S W Y S P R - N 2 0 1
A I G 6
SAWINYA CHAVANICH
SPRING 2016 M.ARCH | PRATT INSTITUTE
S W Y S P R - N 2 0 1
A I G 6
Sawinya Chavanich swinya.c@gmail.com (+1) 347 879 1757 53 Clifton Pl. (4D) Brooklyn, New York 11238
EDUCATION Pratt Institute, New York, United States Master of Architecture (First Professional) Ecole National Suprerieure D’Architecture De Paris-Belleville, Paris, France Undergraduate Exchange Student
Chulalongkorn University, Bangkok, Thailand Bachelor of Science in Architecture
Aug 2015 - Now
Mar 2013 - Jul 2013
2009 - 2014
WORK EXPERIENCES Teaspoon Studio - Bangkok, Thailand Exhibition Designer Internship
Art4d - Bangkok, Thailand Editorial Assistance Art4d - Bangkok, Thailand Editorial Assistance Internship
Feb 2015 - Jul 2015
July 2013 - April 2014
Jan 2013 - Feb 2013
WORKSHOPS International Workshop : Experiencing Architecture, Chiang Mai, Thailand
2012
Our Next City Centers : Urban Design to Architecture Design, Bangkok, Thailand
2011
Design Built For Community, Bangkok, Thailand
2011
Interior Design Workshop, Milan, Italy
2009
International Program in Design and Architecture, Chulalongkorn University + Faculty of Architecture Chiangmai University + Ecole Nationale pĂŠrieure d'Architecture de Paris-Belleville
International Program in Design and Architecture, Chulalongkorn University + Meiji University, Japan
Community project leaded by Taylor Lowe to reveal the new perspective of tradional vending cart.
Italy Nuova Accademia di Belle Arti (NABA) -Intermediate Interior Design Studio
AWARD First Prize Winner
Siam Center : Graphic Design For Department Store
2009
PUBLICATIONS Article : The Lorong Shophouses Series
2014
Article : The Pinnacle@Duxton
2014
Article : The Hybrid Culture
2014
ASA Journal (The Association of Siamese Architects under Royal Patronage)
ASA Journal (The Association of Siamese Architects under Royal Patronage)
Art4d magazine
SKILLS Rhinoceros Maya Illustrator InDesign Photoshop Photoshop Autocad After effects Grasshopper Mental Ray Maxwell Studio 3d Print
2015
2016
architecture
01
02
03
pops
didactic architecture
intertween
The project is to design an intervention that seeks to intensify the programmatic potential of the site in order to foster interactions across the diverse set of human and non-human residents and visitors working and living in thier midst. the intervention will serve as an exchange of services and information across these populations and mayin include daily or seasonal shift inits programatic intent. the program will be private offices for medical clinics and educational and employment services and a larget open community gathering space and cafe for special events that will accomodate activities in varying levels of publicness. The project will connect to the public transporti on node to expand its accessibilities to the community of the urban.................
The project uses thread models as an experimental method to explore path system and a minimal way system in order to develop and articulate spatial qualities that specific to the site and urban environment as an elementary school. The project is also question about the interpretation of educational system through architecture. This is to test alternate architectural articulations for the learning spaces of tomorrow’s adult..............................................
The documentation of physical experiment when dropping 3 acrylic paints into an oil. Each drawings illustrates the chang ing over times in difference views. The last stage of the document is also challenges the further movements, quest ioning about what will happen if this movement was happened against the gravity.
2015
2016
media experiememtation
2015
essay
äž˜ĺŻ‚
in american c o n t e x t
04 geneology The catalog of fragmentation demonstrate how each models are transformed and developed to have an unexpected unique quality. The catalog derive from relationship between hybridized objects like stacking, twisting, parallel, intertwined, etc.
05 a part to whole
06
07
lighting study The observation of how Frank Lloyd Wright adapt the essence of Japanese aesthetic and philosophy through the architecture in United States. .....
POPS design studio | fall 2015 instructor | stephanie bayard
pops community space | fall
2015
perspective
plan
front
opening
left
connector in x-direction connector in y-direction
entrance to the building
entrnace to the bridge entrance to the lobby
15.3450
pops community space | fall
2015
right
unit transformatin
landscape
furniture
shelter
15.3450
pops community space | fall
2015
pops community space | fall
2015
0% COMPRESSED
10% COMPRESSED
pops community space | fall
2015
39% COMPRESSED
pops community space | fall
50% COMPRESSED
2015
DIDACTIC ARCHITECTURE design studio | srping 2016 instructor | giesela buarman
didactic architecture | srping didactic architecture | spring 2016
didactic architecture | spring
2016
green area
site
battery park vietnam veterans plaza
cultural places
site
jewish museum skyscraper museum new york city police museum
bowling green
didactic architecture | srping didactic architecture | spring 2016
circulation
visual connection
didactic architecture | srping didactic architecture | spring 2016
01 02 03 04 05 06
lobby auditorium public walkway gymnasium playground water walkway
02 04 03
01
06
didactic architecture | spring
2016
05
CLUSTER OF 12 CLASSROOMS service core
ART SCIENCE
LIBRARY CAFETERIA LOBBY service core
ROOF GARDERN
CORRIDOOR AUDITORIUM GYMNASIUM PUBLIC WALKWAY ROOF GARDERN
didactic architecture | srping
2016
didactic architecture | srping 2016
didactic architecture | srping 2016
didactic architecture | srping 2016
didactic architecture | srping 2016
intertwine
computer media | fall 2015 instructor | hannibal newsome
Section - Details
Plan
Section - Details
A
A
Elevation A
Elevation B
intertween | fall
2015
10 s
15 s
TIME
experiment documentation
movement diagram
intertween | fall
2015
20 s
geneology computer media | fall 2015 instructor | hart marlow
geneology | spring
2016
A-0
A-0
A-0
A-0
A-0
A-0
B-0
B-1
B-2
B-3
B-4
B-5
C-3
C-0
C-1
C-2
D-0
D-1
D-2
geneology | spring
2016
C-4
C-5
ANIMATION computer media | fall 2016 instructor | christopher kroner
animation | srping
2016
https://vimeo.com/160087438
animation | srping
2016
LIGHTING STUDY computer media | spring 2016 instructor | hart marlow
R:225 G:161 B:154
power 50 w efficacy 20 lm/w
R:255 G:208 B:198
power 40 w efficacy 20 lm/w
R:255 G:198 B:188
power 30 w efficacy 20 lm/w
R:255 G:184 B:177
LIGHTING
power 25 w efficacy 20 lm/w
REFLECTION R:225 G:161 B:154
power 20 w efficacy 20 lm/w
lighting study | spring 2016
lighiting study | spring 2016
侘寂
in american c o n t e x t
WABI-SABI in American Context
The Japanese sense of aesthetic in the work of Frank Lloyd Wright
______________________________________________ Sawinya Chavanich Critics : Deborah Gans
Aesthetic is the most controversial issue in everywork of artists, designers and architects. As aesthetic is a subjective matter, its definition is unclear. However, in most of the time, the concept of beauty and aesthetic are related with pureness and nature. We cannot judge that nature is the most beautiful element on earth. However, we cannot deny that nature makes us feel something. Nature is powerful and delicate, perfect and imperfect at the same time. Because of this alteration, we, as a human being, started to appreciate nature in many different dimensions. Starting from Greek period, from Vitruvian man by Leonardo da Vinci to the human proportions and golden ratio. Artists and architects believe in the perfection of nature. This perfect proportionhas been adapted to the work of architecture such as Parthenon in Greece. Later on, we started to appreciatethe dynamic form of nature. Nature becomes ornament in architecture: volutes and shape of natural leaves in Ionic and Corinthian order. After that, in Gothic period, the thick wall was replaced by vault and light structure which actually bringing the natural light into the space. We started to appreciate the power of nature in different scale and dimension then the light becomes one of most significant in architecture. We all appreciate this power without conscious. As times passed by, the concept of nature aesthetic seems to be less obvious. Recently, The perfect proportion is not used that often. Moreover,the organic shape of nature has been transformed and simplified in the level that we cannot trace back to the priginal. However, the aesthetid of nature still exists in Japanese architecture where nature plays the most important role. As a result, the concept of Japanese aesthetic is dealing with the imperfection, uniqueness and incompleteness of things.Leonard Koren gives opinion that “When asked what Japanese aesthetic is, most Japanese will shake their head, hesitate, and offer a few apologetic words �. However, one of the greatest American, Frank Lloyd Wright, illustrates this kind of wabi-sabi in american context | fall
2015
aesthetic very well through his work . Therefore, it is very interesting to understand the notion of Japanese aesthetic, Wabi-Sabi in american context to the work of Frank Lloy Wright who was very obsessed with Japan in many dimensions, art works to philosophy This essay will illustrate how Frank Lloyd Wrighthow Frank Lloyd Wright adapted the essence of in Japanese aesthetic beyond the representation techniques and compostion. ........................................................ Wabi-Sabi is a core concept of Japanese aesthetic, which appeared in almost every scale from painting, pottery to architecture. The definition of Wabi-Sabi is still incomplete. Wabi-Sabi is a uniqueness of things that created by nature. It is changable and impossible to replace. Wabi-Sabi emphasizes the moment of newness in the object. It helps us realizing the value and quality of time. Therefore, Wabi-Sabi and Zen Buddhism have some relationships with each other. Koren explains “Wabi-Sabi” could even be called Zen of things as it exemplifies many of Zen’s core spiritual-philosophical tenets”. Wabi-Sabi and Japanese Pottery are always related with each other in term of techniques and textures as it always talks about asymetry, roughness and simplicity. However, Wright is more familiar with wood block prints more than pottery. Kevin Nute mentioned that Wright himself never admitted that Japanese art or architcture have influenced in his work. “He insisted that neither the art nor architecture of Japan had had any direct formal in his work”. However, Kevin tried to argue in that sense and claim that Wright was directly influenced by the graphic and form of Japanese art and architecture. Actually, if we looked deeply into Japanese wood block prints, Ukiyo-e, apart from the graphical styles, the qualities of Wabi-Sabi is in there so for Wright if might not be about the color or figure that drew him into the world of Japanese wood block prints but the feeling and unique quality of it, the quality of Japanese aesthetic that Wright himself never express to anyone. Ukiyo-e or Japanese wooblock prints is one type of Japanese art that flourished in Japan around 19th centuries. These prints are really emphasized on one moment. Each selected scene in Ukiyo-e print does not try to introduce or interpret anything except represent the richness in each specific moment for example
SHono-juku from Fifty-three stations of the Tokaido Hiroshige illustrates the life of travellers who were hurrying through the summer thunderstorms in Tokaido, a rural area in Japan. This set of Ukiyo-e prints is important and rare because it illustrates the story of Japaneseit illustrates the story of Japanese people around 1860s. Each print depicts each specific moment of the government post station along Takaido where travellers need to ask for permission if they want to travel across the area. In Shono-Juku, one of the prints in Fifty-three stations series, the action of each character has been paused with the shades of light in background. Another example is the print called “Man Crossing a Bridge in the Snow by Utagawa Hiroshige” which depicts the coldness in winter. The two menin the print represent how difficult it is to walk in the heavy snow. Apart from the story, the technique and handcraft of the wood block print is unique and difference from one another. There are no Ukiyo-e prints come out the same and because of this Japanese sense of aesthetic cannot separate from each other, most of the wood-block prints collector are also need to understand the aesthetic concern in Japan. The techniques and attempt in Ukiyo-e are similar to the concept of Wabi-Sabi, Japanese aesthetic in the way that it emphasized in the richness of nowness, which can occure only once.......................... Frank Lloyd Wright, an American architect an wood-block prints collector, visited Japan for the first time in 1905. Although, there are many people such as Kevin Nute, the writer of the book called “Frank Lloyd Wright and Japan” tries to draw connection between Japanese wood-block prints and the representation techniques in Wright’s work, there are something beyondthatWright spent almost 20 Years in Japan as an architect and spent the rest of his time collecting the Japanese wood block prints. It might not be so obvious at the first glance that Wright’s work is somehow shaped by Japanese aesthetic, Wabi-Sabi. Moreover, Wright never admitted that his work is directly influenced by Japanese art or architecture as Kevit Nute tries to convince in his book. However, there are some changes in his work before and after coming to Japan. Comparing his residential design in later period to the beginning of his career, “prairie houses”, there is a big shift in his design philosophy
wabi-sabi in american context | fall
2015