Prim Vudhichamnong | 2020 Portfolio

PRIM VUDHICHAMNONG ปริ ม วุ ฒิจำ�นงค์

1

PRIM VUDHICHAMNONG ปริ ม วุ ฒิจำ�นงค์

dob;

20.04.2000

em;

primvudhi@gmail.com

tel;

+66 81 917 9820

ABOUT ME I am a second year student at The Bartlett School of Architecture, studying their undergraduate BSc Architecture course throughout 2018 - 2021.

During this BSc, I am invested in acquiring knowledge and expertise in new, technologically advanced methods of representing and experiencing architecture, along with the concept of healing architecture.

In the pursuit of my interests in Biology, Physics and Computer Science, I quickly came to realise my enjoyment in solving problems and working with restrictions, together with my missed passion in art, design and creation, resulting in a late but positive change of career path.

Having worked towards a number of different STEM fields, I have confidence in my quick wit, attentiveness and meticulousness, as well as my resilience. Alongside these studies, I’ve continually developed my skills and creative mindset through keeping art and design as a hobby for my passion.

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ach;

(Art, CS, Maths)

ACHIEVEMENTS Bangkok MUN 2014

2014

FedEx Express International Trade Challenge

UK Bebras

Challenge Computer Science Highest Achievement

Fobisia Creative Coding Challenge CS Team Competition Highest Achievement

2004 - 2012

2015

2012 - 2018

Lower School; 2004 - 2012.

Harrow International School, Bangkok

High School; 2012 - 2018.

2016; IGCSE International General Certificate of Secondary Education

2016

2017; GCE Advanced Level Qualifications (AS) A* A* A* A B

2017

2018 - present

Physics, Mathematics, Art and Design, Computer Science

Physics, Computer Science, Extended Project Qualification, Mathematics, Art and Design,

Univeristy College London, UCL Undergraduate Degree BSc; 2018 - 2021. London, United Kingdom

La Femme exhibition

BSc Architecture

Thailand Art Exhibition Feature

2018

WORK EXPERIENCE

work exp;

Art and Design Guideline

2016

Book Publication Feature

Thammasart University Hospital Medicine - Surgery

(Leadership positions, other achievements) House Leader

Head of House Prep

DOE

Duke of Edinburgh International Award; Bronze

Habitat for Humanity Thailand Active10 Charity Club; Co-chair

2012

SOFTWARE PROFICIENCY

prof;

Adobe Suite

2014

House Charity Captain Head of Charity Events

Mahidol University Sciences Biomedical Sciences

Languages Thai

Photoshop

Ps

(native language)

Illustrator

Ai

English

Indesign

Id

Chinese

After Effects

Ae

Premiere Pro

Pr

2015

Rhinoceros 3D

3D Imaging + Visualisation

* currently self-studying Mandarin, Chinese and Korean.

Python

V-Ray

Java

Unity

C#

Autodesk

Piano Qualification

Head of Media Events

Familiarity with softwares

2017

Programming Languages

ABRSM Grade 6

House Art + Media Captain

11 subjects

2018; GCE Advanced Level Qualifications (A2)

Challenge Computer Science Highest Achievement

Extended Project Qualification Individual Research Project (Python + Visual Basic program)

St. Stephen’s International School, Bangkok

2015; IELTS 8.0, 2017; TOEFL 107

UK Bebras

EPQ Research Project (A*)

+ Academic Qualifications

Chutaporn Kindergarten; 2002 - 2004. Bangkok, Thailand.

Model United Nations

Junior Achievement Thailand

EDUCATIONAL BACKGROUND

edu;

2016 2017

Microsoft Office

PowerPoint

P

Word

W

Excel

X

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1. Georgia Against Soviet Oppression. 2020. Year 2 Project 2.

An art restoration centre and laboratory to restore the underappreciated art of Geor and the redevelopment of the surrounding half-derelict Sanatorium Imereti as a gal for their exhibition.

2. Wandering within the Subconscious. 2019. Year 2 Project 1.

A hand drawn game controlled by the heart and human physiology developed thro the exploration of ritualistic behaviours within OCD and religion, and its relation anxiety and relaxation.

3. Others (A2, Photography, Sketching).

- 2018.

-

The World Beneath Us. 2019. Year 1 Project 1.

Thai Mythical creatures. 2018 A2 Level project.

CONTENTS

SCAN / CLIC PRIMVUDHI.W

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[p. 4 - 63]

rgia, llery

[p. 64 - 80]

ough n to

[p. 81 - 109]

CK TO VIEW WIXSITE.COM

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PRIM VUDHICHAMNONG

Prim Vudhi Y2 :

Project 2 - Art Rest

In a time where Georgia has survived the opp

an art restoration centre and laborator

Georgia, and the redevelopment of the surro

as a gallery for th

Aiming to be a medium for the current populati

through art, the centre’s design stems from fe

informed by the concept of layered transpa

interconnected, open but regulated la

6

ichamnong UG14

toration Laboratory

pressive Soviet Era, this building proposes

ry to restore the underappreciated art of

ounding half-derelict Sanatorium Imereti

heir exhibition.

ion to freely express their Georgian identity

eatures of old Georgian architecture, later

arency and controlled lighting to create

aboratory-like restoration spaces.

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Activity and Usage Study

Sculpture Restoration

Laboratory

Painting Restoration

Inside the canvas restoration room Showing the atmospheric quality - specific sources of light, equipment and machinery and their roles/position/orientation in this painting restoration room.

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Occupancy Study

visualisation of the occupancy of the art restoration centre

CTRL+CLICK TO ANIMATE

animate

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Key v

view into the inspection laborat to the painting and sculp

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view

tory, with moments of exposure pture restoration rooms.

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BRIEF CONCEP

Defending against th

indrect connections - translucency between enclosed spaces

Thinking back on the narrative repressive forces, I branched t design concepts, a design langu soviet sanatorium.

The sanatorium ruin of cold bl high privacy identical rooms in

I imagine the restoration bui environment throughout, with quality. However, with hints / sanatorium it is built within.

Moments of the sanatorium s state, becoming an artwork wa seen in conjunction with mome

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PT EXPLANATION

he Soviet (Sanatorium)

e of standing as a statement against that underlying drive into several uage opposite / different from the

locks of stone is filled with small, n most of its parts.

ilding to have a laboratory like h a new, modern, clean and sterile moments reminiscent of the old

warmer materials - timber (old Georgia) - glass

shall be conserved at this ruined aiting to be appreciated, possibly ents of new repairs / interventions

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Concept - Centralisation Instead of having each room a totally disconnected space [separate pods-type spaces], with the only common area between each restoration area being the middle laboratory, each room will now be all interconnected, resting under the same closure, the same envelope.

The main idea is for most if not all spaces ‘share the same air’, the same atmosphere, regardless of what process of art restoration they accommodate.

This provides a circulation that doesn’t require going through the central laboratory, centralised around one main corridor instead.

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Materiality and Lighting Adjustments made to the roof shape, structure, material and elevantional points seen from below, rendered to depict contrast between areas that receive light and areas that don’t.

Rooftop Courtyard Playground - MAD Architects; - The curved copper roof shells resembling fallen leaves - a vine / branch like structural system.

- twisted tubular steel beams - space under roof enclosed by a thin veil of moulded glass panels.

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lighter colour material

Indirect Connections;

As a form of atmospheric connection, I decided to develop a grid system that holds a glass roof, stretching above the whole building. This works by using frosted glass to cast soft shadows of the steel pipe structure all throughout the building. (diffused lighting) The feeling of being immersed in this synthesised atmosphere that is unique from the language of the existing sanatorium.

denser grid array

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Steel Grid Roof system

Indirect Connections; Connections For the spaces to be and/or feel interconnected, physical, visual, and atmospheric/ sensory connections should be designed and largely integrated.

Visual access : varying material transparency and textures Atmospheric / feeling : connections through smell, sound, light conditions, etc.

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detail;

Refinement of Steel-Glass Roof

With the delicate nature of some artifacts and paintings, exposure to sunlight should be kept moderate, whilt still allowing observation from above.

This informs the use and positioning of both frosted and clear glass.

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A few pages detailing their design

Restoration Rooms

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The ring light couples with a circular sky lilght above it to allow sunlight (clear glass) to enter the space

A semi-adjustable space with one fixed curved tabletop (left), positioned around a fixed central water bath convertible to a large table to adjust to momentary requirements.

Daylighting and artificial lighting,

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at dusk, when sky is dark, the ring light creates a white glow all aroound the laboratory, also lighting up the main corridor.

Laboratory The first room required in the restoration process of all artworks/artifacts - This room will include the use of chemicals, hence exhaust pipes running towards other rooms and to the outside is needed.

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Translucency; Archives Antoni Clave by Kengo Kuma & Associates. created usisng panels of expanded metal and throwing of Japanese paper pulp (washi) to give a soft atmosphere of the workspace, intended to be well lit by natural light coming through the expanded metal mesh.

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Compared to the painting and sculpture restoration rooms, I wanted the paper room to be more open, soft and light.

A mellow atmosphere.

at dusk, when sky is dark, the ring light creates a white glow all aroound the laboratory, also lighting up the main corridor.

Laboratory The first room required in the restoration process of all artworks/artifacts - This room will include the use of chemicals, hence exhaust pipes running towards other rooms and to the outside is needed.

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Inside, the room starts off a blank canvas. Furniture, desks, cuboards will be filled and put to use in certain spaces once there is work to be done within the room.

Adjustability.

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Noisy Room; A conjunction between the painting and sculpture restoration room. Unlike material inspection and paper/scripture restoration, the restoration of paintings and sculptures is comprised with activities that sometimes require quietness and concentration, and other times dirty and noisy work, especially such as wood cutting, wood carving, stone carving, or the general manipulation of hard objects, for example.

Hence, in between the painting and sculpture rooms will be a noisy-dirty room, sealed off on all 4 walls with concrete and glass facades.

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[Inhabitation of site building]

Rooftop Sculpture Park; A view from within the outdoor sculpture park on the top floor of the old sanatorium. During renovation and repair, parts of the third floor will be removed (since a majority of the third floor is the least safe in its current state)

interact

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Prim Vudhi Y2 :

Project 3 - Final

ichamnong UG14

l Representation

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0

1

2

3

4

5

10

15

20

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B

1

2

3

A 9

36 36

4

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Key: 1. Storage (controlled, sealed environment) 2. Dark Room (no natural lighting) 3. Inspection Laboratory 4. Painting Restoration 5. Noisy Room

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6. Sculpture Restoration 7. Underground storage room + Elevated

meeting room

8. Paper / Literature Restoration Room 9. Staff Resting Lounge

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A. Rooftop sculpture park B. Gallery

C

Ground floor plan

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2

4

1

38

3

5

A

B

Key: 1. Connection to Main Entrance Hall 2. Shaded Reasting Area 3. Viewing Inspection Lab 4. Viewing Painting Restoration

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5. Connection to Sculpture Park 6. Viewing Sculpture and Noisy Room 7. Viewing Paper + Literature Restoration 8. Paper / Literature Restoration Room

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A. Elevated Painting Room B. Painting Restoration Room

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roof plan

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Art Storage : No Sunlight, concrete for good control and regulation of temperature

Painting Restoration : Elevated Floor, large glass

opening for observation and light source.

G r o u n d F l o o r, u n d e r e l e v a t e d f l o o r

[controlled sun light levels, higher use of adjustable artificial lighting]

Ground Floor, under large opening

relies largely on sunlight, for stronger / newer artwork

Inspection Laboratory : Clear Glass+ UV Filters [allows observation]

(Sunlight)

Frosted + UV Filters

[privacy]

(Diffused Sunlight)

Sculpture :

Least vulnerable to sunlight (Stone, Wood, etc.)

Paper + Literature :

Most vulnerable to sunlight (materiality)

Underground Storage

reflected ceiling plan

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Frosted Glass (privacy)

An access point - visitor observation of the restoration process

Clear Glass

c

Outdoor Relief

Access to Staff Room

a

b

1 Staff and Artwork : Main Entrance

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2

4

1

2

3 5

Key: 1. Inspection Laboratory 2. Paper / Literature Restoration Room 3. Sculpture Restoration Room 4. Elevated Meeting Room 5. Underground small storage

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D

B C

1 A

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2

4

3

6

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Key: Key: A. entrance hall for visitors B. Connection onto roof for art restoration viewing C. Gallery Space D. Rooftop Sculpture Park

1. Storage 2. Dark Room (outside wall) 3. Inspection Laboratory 4. Elevated Workspace 5. Painting Restoration 6. Noisy Room

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C B 1 3 A 2

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4

6

5

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D

Key: Key: A. Renovated IDP living quarters B. Double Volume, no ceiling Sculpture Park C. Elevated Seating Area D. Library / Bookshop / Indoor seating.

E. Walkable Landscaped Roof

1. Elevated Meeting Room 2. Underground Storage (materials that require controlled environment) 3. Sculpture Restoration Room 4. Noisy Room 5. Dark Room 6. Elevated Painting Area 7. Painting Restoration

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Controlled Artwork Storage

Entrance

Paper Restoration

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Dark Room

Imaging Machinery, documentation of restoration.

Inspection of materiality - use of chemicals

Central water bath

Chemical Storage

Transportation of Artwork - tall manual rack

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art storage

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elevated seating

paper restoration

dark room

water bath

casting carvin

ng

chemical storage

molding

canvas restoration

sculpture

water bath

painting

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stairwell, entrance to sculpture park

double volume

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Georgian murals

paper restoration office

elevated sitting area water bath

paper restoration

carving

molding 61

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Prim Vudhi Y2 :

Game : Wandering wit

A hand drawn game controlled by developed through the exploration

and religion, and its relation

ichamnong UG14

thin the Subconscious

y the heart and human physiology of ritualistic behaviours within OCD

n to anxiety and relaxation.

A cycle of wellness and insanity We all start with a calm mind, but gradually the intensity of our subconscious changes. This comes as a consequence of one or many triggers. The mind gets messier, more random, more psychotic. Sufferers of OCD resort to compulsive behaviour to battle against this phenomenon, to ease the degree of pain and anxiety. This drawing depicts one who’s lost control of their subconscious, then eventually finds peace and order through the act of praying. This idea stems from a form of OCD, scrupulosity.

R E S P O N D I N G TO T H E TA S K : R I T UA L S Rituals in Psychology and Religion Given the word ‘Rituals’ to work with, my first study became of something close to heart, rituals in Buddhism. Digging deeper into rituals, I took immense interest in the psychology of rituals, leading to deeper research into Obsessive Compulsive Disorder.

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P1; Game

Concept Study

Inside a temple A comparison between calmness of monks who reside within the temple grounds and the randomness of the general public visiting the temple.

Hand movement study Hand washing is a common act of OCD, performed by sufferers in order to cleanse themselves from filth - a way of decontamination - repeatedly, continuously until they believe it is clean of . These also serve to match and reduce the intensity of anxiety and obsessive thoughts they suffer from.

Hand washing is depicted to be a random, messy repetition, whereas praying is methodical, uniform and with order.

P1; Game

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Messy

slightly out of the realm of reality, with tables and shelves floating, the rug and duvet pulled.

Normal

not messy, nor organised.

Snapshots : Start and Medial states With the aim of creating a short animation, I started experimenting with style.

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P1; Game

Hand drawn : messy to normal 8-bit : normal to organised

Normal

not messy, nor organised.

Organised

inspired by museum and encyclopedic ordering algorithms, all the components that make up the room is arranged by colour, material and size.

P1; Game

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Arduino 1. writes when a heart beat is detected 2. calculates average heart beats per m

Configuration

Connected to Uni

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P1; Game

Heart Beat Sensor A pulse sensor developed based on PPG (PhotoPlethysmoGraphy) techniques, which detects blood volume changes in the microvacular tissues by detecting reflection of green light.

Arduino UNO board 3 pins connected to VCC, GND and an Analog input.

d minute (bpm)

n - Heart Beat Monitor

ity through use of IO.Ports.

P1; Game

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2D Platform Runner Everytime the heart beats, the player’s avatar is forced to jump.

A slow game, completes when the avatar gets ‘home’.

3D Navigating + Survival game each time the average bpm of the player increases or peaks, one more head pops up.

A fast-paced game, wins once all heads are eliminated

Interactive + Responsive Film Response : each time the average bpm of the player increases or peaks, the more messy the room becomes.

Interact : players can navigate around the 3D digital model that actively moves in response to their heart beat.

Initial Ideas All working games and models.

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P1; Game

WASD KEYS

navigation - camera.

navigation - movement.

wheel - light intensity.

MECHANISM

CONTROLS

MOUSE

PULSE SENSOR

ARDUINO

game input.

platform.

Configuration The set up; how the player is connected to the game, how they interact with the interface.

Hardware : Keyboard, Mouse, Ardunio board + Heartbeat sensor.

P1; Game

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back run.

back idle.

front run.

front idle.

left run.

left idle.

font : \ stabilise your heart rate \

Final Design of the game components Design of the atmosphere, game environment and character design, hand drawn.

Forest.

Plains.

An arrow points to the right, begging the player to follow. However, the player is instead brought upon a sign. \'DEAD END'\

Black fuzzy orbs push the player around in the narrow path she can walk past. Signifies the experience of having intrusive thoughts.

Ambiguous danger. flashing words, \'NO BOUNDARIES'\ \'BE CAREFUL?'\, warns the player not to stray from the designated path. water or lava?

Cave.

Signifying the darkness of the mind, and how deep you can fall in involuntarily. \'DANGER'.\

Garden of Lights. flashing light orbs, a celestial garden, a calming effect.

Angel temple.

Message hall.

As the player runs through the hall, messages pop up on the blank boards. eg. \' GO HOME '\ \' BEWARE '\

Vast space with one single angel statue. dimming lights invokes serenity.

Upstairs, downstairs.

Introduces the choice of changing levels, happy-sad / heaven-hell

Start.

Wild, enclosed environment, introduces a beast that encourages interaction.

Home.

A cozy bedroom, the end of every danger, darkness is gone.

The rooms Design of the atmosphere, game environment and character design, hand drawn.

You're home.

Ending scene.

After entering the bedroom, the camera swtiches to a first person scene situated inside a bedroom. In this scene, I wanted to create a space that expresses closure of getting home, of getting to a familiar place after being exposed o the wildness of public or unfamiliar spaces. Shifts in lighting, arrangement and order of objects and the first person immersive view are used to achieve this.

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P1; Game

Room Components The layering and specific angles of the components create an illusion of a 3-dimensional space, enabling the player to walk around within the space.

At somw angles, it is chaotic and surreal. At certain angles, it is ordered and correct.

These components are individual sprites, and are individually animated to subtly shift in position and rotation, aiming to create a sense of closure at the end.

P1; Game

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stabilise your heart rate within 38 - 58 bpm.

(3 consecutive beats)

Implementation of concept - Pulse Stabilisation When triggered, the light dims. A message appears asking the player to stay calm by having a stable heart rate for 3 consecutive measurements (10 seconds).

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P1; Game

success.

Lighting.

There are several light sources in this scene, programmed to gradually increase and decrease in intensity one by one with overlap. The order goes from sunlight coming through the window to a smaller spotlight from the ceiling. This shift signifies individuality and solitude through gradually decreasing the player's relationship with the outside.

An addition : As shown in the configuration, the scroll wheel on the mouse is used to control the intensity / brightness of the flashlight that follows the player's view.

P1; Game

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Prim Vudhi OTHER

Year 1 ;

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P1; Game

ichamnong WORKS

A-Level

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The Colours of Walmer Yard Site visit, APRIL 2019

Project 1 - The World Underneath Inspired by an extract of the Invisible Cities by Italo Calvino, I explored the sky in the real world, and the underground in imagination.

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Ye a r 1 , P r o j e c t 1 . R e s p o n s e t o I n v i s i b l e C i t i e s , I t a l o C a l v i n o .

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Private an

In response to a task of portray

The drawing in the centre aimed t private temple grounds positioned

main road bustli

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Life Drawings, 20- 45 minutes.

nd Public

ying a private to public journey;

to portray the juxtaposition of the right next to a restaurant and the

ing with people.

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Thai Temple

For my last highschool art + design project, I wanted to yet don’t know much about. Answers to my questions

design, and how a space can become ‘sacred’, were

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Ph o to g ra p hy, A 2 .

Architecture

o explore Thai architecture - something I see everyday regarding the psychological aspects of Thai Buddhist

e saught for throughout the length of this project.

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Looking for answers My first response to such thoughts

within Bangkok, aiming to form a

raised through my own exp

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Ph o to g ra p hy, A 2 .

through experience led me to visiting several temples

an answer to the questions I’ve

perience and observations.

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Ph o to g ra p hy, A 2 .

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Ph o to g ra p hy, A 2 .

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Displacement an

Yaksa as guardians of temple entrance

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A2

nd Misplacement

es, what happens if they’re misplaced?

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mystical, playful. Finished with references and inspiration.

1. Study of ‘Lai Thai’ ลายไทย patterns l 2. Study of Thai temple architecture led to a

Digital portray

After several methods of investigation that poin

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Naga, A2.

part of thai temples, further reading brought me t

in the myths the

led to the creation of a Naga pattern

Raw drawing of the Naga after reading descriptions of the Naga in scriptures and texts

comparison between a finial and the Naga.

yal of the Naga

nted to Thai Buddhist Murals being an immense

to the wonderous protrayal of mythical creatures

ese murals tell.

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Painting w

To capture the mystical aspect of the creatures, I w

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Long Exposure shots and LED, A2.

can see. By using LED lights and varying ISO setti

this method captures an irreplaceable

with Light

wanted to create something unreal yet everyone

ings to allow just enough time for each drawing,

e and unduplicatable shot every time.

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30 second Light Painting on top of an A0 acrylic piece.

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The Yaksa and The Naga A mixed media piece.

LED light drawing and wire bending on an A

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A2

A0 acrylilc painting.

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The Yaksa and The Naga A mixed media piece.

digital painting imposed on an A0 acrylilc p

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A2

painting,

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A2

A2

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The multiple

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A2

Usage of a variety of mediums in chosen mythical creatures, each emotion / fee

experiments

n the representation of the two iteration portraying a different eling / story.

A2

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