The idea is to then preserve as much architectural features of the house, the owners of the house had previously removed the ceiling, to expose the original timber trusses, these amplified the space and furthermore gave a structural feature towards the living and dining areas. Taking into this consideration, we have decided to add several timber panels in the courtyard to act as a continuation to this exposed structural idealization.
Collaborators :
Durra Design
Design Lab Projects
The Case of Razak Mansions is a collaborative project with :
Abdul Hakim Abdullah
Nazmi Anuar
Bryan Chee
Foo Hui Ping
Liyana Hasnan
Noorul Fadzlee Khamis
Studiokarya
Kuala Lumpur research is supported by Veritas Design Group
Framing the Common: A Project on the Shared Spaces of the Apartment, is a group project working to shed light on the common idea of home that started in Autumn 2014 with a workshop first phase. Now the second phase is a ‘parallel studio’ project involving teams from Tehran (Project Mosha), Bogota (CAMPO), Mumbai (ROOM), Rotterdam and Kuala Lumpur to locate the current condition of housing in the thorough project of modernism.
The Case of Razak Mansions
In approaching the subject of the ‘common’ in the context of housing development here in Kuala Lumpur, we have decided to start by focusing on one very specific example of a collective housing project. Razak Mansions - officially launched by the second Prime Minister of Malaysia in 1962, and hence bearing his name - is the second realized of a series of three collective housing projects in Kuala Lumpur launched by the government in the late 50’s - early 60’s. It is the only one remaining, the first - Suleiman Courts - was demolished in 1986 to make way for a Japanese department store and the third - Pekeliling Flats - is in the process of being demolished to make way for luxury apartments. It is crucial to stress that these apartments played a key role in the common project for a modern Malaysia, since they were designed and built to accommodate the migration of the population - hence the ‘workforce’ - from the countryside to the city during the post independence years.
In April 2014 Prime Minister Najib Razak - who coincidentally is the son of the second Prime Minister -visited Razak Mansion, declared his attachment to it - since it was officiated by his late father - and then declared that it will be demolished to make way for a ‘modern and comfortable’ replacement apartments.While the residents will be compensated accordingly - a one to one replacement of units will be the development policy - nothing which was shown of the new scheme speaks of the quality of the new development - much less the common spaces which had played a very central role for the Razak Mansions community - but rather it will be just another ‘tower on podium’ development. A truly modern project will be scrapped for a supposedly modern project.
Urgencies
It is at this moment and in light of what is being planned that we find it timely to do document Razak Mansions before it is demolished. By ‘document’ our intention is not only to document the physicality of Razak Mansions as an architectural object but also to use Razak Mansions as a ‘frame’ with which to look at a period of the country’s history in which modernity was an urgent common project. The physicality - of the blocks as well as the common spaces- will be looked at as an enabler or background for a way of life and a community that was described as ‘living in a world of its own’.
We believe that history is not simply the past but rather something that we live with and something that should be continuously open to debate and reassessment. Documenting an architectural project then becomes not just a method to talk about common spaces in the context of built space but ultimately as an instrument to address a common history.
Abdul Hakim Abdullah
Nazmi Anuar
Bryan Chee
Foo Hui Ping
Liyana Hasnan
Noorul Fadzlee Khamis
Studiokarya
Kuala Lumpur research is supported by Veritas Design Group
Framing the Common: A Project on the Shared Spaces of the Apartment, is a group project working to shed light on the common idea of home that started in Autumn 2014 with a workshop first phase. Now the second phase is a ‘parallel studio’ project involving teams from Tehran (Project Mosha), Bogota (CAMPO), Mumbai (ROOM), Rotterdam and Kuala Lumpur to locate the current condition of housing in the thorough project of modernism.
The Case of Razak Mansions
In approaching the subject of the ‘common’ in the context of housing development here in Kuala Lumpur, we have decided to start by focusing on one very specific example of a collective housing project. Razak Mansions - officially launched by the second Prime Minister of Malaysia in 1962, and hence bearing his name - is the second realized of a series of three collective housing projects in Kuala Lumpur launched by the government in the late 50’s - early 60’s. It is the only one remaining, the first - Suleiman Courts - was demolished in 1986 to make way for a Japanese department store and the third - Pekeliling Flats - is in the process of being demolished to make way for luxury apartments. It is crucial to stress that these apartments played a key role in the common project for a modern Malaysia, since they were designed and built to accommodate the migration of the population - hence the ‘workforce’ - from the countryside to the city during the post independence years.
In April 2014 Prime Minister Najib Razak - who coincidentally is the son of the second Prime Minister -visited Razak Mansion, declared his attachment to it - since it was officiated by his late father - and then declared that it will be demolished to make way for a ‘modern and comfortable’ replacement apartments.While the residents will be compensated accordingly - a one to one replacement of units will be the development policy - nothing which was shown of the new scheme speaks of the quality of the new development - much less the common spaces which had played a very central role for the Razak Mansions community - but rather it will be just another ‘tower on podium’ development. A truly modern project will be scrapped for a supposedly modern project.
Urgencies
It is at this moment and in light of what is being planned that we find it timely to do document Razak Mansions before it is demolished. By ‘document’ our intention is not only to document the physicality of Razak Mansions as an architectural object but also to use Razak Mansions as a ‘frame’ with which to look at a period of the country’s history in which modernity was an urgent common project. The physicality - of the blocks as well as the common spaces- will be looked at as an enabler or background for a way of life and a community that was described as ‘living in a world of its own’.
We believe that history is not simply the past but rather something that we live with and something that should be continuously open to debate and reassessment. Documenting an architectural project then becomes not just a method to talk about common spaces in the context of built space but ultimately as an instrument to address a common history.
In conjunction with the participation of Framing the Common at the TIME-SPACE-EXISTENCE exhibition at the 2016 Venice Biennale of Architecture,the Kuala Lumpur team with Normal Architecture and Port 25 will be organizing a ‘copy’ of the exhibition in Venice at Port Commune, Petaling Jaya, Malaysia.The exhibition will run from 28/05/2016 until 28/06/2016 with the launch event to take place on Saturday, 28/05/2016, 3pm (KL Time).
FRAMING THE COMMON
The Common as interpreted within this collective research has a multi-fold position. It refers to the commonly–owned shared spaces of the modern project of housing, globally; but also to their condition of sameness, of repetition, and standardization, while also to processes of collectivity and commoning, and to what we already have in common as human-subjects. The deliberate aim of this research is to shift the discussion of collective housing away from the private living units towards the sphere of the Commoning; perhaps the true spatial manifestations of collective living. Freed from the individual idiosyncrasies that would sooner or later embellish—and even redefine—the living units, the Common is subjected to rules, regulations and enforcement beyond the control of any individual homeowners, becoming a strange in–between zone which is clearly no longer private, but is not fully public either. If we understand Commonness as a condition of sameness for all collective housing projects, how could they somehow still generate difference? How can the Common be framed different globally?
The four projects—in Bogota, Tehran, Mumbai and Kuala Lumpur—carried out under the banner of Framing the Common, are similar in that each are investigations of the Common in the context of the political project of Modernism and Globalization, through the lens of the most basic units of the modern society: housing. Yet, the projects are also different in the way the cases of the Common are framed in each context. Each city has a specific modern—and pre-modern—history in relation to the West, colonialism, and global relations; as well as specific experiences of modernism. How these different experiences—and their respective political implications—are translated spatially are the areas of interest explored in this collective research; an inventory of sameness and difference.
The on-going project of Framing the Common is currently being displayed at the Tehran Biennale of Architecture (12 May to 11 October 2016) and will be a part of the TIME-SPACE-EXISTENCE Exhibition organized by the Global Art Affairs Foundation as an official part of the 2016 Venice Architecture Biennale (28 May to 27 November 2016).
The exhibition in Kuala Lumpur (28 May to 28 June 2016) is conceived as a mirror or reflection of the exhibition in Venice and will serve as an overview of the entire project as well as serving as a platform for exchange and discussion on issues relating specifically to the Kuala Lumpur project, which focuses on the Razak Mansions housing estate in Sungai Besi.
Framing the Common is an independent collective project focusing on the modern home and its conditions.
The Pitched roof houses are located in Batu Pahat, Johor, Malaysia.
The form of these houses are akin to the local architectural context within the surrounding area. Creating a simple yet functional form being its main focus, the house is built to create a defined space between its interior and exterior.
High pitched roofs create an emphasis on the site whereby it falls slightly lower than usual. In order to ensure adequate amount of natural lighting to the interior space, the end of each pitch uses transparent poly-carbonated sheets.
Competition
The disaster occurred near the city of Chernobyl in the former Soviet Union on 25 April 1986 at V.I. The fourth reactor at the Lenin Nuclear Power Station as the employees decided to use the break to evaluate if the reactor may still be cooled if the plant lost power. During the test, however, workers ignored safety protocols and the power increased inside the facility. Despite the efforts to shut down the reactor immediately, another power surge triggered a chain reaction of explosions within the reactor.
Up to 30 percent of Chernobyl’s 190 metric tons of uranium was now in the atmosphere, and the Soviet Union eventually evacuated 335,000 people, establishing a 19-mile-wide “exclusion zone” around the reactor.
What remains of the reactor is now inside a massive steel protection system, installed at the end of 2016. However, containment and monitoring efforts within the exclusion zone are expected to continue until at least 2065.
Presentation design contents
The Requiem
The idea behind “The Requiem” is to bring significant experiences to the visitors, by having multiple engaging spaces to evoke the senses. Located in the central area of the exclusion zone, the complex consists of 6 fundamental spaces, which are:
The Bridge
The Frame
The Yearning
The Halcyon
The Vault
The Halation
Due to the severe contamination level within the exclusion zone, the ground areas are considered to be unsafe. The journey starts with a proposal of The Bridge.
The Bridge
“The Bridge” is the main connector to the rejuvenation complex. Designed to be an elevated plane, the bridge provides a safe pedestrian experience between its surrounding environment and the five spaces. It is also known that over the past 34 years since the tragedy, 70% of the site has been reclaimed by a combination of vegetation, and large population of mammals and carnivores. The elevated bridge will keep the visitors safe as they make their way towards the main complex.
The Frame
As visitors approach the main complex, the bridge will converge with “The Frame”. The idea behind the frame is to have a constant visual narrative for the visitors as they make their way to the building complex. As its name, the frame will be outlining diverse views within the surrounding areas of the site.
The Yearning
The first space within the rejuvenation complex is called “The Yearning”. The significant shapes of the 3 main complexes were taken from the power plant cooling structures, which is located south east from the nuclear complex. It is important to maintain the contextual ideas when the spaces are being developed. The Yearning rejuvenation space will consist of open plan floors which will be used for cultural and community purposes. The main feature of its central core is the triple volume concrete wall that is supported by a high standing brick column. The brick column symbolises the sacrifices made by the first responders and all the recovery workers. Whereas, the concrete wall represents the tragedy that happened. While the city will be thriving to move forward for a better future, history of the catastrophe and the people who lost their lives should be remembered and honoured.
The Halcyon
As they proceed from The Yearning, the next space, which is named “The Halcyon”, beams with new hope for what could be the possible future for the exclusion zone. Within The Halcyon, visitors will be greeted with spaces that consist of multiple dedicated activities, ranging from classrooms, workshops, cafes’ and more. The central open courtyard area will be a dedicated space where visitors could congregate and socialize, while constantly having connection to the surrounding spaces.
The Vault
As the visitors walk towards the end of “The Requiem rejuvenation complex,” they will pass through “The Vault,” which consists of arches overlooking the surrounding building complex. The walk through the vault will evoke the feeling of emptiness through the echoes created from the high ceiling vaults, and this sense will be continued in the final space named “The Halation”.
The Halation
The final rejuvenation area is intended to create a space for the users to contemplate and reflect on the past, while being in the present and to also envision about the future. The space consists of a large triple volume space, with a hollow opening on top of the structure. A single tree is placed in the central courtyard to represent hope for the exclusion area while the large space is formed to embody one’s emptiness. The vast expanse of the exclusion zone provides a hopeful future for further developments.
Proposal for the revitalization of Pasar Borong Gong Pauh, Kuala Terengganu, Malaysia
Shifting Phases, Living Market
The primary objective of this design is to resolve the issues stated in the brief, with the intention of creating a more organized and cleaner environment for community activities that are part of daily life. The proposal aims to introduce innovative and functional design strategies that not only respond to the current problems but also anticipate future needs. By providing a structured framework for daily interactions, the design ensures that the community can enjoy a more efficient, comfortable, and accessible space, while simultaneously raising the image and identity of Terengganu as a progressive and culturally rooted state.
In line with this, the project focuses on improving the overall physical layout and circulation systems to establish clear, efficient, and safe traffic flow, both for vehicles and pedestrians. This effort is complemented by strategies to enhance the quality of the physical environment, creating spaces that are visually appealing, environmentally sustainable, and reflective of a positive city image. Beyond functionality, the design also seeks to celebrate and reinforce Terengganu’s rich local identity by embedding architectural, cultural, and heritage elements into the built form, ensuring that development remains grounded in the state’s unique character.
At the same time, the design aspires to empower the local economy by equipping the community with comprehensive and well-integrated facilities that support business activities, encourage local entrepreneurship, and promote long-term economic growth. Just as important, the project emphasizes inclusivity by encouraging active participation from both professionals and the local community in shaping and sustaining the space. This collaborative approach ensures that the design remains relevant, meaningful, and impactful, while fostering a sense of ownership and pride among the people of Terengganu.
Shifting Phases, Living Market
The primary objective of this design is to resolve the issues stated in the brief, with the intention of creating a more organized and cleaner environment for community activities that are part of daily life. The proposal aims to introduce innovative and functional design strategies that not only respond to the current problems but also anticipate future needs. By providing a structured framework for daily interactions, the design ensures that the community can enjoy a more efficient, comfortable, and accessible space, while simultaneously raising the image and identity of Terengganu as a progressive and culturally rooted state.
In line with this, the project focuses on improving the overall physical layout and circulation systems to establish clear, efficient, and safe traffic flow, both for vehicles and pedestrians. This effort is complemented by strategies to enhance the quality of the physical environment, creating spaces that are visually appealing, environmentally sustainable, and reflective of a positive city image. Beyond functionality, the design also seeks to celebrate and reinforce Terengganu’s rich local identity by embedding architectural, cultural, and heritage elements into the built form, ensuring that development remains grounded in the state’s unique character.
At the same time, the design aspires to empower the local economy by equipping the community with comprehensive and well-integrated facilities that support business activities, encourage local entrepreneurship, and promote long-term economic growth. Just as important, the project emphasizes inclusivity by encouraging active participation from both professionals and the local community in shaping and sustaining the space. This collaborative approach ensures that the design remains relevant, meaningful, and impactful, while fostering a sense of ownership and pride among the people of Terengganu.
Design Team :
Luqman Syafiq, Calista Chiew, Emine Raissa, Haziqah Hamzah, Balqis Aminuddin, Noorul Fadzlee Khamis
Luqman Syafiq, Calista Chiew, Emine Raissa, Haziqah Hamzah, Balqis Aminuddin, Noorul Fadzlee Khamis
Competition for a High Rise in Kuching, Sarawak (2021)
Rather than the typical approach of designing the high-rise as an iconic object, our scheme Anjung Langit is based on two major considerations:
The idea of architecture as an open and flexible platform to accommodate different types of programs in various configurations which could change and evolve over time.
A critical investigation of the question of a high-rise design for the tropics.
An Open and Flexible Platform
By placing the structural elements and cores towards the edge of the floor slabs, a generous open space is created in the middle of the floor plates.
This space could be interpreted as smaller subdivided retail units, bigger open plan offices, tall atrium and void spaces, multi-volume event spaces or platforms to accommodate spatial objects that could cater to unique and specialized programs.
The idea of architecture as an open and flexible platform to accommodate different types of programs in various configurations which could change and evolve over time.
A critical investigation of the question of a high-rise design for the tropics.
An Open and Flexible Platform
By placing the structural elements and cores towards the edge of the floor slabs, a generous open space is created in the middle of the floor plates.
This space could be interpreted as smaller subdivided retail units, bigger open plan offices, tall atrium and void spaces, multi-volume event spaces or platforms to accommodate spatial objects that could cater to unique and specialized programs.
The ground floor is kept as an open, multi-volume event space, with soft boundaries and permeable frontage towards the surrounding to invite communal access and participation.
High-Rise Design for The Tropics
This project presents an opportunity to explore an alternate possibility to the typical glass tower, towards a strategy which is more open to the tropical weather.
Reversing the typical internal corridor towards to the perimeter of the building creates a continuous ‘anjung’ or verandah around each floor of the building. This continuous shaded space could simultaneously be used as circulation, sky gardens, outdoor working and break-out spaces or even small events spaces.
Rather than a typically cold and fully enclosed glass facade, the various human activities and greenery on the anjung becomes a living façade, a showcase for the possibilities of high-rise design in the tropics as a platform for activities.
An ever-changing platform, open to various events and programs, generous to its users as well as the community and the city. A re-evaluation of the possibilities of flexibility and tropicality in the design of high-rise buildings.
ANJUNG LANGIT TEAM:
New Office
Ashran Bahari
Hazazi Hamzah
Foo Hui Ping
Noorul Fadzlee Khamis
Bryan Chee
Nazmi Anuar
Noorul Fadzlee Khamis (of Shapeshifts Studio), is a Malaysian architect, and educator, with the support of Japan Foundation Asia Centre speaks to small practices based in both Kuala Lumpur and Tokyo, documenting their workplaces and thoughts on inspiration, quirks, irks, the future of small practices, and its relation to architecture education.
210 pages, full-color, 198 X 129mm, paperback.
Documentary length : 41 Minutes
Editor: Clarissa Lim Kye Lee
Designer : Chiquita Kusumahadi, Idle Practice
Documentary by : Constant Variable
Publisher: Suburbia Projects
ISBN: 978-967-25859-1-6
This project is done under the Japan Foundation Asia Centre Fellowship Grant, Fiscal year 2018, from January to December 2019. in Tokyo and Kuala Lumpur.
Japan:
Atelier Kazuki Wakahara (Tokyo)
Atelier Ryo Abe (Tokyo)
Satoshi Okada Architects (Tokyo)
Design Team Architects (Tokyo)
Malaysia:
Studio Karya (Petaling Jaya)
Normal Architecture (Kuala Lumpur)
Notoscale (Petaling Jaya)
CODA (Kuala Lumpur)
WHBC Architects (Petaling Jaya)
The Japan Foundation Asia Center
The Japan Foundation is established in 1972 with the primary objective of promoting mutual cultural exchange between Japan and other countries worldwide. This program provides fellowship opportunities to Japanese/ASEAN specialists that are involved in collaborative projects or research activities. This fellowship program is designed to encourage joint or cooperative projects that cross national cultural borders among individuals in a wide variety of fields.
Documentary by Constant/Variable : Duration approx 40mins
Featured in Mano Plus, George Town, Penang, 23rd July 2022, MUKA Cafe, Kuantan, Pahang, (30th July 2022) The GoDown, Kuala Lumpur, (13th August 2022) P21 Gallery, London, United Kingdom (15th July 2023) Smiljan Space, Bintaro Design Festival, Bintaro, Jakarta, Indonesia (11th November 2023)
2013 - 2016
Curators:
Nur Mazidah Che Ghani
Shapeshifts
Ihsan Hassan
Collaborators :
Syaza Yunos
Alani Iman
Syed Iskandar
Date : 2016
Neue Artisans 4.0
12 & 13 November 2016
Saturday & Sunday
11am - 6pm
Prototype Gallery Exhibition Space,
Level 4, Wisma Central,
Jalan Ampang, Kuala Lumpur.
It also shows that these domestic spaces can also be moved to a common banal area, with minimum adjustment of the everyday objects, a 3m x 3m space could be owned, viewed and experience differently.
The showcased space is a 980 sqft Soho unit located in Petaling Jaya, Selangor. It features a double volume space, and a mezzanine floor, with two bathrooms.
The unit has been firstly used as an ad-hoc movie screening and book launching space, before turning into a secret pop-up café for 3 months and finally a home / studio office. The adjacent units consist of short stay rental units, students’ accommodation, offices, workers hostels, massage parlour, photography studio, among others, and the demographics of nationalities of people living within the elevated units also varies. The intriguing part of the space is how an ordinary double volume, single floor space could be turned into variety of elevated spatial typology without the need of any major interventions. The installation features an experiential cuboid space where users could observe the behavioural elements of a generic domestic space surrounded by curated everyday objects, sounds and a visuals.
This is the Generic Domestic.
Collaborators:
Citylab Design Studio
Prototype Gallery
Type : infrastructure
Client : Private
Location : Kuala Lumpur
Date : 2014 - 2017
Located in the frenetic central business district of Jalan Ampang, Wisma Central’s low-key facade makes it easy to overlook, especially next to its flashier neighbours: the Petronas Twin Towers, Avenue K shopping mall, and the soon-to-be-completed Four Seasons Hotel KL. Originally a shopping complex during the 1980s, it currently houses a mixture of old school tailors, travel agencies, unpretentious eateries and stationery shops. But more recently, creative studios and hipster cafes have started to move in.
Working in tandem with the building management, local architecture outfit Citylab Studio is playing a key role in Wisma Central’s attempt to renew itself as a venue for creative enterprise. There are noticeable facelifts: narrow corridors are sometimes used as makeshift gallery spaces while its ceilings are adorned with murals. In the past year, Citylab Studio and another sister tenant, Prototype Gallery, have hosted screenings, exhibitions, and art bazaars.
The Ground Beneath Us (TGBU) was founded in May 2025 with a vision to make architectural education accessible to all regardless of background, status, or location.
Rooted in the belief that everyone deserves the opportunity to understand and shape the spaces they live in, TGBU provides free, foundational architectural education to under-served communities across Southeast Asia and beyond.
Through both online and offline platforms, TGBU delivers practical, inclusive learning experiences that go beyond the walls of traditional institutions.
Our journey began with a partnership with the Cisarua Refugee Learning Center in Bogor, West Java, Indonesia, offering free architectural education to refugee youth. This first initiative set the tone for our mission: to empower individuals through knowledge, nurture creativity, and inspire a sense of agency in building better futures.
Whether you’re a donor, partner, or student, we invite you to join us in expanding the reach of architectural education and creating meaningful, lasting impact where it’s needed most.
Rooted in the belief that everyone deserves the opportunity to understand and shape the spaces they live in, TGBU provides free, foundational architectural education to under-served communities across Southeast Asia and beyond.
Through both online and offline platforms, TGBU delivers practical, inclusive learning experiences that go beyond the walls of traditional institutions.
Our journey began with a partnership with the Cisarua Refugee Learning Center in Bogor, West Java, Indonesia, offering free architectural education to refugee youth. This first initiative set the tone for our mission: to empower individuals through knowledge, nurture creativity, and inspire a sense of agency in building better futures.
Whether you’re a donor, partner, or student, we invite you to join us in expanding the reach of architectural education and creating meaningful, lasting impact where it’s needed most.
Why we started. What we believe.
At The Ground Beneath Us, we believe architecture is more than buildings , it’s a way to reclaim identity, spark creativity, and shape hope.
Vision
To inspire and empower displaced youth to discover architecture as a tool for creativity, self-expression, and hope wherever they are in the world.
We’re here to open doors where there were once walls.
Mission
What we do. And how we do it.
Our work begins with a belief: that everyone especially youth who’ve been displaced, deserves access to creative education.
To provide free and accessible architectural education tailored to refugee youth
To introduce the fundamentals of space, design, and creativity
To nurture confidence, imagination, and agency through hands-on learning
To create opportunities for self-discovery and empowerment
At The Ground Beneath Us, we believe architecture is more than buildings , it’s a way to reclaim identity, spark creativity, and shape hope.
Vision
To inspire and empower displaced youth to discover architecture as a tool for creativity, self-expression, and hope wherever they are in the world.
We’re here to open doors where there were once walls.
Mission
What we do. And how we do it.
Our work begins with a belief: that everyone especially youth who’ve been displaced, deserves access to creative education.
To provide free and accessible architectural education tailored to refugee youth
To introduce the fundamentals of space, design, and creativity
To nurture confidence, imagination, and agency through hands-on learning
To create opportunities for self-discovery and empowerment
The Ground Beneath Us.
Haziqah Hamzah
Ayutasya Zahrine Kusuma
Noorul Fadzlee Khamis
for collaboration
groundbeneathus@gmail.com
Haziqah Hamzah
Ayutasya Zahrine Kusuma
Noorul Fadzlee Khamis
for collaboration
groundbeneathus@gmail.com
The overall theme that the participants need to undertake is to also consider environmentally sustainable design which will improve the health and well-being for the current and future occupants of the Olympic village. The project is in collaboration with The Faculty of Engineering, Built Environment and Information Technology, SEGi University, Kota Damansara, Malaysia.
Sustainable development has been defined as development that meets the needs of the present without compromising the ability of future generations to meet their own needs. Sustainable development calls for concerted efforts towards building an inclusive, sustainable, and resilient future for people and plan- et. For the development to be achieved, it is crucial to harmonize three core elements, which includes, economic growth, social inclusion, and environmental protection. These elements are interconnected, and all are crucial for the well-being of individuals and societies. The sustainable development goals are important because it acts as a blueprint to achieve a better and more sustainable future for all. It ad- dresses the global challenges we face, including those related with poverty, inequality, climate change, environmental degradation and lastly peace and justice. The 17 goals are all interconnected, and to leave no one behind, it is essential that we achieve them all by the year 2030.
Aim
Today, the progress is being made in many places, but in overall, action to meet the Goals is not yet advancing at the speed or scale required. This Green Olympic Proposal, hopes to address, and respond to some of the mentioned sustainable development goals which includes.
•to provide good health and well-being,•affordable and clean energy,•sustainable cities and communities,to promote life on land and to have innovation in industry, and infrastructure
How?
•To provide good health and well-being
The overall scheme aims to promote a healthy lifestyle to its occupants with the proposed integration of both manmade and natural features on site. The issues that we always see within housing developments are the lack of interconnected communal space, and how the living units becomes secluded to tight interior conditions. The units within this develop- ment are integrated with a huge connected communal balcony, which will provide ample space for the occupants to socialise, interact and experiment on shared interest. Other than that, each units are also separated vertically, by doing this, there is constant cross natural ventilation throughout the entire levels of the apartment units.
•Affordable and Clean Energy
Some of the sustainable features that can be found in the proposed apartment units includes integration of rain water harvesting system, and as mentioned earlier, ample space for veg- etation and greeneries to grow both vertically and horizontally throughout different levels of the apartment blocks. This is of course to promote less usage of mechanical ventilation throughout the apartment blocks so that more naturally ventilated spaces can be utilised.
•Sustainable Cities and Communities
The proposed olympic village can be continued or converted to be used to occupy the dying needs within the Malaysian social housing market. The proposal hopes to spark interest in the development of better living conditions and design within the already known issues and conditions within the social housing projects in Malaysia. By creating a conducive living environment, we hope that the overall society can thrive sustainability, and this in hope will also create a more positive outcome not only to the local communities, but the nation as a whole.
•Life on Land
As mentioned in the early points, the master plan consisted of a balance proposal in between manmade and natural elements. More than 70% of the ground area will consist of a mixture of heavily landscape area, with a combination of additional planted trees to improve the natural features of the site, and also to promote more activity areas for the residents of the
olympic village and subsequently to the later occupants of the area.
Exhibition card
Galleria Sperone Torino, Gennaio
1972
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Exhibition card
Yvon Lambert Paris
1973
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