being

There are two sides to the Singapore-based architectural lensman and artist Finbarr Fallon. To clients, he's the go-to for slick yet poetic imagery of their latest star properties. To anyone who's discovered his personal Instagram account @fin.barr, he's the curious and romantic documenter of our island-city's urban landscape, capturing its hotchpotch of rawness, kitsch and polish with cinematic poignancy. Last month, he launched UNIT. a glimpse into Singapore's 1970s-'80s private apartments, his first book in which he photographs and interviews the residents of 10 of such dwellings – the latter are often-forgotten emblems of the nation's post-independence evolution with the pandemic as a backdrop. With it, he reveals a third facet: that of a chronicler of the inner lives of those navigating the shifting function, value and meaning of home. Keng Yang Shuen gets his POV.

The charming pink-hued Palisades with its one-of-a-kind funicular lift - a development built in 1985 and located in Pasir Panjang - is one of 10 private apartments featured in architectural photographer Finbarr Fallon's book UNIT. a glimpse into Singapore's 1970s-'80s private apartments.

What is home? It’s a question that’s only grown in weight and complexity since the start of the pandemic. It’s also one that lies latent within the pages of Singapore-based British architectural photographer, visual artist and designer Finbarr Fallon’s latest project: a 224-page book co-authored with urban planner Samantha Chia titled UNIT. a glimpse into Singapore’s 1970s–’80s private apartments.

Released at the end of July, the self-funded publication features 10 households in 10 different private high-rise developments built at a time when the nation was grappling with land scarcity, yet landed property was socially regarded as the criterion for exclusivity and affluence. These include Golden Mile Complex; Pandan Valley, one of Singapore’s first condominium concepts completed in 1978; and the charming Palisades in Pasir Panjang with its idiosyncratic funicular lift.

“Architects back then were trying to define what attractive high-rise living should look like and, to some extent, how they would represent Singapore’s ambitions as a modern nation,” explains Fallon. “Unlike today, living in a high-rise was a relatively uncommon experience.”