PORTFOLIO 2017ver.

SUPAWUT TEERAWATANACHAI

c o n t e n t s

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Vernadoc of sou Hengtai

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Fine art projects

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tong Teng

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CERAMICS

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D E _ WA L L

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TaSANEE

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URBAN SKETCHing

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BARTLETT SUMMER SCHOOL 2016

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joinery

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Sketch Journal

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structure analysis

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V E R N A D O C

O F

S O U H E N G T A I

Ve r n a d o c o r Ve r n a c u l a e r D o c u m e n t a t i o n i s t h e w a y t o

h a d s p e n t o v e r a w e e k i n t h e a r e a t o d o Ve r n a d o c o f l o c a l

study a vernacular architecture by using a hand-skill to create a

v e r n a c u l a r a r c h i t e c t u r e s . N o t o n l y d o e s Ve r n a d o c p r e s e r v e

h i g h - q u a l i t y w o r k . B y u s i n g o n l y a s c a l e r u l e r, d r a f t i n g p e n , a n d

the architectural information, but it has also been used as a

p a p e r, Ve r n a d o c h a s t o r e p r e s e n t t h e h i s t o r y a n d t h e b e a u t y o f

method to raise up people awareness about how they value

architecture that easy for the ordinar y people to appreciate.

t h o s e a r c h i t e c t u r e s i n t h e i r c o m m u n i t y. A s a c o n s e q u e n c e people, were illustrated by the beauty and impor tance of

Under The corporation of Arsom Silp Institute that had

a r c h i t e c t u r e t h r o u g h t h e Ve r n a d o c .

been working on a project to develop Talad Noi, the oldest Chinese community in Thailand. A team of architecture student

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“ Tong Teng ” structure analysis

‘ Tong Teng ’ is a Thai name of Chinese Lantern, the

seedpod that I use for the analysis. In this project, I analysed the structure created in the nature. I was interested in a role of a seedpod which not only protects the seed, but also maintains the seed condition to get the seed ready for the reproduction.

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I created a model that convey a per formance of the

main-structure and sub-structure. I used different sizes of wire to show the difference in strength of each structure.

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“ D E

W A L L”

PROJECT BACKGROUND

“Banchang” is a community at Roong Aroon

Therefore, the project ‘De_Wall’ was launched

school that welcomes artists of all trades and ages

under the idea of designing the new Pottery House’s

to share, create and enjoy art. The “Pottery House”

wall. The concept is not just to design a partition,

is one of the houses in the Banchang community.

but that wall should support the way artists work,

Not only does it provide a space for the artists,

and show the character of the Pottery House in its

but it also serves as a window to Baanchang. If

design.

someone looks through this window, they will see the unique Banchang culture.

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U S E R

S I T E

A N A L Y S I S

C I R C U L A T I O N

E L E V A T I O N

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A N A L Y S I S

1 In the potter y house, there are many different kinds of people doing different kinds of work, so it would be amazing if the space could support the artists’ working environment by creating different private spaces.

From this model, I found out that the paper overlap gives different levels of light intensity in the various spaces.

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D u r i n g t h e p ro c e s s , I o b s e r v e d s t u d e n t s a n d t h e i r t e a c h e r s w o r k i n g i n t h e p o t t e r y h o u s e t o g e t a b e t t e r u n d e r s t a n d i n g of h o w t o a r r a n g e w o r k i n g s p a c e s i n m y d e s i g n . T h e re f o re , I m a d e a n o t h e r m o d e l t o c l e a r i f y h o w e a c h s e c t i o n of t h e p a r t i t i o n s h o u l d b e d e s i g n e d t o f u n c t i o n a l l y s u p p o r t d i f f e re n t u s e s of t h e s p a c e s .

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During this stage of the development I looked to

bring the movement of potter y to the design. To do this I superimposed photographs, taken over time, of hands forming clay on a wheel. I then connected the points of movement changing in the images to create a diagram of motion. I, then, connected the changes in motion to create a diagram of images.

Please scan the QR code with your device to watch this video.

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P r o t o t y p e

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4 Final design MATERIAL AND JOINERY EXPERIMENT In this process of model development. I used the exact same method with the one that I want to use in my design to find out that it can really be built under the specified material and joint.

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PLAN

SECTION

E L E VAT I O N

S I T E E L E VAT I O N

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u r b a n

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S k e t c h i n g

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F

o r m e , s ke t ch ing is t h e w a y t o t r a n s l a t e t h e i n form a t i on from re a l i t y i n t o b e a u t y. I l e a rn

not t o dra w jus t t h e de t a ils of a buildi n g , b u t t o d r a w t h e m e s s e g e r a d i a t e d t o m e . More ov e r, I u s e s ket ch ing a s a m e t h o d t h a t h e lps m e re a l i s e t h e c h a n g e i n t h e b e a u t y of a rc h i t e c t u re n owa d a y s .

T

h e re s ult of s pe nding a whol e d a y t o s k e t c h d oe s n ’t c om e ou t a s on l y a b e a u t i fu l

ar t w o rk o r a be t t e r s kill, but I h a v e g a i n e d a l ot of e xp e r i e n c e from p e rc e i v i n g t h i n g s a n d tal king t o a lo t of e it h e r lo ca l pe o ple a n d t ou r i s t s . Th a t i s a g re a t op p or t u n i t y for m e t o s e e m y count r y in a ne w a s pe ct , a nd m a ke s e a c h d a y of m y s k e t c h i n g t r i p v a l u a b l e .

Armenian Street . George Town . Penang . Malaysia 50 x 20 cm.

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Wat Phra Chetuphon . Pranakorn District . Bangkok . Thailand

Sam Phraeng . Pranakorn District . Bangkok . Thailand

50 x 20 cm.

50 x 20 cm.

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Giant Swing . Pranakorn District . Bangkok . Thailand

Giant Swing . Pranakorn District . Bangkok . Thailand

50 x 20 cm.

50 x 20 cm.

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Wat Chaiwatthanaram . Ayutthaya . Thailand

Bang Cheuk Nang Canal . Bangkok . Thailand

50 x 20 cm.

50 x 20 cm.

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Ban Poon Cummunity . Bangkok . Thailand 50 x 20 cm.

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Armenian Street . George Town . Penang . Malaysia 25 x 20 cm.

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Chowsuehong Shrine . Taladnoi . Bangkok . Thailand

Wat Phra Chetuphon . Pranakorn District . Bangkok . Thailand

50 x 20 cm.

42 x 30 cm.

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Koori . Fukushima . Japan

Debuk Road, Phuket, Thailand

29 x 21 cm.

30 x 42 cm.

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Sangtham Shrine, Phuket, Thailand

Hock Yuan Guan Shrine, Phuket, Thailand

30 x 42 cm.

30 x 42 cm.

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Soi Rommanee, Thalang Road, Phuket, Thailand

Yaowarad Road, Phuket, Thailand

30 x 42 cm.

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30 x 42 cm.

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I

n thi s p ro jec t, I stu d i e d the way that jo in er y wo rks i n c arp e n tr y. I ai m ed to m ake the conceptual form of

wo o d that are o n l y c o n n e c te d b y the jo i n ts wi tho u t u si n g an y gl u e o r n ai l . In e v e r y p ro c e ss of wor king , I only used a fe w han d -to o l s, i n c l u d i n g jap an ese saw, c hi se l s, m al l et an d san d p ap e r. The reaso n that I u se d only few tools because I

j o i n e r y

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wan ted thi s p ro je c t to b e d o n e u n d er the m o st l i m i ted c o n d i ti o n . The m o re sim p l y of the m ethod that I used means a hi ghe r e l ab o rati o n an d p ati e n t.

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P r o t o t y p e 72

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C

ฤA

b

d

ำ�ำ�e

G

f

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H

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Assembly Video

Please scan the QR code with your device to watch this video.

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“ Fine art projects ”

I t r i e d t o re c re a t e a p i c t u re of a c l u m p of b a m b o o t h a t I c a n s e e

i n m y m i n d . I e x p e r i m e n t e d w i t h d i f f e re n t t e c h n i q u e s t o f i n d w h i c h o n e s

B A M B O O

w o u l d b e s t c o n v e y t h e d i r t a n d t h e s t r u c t u re of t h e b a m b o o t re e s .

Size

F i n a l l y, t h e m e d i u m s w o r k e d t o g e t h e r a n d re s u l t e d i n a p i c t u re w h i c h

Technique Mixed Media ( Marlstone + Latex adhesive, Coffee, Chinese ink ) on paper Duration

e l o q u e n t l y s p e a k s of i t s g e n e s i s .

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66 x 23 in 30 hours

I applied Thai traditional painting technique of creating a texture using latex adhesive and malstone

to create different texture. I also dropped black ink into it to see the way how color was absorbed.

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mid night sky

This ar t piece was created by accident. I left a

paper at school, and the rain created spots on it. I created dynamics in the tone by using a 0.05 pen hashing

on the space between the stain. Without any clear idea

I u s e d c offe e i n s t e a d of i n k b e c a u s e c offe e c o u l d c l earl y

of how the final product would come out in my mind, I

re p re s e n t s a m ood of t h i s p i c t u re . I d i d a l ot of e xp e r i m e n t ab o u t

only thought that I wanted it to look like a night sky full

t h e t h i c k n e s s of t h e c offe e t h a t c a n b r i n g m a n y d i ffe re n t d e p ths.

of star.

I g r a d u a l l y c h a n g e d t h e p rop or t i on b e t we e n c offe e an d wate r, a n d e v e n l e f t i t ov e r n i g h t t o fi n d t h e b e s t c ol ou r fo r e ac h p ar t.

Size Technique Duration

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30 x 42 cm.

Coffee, pen, Acrylic on paper 30 hours

A n at o m y of life

The concept of this ar twork is about the relationship of humans and the nature. In this work,

I combined an anatomy of human muscle with a root of a plant. Both perform the same function ; thus, would imply that there is a relationship between human and nature.

Size Technique Duration

30 x 42 cm.

Pen on paper 15 hours

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KING’s PORTRAIT I painted this por trait as a tribute and memor y to Thailand’s beloved King Bhumibol Adulyadej.

Size Technique Duration

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59 x 84 cm.

Chacole and acrylic on paper 8 hours

C E R A M I C s 88

I

n my own point of view, ceramic work is a combination between predictable and unpredictable

things. At first, I learned how to control the form of it by making a ceramic cup and container. I also used the cup I made to test how many different way I could colour it. At the beginning of the experiment, I thought I would have never found the way to control the colour because ever y time I took it out of the oven, the result had never been close to what I expected. However af ter I’ve worked on it repeatedly, I found out that it works like a function in mathematics. I studied the output of my experiment, so I could be able to control the final result of my work.

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ทัศนีย์ [ Tas - sa - nee ]

B

=

Visual Beauty

efore I challenged myself with this project, glaze had been the most

uncontrollable medium I have ever used. It is impossible to predict how the

T A s S A N E E

colours will come out af ter being mixed. However throughout the process of trail-and-error I’ve performed with my previous pieces, I have overcome the challenge of controlling the ar twork in terms of colours, textures and patterns.

I

started

from

creating

hundreds

of

round

shape

clays

with

different

diameters and thickness. The clay need to be mixed with some special elements to avoid explosion in the oven.I used chuff ashes and white clay powder to strengthen the clay so that I can form a large piece of it without breaking.

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Clay mixing “ the story of texture “

Please scan the QR code with your device to watch this video.

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H a v i n g b e e n p r o d u c i n g o v e r 1 0 0 s h e e t s o f c l a y, I s e t a b r i e f c o m p o s i t i o n o f t h e m t o c r e a t e a l a n d s c a p e o f t h e m o u n t a i n w i t h a r e f l e c t i o n i n t h e w a t e r.

Please scan the QR code with your device to watch this video.

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6 hours time lapes installation video

O n e o f t h e m o s t c h a l l e n g i n g t h i n g s I h a d t o f a c e w h i l e I w a s w o r k i n g o n t h e Ta s s a n e e p r o j e c t w a s c o n t r o l l i n g

glazes. I did a lot of experiments to find the best combination and technique to be able to control the result in

I s p e n t 6 h o u r s f o r t h e i n s t a l l a t i o n p ro c e s s . At t h e

b o t h c o l o u r a n d c o m p o s i t i o n . F i n a l l y, I f o u n d o u t t h a t u s i n g l a t e x a d h e s i v e c a n p r e v e n t t h e c o u l o u r f r o m t h e a r e a

b a c k of e v e r y p i e c e t h e re i s a n u m b e r t h a t w o r k a s a

I w a n t e d t o l e a v e e m p t y. M o r e o v e r, b y c o m b i n i n g 5 d i f e r r e n t s h a d e s o f g r e e n , t h e r e s u l t i n g c o l o u r g i v e s r e a l i s t i c

c o d e s p e c i f y i n g t h e p o s i t i o n f o r e a c h of t h e m .

r e p r e s e n t a t i o n o f a f l e c t i o n i n t h e w a t e r.

Please scan the QR code with your device to watch this video.

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Bartlett summer school 2016 108

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T

his project had started from the idea of installing an interactive artwork into a public space. We visited the

Olympic park to obser ve the way that public spaces were being used by people moving through them. We collected as many interesting things as we could by taking notes and making sketches. After we arranged the topics from our obser vations, our group chose to work with the idea of creating a ‘Playful and Intergenerational’ space.

T

his theme came from one of the main things we obser ved at Olympic Park. We saw different generations

: children, adults and elderly, interacting with each other and within the space ver y much separately. For example, while the children were playing in the playground their parents just sat around the area and reading newspapers or checking their phones. Some elderly visitors were knitting. There doesn’t seem to be a space that invites people to mingle.

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o we started thinking of an installation that can bring people from all generations together. We thought that

it has to be beneficial and enjoyable for all generations.

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P L AY F U L

A N D

I N T E R G E N E R AT I O N A L

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sketches from site observation

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We had done a lot of experiments about how we assemble the triangle frames. We wanted to connect them together as a chair so that people can not only play with it, but also get a long-term benefit. We had been developping the joint of connection to find the best way to connect them.

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We w a n t e d t o a d d a n o t h e r f u n c t i o n t o m a k e o u r c h a i r m o r e

p l a y f u l . We t h o u g h o f u s i n g a k i t e a s t h e r o o f, s o p e o p l e c a n f l y i t i f i t w a s w i n d y e n o u g h a n d t h e n p u t i t b a c k . We t r i e d t o s i m p l i f y our kite as much as possible interm of the process of making it and its matterial to encourage people to even make it by themselves with the recylcled materials they have.

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working process video

Please scan the QR code with your device to watch this video.

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“ S k e t c h

j o u r n a l ”

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“ I ’ ve n e ve r drea m e d of s u ccess . I w o rk e d fo r i t . ”

ESTEE

L AU D E R