NY Arch Studio

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2007-04-06T09:58:00.000+01:00

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Concept and Ideas – Part 3

2007-03-28T11:41:00.000+01:00

No doubt that many of you will be present for the 4th year presentation tomorrow on Thursday, 29th March 2007. In principle, I would give the students the 'benefit of a doubt' and not make any judgment calls on them until they have proven themselves. Perhaps they will prove us wrong at the very last minute.

I don't intend to speculate too much without any substantial research into this problem but all the studio masters in the 4th year and also our guest panelists during last Interim Crit, in particular Huat Lim and Syed Sobri had commented on how the graphic presentation lacked in quality in terms of showing the ideas and concept.

Many students depended on their oral presentation where they lacked in sketches but we do not want to see finished drawings. We wanted to see the development of ideas. Clearly there was an overall lack of conceptual drawings and studies including the use of precedence studies in their work.

You would expect the students to come to a certain level of communication skill and competence to show how they developed and conceptualized their ideas in the 4th year but how much you looked, you are trying to find a connection which would help you visualize better, and its not there.

Huat Lim did say that this project is difficult and in my opinion the project may be difficult because the design process's stage by stage process was not well adhered to. The students are not well versed at coming up with the massing and concept together, and many of us except Huat Lim, would argue that they lacked manual drawing techniques and they lacked the know-how on how to conceptualize at the earliest stage. Huat Lim said that theoretically a designer should be able to use any medium, be it computer aided design techniques to conceptualize and hence communicate well by visualizing their work to others. I brought forward this suggestion to Encik Bakar from UiTM who had worked with Bryan Lawson on the book 'Design in Mind', where he stated that an 'experienced designer' could probably conceptualize with the computer as he / she has the data (design in mind) to already do so, but the student does not have enough experience hence they are trapped in the mechanics of the computer.

One of the students told me in an email that he was not good at 3 dimensional drawings, and that was his reason for the poor progress in his work. At first I thought it was more on being able to draw perspectives, but later I realized that it was more than that. He was not able to conceptualize even in plan and sections. And we all know that sections are 3 dimensional in how they could work out the ideas on space and form.

Most recent was my discussion with Gary Wong, a part-time studio master in the 4th year, where Gary agreed to the whole issue so far and that the students should have created a massing model on the computer based on the area of the building and then embellished the 3D model manually. Like Megat Ariff suggested (when he worked at ZLG Design) Huat Lim did his design work, by taking the 3D massing model, using just the tip-ex (liquid paper) and a 0.6 bold Artline pen he would then shape the formal and spatial aspects to complete a sketched 3D model of a building. Then Huat would give it to the designer to complete the 3D model in the computer.

I was trained with using the T square and technical pen like many of us teaching at this school. Do we find similar issues in the 2nd and 3rd year of studio as well as the 5th year? Are there areas where we should work in finding more about graphic communication skills with the different studios? And when should we start introducing the term 'concept' in the studio? Can someone share with us whether the term 'concept' was written in your learning outcomes of your studio course proforma?

For the sake of further discussion and arguments, please find the 4th year studio second semester learning outcomes below where we will see ourselves whether its achievable.

For BAES 4276, Advanced Architecture Design II, students will be able to:

1. Discuss and debate on issues pertaining to housing by studying and presenting case studies and literature review on the subject.
2. Formulate and plan within a structured programme the design of a high density housing project with considerable technical integration.
3. Develop and produce an appropriate architectural solution to the requirements of designing a high density housing project by studying and developing the project's brief requirements, producing a comprehensive site analysis, developing the massing of the scheme and appraising the context while respecting the building codes and legislative requirements.
4. Validate the concept proposed by providing a thorough analysis and case study of similar projects, producing reasoned ideas, especially on how to create spaces for communal interaction and creating a sense of place, identity or belonging and also creating a scheme with a holistic approach to the architectural solution by also focusing on the users requirements in their accommodated living units.
5. Critique their own design-work and revise their work in progress throughout the studio programme.
6. Practice and develop the correct communication skills in graphics and oral presentation which is essential to becoming an architect.

(The text above was an email message to the architecture department lecturers.)

Concept & Ideas - Part 2 (Shape & Form)

2007-02-28T08:49:00.000Z

How do we get ideas out? From where will the ideas come out from? If we have a recipe for success, we need a bowl (metaphor) for the ingredients to mix in. And what are the ingredients to make an interesting and success-oriented design? What would make the critics get excited?

The questions asked are pointing towards understanding the process of design, and in particular the shape and form of the design. Imagine, from no shape, to some form, and to a ‘final’ form…hence the title.

However firstly, the designer should be the biggest critic.

In the game of design, a designer should acquire the highest level of learning, which is the ability to judge his or her design. The discerning eye for the good, the bad and the ugly, will give a sense of conviction, a sense of direction and the power to articulate and debate with the designer’s critics.

Secondly, we need to ask whether there is a thing called “Creative Intelligence”? For the studio masters, are we in the business of educating architects? If we are, we are equally in the business of creating and facilitating the environment for creative intelligence to flourish. The other words for "creative" are: original; innovative; resourceful and; ingenious.

Intelligence is to do with the intellect and brain power.We then know that the beginning phases of a creative endeavour is a very important period when all components of the design need to be mixed together, to work with each other, and if that happens quickly in the first few days of the design process, the rhythm and pace of the game (or design process) can be controlled easier. It's all about tactics at the beginning of the process. The strategy to win in the end was envisioned earlier on, but the tactics to win as the design process proceeds, little by little, is what counts the most. Has the designer this skill? This skill to form and shape, and to keep to the ideas and concept in the early design processes.

There is a beginning and an end to every creative endeavour. Will the designer recognize this?Concentration is vital. The designer’s activity may clash with the managing other work activities. When you have many things going on at the same time, concentration will not be easy to achieve. We get distracted easily from the game or what we should be doing, planning and creating chances and putting together the pieces to make things happen.

We need to watch out for the designer who panicked easily. We need to point this out to them. Don't break down. Don't fold. Keep the shape and form of your design by not panicking and by being cool. Keep the original ideas working and not panicked by starting back to square one when you have something already done for weeks. For example, the role of the studio master is to make the students aware of the design process. The studio master is the partner to the students’ success.

In the design process, the designer needs to allow the shape and form to emerge by facilitating all input and discussion. By facilitating, it means that input needs to be processed. If it's useful, use it immediately. By being resourceful, the designer is being creative.There is a game going on in the design process. Control the game. Dictate the game. Win the tactics. However we need to know the opponent.Who is the opponent then? Is it the studio master or the guest critic?Well, they are just there to make the game happen, to “mirror” the designer’s judgment and introspection of the design.Usually we think that our opponent is the ‘other team’ or the critic, but it is actually the designer.

Hence, in a studio-based learning, the designer (student) needs to know him or herself well, the strengths and weaknesses that the designer has and how to act upon them. The realization of the strengths and weaknesses would need to be shown again and again by the studio master in the individual desk crits, group discussion and interim crits.

(This piece was derived from the earlier post. Pic at the top shows a cupcake and a pair of hands with camera phone at Eden Cafe, Amcorp Mall and the pic above shows hand-painted chocolates)

Creative Intelligence - the importance of form and shape

2007-02-23T10:30:00.000Z

Other words for "creative" are original; innovative; resourceful and; ingenious. Intelligence is to do with the intellect and brain power.

Creative endeavours are not confined to just work of art, craft or architecture. Writing a novel, poem, song or dance are also other forms that emerged from creativity. This is obvious, but what is not obvious is that it takes a lot of creativity to be a successful football team. A team that could be used to win games at the highest level.

Like all creative endeavours be it architecture or football, it will need to have a shape and form to maintain success or achieve what it set out to do.

The beginning phases of a creative endeavour is a very important period when all components of the team or design need to be moulded together, to work with each other, and if that happens quickly in the first five minutes of the game (for a football team) or in the first few days of the design process, the rhythm and pace of the game (or design) can be controlled easier. It's all about tactics at the beginning of the process. The strategy to win in the end was envisioned earlier on, but the tactics to win as the game proceeds, little by little, is what counts the most.

Concentration is vital. When you have many things going on at the same time, concentration will not be easy to achieve. We get distracted easily from the game or what we should be doing, planning and creating chances and putting together the pieces to make things happen.

Liverpool FC did just that when they beat Barcelona FC during a Champion's League match on February 21st 2007. They did not get distracted after they conceded a goal in the 14th minute. The individuals in the team knew that they may lose their concentration at one point (and let in a goal), but the game lasts for 90 minutes, and they can still work at their game during that time. The television commentators only remarked on the "symptoms", by commenting that Barcelona's players were not playing well, but the real insight was that there was a "breakdown in the shape and form" of the Barcelona team. It was irreparable. Liverpool broke Barcelona down, simple as that.

Don't break down. Don't fold. Keep the shape and form by not panicking and by being cool.

In the design process, you need to allow the shape and form to emerge by facilitating all input and discussion. By facilitating, it means that input needs to be processed. If it's useful, use it immediately. By being resourceful, you are being creative.

There is a game going on in the design process. Control the game. Dictate the game. Win the tactics. However we need to know our opponent.

Who is your opponent then? The other football team? Your critic?

They are just there to make the game happen.

Usually we think that our opponent is the other team or the critic, but it is actually we who are the opponent.

Know yourself well and you will win.

Concept & Ideas - part 1

2007-01-31T06:47:00.000Z

Is a "concept" the most important thing in a student's studio project? The argument is "no". I mean, it is not the most important thing. Maybe second most important, but not first. Presentation is "king". It all boils down to presenting a concept well in order to be successful.

There is no such thing as a "bad concept". It is subjective. But there are bad and good ideas…
Since a concept is defined as "a broad abstract idea" or is understood by many as many ideas being worked together, thus making a concept, "idea" has to be in there somewhere, in a concept.

The ideas of making a girl or a boy or a flower were from the Creator. And the concepts of a girl, a boy, or a flower are different. There were similar ideas for example in making a boy and a girl, you need them to “think” for one. In other words, they both have brains. And there are many differences as well. Hence they are two different concepts.

A door was created by a human being as an important part of a house. There are certain characteristics prevalent to make a door, such as having a door leaf, a lock or handle etc. The concept of a door has a purpose that is to provide access and be able to be closed to leave out the cold wind and so on. However, different types of doors have different concepts. The sliding door is based on the idea of ease of use and not taking up much space.

Similarly in designing an affordable housing complex, where there are similar characteristics usually found in the technical aspects, such as the road, parking spaces, kindergarten, playground, housing units etc., hence a housing complex is a concept on its own but there could be different concepts from different designers, based on using different ideas.

The argument that I have is that there is no such thing as a "bad concept", but there is such a thing as bad idea/s or good idea/s, and that when we evaluate an affordable housing design's merit, we are evaluating on the ideas. Additionally, we cannot really evaluate a concept because a concept has to be realised (conceived in reality) and you must experience it before you can really evaluate it.

Does this mean that we cannot crit a student's work then, if we cannot experience it for real?

That's a thought! In fact we can merely speculate and give criticism of the student's work based on the speculation that the concept has enough or lack of ideas. If the concept reflected the best possible ways and formation (synthesis) of ideas to make an affordable housing work, then the concept is acceptable.

In the case of the student's evaluation, it is more on how the student presented the ideas and the design, both orally and graphically. The student has to have the ability "to conceive" in his/her mind the realised design. The evaluation is on whether the student can convince the critic that his/her design is poor/average/good/excellent.

The mental manipulation made by the student to come out with the design based on his/her ideas comes from the thinking process, and then drawn, written and coded onto some documentation process (drawings/models).

That is why the critic is important. The evaluation can only be completed with the student presenting his/her work to a critic or a panel of critics. The evaluation is always on the student as a designer.

The designer's competence in designing and presenting is where the grade or mark is based upon. So at the end of the day, the concept of a studio project can only be evaluated with the author/designer's presentation. As oppose to the concept of a building that was built and occupied and where you can experience it yourself. You do not need the creator (designer) to be there to tell you the concept.

That is why a student has to be such a good illustrator or a good draughtsman as well as a designer. The critics love delicious drawings and models. So a good studio designed project has to be beautifully drawn and it is of no use, if the concept is a brilliant one, but it's poorly drawn.

Therefore, my conclusion is that students will always have a problem to present their concepts unless they are really good at presenting both orally and graphically. That is why studio masters have a problem of explaining to students about concepts, especially in the lower years, 1st & 2nd year, and even 3rd year. It is not easy to explain what concepts are. So I hope this essay will help.

Below are definitions of some terms:

"Philosophy" is a set of basic principles or concepts underlying a particular sphere of knowledge (guiding or underlying principles).
"Theory" is a set of circumstances or principles that is hypothetical (hypothetical circumstances).
"Model" is something that is copied or used as the basis for a related idea, process, or system.
"Hypothesis" is a statement that is assumed to be true for the sake of argument; or a tentative explanation for a phenomenon, used as a basis for further investigation.
"Concept" is a broad abstract idea or a guiding general principle, such as one that determines how a person or culture behaves, or how nature, reality, or events are perceived.
"Idea" is a personal opinion or belief (opinion) ; or a thought to be presented as a suggestion (suggestion); or a realization of a possible way of doing something or of something to be done (plan); or a thought about or mental picture of something such as a future or possible event (thought); or a concept that exists in the mind only (concept).
"Intuition" is the state of being aware of or knowing something without having to discover or perceive it, or the ability to do this or immediate knowledge.

Concentrate and Raise Your Game

2007-01-16T02:49:00.000Z

Believe it or not, in order to succeed, you have to know what game you are playing, how to play it, strategise, concentrate on the finer points and how to control the game and aim for your goals. You cannot afford to be bothered by all the other distractions, your housemate's bad habits and constant complaining, politics, your family problems and their insistence to bother you with it (unless it's serious illness) and other distractions that other people impose on you or you make yourself.

If your competitors are winning, you must not be disheartened and start finding out the winning formula, either by observing your competitors behaviour or how they had won. You need to find out your strengths and work on improving them. At the same time, recognising your weaknesses and deal with them, step by step.

Map out your long-term goals, at least in the next 5 years. Find out how much work it takes to get there and break into manageable pieces and translate into short-term goals or even better, everyday actions that will work towards achieving your long-term goals. So, if you want to be in the Champion's League of Designers, say winning an award with PAM or working with Norman Foster in the UK, you start preparing now. You have nothing to lose.

The only thing is to concentrate and raise your game to another level. Do not be satisfied with mediocrity.

Jabatan Perumahan Negara Visit

2006-12-14T02:59:00.000Z

The Jabatan Perumahan Negara Visit will be at 9 am, Friday, 29th December 2006.
We will meet with Puan Zan Fatimah Binti Maon, Pengarah, Bahagian Senibina, and there will be a briefing on JPN's role in providing low-cost housing. Please visit the website and read on JPN's background before the visit and be ready with your questions.

The address and other details are:
JABATAN PERUMAHAN NEGARA
KEMENTERIAN PERUMAHAN DAN KERAJAAN TEMPATAN
Paras 6- 7, Blok K, Pusat Bandar Damansara,
Peti Surat 12579, 50782KUALA LUMPUR, MALAYSIA.
Tel : 603 - 2094 7033
Faks : 603 - 2093 0709

I hope we could swop one slot during studio time in exchange for the visit. Based on the latest time-table, the Friday morning slot was given to the 'Architectural Theory and Philosophy' class. So we need to do that as soon as possible, once the lecturer for that subject is confirmed.

4th Year Housing Project On-going Discussion

2006-12-08T07:49:00.000Z

The latest update on the 4th year housing design project is that our trip to JPN (Jabatan Perumahan Negara) will be on Friday, 29th December 2006. The time will be confirmed later.
JPN is the government agency that deals with low-cost housing.

One issue that emerged when I discussed with an advisor just now is "IBS" or Industrialized Building Systems. The idea (or belief) that this system would cut down on the cost and possibly allow a bit more square feet of accommodation.

Another issue is on the maximum number of units allowed, e.g. 400 units per housing area (community) as more than that could create social problems. (400 x 5 people = 2000 people)

We have got to check on these two points.

Articles and links on resources for IBS (so far...)

RM9 on providing quality housing and urban services (EPU)

Industrialized Building Systems Construction in Malaysia
J. Arch. Engrg., Volume 8, Issue 1, pp. 19-23 (March 2002)

Cutting time and costs with IBS (NST Property Article)

Shot in the arm for construction sector (NST Property Article)

Challenges Facing Delivering Affordable Housing (REHDA)

Industrialised Building Systems(IBS) (CIDB)

On ways to address the over-dependence on foreign labour, Ng urged the Government to give incentives to those that adopt industrialised building systems (IBS) in their projects. "Double-tax deductions should be given to developers on the enhanced additional cost if IBS is used for construction of reinforced concrete works and walls and also to reduce wet trades. Accelerated capital allowance for plant and machinery such as steel moulds for reinforced concrete works should also be given," he said.

Why High Density Housing?

2006-12-01T07:46:00.000Z

320 persons per acre?

What is the model, theory or philosophy that is behind high density housing?

We need to study HDB flats in Singapore to find out whether high density living works for them and how they could maintain these low cost high rise buildings. There is no other way around the issue if one decided to pursue the high density agenda. Like anything else we do in life, find the pros and cons. But more importantly find out the theory behind it and how government policies adopt the particular theory or model is the root of understanding the issue.
(HDB website)

Low cost housing is almost always being undertaken by the government. In the U.K. they call it council housing. There were many high-rise flats being built in the 1960s and 70s but they are not fashionable now.

Thinking about the UK situation and the problems of crime in council housing estates which will eventually focus on the local context and cultural aspects of community living could present as the more important aspect in approaching the subject.

I am just thinking aloud at this moment, browsing through some websites.

(Building and social housing foundation)

Urban Planning and Housing Talks

2006-11-30T06:15:00.000Z

I hope that 4th year studio members will take the opportunity to attend the 2nd ASEAN Post-graduate Seminar on the Built Environment that will commence on the 4th until the 6th of December 2006 at our faculty.

For just RM50 you will get the publication (proceedings) and will be able to attend all the sessions, including the Urban Planning and Housing session on the 4th and 5th Dec. There are talks particularly on low cost housing by Goh Ai Tee and Wan Srihani. With their calibre (Ai Tee used to be one of our top student) I am sure you will learn a lot.

Do attend these talks by hook or by crook. Please contact Puan Ainoriza (79676811) or En Abdul Ghani (79676833) asap to get yourself registered!

By the way I emailed the detailed programme to those members that gave me their email addresses. So please pass that programme along. Cheers!

Why I decided to become an architect

2006-11-29T07:45:00.000Z

I did not decide to become an architect. My mother did. I knew I was somewhat good in Art, and my grade proved it, but I wanted to go into Science. I had Chemistry and Nuclear Physics for my first two choices. And then thirdly, Architecture. I knew at the back of my mind that I had Architecture to fall back to.

My mother was overjoyed when I got to do Architecture locally. I had a lukewarm feeling. I felt sad that I could not go overseas.

I hated first year. I did not like doing models and more models. I did not enjoy those projects. I started liking Architecture when I was in second year. My seniors in the 3rd year had quite an influence on me. They were passionate about architecture.

But I liked Architecture from the teaching point of view better. I remembered in Form Four I loved Biology and wanted to dissect frogs and do experiments all the time. I loved it when my Physics teacher in Form Five demonstrated "centrifugal force" by spinning some device around the lab. I loved the "alpha, gamma and theta rays" and all that scientific discoveries in Physics.

Circumstances or fate had presided over my life's proceedings. Architecture overruled my career path. After second year I trudged on regardless of repeating my third year. But local university had its limitations. I needed to expand my horizon and managed to get a MARA loan.

Needless to say, I excelled in Architecture when I was in the U.K. I wanted to be a designer so badly. I managed to do my practical year out training right in the middle of London, with five minutes walking distance to the AA School of Architecture. I attended their evening lectures and saw Zaha Hadid, Peter Cook, Morphosis and many other famous names. RIBA evening lectures were 20 minutes walking distance the other way.

The 1992 UK recession did not allow me to work in the UK and I had to return to Malaysia. If there were no recession, I might have become a designer / architect for longer. I did not really enjoy practising in Malaysia. It was too bullish and architectural firms generally did not like to spend on "training", so the Part 2 Graduate Architect is dispensable.

I decided to pursue being a lecturer and I started out in UTM Skudai. And the rest could be discussed over a cup of tea...

See the link on this blog on other people's view on "Why I decided to become an architect"

International Student Design Competition 2007

2006-11-28T05:19:00.000Z

Anyone interested in this competition? 3rd year students can use their CDP projects and expand the site. I can help to guide if you want. I can also contribute to the registration fee. ($US 25 before December 30th 2006). Read below, and tell me about it when you have decided.

Calendar:
Queries: Up to December 30, 2006
Latest Submission: January 24, 2007
Jury : January 24 and 25, 2007
Awards Declaration: January 28, 2007
Exhibition: January 30- February 5, 2007
Publication of Document: December 15, 2007

Prizes: First Prize: Rs. 50,000/-Second Prize: Rs. 25,000/-Third Prize: Rs. 15,000/- The Jury may award honorable mention to deserving entries without any prize amount.

( I don't know how much that is in Malaysian Ringgit, but it's worth calculating for.)

The International Association for Humane Habitat (IAHH) announces the 5th IAHH International Student Design Competition 2007.

Description:
The design aims at planning and designing a regional social, cultural and arts complex for a sustainable community. The design and planning proposal shall aim at humane, sustainable and innovative architecture.

The design brief shall be evolved in its regional, urban/rural context. The complex shall have a community centre, social centre, women centre, youth centre, art and craft centre, exhibition centre, library and resource centre and share some public places and social interaction spaces with the community. It shall Include a regional arts and crafts centre, which provides for research and training in the arts, crafts and culture of the region. It may provide some outdoor and indoor sports facilities or it may be located in close proximity to such recreational facilities.
The regional social and cultural complex shall include clean, modest accommodation for visiting participants in social and cultural activities as well as the average cultural tourist who is looking for a simple nirvana break with local flavour.

The regional social and cultural complex may be located in rural or urban environment. The student participants are required to identify a suitable rural or urban community, undertake social, cultural, environmental and physical surveys and analysis before developing design brief and proposing a design synthesis. The region is not to be defined by administrative or revenue boundaries but is to be considered as a social space with shared traditions historically which may cut across local district or state or national boundaries.

The proposed design should be people and environment friendly and should be evolved with active participation of the people and the community. It should be energy efficient and should have sustainable infrastructural services, such as supported by alternate source of energy, water harvesting, recycling of wastes.

It should have good accessibility and should be linked to the surrounding neighbourhoods and community through pedestrian linkages. It should be accessible through private and public transportation systems. It must provide for adequate parking facilities for cars, buses and bicycles. It must be harmoniously related to other community facilities and open spaces. The design proposal should aim at generating awareness about humane and sustainable architecture.
The project may have a small area with a high density of development or a large area with low density development. It may use state of the art / appropriate and sustainable technologies. The complex may be spread over an area of 5 -10 hectares, approximately zoning of the project may include 15% of the area shall be for sports/ recreation. 10-15% for social / public interaction spaces, 10-15% for transportation and infrastructure with proper accessibility and parking facility. 55-65 % of area may be used for the buildings and facilities housing the regional social, cultural and arts centre. The development may be in a phased manner.

Prizes:
First Prize: Rs. 50,000/-Second Prize: Rs. 25,000/-Third Prize: Rs. 15,000/- The Jury may award honorable mention to deserving entries without any prize amount.

Submission Requirements:
The design submission shall be presented on 6 A1 size drawings / 3 AO drawings, which shall include the following:
Max two panels for contextual, social, economic and environmental analysis, site analysis of an area or areas incorporating separate sites admeasuring about 5-10 ha.
One A1 panel for proposed site development to the scale of 1: 500 or 1:1000 for the regional social and cultural centre.
Three A1 panels for innovative, appropriate and sustainable designs for development of arts, cultural, social facilities for a sustainable community.
A brief report identifying the context, analysis, concept, planning and design approach of the proposal on not more than 10 A4 sheets in Arial 10 font size with illustrations and photographs.
The participants are required to send CDS containing the proposal including drawings and report, photos of the models etc for publication purposes. The Jury for consideration of the Awards may use these CDs. However, it may be noted that CDs alone will not be accepted.

Eligibility:
The Competition is open to all registered students of any nationally recognized school, college or institutions of architecture, urban design, planning, landscape design, environmental design. The team may have student from any related discipline.
The student group shall be headed by a student of architecture / related discipline with architectural undergraduate background. The participants may be undergraduate, graduate, post graduate or doctoral students. The participants may be individuals or a group of not more than 5 students.
The students shall fill in the registration form and airmail it along with the supporting certificates from the head / director of the school / college / institution for each of the student participant.

Terms and Conditions:
The participants shall assume a seven digit numerical code, which shall be written in right hand bottom corner of all the drawings in 9cm x 9 cm boxes.
A plain sealed envelope containing the copy of the registration form with the name/s of the participants and the institution shall be enclosed with the submission of entry. The seven-digit code shall be written on top of the copy of the form as well as on the envelope.
The drawing shall be in black and white or colour and they shall be prints. The drawings may be hand drawn or computer out puts. No original drawing shall be sent. The participants shall retain the original drawings.
The documents shall be sent by airmail / courier and not by airfreight company. The participants shall declare the submission as documents without any commercial value. The participants shall bear the expenses for its transshipment including taxes / customs duty if any.
The drawing and design copyright shall be with the authors.
The IAHH shall have the rights to its publication and exhibition.
The drawings shall not be returned, as they shall be required for traveling exhibition and publication.
IAHH may bring out a publication, documenting award winning projects and other significant projects. The winning projects may be published in professional and institutional journals.
The jury shall have full freedom to decide on the awards and their decision shall be final and binding on all the participants.
The IAHH guarantees a free and fair student design competition.

Registration:
The student participants have to fill in the attached registration form and mail it along with the registration fees and a certificate of their studentship from the Head of the Department/Institute/Faculty of Architecture or related discipline, addressed to:Convener,IAHH International Student Design Competition,Rizvi College of Architecture, Off Carter Road,Bandra West, Mumbai 400 050 INDIA.

Registration Fees and Deadlines:
Foreign countries (except SAARC countries):Early registration: US $ 25 up to December 30, 2006Late registration: US $ 50 up to January 24, 2007
Indian and SAARC countries:Early registration: INRs 1250 up to December 30, 2006Late registration: INRs 2500 up to January 24, 2007
Registration fee shall be paid by a banker's cheque or through money transfer in favour of Rizvi College of Architecture Conference a/c payable at Mumbai, India.

Calendar:
Queries: Up to December 30, 2006
Latest Submission: January 24, 2007
Jury : January 24 and 25, 2007
Awards Declaration: January 28, 2007
Exhibition: January 30- February 5, 2007
Publication of Document: December 15, 2007

For further particulars, please contact:
Prof. Akhtar Chauhan, Convener,Prof. Anil Nagrath,Technical Co-coordinator,IAHH International Student Design Competition SecretariatRizvi College of Architecture,Off Carter Road,Bandra West, Mumbai 400050 INDIATel: 91-22-26050624 /26044196 Fax: 91-22-26002744 Email: ichh2007@humanehabitat.orgWebsite: www.humanehabitat.org

Comments on this blog

2006-11-28T02:57:00.000Z

Hi and thanks to all that commented on this blog.
Firstly my apologies to all about your comments not appearing on this blog. I only knew of your comments today and I just read them. ( Imust have not allowed the comments to appear or something. I will try to correct that in the moderation bit.)
All this while I was wondering how come nobody wrote any comments, especially Mior and so now I know that many had commented, especially Mior, so I really appreciate that.
A bit late though...

I will try to answer the comments in the comments section after each posting to be fair.

Cheers.

Low-Medium Cost High Density Housing

2006-11-24T10:29:00.000Z

I hope by this time all members of the 4th year Architectural Studio had received my email that I sent to the members who attended the informal discussion. I found it very encouraging that the members present showed concern about the project, such as the input (what and when) and also the site of the project.

Letters will be going out to DBKL and JPN. It is not confirmed that the site will be in DBKL area, but we are inquiring that possibility. "We" means there are other lecturers involved and I am assuming also that some of the 4th year studio members are also pursuing the matter.

Searching for a site involves a lot of factors (to decide which one) and it is not enough with just going around in my aeroback and spotting a vacant lot and fancying it to be the site. It is more complicated than that. To cut the story short, the site should afford a balance of realism and opportunity for the designer. We will go more into that later.

That is a long title - "Low-Medium Cost High Density Housing", but the keyword here is "housing" and what that means to the designer. A designer should not divorce him/herself from that subject matter. I would give a big congratulatory pat on the back if a designer actually decides to find out for him/herself how it actually feels to live in a "pigeon-hole", I mean, a low cost flat... say maybe for a week. For those that had stayed in one for real, they must use their experiences to get the best ideas.

I had not lived in one myself, but I had visited people who lived in these low-cost flats. Imagine families of five (as recommended by policy) living in these flats. It is so tight!

I read with interest in Holland that designers who design for "affordable housing" (Also welfare or social housing - depending in which country you are referring to), they have to provide for three main doors. One for the teenagers to enter and exit so that they do not have to come across their parents all the time and two for each parent if they get divorced. Even the flat can be partitioned in two parts when the divorce happens!

I like to refer to the work of Herman Hertzberger and the Dutch architects. Since the 1960s they were concerned with the quality of social or affordable housing.

Back to the project. So, it will be good for 4th year studio members to explore some questions (or topic of inquiry) and to come up with the design challenges (problems) for the project. For example;

Possible topic of inquiry is based on the following questions:

(1) What are the issues (problems) of low-medium cost high density housing in Malaysia, and;

(2) How do we design for the family unit (average 5 people per unit) and the community living?

Last year in November 2005

2006-11-18T08:19:00.000Z

I was sitting on a low wall at St. John's Street, when I caught the chapel's tower behind me. The prominent landmark in this part of Cambridge was designed by Sir George Gilbert Scott in 1869, on top of the previous Medieval layer, even going back to the 13th Century. I did not have time to inspect the interior, but I also admired the trellis-work (shown below) as I waited at that particular corner.

I had coffee at Caffe Nero, which is the most preferred cafe chains on the high-street in the UK. Simply because an Italian friend of mine who had sampled the lot, remarked that Caffe Nero's coffee is the best of the lot! Well, when it comes to quality of food and drink, always trust the Italians! I decided to take a shot of the scene in front of me, and I quite like this one, taken of a couple deciding on what to eat and a young woman just coming into the main door.

Cambridge being the tourist attraction twelve months a year that it is, (it was a cold but sunny November when this was taken), needed to protect its narrow streets and created a pedestrian friendly environment, and as a result the streets' pavements have very low curbs. In fact, the vehicular service access route often flush with the pedestrian access route, but strict laws and enforcement deter vehicle drivers from breaking the law. And this ensured that the pedestrians enjoy walking on the streets. But be very careful of the "gung-ho" cyclists!

The last photo was taken at the corner of Market Street near St. Mary's Church, shows four old style telephone booths in a row, which I found to be well placed, compositionally, next to the bicycles tied to the fence behind, a sign of a pedestrian accommodating city.

(All photos except the "trellis" was doctored by Adobe Photoshop.)

Islington Canal - on the way to an interview in 2005

2006-11-18T04:30:00.000Z

islington canal

I used to live in this area of London called Highbury and Islington.
I used to suffer when the Arsenal fans came out of the stadium where I lived at Highbury Park, especially when I am a Liverpool Supporter!
Anyway, the area became more upmarket since the early 90s and many architect offices such as StantonWilliams' established themselves there. I was at the canal waiting to interview Alan Stanton.

Changes

2006-11-16T09:26:00.000Z

Changes can be small or earth shattering! Well, it depends on you really...

Good News? Bad News?

Depending on you...

I need to inform the studio that I will not be the studio master for third year next semester. I am moving elsewhere. I mean, I am still in the department, so you all can consult me on things if you want.

The other news is (good news or bad news?) you will be developing your existing project and finish it in 9 weeks (excluding submission week) and there will be a 3 week 'group project'. That has been decided by the department.

I would like to say sorry for this inconvenience if you had already done some work on "CDP2", meaning the performing arts and heritage food studies and so on. Please forgive us all for this change if it had been a bother but please also note that we think you will benefit from this change as well.

All the best for the exam and have a good holiday.

Busy Preparing for Exams?

2006-11-15T07:19:00.000Z

I wish you all the very best for your last exam this Friday.

I hope to pin up your grades at my door in the next two days, so you can see for yourself your overall grade for BAEA 3275 - Architectural Design Studio V, this semester.

Basic guidance to grades:
If you get an A, you had been impressive both personally and by the work shown. Keep that up.
If you get a B and B+, you have qualities as a designer and showed good mastery in space and form. If B -, you lack that extra bit of quality in mastering the formal and aesthetics.
If C and C+, you had just passed in terms of the planning and technical aspects but seriously lack the aspects found in a designer.

(If you want to know more, refer to your studio tutors.)

During the Portfolio Review, we chatted about the quality of students. Basically with B and above, with a PNGK (CGPA) of 3.0 at the end of 2nd semester, you have the potential to go to 4th year straight. So that means that you could design competently. You will be a good assistant designer in a design firm.

With a C and above (below B), you should be able to work well in a design firm as your quality would at least be expected to be that of an assistant to the senior draftsman. You will have an acceptable technical competence.

Heritage Food (updated)

2006-11-09T04:07:00.000Z

Although there will be no study on "heritage food" as the project (CDP2) had been scrapped, it is interesting to note there are places and restaurants emphasising on the authenticity of the food ingredients and preparation.
Then one learns about the origins of the food and how certain ingredients were often used in making that kind of prepared food.
An author of an article in Wild Asia wrote about forest products and based her research on the Penarikan area of Negeri Sembilan. Many of the forest products were used to make the cuisine of the Minang people who settled in this area of Negeri Sembilan.
You could investigate why a particular cuisine use a particular ingredient.
And why people like and enjoy the culinary experience of heritage food.

Lok Wooi (updated)

2006-09-27T12:11:00.000+01:00

I was writing letters to invite practising architects to come for our Final Presentation, when I remembered Mr Lok Wooi. A very personable and forward thinking individual, always ready to be involved with our school, it is refreshing to see his approach in architecture, as mentioned in this article.

We will visit the building designed by Lok Wooi in the next semester. I shall assist any studio master interested to bring their students to visit his house. Lok was telling me that everyone is welcome.

If you read the MTC article (link above) he was involved in research and development of the use of timber in buildings. Anyone interested in this can contact him. Go ahead, he is very friendly.

Why do we use domes in our mosques?

2006-09-07T13:05:00.000+01:00

Why do we use domes in our mosques?

Have you ever wondered why we use domes for our mosques? What is the significance of the dome?

My assertion is that domes are not practical and not suitable for Malaysian mosques and are also symbolically questionable.

The dome is a form adopted from Turkey, and with regards to Malaysian’s mosques designed from the 1980s, specifically referring to the great Ottoman mosques like the Suleymaniye Mosque or the Sultan Ahmed Mosque from Istanbul. In fact the architect who designed the Shah Alam Mosque said that he was influenced by the Turkish mosques.

But why do we use domes in our mosques? By right we should not have domes on our mosques, based on two facts. That domes are cultural and regional rather than a form that was being prescribed in the Quran. And that domes are not a climatically correct solution for our roof coverings.

Those in favour of the dome would cite the symbolic significance of the dome or half a sphere on a square base denoting some symbolic and mystical essence combined to represent a space that is sacred. And that is their only argument, whereas there are many arguments against the use of domes on mosques.

Mosques are supposed to be functional, comfortable and accessible. The roof of the Malay mosques in history had always been the pitch roof, either pyramidical or hipped roof with a ridge, with deep overhangs to give enough shade and to channel the tropical rainfall away from the inside of the mosques. The roof must be good enough to allow a comfortable atmosphere with high ceilings and proper ventilation, and the prime example of workable and comfortable mosques are the Kampung Laut Mosque in Kelantan, the Trengkera and Kampung Keling Mosques in Melaka.
In fact the form of these mosques had assimilated the cultures and influence of our region for centuries, starting with the Demak Mosque in the 1500s. The Melakan mosques had used the fundamental principles of form-making in Islam and that is the gradual transfiguration of the local form, assimilating the Chinese pagoda and yet proved to be very comfortable and functional.

In fact the current crop of mosques design aping the Turkish mosques had its roots in Roman and Byzantine architecture, as the Sinan, architect who designed the Suleymaniye and the Sultan Ahmed Mosques took the design of the dome of the Hagia Sophia, which was formally a church during the time of the Roman Emperor Consatantine. The Byzantines were experimenting with the sphere on the square form and tried to create a style that is suitable to their region and climatic conditions using the materials that are suitable to construct for a dome.

The British introduced the Moorish style that we find in our Masjid Jamek and our Bangunan Sultan Abdul Samad and many buildings done in the early 1900s, but before that there were no history of the dome ever built in the Malay Peninsula.

So why are we still with the dome and used it on top of our mosques design? I conclude that domes are not required to be in the design of a mosque in Malaysia and that we need to go back to the principles of comfort, functionality and accessibility and use our resources to find a more sustainable and meaningful form to create our own identity.

The answer lies in the form of the pyramidal and hipped pitched roofs of Kampung Laut, Trengkera and Kampung Keling mosques or a mosque design with the latest contemporary ideas, just like the National Mosque when it was designed to reflect the architecture of the 1960s.

What is a designer?

2006-08-26T10:53:00.000+01:00

We are in the business of training designers at the studio. Designers must have a complete set of skills: conceptualising, analysing, technical and interpersonal.

A designer must be able to conceptualise. There is no ifs and buts here. This is a fact. At the end of the day the school will fail if we do not produce designers who are not able to conceptualise. This skill relies heavily on the ability to visualise, and represent what it is that they visualise in their sketches. Their sketches are an extension to themselves. Their sketches should illustrate their design intention clearly.

Analysing is a skill that is important for a designer as it is a basic skill of a researcher. Researching a case study for example, would require the designer to explain the object of study into parts systematically and take it further into synthesising what that has been learned into their design.

Technical requirements to be taken into consideration into the design must be met as that is what a problem-solver does, and a designer is a problem solver. There are enough knowledge and skills that the potential designer have to engage in understanding technical requirements of a given project.

Interpersonal skills is now becoming a compulsory skill to have rather than value added. Being able to participate in a studio environment with the tutors and others students, and contribute to the discussion is necessary to the success of the studio, contributing to each individual's success.

Little Penang for Site 2 group

2006-08-17T11:55:00.000+01:00

It was a tiring day today with panel and group crits but I did see some ideas being developed well by some students.

Just to let Site 2 group know that there is a website for them to visit:
Little Penang Market

Which could give some more input to their programme.

Concept and Idea

2006-08-14T17:04:00.000+01:00

What's the difference between "concept" and "idea"?

I was explaining to the studio the other day that there is a discernible difference between the two, but concept and idea are closely intertwined with each other.

I said that a door is a concept, or a boy or a girl is a concept, but what type of door? It could be a sliding door or one with different parts that could fold. Hence two doors may have different set of ideas and therefore have two different concepts. I mean the Martial Arts Centre and the Community Centre that the students will be designing this semester, are two basic concepts waiting to be "realized" by the imagination and visualisation of the students.

We are getting excited. All of us in the studio. The more you think the more real and convincing your project will be and the more the tutors will also fall in love with your concept of the project.

I was thinking about the Garden City Concept by Ebenezer Howard. How did it come about to be a concept? He thought about all the components of what makes a city. The streets, the houses, the farms, the railway lines and the population necessary to make it work. He arranged the parts in a radial manner, and he wrote about many issues of urbanity faced at the turn of the 19th century.

It is true that the Martial Arts Centre and the Community Centre are concepts on their own, without the students designing any yet. We saw the case studies and precedent studies of other martial arts and community centres that existed before, presented by the students last Thursday. They had different ideas shoring up their approach to a martial arts or a community centre. There were precedents from the U.S.A., U.K., Japan, Singapore and even in Malaysia.

The case studies were very interesting as the students had to interview and visit the premises of these places. It made us think about the project more and more. We shall see tomorrow.

Process or Product

2006-08-09T07:24:00.000+01:00

I have not been posting for awhile. I was very busy last week and I had to work during the weekend. Managed to catch Mior singing during Archi Night though. Met our former students, Mastura, Shima, Syakir and Syihan, to name some, and Dhirma is now in the 4th year.

It was a long introduction session on Monday at 3 pm, with Mastura and Aniza, giving our input. I noticed that the students were concern with the "product" rather than the "process". Mentioned that to Saari just now.

Also mentioned about the Testimony of Competence and design as the core skills. Well, Malaysian architectural educationists had been harping on that since I was a student back then in UTM in the 80s. It is nothing new. But the world is evolving and many educationists world wide would rather debate on it, insisting that we should always evolve to look beyond the expected. That architectural education should not get too fixated with design as being the core skills. It is not easy to do that in the Malaysian context. If you are interested;

Here's the opinion of a professor from Edinburgh.

Well, I am more interested in the students focusing on the process rather than the product. Sure, the product is important, but I do not think that we should neglect the process. There seems to be a fixation of the product, as I am hearing "sound-bites" from the students and lecturers around me on how important the final product is. I mean, that goes without saying. I am worried about the content and the learning.

It's not easy to listen to every single word all 47 students presenting in a day. It is scientifically proven that we could only concentrate up to 20 minutes and then our minds are somewhere else. It is not easy to get excited at the same rate throughout the day. But we have to keep on assessing the process. How much time are we, the educationists want to listen during the process. Our reaction and instinctual input during the process does more to the learning than the assessment at the end of the project.

It's a cyclical form of inductive learning. It is not linear and nor is it a one way street of hearing soundbites and repeating soundbites. You cannot be a robot and survive. Unless you were made by humans. And so the story goes.

Process is more important than product.

Concept is a concretised idea.

Assignment 1

2006-08-01T08:08:00.000+01:00

Every course programme should have a few learning objectives. Something new that the students would pick up on. So what is the learning objectives of assignment one.

The interest at the end of the day is the content of the brief proposals that the students will decide upon. I had a chat with Sad Tin just now, and I was reminding her about making decisions. The architect (student) now will have to make a decision on behalf of the stakeholders (client/s) on what design proposal should be considered to be developed on the site. I am sure not all the students are debating equally on it. Some would probably be designated model-maker, or doing other presentations. That is the nature of a big group. I would not mind students in the group debating about what should be done on the site. I think it is healthy if those not involved got involved later on, but for the moment, there are a few people in the groups that were designated as the decision-makers on what is to be on site. If conceptually everyone agreed, that would be fine for the group.

I told Sad Tin that the details of what is being proposed is secondary for this exercise. I mean, adding or subtracting the activities and functions of the proposal is an exercise that the lecturers will help to guide the students later on.

The most important thing are the decisions which would give the best potential development to the site. Giving a physical and contextual presence while contributing benefits tangible and intangible to the neighbourhood and the town. This should be illustrated by the urban context and responsive design principles learned along with the analysis done earlier.

Expectations and Success

2006-07-30T05:54:00.000+01:00

Learning is a two way process. The lecturers are meant to be guides and facillitators to the students, and the only difference between the lecturers and the students are years of experience. The students will need to erase any myths and misconceptions about the lecturers and how the studio will be run, particularly if these have negative connoctations.

Every student has a chance to get an A this semester and the next. Based on the CGPA or GPA, the students will need to increase their chances of securing a place in the 4th year. Alternatively, they could opt for more experience or study abroad. The lecturers will support all career development decisions by the student. I for one will support any career development by the student even if they do not want to be an architect at the end of the day. Just look at Tony Eusoff! (or our Anthony Joseph). When I met him one day after he decided to go into showbusiness, to me he looked a bit nervous about meeting his ex lecturers and their expectations of him. I said to him, "Congratulations! I hope you will succeed as a businessman!" Yes, of course, he is currently projecting himself to be more of a model cum actor, but as we know at the end of the day, besides the fame which will eventually wane off, he will need to excel as a businessman, and that to me is the clue to how a student could be successful in life, and we have to acknowledge that in our teaching and creating a learning environment to help the students gain confidence and this in turn would help the student achieve more in life. He is one example and there are many others.

I would like to comment on what had transpired so far in the Studio, based on my observations and hope that this will help to develop a better understanding of the lecturer's expectations (as I not only will provide my own opinion but hope to summarise the opinions of other lecturers' as well in this blog, although I am sure they will add to what I say later on). I hope to do so soon enough.

Interim Crit 27 July 2006

2006-07-27T12:33:00.000+01:00

Interim Crit
27th July 2006

Venue: Studio 3

The following comments are purely my own based on the notes and observations taken today during the interim crit session. Alvin and Mastura were also present.

There are two sites in Seremban town. Two groups of students for each site presented the urban analysis on Monday, the site analysis on Tuesday and today, the summarized analysis and the three proposals for each site.

Interesting to note that our expectations of the student’s work (visually and verbally) were being met today, although we still feel that the work could be sharper and better prepared.

On Monday, the Site 1 group held the edge, but on Tuesday the Site 2 group managed to present better than the former. As a whole, what one group lacked, the other group compensated, in both the urban and site analysis.

Comments on what were discussed today are as follows:

Site 2 group started the ball rolling by presenting aspects of the responsive environment principles in their site analysis. It could have been a tighter presentation as we would have liked to discuss more on the proposal. Nevertheless, we managed to discuss as much as we could before the students proceeded to attend Dr Ken Yeang’s talk.

SITE 2

Proposed by the group:
1. Taman Warisan Seremban
2. Community Centre
3. Performance Art Centre

In my opinion the proposal for this site could make a statement about what Seremban inspires to be. The planner whom we met last week mentioned the idea that Seremban represents Negeri Sembilan. Will that literally mean that we should relocate an old Minang house and place it on the site? If Negeri Sembilan is about the Minangkabaus or the Minang people, then how could we use this approach in the conceptual design?

If there ever is a site to do it, then I agree, this IS THE SITE. Should the proposal be a gallery or museum then? We discussed today that it could be an Information Centre and yet serve the community. There are two things here. If we create two objectives for the site, will it be “rojak”? Serve the visitors (introducing Seremban) and also serve the community (community facilities). Could we do both successfully or will the impact be watered down?
SITE 1

Proposed by the group:

1. Martial Arts Centre
2. Health Care Centre
3. Tea House

Referring to the discussion, the safe bet is the Health Care Centre, but the “Tea House” could be a radical proposal in which we asked the group to re-propose again.

( I will continue with the discussion later.)

Testimony of Competence

2006-07-26T13:24:00.000+01:00

We were discussing about the architectural programme the other day. What we had agreed since the inception of the BSc in Arch course for University of Malaya, was that at the end of 3rd year, the students intending to graduate would need to produce work both visually and verbally as a testimony to their competence.

What does that mean?

For sure, the quality of work needs to be there. So who judges the quality?

We need to look at the bodies that accreditated our architectural programme, both the Part 1 and Part 2. Let's look at the RIBA website.

Quoted from the website:

"Society looks to architects to define new ways of living and working, to develop innovative ways of using existing buildings and creating new ones. We need architects(with) understanding of the complex process of design and construction to build socially and ecologically sustainable cities and communities. Architects can be extremely influential as well as being admired for their imagination and creative skills. " (Link source)

The core skill of a future architect is to develop as a designer. The architect does not work alone, hence other skills are needed, such as how to manage his / her design team, the other consultants, work with the client, work with the local authorities and work with people in the communities.

Further quote from the RIBA website:

"The skills that architects possess are relevant to all aspects of the built environment, from constructing new buildings to conserving old ones. The range of work they are required to undertake is so varied that each architect could give you a completely different description of what they do. The one thing that is constant in architectural work is that it is concerned with people. "

There are a set of core skills, where becoming a designer is crucial. Learning how to draw and create presentations to express your ideas is the most important skill. Learning how to verbally present is equally essential. Knowing how to manage the project and deliver on time shows how professional and competent you are.

The BSc Arch course at University of Malaya is the "foundation" course of being a future architect. A graduate would at the very minimum shows he or she have mastered the core skills, and would be viable to pursue further in the B Arch course, be employed as a desiner or enter into specialization courses to learn in depth more advanced learning in architecture or related subjects in planning, management and advanced architectural design subjects such as urban design and conservation.

The Meaning of Heritage

2006-06-11T06:42:00.000+01:00

I had begun to ask questions about the meaning of 'heritage'. Even though , my PhD thesis concentrated on examples from England and Wales, my queries evidently forced me to ask about my own heritage. I believe that the love of heritage is differently felt in the East compared to the West. If confined to just buildings, like this quote from UK's Town & Country Planning book, "'Heritage' is the fashionable word for the national inheritance of historic buildings..." (Cullingworth, Nadin 1997), then it would arguably be a Western perspective. 'Heritage' is a difficult word to pin down on its own. You needed to use the word 'tradition' and / or 'culture', in order to give it some base for discussion. By only referring to historic buildings, the argument for heritage would be lost in the Malaysian context, for example. We shall discuss this more later.