Mass Rapid Transit :: SINGAPORE ::

Hougang station

Hougang station is good example of an integrated public transport interchange where MRT and bus services converge to allow commuters to seamlessly transfer from one mode of transport to another.

The station was built below the new Hougang Central Bus Interchange. To achieve this, the original bus interchange was relocated for excavation work and subsequently restored to its original location and upgraded to provide easy connectivity to the station.

The distinctive circular roof over one of the three station entrances adds a fresh, contemporary dimension to the station. The interior of the station reflects the new layout adopted by most stations along the North East Line. Inside the station, there are fare gates on both ends of the station concourse. This is good news for commuters, who do not need to walk from one end of the station to the other to get out of the station.

There is a common thread that runs through Seck Yok Ying's work - Connecting with People. The artist's desire to interact with people through her work at Hougang station was shared by the LTA. The LTA wants to create something that would make people feel at home in the station, so that when they use the station, they feel a sense of belonging.

This meeting of minds was to find expression in the artist's concept for Hougang station - wall panels made up of handprints of the people who use the station and those who built it, including LTA's management and staff, the station's project team and the management and staff of the contractors. She did this to let the people who built the MRT station be remembered for their hard work.

The artist's concept called for handprints to be deliberately anonymous so people could embark on a search for their own handprints within the station. In doing so, commuters celebrate the fact that each handprint is as unique as the individual from whom it comes. At the same time, the interactive dimension of Seck Yok Ying's work is reinforced by the tactile nature of the handprints, which seem to invite people to place their palms in them.

In another heart-warming example of art that touches a community, the artist created a cluster of seats at platform level. The unique arrangement of these seats in assorted shapes sets a friendly tone for commuters.

The artist's experience of working with building materials was very much in her favour as she was familiar with the material and the opportunities it had for moulding. Thus, LTA approved her request for the use of glass reinforced cement (GRC), a type of concrete that can be moulded into panels. Having sufficient knowledge of how deep the imprints should be and what was feasible with GRC, she was only left with getting people to participate in the programme which was taken care by the LTA.

The process of getting people to have their handprints imprinted for posterity on the walls of Hougang station was indeed a mammoth task but one that the LTA took on with much enthusiasm. There was no problem in the process of imprinting the handprints. But the logistics of organising the volunteers was just one aspect of the exercise. The other difficult part was to decide on the medium in which to collect handprints and how to then transfer the prints on to GRC.

This is when Samsung Corporation, the main contractor for Hougang station, stepped in. The contractor sourced for the right type of clay in which to collect the handprints, even going to the National University of Singapore for help. Samsung also worked out how latex rubber moulds should then be made of the clay handprints for transfer into the cement panels. They also went on standby through the whole process to make sure that the clay slabs would not be damaged or get hardened.

On its part, LTA did its best to ensure that all who participated in the hand printing exercise took home warm memories of the experience. Efforts were made to include all age groups and where possible, families. The handprints range from those of babies to those of senior citizens, with the oldest participant being the 102- year-old resident of an old folk's home near the station.

Children were not forgotten and many stood on stools to leave their mark in the station that would become part of their lives as they grow up. Still younger children were lifted up so they could place their little palms between the handprints of the adults.

Once the handprints were collected, the artist worked on assembling the panels of handprints - some in dense panels and some in sparse panels - to create the effect she wanted. The effect that the artist had wanted was a seamless, free-flowing work of many hands. There were many types of handprints - some relaxed and some stretched out - on the panels. Placed alongside, they weaved in and out of each other, just like clouds moving in the sky.

Artist: Seck Yok Ying
Born: Singapore, 1950
Education:
- Diploma, 1976
Lambton College, Samia, Canada
- Bachelor of Fine Arts, 1978
Nova Scotta College of Art & Design, Halifax, Canada

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