International Program in Design and Architecture Chulalongkorn University
2019 - 2020 www.cuinda.com
Academic year 2020 has been quite a challenging year for INDA and for the rest of the world. Since the beginning of the second semester, when the COVID-19 pandemic hit Thailand as the second country in the world after China, many universities in Thailand--including Chulalongkorn University--were affected by a swift national lock down policy. This prevented students, faculty, and staff from leaving their homes and required the adoption of widespread online learning and remote working protocols. INDA had to quickly implement social distancing measures by conducting all academic activities through virtual platforms like Zoom, Google Meet, and Microsoft Teams and by minimizing in-person studio sessions to two days per week. Studio courses were taught online and were forced to revise schedules, methodologies, and the scope of deliverables to conform to these new constraints. Summer designbuild and construction projects had to be scaled down and physically located within central Bangkok to limit the risk of infection. Most importantly, the end-of-year show or ‘INDA Parade’ had to be transformed from a physical to a virtual exhibition for the very first time and executed in a matter of weeks. Making preparations for the event, procuring virtual reality equipment, purchasing software licenses, setting submission standards, and building a 300,000 m2 virtual exhibition space was an enormous undertaking--one that would not have been possible without the combined efforts of our Parade coordinators, students, and faculty. For the collective yearbook 2020, INDA has decided to represent these challenges, experiences, and experiments in a hybrid platform by incorporating digital content beyond the pages of the physical book. The virtual integration of classes is showcased through a series of markers on selected pages that can be scanned to view their digital counterparts online. Course content from studios, lectures, and laboratories is reformatted with additional comments and analysis for a better understanding of the design intentions. We believe that this yearbook will best reflect upon the resilience and the experimental nature of the program that has helped INDA face new challenges throughout the years.
Surapong Lertsithichai INDA Director
A Conversation with Students
Design Experimentation Workshops (DEX)
Design and Construction Projects for Communities
News & Events
Faculty and Staff
PA R A D E
The INDA Parade, an annual event and comprehensive exhibition of student work across each year group, celebrates the diverse output of the school and encourages a dialog between students, instructors, and guests. The experimental and exploratory nature of the school is reflected in the wide array of approaches to design and architecture including nonlinear processes, material explorations, conceptual narratives, and unconventional media formats. In 2020, challenged by social distancing restrictions, INDA decided to use a social virtual reality platform as a complementary tool for exchanging and representing ideas, under the motto â&#x20AC;&#x153;Keep School Real.â&#x20AC;? All participants could join the review and exhibition worlds with their own avatars, interacting with others and exploring in great detail the many three dimensional models, large scale drawing boards, and presentations in a mixed media environment with live streams. The VR environment enabled the INDA community to regain the proximity that is so crucial to foster excitement and momentum. The event also featured four lectures from prominent international educators and practitioners.
Design Patrick Donbeck Michal Jurgielewicz VR consultants DONBOY 7
INDA PARADE Keynote Guests : During the INDA Parade, four invited guests from around the world conducted lectures via Zoom about their current work. Kate Cheyne “Situated Practice in a time of Coronavirus”
ARB RIBA SFHEA; Head of the School of Art, Design, and Architecture at De Montfort University, Leicester Sarah Ichioka “From Sustainable to Regenerative”
Urbanist, curator and writer; director of Desire Lines, a strategic consultancy for environmental, cultural, and social-impact organizations and initiatives John Lin “Architecture Without Architects Revisited and Revised”
architect and Associate Professor at the University of Hong Kong; director of Rural Urban Framework (RUF), a research and design platform dedicated to developing sustainable prototypes for rapidly urbanizing areas Marina Otero Verzier “Political Practices in Architecture, Borders, Bodies, Spaces”
Architect and Director of Research at Het Nieuwe Instituut (HNI) in Rotterdam where she leads research initiatives such as ‘Automated Landscapes,’ focusing on the emerging architectures of automated labour, and ‘Architecture of Appropriation,’ on squatting as spatial practice 9
INDA Parade 2020 has been and still remains open and accessible to everyone, proposing experimental methods of interaction and engagement and breaking down the boundaries between the school and the public.
INDA PARADE – Interview The following interview was originally published on June 30, 2020 under the title ‘Exploring the Realm of VR in Architectural Education’ on koozarch.com. Some of the text has been modified for clarity.
What questions does the project raise and which does it address?
INDA Parade 2020 raises the question of how design education can be resilient and can pursue new opportunities within the constraints of any situation. INDA Parade 2020 addresses the current state of emerging technology, providing a reliable source of accessibility through a social virtual reality platform. Used as a complementary tool for exchanging and representing ideas for students and instructors, it helps transition from physical to virtual engagement, beyond the conference call and the screen share. What were the greatest challenges when constructing the virtual exhibition?
Organization, collaboration, polygon counts, bandwidth, and time-zones. What opportunities does the virtual exhibition provide that the physical space does not?
The opportunity to create and experience all projects by using textured 3D models or by accommodating larger project scales that allow for the leveraging of spatial experience. Global access to a wider pool of guests and audiences. What informed the curatorial approach of the design?
The approach to curating the virtual exhibit was to continue our traditional end-of-year show which is a celebratory cross section through the school’s annual activities that reveals what is going on at INDA. The event involves design studio reviews, exhibitions, lectures, and parties, happening concurrently and in the same space. It is meant to enable the community of students, instructors, alumni, guests, and the public to discover and celebrate student work collectively as part of an ongoing conversation. We provide all students and studios a place to exhibit their work and hope that all feel empowered by what each can make of their space to represent the work they have done. Students are given a template file for their virtual installation which consists of both fixed and flexible components. They populate virtual boards with drawings and animations and place 3D models and scans within the boundaries of their area within the virtual space.
How and to what extent do you believe that our current situation will change the way we learn and teach?
We see the opportunity for INDA to deploy mixed pedagogical methods, from face-to-face and online instruction to a more integrated approach with greater international collaboration. We also see the opportunity to dissect learning content and emphasize it according to different approaches in ways that we may not have questioned before. For you, what are the biggest challenges we face in the virtualization of architectural education?
The limitations in physical or material experimentation, as well as collaboration in terms of making and building in the physical environment where students and instructors usually engage all of their senses in a more interactive social setting. How can these technologies empower both the student and the architect?
Virtual and mixed technologies help empower community awareness and effectively bring out the necessary skills of the student and the architect. They also help break down the boundaries between the school and the public. What is for you the architectâ&#x20AC;&#x2122;s most important tool?
Creativity and flexibility to adapt and thrive in many situations.
Interviewees Patrick Donbeck Michal Jurgielewicz Surapong Lertsithichai Sorachai Kornkasem, PhD 13
INDA PARADE – An Educational Project Tijn van de Wijdeven To talk about the ‘first’ in a series implies a starting point, but the abundant collective spirit of INDA is much harder to originate, at least in time. The idea for a school-wide exhibition resulted from a discussion between a group of year coordinators and Preechaya Sittipunt, the director of INDA at the time. This experimental project took off in January 2014, and the name ‘Parade’ became immediately apparent. It was a transient and festive event that elevated the conventional review from an administrative evaluation to a lively engagement. The conceptualization of the Parade in 2014 started with a simple cross-shaped configuration printed on a sheet of A3 paper. Over the various meetings that followed, it became evident that the event had a profound social importance. The Parade would allow reviews and exhibitions of student work, but it would also offer a stage for spectacle. Critical dialogues and observations were destined to become the heart of the Parade, manifesting the versatility of creative and critical pursuit at INDA.
Field of Crosses: An educational landscape
The ‘review’ is often cited as one of the pedagogical pillars of INDA, offering students moments of temporal fame and exposure. During the Parade, individual project presentations transcend their disparate topics and become part of a larger collective momentum. The Parade is the culmination of a year-long commitment by students and instructors that defines moments of critical exchange and discussion. By reducing the spatial arrangement of the Parade into a generic field of crosses, the dynamic social complexity of the Parade was paradoxically, and appropriately, centered on the spaces in between. Ambiguous limits and thresholds instilled a sense of negotiation and improvisation across the school community. The autonomy of the scheme itself was a deliberate attempt to allow for a hyper contextualization of people and projects. The final project reviews in 2014 were situated in seven rooms, each framed by four crosses. This enfilade of continuous transitions allowed studio groups to transform the empty rooms into spaces of social interaction.
Over the past six and a half years; the Parade has continuously evolved according to the idiosyncratic character of INDA. The annual invitation to design and coordinate this event very much exemplifies the radical ambition of the school to continuously reinvent itself. The mutual trust and cooperation between all factions of the school during the event reveals the beauty of a program where ideas are celebrated and where innovation takes precedence over traditional conventions. Each year, the Parade becomes a school within a school with students, faculty, and administrators conducting and performing in a true tour de force, fundamentally defining the nature of the event.
INDA Parade 2014
Seven rooms and eighteen corners: Ideogram of the Parade
Each Parade is intentionally located outside the university campus. This reinforces the idea that a school performs by virtue of its community, and not solely by its own spaces and facilities. Hosted at Makkasan Airport Rail Link Station for six consecutive years, the monumentality of the space provides a continuum of social encounters. The preparation and construction of review and exhibition spaces is a collective effort, and it has proven to be a vital component of the event at large.
A distinct stage in the evolution of the Parade took place in May 2020, with everyone confined to their homes due to the socialdistancing measures made necessary by the Covid-19 pandemic. Titled ‘Keep School Real,’ Michal Jurgielewicz and Patrick Donbeck proposed a radical shift of the Parade toward a virtual space. Creating a virtual presence for the school was an intense challenge that required the design of immersive landscapes as well as various protocols to welcome the school community into this new realm. The Parade in 2020 is further evidence of the trust and commitment of the school community to ongoing notions of ‘newness,’ perhaps one of the most profound qualities of INDA. 15
The following quotes have been collected from key contributors to the Parade in 2014 :
“For the first time, we had a space big enough
“The Parade that brought the school together:
to see all of the student projects at once!”
INDA Parade 2014 took us to the vast unknown, explored possibilities that we did not know
– Dr. Scott Drake, academic coordinator
we had, and assembled a framework for coordinating efforts from students and ajarns from across the studios. What we thought was
“In 2014 it felt as if the train had literally
a collective exhibition space became a week-
arrived. Years of work building the curriculum,
long ceremonial synthesis for the academic
faculty, and student body, the SCHOOL -
year, extending participation even beyond the
captured in time - at the station. A moment
of pause and exchange. Gathering more passengers. Refueling. Carrying toward the next destinations with ever more energy.”
– Pratana Klieopatinon, design studio instructor (current program coordinator)
– Will Patera, first year coordinator “To walk around and witness the presentations and reviews taking place “This is a kind of trust and collaboration at a
is a unique experience, getting to see
scale that we are yet to find elsewhere but
the culmination of the school’s creative
that seems to continue alive at INDA.”
endeavours, through the event design as well as the sessions taking place.”
– Lara Lesmes, second year coordinator – Totthong Lertvanarin, assistant Parade coordinator “Perhaps our strongest memory of the first
“I remember my studio instructor at the time,
Parade is how it cemented the idea that the
the vibrant and colorful Lara Lesmes -- of
school can work collectively as a whole, and
whom I have absolutely no memory wearing
towards something that we had never tried
or making anything white -- saying, ‘I never
thought I could love something white this much.’ And I couldn’t agree with her more.”
– Fredrik Hellberg, third year coordinator – Jane Chongsuwat, student “Such an inspiring conclusion to an academic year - to be able to see a complete collection
“INDA parade is the first experience in my
of student work and to see the progression of
architecture school life to discover the
complexity and maturity in projects starting
eclectic variety of projects, full of passion and
from the first year all the way to the final
joy, proudly exhibited at the end of semester.
fourth year works all in one setting.”
What an event that was!”
– Yarinda Bunnag, fourth year coordinator
– Kannawat Limratepong, student
INDA Parade 2019
INDA Parade 2018
INDA Parade 2017
INDA Parade 2016
INDA Parade 2015
A Conversation with Students In past versions of the INDA yearbook, we have conducted conversations with instructors and alumni to discuss the challenges of teaching and the ways in which INDA has enabled recent graduates to thrive in the professional world. This year, we spoke with current student representatives from each year about their impressions of INDA, their thoughts on remote learning, and their learning experiences at different stages of the program.
Toon: I think I see INDA as more of a design school rather than just an architecture school. Every aspect of design is explored at INDA; therefore, there is a lot of freedom in terms of where our interests can take us. Another factor that contributes to the “lifestyle” of INDA is being in the context of Chulalongkorn University and the shared activities and social life that brings.
Knink: I agree with Toon. I came to INDA thinking that I didn’t actually want it to be an architecture school. I chose INDA because of the mindset that I believed I would acquire rather than the skill set. To me, design and architecture education provides a very systematic way of thinking and planning things, which is unlike the other faculties and a special part of INDA.
Miriam Dheva-Aksorn Nara Lojanatorn (Pann) Sasi Ounpiyodom (Minnie) Year 2
Nisama Lawtongkum (Knink) Nicha Vareekasem (Toon) Year 3
Santhila Chanoknamchai (Orm) Peera Tayanukorn Year 4
Kanchaporn Kieatkhajornrit (Poompoom) Lalipat Sirirat (Earn)
What do you think are the key characteristics of INDA? Orm: I think INDA is an architectural program that is very different from what I thought it would be when I entered. Architecture is viewed in many different ways at INDA, and this has expanded my perspective on design and architecture. Diversity is one of INDA’s strongest points. As I have gone through the years at INDA, I can see this diversity very clearly in my classmates who have each found their own personal identity through their work at INDA. The distinct design approaches, the media representation techniques, the studio briefs, and the instructors are the strongest points. Peera: INDA has been really explorative for me.
We all have our own talents, weaknesses, and ways of approaching design, and INDA helps us to discover ourselves and our individual skills. We are not forced into a single “INDA” approach or aesthetic, which differentiates us from other schools. INDA provides a space for us to discover ourselves
Miriam: For me, I think INDA provides opportunity. I didn’t really know what INDA was before I started. The more I worked on projects, the more I had to explore myself. INDA has given me the opportunity to explore new ideas and experiment in ways I think I never could have otherwise. This is something I very much appreciate. Minnie: I agree that INDA has helped us explore other subjects beyond our initial interests. Personally, I came to INDA thinking that I wanted to be a pastry chef, and I wanted to explore how I could incorporate design into the interests or hobbies I already had. I like that INDA really encourages us to discover new interests. Miriam: When I first started at INDA, I realized that a lot of the people here are really cool! The way they design their projects has opened my mind to new ways of thinking. We can explore and learn which ways of working we like and which we don’t like. Pann: There is a variety of instructors who each have their own teaching styles. Some ajarns are great and some are...really great!
in younger years, I can see an increase in the diversification of their talents, which is very impressive. Earn: INDA exposes us to so many things. I agree that the keyword that defines INDA is “diversity.” I joined INDA thinking I wanted to be an interior designer. After I started, I realized that INDA was not at all what I expected. We were cutting boxes and designing spaces for a person who likes rain. There are so many different perspectives. We have a shared brief, but each student gets to explore it in very different ways. Even the programs and media we use can range from 3D animation software to hands-on methods. In year four, we get to choose our own studio, but after three years, you forget everything you thought you knew or wanted to be before. INDA has made my future so blurry (in a good way). It has totally reshaped anything I thought I knew about architecture and about myself. It’s so much more than designing a building and making it beautiful. It really exercises our brains to think outside the box.
instructors but from our classmates through cross-studio discussions. We build strong relationships within our year-group that foster an even greater learning environment.
What are some topics you would like to see addressed in the design studio? Is there anything you wish you were learning more about? Orm: I think INDA should encourage more
site-specific projects. Sometimes I feel like we are still lacking a connection between our designs and the actual sites. We live in such an interesting city, and we should take advantage of that. There are so many unexpected moments. I see that a lot of our projects are situated here, and I think we should be encouraged to go to the site and talk to the people there, so our designs can really reflect the reality of what is happening instead of our own imagined reality.
Peera: “Provocative” is the word for me. Poompoom: One of the strongest points about
INDA for me is learning not just from 19
A Conversation with Students
Peera: When I look at myself and students
Peera: I see that a lot of the fourth-year studios encourage us to work on real sites, which really broadens my perspective on how to design from a multidisciplinary approach. It is also very impactful for me to see how what I do could totally change what is going on in an actual site. Minnie: It would be nice if we had more time to study the references that are mentioned in the studio tutorials. It would also be helpful to explore other aspects of contemporary projects in greater depth, maybe a course that highlights contemporary issues and fields of practice.
It’s so interesting that when we asked about topics or issues that you would like to explore more at INDA, the first answers were connected to local sites and communities. Our next question actually addresses this point. How has going to an international school like INDA opened up a global discourse for you? Have we been able to achieve a balance between connecting to the local and having a presence in our global society? Knink: This may sound ironic, but we value
the local community through people who are international. When our instructors (who are mostly from different countries) really take an interest in the local culture and what is going on in the community, this builds up an interest for us as well. ‘Ban Bat,’ a student project conducted by instructors Gian Maria Socci and Rebecca van Beeck, 2018
‘Pylonesque,’ a student project conducted by instructors Hadin Charbel and Déborah López Lobato, 2019 Orm: During my studies at INDA, I have really built up an appreciation of the city I live in and the people in it. Even though our projects address global issues, they are still designed and built in the context of Bangkok and Thailand. Knink: Yes, it is very inspiring to see how some of our instructors really cherish parts of the city that are often neglected by the locals, for example when INDA did the design and construction project with the Ban Bat community. Orm: I like that there are opportunities in the curriculum for projects like the one at Ban Bat where our designs are actually implemented at a specific site, and the local community can use those spaces. Toon: I agree that the design-build workshops
and the larger construction projects are good opportunities to implement our designs in local communities. Some of these projects, like last year’s Pylonesque project in Uthai Thani, have gone viral and attracted international recognition. These are the kinds of projects that connect us to both the local and the global community.
In the past, INDA has been described as an experimental program. How do you think INDA is experimental? Miriam: I think the way that INDA’s design
studios are ambiguous (not telling us exactly what to do) is something I really enjoy. I like to explore and study through references and try to
Pann: Experimentation in our design process helps us to learn about ourselves and discover our strengths, but we don’t evaluate the results of our designs through real users enough. When we design, we sometimes interview residents and then use the information to influence our project. But after we have the outcome, we rarely (if ever) take that outcome back to the people we talked to and hear their thoughts. Does this process really resolve whether or not our designs serve the people? How do we know if our experiments actually work? Peera: It’s good that most project briefs at INDA don’t give a clear picture of an outcome (a 50-story building or a kitchen, for example), but instead they show a range of possible outcomes. INDA does not provide us with exact steps for how to resolve our designs either. As a result, our projects are always different from everyone else’s. These kinds of projects allow the research to lead us to potential outcomes. INDA lets us explore the imperfections within ourselves.
What are your thoughts on learning remotely via online platforms? What are the best aspects of remote learning, and what do you see as the biggest challenges?
and disciplined because we are at home for a long time, and the bed is right there! It’s quite challenging. Knink: One positive result of working remotely is that it encourages new ways of getting together. For example, INDA arranged a collective online game night, which was a really nice break. In terms of work, I think we are more productive when we are 100% online. Now that we are in a hybrid learning environment, it’s a bit difficult to juggle between classes we need to attend physically and classes we have to attend virtually.
Pann: We have to be a lot more self-critical and
self-motivated when we are at home. Usually, we get inspiration and ideas from interacting with friends in the studio space, but working remotely creates fewer distractions and gives us more autonomy over our projects. It’s a very different type of learning.
Peera: The INDA Parade was the best part. Since
Miriam: I really see design being about
Toon: The INDA Parade was very successful. I heard from friends in other schools that everything was cancelled for them, but for us, we had this platform where we could meet virtually and celebrate the end of the year.
interaction with people. To make a design, we have to talk and collaborate. When we are working remotely, it’s a bit harder to get inspiration. We also have to be very responsible
A Conversation with Students
adapt. It’s self-learning in a way, talking to my advisors and classmates, trying to solve my own puzzle and finish the project. The way that INDA instructors never really tell us exactly how to get to the goal is very beneficial. I have to think for myself and try to somehow get to the goal which is, in a sense, experimental.
it was held virtually online, we had the opportunity to invite people from around the world to join the studio reviews, and that wouldn’t have been possible otherwise. I also really enjoyed the lectures from our guests during the event.
Orm: I agree. It was a new opportunity that allowed us to discover new types of representation through Sansar, where our designs could be virtually built and experienced at 1:1 scale. With this online platform, we were also able to see other people’s presentations via livestream, which also gave us more exposure to other topics and ways of working. I definitely missed my friends and the physical environment of the studio (distractions included), but overall, I think it was a great semester. Poompoom: We love Sansar and think it’s a
great platform, but it was also our last semester at INDA. Learning online was great, but learning for me is about exchanging ideas and creating a lively and engaging atmosphere. We had to find other ways of communicating with our friends and recreating the studio environment. Earn: For me, design school is not just an online studio and it’s not just about getting to meet friends. When we are stuck at home during lock down, I think it limits our creativity by not being able to visit different places or have new experiences.
What are some of your most memorable experiences at INDA? Miriam: The INDA Trip! It helps us get to know
each other and build relationships at the school, both within our year-group and outside of it. Orm: Normally, for the INDA Trip, the third
year students host a trip to welcome the firstyear students right before the beginning of the semester. Students from all years are invited to come together and participate in ice breaking activities, such as games, barbeques, and music. Toon: Working on the Moleskine exhibition we did at Bangkok Design Week 2020 was very eye opening. It taught us about managing the finances of a project, planning in advance, scheduling, working with big brands, and dealing with liaison staff in the Bangkok Design Week team. We also had to work with real materials and have the exhibition built on site. We also met students from other faculties. It was a really rewarding experience. Poompoom: My most memorable experiences
are probably events like the Intergames (the university’s sports competition between the
Peera: I recently had the opportunity to
participate in the new student orientation. Being in that event gave me the chance to listen again to what Ajarn Pat had to say to the first year students who were about to start their journey at INDA. I reflected back to when I was in their shoes and realized how much I have grown. Now in my final year at INDA, I am proud to be a fourth-year student and ready to move forward.
Interviewers Jane Chongsuwat Thomas Lozada
Location Bitterman Restaurant, which was founded in 2015 by four INDA alumni when they were third-year students (Chapat Tiwutanond, Jetana Ruangjun, Rapee Preedapan, and Kittitat Kiattanavith)
Photographers Jane Chongsuwat Kanchaporn Kieatkhajornrit
A Conversation with Students
international programs). I also remember the first time that I didnâ&#x20AC;&#x2122;t sleep for two days making models for my first year one project. Having finished four years at INDA, Earn and I are proud to say that we can do anything.
D E X
The Design Experimentation workshop 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 related to architecture but not limited to buildings. The theme of DEX 2020 is Craft which questions the application of craft in architecture in the age of mass-produced, standardized products that are taking over the position of crafted products. Craftsmanship today is challenged with insufficient successors, a lack of demand, increased competition, and the introduction of innovative digital technologies. DEX 2020 questions these issues by asking what todayâ&#x20AC;&#x2122;s craft is, how it can be sustainable, and how it can be integrated with technologies for architecture and design.
Takanao Todo Coordinator
Disjunction Studio Yorgos Berdos and Cesar Cheng
Parsons School of Design Brian McGrath
Disjunction Studio is a collaborative design practice formed by Yorgos Berdos and Cesar Cheng that operates mainly between the UK, Greece, and Panama. With advanced digital tools, they work on design and research-oriented projects ranging from material systems to urban design. Their ongoing research-based projects focus on alternative digital fabrication workflows and on the use of artificial intelligence to test urban scenarios that could inform city planning.
Brian McGrath is a professor of urban design and the former Dean of the School of Constructed Environments at Parsons School of Design. He is the founder of Urban-Interface, an urban design consultancy with expertise in architecture, ecology, and media. McGrath is also a principal investigator in the Baltimore Ecosystem Study. He served as a Fulbright Senior Scholar in Thailand in 1998-99 and was an India China Institute Fellow in 2006-2008. He received his Master of Architecture degree from Princeton University.
Yorgos is currently teaching design studio, computational design, and contemporary practice courses at the University of Edinburgh, the University of Dundee, and the Mackintosh School of Architecture while pursuing a PhD on â&#x20AC;&#x153;trustless architecture.â&#x20AC;? Cesar works as an independent consultant providing spatial analysis services for urban developers and public institutions across Latin America. He has also been teaching workshops on resource driven urbanization and alternative construction systems. Carlos Jimenez Carlos Jimenez is a designer and practitioner who has worked on cinema production, industrial design, fashion design, and digital fabrication. He has been teaching, giving lectures, and conducting workshops since 2005 in the United Kingdom, Spain, Colombia, Russia, Lebanon, and others. He is currently directing Diploma Unit 22 at the Bartlett School of Architecture UCL, and he has coordinated the Bartlett Summer Studio course since 2013. In 2011, he created the brand DelAmoreYlaBellezza developing animations, scenography, fashion, and design projects.
Ko Nakamura Ko Nakamura was born in Tokyo in 1978. He graduated from Nihon University in 2002 and earned a Masterâ&#x20AC;&#x2122;s degree in 2005 and a PhD in 2011 at Waseda University. After working with Professor Nobuaki Furuya at Waseda University as a research associate, he worked as an Assistant Professor at the University of Tokyo with Professor Kengo Kuma from 2010 to 2016. After receiving his PhD by researching street food carts in South-East Asian cities, he established his own office called Mosaic Design in Tokyo in 2011 to continue developing his research. Motley Collective Giacomo Pala and Stefan Maier Motley Collective is a research-based practice, testing the relationship between theory and design. We collectively work between academia and practice in order to create a platform for developing ideas. We work in different contexts and with different media involving design, digital technologies, construction, and writing. Giacomo Pala is an architect and a research assistant at the Institute of Architectural Theory
Based in Austria, Stefan Maier graduated in architecture from LFU in Innsbruck, where he is working on diverse projects and exhibitions around Europe. Recently, he collaborated on an installation with Karen Lohrmann and Stefano de Martino, which was exhibited at the 2nd Architectural Biennale at FRAC Orléans, France. ACME Stefano dal Piva and Alexandra Polyakova Stefano Dal Piva studied architecture in Venice, Helsinki, and Vienna. He has delivered award-winning architecture projects from conception to completion at a wide range of scales from master planning to product design. As the director at ACME in London, he focuses on architectural systems and languages that deal with issues of place, identity, and environment. Alexandra Polyakova has studied architecture and art in Odessa, Vienna, and Berlin. Aside from her work as an architect at Heneghan Peng in Berlin, she also pursues an art career. Her work explores the introspective relationship between the human self and the natural environment where photography is combined with spatial installations. She is also active in organizing yearly educational workshops for architecture students across Europe tackling social and urban issues through theoretical explorations and practical interventions.
Lily Zhang and Wataru Shinji practice architecture while based between the United States and Japan. Their work strives for newness in architectural thinking and possibility, particularly in engaging with the idea of an environment. Zhang earned her Master of Architecture degree from Princeton University in 2016, and her B.A. in Architecture from the University of California, Berkeley in 2010. She is the recipient of the 2018-19 James Harrison Steedman Memorial Fellowship in Architecture from Washington University in St. Louis. Previously, she has practiced in New York, San Francisco, and Tokyo, including at the offices of Diller Scofidio + Renfro, nARCHITECTS, Junya Ishigami, Toyo Ito, and Fumihiko Maki. Shinji received his B.A. in Architecture from the University of California, Berkeley in 2009 and afterwards joined the office of Junya Ishigami in Tokyo. Shinji has refined his architectural philosophy as Senior Designer + Project Lead for eight years in practice while leading a number of international award-winning projects, most notably the Park Vijversburg Visitor Center in Tytsjerk, Holland. He has taught at Rice University School of Architecture, Harvard University Graduate School of Design, Princeton University School of Architecture, Mendrisio Academy of Architecture, and The Oslo School of Architecture and Design.
Wataru Shinji and Lily Zhang
DEX / DESIGN EXPERIMENTATION WORKSHOP
at Innsbruck University in Austria, where he co-conducts the “ArchiFicture” studio under the direction of Bart Lootsma, PhD. He is interested in looking at history as a non-linear narrative that can be used as a design method--parachronism--as well as a tool for speculation.
Yorgos Berdos and Cesar Cheng Disjunction Studio Through this workshop, students challenge the boundaries of digital fabrication, proposing a hybrid approach where craft, digital techniques, simulation, and material performance are the drivers of the design process. Students gain theoretical and hands-on knowledge of issues concerning computational design, 3D printing, membranes, shell structures, and textile engineering through the design of small-scale prototypes and a larger scale collective structure.
Crafting Material Performance
DEX / DESIGN EXPERIMENTATION WORKSHOP
This workshop questions the necessity of mass production in an ecologically balanced environment. Students propose and fabricate crafted design alternatives, merging digital tools, traditional local knowledge, and material experimentation to chart a new path that reduces our reliance on industrial processes, decreases the negative impact of contemporary â&#x20AC;&#x153;progress,â&#x20AC;? and lays the foundation for a new design ethos of ecological responsibility. The group creates prototypes of three different bio-resins made from natural vegetable fibers that offer environmentally sensitive alternatives to conventional building materials. 29
Brian McGrath Parsons School of Design
Groups of INDA students and Parsons students worked on one of four sites in Chiang Mai, each containing the same elements, but in different situations: a village with a Buddhist temple and monastery, an irrigation weir and canal network, an area of rice cultivation, and several sites meant to support social infrastructure. Students compared the anthropological descriptions
Same Same but Different Four Villages in Chiang Mai
and historical photographs of the villages with documentation of contemporary structures that reflect the adaptations of rural villages to an urban economy. The workshop emphasized field work including interviews, hand drawings, and prototypes based on participatory action research.
1:1 Street Food Urbanism Bangkok can be considered a â&#x20AC;&#x153;food orientedâ&#x20AC;? city. The vast numbers of street food vendors create their own kind of urbanism, and we can learn how to read the city from their movements, routines, rules, and informal agreements. After cataloging the diversity of food carts that can be found around Bangkok, students designed a 1:1 scale food truck based on new ideas of craftsmanship.
DEX / DESIGN EXPERIMENTATION WORKSHOP
Giacomo Pala and Stefan Maier
This workshop challenges the dichotomy between technology and symbolism, asking students to design architectural objects and elements for a world in which myths, legends, dreams, and technologies coexist. Each student accumulates a diverse range of objects, and uses a variety of 3D modeling and digital sculpting tools (including Blender, Maya, Agisoft Metashape, and Zbrush) to combine them into fragmentary, imperfect, and surreal compositions.
The Seduction of Uniqueness
DEX / DESIGN EXPERIMENTATION WORKSHOP
Stefano dal Piva and Alexandra Polyakova (ACME)
The workshop seeks to explore what craftsmanship can be beyond conventional manual or mechanical production (e.g. robots, 3D printing, CNC, etc.) in particular with procedural processes such as chemical reactions (combining different substances) or physical transformations (applying pressure, heating, freezing). The proposed area of experimentation is the process of crystallization and how one can create a unique result that is beautiful and arguably seductive through a chemical and physical process. 33
Wataru Shinji and Lily Zhang
For millennia, we had lived together with nature, but this relationship changed dramatically after the Industrial Revolution and the rise of architecture that positioned itself against nature. We believe that now is the time to rethink how we use technology as a productive tool (rather than a destructive force) for both architecture and the environment, but how are environments created? Centuries worth of research have empowered us with the knowledge to craft the environment itself using technology. Students propose crafted environments at a variety of scales that are created by humans and nature in tandem.
Phurichya Jirayutat Chidapa Kongsuphol Krissada Laohongkiat Thatsama Leeumnadwong Prae Lertprasertkul Chayanisa Ongarjphanchai Phapot Putthammarong Tida Rama Saruta Sookparkob Chanuti Sukhumcharoenchit
Chompisa Amatayakul Tanyadhorn Dumrongkijkarn Sutinee Leelaratrungrueang Klitee Limpawattanasiri Nichapha Lumpikanont Tamon Sawangnate Varinda Suphantharida Boonyavee Sureephong Manachanok Tantraporn Tatiya Visetrit
Giacomo Pala and Stefan Maier Composing Crafts
Yorgos Berdos and Cesar Cheng (Disjunction Studio) Crafting Material Performance Carlos Jimenez Biofabrication
Chinnapat Asavabenya Rachapon Jidapasirikul Sakaokaew Jindawitchu Isara Kesaranond Tinn Kiewkarnkha Ravinan Kumar Waris Majitnapakul Preeyanuch Natthapan Chanakarn Pongteekayu Pann Sermchaiwong
Apisada Hanbunjerd Sung Kyu Lim Wichayes Maneepakhathorn Thanapond Namnanthasith Natnicha Opasserepadung Thanakorn Phonthanakornkul Nicharee Sammapan Pichamon Taksinawong
Ko Nakamura 1:1 Street Food Urbanism
Tanapat Adulteerakit Thanvarat Jamnongnoravut Kemjira La-orsuwan Hattakarn Lertyongphati Palika Nitisiri Kasipang Phantajak Athitaya Piamvilai Natnicha Pornteparak Sirapat Sapthaweeteerakul Napas Simarangsun Panassaya Waenkaew
Stefano dal Piva and Alexandra Polyakova (ACME) The Seduction of Uniqueness
Wataru Shinji and Lily Zhang Crafting Environments
Brian McGrath (Parsons School of Design) Same Same but Different Four Villages in Chiang Mai
Choomcherd Virapat Lalida Attawetkul Warut Im-erb Navapol Montong Koonanan Panyahom Paweenda Patarathamaporn Sakdithat Pitakkotchakorn Lalitsiree Ponsombatnun Yuka Sato Prao Sirisaksopit Sasipat Tarinamornpong Suchat Telavanich Santhila Chanoknamchai Napat Kunapongkul Prin Parinyanusorn Naruemol Pholnuangma Kodchakorn Promjaree Sasipa Punkasem Siwakarn Sabpaisarn Prang Suriyapornpun Premmika Taechavarangkul Peera Tayanukorn Tanadon Wanitnunttada
DESIGN I Meal [Plan] focuses on the in-depth analysis, research, and observation of a specific ritual (a meal), resulting in a series of rigorous 1:1 orthographic drawings that range from the conventional to the exploratory and experimental. The second project of the semester, Table [Plan], expands on these methods of observation and analysis with a specific focus on design through making--in this case, a wearable device as a “table” or “desk.” The project is divided into three main tasks--an interview with an individual presented as a three-minute film, an iterative design development and testing stage, and a 1:1 built prototype. This prototype is further explained through a variety of visual media and a 1:1 patent drawing of a joint/ connection detail.
Throughout the first semester and as an introduction to design, first-year students explore and develop a greater appreciation of observation techniques and analytical methods, ergonomics and the body’s relationship to its surroundings, iterative design development through testing and making, and effective means of representation that are both conventional and experimental.
Instructors Antonio Bernacchi Paul Francis Feeney Michal Jurgielewicz Pratana Klieopatinon Marie-Louise Raue Christo Meyer (coordinator) Takanao Todo Tijn van de Wijdeven
DESIGN II Project 1: Boundaries | Peripheries | Thresholds asked students to carry out an in-depth site analysis of a twenty square-meter area of their choice along Rama IV Road by evaluating the conditions along boundaries, thresholds, and peripheries, and by identifying an aspect of making. These findings were explained through drawings, diagrams, and an experimental site model, questioning the conventions and exploring the potentials of a site model as a communication device.
Project 2: Person | Place | Thing asked students to extrapolate key findings and investigations from their site analysis in project 1 and design an architectural folly by a â&#x20AC;&#x153;makerâ&#x20AC;? in the year 2030. By means of comparison to a maker in 2020, students speculated about the routines, activities, and processes that such a maker may have in the year 2030. This premise allowed students to develop their designs by establishing a program that celebrated the role of the maker, his/her engagement with visitors, and his/her relationship to the site.
Instructors Antonio Bernacchi Eduardo Cassina Patrick Donbeck Liva Dudareva Michal Jurgielewicz Pratana Klieopatinon Kannawat Limratepong Christo Meyer (coordinator) Warisara Sudswong Takanao Todo Tijn van de Wijdeven 37
Chananya Auttavoothisilpa Based on the book Color Image Scale by Shigenobu Kobayashi, this project examines the colors found in Thai papaya salad and their connections to different sensorial perceptions.
YEAR 1 | DESIGN I | MEAL [PLAN] | TABLE [PLAN] Napat Leephanuwong
Purim Suthvanich Named after Edmund Hillary, the first man to reach the summit of Mount Everest, “Hillary Adventura Walker MK 01” is an exoskeleton designed for a photographer, filmmaker, and environmentalist.
Nara Lojanatorn This project explores the movement of the mouth during different types of meals and tracks and models the direction and range of motion.
Miriam Dheva-Aksorn Khon Khai Phuang Malai, 2050 is a costume with integrated algae farming designed and created for a garland seller.
YEAR 1 | DESIGN I | MEAL [PLAN] | TABLE [PLAN]
Sasi Ounpiyodom â&#x20AC;&#x153;Interrupted Interludeâ&#x20AC;? focuses on the transitional nature of construction sites and proposes a scenario where these moments of transformation are alternatively paused and celebrated through the addition or subtraction of elements and the introduction of light and color to increase excitement and engagement.
YEAR 1 | DESIGN II | Boundaries | Peripheries | Thresholds / Person | Place | Thing
Tassaporn Sukhumdhanakul â&#x20AC;&#x153;Objective Randomnessâ&#x20AC;? proposes a future scenario in which lottery numbers are determined by the unique appearance and the subjective interpretation of individual mushrooms found at Lumphini Park. The project consists of a folly structure that changes due to environmental factors and reinforces a symbiotic relationship between the living organisms on the site.
Nara Lojanatorn Sathida Taesriprasert Inspired by the activities and dead leaves surrounding a sacred tree, the folly proposes a memento mori that acts as a reminder of death and represents the inevitability of loss.
YEAR 1 | DESIGN II | Boundaries | Peripheries | Thresholds / Person | Place | Thing
Plaifha Siripanthong â&#x20AC;?The Renewable Wax Follyâ&#x20AC;? represents ideas of utility, permanence, and temporality with a wax roof structure that can be melted, re-melted, layered, removed, or otherwise modified to enhance its visual appearance.
Design Tools and Skills Design Tools and Skills One (DTS1) aims for students to develop their spatial understanding through technical and conceptual methods of representation and communication across a variety of media. In this course, we form integral connections between hand, eye, mind, and mouse in the study and practice of freehand drawings, constructed drawings, and physical models at varying scales. Students are encouraged to document and graphically communicate the process and product of their inquiries through conceptual representations and spatial arrangements. Design Tools and Skills Two (DTS2) seeks to develop studentsâ&#x20AC;&#x2122; representation and communication skills through the use of digital and analog tools. The course is composed of workshops that deal with softwares and formats such as digital models, animations, videos, collages, and maps. The exercises incorporate architectural elements and artistic references to encourage the development of unique, personal graphic styles. DTS1 and DTS 2 are tightly coupled with the first-year design studios to form a feedback loop that reinforces and contextualizes shared concepts and content.
YEAR 1 | DESIGN TOOLS AND SKILLS
Patcharaporn Ekpinijpittaya Phatharawarong Chierakul
Instructors Hadin Charbel Patrick Donbeck (coordinator) Michal Jurgielewicz Kannawat Limratepong Hseng Tai Lintner Déborah López Lobato Marie-Louise Raue Warisara Sudswong Per Stefan Svedberg Takanao Todo Tijn van de Wijdeven
Introduction to Environmental Design This course develops studentsâ&#x20AC;&#x2122; understanding of two major factors that affect the design of the built-environment--human factors, including the physiological, psychological, behavioral, and socio-cultural factors that affect human perception, and environmental factors like climate. Students explore a wide range of techniques including how to create a sense of place, a spirit, a mood, or an ambience through temperature, vision, and sound. The course also addresses vernacular architecture, building orientation, shading, ventilation, and passive cooling as important environmental design strategies. Instructor Surapong Lertsithichai
Nawarat Piriyothaisakul Patthakarn Polakla Pim Pongsivapai Thanaree Poomviset Pimnara Poonkham Nattamon Premsoontorn Saralchana Pueakhachen Thanutcha Pueriphanvichai Pisit Puwatputtawisai Passapol Rodphong Natchaporn Ruayfupant Ekanut Sae-yee Plaifha Siripanthong Nutnicha Sirorattanakul Napakoch Soithongsuk Tinnaphop Sopaphol Tassaporn Sukhumdhanakul Suphawit Sunthornsittipong Pumisak Supachaisakron Purim Suthvanich Sathida Taesriprasert Rasita Tangmitpracha Paramita Tankamhaeng Tonnam Termrungruanglert Sahasawat Thong-in Bhurin Thuraphan Sudhinee Tridhip Ingtawan Tritrakoolsin Rueangrin Truskamol Wasita Uancharoenkul Puri Udomlerdwanasin Paphada Vasinsittisuk Konrawit Vichyapai Savarote Viramwes Wiput Vitayarueangdej Nicha Wiriyapreecha Puttipong Wiwattanakunkit Supharoek Worawouthumkul Pan Yodbutr
YEAR 1 / STUDENT LIST
Krittinpong Asavarojpanich Chananya Auttavoothisilpa Kantapim Buabool Nitchakarn Bunjongsiri Norrawich Busarakum Janenita Chaimongkoltrakul Khanapot Chaiprem Sirintra Chakphet Chalisa Chantramee Nattapat Cheepsattayakorn Phatharawarong Chierakul Naphat Chintanapramote Millita Chiou Boonyajit Chiraboonchainun Witsaruda Choosangkij Pacharaporn Chosoongnone Phakaporn Chullavullibha Keda Daokajohn Thanabodee Denvittaya Miriam Dheva-Aksorn Veerin Dumrongkijkarn Patcharaporn Ekpinijpittaya Nawinda Hanrattana Inthuwat Insuk Narramon Isarasena Na Ayutthaya Peerada Jantapaluek Pathanin Jennarongsak Manaporn Kaensaree Nannapat Kosintrakarn Pattaramon Kraiteerawut Kotchasorn Kulsivachaya Arayapon Kumjornpreecha Sainam Kwanmontreekul Pantira Lai Chayanut Laoratthaphong Piyapatara Leelachaipisit Napat Leephanuwong Noraphat Lohamongkol Thanapat Lohaprathan Nara Lojanatorn Adam Mallamphut Phubordin Marcharoen Saruntorn Nateethanasarn Namida Niamnamtham Sasi Ounpiyodom Vipava Panyasarawut Thana Paonil Sarai Paruhatsanon Krittamet Payuhakiat
Showcase at Samyan CO-OP
Exhibited Students Chananya Auttavoothisilpa Miriam Dheva-Aksorn Veerin Dumrongkijkarn Nawinda Hanrattana Napassorn Kanwatchara Ann-pavinee Langenskioeld Thanapat Lohaprathan Thongtor Nontavatit Natalie Pirarak
Raphadson Saraputtised Saifa Sathaporn Plaifha Siripanthong Kana Sricharoenchai Tassaporn Sukhumdhanakul Purim Suthvanich Anchalika Thepnumsommanus Poranon Thitaparun Nicha Vareekasem
â&#x20AC;&#x2DC;Showcase,â&#x20AC;&#x2122; a full-day public event at Samyan CO-OP, highlighted the work of selected first and second-year students through a series of pecha kucha presentations in which each project was shown in twenty slides for twenty seconds each. Following the presentations, instructors facilitated a group discussion which was designed to foster a productive exchange of ideas across the INDA community.
Showcase at Samyan CO-OP
DESIGN III Trans-Canonics An architectural canon is most commonly identified as such through its autonomous reflection of the discipline materialized through the architectural object itself. Therefore, though it may be considered somewhat erroneous to examine canons for anything other than their relation to Architecture (with a capital A), for the purposes of the Trans-Canonics studio, we do exactly that.
Analyzing canonical projects reveals both the historical significance and the embedded complexities of architecture as an inherently polyvalent construct that addresses politics, economics, technology, ecology, and human/non-human conditions. Treated as allinclusive thoroughfares, these subjects are then re-examined in a contemporary context, prompting methods of engagement through an “Altering Device” and serving as entry points into speculative futures through a mediatized “Alternate Projection.”
The studio culminates in an experimental pavilion that locates architecture at a critical turning point today and embodies ever-expanding ‘trans’ conditions; doing away with binary modes of thinking where the physical and virtual overlap and where pasts and futures are iteratively updated.
Instructors Hadin Charbel Jane Chongsuwat Patrick Donbeck Paul Francis Feeney Michal Jurgielewicz Pratana Klieopatinon Alicia Lazzaroni Déborah López Lobato (coordinator) Thomas Lozada Christo Meyer Payap Pakdeelao Tijn van de Wijdeven
ARCHITECTURAL DESIGN I Unbuilt Visions of the East Architecture hangs precariously between the built and the unbuilt. For every piece of architecture that is realized, there are hundreds of unrealized visions confined to history as paper architecture, simply too radical for their time. Cumulatively, they represent an immense body of work, thought, and energy. Although many well known architectural visions come from a Western cultural context, there are numerous examples of visions of the East which have served as starting points for our investigations--from the Dusit Thani miniature city envisaged by King Rama VI to OMAâ&#x20AC;&#x2122;s hyperbuilding for Bangkok and Katsuhiro Otomoâ&#x20AC;&#x2122;s cyberpunk visions of a post apocalyptic Tokyo.
The intention of this semester is to respond to current issues in the Southeast Asian context such as climate change, digitization, and rapid corporate development. Through their own visions, students aim to get to the root of the Eastern spirit and embrace it to challenge the way we live and the way we can live.
Instructors Eduardo Cassina Jane Chongsuwat Patrick Donbeck Liva Dudareva Michal Jurgielewicz Pratana Klieopatinon Alicia Lazzaroni Hseng Tai Lintner Thomas Lozada Payap Pakdeelao Marie-Louise Raue (coordinator) Per Stefan Svedberg Takanao Todo 53
Poranon Thitaparun â&#x20AC;&#x2DC;The Desensitization Pavilion: The 37-Hour Courseâ&#x20AC;&#x2122; is a manifesto against mass surveillance and the unseen forces that govern our everyday lives in a dystopian, not-so-distant future. The pavilion creates an experience in which a driverâ&#x20AC;&#x2122;s senses become distorted due to constantly changing surroundings.
YEAR 2 | DESIGN III - TRANS-CANONICS
Napapa Soonjan ’Bangkok Caretakers 2.0’ is a multiplayer virtual game that allows the people of Bangkok to take care of their city by conquering and caring for both virtual and physical spaces.
Nathapong Nurae Thongtor Nontavatit ’SPI[RITUAL]’ explores the crystal industry in Madagascar and the exploitation of workers. Based on the Famadihana or “turning of the bones” funerary ritual, the project investigates the ideal growing conditions for crystals while combining indigenous social customs with modern architecture.
YEAR 2 | DESIGN III - TRANS-CANONICS Natalie Pirarak Focusing on the technologies behind environmental control and the implications of gender inequality that they create, the project speculates on a future of controlled climate and data collection. 57
Ann-pavinee Langenskioeld Embedded in the hyper-gendered hotspot of Bangkok, the â&#x20AC;&#x2DC;Degenderization Centerâ&#x20AC;&#x2122; critiques the history of the architecture of sex, and its spaces exercise hyperawareness in the liberation of gender.
YEAR 2 | ARCHITECTURAL DESIGN I / UNBUILT VISIONS OF THE EAST
Pachara Wisetphanichkij Praewrung Chantumrongkul
Anchalika Thepnumsommanus ‘The False Future’ is a cautionary tale regarding the increasing dominance of large tech corporations and online media in our daily lives. Set 250 years after Etienne-Louis Boullée’s Temple to Nature and Reason, which celebrates Newton’s scientific discoveries and the sublimity of the natural world, the project is a speculative proposal for a temple to data, information, and knowledge that celebrates a new rendition of the sublime.
Saifa Sathaporn Inspired by Akira Yamaguchi’s ‘Ippuku Electric Pole, ’ the project proposes a system of electric wires in Bangkok that supports alternative, improvisational domestic routines and public protocols. The urban infrastructure promotes decentralized production of electricity and clean water through a subversive approach to the city’s ecologies and economies.
YEAR 2 | ARCHITECTURAL DESIGN I / UNBUILT VISIONS OF THE EAST
Poranon Thitaparun Weerada Chalermnont ‘The Digital Monument’ blurs the distinction between physical and digital space on multiple levels. Users interact with this virtual monument at varying levels of immersiveness, and the project interrogates our increasingly complex relationship with the internet and the physical world.
Ramita Keeratiurai Kornkulp Techavorabot
Fundamentals of Structural Design
The primary project in the Fundamentals of Structural Design course is the design of a bus shelter. Students are required to specify the form, structure, materials, connections, and finishes of the bus shelter while considering factors like durability, modularity, ergonomics, and constructability.
Scott Drake Paul Francis Feeney Antoine Lassus (coordinator) Thomas Lozada Pannasan Sombuntham Takanao Todo Wisarut Wattanachote Pakphum Youttananukorn
YEAR 2 | TECHNOLOGY
Supavitch Bandhaya Sarita Hatakaroon Nuntaluck Songsamphant Pannathorn Amnuaychokhirun Buris Chanchaikittikorn Pattarawadee Hansiripongsakul Nichaporn Atsavaboonsap
The Construction Technology course involves the design of a bridge structure and the creation of a model that can span a distance of 1.5 meters. Using only chipboard and string, students were required to consider structural loads, lateral bracing, material efficiency, and design ingenuity.
Scott Drake Paul Francis Feeney Antoine Lassus (coordinator) Thomas Lozada Pannasan Sombuntham Takanao Todo Wisarut Wattanachote Pakphum Youttananukorn 63
Southeast Asian Architecture The course provides an overview of the origins and development of Southeast Asian architecture from the prehistoric period to the vernacular, colonial, modern, and contemporary styles. The course also focuses on the concept of cosmology, which is the essence of how people perceive the world and their physical environment, especially in Indian, Khmer, Burmese, Thai, and Chinese cultures. Instructors M.R. Chakrarot Chitrabongs M.L Chittawadi Chitrabongs, PhD Jane Chongsuwat (Coordinator) Chomchon Fusinpaiboon, PhD Pirasri Povatong, PhD Pat Seeumpornroj, PhD Preechaya Sittipunt, PhD (Coordinator) Kulthida Songkittipakdee Guest Lecturer Chatpong Chuenrudeemol CHAT Architects
Sasatorn Sawansan Putt Sirisaksopit Slin Smakkamai Nuntaluck Songsamphant Napapa Soonjan Kana Sricharoenchai Pitchaya Tangtanawirut Pittinun Tantasirin Kornkulp Techavorabot Paranyu Tempattarachoke Natcha Thanachanan Aticha Thanadirak Tanon Theerasupwitaya Anchalika Thepnumsommanus Poranon Thitaparun Nicha Vareekasem Phannaphon Vatanavoraluk Phawin Vongphavit Poomipat Waengsothorn Pinutcha Wiriyapanlert Pachara Wisetphanichkij Chawin Wiwatcharoenkul
YEAR 2 / STUDENT LIST
Titaporn Amatanon Pannathorn Amnuaychokhirun Nichaporn Atsavaboonsap Khine Thin Aye Yuhunny Baka Supavitch Bandhaya Harris Boonkerd Asama Boonsanong Narintip Chaemdara Termrak Chaiyawat Weerada Chalermnont Buris Chanchaikittikorn Kaweewat Chanchitfa Praewrung Chantumrongkul Panotn Chotesukhathai Latisha Delokomol Anunyoch Dumrongpongsawat Phuridej Eakthanasunthorn Aria Ekasilapa Pattarawadee Hansiripongsakul Thongthat Harnvorrayothin Sarita Hatakaroon Thammapron Iam-eak Sararin Jermhansa Napassorn Kanwatchara Pattraratee Keerasawangporn Ramita Keeratiurai Korrawich Koomtako Ann-pavinee Langenskioeld Chawin Lawjakchai Nisama Lawtongkum Thanapat Limpanaset Prin Mingmalairak Vasinee Mongkolcheep Thongtor Nontavatit Nathapong Nurae Peeradon Pananuwetchawat Methawadee Pathomrattanapiban Praeploy Phaewpisakul Pheerapitch Phetchareon Benyapa Piboolvitayakul Nutaya Pimolsaengsuriya Natalie Pirarak Prima Rojanapiyawong Thaweewat Rugsujarit Engkrat Sae-heng Raphadson Saraputtised Saifa Sathaporn Thaiyani Sathienthirakul
In Design-Build projects, students work in a group under the guidance of an instructor on a small scale built project. Examples include a piece of furniture for a public space, a gallery or retail installation, a small shelter, a food cart, an internal screen wall or ceiling, or other built objects. The intention is for students to observe and take part in all phases of the process from design through fabrication, including concept and sketch design, design development and documentation, procurement of materials, and on-site fabrication or assembly. The projects allow students to experience the process of transforming ideas into physical objects and to gain hands-on experience in forming and assembling materials. Considerations include cost and availability of materials, environmental impact, fabrication techniques, structural integrity, ergonomics, durability, and longevity. Where possible, the constructed objects should be available for public observation or use, either within the Chulalongkorn campus or elsewhere in Bangkok.
Scott Drake Coordinator 67
Home isâ&#x20AC;Ś? It is a simple question that can be answered within a second, but there are many factors that influence and complicate the way we answer. A home may be a space for living in a straightforward sense; however, â&#x20AC;&#x153;homeâ&#x20AC;? may also refer to the feelings, the people, the objects, or the different versions of ourselves that we feel comfortable with in a more private setting. Home Is... shows the perspective of a gardener whose regular activities and personalities outside the home are brought back inside and reinterpreted as part of a newly adapted lifestyle.
The Archive of Ecologizing Practices
‘The Archive of Ecologizing Practices’ aims to study and fabricate a series of prototypes that embrace specific categories of ecological design. Students have investigated the following categories: ‘Autonomist’ (referring to a system’s independence or self-governance), ‘Subnaturalist’ (elements like dust, debris, weeds, insects, toxic components, etc.
that are no longer marginalized but included in the design discourse), ‘DIY and Hackers’ (low tech designs that promote a pedagogy of self-doing and sustainable open cycles), ‘Non-Human’ (designs that accommodate other life forms like animals), and ‘Contextualist’ (referring to heterogeneous, local, and vernacular practices).
During the COVID-19 pandemic, we have experienced more physical isolation due to daily online activities such as Zoom meetings, Google Meet lectures, online exams, and digital submissions. After the pandemic, our social lives may change forever with limited social encounters and gatherings only reserved for special occasions. This may lead to less social interaction and fewer chance encounters which are valuable for a tightly-knit group such as the Faculty of Architecture where students spend most of their time together. Inspired by the giant Ghibli clock in Tokyo, the Performative Clock serves as one of the must-see attractions at Chulalongkorn University, and it attempts to reconnect the community through carefully orchestrated performances that attract the attention of the wider public.
The onset of digital media, machine learning, smart systems, and the internet of things has constructed a hybrid reality that is in permanent flux. What has yet to be considered from a disciplinary design standpoint, however, is that all our technology requires physical substrata that directly affect the built environment. With the rise of integrated media and augmented reality platforms, we are beginning to see new opportunities for design in architecture. This design-build workshop re-examines perceived distinctions between tangible architectural spaces and the digital realm. Students explore the new agencies of computational design afforded by augmented reality environments and their interrelationships to physical objects.
By investigating the design potentials of machine vision, the course imagines new architectural typologies that are simultaneously physical and digital. Students are introduced to visual scripting, digital manufacturing, and gaming engines. Working in groups, they produce a series of architectural elements that are highly articulated for augmented reality tracking, and they also create augmented reality apps that overlay their physical objects with digital data. In aggregate, the resulting hybrid digital/physical environments create urban landscapes that enable data to begin to take on phenomenological qualities.
Collaborators VRG (equipment sponsorship) The Shophouse 1527 (venue) 71
Hseng Tai Lintner and Stefan Svedberg
Looking beyond the current take-makewaste extractive industrial model, the circular economy aims to redefine growth and focus on positive society-wide benefits. It entails gradually decoupling economic activity from the consumption of finite resources, and designing waste out of the system. Underpinned by a transition to renewable energy sources, the circular model builds economic, natural, and social capital. This project is a collaboration between INDA and SCG to investigate the possibilities of a circular economy through the reuse or remaking of sludge waste material provided by SCG. Students work with SCGâ&#x20AC;&#x2122;s latest technology to create ideas and develop product designs for wall tiles and other types of products, which are later exhibited at SCG Experience at the Crystal Design Center (CDC) in Bangkok.
Collaborators SCG Mo Jirachaisakul Bangkok Ceramics & Pottery Club FabCafe
Tijn van de Wijdeven
The lens has spectacularly framed our world, increasing visual exchange and interaction through the use of gestures and language. The precarity created by Covid-19 is offering new opportunities to challenge the premise of these interactions. In the realm of design education and the inhabitation of real and virtual space, the presentation is a fundamental tool for production and for the exchange of ideas. It is a moment during which ideas and arguments about design, research, and experimentation are manifested. The presentation is an opportunity to campaign and become an activist of your own convictions. This project aims to explore the formation and presentation of work through performance and space. 73
DESIGN-BUILD / STUDENT LIST
Michal Jurgielewicz Home is...
Panotn Chotesukhathai Nisama Lawtongkum Pheerapitch Phetchareon Natalie Pirarak Raphadson Saraputtised Sasatorn Sawansan Slin Smakkamai Sirawich Teerasithipol Natcha Thanachanan
Supavitch Bandhaya Termrak Chaiyawat Kaweewat Chanchitfa Sarita Hatakaroon Thammapron Iam-eak Ann-pavinee Langenskioeld Vasinee Mongkolcheep Engkrat Sae-heng Thaiyani Sathienthirakul Pinutcha Wiriyapanlert
Hseng Tai Lintner and Per Stefan Svedberg Cyborg Architecture
Alicia Lazzaroni The Archive of Ecologizing Practices
Khine Thin Aye
Surapong Lertsithichai Performance Clock
Titaporn Amatanon Yuhunny Baka Narintip Chaemdara Praewrung Chantumrongkul Anunyoch Dumrongpongsawat Napassorn Kanwatchara Methawadee Pathomrattanapiban Prima Rojanapiyawong Saifa Sathaporn Nuntaluck Songsamphant Napapa Soonjan Kana Sricharoenchai Pittinun Tantasirin Kornkulp Techavorabot
Aticha Thanadirak Anchalika Thepnumsommanus
Nichaporn Atsavaboonsap Asama Boonsanong Buris Chanchaikittikorn Latisha Delokomol Pattarawadee Hansiripongsakul Sararin Jermhansa Thongtor Nontavatit
Tijn van de Wijdeven Presentation
Todo Takanao Circular Economy
Harris Boonkerd Phuridej Eakthanasunthorn Thongthat Harnvorrayothin Pattraratee Keerasawangporn Korrawich Koomtako Thanapat Limpanaset
Thaweewat Rugsujarit Putt Sirisaksopit
ARCHITECTURAL DESIGN II Unfit While traditionally centered on residential architecture, this year students question the paradigm of growth, work with what already exists, and face the built repertoire of obsolescent collective housing with the aim of tweaking and caring. They have proposed various “re-fitting” operations for existing housing projects, generating an architecture that takes care of not only its users but also a larger group of citizens, their ecosystem, and broader shared resources.
Considering existing architecture, students develop their proposals as strategies that are sensitive to differential obsolescence and that can transform, grow, and be repurposed. Time (of use, of maintenance, of modification, of performance) also became a crucial factor in the design process.
Instructors Hadin Charbel Patrick Donbeck Scott Drake Pitchapa Jular Sorachai Kornkasem Alicia Lazzaroni (coordinator) Déborah López Lobato Christo Meyer Payap Pakdeelao Marie-Louise Raue Tijn van de Wijdeven
ARCHITECTURAL DESIGN III Countryside In general terms, the idea of the countryside is very present in our daily lives. It is normally perceived as a serene place of escapism, far from the hectic rhythm of cities, where a more ritualistic way of living still survives, sometimes connected to an oversimplified idea of pristine nature. But it is also and mainly the place in which most of the economical production of each country still resides, a land that is depopulating yet growing, acquiring all the activities that are incompatible with cities.
If we look at the Thai countryside, it seems to host all the shades of colors between these two poles: it is a territory still dominated by old practices, run by family businesses with little income and, at the same time, and sometimes in the same space, it is rapidly transforming following transnational investments, and increasingly populated by more and more automated productive infrastructures. It is a place of thematic resorts, pop escapism and, at the same time, and sometimes in the same space, of living vernacular traditions and relevant forms of collective intelligence. This complexity, accentuated by deregulated grounds and conflictive cohabitations, and intensified by the climatic transformation of the region, is a relevant ground to reflect and imagine alternative stories/futures for a territory experiencing incremental and radical change.
Instructors Eduardo Cassina Scott Drake Liva Dudareva Paul Francis Feeney Pitchapa Jular Alicia Lazzaroni (coordinator) Hseng Tai Lintner Payap Pakdeelao Marie-Louise Raue Per Stefan Svedberg 77
Prao Sirisaksopit Tanyadhorn Dumrongkijkarn
Chayanisa Ongarjphanchai Has preservation become a dangerous epidemic? ‘(F)UNESCO’ critiques UNESCO’s methods of preservation through a replica of Antonio Gaudi’s Casa Mila. The current wave of mass preservation all over the world reflects the scale of UNESCO’s protection of (fake) cultural heritage.
YEAR 3 | ARCHITECTURAL DESIGN II / UNFIT
Lalida Attawetkul What if the future of skyscrapers didnâ&#x20AC;&#x2122;t follow the path that we all know, evolving from modernist technical rigor to postmodern formal iconicity, and instead took an alternative route? This project creates a place where heterogeneity and spatial specificity develop concurrently, where repetition is not necessarily efficient if considered in more holistic terms.
Prin Parinyanusorn Waris Majitnapakul
Siwakarn Sabpaisarn Challenging the Park Hill Flats in Sheffield, England, this proposal uses a strategy of porosity to incrementally soften the rigidity of Brutalism. This requires three â&#x20AC;&#x2DC;softening strategies,â&#x20AC;&#x2122; which include reconciling vertical connections, inserting programmatic differences, and utilizing vacant units to integrate new public spaces.
YEAR 3 | ARCHITECTURAL DESIGN II / UNFIT
Santhila Chanoknamchai â&#x20AC;&#x2DC;The Museum of the Presentâ&#x20AC;&#x2122; rethinks the concept and process of gentrification in the redevelopment of the Old Customs House. Old and new are woven together to create a public space and an alternative approach to urban renewal where the existing character of the neighborhood is activated and celebrated. If gentrification means taking ownership, then the Museum of the Present is giving that ownership back.
Santhila Chanoknamchai Chinnapat Asavabenya â&#x20AC;&#x2DC;The Synthetic Mangroveâ&#x20AC;&#x2122; implements a strategy of Silvofishery aquaculture to re-inhabit an abandoned shrimp farm and to increase polyculture farming. Multiple native and non-native species co-exist in the productive intertidal landscape of Rayong.
YEAR 3 | ARCHITECTURAL DESIGN III / COUNTRYSIDE
Sakaokaew Jindawitchu What if emerging technologies, automation, and the internet of things (IoT) could not only co-exist with but actually enhance tradition, heritage, and local backyard production? What if industry was decentralized? This project proposes an informal infrastructure for localized production that presents an alternative vision for the future of the countryside while simultaneously embracing technological advance and maintaining traditional values and vernacular styles.
Peera Tayanukorn â&#x20AC;&#x2DC;Psithurism: The National Park as a Live Genetic Arkâ&#x20AC;&#x2122; is a speculative proposal for an ecological boundary around Khaoyai National Park. In a desperate attempt to save the last remnants of Eden, the wall and its inner territory function as a living genetic bank, protecting and sustaining the wildlife within. The wilderness will once again become a sacred land, a new fortified Garden of Eden, where no humans are allowed to enter.
YEAR 3 | ARCHITECTURAL DESIGN III / COUNTRYSIDE
Yuka Sato Pichamon Taksinawong A contemporary festival in Kanchanaburi acts as a place of exchange where urban systems, cultures, and lifestyles are linked and where products, histories, and economies are woven together in a multifunctional space.
Prao Sirisaksopit Instructors Pitchapa Jular Sorachai Kornkasem, PhD (Coordinator) Chon Supawongse
Architecture, Community, and Ecology Architecture, Community, and Ecology aims to escalate a level of critical thinking and broaden individual perception beyond physical structures. We acknowledge a dissatisfaction with design disciplines that oversimplify the complexities of the biophysical environment. The class consists of lectures, group presentations, and workshops focusing on community geography, socioeconomic foundations, ecosystems, urbanization, and research-based practices. Shifting scales between 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. In “Terra Fluxus,” James Corner states that “the projection of new possibilities for future urbanism must derive less from an understanding of form and more from an understanding of process--how things work in space and time.” The fragility of the planet, its resources, and its processes is an opportunity for speculative design innovations. Addressing changing circumstances, architecture and landscape architecture have adapted and evolved from mere spatial arrangements to encompass a wide range of disciplines. This shift precludes final solutions and instead offers a structure which is capable of responding to changing social needs and biological requirements.
YEAR 3 | ARCHITECTURE AND URBANISM
Pann Sermchaiwong Instructors Pitchapa Jular (Coordinator) Pratana Klieopatinon Sorachai Kornkasem, PhD (Coordinator) Chon Supawongse
Architecture and Urbanism The course delivers a foundation of tools, skills, knowledge, and discourse on urban design from multiple perspectives, as well as a critical way of seeing contemporary urbanism. Students are required to observe, investigate, and question the everyday realities in both local and global contexts in order to develop practical and strategic tools for intervention. The course outlines a set of alternatives to the typical role of architect, designer, or planner that encourage students to take a more critical stance on issues related to design. Students work across multiple time frames and scales--from the neighborhood to the region--in order to understand how relationships between various actors in both built and natural environments shape everyday phenomena. Students are encouraged to develop clear outlooks on possible urban scenarios that foster inclusion and participation, leading to spatial justice for their proposed sites. In coordination with the third-year design studio, the course addresses the productive transformations in the urban-rural fabric or â&#x20AC;&#x2DC;countrysideâ&#x20AC;&#x2122; across different regions of Thailand including Chonburi, Rayong, Korat, Ayutthaya, and Kanchanaburi. 87
Site visit at the Scala Theater
Instructors Scott Drake (Coordinator) Paul Francis Feeney Will Hulbert Antoine Lassus Martin Schoch Pannasan Sombuntham Takanao Todo Wisarut Wattanachote Pakphum Youttananukorn Tour of the building services at Samyan Mitrtown
Environmental Technology and Integrative Building Systems Design Encompassing two semesters, the Environmental Technology course teaches students about five fundamental building systems: sanitary and plumbing, lighting and electrical, lightning protection, mechanical and transportation, and fire safety. In the first semester, students visit a variety of sites around Bangkok to observe and document selected construction details related to structural or environmental performance, materials, connections, installation, maintenance, and safety. In the second semester, students complete a building services project that consists of a detailed study of the environmental technologies used in an existing work of architecture. Each student chooses a recently completed building and uses various calculation methods to develop a three-dimensional model of the size and location of services such as elevators, fire stairs, air conditioning systems, and lighting. In this way, they learn about the impact of building services on overall architectural form and function.
Chanakarn Pongteekayu Lalitsiree Ponsombatnun Natnicha Pornteparak Kodchakorn Promjaree Sasipa Punkasem Phapot Putthammarong Tida Rama Siwakarn Sabpaisarn Nicharee Sammapan Sirapat Sapthaweeteerakul Yuka Sato Tamon Sawangnate Pann Sermchaiwong Napas Simarangsun Prao Sirisaksopit Saruta Sookparkob Chanuti Sukhumcharoenchit Varinda Suphantarida Boonyavee Sureephong Prang Suriyapornpun Premmika Taechavarangkul Pichamon Taksinawong Manachanok Tantraporn Sasipat Tarinamornpong Peera Tayanukorn Suchat Telavanich Choomcherd Virapat Tatiya Visetrit Arnon Vongarnon Panassaya Waenkaew Tanadon Wanitnunttada exchange student
YEAR 3 / STUDENT LIST
Satida Adsavakulchai Tanapat Adulteerakit Chompisa Amatayakul Chinnapat Asavabenya Lalida Attawetkul Marc Christophe Bergundthal Phudtripart Bhudthonamochai Santhila Chanoknamchai Tanyadhorn Dumrongkijkarn Daeen Eom Apisada Hanbunjerd Warut Im-erb Thanvarat Jamnongnoravut Rachapon Jidapasirikul Sakaokaew Jindawitchu Phurichya Jirayutat Isara Kesaranond Tinn Kiewkarnkha Chidapa Kongsuphol Ravinan Kumar Napat Kunapongkul Kemjira La-orsuwan Krissada Laohongkiat Sutinee Leelaratrungrueang Thatsama Leeumnadwong Prae Lertprasertkul Hattakarn Lertyongphati Sungkyu Lim Yeji Lim Klitee Limpawattanasiri Laurie Lozach Nichapha Lumpikanont Waris Majitnapakul Thibaud Mamin Wichayes Maneepakhathorn Navapol Montong Thanapond Namnanthasith Preeyanuch Natthapan Palika Nitisiri Chayanisa Ongarjphanchai Natnicha Opasserepadung Koonanan Panyahom Prin Parinyanusorn Paweenda Patarathamaporn Kasipang Phantajak Naruemol Pholnuangma Thanakorn Phonthanakornkul Athitaya Piamvilai Kamolthip Polsamak
Design and Construction Projects
In Design and Construction Projects for Communities, students work in a group under the guidance of an instructor on a small scale project intended for use by a local community. In this course, students gain hands-on experience in designing and fabricating an object or shelter, and they also engage in community consultation to determine an appropriate project scope and function. Communities served by such projects are typically deserving of assistance because of low income levels, social disadvantage, or an isolated or remote location. Projects undertaken for this course are typically small scale built structures, such as a library or amenities block, a book room for a local school, a small shelter for community meetings, or an installation for a public event. Students engage all aspects of the project from briefing to fabrication, including design, project management, documentation of community engagement, development of promotional materials for publication or fundraising, acquisition of sponsorship or donations, and organization of a community event to celebrate the completion of the project (opening ceremony).
Scott Drake Coordinator 91
Paul Feeney and Marie-Louise Raue
Three Roofs A New School Canteen in Roi Et
When seen from above, Roi Et appears to be an endless patchwork of agricultural fields. The site for the project is located in this rich landscape, with a chicken coop, concrete cylinders, a religious monument, and a playground unconventionally defining its boundaries. The design aims to be more than a canteen that is only used for meals. It is a multi-purpose space that also becomes a place for learning and play outside of lunchtime. Conceptually, the project weaves the natural world into the Baan Non Wittayapat school campus by promoting natural ventilation on the site and framing views of the surrounding nature. Under the three roofs, children can take ownership of the space in unexpected ways which enables freedom and creativity to flourish.
Collaborators Mitsubishi Electric Thailand (sponsor) Baan Non Wittayapat School (client) K. Thanakrit Khamtan and his team (contractor)
INDA Community [Drive-In] Cinema
DESIGN AND CONSTRUCTION PROJECTS FOR COMMUNITIES
Drive-in cinemas emerged in the United States in the 1930s, but they have found renewed relevance in 2020 during the COVID-19 pandemic. Only one year ago, terms like “self-isolation,” “selfquarantine,” and “social-distancing” were simply not a part of the general lexicon. We now need to adhere to social-distancing measures, but we are inherently social beings. One of the few architectural typologies that can accommodate this unusual mix of self-isolation and entertainment is the drive-in cinema. In response, students designed a cinema installation that can be quickly assembled and disassembled to facilitate transportation to multiple communities around Bangkok. For the project to be economically sustainable over a longer period of time, a number of sites, programs, and festivals have been earmarked as potential opportunities for cinema events including the INDA Assembly, the Suanluang Square Field & Flea Market, and Bangkok Design Week 2021.
Collaborators V.N. Power Limited Partnership Shma Company Limited we!park
INDA Makes INDA Support Devices and the Value of the (Un)necessary
In an exploratory and ambitious school like INDA, the spaces where learning and experimentation happen are vital to its livelihood and its success as a creative hub. This workshop aims to design and realize support components and devices (including furniture pieces, identity elements, storage units, etc.) for the new studio spaces at the Chulapat 14 building.
Students research the social and creative dynamics of spaces that are not used specifically for classroom instruction in design schools around the world. They examine spaces that foster dialog and discussion, and they explore the value of seemingly unnecessary spaces and elements. How can we enable exchange and support informal interactions through the design of space and the objects within it?
In this workshop, students use the work of Matthew Crawford and other authors to explore the philosophical aspects of manual work and its relation to architecture. Students design and build mobile furniture units for use in the new INDA Lab at Chulapat 14.
These units include work surfaces and overhead storage for models and drawings, and their modular geometry means they can be arranged together in groups of two, three, four, or six units to suit different group or class sizes. Along with the design of the workshop space, students explore the theoretical aspects of the idea that knowledge is a form of making and that craft is a form of negotiation between the maker and the physical world.
DESIGN AND CONSTRUCTION PROJECTS FOR COMMUNITIES
Will Hulbert and Thomas Lozada Bangkok’s grand trees are an essential part of the urban landscape. They provide shelter and shade; they act as gathering points for food sellers and tuk tuk drivers; they give the streets their distinctive character; they absorb airborne pollutants, and they sequester carbon. Trees provide habitats for birds, squirrels, and insects, and they have bridged human generations, embedding experiences and rooting communities. ‘Treescape’ embraces our inescapable connection with Bangkok’s trees through the construction of an elevated structure that brings together the local community in Phra Khanong. Students met with arboriculturalist Rainer Reichel to better understand the features and characteristics of the local trees, created a highly precise 3D photogrammetric scan of the trees, and presented their design proposal to the Phra Khanong District Authority for approval. A reinterpretation of a childhood tree house--an enchanting stage elevated above the site--the structure provides safe access to higher branches in the tree’s canopy and creates a unique space for play and for environmental connection. Collaborators Rainer Reichel (arboriculturalist) Meinhardt (structural engineer) Thailand Urban Tree Network
Lalida Attawetkul Santhila Chanoknamchai Tanyadhorn Dumrongkijkarn Apisada Hanbunjerd Thanvarat Jamnongnoravut Sakaokaew Jindawitchu Waris Majitnapakul Wichayes Maneepakhathorn Navapol Montong Kodchakorn Promjaree Siwakarn Sabpaisarn Nicharee Sammapan
Christo Meyer INDA Community [Drive-In] Cinema
Scott Drake INDA Lab
Kamolthip Polsamak Warut Im-erb Isara Kesaranond Kemjira Laorsuwan Sutinee Leelaratrungrueang
Napat Kunapongkul Hattakarn Lertyongphati Klitee Limpawattanasiri Nichapha Lumpikanont Thanapond Namnanthasith Prin Parinyanusorn Naruemol Pholnuangma Tamon Sawangnate Chanuti Sukhumcharoenchit
Rachapon Jidapasirikul Phurichya Jirayutat Kanchaporn Kieatkhajornrit Tinn Kiewkarnkha Chidapa Kongsuphol Thatsama Leeumnadwong Natnicha Opasserepadung Koonanan Panyahom Paweenda Patarathamaporn
Thanakorn Phonthanakornkul Chanakarn Pongteekayu
Antonio Bernacchi INDA Makes INDA
Lalitsiree Ponsombatnun Chompisa Amatayakul
DESIGN AND CONSTRUCTION PROJECTS FOR COMMUNIITIES / STUDENT LIST
Will Hulbert and Thomas Lozada Treescape
Marie-Louise Raue and Paul Francis Feeney Three Roofs: A New School Canteen in Roi Et
ARCHITECTURAL DESIGN IV-V
INDAâ&#x20AC;&#x2122;s fourth-year â&#x20AC;&#x2DC;optionâ&#x20AC;&#x2122; studios are meant to be fields of experimentation and intellectual exploration. Instructors propose different project briefs that are intended to provide students with a wide variety of topics, scales, and agendas. This fosters a heterogeneity of approach and provides students the opportunity to reinforce their interests or explore new disciplinary terrain. The studios are primarily research driven, with an experimental attitude to any form of design. Particular importance is given to fostering critical thinking and to developing and refining methodologies, both in the design process of each student and in the framework of each studio group. In the option studios at INDA, project briefs are never repeated. The variety within the faculty body, together with the broad spectrum of research fields they pursue, naturally leads to a continuous update and exchange of ideas.
Antonio Bernacchi Coordinator 99
Yany Chan Ziqi
This studio employs a methodology of ‘critical speculative design,’ utilizing fiction to imagine new possibilities. It concentrates on architectural interiors and hyper-specific domestic spaces, with a particular focus on the role of technology in modifying our mundane and ordinary behaviors. Students construct ‘alternative futures’ or plausible scenarios that may be much less distant than we think. The detailed design of a domestic environment, including its form and construction, acts as a kind of social or cultural critique that promotes a rethinking of the structures of society and of the environment, which are necessary in times of deep ecological and socio-political crisis.
Will Hulbert and Moe Ekapob Suksudpaisarn
YEAR 4 | ARCHITECTURAL DESIGN IV
‘Bombay Spires’ studies and re-imagines the emerging urban typology of the mixed-use highrise in the context of India’s most global and cosmopolitan city. Students traveled to Mumbai for a four-day workshop with the global urbanologists at URBZ and selected sites across the city, documenting physical and social geographies as well as the living patterns of the closely knit communities around the Worli koliwada, Worli chawls, and Dharavi slums. The studio argues that vertical architecture cannot be separated from the fabric of the city or the public activity in which it grows. The projects call for mixed use transit-oriented developments (TODs) with programs that balance and intensify urban life and that recognize informal social networks and institutions. Students explore domestic and collective spaces in vertical buildings, new types of public space, the verticalization of real estate assets, and incremental urbanism.
‘You iiii everything else’ seeks to define and understand new and emerging ecologies in urban landscapes as a result of widespread automation and artificial intelligence. Through the development of fictional narratives, the studio explores the boundaries of our automated cultures. With multidisciplinary tools--lan Cheng’s ‘worlding’ methodology, augmented reality, and VR software, for example-students design immersive scenarios with a mix of human and non-human actors and routines that confront mainstream, homogenous smart-city visions.
You i i i i Everything Else Foo Guo Ming
Networks and information intelligence are the new frontiers, and so we need to define the roles of architect and designer by testing new experimental approaches. From nonhuman agents, chat-bots, and retail assistants to satellites, autonomous ports, earth-size virtual telescopes, and trading systems performing thousands of transactions per second, this technological landscape expands beyond our comprehension and forms a planetary-scale network of interfaces, users, geology, and hardware. The city is everywhere and has its own intelligences, but how are they affected by artificial intelligence and automation?
As part of an ongoing investigation into â&#x20AC;&#x153;Augmented Architecture,â&#x20AC;? a term which refers to physical architecture that can be enhanced with digital technologies in response to dynamic human behaviors, the studio explores transformable and responsive structures that could pave the way for new architectural typologies in the future. The architecture of tomorrow will face many challenges, especially with the decreasing availability of resources, materials, and physical space. Retrofitting existing buildings with new programs and updated sustainable systems may become the new norm. Students design flexible structures that can transform to accommodate a variety of functions and spatial configurations in order to determine if such physical transformations and interactivity can extend the use of buildings beyond their conventional lifespans.
YEAR 4 | ARCHITECTURAL DESIGN IV
Augmented Architecture 03
Kanin Or Suthamanuswong
Architectureâ&#x20AC;&#x2122;s Afterlife Kritnara Kroongjit
Buildings typically consume more resources, generate more carbon emissions, and have shorter lifespans than ever before. This studio actively addresses the role of embodied energy in architectural design--which can be defined as the sum of all energy required to extract, process, transport, construct, maintain, demolish, and recycle the elements of a building--and redefines the value of reused building materials. Students choose a single widely-used building material, trace its path from raw material to installed component, identify material or logistical inefficiencies in its production processes, and speculate on the ways in which it could affect a buildingâ&#x20AC;&#x2122;s afterlife at multiple scales. They then propose a wide range of non-standard practices including new formal possibilities, material experiments, processing techniques, component prototypes, construction systems, or recycling infrastructures. The studio balances broader conceptual ideas of impermanence, adaptability, and environmental impact with more technical issues of material specification, connection details, and assembly protocols through the design of a small-scale pavilion for events or exhibitions.
YEAR 4 | ARCHITECTURAL DESIGN IV
â&#x20AC;&#x2DC;Pranâ&#x20AC;&#x2122; refers to an indigenous ranger who lives in accordance with nature and conforms his/her practices, beliefs, and culture to environmental dynamics. From coastlines to mountain tops, their experiences and areas of expertise are extremely diverse, and their wisdom should be integrated into contemporary conservation strategies. This studio explores a range of design interventions that reflect the indigenous wisdom of the local rangers as environmental stewards in protected areas. It addresses a dissatisfaction with the design disciplines that typically oversimplify the complexities of human dimensions and the biophysical landscape. The studio is divided into five phases--gathering, exploring, programming, applying, and preparing. Students attend workshops and field trips, and they conduct a series of mapping exercises to understand the anatomy, structure, function, and complex transformations of the forests. 105
Craft for Today Piriyakorn Tamthong
Craft implies a richness in meaning, function, or ornamentation. This can be seen in products like ceramics, lacquer ware, wood carving, bamboo weaving, metal plate relief, and textiles; however, due to uncertainty in the current demand for these products, new approaches are needed. Students research and explore three key aspects of craft-tradition, lifestyle, and technology--and design a crafted product, which then informs the details and the concept for a showroom where the product will be displayed and sold. The showroom creates a dialogue between the products and the architecture in terms of material, texture, or form. The product and the showroom are then incorporated into the promotion of a brand. The commercialization of the products could take the form of a documentary, a brochure, a product sample, or a booth.
Chommalee Durongpisitkul Chutikarn Kaewudom Praewa Keereewan Ayako Mizuno Sakdithat Pitakkotchakorn
Theophile Bianciotto Maher Ben Hamed Hiroya Himeno Mesiya Hiransiriswad Cecile Kermaidic Sasivimol Kraisornkhaisri Marisa Rosam
Tristan Bardon Nana Boonorm Palida Emwattana Guo Ming Foo Raewadee Lamlertsuk Adrien Lichtle Francois Morelle Suguru Sasaki Hikaru Shimazaki
Will Hulbert Moe Ekapob Suksudpaisarn Bombay Spires
Michal Jurgielewicz You iiii everything else
Nattawat Tangthanakitroj Caroline Audric Etienne Barrat Tanpasorn Chinda-udom Lise Delage Mai Iiyama Klasilp Ladalalitsakun Proudwarin Phannachet Nithikorn Seangkeaw
Thomas Lozada Architecture’s Afterlife
Misa Aoki Loriane Bordin Pakjira Itthisang Rujirada Juthasantikul Chanarop Phothisit
Takanao Todo Craft for Today
Surapong Lertsithichai Augmented Architecture 03
Apitchaya Inswang Luksika Pratumtin Palin Singhasirithum Kanako Somoto Piriyakorn Tamthong
Kanin Or. Suthamanuswong
Jirayu Ariyadilak Yutthapong Charoendee Thanapat Itvarakorn Pimtawan Kaopatumtip Kritnara Kroongjit Ananya Lappanichpoonpon Thakolkiat Manorotkul Passakorn Suwanggool Risa Yamada
ARCHITECTURAL DESIGN IV / STUDENT LIST
Chon Supawongse Pran
Antonio Bernacchi Unordinary Everyday
The Garden of Critical Delights
Inspired by the triptych oil painting ‘The Garden of Earthly Delights’ by Hieronymus Bosch, this studio concentrates on environmental criticism using the disciplinary tools of design and the methodology of ‘critical speculative design,’ a sub-field that utilizes fiction to stimulate debate. It focuses on the ‘architectural’ design of gardens as a medium to frame human relationships with the environment and with ecology at large. Through research about different forms of landscapes, the projects envision plausible alternative-present and near-future scenarios for novel gardens that offer critical reflections on pressing contemporary environmental concerns.
This studio conducts a deep dive into the understanding and use of geometry in design through the methodologies of digital tool development and their relationship to the construction of environments. Students scrutinize the artifacts of procedure and critically approach the potential use, application, or relevance of shape within a multisensory ecology; first at the scale of food and experience then at the scale of building and performance. Focusing their attention on the design considerations for digital fabrication, students develop tools that reveal unfamiliar historical and contemporary â&#x20AC;&#x2DC;truthsâ&#x20AC;&#x2122; of form, structure, and organization while producing a menu of consumable aliments and architectural components that are procedurally generated and sensorially engaged.
YEAR 4 | ARCHITECTURAL DESIGN V
Sculpting the City Arina Hiriwiriyakun
Paul Francis Feeney
This studio seeks to analyze and reformulate architectureâ&#x20AC;&#x2122;s relationship with the ground. What is â&#x20AC;&#x2DC;the ground?â&#x20AC;&#x2122; The crust of the earth? The soil, clay, and stone beneath our feet? The foundation, base, plot, and site upon which architecture rests? Indeed, the ground constitutes all of these simplistic definitions; however, as this studio reveals, it is a far more complex entity. It is owned, claimed, and territorialized, often perceived to be shared but in fact under the direct control of state or private interests. It is economically volatile, with a value which can change without any alteration to its physical substance. The ground defines what gets built and demolished and thus determines the city we live in. It is for these reasons that an analysis of the ground is of great urgency for architects and citizens.
An Architecture of Abstinence
Students develop their own intellectual frameworks in this field through a historic building project of preservation, restoration, adaption, addition/ subtraction, and/or re-purposing in Yangon, Myanmar. The studio questions whether human engagement within existing social structures is more relevant than built fabric, and the projects position preservation as a mediator, where architectural intervention can offer new readings of the past.
YEAR 4 | ARCHITECTURAL DESIGN V
Every object that man creates is destined to decay, and preservation seeks to freeze or reverse the ephemeral aspects of human productivity through restoring, renovating, or supplementing historic artifacts. Preservation requires an understanding of the layered narratives of buildings; it can confront history and illuminate erased or forgotten moments. â&#x20AC;&#x2DC;An Architecture of Abstinenceâ&#x20AC;&#x2122; studies architectural preservation, a broadening field of practice that invests buildings from the past with renewed cultural currency.
Tipping Points Supanat Chaiyanopakul
In a society in which carbon emissions and waste can be traded, where fake followers dominate Instagram, and where consumer goods are manufactured and distributed from increasingly remote locations and landscapes, why not build economies based on equality, plankton blooms, reforestation, or even love? ‘Tipping Points’ researches the planetary scale infrastructure of Earth’s life-support systems and re-evaluates the social and cultural effects of climate change through a series of protocols, interventions, behaviors, and ecologies in different landscapes.
If nature is artificial, built through a collection of data, histories, cultural artifacts, and measurements, we should redefine our perception of current urban socioeconomic models. Following a book design workshop with Pat Laddaphan and Piyakorn Chaiverapundech of Studio 150, students used publications and game engines as the primary media to construct speculative narratives.
Visit to Studio 150
Surapong Lertsithichai and Sorachai Kornkasem
YEAR 4 | ARCHITECTURAL DESIGN V
Humans are spatially sensitive to their surroundings physically, psychologically, and socially. Spatial intelligence assists us in navigation and orientation, and it influences our actions, emotions, and memories. This studio explores visual-spatial analytics and human-environment interactions in the development of built interventions. The two primary design pedagogies include re-learning our built environment through an analysis of human cognition and re-examining our creative responses to larger scale everyday spaces. Exploring these insights and utilizing various research methodologies, we test and hack spaces.
Spatial Intelligence v.1 // HACK:SPACE
Post Carbon Futures
Patr Vacharanukulkiet Carbon-based fuels or ‘fossil fuels’ have largely defined and profoundly impacted our modern way of life. Elisa Iturbe, in her essay entitled “Architecture and the Death of Carbon Modernity,” refers to our interconnected network of architectural typologies, infrastructural systems, and urban configurations as “carbon form.” “Carbon Modernity” is a way of life, an economic engine, and a social order--it is everywhere. In order to create fundamental change in the way buildings are conceived and executed, we must interrogate the foundational carbon infrastructure that undergirds contemporary architectural production. The studio re-evaluates the role that carbon plays in contemporary architectural and urban systems.
Kanchaporn Kieatkhajornrit Students imagine future scenarios that offer alternatives to the status quo, and they propose high-density housing projects that speculate on new ways of living and interacting with a transformed carbon/energy infrastructure
YEAR 4 | ARCHITECTURAL DESIGN V
In his description of the flâneur, French poet Charles Baudelaire talks about a peculiar character who wanders the city, observing with a certain curiosity that which is beautiful and all-encompassing. But, as opposed to the derivé, the flâneur takes a much more passive approach to how the city is read or understood and does not necessarily intervene. In this studio, each student is required to become a flâneur/
flâneuse in order to absorb particular conditions of Bangkok and to develop the premise for an architectural proposal that is contextual, beautifully crafted, programmatically complex, and technically well-resolved. This is achieved through a process of design through making--making drawings, making models, and making devices that lead to sophisticated and experimental projects. 115
This studio envisions landscape as infrastructure that underpins nationwide conservation and the operation of protected areas in Thailand. Landscape infrastructure is an interconnected network that sustains ecosystem values and functions and provides a range of benefits for wildlife and people. It is amplified by biophysical systems, and it becomes a sophisticated web of essential resources, processes, and services.
Landscape Infrastructure Reconnecting Fragmentation
In Thailand, synergistic effects between habitat fragmentation and global climate change become critical challenges in conserving biodiversity and maintaining ecosystem functions. What is the role of landscape infrastructure in contemporary forest conservation? The studio offers an experimental platform to redefine the framework of this issue and the extent of intervention that is necessary to tackle the challenges of forest ecology and design.
Tijn van de Wijdeven
Drawing a Crowd
These ephemeral qualities encourage the search for an architectural language and generate a series of questions: What makes a crowd a crowd? Is there a limit in scale and size? Is it ruled by order or chaos? Where and when is it created? How are access and limits defined? Is everyone invited? How is the crowd a project? This studio focuses on the research and design of large-scale events in Bangkok. Students design a speculative proposition which, for a defined period of time, radically transforms public space in the city.
YEAR 4 | ARCHITECTURAL DESIGN V
To picture a crowd is arguably one of the most challenging tasks in the field of representation. In various historic depictions, the crowd is often framed as an entity, a â&#x20AC;&#x2DC;thingâ&#x20AC;&#x2122; that conveys a spiritual or political message. Somewhere between order and chaos, the critical dimensions of a crowd are based on spatial and social proximities that are constantly changing.
Thakolkiat Manorotkul Luksika Pratumtin Kantima Saetung
Chutikarn Kaewudom Tanyaluck Kittithirapong Punnathorn Phuwichit Pancharee Rujiraarporn Tossaporn Sarochsuwan Sitavee Veravit Ramita Yibmontasiri
Pakjira Itthisang Rujirada Juthasantikul Sakdithat Pitakkotchakorn Palin Singhasirithum Tanatsorn Sriarj Pittaya Thamma
Praewa Keereewan Kanchaporn Kieatkhajornrit Thunda Rerkpaisan Lalipat Sirirat Patr Vacharanukulkiet Megan Westrop
Yutthapong Charoendee Arina Hiriwiriyakun Marisa Rosam
Mesiya Hiransiriswad Pasinee Kerdpongvanich Proudwarin Phannachet Panas Saengvanich
Kanin Or. Suthamanuswong
Pimtawan Kaopatumtip Ananya Lappanichpoonpon Takrit Mekpanuwat Kandanai Sudsanguan Nutthida Tantivanich Pimboon Wongmesak
Phurin Jungteerapanich Kritnara Kroongjit Wirunchana Rawkwansatith Pisitt Sae-Tan Nithikorn Seangkeaw Phatchanon Varanukulsak Chanon Viroonchan
Drawing a Crowd Tijn van de Wijdeven
Surapong Lertsithichai and Sorachai Kornkasem Spatial Intelligence v.1 // Hack:Space
Will Hulbert An Architecture of Abstinence
Chon Supawongse Landscape Infrastructure Re-connecting Fragmentation
Paul Francis Feeney Sculpting the City
Thomas Lozada Post Carbon Futures
Patrick Donbeck Consuming Geo
ARCHITECTURAL DESIGN V / STUDENT LIST
Michal Jurgielewicz Tipping Points
Christo Meyer [the FLâNEUR]
Antonio Bernacchi The Garden of Critical Delights
Raewadee Lamlertsuk Sasina Nakmontanakum Chanarop Phothisit Panchaya Sonkom Jidapa Srimachand Passakorn Suwanggool Vich Vichyastit
Caroline Audric Supatsorn Boontumma Masha Chigvinadze Tanpasorn Chinda-udom Nattakitta Chuasiriphattana Sasivimol Kraisornkhaisri Onjira Mahitthafongkul Thanjira Vimonanupong
The INDA exchange program allows students to spend one semester at a partnering academic institution in another country. The programs aim to increase the schoolâ&#x20AC;&#x2122;s engagement on a global level and provide a popular destination for international students. In the 2019-2020 year, thirty-two INDA students went to twelve schools abroad while thirty international students participated in design studios at INDA. The number of partner institutions has continually grown and evolved over the years and now includes universities from four continents. INDA continually seeks new opportunities for international collaboration.
Chu Hai College of Higher Education
Supanat Chaiyanopakul Kittimont Kookasemkij
L’École nationale Supérieure d’Architecture de Paris-La Villette (ENSAPLV)
Haute Ecole spécialisée de Suisse occidentale (HES-SO) University of Applied Sciences and Arts
Phurin Jungteerapanich Thunda Rerkpaisan
National University of Singapore
Parsons School of Design
University of Canberra
University of Seoul
OUTBOUND EXCHANGE STUDENTS
L’École nationale Supérieure d’Architecture de Paris-La Villette, France (ENSAPLV) Caroline Audric Loriane Bordin Lise Delage
Architectural Association (AA), United Kingdom Nattakitta Chuasiriphattana Takrit Mekpanuwat Nutthida Tantivanich
L’École nationale Supérieure d’Architecture de Versailles, France (ENSAV) Tristan Bardon Etienne Barrat Theophile Bianciotto Cecile Kermaidic Francois Morelle L’École nationale Supérieure d’Architecture de Paris-Belleville, France (ENSAPB) Maher Ben Hamed Adrien Lichtle Laurie Lozach
Chu Hai College of Higher Education, Hong Kong Arina Hiriwiriyakun Sasina Nakmontanakum Nanna Thaiboonruang L’École nationale Supérieure d’Architecture de Paris-Belleville, France Boontita Boonsusakul Buncharin Eua-arporn L’École nationale Supérieure d’Architecture de Paris-La Villette, France Supatsorn Boontumma Panas Saengvanich
Haute école d’ingénierie et d’architecture de Fribourg, Switzerland Marc Christophe Bergundthal Thibaud Mamin
L’École nationale Supérieure d’Architecture de Versailles, France Pasinee Kerdpongvanich Kantima Saetung
National University of Singapore (NUS) Yany Chan Guo Ming Foo
Meiji University, Japan Phurin Jungteerapanich Thunda Rerkpaisan Sitanan Teeracharoenchai Thanjira Vimonanupong
University of Seoul, South Korea (UOS) Daeen Eom Sungkyu Lim Yeji Lim Meiji University, Japan Misa Aoki Keisuke Arakawa Hiroya Himeno Mai Iiyama Ayako Mizuno Suguru Sasaki Hikaru Shimazaki Kanako Somoto Tomoyuki Suda Chiaki Tamura Shota Tanabe Risa Yamada
National University of Singapore Jidapa Srimachand Phatchanon Varanukulsak Parsons School of Design, USA Panchaya Sonkom Pittaya Thamma Pimboon Wongmesak Ramita Yibmontasiri Tunghai University, Taiwan Punnathorn Phuwichit Patr Vacharanukulkiet University of Seoul, South Korea Kanchaporn Kieatkhajornrit Onjira Mahitthafongkul Lalipat Sirirat Pattharaprapa Thongprasert Haute Ecole spécialisée de Suisse occidentale (HES-SO) University of Applied Sciences and Arts, Switzerland Supanat Chaiyanopakul Kittimont Kookasemkij University of Canberra, Australia Tanyaluck Kittithirapong Pancharee Rujiraarporn
EXCHANGE / STUDENT LIST
INBOUND EXCHANGE STUDENTS
The Class of 2020, August 2016
The Class of 2020, October 2020
INDA CLASS OF 2020
INDA students and instructors are always participating in activities outside of the classroom. Every year, students are winning competitions, instructors are exhibiting their work, and INDA is hosting events that engage the larger network of architects and designers within and outside Bangkok. This ongoing commitment to both local and international design discourse has allowed INDA to grow into one of the strongest programs of its kind in the region.
Fall Fair 2019
At the conclusion of the first semester, the Fall Fair exhibited exemplary student work from across the school. Drawings and models were publicly displayed in the coworking space of the newly constructed library in the Faculty of Architecture.
CAADRIA Conference “Re: Anthropocene” This year, INDA hosted the 25th Conference of the Association for Computer-Aided Architectural Design Research in Asia (CAADRIA) under the theme “RE: Anthropocene Design in The Age of Humans.” The term ‘Anthropocene’ (the Age of Humans) has gained increasing recognition as a description of a crucial geological stage of our planet as we face the consequences of our own actions on the earth’s ecosystem. If human creations are substantial enough to start a new geological epoch, what does this imply for our explorations in the realm of computational design, and how will advanced technologies shape our future?
Ellen Yi-Luen Do
NEWS & EVENTS
Keynote speaker Shajay Bhooshan presents work from the Zaha Hadid Architects Computation and Design Group with BRG and R-Ex Organizing Committee
Surapong Lertsithichai, Chair (Chulalongkorn University)
Shajay Bhooshan, Zaha Hadid Architects
Sorachai Kornkasem, PhD (Chulalongkorn University)
Ellen Yi-Luen Do, ATLAS Institute, University of Colorado
Walaiporn Nakapan (Rangsit University)
Takeshi Yamada, teamLab Sponsors Forum 8 Thailand Convention & Exhibition Bureau Idext Mice and Travel Agency Chulalongkorn University
A Conversation with Harvard GSD Dean Sarah M. Whiting: Design in an Age of Global Disruptions As part of an academic collaboration between Chulalongkorn University and the Harvard Graduate School of Design (GSD), the Harvard Club of Thailand and Dr. Pinraj Khanjanusthiti, Dean of the Faculty of Architecture, welcomed GSD Dean Sarah M. Whiting to participate in a conversation about â&#x20AC;&#x2DC;Design in an Age of Global Disruptions.â&#x20AC;&#x2122; Also joining the discussion were Vichai Tantrativud, former President and current advisor of the Thai Urban Designers Association; Surapong Lertsithichai, Program Director at INDA, the International Program in Design and Architecture at Chulalongkorn University; and Kotchakorn Voraakhom, design critic in landscape architecture at the GSD and founder and director of Landprocess, a Bangkok-based landscape architecture and urban design firm.
(from left) Surapong Lertsithichai, Vichai Tantrativud, Sarah M. Whiting, and Kotchakorn Voraakhom
Harvard College in Asia 2020 The Harvard College in Asia Program (HCAP) is a student-run organization from leading universities in Asia that has partnered with Harvard University to provide a premier exchange program. Thongtor Nontavatit was one of the delegates representing Thailand in HCAP’s Winter Conference in Boston where students and guest speakers shared ideas regarding the contemporary roles of technology and media under the theme of “Breaking Boundaries: Tech and Media.”
Student Thongtor Nontavatit
AIS Young Digital Talent Camp 2020
The AIS Young Digital Talent Camp 2020 is a competition sponsored by AIS and the Stanford Thailand Research Consortium. The competition spanned eleven weeks and taught participants about a basic entrepreneurial mindset. ‘Pela,’ the winning project from over seventy entries, is a travel itinerary planning application that uses data about weather, travel times, crowdedness, and popularity of places to create shared itineraries between groups of friends.
Students Veerin Dumrongkijkarn Pattaramon Kraiteerawut Sathida Taesriprasert 135
NEWS & EVENTS
Architizer One Drawing Challenge Thanks to social media, more people than ever now consume architecture every day through their feeds. However, their attention is fleeting— with millions of architectural ideas flowing across the web, each designer has just a brief moment to make an impact. This means one image or drawing needs to possess the power to tell a whole story on its own, in seconds. Architizer’s One Drawing Challenge poses one question: Can you create a single drawing that tells the story behind a complex piece of architecture? ‘Land of Electric Beasts : Machine Landscapes of the Post Anthropocene,’ depicts a speculative scene of a post-human rural landscape in the not-sodistant future. It is a journey into a vast land of automation and an agricultural machine landscape in the countryside. Based on the acceleration of existing trends and technologies, it is but a small window into an emerging reality, a new nonhuman wilderness dominated not by the natural world but by a new set of machine ecologies beyond human scale and understanding. @architizer #OneDrawingChallenge
The Digital Colosseum: The Future of Esports in Architecture
Fourth-year students Boontita Boonsusakul and Buncharin Eua-Arporn won first place in the “The Digital Colosseum: the Future of Esports in Architecture” competition with their entry “Vr Chic(k)” which proposes to transform left over space under the highways that is not being used to its full potential into an esports arena. Virtual chicken fights preserve traditional cultural values and reduce animal-abuse issues.
The ArchiDogs 2020 Global Architecture School Project Showcase Virtual Event explored student work from around the world according to three themes: “Urbanism,” “City Life,” and “Nature Power.” A jury of academics and professionals reviewed student projects from ten design schools, including Harvard University, the University of Pennsylvania, Pratt Institute, University College London, and Tunghai University, and conducted an in-depth discussion with the online audience. Two fourth-year INDA students were invited to participate in the event and present their most recent projects. Kanchaporn Kieatkhajornrit presented ‘Urbivore,’ an exploration of a mixed-use urban farming community, and Sitanan Teeracharoenchai presented ‘Theater of the Deaf and Blind,’ a multisensory experience where the building acts as both conductor and performer.
Urban Reimagine Fourth-year students Sitavee Veravit and Napatsorn Mongkoldet participated in the Urban Reimagine Design Competition & Showcase 2020 where they received an honorable mention prize. Their ‘City of Mobility’ proposes a balance between industrial efficiency and the social infrastructure necessary to improve the quality of life of residents in Chonburi.
NEWS & EVENTS
Bangkok Design Week 2020 Moleskine x INDA: Refit Moleskine x INDA: REFIT, a collaborative exhibition, presents student projects that examine obsolescent collective housing through the lens of tweaking and caring and that propose to â&#x20AC;&#x153;re-fitâ&#x20AC;? or generate an architecture that takes care of its occupants, the larger community, and the ecosystem in which they are situated. Students translate these concepts from the architectural scale to the scale of objects--Moleskine notebooks--that they use every day as designers. Notebooks are design tools that are deeply integrated with the creative process, and this exhibition documents how the ideas contained within them can become part of our imaginations through recrafting the materiality of the notebook itself.
Instructors Jane Chongsuwat Pitchapa Jular Alicia Lazzaroni Kannawat Limratepong
Exhibition Assistants Thammapron Iam-eak Ramita Keeratiurai Nisama Lawtongkum Nathapong Nurae Putt Sirisaksopit Pittinun Tantasirin Nicha Vareekasem
Exhibited Students Satida Adsavakulchai
Laurie Thi Yen Lozach
The pavilion is thought to be an attractor for different insects and other animals, who are invited to perform on the structure in different moments of the day. The black color, achieved through glossy painted plywood, branches, and e-waste components, attracts bugs like dragonflies, who perceive it as water due to their polarized vision. Made from wood and plastic, the project reflects on unconventional material assemblies and cycles of production and waste. E-waste is also repurposed in furniture and other details and fittings to engage in a larger discussion on reuse and recycling. Furthermore, the lighting design attracts important night pollinators such as moths. The pavilion has been displayed at the Wonderfruit Festival in Pattaya (2019) and at Bangkok Design Week (2020). It will also be shown at the forthcoming Venice Architecture Biennale in 2021. The project has been kindly supported by the Embassy of Italy in Bangkok.
Instructors Antonio Bernacchi Alicia Lazzaroni
NEWS & EVENTS
Bangkok Design Week 2020 The Critters Black Den
Bangkok Design Week 2020 Pretty Good Privacy Human self-expression has an enormous carbon footprint, producing new data every minute. Large repositories of photos and projects occupy forgotten folders on hard drives, while cloud servers filled with 3D scans and other digital assets continue to expand. Every new smartphone has depth-sensing cameras, foreshadowing a new frontier of 3D data. We are moving from an image culture into a 3D culture containing endless fragments of reality. Pretty Good Privacy is an exploration of personal and public datasets and a reflection on new ways of using the digital scraps that we collect on a daily basis. It proposes a shared network where algorithms can identify and contribute to environmental change. Can we train bots or image classifiers to recognize the pixel colors of bleached coral? Can neural networks be trained to analyze beach erosion from holiday photos and weekend trips? The first part of this mixed-media installation uses personal scuba diving footage to display information about coral reefs, while the second part uses game design tools and online asset libraries to excavate bits of human culture and reconfigure them for new landscapes and narratives. Instructor Michal Jurgielewicz
Bangkok Design Week 2020 Transmigration For Bangkok Design Week 2020, the local woodworking collective Grains & Grams presented Transmigration at Baan Rim Nam in the Talad Noi district. The exhibition showcased art-piece furniture and sculptures that were made with “found” wood. Each piece is a new embodiment of used objects and materials with their own unique stories that span generations, ranging from the rudder of an ancient cargo boat to a carved out log from a temple drum. The exhibition publication was sponsored by the Embassy of France in Thailand, while the opening and closing events were supported by Jim Beam. Instructor
Collaborator Maxime Goleo
Bangkok Design Week 2020 United Shift
United Shift uses projection mapping to tell a story through complex visuals that represent the changes on a site as seen from multiple people’s perspectives. The silhouettes and line drawings were distributed to locals both analogically and digitally, asking two simple queries: “What is this?” and “What could this be?” Students Ravinan Kumar Prin Parinyanusorn Tanadon Wanitnunttada
NEWS & EVENTS
Session 1: Research Practices INDA Instructor / Moderator Pitchapa Jular
Session 2: Alternative Design Practices INDA Instructor / Moderator Jane Chongsuwat
Alumni Guests: Varis “Nott” Niwatsakul (INDA 04, Class of 2013) Studio Lead, Design Analyst / PLASTARC, New York
Alumni Guests: Vinn “Champ” Chokkhatiwat (INDA 02, Class of 2011) Co-founder / Vinn Patararin
How do you apply what you learned at INDA (skills, knowledge, findings) to your research practice?
“While being educated in architecture, I also got to do research in branding and identity in my second year studio at INDA. Little did I know they would become some of the essential skills in the work I do today, where design and branding go hand in hand.” – Nichakul “Poon” Kulvanich
“Architectural education is (as we know) very intense. You are asked to do a lot--learning a lot of different softwares and producing different types of media. If you compare it to other disciplines, I think you [students] have the upper hand, since you can easily pick up on anything you learned in school and apply it to working in the research industry. In the applied research field, it’s less about technical skills and more about the approach you take on your work that really matters.” – Varis “Nott” Niwatsakul
Praewpailin “Now” Srisangnam (INDA 06, Class of 2015) Founder, Creative Director / Cha Bar Chavakorn “Sean” Sringkaranan (INDA 08, Class of 2017) Co-founder, Visual Director / Donboy If you studied a different field in college, do you think you would have been able to do what you do today?
“Even though I am working as an architect right now, INDA has really shaped me. It has taught all of us to never give up and always fight until the end, so I think an architectural education has been really good for me.” – Praewpailin “Now” Srisangnam
“INDA has been part of a perfect combination on a perfect journey for me to become what I am today.” – Vinn “Champ” Chokkhatiwat
Nichakul “Poon” Kulvanich (INDA 07, Class of 2016) Creative Strategist, Dusit International
Alumni Talks’ was a series of short lectures from graduates of INDA who have worked in internationally-recognized offices and/or started their own practices. The invited guests presented their current work, discussed their professional experiences, and fielded questions from an audience of current INDA students and instructors. The event was conducted as part of the INDA Parade across three sessions from May 6-8, 2020 via Zoom
“If I had not studied at INDA, I think I would have eventually ended up doing what I do today, but it would have taken ten or twenty years. INDA has allowed me to meet a lot of people and gain a lot of the skills that drove me to be able to work in this field.”
“In terms of our practice, we don’t know what the future holds, but we believe that as architects and graduates of INDA, we have many great assets such as creativity and the ability to explore other design fields.” – Charavee “Deer” Bunyasiri
– Chavakorn “Sean” Sringkaranan
Pimpipat “Pim” Hongdulaya (INDA 02, Class of 2011) Co-founder / Architect, Primary Workshop Architect / OMA Rotterdam Ken Chongsuwat (INDA 02, Class of 2011) Landscape Architect, Lead / Bjarke Ingels Group (BIG) New York Previous experience at OMA, West 8, AECOM in New York What do you think is the most important lesson that you took from your education at INDA into your architectural practice?
“In academic projects, you are mostly on your own, but once you enter an architectural office environment, it’s like you are playing a team sport. Some offices are like football teams that work like well-oiled machines; you go in and everyone is talented and smart and a star in their own right. But at the end of the day, everyone has a role. It’s very important to understand that it’s a team, rather than just thinking on your own.” – Ken Chongsuwat
“For me one of the most important skills I learned at INDA is how to think, which is much more important than the conventional ‘skills.’ – Pimpipat “Pim” Hongdulaya
Alumni Guests: Charavee “Deer” Bunyasiri (INDA 02, Class of 2011) Co-founder / Architect, Primary Workshop
What was the biggest difference between working on academic projects and working in an architectural firm?
Session 3: Architectural Practices INDA Instructor / Moderator Kannawat Limratepong
THAILAND USA EUROPE ASIA
Place of Study Architectural Association School of Architecture Bartlett, University College London Chulalongkorn University Columbia University GSAPP Cornell University Delft University of Technology ETH Zurich Harvard University Graduate School of Design Institute for Advanced Architecture of Catalonia, IaaC Barcelona King Mongkutâ&#x20AC;&#x2122;s Institute of Technology Ladkrabang Massachusetts Institute of Technology New York University Parsons School of Design Pratt Institute Silpakorn University Stanford University University of California - Berkeley University of Pennsylvania University of Waterloo
Place of Employment Architecture animali domestici Architects 49 Bangkok Dec-Con PCL Be Gray Benoy Bjarke Ingels Group Foster + Partners Government House of Thailand Integrated Field Kohn Pedersen Fox (KPF) MOS Nikken Sekkei Nitaprow Office for Metropolitan Architecture (OMA) Openbox Architects Palmer & Turner PINK
The Flight 19 Agency
Universal Music Thailand
Skidmore, Owings, and Merrill (SOM)
Exhibition and Installation
Interaction Design Studio
CHA BAR BKK
Chula Innovation Hub
CDS: Creative Design Services by Ekkrit
POR Thaepae Gate Hotel / BDS Collective
Mind Supply Club
Ideogram Design Agency
Landscape and Urban Design
Department of Public Works and Town & Country
BRANDi and Companies
Michael Van Valkenburgh Associates
Honda R&D Southeast Asia
Stoss Landscape Urbanism
XSiTE Design Studio
Branding and Marketing
Ruay Mai Yood
Be Our Friend
Creativity is an indispensable skill that most design professionals acquire through educational and professional experience. Here at the International Program in Design and Architecture, students are cultivating this skill through a carefully crafted pedagogical and curricular structure, an examination of critical design issues, a series of ‘making’ and building environments like our fabrication labs, and the mentorship of our many talented and energetic instructors from around the world. This makes INDA a unique program full of opportunities and unexpected potentials for our students. As for myself, a relatively new instructor here at INDA who has over twenty years of international experience specializing in human learning development and creative spatial thinking, I have the great pleasure of overseeing INDA’s academic affairs and helping our coordinator team shape INDA’s curriculum and course content. Our ongoing mission is to seek more and better opportunities for our students and to effectively prepare them as creative professional leaders in design, construction, and innovative fields, both locally and globally. Learning from my research in cognition and human development at Columbia University, I recognize that the creative process is a combination of exploring novelty and utilizing multiple perceptual systems (e.g. vision, sound, touch, taste, and smell) in different regions of the brain (rather than just the left or the right side as has been commonly misunderstood). Students repeatedly engage with perceptual tasks and advance their creative abilities during their many projects at INDA. As a result, I see that our students are well-equipped to navigate the increasingly intricate and ill-defined nature of life in the twenty-first century. Above all, INDA students are given the opportunity to refine their critical thinking skills and their aesthetic sensibilities through integrated lectures, design studios, DEX workshops, design-build projects, and other hands-on tasks. As an educator and researcher, I have seen the creative development of our students naturally evolve from day one through their last day of class. This creativity will remain with them and continue progressing further in whatever career or field they choose to pursue. The other important quality I enjoy witnessing in the INDA community is the ability to adapt and turn any challenge into a creative opportunity. Our instructors and students can mix, match, adjust, and improvise their design tools, techniques, processes, and representation methods as needed to help express their own critical points of view and contribute to a larger discourse. The best example of this occurred when INDA was restricted by social distancing measures related to the COVID-19 pandemic. We adapted and immersed ourselves into alternative learning and teaching spaces and experimented with unconventional hybrid physical-digital environments such as the virtual worlds of the INDA Parade. INDA was one of the first institutions to embrace the challenge and respond to the pandemic’s unexpected constraints in such an innovative way. In the end, it is not a surprise for me to see the true extent of the creativity that INDA embodies and the ways in which we continue to push boundaries. I enjoy being a part of the team and helping to actively promote this collective creative endeavor for our community.
Sorachai Kornkasem, PhD INDA Deputy Director (opposite) ‘Designing Informality,’ a 2018 design-build project by instructors Sabrina Morreale and Lorenzo Perri
Surapong Lertsithichai Program Director Surapong Lertsithichai received his Doctorate and Master degrees in the area of computer-aided design from Harvard University and a Master of Architecture from Yale University. His research interest and professional expertise lies in CAD software development, interactive media, digital entertainment, and tangible user interfaces. Prior to joining INDA at Chulalongkorn University, Surapong joined Fuji-Xerox Palo Alto Laboratory in California as a research scientist developing intelligent software and digital solutions for workplaces.
Sorachai Kornkasem, PhD Deputy Director Sorachai Kornkasem is a cross-disciplinary professional, intuitive researcher, result-oriented project manager, and design creative who extends design practice through the development of transformative methods in visual-spatial analytics and human-environment-technology interaction. Working for over twenty years in New York City, he holds a Ph.D (Cognitive Science), Ed.M (Educational Psychology), and MS (Architecture and Urban Design) from Columbia University with an M.Arch fellowship awarded by the University of Illinois.
California – Berkeley. With over thirty years of teaching experience, her expertise lies in design thinking, creative economy, international curriculum management, and innovation development for academia and industries.
Christo Meyer Year 1 Coordinator Christo Meyer ARB RIBA is a South African British architect currently based in Bangkok as adjunct professor and Year One coordinator at INDA. A graduate of UFS, LSBU, and the Bartlett, he has designed and delivered several award-winning and internationally published projects. As an experienced academic and avowed designer-maker, he previously taught at UCLan, University of Brighton, University of Greenwich and the Bartlett.
Déborah López Lobato Year 2 Coordinator (semester 1) Déborah López Lobato received her Master’s in Architecture from the University of Tokyo as a Monbukagakusho scholar and her M.Arch and Bachelor of Arts at UEM. She is the co-founder of Pareid, an architecture studio that explores topics at the intersection of experimental fabrication techniques, multi-sensorial experiences, ecologies, and new realities within the contemporary condition.
Scott Drake, PhD Academic Coordinator
Marie-Louise Raue Year 2 Coordinator (semester 2)
Scott Drake is an Associate Professor of Architecture specializing in the areas of environmental design and construction technology. He has more than twenty-five years of experience teaching architecture at the University of South Australia and the University of Melbourne. His book, The Elements of Architecture: Principles of Environmental Performance in Buildings, was published by Earthscan press in 2009.
Marie-Louise Raue is a registered architect in Germany. For the past five years, she has worked for Herzog & de Meuron in Basel and for the Office for Metropolitan Architecture in Rotterdam. Marie-Louise completed her Diploma at the Architectural Association in London. Alongside her professional activities, she is involved in research and artistic experiments to explore connections with other disciplines.
Preechaya Sittipunt Program Advisor
Alicia Lazzaroni Year 3 Coordinator
Preechaya Sittipunt is the founder and former Director of the International Program in Design and Architecture (INDA). She received an M.S. in Architectural Studies and Building Systems Design from MIT and a Ph.D in Architecture in Design Theories and Methods from the University of
Alicia Lazzaroni is an Italian architect and engineer, who obtained her postgraduate Master’s degree from ETSAM, UPM Madrid. Since 2016, she has coordinated the third year studio at INDA. She is a co-founder of Animali Domestici, a studio focused on experimental and speculative projects
Antonio Bernacchi Year 4 Coordinator Antonio Bernacchi is an Italian architect and engineer, who obtained his postgraduate Master’s degree from ETSAM, UPM Madrid. Since 2016, he has coordinated the fourth year studio at INDA. He is a co-founder of Animali Domestici, a studio focused on experimental and speculative projects and processes. His interests span from manufactured imaginaries, especially for real estate marketing, to ‘critical speculative design.’
Eduardo Cassina Eduardo Cassina studied architecture and urban sociology at The Glasgow School of Art, Goldsmiths, and the Strelka Institute, where he later taught. He has worked as a researcher and exhibition designer for the Guggenheim museums in Venice and New York, as well as for the Netherlands Architecture Institute (NAi) in Rotterdam. In 2014, he co-founded the practice METASITU.
Hadin Charbel Hadin Charbel received his Master’s in Architecture from the University of Tokyo as a Monbukagakusho scholar and his B.A in Architectural Studies from UCLA. He is the co-founder of Pareid, an architecture studio that explores topics at the intersection of experimental fabrication techniques, multi-sensorial experiences, ecologies, and new realities within the contemporary condition.
Jane Chongsuwat Jane Chongsuwat is an architect, researcher, and writer. Her recent work focuses on the intersection of architecture, politics, and sociology, particularly the spatial implications of post-colonialism and nationalism in Thailand. Her alma maters include Chulalongkorn University (INDA) and Columbia University (GSAPP), where she received a BSc in Architectural Design and an MS in Critical, Curatorial, and Conceptual Practices in Architecture.
Patrick Donbeck Patrick Donbeck is a trained architect, designer, and former faculty of Pratt Institute’s Center for Experimental Structures. His professional work concentrates on the fundamental study of form, material research, digitally driven design, fabrication, and parametric project delivery with more than ten years of experience in the production of architectural componentry, fine art, and products enabling advanced workflows and combining heritage and state-of-the-art craft.
Liva Dudareva Liva Dudareva was trained as a landscape architect in Jelgava and Malmö, before moving to London to work as a researcher at CHORA. She then continued her studies at the Edinburgh College of Art, before joining the award-winning landscape architecture firm Gross.Max, where she worked conceptualizing, developing, and managing projects world-wide. After a year at the Strelka Institute, she co-founded METASITU.
Moe Ekapob Moe Ekapob graduated from the Architectural Association in London with AADipl and ARB/ RIBA part 2 and has worked in San Francisco, Amsterdam, London (at ARUP in the Advanced Geometry Unit), and New York (at SOM in the Digital Design Group and Urban Design and Planning Group). Moe has published a book on School Design in Thailand with Li-Zenn Publishing and also has his own design practice, AND Co.,Ltd.
Paul Francis Feeney Paul Francis Feeney is an architect from Scotland. He completed his Masters in Architecture at Duncan of Jordanston School of Art. He has worked at the Office for Metropolitan Architecture in Rotterdam and Hong Kong and most recently worked with Herzog & de Meuron in Switzerland. His interest in research and artistic pursuits has enabled him to further explore the relationship between architecture, city, and place.
FACULTY AND STAFF
and processes. Her fields of interest relate to a wider understanding of ecology and a postanthropocentric approach.
Gregory Galligan, PhD Gregory Galligan, PhD, is a curator and art historian, and the director/co-founder of Thai Art Archives in Bangkok (f. 2010). Gregory specializes in global modern and contemporary art and writes regularly for “Art in America” and “ArtAsiaPacific.” Most recently, he has contributed chapters to the books A Companion to Curation (Wiley, 2019) and Visual Art Archives in Asia (Shanghai Academy of Social Sciences Press; 2019).
Will Hulbert Will Hulbert is a UK registered architect and has completed his qualifications at the Bartlett, University College London. He has directed major heritage, commercial, and mixed use projects with practices in the UK, France, Germany, and Hong Kong. Will has also owned and directed businesses outside architecture and shares his accumulated wisdom from practice and business through a fourth year design studio as well as courses in environmental and structural technology and architectural practice and business management.
Pitchapa Jular Pitchapa (Pim) Jular holds a Master in City Planning from the Massachusetts Institute of Technology (MIT) and a B.Sc. in Architectural Design from INDA at Chulalongkorn University. She practiced as an architect at Stu/D/O Architects and has hands-on experience in urban strategy and planning as a project manager for city development at Panya Consultants. In 2016, she received a Thailand Fulbright Scholarship in the open competition.
Michal Jurgielewicz Michal Jurgielewicz is an architect with nine years of professional international experience in Southeast Asian and European countries. He operates in the fields of speculation, exploring possible scenarios that emerge from contemporary culture and technology and developing an understanding of the implications of artificial intelligence and automation on current architectural/urban design.
Pratana P. Klieopatinon Pratana (Pat) Klieopatinon has been teaching first and second year studios as well as third year seminar courses on community and urbanism. Her issues
of interest relate to design production, application, and performances at various physical and temporal scales. She believes that design and architecture can be platforms for multidisciplinary engagement on both individual and communal levels.
Antoine Lassus Antoine Lassus is a designer in the fields of architecture, urbanism, and landscape. Involved in the exploration of Bangkok’s historic districts and its communities, he contributes to raising awareness of their cultural value. He previously worked on several French and international projects as part of Bernard Lassus & Associés’s team and as managing partner of Neovista co.ltd. He graduated as Architecte D.P.L.G. from Paris la Villette.
Kannawat Limratepong Kannawat Limratepong is an architect, visual artist, and designer. He completed his undergraduate B.A. degree from INDA at Chulalongkorn University and graduated with a Master of Architecture RIBA pt.II from the Bartlett school of Architecture, UCL. His work reflects the surreal and melancholic elements of society and architecture.
Hseng Tai Lintner Hseng Tai Lintner is a founding partner and design principal of the international architecture and design research practice EA-CR. She has also collaborated with a variety of firms, corporate offices, and institutions as a technological innovation and design consultant. Prior to joining INDA, she had taught at Rensselaer Polytechnic Institute, Chalmers University of Technology, Konstfack, and the University of Westminster.
Thomas Lozada Thomas Lozada is the history-theory coordinator, the publications director, and a design studio instructor at INDA. He has worked in New York as a licensed architect and as a research editor with CLOG, an international publication that critically explores a single topic from multiple perspectives. He was also an adjunct professor at NYIT after graduating with a master’s degree from Pratt Institute.
Payap Pakdeelao is an architect, a retail architecture consultant, and an Adjunct Professor of Architecture at INDA. He earned a Bachelor of Arts in Art History and Practice from Williams College and graduated with a Master in Architecture (MArch I) from Harvard University’s Graduate School of Design.
Takanao graduated from the Architectural Association in 2008 and worked for various architectural firms. His main focus is material research and innovative design concepts, which drove him to win numerous awards including the London Design Award (silver), the DP Inspiration “Design of the year,” and the commission for the pavilion @ ECO WORLD
After receiving a bachelor’s degree in architecture from the Faculty of Architecture at Chulalongkorn University, Pannasan travelled to seek his fortunes in the U.S. Through a series of opportunities, he found himself in graduate studies at the University of Washington, Seattle. Subsequently, he pursued a career in architecture. Life led him back to Bangkok, where he now teaches at INDA with world-class colleagues.
Warisara Sudswong Warisara (Nice) Sudswong is an architectural designer influenced by her international experiences in Thailand, Japan, and New York. Prior to pursuing her Master of Architecture degree from Cornell University, she worked at Kohn Pedersen Fox Associates in New York City, with a focus on supertower projects and airport design where she was part of the team that won the Changi Airport competition.
Chon Supawongse From Si Chon, Nakhon Si Thammarat, Chon Supawongse graduated with a Master of Landscape Architecture with Distinction from Harvard University’s Graduate School of Design where he received Dean’s Merit Scholarships, the American Society of Landscape Architects Certificate of Honor for Excellence, and the Landscape Architecture Thesis Prize.
Per Stefan Svedberg Per Stefan Svedberg is a design principal and a founding partner of EA-CR, an architectural design and research practice operating internationally. He has been commissioned as a technological innovation and design consultant for a range of institutions, firms, and corporate offices. He has previously taught at the Chalmers University of Technology, Konstfack, and Rensselaer Polytechnic Institute.
Tijn van de Wijdeven Tijn van de Wijdeven is an architect and has taught at INDA in Bangkok since 2014. Previously he collaborated with studio Dogma in Brussels as an architect and researcher on various projects and the publication ‘11 Projects.’ Prior to that, he worked as an architect at Mecanoo in Delft. Tijn graduated from Arnhem University of Applied Science (BSc.) and from The Architectural Association (AADipl.) in London.
Wisarut Wattanachote Wisarut (Eric) Wattanachote received his master’s degree from the Southern California Institute of Architecture (SCI-ARC). Wisarut joined MAD Architects in Beijing as an architectural designer as well as Rottet Studio in Los Angeles as a project designer. He returned to Thailand in 2015 to join INDA, and he currently teaches environmental technology and structural design courses. He founded and directed WIWA-STUDIO and Artisine Studio as architectural and interior design practices.
Pakphum Youttananukorn Pakphum (Nanu) Youttananukorn is an artist and designer whose work ranges from functional art to unique furniture pieces and installations. He is involved in various local and international design collaborations. He is a co-founder of both Grains and Grams as well as the Rocket Trail project, and he is a member of Fictional Collective. Having completed the Social Design Master’s program at the Design Academy Eindhoven, he now lives in Bangkok where he runs a woodworking studio.
FACULTY AND STAFF
FACULTY AND STAFF
INDA Administrative Staff
Saul Appelbaum Pongsiri Boonsom Yarinda Bunnag Pitupong Chaowakul Paolo Euron, PhD Peter Fisher Blanca Garcia Gardelegui Fredrik Hellberg Artem Kitaev Lara Lesmes Taylor Lowe Xiaoxuan Lu Patxi Martin Kanwipa Methanuntakul Francisco Garcia Moro Sabrina Morreale Romea Muryn William Oâ&#x20AC;&#x2122;Brien Narit Paranulaksa Will Patera Lorenzo Perri Hans-Henrik Rasmussen Pau Sarquella Sergi Serrat Evgeniia Sidorova Devan Harlan Simunovich Chutayaves Sinthuphan Leonid Slonimskiy Gian Maria Socci Nuno Sousa Peter Strzebniok Komthat Syamananda Eric Tilbury Carmen Torres Ben Uyeda Rebecca van Beeck Natalia Vera Vigaray Bea Vithayathawornwong Danny Wills Cheryl Wing-Zi Wong
Namfon Chantapiriyapoon Administrator (Procurement) Wanwisa Wanchanalat Administrator (Finance) Phongsakorn Embangtoei Administrator (Resources) Pornnipa Khatkantha International Affairs Pornsawan Rangubpis Academic Affairs Thanyarat Chaiyuttapoom Academic Affairs Usavadee Sangwisate Student Affairs
ADMISSION REQUIREMENTS 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 for admission. In all other cases, applicants need to obtain an equivalent certificate from the Ministry of Education. Please check the most updated admission requirements on the INDA website (cuinda.com) 1. High school certificate or equivalent: Applicants have completed high school or passed the high school equivalent standard test (GED, IGCSE) or are presently in high school (Mathayom 6, grade 11-12 in the U.S. system or year 11-13 in the British/IB system)
2. One of the following English proficiency test scores: - TOEFL with a 550 (paper-based) or 79 (internet-based) score - IELTS with a minimum score of 6.0 - CU-TEP with a minimum score of 80 - SAT* (evidence-based reading and writing) with a minimum score of 450 - CU-AAT* (verbal) with a minimum score of 400
3. One of the following math test scores: - SAT* (math) with a minimum score of 570 - CU-AAT* (math) with a minimum score of 550 * In cases where applicants submit both English and math scores from either CU-AAT or SAT, both scores must be from the same test date.*
4. Test scores of aptitude in design: - CU-TAD with a minimum score of 50%
5. Portfolio Personal works of art, craft, and design in an A4-size folder or binding with a thickness not exceeding two (2) centimeters
6. Application form including: - 1,000 baht non-refundable application fee - A copy of the applicantâ&#x20AC;&#x2122;s passport - Two (2) copies of 1 inch x 1 inch photographs - Documents of qualification from points one (1) through five (5) as listed above For CU-AAT, CU-TEP, and CU-TAD testing information, contact Chulalongkorn Universityâ&#x20AC;&#x2122;s Testing Information Center at 02-218-3717 CU-ATC website: http://www.atc.chula.ac.th Detailed schedule, including application deadlines and interviews, will be updated in December 2020 at www.cuinda.com 153
COLOPHON / GUEST LIST Coordinator:
Jak Michael Drinnan
Joy Natapa Sriyuksiri
Erin Finch Stevens
AR Consultant/App Designer:
Marina Otero Verzier
Printed in Bangkok, Thailand
Natalia Vera Vigaray
by Chulalongkorn University Press,
Likit Q Kittisakdinan
Special thanks to all of our
review guests, collaborators,
and everyone else who helped
make this another successful
year at INDA.
Archie Lee Coates
Inside cover: Saifa Sathaporn