Building construction (assignment 1)

CASE STUDY OF
THE NEW MALAYSIAN HOUSE:
THE APPLICATION OF MATERIALS

TUTOR //
MR. AZIM SULAIMAN

GROUP MEMBERS //
MOHD HAFIZ BIN MASRI ONN 0334944
VIKTOR ZEIDLER LIM 1006aH79876
ROSABELLA ZUNTIVAI MOBIJOHN 0322106
AIMI FAIRUZ 0328878

CONTENTS //

ACKNOWLEDGEMENT…………………………………..…2
ABSTRACT…………………………………………………….3
INTRODUCTION…………………………………………...…4
BUILDING 1: WOOI HOUSE by WOOI
ARCHITECTS……………………………………………….....5
BUILDING 2: SEKEPING SERENDAH by SEKSAN
DESIGN……………………………………………………....16
BUILDING 3: LOUVREBOX HOUSE by KEVIN LOW…….28
BUILDING 4: DESA HOUSE by STUDIO BIKIN…………...40
CONCLUSION…………………………………………...…46
REFERENCE………………………………………………….48

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ACKNOWLEDGEMENT //

This report would not have been successful without the contributions,
guidance, support and sacrifices of many individuals and organisations. First and
foremost, we would like to express our profound gratitude and deep regard to
Mr. Azim Sulaiman, our tutor for giving essential information and suggestions to
enhance the findings of this report.
Furthermore, I, Mohd Hafiz bin Masri Onn as the representative for this
group want to thank all of the group members involved Viktor, Rosabella and
Aimi who had equally gave in efforts from the start up to the completion of this
report. Also, not to forget our classmates that were willing to share ideas and
informations regarding this project.

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ABSTRACT //

The scope of the case study enriches our knowledge of building materials
in public building. In order to achieve a holistic understanding of the application
and specification of the materials that was constructed in a building, the project
aims to widen our prospects in these knowledge through experiential
exploration in spaces inside the building chosen by researching. By experiential
exploration, we get to achieve on the suitability of materials used in relation to
the building design. To dive into the materials used in the building was an
opportunity to fully grasps the reality of how each and every component comes
together seamlessly, maximizing its functionality.
Through the process of documentation and analysis, our understanding
and interpretations were able to be projected and organized, displaying the
clarity in the understanding of the knowledge, the interconnection between
one materials with another and also related to the surrounding of the chosen
building site. The compilation of the following report illustrates the ability of
applying and relating the knowledge obtained into the case study, the analysis
of how the building materials has achieved its effectiveness and give benefits to
the user.

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INTRODUCTION //

In Malaysia, there are a lot of Malaysian houses and villages. These
villages are called "kampongs" in Malay. They are built with stilts below and they
have large windows. This is mainly to keep the building cool and the stilts elevate
the building to keep them away from floods. Kampong houses are detached
houses and they usually have no fences around them. The traditional Malaysian
house serves the housing needs of the majority of people living in rural areas of
Malaysia. It was evolved by the Malays over the generations, and adapted their
needs, culture, and environment. Basically a timber house with a post and lintel
structure raised on stilts, with wooden, bamboo, or thatched walls and a
thatched roof, the house is designed to suit the tropical climate.
The new Malaysian house demonstrate a remarkable flowering of design
genius in Malaysia at the beginning of the twenty-first century. To show the
growth in Malaysian Architecture from a traditional style of houses used to be
back then to a modern style but to related with the location of the site and
climate in Malaysia. Malaysian architects have a various and different of ideas
and principles which we can determine the design is not only about an
eye-catching building and massive design or luxurious but the relationship
between climate and culture that makes malaysian houses much more
identical. In the new style of Malaysian houses, materials such as timber and
bamboo still been using in the construction but more to the finishes to make the
design more aesthetic and respond to the context.

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BUILDING 1 //
WOOI HOUSE,
SHAH ALAM, SELANGOR
ARCHITECT: WOOI LOK KUANG, WOOI ARCHITECTS

1. BRIEF BACKGROUND OF THE HOUSE’S ARCHITECT/DESIGNER

Wooi Lok Kuang studied architecture at the University of New South Wales.
His mentor during his final year was Russell Jack, a partner in Alan Jack and
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Cottier and designer of the Cater House. He also found inspiration in Bruce
Rickard’s Mirrabooka House and the houses of RAIA Gold Medal winner Rick
Leplastrier, specifically the Rainforest House at Mapleton and Leplastrier’s own
house at Pittwater. The latter is a model of ecologically responsive design with
respect for nature and the site.
Wooi lived in Sydney for ten years, and on his return to Malaysia in 1991 he
took up employment with Jimmy CS Lim, where he was immediately involved in
the detailing of the Schnyder House. Later he was project architect on the
Impiana Resort Cherating in Pahang and spent some considerable time
researching traditional architecture in Malaysia. In 1996, Wooi quit CSL Architects
to set up his own practice.

FIGURE 1.1 Photo taken of Ar. Lok Kuang Wooi during Tedx Talk at Sunway University

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2. HISTORICAL BACKGROUND

The Wooi House, completed in 2003, designed for his own family, is
succinct statement of his evolving architectural philosophy. It has enabled him
to make connections with and evoke memories of his boyhood spent in a
kampung (village) at Tanah Merah in Kedah.

FIGURE 1.2 The hallway
(Source: http://www.mtc.com.my/resources-Projects-WooiResidenceSelangor.php)

The starting point for the construction of the house was the positioning of
the main 16 metre high structural column. This is closely connected with the ritual
of building a kampung house where ‘tiang seri’ (principal post) is first placed on
the selected site. From this column umbrella like timber roof members in the
shape of a fan radiate outwards and support a zinc titanium roof. Both plan and
section are designed to ensure that no direct sunlight enters the main rooms.
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FIGURE 1.3 A towering column, analogous with ‘tiang seri’ or principal post of a traditional Malay kampung
house, is at the heart of the Wooi House

FIGURE 1.4 The umbrella-like roof is supported on angled timber struts that radiate from the main structural
column
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The house was designed with a self contained studio on the lower ground
floor. Natural materials, ventilation and daylighting define the design, creating
high quality living space while demonstrating the beauty and efficiency of
architecture that lies in harmony with its surroundings. In section the building
hugs the steeply sloping site with curved, load-bearing brickwork walls and a
simple timber-frame roof structure. Local hardwoods are judiciously used and
the humble brickwork is exposed - unlike that of almost 90% of Malaysian
buildings allowing the workmen to take pride in their craft.

FIGURE 1.5 Evening sunlight filters across the timber floor in the children’ study space

The house is beguiling. Wooi insists that the sinuous plan form, in the shape
of a crescent with a leaf like protrusion, is not contrived, that it is simply a rational
response to the topography and the limited views and has no convert
symbolism.
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3. MATERIAL EXPLORATION

The material that been used in this house is clay bricks, timber and glasses.
These materials purposely used by Wooi as he want to gain a feeling of a nature
inside out the house parallel to his philosophy and principle which respect for
nature and the site. Common bricks are used but wide joints make up for
inconsistencies and irregular sizes and gives the walls an incredibly tactile
quality. The bricks are slightly underburnt, which adds to the texture.

FIGURE 1.6 & 1.7 Wide mortar joints make up for the inconsistencies and irregular sizes of the bricks and give
the walls an exceptionally tactile quality

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Careful detailing was necessary to ensure all services were installed
accurately. To avoid chasing of the brickwork, the electrician had to work very
closely with the bricklayer. Plastering of fair-faced brick walls was not an option
and exposed conduits were ruled out. The cantilevered main staircase is aligned
precisely with brick joints. Timber louvres filter light across the polished cement
floors, imparting a slightly austere ambience.
The house is entered at ground level, 1.2 metres above the vehicle court.
The entrance, on the north facade, leads into the curved reception room
overlooking the bamboo-fringed courtyard on the south side of the house. A
semicircular guest suite is located at the eastern extremity of the plan and the
kitchen is situated at the western end, with the leaf shaped dining room beyond,
pointing southwest. A small balcony, a delightful place for a relaxed breakfast,
cantilevers from the kitchen above the dark infinity pool on the western
boundary.

FIGURE 1.8 The fan-shaped dining room flows through to the breakfast bar and kitchen beyond
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Although Wooi has an office in the city, he frequently works from home.
Here, his office is located at lower ground floor level overlooking the pool. It can
be accessed from within the house or via an external stair from the vehicle
court. Both the lower ground floor and ground floor have high ceilings, which
aids cross-ventilation and cooling.

FIGURE 1.9 The fan-shaped dining room flows through to the breakfast bar and kitchen beyond

The first floor is the most private area of the house and contains a curved
family room, the children’s study area, two curved bedrooms and the master
bedroom, with an extraordinarily beautiful vaulted timber ceiling in the shape of
a leaf. Wooi speaks of his own preoccupation with materiality, light and space
when designing his house. He points out, with unconcealed delight, ‘the sense
of mystery in the curve’ and how space is ‘slowly revealed’. Enthusing about
‘the architecture of the brick wall’, he poetically defines the interior of the house
as ‘shades of darkness’.
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FIGURE 1.10 Family area that have the full-glass to FIGURE 1.11 The master bedroom in the southwest
give daylight to enter the space and get the corner of the site is in close proximity to the tree
ambience and overwhelming feels when we in canopy
the family area

FIGURE 1.12 The architect refers
poetically to the quality of light in the
house as ‘ shades of darkness’
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4. FLOOR PLANS, ELEVATIONS, AND SECTIONS

< FIRST FLOOR PLAN

< GROUND FLOOR PLAN

< LOWER GROUND
FLOOR PLAN
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The layout scheme in Wooi House takes advantages of the North-South
orientation to allow optimum natural lighting. The house has kidney-shaped plan
with three floors fanning around and overlooking a bamboo garden through an
extensive faceted glazing. The central garden of the house is a remarkable
tribute to the study of sustainability.

The level are split so that
gaps are created for
effective air movement and
thus reducing the discomfort
of tropical humidity. The
studio is confined to Lower
Ground Floor and First Floors
and living and family spaces.
The unifying element is the
oversailing umbrella like roof
with large overhang to
shade the brickwall and
various parts of the house
including study and sun
deck.
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BUILDING 2 //
SEKEPING SERENDAH, RAWANG
DESIGNER AND LANDSCAPE ARCHITECT: NG SEKSAN, SEKSAN DESIGN WITH LAU
JIAN PYNG, TAM MEI SIM, CAROLYN LAU & CHEW POH FOOK


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The house is the creation of Ns Seksan who qualified as a civil engineer in
New Zealand before pursuing into becoming a landscape architect. The place
serves as a family weekend retreat from the city. The 5.5 square meter cube
structure is located at a primary jungle, approximately 40 kilometers north of the
city, Kuala Lumpur. Getting there, one is required to go off road the Kuala
Lumpur-Ipoh highway, passing through a lake and a forsaken quarry before they
set foot on a natural trail of the jungle. The first impression of the house upon
one’s arrival is that the structure visibility of it being quite a contrast to its natural
surroundings. The architect stated that the “Sekeping Serendah is a personal
experiment and demonstration of building on a steep vegetated site without
damaging the inhabitant land.” The architects emphasize that the house should
contradict to the slash-and-burn method of building development and
construction in Malaysia. They also attempted a minimum member sizes usage
for a simple dwelling.

Sekeping Serendah is a modernized ‘jungle hut’ in a dense forested valley. The
house does not depend on modern technology, it is more of a traditional
dwelling. The architects wanted to create a connection between the house
and the nature surrounding it. Thus, they built it on higher grounds of remote
terrains, broken only by the sound of water tumbling over rocks and tree roots.

Moreover, the house includes elements such as 100mm x 100mm ‘I’
beams, 100mm x 100mm square hollow section steel posts and 20mm steel
cables for cross bracing. Five steel pilotis provides support as it raises it above the
steeply sloping valley floor. The structure also includes a monopitch roof. It has a
wide projection eaves to shelter from rain and sun. The two floor levels; ground
and first floor, holds a height of approximately 3.5 meters, as the first floor with a
soffit follows the sloping roof. Both roof and walls are clad in Zincalume custom
orb profile.
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About fourteen years ago, landscape architect, Ng Seksan had a vision to
start a radical yet eco-friendly move as he became unrestful due to the fact
that the occurrence of globalisation in designing has been gradually increasing.
Hence, that is when he decided to challenge himself on taking commission work
in Kuala Lumpur, Malaysia where he is established.

Based on an article, Green Maverick Ng Sek San (Jesse, 2012) states that Ng
Seksan seeks to find egalitarian solutions that are simple, affordable and are
capable to tread the land as harmless as possible. By doing this, he invested his
time and efforts in his personal projects called Sekeping with, in his words, “total
irrelevance to engineers, clients and local authorities” to accomplish his
earth-friendly solutions on designing to compliment challenging terrains and the
surrounding environments.

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The Sekeping projects of his are about extending the influence beyond their
expectations and physical boundaries to uphold a wider and functional
neighbourhood. Ng Seksan also has a philosophy on not finishing things as he
tends to appreciate the ‘imperfections’ that “only God is perfect but humans
like me are born to err”. It is also been said that after the years of his involvement
in the building industry, he had always been exposed to a very hierarchical top
down and ‘vain’ business.

Sekeping Serendah uses quite a number of materials that are applied at the
house to ensure that it is free from lavishness and to maintain them in a raw form
and structure. The architect, Ng Seksan, himself believes and emphasizes in
using only local materials as much as possible. The reason is because the
obtained materials are low in cost, mainly in transportation as well as function
ideally for being sustainable materials. The materials used are glass, timber,
concrete, metals, bricks, stones and also clay. These materials are also being
named as five different chalets with different design of exterior and interior.

Firstly, the glass used for the house is considered to be one of the underrated
materials, mostly used as facades of the house. This is because glass can
actually enhance the concept and essence of the surrounding nature visually.
At the site, glass panels are built in the two-storey house as casement windows,
curtain glass walls and doors. The transparency provided from the glass helps to
create a sense of openness, visual contact and foliage view within its
surroundings. But at the same time, provides privacy from an outsider’s view and
is aesthetically pleasing.
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FIGURE 2.1. The windows covers up almost half port- FIGURE 2.2. Glass allows interaction and views betw-
ion (mostly the living room area) of the house as it een two different spaces; the bedroom and the
acts as curtain walls outdoor living area

FIGURE 2.3. The reflection from the glass panels are
to camouflage the house within the forest.

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Plus, the glass at the living room area works as protection from the
environment and living things outside. With the use of reflection, glass panels are
able to show images of the nature (such as trees and the sky) to make sure that
there is an adapted vision with the site context. Therefore, the glass in the house
are to camouflage it in the forest. Whereas glass frames are ideal as they help to
emphasize verticality and directs a person’s vision towards the tree top. They
also widen up the view to a maximum range so that the guests are able to
obtain a sense of openness and visual impact.

Next, timber is used as stilts to elevate the house which are placed on slopes
so that the house can tread easily on land. Basically, timber stilts and platforms
works as a supportive structure of the building. However, at the living room area,
it is also capable on highlighting all the verticality of the house, especially while
complimenting with the surrounding trees and to blend into the site context.
Similar to glass materials, timber also help to enhance visual adaptation by
camouflaging the house within the forest. This is because they are able to
create visual lightness for the exterior and at the same time, promoting the
sense of openness between the house and its nature surrounding. Moreover,
timber compliments with the surrounding trees as they are strategically placed in
order to contextualise with the site.

FIGURE 2.4. Shows the verticality between the stilts FIGURE 2.5. Timber is used as stairs, stilts and platforms
And the punctuation coming from the tree trunks
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FIGURE 2.6. The relationship between different materials; concrete, steel, bricks and timber are clearly
shown and compliments the whole outlook of the house

Concrete material is also one of the main materials that is being used as the
facades, slabs, stairs, stilts and many more in the Sekeping Serendah retreat
house. As slabs, concrete functions as raised foundation with the use of
concrete stilts to make it even more practical whilst able to preserve and
conserve the surrounding nature. Besides being a supportive structure of the
house, concrete stairs provides views of layered rocks underneath that lays on
the ground. This relates to the unfinished concept Ng Seksan was approaching.
Plus, the texture of concrete itself gives out a feel of stiffness and stability while
enabling it to adapt to the natural environment. From a person’s view upon their
first encounter with the house, they might have a thought that the house had
already existed there as both nature and man made elements balances each
other. Furthermore, concrete is also used as an innovative design in furnitures.
For example, concrete is being made into a table or even counter tabletops,
giving off a rustic look at the building, which complements the house original
concept.

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FIGURE 2.7. Concrete is used at the backyard as landscaping elements as well as
Furnitures (tables and countertops)

The fourth material is steel that is being used as furnitures and facades to
provide significance in designing elements. Steel enhances the place when it is
turned into furnitures as it uncommon, unique and practical. By adding this
element, the guests are intrigued with the variety of usage coming from a
certain material. Moving on, just like the other materials, steel also acts as a
camouflaging element. Steel are able to provide a ‘transparent’ look as it can
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be turn into small bridges and balconies in a form of a net platform, which helps
to overcome water puddles on surfaces and improves a lightness feeling.
Besides steel, there are also brick stairs, pathways and walls that blends in with
nature, especially with fallen tree leaves that so oftenly occurs on the
groundbed. The scenery of the house from afar looks pleasing as the colour of
the reddish hue of the bricks works well with the contrast of yellowish hues
coming from the fallen tree leaves.

FIGURE 2.8. The openness and visibility provided by the steel material
Enables the guest to have a 360 degree view of the area

FIGURE 2.9. Steels as innovative furnitures, making the place and its
surroundings look even more interesting and unique
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Lastly, stones are used as a landscape element as it is turned into boulders.
The stones are purposely placed at the surrounding site, making it visible upon
one’s entrance to the house. These stones function as landscaping stairs. Ng
Seksan chose to include stones as one of the materials as it completely blends in
with the nature as well as being a directional element at the surrounding of the
house.

FIGURE 2.10. Stone boulders are placed at the entrance of the house, surrounding the whole site, acts as a
directing element

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4. FLOOR PLANS, ELEVATIONS, AND SECTION
GROUND & FIRST FLOOR PLAN

ELEVATION

26

SECTION

According to the sectional view of the house, the space consists of quite a
number of openings that allow air flow to pass through while being in a constant
and suitable amount. This also means that the whole area of the house is airy
and builds a connection between the surrounding area outside and the interior
of the house.

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BUILDING 3 //
LOUVREBOX HOUSE,
GITA BAYU, KUALA LUMPUR
ARCHITECT: KEVIN LOW - SMALLPROJECTS

FIGURE 3 Exterior view of the Louvrebox House from the entrance
(Source: https://archnet.org/sites/6728)


SmallProjects was born in 2002. Its work involves house, building and utility
design. The company is run by Kevin Low who returned to Malaysia and culture
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shock after nine years in the west with a bachelor's and master's degree in
architecture and a minor in art and architectural history. Kevin has, over various
periods in his life, been professionally involved in writing, environmental
sculpture, illustrating, teaching and copyrighting. He works by way of a process
rooted in the phenomena of experience. He has presented papers on building
technology at Harvard University and lectured in the architectural department
at MIT. While in the United States, Kevin worked in architectural practices both
on the East and West coasts and studied closely with the Aga Khan Foundation,
earning awards of research grants and fellowships to Italy, North Yemen, Spain
and Bangladesh. He joined GDP Architects upon his return to Kuala Lumpur
where he stayed for the next eleven years, running the r + d and special projects
division. His work while at GDP architects included project branding, budget
hotels and high end condominiums, a refurbished warehouse for a corporate
office, various housing types, guardhouses, garden memorials, mailboxes and
master plans; the last one being the master plan for Sentul in Kuala Lumpur.

FIGURE 3.1 Mr. Low being photographed while interviewed by Denna Fascia of Konteks.org
(Source: http://www.konteks.org/a-free-talk-with-kevin-mark-low)
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The site for the Louvrebox House us a steeply sloping rectangular plot 15 metres
wide and 36 metres long running north to south within a gated community at
Gita Bayu. Kevin Low’s response was to design a ‘shoebox’ shaped house which
is 5 metres wide, 25 metres long and 10.5 metres high. The challenging terrain
played a fundamental role in the architectural solution but the starting point for
the design was the traditional kampung house. The initial idea was to set the
building on stilts, effectively freeing the area beneath the house for landscape.

FIGURE 3.2 & FIGURE 3.3 Front edge of house exterior viewed from the south-east and north-east
(Source: http://www.small-projects.com/p7.php)

Furthermore, traditional houses in various parts of Malaysia are held off the
ground by timber columns to avoid floodwaters, allowing ventilation and space
beneath for the mending of nets and drying of boats and fish, the louvrebox
house uses its undercroft as a place for dining and domestic living. With louvres
bringing shade and privacy to sleep above and a ground floor below used from
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garden wall to wall, the house poses fresh uses for a form sensitive to its origins.
The undercroft has subsequently become a living space but the strength of the
initial parti is still apparent.

Additionally, the Louvrebox House was actually designed for a Swedish
businessman and his Malaysian wife, but in mid 0f 2006, it was rented to an
expatriate Australian family whom the large outdoor room in the form of the sun
deck and 17 metre lap pool was the focus of the family activity. As shown on
Figure 3.3 , The living room was originally conceived as an open space beneath
the house. Subsequently enclosed, it enjoys an agreeable microclimate
alongside the pool.

FIGURE 3.4 Views of the subsequently enclosed living room alongside the pool
( Source: https://archnet.org/sites/6728/media_contents/66261)
31


The building material selection is the most crucial during the design stage
considering the substantial impact on its long-term sustainability ranging from
aesthetics and appeal of the building. Furthermore, its buildability and cost
(Sassi,P. 2006)

Due to the hot and humid weather of Malaysia, local materials are used
throughout the Louvrebox House but carefully focused on key details which
belies this economy says architect Kevin Mark Low. Building materials which has
been used throughout the house are bricks, glass and concrete. Therefore, to
sustain an eco-friendly and a sustainable living environment.

FIGURE 3.5 The relationship between different materials; bricks,glass and concrete clearly shown and
compliments the facade of the house
( Source:https://archnet.org/sites/6728/media_contents/66262)

32

Firstly, Bricks are used for structural and aesthetic purposes in the Louvrebox
House. Some of the brick walls are actually being built by recycled bricks. The
intention is to reduce the cost and also preventing damages towards to site by
having to transport it from a certain place to the house. Due to its durability,
bicks have a long lifespan because of its high embodied energy and low
operational energy properties. Furthermore, it is low maintenance and can be
recycled and reused over and over again.

FIGURE 3.6 Brick walled garden stair entry to lower plinth viewed from the northeast and
Figure 3.7 Entry courtyard and monsoon mailbox viewed from the north
( Source:https://archnet.org/sites/6728/media_contents/66257)

Furthermore, first glance at the Louvrebox House and the first image you will be
able to see is the long glass panels. To blend in with the nature, architect Kevin
Mark Low applied the concept transparency and openess to connect the
interiors and exteriors of the house. With proper ventilation in the interior, the
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glass wouldn’t affect much heat gain in the house as natural ventilation occurs
throughout the house from day to night by means of cross and stack ventilation.

FIGURE 3.8 Glass lobby viewed from the lower plinth from the southwest
(Source: https://archnet.org/sites/6728/media_contents/66269)

The glass that is being used has good insulation properties and thus, functioning
better than brick wall with high thermal capacity. Full height glass panels are
being used instead of the low openable windows in the Traditional Malay
Kampong House because it allows the occupants to enjoy the surrounding
nature and context. Adjusting the size of the window openings, creates a
“venturi” effect where positive pressure builds up in the lee of the house and
effectively promotes air movement.

FIGURE 3.9 Living room with opened glass sliding doors viewed from the northwest
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Moreover, taking weather and climate into consideration, concrete is used
majorly in the Louvrebox House such as the stairs, lap pool and futhermore
because of its sustainability to withstand in any type of Climate especially the
inconsistency of Malaysian weather. It could be sunshines one second and
raining cats and dogs in a glimpse.

FIGURE 3.10 Concrete wafer treads of the post-tensioned stair

Architect Kevin Low chose concrete due to its durability. Therefore, it is not
weakened by mould, moisture and pests. The 17 metre lap pool shown in the
form of a Concrete ‘trough’ water spills over the end wall to be recycled as
shown in Figure 3.11. Additionally, the lap pool aids cooling and the creation of
a satisfactory micro-climate alongside the pricipal living areas. Furthermore, with
concrete present, the house has high thermal mass which can slow down the
passage of heat into the building via conduction. Lastly, it absorbs heat when it
is cool and releases heat when it is hot. This shows that concrete is a good
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choice as the construction material as it consists of low embodied energy, low
operational energy and recyclable.

FIGURE 3.11 The 17 metre lap pool is in the form of concrete ‘trough’ Water spills
over the end wall to be recycled
(Source: Powell, R. (2008). The New Malaysian House. Singapore: Periplus Editions (HK) Ltd.)

FIGURE 3.12 South edge of the concrete awning roof shading the lower plinth and pool terrace
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4. FLOOR PLANS, ELEVATIONS, AND SECTIONS

FLOOR PLAN

FIGURE 3.13 Floor plan at entrance level

The duality in the plan is reflected in the arrangement of the interior. Service
areas such as bathrooms, service entry, kitchen and dressing rooms are
generally located at the north side of the box, while the living room, dining
room, breakfast room and principal bedrooms face the south side overlooking a
2 metre wide pool deck and a 17 metre long trough shaped lap pool extend to
the northern boundary. A 3 metre wide landscaped strip runs parallel to the
pool, providing shade at midday and privacy from the adjoining house.
Additionally, the narrowness of the one room wide plan also helps in disrespect
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by opening windows on the north and south elevations, through draughts are
encouraged.
ELEVATION

FIGURE 3.14 Elevation through the garden court

The orientation of the house is ideal because of the long elevations facing the
north and south consequently architect Kevin Low, did not deal with direct
sunlight in the morning and evening. Kuala Lumpur’s location, which is just three
degrees north of the equator meaning in a course of a year, the house will
experience sun from the south and the north. Therefore, the facades of the of
the Louvrebox house are detailed according to their orientation. Furthermore,
the south, west and east facades are protected by all embracing screens of
horizontal louvres whereas the north facade is essentially solid concrete wall with
recesses glass windows. Floating above the roof is a monopitch ‘ondoline’
corrugated roof with substantial overhangs.
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SECTION

FIGURE 3.15 Section through the garden court

The house is entered at the highest level of the site, which is directly from the
street. Firstly, permitting interactions between the private and public spaces. A
set back of 6 metres provides space for two parking bays alongside the
entrance, which is partially concealed behind a permeable vent block wall.
Brick was screen, stairs that descend on both sides of the house to the service
yard and the pool deck.

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BUILDING 4 //
DESA HOUSE,
TAMAN DESA, KUALA LUMPUR
ARCHITECT DESIGN TEAM: FARAH AZIZAN & TIA AHMAN, STUDIO BIKIN

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1. BRIEF BACKGROUND OF THE HOUSE ‘S ARCHITECT/DESIGNER

Studio Bikin was founded between partners Farah Azizan and Adela Askandar in
Kuala Lumpur, Malaysia in 2012. The design-led studio practice is established to
enable both partners and their team to design and execute projects with a
broad range of typologies, from office interiors to private dwellings in various
settings, from the urban to rural context.

Farah Azizan (born 1978, Kuala Lumpur) obtained her BA in architecture at
Nottingham University, UK and pursued her diploma in Architecture at the
Architecture Association, London. Upon graduating in 2004, she worked for
Tonkin Liu Architects, returned reluctantly to Kuala Lumpur and joined Seksan
Design where she practised landscape and architectural design for 6 years.
Services include architecture, interiors + space planning, landscape
architecture and furniture/ product design.

FIGURE 4.1 Farah Azizan and Adela Askandar
41


Studio Bikin were presented with another opportunity to redesign an existing
terrace house property belonging to a pâtissier and interior designer in Kuala
Lumpur. The existing property, a charmless two-storey, recently renovated
terrace house is located in a hilly, 80s terrace housing development that was
badly planned out, cheaply finished, dark and damp due to poor construction.

Taman Desa began construction in the early 1970s. It is located along Old Klang
Road, and is in proximity to Seputeh, Pantai Dalam, Mid Valley City and Salak
South. Travelling to downtown Kuala Lumpur takes approximately 10 to 15
minutes.

FIGURE 4.2 Aerial photo of the Taman Desa neighborhood and the surrounding
context, also known as ‘Desa Valley’ of Kuala Lumpur.

42


The main design strategy was to elevate the public domain of the house, i.e. the
kitchen, living and dining area to the first floor. The roof rafters were intentionally
left exposed and segments of the roof covering were made transparent to allow
for better ventilation and more natural light to filter through the new lofty space.
A partially glazed roof facade capitalizes views of the mature tree canopies
belonging to the park situated just opposite the house.

The roof has a mono pitch truss constructed using a simple timber nailed ‘W’
web construction and a series of rafters supported by the full width spanning
concrete beams that were part of the existing site. The external roof has a
horizontal steel cladding system that is seamless, blending in well contextually. It
is also lightweight, easy to install and works well in the tropical climate due to its
heat reflective properties and leak-proof detailing.

The house’s bare and natural finish serves to receive and reveal in time, imprints
and traces through wear and a build-up of natural growth and character with
each passing year.

43

FIGURE 4.3 Front view of the house from the main street sheltered by trees that has replaced the typical car
porch and a facade mainly composed of vertical elements made of raw red clay bricks.

FIGURE 4.4 Long section across the main living area showing the playful varying levels and spaces with brick
walls using the flemish bond and 3-quarter closures.
44

FIGURE 4.5 Interior view of the elevated living space showing the exposed roof truss and the range of
natural materials used ie. polished concrete flooring for the living space, raw clay bricks for the walls and
sleek tubular steelwork for the railing that is powder-coated in black.

45

CONCLUSION //

To sum it up, it is clear to one’s observation that the four buildings has a
great of architectural elements that entails a timeline and provides an
expression of life, the society and the talents of its architects. Over the number of
years of various architectural styles of house/building constructions that has
been developed, many of these structures was designed to serve the needs of
the clients and withstand climatic conditions, especially the weather of a
country such as Malaysia. Based on the researches of these four buildings, we
can conclude that all four buildings are planned for private living that is based
on historical backgrounds that influences the design of building itself. Plus, all
four buildings show the existence of sustainable architecture as the architects
are environmentally aware and proposing designs that are innovative and
functional. In conjunction to that, it means the architects emphasize on using
sustainable and eco-friendly materials that possible could weigh down the
critical issues of the environment.

However, among the four chosen buildings, each one of them has unique
forms and spaces that influences its functions and concept. As you can see
from building #1, the curvilinear forms are much different than the other three
buildings. This is because the form and orientation itself is to allow air movements
or even natural lighting. Moreover, the amount of space and conditions of the
site also influence the form and materials used for the buildings. In contrast
between building #2, and #4, the architects had to work on the designs in
different area of space. A flat but tiny space of area challenges the architect
on how to turn it into a functional and multi-purpose area. While a huge but
46

uneven land demands the architect to figure out on how to compliment a
nature and man-made elements without destroying one another. Therefore, the
differences of these four buildings is what makes each one of them exclusive in
their own way. While as for building #3, The louvrebox house was built on the
narrowest lot of a gated community, a louvred box of eighty feet and sixteen
wide lifted off an open ground floor ‘room’ created by its boundary walls and a
seven foot wide lap pool along the garden side left over on the south edge.

47

REFERENCE //

● Powell, R. (2008). The New Malaysian House. Singapore: Periplus Editions
(HK) Ltd.
● Wooi Architect official business and company website, retrieved from
http://www.wooiarchitect.org
● Malaysian Timber in Applications ( Malaysian Timber Council), retrieved
from http://www.mtc.com.my/resources
● J. (2012, August 27). Green Maverick Ng Sek San. Retrieved from
https://www.indesignlive.sg/articles/Green-Maverick-Ng-Sek-San
● Siow, John. “‘No Snakes One Right?" in Sekeping Serendah - Our Stories.”
XiMnet Malaysia, 2018, retrieved from
www.ximnet.com.my/our-stories/no-snakes-one-right-in-sekeping-serenda
h.
● Smallprojects. (n.d.), The Louvrebox House, retrieved from
http://www.small-projects.com/p7.php
● Studio Bikin official business and company website, retrieved from
http://www.studiobikin.com

48

Building construction (assignment 1)

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