Architecture Asia - 2018 Second Quarter - ARCHITECTURE OF CULTURE

SECOND QUARTER 2018

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KUALA LUMPUR ARCHITECTURE FESTIVAL

21 June - 7 July 2019

Shelter Tooling + Making Future Food Festival

Archidex Datum

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

chairmen of arcasia committees

HONORARY TREASURER

Sannah Ejaz IMMEDIATE PAST PRESIDENT

Sathirut Nui Tandanand ADVISORS

Tan Pei Ing, George Kunihiro

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PUBLISHING AGENCY

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

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COMMITTEE ON PROFESSIONAL PRACTICE (ACPP)

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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

CULTURAL FACILITIES ARE DREAM PROJECTS for many an architect. Many young architects enter competitions in this genre with the hope of getting a big break through them. The Sydney Opera House, won by the then young Jorn Utzon is a classic example, although not without its attendant issues. One of the projects featured in this issue of Architecture Asia, the Bjhar Museum in India, was procured via an international competition. The winning architect, Fumihiko Maki is of course certainly not young, but his seventeen-year old local associate office, _opolis, founded by architects Rahul Gore and Sonal Sancheti in 2001, is relatively young for an architecture practice. We certainly hope to see more cultural projects opening for competition by ARCASIA countries that will further provide young architects in Asia a chance for that break of a lifetime.

Whether or not the projects were won by competition or direct commission, the prestige for having designed and built a cultural edifice is every architect’s pride and dream. Here, we present a range of recently completed cultural buildings across Asia; many of which are monumental and iconic, befitting the nature and stature of their functions and purposes, such as the triple-triangle Shui Cultural Centre and the Gehryesque Tsuruoka Culture Hall, while others are modest and low key such as India’s open air theatre and the branch office of the Association of Siamese Architects, ASA, in Chiang Mai. Some of these buildings have incorporated the green agenda in their programmes, such as the Green Building Index Gold rated Raja Haji Fi Sabililah Mosque in Malaysia, while almost all of them attempted to interpret the local tradition and culture for a new regionalist expression. While mosques are strictly more religious than cultural, but since the Raja Haji Fi Sabililah Mosque comprises a complex of a banquet hall, classrooms and supporting facilities, it is indeed more than just a place of worship – it aspires to continue, if not expand on the legacy of the legendary Malaysian National Mosque in projecting Islam as a progressive religion with its modern expression. There is even the reappearance of Brutalism, which is also regaining some interest in the UK, as in the off-form exposed reinforced concrete structure of the Shui Cultural Centre in China and to a lesser extent, in the Son Yang Won Memorial Museum in South Korea.

Anther two projects, from Japan, are both iconically monumental yet rooted in local traditions. The Tsuruoka Culture Hall with its wavy exterior contrasts with the historic setting but connects with the natural surrounding and the elements, while the Shinshoji Zen Museum, built in the ship-building traditions of the locals, floats atop a rocky seascape – like a lifeboat from Noah’s Ark after the Great Flood.

We also feature a project in France by a Japanese architect, Kengo Kuma. Here, tradition and modernity meet not in the expression of form but in materiality – in the form of the fusion of modern expanded metal screens that are coated with traditional paper pulp, giving a random texture of light to the otherwise monotonous screens. In Singapore, a metal lattice and screen of mathematical precision appears to curl effortlessly between Marina Bay Sands and Gardens by the Bay to form the Silver Pavilion event space.

The Creative and Design Centre in Bangkok is housed within a historical building where it recalls Sou Fujimoto’s 2013 Serpentine Pavilion, made functional and brought indoor. Elsewhere in Thailand, the ASA branch office is buried under a terraced rice field with only a simple traditional farm shed marking its presence with a blend of local cultural identity and local construction materials. Continuing the vernacular, in the similar vein, is the contemplative Son La Ceremony Dome, which was inspired by local traditional bamboo basket weaving.

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.

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NAUTICALLY INCLINED / KOHTEI / SANDWICH INC / JAPAN SPACE FOR EXPRESSION / JAI JAGAT THEATRE / SEALAB / INDIA INSPIRING CREATIVITY / THAILAND CREATIVE AND DESIGN CENTER / DEPARTMENT OF ARCHITECTURE CO., LTD / THAILAND CONTEMPLATIVE DOMES / SON LA CEREMONY DOME / VO TRONG NGHIA ARCHITECTS / VIETNAM AN INTERCONNECTED CAMPUS / THE BIHAR MUSEUM / MAKI AND ASSOCIATES (TOKYO) IN ASSOCIATION WITH _OPOLIS / INDIA TRUE TO SPIRIT / ASA LANNA CENTER / SOMDOON ARCHITECTS / THAILAND TEXTURED LIGHT / ANTONI CLAVÉ ARCHIVES / KENGO KUMA & ASSOCIATES / FRANCE THE FUTURE OF US / THE FUTURE OF US PAVILION / SUTD ADVANCED ARCHITECTURE LABORATORY / SINGAPORE WIND SWEPT / TSURUOKA CULTURAL HALL / SANAA + SHINBO ARCHITECTS OFFICE + ISHIKAWA ARCHITECTS OFFICE / JAPAN SPIRITUAL CIRCLE / SON YANG WON MEMORIAL MUSEUM / LEE EUNSEOK + ATELIER KOMA / SOUTH KOREA SIMPLICITY AND PURITY / RAJA HAJI FI SABILILLAH MOSQUE / ATSA ARCHITECTS / MALAYSIA OF ANCIENT RITUALS / SHUI CULTURAL CENTER / WEST-LINE STUDIO / CHINA

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SOGANI: THE FIRST INDIAN DESIGNER LIGHTING BRAND MAKES ITS MARK AT LIGHT + BUILDING 2018

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RADAR READS GOODS NEWS EVENTS

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MANUFACTURING ARCHITECTURE: AN ARCHITECT’S GUIDE TO CUSTOM PROCESSES, MATERIALS, AND APPLICATIONS DANA K. GULLING LAURENCE KING PUBLISHING

Manufacturing Architecture is a reference guide to customising repetitive manufacturing for architects. Computer-aided design has greatly expanded the opportunities for architects to create innovative buildings with custom components. While most architects were exposed to CAD when they were students, few of them have in-depth knowledge or experience with using it to customise repetitive manufacturing processes. This book provides designers of all levels with all the information they need to make the most of the exciting opportunities offered by custom manufacturing. Clear diagrams and narratives explain the 20 most useful manufacturing processes for typical building components. Case studies from around the globe show how these processes can be customised in order to create variation, lower costs, decrease production waste, and use a wider selection of materials. With over 1,000 images, including photographs and hundreds of specially created diagrams, Manufacturing Architecture is as inspiring as it is useful.

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ARCHITECTURE AS PROPAGANDA IN TWENTIETH-CENTURY TOTALITARIAN REGIMES: HISTORY AND HERITAGE HÅKAN HÖKERBERG EDIZIONI POLISTAMPA

It is well known that architecture has the potential to support and promote ideological propaganda. In the totalitarian regimes of twentiethcentury Europe, political leaders clearly understood that potential and knew how to exploit it.

As a consequence, architecture prospered under totalitarian rule. When the regimes eventually collapsed, they left a rich architectural legacy, which remains today as an evident and sometimes awkward part of the urban landscape. This conference volume explores how prominent architects conveyed the dominant political programs of totalitarian regimes through buildings, monuments and urban planning.

Scholars from a range of academic backgrounds examine the significance of difficult architectural heritage with regards to national identity and historical understanding – whether this heritage is acknowledged or ignored. Examples illustrate different approaches to the management of ideologically controversial heritage, reflecting the varying ambitions of former totalitarian nations to confront their dark past.

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NOT INTERESTING: ON THE LIMITS OF CRITICISM IN ARCHITECTURE ANDREW ATWOOD APPLIED RESEARCH & DESIGN

Not Interesting proposes another set of terms and structures to talk about architecture, without

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requiring that it be interesting. This book explores a set of alternatives to the interesting and imagines how architecture might be positioned more broadly in the world using other terms: boring, confusing, and comforting. Along with interesting, these three terms make up the four chapters of the book. Each chapter introduces its topic through an analysis of a different image, which serves to unpack the specific character of each term and its relationship to architecture. In addition to text, the book contains over 50 case studies using 100 drawings and images. These are presented in parallel to the text and show what architecture may look like through the lens of these other terms.

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CONTEMPORARY ARCHITECTURE IN CHINA: TOWARDS A CRITICAL PRAGMATISM

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LI XIANGNING IMAGES PUBLISHING

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Architectural exhibition is an important aspect in the study and transmission of architectural culture. The academic thoughts and design styles that influence the trends of global architecture are all established through one or a series of important architectural exhibitions. This book is produced based on the GSD (Harvard Graduate School of Design) autumn exhibition: ‘Towards a Critical Pragmatism: Contemporary Chinese Architecture’. It reveals a unique perspective of contemporary Chinese architecture by showcasing 60 works from 60 contemporary architects within five thematic categories: cultural, residential, regeneration, rural, and digital. The selected architects attempt to maintain, from the earliest moments of the design process to its finished outcome, a certain level of critical thinking and quality. It is a record of the continuous evolution and growth of contemporary Chinese architecture and hopes to open up a new avenue from which to encourage further conversation regarding both the present and future state of China’s architecture culture.

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JAVIER SENOSIAIN: ORGANIC ARCHITECTURE JAVIER SENOSIAIN ARQUINE

To survey the work of Mexican architect Javier Senosiain (born 1948) requires a journey through a particular trajectory in the history of architecture, from Frank Lloyd Wright and Bruno Zevi to Alvar Aalto, Eero Saarinen and Jørn Utzon. These pioneers of organic modernism faced the 20th century’s mechanistic, functionalistic and rationalistic proposals with a vision that sought to revive an organic relationship between humans and their environments. Senosiain’s concept of “Organic Architecture” follows in this tradition.

Throughout his career, Senosiain’s work has explored the relations between user, site and architecture in spaces that echo natural forms and conditions. “The concept of an organic habitat,” he writes, “is the creation of spaces adapted to man that are also similar to a mother’s bosom or an animal’s lair.” This volume surveys Senosiain’s work since the 1970s and his concept of “Organic Architecture.”

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ARCHITECTURE ASIA ISSUE 2 2018

goods

Storied Swiss watch brand DOXA pioneered the first purpose-built dive watch in 1967, and marking its 50th anniversary is the recently re-issued DOXA SUB 300 “Black Lung” limited edition. It stays true to the original with a 42.5 mm size and DOXA’s unique ‘beads of rice’ style bracelet. / doxawatches.com

radar

original sub

X-T3

The Fujifilm X-T3 has just been launched, and promises to be a dramatic step forward from the already impressive X-T2.

The X-T3 brings with it a brand new 26mp sensor, a hybrid autofocus system, and from early reviews thus far, hugely impressive video capabilities, making it the new APS-C camera to beat. / fujifilm.com

Presented at the Beijing Design Week 2018, The Black Dream collection is an entirely black series of wood and leather furniture. Designed by product designer Sheng Yin and artist Kai Yi, this limited edition series includes a black leather chair, a shelving unit, two side tables in different sizes, a floor light, and a mirror unit that incorporates a bottle rack and divider screen. / bjdw.org

whatever would grandpa say?

unfold to float

Jewel is a collection of pendant lamps, whose peculiarity is a double crossed arch, made of recycled ABS, that embraces an aluminium conical shape containing the LED light source. Available in several finishes and four versions: one, three, four and ten lights. The lamps can play as a single piece, for a more punctual lighting, or in combination of multiples to create a more diffused beam, ideal for contract spaces. / axolight.it ARCHITECTURE ASIA ISSUE 2 2018

floating discs The Rota suspension lamp from UK outfit Minimalux is deceptively unassuming, but where it distinguishes itself is in the way light plays off its simple geometric form. Rota is dimunitively sized at 390 x 390 x 225mm, and is made from aluminium discs, frosted acrylic rings and precision machined brass rods, and is also available as a floor lamp. / minimalux.com

The Onak canoe’s main claim to fame is in its portability – it can be setup origami-like in less than 15 minutes, and when packed up, is light and compact enough to be carried on the back of a bike. It uses a patented Honeycomb Curv polypropylene material to ensure its durability. / onakcanoes.com

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International Terminal Waterloo. IMAGE © JO REID & JOHN PECK

Nicholas Grimshaw

The Eden Project in Cornwall.

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IMAGE © SEALAND AERIAL PHOTOGRAPHY

presented to him at a special ceremony in early 2019.

NICHOLAS GRIMSHAW TO RECEIVE 2019 RIBA ROYAL GOLD MEDAL

Foster + Partners has won the top prize at the Archiboo Web Awards 2018 for the best overall website, which judges described as “a tour de force in making so much content accessible and easily navigable”.

According to one of the judges, the website was selected as it is very polished, high quality website and communicates perfectly to the practice’s broad international audience. Designed by digital studio AKQA, the website was also praised for its integration of multimedia.

The Archiboo Web Awards winners were announced in a ceremony during London Design Festival. The Awards recognise and celebrate architects and their collaborators who best use online to communicate great architecture. The programme includes 10 awards, which cover visual design, user experience, use of technology and social media.

The Royal Institute of British Architects (RIBA) has announced Nicholas Grimshaw as the recipient of the 2019 Royal Gold Medal, the UK’s highest honour for architecture.Grimshaw is best known for his modernist public buildings and large-scale infrastructure projects such as the Eden Project in Cornwall and the International Terminal at London’s Waterloo train station.

In 1980, Grimshaw established his own practice.

Since its founding, the practice started to operate worldwide with offices in Los Angeles, New York, London, Melbourne, Sydney, Kuala Lumpur, Doha and Dubai.

The British architect’s influence on architecture extends beyond his work as a practitioner.

He is an educator and has chaired numerous national and international juries for both competitions and awards.

Grimshaw is also a Past President of the Royal Academy.

The Royal Gold Medal will be

awards.archiboo.com

wrightwood659.org

prove that it is possible to design a city in 10 minutes. Barber, who is also the founder of Peter Barber Architects, was inspired by a statement by American theorist Lewis Mumford. “The idea arose from Lewis Mumford’s assertion that modernism has failed to produce even a rough draft for a decent neighbourhood, and from a pub remark made by my friend and colleague Ben Stringer, who said that you ought to be able to design a city in 10 minutes,” said Barber.

Since 17 August 2018, Barber has been sketching a design for a city and uploading them to his One Year 365 Cities Instagram account. So far, he has designed a few cities such as a town in a ravine in the Basque region of Spain, a framing cooperative in Wiltshire, UK, and an island village of fish farmers in the Thames estuary. peterbarberarchitects.com

grimshaw.global

WRIGHTWOOD 659 ART SPACE BY TADAO ANDO TO OPEN IN CHICAGO A new exhibition space, Wrightwood 659, designed by

A CITY EVERY DAY FOR A YEAR Peter Barber, a London-based architect, is creating 365 urban masterplans in a project called One Year 365 Cities. The main objective of this project is to

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FOSTER PARTNERS WINS AWARD FOR BEST ARCHITECT’S WEBSITE

the renowned Japanese architect Tadao Ando was recently opened to the public in Chicago’s Lincoln Park neighbourhood with a show dedicated to Ando and Le Corbusier. The new venue is a former apartment complex located in a 1920s building.

Ando’s signature design elements of concrete forms and natural light unite with the heritage building’s brick facade.

Wrightwood 659 is a private and non-commercial initiative that seeks to become a new kind of cultural resource, and an integral part of Chicago’s civic fabric.

The exhibition, Ando and Le Corbusier: Masters of Architecture, included over 100 drawings, photographs and models by Le Corbusier, as well as 106 small models of Le Corbusier’s works made by Ando’s students.

V&A DUNDEE OPENS TO THE WORLD

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V&A Dundee opens its doors for the first time to the public on 15 September 2018. Designed by Japanese architect Kengo Kuma, the building was constructed using cutting-edge 3D modelling tools to create the unique shape and facade of the museum, which is intended to mirror the appearance of a Scottish cliff face. The curving walls are made from 2,500 individual stone panels, each weighing 3000kg.

V&A Dundee is Scotland’s first design museum and it tells a global story, investigating the

Wrightwood 659, Chicago

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ARCHITECTURE ASIA ISSUE 2 2018

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radar © BIOHM VIA GLOBAL CONSTRUCTION REVIEW

V&A Dundee, Scotland

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WORLD’S LARGEST PERFORMING ARTS CENTRE IN TAIWAN OPENS

“VEGAN INSULATION” SYSTEM OFFERS A FUTURE FOR GREEN CONSTRUCTION

ribbon-like projections, pixelated landscapes and organic cellular shapes.

The Striation carpets vaguely mimic the layered angles of the MAXXI building in Rome. The pattern of the Pixel carpets recalls the perforated facade of Zaha Hadid Architects’ Najing International Youth Cultural Centre. Translated into carpet, the designs turn into colourful geometries that cluster into unexpected patterns.

Designed by Dutch firm Mecanoo, the 141,000-squaremetre National Kaohsiung Centre for the Arts recently held a ceremony and inaugural concert to mark its official opening. Billed as the world’s largest performing arts centre under one roof, the undulating structure incorporates a 2,236-seat opera house, a 1,981-seat concert hall, a 1,210seat playhouse, a 434-seat recital hall, and an outdoor theatre. A distinctive feature is the bulging 34,843-square-metre roof, with the building’s roof dipping to touch the ground.The National Kaohsiung Centre for the Arts is built on the site of a former military base, and forms part of a newly created 47-hectare park, alongside the existing Weiwuying Metropolitan Park in the east of the city.

A new mushroom-based insulation has been developed by UK company Biohm, which utilises techniques that are “completely natural, biodegradable and vegan.” First reported by Global Construction Review, the material will come to the market in the coming months. This mushroombased insulation was developed from a vegetative part of mushrooms called mycelium, with attractions such as efficient insulation performance, natural selfextinguishing, air purification, and waste consumption. The insulation blocks are made by allowing fungus within the material to feed off sawdust, growing into a mold.

Once dried, the material growth halts, and a rigid materials is produced that can be sanded or painted.

zaha-hadid-design.com

mecanoo.nl

globalconstructionreviw.com

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> The new RE/Form carpet collection by Zaha Hadid Design for the carpet manufacturer Royal Thai was presented during London Design Festival 2018.

The carpet designs are inspired by the iconic projects by the late Zaha Hadid, such as the MAXXI and the Nanjing International Youth Cultural Centre. The carpet designs center around the architect’s work – striated lines,

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Royal Thai’s RE/Form carpet collection, inspired by the works of Zaha Hadid

IMAGE © IWAN BAAN

vam.ac.uk/dundee

ZAHA HADID’S FAMOUS DESIGNS REIMAGINED AS 22 BRIGHTLY COLOURED CARPETS

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international importance of design alongside presenting Scotland’s outstanding design achievements. Its construction and fit-out took three and a half years to complete and it stands at the centre of the £1 billion transformation of the Dundee waterfront, once part of the city’s docklands.

At the heart of the museum the Scottish Design Galleries feature 300 exhibits drawn from the V&A’s rich collections of Scottish design, as well as from museums and private collections across Scotland and the world.

> National Kaohsiung Centre for the Arts, Taiwan ARCHITECTURE ASIA ISSUE 2 2018

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portfolio

Project Name Kohtei Art Pavilion

Architect Firm Sandwich Inc

Location Japan

Floating above a rock and stone seascape, this art pavilion that is shaped like a sea vessel offers visitors a serene and meditative experience

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nautically

inclined

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art pavilion is sited in the Shinshoji Zen Museum and Gardens, within the campus of Tenshinzan Shinshoji temple in Fukuyama-city, Hiroshima, Japan.

The temple was founded by a shipbuilding company to console the spirits of the dead due to accidents at sea and industry.

Kohtei offers visitors an opportunity to contemplate spirit of Zen by looking at its landscape and being subjected to a meditation-like experience through its art installation. Visitors make their approach through a connecting bridge. Kohtei’s distinctive form was inspired from the roots of the temple’s establishment, which resulted in a design that resembles the motif of a ship.

The structure appears to float on waves, surrounded by mountains, and is themed to work with three fundamental materials – wood, stone, and water.

This ship-shaped structure is covered with wood shingles that uses a traditional Japanese roofing technique called Kokera. Floating above the stony landscape, visitors walk through an ‘ocean’ of stones, full of materiality, as they go up the gently sloping walkway to reach the entrance of the building. Upon entering the interior, a quietly rippling ocean with glimmer unfolds in the darkness.

THE KOHTEI

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The pavilion is raised above the landscape on two rows of pillars, creating a sheltered space beneath the smooth wooden surface

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The building appears to float above a landscape featuring loose chunks of locally quarried stones

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Gravel paths create routes through the landscape

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The body of the pavilion is entirely covered with Sawara wood that also seems to hover above the landscape, creating a piloti space underneath. The curved surface of the soffit expands to the sky, warding off the sunlight and wind. The woodwork on the roof and soffit was crafted using 620,000 pieces of Sawara tiles. The experience of

standing underneath such a space enhances the stark materiality of the landscape against the airy contours of the wooden roof. Surrounding views are framed such contrasting elements, and include the unique figure of an ancient fern that triggers the imagination.

A path gradually leads into the interior of the structure through

a small entrance of the vessel-like roof. Inside, a dark room with a water installation is barely illuminated by candlelight. The installation is meant to emphasise and evoke the immensity of the ocean, and has been designed to provide visitors with an opportunity to contemplate the sensibility and philosophy of Zen.

LO C ATIO N

Fukuyama, Hiroshima Prefecture, Japan P R IN C IPA L U S E

Art Pavilion A RC HITE C T F IR M

Sandwich Inc A RC HITE C T- O F R E CO R D

Kohei Nawa, Yoshitaka Lee, Yuichi Kodai P RO JE C T TE A M

Gyoto Seto, Hiroto Hojo, Noriko Horie, Hitomi Enoki, Kotaro Ashida, Yasuharu Tamai, Kei Yasuda, Sho Nishihara, Luigi Honorat, Masuo Yamaguchi, Yohji Komai, Masatoshi Hatamoto, Futoshi Kinoshita D E S IGN P E R IO D

April 2013 September 2015 CO N S TR U C TIO N P E R IO D

October 2015 September 2016 DATE O F CO M P LETIO N

September 2016 S ITE A R E A

4,700 sqm BU ILT A R E A

793 sqm CO N TR AC TO R

Daiwa Construction S TR U C TU R A L E N GIN E E R

Asocoral Structural Engineering M E C HA N IC A L E N GIN E E R

Yamada Machinary Office LIGHTIN G

Izumi Okayasu LANDSCAPE

Seijun Nishihata OTHE R BU ILD IN G

Consultants Roofing: Miyagawa Roof Company Art Installation: Kohei Nawa Sound: Marihiko Hara M A IN M ATE R IA LS

Roof: Kokerabuki (Sawara Wood) Soffit: Wood Shingle (Sawara Wood) P HOTO GR A P HY

Nobutada Omote

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portfolio

Project Name Jai Jagat Theatre

space

Architect Firm SEAlab

Location India

for

expression

This theatre in India has been designed to address the aspects of human movements, pilgrimages, and emotions, making it more than just a space for students to develop their performance skills, but of self-growth and togetherness.

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SPATIAL FORM PROGRESSION

Below from top: The versatility of this theatre is supported by the layered and stepped manoeuvres of the circular plan; A gathering place

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JAI JAGAT THEATRE’S construction was envisioned as part of the celebration for the 100-year anniversary of Sabarmati Ashram in Ahmedabad, India. Sabarmati Ashram was founded by Mahatma Gandhi (Gandhiji), an Indian activist who was the leader of the Indian independence movement against British rule. The Ashram was home to Gandhiji from 1917 until 1930 and served as one of the main centres of the Indian freedom struggle. Gandhiji’s strong vision on education was practiced at the Ashram – to develop body, mind, and spirit.

The 1,500 children that today live or study at Sabarmati Ashram are still taught with the same philosophy.

Jai Jagat theatre is part of this education philosophy; it provides the students with an opportunity to practice their performance skills, to gain confidence while addressing the public, to work in a group, to be disciplined and to have fun. Together with children from the nearby communities, the students of Sabarmati Ashram no longer have to travel far to rehearse their plays. Jai Jagat theatre is now the place where they practice their performances, do group exercises, or play games.

The site where the amphitheatre stands is marked by high neem trees and simple grounded buildings. One of these buildings is the Montessori school.

This school was established at the Sabarmati Ashram around

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placed at a level below ground.

The surrounding trees and elements, like the school or a high water tank, are still present in the interior of the theatre because the wall that contains the space undulates and opens up to create points of view towards the outside. The wall has different moments and openings, it is fun, interactive and at the scale of the children. It was thought to participate and enhance the plays, to be part of the scenario and to provide different points of entry and exit to the shows (a Juliet balcony, stairs or an opening). But it is also modest and silent, and therefore can be used as a place to meet, to talk or to just be alone.

To maintain the serenity of the place and to not compete with the surrounding buildings, the amphitheatre was designed half below ground (1,83 m), the same dimension of the exterior wall height. Because it is buried and located in the lowest level of the site, a tank with the capacity to harvest 70,000 litres of rainwater was designed below the stage.

The water collected during the monsoon will be used to irrigate the many indigenous trees that were planted in the area that surrounds the theatre.

Jai Jagat theatre was inaugurated on 2nd October 2017 with a performance about the life of Gandhi, by children from Sabarmati Ashram and the neighbouring communities.

LO C ATIO N

Sabarmati Ashram, Ahmedabad A RC HITE C T F IR M

SEAlab P RO JE C T P R IN C IPA L

Anand Sonecha P RO JE C T TE A M

Viraben Keshva, Rakeshbhai Keshva, Payalben Keshva, Nileshbhai Keshwa, Neeta Keshwa, Ramilaben Vinodbhai, Krishnaben Sandipbhai, Kaliben Naresh, Punaben Mansingh, Dhanaben Mansingh, Pareshbhai Mansingh, Anuben Mansingh, Jamaben Mansingh, Kanubhai Pidhya, Keshav Bhavan DATE O F CO M P LETIO N

2 October 2017 S ITE E N GIN E E R

Ramesh Vel CO N TR AC TO R S

Vasant Prajapati, Sachin Patel OTHE R BU ILD IN G CO N S U LTA N TS

Structure and Services: Bhailalbhai Gajjar, Kshitij Gajjar, Rakesh Modi Electrical: Nilesh Patel, Lov Patel, Satish Patel P HOTO GR A P HY

Ayush Gajjar, Dhrupad Shukla, Anand Shukla, Nimo Patel, Anand Sonecha

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1936, after Gandhiji met Madam Montessori at London in 1931.

He was impressed by her education method (child-oriented and focused on the development of the whole child) and decided to implement it at the Ashram.

The school worked for many years and it was recently converted to studios for arts’ education.

The trees that surround the building provide shade to the area and house a variety of birds and other animals, creating a very special and peaceful environment.

The architecture of the amphitheatre (located next to the Montessori school) aims to maintain the spirit of this place. From outside, the theatre is just a simple white wall with a modest humane scale. The route until this point is made through a brick pathway, designed below the existing trees and connecting other buildings of the Ashram, library and a school.

Along the pathway, the different niches invite people to sit and observe the nature. Bigger spaces with seating areas welcome small gatherings or a pause for eating together.

This path slowly transforms into a larger area, a plaza, that anticipates the amphitheatre and that becomes a foyer, a space for events or for informal rehearsals. The entry to the theatre is done through a gap between two moments of the wall and a ramp leads us down to the centre of the space.

With a movement of a spiral, this wall unfolds and surrounds the stage and the audience,

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portfolio

Project Name Thailand Creative and Design Center

inspiring

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Architects Department of Architecture Co., Ltd

Location Thailand

creativity The new Thailand Creative and Design Center, sited within a historic building, is an exercise of thoughtful intervention that seeks out a dialogue with the old, whilst providing for a space that inspires creativity.

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TCDC consists of five floors and is divided into six functional zones

Creative and Design Center (TCDC) is located inside an eighty-year-old building that once was the Bangkok General Post Office. TCDC is a longstanding government agency with a mission to inspire creative thinking in society and to propel the country’s creative economy by providing a broad range of resources and services.

The centre is specifically located on the side and back wing of the historic building. The design of the space is intended for the new intervention to have a dialogue with the old building and at the same time, to answer TCDC’s mission to be the country’s creative incubator.

The centre consists of five floors and is divided into six functional zones. It houses a design library, a material library, a co-working space, a makerspace, exhibition spaces, and workshops.

A creative space is not ‘creative’ because of how it looks but it is a place that inspires. It is about creating a space where people can connect, discuss, and work together. It is a place where people can see and be seen on the activities they do to inspire one another. It is a place that would allow for the new and the unknown events to happen, a reprogrammable space. It is a place that surrounds us with inTHE NEW THAILAND

spiring resources and knowledge, with books and digital media, and rotating exhibition spreading throughout.

The design of this resource centre was not planned as the usual traditional libraries. Instead, a large portion of space is designed to encourage conversations in a setting more like a cafe or a co-working space. These work spaces can be found throughout the building where visitors can work and have discussion. The openness of the centre brings people together and allows interaction between visitors.

The main circulation cut through the section of the building allowing people to walk pass different facilities. Most of the spaces are flexible with movable furniture and adjustable systems.

This encourages many creative activities to take place. Exhibition nodes are integrated into all spaces – with shelving systems, wall systems, spaces along corridors, corner spaces, central spaces.

This translucent architectural system wrapping around and inserting throughout the facility is holding the essence of what TCDC provides – inspiration and knowledge. It is designed to store everything from books, magazines, material samples, digital media, mini exhibition, brainstorm boards and announcement.

Arrival hall

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The centre’s new form within the context of the historical Bangkok General Post Office building

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LO C ATIO N

Bangkok, Thailand A RC HITE C T F IR M

Department of ARCHITECTURE Co., Ltd. P RO JE C T P R IN C IPA L

Twitee Vajrabhaya, Amata Luphaiboon P RO JE C T TE A M

Peerapat Singkalvanich, Penlada Somjaidee, Komkrich Thonglaem, Tanasab Apiwannarat, Worrawit Leangweeradech, Tanapat Phanlert, Phasit Rattanachaisit, T-mah Chaivuthigornvanit, Tanadeth Mahapolsirikun DATE O F CO M P LETIO N

May 2017 S ITE A R E A

9,820 m2 S TR U C TU R A L E N GIN E E R

Main Structure: K.C.S. & Associates Furniture: JET Structural M & E E N GIN E E R

EEC Engineering Network LANDSCAPE

Architect Shma LIGHTIN G

ACCENT Studio GR A P HIC

G49 P HOTO GR A P HY

W Workspace

The library

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portfolio

Project Name Son La Ceremony Dome

Architect Firm Vo Trong Nghia Architects

Location Vietnam

contemplative

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Inspired by traditional South East Asian bamboo baskets, a series of beautiful bamboo domes have been designed to serve as a space for ceremonies and events, set amidst mountains and dense vegetation

domes

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A skylight on top of each dome allows for natural lighting and ventilation

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The bamboo domes are inspired by traditional bamboo baskets

Vietnam, the Son La Ceremony Dome is designed as a space to hold large-scale events. Comprising five bulbous dome structures built by the local craftsmen, these domes have been designed with different heights and sizes that mimic the surrounding mountains.

These domes are situated next to a restaurant and a ceremonial hall, which also designed by the architects as a multipurpose space for increasing the number of guests.

The largest dome houses a cafe,measures 15.6 metres high with an interior area of 283 sqm.

The smaller domes range from 10.5 metres to 12.5 metres high.

These domes are used as foyer and lounge areas to welcome guests. These are multipurpose LOCATED IN SON LA CITY,

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spaces for the locals to host events such as parties and ceremonies.

The curved framework which is made of locally-sourced bamboo was inspired by the traditional bamboo baskets that can be found in the area. These domes feature a double-layered structure and a roof made from thatch. A skylight on top of each dome allows natural light to seep through and promote ventilation.

Sited in a wooded landscape with a peaceful atmosphere, the surrounding trees will eventually grow over the domes, further increasing shaded areas. There is also a waterfall, a small stream and a rose garden along the way from the domes to the ceremonial halls, further providing a contemplative and relaxing atmosphere for guests.

LO C ATIO N

Son La City, Vietnam P R IN C IPA L U S E

Ceremony Dome A RC HITE C T F IR M

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VTN Architects (Vo Trong Nghia Architects) Project Principal Vo Trong Nghia D E S IGN TE A M

Nguyen Duc Trung DATE O F CO M P LETIO N

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April 2017

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1,000 sqm

BA M BO O CO N S TR U C TIO N

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VTN Architects (Vo Trong Nghia Architects) P HOTO GR A P HY 1 2 3 4

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CEREMONIAL DOME WEDDING HALL POND PARKING 40m

Hiroyuki Oki

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portfolio

Project Name Bihar Museum

Architects Maki and Associates (Tokyo) in association with _opolis

Location India

Inspired by the generous site, this museum is conceived as a campus with interconnected landscapes of built-up and open spaces with modest but dynamic profile, in harmony with the land.

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an interconnected campus design for the Bihar Museum creates an engaging and appropriately-scaled response to a prominent site and an ambitious, multi-faceted museum programme. The Museum houses a rich variety of treasures from the region, and includes event and education spaces that nurture a newfound sense of pride and connection to Bihar’s storied history.

The generous 5.3-hectare plot along Patna’s Bailey Road allowed for a variety of site planning approaches, while demanding sensitivity to its low-scale surroundings and prominent tree growth. In response to this context, the architects conceived the Bihar Museum as a ‘campus’. Each programme zone – entrance/event, museum exhibition, administration, and children/educational – has been given a distinct presence and recognisable form within the complex. These zones are linked together via interior and exterior courtyards and corridors, ensuring that all spaces retain a connection to the surrounding landscape while remaining sheltered and comfortable throughout the year.

This constant presence of the natural environment within the THE ARCHITECT’S

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Museum ‘campus’ creates a rich, unique experience with each visit, one that changes with the time and seasons. It is hoped that this will encourage repeat visitors, and – together with world-class permanent and temporary exhibits – ensure that the Bihar Museum has a lasting educational impact for the children of Bihar and other visitors from across the world.

The Museum’s exterior is

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characterised by extensive use of weathering steel, a durable material that complements its context and creates a dignified contrast to the surrounding greenery.

The weathering steel symbolises India’s historical achievements in metallurgy as well as its current prominence within the international steel industry, of which Bihar’s rich natural resources have played a critical role. It

is supplemented with stone, terracotta, and glass finishes – a modern material palette with clear connections to Bihar’s past and future.

The project was selected as the winner of an International competition in 2011 beating other competitors such as Coop Himmelblau, Norman Foster and Partners, Snohetta, and Studio Daniel Libeskind.

The building presents itself as a low-profile form to its surroundings Right: The structures are predominately clad with durable weathering steel

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Each part of the scheme has been given a distinct and recognizable form

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The complex contains a range of event and education spaces

Zones are linked together with interior and exterior courtyards and corridors

ARCHITECT’S SKETCH

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LO CATION

PROJECT TEAM

D ESIGN PER IOD

FLOOR AR EA

Patna, Bihar, India

Maki and Associates: Tomoyoshi Fukunaga, Michel van Ackere, Tatsutomo Hasegawa, Hisashi Nakai, Yoshihiko Taira, Issei Horikoshi, Kiwon Kim _opolis: Tejesh Patil, Rahul Lawhare, Swapnil Kangankar, Akul Modi

Competition: September 2011 - November 2011 Design: January 2012 - May 2013

25, 410 sqm

PRI NC IPAL USE

Museum DES I GN ARCH ITECT

Maki and Associates LO CAL ARCH ITECT

_opolis, Mumbai PRO JECT PRI NC IPAL

Maki and Associates: Fumihiko Maki _opolis: Rahul Gore, Sonal Sancheti

Structural: Mahendra Raj Consultants Private Limited MEP: Design Bureau Museum Branding, Wayfinding and Signage Design: Lopez Design

QUA N TIT Y SURVE Y O R

Dongre Associates ROOF AR EA

19,716 sqm

LIGHTIN G

CON TR ACTOR

AWA Lighting Designers

CON STR UCTION PER IOD

Larsen & Toubro Construction

L AN D S C A P IN G

June 2013 October 2017

CIV IL EN GIN EER

Mahendra Raj Consultants Private Limited M&E Engineer Design Bureau

DATE OF COMPLETION

Building: 10.2017 Exhibits: 12.2018

Ohtori Consultants Inc. Environmental Design Institute, Forethought Design Consultant

P HOTO GR A P HY

Ariel Huber, Lausanne

CON S U LTA N TS

Programming / Master Planning / Exhibition Design: Lord Cultural Resources

SITE AR EA

53,480 sqm

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66 10 10

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1 ENTRANCE CANOPY AXONOMETRIC PROGRAM MAP 2 LOBBY S = 1/2000 3 CAFE 4 M-P HALL 1 ENTRANCE CANOPY PUBLIC 2 LOBBY 5 CENTRAL COURTYARD 3 CAFE 4 M-P HALL 6 BUDDHA COURTYARD 5 CENTRAL COURTYARD 7 CHILDREN’S MUSEUM PUBLIC 6 BUDDHA COURTYARD 8 MAIN GALLERIES EXHIBITION 7 CHILDREN’S MUSEUM EXHIBITION 8 MAIN GALLERIES ADMINISTRATION 9 LOUNGE 9 LOUNGE OFGALLERY HOUSE 10 TEMP GALLERY 10 BACK TEMPORARY ADMINISTRATION

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portfolio

Project Name ASA Lanna Center

Architects Somdoon Architects

Location Thailand

true to spirit

Situated along a highway in Chiang Mai, the design of the Association of Siamese Architects’ branch office features the local cultural identity – a terraced rice field landscape with Lanna-style pavilion.

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The internal courtyard that links the rooftop and ground floor

A small cafe is located on the roof

View of the timber structure pavilion

The landscape of a rice field is recreated on the rooftop

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

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ASA LANNA CENTER is located on a highway in Chiang Mai in Northern part Thailand. The city has a unique cultural identity as it was the capital of a kingdom called Lanna. The definition of Lanna is millions of rice fields. As the branch office of the Association of Siamese Architects (ASA), the design aims to find a balance between maintaining the local cultural identity and accommodating new requirements. Thus, the image of a rice field is created on the rooftop to evoke a sense of nostalgia.

The function rooms such as the office, library and multi-purpose room are tugged underneath and arranged from a lower volume at the front to a higher volume at the back, creating the terraced rice field landform.

The main entrance is carved

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into the building from the side lane, away from the noisy highway. In the centre, an internal courtyard links the rooftop and ground floor together and it is a flexible space for various events.

On top, a Lanna-style timber pavilion is located as a focal point of the building where people can enjoy the view of Doi Suthep, the sacred mountain of Chiang Mai. The materials and finishes were selected from palette of locally produced materials such laterite and red bricks. All the rooftop planter parapets are castin situ concreate with bamboo form-work. As one passes by the building, the terraced rice field landscape with Lanna-style pavilion will remind them of the spirit of Lanna, and inspire others to explore the city.

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1 COURT 2 OFFICE 3 LIBRARY 4 CORRIDOR 5 PARKING LOTS

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LO CATIO N

Chotana Rd., Chiang Mai, Thailand P R IN CIPA L U SE

Office Building

CO NST RU C T I O N P E RI O D

S T RUCT UR AL ENG I NEER

April 2015 - June 2016

Engitect Engineering Co., Ltd

DAT E O F CO M P LET I O N

M EP ENG I NEER

GEO Design & Engineering Consultant Co., Ltd

June 2016 A RCH ITECT F I RM

Somdoon Architects

Aluminium and Glazing Window Contractor: Glass Line Co., Ltd Landscape Contractor: Earth Scape Co., Ltd

SI T E A RE A

PHOTO GR APH Y

1,700 sqm P RO J ECT P R IN CIPA L

I NT ERI O R DES I G NER

F LO O R A RE A

Somdoon Architects

Punpong Wiwatkul

800 sqm

Charnon Sarachart, Ketsiree Wongwan

L ANDS CAPI NG

Shma Co., Ltd

P RO J ECT TE A M

Supachi Khiewngam, Thitaya Tansirisernkul, Phiriya Chavanaphan, Sitthiwat Suddhijaru

CO NT R ACTO RS

Main Contractors: Phukuan Construction Limited PartnershipÂ

Brick walls in the entrance area

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Stairs leading to the second floor

Laterite and red bricks are used in the structure and finishes

The corridor that leads to the library

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portfolio

Project Name Antoni ClavĂŠ Archives

Architects Kengo Kuma & Associates

tex tu red

Location France

Paper pulp is thrown unto light-filtering aluminium screens, creating a subtly intimate and organic space for this private museum in Paris.

l i ght

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is a private museum housing the works of Antoni Clave (19132005), an artist representing 20th century Spanish art. The artist from Catalan, Spain, moved to Paris in 1941 after fighting for the Republican Army in the Spanish Civil War, and quickly became part of the Parisian art scene. The artis is known for his abstract paintings that feature expressive forms and textural surfaces.

The museum, located in Rue Boissonade, in the French capital’s 14th Arrondissement, was Clavé’s first studio. Japanese firm Kengo Kuma & Associates designed the interiors of this compact studio space turned museum. Inspired by the powerful texture of Clave’s work, including his oil paintings, murals and collages, architect firm Kengo Kuma & Associates decided to spread Washi, a Japanese paper pulp, over sheets of expanded aluminum mesh, creating a texture that subtly but prevasively mimics the textures of the artist’s works – one of solidity and transparency.

These sheets are used as screens throughout the interior of the building.

The screens were prepared in western France by Yasuo Kobayashi, a washi manufacturer, whose studio is in Niigata. During the process of washi making, the mesh sheet is soaked in a starchy liquid made from kozo (mulberry) and sunset hibiscus. Various levels of transparency were achieved by controlling and adjusting thickness of the solution and the way washi is dried.

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Detail of the washi treated aluminium screens

LO C ATIO N

Paris 14th Arrondissement, France P R IN C IPA L U S E

Office, Archives A RC HITE C T F IR M

Kengo Kuma & Associates D E S IGN P E R IO D

April 2015 - June 2016 CO N S TR U C TIO N P E R IO D

GROUND FLOOR

FIRST FLOOR

July 2016 December 2017 S ITE A R E A

190 sqm F LO O R A R E A

240 sqm GE N E R A L CO N S TR U C TO R

Atelier Normand P HOTO GR A P HE R

11h45

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Minimal material palette and neutral tones

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Location Singapore

Architects SUTD Advanced Architecture Laboratory

Project Name The Future of Us Pavilion

portfolio

the future of us

Located between Singapore’s Marina Bay Sands and Gardens by the Bay, The Future of Us Pavilion aspires to follow in the grand tradition of demonstrative expo structures

by presenting a new dialogue between built form and nature

The roof now remains as a sculpture in the park Overall view of the pavilion

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Panel triangulation and pattern generation

Drawing of aluminum cut sheet with individual panels

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THE FUTURE OF US Pavilion housed the capstone event for Singapore’s 50th anniversary celebrations. The objective of this event was to ensure visitors experience an exciting immersive multi-sensory treatment of its narrative content, and to have a more permanent functional structure that would stand beyond 2015 to symbolise hope, optimism energy and passion of Singaporeans.

The design of the pavilion aspires to follow in the grand tradition of demonstrative expo structures, by presenting a new dialogue between built form and nature for the tropics based on advanced design technology.

Blending the structure’s intricate form and perforated skin fluidly with the adjacent environments of Gardens by the Bay, the team sought to establish a close relationship between landscape and building based on highly integrated design processes.

For visitors, the Pavilion offers a climatically comfortable outdoor environment and a stunning visual experience akin to walking under the foliage of lush tropical trees – an idea of ‘future’ nature.

Reflecting on the team’s approach, Tan Wee Kiat, CEO of Gardens by the Bay that now owns the project, states, “The success factors of the Silver Pavilion are obvious. The hot and humid climate often dissuades people from visiting parks and gardens during a large part of the day. To enhance visitor comfort in the Gardens, its landforms were designed with wind direction in mind, while foliage and shelter provide as much shade as possible. The Pavilion is based on similar ideas. These are beautifully translated into a contemporary aesthetic and functional form that few may know is determined by thorough environmental analyses and simulations. The Pavilion is a comfortable fit with the Gardens Supertrees, Domes and canopies.

An enthralling vision for a garden of the future is thus encapsulated by its inclusion”.

There is a clear mathematical logic to the design of the Pavilion, determined by extensive environ-

mental simulations and structural optimisations. The analysis and its application to a detailed computational model led to an optimum solution for the Pavilion’s structural form and pattern.

The latter was produced with an algorithm based on triangulation, which allowed each panel to be filled as required by the assigned environmental performance up to a level that is almost solid.

The use of advanced design and fabrication methods throughout the project allowed for the prefabrication of most of its parts and the efficient, cost-effective and accurate construction of its geometrically complex form.

Despite the Pavilion’s complexity and the resulting uniqueness of most of its parts, the design team was able to realise it in less than six months from start to completion. This was largely due to its innovative and novel use of technology, including advanced computational methods that allowed for the parallel design of the project’s structure and skin as well as the pre-fabrication of most of its components.

By way of numbers, the Pavilion incorporates a phenomenal 11,000 unique perforated aluminium panels, 12,040 bolts, 11,188 plates, and 4,620 elements for the main steel structure. The roof spans a width of almost 50 metres and reaches a height of 16 metres.

In terms of thickness, it is a very slight 20 centimetres. The design, pre-fabrication, construction efficiency and effectiveness, as well as the accuracy achieved in the realisation of the Pavilion, testifies to the potential of advanced technology for the architecture and engineering design. This allowed for whole new paradigms of exploration, not only to achieve innovative aesthetics and better environmental performance, but also resource-efficiency, precision and structural solutions that open up new possibilities in design.

Since the end of the anniversary celebrations, the prominent location and practical performance of pavilion have allowed for its use to accommodate a range of important community and cultural

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LO CATIO N

Gardens by the Bay Singapore P R IN CIPA L U SE

Exhibition Pavilion A RCH ITECT F I RM

SUTD Advanced Architecture Laboratory P RO J ECT P R IN CIPA L

Prof Thomas Schroepfer P RO J ECT TE A M

Alex Cornelius, Aloysius Lian, Thomas Wortman, Amanda Yeo Qian Yu, Joel Yap Kar Ying, Yehezkiel Wiliardy Manik, Christyasto Priyonggo Pambudi DES IG N P ERI O D

March - June 2015 CON S TR UCT I O N P ER IOD

July - October 2015 DATE O F COMP LETIO N

28 November 2015 FLO OR AR EA

2,000 sqm CON TR ACTO RS

Pico Art International Pte Ltd, Protag Tetra Pte Ltd CIV IL EN G IN EER IN G

S.H. Ng Consultants Pte Ltd, Passage Projects M&E EN G IN E E R

Engineering Management Solutions Platform Pte Ltd Q UA N TIT Y S URV EYOR

Pico Art International Pte Ltd

events, including the Singapore Garden Festival 2016, and ensures the continuing role of the pavilion as a public asset of Singapore.

Professor Dunn, Associate Provost of Research at SUTD, states, “The design technology and process created by the SUTD AAL is a transdisciplinary one that brings together cuttingedge advances in architecture, multiphysics structures technology, and computational design optimisation algorithms. Only with this novel design technology could the complex structure with its intricate form and perforated skin be beautifully and functionally blended with the adjacent tropical environment to create a stunning user experience. The Pavilion is exemplary as it advances the spirit and future of design in Singapore, and this is reflected in the unusually long list of national and international awards won to date in multiple fields including architectural design, structural engineering, and mathematical optimisation. This is a remarkable testament to the value and importance of the novel design technology as it not only resulted in the creation of the pavilion, but provided world-class contributions to the various fields that came together to form the novel design technology.�

L IGH TIN G

Pico Art International Pte Ltd OTH ER B UILD I NG

Consultants Wind Tunnel Consultant: Applied Research Consultants Pte Ltd P H OTOGR A P HY

The light-filtering effect of the project is based on about 11,000 triangular aluminium panels of differing perforations

Abel Art, Koh Sze Kiat, Thomas Schroepfer, Guadalupe Polito, Miew S, Ng Zheng Hui, Fahrulazmi, Adrian Baker

BIM 3D STRUCTURAL MODEL

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Aerial view The roof structure spans about 50m and rises to about 16m with a structural depth of no more than 20cm

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portfolio

Project Name Tsuruoka Cultural Hall

Architects SANAA + Shinbo Architects Office + Ishikawa Architects Office

Location Japan

wind swept

Located on the northwestern coast of Japan, the Tsuruoka culture hall was designed to expand local civic activities, whilst incorporating the old cultural hall which has been at the heart of cultural activities for locals.

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is a multipurpose hall that serves as a base for cultural and artistic activities in the region. The surrounding site is characterised by its abundant nature, and is located in a cultural precinct of the city filled with historic buildings, universities and galleries.

As a community hall where citizens become participants, observers and actors, the architects proposed a large hall wrapped by a corridor, resembling traditional Japanese ‘Saya-dou’ construction. This style originally meant constructing a protective structure TSURUOKA CULTURAL HALL

ARCHITECTURE ASIA ISSUE 2 2018

above a temple to protect it from external factors. The architects applied this concept in order to maintain the previous building’s local identity. The corridor is open to the public on a daily basis.

By keeping the depth of the large central hall as small as possible, the audience and performers are brought together with a sense of unity. The hall is designed in a ‘vineyard style’, where sound echoes throughout the entire hall and there is a direct path to the stage from any seat.

The exterior of the building looks like a series of intercon-

nected volumes with sweeping roofs that are smoothly draped over a structure of steel frames.

The building is broken down into volumes that become smaller towards the perimeter of the site.

By controlling the volume in this way, the building integrates with the surrounding site and makes people perceive it as less bulky, and more inviting and welcoming.

The architectural elements interact with the natural environment, and their expressions change according to natural conditions such as time and light.

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The concert hall is the focal point of the building

The public spaces surrounding the concert hall have been designed as flexible volumes

MAIN HALL

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LO C ATIO N

Tsuruoka City, Yamagata Prefecture, Japan P R IN C IPA L U S E

Multipurpose Hall A RC HITE C T F IR M

SANAA + Shinbo Architects Office + Ishikawa Architects Office P RO JE C T P R IN C IPA L

Kazuyo Sejima, Ryue Nishizawa P RO JE C T TE A M

Rikiya Yamamoto, Satoshi Ikeda, Takuma Yokomae, Kohei Kudo, Hayao Odagiri, Takashi Maruyama, Taiji Ota, Yuji Ishikawa, Tomohiro Ishikawa CO N S TR U C TIO N P E R IO D

October 2014 - August 2017 DATE O F CO M P LETIO N

March 2018 S ITE A R E A

13,100 sqm F LO O R A R E A

7,846 sqm S TR U C TU R A L E N GIN E E R

ARUP M & E E N GIN E E R

Sogo Consultants CO N TR AC TO R S

Takenaka Corporation, Sugawara Corporation, Suzuki Corporation JV P HOTO GR A P HY

sanaa

The building is broken down into volumes that become smaller towards the perimeter of the site

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portfolio

Project Name Son Yang Won Memorial Museum

Architects Lee Eunseok + Atelier KOMA

Location South Korea

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Located in Korea’s South Gyeongsang province, this memorial museum’s design features an elevated ring which is supported by a concealed concrete wall and a series of pilotis.

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THIS MEMORIAL museum commemorates the modern Protestant saint in South Korea, Son Yang Won, who devoted his faith to Christian doctrine and sacrificed his life in the Japanese colonial era. This project is a symbolic space memorial, in which the three guiding principles of Son Yang Wong – resistance, sacrifice, and reconciliation – are structured for view throughout the three exhibition spaces.

The exposed concrete cylinder is a closed-off form separated from the external space, and cleanly reveals the symbolism of the memorial. It has an open sky above it and a calm water below it.

The ‘lifted volume’ was realised by supporting one corner of the cylinder with a concrete structural wall of different texture, situated among columns that were dispersed and arranged on

the site as if they had been scattered. This design maximises the dramatic effect of the building.

The narrow corridor leading to the interior of the building allows visitors to experience the psychological suffering that Son Yang Won has to endure throughout his life. This corridor is designed to reflect the footsteps of the saints, and his persistence has always supported him to move forward.

The exhibition method of this memorial is different from the way the museum is displayed in everyday life. From the perspective of space symbols, the museum itself is an exhibit that can be exhibited. It is more than a typical exhibition hall. It also can be called as the ‘Museum of Spaces for Remembrance’, and the project embraces the spiritual heritage of Son Yang Won through the space itself.

The elevated ring is supported by a concealed concrete wall

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AXONOMETRIC VIEW

The building encicrcles a body of water

ARCHITECTURE ASIA ISSUE 2 2018

The cylindrical ring remains closed off from the outside world

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1 MUSEUM SHOP 2 OFFICE 3 FAMILY ROOM 4 MONUMENT ROOM 5 STORAGE 6 HALL 7 CORRIDOR 8 LOUNGE 9 DECK

10 WATER SPACE 11 WHITE HALL 12 STONE HALL 13 READ HALL 14 SPECIAL EXHIBITION 15 VIDEO ROOM 16 PREP ROOM 17 INFO DESK

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LOC ATIO N

M & E E N GIN E E R

Gyeongsangnamdo, Korea

Jusung ENG & Hangil Engineering

PR IN C IPA L U S E

L A N D S C A P IN G

Memorial

Yun Youngjo

ARC HITE C T F IR M

M A IN M ATE R IA LS

Lee Eunseok + Atelier KOMA

Interior: Exposed concrete, paint Exterior: Euro-form exposed concrete, cedar exposed concrete, THK24 low-e double glass

D ES IGN P E R IO D

September 2013 - February 2014 DAT E O F COM P LETIO N

P HOTO GR A P HE R

April 2016

Joonhwan-Yoon

FLO O R A R E A

1,268 sqm

Visitors to the museum must navigate a narrow circulation route

One of the galleries is painted in bright red

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portfolio

Project Name Raja Haji Fi Sabilillah Mosque

Architects ATSA Architects

Location Malaysia

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The Raja Haji Fi Sabililah Mosque in Malaysia has been designed with an aspiration to be the next iconic religious landmark in the country, putting forth a progressive image of Islam within a sustainable modern structure that still incorporates traditional Islamic design elements

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THE RAJA Haji Fi Sabilillah Mosque’s design was inspired by the bespoke design of the National Mosque in Kuala Lumpur, an iconic architectural landmark that was completed in 1965. Work on the design of the mosque began in early 2012 and was completed in 2015, coinciding with the 50th anniversary of the National Mosque.

With a capacity for up to 8,300 people, the mosque has been designed to be more than just a place of worship, but as a local centre for Islamic activities. It is situated on a 100-acre site that will eventually be part of the new Universiti Islam Malaysia campus, and forms an integral part of the overall development complex.

The design of the mosque is contemporary modern whilst integrating traditional Islamic design elements. The goal was to portray Islam as a progressive religion, as well as to reflect the simplicity and purity of modern Malaysian mosque architecture.

The mosque was designed in line with the vision of Cyberjaya being a green city of the future, with an emphasis towards a more modern approach rather than the conventional postmodern typology, putting the building’s sustainability elements at the forefront, but retaining the spiritual design essence of Islam.

The mosque’s main prayer hall has been designed to be air-conditioned for two hours during Friday prayers and prayers of other special Islamic occasions. At other times, it is envisaged that fans and ventilators will be sufficient to sustain an average daytime temperature of 26 degrees Celsius within the mosque’s main prayer hall. A large central courtyard with a tall signature tree situated before the main prayer hall has been incorporated to facilitate both natural ventilation and natural lighting to the floors above.

The mosque’s unique dome is perhaps one of its mostinnovative elements. The single dome is situated over the enclosed main prayer hall, and is formed by the use of double glazed Low E glass, providing both shade and a source of

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ARCHITECTURE ASIA ISSUE 2 2018

View of the courtyard

natural light. Rising hot air is extracted and released through the ventilators positioned at the top of the dome’s underside and just below its pinnacle. Retractable blinds provide further shade when needed, to prevent direct sunlight from entering the main prayer hall. Low E glass panels are used throughout the mosque to minimise heat from the sun entering the mosque building.

The rooftop area is covered with solar panels, which generate both renewable energy and shade to the area. The mosque is one of the first in Malaysia to feature a covered rooftop prayer area. As well as supplying electricity, the surplus generated by the solar panels will also provide income for the mosque to help sustain its running costs. An Arabesque pattern in glass reinforced concrete (GRC) is used as the primary wall, which acts as ventilator blocks and sunscreen devices. The use of a ventilator or sunblock allows for natural wind to flow through the building, and at the same time, to reduce heat from direct sunlight entering the building.

To supplement the mosque’s natural lighting, LED light fittings and other low-energy lighting are used. Light sensors are installed throughout the building to control the artificial lighting automatically when not in use.

Taking ablution is one of the most important steps before performing prayers. Thus, in the initial planning, the placement of ablution taps is plentiful and visible. A water harvesting system has been integrated into the mosque’s comprehensive landscape irrigation system and for grey water usage. The effort to collect water, both from rainwater and used ablution water, were incorporated in the design of the mosque. Some of the water collected is used for grey water usage, mainly for toilet use and for landscape irrigation. Galvanised iron steel tanks are used at the rooftop above the toilet structure to collect rainwater, while underground concrete reinforced tanks are used to collect water harvested mainly from used ablution water and rainwater.

The mosque is accessible via three entrances – a dedicated VIP entrance to the southwest side, a ‘drop-off ’ area on the eastern side, and a pedestrian entrance to the south side. In addition to the main building, the mosque also incorporates a multi-purpose hall, a banquet hall with a 800 seating capacity, and an area for staff housing.

The mosque complex is designed to revolve around the main prayer hall. As the main feature, it is the most-ornate part of the

View of the glass dome from inside

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Above from top: View from the prayer area towards the courtyard; View from the main prayer room; The view of the dome and the glass panels on the facade

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mosque, featuring an intricate façade with Islamic geometric motifs. With a capacity for up to 1,200 worshippers, it stands at twice the height of the surrounding structures, and is enclosed to allow for air conditioning whenever required.

An iconic, five-tiered, slender minaret made of steel stands 27 metres high, and is situated at the front of the plaza, with an ablution area located below. The five tiers of the steel minaret symbolises the five pillars of Islam.

The inspiration of the minaret is taken from the Malay keris form, which symbolises Malay culture and strength.

The mihrab and mimbar incorporates elements of traditional Malay wood carving, which were produced by local craftsmen. The mihrab is formed by a pointed arch with a wooden frame at the centre, and is flanked by a larger square frame featuring geometric patterns and the name of Allah and the Prophet Muhammad. A raised, wooden mimbar platform is placed to the right, surmounted by a timber dome with similar patterns and form to that of the mosque’s glass dome.

The imam’s chair, placed on the sermon platform, the wooden mimbar, has been specially designed and handmade by wood carved in Besut, Terengganu, an area famous for traditional woodcarvers. A cokmar is the symbolic mace that the khatib or the imam holds, or placed in front of him during the deliverance of sermons. The five feet tall staff is made of chengal wood and topped with a silver-plated crown in the shape of the mosque’s dome. A metal finial is placed at the centre. It is embellished with delicate flora and vegetal patterns following the Semarak Api flower.

Quranic inscriptions written by a well-known inscription writer are carved out from selected land wood timber from the forests of the east coast of peninsular Malaysia. Calligraphy is placed at the base of the dome, and was carved out in plaster by carvers broughtin from Uzbekistan.

The toilet structure is placed separately from the main mosque

building as required. It is separated by a landscaped courtyard that also brings in greenery to parts of the mosque. The toilet structure houses both separated male and female toilets, and was designed to be naturally ventilated. Planter boxes planted with scented plants are used to naturally ventilate the otherwise stuffy toilets.

A water feature and wall are placed on the western side of the mosque, which is also in the direction of the qibla wall. The water feature acts as a coolant agent that helps cool the main prayer hall whenever the glass doors are opened. The trickling flow of the water from the slanting cascading wall provides a soothing sound.

The wall provides a barrier, blocking the unfavourable view facing west, which is behind the mosque. The top of the wall was designed with planter boxes. Calatia plants that can grow up to 10 feet tall are planted to act as both as a screen and a natural barrier.

Several classrooms, offices, a VIP room and a meeting room are further incorporated into the planning of the mosque.

An Islamic garden is placed around the sculptural minaret.

The scented Cempaka tree was chosen as the ideal plant to be planted in the planter boxes that were designed as seating benches where visitors and worshippers can seat before and after prayers.

The staff quarters were designed with the concept of cluster living, promoting communal living. It is centred around a courtyard with a rambutan fruit tree and a raised platform. A large green courtyard is placed inside the mosque, and it is a welcome introduction to the otherwise ordinary simple design of the mosque.

The ethos behind the mosque’s design is to ensure that it will be a truly sustainable building, and that it will ultimately become a model for the building of future mosques in Malaysia. As such, the design adheres to the highest rating level, Platinum on the Green Building Index (GBI) standards, incorporating recyclable materials, and energy efficient equipment to minimise energy usage to reduce its running costs.

ARCHITECTURE ASIA ISSUE 2 2018

LO C ATIO N

Persiaran Semarak Api, Cyber 1, 63000 Cyberjaya, Selangor C LIE N T

Islamic Religious Department of Selangor (JAIS) P R IN C IPA L U S E

Mosque (Place of worship for Muslims) A RC HITE C T- O F R E CO R D

Azim A. Aziz & Zulqaisar Hamidin A RC HITE C T F IR M

ATSA Architects Sdn Bhd D E S IGN P E R IO D

8 months CO N S TR U C TIO N P E R IO D

22 months DATE O F CO M P LETIO N

January 2015 S ITE A R E A

70, 820 sqm F LO O R A R E A

11, 158.4 sqm CO N TR AC TO R S

Koridor Padu Sdn Bhd C IVIL E N GIN E E R IN G

Ingeniur Bersekutu, Mohd Ghazali Ahmad Nasuruddin

Clockwise from top left: The Minaret; Rooftop view; The dome

M & E E N GIN E E R

Saga Jurutera Perunding Sdn Bhd, Mohd. Supian Selamat Q UA N TIT Y S U RVE Y O R

Perunding Kos Putera Sdn Bhd, Abd. Wahab Taib SECTION X-X

L A N D S C A P IN G

ATSA Architects Sdn Bhd P HOTO GR A P HY

Din Arshad, Azahari Salleh

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portfolio

Project Name Shui Cultural Center

of

Architects West-line Studio

Location China

ancient

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rituals With its distinct form of triangular roofs, the Shui Cultural Center stands as a new contemporary landmark that pays homage to the local culture and traditional architecture of the Shui people.

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LOCATED IN Guizhou Province, the Shui Cultural Center is a gateway to Sandu County, the land of the Shui, one of the ethnic minority groups in China. Despite being few in number, the Shui people still retain their own language together with a unique system of pictographs. The architects’ aim was to translate the Shui’s ancient rituals into the design of this project through through the use of overlapping roofs, bronze, altars and in recreating a holy atmosphere.

The site, which covers an area of 13,800 square metres, was created by a bend in the river, so it is surrounded by water on three sides. On the West side, a water square welcomes visitors while guiding them to the entrance.

Shui means water, which is why this element is so relevant for both the site and project.

North of the water landscape is the Yulong tower, with a bronze drum on the top. The drum, cast in bronze, is a ritualistic element in Shui culture and it inspired the architects to use perforated bronze plates to cover the building. Due to the acidity present in the local air quality, bronze plates can easily change colour and corrode. Since the particular texture of the bronze has a special meaning in this project, the architects used 12 combined processes to

overcome corrosion problems.

These will maintain the building’s facade for longer time.

The pattern makes the plates lighter – a thin skin which creates a contrast with the heavy concrete structure – breaking the sunlight to create a dramatic effect once inside. It does not only have an aesthetic value but the high perforation rate also helps to prevent technological defects on the overall surface texture.

The concrete is marked strongly by a wooden pattern, given by the pine quarterdecks.

Pine wood is one of the most common materials in the Sandu area, and the contemporary concrete structure echoes the local traditional wooden architecture.

Due to the lack of resources and local expertise in concrete architecture, the architects established a whole concrete production process-based matrix, reducing the difficulty in construction for large areas of fair-faced concrete.

The building itself consist of three main strips, which combine all the functions of the touristcultural centre. The first strip is the ritual hall which, with its sharp edges, strong colours and narrow space, aims to create a strong first impression on visitors.

The second strip still keeps the sharp roof, but welcomes visitors with less dramatic tones and

The view of the Yulong tower, with a bronze drum on the top

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The centre comprises of three strips that feature a distinctive character and iconic shape with its heavy concrete volumes covered by perforated cast-in-bronze steel plates

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serves cultural exhibition and reception hall. The third strip has three floors. The ground level features a more conventional space that includes all the main functions such as a visitor and service centre, a cafeteria, toilets, a business centre and an upstairs office area. On the third floor, a small collection of Shui’s books are displayed.

Lightness and heaviness constantly play in this project, symbolising the interaction between traditions and ancient cultures, and the more contemporary architects’ view. The pine pattern imprinted on the fair-faced concrete makes this heavy material to

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acquire a lighter feature, typical of the local wooden architecture.

At the same time the act of perforating the façade’s panels makes them to switch from the heavy bronze, those of the drums and altars, to a light skin. The lighting environment is strongly affected by this pattern, which filters the light creating a misty and dense atmosphere. As soon as the visitors step in, they are wrapped by the light rays, which indistinctly cover everything telling the long history of Shui Nationality. The vertical circulation also plays with lightness and heaviness, where thick concrete staircases become cantilevered.

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WATER SQUARE STRIPE I: RITUAL HALL SHUI CHARACTERS ALTAR STRIPE II: RECEPTION AND CULTURAL EXHIBITION HALL INDOOR RAMP STRIPE III: TOURIST SERVICE HALL STAIRCASE TO 3F BRONZE DRUM TOWER

1 WATER SQUARE 2 RITUAL HALL 3 SHUI CHARACTERS 4 ALTAR 5 RECEPTION & EXHIBTION HALL 6 INDOOR RAMP 7 TOURIST SERVICE HALL 8 STAIRCASE 9 BRONZE DRUM TOWER

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1 WATER SQUARE 2 BRONZE DRUM TOWER 3 OUTDOOR RAMP 4 OUTDOOR STAIRCASE TO F2 5 MAIN ENTRANCE 6 STRIPE I: RITUAL HALL 7 STRIPE II: RECEPTION AND CULTURAL EXHIBITION HALL 8 INDOOR RAMP 9 STRIPE III: TOURIST SERVICE HALL 10 TO PHASE II 11 WATER COURT

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Sandu County, Guizhou Province, China P R IN C IPA L U S E

Cultural and Tourist Centre A RC HITE C T- O F R E CO R D

Haobo Wei, Jingsong Xie A RC HITE C T F IR M

West-line Studio P RO JE C T P R IN C IPA L

Haobo Wei, Jingsong Xie D E S IGN P E R IO D

June 2016 October 2016 CO N S TR U C TIO N P E R IO D

October 2016 - November 2017 DATE O F CO M P LETIO N

December 2017 S ITE A R E A

13,808 sqm F LO O R A R E A

4,223 sqm IN TE R IO R D E S IGN E R

Martina Muratori L A N D S C A P IN G

Yudan Luo (Westline Studio) M A IN M ATE R IA LS

Pine wood, bronze steel plates P HOTO GR A P HY

Jinsong Xie TE XT

Martina Muratori

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feature

SOGANI: THE FIRST INDIAN DESIGNER LIGHTING BRAND MAKES ITS MARK AT LIGHT + BUILDING 2018 ONE OF THE BIGGEST PLATFORMS OF ITS KIND, THE LIGHT + BUILDING FAIR TOOK PLACE THIS YEAR IN FRANKFURT, FROM 18TH TO 23RD MARCH. AMONG 2,600 EXHIBITORS, ONE OF THE HIGHLIGHTS OF THIS YEAR’S EVENT WAS SOGANI BY VIBHOR SOGANI – A SIGNATURE BRAND OF LIGHTS AND LIGHT INSTALLATIONS. THE FIRST INDIAN DESIGNER BRAND TO EXHIBIT IN THE HIGHEND MODERN LIGHTING DESIGN SEGMENT, SOGANI UNVEILED THREE NEW COLLECTIONS OF LIGHT INSTALLATIONS AT THE FAIR, EACH WITH THEIR DISTINCT DESIGN ARITHMETIC AND PERSONALITY.

SOGANI’S LIGHTS are a mix of rich Indian artisanal skills and new technology, where each piece is customised to varied requirements. All of the collections are marked by stainless steel and warm colours that create soft uniform lighting in a fluid manner.

The inspiration is to reflect on the solidity of simplistic shapes and at the same time, present light as a guiding phenomenon in defining the substance of those shapes.

“We were invited to showcase our collections at Light + Build and the experience was truly gratifying. Firstly, the scale of the event was exciting. To be a part of one of the largest contingents of lighting design, and showcase my works in front of peers and a huge audience, was enthralling.

We received great responses from people, and it was truly enriching,” says Vibhor Sogani, the founder of SOGANI Brand.

The studio, with its R&D centre and flagship show-space based in New Delhi, India, works on commissioned projects beyond lights to concept light installations depicting thought-provoking art, ‘Lights with a new dimension’.

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Spread across 35,000 sq. ft, the studio showcases the brand’s unique designs, that are often an innovative blend of different materials like stainless steel, brass, aluminum, copper, glass, corian, resin etc.

The studio is led by Vibhor Sogani, an alumni of the prestigious NID Ahmedabad, and a senior installation artist based in Delhi. Famous for India’s largest and most visible public art installation, the ‘Sprouts’, a 40 ft. high stainless steel installation spread over six acres of greens in the heart of Delhi, Vibhor has handled offbeat projects like developing the country’s first few go-karting tracks; redesigning Mumbai’s suburban trains, redevelopment of copper craft in Kashmir, designing and producing some of the prominent trophies for international sports matches and government events, to name a few.

“Sprouts was one of the most ambiguous and challenging briefs I have ever received. It was more than 10 years ago when the then CM of Delhi gave me six words to work on – ‘From a walled city to

a world city’. The Sprouts project was initiated with the idea ‘when the seeds begin to sprout’, to show India as a growing nation.

Hence, Stainless Steel was used as a new age material representing contemporary thought,” says Vibhor Sogani.

He has recently executed a 30 feet high installation, ‘Kalpavriksha – the wish fulfilling tree’ in Ahmedabad. It is perhaps India’s second largest and Gujarat’s tallest public art installation. Sited in an upcoming development in Ahmedabad called ‘Arvind Uplands’, Kalpavriksha is installed in a 100 ft. diameter roundabout.

Crafted in stainless steel balls that are mirror-finished, the installation is conceived as an abstraction of a tree. The circumscribing, stunning landscape and the overall flavor of the serene, flowing greens served as the source of inspiration of this installation.

Drawing inspiration from his favourite material, Vibhor has over time, created series of artworks in stainless steel and exhibited them in National Galleries and Contemporary Art Galleries in India and abroad.

ARCHITECTURE ASIA ISSUE 2 2018

PHOTOGRAPH BY SHAILAN PARKER

SPROUTS Art installation, New Delhi, 2009

Vibhor Sognai’s works include art installations such as Sprouts – India’s largest site-specific public art installation. 40 feet high, the installation was a Delhi government initiative towards the beautification of the capital. It is spread over six acres of greens surrounding the AIIMS flyover in the heart of Delhi.

Designed to showcase New Delhi as a ‘world city’, ‘Sprouts’ are symbolic of the feeling that India is rising after 60 years of independence. They powerfully convey the message of growth and have defined the contemporary image of the city for almost a decade now. Together with the landscape, they have reflected upon the myriad moods of Delhi’s weather to create one of the most inclusive and motivating public memories the capital has to offer.

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“The complexity of crafting steel throws up unique challenges because it requires intelligent amalgamation of new technology and hand skills. Various technological tools that can be used to innovate on its look and feel, its range of textures, finishes, and reflections draw me towards the material,” explains Sogani.

When talking about his inspiration in general, he attributes it to the memories of his childhood.

“I loved playing with forms and materials as a child. While travelling with my father for his work, I was witness to a diversity of landscapes. Having never been drawn towards mainstream education, I was always looking for new things – that perhaps added to my creativity. After finishing my schooling in Jaipur, I consulted a career counsellor and gave an aptitude test. I was told that I could do well in design field, since my 3D visualization was good, and that marked the beginning of my design journey.”

Studying at National Institute of Design, Ahmedabad gave some direction to his indulgences in the formative years of his career by providing multi-disciplinary exposure to films, textile, furniture and ceramic design, graphics, metal machining and insights into arts and crafts. It gave him orientation and taught him to approach industrial design problems methodically.

After a few years of practicing for renowned industrial design firms where he learnt critical operational values, he transitioned to art. His journey from design to art was seamless and very interesting. “Initially the shift was not felt as I moved from one ‘commission’ to the other, each being a ‘real life, client based’ assignment. And soon I felt ready and confident to deviate to installations on my own.”

Vibhor has been nominated by the Government of India as a governing member of the ‘India Design Council’. Recipient of many honours, his works have won him multiple awards including the EDIDA and ‘Singapore Indian Art Icon of the year 2014’.

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CASA Unveiled at Light + Building 2018

Casa celebrates the incredible community-building efforts of birds. The ability to look beyond oneself and to weave a thread of belongingness binding a society is evident in its tranquil form.

ARCHITECTURE ASIA ISSUE 2 2018

DRAPE

GOLDEN DEW

Unveiled at Light + Building 2018

Unveiled at Light + Building 2018

A delicate play of light, this piece channels the essence of morning sunrays filtering through dewdrops.

Each perfectly – shaped disc comes together to form a cohesive cluster, which can be suited to a wide range of spaces. The mirror-finished outer surface creates a twinkling dance of reflections that is balanced by the warm tones of the gold-leafed interior.

Free-flowing contour of fabric metamorphoses into a metallic drape. Beaded twines of metal come together in an asymmetrical formation that transforms into this luminescent delight. The dappled reflections, bouncing off each other, glitter like tiny stars that can light up an open atrium or an indoor lobby. Fluid curves inspired by a sensuous form, combined with the solidity of the lustrous beads create a shape that entices observers, to come closer and delve into the mysteries it holds within.

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events

THE KUALA LUMPUR ARCHITECTURE FESTIVAL 2018 THE DATUM:KL SERIES OF CONFERENCES, SYMPOSIUMS AND FORUMS WAS BACK AGAIN THIS YEAR WITH A NEW LINE UP OF OFFERINGS – FEATURING KEY SPEAKERS AND INNOVATORS FROM THE REGION AND GLOBALLY, IN A REFRESHED AND NEW FORMAT.

Chris Precth of PENDA Studio

THE 2018 EDITION of the Kuala Lumpur Architectural (KLAF 2018) explored the idea of CHANGES as the principal theme. Organised by Pertubuhan Akitek Malaysia (PAM), the event was officiated by KLAF 2018 Royal Patron, Y.A.M. Tengku Datin Paduka Setia Zatashah Sultan Sharafuddin Idris Shah.

KLAF 2018 was held from June 30th to August 26th and it presented a series of public events and activities. A key part of KLAF 2018 was the DATUM:KL conference, where a dynamic selection of panellists and speakers were invited to present, consisting of both international and local speakers, who provided leadership and exemplary keynotes resonating with the overall KLAF2018 theme. The speakers included Fred Holt, Daniel Monheim, Shunri Nishizawa, Chris Precht, Yossapon Boonsom, Raphael Lafargue, Piet Eckert, Jinhee Park, Melvyn Jaochim Kanny and Ng Wai Keong.

Datum:GREEN was a forum that featured the latest sustainable design and eco-centric research in both Malaysia and worldwide. For this, speakers were drawn from a wide range of professions to share and discuss techniques in addressing climate and sustainability issues, as well as in preparing and developing a range of approaches that are in themselves both major and minor, but altogether effective and responsive. The speakers comprised of Tang Hsiao Seak, Steven Ngu, Paulus Mintarga, Tony Ip, and Mathieu Meur.

Datum:EDU was a one-day event that sought to explore the different methods of pedagogical approaches and formats of institutions and academies across the region and internationally. There was a total of six speakers, namely Professor Ashraf M. Salama, Ar. Jonathan V. Manalad, Assoc. Prof Dr. Khairul Anwar Mohamed Khaidzir, Assoc. Prof. M.L. Piyalada Thaveenprungsriporn, Prof. Dr. Erwin Viray and Dr. Ir. Hendrajaya Isnaenim.

Lastly was Datum+PLUS, which was held on 5th July 2018, and featured four outstanding speakers. Datum+PLUS sought to celebrate the spectrum of alternative skillsets and expertise that has proven to be important ingredients in the making of exemplary buildings today. For this year, the event kicked off with a talk on Timescaping, followed by few more other talks by Ng Chee Wee, Anne Geenen, Stanislaus Fung and Brendan Cormier. They were all selected from both within and outside architectural professional boundaries, and demonstrated the complexity and richness of the discipline of architecture today.

Brendan Cormier of V&A London

Jinhee Park of SsD Architecture Yossapon Boonsom of SHMA Design

For more info about DATUM:KL 2018 >> klaf2018.com

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ARCHITECTURE ASIA ISSUE 2 2018

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