Fort Canning Art Center
2010 - present
2010 - present
Fort Canning Art Centre project is located in a remarkable setting with a strong connection to its historical past. The lush greenery covering up the military grounds which used to surround the former British headquarters stands out as an icon of Singapore hard-won independence.
The development of the Singapore branch of the Pinacothèque de Paris has been built upon two core ideas: on the one hand, the intimate intertwining of the park and the building, on the other hand the privileged position of Fort Canning as a vantage point, overlooking the city – a trait that creates a sense of unity with the wider setting of Singapore.
Transparency as a «natural» response
We have therefore designed some new openings to make this neoclassic building appear more transparent, and to weave together its different levels by creating empty spaces between the floors. Therefore, the new interior spaces of the Fort Canning Art Centre are open towards the city and the park, creating a feeling of authentic communication with the outside, and a sense of true conviviality inside.
The spirit of a resort: a place for art and leisure.
The terraces confer on the building the charm and spirit of a resort, where one may come to seek out some freshness. Plastered on the facades, the new colour scheme- ecru yellow and pale blue –drawing its inspiration from classical buildings, echoes the green shades of the trees.
Evoking a 18th century pleasure pavilion built within a park, Fort Canning Art Centre defines itself as a venue aiming at making art and leisure accessible for all audiences. Therefore, this space should keep evolving as a continuous creation.
Transformation of the former fortified military base of Fort Canning into Fort Canning in Singapore Art Centre
Client: The Singapore Tourism Board
Art Heritage Singapore
Project architect: DPArchitects
C.O.: 9 M.€ - 4000m2
The omnipresence of art
Two open galleries with a view towards the garden have been designed by contemporary artists. One bears witness to graffiti as a contemporary art practice, while the other one, “Mosaic Walk” by Julie Navarro, enters a dialogue with the classical architecture of the gallery, and plays on the visual effects of shades and on the variations of light, evocative of a Spanish garden, and creating visual echoes with the nearby park.