Introducing the ADVENSHARE series. Intimate dialogue sessions to cultivate a culture of creative conversations. Discussions revolve around topics of design, travel, photography and youth activism. Initiated as part of the Canon EOS Youth Ambassador Programme with support from Perbadanan Perpustakaan Awam Selangor.
ADVENSHARE SESSION 01
Nur Adhrah Azaman
Designer and Co-Founder, No-To-Scale
Adhrah has just recently won the runner up for the Pertubuhan Arkitek Malaysia (PAM) Silver Medal Student Award for her final year project, City of Repartriation. She is currently working as an architect, and is co-founder of the design research studio, No-To-Scale.
This Advenshare episode is available on Advenshatime and is embedded at the end of this post.
Actually architecture was not my first choice. I wanted to be an artist. But in my 3rd year, I started to get interested when I realised that architecture is more than just buildings. I started to understand spatiality, and that design can be much more richer.
You say richer, eluding to a lot of different aspects. What part about architecture is it that you like?
I think the part that I most enjoy is the process. From the start (the idea itself) to the actual realisation. Going through the process and exploring different options and iterations, and getting into the final product.
For me, coming from an art background and having that freedom to express myself is important. So when I found that I could do that within architecture, that's when I started to get really into it.
Presentations at the University of Greenwich.
Above the study desk.
When I was studying for my architectural degree in UiTM, the method of designing was very straightforward. We were given a brief, we'd go off to the site and do our research, and come up with our proposal. But during my postgraduate at the University of Greenwich, we were not given any strict requirements. We were free to create our own brief, and explore the relevant themes. Which is how some of our fellow studio mates came up with all sorts of products: from paintings, animations, to models. What I remember is that you actually went to a model-making workshop at a farm in your design process - could you tell us more about that?
It's called Grimsdyke Farm. It's actually owned by a Malaysian named Dr Guan Lei. Basically it's a very high-tech fabrication lab that's put into a farm house. My studio unit were there for a week to fabricate our work. We slept there, ate there, woke up and get going with our works.
What sort of high-tech machines do they have there?
I think the most 'canggih' would be a clay-printing robot arm. Before going to the Farm, we would already have prepared our model-making files. But we're given 1-2 days to iterate our files according to the machine specs, under the guidance of facilitators at the Farm. Over there, I mostly used the CNC machine and the laser cutting machine. Everything except the CNC and robot arm (which are the most expensive machines), you're free to supervise yourself, so it's quite an independent way of working. So if you wanted to laser cut, or work with glass, or cast some moulds, the facilitators will guide you with the tools, but you're independent and hands-on to do whatever you want. It's a bit more of an intimate model-making process.
I remember how much you enjoyed going there! What are some of the materials that you have worked with?
I've worked with high density foam, cement, concrete, jesmonite... Jesmonite is a type of plaster resin. It's a bit like plaster of Paris, but it absorbs pigmented dye easier and is much stronger, almost like ceramic tiles.
Group discussions at Grimsdyke Farm.
Milling a model.
Model made out of high density foam.
3D printed models.
That sounds like an amazing way to explore design. I understand that some of us in Malaysia do not have the same access or exposure to these sorts of technologies and methods. Do you think it's an important part of (studying) architecture?
I think everyone understand architecture in a different way. They have a method of working that suits them, to facilitate with their understanding. Some people are just really good with materials, some are really good with drawings, some are good with models. I had a friend who can't draw but who's really good at making models. Isn't it interesting - how it shows her understanding of 3D space against a flat 2D surface. I think there has to be more explored avenues so that people (students) know that there are these alternative methods for them to develop their projects.
Following this vein of thought, how do you think architecture education in Malaysia could be improved?
I think collaborations would be a good start. I guess we have to teach them that it's not such a closed world. For example, like with my casting techniques, I probably could've asked an artist to help me, which would've expedited the process. Maybe I would've spent less time reading up on how to do it if I'd learned from someone experienced. I think we can also learn from other relative creative fields.
So it's more on informing your architectural projects by gaining insight and learning about, and from, other creative fields - like dance, or music..
I think whichever helps them facilitate their understanding of the process. Or at least, don't box them up. And also to be a bit more daring, or risk-taking in your design. And to be critical, not just 'main buat je'. And please share it and talk it out to other people. You need to hear feedback from your friends.
Final year project, City of Repartriation.
Now that you're back, you're part of No-To-Scale. Could you share more about that, and what do you hope to contribute to the architectural landscape through this studio?
We are an architecture and design research studio. We provide a lens, a different perspective to looking at certain issues. For example there are certain global issues that we feel should have a Malaysian voice. Like as with the case of the Donald Trump Wall. We responded to that by suggesting another form: which was a long dining table, a more peaceful approach where people from both sides of the border could meet, rather than a separating wall. Fundamentally we hope to provide a different way of seeing things.
No-To-Scale reimagines the Donald Trump Wall as a 1,954-mile long dinner table. Read more about it here: No To Scale / Dezeen
Thank you so much for contributing to Advenshare. Any last words to pass on?
Future designers: Please don't forget to take risks. Keep experimenting. Do what you need to do. And be yourself in design!
You can keep in touch with Adhrah and No To Scale here:
Facebook: No To Scale
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