C O NTA C T Worawee Buasai (June) Phone (+66) 917173666 E-mail worawee.buasai@gmail.com Address
243/106 Ladphrao 1
Chompol Chatuchak Bangkok Thailand 10900
B AC KGR OU N D Nationality Thai Language Thai English E DU CATION 2018 Chulalongkorn University | Bangkok, Thailand Faculty of Architecture | International Program in Design and Architecture Bachelor of Science in Architecture 2017 2014
University of Canberra | Canberra, Australia A Semester of Exchange Program
2012
Lewis Cass Junior-Senior High School | Indiana, USA A Year of Exchange Program
Ekamai International School | Bangkok, Thailand
W O RKS H O PS AND ACTIVITIE S 2017
Design and Construction for Community Playground in Bangkok, Thailand
2016
DEX Workshop Places/Objects/Tools BKK Stack - Rendering for VR using Rhino and Unity
2015 Design Build INDA CNC - Explore the CNC machine 2013
Building for Community School in Petchaboon, Thailand
S O F T WA R E S KILLS Adobe Ai
Autocad
Adobe Id
Rhino
Adobe Lr
V-Ray
Adobe Ps
Grasshopper
Microsoft Office
Maya
00
OVERVIEW
1
PROJECTS COMPILATION
01
FEHN STUDIO
4
COPYCATS | HOUSING
02
THE PICTURESQUE
16
A MATTER OF STYLE | PAVILION
03
THE KAMPUNG
26
CHRONOSOMES | HOUSING
04
THE FORTUNE CAVE
36
SUPERNATURES | PUBLIC SPACE
05
DRILL HALL GALLERY
46
COLLECTED : NESS | GALLERY
06
THE LINK
56
THE RISK OF REALISM | HOUSING
07
BUMBLEBEAN
66
DESIGN FOR COMMUNITY: PLAYGROUND | PUBLIC SPACE
08
SMALL APARTMENTS
INTERIOR DESIGN | INTERIOR
72
OVERVIEW
1
Overview
2
COPYCATS
3
Fehn Studio
4
PROJECT TITLE INSTRUCTOR TOPOLOGY
OSLO, NORWAY
COPYCATS Moving away from originality and instead focusing on the frowned upon the act of copying by studying a particular renowned architect. Developing a deep understanding of the architect’s way of thinking into designing the architect’s workspace. Fehn Studio is the small-scaled architecture firm situated on the Bygdøy peninsula in the serene part of Oslo leading by the Norwegian, Pritzker-Prize architect, Sverre Fehn. The brief for this project is divided into three phases, the code, the copier, and the copy. The Code is an exercise on architectural language in which we analytically study Sverre Fehn. The Copier is the architecture synthesizer in which we fabricate a device that can hold any input that would later, recreate his work. The copy, the last stage of the project is where Fehn Studio comes about. It is the space of production where the code and the copier are the main input that brings about the final outcome. Sverre Fehn is an architect from Norway. He has a vision of unitary, which fuses the characteristics of the site with the need of each building program. He obtains the unitary by confronting with nature in many ways where he does not fight the nature but rather work with it. He is also considered as a poetic architect in which the building he built is able to touch its occupant on a deeper emotional level. His design always has a strong connection to the Nordic architecture and always uses the material honestly.
COPYCATS PAU FABREGAS OFFICE
FEHN STUDIO
5 COPYCATS
THE POETIC VISUALIZER OF SVERRE FEHN
CONFRONTATION WITH NATURE
CODE
CHARACTERISTICS OF THE LANDSCAPE
POETIC VISION INTUITION
-to touch its occupants on deeper emotional level -to move people through deeper beauty and meaning
construction and nature are united into something greater than the sum of the parts
INPUT
POSTCARDS
WORDS different words describing various categories: emotion, nature, light, attention, time, user, space, description of the landscape
set of postcards from different landscapes
MACHINE
POEM TEMPLATE allow occupant to choose different words according to his/her perception toward the landscape
DICTIONARY
*extracted from: Mystery and Solitude in Topeka by Mark Strand; Architectural Poem 425 by Studio Fredrik Lund
TOOL
translation of words describing various categories
1ST OUTPUT
POEM the results are various in feelings based on the occupant’s choices
DICTIONARY
TOOL
translation of words into characteristics of building
2ND OUTPUT
CHARACTERISTICS OF THE BUILDING the occupant will get 8 different characteristics of the building as a guide in further construction
Fehn Studio
HOW TO USE THE MACHINE
HOW THE MACHINE IS BUILT STEP 1 CREATE VARIOUS SETS OF POSTCARD
STEP 1 CHOOSE A SET OF POSTCARDS
Create various sets of postcards from different landscapes, each set of postcard shows different pictures of the same landscape in which the occupant could use these pictures as an inspiration to generate the poem.
Choose a set of postcards according to your intuition. Get inspired by the whole set of postcards (remember, not only one postcard but all).
STEP 2 THINK OF DIFFERENT WORDS
STEP 2 TAKE OUT 5 AND STICK TO THE BOARD
Think of different categories of words related to emotion, nature, light, attention, time, user, space, and description that could use to describe the landscape in different ways.
Take 5 postcards out and stick them to the board to be the guideline for generating the poem
STEP 3 CREATE THE FIRST DICTIONARY
STEP 3 CHOOSE WORD AND FILL IT IN
Create a dictionary that states the meaning of each word in each category.
Choose each word from each category and fill it in the poem according to their matching number.
STEP 4 WRITE A POEM
STEP 4 DON’T FORGET YOU HAVE DICTIONARY
Write a poem that could bring out the occupant’s profound intuition by using a word from each category in the dictionary.
If you don’t understand the meaning of the word, you can find it in the provided first dictionary (word to meaning)
STEP 5 LEAVE THE WORDS BLANK
STEP 5 CHOOSE ONE BETWEEN THE / SIGN
Leave all the words that come from the dictionary blank, make them as an open answer for the occupant to choose from the dictionary depending on the occupant’s feeling toward the landscape.
In the poem, you also have to choose one choice between the two words that best fit your poem shown between the / sign.
STEP 6 CREATE MORE OPTIONS
STEP 6 TURN WORDS INTO FORMS
Create more options for the occupant to generate the poem by giving positive and negative options to choose in the poem, depending on the occupant’s feeling toward the landscape.
After you have done with your poem, it’s time to see the characteristics of your future structure shown in the second dictionary (word to form).
STEP 7
STEP 7
RELATE THE POEM TO FEHN’S BUILDINGS
DRAW AND STICK IT TO THE BOARD
After having the satisfied poem template for the occupant, analyze the buildings Fehn built in various landscapes by using the same poem template and choosing different words from the dictionary to see how the characteristics of each building varies in different landscapes.
Draw each result of forms you got from the dictionary separately on the given paper. Then stick it to the board in the given area.
STEP 8
STEP 8
CREATE THE SECOND DICTIONARY
SNAP THE RESULT TO YOUR FRIENDS
Create a dictionary that translates the optional words from the first dictionary into the characteristics of the building.
Snap the result to your friends! Thank you for using your device!
6
PLAN
COPYCATS
7
Fehn Studio
8
SITE PLAN
9 COPYCATS
“
The other day I talked to a certain point inside of me and she was actually happy to be in me; said she like the way it feels, how she is blessed by everyone, how the calm light penetrates through her.
In the middle of the conversation, She dwelled deeper and deeper in tho the spiral of thought. She wondered how her past has been and it suddenly gave her the infinite serenity. As the breezes passed by she rediscovered that we are harmonized since the beginning as one like an open space entwining with the eclectic surrounding.
THE POEM GENERATOR The design of Fehn Studio comes from the poem generator. The poem generator is the device that processes by the intuition of the user. Looking through a set of landscape pictures, then choosing words that best described the photographs; the user will come up with a poem that later turns into the architectural forms and orders. The device includes a set of poems, landscape photographs, words, and dictionary that translates chosen words into tangible ideas. This device is extracted from the idea of how Fehn always confronts with the site and that he pays so much attention to its landscape practically as well as poetically.
“
Fehn Studio
FEHN STUDIO From studying Fehn’s designs and codes, the location for his office could not be anywhere else but Oslo, Norway, where he and his family live. The site of the office takes 15 minutes by bike from his home. The site is chosen by his habit in response to his nationalism and how much he values his family. Not only that, Nordic light is shown with both prosperous and serene environment in one place. Fehn Studio is surrounded by the vast grassland of a calm setting in Oslo. Toward the north of the building, its users can enjoy a tranquil scenery of the bay of Frognerkilen. The public section of the building is shown through some clear glass sliding doors at the entrance of the building contrasting its brick wall covering up most of the activity inside. The open plan allows free circulation among the users where some parts are separated to suit the specific programs. Entering the ground level, users are guided to the reception where seatings are provided. The circular stairs are covered by the brick wall that parts the library from the reception and the waiting area. Across the entrance is a large glass sliding door that merges inside and outside provides the users with the view of the bay. At the other wing of the building, kitchen and restroom are placed at the center
10
providing skylight around an elevated roof, allowing people to circulate around it. Surrounding the core space is the meeting room, dining area, and Fehn’s private office. Inside his private office, windows are provided at the corners. Glass windows and doors allow its user to connect more with the outside. This part of the plan is inspired by the residential villa that Sverre Fehn designed-- the greek cross plan, skylight, and window at the corner are elements found among his projects as if they are the language of his design. On the second floor, the circular plan is enclosed partly by an elevated roof where skylight is designed to correspond to the left wing of the ground floor. The key to this studio is the panoramic room which serves the main function of this building, an architectural office where people are to be working and inspiring. Influenced from Fehn’s design strategy which mainly involves with the landscape is the wall attached by the panoramic painting of the landscape that will be adjusted for every project. It also comes with the artificial flooring that matches the ground of each landscape. Everyone is meant to experience the site of his/her project throughout the whole process of design, which rooted from how much Fehn concerned about the landscape in his design.
COPYCATS
11
Fehn Studio
12
COPYCATS
13
Fehn Studio
14
A MATTER OF STYLE
15
The Picturesque
16
PROJECT TITLE INSTRUCTOR TOPOLOGY
OPEN FIELD, NOT-SPECIFIED
A MATTER OF STYLE Looking into a particular architectural style, extracting its characteristics, and designing a translation of those applicable to the socio-cultural and technolo gical values of today. The Picturesque is a dining pavilion sitting on the Mediterranean open field where the scenic experience of the 17th century situated. Here, people enjoy dining under the sparkling surface of the water ceiling, chilling around the vegetated columns, dancing under the horizon, and living in the harmonic moment of tranquility among nature. Here, people go back in time, relax, and picnic. This project is entirely concerned with one particular architectural style, Picturesque. After the study in depth and depict its architectural character, some elements are to be executed as the interpretation to suit the values of our times. The final phase of the project is about designing a canonical building where site and program are assigned to respond with all the elements and values found in the mentioned study. The literal meaning of Picturesque is like a picture. Before becoming a particular style was mainly focused on the landscape. Officially started in the late 18th century, characterized by the opposite features of the tradition, or the classical language. The Romanticized paintings were the inspiration to the Picturesque which then brought back the idea of nature and irregularity into the building.
A MATTER OF STYLE LARA LESMES PAVILION
THE PICTURESQUE
A MATTER OF STYLE
17
The Picturesque
18
LANDSCAPE SECTION
19 A MATTER OF STYLE
BENCH AS AN EDGE SYSTEM
WATER CONTAINER MADE OUT OF GLASS WITH WATER FLOW SYSTEM
BEAM CONNECTS THE WHOLE CEILING STRUCTURE
I-BEAM
METAL SHEET FOR PLANTATION
BEAM WITH HOLES FOR PIPE
PLANTS PIPE BRINGS WATER TO THE ARCH
Lintel
Water Ceiling
In Picturesque, there was no original physical element; therefore, the architects would have to choose them from various styles from another period. The key idea of Picturesque is to provide the harmonious effect with the landscape of the setting. The step of choosing the style would mainly be subjective to mood or feeling and somehow need to be connected to it. The most common architectural element featured in the Picturesque painting or landscape is a small construction that would bring a focus to the audiences’ sight. Among most of the paintings and landscape, ruins caught my interest. Since Picturesque involves with many of the 17th-century paintings, where the ruins of the classical elements found, this brings us to my interpretation of Picturesque arch, column, beam, and ceiling where I mainly focus on how they trigger people imagination.
of steel plates, pipe, and wires. The plastic tubes mimic the ruins shown in the Picturesque painting by playing with people sight. They scatter starting from the bottom of the column covered the wires unevenly to the top. Since the structures that hold each end together are the thin wires, the plastic tubes are what caught the eyes and brought irregularity into this column. Going back to nature is also the key to Picturesque, vegetation comes into the design. Circular plates distributed throughout the section of the column where plants holders situated. With this plants crawling up the column, it makes this structure changes through time.
First, the columns are designed based on the classical Doric in the form of the hyperboloid structure. It neatly made
Playing with vegetation in the columns leads to all the other elements that function mainly as the waterway to keep these plants alive. The water ceiling acts as a water tank as well as for the aesthetic purpose. It is brought up to be a platform where users stand under it and receive the distinct effect from the water reflection above. It would create a dazzling
The Picturesque
20
PIPE
HOLE FOR PIPE ALLOW WATER TO GO THROUGH THE BEAM
METAL ARCH SHAPED TO CARRY WATER WATERWAY AS AN EDGE SYSTEM
INTERLOCKING SYSTEM FOR WIRE
PLASTIC TUBE
WIRE
METAL SHEET BRINGS WATER TO COLUMN
METAL PLATE FOR PLANTING SYSTEM
METAL SURFACE CONNECTS TO COLUMN
STEEL PIPE AND ITS CONNECTOR
Arch
Column
experience when the light penetrates through the water and scatters under the ground level. The water distributed through numerous holes punched on the steel beam as the water passage. It runs down to the arch, then continues to the column where the plants are situated. At this stage, people can see the water running down from the whole structures.
nects the ground floor and the rooftop. The landscape is design to different types of slope, where people can be more comfortable to dine in, sit, and lay down. People can sit under the provided area of these vegetated columns, in the winter the center part turns into a heater that warms the area up. The light and shadow play a fascinating show penetrate through the water ceiling above. On the rooftop, it is meant to be a viewpoint where the edge is finished with the bench so people can sit and enjoy the view of the landscape. It also the place that encourages people to dance under the moonlight or enjoy the light when the sun comes up.
The brief for the canonical building is to design a dining pavilion with the interpretation of the Picturesque situated in the open field of a temperate climate. Somewhere in the Mediterranean, the set of elements are placed to create a Picturesque experience to recreate the landscape of the 17th painting. In the center of the building, lands a mirrored container that tries to camouflage into nature. It is where the commercial section hosts a set of food sold to the customers in a picnic box. Inside the mirrored structure, shows the public and private function. Most dedicated to the facility of the public usage which con-
Picturesque, at that time, for more than 200 years before, were used as an aesthetic view of the irregularity. In this generation, it is now an adjective, used to describe something with strikingly pleasing or vivid qualities — a scene so picture-perfect that you feel an impulse to reach for your camera or double check to make sure it is real.
PLAN
1
2
3
4
5
10
SECTION
1
3
4
5
Dining Pavilion
2
10
A MATTER OF STYLE
21
The Picturesque
22
LINTEL AS A BENCH
GLASS FLOOR
WATER
GLASS
BEAM
I-BEAM
BEAM PUNCHED HOLES CONNECTED TO THE WATER CEILING
PIPE
ARCH WATER CARRIER TO COLUMN
COLUMN OUTER RINGS FOR PLANTATION
MIRROR CLADDING
EXPLODED AXONOMETRIC DIAGRAM
A MATTER OF STYLE
23
The Picturesque
24
CHRONOSOMES
25
The Kampung
26
PROJECT TITLE INSTRUCTOR TOPOLOGY
KUALA LUMPUR, MALAYSIA
CHRONOSOMES Rethinking the familiar, challenging the mainstream direction of housing projects considering the way we live through the lens of time, in this case, month. The Kampung is a monthly housing located in Kampung Bahru, which is a traditional area surrounded by the modern city of Kuala L umpur, the capital of Malaysia. Irregularity is what makes this area interesting. The district is not ordered in a perfect grid but is instead clustered irregularly. This area is enriched by the tradition and culture of Malay people who fight against the modern developers years ago. It is specially crafted for the rural-urban migrants who come to the city to seek a better life and served a s their second home right in the city despite the temporality of the monthly lease. The Kampung focuses on sharing and socialization of the community. The concepts of the design emerge from the idea of the Malaysian word kampung, directly translated as village; it is being used mostly to refer to villages from the pastoral area of the country. It embedded the sense of hometown adding the value of warmth and nostalgia to the place itself resulting in the simple, natural, and less artificial design.
CHRONOSOMES ANTONIO BERNACCHI HOUSING
THE KAMPUNG
CHRONOSOMES
27
The Kampung
28
VERTICAL CIRCULATION PRIVATE FAMILY
PRIVATE 2 BEDS
PRIVATE 1 BED
PRIVATE FAMILY
PUBLIC COMMON AREA
PUBLIC BATHROOM
PUBLIC LIBRARY PUBLIC DINING
PUBLIC KITCHEN
PUBLIC PRAYERS’ AREA
PRIVATE 2 BEDS
PRIVATE 1 BED
PRIVATE 2 BEDS
PRIVATE 1 BED
VOID GATHERING AREA VERTICAL CIRCULATION
TYPICAL CLUSTER PLAN 0
1
2
5
29 CHRONOSOMES GLASS FACADE INSTALLED IN PUBLIC AREA VOID ALLOW PLANTATION
ADJUSTABLE LOUVERS AVAILABLE FOR PRIVATE UNITS
PUBLIC SPACE COMMON KITCHEN DINING PRAYERS’ LIBRARY
COMMON KITCHEN
DINING
LIBRARY
PRAYERS’
PRIVATE UNITS 2 BEDS 3 BEDS FAMILY * ALL COME WITH WC
UNDER-FLOOR STORAGE BED
ADJUSTABLE LOUVER FOR WINDOW/DOOR - FLEXIBLE VISIBILITY - GOOD FOR VENTILATION - ACT AS SHADING DEVICE
UNDER-FLOOR STORAGE WITH DETACHABLE COVER
RATTEN MAT TIMBER FRAME TIMBER STORAGE FRAME
LEVEL OF VISIBILITY: SEE THROUGH TO VIEW BLOCKED
UNIT DIAGRAM
TYPICAL CLUSTER DIAGRAM
The Kampung
30
The Kampung shows the harmony with its context, surrounding by both modern and Malay traditional buildings, following its neighboring heights carefully.
Here in the housing, people are invited to interact. A long corridor in between units are realized a little wider than usual, serves as a communal area, gathering each dweller and neighbors from different units to socialize instead of walking by. The idea came from the research of the problem living in the city, generally in a vertical building. Most people confront with isolation and privacy problems. With the typical high-rise building, people are forced to live inside their own unit, without much interaction with the outside. If they were to leave their door open, they would not get enough privacy either. The Kampung solves these issues by introducing the idea of living in level. It is what makes this place unique, each unit is separated from the main circulation by having some level changes-- elevated, or de-elevated provides users’ privacy. The dwellers of each unit can manage their own level of privacy by adjusting the louvers surrounding the unit. They could make it completely open or close to the neighbors
recreates the idea of a patio on the day of their own will. All of the units are clustered in four different angles along the street of the chosen site. Each cluster places beside the existing buildings. By following different heights of the neighboring buildings result in each cluster having a different height. Giving a hill effect, which connects people to ground level not as elevated as everyday high-rises. Three of the four clusters are connected by one big platform, void in the center allowing trees to grow, creating another place for interaction. The irregularity of this place aims to express the disorder of traditional living lifestyle, however, with its own strategic system makes the life of the user in its suitable order.
31 CHRONOSOMES PUBLIC LEAVE THE DOOR OPEN TO CONNECT WITH THE OUTSIDE
SEMI-PUBLIC NEVER MISSED THE CHANCE TO SOCIALIZE BY ADJUSTING THE LOUVERS
The Kampung
PRIVATE CLOSED UP THE DOOR FOR SOME PRIVATE TIME
PRIVATE THE INTERIOR STRUCTURE CAN BE ADAPTED TO FUNCTIONS
32
CHRONOSOMES
33
The Kampung
34
SUPERNATURES
35
The Fortune Cave
36
PROJECT TITLE INSTRUCTOR TOPOLOGY
BANGKOK, THAILAND
SUPERNATURES Challenging the pure functional approach by grounding the design strategy on the particular ecosystemic condition, and dealing with the collective rituals Tha Prachan, one of the most mystic place in Bangkok is where the Fortune Cave situated. On Prachan busy street of Rattanakosin Island, there are shophouses and Thammasart buildings surrounding the Fortune Tower, the signature of this complex. The idea of Fortune Cave came from the ritual of fortune telling, the context of the site, and the concepts of seclusion. Fortune Cave serves multiple functions-- ferry crossing service to various destinations along Chaopraya River and Fortune museum, which hosts the astrology international hub that merges people around the world with the same interest together. Not only does it combines the history of fortune telling, it provides the service from different branches as seen commonly around the corner of Bangkok alleys.
SUPERNATURES HANS HENRIK RASMUSSEN PUBLIC SPACE
THE FORTUNE CAVE
37 SUPERNATURES
3rd Floor, Fortune Cave
For someone who is accessing the pier, one would walk toward the river, passing the Prachan Pier shown in concrete vaulted structure. However, for someone who is interested in getting their fortune read can wander through the same passage and stop by any service along the way. For someone who wonders about the history of astrology can access the Fortune Cave through the secret entrance at the front and explore the history and the myth of astrology underground. The organization of Fortune Cave is designed based on the two concepts of seclusion from being completely detached from the surrounding like the underground terrain to being in the crowded place, but at the same time enhance the privacy of its users like what is shown in the circulation of the ground level. The structure of this building is unfolded, seeing clearly from all the programs on the section. Three systems are operated within the site: the Pier, the Cave (underground), and the Tower merging into the Fortune Cave.
The plan is generated from multiple pentagons. Pentagon defines reading space on the ground level where the columns help to separate spaces from each other. The reading space can be seen in the ground level by having chairs and tables surrounding each column. Two of the columns are dug to the underground level of the Fortune Cave letting natural light penetrating throughout the library space of the underground terrain. Another light source of this building can be found under the Fortune Tower. Glass and void are used to let natural light to get into space. Light implies the exit of a person’s life when losing oneself in the dark. Having the brightest light on the Fortune Tower, where only fortune tellers are allowed, orchestrates how people see fortune tellers as their guidelines among all the troubles.
The Fortune Cave
2nd Floor, Fortune Reading
38
SUPERNATURES
39
”
e?
ev
eli
m ay be
“b
40
dis be lie str ve o str ngly on dis gly be be lie be lie ve ve lie ve
The Fortune Cave
“have no
been
to fort
une tell
er”
yes
SPIRITUAL
ASTROLOGY
“popu
lar top
ics”
health family love
Tha Prachan is surrounded by Chaopraya river, according to feng shui, this place is full of good energy. On one side, there is Thammasart University, on the other side is where preserved shophouses located. Temples can be seen across the street and right around the corner. This area is a source of knowledge, religion, and belief. Tha Prachan is famous for its amulet market and fortune teller. They are scattered around the certain part of the city. Since it is in the Rattanakosin area, many tourists visit this community regularly. The Fortune Cave is the renovation of the existing pier. Since it is a public pier, there are many people that circulate through this space daily.
mone
y
work
The following diagram shows what usually happen in the service of fortune telling, including astrology, palm, and tarot reading. The fortune teller normally asks for your birthdate, time, and place. Afterward, the ritual varies depend on the specific branch of fortune telling shown in this diagram. The ritual of reading the fortune situated in many places including a very exposed place like right around the corner of every street or a secretive place in the countryside. Fortune telling has stayed in Thai culture for a very long time. More than half of the Bangkok population have been to the fortune teller even though most of them are uncertain about the result. However, with the action of spreading words around makes fortune industry approximately 2,550 million baht per year, expresses a very high rate of profit.
41 SUPERNATURES
CROSSING FERRY TICKET BOOTH FORTUNE TELLER’S SECRET ENTRANCE RESTRICTED AREA
4.00
READING SPACES ASTROLOGY, TAROT, PALM , ETC.
4.00
PRACHAN PIER GROUND LEVEL (0.0M) READING SPACE, CAFE, FERRY CROSSING SERVICE
RECEPTION LOBBY (-2.8M) PUBLIC ENTRANCE, EXIT OF THE CAVE
FORTUNE MUSEUM 1ST FLOOR (-6.0M) FORTUNE STORY, FORTUNE EXHIBITION, TALK-SHOW
FORTUNE READING | FORTUNE LIBRARY 2ND FLOOR (-12.0M) 8 READING SPACES WITH THE PSYCHICS, COLLECTION OF FORTUNE BOOKS
FORTUNE CAVE 3RD FLOOR (-16.5M) RESTRICTED AREA RESERVED FOR FORTUNE TELLERS TO PRAY, MEDITATE, CONCENTRATE, RELAX EXPLODED DIAGRAM
The Fortune Cave
42
down
-0.0
ENTRANCE -0.0 down
-0.0 -0.0M
GROUND FLOOR
-6.0
-12.0
-6.0
-6.0
-12.0
-6.0
-6.0 -6.0M
-12.0 -12.0M
-6.0 -6.0M
1ST FLOOR
-6.0
-12.0
-6.0
-12.0
-12.0M -12.0 2ND FLOOR
-12.0
-12.0
-16.5 -16.5M
PLAN
3RD FLOOR
SUPERNATURES
43
The Fortune Cave
44
COLLECTED : NESS
45
Drill Hall Gallery
46
PROJECT TITLE INSTRUCTOR TOPOLOGY
CANBERRA, AUSTRALIA
COLLECTED:NESS [VESSEL] Seeks an urban intervention that responds to the cultural value of the Drill Hall Gallery precinct as a socio-cultural asset of collective significance - both in the value of the collections it holds and in its role as an urban artefact within the collective memory of the city. Situated on the campus of ANU, adjacent to the Sullivan Creek is the Drill Hall Gallery. The existing gallery was originally built to train soldiers for the Second World War. It was remodeled to an art gallery in the style of art deco later in the 80s. The brief is to design an extension to the gallery toward the creek, which currently functions as a parking lot. With the long history of the Drill Hall Gallery, the proposal for the extension is not to interfere with the existing, instead embrace and accentuate it. The proposal is to bring people together and create a new landmark for the city. In order to connect the extension to the existing building, it is designed in the spiral to correlate with the curvy corner of the existing interior wall. The building activity is partly visible from the outside, partly hidden according to different programs. The extension hosts both permanent and temporary exhibition, which is the venue of choice from many of Australia’s leading contemporary artists, curators, and collectors. Besides the exhibition, the extension also provides space for workshop and lecture space to serve the art lover around the world. To make this building more approachable and friendly to the city, it hosts a bookstore, cafe, as well as the study area to approach different groups of visitors.
COLLECTED : NESS ANN CLEARY GALLERY
DRILL HALL GALLERY
47 COLLECTED : NESS
Walking from the existing gallery, toward the back, appeared the long corridor that leads to the extension building. People should experience the change of the ceiling height from the entrance to the arrival court. It is surrounded by the spiral building clad with glass facade, allowing people to see the activity along the corridor. The enclosed space at the arrival court is open at the top allowing sunlight to shine through in the daytime but give a different effect at night. A significant part of the floor is carved out letting the segment of the creek flows between the building. The idea came from the origin of the Sullivan Creek, this space is to mimic the mountain and the runoff and reminds people of today to their heritage. People can access each room by walking up the ramp or taking the main elevator found at the arrival court. Between the corridor and the functional rooms are the double wall that hosts the service core of the building. On the
highest floor of the building, comes to the end of the ramp which leads to the rooftop. On top, the floor is the continuity of the central structure where planes are sliced in platform hosting any activities that could perform outdoors. The central structure connects the vertical circulation together and integrates a water feature at the highest floor. The exterior of the building clads with double glass facade for ventilation as well as aesthetic purpose. For the part of the facade facing the exterior, clear glass is chosen where the activity inside can be exposed to sunlight, otherwise frosted glass. This building is designed to be environmentally friendly; it integrates a rain collection function which collects water to the tank at the underground terrain then reuses for different purposes.
Drill Hall Gallery
48
49 COLLECTED : NESS
ENTRANCE D
E BEGINNING OF THE RAMP
F
UP / DOWN
SULLIVAN CREEK
B
BASEMENT
2ND FLOOR
ROOFTOP H
A
B
G C BEGINNING OF THE RAMP
F
UP / DOWN
D UP / DOWN
1ST FLOOR
3RD FLOOR
PROGRAMS J
D B I
E
B
F
UP / DOWN
K
L
UP / DOWN
A RAIN COLLECTION CONTROL
G CAFE
B WC
H TEMPORARY EXHIBITION
C STORAGE
I WORKSHOP
D PERMANENT EXHIBITION
J ARTIST TALK
E ARRIVAL COURT
K CURATORIAL SPACE
F BOOKSTORE
L STUDY AREA
Drill Hall Gallery
EXTERIOR FACADE DOUBLE GLASS FACADE FOR VENTILATION
INTERIOR WALL CONCRETE WALL DOUBLE LAYERED FOR MAINTENANCE PURPOSE EXTERIOR WALL CONCRETE WALL UNDERGROUND
INTERIOR FACADE GLASS FACADE
CIRCULATION CONCRETE RAMP GLASS ELEVATOR (PRIMARY) DELIVERY ELEVATOR (SECONDARY)
RAIN WATER COLLECTION SYSTEM WATER TANK WATER PUMP CONTROL ROOM WATER CIRCULATION TO COLLECT TO USE TO VENTILATE
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51 COLLECTED : NESS
Cafe area showing the connection with the landscape
Drill Hall Gallery
Arrival court showing circulation of the building
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COLLECTED : NESS
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Drill Hall Gallery
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THE RISK OF REALISM
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The Link
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PROJECT TITLE INSTRUCTOR TOPOLOGY
BANGKOK, THAILAND
THE RISK OF REALISM This studio concentrates on some of the relationships between Architectural Design and Real Estate, on their mechanisms of production and promotion and how these influence each other. STAY MIXED, STAY CONNTECTED “Have you ever felt that inequality is rising? No matter how hard you work, you’d only get poorer while there’s only 1% that is richer and richer by having. By any chance, are you that 1% who holds the faith of this country? Have you ever think of the way to make change? Giving hand is not just by donating any longer, you can open the door of opportunity for those who work hard and lift them up from that cycle of despair. Let’s create a sustainable community that provides a good quality of life. By focusing on a respectful relationship through the mutual collaboration of mankind. Let us be the pilot in bringing in diversity, to bring out the most creativity in human resources that in time result in the infinite innovations. No! I’m not trying to bring you to the world of charity, you aren’t doing this for free. I can provide you with the strategy which leads us to the win-win situation for everyone. It’s about being different, and stepping out of the old way of thinking. Let us go one step further in which we can help people and make profit at the same time. For once we could make change. This society could be at one point nearer to equality!”
THE RISK OF REALISM ANTONIO BERNACCHI HOUSING
THE LINK
57 THE RISK OF REALISM
Mixed income housing has appeared in many places around the world however there is yet to be one in our home country, Thailand. The Link proposed to be the financial tool to reduce the inequality more or less from Thai society by bridging the different socio-economic groups together in one place through mutual collaboration. The Link is designed to be a renovation of the existing motel on one of the alleys of the Banthatthong Road toward Baan Krua community. It aims to brighten up the area and open up the job opportunity among the neighborhood. The huge scale of the building seems to be too harsh but it reflects the practicality of having bigger facilities; however, by looking at the building with its context, it fits in the right proximity. The massiveness are softened by the aggregation of the clusters, which appear irregular and scale more toward human being. The two L shapes are taken to be the variation of this
project by moving one side toward the other. By this strategy, the generic “higher = better� is gone. For this proposal, the higher you go, the more you have to share, by trading with the view they appear to have. The Link provides 4 floors of commercial program, which include workshop, retail, cafe, and restaurant that are run by our residents. For the workshop program, it is a learning space where people will be working together both in design and construction process. The public are welcomed to go in and join the session. From the third floor parts of the plan are the begin of the cluster. The cluster is referred to the two storey that share one common space which is spacious enough to reduce most of the corridor usage to be a usable space.
The Link
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59 THE RISK OF REALISM
1ST FLOOR
9TH FLOOR
2ND FLOOR
10TH FLOOR
3RD FLOOR
11ST FLOOR
4TH FLOOR
12TH FLOOR
5TH FLOOR
13TH FLOOR
6TH FLOOR
14TH FLOOR
7TH FLOOR
15TH FLOOR
8TH FLOOR
16TH FLOOR
0
10
20
50
100
The Link
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5TH FLOOR
6TH FLOOR
THE RISK OF REALISM
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The Link
People tend to stay in the common space where they can look out of the naked glass sliding door that is connected to the terrace outside. The common area is doubled height and some of the are lighten up by the void that cut through the half of the L shape. The interior is to be personalized by the residence, the only given part is the glass brick facade that wrap most of the building. The glass brick facade is used to soften the harshness of the bare concrete. The translucent texture works best when light is needed but omit the look over. With this glass brick facade, most of the room will need almost no light during the daytime resulting in the reduction of the energy usage. The clear glass can be found on each room in different position, it will be the same frame that is used for the glass brick. At the Link, people get to socialize in many scale, from your roommate(s)-- if you have one, your neighbors, your cluster’s friends, your friends from another cluster that you met at the workshop, or the friends of friends that share common
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interest, etc. With the principal of mixing different incomes together, it will create diversity, which then leads to creativity. Creativity leads to innovation and so on which is very well needed in the space of production, like the workshop studio. Morally, the Link is definitely good by sharing with others and by giving others opportunities. Practically, the Link is also useful and convenient for many small routines in life since there will be more people at home that you can ask for help or the fact that your workplace is right down by your home can cut quite a lot of your expenses. The Link is ruled in a shared system. Everyone owns small part and receive the profit as well. Through the Link, people are connected through the common interest and not by their asset value. The relationship among this community bonds from being a co-worker, a neighbor, or a friend which later creates trust among community.
THE RISK OF REALISM
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The Link
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PLAYGROUND
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BumbleBean
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PROJECT TITLE INSTRUCTOR TOPOLOGY
BANGKOK, THAILAND
PLAYGROUND Inquire into the design and construction; determine both the potential grounds of intervention in the city as well as the performative qualities of playing. Bumblebean situated under the tollway in the outskirt of Sukhumvit, adjacent to the bakery factory. The design process begins with the research of the user behavior. This space mainly dedicated to the employees at the factory and the neighborhood. They use this space when they get out of the factory to eat, relax, exercise, and play. After a phase of research on user behavior, the design of the playground begins. A sense of home, a notion of play is best to describe the intervention. Hexagon is chosen to be the base of the design by having a hexagon grid along the whole area, due to its flexibility and its potential for modular connection. Each element on the hexagon grid, realized by using welded steel pipes, serves two main purposes, exercise, and leisure. The exercise area consisted of different types of body bars and small steps for fitness purpose as well as the transitional to the leisure area. The leisure area mainly made up of the modular hexagonal pieces in different height, where people sit, lay down, eat, or play. These pieces on the leisure area are detachable and movable for future function. Prospectively, Bumblebean is to expand along the tollway to engage more into the neighborhood, giving a recreation space to the community.
PLAYGROUND TIJN VAN DE WIJDEVEN PUBLIC SPACE
BUMBLEBEAN
67 PLAYGROUND MASTER PLAN
FITNESS AREA
BARS FOR DIFFERENT PARTS OF BODY
RECREATION AREA
STEPS AS A TRANSITION
BumbleBean
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CONSTRUCTION PROCESS FROM THE FIRST DAY TO THE END OF THE MONTH AT THE SITE UNDER THE TOLLWAY
HEXAGONAL MODULES FOR VARIETY OF DAILY ACTIVITIES
PLAYGROUND
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BumbleBean
TEAM MEMBER: A Y A K A EKARACH KANIKA K I R A T A MARISA M O L PA S O R N NAPHON P A W I N PONKANOK THANAPON WORAWEE
S AT O THONTHAWES TERMSEDCHAROEN MANLEKHA LEONG SHOOWONG A N A N TA C H I N A KITSANAKARAKET J E R A N U N TA S I N WONGSANGUAN BUASAI
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INTERIOR DESIGN
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Small Apartments
BANGKOK, THAILAND
ADDITIONAL PROJECTS Compilation of three additional projects besides academic record focusing on the interior design of three different apartments for a private client The clients brief for three units is to create a nice space that would attack the future renter attention. Noted that these apartments are fully-furnished, my part is mainly the additional decoration and furniture. The first one is a one bedroom unit in Ladphrao. The user type for this unit is a middle class working in the area. With a limited budget, the design focuses on functional purpose with a simple decoration. The frosted glass sticker has been integrated into the sliding door to increase the privacy of the master bedroom. The second unit is a one bedroom unit in Chatuchak. The frosted sticker has been chosen again to separate the master bedroom out of the common area. Decorations are chosen to bring a sense of belonging to the future user. The third unit a two bedroom unit in Ratchada. Located along the business district, the client aims to create a luxurious apartment for the working class. The design is to integrate the tv shelf into the wall by adding a laminated marble panel. In order to expand the space visually, half of the wall is designed to be a mirror panel.The entrance is design to caught attention to the guests; this corner uses a different type of wallpaper for contrast. Light colored wallpapers are to put up on the entire unit to create harmony.
PROJECT TITLE INTERIOR DESIGN INSTRUCTOR TOPOLOGY INTERIOR
SMALL APARTMENTS
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73 INTERIOR DESIGN ONE BEDROOM 28SQM M CHATUCHAK
PHOTOGRAPHS
ONE BEDROOM 22.5SQM ASPIRE LADPHRAO 113
DESIGN
Small Apartments
TWO BEDROOM 40SQM NOBLE REVOLVE RATCHADA 2
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COMMON AREA WITH ADDITIONAL MIRROR CLADDING AND LAMINATED MARBLE PANEL
MASTER BEDROOM