huatlim

2009-05-29T01:12:00.008+07:00

There are so many people out there who continues to inspire us, Vladimir Mayakovsky, Frida Kahlo, Donald Judd, Christo to name a few. Iyengar the Yogi has once stated, there has to be an understanding of the basic principles of life before one is able to appreciate the benefits of yoga. START WITH BREATHING. Design is a process, a lot of cleansing and purification is needed, a frame of mind before anything can even be contemplated, let alone procreate a work of architecture.

So far we've seen the greatest films, Jules and Jim, autobiographical works depicting the deeply enriching albeit tragic lives of so many artists, "Walk the Line", "La Vie en Rose" and so forth. If only we reminiscence the powers of early films "Powers of Ten" and then take a longer view of such great masterpieces as "Cinema Paradiso", the work of such luminaries as Fritz Lang do we suddenly see the gap and huge divide we sometimes create in our work, measured against the depths that so many artists and photographers and musicians go to.

Richard Bach's Jonathan Livingston Seagull continues to inspire so many generations, Lobsang Rampa's fictive but nevertheless profound essays on life of a Tibetan are reference points for us, and Paul Coelho's books, as the Alchemist, paves the way for us to seek out ideals and aspirations to be perfectly happy.

Huat worked for Zaha Hadid and Sir Norman Fosters in the 80's through to the late 90's, and later went on to work for Sir Ron Herron of Imagination Limited before returning to Malaysia. At the AA in London Huat studied under Sir Peter Cook to graduate in 1984. Peter Cook and David Dunster held a studio at the Bartlett where Huat was assistant Tutor.

Design is a life journey for us. ©2008.huatlim

www.zlgdesign.com

2009-05-19T03:37:00.006+07:00

Like trees, and other natural elements, clouds have continued to inspire my work. They are varied and have such a phenomenal beauty about them, in terms of colours and shape, and also formation. Their dynamic aesthetic appeal reveal a great sense of depth and infinity. Their abstraction also add to the breath of how they can be read and appreciated to great contemplative lengths of time. One finds therapeutic effects and profound visual information from the light quality that plays on clouds. Some cloud names have been given in latin, mostly to mean heap, layer, curl of hair and rain. By nature, clouds are warm, cold, dynamic and changing. They are affected by air pressure, winds, air parcels and movement of particles which make them infinitely a joy to watch and reflect upon, hence their powers to attract contemplative study. Cloud definitions describe their shape and locality.

www.zlgdesign.com

2008-09-14T23:37:00.004+07:00

EVOLVED TYPOLOGY : BLUEPRINT AND PRIMER FOR A SUSTAINABLE ARCHITECTURAL WORK

[sypnopsis of lecture delivered for the Ong Siew May Distinguished Lecture Series, 12th September 2008, National University Singapore]

Building typology has always been of interest and as a study for architecture, because it begs the question of whether works of architecture need for classification and grouping to serve its their purpose or if types are necessary in order to validate their functions. So we ask, what is type? Are private houses a building type and do typifying shapes and built forms add any value to buildings? Indeed none whatsoever. By conforming it to any one type of building does not make the work any different or better in any way, let alone give it any more meaning or validation to its functions.

For a long time we always have visual representation for many of the buildings familiar to us hospitals, schools and restaurants, etc. to each we emphasize visual interpretation. now it is more difficult to differentiate between two buildings simply by type. We think the visual representation of architectural works has evolved greatly, houses are of myriad shapes and forms, they defy classification. We can no longer rely on typological sets to differentiate one work from another. Perhaps definitions of buildings or their classification has become totally defunct and unnecessary. We conclude at this juncture typology is no longer a means for us to define a building. How do we proceed then to define a building if at all, and why do we chose to give building definitions in the first place, often one is asks, what is it for? How does all this relate to their sustainability.

By examining typological sets, or typology we gain a deeper insight if not appreciation of how buildings are perceived, and how their rapidly changing forms and articulation and evolving character has given us the means to comprehend them, or perceive them. Our own evolving needs have given buildings their new typology strain, and with this we propose they have become more sustainable today as a type then they have ever been before. How is this? We propose that it does not matter if what a building is meant to do has nothing to do with how it looks. There is little to find in the shape or fenestration of an iconic tower to suggest that it is a commercial building or a residential tower. It has become increasingly more difficult to predict the look and shape of the new museum. Hospitals are so advanced today, their designs warrant the same planning principles as a four star restaurant or a boutique hotel in many instances. Therein lies the question of typology and how their relevance has become very questionable in defining the ideal building, the sustainable built form.

There are no apparent parallels between Farnsworth House and a Palladian Villa, none whatsoever to say they belong to the same set. Both may well be exemplary models of sustainable architecture simply because thye both have their own infinite 'sustain' ability to deal with change, from their original residential use to the new commercial renovations without need for major alteration of its parts, let alone the envelope. Yet another way to cut back energy, waste and pollution of our natural environment.

Fortunately we have come a long way to accept these models as infinitely superior works of architecture simply because they don't actually bear any resemblance to each other and therefore attest to possibility that there is perhaps no such thing as an ideal house type. Surely at this point we see that the correlation between building function and its representation has been completely severed over recent times? These thoughts, derived from an appreciation and study of building typology, and the necessary classification of buildings in order that we can begin to appreciate them or better understand their qualities are examined and put forth here for development of our idea, that a sustainable work is necessarily one that has no need for a specific definition of its type nor its generic functions. It should merely be derived from ones awareness of its durability in terms of its long term use, and its inherent ability to change, adapt, redefine and replace or restore itself to suit the current need.

Flexibility, on the other hand, and open plan, are concepts of the late eighties for office designs, IBM Cosham for one and the new B1- type offices in the UK has indeed brought about successful applications and introduction of new and refreshing planning guidelines. The workplace has evolved to become a new typology for comfort, and productivity rolled into one. No longer is the office environment stale and devoid of the familiar pleasures of the home, like the kitchen [pantry], and the living room [the reception and lounge]. Break out areas, yet another concept has seen their implementation in many an organisations' interior plan. These are concepts that have slowly eroded the meaning of offices, and their outdated typological sets. Modern day workplaces and home spas are the new typological sets, and the are inevitably more sustainable than their forebears. They have evolved and become hybrid buildings in many ways. Herein the new research and proposition. We can examine why this hybrid typology have become infinitely more durable than their earlier examples. Indeed if we remove the need to typify or classify buildings we almost immediately make them less specific and therefore more responsive and future proof and hence more sustainable than if we confine them to a very specific brief.

Often a house is demolished after a new owner moves in. This is the problem we want to address. Often the lifespan of poorly designed buildings, like many hotels and offices built in the 70's have seen irresponsible demolition and extensive refurbishment. This is largely a very energy intensive activity, totally irresponsible and has contributed to great destruction of built environments and added much to the destabilisation of neighbourhoods and demography. Not only is such acitivity pollution to the natural environment it also brings about the need to re-instate new energies into what was already displaced in the first intervention. Put back what we take from the environment is what we think all buildings must do. A built work must put back into its development more than what has been taken out from it, whether there be trees or the use of natural materials. herein lies the next set of investigations.

©2008.huatlim

2008-06-14T01:16:00.001+07:00

Mayakovsky's career as a poet was born in 1912, as the result of a late-night conversation with David Burliuk. Burliuk, a fellow student at the Moscow Institute for the Study of Painting, Sculpture and Architecture, had recognized the need for organization and unification in achieving a complete cultural revolution, and established a group of literary Futurists under the name of "Hylaea." Composed of individuals committed to creating new forms in art and literature, Hylaea issued illustrated publications and manifestos which inspired the gravitation of other Russian artists towards Futurism, and set the tone for the awakening of the Russian avant-garde. Having introduced Mayakovsky to his friends as "The famous poet Mayakovksy," (despite Mayakovsky's never having written a line of verse), Burliuk provided him with a role and a purpose which Mayakovsky would strive to fulfill forever.

On July 15, 1915, an event occurred which would ultimately inspire a great deal of pain and passion into the poet's life: Mayakovsky was introduced to Osip and Lili Brik. Having been invited to the Brik's apartment as a guest of Lili's sister, Mayakovsky broke into an unrequested recitation of his poem, "The Cloud in Trousers." Touched and stunned, Osip responded by offering to pay for the poem's publication, and Lili, casting away a preconceived aversion to the poet, fell in love. From that evening on, Lili and Mayakovsky enjoyed a life-long affair - an affair condoned and encouraged by Osip, and characterized by periods of great tragedy and turmoil. Osip published many of Mayakovsky's poems thereafter, and worked together with Mayakovsky as co-editors of LEF (Left Front for the Arts), the landmark literary and cultural journal of the Russian avant-garde. Lili became the inspiration behind the bulk of Mayakovsky's ensuing works, and it was to her that he dedicated nearly all of his books and poems. Her wide-eyed visage graces the cover of Mayakovsky's Pro eto. Ei i mne. (About this. To her and to me.), and her image appears throughout the text in a series of Dada-esque photomontages created by Alexander Rodchenko.

Quote from Howard Schickler Fine Art Online Exhibit.

2008-06-13T22:47:00.002+07:00

Letter to Editor at Going Places, Malaysia Airlines:

"I refer to your question, the answer is yes, but several; the Malayan Railway, the Old CourtHouses etc, however if we can define your reference to mean not so much colonial buildings as building built of the colonial period, emanating the spirit of that period, I would immediately include colonial 'influenced' buildings [may I?], so then it would be more easily decided that my favourite building would be Masjid Negara or The Parliament Building or indeed Angkasa Puri, all of which have very similar features in their facade designs, I refer to as tropical skins, or LIGHT FILTERS and present what I consider to be truly tropical examples of good buildings, at least as far as their facade or BUILDING ENVELOPE designs are concerned. Not only are these excellent in terms of their BIOCLIMATIC responses, they are perpetually modern even by todays standards, particularly now with energy and sustainability concerns taken as measure of appropriate designs.

Masjid Negara by far remains flawless in the way it filters light, a superb resource for design and an element that remains potentially powerful device to give buildings a sense of place, and context. Ugly buildings give about issues with glare, their very high energy consumption for artificially lit interiors due to lack on daylight penetration, and plan depths not in harmony with the narrow or shortened apertures that do not allow natural light to penetrate inside them. Not with Masjid Negara though, and the other buildings I mentioned. Imagine the play of shadows and patterns on the floor, a very eastern characteristic, and also a feature that is strikingly modern at the same time. [some of herzog de mueron's buildings play on this theme]

Later buildings borrowing from the same philosophy and approach, we must quote DayaBumi, a modern day example of skins and perforated envelopes delighting in the use of daylight to inform the pattern of the facade. Such timeless principles has brought about sustainable and durable designs, the other example I quote the much ignored Angkasa Raya building closer to the iconic KLCC Towers. Compare the skins and we can assess and evaluate the energy criteria for daylighting and response to climate by the designers.

Last but not least, my favourite 'colonial' building has to be the Bangunan Lembaga Getah Malaysia, a gem, probably the only truly naturally ventilated commercial building, with roof that is lifted high off the supporting columns, the sides are left open to allow natural air to circulate freely and therefore cool the atrium that serve to provide air changes without forced mechanical means. Below this, a sizeable pool of water helps give very effective convective cooling, further reducing energy levels required to keep the interior naturally ventilated. For many years it has survived demolition, we hope this will remain true for many years to come."

©2008.huatlim

2008-06-02T02:19:00.004+07:00

One of the most intriguing possibilities with interiors lies in the composite arrangement of simple furniture placed in a naturally finished environment, here we have the rattan lamp, and a old fashioned sofa composed with large plywood doors and sliding panels of a renovated house, mostly with exposed cemnt floor and walls, and raw concrete columns.

zlgdesign | designmatters

2008-06-02T02:03:00.002+07:00

Tree bark detail, deadwood found amongst gardens and open fileds in Carcosa Negara, Kuala Lumpur.

designmatters | zlgdesign

2008-06-02T01:41:00.004+07:00

@2008.huatlimbranches
taken in bukit tinggi

Most of the photos I've taken over the years of trees have been about their infinitely inspiring structure, and composition, this black and white image I find shows great depth, and the contrast between the trunk and the leaf as background element.

designmatters | zlgdesign

2008-06-01T00:29:00.000+07:00

Everyone around the water cooler knows that meditation reduces stress. But with the aid of advanced brainscanning technology, researchers are beginning to show that meditation directly affects the function and structure of the brain, changing it in ways that appear to increase attention span, sharpen focus and improve memory.

One recent study found evidence that the daily practice of meditation thickened the parts of the brain's cerebral cortex responsible for decision making, attention and memory. Sara Lazar, a research scientist at Massachusetts General Hospital, presented preliminary results last November that showed that the gray matter of 20 men and women who meditated for just 40 minutes a day was thicker than that of people who did not. Unlike in previous studies focusing on Buddhist monks, the subjects were Boston-area workers practicing a Western-style of meditation called mindfulness or insight meditation. "We showed for the first time that you don't have to do it all day for similar results," says Lazar. What's more, her research suggests that meditation may slow the natural thinning of that section of the cortex that occurs with age.

The forms of meditation Lazar and other scientists are studying involve focusing on an image or sound or on one's breathing. Though deceptively simple, the practice seems to exercise the parts of the brain that help us pay attention. "Attention is the key to learning, and meditation helps you voluntarily regulate it," says Richard Davidson, director of the Laboratory for Affective Neuroscience at the University of Wisconsin. Since 1992, he has collaborated with the Dalai Lama to study the brains of Tibetan monks, whom he calls "the Olympic athletes of meditation." Using caps with electrical sensors placed on the monks' heads, Davidson has picked up unusually powerful gamma waves that are better synchronized in the Tibetans than they are in novice meditators. Studies have linked this gamma-wave synchrony to increased awareness.

article on TIME by Liza Cullen

huatlim

2008-05-29T12:04:00.000+07:00

huatlim

2008-05-19T04:20:00.003+07:00

blue rope
photo taken from visit to cameron highlands.
©2005.huatlim

2008-05-19T03:34:00.003+07:00

yellow spot
blurred image of flowers taken in bukit tinggi.
©2008.huatlim

2008-03-29T04:05:00.004+07:00

KResidence is now completing later this year, 42 storeys of apartments ranging from 200sqm to 500 sqm, penthouses from 700 sqm. Part of avenueK, the second tower will now comprise Regent Hotel, we will design 268 rooms. Like many other projects we do, they take as long as 5 to 6 years to final completion. AvenueK will also see the emergence of a newcomer to the Tower B, a 39 storey apartment development with a Regent's Hotel presence. Quite unlike any other development, the Mall itself is slowly taking another shape to come, with a revised art direction, comprising recolor of all architectural elements going from powder coated jet black to silver, and enhanced external lighting additions.

www.zlgdesign.com | zlg.blogs.com

starhill

2008-02-19T23:45:00.006+07:00

The recent makeover of the starhill gallery for YTL Corporation saw the inclusion of a sidewalk design, with upgrading to the landscape elements, steps leading to a final desitination which is to be the recreational square. The main feature of this design is the paved boardwalk in grass finish, with a simple granite slab suspended from the side walls, functioning as seating for an easy afternoon read or casual drinks.

www.zlgdesign.com | main page

plywood house

2007-01-19T22:17:00.003+07:00

Plywood house is undergoing renovation for the second time, from its first inception some 10 years ago. This project is and was seminal in the sense that it embraced all of the philosophy of the work of zlgdesign, it represented a balanced approach to using very ordinary and raw materials organised in the most contemporary yet Miesian way. This contrasting of older and newer interior elements has given us the premise for which all of our other work is built on to this day.

www.zlgdesign.com

avenue K Mall

2006-12-18T19:33:00.001+07:00

The 'museum' look and classic view of the mall shows an awesome 17m high wall for projections [to be tucked in nicely under the slab] in the near future. Avenue K is currently being let to 300,000 sqft of saleable boutique brands, leading to becoming kuala lumpur's premier shopping paradise. The facade will undergo a final design change and would soon be open to the public. We contemplate to place a large white perforated fabric over the entire 170m long wall, with minimal 'art' and the rest to be left as is. A totally high visibility iconic wall soon to be completed for our viewing.

www.zlg-design.com

2006-12-16T01:06:00.002+07:00

Sketch for the MIRI gateway Project. Approach concept and the facade designs are tested with a spliced base detail. We are soon publishing an entire book of sketches. just need more time to edit. it will be part of two books from zlg.

www.zlgdesign.com

2006-12-16T00:46:00.003+07:00

Sketch by Huat LIM for the Alexandria Hospital Competition submitted in 2005. Concept follows the tradition of a boutique resort, project faces a water body to be embraced and appreciated from within the rooms. The entire experience is not unlike visiting a hotel complete with restaurants, public realm, reception facilities include bookstore and cafetaeria. In terms of wellness design and healthcare, we resolved that most patients recover more quickly if they were given a view out of the window, perhaps connecting them more intimately to their natural environment, bringing in a lot more daylight for instance.

www.zlgdesign.com | designmatters

2006-12-14T21:56:00.003+07:00

Image of lamp twirl has been inspired by the work of surrealist artist Salvador Dali. One contemplates to do slightly more adventurous work and design.

huatlim.wordpress.com

kenny heights

2006-12-13T19:47:00.001+07:00

study of visitor centre on parcel 4 and 5

Parcel 4 boasts a fundamentally different design approach to retail planning. Justifiably an edgy solution, this piece of work has incision to the roofscape to engage daylight penetration to the deeper ends of the plan, whereas the built form corresponds to the carving out discipline of the other associated architecture around it.

www.zlgdesign.com

minimal maldives

2006-11-04T23:00:00.001+07:00

Maldives Chalets is a design proposal for an avant gard concept, the first option was for a more minimal, and purist solution but principally a box unit with views looking straight out of the bedroom, with all clear glazing and open top window. With this we hope to see no more Balinese or Oriental Charm attractions overwhelming the hospitality market, so saturated with 'as expected' directions.

www.zlgdesign.com

capitol hotel

2006-11-04T22:53:00.000+07:00

Detail of steps leading upto the Dining Rooms on Level 1 of the minimalist Capitol Hotel, designed for Business Class Guests, located in the heart of Kuala Lumpur.
www.zlg-design.com

2006-11-04T22:34:00.004+07:00

Chalet prototypes have been studied and researched to finally allow us to let go of the Balinese mainstream aesthetics when we approach an hotel design such as this. The idea was simply to use the lagoon as part of the interior experience, with very open views to the surrounding low density development, making this conceptually powerful, proving it to be a totally honest and straightforward chalet design, and underlining a completely refreshing intent. The product is most challenging as it raises issues of typology and user experience.

www.zlgdesign.com

kuwait green

2006-11-04T22:27:00.000+07:00

Sketch for Kuwait Clients for LDY, prepared by Huat LIM for a mixed commercial development. Ramps are used propagate greenery up higher level platfroms and eventuall through to the facade structures.

royal belfast hospital

2006-06-15T02:38:00.000+07:00

One of many sketches made out for Hospital Project located in Belfast for London's LDY Architects practice. Simply a building connected to its surrounds, thus drawing visual energy from such like external elements as nearby green patch offering patients great awareness of the power of trees and the outside skies. A sense of healing pervades the facade.

2005-12-10T23:44:00.007+07:00

paul coelho's The Alchemist

A short and compelling book by Paul Coelho to inspire the curiosity of the enterprising cultural reader? The mere title suggests something historical, spellbinding, thought provoking. Promises to be a most rewarding reading experience, perhaps comparable to a very enduring Jonathan Livingston Seagull, by Richard Bach. The subtitle suggestively offers the reader a journey through dreams hopes, not unlike Bach's book.

All great stories deal with the idea that if one so wishes, one can attain and accomplish what one desires, but as Coelho states, "simple things are the most valuable and only wise people appreciate them." The travels to Egypt makes it a life journey to turn one's dreams and hopes into reality.

digi's disappearing furniture

2005-11-21T01:39:00.004+07:00

For most of our designs we tend to make the furniture disappear. In this project, for Digi Telecommunications, we wanted the furniture to be simply a raised platform, of some material to encourage informal seating arrangements. Just about anyone passing through the corridors can sit in and work in the most relaxed and casual of manners without having to "sit-in". They merely crawl in and lay on the comfortable material.

www.zlgdesign.com

saigon forest

2005-11-10T00:54:00.000+07:00

Here's one of my experiments with town planning, to re-introduce forest into an urban landscape, thereby encouraging real energy changes between plant and buildings-- the centrally located courtyard serves as green lung and encourage pedestrian movement across this otherwise sterile space..

boh visitor centre

2005-11-09T21:11:00.000+07:00

We have updated a new set of photographs of the recently completed Cameron Highlands Visitor Centre. Please visit zlgdesign.

Room Aqua

2005-10-30T01:49:00.000+07:00

Water themed lounges and waiting areas have been proposed in many of our projects [see zlgdesign.blogspot.com]

Further to such explorations, we also embrace video experience [digital image of clouds moving slowly overhead on video], and also sound. Seats are made out from acrylic, resembling bubbles, or water jellies, perhaps. At zlgdesign we continue to search for answers to our environmental issues, land areas are scarce and ventures into development has often avoided the waters as vast opportunities for new concepts for community and lifestyle products. At AquaCity, with the help of national bodies and concerns, we shall prevail to seek out solutions that are exciting but also enterprising in terms of generating possibilities beyond offerings in today's viewpoints.
www.zlg-design.com

boh visitor centre

2005-10-05T00:17:00.002+07:00

Tea Plantation.
Location: Cameron Highlands.
Photo taken 2005.
©2005huatlim

garden fence

2005-10-05T00:09:00.000+07:00

Detail of garden fence.
Location: Cameron Highlands.
©2005.huatlim

Feedback on "Sensible" Design: Ken Shen

2005-09-12T20:34:00.000+07:00

Thank you for your communication. Acoustics is a small part of "sensible" architecture. if you need to focus on this, I suggest you work with what you said, make the thing more graphically neutral and emphasize on tactile, smell and acoustic aspects of your interior. Have you considered working with your eyes closed--imagine what you can't see or perceive and take notes of the sounds you hear one by one, a door opening and closing could make a small sound, steps could produce little notes, and entering rooms could be announced by the tripping of a light beam or circuit breaker, etc? Might be interesting to see your vision in this state of mind....

Another thought, I think you're interested in sound technology, not really architectural acoustics, which is about sound control and noise reduction, etc, which are things they will tell you. Look up the work of stage artists, like Stockhausen... see his studies and SKETCHES, they are very nice, he works with "sounds" and noises, as positive elements not negative elements. Noises are included and engaged in his work, not removed as we do in architecture...

Have you seen my notes on other's work. Try posting your findings or comments on this page as it will help others see your development over time.

Imagine Bangalore

2005-08-29T13:06:00.000+07:00

In Bangalore [visits courtesy and generous support of TEKNION ASIA between 26th to 28th August 2005] work has gone at such incredible pace and scale that office designs are slowly beginning to be driven from concepts previously reserved for cities or campus planning. At such paces, one sees that many proposals begin to generate profoundly interesting new directions for work place internal environment theory and also viewpoints on the application of space planning concepts.

See also Imaginecity.blogspot.com

A Global Design Style-Universal?

2005-08-25T01:09:00.000+07:00

The generalisations and universal standards slowly become embodied and accepted as norms in our design systems and as embraced by today's technology will undoubtedly make all archtecture designs more global than it already is, mainly in its physical manifestation. Is there not therefore a UNIFORM or UNIFIED style for the new Millenia is now the pressing question.

Designer Websites to Visit

2005-08-22T23:47:00.000+07:00

These are good sites [gems] to visit for those seeking to view products or furniture designs at a glance:
www.dwr.com [design within reach]
www.designboom.com

cinema paradiso

2005-08-22T05:48:00.000+07:00

One of my favourite films, it demonstrates the powerful connection between two persons on so many different levels, the two individuals sharing the same passion for everything from films to women to life. Many wonderful cinematic gems and creative angles and shots. To be seen many times over.

Melissa Cruise

2005-08-22T05:07:00.000+07:00

An extremely elegant design has come forth from a student whose visual ability is undoubtedly excellent. She executes an idea with ease, but she also manages her mental image of a project just as well, conceiving it. Melissa has obvious rare talent, and she must continue to work intensely with CAD, and that also she has to recognize her special ability to “eye-ball” her things, and put sense into most of what she draws or hopes to draw. She is very fortunate in this sense.

Her project is interesting for a number of reasons. It has been well executed graphically, and yet the program is also interesting, one wonders if indeed if the two building types should be made to blend into one another if the resulting spaces immediately loses character, or personality, and if this is NOT uninteresting, or good. If so, the building that Melissa has given us is pure and simple. She needs to ask if this is satisfactory, for herself. A unique opportunity for her to identify with a style, or a vocabulary so that indeed she can now, with licence, add “character” to her model. She’ll make a good architect no doubt. I enjoyed her work.

Kuo-Yi [Ken] Shen

2005-08-22T05:02:00.000+07:00

The starting point of making a reference to a graphic image of a bottle and its cap, or some device with an aperture and a container, supposed to be used as a basis for a concept is both difficult to consume or understand, nor is it of much interest to most. However Ken might indeed have something hidden away, to be revealed at the end perhaps. yet at the end, there was building, rather simple, legibly a building with al the correct spaces, and perhaps not as extraordinary as he had made it.

The real project is one of senses. This is where Ken scores. The application of colors and introducing very graphic interior elements helped to clarify and position the project, but sadly, perhaps not, the blind man cannot appreciate these things. it is really a project that should be developed around the blind man and his inability to see color let alone shape, form and so on. ken landed a big fish, but its not certain if he wants to cook it the way it should be. Needs more work redefining the concept. Go back to step 1, and restart. It should work.

Nicholas Simak-Arese

2005-08-22T04:59:00.000+07:00

A very key and significant feature of Nick’s work is that he is certain and fond of the aesthetic. The mechanistic look and feel of the building was maintained throughout the entire process. This is good, and it develops nicely into a legible and sensible building. The potential is there to make more of the wire-stuff that is the rails to transport or even hang works of art . The axonometrics are attractively drawn, but we need to see more of the spatial quality of these things. The clarity of the scheme is obvious, the choice to execute the project in the terms of colours and material again is very impressive, and represents great opportunities for him. These systems have to be translated into enviable and exciting spaces, and not left as diagrams. he understood this and this is therefore a commendable work for the time taken to develop it.

Lu Ying-Mu [Sonia]

2005-08-22T04:52:00.000+07:00

Sonia seemed focused, and this is good. Her work is simple, and the inventive suggestion to place a wall that might assist wit the concept of “change” is interesting. Essentially a project that meets all the criteria, technically, but not taken far enough to “win awards”. In so far as developing the concept to a level of resolution, again no. But Sonia has something clever about her building, and this is not yet brought out, unfortunately. The movable wall is left merely as a animated sequence, no doubt impressive, but sadly doesn’t quite add to the project in the way that we had imagined possible. Classroom turning out bars at night or indeed if it was the reverse, this is not clearly shown. Time perhaps will tell. The skylight idea of “holes” in the sky is very attractive, like her door, and the movable wall. Lacking a detailed development , that’s all.

Marguerite Murray

2005-08-22T04:48:00.001+07:00

A very suggestive beginning, water features abound, the forest concept, and a potentially attractive environment for an office design. Yet Marguerite had not done that one image, a collage of an office-forest, or a themed garden. Her sketches in fact are wonderful, and almost seem completely belittled by her technical drawings, which seem to remove all of the sensuous and richness of the original scheme. Ideas thinned out as quickly or as soon as an internal elevation or a plan is drawn into CAD.

The ideas for an office-garden building are aplenty, the one here is lacking execution of a detailed design. An internal perspective is missing an essential part of her schema has not been represented in the final round. Even a simple but detailed section would suffice to demonstrate the power of this project. Marguerite understood the lack of resolution, and she knows what is required to make this a great project. Many of the features of her project were there, waiting to be detailed and drawn. Her encounter with CAD is worrying, she has to be able to make CAD a tool and not a stumbling block. Her sketches reveal so much more.

Kara Cristaldi

2005-08-22T04:48:00.000+07:00

To simply say this project is ordinary would be unfair. Then again Kara had not made this an opportune project for spatial expression, or differentiation. As a building that has all the necessary functions and one that works, it would suffice to say the project has been developed to a reasonable level of resolution or detail. However it needs to be said Kara’s work lacks fire, it lacks personality or character, simply due to the fact that she had not taken an artistic position, or decide on an art direction for the Project. His would have added some “spirit” to the work.

The project may not be so memorable as a result of Kara’s discretion, or lack of it. An entrance is grand in scale, but may be quite ordinary in design, can be unfortunate. Kara’s starting point of making a series of connecting gallery-classroom spaces has turned out to become a building that is very large, and lacking intensity somehow. No intensity because the entire building is seen to be flat, even and monotonous. Kara could easily have made the entrance more “intense” or that one of the floors take on a “feature”, whatever. The stairs and ramps idea that she started out with quite simply disappeared, and became service cores, whereas in fact they are key elements that make up her project initially. Her project is not aggressive enough, needs personality. Kara indeed needs to put herself into the project a bit more.

Jay-Michael Dompor

2005-08-22T04:45:00.000+07:00

Fortunately Jay has an approach that is grounded on personal first experience. the site seemed important , but it is also trivial, in that it doesn’t make great sense to derive so much for so little in terms of conceptualizing something so “commercial”. No doubt Jay has conviction, at least about retail and how to give a cultural reference to his work. Slightly too “responsible” and too “responsive” if it can be said. The idea that art or spaces that contain it must occupy a higher floor, or that retail is to be hidden away, or placed in the basements, is not that convincing, at least if we look at how retail in the real world doesn’t put art outside their realm. Today's examples, the Cartier Foundation, being a recent witness, shows that retail and art or culture, or its awareness, must come together for a successful programme. Jay really needs more time to grow out of his “responsibility” or his gravitation towards a politically correct building. If it might be fairly said, this is totally unnecessary at this point of his career.

Constanee 'Coke' Johnson

2005-08-22T04:40:00.000+07:00

Constanee started out with some very promising diagrams representing her intent. Very clearly stated they were immediately attractive, and had great potential. Later, these "ideas" remained undeveloped,, their spatial qualities left mostly unexamined, and not quite developed to the expected level of detail. It may perhaps be due to a lack of conviction on Constanee's part more than anything else. The idea of clustering spaces and making them interlock with each other would have worked well for a scheme of this scale. For Constanee this was not yet accepted as part of the her later schematic.

Had the project had been simply a set of fingers or pods, cloaked in a soft exterior, a transparent skin, this would have been quite acceptable and adequate, even interesting. Constanee had not had the time perhaps to see the details. her work remains a diagram, albeit a very strong one. She needs time to look into the scale of her building, and move into making this a spatial experience, and not something that necessarily makes any conceptual impact alone. The execution of a simple concept should be more important that to merely justify it, or provide rationale.

ANAPURNA AKKINENI

2005-08-22T04:36:00.000+07:00

PROFESSOR Philip Beh’s comments would have been completely valid. Anna’s project is ordinary if she had not taken into her stride more complexity. The two elements have potential to be composed under many more complex [less simplistic] ways, and under many more conditions. Still Ann has developed the scheme to a level of detail that is fairly resolved, and the project does not lack interest. The façade elements, the dividing main wall between entry and spa-forest is good.

The entire project seems have a simplistic but bold idea of casually placing rooms in a garden setting. Whilst this can be quite ordinary, if Ann puts in other opportunities, such as massaging the size of the various rooms, or elevating them to different heights, or merely adding a third depth or layer to her project, this would give her more room for development.

Also for the best part, she is able to proceed quite logically with a set of probably beautiful drawings showing how louvers work, and how the garden needs to be planted, and so on.

Vincent Levu Tran

2005-08-22T04:29:00.000+07:00

Vincent’s approach to his architecture might be graphic, but perhaps it's too graphic, it is as if he fast-tracked “Frank Gehry” on the first stroke, almost AT ONCE. Somehow with a work such as Vincent's, one hopes there can be more process, simply because one lacks the clarity of a “method”. These steps must be not evolved out of or from a well-defined process. Vincent works directly off his “mental image” of a project, not yet and not quite a systematic and logical way of “assessment” and evaluation of his idea. Vincent will need enormous amount of work to come to understand [better still appreciate] design process, and prototyping, a system of logical ways to assess the results of a visually driven idea, whether of curves, overlapping planes, twisting stairs or vertical shafts of spaces within a building, he needs guidance to appreciate the work in hand. Not totally lost, the design can be interesting, but he needs more polishing of his style of expression.

Building Types: The End

2005-08-19T03:47:00.000+07:00

I have been interested to share the concept of design for life for many years. Having trained at the Architectural Association, in England and worked in France and China and now based in Kuala Lumpur, I continue to search for design methodology that works for all cultures.

It is possible, perhaps to do away with all concept of building typology and re-emerge a new concept of universal type for modern times. At ZLG, where we attempt designs based on what we know, the line between any two differnet building forms and functionality can be so narrow we no longer define the space according to their functions, rather to the look and feel of the particular area or zone.