Summary: my Tropical Architecture

Presented by Md. Rafiq Azam

There are several architecture elements used in the cityscape of Bangladesh. Water, one of
the main ingredients defines lives and the society and is described as a precious gift that has
been abundant in the planning approach. Climate is a relationship between land and soil
whereas land is a mixture of earth and water. In Bangladesh, it is believed that the sun,
wind, water and clay are the poetics of tropics where the sun plays the role of a ‘Lover’
rather than that of a ‘Ruler’. In Malaysia, on the other hand, the sun acts as a ‘King’ where
the usage of Omni directional sun light, scientifically and poetically creates interesting
shadows as Kuala Lumpur can be the city of sunlight, a conurbation under the sun.
Bangladesh fails to produce any visionary planning as it lacks in green spaces. This is where
the role of an architect is important in a society as architecture has the power to transform
the culture in a society. One of the poor designs highlighted in Bangladesh is its streets. The
streets are designed so narrow that not even two cars can pass through them.

People assume that they need big houses with big compounds to realise their dreams. This
is not true as small houses do not equate to small desires or small. This is where the role of
the architect comes in; in providing a healthy environment by allowing maximum greeneries,
and wind and sun into the house, which gives happiness to occupants.

One of the projects presented is the Khazedewan apartment building, small yet abundant.
The challenge of this project is creating spaciousness in a minimal space for a big family of
fourteen. Each space is attached to gardens to maximise summer wind and winter sun,
creating the sense of sharing among occupants. The approach of a courtyard is important
especially for the future growth as children has the right to see how tree grows and pick up
fruits as it has been neglected in today. Apart from that, it acts as a second ‘nature’, creating
spaces for birds to nest. Five feet courtyards with greeneries enhance the sense of sharing
among neighbours. The overall construction uses exposed local bricks to allow for natural
breathing and maturing of the bricks.

Another project highlighted is the Mizan residence, which is a six-season house on a six-
storeyed apartment building with careful approach in combining the context and climate of
urban living with great efficiency and sustainability.

Apart from that, it has been highlighted that design changes between the past and the
present. In the past planning, the space before the main entrance of approximately 3 feet,
forming an inviting sense, trusts and respect for the passer-by to sit down, chit-chat and
have some drinks around the beautiful greeneries provided. Sadly, in modern planning, high
boundary wall and grills is implemented, giving the opposite impact.

The Meghna and Mamun Residence is another example of the tropical design approach in
housing design. Trees are planted where it acts as a screen for the overall façade, reducing
heat gain of the indoors. Streets are design to create a social scene between passer-by and
occupants by providing benches and vegetation to develop a healthy society.

The concept of the Bangladesh Chancery Complex in Islamabad creates common voyage to
the past. Islamabad is hot country with low humidity. The roof has an important role in
collecting rain, producing evaporation and moisturising the whole area. Punches are made in
the canopies to reduces cantilever load and optimise the day lighting inside the building,
allowing greeneries to grow. To conclude, it is seen and believed that architects and farmers
use the same approach where both need to investigate before making a decision which
benefits the whole context, culture and environment.
Summary: my Tropical Architecture

Presented by Zammi Rohan

The Troppo Housing can be defined broadly as a “shelter” with the house as a response to
the climate. Troppo practices 4 principles for climatic responsive housing; the promotion of
cooling breezes, ventilation by convection, reducing radiation of heat and sheltering of walls
and openings.

Technicalities aside, a house must also provide for the life needs of its occupants, which
brings forth the 10 patterns of contents – a basis for the assessment of personal, social and
cultural appropriateness. Firstly, a house is access for the ease of movement in and out of
the dwelling. A house is support servicing to be provided when there is recognition of a life
support system. A house is shelter and physical comfort. A house is also space for human
activity.

A house provides differing levels of interpersonal contact and intimacy and promotes
environmental association. The adaptability of a house is provided when there is need for
the relocation or addition of activities at choice. Ideally, a house promotes social contact and
becomes storage of belongings in a hierarchy of display, security and accessibility. When an
opportunity for creative activities transpires, economy determination is provided.

With 28 years of climatically responsive housing design based on a solid philosophy,

Troppo’s concludes that ‘houses’ are not the sum-total of architecture. ‘Houses’ do however
represent the basis of architecture - shelter. Troppo is a guiding philosophy that recognises
the necessity in all built environment for a response and inherent in this philosophy is a belief
that architecture must be appropriate.

Troppo’s professional process typically involves taking clients ‘accommodational’ brief and
adding to it to ensure that the resultant building is an appropriate response that performs
both environmentally and socially - a new vernacular. These philosophies are traced to
Troppo’s works. The Green Can, an earlier work interpreted into simple plans with distinct
separation of public and private spaces and well-defined circulation path. The Thiel House at
is an example of Troppo’s contemporary vernacular with blurred distinctions between the
inside and outside. Larger scaled projects with similar articulations include the proposal for
the Darwin City Waterfront, Bowali’s Visitors’ Information Centre, the Top End Hotel, etc.

Troppo is an advocate of lightweight architecture. The Wallaby Way House (Magnetic

Island), Bungalow Bay Resort (Magnetic Resort), Retreat at Agnes Waters, Beatson Beach
House (Magnetic Island) are obvious examples.

Ultimately, Troppo argues for the city of Townsville. It is hot, humid, exposed to cyclones and
has current population of 160,000. The general architecture of Townsville has no sense of
context. Analysing high-rise residential versus medium density row housing, Troppo
concludes that the high-rise are often poor response to climate, has no sense of identity and
community and cannot be individually modified.

Dealing with density housing in the tropics with consideration of the 4 + 10, Troppo
integrates ecologically responsible designs (Solar accessibility to enable solar passive
design, summer sun shading, low-energy-input materials, etc) which are affordable (gridded
structure, prefabrication, simple plan, etc) and promote social initiatives.
Summary: my Tropical Architecture

Presented by Ar Laurence Loh

In relation to tropical architecture, the theme is broken down into several categories, which
are tropical studies, tropika Britannica, tropical discourse, tropical narrative and tropical
value engineering. A method adopted for these researches is through value engineering.

According to “Design with Climate: Bioclimatic Approach to Architectural Regionalism”,

written by Victor Olgyay, several principles were pointed out, which are bioclimatic approach,
regional evaluation, climatic elements, site selection, sol-air orientation, solar control on
environment and building, forms, wind effects and air flow patterns, thermal effects of
materials and heliothermic planning. These principles are believed to be good design
approaches responding to the climate.

A study on the wind orientation patterns of Penang built awareness in the importance of
climatic elements in a design. Sol-air orientation of a building and solar control are also
important elements to be considered in design. To some extent, the Cheong Fatt Zhe
mansion actually incorporated feng shui principles in relation to sol-air orientation and solar
control. Building forms play very big roles in tropical architecture. The idea is to understand
the reason behind the implementation of design according to each climate, cultural and
social setting.

The second part suggests a review on the early historical examples in the cultural
landscape. In the renovation project of the Suffolk House, careful considerations towards the
heritage of the building are studied and responded critically in the design. Tropical
architectural approach was there even before it came into being. Shop houses also possess
important elements of tropical design. An example given is the Penang Heritage Trust Office
whereby the designer refurbished the lot and at the same time respects the existing tropical
design aspect.

The next part is of the tropical discourse. The case study chosen is the Penang city. A
simple study of architectural design elements applied now are very much the same as in the
old days. However, we have to ask ourselves - do these elements work in our existing
context now? Do they response to the climate, or is it just an aesthetic feature? Do our
created streetscapes work? How do the modern ideas intervene with the past? This
suggests a deep study on the functions of the design elements introduced in the modern
context. In response to the questions, the speaker urges designers to design with literacy,
meaning to understand and know the proper method applied previously before applying
something new.

The next part suggests tropical narrative, a landscape as a story. An example of this is the
design of the Balai Istiadat (Penang). It incorporates the seven Islamic Landscape or lived-in
spaces. This project suggests a re-interpretation of tropical context through the narration of
landscaping. Another case study reflecting the idea is the Lunaganga Gardens, designed by
Geoffrey Bawa. The narrative journey through the site from the gate, the arrival court, the
broad walk, the house and the landscape design evokes an intention to captivate the history
whereby memories are intertwined.

In conclusion, the bioclimatic approach is considered to be one of the first principles for
problem solving. Tropical architecture should be based on the understanding of cultural
context and continuity towards future development. It should be embedded in the narrative
place. It is not about style but about engineering tropical responses.
Summary: my Tropical Architecture

Presented by Toby F Blunt

The presentation was sectioned into micro and macro studies; projects in the tropical region
for the former and cities for the latter.

The Supreme Court Building of Singapore is a public building in an urban context. Foster &
Partners created architecture in response to the local climate and. Despite the fact that the
Court Building is not open to public, pedestrians are still allowed to use the street level
corridors as a deep corridor is provided.

The Expo Station is viewed by the clients to be the benchmark of MRT stations. It was a
winning entry in a competition that has become a landmark. Designed as canopies that
emulate umbrellas, these elements are crucial in a hot and humid climate with high rainfall.
The titanium-clad roof is a sun shading device on the outside and provides a dynamic space
within.

The University of Petronas (Tronoh) was intended as an extension of the existing facilities.
Foster & Partners created a new master plan for the new campus that responds to the site.
The curves of the buildings harmonises with natural site condition. High canopies the level of
the existing trees are created to protect from the climate, the way trees do. Air conditioning is
strictly limited to the library and laboratories. There is a blurred distinction between the
natural landscape and the indoors to bring nature into the heart of the university.

Located in the heart of Kuala Lumpur, the Troika is a high rise residential tower. The
apartment was conceived to allow maximum day lighting and both natural and mechanical
ventilation. Due to the density requirement, the design employs three separate towers
twisted to maximise the views. Towards the podium level, the development gives back to the
community with commercial mixed-use spaces that accommodates retail and commercial.
The typical urban space entwines with the city and its buzzing activities.

The YTL Headquarters is another mixed-use development with different functions packed in
one building. Analysing a pyramid diagram with ascending costs in the order of building form
and orientation, passive elements and active elements, the design maximises day lighting,
orientation and ventilation.

Referring to old market places in the Middle East, there is consciousness in regards to the
climatic elements the form of light control. The shopping mall project imitates the souq with
elements that filters in daylight without its harshness and natural ventilation.

Urban living is becoming very significant especially with gradual increase in population in
Europe versus the sharp rise in Asia. In answering the question of ‘How to make cities
sustainable?’, Foster & Partners endeavours to reduce the energy consumption of buildings
and transportation in the city. The city of Masdar is a 7 km sq site with two urban squares of
2.25 km sq and 0.55 km sq respectively cut out of the site to accommodate a 90,000
population. The streets are self-shaded with a Southeast-Northwest orientation that allows
for pervading wind. The first building to be constructed will be a university that will eventually
attract commercial, communal, residential and technology zones. With a compressed city in
a high density city, the need for transportation is minimised. Natural vegetation and canopies
are also incorporated to reduce the temperature.
Summary: my Tropical Architecture

Presented by Andra Matin

Andra Matin’s approach towards Tropical Architecture is through maximising cross

ventilation and natural daylight, providing ample louvres, the usage of void, frosted glass,
stucco and bricks as main materials in design.

The first project is a small house for an elderly with the emphasis of louvres as a simple
traditional form with a modern twist as part of the overall façade. This approach maximises
air circulation and natural daylight. Cross ventilation is gained through openings and flexible
partitions on the ground floor. The use of white paint for the interior calms and cools down
the inside as well as absorbs the heat from the outside.

The same elements are applied in his second project, which is a small double-storey house
in a village of Jakarta. Exposed stucco is used as the main material with a design of a void
located at the centre of the house. The reason of the placement of the void is to create
bigger visual impression of the overall mass. The dining area is located below the void to
apply direct interaction between two levels. The upper level comprises a number of
bedrooms circulated around the void. Frosted glass sliding door is applied to the design of
the master bedroom for direct view towards the interior spaces and doubling up as natural
cross ventilation to minimise mechanical ventilation. In order to maximise safety awareness
of the occupants and provide efficient contact between indoors and outdoors, the pantry is
located at the front of the house. Skylights and courtyards are introduced in the design to
gain more natural lighting into each space, creating a comfortable ambience within the
residence.

The third project is the Java Plant Laboratory in Indonesia, which consists of two levels. The
laboratory is sited on the ground floor while meeting rooms and offices are located on the
upper floor. The design of the building is narrow to take full advantage of air circulation and
daylight, thus, reducing heat gain. Brickworks are used as the building façade where a gap
in between is purposely allocated to optimise natural ventilation and lighting within the
laboratory. Looking into the interior on sunny days, wonderful shadow patterns are seen, all
thanks to the effects from the gap between the brickworks.

Another housing project highlighted is a double-storey house with the same elements used,
but an addition of a hanging garden with water elements overlooks the working area. The
last project is an office building in Jakarta where maximum openings are in the north and
south of the building to optimise ventilation and natural daylight. The upper part of the office
overlaps an existing theatre, where it shares the same structure as a support.

In conclusion, design with maximum cross ventilation, natural lighting, louvres and natural
materials are elements and approaches in designing a sustainable and efficient Tropical
Architecture in our tropical climate.
Summary: my Tropical Architecture

Presented by Duangrit Bunnag

Duangrit Bunnag claims to not know tropical architecture. Instead he embraces ‘truth’. Using
the cone as a basis of reality, it can be transformed into different forms depending on how it
is cut. Conclusively, this is his interpretation of the description of ‘truth’. Truth is simple yet
can be complex at the same time. Just like there can be no right or wrong in design.
Ultimately, nature is the mother of truth with trees as the best architecture. Lastly, truth is
also about multiplicity. Tropical architecture embraces truth, context, ecological values and
living through time. Duangrit’s style has a blurring edge between the outside and inside, not
tropical influenced design.

The first project presented is a resort located on an island near Krabi. There were 169
existing trees and only 3 were cut eventually. The initial design was a building with 80-metre
high columns compromised to a mere 6 metres. The lobby is proportioned with elements to
create an extended building with minimal budget. The context of focus for the restaurant is to
blend the building into nature. Contrary to tropical architecture, wide openings are provided
to embrace nature. 6-metre high doors were eventually installed. Despite being one of the
tsunami hit areas, the resort is almost intact as the trees became a form of protection.

The H1 Commercial, a glass and steel structure also has all its existing 5 trees unharmed. A
second version of resort is located at Samui, No air conditioning is required and the building
was constructed entirely out of imported wood. Eventually painted a dark colour to
correspond with its neighbour, the building “disappears” as night approaches.

The third resort presented had 80 percent of its existing trees preserved. Due to its density,
the architect created privacy by turning the whole development into a large maze. The
architecture becomes part of the walls of a labyrinth and disappears into the landscape. A
waterfall is hidden from view with only the sound to be heard. Local stones were fashioned
into retaining wall-like features. The restaurant is not air-conditioned and all rooms are
configured differently. The pool is designed beneath two large trees.

Hotel Alila has an entirely different approach as the site came with no trees. The courtyard
entry leads to a plaza. One ascends white marble staircase to reach the inviting lobby. Then
the reflecting pool meets the eye. Further down are the villas, swimming pool and restaurant.
The project was completed in February 2008.

The client for the next residential project provided an initial brief of a large home. Due to the
existing trees, the architect convinced the client to split the spaces into five boxes throughout
the site. Spaces created are open with an intimate relationship with nature.

The new hotel on the island bought by the client is the sole hospitability facility located on
this remote island at the Eastern side of Thailand. The design has to draw attention to the
island without killing the aspect of the island. Again, the entire project is a timber
construction. The inverted pyramid structure that funnels into a rectangular column acts as a
rainwater collector as there is no fresh water on the island. The architect also proposed for
wind-generated electricity.

The final project presented was the Issara Ladprao, a 50-storey residential with rooms of
different configurations.
Summary: my Tropical Architecture

Presented by Tay Kheng Soon

The main objective of the speaker is to provoke practicing architects in the new contemporal
world to be innovative and to try to think of the bigger picture rather than just designing
buildings. The concern was of the buildings and architectural scale of design. They are of
architectural, urban, city design and landscape scale. He believes that the architects are
being injustice towards the environment through their designs. The forms of justice are of
cultural, social and environmental justice.

The international style is becoming monogamy of style and approaches for architects. It is
reflected as a form of powerful dictation of tastes of the weak. It’s a form of movement which
the lower or middle class are following the rich. Therefore, what is actually the quest for
tropical architecture?

The quest for tropical architecture is to assert one’s own identity. It is an issue of style.
Methods of design for tropical architecture are agreeable to be a basic principle in which has
been practiced for hundreds of years throughout history. Architects around the world need to
agree to the fact that the world is experiencing heat gain, and one of the factors contributing
to this effect are buildings. Studies show that no matter how much methods of design we
implement to diminish heat gain, the temperature of cities will surely increase by
approximately 2 degrees Celsius. Thus, the quest is not of tropical architecture but of tropical
city.

The preferences of international architectural style in South East Asia are mostly in
Singapore. It spreads throughout the region and is even adopted in countries like Malaysia
and China. It has been embedded in our consciousness and became normality in itself that
we architects do not realise that we are out of date.

Further discussions provoke the modern and contemporary styles that are practiced
nowadays. It is considered as a syndrome for architects to constantly apply the same
methods being used during the previous movements. Even the tropical aspects of design
show that it is a method already been applied before, not anything new. It is considered as
the “catch up syndrome”, an international dynamics of style.

The outcome of it is the need to seek future dimensions of architectural approaches of

tropical architecture; moving on from the minimal style of rectilinear and flat forms to
organics; the transformation from industrial modernism to biological world. It is the
inconvenient truth of the architecture scene today. It therefore seeks new ideas and
innovations of new built environments. Architects should be thinking ecocity concept
incorporating new renewable energy resources, new technologies and solving unresolved
issues; communal design instead of individualistic designs; congregation of architects in
making the world a better place.

To conclude, architects and planners together with the people should be thinking new
imaginary city concepts with the aspect of sustainability in mind. A new city should be
educationally centralised rather than commercially-driven. A re-thinking of human
development should be started. Therefore, it is of utmost important for architects to be
thinking this way and serve justice to the environment.
Summary: my Tropical Architecture

Forum Discussion

Mr. Tay Kheng Soon claims every building design should be related to the quality and
characteristics of a city where density should not be an issue. It is agreeable there should be
vision planning in cities but vision without fact is useless. For example, we need to know the
basic total floor area people need to live a decent life, which can be applied to design
realistic building with proper planning for institutions, commercial and industrial as well as
residential.

Creative management systems concerning public realm need to be constructed in every city
planning, especially in Kuala Lumpur where cultural asset and main issues are not
emphasized on, in accordance to Ar. Laurence Loh. More approach in handling issue on
tropical is needed which is adaptable in any other areas was his expectation for the latter
growth of a city. However, to obtain this objective requires big sum of capital, permission
from the government as well as good understanding on the assets of culture, social, climate
as well as the natural environment to achieve sustainability.

Duangrit Bunnag claims that Bangkok is neither tropical nor non-tropical architecture as they
have improper planning framework in controlling the design in initiating life of city dwellers. In
the planning method, Bangkok works backward into the history in trying to understand the
earth planning which was too late to work on. Jakarta too has similar issues regarding
tropical.

With the average of two million populations, Kuala Lumpur is easier to work with as
compared to Bangkok and Jakarta. Nevertheless, it hasn’t reached the aim of having an
organize development due to the lack of structure plan and the intention of creating a
sustainable city centre. It is believed, architect and planners should not neglect the people in
the ground level, as they were the main dwellers in creating cities.

Moderator Philip Goad asked Dato’ Ar Raja Kamarul Bahrin Shah about the point raised
earlier regarding the problem with deep building plans. How would he guide architects and
planners in complexes in large cities such as Kuala Lumpur, and how would he encourage
commercial developers to move towards tropical?

Dato’ Ar Raja Kamarul Bahrin answered that the sense of place creates a sense of
uniqueness and we must project the image. Temperature and environment differs from
outside. Images of sun, rain, green and timber project the image of tropical architecture.
Take into consideration the issues of scarcity and recycling with regards to timber, and also
quality management issues.

Ar Wooi mentioned “ciri-ciri ketropikaan” (tropical characteristics) and that all the speakers’
works have been very instructive. As a case in point, Rafiq’s modesty towards construction
and materials shows in his works, which expose the raw materials whereas in Malaysia
these are covered. In terms of variety and diversity, the issue of guidelines is more of stating
the rules and principle ideas.

Ar Laurence proposed throwing out the word tropical and moving on to creating ideas.
Simplify the content, do models to see what the city can be like, soften the city’s edge. Take
out the legislation and legalistic aspects from the equation. Redesign the city and maintain a
space that addresses the issue of community for people and culture. Return to the issues of
redistributing land use. Create new ideas for models of experiments and find out which ones
work well as a valuable resource for the future.
Q1 mentioned that we cannot come up with guidelines for tropical architecture and that the
general sentiment leans towards not wanting any more guidelines, since we are already in a
tropical city. Whatever guideline we want to do must be preceded with scientific research
and facts.

Q2 said that a house eventually must have a character that people can identify with and
recognise. Guidelines are only a general principle where everyone can know about it. Q2
liked the concept of city treated as a house that has to have character. This will make a city
recognisable by people. Things like spiritual architecture, silence in the designs of Raidi,
Arman and Azam stand out. Take Kuala Lumpur as a house, a home with the idea of
identity.

Q3 touched on creativity and identity, saying that as far as local governments are concerned,
nothing moves without guidelines and by-laws. Unfortunately guidelines and by-laws stifle
creativity and most cities created by architects have not been recognised. Furthermore,
architects are not empowered to give solutions and guidelines in most localities. Politicians
and planners prescribe solutions, they need guidelines, and how do you issue guidelines on
creativity? It would be a step forward for Dewan Bandaraya Kuala Lumpur (DBKL) to
establish fundamental principles of what a city should be. Is the building sensitive towards
local conditions, microclimate and so on? Empower architects by ways of basic guidelines.
In KL for instance, KLCC reflects Kuala Lumpur. DBKL has fundamental principles.
Creativity takes into account of relevant factors. Apply flexibility in principles, not a
straightforward approach.

Q4 recalled that at school, she was taught to capture all environmental aspects and tropical
considerations. But clients in real life have different emphasis and priorities. Budgets go
more towards physical appearance than practical solutions. So identity becomes something
for the rich who can afford it while practicality is what’s left for the others. Go for
sustainability. Covered walkways evident in theory compared to reality where they’re left out.
No regulation results in too much too much freedom and neglected needs. “my Tropical
Architecture” is identity and sustainability.

Q5 focused on sustainability and the carbon footprint contributed by the building industry,
which is significant and impacts the environment. We need regulations in a very dense
development. Regulations are not meant to stifle creativity but to ensure sustainability. Direct
the discussion towards sustainability. “my Tropical Architecture” is architecture of
appropriateness. People don’t like regulations, but unfortunately we need regulations to
regulate development in a sustainable manner. Australia came up with a 5-star sustainable
approach.

Q6 touched on education, and the question of whether cities are required. Many issues
beleaguer the city, such as environmental damage, flash flooding and poor public transport
network. Architects alone cannot provide all the solutions. People become removed from
nature, reducing contact with the earth and diverging from the ecological lifestyle. Children’s
upbringing deteriorates while climate gets stressed. Malaysian people’s responsibilities
should go further than just the looks of buildings. It requires a mindset change starting from
the young ones.

Ar Dr Tan Loke Mun (Q7) applauded DBKL for gathering the architects for the discussion,
getting together the architects and DBKL, and being an open-minded local authority. He
lauded the openness and discourse to document and exchange ideas. Problem is not just
DBKL, Selangor and other local authorities. Look at ideas and encourage openness. To
some people, what is common to architects is not to laymen. Encourage more such
meetings, these should continue and spread out to other local authorities. Architects are
always against rules, but rules are to ensure harmony for everyone. There should be clearer
definitions in guidelines, he said, quoting the example of “how purple must purple be” in a
plan submitted for approval.

Zammi’s impression of Kuala Lumpur as a first-time visitor was the artificial landscapes,
green spaces around the city, roads spreading over all directions, the Petronas Twin
Towers, KL Tower and Masjid Jamek. He heard that the city was built around the river, but
where is the river? Turned out to be a small river. The strong mix of cultures reflected in the
people on the streets around Masjid Jamek left a deep impression, to him the streets are
more about people and the mixture of people signifies Malaysia. The things that stood out
were the city’s population and the spaces between buildings. He questioned what
architecture represents Kuala Lumpur?

Q8 emphasised on the decision-making process as a communal approach. Smaller cities

look at bigger cities as a mess. Cities need dialogue to share what went wrong before
starting something new so as not to repeat the same mistakes. Tropical architecture should
consider the factors of humanity, humidity and security. For example, a building with lots of
openings accommodates the climate but fails to accommodate security. It is one thing to
design what we think is tropical, but the ongoing issues of maintenance and upkeep
throughout the building lifespan must be addressed.

Q9 opined that tropical architecture is linked with identity, not only for the rich but also linked
with culture. Cultural diversity is important and it’s the identity of Malaysia. What’s missing in
housing is the cultural way of living. Residents are dissatisfied with the design of their
housing whether in high-density apartments or terrace houses. Buildings built are not
responsive to the climate and neglect the social factor. Architects should consider the social
and human aspect and design for socio-cultural sustainability that often receives no
consideration. Multidisciplinary approach should foster a sense of belonging.

The last questioner, Q10 wrapped up the discussion session with the anecdote of the four
blind men and an elephant. The gist of the story is that everyone has different ideas based
on different perceptions. Another quote he gave was that “the headache starts because we
have a head”. In the end, he said we should encourage more such discussions, develop
crisis management and recognise that everyone has a role to congregate and work together
in building for the future. “Whatever we do, the future of the city is in our hands.”