Dissertation: Introduction & Inspiring Designs

One of the conclusions to be drawn from an agreement among historians is that the earliest architecture were direct referrals to religion and politics of the time. Be that as it may, in this present context reliance on both these aspects eventually became ossified and anachronistic. Architects in the late nineteenth century too found that neither do the cultural nor conventional social values were any longer a challenge. Hence they quite spontaneously looked to emergent areas of expression – the new technologies and materials.

In the meantime, restless industrial revolution in the West opened up a market of newly discovered materials namely iron, steel and glass. Invention of new building techniques came almost naturally. And of course this subsequently steered architecture into new plausible forms never imagined credible. Architects have ever since strived to exploit technology hoping to fabricate their very own brand of modern marvels. The intention is however not hard to find. Throughout history, fame has been the architects’ lifeblood and motivation to build ever more ambitious schemes (Wiley, 2001). A ticket to world recognition just seems like an offer too good to turn down. Together with building materials of the 21st century, architects have not cease to litter cities with individualistic approach. Apart from the lack of uniform effort, their buildings are in many instances having no cultural reference whatsoever.

Not until recently, concerns with interest to green issues by responsible authorities were put into action. Melting glaciers, climate changes and thinning of ozone are some global changes already under way. Undoubtedly when it comes to environmental havoc, the building sector devoted the most. Nonetheless, it is most unfortunate that only a handful acknowledge the impact of modern building materials.

Dazzled by the dynamic and interesting new architecture, the public forgets to question their propriety with the circumstances of our planet, or even the nation. Hence we have reached the ironic position of having what may well be the most inventive and exciting discoveries, with surely the most ridiculous setbacks. Apparently for Malaysia to have her own architectural identity still generates an impression of a distant dream. From the materials to the shape, our architecture are nothing but direct adaptation of Western prototypes. This pursual for identity, in a strange way, implies that the nation has either lost its identity or doesn't savvy who one is. Equally bad, the extensive use of air conditioner and low dependence on renewable energy suggest low public awareness on environmental affairs. The thought of using climate friendly materials was surgically removed from our memories.

Not only do we need to come up with measures to handle the tropical heat, but also a national symbol. Perhaps the question was already answered. Generations before us had ingeniously uncovered these means without the cutting edge technology we presently have, they only need to be rediscovered.

Dense, enduring, and locally available, bamboo is a familiar material in Malaysian history. Facing no problems coping with the weather, its distinctive properties open up to newfangled potential in architecture design. Within realm of possibility, this could mean the prelude of our modern vernacular built forms.

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