The Tectonic Expression

Constructing and Construing in the works of Wooi Lok Kuang

ANDREA RACHEL WONG EE-LYN / 1007P10475

Master of Architecture / Semester 3

DIS70104 Dissertation I

Supervisors: Dr. Veronica Ng

Abstract
In an age of commercialism and consumerism, there has been a notable demise in the employment of a
tectonic expression in the making of architecture. This is due in part to a culture of mass production to
meet the rising needs of consumers, resulting in a shift in the emphasis of the value of detailing and
construction as an architectural expression. Instead, there arose a preoccupation with pastiche
ornamentation, reducing the significance and meaning within detailing. Furthermore, construction began
to be viewed as a means to achieve spatial effect as an end. However, the need for a tectonic expression in
architecture has been highlighted by key thinkers such as Kenneth Frampton, Vitorrio Gregotti and Marco
Frascari, who have stated that tectonic can be employed as a resolution to the degeneration of culture as a
result of homogeneity of architecture arising from mass production. This is because tectonic involves the
poetic amplification of construction knowledge which stems from culture and craftsmanship, and an
appropriate application of tectonic in construction can lead to the construal of meaningful architecture. In
the Malaysian context, architects such as Eleena Jamil, WHBC Architects and Wooi Lok Kuang have
exhibited a tectonic expression within their works that stems from a consciousness of the richness of local
cultures. As such, this dissertation explores Frascaris theorization of tectonics as constructing and
construing through the application of joints, both formal joints and material joints, in order to develop a
theoretical framework to identify a tectonic expression. By adopting a mixed-methodology of case study
and interview, this dissertation then applies the developed theoretical framework in analysing three selected
works of Wooi Lok Kuang, namely, Wooi Residence (2004), Ting Residence (2010) and Heng House
(2016). The outcome of the analysis will determine the design thinking and methodology applied by Wooi
in the successful employment of a tectonic expression.

Keywords: tectonic, constructing, construing, joints, detail

 Table of Contents

Abstract ............................................................................................................................................ 4

List of Figures .................................................................................................................................. 7

Chapter 1: Introduction .................................................................................................................... 9

1.1 Background: Problem Statement.................................................................................................................... 9

1.1.1 The Demise of a Tectonic Expression .................................................................................................. 9

1.1.2 The Potential of Tectonic Expression in the Malaysian Context .................................................... 11

1.2 Research Question .......................................................................................................................................... 12

1.3 Aim, Objectives and Significance ................................................................................................................. 13

1.4 Research Design: Methodology and Methods ........................................................................................... 13

1.4.1 Data Collection Methods and Analysis ............................................................................................... 13

1.4.2 Justification of Selected Works ............................................................................................................. 14

1.5 Overview of Study .......................................................................................................................................... 18

1.6 Limitations and Delimitations ...................................................................................................................... 20

1.7 Summary ........................................................................................................................................................... 20

Chapter 2: Tectonics in Architecture .............................................................................................. 21

2.0 Introduction ..................................................................................................................................................... 21

2.1 The Etymology of Tectonics. ....................................................................................................................... 21

2.2 Tectonics in Constructing and Construing Meaning ................................................................................ 22

2.3 Tectonics as An Art of Joining. .................................................................................................................... 23

2.4 Summary ........................................................................................................................................................... 26

Chapter 3: Wooi Architect .............................................................................................................. 27

3.0 Introduction ..................................................................................................................................................... 27

3.1 Affinity for the well-made ............................................................................................................................. 27

3.2 Early Heroes .................................................................................................................................................... 28

3.3 The desire for authentic sustainability ......................................................................................................... 30

3.4 Summary ........................................................................................................................................................... 33

Chapter 4: The Tectonic Expression ............................................................................................. 34

4.0 Introduction ..................................................................................................................................................... 34

 4.1 Malay Cultural Influence ................................................................................................................................ 34

4.2 Construction Innovations.............................................................................................................................. 37

4.3 Spatial Experience........................................................................................................................................... 46

4.4 Summary ........................................................................................................................................................... 57

Chapter 5: Conclusion.................................................................................................................... 58

Bibliography .................................................................................................................................. 59
 List of Figures

Figure 10: Wooi Residence (Malaysian Timber Council) .................................................................................... 15

Figure 11: Tiang Seri fanning out towards the rest of the house ....................................................................... 15
Figure 12: Ting Residence ........................................................................................................................................ 16
Figure 13: Series of terraces and staircases in Ting House.................................................................................. 16
Figure 14: Exterior facade of exposed concrete and brick.................................................................................. 17
Figure 1: Glass corner window in the Canova Plaster Museum designed by Carlo Scarpa ........................... 24
Figure 2: Formal joint between the old and new facade of the Castelvecchio Museum by Carlo Scarpa ... 25
Figure 3: Ziggurat motifs within the Brion Cemetery .......................................................................................... 25
Figure 4: Madrasah Tok Janggut and Wooi's first appreciation for tectonics through woodcarving
(mykedah2.com, 2002) .............................................................................................................................................. 28
Figure 5: Jack House by Russell Jack (ArchitectureAU, 2012) ........................................................................... 29
Figure 6: Lovett Bay House exhibits a consciousness of siting (Leigh Wooley, 2004) .................................. 30
Figure 7: Sketches from Woois working sketchbook on site (Wooi, 2017) .................................................... 31
Figure 8: Various mock-up models made during construction process (Wooi) .............................................. 32
Figure 9: Interior and exterior view of box seat addition .................................................................................... 33
Figure 10: Tiang Seri in Wooi Residence ............................................................................................................... 34
Figure 11: Exposed roof trusses that fan out from the tiang seri in Wooi Residence .................................... 35
Figure 12: Detail of timber seat and air gap above family area .......................................................................... 36
Figure 13: Built-in seats in House 9 ........................................................................................................................ 37
Figure 14: Air gap between wall and roof, Wooi Residence ............................................................................... 37
Figure 15: Diagrammatic plan of lower ground floor showing cross ventilation ............................................ 38
Figure 16: Entertainment area on lower ground floor with detail of timber louvered door ......................... 38
Figure 17: Wooi Residence - front gate and fencing of timber strips ............................................................... 39
Figure 18: Diagrammatic plan of ground floor showing cross ventilation ....................................................... 39
Figure 19: Detail of staircase and timber screen ................................................................................................... 40
Figure 20: Diagrammatic plan of first floor showing cross ventilation............................................................. 40
Figure 21: Detail of vertical louvres at study area................................................................................................. 41
Figure 22: Diagrammatic plan of ground floor showing location of timber screen ....................................... 41
Figure 23: Timber screens surrounding the gallery and living room of Ting Residence................................ 42
Figure 24: Diagrammatic plan of first floor showing location of timber screen ............................................. 42
Figure 25: External view of timber screens ........................................................................................................... 43
Figure 26: Aerial view of Zinc Titanium roof of Ting Residence ...................................................................... 43
Figure 27: Yellow balau curved ceiling in Ting Residence .................................................................................. 44
Figure 22: Various doors in Wooi Residence ........................................................................................................ 45
Figure 23: Detail of frameless door with hinge embedded into brick wall....................................................... 45
Figure 32: Concrete beams over living room of Wooi Residence ..................................................................... 46
Figure 33: Concrete beams over entertainment area of Wooi Residence ......................................................... 46
Figure 32: Cluster of steel columns in Ting Residence ........................................................................................ 47
Figure 33: Flat slab system combined with steel frame ....................................................................................... 47
Figure 37: Vertical louvres of master bath ............................................................................................................. 48
Figure 38: Leaf-shapes ceiling over master bedroom .......................................................................................... 48
Figure 39: Clerestory windows of master bedroom ............................................................................................. 49
Figure 47: Brick forming load-bearing walls and columns in Wooi Residence ............................................... 49
Figure 48: Thick layers of mortar laid between bricks to eliminate irregularities ............................................ 50
Figure 49: Brick as walls and columns in House 9 ............................................................................................... 50
Figure 41: Curved concrete staircase leading up from entrance of Ting Residence ....................................... 51
Figure 41: Detail of slender concrete staircase with steel railing ........................................................................ 51
Figure 40: Curved walls imitate the existing site in Ting House ........................................................................ 52
Figure 42: Outdoor decks to limit views in Ting Residence ............................................................................... 52
Figure 43: Outdoor decks as formal joints in Ting Residence ......................................................................... 53
Figure 44: Full height glass walls facing the deck ................................................................................................. 53
Figure 45: Diagrammatic plan of ground floor of House 9 highlighting forecourt and internal street ....... 54
Figure 46: Diagrammatic plan of first floor highlighting connecting bridges .................................................. 55
Figure 47: Bridge (a), (b), and (c) in House 9 ........................................................................................................ 55
Figure 48: Diagrammatic floor plan of the first floor highlighting internal balconies .................................... 56
 Chapter 1: Introduction

1.1 Background: Problem Statement

In order to meet the demands of growing consumerism, the built environment has progressed towards
industrial building technology and mass production, rendering the once eloquent craftsmanship of
architecture to a homogeneity. The current trend in making buildings amortizable has been achieved
through the subconscious reduction of architecture to scenography (Frampton, 1990). The art of making
buildings has lost its expressive content in terms of design, resulting in the lack of articulation of
construction or tectonics. Tectonics, which is the poetic application of construction, involves a
consciousness of the meaning within the applied construction technique. This meaning stems from the
unique way in which it has been worked within a specific culture and context. The return to craftsmanship
requires a reemphasis of the application of tectonics as a result of reconciliation between architecture and
culture as expressed through construction details in joints. Architecture should be concerned with not only
the pragmatic sense of design, but also with the symbolic significance of being situated in a culture-rich
context.

1.1.1 The Demise of a Tectonic Expression

A contemporary reflection on architecture posits tectonics, as an anachronistic notion (Garland, 2003).

With a growing consumer culture, architecture developed towards industrial building where tectonic
expression is replaced with modern technology as a consequence of mass production (Nilsson, 2007).
Economic considerations became the emphasis of architecture in order to capitalize on the process of mass
production, giving rise to homogeneity and devaluing the poetic articulation of tectonics. Furthermore, the
success of Robert Venturis decorated shed (Venturi, Brown, & Izenour, 1977), which portrays an
application of independent ornamentation to a system of space and structure, prioritizes spatial expression
as an end of the production of architecture. Kenneth Framptons seminal work Studies in tectonic culture: the
poetics of construction in nineteenth and twentieth century architecture (1990) summarises this decline in a tectonic
expression as being the result of two correlating factors; a) mass production of architecture to meet the
demands of consumerism, and b) spatial tendencies in architecture that focuses on the whole instead of
parts.

With the rise of mass production, the development of technology has streamlined the production of
architecture. Gregotti (1996) notes a loss of actual practice, tradition and knowledge of craftsmanship
within architecture with the advent of a digital culture. It was not a matter of the elimination of details, but
rather the alteration of the hierarchy of detail to whole, with less emphasis on the value of construction as
an architectural expression. Marco Frascari (1984) echoes this notion by stating that draftsmanship became
a substitute for craftsmanship. Where once the detailing work of craftsmen were the centre of architectural
expression, details are now being resolved through drafting technologies. The development of real details
was replaced with virtual procedures, where details are viewed as production drawings and not as joints
or parts of a building. Frampton (1990) summarizes this argument as the reduction of architecture to
scenography, or value-free aestheticism (Grassi, 1980).

In addition, the abandonment of a tectonic expression is due in part to an emphasis on spatial tendencies
in the perception of architecture (Weiner, 1996). Frampton (1995) observed that mans understanding of
space is an integral part of experiencing architecture, so much so that architecture is always perceived with
spatial-temporal emphasis in mind. This observation found roots in the theories of Bruno Zevi (1957) who
opined that other arts that contribute to the making of architecture, though important, are always
subordinate to the spatial idea. Although space itself does not define architecture, Zevi claims that it
embodies the character quality and the essential attributes enclosed by an architectural container. As such,
an atectonic approach that underlined artistic and plastic thinking overtook the emphasis of construction
in architecture (Garland, 2003). Vitorrio Gregotti (1996) cited the rise of this decorative end as the basis
for a lack of tectonic expression in architecture. Contemporary architecture employs pastiche as a way to
replace the meaning in authentic ornamentation. Construction is viewed as merely a means to achieve spatial
effect as an end (Srirangam & Ng, 2012).

In light of this demise in tectonic expression in architecture, the return to tectonics was propagated by
Frampton in his seminal essay Rappel a lOrdre: The Case for the Tectonic. This reassertion of a tectonic
expression is derived from Giogio Grassis (1980) polemic on the realization of ineffectuality of architecture
that trailed in the wake of figurative arts such as Neo-plasticism and Cubism as architecture is a systematic
craft in itself, involving established knowledge of construction developed through cultural application and
refinement. Frampton defines tectonics, or the poetics of construction (1995), as the art of putting
together details through an amplification of its construction within the assembly or architecture of which
it is a part (1990). Thus, Frampton suggests the employment of tectonics, or the joining of elements, as a
prospect against the degeneration of cultural consciousness in construction as a result of mass production
of architecture.

Marco Frascari (1984) also emphasizes this idea of joining of elements in tectonics. Tectonics is the
realization of construction knowledge in the form of joints and contains intrinsic properties that, with the
application of detailing in joining parts together, have the potential to construe and give rise to meaningful
architectural articulations. He regards details as significant joints in the role they play in constructing and
construing meaning as each detail forms a part of a whole, while being wholes in themselves. This paper
will further explore this notion of tectonics as jointing from the point of view of Frascari (1984) by
expounding on the definition of joints in relation to tectonics. It also highlights a cultural consciousness
in the usage of joints in the Asian and Malaysian context and draws towards the conclusion that jointing
can provide a resolution to the production of meaningful ornamentation wrongly sought after in pastiche,
as the amplification of construction can be a source of construal of meaning as a return to the origins of
architecture.

1.1.2 The Potential of Tectonic Expression in the Malaysian Context

Asia has also seen a surfacing of the global phenomenon of homogeneity in mass production and tendencies
toward spatial expression. However, a recent awareness of the demise of a tectonic expression in Asia has
caused architects in Asia to take redemptive stances in the execution of architecture that is true to cultural
consciousness. In the works of Vietnamese architect Vo Trong Nghia, his affinity for bamboo as a building
material stems from his distress at a concrete-choked Ho Chi Minh City (Ahlmark, 2014). He viewed
bamboo as an alternative to mass-produced concrete buildings as bamboo is all at once economical and
beautiful yet ecological and durable. The creation of bamboo structures in the works of Nghia requires an
understanding of attributes of the material and its detailing and jointing in the context of the created object
(Gregotti, 1996). Material properties and constraints were extensively researched by Nghia and his team,
not just in the form of detailed drawings but also through the production of 1:1 scale mock-up models
(Alter, 2012). The complexity of the detailing within the projects of Vo Trong Nghia exhibits the cultural
content ingrained within each building. This consciousness of a tectonic expression is apparent in
exceptional joinery conditions as it sets itself apart from the conventional geometrical set language, offering
possibilities of new and unique interpretations (Schropfer & Lovett, 2011). Architecture that exhibits such
joinery becomes relative to itself, giving a part-to-whole harmony that is crucial to the nature or architectural
design that is true to the cultural context in which the building is situated in.

Closer to home, the present situation in Malaysian architecture also reflects this global issue of
homogenization and commercialization of the built environment (Srirangam & Ng, 2012). Mass production
of buildings shift the focus of architectural expression from the conventions of local culture and craft.
However, there are yet Malaysian architects such as Eleena Jamil Architect, WHBC Architect and Wooi
Architect who have acknowledged Malaysia as a nation rich in cultural diversity and craftsmanship as
depicted through the tectonic expressions within their works. There exists a consistency between formal
concepts of cultural consciousness, the selection of materials and the relevant the material junctures. As
such, the art of joinery and construction within their works have been used purposefully, reflecting a
structural and expressive logic across the architecture (Schropfer, 2011).

The Bamboo Playhouse (2015) by Eleena Jamil Architect is a series of free-standing bamboo structures
located within the Perdana Botanical Gardens. Jamil displays conscious understanding of bamboo and its
attributes in the application of joints and junctures that goes beyond a simple comprehension of layering
of parts (Schropfer & Lovett, 2011). The choice of bamboo species for the Playhouse is determined by
specific attributes such as the physical appearance of the material (personal communication, December 3,
2015). The bamboo selected for the Playhouse turns a golden yellow upon drying, reflecting a desired spatial
character. In addition, the structural integrity of the bamboo is studied and resolved through the use of
humble detailing in the form of green strings to lash joints. Woven bamboo mats make up the floor and
ceiling of the Playhouse, showing a form of cultural sensitivity in the application of detailing through
bamboo.

Another example of tectonic expression is in the House: Telegraph Pole (2009) by WHBC Architects
which adapts elements of a traditional longhouse architecture found in Sarawak. The design centres around
an honest exposure of materiality, keeping in mind the unique value of materials through their fabrication
and jointing. WHBCs BC Ang initially designed the structural columns of the house as chunky logs.
However, the scarce availability of timber logs of the required size led to the application of salvaged timber
lamp posts. A central concern within the composition of an architectural construction is an understanding
of the properties and constraints of the materials being used (Schropfer & Lovett, 2011). In the case of the
Telegraph Pole House, the craftsmanship of the design becomes apparent with the ingenious structural
detail of aggregating four timber posts to meet the structural needs of the design. This design intention
exhibits the skilful use of jointing to bridge the gap between pictorial expression and structural logic
(Semper, 1989), between representation and ontology (Frampton, 1990).

In similar fashion, an overview of the works of Wooi Lok Kuang of Wooi Architect reveals a consciousness
in the application of construction detailing and materials that stems from a thorough understanding of the
climate and the cultural context in which his designs are situated in. This dissertation further explores the
design philosophy of Wooi, as well as his works, specifically the Wooi Residence (2004), Ting Residence
(2010) and House 9 (2015). These built examples of tectonic expression allude to the entelechy of poetic
manifestation of structure within the Malaysian context, displaying material consciousness of an ingrained
local building culture that eases the tension between an intended design intent and its the mode of
communication. It analyses these works through the lens of Frascaris notion of tectonics as joints,
highlighting the constructing and construing cultural meaning reflected in the presentation and
documentation of Woois design intent.

1.2 Research Question

The background study positions the research to examine the tectonic expression in terms of constructing
and construing through tectonics. It also situates the theoretical framework of constructing and construing
in the Malaysian context, emphasizing the potential of tectonic expression as a means to articulate
meaningful architecture. As such, the research question addressed by this dissertation is:

How can the construction of joints bring about the construing of meaning through tectonics in the works of Wooi Lok Kuang?
1.3 Aim, Objectives and Significance
Based on the problem statement as supported by a preliminary investigation of background studies, this
dissertation explores Frascaris theoretical position of constructing and construing in tectonics through the
design of joints in details with the aim of situating the pragmatic within the poetic.

In order to achieve the aim, the objectives of the dissertation are broken down as follows:

i. To define the notion of tectonics in architecture as relating to joints.

ii. To identify the relationship between construction in architecture and the construing of meaning
through the usage joints.
iii. To develop a theoretical framework to dissect the works of Ar. Wooi Lok Kuang of Wooi Architect
in order to systematically analyse the design thinking and methodology employed in the crafting of
architectural space.

Based on the aim and objectives, the significance of this dissertation positions the theoretical notion of
tectonics as pertaining to joints, narrowing the scope of a tectonic expression. In addition, this dissertation
forms a theoretical framework by which to understand the relationship between constructing and
construing; thus, providing architects in the Malaysian context with a guide to tectonic expression.

1.4 Research Design: Methodology and Methods

This dissertation employs a mixed-methodology in designing the research. Literature review, case studies
and interview will be used as a method of research and inquiry. It is an empirical inquiry that investigates
a phenomenon or setting (Groat & Wang, 2013). The case study will focus on multiple works of Wooi Lok
Kuang in order to identify patterns within the design process of Wooi in using tectonic expression to craft
meaningful architectural spaces. An analysis of the case study will employ a theoretical framework
developed from the review of literature and theoretical writings of various sources. The aim of the case
study is to highlight the design thinking behind meaningful constructing and construing of architecture. In
addition, Wooi Lok Kuang himself will be interviewed to develop an understanding of his background and
his belief system that leads to specific design decisions made.

1.4.1 Data Collection Methods and Analysis

A review of literature, such as writings, drawings and photographs, will first be carried out to provide a
background study on related references pertaining to the notion of tectonics. Citing works from key
thinkers such as Kenneth Frampton (1990, 1995), Marco Frascari (1984), Vitorrio Gregotti (1996), and
Gottfriend Semper (1989, 2004) provides valid references that can be grouped into common themes,
allowing for the research to develop a theoretical framework of the notion of tectonics as constructing and
construing.
The theorization of Marco Frascari, in particular, will scope down the area of research to the notion of
constructing and construing as articulated through joints and forms a basis for further data analysis. The
data collected through literature review will be used to situate the scope of study of this paper in the context
of tectonics, scoping towards Frascaris notion of tectonics as seen in joints. This data will also provide
the basis in the development of a theoretical framework pertaining to joints and its application in tectonics.

Included within this research is an interview of Ar. Wooi Lok Kuang. The purpose of the interview is to
establish an understanding of the background of the architect, including his upbringing in Malaysia and his
education in Australia as well as the formation of his unique design ideologies. The interview with Wooi
reveals a correlation between his background, design ideologies and the design decisions undertaken,
particularly in 3 of his selected works, the Wooi Residence (2004), Ting Residence (2010) and House 9
(2015).

These selected works will also be analysed through the theoretical framework of joints as the site for
constructing and construing of meaning, underlining the design philosophy and methods employed by
Wooi in the construal of meaning of each joint or part in relation to its whole. The case studies will attempt
to reveal the design thinking and methods adopted by Wooi, whether the design intentions are achieved
through conscious or unconscious means. This study attempts to position cultural and contextual
consciousness in tectonics as a resolution to homogeneity in the built environment as a result of mass
production and spatial emphasis.

1.4.2 Justification of Selected Works

The works of Wooi Lok Kuang may be perceived as an exploration of the usage of timber on the surface
but an investigation into the design philosophy of Wooi and a study on the evolution of his works reveals
a deeper tectonic consideration to the usage of materials that goes beyond the scope of merely timber.
Woois articulation of tectonics exhibits a conscious emphasis on the montage of joints throughout his
works. There exists a construal of cultural knowledge in the construction process be it assembly of
architectural elements or spaces. Tectonics as an art of joining is clearly reflected in Woois design
explorations in both his usage of material and formal joints. His design of intersections of elements and
spaces showcases joints as embodying both parts of the whole and whole in themselves, from the
articulation of details in the trusses of the roof to larger elements that link spaces such as staircases. In light
of this, the following built works have been selected to further investigate the role of joints in the making
of tectonics.
Wooi Residence (2004)

Wooi Lok Kuangs family home, Wooi Residence, located in Shah Alam, was completed in 2004 and stands
as one of his earliest works. It represents a statement and a point of departure of his architectural philosophy
(Powell, 2008). Starting from the positioning of the main 16-metre post, representing the tiang seri (principal
post) as reminiscent of a traditional kampong house construction, the house exhibits the nuances of Woois
cultural knowledge.

Figure 1: Wooi Residence (Malaysian Timber Council)

From the selection and application of a hierarchy of timber species within the house, Wooi demonstrates
an awareness of the attributes of materials, not only within the context of its availability in Malaysia but also
within the context of the Malay vernacular in particular. Details and joints within the house are also
informed by considerations that influenced the design of a kampong house such as cross ventilation and the
arrangement of spaces.

Figure 2: Tiang Seri fanning out towards the rest of the house
Ting Residence (2012)

Located in Country Heights, a former rubber plantation, Ting Residence sits atop a hilly topography,
offering the house exclusivity and privacy as well as panoramic views. This project was selected due to
Woois architectural response to this topographically dramatic site (McGillick, 2013). Instead of viewing
the levelled site as a challenge, Wooi embraced it as an opportunity to maximize views and spatial
experiences within the design. Ting House was designed as a tropical house that grew out of the natural
landscape, its form and material pallete blending into its natural context.

Figure 3: Ting Residence

Siting at such a great height, the house affords its residents not only ample views of the surroundings but
also a high degree of natural ventilation. Wooi builds spatial experiences that extends both horizontally and
vertically. Ting Residence exhibits a stitching together of spaces with Woois use of formal joints to
mitigate differing levels, creating a journey through the house from the entrance to the living spaces.

Figure 4: Series of terraces and staircases in Ting House

House 9 (2015)

The contrast between its interior and exterior enabled House 9 to clinch a Silver under the category of
Detached/Semi-detached of The Edge: My Dream Home Awards in 2015. Located in Setia Eco Park,
the seemingly plain exterior gives little hint to the complex intricacies of the unusual floor plan. Wooi
utilizes formal joints by dividing the house into two wings, linked physically by criss-crossing bridges and
visually via internal balconies. The main formal joint of the house appears in the form of a diagonal street
that runs through the entire site, both dividing and connecting the two wings of the house. The main living
spaces of the house are located alongside this internal street. The open plan of the ground floor allows a
visual connection between both the kitchen and the living room.

Figure 5: Exterior facade of exposed concrete and brick

In addition to this formal joint, Woois constant experimentation with materials and their resulting details
has led to a refinement of material joints used. The selection of materials as well as application of
techniques has seen an evolution from his earlier works while still drawing inspiration from the nuances of
the Malay traditional vernacular such as natural lighting and ventilation. His usage of crude details and
jointures is also evident in the raw material pallete of exposed concrete, terrazzo and brick walls. Overall,
House 9 showcases Woois skillful use of formal and material joints which is the result of years of design
experimentation and evolution.
1.5 Overview of Study
This paper discusses the role of joints in tectonics in terms of its constructional articulation as well as the
signification of a construed meaning. The discussion will be developed in two parts in order to develop an
understanding of the role of tectonics in two correlated disciplines, the theoretical and the empirical.

Chapter 1 presents an introduction to the research, providing an overall summary of the issues addressed
in order to frame the research question and guide the aims of the study.

Chapter 2 provides a review of relevant references pertaining to tectonics, forming the understanding that
tectonics in architecture comprises of details as parts of a whole. It traces the definition of tectonics by
various theorists, beginning with the etymological origin of the term tectonic as pertaining to the idea of
making or crafting. It then focusses the scope of a tectonic expression on the theories of Marco Frascari
(1984) who states that these details play the role of signification in architecture by attaching meaning to
man-produced objects. Details become necessary in the art of joining, implying that joints are always
details. Joints, as theorized by Frascari, can be viewed as material or actual joints, which are the physical
construction joints between two materials or architectural elements, or formal joints which is a mediation
between two architectural conditions such as the jointing of spaces of different functions. It also posits
tectonics and technology as inseparable components, leading to the notion of the constructing of joints and
construing of meaning. Consequently, the theoretical framework arising from this informs the conceptual
identification of joints as elementary units of constructing and construing in architecture as well as the
recognition that details are articulated within the process of joining. This framework also highlights the
importance of a careful selection and execution of appropriate joints in the making of meaningful
architecture.

Chapter 3 contains an introduction to architect Wooi Lok Kuang, highlighting his background and the
development of his design ideologies and philosophies, leading to the unique resolution of his designs.

Chapter 4 uses the theoretical framework of joints developed in the Chapter 2 as a basis of analysis of the
works of Wooi. The selection of joints employed by Wooi within his various projects allow an empirical
interpretation of the role of details as a meaningful expression of locality and culture. The relationship
between whole and parts is clearly seen in the union of construction. It then attempts to thematise the
construed meaning behind these joints in the crafting and expression of details. The findings aims to
suggest the potential of meaningful tectonic expression within the Malaysian context. It outlines the design
thinking behind effective constructing and construing, suggesting a methodology for the exploration of a
tectonic expression that is particular to locality and craft.

Chapter 5 presents the summary of the dissertation which explains the notion of tectonic expression as
the constructing and construing of meaning through joints as seen in the approach employed by Malaysian
architects and reiterated the potential of a tectonic expression in Malaysia.
1.6 Limitations and Delimitations
The research employs a qualitative approach in the review of references and the analysis of case studies.
Although the theoretical framework is shaped by valid references, a limited time frame of 16 weeks allocated
for the dissertation presents a time constraint in developing the notion of a tectonic expression as
constructing and construing of meaning. Furthermore, the case study of the selected works reveals a limited
amount of data as the private residences are readily accessible for site visits. As such, only the Wooi
Residence was available for visitation during the course of this research.

As the scope of a tectonic research in the Malaysian context is broad, the dissertation focuses on the works
of a selected architect, Wooi Lok Kuang, in order to investigate the notion of tectonic expression within
the Malaysian context as the work of Wooi demonstrates craftsmanship that is conscious of both locality
and culture.

1.7 Summary
This chapter paved the way for the dissertation, introducing the background study and the identification of
a specific issue, and the corresponding research question, aims and objectives. The section then briefly
presents methodologies the research will employ, justifying the choice of methods that would most suit the
investigation of the research question. It also outlines an overview of the limitations posed to the research
and delimitations that are within the control of the scope of the research in order to validate expected
outcomes.
 Chapter 2: Tectonics in Architecture

2.0 Introduction
Following the need for tectonic articulation in architecture, this chapter reviews diverse literature in order
to trace the theoretical idea underlying the term tectonics in architecture. A review of the literature is
synthesized, positing tectonics as an assembly of details as parts of a whole while being wholes in
themselves. This led to the notion of details as joints that serves as the site for architectural innovation
and invention in the constructing and construing of meaning, forming the theoretical framework used to
analyse the works of Wooi Lok Kuang in the following chapter.

2.1 The Etymology of Tectonics.

Tectonic is commonly defined as the poetics of construction. However, the former is a simplification of
the true notion of the word. An etymological study of the word tectonic further clarifies its meaning. It
was originally derived from the Greek word tekton, which means carpenter. However, the poetic
connotation of tekton first appears in the works of the Greek poet Sappho from as early as 600 B.C., where
the carpenter is used as a metaphor for the poet (Frampton, 1995). Therein lies the idea of poetic making
or craftsmanship in the production of architecture. Craft or craftsmanship, is essentially an acute knowledge
of tools, materials and skill within a process that is birthed typically from tradition (Sennett, 2008). Tectonic
is hence, the crafting of parts based on skill and knowledge, systematically assembled together to articulate
the whole. All making has a tectonic aspect, where material is expressed poetically, coming into existence
to furnish the world.

Rubio (1981, as cited by Frampton, 2002) posits tectonic as relating to crafting that involves the practical
application of established knowledge through the rules of the different levels of intervention. The same
school of thought was also echoed earlier by Marco Frascari (1984) who believes that technology, the
knowledge of making, is a way to articulate details. It is details that are generates of architecture and creates
experiences and associations through established knowledge and rules of construction (Engstrom, 2004).

Similarly, Patrick Schumacher (2014) views tectonics as being a product of the relationship between the
technical and the articulatory dimension of architecture. As such, tectonic emerges from engineering logics
and involves two aspects: the perceptual palpability and the semantic-informational charge. Schumacher
illustrates this notion of technical and articulatory in the design of a wall. A wall operates in both
dimensions; the technical (structural, insulation) and the articulatory (connecting and distinguishing spaces,
influences the characteristic atmosphere of a space). The wall may be crafted from parts, i.e. structural
performance and material considerations, but it is the articulation within the assembly of parts that is based
on existing knowledge and skillsets that produces tectonics.
Frascari views technology as bearing a duality in meaning, that of the traditional logos of techne which pertains
to the knowledge of construction and the more profound techne of logos, pertaining to the construction of
knowledge, or the construing. The details in architecture then becomes the site for the construction and
construing of meaning in architecture. Details, as regarded by Frascari, is the most elementary unit of
signification in architecture, and though the scale of details in relation to the architecture as a whole may
be diminished, they are significant in the role they play in constructing and construing meaning as each
detail forms a part of a whole, while being wholes in themselves. Therefore, the crafting of details based
on established knowledge and skill, when articulated systematically within the rules of construction, gives
rise to tectonics.

(Diagram detailing chronological origin of tectonics in architecture)

2.2 Tectonics in Constructing and Construing Meaning

Tectonics is an expression of craftsmanship in architecture that involves the application of established
knowledge and technologies of construction in the construal of meaningful experiences. This idea of
tectonics establishes a link between two paradigms; a tangible aspect, the structure and construction of
architecture, as well as an intangible aspect, the signification of the construction into an expressive meaning.

With the preoccupation of space in the consideration of architecture as evidenced by Bruno Zevis
Architecture as Space: How to Look at Architecture (1957), Zevi posits architecture as being primarily
concerned with the space-time experience. This view on architecture, while does not completely omit the
role of detailing in the creation of experience, does indeed diminish the emphasis on the technical aspect
of the assembly of parts. In response to this, without denying the emphasis on spatiality, Frampton instead
revaluates constructional modes as a means to mediate and enrich the priority given to space. He argues
that buildings are tectonic and tactile in character as much as they are scenographic or visual. Constructing
in architecture involves the logos of techne and refers to the realization of knowledge of a principle or system
by putting elements together (Sekler, 1965). Le Corbusier (1923, cited by Frampton, 1995) states that
architecture is first of all a construction before it is a discourse of surfaces, volumes and plans. Construction
enables the idea content of the building to manifest and the intentions of the architecture is expressed
through the application of techniques such as bearing structures, building elements and construction details
(Engstrom, 2004).

A tectonic approach to the construction of architecture should not merely be interpreted with regards to
the choice of a construction system (Garland, 2003). Frampton (1995) opined the making of architecture
as involving 3 man components; tectonics as poetics of construction, informed by the variables of topos, the
location, and typos, the institution. He argues that tectonics first draws meaning from the context in which
it is situated as construction methods hold significance within the context it is originated from and
subsequently applied in. It then articulates the technicalities of construction in the way details are assembled
within the logic of the required typos.
Construing, which involves the techne of logos, entails an understanding of the nature and properties of
materials as well as their cultural applications leading to a creative refinement and application of details in
architecture. This notion is reflected in the theoretical approach of French theoreticians called the speaking
architecture which likened architectural details to words in the composition of sentences. Detailing in
architecture is not a passive task of combining elements but it is an active process of construing possible
meanings and architectural realizations (Hedges, 2012). Similarly, Leon Battista Albertis (cited by Frascari,
1984) architectural theory positions architecture as the art of the selection of appropriate details, whose
result is beauty. Vitorrio Gregotti (1996) reiterates the signification process by stating that tectonic
expression is capable of enhancing the sensual and intellectual experience of a building through the
formation of a narrative, giving rise to meaningful experiences in architectural designs. Cultural and
contextual considerations need to be given in the application of details that compose architecture. Thus,
the making of architecture goes beyond designing for the pragmatic, rather it is concerned as well with the
symbolic significance (Frampton, 1990).

Expounding on the analogy of the speaking architecture, Frascari (2002) defines architectural representation
as the site where geometry, mathematics and construction discover their common nature, that is, the
capability of human imagination to merge architectural objects with the telling of enjoyable tales. Here,
two systems may be derived: total architecture, the plot, and detailed architecture as the tale (Frascari,
1984). To Frascari, details function as the most minimal units of signification in composition of architecture
in the same way that joints form the ultimate constituents of architecture (Semper, 2004). The selection and
expression of detail leads to the devising of the tale where a fully developed and successful plot consists of
appropriate selections of tales. Frascari recognizes architectural details as the site for the constructing and
construing of meaning, and that details themselves are joints that impose an order on the whole through
their role as parts. Frascaris definition of details as joints will be further developed in the following section.

2.3 Tectonics as An Art of Joining.

Architectural details function as both parts in relation to a larger whole, and wholes in themselves. To
illustrate this notion, a column is an example of both a detail in relation to a construction as it is a whole
architectural element. This classification of a details, according to Frascari (1984), varies according to scale
and the intended function of a detail. However, he has observed that all elements defined as details are
always joints. Details, or joints are assembled together in varying scales in order create a dialogue among
the parts in the composition of the whole. Adolf Heinrich Borbein (1982, as cited by Frampton, 1995) also
views that architectural tectonics is the art of joinings. A montage of joints serves as a strategy for the
integration of heterogenous elements (Frampton, 1995). Both Frampton and Frascari cites the works of
Carlo Scarpa in effective montage of various joints that serves as a tectonic condensation, emphasizing
the role of joints as embodying the whole in the part. Frascari admires Carlo Scarpas ability of using
joints as connecting points of detailed articulation or even a larger linking component such as stairs or
bridges. He expounds further on the definition of joints by categorizing it into two parts; a) formal joints
and b) material joints.

Formal joints are intersections that can be both applications of an architectural element or as constituents
to connect spaces and uses of buildings; a porch is a joint which is a connection between the interior and
the exterior space. Citing Scarpas work as an example, the formal joint is seen in the design of the addition
to the Canova Plaster Museum particularly in the detail of the jointing of three walls through a glass corner
window in order to achieve a desired lighting effect through formal manipulation. The issue in this museum
was a means to display white gypsum sculptures against white walls.

Figure 6: Glass corner window in the Canova Plaster Museum designed by Carlo Scarpa

The application of the glass corner window allows for these white plaster gypsums to be displayed against
white-washed walls without the need for the gypsums or walls to be tinted as the admittance of light into
the space at the appropriate location highlights the gypsum displays. Here, the resolution of the joining of
three walls is achieved by carefully placed window of an issue through the use of a formal joint. Frascari
notes that the location of details themselves gives meaning to the way spaces are perceived.

Material or actual joints, on the other hand, are articulations of constructional details; a capital of a column
is a joint as it forms a connection between the column shaft and the architrave. Frascari identifies these
material joints in Carlo Scarpas use of his fertile detail, the ziggurat motif. In the Castelvecchio Museum,
the ziggurat motif becomes a means to terminate layers of walls to signify a figurative joining between the
new and old faade. This same detail proved is fertility when applied in Scarpas Brion Cemetery. Here,
the ziggurat motif is applied extensively to terminate architectural elements such as ceilings, walls and slabs.
This ancient detail embodies a construal of meaning, symbolizing ruins like the sunken ruins of an ancient
civilization. It projects a sense of memory, an apt detail for the architecture of a cemetery.

Figure 7: Formal joint between the old and new facade of the Castelvecchio Museum by Carlo Scarpa

Figure 8: Ziggurat motifs within the Brion Cemetery

Details, as articulated in the works of Carlo Scarpa, reflects buildings as bearers of intrinsic properties that
can tell its own story through tectonic expression. Each detailed employed by Scarpa is able to articulate a
story of its making, placing and its dimensioning. There is a continuous progression of unfolding from
joint to joint that is formed from the development of local craft. The selective consideration in the
expression of details is vital in the process of construing of meaning. The location of material and formal
joints within the architecture give rise to conventions that creates associative meanings and perceptions for
the user. These perceptions are developed by touching and walking through a building (Frascari, 1984).
Details then acquire meaning through this process of association and comparison through lived-
experiences.

Architecture can be said to be the design of details and joints through a process of selection by which details
are resolved or substituted. The constructing and construing in the design of details becomes the site for
innovation and invention in architecture and of building styles (Frascari, 1984). Kenneth Frampton (1995)
frames this concept in a single phrase: the poetics of construction. In terms of architecture and tectonic
expressions, the original Greek meaning of poesis as an act of making and revealing arises from a deep
understanding of constructional craftsmanship in order to create expressive constructions and spaces that
are deeply rooted in human experiences. The placing of details has a key role in the processes of inference
as details acquire meaning through a long process of association and comparison that stems from ingrained
cultural and contextual influences. Architects, in turn, must understand the craft of building in order to
construct poetically.

(Timeline of tectonics poetic craftmanship to constructing and construing to joints as articulatory elements)

2.4 Summary
This chapter draws from the origin of the term tectonic and maps its definition as a systematic application
of craftsmanship that is derived from a set of rules or existing knowledge and skillsets. Subsequently, it
posits tectonic in architecture as a relationship between the technical and the articulatory, emphasizing an
application of knowledge and technology. It then addresses details as the most elementary unit in the
articulatory aspects of tectonics in architecture, examining joints as defined by Marco Frascari, in its roles
as a part as well as a whole. The theoretical framework of joints as laid out by Frascari will be used to
analyse tectonics in the works of Wooi Lok Kuang. The analysis will outline Woois construal of cultural
and contextual meaning through the application of joints as tectonics in his architectural works.
 Chapter 3: Wooi Architect

3.0 Introduction
This chapter presents the background of Wooi Lok Kuang. It first traces the roots of Wooi, beginning with
his upbringing, education and early influences that have played a part in the shaping of his design
philosophy. This inquiry then studies the design practices of Wooi, drawing from data collected through
interviews, literature review as well as case studies of his selected works, in order to develop a
comprehensive understanding of the design thinking employed by Wooi in the design decision he makes
and his unique assemblage of materials.

3.1 Affinity for the well-made

Established in 1996 and with over 25 years in architectural experience, Wooi Architect founder and
principal Ar. Wooi Lok Kuang, has always nurtured a fascination for craftsmanship in the implementation
of joints in all his projects. It has long since been an integral part of Woois thought process, finding its
roots in his childhood days whilst helping his father in the local sundry shop in a Malay kampong. Born 1963
in Tanah Merah, Pendang situated in the northern state of Kedah, Wooi Lok Kuang grew up amongst a
society that was pre-dominantly Malay which presented him with opportunities that would otherwise have
not been available to him. He became familiar with the cultures and conventions of the traditional Malay
lifestyle, recalling his early exposure the significance of the tiang seri in a traditional Malay house, the various
timber used for construction in a kampong house as well as the ceremonial usage of the kemenyan and other
practices in a newly built home (personal communication, 2017).

Living amongst a Malay community, Wooi benefitted from frequent visits to the kampong that exposed him
to the architecture of the traditional Malay house that was different from the timber shophouse that he
grew up in. He recalls the serambi, elevated on stilts that enabled cross ventilation to take place, where guests
are entertained in comfort with refreshments served on a handmade dulang. Mundane everyday architectural
details are inspired by human anthropometry such as architraves that have been carved out of timber to
imitate the indents of a human hand. Wooi also attended many traditional Malay weddings in the form of
kenduri. Thus, began his curiosity with the natural beauty in the purely functional and utilitarian assembly
of shelter and furniture. Large banquet tables and seats were made out of locally available materials: strips
of bamboo that were tied together with rattan. The canopies that sheltered the festivities were also
fashioned from local materials such as wooden poles and palm leaves. This crafting of furniture and shelter,
though made from humble materials with humble joinery techniques, were well-made and functional
though unassuming. This formed his earliest exposure to the traditional Malay vernacular.

In addition, Wooi expresses an understanding of traditional materials and their use in construction, not
only of attributes and properties but also its ingrained cultural meaning. He relates how the Malay culture
intertwines with nature and the built environment around them. For instance, when a boy is born, the
family plants a chengal tree that grows alongside the boy. As the boy comes of age and builds his own home,
the chengal will be felled to form the tiang seri of his new home. His fascination for the Malay vernacular
grew still with his 3rd year research paper on Madrasah Tok Janggut in Langgar, Alor Setar, a place for
seeking knowledge under the tutelage of a religious teacher. Students would build small timber huts or
pondok near the home of the teacher, each contributing to the humble assembly of the hut that would later
serve as a dwelling space for students. Some who were more skilled craftsmen would show their
appreciation to the teacher in carving exquisite details into the wood. His in-depth study on the architecture
as well as the practices in a madrasah gained him new perspectives and a heightened appreciation for
Malaysian culture and its translation into tectonics.

Figure 9: Madrasah Tok Janggut and Wooi's first appreciation for tectonics through woodcarving (mykedah2.com, 2002)

3.2 Early Heroes

Woois proclivity to pursue architectural education stemmed from his love for art and drawing as well as
the nudging of his uncle, who said Wooi would starve as an artist, suggesting architecture as an alternative
(Yoong, 2012). After facing repeated rejection in his university application to local public universities, Wooi
took a chance and applied to universities abroad, finally being offered a position at the University of New
South Wales with a scholarship. He obtained his Bachelor of Architecture (Hons) in 1989 and his post
graduate degree of Masters of Architecture in 1991. It is during his university education that his affinity for
tectonics and functionality of materials developed. Pursuing architecture in Australia has sparked an
appreciation within Wooi for the genius loci of place.

Wooi attributes the shaping of his architectural style to his tutors and other architects in Australia, such as
Bruce Rickard, Russell Jack, Richard Leplastrier, Glenn Mercutt and Jorn Utzon. Although Wooi speaks of
these architects with much esteem and respect, he realizes the importance of independent thinking in design
and the need to develop ones own unique identity in taking ownership of a design, a principle passed on
to him by tutor Bruce Rickard during his 4th year in Sydney. Rickard also imparted his unique design
philosophy to Wooi with emphasis on the integration of natural light, natural materials as well as an
awareness of site specificity, a notion which Wooi adopts in the design of his own works.

Another architect whom Wooi found to have prepared him as an architect today is his final year tutor,
Russell Jack of Allen Jack + Cottier Architects. Russells utilitarian nature and his belief that architecture
speaks for itself has inspired Woois emphasis on praxis and encouraged a healthy dose of scepticism in
Woois thought process. One of his works that speaks to Wooi is the award-winning Jack House in
Wahroonga. Built on a budget in 1956 and inspired by Frank Lloyd Wright and the craftsmanship of
Japanese architecture, the house is designed to integrate with the surrounding landscape (Salhani, 2012).
Russell and Pamela Jack utilized a diverse pallete of materials from mahogany shiplap, white brick walls and
even wallpapers to highlight feature walls. Details were designed and built by Russell himself from steel-
bracketed bookcases to terraces that could be expanded as the family grew.

Figure 10: Jack House by Russell Jack (ArchitectureAU, 2012)

Woois attention to joints and details was inspired by architect and tutor Richard Leplastrier whose usage
of crude details stems from his understanding of materials and their physical attributes. Leplastriers
architectural practice was centred around hand-drawings, especially in the designing of details, a practice
adopted by Wooi in his design of details. Leplastrier also displays a sensitivity to issues of culture and place
as portrayed in his architectural works as an ode to nature (Leplastrier, 2004). In his family home on Lovett
Bay (1994), the architecture takes into account the conditions of the site, a flooded sunken river valley that
experiences subtropical climates. The selection of materials and the construction methods employed are
mindful of the site conditions, taking into account the finished architecture within its sited context. Spatial
layout within the house boasts simple living spaces that forms a continuity in the line of the surrounding
landscape.
 Figure 11: Lovett Bay House exhibits a consciousness of siting (Leigh Wooley, 2004)

These Australian architects have sparked an appreciation within Wooi for the genius loci of place. Designing
with a sense of place in mind was the normative design approach employed by Australian architects at the
time, as evidenced by a consciousness of culture and context in the making of their works. Upon returning
to Malaysia in July 1991, Wooi worked under the award-winning Prof. Jimmy C.S. Lim of CSL Associates,
whose works propagated the usage of timber, a material widely found in Malaysia. Under the tutelage of
Lim, Wooi further honed his skills in designing with Malaysian timber and other locally available materials.
These early influencers in the life of Wooi greatly impacted and inclined his design thinking towards the
integration of nature within architecture and a consciousness towards authenticity.

3.3 The desire for authentic sustainability

After 6 years of working under renowned architect Jimmy Lim, Wooi branched out and established his own
practice in November, 1996 (Yoong, 2012). Specializing in niche bungalows, Wooi constantly experiments
with and applies design principals that he has gained over the years. However, the desire for authentic
sustainability in Woois designs is a culmination of his childhood experiences and key influencers that
helped mould his unique design philosophy. Wooi believes that there is a cultural aspect to the making of
tectonics. He recalls the selection of timber as reflecting the hierarchy of the material in the context of the
traditional Malay vernacular. Chengal, also known in the local dialect as raja kayu, reflects its prime value and
is used sparingly due to its price tag. Resak, also known as rakyat kayu, is more commonly found and used.
From this instance, he states the importance of understanding the cultural significance in order to make an
informed decision in terms of material selection.


Figure 12: Sketches from Woois working sketchbook on site (Wooi, 2017)
Wooi demonstrates an understanding of joints in stating that tectonic is not merely about the assembly of
parts through joints, but it is also what is being assembled, referring to the cultural implication of
architectural element, material selection and assembly of spaces. As such, sketching becomes a means by
which Wooi explores these joints. He often produces sketches of material joints, a habit he picked up
from his tutor, Leplastrier. He even keeps a working sketchbook on site comprising detailed sketches
produced during the course of the project for the reference of the contractor to effectively communicate
his design intentions. Details are further refined with constant sketching and the making of 1:1 scaled mock-
up models in order to study its feasibility. In the design of Heng House facade (2016), Wooi went through
a rigorous process of designing by producing various sketches as well as commissioning mock-up models,
a freedom that is only afforded him in the design of individual bungalows.

Figure 13: Various mock-up models made during construction process (Wooi)

Wooi's designs display a consciousness of siting. The topos works in tandem with the typos to inform its the
resultant tectonic. He conducts thorough site visits before beginning the design on the drawing board.
Wooi believes that design is a constant evolution and should not be constrained as new perspectives are
formed during the construction. He recalls a project which required the addition of a formal joint in the
form of a box seat window during the construction phase as he noticed an interesting view from within the
site while inspecting the construction progress from the elevated perspective of the first floor. Wooi also
emphasizes the specific needs of individual clients; he does not presume that each dwelling should function
the same. In the case of House 9, the spatial layout of the house reflects a prominent formal joint in the
form of a diagonal street through the site in order to visually connect the in the house. Hence, the typos also
informs the assembly of joints within his designs.
 Figure 14: Interior and exterior view of box seat addition

3.4 Summary
The sense of expression of Woois designs stems from an intrinsic attitude cultivated from living in an
equatorial climate. Some measure of the design influences within the works of Malaysian architect Wooi
Lok Kuang can be traced to his early childhood experiences and education. These experiences and exposure
to craftsmanship helped shape Woois design thinking, who has dedicated his lifes work to designing
customized bungalows that resonate with contemporary adaptations of the architectural style of the
traditional Malay residence. He opts for local materials so as to reduce the carbon footprint in his
architectural designs. In addition, affordability is also another key focus employed within all of his designs.
The careful selection of details within his design results in architecture that is economically built and
affordable to maintain, in order to find relevance in a Malaysian context where house prices in urban areas
are beyond reach.

(Diagram: Map factors that shaped Woois tectonic thinking)

 Chapter 4: The Tectonic Expression

4.0 Introduction
This chapter utilizes the theoretical framework of joints as the site for construction and construal of
meaning developed in Chapter 2 in order to analyse the Wooi Residence, Ting Residence and also House
9. This analysis through joints reveals 3 themes of influences to Woois design thinking in the making of
tectonics. This chapter attempts to group the formal and material joints within the selected works of Wooi
into these themes in order to establish a link between the background, the practice and the tectonic
expression of Wooi.

4.1 Malay Cultural Influence

As a tribute to the traditional Malay house, Wooi strives to reflect nuances of the Malay vernacular within
the design of his projects. He uses various formal and material joints evoked by his childhood memories
in order to achieve features that he most attributes to the Malay vernacular: locally available materials,
natural lighting and passive ventilation. Wooi Residence, the most detail-rich design of Woois, represents
a point of departure for Wooi in drawing inspiration from the Malay vernacular. As a test bed of ideas
(personal communication, 2017), this proved to be helpful in Woois future projects as the design revealed
the effectiveness of certain details.

Figure 15: Tiang Seri in Wooi Residence

The construction of Wooi Residence begins with the laying of the tiang seri, symbolizing Woois appreciation
for the influences of the Malay culture and traditions on architecture. Chengal is used for the tiang seri, not
only for its structural strength and ability to withstand harsh weathers but also for its position in the
hierarchy of timber used in traditional Malay construction. From the tiang seri, a vaulted timber assembly
whose curves are derived from designs response to the site, extends radially outward to support the main
curved roof over the house. As the curve is irregular, each piece of timber truss is of differing lengths.
These trusses are aligned to coincide precisely with timber frames of the windows below.

Figure 16: Exposed roof trusses that fan out from the tiang seri in Wooi Residence

Within each floor, there exists a selang, a transit point for users between the various spaces of each floor.
Traditionally, the selang functions as an open linking space between two portions of the Malay house,
providing ample ventilation and lighting into living spaces. Wooi uses the selang within Wooi Residence as
a formal joint to mediate between spaces of different privacy levels. On the lower ground floor, the
entertainment area is the primary public space one first encounters upon entering the home. It then
distributes users to secondary spaces such as the semi-public home office and other semi-private service
and utility spaces.

Insert diagram highlighting buffer space as formal joint

The selang on the ground floor, which can be accessed via the main entrance or the staircase from the lower
ground floor, is the public living room. From here, users can access other semi-private spaces such as the
kitchen and dining room, as well as a private bedroom at the end of the living room. On the first floor, a
similar configuration of spaces is found. This is designed for the familys usage, with a family area serving
as the main pause space and place of gathering. From this space, circulation is distributed to the private
bedrooms surrounding the family area and a semi-private study deck on the other side of the floor.
Insert diagram highlighting buffer space as formal joint

The family area in Wooi Residence reflects a consideration of a space in the traditional Malay house; anjung.
Traditionally, an anjung functions as a seating area for guests and the family, with seats being an architectural
element built into the house. Here, Wooi has designed seats to be built in as part of the house with openings
at the base of the seats, allowing ventilation into the house.

Figure 17: Detail of timber seat and air gap above family area

A recurring variation of this detail is employed in Woois House 9. In an attempt to humanize space, Wooi
designs seats that are part of the brick columns on the ground floor as well as part of the railing of the first
floor. His reasoning is that people easily form attachment and meaning associated with a favourite seat and
rarely from a favourite column or handrail.
 Figure 18: Built-in seats in House 9

An analysis of the design process employed within the 3 selected works reveals Woois initial design
response as being impacted by his early childhood experiences growing up in a Malay kampung. From
detailing of joints to considerations of natural ventilation, Wooi reveals the bearing that the traditional
Malay vernacular has on his designs and his thinking as an architect.

4.2 Construction Innovations

Wooi emphasizes design principles that are informed by the traditional Malay vernacular. For instance, he
designs details with cross ventilation and passive ventilation in mind, ensuring that his innovative detailing
is driven by both aesthetics and function. In Wooi Residence, openings are made through experimental use
of material joints in order to maximize cross ventilation throughout the house.

Figure 19: Air gap between wall and roof, Wooi Residence
Wooi designed air gaps along the topmost point of the house where the glass walls of the family area meet
the roof. This, coupled with the high ceiling, ensures a constant exchange of air in the family area, which
flows to the rest of the house due to the use of permeable timber screens as openings along the faade
instead of solid walls.

(a)

Figure 20: Diagrammatic plan of lower ground floor showing cross ventilation

Detail (a) (see Figure 20), located at the lower ground floor which houses Woois home office and
entertainment area, utilizes an assembly of timber strips to form louvered doors, effectively providing entry
points for ventilation into the whole house. The doors use durable yellow balau strips mounted on a chengal
frame with 45 indents, as they are constantly exposed to the elements such as rain and sunshine.

Figure 21: Entertainment area on lower ground floor with detail of timber louvered door
The front gate and fences around the house also applies a similar detail to (a) (see Figure 20), allowing air
flow into the property. A chengal main frame is located behind the yellow balau strips, holding them together
and allowing for a seamless appearance of timber strips on the outside. Wooi states that the timber in his
designs avoids custom measurements or ukuran kasar in the local dialect. Materials that are kasar require a
higher cost. Yellow balau strips here use a standard dimension of 1 x 2 to minimize customization and
reduce cost.

Figure 22: Wooi Residence - front gate and fencing of timber strips

(b)

Figure 23: Diagrammatic plan of ground floor showing cross ventilation

Detail (b) (see Figure 23) is an assembly of chengal strip screens, ensuring that each space in the house is
naturally ventilated. This particular detail is seen in the material joint between the staircase and the wall.
Chengal is used to ensure structural strength in the staircase. A steel bolt connects the chengal strips together,
forming the tread of the stair. The stairs are then attached to the 1 x 2 timber screen via a birds mouth
joint, which is enforced with a steel rod that runs through the entire width of the screen. The dimensions
of the staircase and screen is informed by the standard size that the timber is available in to reduce
customization and cost.
 Figure 24: Detail of staircase and timber screen

(d)

(e)

(c)

Figure 25: Diagrammatic plan of first floor showing cross ventilation

At the study area (d) (see Figure 25), Wooi applies a vertical variation of detail (a) (see Figure 17) in place
of conventional metal grilles, which allows natural light and ventilation into the space. Here, yellow balau and
chengal is used due to its durability against weather. The standard dimensions of 1 x 2 is used for the yellow
balau strips. Sliding glass windows are paired with these vertical louvres in order to prevent rainwater from
entering the house.
 Figure 26: Detail of vertical louvres at study area

Wooi applies an iteration of these vertical timber screens in his later project, Ting Residence (2010). Here,
the detail has been reengineered, allowing it to span not just from floor to ceiling but across the entire
faade of Ting Residence. These vertical timber strips span from the lower ground level to the eaves of the
roof surround the windows of the house, acting as screens that filter the entry of sunlight and heat into the
house.

Figure 27: Diagrammatic plan of ground floor showing location of timber screen
 Figure 28: Timber screens surrounding the gallery and living room of Ting Residence

When windows are opened, cross ventilation can occur as the permeable timber screens all around the
house allows a free flowing of air through the house. These timber screens are found enveloping the entire
faade of the main dwelling floors, affording its residents privacy whilst not excluding light and air passage.
As with Wooi Residence, Ting Residence utilizes 1 x 2 chengal strips in the assembly of the timber screen
as these are the most commonly available dimensions, reducing material wastage and additional cost.

Figure 29: Diagrammatic plan of first floor showing location of timber screen
 Figure 30: External view of timber screens

Another innovative construction technique that Wooi employs is in the design of the roof of Ting
Residence. The curvaceous nature of the site generates the form of the two curves that envelopes the entire
design, blending it into the site from which it was carved from. Wooi employs zinc titanium in the curved
construction of the roofs. Its great tensile strength ensure that it is able to be bent into the organic curve
required by the design. In addition, zinc titanium high resistance to corrosion makes it durable and
weatherable for longer. Exposure to the elements allows it to develop a self-protecting surface layer that
gives a pleasant grey slate as it naturally ages.

Figure 31: Aerial view of Zinc Titanium roof of Ting Residence

The dramatic curve of the site is not only reflected externally on the form of the roof but also internally
through Woois application of detailing. A steel skeletal structure is first used to determine the overall shape
of the curve. As the curve is irregular, it required individually designed trusses where each truss if different
from the next. Wooi himself undertook the design of the trusses, liaising closely with the structural engineer
in order to create a curved roof that is dynamic in its flow. The timber panels used for the ceiling here is
made of yellow balau.

Figure 32: Yellow balau curved ceiling in Ting Residence

Woois construction innovation are reflected in both large details such as the roof of Ting Residence, to
even the most minute of details, such as the custom designed doors of Wooi Residence. The doors apply a
mixture of local timbers: meranti, yellow balau, resak and chengal. The variety of timber used allows Wooi to
discover attributes and joinery techniques of the different materials that he later applies into his future
projects. Most, if not all, of the doors in his house are frameless, allowing for an effect of infinity and
openness when the doors are opened. Hinges are either bolted directly to the brick walls or the pivot point
of the door is bolted to a timber strip which is then connected to the floor and ceiling.
 Figure 33: Various doors in Wooi Residence

Figure 34: Detail of frameless door with hinge embedded into brick wall

Woois emphasis on design experimentation has enabled various construction innovations across the 3
projects. From Wooi Residence to House 9, the designs showcase curated details that stem from an acute
understanding of local culture, material attributes, construction knowledge as well as a database of detailing
from earlier projects. Wooi believes that design is a constant evolution through experimentation. As such,
construction innovations from his earlier projects are constantly reengineered to fit differing projects in
differing contexts.
4.3 Spatial Experience
Woois tectonic expression is often used to articulate a spatial experience where details are designed to
enhance a quality of space. Apart from sketching and modelling architectural details, Wooi also works
closely with structural engineers to ensure that spatial quality is maintained and kept true to his design
intention. In Wooi Residence, the ceiling of the entertainment area and living room features a series of
concrete beams at short-span, regular intervals in order to decrease the beam depth and maintain a space
that is visually permeable from one end of the house to the other. It also enhances the curved nature of the
house as each beam is of varying lengths and orientations.

Figure 35: Concrete beams over living room of Wooi Residence

Figure 36: Concrete beams over entertainment area of Wooi Residence

In Ting Residence, verticality and openness is the recurring design language being put forth by Wooi. As
such, Wooi is critical of joints as they each evoke certain spatial qualities. Here, steel columns are arranged
in clusters of slimmer columns that reiterates the vertical motifs of the timber screens, visually blending
into the space and maintaining the openness of the sapce. These tall steel tubes also represents a reflection
of the vertical trees on the outside, as the house is surrounded by nature.

Figure 37: Cluster of steel columns in Ting Residence

This similar notion of openness is reiterated in the judicious use of steel structure in House 9. Instead of
massive concrete or brick columns that would overpower the designs internal street, slim steel columns
flank this double volume street together with steel beams as support for bridges to minimize the presence
of structures. Steel beams are also used here as low beam depths are possible and therefore allow for
unobstructed views throughout the house.

Figure 38: Flat slab system combined with steel frame

For Wooi, joints and details are to enrich spatial experiences. Figure 37 (see detail (e), Figure 25) is a
variation of the vertical timber screens found in detail (d) (see Figure 25). Here, the timber screen envelops
a corner of the master bath, forming both the walls and a portion of the ceiling. This allows natural light to
flood the entire space, creating an openness that is not usually associated with bathrooms.

Figure 39: Vertical louvres of master bath

In the master bedroom, the vaulted timber ceiling takes on the shape of a leaf as Woois ode to nature with
trusses fanning out to resemble the veins of a leaf. Each truss of the master bedroom ceiling carefully aligns
and connects with the timber frames of the clerestory windows below. The windows allow ample natural
light to enter the bedroom during the daytime.

Figure 40: Leaf-shapes ceiling over master bedroom

 Figure 41: Clerestory windows of master bedroom

Unlike the conventional walls of plaster and paint that is common within Malaysian houses, bricks are used
as the main material for walls in Wooi Residence to reiterate Woois affinity for well-made details. The
bricks are cut to measure and laid as load-bearing walls. Walls are left unadorned by plaster and paint,
allowing the variations in the natural hues of the bricks to be showcased. Irregularities in the size of bricks
are balanced out with thick layers of mortar upon laying.

Figure 42: Brick forming load-bearing walls and columns in Wooi Residence
 Figure 43: Thick layers of mortar laid between bricks to eliminate irregularities

In the case of House 9, brick walls and columns are used extensively throughout the house. In line with
Woois philosophy of sourcing for local materials, the bricks in House 9 are obtained from a local kiln, 45
minutes from the site. Woois earlier projects such as Wooi Residence and Ting Residence have set a
precedence for brick-laying. House 9 uses a similar detail where thick mortar joints compensates for
irregularities within the common bricks used. Brick columns in House 9 is a combination of conventional
concrete columns with bricks as a permanent formwork to clad the columns, creating a unified language of
brickwork throughout the house. These columns support a flat slab flooring system where the sheer load
of the concrete slab is concentrated at the concrete columns without the usage of beams. This material
joint between concrete and brick, coupled with a knowledge of construction systems, achieves Woois
design intention of transparency.

Figure 44: Brick as walls and columns in House 9

In the design of Ting Residence, the contoured site posed an initial challenge for Wooi, where the road
level is 15 metres below the back boundary and 11 metres from the first buildable level (McGillick, 2013).
In order to mediate this huge difference in levels, Wooi crafts an experiential journey from the access level
on the lower ground to the main dwelling space above with a dramatic arrival sequence in the form of a
spiral staircase as a formal joint. Here, Wooi utilizes various materials to form spatial territories. The use
of cold concrete at the lower levels, where the entrances are located, later transforms into the intimate
warmth of timber on the upper levels of the house narrates the arrival as one journeys into the house. A
spiral staircase of 56 steps leads up through a narrow stairwell to the naturally lit upper ground floor.

Figure 45: Curved concrete staircase leading up from entrance of Ting Residence

The spiral concrete staircase is itself a slender construction, protruding out of the exposed concrete walls,
with equally slender steel hand-railings, that leads visitors on a gripping journey through rough concrete
beginnings on delicate steps up towards the signature exposed timber ceiling.

Figure 46: Detail of slender concrete staircase with steel railing

The curved and contoured nature of the site beckons an architectural response. Wooi designed the two
curves of the house to imitate the existing curves on the site. This main curve houses the main living spaces
such as the living room, dining room, kitchen and bedrooms. A secondary curve grows out of the main
wing, housing the main point of entry to the house, a lift and a naturally lit gymnasium. The interior space
within the house reiterates these external curves with Woois use of curved walls to extend the curvaceous
nature of the site into the house, gradually reveal spaces as one journeys through the house.

Figure 47: Curved walls imitate the existing site in Ting House

The elevation of the contoured site presents many opportunities for view-framing. Wooi believes in framing
and limiting views in order to enhance the effect of a vista. Hence, views in the house are framed at the
front of the house where a series of outdoor decks are located. The orientation and location of the outdoor
decks limit the view towards the east and west, enhancing the views towards the north. Here, the outdoor
decks act as a formal joint between the interior dwelling spaces and the exterior views.

Figure 48: Outdoor decks to limit views in Ting Residence

The outdoor decks also serve as formal joints to mitigate between the different levels in Ting Residence.
The first deck, located on the lower ground floor, serves as a buffer space between the more public living
room and the private spa area. The second deck, located on the ground floor, connects the indoor dwelling
spaces with the larger deck and the spa area below. These decks mitigate privacy levels from the main wing
of the house to the outdoor spaces.

Figure 49: Outdoor decks as formal joints in Ting Residence

In order to further frame the external views, walls facing the deck are of full height glass with sliding doors,
allowing unlimited access to the framed views outside, whereas walls on the south side of the house are
more solid in nature. This glass wall extends throughout the ground floor, coupled with timber screens,
affording not only views but natural light and ventilation to the house.

Figure 50: Full height glass walls facing the deck

Woois technique of narrating a journey in Ting Residence is reiterated in House 9 where the journey is
narrated through the use of formal joints to highlight the procession through the site. The approach is
enhanced by the upward slope of the driveway and pedestrian walkway towards the entrance of the house.
Within the compound of the house, an outside forecourt buffers between the privacy of the inside sanctuary
and outside world. The forecourt then spills into the internal street beyond, the heart of House 9.

Figure 51: Diagrammatic plan of ground floor of House 9 highlighting forecourt and internal street

The topos of the site reflects residences that are fully built-up in a gated-community. In the design of House
9, Wooi purposefully turns its back on its surroundings and internalizes the architectural experiences.
The main space of the house is an internal street that runs diagonally through the house, drawing visitors
into the protected sanctuary within. Here in the atrium-like internal street, one experiences an explosion
of spaces, formally linking the street to other spaces within the house both physically, leading to the living
room and dining room, as well as visually, with the bedrooms and the balconies overhead.
 bedroom music
area

(b)
(c)
family area

(a)

staircase
landing

Figure 52: Diagrammatic plan of first floor highlighting connecting bridges

House 9 utilizes a series of bridges as formal joints between the various layers of privacy of the house. On
the first floor, the journey picks up from the semi-public staircase landing where bridge (a) is applied as a
formal joint between the two wings of the house. The bridge also visually connects the upper floor with
the public internal street below. Moving further into the upper floor, bridge (b) and (c) also function as a
formal joints linking the semi-public family area with a private bedroom and semi-private music area.

Figure 53: Bridge (a), (b), and (c) in House 9

 Figure 54: Diagrammatic floor plan of the first floor highlighting internal balconies

The front faade comprises of an understated concrete wall that contrasts with the complex brick interior
within. This internalization is also reflected in the framing of views. Balconies from the various bedrooms
overlook either the internal street or internal courtyards. Woois use of internal balconies as formal joints
visually connects the upper floors with the lower public domain below, in-line with the internalization of
spatial experience.

Spatial layout and experiences in the selected works informs Woois assembly of formal and material joints.
Rather than emphasizing spatial experiences as an end, Wooi employs the careful crafting of joints to bring
forth a desired spatial effect and articulate a uniform design language specific to each site and design.
4.4 Summary
The analysis of Wooi Residence, Ting Residence and House 9 suggests a common theme of forces that
influences the design process and exploration of Wooi in the making of a tectonic expression. Woois
tectonic expression stems from three differing origins; the Malay Culture, the affinity to experimentation
and construction innovations as well as the crafting of spatial narratives and experiences. All of these driving
forces can be traced back to Woois development of design ideologies from his days in Tanah Merah to his
tertiary education and influencers in Sydney, revealing a link between his affinity for tectonics as the
environment which shaped his design thinking.
Chapter 5: Conclusion
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