With a background in investment banking and architecture, Karen Tan is the visionary founder of The Projector—an iconic fixture in Singapore’s arts scene and the city’s leading independent cinema.

Redefining what cultural spaces can look like in Singapore, Tan has played a pivotal role in championing the role of cinema and community-based programming in fostering dialogue and driving social change. Beyond the screen, she is also the founder of Pocket Projects, a consultancy focused on the adaptive reuse of overlooked heritage buildings, and co-founder of Docomomo Singapore, which advocates for the conservation of modernist architecture.

As a changemaker, what drives you at your core?

I’m driven by the gaps I see: cultural, spatial, creative. I believe cities and the spaces in them should reflect the diversity, grit and creativity of the people who live in them. Whether it’s through a business, heritage or reimagined buildings, I’ve always been motivated by the idea of taking something overlooked and giving it new meaning and possibility.

What is the one achievement to date you are proudest of, and why?

Creating The Projector and keeping it going for a decade in tough markets. We started as a crowd-funded venture and have grown into a cornerstone in Singapore’s cultural fabric. In a city where independent spaces are notoriously hard to sustain—especially given the high costs and structural challenges faced by creative SMEs—we’ve managed to hold our ground. What I’m proudest of, though, is that we’ve built something people care about. We’ve contributed to the local creative and cultural scene, supported homegrown filmmakers, and created a platform for alternative communities to be seen and heard. Our audiences return, bring their friends and feel a sense of ownership over the space.

How have you overcome the most significant challenges you have encountered in your journey?

Mostly by staying flexible, thinking laterally and working with a solid A team. We’ve had to be nimble and willing to try things others might see as unconventional—we’re not afraid to experiment and give something a go. A lot of it comes down to grit and persistence, and knowing when to pivot. The traditional cinema industry faces headwinds, but we’re built on a diversified model of film, food, culture and community that seeks to reinvent what the cinema of the future could be.

Why is the reimagination of urban spaces valuable when it comes to championing the preservation of cultural heritage in Singapore?

We tend to see heritage and progress as opposing forces, but they don’t have to be. Reimagining spaces is a way to keep history relevant—adapting it, rather than preserving it in a vacuum. More importantly, it also represents an environmentally sustainable way of urban redevelopment in Singapore as opposed to a tabula rasa approach. There’s a lot of embodied carbon within each high-rise building.

What is one piece of advice you would give to women founders in Singapore?

Trust your gut and don’t wait for validation or perfect conditions to start. Most of the time, you won’t have all the answers or all the resources, but you’ll figure it out. Stay flexible, keep testing ideas and treat every misstep as valuable data. Most importantly, build a support system. This journey can be tough—you’re not meant to do it alone.