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design and architecture

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H O N G K O N G

NAGA HOUSE Kite Studio

DESA HOUSE Studio Bikin
R M 1 8

THE FLYING HOUSE HyoMan Kim

FOUR SEASONS SEOUL
M A L A Y S I A

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STEIDL DECK: 1001 STEIDL BOOKS
LAlpha multimedia library Angoulme France
Poly Wedo music school Beijing China
$ 8

art in landscapes
S I N G A P O R E

COLIN K OKASHIMO

ISSUE 092. 2016 | S$8

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iN THIS ISSUE
The Naga House by Kite Studio Architecture is defined by sweeping curves all around that loop over windows as shelters
and contour upwards as parapets, and taper in and out as playful eaves and space-defining lines. Imagine a ribbon that
folds and twists across several planes, sculpting and moulding spaces in between the form of the house is designed to
take on this dynamic stance, providing a contrast with the rather static surroundings. The maneuvering of this ribbon is
determined by context, brief and landscaping. It folds out and opens up at areas best for full windows, landscaping and
good vistas, and folds in or turns away at the sides that are exposed to harsh elements or internal areas needing privacy.
The fluid expression of the form explores how architectural elements assume interchangeability, how floors fold up to
become walls, how walls become ceilings p22

The Desa House by Studio Bikin inverts the vertical stacking of its internal layout to disrupt a typical terrace renovation
project into a space for an unconventional lifestyle. Not only is this inversion intentional for living in a terrace house, it is
a response to demand of the context. Private sleeping quarters are on ground level, below the living spaces placed above
which are led up to from the entrance with a new visually stunning concrete-slice staircase, the outline of which is traced
by delicate threads of cold-bent steel rods p38

Dali Munwood Lakeside Resort Hotel is a 13-room three-storey 1,000m2 guesthouse located on a plot of land adjacent to
Erhai Lake in Jaipeng Village, Dali prefecture, Yunnan. Integrated with the surrounding village, the project was designed
by Chongqing-based Init Design Office (IDO) to take advantage of the natural setting, indigenous materials and local
craftsmanship for its construction. Since its opening nearly a year ago, it has attracted predominantly domestic travellers
eager for fresh air and a slower pace p64

Colin Okashimo, 2015 Presidents Design Award Designer of the Year, is both a sculptor and a landscape architect. With
his Singapore and London-based studio, Colin K Okashimo & Associates (CKOA), he practises his craft as art. His creative
process, as well as the resultant work, tends towards what he calls provoking calm p88

ROOMS. Novel Living Concepts at the Triennale di Milano is an exhibition that explores the boundaries and possibilities
of interior architecture, the discipline that defines the spaces and environments in which we live. Visitors are invited to
walk through a series of rooms, each designed by a different Italian architect, illustrating their concepts and philosophy
on interior architecture p102

A meeting with world renowned book publisher and printer Gerhard Steidl, who has donated 1600 photobooks to
independent arts space DECK, believed to be Southeast Asias first public library dedicated to photography. Steidl is a
legend in the publishing and printing world, much loved and mythicized especially by artists, photographers, and writers.
In the DECK library, randomly arranged in no apparent system or order are the Steidl books, sitting on galvanised industrial
shelves that are the symbolic centre and pivot of the space, every book an encounter and each one is special p118
REFINED ELEGANCE
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voluptuous shape suggests an all-embracing comfort. The upholstery cover is stretched over the ring on
the external side of the headboard whilst its front surface is extremely soft with its sumptuous pleated
effect. Being exquisitely finished also on the rear side, it well lends itself to being positioned in the
centre of the room.

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iNSIDE
IS S U E 0 9 2 . 2 016

spin
12 | STUDENT CENTRE & LIBRARY IN WENZHOU BY SCHMIDT HAMMER LASSEN ARCHITECTS
14 | ALBERNI BY (KENGO) KUMA, A 43-STOREY RESIDENTIAL TOWER IN VANCOUVER
16 | THE SINGAPORE PAVILION AT THE 2016 VENICE ARCHITECTURE BIENNALE
18 | WOHAS FRAGMENTS OF AN URBAN FUTURE IN THE 2016 VENICE ARCHITECTURE BIENNALE
20 | MKPLS LIMIT/LIMITLESS IN THE 2016 VENICE ARCHITECTURE BIENNALE

habitat
22 | LOOPS, CURVES AND FOLDS
The Naga House in Jalan Naga Sari by Kite Studio Architecture

30 | A STRONG SENSE OF PLACE

The Flying House in Incheon, Korea, by IROJE KHM Architects

38 | CONCRETE INVERSION
The Desa House in Taman Desa, Kuala Lumpur, by Studio Bikin

46 | ECLECTIC AESTHETICS
The SS3 House in Petaling Jaya, Kuala Lumpur, by Seshan Design

54 | FOR ARTS CONTEMPLATION

House in Fukui Prefecture, Japan, by Fujiki Architectural Design Studio

58 | EVERY ANGLE A PIECE OF WILDERNESS

Casa FLD in Santiago, Chile, by 57Studio

stay
64 | THE LAKE HOUSE
The Munwood Lakeside Resort Hotel in Dali prefecture, Yunnan, by Init Design Office

72 | A TAPESTRY OF TEXTURES
The Four Seasons Hotel Seoul, by Heerim Architects & Planners and RMJM architects & Planners,
with interiors by LTW, AVROKO and AFSO

community
78 | FIVE WORLDS
LAlpha Mdiathque in Grand Angoulme, France, by loci anima

82 | THE RIGHT NOTES

The Poly WeDo Music School in Beijing, China, by Arch Studio

Cover from photo by

Studio Bikin (pg 38)
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iNSIDE
works
88 | CALMING PROVOCATIONS
Landscape architect and sculptor Dr Colin Katsumi Okashimo, Presidents
Design Award 2015 Designer Of The Year

shop
94 | FABLED FOREST
The new Aesop store at ION Orchard, designed by Snhetta

dine
98 | DOMESTIC IS FINE
Whitegrass restaurant at CHIJMES, designed by Takenouchi Webb

dfusion
102 | NOVEL LIVING CONCEPTS
Design exhibition ROOMS. Novel Living Concepts at the Triennale di Milano

108 | BLOW UP A SIDE-TABLE?

Winning designs at the 19th edition of SaloneSatellite in the 2016 Milan Fair

110 | ON THE UP SIDE

Some of the pieces in Mooois new collection for 2016 presented at the Milan Fair

112 | SERIOUSLY FUNCTIONAL

Lanzavecchia + Wais PLAYplay collection for Journey East, presented at the 2016 Milan
Design Week event A Matter of Perception: Tradition & Technology

114 | BUILDING SHOP

Kedai Bikins collection of original hand-crafted furniture and home accessories

118 | BOUND FOR MAGIC

STEIDL DECK: 1001 STEIDL BOOKS, a library-and-exhibition by world-renowned book
publisher and printer Gerhard Steidl

beat
122 | INVISIBLE BORDER
Site specific installation by Mad Architects at the Cortile dOnore in the Universit degli Studi
di Milano during Milan Design Week

124 | TAKE THE STAIRS

MVRDVs site installation The Stairs To Kriterion next to the Rotterdam Central Station

pulse
126 | FROM BUKIT LARANGAN TO BOROBUDUR
Recent Drawings by Jimmy ONG at FOST Gallery in Gillman Barracks

iNTRO 06 | CATALOGUE 127 to 135 | SUBSCRIPTIONS 136

spin
12
at the atrium a
grand book stack
Schmidt Hammer Lassen Architects has won the
international competition to design the 25,000m2
Student Centre & Library for the Wenzhou-Kean
University in Wenzhou, China. Set in 500 acres in a
rural mountainous region, the university will provide
learning and living space for 8,500 students. The
new building is located at the heart of the university
and designed to embrace interaction and diversity,
creating opportunities for new ways of learning in an
informal environment and will become the central hub
for student activities within the campus. Established
in 2006, the Wenzhou-Kean University is cooperatively
run by Wenzhou University and Kean University, New
Jersey, USA. The university aims to merge Chinese and
American teaching methodologies in practice from a
global context.
The winning proposal of the new Student Centre
& Library is designed to embrace diversity, interaction
and knowledge sharing. The new building connects
the educational faculties in the south and student
residence in the north. Set against a beautiful backdrop
of mountains, the exterior of the Student Centre &
Library appears as four rectangular shapes placed on
top of one another. The building is wrapped in semi-
transparent glass covered in an abstract fritted pattern.
The facade is inspired by Wenzhou's mountainous
terrain, and vernacular bamboo construction common
in the city's historical architecture.
Located at the ground and first level, the student
activity centre is designed as a central marketplace.
Accessible from all sides, the activity centre will
provide spaces for a cafe, theatre, dance and music
studios, exhibition space, sports and games, and
spaces for informal meeting and gathering. Stairs and
bridges in the atrium connects the upper levels, where
a grand book stack in the light-filled atrium leads up
to the library and study spaces on the third to ninth
floor. The library will house 30,000 books, a 300-seat
lecture hall, and various space for study and research.
Reading spaces are organised around the central book
stack, leading to a grand reading room on the top level.
(shl.dk)
spin

14

tall carved silhouette

Kengo Kuma has revealed the design for his first North Located in downtowns most vibrant streets, Kumas
American, large-scale residential tower proposed for design will see a building that complements the evolution
Vancouver on Canadas west coast. Kengo Kuma and of the community. With a curved silhouette, the towers
Associates (KKAA) was engaged by Westbank and two carved semi-inclusions will create the appearance
Peterson, Canadas premier developers of luxury, of spatial balance. The towers 181 residential units
mixed-use projects, to design the 43-storey tower will be primarily located in the semi-inclusions and
near the entrance to Vancouvers famed Stanley Park. boast substantially sized patio spaces designed as open
The proposed tower is part of a small collective of gardens to create personal urban spaces. The mixed-use
internationally influenced designs in the city, under the development also includes a retail space and restaurant.
direction of Westbank and Peterson. I have always wanted to have a project in Canada
The form of the building, Alberni by Kuma, features because of its closeness to nature, said Kuma.
a gentle curve, and a moss garden that surrounds the Typologically, this is a large-scale project in North
base of the tower. In Japanese space, boundaries are America, a dream for any foreign architect. We have
considered mutable and transient. This is always an done towers, but not to this scale and level of detail.
important part of my work, said Kuma. In this project, (albernibykuma.com)
the minimal glazing details and the layered landscaping
blurs conventional boundaries to enhance the sense of
continuity. The design celebrates the presence of nature
in Vancouver.
The connectivity and transparency of design is
achieved through use of materials and rich subtle layering
that begins at the base. The architectural components of
the tower begin with small units; the panels on the facade,
the timber of the woodwork, the planks in the corridors,
are all aggregated into a larger whole that forms the
tower. The use of anodised aluminium and glass on the
exterior allow a reflection of the neighbouring buildings
and sky, giving the desired external transparency. The
use of various wood on the exterior and interior add a
signature similarity to Kumas other iconic designs.
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spin

16

1 photos: www.homejournal.hk

room for everyone

The Singapore Pavilion at the 15th International Curator of Singapore Pavilion and Head of Architecture,
Architecture Exhibition in Venice, Italy (May 28 to Nov 27), National University of Singapore.
responding to the Biennale Director Alejandro Aravenas The Singapore Pavilion, designed by co-curator Teo
main exhibition theme, Reporting from the Front, focuses Yee Chin, Principal of Red Bean Architects, is located
on the small battles fought at the home-front that are in the Sale dArmi building at the Arsenale region; the
contributing to the emergence of an invigorated nation. 240m2 space features a centrepiece displaying 81
1\\ Pavilion design by co-curator
Space to Imagine, Room for Everyone goes behind customised lanterns illuminating photographs that offer Teo Yee Chin, Principal of
Red Bean Architects
Singapores carefully planned infrastructure and its a glimpse into the homes of ordinary Singaporeans living
modern cityscape to put the spotlight on the people in public housing, and how each family has imaginatively 2\\ Samples of photographs inside
the lanterns: (clockwise) A HDB
and their creative actions in forging new identities, created a space to call their own. Complementing these interior showing the dweller's
connections to place and social bonds. The exhibition, lanterns are displays of artefacts and interview footages self-expression and creativity
(HDB: Homes of Singapore, photos
commissioned by the DesignSingapore Council of the that tell the stories of how citizens are stepping out and by Keyakismos and Tomohisa
Miyauchi); Participatory design
Ministry of Communications and Information and curated taking actions to adopt and own their environments, such session with senior stakeholders
by the Department of Architecture of the National as mud-bricks made by the community for the walls of with Pacific Healthcare (photo:
Creatures Studios Pte Ltd);
University of Singapore (NUS), features a selection of their new building. (www.roomforeveryone.sg) Parking Day (photo: URA)
works in three segments: People and their Homes,
People working the Land and People engaging the City.
The exhibition was officially opened on May 26 by
President Tony Tan Keng Yam.
Singapores presentation emphasises how the built
environment is intertwined with people by outlining the
frontiers that need to expand to improve the quality of
life. By helping the community to take ownership and
participate in the development of their surrounding
landscape, we will be able to foster emotional connections
and shared memories of the city with its people, said
Mr Jeffrey Ho, Executive Director of DesignSingapore
Council and Commissioner of Singapore Pavilion.
Space to Imagine, Room for Everyone shares
with the global audience, the challenges in Singapores
next stage of development; especially how individuals,
enterprises and ground-up actions are making a palpable
difference. As small battles in its home-front, the
selections provide a poignant account on how design
improves the quality of the built environment and peoples
2
lives, said Associate Professor Wong Yunn Chii, Lead
spin

18

celebrated for its topographical architecture and the

blurring of boundaries between building and landscape;
SkyVille @ Dawson (2015) boldly redefines the model
for social housing development with its sky villages and
lush gardens on multiple ground levels; and the Oasia
Downtown Hotel (2016), enveloped by a living green
faade, embraces the notion of breathing architecture
and reimagines urban ecosystems for both humans and
living creatures alike.
The exhibition transports visitors to WOHAs projects
1 in Singapore, where hyperdense, towering garden cities
are replacing worn out urban paradigms. Through porous
faades, airy pathways, and communal gardens, the
immersive experience hints at a utopian urban future
1\\ SkyVille @
Dawson (2015)
fragments of but one that is already taking shape. Grounded in
the context of the tropical Asian megacity, Fragments
2\\ PARKROYAL on
Pickering (2013) an urban future of an Urban Future offers an enlightening template
for architects, designers, and engineers, as well as
3\\ Launched at the developers and investors throughout the tropical belt
opening reception on
May 27 is WOHAs latest
The 15th International Architecture Exhibition (May 28 and beyond.
publication Garden City May to Nov 27) in Venice, Italy, includes the collateral
Mega City by Patrick
Bingham-Hall. It is a event Time Space Existence held at the Palazzo Bembo,
book with two halves Palazzo Mora and Palazzo Rossini. Supported by the
one half depicts the
mega city problems, Dutch non-profit GAA Foundation, this event presents
but when the book is
flipped over, the other the work of architects from six continents, documenting
half provides the garden current developments and thoughts in architecture,
city solutions. Packed
with photographs, highlighting fundamental questions by discussing the
diagrams, and colourful
info-graphics, Garden
philosophical concepts Time, Space and Existence.
City Mega City presents Among the exhibitions is Singapore architect
a compelling case for
re-examining and re- WOHAs Fragments of an Urban Future, an immersive
planning the mega cities aerial journey [to show] an alternative model for growth
of the 21st century.
in tropical cities. Located at the Palazzo Bembo, the
immersive multimedia exhibition answers to the most
pressing issues facing megacities today unprecedented
urbanization, accelerating climate change, and the need
for preservation of tropical biodiversity. A selection
WOHAs most recent work shows how the firms vertical
ecosystems transform these challenges into inspiring
models for sustainable building PARKROYAL on
3
Pickering (2013), an innovative hotel that has been

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spin

20

1\\ Bidadari Public Housing

Estate: One of the preliminary
sketches that illustrates the
key idea of living in a park,
where a residential tower sits
right at the water edge

2\\ Duchess Residences:

Vertical cores interspersed
with stepped balconies
create interstitial spaces
that integrate with the lush
landscape, fostering an
intimate relationship between
the outdoors and indoors

3\\ Kent Vale Faculty Housing:

Sky gardens on every fourth
2 storey on either the East
3
or West facade engage
the community within the
highrise, as well as provide
shade and rain shelter for the

limit/limitless
lift lobbies
viewers a sense of the challenges and the aspirations 4\\ Rail Corridor: Imagine
that a place like Singapore faces in the area of housing growing up at the Rail
Corridor with the forest
Among the architects participating in the 15th Venice and how the Architect can be an activist in rising to the next door, where the natural
environment grows and
Architecture Biennale (May 28 to Nov 27) collateral event occasion. Whether the progressive existence of a city- evolves with the community
Time Space Existence, supported by the Dutch non- state like Singapore will be limited by its physical space
5\\ Horticulture Park: The roof
profit GAA Foundation, is Singapores MKPL Architects in time to come, is not merely a subject of study; to an design at the Horticulture
who is showing its installation, Limit/Limitless. Held at Architect in Singapore, it is a constant battle that has no Park Visitor Centre is akin to
the tree canopies. Trellised
Room 2A of the Palazzo Mora, the exhibition designed end. The difference between limit and limitless could lie around the edge, with
openings at times, sheltering
by The Press Room, addresses the issues of Housing in the creative minds of the Architect. but never cut out the presence
an island into the future and The silent battle to do of sun, wind and rain

more with less space. Using five works, MKPL puts forth
the question of whether Singapores physical limit of its
land area can be overcome by the creative minds of the
Architect. Focusing on the issue of housing an increasing
population, their bold proposal for the Bidadari Housing
Estate as well as the Singapore Rail Corridor International
Competition winning proposal, demonstrate the extent
the roles and responsibilities of the Architect in creating
not just beautiful buildings, but more importantly, a
creative use of land, earth and sky. Through the medium
4 5
of a film, the presentation will be experiential, giving
habitat

22

loops, curves
and folds
BY Luo Jingmei | PhotograPhY BY Khai Saharom
Images courtesY Kite Studio architecture

The Naga House by Kite Studio Architecture melds

functionality into a sensual, explorative form

T
he Naga House is an anomaly in the sea of
cookie-cutter modernist-influenced houses
with their generic stacked, boxy forms.
Designed by Kite Studio Architecture, the
building is defined by sweeping curves all
around that loop over windows as shelters and contour
upwards as parapets, and taper in and out as playful eaves
and space-defining lines.
Curves are a common feature in the Singapore-based
firms repertoire, seen for instance in the Maya House and
the Jade House. The sinewy lines are applied to achieve
very specific functional and aesthetical aims, as the firms
24

naga houSe

location Jalan Naga sari, singapore

gFa 458.396m2
completion march 2016
architect Kite studio architecture
project team martinus arief, Brenda Yek,
michael mallari, anelia tan,
Flordivinia arroyo,
syafiq Kushairi, Khai saharom
main contractor sage Builder Pte Ltd
c&S engineer J s tan consultants Pte Ltd
QS B K g consultants Pte Ltd

founder Khai Saharom shares. Here in the Naga House,

the lines evolve from intent to keep spaces fluid and less
compartmentalised. Every curve and turn has meaning. For
instance, walls turn away from unpleasant vistas or when
there is a spatial need for privacy, and they fold out or open
up where views are good and where there is a need to frame
a vista, or even to allow effective cross ventilation. Located
in a corner site, these curves are also a gesture to break
away from the common party wall, allowing the Naga House
to read more strongly as a stand-alone object.
The house is designed for tenants, and that was one key
challenge, Khai explains. There was the need to cater to a
large variety of potential inhabitants, and also to ensure ease
of maintenance. This was what led to leaving the reinforced
concrete as it is on the faade. Initially we specified plaster
R E A R E L E VAT I O N F R O N T E L E VAT I O N

FORM & MASSING

Imagine a ribbon that folds and twists across several planes,

sculpting and moulding spaces in between the form of the
house is designed to take on this dynamic stance, providing a
contrast with the rather static surroundings. The maneuvering of
this ribbon is determined by context, brief and landscaping. It
folds out and opens up at areas best for full windows, landscaping
and good vistas, and folds in or turns away at the sides that are
exposed to harsh elements or internal areas needing privacy. The
fluid expression of the form explores how architectural elements
assume interchangeability, how floors fold up to become walls, how
walls become ceilings. (Kite Studio Architecture)

S I D E E L E VAT I O N
26

SITE 1ST STOREY 2ND STOREY

AT T I C ROOF
and paint. However, the contractor did a pretty decent task
on the casting so I decided to leave it as it is. Its already a
very challenging task to cast curved surfaces.
The need for easy care of the home also dictated the
material palette, which is led by darker tones other than the
deep cyan glass mosaic tiles. In the interior, grey leather
finish granite (that applies both the flamed and brushed
techniques) provides a tactile feel underfoot, while black
granite is used for the staircase threads and some other
aspects of the flooring on the upper stories. This chosen
tonality also complements the dusty grey of the exterior
concrete. That is part of our intent to evoke fluidity both
spatially and physically, says Saharom. Meanwhile, warm
wood is used for the bedroom and corridor flooring.
One concerned about the small things, Saharom points
out features such as a subtle grey C-fascia detail along the
buildings ledges in natural galvanised finish, which protects
the ledges while accentuating the houses curves. Also, the
bathrooms are designed for true respite some come with
darker materials for a cosy feel and others, like the master
 bathroom with the bathtub situated on an exterior garden
accessed by steeping stones, are at one with nature.
Indeed, the unbridled use of greenery throughout
28 the house is another defining aspect of Saharoms work.
In the Naga House, they are applied to exterior patches
of garden that can be enjoyed even from the upper level
corridors, across bedroom vistas, and from the common
spaces. Saharom himself is an expert in plants, and
selected each and every type to be used in each specific
patch of green. Exploring ways to incorporate greenery
is not just a landscaping need. It is also an architectural
need. For example, good vistas out may also be framed by
landscaping, not just windows and walls. This is done by
specifying the right plants for the right areas, he reiterates.
The programmatic layout of the house follows the ethos
of the houses curves. Spaces are fluid, to allow flexibility
during entertainment; cross views between rooms also bridge
connectivity. In many ways, the house is designed as ideal
for entertainment and also for families. The living, dining and
dry kitchen are connected by a central pool deck, while the
garden by the dining and kitchen allows for children to play
safely outdoors, blocked off from the swimming pool by the
dining room but also allowing plenty of sightlines for minders.
Saharom speaks about how in designing houses, it is
important to think about creating fun spaces for children to
grow up in. Indeed, the Naga House contains that aspect of
exploration and physical space for play. There are interesting
details and memorable accents, such as the circular skylight
above the staircase and corresponding circular cut outs in
the staircase wall. The curves of the building themselves,
experienced at different corners on the inside of the house,
provide a source of delight and sensuality that straight
corners cannot give.
At Kite Studio Architecture, every effort to find
a design solution is like an adventure that offers many
paths for a journey to that one destination, says Saharom
of his companys approach. We like to think big, and
inspire users with our unique way of looking at things and
bringing a new level of craftsmanship and detailing to our
works. That Saharom horned his architecture skills at the
esteemed Aamer Architects is no surprise, seeing the way
he incorporates nature and a high level of detailing into
his works. Currently, the firms portfolio contains mainly
houses but it is working on some larger residential and
commercial projects. It will be interesting to see how the
firms approach applies to a different scale and typology.
habitat

a strong
30

sense of place
BY Bianca Sampieri | PhotograPhY BY Sergio pirrone

HyoMan Kims buildings are not afraid to stand out in a world full of
purely functional and hastily build architecture. From the Purple Hill
House, to the Floating Park or the Purple Whale factory, to name just
a few, they exude a desire to communicate loudly, to make a point, to
be noticed. His latest project, The Flying House, is no exception. The
principal architect of Seoul-based firm, IROJE KHM Architects, shows
clearly in his work that he is at heart a traditional Korean
T
he property is built in the residential area
of Gyeongseo-dong, located between
Seoul and Incheon International Airport,
and it responds to this transit point
environment of the not here, nor there
with intrinsic wisdom. The world around us might be
changing at a dizzying pace but our house can still be
a shield to all that. Hence, the building, which is an
outstanding example of deconstructive architecture with
its controlled chaos brought through the latent ideas of
fragmentation, achieves a really strong sense of place.
The main entrance to this open white box leads
directly into the garden. This courtyard, however, is
everything but contained as it goes up through the
sloping roof to the point that, from a birds-eye view,
most of the surface of the house is grass. By doing so,
the house itself becomes a small hill on which one can
climb to. As the architects puts it, our desire is for this
32

house to be recognized not as architecture, but as part

of the landscape of this particular village, and this idea
of architectural nature is evident in every inch of the
property, typical in Korean traditional architecture, so
characterized by its harmony with nature.
Throughout the house, inside and outside, the two
basic concepts of contemplation and recreation are
present, working together all of the time. For instance, in
the courtyard is also a small living area with cushions
strewn on the floor and wide open windows, so that one
can feel outside even on a rainy day.
The most identifiable element of this exterior is a
floating balcony with a curved traditional Korean roof
set as a terrace from which to view the whole property.
Designed for a pilot and his family, the house seems to
welcome the sky inside; one even gets the feeling that
the house is secretly designed as a hill or a control tower
from which to view the air traffic above.
 FROnT ElEvATIOn

THe FLYing HoUSe

location gyeongseo-dong, Seo-gu, Incheon, Korea

site area 291.80m2
building area 137.29m2
gFa 194.77m2
completion 2016
architect hyoMan Kim/IroJE KhM architects
design team JiYeon Kim
structure concrete rahmen
exterior finishing Dryvit Systems, painted aluminium sheet
interior finishing exposed concrete block, Confloor, vinyl paint

lEFTSIdE ElEvATIOn

The interior of the house is divided into three levels.

The ground floor encapsulates the common area; it is
open-plan and designed with the aim to be enjoyed by
the whole family. What is most distinctive here is the
sunken floor in the living room to allow for the traditional
Korean sitting style. The contrast between the profoundly
modern construction of the building and this extremely
old tradition is an example of the great achievement of
this project.
The entire inside of the house is finished mainly
RIgHTSIdE ElEvATIOn
in grey concrete, although brushstrokes of colour guide
our attention to certain spots, which actually tend to be
the places for rest and leisure such as chairs, books,
cushions and beds. A solid flight of stairs link the ground
floor with the first storey; the stairs also serve as a
place for books where shelves are located, for when the
inhabitants feel compelled to just sit and rest during their
journey up or down.
The first floor contains the bedrooms and bathrooms,
although what is most striking of this whole floor is how
powerfully minimal it is. Our attention is constantly led
to the angles and corners of the building, and nothing
distracts us from that. Curiously, the childrens bedrooms
are split into two different areas, as the bed is actually
located in the attic, away from the study.

REAR ElEvATIOn
34

SEcTIOn 1

SEcTIOn 2 SEcTIOn 3

LEGEND
1. gate-1 15. bamboo garden
2. gate-2 16. child study-1
3. Madang (courtyard) 17. bath
4. car porch 18. child study-2
5. JungJa (Korean pavilion) 19. Rumaru (floating pavilion)
6. entrance 20. lower roof garden
7. sunken living room 21. attic child bed-2
8. stair living room 22. attic child bed-1
9. dining kitchen-bar 23. higher roof garden
10. utility 24. Toenmaru (Korean bench)
11. family room 25. access court
12. study 26. front road
13. master bedroom 27. highest roof garden
14. master bath 28. pedestrian walkway

1ST FlOOR PlAn

2nd FlOOR PlAn PH. FlOOR PlAn ROOF PlAn

36
Like a childs dream, there are accesses from all
the bedrooms, including that of the parents, to the roof
of the house if one should feel like venturing into the
world in the middle of the night. Overall, the interior of
the house leaves us with the very conscious sense that
any decoration would be too much, it is in the corners
and hideouts where the interest of the property lies. The
architecture of the building acts as both furniture and
decoration, and also landscape for the inhabitants.
The Flying House has become a statement in itself,
arguing the modern needs to be built upon the traditional.
It is designed for play and rest, for living, in a location
with constant reminders that it is a transitory area. From
the airport, to the planes constantly flying by, to the
surrounding tall buildings, to the half-built houses and
empty lands around, this house seems to be a reaction
to the environment, to the dark side of globalization, as
if reclaiming the word home in the most ephemeral
of places.
 Diamond
series

Bravat Singapore pte Ltd (Exclusive Distributor)

1 Commonwealth Lane #01-10/17 One Commonwealth Singapore 149544 T: +65 6659 1868 F: +65 6659 1968 E: sales@bravat.com.sg
habitat

38

concrete inversion
BY Kenneth Cheong | Images courtesY Studio BiKin

The elevation of a row of terrace houses in Taman Desa, Kuala Lumpur, is disrupted
by an unusually transparent faade. The Desa House, designed by Farah Azizan of
Studio Bikin, further disrupts the archetypal terrace house by inverting the vertical
stacking of the internal spaces. Farah Azizan interrogates conventional space-
planning in the classic terrace house to unconventional effect
O
n the front faade, fin walls in exposed
brick stretching two storeys are offset
from the party walls and inserted into
the cavity of the demolished front
walls. The 2m deep fin walls become
a threshold between interior and exterior, and offer
visual privacy from its neighbours. Pivot steel-framed
glass doors are infilled between the vertical fins on the
ground and upper floors as a transparent skin to reveal
the interior of the house to the street.
A dramatic double-storey height steel door visually
elongates the new transparent faade. On the roof,
the original roof tiles were removed with two thirds
infilled with glazing and the balance fitted with fibrous
cementitious lining boards. The front door pivots open
into a breath-taking triple-storey height foyer space. The
40
 deSA houSe
light-filled living spaces on the upper floor leads the
location
land area
taman Desa, Kuala Lumpur
1,862ft2
eye soar upwards though a cut-out in the floor above to
built-up area
2,915ft2 allow for the door to swing open.
completion2016
architecture & design
studio Bikin On the ground floor, the double-storey height door
project teamFarah azizan (project director)
tia ahmad (project architect) is aligned with a corridor which leads to the sleeping
main contractor Bina Imperial
C&S consultant Projurutek sdn Bhd quarters of the house. The conventional space-planning
of a classic terrace house is turned topsy-turvy in the
Desa House. What was once above is relocated below
with the public living spaces and private sleeping
quarters inverted. Not only is this inversion intentional
for living in a terrace house, but a demand of the
context, says Azizan.
The row of terrace houses the Desa House sits in
faces a slope with a park at the top which is at the same
level of the upper floor of the original house. It was only
logical to locate the spaces which benefit from the view
and natural light to the upper floors. The inversion of the
living spaces to the upper floor also meant that the living
spaces enjoy views of the tree tops lining the street and
an unobstructed view beyond the front street into the
park. While the living and entertainment spaces are bright
and airy, the sleeping quarters, where views and natural
light are not essential for the function of the spaces, are
located on the lower level like a cavernous air.
unconventional arrangements
Three bedrooms are arranged on the ground floor. A guest
suite faces the front lawn. An intermediate bedroom and
a third bedroom at the rear of the house are located on a
lower platform level as the house steps down.
Two courtyards bring light from the skylight above
into the corridor of the ground floor. Steel-framed glass
sliding doors to the bedrooms allow light to filter in, but
generally the sleeping quarters are kept dark and cool as
a space of rest. The ensuite bathrooms to the bedrooms
are ventilated via oscillating mirrored panels opening into
the corridor like saucy peepholes.
The edge of the corridor fringing the courtyard is
finished in textured grade A red brick to contrast with
the smooth, cool, polished concrete floors. A pantry is
 inserted in-between the two courtyards, with red
42 brick as a floor finish folding up to become the wall.
Concrete cabinetry and a concrete counter with a
homogeneous concrete sink define the pantry area.
At the back of the house, an open deck is finished
in an exposed washed concrete floor dotted with
granite gravel. The surface appears rough visually but
smooth to touch as each granite piece is hand-planted
with the smoothest and flattest surface facing up,
according to Azizan. Where once the original staircase
was located is now a courtyard. What remains is the
sectional profile of the staircase patterned with cut
starter bars exposed as a graphic to the plastered wall
of the courtyard. The original staircase was removed
and a new staircase relocated to the front of the house.

F R O N T e L e vAT i O N

SeCTiON A-A

R e A R e L e vAT i O N SeCTiON B-B

GROUND FLOOR PLAN FiRST FLOOR PLAN ROOF PLAN
 slots between every slice
The new staircase at the front of the house naturally
draws people upwards towards the living spaces above
44 and away from the private zones below. The staircase is a
graphically impactful concrete concoction that seemingly
traces movement along it. There is a delicious tension
in the slots between every slice of concrete that make
up the staircase. Visually stunning, the staircase looks
extremely precarious at the same time.
Azizan reveals that each concrete slice is of pre-
stressed concrete compacted with a stinger. Composed
of the structural component of a conventional staircase,
the staircase in the Desa House is as structurally sound
as staircases get. Delicate threads of cold-bent steel rods
trace the outline of the balustrade surrounding the stairwell
leading to living space on the upper floor. The white washed
living room is cool and collected. Polished concrete in subtle
variations in tone hints of different zones to the open plan
living space. Variation in the hue of the concrete floor is
achieved by mixing various shades of sand. A warmer yellow-
tinged concrete finishes the edge surrounding the stairwell.
All the existing ceiling boards on the upper floor
were removed, revealing the roof truss which was painted
in white. The underside of the roof was finished in plaster
board to achieve a greater ceiling height. Internal walls were
removed from the entire floor to create an open-plan living
space. Difference in levels, subtle variations in the shade of
concrete, and the tops of trees planted on the ground floor
define zones in the open-plan space with a concrete island
counter as the focal point to the kitchen.
The Desa House is radical and elegant to say the
least. The genius of its design lies in the inversion of the
spaces to disrupt a typical terrace renovation project into a
space for an unconventional lifestyle.
(see story Building Shop p114)
habitat

46
eclectic aesthetics
BY Kenneth Cheong | PhotograPhY BY Rupajiwa Studio

There is something unsettling in the montage of materials and textures on the

front faade of the SS3 House. In the foreground, the floral flourish of a vintage
security grille framed by the monotonous texture of expanded metal decking,
becomes a focal point in this tactile tapestry. In the background, a plane of fair-
faced off-form concrete is layered behind honey-toned vertical slats. This visual
dichotomy may seem unsettling, but Ramesh Seshan of Seshan Design uses it
as a consistent narrative throughout the SS3 House
T
he original one-storey bungalow sitting on
the 7,400ft2 plot of land in a residential
enclave of bungalow lots in suburban
Petaling Jaya was demolished to make
way for this new-build with a total of
4,600ft . The plot of land gently slopes up half a meter
2

towards the rear making it relatively flat. Surrounding the

plot are bungalows of various permutations from their
original one-storey form.
With little to respond to contextually, and typical of
private bungalow commissions in enclaves as such, the
spatial programme internally dictates much of what is
seen outside.
The primary planning and orientation of the house
was determined by the position of the entrance and sun
orientation. The pool and the public spaces of the house
would face east in the direction of the morning sun,
says Seshan.
With the pool as a focal point, the spaces of the
house are arranged as volumes to envelope the pool on
three sides, with the living room as a protective barrier
from the street front, the dining room on the side and
48
the entertainment block towards from the rear lot. The
three volumes are treated like sentinels, observing the
pool with a line of concrete overhang lining each volume
to focus the views towards the pool. A ribbon of concrete
tapering outwards towards the pool traces the profile of
the internal staircase on the exterior.
The entertainment pod at the rear is seen as a
floating concrete box with a cut-out on the concrete
edge to visually connect to the living room and pool. For
external facades, the client wanted something highly
visible to stand out from the rest of its neighbours,
hence, a protective shell of off-form concrete and plaster
on brickwork shields the spaces of the house from the
street to contrast with the extensive glazing focused
towards the pool. Selective cut-outs hinting of the spaces
internally adds depth to this montage of rough concrete
and white-washed plastered walls. A vertical glass slit
indicates the double-storey height space of the living
room. A horizontal slit informs of the generous open-plan
space beyond.
Where the master bathroom fronts the main street,
an insertion of a simple screen of vertical cement board
strips on a steel frame stained in amber-hued timber
tone adds a touch of warmth to the monotone palate of
the faade.
Integral to the planning was the double-storey
height volumes in the house that define the living and
dining spaces. Says Seshan: We like to think we are
FRonT elevaTIon SecTIon a

RIgHT elevaTIon SecTIon B

ReaR elevaTIon SecTIon c

SS3 houSe

locationPetaling Jaya, Selangor, Malaysia

site area
7,400ft2
built-up area
4,600ft2
completion2016
architecture & design
Seshan Design
project teamramesh Seshan, azlan Syarawi
Suherman Sadelan, ralph antonio
amin Madhadzir, Jeslyn Ko, Fakhruz Zaman
main contractor trisac Sdn Bhd
C&S consultant Projurutek Sdn Bhd

leFT elevaTIon
50

gRounD FlooR

FIRST FlooR

RooF plan
especially good at making small spaces look larger
than they actually are. One of the tricks to make spaces
look bigger is to take advantage of the line of sight.
We always design spaces that look into another to extend
the space beyond its physical boundary.
Double-storey height spaces and mezzanine floors
enable all levels of the house to visually interact with
each other, he adds. The double-storey height space
to the living and dining spaces opening to the pool
creates an experience of a larger visual volume. While
the planning and exterior may appear contemporary, the
interior is nuanced with details evoking the nostalgia
of mid-century domestic aspirations. A 1.5 meter wide
oak-veneered door opens into the open-plan living space
and foyer of the house defined by salmon-hued broken
Ipoh marble a floor finish popular in the 60s seldom
seen today.
A feature wall of spray-painted cement board
panelling running along the length of the house draws
the eye to the dining area, open kitchen and a study room
beyond. The feature wall conceals a multitude of secret
doors to both rooms and storage space, clearing the wall
from the clutter of doors. A hidden door reveals a ground
floor powder room fitted with a vanity basin retrofitted on
a vintage sewing machine stand.
The built-ins to the kitchen were also custom-
designed by Seshan. The island counter finished with a
concrete top is set against a backdrop of raw cement
board panelling. White high-gloss panels to the cabinetry
contrast with the raw finish of the cement boards. Dotted
52

throughout the house are the owners collection of

vintage furniture sourced primarily from Singapore rather
than locally.
The built-ins in the master bedroom and study room
are constructed from steel. Curved edges are introduced
to mimic the rounded corners of a vintage dresser in the
master bedroom.
Beyond the foyer, the floor finish transitions from
marble to polished cement, leading to the staircase
detailed in steel rods in a zigzag pattern nuanced with
a vintage aesthetic. In this setting, the polished cement
flooring lends an impression of nostalgia, rather than of
a contemporary industrial aesthetic which one would
assume from the finish.
The teak staircase lead to a mezzanine corridor
that links all the rooms of the house. The wall along
the mezzanine corridor is plastered up to the height of
the architrave of the bedroom doors, with the top left in
exposed brickwork, creating a line that leads the eye to
the end of the void to the dining room.
The house terminates at the audio visual room
which forms part of the entertainment pod at the rear
of the house. Collapsible grilles reminiscent of old
Chinese shophouses divide the entertainment space into
an indoor audio visual room and an outdoor play room.
A traditional Chinese signboard and vintage outdoor
furniture complete the sentimental mood of the space.
From this vantage point, a cut-out in the concrete sheath
that envelopes the exterior room becomes an armature
into which the entire house unfolds.
The details in the SS3 house is subtly evocative
of both the contemporary and the old. These
nuances become a conjecture to receive the owners
collection of mid-century furniture seamlessly in an
eclectic aesthetic.
habitat

for arts contemplation

54

story and images courtesy F A D S | photography by HiroSHi UEDA

F A D S (Fujiki Architectural Design Studio led by Ryumei Fujiki and Yukiko Sato) designed this home in Fukui
Prefecture, Japan, for an art appreciator and amateur artist who had wanted a house like an art museum.
Planned with careful consideration for air circulation as well as to shelter from the harsh, snowy climate of the
Japan Sea coast, the structure is composed of white boxes of varying scale that frame spaces like pictures.
The project, built in 2015, recently bagged the Golden A Design Award in the Architecture, Building and
Structure Design category (2015-2016). The A Design Award is the worlds largest design accolade that
brings together designers, architects, artists, brands and companies from across the globe under one roof.
Five different levels of distinction platinum, gold, silver, bronze and iron are distributed annually for a
wide ranging field of design disciplines, from spatial design to products, communications, fashion, and even
achievements in arts & literature (competition.adesignaward.com)
T
he spaces in this home are specifically
designed for an avid art collector; you
can traverse it viewing the owners
collection of artworks almost as if
you were going through galleries in a
museum. In achieving a well-sequenced, multi-layered
spatial composition within, the architecture also fulfills
the clients request for privacy from passersby letting in
fresh air and sunlight, Although the home is made up of a
number of cubes of different sizes, the architects tried to
create a structure that was as seamless as possible, with
the spaces forming a single connected unit. In addition,
the client wanted to be able to draw in both the garden
and the studio, so the architects included a courtyard that
could be accessed directly from the north-facing studio.
The top priority in designing this house was to fulfil
the clients wishes. The architects began by measuring
the many works of art that the client had created and

1ST FLOOR PLAN 1:150

56

THE HoUSE For CoNTEMPorArY ArT

location Fukui, Fukui Prefecture, Japan

site area 246.48m2
floor area 137m2
architect FADS
(Fujiki Architectural Design Studio)
project team ryumei Fujiki, Yukiko Sato

collected over the years. Next, they held a number of

planning meetings to discuss where to display each work
of art, among other issues. For instance, they determined
the height of the living room ceiling based on the wall
size that could accommodate a painting measuring over
1.5 metre by 1 metre. In addition to the art collection, the
client also has a large number of old records, mostly jazz.
It was important to figure out a way to display them so
their jackets would appear to best advantage.
The architects had considered thoroughly the
response to and interaction with the environment. The
first thing was dealing with the snow. In regions with
heavy snow, the shape of the roof is very important.
Many homes are built on the assumption that someone
will shovel the snow off the roof, but that is a lot of heavy
work and is also dangerous. The initial proposal was for a
budget-conscious, wood-framed structure with a gently
sloping roof that would naturally shed snow. Eventually,
in part because of the clients insistence, the architects
decided on a flat roof with no parapet that would stay
relatively snow-free because of wind action. The second
challenge was coming up with a plan that would create
good airflow within the structure. To encourage natural
ventilation, they created a temperature differential by
designing two gardens, one on the south side that would
warm up easily, and one on the north side that would
remain cool. This is a traditional design method used in
Kyoto townhouses.
In this project, the first priority was obviously to fulfil
the clients wishes, but the architects believe that they
must also respond to various societal problems with bold
imagination. For example, they need to fundamentally
rethink architectural practices in response to the worlds
worsening environmental problems. They are looking to
nature, or natural systems, to get ideas on to how to do
that. It is not simply about finding clever ways to reduce
energy use, but rather about architecture itself growing
closer to nature. What Fujiki and Sato hope to do in their
future work is to steadily experiment with a variety of
approaches, and through that process to approach a new
kind of architecture.

A-A SECTION 1:100

habitat

58

every angle a
piece of wilderness
BY Blanca Escoda agusti | PhotograPhY BY sErgio PirronE

Set in Santiago de Chile and right below the sublime Andes mountain range,
Casa FLD is a one-level building that manages to convey seemingly opposed
characters. Openness and reclusion, wilderness and order, warmth and
minimalism, intertwine here with great mastery. These qualities are the conscious
effort of architects, Maurizio Angelini and Benjamn Oportot, who have been
developing their sharp style since 2002 with their Chilean firm, 57Studio
T
he building is located in a wealthy and
opulent area of the city and, although the
place feels private and even reserved
not much interaction with the outside
social life is possible when most view
to the exterior is blocked it does accept some of the
unruliness that the areas vegetation provides. To this
end, the house with its Z shape, seems to have been
designed to embrace the dry and colourful plants and
welcome them within.
Likewise, any perspective of and from the house
has a piece of wilderness in it, and the building treats the
garden as one more room or area of the house, giving it
the same status as the interior spaces. The gardens dry
vegetation are all specially picked, celebrated here for
their often unappreciated potential. Bright greens, deep
purples and splashes of reddish-pink gain deep presence
here, giving the house a lightness and cheerfulness that
could lack otherwise as a result of its confinement.
 The three different units that build the house adapt
easily to the slight slope of the field. On some occasions,
the roof of these units extends beyond the walls to give
some shade to the outside living areas. This is made of
laminated wood so that it does not block the sun or the
sky entirely, while also providing ventilation and a way
of cooling. Moreover, the units are made of reinforced
concrete, which give a fresh and cool atmosphere to the
whole space.
As we venture inside, we realize the reinforced
concrete is still very present but most floors are made of
dark woodblocks, mixture that creates one of the great
complexities of the building. By combining the different
colours and materials the house aims to satisfy different
needs of the inhabitant.
 Each unit gathers together different rooms but
it does so in an organized, almost theme-like way,
converting this wide space into a very efficient one.
Hence, the central unit groups together the shared
rooms, offering a very generous joint leaving space. This
combines big tables on one side and sofas on the other,
as well as lounge tables on the outside so, without a
casa Fld doubt, this entrance is a very welcoming sight.
location Las Condes, Santiago, Chile Near this living area, demarcated by a wall, is a
site area 2,500m2
floor area 500m2
study and another living area, the only place with a TV.
project year 2013 to 2015 The kitchen and the bathroom on the lower unit radiate
architect 57Studio - Maurizio angelini and Benjamin oporlot
project team Catalina Weser, Marcelo Lepin, Josefina Fvlendoza freshness thanks to the shiny materials and the bright
structural calculations roberto lbaceta, Mario Wagner
builder Jorge Carrasco colours used. The unit at the lower end contains the five
bedrooms and another living area.
62
 Walking around this house feels easy, even more
like a stroll, everything at ones reach thanks to its
flatness and lack of stairs. One can even find some
benches near the glass walls, inviting the inhabitants to
sit and contemplate the outside in their journey around
the house.
This is a building that respects its inhabitants,
with the understanding that a person requires different
atmospheres to be fulfilled, particularly now that we live
such fluid lives and so many styles around us coexist. The
impressive achievement of this house is that it manages
to do so with such coherence, unity, assemblage and
elegance. This is where the architecture shows its
mastery, in the way it succeeds to make the opposites
agree and unite, without any conflict.
64
stay
the lake house
I
BY Rebecca Lo | drawings courtesY InIt DesIgn offIce t is every architects dream project: a singular
photos BY cunzaI aRchItectuRaL PhotogRaPhy site where he can explore an integration of form
Init Design Office invests its talent and resources in with materials that fits into the surrounding
Munwood Lakeside, an experimental guest house that context while realising an ideal way of living
emphasises connection with nature in rural Yunnan with nature. For Su Yunfeng, Chen Jun and
Zong Dexin, the 30-something partners of Chongqing-
based Init Design Office (IDO), the perfect project
presented itself as a plot of land adjacent to Erhai Lake
in Jaipeng Village, Dali prefecture, Yunnan. Due to the
lake being nearly 2,000 metres above sea level, the
village remains cool during the summer months a
refreshing contrast to sweltering Chongqing, one of
Chinas most populous cities. The project morphed over
a two-year period into Dali Munwood Lakeside Resort
Hotel, a 13-room three-storey 1,000m2 guest house
66

that exploits the natural setting, indigenous materials

and local craftsmanship. Since its opening nearly a year
ago, it has attracted predominantly domestic travellers
eager for fresh air and a slower pace.
Our original goal was to build a house in Dali where
we can live and work, more like a studio, that fulfills
our concepts for design and craftsmanship, recalls Su.
In the summer, we can move from Chongqing to Dali.
Due to the rent and construction cost, we decided to
change it into a hotel. Our ideal project is a place where
architecture is integrated with nature, and where people
would like to stay. We rented this place from the landlord
for 20 years. So no matter if we built a house or a hotel,
the site was expanded from the original farm houses.
The outcome is more like a village house in Dali a B&B
rather than a hotel.
 The site is oriented eastwards towards the lake, with
West Road in between them. IDO positioned the hotel
rooms around a generous public space that is partially
sunken to form a stronger psychological connection with
the water. A series of timber or stone clad platforms
and reflecting ponds reinforced the visual bond with the
lake, while timber screens against the white structure
provide privacy for neighbouring rooms. The rooms
were designed to offer unique views while incorporating
typically exterior building materials inside; all of the beds
face east towards the lake.
In the city, we cannot see how architectural materials
can really be used, says Chen. We only see them used
decoratively, in an arrogant way, which makes us want
to escape as soon as possible. Munwood is a real house
68

Sunken StuDY SectIOn Setback gueSt rOOM SectIOn

axOnOMetrIc

SIte pLan
1St fLOOr pLan

2nD fLOOr pLan 3rD fLOOr pLan

70

with natural materials: stone, wood, brick and tile. Guests

can touch and feel them. Some of the wood is from the
local old wood market, such as pine and toona ciliata.
Some are from an old manger that we transformed into
a planter. Some are discarded tree branches left by our
neighbour; we kept these 11 branches and incorporated
them into a brick wall. Outside the extended building
wall, we used carbonised wood grills so that creepers
and bougainvillea can borrow them as they grow. Next
year, the north wall will be covered with green leaves. The
abundant sunshine in Dali makes the stone, wood, brick,
tile and greenery come alive.
IDO originally designed simple lean-to roofs for their
expansion of the farmhouse, yet discovered that pitched
roofs fit better stylistically during the construction
process. They were finished with grey tiles with nods to
traditional Chinese roof lines. This was the imperfect
part in the design, notes Su. But after completion, what
excited us was the internal space and lake views provided
a more spiritual space under the frame of the pitched
roof. The most important thing for any client is whether
the project can be completed. For sudden issues that
came up on site, we needed to balance the advantages
and disadvantages. Maybe we sometimes needed to give
up what we like and accept imperfections and maybe
the final result would not be so bad.
The scale of every roof is almost the same as the
size of the surrounding village houses, adds Chen. The
most interesting part is that after completion, a friend
took photos with an unmanned aerial drone and our hotel
looked integrated with the surrounding village, like they
were all part of a family.
To provide the site with a formal sense of enclosure
while further incorporating it into the village, IDO use
local stones to construct an organic wall around the
entire property. This boundary is exposed directly inside
the guest rooms, to give them a feeling of the village
experience, says Su. The firm installed a reclaimed
water system to reuse grey water for maintaining the
landscape; a display window showcasing the system was
incorporated into the main entry for guests to view.
Although the facilities are limited, IDO incorporated
a number of common areas to allow guests to relax and
be part of nature. There is a restaurant and we have a
great chef, says Chen. There is no spa, but we try to
offer a bathtub with great views in every guest room.
The other public spaces include a sunken library, fire pit
a traditional Dali space, platform under a tea tree and
roof platform for unobstructed views of the lake. These
spaces are connected and do not disturb each other, so
different people can enjoy them as they wish.
stay

72
a tapestry
of textures
BY Luo Jingmei | images courtesY of Four SeaSonS HoteL and LtW

The Four Seasons Hotel Seoul (opened Oct 2015)

is a sophisticated, tactile and intricate collection
of spaces put together by a group of seasoned
design studios

T
he Four Seasons Hotel Seoul presents
a striking new silhouette in the heart of
the citys heritage district. The project
is put together by a group of esteemed
creative studios that have managed to
design a series of elegant hospitality spaces, which,
while luxurious, elaborate and make many references to
Korean culture, do not fall into the trap of being gaudy
and kitsch.
Marrying tradition and modernity is a tricky balancing
act. The process here begins at the architecture,
conceived by both British architecture firm RMJM and
Seoul-based Heerim Architects & Planners, with the
former heading the schematic design. The building
features sweeping facades made of angled glass panels
that inform the interior of each guestroom. The roofs of
the palaces and four mountains encompassing the site
inspired these curves. Functionally, the angled window
modules help to reduce the direct glare of sunlight
while presenting the guestrooms with clear views of the
ancient Gyeongbokgung Palace and the surrounding city.
 At the entrance drop-off, a grand porte-cochre
ceiling inspired Pantheon dome greets guests. It is
photo by Michael Webber photo by Michael Webber
made with coffered metal and simulated dimmer lights
to create the illusion of depth. Meanwhile, limestone
and glass at the upper parts of the exterior present
an elegant appearance while the lower parts of the
tower is finished with Brazilian stone with elaborate
vein patterns for a more intimate street scale.
The interior design is put together by Singapore-
based LTW Designworks (guestrooms, lobby and Maru
lounge), Hong Kong-based AFSO helmed by Andre Fu
(Yu Yuan Chinese restaurant and Kioku Japanese
restaurant) and America-based AvroKO (The Market
Kitchen buffet restaurant, Boccalino Italian restaurant
and bar, and Charles H bar). The advantage of using a
variety of consultants for such a large-scale project is
the diversity of old-meets-new interpretations, as well
as the impressive attention to detail.
An elegant silk brocade wall backs the lobby on
the first storey while adjacent to the front entrance
is a lounge area, designed to be a focal point upon
entry. Here is LTW Designworks abstracted version of
a traditional sedan carriage used by ancient royalty.
Exaggerated proportions and a variety of light textures
provide a contemporary feel that makes good use of
1
the lofty ceiling height.

Says Su Seam Teo, co-founder of LTW Designworks

1\\ lounge
and the designer in charge of the project, the materials and lobby
solid timber beams, lacquered wooden frames and silk 2\\ Reception
screens used throughout pay homage to the original
ancient buildings that had gone before it. Each area is
carefully crafted to break up a single space into separate
storylines. The overall feeling is intimacy and belonging;
as if one enters a traditional Hanok house.
In the guestrooms, panelled walls and opaque
lighted surfaces combined with a palette of unobtrusive
neutral tones enhance the sense of lightness and
openness. Even though the environment is rich in detail,
there is absolutely no sense of clutter, explains Teo.
The reference to traditional Korean living spaces is seen
here in panels and wooden frames with groove lines that
2
stimulate the walls of old Korean Hanok residences. Also,
 Four SeaSonS HoteL SeouL

location 29 dangju-dong, Jongro-gu, seoul

completion 2015
total floor area 67,264.89m2
architect Heerim architects & Planners co Ltd
74
schematic design rmJm architects & Planners
interiors LtW (suites, lobby, ballroom, front of house)
aVroKo (buffet restaurant, italian restaurant, bar)
afso (chinese restaurant, Japanese restaurant)
contractor daelim industrial co Ltd
supervision Parsons Brinckerhoff asia co Ltd
civil engineering sekwang engineering co Ltd
structure mac engineers & architects co Ltd
electrical & telecommunication dae il engineering & consulting co Ltd
mechanical gimec Ltd
landscape grouohan associates

carpets in standard guestrooms feature a pattern inspired

by traditional bamboo blinds, while headboards takes
their cue from Korean traditional costumes (Hanbok).
Nature is also a strong stimulant in the interior
textures. There are silhouettes of tree branches in the
gemstone colour palettes, wallpapers and silk screens,
lighting fixtures constructed from delicate transparent
glass tubes made like icicles suspended from tree leaves,
and floral motifs in the plush carpets. The confluence of
these two visual narratives nature and manmade are
firmly rooted in the local culture and tells the story of
Seoul, explains Teo.
One exciting aspect for travellers at the Four
Seasons Hotel Seoul is the number of choices of F&B
destinations seven in all. Each provides a distinct
culinary identity that is matched by equally invigorating
interior designs. Found in the spaces designed by Andre
Fu is his signature language of relaxed luxury. Kioku
is a Japanese restaurant with a wonderfully airy seven-
metre-high space, hinged by more intimate dining spots
and showcase areas such as a sushi bar on the upper
mezzanine. The use of bamboo, sand plastering, an
abstracted herringbone motif applied to wall features
3
and screens, and floating lanterns complement the lofty
 3\\ Kioku Japanese restaurant
(design by AFSO)

4\\ Boccalino Italian restaurant

(design by AVROKO)

5\\ Charles H bar

(design by AVROKO)

6\\ The Market Kitchen buffet

restaurant (design by AVROKO)

7\\ Yu Yuan Chinese restaurant

(design by AFSO)

space and provide the touch of subtle textures and

tranquillity reminiscent of traditional Japanese spaces.
Fu describes this space as a modernist bamboo
theatre that begins from the darkened entrance lined
with charcoal volcanic stone underfoot and bamboo
batons inspired by traditional Japanese Torii tunnels.
At Yu Yuan, the motif of traditional Chinese
knots are deployed throughout as decorative and
lighting details, while in the main area, circular portals
reminiscent of Chinese Suzhou rock gardens, soft
banquette seating separated by antique-gold screens
and lacquered wall panels in emerald green complete

photo by Michael Webber 7

76
the Chinoiserie touch. These are tempered by the earthy
tones on the floor and wall surfaces.
The four F&B spaces designed by AvroKO are
equally rich in textures. At Boccalino, which comprises
an annexe bar, geometric patterns rendered in black and
white marble on the floor to demarcate area rugs and
classic architectural detailing such as deep, coffered
ceilings and detailed panel moulding evoke a grand
Milanese residence. In Boccalino, we mined the artistry
and tailored cleanliness of mid-century modern Italian
design, bathed in marble. This is more Gio Ponti than
Italian farmhouse. Black steel and brass contrast with
white marbles and Venetian plasterwork. This is a very
light and airy Italian design, explains Kristina ONeal,
designer and co-partner at AvroKO.
Meanwhile in the basement Market Kitchen buffet
restaurant, ancient village and house foundations
that were found during excavation are preserved and
glassed over, presenting points of interest underfoot
for guests like museum exhibits. As we were in a
sprawling subterranean space, it also felt natural to hint
at the sense of being engulfed in the strata of the earth,
juxtaposing a certain modern elegance with the weight
of visceral, strong stone, says ONeal, on the massive
slabs of highly veined, warm onyx lining the walls and
the brass screens inspired by mining scaffolding and the
enclosures of mining elevators.
Just a few steps away, a nondescript door leads
to a speakeasy type bar. Charles H is infused with a
vibe of mystery and sensuality, decorated with custom
9
furnishings and furniture laced with traditional Korean
8\\ Ambassador Suite
references. Examples are brass tables blind etched
9\\ Palace View Suite
with sceneries like in a traditional painting, as well
as a seven-metre-long wall art inspired by traditional 10\\ Premier King Room
Korean hair plaiting. Glass mosaic flooring with 11\\ Presidential Suite
traditional Korean decorative motifs provides a touch
of shine while evoking a cavernous bathhouse feel.
The Four Seasons Hotel Seoul is refreshing in
an age where many new hotels would rather lean
on the extreme end of modernity, eschewing any
elements of heritage at all. Very often, the latter can
lead to sterile, soulless spaces. Done well, like the
Four Seasons Hotel Seoul, welcoming and engaging
spaces that are more layered with subtle storytelling
and textures are created.

photo by Michael Webber

10 photo by Michael Webber 11

TYPICAL GUESTROOM PLAN PRESIDENTIAL SUITE PLAN

SCALE 1:50 (A3) SCALE 1:100 (A3)
community

five worlds
Story and imageS courteSy loci anima | photography by PhiliPPe le Roy
78
Five individually coloured parallelepipeds, stacked one on
top of the other, distinguishes LAlpha Mdiathque de
Grand Angoulme designed by loci anima

image source: www.grandangouleme.fr

T
he multimedia library is located at a
former industrial area in Angouleme,
South West of France, that is being
radically overhauled to improve the
social and cultural life of people in this
area. A major public venue for media festivals, its direct
proximity to the railway station enable easy access to all
the communes of greater Angoulme.
Inspired by Scandinavian designs, this building is
designed to provide a new generation of cultural spaces
where citizens are able to meet, to exchange, to learn, to
relax, in third places neutral and open to all, making
no distinction in terms of age, this type of space seeks to
erase socio-cultural differences and blur the boundaries
between the public and the private, the collective and
the individual. In community building, the third place
(or third space) is the social surroundings separate from
the two usual social environments of home (first place)
and the workplace (second place). Examples of third
places would be environments such as cafes, clubs or
parks. In his influential book The Great Good Place, Ray
Oldenburg (1989, 1991) argues that third places are
important for civil society, democracy, civic engagement,
and establishing feelings of a sense of place. (wikipedia)
 GROUND FLOOR LEVEL 1

LEVEL 2 ROOF

E A S T FA C A D E

W E S T FA C A D E

SECTION
 photo by Stphane Mahot photo by Stphane Mahot

How do you create a space that is open to all,

that is never intimidating, that has a strong societal
function and that everyone can own? In answering this
question, Franoise Raynaud, founding architect of loci
anima, uses vocabulary associated with childhood and
with colour. She then designs a building with multiple
facades that offer a rose of views, facing in particular
the important landmarks of Angoulme.
Made up of five coloured parallelepipeds, cleverly
stacked one on top of the other, the media library,
viewed from the highpoint of the city, forms an A for
Alpha and for Angoulme. Each of these five worlds
which make up the edifice is scalable and identifiable
by the colour-material of the metal of the celestial body
that is associated with it. Thus, the world of creating is
anthracite in reference to Saturn and to lead; the world of
understanding recalls the moon and silver; the world of
imagining is represented by Jupiter and bronze; the sun
and gold are to be found in the world from one world to

UlTimeDia liBRaRy lalPha, anGoUlme, FRance

program media library, indoor/outdoor garden,

amphitheatre, caf and restaurant
floor area 5,241m2
completion dec 2015
client community of greater angoulme agglomeration
architect loci anima - Franoise raynaud
project director Jonathan thornhill
project manager Xavier maunoury
construction manager marine bichot
structural and hVac engineers grontmij
facade engineers Van Santen & associs
environmental engineers alto
landscape architect exit
 another. Finally, the world manufacture is red copper,
paying homage to Mars.
Connotations of the imaginary world of childhood
are also seen in the design and the furniture which is
geometrical, fun and functional, responding to the
different uses that the media library offers. Wooden
frames around individual desks isolate the reader for
concentration yet, at the same time, opens a window
to the outside. Massive naturally lit tables encourage
exchanges during group work. Indoor and outdoor seats
are in the shape of extra-large objects, for example a
safety pin or a peg, providing seating that is fun, friendly
and modulable.
photo by Benot Bibaud
The freed-up space in the entrance hall is placed with
the large East staircase in levitation, creating, as soon as
one enters the building, a space that each individual can
colonise and own. Additionally, the spaces are extended
outside with terraces or gardens, for indoor/outdoor
living, to make the most of natural light everywhere and
to open up or close off the spaces, depending on the heat
levels and mount of light necessary or desired.
Based on the observation that the city dweller is
increasingly cut off from nature and finds in the elements
of life and nature a rich source of dreams and of pleasure,
loci anima has, here again, created this building as a
space for living. Sun, air, plants, water and metal are
all materials used in the construction of the project.
Over and above the real and intrinsic performances
of the building on environmental aspects (low energy
consumption buildings), this way of seeing, which is
specific to loci anima, instils a symbolic and sensitive
dimension to the project.
community

82

Y the right notes

ongli International Shopping Centre
in Beijings Chaoyang District is a
successful retail environment. Situated
on the lower levels of a mixed use by Rebecca Lo | drawings courtesy aRch Studio | photography by Xia Zhi
development with residences above,
it boasts 60,000m2 of flagship brands shops, high
Han Wenqiang of Arch Studio transforms part of a Beijing
end restaurants and other amusing distractions. When
shopping mall into an inspiring music school
1,000m2 of under utlised storage rooms became
available, Poly Culture Group secured it with the intention
of transforming the space into Poly WeDo, an endeavour
that supplements young childrens musical education.
Beijing-based Han Wenqiang of Arch Studio was
entrusted with the task of opening up a series of seven
shops into a cohesive and inspirational school.
The school can cater to a maximum capacity of
100 students, aged between six and 12 years old, with
approximately 20 instructors, many who are professors
at the Central Conservatory of Music. Students attend
Poly WeDo after their usual studies in primary school; in
addition to music classes and workshops, they perform
at regularly scheduled concerts with their teachers,
where parents are welcome to participate. There is also a
library integrated into the school, with open bookshelves
in public areas to encourage independent learning.
The space has direct access to an outdoor carpark
to the east and Yonglis courtyard to the west. One block
within a shop serves as the entry to the residences,
while another block is a supermarket. As a result, the
84

C O N C E P T A N A LY S I S
 rectangular plan had two significant chunks missing that
made it an awkward shape to programme. There were
many restrictions in this project, Han acknowledges. Due
to the schools size requirement, we considered designing
a mezzanine, but abandoned the idea as it would not meet
fire safety codes. Arch Studio instead converted a 300m2
basement and equipped it with studios and offices to
supplement the main area upstairs, linking the two levels with
an internal staircase that wraps around a bamboo courtyard.
There were also many walls that could not be demolished.
That was why we chose soft, transparent ways to reduce the
spaces visual barriers.
The programme included a reception, theatre, rehearsal
room and classrooms of varying sizes. Three of the seven
bays access both the mall and the carpark; Arch Studio took
advantage of their lengths to transform the rear shop into
AXONOMETRIC DRAWING
a theatre with a large chorus or rehearsal room adjacent
to it, and an entrance hall with reception near the centre.
Classrooms to either side of the entrance hall were connected
via a central corridor with hardwood flooring. As the ceiling
height was generous, Arch Studio suspended a progression
of vertical timber slats and strip lighting to give the volumes a
sense of intimacy as well as partially concealing the ceilings
pipes and mechanical works. The classrooms all use linear
ceiling lights coated with film, to soften the illumination and
integrate them better into the ceilings design, explains
Han. The slats formed pitched roof lines that drop to a more
intimate scale for the classrooms, which are surrounded by
transparent glass. The vertical timber slats blocks part of
the view and create a rhythm like music, says Han. With
the transparent glass, the inside and outside of spaces can
borrow views from each other and create a more relaxing
AT R I U M S E C T I O N
FLOOR PLAN
86

learning environment. By enveloping the school within

a home-like embryo, Arch Studio created a cosy indoor
village scaled to suit young children.
Arch Studio added further softness by replacing the
part of the concrete floor slab in the basements atrium
with a bamboo courtyard visible from adjacent dance
and yoga classrooms. The bamboo trees also form a
focal point for the reception hall, as their tops extend
well into the floor above and can clearly be seen from
the reclaimed elm wood doors at the main entrance.
Bookcases in the reception and office are dotted with
planters, to carry the greenery throughout the space.
Materials were restricted to a few that were
functional as well as practical for a music school. They
satisfy acoustical requirements for sound insulation
and absorption, Han notes. For the ceiling, we used
aluminium grills and plates with timber grain finish. For
the floors, we used white self-levelling epoxy paint and
timber parquet. For the walls in the classrooms, we used
timber grain aluminium grill and plate, three layers of
glass for sound proofing, and plaster sound-absorbing
plates. In the theatre, we used sound absorbing timber
plate for the lower portion of the walls and the stage.
Rather than opting for a primary colour palette, Arch
Studios design included iconic yet minimal forms and a
neutral scheme of white and light timber tones. Children
have a sense of natural intimacy with organic, simple
spaces, says Han. Coexistence with nature is also an
important characteristic in traditional Chinese culture.
In a colourful and noisy shopping mall, I wanted the
school to be a tranquil and comfortable space like a
second home..
works

88

Colin
Okashimo

calming made (such as in the Riverscape Series). There are works

provocations
BY Yvonne Xu | Images courtesY Colin K oKashimo & assoCiates
where order exists with chaos (the disordered cubic
volumes and formations at Fraser Suites Sukhumvit,
Bangkok), ideas of mixed states and forces (hard rock
and pliant rope), of stillness and movement (tissue, held
2015 Presidents Design Award Designer of the Year between two unmoving stone stacked upon another,
Colin Okashimo is both a sculptor and a landscape flutter in windy currents).
architect. With his Singapore and London-based studio, As a landscape architect-sculptor, Okashimo
Colin K Okashimo & Associates (CKOA), he practises his naturally moves and works between the spaces of the
craft as art. His creative process, as well as the resultant negative and positive, but it might also said there is a
work, tends towards what he calls provoking calm strong yin-yang quality which he often presents held
in tension, if not resolved into harmony. This leads to
creating what he calls places of contemplation.

C
olin Okashimos website (www.
colinokashimo.com) opens to a landing
page with a Sumi-esque stroke of a
circle, an O that could represent his
name or the Zen Buddhist ens . The
circle is unclosed, brushed anti-clockwise, with a blunt
start that does not meet its lighter, lifted end. Instead of
opaque ink, the soft stroke punctures the black page,
and therein is another opening a view: drifts of clouds
against a pale sky, or wafting white smoke, depending
on the perspective. In the East Asian ink tradition, there
is an idea of writing a painting and painting a poem.
Okashimos O achieves that; in this one stroke, the
poetic and the picturesque conflate.
In Okashimos landscape and sculptural work, there
are often obvious binaries at play. As he, on a webpage,
sweeps white ink on black paper and renders an
ancient symbol as a HTML5 experience, he might, in
sculpture or landscape, juxtapose smooth polished
surfaces with ragged edges, naturalism with the man-
Okashimo is Japanese by ethnicity and Canadian by
birth. His first degree is in landscape architecture from
the University of Guelph, Ontario, Canada; it was as an
undergraduate that he discovered sculpture. This was in
the 1970s, an exciting time when the land art movement
and its new ideas of earth work and environmental
sculpture had just been introduced to the field of
landscape architecture. Prior to university, Okashimo,
with his family, spent nine months in Japan where he
learnt the language and travelled to study traditions like
Aikido, Ikebana, Sumie, and Shiatsu.
 Later, Okashimo took his first job at Belt Collins, in a
role of a corporate landscape architect (as he recounts),
and eventually became Chairman and Managing Director
in its offices in Malaysia, Thailand, and Singapore. In
1996, after obtaining a MA in Fine Art from Chelsea
College of Art and Design (now Chelsea College of Arts),
he set up his own studio in Singapore. Here, he practises
his craft as art, combining landscape architecture with
sculpture into one. In 2007, he received his PhD from
Chelsea College of Arts, University of The Arts London.
His doctoral thesis was titled Art as Contemplative Place
with Reference to Isamu Noguchis Sited Works.

Impermanence
90

Void
 Like Noguchi whom he is drawn to, Okashimo works
with(in) tradition, but questioning and resisting it, ends
up with invention. He rejects Zen as an overused design
term in that its meaning has been popularly reduced to
a minimalist aesthetic. Of this style of Zen, he says,
Its going to be potentially boring; if youre a landscape
architect, especially one of Japanese descent, its going
to be a rock garden.
It is the core principles of Zen that Okashimo
appreciates the ideas of minimizing distraction, of
creating a field of calm, of finding a focal point within a
composition that might over time reveal aspects of itself.
Interested in the original Zen garden as a meditative
vehicle towards enlightenment, Okashimo finds meaning
through and in his own works, and looks for opportunities
and collaborators with the right intention kindred
spirits who seek to improve the quality of peoples lives,
to make meaningful, unique and memorable work.
A project typically starts with a rigorous research of
place that is carried out in two parts: first, an experiential
research that entails Okashimo and his team meditating
on site.

born of the site, he shares. It also allows us to experience

Ephemeral
You start to develop an intuitive feeling about the place,
rather than just going and methodically taking pictures, or
making observations in a very objective, measurable way.
Meditation becomes a device to develop another level of
sensitivity, he shares.
Okashimo and his team would be on site before first
light, earlier than the sun.
We like to believe that by witnessing and experiencing
the birth of the day on the site, whatever we do is going to be
the site in probably its quietest time, when all the night
noises have gone away and the morning noises havent
quite started.
Each sitting typically takes 45 minutes to an hour, and
the team meditates every time they go to site. In these
meditations Okashimo says the unexplainable enters into
you...You start to understand the nuances you would if you
were the resident of the place. It takes more time. It takes
being present. It is a type of natural enquiry, whereby you
use the experience, you document it. It becomes almost
like data collection.
If meditation on site is about feeling and being, back
in the studio, on the sixth floor of Song Lin Building on
Syed Alwi Road, they shift back to thinking and doing. Here,
the factual research (on a sites physical, cultural, historical
and social context) takes place, as does the making of scale
models and maquettes. The studio is littered with such
models, stone and soil samples, tools of all kinds, dust from
stone and clay evidence, even on a non-workday, that
this is a scene of intense activity. Along the edges of black
92

shelves run lines of Chinese and English words such as

introspect. reflect. . undisturbed. open. slow.
. rapt. state of flux. . impermanence. These
appear like a stock ticker scroll on first impression, but
they soon gain meaning they are mission statements,
a single continuous strand of office mantra, punctuated
like a string of mala bead-words.
The studio works towards resolving the objective
and subjective, the intellectual and the intuitive. The
result is that the work never just fulfils a commission;
rather the landscape and sculptures often mediate with
their social, historical, cultural, political, environmental
contexts. The inherent meanings are deeper, but also
therefore not always straightforward.
In the book, Provoking Calm: The Artworks of Colin
K Okashimo, Patrick Bingham-Hall writes thus of a wall
Okashimo had put in in the Mauritian resort Belle Mare
Plage: The second sanctum is to be found at the entry
to the lobby, where Okashimo placed a great slumbering
coil of stones, a volcanic mass curled and brooding in
the midst of the palm-trees: he has replaced the usual
fishpond feature with a mound of Mauritian stones.
Coupled with photography illustrating the walls
low, gentle rise from the ground, the written description
suggests the lack of distinction between sculpture and
landscaping. Indeed in many of Okashimos projects,
object and environment are yoked as one; it could be
both wall and sculpture (as in the stone wall of Belle
Mare Plage, or the swivelling blocks of glass granite at
Ten@Suffolk condominium in Singapore), seating and art
(Five Stones Condominium in Kuala Lumpur, Malaysia),
object and framing device (the subject of Light Through
Bronze sculpture at the Seven condominium is the twin
towers of the Petronas). These works are built for all
(children peer through Light Through Bronze as if it is a
huge telescope). Their meanings rest in the viewer.
Bingham-Halls description of the slumbering coil
of stones, curled and brooding also suggests that in
these works, material is not just matter; it carries energy Duality
 Repetition

detail from studio
and life. This is hardscape that is alive, if only in slumber;
and implicit in the slumberous state is an awakening
a satori-like moment-ness that Okashimo looks for.
What I realized is that it was this moment-ness that
I wanted. Thats why the title of my book is Provoking
Calm. I want it to be calm, but somehow it yells through
some sort of change, some sort of destruction, some sort
of momentary force that then puts it in a different state...
and then it is frozen again not that it wont change
again, but it is in that state that is almost sculptural
and you then say, ah! Its calm but it is provoked. And
because its that, its more memorable. Its provoked in
a way that is relative to its context historical, cultural,
environmental, social, political...somehow it speaks to
the viewer, or at least it puts into question what would
otherwise seem very conventional.
Okashimo understands that art awakens us by way
of intervention, that art has a power to make us stop and
see, to seek meaning, to recognize. His art, like the ens
on his website, piques but doesnt enclose; it leaves an
openness, a space or a place that invites meaning.
shop

94

fabled forest
BY Yvonne Xu | IMAGES COURTESY Snhetta

Aesops newest temple for the senses is an inverted

basement forest dreamt up by Snhetta
 aeSoP Ion

total floor area 70m2

completion May 2016
design Snhetta
project team Thomas Fagernes, Sofia de Cunha, Stian Rossi
contractor The Design Ministry

T
he new Aesop store at ION Orchard is hard
to miss. Its wide entrance is all clad in brass
with a burnished lustre that exudes a quiet
yet splendid grandeur. Shining like a golden
temple, it is inviting, tempting even.
Those beckoned past the threshold would find
themselves in an intimate space. Timber battens rain down
overhead, forming a wave-like cover; these undulations are
echoed along the walls which have been painted a coral-
pink, reminiscent of blush or rosy cheeks what else befits
a skincare brand?
Aesops signature stores have long been a kind of
paragon. A company that avoids traditional media advertising,
its success is in it building a strong brand identity through
basic but also more intrinsic touchpoints of packaging and
retail store design.
It all started in 2004 when the Australian-born brand
hosted its first in-store customers in an underground nook in
the bayside suburb of St Kilda in Melbourne. It is said that this
space, a 3m x 25m ramp that descends into the underground
carpark of The Prince hotel, had set the benchmark for
following architectural ambitions. All Aesop outposts have
henceforth been conceptually individual and unique, and
often impressive in design and construction. These include
Aesop Nolita in New York (designed by local architect Jeremy
Barbour), made of 400,000 strips of paper cut from reclaimed
96

copies of The New York Times; and Aesop Le Marais in Paris

(designed by French studio Cigu) where 427 pipe caps
conventionally used in the citys plumbing network were
repurposed into wall-mounted display holders.
Aesop employs story-telling almost as a brand trope
cleverly, in keeping with its namesake. For its stores, it often
provides narratives, weaving histories and tales of people
and places into a memorable experience.
ION Orchards inspiration was taken from its location:
Orchard Road, pre-urbanized, when it was still a nutmeg
plantation.
It is an upside-down forest, Thomas Fagernes,
Partner, Director, and Senior Architect at Snhetta explains.
Here, you have the feelings from the forest, like a forest
glen, a clearing, with light coming down. The displays are
these trees, hanging from above. The idea for the inversion
comes from the stores basement location within the mall
to Italo Calvino fans, this is evocative of the symmetrical city
of Valdrada, one upright, one upside down.
Perhaps indeed inspired by the more sinister veins in
the story, Snhetta had at first envisioned a darker forest
with black walls, but the hue proved to be unbecoming for
the human skin. Pink, taken after the red of mace, was
eventually chosen. The space is nonetheless dramatic;
through approximately 2,300 nyatoh battens that have
been arranged in radial arrays, lights form shadows that get
thrown on walls and the sisal-carpeted floor.
 interior Section

Shopfront elevAtion

Thomas Fagernes

The nine display trees descending from the ceiling

more or less line the periphery of the grove. This leaves
a clearing in the centre, where an island of sinks, shaped
round like a well, sits. Another counter island, also cast
in brass, is set oblique to it. Discreet perforations along
the sides of this counter and the walls let out scents
of heated essential oils. The resulting atmosphere of the
calming aromatherapy, the organic circulation path, the
play of shadows, and the use of carpeting and a canopy
form to buffer noise, slows movement down. Customers
really browse here, moving from tree to tree, to look,
pause and linger. This forms a distinct and welcome
experience from the bright white hustle bustle of the
mall outside.
98
dine
domestic
is fine
BY Yvonne Xu | IMAGES COURTESY Whitegrass
PhOTOGRAPhY BY Jovian Lim

Takenouchi Webb has given Whitegrass

beautiful details that respect both building
heritage and chef-owner Sam Aisbetts
modern ideas around fine dining

I
n the restaurant Whitegrass is a unique convex wall
that artist Messymsxi, also known as Zi Xi Tan, has
turned into a mural. Three large door-sized frames
punch through this wall, so that the art, painted
around the openings, has a decorative, wallpaper
quality Morrisian in its upper reaches, with climbing vines
and trailing branches, fruit and herbals; and in the lower parts
marine and encyclopaedic, with swimming tortoises, shoals
and corals and crustaceans that trundle the seabed.
Somewhere at table height one could spot a pair of
divers, painted almost like staffage, descending towards a
lobster that is in size nearly as big as the human figures.
The divers, Tan shares, are chef-owner Sam Aisbett and his
wife and Whitegrass operations manager, Annette Glover.
The whimsy in the mural is informed by the conversations
Tan had with Aisbett. She recalls a particular moment when
he had emphasized, It is a fine dining restaurant, but its
got to be fun!
Aisbett hails from Australia and is recognized as a new
generation of chefs that is reinventing Modern Australian
cuisine. With Whitegrass, he is interested in creating an
unforgettable dining experience that prides itself on creative
plates with his non-conformist combinations of ingredients,
according to a press statement.
All for a new kind of restaurant experience, Aisbett had
asked Takenouchi Webb to create a relaxed setting for his
style of fine-dining.
Whitegrass location is within Caldwell House, a National
Monument building in the CHIJMES complex. It was originally
built in 1840 for a magistrates clerk and later became part of
a convent. While the 289m2 space has been used variously
100

including as an art gallery and restaurant, in inspiration

this time, Takenouchi Webb reverts the building to its
original use as a house.
When we first saw the site we were immediately
struck by the unique qualities of the interior spaces,
which comprised of the three very distinct rooms, says
Marc Webb of Takenouchi Webb. The inspiration for the
design was then envisaging the restaurant as a series of
domestic dining rooms, each within a similar style but
with subtle differences in the colour palette, furniture and
materials to differentiate each space.
Also, talking to Sam about the style of food he
wanted to serve and how he wanted to serve it, we
realized the restaurant would be fine dining, but in a
less formal setting and the domestic inspiration was
very appropriate.
The entrance sequence for the restaurant is
orchestrated in full appreciation of the layout of the
Neo-Palladian building. Diners come through a covered
colonnade. To reach the brass and glass entrance doors,
they go past the restaurants terrace, walking by the
beautiful mirror-backed bar on the right, with the rest
of the outdoor seating stretching down the length on the
left. At the doors there is a direct view into the main dining Webb shares that designing the space to fulfil the has and the lengths they go to to achieve it are
room through to the circular dining room at the back. operational needs was challenging as there is a large demonstrably seen in projects such as Empress at the
Entering on the axis of the circular room and dining amount of circulation between the three dining rooms Asian Civilisations Museum and The Black Swan on Cecil
room was important for us, says Webb. This became the and the kitchen. The terrace and each dinning room Street. These interiors are beautiful to the last detail. For
most dramatic entrance point as you can see the three all require substantial service stations, and due to the Whitegrass, where the original floor in the main dining
dining rooms and the open kitchen. limited space these could not be hidden away. The room could not be salvaged from its poor condition, a
The sightlines from inside the main dining room are service stations were therefore designed to be part of the pattern based on the floors original tiling was created
kept open too, with views to the other two rooms through interiors, as beautiful objects in themselves. Glassware and used as the rooms ceiling design.
the original open doorways and panelled heritage doors. were also thought of as both a practical and display Perhaps most impressive of Takenouchi Webbs
This dining room also has a window and a sliding glass element at the service stations. Outside on the terrace, a attention to detail is their treatment of the circular
door to look into the kitchen the belief is that the large, internally lit mirrored cabinet was designed as the dining room by way of its ceiling and floor finishes. To
movement and theatricality of the kitchen add to the back-bar that can be closed when not operational. accentuate the geometry of the room, a spatial centre
dining experience. The high standard of design Takenouchi Webb was established with a circular display table and a large
cluster pendant as anchor. From this central point, the
ceiling and flooring send its patterns outwards, with a
radial splay on the ceiling that is echoed underfoot
through timber floor strips combined in two tones. The
painted timber strips on the ceiling was also a way to
integrate the air-conditioning slots.
Throughout, materials and colours carefully picked
out to combine into one palette. The mix of brass frames,
marble and different patterned timber veneers tie the
series of dining rooms together. Even in the rugs or
furniture, colours were all tempered and matched in
this case, soft, pastel in tones, and seemingly taken from
land and sea Himalayan pink, seaweed green, a stone
grey or a marine coral that all hark back to the imagery
of the mural.

Mural detail
dfusion

novel living
102

concepts

R
Story and imageS courteSy La TriennaLe di MiLano

OOMS. Novel Living Concepts at the Triennale di Milano on viale

Alemagna 6 in Milan is an exhibition that explores the boundaries
and possibilities of interior architecture, the discipline that defines
the spaces and environments in which we live. Visitors are invited to
walk through a series of rooms, each designed by a different Italian
architect, illustrating their concepts and philosophy on interior architecture. ROOMS,
curated by Beppe Finessi, is part of the XXI Triennale International Exhibition (April 2
to Sept 12), an event on art, design and architecture held at several different locations
in Milan. The 2016 edition has the theme 21st Century Design After Design, and is
the first to be organised in 20 years. The exhibition opens with an introductory space
that sets the historical scene, showcasing a selection of 50 architectural designs for
Italian interiors ranging from the 1920s to the present. This then leads into a series of
11 spaces conceived by 11 designers, who are either established or have just entered
the industry. In designing the rooms, the designers were each given a book, chosen
by present-day philosopher Francesco M Cataluccio, to trigger major reflection and
debate. Each of the eleven rooms presented thus relates to a book (or several books
linked by a specific theme), in a period encompassing the awareness of the crisis of
rationality to modern criticism and the effects of the digital revolution. We look at eight of
the ROOMS created, along with their descriptions. The exhibition ends 12 Sept 2016.

La Vie En Rose by Claudio Lazzarini and Carl

Pickering; experimental panel developed by
Dyepower in collaboration with CHOSE (Center
for Hybrid and Organic Solar Energy), Universit
di Tor Vergata. Furnishings from Secco (frames)
with Acierno (coffee table), Altai (rugs), Artopia
(Emanuele Becheri), Barovier & Toso (Riva
lamp), Bitossi Ceramiche, Extendo (vertical
bookcase), Flos (Parentesi lamp), Gallery Apart
(Luana Perilli), Intentions (fireplace), Kvadrat
(fabrics), Marta Sala ditions (furnishings),
Molteni (Gio Ponti armchairs), Zanotta (Cumano
side table). Sheets of glass ranging from pink to
claret define the walls of a minimalist habitative
cell that explores the technical, aesthetic and
ethical possibilities thrown up by the new solar
technologies. Surfaces screen-printed with
special pink, organic and hybrid photovoltaic ink
produce energy when exposed to direct, indirect
and artificial light sources, triggering a virtuous
circle of energy consumption and production.
Thirty-three internal sqm and 12 metres of
loggia/greenhouse encompass all the residential
functions required by a couple looking from the
contemporary to the future, bringing elements
of memory with them. The loggia/greenhouse,
a mediation space between the interior and
exterior, controls the air-conditioning and energy
production and hosts plants and domestic utilities.
A central plan, covered by a vault, is enclosed by
a perimeter of server spaces and solar panels,
which open as required, altering the space like
theatrical scenery. The furnishings meld with
the fixtures, the fixtures become furnishings and
everything becomes transformed. The habitative
cells duplicate and join together to generate
architecture and landscapes that aspire to energy
self-sufficiency.
 D1 by Francesco Librizzi (De Castelli,
structure; Emmemobili, table decorations;
Zanotta, furnishings). D1 is a room that spells
out the discovery of the domestic space. In
an elliptical space formed by concentric
rows of coloured narrow metal columns, the
viewer gradually sees the threshold between
interior and exterior become defined and
include the role of the architecture in the
mediation between landscape, domestic
space and objects. The concept is drawn
from a fascinating experience of hospitality
in several private interior spaces in Beirut
and illustrates a timeless way of living,
rooted in the collective memory of the
entire Mediterranean basin. An empty space
positioned in the centre that acts as the
cornerstone for a series of satellite spaces
orbiting around it: the home and the city we
can all remember or imagine. D1 leverages
the mythical imagination of an original
moment in which, for the first time, a person
has paused because they are fascinated by the
quality of a place and decides to stay there.
In this sense D1 is the persons first room,
the place we identify with and in which we
became conscious that we were nomads no
longer; that place at the centre of everything,
where we take the things we pick up along the
way and around which we build our home. D1
is a project that represents the threshold that
divides nature, across which the space ceases
to be wild and becomes domestic.

Lift-Bit by Carlo Ratti Associati (in collaboration with Vitra) In its dedicated Room
at the Triennale di Milano, Carlo Ratti Associati presents Lift-Bit, the worlds first
internet-connected sofa. The design, put together with the support of Vitra, consists of
an upholstered modular and reconfigurable seat, which leverages Internet-of-Things
(IoT) technology, making for a new living experience. The Lift-Bit prototype is built
on a combination of a series of individual stools, each of which contains a linear drive
that enables the seats to be raised or lowered. Remotely controlled by an app, each
stool can double or halve in height, reconfiguring the space in a potentially infinite
number of new combinations. A homage to Cedric Prices Generator Project, Lift-Bits
responsive module adapts to suit the users requirements, becoming an armchair, a
bed, an orderly sitting room, a small auditorium or a domestic landscape.
104

INTRO by Fabio Novembre (in collaboration with Natuzzi). If you think about it, an egg is like a solidified uterus, and what appears to
be the great difference between oviparous and viviparous species is simply a matter of the consistency of the outer membrane. If we
then tried to plunder our remotest amniotic memories, it would be easy to demonstrate that our first perception of space occurred
while we were floating about in the warm hollow of an ovoid form and that every concept of domesticity is geared to recreating that
condition. However, unlike the gestational sac, the egg retains its formal and aesthetic dignity even after it has carried out its function.
Perhaps this is why mankind has always been fascinated by its shape, and why all its vital potential has always been associated with
the idea of perfection. Art has celebrated its iconic value, and architecture especially when endeavouring to predict the future
has seen its ovoid shape as the perfect formal synthesis. My design is for a bedroom made of leather with high-end saddlery fittings
inside a spherical shell, the outside of which is completely covered with mirrors, as if it were an enormous ballroom. The spherical
shape and its reflective power are selling points, but then, welcomed by two golden vestal virgins, the colour and warmth of the
leather literally engulf the visitor, who finds himself inside himself, looking at himself from within. Free thoughts drawn from Fellinis
8 and recited in the voice of Filippo Timi reverberate in the hollow of the great head, like scattered drops of consciousness that
surface while we drowse. After all, sleep is the space-time threshold that carries us back to our original amniotic immersion by night,
but compels us to be reborn each day, more human and more sentient than ever.
 Ursus by Duilio Forte (furnishings by Rimadesio). Ursus was
created as an opportunity to try out a minimal habitative
experience inside a zoomorphic shape. The bear is an animal
associated with northern nature, where he lives in the forest or
on sheets of Arctic ice. The monumental size of the structure
means that every single part of the work is inhabitable. The
head/entrance consists of a sauna. The purification of the
mind and body make way for the main room, the body. The
first part of the inside of the body is split into two levels,
two small bathrooms below and a bed above. The central
space, full height, is the convivial area. A long table in the
centre, a kitchen. The interior is colonised by a great many
objects, sculptures, books and pictures connected with the
Scandinavian world, mythology and travel. Ursus, Fafnir,
Hugmun, Sleipnir, Convivalis II, Huginn, Huginn & Munin
are just some of the works that populate the Great Bear. You
can wriggle out of one of its paws and feel at one with the
surrounding nature.

My Prisons by Alessandro Mendini (in

collaboration with Abet Laminati). For
a long time, forever in fact, I have felt as
though I were living shut inside a prison.
Serving a life sentence for the crime
of ornamentation. I find myself in an
introverted room, a blockaded perimeter,
an insurmountable mental space. Small yet
also enormous, completely confined, in any
event. My ideas, my style, my atmosphere,
my mirage: everything is in there. It is
the isolation cell inside a romantic and
privileged Alcatraz. Imprisoned by
nightmares, by torture, by hallucinations,
by the abyss of decoration. Its like the
methodical self-building of walls and
surfaces destined to deny me my freedom.
I often think about ABET laminate. It was
the first material I fell in love with. Cold,
flat, high-tech, geometrical, amorphous
yet erotic, up for anything, prepared to
lose and make me lose our purity. My
conventions, my desires have smoothed
it, painted it, stroked it, illuminated it,
polished it and softened it. Laminate
seduced me so completely that it must
have been the source of the decorative
obsession with infinite signs, styles and
colours that wrapped me ever more firmly
inside the cocoon of my sins, my terrible
thirst for ornamentation. If I try to locate
the true, distant beginning of my design
life sentence, of my prisons, I find it in
the emptiness of the drawings produced
by hand or on the computer, above the
superficiality of the surfaces, not in the
depth of space and form.
106
The Absence of Presence by Marta Laudani and Marco Romanelli, in collaboration with Antolini
(marble), 0.0 Flat Floor (metal furnishings by Daniele Paoletti), Flos (lamps), Galleria Roberta
Lietti, JAB Anstoetz (fabrics), Oluce (chandeliers). When organising internal spaces our time is
spent debating alternative dichotomies between revealing and concealing, or rather between
presence and absence, and between gymnasium and stage set. Homes are not merely
machines habiter, but stages for our daily lives. This duality conceals the raw nerve of 21st
century design. Machines habiter actually make for perfect distribution, carefully evaluated
climate conditions and generous fixed furnishing systems. Stages for daily life serve to show
off objects and materials that testify how far we have come financially and culturally: from large
screen televisions to original paintings, from large amounts of books to elegant drawing rooms
still protected with plastic, from hydromassage tubs to brass-effect finishings, from hyper-
technological kitchens to mega sofas. People throughout the ages have attributed specific
powers of representation to different and particular objects. This therefore means that when
tackling a design for a novel living concept, the value of absence needs to be analysed.
It is no longer simply a matter of modifying the presence in terms of taste and culture, but
of building a room to be lived as an absence (an empty space for coming and going and
contemplating works of art). The presence will return, transformed into experiences for
lone activation within well-defined areas, earmarked for individual human activities: reading
a book, getting undressed or eating. This is a project that does not simply aesthetically valorise
the concept of emptiness, but is driven by different contemporary family structures. Families
made up of individuals all of whom have reached adulthood but who, out of necessity, continue
to live together, or unrelated people required to share a space, for instance. Within these nuclei,
each person needs to create their own intimacy, their own story, their own one-man tent.
(photos by Marcello Mariana)

Putting Things Into Perspective by Elisabetta Terragni (in

collaboration with MDF Italia and Artemide). A design
for a room like a microcosm for living and thinking in, into
which everything is slowly filtered and distilled. A room
that will never be lived in, but which declares its intimacy
in the form of absence, of emptiness. A more or less closed
paralleliped; inside the spaces hide and gently mutate in
two perspectives: one along the visual axis of the entrance,
almost inevitable, the other more private, unwinding along
the transverse axis. The perspectival deformation creates
a different perception of space, almost imperceptible
and at times more marked, sufficiently to make us think.
Occupying the resulting spaces between the interior
and exterior walls, margins and gaps open and close in
an ever-changing perspectival play, generated by light
and the movements of the observer. An ethereal image
fragments against the walls and becomes whole again
from one single viewpoint that the observer can only find
by moving around. Fragments of light and space can be
glimpsed by peeping through the windows, but can only
be reconstructed by going inside. Ideally, two individuals
inhabit it, they are close, but can also not see each other,
almost miss each other, although they can communicate
with and hear each other.
 PARIS / SEPTEMBER 2-6, 2016
PARIS NORD VILLEPINTE / HALL 8

BRING YOUR
PROJECTS
TO LIFE
IN SEPTEMBER
HALL 8 *

Integrating the best technical and decorative solutions

in interior design & architecture in the only one-stop trade fair
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INFO@SAFISALONS.FR
ORGANISATION SAFI, FILIALE DATELIERS DART DE FRANCE ET DE REED EXPOSITIONS FRANCE / SALON RSERV AUX PROFESSIONNELS / DESIGN BE-POLES - IMAGE QUARTOPIANO
dfusion

108

blow up a side-table?
story and images courtesy Salone del Mobile Milano

New Materials, New Design was the theme for the 19th edition of SaloneSatellite, an event in Salone del Mobile Milano
2016 (April 12 to 17) at the Rho Milan Fairgrounds. In this edition, installations were set up at the exhibition venue that pay
due homage to noble classical materials, such as wood, plastic, glass, metal, fabric and marble. The annual SaloneSatellite
especially focuses on eager young designers, drawing international interests every year and is a prime meeting place for
manufacturers and talent scouts. From the thousands of entries submitted, only 650 were selected for this years exhibition
in a rigorous process that ensured SaloneSatellites reputation for excellence. Topping it all is the SaloneSatellite Award that
continues to be a reference point for designers under 35 who are looking for the kind of visibility that only the largest design
event in the world can guarantee. In this years 7th edition of the Award, prizes and special mentions were given to designers
from Germany, Japan and China, for their uniquely original and functional creations.

1\\ First Prize winner:

Inflatable Sidetable by
Studio Philipp Beisheim,
Germany. It is made of
Hypalon, a highly durable
silicon-based material,
an industrial product. The
table respects the rules of
functionality. Its inflatable
base makes it relatively
compact for shipping and
storing. Made of an unusual
material for furnishing:
particularly resilient
rubberised, waterproof
canvas used to produce
rubber dinghies. Keeping
faith with one of the main
objectives of design, this
choice of material contains
a veiled reference to
current events and the most
pressing social problems
1 that concern us all.
2\\ Second Prize winner:
Warm Stool by Bouillon,
Japan. The essential lines
of this stool combine
primitive functions and
new applications for
traditional terracotta,
which has been an
enduring feature of our
houses. The originality
and usefulness of the
concept are engaging, as
is the innovative take on
a traditional process for
a raw material such as
terracotta, inventing an
object that hitherto did 2
not exist.

3\\ Third Prize winner: 4\\ Special Mention: Ping

Bobina Chair by Studio
Nito, Germany. From a Design Studio, China.
single thread to three-
dimensional objects.
The project is inspired
by bobbins, their yarn
structures and general
textile capabilities.
Combined with a special
manufacturing technique,
colourful cotton yarns
turn into solid furniture. This is an elegant object,
The project is beautifully
carried off thanks to an
innovative production
process that manages
to combine a traditional
material, such as cotton
thread, with a more
contemporary one, such
as bioresin, achieving
an aesthetic result that
3 is both familiar yet
altogether new.
Screen by Frank Chou
This mobile screen is
suggestive of Oriental
spirit as new material.
The kimono becomes
a room divider and
storage space, and can
be replaced with other
different materials,
according to season.
harnessing a theme
that is currently much
explored, and is suitable
for great personalisation,
an increasingly sought-
after commodity in the
furnishing world.

4
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110

on the up side
Story and imageS courteSy moooi

Mooois new 22-piece collection for 2016 was majestically presented in

beautiful compositions on pedestals and carefully placed inside a mysteriously
dark and seductive ballroom at the brands Unexpected Welcome installation
during this years Milan design week (April 12 to 17), in a fantastically
transformed 1,700m2 space at via Savona 56, Milan. Among the wondrous
exhibits was Marcel Wanders Charleston Chair a seat formed from a quilted
2
leather Chesterfield sofa turned on its side to point almost vertically upwards!
Moooi is available exclusively at Space Furniture

1\\ This is really how you

sit in it Marcel Wanders
Charleston Sofa actually
stands on its side!

2\\ Caution: Heavy!

The marble version
of the Compression
Sofa designed by Paul
Cocksedge is made from
six tons of Carrara Marble

3\\ Paul Cocksedges

Direttore Shelves come
with colourful angled-
book dividers

4\\ Rick Tegelaar and Ox-

ids Filigree floor lamp,
projected onto a wall or a
ceiling, creates a playful
network of shadows,
4 with its ornamental
filigree structure
3
 6

5\\ Marcel Wanders and poetry of a bird

Jackson Chair is an perched on a branch,
armchair made of rocking darkness away
leather with a large when set in motion.
embroidered backrest Crafted from paper in
5 the form of an abstract
6\\ Perch Light by bird sitting on a branch,
Umut Yamac, a series these sunlit birds swing
of six sculptural lamps and glow softly when
celebrate the beauty gently touched

7\\ Lorenza Bozzolis

Amami sofa and
different-sized poufs
and stools feature
an ombre gradient
pattern at the fringes

8\\ Jaime Hayons

versatile Elements
series (shown stacked)
and sketches

8
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112

seriously functional
Story and imageS courteSy Lanzavecchia + Wai | PhotograPhy by DaviDe FarabegoLi

Lanzavecchia + Wais PLAYplay collection of expressive

furnishings for Journey East, designed to communicate
the colours and culture of South East Asia, was presented
at the 2016 Milano Design Week event, A Matter of
Perception: Tradition & Technology, held in the Palazzo
Litta on Corso Magenta (April 12 to 17). The collection,
made of fine Indonesian mahogany, consists of the
Bazaar desk, Accordion console, Hamburger double-top
coffee tables, the Ping sturdy solid mahogany bench with
wheels on one side of the legs, complementing Pong, an
unconventional dining table with secret compartments
on both ends. Given great attention to proportions and
multi-functionality, Playplay is designed to meet the
requirements of modern living with playfulness and a
touch of eccentricity, qualities that are at the heart of
Lanzavecchia + Wais creations.

lanzavecchia-wai.com 1
2 3

1\\ Lanzavecchia + Wais

PLAYplay collection for
Journey East

2\\ Accordion console

3\\ Hamburger side and

coffee tables

4\\ Table tennis-inspired

Pong & Ping, dining table
and wheel bench

4
 dfusion

114
building shop
BY Kenneth Cheong | images courtesY Kedai BiKin

T
here is a curious intimacy to the work
of Studio Bikin. Tactile surfaces of
concrete in various permutations invite
touch. Concrete cabinetry contiguous
with polished concrete floors and walls
demand to be filled with objects. Cold-bent steelwork
to the operable machinations of windows and doors
encourage movement and play. These are the primary
materials of choice for Adela Askandar and Farah Azizan
of Studio Bikin in their built work. In every completed
project, the experience of the space is inextricably linked
to functional fabrications that seamlessly integrate the
architecture to furniture. With direct access to a wealth of
craftsmen and tradesmen who execute their built work, it
was only natural that Studio Bikin set up shop to extend
2
their expertise from building to furniture.
 3

designer family remains the same with the PVC strings woven by hand
1\\ Designer family
Adela and Farah first started Kedai Bikin in 2013 with in the original manufacturing facility. The thickness of the
a range of premium hand-crafted furniture. That range steel frame is increased with the finishing updated with 2\\ Ms Gray

has been developed and has grown with permutations powder coating. 3\\ Mr Concrete Chintz
in different materials and finishing. Central to this range Of late, according to Farah, the auntie from the 4\\ Mr Parquet
and as with their built work are the exquisitely-skilled manufacturer of the Merdeka chair came into additional
steel craftsmen. A single continuous steel rod is bent colours for the PVC strings as an order was made outside
and formed into a single piece of furniture to eliminate of the standard black, blue, white and red. Immediately,
seams. The lines of Ms Gray is traced in powder-coated Farah saw this as an opportunity to run wild with the
steel into a single-arm low chair. Premium finishes are a colour combinations, culminating in the Tropicalia series.
trademark of this range with custom-printed fabric and The auntie found it odd that Farah would want anything
natural stone. from the tried and tested. The new colour combinations
Architectural finishes also come into play in the Mr have resulted in bringing a truly Malaysian classic into a
series. Mr Parquet as its name suggest is a table which contemporary lifestyle.
employ parquet flooring hand-sanded as a table top. Mr
Parquet pays homage to the ubiquitous flooring typical in
Malaysian terrace houses. The table top of Mr Parquet
hovers on delicate bent steel legs.
In another variation, Mr Concrete Chintz exploit
Studio Bikins expertise in concrete finishing. Patterns
are cast into the thinnest sliver of concrete. A recurring
theme in their work, pattern casting in concrete involves
a specific concrete mix and grade which remains a
Studio Bikin trade secret.

string family
The String series is the reproduction of classic mid-
century chairs found in almost all Malaysian homes up to
the late 90s. Still produced in its original specifications
and colour by a small family-run business, Adela and
Farah amped the specifications and tweaked the design
to bring a Malaysian icon back from the past.
The nostalgia-evoking circular form and aptly named
Merdeka chair is something all Malaysian are familiar
4
with. The manufacturing process of this Malaysian icon
116
The increased orders also meant that one of the
last manufacturing vestiges of the Malaysian classic will
remain in business for the long run.
rattan family
The Rattan Family naturally evolved from Kedai Bikins
ethos of supporting small scale manufacturers. Another
dying breed, rattan weaving involves a tedious and
labour-intensive process. As all of the pieces of furniture
are derived from a steel structural frame, the infill can
easily be adaptable to other materials. Rattan is woven
in traditional patterns such as the tofu, pulut and
octagonal mesh weave to almost all of the chairs in
all the ranges modernising a traditional handmade
material into contemporary designs.
bikin home
To complement the exhaustive range of furniture, Kedai
Bikin also curates a range of home objects under
6
the umbrella of Bikin Home. The range culminates
in a collection of sustainable, thoughtfully-designed
and crafted homeware products from Malaysia and
Southeast Asia.
A key consideration is the use of up-cycled of
materials. Sourced from the region, Kedai Bikin carries
an eclectic range of wares, from light fittings made from
the negative cuts in steel production, to picnic mats
manufactured from upcycled plastic bottle caps, to Ipoh
marble accessories from manufacturing off-cuts all of
which encapsulate the Studio Bikin aesthetic.
On the other end of the spectrum, local handmade
crafts such as fine and rare Penan and Bidayuh
basketry and traditional silk weavings from Kelantan are
displayed and re-appropriated for contemporary lifestyle
aspirations. These are sustainably sourced direct from
the makers to eliminate unnecessary costs, with the
bulk of profits ploughed back to the makers in order to
sustain these dying crafts. The more architectural objects
are produced by Studio Bikin, for instance, the tiang lilin
candlestick holders are constructed from balustrades
sourced from Penang shophouses. Typical in Studio Bikin
designed residences, bent copper-pipe taps with stop
valves cast with concrete are also available.
bikin social
As an extension of Kedai Bikins ethos of sustaining
craftsmen, Bikin Social looks at empowering people
with special needs towards a more sustainable life. In
collaboration with The Asia Community Service (ACS)
in Balik Pulau, Penang, Adela has developed a range of
 8

tactile handlooms incorporating the magnetic tape from

5\\ Grandaddy lounger
the now defunct cassette tape. We were humbled by the
6\\ String family amazing abilities (which the centre focused on, rather
7\\ Tropicalia series than the workers disabilities) and positive energy of the
8\\ Rattan family
Stepping Stone members. We have much to learn from
each other and we are pretty sure you will love the fruits of
9\\ Bikin Home
their labour and support this wonderful set-up at the same
10\\ Bikin Social time, says Adela.
11\\ Adela Askandar (left) Kedai Bikin is still in its infancy stage a step away
and Farah Azizan
from bigger things. To Adela and Farah, Kedai Bikin is a
small step to revive and sustain the small holders in the
local crafts and manufacturing industry.

www.kedaibikin.com

11

10
dfusion

118 bound for magic

BY Yvonne Xu | photographY BY Raphael ong

World renowned book publisher and printer Gerhard Steidl has

donated 1600 photobooks to independent arts space DECK,
setting up what is believed to be Southeast Asias first public
library dedicated to photography. He was in Singapore for the
library opening, for which a series of events was held, including
an exhibition, talks, and book critique sessions
 STeIDl DeCK: 1001 STeIDl BooKS

exhibition
april 8 to May 22
total floor area
111.6m2 (1,201ft2)
contractor
aVS printing pte Ltd
art direction
theseus Chan (Work)
visual identity
Ernest ho (Work)
exhibition designers
timo Wong (Studio Juju)
priscilla Lui (Studio Juju)
Meiska priscita
exhibition writer Justin Zhuang (in plain words)
handwritten description gerhard Steidl

He is difficult to catch hold of, often

only with cunning, my mobile publisher.
In the labyrinthine publishing house
the way you meet him is upstairs
downstairs. Gnter Grass

o
n the way to my meeting with Gerhard
Steidl, I thought about Scheherazade, the
clever Persian queen who saved her own
life by telling a series of one thousand tales
to the sultan who had wanted to execute
her. Each night, Scheherazade told a story but did not end
them so that the sultan, spellbound by the stories and curious
about their endings, delayed her execution day after day. By
the 1001th night he had fallen desperately in love with her
not only was Scheherazades life thus saved, she was crowned
queen. One Thousand and One Nights, or Arabian Nights as
it is known in English, is a story about the power of stories,
and by extension, books the flying carpets that transport us
to other worlds outside our own. I wondered if STEIDL DECK:
1001 STEIDL BOOKS had been named after the tale.
Are you sure you got the right address, Miss? Weve
gone down the whole street and there is no 120A, the taxi
driver said. I looked out and told him to turn around. It is on
the left side, after the church. I knew what to look for because
120

I knew what it looked like those 19 dark grey container
boxes stacked like a Tetris puzzle paused in mid-play. Set
a good distance back from its inconspicuous gate at the
road, the metal assembly by LAUD Architects was hard to
spot and even harder to recognize as a building.
The driver got curious. What place is this? he
asked. I said it was an independent arts venue. Is there
a party? I answered that there was an exhibition and
that there would an opening party that evening. What
exhibition? Books! I said, and got out of the car. I knew
he had more questions, but I did not want to be late
also, if he had asked, I really wouldnt have been able
to explain why there were medieval flags, bright in
fluoro-orange, waving at us from atop those industrial
shipping containers.
The DECK brand mark, designed originally by
&Larry in a modified Foundry Gridnik typeface, appeared
wavy but strong over the corrugations of the container
box. The word STEIDL went across on top, intersecting
the letter D like on a Scrabble board. With its shot of
colour, these letterings, whose art direction had been
conceptualized by WORK, were brilliant in colour as they
were in concept, playing on the horizontal and vertical
forms of the building structure.
Everything on the outside looked exciting, fun, and
a bit mysterious. The Q and ampersand flags were a
riddle. With so many questions adding up, I was even
more keen to meet Steidl.
Steidl is a legend in the publishing and printing
world, much loved and mythicized especially by artists,
photographers, and writers. These include Ed Ruscha
(who calls Steidl a wizard), Gnter Grass (a statue for
me quite lovable, really), Joel Sternfeld (Legend has
it that Steidl called the then German chancellor Schrder
to have the flight delayed so the courier could catch it.),
Karl Lagerfeld (We are both paper-freaks.), Robert Frank
(Hes a good editor: quick and nearly always right.), and
Tacita Dean (a master technician who oversees every
stage of a books production).
The man is the classic self-disciplinarian who hews
to a productive routine, arising at 4.30am not by the
alarm clock, but by the excitement of the things to be
done that new day, he confessed. His travel schedule,
like his luggage, is always packed to the brim his
luggage with books, his day with meetings with the
people he is making the books with.
When I met Steidl, he came across as the highly
creative and slightly eccentric genius type the Willy
Wonka of his book factory, if you will. Ever ready to talk
about books and bookmaking, he was also inclined to
narrative tropes.
To make a book with Steidl is almost always the
same ritual for each artist who chooses to jump on
board my submarine, Steidl said. I say submarine
because I love the idea that an artist comes to Gttingen,
we first discuss whats to be done and then we go on
board, close the hatch, and dive into the deep blue sea,
unreachable by the outside world. After a week, when we
then resurface, the mission is complete and the concept
for the book is done.
The setup at DECK, with a library on the ground floor
and the exhibition above, reminded me of the upstairs-
downstairs Grass describes of the real Steidlville, as the
factory had come to be known.
In the DECK library, Steidl books sat on galvanised
industrial shelves around existing support structure in
the centre of the container. The structural supports were
given a lick of industrial orange paint, highlighting the
book-laden shelves surrounding them as the symbolic
centre and pivot of the space. The books were randomly
arranged in no apparent system or order, because, as
exhibition design team Studio Juju explained, every
Steidl book is an encounter and each book is special.
In the Process Room upstairs was the assembly
line of Steidls famous analogue bookmaking process:
mock-up books, front-end papers, cover fabrics, ink
pots, brass stamping plates, Steidls signature white
lab coat, etc. Here, the smell of ink hung in the air. All
exhibition text had just been handwritten by Steidl the
very morning of the exhibitions opening, demonstrating
his work approach personal, hands-on, and a little
quirky. Steidl, leading the tour, explained paper types, ink
types, what tail and head bands were, and why Q and
the ampersand were his favourite graphemes.
Early next morning, we were back in the library
downstairs for a book critique session. Holding his head
level so he peered down his glasses, Steidl inspected
every book with great thoroughness, thumbing through
the pages from cover to cover with gentle but sure,
rhythmic flicks. He gave generous praises where
deserved, and comments on book concept, image size,
layout, typography, format and paper selection flowed
with a momentum broken only by explanations such
as on the mechanics of binding or foil transfer. Steidl
worked quickly; nothing escaped his eye. He noticed, for
example, the front end paper of one book left a margin of
2mm while it was 4mm at the back.
It was easy to see why artists want to work with him.
It was perfect books that Steidl strives to make, even if
he and the artists might not always see eye to eye, as
Roni Horn tells of an endearing story: She and Steidl had
quarrelled like two mad dogs. She left Gttingen in a fit
of anger, and thought that that would be the end, that she
would not make a book with him again. After some time,
came via fax this typewritten note:
I just want to float on a cloud with you,
Above all the nonsense and make a book.
Gerhard
By the end of the two days spent observing Steidl at
work, I understood why everybody was a little spellbound.
For one who would do no less than plunge the depths
of the deep blue sea and fly atop a cloud for a book
(the Steidlville upstairs downstairs, perhaps), it seemed,
true to the stories told, that this book maker was not
only a wizard and master technician; he was quite
lovable, really.
beat
122
invisible border
story and images courtesy Mad architects
Invisible Border is a translucent installation that alters the perception of
space at the Cortile dOnore courtyard of Universit degli Studi di Milano,
created by Mad Architects as part of the Open Borders exhibition curated
by the Italian magazine Interni during Milan Design Week 2016 (April 12 to 17)
A
rchitects usually creates borders
by defining spaces what is inside
and outside, what is nature and the
artificial but todays society already
has too many invisible borders. As
architects we should instead focus on how can we blur
those borders and encourage interaction across them,
said Ma Yansong, founder and principal architect of MAD
Architects. The installation, inspired by the natural flow
of wind and water, extends the physical and conceptual
threshold of a boarder, representing a sculptural gesture
that is inserted to break the balance of the Cortile dOnore
and at the same time providing a new shelter, between
the faade and the courtyard, for people to engage in
discussions or just contemplate the sky through the
canopy. Borders are usually seen as something closed
and unapproachable but I think its interesting to make
borders attractive, dynamic and engaging. So we decided
to play with the border between the historical loggias
and the garden in front of it, and design a transition in-
between them. The material is durable ETFE film with
a gradient colour; its light weight and flexibility of the
polymer allows it to move with the wind and create a
subtle whistling sound. The installation reflects the hues
of the sky during the day, leaving glimpses of the columns
and loggias. In the evening it becomes a luminous surface
that brings the courtyard to live with new colours. Our
installation blurs the boundaries between the traditional
and the contemporary. You see the difference in each
end, but the transition is very organic. Its like we opened
up a conversation between the past and the present.

www.i-mad.com
beat

124

take the stairs

story and images courtesy MVRDV | photography by Ossip Van DuiVenbODe and LauRian GhinitOiu

M
VRDVs The Stairs To Kriterion
was a temporary installation in
an event commissioned for the
programme Rotterdam Viert de
Stad! to celebrate 75 years of
reconstruction in Rotterdam. The structure, measuring
29m tall and 57m long, stood in place from May 16 May
to June 12, and was created as a new lookout where
people can enjoy the unique views of this newly built city.
From the cranes in the harbour, to the new city centre,
the North and Blijdorp Zoo... The scaffolding reflected
the angles of the Rotterdam Central Station, connecting
the contemporary icon with a historic monument, whilst
through its construction referencing the reconstruction
that the city has experienced. The steps not only offered
a progression of perspectives over the city as one
ascended it, but also gave access to the roof of the Groot
Handelsgebouw. At the top was a temporary observation
deck with panoramic views of Rotterdam. Also on the roof
was the former cinema Kriterion, popular in the 1960s,
which was opened specially for the event to offer a wide
variety of films, debates and performances. I used to see
Rotterdam from the Kriterion after the films and it gave a
fantastic overview of the city, explained Winy Maas, co-
founder of MVRDV. The roof of the Groot Handelsgebouw,
one of the best buildings in the reconstruction of the
Netherlands, deserves to be used as a base for the next
intensification of Rotterdam. The Stairs suggest that...Its
aim is to animate the rooftop and to imagine a second
layer in the next step of Rotterdams urban planning. A
second reconstruction...It would be good to make it a
permanent fixture.

www.mvrdv.nl
pulse

126

FROM BUKIT LARANGAN

TO BOROBUDUR
Recent Drawings by Jimmy ONG
aspects, Jimmy Ongs pictures may be connected with of Jimmy Ongs art and thoughts by T K Sabapathy.
FOST Gallery
the historical art traditions in Southeast Asia in which It springs from lengthy, intense conversations between
Gillman Barracks
narrative is predominant. In looking at these aspects the artist and the writer. It furthers and deepens our
May 14 to June 26
too, Jimmy Ongs works may be related to modern and understanding of the modern and the contemporary in

T
his exhibition at Fost Gallery is held in
conjunction with the publication of the
same title by respected art historian and
critic T K Sabapathy, featuring a selection
of the expansive, narrative drawings of
imagined historical scenes that are the subject of the
contemporary representations of narrative in Southeast the art of Southeast Asia.
Asia which have yet to be explored. Intimations of these
connections are proposed here.
The publication is richly illustrated, each picture is
examined in detail by analysing its topic, its composition 1\\ Demolition of St
Andrews, 2012
and the circumstances in which it was produced by Charcoal on paper
looking deeply at the medium of drawing and by exploring H128.5 x W309 cm

publication (launched on June 11), including several its meaning. Pictures are also appraised comparatively 2\\ Raffles Descends
drawings borrowed from private collectors. The title in order to discern links with one another to underline The 7 (Seven) Storey
Mountain, 2016
is derived from Jimmy Ongs pictures. Bukit Larangan their distinctiveness and to suggest connections with Charcoal on paper
H128 x W265.5 cm
(the earlier, historical name for present-day Fort earlier productions. This is the first detailed study
Canning in Singapore) and Borobudur are wellsprings
for the narrative and symbolic content for a number
of pictures. They also constitute poles for signifying
locations for Jimmy Ongs life, beginning in Singapore
and now residing in Yogyakarta, Indonesia. Borobudur
and Bukit Larangan are thematic drives for examining
his recent pictures.
Jimmy Ongs creative practice is defined by the
human figure and by drawing. These are constants. The
pictures shown here have expanded and complicated the
twin foundations of his art. Changes or transformations
have been spurred by binding interests in narrative;
this is new. Whereas figures in earlier works are
autonomously dominant, now they dramatize events and
encounters between individuals derived from history
and mythology; these representations require elaborate
2
depictions of landscape. When we examine these
catalogue
catalogue

128
Space Furniture
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Anita swivel armchair

fetauring two external Waterfront living at Unison Apartment featuring SP01 collection. photo by Toby Scott
contoured shells

Presenting sP01, A new

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Conceived in Australia, designed by the renowned
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The SP01 team had a very clear vision, to create a new

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Bruno Fattorini and Robin Rizzini, the SP01 debut collections design team
 Unison Apartment featuring Thomas chair and Smith table. Acid etched glass top of the delicately-proportioned
photo by Toby Scott Etoile coffee table. photo by Toby Scott

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Ling loveseat,
carbon satin finish

Unison Apartment featuring Ling sofa. photo by Toby Scott

catalogue

130
K i t c h e n c u lt u r e
2 Leng Kee Road #01-02/05/07/08
Thye Hong Centre
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t: +65 6473 6776
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V-ZUG Combi Steam XSL oVen

Besides its large capacity of 51 litres, this oven is
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The Combi-Steam XSL also features the world-exclusive

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And shortly after starting, the cook already knows
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Moreover, V-ZUG is rolling out a new range of Euronorm

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accommodate the massive stainless steel cooking
space with a capacity of 51 litres.
 catalogue
KcrOOM 131

(a subsidiary of kitchen culture)

2 Leng Kee Road #01-07
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t: +65 6473 6770
e: info@kcroom.com.sg
www.kcroom.com.sg

SBSeS 7165 Side By Side RefRigeRatoR

Refrigerator, freezer, multi-temperature wine compartment,
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The SBSes 7165 Side-by-Side offers you six climate zones,

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Better yet, the Side-by-Side appliances are also
extremely easy to install. Liebherr makes these models
from two completely solo appliances, which are
combined on installation!
catalogue

132
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 catalogue
SPIN 133

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Espada 52

Spinning to SucceSS
This spring, Spin will be releasing an additional size - 42 - to the
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catalogue
134
Archidex 2016
Kuala Lumpur Convention Centre Malaysia
e: info@archidex.com.my
www.archidex.com.my
ARCHIDEX 2016 BACK WITH MORE
As one of South Asias most successful annual
business events, the International Architecture, Interior
Design and Building Exhibition Malaysia (ARCHIDEX) is
returning this year with more punch from 20 to 23
July at the Kuala Lumpur Convention Centre.
Professionals in the architecture and building industry
can look forward to Biz@ARCHIDEX , a series of unique
trade presentation conducted by selected exhibitors
who will share their latest thoughts and insights of
their respective products, materials and technical
facts. The talks will be held in the exhibition hall.
Since its 15th establishment in 2014, ECO-B (Eco
Building & Design Exhibition) is featured in ARCHIDEX,
which additionally provides a highly effective platform
to explore a growing interest in environmentally
responsible buildings. As part of the ECO-B exhibition,
there are local government legislations, incentives,
green building assessment tools and rating
consultations. It is definitely an annual exhibition that
industry professionals look forward to as it caters to
an exponential rise of global interest in green building
technologies, designs and solutions.
Over the years, ARCHIDEX has opened its doors to over
thousands of participants and visitors to date, including
32,300 in 2013 and 32,000 trade and public visitors in
2014 from 68 countries. Awarded the rAWr Award 2013
and 2015 for Best Trade Exhibition and also MACEOS
2011 Award for Industry Excellence, expect only the best
from ARCHIDEX as it continues to strive and is currently
holding a coveted position at the forefront of the regions
robust architecture, design and building industry.
A larger presence by foreign participation is expected
this year including countries from Austria, Australia,
Belgium, China, Germany, Hong Kong, Indonesia, Japan,
Korea, Netherlands, Singapore, Spain, Switzerland,
Taiwan, Thailand, USA and Malaysia. Running from
10am-7pm across the four days, it will see visitors
through back-to-back events, networking sessions
with various conferences, forums, trade talks and
product launches.
ARCHIDEX is a trade exhibition open to everyone 16
years and above. Register at www.archidex.com.my
for entry.
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The Epitome of Natural Wind.
 PROJECT
WESLEY METHODIST CHURCH

ARCHITECT
Arc Studio

Sanctuary style SPECIES

AMERICAN WALNUT
CLEAR GRADE

for sacred Church

Exquisite workmanship for place of worship. As part of the upgrading of the Sanctuary of Wesley Methodist Church,
Singapore, we were entrusted to install beautiful walnut timber flooring in this historic place of prayer. Erected in 1907,
and serving as an ammunition depot during WWII, the Church has undergone major renovation and expansion over
the years, to meet the needs of its membership and ministry. We're proud our expert craftsmanship of American
Walnut Clear Grade is a part of that, creating an altar floor to complement the Church's elegant architectural features.
www.perswood.com