AN EXPERIMENTATION ON THE EMPLOYMENT OF DIALOUGE-DO-

DOCUMENT (3Ds) MODUS-OPERANDI AS AN ARCHITECTURAL DESIGN

PEDAGOGY WITH EMPHASIS ON MODEL BASED PARADIGM (MBP) AS
A BASIS OF ARCHITECTURAL PRODUCTION.

Ar. DAVID YEK TAK WAI

[email protected]
DAVID YEK ARCHITECT
09, Lev 09, Block A, Tropicana Avenue Office Suite, No.12, Persiaran Tropicana, Tropicana Golf &
Country Resort PJU3, 47410, Petaling, Tropicana, 47100 Petaling Jaya, Selangor

ABSTRACT: This paper is to present the findings employing the modus-operandi of Dialogue-Do-
Document (3Ds), as an Architectural Design Pedagogy, with emphasis on using physical model as a basis
of architectural production, hereinafter called the Model Based Paradigm (MBP). 3Ds stem from the
assumption that a Dialogue: discourse, must first take place to enable the Idea/Intention to be crystalized,
a process called Ideation. Translating such into action is an act of Do(ing):
fabricating/manufacturing/prototyping. When the act is done, we obtained a product, be it a Play:
model/drawings/essays, is collectively called a Production Model. When such is Document(ed), it becomes
the seed for future dialogue to take place and this modus-operandi will continue ad-infinitum. An
experimental testbed of Design Discourse in Sem-3; began with an architectural installation based on a
narration; follow by a site intervention, called the Papan-Transcripts; and concluded by the design of
Galleries. Each of these discourses, emphasis is given to Model Based Paradigm as a basis of architectural
production; while others draw, we build; confronting function follow form; exploring context versus
pretext; employing urban design and transitional spatial organizations. Key findings revealed that
employing Model Based Paradigm, the Actors understood; Architectural Semiotics beyond mere
representation; Urban Design where every building has its place; architecture solution versus
interior/landscape solutions; design strategy of forms dictate spaces; transitional space planning; self and
its personas; as in teamwork and the fundamental of design that stems from having fun.

KEYWORDS: Model Based Paradigm, Production Model, Architectural Design Pedagogy, Dialogue-Do-
Document, Ideation.
1. Introduction
There are two common ways to view the design studio. One is a laboratory of experimentation of
prototyping architectural products, where different people/educator approach/leads the studio differently
(Salama 2006)i. The other is a workshop to produce architecture, often dictated by a lead person/educator
who professed a certain approach towards architecture. The latter is often the case as in practice while the
former is generally a pedagogy adopted in many schools of architecture. Often, in many instances these
laboratory studios were broken up into many subgroups/work-base/atelier that were, in fact, mini workshop
in nature, where the driving force behind – is a lead person/educator who would drive these workshops
based on a theme he/she professed, such as socio-culture, green, reformist, urban and so forth. However, in
such diverse approaches, the underlying fundamentals are surprisingly common. Such can be narrowed
down to an approach, known as the Production Model, where the 3Ds modus-operandi of the following
takes place:
a) Dialogue – Is a process where the lead person/educator stimulates the design Intent by posing the
fundamental design problems to the students/designers, hereinafter called the Actor. Such act of
questions and answers spur dialogue. Such dialogue is fundamentally a subject of philosophy.
Embarking on this question of philosophy leads to the contemplation of the self as a designer,
owner, policy makers and so forth. By crystalizing such Intent and communicating it, the Actor acts
upon it. As a result, dialogue leads to do.

b) Do – A dialogue/intention, when ought to be communicated will eventually lead to the Act of

Do(ing)/making/prototyping. Such Act can be commonly traced back to the following paradigms:

i. Drawing based paradigm (DBP) – predominantly using sketches and drawings to

conceptualize and crystalize ideas to be communicated. The product is usually
drawings, sketches, prints and so forth in the common 2D medium of paper and
ink.
ii. Model based paradigm (MBP) – predominantly involving the act of form-making,
building up the enclosure element by element, by contemplating the spatial
organization in 3 dimensional.
iii. Parametric based paradigm (PBP) – predominantly investigating the act of form-
making and spatial organization in virtual spaces, allowing the digital technology
to produce architecture while the actor manipulate the set of logarithm that
governed such production.

c) Document – Is a product or a prototype, direct resultant of Do(ing) or an act of producing

architecture. Document can be in many forms such as a portfolio, a play, a model, a drawing or
even a wire frame in any digital format. The document is a subject for future discourse, a current
product for provocateur and critique. More importantly it is a seed for future dialogue to take place.
Collectively, no matter how diverse our approaches are, in embarking the design studio, the underlying
Production Model where the 3Ds modus-operandi of Dialogue-Do-Documents or Actor-Act-Product
prevailed.
This paper is to present the findings employing the modus-operandi of Dialogue-Do-Document (3Ds), as
an Architectural Design Pedagogy, with emphasis on using physical model as a basis of architectural
production, hereinafter called the Model Based Paradigm (MBP).

2. Design Brief and Vehicle

Model Based Paradigm (MBP) as a methodology required a design vehicle that was annexed to the Design
Discourse in Sem-3 (in UCSI) as an experimental testbed that called for an architectural intervention of a
place called, Papan in the state of Perak, Malaysia, based upon a historical account of Sybil Kathigasu’s
book ‘No Dram of Mercy’ as its narration.
The Brief (Teoh CK 2018)ii called for:
a) an introspective exploration of the client’s mission and
passion;
b) the building program or function;
c) Its site context; and often its place in history.
d) Editing the message into a simple theme and then
expanding it into a complete story creates the fullness of the
experience.
e) Materiality, structure, form and detail become the
vehicles to impart the message(s).
The Design Vehicles were further broken down into:
a) A descriptive installation – where each actor is challenged
to translate a story from Sybil Kathigasu’s ‘No Dram of
Mercy’iii into a descriptive installation. Actors are encouraged
to ‘craft’ the artwork with all kinds of material/elements that
could help describe the story, according to their very own
understanding.

b) An approach to site intervention – where the actors were

Figure 1 the Book, No Dram of Mercy by Sybil brought to the site in Papan, Perak for site investigation,
Kathigasu, forming the basis of the narration for
the actors to embark upon. ultimately urged to conceive, re-interpret the approach to
intervene the site in the form of architecture intervention.

c) A design of a Gallery in Memory of Sybil Kathigasu – where the actors were challenged to re
define the very notion of a gallery and a memorial and to place their architectural product against
the site intervention they had done earlier.
Embarking on such brief and the design vehicle, one can easily apply the notion of the Production Model,
now taking the trinity of the Actor-Act-Play.
3. The Actors
For the studio to exist, there must be the actors, in this
instances, the students and the studio master. The actors
must first, understood, who they are? Second, as to why
they exist? At this point of the dialogue, they
contemplated on the questions of philosophy in
existentialism – ‘I think, therefore I amiv’. Further to
this, they began to contemplate of their places in space
time, as the question goes, ‘why I am here, not there?’,
‘what made me here, and not there?’, ‘what roles am I
to play and serve?’ and these are all the questions
molding them into understanding the designs they will
be designing for. The actor took a piece from the subject
Figure 2 the Actors of Semester 03, UCSI 2018 of Jungian psychoanalysisv determination into the idea
of the Ego, Persona and the Self, subjugated into the idea
of Noia, Paranoia and End-noia enabling architecture liked defensible spacesvi, proximities and finding lost
spacevii to take form.
Moving on, the actors attempted to act upon the descriptive installation where each actor is challenged to
translate a story from Sybil Kathigasu’s ‘No Dram of Mercy’ into an installation. Little was known that the
actors attempted to interpret their ideations as arrays of representation such as, blue represents unity, white
purity, red bravery, yellow royalty and so forth, very similar as to how our national school teaching
pedagogy of the meanings and representation of the Malaysian flagviii. Such pedagogy was rather artificial
and lacked of a deeper understanding of the order of thingsix. The actors were introduced to the thinking of
Deconstruction as explained in Derrida, where an idea – to dismantle the excessive loyalty to any idea, in
order to see its truth lying in the opposite. In “de la grammatologiex”, the attempt to deconstruct is in the
attempt to understand the construction of its narrative, in this case, reading ‘No Dram of Mercy’. The book
itself has its genesis from the typeset yet it is deemed as a transcript from its primary mode – speech. Text
itself lacks the authenticity compared to a speech that comprised interactions of the truth through
conversation itself – a dialogue. Dismantling such dogmatic narration, example, and speech over writings,
reasons over passions, it enables the actors to distill the third force among the rumbles of the untruth.
As a result from their very act of do(ing), the installation materialized, as a document/prototype. This
installation is the very first ideation in a 3D model form, a result of Model based paradigm (MBP) –
predominantly involving the act of form-making, building up the enclosure element by element, by
contemplating the spatial organization in 3 dimensional. Although there is no specific spatial requirement,
such installation remains as follies, as in Tschumi’s Parc de la Villetexi, where these follies were structure
with no apparent usage and reason, besides just a concept, in which the actors had taken at length to
understand via Tschumi’s writing, Red is not a Colorxii. In other words, the installation in this form of
document/prototype is the embodiment of concepts/ideation for their future Model of Production.
Among others, herewith are the samples of installations by the actors and the related meanings or ideas
that were attached to it, for example:
3.1 Act 01: PORTRAITURE
A portrait is a painting, photograph,
sculpture, or other artistic
representation of a person, in which the
face and its expression is predominant.
The intent is to display the likeness,
personality, and even the mood of the
person. Crucial at this point is the re-
construction of a portrait of a main
motherly figure of a wife, communist
sympathizer, criminal of war and later
Figure 3 installation called the Portraiture of Sybil, mixed media sculpture. By
a much forgotten heroine. These re-
Adrian Liang. construction is further deconstructed
by layering the fragments of these
features of the portraits by means of different materials manifesting the multiple personas of the heroine in
this narrative that appeared to be fragmented, displaced, disjunction, mutilated at one elevation yet come
together as a cohesive, seamless, composed portrait at another elevation.
3.2 Act 02: A SLICE OF SPACE
TIME
To re-construct and to de-construct a
model of a space time continuum in the
life of Sybil, by single out a slice of
these ‘space time’ continuum for close
examination, re assemble back these
slices as though history has an ‘if’. Her
story of sacrifices, fears, services,
pains, hopes, torments, frustrations,
faiths, retributions, confusions,
Figure 4 installation called a slice of space time, mixed media sculpture. By
perversions, all mixed in a concoction
Peggy Chai. of brutalist egocentric heroism would
have taken another twist.
3.3 Act 03: BOX OF
INSTALLATION OF LIGHTS
The box set the stage and the actors
are the lights. This attempt is to build
an installation of a non-physical
properties, which is light. The box
becomes the medium of stage where
lights are the actors. Apertures above
allowing lights in many kinds appear,
disappear, combined, and dissolved
chronologically narrating the persona
Figure 5 installation called box of installation of lights, mixed media sculpture. of the main motherly figure in her
By Chua LiCheng. attempt to find space between her
egos. Such discourse deconstructed the narrative beyond the spectrum of the physical medium into the
subliminal meta-physical medium of augmented realism.
3.4 Act 04: CROSS OF
COMPLEXITY AND
CONTRADICTION
Revisiting Venturi’s post
modernism Complexity and
xiii
Contradiction in Architecture , the
notion of signifier and the signified
have been given a new twist resemble
of Baudrillard’s Hyperreal and the
Imaginary from Simulacra to
xiv
Simulation , often provoking our
acceptance of a simulated realities such
Figure 6 installation called the cross of complexity and contradiction, mixed
media sculpture. By Ng ChenYin. as Disney and to a certain
degree, Flintstone. Such lens are taken
to re-examine the Noia of Sybil as to what faith contain within that made of what she was. The stage was
set at the simulacrum of the crucifixion of Christ, simulating herself in a poseable wooden human
mannequin, as a communist sympathizer, criminal of war and later a much forgotten heroine of the British
Empire, sacrificing herself to clean the sins of her families and the people of Papan, at the bayonet of a
Japanese soldier taking the simulacrum of an ultra-man figurine, unmistakably a Japanese product.
Potentially set as a chapel of cross in the middle of the lake for Papan.

Figure 7 the collection of installations by the actors, no one is similar, each interpreting the narration on its own
understanding and flavors. Various authors of Semester 3.
These acts, thematically arranged on the pretext of Para Noia, End Noia and Noia, narrated in the flair of
deconstruction against the stage of installation, potentially magnified into follies following the path of
Tschumi’s Red is not a Color, collectively resembles the constellations of follies in the suburb of Papan,
these were the ideation of the actors, whom they were identified as d:KON4.
4. The Stage
Such act required a stage and is set in Papanxv, Perak. Sleepy
Hollow and a Ghostly abode. Forgotten glory of tin mining.
Bloody history. The cradle of a heroic maiden, the
government wished to shed, with this manifesto – ‘We, the
actor, attempted to intervene with a manifesto of our
installation. Each located at the very nook and corner, as our
stage. Behold our script, we present to you our play’ and the
reconstruction of the site in Papan has taken placed.
Confronting Papan, the deconstruction design pedagogy
took another form of narrative – ‘The Papan Transcript’, a
play script narrating fictitious ‘alien’ came to Papan and
visit the respective ‘sites’ selected by the actors as their bases
Figure 8 the Reconstructed Model of Papan. See to ‘house’ their respective ‘galleries’ or ‘follies’ and the
http://youtu.be/2fHA3qebfNM adventures connected therein.

Figure 9 various views of the site, capturing the genius-loci of the place called Papan.

The actors again, employing MBP to insert their respective proposals into the vacant spaces between
existing buildings or in some instances, called the interstices of spaces, having linkages to connect one
space to another as a continuum of transitional spaces within these constellations. The actors take such
intervention as an urban design approach, some having to address the conditions fixed by its ‘brownfield’
nature, while the others, the ‘greenfield’ nature providing limitless and seamless access into the gardens,
parks and water bodies. These existing conditions were known as the context, while their intervention – the
pretext.

Figure 10 the mass models showing the various composition of buildings linked together as a constellation.

Figure 11 the Papan Transcript, the script for the narration Figure 12 the Papan Transcript as a tool of intervention of Papan,
of the site intervention. See http://youtu.be/oktLdjaskVk showing the constellations of mass models on sites.

The MBP in the forms of massing models, also known as the pretext, allowed the actors to participate in
heated arguments, dialogues, discourses, debates and negotiations. Ultimately, these massing models or the
pretext shall be seen as constellations, in the absent of the ‘context’. These mass models will be the guiding
principles for the actors to design their individual building.

5. The Play
With the actors and the stage set, ultimately,
these will lead to the play. Based on the
documented mass model, the dialogues now,
centered upon the very notion of memorial
and galleries. The approach by the actor takes
an unusual turn, of first, to deconstruct the
very notion of memorial and gallery, second,
to reconstruct the memorial or gallery into a
form that is no longer common.
A common meaning of a memorial can be a
Figure 13 Wittgenstein's paradox of 'duckrabbit' in contemplating the statute of a reminder of someone. Memorial
notion of a memorial. See http://www.davidyek.com/approach.html taken from the core word, memory is but a
non-physical activity of the mind. Therefore,
it also reads as a remembrance. Yet, in the current age of nanotechnology memory is but a chip. Can a
silicon chipset be considered a memorial? Possibility of inserting directly into our brain. Rather can a
memorial, taken from the root word - memo, be a piece of ‘stick-on’ memo? The difficulty in contemplating
such discourse arising from the very notion of a signifier of a memorial versus the signified of the memorial.
Arising from such, and in contemplation of Wittgenstein’s paradox of “duckrabbitxvi”, a memorial in
memory of a self, versus her persona was reconstructed. Being the subject matter deceased, we place her
in memorial as a funeral parlor. In the absent of herself, we remember her by the Clinique. We froze her
ego as a photographic studio. We knew her story from her book and thus immortalized her in a bookshop.
We crystalize her pain in a gallery for the MACCxvii. We personified her through the extreme parks. We
communicate with her soul through a meditation center. We pray to her, through the chapel of her faith.
We embraced her love via the nuptial gallery. So, the remaining question is, these are the functions of which
the actors decide to memorialize her.
Galleria – A space to display the work of
art/artefact. In contemplating the so called
space, what stand in-between? Assuming a fish
in the aquarium may ask, what is the cat doing
outside of the water? By the same token, the cat
may ask, why is the fish in the water? A
conflicting dialogue between the artefact and
the observer and in such case, who is the
spectator and who is the showman? Where is
the threshold between them? Could it be a
Figure 14 the different point of views, who is the spectator and who point? A vector? A plane? Or simply an object?
is the showman? Or a collective of objects as a matrix? When a
point is contemplated, the object/artefact is the
observer/subject. Could the object/artefact be observing the subject? But what if an object/artefact has no
one observing? Or there is observer but no object/artefact? Perhaps, the object/artefact is the observer. The
building containing the object/artefact is the object/artefact itself? The urban scape comprising the building
containing the object/artefact is the object/artefact itself? So, to answer how your gallery does takes form,
the actors decided to make it inside out.
Points to be considered, these were the approached taken by the actors in the production model, again,
employing MBP as their preferred methodology, for example:
5.1 Play 01: MARTIAL ART GALLERY

Figure 15 urban mass model showing the closed fist as the

landmark beacon or gateway to the town of Papan. By Fiona.

Figure 16 the study model showing the emphasis on

structure to support the multi layers of the arena in
position, resulted in the exoskeletal form of the building.
By Fiona.

This actor decided to immortalize the era Sybil during the Japanese insurgency of Malaya where martial art
predominantly was the skill that could have been useful in keeping one alive. Therefore, the actor
consciously place Sybil in memory by proposing the Martial Art Gallery, commonly known as a school of
martial art. Located at the main entrance of the road to Papan town, this gallery took a position of a
landmark, following the 5 elements of Urban Design as proposed by Lynch. The actor employing MBP,
produced the mass model in the form of a closed fist – manifesting a fight sequence, with the arenas piled
up against one another. Again, employing MBP, the actor emphasized on structure as her main theme to
hold the multi layers of martial art arena in position. As a result, employing MBP, an exoskeletal building
form was produced. The actor further refined such study model into 2D representations as in Plans, Sections
and Elevations. MBP has allowed the actor to place form before functions or functions follows form.
Figure 17 the Slice of Space Time installation. Sculpture in wood and glass slides media. By Peggy Chai.

5.2 Play 02: TIME TRAVELLING

Consistent to the installation’s proposal, this actor decided to
immortalize Sybil in memory of her life story as
segments/fragments/slides in an array of timeline just liked the
space-time continuum, where each slice of space-time, was her
story. The site selected was above the road itself, so technically
the gallery shall be ‘floating’ above the road. The actor adopted
MBP by constructing her mass model on stilt. Refining on the
mass model, the actor produced a series of structural portal
resemblance of the earlier installation. The actor modulated the
rhythm of these portal in synced with the modulation of the
segments/fragments/slides in an array of timeline just liked the
space-time continuum. As a result from employing MBP, an
exoskeletal portal building was produced. The form of the
building was annexed to the production model the actor

Figure 18 mass model showing the elevated box

of gallery spaces on stilt. By Peggy Chai.
employed, in this case, MBP. The actor has therefore, produced a drive through/ walk through gallery and
a transitional space.

Figure 19 the study model of the drive through / walk through gallery. By Peggy Chai.

5.3 Play 03: THE CHAPEL

This actor decided to immortalize Sybil in faith through her religion.
Therefore, in accordance to the actor’s preferences, there was nothing
more meaningful to keep her in memorial but to enshrine her in a chapel
to her name. Compatible with the actors interpretation of Sybil as in the
installation of a cross taken a page from Baudrillard’s Hyperreal and the
Imaginary from Simulacra to Simulation, the actor selected a ‘greenfield’
site with the rear facing a lake with a distance land mass, where the actor
could comfortably plunged her ‘follie’ that also happened to be a cross.
Back dropped against nature, this chapel, employing MBP, the actor
refined the massing model into the study model showing the chapel as a

Figure 20 installation called the cross

of complexities and contradiction.
Sculpture of wood, steel and plastic
figurines. By Ng ChenYin.
stage while the assembly hall was a viewing platform towards the far distance land mass with a cross.

Figure 6 study model of the chapel and the cross. By Ng ChenYin.

Figure 21 Massing model of the Chapel by Ng ChenYin.

Figure 22 Study Model of the Chapel by Ng ChenYin.

6. Discussion

Figure 23 the study model that are linked to one another liked a constellation of buildings in conforming to the mass model.

The opening premise to this paper annexed to an assumption that in a diverse approach to embark the design
studio as both a laboratory and a workshop, the underlying fundamentals are surprisingly common and can
be narrowed down to an approach, known as the Production Model, where the 3Ds modus-operandi of
Dialogue-Do-Document could be incorporated in every levels of the architectural design pedagogy, with
emphasis on employing the Model based paradigm (MBP) – predominantly involving the act of form-
making, building up the enclosure element by element, by contemplating the spatial organization in 3
dimensional, as a primary approach to do/produce architecture.

Figure 24 study model in the urban setting showing the view from the Greenfield water bodies’ area.

An experiment was construed using the Design Discourse in Sem-3 (in UCSI) as a testbed that called for
an architectural intervention of a place Papan in the state of Perak, Malaysia, based upon a historical
account of Sybil Kathigasu’s book ‘No Dram of Mercy’ as its narration. The 3Ds modus-operandi of
Dialogue-Do-Document were injected into the programme via the design vehicle that categorically
organized into Actor-Stage-Play as the Dialogue. Installation-Mass-Study Models as the process of
Do(ing) and in response to produce architecture in the scale of complexity of Artefact-Urban-Building as
the Document.

Figure 25 study model of the constellation of buildings.

In the Actor-Installation-Artefact phase, the experiment revealed that the actors were given a wakeup call
from their comfort zone into a philosophical mode of questioning everything beginning from the self in
accordance to Jungian psychoanalysis to René Descartes questioning the questioner itself. These set of
dialogues propelled critical thinking within the actors before they attempted to embark on the installation,
themselves. When reading the narration of Sybil, the actor began to deconstruct their readings and
reconstruct accordingly to their flavors via the MBP. As a result, the installation as an artefact resembled a
myriad of philosophical approached such as Derrida’s deconstruction, Baudrillard’s pop cultures to
Venturi’s Complexity and Contradiction. The actors applied the 3Ds at an artefact scale, confidently as a
first step to a paradigm shift in ideation.
In the Stage-Mass-Urban phase, the actors were placed into a teamwork mode. There is no I – reflecting
again into Jungian psychoanalysis of the self, persona and ego. A collective responsibilities entailed the
production model into the observation of the site, based on its genius-locixviii deconstructing the existing
conditions and reconstruct into a new interpretation – The Papan Transcript, merging imagination of the
surreal into a playful narration comprises of the mass model in ratification of the ruined urban structure on
path with Lynch’s 5 elements of Urban Designxix. The 3Ds were applied at an urban scale with emphasis on
“every building has its own place”.
In the Play-Study-Building phase, investigation into the mass model allowed the actors to build up the
concoction of space planning, forms and functions simultaneously without the piecemeal approach of the
2D plans extruding into elevations along the genre of forms follow functions. This approach of the MBP,
instead, took the position of functions follow forms. The actor rationalized space planning while sculpting
their study models in mimicry of the approach in the production of the installation, earlier. Installation-
Mass-Study all come together as a collective whole in the scale of artefact-urban-building.

7. Conclusion
As a concluding note, the 3Ds modus-operandi
of Dialogue-Do-Document that was
incorporated in this architectural design
pedagogy, with emphasis on employing the
Model based paradigm (MBP) has resulted in
these 10 following values: -

 Understanding the semiotics beyond

mere representation.
 Understanding the notion of
Deconstruction beyond just a branch of
Architectural Semiotics.
 Understanding the purpose of Urban
Design, where every building has its place.
 Understanding the de/re-constructing of
the Brief.
 Understanding the true nature of the
approach in Architecture as compared to
Interior or Landscape Design.
 Understanding the design strategy of
outside-in or forms dictate spaces.
 Understanding the simple spatial
organization with emphasis upon transitional
spaces.
 Understanding the model based
paradigm (the art of building) instead of the
drawing based paradigm (the art of drawing).
 Understanding the self and its personas,
ego and noia.
 Understanding the fundamental of design
that stems from having fun as compared to
complying with rules book.

Figure 26 Slice of Space Time presentation boards. By Peggy Chai.

Figure 27 The Chapel sectional drawings. By Ng ChenYin.

The author wished to thanks with deep gratitude

to the following individuals whom had
introduced the 3Ds modus-operandi of Dialogue-
Do-Document in architectural design pedagogy,
with emphasis on employing the Model based
paradigm (MBP): -
a) The late Wan Burhanuddin Wan Abidin
(USM)xx and Prof Dr. Edward Ng (NUS/HKCU),
for their formative teachings based on this
method.
b) Assistant Prof Teoh CheeKeong and
Assistant Prof Ar. Chia LingLing of UCSI, for the
opportunity granted in Semester 3.
c) The actors of Semester 3 UCSI (2018).
Figure 28 the Funeral Parlor, MBP sectional detail model. By Adron
Liang.

i
Salama, A. “Design Studio Teaching Practices: Between traditional, revolutionary, and virtual models”. College of
Environmental Design King Fahd University of Petroleum and Minerals- KFUPM - Dhahran, Saudi Arabia. 2006.
ii
CheeKeong Teoh, “Semester 3 B.Arch.Stud. Design Studio Brief – Sybil Kathigasu Narrative Architecture”. UCSI
(2018), read http://www.davidyek.com/dkon-4.html, acceded 6 July 2018.
iii
A book narrating the unfinished first-person account of the experiences of a Malayan woman whose attempts to
assist her compatriots during World War II resulted in her imprisonment and death. Sybil Kathigasu. “No Dram of
Mercy” (2006), Prometheus Enterprise.
iv
Cogito, ergo sum, René Descartes. “Discourse on the Method” (1637), SMK Books (2009). Also read
https://en.wikipedia.org/wiki/Cogito,_ergo_sum, accessed 6 July 2018.
v
Analytical psychology also known as Jungian psychology. Carl Jung. Read
http://en.wikipedia.org/wiki/Analytical_psychology, accessed 6 July 2018.
vi
The defensible space theory encompasses ideas about crime prevention and neighborhood safety. Oscar
Newman. “Design Guidelines for Creating Defensible Space” DIANE Publishing (1966).
vii
Roger Trancik. “Finding Lost Space”, John Wiley & Sons Inc (1986).
viii
Symbolism and representation of the Malaysian Flag, for details read
http://en.wikipedia.org/wiki/Flag_of_Malaysia, accessed 6 July 2018.
ix
Paul-Michel Foucault. “The Order of Things: An Archaeology of the Human Sciences”, Pantheon Books (1970).
x
Jacques Derrida. “Of Grammatology”, Les Éditions de Minuit (1967).
xi
See https://en.wikipedia.org/wiki/Parc_de_la_Villette, accessed 6 July 2018.
xii
Bernard Tschumi. “Architecture Concepts: Red is Not a Color”, Rizzoly (2012).
xiii
Robert Venturi. “Complexity and Contradiction in Architecture”, Museum of Modern Art (1966).
xiv
Jean Baudrillard. “Simulacra and Simulation”, Stanford University Press (1988).
xv
Read the background and attraction of this place in
http://www.nst.com.my/news/nation/2017/10/293647/forgotten-perak-town-was-backdrop-sybil-kathigasus-
heroism, accessed 6 July 2018.
xvi
Wittgenstein’s paradox portrayed in the picture of ‘duckrabbit’ first found in the Fliegende Blätter, a German
weekly non-political humor and satire magazine, made popular by Wittgenstein in his book. Ludwig Wittgenstein.
“Philosophical Investigations”, (1953) republished Wiley-Blackwell (2009). Also see
http://en.wikipedia.org/wiki/Rabbit%E2%80%93duck_illusion, accessed 6 July 2018.
xvii
MACC stands for Malaysian Anti-Corruption Commission that came into notoriety due to the Teoh BengHock’s
death scandal and anything related to MACC thereafter is synonymous to torture. See
http://en.wikipedia.org/wiki/Teoh_Beng_Hock, accessed 6 July 2018.
xviii
ChristianNorberg-Schulz. “Towards a Phenomenology of Architecture”, Rizzoli (1979)
xix
Kevin Lynch. “Image of the City”, MIT Press (1960)
xx
Wan Burhannuddin Wan Abidin. Reader of Design Thesis (Unpublished), by David Yek Tak Wai “The Temple of
Contemporary Visual Art Malacca”, USM (1999).