2 Telok Blangah Drive

Ban Siew San Temple

About

BAN SIEW SAN (万寿山)
Ban Siew San (Temple of Longevity) is also known to the Cantonese as Koon Yam Tong (Hall of the Goddess of Mercy), is a Buddhist temple dedicated to Guan Yin (Goddess of Mercy) It is located on Telok Blangah Hill at 2 Telok Blangah Drive.

The History

Built in 1880[1] by Wong Guan Teck, a Hainanese priest, it is one of the very few inact historical Hainanese temples in Singapore.[2] It is one of two temples (the other being Koon Seng Ting) established alongside each other in the late 1800s to serve the spiritual and social needs of immigrants who had settled in this area.[3]
It is also a reminder of the early days where there used to be a small kampung around the hill with a community of Hokkien, Cantonese and Hainanese, with the Hokkiens being the larger dialect group. As a result of the influences from various dialect groups, the temple houses deities not commonly found in other temples.[4]
For many rural Chinese settlements in Singapore (and South East Asia), such temples, were the focal point for the religious and cultural life of the settlements.
[1] Norman Edwards and Peter Keys, Singapore: A Guide to Buildings, Streets, Places (Singapore: Times Books International, 1988) p.345.
[2] Kent Neo, Historic Chinese Architecture in Singapore: Online appreciation of traditional Chinese architecture & culture, 30 June 2005, 27 April 2009

[3] Norman Edwards and Peter Keys, Singapore: A Guide to Buildings, Streets, Places (Singapore: Times Books International, 1988) p.345.
[4] Kent Neo, Historic Chinese Architecture in Singapore: Online appreciation of traditional Chinese architecture & culture, 30 June 2005, 27 April 2009

The Building

This building is a unique example of cultural hybridisation within the diverse Chinese communities in Nanyang (as this region was known to the immigrants from China). Though the founder was of Hainan origins, the building’s main architectural style follows Teochew convention, and the generic Chinese courtyard layout. At the same time, there are many details and finishes of European origins.
Built halfway up a hill, its location follows traditional geomancy where it is advantageous to have higher ground at the back of a building’s compound. The visitor approaches the temple via a flight of steps and is greeted by one of the few remaining ‘gatehouses’ in Singapore. This gatehouse is of a simplified Teochew style, of brick and plaster construction. The roof exhibits traditional plasterwork ridges and roof finiales, though weathered in condition, the details such as a pair of moulded phoenixes can still be clearly discerned. The gate itself has the temple’s name, written in vigorous calligraphic strokes, carved into a granite panel. Decorations for the gate could once be seen in the form of traditional Chinese fresco work. Some fragments of what was probably more extensive fresco work can still be discerned on site. Adjoining the gatehouse is a low wall with pre-cast balustrades in 19th century European style. This replaces the traditional high-wall that would surround such buildings in China.
The main buildings are composed of a small front hall that preceeds the main mall. The roof and gable designs of these two buildings are of the Teochew style, with a straight main ridge in plaster work, and end gable walls that are higher than the ridge. The moulded gable ends are of the ‘Wood-element’ in Chinese belief, and it is one of the more prevalent motifs. The choice of which of the Five-elements to use as a gable profile is often dictated by the characteristics of the site, its builder and the intended occupant. For the front hall, the main ridge is adorned with a blazing pearl and two dancing dragons and “curling grass” ridge ends. The glazed green tiles are as sign of more recent changes, traditionally, such buildings would have either unglazed ‘grey’ tiles from Teochew, China, or unglazed local terracotta tiles.
Upon entering the compound, the main entrance doorway is of a robust carved granite door frame that features 3-dimensional carvings of vases and Chinese seals which are highlighted using gold-leaf. Above the door can be seen the name ‘Guan Yin Tang’ written in traditional Chinese characters. The pair of vertical timber plaques that frame the door are from the twenty-fourth year of Emperor Guanxu of the Qing Dynasty (CE 1899). Below the two vertical windows are panels of decorative encaustic tiles of European import and design. This is quite unusual as such panels tend to be of glazed polychromatic majolica tiles.
Within the halls, one can see an example of traditional timber construction that is used for Teochew buildings. The timber beams are of simple geometric sections and stretch from wall-to-wall and rest directly on the brick work.
This temple also features traditional Teochew approaches to wall decorations – vertical plaster panels that mimic Chinese wall scrolls of paper and silk, can be seen on the side walls. These plaster panels are filled with figurative and calligraphic works.
Of particular note is the extensive use of European floor tiles for the internal spaces. These take the place of the usual plain terracotta tiles that would have been used in older buildings or back in China. Unlike the plain floors that would have been traditional, the European tiles of various geometric designs are laid out to create an effect of having decorative ‘carpets’ within the building. Some of the tile patterns seen here are the only examples left in Singapore.
Within this building can also be seen an array of antique 19th century hardwood chairs and tables that were imported from China.
The side wings of the complex are of more recent contruction.

The Legacy

The temple site is a good example of perfect feng shui – “sitting on the hills and looking at the sea”[1]. As a building, it is a fine example of the cultural hybridisation that happened in Singapore in the 19th Century.
Situated strategically on a hill at the junction of Telok Blangah Drive and Henderson Road. It enhances the surrounding HDB estate by adding colour and variation to the architectural landscape. In addition, together with the adjacent Koon Seng Ting, it illustrates the history of settlement in the area and acts as a marker of community identity that strengthens the sense of place.
Gazetted on 6 June 2014.
[1] Evelyn Lip, Chinese Temples and Deities (Singapore: Times Books International, 1981) p.58.

Guidelines and Procedures

All proposed works will need to comply with the Conservation Guidelines and the Specific Restoration Guidelines (SRG). Conservation Permission is required before all additions & alteration works and operations of new use can begin.

Residential Fronts are characterised by timber casement windows flanking a double-leafed timber door. All buildings with residential front which is existing and/or identified in the 'Specific Restoration Guidelines', regardless of land use zoning, shall be retained and restored.

• Any proposed additions and alterations to this conserved building are subject to evaluation. Please submit your proposal for URA's review.

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• Submission Process for Works

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The building can be found at this street.