Nizam Nasir is an aspiring architectural designer who currently resides in Singapore with a Bachelor’s Degree in Architecture from Taylor’s University Subang Jaya, Malaysia. Most of his design ideas revolve around lyrical interpretations through an audial artform in which he has been actively a part of, in his fifteen year involvement in the music scene. In Taylor’s University, he has established a keen interest in bridging the intangible aspects of music into his passion for architecture and design.
index PROFESSIONAL WORKS JAYA INTERNATIONAL PTE LTD Singapore
Jinling Hotel and Spa Nanjing, China
DR TAN LOKE MUN ARCHITECT Subang Jaya, Malaysia
Lu Yang Condominium Kota Kinabalu, Sabah
Sandakan Stage Sandakan, Sabah
ACADEMIC WORKS
Bachelor of Science (Honours) Architecture 2012 - 2015
Kuala Lumpur Music Exchange Jalan Tun H.S. Lee, Kuala Lumpur
Alternative Music Academy Jalan Ampang, Kuala Lumpur
COMPETITION “Bridging Boundaries” Social Revolution 2014 International Architectural Competition Yaroslavl, Russia
WORDS
As one of the elite Artisans of Hospitality, Jaya International Design’s approach to design and procurement of habitable luxurious spaces is timeless and seemingly effortless. At Jaya International Design, each project is bound with the common philosophy of unique, sensitive experiences for the guests. The location; the intrinsic identities of place and culture and architecture; amplifying the visions of spaces, textures, materials, and the guest; the guest and his/her experience are the main foci of the company’s design philosophy. As a reflection on my personal design philosophy, my stint with Jaya is a huge learning experience in the Hospitality Design arena, acquiring technical skills and how the experience of public and private spaces vary thus, heightens my sensitivity on how such spaces should be procured. Jaya International’s humble approach to timeless and contextual design is a principle that I have come to treasure. Under the guidance of a very experienced Project Designer, Raul Andrino and Senior Design Manager, Pin Tan, I was given multiple opportunities to participate in design discussions as well as have a go at designing many of the canvases of spaces within each project that I was involved in. Participating actively in design discussions also meant that I had to maintain a close relationship with other departments of the design team such as the FF&E department to ensure design consistencies and efficiency in the output of deliverables
PROJECT LOCATION CLIENT ARCHITECT
: Jinling Hotel and Spa : Nanjing, China : Fullshare : RSA Architects
01 The clients’ project brief for an establishment that places emphasis on health and wellness is evident in the architect’s efforts of incorporating mingling outdoor spaces with 4 separate blocks that house functions for hotels, long stay apartments, public spaces and a spa. The terrain for the project site also makes for an interesting public circulation through the whole facility, especially within its generous outdoor spaces. Jaya International’s task of reflecting the client’s and architect’s motives of a wellness facility that can be reflected through its interiors involves taking a contemporary interior design approach with Chinese sensibility reflected through artwork and accessories. Subtly combined with references to Nanjing’s local produce, history and culture; with traces of brocade, ceramics, and river stone handicrafts, all woven together into a harmonious interior tapestry. Most of the public areas harness the architects’ implementation of a louvred facade throughout the development. Utilizing timber slats in unique ways and methods does not only accentuate the building’s form and language but also promotes transparency and adds character to the various spaces within the 4 blocks.
BUILDING 03
BUILDING 02 BUILDING 01
BUILDING 04
STANDARD KING MOCK UP ROOM SIZE : 50SQM Unlike most of Jaya International’s usual mock up room layouts, the brief by the owners required a special ‘Tatami Area’ in the hotel and long stay apartment rooms for yoga and tea drinking purposes. Inspired by the nature and greenery that surrounds the facility, the theme within this room sports hues that accentuate the tranquil colours of the outdoors by bringing them indoors with the green accents and light bamboo as well as rattan wood that are used on the furniture millworks.
STANDARD TWIN MOCK UP ROOM SIZE : 50SQM As a second option for the design of the mock up rooms, the Standard Twin variant comes in a modern contemporary scheme. Unlike that of the Standard King Room, the tatami for the Twin Room is located near the foyer of the room while the study desk is placed at the bay window area to harness the views toward the lush greenery that sits outside.
Inspired by the Yusuhara Wooden Bridge by Kengo Kuma which employs the use of layered timber planks that seemingly support one another, the idea which was harnessed for the visual aesthetics of the ceiling of the main reception draws ideas from such a system. How the overlapping horizontal timber planks seemingly gels as part of the load bearing system that transfers the weight of the upper floors and distributes them to the four columns in this reception area makes for an interesting architectural language.
MAIN RECEPTION
MAIN RECEPTION
LOBBY LOUNGE
In addition to the horizontal slats that is a consistent language through out most of the interiors of the facility to mimic the language of the architecture’s facade, the lobby lounge employs a central elevated area which acts as a focal point for this area which can be used for traditional musical performances as guests and patrons dine and enjoy the ambience in this area. Flanked by four screens, the enclosed central stage resembles that of a lantern which is a popular artifact in the Chinese tradition.
LOBBY LOUNGE
Being given the opportunity to design this Pre-Function Area, I drew inspirations from the works of Kengo Kuma’s Asakusa Tourist Information Centre with its interesting undulating facades and Zaha Hadid’s Eli and Edythe Broad Art Museum, I’ve juxtaposed two of these design elements and see how they can be employed in this particular area. The interesting longitudinal section of this area with its split levels provided a foundation for how I wanted to design this space. While still employing the same louvred timber slats, this time, these slats are angled in a way that mimics the inclination of the split levels .
PRE-FUNCTION AREA
The original structural layout of this treatment room saw the room spanning all the way east towards the wall. Seeing the opportunity of the water body which was located south of the room, the entire treatment room was recessed westwards to allow water to flow east of the area while opening up views and establishing a green feature wall where the spa beds are facing towards. With the establishment of these two elements, this makes for a tranquil and rejuvenating treatment room for spa treatments to takes place.
SPA TREATMENT ROOM
CHINESE RESTAURANT
PRIVATE DINING ROOM
PRIVATE DINING ROOM
ALA CARTE DINING
CHINESE RESTAURANT
ALA CARTE DINING
ALL DAY DINING
Dr Tan Loke Mun is the Principal of DrTanLM Architect and Director of ArchiCentre Sdn Bhd whose architectural studios are involved in a large variety of high profile work. Dr Tan’s architecture embraces and interprets regionalism in a modern social context. In a rapidly changing world landscape, he believes that well designed buildings, coupled with its complimenting spaces help accentuate the value of these spaces for all its users. The roles that I have partaked in as an intern in DTLM covers an array of job scopes. I was given numerous opportunities to participate in various site meetings where each meeting provides a different form of exposure, I had to be meticulous to pick up terms used by Dr Tan and my supervisors. Terms that involve building by-laws and establishment of materials and construction methods on site are skills that cannot be merely acquired in the office but can only be obtained when one goes to site. Also, having the upper hand in using Rhinoceros, I was able to lend my skills to conjure up models or designs that were beyond conventional. I’ve been given the task to come up with organic façades and curved canopy designs for various projects.
PROJECT LOCATION
: Lu Yang Condominium : Kota Kinabalu, Sabah
02 This project consists of 18 storey residential apartments with 3 levels of parking. The design and layout of the residential towers convey an undulating façade which reflects the site’s close proximity to the coastal area. As such, a proposal was established to translate this design language to the podium levels of the multi-storey carpark that is located beneath the residential towers.
Apart from the organic façade, a curved glass canopy that would span over the front porch of the condominium was requested. It was to mimic the undulating language of the residential façade.
PROJECT LOCATION
: Sandakan Stage : Sandakan, Sabah
03 This task involved the redesign of a proposed stage canopy. The original design employs the use of space frames with cladding that is deemed to be rigid. Hence, with the assistance of my fellow supervisors and with a few references to Calatrava’s motives, we decided to pursue a tensile roofing system that would appear seemingly light The first alternative involves 3 spanned canopies that cover the entire stage and service rooms. These canopies vary in size and span across different length and height to give a sense of dynamism to the entire structure. This design also allows adequte ventilation through the spaces and voids that are established between the placements of each different sized canopy. The idea of this tensile roofing system seem to be drawn from the biological characteristics of a leafy structure. The above design would also require a curved space frame structure to support the large canvas canopies.
The second proposed design employs a structural support similar to that of a suspension bridge. Flanked by two curved masts which is held back by large rod columns that is secured to the back of the stage, wires help hold up the canvas that spans over the stage. Such a design helps provide a visual uplift and thus does not detract one’s attention from the performance area. The uplifting effect also helps free up space beneath the canopy towards the stage area.
ACADEMIC WORKS 2012 - 2015 BACHELOR OF SCIENCE (HONOURS) ARCHITECTURE
The Kuala Lumpur Music Exchange aims to establish a pedestal for local artistes and shed light on the local music scene. Establishing a hub for talent scouting helps generate flux in terms of circulation and expression within a city. A place for musicians, with musicians. A marketplace for avid music lovers, the KLMX aims to establish itself as a collector zone, a space that lures individuals of various music backgrounds, offering amenities to nurture local talent.
KUALA LUMPUR MUSIC EXCHANGE PROJECT LOCATION
01
: Urban Market : Jalan Tun H.S. Lee, Kuala Lumpur
DUAL FACADE
STREET AXIS
POTENTIAL PATRONS NODES As the world transcends into an era of online music appreciation, interaction between consumers and musicians have been dramatically reduced. Thus, the establishment of this music hub helps initiate activities that one would usually partake online, offline.
CONCENTRATION OF SPACES
NEIGHBOURING SPACES
Identifying neighbouring culture nodes that include cultural arts (textiles and handicrafts), music would be a complementary artistical aspect of Kuala Lumpur’s vibrant culture. The nearby Reggae Bar and Dataran Merdeka that see informal music events help provide a contextual sense for why the establishment of a music hub would compliment the area’s rich artistic diversity.
ESTABLISHING THREE BLOCKS
ELEVATING PERFORMANCE AREA
SHADING FIVE FOOT WAY
DOUBLE VOLUME CHAMBER
ADDRESSING STREET CORNER
MEANDERING FACADE
SEMI-OPENED BLOCK
DYNAMISM THROUGH LEVELLING
GROUND FLOOR
KLMX is established on the idea of duality of spaces to promote the habit of music-making in a vibrant culture. Setting up spaces to watch and engage in music helps generate spaces that are informal for the appreciation of music. The juxtaposition of hard angled lines and meandering pathways illustrate dynamism in a musical repertoire and the facade generation was predicated on a response to the city’s skyline.
FRONT ELEVATION
FIRST FLOOR
SECOND FLOOR
MUSIC EXCHANGE CENTRE
BLACKBOX
FOOD OUTLET
STREET FOOT BAR
BROAD
DCASTING ROOM
ADDRESSING SKYLINE
RHYTHMIC AND REPETITIVE JUXTAPOSTION
COALESCENCE OF ELEMENTS
RHYTHMIC OUTLINE
CRESCENDO
PRACTICE STUDIO
CD DEPOT
ALTERNATIVE MUSIC ACADEMY
PROJECT LOCATION
02
: Communal Arts Centre : Jalan Ampang, Kuala Lumpur
02 The Alternative Music Academy aims to be a centrepoint that bridges various performing arts bodies as well as help revive the performing facilities that are provided by them such as the Jabatan Kebudayaan dan Kesenian Negara and the Malaysian Tourism Centre which provide performance facilities for rent. Given the abundance of performance venues in and around Kuala Lumpur, this music academy is strictly catered to provide music education while still allow informal performances around the academy to lure people into the viscinity. With the availability of the Dewan filharmonik, Kuala Lumpur Performing Arts Centre and Damansara Performing Arts Centre as well as aother studio blackboxes and informal stages that can be found all over Malaysia, it can be truly identified that what Malaysia lacks is not the performing venues for these musicians but a training facility to aid in honing the skills of independent and uprising alternative musicians.
Alternative music is a definition of music that has yet to be defined. Alternative music may incorporate an array of musical genres or at times form its own independent musical genre. Local aspiring artistes have a tendency of ingesting their own taste of local culture into modern and contemporary music whilst preserving the rhythmic and lyrical essence of local culture. Hence, as a movement to shed light on these musicians, this facility will help to guide them to not only conjure music which they aspire to obtain but also will help in the production of the music as well as advertising through the various informal commercial grounds where people would flock over to listen to these uprising artistes.
SOCIOECONOMIC ANALYSIS
INTRODUCTION OF WATER BODY ALONG STREET FRONT
FOCUS ON RIVER OF LIFE ACTIVITIES
MOLDING OF FORM TO CHANNEL VIEWS
ALTITUDE HIERARCHY
URBAN DIMINUENDO NATURE CRESCENDO
SIMPLIFIED GEOMETRY
SECTION A-A
NORTH ELEVATION
SOUTH ELEVATION
SECTION B-B
EAST ELEVATION
WEST ELEVATION
“To be a stranger in your own house is the worst type of stranger.” – Hassan Fathi.
Gone are the days where cities were established behind four walls; walls that deterred outsiders from entering the compounds of the city space. A city built solely for its people and a place of residence where people prospered within their own community. People were much happier then where discontentment that is established through the comparison of people who lived beyond those four walls was simply non-existent. City foundations are neither built with slabs of concrete nor steel reinforcements. While architectural efficiency tries to shape and mould a “perfect� society, a city developed by the love, care and hard work of its own people is a city worth living in. An island of paradise we do not seek nor a kingdom of heaven in Jerusalem we wish for. A city of conscience, a city absent of defiance. Not a city of conversation. But a city founded on wisdom and resolution.
BRIDGING BOUNDARIES
PROJECT LOCATION
: “Bridging Boundaries� Social Revolution 2014 International Architectural Competition : Yaroslavl, Russia
03
Like the love for music and art, the love for nature and architecture is a common language that can transcend political and social boundaries. The landscaping and moulding of architecture that transcends timelessly is the type of architecture that resists; one that does not only withstand through generations but one that bridges communities. The community of Yaroslavl embraces a lifestyle that revolves around social activities and communal gatherings, activities that litter the line along the Kotorosl River. A community that celebrates outdoor recreational activities is an aspect that should be harnessed on. Boundaries that transcend through individuals of various ages and various backgrounds, such socialist activities define the lifestyle of these Yaroslavlians.
UNIQUE SELLING POINTS
NEE ELEVATION
SECTION A-A
SECTION B-B
SECTION C-C
i (occasionally) write
Design, the way I see it, comes from musical interpretations. How rhythm and lyrics coalesce to form a single unique entity continues to intrigue me up to this day. Colours that accompany an array of wavelengths and audial dynamics that form at the back of my mind moulds the way I see things. As a musician, fluid, rigid and extravagant forms can be represented in a variety of musical genres. Music in its truest form can be attributed to design, which represents an international language for the masses. Such art forms are based on diverse cultural backgrounds and individualistic influences. Organic architecture or rather, liquid architecture, is like jazz-you improvise, you play off each other, you make something, they make something. Jazz, Blues and Funk (just to name a few) are genres of music that feed off of musicians’ improvising skills. One musician starts a rhythm and the next player picks it off from there or joins him, soon to form an all encompassing rhythmic harmony. Such spon- taneity and ingenuity fascinates me. Similar to how each song, symphony or composition is created, design has to have its own back story. How each symphony has a tale to tell, the countless movements that form the chapters of a book, sensitive design is key to form something that is timeless. How do we emulate the works of great composers such as Gustav Mahler, Mozart and Bach whose music has lasted for centuries. How do we incorporate such timeless-ness into design. Design that is preached in most architectural schools today abides by a strict set of rules and regulations. Design in its most rudimentary form as most educators see it, consists of ever-morphing building blocks. Blocks that are governed by a standard set of specifications, sustainability and safety regulations. Yet, this aspect of block by block and space by space generation, creative thinking and brainstorming to generate ‘design’ does have its own benefits. The number of permutations and combinations that come when pursuing such a method is simply endless. The manipulating of shapes and forms will allow us to discover unique designs, yet what sets us apart from others is not how the entrance music is like but how the rest of the symphony plays out to be.
“Does great architecture trump practicality?” It is apparent as to how the entire realm of what defines the artistical aspects of architecture today is shaped by what we see first. I have never been a firm believer of the idea of ‘Form follows Function’ nor have I fully understood the idea of how a seemingly practical interior can translate to a really interesting outlook on the building’s form. Architecture trends are like a phase. Like how genres of music and fashion trends are overhyped for a certain period of time, architectural designs do get altered based on what’s ‘in’ or what’s ‘out’. Yet, it is mentioned that ‘The best way to judge a building is in the fullness of time’. It is thus unjust to judge how a building looks there and then based on what one sees first. Likewise, ‘Age is no guarantee of efficiency and youth is no guarantee of innovation’. How simplicity does not necessarily translate to the least amount of work done and how extravagant forms does not always mean that much thought has been put into a design, truly explain how architecture tends more towards a more subjective and artistic side than one of systematic practicality. The definition of great architecture is ambiguous and wholly subjective. How an architecturally inclined individual looks at architecture when compared to that of an average person will provide highly contrasting views. I see myself taking a step back from time to time and look at architecture just as it is and not bore myself down with the nitty gritty details of how architecture actually works. When I find myself scrutinizing every single architecture-related thing that I chance upon based on what I have learnt, I figured that it is so much of living and breathing architecture that one can do before one gets uninspired by what he sees. Yet, what truly fascinates me is not how the tangible aspects of architecture coalesce to form one rigid structure but how the intangible attributes of how it came about, comes together in an all encompassing experience of spaces that narrate.
“Like a fulcrum in mechanics or a catalyst in [the] chemistry [of things]”, the coexistence of Mathematics and Architecture is a phenomenon that simply happens. Many take for granted how the spaces we reside in today are constructed; a boxed up space. Constricted by four walls and a roof, architecture has detracted from such an ideology. A radical movement in how spaces are conceived and forms are generated today is a result of an all too familiar phrase; thinking out of the box. Why bother think out of the box if the contents of the box have yet been uncovered. The many compartments and microcosms of spaces (box in a box) that reside within the box should be fully understood before anything that is far revolutionary than said box is proposed. Like a photographer that abides religiously to the rule of thirds or a composition that is constricted by a desired aspect ratio, architecture that is “picture perfect” is most often than not regarded to be one gov- erned by a disciplined set of measurements. Architecture of symmetry in today’s context may be deemed to be unimaginative. Predictable and dull such perfectly geometrical architecture are one may say. Yet, the beauty of how such perfectly annotated measurements are conceived many may not appreciate. Triangles and oblong figures that have radically transformed into parabolic and amorphous forms nar- rate what architecture today revolves around. A painting that is not governed by a four-sided canvas nor a photograph that is defined by what one sees through the viewfinder. Today’s inspiring architects have bridged the boundaries of what are defined to be structural connotations. The use of interchangeable struc- tural terms is most apparent with such futuristic oblique architecture. For instance, The Experimental Math-Music Pavillion, a temporary structure that is shaped by asymmetric hyperbolic paraboloids was a symbol of architecture that was way ahead of its time when it was established in the 1958 World’s Fair. A form that fuses the uniqueness and dynamism of architecture, film, light and music. A piece of sculpture that is churned through the four dimensions of architecture, the fourth being known to be time. A sculpture that crescendos into three peaks, suggesting a way forward and perhaps the mark of a new era for the realization of experimental architecture. Yet, after all these years, modernization has never derailed architecture from being a calculated aspect of how structures are established. Parabolics and hyperbolas are never as simple as edge surfacing in a three dimensional generating programme. Meticulous calculations generate such visual extravagance. Mathematics and Architecture are lifelong bonds we have actually signed up for. Differentiation and Integration, the rules of angles, and number patterns are all making more sense now. The beauty of resolv- ing equations and legible dimensioning exist not only for how complicated the journey towards reaching your solution is but how simplistic the end result may be perceived to be. By all means, molto expressivo the architecture we create. Be as dynamic and expressive but how one perceives and resolves simply from what he sees will be the architecture that resists.
“To be a stranger in your own house is the worst type of stranger.” – Hassan Fathi. Labeled as the world’s most expensive city in the world (BBC, 2014) is nothing to brag about. From a humble fishing village and a country that solely relied on entrepot trade, Singapore has bustled into a modern metropolitan with iconic designer buildings established by international starchitects. Far surpassing the economic progression of her South East Asian neighbours, it is an achievement of epic proportions, even trumping what her western counterparts accomplished in half a century. A land of promising opportunities hides 2.8 million miserable citizens. With the labeling of the most expensive city, comes the stamping of the world’s unhappiest residents. (CNN, 2012). A country that presents a canvas of opportunities to outsiders while residents drown in an exponential increase in the country’s GDP and cost of living. A sense of belonging that seems to have diminished over the years as residents are being treated as second-class citizens. “In the world’s richest countries, working harder to earn money gets less effective once you’ve passed the average income mark.” Such is a scenario where people slog out at their 9-5 jobs all in an attempt to justify their objectified satisfactions. Dubai, an oasis for the rich and famous shares a similar sentiment, a country that is overpopulated by expats and tourists where iconic skyscrapers sprout up from the once barren sand dunes. Most megacities today have steered away from their cultural heritage. Predominantly driven by their desire to lure talent and economic growth, it is a high stake poker game where risking it all is a move that would garner international recognition. Gone are the days where cities were established behind four walls; walls that deterred outsiders from entering the compounds of the city space. A city built solely for its people and a place of residence where people prospered within their own community. People were much happier then where discontentment that is established through the comparison of people who lived beyond those four walls was simply non-existent. City foundations are neither built with slabs of concrete nor steel reinforcements. While architectural efficiency tries to shape and mould a “perfect” society, a city developed by the love, care and hard work of its own people is a city worth living in. An island of paradise we do not seek nor a kingdom of heaven in Jerusalem we wish for. A city of conscience, a city absent of defiance. Not a city of conversation. But a city founded on wisdom and resolution.