INDA Newsletter 2015-2016

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A R C H I T E C T U R E INDA NEWSLETTER ACADEMIC YEAR 2015-2016

Director’s Statement 01 / Calendar of Events 01 / Faculty News 02 / A Conversation with Faculty 03 / Design Experimentation Workshop 07 / Life and Culture 14 / Studio Work Year I 16 / Studio Work Year II 20 / International Workshop 25 / Experiencing Architecture 26 / Academic Events 30 / Competitions and Awards 32 / Studio Work Year III 34 / Studio Work Year IV 38 / Design Build and Design Construction Projects for Community 44 / Exchange Programs 48 / A Conversation with Alumni 51 / Alumni Works 55 / Alumni Survey 56 / Admissions 58

DIRECTOR’S STATEMENT INDA was first launched in 2006 and as we complete the 2015 academic year, it marks the 10th year anniversary since we have opened the program to both local and international students. We are now a community of 340 students, 40 instructors and 10 administrative staff, with 15 nationalities represented. We are celebrating our success. How do we measure our success? Our admission applications are increasingly competitive. Our graduates gain employment both in Thailand and abroad and many have been accepted to worldrenowned graduate schools such as MIT, Harvard University and the Architectural Association. Last but not least, our students and alumni have garnered awards from design competitions both locally as well as internationally.

The INDA curriculum management has been strengthened under the leadership of Dr. Scott Drake and the team of year coordinators. They and the instructors are always developing new initiatives to take INDA forward. Education is not only in the classroom and we strive to bridge between the academic and the real world. We enhance creativity and innovation through collaborations; our colleagues include international faculty members, governments, businesses and corporations as well as nonprofit organizations and foundations. We are passionate about embracing and designing for local communities.

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While international programs should address global, regional and national issues, the INDA curriculum allows both faculty and students to create projects that are to their own interests. We are responsible in instilling our students not only with knowledge and skills, but also with social responsibility. INDA is unique because the program responds to current issues and interests, particularly within the context of Asia. A diverse and dynamic extra-curricula program is achieved through six Design Experimentation Workshops, six study abroad programs and up to ten Design Build projects each year.

This totals twenty two projects in addition to INDA’s already comprehensive core curriculum courses. Added to this, over 40 INDA students go abroad to exchange

programs and 20 incoming foreign students study at INDA each year. Acknowledgement must be given to the dedicated INDA administration staff who assist in facilitating and supporting this wide range of activities.

Particular gratitude goes to my Deputy Director, Assistant Professor Pornprom Mannontarat.

As we complete our 10th year anniversary at INDA, we are proud to have developed into a dynamic and rigorous academic environment with a strong focus on creativity and learning.

Preechaya Sittipunt Program Director International Program in Design and Architecture Faculty of Architecture, Chulalongkorn University

CALENDAR OF EVENTS A U G U S T 20 15 th

S E P T EMBER 2015

OCTOBER 2015

NOVEMBER 2015

10 : First day of Semester 1 20th: Wai Kru Ceremony 28th: INDA Assembly

12 : Sil Jum Ceremony 28th September - 2nd October: Midterm exams

5 - 9 : Studio midterm reviews

16th - 17th: CU Open House 28th: Last day of class 30th: Year 1 Final Review

D E C E M BE R 20 15

J A N U ARY 2016

FEBRUARY 2016

APRIL 2016

1st: Year 2 Final review 2nd: Year 3 Final review 4th: Year 4 Final review 1st-15th: Final exams 16th: Semester ends

4th - 7th: Legacies and Futures - roundtable discussions with Parsons School of Design 9th - 17th: Design Experimentation Workshops (DEX) - More than Textures - Narrative Architecture - Poetic Detail - Projections - Thick Pattern

23rd - 24th : Studio midterm reviews 28th : INDA admission interviews 29th - 4th March: Midterm exams

8th: Faculty Songkran Day 8th: Design Competition of Educational Architecture Lecture by Paul Chu, Department Head, Faculty of Architecture, Chu Hai College, Hong Kong 30th: Last day of class

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11th - 15th: University Games 18th : First day of Semester 2 17th - 22nd: City X Disaster Workshop with NYIT and UMPRUM

M A Y 2 01 6 nd

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6 : First day of summer school June - August: Design Build / Design Construction Projects for Community - Hop Learning Center, Mae Sot, Thailand - Pleng Kong Nong, Khao Yai, Thailand - Kaolhungbaan, Chiang Mai, Thailand - The Sound of Silence, Bangkok, Thailand - Ignition Portal, Penafiel, Portugal - Rama 9 Community Children Development Center, Bangkok, Thailand - Urban Safari, Tolox, Spain - Thai Bamboo International, Phetchaburi, Thailand June - July: Experiencing Architecture - Italy - New York City - California - Berlin and northern Germany - Copenhagen

AUGUST 2016 8th: First day of Semester 1, Academic Year 2016-2017 2nd - 8th: Design Experimentation Workshop with Meiji University, Tokyo - Restructuring Existing Urban Context 26th: INDA Assembly 2016

Di recto r ’ s S ta tem en t / C al en da r of Ev en ts

2 - 6 : INDA Parade 2016 2nd-17th: Final exams 15th - 4th June: International Workshop at Parsons School of Design, New York City 18th: Semester ends

J U N E /JULY 2016

CHANGING OF THE GUARDS

WILL PATERA

YEAR 1 COORDINATOR

TIJN VAN DE WIJDEVEN

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IT ADMIN

LARA LESMES

YEAR 2 COORDINATOR

PATRICK DONBECK

FREDRIK HELLBERG

YEAR 3 COORDINATOR

ALICIA LAZZARONI

DESIGN EXPERIMENTAL WORKSHOP

ERIC WATTANACHOTE

YEAR 4 COORDINATOR

ANTONIO BERNACCHI

YARINDA BUNNAG

FACULTY

Over the past several years, INDA has positioned itself as a unique and experimental program in design and architecture. The ongoing commitment of instructors and administrators has allowed INDA to grow into one of the strongest of its kind in the region. Most notably, the team of director and coordinators has played a crucial role in continuously developing its academic framework. During the previous academic year, Will Patera, Lara Lesmes, Fredrik Hellberg and Yarinda Bunnag have been paving the road for a new team of coordinators to take over.

Will Patera was Year 1 coordinator between 2012 and December 2015. He has been responsible for introducing students to fundamentals of design in the first year design studio course and created a comprehensive system of digital administration. Will handed over his tasks to Tijn van de Wijdeven in order to fully focus on his successful company Pupil Labs (www.pupil-labs.com) which develops eye tracking softwares and hardwares.

Lara Lesmes was Year 2 coordinator between 2013 and 2016. She has been responsible with introducing students to discourse on design and research in design studio. Furthermore, Lara organized the annual guest lecture program and created new graphic standards of INDA. Lara handed over her tasks to Patrick Donbeck.

Fredrik Hellberg was Year 3 coordinator between 2014 and 2016. He developed a studio program which introduced students to design, analysis and research in large scale architectural projects. Fredrik has been coordinating the annual DEX workshops and Alicia Lazzaroni has been taking over coordination of Year 3 since the start of 2016.

Lara and Fredrik are leaving INDA and Bangkok to teach an intermediate unit at the Architectural Association School of Architecture in London.

Yarinda Bunnag has been Year 4 coordinator since 2012. She has been advising discourse of a wide variety of option studio briefs. She will continue to coordinate the international workshop program and Experiencing Architecture for INDA. As for Year 4, Yarinda will be handing over her coordination tasks to Antonio Bernacchi over the fall of 2016 to focus on her practice at Hypothesis Design Agency (www.hypothesis.co.th).

REORIENTXPRESS After a twenty year break, Milan is again hosting the Triennale Design International Exhibition. This year’s 21st edition aims to investigate future evolutions of design in all its scales and directions under the title, Design after Design.

INDA faculties Antonio Bernacchi and Alicia Lazzaroni have been selected through an open call for young designers to contribute with an interview project called Reorientxpress (www.reorientxpress.com), which is a journey of dialogues with designers and a wide range of other actors involved in the process of transformations of ‘urban’ environments.

It has been an itinerant project across south and east Asia, developed along a journey, mostly over land, which started in Singapore in January 2015 and ended in Ulaanbaatar, Mongolia in July 2015. An initial preliminary chapter was completed in Java, Indonesia in November 2014.

Traveling through 13 countries (Indonesia, Singapore, Malaysia, Thailand, Cambodia, Vietnam, Laos, Myanmar, Sri Lanka, India, Hong Kong, China and Mongolia) for more than 20,000 km., Reorientxpress has collected the point of view of 90 contributors of different backgrounds, cultures, disciplines, ages and races.

The dialogues focused on specific topics that are crucial in the ‘urban age’, outlined by dichotomies of concepts that usually reveal different approaches between East and West in areas such as planning, preservation and collective imaginary.

NEWS

Through the conjunct interpretation of the fragments ‘a posteriori’, the project aims to give a more holistic view of this critical moment in urban dynamics while also promoting a collective reflection between a transnational network of professionals and thinkers.

The editing of the videos for Milan Triennale has been developed with the collaboration of INDA students and alumni P. Wannasawang, N. Lasavanich and K. Vanapruks.

PLASTIC LANDSCAPE Pau Sarquella won in June 2016 the prestigious Silver Delta ADI Award 2016 (http://www.adifad.org/premis/archives/) in recognition to his design Persiana Barcelona (www.persiana-barcelona.com). The jury was presided by Jasper Morrison.

Plastic Landscape, an ephemeral exhibition designed by Pau and Carmen Torres, was shortlisted in the prestigious FAD Architecture Awards 2016, the XII Spanish Architecture and Urbanism Biennale, the Girona Architecture Awards and in the Emporia National Ephemeral Architecture Awards.

F a c u lt y Ne ws

Pau Sarquella was nominated together with 25 international young architects as a candidate to the Rolex Mentor and Protege Arts Initiative (http://www. rolexmentorprotege.com).

A CONVERSATION FACULTY

For our 10th anniversary newsletter publication, we asked our faculty members, old and new, about their thoughts on INDA and the architectural education provided as well as the challenges of teaching architectural education in today’s rapidly changing

WITH world. Each of the faculty members interviewed provided a different perspective on the questions and allows us to reflect on how far INDA has come, and perhaps more importantly, what direction INDA will take into the future.

PARTICIPANTS

My name is Tijn van de Wijdeven.

(BSc HAN U. of Applied Science, AADipl) I am from the Netherlands and completed my undergraduate studies there, then went on to complete the diploma program at the AA. I worked for several years before coming to teach in Bangkok in 2013. I am coordinating the first year program, and have been teaching first to fourth year design studios thus far. I have also taught several Design Build studio courses.

My name is Patrick Donbeck.

(BArch Pratt) I am from the United States and I was teaching at the Pratt Institute for two years before I moved to Bangkok in December 2015. I’ve been at INDA since January 2016 where I taught first to third year design studios and have also been doing some Design Build courses.

I am currently coordinating the second year program.

My name is William Patera, or Will.

(BArch Cornell, SMArchS MIT) I started at INDA in 2008 and have been coordinating and teaching in the first year program in addition to teaching fourth year option studios and other workshops.

I am Yarinda Bunnag, or Nina.

(BArch Cornell, MArch Harvard) I started teaching at INDA in 2009

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I am Pratana Klieopatinon, or Pat. (BArch Texas Tech, MSAAD Columbia) I’ve been at INDA for eight and a half years. I started when the first group of students were in their second year in February 2008. I was teaching second year studio in the beginning and then moved on to teaching other courses.

and took a sabbatical for two years to continue my graduate studies at Harvard. I am the coordinator of the fourth year program and have also taught first year classes. I’ve also

coordinated Design Experimentation workshops, international workshops and Experiencing Architecture trips. Will and I have also carried out two international Design Build workshops in Berlin.

WHAT DO YOU THINK ARE THE KEY CHARACTERISTICS OF INDA? Pat: I would say one thing is diversity.

This exists amongst the students and the teachers, which is a great strength within the school. When students and teachers work together in a diverse range of studios and design approaches, their strengths and their focus come together and that benefits everyone.

The instructors also come from various backgrounds and places so it enhances this diversity even more.

Tijn: I was thinking youthful. This is not meant in a literal way of how people are young, but that there is a youthful character here and in the sense of being self-critical and willing to constantly develop and revolutionize. There is a certain dynamic in the school, that as INDA celebrates its 10th year anniversary, it remains young through a continual growth and reinvention. This happens every semester, every new year, through all kinds of inventory of people that the courses gather and at the same time opens up opportunities, I think, to critically rephrase ourselves.

“WHEN STUDENTS AND TEACHERS WORK TOGETHER IN A DIVERSE RANGE OF STUDIOS AND DESIGN APPROACHES, THEIR STRENGTHS AND THEIR FOCUS COME TOGETHER AND THAT BENEFITS EVERYONE.” members are willing to learn something different from one another while our students are very receptive of such agility.

“THERE IS REALLY A POTENTIAL TO THINK ABOUT EDUCATION IN A WAY THAT AT ITS CORE IS HOW YOU SHOULD BALANCE A DISCOURSE OR PRESCRIBE A STRUCTURE, WHERE IT’S LEFT TO STUDENTS TO INVENT, OR REINVENT THEMSELVES.”

HOW DOES INDA APPROACH DESIGN EDUCATION? WHAT IS OUR MAIN MISSION AND PEDAGOGY? Nina: Although it’s a program in design and architecture, I think we typically use architectural education as means to teach design education.

Patrick: I think there’s something to that. When I was first interning, I did regret not doing a smaller scale project in school, whether it be products or

A Co nv er s a tio n wi th F a c u lty

Patrick: Continuing on from what has been said, maybe agile is the word that comes to mind as a consequence of

the diverse faculty which comes from around the world and the fact that ours is a young faculty. I think it also benefits us that not everyone is interested in the same type or style of architecture. We simply don’t get stuck in one method of teaching and learning. Our faculty consists of a diverse mixture of the old and the new and the young. This makes me sort of happy, where our faculty

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“TEACH THE STUDENTS THE VALUE OF PROCESS. IN A LOT OF THE STUDIO PROJECTS THAT WE DO, PROCESS BECOMES EVEN MORE IMPORTANT THAN THE FINAL OUTPUT, BECAUSE THAT’S WHERE LEARNING HAPPENS.”

A Co nv er sa ti o n wit h F a c u l ty

interior designs. However, I was also comforted by the idea that once you’ve been educated at a larger scale, then somehow smaller scales are more approachable and it simply does not work in the opposite direction. So I think especially in first year, it’s not exclusively about architectural projects, we did food cart design, which is sort of on the border of architecture and product. In my own studio group, I would always push them towards architectural ideas, even if they were non-architectural projects. So trying to push architecture but also trying to question what architecture is at the same time is critical here. Again, I think that each faculty has their own micro-understanding of how architecture could be, and it seems to always be under constant development.

Pat: I’ve always tried to focus on making sure that students learn to ask the right questions and investigate their own ways of answering their own questions, and being critical about the reciprocals of the relationship between the question and the answer. Often, finding an answer to a problem will require you to rephrase the question or look at the problem from different perspectives. So in the end, it’s always about how the design proposal addresses your own question. It’s only as good as the question you ask.

Tijn: The way I have learned to look at it and that’s something that can be accredited to INDA, is that our pedagogy allows students to question themselves, question their own thinking.

In this process, as an instructor, I learn a lot as well from working to set the right criteria, the right constraints or clarifying

Nina: I think another thing that’s very important that we, in general, emphasize in terms of studio projects is to teach the students the value of process. Typically when people think about design, it’s very product-oriented or output oriented, but in a lot of the studio projects that we do, process becomes even more important than the final output, because that’s where learning happens.

Will: I think that it’s really important to talk about how to make problems rather than solve problems, and how to ask questions and just generally be curious in a structured way. Whether this curiosity is about process, technique, about concepts or whether it’s even focusing on a final product, it is important that this engagement is instilled at an early age to try and question the world around them, to develop different ways of seeing. There are of course

the right questions. In the case of the start of an individual’s design career, asking questions is about demarcating, clarifying what is to be questioned or in what sort of terms should the design briefs be evaluated, without necessarily determining what is a specific aesthetic or style. I feel, at least in first year studios, and this could be applied to the other years, there is really a potential to think about education in a way that at its core is how you should balance a discourse or prescribe a structure, where it’s left to students to invent, or reinvent themselves.

Patrick: I think first year is really the most important in this way, as it’s when you teach them how to think, right? This is also when the students are more open and you can teach them how to look at things more closely.

other ways of thinking about design education, but this approach has proven to be productive, and it’s kind of a classic design pedagogy to talk about constraints, it’s very Bauhaus in a way, to work through a set of constraints.

Whether you’re constraining for the method of production or whether you’re constraining it for a conceptual goal or a series of geometries that you’re working with.

AS AN INTERNATIONAL SCHOOL IN THAILAND, ONE OF THE MAIN TOPICS THAT INDA HAS TRIED TO ADDRESS IS THE CONNECTION BETWEEN LOCAL VERSUS GLOBAL CONTEXTS. HOW DO WE GO ABOUT DOING THIS? DO YOU THINK WE’VE ACHIEVED A BALANCE?

“TECHNOLOGY IS REALLY ABOUT THE RELATIONSHIP BETWEEN PEOPLE, AND THE EXCHANGE BETWEEN PEOPLE. PEOPLE BUILD TOOLS, SO, IN THE END, IT’S A SOCIAL ACTIVITY THAT NEEDS TO BE CRITICALLY ADOPTED, JUST LIKE EVERYTHING ELSE.”

Tijn: My interpretation on the local to global aspect is demonstrated in the Design Build or Design Construction Projects for Community. I think it is a very interesting and unique example of what INDA has been able to develop to move from more theoretical studio based projects to translating that into the process of designing a real project concerning communities in Thailand and using the environment or context for inquiry and problem solving in design. In addition to this, I think the traditions or experience from instructors from around the world comes into this question.

about a specific community is in a way, something that is very personal—maybe I could be contextualizing this—things that are very personal, to me, are local or private. Gaining these local insights and personal knowledge that happens in a project, whether it’s learning about a community, or about using a particular material, or whether it’s about working with a specific fabricator, addresses the local challenges of trying to see a project realized. While the student body and the faculty already have a lot of global knowledge, I think this is interesting to think about a different interpretation of what local is, at least from my perspective.

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WITH THE SPEED OF INFORMATION AND TECHNOLOGICAL DEVELOPMENT TODAY, HOW SHOULD ARCHITECTURE AND DESIGN BE TAUGHT?

Patrick: I think there’s something particular about international schools in Thailand, in our case INDA, that is different from other architecture schools in that the local Thai students, and the tradition and culture of Thailand, is still the dominant context in which the school operates. However, this comes together with a range of instructors from varying backgrounds to form a unique identity.

Here, the students are sort of the local anchor and we, the faculty, have this global reference from our education and experiences from other parts of the world and it makes for an interesting exchange of perspectives and ideas.

Pat: For me, the connection between these two aspects is the contrast between local and global methods of learning. The traditional culture of learning for the majority of local Thai students is to be very accepting of what they’re told and what they’re taught, then by contrast, they enter this creative field and are being allowed to question and in fact, encouraged to question the world around them. Again, as an example, something like the food cart, which is something they’re so familiar with, but then being asked to look at this everyday object from a brand new perspective. So the way of learning or the way of looking at things from—I don’t know if I should call it a Western way—is challenging to them.

Will: I think in the past, we’ve faced this issue a few times in the first year Design Tools & Skills class of trying to think about, “Do you teach tools or do you teach methods that happen to use certain tools?” and the real question for me, in this class was, “Why would you choose a certain tool to work with?” or, “What does that tool mean for the project, or the work that you’re doing? What’s the meaning of the tool you’re using, and why?” I agree, I don’t think it is so useful to try to predict the future of what the practice is going to be, or what the world is going to be in four years, or five years, or ten years, and try to prepare them, but rather focus on asking really good questions.

If you ask really good questions and pose really challenging and interesting problems to the students, then when the time comes, they will be creative enough to be able to adapt, rather than the school constantly trying to catch up.

It’s a losing battle to try to be in fear of, “Am I ready for practice? Am I ready for this?” In the end, we should be the ones defining the future for ourselves.

If you’re someone who’s working with hand drawings or charcoal drawings and building stuff by hand, with no quote to modern technology, you might be even more advantaged than those who are prescriptively learning the preset tools that are given to them. Technology is really about the relationship between people, and the exchange between people. People build tools, so, in the end, it’s a social activity that needs to be critically adopted, just like everything else.

Pat: It goes back to answering the question, “Do you know what the problem is? What tools did you choose to help answer that question?” I don’t mind the form that the answer comes in, as long as it addresses the most important issues.

“IT’S REALLY IMPORTANT TO TALK ABOUT HOW TO MAKE PROBLEMS RATHER THAN SOLVE PROBLEMS.” Will: It comes in so many ways, I was thinking about the prior discussion about local, global, and about technology and education and it reminds me of this book called The Shock of the Old, which is about innovation versus implementation and it looks at developing and emerging economies and how they reuse the developed economy’s technology, but are still incredibly innovative. One of the examples in the book, which is again probably extremely familiar for a person that grows up in Thailand is the longtail boat; which is an incredible piece of innovation, because they’re using a standard diesel truck engine and an axle, parts that are rudimentary, and combine these with a traditional Thai river or canal boat to innovate and create something new. For me, I think it’s tying those questions together—local, global— that’s a global and a local problem. For some people that are visiting, they’d be like, “Wow that’s amazing, I’ve never seen something like that before,” someone who’s familiar, or local, would see that and say, “Why is that so special? Why would I ever want that?

It’s noisy and it’s dirty, it’s not special.”

I think having a global perspective, or being able to ask broader questions, maybe encourage one to see why that is amazing, from those who are familiar

with it. So there’s innovation even if you’re not at what you consider to be the cutting or the leading edge of the technical world.

Nina: Going back to the question about technology and teaching tools – there are some students or even alumni that are concerned whether a four year program would ready them for a typical corporate office work. We tend to get comments from larger offices saying, “You should teach them Autocad and BIM softwares,” and all these other conventions, so once they get into the office they would be able to start working immediately. What do you think about that?

Patrick: There are two sides to this, I mean, I don’t think a design studio is the greatest place to teach BIM modeling. On one hand you do want to prepare them for working in an office, but at the same time, I would say I was not prepared for an office and every office works differently, so how do you prepare them for this? It is partly the responsibility of the office to train their staff for three months or longer. Time is precious, especially in a four year program, and I think you’re better to teach students how to think critically,

A Co nv er s a tio n wi th F a c u lty

I think it’s interesting to think about what local is today, because there’s so much access to information, images, text, that is shared so widely and rapidly that local is almost like the unpublished secrets. For example, I think learning

Patrick: I think the faculty has to be aware that the incoming first year class, from the moment they enter first year, it will be different by the time they graduate. So I think there can’t be too much focus on getting them familiar with the current latest and greatest technology, because this will transform very quickly. I think it goes back to trying to focus on those critical thinking skills rather than just teaching the tools.

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rather than preparing them to be a CAD monkey.

Tijn: I refer to my own education, particularly my first degree, which I would say was ‘highly traditional’.

Traditional in the sense that what I was taught, literally from day one to the last day was really based on standards: on drawing standards and taking a piece of vellum, literally tracing construction details of wooden joinery, that I realized the year after, were already outdated.

So the books we were ‘forced to buy’ on Dutch technological conventions were already outdated by the time that they were meant to be used. So I think while the question deals with technology, it also deals with standards, or teaching standards, and how they are applied. Conversely, despite how certain technologies might become redundant over time, these standards or methodologies allowed me to evaluate

what I am good at and what I want to learn, in specific relation to the tools, standards and conventions. When I went on to further study at the AA, I felt a degree of confidence for at least having been exposed to some degree of standard that I could understand in very straightforward ways, how to cut through an object or a building, how to apply architecture conventions, this allowed me to be able to produce a drawing where I felt—without comparing to every student who went through an entire AA discourse—they did not have that advantage. So the challenge in general, is more about conventions or how are you taught certain tools or understanding

and how at INDA we allow for that to be applied.

Pat: It could be a good idea to offer a fourth year option studio that specializes in learning a tool or a software. In this case, it would not be about learning standard

commands or functions of what the tool could do, but a course that would allow the student to really explore the potential of the tool and work with it in a much more critical and meaningful way. The outcome then, would be something that is beyond conventional.

Will: Learning the tools could be as straightforward as watching a couple of video tutorials and then diving into the project. It’s often difficult to just jump into the deep end, but that’s a really good way to learn, particularly if you already know the meta rules of learning. The most fundamental quality that we hope to instill in students is learning how to learn.

A Conversation with Faculty

“THE MOST FUNDAMENTAL QUALITY THAT WE HOPE TO INSTILL IN STUDENTS IS LEARNING HOW TO LEARN.”

Interview by: Yarinda Bunnag Location: The Commons, Thonglor Photographs by: Teerapol Aramruangsakul

DE 00

SIGN EX

Material rendering experiments by Phantira Maneejak.

S u bje c t Ca teg or y

PERI MENTA TION WORK SHOP

08 De si gn E x per i m ent a tio n Wo r k sh o p

Composition with material maps by Nisarat Kudnampornlert.

MORE THAN TEXTURE Instructor: Ivan Bernal, Southern California Institute of Architecture, Los Angeles

Since digital tools became a main driver in architecture in the early 1990’s, surface shaders have evolved with computational power and versatility. Beginning with simple opaque shaders, such as Lambert’s to architecturally correct material to custom face coding and mapping, we have witnessed a direct connection between computational advancement to surface shader complexity. Designers now have the capacity

to engage and emphasize their surface shader intentions with as much complexity as they can imagine, turning it into a very crucial tool in the architect’s design repertoire. The workshop explored the possibilities that animation techniques can play in the relationship between shape and texture. By adding mutation to mass and texture, the dynamic and unexpected results generated by the constant change of the two parts

can be investigated. The goal of the workshop was to explore the relationship between shape and the texture mapped onto its surface, trying to avoid the highly realistic material driven form of representation. The results allowed students to explore the unconventional qualities that arise from mapping animated textures onto masses as a generative design tool and the unexpected coherences between mass and shader.

THICK PATTERNS Instructor: Justin Diles, Knowlton School, The Ohio State University, Columbus

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The workshop explored the systems of construction that use intricately nested volumetric elements. Through this concept and working methods the workshop also introduced a thoroughly contemporary approach to architectural composition—an approach that explicitly joins architectural imagination and advanced computational modeling techniques. These techniques—generally called procedural in the world of computer graphics—

are especially useful for producing libraries of pattern. The students learned to use these procedurally generated patterns to design physically thick and visually provocative architectural assemblies. The result by the end of the workshop was to have successfully digitally designed and thoroughly documented several self-supporting walls and enclosures.

De si gn E xp er i me nta ti o n Wo r k sh o p

Development of thick pattern wall details by Kulattha Adisornphankul.

PROJECTIONS

De si gn E x per i m ent a tio n Wo r k sh o p

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Instructor: Alex Kaiser, Architectural Association, London

Through the duration of the workshop, students were asked to invent their own tools, methods and components that allowed them to construct their own narrative, spatial constructs and a world at a high pace. The aim was an exploration in using contemporary techniques and technologies to speed up and invent novel ways of creating architectural representations while also using these representations as a basis for analysis and serendipity in design.

Image credit: Alisa Jivacate

Students created both small and large scale drawings using projections such as axonometric, orthographic and isometric.

Drawings were not used as a final outcome, but as an iterative process to explore certain investigations, tectonics, and stories. Through adopting a similar method of operation like that of the musician sampling sounds found in the street or of the video artist splicing together a piece of film from existing snippets of video, students created and spliced

together samples extracted from design, architecture, toys, inventions, mechanics and so on. This process was further amplified by the creation of their own set of architectural drawing instruments that was constructed during the workshop.

NARRATIVE

Image credit: Wanpattra Kongkiatudom

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ARCHITECTURE Instructor: Daniel Brown, Victoria University of Wellington, Wellington

monsoons, which can bring stark contrasts and oppositions (such as themes of life and death, happiness and despair). The design program set for the workshop was an architectural memorial to the 815 people who perished in the 2011 Thailand floods.

Each student designed a memorial that reveals the beauty and vitality of water, while also reflecting the sadness that it can sometimes bring. The architectural memorial represents a place of both memory and hope—commemorating the people who died

during the floods and the 13.6 million people whose lives were disastrously affected, while simultaneously representing a place of gratitude for the rains that bring fertility and life to the land.

De si gn E xp er i me nta ti o n Wo r k sh o p

The workshop explored narrative architecture or architecture that ‘tells a story’ in order to convey a personal position about an important social, cultural or global event or issue. The narrative theme of this workshop was water, specifically the

POETIC DETAIL 12

Instructor: Taisto Makela, University of Colorado, Denver

De si gn E x per i m ent a tio n Wo r k sh o p

Students developing wood joineries.

The workshop focused on tectonics and the logic of structure and material combinations.

Through the study of traditional timber frame and wood construction case studies in Thailand, the relationship between function, aesthetics and detail were explored in relation to potential contemporary opportunities. Students produced precise graphite drawings and gained hands on

experience making large-scale, carefully crafted wooden models.

The workshop was organized into interrelated parts of functional perfection, technology, craft and ethics. Through selected preparatory readings and discussions, students explored the classical relationship between functional perfection, beauty, the detail and tectonics as well

as modern issues concerning technology and nature. A precedent study completed by the students in teams of two explored, through drawing and models, an example of a traditional timber or wood detail representing ‘functional excellence’. The final presentation included graphics and a largescale model, crafted by the students in wood.

The class also included a one day field trip

to the Tai-Yuan Cultural Center in Saraburi to learn about traditional timber or wood detailing which representing this ‘functional excellence’. The intention was to expose students to not only a precedent study, but the ideas of traditional craft in woodworking so they could develop an appreciation for the skills involved and the potentials for creating contemporary poetic details in wood.

RESTRUCTURING EXISTING URBAN CONTEXT Instructor: Masami Kobayashi, Meiji University, Tokyo 13

In mega cities such as Bangkok, Singapore and Tokyo, how to restructure existing urban fabric (considering aspects like density, transportation networks, public open space and natural assets), while respecting their history is one of the major challenges for architects and urban designers. In order to explore this issue, a joint workshop among Chulalongkorn,

National University of Singapore and Meiji University was held where students focused on Hua Lamphong railway station area in Bangkok and envisioned futures for the precinct. The district is located in the center of Bangkok and the station has played an important role for the city’s history, but there are issues with integration and connection of the

surrounding neighborhood with the station site. From an initial analysis of the broader existing urban infrastructure networks, students then worked on urban design proposals for the designated area and finally focused on completing a design proposal option for a particular portion of the site.

De si gn E xp er i me nta ti o n Wo r k sh o p

Proposed future of Hua Lamphong railway station.

LIFE The first faculty group photo of Year 1 students.

Students participating in the faculty’s Tom Tom Night as part of an exciting and friendly initiation ceremony.

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Students participating in the faculty’s rugby games.

AND Sil Jum Day marks the apex of the faculty’s initiation ceremony.

Rugby games provide students with the opportunity to create both intra-faculty and inter-faculty camaraderie.

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Sil Jum day’s activity.

Freshmen participate in one of the many activities during the Sil Jum day.

CU band performances demonstrate our students’ talent in music and drama.

Sil Jum day’s rope hauling.

Li fe a n d Cu lt u r e

Image Credits: Photographer Team of STU81, Chakkraphob Sermphasit, and Vasawat Dulyavit

TURE

Rehearsal of ‘Love Game the Musical’, a professional stage production with our very own student, Vasavat Dulyavit, as a stage crew member.

Apart from undertaking their studies for classes and completing design studio work for reviews, INDA students also participate in a wide variety of extracurricular activities. Ranging from musical performances in the popular CU Band to after school sports activities such as rugby, our students are able to exercise their bodies and minds as well as build camaraderie within and beyond Chulalongkorn University.

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A S 00

S W O R

S u bjec t Ca t ego r y

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Lighthouse of Transparency by Patitta Sakulchaivanich.

STUDIO WORK 16

1 Year 1 design studio dedicated the academic year to methods and fundamentals in design and thinking. Design projects formed a consistent but incremental sequence in scale and complexity, instrumentally and intellectually. The first semester was centered around the definition and inhabitation of ‘worlds’ through the formal redefinition of geometries and design of spaces. The second semester introduced students to concepts of use and environment from street to vending device and from neighborhood back to the street again. Students in Year 1 learn to develop creative responses to their own critical inquiries.

Text by Tijn van de Wijdeven, First Year Coordinator

S tu di o Wo r k Ye a r 1

YEAR

LIGHTOMETER Isaya Kitcharoen In the studio project, the challenge was to design an instrument that inquired into the experience of an element. Lightometer is designed as an instrument that demonstrated the relationship between the light source and the shadow of the object, proving that light travels in a straight line in every circumstance.

THE FIELD Chularach Engchanil 17

The project deals with the expansion of fragments on the field in which time sequences create variations of either contracted or expanded states of the cube into pieces on the field.

The system that defines the rule of expansion and connection on the field relates to geometry and the installations of magnets. The expansion requires human activation by shaking the field to make the formed cubic world fall apart and roll around within the field. It also creates many possible outcomes which lead to imperfect expansions.

MAGNETIC CUBE Akarpint Chomphooteep This project is inspired by magnets. The 64 balsa sticks imitate magnetic dust. Without the influence of a magnet, the sticks lay flat on the topography in a completely random configuration. However, once there is a presence of a force, here activated by a series of strings tied to the end of the balsa sticks, the ‘dust’ reconfigures to form a pattern, in this case a perfect cube.

WIND POWERED MAZE WIND POWERED MAZE [DESIGN EXCELLENCE AWARD] Vedant Tushar Urumkar

Kan Vajaranant This drawing demonstrates a temporal sequence for two humans experiencing the wind powered maze.

Inspired from the film, The Maze Runner, the model is a wind powered maze. Depending on the wind direction, different spaces are triggered and lead to different openings and barriers.

When there is no wind in a particular direction, that pathway is blocked. This is then only opened when the wind passes in a certain direction to trigger the mechanism.

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AIR OUT!

VENDING AND CUSTOMIZATION

Yamin Kosittanakiat

Vedant Tushar Urumkar

This project was developed from the wind experiment in the previous exercise. The five different spaces are defined by the magnitude of vibrations. In each space, there is a windrelated activity for two humans to engage in as an interactive form of competition.

The design is a dispatch device for vendors which primarily focuses on customization. Different aspects of the device like the size, storage and the framing can be altered to suit the vendor’s needs depending on what each individual is selling. This makes the device usable by a wide range of vendors, selling a wide range of products. A device which is efficient in terms of transportation, is portable and makes the production of food more economical and systematic.

HABITAT Pornphat Bejrananda

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This habitat was designed from outside in. After the exterior characters were defined, the interior spaces ‘unfolded’ to reconnect with the exterior.

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SUSPENDED [DESIGN EXCELLENCE AWARD] Lisa Kamolkornpannatat The conceptual design of the habitat Identique was developed for identical twin brothers who have similar characteristics but differences in appearance, lifestyle and attitude. The functions inside the habitat are especially designed and tailored to suit each person’s needs and occupation. The older brother is an astronomer while the younger is a botanist.

Their needs of spatial usage are typically different but the design can serve either of their requirements. Both twins are able to live comfortably together by sharing the same common area, but each has their own personal space.

The structure of the habitat is formed like a spore that plants itself on a site and grows from it. The material of the habitat is semi-natural to reflect a gradual change in the properties of the material and the surface to eventually allow the habitat to blend in with the overall environment. The use of the landscape creates tension between the two units of the design.

This emphasizes the pull or bond between the identical twins characteristics and that they are linked by a specific and unique relationship.

EXERCISES IN DESIGN TOOLS AND SKILLS II

COLOR AND COMPOSITION

3D MODELLING Akarpint Chomphooteep

S tu d io Wor k Y ea r 1

Luxsamon Niramitsrichai

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STUDIO

WORK YEAR

2 Year 2 design studio dedicated the academic year to getting familiar with architectural design methods. In order to introduce students to the many different approaches in which one can tackle architectural problems, we put a strong emphasis on the study of references.

The first semester dealt with individual architects. Each student selected an architect from a range that spanned from Filippo Brunelleschi to Bjarke Ingels and throughout the term had the task to learn how to think like him or her. Students were encouraged to commit the frowned upon act of copying by re-writing, re-drawing and re-modeling their body of work.

The second semester moved from copying to interpretation, also shifting focus from the individual to the collective method by studying styles instead of architects. Students were encouraged to gain a deep understanding of the role of historical context in architecture, be it political, socioeconomic or geographic.

Our aim with both semesters was not to substitute natural talent but to teach students how to look at things and recognize patterns, relationships and hierarchies so as to always continue to learn.

S tu di o Wo r k Ye a r 2

Text by Lara Lesmes, Second Year Coordinator

MEETING ROOM OF RICHARD NEUTRA’S ARCHITECTURAL OFFICE Molpasorn Shoowong The drawing, rendered in black and white by graphite and Photoshop techniques, emphasizes the quality of negative and positive spatial perception. The view of the client’s meeting room is designed as a place where architects and psychologists in the office can determine the needs (mental and physical) of clients while overlooking the view of the pool and desert landscape beyond.

OFFICE OF TADAO ANDO ARCHITECT AND ASSOCIATES [DESIGN EXCELLENCE AWARD] Sirapob Thangseresuk The studio project required students to study and extract the method of design (or code) of their selected architect. The architect Tadao Ando is well known for his use of material (concrete) and minimal, austere designs. From the study of his architecture, it is deeply rooted in the idea of experience of the user or visitor. The design of the copy device then manipulated the senses through virtual reality, audio simulation and movement to simulate the experience of these sensorial qualities in Ando’s architecture. Subsequently, the design and making of the copy machine was then utilized to produce an idea for the design of an architectural office for the selected architect.

REM KOOLHAAS’ COPIER Nattaporn Lasavanich

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The copier device composed to copy the work (or code) of the architect Rem Koolhaas, uses text or scripts as an input and the Grasshopper definitions to translate the input into forms by the method of rearranging adjacencies of each program using sequential order in correlation to how they are presented in the text. Koolhaas’ work seems to be intentionally made to be inconsistent, so the device enables each program to be configured in any size or form, then rearranges these using the logic settings of the machine to generate a unique composite mass model.

LIBESKIND’S STUDIO Kanika Termsedcharoen An isometric drawing of Libeskind’s studio.

Pitchayasukarn Prasertsri The second phase of the studio project was to design and create a copier device based on the design code of the architect Zaha Hadid. The copier was a movement tracker which transforms the movement of the user into form. The final part of the design was converting the form into a studio space for the architect.

S tu d io Wor k Y ea r 2

ZAHA HADID’S OFFICE

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CHINESE PAVILION Kanika Termsedcharoen The project was a study of elements deriving from the Chinese style in architecture. The beginnings of the project focused on the study of the origins and characteristics of the traditional Chinese style, then to redesign new architectural elements in a contemporary mode of fabrication. The final part of the project was to design a pavilion structure utilizing these new components. The concept of this project was to understand and reinterpret the intricate aesthetic appearance and the construction method of the joint system in traditional Chinese architecture and use these characteristics as the basis for redesigning elements for production using today’s technologies and processes in the assembly.

LIGHTHOUSE OF TRANSPARENCY

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Patitta Sakulchaivanich In the study and observation of the formal and conceptual ideas of Rationalism, it was determined that the style was built based on five key ideas of repetition, subtraction, monumentality, proportion and transparency. The form and structure of the building design are based on both the stylistic aspects and the climate of the site. The building was designed to be almost transparent and for the tower’s surfaces to be minimally impacted by the winds from any direction. The composition of elements used gives the sense of volume, and the columns of the structure have varying dimensions based on the Fibonacci sequence of numbers. The functional interior volume was subtracted and partly covered with reflective glass to retain the idea of transparency.

THE INDUSTRIAL OBSERVATORY [DESIGN EXCELLENCE AWARD] Pongpol Punjawaytegul Focusing on Industrial architecture, the style was mostly concerned with the use of metal componentry that developed significantly during the Industrial Revolution. In the early applications of iron decorative designs, there was still considerable influence from earlier periods of classical and more decorative periods of architecture. The elements that were the focus of the remake were the beam, column, dome and partition as all of these have seen a huge transformation in materiality since industrialization as most were produced using wrought or cast iron. The concept of developments in technology and the manufacturing process from the industrial era was also rethought and new methods of making and fabrication such as crafting metal sheet through laser cutting and the use of CNC machines were explored. From these investigations, new remade elements were applied to the design of an observatory.

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STUDIES USING FABRIC FORMWORK

A MATTER OF STYLE

Nattaporn Lasavanich

Nattakarn Wongratanakulthon

Sirapob Thangseresuk

The project analyzed the core principles, both visually and conceptually, of the Hindu-Indian architecture and translated these into a set of remade architectural elements by employing modern construction techniques and materials.

These elements, combined with broader ideas and principles, were incorporated into the design of a petrol station.

In the study of the Brutalist style, the remaking of the structural elements explored the techniques of fabric formwork in order to create more flexible forms. This was derived from the traditional timber board formwork in the Brutalist period and was remade by inserting a fabric inbetween the formwork and then twisting the fabric formwork whilst pouring the liquid concrete, thus creating a more organic form.

Orientalism can be defined as the mimicry and imitation of the Eastern civilizations in fields of arts, architecture and traditions by their Western counterpart. The first part of the project was dedicated to a search for the process of transformations of Eastern architectural styles into the preexisting Western architectural paradigms. In the subsequent phase, the investigations were approached conversely, into designing architectural elements which incorporate the typologies and paradigm of the Orient while using the material and construction technique of the Occident. The last phase of the project is the design of a small kiosk which could be transformed via a mechanical system to create a persona that reflected different Eastern architectural styles.

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SHIKARA - STUDY MODEL

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Students standing in front of their work for INDA.CNC, a design build project led by Fredrik Hellberg and Lara Lesmes.

I N T E R N A T I O N A L W O R K S H O P

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LEGACIES AND FUTURES: URBANISM AND DESIGN IN ASIA’S CREATIVE ECONOMY PARSONS SCHOOL OF DESIGN, NEW YORK CITY Instructors: Preechaya Sittipunt and William Morrish

As part of the series of collaborations, INDA students went on an outbound international

workshop at Parsons School of Design in New York City, hosted by William Morrish. Experimenting with form creations and various other processes, INDA students explored, through intensive sessions, possibilities and outcomes in these variable approaches to the design process.

INDA students then returned to Phetchaburi, Thailand to complete a Design Build course, which focused on bamboo construction methods and processes. The approach to this project incorporated the methodologies learned in the workshops in New York City.

I nt er na ti o na l Wo r k sh o p

While most of INDA’s collaboration with international educational institutions has been singular in nature, this year saw the launch of a collaboration between INDA and Parsons School of Design in a series of on-going workshops and multiyear research. The aim of the cooperation is to focus on Asia’s creative economy via conferences, workshops and field trips participated by both local INDA students as well as international students from the United States and India.

E X P E R I -

Every year, INDA students take trips abroad to experience architecture in other cultural and historical contexts. The Experiencing Architecture trips allow the students to gain a greater understanding of the influence and meaning of architecture and the built environment in these different places. This year, our students explored architecture, both new and old, through various cities in the United States and Europe.

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A R C H I T E C T U R E INTERNITY: 600 YEARS OF FURNISHED LANDSCAPES, ITALY Instructors: Antonio Bernacchi and Alicia Lazzaroni

The research trip explored and studied the transformation and the multifaceted value of architectural interiors in Italy from Renaissance to the contemporary. Words such as ‘interni’ and ‘arredamento’, which indicate a different interest in the material elements that construct an environment, became very relevant in the second half of the 20th century. Their origin can be traced back to the opulent and crafted interior spaces of Renaissance and Baroque villas, owned and developed by eminent Italian families.

Interiors were not just mere scenographies, lying in the background of daily life, they represent a specific cultural context while reinforcing particular social structures.

The trip followed a geographical itinerary, from Rome to Milan to Veneto, touching the main cultural periods in Italian history through its architectural masterpieces, primarily studied and analyzed from an ‘interior’ perspective.

The exercise as a part of the trip was a reflection on architectural representation.

Borrowing the words of Bruno Zevi, an Italian architect and critic, who wrote in Architecture as Space (1948), “the problem of how to represent space, far from being solved, has not as yet been even stated. [...] As we have seen, the methods of representing buildings most frequently

employed in histories of art and architecture consist of plans, facades and elevations and photographs. We have already stated that neither singly nor together can these means ever provide a complete representation of architectural space. But, in the absence of thoroughly satisfactory methods, it becomes our concern to study the techniques we have at hand and to make them more effective than ever.”

Despite the historical nature of the reference, a fundamental question remains relevant: architectural projects cannot be communicated and explained only through plans and sections, because of the bidimensional and abstract nature of these documents.

During the trip the students were encouraged to abandon abstraction and embrace narration. Using the video media as a tool to communicate their personal vision and representation of a space, they proposed a specific narration path to analyze the architectures they had experienced. Each student focused on a different topic ranging from the perceptive aspects of a building, such as materials, texture, light as well as on the performative aspects, like the actions, the rituals, the social patterns and behaviors that happen inside.

CPH WHEELING, COPENHAGEN, DENMARK Instructors: Hans-Henrik Rasmussen and Peter Fisher

How does a city improve its quality of life, grow, and at the same time reduce car usage and CO2 emissions? The trip to Copenhagen aimed to explore how one city has dealt with this challenge.

E xp er i enc i ng A r c h i tec tu r e

Through strategic urban planning and a history of environmental ambition, the city has created swarms of cyclists, large recreational areas, pedestrian streets, clean water in the harbor and world-class integrated public transport.

Using one of the most sustainable initiatives in Copenhagen, the vast network of bicycle paths, the city was largely explored on two wheels. The students investigated how collaborations between government, public and private stakeholders have made a variety of sustainable projects possible and how architects work within this framework.

Certain district plans were used as the starting point for explorations, visiting contemporary projects by various local architects, among them BIG, and other projects by a diverse range of international architects. Four areas of the city were the focus, a new urban development called

O / restaden, a revamped traditional working class neighborhood called Superkilen, the revitalized Copenhagen harbor front and lastly, a visit to Christiania, an old military compound in the middle of the city that since squatters occupied it in 1971, has developed into an almost independent free town with its own governing body.

This diverse urban exploration was the backbone for the tour of Copenhagen.

Within these areas, in addition to trips further afield outside the city, the students visited projects of different time periods, complexity and scale. These ranged from the Royal Danish Theatre, to university dormitories, housing projects, classic Scandinavian furniture design and various museums.

The students and ajarns wheeling around Copenhagen made up one long curious snake-like path, making use of the many bicycle paths the city offers in exploring the city’s design and environmental initiatives.

THE NEW BERLIN, ART, ARCHITECTURE AND COMMUNITY Instructors: Peter Strzebniok and Deborah Wong

Berlin has been a magnet for the creative community since the 1920’s, and throughout its rich and turbulent history, a vibrant art and architecture scene has endured. Since the fall of the wall in 1989, Berlin has reemerged as Germany’s political and cultural capital with a worldclass selection of museums and galleries and has quickly turned into one of Europe’s most exciting creative destinations. One of the reasons for this development is Berlin’s liberal atmosphere, which is an ideal environment for the emerging arts, which in turn were instrumental in the growth of Berlin.

Through these experiences the students were able to better understand—and learn from—Germany’s turbulent past and, more specifically, how architecture expresses the culture in which it is built and therefore is an important tool to foster community.

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During this trip, the students set out to experience and develop a deeper understanding of this diverse city and to find ways to revisit our own approach to art, architecture and how that relates to community and politics.

The cities of Berlin and Hamburg were explored by foot, subway, trams, boat and trains, visiting a wide array of buildings and sites spanning from the 17th century to present day. This included visits to castles such as Sanssouci in Potsdam, buildings from the 1920’s, experiencing the many traces that the war and its aftermath has left in Berlin, toured postwar architecture and also looked at contemporary buildings that are rooted in the history of this vibrant city.

WEST COAST VISUAL ACOUSTICS, CALIFORNIA, USA Instructors: Pau Sarquella and Carmen Torres

Re-photography is the act of repeating a photograph at the same site with a time lag between the two images; a ‘then and now’.

It has been used by the scientific world to record incremental or cyclical events like erosion or glacier flows, but it has also been a useful visual method for researchers in sociology and communication to understand social change.

“California is the nexus of American ingenuity, creativity, innovation, passion, desire, grit and determination.

California is the embodiment of the American Dream.”

Anthony Tarquinto, The Real 40 Year Old Virgin: Of Orange County (2010)

For the study trip to California, the students completed a re-photographic survey trying to document some of the architecture that Julius Shulman pictured during his life. Starting with the boom of the new typologies of housing and the new ways of life after the WWII, the Case Study Houses in Los Angeles and the new housing developments in Palm Springs, and also covering the main public buildings that made California become the apex of the western culture.

Then to escape the tracks of Julius Shulman, the students experienced the amazing landscapes of California, from the dry deserts to the mystical mountains and the wild west coast.

DEVELOPING A CRITICAL VOICE, NEW YORK Instructor: Thomas Lozada

The trip to New York required students to visit many of the city’s most noteworthy buildings with an investigative approach.

Ex p er ie nc i ng A r c h i tec tu r e

Rather than relying on the carefully curated images or idealized descriptions they see on the web, students were encouraged to develop their own critical approaches through first-hand observation and analysis of the spaces, as well as examination of reviews from well-known architecture critics. By becoming more observant of their surroundings and more systematic in the way they understand how buildings are designed and constructed, the students learned how to recognize and articulate the successes and failures of a range of places that were visited. These included the Guggenheim Museum, Facebook Headquarters, the High Line, and the newly opened transportation hub at the World Trade Center site.

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Third year students in DEX workshop Projections producing a collective drawing collage.

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A C A D E M I C E V E N T S

INDA PARADE INDA Parade is an annual event celebrated by all the INDA community at the end each academic year. The parade, held at Makkasan Station, is staged over ten days and includes an exhibition of student projects and all the final studio reviews of student work. The INDA Parade in 2016, titled White Canvas, was an installation designed by Patxi Martin, Natalia Vera Vigaray, Kornkamon Kaewprasert and Kanyaphorn Kaewprasert. The whole installation was designed with one single material, white foam, using a series of panels of 120cm x 240cm which created an alternating sequence of exhibition and review spaces along the main concourse of the station space. The joinery system allowed several foam panels to merge into long continuous pinwalls. Students and faculty members were given the freedom to decide how to exhibit and showcase their work within a designated panel. The INDA Parade event is documented in a series of videos produced by Antonio Lava, a spanish video editor based in Bangkok (https://vimeo.com/180000003).

A c a dem i c Ev en ts

INDA AT ASA INDA proudly participated in the ASA Architect ’16 Expo held at the Impact Challenger Exhibition Hall. The installation, designed for the event, represented a miniature version of INDA’s Parade. The form of a cross was used in the design, where a selection of student work was included from all years at a 1:10 scale.

The selected projects, developed across the school, demonstrate the versatile and experimental nature of INDA’s curriculum.

The theme ‘Back to Basic’ is rooted into the core values of the school, providing a fundamental understanding towards design, whilst fostering the diverse and progressive nature of student work. The spatial framework of the cross materializes this theme even further, symbolizing the four academic years.

Student works exhibited were from Pavis Tungpanitansook and Sirapob

Thangseresuk (Y1), Pridi Hengsadeekul and Chatchai Chaipara (Y2), Sansern Prapa-Apirat and Eakapob Huangthanapan (Y3), Nutcha Somboonthanasarn and Prapasri Khunakridatikarn (Y4).

Design and Construction: Kornkamon Kaewprasert, Kanyaphorn Kaewprasert, and Tijn van de Wijdeven

LEGACIES AND FUTURES: URBANISM AND DESIGN IN ASIA’S CREATIVE ECONOMY Between the 4th-7th January 2016, Bangkok and Chiang Mai hosted a series of roundtable discussions between INDA, the New School’s India China Institute (ICI) and Parsons School of Design.

Participants included INDA program director, Preechaya Sittipunt and inbound guests including Burak Cakmak, Brian McGrath, Rama Chorpash, Mark Frazer, Gyungju Chyon, Christina Moon and Ashok Gurung. The primary goal of the discussions and associated field trips was to establish a

framework for a long-term shared research and curricular development agenda around new processes of making and the new urban forms these processes create.

Another goal was to initiate a transnational and trans-disciplinary discussion on new research and curricular models to address the gap between the challenges Asia faces in the coming century, as well as the limits of western historical and development frameworks.

This academic year, as INDA enters its second decade, the school launches its first fabrication lab equipped with CNC router, 3D printers and laser cutters where students will be able to make full scale prototypes and experiment with materials first hand. The new fabrication lab is located in the new building of the Architecture Faculty situated close to the main Chulalongkorn campus in Samyan,

where students will also be able to assemble large models and prototypes. The lab was launched in the summer of 2016 as instructors Lara Lesmes and Fredrik Hellberg held a three week design build workshop involving the installation and initial operation of the new CNC router. The INDA LAB was officially opened by director Preechaya Sittipunt on the 27th June 2016, the final day of the workshop.

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INDA LAB

CITY X DISASTER WORKSHOP SERIES: SLOW DISASTERS - ECOSYSTEMS OF HIDDEN VULNERABILITIES The increasing occurrence and scale of unexpected disasters provoked by climatic phenomena, together with their growing presence in the media, is gathering more and more attention and energy from various design fields, especially in searching for new immediate emergency solutions.

Nonetheless, climate change and the increasing unbalance that manufactured environments are generating, particularly in big metropolises, and other seriously critical phenomena are continuously happening hidden in the background. These situations, specific yet replicable, have been widely studied in social science fields. Rob Nixon, in his referential book Slow Violence and the Environmentalism of the Poor, explains that the rise of vulnerability has an uneven impact on the population and, acting with slow and ignored effects, exacerbates unbalanced ecosystems.

The workshop approached the study of ‘slow disasters’ in the highly relevant

context of Bangkok and explored how the architecture discipline could contribute in order to reduce the vulnerability or even partly re-equilibrate these environmentally unbalanced situations.

Participants developed strategies through the design of experimental architectural devices to approach problems of ordinary contexts through low-tech applications, soft technologies, incremental solutions, bottom-up processes and other methods oriented towards a less structured context.

City X Disaster is a series of architectural workshops that reflect on endangered urban dynamics with the participation of the School of Architecture and Design, New York Institute of Technology and the Academy of Art, Architecture and Design in Prague, Czech Republic. After being held in New York and Prague, this year Bangkok hosted the workshop, that is currently planned to continue in Bogota, Mumbai, Kathmandu and Sa~ o Paulo.

INDA | ETSAM PARALLEL STUDIO was undertaken within the context of wetlands situated in both countries. The topic encompassed a broad range of issues regarding thresholds, ambiguity, resiliency as well as adaptability. In the first semester, the project was situated in Spain and in the second semester, the site was in Thailand.

The topic of this collaboration was Amphibious Architecture and research

Image credit: Panitnan Patanayindee

Works from the parallel studios can be found on http://amphibiousarchitecture. blogspot.com/

S u bje c t Ca teg or y

In addition to offering option studios in the final year of the program, this year INDA launched a parallel studio for their fourth year students. The parallel studio was a unique collaboration between Aula PFC Aranguren (School of Architecture of Madrid, ETSAM, Polytechnic University of Madrid) and INDA. For two separate semesters, INDA’s Year 4 option studio students worked on a common topic with ETSAM’s Year 5 final thesis students.

C O M P E T I T I O N S

A N D

A W A R D S

National and international awards and competitions INDA students and alumni have won over the last 10 years.

2008

Wallpaper Design Competition: Reinventing Functionality Runner-up: Charavee Bunyasiri Citation award: Tanyaporn Anantrungroj Shinkenchiku Residential Design Competition Finalist: Panit Limpiti ROSL Young Artist Award Competition Finalist: Yanisa Niennattrakul

2009

Eco-product Design / hosted NSTDA Academy 1 st Place: Pimpipat Hongdulaya

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Insee Young Creative Contest 1 st Place: INDA: Phumphat Leelapanyalert, Architecture Program: Pavin Suphasiri and Wittaya Boonyasirikul 2 Degrees Below Competition Top Prize(1 of 3): Pongsakorn Theerachetmongkol Honorable Mention: Alizara Juangbhanich

2011

International Design Award (Furniture and Interior Design for Future) 1 st Place: Thanaphon Morakotwichitkarn, Thanawat Phituksithkasern, Samascha Samcharoen and Supatsiri Kuenghakit

2014

Next7 Arch2O Competition 2 nd place: Rawisara Chulerk, Nichakul Kulvanich, Tien Thongvanit and Prab Raktabutr Honorable Mentions: Suthida Lertpanichphan, Patteera Chantrasuriyarat, Paphawarin Phruwatthanakul, Rarin Komolsiripakdi, Thanakorn Leelasathapornkun and Patlapa Davivongsa

FuturArc 1 st place: Rath Chunharuckchot 2 nd place: Charavee Bunyasiri 3 rd place: Ekkaphon Puekpaiboon Canstruction Guinness World Record winner for largest can structure ever completed

Modern Lamp Design Contest 1 st place: Phawin Siripong, Khanachai Kittisorayut and Thanakrit Navanugraha ASA: Density / Dense-City Honorable Mentions: Phawin Siripong and Parit Treechadarat Shortlisted: Veerasu Saetae, Tachapol Tanaboonchai, Yanisa Chumpolphaisal and Varis Niwatsakul

2015 Degree Shows INDA alumni Prapasri Khunakirdatikarn won two prestigious awards at Degree Shows in 2015 for the ‘Best of Architectural Design’ and ‘Best of Show’ categories, with her fourth year studio work, ‘Inversion’, directed by Lara Lesmes.

This project attempts to invert basic structural principles of masonry constructions, not by turning the forms upside down but by inverting forces to the maximum deviation of 90 degrees.

This results in an inverted masonry structure that relies on horizontal forces for stability. www.degreeshows.org

2016

Co m peti ti on s a nd A wa r ds

ASA International Design Competition INDA alumni Veerasu Saetae was awarded third place in the prestigious ASA International Design Competition 2016, titled ‘What Is the New Basic?’ His project, ‘Public Cerebro,’ redefines how architecture works for the public by using social media as means to generate a bottom-up participatory urban planning process. His award marks another milestone for INDA’s local and international success. www.asacompetition.com Degree Shows (Winners to be announced later this year.)

Finalist: Eakapob Huangthanapan Archiprix SEA (Winners to be announced later this year.)

Finalist: Kritjarruwat Aphirathiran

00 S u bjec t Ca t ego r y

A final review of Year 4’s Tools for Architecture option studio at INDA Parade.

STUDIO WORK

YEAR

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3 In the first semester, Year 3 design studio developed visions for collective dwellings in Bangkok, questioning the current situation where luxury condominium towers dominate the skyline while affordable housing for lower income groups is sparse or in bad condition.

In concluding the first phase of case study analysis, students isolated a specific issue concerning housing in the capital and proposed innovative architectural proposals for the future of collective dwellings.

During the second semester, students have embraced entertainment and developed the design of Happiness Machines. The studio aimed to explore architectures intimately connected with socio-cultural leisure activities that are becoming such an important part of our cities, for both the role that they play in our free time and their relevance in the market.

The projects, also based in Bangkok, were requested to focus on three main points: how architecture can frame, encourage and influence actions that promote happiness; how these projects can incorporate public space and interact with it, acquiring a new role in the urban environment, and how the atmospheric and environmental conditions that support the leisure vocation of the projects can be achieved through the technical and technological means of the discipline.

Text by Alicia Lazzaroni, Third Year Coordinator

EGG HOLDER S tu di o Wo r k Ye a r 3

Chatchai Chaipara Future generations are projected to value virtual possessions over physical ones. They will own fewer belongings. The architecture responds to this idea and is meant to be free from the constraints of physicality. The proposal is a series of bubble spaces, that correspond to the movement of the inhabitants. One space merges and carves into another, creating an interior that is effortless. Areas are made of inflatable materials to adjust to user needs. The design of various public spaces and their transitions are seamless, emphasizing the interaction or play between neighbors.

COLLECTIVE DWELLING Alisa Jivacate The project is designed to be purely introspective. The housing unit neglects the exterior context and renders the ideal interior-scape for its inhabitant.

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VERTICAL HOUSING INFRASTRUCTURE [DESIGN EXCELLENCE AWARD] Thanakorn Leelasathapornkun The common methods of how cities deal with increasing population is ineffective. They grow increasingly denser and space becomes more and more limited. There is a realization that the city needs to expand rapidly to manage these changes. Buildings today are rigid, solid objects and cannot respond to these rapid changes of society. The project redefines how the building will expand over time with the incorporation of infrastructure and the gradual construction to cope with the rapid changes. The state of permanence is now redesigned into the state of temporary. Prefabricated residential units are installed overtime as the infrastructure expands vertically and the building is in a continual state of change. New units are replaced as the economic grows and development increases. Flexible architecture is required to respond to the rapidly changing conditions of the world.

NEW CITY OF HORIZONS Nantakanta Ratanachiwapong

The abandoned infrastructure of mass transit system has stood incomplete and unused, creating an opportunity for a new community of low income people to inhabit. In the creation of housing units in these structures, the unfinished, exposed, abandoned frameworks were left in tact and accentuated by the use of raw construction materials such as steel frames, concrete and unfinished metalwork.

S tu d io Wor k Y ea r 3

Due to the contraction of Thailand’s economy in 1997, many construction projects came to a sudden halt. These incomplete buildings remain in the city, leaving Bangkok with what could be considered as ‘modern ruins’.

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INFINITY MAZE [DESIGN EXCELLENCE AWARD] Thanakorn Leelasathapornkun Architecture should provide happiness rather than simply serves as shelter to the activities that promote happiness. The project was designed as a whole building mechanism that moves and transforms. The building is designed by applying three primary rules of movement, variation, and adaptability. This rule set stimulates happiness through the generation of unexpected spatial scenarios. The movement function changes the location of the spaces, the variation function creates an ever-changing interior, and the adaptability function allows the building to change its program via modular replacement.

SADNESS MACHINE

S tu di o Wo r k Ye a r 3

Settawut Leenavong The project aims to modify spaces inside Lumpini Park to create public experiential spaces that bind isolated or sad individuals together. The project consists of four pavilions; grass, pavement, tree and water.

Each pavilion, which can be experienced in any order, reacts to the diverse aspects of the park and aims to counteract and alters forms of sadness.

The experience of walking through each pavilion is distinct as individuals absorb energy from nature and respond to the architecture of the pavilions to find consolation and relief from sadness and loneliness.

THE DREAM SPACE Khanachai Kittisorayut The project is a conceptual space designed for relieving anxiety by focusing on the action of dreaming. The building, located above Sathorn intersection, is accessible by the many office workers from the surrounding areas. The building skin is designed as a dreamlike floating structure which takes advantage of the surrounding high-rise buildings and is selfsupporting. The interior spaces are designed for the users to experience an ethereal atmosphere, while being awake, by following the actual stages of dreaming from the ‘reality stage’ to a gradual transition to a ‘dream stage’ through five different areas. The intention is that the user will be revitalized after the experience through all the dream stages and then return to reality with a refreshed mind and body.

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WARP Pimdao Toeywattanachai Have you ever been on a night out and the next day you do not remember or recognize what you did? Possible factors of this drunken ‘time warp’ experience is alcohol and the atmosphere of the bar or venue. In this Warp Pub and Restaurant, different architectural designs create a range of atmospheric experiences to give this dizzying effect to users who don’t consume alcohol. To enhance sensations including sight, hearing, smell and touch, 2D confusing patterns such as Memphis patterns, psychedelic posters, distorted sculptures and furniture are applied and designed in each specific area. Warp does not contain only dancing and eating zones like usual pubs, it also contains a live music stage, a relaxing rooftop garden, and an exhibition area in the park on the building’s ground floor. Located in Nana, an area that is popular for nightlife, Warp would attract a new generation of people who like individual design and a social experience where architecture can provide a unique adventure.

UNDER THE SKIN

Nantakanta Ratanachiwapong

Phawin Siripong

An altered state of consciousness is any mental state induced by physiological, psychological or pharmacological effect. The project simulates some alternative types of altered states of mind, that of the accidental and pathological. In the museum, four common disorders are simulated; obsessive-compulsive disorder, bipolar disorder, anxiety disorder and post-traumatic disorder.

The project is a rethinking of the way architecture provides happiness based on the notion of self retreat. It explored the relationship between architectural elements and human senses and developed into a program of a public bath house located in Lumpini Park, a large green space within the rapidly expanding city of Bangkok.

S tu d io Wor k Y ea r 3

ALTERED STATE OF MIND

Year 4 option studios allow students in their senior year to choose their personal topic of inquiry based on a wide range of studio briefs. These were the titles of option studios from last year: Urban Condom - Speculation on Real Estate Market through Realist Fiction / Reclaiming the Extraction - Designing the Extractive Landscape / Forgotten Spaces / Samut-Prakarn / Tools for Architecture - Digital Stereotomy / Ground Effect / A La Ville de... Bangkok! A Bid for the Olympic Games / Flux: Soft Architecture & Amphibious Landscape / Anthropocene Hipsters - Approaching Ecosystems of Hidden Vulnerabilities / Speculative Critical Generation - Exploration of a Highly Categorized Typological Lineage through Quasi-Stochastic Generators and Critique Methodologies / Five Stars - Hotel Architecture / Flooded City : Rapid Responses to Climate Change in Bangkok / Big Fish / Tools for Architecture Architectural Interfaces for Spatial Effects / Viticulture and Oenology / Voids - A Visceral Odyssey / A La Ville de... Bangkok! A Bid for the Olympic Games (II) / The Fluid Gradient of Bandon Bay

STUDIO WORK

Text by Yarinda Bunnag, Fourth Year Coordinator

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YEAR THE OCULUS Nachapol Kasemsuwan The project was designed as a nest for Oculus players (a virtual reality entertainment experience) within a residential project in Bangkok. The concept behind this design was to use ‘void’ as the key element that generates the form of the building. Hexagonal grid was used to distinguish the void from the rectangular living units surrounding it.

PARKOUR [DESIGN EXCELLENCE AWARD] Thosaporn Toedsukbodee

S tu di o Wo r k Ye a r 4

This project occupies the Sathorn Unique tower, one of the abandoned structures that were the victims of the 1997 economic crisis.

The project reactivates the building by using Parkour as a new sporting program that reconfigures the current ruin and converts it into an inverted topography for free running and climbing.

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AMPHIBIOUS ARCHITECTURE Mairin Sirisahawat The project focuses on the use of abandoned salt marshes in Cadiz, Spain, as a site for a new typology of urban development. Currently preserved as protected landscapes, these marshes are preventing the city from growing. The strategies developed introduce a symbiotic relationship between the housing program and the ecology of the salt marshes: where the occupation of the human programs reduces the sedimentation of the marshes and thus improves the ecological condition of the land over time. This is in contrast to the current condition where the marshes, although ‘preserved’, are left abandoned and unmanaged, threatening the ecological wellbeing of the area.

BANGKOK HANGING VELODROME Nicha Kiatfuengfoo The studio imagined that Bangkok would host the Olympic Games in 2028 and the velodrome facility would form part of the designed infrastructure and buildings. Located next to Chao Phraya River, the velodrome is designed using a large space frame structure which supports the velotrack and seating hung in between the two primary frames and creates a concept of ‘hanging’ architecture. Additional programs are located within the four main legs of the space frame.

The building would not only serve the Olympic Games but will remain in place afterwards to hold various other events, utilizing both the velotrack and the space below. The upper roof comprises of solar panels and wind turbines that generate power for the stadium and also contribute back to main consumption of energy in the Olympic Park.

The project proposes to convert the decommissioned gold mine in Pichit into a chemical lab for military research. It uses the cyanide remediation processes to harvest cyanide as well as to improve the existing landscape condition of the site.

S tu d io Wor k Y ea r 4

THE AREA 66 Napat Wongthanasophon

URBAN CONDOM Pathumphorn Niramitsrichai

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The building is located on the Penang Island, Malaysia. One of the aims of the project was to serve as a prototype of bioarchitecture which harmonizes with nature, similar to that of a living organism. The design adapts and responds to the use of the spaces, effectively creating an ecosystem containing various types of gardens.

URBAN MINING [FINALIST OF ARCHIPRIX SEA 2016] Kritjarruwat Aphirathiran Waste products are a cause of great concern for many countries around the world today. Statistics show that as much as 1.3 billion tons of waste are generated globally each year and the number is expected to reach 2.2 billion tons per year by 2025. If the scale of this problem continues to be overlooked, its ecological damage will be irreversible.

S tu di o Wo r k Ye a r 4

The design proposal aims to respond to the growth of central Bangkok by providing an alternative development plan, based on the principles of reuse and recycle, for the vulnerable community of Wat Phatum Wanaram. Sited between two large scale and high end shopping malls of Siam Paragon and Central World, the local community is generally disregarded due to its informal organization and waste disposal problems that create unsanitary and unhygienic appeal to outsiders. To revitalize and sustain the community, an ‘urban mine’ was created, incorporating a street market with a biogas compressor, to reduce the amount of waste produced as well as to produce energy for the community.

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BANDON BAY: HARVESTING FROM DECAY [FINALIST OF DEGREE SHOWS 2016] Eakapob Huangthanapan Bandon Bay is considered to be one of the largest bays within the gulf of Thailand. The bay is dominated by more than nine estuaries and prospers with diverse ecosystems of species and ecological influx. The city of Bandon is one of the biggest port cities in southern Thailand and due to the residual effects of its industry and the high rates of sedimentation within the bay, this results in the removal of large amounts of dredged materials that are disposed of non-strategically every year. While the city celebrates water logistics as one of its main industries, an emerging trend of artificial swallow farmings has been booming for the past decade. The growing number of the artificial farming buildings, especially those erected within the city areas, stirs up controversy and skepticism among Bandon residents.Â

SHIELDING THE INTANGIBLES : BUILDING SYSTEMS Panitnan Patanayindee Today, radio waves, telephone signals, wi-fi network - the intangible electromagnetic waves - have pervaded every square inch of our built environment. The spatial boundaries of activities that rely on the use of these invisible waves are no longer visible or clearly defined. The project proposes a new architectural building system for temperature, weather and activity that is responsive and specific to the intangible waves. It defines clear boundaries of functions and activities and becomes a physical index of the intangibles.

The project proposes to bring the swallow habitats back into the ocean through the innovative reuse of the dredged materials from the city’s main shipping channel. The two local industries are combined, through one earthly operation, to create a series of architectural interventions that provide the programs of navigation, swallow farms, and recreation. The concept of the project revolves around the speculation of harvesting from the two degrees of decay: firstly, the decay of the shipping channel that provides the continual resource of construction material, and secondly, the eventual decay of the farm structure itself, that will allow for further growth to accommodate subsequent programs in the future.

THE INFLATABLES [DESIGN EXCELLENCE AWARD] Nicha Kiatfuengfoo

S tu d io Wor k Y ea r 4

The project proposes a building system that acts as an interface between two contrasting environments - a noisy and chaotic city versus a peaceful interior. The building system is designed as a huge inflatable object which can be adapted into any shape through different areas of the city, acting as a physical protector, light diffuser and also providing an acoustic separation between the spaces.

C O N S T R U C T I O N T E C H N O L O G Y structural efficiency (load at failure divided by self weight). For the pavilion, students were asked to explore the design of a small pavilion, considering the overall design and the structural innovation of the roof and supporting walls and columns.

Text by Scott Drake and Antoine Lassus

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This year, students worked in groups to undertake two projects; the Span Challenge and the Pavilion.

For the Span Challenge, students were asked to design and make a two meter span using only balsa wood and string. The finished spans were weighed and then loaded with water bottles to test their strength. The evaluations of the challenge were based on aesthetics, structural design and

Dining pavillion by Pitchayasukarn Prasertsri, Chanakarn Assavasirisilp, Kaan Vanapruks, and Chonnakan Samranjitchuen.

The Villa La Rotonda (Villa Almerico Capra), 1566–70 by Andrea Palladio, model by Ayaka Sato.

H I S T O R Y + T H E O R Y OF ARCHITECTURE I N T E G R A T I O N Over recent semesters, the syllabi of the history and theory programs have been developed to integrate and align with the content and focus of design studio programs. The aim has been to strengthen the relevance of the history and theory streams to students and enable them to see the benefit of these subjects in developing and applying their design skills in studio projects.

As an example, in conjunction with the second year coordinator Lara Lesmes, the first semester design studio saw each student study an individual architect of differing historic periods and through this analysis of the architect’s projects, identify distinctive codes or methods in design. The research undertaken for the studio project was then integrated into the history program through the completion of coursework. The crossover of

this research, from early design phases, was used to complete an essay on their chosen architect and was complimented by building a model of what was recognized as the signature work of the architect that demonstrated this code. The integration continued in the second semester, where the study of stylistic references in the studio project was integrated into the history program with further study of stylistic referencing through the course of architectural history.

The crossover has been successful for students to appreciate their own and fellow students’ output in design studio sessions and then have this content reinforced within the history program and in a broader architectural context.

Text by Peter Fisher

Cl as swo r k

ARCHITECTURE AND URBANISM During the first half of the semester, the class focused on the interface between architecture and urban design of South East Asia through a series of continuing projects concentrating on the design of housing, working studio and public space in the city of Bangkok. The studio provides a ‘Creative City’ framework for students to expand their design thinking using Bangkok as a laboratory. Three ambitions guide the first half of the semester: to nurture a design process specific to existing urban environments; to critically consider site and program; and to interrogate the role of urban design in service of the general public as a client.

In the second half of the semester, the study of Architecture and Urbanism is explored through a selective and strategic study of these aspects in Europe and America that integrates history, theory, professional practice, technology and design. A particular focus is on how the historical evolution of fabric types in various cities, within a comparative context, can be applied to Asian cities. Although the subject matter is ‘western’ architecture and urbanism, it is intended that the issues, references, tools and strategies will resonate with the conditions in Asia.

The class is not focused on housing alone, it operates on the premise that public spaces are important to the livability of a city, especially in areas such as Rattanakosin Island whose economic base is arts and culture. The public realm quite literally provides the platform for this arts and culture to exist and adds to the desirability of its inhabitants. This urban section has undergone a radical transformation from an area with little economic base to a city growing around its vibrant arts and culture community. However, the area has been unable to attract residents to any great extent, and this lack of a stable residential downtown population has stalled the city’s growth.

Housing design is necessary not only to bring people, but also to literally give shape to the public spaces of the city. During the studio sessions, we have explored solutions in the hopes of helping this urban section to continue its renaissance.

Text by Komthat Syamananda, Antoine Lassus and Kennan Lagreze

00 S u bje c t Ca teg or y

INDA students pinning up their work at INDA Parade.

De si gn B u il d a nd D esi gn Co n str u c ti on P roj ect s fo r C ommuni ty 44

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DESIGN BUILD AND DESIGN CONSTRUCTION PROJECTS FOR COMMUNITY (1)THE SOUND OF SILENCE, BANGKOK, THAILAND (2)INDA.CNC, BANGKOK, THAILAND (3)IGNITION PORTAL, PENAFIEL, PORTUGAL (4)URBAN SAFARI, TOLOX, SPAIN (5)THAI BAMBOO INTERNATIONAL, PHETCHABURI, THAILAND (6)RAMA 9 COMMUNITY CHILDREN DEVELOPMENT CENTER, BANGKOK, THAILAND (7)KAOLHUNGBAAN, CHIANG MAI, THAILAND (8)HOP LEARNING CENTER, MAE SOT, THAILAND (9)PLENG KONG NONG, KHAO YAI, THAILAND 4

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Design Build and Design Construction Projects for Community

In 2016, INDA introduced the students to a series of exciting new Design Build and Design Construction Projects for Community. From smaller scale projects, such as installations to larger scale structures, we aim to provide students with opportunities to take architecture beyond the classroom and learn about practical construction processes as well as the role of architecture in a community.

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[2008] KNOWLEDGE HUT, RAYONG, THAILAND [2008] PLAYGROUND, NONTHABURI, THAILAND [2008] COMMUNITY CENTER, PHI PHI ISLAND, THAILAND

[2009] CHANHUNBAMPHEN SCHOOL CAFE AND GALLERY, BANGKOK, THAILAND [2009] INDA PUBLIC RELATIONS WALL, BANGKOK, THAILAND [2009] BUUNG PRARAM 9 COMMUNITY DEVELOPMENT, BANGKOK, THAILAND

[2010] HABITAT FOR HUMANITY, BANGKOK, THAILAND [2010] RESALA, BANGKOK, THAILAND [2010] SANPASAK PAVILION, MAE SAI, THAILAND [2010] SANKRET THONG PAVILION, MAE SAI, THAILAND [2010] GLONG, THE ART OF CONSUMPTION, BERLIN, GERMANY [2010] IMPORT/EXPORT, LONDON, UK

DESIGN BUILD AND DESIGN CONSTRUCTION PROJECTS FOR COMMUNITY 2007-2016

[2011] CONFLICT ZONES (BANG), BERLIN, GERMANY [2011] INDA GALA, BANGKOK, THAILAND [2011] ROOM 405 REMODELING AND CONSTRUCTION, BANGKOK, THAILAND [2011] BANGSAEN, CHONBURI, THAILAND [2011] LOKALARM KINDERGARTEN, SONGKLA, THAILAND [2011] NAMTANG, UBON RATCHATHANI, THAILAND

[2012] PSYCHOGEOGRAPHIES, NEW YORK, USA [2012] ‘WOULD HAVE BEEN MY LAST COMPLAINT’ (INSTALLATION), INDIA [2012] BAAN SAMLANG SCHOOL, SUKHOTHAI, THAILAND [2012] THONGLOR VILLAGE THESHOLD, THONGLOR COMMUNITY, BANGKOK, THAILAND [2012] MODERN (C)ART, BANGKOK, THAILAND [2012] FLOES (FLOATING ENERGY STATION), BANGKOK, THAILAND [2012] SALVATORE FERRAGAMO DISPLAY UNIT, BANGKOK, THAILAND [2012] BAAN KLONG YAI SCHOOL LIBRARY, CHONBURI, THAILAND [2012] BOOK BARN, KHON KAEN, THAILAND [2012] MODULE LIBRARY, SRA-GAEW, THAILAND

[2013] YESTERMORROW DESIGN/BUILD SCHOOL, VERMONT, USA [2013] VAULTS OF PULP: ARCHITECTURE FOR HORTICULTURE, SWEDEN [2013] CREATIVE LEARNING CENTER, PHETCHABURI, THAILAND [2013] HUAY KWANG COMMUNITY HEALTH CENTER, HUAY KWANG, THAILAND [2013] ROUGE ROUGE, BANGKOK, THAILAND [2013] MONTESSORI ACADEMY INTERIOR DESIGN, BANGKOK, THAILAND [2013] CDC EMBLEM: THE WALL, BANGKOK, THAILAND [2013] ASHORE PAVILLION, BANG-SAEN, CHONBURI, THAILAND [2013] PRACHEENBURI SCHOOL LIBRARY, PRACHEENBURI, THAILAND [2013] BIRD TOWER, CHAIYAPHUM, THAILAND

[2014] PRINTING CONCRETE, BOSTON, USA [2014] YESTERMORROW, GHESC, ITALY [2014] BAAN PHU PRADU LEARNING CENTER, KANCHANABURI, THAILAND [2014] ANACHRONOUS FORMALISMS AND ARCHITECTURAL FICTIONS, BANGKOK, THAILAND [2014] LUXE, CALME, ET VOLUMPTE, BANGKOK, THAILAND [2014] LUXASIA, BANGKOK, THAILAND [2014] COIR: COCONUTS AS OPPORTUNITY FOR INVENTIVE REUSE, BANGKOK, THAILAND [2014] HUAYKWANG COMMUNITY CHILDCARE CENTER, BANGKOK, THAILAND [2014] TAIROMCHANG, KHAO YAI, THAILAND [2014] SCHOOL CANTEEN, BUENG KAN, THAILAND

[2015] IGNITION: POP-UP STAGE, PENAFIEL, PORTUGAL [2015] BAN PETCHNUMPUNG, UTHAITHANI, THAILAND [2015] LIGHTPATH PROJECT, THARA AT ASIATIQUE, BANGKOK, THAILAND [2015] BODHI ENTREPRENEURIAL DESIGN, BANGKOK, THAILAND [2015] BEIGE: LUXURY MULTI-LABEL FASHION AND ACCESSORIES STORE, BANGKOK, THAILAND

[2015] ARCHITECTURE: METEORE, BANGKOK, THAILAND [2015] TOYS, BANGKOK, THAILAND [2015] COMMUNITY PIER, LAD PHRAO 48, BANGKOK, THAILAND [2015] NEW KHLONG COMMUNITY PORT (II), BANGKOK, THAILAND [2015] TAIROMCHANG, KHAO YAI, THAILAND [2015] HOP LEARNING CENTER, NONGKHAI, THAILAND [2015] CHONNABOT, KHON KAEN, THAILAND

[2016] PLENG KONG NONG, KHAO YAI, THAILAND [2016] RAMA 9 COMMUNITY CHILDREN DEVELOPMENT CENTER, BANGKOK, THAILAND [2016] THE SOUND OF SILENCE, BANGKOK, THAILAND [2016] INDA.CNC, BANGKOK, THAILAND [2016] HOP LEARNING CENTER, MAE SOT, THAILAND [2016] KAOLHUNGBAAN, CHIANG MAI, THAILAND [2016] URBAN SAFARI, TOLOX, SPAIN [2016] IGNITION PORTAL, PENAFIEL, PORTUGAL [2016] BAMBOO INTERNATIONAL, PHETCHABURI, THAILAND

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E X C H A N G E

P R O G R A M S E xc h a n ge Pr o gr a m s

Changsin-Dong Community Center by Suphasek Ruangraweewat during the exchange semester at the University of Seoul.

LE GAIN DE PLACE, L’ÉCOLE BLEUE, PARIS 49

Nichakul Kulvanich The goal was to design furniture of any type for daily use, that allows the user to save space. The process began with investigations on operations and geometry that create opportunities for compression and expansion, before defining the function and developing prototypes. Students were asked to select a production house of a furniture brand and adjust the design aesthetic to match the identity of the selected brand. The final result is a 1:5 scale physical model reflecting the real materials, a presentation board, and a catalogue that was graphically consistent with the chosen brand.

WYNWOOD ARTIST’S HOUSING + COMMUNITY CENTER, FLORIDA ATLANTIC UNIVERSITY Patteera Chantrasuriyarat The design was to create a community hub for Wynwood, a program that serves both residents and tourists of the Wynwood area. On one side of the site is a gallery and housing for artists where the residence itself becomes part of the exhibition and allows people to see the process of creating artwork. The form of the building and landscape is also designed to respond to the tropical weather of Miami.

BLOOM, L’ÉCOLE BLEUE, PARIS Pathumphorn Niramitsrichai The project was to design an interior and a brand identity of the flagship flower store in an existing building, Espace Commines in Paris. Bloom is a jewelry and flower retail store and the brand aims to add value to flowers through the arrangement, exhibition of the displays, and packaging similar to how people admire jewelry. The ground floor’s interior design is divided into five zones to reflect five different emotional reactions or bonds, such as friendship, congratulatory, romantic, sadness and a DIY space for other activities. Each zone uses radial surfaces to divide the space with different colored tones, angles and spacing. The continuation of this motif creates a unity and flow within the whole space.

CHANGSIN-DONG COMMUNITY CENTER , UNIVERSITY OF SEOUL Suphasek Ruangraweewat

E x c h a nge P r og r am s

On the site of Changsin-dong, the architecture recreates the landscape of the mountains after the site was used as a quarry during World War II, leaving only a cliff and a large platform. While the landscape and the contours are reimagined, the building itself reflects the process of excavation undertaken in the quarry. Two directions of architecture are applied where the act of removing and replacing are brought together.

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RETREAT CENTER, CHUHAI COLLEGE, HONG KONG Leampanarai Vatapukkana A collage envisioning the environmental conditions of Hong Kong.

PLAYGROUND: REVIVAL OF 3333 BROADWAY, PARSONS SCHOOL OF DESIGN, NEW YORK CITY

E xc h a n ge Pr o gr a m s

Pin Laohasurayotin In collaboration with Riverside Park Community Housing Complex (3333 Broadway), the project aims to develop urban design strategies for the public spaces in a large residential complex in West Harlem, New York City, known to have frequent incidents with drug and violence. Through site research, an understanding of the complexities of the place was obtained leading to several iterations of the proposed solution. To facilitate the return of life back into the community, a series of pedestrian bypasses were proposed through blind spots of the building to reactivate spaces by the intervention of activity. In addition to this, new shared common terraces on the upper levels created community interactions and awareness amongst the residents, thereby decreasing the opportunity for potential crime.

LITTLE BIG SAIGON, UNIVERSITY OF IDAHO Chayakorn Chulasai The project investigated the living diversity of Little Saigon, a Vietnamese community with high crime rates in the heart of Seattle, where neighborhoods are still haunted from the effects of the Vietnam War. The project raised questions with respect to the role of designer, and how design could be used and implemented into an area where most residents are not willing to face change or seek help. Part of the challenge in proposing a new master plan was to enact swift strategies to improve this unyielding community.

A CONVERSATION In addition to speaking to faculty members from the teaching perspective about INDA, we also spoke to alumni about their experiences from a learning and educational point of view. We

asked some former students to provide us with insights into their time at INDA and how it prepared them for working in the architecture and design industry.

WITH ALUMNI

PARTICIPANTS

I’m Vinn Chokkhatiwat, or Champ.

I’m from the second graduating class of INDA. After graduation, I worked in

a variety of fields before continuing my further study in a Masters of Design ` and Technology at the Ecole Nationale ` ` Superieure de Creation Industrielle (ENSCI) in Paris. My final project there was related to textiles and architecture, so continuing from this study, I now work in different disciplines of design.

I have founded a multi-disciplinary design company with my partner called Vinn Patararin and we work on a range of projects from art installations, exhibitions and consulting on architectural projects, particularly with respect to branding and style. I really enjoy the diversity that comes from lots of different aspects of design.

Hi, I’m Suthata Jiranuntarat, or Grace.

I’m from the class of 2013 and following graduation from INDA, I worked at different practices for the first few years. I was working with

Space Popular doing competition work, interior design and furniture design and then I went to Tokyo and interned at the office of Kengo Kuma for three months before returning to Bangkok and interned at the Department of Architecture. I’ve just finished my first year of a Masters of Architecture at the Harvard Graduate School of Design in Cambridge.

I’m Krit Chatikavanij, or Ja. I graduated from INDA in 2013 and began working in exhibition design.

From this experience, I realized I wanted to work in an office more specific to architecture, so I started working at Studiomake and have been there now for two and a half years. The learning process has been really interesting from understanding the basics in office administration to assisting on smaller projects in my first

year. This has developed into working on different projects like a renovation project for an old shophouse to small retail projects. What I really like is that the practice takes time and care with developing the projects and working with their clients.

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I’m Rawinthira Narksusook, or Jelly.

I’m from the inaugural class of INDA, the first year, the class of 2006. I’ve been working as an architect since I graduated. Until recently, I was a project manager at Banyan Tree International Holdings, but I have just started my own firm and I’m about to continue my study in a Masters of Real Estate at Cornell University.

Following my study in the US, I would like to come back to Thailand and continue with my own firm and do more development projects, focusing on leadership in energy and environmental design. I’m interested in property development, both the design and development, so there is more control on the quality and the outcomes.

My name is Totthong Lertvanarin, or Tony.

I graduated in class of 2007, and since graduation I’ve been freelancing.

I have also started my own company in interior and architecture design, working on projects like shopping malls, hotels in Koh Tao and various commercial interior designs.

LOOKING BACK AT YOUR TIME AT INDA AS A STUDENT, WHAT WERE SOME OF THE MOST MEMORABLE EXPERIENCES OR QUALITIES OF THE SCHOOL? Rawinthra: As I was in the very first year of INDA, there has been a lot of development in the curriculum since then. From my experience, one of the best aspects was the diversity of specialties in fourth year. In my final year, I took a real estate studio and that helped me realize that I’m not only the designer, but I can be the project driver as well. So as an architect, in the real world you can’t just look at design, you have to look at the whole scope of the project to make a successful outcome. You need to have this kind of mindset. So, what I realized in that real estate studio, really pushed me in this direction and then I joined Banyan Tree, and it confirmed that I wanted to explore broader project roles. I wanted to diversify myself from there in terms of design and so I created my own firm, because I really want to develop the design aspects in practice as well. So I think from gaining this mindset from INDA, it has given me a great start to develop in different career paths.

DID YOU FIND YOURSELF LEARNING A LOT FROM YOUR FRIENDS, OR MORE SO FROM INSTRUCTORS? Rawinthra: I think when we talk about learning, I think there are two aspects to this. There is the purely educational path and then there is learning about life, having experiences and the maturity that comes from that. I think between my friends and I, there is the commonality of learning and gaining knowledge, and we try to help each other in the challenges of this aspect

A C onv e r sa ti on wi th A lu m ni

Vinn: For me, I found INDA very broad ranging. I was in the second year and the course title then was, Design and Architecture. I graduated from a Thai school, so I saw architecture as more purely about buildings and construction.

So, coming from school, I didn’t see myself building, but I wanted to pursue my interest here and I discovered this new program that was INDA. So in

the context that INDA was new, and I was a new student, I could explore and experiment and the INDA professors were really great and helped me a lot in doing this. I was sometimes a bit unsure if I was going in the right direction, but by the end of fourth year, thanks to Ajarn Moe Ekapob, I explored choices and aspects of design and found a direction that could be a specialty. This enabled me to find a path in design and continue working in this discipline.

Also, the people I met and friends I made studying were very valuable. My good friends now, we share the same interests, we talk the same language and often work together.

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of learning. Then there is the other experience that educates us on how to live life, grow and prepare for the world.

As projects are quite time-consuming and sometimes difficult, I think we all support each other in finishing projects and meeting deadlines. Educationally, the professors definitely helped us a lot, giving us a strong foundation in both of these aspects.

Vinn: We spend a lot of time together, especially in fourth year and there are different studios so we share, we talk and help each other and from these conversations we learn as well.

a very strong studio culture and you would see your peers everyday, but I’m not sure if you learn as much from them as from your friends at INDA. I think because we were growing together, in some senses we also learned more from each other.

Krit: One of the greatest assets in my life and from my experience at INDA was the people; the instructors, friends and how we could share ideas and work on projects related to the coursework while also doing smaller projects outside of school together.

WHAT DO YOU THINK ARE THE KEY CHARACTERISTICS OF INDA?

A Co nv er sa ti o n wit h A l u m ni

Vinn: I was thinking rebellious or progressive, especially as the projects we do are very different from the Thai curriculum. When we were in school and even now, the design community sees that INDA has a distinct character, that we’re different and we have our brand now.

Suthata: I would agree, because when we initially graduated from high school, our understanding of the foundations of architecture and knowledge in design is very limited or very elementary. I think the way we help each other is more to push ourselves, to push ideas or to share different ideas from different studios and different instructors or briefs. This dynamic also results in different types of learning.

In comparison, graduate school has

Suthata: I think, because I’m also doing further studying now in graduate school, in comparison to my experience there so far, I feel like INDA is more open, in a way that professors help you to make what is your own project. In other schools sometimes there’s a set pedagogy that they want you to learn, like a set path or set of skills that is very determined. At INDA, I feel that this is less restrictive and as a result, our projects are more individualistic and we all learn differently. The professors push you to explore your own ideas on a project and drive you to fight for what and why you want to design. INDA has taught us a lot on how to reason or to question why we do certain things. I think that’s the most important part, where you have to articulate everything

that you do. So now, after learning that, if something doesn’t make sense then you want to challenge that.

Rawinthra:I think metamorphosis is another characteristic or evolution, because I think each year INDA customizes and adapts the courses and specialties towards the students that study in that specific year. In my year we had only 50 students in fourth year and we had a variety of different studios compared to the previous years. I think as we progressed from second to third year, the professors see how all of us work and their own different specialties and interests, so they try to almost customize the design program for us. Now, this has evolved as there’re a lot more students, like 80, so consequently a lot more diversity of studio courses to choose from. It’s great that INDA learns from the students of each year just as much as we benefit through this diversity

and evolution. It’s a very nice way to develop a course and develop a faculty, you transform and grow together.

WHAT WAS IT LIKE TRANSITIONING FROM INDA INTO YOUR FIRST JOB OR WHERE YOU ARE CURRENTLY WORKING OR STUDYING? Totthong: It was difficult in terms of the things they expected us to know, such as software and construction technology. At the same time though, INDA prepared us quite a lot. When I graduated and was given a specific task to do, I didn’t struggle on how to do it, I felt prepared from the course on how to go around it, ask questions, how to set the framework or how to progress through the project without getting stuck on not knowing what to do next. So, whilst in my year at least, it

“THE VALUE OF DEVELOPING CONFIDENCE AND STRENGTHS IN YOUR DESIGN WORK IS SO IMPORTANT WHEN STUDYING. INDA DEFINITELY DEVELOPS OUR STRENGTHS AND BRINGS OUT OUR REAL POTENTIAL.”

so I had to shift my thinking. Coming from this architectural perspective my projects were different from the other students. I agree with what has been said though, especially the skills of confidence and critical thinking. After completing my postgraduate study, I was interested in many aspects of design, so what I gained from INDA and my experience was not to see rigid design categories anymore, that it’s an open and diverse discipline.

did not prepare us in terms of software knowledge or using programs, but it did prepare us in the respect that if you had to use a program or take on a task that wasn’t familiar, we had the skills to put in place how to learn it or how to get it done.

Krit: INDA gave me the right attitude to work in the design industry.

Suthata: Our final year was very intense and it taught us so much in one semester, it showed us the value of hard work and the value of design and critical thinking skills, and now because of that, you have these professional skills and you don’t doubt yourself.

For example, now in a design project, I can talk about the reasons behind it and you can convince clients why it works. INDA has prepared us so much in terms of these skills that you can develop while working and gaining professional experience.

Suthata: I do agree with Vinn and see it the same way, that design has no categories. You don’t just think about architecture, it opens your perspectives of all varying aspects of design and ways of thinking, this is why you see INDA students doing product and fashion design and moving into a diverse range of design fields.

Rawinthra: It also makes you humble when you get critique and the balance of this in combination with pushing your potential. Considering how you can manage criticism, but at the same time have confidence in your ideas is a good thing.

Vinn: For me it was different as I started in architecture at INDA and then continued study at a design school.

There, the other students were more product designers, they focused on materials and I had to challenge myself to see things differently. Architects tend to focus more on ideas around space, but in design school they saw everything as materials and products,

Vinn: When my first collection came out and I had a show in Malaysia, a lady approached me and pointed out my work and said that it had a strong architectural basis, and was surprised when she found out about my background in architecture. Six months later she invited me to be a speaker in at the Kuala Lumpur Architecture Festival, and on stage I was speaking next to Thomas Heatherwick, Patrick Schumacher, Rocco Yim and ten other architecture firms from all over the world. I was so proud to be one of them, so even if I now do fashion design, I’m still an architect. INDA gave me this lasting architectural

“IT’S INTERESTING TO HEAR THIS KIND OF COMPARISON, BECAUSE ONE CAN TALK ABOUT ARCHITECTURE AS THIS ALL ENCOMPASSING MODE OF THINKING OR PARADIGM, BUT IT CAN ALSO BE SOMETHING THAT IS VERY SPECIFIC TO BUILDING AND CONSTRUCTION AND THE ART OF MAKING THINGS THAT IS VERY TECTONIC AND STRUCTURAL.”

Rawinthra: It drives us. We have this design sense. I designed a very small hostel and it has won some online travelers’ choice awards, customers would write raving reviews and although they are not architects, they really appreciate the sense of space and what I designed. It does make you realize that design and architecture is very intuitive, so even people not educated in architecture appreciate a well considered space. This comes from INDA, how to apply this design sense that is really useful, practical and valued by a wide range of people who use the building.

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Rawinthra: For me, the main struggle was as the first graduating class, so many of the firms knew that we were the first year and somewhat experimental, so there was an element of doubt or not sure what to expect and not expect from us. As a result of this though, it gave me a lot of drive to prove myself. I considered, how could I bring out my forte? How can I show my strengths? At the same time, what a longer degree program might give, such as more developed software skills, you make up for this in a very short amount of time working. The value of developing confidence and strengths in your design work is so important when studying. INDA definitely develops our strengths and brings out our real potential. Even aspects like being prepared on how to present our design work, these are the skills INDA taught us and also to know how to develop these skills further.

perspective.

HOW IMPORTANT DO YOU THINK DESIGN THINKING IS IN THE WORLD TODAY? Suthata: I agree that design thinking permeates into many different disciplines. Design thinking should allow us to step out of a purely architectural perspective and see how people experience different elements of design. It promotes questions like,

A Co nv er s a tio n wi th Al u m ni

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can architecture do more than provide space or can it incorporate social aspects as well?

Vinn: It is the thinking about people and culture that is important, not just space or aesthetics.

Rawinthra: When people use space they inherently appreciate the design.

Architects and designers have no specific language, it is very much a universal understanding. Good design can be equally experienced between two people with no language connection. Design is an international language with no boundaries. INDA helped me realize these aspects of the design language.

A Co nv er sa ti o n wit h A l u m ni

Krit: I also think that it has to do with how you define architecture as well.

One of the questions that I like to ask is whether architecture can be good on its own, without thinking about any

other fields. That is a question that I am still trying to answer. It’s interesting to hear this kind of comparison, because one can talk about architecture as this all encompassing mode of thinking or paradigm, but it can also be something

“DESIGN THINKING IS NOT JUST ABOUT ARCHITECTURE OR FASHION, BUT IT’S ABOUT HOW TO BE A MORE CRITICAL PERSON. YOU GET TO DESIGN YOUR IDEAS, PROCESSES AND SOLUTIONS. THERE IS NO WRONG ANSWER, BUT RATHER ASKING THE RIGHT QUESTIONS AND WHETHER YOU HAVE PUSHED YOURSELF AND THE DESIGN SOLUTION TO GET THE BEST POSSIBLE OUTCOME.” that is very specific to building and construction and the art of making things that is very tectonic and structural.

Totthong: Before I came to INDA, my father took me to see an architect because he wanted me to be an engineer.

The architect told me that as an engineer, I’d be focused in that field, but as an architect, I will learn to think in different ways and from different perspectives.

I didn’t understand what he meant until when I was working in my fourth year, if I had an issue to solve, I’d use design thinking and the design process

to see different aspects and solutions, understanding to be self-critical. In this regard, the way we are taught to approach and think about design at INDA really informs the way I think now. Design thinking is not just about architecture or fashion, but it’s about how to be a more critical person. You get to design your ideas, processes and solutions. There is no wrong answer, but rather asking the right questions and whether you have pushed yourself and the design solution to get the best possible outcome.

“INDA HAS TAUGHT US A LOT ON HOW TO REASON OR TO QUESTION WHY WE DO CERTAIN THINGS. I THINK THAT’S THE MOST IMPORTANT PART, WHERE YOU HAVE A REASON FOR EVERYTHING THAT YOU DO, SO IF SOMETHING DOESN’T MAKE SENSE TO YOU THEN YOU WANT TO CHALLENGE THAT.”

Interview by: Yarinda Bunnag Location: One Day | Pause and Forward Hostel Photographs by: Teerapol Aramruangsakul

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W O R K S 10

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A l u m ni Wo r k s

We asked alumni to send us samples of their studio work. Above are selections of various works from varying disciplines, from scales as small as a dress to ones as large as a resort. Fig. 1,6 and 8 by Vinn Chokatiwat for Vinn Patararin. Fig. 9, 10 by Totthong Lertvanarin and Sarita Tejasmit for Tott & Sari Designs. Fig. 3, 12 by Phumphat Leelayanyalert for Big Dot Architects. Fig. 7, 11 by Belle Benyasarn for Belle Benyasarn Studio.

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ALUM N I S U R V E Y

WHAT IS THE NAME OF YOUR COMPANY/PLACE OF EMPLOYMENT? 54 Studio 91 Architects Accretive Capital Real Estate AdAsia (Thailand) Limited Adlib Studio Airports of Thailand Almex International AND Architects 49 Atom Design AvroKO

A lu m n i S u r v ey

Bangkok Airways Bangkok Dec-Con Public BBP Premier BEC Tero Entertainment Bed Nimman Bjarke Ingels Group (BIG) Bluesiam Group Bug Studio Buro Ole Scheeren Cancu Studio CBRE Charn Issara Development PCL Chapman Taylor Architects Colliers Creative Matters Bangkok SoA+D, Thammasat University Creful Design 103 International Design by Chanya

Design Qua Diakrit DWP Fahchaiyo Group Farmgroup Fourpattana Group Fungjai Gaysorn Property Gensler (Thailand) GoBear Grant Assosiates H2Flow or Thai Jintan Hakuna Matata Land and Development Herzog & de Meuron Hiram Banks Lighting Design Hypothesis IMG Industry Integrated Field KC Development KPF KRM Motor KUU Architects Landprocess Landscape Architects of Bangkok makeAscene

Maincourse Architect MJR Management Motif Official Muang Thai Life Assurance N7A Architects Nadao Bangkok OMA Ong & Ong Orami Palmer & Turner Group Paper Plane Studio Pegasus Brand Design PDM International Pico Thailand Plan Architect Plan Associates Potentia (Thailand) PTT Public Limited Company RAFA Regroup Saturday School, Chulalongkorn University SCG Shma Sittanant Physicalist String Filter Studiomake Stu/D/O Architects StudioP

WHAT IS THE NAME OF YOUR SCHOOL/EDUCATIONAL INSTITUTION? TEAM Consulting Engineering and Management Teledirect (Google Project) Thai Airways International Thai Obayashi The Hidden Resort The Hype Project Today Fertilizer Tott & Sari Touch Architects TPC Asset Transcosmos Thailand Travel Technology Service

Architectural Association Academy of Art University Aston University Bartlett School of Architecture (UCL) BHMS British School of Fashion (GCU) Chulalongkorn University Columbia University Cornell University Delft University of Technology

Unreal Estate University of Florida Vgadz Corporation Wheelers Wilson Associates Wongnai Media

Glasgow School of Art Columbia University (GSAPP)

Yates and Partners

Harvard Graduate School of Design University of Hong Kong

Zeer Property Company

IFA Paris Massachusetts Institute of Technology Meiji University Parsons School of Design Pratt Institute Ravensbourne

University of Reading The Royal College of Art University of San Francisco University of Sheffield Stanford University (School of Visual Arts) University of Sydney Thammasat University (MRE) Victoria University of Wellington

ADMISSIONS

Admission Requirements: PLEASE CHECK THE MOST UPDATED ADMISSION REQUIREMENTS ON THE INDA WEBSITE. High school certificate or equivalence: Applicants have completed high school or passed the high school equivalent standard test (GED, ICGSE), or presently are in high school (Mathayom 6, grade 11-12 in the US system or year 11-13 in the British/IB system).

One of the following English proficiency test scores: TOEFL with a 550 (paper-base) or 79 (internet-base) or IELTS with a minimum of 6.0 or CU-TEP with a minimum of 80 or SAT 1* (Critical Reading) with a minimum of 400 or CU-AAT* (Verbal) with a minimum of 400 One of the following math test scores: SAT 1* (Math) with a minimum of 550 or CU-AAT* (Math) with a minimum of 550 *In case of submitting both English and Math scores from either CU-AAT or SAT, both scores must be from the same test date.

Test of Aptitude in Design: CU-TAD with a minimum of 50% Portfolio: Personal work of art, craft and design in A4 size folder or binding with thickness not more than one inch.

Application form with a 1,000 Baht non-refundable application fee.

Verbal Interview and Writing Test Tentative Schedule: Application Period: January 2017 Announcement for interview candidates: February 2017 Interviews: February 2017 Announcement of admission results: March 2017 Enrollment: March 2017 For CU-AAT, CU-TEP and CU-TAD testing information, contact: Chulalongkorn University’s Academic Testing Center: Call Center 02-218-3717 (CU-ATC Website: http://www.atc.chula.ac.th) Detailed schedule will be updated in December on www.cuinda.com

Cover image of INDA.CNC Design Build Project taken by Fredrik Hellberg.

INDA Newsletter Academic Year 2015-2016. Yarinda Bunnag as the editor in chief, Totthong Lertvanarin as the project manager, Techit Jiro as the graphic designer and Peter Fisher as the copy editor. INDA International Program in Design and Architecture, Room 409, Faculty of Architecture Chulalongkorn University, Phayathai Road, Bangkok 10330 Thailand / Tel: +66 (0)2218 4330 / Email: office@cuinda.com / Printed by Set Square Limited Partnership / Printed and bound in Bangkok ŠInternational Program in Design and Architecture, Chulalongkorn University

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