|
1983
CULTURAL IDENTITY IN ARCHITECTURE AS PERCEIVED FROM A SINGAPORE VIEWPOINT
Modern Singapore
was founded as a trading entrepot. Because of British Maritime Power which
guaranteed the security of Singapore and because of the need to man the
necessary infrastructures, Singapore grew rapidly through the infusion
of migrant populations from China, India and Southeast Asia. Being an
entrepot with a migrant population, Singapore naturally maintained contacts
with the surrounding countries and the rest of the world who were her
trading clients. Out of necessity, because of scant natural resource,
the evolving culture focussed on the productive aspects. It is my opinion
that lying underneath this necessary preoccupation is a seething cauldron
of unfulfilled cultural aspirations, seeking for expression.
In more recent times, Singapore has become the beach-head of modern science,
technology and industry. Together with the trading and professional infrastructures
that exist in Singapore, technological changes in Southeast Asia tend
to be channelled through Singapore. Because of this, science and tech-nology
play big parts in Singapore's culture and consciousness. The two principal
dimensions in the Singapore cultural dilemma is therefore the contradiction
between tradition/history and science/technology. In principle, Singapore
seeks not an "either or" solution but the integration of the
best principles of both. The recent re-emphasis on the teaching of moral
values in schools is a recognition of the need to go back to basics in
order to establish consciousness of the values and cultural ideas which
have survived the test of time.
Seemingly, the ancient and the modern values are pulling in opposite direc-tions.
It is in situations such as this that the utmost creativity is called
for to create ideas and forms of living which synthesise the conflicts
into a new whole.
At the social political level, creativity is called for to formulate a
set of policies and directions which can lead towards the integration
of these opposite values into a new synthesis. In terms of architectural
design and the creative arts, this situation poses unique opportunities
for resolution and artists and architects should celebrate the arrival
of the present impasse. This is the moment in history which demands the
utmost of our creative skills and our involved and informed perception
of our society, history and culture. This is the kind of situation where
no outside help can be rele-vant. The search for the resolution can only
come from people who find the contradiction intolerable and, propelled
by this feeling, wish to overcome it. In the process they can transform
themselves and their societies through the creation of visible sym-bols
which can capture the imagination of all the people and define time and
indicate future. The role of foreign consultants is to provide the injection
of new skills into our professional environment. There is also scope for
cross-cultural interaction provided there is an openness in the approach
of both parties.
The worldwide return to religion, conservatism and the search for lasting
values reflects a profound disquiet of the promises of modernity. The
simplistic expectations of science and technology have not been fully
achieved. The good life which was expected to result from education and
material wealth is not sufficient to satisfy the spiritual and moral needs
of man. The expectation that the needs of man can be satisfied through
the supply of material goods is too simplistic and it has been mistakenly
attributed to modernity itself. Yet there is much in science and technology
and in the objective detached view which is of timeless value and we will
in my opinion, inevitably, return again to this modern economy after the
present inter-regnum. Modernity did imply universality and did indeed
project uni-formity. The mass media and universal education in some societies
did cast a patina over the world's cultures and these are now reacting.
Everywhere in deve-loped cities, people are decrying the loss of identity
and the effects of alienation. The arrival of the information age and
the trend towards free access to data accelerates the demand for participation
and involvement. The assault is directed not only at the bastions of modernity
but on the traditions as well. Tem-porarily, modern man in reaction has
sought refuge in tradition but it will not be long before rigid doc-trinaire
traditionalism will be seen as also not being able to satisfy the conditions
of living in a modern world. It is impossible to turn the clock back because
modern man has a broadened mental horizon and because of this, he will
in time question and reject obscurantism.
Modern man is undergoing a modern identity crisis. He does not know how
to balance the emotional and spiritual needs against materialism and systematic
production needs. He needs both. Those philosophies which seek to deny
either one will inevitably fail. The process of seeking identity is no
less than the process by which man understands his position historically
and by which he defines both the processes and the products which satisfy
his spiritual and material needs.
Without this re-definition, his energy is without focus and his actions
are characterised by jerkiness and about-turns. The re-definition of identity
is therefore of the greatest importance today as through this, he is able
to focus his attention with assurance of his historical position and have
a sense of clarity as to his direction. Architecture therefore has arrived
at a nexus where it is no longer just "commodity, firmness and delight"
that is important. Architecture has become instrumental again. At last,
architecture has a clear cultural purpose!
Is there a special significance in the problem of cultural identity in
new states? The problem of cultural identity can be perceived as a worldwide
phenomenon but in new states, it takes on more specific dimensions and
greater urgencies. New states are beginning to recover from the colonial
interlude in which their histories were truncated. They were exposed to
a new language, culture and values at the expense of their own. The post-colonial
period saw the continuation of many of the colonial values amongst the
elites of the new states. Few of the new states successfully bridged the
gap between the elites and the masses. Thus, two cultures existed within
the new states, sometimes with disastrous consequences. Often in new states,
technological inferiority was equated with cultural inferiority. This
syndrome enabled technologically-superior cultures to wield undue influence
over everything, even the most trivial matters such as dress style and
cosmetics. Clearly in new states, it is essential that a new attitude
be engendered in order to dissociate technological inferiority, which
is a fact and cultural inferiority, which is an opinion. The appropriateness
of cultural values and attitudes are subject to constant review by ruling
elites and thinking people and they are the subject matter of policies
in order to shape them to the tasks of a modern economy.
With the emergence of Southeast Asia as the most important growth area
for the rest of the 20th century, Southeast Asian nations are challenged
to acquire the educational, technological and admi-nistrative capabilities
to capture the historical moment and to transform their societies. Third
World countries want to contribute to the world culture and to the development
of universal values. They want to contribute their own perceptions of
humanity in order to enrich world culture as a whole. To do this, Third
World countries must seek out their own identities and redefine their
cultures in order to make this contribution.
THE PROBLEM
OF CULTURAL IDENTITY IN ARCHITECTURAL DESIGN IN SOUTHEAST ASIA
Understandably, South-east Asian countries' ruling elites require to promote
nationalism as part of their national development policies. At the same
time, the emergence of ASEAN in world politics and in regional cooperation
requires the promotion of a Southeast Asian consciousness. Thus, national
consciousness has to be seen in relation to regional consciousness. The
particular and its relationship to the general are themes in culture which
can be developed.
The role of architectural design therefore can assist in the heightening
of national consciousness as well as drawing attention to Southeast Asian
cultural heritage. New archaeological and ethnographical studies have
shown that Southeast Asian culture is indeed one of the original cultures
of the world.
The older Heine-Geldern hypothesis that Southeast Asian was serially peopled
from outside the region is giving way to a new hypothesis supported by
archaeolo-gical evidence that there was an insitu evolution of Homo Sapiens
in South-east Asia. This view is supported by scholars such as Solheim,
Benedict, Harrison and Gorman. Whilst there will be local differences
in style and expression, there is an underlying layer located in the subconscious
of the peoples of this region, which was acquired in ancient times which
influences our sense of rhythm, proportions, colour and form pre-ferences.
The evidence of the existence of this underlying layer is in the rhythm
of speech of Southeast Asians, where there is an unmistakeable lilt and
rhythm which can only be found in Southeast Asia.
Certain themes in the folk arts, such as the repetitive versions of the
star pattern and scroll forms, reminiscent of vegetative forms are also
widespread and continue to be used to this date. The heritage of naturalism
contained in many of the traditional cultures of Southeast Asia have survived
the overlayering of more recent Islamic or modern themes. Some of these
practices can be accused of being obscu-rantist but stripped of the superstitious
elements, there is revealed a simple direct response to nature and a joy
in it. I propose that the cornerstone in the agenda for the invention
of a Southeast Asian architecture is the reco-very of this heritage and
a connection between it and modern science and technology. There are no
ready-made solutions and no mental images are adequate to encompass the
scope of this task.
The invention of this connector between our heritage, modern science and
technology requires the utmost artistic exertion. The energy for this
will come from those in Southeast Asia who feel the intolerable pull in
one direction between what they know, sense and feel of their heritage,
and the pull in the other direction of the needs of modern society which
can only be fulfilled through the application of science and technology.
The simple reproduction of traditional forms in buildings of today has
a make belief theatrical air about them. They are not successful.
The reproduction of traditional architecture when applied to houses or
small buildings is more successful but when applied to large modern buildings
rings hollow. As an attempt to resolve this problem, some designers have
resorted to a dualistic approach, i.e. to juxtapose a large modern building
with a smaller traditional one beside it. Whilst it fulfills short-term
political objec-tives, it is doubtful that, as an artistic enterprise,
it will be compelling for long. On the other hand, the faith that was
promoted through modern architecture that truth to functionalism will
produce lasting values, is also too simplistic. Modern architecture evolved
as a denial of tradition, it started as a revolutionary movement to anticipate
the arrival of a new society founded on rationality and science. Modern
architecture has produced some fine buildings but the majority have been
bland. Because of this, there is a growing dissatisfaction with simple
functionalism in modern architecture.
The dissatisfaction with modern architecture is expressed in two distinctly
different directions today. One direction alludes cynically to historical
precedents, whilst the other strives for more extreme technological feats.
In Singapore, the main thrust is in the direction of better-finished buildings,
using the most up-to-date construction techniques stressing precision
and clarity in design expression. The underlying ethos is technological
and prac-tical. It is my belief that whilst this strategy will produce
a new generation of well-finished and competently executed buildings,
they will not satisfy the psycho-geographical needs of Southeast Asians
living in a resurgent and cul-turally-emerging area. Singaporeans will
need to identify not only with technological progress, but with deeper
cultural roots which can be identified emanating from and connecting to
the cultural heritage of Asia and of Southeast Asia in particular.
Evidence of this desire can now already be seen in the highly enthusiastic
response of Singaporeans to the grand axial approach to the new Changi
International Airport and the grandeur of the arrival hall. Analysis of
this response is crucial to our understanding of the psychology of Singaporeans
in particular and of Southeast Asians in general for without a doubt the
Changi International Airport has brought forth an un-
equivocal response, unparalleled by any other buildings.
My own view is that the crowds come to fulfill a sense of grandeur which
reinforces their self-image of progress and achievement and satisfy some
dimly-remembered sense of majesty. The grandeur of the Singapore Airport
is however not the same as that of Versailles Palaces which has an unsmiling
monumentality. In con-trast, the Changi Airport is a friendly giant. The
fountains, indoor plants and aquariums give it a festive and sociable
sense and it is this quality which strikes at sympathetic chords in the
Southeast Asian consciousness. The other project in Singapore which has
brought out enthusiastic response is the Benjamin Sheares Viaduct at Marina
City. The Bridge evokes tech-nological prowess, power and progress. It
is a source of pride to the extent that newly- married couples will risk
heavy traffic fines to have their photographs taken from it with the city
skyline in the back-ground. The city skyline itself is a source of pride
although the individual buildings may not be.
My analysis
of the phenomenon of public enthusiasm for these structures is that they
touch sympathetic chords in the following areas of the subconscious:
1. The friendly giant concept
2. Axiality and centrality
3. Power and mastery of technology
It can be said that the Singapore experience in building has revealed
and exposed these three criteria as an important basis for public archi-tectural
enterprises.
They are a fitting and timely contribution during Southeast Asia's era
of economic and cultural resurgence.
TYPOLOGY
OF DIFFERENT APPROACHES IN ADDRESSING THE IDENTITY PROBLEM IN ARCHITECTURAL
DESIGN
There are many different approaches which have been attempted. Some of
these approaches are more successful than others.
We will discuss
them individually as follows:
1. The Historically-Derivative Approach
In this approach, there are two sub-approaches:
i. Reproduction of historically relevant forms
ii. Adaptation of historically-relevant forms
These two approaches have been successfully carried out in smaller projects
where their scales can be encompassed within the traditional scale without
severe distortion and especially when the materials used are also traditional
materials such as stone and timber. There have also been less successful
attempts using this approach when applied to large modern buildings. When
this happens, the scale is usually stretched to the point where the building
tends to look awkward and unconvincing. When it comes to high-rise buildings,
there are few traditional forms which can be adopted. As such, the historically-derivative
approach for high-rise buildings is not appli-cable. From an artistic
standpoint, I doubt if it is very satisfying to merely reproduce a traditional
form for the sake of identity. The artistic enterprise of searching, contemplating
and creating is not satisfied with merely transposing a traditional building
into today's time. Can the building be executed properly, are the craftsmanship
skills available at the sufficient level to execute the project. A poorly
executed tradi-tionally styled building insults tradition and our senses.
2. Dualism
- The Big and the Small
In facing the problem of large buildings, such as office buildings and
other public commercial build-ings, some designers have chosen not to
com-promise the high-rise component of the project with traditional forms.
They have accepted a modern high-rise building juxtaposed against a traditionally-styled
component of the project. Whilst this satisfies short-term political objectives,
I doubt that it is a long-term artistic proposition. As an artistic enterprise,
it is too convenient, it allows the intolerable contradiction between
traditional forms and modern requirements to exist in limbo. The dualistic
approach is a transitional approach, as it were, awaiting a synthesis
yet to come.
3. Featurism
In the face of the demand for national identity in architectural design,
many designers not wishing to compromise functionality and their modernist
aesthetics have opted to use traditional decorative motives applied to
the facade of their modern buildings. This approach is even less convincing
than the previous approach. It shows that the designer is uncomfortable
with the thought of mixing traditional architecture and modern architecture
as he does not want to compromise the functionality of his building.
4. The
Historically- Transformative Approach
Many modern buildings have requirements that cannot be fulfilled within
traditional forms such as intensive multi-use high-rise developments.
In such a case, there is no choice but to invent an architectural form
toge-ther with an architectural language that is grammatically consistent
and which can appeal to users of the buildings at many levels of his conscious
and subsconscious. The invention of such an architecture requires a total
grasp of the science and technology of building including the econo-mics
and the functions. The designer must be fully informed of his own architectural
and artistic heritage and have a feel for his own people and culture.
Besides a mastery of all these, the designer must have attitudes and mental
skills capable of raising him above the mundane and the fashionable.
Although historical time is characterised by distinct periods of change
with the introduction of new technologies and ideas, the development of
human nature and the growth of basic human institutions display a consistent
but slow progression. It is this perspective of history that propels the
view that architectural design must always deal with basic human factors
within the continuity of human time. Thus, this approach prescribes that
the basic human perceptions are the foundations of the way we should shape
our environment and our buildings. History and modern technology are but
unfoldings of human potential and therefore they are the ingredients with
which to render a contemporary architec-ture that is truly relevant. There
are two basic atti-tudes involved. The first is a fierce artistic independence
of spirit which demands the resolution of the contradictions of tradition
and modernity and refuses to merely reproduce (inadequately) traditional
forms out of context. The second attitude is an equally powerful drive
to understand the core issues in human perception as it unfolds. It is
a drive always to understand the basic issues that underlie the way we
relate to nature, other people, place and time.
These two basic attitudes equip the designer with the flexibility to enter
into many areas of human endeavour in order to understand the core issues
involved and also the ability to resist fashionable ideas. In this day
and age, with the dominance of Western mass media, it is very easy to
be swept off our feet by the kinds of con-cerns which are portrayed in
the architectural press. Although many of the ideas portrayed have universal
validity, the way in which they are portrayed and the hidden priorities
within the portrayal limit or bias the approach in ways which are not
easily perceptible and which are not necessarily relevant. With all the
best intentions, many of the concerns as defined by the architectural
press do not grasp the priorities and the significance of developmental
issues in the Third World, which forms the inevitable backdrop of ideas
and proposals. Because of the self-evidently true quality of the so-called
universal ideas, many Western liberal intellectual con-tributors to architectural
theory have inadvertently held their views with an unacknowledged arrogance
and condescension.
For example, the Ekistics world view classifies architectural and planning
phenomena into five principle elements namely nature, man, society, networks
and shells. I remember distinctly the furious discussion in Athens when
a group of us from the Third World disagreed forcefully with Doxiadis
that his schema neglects the most important element-power and politics.
I am not exag-gerating when I say that virtually all Western liberal intellectuals
cultivate a distaste for and therefore an ignorance of the dimensions
of power and politics and yet power and politics are the principal elements
in the shaping of Third World societies and cultures. As architects in
the Third World, we must develop a thorough understanding of the nature
of power and the political process for only then can our proposals be
deeply relevant and be historically significant. Also, power as an aesthetic
value in architectural design strikes at sympathetic chords in our consciousness.
Therefore we should explore the range and dimensions
of power aesthetics.
MENTAL
SKILLS
One of the most significant contributions in preparation for the emergence
of a modern Asian architecture were made by two Japan archi-tects - Kurokawa
and Fumihiko Maki. They have prepared the intellectual foundations for
us. Kurokawa's main thrust is that we need to rediscover our intellectual
traditions in order to see the limitations in the Western rational system
of thought. His insistence that there is an indeteminate zone in our thinking
which is also reflected in the physical environments of Asian cities is
an important contribution. This view derives from, the Buddhist concept
of a neutral zone which exists between two polar opposites. This neutral
zone is far from being a zone of inactivity which is how it has been characterised
in the Western intellectual tradition. In the Eastern intellectual tradition
however, it is a zone in which pulls in opposite directions temporarily
cancel each other out with only an appearance of calm. This calm requires
the most dynamic processes to hold in balance. In terms of the city, the
intermediate zone is the area in which life takes place.
It is the area where transient usage, marginal economies and human interaction
can manifest in a complex ever unfolding drama which characterises all
Asian cities and which is in danger
of disappearing. Maki's contribution is in the conception of the Asian
city as a polycentric and layered spatial system. This perception has
given us courage to look for an Asian city that has an unfolding quality
of space. That there are hidden cores layered over which have to be disco-vered
introduces an anticipatory element in city planning which is totally absent
in the Western town planning tradition. These two have pointed the way.
If we are to develop our own thinking, we must chal-lenge the very foundations
of our schooling nd re-examine all the fundamental assumptions which underlie
the edu-cation which we received. Only when we can free ourselves to look
at these assumptions in relation to our traditional and contemporary experience
can we say we are prepared to invent our own architecture.
MORE MENTAL
SKILLS
The handling of contradictions has ancient roots in our traditional Asian
culture. The characteri-sation of opposites as elements to be conquered
or eliminated is contrary to the oriental philosophies. It is not compromise
that is sought but the dynamic resolution of opposites into a new whole.
This requires thorough knowledge of all contradicting elements with an
emotional preparedness to entertain all of them without bias. This process
requires a supreme confidence and mastery which comes from the cultivation
of a way of life that is informed, tolerant and open. Together with this
process is the ability to hold on to ideas lightly yet with a sureness
that can transform them into precise action when the situation is appropriate
and in other situations to allow it to float within a constellation of
different ideas held together in a relational manner.
THE MEDITATIVE
MODE
The meditative mode has been highly developed in all the oriental cultures.
It is especially useful in the design process as a means to contemplate
the whole problem. In the meditative mode, the mind and the senses are
freed to range over all the facts and factors related to the design problem.
In this mode, the ego function is over ridden by a certain detached lack
of bias so that the manifestation of the design solution can flow and
fulfill itself. The development of such a skill is crucial so that all
of consciousness including the unstated and unrecognised subconscious
can merge and influence the design outcome. In this way, the awkwardness
of a heavy-handed conscious applying of historical or tradi-tional design
elements can be avoided.
THE HOLISTIC
WORLD VIEW
The atomisation of the world for analytical purposes has left behind a
fractured view in which elements are seen separately. The recovery of
the traditional oriental world view is essential to restore a sense of
wholeness and comprehensiveness. The dichotomy between nature and arti-ficiality
does not exist. Architecture can be seen as a continuation of nature through
the intervention of man as a manifestation of nature. This though, allows
for a reinterpretation of the city and of buildings. The life processes
that take place within the city need also to be redefined in terms of
their relatedness to natural processes. In such a view, cities and buildings
will be very different from the way they are. Water, landscape and buildings
will interlace. People will stroll through landscapes before they get
to their buildings.
When they
are in the buildings as they travel vertically they will be able to view
the city's unfolding vistas. Places of work and residence will have nature
close at hand so that when you reach out you can actually touch trees
and leaves.
Residential areas will become communities. The young and the old only
need to step outside their homes to stretch themselves. The city will
have quiet areas for contemplation. Other areas will be bustling with
many activities, each bene-fitting the other. There will be place for
the big man and the small. Mar-ginal economic activities will lend life
and spice to the city. Transportation needs will be reduced because living
and working will be closely interwoven.
AGENDA
FOR A MODERN SOUTHEAST ASIAN ARCHITECTURE
There are a number of key issues which I propose should form the agenda
for a continued discussion on the prospects of evolving a more relevant
architecture in Asia and in Southeast Asia in particular.
GEOMETRIC
PRINCIPLES
Of special interest in Asian architecture are the complex interlocking
geometries of cluster human settlements in the form of court houses, urban
kampongs and barrios. The chief characteristic of these settlement patterns
are the high degree of interpenetration of shared spaces. A high degree
of social interaction results from this form. There should be studies
on the variations of social interaction in relation to income classes
and the use of social space in order to derive specific design recommendations.
The clue in the geometry is the creation of a two-dimensional connective
space system. We should develop this and also explore the possibilities
of three-dimensional connective spaces. New forms and geometries will
result from this exploration to solve the need for the complex interlocking
of residential and commercial space users within climatically adapted
architectural design concepts.
SPACE
USE COMBINATIONS
Land use planning policies and concepts which go with them are inherited
from colonial times. They are also part of an outmoded conceptual framework
which views the world as separate compartments. These views have limited
validity and need to be modified. The chief problems which arise from
this view are the sterile single use areas of the city which are dead
at night. We also have housing areas which are insufficiently provided
with facilities needed for proper living. We need a fresh look in order
to achieve proper interlocking of syner-getic activities which supplement
and complement each other. We need to devise appropriate administrative
and maintenance capabilities related to activities and understand the
motiva-tions behind these activities. We need to tap these motivations
in order to devise appro-priate designs and environmental caring systems.
The review of activity combinations should aim at vitalising city centres
and housing areas. Sensitisation to the special quality of active areas
in Asian cities will give clues to the quantity and type of activities
which make these areas in Asian cities lively. We should be able to recreate
and enhance these qualities through conscious planning.
NATURE
We need to look into the proper integration of nature in architecture.
The form of the city in which the individual building is but a component
must give scope for buildings to incorporate natural environments closely
interwoven into the fabric of buildings. The fabric of the city itself
should form a hierarchy of interlinked green areas both horizontally and
vertically so that nature is always close at hand.
CENTRALITY
AND GRANDEUR
There is a need to en-gender pride in the city and thus pride in the nation.
There have to be places which are so dominant through their forms that
they become centres of public focus. These centres should be reinforced
by a combination of activities which appeal across a broad section of
the population so that they habitually come to these centres for their
needs and for their enjoyment. These centres should therefore be grand
so that they uplift the spirits of people who use them.
SPEED
AND VISIBLE CHANGE
Most architects from the developed countries criticise us for the speed
at which we carry out projects. Admittedly, because of the speed, the
thoroughness and the extent of the detailing is limited. However, the
very essence of development in develop countries is speed. There must
be speed, visible changes must be seen to be taking place in order to
convince people that progress and change is inevitable, for without such
a change in perception, the process of development is a great deal more
difficult. The problem is how to use speed creatively. Why should we accept
that because of speed, quality must suffer. We should think of ways in
which rapidity of implementation adds to the drama of the development.
We should also devise methods of building, detailing and implementation
which are capable of rapid production. Only those architects who can identify
with the larger objectives of speed will want to face up to the problem
and few are the architects from developed countries who would want to
do so.
GEO-PSYCHOLOGY
AND DECORATIONS
Human beings always consider buildings from faraway lands as being very
exotic. We thus have attempts to reproduce New York and Japanese style
modern buildings. Whilst this aspiration is natural, the creative stance
is not to give way to this impulse uncriti-cally. The combination of climatic
and geographical factors together with the heritage of cultural forms
pulls against the simple transplantation of alien forms. This problem
must be faced frontally as an artistic problem. The use of applied decoration
should be avoided as it is weak. Decoration and the decorative effect
other than mere surface treatment will come from the artistic interpretation
of more basic and integral features which come from the complex interweaving
of uses, geometry, etc.
A number of very detailed matters relate to this subject and give scope
for repetitive decorative response
such as: the problem of silhouette and outline of buildings in relation
to a hazy sky which is prevalent in tropical Southeast Asia is one. As
buildings in tropical Southeast Asia should be shaded to produce more
comfortable conditions, how do we design buildings which are in shadow
to be legible architecturally? Is there scope for the study of shadow
gradations as an architectural element? Can we use rain and the discharge
of rainwater from buildings in a delightful and decorative manner rather
than try to hide rainwater down pipes within an architectural framework
that denies the existence of heavy downpours?
THE USE
OF FOREIGN TALENTS
In the search for a modern Southeast Asian architecture, the lack of manpower
is a limiting factor. Skilled personnel from developed countries should
be integrated into the professional environment to contribute their technical
abilities and experience in construction, management and detailing. They
can also contribute ideas and different perspectives which can cast new
light on our problems. However, their role can become more useful to us
when we have clear ideas of our own. The different perspectives that foreign
consultants and technical expertise can bring to bear in our jobs should
be welcomed as we do not advocate a parochial viewpoint. However, we must
insist that the basic direction of the search for a Southeast Asian architecture
must come from those committed to the internal dynamics involved.
CONCLUSION
We are going through the most interesting phase of Southeast Asian cultural
history. We are doing so during a period of question of the modernisation
process itself and the awakening of cultural consciousness everywhere.
Most of the architects in Singapore and Malaysia have been trained abroad
and with the emergence of the new cultural imperatives must undoubtedly
be questioning themselves regarding their ideas and their role. It would
be fruitful to have more intensive discussions illustrated with appropriate
works which can demonstrate the directions in which we must go.
|