Design Principles

Having established the main principles of historical library architecture and the tradition of the multi-cultural heritage of the place in building design as symbolism, axiallity, symmetry, monumentality, courtyard plan and the concept of Feng Shui, it is our basic intention that the proposedd National Library of Singapore will employ all these criteria. The intention is also to conform with the aim and object of the responsible authorities for the planning of the down-town core which is to announce universally a new progressive architecture with an unmistakable Singaporean identiry reflecting the image of the place as the most advanced nation in the region. This new architecture is intended also to be a true, meaningful, contemporary interpretation of the traditioned architecture in Singapore with the most advanced technology.

Strong axialcomposition has been adopted leading from the North-East to the South-West commencing from the core of Marina South to Marina East, to satisfy the demand for axiallity and monumentality. Along and across this main axis all accommodation of the complex hasbeen planned in strict symmetrical andgeometrical order where the square has been used as a generating form based onthe multiple unit of 5.4 X 5.4metres.

These squares co-ordinate the building and the open courts of the National Library complex to establish a unified scheme. This system of regulating squares is a constant characteristic of the plans ancient China, India, Mesopotamia and Rome; so too is the alternation of the covered andopen spaces within the whole development.

The total complex rests on a raised platform circa 1.8 metres above the street level. The entrance gate is planned symmetrically to the main axis and has the geometrical form of the square andrises circa 21.6 metres above the podium leveel so it can be seen and acknowledged from along distance, symbolising the entrance to this prestigious building.

This important element can be approached by means of monumental and grandiose steps and ramps forming an important feature of the external expression of the main entrance facade.

The entrance gate leads to the entrance court designed with three porticos and arcades in a symmetrical manner to the main axis and forms the main approach to all accommodation of the complex. This arrangement expresses a sense of order, discipline an direction.

The ancient architectural form of the "T" has been selected for the whole complex which consists of the following elements:

• Business Centre
• The Library
• Recreational Area

Business Centre

Strong horizontal emphasis has been given to the design of this element to act as an introduction to the main building and to avoid conflict with the clarity and monumentality of the geometrical form of the pyramid symbolising the Temple of Knowledge.

Simplicity and dignity have been achieved in the external architectural expression of this building by the use of simple, repetitive elements designed with arcades, a characteristic feature of British Colonial architecture in Singapore employed in the early part of the 19th century which, therefore, represents an important part of the original urban fabric of the city.

The Business Centre consists of two parallel wings running across the main axis forming the internal courtyards. These courtyards lead from the entrance court to the open space of the green belt and are designed with cascading water gardens used as a theme in the design concept of the landscape to the whole complex.

The entrance court acts as a linking element to the architectural "H" form which consists of a two-storey structure below the podium accommodating the shopping centre and supermarket. Above the podium the business centre comprises a four-storey structure designed with arcades and terraces to create a total unity between the external and internal spaces. These areas have been planned to accommodate showrooms, artshops and office suites with high class finishes.

The Library

From the entrance we approach thelibrary. The library is planned with a grand square based on the strutural unit of 10.80 X 10.80m designed with an internal street planned around the perimeter of the pyramidical base. This internal street is the focal point of the library building and acts as a linking element between the internal spaces of the podium and the central building of the ziggurat. This element also forms the main approach toall facilities planned at street level,such as administration, the coffee shop, retail, exhibitions, childrens library, service areas and vertical circulation leading to all upper floors. The street is designed with cuscading water gardens and a stream running around the central building. The organic form of the landscape contrasts with the strong lines of the building, creating a sense of balance, conforming with the concept of Feng Shui as a characteristic feature of traditional Chinese architecture.

The semi-covered roof of the pyramid forms the boundary of this important space. The pyramidical roof allows the light to penetrate the building and creates a display oflight and shadow reflecting the geometrical patterning of the design of the building.

It is here that nature enters the heart of the building andforms a total unity and harmony within the architecutree of theplace. This itself represents one of the fundamental principles ofour design concept.

From the internal street we approach the main hall of the library which has the geometrical form ofthe square planned in a pure,symmetrical order tothe main axis. The central atrium istobe considered the heart andsoul ofthe whole development. It is very important topoint out inthis context that we believe geometry is the essence ofevery meaningful architecture. In terms of spatial organisation, traditional architecture must be seen as the transformation of the square (Earth) to the circle (Heaven). This fundamental theme has been used in many forms throughout the history of mankind.

In the design of the central space, this theme has been employed, giving it a truly contemporary interpretation. The circular form of the gallery to the atrium is supported by 4 pillars. These pillars form the square at a higher level. Within this square the transormation to the circle takes place at roof level, designed with steps providing decorative art in 3-dimensional form: a characteristic of the ancient architecutre of the East and reminiscent also of the Pantheon in Rome.

The central building isplanned as a separate entity within the architectural form of the pyramid which consists of a 7-storey structure designed with a landscaped terrace and roof garden forming the ziggurat, recalling the Hanging Gardens of Babylon.

The total composition of the pyramid, with its light structure, serves a protective purpose but allows the breeze to enter the building and creates a play oflight and shadow. Within the pyramid is the ziggurat with its solid external expression androof garden linking the microcosm to the macrocosm. Then, within the ziggurat is the central atrium, this too allowing natural light into the heart of the building.

The complexity of this design represents the concept of unity and diversity, solid and void and discontinuity which is the core of classical Chinese/Islamic architecture.

The structural system is an integrated element in the overall design. The pillars consist of 4 shafts which branch out to form a capital. This organic form is evocative of the palm tree, the ubiquitous natural landmark of the region. This arrangment also allows the natural light to penetrate the structure by means of wind towers planned above the capitals. This concept of structure and light creates a very transparent feel to the building. This structure system is also reflected in the roof architecture of the podium, creating positive and negative areas. All positive areas are based on square units; each square being designed with steps forming geometrical patterning as a unifying theme in the architecture of the whole complex. This decorative art also controls the amount of natural light entering the building at the roof level. All negative areas could be used for service facilities which would support the function of each single unit. Such an arrangment also allows each unit to function independently and, therefore, would permit flexibility to satisfy the demand for continious changes and expansion, which is essential to the ultimate success of a library.

Recreational Area

In the design of this important section ofthe complex wehave departed completely from the concept ofsymmetry, systemisation and rationalisation. The informal base line to the raised platform of the recreational area running along the harbour, and the library building designed with casading water gardens, creates a sense of unity and harmony with the natural forces of the sea and the green belt. This organic form also initiates a sense of balance with the strong solid form ofthe podium to thelibrary building.

The recreational area has been planned on twolevels, each having a different architectural identity.The multi-purpose hall, the amiphitheater and the covered arcade with its tent structure, and the sculpture ofthe lines positioned along the main axis symbolising the city of Singapore, have been planned on a raised platform circa 6 metres above sea level.

Below platform dining andleisure facilities, health centre and games rooms have been planned and are lined tothe habour by means of covered terraces. The organic form ofthe plan/structural layout and the informal stepping as decorative art to the ceiling, have been used in the design of this section of the recreatioanl area intended to represent the concept of cave architecture which is another characteristic feature inthe region.

All elements of the recreational area function independently from the complex and can be approached by means of bridges from the green belt to the paltform.