You are not logged in. Please login here
View on a single page 05. 06. 2008
Chen Voon Fee, 1931 – 2008
by C. Waveney Jenkins
After his stroke in November, Chen Voon Fee initially made a good recovery. Sadly however over the next few months his health deteriorated, and he died in the UMMC on Monday 28 April, a couple of months after his 77th birthday.
Building Conservation & Recording
Voon Fee will probably be remembered first and foremost – by us in the Badan Warisan anyway, for his interest in conserving buildings, and the buildings of Malaysia in particular. He was crucial in the setting up of the Badan Warisan – taking on the role of Treasurer at the first meeting, happily not for long, as he loathed dealing with detailed figures! But thereafter he was at the centre of all the discussions and developments, projects and proposals during the first 20 years of the Badan Warisan’s development. His knowledge in both the techniques involved and the details that are used – and his insights into what areas were most vital, led to several publications in which he was the prime informer:
- the “Heritage Handbook”, setting out a vocabulary that could be used to describe buildings,
- the little “Conservation Guidelines” notebook issued with one of the Badan’s first major conferences, sets out the most important guidelines to be followed when restoring a building
- the architectural surveys of Melaka, Penang, and Butterworth
- the countrywide urban survey.
One of his most interesting papers was given at a Badan Warisan seminar, “Openings and Infills”. Typical of Voon Fee was finding a way to simplify understanding the beauties of old buildings – focusing attention on a small but vital part of the whole and through this showing the infinite variety of style and expression, material and craftsmanship employed.
All these areas involved a process of learning. None of us had any proper qualifications in conservation but Voon Fee was always ready to accept new ways of tackling the various elements that constitute conservation work. He did a huge amount of research into the subject, greatly intensified when he took on the role of Editor of the Architectural volume of the Encyclopedia of Malaysia. This was one of the first sections to be finished, and is still reckoned to be the best and most popular volume in the series.
Most recently he has received much acclaim for his work in the recording and illustrating of the now world famous Sketchbook series with EDM –Penang, Kuala Lumpur, Selangor, Perak, Malacca. Again – his choice of subjects – never the obvious –but searching out the unusual, the special.
His last published work was working with Peter Jenkins and myself on the Planter’s Bungalow, an experience which I will always especially treasure.
Architecture
His contribution to architecture in Malaysia is of vital importance. Chandran Jeshurun has already written a description of this, and Mohd Tajuddin Rasdi has based a scholarly paper on the partnership that Voon Fee, William Lim and Lim Cheong Keat set up in Singapore in the early 1960s – The Malayan Architect Co-Partnership.
This partnership won many competitions, and built iconic buildings such as the USM Library and Hall, and the Mosque in Seremban. They also designed some memorable private houses – it’s possible that here Voon Fee felt most comfortable as a designer. He could allow his flair for detail and spatial harmony full rein, without too many of the organizational problems that accompany mega projects.
His superb eye for detail and design would particularly make itself known in the finishing touches to his private house commissions, and to larger projects such as the restoration of the Central Market and the Creative Centre for the Majestic Hotel when it became the National Art Gallery. I remember the way Voon Fee turned what had been a dark, run of the mill garage into a sparkling and innovative space.
His contribution to the development of Malaysian architecture through his built work, his teaching, his many books, articles and lectures, and his always ready advice has already led to him being referred to as the Grandfather of Malaysian Architecture.
Art & Music
But there were many other facets to Voon Fee’s life – and one of the most important was his contribution to the development of Art in Malaysia.
When he returned from UK and Singapore, he already had a well-developed knowledge of modern art, and a sense of the necessity of finding a way of encouraging artists in Malaysia to develop and grow. He began to collect both in Singapore and Malaysia, and when, in the mid 1960s he moved into a lovely old house in Jalan Pinang he turned the back quarters into a studio encouraging both local artists, and overseas artists traveling through, to work there. Amongst others Abdul Latif Mohideen began work on his early sculptures there – and I had the good fortune to base my studio there for several years.
Shortly after he moved in he also opened the upstairs of the house as an art gallery -- galeri 11 -- and it was a huge success. Voon Fee encouraged me to run life drawing classes there for a while, and there were many wonderful exhibitions. It had a vibrant, informal atmosphere – Voon Fee had excellent contacts in the wine world, and opening nights were always lively parties.
The exhibitions were varied and he brought in many overseas artists, as well as providing an informal and welcoming venue for upcoming locals. Sales were never important to Voon Fee – he was only interested in the quality and integrity of the work.
Looking through the messages on Badan Warisan’s website, I was reminded of one exhibition which took place at the British Council which Voon Fee organized combining art with music. Paintings were teamed with various compositions - Syed Jamal, Latiff and Azahari with Chopin, Schumann and Debussy, Jolly Koh and Khalil Ibrahim with Brahms Serious Songs, Ibrahim Hussein with a Bach Cantata and Mozart’s Fantasia. Working with us on the musical side was the late, brilliant pianist, James Vadiveloo and versatile baritone, Eddy Chin. This concert was then repeated on the ground floor of galeri 11, where the reverberation of the music in the enclosed space, surrounded by great paintings, was unforgettable.
Music was another of Voon Fee’s passions, and one of his greatest pleasures over the last few years was to attend many of the concerts at the Petronas Concert Hall.
Voon Fee Himself
I think his most special gift was the way he was interested in everyone.
I have seen him fit in effortlessly with orang asli, with every sort of artist, with stuffy businessmen, high powered architects and engineers, high faluting aristocrats from Europe visiting Malaysia, ordinary people in the street or rulers in Istanas - he would instantly find their level and really enjoy their company. I think it came partly from a wonderful sense of confidence and self- knowledge, perhaps products of his architectural training. But these were allied to an insatiable curiosity and interest about everything and everyone he came across, along with an always questioning humility and an ability to examine and dissect any problem, any aspect of health, life or work until he was satisfied he had truly understood it.
Everyone loved and respected Chen Voon Fee, Great and Grand Uncle to us all.
~
Waveny Jenkins is an artist and conservation advocate. This article was first published on www.badanwarisan.org.my Used with kind permission of the author and Badan Warian.
To post a message or send your condolences, please go to the Badan Warisan tribute page to Chen Voon Fee here.
Building Conservation & Recording
Voon Fee will probably be remembered first and foremost – by us in the Badan Warisan anyway, for his interest in conserving buildings, and the buildings of Malaysia in particular. He was crucial in the setting up of the Badan Warisan – taking on the role of Treasurer at the first meeting, happily not for long, as he loathed dealing with detailed figures! But thereafter he was at the centre of all the discussions and developments, projects and proposals during the first 20 years of the Badan Warisan’s development. His knowledge in both the techniques involved and the details that are used – and his insights into what areas were most vital, led to several publications in which he was the prime informer:
- the “Heritage Handbook”, setting out a vocabulary that could be used to describe buildings,
- the little “Conservation Guidelines” notebook issued with one of the Badan’s first major conferences, sets out the most important guidelines to be followed when restoring a building
- the architectural surveys of Melaka, Penang, and Butterworth
- the countrywide urban survey.
One of his most interesting papers was given at a Badan Warisan seminar, “Openings and Infills”. Typical of Voon Fee was finding a way to simplify understanding the beauties of old buildings – focusing attention on a small but vital part of the whole and through this showing the infinite variety of style and expression, material and craftsmanship employed.
All these areas involved a process of learning. None of us had any proper qualifications in conservation but Voon Fee was always ready to accept new ways of tackling the various elements that constitute conservation work. He did a huge amount of research into the subject, greatly intensified when he took on the role of Editor of the Architectural volume of the Encyclopedia of Malaysia. This was one of the first sections to be finished, and is still reckoned to be the best and most popular volume in the series.
Most recently he has received much acclaim for his work in the recording and illustrating of the now world famous Sketchbook series with EDM –Penang, Kuala Lumpur, Selangor, Perak, Malacca. Again – his choice of subjects – never the obvious –but searching out the unusual, the special.
His last published work was working with Peter Jenkins and myself on the Planter’s Bungalow, an experience which I will always especially treasure.
Architecture
His contribution to architecture in Malaysia is of vital importance. Chandran Jeshurun has already written a description of this, and Mohd Tajuddin Rasdi has based a scholarly paper on the partnership that Voon Fee, William Lim and Lim Cheong Keat set up in Singapore in the early 1960s – The Malayan Architect Co-Partnership.
This partnership won many competitions, and built iconic buildings such as the USM Library and Hall, and the Mosque in Seremban. They also designed some memorable private houses – it’s possible that here Voon Fee felt most comfortable as a designer. He could allow his flair for detail and spatial harmony full rein, without too many of the organizational problems that accompany mega projects.
His superb eye for detail and design would particularly make itself known in the finishing touches to his private house commissions, and to larger projects such as the restoration of the Central Market and the Creative Centre for the Majestic Hotel when it became the National Art Gallery. I remember the way Voon Fee turned what had been a dark, run of the mill garage into a sparkling and innovative space.
His contribution to the development of Malaysian architecture through his built work, his teaching, his many books, articles and lectures, and his always ready advice has already led to him being referred to as the Grandfather of Malaysian Architecture.
Art & Music
But there were many other facets to Voon Fee’s life – and one of the most important was his contribution to the development of Art in Malaysia.
When he returned from UK and Singapore, he already had a well-developed knowledge of modern art, and a sense of the necessity of finding a way of encouraging artists in Malaysia to develop and grow. He began to collect both in Singapore and Malaysia, and when, in the mid 1960s he moved into a lovely old house in Jalan Pinang he turned the back quarters into a studio encouraging both local artists, and overseas artists traveling through, to work there. Amongst others Abdul Latif Mohideen began work on his early sculptures there – and I had the good fortune to base my studio there for several years.
Shortly after he moved in he also opened the upstairs of the house as an art gallery -- galeri 11 -- and it was a huge success. Voon Fee encouraged me to run life drawing classes there for a while, and there were many wonderful exhibitions. It had a vibrant, informal atmosphere – Voon Fee had excellent contacts in the wine world, and opening nights were always lively parties.
The exhibitions were varied and he brought in many overseas artists, as well as providing an informal and welcoming venue for upcoming locals. Sales were never important to Voon Fee – he was only interested in the quality and integrity of the work.
Looking through the messages on Badan Warisan’s website, I was reminded of one exhibition which took place at the British Council which Voon Fee organized combining art with music. Paintings were teamed with various compositions - Syed Jamal, Latiff and Azahari with Chopin, Schumann and Debussy, Jolly Koh and Khalil Ibrahim with Brahms Serious Songs, Ibrahim Hussein with a Bach Cantata and Mozart’s Fantasia. Working with us on the musical side was the late, brilliant pianist, James Vadiveloo and versatile baritone, Eddy Chin. This concert was then repeated on the ground floor of galeri 11, where the reverberation of the music in the enclosed space, surrounded by great paintings, was unforgettable.
Music was another of Voon Fee’s passions, and one of his greatest pleasures over the last few years was to attend many of the concerts at the Petronas Concert Hall.
Voon Fee Himself
I think his most special gift was the way he was interested in everyone.
I have seen him fit in effortlessly with orang asli, with every sort of artist, with stuffy businessmen, high powered architects and engineers, high faluting aristocrats from Europe visiting Malaysia, ordinary people in the street or rulers in Istanas - he would instantly find their level and really enjoy their company. I think it came partly from a wonderful sense of confidence and self- knowledge, perhaps products of his architectural training. But these were allied to an insatiable curiosity and interest about everything and everyone he came across, along with an always questioning humility and an ability to examine and dissect any problem, any aspect of health, life or work until he was satisfied he had truly understood it.
Everyone loved and respected Chen Voon Fee, Great and Grand Uncle to us all.
~
Waveny Jenkins is an artist and conservation advocate. This article was first published on www.badanwarisan.org.my Used with kind permission of the author and Badan Warian.
To post a message or send your condolences, please go to the Badan Warisan tribute page to Chen Voon Fee here.
User Comments
| No Comments |
Related Links
print | e-mail to a friend | post comment
