Ban Siew San And Koon Seng Ting Conservation Area

Important Information

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. 

Owners, architects and engineers intending to carry out restoration works or development within conservation areas are required to comply with the conservation principles, planning parameters and restoration guidelines for conserved shophouse and bungalow building typologies, as well as planning parameters and envelope control guidelines for new buildings within conservation areas accordingly.

For other building types, which do not conform to the standard shophouse or bungalow typology, these will be evaluated on a case-by-case basis in accordance with conservation principles. ^[1]

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.

KOON SENG TING (堃成堂)
Koon Seng Ting (Hall of the Formation/Completion of the Earth) is a Taoist temple (although the current main deity is of the Buddhist deity Guan Yin) founded by a Teochew lady named Teh Chit Yee and is located on Telok Blangah Hill at 4 Telok Blangah Drive.

The History

BAN SIEW SAN (万寿山)

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 http://nanyangtemple.wordpress.com/2005/06/30/22-ban-siew-san-temple-1880-needs-conservation/


KOON SENG TING (堃成堂)

It began as an attap house before the current building was completed in 1881. It is one of two temples (the other being Ban Siew San) established alongside each other in the late 1800s to serve the spiritual and social needs of immigrants who had settled in this area.[1]

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.

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. Many such temples also played a charitable role, and in this case, this temple became well-known as a refuge for baby girls who were orphaned or abandoned in the early days. In the old society, female children were seen as less desirable than males. The present caretaker, Chua Peng Nyet, was one of the adopted girls of the temple.


[1] Norman Edwards and Peter Keys, Singapore: A Guide to Buildings, Streets, Places (Singapore: Times Books International, 1988) p.345.

The Architecture

BAN SIEW SAN (万寿山)

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 Guangxu 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 construction.



KOON SENG TING (堃成堂)

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 Teochew origins, the building’s main architectural style follows Hokkien convention. At the same time, there are substantial 19th Century European influences.

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 arrives at an open terrace that fronts the temple. Located on the terrace infront of the temple is a pavilion that has a Hokkien-styled roof supported on four masonry columns of European Neo-classical design. The pavilion is surrounded by a parapet of European-styled pre-cast ‘Bottle’ balustrades. The flooring is of coloured cement tiles with geometric patterns to form an attractive ‘carpet’ for the floor. Such European balustrades and colured tiles were very popular early 19th Century.

As for the main building, today, there are 3 parallel halls that are joined together, with the first two halls being the oldest part of the complex. The roofs of the first two halls feature a gently curving masonry roof ridges with raised ‘swallow’s tails’ ridge ends. This is a feature that identifies the building’s Hokkien construction origins, and can be found on many notable Hokkien buildings such as Hong San See and Thian Hock Keng temples. The profile of the gable ends symbolises the ‘Fire-element’ in Chinese belief. 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. Natural-coloured terracotta Marseilles roof tiles are used throughout the building. It is not clear if they were original or a subsequent replacement of the traditional finish of natural coloured terracotta tiles that are typical of Hokkien buildings.

The actual building is unusual in that it is 2 storeys high, as most temple complexes are of a single storey. The layout is also unusual in that the two main buildings are joined together with no internal air-well to separate the two.

From the front façade, one can see a series of eye-catching circular openings at the upper level above the front door. These could be either for better ventilation or for geomancy/religious purposes. The pair of European 2nd floor terraces are also a unique add-on to the Hokkien building. Similar models can still be seen back in the Hokkien, where merchants who were exposed to foreign styles and tastes, built their homes in such a fusion of styles.

The entrance of the building is a recessed bay, and the main doorway is of a stout timber frame, flanked by two sets of European timber windows. Beneath the windows are decorative panels made of coloured European tiles that are normally seen on floors. Once more, this is a hybridised decorative approach as traditional Hokkien buildings would have such decorative panels executed in moulded plaster work. Above each window is a moulded plaster relief in the form of a ‘painted Chinese scroll’ that is typical of Hokkien buildings.

Flanking the main door are a pair of moulded plaster panels with Chinese characters forming an auspicious couplet. Above the doorway is the name of the building carved in a granite plaque set into the wall. The plaque also states the dates of the construction (6th year of Emperor Guangxu of the Qing Dynasty – CE. 1881) and subsequent repairs.

This temple’s main hall has a set of eye-catching plaster panels that mimic Chinese wall scrolls of paper and silk on either side of the main altar. These two largest plaster panels feature the characters for Fortune (right of altar) and Longevity (left of altar).

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. The tiles here are of the ‘embossed’ variety in two colour tones. Similar types of tiles can be seen in other heritage buildings such as the R.C. Church of Our Lady of Lourdes, and the Parish House of the Cathedral of the Good Shepherd.

Within this building can also be seen an array of antique 19th century hardwood chairs and tables that were imported from China.

This building is considered a unique example of the Nanyang architectural style, a hybrid of Southern-Chinese, European and South-East Asian designs.

The Legacy

BAN SIEW SAN (万寿山)

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.



KOON SENG TING (堃成堂)

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 Ban Siew San, 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

• Apply for Specific Restoration Guidelines (SRG)

• Submission Process for Works

[1] The conservation guidelines for shophouses and bungalows will generally be applied by URA in the consideration of a development application. However, if the circumstances or planning considerations relevant to a case warrant it, URA may in its discretion decide to depart from these general guidelines. The guidelines, principles and illustrations found in the guidelines are not exhaustive in covering all possible site conditions and variations in building type. Persons intending to carry out a development are advised to take this into consideration and check with URA through enquiries or development applications to confirm if their proposals can be allowed.