INDA 2020-2021

UNVEIL YOUR INDA LIFE

International Program in Design and Architecture Faculty of Architecture Chulalongkorn University

In addition to augmented reality content, which can be accessed through the use of customized scannable symbols and an interactive CUINDA AR smartphone application (designed and written by fourth-year student Prima Rojanapiyawong), we also wanted to bring back a sense of tactility that cannot be replicated through virtual means. This tactile experience is achieved through the creation of a mini “flipbook” on the corner of each page and the process of unwrapping the red film from the book that reveals a hidden message. #unveilyourINDAlife The CUINDA AR app is available for free to download on the App Store and the Google play store. After downloading the application (designed and created by fourth-year student Prima Rojanapiyawong), you can use your phone’s camera to scan these symbols and link to supplementary digital content. Brown symbols link to videos while orange symbols offer access to 3D models that can be viewed in augmented reality.

We hope you enjoy it.

INDA YEARBOOK 2020–2021

INDA LIFE

INTERNATIONAL PROGRAM IN DESIGN AND ARCHITECTURE CHULALONGKORN UNIVERSITY

2020-2021 WWW.CUINDA.COM

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DIRECTOR’S STATEMENT For most of the 2020-2021 academic year, INDA has been conducting operations remotely and teaching classes online while the rest of Thailand has gradually adapted to the “new normal” conditions created during the COVID-19 pandemic.

Similar to 2020, it has been a challenge to manage classes and maintain a high quality of education for our students, some of whom have never met face-to-face with their instructors. The well-being and safety of our students, staff, and faculty has always been our top priority and, therefore, enabling feedback and encouraging constant communication have been crucial to developing a better learning experience during this ongoing pandemic. All lectures and studios have been conducted online while on-site activities have been limited to individual use of the lab facilities as needed.

During the preparation of this yearbook, the team discussed including images of the students’ “new normal” life outside of the classroom. This idea of going beyond coursework quickly gained interest from many students and alumni. As a result, the 2020-2021 yearbook is not only a documentation of student projects over the past year, but also a collection of photos and videos that reflect the students’ viewpoints and experiences and offer a more personal insight into their resilience and adaptability. I believe the future will bring additional unforeseen challenges, but I am also confident that INDA students will endure and succeed beyond our expectations.

Surapong Lertsithichai INDA DIRECTOR

Despite the lack of physical interaction, remote teaching and online platforms have provided INDA with more opportunities to collaborate with international peers and professionals who have contributed as remote studio instructors, guest lecturers, reviewers, and participants in INDA’s online activities. This included the 2013 PritzkerPrize-winning architect Toyo Ito, who joined the INDA Parade remotely with an inspiring talk for our students and alumni. On-site summer activities requiring hands-on experience such as DesignBuild projects and Design and Construction Projects for Communities proceeded as usual but with extra precautions. Projects were scaled down and/or located within Bangkok, while construction materials were generally fabricated off-site and assembled on-site by contractors with minimal physical contact with students.

INDA Introduction Video

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INDA YEARBOOK 2020–2021

INDA LIFE

INDA HISTORY The International Program in Design and Architecture (INDA) is an international program taught within the Faculty of Architecture at Chulalongkorn University in Bangkok.

Chulalongkorn is the oldest University in Thailand, founded in 1917 by King Rama VI in honor of his father, King Chulalongkorn. The Faculty of Architecture was first established in 1939, and it has a long and successful history of educating professionals for practice in Thailand. INDA was initiated by Prof. Dr. Bundit Chulasai and in August 2004, as the head of the Architecture Department, he appointed Dr. Preechaya Sittipunt to head a curriculum development committee, including Assoc. Prof. Dr. Pinraj Khanjanusthith, Assoc. Prof.

Dr. Piyalada Thaveeprungsriporn, Chaiboon Sirithanawat, Asst. Prof. Dr. Rachaporn Choochuey, and Asst. Prof. Dr. Wonchai Mongkolpradit. From the launch of the program until her retirement in 2019, Dr. Preechaya has served as the director of INDA along with Asst. Prof. Pornprom Mannontaratana, who joined as deputy director in 2010. INDA is now led by Asst. Prof. Dr. Surapong Lertsithichai as the Program Director, Dr. Sorachai Kornkasem as the Deputy Director, and Dr. Preechaya as the Program Advisor.

Prof. Dr. Bundit Chulasai

Since its first intake of nearly forty students in 2006, INDA has grown rapidly, and now has a cohort of well over 300 students. In 2021, INDA graduated its twelfth class, and it is establishing itself as one of the preeminent design schools in the region. With a focus on innovation and experimentation, INDA aims to provide its graduates with a truly international perspective on architecture and design. It does so by employing instructors from around the world, including the United States, the United Kingdom, China, Japan, Australia, Spain, Sweden, Germany, France, Denmark, Russia, and Thailand. Instructors have graduated from leading international design schools including the Architectural Association, Harvard University’s Graduate School of Design, the Massachusetts Institute of Technology, Columbia University, Cornell University, the University of California Berkeley, New York University, the School of the Art Institute of Chicago, Melbourne University, and many more.

Thus, the faculty bring with them unique perspectives on architectural innovation from around the world.

Although INDA has adopted architecture as its principal topic of study, it aims to show how architecture connects to other disciplines, such as landscape architecture and urban design, and to highlight how architecture is representative of design disciplines in general. It also aims to instill in students fundamental design skills such as creative and critical problem solving, an awareness of the role of design at a community level, and an ability to cope with the changing demands of the design professions in the 21st century.

Dr. Preechaya Sittipunt

INDA’s fifteenth class during their freshman photo day Introduction

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EDITOR’S STATEMENT “At least for now, architecture school remains the crucial site where the discourse of architecture is formulated and disseminated. More than the sum of its curricular components, it is the place where students become conscious of themselves as members of a preexisting community of professionals and intellectuals, where they begin to sort out the manifold identities available to them, and where the future field of architecture, in all its disciplinary and professional cognates, is collectively constituted.”

—Joan Ockman, Architecture School: Three Centuries of Educating Architects in North America The International Program in Design and Architecture (INDA) has been and continues to be a dynamic platform where multiple discourses in the architecture and design disciplines are constantly being revisited and reimagined. The role of the annual INDA publication has been to collect, curate, and archive the multitude of approaches, agendas, interests, processes, and visions that define the work completed during each academic year, but it also serves as the stage where these ideas are presented and disseminated.

use of customized scannable symbols and an interactive CUINDA AR smartphone application (designed and written by fourth-year student Prima Rojanapiyawong), we also wanted to bring back a sense of tactility that cannot be replicated through virtual means. This tactile experience is achieved through the creation of a mini “flipbook” on the corner of each page and the process of unwrapping the red film from the book that reveals a hidden message. #unveilyourINDAlife Lastly, to quote Jesse Seegers, the former associate editor for digital projects at the Columbia University Graduate School of Architecture, Planning, and Preservation (GSAPP), we hope that this publication, “the amalgamation of papers, ink, and materials [in this case also of bits and bytes] will last as a statement of purpose as much as a documentation of a period in time.”

We hope you enjoy it.

Jane Chongsuwat YEARBOOK COORDINATOR & EDITOR

In the 2020-2021 academic year, nearly all classes have been administered online. This lack of physical interaction has posed an issue in the creation of this yearbook, not only due to the postponement or cancellation of certain events– such as the graduation ceremony or the annual INDA Gala–but also due to the absence of “life” that defines the school’s unique character. In an attempt to engage the INDA community in the making of this book, we started an “add yours” feature on Instagram–inviting students, faculty, and alumni to contribute in sharing their moments of “INDA Life.”

Thanks to the graphic designers at Studio Marketing Materials, the social media posts accumulated through the “Show me your INDA Life’’ tag have been translated into the key visual of the book’s design–reflecting the progressive values of the school and the resilience of the INDA community in adapting to the challenges posed by the pandemic. Orange, low-fidelity images of “INDA Life” form a backdrop behind images of featured students’ work throughout the book, representing the inevitable integration of “work” and “life’’ that we all have experienced during this period of online instruction. The expression of this duality – a parallel progression between work and life, online and offline spaces, or physical publication and virtual exhibition – is further explored through the reading experience. In addition to augmented reality content, which can be accessed through the

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INDA YEARBOOK 2020–2021

INDA LIFE

CONTENTS

6 14 26 44 64 74 92

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INDA PARADE

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DESIGN EXPERIMENTATION WORKSHOPS (DEX)

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YEAR 1

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YEAR 2

YEAR 4

NEWS & EVENTS

ALUMNI NETWORK

FACULTY AND STAFF

DESIGN-BUILD

YEAR 3

DESIGN AND CONSTRUCTION PROJECTS FOR COMMUNITIES

Introduction

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INDA Parade 2021: The Butterfly Dream

DESIGN TEAM COORDINATOR: Takanao Todo DESIGN CONSULTANT: Wasutop Viriyasuebpong TECHNICAL ASSISTANTS: Nattha Dhamabutra Santasak Apasuthirat 6

INDA YEARBOOK 2020–2021

INDA LIFE

The INDA Parade is the school’s signature event held at the end of each academic year that includes design studio reviews, exhibitions, lectures, and social events happening concurrently and in the same space. It enables the community of students, instructors, alumni, guests, and the public to discover and celebrate the student work collectively as part of an ongoing conversation. Challenged by the conditions of the COVID-19 pandemic, INDA continued to use a social virtual reality platform in 2021 as a complementary tool for exchanging and representing ideas.

In the ancient Chinese text Zhuangzi, Zhuang Zhou dreams of being a butterfly. When he wakes up, he is not sure if he is Zhuang Zhou who dreamed that he was a butterfly, or if he is a butterfly who dreamed that he was Zhuang Zhou. INDA Parade 2021, “The Butterfly Dream,” bridges between physical reality, augmented/virtual reality (AR/VR), and online communication platforms to create a seamless dialogue between these realities.

The main exhibition space and forty additional worlds dedicated to different design studios have been constructed inside a VR platform. In this world, floating islands contain individual student work including a digital model and a broadcasting screen to livestream the reviews. The islands in the main exhibition space are organized in the formation of a stepwell with a large screen floating in the center that maximizes visibility of the public events. The exhibition and the virtual worlds are still open and free to access at cuinda.com/parade.

INDA Parade

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In addition, three invited international guests gave keynote lectures, including Pritzker-Prize-winning Japanese architect Toyo Ito, American architect Jesse Reiser, and architect and academic Jonas Lundberg.

INDA alumni also shared some of their professional work and their experiences since graduation, offering valuable insight into the challenges of working in a corporate architecture office, setting up your own design practice, getting into other design fields, and running your own creative business.

There was also a panel discussion with leading Thai architects including Chatpong Chuenrudeemol from CHAT architects, Boonserm Premthada from Bangkok Project Studio, Tonkao Panin from Research Studio Panin, and Varudh Varavarn from Vin Varavarn.

INTERNATIONAL KEYNOTE LECTURES

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“The Challenge of Contemporary Architecture” Toyo Ito, Honorary Fellowship of AIA, Honorary Fellowship of RIBA, Commissioner of Kumamoto Artpolis Founder of Toyo Ito & Associates, Architects, Tokyo “In and Out of Context” Jesse Reiser, FAIA, FAAR Principal of Reiser + Umemoto RUR Architecture DPC; Professor of Architecture at Princeton University, NJ

“Infinite Grounds: Building as Cities in the Work of Urban Future Organization” Jonas Lundberg, architect based in London, UK and Gothenburg, Sweden Senior Lecturer IT, AV & CAD at the School of Art, Architecture, and Design, London Metropolitan University, London

INDA YEARBOOK 2020–2021

INDA LIFE

INDA Parade Live Exhibition Space

INDA Parade Avatar in Space

INDA Parade

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INDA Parade Live Exhibition Space

INDA Parade

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SINGLE IMAGE PRIZE 2021

YEAR 1

Architectural representation is essential to convey the ideas and intentions of projects. Truly exceptional examples of representation can expand the communication of a single image to suggest a project’s uses, systems, histories, and contexts. They can enhance our understanding not just of the projects themselves, but of the larger forces that helped to shape them.

This year, as part of the INDA Parade, we have introduced a new award for individual images called the ‘Single Image Prize.’ The award is meant to recognize especially noteworthy examples of creative architectural representation. The nominated images include plans, sections, elevations, axonometrics, perspectives, renderings, sketches, photos, illustrations, storyboards, details, diagrams, maps, and more.

For this award, we have looked for images that effectively encapsulate the essential ideas of their respective projects, images that succinctly tell a story, images that communicate across disciplines, and images that exhibit an exceedingly high level of craftsmanship. The nominated images are characterized by their distinct visual styles or techniques, and they range from diagrams and storyboards to model photos and photorealistic renderings. They effectively define the diversity of the program, its multiplicity of design approaches, and the unique voices of our incredibly talented students.

Sirada Kittipongkosol

Pran Techamuanvivit

Chayanuch Thitichayaporn

YEAR 2

Veerin Dumrongkijkarn

Nutnicha Sirorattanakul

Noraphat Lohamongkol

Chananya Auttavoothisilpa

YEAR 3

For a closer look at these nominated images, please visit our online exhibition at https://miro.com/app/board/o9J_lFEbeqU=/ Nisama Lawtongkum

Anchalika Thepnumsommanus

Ann-pavinee Langenskioeld

Praewrung Chantumrongkul

YEAR 4

Sutinee Leelaratrungrueang

* Names of students who won the Single-Image Prize are shown in orange.

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Satida Adsavakulchai INDA YEARBOOK 2020–2021

Sasipa Punkasem

Peera Tayanukorn

INDA LIFE

Thanpitcha Tiemtree

Nadda Honghiranrueng

Porpiang Ratanapongphasuk

Pattiya Apiwattangsakul

Thipakorn Thitathan

Purim Suthvanich

Orranath Saeheng

Khanapot Chaiprem

Tassaporn Sukhumdhanakul

Napapa Soonjan

Pornnapas Rittiwut

Pantira Lai

Tonnam Termrungruanglert

Plaifha Siripanthong

Phatharawarong Chierakul

Slin Smakkamai

Tanon Theerasupwitaya

Thongthat Harnvorrayothin

Sirapat Sapthaweeteerakul

Boonyavee Sureephong

Panassaya Waenkaew

Rachapon Jidapasirikul

Prao Sirisaksopit

Sakaokaew Jindawitchu INDA Parade

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Design Experimentation Workshops 2021

COORDINATOR Dr. Scott Drake 14

INDA YEARBOOK 2020–2021

INDA LIFE

The Design Experimentation workshops aim 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.

Design Experimentation Workshops (DEX)

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GUEST INSTRUCTORS

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Savinee Buranasilapin and Tom Dannecker thingsmatter

Brian McGrath Parsons School of Design

Thingsmatter is a design studio committed to engaging with architecture as both critical discipline and fine art; as an instrument for cultural enlightenment beyond economic gain. Their early work in Bangkok includes temporary interventions in commercial spaces that criticize aspects of consumer culture while celebrating the material extravagance and diverse audiences that only shopping malls can provide. Their recent work extends the working methods, tactility, and human scale of thingsmatter’s event architecture to more conventional buildings, including private residences, that offer public statements on the nature of the built environment.

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 from 2006 to 2008. He received his Master of Architecture degree from Princeton University.

Savinee Buranasilapin and Tom Dannecker founded thingsmatter in 2005 after studying architecture at Princeton University. In Bangkok, they’ve taught, lectured, and conducted workshops at Chulalongkorn, Silpakorn, Kasetsart, Rangsit, and Bangkok Universities. Overseas, they’ve lectured about their work at Princeton, Harvard, and Columbia, and at several international conferences.

Hiroyuki Sasaki is a professor in the Department of Architecture at Meiji University. He is also a principal of FTS Urban Design’s Tokyo office. As a Tokyo-based urban design practitioner, his most recent work focuses on the design of downtowns, central business districts, transit districts, and urban public spaces that make cities and towns recognizable and unique. Other recent research focuses on the same-scale comparison of districts and neighborhoods in the Tokyo Metropolitan area and the techniques of form-based coding.

Bora Hong Bora Hong has been involved in various art and design exhibitions as well as in public art projects working as a commissioner or an art director. After graduating with an M.A. in Arts Administration from the School of the Art Institute of Chicago, she worked for the Department of Cultural Affairs in Chicago as a Program Coordinator for both cultural exchange programs and art education programs.

Currently, she works as the director of Gallery Factory in Seoul, South Korea (since 2002), and the Artistic Committee of Art Fair Tokyo 2011. Hong is also the publisher of the independent art magazine <versus>, and a visiting lecturer of art, planning, and cultural policy at multiple universities.

Marta Kwiczała Marta Kwiczała is an interior architect exploring food issues and connecting their systemic aspects through their viscerality. Seeing food as an indispensable attribute of culture, a necessity, and a waste, her work examines the narrative of recipes, and the chemistry behind taste–the memories and emotions it arouses and the rituals and customs implicated by it. Her interests lie in food production and its ecology as well as food as an artistic medium and a tool for communication.

Hiro Sasaki Meiji University

David Schafer David Schafer is a visual and sound artist in Los Angeles whose interdisciplinary practice includes sculpture, sound, text, and print for individual works, installations, and public art. He was born and raised in Kansas City, Missouri, and grew up witnessing the development of suburbs, highways, and shopping malls that consumed the rural landscape around him. Influenced by urban planning and societal and consumer systems, he is interested in the structures of language and the built environment and the market forces that shape them. His work combines formalist aesthetics to reframe found motifs and structures in order to investigate systems of historical and cultural memory, built space, and language. Schafer employs hybrid techniques that combine traditional materials in sculpture and two-dimensional works.

Oliver Loesser Oliver studied at the University of Applied Arts in Vienna in the Masterclass of Wolf D. Prix. After graduation, he worked as a design architect in Germany and China for Hadi Teherani Architects, UNStudio, and GMP Gerkan Marg and Partners. In 2017, he was accepted as a licensed architect in the Architecture and Urban Planning Chamber in Germany, Hessen.

Design Experimentation Workshops (DEX)

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GROUNDED INSTRUCTORS Savinee Buranasilapin and Tom Dannecker thingsmatter

Architecture’s most basic task is to make magic out of something dumb. Whatever else we may be asked to do, we need to transcend banal constraints imposed by physics, economics, and scheduling, to make a novel object that stirs us on some intellectual, spiritual, or emotional level.

Clear, successful, and accessible examples of this kind of architecture perch above every temple fair.

Formerly made from fluorescent light tubes wrapped in colored gels and bare bulbs hanging from wires, these glowing sculptures have transitioned to lighter, flexible LEDs, resulting in an expanding range of formal typologies and incorporating movement. They remain exceedingly clever in their use of dumb, off-the-shelf technology. They are modular, transportable, and easily repaired or modified. Their structural and electrical details are unpretentious, confident, and elegantly interdependent. Temple fair light sculptures are sophisticated enough that we can learn from them, and naïve enough that we can contribute to their evolution.

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INDA YEARBOOK 2020–2021

INDA LIFE

NEOMATERIAL INSTRUCTOR Bora Hong

A material can be used to tell a story of environmental issues and, by doing so, that material can be considered as a tool to raise awareness.

In this workshop, students create their own materials according to five keywords: Re-use, Re-cycle, Re-form, Re-think, and Re-build. The base materials mainly consist of organic and bio-based substances as well as local materials made in Thailand. Students can act first and think later while experimenting with the materials. This gives students a chance to observe their own process and witness how accidental beauty appears while working with their hands. The final results reveal imaginative material inventions and possibilities.

Design Experimentation Workshops (DEX)

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UNIVERSALITY OF CARBS INSTRUCTOR Marta Kwiczała

In this workshop, participants look into bread matter and exhibit the effects of their collective bread making experience. Students contacted local bakers to learn more about the bread culture of Bangkok. They asked questions, heard stories, took pictures, touched and smelled the bread, and otherwise used these encounters as a departure point for further exploration. By doing so, they discovered a multitude of ways in which bread is woven into the fabric of human life–the diverse forms of knowledge, the elaborate rituals, and the infrastructures that have been built up around it (scientific, cultural, everyday). By getting acquainted with narratives, methods, and recipes, they have invented their own language and used bread as a communication medium and a dynamic design material.

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INDA YEARBOOK 2020–2021

INDA LIFE

CUPCYCLE INSTRUCTOR Oliver Loesser

This workshop deals with the topic of up-cycling existing plastic and paper products that have been used only one time and thrown away. We aim to reinterpret these products and to question their inefficient usage and the ecological damage it causes in order to find new ways of using them in more sensible, sustainable ways.

Design Experimentation Workshops (DEX)

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ECOLOGY OF A SOI INSTRUCTOR Brian McGrath Parsons School of Design

Anthropologist Erik Cohen calls sois the “interstitial hinterland” between the dominating lines of urban expansion. A soi is a bounded physical environment comprising both social proximity and ecological processes. Soi Kasem San 1, tucked between Rama 1 Road and Klong Saen Saeb, is the semi-autonomous ecological subsystem where we have collected information on architectural patterns, micro-climates, and the movements of residents, tourists, workers, and vendors. On this short lane there are a series of shophouses, guest houses and boutique hotels, a construction site, numerous food vendors, an ice factory, private houses, and Yelo, a co-working space facing the canal.

As a collective design experiment, we have co-created an immersive data visualization of the ecology of Soi Kasem San 1. The workshop was divided into two parts: video data gathered in the field, and post-production design and data visualization in the studio.

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CREATIVE COLLEGE TOWN INSTRUCTOR Hiro Sasaki Meiji University

A college town is a community centered on educational institutions. It activates various commercial and social activities, and improves access as it brings together a large population.

This style of urban development became popular in the 1960s, however, as our society has developed with online communication including remote education and diverse learning styles, college towns need to accommodate these changes. This workshop seeks to create educational street furniture as a kind of “learning commons” that suggests a new type of learning space engaging with the city and improving the quality of a college town.

Design Experimentation Workshops (DEX)

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LIGHT AND MATERIAL INSTRUCTOR David Schafer

By working empirically in full-scale and in real-time, this workshop seeks to gain a deeper connection to the essential roles of light and material in architecture. Focusing simply on these elements, participants construct, consider, reconstruct, and reconsider fixtures which may filter, reflect, absorb, influence, or otherwise transform light by positioning, modulating, transforming, and revealing different materials

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INDA YEARBOOK 2020–2021

WORKSHOP

STUDENTS

INDA LIFE

Grounded Savinee Buranasilapin and Tom Dannecker thingsmatter

Asama Boonsanong Praewrung Chantumrongkul Thammapron Iam-eak Korrawich Koomtako Natalie Pirarak

Slin Smakkamai Kana Sricharoenchai Natcha Thanachanan Phawin Vongphavit Chawin Wiwatcharoenkul

Neomaterial Bora Hong

Yuhunny Baka Harris Boonkerd Pattarawadee Hansiripongsakul Vasinee Mongkolcheep Pollakrit Naimee

Thaweewat Rugsujarit Saifa Sathaporn Pitchaya Tangtanawirut Pinutcha Wiriyapanlert Pachara Wisetphanichkij

Universality of Carbs Marta Kwiczała

Narintip Chaemdara Latisha Delokomol Sararin Jermhansa Napassorn Kanwatchara Ramita Keeratiurai

Praeploy Phaewpisakul Thaiyani Sathienthirakul Tanon Theerasupwitaya Anchalika Thepnumsommanus Phannaphon Vatanavoraluk

Cupcycle Oliver Loesser

Supavitch Bandhaya Termrak Chaiyawat Kaweewat Chanchitfa Aria Ekasilapa Sarita Hatakaroon

Methawadee Pathomrattanapiban Nutaya Pimolsaengsuriya Prima Rojanapiyawong Sasatorn Sawansan Napapa Soonjan

Ecology of a Soi Brian McGrath Parsons School of Design

Pannathorn Amnuaychokhirun Nichaporn Atsavaboonsap Buris Chanchaikittikorn Pattraratee Keerasawangporn Nisama Lawtongkum

Pheerapitch Phetchareon Raphadson Saraputtised Pittinun Tantasirin Aticha Thanadirak Nicha Vareekasem

Creative College Town Hiro Sasaki Meiji University

Panotn Chotesukhathai Phuridej Eakthanasunthorn Thongthat Harnvorrayothin Nathapong Nurae Peeradon Pananuwetchawat

Putt Sirisaksopit Sirawich Teerasithipol Paranyu Tempattarachoke Poranon Thitaparun Poomipat Waengsothorn

Light and Material David Schafer

Titaporn Amatanon Khine Thin Aye Weerada Chalermnont Anunyoch Dumrongpongsawat Ann-pavinee Langenskioeld

Thanapat Limpanaset Thongtor Nontavatit Benyapa Piboolvitayakul Nuntaluck Songsamphant Kornkulp Techavorabot

Design Experimentation Workshops (DEX)

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Year 1

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DESIGN I DESIGN II DESIGN TOOLS AND SKILLS INTRODUCTION TO ENVIRONMENTAL DESIGN Year 1

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DESIGN I INSTRUCTORS Kamonsin Chathurattaphol Patrick Donbeck Liva Dudareva Ema Hana Kačar Pratana Klieopatinon Hseng Tai Lintner (coordinator) Thomas Lozada Christo Meyer Per Stefan Svedberg Takanao Todo

CATALOG, COPY, SAMPLE This studio has interrogated the creation and curation of spatial experiences and perceptions through the act of sampling and transforming physical objects or “readymades.” The course introduces design methodologies that reuse and manipulate parts, pieces, and/or wholes of found objects and artifacts in order to create spatial effects with a new set of embedded site-specific or object-specific cultural associations. Gathered from various regions of Bangkok, each collection of objects and artifacts defines the idiosyncrasies of specific places or activities through the examination of each object’s cultural origins, meanings, and material qualities. Students have developed a series of formal operations that capture, translate, and reappropriate their “readymades” into a taxonomy of spatial studies that culminate in a 10x10 meter transactional intervention. Based on the associations derived from their objects, “transaction” in this sense has been interpreted as a form of exchange–of knowledge, culture, or even goods and services. Students were required to reconcile formal explorations with ergonomic aspects relating to human scale and function and to curate a set of spatial experiences and formal expressions that support their proposed transaction.

Suchaya Wanuchsoontorn

Peeranat Hiranyaprathip

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INDA YEARBOOK 2020–2021

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Poonyapa Arakwatana Design Excellence Award

Pornnapas Rittiwut

Kawin Boonprasert Year 1

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Suwapat Phromhuad

Natnaree Junjerm 30

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Chalisa Thawongpia

Punvita Tawinvavit

Porpiang Ratanapongphasuk Year 1

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DESIGN II INSTRUCTORS Juan Cuevas Liva Dudareva Michal Jurgielewicz Ema Hana Kačar Pratana Klieopatinon Hseng Tai Lintner (coordinator) Oliver Loesser Thomas Lozada Warisara Sudswong Per Stefan Svedberg

CURIOUS CABINETS Existing in tension between myth and reality, before the establishment of the formalized institutional museums of today, the classic “Cabinet of Curiosity” was typically a private collection that incited the onlooker with a sense of enchantment and awe. Containing objects that would in contemporary terminology be categorized as belonging to natural history, geology, ethnography, archeology, religious and historical relics, and works of art, these collections revealed narratives about the spatial and temporal dimensions of places and cultures that transcended mere factual detail. They inspired fear and wonder in the collective imagination of their time.

Similarly, through conducting an in-depth analysis of various sites along the Maha Nak and Saen Saeb canals in Bangkok, students created a hypothetical collection of objects that reveal hidden, deviant, and alternative narratives about a specific place. Based on empirical records and findings, these narratives are cultural, mythical, historical, geological, biological, or even ecological in nature. Working from their collection, students have reappropriated and transformed various characteristics extracted from their collection or site to create a series of curious cabinets; miniature site specific chambers of wonder littered across the urban fabric. Together these curious cabinets unearth untold stories about places that exist in the substrata between fact and fiction. They inspire fear and wonder in the collective imagination of our time.

Nichakan Srimaung

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Darapon Chaibal

Pornnapas Rittiwut

Prapada Chaitanakankul

Year 1

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Ann Kanchanasakdichai

Supitchaya Robru

Poonyapa Arakwatana Design Excellence Award

Napat Yanotai 34

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Nadda Honghiranrueng

Peeranat Hiranyaprathip

Year 1

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REVIEW PHOTOS

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YEAR 1

INDA YEARBOOK 2020–2021

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Year 1

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DESIGN TOOLS AND SKILLS INSTRUCTORS Patrick Donbeck (coordinator DTS I) Michal Jurgielewicz Ema Hana Kačar Kannawat Limratepong Hseng Tai Lintner Warisara Sudswong Per Stefan Svedberg (coordinator DTS II) Tijn van de Wijdeven

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 students’ 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.

Prapada Chaitanakankul

Poonyapa Arakwatana 38

INDA YEARBOOK 2020–2021

INDA LIFE

Patchanon Kan

Year 1

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Naman Choudhary

Darapon Chaibal

Supawish Siranarakul

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INDA YEARBOOK 2020–2021

INDA LIFE

Kritsada Chanaphaijaroensuk Porpiang Ratanapongphasuk

Prisra Sosothikul Year 1

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INTRODUCTION TO ENVIRONMENTAL DESIGN INSTRUCTORS Dr. Surapong Lertsithichai Hyunju Jang

This course develops students’ 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.

Napaphat Panombanchong

Darapon Chaibal

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INDA YEARBOOK 2020–2021

STUDENTS

INDA LIFE

Thisa Aiemwat Nicha Apinunrattanakul Pattiya Apiwattangsakul Poonyapa Arakwatana Trin Asawapornchai Pakkamon Banlengchit Didtita Banyutsin Kawin Boonprasert Panta Buttirachai Darapon Chaibal Prapada Chaitanakankul Nichapatch Chaiverapundech Navit Chalidabhongse Sorasit Chamaumporn Kritsada Chanaphaijaroensuk Tanakorn Changchun Printr Chatjaroenchaikul Nippit Cheybumroong Taechit Chinachatchawarat Peeraya Chiracharoenwat Ramita Chotkangwarn Peeranat Hiranyaprathip Nadda Honghiranrueng Pornchanit Itthikamollet Dholrit Ittipholphaisan Paranat Janwattanaudom Thanthorn Jittpoonkusol Natnaree Junjerm Nutticha Kaewthong Patchanon Kan Ann Kanchanasakdichai Hong Yun Kang Sirada Kittipongkosol Sawanna Kularbwong Pabhavarin Lalitkulanant Janista Leewiboolsilp Yii Ru Lin Yodsapat Lohavattanakul Akkarapat Neeyapan Puttapob Ongsupankul Napaphat Panombanchong Nirada Panwittayakul Natnicha Paseepol Nathana Pavitpok Porama Phaisittrakun

Year 1

Suwapat Phromhuad Chanya Pitialongkorn Kananchapong Pongpichatorn Petchrada Prompanit Anna Pumhiran Punyaderek Punyahotra Porpiang Ratanapongphasuk Itthiched Rattanaarphaiphong Pornnapas Rittiwut Supitchaya Robru Ravisara Roeung Natthaphat Rojkittiskun Orasri Sae-tieo Orranath Saeheng Pannathorn Saengklieng Metta Sangsukiam Natt Sereerath Supawish Siranarakul Thornthan Sirichanyakul Jiratchaya Sirinukoonchorn Ditchapong Sivapiriyawong Prisra Sosothikul Supitcha Srichart Nichakan Srimaung Polchaya Sublabha Thitikorn Suksomboon Tachsorn Suksrianusorn Pantida Summachewanun Oranich Supich Chollanan Suravudhikul Nynn Tangtienchai Natcha Tanjaroen Rachata Tantaweewong Punvita Tawinvavit Pran Techamuanvivit Koranid Teyavongsak Chalisa Thawongpia Thipakorn Thitathan Chayanuch Thitichayaporn Thanpitcha Tiemtree Sitanan Trakulsuebchai Kulwarang Waiyavat Suchaya Wanuchsoontorn Thanyaran Wasinchaikullpat Napat Yanotai

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Year 2 DESIGN III ARCHITECTURAL DESIGN I FUNDAMENTALS OF STRUCTURAL DESIGN CONSTRUCTION TECHNOLOGY HISTORY + THEORY OF ARCHITECTURE I – II 44

INDA YEARBOOK 2020–2021

INDA LIFE

SOUTHEAST ASIAN ARCHITECTURE TROPICAL ARCHITECTURE

Year 2

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DESIGN III INSTRUCTORS Eduardo Cassina (coordinator) Michal Jurgielewicz Ema Hana Kačar Pratana Klieopatinon Thomas Lozada Christo Meyer Payap Pakdeelao Marie-Louise Raue Takanao Todo Tijn van de Wijdeven

DIP, DIP, DIP BANG !!!! *CRASH* Architectural demolition has become increasingly commonplace during the 20th century due to the financialization of buildings and the transition of buildings from providers of shelter into economic assets. This financial model has, paradoxically, led to both more frequent construction and more abrupt demolition of buildings. Prior to this, demolition served–and continues to serve–as an assertion of power: from weaponized demolition as a sustained military practice through the centuries, to the demolition of structures as a result of a political or ideological shift. Although demolition, erosion, and destruction are integral parts of urban living, architecture rarely applies ‘afterlife’ thinking into the design process. How can we incorporate these changes more effectively into a project? How can we integrate a more time-based and transformative understanding of matter and space into the design process? How can we establish design discourses along lines of erosion, demolition, and destruction? What futures await a particular building or site? When does the destruction of a building begin?

Veerin Dumrongkijkarn

Noraphat Lohamongkol

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INDA YEARBOOK 2020–2021

INDA LIFE

Pimnara Poonkham

International Program in Design & Architecture 2020 — 2021

Miriam Dheva-Aksorn

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Year 2

Sathida Taesriprasert

Nara Lojanatorn Design Excellence Award

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INDA YEARBOOK 2020–2021

INDA LIFE

Chananya Auttavoothisilpa

Year 2

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ARCHITECTURAL DESIGN I INSTRUCTORS Eduardo Cassina (coordinator) Juan Cuevas Patrick Donbeck Paul Feeney Ema Hana Kačar Pratana Klieopatinon Oliver Loesser Thomas Lozada Payap Pakdeelao Takanao Todo Tijn van de Wijdeven Norrawich Busarakum

BKK 2031 In this studio, we are writing a letter to the Mayor of Bangkok, Pol. Gen. Aswin Kwanmuang, about the immediate future of our city. The Thai capital is at the forefront of tremendous changes over the next decade: from socio-economic changes triggered by the current global pandemic, migration flows, and urbanization, to pressing ecological shifts such as coastal erosion, flooding, and drought. How will the city respond to these changes? How will the lives of citizens be affected?

Globally, we are facing a climate crisis: a rise in temperatures due to the accumulation of carbon dioxide in the Earth’s atmosphere. Solutions will have to take place at a planetary level, developing sophisticated plans to reduce and capture carbon emissions. How can Bangkok adapt some of these proposals as a city for a carbon neutral/ negative future?

BKK 2031 is an explorative project where we are developing a series of proposals that take into account predicted socio-economic trends and climate change forecasts in the coming decade and respond to carbon neutral/carbon negative objectives.

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INDA YEARBOOK 2020–2021

INDA LIFE

Phatharawarong Chierakul

Sathida Taesriprasert

Noraphat Lohamongkol

Year 2

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Thanutcha Pueriphanvichai

Tassaporn Sukhumdhanakul Design Excellence Award

Nutnicha Sirorattanakul 52

INDA YEARBOOK 2020–2021

INDA LIFE

Pantira Lai

Sasi Ounpiyodom Year 2

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REVIEW PHOTOS

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YEAR 2

INDA YEARBOOK 2020–2021

INDA LIFE

Year 2

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FUNDAMENTALS OF STRUCTURAL DESIGN INSTRUCTORS Dr. Scott Drake Paul Feeney (coordinator) Will Hulbert Antoine Lassus Thomas Lozada Pannasan Sombuntham (coordinator) Takanao Todo Wisarut Wattanachote Pakphum Youttananukorn

The Fundamentals of Structural Design course this year consists of two projects–the first is a model for an event pavilion made from matchsticks (in which no structural member may exceed two meters in length), and the second is a design for a bridge crossing the Saen Saeb canal in Bangkok.

Students are required to specify the form, structure, materials, connections, and finishes of the canal bridge while considering factors like site access, transportation, assembly, and constructability.

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INDA YEARBOOK 2020–2021

INDA LIFE

CONSTRUCTION TECHNOLOGY INSTRUCTORS Dr. Scott Drake Paul Feeney (coordinator) Will Hulbert Oliver Loesser Thomas Lozada Christo Meyer Pannasan Sombuntham (coordinator) Takanao Todo Wisarut Wattanachote Pakphum Youttananukorn

The Construction Technology course involves the development of a facade and its relationship to structure and the interior. The facade is the defining element that is added to a piece of structure that creates an integrated enclosure and thus a piece of architecture. Ultimately the facade is the defining line between a private inner world and the public outer world.

Plaifha Siripanthong

This course aims to impart a fundamental understanding of materials, principles, and methods of construction. A series of lectures cover material properties (including how, when, and where they are used), construction methods and technologies, and the implications of the construction process in an architectural design.

Through a sequence of drawing and model-making exercises and in-class projects, the students make use of these principles in practical terms.

Peerada Jantapaluek

Year 2

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HISTORY + THEORY OF ARCHITECTURE I – II INSTRUCTORS Jane Chongsuwat Thomas Lozada (coordinator) Warisara Sudswong

Titled ‘Petrochemical Landscape,’ this map showcases the chemical geographies of “Cancer Alley” along the lower stretch of the Mississippi River in Louisiana. Source: Map courtesy of Kate Orff.

QUESTION In order to address climate change in a meaningful way, Elisa Iturbe argues in her essay ‘Architecture and the Death of Carbon Modernity’ that we must overcome carbon form, but she acknowledges that despite changes in architectural styles and aesthetic tastes over the last hundred years, carbon modernity still persists. Explain why you think we have been unable to escape the paradigm of carbon modernity.

The History and Theory courses cover the evolution of architecture from prehistory to the present-day. The typical lecture explains the key factors that influenced the development of different historical styles; namely, geography, geology, climate, religion, socio-politics, and world events.

We also integrate what we call ‘alternative histories’ lectures that focus on non-Western perspectives– on the importance of the Silk Road for cultural exchange, the history of Japanese architecture, or the recontextualization of western architectural styles in Thailand, for example.

The courses also incorporate a seminar component that divides students into smaller groups and allows them to more actively engage with the content of the course through a series of discussions about themes that reinforce connections between architecture in the past and the present. Students are given a series of readings related to each theme–concepts like power, craft, community, or nature, for example– and are required to submit short written responses.

In coordination with the design studio, the themes this year were centered on carbon-related issues at multiple scales. The following is a sample of the questions and answers that structured the different seminar sessions.

NAMIDA NIAMNAMTHAM

As the world is primarily driven by technological development, competition, and capitalism, our built environment tends to be constrained within that system.

Architecture is no longer just a habitat for humans but a product that serves our desires and conveniences. Materials are selected for purely aesthetic reasons. Urban growth is seen as an achievement of progress or an expression of self.

Elisa Iturbe points out that “architecture is an index of energy

flows–form follows energy”–a clear reference to Louis Sullivan’s earlier quote “form follows function.” To overcome carbon form, the “function” made possible by new innovations may have to be set aside. However, human civilization corresponds directly to technology and the use of fossil fuels. It’s undeniable that rejecting carbon modernity also means rejecting mankind’s accomplishments within a society.

QUESTION NORRAWICH BUSARAKUM The problem of public transportation in Bangkok and other regions in Thailand should be addressed. While the connection to “ecology” may not be immediately obvious, providing for proper and convenient public transportation helps to reduce the use of personal vehicles and decreases fossil fuel consumption. Public transport is not always about large-scale infrastructure such as a metro or a sky train but also includes bus systems. The government and politicians

Through the collaboration of photographer Richard Misrach and landscape architect Kate Orff, Petrochemical America documents a heavily polluted region in the southern United States known as ‘Cancer Alley.’ Describe one issue that threatens one or more specific ecosystems in Thailand (oil, plastics, waste, food, etc.), explain its immediate environmental consequences, and discuss how those consequences can reach far beyond the local site conditions to affect social structures, infrastructural systems, and or government policies.

need to have a bigger vision of the system and must be responsible for all manner of stakeholders including other species and organisms. If public bus transport is available for all citizens, it can help the ecosystem in several ways. One bus carrying the same number of passengers as thirty-five cars can decrease the amount of carbon dioxide in the air. This is not just to improve the environment but also to increase the quality of life of citizens and reduce inequality in the society. People can have the same access to high quality buses without any judgement about their status, an idea that is still embedded in the consciousness of citizens and which leads to many people buying personal cars as a symbol of superior socio-economic standing. In conclusion, if one is looking to help the ecosystem, he/she needs to be more concerned about human nature and social patterns.

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INDA YEARBOOK 2020–2021

INDA LIFE

QUESTION

Over the last 100 years, innovations in tall buildings have continually utilized cutting-edge technologies and/or unprecedented feats of engineering; however, in a world that is increasingly embracing the reality of climate change, can skyscrapers and other large buildings, which require massive amounts of energy and materials, ever be truly “sustainable?” If yes, describe how you think this can be achieved; if no, explain the economic, social, and/or political forces that make this challenge insurmountable.

NATTAMON PREMSOONTORN

I believe that skyscrapers and other large buildings can become more sustainable, but they will never be truly sustainable. By nature, tall buildings require more materials, more maintenance, and more labor to build, and while new technologies may be able to help reduce the amount of energy used over a building’s lifespan, it doesn’t change the fact that they require more energy than shorter buildings to build in the first place. Tall buildings can be designed to have environmental features that may help with air circulation, meaning less energy is required to keep the building cool.

However, features like these might not work as well as initially designed, plus they cost money that investors may not be willing to spend. To keep costs low, investors will make do with whatever is within their budget even if it is not sustainable.

Mall of Qatar at the Rawdat Rashed Interchange, Al Rayyan, Qatar. Postcard image, Log 47: Overcoming Carbon Form.

Source: Photo by Maxar Technologies

SASI OUNPIYODOM

According to Rowan Moore’s July 2020 essay in The Guardian, the skyscraper is an outdated typology that creates environmental damage beyond repair. I agree that we will forever consume more than we can ever produce when it comes to the environment. Because human activity cannot be stopped and our energy consumption is only controllable to a certain extent, sustainability and human activity cannot coexist. Skyscrapers are still adored for their stunning bird’s eye views of the city, making higher stories more expensive than lower ones. Therefore, developers build higher buildings to gain more profit. Also, greenwashing visualizes an elusive middle ground between city and nature. In reality, planting trees on rooftop gardens of condominiums only adds to the aesthetic, not the sustainability of the building. These attempts to make skyscrapers look and feel “sustainable” only perpetuate a consumerist society obsessed with what appears sustainable rather than what really is sustainable. Furthermore, skyscrapers are markers of progress at the expense of local communities, and this becomes a social issue as well as an issue of failed urban planning and political governance. Building skyscrapers and innovating technologies to maintain them is like finding solutions to problems that could have been avoided in the first place.

‘Three Material Stories: Steel.’ Source: Image by Lindsey Wikstrom and the Columbia GSAPP Embodied Energy Pilot Project.

Year 2

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SOUTHEAST ASIAN ARCHITECTURE INSTRUCTORS M.R. Chakrarot Chitrabongs M.L Chittawadi Chitrabongs, PhD Jane Chongsuwat (coordinator) Robin Hartanto Honggare Kulthida Songkittipakdee

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.

The following are excerpts and visuals from a short essay written by students on the different aspects of the course that interest them such as lecture content (“Techniques of the Body”), literary references (Tribhumikata), or architecture (the work of Prince Naris’ or Ban Plainern).

“Contextualizing Thai Heritage: A Learning Reflection” Sasi Ounpiyodom

Bangkok’s sewage system had a tremendous (and often overlooked) impact on the city’s urban planning. Congestion, contagious diseases, and the health of the general public have historically acted as major catalysts for urban renewal. In Britain, there was a cholera outbreak caused by the ‘Great Stink’ of 1858 which led to the restructuring of the whole city’s sewage system.

Similarly, in Paris, congestion and inappropriate disposal of municipal waste led to outbreaks of cholera, yellow fever, and typhus. That pushed the city toward a new urban plan. It is important to acknowledge that the modern sewage system– something almost invisible to us nowadays–was achieved only after tremendous suffering. In Thailand, sanitation has a complicated history, as the private sector has largely been responsible for peoples’ quality of life. In one instance, the Clean Work company chose to put money towards preparing a royal welcome entourage for King Rama V upon his return from Europe instead of fixing the sewage system, which was a grave concern among the majority of Thai citizens.

“Influenced Thailand” Patcharaporn Ekpinijpittaya 60

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“A Cultural Canvas” Namida Niamnamtham

As a society, humans have established many types of routines: wake up, eat, sleep, work, and play.

These routines establish social norms and determine how people live their lives. However, an ongoing psychology debate of nature vs. nurture discusses whether humans inherit our behavioral traits or if they are influenced by external factors such as culture and experience. It is commonly described as a combination of both. To what extent do human genetics and the environment shape or even control our identities?

The notion of the “Techniques of the Body” was explored by French anthropologist and sociologist Marcel Mauss. Humans have instincts that directly connect to our movements such as the fight-orflight reflex. These are natural defense mechanisms that we need in order to survive. Most people would consider walking—two feet on the ground while stepping forward–to be intuitive or ordinary, but Mauss stated that fundamentally, our movements and body techniques are the result of cultural interaction. For example, he noticed how French and German people walk differently regardless of anatomical differences. It is difficult to change our body technique but not impossible. We can refer to a very simple routine as an example: using a toilet. The position known as the ‘Asian Squat’ has gone viral in recent years because it seems that, for the most part, only Asians are capable of contorting their bodies this way. A deep squat with both heels on the ground is not a peculiar picture for people living in Asia. The influence of this particular squat is no longer restricted to the history of lavatory. In Thailand, it is now a common resting position for other activities, even when doing laundry.

Our body movements can be viewed collectively as part of a larger culture, but they can also be distinct for each individual. Gait analysis, for instance, measures and recognizes each person’s unique walking pattern, which is then identifiable by a computer. It has been implemented as a biometric security system along with fingerprints and facial recognition. How we are born, raised, and taught can transform who we are but that is only one of many aspects of our identity. As a designer, there’s a saying that “nothing is original.” In much of Prince Naris’ work, originality does not come from a sudden challenge to the status quo, but from the introduction of a new approach or perspective throughout a lifetime of work fitting into a cultural context.

Noraphat Lohamongkol

“The Influences from the West of Thailand” Tassaporn Sukhumdhanakul

We see that even if Thailand is influenced by various cultures from the West, the beauty of Thai aesthetics and culture still remain due to the process of localization. By balancing and adapting foreign influences into the Thai context, the development of the country benefits from the blending of western techniques and local traditions.

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TROPICAL ARCHITECTURE INSTRUCTORS Dr. Surapong Lertsithichai Hyunju Jang

The course covers the ways in which environmental technology can promote human comfort in tropical architectural design with regard to form, building orientation, ventilation control, heat and humidity control, sun and rain protection, and material applications.

Veerin Dumrongkijkarn Namida Niamnamtham

Plaifha Siripanthong Sasi Ounpiyodom 62

INDA YEARBOOK 2020–2021

STUDENTS

INDA LIFE

Krittinpong Asavarojpanich Chananya Auttavoothisilpa Kantapim Buabool Nitchakarn Bunjongsiri Norrawich Busarakum Janenita Chaimongkoltrakul Khanapot Chaiprem Chalisa Chantramee Phatharawarong Chierakul Naphat Chintanapramote 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

Year 2

Sarai Paruhatsanon Krittamet Payuhakiat Nawarat Piriyothaisakul Patthakarn Polakla Pim Pongsivapai Thanaree Poomviset Pimnara Poonkham Nattamon Premsoontorn Saralchana Pueakhachen Thanutcha Pueriphanvichai Pisit Puwatputtawisai Passapol Rodphong Natchaporn Ruayfupant Engkrat Sae-Heng 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 Sirawich Teerasithipol 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

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Design-Build A LIBRARY UNDER THE TREETOPS (NON)DISPOSABLE PERFORMATIVE CLOCK @CU ISE MASS & VOID

COORDINATOR Dr. Scott Drake 64

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THAILICIOUS PIPO PROJECT 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.

DEEP SURFACE Design-Build

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A LIBRARY UNDER THE TREETOPS INSTRUCTOR Pitchapa Jular

In response to the international brief initiated by Europe Readr, A Library Under the Treetops is a project that aims to create a space/installation that redefines the public and private interface. The design intention is to accommodate a safe, comfortable, and enjoyable reading space in an open urban area for people in the residential neighborhood of Ladprao, Bangkok.

To blur the public-private boundary, the design process of this reading space/installation is collaborative in nature, bringing architects, local craftsmen and workers, educators, students, and the local community together in order to imagine and produce a space that creates a social impact in the local environment. Our concept is to generate a sustainable design by sourcing recyclable materials to ensure the long-lasting life span of the project beyond its completion.

Ultimately, the goal in producing such a space is to advance a sustained awareness of the quality of life beyond consumption, to stimulate the need for reading and knowledge, and to satisfy the human desire to be with others despite the constraints of the metropolis.

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INDA LIFE

(NON)DISPOSABLE INSTRUCTOR Liva Dudareva

“Anthropocene,” “Capitalocene,” and “Plasticine” are terms that have emerged in the past fifty years in order to describe the current material realities we encounter on a personal and planetary scale.

Reality is irreversibly created and molded by the human hand. The last and the present century have seen numerous material marks left in the geological layers caused by economic and geopolitical processes in the name of progress.

During this Design-Build workshop, students critically examine and embrace the material world that is evolving and developing at the geological scale with a specific focus on bioplastics and food waste.

Throughout the seven-week workshop, students collectively explored the Samyan neighborhood, collected food waste from local vendors, and transformed it into new materials and objects.

Design-Build

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PERFORMATIVE CLOCK @CU ISE INSTRUCTOR Dr. Surapong Lertsithichai

Inspired by the giant Ghibli clock in Tokyo, the idea of this project is to showcase a scaled-down version of a performative clock at the Faculty of Engineering with scheduled and alternating performances that are customized or themed for this community. While being able to attract visitors and the general public, it also serves as one of the must-see attractions at Chulalongkorn University. The performances can be designed, programmed, and alternated as needed with sounds, movements, and transformations, and they can be scheduled during certain times of the day or during thesis and final project submission deadlines as a way to remind students or make others aware of the time. The project was a collaboration between INDA students and ISE students who managed the entire design and build process.

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INDA YEARBOOK 2020–2021

INDA LIFE

MASS & VOID INSTRUCTOR Hseng Tai Lintner

The aim for this project is to interrogate the interrelationships between machine tools, machine instruction, material behavior, and geometry, more specifically developing machine fabrication interfaces that target foam as a material. Most plastics are liquids that are molded or formed into surfaces. Foam, however, is cast in the form of blocks that are later cut or milled into shape with computer-controlled machines. Though lightweight, foam is solid and brittle rather than thin and flexible in its nature. It favors mass and void relationships rather than surfaces. In fact, a piece of white high-density foam sculpted by a hot wire may have a material sensibility that is closer to chiseled stone than to a typical consumer product made from plastic. Foam, though technically a plastic, seems to have a lot in common with the most archaic of materials in architecture. Like stone, foam can be processed to adopt visual qualities from other materials. It can indeed be shaped to look massive and chunky, like stonework, but also soft and supple, like the draping in a baroque marble sculpture. The design investigation will focus on developing machine logics that draw inspiration from the projective geometries, the poché, and their relationships to mass and void to create architectural details, seating, or wall mounted shelving systems.

Design-Build

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THAILICIOUS INSTRUCTOR Dr. Preechaya Sittipunt

The project was created in the form of a student enterprise business model focusing on Thai food in contemporary society. Thai food is usually a sit-down meal, however, in the busy lifestyle of Bangkok, people believe this is too timeconsuming. The only time we get to sit down and have a proper Thai meal is when we go home. In the pandemic situation where we cannot go home to visit our families, we are providing a campaign of ‘a taste of home’ in the sense of ‘food from mother’ which can be seen through small postcards that are given out with food orders.

Through a series of workshops with a chef, a nutritionist, and professionals in the culinary industry, the students were required to research and develop the whole process of operating a food business, including creating a menu, prototyping and testing, designing the branding and packaging, planning production and distribution logistics, and analyzing financial feasibility.

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PIPO PROJECT INSTRUCTOR Warisara Sudswong

Childhood is a time of wistfulness and innocence.

Throughout this period, one learns to engage with the surroundings and associate them with certain emotions. Consequently, joyful moments and freedom of imagination are often abandoned as people mature. In spite of this, some places, things, events, or even familiar atmospheres can evoke sentiments of the past—nostalgia.

This project proposes a hybrid spatial design that reminds ourselves of these collective childhood memories through innovative experiences. In order to connect with a larger audience, Pipo, a well-known jelly cup confectionery, is introduced as a retrospective medium. Combining material interaction with digital manipulation, the design development utilizes both virtual and physical experimentation.

The project uses multiple communication strategies to provoke particular emotions and senses of the ‘afterlife.’ How have our lifestyles, eating behaviors, and habits been challenged and altered? How can a small scale architectural intervention provide the experience of inclusivity in our collective memory?

Design-Build

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DEEP SURFACE INSTRUCTOR Per Stefan Svedberg

The aim for this project is to interrogate the interrelationships between machine tools, machine instruction, material behavior, and geometry. More specifically, we will be developing robotic fabrication tools and techniques that target robotic toolpathing, contouring, and deep surfaces. Digital geometry is transferred into a designed toolpath that a robot arm or CNC machine follows in space.

Each toolpath may consist of a series of planar ‘drawings’ that are successively ‘inscribed’ in a material (subtractive manufacturing) or successively deposited as material (additive manufacturing).

Each stroke of the tool may leave a trace in the material locally; whether it is the depositing of clay, the carving indentation from a drill bit or the pressure of a brush. This means that we are as interested in the design of the toolpath as we are in the design of the overall form. The toolpath is where geometry interfaces with material. It is where geometry acquires character and articulation in the form of pattern and texture. It is where the precision of the digital realm may loosen as a result of a negotiation between geometry, machine, and material.

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WORKSHOP

STUDENTS

INDA LIFE

A Library Under the Treetops Pitchapa Jular

Boonyajit Chiraboonchainun Nannapat Kosintrakarn Sasi Ounpiyodom Thana Paonil Krittamet Payuhakiat Saralchana Pueakhachen Tinnaphop Sopaphol

Rasita Tangmitpracha Paphada Vasinsittisuk Konrawit Vichyapai Nicha Wiriyapreecha Puttipong Wiwattanakunkit Supharoek Worawouthumkul

(non)disposable Liva Dudareva

Chananya Auttavoothisilpa Veerin Dumrongkijkarn Pattaramon Kraiteerawut Sainam Kwanmontreekul Thanapat Lohaprathan Pimnara Poonkham

Nattamon Premsoontorn Passapol Rodphong Plaifha Siripanthong Paramita Tankamhaeng Tonnam Termrungruanglert Sudhinee Tridhip

Performative Clock @CU ISE Dr. Surapong Lertsithichai

Chalisa Chantramee Witsaruda Choosangkij Pacharaporn Chosoongnone Nawinda Hanrattana Manaporn Kaensaree

Pantira Lai Napat Leephanuwong Thanutcha Pueriphanvichai Purim Suthvanich Sathida Taesriprasert

Mass & Void Hseng Tai Lintner

Kantapim Buabool Nitchakarn Bunjongsiri Janenita Chaimongkoltrakul Khanapot Chaiprem Patcharaporn Ekpinijpittaya Peerada Jantapaluek Chayanut Laoratthaphong

Adam Mallamphut Sarai Paruhatsanon Nawarat Piriyothaisakul Pisit Puwatputtawisai Nutnicha Sirorattanakul Wiput Vitayarueangdej

Thailicious Dr. Preechaya Sittipunt

Norrawich Busarakum Pim Pongsivapai Thanaree Poomviset Phubordin Marcharoen Phakaporn Chullavullibha Miriam Dheva-Aksorn

Natchaporn Ruayfupant Sirintra Chakphet Wasita Uancharoenkul Puri Udomlerdwanasin Pan Yodbutr

Pipo Project Warisara Sudswong

Phatharawarong Chierakul Naphat Chintanapramote Thanabodee Denvittaya Narramon Isarasena Na Ayutthaya Kotchasorn Kulsivachaya Noraphat Lohamongkol Nara Lojanatorn

Saruntorn Nateethanasarn Namida Niamnamtham Ekanut Sae-Yee Napakoch Soithongsuk Tassaporn Sukhumdhanakul Ingtawan Tritrakoolsin

Deep Surface Per Stefan Svedberg

Keda Daokajohn Inthuwat Insuk Pathanin Jennarongsak Arayapon Kumjornpreecha Piyapatara Leelachaipisit Vipava Panyasarawut Patthakarn Polakla

Suphawit Sunthornsittipong Pumisak Supachaisakron Sahasawat Thong-in Bhurin Thuraphan Rueangrin Truskamol Savarote Viramwes

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ENVIRONMENTAL TECHNOLOGY AND INTEGRATIVE BUILDING SYSTEMS DESIGN I-II

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ARCHITECTURAL DESIGN II INSTRUCTORS Eduardo Cassina Dr. Scott Drake Liva Dudareva Paul Feeney Michal Jurgielewicz Payap Pakdeelao Marie-Louise Raue (coordinator) Tijn van de Wijdeven

HOW TO HOUSE? Since the emergence of universities, student housing has played an important role in providing spaces for students to sleep, eat, educate themselves, and, more importantly, to form common routines and foster communities. In this typology, living and learning are inextricably linked.

Studying typically lies at the transition between youth and adulthood. It involves accumulating knowledge, maybe identifying a path in life, or gaining independence. We ask students: What is studying for you? This semester critically reflects on the way students are currently housed. We expand upon and rethink existing models of student housing and propose new ways of living together. This involves personal reflections, but also architectural and planning considerations.

Putt Sirisaksopit

Ann-pavinee Langenskioeld

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Thanapat Limpanaset Design Excellence Award

Anchalika Thepnumsommanus

Year 3

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Napassorn Kanwatchara

Poomipat Waengsothorn

Praewrung Chantumrongkul 78

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Prima Rojanapiyawong

Sarita Hatakaroon

Year 3

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ARCHITECTURAL DESIGN III INSTRUCTORS Eduardo Cassina Dr. Scott Drake Paul Feeney Pitchapa Jular Hseng Tai Lintner Christo Meyer Payap Pakdeelao Marie-Louise Raue (coordinator) Tijn van de Wijdeven

CIVIC EDGES This semester seeks to investigate the potential of civic structures along the many “edges” of Bangkok. As a counterpoint to increasingly privatized and consumer-driven public spaces, we want to imagine a different type of space–civic.

Once a cornerstone of city life, civicness and its related spaces are much less visible in contemporary society. From spaces to think, platforms for the exchange of ideas and knowledge, and infrastructures to educate and be educated, we will investigate how civicness could be brought into the 21st century. Addressing political, bureaucratic, social, digital, and psychological edges within and around the city, we reveal marginal and overlooked conditions and their civic potential. Students conceptualize why civic spaces are vital for the city and for society at large, define programs for such spaces, and integrate them into contemporary Bangkok and its periphery.

Nicha Vareekasem

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Pinutcha Wiriyapanlert

Thongthat Harnvorrayothin

Year 3

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Ann-pavinee Langenskioeld

Anchalika Thepnumsommanus Design Excellence Award

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Natalie Pirarak

Napassorn Kanwatchara

Year 3

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REVIEW PHOTOS

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Year 3

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ARCHITECTURE COMMUNITY AND ECOLOGY INSTRUCTORS Pitchapa Jular Dr. Sorachai Kornkasem (coordinator) Chon Supawongse

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, socio-economic 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.

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Paranyu Tempattarachoke

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Nathapong Nurae

Raphadson Saraputtised

Natalie Pirarak

Anchalika Thepnumsommanus

Napassorn Kanwatchara

Year 3

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ARCHITECTURE AND URBANISM INSTRUCTORS Liva Dudareva Pitchapa Jular (coordinator) Dr. Sorachai Kornkasem (coordinator) Chon Supawongse

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 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.

Anchalika Thepnumsommanus

Nicha Vareekasem

Prima Rojanapiyawong

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Ramita Keeratiurai

Phawin Vongphavit

Saifa Sathaporn

Year 3

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ENVIRONMENTAL TECHNOLOGY AND INTEGRATIVE BUILDING SYSTEMS DESIGN I-II INSTRUCTORS Juan Cuevas Dr. Scott Drake (coordinator) Will Hulbert Antoine Lassus Christo Meyer Martin Schoch Pannasan Sombuntham Wisarut Wattanachote Pakphum Youttananukorn

Encompassing two semesters, the Environmental Technology courses teach students about five fundamental building systems: sanitary and plumbing, lighting and electrical, lightning protection, mechanical and transportation, and fire safety.

Natalie Pirarak

In the first semester, students select a housing project as a case study and document specific 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.

Thaweewat Rugsujarit

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STUDENTS

INDA LIFE

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 Nisama Lawtongkum Thanapat Limpanaset Prin Mingmalairak Vasinee Mongkolcheep Pollakrit Naimee Thongtor Nontavatit

Year 3

Nathapong Nurae Peeradon Pananuwetchawat Methawadee Pathomrattanapiban Praeploy Phaewpisakul Pheerapitch Phetchareon Benyapa Piboolvitayakul Nutaya Pimolsaengsuriya Natalie Pirarak Prima Rojanapiyawong Thaweewat Rugsujarit Raphadson Saraputtised Saifa Sathaporn Thaiyani Sathienthirakul 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

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COORDINATOR: Dr. Scott Drake 92

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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 smallscale 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 in 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).

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PLAYGROUND, CHIANG RAI INSTRUCTOR Dr. Scott Drake

In this project, students explore the idea of architecture for children through the design and construction of playground equipment for a preschool adjacent to Ban Huay Mae Sai School in Chiang Rai. Students are responsible for all aspects of the project from initial site visit to concept and detail design, client presentation, coordination with contractors, project completion and handover, as well as documentation in the form of photographs and a final video for the annual INDA assembly.

Students are also responsible for project logistics including transport, accommodation, and meals.

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BANG KRACHAO SOCIAL SPACE INSTRUCTOR Juan Cuevas

The workshop is located in Bang Kachao, a peninsula formed by a meander of the Chao Phraya river. Although there is an environmental code protecting this area, the pressure from Bangkok’s urban sprawl may expand beyond its current boundaries and into the neighboring vicinity.

In the first part of the workshop, students examine Bang Kachao’s community and study numerous design strategies which aim to stimulate social bonding. After processing this information, students design and produce the necessary documents to lead the construction of a gathering space located in this unique context.

To create a collaborative project environment and improve our understanding of the context, students work together with OUR Khung BangKachao, a conservation organization focused specifically on the area of study, and Wat Chak Daeng, a Buddhist temple promoting a recycling initiative project.

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STUDIOCOUSTICS INSTRUCTORS Will Hulbert Jak Drinnan

Studiocoustics focused on the audible dimension of the built environment. Students learned how the attributes of physical space, including form and materiality, can be crafted to tune our experience of sound.

Under the guidance of instructors, an acoustic consultant, and specialist suppliers, students evaluated various designs for acoustic form and materials, and they modeled, simulated, and prototyped an installation comprising an array of folded recycled PET felt panels mounted between existing ceiling services.

Students applied fundamental principles of spatial acoustics and computational modeling to a real-world challenge, and they utilized specific parametric design methodologies in a unified approach to design and fabrication. Faced with many constraints, the students created a performancebased solution that is also visually appealing.

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.POINT _LINE //SURFACE <>VOLUME INSTRUCTORS Christo Meyer Pannasan Sombuntham

This year, the INDA + Mitsubishi Elevator project is a multi-purpose hall for the Wat Poh Tharam School near Surat Thani.

We see the provision of the proposed multipurpose hall as an extension to the main school, both as a physical space, but also as an environment for learning.

The project is a unique opportunity for students to acquire first-hand experience of the design and delivery of projects. What makes it even more special is the positive impact it can have on a community: it is more than a floor, a roof, an enclosure, or an infrastructure of sorts. Our ambition for the INDA + Mitsubishi Elevator project is to harness the potential of the project as an educational tool–both for the students engaging with the design and construction process, and for our very young clients through the architecture that we construct and that they will use every day.

Our group brings to the table different but complementary skills to deliver a project with a positive and long-lasting impact.

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BAN MUANG KHUN POTTERY COMMUNITY PAVILION INSTRUCTOR Takanao Todo

Ban Muang Khun is a small pottery village ten kilometers south of the center of Chiang Mai. There are thirty craftsmen based here, and they produce unique earthenware using their local clay.

The village mayor, Mr. Wachira Seejun (Khun Tang) agreed to work with a group of INDA students to build a ceramic pavilion for their community to display and promote their products.

The project uses ceramic tiles to decorate and cover the structure. Local craftsmen collaborated on the design and production of the tiles. Students visited the site to understand ceramic production and the local context, and to consider sustainable ways of maintaining the pavilion in the long-term.

The design of the pavilion was determined through an internal competition and the development of ceramic tile components and a structural base.

Students visited ceramic studios in Bangkok to make prototypes which were later mass-produced at a ceramic factory.

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PROJECT

STUDENTS

INDA LIFE

Playground, Chiang Rai Dr. Scott Drake

Narintip Chaemdara Kaweewat Chanchitfa Panotn Chotesukhathai Thammapron Iam-eak Nisama Lawtongkum Peeradon Pananuwetchawat Benyapa Piboolvitayakul

Raphadson Saraputtised Saifa Sathaporn Thaiyani Sathienthirakul Sasatorn Sawansan Sirawich Teerasithipol Nicha Vareekasem

Bang Krachao Social Space Juan Cuevas

Termrak Chaiyawat Anunyoch Dumrongpongsawat Phuridej Eakthanasunthorn Aria Ekasilapa Thongthat Harnvorrayothin Napassorn Kanwatchara Pattraratee Keerasawangporn

Nathapong Nurae Putt Sirisaksopit Kornkulp Techavorabot Phawin Vongphavit Poomipat Waengsothorn Pachara Wisetphanichkij

Studiocoustics Will Hulbert and Jak Drinnan

Pannathorn Amnuaychokhirun Nichaporn Atsavaboonsap Supavitch Bandhaya Harris Boonkerd Asama Boonsanong Buris Chanchaikittikorn Sarita Hatakaroon Prin Mingmalairak

Praeploy Phaewpisakul Thaweewat Rugsujarit Pittinun Tantasirin Aticha Thanadirak Anchalika Thepnumsommanus Khine Thin Aye Phannaphon Vatanavoraluk Chawin Wiwatcharoenkul

.point _line //surface <>volume Christo Meyer and Pannasan Sombuntham

Titaporn Amatanon Weerada Chalermnont Latisha Delokomol Pattarawadee Hansiripongsakul Sararin Jermhansa Ramita Keeratiurai Korrawich Koomtako Vasinee Mongkolcheep

Thongtor Nontavatit Nutaya Pimolsaengsuriya Engkrat Sae-heng Nuntaluck Songsamphant Kana Sricharoenchai Paranyu Tempattarachoke Poranon Thitaparun Pinutcha Wiriyapanlert

Ban Muang Khun Pottery Community Pavilion Takanao Todo

Yuhunny Baka Praewrung Chantumrongkul Ann-pavinee Langenskioeld Thanapat Limpanaset Methawadee Pathomrattanapiban Pheerapitch Phetchareon Natalie Pirarak

Prima Rojanapiyawong Slin Smakkamai Napapa Soonjan Pitchaya Tangtanawirut Natcha Thanachanan Tanon Theerasupwitaya

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INDA COMMUNITY CINEMA: Resilience as a Core Value in the Design and Delivery of Community Projects in Architectural Education

AUTHOR Christo Meyer ARB RIBA Fourth-Year Coordinator and Design and Construction Projects for Communities Instructor International Program in Design and Architecture (INDA) Chulalongkorn University, Bangkok (Thailand) COURSE Design and Construction Projects for Communities 100

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As a point of departure, it is perhaps worth reflecting on the distinction that Ferdinand Tönnies makes between community and society in his seminal work Gemeinschaft und Gesellschaft (Tönnies, 1887). While not outright categories, they do allow us to assess and question how we may frame our current understanding of community pre-, during-, and post-pandemic. Has our appreciation and understanding of community changed, and if so, how? In the way that Tönnies defines community as a group of people who share common beliefs and values, one might then argue that some of these values may come to the fore or be reinforced as a result of a global pandemic. So what we may have considered important in the sense of community pre-pandemic, may now have been shifted, reprioritized, or adopted a new meaning during- and postpandemic. One of these values could be resilience.

The International Program in Design and Architecture (INDA) at Chulalongkorn University in Bangkok (Thailand) offers third-year students an annual summer course called “Design and Construction Projects for Communities.” It is a unique opportunity for students to apply their design skills to interact with communities and propose design solutions that meet their needs through built projects. For many students, this is the first time that they are exposed to all phases of a live project and the multitude of considerations that go hand-in-hand with that.

When countries were forced, one-by-one, into lockdown amid a global pandemic, we were not only tasked in architectural education with the pedagogical and logistical challenges of how to retain a studio culture or some sense of normality in courses through online learning, but for a summer course, where the community is at the heart of the project and intrinsically linked to reciprocal learning through exposure, we needed to adapt and re-evaluate how we could deliver a meaningful project. Resilience, or the ability to adapt and deliver a project despite difficult circumstances, became a key driver that manifested itself in three ways with our particular project: resilient typologies, resilient contexts, and resilient learning.

RESILIENT TYPOLOGIES.

During the development of the project brief, we were inspired to research architectural typologies with two main characteristics: a moveable/mobile architecture and an architecture that meets social distancing measures and precautions as set out by the Thai government. One such typology is that of the drive-in theater or cinema, popularized (and first patented) in the 1930s in the United States.

Sitting in your car, you are physically isolated from others but also participating in a shared leisure activity as part of a community. We wanted to hybridize this typology: part drive-in cinema and part pop-up (another typology that experienced a resurgence in response to a global crisis, in this case, the financial crash of 2007). We also wanted the architecture to encapsulate the resourcefulness that Thai builders and craftsmen often display “to get things done” and to respond to the hot and humid climate of Thailand. Other important considerations included the distinct tectonics of drive-in cinemas, specifically the billboard structure, the orientation of the screen, and the creation of unobstructed sightlines. As the project developed throughout the design process, students were adamant that their proposal should be lean, nimble, and able to respond to all of the aforementioned criteria.

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RESILIENT CONTEXTS.

The context of this project consists of two key components: people (community) and place (site). It thus calls for an architecture that is adaptable to the needs of different communities and different urban environments. The client was not one person, nor was it one group of people. The client was a new type of community cutting across a wide range of demographics, beliefs, and backgrounds. The communities of Samyan and Suan Luang were brought together by the need to meet when meeting as a group was, in fact, restricted due to social distancing measures. This exchange could only happen through a collective moment facilitated by an architecture that had these measures ingrained in its design.

The same can be said for the sites. We did not design a project for one site, but rather multiple sites. Bangkok has an abundance of sites where distinct communities sit side-by-side or overlap, resulting in a plethora of conditions in which to respond. What has become apparent with this project (and many other projects at INDA over the years) is how Bangkok can function as a test-bed in a way that is different and much more enriched than one might find in, for instance, European cities. Might this ability to function as a test-bed start to highlight the potential of underused sites? Such is the case certainly for many of the new public realm projects recently built in Bangkok. Their programmatic uses had been informed by temporary projects built when the sites were underused or forgotten. This underscores the resilience of these contexts.

RESILIENT LEARNING.

Resilience was probably most evident in the way that both instructors and students had to adapt, both from a teaching and learning perspective, but also from the challenges set by the design and delivery of a built project. We had limited access to workshops, studio spaces, and the usual facilities that would normally allow for a much smoother process from project conception to delivery. Early in the project, we looked at the established model for how large architectural practices with multiple offices in various geographical locations might tackle such challenges. Of course, given the smaller scale of our team, we had to develop a compromised version of these already defined systems and procedures in some instances and start from scratch in others. For many students, this was their first exposure not only to designing a project that will eventually have to be built, but also to other aspects ranging from project management, technical and construction documentation, cost analysis, negotiating, and collaborating with contractors to project management and event planning. We dealt with this through a systematic approach using consecutive project phases. Each phase was introduced via lectures explaining key concepts before progressing with the work. Students were divided into teams with a primary and a secondary focus/role. The primary focus was design, with students working in three groups to develop separate proposals in a minicompetition format, before proceeding with one proposal or one combined proposal that incorporated aspects from the others. The secondary focus would allow individuals to take on a specific role in the project, i.e. public relations, finance and project scheduling, technical drawings, liaising with contractors and suppliers, etc. While challenging, the shift to online learning/teaching also allowed us to test other technologies such as augmented reality models to evaluate everything from scale to junction details. Where permitted, we made use of workshops and labs to make physical models and meet in small groups to accelerate the design and decision-making processes. The biggest takeaway from this has been that we can adapt by referencing methods employed in practice and adapting them to an educational setting. This approach is not necessarily new, but it was fascinating to see how students were able to take ownership of this process without really having any prior experience. It is a true

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testament to their resilience and to what can be accomplished when an educational institution supports and facilitates such learning processes and outcomes.

The INDA Community Cinema allowed us to explore all three aspects of resilience. The project consists of two main cinema structures. Designed to be modular and mobile, they can easily be installed, demounted, transported, and reinstalled on different sites throughout Bangkok. We strongly believed that the project should serve different communities, not just in terms of location, but also in terms of what constitutes a community. Three events were earmarked in Bangkok’s event circuit.

In November 2020, INDA Community Cinema premiered (and was tested) where it was originally conceived–at INDA’s annual Assembly in the courtyard of Chulalongkorn University’s Faculty of Architecture building. INDA is a design and architecture school, but it is also a community where we are brought together by shared values that promote a plurality of approaches, fostered by faculty members and students alike.

Short films of the other Design-Build projects and Design and Construction Projects for Communities were screened at this event. Little did we know that this was one of the last occasions where we could all gather in the same physical space before we went into another lockdown.

The INDA Community Cinema was later installed for a second event at the Suan Luang Square Field Flea Market. The event took place over a weekend in December 2020 and formed part of a larger program of food markets and performances by the local community. The event was organized and managed by Chulalongkorn University.

The Cinema made its final appearance in July 2021 when it was selected to be installed as part of Bangkok Design Week 2021. The theme of BKKDW 2021 was “Resurgence of Possibilities.”

Our experience and the values that we were investigating throughout the design of the INDA Community Cinema, in particular the search for resilient typologies, fit this theme very well and offered a discourse about the future possibilities of an architecture that could employ similar processes. During the week-long event, we invited INDA students to submit short films of their design projects, and they were screened every evening. This allowed for a further proliferation of the deeply embedded discussions and critiques that were taking place in the studios across all four years of the program.

Resilience once again manifested itself through a myriad of projects from the students who have endured nearly two years of remote academic study. What a feat!

REFERENCES:

As architects and designers, we are uniquely capable of using our skills in service of our communities. It is apparent that an approach that factors resilience into how we design, what we design, and who we design for will offer new possibilities and the potential for yet unknown hybrid typologies.

What is perhaps most crucial and pertinent is how we frame this in architectural education at the grassroots level to create a more resilient future.

Tonnies, F. (1897) Gemeinschaft und Gesellschaft, Leipzig: Fues’s Verlag

If, in the Tönniesian sense, resilience through design can add value to our communities (“gemeinschaft”), then we can be hopeful about how this might also create a shift in the way we design for an ever-changing society (“gesellschaft”).

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Year 4

ARCHITECTURAL DESIGN IV ARCHITECTURAL DESIGN V

COORDINATOR Christo Meyer 104

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INDA’s fourth-year ‘option’ 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.

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MIN/MAX INSTRUCTOR Patrick Donbeck

This studio utilizes biological, physical, geological, chemical, and computational case studies as topics of research to influence an investigation into the form, structure, and adaptability of modular systems within the historic entanglement between “organic architecture” and industrial production.

This includes architecture based on models, architecture based on algorithms, architecture based on genetic codes, architecture based on nature’s technology, and architecture based on geometric, structural, and morphological principles.

Students are asked to conduct an investigation into the fundamental structure of form, its relationship with material, and the future of industrial production. As industry approaches nature, we synthesize geometry, structure, and function with building blocks and building systems.

Prang Suriyapornpun

By exploring the fundamentals of shape and space through genetic (building-block) thinking and material actualization, students demonstrate a proposal for a minimum inventory/maximum diversity building system that affords fundamental enclosure and organization through a morphological framework.

Tanadon Wanitnunttada

Prao Sirisaksopit

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SOMEWHERE TO REMAIN INSTRUCTOR Liva Dudareva

The future presents us with a range of existential challenges–climate change, civil unrest, pandemics exacerbated by globalization, chemical warfare– that will (and already do) drive design disciplines to respond to uncertainties and risks at unprecedented scales.

Emergent typologies that are beginning to take shape span both public and private, ranging from national defense infrastructures and disaster prevention urbanism to global prepper networks, real estate companies supplying luxury bunker condos to the world’s elite, and private entities selling prefabricated DIY bunker units.

Somewhere to Remain familiarizes students with the existing global survival ecosystem and its typologies. It engages students in the collective design of a comprehensive survival strategy, comprising a variety of scales and practices, within which each student would be responsible for an individual contribution.

The studio aims to develop critical insights into the spatial products of neo-survivalist communities and their legacy in order to address future uncertainties in the Southeast Asian region.

Preeyanuch Natthapan

Kamolthip Polsamak

Hattakarn Lertyongphati

Year 4

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MY THAI ISLAND INSTRUCTORS Paul Feeney Kamonsin Chathurattaphol

The world is a complex mosaic of islands. When we think of islands, we instinctively think of remote places with a simple existence like Barbados or Koh Tao. We think of unique identities–Alcatraz, Venice, James Bond–places of mystery and fantasy.

Islands are the symbolic opposites of the city, floating in the sea, isolated physically, politically, and perhaps mentally. It seems that globalized society has never quite reached the island and that freedom/anarchy is never far away. As a site for a project, the island seems ripe with potential.

Islands are an important part of Thai culture, its geological history (an island is simply the top of an underwater mountain), and its contemporary economic reality. The purpose of this studio is to understand the culture of these places and how they might be engaged as sites for architectural intervention. How do you feel about your islands?

Do you think they need to be radically reimagined for the 21st century? Digital Island, Global Island, Flux Island, Sacrificial Island, Non-Island.... What would constitute your Thai Island?

Choomcherd Virapat

Pichamon Taksinawong

108

INDA YEARBOOK 2020–2021

INDA LIFE

OPEN HEALTH INSTRUCTOR Will Hulbert

This studio challenges the predominant models of health architecture in relation to its responsiveness to change in modalities of care. In the spirit of Umberto Eco’s “work in movement,” Archigram’s canon of “indeterminacy,” and even the renowned hospital architect, Richard Llewelyn’s “endless architecture,” we argue for an architecture of health that is adaptive and open-ended.

Phra Nakhon. Students are required to cross-breed architectural creativity, functional and technical requirements, and scientific precision in their approach. We obtain specialist knowledge through workshops with healthcare architects, and we gain insights from architectural psychologists in order to understand how health environments can be designed to be curative in and of themselves.

Healthcare buildings have conventionally been shaped by highly complex and prescriptive clinical and techno-environmental programs best accommodated through large centralized institutions. But care and treatment modalities are continually evolving with a current emphasis on translational medicine that enables community-based platforms and distributed models for even the most advanced practices. Although a vaccine has been developed, the COVID-19 pandemic has glaringly illuminated the need for more resilient architectural models that can adapt quickly to shifts in delivery mechanisms, technologies, and clinical advances. The studio tests an architecture that is not conclusive but open to possibilities through a healthcare project on an airy site next to the Chao Phraya River and one of the oldest schools in Bangkok at Rajinee pier in Phurichya Jirayutat

Nicharee Sammapan

Klitee Limpawattanasiri

Year 4

109

AA04: PARASITIC SYMBIOSIS INSTRUCTOR Dr. Surapong Lertsithichai

With rapid advancements in digital technology changing our everyday behavior, spaces that once were designated to accommodate or facilitate a particular physical activity may become obsolete in lieu of more convenient virtual interactions on small mobile devices. We now find ourselves surrounded by many physical environments that are left inactive or cannot physically adapt to these changes without some kind of intervention. This shift will no doubt expand to multiple architectural typologies in the future.

As part of an ongoing investigation in “Augmented Architecture,” which refers to physical architecture that can be enhanced with digital technologies in response to dynamic human behaviors, the exploration of an enhanced space through the concept of Parasitic Symbiosis may revitalize existing spaces and generate new possibilities for future architectural typologies. Instead of demolition and rebuilding, which is both wasteful and costly, the idea of adding or augmenting an existing space with another space–legal or illegal, temporary or permanent–can expand the potential of these spaces and pose an interesting challenge for an architectural design studio.

Navapol Montong

Rachapon Jidapasirikul

110

INDA YEARBOOK 2020–2021

INDA LIFE

SMOKE AND MIRRORS INSTRUCTOR Hseng Tai Lintner

Artificial intelligence (AI), machine vision, and new forms of human-machine interfaces are increasingly redefining disciplinary expectations and relationships.

This studio undertakes an interdisciplinary inquiry into the workings of and the relations between various computational fields of knowledge and emerging mixed reality environments currently reforming how the built and urban environments may be conceived, constructed, and inhabited. The projects examine the built environment as both a tectonic assemblage of materials and an ecosystem of technologies. They interrogate how these technologies and new ways of seeing affect cultural, socio-political, and economic contexts and, in turn, how these activities will ultimately reshape the physical substrata of urbanism, infrastructure, and architectural design.

Through the collection, sampling, and processing of data (web-scraping, AI neural net imaging/deep faking, photogrammetry, point cloud manipulation, data mapping, etc.) coupled with euclidean and non-euclidean modeling, students investigate the physical and digital aggregations, architectural syntax, and representational devices of a post-digital materialism. What new hybrids may emerge from the cracks and fissures between the strange new intelligences of machines that think, datascapes, cyberspaces, pixels, and the corporeal? What unexpected and unusual assemblages and aggregations of artifacts, spaces, infrastructures, and urbanisms may we encounter in these cyber-physical landscapes?

Lalida Attawetkul

Chinnapat Asavabenya

Year 4

111

FAST TWITCH | SLOW DANCE INSTRUCTOR Christo Meyer

Fast Twitch | Slow Dance asks students to research, investigate, and develop proposals that actively engage with fast and slow processes of time as modes of making architecture.

The process is initiated by familiarizing ourselves with the question of time, referring to various fields and disciplines that may start to define or explain key concepts. Using Bangkok and its surrounding areas as our laboratory, an in-depth analysis of “fast” and “slow” landscapes is carried out to identify potential sites for the design of a site-specific device/instrument to reveal and extrapolate observations that can inform programmatic and typological considerations before embarking on a medium to large scale architectural proposal.

Chayanisa Ongarjphanchai

The studio primarily focuses on design through making; making drawings, making models, and making devices that lead to sophisticated and experimental architectural design proposals. We are fascinated by uncovering the every day, observing, and extracting narratives that can imbue a programmatic premise to which we can propose both hypothetical and real design-led solutions. We value process, iteration, and refinement in order to achieve complexity.

Santhila Chanoknamchai Design Excellence Award

112

INDA YEARBOOK 2020–2021

INDA LIFE

A MACHINE [LEARNING] FOR LIVING IN INSTRUCTOR Ekapob Suksudpaisarn

With the ongoing development of artificial intelligence (AI) technology, this studio explores and experiments with the utilization of AI, more specifically, machine learning (ML), as an application for a design process. The studio starts with a survey of AI research in different industries, narrows our focus on the construction industry, and eventually determines how AI and ML are being applied in the design documentation processes typically found in BIM, simulation, and generative design applications.

This initial research serves as a foundation for students to develop their own approaches in applying ML to their design processes and their final proposals.

The studio critically examines not only the potential but also the importance of utilizing emerging technology in the design development process.

Students strive for architectural documentation that continues to adapt and respond to the everchanging demands of the construction industry, and the projects use technological advancements to conceptualize a new form of architecture.

Tanyadhorn Dumrongkijkarn

Siwakarn Sabpaisarn Year 4

113

LANDSCAPE INFRASTRUCTURE INSTRUCTOR Chon Supawongse

This studio aims to envision landscape as a contemporary infrastructure that sustains multifunctional ecosystem services, conserves landscape integrity, and underpins nature-based tourism. The landscape infrastructure development model is a proposed instrument for the integrated planning of interconnected landscapes and spatial strategies that preserve natural capital, engage collaboration across geographic locations, and unify tourism operations within and beyond protected area networks. The objectives are fourfold. The first is to study related theoretical frameworks, research methodologies, and the development of landscape infrastructure models; the second is to study landscape infrastructure precedents across multiple scales and functional perspectives; the third is to explore potential protected areas at the Western Forest Complex (WEFCOM); and the fourth is to experiment with design and strategic operations to diversify the services that landscape infrastructure can provide.

Satida Adsavakulchai

Peera Tayanukorn

Pann Sermchaiwong

114

INDA YEARBOOK 2020–2021

INDA LIFE

MONOLITHS, MEGALITHS, AND SUPERGROUPS INSTRUCTOR Per Stefan Svedberg

This studio re-examines the monolithic nature of civic, cultural, and science centers, their relationship to place, and the surrounding urban fabric. Often composed of a series of clustered programs and venues that occupy vast urban territories, these centers embody a monumental scale and a celebratory formalism. Special emphasis is placed on mining the intersection of form, program, technology, political forces, and the philosophies that shape them as buildings. The studio explores the syntax of multiple correlated and non-correlated architectural compositions to create assemblages that are embedded in their urban contexts. Students’ design explorations are centered on the tension between multiple, discrete, even disparate parts or elements and indeterminately vague monolithic wholes. As a studio, we are interrogating the reading of part-to-whole relationships through two opposing strategies: erratic aggregations and loose piles vs. indefinite fuzzy wholes.

Students envision the built environment as an arena with multiple, sometimes contradictory, readings, and they develop a productive dialogue between similar or strategically dissimilar design approaches to the same building. The design challenge lies in targeting the juxtaposition and/or synthesis of dissimilar architectural characteristics through the interrogation and subversion of various design expressions/typologies and their assemblies.

Systematic procedures have been developed to generate design logics and formal relationships with regard to program through the use of computational modeling techniques and model making.

Sirapat Sapthaweeteerakul

Kemjira La-orsuwan

Tinn Kiewkarnkha

Year 4

115

FIELD TRIPS

116

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PROJECT

STUDENTS

INDA LIFE

MIN/MAX Patrick Donbeck

Krissada Laohongkiat Waris Majitnapakul Tamon Sawangnate Prao Sirisaksopit

Varinda Suphantharida Prang Suriyapornpun Tanadon Wanitnunttada

Somewhere to Remain Liva Dudareva

Preeyanuch Natthapan Sutinee Leelaratrungrueang Hattakarn Lertyongphati Napatsorn Mongkoldet

Kamolthip Polsamak Boonyavee Sureephong Tatiya Visetrit

My Thai Island Paul Feeney & Kamonsin Chathurrattaphol

Chidapa Kongsuphol Klasilp Ladalalitsakun Kasipang Phantajak Sasipa Punkasem

Chanuti Sukhumcharoenchit Pichamon Taksinawong Sasipat Tarinamornpong Choomcherd Virapat

Open Health Will Hulbert

Phudtripart Bhudthonamochai Phurichya Jirayutat Klitee Limpawattanasiri Nichapha Lumpikanont

Natnicha Pornteparak Tida Rama Nicharee Sammapan Saruta Sookparkob

AA04: Parasitic Symbiosis Dr. Surapong Lertsithichai

Tanapat Adulteerakit Rachapon Jidapasirikul Sakaokaew Jindawitchu Prae Lertprasertkul

Navapol Montong Palika Nitisiri Koonanan Panyahom Lalitsiree Ponsombatnun

Smoke & Mirrors Hseng Tai Lintner

Chinnapat Asavabenya Lalida Attawetkul Ravinan Kumar Thatsama Leeumnadwong

Wichayes Maneepakhathorn Paweenda Patarathamaporn Chanakarn Pongteekayu Phapot Putthammarong

Fast Twitch | Slow Dance Christo Meyer

Santhila Chanoknamchai Napat Kunapongkul Chayanisa Ongarjphanchai Natnicha Opasserepadung

Prin Parinyanusorn Naruemol Pholnuangma Kodchakorn Promjaree Yuka Sato

A Machine [Learning] for Living In Ekapob Suksudpaisarn

Tanyadhorn Dumrongkijkarn Thanvarat Jamnongnoravut Isara Kesaranond Siwakarn Sabpaisarn

Premmika Taechavarangkul Manachanok Tantraporn Suchat Telavanich

Landscape Infrastructure Chon Supawongse

Satida Adsavakulchai Apisada Hanbunjerd Warut Im-erb Thanapond Namnanthasith

Thanakorn Phonthanakornkul Pann Sermchaiwong Napas Simarangsun Peera Tayanukorn

Monoliths, Megaliths, and Supergroups Per Stefan Svedberg

Chompisa Amatayakul Tinn Kiewkarnkha Kemjira La-orsuwan Athitaya Piamvilai

Sirapat Sapthaweeteerakul Arnon Vongarnon Panassaya Waenkaew

Year 4

117

PLASTIC BEACH INSTRUCTOR Liva Dudareva

Plastic Beach proposes to critically examine and embrace the material world that is progressing and developing today with a specific focus on plastics.

The culture of plastics is widely discussed in Southeast Asia, as the region finds itself on the receiving end of plastic waste exports from other countries alongside the waste generated locally.

Throughout the studio, students obtain a greater understanding of the larger processes, politics, and policies that shape societal attitudes towards plastic in Southeast Asia as well as the use and production of plastic products.

Plastic recyclability and versatility, often achievable with comparatively simple tools and techniques, have generated a significant number of bottom-up initiatives that tackle issues of plastic waste. The impacts and the legacy of community-driven plastic recycling practices are explored through the projects, which include site and material studies.

With assistance from Precious Plastic, a local recycling center, students work with existing communities and sites to scale-up new recycling solutions, develop potential components for building and construction, and inquire into the material realities of today’s built and lived environments.

Yuka Sato

Chompisa Amatayakul 118

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CITY LOBBY INSTRUCTOR Will Hulbert

City Lobby questions conventional hotel typologies in the context of current conversations around otherness, hospitality, and the openness of city spaces, and imagines a more civic purpose for the typical hotel. With open, closed, and negotiable spaces offering opportunities for anonymity, ambiguity, and transgression, hotels are alluring, liminal spaces outside of our everyday lives. As urban interventions, city hotels (particularly those of large international chains) can also be seen as exclusionary enclaves of privatized public space.

This studio grapples with the human desire for escape and speculates on how a city hotel can

redraw the contours of public and private space through new thresholds of departure and encounter for travelers, staff, and host communities alike.

Studio collaborators include Dr. Stavros Stavrides (Professor at the School of Architecture, National Technical University of Athens, Greece), Somkiat Lo-Chindapong (Deputy Managing Director, A49 Architects, Bangkok), Joy Natapa Sriyuksiri (Creative Director ASAI Hotels Bangkok, Assistant Vice President Creative Strategy, Dusit International, Bangkok), and Mongkhol Kittachapanich (Senior Engineer, Indigo Hotel, Bangkok)

Chayanisa Ongarjphanchai

Prin Parinyanusorn

Year 4

119

PARADISE ESTATE INSTRUCTOR Michal Jurgielewicz

Paradise Estate introduces a radical research agenda to study historical and contemporary notions of tourism, landscape, and “paradise,” recognizing the urgent need to create more inclusive societies. Despite having imperial and colonial roots, travel has long been associated with ideas of growth and progress. The mediaconstructed image of paradise lies in stark contrast to the rapid development and subsequent transformation of the environment typically seen in popular travel destinations. In addition to studying the many bodies, species, machines, resources, and planetary-scale infrastructures involved in the production of free time, this studio focuses on unlearning the concept of real-estate, exploring its complex territorial, cultural, social, and ecological dimensions. Students trace the material, environmental, social, political, and cultural correlations between leisure and land. Working with cinema and game engines as the primary medium, students construct alternative environmental and geopolitical scenarios based on proposed changes in human culture.

Thanakorn Phonthanakornkul

Chinnapat Asavabenya Design Excellence Award

120

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LET THERE BE LIGHT // SPATIAL INTELLIGENCE V.2 INSTRUCTOR Dr. Sorachai Kornkasem

Architecture is beautiful. Human beings are visually and spatially sensitive to their surroundings physically, psychologically, and socially. Our spatial intelligence allows us to perceive space and its beauty while also evoking emotions and memories.

In human cognitive processes, we experience and remember spaces through all of our senses–from what we see and hear, what we smell and touch, and what we feel and remember. The second studio in the “Spatial Intelligence” design and research initiative, this studio embraces the hidden power of human visual perception and the phenomenology of natural light. During the design process, visual perception, natural light, and the built environment are our primary focus. This studio pushes the limits of human vision and the articulation of forms and spaces that affect how we interact with our surroundings.

Tanadon Wanitnunttada

Phurichya Jirayutat Year 4

121

AA005: SITE XXX INSTRUCTOR Dr. Surapong Lertsithichai

In the near future, conventional architectural typologies built on pristine sites in modern cities may no longer be feasible or practical due to their environmental and financial impacts. A new generation of architects will be challenged to build with increasingly strict constraints–building on existing sites or seeking unconventional sites to build upon, for example. Augmented Architecture 05: SITE XXX is a studio that focuses on the latter, proposing projects on unclaimed, uncharted, and uninhabited sites occupying three types of spaces; namely, the sky, the land, and the water.

This studio focuses on seeking new or unconventional territories and site conditions. The process may include site transformations or the augmentation of architectural structures, materials, and technologies for inhabitants to survive comfortably in extreme environments while also integrating sustainable development practices.

Student proposals engage with new building sites and develop augmented architectures that minimally impact the environment.

Peera Tayanukorn

122

INDA YEARBOOK 2020–2021

INDA LIFE

NEVER HAVE I [EVER] INSTRUCTORS Christo Meyer Pitchapa Jular

Architecture shares a rich history with storytelling.

What is a transition of spaces–whether in a building or in a city–if not a sequence of events, interactions, or chapters. As architects and designers, we become the narrators of these chronologies. We interpret a plethora of histories, memories, and facts to condition, enhance, and edit them into a format that is legible to the users of a building (or the “readers” of a story, if you like). Yet, very often, we take the most obvious of these ingredients in order to develop a proposal. Obvious observations lead to obvious outcomes. But searching for the least probable or the most opportunistic outcomes, may allow us to eliminate obvious approaches in design research.

The studio primarily focuses on design through making; making drawings, making models, and making devices that lead to sophisticated and experimental architectural design proposals. We are fascinated by uncovering the every day, observing, and extracting narratives that can imbue a programmatic premise to both hypothetical and real design-led solutions. We value process, iteration, and refinement in order to achieve complexity.

Navapol Montong

Lalida Attawetkul

Year 4

123

BANGKOK: A LIVING SURVEY INSTRUCTOR Marie-Louise Raue

Siam is arguably the most public space in Bangkok. Six different shopping malls are linked into one seemingly endless interior of more than 800,000 square meters. Connected to the city’s transit network, people come here to meet, to eat, and to be entertained–almost everything we do here is predicated on consumption. This studio imagines a different type of public space–civic–and we define new types of spaces to think, exchange ideas, and educate ourselves and others. Once a cornerstone of city life, civicness and its related spaces are much less visible in contemporary society.

Students conceptualize why such spaces are vital for the city and for society at large, define a program for such a space, and define forms to integrate them into the pre-existing context of Bangkok.

Thanapond Namnanthasith

Prao Sirisaksopit 124

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MAE MOH RECLAMATION INSTRUCTOR Chon Supawongse

Mae Moh Reclamation aims to explore design interventions and spatial strategies for the Mae Moh Lignite Mine in the Lampang province of Thailand. This 135-square-kilometer mining site is located in the Mae Moh Basin, and it is part of the Wang Watershed and the Phi Pan Nam mountain range. Operated by the Electricity Generating Authority of Thailand (EGAT), a power plant on the site provides a production capacity of 2,400 MW with an approximate annual fuel consumption of 16 million tons, which supplies about 10% of the electricity in Thailand. With an open pit lignite mine covering over thirty-five square kilometers and a forty-square-kilometer dumping area, the site is the largest coal-fired power plant in Southeast Asia.

After opening in 1969, the mine has extracted over 500 million tons of lignite, while the remaining reserve of 800 million tons will last for the next thirty years. While the extraction continues, EGAT is planning to shut the site down at the end of its lifespan. What is next for the Mae Moh Mine?

Inevitably, the site will need to be redesigned, reclaimed, and reprogrammed. Reclamation processes require transdisciplinary frameworks, and this studio offers a substantial opportunity to experiment with landscape disturbance, renewal, and the reoccupation of synthetic space and ecology.

Santhila Chanoknamchai

Pichamon Taksinawong

Year 4

125

ANOTHER FINE MESS: THE EXACT, INEXACT, AND ANEXACT INSTRUCTOR Per Stefan Svedberg

The onset of mass production and standardization following the industrial revolution has resulted in increasingly globalized and generic architectural styles. Within current architectural practice, the exact translation of virtual instructions from standardized tools such as 3D models, CAD drawings, and BIM systems to their physical realizations has played a decisive role in perpetuating this generic aesthetic. Even parametricism, with all its promise of achieving infinite variety through algorithmic precision, has become exhausted by its own adherence to exactitude and manufacturing standards.

The job of an architect has conventionally been to give order to a state of disorder. This allure of absolute control over formal and material resolution suppresses the opportunity to engage with matter and its inherent behavior and tactility in design. By challenging standardized production protocols and formal exactitude, the studio will explore the relationships between exact, in-exact and an-exact processes that oppose absolute control. In this studio, students navigate between analog and digital fabrication methods that use a material’s properties as design tools. How do our current tools shape how we think about form-making and, conversely, how can various methods of form-making re-shape our tools? The projects culminate in small to medium-scale architectural interventions that hover between legible figure and amorphous form–between order and disorder.

Rachapon Jidapasirikul

Prae Lertprasertkul 126

INDA YEARBOOK 2020–2021

INDA LIFE

BEAUTIFUL FOOLISHNESS OF THINGS INSTRUCTOR Takanao Todo

Tea is a processed product made from the Camellia Sinensis plant, which is grown in tropical to subtropical regions across the world. It is believed to have originated in China around 6000 BC, and it appeals to us with its aroma, taste, texture, and variety of health benefits. Today, it is possible to find tea virtually everywhere in the world. The ubiquity of tea brings together space, time, and people, and it inspires imagination and self-reflection.

This studio investigates the cultural landscape and the architecture of tea in Chiang Rai. The population of this area consists of descendants of refugees from the Kuomintang as well as mountainous tribes who cultivate 50% of Thailand’s tea production. Students start their research by choosing specific tea cultures and making encyclopedias of their topics. Then they examine their design potential through physical and digital models, material experiments, sketches, and drawings. Finally, they propose a cultural complex that corresponds with the delicate agricultural landscape to improve the quality of tea culture.

Warut Im-erb

Napat Kunapongkul

Year 4

127

REVIEW PHOTOS

YEARYEAR 4 4

PROJECT

STUDENTS

INDA LIFE

Plastic Beach Liva Dudareva

Chompisa Amatayakul Thanvarat Jamnongnoravut Naruemol Pholnuangma Chanakarn Pongteekayu

Kodchakorn Promjaree Sirapat Sapthaweeteerakul Yuka Sato Prang Suriyapornpun

City Lobby Will Hulbert

Tanapat Adulteerakit Kemjira La-orsuwan Klitee Limpawattanasiri Chayanisa Ongarjphanchai

Prin Parinyanusorn Sasipa Punkasem Chanuti Sukhumcharoenchit Sasipat Tarinamornpong

Paradise Estate Michal Jurgielewicz

Chinnapat Asavabenya Sakaokaew Jindawitchu Krissada Laohongkiat

Waris Majitnapakul Thanakorn Phonthanakornkul Kamolthip Polsamak

Let There Be Light – Spatial Intelligence V2 Dr. Sorachai Kornkasem

Phudtripart Bhudthonamochai Phurichya Jirayutat Chidapa Kongsuphol Klasilp Ladalalitsakun

Palika Nitisiri Tamon Sawangnate Panassaya Waenkaew Tanadon Wanitnunttada

AA05: SITEXXX Dr. Surapong Lertsithichai

Ravinan Kumar Hattakarn Lertyongphati Paweenda Patarathamaporn Natnicha Pornteparak

Napas Simarangsun Saruta Sookparkob Peera Tayanukorn

Never Have I Ever Christo Meyer and Pitchapa Jular

Lalida Attawetkul Tanyadhorn Dumrongkijkarn Navapol Montong Phapot Putthammarong

Siwakarn Sabpaisarn Varinda Suphantharida Boonyavee Sureephong

Bangkok: A Living Survey Marie-Louise Raue

Thanapond Namnanthasith Kasipang Phantajak Athitaya Piamvilai Tida Rama

Prao Sirisaksopit Suchat Telavanich Tatiya Visetrit Arnon Vongarnon

Mae Moh Reclamation Chon Supawongse

Satida Adsavakulchai Santhila Chanoknamchai Apisada Hanbunjerd Napatsorn Mongkoldet

Nicharee Sammapan Pann Sermchaiwong Pichamon Taksinawong Choomcherd Virapat

Another Fine Mess: The Exact, Inexact, and Anexact Per Stefan Svedberg

Rachapon Jidapasirikul Tinn Kiewkarnkha Thatsama Leeumnadwong Prae Lertprasertkul

Nichapha Lumpikanont Wichayes Maneepakhathorn Koonanan Panyahom

Beautiful Foolishness of Things Takanao Todo

Warut Im-erb Napat Kunapongkul Sutinee Leelaratrungrueang Preeyanuch Natthapan

Natnicha Opasserepadung Lalitsiree Ponsombatnun Premmika Taechavarangkul Manachanok Tantraporn

Year 4

129

News & Events

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INDA LIFE

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 year, we also received submissions from our growing alumni network. 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.

News & Events

131

TOONG STUDENTS Raphadson Saraputtised Nicha Vareekasem Nisama Lawtongkum

The competition for the Department of Local Administration Saving and Credit Cooperative aims to generate ideas that define its identity through a new building design.

TOONG: Cooperation + Community + Prosperity is a design inspired from “Toong Sai Moo,” a traditional decoration used in formal ceremonies.

Toong is used as a symbol in our design that connotes the cooperation of the members and the staff within and outside the department, and it reflects the familial relationships among the members of the community.

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RE-NATURE ROME SUBTERRANEAN SANCTUARY: A BRIDGE BETWEEN SPECIES STUDENTS Veerin Dumrongkijkarn Pattaramon Kraiteerawut Nattamon Premsoontorn Sathida Taesriprasert

Water is the beginning of life. Plants, animals, and people all rely on it to survive. How can water, the most plentiful and essential element on earth, bring life back to Rome?

Subterranean Sanctuary aims to rejuvenate the historical city of Rome with biodiverse habitats and to create harmony between people and animals.

Bringing water from the Tiber River through underground networks, water patsses through the Piazza del Popolo (the People’s Square), and slowly restores the once fertile soil underneath.

This infrastructure continuously branches off to other piazzas and reintroduces wetlands to urban areas. The height of the water increases during the day and decreases at night, which creates spaces that change to enable different activities throughout the day.

The structures in the project are inspired by birds’ natural dwellings, and they accommodate different species including seagulls, pigeons, and starlings.

Carrying various seeds with them, new plants are dispersed across the land. Life slowly blossoms.

Trees and flowers start to bloom, welcoming insects, birds, and other wildlife seeking refuge from the buzzing city of Rome.

Subterranean Sanctuary encourages human interaction and forms connections between people and animals, past and future, urban and nature.

COMPETITION https://www.nonarchitecture.eu/re-nature-rome/ PROJECT LINK https://www.nonarchitecture.eu/2021/08/17/ subterranean-sanctuary-a-bridge-between-species/

News & Events

133

APEC THAILAND 2022 STUDENT Natt Sereerath

Dare to change. Embrace our roots.

Blend in Diversity.

The concept of the logo aims to recognize one of the Thai peoples’ greatest strengths, which is the courage to change and evolve without losing our identity. This strength is a significant force driving Thailand to fairly and sustainably collaborate with the diverse member nations of the Asia-Pacific Economic Cooperation (APEC).

Thai patterns are more than just art; they reflect the values, knowledge, and identity of the Thai people.

The logo is designed by modernizing the traditional “Lai Kranhok” pattern while still respecting and commemorating the unique qualities of the traditional pattern.

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TRAIN CABIN 888 STUDENTS Nannapat Kosintrakarn Namida Niamnamtham Plaifha Siripanthong

The “Remote Work Cabin” is a design competition that explores the creative potential of architectural design through axonometric projection.

Participants are asked to create a design concept around the theme of nature and remote work. The challenge is to bring people back to nature by designing a cabin as their ideal workplace in a natural environment. Designers are free to critically explore different interpretations of these topics, from practical approaches to more dystopian/ utopian scenarios. No specific site is given.

COMPETITION LINK https://www.nonarchitecture.eu/category/remote-work-cabin/ PROJECT LINK https://www.nonarchitecture.eu/2021/07/18/train-cabin-888/

CU NEX MASCOT STUDENT Kana Sricharoenchai

Third-year student Kana Sricharoenchai was awarded first prize in the CU NEX Mascot Design contest organized by Chulalongkorn University and Kasikornbank. The “Nexky” mascot, inspired by a cloud, provides a friendly character as the face of the CU NEX mobile application and Facebook page.

News & Events

135

WOOF PACK STUDENT Norrawich Busarakum

Second-year student Norrawich Busarakum created the winning design for the Woof Pack competition, which aims to highlight the community in Saladaeng and explore the potential of mapping under the concept “Check-in, explore our neighborhood.” Woof Pack invites designers to create a novel illustration for the community that represents the unique aspects of the Saladaeng district. The winning map reveals the social conditions of the area rather than just the physical or architectural elements.

BEEYOND CONVENIENCE STORE STUDENTS Raphadson Saraputtised with students from Faculty of Commerce and Accountancy and Faculty of Engineering, Chulalongkorn University.

Beeyond is a model for an innovative business in which we design a sustainable community for SMEs to test, grow, and accelerate their business and to make them successful and well-known in the market. The business model is divided into two parts–one for the growing SMEs and one for the customer. We create a support worker bee team to partner with banks and investors to develop the SMEs, create a new experience for the customers, and host a platform for the community. The store design would be the base for all of the SMEs to connect to their communities of interest, starting with the Chulalongkorn University community. The store is divided into the Bee Checkout, the Bee Convenience, the Bee Wrap ‘n’ Go, and the Bee Lab.

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BRITISH EMBASSY PROJECT INSTRUCTOR Pakphum Youttananukorn

The British Embassy Project (Bangkok) is a collection of wooden objects and furniture made from reclaimed rain tree branches found in the demolition site of the former British Embassy in central Bangkok. It is a craft project with historical significance as the consulate closed a 90+ year-long chapter. The brief, defined by the British Ambassador at the time, aims to commemorate this occasion by turning raw materials into collectible items with a sense of closure and renewal. The Grains & Grams collective, led by Pakphum Youttananukorn, took this opportunity to devise a holistic design and making procedure that defines the entire process from tree to product, during which the collective emphasized the natural quality of the materials. In addition to making beautiful objects, there is an obligation to make meaningful objects in response to this emotional period of transition.

More coverage at https://readthecloud.co/ british-embassy-wood-furniture/

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LIGHTHOUSE IN YOKOHAMA INSTRUCTOR Takanao Todo (designer) COLLABORATORS Sekai Architects (local architect) Seisa Group (construction) Sanko Rinsan (sponsor for the timber supply)

The fourth Yokohama street furniture competition was held to select designs to be displayed at the Yokohama Art Triennale from October 1st to 11th 2020. The competition asked for the design of street furniture for Yokohama’s Grand Mall Park, under the theme of “Beginning.” This year there were a total of 209 entries, eight were selected as finalists, and, along with two other entries, Todo + Sekai Architects’ “Lighthouse in Yokohama” was selected as the winner.

reference to the port and starboard markers at the entrance to international seaports–drawing a connection to Yokohama’s maritime heritage.

The construction of the benches, which consists of prefabricated CNC-cut plywood modules and a manual hand-crank generator for the lights, was undertaken by almost 100 students from Seisa University, where the furniture will be relocated after the Triennale.

The first railway in Japan connecting Shinbashi to Yokohama opened in 1872, while the first international ferry terminal connecting Yokohama to the world opened in 1894. All sea visitors to and from Yokohama witnessed the illuminated lighthouse beacons in the distance as a symbol of either the beginning or the end of their journey. As time has passed, Yokohama has developed into one of the largest global seaports, and it is now a bustling city of bright lights and glittering tourist destinations, but the significance of the early lighthouses has largely been forgotten.

Takanao Todo + Sekai Architects’ new street furniture aims to rekindle a sense of destination among visitors by remembering Yokohama’s historic maritime markers. The design creates both a comfortable park bench and a symbolic artifact.

The hexagonal form and tall proportions recall the oldest functioning lighthouse in Yokohama, which was constructed in 1896.

A pair of these tall ‘lighthouse’ benches are located on either side of the park’s main pedestrian avenue. The right bench is finished in red and topped with a red beacon, while the left bench is finished in white and topped with a green light–a

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XUANWU TOWER INSTRUCTOR Takanao Todo COLLABORATOR Duriflex Co. Ltd.

As part of Bangkok Design Week 2021, this installation was placed in a small Chinese community in downtown Bangkok in front of a hidden Taoist temple dedicated to the “Black Warrior” or “Black Tortoise.” Its hexagonal form and surface openings reflect the symbolic turtle shell pattern of the idol. The purple light represents Polaris, as the Black Warrior was known to be a protector of the star. The design reflects the lost identity of the idol while functioning as street furniture that invites the community to gather together. The structure consists of bolted steel plates, and it is entirely demountable.

TIMBER PLATE MORPHOLOGY ALUMNUS Settawut Leenavong

INDA alumnus Settawut Leenavong hosted an online workshop to showcase a parametric design workflow called “Timber Plate Morphology” at the Computational Design Next 6.0 event (2-3 Oct 2021) organized by Parametric Architecture and Design Morphine. Inspired by the construction process behind the Landesgartenschau Pavilion at the University of Stuttgart, the event addressed issues of sustainability, materiality, and the scarcity of resources.

INSTAGRAM https://www.instagram.com/chokoon21/ PARAMETRICARCHITECTURE https://www.instagram.com/parametric.architecture/ DESIGNMORPHINE https://www.instagram.com/designmorphine/ CDNEXT https://www.instagram.com/cdnext/

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ALUMNI TALKS @ INDA PARADE 2021 ‘Alumni Talks’ is a series of short lectures from INDA graduates 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 11-13, 2021 via Zoom.

SESSION 1: ARCHITECTURAL FIRMS MODERATORS: Aj. Jane Chongsuwat Ramita Keeratiurai (Y3 student) ALUMNI GUESTS: Sasimanas “Fai” Hoonsuwan (INDA 02, Class of 2011) Senior Designer / SOM, New York Pitchayut “Karn” Kingkaew and Chaitawat “House” Jirunyakul (INDA 07, Class of 2016) Partners / H75 Design and Build

few months, I went on to work as an architect in another firm called DXA Studio before ultimately joining SOM New York. I would say my advice is to learn from people around me. Having the opportunity to work on large-scale projects at SOM, I learned that one of the most important qualities of an architect is being able to work in a team. For example, for the Pennsylvania Station Renovation project, we have both a design and technical team. I realized how important this kind of collaboration is, especially when working on large projects like this one.

You should think about what you like and pick a profession that matches you. However, if you decide to pursue a career in architecture, I recommend that you learn something besides architecture in order to distinguish yourself from other architects. Whatever interests you, it will aid in the development of your design style.

SUNNY Naphat Chongratanakul

Q: When you started your company, how did you manage the multiple roles required for the design and construction of architectural projects? How did INDA prepare you for this?

We separated the different roles among the five partners (who were all classmates at INDA).

Even though, in the end, everyone does everything, we were each responsible for a certain role such as design, visualization, accounting and finance, or project management. Working with friends from INDA really does help a lot. It makes it much easier to go through the bad times because, after everything we’ve been through together at INDA, we know that we can talk about tough issues and be completely honest with each other when needed.

KARN Pitchayut Kingkaew

Naphat “Sunny” Chongratanakul (INDA 03, Class of 2012) Partner / ALGO Architects Q: How did you choose what kind of work you wanted to do after graduating from INDA? Did you already know this when you were studying at INDA? Any suggestions for newly graduated students?

Honestly, I was not a very good student back then.

After graduating, I was confused and lost about what I wanted to do and who I wanted to be. However, INDA taught me to always find a way. So I ended up switching between different jobs to explore what I wanted to do – from graphic design, to marketing, to sales consultation, and so on. In the end, I was given the opportunity to work in the design profession. My advice is that you have plenty of time, that you are still young, and that you can always discover yourself as you go.

What I’ve learned so far is to be nice to everyone and to keep learning every day.

HOUSE Chaitawat Jirunyakul

After graduation, I worked at a landscape architectural firm [Shma] in Bangkok briefly before getting accepted into Pratt Institute in New York City and studying there for three and a half years. After finishing my master’s degree, I originally wanted to come back to Thailand to look for a job. However, I luckily stumbled upon an architectural firm “open house” with a friend and got my first job in New York. After working there for a

FAI Sasimanas Hoonsuwan

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SESSION 2: ALTERNATIVE DESIGN PRACTICES MODERATORS: Aj. Jane Chongsuwat Nicha Vareekasem (Y3 student) ALUMNI GUESTS: Sansiri “Stang” Siripornlertkul (INDA08, Class of 2017) Partner / Yimsamer and Goodhood Services Kamolnadda “Mint” Thumrongluck (INDA02, Class of 2011) Lighting Designer / L’Observatoire International, New York

SESSION 3: CREATIVE BUSINESS / BRANDING MODERATORS: Aj. Jane Chongsuwat Nisama Lawtongkum (Y3 student)

Jarim “Jim” Weeraboonchai (INDA05, Class of 2014) Concept Designer, Toy & Product Developer / Freelance Q: How did you get into each of your respective fields? Being trained in design and architecture, what were the first steps you took into your alternative design careers?

MINT Kamolnadda Thumrongluck

During my third year at INDA, I was unsure what I wanted to do after graduation – perhaps, like some of you. So I tried doing as many things as possible. I was an intern at an architecture firm, and that was when I discovered I wanted to work in the field of architecture but not as an architect. I, then, joined the firm’s [L’Observatoire International] summer internship at the time when they were finishing up The Metropolitan Museum’s facade renovation project.

Seeing how much light has an impact on architecture and everything sparked my curiosity in lighting even more.

Q: What would you say was the most important skill you took from INDA into your creative practice? How has INDA helped you in drawing out your own path?

STANG Sansiri Siripornlertkul

I think it is the ability to analyze information and speculate on how things work. In my line of work, things that were taught in history, structure, and environmental design courses really impacted how I now perceive details in order to create environments, convey narratives through image, and make it all fun.

JIM Jarim Weeraboonchai

Back when I was a student, I was happy that I had spent my time studying and testing different possibilities, including starting my own business. I think INDA was like a perfect playground where we could experiment with many things without worrying about the outcome.

The instructors may have seemed strict at times, but they are not as tough as real-world clients.

ALUMNI GUESTS: Achariya “Sai” Rojanapirom (INDA 03, Class of 2012) Co-Founder and Creative Director / Kalm Village, Chiang Mai Winchana “Winner” Prucksananont (INDA 06, Class of 2015) Creative Director / Munnork Private Island, Founder / SUNNE Voyage Q: Tell us about some of the challenges from your experience venturing out in your respective businesses and what you learned.

I knew nothing throughout the construction process, so I kept asking questions and getting recommendations, but it was the most enjoyable part of the journey. There are a lot of things that aren’t developed or drawn in advance, but are rather created on the site based on suggestions and conversations, and this was my favorite part of working on the Kalm Village project.

Learning, but also being humble enough to seek advice from others around you, is different from previous architectural projects that we have worked on. Collaboration is our fundamental goal, and it is at the core of the project in every single aspect.

SAI Achariya Rojanapirom

During the first few years that I was working on the Koh Munnork project, it was a lot about marketing. Now that I am working full-time on the island, I quickly realized that the most challenging aspect is the operational limitations of the business. It is not only about the management of resources, such as limited electricity, freshwater, or construction materials, but also taking care of the community of around thirty staff that live on the island. I am always monitoring every aspect of the entire project and prepared for anything that could happen.

WINNER Winchana Prucksananont

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ALUMNI SURVEY: IF YOU ARE CURRENTLY WORKING, WHAT IS YOUR FIELD

IF YOU ARE CURRENTLY WORKING, WHAT IS YOUR FIELD

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WHICH PART OF THE WORLD ARE YOU CURRENTLY IN?

IF YOU ARE CURRENTLY STUDYING, WHAT IS YOUR FIELD?

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FUTURE CREATIVE LEADERS IN THE MAKING VIA CURRICULUM DEVELOPMENT AUTHOR Dr. Sorachai Kornkasem

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Since the inception of the INDA program fifteen years ago at the Faculty of Architecture, many successful graduates have created inventive design innovations that serve society. Spanning architecture and related creative fields, INDA alumni are acclaimed as uniquely creative talents.

This success can be credited to the outstanding foundation offered by the INDA program as defined and directed by the founders.

“What’s next for INDA?” has been a recurring question from the larger institution of Chulalongkorn University and from INDA’s own board of directors. How can we continue to push the innovation of the program and the creative talents of the students? Fortunately, we have been revising and further developing the curriculum in an attempt to adapt to any unforeseen challenges facing the design and creative industries for the next fifteen to twenty years.

The process of INDA’s curriculum development is not new, and the program must be updated and revised every four to five years according to the Thai government’s educational system and Chulalongkorn University’s policies. This requirement ensures that the program offered to our students accurately reflects society’s needs.

The program is designed to produce graduates who become world-class creative thinkers, successful leaders, and architects of the future who are well-suited for the challenges of the twenty-first century. The program must maintain established international standards and professional accreditations, and it must be recognized for design, creative resources, and trusted collaborations.

After experiencing the educational challenges created by the COVID-19 pandemic over the past few years, we see new opportunities for mixed teaching and learning methods, global outreach, and accessibility to a wider range of experts in their respective fields. Modular, blended, remote, and hybrid methodologies could easily continue into the future. Increasing exposure, communication, and internationalization remain our primary goals, and we plan to achieve this by creating additional exchange programs, international workshops, summer programs, and academic partnerships with leading institutions around the world. Co-creation and collaboration are the keys.

Our curriculum development is implementing international quality assurance accreditation protocols and conforming to other international professionally accredited education and licensure standards and regulations. Upon completion of the program, graduates may smoothly transition to pursue a career abroad.

Lastly, INDA will establish a series of labs for academic publications, corporate collaboration, and services that support INDA’s current learning objectives, particularly in hands-on, project-based design studios and technology courses. Not only will this improve the program in the near-term, but it could also facilitate the development of a future Master’s program and/or continuing lifelong learning programs for the community.

We are looking forward to seeing the future growth and evolution of INDA.

With this goal in mind, the curriculum development aims to make the program leaner and more adaptable while enhancing INDA’s already innovative research and progressive design approaches. A new program will reduce the number of required credits necessary for graduation. One option we are considering is to create different tracks for students, one that purely focuses on architecture and one that integrates other creative art endeavors beyond the architectural field so that students can pursue a greater diversity in art and design career paths. In addition to our progressive design and creative strengths, the revised program will facilitate more technological and manufacturing processes and promote greater business and enterprise knowledge. These skill sets would enhance students’ abilities and support their future pursuits beyond INDA.

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INSTRUCTORS

Dr. 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, Surapong worked with the Fuji-Xerox Palo Alto Laboratory in California as a research scientist developing intelligent software and digital solutions for workplaces.

Dr. Sorachai Kornkasem Deputy Director

Sorachai Kornkasem is a cross-disciplinary professional, intuitive researcher, results-oriented project manager, and design creative who expands 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.

Dr. Preechaya Sittipunt Program Advisor

Preechaya Sittipunt is the founder and former Director for 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 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.

Pratana Klieopatinon Program Coordinator

Pratana (Pat) Klieopatinon has been teaching first and second year design 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.

Dr. Scott Drake International Relations Coordinator

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.

Hseng Tai Lintner Year 1 Coordinator

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.

Eduardo Cassina Year 2 Coordinator

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.

Marie-Louise Raue Year 3 Coordinator

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.

Christo Meyer Year 4 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, the University of Brighton, the University of Greenwich and the Bartlett.

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Kamonsin Chathurattaphol

Kamonsin fell in love with design and architecture at Goddard Library at Clark University where he received his undergraduate degree. He then ventured out West to work for Eric Owen Moss. For his master degree, he attended Columbia University in New York and worked for Dean Maltz/ Shigeru Ban Architects afterward. Back in Thailand, he works on small residential projects, furniture design, and children’s books.

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, digitallydriven 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.

Juan Cuevas

Juan Cuevas is an architect from Spain. He completed his Masters in Architecture at ETSAM, Universidad Politécnica de Madrid. Since 2012 he has worked in mixed-used projects in international firms in China and Hong Kong. Since 2016, he is the founding partner and design director at Estudio Cavernas, a design and construction platform which explores and builds Southeast Asian contemporary vernacular architecture.

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 to conceptualize, develop, and manage projects world-wide. After a year at the Strelka Institute, she co-founded the practice METASITU.

Paul Feeney

Paul 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.

Dr. Gregory Galligan

Gregory Galligan, PhD is a curator and art historian and the director/ co-founder of the Thai Art Archives in Bangkok. He 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.

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Hyunju Jang

Hyunju Jang is an environmental designer at Atelier Ten Bangkok. She completed her PhD at the University of Sheffield, UK with a dissertation on energy-efficient refurbishment of high-rise apartment buildings. As a LEED and WELL accredited professional, she is involved in major projects embracing sustainability in Bangkok. Hyunju’s research interests include the relationship between occupants’ behavior and the energy performance of buildings.

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 field 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.

Ema Hana Kačar

Ema Hana Kačar is an ARB-registered architect and designer who graduated with an AA Diploma in 2018. Ema has trained at the offices of Diller Scofidio + Renfro in New York, Squire and Partners in London, and Bevk Perovic arhitekti in Ljubljana. She has also taught a History and Theory diploma seminar at the AA, and was a guest critic at Pratt Institute in New York.

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.Sc. degree from INDA at Chulalongkorn University and graduated with a Master of Architecture RIBA part II from the Bartlett School of Architecture, UCL. His work reflects the surreal and melancholic elements of society and architecture.

Oliver Loesser

Oliver studied at the University of Applied Arts in Vienna in the Masterclass of Wolf D. Prix. After graduation, he worked as a design architect in Germany and China for Hadi Teherani Architects, UNStudio, and GMP Gerkan Marg and Partners. In 2017, he was accepted as a licensed architect in the Architecture and Urban Planning Chamber in Germany, Hessen.

Thomas Lozada

Thomas Lozada is the history-theory coordinator, a design studio instructor, and the archivist at INDA. After graduating with a master’s degree from Pratt Institute, he has worked in New York as a licensed architect, as a research editor with the publication CLOG, and as an adjunct professor at NYIT. His current research focuses on the exploration of contemporary “carbon cultures” and the development of a post-carbon paradigm for architecture.

Payap Pakdeelao

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.

Pannasan Sombuntham

After receiving a bachelor’s degree in architecture from the Faculty of Architecture at Chulalongkorn University, Pannasan traveled 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, and life led him back to Bangkok, where he now teaches at INDA with world-class colleagues.

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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 super-tower projects and airport design where she was part of the team that won the Changi Airport competition.

Ekapob Suksudpaisarn

Ekapob Suksudpaisarn 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 the Urban Design and Planning Group). He has published a book on school design in Thailand with Li-Zenn Publishing and also has his own design practice, AND Co.,Ltd.

Chon Supawongse

From Si Chon, Nakhon Si Thammarat, Chon 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.

Takanao Todo

Takanao Todo 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 at Eco World.

Tijn van de Wijdeven

Tijn van de Wijdeven is an architect and has taught at INDA in Bangkok since 2014. He has collaborated with the studio Dogma in Brussels as an architect and researcher on various projects including the publication 11 Projects. Previously, 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.

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Saul Appelbaum Antonio Bernacchi Pongsiri Boonsom Yarinda Bunnag Pitupong Chaowakul Hadin Charbel Paolo Euron Peter Fisher Blanca Garcia Gardelegui Fredrik Hellberg Artem Kitaev Alicia Lazzaroni Lara Lesmes Déborah López Lobato Taylor Lowe Xiaoxuan Lu Patxi Martin Kanwipa Methanuntakul Francisco Garcia Moro Sabrina Morreale Romea Muryn William O’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

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INDA ADMINISTRATIVE STAFF 2020-2021

Wanwisa Wanchanalat Administrator (Finance) Thanyarat Chaiyuttapoom Academic Finance / Procurement Phongsakorn Embangtoei Administrator (Resources) Pornnipa Khatkantha International Affairs Pongpan Pheerananont Academic Affairs / Registration Chatchawan Ratchanikorn Academic Affairs / Registration Usavadee Sangwisate Student Affairs / Admissions Boonjiraporn Boonnate Student Affairs / Admissions

INDA YEARBOOK 2020–2021

INDA LIFE

ADMISSIONS INFORMATION 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: An applicant must have completed high school or passed an equivalent high school standard test or be currently in their final year of high school (including, Grade 12 in the US system or Year 13 in the British/IB system). An applicant from abroad must have a high school certificate, or have passed the high school equivalent standard test (GED, IGCSE) must have the Equivalence Certificate from Higt schroot tertificate tqurivatercy System. (http://www. hsces.atc.chula.ac.th/)

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.

For CU-AAT, CU-TEP, and CU-TAD testing information, contact Chulalongkorn University’s Testing Information Center at 02-218-3717 E-mail: cuatc@chula.ac.th CU-ATC website: http://www.atc.chula.ac.th Detailed schedule, including application deadlines and interviews, can be found at http://www.cuinda. com/admissions.

4.

Test scores of aptitude in design: CU-TAD with a minimum score of 50%

5.

Portfolio The required format of the portfolio is a digital PDF file not exceeding 50 MB, stored and shared online by the applicant then submitted as a URL link in the online application form. The portfolio size is A4 with no more than 20 pages including covers.

6.

Application form including: - 1,000 baht non-refundable application fee - A copy of the applicant’s passport (International applicants) - A copy of applicant’s ID card (Thai applicants) - Three (3) one-inch (1”) photographs - Documents of qualification from points one (1) through five (5) as listed above 151

Coordinator and Editor: Jane Chongsuwat

Copy Editor: Thomas Lozada

Assistant Editor: Kanchaporn Kieatkhajornrit

Graphic Design: Studio Marketing Materials

AR Consultant: Prima Rojanapiyawong

Photographers: Jane Chongsuwat Kanchaporn Kieatkhajornrit Pratana Klieopatinon Christo Meyer Takanao Todo

Review Guests: Antonio Aguilar Yavuz Akcora Dr. Matthew Allen Pam Anantrungroj Winyu Ardrugsa Ton Balankura Pavin Banternghansa Antonio Bernacchi Lina Bondarenko Yossapon Boonsom Charavee Bunyasiri Savinee Buranasilapin Hadin Charbel Lingxiu Chong Ken Chongsuwat Chatpong Chuenrudeemol Dr. Acharawan Chutarat Tom Dannecker Jak Drinnan Ekkachan Eiamananwattana Amanda Ellis Gwenddoline Eveillard Luis Muniz Flores Kuba Gardolinski Pedro Gil Jan Glasmeier Kanitta Sarah Hargreave Martin Hogue Dr. Lorens Holm Pim Hongdulaya Hutsama Juntaratana Jaturon Kingminghae Attaporn Kobkongsanti Dana Kosmina Takahiro Kume

Vipavee Kunavichayanont Marta Kwiczała Wachira Leangtanom Settawut Leenavong Somkiat Lo-Chindapong Déborah López Lobato Ahmad Makia Bruno Malusa Omayra Maymó Alexandre Mecattaf Fraser Morrison Varis Niwatsakul Takuya Onishi Savitri Paisalwattana Malina Palasthira Rahesh Ram Kanika Ratanapridakul Ponwit Ratanatanatevilai Craig Rosenblatt David Schafer Chutayaves Sinthuphan Kengo Skorick Rajat Sodhi Helene Solvay Priwan Srisom Eiji Sumi Takk (Mireia Luzárraga + Alejandro Muiño) Nico Taylor Twitee Vajrabhaya Teparkum Piyalada Thaveeprungsriporn Cory Ticktin Supitcha Tovivich Prompt Udomdech Bea Vithaya Song Xiaoxing Special thanks to all of our review guests, collaborators, and everyone else who helped make this another successful year at INDA.

Printed in Bangkok, Thailand by Chulalongkorn University Press, 2022 152

INDA YEARBOOK 2020–2021

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