Everything Know About Bendemeer MRT Station
Bendemeer MRT station gets its name after Bendemeer Road, which is only a short distance away, despite its placement beneath the road and the Kallang Bahru industrial complex, built beneath Kallang Bahru Road, at the intersection with Kallang Avenue. This station serves the Lavender Street commercial district and the Kallang Avenue industrial areas. The Bendemeer MRT station gets located near the Kallang Bahru industrial complex and the shophouses and commercial buildings on Lavender Street.
On August 20, 2010, the 16 stations of the 21-kilometre (13-mile) Downtown Line Stage 3 (DTL3) from River Valley (now Fort Canning) to Expo stations were opened, with the station initially named Jalan Besar. In 2017, the line was supposed to get finished. In August 2011, Penta-Ocean Construction Co. Ltd. was awarded Contract 933 for the construction of Bendeemer station and accompanying tunnels at S$215.24 million (US$171.13 million). Construction gets set to begin in September of that year, with a completion date of 2017.
The twin 2.25 km tunnels connecting Jalan Besar, Bendemeer, and Geylang Bahru stations were excavated beneath ancient pre-war shophouses along Jalan Besar Road, necessitating meticulous and severe management of the tunnelling works beneath it. The tunnels were built with steel-fibre reinforced concrete (SFRC) segments for the first time in Southeast Asia, ensuring long-term tunnel durability. As announced by the Land Transport Authority on May 31, 2017, the station opened on October 21, 2017.
Both platforms at Bendemeer station are used for trains travelling in either direction, forming an island platform arrangement. The air-conditioned station is separated from the tunnel environment by full-height Platform screen doors, which improve commuter safety and station comfort.
Expected train arrival times and messages get displayed on passenger information systems, which are plasma display panels positioned at each platform. The visually impaired can use tactile flooring to help them get from the platform to the exits.
The concourse has faregates for automatic fee collection and access between the station’s paid and unpaid sectors and at least one bidirectional wide-swinging gate for passengers in wheelchairs, those carrying heavy objects, or those travelling with prams.
Commuters can buy tickets for single or many rides through General Ticketing Machines, which also accept contactless card transactions.
Art in Transit
Chang’s fabric metaphor implies merging the past and present as a tribute to the area’s textile culture. The dynamic ‘tug and pull’ creates a delicate bending and repetition that alludes to time’s ebb and flow. Both the familiar and the forgotten get boosted. A football in mid-air recalls a historical stadium, as Peranakan tiles of shop-houses drift with snatches of mall facades.
Chang’s ‘Fabric of Time’ has embroidered, sewn, or enfolded textures with Pleats, wrinkles, and complex layers. Batiks, French lace and sulam embroidery, paisley, and stencilled prints with peonies, hibiscus, roses, and butterflies symbolising ephemeral beauty are among the images she uses. Chang’s ‘And A New World,’ named after the once-iconic New World Amusement Park, vibrates with constant change.
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