Latest from Tatler Asia
Tatler Asia
2 hours ago
- Business
- Tatler Asia
From mountains to millions: Komsan Lee of Flash Express didn't build Thailand's first unicorn in a flash
Above Komsan Lee (Photo: Worapon Teerawatvijit) From Thailand to the rest of Southeast Asia in seven years When Komsan Lee launched Flash Express in 2018 (he incorporated it the year before), it had fewer than 10 employees. It has since grown exponentially, becoming a leading logistics player in Southeast Asia. In 2021, it became Thailand's first unicorn—a startup valued at more than US$1 billion—with over 10,000 employees in the country alone. The company has also expanded to Malaysia, Laos and the Philippines. 'I still can't figure out how we made it through these seven years,' Lee says with a smile. 'Seven years is a short period for a business, but in a person's life, it feels very long. 'For a business or a CEO, the first one to five years are about survival. In the next five to ten years, the CEO plays an important role in pushing the organisation to another level. And when the organisation is more than ten years old, the most important thing may not be the CEO, but the board or the culture of the organisation. At that point, we have to ask ourselves, 'Why do we need to be here? And what are we going to continue to do?'' Read more: This scientist warns that civilisation could collapse—unless we change how we train AI I believe that a person's destiny is not predetermined. Believe me—it can be changed - Komsan Lee - When asked which period over the past seven years was the most difficult for him, Lee answers without hesitation, 'Every period was hard.' 'The problems are never the same,' he says. 'We have recurring problems, but the solutions will be different according to the changing situations of the organisation. 'I think the hardest part for me was surviving the various challenges, whether it's fundraising, keeping our teams motivated or understanding consumers.' Above Lee with his co-founder Di Weijie (left) and their first investor Dina (Photo: Komsan Lee) A volatile economy is a time for reflection Flash Express currently has over 27,000 branches across Thailand and an intelligent parcel-sorting system that can handle up to 100,000 parcels per hour. The company delivers small and large parcels, even fruits, providing continuous service without holidays. It's estimated to handle about 700 million parcels across Southeast Asia annually. Although business is growing steadily in this challenging economic climate, Lee sees it as a time not for aggressive expansion but for internal consolidation. 'This is the time for everyone to clean their house and restructure their internal framework to be more appropriate for the size of the business,' he says. 'Flash itself has changed quite a bit. We have come back to look at the core of how we support consumers, the core of the service and do those things more deeply.' Read more: From unicorn dreams to zombie realities: navigating the entrepreneurial reckoning Above When Lee first started his venture, he says he would brag about it whenever he got the chance to the point that his colleagues could memorise every word he said (Photo: Komsan Lee) Above A young Lee (Photo: Komsan Lee) On its seventh anniversary this year, the company launched a new campaign: 'Delivering happiness every mile', signalling its readiness to provide delivery services everywhere. It also expanded its services through a joint venture with Thailand Post and JWD InfoLogistics in 2021, to express transport cold-chain goods under the brand Fuze Post. It later also launched Flash Bulky to deliver large items weighing 5 to 100 kilogrammes nationwide, as well as an e-commerce business that helps online sellers build their brands, increase sales channels and manage live broadcasts. 'When you don't have your own DNA, it's important to create a clear identity,' Lee says. 'After that, you will start to know what you can do and are good at, and more importantly, what you can't do and are not good at. 'The secret to doing business is to take what you are good at and add it to what others are good at to fix what you are not good at. This will help you achieve success more easily.' Read more: Where's the Money: why Singapore's early-stage startups are facing a VC funding shortage Photo 1 of 5 Flash Express's parcel sorting system (Photo: Flash Group) Photo 2 of 5 AI robots help manage Flash Fulfillment's warehouses (Photo: Flash Group) Photo 3 of 5 AI robots help manage Flash Fulfillment's warehouses (Photo: Flash Group) Photo 4 of 5 AI robots help manage Flash Fulfillment's warehouses (Photo: Flash Group) Photo 5 of 5 AI robots help manage Flash Fulfillment's warehouses (Photo: Flash Group) The precursor to success It begins to rain during the interview, a common occurrence this time of the year. Lee reveals that he likes the rainy season the most because it is when nature is at its greenest. It's unsurprising, then, that his hobbies include forest trekking, mountain climbing, and simply being close to nature. Being able to smell the soil, trees and flowers helps him let go of problems and stress that may have accumulated, giving him time to ponder his decisions. The rainy season, however, is also the most difficult season for the transportation industry. 'Apart from the increase in road accidents, our parcels may get wet,' says Lee. 'We cannot change nature, so we can only try to adjust and be better every day.' Read more: Plastic roads? This startup's mission is to make plastic waste into sustainable bricks for roads Above An artwork from Lee's collection (Photo: Komsan Lee) Although changing nature is beyond human capability, Lee believes that the path to success lies in not giving up on one's dreams and destiny. 'For a child from the countryside, the greatest dream is the word 'rich', because it is the thing he lacks the most,' says Lee. 'Back then, I thought I wanted to be a rich person and that pushed me to do business. But I didn't have a higher education and didn't have the opportunity to meet businesspeople or leaders who could teach me the 'right way'. So, a part of today's results may have come from my ignorance, which has led us to act this way. But another, more important part is that we had no choice. 'I wanted to walk a professional path, but at the time, I didn't know professionalism. What I knew for sure was that I had to make it happen. To make it happen, it no longer mattered whether the method was professional or not, because what was more important was that I had to succeed.' Read more: Why Validus co-founder Nikhilesh Goel hears everyone, but listens to no one The secret to doing business is to take what you are good at and add it to what others are good at to fix what you are not good at. This will help you achieve success more easily - Komsan Lee - Above Komsan Lee (Photo: Worapon Teerawatvijit) More than a unicorn, it's about creating value For Lee, the title of 'unicorn' is like a gold medal—a dream prize for startup entrepreneurs that he and his team are proud of. But it also brings great responsibility. 'When we were a startup, our job was to do whatever it takes to survive and succeed,' he says. 'Today, we wear the hat of 'Thailand's first unicorn'. People's expectations are higher—you have to be a good person, help society, educate and help drive change in the industry. I would like to say that with determination, we will do it. But our strength may not be as great as people expect. It is what we have always tried to do, and we hope that society will understand and be more encouraging.' Read more: The 'tough guy' myth is affecting men's health—and how this Filipino entrepreneur wants it gone Above Lee and Di celebrate the new year (Photo: Komsan Lee) An initiative that Lee rarely talks about is the 'Komsongfan' scholarship programme he started some three years ago. Its name translates to 'Komsan Sends Dreams', and it offers scholarships for higher education to underprivileged youths. 'One thing that has brought me to this point is education,' says Lee. 'Education has given me access to opportunities and has changed my life for the better. So I would like to support Thai children to receive a good education from abroad and then come back to help push this country to be even better.' The scholarships are 'no-strings-attached' grants, which means recipients are not required to pay them back. Explains Lee: 'Our conditions are simple. You don't have to pay back the scholarship and you don't have to come back to work for Flash. There are no binding contracts. It's a free scholarship.' There is only one condition: 'After graduating, you have to come back to develop Thailand or work in Thailand for at least three years,' says Lee. 'I hope that these young people who have received a better education and have seen the bigger world will be able to come back to create change for Thailand.' The project awarded 22 scholarships totalling over THB 2.2 million (US$68,000) in its first year. It has also given out scholarships for studying in China, amounting to over THB 10 million (US$308,000). Read more: 20,000 users in 48 hours: YouTrip CEO Caecilia Chu on nailing product-market fit Above Lee with scholars from the 'Komsongfan' project (Photo: Komsan Lee) Throughout the interview, Lee's humility and determination are palpable in his answers. A 2021 Tatler Gen.T Leader of Tomorrow , he leaves a few final thoughts for other entrepreneurs. 'Do not look down on yourself. But in not looking down on yourself, also be humble and open to others' opinions. Listening to others' perspectives helps fill in the blind spots that we may not have thought of or fully understand. In the end, whether you decide to do something or not is up to you. But how you do it depends not only on yourself, but also on the advice of others. ' I believe that a person's destiny is not predetermined. Believe me—it can be changed. ' Credits This article was created with the assistance of AI tools
Tatler Asia
17 hours ago
- Entertainment
- Tatler Asia
Highlights from Singapore's showcase at Milan Design Week 2025
'Future Impact 3: Design Nation', Singapore's showcase at Milan Design Week 2025, charted the Republic's emergence as a Nation by Design through three compelling acts: reflecting on its past, responding to the present, and reimagining the future Leave it to Singapore to turn a cathedral into a case study in national imagination. Set within the soaring nave of Chiesa di San Bernardino alle Monache—a vaulted church in Milan's Cinque Vie district, once part of a Benedictine convent, now a quietly resonant venue at which sacred architecture often meets contemporary design— Future Impact 3: Design Nation marked Singapore's 2025 return to Milan Design Week with thoughtful ambition. It is one of the many celebrations taking place this year to mark the nation's 60th birthday, Curated by returning duo Tony Chambers and Maria Cristina Didero, with a new associate, Singaporean designer Hunn Wai, the exhibition was structured in three parts that represent Singapore's design journey across time: Little Island of Brave Ideas revisits design's role in nation-building; Future Impact captures current responses to contemporary challenges; and Virtuoso Visionaires projects future possibilities through the work of emerging talents. Read more: 8 most theatrical moments from Milan Design Week 2025 Above The exhibition was held at the Chiesa di San Bernardino alle Monache church Above The three exhibition curators, the returning Maria Cristina Didero (left) and Tony Chambers (right) and this year's newcomer Hunn Wai (middle) Above The Future Impact team in Milan, clockwise from back row left: Werable's Claudia Poh, Nice Project's Sacha Leong, Olivia Lee, Tiah Nan Chyuan from Farm, clinical associate professor Lee Shu Woan from Changi General Hospital, Shi Yanjie from Vouse, Practice Theory's Randy Yeo, Supermama's John Tay, and Bewilder's Ng Sze Kiat Without natural resources, branding has played a crucial role in the Little Red Dot's nation building. Design icons—from internationally recognised symbols like Pierre Balmain's sarong kebaya uniform for Singapore Airlines and the souvenir-spawning Merlion, to hyper-local touchstones like the Courtesy Campaign and the colour-coded hawker centre tableware—have helped define how Singapore is seen from both within and beyond its shores. The first part of the exhibition at Milan Design Week 2025 was a crash course in how design—and successful systems design in particular—has underpinned Singapore's transformation, from pragmatic policies to imaginative placemaking—through visual culture, urban planning, and a future-oriented mindset. Above Kintsugi 2.0 by Supermama at the 'Future Impact 3: Design Nation' exhibition Above Fungariums in Space by Bewilder at the 'Future Impact 3: Design Nation' exhibition Above Pnewmatics by Eian Siew at the 'Future Impact 3: Design Nation' exhibition Above Celia by Kalinda Chen at the 'Future Impact 3: Design Nation' exhibition The second part of the exhibition highlighted eight designers and studios whose work embodied the immediacy of design-led solutions. From inclusive fashion to algorithmic ceramics, and digital healthcare tools to upcycled furniture, these projects grappled with contemporary life—how we move, heal, consume and connect—while experimenting with new materials, systems and modes of making. Highlights included Olivia Lee's Matahari, a terracotta solar cooker that reimagines ancient Southeast Asian cookware to spark reflection on the sun as a futuristic energy source; a digital twin of Changi General Hospital's (CGH) A&E department by Farm, Vouse and CGH, which uses real-time spatial modelling to optimise patient care without putting them at risk; Fungariums in Space by Bewilder, which brings medicinal mushroom cultivation into sleek, stainless-steel biodesign; and Supermama's Kintsugi 2.0, which updates the traditional Japanese craft with 3D-printed gold resin and algorithmic forms, turning broken objects into whole futuristic heirlooms. Above Matahari by Olivia Lee at the 'Future Impact 3: Design Nation' exhibition Above Leave it to Singapore to turn a cathedral into a case study in national imagination The final part of the Singapore exhibition at Milan Design Week 2025 captured the speculative energy of Singapore's emerging design voices. Six young designers presented works that pushed the boundaries of material use, identity, and narrative. These included Pnewmatics by Eian Siew—an exploration of inflatable medical braces and air-based joinery systems that rethink structure, comfort and care; Celia by Kalinda Chen, a mycelium-based air purifier that merges biophilic design with fungal intelligence; and Standard Singlish by CJ Tan, a typographic system that turns colloquial vernacular into structured visual language. Imaginative yet simultaneously grounded, these projects showcased how a new generation is using design to question norms, activate culture and anticipate new modes of living. As co-curator Wai notes: 'Singapore is well-known for thriving through ingenuity and resourcefulness and now, the future lies with the new generation of globally attuned, self-aware innovators who can continue this legacy." Credits
Tatler Asia
17 hours ago
- Entertainment
- Tatler Asia
9 progressive young Japanese designers you need to know from Designart Tokyo
1. Hojo Akira Above Hojo Akira's creative process starts with questioning the user experience (Photo: Hojo Akira) Above At Designart Tokyo 2024, Akira questioned the recyclability of mass-produced furniture (Photo: Hojo Akira) Hojo Akira studied production design at Kanazawa College of Art and is now based in Tokyo. His creative process starts with questioning the user experience. His authentic solutions have resulted in accolades from the Tokyo Midtown Award, Red Dot Design Award and iF Design Award Gold. At Designart Tokyo 2024, Akira questioned the recyclability of mass-produced furniture. He designed a sofa at Tiers Gallery made from a single interlocking frame that can be easily dismantled. Instead of common upholstered polyurethane foam, the mesh-like seat is made from a recyclable polyethylene resin called Breathair that is used for the internal cushioning of Japan's bullet trains and is usually covered with fabric. 2. Honoka Lab Above The Trace of Water exhibition showcased material from leading bottled water provider Aqua Clara (Photo: Kohei Yamamoto) Above The resulting wall coverings, lamps, stools and bowls are evocative and beautiful, with their enigmatic blue colour and translucency (Photo: Kohei Yamamoto) Above Tokyo-based design collective Honoko Lab (Photo: Honoka) During the 2023 Milan Fair, Tokyo-based design collective Honoko Lab won the prestigious first prize at Salone Satellite with its Tatami Refab project. It uses 3D printing technology to create new products from recycled tatami mat fibre mixed with biodegradable plastic. At Designart 2024, Honoka Lab repeats its ingenuity. The Trace of Water exhibition showcased material from leading bottled water provider Aqua Clara from its bottle return programme repurposed to create new products. The resulting wall coverings, lamps, stools and bowls are evocative and beautiful, with their enigmatic blue colour and translucency. If one thinks about how many commercial spaces and institutions use large plastic water dispensers on a daily basis, the research from this project is highly impactful. 3. Saki Takeshita Above Takeshita has explored various ideas that include a wall shelf made from cutting and folding a single aluminium plate to reduce waste (Photo: Yuki Kawazoe) Above For Designart Tokyo, she graced the public areas of Tokyo Midtown with touches of colour (Photo: Saki Takeshita) Above The exhibit, titled Eeyo, experimented with exposing colour dye on chairs (Photo: Saki Takeshita) Since graduating from the Department of Industrial Interior and Craft Design at Musashino Art University, Takeshita has explored various ideas that include a wall shelf made from cutting and folding a single aluminium plate to reduce waste, and a standing shelf with stiff but lightweight board on rollers so that each layer can be pulled or pushed outward to adapt to different uses. For Designart Tokyo, she graced the public areas of Tokyo Midtown with touches of colour. The exhibit, titled Eeyo, experimented with exposing colour dye on chairs made from a variety of timber types to nearly 200-degree heat. The varying dyeing time and intensity of heat application resulted in an assortment of graphic colouration. For example, green turns to pink, and blue to red. 4. Hiroto Ikebe Above Raw silk refers to material from silk cocoons that has not been fully processed or refined (Photo: Hiroto Ikebe) Above Hiroto Ikebe's addresses the wastage of these less-desirable materials(Photo: Kodai Mizuguchi) Raw silk refers to material from silk cocoons that has not been fully processed or refined. These include Kibiso, which is the rough outer layer of silk thread and degara cocoons – cocoons not ideal for traditional silk production but still have usable fibres. Hiroto Ikebe's addresses the wastage of these less-desirable materials with the exhibit Cocoon Anatomy at Designart Tokyo. He first subjects the cocoons to carding (separating and mixing the fibres from each material) before reweaving them into components. Finally, he patches them together with other materials to create nature-inspired wearable pieces like a dress and headpiece. Their texture, durability and versatility make them similar to leather. Hence, this may be a path to leather alternatives while reducing the discarding of cocoon shells in landfills. 5. Yusuke Wakata Above Yusuke Wakata is a multifaceted creative (Photo: Yusuke Wakata) Above This project upcycles waste from local fruits and food from Japan's 47 prefectures into new products (Photo: Kohei Yamamoto) At Tokyo Midtown, Yusuke Wakata presented Re 47 Crafts—project upcycling waste from local fruits and food from Japan's 47 prefectures into new products. Born in 1993, Wakata graduated from Musashino Art University in 2017 and enrolled at the Graduate School of Design at the Tokyo University of the Arts. Wakata is a multifaceted creative, dabbling in graphic design, corporate branding and UI/UX design; he is also an installation artist. The designer has won multiple awards, including the Asahi Advertising Award, ACC Young Creativity Competition Second Grand Priz, and the Tokyo Midtown Award Grand Prix. 6. Straft Above Tamaki Ishii and Kazuma Yamagami (Photo: Straft) Above Titled Nest, this exhibit is a discourse on using rice straw left over from the harvested rice (Photo: Kohei Yamamoto) Straft (an amalgamation of 'straw' and 'craft') is a creative duo comprising Tamaki Ishii and Kazuma Yamagami. Their exhibit at Designart Tokyo, titled Nest, is a discourse on using rice straw left over from the harvested rice. The material is typically used as roofing and wall material in traditional architecture, religious products or tools for daily life in Japanese culture. The new products made from woven straw include chairs, a bench, evocative clothing and a bird-like tori. Their agrarian expressions extol the beauty of the time- and effort-intensive craft process, as well as express a spiritual relationship with Mother Nature through farming. 7. Masaya Kawamoto Above At Tiers Gallery, Masaya Kawamoto showcased the PF Chair series (Photo: Masaya Kawamoto) Above PF (Press and Flat) refers both process and structure. (Photo: Masaya Kawamoto) Above The colouration is a beautiful by-product of scientific processes (Photo: Masaya Kawamoto) At Tiers Gallery, Masaya Kawamoto showcased the PF Chair series. PF (Press and Flat) refers both process and structure. The two chairs have intriguing profiles round piping that are flattened where necessary (the chair's back) and left in their original shape at other parts. The chairs are designed for easy disassembly to allow for efficient packaging and setting up. The colouration is a beautiful by-product of scientific processes. Kawamoto soaks each chair in a salt bath, which oxidises the metal. Subtle rainbow gradients emerge in assorted gradients depending on the properties of the stainless steel used, material thickness and cooling speed. 8. Pulse Above Pulse's Rikiya Toyoshima (Photo: Pulse) Above Pulse's Daiki Mitsui (Photo: Pulse) Above Their designs represent a treasure-trove of creative techniques and material application (Photo: Pulse) Above Pulse's Taki Shomu (Photo: Pulse) Pulse is a trio of designers who exhibited at Tiers Gallery. Their designs represent a treasure-trove of creative techniques and material application. Daiki Mitsui uses the traditional ikkan-bari technique of layering Japanese paper over bamboo baskets and applying persimmon tannin or lacquer to create a leather-like effect. His version uses bottle cushioning, barbed wire, expanded metal mesh and tortoiseshell wire mesh as base materials. Rikiya Toyoshima and Shomu Taki created a series of home décor pieces from raw, carbonised sand that is a by-product of sand casting and is typically discarded. They also showcased Soumei – a collection of lamps made from decorative glass that was fashionable in the past and often used in Showa-era interior architecture. 9. Takeru Sato Above The technique mixes locally sourced clay with gampi fibres in the papermaking process (Photo: Takeru Sato) Above A French polish finishing technique (applying layers of thin shellac) produces a slight sheen (Photo: Takeru Sato) Above Takeru Sato presented a poetic selection of furniture using Najio Washi (Photo: Takeru Sato) Also at Tiers Gallery, Takeru Sato presented a poetic selection of furniture using Najio Washi. The technique mixes locally sourced clay with gampi fibres in the papermaking process, with the clay making the paper resistant to stains and discolouration from sunlight. The process is often used for high-end fusuma (sliding doors) for interiors but Sato has applied it to furniture. A French polish finishing technique (applying layers of thin shellac) produces a slight sheen and highlights the paper fibres and shades of the clay after drying. This project highlights the decline of paper mills after the decreased demand of washi paper following the Meiji era. The paper used here is from one of two mills that remain in Najio, Nishinomiya City in Japan.
Tatler Asia
17 hours ago
- Business
- Tatler Asia
Malaysia and Singapore's Art Deco legacy: Buildings that tell stories
Above The former Singapore Civil Aerodrome (Kallang Airport, 1937) blends a streamline moderne exterior with various art deco details (Photo: Darren Soh) However, architectural photographer Darren Soh, who has documented Singapore's buildings for decades, notes an important distinction. 'The main differences between art deco and streamline moderne buildings lie mainly in the level of ornamentation,' he says. 'Art Deco buildings tend to be more elaborate, whereas streamline moderne buildings are sleeker, with fewer embellishments.' What emerged in British Malaya wasn't a carbon copy of Miami Beach or Manhattan Deco. Here, the style became something that was uniquely Southeast Asian—adapted for torrential downpours and the equatorial heat. Buildings featured deep overhangs, generous louvred windows for ventilation, and five-foot walkways that were already a set element of local architecture. Don't miss: David Rockwell on 40 years of global restaurant design: From Nobu to W Hotels and beyond Singapore: Preservation as national policy Photo 1 of 2 21 Carpenter by Woha Architects in Singapore (Photo: Darren Soh) Photo 2 of 2 The sleek interiors of 21 Carpenter by Woha Architects in Singapore (Photo: Darren Soh) On a narrow street in Singapore's Chinatown, 21 Carpenter Street exemplifies how careful restoration can breathe new life into art deco buildings. Four 1930s shophouses were amalgamated and transformed by Woha Architects into a modern hotel, while preserving the structures' distinctive features. Singapore's Urban Redevelopment Authority (URA) has taken a systematic approach to conservation, with entire neighbourhoods such as the Tiong Bahru estate gazetted as conservation areas. 'For streamline moderne buildings, the way the lines flow on these buildings' facades makes them very visually attractive—like the lines on the facades of 78 Moh Guan Terrace and 81 Tiong Poh Road in Tiong Bahru, for example,' said Soh, pointing to buildings constructed in 1937. Read more: Mid-Century Danish Rattan: How iconic designs became Southeast Asia's everyday furniture Above 78 Moh Guan Terrace, also in Tiong Bahru, was built by Singapore Improvement Trust in 1937 and showcases the same architectural approach with its flowing horizontal lines and curved corners (Photo: Darren Soh) But Singapore's preservation record isn't unblemished. The Cathay Building, once Southeast Asia's tallest skyscraper and first air-conditioned cinema when completed in 1939, now exists only as a 'husk of a facade', according to Soh. 'In the 1990s, Singapore approached conservation in a very unsophisticated manner that unfortunately led to many cases of 'facadism', where only the old building's facade was kept and everything else behind it demolished,' he explains. Sometimes, the most remarkable buildings aren't the famous landmarks. Soh points to The Great Madras hotel in Little India, which was adaptively reused by Singapore design studio Farm from a former Singapore Improvement Trust 1940 residential building, as 'actually more visually interesting to photograph' than the more celebrated Cathay Building. See also: 9 greenest skyscrapers in Asia Malaysia: An uneven fight for preservation Photo 1 of 4 Recently restored as a restaurant called Peninsula House by Wunderwall Design, India House on Church Street Ghaut in Penang features classic Art Deco elements, including a curved corner entrance and decorative parapets (Photo: TWJPTO) Photo 2 of 4 Original window details and structural elements are complemented by a restrained material palette of whitewashed timber, patinated wood, and stone (Photo: TWJPTO) Photo 3 of 4 A key feature of Peninsula House was how the original metal framework was preserved with thoughtfully updated glass panels (Photo: TWJPTO) Photo 4 of 4 A repurposed jewellery desk finds new life as Peninsula House's bar beneath the loft-like ceiling space (Photo: TWJPTO) Cross the Causeway into Malaysia and the architectural heritage story becomes more complex, with preservation battles being fought block by block, often against daunting odds. The Odeon Cinema in Kuala Lumpur, with its dramatic vertical fins and stepped outline, recently escaped demolition and is being converted into a Citadines hotel. Yet the Rex Cinema in Penang wasn't so lucky; it was slated for demolition in 2023 despite local protests. 'The loss of the Rex Cinema is devastating,' declares Lim. 'BWM considers it highly irresponsible and ultimately short-sighted to permit the destruction of these heritage gems, when there must be viable alternatives.' Don't miss: Biophilic luxury: 7 stunning nature-integrated resorts Above Bangunan Sulaiman (1933) blends Art Deco with neoclassical elements through its symmetrical facade and geometric detailing, adapted for the tropical climate (Photo: iStock) In the heart of Kuala Lumpur, Bangunan Sulaiman's elegant four-storey facade still commands a fair amount of admiration and attention. Built in 1933 across from what is now the Majestic Hotel, its symmetrical composition showcases how Art Deco principles were successfully adapted to local contexts. 'Bangunan Sulaiman features a blend of art deco and neoclassical elements,' explains Widodo. 'Local architects adapted Art Deco by incorporating local materials and motifs, blending traditional elements together with modern design principles.' Widodo highlights other significant Malaysian examples: 'The Coliseum Theatre in Kuala Lumpur, Sultan Sulaiman Mosque in Klang and the Penang Masonic Temple are some notable examples of art deco buildings in Malaysia that demonstrate how this international style was interpreted through a local lens.' Read more: Home tour: Grand English-inspired mansion maximises stunning mountain views in Malaysia The economics of heritage Above The restored Art Deco building known as Toffee in Kuala Lumpur, designed by architect Tan Loke Mun, now houses the Ur-Mu art gallery (Photo: Lin Ho) Sitting in a beautifully preserved art deco building by Dr TanLM Architect now housing the Ur-Mu art gallery in Kuala Lumpur, a structure known colloquially as 'Toffee', it's easy to see the appeal of these architectural gems. But economics often dictate their fate. Most Art Deco buildings occupy prime locations in city centres, where land values make preservation financially challenging. Without robust heritage protection and enforcement, commercial interests often prevail. BWM advocates for a balanced approach. 'We do not believe in creating museums out of every heritage building, but in incorporating our heritage assets into the fabric of our modern built environment,' Lim explains. 'This necessarily means restoring the heritage infrastructure and adapting it for new uses.' See also: Home tour: A modern tropical Kuala Lumpur home with sculptural staircases and a four-storey climbing wall Above Hotel 81 Rochor on Jalan Besar, originally the White House Hotel (1941), preserves its streamline moderne design (Photo: Darren Soh) In both countries, successful adaptation requires finding the right balance. 'A good fit has to be found for any building that will be adaptive-reused,' notes Soh. He cites Hotel 81 on Jalan Besar as exemplary—originally built in the 1940s as the White House Hotel, it's still operating as it was intended. Widodo adds that the preservation challenges reflect broader regional issues. 'The challenges of preserving Art Seco heritage in Singapore and Malaysia reflect broader issues such as rapid urbanisation and economic growth, limited understanding and funding for conservation, and the need to balance development with heritage preservation. Both countries face pressures to modernise, while retaining their historical identity.' Don't miss: Malayan shophouses: The architectural heritage of Singapore and Malaysia The way forward Above The former Tanjong Pagar Railway Station (1932) stands out with its art deco ornamentation (Photo: Darren Soh) As developers continue to reshape Southeast Asian cities, the fate of these architectural treasures depends on finding innovative ways to balance economic viability with cultural conservation. Lim proposes a comprehensive solution. 'There needs to be a detailed National Register of Malaysia's Heritage Buildings, including their state of repair, which would assist Jabatan Warisan Negara in taking a necessarily more proactive approach.' Widodo emphasises that 'conservation is the management of change; it is not freezing the past, but maintaining its relevance to the present and future.' He further advocates for sustainable approaches. 'Successful conservation must prioritise sustainability and carbon neutrality. This involves using eco-friendly materials and methods to reduce environmental impact, implementing policies to achieve carbon neutrality through renewable energy sources, and providing financial incentives like tax credits and grants to encourage conservation efforts.' Read more: 7 designer dining chairs that you'll recognise from restaurants and dining rooms Above The old Asia Insurance Building (1955), now Ascott Raffles Place, features a distinctive three-tiered stainless-steel crown (Photo: Darren Soh) Meanwhile, Singapore is expanding its preservation focus beyond the colonial era. 'It is important that Singapore is starting to recognise more post-war architecture as important and worthy of conservation,' says Soh. 'If we do not start looking at conserving these 'newer' buildings sooner rather than later, there may not be many of them left.' As the morning light shifts across Central Market's blue facade, these buildings continue to tell a story of when Southeast Asia embraced modernity while making it uniquely its own. The shadows they cast today may grow longer, but with proper care, they won't disappear entirely. NOW READ Bill Bensley: Eco-luxury hotels' design rebel Private islands and wealth: How 6 tech and business leaders built their secluded domains Home tour: Penang bungalow transformation creates resort-inspired living Best of Tatler Asia video highlights Featured videos from around Tatler Asia: Get exclusive behind-the-scenes look at the interviews we do, the events we attend, the shoots we produce, and the incredibly important people who are part of our community
Tatler Asia
17 hours ago
- Entertainment
- Tatler Asia
Scandinavian Shift: 9 highlights from Stockholm Design Week 2025
2. Mille Notti Above The off-white delicate Carla, red and brown playful Franca and classic wood Luca bedside tables, the first furniture collection from Mille Notti by Eva Schildt Previously known for its designer textiles, Swedish brand Mille Notti made its first foray into furniture with designer Eva Schildt's Luca, Carla, and Franca—three bedside tables with distinct characteristics. 'A dresser should complement, not replicate, the bed's design. It must have its own identity while enhancing the space,' Schildt notes. The result is a trio of pieces that serves both functional and decorative roles, offering storage while adding an elegant presence to the bedroom. 3. Kord Above New Swedish brand Kord's compact and stylish Cuboid and Cuboid+ claim to be the world's smallest power strips, with three to four outlets and a two-meter cable Blending utility with aesthetics, the new tech/ design brand Kord, founded by David Lindell and Gustav Rosén, reimagines electrical sockets as objects that can make a visual impact. Their debut products, Cuboid and Cuboid+, are the world's smallest multi-sockets, featuring three or four inputs and a two-metre cable. Crafted partially from recycled plastic, these innovative pieces balance practicality and design with a refined sense of proportion—a perfect complement to any modern interior. Read more: Home tour: A Scandinavian-inspired home with panoramic San Francisco Bay views 4. Studio Ololoo Above The endearing Bubble lamp by Chinese design duo Zhen Bian and Jaco Qian of Studio Ololoo garnered appreciation during Stockholm Design Week thanks to its space-saving feature Studio Ololoo's latest table lamp, Bubble, is an innovative fusion of flexibility and gravity-defying design. Inflatable and jointed, it features a mobile structure that directs focus towards the bulb itself. 'This project explores tension and deformation, integrating them into the functionality of the piece,' explain studio founders Zhen Bian and Jaco Qian, based in Ningbo. A clever touch—when deflated, the lamp folds effortlessly for transportation or storage, showcasing an innovative take on space-saving design. 5. &Tradition Above Luca Nichetto's stylish Gio lamp for &Tradition is a tribute to the late legendary Italian designer Gio Ponti Danish brand &Tradition unveiled a series of new pieces at the Gulled showroom during Stockholm Design Week 2025, including the Gio lamp—a tribute to Gio Ponti and Venetian craftsmanship, designed by Luca Nichetto. 'The Gio lamp captures the essence of a chandelier's skeleton, focusing on fundamental geometric forms,' Nichetto explains. While conceptualising the design, he rediscovered his profound connection with Murano glassmaking. The minimalist yet sculptural lamp is available in a striking palette that includes deep green, rich blue and ecru white, alongside a bolder alternative combination of vermilion, dark burgundy and ecru white. 6. Slalom Above Swedish interior designer Tekla Severin photographed at Slalom's striking booth at the Stockholm Furniture Fair, which she conceptualised using acoustic panels from the brand such as Arlecchino, which she also designed/ (Photo: Maria Teresa Furnari) Of the many installations at Stockholm Furniture Fair during Stockholm Design Week 2025, the most visually striking surely belonged to acoustic panel brand Slalom. Conceptualised by visionary Swedish colourist and interior designer Tekla Severin, the booth took on the concept of 'a box in a box' and featured the latest Slalom product innovations for the contract and hospitality sectors, including Severin's Arlecchino PET felt panels, which come in various sprightly colours to inject character into spaces. 7. NJRD Above The Vior seating collection from NJRD embodies the classic colour palette of Scandinavian furniture, with a playful twist in the form of its woven seats The Vior collection by design duo Bernadotte & Kylberg for NJRD encapsulates the beauty of everyday life through meticulously crafted pieces of furniture. Named after the Norse word for 'wood', the collection comprises a kitchen sofa, a dining table and chairs, all shaped with inviting, organic forms. Rooted in functional simplicity and a deep connection to Scandinavian nature, it embodies a commitment to timeless design. 8. Fogia Above Andreas Engesvik's Pico chair for Fogia appears like a pair of pillows set on a thin tubular steel structure At first glance, the classic silhouette of Fogia's latest lounge chair, Pico, designed by Andreas Engesvik, appears deceptively traditional. Yet, with its lightweight frame crafted from thin tubular steel and plush seat and backrest, it redefines expectations of formality. Designed for comfort without constraint, its leather or fabric cushions envelop the user wonderfully. 9. Center Center Above String's new Center Center storage system can be combined in many different ways Fixed storage is obsolete. Enter Center Center, the latest modular system from String Furniture, devised by Form Us With Love to liberate interiors from static constraints. Designed with adaptability at its core, this ingenious framework is less about storage and more about spatial choreography—offering architects and designers the freedom to configure, reconfigure, and reimagine. At its heart lies a precision-engineered hole pattern, seamlessly repeating across every module. This intelligent system allows elements to stack, extend, and pivot between open and concealed configurations, creating intuitive divisions, discreet alcoves, or expansive displays. Credits Photography: Courtesy of respective brands
