Architecture Asia - 2018 First Quarter - RECENT PROJECTS by ARCASIA

WWW.ARCHITECTUREASIA.CO

MALAYSIA RM30

FIRST QUARTER 2018

magazine of the architects regional council asia

rpercoej en ct t s

the magazine of the architects regional council asia (arcasia), an international council of presidents of 21 national institutes of architects in the asian region

the aa team

arcasia office bearers 2017/2018

Lee Chor Wah, Ezumi Harzani Ismail, Tony Liew Voon Fun, Mohamad Pital Maarof, Dr Veronica Ng Foong Peng

PRESIDENT

ADVISORS

ZONE A VICE PRESIDENT

Tan Pei Ing, Dr Tan Loke Mun

Abu Sayeed M. Ahmed

EDITOR-IN-CHIEF

ZONE B VICE PRESIDENT

Lee Chor Wah

Chan Eng Chye, Theodore

PUBLISHING AGENCY TEAM

ZONE C VICE PRESIDENT

Alex Choo, Shamita Pannersallvam, Masyirah binti Mansor

Nuno Soares

Jahangir S M Khan

CORRESPONDING EDITORS

HONORARY SECRETARY

Zakia Rahman – Bangladesh (LAB), Wang Xiaojing – China (ASC), Chairman Of Media Resource & Publication Committee – Hong Kong (HKIA), Mukul Goyal – India (LIA), Andra Matin – Indonesia (LAI), Takayuki Matsuura – Japan (JIA), Cho In Souk – Korea (KIRA), Rui Leao – Macau (MAA), Lee Chor Wah – Malaysia (PAM), E Purev Erdene E Tuya – Mongolia (UMA), Bishnu Panthee – Nepal (SONA), Arshad Faruqui – Pakistan (LAP), Michael T Ang – Philippines (UAP), Ow Chin Cheow – Singapore (SIA), Prasanna Silva – Sri Lanka (SLIA), Veerachat (Jop) – Thailand (ASA), Nguyen Van Tat – Vietnam (VAA)

Ramiz Baig

PUBLISHER

Pusat Binaan Sdn Bhd A wholly-owned company of Pertubuhan Akitek Malaysia (PAM) on behalf of ARCASIA 99L, Jalan Tandok, Bangsar, 59100 Kuala Lumpur, Malaysia T +603 2202 2866 F +603 2202 2566 E info@architectureasia.co

HONORARY TREASURER

Sannah Ejaz IMMEDIATE PAST PRESIDENT

Sathirut Nui Tandanand ADVISORS

Tan Pei Ing, George Kunihiro

chairmen of arcasia committees COMMITTEE OF ARCHITECTURE EDUCATION (ACAE)

John Joseph T. Fernandez COMMITTEE ON PROFESSIONAL PRACTICE (ACPP)

Thirilogachandran Shanmugasundaram

PUBLISHING AGENCY

COMMITTEE ON SOCIAL RESPONSIBILITY (ACSR)

Memo Publishing Sdn Bhd E ask@memo.com.my

Sudhir Balakrishnan Pillai COMMITTEE ON GREEN AND SUSTAINABLE ARCHITECTURE (ACGSA)

PRINTER

Debatosh Sahu

Swan Printing Sdn Bhd (274710-X) COMMITTEE ON YOUNG ARCHITECTS (ACYA)

Architecture Asia is published quarterly. Reproduction in whole or part without written permission from the Publisher is strictly prohibited. Architecture Asia cannot be held responsible for any unsolicited submission materials. Submission materials (manuscripts, photographs, drawings, CDs, etc.) will not be returned unless submitted with a stamped, self-addressed envelope. Although every effort has been made to ensure accuracy in the preparation of each publication, the Publisher, Printer and editorial team/staff accept no responsibilities from any effects arising from errors or omissions. Opinions expressed in the publication are those of the contributors and not necessarily endorsed by the Publisher, Printer and editorial team/staff.

Tan Szue Hann FELLOWSHIP

Rita Soh Siow Lan

member institutes

BANGLADESH

INDIA

MACAU

PHILIPPINES

INSTITUTE OF ARCHITECTS BANGLADESH (IAB)

THE INDIAN INSTITUTE OF ARCHITECTS (IIA)

ARCHITECTS ASSOCIATION OF MACAU (AAM)

House 11, Road 04, Dhanmondi R/A, Dhaka 1205, Bangladesh T+880 2 8624664 / +880 2 8624665 F +880 2 9615451 E mail@iab.com.bd W www.iab.com.bd President: Kazi Nasir

5th Floor, Prospect Chambers Annexe, Dr. D. N. Road, Fort Mumbai, 400 001 India T +91 2288 4805 / 2204 6972 / 2281 8491 F +91 2283 2516 E iiapublication@gmail.com / iiaho1214@gmail.com W www.iia-india.org President: Divya Kush

Avenue de Coronel Mesquita No. 2F, PO Box 3091, Macau, China T +853 28 703458 F +853 28 704089 E info@macaoarchitects.com W www.macaoarchitects.com President: Johnathan Wong Chung Yuen

UNITED ARCHITECTS OF THE PHILIPPINES (UAP)

BHUTAN THE BHUTAN INSTITUTE OF ARCHITECTS (BIA)

Post box 233 Thimphu, Bhutan T +975 1794 6075 F +975 232 1285 W www.bhutanarchitects.org President: Dorji Yangki

BRUNEI

INDONESIA INDONESIAN INSTITUTE OF ARCHITECTS (IAI)

Jakarta Design Centre (JDC) Lt.7, Jalan Gatot Subroto Kav. 53, Slipi, Jakarta 10260 Indonesia T +62 21 5304715 / 21 5304623 F +62 21 5304722 E sekretariat@iai.or.id W www.iai.or.id President: Ahmad Djuhara

PERTUBUHAN UKUR JURUTERA & ARKITEK (BRUNEI) (PUJA)

Unit 3, 2nd Floor, Block B9, Simpang 32-66, Kampong Anggerek Desa, Berakas, BB3713, Negara Brunei Darussalam T/F +673 2384021 E web.pujaacademy@gmail.com W www.puja-brunei.org President: Hj Mohammad Nazri Mohammad Yusof

JAPAN THE JAPAN INSTITUTE OF ARCHITECTS (JIA)

JIA-Kan 2-3-18 Jingu-mae, Shibuya-ku Tokyo 150 0001, Japan T +81 3 3408 7125 F +81 3 3408 7129 E jiacontact@jia.or.jp W www.jia.or.jp President: Masaharu Rokushika

CHINA

HONG KONG

PAM Centre, 99L, Jalan Tandok, Bangsar, 59100 Kuala Lumpur, Malaysia T +603 2202 2866 F +603 2202 2566 E info@pam.org.my W www.pam.org.my President: Ezumi Harzani Ismail

THE UNION OF MONGOLIAN ARCHITECTS (UMA)

Ulaanbaatar City, Sukhbaatar District, 8 Choro, Bulgaria Street 27, Mongolia T +976 11 324072 F +976 11 321808 E uma_gc@magicnet.mn W www.uma.org.mn President: Khurelbaatar Erdenesaikhan

SINGAPORE SINGAPORE INSTITUTE OF ARCHITECTS (SIA)

79B Neil Road, Singapore 088904 T +65 6226 2668 F +65 6226 2663 E info@sia.org.sg W www.sia.org.sg President: Seah Chee Huang

SRI LANKA SRI LANKA INSTITUTE OF ARCHITECTS (SLIA)

120/7, Wijerama Mawatha, Colombo 7, Sri Lanka T +94 11 2697109 / 11 2691710 F +94 11 2682757 E secretariat@slia.info / secretariat3@slia.info W www.slia.lk President: Harsha Fernando

MYANMAR ASSOCIATION OF MYANMAR ARCHITECTS (AMA)

KOREA KOREA INSTITUTE OF REGISTERED ARCHITECTS (KIRA)

317, Hyoryeong-ro, Seocho-gu, Seoul, 137-877 Republic of Korea T +82 2 3415 6800 F +82 2 3415 6898 9 E secretary@kira.or.kr W www.kira.or.kr President: Cho Chung Kee

THE HONG KONG INSTITUTE OF ARCHITECTS (HKIA)

19/F, One Hysan Avenue, Causeway Bay, Hong Kong T +852 2511 6323 F +852 2519 6011 / 2519 3364 E info@hkia.net / hkiasec@hkia.org.hk W www.hkia.net President: Ng Wing Shun, Anthony Vincent

MALAYSIA MALAYSIAN INSTITUTE OF ARCHITECTS (PAM)

MONGOLIA

THE ARCHITECTURAL SOCIETY OF CHINA (ASC)

No. 9, Sanlihe Road, Beijing, China 100835 T +86 10 8808 2237 F +86 10 8808 2222 E zgjzxhzhb@126.com / ascbianji@126.com W www.chinaasc.org President: Che Shujian

UAP National Headquarters Building, 53 Scout Rallos Street, Diliman, Quezon City 1103, Philippines T +63 2 4126403 / 4126364 / 4120051 F +63 2 3721796 E uapnational@gmail.com / uap@united-architects.org W www.united-architects.org President: Gillermo H. Hisancha

No. 228-234, 3rd Floor, Bogyoke Aung San Road, Department of Urban and Housing Development Building, Botahtaung Tsp, Yangon, Myanmar T +959 782 120 549 / 265 465 884 E amarchitects2001@gmail.com W www.mac.org.mm President: Sun Oo

THAILAND THE ASSOCIATION OF SIAMESE ARCHITECTS UNDER ROYAL PATRONAGE (ASA)

248/1 Soi Soonvijai 4, Rama IX Road, Bangkapi, Huay Kwang, Bangkok, 10310 Thailand T +662 319 6555 ext 121 F +662 319 6419 E asaisaoffice@gmail.com W www.asa.or.th President: Ajaphol Dusitnanond

NEPAL LAOS ASSOCIATION OF LAO ARCHITECTS AND CIVIL ENGINEERS (ALACE)

Asian Road T2, House No 226, Unit 18, Ban Sisavath Chanthaboury District, PO BOX No 8806, Vientiane Capital, Laos T +856 21 260530 F +856 21 264736 E info@alace.org.la W www.alace.org.la President: Phonexay Southiphong

THE SOCIETY OF NEPALESE ARCHITECTS (SONA)

Junga Hem Hiranya Complex, Kalmochan, Tripureshwor, Kathmandu, Nepal T/F +977 1 4262252 E sona2047@gmail.com W www.sona.org.np President: Kishor Thapa

PAKISTAN INSTITUTE OF ARCHITECTS PAKISTAN (IAP)

IAP House, ST-1/A, Block 2, Kehkashan Clifton, Karachi, Pakistan T +9221 35879335 F +9221 35879335 E info@iap.com.pk W www.iap.com.pk President: Ali Zafar Qazi

VIETNAM VIETNAM ASSOCIATION OF ARCHITECTS (VAA)

40 Tang Bat Ho Street, Hai Ba Trung Dist., Hanoi, Vietnam T +844 3936 0755 F +844 3934 9240 E hoiktsvn@kienviet.net W www.kienviet.net President: Nguyen Tan Van

editor’s message

INTERESTINGLY, THE RECENT PROJECTS FEATURED in this issue of Architecture

Asia fall into two broad categories: one that is set in nature without and the other that brings nature within; with the exception of the two mid-rise towers, which are set in the urban context. The blurring of the inside and out, and outside in, has long been one of the ubiquitous aims of many a building great and small. There is the classic Philip Johnson’s Glass House that merges seamlessly with the woods, there is the age-old courtyard that brings nature into the centre of the house in many traditions and cultures, and there also is the Villa Savoye, that is both being in the middle of the natural landscape whilst bringing nature into the heart of the house in the form of a roof terrace garden. Some of these recent projects could have been inspired by some masterpieces in the past and reinterpreted in modern and local context. Take for example the House of Secret Gardens in India; that could be read as a reinterpretation of the Barcelona Pavilion in its compact and heavy planar stone construction versus the original, which is light, skeletal, and open. Some of these projects reflect current trends. The Meru House’s suspended barn epitomises the recent return of pitched roof designs in Malaysia after many years of the ‘flat-roof period’. The Hopper House in Vietnam and the Layered Courtyard hotel in China both sport ultra-modern interiors that are encased within ordinary traditional or vernacular facades. And the One Year Project in Japan looks like it was inspired by the Farnsworth House, albeit capped with a pitched roof for that touch of Japanese-ness. The Faber House, wrapped with perforated metal and nestled within lush landscaped gardens, reminds one of the de Young Museum in San Francisco, while the Hanging Gardens Café in Vietnam literally hangs the gardens inside the building – giving new meaning to the term that is usually associated with those of Babylon. In Japan, the Kojyogaoka House contains all the family members under one roof, while the incrementally modular Expandable House in Indonesia extends to meet the needs as the family grows. Noteworthy is also the micro-dwelling reported in our news section, that shows another possible expression of incremental housing for the poor or spaceconstrained. The two mid-rise towers featured here are both situated in older low-rise traditional urban contexts. In Indonesia, the Automotive Gallery stands out like a brand-new shining car in a junkyard; whereas in Shanghai, the pleated office rises like a pleated skirt billowing in the wind, unperturbed by the surrounding urban chaos.

LEE CHOR WAH EDITOR-IN-CHIEF ARCHITECTURE ASIA

GOOD WORK WANTED HAVE YOUR IDEAS OR WORKS PUBLISHED IN ARCHITECTURE ASIA. WE WELCOME PROJECT OR ARTICLE SUBMISSIONS FOR PUBLISHING CONSIDERATION. CONTACT: ASK@MEMO.COM.MY FOR SUBMISSION GUIDELINES AND FURTHER INFO.

contents

portfolio

sections

ARCHITECTURE ASIA ISSUE 1 2018

10 18 24 32 36 42 46 52 60 66 72 6 7 8 77 80

SECRET GARDENS / THE HOUSE OF SECRET GARDENS / SPASM DESIGN / INDIA HOME IN THE VALLEY / MERU HOUSE / A3 PROJECTS + KENNY CHONG ARCHITECT / MALAYSIA TRADITION DICTATING MODERNITY / HOPPER HOUSE / AHL ARCHITECTS / VIETNAM EXPRESSIVELY PLEATED / HONGKOU SOHO / KENGO KUMA AND ASSOCIATES / CHINA ONE YEAR PROJECT / ONE YEAR PROJECT / LIFE STYLE KOUBOU / JAPAN THE EXPANDABLE HOUSE / RUMAH TAMBAH (RUBAH) / FUTURE CITIES LABORATORY / INDONESIA HANGING GARDENS / ANâ&#x20AC;&#x2122;GARDEN CAFE / LE HOUSE & CAO HOANG ANH / VIETNAM TRADITIONALY LAYERED / LAYERED COURTYARD / ARCHSTUDIO / CHINA THE BIG BLOCK IN TOWN / ANDALAN AUTOMATIVE GALLERY AND OFFICE / STUDIO SA_E & SINDHU HADIPRANA DESIGN CONSULTANT / INDONESIA FABER-HOUSE / FABER-HOUSE / ONG&ONG / SINGAPORE ALL IN / KOJYOGAOKA HOUSE / HEARTH ARCHITECTS / JAPAN

RADAR READS GOODS NEWS EVENTS SNAPSHOT

radar

reads

FOUR WALLS AND A ROOF: THE COMPLEX NATURE OF A SIMPLE PROFESSION REINIER DE GRAAF HARVARD UNIVERSITY PRESS

Drawing on his own tragicomic experiences in the field, Reinier de Graaf reveals the world of contemporary architecture in vivid snapshots: from suburban New York to the rubble of northern Iraq, from the corridors of wealth in London, Moscow, and Dubai to garbage-strewn wastelands that represent the demolished hopes of postwar social housing. We meet oligarchs determined to translate ambitions into concrete and steel, developers for whom architecture is mere investment, and the layers of politicians, bureaucrats, consultants, and mysterious hangers-on who lie between any architectural idea and the chance of its execution. Four Walls and a Roof tells the story of a profession buffeted by external forces that determine–at least as much as individual inspiration–what architects design. Perhaps the most important myth debunked is success itself. To achieve anything, architects must serve the powers they strive to critique, finding themselves in a perpetual conflict of interest. Together, architects, developers, politicians, and consultants form an improvised world of contest and compromise that none alone can control.

MINORU YAMASAKI: HUMANIST ARCHITECTURE FOR A MODERNIST WORLD DALE ALLEN GYURE YALE UNIVERSITY PRESS

Minoru Yamasaki (1912–1986) became one of the towering figures of midcentury architecture, even appearing on the cover of Timemagazine in 1963. His self-proclaimed humanist designs merged the modern materials and functional considerations of postwar American architecture with traditional elements such as arches and colonnades. Despite this initial success, Yamasaki’s reputation began to decline in the 1970s with the mixed critical reception of the World Trade Center in New York, one of the most publicised projects in the world at the time, and the spectacular failure of St. Louis’s Pruitt-Igoe Apartments, which came to symbolise the flaws of midcentury urban renewal policy. Dale Allen Gyure draws on a wealth of previously unpublished archival material, and nearly 200 images, to contextualise his work against the framework of midcentury modernism and explore his initial successes, his personal struggles—including with racism—and the tension his work ultimately found in the divide between popular and critical taste.

MORRIS CHARLOTTE & PETER FIELL TASCHEN

William Morris (1834–1896) was one of the greatest creative figures of the 19th century. As a visionary designer, as well as a manufacturer, writer, artist, and socialist activist, he pioneered the Arts and Crafts movement of the Victorian era, and left an extraordinary influence on architecture, textile,

and interior design. This richly illustrated book offers a suitably beautiful introduction to Morris’s colorful life and all aspects of his design work, including interiors, tiles, embroidery, tapestries, carpets, and calligraphy. Though best known in his lifetime as a poet and author, it is these exquisite designs that secured Morris’s posthumous reputation. As page after page dazzles with their beautiful patterns and forms, we explore the pioneering craftsmanship and natural motifs that inspired them, as well as Morris’s remarkable cultural legacy, through British textiles, Bauhaus, and even modern environmentalism.

PERFECT ENGLISH FARMHOUSE ROS BYAM SHAW ROS BYAM SHAW RYLAND PETERS & SMAL

Farmhouse is a word that conjures an array of appealing associations: fresh eggs and baby lambs, chunky wooden beams and stone floors, cream teas and harvest suppers; a place of welcome and plenty. With their generous kitchens and meandering layout, the architectural informality of the farmhouse suits modern lifestyles. In Perfect English Farmhouse, via a series of case studies, Ros Byam Shaw explores both traditional and contemporary farmhouse style. The book is divided into chapters according to style: Organic, Traditional, Fresh, No Frills, and Funky, and at the end of each chapter a spread highlights the key elements of that particular decorative look. At the back of the book, there is also a comprehensive listing of UK and US sources to help readers create their very own take on perfect farmhouse style.

NEW CARBON ARCHITECTURE: BUILDING TO COOL THE PLANET

BRUCE KING NEW SOCIETY PUBLISHERS

‘Green buildings’ that slash energy use and carbon emissions are all the rage, but they aren’t enough. The hidden culprit is embodied carbon― the carbon emitted when materials are mined, manufactured, and transported―comprising some ten percent of global emissions. With the built environment doubling by 2030, buildings are a carbon juggernaut threatening to overwhelm the climate. It doesn’t have to be this way. Like never before in history, buildings can become part of the climate solution. With biomimicry and innovation, we can pull huge amounts of carbon out of the atmosphere and lock it up as walls, roofs, foundations, and insulation. We can literally make buildings out of the sky with a massive positive impact. The New Carbon Architecture is a paradigmshifting tour of the innovations in architecture and construction that are making this happen. Office towers built from advanced wood products; affordable, low-carbon concrete alternatives; plastic cleaned from the oceans and turned into building blocks. We can even grow insulation from mycelium. A tour de force by the leaders in the field, The New Carbon Architecture will fire the imagination of architects, engineers, builders, policy makers, and everyone else captivated by the possibility of architecture to heal the climate and produce safer, healthier, and more beautiful buildings.

ARCHITECTURE ASIA ISSUE 1 2018

goods

Italian brand Campeggi has announced the Anish Chair, which is inspired by the work of British sculptor Anish Kapoor. Designed by Milan-based designer Emanuele Magini, the chair features a boldly circular elasticated fabric stretched over a metal frame and polyester seat. Magini was inspired to create the seat after watching a lecture by the sculptor on his concept of a “non-object”, which he describes as an object which is not an object. / campeggisrl.it

radar

ANISH CHAIR V R O O M

V R O O M

Announced at Baselworld 2018, the Autobahn Neomatik 41 is the latest by German watch brand Nomos. With a white silver-plated dial, this watch on the more classically styled end of the of their offerings, and features a subtle nod to the world of automobiles. As expected of the brand, the Autobahn Neomatik 41 features a hand-built in-house movement, and seconds sub-dial and date display. / nomos-glashuette.com

DEMOCRATISING SPEAKERS

FAMICOM MINI Those below the age of 50 are about to get a serious bout of chilldhood nolstalgia – Nintendo is releasing a special edition red and gold famicom mini, their classic 8-bit console that was first released in 1983. The classic famicom console was the Japanese version of the nintendo entertainment system (NES), and this special edition is to mark the 50th anniversary of the popular manga weekly Shonen Jump magazine. / nintendo.com

IKEA recently made headlines with its first foray into the smart home devices with their launch of Eneby, a Bluetooth smart speaker. The Eneby comes in two sizes, 8” and 12”, and sports only one knob to adjust the volume. Designed with portability in mind, the smaller model comes with a built-in handle. The speaker, which is finished with black or grey polyster fabric on the front, can be either mounted on the wall or placed on a flat surface. And as expected of the brand, expect prices to be comparatively reasonable to the competition. / ikea.com

BOW AND RISE Bow and Rise are 3D-printed chairs designed by Zaha Hadid Architects. Part of a new collection of 3D-printed chairs by new Spanish brand Nagami, the collection will debut at this year’s Milan design week. The collection’s name, Brave New World, is based on the Aldous Huxley’s 1930s classic novel, and aside from Zaha Hadid Architects, will also feature chairs designed by Ross Lovegrove and Daniel Widrig. / nagami.design

L AY E R E D Japanese studio Nendo has designed a 15-kilogram vase, machined from a 100-kilogram block of aluminium in an intricate process that took seven months. Called the Four Layer Vase, the surface was precisely milled with four layers of tiny grooves. This provides for an highly dimensional effect, creating different patterns depending of the position of the viewer. The machining process was labourious, and had to be done at low speeds to ensure the lauminium did not overheat. / nendo.co.jp ARCHITECTURE ASIA ISSUE 1 2018

radar

news

bronze medallion at the Aga Khan Museum in Toronto, Canada on 16 May 2018. The international award, which is modelled on the Nobel Prize, was set up in 1979 to honour the work of living architects. Architects Alejandro Aravena, Frei Otto, Rem Koolhaas, Zaha Hadid, Kazuyo Sejima and Ryue Nishizawa of SANAA and Toyo Ito are among past recipients of the prestigious award.

STACKABLE EMERGENCY SHELTER THAT CAN BE ASSEMBLED IN UNDER 15 MINUTES

priztkerprize.com

IMAGES COURTESY OF DAVID SHANKBONE

CORNELL ARCHITECTURE SCHOOL SEVERS TIES WITH RICHARD MEIER

FOSTER + PARTNERS DEVELOPS INTEGRATED BUILDING SERVICES SYSTEM Foster + Partners have introduced a building services system that integrates lighting, security cameras, fire prevention tools and ventilation. Called the Node, the system has been designed in collaboration with Price Industries and lighting company Artemide. Each element shares the same visual characteristics – size, shape and materials, while reducing technical conflicts and multiple control systems. The design of a building requires synthesis of several elements – from the structure that holds it up to the material finishes that you touch and see. However, building services – security, fire prevention and ventilation

among others – have rarely been seen as an integral part of the design process and considered primarily as regulatory requirements rather than design elements. Foster + Partner’s Node system is a fully coordinated family of devices, interfaces, tracks, channels and networks that can harmonise building services with the overall aesthetic of the project. Node consists of a range of devices including lights, sprinklers, speakers and occupancy sensors. Cameras are also integrated into the system, which can be either mounted on or within a ceiling. The devices are connected to a standardised wiring system that links them together, meaning that the building’s services can be controlled from a single point. Node was recently launched at the recent Light + Building trade fair in Frankfurt. fosterandpartners.com

BALKRISHNA DOSHI WINS PRITZKER PRIZE 2018 Indian architect Balkrishna Vithaldas Doshi has been named the 2018 laureate of the Pritzker Prize, architecture’s most illustrious award. He is the 45th recipeint of the Pritzker Prize and the first Indian architect to be awarded the prize. Doshi is one of India’s most influential architects, with a portfolio spanning over 70 years, including collaborations with both Le Corbusier and Louis Kahn. After graduating in Mumbai, Doshi apprenticed with Le Corbusier at his Paris office and went on to oversee some of his mentor’s projects back in India. Doshi’s key projects include the Ahmedabad School of Architecture (1966), the barrelvaulted studio he created for his studio Vastu-Shilpa in 1981; and his experimental, cave-like Amdavad ni Gufa (1995) gallery. In 1989 he designed Aranya Low Cost Housing, a labyrinthine complex of russet homes providing affordable residences for 80,000 people in Indore. The Pritzker Prize jury included Richard Rogers, Sejima Kazuyo, Glenn Murcutt and Martha Thorne, and he will receive a grant and the

Cornell Architecture School has moved to ‘disown’ its alumnus Richard Meier, condemning the architect in the wake of sexual harassment claims and aborting plans to name the department chair in his honour. Architecture dean Kent Kleinman described Meier’s behaviour as “unacceptable” and said he would review all previous donations from the architect. Kleinman said the school was cancelling an event due to be held in Meier’s honour next week and was reviewing previous donations by the Pritzker Prize-winning architect. Meier, 83, completed his bachelor’s degree in architecture at Cornell in 1956. The allegations of sexual harassment first surfaced in a New York Times article on 13 March 2018, detailing allegations of inappropriate behaviour towards five women, four of which come from former employees at Richard Meier & Partners.

Shelter Squared is a stackable emergency shelter that can be assembled in under 15 minutes, designed by Jeremy Carman and Jayson Champlain under the Madworkshop Foundation, which supports technological craftsmanship in the arts and design. A unique approach to emergency post-disaster shelters, the shelter was designed as a response to the current scarcity of design-oriented solutions to emergencies. The shelter is made up of costeffective, recyclable materials to provide a sustainable alternative to current post-disaster shelters, and offers an operable fabric enclosure, comfortable sleeping quarters, lockable storage and booth seating – all whithin a 4.6sqm footprint. These modular shelters can also combine with adjacent units to create a sense of community among units. The best part of it all is that when unassembled it can easily be stacked, making transport easy, and just needs 15minutes to fully assemble, thanks to its velcro-based connections. It is also waterproof for ease of maintenance. The intention is for such shelters to be utlised in typical refuge spaces like halls and gymnasiums gymnasiums, and ready to be deployed and assemble by the users themselves. madworkshop.org

aap.cornell.edu

KENGO KUMA DESIGN’S JAPAN’S FIRST ACE HOTEL The hip and trendy Ace Hotel chain is set to open its first japanese hotel in Kyoto, in a former telephone exchange building readapted by Kengo Kuma. The building, originally designed by Tesuro Yoshida and completed in 1926, will be converted to house suites set around a landscaped courtyard. It will be the 10th Ace Hotel, which are referred to as ‘outposts’,

ARCHITECTURE ASIA ISSUE 1 2018

joining the likes of the London outpost designed by Universal Design Studio, and the Los Angeles and Chicago outposts by Commune Design. “Since the beginning of Ace, we’ve dreamt of Japan,” said a statement from the American hotel chain, which opened its first venue in Seattle in 1999.

truck via four main portions, and when these houses are placed together in a sizeable number, the highly adaptable ground floor plan encourages the creation of flexible semi-public spaces – leading to the formation of micro-urban villages with well-connected public spaces and facilities.

acehotel.com

tetawowe.com

MICROHOUSING Malaysian-based Tetawowe Atelier has developed a prototype microhouse as an explorative attempt to encourage young people to move back into the city centre. Taking up only 23sqm, roughly the size of two local city council parking bays, the micro-house was designed and built in conjunction with the 2018 World Urban Forum, which was held in Kuala Lumpur in February this year. Kuala Lumpur, like many other cities elsewhere, is currently experiencing a exodus of people who are moving out from the city centre, primarily due to ever-increasing property prices. The goal of the micro-house is to see if communal living can be developed (where people own less but share more), with compact homes at affordable prices that cater for the young, who would enjoy living in the city as well as be more receptive toward new approaches to housing. Despite its small footprint, the MicroHouse manages to fit in a front porch, living space, pantry, bathroom, and a bedroom. It is easily disassembled and can be transported by

IMAGES COURTESY OF LAPYOTE PRASITTISOPIN, CHANITA CHUAYSIRI / SIAM RESEARCH AND INNOVATION

news

3D PRINTING FUSED WITH THAI CRAFTSMANSHIP TO CREATE CONCRETE STRUCTURES Siam Research and Innovation Company, a Thailand-based cement manufacturer, has been developing innovations to push the limits of 3D printing in architecture. They recently announced their project the ‘Triple S’ – developed in 2017 – which is based on traditional thai craftsmanship to generate surface, structure, and shelter in a single process. Typically, the outer surface layer and the inner truss of 3D printing objects are included while designing. The inner truss is designed for structural purposes in order to withstand the load. The Triple S is a new surface transformation technology that has been designed to create an outer surface layer that has the same structural performance as inner trusses, while not compromising on the outer surface aesthetics. Essentially, surface can perform both aesthetic and structural functions. The textured patterns developed by the Triple “S” is derived from moving

> paths on load-bearing concrete structures. This concept is derived from Thai traditional handicraft – specialy of a fish-shaped weaved ornament created around 250 years ago in Phra Nakhon Si Ayutthaya, the previous Thai capital. The weaved pattern is adapted to be modular and implemented into a concrete block. This concrete is then extruded using 3D printing to increase its dimensions as its weaving appearance. After printing, the 3D printing concrete panel is fabricated with the pattern and serves as the structure for holding its weight. The complexity of the material technology of cement, incorporated

with 3D printing technology and understanding of the mechanism of printer movement allows for less weight compared to a traditional fabrication techniques such as precast. This allows for a compressive strength greater than 45 MPa, and the flexural strength greater than 80 MPa. This new surface transformation technology also consumes less material. sri-scg.com

VATICAN CITY TO BUILD CHAPELS FOR VENICE BIENNALE 2018

The Vatican City will mark its debut at the Venice Architecture Biennale 2018 by building a series of chapels by well-known architects. The pavilion will remain open to the public between 26 May and 25 November 2018, and all ten chapels will be constructed on the island of San Giorgio Maggiore in Venice. Curated by architectural historian Francesco Dal Co, the Holy See Pavilion will feature 10 chapels, designed by an international roster of

radar

architects – Norman Foster, Eduardo Souto de Moura, Teronobu Fujimori, Andrew Berman, Francesco Cellini, Javier Corvalán, Carla Juaçaba, Sean Godsell, Eva Prats and Ricardo Flores and Smiljan Radić. The architects that will represent the state at the Biennale were chosen because the Vatican believes they will create a range of aesthetics. They were asked to base their designs on Swedish architect Gunnar Asplund’s 1920 chapel in Stockholma which features a striking triangular roof supported by slender columns. As well as the 10 chapels, Italian-based Map Studio will also build a pavilion to display information on Asplund’s chapel. The Vatican plans to dismantle the chapels at the end of the Biennale and rebuild them in Italian communities that have suffered earthquakes. labiennale.org

DP ARCHITECTS RANKED EIGHT LARGEST IN THE WORLD Singapore-based DP Architects is the world’s eighth largest architecture practice, according to an annual ranking of the top 100 architecture firms compiled by Building Design, a leading UK-based online resource for the profession. Rising two spots from last year’s ranking, DP Architects is the only Southeast Asian firm in the top ten list dominated by firms from the world’s largest countries like USA, Canada and China. The firm employs 1,300 staff, out of which 766 are architectural employees. The Singapore-based practice has 17 offices around the world and secured its spot as one of the big players due to its business development in new overseas markets. The firm expanded in the United Kingdom, Turkey, Vietnam and Thailand in the last three years. The WA100 is an annual global survey conducted by Building Design on the world’s largest architecture firms. The firms are ranked according to the number of employed architects.

LEFT TO RIGHT IMAGES COURTESY OF FOSTER + PARTNERS / ANDREW BERMAN

dpa.com.sg

LEFT TO RIGHT Foster + Partners’s tent-like structure made from wood and built around three symbolic crosses / Andrew Berman’s chapel is reminiscent of the 1920s chapel designed by Gunnar Asplund, which formed part of the project brief.

ARCHITECTURE ASIA ISSUE 1 2018

portfolio

INDIA

THE HOUSE OF SECRET GARDENS

SPASM DESIGN

secret gardens

ARCHITECTURE ASIA ISSUE 1 2018

A Zen-like quality emanates from this private house in India, built primarily from sandstone, which features a unique cross-shaped plan that allows for an interesting array of landscape gardens around it.

ARCHITECTURE ASIA ISSUE 1 2018

THE DESIGN of this private residence in Ahmedabad is an expression in Dhrangadhra stone. This type of stone is used in many of the architectural antiquities of Ahmedabad, which features a mottled texture and bone coloration. As it was available in blocks and slabs from nearby quarries, it became an obvious choice. One of its qualities is that it ages gracefully, with the cellular structure of this sandstone holding intermittent microscopic air gaps, acting as an insulation panel itself. This led to the idea of cladding the entire body of the house as a monolith. The organisation of the plan is akin to a simple cross. This allows for one-room-thick â&#x20AC;&#x2DC;armsâ&#x20AC;&#x2122;, hence permitting easy cross ventilation, and the possibility of a seamless connection with the outdoors. Stone is used in giant blocks vertically to form a periphery, a border to the gardens to frame the edges, allowing for breezes, and a sense of containment and scale. This frame allows the home to be immersed within the greens, with the landscape forming the surroundings of the cross-shaped construct.

Movement From the entryway through to the main stair volume at the centre of the cross, the hallways of the home are modulated in order to heighten the sense of sauntering between the inside and outside. Even externally, the body of the house can be surmounted via ascending stairs in solid stone, to discover an elevated roof garden. The architects paid particular attention to promote the use of external spaces all along the edges of the cross-shaped layout.

ARCHITECTURE ASIA ISSUE 1 2018

Courtyard that facilitates the movement of air throughout the home

ARCHITECTURE ASIA ISSUE 1 2018

Searing light In Ahmedabad, sunlight is often very bright and harsh. Better levels of comfort were achieved via darker walls and floor surfaces to reduce the amount of reflected glare.

riors are embellished with rich woodworked boxes that contain wardrobes and large luxurious ensuite bathrooms, sitting within a volume of ceilings and walls, all rendered in hand-applied stucco lime plaster.

Ventilation Courtyards facilitating the convectional movement of air is a major part of the passive climate control in this house – stone fins , rough cuts perpendicular to the building face , cause incidental shadows that help to cool the surfaces and creating an ever-changing rhythm of shadow and light. The inte-

Art and objects Art objects and bespoke pieces were chosen for this house from the client’s collection, as well as commissioned from local artists, among them many of which were designed by the architects. The architects searched for a custom fit to the client’s lifestyle and aspirations.

The Gardens Intended as seamless extension of the living spaces, the gardens will over the years, mature as view boxes that will come alive with the moving sun, breezes to animate them, and rain to imbue the home with the fresh aroma of the freshly moistened soil.

As a whole, the design aim was to deliver a home which allows its occupants to live a life in the bosom of nature, well-placed to sense the seasons, to entertain their family and friends, and the rewards of a well-placed life… with art, sculptures, objects, contributing to the serenity of the home.

The Monk A long search for an appropriate emotion for the water feature ended in the commissioning of a life-sized sculpture of a pensive monk – in Beslana stone – gingerly poised on the water’s surface as if levitating.

Rough cut-stone fins run perpendicular to the building facade

ARCHITECTURE ASIA ISSUE 1 2018

Solid stone stairs that lead to an elevated garden roof

The green lawn that is decorated with trees and bushes

ARCHITECTURE ASIA ISSUE 1 2018

SITE PLAN

10m

20m

A pond water feature that has a simple child-like sculpture of a folded sailboat

ARCHITECTURE ASIA ISSUE 1 2018

LOCATION

LEAD ARCH ITECTS

A hm e d a b a d , I nd i a

S a ng e e t a M e rc ha nt , G a ur i S a t a m , D i v y e sh Ka r g a t hr a , V i j j i sha Ka k k a , M a nso o r Kud a l k a r a nd S a nj e e v P a nj a b i

PR IN CIPAL USE

Private R e si d e nc e YEAR OF COMPLETION

J a nua r y 2 0 1 8 RCC CON TR ACTOR ARCH ITECT FIR M

M a hi r B ui l t c o n

S p a sm D e si g n STR UCTUR AL EN GIN EER

D uc o n C o nsul t a nt s P v t . Lt d

SECTION

2.5m

LANDSCAPE CO N S U LTA N T

IN TE R IO R C IVIL CO N TR AC TO R

Kun al Man iyar

Mor tar

ME P CO N S U LTA N T

P HOTO GR A P HY

V i mar s h P l u mbin g

Ph otogr aph ix â&#x20AC;&#x201C; Sebas tian Zach ar iah & Ir a Gos alia E dmu n d Su mn er, Uman g Sh ah

PRO JE C T MA N AGE M E N T TE A M

I n git An an d, Kalpes h Sh ah , M ah en dr a Sh ah , Lax man Des ai CA R P E N TE R

Kr is h n a In ter ior s

Living areas have large sliding glass walls that can be opened to create an indoor/outdoor living environment

ARCHITECTURE ASIA ISSUE 1 2018

portfolio

MALAYSIA

MERU HOUSE

A3 PROJECTS + KENNY CHONG ARCHITECT

ARCHITECTURE ASIA ISSUE 1 2018

home in the valley

A beautiful family home situated in a town famous for its picturesque limestone mountains,

the Meru House has been sensitively designed within its surroundings,

and is distinguised by the bold form of a â&#x20AC;&#x2DC;suspendedâ&#x20AC;&#x2122; barn house

ARCHITECTURE ASIA ISSUE 1 2018

was to design a private family home, located in Ipoh, a Malaysian town famous for its mountainous landscape and natural surroundings. The house was conceived as three elements, the main residence, the living space and the floating barn. They are inter-connected, forming a double height volume and landscape courtyards. It is built on a site that sits within a valley, with views of a mountain range to the west and north west. The area is also surrounded by forest reserves, giving the house a natural backdrop. The project concept started as early as 2009, when the architects were still working in the United Kingdom, but it wasn’t until 2012 when the project took off in earnest. A key challenge was in getting contractors to fabricate details as intended. Finding local craftsmen, sharing design details and understanding local detailing techniques and characteristics of local materials was key, and with careful coordination with local contractors, the project began to pick up pace gradually.

THE BRIEF

The approach was to build a house with inter-connecting blocks, effectively carved out with open courtyards within living, dining and family spaces, and surrounded by outdoor gardens. Responding to the tropical climate, the home relies on these courtyards and pocket spaces to provide shade and daylighting. The surrounding verandah has been designed with purposeful depth, forming the key shading from the hot sun, as well as from tropical rainstorms. The key design feature of the house is the ‘suspended barn’, which is cladded in an insulated standing-seam metal roof over seamless glass wall. The floating barn cantilevers over the landscape, providing panoramic views from the full height windows. The ground floor is where all public spaces are, which includes a guest room and an AV room. The living area is a stand-alone pavilion, adjoined with a bamboo garden and a central courtyard – which has the effect of turning spaces inside out subtly. The

light-filled grand dining hall with open skylights, are controlled with automatic blackout blinds. It shares the double-height atrium with the striking form of the elliptical stairs which connects to the courtyard at one end with the open-plan kitchen beyond. The wood-clad stairs connects the ground spaces to the upper floors of master suites and two additional bedrooms. With its ribbon-like balustrade, the staircase spirals up through the central doubleheight volume of the house. The upper floors also consist of a family space, with an interesting play of level changes and volumes. Two loft bedrooms form the top of the level, discretely carved into the pitch of the floating barn roof. Primary components used were mostly locally made and fabricated. The use of standing seam metal roofing gives the barn the simplest of roof profiles. Large sliding glass doors and courtyards define the volumes and spaces, while off-white rendered walls compliment the contrasting red barn. All bathrooms, bedrooms

The dining hall shares the double height atrium with the striking form of the elliptical stairs

ARCHITECTURE ASIA ISSUE 1 2018

and living spaces have bespoke joinery and metal works, of which have been fully integrated into the overall architectural design. The house has also been designed with an emphasis on passive sustainable strategies – responding to the local tropical climate whilst also exploiting the existing natural surroundings. Key passive design elements, such as building orientation, plan layout, window design, insulation, thermal mass, shading and natural ventilation, form the basis of the energy efficient design considerations. A reinforced concrete structure with steel portal

frames makes up the skeleton of the house. The external envelope is primarily infilled with a double cavity wall system. Although it is uncommon in Malaysia, doublebrick cavity walls are used for all external walls. The cavity wall helps to alleviate excessive heat gain exposure, as well as to maintain indoor climate comfort. There is a rainwater harvesting system that collects rainwater and stores it in an underground concrete tank, keeping the water cooled below ground. Building orientation, prevailing wind directions and the tropical monsoon season patterns were all

also considered. A wind catcher is used to cool the inside of the house, in combination with two strategically located courtyards, providing an overall ventilation and heat movement strategy. Hot air is drawn upward due to temperature gradient, assisted by prevailing winds flowing pass the catcher – creating a stack effect through volumetric play. Greater airflow is enhanced with cross ventilation louvres at various heights. Deep recessed verandahs, balconies and vertical fins are part of the other passive architectural design elements.

LO C ATIO N

Ipoh, Malaysia A RC HITE C T

A3 PROJECTS (formerly known as Arch Cubic s.b) P RO JE C T P R IN C IPA LS

Kenny Chong Khor Leat, Ho Choon Sin P RO JE C T TE A M

Souvik das Munshi (UK), Ar Ezatul Rahman, Lim Siaw Yen. ID/Landscape: Yip Zi Xin, Nadira Roslan, Ain Ramli D E S IGN P E R IO D

Autumn 2009 – Summer 2012 (UK) CO M M E N C E M E N T OF CO N S TR U C TIO N

January 2013 CO M M E N C E M E N T O F O P E R ATIO N / O CC U PA N CY

June 2016 S ITE A R E A

0.41 acres BU ILT- U P A R E A

450sqm C IVIL & S TR U C TU R A L

F.C NG PERUNDING IN TE R IO R D E S IGN E R / LANDSCAPE

A3 PROJECTS

C U S TO M LIGHTIN G D E S IGN

SECTION

10m

A3 PROJECTS Yat Seng Construction Sdn Bhd CO N TR AC TO R

P HOTO GR A P HY

Lawrence Choo

FIRST FLOOR + MEZZANINE PLAN

SECOND FLOOR PLAN

10m

ARCHITECTURE ASIA ISSUE 1 2018

Clockwise from right: Raised external veranda gives the idea of a floating house; Hallway leading to the living lounge; Walnut cladded helical stair can be seen beyond the entrance courtyard

ARCHITECTURE ASIA ISSUE 1 2018

portfolio

VIETNAM

HOPPER HOUSE

AHL ARCHITECTS

tradition dictating modernity An interesting house in Vietnam is provocatively designed to not merely fuse the old and the new, but to have the traditional exterior guide and dictate the modern interior.

ARCHITECTURE ASIA ISSUE 1 2018

A view of the ‘pocket garden’ from the living area

Dining area

ARCHITECTURE ASIA ISSUE 1 2018

Bedroom

HOPPER HOUSE is an attempt to design a modern house that is infused with familiar cultural details of traditional northern Vietnamese houses, as well as to provide a surprise within the structure itself. The architects felt excited and in a sense vindicated, when observing the emotional responses of the house’s neighbours throughout the construction time, which lasted seven months. In the first three months, they passed through, glanced at the House and kept going. For the next three months, as the form began to take shape, they took a passing look for a moment before passing through once again. Eventually, in the final month, they came into the house, and were inspired by the structure. One said: “From the outside, I had a familiar feeling of my hometown. However, right after passing through the front door, I was amazed by the creative variation and visualisation of what looks like a very familiar structure.” Overall site considerations were made to maintain the large yard and all the decades-old trees to help keep maximum privacy for the open space inside. The patios, thresholds, inner yards, and roofs were treated as ‘precious’ components, and kept to the proportions of traditional northern Vietnamese houses. The architects however did not simply copy and apply these components unto what is essentially a modern design on the inside, but instead, used them as inputs to analyse, arrange and create the spaces and functions within the house.

View of the ‘pocket garden’ from the balcony 0m

ARCHITECTURE ASIA ISSUE 1 2018

LO C ATIO N

Hanoi, Vietnam P R IN C IPA L U S E

Residential A RC HITE C T F IR M

AHL Architects A RC HITE C T IN C HA RGE

Hung Đào, Sy Tuan DATE O F CO M P LETIO N

2017 AREA

240sqm C IVIL & S TR U C TU R A L

Vu Van Cuong S U P E RVIS O R

Sy Tu an CO N TR AC TO R

N gu yen N h u Ve, Ph am C ôn g Sáu (Gialon g), L u u H u y (V ietbeton ), N gu yen Tr an g M ATE R IA LS

Concrete, wood, steel SECTION

1.5m

P HOTO GR A P HY

HoangLe Photography IN S P IR ATIO N

Vietnamese Northern House structure

White walls and grey-hued cement floor keep the interior color pallete neutral, while the wood-grain fixtures add a certain rustic charm

ARCHITECTURE ASIA ISSUE 1 2018

portfolio

CHINA

HONGKOU SOHO

KENGO KUMA AND ASSOCIATES

expressively pleated An office building in Shanghai, China stands out distinctively from the skyline, with its uniquely ‘pleated’ facade.

The ceilings and walls of the atrium and lobby areas maintain the similar ‘pleats’ theme

ARCHITECTURE ASIA ISSUE 1 2018

Kengo Kuma and Associates, Hongkou SOHO is primarily an office building situated in the Hongkou district in Shanghai. A sense of openness is created through the combination of the distinctive façade as well as the public spaces at the ground level around the building. In that sense, the building is open and linked with the city outside. This link is accentuated through the gentle connections expressed in the facade – which composed of ‘pleats’ made of aluminimum mesh in 18mm width – that take on the appearance of woven lace, evoking the forms of a soft wom-

en’s dress. These pleats change their expressions and character according to the direction, strength, and tone of sunlight. The public spaces on the other hand are also like a creature’s skin, represented with stone and aluminum panels, which create an atmosphere quite different from ordinary ‘hardness’ of such buildings. Hongkou SOHO is one of the latest in a range of recent projects for Chinese property developer Soho China, best known for commissioning the late Zaha Hadid to design the Wangjing Soho and Galaxy Soho complexes.

18mm width ‘pleats’ make up the surface of the facade

SITE PLAN 0m

25m

50m

ARCHITECTURE ASIA ISSUE 1 2018

LO C ATIO N

Shanghai, China P R IN C IPA L U S E

Offices A RC HITE C T

Kengo Kuma and Associates P RO JE C T TE A M

K aga K u maga, Mas ayu ki H as egawa, Mr. H ayas h iro, C h en Yi, H ayas h i D E S IGN P E R IO D

Ju n e 2011 â&#x20AC;&#x201C; December 2015 DATE O F CO M P LETIO N

December 2015 TOTA L F LO O R S PAC E

95,000s qm S TR U C TU R A L E N GIN E E R

E jir i Bu ildin g Str u ctu re

The pleats change their expressions gradually according to the angle, strength, and tone of sunshine

LIGHTIN G

Tats u ya Iwai S IGN AGE

N ippon Des ign C en ter LANDSCAPE

Stu dio C ollege P HOTO GR A P HY

Office spaces which are naturally illuminated

ARCHITECTURE ASIA ISSUE 1 2018

Jer r y Yin , E lich i K AN O

portfolio

one year

JAPAN

ONE YEAR PROJECT

LIFE STYLE KOUBOU

ARCHITECTURE ASIA ISSUE 1 2018

project This mountain-side home for a family from the city deliberately took a full year of preparation and construction â&#x20AC;&#x201C; a long process by Japanese standards â&#x20AC;&#x201C; in order to respond more sensitively to the surrounding natural conditions.

ARCHITECTURE ASIA ISSUE 1 2018

The bridge that connects the two blocks

KNOWN AS the â&#x20AC;&#x2DC;One Year Projectâ&#x20AC;&#x2122;, the site of this house is located at the base of Bandai mountain, and was commissioned by a family from the city who wanted a second home. The region is designated as a heavy snowfall area, which more than 2m-high snow loads, and as such the architects designed a stilt structural system that would adequately protect the house from snow. The house has two blocks; one block serves as the general living area, while

the other for bathrooms and private areas. This two blocks are connected by a bridge, that through its usage, will allow occupants to connect to the sometimes harsh but beautiful natural environment. The name of this project is derived from the fact that it took an entire year to prepare and construct, beginning with the process of tree cutting and sawing, to fabrication and assembling. The dialogue with

nature thus begins here, with the cutting of trees done in the heart of winter, from which the lumber is then seasoned for half a year or more. The average construction period for general housing projects are about four months in Japan, and in comparison, the one year process for this house is comparatively long. However, this deliberate and time-consuming process allowed for many interesting experiences and stories from the people involved ARCHITECTURE ASIA ISSUE 1 2018

ARCHITECTURE ASIA ISSUE 1 2018

+300

線境界隣地

+330 ±0

8,060 5,460

1,300

▽軒先

4,550

1,200

造作ベット杉 270×120㎜間仕切り壁杉 270×270㎜積層

▽軒先

▲上部ロフト

杉野地板乱張り T=12㎜

▼

玄関 GL+2052

造作ベット GL+2832

外壁: ペアガラス LOW-E AG 8.12.8 敷居造作ステンレス

吊橋手摺脱衣室

シャワー室

8,060

吊橋手摺

4,550

造作ベット GL+2832

5,460

内壁: 軽量モルタル T=4.0㎜(浴室内撥水塗装) キンセイシート防水耐水石膏ボード T=12.5㎜

6,950

柱:〇＝FLでの柱位置油性シリコン塗装

外壁: 杉幅60mm(厚みランダム160㎜～260㎜) 雇実柱:〇＝FLでの柱位置油性シリコン塗装(白)

床: 石器タイル乱張りアスファルトルーフィング

線境界隣地

1,200

▽軒先

1,300

1,200

1,300

▽軒先

6,950

薪置き場

トイレ

線境界道路

リビング GL+2572

10 ▲上部ロフト

9 8

ステップ取り外し可能

キッチン GL+2072

床: 磁気質タイル T＝11㎜キンセイシート防水勾配床(杉材)

暖炉:ﾋﾟｷｬﾝｵｰﾌﾞﾝ

3 2

薪置き場

△軒先

引き込みポール

床: 杉フローリング T=60㎜杉野地板乱張り T=12㎜ △軒先

△軒先

床: 杉フローリング T=60㎜杉野地板乱張り T=12㎜

1,300

1,200

△軒先 -900

線境界隣地

砕石

ARCHITECTURE ASIA ISSUE 1 2018

-1030 -1430

Open window walls that allow light into the house LO C ATIO N Fukushima, Japan P R IN C IPA L U S E Residence A RC HITE C T F IR M Life style Koubou

in each of the processes, and in a sense creates a home that has more character and charm. 120 trees, aged between 80 to 90-years-old, approximately 40cm in diameter were used without any special treatment, in order to preserve the original characteristics of the wood. In return, and after the project completion, the architects replanted the same trees to replenish what was taken. Volcanic rock is abundant ARCHITECTURE ASIA ISSUE 1 2018

around this mountain, and is used for the foundation upon which the stilt system sits. A ‘forest’ of steel posts rises up alternately from the footing, which is connected to the wooden lattice-work floor surface at the middle and to the square roof surface at the top. In supporting vertical and horizontal forces by the posts, this structural system allows for a more open periphery. In another nod to nature, the

construction schedule was determined by the seasons. Each construction phase has an ideal time of year – for instance, trees to be cut down in the coldest months of the year. The dry season was ideal for investigation of the natural surroundings of the site, the design, the plans, and for the carpenter to start the process of preparing the lumber. In order to shorten the construction period, wall panel were pre-fabricated off-site.

P RO JE C T P R IN C IPA L Kotaro Anzai D E S IGN P E R IO D Jan 2014 – Oct 2015 CO N S TR U C TIO N P E R IO D Nov 2015 – Dec 2016 S ITE A R E A 300sqm F LO O R A R E A 52sqm

portfolio

INDONESIA

RUMAH TAMBAH (RUBAH)

FUTURE CITIES LABORATORY

the expandable house A new approach to housing design is being developed as a response to the challenges of rapidly developing Southeast Asian cities. BY URBAN-RURAL SYSTEM, FUTURE CITIES LABORATORY

ARCHITECTURE ASIA ISSUE 1 2018

Interior of the Expandable House with retractable ceiling

or ‘rumah tambah’ or ‘rubah’ in Bahasa Indonesia, is designed to be one part of a sustainable response to the challenges of rapidly developing cities like Batam, in Indonesia’s Riau Archipelago. Once a collection of sleepy fishing villages of a few thousand inhabitants, Batam has developed to be a cosmopolitan city of over one million people in less than 40 years. This remarkable growth, fueled by a new free trade agreement and Batam’s proximity to Singapore, has not abated. Young migrants from all over Indonesia moved there to seek their fortunes. By 2015, Batam was

THE EXPANDABLE HOUSE,

named the fastest growing city in the world. As a consequence, the city was confronted by major planning problems: How to accommodate the influx of migrants? How to provide sufficient housing, and appropriate water and sewage systems? How to fund adequate transport infrastructure, and provide schools, universities and hospitals? The Expandable House is an elemental housing and economic unit embedded within the Tropical Town as a larger planning strategy. The Tropical Town project aims to develop environmentally sustainable settlements that can develop and adjust to the growth of popu-

Assembling the modular kitchen unit which may be moved to serve as café and income generating facility

lation or regions. It incorporates sustainable principles in the form of co-operatively owned and managed bamboo plantation strips, rain-water harvesting systems, passive cooling design and a high density urban plan. The Expandable House project focuses on the challenge of housing. It does so by allowing the building to be flexibly configured around the fluctuating patterns of resource consumption and expenditure, or metabolism, of its residents. Practically, this means understanding the patterns of household income generation and expenditure, water, energy and food consumption, as well

as waste production. As this metabolism is usually uneven and often precarious, it is important that the architecture can be a dwelling and income generating unit, that manages its own waste, water and energy locally. The Expandable House is designed around the following five principles: 1. Sandwich Section The house provides a roof that can be hoisted, and floor and foundations (the bread) that can support up to three additional floors (the filling). This system allows flexible financing whereby the developer or state housing

Sectional diagram through the Expandable House and the proposed ‘tropical town’ urban fabric

ARCHITECTURE ASIA ISSUE 1 2018

OUTDOOR PLOT LIVING SERVICE WATER INCOME PRODUCING SPACE CONVENIENCE STORE/WARUNG FOOD STALL/ RUMAH MAKAN MOTORBIKE & CAR REPAIR TAYLOR SHOP PRINTING AND PHOTOCOPY/OFFICE SUPPLIES STORE PHONE STALL/PREPAID CARD KIOSK ROOM FOR RENT/ HOSTEL HOME INDUSTRY/ WORKSHOPS BEAUTY SALON HOUSEHOLD GOODS TRAVEL AGENCY MONEY TRANSFER

Diagram showing functional mixes and variations possible within the Expandable House based on empirical research in existing villages

agency provides the roof and foundations, while the residents provide infill as their circumstances require and budget allows. It also helps accommodate crucial income generating functions (shop, café, garage, cottage industry) along with dwelling. One of the proposed design for interior is the mobile kitchen that can be used as a common kitchen and also a chart for selling the food. 2. Domestic Density The house encourages domestic densification in the vertical dimension. The residents could expand the house vertically because the roof is designed to be easily raised with the help of four people and a supporting structure that is bolted to

FLOOR PLAN

Roof hoisting sequence of the Expandable House

the main beam of the roof. This supports the benefits of co-location of dwellings and employment. It also helps to reduce the settlement footprint on arable land, and the demand for expensive infrastructures (roads, electrical and potable water networks). 3. Decentralised Systems Rainwater harvesting and solar electricity generating technologies, sewage and septic tank systems, and passive cooling principles are integrated locally with the Expandable House, avoiding expensive and often unreliable centralised, or ‘big pipe’, approaches to infrastructure provision. The roof of each unit has the

capacity to collect 7700 litres of rainwater per month (based on roof area of 40 sqm per unit and 2300 mm annual rainfall). This resource is collected through the fiberglass gutter and stored in a 7700 litres groundwater tank. Harvested rainwater is treated by the water purifier to serve bathing, toilet and irrigation purposes, such as a vertical aquaponics, fish pond and garden. The roof of each unit supports 6.7 sqm-panels of photovoltaic solar cells. Collectively these have the capacity to generate over 116 kWh per month, which is intended to supplement existing supplies. Bioseptictank-bamboo system is a closed wastewater treatment method that purifies the water

before releasing it to the city drainage system. 4. Productive Landscapes The Expandable House integrates food and building material production capacity locally. This is achieved by integrating bamboo plantations and kitchen gardens, in the form of vertical hydroponic and fish farming, into the planning logic of the house. It helps further diversify the resource base of the Expandable House in urban areas with limited land. 5. Seed Package The Expandable House is designed as a seed package, containing technologies, material strategies and planning guidelines that can develop in different ARCHITECTURE ASIA ISSUE 1 2018

LO C ATIO N

K ampu n g Tu a Bes ar, Batam, In don es ia C LIE N T

Batam C ity Gover n men t & C ommu n ity of K ampu n g Tu a Bes ar P R IN C IPA L U S E

Res iden tial an d commercial (wh ere applicable) A RC HITE C T F IR M

F u tu re C ities L abor ator y P RO JE C T P R IN C IPA L

Prof Dr Steph en C air n s P RO JE C T TE A M

Ur ban - Ru r al Sys tem: Miya Ir awati, T in g C h en , Azwan Aziz, Dio Gu n a Pu tr a, Su madi D E S IGN P E R IO D

2015 – 2018 (on goin g) CO N S TR U C TIO N P E R IO D

N ov 2016 – N ov 2018 DATE O F CO M P LETIO N

N ov 2018 (es timated) S ITE A R E A

60s qm F LO O R A R E A

112s qm C IVIL E N GIN E E R IN G

Ph ilip Mu eller, Teddy Tambu n an , H en dr ik W ijaya an d Ar ia Alh adi BO R E P ILE CO N TR AC TO R

A Squ are E n gin eer in g

ways depending on local social, cultural and environmental conditions. The strategies of used local material could be implemented for all elements of the house, both exterior and interior, with aims to lower embodied energy and ecological footprint. At the end, this seed package catalyses the growth of environmentally sustainable and economically resilient settlement. We intend that diverse tropical towns will grow from the common seed package.

M A IN M ATE R IA LS

P HOTO GR A P HY

Dio Gu n a Pu tr a

1 2 3 4

ARCHITECTURE ASIA ISSUE 1 2018

C on crete, H ebel blocks , Woven bamboo, T imber, f iber glas s , Steel

PORCH ENTRY KITCHEN TOILET

5 6 7 8

BATHROOM STORE COURTYARD LIVING AREA

VIETNAM

ANâ&#x20AC;&#x2122;GARDEN CAFE

LE HOUSE & CAO HOANG ANH

hanging

portfolio

The cafe takes over a former industrial site, which inspired its steel-frame and bare-brick interiors that are covered in plants

ARCHITECTURE ASIA ISSUE 1 2018

Garden Cafes are not uncommon in Vietnam, and to create a space that would truly stand out, the architects developed a design around the unique requirement of the owner – for it to be a ‘present for his wife’

gardens

WHILE A BUILDING or house full of steel frames may sound overly industrial and heavy, the opposite impression is created by An’garden café – softened primarily through the extensive hanging potted plants – which conjures up a vision of a dreamlike hanging garden. The intention of the architects was not to create ‘another’ garden café, but rather, to create a space that felt personal, and more of a private garden. This approach also synergized with the requirement of the owner, who intended for this café to be a present for his wife.

appears random, it is still decorative and harmonious. Simple cement walls separate the pavement from indoor spaces. In order to minimise the heavy feel of cement, plants were used to synchronise with the indoor environment. Despite its complex appearance, the project did not take long to finish. The end result was a design that poetically juxtaposes industrial elements and the space design principles of traditional café shops that can be found throughout Vietnamese streets.

A strange style An’garden Café did not pursue a more conventional plan as other cafes did. Instead, this building aimed to be an exclusive place that brings guests enjoyment from both the coffee and its picturesque surroundings. The facade of this shop intermingles large pieces of glass with steel frames. While the placement

Green elements What would a garden café be without green elements? On the inside, the architects sought to achieve the feel of the forgotten Hanging Gardens of Babylon. The planted climbers, in combination with the rich coffee scent that greets visitors, offers them an immediate respite from the busy and noisy city.

View of the cafe’s main entrance

The cafe features natural elements such as plants and a small indoor pond under the staircase

ARCHITECTURE ASIA ISSUE 1 2018

Above, from left: The top floor is divided into two parts: outdoor cafĂŠ area; Amazing folded shapes, steel frames as well as natural plant branches are not arranged in any particular order, but still artistic; Industrial style enchants every visitor

ARCHITECTURE ASIA ISSUE 1 2018

SECOND FLOOR

SECTION A-A

1 OUTSIDE 2 INSIDE 3 LAKE 4 RECEPTION 5 KITCHEN 6 TOILET 7 CASCADES 8 HANGING TREE 9 CHILDREN PLAYGROUND

FIRST FLOOR

1 OUTSIDE 2 INSIDE 3 LAKE 4 RECEPTION 5 KITCHEN 6 TOILET 7 CASCADES 8 HANGING TREE 9 CHILDREN PLAYGROUND

SECTION A-A

1 OUTSIDE 2 INSIDE 3 LAKE 4 RECEPTION 5 KITCHEN 6 TOILET 7 CASCADES 8 HANGING TREE 9 CHILDREN PLAYGROUND

GROUND FLOOR

1 OUTSIDE 2 INSIDE 3 LAKE 4 RECEPTION 5 KITCHEN 6 TOILET 7 CASCADES 8 HANGING TREE 9 CHILDREN PLAYGROUND

2.5m

An outdoor cafe area on the top floor

ARCHITECTURE ASIA ISSUE 1 2018

Clockwise from left: Steel frame stairs that allow visitors to the top floor; Hanging plants that bring life into the cafe’s atmosphere; Wooden-framed curtain on the ceiling that partly blocks natural lighting; The glass and steel facade mirrors the industrial feel of the simple cement walls

LO C ATIO N

Hanoi, Vietnam A RC HITE C T F IR M

Le House & Cao Hoang Anh YEAR OF CO M P LETIO N

2017 S ITE A R E A

308sqm F LO O R A R E A

750sqm P HOTO GR A P HY

Images by: Hyroyuki Oki

Plain and rough cement finishes at the background provides for an unexplainable brightness that highlights the interior furniture. This background is both lightweight and modern. The ground floor features layers of wide spaces, where colors from different objects are combined perfectly in order to create a harmonious environment. This floor also features a small pond abundant with aquatic plants right under the staircase. An’garden Café has two floors with a mezzanine that is suitable for those wishing some privacy or for those who want to focus on their work. This area features warm yellow lighting, green layers and brick walls. The Café also offers a special area for children. Typically, it might be a problem when you have to bring children along to a café. As such, a playground was incorporated to ensure that this café is family-friendly. On the top floor, customers get an overview of the entire building. Glass layers allow people to watch the sky and forget the loneliness. This floor receives the most sunlight throughout a day, but not excessively so, with light being partly blocked by the woodenframed curtain on the ceiling. ARCHITECTURE ASIA ISSUE 1 2018

portfolio

CHINA

LAYERED COURTYARD

ARCHSTUDIO

traditionally layered

Hidden in a traditional commercial block near Qianmen, Beijing, is the Layered Courtyard

â&#x20AC;&#x201C; a beautifully crafted public and living complex that embodies the essence of traditional layered courtyards within a modern context.

ARCHITECTURE ASIA ISSUE 1 2018

re-use project is located on a site of about 500sqm. The original building was a quadrangle courtyard commercial building with typical characteristics of such buildings in China. Compared with residential houses, the houses here are bigger and higher. There is a row of arched doors and windows on the south along the street, and two-story houses on the north. Before renovation, the housing structure was completely rebuilt; with the courtyard there were no doors, windows or walls, but exposed rough wooden structure beams. It is said that this building was once a brothel, which then transformed into a bakery after the foundation of the people’s Republic of China, and was later left unused after the reconstruction. In present times, the building has been earmarked to be a complex for public activities and living. Therefore, this transformation project focused on creating an experience of particular scenes within the context of the Hutong environment, with the aim of attracting an urban population

THIS ADAPTIVE

Front courtyard (top); Dining room (bottom)

ARCHITECTURE ASIA ISSUE 1 2018

who has increasingly diversified consumption demands. A prominent feature of traditional architecture is the layered courtyard. In a quadrangle courtyard with three layers, a house’s function changes as people enter each yard – the privacy gradually increases from outside to inside, giving people the impression of a ‘deep’ courtyard. The design of the Layered Courtyard is inspired by the multi-layered courtyards of these traditional spaces, thus the previous inner courtyard was changed into a three-layered courtyard in order to adapt to the transition from the public spaces to private spaces step-by-step. Aside from that, the designers took advantage of the yard’s layered structure to create a quiet, natural and poetic scene within a noisy Hutong neighborhood. The Layer Courtyard has rearranged the relationship between new and old, inside and outside, artificial and natural. Firstly, the designers demolished some parts of the roof in the south so that the first layer between the interior space and street yard is

created. Secondly, a sloped-roof building was added between the houses on the north and south, which then separated the old and new with two parallel yards. The three-layered courtyard allows all indoor spaces to be accompanied by bamboo and sunlight. The spaces are separate but penetrate with each other, the glass walls feature spray patterns that look like overlapping peaks, which further strengthens the sense of translucency, thus achieving the layered juxtaposition of different scenes and living situations from outside to inside. The usage patterns follow the natural transition from openness to privacy. The south house is a place for public gathering activities, with an arrangement of a reception space, dining room, bar, kitchen, office, warehouse and so on. The original wooden beam and column structure was preserved as much as possible, and two new wooden box service units were placed inside to divide spaces of different scales. Through the first layering yard, the window openings of the

1. Original Courtyard Space

2. Removing the southern rooms to form the first layered courtyard

3. Adding a new roof to the top building, creating the second layered courtyard

4. Creation of the water courtyard

5. Use of wooden boxes to further divide the interior space

6. Transformed building relationships

Roof view at night, showing the relationship between the layered courtyards

ARCHITECTURE ASIA ISSUE 1 2018

Stairs

Corridor

Rest area

Guest room on the second floor Multi-functional space

ARCHITECTURE ASIA ISSUE 1 2018

original building and the painted doors form the effect of a ‘shadow wall’, and together they outline the colourful Hutong life scenes under the setting of a bamboo forest. The house in the middle was changed into a flexible multi-functional space, which can be used together with the front restaurant, or as an independent exhibition hall, or to be integrated with the guest room area to become a rest area. The designers tried to consider the harmonious relationship between the new building and the two old sloped-roof buildings on both sides, in terms of the scale, lighting and distance. The inner spaces were built around a linear waterscape garden, and mainly used transparent, translucent, reflective materials and furniture to weaken the spaces’ physical feeling and to create a light, transparent and floating atmosphere quite unlike the old building – making spaces elusive and concealed within the bamboo courtyard. Houses on the north side are the most private places. Here the designers made use of the original structure to divide the first floor into four rooms. The rest area and bathroom area are separated from each other by the change of materials. Each guest room has an individual bamboo courtyard, and the inside and outside are stacked with one another. The second floor is divided into three rooms of different sizes. Through the floor glass curtain wall, people can enjoy the best views of layered gray tile roofs, green trees and blue sky. All rooms are equipped with facial recognition and intelligent control systems. Guests can book a room online and scan a code to check in, providing an easier and more convenient living experience.

LO C ATIO N

Qian men , Beijin g, C h in a A RC HITE C T F IR M

ARC H STUDIO P RO JE C T P R IN C IPA LS

H an Wen qian g, H u an g Tao BU ILT- U P A R E A

Approx 530s qm DATE O F CO M P LETIO N

F ebr u ar y 2018 S TR U C TU R A L CO N S U LTA N T

Zh an g F u h u a HY D RO P OW E R D E S IGN

FLOOR PLAN

1.5m

Zh en g Baowei

1 MAIN ENTRANCE 2 SECONDARY ENTRANCE 3 DINING ROOM 4 VIP ROOM 5 RECEPTION 6 BAR 7 KITCHEN 8 COURTYARD 9 REST ROOM 10 OFFICE 11 EQUIPMENT ROOM 12 MULTIFUNCTIONAL AREA 13 WATER COURTYARD 14 GUEST ROOM 15 LINEN ROOM 16 STAIRS ROOM

LIGHTIN G CO N S U LTA N T

Don g T ian h u a F U R N ITU R E CO N S U LTA N T

Son g Gu och ao M A IN M ATE R IA LS

Mir ror s tain les s s teel, pr in ted glas s membr an e, tr an s lu cen t br ick, oak board P HOTO GR A P HY

C reatAR Images (L u o Ju n cai)/ Jin Weiqi

P RO JE C T D E S C R IP TIO N

H an Wen qian g

1 HUTONG STREET 2 FRONT COURTYARD 3 DINING ROOM 4 MEDIUM COURTYARD 5 MULTIFUNCTIONAL AREA 6 WATER COURTYARD 7 BACK COURTYARD 8 GUEST ROOM

SECTION

2.5m

Reception area

ARCHITECTURE ASIA ISSUE 1 2018

STUDIO SA_E & SINDHU HADIPRANA DESIGN CONSULTANT

ANDALAN AUTOMOTIVE GALLERY AND OFFICE

INDONESIA

portfolio

the big block in town The form of this automotive gallery and office in Indonesia drew inspiration from the Chevy Big-block V8 engine.

is primarily in financing and servicing new and used automobiles. The intention was for the building to house both offices as well as a functional showroom. Located at BSD, South Tangerang, and facing a major arterial road, the site location was highly appropriate and strategic. The building has been divided into two major functions – the showroom that faces the arterial road directly, and the finance and main offices being located on the opposite side. Two separate entrances have also been incorporated, for both the employees and showroom visitors respectively. The design approach for the showroom is based on a semimuseum gallery concept, and emphasis was paid to ensure the exterior was visually attention grabbing. The overall form, which dictated the showrom’s layout, was based on the form of a Chevy Big-block V-8 engine. As it is intended to function like

THE CLIENT’S BUSINESS

ARCHITECTURE ASIA ISSUE 1 2018

A panoramic elevator at the center of the building

ARCHITECTURE ASIA ISSUE 1 2018

LO CATIO N

BSD, Tangerang, Indonesia A RCH ITECT F I RM S

Studio SA_e & Sindhu Hadiprana Design Consultant P RO J ECT P R IN CIPA L S

Ario Andito & Sindhu Hadiprana COMP LETIO N YEA R

2016 S ITE A R EA

6,600sqm FLO OR AR EA

1,600sqm CON S TR UCT I O N

Pt. Promaco Cipta Bersama CIV IL EN G IN EER IN G

SEVENTH FLOOR

EIGHTH FLOOR

FIFTH FLOOR

SIXTH FLOOR

THIRD FLOOR

FOURTH FLOOR

Pt. Anugrah Multi Cipta Karya M&E CON S U LTA NT

Pt. Policipta Multidesign Q UA N TIT Y S URV EYOR

Pt. Korra Antarbuana P H OTOGR A P HY

Sonny Sandjaya & Ario Andito

a museum or gallery, the architects opted for an open breezy space that has generous amounts of daylight, while providing visually arresting views from any viewpoint in the interior. The fivestoreys were carefully planned on a layout arrangement that was analogous to the form of the V8 engine. As a result, each floor features a distinctively shaped ‘v’ with different dynamic angles. This v-shape floorplan point toward an imaginary meeting point, which serves as a ‘vista’ point – a spot where visitors can see all the exhibits in a full 180° – degree view. A sense of freedom is afforded to showroom visitors, encouraging exploration throughout the showroom space. As the showroom dominates, the offices on the rear side becomes a supporting function. With eight storeys, the offices face a quieter street, and to provide more privacy, features a façade that is less transparent than the showroom.

N GROUND FLOOR

SECOND FLOOR

10m

20m

ARCHITECTURE ASIA ISSUE 1 2018

The Andalan automotive gallery and office uses a glass facade to show the interiors of the gallery

ARCHITECTURE ASIA ISSUE 1 2018

portfolio

SINGAPORE

FABER-HOUSE

ONG&ONG

faber-house Reclining within an exclusive node in western Singapore, the Faber-House looks perfectly suited to its lavish milieu â&#x20AC;&#x201C; at home amongst the quaint bungalows in this cozy enclave.

ARCHITECTURE ASIA ISSUE 1 2018

THIS BESPOKE RESIDENCE was designed to fulfill the specific needs of the client, where their two foremost considerations were family and friends. Working with a sizeable plot of land, the design team opted to realign the new house to one side of the site. This decision optimised space usage, with the new layout allowing the inclusion of a garden and a lap pool. The architects approached this project with an underlying design ethos that was subtle yet distinctive, where clean flowing lines and thoughtful material selection culminate in an elegant design with undeniably bold touches. The house features two rectangular volumes stacked atop one another, forming the core of the residence. A sand-coloured wood panel faĂ§ade lines the entrance foyer, separating the stone-lined driveway from the lap pool and outdoor deck just behind. Made from zircon wood, the faĂ§ade at the entrance foyer first introduces the timber motif that manifests throughout. The entrance hall recedes to reveal the dramatic living area. Endeavouring to erase the limit between interior and exterior spaces, the architects devised a system of retractable glass windows that could slide and fold with great ease, providing versatility to the space. The living area easily switches from open-air to glass enclosed, as the interior cascades effortlessly towards the exterior giving the house an exceptional visual flow. The fecund garden spaces that bound the outer edges of the compound bleed into the cool blue-tiled lap pool and alluring timber decks, creating a striking juxtaposition of

colours and textures. The familiar timber motif from the entrance is repeated, framing a panel concealing artwork - demarcating the spacious living area from the adjoining kitchen area. Unfolding these panels reveals one of the highlights of the house â&#x20AC;&#x201C; the kitchen. Sleek, dark finishes of stone and tile work emboldens this space, where a striking single kitchen island commands the room. Top of the line kitchen facilities are stylishly arranged, as the space was conceived as a culinary laboratory for the resident chef of the family. A sculptural staircase occupies the double volume space, connecting the different levels of the house. Fabricated from folded black sheet metal, the staircase serves to segregate the basement and ground floor common areas from the private quarters on the top floor. Guests are led to the basement entertainment area, leaving the upper floor strictly for family. At the basement, sheet metal, textured concrete, timber strips, and rough gravel provide the character for this subterranean space. A Zen-inspired rock garden punctuates the landing area, accentuated by the natural light that trickles in from the intricate fenestration that lines the stairwell above. The basement comes fully equipped with a state of the art entertainment system. Containing a professional-grade wine cellar, as well as a 3.6sqm bomb shelter that is reinforced by 300mm-thick concrete, the underground lair exudes a stately sense of edgy, contemporary cool. A neon pink sign adorns the dark stone central wall, with the sage inscription

ARCHITECTURE ASIA ISSUE 1 2018

Enissunt fugitius ut elitincto quo tempero totat volorem poritat

ARCHITECTURE ASIA ISSUE 1 2018

SECOND-STOREY FLOOR PLAN

SECOND STOREY FLOOR PLAN

FIRST FLOOR PLAN FIRST STOREY FLOOR PLAN

2.5m

BASEMENT FLOOR PLAN

ARCHITECTURE ASIA ISSUE 1 2018 BASEMENT FLOOR PLAN

LO C ATIO N

Singapore A RC HITE C T F IR M

Ong & Ong P RO JE C T P R IN C IPA LS

Diego Molina, Maria Arango P RO JE C T TE A M

Camilo Peláez, Tomas Jarmillo Valencia, Julius Caramat Daguio & Lim Yan Qing CO N S TR U C TIO N P E R IO D

2014 to 2016 GRO UN D F LO O R AREA

724.73sqm P HOTO GR A P HY

Derek Swalwell

The Zen-inspired rock garden

The perforated metal mesh screen encases the second storey

Enissunt fugitius ut elitincto quo tempero totat volorem poritat

ARCHITECTURE ASIA ISSUE 1 2018

reminding all that, “Happiness is Expensive”. On the upper floor, the upstairs bedrooms have been designed to be luxurious and spacious. Both junior suites have en-suite bathrooms and walk-in wardrobes, while the master bedroom was designed to evoke a sense of openness. Large floor-to-ceiling windows are a prominent feature within the master bedroom, offering panoramic views of the surrounding neighbourhood. Abundant natural light and cross-ventilation pervades the space, as carefully placed skylights in the master bathroom and walk-in wardrobe inject the master bedroom space with a bright, airy feel. Green planter spaces in the master bathroom’s shower and commode not only provide an organic touch, but also serve as natural air wells assuaging internal circulation. The final, and perhaps most striking of this house is the perforated metal mesh screen that encases the second storey. Lending the property an elevated sense of privacy, the aluminum screen obscuring the home from neighbouring houses nearby. Emblazoned with the unmistakable silhouette of a lush, tree-lined forest, the screen not only acts as a shield from the sun’s heat and glare, but also introduces a tantalising interplay of light and shadow throughout the day.

portfolio

JAPAN

KOJYOGAOKA HOUSE

HEARTH ARCHITECTS

ARCHITECTURE ASIA ISSUE 1 2018

all in

This sensitively designed home is characterised by its singular, large roof

– in a nod to the client’s ethos of ‘every family member under one roof’

ARCHITECTURE ASIA ISSUE 1 2018

Living area

of the wide frontage and open site, the architects designed an expansive feeling one-storey home, topped off with a large slanted roof and featuring only a minimal number of walls. The roof, which slants north-south, allowed for walls to be minimised as well as for a open roof plan. Large openings into the garden provides for generous amounts of light into the interior. As with typical houses in Japan, floor space is a compact 128sqm, but despite this, the interior feels spacious and airy. Wooden beams and finishes provide some balance to the concrete walls, providing for a sense of balanced warmth to the house. Despite the space limitations, the layout includes a modest entrance space, a storage room, living and dining rooms, a bathroom, a bedroom, a verandah as well as a multi-purpose space. As a provision for the future, a second storey can be added later for rooms for the children.

TAKING ADVANTAGE

Front entrance

ARCHITECTURE ASIA ISSUE 1 2018

The whole colour palette is dominated by the warm shades of different kinds of wood

ARCHITECTURE ASIA ISSUE 1 2018

Enissunt fugitius ut elitincto quo tempero totat volorem poritat

LO CATIO N

Shiga, Japan A RCH ITECT F I RM

Hearth Architects P RO J ECT P R IN CIPA L

Yoshitaka Kuga DES IG N P ERI O D

6 months S ITE A R EA

3001sqm FLO OR AR EA

129sqm CON S TR UCT I O N

Matsuhiko L A N DS CA P IN G

N. forest P H OTOGR A P HY

Yuta Yamada

KozyogaokaHouse House Kozyogaoka FIRST FLOOR PLAN

3 1

1 ENTRANCE 2 STORAGE SPACE 3 LIVING DINING 4 WASH ROOM 5 FREEROOM 6 BEDROOM 7 VERANDA 8 CHILDRENâ&#x20AC;&#x2122;S ROOM

7 8

SECOND FLOOR PLAN

ARCHITECTURE ASIA ISSUE 1 2018 2nd floor 2nd floor

1st floor 1st floor

8:children's room

events

AMBIENTE 2018 THE LARGEST GLOBAL CONSUMER TRADE FAIR THAT SERVES AS A BAROMETER OF THE LATEST DESIGN TRENDS AND EVOLVING CONSUMER LIFESTYLES, AMBIENTE HAS BEEN A KEY MUST-GO EVENT FOR ARCHITECTS, INTERIOR DESIGNERS AND LIFESTYLE EXPERTS. HERE ARE SOME OF OUR FAVOURITES, SPOTTED AMONGST THE 4,441 EXHIBITORS FROM 89 COUNTRIES.

The Broken Reflections series by Cozi Studio explores the elasticity of steel–table tops, pendant lamps and mirrors and wrinkled and distorted to bring lightness and liquidity to the material. cozistudio.co

The Taburet stool by Moya is made from natural Siberian Taiga birchbark and its seat is uniquely composed of a 3D pattern that allows it to look different from every angle. anastasiyakoshcheeva.com

Inspired by the Japanese cherry blossom, the Minoshi Garden is an architectural mobile by Atelier Oi that is made of Washi, a traditional Japanese raw material. www.atelier-oi.ch

The Shin Pencil Sharpener from design brand Shu Shu sharpens dull pencils like you would a knife, whetstone style. shushu-online.de

The Wiener by Thomas Poganitsch is a delightful remake of the original Viennese newspaper holder. True to the original, the only thing different is the availability of different sizes to fit more modern reading materials. wienerzeitungshalter.at

Iconic British brand Dualit has re-issued their classic slot toasters as part of their Neutral Collection. Made in collaboration with colour and trend forecaster Anna Starmer, these toasters have been perfected in shades grey that play off the metallic accents and the sturdy old-school form. dualit.com

Exquisite traditional crafts were found at the DENSAN booth – amongst which was this delightful cast iron tea pot, part of the Hiratsubo series by Chushin Kobo Co Ltd. densan-world.jp

The Scrap Life Project was born out of a chance wrong turn on the road which saw the designers stumbling unto an injection moulding factory. The mountains of leftover scrap plastic they saw gave birth to the idea of these stools – the tops utilising this otherwise scrap plastics, making each stool uniquely patterned and coloured. scraplifeproject.com The Boulon Blanc table offers two different heights in one table via an ingenious system that allows for height changes to be made within seconds. hboulonblanc.com

ARCHITECTURE ASIA ISSUE 1 2018

For more info about Ambiente >> ambiente. messefrankfurt.com

events

THEMED ‘YOU FOR TOMORROW: FUTURE LIVING AS ENVISIONED TODAY’, THIS YEAR’S ASIA YOUNG

THE FUTURE IS IN THE PAST

DESIGNERS OF THE YEAR AWARDS WAS AIMED AT CHALLENGING THE FORESIGHT AND THE TECHNICAL ABILITY OF YOUNG PROFESSIONALS TO CREATE DESIGN CONCEPTS WHICH ARE

BY SCARLET KOON SI QI

ASIA YOUNG DESIGNERS OF THE YEAR 2017/2018 RELEVANT, MEANINGFUL AND MEETS THE NEEDS OF TOMORROW’S DWELLERS AND SOCIETIES.

From left: Asia Young Designers of the Year Shahmeena Labeeb (interior design category) and Ng Wai How (architecture category)

ORGANISED BY NIPPON PAINT, the Asia Young Designer Award is the climax of the annual Asia Young Designer summit. The Award which involves 13 participating countries across Asia, is region’s premier design award that aims to nurture young design talents across Asia, providing design students with industry knowledge, personalised coaching, mentoring, and skill-building through workshops. This year’s two gold winners were both from Malaysia, beating participants from Hong Kong, Taiwan, India, Indonesia, Iran, Japan, Pakistan, Philippines, Singapore, Sri Lanka, Thailand and Vietnam. Ng Wai How, who is currently pursuing his Master of Architecture at the University of Malaya, Malaysia, won the Architecture category. Shameena Labeeb, a recent graduate in Interior Architecture from Taylor’s University, Malaysia, won the Interior Design category. Ng and Shameena each took home a cash prize of US$5,000. Ng’s project, War Museum: Extension of Tugu Negara (Malaysia’s National Monument) aims to enhance and preserve the collective memory of Malaysia’s fallen heroes using thematic galleries that use light, shadow and texture for greater impact. The planned site on the lower hill helps preserve the natural landscape as much as possible while paying homage to the original monument without overwhelming it. Meanwhile, Shameena centred her idea around the declining population on honeybees around the world. Using an abandoned space in

Kuala Lumpur, Malaysia as her site, she designed a project incorporating bee-friendly fruit and vegetable trees, with design elements inspired by honeycombs. Named Plan Bee – City Beekeeping, it creates employment for Malaysian urban beekeepers and gardeners, with a cafe and retail space for produce made from honey such as mead. The Asia Young Designer summit also featured expert speakers to support the theme through talks about sustainability, Internet of Things, future commercial space trends, utilising old values in new ideas and Iranian visionary architecture. These renowned speakers were Ar Amit Gupta and Ar Britta Knobel Gupta, internationally-acclaimed architects and Founding Partners of Studio Symbiosis (India); Chu Chih-Kang, Founder and Design Director of Chu Chih-Kang Space Design (Taiwan, Region of China) who incorporates Chinese cultural elements with deep cultural connotations in his commercial designs; Dr Kamra Afshar Naderi, Branch Manager of Artelia Company (Iran) who is a renowned university professor and co-founder of architecture magazine Memar; Nicholas Ho, award-winning Deputy Managing Director of multi-disciplinary architectural practice hpa (Hong-Kong, Region of China); Rene Tan, Founder and Director at RT+Q Architects (Singapore) and 2016 recipient of Designer of the Year’ at the President’s Design Awards; and Seelan Kandasamy, Country Head - System Solutions, Panasonic (Malaysia) with more than 15 years’ experience in developing and leading the business.

THE RECENT Nippon Paint Asia Young Designer Award (AYDA) Summit 2017/2018 was a hit as young designers and architects converge to attend the summit. The renowned speakers who attended from all around Asia not only discussed and shared their views on the theme but also motivated the young talents that they are the future of architecture and design. The first speaker for the summit, Nicholas Ho is a young architect from HPA. He shared his story of starting small and dreaming big. His dream was to bring his father’s firm from a traditional firm to being a sustainable platform in the future, and one of his visions for the firm is to go global. “By going global, it is not just to earn more money, it is to attract more talent,” said Nicholas. His view towards design is to be in contact with the people, as architecture is ultimately for the people to help the people. He mentioned that the architect’s job scope has become wider, being involved in every aspect of the project, and with the different forces in play in the city, understanding the forces of the city ultimately helps architects to understand the citizens more. “As an architect, we should not only focus on the job at hand, but to also maintain a holistic view of the forces in the world and be mindful of the role that we are going to play.” By testing in different scales in design, designers can stay in contact with people. From designing the furniture to the master plan, every scale poses an opportunity to understand that the community space is designed for better. Nicholas believes that an architect’s job is to serve the community, designing to solve problems to save the world. He left the audience with an advice to the younger genera-

ARCHITECTURE ASIA ISSUE 1 2018

Speaker Dr Kamran Afsar Naderi (Iran)

Speaker Chu Chih-Kang (Taiwan, Region of China)

tion: “Have courage. Do not fear the sacrifices and adapt to the situation. Learn. Talk to anyone and understand different views and reconnect with people. Understand how people feel to design for the people.” Next up on stage was a couple duo, Amit Gupta and Britta Knobel Gupta, with the topic ‘The Sustainable Tomorrow’. They showcased designs that were sustainable and environmentally conscious of the future. Punjab Kesari HQ was the first project they demonstrated among the five other projects under their belt. The project aimed to reduce heat gain while maximising façade opening, therefore taking inspiration from traditional Indian prints and scaling it in different sizes to achieve the aims. The resulting pattern is an interesting shape that is both functional and visually interesting. Meanwhile, for the business hotel project in Rohtak, vertical fins that were designed to lower heat gain demonstrates that the form, structure, and sustainability of a design comes together as one. Another project that was demonstrated is a furniture design. The aim to reduce wastes during constructions made the designers to look back into the past to find alternative ways of creating a furniture with minimal material wastage. The architects found the method of kerfing (cutting grooves into the wood to curve the wood) and designed the lounger. All the projects presented one main idea – that in order to move forward into the future, we have to look into the past and learn from it.

Speaker Rene Tan (Singapore)

Chu Chih-Kang from Chu Chih Kang Space Design enlightened the audience with the future trends of commercial space. He pointed out three main ideas in commercial space design – story, hidden relationships, and integration of needs. All three ideas were demonstrated and implemented in the design for a bookstore in ChengDu, China. Story, or scenario switching, means giving the space a story and finding a deeper meaning for a space. Is a bookstore just a bookstore? It could be a library, or in a case study, a storage for cultural treasures. Spaces invoke memories, and giving the space a value and identity brings a new sense of feeling to consumers. After giving the space a value to attract consumers, how do we design to keep the consumers? This is where the hidden relationships among people come into play. One of the main reasons consumers go to a commercial space is to fulfil social needs and to get validation from society. By understanding the ulterior motives of consumers, subtle designs can be integrated into the space to enhance the feeling of the space. By placing a café in a dark corner with seats facing the bookstore, it allows people to observe others while remaining relatively sheltered and protected. Finally, to get consumers to purchase products, they have to be arranged by the needs of the consumers, rather than the category of the item. For example, people going to the bookstore would want a coffee to go with it, therefore placing a café in the bookstore was a conscious design by the architect. In a nutshell, every design for a space should start by find the ‘soul’ or the story of the space, then finding the relationship with the people, followed by how to sell the product, and the design and form would come naturally. The forth speaker on stage was Rene Tan from RT+Q, a Singaporebased architect who demonstrated a main idea – an ideological miscarriage. Rather than just having the same ideas and opinion of a building and space, architects should think outside the box and rely on their counter-intuition on design. He demonstrated three forms in their design – free abstract forms, the primitive hut, and the style-less architecture. In the first form, instead of having the normal forms, high-rise buildings could have cruciform forms or organic forms, or even cantilevered forms. As demonstrated in The Capers and The Fennel in Sentul, the form of the building is not of the conventional straight block, but rather like a folded pleat. “Inspiration can come from anywhere,” said Rene, as the inspiration

for The Fennel came from the zig zag road markings. In the primitive hut form, two projects were demonstrated, the House with Bridges and Svarga Residence. Both designs have the universal house shape we draw as children with pitched roofs. Both designs portrayed how design could solve the problems in people’s life. As the society moves to become more modern, so has architecture. Architecture has evolved into a style-less form, argues Rene, with only the fundamentals of a building – structures, walls, and roof. Throughout the demonstration, “putting the wrong things at the right place” was constantly brought up, as demonstrated in the design of The Fennel by placing a pool between the towers to act as a roof for the drop off beneath. Last but not least, Dr Kamran Afshar Naderi took to the stage with his topic ‘Forward and Rewind’. He started by enlightening the audience that throughout history, architects have constantly been forward thinking, yet looking back into the past for inspiration. The Renaissance saw the revival of Greek and Roman architecture with elements from the past yet adapted to fit the current time. Neoclassical architecture also adopted elements from classical orders yet having subtle differences to suit the current trend. He showed a number of projects such as The Jam Tower, 40 Knots House and Sharifa House. All the projects showed a combination of traditional design order, materials, and construction methods into a modern design. In the design of the 40 Knots House by Habibeh Madjdabadi, the brick pattern is inspired by the traditional weaving methods of Persian carpet, creating a fluid-like façade that seems to be flowing. The projects demonstrated by Dr Kamran show the potential of vernacular architecture and technique for modern architecture. “Future architecture would contain the DNA of the past,” said Dr Kamran, a fitting phrase for the whole speech. Throughout the summit, one theme was clear – that in order to move forward as well as to create and design in the future, we need to look back into the past and connect with people. On a fundamental level, architecture is created for people, and even before architecture came to be what is known today, humans have created dwellings that suited their needs efficiently. As we progress into the future, sustainability is becoming a greatest issue in design and therefore, as Dr Kamran said, “In order to create a sustainable future, we should look back into the past to look forward.”

Speakers Ar Amit Gupta & Britta Knobel Gupta (India)

ARCHITECTURE ASIA ISSUE 1 2018

snapshot

NOT 3D PRINTED

Japanese artist Manabu Kosaka creates extremely detailed models made only of paper. Totally handmade, only Kent paper, glue, a dremel and an extremely sharp X-acto knife are all he needs to create his models. A favourite subject has been wristwatches – including a Casio G-Shock, an IWC Portuguese Chronograph, and a Rolex. The insane levels of detail go all the way to individually crafted links of the watch bracelet, to even replicating the individual gears of the watch movement. / twitter.com/coca1127

ARCHITECTURE ASIA ISSUE 1 2018

subscribe to architecture asia magazine and join a community of over 8,000 architects across asian nations.

Architecture Asia is the official magazine produced quarterly for the Architects Regional Council of Asia, representing 21 National Institutes of Architects and serving as an extension for each member instituteâ&#x20AC;&#x2122;s regional programme relations.

rm120

RM120.00 per annum inclusive of postage for delivery in Malaysia

usd120

Payments can be made by bank draft made payable to: PUSAT BINAAN SDN BHD Or by telegraphic transfer to: UNITED OVERSEAS BANK (MALAYSIA) BERHAD

Ground Floor, No 1 Jalan SS 21/58, Damansara Uptown, 47400 Petaling Jaya, Selangor Account No: 202 902683-3 Account Name: Pusat Binaan Sdn Bhd Swift Code: UOVBMYKLXXX

USD120.00 per annum inclusive of postage for delivery elsewhere

Provide your full details, including receipt of payment/transfer to: PUSAT BINAAN SDN BHD

99L, Jalan Tandok, Bangsar, 59100 Kuala Lumpur, Malaysia T 603-22022866 F 603-22022566 E info@architectureasia.co

Architecture Asia is also available online and the executive business lounges and libraries of selected hotels and resorts across Asia

GREEN ROOFING SOLUTION Sika Sarnafil®

TO HELP CREATE HEALTHIER ENVIRONMENTS ́ Reduction of heat-island effect ́ A natural environment on the roof with natural CO2 absorption ́ Protecting and prolonging the life of the waterproofing membrane ́ Enhancing the aesthetics of the building ́ Improved thermal performance of the building ́ Renaturalisation ́ Improved rain water retention

Sika Kimia Sdn. Bhd. Tel : +603 7957 0111 Fax : +603 7956 7921 http://mys.sika.com Sika (Singapore) Pte. Ltd. Tel : +65 6777 2811 Fax : +65 6779 6200 82http://sgp.sika.com

Sika (Thailand) Limited Tel : +66 3821 4270 Fax : +66 3821 4288 http://tha.sika.com Sika Ltd. (Vietnam) Tel : +84 613 560 700 Fax : +84 613 560 699 http://vnm.sika.com

Sika Indonesia P.T. Tel : +62 21 823 0025 Fax : +62 21 823 0026 http://idn.sika.com

ARCHITECTURE ASIA ISSUE 1 2018