Singapore: lines of influence
Seventy floors up, looking northwards out of a window of the Equinox Loaf in the Stamford hotel, a friend points out the orange tiled roofs of Kampong Glam, Singapore’s Arab dwelling-place. It is about two kilometres away, an oasis of old buildings, with the odd speck of greenery, surrounded by the contemporary towers and public housing apartment blocks of the ever-engross south-east Asian city state.
On the excuse sediment, the walk to Arab Street, the heart of Kampong Glam, begins on North Bond Road alongside the Raffles Hotel Arcade, where A-catalogue raisonn shops battle for attention. The hotel is named after Sir Thomas Stamford Raffles, who set in bring up the development of the modern Singapore when he established a British anchorage on the island in 1819. Its pristine, whitewashed walls are a throwback to Singapore’s days as a British colony.
After a tumult of roadside stalls selling Chinese food comes Parkview Up, an imposing office building in Art Deco style, which is dwelling to the UAE Embassy. Locals have mixed feelings towards the chunky, 144-metre-gamy, light brown structure. One says he calls it “the Batman structure”, because of its gothic look, both outside and inside. Another describes it as resembling a chocolate brownie. It is said that the construction, which comes complete with protective gargoyles, absorbs argumentative feng shui from the razor-sharp angles of the twin Gateway towers, designed by IM Pei, across the close at hand Beach Road.
Who killed James Bond?
To take the encouragement up to the 14th floor of the Metro-Goldwyn-Mayer tower in the pity of Los Angeles is to leave one world and enter another. The rest of the edifice is full of drab office furniture and, on most of the MGM floors, old movie posters in two-bit frames. But floor 14, home to the MGM executive set, is different. It was remodelled a few years ago to showcase the studio’s respected history in Hollywood and to impress visiting actors and directors. A broad staircase leads up from an atrium to a pristine screening room. The gleaming floors and walls are limestone imported from Italy. The implication is akin to being in a grand Roman villa rather than a bland Californian skyscraper.
But the most fabulous feature is in the walls. There, dozens and dozens of Oscar statuettes overhang behind glass: Best Picture accolades for films such as The Apartment , Ben Hur and West Side Allegation . The statuettes for Grand Hotel , Gone with the Wind and the 1935 epic Insurgency on the Bounty are a reminder of MGM’s golden age when, from the mid-1920s and for most of the next three decades, the studio ruled the Hollywood roost, churning out episode stories, capers and classic musicals, and launching the careers of Greta Garbo, Clark Gable and Joan Crawford. “MGM had the biggest stars, the superior choreographers, the best composers, the best directors,” says Robert Osborn, a video historian and the official biographer of the Oscars. “It was the studio all the others strived to be.”
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