them to SUTD to serve as study material for the university’s architecture students.

Thanks to such generosity and goodwill, the modern and the traditional now coexist harmoniously amid tropical breezes and lush greenery. And for me, these discoveries added a touch of cultural and artistic richness to my walk and photo journey.