Curatorial Strategy

Reviewing Mr Ng Eng Teng’s sculptures, the artwork have been categorised according to their

proportions and geometrical forms into 3 main groups: Top Heavy, Bottom Heavy and

Spherical/Rolling.

Using daylight as hierarchy, the sculptures are grouped in ascending height and proximity to the

central skylight. Hence mezzanine levels are used to articulate the space, revolving around the

central skylight. Where the mezzanine levels are visually permeable, exhibitions are placed.

Through hanging paintings on the walls and placing sculptures on pedestals, traditional museums

affix the viewers viewpoints to certain angles upon the artwork, creating an intentional curated

pathway through the museum.

Being a sculpture museum, the different varieties of Mr Eng’s designs presents a unique opportunity

in displaying the works: making every part of the museum as a vantage point for visitors to view and

appreciate his artwork. Sculptures are positioned at varying heights within the museum, allowing

people to gain a full view of all the artwork upon entering the space.

A layering of the display items is heightened by the varying qualities of light throughout the

museum. Models with realistic humanoid features are positioned furthest away from the skylight

within the darker regions of the museum. As the space is bathed in light as introduced by the

skylight above, the display artwork is gradually more abstract, sporting more pure geometric

appearances.

first model – centripetal space

second model – breaking up the centrality by introducing daylight from the sides

third model –making the roof weightless to allow daylight in from the sides

fourth model –introducing mezzanine levels, emphasizing the upper levels as they are brighter

1:200 schematic model – showing how the subprogram buffer block connects with the museum. the

workshop as a geometric and spatial buffer at the corner.

Layering of the Site

The museum is placed on the site akin to an object, almost sculptural, keeping to the pure form of

the cubic volume space. Framed by the activities along Crane Road and Joo Chiat Road, the museum

is buffered by its sub-programme, and programme blocks.

The sub programme is a naturally ventilated sculpture workshop, where visitors can try their hand at

making sculptures after visiting the museum. The workshop can also host educational events and

professional sculpting.

Upon the site, there are two distinct zones which have been created: the buffer zone and the

curatorial zone. The buffer zone is a transition between the outside activity and into the museum,

giving relevance to the proposed program. The entrance curves along the corner and faces the trees,

the distinct height markers on the site.

detail model

one quarter of the museum display space, and up to the third level. showing stair details.