kan vajaranant
architecture and design portfolio
selected works 2015-2019
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architectural & experiential design
C ONTENT S
01 ;Null
;A schizophrenia-inspired invalid space object that cancels out differences the human mind.
;Rebuilding traditional architecture to fit into the modern world.
03 Time Collector
;a memory collecting device utilising physical and experiential storage capability of a particular space.
INDA Y4S2; Psychoscopic Boundaries
INDA Y3S1; Folkroom Reloaded
INDA Y3S2; Ur-breeds
page 09
page 23
page 33
04 Schinkel Pavilion
;a modern Schinkel reinterpretation of a Roman thermal bath and a town memorial.
05 14th Street Bike Station
;proposal for 14th Street Union Square Elevated Bike lane station, NYC
06 The Parasite
;an experiential flagship for Priceline Group holding campaigns promoting travel through online booking.
INDA Y2S1; The Imposter
INDA Y2S2; Brandtopiasv
INDA Y2S2; Brandtopiasv
page 43
page 55
page 65
07 The Forest
;entry for Wonderfruit Super Green, Super Lean, and Super Clean Pavilion.
mini project
02 The Rurban Strip
08 Tejido
;reviving Spain’s local Esparto craftmanship into modern domestic products.
Wonderfruit Competition 2019
INDA Y2 SUMMER; Design Build
page 73
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10 Physics Library
;Design proposal for the renovation of the student library in the physics building.
;Riverfront house with curved service wall, surrounded by rotating wood planks and glass walls. INDA Y3S2; Ur-breeds
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13 Inhabiting World
;Exploring elemental environments through experiments and instrumentation of elemental experiences resulting in a spatial sequence in the environment of chosen element. INDA Y1S1 Design Studio 2; Elemental Worlds
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;Design project that encourages domestic plastic recycling through workshops in Chareonkrung area that ends in a public exhibition and a published plastic cook book. INDA Y3 Summer: Design and construction for communities
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11 The Flow House
INDA Y4S2 Proposal Writing
09 Why Not?
12 Defining Worlds
;Exploration of meaning and senses of human physicality and abstract perception in creating environments, mood and ambience. INDA Y1S1 Design Studio 1; Defining Worlds
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14 Related Designs
;a memory collecting device utilising physical and experiential storage capability of a particular space. INDA Y3S2; Ur-breeds
page 126
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15 Model archive 2015-2019
page 128
01 “Where being crazy is justified.”
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;Null ;A schizophrenia-inspired invalid object intended to create a void space to cancel out the differences of the human mind. Y4 S2; Psychoscopic Boundaries
By nature, the human brain strives for control. From taking in the environment that surrounds us: the activities; the objects; the people; the conversation, the brain strives to make sense of it all. To analyse our stand in the world and generate the best and most appropriate response to our preference. The connection between the actual environment and our experiences stems of past knowledge, experience, and thus expectations. With Schizophrenia, a chronic brain disease that disrupts a person’s ability to distinguish reality from unreal, the connection is often severed during an active episode of delusion or hallucination. In fact, to other people there is clearly no connection between the actual environment and what Schizophrenic experiences. But what if our responses are merely preconceptions set by society? Would that connection be redefined then?
Instructor: Hadin Charbel 10
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Null : having no legal or binding force, INVALID : amounting to nothing : having no value : having zero as a limit : cancel out prefix Psycho- Relating to the soul, the mind, or to psychology Suffix Scopic- Forming adjectives relating to observation or viewing “Psychoscopic” Boundaries explores the area between an individual’s mental space and physical space under the lens of a specific psychological condition and using the ‘self ’ as the subject for research and design. The studio opens channels between mind, body, objects, representation techniques, and narratives to Wmanipulate particular conditions. Through the creation of new and/or unfamiliar architectural provocations provide alternate realities situated between what is and what could be; where new thoughts, perceptions, and experiences can be derived.
Null is a project that opens up the possibilities that comes with letting go of the pressure to interpret the world: to know what is going on, why, how, and most essentially what to do. It offers you a chance to exist beyond logic or reason, and just take things as they are. For it aims to disable any relation that could have been made between prior knowledge and the object in front, rendering our process of perceiving and interpreting the environment fruitless and thus forces us to respond according to our own definition of the environment. The designed object would float about in random motion, flipping and moving ever so slightly amidst the versatile environment of a public park where all kinds of activities are free to be engaged. Neither standing out nor blending in. Moving in its own rhythm unidentifiable by any pattern or effect of any kind. The structure, surface, and shape of the object - partly occluded at all time, with the only visible part being the part above water - is in such language that cannot be ruled out by a single definition; neither smooth nor rough nor bumpy, but maybe all, or maybe none. It resists identification, recognition, familiarization, and even meaning and purpose. A world where you are free to experience each stimuli in a new light under no obligation to follow previous definition of such stimuli.
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The journey to understanding schizophrenia as a disease and what symptoms it causes and how is rather inspiring and provokes many questions along the way. The way brains work seems such a wonder and one can never truly understand what is fully going on, only catching a glimpse of it takes a whole lot of work already. And studying this disease and the mental aspects associated to it lead me to question the way we live. Why we believe in what we believe. Why people act a certain way when in a certain situation. Is our action instinctive, or merely an attempt to fit in. And essentially, what counts as reality then. The many ideas hidden behind the concept of the disease fascinated me. We’ve always viewed reality in the same way we’ve been told to, never questions or step out of the line in fear of losing our place in society. But what right does society have to impose on us the limit of reality. When lying beyond the confine of ‘normal’ is a whole world of opportunities. I started to wonder, what would happen if we are free to define our own reality. What ‘could’ happen. Anything, that is.
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Psychoscopic Object Motion
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Artifacts experiments were conducted with water as an environment to explore peculiar forms and textures and qualities that air cannot generate. With water representing the medium that transform materials into something of a different quality and potential than what it possess in air. An attempt to relate to the eyes of schizophrenics who appears to see the same object as other people but percieve something different in their minds. These objects, intentionally difficult to identified were then rated and categorized by the audience to demonstrate that a single object can have multiple meanings to different minds.
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Schizophrenia Psychoscopic Interface
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02 “How vernacular architecture survives the modern world�
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The Rurban Strip
;Rebuilding traditional architecture to fit into the modern world. Y3 S1; Folkroom Reloaded
The project aims to rebuild a traditional Yaodong community amidst the Loess Plateau area in North-Western China as a rurban (rural-urban) commune to counterbalance the rapid urban development in China, increasing the area’s economic and agriculture competence through establishing a distinct land purpose to maximize land productivity and efficiency, to be able to increase the density without losing the balance between architecture and agriculture. Reflected also on the duality of the material used in construction, including raw excavated loess soil made into bricks and bare skeletal metal structure frame. The strip will bridge the gap between tradition and modern as well as rural and urban to enable the village to achieve a certain form of equality to urban city in terms of facilities and economic output through increasing the concentration of the design. A tight community of collective dwellings where the inhabitants are connected together with each other and the land in their relationship from within the architecture.
Instructor: Alicia Lazzaroni 24
VERNACULAR ARCHITECTURE STUDY: A yaodong is a form of cave dwelling commonly found in the Loess Plateau area in North-Western China. This particular vernacular architecture of China is unique to its location as its occurrence is generated imminently based on the physical and cultural limitation set by the area. The house is either excavated into the steep hillside or down below the ground, with units centred around a sunken courtyard. The community is often grouped together with accommodation on the inside and farming lands surrounding the outer skirt of the area. This arrangement depicts their value for privacy and draws the line between private and public space, with the ground acting as a common area for interactions between household and the courtyard as a common ground for a big household. These boundaries define what outsiders will see looking in from the exterior; the public community happening above ground and the more private interactions in which you have to get closer to get a sight of. RURAL URBANISATION The return of the urban migrants as a determinant in urbanising the traditional yaodong community, by integrating the traditional down-to-earth simple dwelling with modern comfort without destroying the principle of fully exploiting the existing local material to construct the habitats. The physical materials would represent different lifestyles and essentially different functions of space, and the integration of these material would signify the transformation of the society in terms of improved living standards. To retain the idea of using whatever is there to build. It is not about changing the old ways but rather adding to the old ways in the same manner in order to provide what the previously existing material couldn’t, with the use of the ‘new existing’. For nowadays the readily available material is not limited to soil and simple labour tools anymore but a range of prefabricated parts that allows for countless DIY construction possibility, and much more advanced machinery to support the said construction. Essentially, retaining the advantage of sustainable natural insulation method: keeping the excavated space to maximise temperature comfort, while adding standard prefabricated elements, for instance a portable kitchen unit or a toilet unit and other services that can vary according to the needs and capability of each household. With the local dwellers mostly being elders or kids with limited knowledge and often reluctancy to accept modern components, whether through prejudice, lack of knowledge or the lack of opportunity to do so. The return of the adults who are more familiar with the modern way would help for a smoother transitions towards more comfortable living. This project would be a chance to bridge the gap between tradition and modern to create an urban rural community to counter balance the overflowing urbanisation in the cities. In assembling the facilities themselves, the villager would come to understand how modern structure works and in a way these added parts would feel more at home than if it were just a chunk of component thrusted into the space, then it would feel more foreign. This way the component would be more versatile and people can build just enough for their needs or what they can afford.
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MODERN YAODONG A traditional Chinese village was once a natural commune in which villagers would share similar lifestyles, work and leisure. However, urbanisation has left these villages abandoned and deserted with the ever increasing number of urban migrants fleeing the countryside, to the point that the city is overflowing with migrants. Eventually, it is a reverse cycle of the urban unemployed with a modern urban-industry-qualified skillset returning to the countryside. The return of the urban migrant acts as a determinant in urbanising the traditional Yaodong community, by integrating the traditional downto-earth, simple dwelling with modern technology that provides comfort and convenience yet in no ways destroying the principle of using the most readily available to construct, soil. The vast plain of dry wind-blown soil offered barely anything other than its name; loess soil. With this lack of material, excavation was the chosen method of over 50 million of the plateau population to get through the harsh winter and scorching summer without over-exploiting scarce energy source such as coal. A traditional Yaodong has excellent thermal environmental characteristics such as insulation and heat storage due to its thick soil wall and tunnel shape. However, this environment also pointed out problems such as insufficient lighting and ventilation which is the cause of inappropriate humidity inside the dwellings, raising hygienic issues. Thus, these aspects of the Yaodong is used as an example of sustainable design for architecture to reduce stress on the environment alongside new technology that would eliminate the issues that the is previously existed, as an attempt to preserve the traditional invention while integrating modern elements to make the most of existing design in order to achieve better results in the future. Now, with advanced technology and internet, it can be said that the list of readily available material has grown immensely and that enables countless opportunity to develop this architecture to fit the modern society. Essentially, the project hopes to create a concentrated rurban community that explores the development between the ‘old’ and ‘new’ available material, to bridge the gap between tradition and modern as well as rural and urban to enable the village to achieve a certain form of equality to urban city in terms of facilities and economic output through increasing the concentration of the design. A tight community of collective dwellings where the inhabitants are connected in their relationship from within the architecture.
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THE MANUAL Farmers x Furniture ;a DIY guide to everyday invention where manufacture meets commoner. The free document is a manual that will contain the components thats related to agriculture and everyday life objects with the exemption of it being made from ordinary things that the people of the village can easily obtain. This document will reveal how to reassemble these common components in a new way, recreating them with the ‘new existing’ materials. REBUILDING A YAODONG COMMUNITY In a chinese rural close-knit community, commune is the public life and public space based on the daily life of the people who share common convention and have relatively close relationship with each other. A traditional Chinese village was a natural commune in which villagers share similar life, work and relax together. Nowadays, many of the adults flee to urban areas in search for better chances at work, abandoning the traditional lifestyle and public life, as well as the dwellings that have over time become outdated and inconvenient. So rebuilding the public life of the village and strengthening the relationship between the villagers themselves and between them and the dwelling is the most important thing in restoring commune in the community. 31
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03 “Capturing memory at different speed of life.”
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Time Collector
;a memory collecting device utilising not only physical storage capability of a particular space but also in a non-physical, rather experiential sense.
Y3 S2; Ur-breeds
There are things that you should do fast, and some that you should do slowly, for this reason people live their life at different speed during a point in time. This device is designed to encourage you to live in the speed at which you can choose. Through creating various process of documentation, a set of artefacts is produced as a time collector, to contain and preserve a particular point of your time. Time, in this case, does not only refer to as measured by hours and minutes but one measured by the degree of experience you received from visiting the site. It is a measurement on the difference between the speed at which each person travels at along the same set of distance, producing different results in turns. On a route 1 km long, one could spend merely 10 minutes on it or they could be there for two days and still have not finished the distance. And thus, for the same route of the same distance, they will gain a vastingly different experience, expressed in the form of artefacts in this case. A physical representation of time.
Instructor: Tijn van de Wijdeven 34
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CAPTURING MEMORIES The design of the device is an investigation on the idea of capturing the intangibility of human behaviour in relation to the architectural essence of a space. The indication for encounters and experiences that the space holds through presence and absence of physical structure. The set condition will act as an constant variable that represent the locality of the space at a certain point in time before the environment evolves through time. With the dependent variable being the human interactions that occur on the set. However, the connection goes both way, the set condition is influenced by those behaviour as much as the space affect the behaviour. These confrontations form a set of disjunction that represents the non-coincidence between movement and space, and man and object. Where the representation that follows architecture is broken down and rebuilt along different axes for it to exceed its functional standard. The project maps people’s movement in correlation with time to form a set of routines that differentiate the speed at which they live by, in consideration with the environmental and architectural context. Instead of focusing on creating a scenario of interactions, the device can detect and project the scenarios happening within existing space. In order to manipulate the routines of traditional behaviour into a possible invasion into existing space. To reintroduce the site to both incomers and locals as well as pointing out its existing domestic value and potentials so that it doesn’t get lost in the evolution of space through time. CONTEXTUAL AGENDAS: CONTEXTS AND ROUTINES Thonburi - Klong Bangkok Yai The territory of Bangkok Yhai area is essentially defined by nature, not only physical boundary of the surrounding water ways but also in the sense that the presence of water has a prominent impact on the lifestyles and experiences exclusive to the area. So the boundary of the area is not only defined by its architectural elements but also local human activities in relation to the local environment. The presence of the canal creates a dimension of change in the overlapping community that would have otherwise be more or less identical to the others in the same neighbourhood; dense, crowded, cluttered and completely disorganised as the infrastructure has grown over time. The canal cuts the typically closed off area open, relieving some of the intensity of the area. The adapted infrastructure in this case captures the interaction between people and nature. Providing a setting for different kinds of activities at different time. The canal has infiltrated not only the physical infrastructure but also the lives of the local, it has become both the collector and creator of moments through its adaptive form. An integration of great effect.
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A series of photographs coupled with separate set of background audio from the real site:
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04 “To speak another architect’s language”
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Schinkel Pavilion
Y2 S1; The Imposter
;a modern reinterpretation of a Roman thermal bath and a town memorial. An intensive study on a prominent architect and city planner, Karl Friedrich Schinkel, was done to develop a deep understanding of the methods behind his design in order to argue for, demonstrate and de-code the architectural language behind the identity of his architectural works. The extracted code is then translated into a device that aims to automate the observed design methodology to be able to produce designs of the same language. This device is then used to help create the design of the two pavilions that will represent the work of Schinkel in present time, meant as monuments to connect the town to its history through different means and experience.
Instructor: Tijn van de Wijdeven 44
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PAVILION A: THE MONUMENT Pavilion A is located in the middle of the Bernhard Brasch Platz, Neuruppin, Germany, which is the reminder of an architect, Bernhard Brasch, who contributed to the rebuilding of the city after the massive fire in 1787. The town is also the birthplace of Karl Friedrich Schinkel, renowned architect whose designs of both pavilion are based on. The main purpose of the pavilion is to serve as a memorial and reminder to the towns history before the fire, which is accentuated in monumental quality that the square already stands for. However a touch of present architecture will be present as to continue the eclectic style of Schinkel that created not only a mixture of design but a modern one at that. The pavilion will be a very open to public structure which allow people to be reminded of the rich history of the town and what it has become, as they can climb the steps right to the top of the monument that will give them a different view of the town, from a higher perspective. The design intensify the presence of negative and positive space, focusing on identical first impressions from the four corner pathway approaching the building. The lengthen columns emphasizes on the monumental quality of the structure, imposing the weight of the past the building holds which is reiterated by the heavy solid base of the structure.
THE SCHINKEL CODE : Platforms and columns that raise the building to enhance its masses and monumental quality. : Massive appearance with simple form and delicate details : Use of columns and platforms to define space amd support the structure. : Reflection to the surrounding site. 47
PAVILION B: THE ROMAN BATH HOUSE The pavilion consists of five structures connected at the base that together serve as a thermal bath house, an essential part of the Roman society in ancient time. Each structure have varying degree of inclosure, from fully enclosed with walls to a bare column structure placed under the same proportions as the work of Schinkel. The gradual increase in openness is designed in correlation to the water temperature inside each structure, in order to maintain the elaborate traditional sequence of a roman bath. Also, the open structure would allow for the outside air to react with hot water and form a could of mist that would not only help as a visual protection tool for the more open structure but would also act as a medium that blends the building to the environment, further blurring the line between man-made and nature. The design is meant to highlight the contrast in a monumental structure and the surrounding nature but at the same time the harmoney that occurs between them. Spaces are not defined by its exterior structure but the negative space created within. This allows the pavilion not to only be monumental in size but also in its creation as it would feel like one big rock carved out to form space. The pavilion serves as not only a reminiscence of history but also an accumulator of current time. Stored inside the pavilion are thousands of years of culture and traditions in the past and to come, triggered through the precisely controlled condition of the atmosphere.
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Bathing played a major part in ancient Roman culture and society as one of the most common daily activities in every city available. It was practived across a wide variety of social classes and counted as a communal activity as only the richest few can afford a private bath in their home. Being open to the large public, Roman Baths were huge complexes consisting of a diversity of rooms and open areas for different functions. The typical elements of the Roman Baths were: apodyterium - changing rooms frigidarium - cold room natatio - open air swimming pool tepidarium - warm room calidarium - hot room The design played with the original arrangement and rely on the varying temperature of each space, increasing the temperature along with the openness of the structure, taking advantage of the amount of steam produced to act as part of the visual protection.
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Schinkel’s Palette Manual
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05 “where bikes, cars and people can enjoy each other’s company”
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Y4 S1; Parsons Exchange Program
14th Street Bike Station ;proposal for 14th Street Union Square Elevated Bike lane station, NYC
Due to an absence of New York City’s L train that connects Brooklyn and Manhattan, the design of an elevated bike lane is introduced as an alternative transportation method to aid in the incoming traffic issue. Pushing towards a more sustainable, effective, and safe transport system for the ever so busy Manhattan. The bike lane will feature multiple touch point to the ground including one over Union Square. A transportation hub designed to connect bikes not only to the street but also the urban context of Union Square. It is a vertical spiral that links all transits method at the area together, from the elevated bike lane to pedestrian walkway to underground subway system, as well as the city to the park. It is the middle ground where pedestrian can exist alongside transports and enjoy each other’s presence without getting in the way of each other.
Instructor: David J. Lewis 56
14th STREET
UNION SQUARE KAN VAJARANANT
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SITE CONDITION Union Square Park and pedestrian plaza is one of the top attractions along Manhattan’s 14th Street with a mixture of office workers, street artists, students and professors and the general pedestrian passing through in huge amount on a daily basis. It witnesses especially heavy traffic during morning and evening rush hour with the surrounding office buildings and university campuses. Apart from being the location of the New York City Subway’s 14 th Street-Union Square station, with 12 exits scattered around the junction, the square also sees a lot of traffic on the streets with buses, taxis and cars cramming the 6 lanes street in front. However, the movement mostly occur on the outer edge of the square without much entering the park area, which results in the inside of the park to have an insecure atmosphere that is particularly unfavourable at night, with more sketchy users occupying the area heavily shaded by dense trees. People are inclined to feel intimidated and sometimes unwelcome to use or enter the park at certain times. With these conditions in mind, the design intends to aid these situations and bring light and movement into the center of the park as to brighten the area and generate a more welcoming energy to passerbys. While also considering the fast-paced pedestrain traffic and attempting to relief the subway tunnels. Keeping the location populated but not overcrowded.
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FIRST FLOOR
GROUND FLOOR
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UNDERGROUND FLOOR 1
UNDERGROUND FLOOR 2
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06 “Vacation is just one click away”
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The Parasite
Y2 S2; Brandtopias
;an experiential flagship for Priceline Group. This project is a proposal for the flagship enterprise for Priceline Group, the world’s leading provider of online travel & related services provided to consumers and local partners through multiple brands including multiple famous online travel agency sites. The design is done in consideration to future modes of business, rather than designing an office or storefront it aims to proclaim the company’s identity to the public. Making a stance for their services and reminding people of the convenience that comes with online travel.
Instructor: Thomas Lozada 66
THE PARASIT An in-depth study of Priceline Group was conducted to extract their design logics and implement these logics at the scale of personnel and facility landscapes. The company owns and operate travel related services through six main brands; Booking.com, Agoda.com, Priceline.com, Kayak.com, Rental-cars. com, OpenTable.com. Each of the brands’ content are compared and analysed to reach a commonground of needs and message that the flagship will stand for. The flagship is designed after the concept of parasite, a series of space scattered around the sky train station waiting to ambush people passing through. Wrapped around the corridor, on the railings of the platform, outside the train windows, the existence of the project is inescapable just like lingering advertisement save it comes in experiential encounter. The spaces are to ambush people with an instant of a get away, a several seconds of vacation sprung on you as a reminder of the idea of traveling. The point is not to interrupt people on their way to work or outings but to incorporate these little moments into their journey. A little something to make your mundane walk from the station to the mall more special. Ten steps that sparks a memory of your last summer vacation, and hopefully fills you with the possibility of the next summer vacation. As easy as looking out the window or walking through a tunnel, online travelling offers instant access to your next trip be it hotel accommodation, plane tickets or even rental cars. For as quick as the time it takes for you to walk through the space, you can be fully prepared for your next weekend trip away with the help of online travelling agency such as Priceline Group. So where would your next stop be?
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PORTABLE GLOBE The Portable Globe is created to inject a little dose of travel into your everyday life, a component that can change your boring routine into an exciting experience to remind you not to lose yourself in work. Imagine if every elevator trip takes you through a different city view each time. Travelling can be as easy as stepping inside an elevator.
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TRAVELLING STONES The travelling stones sit on a slightly different concept with the goal being to let people explore the world as well as the limits of Priceline Group’s services. Your actual movement translates into an exploration of the earth, literally jumping to unknown places who knows you might love to visit.
THE CONCEPT The two proposed components are designed to accommodate the company’s philosophy of getting personal and closing the distance between them and the customers, while maintaining an appearance of a technology company of expanding reach around the world in the OTA business. The main purpose of these two components is to encourage people to use the company’s services, through introducing what they can offer in a unique way and giving them a reason to want to use the service. It is a matter of how to stand out from the millions of competitors out there in the market of nine travel.
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07 “Living, breathing, growing architecture�
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The Forest
Wonderfruit Competition 2019
;entry for Wonderfruit Super Green, Super Lean, and Super Clean Pavilion. The Forest is not a building. The Forest is a living landscape that grows and evolves. In The Forest, architecture is nothing else than a framework that defines a minimal controlled space surrounded by living bamboo, whose boundaries expand with time according to the unpredictable vitality of Nature. The Forest exemplifies the core values of Wonderfruit, the enjoyment of the outdoors, the strong sense of community, the strive for sustainability, the desire to leave no trace. Like in ancient ruins, The Forest will eventually dissolve into a natural ecosystem, its artificial marks blending seamlessly into the context as a reminder of a joyful, sustainable society.
Team: Gianmaria Socci, Panyanus Jansomwong, Kan Vajaranant 74
THE CONCEPT In this modern industrial age, staying true to humble local material while maintaing innovation sustainability is a rare combination as it hardly beats the convenience of instant materials and inclination for temporal comfort in an instant rather than longer lasting simplicity that takes more time setting up. This proposal take advantage of nature and its property, fully utilising the life span of bamboos from start to end. So that it can serve its purposes along the timeline. Shaping space and boundary of the pavilion as it grows. The Forest has a clearly defined beginning, but it has no end. The current rate of deforestation in the world and in Thailand will soon leave us with out forests, which means without oxygen, resources and biodiversity. Let’s not build more buildings, let’s build forests!
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WELCOME TO THE FOREST
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THE PAVILION Multiple entrance paths lead to a central exhibition space. The path is like a trail in the forest. Stones line up to create sitting space, the translucent canopy defines the space while opening up to reveal the thick bamboo mass. A lightweight, waterproof canopy runs around the central space. It is hanging from the surrounding bamboo stems and relies on a central rigid rim, also built in bamboo. The topography rises slightly towards the central opening. Circular pocket spaces open up towards the center like clearings in the forest. Here, behind the curtains, hammock-like structures hang from the surrounding bamboo prviding an intimate break from the communal activities.
The Forest’s predicted growth
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THE BAMBOO turity. The stems have solidifies and the rhizome spread across a vast area. New species populate the ground and the foliage. Mature Bamboo can be harvested and used as sound structural material for future Wonderfruit contruction. The “architecture” has dissolved in the forest, the paths remains to testify its past, the Bamboo lives a new life as new structures of future events. 0 months The first fundational operation is the transplanting of young Bamboo stems. At 3 to 4 meters high, young Tinwa Bamboo (Cephalostachyum pergracile) is an extremely fast-growing plant, endemic in Thailand and widely used in construction. It is also one of the best CO2 abrorbers, making the forest and actual carbon sink: Wonderftruit will offset its on carbon production for the years to come! 1 months Within the first month the Bamboo rhizome start to connect and spread. The stems grow higher and stronger. Their tips, still very flexible, are connected with traditional non-disruptive techniques to define the entrance corridor to the pavilion. The expected height of the stems at this point is about 8 meters. A path paved with local stone and pebbles creates an area where the bamboo cannot spread, defining the pavilion space as a negative form. 2 months The forming Bamboo mass becomes the support of lightweight elements that make the forest inhabitable. A cotton mesh fabric drapes from connection points knotted to the stems, keeping the path clean from falling leaves and insects, and becomes a waterproof canopy in the central space. LED lights are spread throughout the forest like fireflies, defining different levels of intensity depending on the exhibition design. 5 years At the fifth year the forest has reached its maturity. The stems have solidifies and the rhizome spread across a vast area. New species populate the ground and the foliage. Mature Bamboo can be harvested and used as sound structural material for future Wonderfruit contruction. The “architecture” has dissolved in the forest, the paths remains to testify its past, the Bamboo lives a new life as new structures of future events.
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08 “Reviving a local craftmanship on the brink of extinction”
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Tejido ;reviving Spain’s local Esparto craftmanship into modern domestic products. Y2 S1; The Imposter
In our quest to explore the town of Tolox and its long since tradition that is all esparto- related, we have found out just how fond they are of the heritage and how fragile its existence has become. So our mission has been decided upon since, along with introducing the outside into the ordinary lives of Tolox, we also intend to inject a little more ‘Toloxness’ into the younger generation. To cherish the combination of the old and the new, under the masks of a friendly group of alien that have invaded this community. It is our intention to connect this closed-off neighbourhood to the outside world, not exposing them but rather bringin the world to them, right on their doorsteps. Born is Tejido, the representation of the new old. In hope to spark a revolution of all traditions to keep track with the new age.
Head of Product Team Team: Achiraya Sangpaiboon, Chanai Chaitaneeyachat, Chanya Sukhumoenchit, Chularach Emgchanil, Kan Vajaranant, Kongphob Amornpatarasin, Ksidij Olarnlarp, Kunpriya Khamkhane, Napatr Pornvisawaraksakul, Natcha Kikhoontod, Natchaluck Radomsittipat, Natdanai Wareerinsiri, Nathnicha Nimitmongkol, Natthanan Surachartkumthornkul, Nichakarn Vichipunt, Palita Tungjaroen, Pongtrust Patcharapond, Popploy Julpongsathorn, Puntawan Suppakornwiwat, Saruta Yupuang,Supichaya Kosalanantakul,Tanaboon Kittisrikangwan,Wasutop Viriyasuebpong Instructor: Natalia vera Vigaray, Patxi Martin 84
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DESIGN BUILD WORKSHOP - TOLOX Our material exploration and experiment workshop was set in Tolox, a small town in southern Spain, with the aim to revive its local craftmanship and use of local material, Esparto. Esparto is a specie of perennial grass found in Southern part of Spain. It has been used for crafts for millennia as rugs, ropes and clothes, by weaving the grass into tight patterns. Esparto was claimed as “national fiber” however, the launch of plastics eventually led to the decline of the esparto industry. In Tolox, there are only 3 craftsmans left who knew the trade. Our concept is to introduce aliens which represents us, foreigners from Thailand, that invades the town and discover the fading tradition of the people of Tolox. We aliens then adapt modern research, technology and experimentation to create new crafts that bring the outdated esparto into the modern light. We run trials combining the local grass with a range of other material such as foam, resin, and silicon to expand the possibility of the new product invention. New materials were invented as a result, widening the range of product we were able to produce. And during over a month stay in the town, we absorbed their way of life, tradition and cultures, architectural elements and have concluded to incorporate the town’s identity into their everyday life. We have chosen home decorations as our main product lines, including lamps, light, sunshading curtain, stamps, and even tiles with esparto pattern prints. The chosen categories of home decorators are mostly flexible in its use which allows for an opportunity to twist things a little to express our ‘alien’ characteristics. It would still be able to still perform well for its purpose but just in a more unique way.
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EVENT POSTERS
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ALIEN INVASION NARRATIVE VIDEO
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PRODUCT SAMPLE
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PRODUCT SAMPLE
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BLENDING IN & STANDING OUT To make the best use of our oppotunity to interact with the craftsmanship, we started the experiment with acquiring all the knowledge we can get on the original materials and techniques. The team collected fresh Esparto grass daily and learned all there is to know about the material and ways to use it. We weaved, tied, twisted, burned, drowned, dried and thoroughly tested until we becam expert before other material were added to the mix for more creative results. The aim is to achieve products that can blend into the local’s daily lives and routines but also stand out enough to not lose its identity and the history of tradition it stands for. So the end products are somewhat peculiar and out of the norms, yet still posses a functional quality of simple home decorations.
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The identity of aliens not only represent our foreign origin but also a fresh set of eyes that are able to recognize and appreciate the value and potential of a fading tradition. Crafts are not merely means to produce products but a reminisce of culture and way of life. It represents their land and their daily activities as well as the growth of a community. The point of the workshop is not only to recreate products of innovative material from local techniques and material but also to bring the different generations of the town together. Giving them a chance to bond over a shared history and learn from each other. Infusing the plant of evolution through experimentation and adaptation. and thus reviving not only the old techniques but the community of Tolox as well.
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09 “A homemade recipe for plastic recycling.�
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INDA Y3 Summer: Design and construction for communities
Why Not?
;Encourageing domestic plastic recycling through workshops in Chareonkrung area that ends in a public exhibition and a published plastic cook book. ‘Why Not?’ is developed with students and instructors from INDA, International Program in Design and Architecture at Chulalongkorn University in Bangkok. The project entails a range of processes to transform plastic objects of single use into products of reuse. Simultaneously, we established a series of workshops at three schools in the Charoenkrung area as an attempt to introduce these processes to children. The tools and skills provided for these processes can be found in every household. Domestic appliances and small hand tools are contained in a set of stations which each facilitate a specific set of operations. As such, recycling is made accessible to consumers of all ages. Whilst minimizing the amount of plastic waste, the home becomes a place of production and creativity.
Project Manger / Head of Product Design / Content Creator for publication Team: Ksidij Olarnlarp, Kan Vajaranant, Chanon Sutharoj, Chadaporn Sompolpong, Seung A Song, Nithit Chompatana, Natcha Kikhoontod, Norapat Lumdubwong, Natthanan Surachartkumthornkul, Nattachomporn Supaprutsakul, Nichakarn Vichitpunt, Napatr Pornvisawaraksakul, Dhataroth Chaiwarasilpa, Popploy Julpongsathorn, Pornnapath Khampiranon, Ruchchapa Jaochakarasiri, Supavitch Kugasemrat, Sita Hirunjit, Akarpint Chomphooteep, Auraya French Instructor: Natalia Vera Vigaray, Tijn van de Wijdeven 98
WHY PLASTIC? As most people may already realise, we use a whole lot of plastic products everyday. Whether it be coffee mugs, laptop, water bottles, a pair of trainers, as far as vehicle spare parts. Traces of plastic are literally everywhere. Plastic is clearly an indispensible part of our society that makes life a great deal easier. But what do we really know about plastic?Plastic is a synthetic material created to replace natural material, dating back around 130 years. To make plastic, natural materials such as coal or crude oil has to undergo a chemical process called polymerization where the material is broken down into smaller groups of compounds that would later make up a material of plastic characteristics. Since there are so many types of plastic, they’re classified into different categories according to their colour, property; from hard to soft, elasticity, etc. Most plastics can be combined together through heating, this makes it easy to form different shape. The popularity of plastic has exponentionally increased since its creation. This is due to its versatile property, qualifying it as a perfect substitute material for many including steel. Properties of most plastic include lightweight, durable, strong, thermal insulation, waterproof, resistant to chemicals, transparent, and many more. Industrial production involving plastic material is simply easier, plus it costs less money and time.
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DOMESTIC RECYCLING Plastic recycling is an issue closer to home than you’d think. The ‘Why Not?’ Project aims to introduce recycling plastic within the intimate realm of the home and other places part of everyday life. Materials and tools required for these processes are part of the existing range of daily activities and spaces of use. Skills and routines to apply are easily obtained and accessible to a wide range of cognitive and bodily capabilities. So that recycling plastic can become an issue more accessible to the local community. The idea is that everyone can recycle plastic, anywhere, with anything they have. With this cookbook as a basic guide for all to continue exploring the creative side of plastic recycling. 101
DOMESTIC EXPERIMENT
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PRODUCT SAMPLE
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Why Not? School Workshops
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Plastic recycling is an issue closer to home than you’d think. The ‘Why Not?’ Project aims to introduce recycling plastic within the intimate realm of the home and other places part of everyday life. Materials and tools required for these processes are part of the existing range of daily activities and spaces of use. Skills and routines to apply are easily obtained and accessible to a wide range of cognitive and bodily capabilities. So that recycling plastic can become an issue more accessible to the local community. The idea is that everyone can recycle plastic, anywhere, with anything they have. With this cookbook as a basic guide for all to continue exploring the creative side of plastic recycling.
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Why Not? The Plastic Cook Book
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INDA Y4S2 Proposal Writing
Physics Library Renovation ;Design proposal for the renovation of the student library in the physics building. The design for the renovation and retrofitting of Chulalongkorng University’s Faculty of Science library, Physics Building. The renovation aims to bring the library environment and facilities up to date with today’s technology as well as improving the overall aesthetic, ergonomic and functions of the space while keeping energy consumption to the minimum. So student have access to a suitable study environment along with sufficient services arranged to for maximum efficiency and space flow.
Team: Dhataroth Chaiwarasilpa, Kan Vajaranant, Nichakarn Vichitpunt, Pornnapath Khampiranon 108
Proposed Plan
The proposed space is organized into different space hierarchy with each zone clearly separated from one another for easy wayfinding and usage. The Space flows according to the user behaviour so that there is less unnecessary shuffling around and thus less noise. The out of date elements are removed and replaced with new technology for convenience, saving time and human resources. The space is divided into silent zone, co-working zone, relaxing zone, service zone and bookshelves which are organised in single rows and also used for distributing space. Colorful sofas and beanbags are added to relieve the tension of the study space, as well as the use of circles and curves in the working area to break the pattern of rectangles and squares. and accommodate for group work.
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new atmosphere:
Existing Plan
The main problem with the original space is that it is unwelcoming and very hard to navigate with jungles of shelves creating dark alleys and deadends. The position of the shelves also prevent sunlight from the windows from reaching to the spaces inside so students had to rely on artificial light only. There are no clear zones for each services and thus people mingle around and the atmosphere is less focused with sleeping students on the sofa inbetween studying students. Librarians’ desks are scattered around with no clear direction or purpose. Overall it also lacks harmony in decoration.
Our solution is to categorize the space into clear zones, so there can be systematic approach to the organization of each space to create a library that can provide the suitable facilities for students and staff of this generation. Furnitures are picked for its ergonomic design and a united atmosphere. Also, im consideration of the budget and environmental factors we opted for recycling existing furnitures as well, such as the bookshelves casing which can be recolored and attached to the new shelves in order to maintain some familiar aspect of the library for the returning users.
existing atmosphere:
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INDA Y1S2 Design Studio 2; Habitat
The Flow House
;Riverfront house with curved service wall as the bone of the building, surrounded by rotating wood planks and glass walls. The flow house is located right at the riverfront in a neighbourhood full of nature. The house features giant glass walls facing the junction of two canals on the West and the community’s public area on the North to maximise natural light without much heat, as the Southern facade is cladded with vertical wood slats placed at a specific angle to guide in the wind and refracted light at a particular time on each part of the house. Part of the cladding are rotatable to allow the inhabitants to control the amount of light and privacy they want. The cladding also conceals the inner wall behind so while the house contains a lot of windows it still hasn’t lost it’s privacy. Instructor: Patrick Donbeck 112
INDA Y1S2 Design Studio 2; Habitat
The curves of the plot are applied to the building’s surfaces to maintain a connection to its surrounding. The entrance slopes up from the public pathway up to a shared garden inbetween the plot and the neighbouring plot to enhance relationships in the community. Or the inhabitant can enter the house through a lift coming up from the underground garage into the foyer which separates the working from the living space. Programmes in the house are organised in relation to its curved nature, keeping the services attached to the walls with open living and working spaces in the middle. The inhabitant enters the house through from a lift coming up from the underground garage to enter the foyer which separates the working from the living space. This is to prevent interruptions of the flow of circulation in the habitat as well as insulating the living spaces where the inhabitants will be spending most time in from Thailand’s blazing sun.
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Defining Worlds INDA Y1S1 Design Studio 1; Defining Worlds
;Exploration of meaning and senses of human physicality and abstract perception in creating environments, mood and ambience. Exploring the relation between Objects and Universe, in which the system hold our World’s existence. Testing and Redefining orders and division methods within the given scale with a cubic World as a subject. / To clearly articulate and communicate the separation of whole into parts, and define the relation between the fragments. Creating a system through interacting or independent fragments and recognising the fragments’ importance in creating an integrated whole. / Then, defining a formal relationship between two different geometries - cube and field, and determining their relations and systems. Develping a formal logic within the geometric properties of a field. / Integrating movement into the system of division to allow expansion of the defined cube as a whole. Distinguish the difference between explosion and expansion of existing cube. Explore the relationship between the different fragments and the movement.
Instructor: Natalia Vera Vigaray 114
Definition & Division
At first, I was intrigued by the shape of triangles that resulted from cutting a square shape, which seems to create an illusion of a circle with its round motion. More researches revealed the potential of this system of division, which it’s simplicity allows various direction in which the division can grow into. I wanted to create a system that would enquire not only the relationship between the fragments but also between the spaces that they create.
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INDA Y1S1 Design Studio 1; Definition & Division
After previous exploration on defining a cube through different fragments, in this project I have a chance to further explore my interest in the illusion of shape that can occur from joining other kind of shapes, and also the empty spaces that they create. The system grew complex as it adapts to the demanding constraints but it originally developed from just a simple spiral concept inspired from spiral staircase.
System of Division
INDA Y1S1 Design Studio 1; Systems of Division
Initially I was interested in the volume defined by triangles of differing heights but there were difficulties in representing the area in the physical model. As a result, I developed another system to join the triangle steps so that each depend on another to form a cube. The added system of long rectangles at varied angles supports the main concept of circular gradual growth, and also enables me to keep the quality of connection of all the triangles mid-cube.
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Insertion
The field also adopts the concept of illusion as the shape would appear flat from above, with shadows to indicate the depth of the surface of the field. The field expands outward from the cube in the same upward spiral manner, as if it’s an extention of the system of division, simplified. It also expands downward and upward and became the supporter of the cube’s weight, lifting the cube up in the air. It’s truly compelling to see that by manipulating the shape and angle alone enables such thin material to hold so much weight, and with the balance to stay upright. The harmony between the cube and the field repeats and highlights the system of the cube at the same time as raising it’s presence with the added height.
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INDA Y1S1 Design Studio 1; Insertion
My cube is a development from previous projects, keeping the shape and flow of space but with walls seperating each steps to clarify the volume that each fragment defines. Due to the constraint, the number of steps doubled which fortunately makes the model more intricate in appearance and relay a stronger impact.
INDA Y1S1 Design Studio 1; Systems of Division
Expansion Integrating movement into the system of division to allow expansion of the defined cube as a whole. Distinguish the difference between explosion and expansion of existing cube. Explore the relationship between the different fragments and the movement.
The cube in its original composition, with a transformed field to support the weight, the field is double sided and can slide and lock along each other to follow the movement.
First to explore the definition of expansion, many questions rise along the edge of expanding exploration on expansion. Are we limited to the idea of enlarging and extending the object, or exploding and moving things apart to be pulled across larger area. Would the fragments themselves be expanding or only the systems that develop itselves. Or could it be both.
The limit of expansion is set in relation to the identical unit of mechanism that allows the expanding, which uses the same system throughout the object, with only varying sizes and height.
The field can slide up to allow to cube to contract into a flat surface as well, in this form when looking from directly above a square opening in the middle can be seen, this gap is to eliminate the production issue due to thick paper.
The cube in its most expanded form, with height of over 40cm. It can balance itself wihen all four sides of the fields are lifted up so the cube is expanded on all sides.
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This elevation of the finished cube represent an intriguing collision of different shapes that are all created by the same shapes.
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Instead I explored the vertical movement that my system of division allows, which although require absolute precision for smooth movement, was more possible than the former idea. But this way the expansion would be limited by the angle of the field, so adjustments were made to the field to better support the expansion of the cube, but the original function of the field remained and the cube is still able to be lifted in the air.
INDA Y1S1 Design Studio 1; Systems of Division
At first I experimented on horizontal expansion of each fragment which then move outward along the field so that the area of expansion is limited by the area of the field and there would be variation in heights too from the angle of the field. But there were difficulties in the actual production of the model due to the weight of the fragments.
INDA Y1S1 Design Studio 2; Elemental Worlds
Inhabiting Worlds
;Exploring elemental environments through experiments and instrumentation of elemental experiences resulting in a spatial sequence in the environment of one single chosen element. Developing methods to study, understand and represent chosen elemental experiences. Distinguishing objective and subjective attributes of space experienced by a human. Developing an ability to work independently as well in a team. / Designing a sequence of spaces for two humans to experience one chosen element, based on previous research and experiments. Demonstrating a specific aspect of the chosen element and determining a clear physical experience in relation to the element.
Instructor: (Eric) Wisarut Wattanachote 120
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INDA Y1S1 Design Studio 2; Elemental Worlds
Wind Element Spatial Sequence
Instrument: Light The first instrument revolves around fire, more specifically the light that it generates. My partner was chamed by the effects of different materials on the quality of light coming through. Which lead us to creating a light goggle that would investigate the type and amount of light in the environment for users. The goggle acts as an solid indicator of how much light there is in an environment which can easily be compared to another, for example, complete darkness and bright daytime. The filter at the front has five bars of varying texture which allows different strength of light to come through, so the number of bars is the indicator of light.
INDA Y1S1 Design Studio 2; Elemental Experiences
The countering-colour filters, which is exchangable, pick outwhite light from blue light or yellow light. We completed many researches to determine the amount of light necessary for an average person’s eyes to complete different tasks, such as reading or writing. so that this goggle can be of use to check if there is suffucient light in real life environment.
Team: Pornnapath Khampiranon 122
Instrument: Wind
INDA Y1S1 Design Studio 2; Elemental Experiences
The second instrument captures and displays the behaviour of wind(strength and direction) in a graphic manner. It is a tall tower of windmill that would turn when the wind blows from the front, the windmill is attached to a string that is hooked into a small weight so when the windmill turns the weight would move up. There is a variety of weight for testing the strength of wind, if it would be able to lift the weight, and each one can be changed by hooking and unhooking the string. We’ve made several towers that stands side by side to capture large volume of wind, if the weights are all the same then it would display the variety in the strength of wind of that volume. As the weights are measured to be light enough to be lifted by wind and heavy enough that it can automatically come down when the wind stops blowing, people would see a line of weights running up and down according to the strength and consistency of the wind. The weight is yellow with dots indicating its weight so people can clearly see the bright yellow weight running against the black background. We wanted to translate the quality of wind into a visual display that is easy to perceive in contrast to its original invisibility.
Through the process I, with my partner, had a chance to explore and investigate the behaviour of wind, and we discovered the boundless potential in which the element posses. We realised that even though people know of many powerful and destructive storm we do not, however, associate it with the ordinary everyday summer breeze - when they’re both actually the same thing of different levels. We’ve forgotten how powerful nature can be and it was inspiring to discover little things that could grow into so much more.
Team: Pornnapath Khampiranon 123
Elemental Environments: Wind Maze
INDA Y1S1 Design Studio 2; Elemental Worlds
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Designing a sequence of spaces for two humans to experience one chosen element, based on previous research and experiments. Demonstrating a specific aspect of the chosen element and determining a clear physical experience in relation to the element. The first system of spatial movement is the wind elevator; which function the same way as the previous wind project. Assuming the power of wind is great enough, it would lift a platform that would enable humans to move from floors to floors, racing their way out of the maze. This wind elevator would only operate when there is wind blowing from the front or back of the model. The second system would operate when there is wind from the side of the model, the wind path. The path has weight attached to the bottom to make it stay upright when there is no wind, if wind is strong enough it would push the path down so it connects to another path.
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INDA Y1S1 Design Studio 2; Elemental Worlds
A series of spaces that are activated by wind and would allow the humans to pass through only if there is wind blowing at that moment. The concept is to channel the movement of wind into a movement of human, in which there is both vertical and horvizontal movement.
Structure & Aggregation In this workshop we worked in groups of four to turn packs of paper cones into a sculpture of given constraints. We formed a sphere shape with cones that are cut in half so that there would be one with holes and the other without - to not suffocate the sculpture. The spheres are joined by a string that hangs from the cieling so that it appears somewhat like wild flowers. With the delicate curve and see-through quality which makes the sculpture more refreshing. The size of spherea differs as well, reflecting the non-uniform quality of nature, adding to the random arrangement.
The second part of this workshop had us exploring the different type of truss and the strength each one can bear. We chose the one-direction pratt truss but with double height and thickness to reach the constraints. The bridge was done in limited time but it holds more than enough the given weight. This partly reflects my other design project that relies on structure to enable frail material to support heavy weight. Which is a base that could effect the way ideas can develop further in the future as physical model might not be impossible for them anymore. It’s inspiring that a limitation of building a physical model can also be turned into an advantage that opens up so many more possibilities.
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Construction Technology Research
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model archive 128
model archive 129