Sunday August 6, 2006
Uniquely Malaysian, but not kitsch
In their quest to create buildings with a Malaysian identity, some architects just stick a traditional roof atop a concrete box. CHIN MUI YOON talks to one architect with a more holistic approach.
REEDS lining the water’s edge, sunlit patterns on Orang Asli huts and filtered light – these and many other everyday scenes provide inspiration for man seeking a truly Malaysian identity.
Viewed through the observant eyes of 47-year-old architect Chris Wong, Malaysia is a treasure trove of natural traits that can be turned into architectural masterpieces.
Natural elements of rain and sunshine that generate a vibrant intensity of colours, and textures from tree bark and fabrics alike, often inspire his first sketches for building schemes.
“Traditional forms, facets and heritage, too, can be translated into buildings, if only we see our environment with fresh eyes,” the C’arch Architecture + Design’s principal said during Datum: KL2006, the Persatuan Akitek Malaysia's international architecture design conference in Kuala Lumpur last month.
”Such designs evoke everyday memories and yet are contemporary. The richness of our culture, colours and life makes for easily understood and identifiable designs without being overly profound.
“It also enables us to avoid the pitfalls of ‘copy and paste’ architecture all too prevalent in our cities today.”
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The Clearwater chalets encourage an interaction with the natural elements of water, rain and foliage surrounding the property. |
“These are essentially simple yet effective responses to climate, terrain and usage. “
“Rain often conjures negativity,” he lamented. “We tend to hide ourselves from it. Yet, rain brings cleansing and renewal. I’ve had foreign guests captivated with what they describe as marvelously real storms that we have here, unlike the constant drips and drizzles they have, like in London. Unfortunately, most of us live in enclosures that keep out these wonderful elements.”
For the Clearwater Sanctuary at Batu Gajah, near Ipoh, Wong transformed climatic ideas into his spatial compositions for the resort sited on former tin mining land in Perak’s Kinta Valley.
With 140ha of sprawling greenery sprinkled with tranquil lakes, the location is home to old raintrees and a rich variety of birds.
The guest chalets’ wooden balconies are perched over the water, exposed to sun and rain. Each unit is built with simple metal roofing sheets, brick, plaster and sustainable local hardwoods.
Garden courtyards and open-air bathrooms complete the experience of living in the tropics.
“These were designed from a palette of materials that is sympathetic to the essence of our indigenous shelters,” Wong explained.
“We composed the details to celebrate moments of changes in our weather through a day. Water connects the sky and lake where it is channelled through the building to enhance what I’d term as a symphony of senses.”
Wong further illustrated the point with an aluminium sunscreen for a private home, featuring a cut-out design of trees. This was inspired by the unique species of trees growing at the Forest Research Institute of Malaysia (Frim).
Even a lace kebaya’s delicate embroidery is translated into a cladding proposed for a home.
“This enables a house to take on a uniquely Malaysian personality and heritage. It identifies immediately with its locality and is beautiful, yet useful,” said Wong.
Architecture, he added, is not about cold, lifeless lumps of concrete, steel and glass devoid of a voice, face and identity.
Some buildings are just that – a square of concrete crowned with, say, a kampung-styled roof, that is nothing more than kitsch, he said.
“We need intelligent and responsible response in our buildings.
“Addressing the climate is first and foremost on our agenda. Hence, we have high roofs, vernacular timber screens and tropical plants representing solutions to our tropical needs.”
An exemplary project is Damai Suria, a low-rise condominium along Jalan U-Thant in Kuala Lumpur completed in 1998. It won an Honorary Mention for the Repetitive Residential category in the Malaysian Institute of Architects (PAM) Awards 2000.
The 30 units are spread across 0.6ha of prime land in a courtyard house design. Louvre windows, terraces and split roofs encourage natural ventilation, “because we can’t air-condition every bit of space,” said Wong.
The pool is remarkably natural, merely concrete without any blue or aqua tiles so it reflects a clear green.
“I am a modernist, but certainly not a brutalist!” said Wong, who was educated at the University of Houston and Cambridge University.
“We refer to our culture in a modern manner, but translated into a gentle, liveable space.
“I believe spaces should somewhat grow on you. If a space is immediately appealing, I don’t think the feeling will last long.”
An example of Wong’s architecture with a futuristic concept translated from traditions is the Cyberia Crescent apartments in Cyberjaya.
The swimming pool is located on the rooftop terrace, instead of the usual ground floor courtyard.
A glass-encased gymnasium is seemingly suspended over the water here.
A unique feature along the gym is the design of the 4m tall Brise Soleil, a French term for sunshades used in tropical or Mediterranean climates, for wide spans.
These vertical fins in vivid purple make a decorative solar shade and, at the same time, double up as a water feature to channel rainwater from the roof on rainy days.
“We know the peak of an era is when arts and design are flourishing, like during the Tang Dynasty or the Renaissance,” said Wong.
“We need a generation to grow up and appreciate beyond the bricks and plaster we commonly design with, and not be content with the concrete boxes given to us by many developers.
“Every good building has a story to it. People do want to know how it was inspired.
“It will be great if we could have buildings inspired by Malaysia and things that are intrinsically ours.”
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