New Houses in Asia

ASIA NEW HOUSES IN

INSPIRED ARCHITECTURE AND INTERIORS FOR THE MODERN WORLD

3

CONTENTS 6

96

INTRODUCTION TERENCE TAN

N10-HOUSE JAPAN

10 20

102

184

THE PAIR HOUSE SINGAPORE

190

HOUSE T CHINA

TRANQUIL HOUSE JAPAN

STARK HOUSE SINGAPORE

CHHAVI HOUSE INDIA

C-HOUSE MALAYSIA

110

713 HOUSE THAILAND

196

28

CLOISTER HOUSE MALAYSIA

118

HORIZONTAL HOUSE THAILAND

38

FUGUE HOUSE MALAYSIA

128

K.POR HOUSE THAILAND

46

SS3 HOUSE MALAYSIA

PA HOUSE THAILAND

54

WINDOW HOUSE MALAYSIA

144

REGEN HOUSE THAILAND

62

11 JALAN INSAF SINGAPORE

150

PATIO HOUSE VIETNAM

68

FICUS HOUSE SINGAPORE

158

STACKED PLANTERS HOUSE VIETNAM

164

TIMBER HOUSE VIETNAM

CLEFT HOUSE INDIA

THE HOUSE OF SECRET GARDENS INDIA

THE SHADOW HOUSE INDIA

DL HOUSE INDONESIA

HANGING VILLA INDONESIA

ROEMAH KAMPOENG INDONESIA

136

74

FOREVER HOUSE SINGAPORE

82

HOUSE 24 SINGAPORE

90

HOUSE IN SEMBAWANG SINGAPORE

CLEARWATER HOUSE JAPAN

FOUR LEAVES VILLA JAPAN

HOUSE IN AKASHI JAPAN

172

178

202

210

216

224 232

240

246

254

PROJECT CREDITS ARCHITECTS & PHOTOGRAPHY

CONTENTS 6

96

INTRODUCTION TERENCE TAN

N10-HOUSE JAPAN

10 20

102

184

THE PAIR HOUSE SINGAPORE

190

HOUSE T CHINA

TRANQUIL HOUSE JAPAN

STARK HOUSE SINGAPORE

CHHAVI HOUSE INDIA

C-HOUSE MALAYSIA

110

713 HOUSE THAILAND

196

28

CLOISTER HOUSE MALAYSIA

118

HORIZONTAL HOUSE THAILAND

38

FUGUE HOUSE MALAYSIA

128

K.POR HOUSE THAILAND

46

SS3 HOUSE MALAYSIA

PA HOUSE THAILAND

54

WINDOW HOUSE MALAYSIA

144

REGEN HOUSE THAILAND

62

11 JALAN INSAF SINGAPORE

150

PATIO HOUSE VIETNAM

68

FICUS HOUSE SINGAPORE

158

STACKED PLANTERS HOUSE VIETNAM

164

TIMBER HOUSE VIETNAM

CLEFT HOUSE INDIA

THE HOUSE OF SECRET GARDENS INDIA

THE SHADOW HOUSE INDIA

DL HOUSE INDONESIA

HANGING VILLA INDONESIA

ROEMAH KAMPOENG INDONESIA

136

74

FOREVER HOUSE SINGAPORE

82

HOUSE 24 SINGAPORE

90

HOUSE IN SEMBAWANG SINGAPORE

CLEARWATER HOUSE JAPAN

FOUR LEAVES VILLA JAPAN

HOUSE IN AKASHI JAPAN

172

178

202

210

216

224 232

240

246

254

PROJECT CREDITS ARCHITECTS & PHOTOGRAPHY

INTRODUCTION TERENCE TAN

The story of Asian architecture is to be told through time and space. My own brief understanding of Asian history with respect to architecture can be loosely summarized as a period of dynasties followed by a period of Western influence, World War II, and ending with the current contemporary glass-towers that have mushroomed in major cities throughout the region.

It would be vastly inaccurate to simply divide all Asian architecture into East Asian and Southeast Asian architecture, two regions that progressed with great differences in religion, language, political, and social-cultural development. The other Asian sub-regions, on the other hand, deserve a well-written story of their own.

The period post–World War II has in my view led to the rise of the mass production of construction materials, which I lament has seen the growth of streamlined minimalist trends in architecture, with spaces that are undifferentiated and utilitarian.

One could suggest that the development of Asian heritage and architecture during this period has seen a stage of confusion; one could, on the other hand, see the transition of “Asian Bauhaus” as a development that was inevitable, and one that the events of World War II had merely crafted a blank page for re-finding aesthetics.

6

This confusion was then acerbated by the process of rapid urbanization. Developers and governments swept through the low-rise organic architecture and replaced these with tall, efficient, and flashy residential housing, offices, and malls. The original genius loci of the place was too often not brought to the study in the rush of development, and was therefore lost. On the urban landscape, the stratification of space reduced the experience of a streetscape to just a driveway and sidewalk. On dwelling development, homes were often restricted to small apartments, with the utopian housing dream being simplified to provide minimal shelter in exchange for maximum profit by the developer.

In addition, our ever-changing lifestyles led by advancements in technology, as well as the growth of a population steeped in middle-class values and Western influence (with the associated diminishing relevance of culture and heritage) all combine to have an influence on architecture in Asia. These factors fuel the rising influence of Starchitect design and increasing popularity for presentation with “impressive” visual impact.

Fortunately, at the other end of spectrum, through the deliberate efforts of various architects in the region, we see an encouraging progress for 7

INTRODUCTION TERENCE TAN

The story of Asian architecture is to be told through time and space. My own brief understanding of Asian history with respect to architecture can be loosely summarized as a period of dynasties followed by a period of Western influence, World War II, and ending with the current contemporary glass-towers that have mushroomed in major cities throughout the region.

It would be vastly inaccurate to simply divide all Asian architecture into East Asian and Southeast Asian architecture, two regions that progressed with great differences in religion, language, political, and social-cultural development. The other Asian sub-regions, on the other hand, deserve a well-written story of their own.

The period post–World War II has in my view led to the rise of the mass production of construction materials, which I lament has seen the growth of streamlined minimalist trends in architecture, with spaces that are undifferentiated and utilitarian.

One could suggest that the development of Asian heritage and architecture during this period has seen a stage of confusion; one could, on the other hand, see the transition of “Asian Bauhaus” as a development that was inevitable, and one that the events of World War II had merely crafted a blank page for re-finding aesthetics.

6

This confusion was then acerbated by the process of rapid urbanization. Developers and governments swept through the low-rise organic architecture and replaced these with tall, efficient, and flashy residential housing, offices, and malls. The original genius loci of the place was too often not brought to the study in the rush of development, and was therefore lost. On the urban landscape, the stratification of space reduced the experience of a streetscape to just a driveway and sidewalk. On dwelling development, homes were often restricted to small apartments, with the utopian housing dream being simplified to provide minimal shelter in exchange for maximum profit by the developer.

In addition, our ever-changing lifestyles led by advancements in technology, as well as the growth of a population steeped in middle-class values and Western influence (with the associated diminishing relevance of culture and heritage) all combine to have an influence on architecture in Asia. These factors fuel the rising influence of Starchitect design and increasing popularity for presentation with “impressive” visual impact.

Fortunately, at the other end of spectrum, through the deliberate efforts of various architects in the region, we see an encouraging progress for 7

stronger interest to re-examine the essence and core meaning of Asian design. Various archiving works, study of local arts, round-table discussions have all contributed to the re-definition and refreshing of Asian architecture.

Japanese architects have been very successful in adopting and integrating the advancement of technology while keeping the spirit of the space in integrity. While the same ethos could not be replicated in other Asian countries as successfully, it has encouraged a stronger recognition of the value of conservation and restoration not only for prominent landmarks but also to include architecture at the smaller scale in the neighborhood.

Architecture cannot be truly understood without knowledge of the local culture. In Southeast Asia, where the culture is a melting pot of different local and external influences, any architectural reference could sometime originate from many of the single heritances or a cross pollination of just two or three. Any similarities in the design might be traced to the way the building responds to the environment. For instance, a construction

8

in a tropical forest with heat and humidity all year long as well as monsoon rain may find symbolic expression in the design as elements of green (plants) and blue (water) through the local doctrine, and influence the evolution of the local architectural typologies. In addition, the influences of the various religions contribute to the local vernacular.

In contemporary design, I try as much as possible to preserve the more traditional elements, as well as note or refer to the concept of the local vernacular architecture in the hope that by so doing, the stories of the past can be bequeathed to future generations. The layered meaning of architecture as well as the harmony of the building form with regards to the natural environment guides many parts of my practice, allowing me to draw on my cultural inheritance. For example, when designing the concept and space program, I would very often draw from the core principles of communal or kampong (a small village in Malayspeaking countries) living. A family should also be living like a kampong where the synergy of each family member is encouraged through the design

of space, both in hierarchy as well as the planning of the gathering space. In line with the idea of community living, I feel that a house design for a family should always have space devoted to people gathering together, whether it be relatives, family, friends, dining, games, etc. The individual bedroom, on the other hand, receives less emphasis.

In order to achieve harmony of space both internally and with the landscape, designers will often refer to the principles of feng shui or, as in India, Vastu principles. Feng shui seeks to harmonize the design with its surroundings, with allocation of landscape interspersed and breaking the buildings into rooms. With feng shui as a guide, ventilation, sunlight, views, and vegetation are designed as part of the extension of interior.

When designing the skin or exterior of the building, my biggest challenge here on the Malay Peninsula has always been to keep the rain out while maintaining cross-ventilation.

Taking inspiration from vernacular architecture, designs will now often utilize deep overhangs for protection against the elements and louvers to

deflect some of the sun’s rays. Thus, in this region the “screen” design details therefore require more attention than “skin” detailing.

The possibility of exploring the subject of Asian design and architecture is seemingly endless.

But it is vital to not be carried away with the hype and trends, but to allow time to rethink our true values, our aspirations, and our nature.

Only through rediscovering ourselves will an architecture typology be able to evolve alongside our changing lifestyles—without eroding the values and identity of the region. The time is ripe in the Asian region for a growing economy and confidence to work toward an architectural recourse that not only will resonate with people but also mold and influence our society while building and preserving our memories.

Terence Tan Director FOMA Architects

INTRODUCTION

9

stronger interest to re-examine the essence and core meaning of Asian design. Various archiving works, study of local arts, round-table discussions have all contributed to the re-definition and refreshing of Asian architecture.

Japanese architects have been very successful in adopting and integrating the advancement of technology while keeping the spirit of the space in integrity. While the same ethos could not be replicated in other Asian countries as successfully, it has encouraged a stronger recognition of the value of conservation and restoration not only for prominent landmarks but also to include architecture at the smaller scale in the neighborhood.

Architecture cannot be truly understood without knowledge of the local culture. In Southeast Asia, where the culture is a melting pot of different local and external influences, any architectural reference could sometime originate from many of the single heritances or a cross pollination of just two or three. Any similarities in the design might be traced to the way the building responds to the environment. For instance, a construction

8

in a tropical forest with heat and humidity all year long as well as monsoon rain may find symbolic expression in the design as elements of green (plants) and blue (water) through the local doctrine, and influence the evolution of the local architectural typologies. In addition, the influences of the various religions contribute to the local vernacular.

In contemporary design, I try as much as possible to preserve the more traditional elements, as well as note or refer to the concept of the local vernacular architecture in the hope that by so doing, the stories of the past can be bequeathed to future generations. The layered meaning of architecture as well as the harmony of the building form with regards to the natural environment guides many parts of my practice, allowing me to draw on my cultural inheritance. For example, when designing the concept and space program, I would very often draw from the core principles of communal or kampong (a small village in Malayspeaking countries) living. A family should also be living like a kampong where the synergy of each family member is encouraged through the design

of space, both in hierarchy as well as the planning of the gathering space. In line with the idea of community living, I feel that a house design for a family should always have space devoted to people gathering together, whether it be relatives, family, friends, dining, games, etc. The individual bedroom, on the other hand, receives less emphasis.

In order to achieve harmony of space both internally and with the landscape, designers will often refer to the principles of feng shui or, as in India, Vastu principles. Feng shui seeks to harmonize the design with its surroundings, with allocation of landscape interspersed and breaking the buildings into rooms. With feng shui as a guide, ventilation, sunlight, views, and vegetation are designed as part of the extension of interior.

When designing the skin or exterior of the building, my biggest challenge here on the Malay Peninsula has always been to keep the rain out while maintaining cross-ventilation.

Taking inspiration from vernacular architecture, designs will now often utilize deep overhangs for protection against the elements and louvers to

deflect some of the sun’s rays. Thus, in this region the “screen” design details therefore require more attention than “skin” detailing.

The possibility of exploring the subject of Asian design and architecture is seemingly endless.

But it is vital to not be carried away with the hype and trends, but to allow time to rethink our true values, our aspirations, and our nature.

Only through rediscovering ourselves will an architecture typology be able to evolve alongside our changing lifestyles—without eroding the values and identity of the region. The time is ripe in the Asian region for a growing economy and confidence to work toward an architectural recourse that not only will resonate with people but also mold and influence our society while building and preserving our memories.

Terence Tan Director FOMA Architects

INTRODUCTION

9

HOUSE T

10

QINHUANGDAO, CHINA META-PROJECT

PROJECT

11

HOUSE T

10

QINHUANGDAO, CHINA META-PROJECT

PROJECT

11

“The architectural intent was to create a series of dynamic spaces to accommodate communal gathering.”

Located in a prime position, this new holiday home is set within steps of the beach, and offers a sweeping view of the sea.

Qinhuangdao, with its beach, is growing in popularity as a summer holiday destination for people from Beijing. But an hour’s drive further south is Aranya, a small town known for its serene beach environment and community spirit, and it is rapidly becoming the destination of choice for China’s growing middle-class.

This sleek design forms a number of new beachfront properties, catering to the growing number of people who are embracing the idea 12

of holidays at the beach. The house is oriented to the south to maximize the sea view while blocking out the summer sun, while its northern expanse provides protection from strong north winds.

The architectural intent was to create a series of dynamic spaces to accommodate communal gathering while also allowing light to diffuse through the house as well as airflow to circulate.

The interior enjoys natural daylight via large strategically placed windows, while the lower floor is fully open plan. The generous heights of the living room provide a feeling of openness and airiness while also embracing the views of the sea and sky.

HOUSE T

13

“The architectural intent was to create a series of dynamic spaces to accommodate communal gathering.”

Located in a prime position, this new holiday home is set within steps of the beach, and offers a sweeping view of the sea.

Qinhuangdao, with its beach, is growing in popularity as a summer holiday destination for people from Beijing. But an hour’s drive further south is Aranya, a small town known for its serene beach environment and community spirit, and it is rapidly becoming the destination of choice for China’s growing middle-class.

This sleek design forms a number of new beachfront properties, catering to the growing number of people who are embracing the idea 12

of holidays at the beach. The house is oriented to the south to maximize the sea view while blocking out the summer sun, while its northern expanse provides protection from strong north winds.

The architectural intent was to create a series of dynamic spaces to accommodate communal gathering while also allowing light to diffuse through the house as well as airflow to circulate.

The interior enjoys natural daylight via large strategically placed windows, while the lower floor is fully open plan. The generous heights of the living room provide a feeling of openness and airiness while also embracing the views of the sea and sky.

HOUSE T

13

SECTION

14

ELEVATION

0

5M

HOUSE T

15

SECTION

14

ELEVATION

0

5M

HOUSE T

15

16

PROJECT

17

16

PROJECT

17

18

HOUSE T

19

18

HOUSE T

19

CHHAVI HOUSE

JODHPUR, INDIA ABRAHAM JOHN ARCHITECTS

20

PROJECT

21

CHHAVI HOUSE

JODHPUR, INDIA ABRAHAM JOHN ARCHITECTS

20

PROJECT

21

“This stunning home was designed to conform with the ancient Indian Vastu design principles, regarding space, sunlight, flow, and function.”

This stunning home was designed to ensure a comfortable home despite the region’s extreme climate, and was also designed to conform with the ancient Indian Vastu design principles, regarding space, sunlight, flow, and function.

Located in a residential neighborhood in the city of Jodhpur, there was a need to create a sense of privacy, which was accomplished through the orientation of the views, screens, and courtyards in addition to the landscape design. Small gardens, bodies of water, a sculpture area, and sky-lit balconies were added to enhance the character of the villa.

Perhaps the most memorable feature of Chhavi House is the filigree screen that adorns the front façade. In a city where the temperature can often exceed 104ºF (40ºC), the screen is not only an aesthetic element but protective. It also serves as a reflection of the region’s traditional jalis, or perforated partitions, common in the region’s traditional architecture. The screen reduces the heat and glare during the day, serving to keep the house cooler. This beautiful feature screen combines the past regional architectural language with clean, modern lines.

The main entrance is inviting with its floating steps and meticulously planned lighting and landscape design. The double-height living area creates an impression of space.

22

CHHAVI HOUSE

23

“This stunning home was designed to conform with the ancient Indian Vastu design principles, regarding space, sunlight, flow, and function.”

This stunning home was designed to ensure a comfortable home despite the region’s extreme climate, and was also designed to conform with the ancient Indian Vastu design principles, regarding space, sunlight, flow, and function.

Located in a residential neighborhood in the city of Jodhpur, there was a need to create a sense of privacy, which was accomplished through the orientation of the views, screens, and courtyards in addition to the landscape design. Small gardens, bodies of water, a sculpture area, and sky-lit balconies were added to enhance the character of the villa.

Perhaps the most memorable feature of Chhavi House is the filigree screen that adorns the front façade. In a city where the temperature can often exceed 104ºF (40ºC), the screen is not only an aesthetic element but protective. It also serves as a reflection of the region’s traditional jalis, or perforated partitions, common in the region’s traditional architecture. The screen reduces the heat and glare during the day, serving to keep the house cooler. This beautiful feature screen combines the past regional architectural language with clean, modern lines.

The main entrance is inviting with its floating steps and meticulously planned lighting and landscape design. The double-height living area creates an impression of space.

22

CHHAVI HOUSE

23

CROSS SECTION

24

LONG SECTION

0

5M

CHHAVI HOUSE

25

CROSS SECTION

24

LONG SECTION

0

5M

CHHAVI HOUSE

25

26

CHHAVI HOUSE

27

26

CHHAVI HOUSE

27

CLEFT HOUSE

NEW DELHI, INDIA ANAGRAM ARCHITECTS

28

PROJECT

29

CLEFT HOUSE

NEW DELHI, INDIA ANAGRAM ARCHITECTS

28

PROJECT

29

“The clients’ desire [was] for an open, light-filled, and convivial home that brings together their family and friends.”

This intriguing structure was designed especially for a multigeneration family who all live at the same residence. Built on a narrow plot, their home faces a busy city road in a dense precinct.

The design reconciles the acute lack of visual privacy on the site with the clients’ desire for an open, light-filled, and convivial home that brings together their family and friends.

The overall approach to the design steps away from conventional circulation and spatial arrangements, typical to such residences that share party walls.

Rather, the architects considered the built volume as a breached monolith rather than as a composition of fenestrated volumes and surface renders. Faceted and insulated stone façades protect the house from 30

the lack of privacy to the front, and similarly the service areas, en suites, and closets are placed at the rear to mitigate southern heat gain. The deep carvedout void, bridged at the front and rear on the upper levels, creates a meandering, naturally ventilated, and social courtyard at the heart of the residence, pulling in views and balconies from all the rooms of the house. It draws ample light, softened by white and wood surface renders and the rooftop glazing, deep into the basement. The cross-ventilation of the atrium, controlled by operating the windows on the bridges, can be enhanced through thermal stacking in the summer months aided by an evaporative cooler for dehumidification, and through a wind tunnel effect during the monsoons.

CLEFT HOUSE

31

“The clients’ desire [was] for an open, light-filled, and convivial home that brings together their family and friends.”

This intriguing structure was designed especially for a multigeneration family who all live at the same residence. Built on a narrow plot, their home faces a busy city road in a dense precinct.

The design reconciles the acute lack of visual privacy on the site with the clients’ desire for an open, light-filled, and convivial home that brings together their family and friends.

The overall approach to the design steps away from conventional circulation and spatial arrangements, typical to such residences that share party walls.

Rather, the architects considered the built volume as a breached monolith rather than as a composition of fenestrated volumes and surface renders. Faceted and insulated stone façades protect the house from 30

the lack of privacy to the front, and similarly the service areas, en suites, and closets are placed at the rear to mitigate southern heat gain. The deep carvedout void, bridged at the front and rear on the upper levels, creates a meandering, naturally ventilated, and social courtyard at the heart of the residence, pulling in views and balconies from all the rooms of the house. It draws ample light, softened by white and wood surface renders and the rooftop glazing, deep into the basement. The cross-ventilation of the atrium, controlled by operating the windows on the bridges, can be enhanced through thermal stacking in the summer months aided by an evaporative cooler for dehumidification, and through a wind tunnel effect during the monsoons.

CLEFT HOUSE

31

CROSS SECTION

32

CROSS SECTION

PROJECT

33

CROSS SECTION

32

CROSS SECTION

PROJECT

33

34

CLEFT HOUSE

35

34

CLEFT HOUSE

35

36

CLEFT HOUSE

37

36

CLEFT HOUSE

37

THE HOUSE OF SECRET GARDENS AHMEDABAD, INDIA SPASM DESIGN ARCHITECTS

38

PROJECT

39

THE HOUSE OF SECRET GARDENS AHMEDABAD, INDIA SPASM DESIGN ARCHITECTS

38

PROJECT

39

“The courtyard design acts also as an oasis of tranquility amid the heat.”

This stylish home is clad in Dhrangadhra stone, a natural resource with a long history in the region.

As well as the appeal given by its mottled texture and color, the stone ages well, but also holds intermittent microscopic air gaps, making it a perfect insulator.

The stone is also used in giant blocks, forming a periphery, a border to the gardens, and providing a sense of containment and scale. The courtyard

40

design acts as an oasis of tranquility amid the heat. The courtyards also facilitate the convectional movement of air, and form a major part of the passive climate control in the home. In addition, stone fins and rough cuts perpendicular to the building face cause incidental shadows, providing cooling, and creating an ever‑changing rhythm of shadows and light.

THE HOUSE OF SECRET GARDENS

41

“The courtyard design acts also as an oasis of tranquility amid the heat.”

This stylish home is clad in Dhrangadhra stone, a natural resource with a long history in the region.

As well as the appeal given by its mottled texture and color, the stone ages well, but also holds intermittent microscopic air gaps, making it a perfect insulator.

The stone is also used in giant blocks, forming a periphery, a border to the gardens, and providing a sense of containment and scale. The courtyard

40

design acts as an oasis of tranquility amid the heat. The courtyards also facilitate the convectional movement of air, and form a major part of the passive climate control in the home. In addition, stone fins and rough cuts perpendicular to the building face cause incidental shadows, providing cooling, and creating an ever‑changing rhythm of shadows and light.

THE HOUSE OF SECRET GARDENS

41

Intended as seamless extensions of the living spaces, the gardens will mature, providing restful visions of green. After a long search, an appropriate sculpture was commissioned to finish the water body: a life-size sculpture of a pensive monk, worked from Beslana stone, gingerly poised on the water’s surface.

SECTION

42

0

5M

The light in Ahmedabad can be very sharp and harsh at times. A respite is offered by employing darker wall or floor surfaces to reduce any reflected glare. The interiors are embellished with rich

woodworked boxes that contain wardrobes and large luxurious en suite bathrooms, sitting within a volume of ceilings and walls all rendered in lime plaster applied like stucco. The house provides a perfect setting for the client to display their art collection.

The aim was to deliver a home that allows its occupants to live a life in the bosom of nature, sensing the seasons, entertaining their family and friends with art, sculpture, and objects all contributing to the serenity of the home.

THE HOUSE OF SECRET GARDENS

43

Intended as seamless extensions of the living spaces, the gardens will mature, providing restful visions of green. After a long search, an appropriate sculpture was commissioned to finish the water body: a life-size sculpture of a pensive monk, worked from Beslana stone, gingerly poised on the water’s surface.

SECTION

42

0

5M

The light in Ahmedabad can be very sharp and harsh at times. A respite is offered by employing darker wall or floor surfaces to reduce any reflected glare. The interiors are embellished with rich

woodworked boxes that contain wardrobes and large luxurious en suite bathrooms, sitting within a volume of ceilings and walls all rendered in lime plaster applied like stucco. The house provides a perfect setting for the client to display their art collection.

The aim was to deliver a home that allows its occupants to live a life in the bosom of nature, sensing the seasons, entertaining their family and friends with art, sculpture, and objects all contributing to the serenity of the home.

THE HOUSE OF SECRET GARDENS

43

44

THE HOUSE OF SECRET GARDENS

45

44

THE HOUSE OF SECRET GARDENS

45

Featuring more than 30 designer houses, this stunning book showcases the best award-winning homes of recent years across the Asia region, and details how the architects met the various challenges of location and environment—from heat to humidity and cyclones—to deliver a modern and livable home. With full-color photos throughout, this lavish edition provides an overview of the best contemporary house designs in Asia, charting trends in modernity.

$40.00 [USA] £35.00 [GB]