Bartlett School of Architecture Portfolio (Entry)

C h a i w a t t h a n a r a m Te m p l e . Ay u t t h a y a . T h a i l a n d

50 x 20 cm.

Bang Cheuk Nang Canal . Bangkok . Thailand

50 x 20 cm.

B an Po on Cummunity . B ang kok . Thai land

50 x 20 cm.

A r m e n i a n S t r e e t . G e o r g e To w n . P e n a n g . M a l a y s i a

50 x 20 cm.

Sam Phraeng . Pranakorn District . Bangkok . Thailand

50 x 20 cm.

Giant Swing . Pranakorn District . Bangkok . Thailand

50 x 20 cm.

Debuk Road, Phuket, Thailand

30 x 42 cm.

Ya o w a r a d R o a d , P h u k e t , T h a i l a n d

30 x 42 cm.

Wa t P h r a C h e t u p h o n . P r a n a k o r n D i s t r i c t . B a n g k o k . T h a i l a n d

50 x 20 cm.

PROJECT

:

VENACULAR DOCUMENTATION OF SOU HENG TAI

Vernacular Documentation is a method used to convseve both historical and aesthetical information of a vernacular architecture.

This drawing is a vernacular document of Sou Heng Tai house in Talad Noi community, which is the oldest Chinese community area in Thailand.

PROJECT

a deconstrcution of Chinese Lantern’s seed pod

:

STRUCTURE ANALYSIS OF CHINESE LANTERN

T h i s proj e c t w a s a n a n a l y s i s of C h i n e s e L a nt e r n’s s e e d p o d t o s tu d y it s p e r f or m a n c e s , f u n c t i on s a n d p att e r n s of it s s t r u c tu re .

structure analysis

researches about perfomances and functions of chinese lantern’s seed pod

a model representing the main-structure and sub-structure

PROJECT

:

DE WALL

P roj e c t ‘D e _ Wa l l’ w a s t o d e s i g n a n e w p a r t it i on for Pott e r y Ho u s e i n R o on g A ro on S c h o o l . T h e w a l l w a s a i m e d t o c re at e a f u n c t i on a l w or k i n g s p a c e for a r t i s t s , a n d d i s t i l t h e c h a r a c t e r of a p ott e r y w or k i n it s d e s i g n .

s it e e l e v at i on d r aw i n g

c i rc u l at i on a n a l y s i s t

user analysist

T h e p ap e r ov e r l ap g i v e s d i f f e re nt l e v e l s of l i g ht i nt e n s it y t o t h e s p a c e .

f u n c t i on a n a l y s i s

superimposed photographs, taken over time, of hands forming clay on a throwing wheel

The points of movement changing in the images were connected to create a diagram of motion.

a mock model made from toothpicks and wires

on-scale drawings of plan, section and elevation

Details of the joinery

The making processes of the final model gave me an idea of what is achievable in terms of material and joinery used in the real design.

The Final Model : a study of material and joinery

PROJECT

:

JOINERY

This project was a study of Japanese joinery in carpentry. Every joint had been made with hand tools and connected without using any glue or nail.

Size Technique

66 x 23 in Mixed Media ( Marlstone + Latex adhesive, Coffee, Chinese ink ) on paper (30 hours)

PROJECT

:

BAMBOO

In this project, I invented my own painting technique. The colour I used in this painting was distilled from a left-over coffee. I mixed the base colour with water by different proportions to find the right thickness which generated different depths of colour.

I created texture by mixing white clay powder with water and glue. The change in mixing proportion generated different absorption ability to the texture.

Size Technique

30 x 42 cm.

Pen and Acrylic on paper (30 hours)

PROJECT

:

NIGHT SKY

own genesis.

mind of how the final product would come out, I traced over the spots and let nature speaks its

I left the paper outside my studio, and the rain created spots on it. Without any clear idea in my

colour exp er iment on ceramic c ups

colour exp er iment on ceramic s c u lptures

Before I challenged myself with this project, glaze had been the most uncontrollable medium I have ever used.

PROJECT

:

TASSANEE

It is impossible to predict how the colours will come out after being mixed. However, throughout the process of trial-and-error, I have overcome the challenge of controlling the artwork in terms of colours, textures and patterns.

Having been produced over 100 sheets of clay, I set a brief composition of them to create a landscape of the mountain with a reflection in the water.

One of the most challenging things in this project is to work with unpredictable glazing colours. I found out that latex adhesive can prevent colour from the area I wanted to leave empty. I mixed the glazing colour from five different shades of green, and use the colour-control technique that I found to create a painting of landscape and its reflection on water on the clay sheets.

The final installation of Tassanee Size : 3 x 1.5 m.

This project was an analysis of the Falling Water House in the aspect of spatial arrangement. I drew 1:100 on-scale drawings of plan PROJECT

:

AN ANALYSIS OF FRANCK LLOYD WRIGHT’S FALLING WATER

section and elevation to get an understanding of how spaces had been arranged in this house. Then, I made a model with each floor extractable to look at how structure the physical elements formed the space. I interpreted both physical and non-physical elements to find the thresholds of the space.

1 : 100 model of the Falling Water House

reseaches and preliminary analysis

first floor zone arrangement

space boundaries

negative space

first floor

second floor

third floor

thresholds of the space formed by transitions and physical elements

PROJECT

:

BARTLETT SUMMER SCHOOL 2016

This project was to design a playful and intergenerational installation for the public space in London Olympic Park to bring people from different generations together. The chair provided enjoyable activities which are feasible for all generation, including knitting, weaving and tetrahedron kite.

sketches from site analysis

researches and sketch design

From this experimenting processes, we found different ways to assemble the triangle frames.

Tetrahedron kites were used as a roof for the chair to make the installation more playful.

PROJECT

:

MUSHROOM

‘Mushroom’ was a space design project which was inspired by an analysis of a mushroom.

I analyst the shape and texture and turn the information into a weaving pattern.

1:1

1:1

5:1

10 : 1

plan and section drawings of mushroom on scale 1:1, 5:1 and 10:1

1 week mushroom

3 weeks mushroom

I examined the skin texture of the mushroom under the electron microscope with a magnification ability of up to 100 times.

Tomas Saraceno’s ‘3D Spider Web Scanned’ : 3D-scanning process using CT scan

Tomas Saraceno’s ‘3D Spider Web Scanned’ : Digital scanned spider web

Tomas Saraceno’s ‘3D Spider Web Scanned’ : Spider web in a transparent box

I used a tracing paper to trace over the 100:1 photographs from the electron microscope to create a weaving pattern.

First Model In the first model, the pattern had been transformed into a two- dimensional space. I made a wooden frame with small grid lines inside and used black sewing thread to sew over my pattern.

Different camera focussing ranges show the complexity of

Spaces are created on each separated plane and also in the

the intersection points.

emty space between them.

Second Model I interconnected two different patterns from different frames to create a space from the intersection. Every 10 times I tied a knot, I switched to the opposite frame and kept on switching between two frames until lines connecting them started to intersect with each other.

Final Model

The final model was 6 times larger than the first and second model. The weaving pattern used in this model was in a scale of 600:1 compared to the actual size of texture on the mushroom skin.

Chapter 1 : Material

Chapter 3 : Weave

To find the most suitable material, I went to Sampheng Market, the biggest wholesale market in Bangkok.

I printed out the same pattern I used in my mock model, but this time, on a scale 600:1. Then I spent nearly 12 hours in total to weave over the pattern with the same method I used in my mock model (I changed to the opposite side every 10 knots).

Chapter 2 : Structure I built a weaving frame using PVC pipes as a main structure and fishing line for the grid lines.

Chapter 4 : Inhabitant In the final process, I wanted to see an interaction between the installation and the inhabitant. I asked my friend who is a model to express her feeling when she was inside the space by using hands and body movement.