SABE . 07.19 . YEAR 1+2 . STUDIO by limkerchwing

07 : 19

YEAR 1 + 2

STUDIO

SABE YEARBOOK

07 . 19

year 1 + 2 . studio

School of Architecture and Built Environment, UCSI University

First Printing 2021 Copyright School of Architecture and Built Environment (SABE), UCSI University, 2021 All right reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopy, recording, or any information storage and retrieval system, without permission in writing from SABE, UCSI University. Published in Malaysia by SCHOOL OF ARCHITECTURE & BUILT ENVIRONMENT UCSI UNIVERSITY 1, Jalan Puncak Menara Gading, Taman Connaught, 56000 Cheras, Wilayah Persekutuan Kuala Lumpur, Malaysia. ISBN XXX-XXX-XXXX-XX-X

JULY 2019 CONTENTS YEAR 01

FOREWORD by Ar. Assistant Professor Chia Lin Lin

DESIGN STUDIO 01 l RECREATING WEAR-ABLE ARCHITECTURE

DESIGN STUDIO 02 l HABITABLE PAVILION パビリオン 01 // DISSECTING A CASE STUDY 02 // ‘WASHITSU’ 03 // THE FOLLY // HYBRID OF SPACE DESIGN LECTURE SERIES // THE JAPAN FOUNDATION OF KUALA LUMPUR

YEAR 02

DESIGN STUDIO 03 l UNITY 01 // EXPERIENCING UNITY SPACES AND BUILDING 02 // IMAGINING AND SCULPTING IDEAS

DESIGN STUDIO 04 l ARCHITECTURAL IIMPERMANENCE 01 // IMPERMANANCE SITE 02 // IMPERMANENCE BUS SHELTER 03 // IMPERMANENCE PASAR SUNGAI CHUA or SURAU AL-ISLAH

FOREWORD

BY AR ASSISTANT PROFESSOR CHIA LIN LIN This is an introduction by the Former Head of School and Current Deputy Dean of Faculty of Engineering, Technology and Built Environment of UCSI University Kuala Lumpur. In this little ecosystem of architectural education, we know that the process of teaching and learning is not an act of tutors pouring knowledge into the presumed empty vessel of students. Teaching and learning have a symbiotic relationship. This yearbook is here to record this chemistry; where tutors put forward their thoughts with carefully designed project briefs, setting out mini milestones for every level of learners. The students then bring into the design studio their energy and unconventional perspectives to drive the project to such diversities, render them with different depth and layers, where we in return as tutors are also given a chance to learn and relearn. This symbiotic harmony is the essential requirement for both teaching and learning, contributing to the common development between tutors and students. Through the presentation of this yearbook, I cannot help but notice how our faculty members have explored multi-dimensional issues addressing our current society, in great attempts to broaden the horizon of us all, giving a meaning to architecture and design in line with our underpinning philosophy. Architecture is not about luxury goods to serve the privileged few but a discipline in artful science to serve a purpose for greater community or common good. I look forward to the tradition of this yearbook to continue and I cannot hold back my excitement in anticipation of how we would be able to trace the trail of so many brilliant minds that make us stronger and clearer in our paths. Lastly, I must thank the editorial board who have gone through meticulous process of selecting and editing to come this far, and bringing us this yearbook marking the beginning of all that comes after. I thank all the tutors and students who have enriched my teaching and learning experience throughout my long years with UCSI University’s School of Architecture and Built Environment. The school makes its mark with you and together we make this our family.

JULY 2019 YEAR 01

DESIGN STUDIO 01

RECREATING

WEAR-ABLE ARCHITECTURE Ida Marlina Mazlan . Seri Intan Md Sidik . Ilyana Sujak . Chan Chiew Chuen “ The more our world functions like the natural world, the more likely we are to endure on this home that is ours, but not ours alone ” - Janine Benyus Wearable architecture is not only worn but also intends for its creation to be accepted as a serious and unique artistic statement. It’s like the marriage of fashion and visual arts, taking them both outside where they are independent, creating a new artistic platform. The exploration of design ideas was brought forward to the next level whereby students were to design a wearable piece of architecture based on their data collection in Project 1. The students were exposed to anthropometry and were to measure their own anthropometry as a start to understanding its importance in Architecture. Form exploration was based on the insect chosen in Project 1 as the spark of an ideation, placed in order with the support of design principles. Recycled materials were also encouraged to be utilised in this project to further enhance creativity. In line with the idea of studio learning, in-class activities supported the projects in the form of model exploration, and sketching to expose the students to the culture of experimenting.

Mustafa Khalid Abdulbaqi Al-Ojaimi . Nuuman Jamal Salum . Lau Yao Chong . Osama Amir . Sabah Ossama Abdelsattar Abdelghani Sokra . Walisungu Rachel Nkhoma . Muhammad Nyroze Muhammad Saad Shariff . Choo Yee Lit Cassandra Vava . Baveliana Wong Siew Yee . Soh Hoo Ze Xiang . Gilbert Tan Hong Tzer . Wong Kok Hong . Chu Yen Bing . On Zi Shan . Ottilia Avanus Jasri . Fan Khai Jing . Yap Yi Yang . Tey Yu Xuan . Tan Jia Ming . Ng Xin Ru . Ooi Pei Yee . Mohamed Rashid Mohamed Mihilar . Saja Shaheen Jalal Jalal . Wong Chee Jong . Low Kai Yi . Lee Jia Cie . John Lau Yong Hao . Pang Jian Sheng . Lim Zhuan Yang . Chia Yi Hen . Ngulube Chawanangwa . Dhiane Febriany . Tan Wei Ling . Bernard Tang Wei Kiet . Lam Qin Jun . Ang Wen Rui . Lau Yee Seng . Sayed Oubaidullah Nazir . Neoh Tiong Leng . Muhammad Yahya Adnaan Bankur . Ng Jian Zhe . Lye Sie Ngah . Looi Xiao Wei . Tan Wei Xiang . Teh Yong Peng . Oktavia Carlos Falensia . Mardeanna Nadya Binti Irwandee . Myriace Majurice Mahoutin Houssou . Waweru Robin Wambugu . Liew Ying Jie . Tan Zi Ling . Sim Jian Kiang . Law Jun Li . Mohd Syafiq Bin Rahman . Sara Jannath Nasrullah. Khoo Li Wen . Yap Sun Xian . Tan Li Ye . Lum Kar Man . Clarence Victor Chia . Guma Sylvester Makajil . Helen Lim Xin Ying . Abigail Joshua Wong Yan Lin

01 + 02 Tey Yu Xuan Tri-Dài Concept Sketches

03 + 04 + 05 Beverlee Choo Pei Yan Entwine Honeycomb

06 + 07 Ngulube Chawanangwa Cocoon Escape

08 + 09 On Zi Shan

σquarius concept sketches

JULY 2019

DESIGN STUDIO 02

HABITABLE PAVILION パビリオン

YEAR 01

01 // DISSECTING A CASE STUDY

Ar. Farah Aliza Badaruddin . Maliza Ismail Jamail Architectural precedent studies act as reference points, giving a clear understanding of what has been built in the past and how the knowledge can be transferred to produce better innovative design solutions. We must first dissect and critically analyse existing buildings that were designed by great architects, to understand the building anatomy, design and planning framework that help to convey the conceptual ideas related to their works. In pursuit of finding new design concepts, a precedent study will assist architectural students to expand one personal experience in producing richer and more detailed design solutions. As part of a design integration with History and Theory 2 subject, ‘The Art of Precedent Studies’ was about learning the architectural ideas that exist in the outer envelope and its internal spatial realm that was designed by Modern Architecture pioneers, such as Le Corbusier, Frank Lloyd Wright, and Mies Van Der Rohe. Modern Architecture was based upon new and innovative technologies developed out of the Industrial Revolution and became a dominant architectural style after the Second World War (WWII). Besides Western Architecture, the studies also included Asianinfluenced architecture, such as the Vernacular Traditional house, Komyoji Temple (Tadao Ando), Sunny Hills (Kengo Kuma) and House NA (Sou Fujimoto). The learning outcome of Project 1, was to identify the commonalities of design ideas and to examine the generic architectural solutions found in International builtprojects. Students familiarised themselves with the principle elements of design namely proportion, hierarchy, rhythm, and repetition that were inspired by Modern Movements in Architecture. At the end of the project, students demonstrated their understanding of space planning, design philosophies, building elements, and materiality through a rigorous process of researching and documenting using Analytic Diagrams and Formative Assessment methods. Precedent studies were valuable tools to be utilised before designing their own project as these helped to internalise new information and enrich the fundamental architecture vocabulary.

Wan Nor Amirul Hakim . Ong Khai Zhen . Meral Ahmed Said Mohamed Abdalla Gad . Rama Murad . Dora Amelia Tanjung . Eunice Lim Min Yee . Chong Tze Chean . Dea Tanneysa Aileen . Sadaf Shahid . Fong Li Theng . Tan Jia Xun . Kishanraaj A/L Ganesan . Wafiq Ahmed Nayeemudeen . Himaya Sachindri Perera . Nourhan Mohamed Mahmoud Ahmed . Cindy Collins . Lee Jian Zong . Liak Yuan Zhang . Muhammad Hasan Farhaan Sabebally . Tam Zi Syn . Nif Aa Mohamed Nazeef . Yoosuf Amsal Shahban . William . Ho Hao Xuan . Wong Wei Keat . Yong Ee Syuen . Ng Yue Qyng . Tan Loon Ying

11 10 Ho Hao Xuan Wong Wei Keat Wan Nor Amirul Hakim William National Museum of Western Art Tokyo by Le Corbusier

11 Eunice Lim Min Yee Tam Zi Syn Tan Loon Ying The Ennis House by Frank Lloyd Wright

12 Meral Gad Rama Murad Nourhan Ahmed Sadaf Shahid 12

Komyo-Ji Temple, Japan by Tadao Ando 11

13 Meral Gad Rama Murad Nourhan Ahmed Sadaf Shahid Komyo-Ji Temple, Japan by Tadao Ando

14 + 15 Dora Amelia Dea Tanneysa Cindy Collins NA House, Japan by Sou Fujimoto

16 Himaya Perera Wafiq Ahmed Nif’aa Mohamed Yoosuf Amsal Sunny Hills at Minami Aoyama by Kengo Kuma

16 13

HABITABLE PAVILION パビリオン 02 // ‘WASHITSU’

A ‘Washitsu’ or Traditional Japanese-style room is a multi-functional space that allows flexibility in spatial design. In Japan, the traditional open plan concept is still widely used until the present modern-day to create functional efficiency and spatial flexibility for homeowners. Japanese minimalist houses often blend gracefully with raw natural materials within a tatami-mat layout. Integrating multi-functional use of space by using lightweight sliding doors called ‘Shoji’ to be used as the living room, tea room, family room, working space. This space represents a culmination of Japanese Architecture and culture that encapsulates the traditional way of living with a touch of modern utilitarian features. TASK 1 : UNDERSTANDING CLIENT BASIC STUDIES 1. In this assignment, students chose one potential client who worked at the Japan Foundation Kuala Lumpur from varying backgrounds and were required to create a single compact space as his own working space. 2. When developing the clients’ characters, students were also required to clarify the identity of the client based on his or her profession, hobbies, characteristics and how the client can mutually benefit from the Japan Foundation Kuala Lumpur. TASK 2: ANTHROPOMETRIC STUDY 1. This task was to conduct an anthropometric study to understand the measurements and proportions of the body for human comfort. All the various movements of the chosen activity were visually captured to show its dimensional range and proportion of space. 2. The size of the working space was based on Tatami Room Configuration 3.520 m x 5.280 m. The maximum area was within 20m2, with no restriction on the height limit. The scale and measurement of the space were in accordance with the anthropometry for the activities that represented the profession of the client.

17 + 20 Eunice Lim Min Yee “COUNTENANCE “ - the Art of Dolls for Yuki Atae

18 Yoosuf Amsal Shahban Kenichi Yoshida Animator’s Retreat Home

19 Ng Yue Qyng Okiya . Minka (お茶屋.屋) Floating Tea House for Geisha - a symbol of beauty and mystery.

20 15

21 + 25 Dora Amelia Tanjung “THE WOOD“ A mysterious wooden house surrounded by nature for Butoh Dancer Yukio Waguri

22 Cindy Collins

嫋やか ‘Taoyaka’ - A house made of timber for the client to practice and rest for Azumi Yamano (Koto Player)

23 + 24 Lee Jian Zong “The Floating Shrine” is dramatically cantilevered out from the bridge to give a sense of mystery and privacy seeming to disappear with the surroundings.

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31 26 Dora Amelia Tanjung “The Wooden House” for Butoh Dancer Yukio Waguri

27 + 31 Himaya Perera Retreat Timber House for Artist Miwa Komatsu

28 Wafiq Ahmed A trip through the life of the sculptor embodied by the natural elements of water and light

29 Ng Yue Qyng Floating Tea House for Geisha

30 Fong Li Theng

“Kawaakari 川明かり” Client – Yume Shomura a volunteer, Japanese Language teacher, an educator

32 Tan Jia Xun 32

“The Battle Of Sumo” - A studio design that mimics “doh” (sumo-wrestling ring)

THE FOLLY フォリー 03 // HYBRID OF SPACE

THE FOLLY フォリ: Project 3 was about transferring and applying the basic knowledge learnt from the previous Projects (1 and 2) in designing a new hybrid of space that suited the context, the occupants and climates. In this semester, students designed a floating pavilion or a folly that acted as an extension to the Japan Foundation Kuala Lumpur Headquarters that better promoted mutual cultural exchange between Japan and Malaysia. Public intervention must exist in the dialogue with an existing site. Therefore, our site parameter was along the Klang River - which is part of the Kuala Lumpur River of Life (RoL) project that aimed to reconnect the city, the river, and its people. The word RIVER or (Kawa) in Japanese, symbolises life, development and rejuvenation. A river connects people and the surrounding urban fabric. In this final task, students designed a 120m2 work-play-eat habitable space. The studio space requirements were customised to suit the specific needs of the chosen client. The final project discussed the spatial potentialities and the relationship between the architecture and its inhabitants in creating a sense of cultural belonging. Hence, this proposal aimed to create an architectural intervention that encouraged and enriched Malaysia-Japan language, arts and cultural exchange.

34 33 Eunice Lim Min Yee “Countenance”- the Art of Dolls for Yuki Atae

34 Fong Li Theng

“Kawaakari 川明かり” A floating house with rotatable and moveable partitions

35 Yong Ee Syuen

“Ensō 円相“ An organic-circular house with a central point that connects all spaces together

36 Himaya Perera

落ち着いた”Ochitsuita” Client – Miwa Komatsu Large scale nature infused painter

37 Himaya Perera

落ち着いた”Ochitsuita” The measure of calmness by infusing elements of nature into the timber retreat house

38 Tam Zi Syn “The Sound Of Music” A wooden sailing houseboat, which can sail across the river to communicate music and melody with people around

39 Meral Gad “Contrast” A mix of extreme modern construction, in contrast with minimalistic timber interior for Hiroshi

40 Ho Hao Xuan “静けさ Shizukesa“ Client - Eiichiro Oda (Japanese Manga artist)

41 Wong Wei Keat House for Ryuichi Sakamoto – Japanese Music producer

42 Nif’aa Mohamed

Ayako Tabata (Tabaimo) A contemporary mixed-media artist specializing in immersive video installations 23

43 Dora Amelia Tanjung “ THE WOOD“ A mysterious wooden house surrounded by nature for Butoh Dancer Yukio Waguri

44 Wong Wei Keat House for Ryuichi Sakamoto – Japanese Music producer

45 + 46 Ng Yue Qyng Okiya . Minka (お茶屋.屋) Geisha, as a symbol of beauty and mystery.

47 Tan Jia Xun “ The Battle Of Sumo” - A studio design that mimics “dohy” (sumo-wrestling ring)

48 Kishanraaj A/L Ganesan 46

Serving an emblatic residence with a series of rectangles centrally bracketed by a tower

49 Liak Yuan Zhang A timber wooden house that adopts the design principles of Shigeru Ban (architect)

50 Tam Zi Syn

“The Sound Of Music” A wooden sailing houseboat, which can sail across the river to communicate music and melody with people around

DESIGN LECTURE SERIES THE JAPAN FOUNDATION KUALA LUMPUR guest speaker_ Mr. Kurihara Tsuyoshi Deputy Director / Head, Cultural Affairs Department, of The Japan Foundation Kuala Lumpur & Asia Arts & Cultural Exchange Programs

Kurihara Tsuyoshi visited UCSI University Kuala Lumpur on 30 August 2019 to give further insights on the the role of the Japan Foundation (JFKL) in promoting international cultural exchange. JFKL works to introduce a diversity of facets of Japanese culture from art, music, drama and film to fashion and design to the world. They do so through both traditional and modern performances, exhibitions promoting their arts and the Japanese film festival. The session was specially catered to SABE Architecture Degree Semester 2 students where Japan Foundation was their client and the proposed site was also in close proximity to the Japan Foundation in KL. This helped the students to further understand their client which would help them tremendously in developing their design project brief.

JULY 2019

DESIGN STUDIO 03

UNITY

YEAR 02

01 // EXPERIENCING UNITY SPACES AND BUILDING Dr. Ng Keng Khoon . Intan Liana . Teoh Lee Moi . Ar. Foo Wen Hui . Muhammad “Every person must try to help and see that the people are one-minded,with one loyalty and one aim, to make Malaya, the land we love, a happy abode for all of us. If we do this, then we can guarantee, security, prosperity and happiness for the future.” - Tunku Abdul Rahman

Malaysia has been united as a nation over six decades. Kuala Lumpur, the Malaysian capital, has undergone major physical changes during the nation-building era where important institutional buildings, state mosque, national stadium, museum and monument were erected. During 1955-1965, ‘Building UNITY’ was the core mission behind the creation of nationalist landscape and identity in Kuala Lumpur. These buildings play a significant role in helping the nation to form a Malaysian architectural modernity and discourse. As the architectural historian Dr. Lai Chee Kien argues, “…the architecture of Merdeka retained a waning yet persistent presence, reminders of an architectural golden era that I would argue has never been repeated since.”

Koh Jing Xiang . Chin Kuan Wei . Teoh Eng Nee . Foo Shuet Yee . Emmelia Anne Quek Yuen May . Lim Jenn Liang . Scott Lu Siao Yang . Koh Yuki . Chang Chon Yen . Woon Chin Siu . Frederick Ho Yong Jian . Lee Chea Ru . Teng He Bin . Yaseer . Htike . Kulthum Fuad Taib . Constance Tiong Yeng Ling . Aisya Nautica Binti Shaari . Christopher Charles Barker . Yong Jing Cheng . Chong Yit Sian . Tham Yue Xuen . Mohammad Tahiyat Islam . Jayson Louis . Tan Chee Bee . Sofia Izzati Binti S Sasmasari . Zharif Ramli . Lim Wen Jen . Angela Nsa Ndong Camara . Farisha . Lai Soon Chuen . Liew Shu Yi . Shirley Syn See Bui . Chia Chen Kit . Ong Wei Jun . Pang Buo Ying . Woo Jia Lie . Ko Chin Ho . Choong Jun Jie . Tan Jia Qi . Maaz Saeed . Victor Kam Han Choong . Chan Jun Yi . Vimal A/L Suntharam . Chan Xiao Hui . Melvin Lee Jia Yaw . Vesta Teh Ann Yee . Tan Shi Jia . Yap Jing Xuan . Heng Kang Lin . Chong Li Min . Naaven Rao . Tan Qixue . Teo Li Jin . Thivyan A/L Rajendran . Loo Ying Yong . Ravina Sharker Konica . Mohamed Medhat Hamdy Elkafrawy . Dinnesh Shaun . Sami Mohammed Ghaleb . Ivy Tee Wei Li . Wong Kwok Keng . Leong Khai Ying . Pan Kit Yong . Wong Mun Hong . Ting Zhen Ching. Tang Hui Teng . Lim Sze May . Ting Kai Lin . Gurcharanvir Singh A/L Parabvir Singh . Tan Kai Xin . Tan Fei Yin . Hossam Tarek Helmy Abdelhady . Wong Tze Wern . Mohammed Yousef . Tan Kian Keong . Song Fang Qing . Alfonsus Geraldo Poniman . Ng Poow Foong . Yong Yee Thong . Farid Basiruddin . Ang Yong Jian. Vivian Kuan Li Yoon . Wong Pei Pei . Goh Hui Jing . Khoo Mei Sheng . Mohammad Infan . Emmanuel Adjei Ayim . Adam Ng . Ahmad Akif Aiman Bin Khairuddin

51 Group Work Site Analysis Unity Muhibbah Unity Sketch 27

52 Group Work Unity Sketchbook

UNITY

02 // IMAGINING AND SCULPTING IDEAS Sculpture is a material form in real space with its most basic aesthetic quality. A good sculpture creates emotions; produces distinct perspectives; generates discussions and inspires imaginations. What is unity? Unity is a universal value of forming a complete and harmonious whole. It represents a quality of togetherness or oneness. In society, unity is important because when people from different backgrounds come together, they can understand each other and promote peace and stability. In architecture education, architects learn to deal with the arrangement of building materials and building parts to create a good sense of unity. In this project, students were asked to express their creative imagination and understanding of ‘UNITY’ through a sculpture design.

53 Goh Hui Jing Unity

54 Aisya Nautica Shaari Connecting

55 Ivy Tee Wei Li Revolve

56 Leong Khai Ying The Wave

57 Tan Chew Bee Together We Unite

58 Koh Jin Xiang The Muscle

59 Woo Jie Lie Bone of Blood

60 Loo Ying Yong Ironman

61 Lim Jenn Liang Mirror of Union

62 Htoo Lin Htike Power of Unity

63 Vestateh Connective

64 Tan Jia Qi Two World

JULY 2019

DESIGN STUDIO 04

ARCHITECTURAL IMPERMANENCE

YEAR 02

Yusra Binti Zulkifli . Nur Ulfah Awatif Umairah . Lim Ker Chwing . Liu Ngee Song . Marisa Diyana Shahrir . Noraishah Binti Mokhtar

Permanent architectural solutions that accommodate human activities tend to limit the flexibility of its usage. Planning for human activities should allow for change or adaptability to accommodate the growing or changing needs of its users. In 1960s, a few writers such as Reyner Banham and Cedric Price provoked the role of architects and planners in providing architecture that works where it provided the users’ needs and wants. These writers explored the idea of “self-build” or freedom to build and allow users to participate in developing the architecture that reflects their way of life. With the advancement of technologies, architectural sophistication must strive for impermanence that covers the total well-being of its users in both the physical and spiritual needs over time. This impermanence must satisfy the demands of stability and as well as change.

Abdulrahman Ghandi . Adreena Binti Abu Bakar . Adriel Ng Kai Win . Adryan Raj Naidu Tan . Alan Yeo Lik Howe . Alvin Wan Yuan Lee . Chan Jenyen . Chan Pui Yan . Chew Eu Xuen . Chiam Chun Siong . Chiew Jing Yi . Christine Liau Huey Shin . Chua Chyi Shyan . Denise Lui Cheng Thong . Dennis Hu Zhang Shin . Devan Kailanathan . Elshimaa Essam Abouelsaoud . Gwendolyn Chan Mei Yee . Hwong Yu Leong . Jack Lim Zhi Han . Jarod Yap Sheu Yuan Jason Lim Zhe Hui . Jensine Ngow Xiao Tong . Jeremy Leong Huey . Khor Jia En . Kimberly Polo Bastistiana . Kok Yuen Jing . Kong Yi Xuan . Lai Jiun Fung . Lai Kai Ying . Lau Shee Wei . Lau Wei Han . Lee Jing Ee . Lee Kheng Nee . Lee Pei Fern . Lee Shapiro Quan Xiang . Lee Yi Qian . Leow Zhi Wen . Liew En Yu . Lim Chun Hann . Lim Ni Fei . Mok Sher Lynn . Mominur Rahman . Ng Si Yi . Paritosh Amit Joshi . Polly Heng Pow Li . Rachella Anak Richard Raymond Lo Yin Wei . Rija Shahbaz . Rohma Habib Zaidi . Salma Aboubakr Fahmy Abdelazim . Sandra Leong Hui Ching . Shahba Ibrahim Rasheed . Sim Gian Wen . Soo Mei Jin . Soong Yau Joon . Stephanie Choo Mei Teng . Tan Ming Jin . Teoh Jia Ming . Teow Soon Poh . Tiong Jing Jing . Toh You Hang Wan Jun Hong . Wee Xin Lei . Wong Chee Yan . Wong Ing Sing . Wong Jian Chiun . Wong Rong Song . Yeap Huei Sze . Yong Cheng Wei . You Hin Lian

ARCHITECTURAL IMPERMANENCE 01 // IMPERMANENCE SITE

The site for the proposed “Impermanence Shelter” was in Sungai Chua, Kajang. It is located next to Sungai Langat and was once well-known for its tin mining industry in the late 19th century. With the rise of rubber industry during the time, most villagers engaged in both rubber-tapping and tin mining activities. These brought prosperity to Sungai Chua. Despite the changes and rising urbanisation of Sungai Chua, there’s a rich complex cultural element that exists between these different neighbourhoods. We analysed closely the city of Kajang and the 3 neighbourhoods involved, Taman Kajang Mewah, Apartment Kajang Indah and Taman Kajang Raya. We also surveyed and documented the existing bus stop or shelters along Jalan Wan Siew which was our site. Architecture is constantly changing and we will document it in order to anticipate its architectural evolution.

65 Site History The Tales of Ulu Langat Temuan , the aboriginals lived in the Langat Valley since 1580. Kajang name is formed after a type of screw pine for building the cascading (Kajang) nailed roof.

66 Site Model Collage The image transfer technique that is used in the site model visualizes the history of the whole site and the cultural elements that currently exist between the neighborhoods.

67 Mok Sher Lynn Contextualism: Urban Ideal

ARCHITECTURALL IMPERMANENCE 02 // IMPERMANENCE BUS SHELTER

Permanent architectural solutions that accommodate human activities tend to limit the flexibility of its usage. Planning for activities must allow for change and it is essential that the variation provided may be applied at any given time. An “Impermanence Bus Shelter” was proposed. We were to design a modular bus shelter using an IBS system which allowed for a customisable extension. With a modular design intent, this could be easily replicated at any site with quick and easy installation. These customised extensions were done through creative community engagements that fostered exchange of ideas with locals which gave room for improvisation and freedom to experiment. The “Impermanence Bus Shelter” served as a waiting area for the community that will added value, identity and a sense of belonging to the locals. The extension reduced the permanence of a bus shelter which allowed the community to reassess its worth and be able to relate to it directly.

68 Chew Eu Xuen Elements of Transportation

69 History of Bus Shelter To understand the basic purpose of the true function and purpose of a shelter and bus shelter. Through observing local architectural elements with rich local culture, we can conclude that bus shelter in Malaysia are influenced by wakaf and it’s evolution through the decade.

70 Chiew Jing Yi Gwendolyn Chan Chua Chyi Shyan Wong Rong Song Kong Yi Xuan K:JENG Bus Stop Modular System 45

71 Adreena Abu Bakar Lee Jing Ee Sim Gian Wen Tiong Jing jing Alving Wan Yuan Lee The Bus Stop Returns First Prize Winner for Impermanence Bus Shelter Design Competition

72 Lim Chun Hann Raymond Lo Yin Wei Tan Ming Jin Wong Ing Sing Wong Jian Chiun` The Res_ 站 Modular Bus Shelter

74 Jason Lim Zhe Hui Denise Lui Cheng Tong Wong Chee Yan Lai Kai Ying Rija Shahbaz Playstation

75 Lee Jing Ee Bus Shelter Extension : Pace Down

76 Jason Lim Zhe Hui Deux à Deux

77 Liew En Yu Waves within the Grids 50

78 Teo Li Jin The Revive PTS

ARCHITECTURALL IMPERMANENCE 02 // IMPERMANENCE _ PASAR SUNGAI CHUA or SURAU AL-ISLAH

Both Pasar Sungai Chua and Surau Al-Islah have gone through rapid urbanisation over the last two decades. We uncovered its history, origins and evolution in order to envision its new architecture. Some architecture has barely changed but the appearance of something new is rare as most architecture inventions are reinventions. Through our research and investigations, we rigorously experimented through sketches and model making and constantly questioned ourselves about the relevance of it. The proposal integrated with the existing architecture and accommodated to the fluctuating needs of the society. We strove for impermanence with designs that were challenging, questioned assumptions and empowered as collaborators.

79 Tan Ming Jin Revolution

80 Tan Ming Jin Pasar Pullet [ Market]

81 Jarod Yap Sheu Yuan Chrono Market

82 Jarod Yap Sheu Yuan Chrono Market External Perspective

83 + 85 Lee Pei Fern Circle [ Market ] External Perspective Sectional Perspective

84 Chew Eu Xuen [ Market ]

86 Lee Jing Ee 58

[ Market ]

87 Stephanie Choo Mei Theng Nur [ Mosque ]

88 Jason Lim Zhe Hui Ravi [ Mosque ] Light & Texture

89 Denise Lui Cheng Tong Riwagh Garden [ Mosque ] Facade Development

A Publication By Doris Quek Shu Han Ar. Farah Aliza Lim Ker Chwing Goh Hui Jing Lim Zhuan Yang Alexender Chong

Collaborator Ida Marlina Mazlan Dr. Ng Keng Khoon Yusra Zulkifli

2019-2020 School of Architecture & Built Environment Faculty of Engineering, Technology of Built Environment UCSI University