The architectural scene in Malaysia has transformed greatly in the last 10 years from 1990-2000. During this decade, Post Modernism had always been the dominant style, even though it is now fading, when compared to the more contemporary New Modernism. The latter had not been readily accepted amongst both Malaysian architects and clients as they are often seen as yet another Western import that disregards local architectural context or language. This new modernist approach differs from the previous Modern architecture of the 1970's and early 80's as a new generation of young and talented architects emerged, introducing their version of a contemporary Malaysian architecture.

These two styles are almost in confrontation with each other, one glorifying the past and the other looking forward, almost detaching itself from any traditional language. At the same time, many continued to seek a distinctive Malaysian identity in architecture, an idea that developed from the 1970's and permeated many arts and cultural fields besides architecture. This driving objective became widespread and was frequently expected of or imposed on architects though was never well understood by many including scholars, practitioners and the ordinary laymen. Post Modern architecture however, has left a lasting mark throughout Malaysia and in the region with its pediments, roof forms, many types of arches and most noticeably, the emphatic use of colour on buildings. Various pastels and pink coloured buildings have changed the visual aspects of the built landscape in our Malaysian towns and cities.

At the same time, a more refreshing Vernacular approach began to re-emerge, a visual style that seem more readily acceptable in the Malaysian context. The use of expressive solid and voids, large overhangs, terra-cotta roof and lanais were the dominant features used for the exterior of these buildings. Many variations to contemporarize traditional architecture were attempted and still being adopted by many architects in this new decade.

Nevertheless, the New Modernism style is emerging strongly during this decade, although not as widely understood or popularly accepted. As stated earlier, many feel that this architectural style glorifies western ideals and not contextual to Malaysian architecture. Only with the introduction of certain familiar forms (which may sometimes be in name only), language or elements that such style are accepted. Such examples are the Islamic geometric plan motifs in the Petronas Twin Towers, the forest idea at the Kuala Lumpur International Airport with its column structures likened to stems of palm trees, the Malay roof form at the KL Sentral Station, the organic Pucuk Rebong (bamboo shoot) of the Telekom Tower and many more.

Like any new development or movement, this contemporary modern architecture has not been widely accepted by many of the Malaysian clients. Several attempts were made to localize this architecture in Malaysia by introducing recognizably local elements into the buildings such as louvres, abstracted vernacular roof forms and Islamic motifs in a way to convince clients to accept these new ideas. With many more good examples being built, it would be easier for the future generation of architects to gradually change the architectural landscape in Malaysia.

This new contemporary architecture may look simple on plan but demands great attention to detail for architects to fully understand and visualize the outcome of their approach in architecture.

In our case, we were fortunate that the national standards agency, SIRIM Bhd had allowed us to explore the proposal using a remarkably different design approach for their new office and laboratory building in Kota Kinabalu, Sabah. Furthermore, our experience of the last 10 years has shown us the need to vary our approach to architectural expressions to reflect the needs of our clients. It may vary from one building to another, depending on the requirements as illustrated in the pages ahead. Although we are eager to contribute to the new modernism era in Malaysia, we sometimes find that the acceptance, and transition, to embrace this new style will take some time.

Although we would like our clients to adopt the New Modernism in expressing their buildings, we also believe that there is virtue in the more traditional architectural approach preferred by some of our clients, provided that the language and nomenclature used by the architects are honest. Even when we are requested to carry out such works, we strive to create a modern interpretation of the style, which will be more suitable to the current times and its physical context.

In the last 10 years, since we began our practice, we have explored various styles of buildings in our pursuit to develop a style of our own. We can categorize our architecture into 3 categories:

Most importantly, it is our belief that Architecture must be progressive and true to its time. The newest progress in architectural design is not always readily and well accepted by our clients or the general public. Architecture is an expressive statement that will exist in perpetuity while it also at the same time, describes the time in which it had been created. For the architect for whom learning is a continuous process, one building is often "a work in progress" which will form the foundation for a better project the next time.

Finally, we feel that the widespread need or desire to impose a Malaysian identity on our buildings in this country must be further debated and defined. Such intentions must be more than just a cosmetic or a directly interpretative or symbolic approach, in order to create a genuine architecture. We believe that the Malaysian architectural identity should be more true to its spirit. It is afterall a necessary tool to survive in the future of the increasingly globalized economy of the world.

This new style seems to have synergy with the use of lightweight materials such as steel and glass, totally detaching itself from the embellishment that comes with the post-modernist approach. It is in some way a repeat of the International Style, which came about from the rejection of the traditional styles earlier this past century. As not to draw any further comparison to what 'damage' the International Style may have done to architecture in Malaysia or elsewhere in the world, the New Modernism seems to be more sensitive to its context and the built form that surrounds it.

Azim A Aziz

Forward

It is perhaps a truism to state that the global business community's demands from their professional services, whether they are architects, lawyers, accountants, doctors, and bankers are essentially the same. They would want attentive service and quality service when they want it, at affordable prices and such service delivered on time, to budget, to an acceptable level of quality and meeting their emotional satisfaction.

In this regard, if a particular product sells well in one country, there is absolutely no reason why it should not similarly sell well in another country provided it is reliable, affordable and is a quality product. For instance if an air-conditioner manufactured in one country, functions well and sells well in that country, it should successfully sell well elsewhere in a level global playing field.

Surely this must similarly be the same for architects and architecture? If an architect firm
is successful in one country, and in this instance ATSA Architects has survived the trials of fire and brimstone of a decade of professional practice, then there is no reason why it cannot be successful elsewhere. Malaysian architects are just as good as any, and often better than most anywhere in the world.

We have a saying in Malaysia, "Malaysia Boleh", which finds its corollary in that popular UK's children's cartoon 'Bob the Builder' with his ditty, "Yes You Can", which became a No.1 hit in the British pop charts a few Christmases ago. This is the positive 'Can Do' spirit that characterises this new generation of architect firms that we find in Malaysia today.

Here in ATSA Architects is a professional architect firm that is tough, visceral, talented and business-like, that has durably survived over a decade of business. As the saying goes in the business world, that if a firm has been in a particular business for over 10 years, they should certainly know the business like the back of their hands.

Nothwithstanding their youthful appearances and enthusiams, here is a team of mature professionals Azim, Zul, Azhar, Teck Choon, Paul, Razin and Au, all in their mid-to late 30's, who have all jointly tenaciously succeeded in clawing and getting their piece of the turf.

Many have cut their teeth in pedigree schools in Malaysia (the Malay College at Kuala Kangsar), attended some of the best schools of architecture in the USA and have done time in gaining their professional experiences with some of the major local and international practices.

Their architecture is investigative and hard-edged. The firm is computer literate and IT savvy. Their design concepts are contextually adaptive, varying between a clean urban new Modernist-planar aesthetic and an articulate neo-traditional vernacular, with both endeavors seeking a place within their own architectural discourse.

Theirs is an approach that has an international niche. The architecture adapts to the peculiarities of a locality wherever that may be while optimizing on the firm's broad experiences gained over its decade of practice expressed in their urban and neo-traditional design and detailing. Theirs is an architecture that has a considered interpretation of the culture, physical conditions and technology of the place.

This is a firm that is a success story, and I believe shall continue to do so by serving its clients well anywhere in the world.

Dr Ken Yeang

Design Philosophy

ATSA Architects believes in Architecture that is both Progressive and Innovative, that reflects its time. Architecture has to, however, exist in relation to its particular context, climate and culture. More importantly, architecture has to serve its users' or inhabitants' needs.

Although our built structures affect its context, environment and the population, we, as architects, must complement, and to a larger extent, improve it.

As the quality of life in Malaysia improves, we approach our brand of Architecture that
will reflect this demand for quality buildings and environment.