Transitional Spaces as an alternative for the Creation of Transparency effect in Malaysia by Andy Tee Qi Xuan

Transitional Spaces as an alternative for the Creation of

Transparency

Effect

in Malaysia

Andy Tee Qi Xuan

Dissertation submitted to the University of Sheffield for the Master in Architecture (M.Arch) Supervisor: Mark Meagher and Wen-Shao Chang

Sheffield School of Architecture(SSoA) , South Yorkshire. October 2018

Transitional Spaces as an alternative for the Creation of

Transparency

Effect

in Malaysia

Registration No: 170204260 Supervisor: Mark Meagher and Wen-Shao Chang Word Count:: 6301

Sheffield School of Architecture(SSoA) , South Yorkshire. October 2018 3

ACKNOWLEDGEMENTS I woukld like to thank Dr Mark Meagher and DrWen-Shao Chang for providing thier invaluble time, guidance and enthusiasm. To Abdul Azim bin Abd Rahman, for spending countless night together in library. To Nicole Ooi, for her unconditional support. Last but not least, I would extend my appreciation to my friends and family for their endless support along my endless architecture journey.

ACKNOWLEDGENENTS CONTENTS ABSTRACT INTRODUCTION Evaluation of Modernism in Southeast Asia Hard Edge versus Soft Edge

12 13

CHAPTER 1. DEFINITIONS Why Glass?

Defining Transparency The Importance of an alternative for the Creation of Transparency Effect in Malaysia

Transitional Spaces as an alternative for the Creation of Transparency Effect in Malaysia

Defining Transitional Spaces How does Transitional Space create the Transparency Effect?

20 26 32

40 48

CHAPTER 2. TYPES OF TRANSITIONAL SPACES Planar Transition. Horizontal Transition. Vertical Transition. The Combination of Planar, Horizontal and Vertical Transition.

CONCLUSION LIST OF ILLUSTRATIONS BIBLIOGRAPHY

59 69 79 87 98

Transition /tranˈzɪʃən/ noun: A passing or passage from one condition, action, or (rarely) place, to another; change. Transparency /trɑːnsˈparənsi/noun: a. Having the property of transmitting light, so as to render bodies lying beyond completely visible; that can be seen through; diaphanous. b. Frank, open, candid, ingenious.

(Oxford English Dictionary)

ABSTRACT Looking at most architecture development on the thresholds of a new millennium,introduction of irrelevant ethnic identity to transparent building faรงades which do not consider or appreciate particular climates, social factors as well as tropical contexts. The mainstream of building design among Malaysian architects was to be influenced heavily by the tenets of Modern architecture, as was their education and training. The primary reason is probably that lack of conceptual parameters in transparency and its application to the tropics. While transparency is often associated with clarity, clear or transmission of light, it is, more precisely, interpenetration without any optical destruction. The concept of transparency established by Colin Rowe and Robert Slutzky in 1955 demonstrated not only the implication of an optical characteristic but also spatial order. Nevertheless, in this paper will be risked in an attempt to investigate transitional space as an alternative in creating the transparency effect in Malaysia without over-reliance on diaphanous building material. To redefine, rethink and reconstruct the fundamental understanding of regional architecture, it makes a very significant contribution in developing an appropriate tropical language.

Responding to this absence, the research methods employed by this dissertation included a theoretical introduction to individual issues, case studies, and experimental exercise to discuss the interrelationship between transparency and transitional spaces, between architectural effect and element. The research

first defines the concept of transparency investigates the dominance of transparency as an architecture ideal in Modern Style. Secondly, the author raises relevant questions and offer essential answers to develop a touchstone of this idea into the future. The synthesis will create a framework to transfer the idea to the tropical architecture paradigm. Furthermore, analyse the implementation of transitional spaces within the tropical architecture in Malaysia by doing case studies. From this analysis, three broad types of transitions are elaborated: ‘Planar

Transition’, ‘Horizontal Transition’, ‘Vertical Tran-

sition’ and the combination of them. A set of strat-

egies will be defined and explored by parsing various attempts, discourses, approaches and design experimentation that have been practised by Malaysian architects and other implementers related to the respective types of transitional spaces. Through a series of collages and experimental drawings, it examines the impacts of such strategies to test the ideas of this research and draw a conclusion from it.

INTRODUCTION This dissertation aims to explore and to contextually integrate the concept of transparency in Malaysia’s tropical architecture. The foregoing discussion positioned itself as delivery of counterproposal of hermetically ‘glass box’ by fitting in the gap of literature and amplifying the existing architectural element in tropics. Research work has been carried out examining transitional spaces as an alternative to promote transparency. Evaluation of Modernism in Southeast Asia After the industrial revolution, the debate on modernity has been the contradiction between universal architectural style and the specific particularities of places and traditions.1 The homogenising effects or the threat of the old over the new have informed different discourses on values such as authenticity, regionalism or identity.2 In parallel, the history of Modern Movement architecture has been written from Eurocentric perspective although more profound studies on concepts such as hybrid or the otherness have recently promoted a nuanced analysis on design and politics beyond the Eurocentric framework. Similarly, the mAAN declaration (2001) stated that “Modern Asia has not developed in a vacuum but has evolved through sustained interactions with the West, which has had a constant presence in our collective consciousness.3 The history of modern ar-

1 ‘Docomomo Journal 57 Modern Southeast Asia’, 2017. 2 P. Ricoeur, Histoire et Vérité, (Paris: Seuil, 1955). 3 ‘Docomomo Journal 57 Modern Southeast Asia’.

4 S. Sopandi, A. Armand, Tropicality: Revisited, Jakarta (IMAJI, 2015). 5 Alexander Tzonis, Liane Lefaivre, and Bruno Stagno, Tropical Architecture: Critical Regionalism in the Age of Globalization (Academy Press). 6 Tay Kheng Soon, Line, Edge & Shade: The Search for a Design Language in Tropical Asia (Page One Publishing, 1997). 7 Alexander Tzonis, Liane Lefaivre, and Bruno Stagno, Tropical Architecture: Critical Regionalism in the Age of Globalization (Academy Press).

chitecture in Asia is the history of how Asians have become modern”.In postcolonial circumstances “the discourse on the tropics reached a pivotal point when it coincided with the success of the modern architecture turning global and adapting to suit all climate and cultures”.4 Hard Edge versus Soft Edge In an effort to understand tropical architecture in Southeast Asia, Tay Kheng Soon realised the universal box aesthetics of modern architecture with a weather-tight enclosed curtain wall system in the 19th century.5 The “scaleless bland box” aesthetic approach ought to different from regional architecture that celebrates a relatively high and even temperature with high rainfall and humidity throughout the year. He believes that “One of the principle issues of designing in the tropics is the discovery of a design language of line, edge, mesh and shade rather than an architecture of plane, solid, void, and massing.6 The prominent lines and edges of the building, the permeability and transparency, and strong shadows together as architectural regional expression can afford functional and forward-looking approach and avoid the standardizing effect of globalization.7

The aspects of climatic, socio and environmental could be integrated with the function and spatial effect to sustain the contextual relevancy and regional character. To create a transferrable reference for tropical architecture in Southeast Asia, I place my study geographically in the context of the capital city in Malaysia, Kuala Lumpur. Due to its multi-ethnic culture, Malaysia is a rich variety of rural and urban domestic architecture, moulded by the fusion of local traditions, colonial and foreign influences. However, local architects did not stand firm to preserve the legacy of this diverse regional heritage from the arrival of similar international culture in Southeast Asia. We will attempt the classify the various approaches towards answering the problem of overwhelming glass buildings all across Malaysia without concerning whether there was a conscious effort or not by the architects. To this end, the research questions as follows: Transitional Spaces as an alternative for the Creation of Transparency Effect in Malaysia.

Chapter 1

DEFINITIONS

No term is more important to modern architecture than â&#x20AC;&#x2DC;transparencyâ&#x20AC;&#x2122;. Hal Foster, 2008

WHY GLASS? Glass is an extraordinary material. It is the component of the dematerialized body of a building and use the open form in architecture.8 According to Author Korn, the magical “disappearance of the outside”9 reflects how a wall evolves from a barrier to vista. Furthermore, Scheerbart believed that glass will becomes the dominant material of future architecture and identified the importance of double wall that have been widely used as new building envelope.10 Concept of transparency and luminosity were often equated with enlightenment and was a catchword in modern culture.11 In this sense, transparency is familiar. No wonder we associate glass with transparency. It is worth to ask why have glazed façade been used extensively in international style buildings. To explain the dominance of transparency as an architecture ideal in Modern Style, it is essential to list down the advantages of glass architecture as below: 1. Daylighting The window opening is the discrete source of light flow. The struggle for the admission of daylight succeeded in spectacular ways at the beginning of the nineteenth century.12 Glass serves the purpose of maximizing natural lighting to the building’s interior by day as well as outwardly illuminating a building at night. Such material, however, is normally perceived in application as fully transparent, relying on surrounding environmental conditions and per20

8 Deborah Ascher-Barnstone, ‘Transparency’, Journal of Architectural Education, 2003. 9 Arthur Korn, Glass in Modern Architecture (Barrie & Rockliff, 1969). 10 Paul Scheerbart, Glass Architecture (Praeger, 1972). 11 Scott Murray, Contemporary Curtain Wall Architecture. 12 Walter Gropius, The New Architecture and The Bauhaus (Cambridge: MIT Press, 1965).

13 Richard Feynman, QED - The Strange Theory of Light and Matter (University of Auckland, 1979) <https://www.youtube. com/watch?v=kMSgE62S6oo&list=PL9xf0uhqCEi5nkXkA3DAAExdWqGNPGISl&index=2>. 14 David Button and Brian Pye.

spective. Following the material innovations in 21st century, the glass technology achieves the capability to explores â&#x20AC;&#x153;the truly strange behaviour of lightâ&#x20AC;?13 and creates infinite possibilities of application. Light becomes complicated, when reflection, refraction and diffusion enrich the visual experience of people. When the regular glass tends to oscillate in between transparency and reflectivity; the translucent glass, particularly rendered with a matte texture tends to oscillate in between translucent and opacity.14 Light transmission capacity establishes the relationship between materiality and degree of visibility.

2. New Architectural Skin The loading bearing wall of brick, stone have been the principal means of construction throughout history. By structural intervention, Le Corbusier introduced the idea of pilotis and free façade as structural intervention to overcome the limitation by replacing the solid bearing wall with structural frame.15 The post and lintel structure(Fig 1.1) free the wall from being load bearing. The architecture theme is no longer about well-proportioned open and enclosed are, positive and negative spaces, but the façade’s ability to

reflect and transmit the light.16 With the help of its diaphanous material quality, manipulating transparency of glass allows viewer to experience visual connection and physical separated simultaneously where the user can enjoy the maximum spatial efficiency with minimum wall thickness. The new aesthetics of crystal clear box sought to abolish the barriers between inside and outside and discard the conventional spatial organisation. 22

15 Scott Murray, Contemporary Curtain Wall Architecture. 16 Scott Murray, Translucent Building Skins: Material Innovations in Modern and Contemporary Architecture (Routledge, 201AD).

Fig. 1.1 Maison Domino, Perspece Drawing, Le Corbusier, 1914

17 Walter Gropius, The New Architecture and The Bauhaus (Cambridge: MIT Press, 1965). 18 David Button and Brian Pye. 19 Mike Davies and Richard Rogers, ‘A Wall for All Seasons’, RIBA Journal 88, 1981.

3. Ideal Internal Environment Speaking of a glass culture, the new glass environment will completely transform mankind with looking forward design. Walter Grophius described this phenomenon, writing that “as a direct result of growing preponderance of voids over solids, glass is assuming ab ever greater structural importance,” with the walls becoming “mere screens stretched between the upright columns of this framework to keep out rain, cold and noise”.17 Even in the hot climates where, the use of glass has better solar control to minimize heat gains, to reduce reliance on mechanical system, then to overcome overheating.18 Mike Davies and Richard Rogers contributed their vison to discuss the multi-layered ultrathin glass had the potential to become ‘a wall for all season’.19

Along with rapid development of glass technology, the new construction method succeeded to go beyond larger sheet sizes, span and improved quality. The application of glass in architecture continuously pushes the boundaries from small openings to entire diaphanous wall.20 Today, glass had become a mere membrane and had lost its constructional significance in architecture. Continual improvements to the manufacturing and refining process made glass architecture visionary. With the full liberation of glass from building structure, this dominant material bears the full environmental, cultural and contextual responsibility.21 Therefore, it is worth to step back and question has the glass technology been gone too far.

20 Paul Scheerbart. 21 David Button and Brian Pye.

Defining Transparency Along the evolution of transparency during these different movements, Shimmel25 suggests Transparency as a core topic remains consistent. However, its repetition is codified differently. Modernist designers and critics emphasized words like clarity, openness, rational, and transparent in discussing their fascination with the physical potential of glass. Post-modern discourse oriented the discussion of transparency away from the glass to conditions of translucency, opaqueness, and obscurity. Contemporary practice and discourse then assign words like blur, vagueness, and ambiguity in describing the current interest in the condition of translucency. Whereas transparency is characterized by visual openness and the direct transmission of light, different disciplines benefit from its potential: spatial, phenomenal and symbolic aspect. Thus, transparency cannot be simply understood as mere clarity and interpenetration without any optical destruction, as Colin Rowe and Robert Sluzky indicated in their book “Transparency: Literal and Phenomenal”: transparency makes the analogous classification of use and space possible.26

25 David Philip Shimmel, ‘Transparency in Theory, Discourse, and Practice of Landscape Architecture’, 2013. 26 Colin Rowe and Robert Slutzky, Transparency, 1963.

27 Colin Rowe and Robert Slutzky. 28 â&#x20AC;&#x2DC;Transparency II: Layering of Planes/Layering of Spacesâ&#x20AC;&#x2122;, 2011 <https://architecturality.wordpress.com/tag/ transparency/>.

Fig 1.7

Overlapping, layering and interpenetrating spaces, figure, and planes

According to Colin Rowe, phenomenal transparency is curated through overlapping, layering and interpenetrating spaces, figure, and planes that produce spatial ambiguity27(Fig 1.7). The layering creates tensions and enables multiple interpretations as well as thus visual complexity. Transparency in spatial organisation activates and involves since it invites the fluctuation of multiples reading and suggests individual interpretation.28 Spatial transparency as an organization of form produce as well as it allows for ambiguity and ambivalence. A sequence of continuous of architectural elements includes: floor, ceiling, wall, material and surface, openings form the spatial organization which potential lead to spatial transparency. 27

Fig 1.8 + Fig 1.9

The reality of Deep Space

Volumetric structure creates a meeting point for interior and exterior space and allow for infinite intersection zones that can be perceived horizontally in every possible connection29 (Fig 1.8 and Fig 1.9). By seeking the common ground of one space to another while shelving difference, the spatial zones become distinguished but staggered. Besides, transparency tends

29 Bernard Hoesli, Commentary of Transparency (Zurich: BirkhĂ¤user Architecture, 1968)

Fig 1.10 Gherkin Tower

30 Peter Hyatt; Jennifer Hyatt, Great Glass Buildings: 50 Modern Classics (Mulgrave, Vic. : Images Pub). 31 Alejandro Beals, ‘BLURRING BOUNDARIES-STRATEGIES FOR THE CREATION OF AMBIGUITY IN ARCHITECTURE’ (Royal College of Art, London, 2012).

to convey a message of Modernity by symbolizing a well-developed city. Referring to the egg shape of Gherkin Tower (Fig 1.10) that symbolizes perfection and absolute, transparent façade design is other than inviting the natural sunlight to celebrate the interior with users, but it also becomes a model of democracy, accessibility and sustainability.30 It is clear to identify the importance of symbolic transparency to create a deliberately iconic building. symbolism and symbol of the capital. Transparency arises wherever there are locations in space which can be assigned to two or more systems; one of the systems could be when the classification is undefined and another system whereby a space is defined and another remain opens. Thus, transparency is an attribute that involves not only eyes but mind which allow spectator to perceive space with perception and user to encounter spatial experience.31 However, because the interest of transparency in architecture has been for most of the last century concentrated on glass as literal transparency, the possible alternative of creating transparency are not well defined. If this section offered an insight into what transparency is, how it works and how we can interpret the concept from different aspects, the following chapter then identify the gap of literature and further fill the void with alternative architectural strategies. 29

Modernity has been haunted, as we know very well, by a myth of transparency. Anthony Vidler, 2013

THE IMPORTANT OF AN ALTERNATIVE TO THE CREATION OF TRANSPARENCY EFFECT IN TROPICAL ARCHITECTURE In the tropics, traditional buildings(Fig 1.2) were heterogeneous in their composition with many distinctive features together responding to the different climatic aspect, such as keeping the rain out, trapping the breeze, while keeping usable space shaded.22 Modernism reversed this by applying the utilization of single material to prolong the lifespan of a building. Modern Style rejected distinctive features when took simplicity, purism and universality of form as a new aesthetic. Pursuing the modernist motto “A house is a machine for living in”, architects of time believed function and technology would transform society and enhance the standards of living for all people. Thus, a hermetically sealed container is formed when the moment “weatherproofing” replaced “weathering”.

Therefore, this research initiates to argue that spaces in-between can be used as an architectural element, blurring the boundaries between inside and outside then creating the transparency effect(Fig 1.3).

22 Alexander Tzonis, Liane Lefaivre, and Bruno Stagno. Malaysia.

Fig 1.2 (Left) Traditional Malay House with many distictive features

Fig 1.3 (Right) Interrelationship between transparency, transitional space and blurring boudaries between inside and outside

Space in-between has the potential to revolutionise tropical architecture and finally provide an alternative to the monopoly of “glass box” since most of the architectural developments in Malaysia are seen as not being practised as it should have. To highlight the relevance of this research, it is possible to itemised these problems as below: 1. Misinterpretation of Transparency as Concept The concept of transparency has been misunderstood in Malaysia since we adopted modern architecture. Local architects and academicians did not study the root of modernism philosophy thoroughly.23 Due to its transparency, glass in design meets today’s generation’s desire for more openness by blurring the boundaries between interior and exterior. However, it is necessary to take environmental, social and climatic aspect into consideration rather than duplicate the design mindlessly.

23 Professor Dr. Mohamad Tajuddin M. Rasdi and Nor Hayati Hussain, ‘NATIONAL IDENTITY AND THE ARCHITECTURE OF MALAYAN ARCHITECT CO-PARTNERSHIP’, Universiti Teknologi Malaysia.

Fig 1.4

Damansara Oval located in Kuala Lumpur with full glazing wall without any shading device

24 Hal Foster, â&#x20AC;&#x2DC;The ABCs of Contemporary Designâ&#x20AC;&#x2122;, The MIT Press, 2008.

Fig 1.5

2. Excessive Dependence on Glass as Literal Transparency It is understandable that commercial pressures tend to focus architecture design as a product on affordable and short-term solution. It explained why there are continuing mindless developments that only aimed for profit, quantity and higher plot ratio. Hal Foster discussed how glass architecture is just like jewel box or an illuminated sculpture, can be decorative to the extent of commodity. 24 There is an enormous potential to replace glass into alternative building materials without tolerance of real or phenomenal transparency in tropical architecture. We should take advantage of tropical conditions such as passive design to further elaborate and contextualise the concept of transparency in Malaysia.

Glass Builing as UOA Damansara Parcels in Kuala Lumpur

3. Limited Exploration of Phenomenal Transparency The enclosed glass facade as envelop of building in the tropical country leads to the greenhouse effect and less energy-efficiency. The unbalance emphasis on real transparency compared to phenomenal transparency explained why the criticisms about transparency are seemed very superficial. Fig 1.6

The architectural crisis in Malaysia motivates me to go beyond the existing studies concerning just as Eurocentric perspective but to serve as a climate and culture responsive concept of transparency in tropical architecture. Therefore, I see the academics, professionals and end users of tropical design as my targeted and potential audience at the end of this research. Initiating this discussion of transparency from tropical architecture perspective will also open up a new horizon for stakeholders to pursue the concept of transparency as the paradigm in Malaysia progressively.

Glass Building Project, Menara Paw Har in Kuala Lumpur

If space does not have boundaries, do things then extend infinitely? Bernard Tschumi, 1975

TRANSITIONAL SPACES AS AN ALTERNATIVE TO THE CREATION OF TRANSPARENCY EFFECT IN MALAYSIA Defining Transitional Spaces In Malaysia, transitional space is not a strange architectural element, in more precisely, it is long-established. By tracking the trail of traditional vernacular Malay house32, the ‘serambi’ (Fig 1.11) which, for a localised term in Malay, we will call a hanging veranda, was invented to connect the outside tropics with the inside core spaces. A highly multifunctional space, the veranda used to attach to frontal entrance porch and to lead the guest to the living room33. The projecting overhang and shaded deck is an expression of celebration of tropical climate and surrounding context. More than just circulation, the long timber floor space was the place for leisure activity and seated work, but ‘serambi’ was where the guest would be entertained 34 . If we imagine the space behind the wall as the interior, see the space beyond the low timber railing as the exterior, then what will space in-between be? It is transitional space which plays a role as a joint between exposure and enclosure.35

32 Chen Voon Fee, The Encyclopedia of Malaysia Architecture (Kuala Lumpur,Malaysia: Editions Didier Millet, 1998). 33 Richard Hyde, Climate Responsive Design: A Study of Buildings in Moderate and Hot Humid Climates (Taylor & Francis, 2000). 34 Chen Voon Fee. 35 Simon Unwin, Analysing Architecture (London,UK: Routledge, 2014).

Fig 1.11 ‘Serambi’ as Space In-Between in Traditional Malay House

If one ever describes architecture is a journey that forms by a sequence of enclosures, then itâ&#x20AC;&#x2122;s appropriate to say transition is the gap between one space to another. Bernard Tschumi suggested spatial sequence between gap and enclosure form special series, either coordinated or rhythmical.36 In this manner, we might encounter the end of a use in space links immediately to the beginning of another in a further space. Transitional space as space in-between was wedged between the clear-cut spaces.(Figure 1.13)One might see a place tend to be temporary â&#x20AC;&#x201C; a path, a corridor. These may be considered as dynamic spaces which implies movement.37 Then the enclosure as permanent space that linked by dynamic spaces tends to be called static space.38 Terrace, patio, courtyard, foyer and more transitional spaces often allow people to pass by. In this way, transitional spaces which placed in between inside and outside inherit the spatial quality of static and dynamic at the same time. It affirms the important role in shaping dramatic experience in our architecture world.

36 Bernard Tschumi, Architecture and Disjunction (United States of America: MIT Press, 1996). 37 Simon Unwin. 38 Simon Unwin. 39 ZHANG QIN ZHE, Philip Johnson (Paperback), 1991. 40 House Tour | A Philip Johnson Guesthouse (TSingapore) <https:// www.youtube.com/ watch?v=w_TuOXvZZks>.

Fig 1.13 The spatial quality of static and dynamic of Transitional Space in Rockefeller Guest House

Fig 1.12 Internal Courtyard as Transitional Space in Rockefeller Guest House

For example, Philips Johnson designed an internal courtyard (Fig 1.12) to terminate the living room from stretching far back to entrance and articulated the courtyard with stepping stones on the reflective shallow pool.39 Such space raised the visitorâ&#x20AC;&#x2122;s awareness of the following sleeping area and also slow down their paces to avoid falling into the pool.40 (Fig 1.13)

Through space division, transition, therefore, is an interface between the public and the private, between formal and informal spaces.41 Investigation of transitional space or threshold leads into few in-between theories. Sou Fojimoto argued that space in-between (Fig 1.14) bridges two opposite elements: nature versus architecture, inside versus outside, complexity versus simplicity, and creates a sense of togetherness from both oppositions.42

41 Simon Unwin. 42 Simon Knott, ‘Sou Fujimoto: The Spaces in-Between’, Architecture Australia <https://architectureau.com/articles/ sou-fujimoto-the-spaces-in-between/>. 43 DEMERIJN, ‘ALDO VAN EYCK AND THE CITY AS PLAYGROUND’, 2013 <https://merijnoudenampsen. org/2013/03/27/aldovan-eyck-and-the-cityas-playground/>. 44 D. Kollarova A. Van Lingen, Aldo Van Eyck Seventeen Playgrounds (Lecturis, 2016).

Apart from the binary opposition, such in-between spaces have the effect of softening the edges, dissolving the barrier, and breaking the planes between inside and outside. Aldo van Eyck discussed that playground as interstitial space (Fig 1.15) or ‘in-between’ manifests the combination between “place” and “occasion” and aims at interaction with the surrounding urban tissue.43

Fig 1.14 Sou Fujimoto for Serpentine Gallery

Fig 1.15 Playground as Interstitial space in the city, Aldo van Eyck

He further elaborated the idea of space in-between in a public setting helps building the relationship between body and urban environment which people is open to interpret a subjective sense of place.44

Two worlds clashing, no space in-between. The subtleness in the transition took the subject to another dimension by breaking off the drastic contrast or abrupt changes between two extremes. From there, the ‘break’ space arises.45 The tension between internal and external space creates atmosphere. Peter Zumthor described how threshold can constitute an unbelievable feeling of concentration to raise the awareness of place to users.46

45 Donaldson, Megan, ‘The “break” Space : Psychological Relief in Architectural Transitional Spaces’ (Unitec Institute of Technology) <https://hdl.handle. net/10652/2579>. 46 Peter Zumthor, Atmospheres (Birkhäuser Architecture, 2006). 47 Christopher Muscato, ‘What Is a Vestibule in Architecture?’ <https:// study.com/academy/ lesson/what-is-a-vestibule-in-architecture. html>.

Fig 1.16 Vestibule in Ancient Roman domestic architecture

For example, the Ancient Roman domestic architecture began with a vestibule (Fig 1.16), a small, lobby-like room that connected to the main interior with the entryway and welcome the family member back to home.47 The articulation of transitional spaces in residential house defined a social space to biologically promote sense of belongingness and intimacy.

In the time of Ancient Greek, the low ceiling enclosed vestibule, so called ‘Pronaos’ (Fig 1.17) in temple works as the ‘break’ spaces to block the view from outside then psychologically create the suspension effect before exposed to high ceiling open sanctuary.48

Fig 1.17 ‘Pronaos’ as vestibule

48 Christopher Muscato. 49 Simon Unwin.

More than just a path for user to pass through, transitional space is a place of occupation.49 The space in-between can be designed as a gentle pause in a continuous state of flux for user to carry on the following space after taking a short break. Thus, transition or threshold offers more than just spatial continuity but constructs a buffer between one place to another to prevent harsh division between inside and outside. The ‘break’ space connects two individual systems without destruction and form a whole organisation just as the metaphor of ‘neck’ - joining the head and torso. Human body experience transitions so frequent to the extent we are not even aware of its existence and impact. Transitional space envisions how these underestimated spatial features can be amplified and further developed in the manifestation of transparency.

HOW DOES TRANSITIONAL SPACE CREATE TRANSPARENCY EFFECT? Every building establishes two zones concurrently: inside and outside.50 If we consider architecture is more than designing a container to accommodate a program, then the relationship between inner space and outside world need first to be defined. The correlation between inside and outside is dynamic: contrary but complementary, independent but interconnected. The indispensable duality of internal and external spaces is fundamental feature of existence, and it denies the absoluteness and solitary of one ‘part’ but emphasizes on a ‘whole’. Since the barriers between inside and outside is not invulnerable, the dividing line between two or more spaces can be softened through blurring the boundaries.51 In this way, the ‘space in–between’ as an intermediate space appears between these two opposite extremes. When the boundaries become blurred, the attention shifted from object to perception and experience.52 Architecture is a thinker’s intention, maker’s expression and user’s experience. But how transitional spaces acts as a ‘break’ space to harmonize the changeover and manifests transparency? If superimposition, inner and outer connections, spatial continuity and inclusive interiority, are the characteristics of transparency in architecture, so can space in-between that shares similar characteristics promote transparency effect? To discuss the interrelationship 48

50 Mojtaba Parsaee, Mohammad Parva , Bagher Karimi, ‘Space and Place Concepts Analysis Based on Semiology Approach in Residential Architecture The Case Study of Traditional City of Bushehr, Iran’, HBRC Journal, 2014 <http:// ees.elsevier.com/hbrcj>. 51 Alejandro Beals. 52 Alejandro Beals.

53 Simon Unwin. 54 Richard Hyde.

between transparency and transitional space, we can consider that there are no fewer than three different components to dissolving the barriers to strengthen the relationship between spectator and user, between nature and mankind, as well as, between habitat and inhabitant. Between Spectator and User Similar to glass faรงade building, transitional space dissolves the exterior architecture skin and offers high degree visual accessibility for both outside spectator and interior user. Looking at the social dimension, the space in-between serves as a transformation between private and public zones as well as contributes a temporary space that can be occupied by user all the time.53 The flexibility and multipurpose-use of transition has the capacity to cater informal activities, occasions, or events which lead to high level of social interaction rather than focusing on individual spaces as an isolated entity.54 From there, an inclusive space such as foyer, terrace and corridor become extension of internal core space allow neighbourhood to embrace sense of place, security and identity without feeling alienated. The openness and exposure to the surrounding community stimulate more personalized and intimate socio-climatic spaces which manifest liberty and democracy.

Between Nature and Mankind From the view of environmental dimension, transitional space tends to soften the sharp edges between interior and outside nature then turns into semi-open spaces such as courtyard, five-foot way. In Malaysia, Chinese courtyard shophouse (Fig 1.18) is usually equipped with airwell as open-to-sky concept to reduce overheating during day time and to increase cooling of the narrow, long building.

55 Joo-Hwa Bay and Boon Lay Ong, Tropical Sustainable Architectureâ&#x20AC;Ż: Social and Environmental Dimensions (Architectural Press; 1 edition, 2006). 56 Pepin Van Roojen Ken Yeang, The Architecture of Malaysia (Amsterdam, The Netherlands: The Pepin Press, 1992). 57 Ken Yeang, The Skyscraper Bioclimatically Considered (London,UK: Academic Editions, 1996).

Fig 1.18 Section of Chinese Shophouse in Malaysia

Blurring the boundaries between nature and mankind gives more impact in high rise setting. For example, Ken Yeang integrated skycourt with vertical landscaping to recreate the ground condition in the sky.57

58 Ken Yeang, Reinventing the Skyscraper: A Vertical Theory of Urban Design (Great Britain: Wiley-Academy, 2002).

Fig 1.19 Conceptual drawing of Plaza Atrium in Kuala Lumpur, Ken Yeang

Opposite to living in limbo, one will have a sense of time, access to vista and recognise the changes of weather condition, when the outside nature is invited through transitional space.58 The idea of borrowing the elements from outside bring the human body accessible to nature even if they are situated off-ground (Fig 1.19). The opening up of nature within indoor spaces allows for free-flowing landscape element that provide daylight and natural ventilation.

Between Habitat and Inhabitant In a structure characteristic of Le Corbusier, the interpenetration between multiple horizontal layers and so-called â&#x20AC;&#x2DC;verticalityâ&#x20AC;&#x2122; volumetric space has the spatial effect to generate ambiguous spatial relationship59, thus acquires new meaning when seen through the concept of transparency. The continuous flow of two or more spaces encourages multiple interpretations of intersecting zones the through a common expanse air.60 For instance, the upper level corridor that sets back form the building faĂ§ade diminishes the barrier between separated levels and unifies with the living room below. The volumetric spaces as a transitional space to the elevated corridor creates a fusion between two differentiated spatial zones and permits flexibility within a formal arrangement.61 The emphasis of interconnections between the parts of a whole spatial system allows transition to provides spatial continuity and absorbs contradiction. It is obvious that there is increasing diversity in the needs of users when the articulation of architecture spaces of spatial programmes become one of concerns to the designer, where it is against universality, generality and the reduction of living phenomena.62 There is the common ground when transparency is imposed to order and choice of freedom simultaneously. 52

59 Bernard Hoesli. 60 Bernard Hoesli. 61 Colin Rowe and Robert Slutzky. 62 Ken Yeang, Reinventing the Skyscraper: A Vertical Theory of Urban Design.

Chapter 2

TYPES OF TRANSITIONAL SPACES

PLANAR TRANSITION The Bamboo PlayHouse

Fig 2.1 Semi-Indoor Space of Bamboo Playhouse

PLANAR TRANSITION Aim: In this case study, the demonstration of planar transition will examine how the fragmentation of surface into repetitive elements can promote transparency without losing the essence of two-dimensional surface and transitional space.

Located in the heart of Kuala Lumpur, there is a bamboo playhouse (Fig. 2.2) waiting to be discovered in the capital city’s oldest and picturesque park - Perdana Botanical Garden. The playhouse is situated on a small island in a lake (Fig. 2.3) for events, exhibition and performance purposes. Malaysian architect Eleena Jamil took a sustainable approach and fully utilised the potential of bamboo as primary building materials in this particular contemporary project. Inspiration for the playhouse stems from traditional vernacular structures called the ‘wakaf ’ which are originally found in villages or ‘kampungs’.63 These open structures become a place for locals and tourists to play and to rest.

63 The Bamboo Playhouse / Eleena Jamil Architect, Archdaily, 2015 <https://www.archdaily. com/777325/the-bamboo-playhouse-eleena-jamil-architect>.

Transparency Strategy 1.Disaggregation 2.Repetition 3.Closeness 4.Rhythm

Fig. 2.2 Cluster organisation of Bamboo Pavilion From Roof Plan

Fig. 2.3 View taken from Opposite River Bank

The bamboo pavilion is placed on slim stilts to minimize footprint along the edge of lake thus maximizing the retention of existing vegetation. So far from applying human ergonomics discipline, the repetitive lines with different lengths suggest different human activities and enhance userâ&#x20AC;&#x2122;s involvement between manmade and nature.

Fig. 2.4 Stilts Structures

Fig. 2.5 Fragmentation of Plane into Different Lengths of Elements

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Fig. 2.6 (top) Breaking the Plane Diagram Fig. 2.7 (right) Virtual Boundaries formed by Repetitive Elements

64 Bernard Hoesli.

The idea of breaking the plane took an alternative approach to create spatial ambiguity by blending in the surrounding context instead of setting up a frame to lock the nature up. By means of spatial ambiguity64, a forest of columns in the foreground, shaded deck in the middleground and garden as background interweave recur, circling around each other to blur the boundaries between the inner world and outside nature. 61

The repetitive bamboo columns provide support for an overhead plane and form a three-dimensional structural frame for architectural space. At this point, can a tranparent building entirely formed by transitional spaces promote transparency and destroy the distinction between inside and outside?

Fig. 2.8 Transitional spaces as a Joint between Exposure and Enclosure

Fig. 2.9 Inside, Outside or Space In-Between?

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Fig. 2.10 Spatial Continuity between Inner Landscape and Outer Nature

The centroid of individual pavilions acts as a point indicating a position on site and it extended becomes a line to address a direction for usersâ&#x20AC;&#x2122; movement from one point to another. The idea of free space with no beginning and no end, while each deck that surrounded by a fence keep the space free from modifications and create a soft filter from the inside to the outside of the environment. Fig. 2.11 Soft Filter Diagram

Manipulating the bamboo that generally equivalent in size, shape, colour and texture, the clustered pavilions are visually ordered into a coherent and non-hierarchical organisation.65 While the principle of repetition utilizes the closeness and similar visual characteristics

65 Francis D. K. Ching, Architecture: Form, Space, and Order (John Wiley & Sons, 2007).

Fig. 2.12 Visual Complexity led by Overlapping of Layers

of structural elements, a series of parallel lines establish a transparent spatial membrane and convey a sense of enclosure with high visual complexity. The edges of the space are visually reinforced by articulating the staggered decks and establishing the pavilionsâ&#x20AC;&#x2122; upper limits with an overhead plane. This case study successfully demonstrates how the creation of transparency can be achieved in fragmentation of two dimensional surface that manifests planar transition, while the repetition, rhythm and material of linear elements all reaffirm the same dimension.

Fig. 2.13 (right) The Pavilionâ&#x20AC;&#x2122;s Upper Limit with an Overhead Plane

HORIZONTAL TRANSITION 67 tempinis

Fig 2.14 Interior of Wall-less House

HORIZONTAL TRANSITION Aim: In this case study, the demonstration of horizontal transition will examine how the spatial layers, spatial sequence and displacement of boundary can promote transparency and suggest movement with transitional spaces.

The observer will recognise the feature of this architecture studio-based residenceâ&#x20AC;&#x2122;s frontage - a tree that allocated in the middle of entry and divided the car porch into two. Just as the visual presentation of collage, the tree as a frontally displayed object, car porch as transitions in the middle grounds and brick wall faĂ§ade as rear plane determines irregularities penetrate and overlap. The following entrance draws a clear limit between inside and outside by setting the internal spaces apart from the rest of the world.

Transparency Strategy 1. Sequence 2. Displacement 3. Layeredness

Fig. 2.15 Tree as Frontally Displayed Object

Fig. 2.16 Car Porch in the Middleground

Fig. 2.17 The Entrance

In contrast to the opacity of entrance, the spatial sequence contracts and expands, running through the entrance, shallow pool, cover walkway, foyer, living room and backyard at one fling. From there, wall-less, free-flowing space and slim steel structures harmonize in the entry composition of planes, patterns and textures.66

66 Paul Mcgillick, 25 Tropical Houses in Singapore and Malaysia (Singapore: Periplus Editions).

Fig. 2.21 Backyard

Fig. 2.18 Shallow Pool

Fig. 2.19 Cover walkway with Internal Courtyard

Fig. 2.20 Living Area after Foyer

67 Paul Mcgillick.

Fig. 2.21 (upper left) Diminishing the distinction between indoor and outside, one space to another

The ground floor spaces are mainly formed by transitions. The boundaries of interior spaces can be differentiated by different floor pattern, texture and materials; however, the dominance of transition spaces along the main axis weaken the sense of space containment. In this way, the house which remains unfinished: it constantly evolves, forever open to re-configuration and new program.67 Fig. 2.22 (bottom left) Displacement of internal boundary creates space in-between and promotes spatial transparency.

Fig. 2.23 (right) Minimal barrier or wall between inside and outside forms continous spatial sequences and promotes linear movement.

The wall-less layout gives rise to transparent organizations of form which indicate spatial transitions and announce the existence of possible directions for horizontal movement or make the body clearly visible and available to choose. The reduction of space-defining elements on horizontality and the diluting of spatial borders between inside and outside encourage literal transparency.68 On the other hand, the doorway to the open-air downstairs bathroom is clearly signposted.

68 Colin Rowe and Robert Slutzky.

Fig. 2.24 Freedom of choices in Movement and Activity

Fig. 2.25 The toilet is located in the end of corridor.

69 Paul Mcgillick.

The toilet is a small concession to privacy in the otherwise completely open house.69Â

70 â&#x20AC;&#x2DC;Transparency II: Layering of Planes/Layering of Spacesâ&#x20AC;&#x2122;.

Despite this, the respective functions of every space no longer physically define the spaces themselves but it is defined by ongoing occasion and activities. An uninterrupted connection between open, semi-open and well-defined indoor spaces suggests viewer the possible reading of one linear space as a whole instead of concentrating on individual spaces. Transparency arises when multiple spatial layers overlapping each other.70 It is true that transitional spaces with minimal barriers hover in continuous space, advancing and retreating between served and servant spaces but where the spatial relationship nevertheless remain clear readable.

Fig. 2.26 (left) An Uninterrupted Connection Between Organic and Inorganic

Fig. 2.27 (right) Spatial sequence and multiple spatial layers reinforce the axis of house.

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VERTICAL TRANSITION Menara Mesiniaga

Fig. 2.28 Pure Cylinder Form as a Whole

VERTICAL TRANSITION Aim: In this case study, the demonstration of vertical transition will examine how the subtraction of form and interpenetration between multiple horizontal slabs and verticality can promote transparency with volumetric transitional spaces.

71 Robert Powell, Rethinking the Skyscraper: The Complete Architecture of Ken Yeang (London,UK: Thames & Hudson, 1999). 72 Ken Yeang, The Skyscraper Bioclimatically Considered. 73 Colin Rowe and Robert Slutzky.

The circular building functions as a high-tech corporate showcase and consists of three four architectural features: a sloping landscaping base, a cylindrical form with skycourts, external louvres as shading device and rooftop recreational facilities. Opposite to hard edge aesthetic, Ken Yeang softened the edges of the building with interstitial spaces and outlined the appearance of the high-rise with tubular-steel structure. On the first examination, a series of triple-story skycourts appears to contradict the silhouette of this circular solid form then went opposite to the observerâ&#x20AC;&#x2122;s anticipation and achieve visual complexity by subtracting the main body of building. Through superimposition, the steel structure further reinforces the presence of multiple large three-dimensional spaces behind outer layers and creates depth of space.

Fig. 2.29 Irregular Recessions as Transitional Spaces

Transparency Strategy 1. Subtraction 2. Superimposition 3. Interpenetration

Fig. 2.30 Superimposition between layers creates depth of space.

Fig. 2.31 Skycourt as an Extention of internal space.

Fig. 2.32 Recreation of ground condition in the sky with Skycourt 74 Ken Yeang, Reinventing the Skyscraper: A Vertical Theory of Urban Design. 75 Ken Yeang, Reinventing the Skyscraper: A Vertical Theory of Urban Design.

Attempt to depart form a hermetically sealed glass box resulted in adding layers of transitional spaces between the interior and exterior of the skyscraper. The introduction of vertical landscaping blurs the boundaries between the organic and inorganic components through juxtaposition and integration.74 The common social dilemma of inhabitants in high rise setting is lack of social interaction opportunity which leads to isolation and the increasing sense of alienation.75 As a ‘break’ space, transitional spaces also endeavour to create a buffer zone between public and private to support non-work-relate uses such as relaxation for social stimulation. Transparency arises when the fusion of functional use between regularity and diversity establish multiple readings of potential spatial relationship.76 For example, the executives can personalize skycourts that located as a private terrace and convert them into executive pantries, washroom and exclusive garden.77 82

76 ‘Transparency II: Layering of Planes/Layering of Spaces’. 77 Ken Yeang, The Skyscraper Bioclimatically Considered.

Fig. 2.33 Multiple Horizontal Slabs interpenetrated by Volumetric Skycourt

The celebration of landscaping went beyond the sloping base, spiralling up to the outer skin of building and form deep inset transition with â&#x20AC;&#x2DC;a piece of landâ&#x20AC;&#x2122; in the sky. The broken-up massing reduces the opacity of building appearance and introduces vegetation into permeable spaces. In this case, space in-between such as skycourt in the offices not only creates access to the landscape in the air but also emerges a sense of enclosure, concealment and visual surveillance by blurring the visual barrier between employer and staffs.78

Fig 2.34 (left) The outline of tubular -steel-structure draws a virtual boundary as a internal limit. Fig 2.35 (top) Transitional spaces in the sky introduce vertical landscaping and create a transparent relationship between nature and mankind. 78 Ken Yeang, The Skyscraper Bioclimatically Considered.

Fig. 2.36 (right) Multipurpose Stepping Skycourt

79 Francis D. K. Ching.

However, the nature of space in-between was not restricted by the introverted scheme, as visual continuity is maintained and only spatial continuity is interrupted79 when the volumetric vertical transitional spaces interpenetrate with horizontal slabs.

THE COMBINATION OF PLANAR, HORIZONTAL AND VERTICAL TRANSITIONS Fig. 2.37 Street View of PAM Centre

Bangsar PAM Centre 87

THE COMBINATION OF PLANAR, HORIZONAL AND VERTICAL TRANSITIONS Aim: While combinations are limitless, this case study will demonstrate one of the hybrids between three types of transitions that have been explored so far to promote transparency effect.

With the intention of developing a new centre of architecture, Mohd Heikal bin Hasan of HMA & Associates came up with a climatic-responsive design with tropical design language in this liner, narrow site. The centre functions as a meeting point for architects, artists and public to exchange idea and run exhibitions. This four-story building consists of four main elements: the space in-between, the stairs, the shield and the screen.80 Through fragmentation of the plane, the cell-like facade with abundant primary element outlines the rectangular building form and unifies the appearance with the closeness of repetitive geometry.

80 â&#x20AC;&#x2DC;PAM Centre: The Space Betweenâ&#x20AC;&#x2122;, INDESIGNLIVE.SG <https:// www.indesignlive.sg/ projects/the-space-between>.

Fig. 2.38 Transparent Frontality

Instead of a solid enclosed blank box, the faรงade dissolves and soften the edges between street and building itself, between spectator and user.

Fig. 2.39 Depth of Space created by Deep Transitional Space

Disaggregation of two-dimensional surface as planar transition establishes a transparent relationship to the public when the outside observer can connect and find out the ongoing activity inside the building. The external egg crate louvre device appears as a breathable skin, not only provide high visual accessibility while permitting the circulation of airflow and natural daylight into the interior spaces. Evaluation of Modernism in Southeast Asia After the industrial revolution, the debate on modernity has been the contradiction between universal architectural style and the specific particularities of places and traditions.1 The homogenising effects or the threat of the old over the new have informed different discourses on values such as authenticity, regionalism or identity.2 In parallel, the history of Modern Movement architecture has been written from Eurocentric perspective although more profound studies on concepts such as hybrid or the otherness have recently promoted a nuanced analysis on design and politics beyond the Eurocentric framework. Similarly, the mAAN declaration (2001) stated that â&#x20AC;&#x153;Modern Asia has not developed in a vacuum but has evolved through sustained interactions with the West, which has had a constant presence in our collective consciousness.3 The history of modern architecture in Asia is the history of how Asians 90

Fig. 2.40 Porous Facade with Stepping Atrium

Fig. 2.41 Overlapping of Internal Space

81 Colin Rowe and Robert Slutzky.

Recognizing the screen, the observers become aware that transparency is created not through the big area of window shutter, but the presence of spatial stratification between the porous faรงade, diagonally stacked transition and deep core spaces without any optical destruction. Transparency arises when there is a freedom of choice for user to decide the path to walk through the spatial sequence.81 The stepping transitional spaces suggest a channelling of intersected space in horizontal and vertical direction.

Fig. 2.31 (right) Multipurpose Stepping Skycourt

The stepping transitional spaces suggest a channelling of intersected space in horizontal and vertical direction. The spatial zones are distinguished but interconnected when the space in-between below stretches and overlaps with the upper space. Due to assimilation of spatial quality, one tends to feel sense of involvement and encounter spatial transparency in the atrium even if they are in different levels.

Fig. 2.42 Sectional Drawing of Multipurpose Stepping Atrium

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Fig. 2.43 Superimposition between Horizontal Slabs and Volumteric Atrium

The connection between stepping atriums in different floor levels through a common expanse of air gives an impact to the observer with the depth of space but also create ambiguous spatial relationship. The atrium, which adopted the static and dynamic spatial quality and fuses with other spaces, creates multiple readings of spatial grouping.

Fig. 2.44 Stepping Atrium

Fig. 2.45 (right) Single Straight Flight of Stair with Air Wells

The single straight flight of stairs interpenetrates multiple floor levels and breaks the barrier between horizontal slabs. The celebration of movement ties the bottom and upper together offers a spatial continuity with a few air wells along the stairs. Through subtraction, air wells as vertical transition generate volumetric void to open up to the sky and connect the internal world. Through the examination, the combinations of different type of transitions will highlight the consistency of operation and promote transparency.

CONCLUSION This research considers transitional spaces as an instrument of design, as a technique for creating transparency effect and harmonizing the relationship between two oppositions. The dualistic concept of space in-between creates a new understanding and reconstruct the potential relationship between transitional spaces and transparency. It is clear that the characteristic of space in-between is opposite to sharpness, exclusiveness, permanence and stationary. In fact, transition introduces a gentle pause, promotes inclusiveness, embraces transformation, and remains unfixed. Thus transitional spaces create a transparent organization of spaces to absorb contradiction. Transitions in architecture can promote different kinds of transparency and shift the focus from superficiality of the material surface to the user’s experience. From there, the study of transitional spaces will be an input for the essence but not only appearance in the concept of transparency. However, the work of research was structured in sequence to focus on the logical progression. It explains why the scope was underestimated due to the nature of investigation. In the early stage, setting up a domain direction between ‘transparency’ and ‘transition’ was a struggle. Then this research moved forward and focused on different types of transition. By taking holistic approach, further work should consid96

er the application of each type of transition on different building use and city scale. The research process will be more engaging and comprehensive if different local architectâ&#x20AC;&#x2122;s interpretations of the idea in their term and project can be elicited through in-depth interview. The attention of the research on regional architecture in tropics can also be shifted to temperate zone or different geographical contexts with climatic or seasonal changes. It would seem that transitional spaces would be a reference for tropical design paradigm and an instrument of design. Today, the rapid development of technology and techniques has allowed architecture to liberate itself from materials and places. This phenomenon caused the monopoly of glass architecture and overwhelming identical building across the world. Architects tend to look for the simplest, least time-consuming answer to instead of pursuing an appropriate solution to fulfil the need and desire of human. Not every problem needs a high-tech solution. Just as what this paper discussed, architecture design should be driven by the content but not form, the essence of the concept but not appearance. Instead of regression with poor copy or mindless imitation from the work, architects should posit themselves to rethink, to reconstruct and redefine the fundamental of architecture for the advancement of new architecure in tropics. 97

LIST OF ILLUSTRATIONS Figure 1.1 Maison Domino,Perspective Drawing,Le Corbusier, 1914 .https://www.architectural-review.com/Pictures/web/m/x/p/DominoHouseCro_635.jpg Figure 1.2 Tranitional Malay House with many distictive features. https://tse1.mm.bing. net/th?id=OIP.n2vmDZ6eokJ_4-8OYDNNawHaEr&pid=Api Figure 1.3 Interrelationship between transparency, transitional space and blurring boudaries between inside and outside - By Author Figure 1.4 Damansara Oval located in Kuala Lumpur with full glazing wall without any shading device. https://ovaldamansara.files.wordpress.com/2012/11/oval41.jpg Figure 1.5 Glass Builing as UOA Damansara Parcels in Kuala Lumpur. http://www.uoareit.com.my/images/big3e.jpg Figure 1.6 Glass Building Project. Menara Paw Har in Kuala Lumpur. https://www.estate123.com/ImageView/17092011093424PM290495083@Haw%20Par%201.JPG Figure 1.7 Overlapping, layering and interpenetrating spaces, figure, and planes. Subtracted from Colin Rowe and Robert Slutzky, Transparency, 1963 Figure 1.8 The reality of Deep Space Subtracted from Colin Rowe and Robert Slutzky, Transparency, 1963 Figure 1.9 The reality of Deep Space Subtracted from Colin Rowe and Robert Slutzky, Transparency, 1963 Figure 1.10 Gherkin Tower https://upload.wikimedia.org/wikipedia/commons/9/9f/30_ St_Mary_Axe.jpg Figure 1.11 Serambi as Space In-Between in Tradisional Malaysia House. - By Author Figure 1.12 http://68.media.tumblr.com/21773f4c97adbf95ec7c68eba21d7b1c/tumblr_mowuxlAb9N1r9xcmto2_1280.jpg Figure 1.13 C https://i.pinimg.com/originals/77/25/c3/7725c3fa64074c581abb5f91ee89f35a.jpg Figure 1.14 Sou Fujimoto for Serpentine Gallery. http://www.anothersomething.org/ wp-content/uploads-anothersomething/2013/07/SerpentineFujimoto3-928x618.jpg Figure 1.15 Playground as Interstitial space in the city, Aldo van Eyck. http://2.bp.blogspot.com/_Umb2xM963hY/TBDdogMR-qI/AAAAAAAAAME/G3X1K9JFl74/s1600/aldo+van+eyck0007.jpg

Figure 1.16 Maison Domino,Perspective Drawing,Le Corbusier, 1914 .https://yabo.us/ images/2018/04/ancient-roman-house-floor-plan-unique-ancient-roman-housefloor-plan-elegant-ancient-roman-style-house-of-ancient-roman-house-floor-plan. jpg . Figure 1.17 â&#x20AC;&#x2DC;Pronaosâ&#x20AC;&#x2122; as vestibule. file:///Users/ndt/Downloads/parthenon_19401.tif Figure 1.18 Section fo Chinese Shophouse in Malaysia. https://www.ura.gov.sg/uol/-/ media/User%20Defined/URA%20Online/Conservation/Vision%20and%20Principles/conservation08.png?la=en Figure 1.19 Conceptual drawing of Plaza Atrium in Kuala Lumpur, Ken Yeang. Substracted from Rethinking The Skyscaper, The complete architecture of ken yeang, Robert Powell Figure 2.1 Semi-IndoorSpace of Bamboo Playhouse Figure 2.2 Cluster Organisation of The Bamboo Playhouse from Roof Plan. https:// www.archdaily.com/777325/the-bamboo-playhouse-eleena-jamil-architect/564b4501e58ece8c420000be-the-bamboo-playhouse-eleena-jamil-architect-site-plan Figure 2.3 View from Lake Bank. - By Author Figure 2.4 Stilts Structures - By Author Figure 2.5 Fragmentation of Plane into Different Lengths of Elements - By Author Figure 2.6 Breaking the Plane Diagram - By Author Figure 2.7 Virtual Boundaries formed by Repetitive Elements - By Author Figure 2.8 Transitional spaces as a Joint between Exposure and Enclosure - By Author Figure 2.9 Inside, Outside or Space In-Between? - By Author Figure 2.10 Spatial Continuity between Inner Landscape and Outer Nature- By Author Figure 2.11 Soft Filter Diagram- By Author Figure 2.12 Visual Complexity led by Overlapping of Layers- By Author

LIST OF ILLUSTRATIONS (cont.) Figure 2.13 The Pavilionâ&#x20AC;&#x2122;s Upper Limits with an Overhead Plane - By Author Figure 2.14 Tree as Frontally Displayed Object - By Author Figure 2.15 Car Porch in the Middleground - By Author Figure 2.16 The Entrance - By Author Figure 2.17 Shallow Pool- By Author Figure 2.18 Cover walkway with Internal Counrtyard - By Author Figure 2.19 Living Area after Foyer- By Author Figure 2.20 The Backyard- By Author Figure 2.21 Diminishing the distinction between indoor and outside, one space to an other - By Author Figure 2.22 Displacement of internal boundary creates space in-between and promotes spatial transparency. - By Author Figure 2.23 Minimal barrier or wall between inside and outside forms continous spatial sequences and promotes linear movement.- By Author Figure 2.24 Freedom of Choices in Movement and Activities- By Author Figure 2.25 The toilet is located in the end of corridor. - By Author Figure 2.26 An Uninterrupted Connection Between Organic and Inorganic- By Author Figure 2.27 Spatial sequence and multiple spatial layers reinforce the axis of house. - By Author Figure 2.28 Pure ylinder Form as a Whole. https://www.architecture.org.au/images/stories/news/1206/1206H5.jpg Figure 2.29 Irregular Recessions as Tansitional Spaces. Substracted from Rethinking The Skyscaper, The complete architecture of ken yeang, Robert Powell Figure 2.30 Superimposition between layers creates depth of space. https://t9br29notrd5ie2x-zippykid.netdna-ssl.com/wp-content/uploads/2017/05/001ASwJogy6LBtrv7Alc1690.jpg

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Figure 2.31 Skycourt as an Expansion of Internal Space. https://images.adsttc.com/media/images/5600/f4f7/e58e/cedc/5700/01af/slideshow/8th-floor.jpg?1442903283 Figure 2.32 Recreation of ground condition in the sky.http://www.planetizen.com/files/ ABEL_FIG4.gif

Figure 2.33 Multiple Horizontal Slabs interpenetrated by Volumetric Skycourt. https://i. pinimg.com/736x/3d/73/41/3d73419631e9df14e6e454d9374a5d5d.jpg

Figure 2.34 The outline of tubular -steel-structure draws a virtual boundary as a internal limit. Figure 2.35 Transitional spaces in the sky introduce vertical landscaping and create a transparent relationship between nature and mankind. Figure 2.36 Multipurpose Stepping Skycourt//faculty.samfox.wustl.edu/Donnelly/Donnelly/347-F05/MeneraMesiniagaWebsite/01%20concept/01%20images/terraces.jpg Figure 2.37 Street View of PAM Centre. http://livingasean.com/wp-content/uploads/2016/11/koh161013-008_2.jpg Figure 2.38 Transparent Frontality. https://www.indesignlive.sg/wp-content/uploads/2017/10/web_DYP_PAM_Centre_04.jpg Figure 2.39 Depth of Space created by Deep Trnasitional Space. https://www.indesignlive.sg/wp-content/uploads/2017/10/web_DYP_PAM_Centre_18.jpg Figure 2.40 Porous Facade with Stepping Atrium. https://www.indesignlive.sg/wp-content/uploads/2017/10/web_C88-PAM-Centre-1.jpg Figure 2.41 Overlapping of Internal Space. https://www.indesignlive.sg/wp-content/uploads/2017/10/web_C88-PAM-Vert02.jpg Figure 2.42 Sectional Drawing of Multipurpose Stepping Atrium. -By Author Figure 2.43 Superimposition between Horizontal Slabs and Volumteric Atrium- By Author Figure 2.44 Stepping Atriums. https://www.indesignlive.sg/wp-content/uploads/2017/10/web_DYP_PAM_Centre_08.jpg Figure 2.45 Single Straig Flight of Stair with Air Wells. https://www.indesignlive.sg/ wp-content/uploads/2017/10/web_C88-PAM-Vert02.jpg

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BIBLIOGRAPHY (cont.) Ken Yeang, Pepin Van Roojen, The Architecture of Malaysia (Amsterdam, The Netherlands: The Pepin Press, 1992) Kepés, G., Language of Vision, 1944 Lang.J, Creating the Architectural Theory. (New York: Van Nostrand Reinhold Company, 1987) Maxwell Fry, and Jane Drew, Tropical Architecture in the Dry and Humid Zones Mazlan Mohd Tahir, A. I. Che-Ani, N.A.G. Abdullah, and I.M.S. Usman, ‘Re-Evaluating the Idea of a Malaysian Architectural Identity towards a Sustainable Environment’, ReseachGate, 2013 Mike Davies, and Richard Rogers, ‘A Wall for All Seasons’, RIBA Journal 88, 1981 Mojtaba Parsaee, Mohammad Parva , Bagher Karimi, ‘Space and Place Concepts Analysis Based on Semiology Approach in Residential Architecture The Case Study of Traditional City of Bushehr, Iran’, HBRC Journal, 2014 <http://ees.elsevier.com/hbrcj> Nilgün Kuloğlu, and Tülay Şamlıoğlu, ‘Perceptual and Visual Void on the Architectural Form: Transparency and Permeability’, Architectoni.ca © [2012], Copyright CCAAS, 2012 P. Ricoeur, Histoire et Vérité, (Paris: Seuil, 1955) ‘PAM Centre: The Space Between’, INDESIGNLIVE.SG <https://www.indesignlive.sg/ projects/the-space-between> Paul Mcgillick, 25 Tropical Houses in Singapore and Malaysia (Singapore: Periplus Editions) Paul Scheerbart, Glass Architecture (Praeger, 1972) Peter Hyatt; Jennifer Hyatt, Great Glass Buildings : 50 Modern Classics (Mulgrave, Vic. : Images Pub) Peter Zumthor, Atmospheres (Birkhäuser Architecture, 2006) Philip Goad, and Anoma Pieris, New Directions in Tropical Asian Architecture (Singapore: Periplus Editions) Pierre von Meis, Elements of Architecture: From Form to Place (Routledge, 2013) 104

PRED, A, ‘Even in Sweden.’, University of California Press, 2000 Professor Dr. Mohamad Tajuddin M. Rasdi, and Nor Hayati Hussain, ‘NATIONAL IDENTITY AND THE ARCHITECTURE OF MALAYAN ARCHITECT CO-PARTNERSHIP’, Universiti Teknologi Malaysia Richard Feynman, QED - The Strange Theory of Light and Matter (University of Auckland, 1979) <https://www.youtube.com/watch?v=kMSgE62S6oo&list=PL9xf0uhqCEi5nkXkA3DAAExdWqGNPGISl&index=2> Richard Hyde, Climate Responsive Design: A Study of Buildings in Moderate and Hot Humid Climates (Taylor & Francis, 2000) Robert Powell, Rethinking the Skyscraper: The Complete Architecture of Ken Yeang (London,UK: Thames & Hudson, 1999) Rowe, C., & Slutzky, ‘Transparency: Literal and Phenomenal, Part II.’, 1967 S. Sopandi, A. Armand, Tropicality: Revisited, Jakarta (IMAJI, 2015) Sadeghi, G., Sani, R. M., & Wang, Y., Symbolic Meaning of Transparency in Contemporary Architecture: An Evaluation of Recent Public Buildings in Famagusta, 2015 <http://dx.doi.org/10.4236/cus.2015.34030> Scott Murray, Contemporary Curtain Wall Architecture (New York: Princeton Architectural Press, 2009) Scott Murray, Translucent Building Skins: Material Innovations in Modern and Contemporary Architecture (Routledge, 201AD) Simon Knott, ‘Sou Fujimoto: The Spaces in-Between’, Architecture Australia <https:// architectureau.com/articles/sou-fujimoto-the-spaces-in-between/> Simon Unwin, Analysing Architecture (London,UK: Routledge, 2014) Simon Unwin,Expanded Edition of Twenty Buildings Every Architect Should Understand (London,UK: Routledge, 2015) Tay Kheng Soon, Line, Edge & Shade: The Search for a Design Language in Tropical Asia (Page One Publishing, 1997)

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BIBLIOGRAPHY (cont.) The Architectural League, Sou Fujimoto: Between Nature and Architecture, 2014 <https://www.youtube.com/watch?v=YPeZ4l1tdjs&t=1713s> ‘The Bamboo Playhouse / Eleena Jamil Architect’, Archdaily, 2015 <https://www.archdaily.com/777325/the-bamboo-playhouse-eleena-jamil-architect> ‘Transparency II: Layering of Planes/Layering of Spaces’, 2011 <https://architecturality. wordpress.com/tag/transparency/> Walter Gropius, The New Architecture and The Bauhaus (Cambridge: MIT Press, 1965) Wolfgang Lauber, Tropical Architecture -Sustainable and Human Being in Africa, Latin America and South-East Asia (New York: Prestel, 2005) ZHANG QIN ZHE, Philip Johnson (Paperback), 1991

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