Collective Language : Asian Contemporary Architecture

Collective 

Language 

Asian Contemporary Architecture 

Jenchieh Hung, Kulthida Songkittipakdee, Nada Inthaphunt

Moving to the future language of Asian architecture

Collective Language 

Asian Contemporary 

Architecture Exhibition 

The first architectural exhibition at the IMPACT Arena Exhibition and 

Convention Center in 2024 will officially open on Tuesday, April 30th. 

“Collective Language - Asian Contemporary Architecture Exhibition” 

is one of the country’s biggest international exhibitions from The Association 

of Siamese Architects under Royal Patronage Exposition 2024 

(ASA Architect Expo 2024), organized by The Association of Siamese 

Architects under Royal Patronage, in collaboration with TTF International 

Company Limited. The principal curator is Jenchieh Hung, along with 

Kulthida Songkittipakdee, who serves as the exhibition chairman of The 

Association of Siamese Architects under Royal Patronage. They are also 

co-founders and principal architects of HAS design and research. The 

executive curator is Nada Inthaphunt from The Association of Siamese 

Architects under Royal Patronage.

Hung And Songkittipakdee (HAS) and Inthaphunt curated architectural 

firms from Japan, South Korea, China, China’s Hong Kong, Singapore, 

Malaysia, Thailand, Vietnam, Laos, Indonesia, Philippines, Bangladesh, 

India, Nepal, Pakistan, and Sri Lanka to participate in the exhibition, in 

collaboration with the Japan Institute of Architects (JIA), Korea Institute 

of Registered Architects (KIRA), Architectural Society of China (ASC), The 

Hong Kong Institute of Architects (HKIA), Singapore Institute of Architects 

(SIA), Pertubuhan Akitek Malaysia (PAM), The Association of Siamese 

Architects Under Royal Patronage (ASA), Vietnam Association of Architects 

(VAA), Association of Lao Architects and Civil Engineers (ALACE), United 

Architects of the Philippines (UAP), Institute of Architects Bangladesh (IAB), 

The Indian Institute of Architects (IIA), Society of Nepalese Architects 

(SONA), and Institute of Architects Pakistan (IAP), which are members of 

The Architects Regional Council Asia (ARCASIA). 

The participating firms include Hiroshi Nakamura & NAP, Nori Architects 

and Asanuma Corporation, Sejima and Nishizawa and Associates / SANAA, 

Yamazaki Kentaro Design Workshop from Japan; Mass Studies, SAC International 

Ltd., Shin Architects, THE_SYSTEM LAB from South Korea; Arcplus 

Group PLC, BIAD Huyue Studio, China Architecture Design & Research Group 

(CADG), Studio Zhu Pei from China; Architectural Services Department, 

Index Architecture Limited, Nelson Chen Architects from Hong Kong - China; 

K2 Habitus, WOHA from Singapore; GDP Architects, smallprojects, VERITAS 

Architects from Malaysia; Plan Architect from Thailand; 1+1>2 Architects, 

AHL Architects, BHA Architects, Vo Trong Nghia Architects (VTN) from Vietnam; 

Archineer Associates Co., Ltd, LAO+ Architects, Tomi Atelier from Laos; 

andramatin from Indonesia; Carlos Arnaiz Architects (CAZA), Garcia+Lee 

Architects, Zubu Design Associates from Philippines; Domus Architects, 

Marina Tabassum Architects (MTA), VITTI Sthapati Brindo Ltd. from Bangladesh; 

Architecture RED, Juhi Mehta Architects, Malik Architecture, RMA 

Architects from India; Kalpasara Studio, Prabal Thapa Architects, Tattva: 

Consult Pvt. Ltd from Nepal; Caleco Studio Architects, Design Insight, Suhail 

& Fawad Architects from Pakistan; and Thisara Thanapathy Associates from 

Sri Lanka. Each firm represents different cultural backgrounds, climatic 

conditions, and social developments, indirectly or directly expressed in how 

the buildings respond to the language of architecture.

Contents 

Preface 06 

Country 10 

and Architect 

Works 

Sound / 26 


of Humanity 

Sejima and Nishizawa 28 

and Associates - SANAA 

Tsuruoka Cultural Hall 

Mass Studies 36 

Space K Seoul 

smallprojects 42 

Machine Room 

Thisara Thanapathy 48 

Associates 

Santani Wellness 

Resort and Spa

Silent / 56 


of Shading 

WOHA 58 

Kampung Admiralty 

Plan Architect 66 

Nurse Dormitory 

Chulalongkorn 

Memorial Hospital 

Vo Trong Nghia 72 

Architects 

Urban Farming Office 

RMA Architects 78 

Lilavati Lalbhai Library 

Perceive / 86 


of Ritual 

Studio Zhu Pei 88 

Jingdezhen Imperial 

Kiln Museum 

andramatin 96 

Masjid As-Sobur & 

Sessat Agung 

Carlos Arnaiz 102 

Architects - CAZA 

100 Walls Church 

Marina Tabassum 108 

Architects 

Bait Ur Rouf Mosque

Preface 

“Collective Language - Asian Contemporary Architecture Exhibition” employs 

language as a means to connect all elements of the world. Tens of thousands, 

or even millions, of years ago, language manifested in various forms among 

different creatures, including auditory whistle language, visual body language, 

tactile perception language, olfactory smell language, and more. However, 

the origin and development of language still spark different discussions. In 

1809, French biologist Jean - Baptiste Lamarck published “Zoological Philosophy,” 

proposing that as the environment changes, species adapt and 

develop their own organs. This adaptation leads to the growth of commonly 

used organs and the gradual degeneration of unused ones. The acquired 

changes in one generation are then passed on to the next. This discussion 

not only introduces new perspectives to linguists but also demonstrates how 

different creatures have used diverse methods to communicate through 

language over millions of years. 

The exhibition delves into the diversity and distinctions that language brings 

to hearing, vision, touch, and smell, structured into three chapters: “Sound 

/ Language of Humanity,” “Silent / Language of Shading,” and “Perceive / 

Language of Ritual.” Through these chapters, nearly 50 architectural firms 

from 15 Asian countries showcase the contemporary architecture of Asia. 

The exhibition’s theme, “Collective Language,” reflects on the symbiotic 

relationship between people and architecture in various Asian regions, highlighting 

concepts like scale, volume, contrast, dynamic, thermal, resilience, 

legacy, harmony, and compression. 

6

In the first chapter, “Sound / Language of Humanity,” the works not only 

utilize scale, volume, and contrast to establish a clear spatial vocabulary 

for visitors or residents but also underscore how architecture can act as 

a catalyst to stimulate interaction between people and their surroundings. 

Sejima and Nishizawa and Associates - SANAA’s Tsuruoka Cultural Hall 

(2017) epitomizes the unique Japanese sense of space with its charming 

architectural proportions. The functional layout, featuring a corridor 

enveloping the performance hall and a floating roof, fosters a sense of 

freedom and lightness, encouraging unique communication and experiences 

among visitors. Mass Studies’ Space K Seoul (2020) interprets 

Seoul’s distinctive humanistic urban characteristics through streamlined 

shapes and dynamic spaces. The design seamlessly integrates natural 

elements like mountains and the Han River, embodying an alternative 

approach to social care in densely populated urban environments. The 

Machine Room (2019) by smallprojects is tailored to the specific scale of 

living spaces. Through a combination of materials and movement lines, 

it creates a new ambiance that enhances the living experience. Santani 

Wellness Resort and Spa (2016) by Thisara Thanapathy Associates features 

a meandering circulation that reduces the building’s volume. By incorporating 

local materials and blending with the mountain topography, the 

design establishes a rich-scale building complex that demonstrates the 

contrast and integration between people and their environment. 

Sound / Language of Humanity 

7

Silent / Language of Shading 

In the second chapter, “Silent / Language of Shading,” architects use environmental 

conditions such as contrast, dynamics, and thermal qualities as 

design elements. They combine materials, craftsmanship, and construction 

to create a multidimensional, silent space. For example, WOHA’s Kampung 

Admiralty (2017) strengthens the relationship between space and the natural 

environment, acting as a mediator for participants to experience natural 

elements in different settings. Similarly, Plan Architect’s Nurse Dormitory at 

Chulalongkorn Memorial Hospital (2021) utilizes varying facade angles to 

create balconies and open spaces, providing ample gray space. This design 

allows patients and doctors to appreciate the integration of silent language 

and space during intense treatment processes. Vo Trong Nghia Architects’ 

Urban Farming Office (2022) and RMA Architects’ Lilavati Lalbhai Library 

(2017) incorporate special craftsmanship and construction techniques 

on their facades to mediate the transition between external and internal 

environments. Additionally, the internal atrium in both projects enhances the 

flow of each space, enabling visitors to experience the evolving relationship 

between architecture and nature. 

In the third chapter, “Perceive / Language of Ritual,” four projects from 

China, Indonesia, the Philippines, and Bangladesh exemplify how architecture 

can embody concepts like legacy, harmony, and compression. 

For instance, the Jingdezhen Imperial Kiln Museum (2020) by Studio 

Zhu Pei employs innovative design to rekindle the site’s unique cultural 

background through architectural forms and spatial materials, crafting a 

8

narrative with light and space. Similarly, andramatin’s Masjid As-Sobur & 

Sessat Agung (2017) transcends formal religious constraints, offering visitors 

profound sensory experiences through spatial proportions and material 

choices. The 100 Walls Church (2013) by Carlos Arnaiz Architects - CAZA 

and the Bait Ur Rouf Mosque (2012) by Marina Tabassum Architects both 

use precise spatial forms and lightweight structures to evoke a distinct 

spiritual ambiance, integrating the religious buildings into their community 

environments and providing unique, non-daily life experiences. 

These three chapters demonstrate how sound, silence, and perception are 

integrated into architectural space, embodying the languages of humanity, 

shading, and ritual. They represent not only a collective language but also 

offer Asian contemporary architecture a means to reconsider the possibilities 

of future trends. 

Jenchieh Hung, Kulthida Songkittipakdee 

Principal Curator and Exhibition Chairman, 

The Association of Siamese Architects under Royal Patronage 

Co-Founder and Principal Architect, HAS design and research 

Nada Inthaphunt 

Executive Curator, 

The Association of Siamese Architects under Royal Patronage 

Perceive / Language of Ritual 

9

2 

3 

1 4 

Japan 

1. Sayama Forest Chapel 

Hiroshi Nakamura & NAP 

Photo : Ben Richards 

2. Good Cycle Building 001 

Nori Architects + Asanuma Corporation 

Photo : Jumpei Suzuki 

3. Tsuruoka Cultural Hall 

Sejima and Nishizawa and Associates - SANAA 

Photo : SANAA 

4. Long House with an Engawa 

Yamazaki Kentaro Design Workshop 

Photo : Naoomi Kurozumi 

10

1 2 

3 

Korea 

1. Funground Jinjeop 

Shin Architects 

Photo : Hyosook Chin 

2. KOSMOS 

THE SYSTEM LAB 

Photo : Kim Yongkwan 

4 

3. Space K Seoul 

Mass Studies 

Photo : Kyungsub Shin 

4. Jochiwon 1927 Art Center 

SAC International Ltd 

Photo : Juneyoung Lim 

11

1 2 

3 4 

China 

1. Main Exhibition hall of Tianfu Agricultural 

Expo Park 

China Architecture Design & Research Group 

Photo : Arch-Exist 

2. Jingdezhen Imperial Kiln Museum 

Studio Zhu Pei 

Photo : Schran Image 

3. Hangzhou Olympic Sports and Aquatic 

Sports Center 

BIAD Huyue Studio 

Photo : Fan Yi 

4. The Bamboo and Rattan Pavilion of the 

10th China Flower Expo 

Arcplus Group PLC 

Photo : Time Raw 

12

1 

2 3 

China - Hong Kong 

1. Christian Zheng Sheng Ha Keng Centre 

Index Architecture Limited 

Photo : Index Architecture Limited 

2. Tuen Mun Park Inclusive Playground 

Architectural Services Department 

Photo : Architectural Services Department 

3. St. Andrew’s Church Life Centre 

Nelson Chen Architects 

Photo : Grischa Ruschendorf 

13

1 

2 

Singapore 

1. A Sensory House 

K2 Habitus 

Photo : Ivan Tan 

2. Kampung Admiralty 

WOHA 

Photo : Patrick Bingham-Hall 

14

1 

2 3 

Malaysia 

1. Azman Hashim Gallery 

GDP Architects 

Photo : GDP Architects 

2. Machine Room 

smallprojects 

Photo : Kevin Mark Low 

3. PETRONAS Leadership Centre 

VERITAS Architects 

Photo : Zakee Man 

15

1 

Thailand 

1. Nurse Dormitory Chulalongkorn 


Plan Architect 

Photo : PanoramicStudio 

16

1 

2 3 4 

Vietnam 

1. Bat Trang Ceramic Community House 

1+1>2 Architects 

Photo : Trieu Chien 

2. SNA Marianapolis International School 

BHA Architects 

Photo : Hoang Le 

3. Urban Farming Office 

Vo Trong Nghia Architects 

Photo : Hiroyuki Oki 

4. DHY House 

AHL Architects 

Photo : Hoang Le 

17

2 

1 3 

Laos 

1. Her Works 

Tomi Atelier 

Photo : Thepphavong Xaykosy 

2. Laochaleun Square 

Archineer Associates Co., Ltd 

Photo : Archineer Associates Co., Ltd 

3. Vernthan Forest 

in Vientiane Capital 

LAO+ Architects 

Photo : LAO+ Architects 

18

1 

Indonesia 

1. Masjid As-Sobur & Sessat Agung 

andramatin 

Photo : Davy Linggar 

19

1 

2 

3 4 

Philippines 

1. Sadik Grand Mosque 

Garcia+Lee Architects 

Photo : Garcia+Lee Architects 

2. Bent House 

Zubu Design Associates 

Photo : Zubu Design Associates 

3. Regional Cultural Hub 

GWorks Architectural Services 

Photo : GWorks Architectural Services 

4. 100 Walls Church 

Carlos Arnaiz Architects 

Photo : Iwan Baan 

20

1 

2 3 

Bangladesh 

1. Bait Ur Rouf Mosque 

Marina Tabassum Architects 

Photo : Sandro di Carlo Darsa 

2. Bon-Er-Bari 

VITTI Sthapati Brindo Ltd 

Photo : Asif Salman 

3. Digonto Apartment Complex 

Domus Architects 

Photo : Domus Architects 

21

1 

2 3 

India 

1. Crescent University School of Architecture 

Architecture RED 

Photo : Fazal Hussain 

2. House of Solid Stone 

Malik Architecture 

Photo : Bharath Ramamrutham 

3. Manufacturing Unit for Studio Chinar 

Juhi Mehta Architects 

Photo : Juhi Mehta Architects 

22

1 

2 

3 

Nepal 

1. A Conscious College Collage 

Kalpasara Studio 

Photo : Kalpasara Studio 

2. Nagarjun Eco Home 

Tattva: Consult Pvt. Ltd 

Photo : Tattva: Consult Pvt. Ltd 

3. Vishuddhi Yoga Retreat 

Prabal Thapa Architects 

Photo : Prabal Thapa Architects 

23

1 

2 3 

Pakistan 

1. The Circle, Single Family Unit Residence 

Suhail & Fawad Architects 

Photo : Salman Malik 

2. The Primary School of Senegal 

Design Insight 

Photo : Design Insight 

3. Womens Reproductive Health 

and Pregnancy Help Centre 

Caleco Studio Architects 

Photo : Caleco Studio Architects 

24

1 

Sri Lanka 

1. Santani Wellness Resort and Spa 

Thisara Thanapathy Associates 

Photo : Mahesh Mendis 

25

The architectural language embodies fundamental components 

that reflect the overarching design philosophy 

and utilization objectives of a space, operating through 

elements derived from the architect’s conceptualization. 

It involves imposing rigorous proportionality, manipulating 

forms to evoke spatial segmentation and distinct volumes, 

and strategically deploying contrasting tactile surfaces 

crafted from diverse materials. This sophisticated interplay 

serves as a perceptual catalyst, encouraging a discernment 

of distinctions within the multilayered dimensions 

of space. 

Architecture, as a language, stimulates users’ perceptual 

faculties. Through the deliberate use of scale, volume, 

and contrast, architects guide how users perceive and 

interact with the built environment, fostering a heightened 

awareness of its multifaceted dimensions. In essence, 

architectural language operates as a method of communication, 

translating the architect’s conceptualization into 

tangible elements that influence how users experience 

and engage with a space. The careful consideration of 

scale, volume, and contrast not only contributes to the 

aesthetic appeal of a structure but also plays a vital role 

in shaping its functionality and overall user experience. 

26

Sejima and Nishizawa 

and Associates - SANAA 


Mass Studies 

Space K Seoul 

Thisara Thanapathy Associates 

Santani Wellness Resort and Spa 

Sound / 


of Humanity 

smallprojects 

Machine Room 

27

SANAA 

Photo : Aiko Suzuk 

28

Kazuyo Sejima and Ryue Nishizawa / SANAA is an architecture 

and design firm based in Tokyo, Japan founded by Kazuyo Sejima 

and Ryue Nishizawa in 1995. 

Comprised of international architects and staff working on projects 

ranging in scale from residential and interior design to large 

complex buildings and urban planning schemes, as well as 

product and furniture design, SANAA approaches each project 

with a fresh perspective, believing that each design arises from 

conditions particular to the site and program. Each project is 

special and is closely followed by the two founding principles, 

as well as partners Yoshitaka Tanase, Yumiko Yamada, Rikiya 

Yamamoto, Lucy Styles and Francesca Singer. 

Sejima and Nishizawa were jointly awarded the Golden Lion at 

the 9th Venice Architecture Biennale in 2004. They both were 

awarded the Pritzker Prize in 2010 and the Praemium Imperiale 

awards in honor of prince Takamatsu in 2022. 

SANAA works internationally and major works include 21st Century 

Museum of Contemporary Art, Kanazawa in Japan, New Museum 

of Contemporary Art in USA, Rolex Learning Center, EPFL in Switzerland, 

the Louvre-Lens and La Samaritaine in France, Bocconi 

University New Urban Campus in Italy, and 

Sydney Modern Project in Australia. 

29

30

Shogin Tact Tsuruoka 

(Tsuruoka Cultural Hall) 

Shogin Tact Tsuruoka (Tsuruoka Cultural Hall) 

is a multipurpose hall that serves as a base 

for cultural and artistic activities in the region. 

The surrounding site is characterised by its 

abundant nature, and is located in a cultural 

precinct of the city filled with historic buildings, 

universities and galleries. A building was sought 

to expand local civic activities, while incorporating 

the old cultural hall which has been the 

heart of cultural activities to the students and 

local arts groups. 

As a “hall for the community” where citizens 

become participants, observers and actors, 

we proposed a large hall wrapped by a corridor, 

resembling traditional Japanese ‘Saya--‐do’ 

construction. The corridor is open to the public 

on a daily basis, and can be active in various 

places without distinguishing “front” or “backhouse” 

spaces. Whenever a professional 

performance takes place, partitions above 

and below the stage can create private back 

of house spaces. 

By keeping the depth of the large central hall 

as small as possible, the audience and performer 

are bought together with a sense of 

unity. The hall is designed in a vineyard style, 

where sound echoes through the entire hall 

and there is a direct path to the stage from 

any seat. 

The exterior of the building looks like an 

assembly of many small roofs. Each small 

roof become lower towards the perimeter of 

the building, and it becomes as low as a one 

story building along the road. By controlling 

the volume in this way, we sought to make a 

building that is in harmony with the adjacent 

historic building and the surrounding cityscape. 

31

Textures of sheet metal, plastered concrete 

finishes, curved steel framing, and the naturalness 

and warmth given by the wooden 

louvres - gives a sense of architecture created 

by human hands. The warmth of humanness 

is felt throughout the building, and creates 

a dialogue with the surrounding nature. The 

architectural elements interact with the natural 

environment, and their expressions change 

according to natural conditions such as time 

and light. We hope the Tsuruoka Cultural 

Hall will become a part of the city’s beautiful 

landscape, supporting the cultural and artistic 

activities of the local community. 

32

33

34

Project Name : Shogin Tact Tsuruoka (Tsuruoka Cultural Hall) Client / Developer : Tsuruoka City Location : Babacho 11-61, 

Tsuruoka City, Yamagata Prefecture, Japan Function : Multipurpose hall Site Area : 13,096.84 sq.m. Building Footprint Area : 

5,756.35 sq.m. Gross Floor Area : 7,846.12 sq.m. Design Date : from 2012.08 to 2013.11 Construction to Completion Date : 

from 2014.10 to 2017.08 Photographs : SANAA Architecture Design Company Architect Firm : SANAA + Shinbo Architects 

Office + Ishikawa Architects Office Lead Architect : Kazuyo Sejima, Ryue Nishizawa, Rikiya Yamamoto Design Team (participant 

employee) : Satoshi Ikeda, Takuma Yokomae, Kohei Kudo, Hayao Odagiri, Takashi Maruyama, Taiji Ota, Yuji Ishikawa, Tomohiro 

Ishikawa Structural Engineer : ARUP Mechanical : SOGO Consultants Theater Planning : Shozo Motosugi Theater Acoustic : 

Nagata Acoustics Theater Lighting : Motoi Hattori Climate : Takahiro Chiba Construction Company Architecture : Takenaka 

Corporation,Sugawara Corporation,Suzuki Corporation JV 

35

Mass Studies 

36 

Photo : Mok Jungwook

Minsuk Cho founded the Seoul-based firm Mass Studies in 2003. 

The practice has been committed to the discourse of architecture 

through socio-cultural and urban research and mostly built works 

that have been recognized globally. Representative works include 

the Pixel House, Missing Matrix, Bundle Matrix, Shanghai Expo 

2010: Korea Pavilion, Daum Space.1, Tea Stone/Innisfree, Southcape 

Spa & Suite: Clubhouse, Dome-ino, the Daejeon University 

Student Dormitory, Space K Museum, Pace Gallery Seoul, the 

Won Buddhism Wonnam Temple, and the new French Embassy 

in Seoul (in collaboration with Tae Hoon Yoon, SATHY, Paris). 

Current in-progress projects, all selected through competitions, 

include the new Seoul Film Center (Montage 4:5), the Danginri 

Cultural Power Plant (Danginri Podium and Promenade), the 

Yang-dong District Main Street (Sowol Forest), and the Yeonhui 

Public Housing Complex. Active beyond his practice, he co-curated 

the 2011 Gwangju Design Biennale and was the commissioner 

and co-curator of the Korean Pavilion for the 14th International 

Architecture Exhibition - la Biennale di Venezia, which was awarded 

the Gold Lion for Best National Participation. In late 2014, PLATEAU 

Samsung Museum of Art, Seoul, held its first-ever architecture 

exhibition, highlighting his works in a solo exhibition titled “Before/ 

After: Mass Studies Does Architecture.” In January of 2024, Minsuk 

Cho and Mass Studies were appointed as the architect for the 

2024 Serpentine Pavilion in London. Cho is also an active lecturer 

and speaker at symposiums worldwide. 

37

38

Space K Seoul 

The Magok District Development has provided 

unique opportunities as a new sub-center of 

Seoul. During past periods of rapid growth, 

large-scale urban developments have created 

homogenous and monotonous urban environments. 

This area has evolved from those conditions 

to advocate sustainable living through 

a collective weaving and configuration of city 

blocks with appropriate height and density, 

continuous green, natural elements, and urban 

infrastructural elements in various scales and 

speeds of movement. 

Handari Cultural Park, the site of Space K Seoul 

Museum, located in the new district’s center, is 

a node within the larger green network, the main 

urban structure of the Magok New Town, and 

has the potential to create a small but powerful 

urban ripple effect. Establishing a museum 

within this green network, where research, work, 

and commercial/support facilities are the main 

functions, allows this cultural facility to become 

the center of public activity beyond existing 

as an independent building. This is also the 

spatial potential of acting as an urban catalyst 

mediated by culture and nature at the center 

of this new city district, which could have been 

otherwise monotonous. The site’s potential 

defines this ‘museum as a new public space’ 

aimed for by the Space K Seoul Museum. It is 

not only linked closely with the local area but 

also recognized by the broader urban scope, 

attracting visitors from all over Seoul. This is an 

important factor in creating a regional identity 

that will represent the New Magok District. 

Seoul is a city that forms a strong urban identity 

within the presence of natural elements, 

namely, the mountains and the Han River, 

which is rare among the current megacities 

of the world. Geometrically, the urban space 

of Seoul is the result of the overlapping and 

collision of organic lines and shapes of nature 

and the orthogonal system of the city structure. 

However, due to its prior function as a landfill, 

the Magok New Town is exceptionally flat. The 

road network that divides urban lots in this 

district, facing the Han River, uses a grid system 

as a tool to enable rational development for 

appropriate density. At the same time, distinct 

elements that escape the grid, such as the 

waterfront and green network, overlap and 

enrich the experience of monotonous urban 

structures. In addition, the subway line is linked 

with the natural linear element of the Magok 

New Town. The subway line, constructed 

before the newly divided grid-type city alignment, 

naturally introduces a geometric curve 

different from the existing natural elements 

into the new city. Thus, those visiting Magok 

New City from a distance via public transportation 

will first encounter the attractive green, 

park-like gateway to this area. Conceptually, 

three main arcs organize the park and museum 

as a natural extension of the existing green 

network, define the entrances to the park and 

museum, and express the formal language of 

the building’s prominent southwestern façade. 

39

40

Project Name : Space K Seoul Client / Developer : Kolon Consortium (Kolon Industries, Kolon Glotech, Kolon Life Science) 

Location : Seoul, Korea Function : cultural (museum), public Site Area : 8,298.00 sq.m. Building Footprint Area : 1,578.06 sq.m. 

Gross Floor Area : 2,145.49 sq.m. Floor Numbers : B1F, 2F Design Date : from 2017.06 to 2019.03 Construction to Completion 

Date : from 2019.04 to 2020.09 Photographs : Kyungsub Shin Architecture Design Company Architect Firm : Mass Studies 

Lead Architect : Minsuk Cho, Kisu Park, Junkoo Kang Design Team (participant employee) : Jinwoo Sun, Bongjin Kim, Joong- 

Hyeon Oh, Junsoo Lee Supervision : Junkoo Kang, Jinwoo Sun Structural Engineer : Thekujo Engineer (Water) : MAC & MEC 

Engineer (Electricity) : INGOK Engineering Air-condition : MAC & MEC Interior : Mass Studies Landscape : Office PARKKIM 

Construction Company Architecture : Kolon Global Engineer (Water and Electricity) : Kolon Global Air-condition : Kolon Global 

Interior : Kolon Global Rooftop (Architecture) Landscape : Kolon Global Park Landscape : Seoul Housing & Communities 

Corporation 

41

smallprojects 

42

Drawing from graduate and postgraduate degrees in architecture 

and art history from the United States, and ten years of corporate 

experience at GDP Architects in Malaysia, Kevin Mark Low established 

smallprojects in 2002 as the means to reclaim old dreams. 

He lives and works in the monsoon tropics, lectures internationally, 

and conducts critiques and workshops at universities in Asia and 

Oceania. His work and writing have been published in architectural 

journals regionally as well as in Japan, Europe, and the United 

States, and includes a book, smallprojects (adaptus/oro 2010), that 

is currently being distributed in architectural bookstores worldwide. 

Kevin works alone and in sole practice. 

43

44

Machine Room 

A year and a half before the onset of the global 

pandemic, I renovated an intermediate lot as 

a working residence for myself in a set of row 

houses close to where my current home, the 

lightwell house, was located. 

The machine room was not named for any 

aspect of its language in form, as introduced 

to the architectural field by Le Corbusier. It 

was named after the sensibilities of operation 

governing its language of critical content. 

The renovation was performed on a 6.7m 

wide by 25m deep intermediate terrace lot, 

originally constructed about fifty years ago 

in what was mosquito infested swamp land, 

evolved since to become a busy well-heeled 

suburb of Kuala Lumpur. For its general 

address, the house was obtained well under 

market rate, for its less than optimal location 

right next to and separated from the commercial 

centre of the neighbourhood with a back 

service lane, and for its more immediate siting 

along a secondary road, well-trafficked as a 

point of quick access into the commercial zone. 

The house was conceptually drawn down its 

length into two almost equal halves facing 

north; the right, more public side, organised 

for formal entry, beginning with a main garden 

gate into its front entry garden, through the 

long double volumed main hall of dining and 

living, terminating in a lounge and tall rear 

courtyard for the stack venting of air. The left 

‘service’ side begins with a narrower service 

entrance, past a walled external store room 

and service courtyard, then through kitchen, 

study, interior store room, stairwell, workroom, 

and ending in a powder room to the back. 

Above, a guest bedroom above the lounge 

and master bedroom above the study and 

store, look over the space of the main hall, 

with attached bathrooms capping either end 

of the house. An additional floor built into 

the space of the existing roof structure next 

to a water tank area and laundry room, tops 

the house. A hoist operating through a ceiling 

trap door in the attic floor allows heavier items 

to be brought upstairs with efficiency and 

convenience. 

The machine room is in effect, a single volume, 

with heavy curtains separating bedrooms above 

from the double volume of the main hall below, 

with walls only used to partition the store room 

and stair, and to provide a modicum of privacy 

for the bathrooms and toilets. 

45

The project may have begun with philosophical 

rooting in the basics of cross-ventilation and 

the fundamentals of passive cooling for its 

context of the monsoon tropics, but it’s deeper 

relevance and significance is manifest in the 

manner with which it has been developed 

and detailed. From the orientation and swing 

of a refrigerator door to adjustable louvres 

built into room doors; bathroom windows 

that simultaneously accommodate operability 

and convenience with security; demountable 

handrails that allow the passage of hoisted 

furniture, to building-scaled pivot windows 

that regulate cross air flow; reconfigured 

handshower spray orientation and knurled 

mixer knobs; or the locking mechanism of a 

security gate with no key; the machine room 

was an exercise in designing and building for 

the logic and efficiency of a machine itself; 

one grounded in an intimacy of use, a passion 

for work and activity, the science of storage 

and delight of the everyday. 

46

Project Name : Machine Room Client / Developer : self Location : Kuala Lumpur, Malaysia Function : working residence Site 

Area : 163.36 sq.m. Building Footprint Area : 105.18 sq.m. Gross Floor Area : 220.08 sq.m. Floor Numbers : 2 Design Date : 

from 2017.11 to 2018.01 Construction to Completion Date : from 2018.02 to 2019.10 Photographs : Kevin Mark Low Architecture 

Design Company Architect Firm : smallprojects Lead Architect : Kevin Mark Low Design Team (participant employee) : Kevin 

Mark Low Supervision : Kevin Mark Low Engineer (Water and Electricity) : Loke Hon Lam - Loke electrical service Air-condition : 

Loke Hon Lam - Loke electrical service Interior : Kevin Mark Low Landscape : Kevin Mark Low Construction Company 

Architecture : Adrian Mah - M3 Architecture (M) Sdn Bhd Engineer (Water and Electricity) : Loke Hon Lam - Loke electrical 

service Air-condition : Loke Hon Lam - Loke electrical service Interior : Wendy Ung - ENZ Interiors Sdn Bhd Landscape : Wilson 

Loh Wee Sing - WL Landscape Design and Construction 

47

Thisara Thanapathy 

Associates 

48

Thisara Thanapathy obtained his MSc. in Architecture in 1991 

from the University of Moratuwa. He started his own practice, 

Thisara Thanapathy Associates, in 1997 and has more than 25 

years of professional experience. He won the Geoffrey Bawa 

Award for Excellence in Architecture in 2011 and 2017, and his 

work has been published nationally and internationally. 

49

50

Santani Wellness 

Resort and Spa 

Spreading over a vast hilly terrain, Santani, 

was built as an architectural refuge, away from 

the consumerist lifestyle of the modern day. 

Strongly inspired by the unique context, the 

design expresses to be a harmonizing detail 

to the landscape instead of dominating over 

its natural persona. The relationship is as such 

that the built forms connect the landscape and 

the landscape connects the built forms as a 

flowing spatial experience. The simple structures 

disappear into the landscape, mastering 

the spiritual tranquility of its surrounding. 

The built structures are raised from ground to 

prevent moisture and ground warmed air from 

reaching in and to catch cool breezes from 

above. Open forms allow cross ventilation, 

removing interior heat and humidity, in the 

tropical climate. The grass-turfed terraces of 

the spa are ecological roofs that help keep a 

cool interior within. 

The resort has four main sections; Entrance 

Pavilion, Spa, Lounge-Restaurant (main 

building) and 16 Single Villa Chalets, (and 

additionally two double-bedroom villas) spread 

across the terrain. In addition are the operations 

building, two staff-quarters, a Yoga Pavilion 

neighboring the Spa, and an infinity swimming 

pool area. 

The entrance pavilion, lying at the center of 

the valley, creates a vista across it, capturing 

scenic views on both sides. This simple, open 

structure with a lightweight roof, blends into 

its surrounding. 

The two-storied lounge and restaurant, standing 

on the highest point of the land, embraces the 

picturesque mountain range afar. The thin lines 

of steel and salvaged timber of the linear lightweight 

structure, in combination with glass, 

builds a transparency towards its surrounding. 

The lightweight chalets resting on their steel 

pillars, are both contrasting and complimentary 

features, to the sloping landscape, oriented 

in a way to achieve privacy while focusing to 

views afar. 

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A well expressed pathway leads to the spa’s 

reception pavilion, a lightweight timber structure 

resting on pillars, slightly above ground, 

inspired by Kandyan vernacular structures on 

pillars. 

Resembling a stepped paddy field, the spa 

is a series of green terraces flowing with the 

rhythm of the sloping landscape. At the foot of 

these terraces lies a large re-cultivated paddy 

field. The terraces are in harmony with the 

paddy field and tea estates visible from one 

side, while being oriented to create a strong 

visual connection with faraway mountains. 

Through the Spa’s reception pavilion which 

frames views of greenery, a tunnel leads to 

the immediate lower level, the location of a 

water-therapy room, steam-room and sauna, 

where a sensation of a cave with a distant view 

is celebrated. The tunnel further continues 

down to a second lower level where three 

massage-treatment rooms are located facing 

the paddy field. While the entrance to the 

spa is lightweight, the tunnel and lower levels 

are built from rubble. Level play, rhythmic 

movement through connecting tunnels and 

corridors, and the material expressions evoke 

a feeling of peaceful captivity. 

Framed views, play of light and cool winds, 

rustic natural materials create a multi-sensory 

experience, in a design that embodies its 

natural landscape, purifying the mind with 

silence. 

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Project Name : Santani Wellness Resort and Spa Client / Developer : Dumbara Hotels (Pvt.) Ltd Location : Santani Wellness Kandy, 

Aratenna Estate, Werapitiya, Kandy, Sri Lanka Function : Resort Hotel and Spa Site Area : 190,000 sq.m. Building Footprint 

Area : 3,185 Approx sq.m. Gross Floor Area : 4,645 Approx sq.m. Floor Numbers : 2 Design Date : from 2014.06 to 2015.04 

Construction to Completion Date : from 2015.05 to 2016.07 Photographs : Mahesh Mendis, Thilina Wijesiri, Manula Vimukthi 

Architecture Design Company Architect Firm : Thisara Thanapathy Associates Lead Architect : Thisara Thanapathy Design 

Team (participant employee) : Rafidh Rifaadh, Kaushalya Samarawickrema Supervision : Thisara Thanapathy Structural 

Engineer : Wasantha Chandrathilaka Engineer (Water and Electricity) : Thilak Thembiliyagoda, Nimal Perera Air-condition : 

Thilak Thembiliyagoda Interior : Thisara Thanapathy Landscape : Thisara Thanapathy Construction Company Architecture : 

Duminda Builders Engineer (Water and Electricity) : Duminda Builders Air-condition : Duminda Builders Interior : Duminda 

Builders Landscape : Duminda Builders 

55

The architectural language, with its core components, 

reflects various aspects such as economic conditions, 

urban context, national geography, climate, and the 

influence of global warming, each exerting a different 

impact. Architecture plays a role in adapting to these 

changes through innovation and local wisdom, communicating 

through the building’s façade, controlling 

circulation and air management, fostering resilience 

to adapt the internal living conditions to the building, 

and enabling coexistence with external changes for a 

comfortable living environment. 

Architecture is dynamic and should adapt to external 

changes, whether they are climatic variations, urban 

development, or evolving economic landscapes. Designing 

for resilience involves anticipating these changes 

and creating structures that can withstand and even 

thrive in evolving conditions. This adaptability ensures 

a comfortable and sustainable living environment over 

time. In summary, the architectural language operates 

as a holistic approach, addressing the multifaceted 

challenges posed by economic, urban, geographic, 

climatic, and global factors. Architects employ innovative 

strategies not only to respond to these challenges 

but also to proactively shape environments that are 

sustainable, resilient, and conducive to the well-being 

of occupants. 

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Silent / 


of Shading 

WOHA 

Kampung 

Admiralty 



Chulalongkorn 


Vo Trong Nghia Architects 


RMA Architects 


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WOHA 

WOHA was founded by Wong Mun Summ and Richard Hassell 

in 1994. The Singapore-based practice focuses on conceiving 

integrated architectural and urban solutions to tackle the problems 

of the 21st century such as climate change, population growth 

and rapidly increasing urbanisation. 

Photo : Studio Periphery 

58

WOHA works at all scales, from interiors and architecture to 

public spaces and regenerative master plans and integrates their 

systems thinking approach into each project. Their buildings are 

prototypes that are made up of interconnected human-scaled 

environments which foster community, facilitate stewardship of 

nature, generate biophilic beauty, activate ecosystem services 

and build resilience. 

Their book “Garden City Mega City” lays out fundamental strategies 

and principles for creating high-density urban environments 

that are also high-amenity and provide a better quality of life with 

environments that are vibrant, engaging and planned for long-term 

growth and sustainability. Their innovative rating system to measure 

the performance of buildings has garnered interest internationally 

and is being adopted into construction policies in several cities. 

WOHA has received a number of architectural awards such as 

the Aga Khan Award for One Moulmein Rise as well as the RIBA 

Lubetkin Prize and International Highrise Award for The Met. 

The practice won the 2019 CTBUH 2019 Urban Habitat and Best 

Mixed-Use Building and 2018 World Architecture Festival World 

Building of the Year for Kampung Admiralty and 2018 CTBUH Best 

Tall Building Worldwide for the Oasia Hotel Downtown. 

The practice currently has projects under construction in Singapore, 

Australia, China and other countries in South Asia. 

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60


Kampung Admiralty is Singapore’s first integrated 

public development that brings together 

a mix of public facilities and services under 

one roof. The traditional approach is for each 

government agency to carve out their own plot 

of land, resulting in several standalone buildings. 

This one-stop integrated complex, on the other 

hand, maximises land use, and is a prototype 

for meeting the needs of Singapore’s ageing 

population. 

Located on a tight 0.9Ha site with a height limit 

of 61m, the scheme builds upon a layered ‘club 

sandwich’ approach. A “Vertical Kampung 

(village)” is devised, with a Community Plaza 

in the lower stratum, a Medical Centre in the 

mid stratum, and a Community Park with 

apartments for seniors in the upper stratum. 

These three distinct stratums juxtapose the 

various building uses to foster diversity of 

cross-programming and frees up the ground 

level for activity generators. The close proximity 

to healthcare, social, commercial and other 

amenities support inter-generational bonding 

and promote active ageing in place. 

The Community Plaza is a fully public, porous 

and pedestrianised ground plane, designed as 

a community living room. Within this welcoming 

and inclusive space, the public can participate 

in organised events, join in the season’s festivities, 

shop, or eat at the hawker centre on 

the 2nd storey. The breezy tropical plaza is 

shaded and sheltered by the Medical Centre 

above, allowing activities to continue regardless 

of rain or shine. 

61

Locating a Medical Centre in Kampung Admiralty 

means that residents need not go all the 

way to the hospital to consult a specialist, or 

to get a simple day surgery done. To promote 

wellness and healing, the centre’s consultation 

and waiting areas are washed in natural daylight 

from perimeter windows and through a central 

courtyard. Views towards the Community Plaza 

below, and the Community Park above also 

help seniors feel connected to nature and to 

other people. 

The Community Park is a more intimately 

scaled, elevated village green where residents 

can actively come together to exercise, chat 

or tend community farms. Complementary 

programmes such as childcare and an Active 

Aging Hub (including senior care) are located 

side by side, bringing together young and old 

to live, eat and play. A total of 104 apartments 

are provided in two 11-storey blocks for elderly 

singles or couples. “Buddy benches” at shared 

entrances encourage seniors to come out of 

their homes and interact with their neighbours. 

The units adopt universal design principles and 

are designed for natural cross ventilation and 

optimum daylight. 

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63

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Project Name : Kampung Admiralty Client / Developer : Housing & Development Board Location : Blk 676 Woodlands Drive 71, 

Singapore Function : Integrated public housing development for seniors with medical centre, f&b, retail, childcare, eldercare, 

rooftop park, urban farm Site Area : 8,981.00 sq.m. Build Up Area : 53,066.49 sq.m. Gross Floor Area : 32,331.60 sq.m. Floor 

Numbers : 11 Design Date : 2013.03 Construction to Completion Date : from 2014.10 to 2017.05 Photographs : Patrick 

Bingham-Hall, K. Kopter, Darren Soh Architecture Design Company Architect Firm : WOHA Project Team : Wong Mun Summ, 

Richard Hassell, Pearl Chee, Goh Soon Kim, Phua Hong Wei, Richard Kuppusamy, Jonathan, Hooper, Yang Han, Lau Wannie, 

Gillian Hatch, Kwong Lay Lay, Zhou Yubai Civil & Structural Engineer : Ronnie & Koh Consultants Pte. Ltd. Engineer (Mechanical 

and Electrical) : AECOM Singapore Pte. Ltd Interior : WOHA Project Team : Sofwan, John Paul R Gonzales Landscape : Ramboll 

Studio Dreiseitl Singapore Pte. Ltd. Construction Company Main Contractor : Lum Chang Building Contractors Pte Ltd. 

65


66

In 1975, Plan Architect was founded by a group of architects 

that was bound together by a passion to create innovative 

and socially responsible architectural designs. We believed 

that a commitment to excellence could be combined with a 

commitment to Thai society. Plan Architect is always on the 

cutting edge of innovative design. In a constantly and rapidly 

changing world, research never ends and neither does the 

challenge of applying new ideas to new technology. 

The constant flow and exchange of ideas and knowledge is 

the hallmark of our team spirit. We are not only open to fresh 

prospective, different techniques and the wisdom of experience, 

we actively seek it out in each member of our team. Over the 40 

years of our existence, Plan Architect has grown from a small 

studio to become a well-established business. 

Despite our success, we will never regard the company as having 

reached its full potential. We always reach for the sky with our 

feet planted firmly on the ground. We are constantly learning from 

the projects we design, the business partners we work with and 

our colleagues. We respect each other’s input and relish new 

challenges. 

The new Plan generation is offered plenty of scope to test 

their ideas and initiative. Responsibility and growth are always 

encouraged. Like all families, our children are our future. 

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68


Chulalongkorn 


“Nurse Dormitory Chulalongkorn Memorial 

Hospital” (The new dormitory) or the royal 

name from Her Royal Highness Princess Maha 

Chakri Sirindhorn, “NAWARACHUPATUM”, 

is a dormitory for nurses at Chulalongkorn 

Hospital, The Thai Red Cross Society. The 

building has 26 floors with 523 rooms. Most 

of the room suitable for 2 people with various 

facilities such as living area, library, canteen, 

washing room, and multipurpose room. 

The site of the project was surrounded by 

4 existing buildings of doctors’ and nurses’ 

dormitories. There were 3 high-rise buildings 

around the site which was a thoroughfare 

for vehicles to pass by. There was a low-rise 

building that stood in the middle of the site 

which had been demolished to be replaced 

by this new dormitory. 

Our architect team decided to design the 

layout of the new dormitory to interact with 

3 existing buildings in a way that creates 

an enclosed courtyard, separated from the 

crowded, busy atmosphere of the hospital. 

The ground floor of the building is an open 

space connecting the main road with the 

courtyard, metaphorically act as a gateway 

into this quiet and peaceful residential area. 

Regarding our research, most of the nurses 

prefer naturally ventilated rooms to air-conditioned 

rooms. Planting trees on the balcony 

are also popular among the nurses. Based on 

the above information, the main concept of 

the design to meet the needs conceived. By 

analyzing a typical dormitory with a double-load 

corridor arrangement, our team realized that 

there are 2 problems, lack of natural light and 

poor indoor ventilation. To solve the above 

problems, we separate 2 sides of the building 

to make 2 single-load corridor arrangements 

with a gap in the middle. This design decision 

allows more natural light into the corridor and 

creates a ventilation chimney in the middle 

of the building that facilitates ventilation from 

basement to rooftop. We design a big air 

channel on the 1st floor and at the center of 

the building. And we also design another big air 

channel on the rooftop to create a stack effect, 

draws air from the basement up to the top. 

The design of the channel on the facade got 

inspiration from the “UNA-LOME DAENG”, 

the original design of Thai Red Cross Society’s 

logo. 

69

For the design of the room, we designed the 

entrance door to be a double door including a 

solid door and insect screen. When the solid 

door and the window at the balcony opened, 

the air from the hallway can flow through the 

room. 

The typical room layout is divided into 2 parts. 

The 1st part adjacent to the corridor is a sharing 

space for both roommates including a pantry 

and restroom with a sliding door to separate 

the area from the bedroom. The sliding door 

will create privacy for the resident when they 

decide to leave the solid door open to let 

natural airflow through the room. The 2nd 

part is the bedroom for 2 residents. Each bed 

placing on the opposite side of the room to 

create a private space for each resident while 

sharing the walkway in the middle leads to 

the balcony. 

Since the dormitory is close to other nearby 

buildings, we then design the balcony to have 

a slated angle. This will avoid direct sightline 

to other buildings to maintain the privacy of 

residents. The zigzag balcony allowing more 

sunlight to the area which is suitable for planting 

trees and drying clothes according to the 

needs of the resident. The design of the railing 

with vertical aluminum fin and sunshade with a 

perforated aluminum sheet will conceal untidy 

elements such as drying rack, air conditioner 

condensing unit, and washing machine. We 

choose aluminum as materials for the facade 

since they are durable and easy to maintain. 

This unique facade and balcony composition 

create the pattern of light and shadow that 

reflected the simple systematic design of the 

building while concealing various complicated 

functional requirements of the users. 

70

Project Name : Nurse Dormitory Chulalongkorn Memorial Hospital Client / Developer : Chulalongkorn Memorial Hospital 

Location : 1873 Henri Dunant Road, Pathum Wan, Bangkok, Thailand Function : Dormitory Site Area : 3,550 sq.m. Building 

Footprint Area : 1,888 sq.m. Gross Floor Area : 32,000 sq.m. Floor Numbers : 26 Design Date : from 2015.12 to 2016.11 

Construction to Completion Date : from 2018 to 2021 Photographs : PanoramicStudio Architecture Design Company 

Architect Firm : Plan Architect Lead Architect : Wara Jithpratuck Design Team (participant employee) : Naphasorn Kiatwinyoo, 

Apichai Apichatanont, Nathida Sornchumni, Somsak Shanokprasith Supervision : Design+Develop Co., Ltd Structural Engineer : 

KCS Engineer (Water and Electricity) : Plan Engineering Air-condition : Plan Engineering Landscape : PL Design Construction 

Company Main Contractor : Christiani & Nielsen (Thai) Public Company Limited 

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Vo Trong Nghia 

Architects 

Vo Trong Nghia founded Vo Trong Nghia Architects (VTN) in 2006, 

is a leading architectural practice in Vietnam with offices in Ho 

Chi Minh City and Hanoi. International architects, engineers and 

staff work closely on cultural, residential and commercial projects 

worldwide. 

72

Based in Ho Chi Minh City, VTN Architects infuses its work with 

lushly planted walls, hanging vines, structure-piercing trees, 

weathered stones, and sunken landscapes. It also incorporates 

traditional Vietnamese building techniques, like complex bamboo 

trusses, perforated blocks, cooling water systems, shaded 

terraces, and thatched roofs. All these efforts are infused with 

a resolute vision: the creation of Green Architecture that merges 

nature, local vernacular, and — through modern materials and 

methods — contemporary design. 

By experimenting with light, wind and water, and by using 

natural and local materials, VTN employs a contemporary design 

vocabulary to explore new ways to create green architecture 

for the 21st century, whilst maintaining the essence of Asian 

architectural expression. The motto of VTN is “Greening the City” 

which VTN considers the most effective method for a Vietnamese 

city to become a sustainable city with happiness. The VTN’s 

building designs utilize trees and local materials while considering 

the harmonization between function and energy efficiency. 

VTN works in strong collaboration with Wind and Water House 

JSC, a construction company specializing in green buildings 

construction, to realize designs of high quality in Vietnam. 

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74


Under rapid urbanization, cities in Vietnam have 

diverged far from their origins as sprawling 

tropical forests. The lack of green causes 

various social problems such as air pollution 

due to over-abundance of motorbikes, air 

pollution, flood and heat island effect. In this 

context, new generations in urban areas are 

losing their connection with nature. Moreover, 

the country is facing changes as it moves to 

a manufacturing based economy, taking its 

toll on the environment. Increased droughts, 

floods and salinization jeopardize food supplies. 

“Urban Farming Office”, is an effort to change 

this situation. The aim of project is to return 

green space to the city and promote safe food 

production. Located in a newly developed 

area in Ho Chi Minh City, the office project 

demonstrates the possibility of vertical urban 

farming. Its facade consists of hanged planter 

boxes with various local vegetations, allowing 

them to obtain sufficient sunlight. This green 

approach will provide safe food and comfortable 

environment with minimum energy 

consumption, contributing to the sustainable 

future of city. 

Environmental strategies: The “vertical farm” 

creates comfortable microclimate throughout 

the building. Combined with glazing, the 

vegetation filters direct sunlight and purifies 

air. It is irrigated with stored rainwater while 

evaporation cools the air. Conversely the 

northern wall is relatively solid for future extension, 

with small openings to enhance cross 

ventilation. It is made of double-layered brick 

wall with air layer inside for better insulation 

property. All of these contributes to reduce the 

use of air conditioner. 

Farming system: The “vertical farm” is designed 

for vegetation with simple construction methodit 

consists of concrete structure, steel supporting 

and modularized planter boxes hanged there. 

Planter boxes are replaceable, therefore they 

can be flexibly arranged in accordance with 

height and growing condition of plants, providing 

sufficient sunlight. Together with roof garden 

and ground, the system provides up to 190% of 

green ratio to the site area, which is equivalent 

to 1.1 tons of harvest. Various local edible 

plants, such as vegetable, herb and fruit tree, 

are selected contributing to biodiversity of 

the region. They are maintained with organic 

treatment method. 

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Project Name : Urban Farming Office Client / Developer : Vo Trong Nghia Architects Location : 39A Ta Hien, Quarter 1, Thanh 

My Loi Ward, Thu Duc city, Ho Chi Minh City, Vietnam Function : Office Site Area : 300 sq.m. Gross Floor Area : 1,386 sq.m. 

Construction to Completion Date : 2022.08 Photographs : Hiroyuki Oki Architecture Design Company Architect Firm : 

Vo Trong Nghia Architects (VTN Architects) Lead Architect : Vo Trong Nghia Design Team (participant employee) : Nobuhiro 

Inudo, Tran Vo Kien, Le Viet Minh Quoc, Nguyen Tat Dat 

77


78

Rahul Mehrotra is a Professor of Urban Design and Planning and 

the John T. Dunlop Professor in Housing and Urbanization at the 

Graduate School of Design at Harvard University. and the Founder 

Principal of RMA Architects, which was founded in 1990 and has 

designed and executed projects for government and private institutions, 

corporate workplaces, private homes, and unsolicited 

projects driven by the firm’s commitment to advocacy in the city 

of Mumbai. Mehrotra’s most recent books are titled Working in 

Mumbai (2020) and The Kinetic City and Other Essays (2021). The 

former, a reflection on his practice, evolved through its association 

with the city of Bombay/Mumbai. The second book presents his 

writings over the last 30 years and illustrates his long-term engagement 

with and analysis of urbanism in India. This work has given 

rise to a new conceptualisation of the city that Mehrotra calls the 

Kinetic City. 

79

80

Lilavati Lalbhai Library, 

CEPT University 

The Lilavati Lalbhai Library is on the campus 

of CEPT University (Centre for Environmental 

Planning and Technology) in Ahmedabad, the 

capital city of the state of Gujarat, India. Strategically 

located in the heart of the campus, the 

library is envisioned as a hub for the students 

and faculty from the various academic departments. 

While using the functional requirements 

of the library for its spatial organization, the 

building formally weaves itself into the preexisting 

architectural narrative of the campus. 

It does this through alignments in plan with 

adjacent buildings, modulation of sectional 

levels into and above the ground, and through 

the choice of material selection and expression. 

In fact, the building respects the continuum 

of existing architectural expression that has 

defined CEPT’s campus for decades. At the 

most fundamental performative level, the Lalbhai 

Library responds to, and anticipates, the current 

and future acquisitions of the University- reading 

rooms, formal and informal reading spaces, 

individual carrels, seminar rooms, and administrative 

offices are accommodated in addition 

to softer and more flexible multipurpose spaces 

for exhibitions and presentations. 

The Library is an empathetic attempt to bridge 

this challenge - of designing a building that 

sits within a rich modern narrative of post-independence 

Indian Architecture, while building 

for contemporary needs and aspirations. 

The building uses contemporary materials 

and is spatially articulated in plan as well as 

section to accommodate multiple functions 

to create an architecture suitable for the hot 

and dry weather of Ahmedabad which is a 

significant achievement. This also allows for 

a play of form and texture and light through 

the louvered skin of the building which makes 

for a unique architectural experience. Using 

material and construction systems to create 

a particular vocabulary, the architecture of 

the building represents an approach which 

extends the legacy of carefully calibrated and 

localized modernism in India. For example, 

the adjustable louvered façade or the use of 

exposed concrete is a way to respond to the 

context of the architecture traditions in the 

city of Ahmedabad. 

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82

83

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Project Name : Lilavati Lalbhai Library, CEPT University Client / Developer : Centre for Environment Planning and Technology 

(CEPT) Location : Ahmedabad, Gujarat, India Function : Student Library Site Area : 45,000 sq.m. Building Footprint Area : 

700 sq.m. Gross Floor Area : 3,000 sq.m. Floor Numbers : 6 floors Design Date : from 2015 to 2017 Construction to Completion 

Date : from 2016 to 2017 Photographs : Rajesh Vora, Tina Nandii Architecture Design Company Architect Firm : RMA Architects 

Lead Architect : Rahul Mehrotra, Robert Stephens, Payal Patel Structural Engineer : N. K. Shah Consulting Engineers LLP 

Engineer (Water and Electricity) : Arkk Consultants Campus Architect : Dilip Patel Facade : FACE for Louvers Construction 

Company : PSP Projects Limited 

85

The architectural language, characterized by its foundational 

elements, serves as a nuanced reflection of cultural intricacies, 

belief systems, and the collective consciousness of a community, 

both in tangible and intangible dimensions. Architecture’s 

role extends beyond physical structures, delving into the 

intricate interplay between abstract relationship patterns and 

individuals within a spatial context. This complexity is navigated 

by elevating and integrating the cultural legacies of the 

locale, encompassing technical methodologies and material 

facets. Resultant forms engage in a symbiotic dance with 

nature, judiciously utilizing limited space and manipulating 

scale to compress and evoke sensations. The environment 

created is enveloped within a linguistic framework that, though 

abstract, remains palpable, offering a profound experience for 

occupants of the built environment. 

The architectural language operates as an abstract yet 

graspable framework, establishing a communicative medium 

between the built environment and its users. Composed of 

cultural symbols, spatial configurations, and sensory experiences, 

this language allows individuals to interpret and 

engage with architecture on personal and communal levels. 

This abstract language transcends tangible elements, fostering 

a deeper connection between occupants and the space they 

inhabit. In summary, the architectural language functions as 

a dynamic and multifaceted tool that shapes physical structures 

while communicating a community’s culture, values, and 

identity. Through the deliberate integration of legacy, technical 

prowess, harmonious interaction with nature, and skillful use 

of limited space, this language creates environments that resonate 

on intellectual and emotional levels for building users. 

86



Kiln Museum 

andramatin 


Sessat Agung 

Carlos Arnaiz 

Architects - CAZA 


Marina Tabassum Architects 

Bait Ur Rouf Mosque 

Perceive / 


of Ritual 

87


88

Zhu Pei studied at Tsinghua University in Beijing and at the 

University of California in Berkeley. In 2005, he founded Studio 

Zhu Pei in Beijing, which has created an extraordinary cultural 

oeuvre that has made him one of the leading figures of his 

generation. His work is characterized by his American experience, 

where he taught as a visiting professor at Harvard and 

Columbia Universities. He is currently dean and professor of 

the School of Architecture at the Central Academy of Fine Arts 

(CAFA) in Beijing and a visiting professor at Yale University. 

For his international contributions to architecture, he was made 

an Honorary Fellow of the American Institute of Architects (AIA) 

in 2020 and was a member of the jury for the Mies van der Rohe 

Prize for Architecture, Europe’s most important architecture 

prize (2011). Studio Zhu Pei is dedicated to the production of 

contemporary architecture, art and culture with new methods. 

With an experimental approach, it consistently explores the 

meaning and relationships between the historical roots that 

deeply anchor the work in a specific natural and cultural context 

and the innovation that defines the revolutionary thinking of 

architecture as art. With the experimental practice and teaching, 

Studio Zhu Pei developed its own architectural theory - ‘Architecture 

of Nature’. It is not only a poetics of building culture, 

but also a response to the challenges of climate change and 

the renewal of regional cultural values. 

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90


Kiln Museum 

The Museum, a porcelain museum focusing 

on Imperial Kiln artifacts, is located in the 

center of the historical area in Jingdezhen, 

adjacent to the Imperial Kiln Ruins of Ming 

Dynasty. It is surrounded by various historical 

buildings, including old houses, traditional 

kilns, factories, and residential buildings of 

the late 1990s. Those buildings have shaped 

a rich and diverse urban fabric and formed a 

unique site with enriching historical contexts. 

Concept 

The concept of the museum aims to rediscover 

both local cultural roots and the innovation 

ideas addressing revolutionary thinking of 

the museum experience; thereby recreating 

the consanguinity among kiln, people, and 

porcelain. 

1 Prototype 

As essential structure for the city’s industrial 

production and as a central place for both 

public life and cultural memory, the brick kiln 

has entered the entire city history as architectural 

form. The prototype of the Museum is 

translated from traditional brick kiln, it comprises 

more than half a dozen brick vaults base on 

the traditional form of the kilns. Each of the 

brick vaults is of a different size, length and 

curvature, calling to mind the special and 

material quality of the kilns. The ground 

level and lower level connect all vaults and 

courtyards together with a strong local cultural 

grounding. 

2 A porous installation of wind 

Jingdezhen is hot in summer, people have to 

survive under shade with ventilation, and this 

is the reason why narrow alley with roof overhang 

and small vertical courtyard house both 

create shade and wind tunnels to let people 

feel comfortable. 

The long axis of eight brick vaults is arranged 

along the north-south direction with two ends 

open. The arrangement of the open vault and 

enclosed ones, can not only block the sunlight 

on the west side, but also transform each vault 

into a wind tunnel, allowing the cool breeze to 

flow in and to capture the most frequent southnorth 

wind in summer. The five sunken courtyards 

of different scales create the chimney 

effect as in the local vertical courtyards. A 

three-dimensional wind installation is thus 

created by both the tunnels where wind blows 

horizontally and the chimney effect that functions 

vertically. 

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3 An installation of natural light 

Constructing an interior space that is full of 

natural light is the primary consideration. First 

of all, the alternative arrangement of open 

vaults and enclosed vaults creates a rhythmic 

sensation of light and shade while walking 

through the museum. Secondly, the five sunken 

courtyards channel light down to the floor, 

completely subvert people’s feelings of the 

underground space. Moreover, the interior 

natural light is achieved through the opening of 

both the end of the vaults, the horizontal slits 

alongside the floor, the slits between adjacent 

two vaults and the cylindrical skylights. With 

all these special ‘windows’ and the porosity of 

the building, light diffuses into the interior space 

of the museum through different dimensions 

and ways. Natural light is a medium that weaves 

people, exhibits, and architecture together. 

4 Structure and Materials 

The basic structure of the museum is arched 

structure system, it is made up of concrete 

poured in between two layers masonry brick 

walls. 

This interweaving of nature, ruins, wind, light, 

sound, and new and old materials must arouse 

interest, curiosity, create new questions and 

give new answers by interacting with the mind 

of people who inevitably evoke memories and 

enjoy a unique experience. The past cannot be 

erased but rewritten by recounting with a new 

awareness and maturity, a sort of contemporary 

archeology. 

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Project Name : Jingdezhen Imperial Kiln Museum Client / Developer : Jingdezhen Municipal Bureau of Culture Radio Television 

Press Publication and Tourism, Jingdezhen Ceramic Culture Tourism Group Location : Junction of Shengli Rd and Zhonghua 

North Rd, Zhushan District, Jingdezhen, Jiangxi, China Function : Permanent Exhibition, Temporary Exhibition, Auditorium, 

Amphitheater, Multifunctional Hall, Bookstore & Café, Restoration Hall, Tearoom, Office, Storage, Loading Dock Site Area : 9,752 sq.m. 

Building Footprint Area : 2,920 sq.m. Gross Floor Area : 10,370 sq.m. Floor Numbers : 3 Design Date : from 2016 to 2017 

Construction to Completion Date : from 2017 to 2020 Photographs : Schran Image, Tian Fangfang, Zhang Qinquan, Studio Zhu Pei 

Architecture Design Company Architect Firm : Studio Zhu Pei Lead Architect : Zhu Pei Structural Engineer : Architectural 

Design & Research Institute of Tsinghua University Engineer (Water and Electricity) : Architectural Design & Research Institute 

of Tsinghua University Air-condition : Architectural Design & Research Institute of Tsinghua University Interior : Studio Zhu Pei 

Landscape : Studio Zhu Pei Construction Company Architecture : China Construction First Group Corporation Limited, Huajiang 

Construction CO., LTD of China Construction First Group 

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andramatin 

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Established in 1998, andramatin is a studio based in Jakarta, 

Indonesia. andramatin is known for clean, modern creations that 

attempt to use space in a way that reflects and is sensitive to its 

environment. The practice, which was once consisted of small 

team working mainly on residential projects, has now expanded 

to do broader scale and type of projects varying from furniture 

to urban design projects. 

Andra Matin, the principal, is one of the founders of Arsitek 

Muda Indonesia (Young Architects of Indonesia, AMI), which 

has greatly influenced the progress of architecture in Indonesia. 

His publications include Haikk! in 2008 by Borneo publications 

and Prihal: arsitektur andramatin in 2019, an overview on the 

studio’s public buildings that previously displayed in an exhibition. 

A frequent lecturer at architectural events in Indonesia and 

overseas, he has won numerous awards including the Association 

of Indonesian Architects (Ikatan Arsitektur Indonesia, IAI) in 1999 

and 2002, 2006, 2011 and 2020, Honorable Mention at 16th Venice 

Architecture Biennale in 2018 and Winner of Aga Khan Award 

for Architecture in 2022. His work has also published in various 

international media including in several editions of MARK magazine 

and Japanese architecture magazine, GA Houses. Inspired 

by his great love of travel, contemporary jazz and art house 

films to name a few important muses, Andra Matin continues 

to search out experiences to influence and develop his ideas 

further, towards the next evolution. 

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Sessat Agung 

Tubaba (Tulang Bawang Barat) is a regency 

in the southern part of Sumatera, established 

in 2009. As a new regency, Tubaba needs to 

implement development programs to improve 

the quality of living of its residents. Architecture 

is one way to realize this. andramatin’s involvement 

in Tubaba is part of the manifestation of 

Tubaba Regent Umar Ahmad’s vision. He sees 

andramatin’s architecture works as a reflection 

of the six values of life that he envisions for 

his people: “Hard Work”, “Perseverance”, 

“Sincerity”, “Simplicity”, “Equality”, and 

“Sustainability”. 

The first design brought to life is the Islamic 

Center complex, which consists of the As- 

Sobur Mosque and Balai Sessat. andramatin 

also prepared designs for other buildings, such 

as the Tubaba joint office and Pulung Kencana 

Market. The separated buildings are located 

inside the Tubaba Islamic Center in West 

Tulang Bawang Regency, which was officially 

established in 2009. The two buildings marked 

the new era of development in the regency. 

The mosque, which rises vertically upward, 

was built as a symbol of the relationship 

between human and the Creator, known as 

“habluminallah” in Islamic teachings. Sessat 

Agung, which functions as a multifunction hall 

for residents, is designed in a horizontal elongated 

shape, reflecting human relations with 

other human, known as “habluminannas.” 

The two buildings were built on a vacant land 

that was originally surrounded by swamps 

and rubber trees. Now, between these two 

buildings and around it, green landscapes and 

large water ponds resembling lakes present an 

atmosphere where people of all ages can enjoy 

comfortably. The architecture of As-Sobur 

Mosque is designed by combining elements 

that are usually found in the architecture of 

a mosque, namely the dome and minaret 

(tower). However, these two elements were not 

implemented literally, so the resulting form can 

align with the vision of West Tulang Bawang 

region. The large and tall main structure can be 

seen as a minaret and also as a dome, because 

the center has an empty space. The podium 

is designed as the prayer hall, with cantilever 

walls that hang around the building to protect 

the interior from excessive sun exposure and 

rainwater splash. 

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On the inside, Lampung scripture is used as 

pattern on openings in the walls to provide 

a local cultural context to this building. In a 

way that is not immediately visible, certain 

Islamic symbols are also implied in several 

parts of the mosque: the mosque’s 30 meters 

height is a representation of 30 Juz in the 

Quran; the skylight holes on the ceiling of 

the mosque, totaling 99, represents the 99 

beautiful names of Allah SWT. The prayer hall 

of the mosque is designed with a simple floor 

plan, but certain aspects are made in detail 

to give a memorable spatial experience. The 

walls of the mosque are set at a distance 

from the columns and the floor. These two 

designing steps give a visual illusion of walls 

that float off the ground and create a low 

opening from where prayers can enjoy the 

view of the water pool from inside the mosque 

to the border of the mosque floor. Inside the 

mosque, worshippers are kept at a close distance 

with nature; although they are shielded 

from the busy activities outside the mosque, 

they can still see the water and its reflection 

on the interior walls of the mosque, and the 

sunlight coming in from the 99 skylight holes 

on the roof. 

As indication for the Qibla, an artificial island 

was made with a beautiful landscaping. 

Sessat Agung was build next to the As-Sobur 

Mosque. It is a multifunctional building that 

can be used by the West Tulang Bawang 

residents for various communal activities. 

The design is an interpretation a basic stilt 

house covered with nine-stack gable roof. 

It manifests the uniqueness of the Lampung 

traditional crown, which has nine cones 

symbolizing the nine ancestral tribes of the 

people of Lampung. The main area of this 

building is an open-plan empty hall, with 

ceilings adorned with the engraving of 11 

names of the ancestral village of Tubaba, 

written in the Kaganga characters. Sessat 

Agung is a community hall that is open to 

anyone, regardless of ethnicity, race, and 

religion. Since its construction, this building 

has been used as a place to gather and to 

host theater performances, Quran recitals, 

children’s performances, and many other 

activities. As-Sobur Mosque and Sessat 

Agung mark the starting point of the Tubaba 

master plan for development in the next few 

years. More than just a mosque and a community 

hall, the architecture of these buildings 

symbolizes Tubaba’s vision to build a sustainable 

living environment for anyone who want 

to live within the area. 

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Project Name : Masjid As-Sobur & Sessat Agung Location : Tulang Bawang Barat, Lampung, Indonesia Function : Religious place 

Site Area : 124,000 sq.m. Gross Floor Area : 1,156 sq.m. (As-Sobur) 1,920 sq.m. (Sessat) Design Date : 2013 Construction to 

Completion Date : 2017 Photographs : Davy Linggar Architecture Design Company Architect Firm : andramatin Lead Architect : 

Andra Matin (Isandra Matin Ahmad) 

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Carlos Arnaiz 

Architects 

Carlos Arnaiz is an architect, educator, writer, and urban design 

consultant. He is the founder and principal of Brooklyn-based 

design studio Carlos Arnaiz Architects (CAZA) and the co-founder 

of Studio for Urban Analysis (SURBA), an urban design thinktank 

that uses data and analysis to improve urban policy and 

development. 

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In his practice and research, Carlos advocates for more equitable, 

sustainable, and socially engaged forms of architecture, planning, 

and development. He has led the design of projects around the 

world ranging from civic and community institutions, affordable 

housing prototypes, strategic sustainability plans for new and 

developing cities, and mixed-use towers and complexes. His 

recent projects include the Camsur Capitol Building (Camsur, 

Philippines), Victorias Eco-Hub (Negros, Philippines), and the 

Haishu Waterfront District (Ningbo, China). 

Carlos currently serves as an Adjunct Professor at Pratt Institute’s 

Graduate School of Architecture & Urban Design, where he teaches 

a class on the history of ideas about the city and a studio on multifamily 

housing. He holds a Master’s Degree with Honors from 

Harvard University’s Graduate School of Design and a Bachelor’s 

Degree, Magna Cum Laude, from Williams College. 

His work has received awards, including the prestigious Architectural 

Review Emergent Architecture Award (2016), two Progressive 

Architecture Awards (2008, 2009), the AIANY Building Merit Award 

(2008) and recognition as one of the 50 Top Innovators under 50 for 

the 21st Century. His projects have been featured in ARCHITECT 

Magazine, Metropolis, Surface, Blueprint Kerb, 50UNDER50, and 

Dialogue. 

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The design for the 100 Walls Church challenges 

what sacred spaces look like today. Within 

the Church, no room is completely bound by 

four walls. Intentionally nebulous, each space 

oscillates from being partly contained to being 

loosely attached to something else. Each wall 

is placed in a singular direction so that the 

structure is entirely opaque from one vantage 

and transparent from the opposite view. The 

Church invites visitors to wander its grounds 

and discover sunken gardens, pockets of blue 

light, and an enigmatic profusion of talismanic 

walls. A multitude of doors and passages is 

a reminder that there are as many paths as 

there are lives and that a sacred space today 

should draw out meaning in its ambiguity. 

The project is located on a floodplain in a 

country that experiences severe seasonal 

flooding due to intense tropical rainstorms. 

We internalized this constraint into the design 

process from the very beginning. We knew 

that the Church would have to be raised on a 

deck to avoid rising tides. This meant that we 

had to figure out how to support a platform— 

which took up a third of our construction 

budget—while at the same time connecting 

the public back to the very landscape that 

they were being separated from. 

The 100 walls church utilizes a field of walls to 

address economics and sustainability. Walls, 

the least expensive architectural form in the 

developing world, allowed for diversity through 

repetition. Each wall varies in height and width, 

fostering uniqueness. Employing Revit during 

the design process facilitated tracking changes 

efficiently. This blend of old and new methods 

resulted in a successful project completion 

within budget and a tight 14-month timeline. 

The 100 Walls Church embodies a modern 

interpretation of a contemplative space, 

evoking mystery and discovery akin to early 

Gothic architecture. The walls are aligned 

along a grid that follows the spacing of the 

pews. This makes for a subtle yet important 

correspondence between the monolithic permanence 

of the space and the small, fleeting 

reality of those who inhabit the space. Its design 

encourages exploration, mirroring the transient 

nature of human existence against enduring 

architectural permanence. 

105

The threat of flooding and intense solar heat 

spurred our approach to environmental considerations 

using the field of 100 walls as a 

single architectural solution. These walls not 

only supported the raised platform for flood 

protection but also facilitated the creation of 

fourteen sunken gardens, symbolically tied to 

the stations of the cross and serving as effective 

stormwater management. Strategically dispersed, 

these gardens directed runoff towards 

the flood plain and waterfront. At the same 

time, their concentration along the east-west 

axis maximized daylight without compromising 

glass exposure to direct sunlight, enhancing 

passive cooling efficiency. 

The last sustainability feature of the Church 

was discovered by accident. Having recently 

learned at our local natural history museum, 

paleontologists recently theorized that stegosaurus 

had spikes on their backs to reduce 

their exposure to direct sunlight. We immediately 

started to test how each wall could 

shade the roofs and minimize the Church’s 

heat load. Our methodology was based on 

careful sun studies that helped us determine 

the appropriate height of these walls in relation 

to the variable heights of the interior roofs. 

The result is that a church whose iconic roof 

profile is appreciated by many actually works 

to help keep it cool inside and lower the parish’s 

energy bill. 

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Project Name : 100 Walls Church Client / Developer : Mrs. Felicidad Sy, Mr. Hans T. Sy, Ms. Rose Siaco, Archbishop Jose 

Palma - Archdiocese of Cebu, Fr. Brian Brigoli - Archdiocese of Cebu Location : Cebu City, Philippines Function : Church Site 

Area : 8,924 sq.m. Building Footprint Area : 1,450 sq.m. Gross Floor Area : 3,412 sq.m. Floor Numbers : 2 Design Date : from 

2010 to 2011 Construction to Completion Date : from 2012 to 2013 Photographs : Iwan Baan Architecture Design Company 

Architect Firm : CAZA Lead Architect : CAZA Design Team (participant employee) : Carlos Arnaiz, Laura del Pino, Marc Leverant 

Supervision : W.V Coscolluela Architects Structural Engineer : ECCRUZ CORP. Sanitary Consultant : COMPREHENSIVE DESIGN 

SERVICES COMPANY & Fire Protection Consultant : F. L. FIGUEROA & ASSOCIATES INC. Electrical Consultant : IBARRA A. 

ALMAJOSE & ASSOCIATES Mechanical Consultant : L. M. CAMUS ENGINEERING CORP. Construction Manager : D. A. ABCEDE 

& ASSOCIATES Interior : CAZA Landscape : Arch. Allen Palicpic - WV Coscolluela, Arch. Fides S. Garcia - VP Design, SM, Arch. 

Reiza T. Jingco - AVP Mall Design, SM, Arch. Roselle C. Sarmiento - Senior Design Manager, SM, Arch Monique Y. De Villa - Regional 

Design Manager, SM Construction Company Architecture : CAZA Structural Enginee : ECCRUZ CORP. Sanitary Consultant : 

COMPREHENSIVE DESIGN SERVICES COMPANY & Fire Protection Consultant : F. L. FIGUEROA & ASSOCIATES INC. Electrical 

Consultant : IBARRA A. ALMAJOSE & ASSOCIATES Mechanical Consultant : L. M. CAMUS ENGINEERING CORP. Construction 

Manager : D. A. ABCEDE & ASSOCIATES Interior : CAZA 

107

Marina Tabassum 

Architects 

Marina Tabassum Architects (MTA) is an internationally recognized, 

leading architecture practice based in Dhaka, Bangladesh. The 

firm was founded by Marina Tabassum in 2005 after her ten-year 

partnership with URBANA established in 1995. 

MTA began its journey in the quest of establishing a language 

of architecture that is contemporary to the world yet rooted to 

the place. MTA stands against the global pressure of consumer 

architecture, the fast breed of buildings that are out of place and 

context. Our pledge of the practice is to root Architecture in the 

place informed by people, climate, and geography. MTA’s work is 

108

well regarded in the world as environmentally conscious, socially 

responsible, historically and culturally appropriate. Every project 

undertaken is sensitive and relevant in response to the uniqueness 

of individual site context, culture, and people. 

In addition to building design, MTA invests in extensive research 

works on the impacts of climate change in Bangladesh working 

closely with geographers, landscape architects, planners, and 

other allied professionals. Our focus of work also extends to the 

marginalized low to ultra-low-income population of the country 

intending to elevate the environmental and living conditions of 

people. 

Our practice is based on a simple model of the studio with Marina 

Tabassum as the principal architect. The studio engages young 

talented architects and professionals with time-appropriate 

innovative ideas who are willing to push the boundaries of 

the conventional norms of practice. The associate architects 

who are responsible for research, design, and management of 

individual projects work directly under the principal architect. 

The practice is consciously kept and retained in an optimum 

size and projects undertaken are carefully chosen and are limited 

by number per year. 

MTA worked and collaborated on several international projects 

and exhibitions in Beirut, Abu Dhabi, Dubai, Venice, London to 

name a few. MTA’s practice model is well regarded in the international 

scene of architecture as a Twenty-First Century model as 

such MTA has presented works and research to numerous national 

and international institutions around the world. 

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The Bait Ur Rouf Mosque was MTA’s first 

commission. The location of the mosque is 

on the northeastern outskirts of the city and 

was to be built as a refuge of tranquility and 

a meeting place for the neighborhood in an 

otherwise densely populated area of Dhaka. 

The land once belonged to Marina Tabassum’s 

grandmother, who gave it back to the community 

after her two daughters passed away. She 

commissioned her granddaughter to design a 

mosque on the site. The project was funded by 

family members, friends, the local community 

and other donors who were involved in the 

design process. It was important for MTA to 

keep the architecture simple and clear, which 

led to the abandonment of popular mosque 

iconography such as the dome, mehrab and 

minbar. Instead, the emphasis is on calibrated 

spatial and light structures that allow for a 

spiritual experience. In addition, brick was 

used because its texture has had a lasting 

impact on mosque architecture in the Ganges 

Delta. The result is a perfect square with a 

cylindrical volume in the center: the prayer hall. 

The different geometric shapes create open 

courtyards on all four sides, which ventilate 

the building well during the summer months. 

The other functions are arranged around this 

spatial construction. 

To compensate for the irregularly shaped 

terrain, the mosque stands on a plinth, which 

has numerous functions: it protects against 

flooding, allows people to sit on it and talk 

while waiting to pray, but most importantly, it 

separates this religious place from the hustle 

and bustle of the busy street. 

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Project Name : Bait Ur Rouf Mosque Client / Developer : Sufia Khatun Location : Faidabad , Dhaka, Bangladesh Function : 

Religious & Community Building Footprint Area : 735.45 sq.m. Floor Numbers : 2 Construction to Completion Date : 2012 

Photographs : Sandro di Carlo Darsa, Asif Salman, City Syntax, Hasan Saifuddin Chandan Architecture Design Company 

Architect Firm : Marina Tabassum Architects Lead Architect : Marina Tabassum Supervision : Bazlur Rahman Structural Engineer : 

Daud Khalid Sarwar Engineer (MEP) : Rafiqul Islam 

113

HAS 

design and research 

Jenchieh Hung and Kulthida Songkittipakdee founded HAS design 

and research and they are recognized as leading architects in 

the new generation, renowned for their innovative architectural 

designs in the “World Architects Directory” by Wallpaper* magazine 

in the United Kingdom. Hung And Songkittipakdee (HAS) has built 

an international reputation through winning competition entries, 

with their work standing out for its synthesis of form, pattern, 

material, and technology into singular, irreducible constructions. 

Their projects have received widespread recognition on international 

platforms and have been featured in publications such as 

The Best Architects in Bangkok 2023, Six Asian Design Firms You 

Need to Know, and The Projects Reshaping Chinese Architecture 

Today. HAS design and research’s innovative work has been 

celebrated with numerous awards and honors, including the 

Australia INDE. Award, Wallpaper* Architects’ Directory, Thailand 

Prestige Award, and the Designer of the Year Award. In addition 

to their practice, Jenchieh Hung and Kulthida Songkittipakdee 

have been actively involved in academia as visiting professors 

and design critics at Tongji University, Chulalongkorn University, 

and King Mongkut’s University of Technology Thonburi. They 

have also been invited to serve as curators and critics for Thai 

contemporary architecture, organizing a series of exhibitions, 

publications, and forums. 

114

Nada Inthaphunt, an architect and interior architect based 

in Bangkok, has transformed herself into a content creator 

and branding professional, channeling her interest in design 

development processes, the connectivity born from intentional 

and unintentional intentions, and the complexity within simplicity 

into architectural or product design outcomes. Nada graduated 

with a bachelor’s degree from King Mongkut’s University of 

Technology Thonburi, where she was awarded the TIDA Thesis 

Award as the first runner-up in 2012. After six years with DUCT- 

STORE the design guru, she pursued a master’s degree in Luxury 

Management and Guest Experience at the Glion Institute of 

Higher Education in Switzerland. Currently, she serves as the 

Project Manager for content creation at Subper and Melayu 

Living in Songkhla and Pattani provinces. 

Photo : Ketsiree Wongwan 

115

Project List 

Sound / 

Language of Humanity 

Sejima and Nishizawa and 

Associates - SANAA 


Photo : SANAA 

Silent / 

Language of Shading 

WOHA 


Photo : Darren Soh 

Perceive / 

Language of Ritual 


Jingdezhen Imperial Kiln 

Museum 

Photo : Schran Image 

116

Mass Studies 

Space K Seoul 

Photo : Kyungsub Shin 

smallprojects 

Machine Room 

Photo : Kevin Mark Low 

Thisara Thanapathy 

Associates Santani Wellness 

Resort and Spa 

Photo : Mahesh Mendis 


Nurse Dormitory at Chulalongkorn 


Photo : PanoramicStudio 

Vo Trong Nghia 

Architects 


Photo : Hiroyuki Oki 



Photo : Rajesh Vora 

andramatin 


Sessat Agung 

Photo : Davy Linggar 

Carlos Arnaiz Architects 

- CAZA 


Photo : Iwan Baan 

Marina Tabassum 

Architects 


Photo : Sandro di Carlo Darsa 

117

Host 

Co-Organizers 

Supporter 

118

Thanks to all who are 

exploring our languages 

together 

Adul Kaewdee 

Asae Sukhyanga 

Chana Sumpalung 

Chutayaves Sinthuphan 

Ellie Stathaki 

Hyunju Jang 

Jan Henderson 

Jiang Wu 

John Hill 

Kamolthip Kimaree 

Kisnaphol Wattanawanyoo 

Kulthida Songkittipakdee 

Leena Duanggate 

M.L. Varudh Varavarn 

Minghao Zhou 

Naputt Sakkamat 

Praewarpa Kotchawat 

Prompt Udomdech 

Rachit Radenahmad 

Rattapong Angkasith 

Rossana Hu (Ju-Shan Hu) 

Sarayut Supsook 

Shafa Diandra 

Shen Zhuang 

Supaman Munka 

Supasai Vongkulbhisal 

Theerarat Kaeojaikla 

Waraluk Pansuwan 

Waricha Wongphyat 

Xiangning Li 

Yuanye Deng 

Yuting Lu 

119

Collective Language 

Asian Contemporary Architecture 

First Print 

April 2024, Bangkok 

Authors 

Jenchieh Hung 

Kulthida Songkittipakdee 

Nada Inthaphunt 

Managing Editor 

Kamolthip Kimaree 

Graphic Designers 

Wasawat Dechapirom 

Jirawadee Kositbovornchai 

Jitsomanus Kongsang 

Print 

Print / Plate 

Superpixel 

Published by 

art4d CO Limited 

© Copyright 2024 

No responsibility can be 

accepted for unsolicited 

manuscripts or photographs. 

National Library of Thailand Cataloging in Publication Data 

Jenchieh Hung. 

Collective language - Asian contemporary architecture. 

-- Bangkok : art4d, 2024. 

120 p. 

1. Architecture, Modern. 2. Architecture -- Asia. I. Kulthida Songkittipakdee, 

jt.auth. II. Nada Inthaphunt, jt.auth. III. Title. 

724 

ISBN 978-616-94289-1-6

Sound / 


of Humanity 

Silent / 


of Shading 

Perceive / 


of Ritual

Collective Language : Asian Contemporary Architecture

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