By TREVOR HOGG Denis Villeneuve (Dune: Part Two) finds the difficulty of working with visual effects are sometimes the intermediaries between him and the artists and therefore the need to be precise with directions to keep things on track. (Image courtesy of Warner Bros. Pictures) If post-production has any chance of going smoothly, there must be a solid on-set relationship between the director, cinematographer and visual effects supervisor. “It’s my job to have a vision and to bring it to the screen,” notes Denis Villeneuve, director of Dune: Part Two. “That’s why working with visual effects requires a lot of discipline. It’s not like you work with a keyboard and can change your mind all the time. When I work with a camera, I commit to a mise-en-scène. I’m trying to take the risk, move forward in one direction and enhance it with visual effects. I push it until it looks perfect. It takes a tremendous amount of time and preparation. [VFX Supervisor] Paul Lambert is a perfectionist, and I love that about him. We will never put a shot on the screen that we don’t feel has a certain level of quality. It needs to look as real as the face of my actor.” A legendary cinematographer had a significant influence on how Villeneuve approaches digital augmentation. “Someone I have learned a lot from about visual effects is [Cinematographer] Roger Deakins. I remember that at the beginning, when I was doing Blade Runner 2049, some artwork was not defined enough, and I was like, ‘I will correct that later.’ Roger said, ‘No. Don’t do that. You have to make sure right at the start.’ I’ve learned the hard way that you need to be as precise as you can, otherwise it goes in a lot of directions.” Motion capture is visually jarring because your eye is always drawn to the performer in the mocap suit, but it worked out well on Better Man because the same thing happens when he gets replaced by a CG monkey. (Image courtesy of Paramount Pictures) Visual effects enabled the atmospherics on Wolfs to be art directed, which is not always possible with practical snow. (Image courtesy of Apple Studios) One of the most complex musical numbers in Better Man is “Rock DJ,” which required LiDAR scans of Regent Street and doing full 3D motion capture with the dancers dancing down the whole length of the street to work out how best to shoot it. (Image courtesy of Paramount Pictures) Cinematographer Dan Mindel favors on-set practical effects because the reactions from the cast come across as being more genuine, which was the case for Twisters. (Image courtesy of Universal Pictures) Storyboards are an essential part of the planning process. “When I finish a screenplay, the first thing I do is to storyboard, not just to define the visual element of the movie, but also to rewrite the movie through images,” Villeneuve explains. “Those storyboards inform my crew about the design, costumes, accessories and vehicles, and [they] create a visual inner rhythm of the film. This is the first step towards visual effects where there will be a conversation that will start from the boards. That will be translated into previs to help the animators know where we are going because the movie has to be made in a certain timeframe and needs choreography to make sure everybody is moving in the same direction.” The approach towards filmmaking has not changed over the years. “You have a camera and a couple of actors in front of you, and it’s about finding the right angle; the rest is noise. I try to protect the intimacy around the camera as much as possible and focus on that because if you don’t believe the actor, then you won’t believe anything.” Before transforming singer Robbie Williams into a CG primate, Michael Gracey started as a visual effects artist. “I feel so fortu- nate to have come from a visual effects background early on in my career,” recalls Michael Gracey, director of Better Man. “I would sit down and do all the post myself because I didn’t trust anyone to care as much as I did. Fortunately, over the years I’ve met people who do. It’s a huge part of how I even scrapbook ideas together. Early on, I was constantly throwing stuff up in Flame, doing a video test and asking, ‘Is this going to work?’ Jumping into 3D was something I felt comfortable doing. I’ve been able to plan out or previs ideas. It’s an amazing tool to be armed with if you are a director and have big ideas and you’re trying to convey them to a lot of people.” Previs was pivotal in getting Better Man financed. “Off the page, people were like, ‘Is this monkey even going to work?’ Then they were worried that it wouldn’t work in a musical number. We showed them the previs for Feel, the first musical number, and My Way at the end of the film. I would say, ‘If you get any kind of emotion watching these musical numbers, just imagine what it’s going to be like when it’s filmed and is photoreal.” Several shots had to be stitched together to create a ‘oner’ that features numerous costume changes and 500 dancers. “For Rock DJ, we were doing LiDAR scans of Regent Street and full 3D motion capture with the dancers dancing down the whole length of the street to work out all of the transition points and how best to shoot it,” Gracey states. “That process involved Erik Wilson, the Cinematographer; Luke Millar, the Visual Effects Supervisor; Ashley Wallen, the Choreographer; and Patrick Correll, Co-Producer. Patrick would sit on set and, in DaVinci Resolve, take the feed from the camera and check every take against the blueprint that we had already previs.” Motion capture is visually jarring to shoot. “Everything that is in-camera looks perfect, then a guy walks in wearing a mocap suit and your eye zooms onto him. But the truth is, your eye does that the moment you replace him with a monkey as well. It worked out quite well because that idea is true to what it is to be famous. A famous person walks into the room and your eye immediately goes to them.” Digital effects have had a significant impact on a particular area of filmmaking. “Physical effects were a much higher art form than it is now, or it was allowed to be then than it is now,” notes Dan Mindel, Cinematographer on Twisters. “People will decline a real pyrotechnic explosion and do a digital one. But you get a much bigger reaction when there’s actual noise and flash.” It is all about collaboration. Mindel explains, “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys, because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world. When we made Twister, it was an analog movie with digital effects, and it worked great. That’s because everyone on set doing the technical work understood both formats, and we were able to use them well.” Digital filmmaking has caused a generational gap. “The younger directors don’t think holistically,” Mindel notes. “It’s much more post-driven because they want to manipulate on the Avid or whatever platform it is going to be. What has happened is that the overreaching nature of these tools has left very little to the imagination. A movie that is heavy visual effects is mostly conceptualized on paper using computer-generated graphics and color; that insidiously sneaks into the look and feel of the movie before you know it. You see concept art blasted all over production offices. People could get used to looking at those images, and before you know it, that’s how the movie looks. That’s a very dangerous place to be, not to have the imagination to work around an issue that perhaps doesn’t manifest itself until you’re shooting.” There has to be a sense of purpose. Mindel remarks, “The ability to shoot in a way that doesn’t allow any manipulation in post is the only way to guarantee that there’s just one direction the look can go in. But that could be a little dangerous for some people. Generally, the crowd I’m working with is part of a team, and there’s little thought of taking the movie to a different place than what was shot. I work in the DI with the visual effects supervisor, and we look at our work together so we’re all in agreement that it fits into the movie.” “All of the advances in technology are a push for greater control,” notes Larkin Seiple, Cinematographer on Everything Everywhere All at Once. “There are still a lot of things that we do with visual effects that we could do practically, but a lot of times it’s more efficient, or we have more attempts at it later in post, than if we had tried to do it practically. I find today, there’s still a debate about what we do on set and what we do later digitally. Many directors have been trying to do more on set, and the best visual effects supervisors I work with push to do everything in-camera as much as possible to make it as realistic as possible.” Storytelling is about figuring out where to invest your time and effort. Seiple states, “I like the adventure of filmmaking. I prefer to go to a mountain top and shoot some of the scenes, get there and be inspired, as opposed to recreate it. Now, if it’s a five-second cutaway, I don’t want production to go to a mountain top and do that. For car work, we’ll shoot the real streets, figure out the time of day and even light the plates for it. Then, I’ll project those on LED walls with actors in a car on a stage. I love doing that because then I get to control how that looks.” Visual effects have freed Fallout Cinematographer Stuart Dryburgh to shoot quicker and in places that in the past would have been deemed imperfect because of power lines, out-of-period buildings or the sky. (Image courtesy of Prime Video) Visual effects assist in achieving the desired atmospherics. Seiple says, “On Wolfs, we tried to bring in our own snow for every scene. We would shoot one take, the snow would blow left, and the next take would blow right. Janek Sirrs is probably the best visual effects supervisor I’ve worked with, and he was like, ‘Please turn off the snow. It’ll be a nightmare trying to remove the snow from all these shots then add our own snow back for continuity because you can’t have the snow changing direction every other cut.’ Or we’d have to ‘snow’ a street, which would take ages. Janek would say, ‘Let’s put enough snow on the ground to see the lighting on it and where the actors walk. We’ll do the rest of the street later because we have a perfect reference of what it should look like.” Certain photographic principles have to be carried over into post-production to make shots believable to the eye. Seiple explains, “When you make all these amazing details that should be out of focus sharper, then the image feels like a visual effect because it doesn’t work the way a lens would work.” Familiarity with the visual effects process is an asset in being able to achieve the best result. “I inadvertently come from a lot of visual effect-heavy shoots and shows, so I’m quick to have an opinion about it. Many directors love to reference the way David Fincher uses visual effects because there is such great behind-the-scenes imagery that showcases how they were able to do simple things. Also, I like to shoot tests even on an iPhone to see if this comp will work or if this idea is a good one.” Cinematographer Fabian Wagner and VFX Supervisor John Moffatt spent a lot of time in pre-production for Venom: The Last Dance discussing how to bring out the texture of the symbiote through lighting and camera angles. (Image courtesy of Columbia Pictures) Game of Thrones Director of Photography Fabian Wagner had to make key decisions while prepping and breaking down the script so visual effects had enough time to meet deadline. (Image courtesy of HBO) Twisters was an analog movie with digital effects that worked well because everyone on set doing the technical work understood both formats. (Image courtesy of Universal Pictures) For Cinematographer Larkin Seiple, storytelling is about figuring out where to invest your time and effort. Scene from the Netflix series Beef. (Image courtesy of Netflix) Cinematographer Larkin Seiple believes that all of the advances in technology are a push for greater control, which occurred on Everything Everywhere All at Once. (Image courtesy of A24) Nothing beats reality when it comes to realism. “Every project I do I talk more about the real elements to bring into the shoot than the visual effect element because the more practical stuff that you can do on set, the more it will embed the visual effects into the image, and, therefore, they’re more real,” observes Fabian Wagner, Cinematographer on Venom: The Last Dance. “It also depends on the job you’re doing in terms of how real or unreal you want it to be. Game of Thrones was a good example because it was a visual effects-heavy show, but they were keen on pushing the reality of things as much as possible. We were doing interactive lighting and practical on-set things to embed the visual effects. It was successful.” Television has a significantly compressed schedule compared to feature films. “There are fewer times to iterate. You have to be much more precise. On Game of Thrones, we knew that certain decisions had to be made early on while we were still prepping and breaking down the script. Because of their due dates, to be ready in time, they had to start the visual effects process for certain dragon scenes months before we even started shooting.” “Like everything else, it’s always about communication,” Wagner notes. “I’ve been fortunate to work with extremely talented and collaborative visual effects supervisors, visual effects producers and directors. I have become friends with most of those visual effects departments throughout the shoot, so it’s easy to stay in touch. Even when Venom: The Last Dance was posting, I would be talking to John Moffatt, who was our talented visual effects supervisor. We would exchange emails, text messages or phone calls once a week, and he would send me updates, which we would talk about it. If I gave any notes or thoughts, John would listen, and if it were possible to do anything about, he would. In the end, it’s about those personal relationships, and if you have those, that can go a long way.” Wagner has had to deal with dragons, superheroes and symbiotes. “They’re all the same to me! For the symbiote, we had two previous films to see what they had done, where they had succeeded and where we could improve it slightly. While prepping, John and I spent a lot of time talking about how to bring out the texture of the symbiote and help it with the lighting and camera angles. One of the earliest tests was to see what would happen if we backlit or side lit it as well as trying different textures for reflections. We came up with something we all were happy with, and that’s what we did on set. It was down to trying to speak the same language and aiming for the same thing, which in this case was, ‘How could we make the symbiote look the coolest?’” Visual effects has become a crucial department throughout the filmmaking process. “The relationship with the visual effects supervisor is new,” states Stuart Dryburgh, Cinematographer on Fallout. “We didn’t really have that. On The Piano, the extent of the visual effects was having somebody scribbling in a lightning strike over a stormy sky and a little flash of an animated puppet. Runaway Bride had a two-camera setup where one of the cameras pushed into the frame, and that was digitally removed, but we weren’t using it the way we’re using it now. For [the 2026 Netflix limited series] East of Eden, we’re recreating 19th and early 20th century Connecticut, Boston and Salinas, California in New Zealand. While we have some great sets built and historical buildings that we can use, there is a lot of set extension and modification, and some complete bluescreen scenes, which allow us to more realistically portray a historical environment than we could have done back in the day.” The presence of a visual effects supervisor simplified principal photography. Dryburgh adds, “In many ways, using visual effects frees you to shoot quicker and in places that might otherwise be deemed imperfect because of one little thing, whether it’s power lines or out-of-period buildings or sky. All of those can be easily fixed. Most of us have been doing it for long enough that we have a good idea of what can and can’t be done and how it’s done so that the visual effects supervisor isn’t the arbiter.” Lighting cannot be arbitrarily altered in post as it never looks right. “Whether you set the lighting on the set and the background artist has to match that, or you have an existing background and you, as a DP, have to match that – that is the lighting trick to the whole thing,” Dryburgh observes. “Everything has to be the same, a soft or hard light, the direction and color. Those things all need to line up in a composited shot; that is crucial.” Every director has his or her own approach to filmmaking. “Harold Ramis told me, ‘I’ll deal with the acting and the words. You just make it look nice, alright?’ That’s the conversation we had about shots, and it worked out well. [Director] Garth Davis, who I’m working with now, is a terrific photographer in his own right and has a great visual sense, so he’s much more involved in anything visual, whether it be the designs of the sets, creation of the visual effects, my lighting or choice of lenses. It becomes much more collaborative. And that applies to the visual effects department as well.” Recreating vintage lenses digitally is an important part of the visual aesthetic. “As digital photography has become crisper, better and sharper, people have chosen to use fewer perfect optics, such as lenses that are softer on the edges or give a flare characteristic. Before production, we have the camera department shoot all of these lens grids of different packages and ranges, and visual effects takes that information so they can model every lens. If they’re doing a fully CG background, they can apply that lens characteristic,” remarks Dryburgh. Television schedules for productions like House of the Dragon do not allow a lot of time to iterate, so decisions have to be precise. (Image courtesy of HBO) Bluescreen and stunt doubles on Twisters. (Image courtesy of Universal Pictures) “The principle that I work with is that the visual effects department will make us look great, and we have to give them the raw materials in the best possible form so they can work with it instinctually. Sometimes, as a DP, you might want to do something different, but the bottom line is, you’ve got to listen to these guys because they know what they want. It gets a bit dogmatic, but most of the time, my relationship with visual effects is good, and especially the guys who have had a foot in the analog world at one point or another and have transitioned into the digital world.” —Dan Mindel, Cinematographer, Twisters Cinematographers like Greig Fraser have adopted Unreal Engine. “Greig has an incredible curiosity about new technology, and that helped us specifically with Dune: Part Two,” Villeneuve explains. “Greig was using Unreal Engine to capture natural environments. For example, if we decide to shoot in that specific rocky area, we’ll capture the whole area with drones to recreate the terrain in the computer. If I said, ‘I want to shoot in that valley on November 3rd and have the sun behind the actors. At what time is it? You have to be there at 9:45 am.’ We built the whole schedule like a puzzle to maximize the power of natural light, but that came through those studies, which were made with the software usually used for video games.” Technology is essentially a tool that keeps evolving. Villeneuve adds, “Sometimes, I don’t know if I feel like a dinosaur or if my last movie will be done in this house behind the computer alone. It would be much less tiring to do that, but seriously, the beauty of cinema is the idea of bringing many artists together to create poetry.”

These annual rankings were last updated on May 23, 2025. Want to see your firm on next year’s list? Continue reading for more on how you can improve your studio’s ranking. Split by the North China Sea into Peninsular Malaysia and Borneo’s East Malaysia, the country has a particular geographical location that has contributed to a diverse and forward-thinking architectural landscape. Its history originates from the Malay kingdoms, which were colonized by the British Empire in the 18th century. Ornate mosques adorned with intricate carvings to elegant colonial buildings lining the streets of George Town are testaments to the country’s architectural heritage. Malaysia’s modern architecture such as the Petronas Twin Towers, designed by César Pelli and the visionary works of Hijjas Kasturi that have reshaped the urban landscape of Kuala Lumpur exhibit technological prowess and sustainable designs. Malaysian architects today draw equal inspiration from traditional Malay, Chinese, Indian and indigenous motifs, infusing contemporary designs with elements that resonate with Malaysia’s diverse cultural fabric. The Islamic Arts Museum Malaysia for example is where traditional Islamic architecture harmonizes with modern museum design principles. Projects such as the Forest City development in Johor demonstrate the country’s commitment to integrating green spaces and innovative technologies to create eco-friendly communities of the future. With so many architecture firms to choose from, it’s challenging for clients to identify the industry leaders that will be an ideal fit for their project needs. Fortunately, Architizer is able to provide guidance on the top design firms in Malaysia based on more than a decade of data and industry knowledge. How are these architecture firms ranked? The following ranking has been created according to key statistics that demonstrate each firm’s level of architectural excellence. The following metrics have been accumulated to establish each architecture firm’s ranking, in order of priority: The number of A+Awards won (2013 to 2025) The number of A+Awards finalists (2013 to 2025) The number of projects selected as “Project of the Day” (2009 to 2025) The number of projects selected as “Featured Project” (2009 to 2025) The number of projects uploaded to Architizer (2009 to 2025) Each of these metrics is explained in more detail at the foot of this article. This ranking list will be updated annually, taking into account new achievements of Malaysia architecture firms throughout the year. Without further ado, here are the 20 best architecture firms in Malaysia: 20. Design Unit © Design Unit Sdn Bhd John Bulcock has 35 years experience working as an architect, planner, interior designer and landscape designer on a wide variety of projects in Europe, Turkey, India and Southeast Asia. His experience encompasses Architecture as well as Architectural, Master, Urban and Sustainable Planning. Since 1994 he has been commissioned to carry out a variety of projects in Malaysia, India and Southeast Asia including residential, commercial and institutional buildings and sustainable master planning of resorts and townships. Low energy and sustainable design is central to his philosophy and approach to architecture and he has received a number of awards for his work. Some of Design Unit’s most prominent projects include: Cantilever House, Kuala Lumpur, Malaysia The following statistics helped Design Unit Sdn Bhd achieve 20th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 1 19. Eowon Designs © Eowon Designs An integrated team of design professionals incorporating architects and interior designers. We believe exquisite designs are produced as a result of artistic judgement coupling with visional innovation. Dedicated to pursue perfection in every project through expressive creativity and committed professionalism. We design to impress! Some of Eowon Designs’ most prominent projects include: BSG Sales Gallery , Penang, Malaysia The following statistics helped Eowon Designs achieve 19th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 1 18. Hijjas Architects & Planners © H Lin Ho Formerly known as Hijjas Kasturi Associates; Hijjas Architect & Planners is the evolution of a long standing professional practice that values a holistic approach to design and building; combining multi-disiplinary approach with strong concept and contextual driven solutions. Some of Hijjas Architects & Planners’ most prominent projects include: Heriot Watt University, Putrajaya, Malaysia Heriot Watt University Malaysia, Putrajaya, Malaysia The following statistics helped Hijjas Architects & Planners achieve 18th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 2 17. Anuar Aziz Architect (a member of Arte Axis Design Group) © Anuar Aziz Architect (a member of Arte Axis Design Group) Arte Axis Design Group is a boutique multi-disciplinary design group specializing in green build environment. Central to the company philosophy is design excellence, achieved through extensive and active collaboration with our clients, consultants and specialists. The work emerges from an evolutionary design process, exploring and testing ideas, while focusing on the clients’ objectives, functional discipline and value based design. Some of Anuar Aziz Architect (a member of Arte Axis Design Group)’s most prominent projects include: SOCSO Rehabilitation Centre, Malacca, Malaysia PPR (People Housing Program) Gua Musang , Gua Musang, Malaysia UPSI Student Village, Tanjung Malim, Malaysia The following statistics helped Anuar Aziz Architect (a member of Arte Axis Design Group) achieve 17th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 3 16. Seshan Design © Rupajiwa Studio We are a boutique, design driven practice based in Petaling Jaya, Selangor, Malaysia, where we offer customized design solutions, tailor-made to suit our clients’ needs and exceed their expectations! We believe every project is unique and the best results are obtained from intimate discourse and development with our clients. We are passionate about our work and we seek equally passionate clients who will willingly work closely with us to push the limits of what is possible. We are a very versatility office- our projects range from masterplanning, architecture to interiors and in various categories: residential, commercial, food and beverage and hospitality. Some of Seshan Design’s most prominent projects include: “Chahna” – Glenhill, Shah Alam, Malaysia Menerung House, Bangsar, Kuala Lumpur, Malaysia SS3 House, Petaling Jaya, Malaysia The following statistics helped Seshan Design Sdn Bhd achieve 16th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 3 15. Kee Yen Architect © Pixelaw Photography We respond to the sensitivity and random at its artfulness for all reveries. – Ar. Lim Kee Yen “We are dedicated in using multi-perspective and rational means to intervene the development of contemporary living environment, committed to creative-thinking and thorough design solutions. In this complex era, the new ideas and inspirations are always come from the responsiveness and sensitiveness of the contextual study – a careful study of the unique needs, the constraints of each project as well as from continuous improvements in the process from conceptual to construction details. Some of Kee Yen Architect’s most prominent projects include: Project Conservatory, Kuala Lumpur, Malaysia KYA Studio, Shah Alam, Malaysia Fillet House, Kuala Lumpur, Malaysia Kemaris House, Kuala Lumpur, Malaysia 3-Juxta House, Malaysia The following statistics helped Kee Yen Architect achieve 15th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 5 14. D&P Associates © D&P Associates Founded by Romain Duval in 2004 after a successful career with top practices in Paris. We are band of makers — curious, industrious and experimental. We are architects, designers, creators and entrepreneurs working together across a wide range of landscapes and locations. We are futurists, making today what we believe will inspire and connect people tomorrow. Our philosophy is to work closely with client to refine designs and produce cost effective and elegant solutions. People entrust us with realizing the expression of themselves and to translate that into built form. Ours is an architecture of listening & understanding. This is what we know to do. Some of D&P Associates’ most prominent projects include: Spaces Rialto , Melbourne, Australia Regus HP Tower , Wellington, New Zealand Regus Center One, Seoul, South Korea Regus Center One, Seoul, South Korea La Table du Chef, Hanoi, Vietnam The following statistics helped D&P Associates achieve 14th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 1 Total Projects 36 13. TKCA Architect © TKCA Architect TKCA Architect is an award-winning architectural firm located in Kota Damansara, Selangor, Malaysia which provides complete architectural, planning and interior design services. Founded by Ar. Ts. IDr Rien Tan in year 2020, TKCA Architect has a diverse portfolio of outstanding community, adaptive reuse, industrial, commercial and residential projects. TKCA Architect fully embraces the Integrative Design Team and Integrative Design Process method of design and building which assures the most responsive, accurate and cost effective process for each client. Notably, TKCA Architect has recently earned recognition as one of the emerging architects in Malaysia under KLAF 2023. Some of TKCA Architect’s most prominent projects include: Skyblox Co-living, Kuala Lumpur, Malaysia Spectrum House, Subang Jaya, Malaysia SAMA Square, Kuala Lumpur, Malaysia ERASCAPE PAVILION, Kuala Lumpur, Malaysia The following statistics helped TKCA Architect achieve 13th place in the 20 Best Architecture Firms in Malaysia: A+Awards Finalist 1 Featured Projects 1 Total Projects 4 12. zlgdesign © zlgdesign zlgdesign was set up some 20 years ago by two architect both trained in London under the banner of zeidlerlim design. Susanne Zeidler had worked and studied under sir Peter Cook in London and Frankfurt, and later at the Bartlett, London, whereas Huat Lim trained at the Architectural Association London, and then went on to work at foster and partners in the UK (at the time the chelsea reach offices had not yet been built) in 1984 and for foster france at the time, in Nimes, south of France. Some of zlgdesign’s most prominent projects include: Point 92, Petaling Jaya, Malaysia Lantern Hotel, Kuala Lumpur, Malaysia BOH Tea Visitor’s Centre, Pahang, Malaysia The following statistics helped zlgdesign achieve 12th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 2 Total Projects 3 11. Fabian Tan Architect © Fabian Tan Architect Fabian Tan Architect is an architectural studio based in Kuala Lumpur, Malaysia. The firm has completed several notable houses which have garnered awards and favourable publication throughout Asia & Europe. Its approach to architecture has been one that involves evolution and flexibility. Ideas that are formed in the conception of a project never imposes anything on the site. Throughout, conventions are constantly reassessed, resulting in individual variations of concepts meant for a specific context. He believes that the essence and consistency of a space is a whole that reflects its constituent parts such as light, material, volume, and relationships. In this hectic and overly complicated times we exist in, restraint and refinement serve as his guiding philosophy to create buildings of subtle beauty. Some of Fabian Tan Architect’s most prominent projects include: Voila House, Kuala Lumpur, Malaysia Eigent House, Kuala Lumpur, Malaysia Ittka House, Kuala Lumpur, Malaysia Ottiqa House, Kuala Lumpur, Malaysia Tessera House, Kuala Lumpur, Malaysia The following statistics helped Fabian Tan Architect achieve 11th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 2 Total Projects 6 10. Eleena Jamil Architect © Marc Tey Ge Wai EJA was formed in 2005 by Eleena Jamil and is based in Kuala Lumpur, Malaysia. It has a breadth of experience in delivering successful and imaginative projects. With a dynamic and committed team of architects and assistants, it focusses on creating enduring architecture by seeking tactile spatial solutions with strong references to context and culture. Some of Eleena Jamil Architect’s most prominent projects include: Sepang House, Selangor, Malaysia The Buzz.ar, Malaysia Bamboo Playhouse, Kuala Lumpur, Malaysia Sri Rampai Pedestrian Bridge, Kuala Lumpur, Malaysia Shadow Garden Pavilion, Petaling Jaya, Malaysia The following statistics helped Eleena Jamil Architect achieve 10th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 2 Total Projects 8 9. S.PIN ARCHITECT © S.PIN ARCHITECT S. Pin Architect is an award-winning firm based in Kuala Lumpur. Founded by Ar. Tan Sih Pin, one of the alumni of ’30 Under 40 Emerging Malaysian Architects 2011′, the firm strives for holistic approach in architecture which includes urbanism, interior design & landscape design. It has vast experience in wide range of projects which include residential, commercial, hospitality, recreational, industrial and mixed development. Inspired by Malaysia’s rich nature & diverse culture, S.Pin’s architecture has been persistently spinning out from the following core visions: NATURE When architecture embraces & responses to the surrounding nature, magic happens, innovative solutions will emerge. We believe architecture & nature can symbiotically co-exist and mutually calibrate to reach a new sustainable balance for our challenged environment. CULTURE Architecture functions at its best when it works seamlessly with its surrounding socio-cultural and historical fabric. Some of S.PIN ARCHITECT’s most prominent projects include: The Skywalker House, Jalan Medang Tanduk, Bangsar, Kuala Lumpur, Malaysia The Concrete Cloud, Bayan Club, Seri Kembangan, Malaysia MINANGKABAU-LONIAL House at Subang Heights, Subang Jaya, Malaysia Pantech Corporation, Pasir Gudang, Malaysia The following statistics helped S.PIN ARCHITECT achieve 9th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 2 Total Projects 11 8. architects 61 © architects 61 sdn bhd Architects 61 was established in 1995 by Jeffrey Ling. The firm with 50 strong workforces has offices in Kuala Lumpur and Penang, and is associated to the regional architectural practice of Architects 61 which is one of the largest practice in Singapore that was founded in 1974. With a proven track record spanning over 25 years, our portfolio includes master planning, mixed use developments, hotels, residences, offices, civic buildings and urban heritage conversion. The Firm is registered with US Green Building Council (USBGC) and also member with GBI as we strongly believe GREEN would be direction to pursue in order that developments become sustainable. Some of architects 61’s most prominent projects include: Kia Peng Suites, Kuala Lumpur, Malaysia Troika Kota Bharu, Kelantan, Malaysia Continew, Kuala Lumpur, Malaysia Lakeville, Kuala Lumpur, Malaysia D’Sara Sentral, Sungai Buloh, Malaysia The following statistics helped architects 61 sdn bhd achieve 8th place in the 20 Best Architecture Firms in Malaysia: A+Awards Finalist 1 Featured Projects 2 Total Projects 6 7. Core Design Workshop © Core Design Workshop With experiences in new builds, remodeling design and adaptive reuse architecture, Core Design Workshop has been emphasizing on looking deep into the iNSIDE of Architecture, not in the context of interior design but simply representing architecture from the iNSIDE out. Putting Form and Function as the old norm, prioritising on defining the spatial quality within the context of architecture, with creating NEW spatial experiences as the top agenda of all the design programs, re-discovering the inner essence of what truly matters to the building users. Some of Core Design Workshop’s most prominent projects include: inTroVerse House, Subang Jaya, Malaysia inSight House, Malaysia inTerlace House, Petaling Jaya, Malaysia The following statistics helped Core Design Workshop achieve 7th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 2 Total Projects 3 6. Kuee Architecture © Kuee Architecture Kuee Architect(s) is a multiple PAM Award-winning ISO 9001 Architecture practice in Malaysia. With our design works spread across various countries, our focus is on delivering green, sustainable buildings with exquisite quality and functionality. Some of Kuee Architecture’s most prominent projects include: Rebranding of Pantai Hospital Ipoh, Ipoh, Malaysia 1 Lasam, Ipoh, Malaysia Galasa Event Place, Ipoh, Malaysia Kuee Architect’s Residence, Ipoh, Malaysia The following statistics helped Kuee Architecture achieve 6th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 2 Total Projects 4 5. SAVA Architects © SAVA Architects SAVA is a design consultancy firm based in Borneo, Malaysia and Danang, Vietnam. We are inspired by the mountains in Northern Borneo and coastlines in Central Vietnam. SAVA is formed with a commitment to designing spaces for people from every walk of life – by utilising locally-sourced materials and local building techniques. Our design intends to bring people closer to nature, especially in an urban environment. Our portfolio ranges from residential, hospitality, commercial to interior design, with past experience in masterplanning, housing and bamboo architecture in Asia and Europe. SAVA’s architecture is beyond aesthetics. Our aim is to raise awareness and appreciation for our surroundings through our thoughtful design process. Some of SAVA Architects’ most prominent projects include: Thavi Cosmetic Showroom, Vinh, Vietnam Red House, Kota Kinabalu, Malaysia The following statistics helped SAVA Architects achieve 5th place in the 20 Best Architecture Firms in Malaysia: A+Awards Winner 1 Featured Projects 2 Total Projects 2 4. Gibert&Tan © Gibert&Tan GIBERT&TAN is a design studio directed by Michael Gibert & Tan Seok Foong. The studio was founded on the premise that a small but expert group of individuals can deliver outstanding works. Our prism is in a permanent search for an accurate interaction with the present, attentive and non-arrogant, with collaboration standing at the core of our methodology. Our interest does range from the mundane to the spiritual and we endeavor to bring these two conditions together to truly impact those who experience our works in real time. Some of Gibert&Tan’s most prominent projects include: 181Chambers@Semantan, Kuala Lumpur, Malaysia BBR Headquarters, Kuala Lumpur, Malaysia Gale’s Residence, Kuala Lumpur, Malaysia Lotus KL Store, Kuala Lumpur, Malaysia The following statistics helped Gibert&Tan achieve 4th place in the 20 Best Architecture Firms in Malaysia: Featured Projects 3 Total Projects 4 3. ArchiCentre © Archicentre Sdn. Bhd. Founded in 1994, ArchiCentre is a multidisciplinary architecture design practice based in Malaysia. Archicentre’s work is driven by sustainable regionalism to create socially responsive built environments. Their portfolio of works range from large scale city and town planning through to commercial, hospitality, residential, and adaptive re-use projects. Archicentre’s multi award-winning designs are widely published in the region. Some of ArchiCentre’s most prominent projects include: Estuari Sport Complex, Iskandar Puteri, Malaysia Setia Corporate Headquarters, Shah Alam, Malaysia Glad Tidings Vision Centre, Petaling Jaya, Malaysia S14 House, Petaling Jaya, Malaysia Setia Eco Tower, Setia Alam, Shah Alam, Malaysia The following statistics helped Archicentre Sdn. Bhd. achieve 3rd place in the 20 Best Architecture Firms in Malaysia: Featured Projects 3 Total Projects 10 2. Code Red Studio © Utile, Inc. CRS also known as Code Red Studio, aim to be the key player of architecture, interior and illustration industry in Johor Bahru. Some of Code Red Studio’s most prominent projects include: Autodesk Boston Workspace Expansion , Boston, Massachusetts The Bunker House, Kulai, Malaysia 30° tilted terrace REJUVENATION, Taman Tasek, Johor Bahru, Malaysia POOL HOUSE @ Leisure Farm., Malaysia The following statistics helped Code Red Studio achieve 2nd place in the 20 Best Architecture Firms in Malaysia: A+Awards Finalist 3 Featured Projects 2 Total Projects 5 1. DRTAN LM Architect © H Lin Ho DRTAN LM Architect (DTLM) is an architectural design studio that operates out of Kuala Lumpur, Malaysia where they are involved in a large variety of high profile work. Ar. Dr. Tan Loke Mun is the principal of DrTan LM Architect (DTLM). DTLM’s works embrace and interpret regionalism in a modern social context. In a rapidly changing world landscape, they believe that well designed buildings and spaces create added value for all its users. Often working from the basis of typologies, they have managed to interpret and translate simple regional metaphors into their increasingly green architecture. DTLM’s notable projects include GTVC Centre, M Marini, No.19 Subang Jaya, Puchong Festival City, Nagaworld Phnom Penh Cambodia, Suen Galleries Bangsar, No.18 House, 23 Terrace and House 12H. Some of DRTAN LM Architect’s most prominent projects include: PJKita Community Centre, Petaling Jaya, Malaysia 23 Terrace, Kuala Lumpur, Malaysia House No.18, Petaling Jaya, Malaysia Clay Roof House, Petaling Jaya, Malaysia 8D House, Kuala Lumpur, Malaysia The following statistics helped DRTAN LM Architect achieve 1st place in the 20 Best Architecture Firms in Malaysia: Featured Projects 8 Total Projects 16 Why Should I Trust Architizer’s Ranking? With more than 30,000 architecture firms and over 130,000 projects within its database, Architizer is proud to host the world’s largest online community of architects and building product manufacturers. Its celebrated A+Awards program is also the largest celebration of architecture and building products, with more than 400 jurors and hundreds of thousands of public votes helping to recognize the world’s best architecture each year. Architizer also powers firm directories for a number of AIA (American Institute of Architects) Chapters nationwide, including the official directory of architecture firms for AIA New York. An example of a project page on Architizer with Project Award Badges highlighted A Guide to Project Awards The blue “+” badge denotes that a project has won a prestigious A+Award as described above. Hovering over the badge reveals details of the award, including award category, year, and whether the project won the jury or popular choice award. The orange Project of the Day and yellow Featured Project badges are awarded by Architizer’s Editorial team, and are selected based on a number of factors. The following factors increase a project’s likelihood of being featured or awarded Project of the Day status: Project completed within the last 3 years A well written, concise project description of at least 3 paragraphs Architectural design with a high level of both functional and aesthetic value High quality, in focus photographs At least 8 photographs of both the interior and exterior of the building Inclusion of architectural drawings and renderings Inclusion of construction photographs There are 7 Projects of the Day each week and a further 31 Featured Projects. Each Project of the Day is published on Facebook, Twitter and Instagram Stories, while each Featured Project is published on Facebook. Each Project of the Day also features in Architizer’s Weekly Projects Newsletter and shared with 170,000 subscribers.     We’re constantly look for the world’s best architects to join our community. If you would like to understand more about this ranking list and learn how your firm can achieve a presence on it, please don’t hesitate to reach out to us at editorial@architizer.com. The post 20 Best Architecture and Design Firms in Malaysia appeared first on Journal.

Image by Getty / FuturismNeuroscience/Brain ScienceEach of our brains is swimming in enough microplastics to form a plastic spoon, scientists discovered earlier this year. Since then, medical researchers have been scrambling to understand how that could affect our neurological health.Now, ominous data is starting to trickle in, with new research comprising four papers published in the journal Brain Medicine suggesting that microplastics could be contributing to rising rates of depression, dementia, and other mental health ailments across the globe. And for exposing us to these brain-invading microplastics, a clear culprit emerged in the work: ultra-processed foods, or junk food, which make up a huge part of many Americans' diets."We're seeing converging evidence that should concern us all," said Nicholas Fabiano from the University of Ottawa, who led one of the studies, in a statement about the work. "Ultra-processed foods now comprise more than 50 percent of energy intake in countries like the United States, and these foods contain significantly higher concentrations of microplastics than whole foods."If true, it would mean that microplastics were the missing link in the correlation between junk food consumption and brain disorders. One study cited by the researchers found that people who ate ultra-processed meals had a significantly higher risk of depression, anxiety, and poor sleep. On the flip side, randomized control trials have demonstrated that weaning someone off junk food led to significant improvements in mental health.Implicating the role of microplastics in this, other research has revealed that junk foods are absolutely riddled with plastic particles. Meals like chicken nuggets, for example, have been shown to contain 30 times more microplastics per gram than chicken breasts, likely absorbed as a result of how they're manufactured and packaged."This hypothesis is particularly compelling because we see remarkable overlap in biological mechanisms," Wolfgang Marx from Deakin University's Food & Mood Center who coauthored one of the studies, said in a statement. "Ultra-processed foods have been linked to adverse mental health through inflammation, oxidative stress, epigenetics, mitochondrial dysfunction, and disruptions to neurotransmitter systems. Microplastics appear to operate through remarkably similar pathways."These findings are the latest to illustrate the potential grim health effects caused by microplastics, which have been found everywhere from human bone marrow to clouds to the most remote regions on Earth.So far, though, there's no definitive evidence, including human trials, that prove they're harmful to our health. But the fact that microplastics can easily bypass the blood-brain barrier — our gray matter's last line of defense against harmful substances — has unsettled medical experts. Beyond mental ailments, some research has found that microplastics could cause blood clots in the vessels of the brain, potentially inducing a stroke."What emerges from this work is not a warning. It is a reckoning," wrote Ma-Li Wong, a distinguished professor of psychiatry and behavioral sciences at Upstate Medical University, in an accompanying editorial. "The boundary between internal and external has failed. If microplastics cross the blood-brain barrier, what else do we think remains sacred?"It's impossible not to intake some amount of microplastics every time we eat, but you can take steps to reduce your exposure. And the evidence so far, the researchers argue, makes an increasingly compelling case for cutting ultra-processed junk out of your diet."After all," said Fabiano, "you are what you eat."Share This Article

Flovik House / Fabian Tan ArchitectSave this picture!© BricksbeginHouses•Kuala Lumpur, Malaysia Architects: Fabian Tan Architect Area Area of this architecture project Area:  4000 ft² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bricksbegin Lead Architects: Fabian Tan More SpecsLess Specs Save this picture! Text description provided by the architects. Flovik House, nestled in a quiet Kuala Lumpur hillside, is a two-storey bungalow on a 6,800 square foot plot with a 4,000 square foot built-up area. The house has been fully transformed while maintaining the original split level of approximately 1.5 meters.Save this picture!Save this picture!Save this picture!Save this picture!Upon entering the foyer, the lower ground's former living area is now converted into an enclosed study room. Moving up to the upper ground floor, the rear portion was rebuilt to create a spacious double-volume living and dining area that opens to a serene koi pond. Perched above this is an elevated planter and rock garden with a coping that conceals a waterfall transitioning into seating at the open deck, which connects to the spacious kitchen with a marble-top island and warm timber cabinets.Save this picture!The living area flows into a bar lounge, utilizing the home's unique angles to form openings along mid-landings. This space connects to a grand, high-ceiling front deck for lounging, accessible directly via an external staircase. Structural columns integrate into seating, maintaining proportion while overlooking the expansive front garden.Save this picture!A key feature of the house is a two-panel pivoting wall above the sliding doors, appearing as a static architectural element but offering four dynamic configurations that adjust light, ventilation, and side views while maintaining privacy from the neighboring house.Save this picture!Save this picture!Save this picture!Ascending the staircase, the master suite comprises a bedroom, a walk-in wardrobe, and a large bathroom with a bathtub. The upper first floor features a family room overlooking the double-height living spaces and open deck. A corridor leads to two additional en suite bedrooms. At the rooftop level, the home opens to panoramic views of the neighborhood greenery and glimpses of the city skyline. The essential idea is to seamlessly blend the new and old through interconnected spaces and cross-linked openness to the surrounding gardens and beyond.Save this picture! Project gallerySee allShow less About this officeFabian Tan ArchitectOffice••• MaterialConcreteMaterials and TagsPublished on May 19, 2025Cite: "Flovik House / Fabian Tan Architect" 19 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030166/flovik-house-fabian-tan-architect&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

NimueIntroductionFor three semesters, our student team has been hard at work on the prototype for Nimue, a 3D platformer in which you play an enchanted princess who lost her memories. She needs to find her way through the castle ruins on a misty lake to uncover her past. Water is a visual core element of this game prototype, so we took extra care in its development. In this article, we will take an in-depth look at the design and technical implementation of a lake water material.The first prototype of Nimue can be played on itch.io soon. A link to our shader for use in your own projects can be found at the end of this article.Taxonomy of WaterBefore we dive into the design decisions and technical implementation, we present a simplified taxonomy of visual water components to better understand the requirements of its representation:RiMEWind WavesWaves generated by wind, which form on an open water surface, can be divided into capillary waves and gravity waves. Capillary waves, or ripples, are small, short-wavelength waves caused by weak winds affecting surface tension in calm water. They can overlap longer and larger gravity waves. How these physically complex wave types are represented in stylized video games varies depending on the respective style. Both types are usually heavily simplified in form and motion, and capillary waves are sometimes omitted entirely to reduce detail.Sea of ThievesFoam PatternsFoam patterns refer to white foam crests that form on a water surface without breaking against an obstacle or shoreline. In reality, this effect occurs when different water layers collide, and waves become steeper until their peaks collapse, and the resulting bubbles and drops scatter the sunlight. Stylized foam patterns can be found in many video game water representations and can easily be abstracted into patterns. Such patterns contribute to a cartoon look and can sometimes even replace waveforms entirely.The Legend of Zelda: The Wind WakerFoam LinesFoam lines are a very common water element in video games, represented as white graphical lines surrounding shorelines and obstacles like rocks. They typically reference two different water phenomena: foam forming around obstacles due to wave breaking, and foam along shorelines, resulting from wave breaking and the mixing of algaes with organic and artificial substances.Foam lines can have different visual appearances depending on the surface angle: The shallower the angle, the wider the foam effect. Due to the weaker waves, distinctive foam lines are rarely observed on natural lakes, but they can be included in a stylization for aesthetic purposes. Animal Crossing: New HorizonsReflectionsWhen light hits a water surface, it can either be reflected (specular reflection) or transmitted into the water, where it may be absorbed, scattered, or reflected back through the surface. The Fresnel effect describes the perceived balance between reflection and transmission: at steep angles, more transmitted light reaches the eye, making the water appear more translucent, while at shallow angles, increased reflection makes it appear more opaqueIn stylized video games, implementations of water reflections vary: RiME, for example, imitates the Fresnel effect but does not reflect the environment at all, only a simple, otherwise invisible cube map. Wind Waker, on the other hand, completely foregoes reflection calculations and renders a flat-shaded water surface.RiMETranslucencyAs an inhomogeneous medium, water scatters some of the transmitted light before it can be reflected back to the surface. This is why water is described as translucent rather than transparent. Some scattered light is not reflected back but absorbed, reducing intensity and shifting color toward the least absorbed wavelengths, typically blue, blue-green, or turquoise. Increased distance amplifies scattering and absorption, altering color perception. Modern real-time engines simulate these effects, including absorption-based color variation with depth. However, stylized games often simplify or omit transmission entirely, rendering water as an opaque surface.RiMERefractionAn additional aspect of water transmission is refraction, the bending of light as it transitions between air and water due to their differing densities. This causes light to bend toward the normal upon entering the water, creating the apparent distortion of submerged objects. Refraction effects also commonly appear in stylized water rendering. Kirby's Forgotten Land, for example, showcases two key visual characteristics of refraction: distortion increases with steeper viewing angles and is amplified by ripples on the water's surface.Kirby and the Forgotten LandCausticsCaustic patterns form when light rays are focused by a curved water surface (caused by waves and ripples), projecting bundled light patterns onto underwater surfaces or even back to surfaces above water. These patterns are influenced by the clarity of the water, the depth of the water, and the strength of the light source. They contribute greatly to the atmosphere of virtual worlds and are often found in stylized games, although only as simplistic representations.The Legend of Zelda: Ocarina of Time 3DDesign DecisionsDue to the fact that the setting of Nimue is a lake with a calm overall atmosphere, the decision was made to use very reduced gravity waves, as a calm water surface underlines this atmosphere. Capillary waves have too high a level of detail for the stylistic requirements of Nimue and were, therefore, not implemented.NimueShapesThe mood in Nimue can be summarized as calm and mystical. The design language of Nimue is graphic, rounded, and elegant. Shapes are vertically elongated and highly abstracted. Convex corners are always rounded or have a strong bevel, while concave corners are pointed to prevent the overall mass of objects from becoming too rounded.ColorsNimue uses mostly broken colors and pastels to create a serene, reflective mood and highlight the player's character with her saturated blue tones. Platforms and obstacles are depicted with a lower tonal value (darker) to increase their visibility. Overall, the game world is kept in very unsaturated shades of blue, with the atmospheric depth, i.e., the sky and objects in the distance, falling into the complementary orange range. Shades of green and yellow are either completely avoided or extremely desaturated. The resulting reduced color palette additionally supports the atmosphere and makes it appear more harmonious.Color gamut & value/tone tests Hue, Tone & SaturationSince the color of the water, with its hue, tone, and saturation, is technically achieved by several components, a 2D mockup was first designed to more easily compare different colors in the environment. Here it could be observed that both the low and the high tonal value formed too great a contrast to the rest of the environment and thus placed an undesirable focus on the water. Therefore, the medium tone value was chosen.The hue and saturation were tested in relativity to the sky, the player character, and the background. Here, too, the color variant that harmonizes the most with the rest of the environment and contrasts the least was chosen.Foam LinesFor the design of the foam lines, we proceeded in the same way as for the color selection: In this case, a screenshot of the test scene was used as the basis for three overpaints to try out different foam lines on the stones in the scene. Version 3 offers the greatest scope in terms of movement within the patterns. Due to this, and because of the greater visual interest, we opted for variant 3. Following the mockup, the texture was prepared so that it could be technically implemented.ReflectionThe reflection of the water surface contributes to how realistic the water looks, as one would always expect a reflection with natural water, depending on the angle. However, a reflection could also contribute to the overall appearance of the water becoming less calm. The romantic character created by the reflection of diffuse light on water is more present in version 1.In addition, the soft, wafting shapes created by the reflection fit in well with the art style. A reflection is desirable, but the reflections must not take up too much focus. Ideally, the water should be lighter in tone, and the reflections should be present but less pronounced. Reflection intensityRefraction & CausticsEven though most light in our water gets absorbed, we noticed an improvement in the believability of the ground right underneath the water's surface when utilizing refraction together with the waveforms. When it comes to caustics, the diffuse lighting conditions of our scene would make visible caustic patterns physically implausible, but it felt right aesthetically, which is why we included it anyway (not being bound to physical plausibility is one of the perks of stylized graphics).Technical Realization in Unreal Engine 5When building a water material in Unreal, choosing the right shading model and blend mode is crucial. While a Default Lit Translucent material with Surface Forward Shading offers the most control, it is very costly to render. The more efficient choice is the Single Layer Water shading model introduced in Unreal 4.27, which supports light absorption, scattering, reflection, refraction, and shadowing at a lower instruction count. However, there are some downsides. For example, as it only uses a single depth layer, it lacks back-face rendering, making it less suitable for underwater views. And while still quite expensive by itself, its benefits outweigh the drawbacks of our stylized water material.WaveformsStarting with the waveforms, we used panning normal maps to simulate the rather calm low-altitude gravity waves. The approach here is simple: create a wave normal map in Substance 3D Designer, sample it twice, and continuously offset the samples' UV coordinates in opposing directions at different speeds. Give one of the two samples a higher speed and normal intensity to create a sense of wind direction. This panning operation does not need to run in the fragment shader, you can move it to the vertex shader through the Vertex Interpolator without quality loss and thereby reduce the instruction count.Texture RepetitionTo reduce visible tiling, we used three simple and fairly efficient tricks. First, we offset the UVs of the Wave Samplers with a large panning noise texture to dynamically distort the wave patterns. Second, we used another sampler of that noise texture with different tiling, speed, and direction to modulate the strength of the normal maps across the surface. We sampled this noise texture four times with different variables in the material, which is a lot, but we reused them many times for most of the visual features of our water. Third, we sampled the pixel depth of the surface to mask out the waves that were far from the camera so that there were no waves in the far distance.Vertex DisplacementWhile these normal waves are enough to create the illusion of altitude on the water surface itself, they are lacking when it comes to the intersections around objects in the water, as these intersections are static without any actual vertex displacement. To fix that, two very simple sine operations (one along the X-axis and the other on the Y-axis) were added to drive the World Position Offset of the water mesh on the Z-axis. To keep the polycounts in check, we built a simple blueprint grid system that spawns high-res plane meshes at the center in a variable radius, and low-res plane meshes around that. This enables the culling of non-visible planes and the use of a less complex version of the water material for distant planes, where features like WPO are not needed.ColorThe general transmission amount is controlled by the opacity input of the material output, but scattering and absorption are defined via the Single Layer Water material output. The inputs Scattering Coefficients and Absorption Coefficients, which are responsible for reproducing how and how far different wavelengths travel through water, are decisive here. We use two scattering colors as parameters, which are interpolated depending on the camera distance. Close to the camera, the blue scattering color (ScatteringColorNear) dominates, while at a distance, the orange scattering color (ScatteringColorFar) takes over. The advantage is a separation of the water's color from the sky's color and, thus, higher artistic control.Reflections & RefractionReflections in the Single Layer Water shading model are as usual determined by the inputs for Specular (reflection intensity) and Roughness (reflection diffusion). In our case, however, we use Lumen reflections for their accuracy and quality, and as of Unreal 5.4, the Single Layer Water model’s roughness calculation does not work with Lumen reflections. It forces mirror reflections (Roughness = 0), no matter the value input, leaving the specular lobe unaffected. Instead, it only offsets the reflection brightness, as the specular input does.For our artistic purposes, this is fine, and we do use the roughness input to fine-tune the specular level while having the specular input as the base level. A very low value was set for the specular value to keep the reflection brightness low. We further stylized the reflections by decreasing this brightness near the camera by using the already mentioned masking method via camera to interpolate between two values (RoughnessNear and RoughnessFar). For refraction, the Pixel Normal Offset mode was used, and a scalar parameter interpolates between the base refraction and the output of the normal waves.CausticsFor the caustic effect, we created a Voronoi noise pattern by using Unreal's Noise node and exporting it with a render target. In Photoshop, the pattern was duplicated twice, rotated each, colored, and blended. This texture is then projected on the objects below by using the ColorScaleBehindWater input of the Single Layer Water Material output. The pattern is dynamically distorted by adding one of the aforementioned panning noise textures to the UV coordinates.FoamlinesWe started by creating custom meshes for foam lines and applied the earlier texture pattern, but quickly realized that such a workflow would be too cumbersome and inflexible for even a small scene, so we decided to do it procedurally. Two common methods for generating intersection masks on a plane are Depth Sampling and Distance Fields. The first works by subtracting the camera's distance to the water surface at the current pixel (i.e., the "PixelDepth") from the camera's distance to the closest scene object at that pixel (i.e., the "SceneDepth"). The second method is to use the node "DistanceToNearestSurface" which calculates the shortest distance between a point on the water surface and the nearest object by referencing the scene's global distance field. We used both methods to control the mask width, as each alone varies with the object's surface slope, causing undesirable variations. Combining them allowed us to switch between two different mask widths, turning off "Affect Distance Field Lighting" for shallow slopes where narrower lines are wanted.The added mask of all intersections is then used for two effects to create the foam lines: "edge foam" (that does not depart from the intersection) and "edge waves" (which go outwards from the edge foam). Both are shaped with the noise samplers shown above to approximate the hand-drawn foam line texture.Foam PatternsThe same noise samplers are also used to create a sparkling foam effect, loosely imitating whitecaps/foam crests to add more visual interest to the water surface. Since it only reuses operations, this effect is very cheap. Similarly, the wave normals are used to create something like fake subsurface scattering to further distinguish the moving water surface. Interactive RipplesA third type of foam is added as interactive waves that ripple around the player character when walking through shallow water. This is done through a Render Target and particles, as demonstrated in this Unity tutorial by Minions Art. The steps described there are all easily applicable in Unreal with a Niagara System, a little Blueprint work, and common material nodes. We added a Height to Normal conversion for better visual integration into our existing wave setup. Finally, here are all those operations combined for the material inputs:NimueBest PracticesUse Single Layer Water for efficient translucency, but note it lacks back-face rendering and forces mirror reflections with Lumen;For simple low-altitude waves, pan two offset samples of a normal map at different speeds; move panning to Vertex Shader for better performance;Break up texture tiling efficiently by offsetting UVs with a large panning noise, modulating normal strength, and fading distant waves using pixel depth;Sampling one small noise texture at different scales can power this and many other features of a water shader efficiently;If high-altitude waves aren't needed, a simple sine-based WPO can suffice for vertex displacement; implement a grid system for LODs and culling of subdivided water meshes;Blend two scattering colors by camera distance for artistic watercolor control and separation from sky reflections;Combining depth sampling and distance fields to derive the foam lines allows for more flexible intersection widths but comes at a higher cost. Further ResourcesHere are some resources that helped us in the shader creation process:General shader theory and creation: tharlevfx, Ben Cloward;Interactive water in Unity: Minions Art;Another free stylized water material in Unreal by Fabian Lopez Arosa;Technical art wizardry: Ghislain Girardot.ConclusionWe hope this breakdown of our water material creation process will help you in your projects.If you want to take a look at our shader yourself or even use it for your own game projects, you can download the complete setup on Gumroad. We look forward to seeing your water shaders and exchanging ideas. Feel free to reach out if you have any questions or want to connect.Kolja Bopp, Academic SupervisorLeanna Geideck, Concept ArtistStephan zu Münster, Technical Artist