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turning ideas into reality. i1

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1) why architecture? (why not rocket science for example)
Why not? I want to make things happen, turn ideas into reality. Whenever people see a building - breathtakingly beautiful or horribly ugly, it’s certainly an outcome of an architect’s imagination who has already ‘seen’ it before it even gets build. What also intrigue me most about architecture is the balance between art and science, between technological advancement and work of arts. Architecture is also a profession that relate closely to the community, a great opportunity to make your own contribution to the people.

2) have your personal upbringing influenced you in your endeavor for architecture? if so, how?
I grew up in a timber house that took nearly 10 years to complete. My grandfather and his two cousins started to build the house when I was 8 and only fully completed after I have finished my secondary school. I was literally growing up in a ‘construction site’. But my real site experience was when I was 10. A new light industrial park - Kawasan MIEL at Lundang, Kota Bharu- was being constructed near my house. The development included a new canteen and a surau on a site where my grandfather’s wooden stall (kedai kopi) was. Since I knew that both the canteen and surau would be handed over to my grandfather, I used to go to site pretending to supervise its construction on my grandfather’s behalf. I started to understand what architect does and the construction process. My interest in architecture started to grow in me. My father was a calligraphy artist. I guess I inherited his ability to draw.

3) what's your personal philosophy in design?
Good design is in its details. In all the projects I work on, I pay particular attention to detailing, to how elements interface technically and aesthetically. Details treatment is the most critical elements in design as this is the different between design and ‘good design’. One of the important aspects of design is visibility – how people will see it. Therefore design must also be aesthetically pleasing as well as solving a problem or performing a function.

4) do you have any particular design movement(s) that is/are closer to your heart than most?
The Modern movement undoubtedly has had the most influence in my style of architecture. The works of three remarkable architects – Walter Gropius, Mies van Der Rohe and Le Corbusier – and the formation of Bauhaus by Gropius have laid foundation of the Modernism’s influence around the world. It was a design movement that has changed all aspect of designs and styles – architecture, interior, furniture and product design.

The 60’s were probably the resurrection of the modern movement, the decade when all of a sudden people became more design conscious then ever. Designers and manufacturers were compelled to produce new, fresh and futuristic design. The spirit of modern movement was in every designer’s mind. This new era had produced a lot of classic design some of which are still in production or being reproduced. Arne Jacobsen’s Swan and Egg chairs, Verner Panton’s chair, Artichoke lamp are some examples of design icons that are still in production today.

5) where do you draw your inspiration from?
Nothing is more inspiring than turning someone’s dream into reality. I have recently visited one of my completed work, a small retreat in Claycross, Chesterfield almost a year after its completion. The owner warmly greeted me and she was very excited to show me how the spaces are utlised and how delightful she was with the end product, exactly how she envisaged it would be. The Claycross project was very special to me as it was built almost completely out of my hand drawn details and sketches. I had a similar reception last year when I visited Lymm Water Tower, another completed project that I have worked on.

One of the advantages of being here in Europe is that you are only a few hours away from the works of great architects. Experiencing and visiting their buildings – such as Mies’ Barcelona Pavilion and Corbusier’s Villa Savoye - are a great source of design inspiration. Visiting fine works by the present ‘superstar’ architects such as Norman Foster, Zaha Hadid, Herzorg de Meuron are also very inspiring.

6) what do you think is the direction of malaysian architecture in the future?
I have not been directly involved in architecture scene in Malaysia for 5 years now. A lot of good things have happened since I left, Malaysia has been exporting talent and expertise in architecture around the world especially to the developing countries and in the Middle East. Many Malaysian architects are making their marks abroad – GDP Architects and Teo A Khing in Dubai and Abu Dhabi are some of the good examples. This situation promises a bright future for Malaysian architecture.

However, there are some major obstacles facing the architects in Malaysia. Firstly, the general public needs to have more design awareness for architecture in Malaysia to steer in the right direction. The pool of talented local architects are not given enough opportunity and support to produce good architecture. The economic aspect is disproportionately weighted against the aesthetic. Whilst good design should not always be expensive, that’s what the general perception is.

High quality architecture is the product of demand. I do not think Malaysians in general appreciate and value architecture in the same way people in the western world does, hence the architects do not have an urgency to deliver good quality designs. For instance, most of mass housing developments in Malaysia are sold even before the architects complete the design. Houses are ‘sold to build’ instead of ‘built to sell’. Location and price is probably the two factors that influence the buyer in choosing the house to buy – any type of designs will do. There have been a lot of upcoming high quality designed residential developments especially in KL but these are generally on the higher end of the market. Public buildings is another area that are lacking in term of attention to design.

Architecture to a layman in Malaysia is about styles and decorations. Very few understand the ideas or concepts behind it let alone the theories or philosophies. We need to change this perception. Architects need to educate end users and developers about good design to appreciate and be more sensitive towards design. The end users need to increase their level of expectations and be more critical and vocal in expressing their views and thoughts. This is vital to ensure, a higher standard of Malaysian architecture as well as a better quality of life and work environment.

Secondly, architects must be allowed to practice to their professional standard with very little political intervention. The commissioning processes need to be more transparent. Abuse of power (by politicians, management and decision makers) and ‘who you know’ policy are some of the factors that are damaging the architecture in Malaysia. Architects should be awarded by their merits and competencies. Professional bodies need to be stronger to protect and enhance the image of the profession, and to educate politicians in the importance of good and creative design. Architects should be in the driving seat when it comes to design-led decisions, and should not give away their creativities too cheaply.

7) it seems that malaysia is late in catching up with design trends, and when it finally does it would seem rather superficial. why do you think there is this tendency?
Malaysia in general could be seen as consumers rather than producers. Our everyday life relies heavily on imports – ‘made in Malaysia’ does not always mean a Malaysian product. I see a similar scenario with the design trends. There is a great tendency to import almost everything from the West. Styles and trends are literally copied from the West with no regard to its originality, concept or ideas. There was no evolution or progression but mostly an overnight change. The imported design may not be suitable to our culture, social activities, climates and does not provide the solutions to our problems. Nothing’s wrong with following the trends but this has to be done in the right approach, for the right reasons, tailored to our need and solving our problems. ‘Imported’ ideas need to evolve into something more specific to Malaysia.

Another factor is that architects are not in control of the design. Styles and décorations are sometimes just imitations and done to suit the client's tastes and budgets. Some architects are not able to convince the client’s of the right approach to follow the design trends.

8) what is the major difference between the western scene and the Malaysian scene?Architecture in the western world is part of an industry. Architects, engineers, contractors, manufacturers and all others who directly or indirectly involved in the construction industry work collaboratively for advancement of architecture and construction industry. New methods of construction, high-tech and innovative materials and products have been developed and made available to the designers. The advancement of the architecture and construction industry have made almost anything possible. For an architect, the only limit is his/her own imagination. Malaysia still has a long way to go, to be at the same level. Whilst imagination may be abundance, we are still lacking the much needed R&D to develop our own products and materials and providing solutions to our own problems. As a result, new imported materials and methods of construction are often expensive and not affordable to Malaysian clients. It may also not suitable and sustainable to Malaysia’s environment and climate.

Both architecture in the west and Malaysia are in a very competitive markets but in different ways. Architects In UK and Europe are competing to produce better and more creative designs where as their compatriots in Malaysia have to compete to get their hands on client's often limited budget at very low and competitive design fees (in some cases to survive in the business).

As I mentioned earlier, architecture in western world is more of a public affair than a topic talked only among architects. Architecture here is well received by general public and given good media coverage and publicity. Exposures received by architects through tv programmes, journals, magazines, books and other publications are generally by merits and through achievement in design excellencies. Major galleries such as Tate Modern in London constantly hold public exhibitions on the works of prominent architects to fulfill public’s rapidly growing appetite for architecture. In contrast, there is very limited avenues available to showcase good works by Malaysian architects. I find it very hard to find books on local architects despite a lot of good design and high quality buildings I see especially around KL.

9) what are the chances of KL becoming a design capital in the south east asia?
For me seeking international status is secondary. The priority is instead should be on creating better quality of life, to make the city more sustainable, livable and affordable to all. The city still need better public buildings and facilities, efficient and more economical public transport, and better educational facilities. Then the city will naturally become an internationally established design centre.

10) any advice for young architects just starting out?
Architecture is a very challenging career. Your passion for architecture alone is not enough to be successful, one must have lots of courage, ready to persevere and dare to be different. Be certain of your direction and pursue what you enjoy most.

11) what made you came to work in the UK and what is your plan for the future?
I chose to work in the UK as one of the ways to boost my confidence and expand my creativity. When I was first offered to work in the UK, I was enjoying myself working for the top architectural firm in Malaysia, GDP Architects. However, I saw the offer was as an opportunity to learn and practice architecture at the highest level. UK is one of the world leaders in architecture and for me is the best place to study and practice architecture. Technology and knowledge are easily accessible and you are just miles away from buildings that set the standard of high quality architecture.

Whilst I savor every bit of my time here, Malaysia is always close at heart. Whatever I have achieved here, I never felt that I am standing on a solid ground. I still regard my time here as part of a working experience. I take this opportunity to learn as much as I could. I see my future is definitely in Malaysia.

There may be a better living and working environment in the UK, but I keep thinking that I will also be missing a lot if I stay. I will miss looking after my parents, I will miss serving my country, improving the life of my people, providing better platform for younger generations and I miss Malaysian food (and the vibrant eating atmosphere) dearly. You can’t have the best of both worlds. The best you can do is to compromise. My immediate plan at the moment is to prepare myself for a new life in Malaysia. I can say that the time I will call it a day in the UK will come sooner rather than later.

12) What else is your passion outside architecture?
I enjoy traveling, photography and anything about sports. I have a particular interest in photography. My camera will be the first thing to go into my luggage whenever I plan to travel. In fact, I never leave home without at least my compact digital camera. I have a large collection of photos and images from all the places that I have traveled. Recently, I have set up a website of my photo collections and make them available for download. The website has been online for 4 weeks and I still have a lot more photos to be uploaded. If you could click on www.marfinphotography.co.uk ,you will be doing me a great favor to increase the hits to the website.

Both my wife and I are also very passionate about interior, art, furniture and product designs. We set up MyStreetRetro – named after our first flat at My Street, Manchester, which we decorated in retro theme- as a platform to pursue our interests.

interview / uk

questions prepared by nurul, bartlett school of architecture, london
http://nurulazreen.blogspot.com/
http://nyonyatan.fotopages.com/

biography on marfin

An architect and also a keen photographer, Marhami Arifin is better known as Marfin to his colleagues and friends. Born in Kota Bharu, Kelantan, he was a former student of Sultan Ismail College. After he finished his architecture study at Manchester Metropolitan University, Marfin returned to Malaysia in 1996 and worked at GDP Architects in Kuala Lumpur. Among his major projects were Multimedia University Melaka Campus and Ministry of Finance, Putrajaya. He came to UK in April 2001 to work with Ellis Williams Architects (EWA). A year later, he obtained his RIBA Part 3 and fully qualified as a registered architect. At EWA, he worked on a number of educational projects from primary school to colleges, a retreat in Chesterfield and a conversion of a grade 2 listed Victorian water tower to a modern private home, Lymm Water Tower in Cheshire – winner of a RIBA award 2006. He later joined Ian Simpson Architects, a leading architectural practice in Manchester and had been working on 47-storey Beetham Tower project in Manchester, which has just been completed early this year to become the tallest residential building in the UK. The development had also won RIBA Housing Award in 2004 (unbuilt category) and recently won 2 awards at the MSA Design Awards 2007. He is currently the design and project architect for Ian Simpson’s very own penthouse, which occupies the top floors of the Beetham Tower – a 12,000 sq. ft. 5-bedrooms apartment including features such as Olive groves in the sky garden and private swimming pool. Marfin described working at ISA as a fantastic experience as there are a lot of opportunity to explore his interest in modern architecture, cutting-edge technology and materiality. Married to Rina, they both enjoy traveling and have special interest in ‘retro’ designed interior, arts, furniture and product design.