Architecture Asia - 2018 Fourth Quarter - NEW TYPOLOGIES

FOURTH QUARTER 2018

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new typo logies

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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

GUEST EDITOR

ZONE C VICE PRESIDENT

Tony Liew Voon Fun

Nuno Soares

Jahangir S M Khan

PUBLISHING AGENCY TEAM

HONORARY SECRETARY

Alex Choo, Shamita Pannersallvam, Masyirah binti Mansor

Ramiz Baig

CORRESPONDING EDITORS

HONORARY TREASURER

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)

Sannah Ejaz IMMEDIATE PAST PRESIDENT

Sathirut Nui Tandanand ADVISORS

Tan Pei Ing, George Kunihiro

chairmen of arcasia committees

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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: Jalal Ahmed

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: Siti Rozaimeriyanty

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: Benjamin K Panganiban

MALAYSIA MALAYSIAN INSTITUTE OF ARCHITECTS (PAM)

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

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

MONGOLIA 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

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

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: Daya Hemantha Wijewardane

CHINA MYANMAR

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: Xiu Long

HONG KONG 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: Felix Li Kwok Hing

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: Seok Jung Hoon

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: Suman N Vaidya

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: Arif Changezi

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

“To be born, to grow, to be, is an architectural experience.” – Daniel Libeskind When I recall my childhood, my thoughts invariably drift to buildings that formed the backdrop of my life and my interaction with them. Buildings relate to us because we live in them and our memories of places shape the experiences we cherish.

The buildings we love most and care about strike emotional chords that provide coherence and shared purpose in the built environment.

Architecture is rooted in life and every gesture of architecture is imbued with meaning. Architects are responsible to make personal connections with the physical environment to understand how buildings trigger memories and emotional responses. Buildings do so because within architecture, architects use the idea of ‘type’ to classify buildings that possess physical character. The comparative study of physical or other characteristics of the built environment into distinct types, known as typology, entails first looking back. A rootedness to the past provides “a didactic tool to impart insights into the distinct forms, paradigms, hypotheses, positions and ‘styles’ of architecture” (Rab, 2003). A didactic approach in designing buildings can address several critical aspects of architectural design; namely, engagement with the natural landscape, tracing a sequence of development from the past to the present, and instilling a sense of respect and pride for individuals, a people or a nation in our contemporary world.

In his book Chronicles of a Liquid Society, Umberto Eco laments the crisis of “grand narratives”, ideal models or orders superimposed on the world. Modernist theory in particular focused on the form-making process of mass-production in favor of nationalistic identity. In the late 1970s and 1980s, debates around typology centered around the change in balance between working-living and leisure, fluidity of spaces, demographic shift of the ‘third age’ due to increasing life expectancy and healthcare and the ubiquity of technology, signaled the acceptance of ideas around historical continuity.

The origin of my claim stems from Stanford Anderson’s 1982 “Types and Conventions in Time: Towards a History for the Duration and Change of Artifacts” where he proposes “typology as ‘an intermediate mode of explanation’ between the understanding of the relationship to the past as one of authority (as professed by the architects of the post-modernist movement) and the production of particulars (as theorized and applied by the architects of the Modern Movement)”.

Semantically, New Typologies is a contradiction of antonyms. The oxymoronic terminology’s combination of relation to the past and future intermixes conformance and variety. New connotates certitude, inevitability and departure from conventions. In contradistinction to new, typology is referential and denotates specificity, regularity and limited commonality. A combination of the future and relation to the past is the modus vivendi for the architectural terminology New Typologies. An architecture of composite systems results. Architecture can free itself from the shackles of its past while professing new designs. Architecture can adopt tradition as a necessary, common dynamic ground upon which we operate; in order that we may use those traditions more eloquently or free ourselves from them, as we see fit.

Moshe Safdie eulogized the resulting architecture of New Typology as one that “should be rooted in the past, and yet be part of our own time and forward looking.” The phenomenon of new typologies in architecture is spawning interdisciplinary approaches to design. Their common global values are finding new mixes to open up possibilities for design and diversifying uses underpinned by a focus on people and their needs. Instead of building architectural edifices, architects curate public spaces and architecture becomes a social construct. They are not dictated by style, size or systems, as reified by the variety of projects in this issue.

New Typology in architecture is not fixed but dynamic. Most spontaneous architectures are typological architectures.

They follow basic rules of community engagement, localism and dialogue for the greater good of all and opposed to the sardonic Edifice Complex described by Deyan Sudjic. As I continue to reminisce, the future looks extremely bright for architects and the buildings that live on in our memories.

TONY LIEW VOON FUN GUEST EDITOR

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.

References: Anderson, S. 1982. Types and Conventions in Time: Towards a History for the Duration and Change of Artifacts, Perspecta 18 Rab, S., 2003. Rooted Modernity: Reconstructing Memory in Architecture, Constructing Place: Mind and Matter. London: Routledge

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GAME ON / BATTLE ARENA / TETAWOWE ATELIER / MALAYSIA

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PLUGGED IN / SHANGWEI VILLAGE PLUGIN HOUSE / PEOPLE’S ARCHITECTURE OFFICE / CHINA

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BOLD / OFFICE FOR COMMUNIQUE MARKETING SOLUTIONS / GROUPDCA / INDIA

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RADAR

recent projects

sections

POD PEOPLE / SJCC GLAMPING RESORT SOUTH KOREA / ATELIER CHANG / SOUTH KOREA MARS CASE / MARS CASE / OPEN ARCHITECTURE / CHINA BRINGING PEOPLE TOGETHER / KAMPUNG ADMIRALTY / WOHA / SINGAPORE UNIVERSAL SPACE & UNIVERSALLY-USED SPACE / LONGFU LIFE EXPERIENCE CENTER / LUO STUDIO / CHINA (UN)CONVENTIONALLY FUN / CO3 SOCIAL OFFICE / CO3 SOCIAL OFFICE PROJECT TEAM / MALAYSIA UNITY OF SPACE / B CAMPUS / AIM ARCHITECTURE / CHINA WALKWAY TO NATURE / CHINA FUZHOU JIN NIU SHAN TRANS-URBAN CONNECTOR / LOOK ARCHITECTS PTE LTD / CHINA

READS / REVIEW / THE TROPICAL MALAYSIAN HOUSE GOODS NEWS REPORT

radar

Reviewed by Lee Chor Wah

reads

PHOTOGRAPHY BY

LIN HO

T H E T R O P I C A L M A L AY S I A N H O U S E

ROBERT POWELL

THE TROPICAL M A L AY S I A N HOUSE ROBERT POWELL

PHOTOGRAPHY BY

i n te r n at i o n al

most innovative and engaging residential projects by architects and designers in Malaysia, completed in the decade between 2009 and 2018. A strong ecological message emerges responding to the question what is a modern ‘tropical’ house. Collectively, the houses in the book serve as a primer for anyone embarking on a new residence

LIN HO

L O O K I N G for a secluded location the owner of the

Suryamzha House chanced upon a site on the lower slopes of Bukit Gasing. It is a small plateau that drops away on the northern flank into a deep valley. When she bought the site she was swayed by its location at the end of a quiet cul-desac and the probability that it could not be overlooked in the future. There was an unremarkable house on the site that could be demolished.

Then began the search for an architect. She looked at books and magazine and created a very thick file documenting her requirements. “I wanted a tropical home,” she recalls, “a courtyard house, that would bring the outside in, and use materials honestly. The courtyard would evoke memories of my childhood home. I wanted it to be single storey and to have minimum steps. Above all I wanted a house that would bring in light and air”.

John Bulcock was recommended by her brother-in-law, himself an architect, but not a specialist in one-off dwellings. Over dinner they discussed her plans and in due course Bulcock was appointed. He took the brief and came back three weeks later with a u-shaped plan that immediately seemed right and essentially has changed very little in the making.

The house is relatively modest in size when viewed from the road and it emerges as a series of surprises as one enters at the southeast corner and progresses in a clockwise

1 ate l i e r

The 25 houses in this book illustrate some of the

ROBERT POWELL

PHOTOGRAPHY BY

LIN HO

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PREV

Accibus eticaum noniam ta orit, the eticaum concupi musquem.

Planter Box House by FORMZERO Chempenai House by WHBC Architects

FRONT COVER BACK COVER

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Accibus eticaum noniam ta orit, the eticaum concupi musquem.

Accibus eticaum noniam ta orit, the eticaum concupi musquem.

TH E TRO P I CA L M A LAYSI A N H O U SE

THE TROPICAL MALAYSIAN HOUSE VOLUME 1 ROBERT POWELL, LIN HO ATELIER INTERNATIONAL

It has been ten years since Robert Powell published The New Malaysian House, a book that became the definitive reference for house design. And now his latest, The Tropical Malaysian House Volume 1, boasting a collection of ‘the most innovative and engaging residential projects’ promises to be yet another popular reference for anyone contemplating a new house, or architects and students looking for inspiration for contemporary house design within a tropical context.

Packed with exquisite photographs by veteran architectural photographer Lin Ho and cleverly designed to a consistent yet refreshingly varied layout, the book showcases 25 houses completed between 2009 and 2018 by 17 designers or architects, many of whom were not featured in Powell’s previous books. Out of the 25 houses, 22 are bungalows, one a semi-detached house, while two are terraced houses – the Desa Lightwell House and the Planter Box House. And it is most interesting that not only are these terraced houses, but they are also intermediate lots, which goes to show that it is possible (and perhaps comforting for some) to be innovative and even ground-breaking with such a limiting building typology, as exemplified by the Planter Box House being chosen for the cover of this book.

With 10 to 12 pages dedicated to each project, this beautifully illustrated 288-page hardcover publication is, however, more than a coffee-table book, as it also includes clearly drawn scaled architectural drawings such as the floor plans and at least one section – basic information that is essential for the proper appreciation and analysis of any architectural project. All the photographs are also sensibly captioned so that readers can easily identify where they are taken from as they visually ‘walk’ through these houses. To provide a complete insight and understanding are Powell’s thorough descriptions of each projects, interspersed with some theoretical interpretations or expositions, and dotted with snippets of interesting background information on the clients, architects, and the design process.

An interesting comment by Powell recalled Charles Correa’s belief that ideas and sensibility of individually designed houses for the rich could have filtered-down effects on the design of mass housing. In reality, this noble ideals are yet to have trickled down to affordable housing in any discernably impactful ways.

That the book is titled Volume 1 signals the beginning of a series of more exciting projects to be published in future by publisher Atelier International, a publishing outfit founded by Dr Tan Loke Mun. In fact, the 12 criteria used by Powell in selecting projects to be published in the book could well be used as the design principles for any good tropical house design. And if you apply these design principles/guidelines in your next dream home, it might well be selected for inclusion in the next volume!

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ARCHITECTURE ASIA ISSUE 4 2018

goods

SKELETONS IN THE KITCHEN

radar

Nendo’s skeleton cutlery collection for Antwerp-based design label Valerie Objects reduces knifes, forks, and spoons to its absolute minimum, primarily through the reduction of the amount of material used without sacrificing functionality. The result is a skeletonised look, but going further, Nendo has introduced a new layer of functionality via the distinctive kinks on the neck of each piece of cutlery. These kinks allow for the ability to hook the cutlery unto various places in the kitchen, such as wall hangers, drying racks or the rim of a cup. / valerie-objects.com

New from Muuto is the Beam lamp, which shines from both ends of its anodised-aluminium form. This adjustable desk or shelf lamp houses two sources of light on both ends, mimicking the look of a single ray of light travelling through a round tube. The lamp sits on a 350-degree rotational base hence can be set at a variety of positions, and is also dimmable as well as to independently turn each end off and on. / muuto.com

BEAM ME UP

GO GROW! Finnish industrial design student Laura Laamanen’s prototype wall clock changes colour as time

IN THE MOOD Architecture firm BIG has teamed up with Italian lighting brand Artemide to create a colour-changing lamp designed to help plants grow. Dubbed the Gople, the pill-shaped blown glass lamp uses Artemide’s patented RWB lighting system that was first designed in 2010. This system allows light to be set at different temperatures, and can be used to also help plants perform photosynthesis at optimal levels – a blue light of 425 to 450 nanometres is used to stimulate the plant’s vegetative stage, while a red light at 575 to 625 nanometres promotes blossoming. / artemide.com

A SUPERSTAR The Superstar wheelchair by Swiss company Küschall is touted to be the world’s lightest, at only 1.5kg.

It achieves this via the use of the wonder material graphene, which also makes its stronger than most conventional wheelchairs.

Graphene is a space age atomthick material that is amongst the strongest materials ever tested.

The Superstar is 30% lighter than carbon-fibre wheelchairs. / kuschallsuperstar.com

ARCHITECTURE ASIA ISSUE 4 2018

passes by. Presented at the recent design fair Habitare, the clock’s simple approach is inspired by light’s ability to affect moods and daily rhythms – and the Mood clock glows a cooler, energyenhancing light during the day, and a warmer, more relaxing light at night. The warm glow helps users to dial down in the evenings, avoiding the blue-ish lights that confuse circadian rhythms. / habitare.messukeskus.com

DEEP INTENTIONS Sinn’s U1 dive watches have built up a cult following for over decade - notable for using the same steel used in the making of submarines, which is more resistant to seawater, and boasting a tough-as-nails case, and a 1,000metre depth rating. There have been several iterations released over the years, and the U1 B – which as you guessed it, sports a mid-toned galvanized blue dial. The U1 B comes on a choice of bracelet, matching blue silicon strap. / sinn.de

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radar

news

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IMAGE © TIMOTHY SOAR

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IMAGE © OSSIP VAN DUIVENBODE

HONG KONG WEST KOWLOON STATION

BY AEDAS OPENS TO THE PUBLIC

MVRDV’S STUNNING COMPLEX IN SEOUL COMPLETED

AMIN TAHA ORDERED TO DEMOLISH HIS RIBA AWARD WINNING PROJECT

mvrdv.nl

aedas.com

CREATING LIVABLE CITIES FOR THE 21ST CENTURY Recently, the Housing + Urbanity Symposium — themed ‘Cities + Societies in the 21st Century’ — was held at the Intellectual Property Academy (Menara UOA Bangsar), in conjunction with the Kuala Lumpur Design Month 2018. The symposium was organised by Pertubuhan Akitek Malaysia (PAM) and supported by Dewan Bandaraya Kuala Lumpur (DBKL) as a response to the urgency to address challenges regarding land utilisation, high density population, inadequate infrastructure, housing affordability, poverty, security and many more.

The symposium provides an integrated platform for the private and public sectors and the government to deliberate and explore opportunities to identify

pam.org.my

LA SAGRADA FAMILIA FINALLY OBTAINS A BUILDING PERMIT, 136 YEARS LATE Barcelona’s most visited landmark, the law has finally caught up with La Sagrada Familia’s 136 years of unlicensed construction. The church’s trustees have recently reached an agreement with the city of Barcelona to obtain the required building permits at a cost of US$41 million in payments. The money will be used to fund projects designed to mitigate the impact of approximately 4.5 million people who visit the unfinished basilica every year.

Architectural icon Antoni Gaudi spent more than 40 years designing La Sagrada Familia, and the cornerstone of the temple was laid in 1882. Now, 136 years later, there is still around 30 percent of the

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sustainable urban solutions that will help to build economic and environmental resilience living environment to improve our cities and the quality of life of our people.

The symposium featured both local and international key speakers such as the Deputy Minister of Housing and Local Government YBM Senator Dato’ Raja Kamarul Bahrin Shah Raja Ahmad, PAM Housing and Urban Wellbeing Committee Chairman Ar. Norzakiah Arshad, Think City Sdn Bhd Representative Joanne Mun, Oakland’s Civic Design Lab Creative Designer, Dr. Alexandra Jayeun Lee and Universiti Teknologi Mara’s Associate Prof.

Dr. Sharifah Salwa Syed Mahdzar.

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The brand new Hong Kong West Kowloon Station, designed by Andrew Bromberg of Aedas, has recently opened to the public.

When fully operational, it will be one of the largest and busiest underground train stations in the world. Serving as a new gateway to Mainland China, the new section of the GuangzhouShenzhen-Hong Kong highspeed rail service, which is 142 km in length, connects with the National High-speed Rail network all the way to Beijing, the length of which is more than 25,000 km.

Handling passengers through border controls, this station is more akin to an airport than a mere underground train station.

The approximate 400,000 square meters of usable floor area, however, ensures that the flow of the passengers is as smooth as possible.

As per the brief, the Hong Kong West Kowloon Station has a strong civic element, acting as a new landmark with an immediate sense of arrival, fit for the site’s prominence on Victoria Harbour immediately adjacent to the future West Kowloon Cultural District.

The design of the station introduces over three hectares of ‘green plaza’ to the site.

Unusual for the vertical city of Hong Kong, the station is ground-hugging, with the architect keen to bring on the sense of fluidity reflecting on the idea of various forces converging on a global city. The Hong Kong West Kowloon Station’s openness and its people-centric, inclusive design will set the stage for the city’s bright and exciting future ahead.

Architect Amin Taha has been served a demolition order for his stone-framed 15 Clerkenwell Close housing block in London, which won a RIBA Award. Taha, who both the architect and developer for the project, has said that he would appeal againts the order. As reported by many architectural news sites, the Islington Council issued the order to demolish the six-storey building on the grounds of the natural stone used on its facade not being fully detailed in the planning documents. This is the second enforcement notice issued for the building. An initial demolition order was issued in 2017 due to a confusion that originated from the council only uplodaing partial planning documents to its online portal.

Taha believes the order to be motivated by a personal dislike of the bulding amongst the Islington Council’s planning committee.

The troubles with the council is understood to have begun even during the building planning phase six years ago, which the council having issues with the choice of materials for the structure.”It has now escalated

amintaha.co.uk

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Dutch architecture firm MVRDV, well-known for their wild ideas, have completed construction on The Imprint, a new 2-building art-entertainment complex in close proximity to Seoul’s Incheon Airport. Featuring a nightclub in one building and indoor theme park in the other, the windowless structures feature three key design elements: imprints of the façade features of surrounding buildings, lifted entrances, and a golden entrance spot covering one corner of the nightclub building.

MVRDV’s The Imprint is part of the larger Paradise City complex of 6 buildings in total, which will provide a full suite of entertainment and hotel attractions less than a kilometre away from South Korea’s largest airport. As the proposed programme of a nightclub and indoor theme park required no windows, MVRDV took the opportunity to be bold with the facades. The design achieves its strikingly unique look by mirroring the façades of the surrounding buildings unto the complex, which are ‘draped’ over simple building forms and plazas like a shadow, and ‘imprinted’ as a relief pattern onto the façades.

In order to achieve the desired ‘imprint’ of the surrounding buildings, the façade of The Imprint is constructed of glassfibre reinforced concrete panels.

As many of the 3,869 panels are unique, the construction required moulds to be individually produced using MVRDV’s 3D modelling files from the design phase. Once installed, these panels were painted white in order to emphasise the relief in the design.

from an error in not uploading the stone approval – so that it was evident for anyone who cared to look – to the mistaken first demolition notice, to the now face-saving second notice entirely driven by someone’s opinion that it’s ugly,” said Taha.

London-based Taha received RIBA Awards for both 15 Clerkenwell Close and Flexible House in 2018. The architect’s housing at Barrett’s Grove in Stoke Newington, London, was shortlisted for the Stirling Prize in 2017.

IMAGE © SBA73

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news

radar

IMAGE © CANAAN

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2017

WORLD’S FIRST 3D-PRINTED STEEL BRIDGE UNVEILED AT DUTCH DESIGN WEEK

barcelona.cat

mx3d.com

Designed by Frida Escobedo Photography © 2018 Iwan Baan

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2016

Designed by Francis Kéré Photography © 2017 Iwan Baan

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basilica’s construction to be completed.

More than 20 million visitors visit Gaudi’s masterpiece each year, of which 4.5million enter the temple. This is naturally placed a massive strain on the city’s infrastructure, so the council is planning some upgrades from the US$41 million they will receive.

Among them is to allocated US$25million for new public transport services, US$8m toward improving access between the church and the metro, US$4.5m into redevelopment of the surround streets, and US$3.4m toward ongoing maintenance and cleaning of the city. The church’s trustees hope to finally complete construction of the church by 2026, the centenary of Gaudi’s death.

Amsterdam based start-up MX3D has finalised the world’s largest, single-span 3D-printed steel bridge which will be installed across a canal in Amsterdam next year. Designer Joris Laarman worked with the robotic manufacturing technology to build the 12-metre-long pedestrian bridge. First proposed in 2015, the structure has been constructed by robots from layers of molten steel. Six-axis robots built the six-metre-wide structure from layers of molten steel, which involved programming robotic arms to control large-scale welding machines.

Since its completion in March 2018, engineers have been installing sensors that will track the bridge’s structural integrity, surrounding environment, and displacement and vibration, which will provide an estimate of how many people cross it. All the data will be fed into a computer model that the engineers call the bridge’s ‘digital twin’, allowing engineers to monitor the bridge’s overall safety and condition in real time.

> Designed by Bjarke Ingels Group (BIG)

Designed by selgascano

Photo © Iwan Baan

Photograph © NAARO

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> Designed by Smiljan Radic

Designed by Sou Fujimoto

Photograph © 2014 Iwan Baan

Photograph © 2013 Iwan Baan

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10 YEARS OF SERPENTINE GALLERIES PAVILIONS

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The world-famous Serpentine Galleries in London are composed of two art galleries at the opposite sides of the Kensington Gardens’ Serpentine Lake in Hyde Park. The original Serpentine Gallery was established in 1970 in a former tea pavilion, and the new Serpentine Sackler Gallery, which opened in 2013, was designed by Zaha Hadid. Along with the activity of its permanent galleries, the Serpentine Galleries are renowned for the temporary summer pavilion, which since 2000, has been commisioned to some of the most prominent international architects, with Zaha Hadid designing the very first pavilion. Here is a look at the last ten years of Serpentine Galleries Pavilions, 2009 – 2018. serpentinegalleries.org

Designed by Herzog & de Meuron & Ai Weiwei

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Designed by Peter Zumthor Photograph © 2011 John Offenbach

Photograph © 2012 Iwan Baan

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Designed by Jean Nouvel Photograph © 2010 Philippe Ruault

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Designed by Kazuyo Sejima & Ryue Nishizawa of SANAA Photograph © 2009 James Newton

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portfolio

Project Name Battle Arena

Architects Tetawowe Atelier

Location Malaysia

game on

The largest ‘e-sports’ centre in Southeast Asia, Battle Arena expectedly boasts a futuristic

industrial environment that features an intricate game-like arena to immerse visitors into the virtual world

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LOCATED IN A shopping centre in one of Malaysia’s major cities lies Battle Arena – a state-of-theart gaming hub with computers and display screens for people to compete in a virtual gaming environment.

In general, the proposal is an insertion of steel modules to enforce a futuristic character.

Repeatable steel module frames are designed to fulfil a flexible construction (in-situ/prefab).

These steel modules form the PC rooms and spectators’ corridor on the mezzanine level. The nature of the skeleton-like module makes space for service ducting; and to provide the possibility of create futuristic and industrial features by exposing services like LAN cables, electrical cables and air conditioners.

The main lounge and staff rooms at the entrance hall were designed based on masonry construction together with a steel structure. The Arena has 10 exclusive single-user pods for the ultimate streaming experience.

In addition, there are also two premium pods for competitive teams looking for a place to train.

Alternatively, these two special rooms may be used as coaching rooms or sharing sessions.

At the centre stage an ancient

Rome Colosseum battle field-like is created with two cyber pods for the two finalists to battle. Spectators from the ground or mezzanine level can easily witness the finalists battling at this stage. Steel modules are placed around the stage creating a free-standing area for the spectators. Centralised ducting is placed underneath the steel module for flexible future maintenance. The visible ducting is part of the design feature. Light space frames are installed on the ceiling to support lightings, audio systems and event banners.

Elite Pod is an exclusive lounge for high-skilled E-sport teams to do their long-hour practice. This lounge is also the waiting area for finalists before moving on to the Battle Pods.

There are eight Battle Rooms with each consisting of five to six PCs for competitive gaming.

These Battle Rooms cater for players and professional E-sport teams who wish to play in a group privately. These rooms are also the venue for international and local LAN competition. Claiming to be the largest eSports club in Southeast Asia, Battle Arena has its own streamer pods which provide a platform for young influencers to create and broadcast their content.

Premium pods

The entrance

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Repetition of modular steel framing to recreate cabin space experience

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Streamer pods

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View of the battle pod that simulate the cockpit feel within a spacecraft

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LO C ATIO N

Jaya Shopping Centre, Petaling Jaya P R IN C IPA L U S E

E-Sport IN TE R IO R D E S IGN E R

Tetawowe Atelier P RO JE C T P R IN C IPA L

Tey Tat Sing P RO JE C T TE A M

Alex Tan, Andrew Leng D E S IGN P E R IO D

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

4 months DATE O F CO M P LETIO N

Jan 2018 S ITE A R E A

930 sqm P RO JE C T CO S T

RM 3 million CO N TR AC TO R S ECEQUBE Sdn Bhd M A IN M ATE R IA LS

Mild Steel, concrete GR A P HIC D E S IGN E R

LIE Design & Art Direction P HOTO GR A P HY

Alex Tan

A space cabin walker placed as a feature at the entrance

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portfolio

Project Name Shangwei Plugin House

Architects People’s Architecture Office

Location China

plugged in

In China, as the move to sustainable development intensifies amidst rapid urban expansion, the repurposing or adaptive re-use of abandoned houses proliferating throughout the country’s villages has become a major focus. One such solution is this modular-based ‘plugin’ house that leaves the original structure untouched whilst having a new structure built within it.

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THE PLUGIN HOUSES in Shangwei village are renovated houses that are hundreds of years old, left vacant and in ruins for decades as the village underwent heavy disinvestment. The rapid urban expansion of nearby Shenzhen engulfed villages such as Shangwei, turning them into urban villages, or rural islands surrounded by a sea of new development. Half of the properties in Shangwei lay abandoned as villagers fled in search of higher standards of living in neighboring areas.

The local government, the Shangwei Village Cooperative, was interested in exploring creative ways to rehabilitate and support a budding community of local artists and craftsmen that have recently taken root. The government, with the support of the Leping Foundation and Future

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Plus (a local non-profit), initiated a pilot in partnership with architect firm People’s Architecture Office.

The village government is legally bound to renovate uninhabitable properties where the roofs have collapsed. However, such properties are difficult to renovate because any work would affect adjacent structures. To circumvent this problem, the Plugin House leaves the original structure untouched while a new structure is built inside the existing house.

The Plugin House uses a modular building system of prefabricated panels. Structural connections are integrated into each panel so that a Plugin House can be built with unskilled labor using one tool in less than a day.

Industrial manufacturing allows the use of high quality materials that drastically increase energy ef-

ficiency and economies of scale to ensure the Plugin House remains inexpensive.

Although the Plugin Panels are mass produced, each Plugin House is customised to fit its particular site. The Huang Family Plugin House fits into a tiny 15sqm space. Because part of the original roof still remains, the Plugin House insertion acts as structural reinforcement, and as a protective measure against any structural issues the original house may have. To add additional space, the bedroom is placed on a mezzanine level with a corner window that cantilevers over a collapsed wall, offering a panoramic view of the village roofline. A skylight is placed where the original roof has collapsed, inviting natural light into the deep lot.

Another type of Plugin House

is the Fang Family Plugin House, which is slightly larger at 20sqm.

This house features a clerestory window to bring southern light into the bedroom area at the rear of the house. For both locations, the Plugin House System raises living standards by adding efficient mini-split units for heating and cooling, modern kitchens, and off-the-grid composting toilet systems.

The Huang Family Plugin house (this spread) fits into a tiny 15sqm space

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The Fang Family House (all above) is slightly larger at 20sqm accomodates an extra floor

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LO C ATIO N

Guanhu Subdistrict / FuturePlus Academy LO C ATIO N

Shenzen, China DATE O F CO M P LETIO N

Jan 2018 HUA N G FA M ILY P LU GIN HO U S E S IZE

15sqm FANG FAMILY PLUGIN HOUSE – FIRST FLOOR HUANG FAMILY PLUGIN HOUSE – SECOND FLOOR

FA N G FA M ILY P LU GIN HO U S E S IZE

20sqm P RO JE C T P R IN C IPA LS

He Zhe, James Shen, Zang Feng P RO JE C T TE A M

Sha Jinghai, Lin Mingkai P HOTO GR A P HE R

People’s Architecture Office, Zhan Changheng

0m

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HUANG FAMILY PLUGIN HOUSE – FIRST FLOOR

Construction process of the plugin house is quick and requires minimal unskilled labour

HUANG FAMILY PLUGIN HOUSE – SECTION

(Left Page) Interior views of the Huang Family Plugin house and street view at dusk

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portfolio

Project Name SJCC Glamping Resort South Korea

Architects Atelier Chang

Location South Korea

p o d p e o p l e The concept of Glamping is relatively new as an industry – the word a portmanteau of glamorous and camping, which essentially translates to camping with modern comforts and amenities. South Korea, among the countries in Asia where Glamping is extremely popular, features a variety of such facilities – and amongst the more recent ones is the SJCC Glamping Resort – which features minimalist camping pods designed to work within central communal facilities.

A RADICAL TAKE ON the glamping concept has been launched in South Korea, offering guests the experience of being within a natural setting while enjoying the comfort of architecturallydesigned, self-contained living spaces arranged around a communal facility.

This new ‘minimalist luxury’ resort – adjacent to the Seungju Country Club (SJCC) in Suncheon – consists of sixteen brightlycoloured living units with an associated reception/restaurant. Each unit offers guests approximately 50sqm of living area, as well as two bedrooms and a kitchen and a bathroom manufactured as off-site units.

The project is located some 300 kilometres south of Seoul within lush cypress forests and enjoys distant views over the Korean Strait. Drawing diverse references from natural elements such as the site’s dramatic topography, pebbles and fireflies, the resort offers guests a direct and vivid connection with their natural surroundings. Careful orientation ensures that each unit is well-screened

from surrounding units while offering guests dramatic views over Suncheon Ecological Bay. At night, the units – when illuminated from within – appear to form part of the forest’s natural organic layout.

The designers, Atelier Chang, brought an innovative approach to the structural design of the glamping units. The light-weight steel frames, covered with an insulated tent-like fabric, create highly resilient structures which are capable of withstanding the region’s significant annual differences in climatic conditions. The resort includes three principal types of glamping unit; ‘Mountain’, ‘Cutent’ and ‘Firefly’, each of which has a distinctive plan and colour scheme.

The striking restaurant/community facility forms the focal point of the resort. The restaurant and viewing terrace are screened by an elegant geometric arrangement of white steel louvres, mitigating solar ingress.

Key features of the project include: • Light steel frames are covered with a bespoke fabric made by

French manufacturer Serge Ferari. The material is weather and fire resistant and tensioned at the base of the frame to fit the shape of an individual unit • Glazing elements are construc ted from double layers of poly carbonate (for privacy), although glass can be used if required • Plumbing and electricity infrastructure is connected to the mains supply although the structures can use natural resources (rain water harvesting and PVs) • Foundations consist of concrete pillars with steel columns supporting the decking to which the structures are bolted.

The shell price of individual units (excluding kitchen and bathroom fit-out and furniture) is similar to the cost of a family car. However, unit rates for guests are around double the rate of a typical local hotel and closer to a 4-Star hotel room.

Soohyun Chang, Founder of Atelier Chang, comments: “We

wanted guests to feel as if they are living deep in the forest – directly in touch with the natural environment rather than being disconnected from it, as is the case with many ‘destination’ resorts. The arrangement of the glamping structures is conceived so that all the individual guest units are in close proximity, whilst still partially hidden from one another by foliage.

The trees act as natural privacy barriers and give a unique spatial character to each of the units. The resort design also incorporates individual terraces around – and between – glamping units that weave through the surrounding trees.

These terraces help to strengthen the feeling among guests that they are immersed in nature, rather than simply being adjacent to it. It is a concept which allows guests to connect with the natural environment far beyond what they might expect to experience in a more conventional resort setting.”

The Suncheon resort – managed

by SJCC glamping, a subsidiary of the Korean company POSCO, one of the largest steel manufacturers in the world – took three years to

Left: Aerial view of the SJCC glamping resort

RIght from top: Cutent unit roof detail and adjoining terrace; View of entrance to Mountain unit

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design and construct. In partnership with the contractor, Mind Glampers, Atelier Chang developed a new, patented technology to achieve both the comfort and lightness which the space and design concept demanded. This technology uses double layers of fabric with insulation between layers to keep the glamping units sustainable and viable in a climate where annual temperatures can range from as low as minus 20 degrees to as high as 40 degrees Celsius. The units – when properly maintained – are expected to have a lifespan of at least 10-15 years.

The steel construction of the restaurant complements the design and assembly of the glamping units. The use of lightweight materials to filter and refine nature – instead of blocking it out – allows for a more open and fluid interaction between structures, guests and the surrounding landscape.

It is hoped that the design concept employed at the SJCC Glamping Resort can be adapted to create similar facilities across Asia, Europe and North America in the future. Atelier Chang is also looking at how this design can meet the growing need, globally, for low-cost, well-designed housing units which can be delivered quickly to meet demand.

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SERVICE ACCESS

B`

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ENTRANCE

PROPOSED 1F PLAN 5m 2.5m

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View of the facade of the restaurant / reception

VIew of restaurant dining area looking across the terrace

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LOCATION

Dukjung-Ri, Byulyang-Myeon, Suncheon-Shi Junnam, South Korea

PRO JE C T TE A M

P RO JE C T CO S T

Soohyun Chang, Carole Froidevaux, Jinman Choi, Llia Varvaroussi

$1.77 mil US CO N S TR U C TIO N CO M PA N Y

Mind Glampers D E S IGN P E R IO D

CLIEN T

POSTMATE/ POSCO (SJC Glamping) PR IN CIPAL USE

Glamping tents and Restaurant

July - December 2016 CO N S TR U C TIO N PE R IO D

Autumn 2016 - Winter 2017 SITE A R E A

ARCH ITECT FIR M

M A IN M ATE R IA LS

Steel plate, waterproof paint, plywood board, gypsum board, polished concrete floor, steel structure with SIP, steel frame with textile

4,950 sqm

Atelier Chang Ltd

P HOTO GR A P HY FLO O R A R E A

Kyungsub Shin

195 sqm (restaurant) + 795 sqm (glamping)

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portfolio

Project Name MARS Case

Architects Architects OPEN Architecture

Location China

mars ARCHITECTURE ASIA ISSUE 4 2018

Developed with the support of Chinese electronics giant Xiaomi, this housing prototype for hypothetical living on Mars was part of an annual cross-industry innovation and research event known as House Vision – which uses the house typology to explore and question the direction of our living habits and urban environments in the future.

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A community setup on Mars terrain, where natural resources cannot be relied on

to settle on Mars, might we at last rethink the way we live today?

In 1845, American poet and philosopher Henry David Thoreau withdrew from society and moved alone to a remote forest.

There, he lived in self-sufficient seclusion for two years, reflecting WHEN HUMANITY IS FORCED

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upon the nature of simple living.

In his book Walden, Thoreau wrote: “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.”

Today, as we live and get lost in a world of consumption and environmental crises, we too must ask ourselves — what are our essential needs? Provocatively addressing what it might take for us to reduce our reliance on natural resources, MARS Case is a minimal housing prototype

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MARS Case in an earth-like environment

questioning the very essence of modern living.

On Mars, the project’s hypothetical starting point, we cannot rely on natural resources, as we have done for so long on Earth.

Recycling air, water, food and even waste will no longer be a choice, but a necessity. Reducing the consumption and materialism

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Below: lightweight module living space that inflates from the service module (far right)

of our former lifestyles will be the only way we survive. As we find new appreciation in every drop of water, every bite of food, and every breath of air, will we at last discover the nature of truly simple living? Is this what we should define as the ideal house of the future?

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Developed with the support of Chinese electronics giant Xiaomi, MARS Case seamlessly merges technology, product design, and architecture, integrating domestic appliances into one synthesised product—The Home. Harnessing and recycling the heat, exhaust, condensation, and other byproducts generated by each appliance, MARS Case feeds energy, air, and water and air back into an integrated ecosystem, minimising consumption of resources.

A lightweight, compact 2.4m x 2.4m x 2m service module accommodates kitchen, bathroom, and mechanical service components, doubling as an airlock and storage space. When the service module is “opened”, a second inflatable module is released, expanding into a spherical living space for reading, thinking, resting, and other spiritual pursuits. A large two- by two-meter square on the

bottom of the inflatable module features an adaptable surface, becoming a hard floor by day, and a soft king-sized bed by night.

Round windows in the surface of the bubble offer portholes through which to glimpse the stars and distant Earth.

When the house is in transport, the inflatable module can be deflated and folded back within the service module. In this way, the service module acts much like a suitcase—inspiring the prototype’s name.

MARS Case on display to the public outside the Bird’s Nest National Stadium in Beijing, China

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Together, these two modules make up MARS Case: a place of self-circulating energy and minimal waste, compact and mobile, within which all of our essential living needs are contained. In an era marked by consumption and environmental crisis, the project thoughtfully pushes us to reevaluate our definition of an ideal house, ultimately offering powerful implications for contemporary as well as future living.

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LOCATION

ARC HITE C T F IR M

Beijing, China

OPEN Architecture

CLIEN T

SI TE A R E A

Xiaomi Science and Technology Co., Ltd

12.10 sqm LIGHTIN G

PR IN CIPAL USE

Future Housing Prototype ARCH ITECT - OF-R ECOR D

Ruiguang Boying Lighting Laboratory (Hongri Lighting Group)

OTHE R BU ILD IN G CO N S U LTA N TS

Product Engineering Consultant: Xiaomi Science and Technology Co., Ltd. P HOTO GR A P HY

Wu Qingshan, Nacasa and Partners

Li Hu, Huang Wenjing

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Project Name Kampung Admiralty

Architects WOHA

Location Singapore

bringing people together

portfolio

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integrated housing for the elderly, and will serve as a prototype for meeting the needs of Singapore’s aging population.

Awarded the 2018 WAF World Building of the Year, Kampung Admiralty is the first development in Singapore to be a one-stop

The tree canopy of the landscaped terraces includes multiple local fruit trees and also features and Community Farm on the roof top

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LOCATED ON A TIGHT 900 sqm site with a height limit of 45m, the scheme builds upon a layered ‘club sandwich’ approach. A “Vertical Kampung (village)” is devised, with a community plaza in the lower stratum, a medical centre in the mid stratum, and a community park with apartments for seniors in the upper stratum. These three distinct stratums juxtapose the various building uses to foster diversity of cross-programming and frees up the ground level for activity generators. The close proximity to healthcare, social, commercial and other amenities support inter-generational bonding and

promote active ageing in place.

The community plaza is a fully public, porous and pedestrianised ground plane, designed as a community living room. Within this welcoming and inclusive space, the public can participate in organised events, join in the season’s festivities, shop, or eat at the hawker centre on the 2nd storey. The breezy tropical plaza is shaded and sheltered by the medical centre above, allowing activities to continue regardless of rain or shine.

Locating a medical centre in Kampung Admiralty means that residents need not go all the way to the hospital to consult a special-

Studio apartment views towards the lanscaped terrace and the Community Park

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ist, or to get a simple day surgery done. To promote wellness and healing, the centre’s consultation and waiting areas are washed in natural daylight from perimeter windows and through a central courtyard. Views towards the community plaza below, and the community park above also help seniors feel connected to nature and to other people.

The community park is a more intimately scaled, elevated village green where residents can actively come together to exercise, chat or tend community farms.

Complementary programmes such as childcare and an Active Aging Hub (including senior care) are located side by side, bringing together young and old to live, eat and play. A total of 104 apartments are provided in two 11-storey blocks for elderly singles or couples. “Buddy benches� at shared entrances encourage seniors to come out of their homes and interact with their neighbours. The units adopt universal design principles and are designed for natural cross ventilation and optimum daylight.

Below, from top: Aerial view capturing surrounding context; Aerial view of Community Park Sky terrace

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View of the courtyard and Community Park with multi-layered Sky Terrace

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LO CATIO N

676 Woodlands Drive 71, Singapore 730676 CL IEN T

Housing & Development Board A RCH ITECT F I RM

WOHA

6TH FLOOR

9TH FLOOR

1 FUNCTION HALL 2 ACTIVE AGEING HUB 3 CHILD CARE CENTRE 4 PLAYGROUND 5 FITNESS AREA 6 LINK BRIDGE

1 STUDIO APARTMENT 2 SKY TERRACE 3 COMMUNITY FARM

IN TER IOR D E SI G N

Sofwan, John Paul R Gonzales P ROJ ECT TE A M

Wong Mun Summ, Richard Hassell, Pearl Chee, Goh Soon Kim, Richard Kuppusamy, Jonathon Hooper, Yang Han, Lau Wannie, Gillian Hatch, Kwong Lay Lay, Zhou Yubai CO N S TR UCT I O N P ER IO D

31 Oct 2017 May 2017 DATE OF CO MP LETIO N

May 2017 S ITE AR EA

8981.00 sqm FLOOR AR EA

53066.49 sqm FIRST FLOOR CO N S TR UCT I O N CO MPAN Y

Lum Chang Building Contracotors Pte. Ltd. CIV IL & S TRCUTUR A L EN G IN EER

Ronnie & Koh Consultants Pte. Ltd. M&E EN G IN E E R

AECOM Pte. Ltd. Q UA N TIT Y S URV EYOR S

Davis Langdon KPK (Singapore) Pte. Ltd. L A N DS CA P IN G

1 COMMUNITY PLAZA 2 STAGE 3 ECO POND 4 BIOTOPE 5 THOROUGHFARE 6 DROP OFF 7 LIFT LOBBY 8 PHARMACY 9 EATING HOUSE 10 SHOP 11 LOADING UNLOADING BAY 12 UNDERGROUND BICYCLE STORAGE 13 ADMIRALTY PLACE 14 MRT 15 PLAYGROUND

Ramboll Studio Dreseitl Singapore Pte. Ltd OTH ER B UILD I NG CON S ULTAN T S

Greenmark Consultant: AECOM Pte. Ltd. P H OTO GR A P HY

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Darren Soh, K. Kopter, Patrick Bingham-Hall

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Below, from top: The Medical Centre wraps around the central courtyard Rain Garden, giving patients a soothing, green view; The People’s Plaza

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Close-up of east elevation

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portfolio

Project Name Longfu Life Experience Center

universal space &

Architects Architects LUO studio

Location China

Given the short lifespan of real-estate showrooms, a showroom in China has been designed with a wooden structure that can be re-used

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in various ways after it has outlived its initial purpose.

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universallyused space

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are a kind of temporary architecture that can only last several months or few years at most, and is usually dismantled after the sales period is over. Even in the rare chance they can be preserved, their function would need to be completely transformed. Also, the interiors of real estate sales centres are generally complicated, which further adds to the difficulty of repurposement.

This building not only meets the needs of a sales gallery, but also has the potential for a wide range of other possible uses. It is more appropriate to say that the architects designed a space without functional constraints rather than to just be a sales centre.

The architects turned all necessary service spaces that typically have spatial restrictions such as the staircase and bathroom into basic modules, in accordance with ergonomics, while trying their best to weaken the functional attributes of the other remaining spaces. In this way, they separated function and space.

REAL ESTATE SALES CENTRES

Utilisation of general timbers to maximise the space and make it extensible The client pursues high quality real estate development instead of instant commercial profits.

Based on the concept of attracting house buyers through creating presenting better lifestyles, they have been devoted to operating eco-farms as well as engaging in property development. A green

lifestyle was exactly what they wanted to convey to target consumers through this sales centre.

Timber, the green and natural materials that suit the client’s corporate identity, were the perfect materials for constructing the building. The type of general timber materials that the architects could purchase cost-effectively were square logs in the lengths of 3m, 4m or 6m, with a 200mm side length of the cross-section.

To build a large solid space and to maximise its possible functions, several square timber pillars were combined together to form a clustered column, instead of using a single wooden pillar as the supporting unit. As the forces acting on a circle plane are even in different directions, horizontal units of the clustered column were designed in the shape of a regular dodecagon – which is nearly round – with a diameter of 1m. The section size of the timber pillars of the clustered column are 120mm x 180mm. Vertically, the clustered columns form the shape of trees., and are divided into five segments, each with a length of about 2 metres. These segments extend outward and upward to the ceiling, forming a cubic edge space with a height of 4.5 metres and a side length of 8 metres. With such clustering, the architects not only maximised the lower space, but also the structural strength.

Each unit along the edge was horizontally and longitudinally interlined. Just like Lego bricks,

each unit is independent or combined with others to create the desired space, which is extensible.

With a continuous arch between each unit, the overall structure is very stable. And the more it stretches, the more stable the structure is.

Rapid assembling via basic construction methods & reversibility The architects had to complete the design, construction, finishing and decoration of the architecture in less than two months, whilst controlling the cost. The architecture was also intended to be reusable – and hence a key challenging requirement was that it should be easily constructed as well as disassembled.

The architects offered the following solutions. The first was, to control labour cost and improve efficiency, they adopted simple and basic construction methods as well as common material processing techniques, through which ordinary technical workers were capable of carrying out the construction work. Materials could be also be manufactured in common factories.

Secondly, the architects created a standardisation and modularisation of units. The whole building is divided into several primary units. And these primary units are further split into various standard components, which are then assembled based on a unified approach. A basic unit can be formed by only three basic components, which is conducive to

Resting area

SECTION PERSPECTIVE

Atrium area

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1 UNIT CAN BE USED FOR A TREE HOUSE

2 UNITS CAN BE USED FOR A SMALL BOOKSTORE

4 UNITS CAN BE USED FOR A WORK ROOM

The reflected image of the building on the water surface at daytime

ARCHITECTURE ASIA ISSUE 4 2018

controlling the size and number of modular units. Additionally, the architects established a set of standard and simple approaches for assembly, so as to accelerate the construction and installation process.

The third solution was to,subdivide all types of work involved in the project as much as possible, fabricating materials in different factories and arranging fabrication workshops. In this way, all materials and components could be fabricated before or while the pre-order work on site was carried out. For example, while measuring and grooving work was carried out at the site, components of the steel structure, wooden columns and steel connection components were fabricated in different factories separately at the same time. After the back-filling was finished, the wooden column units were assembled on the basis of the steel structure. All wooden column units were interlinked through bolting steel connection components. And all relevant work such as the installation of indoor furniture, air conditioning and wiring systems were carried out in a coordinated way. Eventually, the construction and interior fit-out of the building were completed ahead of schedule.

Considering various practical factors, tiles were laid on the

ground floor by using cement mortar. However, all other parts in the space were connected by bolts. Every component can be completely disassembled, installed, moved and reused, making the building thoroughly reversible.

Construction of a “smart” cavity If the building is a person, all the equipment, electrical systems and pipelines are the respiratory system. All these parts of the body are by no means isolated, but are highly integrated with the skeletons and muscles in a symbiotic state, resulting in a more effective and intensive space.

Other parts of the building were also designed in a way similar to the structure of a body. Taking furniture as an example, all the furniture ‘grows’ on the structural column, with each table surrounding a single clustered column. All the furniture and guardrails stretch out of the core structure, and even weave a surface by extending outward. These necessary parts are concomitants of the main structure, providing support against it and making it more stable.

Equipment, electrical systems, pipelines, furniture and even the exterior were integrated into units of the structure to achieve the smallest occupancy, which facilitated separation of function

and space and created a ‘smart’ space resembling cavity of the human body.

Mies van der Rohe called the Crown Hall at the Illinois Institute of Technology in Chicago a ‘universal space’. The design permits the building to change its functions, so Mies declared it “the clearest structure we have done, the best to express our philosophy.” As designing and constructing the Longfu Life Experience Center, the architects chose to use standard timbers in China and utilised common manufacturing and construction techniques, with a view to create a ‘universal space’ that boasts infinite possible uses rather than to be limited to certain specific functions. The whole building or any part of it can be enlarged, cut, replaced or moved based on different needs. What’s more, it can also be completely dismounted and repurposed, and its materials can be reused for other construction, hence achieving the objective that both the space and materials can be universally used.

LO C ATIO N

Southwest of the intersection of Changqing Road and Fumin Road, Puyang County, Henan Province, China C LIE N T

Lai Lijun A RC HITE C T F IR M

LUO studio P RO JE C T P R IN C IPA L

Luo Yujie P RO JE C T TE A M

Wang Xiaotao, Wei Wenjing DATE O F CO M P LETIO N

April 10, 2018 S ITE A R E A

1,588 sqm CO N S TR U C TIO N CO M PA N Y

Puyang JINGYI Architectural Decoration, Design and Engineering Co., Ltd. P HOTO GR A P HY

Jin Weiqi

Southeastern side

interiors

Project Name CO3 Social Office

Interior Designer CO3 Social Office Project Team

Location Malaysia

(un)conventio

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nally fun

Co-working spaces are all the rage now, and with the promise of new ways to work and collaborate within a community-like setting, it’s no wonder it has been a hit with millenials. This co-working space, billed as the largest in Malaysia, aims to push the envelope a little more by injecting some fun and personality into its spaces.

augments the core values of connectivity, collaboration, and community, aiming to democratise access to Google-like offices for all, and more essentially, to create a work space where members can be productive, meet people, and collaborate. CO3 launched the idea of building ‘Malaysia’s coolest office’ on 6 March 2017 to a strong crowd of 2,000, and by June 2017, just three months after, CO3 opened its doors – 3,010 sqm of inspiring work spaces.

The office sits unassumingly within a row of shop lots, taking up a total of 18 shoplot units, with an unassuming simple entrance on the ground floor that leads up to the main foyer on the 2nd floor.

The 2nd floor is comprised of the ‘Public Zone’, open to office members and the public, which houses dining amenities like a café, and the CO3 Honor Grocer, which is a cashier-less grocer built on trust. Co3 members and the public alike merely take what they want, and pay on their own.

The ‘Public Zone’ also houses the prototype of the ‘Lens Library’, a brand-new venture under CO3’s reddotX programme, which aims to transform the world of photography. Beyond the barrier gates is the CO3 Member Zone, which is only accessible

by CO3 members.

CO3 SOCIAL OFFICE

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The slide is everyone’s favourite way of heading down

The slide is everyone’s favourite way of heading down

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Designed to feel like home, office members enter the main hall beyond the barrier gates, which is the heart of the office.

The main hall is much like a ‘living hall’, with comfortable seating, and where most of the open work spaces (Hot Desks) are focused.

The interior is perhaps best known for a wingless red plane, which sits perched in the middle of the link bridge stretched across the double volume main hall. The wingless plane is symbolic of CO3’s spirit of ‘fly without wings’, representing courage and inspiring all within the office.

The main pantry is also located right by the main hall, functioning much like a kitchen, where patrons can make coffee and conversation, or even gather together for a meal. In designing the office, emphasis was placed on creating a variety of open area work spaces, leisure spaces, pantries, and nooks, giving members opportunities to meet others, or even to find a quiet area to work when needed.

Aside from the plane, the indoor metal spiral slide, which connects the 3rd floor to the 2nd floor is also an all-time favourite, a fun alternative to walking down the

stairs. Level 3 comprises the play decks, two elevated platforms which flank the main hall, which is connected by the link bridge.

On top of that, CO3 Social Office also offers a Creative Zone, which comprises Special Purpose Spaces (SPS), that are aimed at providing ‘dream’ work spaces. The first series of SPS is the Creative Zone, which features tech hubs, editing hubs, a recording studio, and a virtual reality (VR) lab.

While the emphasis is on fun, the CO3 Social Office is also designed to provide the best in productivity, with fully-equipped meeting rooms of various sizes and themes to spur creativity and out-of-the-box thinking. In ensuring versatility of spaces, much of the open areas of the office can also be turned into event spaces, while specialised event spaces such as the Red Dot Campus Hall features three short-throw projectors and a fully-fitted audio system.

With all the features combined, this office space represents more than just a work space, but one that integrates work life balance through hardware, and serve as the ‘container’ to enable and spur the ‘software’ and ‘hardware’.

Clockwise from top left: Hot Desks seating in the open area at the Main Hall; The New Wing opened in June 2018, offers plenty of Hot Desk seating basked in day light and cozy Fixed Desk Private Rooms; A wingless plane sits perched in the middle of the Main Hall; The Main Hall

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LO CATIO N

Puchong, Selangor IN TER IOR DES IG N ER

CO3 Social Office Project Team P R IN CIPA L U SE

Co-Working Space P RO J ECT P R IN CIPA L

D E SI G N P E R I O D

PRO J ECT CO S T

Phase 1: March 2017 - July 2017 Phase 2: November 2017 - June 2018

RM6.5 million

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

Phase 1: March 2017 - July 2017 Phase 2: November 2017 - June 2018

CC Tan

DAT E O F CO M P LET I O N

P RO J ECT TE A M

Phase 1: July 2017 Phase 2: June 2018

John Chua, Chu Earn Tan, Fergus Yeong

SI T E A RE A

OT HER B UI LDI NG CO NS ULTANT S / S ERVI CES / S UPPL I ERS

Korea Wallpaper, Wing Seong Fatt Construction, Vincent Decor, Unity Kitchen, KX Aluminium, R&E Air Cond Specialist PHOTO GR APHY

Jayz Yong, Kern Wei Chong, Jing Er Looi

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The Main Hall

The CO3 EXPLORE Nook is the perfect spot to get some work done, chill, and even for CO3’s Dive Community to meet and plan the next dive

Hot Desks seating in the open area at the Main Hall

The Mafia Room functions as a private meeting room or event space, oozing exclusivity and class in its marble table tops and leather furnishing

The New Wing offers plenty of Hot Desk seating basked in day light and cozy Fixed Desk Private Rooms

The Red Dot Campus Hall

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portfolio

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Project Name B Campus

Architects AIM Architecture

Location China

ARCHITECTURE ASIA ISSUE 4 2018

B Campus represents the growing emergence of all-in-one holistic educational facilities that cater to a wide range of ages – in this case housing pre-school, primary and adult educational facilities, and even an investment company.

u n is tpy a oc fe

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THIS PROJECT IS not just a school, but a thriving eco system where work and education flow with different stages of learning and life. Housing a nursery, primary school, an adult education facility, and an investment company, B Campus aspires to be a learning centre for all ages and stations of life. The investment firm driving the project sees personal progress as the key to a global progress.

The architects’ approach to the various programs was to seek unity of space throughout.

A simple choice to let the grey concrete building narrate its own rhythm by treating the structure as it essentially is, set the tone for the rest of the project. Wooden portals, doors, and cabinets warmed the in fills and transitions of space. The high ceilings are left largely exposed, maximising light and offering a sense of reflection and spaciousness.

A single central entrance allows access to both the work space and the different education areas.

What makes this one interesting

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Public auditorium

Workspace

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LO CATIO N

Shanghai, China A RCH ITECT F I RM

AIM Architecture P RO J ECT P R IN CIPA L

Byungmin Jeon

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Jiao Yan, Lily Zhu, Patrick Wu, Rachel Wang DATE O F COMP LETIO N

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Dirk Weiblen, Johan Sellén, Marc Goodwin

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is how it sandwiche directly between a primary school and an adult education facility, so that it operates as the center, or heart, of the building. The design implication is the process of learning, being, and working which are not so different from one another, nor designated by age.

The center of the workspace is an open and public auditorium named the Sky Room, taken from its strong vertical orientation

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towards a sky light. Flanked by two unassuming white walls that double as canvasses for the moving shadows from the skylight, and structurally defined by a wooden shell, the Sky Room is intended as a flexible space that encourages engagement between working and learning. Employees are active participants in the auditorium’s events, and the design reflects the organic flow between learned and learner. The wooden wall opens to meeting spaces, break-out rooms, and even a bookstore behind the stage.

Apart from a series of multifunctional education spaces, the architects’ focus has been on a series of specific spaces: the workshop, the chamber music hall, a round multi-function theatre, and a large library.

While the spaces are framed in the same cement based structure, single color fields were used to offer different energy. In Level 1, the architects’ created a workshop that straddles form and function: functional aesthetic of making; sturdy dements, hand made furniture and color to be a lively background to lots of making.

From Level 2 upwards the building has a terrazzo and wooden staircase that forms the backbone of this building. The wooden interior and the concrete domes have an acoustically motivated angulation and rhythm.

The library, created as a sequence of rooms formed by bookcases, becomes a place where study truly occurs between the books. The recessed light domes offer rhythm, focus and light to the space.

On first appearance, the library, and indeed the entire program, appears to be a formal arrangement, but it is through this formality that it gets its freedom.

Each of the fabricated ‘chambers’ has a unique purpose and customised furniture. The design intuition hints at boundaries, but offers multiple ways and spaces for learning. The campus on a whole is an ideal, brought to life and supported by creative and practical architecture and design.

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portfolio

walkway to nature Project Name China Fuzhou Jin Niu Shan Trans-Urban Connector

Architects LOOK Architects Pte Ltd

Location China

Set amidst the nature reserve of Jinniushan, the Fuzhou forest walkway

is a first-of-its-kind elevated forest walkway system that weaves in and out

of the mountains in a manner akin to a Chinese landscape painting.

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The elevated forest walkway negotiates the existing topography at a gentle and accessible gradient, which is designed to accommodate the wheelchair bound and the aged local population of Fuzhou.

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An th

The geometry of the elevated walkway at Meifeng Hill Park is accentuated by its reflection in the lake below

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KIT OF PARTS An adaptive ‘all-terrain’ modular system was develop comprising six basic deck components allowing for the walkway to adapt to the changing topography of the mountain. The modular system also enabled the walkway to maintain a consistent 1:16 gradient for its ramps allowing for handicap access across the entire length of the walkway. The simplicity and rigor of the modular system also allowed construction quality and control to be maintained easily in collaboration with local stakeholders including the local government and LDI (Local Design Institute).

ARCHITECTURE ASIA ISSUE 4 2018

Trans-Urban Connector is an innovative, first-of-its kind elevated forest walkway system in the city of Fuzhou, China. Spanning a total length of 19 kilometres, it threads across the full breadth of Jinniushan, a mountain in the middle of the city and connects two water bodies – the Minjiang River in the south and West Lake in the north. The elevated walkway is part of an urban connector network that improves public access to the

THE FUZHOU

natural heritage within the city, and provides an alternative means of “slow travel”, giving residents the chance to enjoy the city and forest from an elevated point.

By utilising a modular approach and highly efficient steel construction, the elevated walkway is able to respond sensitively to the untouched natural environment of Jinniushan and preserves much of the existing greenery. The modular approach consists of six basic deck components which together

form an all-terrain modular system that efficiently negotiates the undulating topography of the mountain while still allowing for barrier-free access along the entire length of the walkway.

The porous steel grating of the walkway floor brings natural light down into the forest, promoting plant growth.

The public quality of the elevated walkway is further enhanced through the design of 10 different entrance nodes, each celebrated

by a bold urban intervention. The different interventions variously include bridges, observation towers, tea houses, viewing platforms, a visitor’s centre in a quarry and the conversion of an existing bus depot into the main entrance.

This project has won the 2018 DFA Award (Design for Asia Award), the 2018 President’s Design Award Singapore in the Design of Year category and the 2017 International Architecture Award.

n elevated view of Meifeng Hill Park. Meifeng Hill Park is one of ten entrances into he trans-urban connector and is a threshold between the city and the mountains

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The gently splayed character of the walkway balustrades give a sense of expansiveness and merges with the forest beyond.

From top: The serrated perforated aluminum cladding mitigates wind load during seasonal hurricanes and gives a dramatic appearance from the road below; The Honggan overpass stretches across a six lane major thoroughfare and provides pedestrian access to the elevated walkway from the Minjiang River

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LO C ATIO N

Gulou District, Fuzhou, China

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C LIE N T

People’s Government of Golou District, Fuzhou, China

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A RC HITE C T F IR M

LOOK Architects Pte Ltd CO LL A BO R ATIN G A RC HITE C TS

Fuzhou Planning Design and Research Institute P RO JE C T P R IN C IPA L

Look Boon Gee, Ng Sor Hiang P RO JE C T TE A M

Chua Liang Ping, Lee Liting, Chow Khoon Toong, Doan Quang Vinh, Loh Kin Kit

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2 years DATE O F CO M P LETIO N

Dec 2017 S ITE A R E A

760,000 sqm

4

CO N S TR U C TIO N CO M PA N Y

GuangDong Foundation Engineering Group Co., Ltd / China First Metallurgical Group Co., Ltd

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C IVIL E N GIN E E R

Arup Singapore Pte Ltd / Fuzhou Planning Design & Research Institute

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Fuzhou Planning Design & Research Institute Q UA N TIT Y S U RVE Y O R S

Fuzhou Planning Design & Research Institute LIGHTIN G

LOOK Architects

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Zhou Yue Dong

The modularity of the walkway system and the use of steel as its primary material allowed for ease and efficiency in construction.

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recent projects

Project Name Office for Communique Marketing Solutions

Architects groupDCA

Location India

BOLD

The Communique Marketing Solutions Office in Gurugram, India is a modern and egalitarian workspace designed to foster creativity, collaboration and conversation.

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THIS OFFICE’S spatial planning emerges as a direct result of this intent: where an open-plan office format is chosen that is symbolic of transparency. Disregarding traditional notions of professional hierarchy, this configuration instead encourages democratic engagement within the workforce. The architectural design, as a result, reflects the company’s guiding philosophy, which is predicated on establishing parity across the board to enhance employee experience, productivity and well-being.

The office is designed as a three-storeyed building that crafts a distinctive identity for itself within its immediate urban context. The architectural vocabulary is unmistakably brutalist: the facades are an expanse of exposed concrete punctuated by

the measured use of corten steel.

Honesty – structural and material – and humanism are central to the idea of Brutalism; its choice, therefore, reflects the architect’s strong belief in the movement’s foundational principles of modernism and socialism.

On the ground floor, a short porch-at the end of which stands a custom-designed sculpture, leads visitors to the entrance foyer. The upper floors house the workspaces within the seamless two-floor volume, accommodating a diverse mix of functions. In order to minimise penetration of glare-free daylight into this volume, its northern and southern edges are designed to be porous; the fenestration scheme was arrived at through a metric-based daylight analysis. To reduce the ingress of heat into the building,

the western edge – which forms its primary facade – is completely blocked with a massive wall and an added layer of insulation. The majority of the office spaces are planned in the bullpen configuration with communal tables in a nod to the client’s ethos of equality and cooperation. Various levels are designed, however, to delineate space for different teams – this provides a semblance of privacy, with their placement within the larger, singular volumes to help sustain visual connection. Along the southern edge, informal, semi-open meeting areas are conceptualised at both ends of the volume to provide intimate spaces for discussions and conversations. All services are designed at one end of the floorplate to facilitate maintenance operations and easy circulation.

The highlight of the volume, however, is a mezzanine conference room that floats above an amphitheatre-style, multipurpose event area. The fact that the heart of the volume is occupied by collaborative and flexible spaces as opposed to a director’s room reflects groupDCA’s intent to do away with physical metaphors of authoritarianism.

The third floor is conceived as a large unified space; with the Wellness Centre standing centrally in the floor-plate, opening to wide terraces on both sides. This provides an uninterrupted space that can host a multitude of communal events such as yoga and prayer meetings, and parties.

The larger design strategy – biophilia – endeavours to enhance human engagement with nature in order to craft working spaces that

promote happiness, good health, and well-being: ‘by facilitating the elements of air, of light and of the greens.’ Large windows, lined with planters, are designed along the northern and southern edges of the floor-plates; they open to beautiful views of the surrounding greens, while their careful placement and sizing ensures adequate daylight ingress. In addition, vertical green walls run along the entire two-floor length of the volume along its eastern and western edges, and treated fresh air is brought in to improve indoor air quality. This strategy ties in with the attempt to optimise the building’s thermal performance as well.

In order to ensure a reduction in the building’s energy consumption and its use of resources, a

thoughtful, scientific approach is adopted. All of the windows are double-glazed, while glass wool is used as an insulating material on the western facade. Acoustical treatments – polyfiber wall and ceiling panels – were integrated within the design from the very beginning of the process to reduce indoor noise levels. The use of modern technology extends to artificial lighting design as well, where a simple yet intelligent system is chosen to augment natural daylight, creating optimal working conditions throughout the day.

The interior spaces are a celebration of brutal materiality.

The wall and ceiling surfaces – concrete, brick and corten steel – are left exposed in their natural, unfinished states. The furniture

is carved out of birch plywood, while the flooring is largely done in locally procured, multi-hued limestone. The air-conditioning ducts take on a sculpturesque quality: left unconcealed, they seem to float in mid-air, adding to the raw and industrial look of the space. These material choices help bring down maintenance costs significantly, while simultaneously enhancing user experience of the spaces.

As a whole, this workspace augments the well-being of its users in addition to their professional productivity, by creating architecture that celebrates transparency, free thought, and collaborative-architecture that is inherently socialist at its heart.

The office is designed as an egalitarian workspace that celebrates transparency, free thoughts, and collaboration

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The design provides a semblance of privacy, while the placement of levels and spaces within the larger, singular volume helps sustain visual connection

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LO CATIO N

Gurugram, India

CO LL A B O R AT I NG A RC HI T E C TS

CL IEN T

Vini Sam, Pritha Mitra

FLO O R AREA

M AI N M AT E R IALS

702 sqm

Lighting: iGuzzini (Recessed Laser Blade Lighting), Lighting: Trilux (Suspended lights over workstations, Corten Steel: AV Aquafloat Glazings Pvt Ltd Aluminium, Windows: AV Aquafloat Glazings Pvt Ltd, Hardware: Geisse, Aluminium Frames: Royal Arch Solutions, Glass: Saint Gobain, Fittings: Fixtures are Jaquar, Sanitary ware: Kohler, Air Conditioning: Weather Comfort, Toshiba, Paint: Asian Paints, Elevator: Schindler

L I GHT I NG

Tarun Agarwal

Design Matrix P RO J E C T P RI NC I PA L

P R IN CIPA L U SE

Commercial Workspace groupDCA

Ar Amit Aurora, Ar Rahul Bansal Project Team Vini Sam, Pritha Mitra

A RCH ITECT- O F R ECOR D

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

Ar Amit Aurora, Ar Rahul Bansal

Jan 2017 to Apr 2018

A RCH ITECT F I RM

OT HER B UI LDI NG CO NS ULTANT S

Structural: S.V.Damlee, Electrical: Design Matrix, HVAC: Weather Comfort, Plumbing: D.S.Rawat, Furniture: DCA Architects, Facade: DCA Architects

DAT E O F CO M P LET I O N

Apr 2018 SI T E A RE A

450 sqm

PHOTO GR APH Y

Andre J Fanthome

To reduce the ingress of heat into the building, the primary façade on the west is completely blocked with a massive wall and an added layer of insulation

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events

ESC2018 KL ESC2018 INTERNATIONAL ARCHITECTURE CONFERENCE WAS HELD THIS YEAR ON 30TH JUNE TO 1ST JULY, AND SERVED AS A PLATFORM TO SHOWCASE INDIVIDUALS WHO CREATE NEW PARADIGMS IN ARCHITECTURE AND DESIGN. AN IMPRESSIVE LINE-UP OF LEADING PRACTIONERS FROM ACROSS ASIA AND BEYOND PRESENTED THEIR THOUGHTS ON BREAKING FREE FROM THE NORM.

A STUDENT’S PERSPECTIVE

BY SCARLET KOON SI QI AND CHAN KIT YONG, ARCHITECTURE STUDENTS OF TARUC

THE AIR WAS FULL of excitement in the morning, as architects and students alike came together for the first ever international architecture conference, ESC2018 at Taylor’s Lakeside Campus. The event boasted 10 speakers over two days, and is the first of many conferences to come in the near future. The event kicked off with the program leader for the event, Munnin from Doma Initiatives with his opening speech.

With the collaboration between Doma Initiatives and the Association of Consulting Architects Malaysia (ACAM), ESC 2018 KL was born.

First up on stage was Jun Sekino from JUNSEKINO Architect + Design. Jun showcased projects that signified the firm’s principles of ‘tropical- style environmental management’. From his first project for a photographer, to his latest project for a school, his designs showcase a sensitivity to the client’s needs and to the environment. Baan Chan, his first project, is a house that is located on a cliff overlooking the sea. Inspired by the waves, Jun created a house that opens to the views of the sea and to allow for natural ventilation, mimicking the effect of waves coming into the house. Throughout his showcase of projects, his designs clearly addresses how tropical architecture isn’t just a fad, but an environmentally conscious design that reflects the culture of the surroundings.

Moving from Thailand to South Korea, Minsuk Cho showed us how massing can be manipulated to showcase innovative ideas. In his practice, Mass Studies, the projects all show the manipulation of mass and

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how it solves the problems of the project, be it the site or the program.

In his design for the Korean Pavilion for the Shanghai World Expo 2010, the question that came was, “how could we express our national identity?” In response, the mass of the building was cut open and pixelated to tie in with the openness of the expo park. This was to show the openness and inviting nature of the koreans. His designs clearly shows how the massing of the buildings play an important role in shaping the design and solving design problems.

The next speaker, Chatpong “Chat” Chuenrudeemol, invited the audience into a different kind of architecture, so-called ‘bastard’ architecture, or Bangkok Bastards as he calls it. “Architecture is not just buildings, it’s everything around us.” His fascination with the local construction workers quarters and his research into vernacular architecture got him into thinking about architecture and how it connects people. He compared what we think of as ‘beautiful homes’ with ‘poor squatter homes’, and realised that what we call beautiful is too often poor at allowing us to connect with people, which is the opposite when it came to squatter homes.

As an example, for his Ekami House, he explored how the perimeter walls could be redesigned to make it less detached, resulting in a design that treated each in between space between the house and the street as an individual space of its own, rather than as an afterthought.

He turned the outside perimeter walls into doorways with reclaimed

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wooden door panels that allowed the house to be open to the neighbourhood. With the whole stretch of road adopting the same concept, neighbourhoods would be more open and more connected.

Next up was Dr Hossein Rezai, an engineer who has worked on countless projects across the world. In his lecture titled “The Ephebic Oath”, he talked about the relationship between designers and the environment and the relationship between architects and engineers. He identified that there are five core ideas in the design of buildings: the purpose of design, the multiplicity of clients, the hierarchy of design, the process of design and the oath.

Firstly, what is the purpose of the design? The first step to any design is to address the problem at hand and identify the purpose of design. Next, a project rarely has only one client, it has a multiplicity of clients. “As designer of the city, we have a duty of care to the street adjacent, to the neighbourhood, to the city and to the country.” said Dr Hossein. After that, there is the hierarchy of design. There is a hierarchy of design, from the physical, to the security, to the belongingness, to esteem and finally to self-actualisation. There needs to be a collaboration between the architect and the engineer in order to create a truly user-conscious design. From there, the process of design starts, from listening to others, questioning others to get the direction, designing, questioning ourselves and getting the project-specific parametric study.

And finally, there is the oath that every designer swears by, “I pledge, before I die, to transform my city, not diminish, but to make it better, greater and more beautiful”.

The final keynote speaker was Richard Hasell from the multi-award winning firm WOHA. Richard opened his speech with the book penned by his firm, ‘Garden City Mega City’. The firm’s ideology is to create sustainable cities befitting of this century, rather than designing based on the components developed in the last 100 years. Rather than the temporary solutions that we have now, we need a permanent solution to have better city living. The solution that WOHA proposes and adopts in their design is “macro architecture, micro urbanism” – high density high amenities mini city in a building.

The idea of designing to local context and climate is not new, however WOHA takes it a step further by integrating sustainable features into high rise buildings and accomplishing green buildings with unprecedented green ratings. They have even developed their own Green Mark rating system that rates their buildings on a range of issues such as green plot ratio, community plot ratio, civic generosity index, ecosystem contribution index, and the self-sufficiency index.

nings into an award winning, multi-disciplinary international design firm that is one of the largest firms in the ASEAN region. David shared with us about his theory of achieving success, terming it the Chameleon Paradox – a theory of imagining his business as a chameleon, reforming and adapting to the world as opposed to individualism and rigidity. David discovered that hiring people of diversity in cultural helped him in his business in terms of gaining trust from clients across the region, as well as to be more sensitive to the inherently different cultures. David also talked about the importance of marketing in a business. Having high quality products is good, but the foundation of it all lies on a strong marketing team. Marketing is the tool that makes a company visible to the world.

The next speaker was Stuart Mendel, managing director and head of country for Lendlease Malaysia. Being aware of the emerging need of automation in the architectural industry, Stuart addressed the importance of having modern tools such as Building Information Modeling (BIM) and Safety Design incorporated within the industry, expectations and demand that large-scale projects require.

Wrapping up the conference was Michael Doring and David Terenzio from the Turner International Malaysia. They discussed about the mutual benefits of the partnership between architects and builders, using real world examples of lean practices that add value and improve project delivery for both parties. Turner embraces a lean management approach, and a culture that emphasizes collaboration, reliability of scheduling and delivery of the most value while consuming the fewest resources. Lean principles drive the efficient delivery of services by the company, while lean culture emphasizes re-imagining and eliminating of waste in all forms to create predictable, reliable workflows.

Panel Dialogue

In contrast to the first day, the second day of ESC2018 shifted from designing ideas to operating a business in the modern architectural field. Having the right business skills are key to maintaining a business, especially one as intricate as architecture. Steve Kennedy, partner of the Kennedy Associates Architects from Australia, spoke about the benefits of ACA and his personal experience with it. He also mentioned how leadership and a company’s identity can significantly impact businesses, and summarized his success into 7 easy, straightforward but essentially crucial steps. He also advised for continuously training new staff to avoid placing all their eggs into one basket by over relying skilled workers.

Dato’ Nitin Mizan Hashim came next with his 30 years of experience practicing as a bar counsel and arbitrator in over 100 disputes, who gave some insights on avoiding lawsuits. Dato’ Nitin covered a wide range of issues during the talk and took the opportunity to conduct a small-scale legal case study exercise tailor-made for the practicing architects in the audience. He also discussed the key contract provisions knowledge of which will keep practicing architects safely out of legal trouble.

The third speaker, David Mizan Hashim, founder/group president and the Director of VERITAS Design Group, enlightened the audience on how his modest architectural practice evolved from its humble begin-

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ARCHITECTURE ASIA ISSUE 4 2018

BUILDING THE SCAFFOLDING: A REPORT FROM DOMA INITIATIVES’ FIRST ANNUAL CONFERENCE

BY SARAH MINEKO ICHIOKA, ESC2018 MODERATOR

AN ARCHITECT’S JOB is demanding enough as it is. After a hard week of site visits, client meetings, and hard graft in the studio, why would one devote their precious Saturday to sitting in a sealed auditorium, listening to a group of other architects talk about their work, instead of catching up with loved ones? Similarly for an architecture student; after pulling a couple all-nighters to prepare for a crit session, why would they rise early on the weekend instead of spending the morning snug in bed?

Despite such competition on a midsummer Saturday, DOMA Initiatives, Malaysia’s new non-profit charitable architectural foundation, attracted a full-house to their first annual conference, ESC: 2018, which was convened in partnership with the Association of Consulting Architects of Malaysia, and held at Taylor’s University Lakeside Campus.

DOMA Initiatives’ stated aim is to “promote and encourage good design and practice in architecture”; a key aspect of this is the organisation of public events like ESC2018, which bring international talent into direct contact with Malaysian audiences.

The full-day program offered presentations from five accomplished architects and designers, grouped under the theme “Try and leave this world a little better than you found it”, a quote from Boy Scouts founder Richard Baden-Powell. With one participant from South Korea, two from Thailand, and two based in Singapore, not to mention geographically diverse personal, educational and professional pedigrees, the conference offered fertile ground for discussion of commonalities and diversities amongst built environment practices across the massive and varied territory of Asia.

Jun Sekino shared a review of the range of buildings—mostly houses for private clients—in his eponymous Bangkok-based practice’s growing ARCHITECTURE ASIA ISSUE 4 2018

portfolio. Sekino was joined on stage by two members of his team, who took turns describing projects, with a focus on client needs and attention to design details. A project that showed interesting potential for how the practice might expand beyond residential work was a school built for Design for Disaster in the north of Thailand, which uses of low-cost, lightweight materials to create a graceful space for learning and recreation.

Minsuk Cho, principal of Seoul-based Mass Studies, interwove his extensive experience as exhibitor, curator and commissioner of architecture for international events with examples of permanent buildings, both institutional and private. Typically embracing hybrid programs, these projects included a home built around a vast private library, a university dormitory complex, and a competition-winning proposal for a film complex in Seoul. Cho’s discussion of his contributions to multiple Venice Biennales and the Expo 2010 in Shanghai revealed how temporary architectural projects can have lasting implications for larger political and diplomatic dynamics, specifically in the case of the relationship between North and South Korea.

Adopting an infectious attitude of keen curiosity about Bangkok, Chatpong “Chat” Chuenrudeemol took the conference audience on a tour of his hometown’s various vernacular structures, with detailed analysis of the social systems and aggregate user needs that create and change them over time. Chuenrudeemol shared a number of CHAT Architects’ own projects that draw direct inspiration from the studio’s ongoing research into these “Bangkok Bastard” typologies; houses and hotels whose designs seek to playfully blur lines between public and private, new and old.

The lone engineer amongst the day’s speakers, Web Structures founder Dr Hossein Rezai adopted a wide-angle perspective in his pre-

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sentation. After a quick review of his firm’s many engineering achievements—including a number of structurally complex towers—Rezai exhorted the audience to consider the broader context in which design is practiced, including the need to address urgent challenges such as social inequality, mass migration and climate change. He shared an optimistic assessment of the potentials of computational design, in which machines might act as collaborators with, rather than competitors against, humans. Left implicit were direct links between specific projects shown and the global issues raised; had time allowed, it would have been useful to gain more insight here.

The day’s final speaker Richard Hassell, co-founder of WOHA Architects, shared some key principles governing his practice over two decades of work. Drawing from WOHA’s publication Garden City Mega City (Pesaro Publishing, 2016), Hassell made the case for new architectural typologies to meet the challenges of climate change in rapidly urbanising regions. These typologies are three-dimensional networks that layer dense structures with spaces of greenery, social encounter, and energy generation. Hassell also described internal metrics that WOHA have developed to assess project success on their own terms, measuring each building’s green plot ratio or food self-sufficiency, for example.

The day’s presentations ranged widely: from Sekino Architects’ beachfront villa to Mass Studies’ biodiversity bank in the DMZ; from CHAT’s revamped sex hotel to WOHA’s self-sufficient tropical new town; from the ingenious hand-splicing of bricks in Bangkok to the laboursaving potentials of computational design in Singapore. Similarly, the scales of the practices: spanning from just 6 years to nearly 25 years old; from portfolios concentrated within a single country to large-scale projects around the globe. This diversity precluded any easy generalisations about a singular Asian architectural community.

To attempt a few observations nonetheless: All of the presenters foregrounded the needs, desires and habits of their architecture’s users, be these the clients commissioning it or the publics inhabiting it. And they all actively engaged with the wider social and environmental contexts of their projects, albeit to different degrees. In the closing round table discussion, the participants seemed to agree that issues of scale, speed and governance were different for them working in Asia, than in Europe and the United States. Some confided that they’d felt their work was misunderstood by some Western-centric architectural critics; a justification for the value of new Asian institutions of architectural culture.

Diversity is an asset for any cultural endeavour. ESC:2018 treated its audience to live presentations from impressive and accomplished practitioners from wide-ranging backgrounds. Except for one thing. There are many talented female architects working in Asia whose experience and insights would enrich such conversations and ensure that the rising generation of Malaysian architects benefit from a full spectrum of role models. I look forward to future DOMA Initiative events that have a gender-balanced line-up, and encourage readers to contact the DOMA team with suggestions of world-class Asian architects—female and male—who you’d like to see in their program.

ESC:2018 was a significant milestone on DOMA Initiatives’ journey to create a critically rigorous, world-class platform for the discussion of architecture and design in Malaysia. It is remarkable that the organisation has come so far powered mostly through the volunteer work of passionate people. To ensure DOMA Initiatives’ long-term sustainability, it is crucial that more built environment companies and architecture aficionados join the foundation’s pioneering group of sponsors and donors and contribute funds to support its future. Beneath the magic of any cultural project, there is a machine, and its engine cannot run on passion alone.

Another metaphor came to mind during our conference discussion, inspired by some of CHAT Architects’ work in Bangkok: If architectural practice is like a building, the socio-cultural matrix—critical publications, conferences, exhibitions, and so on—that enables the exchange of ideas both practical and philosophical, is the scaffolding around it. Scaffolding must not be confused with billboards: shiny surfaces bearing idealised images for quick consumption. Scaffolding enables access to a building during construction; it shelters a nascent building from the elements until it is robust; it prefigures the shape of what is to come.

Let’s build this scaffolding together.

Sarah Mineko Ichioka leads Desire Lines, a strategic consultancy for environmental, cultural and social-impact organisations and initiatives. Before relocating to Asia in 2014, Ichioka was Director of The Architecture Foundation, the UK’s leading independent architecture centre, for five years. Twitter @sarah_ichioka | IG @sarahmineko

Sarah Mineko Ichioka

Ar Chan Mun Inn

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ARCHITECTURE ASIA ISSUE 4 2018

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