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International Program In Design And Architecture

2016 2017


INDA Parade

INDA Parade ‘is’ INDA in its most enthusiastic and sincere expression. Team Antonio Bernacchi Alicia Lazzaroni Kornkamon Kaewpraser t Kanyaphorn Kaewpraser t

INDA Parade Makkasan Airpor t Rail Link Station 8 - 12 May 2017


One year of creative pursuit is condensed into a single week, celebrated with dialogues and exhibitions. The final reviews of all INDA studios of second semester across the four years were held across four days to promote interaction and cross reference between groups of different year levels. Meanwhile, the works of all courses, workshops, and programs of INDA were showcased in an exhibition that is open to the public, where the constant presence of suggestions and inspirations gets necessarily assimilated, even by pure osmosis. INDA’s declared non-conventional attitude towards design methodologies manifests itself in multiple aspects. Nonlinear processes, intensive material explorations, discursive critical analyses, narrative conceptual representations, or daring conceptual analogies are just some of the many strategies explored in this direction. These were all showcased at the INDA Parade. This year, INDA expanded the scope of the event inviting four international guests with backgrounds in education, curation, publishing, and architecture: Brendan Cormier, Donald Bates, Leopold Lambert, and Roberto Requejo. They participated in a number of reviews, gave a series of lectures about their activities in relationship with design, and contributed to a broader critical reflection about INDA’s methodologies. For this purpose, two parallel sessions of ‘Super-crits’ were held on the final day of the review. INDA Parade has achieved the goal of communicating ideas and methodologies explored and deepened during the year, fostering exchanges and synergies for future trajectories.



The International Program in Design and Architecture (INDA) is part of the Faculty of Architecture at Chulalongkorn University in Bangkok. As one of the oldest universities in Thailand, the 2016 academic year demarcated the university’s 100 year anniversary with festivities and commemorations. The diverse and experimental approach of INDA is rooted within the history of one of Thailand’s most prestigious institutions. INDA was first launched in 2006 and its community counts 350 students, 35 instructors and 8 administrative staff members. In addition to the universal focus suited to an international program, INDA fosters a curriculum in which faculty members and students are encouraged to propose and develop projects during the academic year. INDA is fundamentally a place to develop the critical attitude of a designer, through knowledge, skills and social responsibilities. In this past academic year, seven international guests were invited to participate in the Design Experimentation Workshop (DEX) series. Each workshop instills students with unique methodologies and skill sets, emphasizing process and experiment over result. Our summer courses allow INDA students to join workshops and Design Build projects, both in Thailand and abroad. In addition, INDA’s exchange program allows students to go abroad and foreign students to join our program. The coordinators and instructors develop ideas and initiatives throughout the year to strengthen the curriculum and take INDA forward.

INDA Direc tor Dr. Preechaya Sit tipunt



Director Dr. Preechaya Sittipunt Deputy Director Ass. Prof. Pornprom Mannontarat

INDA Faculty 2016-2017 Antonio Bernacchi (IT) (Year 4 Coordinator) Pitupong Chaowakul (TH) Yarinda Bunnag (TH) Patrick Donbeck (USA) (Year 2 Coordinator) Dr. Scott Drake (AU) (Academic Coordinator) Peter Fisher (AU) (History & Theory Lecturer) Gregory Galligan (USA) Blanca Garcia Gardelegui (ES) Artem Kitaev (RU) Pratana Kleiopatinon (TH) Antoine Lassus (FR)

Alicia Lazzaroni (IT) (Year 3 Coordinator) Thomas Lozada (USA) Patxi Martin (ES) (INDA Lab Coordinator) Chakkrit Metchanun (TH) Narit Paranulaksa (TH) Hans-Henrik Rasmussen (DE) Pau Sarquella (ES) Martin Schoch (GE) Sergi Serrat (ES) (EnDes Lecturer) Leonid Slonimsky (RU) Pannasan Sombuntham (TH) Nuno Sousa (PO) Ekapob Suksudpaisarn (TH) Administration Office Sasivimol Niyomdet Namfon Chantapiriyapoon Usavadee Sangwisate Chantharas Kanchanakool Thanyarat Chaiyuttapoom Attaporn Kamburom Wanwisa Watjanarat


Chon Supawongse (TH) (Arch. Comm. Eco. Lecturer) Komthat Syamananda (TH) Carmen Torres (ES) Natalia Vera Vigaray (ES) (DTS Coordinator) Wisarut Wattanachote (TH) Tijn van de Wijdeven (NL) (Year 1 Coordinator) New INDA Faculty 2017-2018 Payap Pakdeelao (TH) Gianmaria Socci (IT) Will Hulbert (UK)





INDA Parade INDA Lab DEX Semester Courses Year 1 Year 2 Year 3 Year 4

Summer Courses Exp. Arch./ Int. Workshop Design Build/ Comm.

News Reflection INDA Comm. Addmissions 6










Dec. Page

2-3 8-9 10-17

18-39 40-59 60-79 80-101

102-113 104 -105

114-119 118-121 122-123 124



LAB x ASA INDA Lab is the laboratory of digital fabrication at INDA, located in the faculty building at Sam Yan. The INDA Lab was setup to provide tools and equipment to facilitate and inspire students in making and crafting within the increasingly common digital fabrication field. Since its inception, the lab has been integral in several course curriculums during semesters across different year groups and instrumental in Design Build for the Community projects. The lab has also been beneficial in the manufacture of exhibition spaces for semester reviews both at the Sam Yan building and at the INDA Parade held at Makkasan train station. One of the projects using the INDA Lab involved Year 1 Design Tools and Skills students being introduced to the facilities while involved in the production of a physical model to represent INDA at ASA Expo 2017. Students became familiar with the digital fabrication tools, procedures and protocols for lab management in a rotative workshop during the semester. Each week, a group of ten students were in charge of producing and assembling a section of the model that was progressively defined by the whole year group. The INDA Lab provides the advantage of having these types of fabrication tools available and integrating these facilities with the framework and output of various course programs. This exposes students and instructors to a new field of opportunities and experiment in the realisation of ideas into reality.

Team Patxi Martin (Coordinator) Visut Innada (Lab Assistant)




DEX aims to question and challenge the disciplinary boundaries of architecture and serve as an experimental platform for students to investigate a broad range of topics employing tools and methodologies from international invited guests. 10


Design Experimentation Workshops

Instruc tor William Haskas Parsons Universit y (New York)


Scapes Soundscapes was a project about the multiple ways of experiencing sound in the city. It specifically addressed the interior environment created by headphones versus the ambient sounds of the city. The studio was interested in processes for translating the figurative into the actual. During the workshop, students individually studied sound within the city based on five given tool sets at three city sites. The tools formed the framework into which students plugged-in, allowing for variable outcomes, while maintaining desired parameters. The variety of site conditions allowed for a different recordings and mappings of the city. Designs were swapped into other team students workflows and re-examined and adjusted during subsequent phases. This allowed all the students to drive multiple ideas, creating a poly-authored project whose outcome is the inter-threading of everyone’s designs, not just a single student’s drawings.


Year III Instruc tor Magnus Casselbrant Hesselbrand (London)

Space Program Bangkok The research and design workshop explored how space is made for working in the city today, with a focus on how the spatial connection between the city fabric and spaces for working affects our human relationships. The workshop was made up of two parts; research of the existing and historical relationships between work and the city, and the design of an architectural response to the current condition. In the research part, the students focused on the spatial arrangements and qualities found in existing environments. Completed using photographs and drawings, the analysis of the findings could be mapped, indicating crucial configurations of space that allow for certain human situations. In understanding these spatial qualities, new models were designed to create meaningful relationships between working and living, as well as between the individual and the city. The goal of the workshop was to give students a deeper understanding, by working through a process of abstraction, in order to read architecture through the spaces and situations it creates. By doing so, an alternative method for designing, where impressions of an existing space can be turned into useful tools in their own design processes.


Design Experimentation Workshops

Instruc tor Kai Justin Reaver (New York, Oslo)

Places/ Objects/ Tools

The transition from architecture as a material profession to a fluid practice of hybrid sites, digital working spaces and global interconnectivity has rapidly changed not only the tools architects use, but also the way in which they intellectually engage with the world they design.

The workshop focused on ‘closing the gap’ between physical and digital space. Each student chose an existing public space in Bangkok as a case study. Utilizing 3D scanning, photography, and traditional site surveying, the students documented and recreated three dimensional copies of their spaces from throughout the city.

The workshop sought to challenge the definition of places, tools and objects in the context of digital media. Through individual concepts and designs, the students worked in a rapid-fire, 1:1 scale collective design as an attempt to not only model new forms of architectural space but new methods of architectural practice itself.

Students then brought their spaces into Virtual Reality through 3D modelling and began manipulating their case studies using VR as both an analytical and generative tool. Focusing on spatial compression, story building and ‘memes’, each student designed a space based on a theme central to their personal experiences of Bangkok.


Year III

Instruc tor Jason Orb Smith (Los Angeles)

The Erratic Monolith Massive and looming, three monolithic objects stand within the landscape of Bangkok. Rich, golden colored soil is brought to the city, a eulogy to the primitive past of the metropolis, an imported and foreign materiality from a distant land and time. The monoliths sit distinct and separate from their environment while simultaneously captivating their surroundings, lonesome figures of individual expression and novelty. Standing on their own, the monoliths are scaleless. People now walk among the objects, reaching out to feel the edges,

experiencing the interaction of different physical bodies. The monoliths follow their own pursuits. Oscillating between cracked and sleek, fissured and polished, their messy interactions offer unusual and unexpected moments of formal resolution. This intensive workshop brought together a team of students to study these questions of mass and relationship between physical objects. The contemporary, erratic monoliths were designed using rammed earth; an indigenous, traditional building material brought into a metropolitan context.


Design Experimentation Workshops

My Virtual Home Course Instruc tor Ledo Lopez Taller de Casqueria (Madrid)

appeared after Michel Gondry’s, Be Kind Rewind. A sweded version of a film normally focuses on recreating the plot with non-professional actors. Trying to enhance the background, we proposed to swede Friend’s spaces, instead of their characters.

The workshop focused on the notion of ‘global domesticity’ which, being transmitted through platforms such as Airbnb, gathers many of the values of pop culture. So called sitcoms, short for situation comedies, are TV-series that became popular during the 80’s and 90’s in the US and quickly spread around the world. Friends, airing in the US from 1994 to 2004, is one the finest examples. How much do Friends and Airbnb influence our way of living or our homes? Are there actual similarities between New York’s housing stock and Bangkok’s? Could a Friends-like plot happen in Bangkok?

Firstly, we analyzed Friends, searching for spatial criteria that could lead to Airbnb search-patterns. According to the results of the investigation, students, divided in groups, rented several houses in Bangkok using Airbnb, in which they would be living for the following days. Finally, an episode titled “The one with Unagi” of the series, was divided into different scenes which Swedding is the summarized recreation were re-filmed by the students in their of popular pop-culture films using lim- Airbnb homes to finally recompose the ited budgets and a camcorder. The term sweded character. 16

Year III

Talad Noi


The joint workshop between INDA and Meiji University was initially set up in the area of Bangrak-Talad Noi, on a site roughly 200m x 200m. The intention was to challenge the condition of the new urbanity of megacity Bangkok. In using this particular example of Bangrak-Talad Noi, located on the southern part of the larger China town, we analysed and proposed to restructure, enrich and renew the old city fabric in order to adapt it to the contemporary condition.

This workshop studied future tram nodes around the periphery of Chiang Mai, where the super highway is currently depressed into an underpass. Two public space designs were created for a proposed flyover at Airport Plaza. One proposal converted the flyover to ‘Highline’ type park, while the second removed the flyover and created an underpass and a large public park.

Instruc tor Manual Tardit Meiji Unversit y ( Tokyo)

Instruc tor Brian Mc Grath Parsons School of Design (New York)

Historically, Chiang Mai had two centers: the royal and religious walled enclave, and the commercial waterfront. In 1923, a new bridge connected these two centers to a third center, the Chiang Mai train station. The city plan of 1986 acknowledged four new linear centers radianting from the old city, while the most recent plan attempts to direct development to six satellite cities: Mae Rim, Mae Jo, San Sai, San Kampaeng, Saraphi and Hang Dong. The super highway and two ring roads were planned to relieve congestion in the center, but have increased the spread of traffic problems. This workshop proposed that the best solution would be for a tram system and improving pedestrian and bicycle use, with the conversion of these traffic nodes into multi-modal transit nodes and public pedestrian places.

A rich variety of urban situations like large roads with a heavy traffic, a small and intricate maze of narrow streets, a quiet and underused canal were also part of the site which is already under going a process of cultural renewal. After the site visit, groups were formed and each focused more on the canal and its surroundings. Each group proposed a basic urban analysis and survey of the area, followed by urban strategies of development and restructuring. The aim was to take advantage of existing buildings, paying careful attention to the site conditions on both sides of the canal, and address the poor connection towards the river and the arrival of passenger ferries. The four studies produced in the workshop were presented in conceptual drawings, perspectives, site plans and models.



YEAR 1 Year I Semester I

Design I

Design 1 and 2 offers an introduction into design principles and methodologies. Students are encouraged to fundamentally challenge conventions and develop a vocabulary of creative pursuit. Design is not merely subject to output – what to design – but is rooted in experimentation and critical evaluation through process – how to design. Students learn to unfold arguments and raise questions through design and abstraction. The discourse allows for an ongoing synergy between design and the attitude of a designer.

Course Coordinator Tijn van de Wijdeven Semester 1 Instructors Pratana Klieopatinon Thomas Lozada Pat xi Mar tin Pau Sarquella Sergi Serrat Natapa Sriyuksiri Carmen Torres Tijn van de Wijdeven Semester 2 Instructors Blanca Garcia Gardelegui Ar tem Kitaev Pratana Klieopatinon Thomas Lozada Pat xi Mar tin Sergi Serrat Leonid Slonimsky Carmen Torres Natalia Vera Vigaray Tijn van de Wijdeven

In the first semester of Design 1, students are familiarised with fundamentals of form, operative systems, bodily performance, spatial definitions and human experience. The semester covers three design projects, each with distinctly different design and learning objectives. Design 2 in the second semester, introduces students to notions of environment, context, use, and standards. In the two design projects, students develop research methods and construct written arguments that inform a design proposal. The learning objectives of both design courses are closely linked to the Design Tools and Skills course and the Introduction to Environmental Design. The synergy between these courses allows students to actively relate and appropriate topics through reviews, discussions, lectures, workshops, field trips and assignments. Year 1 is an environment which fosters inclusive involvement of all faculty members and students involved. The diversity in projects is a direct result of collective efforts and contributions based on expertise and interest.



Design I Project I

The first project allowed students to develop a deeper understanding into geometric form and establish operational criteria to systematically change and influence form. Students employed logical abstraction in the formation of operational criteria and given terms in response to a series of specific performances. Deformation will occur along a subset of three separate but interrelated methods and exercises, through a division, fragmentation and expansion.


Year I Semester I

Sitanan Teeracharoenchai Pat tharaprapa Thongpraser t

Patr Vacharanukulkiet Pimboon Wongmesak


Design I Project II

The second project required students to form pairs and design a device which facilitates a moment of interaction. Students were encouraged to identify behavioral relationships and operational logic based on a daily ritual. Each project was subject to a narrative exposing notions of time, action and space; translated into the design of a mediation device in physical response to the body.


Year I Semester I

Tatchai Kitcharoenwong & Pakjira It thisang Buncharin Eua-arporn & Sujira Burapanakan

Nana Boonorm & Panchaya Sonkom Jidapa Srimachand & Chutikarn Kaewudom


Design I Project III

Academic Excellence Award

The third project offered a fundamental inquiry into space and experience. Space exists because we define its limits, physical or metaphysical, according to proximities, functionality and experience. Students designed a series of spaces in immediate response to phobias and philias (fears and desires), registering the psychological conditions of a human being and translated this into the spatial characteristics of space.

Pit taya Thamma


Year I Semester I

Buncharin Eua-arporn Thunda Rerkpaisan


Design II Project I

The first project of the second semester introduced notions of environment and the city. Students inquired into the spatial and environmental realm of a small territory in Bangkok. The analysis

concerning environmental and spatial conditions was consolidated in a collective map and subsequently students translated everyday actions and interactions into a discrete design project.


Year I Semester II


Design II Project II

Academic Excellence Award

The second project allowed students to design along incremental factors of scale and complexity. Students developed projects with an abstracted and systemized application of limits, forms, and proximities imposed onto city, building and a living unit. Measures and values of density and scale were defined through the immediacy of a human to a street, the juxtaposition of a street to a building, a building to a block, a neighborhood to a district, and so on. Kanchaporn Kieatkhajornrit


Year I Semester II

Phatchanon Varanukulsak

Raewadee Lamler tsuk


Design II Project II

Panchaya Sonkom Kanin Or Suthamanuswong


Year I Semester II

Luksika Pratumtin Pimboon Wongmesak




Year I Semester I

Design Tools

and Skills I & 2 Design Tools and Skills (DTS), across both semesters of Year 1, aims to develop students skills and routines through technical and conceptual methods of representation and communication across a variety of media.

Course Coordinator Natalia Vera Vigaray Semester 1 Instruc tors Patrick Donbeck Alicia Lazzaroni Pat xi Mar tĂ­n Pau Sarquella Carmen Torres Natalia Vera Vigaray Wisarut Wat tanachote Tijn van de Wijdeven Semester 2 Instruc tors Patrick Donbeck Pat xi Mar tin Natalia Vera Vigaray Teaching Collaborators Prapasri Khunakridatikarn Jetana Ruangjun Eakapob Huangthanapan Chanya Niyomsith Panitnan Patanayindee

The courses are framed through a series of workshops during which students are introduced to specific representation methods and techniques. The objective is for students to have a broad exposure of the tools and techniques they can apply to define their own ideas and to foster their own and individual graphic language. In these courses we form integral connections between hand, eye and mind in the study and practice of freehand drawing, technical constructed drawings, construction of physical and digital models, constructing scenes and environments through perspectival studies and the introduction of a whole range of prototyping methods linked to the INDA Lab facilities. In each session, students learn how to develop specific representation techniques of simple spatial arrangements and as a result they develop not only their graphic representation, but the crafting of physical models. The learning content of DTS courses is tightly coupled with the concepts introduced and projects conducted in Design 1 & 2 studio classes, acting as a feedback loop to reinforce and contextualize mutual objectives. Students develop new vocabularies, are equipped to create analytical drawings, construct images, create animations, edit video and construct models of various materials and scales to clearly articulate their own design concepts and representations.














Year I Semester I





Lalipat Sirirat Sakdithat Pitakkotchakorn


Year I Semester II

Project 1.1

Project 1.2

Project 1.3





Pa w

Su 15/11/2559 21:50:04


kate template + new bg.indd 2

This cube is attatch to each other by interlocking 6 pieces of its together and when you stick it together you will get 2 floor of the cube after you have done it there will be 12 levels.

The second one the cut are more complicate than the first one.

The concept of this project is every pieces can be move and interlock every and there aro some improve from the last project such as the deeper void that lead to an easy and strong interlock. All of the pieces can be removed and place any where you desire and the stongest point of this cube is to expand with a strong construction.

Each level of the cube have 6 pieces of the fragment and each fragment have 12 void. The void are seperated by ratio.






The first cube start from a single cut with a simple arrangement of chipboard inside.

The Third one have many cut that lead to a complicate cube. In addition the maze inside the cube also make the cube look complicated.

Project 2.1

Project 2.1-2.2

Project 2.2

This is the design that I only focus on the movement. So, I think about a equipment that will move our arms and head forward and backward.

The drawing illustrate the movement of both the human and the object and as you can see there are a screen shot of me and my partner [Tanatsorn Sriarj] are doing a interaction with the waterballoon to demonstrate how the water balloon explode, bounce and hit.

This model is a small windmill. It concept is to play with the wind. The windmill will blow while the wind react to it. Even when there are no wind the windmill can also move by human movement. There are the handle on the back device and the black paper that are cuts will blow when there are wind.

port.indd 1

This is my final develop device that help me interact with my partner and the wind. Me and my friend think of a performance to use this clothes with a wind. So, When we dance we turn on a fan that are placed around us. That lead to the movement of our wing clothes.

11/16/2016 21:19:51

Kantima Saetung Passakorn Suwanggool


Lecture Course


Year I Semester II

Environment Behaviour Studies Course Coordinator: Sergi Serrat

Course Lec turer Sergi Serrat

Architecture can be understood as a complex relationship between users and people with the environment, be it natural or artificial. The Environmental Design course in Year 1 is an introduction to the major factors that contribute and affect the design of urban space. The semester is divided into three clusters that combine theoretical knowledge with performative practice. Lectures and movies are complemented with short experiments deployed on site, designed to study human and environmental behaviour in Bangkok. The content is organised that allows for the integration with other courses during second semester. This way, all the concepts presented in class can be directly implemented into the strategies used by the students during their design studio projects. Cluster I: Behaviour - Body and Action Through the concept of anthropometry, students are introduced to the relationship between between human body, objects and architecture. The body is presented as a universal tool to define measures, scales and space through the ideas of standardisation and ergonomics. Cluster II: Environment - Elements and Energy This topic is the introduction to the concept of vernacular architecture and its fundamental relationship with local knowledge, environment, climatology and energy management. Cluster III: Living - City and Home Students are introduced to an anthropological notion of home and EnDes Workshop are presented some common and fundamental architectonic elINDAto Ville ements that can be consistently found through different cultures and architectures scattered all around the globe through history.


Academic Excellence Award

Academic Excellence Award

Ruchchapa Jaochakarasiri


Year II Semester I

YEAR 2 Design III

Beg, Borrow, Steal “One of the surest of tests is the way in which a poet borrows. Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.” – T.S. Elliot This idea is not something new. The most traditional learning pedagogies are based on repetition, on learning from the past in order to understand the present. In Design 3 we move away from originality and instead focus on the frowned upon act of copying and fraud, where students study one and only one architect through reading, re-drawing, re-making, re-designing projects, buildings and writings until influence is bracketed, procedures are outlined and preferences are unveiled. Course Coordinator Patrick Donbeck Semester 1 Instruc tors Antonio Bernacchi Patrick Donbeck Peter Fisher Pratana Klieopatinon Pat xi Mar tin Narit Paranulaksa Hans-Henrik Rasmussen Carmen Torres Natalia Vera Vigaray Wisarut Wat tanachote

“Without the studied and entirely positive process of copying, we will only move like crabs sideways, endlessly searching for titillating novelty which is bereft of substance, because genuine newness comes rarely, and can only arise out of a totally thorough understanding of what came before.” – Adam Furman


Design III





Year II Semester I


Design III

Daria Dmitrieva


Year II Semester I

Prompruit Snit wongse Na Ayudhya


Design III

Akarpint Chomphooteep


Year II Semester I

Kimseng Ouk


Hybrid Course


Year II Semester II

Technology Year 2 students designed and construc ted benches during the course Fundamentals to Stuc tural Design.


Architectural Design I Academic Excellence Award

Lisa Kamolkornpannatat


Year II Semester II

Architectural Design 1 Brandtopias If the first semester of design studio in Year 2 was dedicated to architects and their code, the second looks into interpretation; shifting focus from the individual to the collective methods of enterprise and business. Architectural Design 1 looks into the decision making patterns associated with brand identities and enterprise: where students study a contemporary and innovative company and the postulation of a flagship endeavor by said companies.

Course Coordinator Patrick Donbeck

This definition and analysis of innovation is meant to serve as a seed for material and programmatic experimentation through future flagship proposals. This reach into the future modes of business is meant to develop design alongside existing institutional identities whilst promoting unknown but possible market logics or exchanges.

Semester 2 Instruc tors Patrick Donbeck Blanca Garcia Gardelegui Peter Fisher Ar tem Kitaev Pratana Klieopatinon Thomas Lozada Pat xi Mar tin Narit Paranulaksa Hans-Henrik Rasmussen Leonid Slonimsky Carmen Torres Wisarut Wat tanachote


Architectural Design I

Lorem ipsum



Year II Semester II


Architectural Design I

Palita Tungjaroen


Year II Semester II

Thanapon Harnpat tanapanich


Architectural Design I

Akarpint Chomphooteep


Year II Semester II

Pornphat Bejrananda


Lecture Course


Year II Semester II

History & Theory of Architecture Course Coordinator: Peter Fisher

In the study of architecture, examining and interpreting the languages of architecture, and those that have shaped the world is crucial to the development and shaping of our own design languages. It is only through the survey of these architectural languages in history, that we appreciate and value what buildings say today. How languages have been modified, edited, reshaped to morph and change into new distinct expressions. Through identifying and studying these languages, a distinctive code can be deduced from particular periods, styles or even an individual architect. The History & Theory of Architecture program aims to introduce students to these codes and patterns of historic architectural languages. How, over time these didactic languages are transferred through the copying, reviving and modifying of styles and through writing, the practice of architecture and mentoring through generations of architects and designers. To integrate this study closely with the Design III studio program over the semester, students are asked to examine this code in the study of an architect’s work. This research completed by students in the early design phases crossed over to this study in history, writing an essay and constructing a model of their chosen architect to represent these distinctive characteristics or code.


Academic Excellence Award

Pimaubsorn Sirisook


YEAR 3 Year III Semester I

Arch. Dsgn. II Chronoshomes

Architectural Design 2 challenges students to rethink the familiar, considering the way we live through the lens of time. Students designed Chronoshomes, dwellings intended for cycles of a specific time period, being homes for hours, days, months, years and decades. Why do we want to redesign a home? What has changed in the way we live today? Our homes are the very core of social conventions, the place in which all our personal and social desires are shaped and take form. They are also intimately connected with global discussions related to gender inequality, gentrification, low paid workforce, ageing populations and personal debt, being the main tool of real estate speculation. Globally we are experiencing a period of intense change, new technologies are transforming the way in which we work, relate, play, communicate, the main core of our private and public life. New nomads, empty nesters, unconventional ‘family aggregations’ are always more present as social groups yet they cannot find a proper space to live, as we are generally ‘forced’ to occupy spaces built for past needs.

Course Coordinator Alicia Lazzaroni Semester 1 Instruc tors Antonio Bernacchi Scot t Drake Alicia Lazzaroni Thomas Lozada Pat xi Mar tin Hans-Henrik Rasmussen Pau Sarquella Sergi Serrat Carmen Torres Tijn van de Wijdeven

What does it means to have a home for a few months? And for a few decades? What could happen if we design first with the time instead of the space? Could this radical shift (an architect would normally design through categories like typology, tenure, location and site), allow us to design new domestic models more in line with our contemporary needs and necessities? How are issues like durability and adaptability of use transformed within this new design perspective? In an open critique to pure functional housing models, and openly referring to the investigation proposed by the British Pavilion in the 2016 Venice Biennale, students structured their design intentions around four familiar time periods: hours and days, months, years and decades. Each time frame helped to rephrase questions about everything we have considered ‘normal’, reevaluating the boundaries between owned and shared, flexible and appropriable, specific and generic.


Architectural Design II

Nat takarn Wongratanakulthon


Year III Semester I

Kanika Termsedcharoen Molpasorn Shoowon

Pim Permpoolsombat


Architectural Design II

Pongpol Punjaway tegul

Nat taporn Lasavanich


Year III Semester I

Ayaka Sato


Architectural Design II

Supitcha Punyaput tichote


Year III Semester I

Supitcha Punyaput tichote

Worawee Buasai Pitchayasukarn Praser tsri


Lecture Course


Year III Semester II

Eastern & Western Philosophy Course Coordinator: Peter Fisher

In the study of Eastern & Western Philosophy over the semester, various themes are discussed with respect to the development of philosophical ideas and thought such as religion, science, economics, politics and sociology. This was to enable a broader understanding of the development of ideas and their relationship to how we view ourselves as individuals, how we look at society and the framing of architecture within this wider context. In gaining insights into different philosophical ideas and thinking, both Eastern and Western, this will provide an appreciation and awareness of the influence of these ideas on the making and understanding of the built environment. The aim of the major project was to consider and research one of the philosophical ideas discussed throughout the semester and produce a three dimensional form as a response to this theory. In transforming idea and theory to form, it is hoped this will translate and complement the design process that is undertaken in design studio.


Academic Excellence Award Academic Excellence Award

Pongpol Punjaway tegul


Year III Semester II

Arch. Dsgn. III Supernatures Architectural Design 3 challenged students to reflect on a large variety of properties, generally embedded in natural landscapes and biological microstructures, in the design of ‘artificially natural’ architectures, landscape devices that contain variations, colors, specific materiality, and that make change, adaptation or seclusive behaviours possible. The basic consideration that supported the topic of the semester is to acknowledge the collapse of the traditional notion of nature, forgetting the idea in which nature plays a double role, being both a source of raw materials to be exploited, and a redeeming source of beauty. That kind of nature does not exist anymore, what surrounds us is an archipelago made of fragments of sprawling and unplanned cities, transport infrastructures, agricultural lands, natural reserves, contaminated fields, an assemblage of different natures that are already fostering a new idea of beauty. Following the critical trajectory started in semester 1, the challenge continued to the pure functional approach to design by introducing a set of extra conditions as the main influences in the decision making process. These conditions stimulated a ground for experimentality and critical thinking.

Course Coordinator Alicia Lazzaroni Semester 2 Instruc tors Antonio Bernacchi Scot t Drake Blanca Garcia Gardelegui Alicia Lazzaroni Hans-Henrik Rasmussen Sergi Serrat Nuno Sousa Leonid Slonimsky Carmen Torres Tijn van de Wijdeven

Students, referencing the article The Seven Pillars of Life by Daniel E. Koshland, designed architectural devices based on one of the following ‘ecosystemic’ conditions: compartmentalization, adaptability, regeneration, seclusion and energy. These macro categories defined students programs, considered as a substantial architectural condition above function. Through the exploration of these ecosystemic conditions, projects were not considered as permanent objects, unchangeable through the flow of time, but as living beings, devices with expiry date, approaching a ‘relationship with time’ that could define their management, transformation processes, growth and decay. To define simple yet evocative programs, related with both the temporal reflection embedded in the topic and with the investigation in the public sphere, students selected existing, old or new collective rituals as a programmatic base for their Supernatures. These rituals, related to specific features like language, ornamentation, materiality and objects, will support the generation of culturally grounded collective spaces.


Architectural Design III

Nat taporn Lasavanich

Kirata Manlekha Pitchayasukarn Praser tsri


Year III Semester II

Pongpol Punjaway tegul Pim Permpoolsombat


Architectural Design III

Nat takarn Wongratanakulthon


Year III Semester II

Molpasorn Shoowong Kanika Termsedcharoen


Architectural Design III

Thanapon Wongsanguan Vitchapol Taerat tanachai


Year III Semester II

Supitcha Punyaput tichote Noppa-on Plidtookpai

Ayaka Sato


Lecture Course


Year III Semester II

Architecture, Community & Ecology Course Coordinator: Chon Supawongse

Architecture, Community & Ecology aims to enhance a level of critical thinking and broaden individual perception beyond physical structures. There is a departure from dissatisfaction with the former design disciplines that isolate viabilities and oversimplify complexities of biophysical environment. The class is structured with series of lectures, group presentations and workshops focusing on community geography, socio economic foundations, ecosystems, urbanization and research-based practice. The shifting of scales from architecture, community, urbanism and ecology allows students to build a collective body of knowledge and restructure their working processes. Design becomes a performative medium rather than a visual component. Urban development affects the structure and function of natural systems both directly, through converting the land surface, and indirectly, by modifying energy flows and the availability of nutrients and water. It is a dependent system, and landscape is a medium, which supports modernity and facilitates all ecological transactions. During the course, questions proposed are, how does Bangkok work? Where does our freshwater come from? Where does our waste go? Can we really design without understanding their ecological implications? In Thailand, the emerging discourse of landscape architecture emphasizes on hybridization of ecology, infrastructure and design in structuring the urban environment and tackling temporal changes, unexpected disturbances, new programs and events. Change is the norm, Bangkok is transforming and adapting to new circumstances. Investigations into this process offer opportunities for design initiatives to envision the future transformation of the city. Shifting perspective over geography, ecology, infrastructure and urbanization beyond physical footprints becomes the first step to understand how to change them.


Academic Excellence Award

Set tawut Leenavong


Year IV Semester I & II

Arch. Dsgn. IV / Arch. Dsgn. V ‘If it works, it’s obsolete.’ Y4 Studio is meant to be a field of experimentation for INDA students and faculties. The famous quote by Marshall McLuhan above might as well summarize one of the attitudes of the studio, an impatience to move beyond each one’s limits, with a truly experimental attitude. But this is effectively only one of the possible studio’s trajectories, and it is actually only one part of that quote, which continues: ...and it’s only when a thing has become obsolete that everybody is sufficiently familiar with it to make it work. […] There is more -handwriting today than there was before Gutenberg. Obsolescence does not mean the conclusion, but rather the beginning, of a process as far as everyday life is concerned. This is not ordinarily understood. In this sense an alternative goal of Y4 Studio is to go much deeper in specific fields of design, through more comprehensive and sensitive observation, more meditated design development, and/or more carefully refined solution.

Course Coordinator Antonio Bernacchi Semester 1 Instruc tors Antonio Bernacchi Yarinda Bunnag Pitupong Chawakul Patrick Donbeck Alicia Lazzaroni Narit Paranulaksa Sergi Serrat Ekapob Suksudpaisarn Komthat Syamananda Natalia Vera Vigara Wisarut Wat tanachote Tijn van de Wijdeven Semester 2 Instruc tors Antonio Bernacchi Yarinda Bunnag Patrick Donbeck Alicia Lazzaroni Ekapob Suksudpaisarn Nuno Sousa Chon Supawongse Carmen Torres Natalia Vera Vigaray Tijn van de Wijdeven

Year 4 has an Option Studio format, where each instructor proposes a different project brief for each group, as it is intended to provide students with a wide variety of topics and scales, fostering heterogeneity of approach, for them to reinforce their interests or explore new disciplinary areas. All studios are research driven, with an experimental attitude to any form of design and they include therefore substantial components of study and analysis within the development of the projects. Particular importance is given to methodologies, both in the design process of each student and in the framework of each studio group, in which a precise phasing is tailored to facilitate a very intense development of the projects. Within the framework and scope of a Bachelor degree, the final year at INDA privileges a studio structure as opposed to thesis model, which, being very open ended, wouldn’t enable all students to experience complete design trajectories within the relatively limited timeframe of a 16 weeks semester from kick-off to final review. A few moments of interim collective exhibition and review complement the studio to encourage exchange and cross reference between groups, students and faculties, in the belief that exposure and unexpected encounters are fundamental moments of growth within the unscripted disciplines of design that INDA encompasses.


Architectural Design IV

Future(s) Perfect Instruc tor Antonio Bernacchi Alicia Lazzaroni

The studio proposed a reflection on the role and objectives of visionary and radical projects as a tool for architectural speculation, proposing a different approach within this particular field through the confrontation with the very defined and highly manufactured context of Singapore, which represents a radical political and organizational project in itself. Students selected a particular aspect of that reality and, by projecting it in a more or less distant future, built up a speculative proposition, in order to raise questions and reflections about potential ‘futures’, giving particular attention to the methods and techniques of communication and the associated narrative. Araya Sangpradab Thanakorn Leelasathapornkun


Year IV Semester I

Re-Archipelagos Instruc tor Komthat Syamananda

The studio concentrated on the undeveloped Koh Phayam to plan and design ecologically integrated forms of ‘resort’. A large territorial analysis of tourism was carried out in the Thai peninsular regions to establish sites and topographical connections to the design proposals.

Marina De Figueiredo Pereira

Thanatchaporn Utsahajit


Architectural Design IV

Marina Hub of ASEAN Instruc tor Ekapob Suksudpaisarn

The studio focused on a large scale recreational development for a yacht marina complex in Koh Samui, taking the opportunity within the overall framework of the proposal to develop Thailand as a hub for this kind of tourism into the future. A component of research on marine and yacht design enabled the students to better understand the relationship with the ocean and water.

Atin Chalermtiragool Athikom Sirijindaphan


Year IV Semester I

Lost & Found Instruc tor Narit Paranulaksa

Bangkok has long been acknowledged as the ‘collage’ city where layers of history and facets of modernization come together. The planned and the chaos, the hidden and the pronounced can be found in many corners of the city. Yet, Bangkok has never lost its charms. Students were asked to specifically focus their research on the 9km section of New Petchaburi road, and a series of lost spaces were then identified, studied and documented. In the second phase, students were asked to research on participatory culture or a culture with low barriers to individual expression and civic engagement. Analysis was undertaken to study cultural elements such as medias, interfaces, networks and devices surrounding their daily routines, in order to later derive a clear topic of interest. This served as a framework and a guideline for the programming of the architectural intervention. Dachanon Poompichet

Charlot te Linder Kamphol Kit wirat


Architectural Design IV

Urban Manufacturers Instruc tor Natalia Vera Vigaray

The studio focused on reintroducing or recovering productive economies in the city of Bangkok. Investigations were centred on developing projects that promote new and different relationships between living and working in the city, to reconsider productive urbanism as a way to develop the city through a medium scale urban proposal. The proposals were refined to a high level of definition in the architecture and typological specification, and to define a social scheme; detecting multiple actors, who are involved in the production process from the material extraction until consumption.

Sean Chavakorn Sringkaranan

Aemmika Ekkaphong

Wasanthaya Theansuwan


Year IV Semester I

Off-Site Architecture Instruc tor Patrick Donbeck

Prefabricated architectural solutions often offer variable configurations and finishes that suit a range of occupation types or aesthetic preferences. Those permutations exist within the logic of the building itself, while ground conditions are sentenced, doomed to be rationalized, smothered, flat, featureless, an isolated and cartesian object placed in the void. The studio explored the relationship between prefabricated architectural systems and the sites they occupy. This relationship was developed through using architectural systems that are not site-specific, but site-sensitive, using flexible or kinetic componentry that can flourish in varied and possibly turbulent landscapes. Initial site conditions were derived from the use of three dimensional modeled body parts as intensely specific and surveyable subjects. Tikumporn Panichakan Set tawut Leenavong


Architectural Design IV

Sleepers Instruc tor Sergi Serrat

The studio aimed to reflect on a social model of 24/7 capitalism. We live in an age of constant productivity and consumption, we are permanently connected but yet we have never been more isolated. Proposals were asked to identify and work with obsolete structures left aside and treated as waste by the city metabolism and logic of the marketplace, similar to being ‘put to sleep’. Using this ‘sleeper’ structure, students were asked to design communities that strived to achieve social, economic and ecological innovation in Bangkok, an alternative way to live, learn, work, play, meet, share, and care together again. Tanskul Suwannakudt & Phermphorn Petapa Thanakrit Navanugraha


Year IV Semester I

Urbanus Instruc tor Tijn Van de Wijdeven

Students established visionary proposals of infrastructural manifestations in Bangkok along incremental factors of scale, time and probability. Projects were developed through drawings and images: not as mere illustrations, but instrumental artefacts to allow for critical reflection and projection of realities. In order to tame the vast and unpredictable nature of Bangkok and propositions, the square limits of each plate allowed for framing, cropping and compositional order.

Chavakorn Sringkaranan Sitanan Bhengbhun


Architectural Design IV

2020 Instruc tor Wisarut Wat tanachote

The studio investigated the impact of virtual reality and 360 degree dynamic visualization on processes and methodologies of design. During the phases of the semester, students progressively familiarized themselves with these virtual tools and modified their approach towards space making, while developing projects of entirely variably qualities.

Kongphop Suriyawanakul


Year IV Semester I

Old School Instruc tor Yarinda Bunnag Pitupong Chaowakul

The studio proposed a new building for INDA within our current faculty compound. The project used a familiar program as a vehicle to focus on tectonics and novel construction techniques. This focus proposed a renewed investigation into the sophistication of Thai architecture during the second half of 20th century, through the design of a new wing for the Architecture Faculty at Chulalongkorn University. Phawin Siripong Parichat Lapprat tana


Architectural Design V

Fan ta st ic Beast Instruc tor Yarinda Bunnag

The studio focused on two design methods that are not commonly explored at INDA, a collaborative process and a copious production of physical artifacts. As a studio group, the students worked together to design one building. The building, a museum, was composed of many distinct galleries, with individuals designing one gallery. Then again, as a group, the collage of various galleries together formed a single piece of collage architecture. In defining the content of each gallery within the museum, each student designed a gallery dedicated to experiencing one particular classical element, together forming a collection of eight elements: stone, metal, wood, water, wind, earth, fire, and sky. This limited program allowed each student to focus on designing environments and effects for pure experience, in connection to spatial, material and tectonic articulation in architecture.

Chatchai Chaipara


Year IV Semester II

Academic Excellence Award

Chatchai Chaipara


Architectural Design V

Subvernaculars Instruc tor Alicia Lazzaroni

The studio asked students to approach the hidden vulnerabilities embedded in cities, like Bangkok, focusing their attention outside its perimeter rather than the center of the city itself. Modernist suburbs and new towns were investigated, proposing re-balancing or weaving strategies for these expanding but often monofunctional and underpopulated areas. These weaving procedures were conducted using the knowledge and strategies of vernacular architecture that has been re-proposed, as a representative and/ or performative reference. This allowed students’ design proposals to be either more focused, defining specific interventions or more strategical, proposing systems that act at a larger scale. Vernacular architecture has often been seen as dispensable, under the influence of modernist call for abstraction, misunderstanding its high relevance in terms of cultural value, partly because of the redundancy of its ornamental apparatus. For this reason, the range of necessities expanded, incorporating aesthetic taste, technical advances, communication strategies, and a temporal dimension. Tikumporn Panichakan Sarin Ronnakiat


Year IV Semester II

Bones Genealogy Instruc tor Antonio Bernacchi

The load-bearing structure is undoubtedly one of the most fundamental components of architecture, as it not only provides support and stability to buildings, but it can also conform spaces, define their organization and give character to architecture through form and materiality. The studio proposed to actively research structural ‘types’ in order to deeply understand their characteristics, functioning, and potentials and to design an experimental structural system developed through physical and digital testing to concretize in a specific prototype. Both research and design were approached from an evolutionary perspective, acknowledging the persistence of common schemes and characteristics throughout history during the study. This method promoted variation and ‘versioning’ rather than ‘creation’ from scratch while designing, investigating diagramming as a tool to analyze and manipulate solutions.

Kulat tha Adisornphankul Pridi Hengsakul


Architectural Design V

Off Grid Instruc tor Chon Supawongse

The studio concentrated on a broader understanding of ecology and strategic territorial intervention in the landscape, involving a very hands on approach with multiple ‘offgrid’ field trips to different rain forest environments in Thailand. This allowed the students to approach the design of temporary shelters within a national park from a on-theground perspective.

Chalongboon Sakulma


Year IV Semester II

K-12 Instruc tor Ekapob Suksudpaisarn

The students in the studio took the opportunity of the relationship with the client and consultant team to develop a real ongoing project of an international school in the northern province of Chiang Mai. This gained them exposure to the workings and challenges of architectural practice, while conducting overall background research and developing specific architectural proposals.

Prem Jongdeenarn


Architectural Design V

Made in BKK Instruc tor Natalia Vera Vigaray Carmen Torres

“The starting hypothesis for the survey is that in any city, the situation and value system of that city should be directly reflected through unique buildings.” – Atelier Bow-Wow Following this statement of the Made in Tokyo manifesto, the studio proposed a research survey through Bangkok to find and categorize anonymous building elements that can define a city’s urban condition in a contemporary context. In conjunction with the never-ending transformation which is a natural condition of Asian metropolises, the students applied a series of different alterations (programmatic, technical and atmospherical) to their selected building. Envisioning different episodes of their projects, they were required to use different methods of expression to create a collection of documents to be updated with each new alteration. Nantakanta Ratanachiwapong Napat Assavabor vornvong


Year IV Semester II

Enclosures Instruc tor Nuno Sousa

In beginning the studio, students conducted research on a chosen religion, following the paths of its rituals, doctrines and philosophy, to physically express them through the design of a monastery. Cross referencing their beliefs research with a relevant case study, further information on scale, geometry, materiality, light, atmosphere and its urban and topographical interaction allowed for a connection between their religion and its spatial characteristics. Given the wide range of belief systems – from Shinto to Mormon, Shamanism and Taoism – a set of actions, pray, study, meet, eat, and retreat organized and generated a necessary hierarchy during their individual process of design. The creation of this architectural reflection, unveiled a spatial narrative that connected to a much more universal system of belief.

Dachanon Poompichet Sitanan Bhengbhun


Architectural Design V

Crystallized States Instruc tor Patrick Donbeck

The studio began with an exercise in mapping of intensive forces, like energy and entropy, in the urban context of Bangkok at the scale of the pedestrian. The students defined intensive critical values which determined the program and translated this into design of public componentries. Intensive forces were classified as those that are not intrinsically divisible and the extensive structures that resulted, grounded immaterial parameters into metrics such as length, area and volume, manifesting architectural form around existing urban intensities.

Set tawut Leenavong


Year IV Semester II

Urbanus II Instruc tor Tijn Van de Wijdeven

The studio focussed on the notion of mobility and speculation at the scale of the city. Projects were developed along the course of an everyday experience: a journey through Bangkok. These journeys were constructed as intimate visual narratives and allowed for the formalization of large scale interventions and investigations. Through this ongoing dialogue, the projects framed a continuous route, addressing architectural design through spatial instances and temporal experiences. ‘People create gigantic maps people in their heads of all the places they know; reconnected into one large abstract web. Even the way we describe the journey deceives us from ‘real’ information. Normally we would use the phrase ‘go straight’, ‘turn left’, ‘turn right’. The turns are an instant but going straight is not. The human brain likes to simplify information so it’s easier to remember. So in people’s head all the ‘go straight’ is shorten to be the same as the turns. Coursing the journey to not be accurate when people remember them.’

Kamolchanok Vanidpisit Napasorn Kijjarouk



Experiencing Architecture International Workshops Design Build Projects Design Construction for Communities Projects 102

International Workshop

ASEAN DUAL CITY WORKSHOP Instruc tors Blanca Garcia Gardelegui Collaborator Meiji Universit y, Tokyo

“The Asia and Pacific region is undergoing tremendous change in which cities are playing a critical part. The region has become a global economic center of gravity, its emergence largely driven by globalization and trade liberalization… But the Asia-Pacific region is no longer just a global manufacturer, it is increasingly host to centers of research, creativity and innovation.” – UN-Habitat, the United Nations Economic and Social Commission for Asia and the Pacific, 2015 Over half of the world’s population has moved to cities and as urban centers grow rapidly, more than ever they have become opportunities for development and investment. Nonetheless, there are also negative consequence that arise from this uncontrolled growth, such as overcrowding, contamination, urban fragmentation and social tensions. As architects and planners, we must provoke the different stakeholders involved in this process to develop and invest in a controlled manner by taking into account different aspects important to cities like heritage issues, long-term development goals and the needs of the local communities among others. During the ASEAN dual-city joint workshop, students and instructors from seven different universities in six ASEAN countries gathered to collaborate on an urban project that speculates on different approaches to the Asian

urban condition. The workshop, organized by Meiji University in Tokyo, will be running for four consecutive years from 2017 to 2020 in different cities within South East Asia. In this workshop, two parts were held in both Ho Chi Minh City and Bangkok. The projects focused on heritage areas along the canal and dealt with three main themes: waterfront development, regeneration of post-industrial land and housing. Participants firstly toured and studied the sites, then attended lectures by administrative authorities in order to then identify issues and resources to propose specific urban and architectural projects. The proposals were discussed from different perspectives including architecture, planning, project development, sociology, and politics. During this edition, the first half of the workshop was held in Ho Chi Minh City and the second half in Bangkok. The projects focused on a heritage area along the canal and dealt with three themes: ¨Waterfront Development¨, ¨Regeneration of Post-Industrial Land¨ and ¨Housing¨. The participants firstly toured and analyzed the sites and attended lectures by administrative authorities in order to then identify issues and resources to propose specific urban and architectural projects. The proposals were discussed from different perspectives including architecture, planning, project development, sociology, politics.


Experiencing Architecture

Evoking Atmospheres

Brutalist London

Instruc tors Sergi Serrat, Patrick Donbeck, Nuno Sousa

Instruc tors Thomas Lozada, Peter Fisher, Hans-Henrik Rasmussen

One important part of the trip was to understand the context where buildings are located. In visiting Switzerland’s main cities: Zurich, Basel, Geneva and Lausanne there are one of the largest concentrations of architectonic master pieces in the world. By contrast, to look at different contexts, visits out of the major cities to the countryside, specifically Vrin, a small village high into the mountains, home and laboratory of one of the most fascinating contemporary architects, Gion Caminada and the region of Graubünden, where work of Peter Zumthor’s was visited.

During the two week tour of London, students visited many of the city’s most noteworthy buildings with an investigative approach, stressing the importance of situating a project within its historical context. While looking particularly at the period and important style of Brutalism in London’s architectural development during the the late 20th century, other styles were examined from Modernism, Postmodernism and Parametricism, in an attempt to more clearly understand their lineages as well as the ways in which their defining characteristics have evolved over time.


International Workshops

Street Scape

Urban Village

Instruc tors Antoine Lassus, Scot t Drake Collaborators Hiroyuki Sasaki, Manuel Tardits (Meiji Universit y, Tokyo)

Instruc tor Tijn van de Wijdeven Collaborator Jason Hilgefor t (Future+, Shenzhen)

Throughout this workshop, students from INDA collaborated with students of Meiji University and visited several distinctive districts in the Tokyo metropolitan area to observe a variety of urban environments, draw sketches of buildings in their context and street profiles, and summarize their experiences into presentation panels. By studying varying types of streets, from traditional, modern and contemporary, cutting-edge architecture, and public spaces such as parks and plazas throughout Japan, students were able to gain a deeper understanding of urban spaces and their relationship with buildings in this context. A uniquely different experience to their own understanding of streetscapes in Bangkok and Thailand.

The Pearl River Delta (PRD) is one of the largest and most densely populated regions in the world. Amidst the various models and types of urban development found within the PRD, the workshop specifically inquired into housing. Against the vast and dense topographies of repetitive housing blocks, we investigated the realities and potentials of urban villages consumed by urbanised areas of Shenzhen, Hong Kong and Guangzhou. The workshop was subject to a collaboration with Jason Hilgefort of Future+. The investigations offered a comparative body of visual and written documentation based on our visits. Documentaries were made to specific villages, exposing localities and communities, framing an immediate confrontation with the totality of the region and its rapid transformation.


Summer Course

Tolox Instruc tors Pat xi Mar tin Natalia Vera Vigaray

In the second episode of the workshop series that took place in Tolox, Spain, a material exploration was proposed with the objective of recovering one of the main productive traditions in a state of extinction: the Esparto Craftsmanship. Forty years ago, there was a communal ecology that produced wealth to the whole town based on the extraction and transformation of local natural resources from the forested mountain and river. One of these resources, esparto grass, was harvested from the areas surrounding the town. Esparto was commonly bounded to produce farming tools and household products. Entire families would produce esparto ribbons by weaving the material following traditional patterns, conveying the craft and techniques from one generation to the next. They produced the base ribbon, known as pleita, to be sold by units in nearby villages as well as to produce their own tools such as nets, animal bags, whips; household products such as bottle covers, cheese moulds, cloths or even wearables such as shoes and bags. The main purpose of the project was to materialize an ongoing reflection and speculation on regenerative strategies for decayed productive communities. Students completed a series of actions to understand and generate a critical position

towards the context within a very short time frame. Through a series of brief workshops they connected with the community and the craftsmen, the material, the technique and its history. The students analyzed the problem and the context through their own experience, that allowed them to propose strategies towards the revitalization of the technique and the community. They realized the main problem was the perception of esparto as an ancient tradition; the image of traditional esparto products as a sign of the former lifestyle. They recognized that local youth did not appreciate the material and its traditional products and they wanted to change this relationship through the project. This strategy opened a whole range of possibilities with the material itself, to create a brand within a new conception of esparto. Students developed a whole story of a stranger that visited the town to study and reinterpreted the use of this local material. Production of a video documentary series were projected in various locations in the town to provoke a general state of curiosity towards the project. At the same time, they experimented with the material to create a whole new range of products that were presented during a community event where strangers and locals celebrated the new appearances of esparto.


Design Build


Summer Course

Fantastic Plastic Instruc tors Carmen Torres Blanca Garcia Gardelegui

What is so fantastic about plastic? Plastic, in its inflatable form, is one of the materials that can create a larger volume with a lighter weight, as air is the main component. This property allows the formation of different shape possibilities with quite an easy and accessible manipulation. The aim of using plastic for this workshop was to create a new innovative product, reflecting the energetic and optimistic local design industry seen today. After exploring the potentials of our primary material, PVC plastic, we designed a series light stones. Loyy is a Thai word that refers to the act of floating. The qualities of lightness and defying gravity are acquired through inflating, this contrasts to the heavy and solid stone form. Avoiding convention-

al ways of crafting plastic creations, our hand-made patterns enhance a naturally artificial effect in our slightly asymmetrical inflatables. The variety of patterns is revealed through a poetic setting of stories that explains the creation of each stone, as if they were universes themselves. Whether as giant pebbles or tiny megaliths, the playful set of stones potentiates the generation of unexpected dynamic landscapes. The realisation of the project through early concepts, shape design, pattern development, meetings with the consultants and manufacturers, and budget was possible through a committed group organization and the collective effort of all the members of the team.


Design Build

CU Bike Instruc tors Leonid Slonimsky Ar tem Kitaev

The workshops aim was to revitalize an abandoned room in the existing building of Chulalongkorn Stadium, to repair it and to build a new space for the university’s bicycle sport section. Students constructed a 1:20 model of the space, making videos of the process: one as a promotional clip, and the other to describe the design process. A self-published book was also produced about the project, in addition to organizing network and marketing pages for fundraising purposes to complete the project.


Summer Course

Playgrounds Instruc tors i n van de Wi deven

ulia ournaire


Anna Andrich



Design Construction for Communities

This project allowed INDA students to research, design and construct playgrounds in three different locations within Bangkok. Each of the projects has challenged both potential (and truly public) ‘grounds’ of intervention in the city as well as the performative qualities of ‘playing’. In order to frame the informal and common purpose of use, students were encouraged to locate a site and establish dialogues with members of communities where appropriating these grounds became an extension in routines of work and domestication. The design phase offered an opportunity to pursue spatial and behavioural analysis and define rule sets which clarified and strengthened the use of sites. Playing as such, has become an informal tool to re-establish spatial limits and act as a catalyst to interact through communal gathering. Each project fundamentally addresses

different degrees of permanence and values of use. The first project, located underneath an elevated expressway in the Ekkamai district resulted in a playground and exercise area for the local community. Through the support of Coffee Beans by Dao, students developed a project in support of its employees and their families. The next project, in the Bang Rak area, was the design of a performance ground within the compound of firemen and their families in this local neighbourhood. The project created a space made of steel and fabric in which a range of small events were held over three days. In the final project, the playground was developed as a sound instrument occupying a small square in front of a Buddhist temple in Sam Yan. A set of aluminium cymbals gave literal definition of a ground for sound and interaction.


Summer Course

Hop Learning Centre

BAN SAM KHO Instruc tor Sergi Serrat

Instruc tor Scot t Drake

Each year the Erawan Hotel Group sponsors the construction of a HOP Learning Center which is donated to a school in regional Thailand. This year the Hop Learning Center was built at Wat Wang Hin School in Nakhon Si Thammarat province. The design produced by INDA students, features raised platforms to avoid damage from floods which affect the area, and also timber doors and windows used to match the adjacent structure. Thank you to the company for their continued support.

Mitsubishi Electric Corporation partners with INDA every year with the design and the construction of a major intervention for an underprivileged school. Mitsubishi’s ‘Home School Project’ yearly competition allows Mitsubishi employees to propose projects to improve a school from their own hometown. The students from INDA embrace this vision and transform it into the best possible architectonic solution. This year the school asked for a multi purpose room that could be used as a canteen, event room, study place and could also support the neighbouring village with a large space for meetings and community celebrations.


Design Construction for Communities

Farmhouse School Instruc tors Wisarut Wat tanachote Jason Orbe-Smith

The Farmhouse School provides education and well-being of children of Burmese migrant workers and refugees whose families have been relocated to Thailand. The project allowed INDA students to study design potentials and implementations of a low-cost classroom prototype using rammed earth and lightframe steel construction. The building method also allowed for the opportunity to employ natural building methods and techniques throughout the project.

The Farmhouse School was founded in 2011 in Mae Cha Roa and has grown rapidly to serve over 200 children. Through its educational opportunities and resources, it has allowed for the development of children and safeguard them from laboring, trafficking and health risks. The team has worked directly with the school headmaster and management teams to identify the ideal site location on a designated parcel of land. Students and experts have endeavored to transfer building knowledge and techniques to the local construction team, introducing low-cost and efficient methods that can be used for the betterment of the community.


NEWS Solo Exhibition

Yim Samer

Set tawut Leenavong

Sirah Viwat tanamas

A solo exhibition was held at the restaurant Surface Kitchen following an invitation by the owner Mr. Chalee Kader. The exhibition was held in parallel with a market event during a two day period in September, 2017. The exhibition included a total of 12 drawings under the theme of architectural art together with preliminary designs of 3D printed prototype jewelry. It is hoped these jewelry designs will be developed into the production stage through casting the prototypes into silver finished jewelry and art products.

Three years ago, Yim Samer was created within the Faculty of Architecture at Chulalongkorn University in the design of the pillar for the Tom Tom night. A group of passionate students inside the faculty we able to execute the Tom Tom faculty tradition like never before, by utilizing LED light strip mixing with our faculty traditional song. Since then, the Yim Samer group has begun designing similar lighting installations at events, concerts, particular design spaces and motion graphics both inside and outside of the university. As former students from INDA, we believe that design comes in many shapes and forms and has the potential to integrate into the world around us. We are looking forward to merging both the design experience and existing technology in order to create new ways of conversance between the designer and the user of the space.


NEWS Fennect Tanskul Suwannakudt

Fennect is a group of INDA graduates who believe that technology will play a big role in our future. From this perspective, the aim is to apply this power of technology to add new value to different areas of knowledge such as architecture, medical, military, and engineering. By utilizing virtual augmented realities as the main tools in stimulating virtual space, this allows for the creation of visualizations in addition to interactive and immersive experiences. The group applies a strong belief that the ‘interactive experience’ is the key to togetherness among people and communities in the future.

Currently, they are creating virtual and augmented reality simulations to be used in the real estate industry, something very familiar from studies at INDA. These realities can enhance the understanding and experience to the potential buyers of apartments or houses. VR/AR has the potential to bring to life through interaction and sophisticated visuals proposed real estate projects, more than just looking at brochure or printed marketing material and furthermore eliminates the need to visit a display room. This could attract more potential customers and buyers. These new technologies can be used in many other creative industries to heighten presentations and create an immersive experience for the clients.


NEWS Good Morning City!

Chulalongkorn Centenary Watch The Bodhi Eggclectic MCU1.0 timepiece was designed to commemorate the centenary of Chulalongkorn University. The design is lead by Gianluca Vernizzi in collaboration with designer Thanakorn Leelasathapornkun, a recent INDA graduate and Chaipat Ngambutsabongsophin from the Thai Architecture Department. The project is managed by INDA director, Dr. Preechaya Sittipunt and INDA alumnus Tomthong Rungsawang, with the objective of raising funds to establish and operate Chulalongkorn Univer University Design Innovation for Society Center (CU DISC), to promote design research and development in the enefit the co unity society and environ ent.

Good Morning City is based on transitions in space, motion, and time. The project incorporates incremental spatial li its and thresholds specific to the re eneration of Kartner Strasse in Graz, Austria. Experience is generated through distinct degrees of speed, destinations, and personal interests. Good Morning City is not ased on a final i a e the ualities o the nei hbourhood are embedded along intermediate stages of change and development. The productive city is not understood as a programmatic attempt but rooted within the process of urbanization itself. Good Morning City has been awarded a special mentioning at Europan 14 in Graz. Team: Natalia Vera Vigaray, Patxi Martin, and Tijn van de Wijdeven


NEWS Krahm Restaurant Hypothesis

Krahm Restaurant, a work by Hypothesis, with Yarinda Bunnag the Design Director, has been selected as the finalist at the orld rchitecture estival in the Future Projects: Leisure Led Development category. The design team includes Tachapol Danaboonchai, an INDA alumnus, class of 2013, as well as Chon Supawongse as the landscape architect. Krahm is located in Chiang Rai, a northern province of Thailand. The main concept of the restaurant was inspired by the dense mountainous forest surrounding the city. The restaurant immerses itself within a lush landscape of tall trees. The building has three

levels, tree trunk, tree canopy and tree top, allowing the visitor to experience the trees in three distinctive spatial conditions. The distinctive boxes that scatter and alternate in elevation recall local hill tribe villages where the stepped level houses not only conform to the shifting topography, but also allow maximum visual adjacency between different buildings as well as the surrounding landscape. This gives each elevation a distinctiveness. The placement of interior masses and the outdoor decks are irregular, forming a decentralised system that protrudes in and out of the thicket of trees that coexists with the architecture.



10 RULES Text Sergi Serrat

In 1968, artist and educator Sister Corita Kent wrote, Some Rules for Students and Teachers which was then popularised by John Cage, who kept a copy of it in the studio where his company rehearsed until his death. The text is a decalogue containing principles for learning creatively while developing intuition and intellect. Today, after 50 years, those rules still present a cutting edge approach to pedagogy. My personal experience at INDA during this year, both as a studio instructor and as a lecturer in Environmental Design has detected many contact points with Kent’s text and its main core values and working ethics. Those could also become INDA rules. Rule 1 - Find a place you trust, and then try trusting it for a while. INDA belongs to Chulalongkorn University, the most prestigious educational institution in Thailand with almost 100 years of history. This implies our program has to eet hi h uality standards to provide a proper environment for a good education.

nother i portant uality o the school is that the teacher to student ratio is very low. Students feel they are tutored continuously and can reach their teachers at any time to get extra feedback and support when needed. INDA also has an integrated network in the cloud that allows for a very direct access to course information and resources. Rule 3 - General duties of a teacher: pull everything out of your students. At INDA there is a very diverse network of teachers, with lots of talent, energy and motivation. It is a very interesting combination of Thai and international people coming from ten different countries. Year syllabi allow for a very speculative environment. Courses are actively discussed and strive to be intriguing, provocative and intellectually challenging for both teachers and students.

Students are selected through an application process which includes interviews where their portfolio is discussed and the particularities of the school are outlined. This way it is clear for the student what INDA offers and, in exchange, what are INDA’s demands and expectations for the duration of the program.

This momentum is taken into the studios. From day one, students and teachers are intensively engaged and try to go beyond the expected. Proposals are done with total freedom of action in order to become useful research. Ideas and concepts are tested and developed during the course through an intense graphic narrative and discussion. Answers are very diverse and always relevant, contributing to a rich debate during our many reviews between students, ajarns and guest critics.

Rule 2 - General duties of a student: pull everything out of your teacher; pull everything out of your fellow students. INDA has a very intense community life. Students develop strong bonds with their colleagues as they share time, resources and experiences. This provides a very rich context and helps the students to advance throu hout their studies. e ore idter and final reviews, pop up communities arise all around the school, creating a very energetic atmosphere that i proves overall uality o the wor .

Rule 4 - Consider everything an experiment. INDA is a platform for critical rethinking and experimentation. Architecture is taught as in a laboratory. A laboratory not constituted by a closed series of techni ues or an infinitely open series o possi le individual positions ut y an infinitely open field o technical and theoretical positions with a specific purpose. ny techni ue or position is le iti ate as lon as it serves to achieve a purpose that is targeted. Rule 5 - Be self disciplined, follow in a good way. INDA students are extremely focused and engaged



during the whole semester and they are always willing to put in the effort to improve their proposals. This makes it very easy to work with them. All this effort comes to fruition at the INDA Parade, where the school deploys an area in Makkasan train station to display the results of a year of hard work. Rule 6 - Nothing is a mistake. There is no win and no fail. There is only make. INDA is founded on a multidisciplinary approach into the field o desi n and architecture. t stays away from preconceptions and prejudices and does not follow a professionalist approach. We are not proble solvers and pre er to raise uestions rather than giving answers. INDA students learn through experience, think through production, and learn by doing. Rule 7 - The only rule is work. My teaching experience has allowed me to work with schools and students from Spain, United States, Belgium, Sweden and Thailand. Without any doubt, Thais are the most determined and persistent students I have ever met. It is just spectacular to see what INDA students are able to produce in such a short time. Rule 8 - Don’t try to create and analyse at the same time. They’re different processes. INDA provides an extensive range of academic activities. Lecture courses provide students with the necessary technical and theoretical knowledge to analyse and understand the surrounding reality, while studio courses are designed as laboratories to synthesise new ideas and concepts. Experiencing Architecture trips during the summer reinforce these analytical skills of students through experience and observation, while summer Design Build Workshops are the ultimate 1:1 experience of synthesis as students engage directly with the real production and construction of their ideas.

Rule 9 - Be happy whenever you can manage it. Enjoy Yourself. It is lighter than you think. Again, after many years of teaching, I can say without doubt that Thai students are the most joyful students I have ever met. No matter how stressed or tired they are, they always come to class ready to engage and have fun with their friends and teachers. There is always a positive atmosphere throughout the school. This positive energy also translates to the teaching community. INDA has a very stimulating working environment with diverse staff from many different backgrounds. They all work seamlessly together speculating about architecture. This mirrors directly in the uality o education provided at the school. Rule 10 - Break all the rules. There should be new rules next week. INDA is a very dynamic structure that challenges itself continuously. Each semester there are new studio topics. This is particularly intense in Year 4 option studios, where teachers are invited to present personal research topics of interest. There is an extreme diversity o fields to e plore and study always with the ambition of challenging the standard. INDA embraces this diversity so our graduated students are not specialists. They are not meant to be ‘mini architects’ ready to be inserted in front of workstation to produce mainstream construction objects. nstead we educate citi ens with a proficiency on artistic and technic disciplines, digital media tools and fabrication systems. Our alumni are ready to do so many things: start their own business, join all types o creative o fices post raduate study in universities around the globe or even expand into disparate careers and e plore new fields. In summary, INDA is not a terminal station, but quite the opposite. It is a launching platform into the open world of design and architecture. There are bright futures ahead.



SENSIBLES Text Gianmaria Socci

I am very pleased to share this short account of my first semester at INDA. After an education and career structured around a very Western understanding of knowledge – a theoretical entity pigeonholed in specific categories – Bangkok is showing me new ways of understanding. The city itself, the uncoordinated interactions of its multitude in their trivial circumstances, sums up to a complexity that I am far from understanding, but that still fascinates me and whispers to my deepest interests. Before moving to Bangkok, I had been studying and researching Urban Design at ETH Zürich, spending four years within a multidisciplinary team of professionals from all around the world. We tackled the complexity of the matter at stake through intricate routines: design studios flowed into real projects, handled in a chair of architecture structured as a fully-fledged office; tech companies fueled lectures and publication seeking to produce innovation through academia. Our students felt the pressure of real-world scenarios, but also

gained an insider understanding of the political and economic dynamics that shape our profession. Our chair at ETH focused on ‘informal urbanism’ – all the unregulated building activity that accounts for the vast majority of urbanization nowadays. Therefore, we also approached design with an informal methodology, challenging the students to question their assumptions and take a specific position.

In a university which prides itself on the precision of scientific inquiry, our method was never completely understood, but also it produced results recognized by a vast audience. It is important to highlight that the moment each design studio really gained momentum was always during field trips to far territories, the usual setting of our projects, distinct in space and culture. No matter how many books we have read and how many tools we master, the sensible reality of new smells and noises still puts us in awe as we venture into unexpected lands. This sensible reality is in fact the very substance and the essential premise of any learning experience. 120


However, sensations have long been undervalued in Western culture. They are often considered mere vectors of communication between two opposite realms, the material and the spiritual. Allegedly, by absorbing the material world through the senses, we formulate a spiritual understanding of reality, which constitutes our knowledge. Yet, some argue there is a third realm, which is as substantial and influential as the other two and it is the sensible reality, the realm of media. Take for example a mirror. The image reflected on the mirror is immaterial, thus it does not belong to the realm of tangible things. Nonetheless, it exists in and by itself, if no one is looking at it the image is still there. Philosopher Emanuele Coccia defines this kind of entity as ‘sensibles’, apt to be sensed. He states that they not only mediate our knowledge of reality, but they constitute our entire knowledge.

terpret in our own way. May it be a drawing, a video, a specific word, the support becomes the generated knowledge itself. The media is the message. What is very interesting about this approach – which I am still learning, lagging behind – is that it belongs to an entirely new generation. The distinction between concepts and the way we express them is becoming less and less relevant. Media absorbs not only our communications, but also our thinking. If education is to be a civic function, it feels urgent to practice and master media in order to make them the very values we want to transmit. Furthermore, the sensibles are everywhere. They are not only the media we consciously generate to communicate, but also all the bits of information that we could sense. I am now looking at this sensible reality, immense source of potential knowledge, with more awareness.

What I experience every day at INDA is a journey through sensibles. The pedagogical structure, which encourages us teachers to a very direct interaction with the students, as well as the striking cultural differences, require a constant act of conscious perception. Swiss students were communicating their ideas through a system of thoughts rooted in the Western culture of the past century, a system, which was my own. On the contrary, INDA students have a very different set of values and references. Any sort of conceptual discussion with a student necessitates a sensible support, which we can both in-

In conclusion, so far teaching at INDA has been a great experience. It is making me discover new ways of being an educator. The voluntary estrangement we experience while traveling happens every day at INDA, as people with very different backgrounds come together and make things. I want to look at these things as statements. Things always declare a position; we only have to be curious enough to enquire them. Maybe the teaching of design is nothing else than a training in curiosity, a practice that requires opening our senses to something we do not know yet.






ADMISSIONS In order to be eligible to enroll at Chulalongkorn University, applicants must have successfully completed an upper secondary or high school education. Applicants who have graduated from international schools in Thailand that have been accredited by the Ministry of Education may use their school transcript or diploma. In all other cases, they need to obtain an equivalent certificate from the Ministry of Education.

4. Test scores of Aptitude in Design: - CU-TAD with a minimum of 50% 5. Portfolio Personal work of art, craft, and design in A4 size folder or binding with thickness not exceeding two centimeters. 6. Application form including: - 1000 baht non-refundable application fee. - A copy of applicant’s’ passport - Two copies of one-inch photographs - Documents of qualifications according to point 1 to 5 (above).

Admission Requirements: Please check the most updated admission requirements on the INDA website ( 1. High school certificate or equivalent: Applicants have completed high school, or passed the high school equivalent standard test (GED, ICGSE), or presently are in high school (Mathayom 6, grade 11-12 in the US system or year 11-13 in the British/IB system).

Tentative Schedule Application Deadlines: - Thai citizens: 4th January - 31th January 2018 - non-Thai citizens: 4th January - 28th February 2018 - Interviews: February 2018 - Announcement of admission results: March 2018 - Enrollment: March 2018

2. One of the following English proficiency test scores: - TOEFL with a 550 (paper-base) or 79 (internet-base) - IELTS with a minimum or 6.0 - CU-TEP with a minimum of 80 - Old SAT* (Critical Reading) with a minimum of 400 - New SAT* (Evidence-Based Reading and Writing) with a minimum of 450 - CU-AAT* (Verbal) with a minimum of 400 3. One of the following math test scores: - Old SAT* (Math) with a minimum of 550 - New SAT* (Math) with a minimum of - CU-AAT* (Math) with a minimum of 550 * In case of submitting both English and Math scores from either CU-AAT or SAT, both scores must be from the same test date.

For CU-AAT, CU-TEP, and CU-TAD testing information, contact Chulalongkorn University’s Testing Information Center. Call Center: 02-218-3717 (CU-ATC Website: Detailed Schedule will be updated in December on


COLOPHON Editor Tijn van de Wijdeven Assistant Editor Sitanan Bhenghbun Graphic Design/Ar t Direc tor Jirawat Maan Sriluansoi Copy Editor Peter Fisher


International Program In Design And Architecture 4

INDA 2016 2017  

A year of academic pursuit at INDA - The International Program in Design and Architecture at Chulalongkorn University, Bangkok.

INDA 2016 2017  

A year of academic pursuit at INDA - The International Program in Design and Architecture at Chulalongkorn University, Bangkok.