Comparative Analysis: Adaptive Reuse Designs by Chan Soo Chan & Milou

This essay delves into the architectural technique of adaptive reuse, focusing on the transformation of historic buildings. It examines the designs of two prominent Singapore-based architects, Chan Soo Chan and Jean Francois Milou, analyzing their approaches to blending the old and the new. The essay explores their design processes, planning strategies, and the compositional similarities and differences in their work, including material choices, functional adaptations, and structural modifications. It highlights how both architects incorporate modern elements while preserving cultural attributes. The comparison includes their distinctive styles, with Chan emphasizing the spiritual essence and Milou focusing on simplicity and technological innovation. The essay concludes by emphasizing the importance of both architects' contributions to sustainable design and urban development, showcasing their unique perspectives on adaptive reuse in architecture and the significance of historical preservation in contemporary design.

Architecture Essay

Abstract
The adaptive reuse of historic building is a common architectural technique used to
blend the old and the new. Retrofitting these old buildings is a transformation process
meant to adapt a specific design and iconic feature. This refurbishment of interior and
exteriors improves the volumes, creates visual interests and retains historic attributes.
The use of modelling in shaping the characteristics of both the adaptive reuse of a
historic building depends on the location and personalities involved. Based in
Singapore, Chan Soo Chan is popular for these architectural designs. An analysis of
the processes, planning, and design reveals certain characteristics. This essay looks at
the compositional similarities and differences, materials as well as the functional
adaptations and structural adaptations with comparison to Chan Soo Chan’s and Jean
Francois Milou modelling designs.

Introduction
Structures fade and lose their form with age. This might cause them to outgrow in
original form and functionality. Adaptive reuse of contemporary lifestyle, urban
constructions, and the need for constant upgrade are some of the demand factors
affecting the original plan for buildings. Location also matters because it defines the
landscape. The geographical elements such as rivers and parks determine the design
adopted by the architecture. All these changes must be within the available resources
hence the cost effectiveness of a plan counts. Poor workmanship needs improved
structural mechanisms. This essay features architectural designs by Singapore based
Chan Soo Chan and Jean Francois Milou. Both Chan and Jean have the expertise to
correct errors on old building through innovative designs. Their use of standardized
changes on the building requires minimized changes that do not deter the cultural
attributes. Although these have similarities, there are differences in their approach.
The essay looks at what is common and what differs between the two architectures.
Similarities
Jean Francois Milou is French born but has had considerable contribution in
Singapore’s adaptive reuse architectural designs1. He has the ability to refurbish old
buildings designed by different designers. His transformation of the historic buildings
shows a unique combination of the old and new with an elegant touch. His work on
heritage building brings a global experience. His design of the Singapore National
Gallery reflects on his modern and professional style. He uses the roof as a
centerpiece for connecting the old and the new to transform a 100-year-old courthouse
into a museum. Although he is 63, he makes use of young talented designers from the
local region to come up with an innovative approach that uses materials such as gold,
copper and other metallic elements for its styles2.
Chan Soo Chan is an award-winning architect who also has an experience with
national buildings. Graduate from Yale University, he shows maturity in
1 L, Huang. 2016. The French-born architect took 25 minutes to think how he could link the
former Supreme Court City Hall Buildings to convert them into the National Gallery. Straits
Times. <http://www.straitstimes.com/lifestyle/museum-maestro> 5 May 2016 ( Accessed 9
October 2017)
2 V, L. 2015. Jean Francois Milou: Designing the National Gallery. Straits Times.
<http://www.straitstimes.com/lifestyle/jean-francois-milou-designing-the-national-gallery>

contemporary architecture for local and urban, residential and commercial designs.
Like Jean Milou, he also has a firm (SCDA Architects) of designers specialized in
new renovations. His design of the National Design Centre shows a combination of
multiple designs on a multipurpose center with attributes for a public exhibition
center, lecture halls, and community center for entertainment and learning. Soo Chan
has the ability to work on restorations through a creative transformation of reuse in
urban recreations. Similar to Jean, Chan makes changes on interconnected buildings.
This design tactic of working on complex exhibition reveals Chans ability to add
value on buildings through refurbishment of the centers for public and private use. His
style of replacement and repair involves the removal of dilapidated surfaces without
interference with the archeological purpose of the construction.
Figure 1 Jean Milou’s approach of classic and elegant designs
Both designers make functional alterations on the buildings effectively. Redesigning
for reuse or sustainability for land conservation, reduced urban congestion. This calls
for specifications in size and concepts. Jean incorporates glass for aesthetic purposes
giving the national themes a contemporary touch. He works on government buildings
retaining their official use but differences in function. That is, He transforms a court
building into a Museum. Other modern elements used by the two designers are in the
colour, grey stonework, tiled floors and portico moldings. Jean retains the original
timber roofing for a social advantage. Historical factors such as cultural function of
the building determine the changes made because of social importance. The process

of reshaping such buildings also needs to focus on the aesthetics. These architects
consider modernity without negating the value of culture in building designs.
Figure 2: Soo Chan motivated reuse design
Figure 3: Chan’s multidisciplinary design
Structural adaptations in both designers is evident as they restore neglected old
buildings to give them a new economic sense. The cost benefit analysis measures the
costs and market properties for reuse. The original buildings often have a historic
design plan that retains its original properties3. Jean Milou specializes in the redesign
3 B, Charles. 2013. Old Buildings New Designs: Architectural Transformations. Princeton
Architectural Press.

of a colonial building into a masterpiece conjoining two historical buildings. His
tactic incorporates modern designs of adjacent buildings and daylighting features,
which are common in European architecture4. Both designers understand the value of
investing in lighting, engineering and preservation elements. For indoor and outdoor
properties. Like Milou Chan has a wide experience in commercial building designs
including commercial and institutional luxury buildings5.
Differences in thought
Chan Soo Khan is keen on the spiritual essence of adaptive architectural designs.
Represented in his adherence the local culture, he brings out Buddhist elements in his
architectural designs. He refers to this as the spiritual essence found in a place6. In his
opinion, this attribute is affordable and saves on resources because it does not require
unnecessary fixtures. This gives him an edge in the Asia Pacific region where
spirituality is crucial. He incorporates the phenomenal out of experience. To the
contrary, Milou finds inspiration from his profession, structures and he advocates for
less intervention on infrastructural structures7. He believes in simplicity and discretion
when transforming structural and functional elements. He accepts technical reality as
a challenge, which he applies in the prefabrications, metal framing and basements. He
makes use of elegant metals to break down complexities and define the ideal design 8
Khan uses emotional architectural designs to complement his designs Adaptive design
in Chan Soo Chan takes a structure and behavioral trait that is in line with the demand
in Singapore. Compositional differences in Jean Milou’s designs represents luxury
4 B, Nick, Fanchiotti and K, Steemers. 2013. Daylighting in in architecture: a European reference
book. Routledge
5 Arch Daily. 2017. Soo Chan: “Architecture is About Preserving a Way of Life, Not Simply
Introducing a New Formal Language <https://www.archdaily.com/office/scda-architects>
( Accessed 9 October 2017)
6 S, Vaidehi. 2015. International Green Conference. Eco-Business <http://www.eco-
business.com/news/capturing-the-spiritual-essence-of-places/> 29th Sept 2015 (Accessed 9
October 2017)
7 F, Giraudon. 2015. StudioMilou National Gallery Singapore. Meniscus.
<http://www.meniscuszine.com/articles/2015041739385/studiomilou-national-gallery-
singapore-conversation-with-jean-francois-milou/> ( Accessed 9 October 2017)
8 J, H, Hertenstein, P, B, Marjorie and V, Robert; “What is ‘good design?’ An investigation of the
complexity and structure of design. Design Management Journal, 8 ( 1), 8-21

and comfort. He brings out individual architecture with tropical, Malaysian and
Singaporean designs. Nationalism and regionalism feature in his façade architecture,
which blends tradition and history, also features in his designs to bring out ideas of
oriental9. This gives his style a local but sophisticated identity. On the other hand,
Milou stands out for meticulous designs, which take advantage of the technology
innovation.10 Although Milou specializes in cultural and special transformation, he
does not personalize his techniques. His design of the National Gallery in Singapore
shows a blend of monumental tactics and layered designs for reuse11. Jean Milou’s
motivation in Singaporean and urban planning design is evident. He shows sensitivity
towards the historic. This is evident in his design of museums in the region12.
Complete redesigning projects by Chan Soo Chan’s modelling represent natural
factors. Chan Soo Chan is a professional designer with a background in landscaping
and interior design. His work varies from hotels, commercial, institutional, and
residential designs. He brings this out in landscaping designs of green rooftops.
Integrating nature and architectural designs. The combination of sustainability
explores the Singaporean environment for an edge in designs. Milou uses variations in
his spatial designs to highlight urban design properties13. He does not have a specific
focus but he embraces the architectural demands in the region. He also borrows from
classic designs as shown in his monumental staircases, concourse basements, drapes
and roof shimmers as well as the longitudinal design of the gallery. His stunning
creativity and art installations represents a blend of South East Asia and modernity.
He brings out the heritage and interventions from the community. Before designing
the gallery, he carries out research on the region14. In essence, his designs show
revelation for the integrity of the region from the visual art, seascape, the people and
ecosystem. He points to the importance of Singapore’s history. This is also evident in
his cultural projects in Europe and India.
9 D, Eytan, J, Leo, and K, Schulten. 2012. Models of neural networks. Springer Science & Business
Media
10 E, Steven and T, Browning. 2012. Designing structure matric methods and applications. MIT
Press.
11 B, R; D, K. 2011. Reuse value: spolia and appropriation in art and architecture from Constantine
to Sherrie Levine. Ashgate Publishing ltd.
12 Style by Asia. 2017. Style by Asia interviews Jean Francois Milou, founder and lead architect of
StudioMilou in Paris and Singapore
13 L, Pall and T, Hartig. 2013. Architectural variation, building height and restorative quality of
urban residential streetscapes. Journal of Environmental Psychology. 33, pp 26-36
14 Ibid 12

Chan’s designs have an environmental focus. He invests in sustainable practices such
as the use of recycled materials as a philosophy. His tactic is an advantage in the
global market. He brings out the international concerns of energy efficiency through
the structural changes that he makes. This is manifest in internal designs of lighting
and fixtures15. Choo uses elements such as lighting for interior spatial designs from
the tropical climates natural lighting16. His idea of sustainability is to preserve life. He
brings out multiple concepts of the environment and he explores this in interior and
exterior designs. At the heart of Choo’s designs is Spatial and lighting properties
reminiscent of his natural environment. Although he has a background in westernized
architectural techniques such as de-constructivism, his approach to cultural
renovations embraces constructivist architecture. He demonstrates this in the
conceptualization of order, special, sequence and symmetry. This gives him a
multidisciplinary approach to architecture like the combination of science,
environment and architecture17.
Adaptive reuse in architectural designs represents standardized elements.
Contemporary architectural designers have characteristics that define their uniqueness
in various projects. Evident in their spatial manipulation of their projects, Chan Soo
Khan and Francois Milou reveal the importance of integrity history in architectural
designs. Using global standards, the two come up with distinct designs of using
aesthetics and technological innovations to refurbish constructions. They bring out
structural adaptation and functionality as crucial elements of adaptive reuse in
architectural designs. The two capitalize on professional approaches to create
masterpiece designs. However, their differences emerge in the conceptualization of
themes for their projects. Both professional construction designers draw from their
experiences and inner motivations. Chan demonstrates a multidimensional approach
while Jean shows simplicity and sophistication in approach. Chan covers traditional
themes such as religion and art while Milou considers classical and monumental
15 Yung, E, H and Chan, E, H. 2012. The implementation challenges to the adaptive reuse of
heritage buildings; Towards the goals of sustainable, low carbon cities. Habitat International, 36
(3), pp 352-361
16 A, B. 2013. The star designed by Andrew Bromberg for Aedas. Architect Magazine
<http://www.architectmagazine.com/design/buildings/the-star-designed-by-andrew-
bromberg-for-aedas_o> ( Accessed 9 October 2017)
17 Pedersen, Z. 2015. Ecosystem processes for biomimetic architectural and urban design.
Architectural Science Review, 58 ( 2), pp 106-119

thoughts. The two Singapore based architectures explore their global experiences in
architectural elements. They demonstrate differences in thoughts for distinctiveness in
adaptive reuse architecture. Although the agenda for adaptive reuse is to improve
neglected buildings, reinvention is also a strategy, which upholds the history of a
place. Evidently, the designer also has a major role in the determination of designs,
and approach taken.
References
A, B. 2013. The star designed by Andrew Bromberg for Aedas. Architect Magazine
<http://www.architectmagazine.com/design/buildings/the-star-designed-by-andrew-
bromberg-for-aedas_o> (Accessed 9 October 2017)

Arch Daily. 2017. Soo Chan: “Architecture is About Preserving a Way of Life, Not
Simply Introducing a New Formal Language
<https://www.archdaily.com/office/scda-architects> (Accessed 9 October 2017)
B, Charles. 2013. Old Buildings New Designs: Architectural Transformations.
Princeton Architectural Press.
B, Nick, Fanchiotti and K, Steemers. 2013. Daylighting in in architecture: a
European reference book. Routledge
B, R; D, K. 2011. Reuse value: spolia and appropriation in art and architecture from
Constantine to Sherrie Levine. Ashgate Publishing ltd.
D, Eytan, J, Leo, and K, Schulten. 2012. Models of neural networks. Springer Science
& Business Media
E, Steven and T, Browning. 2012. Designing structure matric methods and
applications. MIT Press
F, Giraudon. 2015. StudioMilou National Gallery Singapore. Meniscus.
<http://www.meniscuszine.com/articles/2015041739385/studiomilou-national-
gallery-singapore-conversation-with-jean-francois-milou/> (Accessed 9 October
2017)
L, Huang. 2016. The French-born architect took 25 minutes to think how he could
link the former Supreme Court City Hall Buildings to convert them into the National

Gallery. Straits Times. <http://www.straitstimes.com/lifestyle/museum-maestro> 5
May 2016 (Accessed 9 October 2017)
J, H, Hertenstein, P, B, Marjorie and V, Robert; “What is ‘good design?’ An
investigation of the complexity and structure of design. Design Management Journal,
8 (1), 8-21
L, Pall and T, Hartig. 2013. Architectural variation, building height and restorative
quality of urban residential streetscapes. Journal of Environmental Psychology 33, pp
26-36
Pedersen, Z. 2015. Ecosystem processes for biomimetic architectural and urban
design. Architectural Science Review, 58 (2), pp 106-119
S, Vaidehi. 2015. International Green Conference. Eco-Business <http://www.eco-
business.com/news/capturing-the-spiritual-essence-of-places/> 29 Sept 2015
(Accessed 9 October 2017)
Style by Asia. 2017. Style by Asia interviews Jean Francois Milou, founder and lead
architect of StudioMilou in Paris and Singapore
V, L. 2015. Jean Francois Milou: Designing the National Gallery. Straits Times.
<http://www.straitstimes.com/lifestyle/jean-francois-milou-designing-the-national-
gallery>

Yung, E, H and Chan, E, H. 2012. The implementation challenges to the adaptive
reuse of heritage buildings; Towards the goals of sustainable, low carbon cities.
Habitat International, 36 (3), pp 352-361