Playing with light and shadows
This lakeside ville in Qingpu, Shanghai, exemplifies Malaysian architect Chan Soo Khian’s forte in combining structure and material to suit the surroundings and climate of an area. StarTwo catches up with the award-winning master builder.
| Fact File Name: Chan Soo Khian |
What are the odds for a young boy who used to visit construction sites to eventually end up being an architect? Pretty good, considering the fact that Malaysian-born Chan Soo Khian’s father was also involved in the construction and development industry.
 |
MAN OF VISION: Architect Chan Soo Khian always incorporates five elements in his work – space, lighting, structure, texture and transparency. |
The 42-year-old who goes by the name Soo Chan professionally, has been based in Singapore for the last 14 years, but prior to that he studied and worked in the United States for 10 years. The very prestigious Architectural Record, a monthly publication by the American Institute of Architects, named the firm he set up, SCDA Architects, as one of the Design Vanguards of 2003.
The accolade is a first for a South-East Asian country. Chan sees it as an affirmation of his work and the international recognition “a good endorsement by a reputable institution.” He admits that it was not something that just happened overnight, but involved a lot of hard work and also being in the right place at the right time.
“Journals are a good platform to highlight your work and the fact that your work is considered innovative is an additional premium,” he says.
This is not the first award for the firm either. Another respected publication, the British Architectural Review’s “ar+d 2002”, (arguably the biggest and best award for emerging architecture and young architects) awarded a “highly commended” (which is like runner-up) under the house category for the firm’s project on the Hereen House in Malacca.
The journey back
Chan obtained his Bachelor of Arts (School of Arts and Architecture) from Washington University and then progressed to his profession of choice with a Masters in architecture from Yale in the United States. After graduating in 1987, he set off for the Big Apple (New York) where he interned for three years. After being away for 10 years, Chan felt that it was time to get back to his roots. However, it was our neighbour Singapore that welcomed and offered him permanent residency together with the acceptance of a job offer. That was because his American wife wanted to work and Malaysian immigration policies were too complicated.
 |
ANDREW ROAD HOUSE, SINGAPORE (2002): A timber clad block is a prominent part of this house. |
He spent five years working with an architectural firm in Singapore and in 1995, he decided to open his own. This young firm soon started making waves in Singapore and carved a niche in the residential market especially for private homes, mainly condominiums and apartments.
His first project was a resort-like home in Bali style that was very much in vogue at that time. Chan describes his style as contemporary tropical or neo-tropical. He concedes that some of the concepts are derived from the clean, horizontal lines of the 1950s and 1960s Malaysian residences (much like the old government quarters for civil servants).
“From private residences, I soon branched out to multi-family dwellings and my projects on Ladyhill Condominiums, Lincoln Modern and the Boulevard, all on Orchard Road, were well-received. I’ve since had projects in Malaysia, Shanghai, Beijing, Bangkok and New Delhi, among others.
“My design philosophy is based on combining the constraints of the site and climate so as to fulfil the clients’ requirements, and then putting the two together with an overall strong concept. You will be just building a structure if you don’t use these concepts. You have to look at the essence of each place and locale, look at the culture, and use construction and craft to meld these into the structure. That’s why you need to spend some time there or do research before even coming out with a design concept,” Chan elaborates.
 |
BOXING IT IN: Clear linear lines, boxy structures, and use of timber with metal screens. |
In Thailand, the beds couldn’t face a certain direction as that meant facing the same direction as bodies waiting to be cremated. In China, the windows face south to adapt to the local environment as this ensured maximum sunlight which would provide better heating for the room.
He says that if clients come up with requests that are not suitable, he would advice them accordingly and suggest alternatives. Chan will use traditional concepts like the Chinese practice of feng shui in planning his structures if clients want it that way but if a layout issue is involved and it is just not practical, he would tell them so.
He is open to compromises in his design if need be, but if after pitching the design concept with “conviction and perseverance” and they still don’t buy it, Chan will normally recommend another architect.
He always incorporates five elements in his work – space, lighting, structure, texture and transparency. For example, in his Andrew Road House project in Singapore, he played up the use of shadows to dramatise the space and used a large screen to portion off certain parts of the room. The screen also doubles as a giant table lamp.
 |
CORONATION ROAD WEST HOUSE SINGAPORE (1998): The timber screen at the pool deck gives this place a nice play of light and shadows. |
Looking ahead
These days, Chan spends a lot more time in Malaysia as his firm is working on the prestigious Dua Residence condominium project along Jalan Tun Razak in Kuala Lumpur, and the KL Golf and Country Club plus a private villa. He visits his mother in Penang perhaps once or twice a year, but normally he brings her down to Singapore.
Surprisingly, he hasn’t done a project in his hometown yet, but it is on his checklist of things he wants to do, preferably a beachfront home or hotel.
Chan has also ventured into the hotel market and is working on a resort in the magical isle of Bali, Indonesia where life they say is worth living. At the other end of the scale, where the dead are worth mourning in Guangzhou, China, he is working on a columbarium.
Time out for Chan means reading autobiographical books and also taking up tae kwon do with his eldest son, who is 11. Chan has two other sons, aged eight and five, and weekends are meant for the family if possible and spent mainly at home.
 |
THE LADYHILL CONDOMINIUMS, SINGAPORE (2002): Chan Soo Khian’s trademark play of space, texture and lighting is evident. |
When asked what he hopes people will say about his work, he replies: “That I’ve added to the advancement of architecture, however insignificant that may be, and hopefully I can be a mentor to younger architects, staff and students alike.”
Perhaps a monograph of Chan’s work that will be published soon by the Master Architect series will credit him for that.
His advice to other Malaysian architects who want to be regional players is to plan their careers and operate within professional boundaries; read a lot as architects need to keep in touch, not only with the profession but also events, and publish a lot. Chan admires individuals who have passion and are committed to their profession, generous in spirit and brave enough to take risks, and can balance their lives.
He feels he can work with someone who is passionate about other things besides architecture (he has one employee who majored in dance).
His reasoning is if they’re passionate about something, they will be just as committed in their work.
Do you fit that description? If you do, give Chan a tinkle as he’s hiring.
Related Articles:
RSS
