ASA Journal 03/57

THE ARCHITECTURAL JOURNAL 

OF THE ASSOCIATION OF 

SIAMESE ARCHITECTS 

UNDER ROYAL PATRONAGE 

ARCHITECT’14 : 

18 I 80 REVIEW 

2014 

03 

80 YEARS OF ASA/ OVERVIEW / 

ASA FORUM / ASA TALKATIVE / ASA 

CHANGE / ASA ARCHITECTURAL 

AWARDS / ASA CONSERVATION 

AWARDS / ASA EXPERIMENTAL 

DESIGN / ASA-CAN WORKSHOP / 

ADIB JALAL’S INTERVIEW / TO 

GREEN OR NOT TO GREEN

THEMES 

COVER 

Xaroj Phrawong 

36 

32 

32 The 80 Years of Association of 

Siamese Architects under Royal 

Patronage 

36 Architect’14 Overview 

44 ASA FORUM 2014 : Decentering 

Architecture 

50 ASA Talkative 

56 ASA Change 

62 ASA Architectural Awards 2014 

70 ASA Conservation Awards 2014 

76 ASA Experimental Design 

Competition 2014 

4 ASA CONTENTS

SECTIONS 

NEWS 

14 EXPO 2015 : Thailand Pavilion 

18 Venice Biennale Of Architecture 

20 ASA Lanna Headquarters 

WORKS 

IN PROGRESS 

24 PTT Innovation Park Landmark 

28 Klub Hotel 

CONVERSATION 

82 Asa & Community Act Network 

(CAN) Participatory Design Workshop 

At Klong Takok Community 

ASEAN 

90 Adib Jalal’s Interview : The Man 

Behind The Archifest 2012-2013 

90 

82 

PROFESSIONAL 

96 To Green or not to Green 

108 REVIEW 

112 PRODUCT NEWS 

120 ASA CARTOON 

6 ASA CONTENTS

FOREWORD 

ADVISORS 

SMITH OBAYAWAT 

PONGKWAN LASSUS 

TONKAO PANIN 

ANEK THONGPIYAPOOM 

M.L.PIYALADA THAVEEPRUNGSRIPORN 

WIRAT PANTAPATKUL 

MAADDI THUNGPANICH 

MONGKON PONGANUTREE 

EDITOR IN CHIEF 

SUPITCHA TOVIVICH 

CONTRIBUTORS 

ATCH SRESHTHAPUTRA 

SAWINYA CHAVANICH 

SORAVIS NA NAGARA 

SUPITCHA TOVIVICH 

SURAPONG SUKHVIBUL 

XAROJ PHRAWONG 

WARUT DUANGKAEWKART 

WINYU ARDRUGSA 

SPECIAL THANKS TO 

ADIB JALAL 

ARCHITECT’14 COMMITTEE 

ARCHITECT 49 

ARCHITECTKIDD 

ARSOMSILP 

FACULTY OF ARCHITECTURE, SILPAKORN 

UNIVERSITY 

OPENSPACE 

SHMA 

SOOK ARCHITECTS 

STUDIOTOFU 

ENGLISH TRANSLATOR 

TANAKANYA CHANGCHAITUM 

GRAPHIC DESIGNERS 

WILAPA KASVISET 

MANUSSANIT SRIRAJONGDEE 

DARUNEE TERDTOONTAVEEDEJ 

VANICHA SRATHONGOIL 

CO-ORDINATOR 

WARUT DUANGKAEWKART 

THE ASSOCIATION OF SIAMESE 

ARCHITECTS UNDER ROYAL 

PATRONAGE ORGANIZES 

248/1 SOI SOONVIJAI 4 (SOI 17) 

RAMA IX RD., BANGKAPI, 

HUAYKWANG, BANGKOK 10310 

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E : office@asa.or.th 

PRINT 

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SUBSCRIBE TO ASA JOURNAL 

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’57 


80 

ASA Forum 

ASA Talkative ASA Change - 

ASA Experimental Design 

’57 

ASEAN Adib Jalal 

Archifest 2012-2013 Singapore Institute of Architects 

‘GREEN …:10 

…’ . ASA 

Cartoon ’57 

There was much success to be found in Architect’14 for this year was full of inter 

esting activities and in this issue ASA journal reviews a few of the top events from 

the expo. Due to our limited pages, we could only select a few activities to publish, 

such as The 80 Years of Association of Siamese Architects under Royal Patronage 

exhibition, ASA Forum, ASA Talkative, ASA Change, ASA Awards, ASA Conservation 

Award, ASA Experimental Design and the Community Act Network (CAN) Participatory 

Design Workshop at Klong Takok Community, all of which were exhibited 

in the Architect’14 event. In the ASEAN column we have an interview with Adib 

Jalal, Archifest’s director who was behind the success of Archifest 2012 – 2013 in 

Singapore. We then continue on with the 2 nd part of ‘To Green … or Not to Green’ by 

Assistant Prof. Atch Sreshthaputra, Ph. D. and wrap things up with an ASA Cartoon 

from Soravis Na Nagara, Chairman of the Architect Expo 2014. 

8 ASA EDITORIAL

2557-2559 

 

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Design for Disaster 9 9 

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The 14 th 

International Architecture Exhibition, la Biennale di Venezia 

7 -23 .. 2557 

 

() Spirituality – A Fundamental 

in Thai Architecture 

 

 

 

 

 


MESSAGE 

FROM 

THE PRESIDENT 

EXECUTIVE COMMITTEE 

THE ASSOCIATION OF 

SIAMESE ARCHITECTS 


2014—2016 

CONSULTANTS 

PROFESSOR SURAPON VIRULRAK, PH.D. 

SINN PHONGHANYUDH 

SATHIRUT TANDANAND 

PRABHAKORN VADANYAKUL 

PRESIDENT 

PICHAI WONGWAISAYAWAN 

VICE PRESIDENT 

POL.LT.COL. BUNDIT PRADUBSUK 

ANUCHAR YUSANANDA 

PRADITCHYA SINGHARAJ 

VASU POSHYANANDA, PH.D. 

ASSOC. PROF. TONKAO PANIN, PH.D. 

NITIS STHAPITANONDA 

SECRETARY GENERAL 

PRAKIT PHANANURATANA 

HONORARY REGISTRAR 

CAPT.ON-USAH CHIENGKUL 

HONORARY TREASURER 

KARNCHIT PUNYAKANOK 

SOCIAL EVENT DIRECTOR 

PREECHA NAVAPRAPAKUL 

PUBLIC RELATIONS DIRECTOR 

SURASSADA NIPARIYAI 

EXECUTIVE COMMITTEE 

CHAVALIT TANGMITJAROEN 

SUNANTAPAT CHALERMPANTH 

GP. CAPT. ADISORN BUNKHACHAI 

VINEETA KALYANAMITRA 

ASSOC. PROF. M.L.PIYALADA 

THAVEEPRUNGSRIPORN, PH.D. 

PONN VIRULRAK, PH.D. 

CHAIRMAN OF NORTHERN REGION (LANNA) 

ADUL HERANYA 

CHAIRMAN OF NORTHERN REGION (ESAN) 

SURASAK LOHWANICHAI 

CHAIRMAN OF NORTHERN REGION (TAKSIN) 

(THE ELECTION OF THE NEW CHAIRMAN OF 

THE SOUTHERN REGION IS IN THE VOTING 

PROCESS.) 

REMARK : IN THE PROCESS OF REGISTERING 

THE BOARD OF COMMITTEE TO THE MINISTRY 

OF INTERIOR. 

I would like to take this opportunity to officially say hello to my fellow architects 

after almost one month that I have been appointed as the president of the Association. 

I have come to a realization that ASA has many missions that need to be pushed forward, 

a lot of them important to both the society and the members of the association 

as well. I will try my best to continue what the former committees and presidents have 

initiated. It is also my intention to employ ideas and talents of the current committee, 

making our contributions worthwhile by answering to the issues that are significant to 

the profession, the fellow members as well as the general public. 

Since I have been elected, Thailand’s political movements have never been 

more active or articulate, the segregation undisguised and the conflict intensified 

to a point where violence has broken out. As soon as the result was announced, 

I received an email/ open letter from the senior architect and the national artist in 

architecture Dr. Sumet Jumsai Na Ayudhya, calling out for the association’s tangible 

action in the anti-corruption issue as stated in the letter, which was printed 

in an issue of the ASA journal. On June 1, 2014, when the association’s policies 

were announced, I personally made a statement at the meeting about our plans 

and policies in many different aspects, including the palpable resistance against 

corruption that Professor Sumet has eagerly necessitated. 

I do hope that every fellow member will realize how the dilemma that has 

been rampantly plaguing our country actually originates from the smallest unit 

of the society—the people. If together we refuse to be part of it, it will be harder 

for corruption to grow and survive. Help aid in making awareness in the public a 

norm, a part of our way of life and everything we do. That is how corruption can 

be eliminated from our society. 

This past month, an earthquake hit Chiangrai province having a devastating 

impact on the city and its people. ASA did not neglect the loss and has assigned 

ASA and the Lanna committee to look into the affected areas and summarize a plan 

to help in relieving the disaster and caring for the victims. By working together with 

Design for Disaster and nine architects, we have so far helped to reconstruct nine 

schools and two temples damaged by the incident. We also prepared the working 

drawing of an earthquake resistance house which was given to the victims who lost 

their homes. The design had the Engineering Institute of Thailand under H.M. the 

King’s Patronage overseeing the engineering drawing. We also become a part of a 

network along with Thai PBS organizing fundraising activities and coordination for 

the disaster victim’s relief. 

The last thing I wish to talk about is our participation in the 14 th International 

Architecture Exhibition, la Biennale di Venezia, held from June 7 to November 23, 

2014. This year, the association, together with the Office of Contemporary Art 

and Culture, the Ministry of Culture, invited Metha Bunnag, the national artist in 

Applied Arts (architecture) to curate the exhibition under the name ‘Spirituality – 

A Fundamental in Thai Architecture’. 

More updates will follow on both the Chiangrai earthquake and Venice Biennale. 

The stories and working drawings will also surely be featured in the next issues of ASA, 

as always. 

PICHAI WONGWAISAYAWAN 

ASA PRESIDENT 2014-2016 


NEWS 

EXPO 2015 

THAILAND 

PAVILION 

01 

World Expo 

2015 

OBA (The Ofce of Bangkok Architects) 

Thailand Pavilion 

 

 

 

 

 

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02 

14 ASA NEWS


Next year’s Thailand Pavilion for the World Expo will 

be designed by OBA, with its concept based on stories 

reflecting agriculture, food and Thai culture and the idea 

being to explore new meanings and interpretations of 

traditional Thai architecture. 

The architects sought new design convension to 

communicate the significance of a farmer, which is 

symbolic of the innovation of Thai agriculture. Another 

symbol applied in the design of the pavilion is the 

Naga, a mythical creature believed to represent agricultural 

richness by locals of South East Asia. Welcoming 

the visitors at the main entrance, the Naga then leads 

them through the snaky walkway along the small canal 

towards the main hall. Shaped like a farmer’s conical 

hat, the space is open allowing for natural light to flow 

in, a contrast to the roof shading system. The main 

building is designed in the shape of a stupa’s base, 

while the facade is clad with reflective glass, indicating 

the relationship between ‘humans, nature and agriculture.’ 

The World Expo will be held from May to October 

2015. 

www.thailandpavilionexpo2015.com 

04 

01-04 Thailand Pavilion 

Expo 2015 

OBA 

 

 

TEXT 

Warut Duangkaewkart 

PHOTOS 

Courtesy of OBA 


01 

VENICE 

BIENNALE OF 

ARCHITECTURE 

02 

2557 - 

 

 

14 

7 – 2 2557 

. Rem 

Koolhaas Fundamentals: 

Absorbing Modernity 

 

 

 

 

 

 

 

 

() Bunnag Architects 

International Consultants 

 

 

 

 

01-02 Thailand Pavilion 

Venice Biennale of 

Architecture 2014 

 

TEXT 

Tonkao Panin 

PHOTO 

Courtesy of Bunnag 

Architects International 

Consultants 

This year, The Association of Siamese Architects 

Under Royal Patronage along with the Office of Contemporary 

Art and Culture and the Ministry Of Culture 

presented a contemporary architecture exhibition project 

for the 14 th Venice Architecture Biennale that will 

be held from 7 June – 11 November 2014 in Venice, 

Italy. The event, curated by Rem Koolhaas under the 

topic ‘Fundamentals: Absorbing Modernity,’ questions 

the development of architecture around the world over 

the last 100 years while also considering what has 

been lost and what remains of architectural identity. 

For this occasion, the Thai Pavilion has been designed 

by Thai National Artist Metha Bunnag and Bunnag 

Architects International Consultants. 

02 


Owner : . 

Architect : Studiomake 

www.studiomake.com 

Photographer : 

PATANA GALLERY 

 

 

 

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double layer 

 

 

SIAM YAMATO STEEL CO.,LTD. (SYS) 

 

www.syssteel.com 

 

 

 

 

 

 

 

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? 

AS1 

AS2 

SMS AS1 AS2 4535300 

( 3 ) 31 2557 

www.syssteel.com 8 2557 

campaign 

20 Starbucks Card 200

ASA LANNA 

HEADQUARTERS 


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TEXT 


PHOTO 

Courtesy of Somdoon 

Architects 


02 


The Association of Siamese Architects under Royal 

Patronage has recently announced the winning design 

for its Northern headquarters. The winning entry was 

announced and exhibited at the Architects Fair 2014. 

Out of the 55 entries, Somdoon Architects won 

for its highly symbolic and humble design, reflecting 

the unique essence of Lanna culture. At ground level, 

the building was designed to appear like a rice field 

with a gazebo standing in the middle, while its functional 

spaces were tucked underneath the field. The 

programs were distributed across different buildings, 

allowing for green spaces and natural lighting to reach 

the subterranean spaces through the gaps. Furthermore, 

each of the buildings was built from different 

local materials indicating their different functions. 

Apart from the fusion between traditional and 

contemporary architecture, the plants on site were 

also carefully selected to reflect the natural landscape 

of the North in every season. 


WORK IN PROGRESS 

PTT INNOVATION 

PARK LANDMARK 

ARCHITECTS 49 

01 

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TAGNOC 

(Technologically Advanced and Green National Oil 

Company) . 

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kinetic landmark 

 

- eco-forest: 

 

 

 

 

24 ASA WORK IN PROGRESS

02 

PTT Innovation Park Landmark is a project that combines 

the functions of a PTT flagship service station, rest area, 

knowledge centre and PTT art gallery to serve commuters 

along Phaholyothin road as a gate to the north and 

northeastern parts of Thailand. With the purpose of reflecting 

the PTT identity as well as the TAGNOC (Tech 

nologically Advanced and Green National Oil Company) 

concept, the site is located in front of the PTT research 

centre. 

In order to reflect the PTT identity, there are three 

main concepts proposed as follows: 

1. Natural Energy: In order to reflect the PTT identity 

and raise public awareness of the energy company, the 

building draws upon wind force to create both the most 

aerodynamic form as well as generate the greatest 

amount of power from the wind. The façade is further 

created in a fashion that allows for the direction of the 

sunlight to optimize natural lighting strategies. 

2. Kinetic Landmark: A kinetic landmark has been 

applied to represent movement due to natural energy. 

The key elements are the kinetic façade, and wind turbine 

movements which are created by natural forces. 

3. Eco-Forest: the concept of eco-forest is implemented 

not only to show the company’s vision, but also 

to create an eco-forest landmark within the context of 

the paddy field. Besides the landmark buildings, all the 

buildings are hidden behind, emphasizing an eco-forest 

look for the public. 

BUILDING TYPE 

Office Building 

LAND AREA 

18,044 sq m 

DURATION 

2014-2015 

CLIENT 

PTT Public 

PROJECT STAGE 

Construction Drawing 

LOCATION 

Wangnoi, Ayutthaya 

SYSTEM ENGINEER 

M&E Engineering 49 

STRUCTURAL ENGINEER 

Architectural 


Architectural 

Engineering 49 

ARCHITECT 

Architects 49 

INTERIOR DESIGN 

Interior Architecture 49 

LANDSCAPE 

Landscape Architect 49 

COST 

2,000 Billion Baht 



เทคโนโลยีจอภาพหองประชุม 

หองประชุมทั่วไป 

หองประชุมแบบ War Room 

หองประชุมแบบ Command Control Room

KLUB HOTEL 

STUDIO TOFU 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

01 

01 

 

02 

 

03 

 


02 

BUILDING TYPE 

Residential 

LAND AREA 

2,780 sq m 

NUMBER OF FLOORS 

7 

DURATION 

2012-Present 

LOCATION 

Pak Chong , 

Nakhon Ratchasima 


Uplus Consultants 

ARCHITECT 

Weerapat 

Chokedeetaweeanan 

Tanasarn 

Sutabunditpong 

Kesinee Kongutsah 

INTERIOR DESIGN 

Thatsanai Suamuang 


Uplus Consultants 

ELECTRICAL ENGINEER 

Aeon Elen Generation 

SANITARY ENGINEER 


MECHANICAL ENGINEER 



The starting point of this hotel stemmed from a desire 

by the owner for a hotel that differed from the surrounding 

area of Pratunam. Comprising 80 rooms, a car park, 

garden, bar and restaurant, the existing site presented 

many complications due to the shopping area and difficulty 

it posed for navigating through the space. This sense 

of discontinuity inspired the architect to pursue a concept 

where the ‘discontinuous created continuous,’ 

defining a space that could connect both the inside and 

outside areas. 

The main features of the project are the forms that 

appear to overlap between two buildings and the steel 

structure that runs along the lobby and café, connecting 

the areas to the bar, restaurant and micro cinema and 

creating the perception of a changing scale. The corridor 

has an open void size of 2.2 x 16 meters from the 2 nd 

floor up, reaching to the roof for ventilation and allowing 

for the inflow of daylight. Inside of the void are steel 

structures such as a handrail that creates a feeling of 

connection between the vertical and horizontal and a 

façade made from aluminum with a textured surface 

like that of a curtain creating a contrast in material between 

the inside and outside of the structure that mirrors the 

differences in the surrounding context. 


THE 80 YEARS 

OF ASSOCIATION OF SIAMESE ARCHITECTS 


01 

32 ASA THEME

TEXT 

Surapong Sukhvibul 

PHOTOS 

Kitti Naksuk 

01 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

After the Siamese Revolution of 1932, the Siamese 

architects of the time were still limited in number and 

architectural design had not yet been understood as an 

international, theoretical discipline. In 1924, a group of 

western-educated architects established an association 

to promote the architectural profession amongst the 

general public that would also function as an institution 

where local architects could exchange their architectural 

knowledge. On April 18, 1925, the first meeting of the 

association was held and Phra Sarojrattananimman 

(Saroj Sukyang) was elected the first president. Loung 

Buragumgovit (Lom Dissaniyom) was appointed as the 

secretary and Nart Photiprasart the treasurer while M.C. 

Itthithepsan Kritdakorn, M.C. Samaichalerm Kritdakorn, 

M.C. Wothayakorn Worawan and Siwawong Kunchorn 

na Ayutthaya were chosen to sit on the committee. The 

office of the association was located at the Department 

of Fine Arts and housed 33 active members. 

The fellow architects who pioneered the architectural 

profession in Siam at the time were known for 

their distinctive works and many of them became key 

figures who advocated architectural studies at the first 

stage of development. Phra Sarojrattananimman served 

as a special lecturer at Chulalongkorn University while 

Nart Photiprasart began an architecture program at 

Poh Chang College that would later be developed into 

Chulalongkorn University’s curriculum. M.C. Samaichalerm 

also taught at Chulalongkorn University while sitting 

as the Dean of the Faculty of Painting and Sculpture at 

Silpakorn University. 

When the Pacific War grew into the Second World 

War the Japanese army invaded Thailand in 1941, 

resulting in the absence of the association’s activity. 

When the war ended in 1945, a group of architects 

led by Thanu Pongpaitoon, Sawaeng Sethabutr and 

Chalerm Rattantassanee brought the Association 

of Siamese Architects back to life and held the first 

post-war meeting. The old name was kept despite the 

change of the country’s name from Siam to Thailand 

and new projects were planned and regulations drawn 

up. The association has continued its operation for the 

past 80 years with the office being relocated to different 

venues here and there. From the first office at the 

Department of Fine Arts, the center was later moved 

to 46/1-2, Phetburi Road in 1961, and later to the Thailand 

Institute of Scientific and Technological Research 

in 1975 for a temporary stay due to the old office being 

burned down by an accidental fire. The association later 

settled at Soi Raichakru on Paholyothin Road in 1979. 

In 1988, a design competition was held for the 

construction of a new office to be located in Rama 9 

road, Soi 17 that is still being used as the current office 

of the association today. Throughout its 80 years, the 

association has elected 36 presidents with different 

regional committees such as Lanna Architects Committee, 

Isan Architects Committee and Thaksin Architects 

Committee. 

 

THEME ASA 33



The Association of Siamese Architects under Royal 

Patronage has, since 1968, also hosted the annual 

Architect Festival or ASA Festival. The event was 

originally called the ‘Construction Material Exposition’ 

and was first organized at a time when the architectural 

construction industry was booming and Thailand 

was entering the era of high-rise buildings. In 1975, the 

festival was renamed ‘Siam Architects Exhibition’ and 

finally the ‘Architect’ or ‘ASA Festival’ in 1986. 

It is today widely known that the Architect Festival is 

held for the purpose of providing those in the field easier 

access to product information and services from the 

architectural, design and construction industry, but the 

exhibition is also aimed at strengthening the exchange 

of knowledge amongst members including students 

in architecture and other related disciplines, as well as 

promoting basic knowledge about architecture in all its 

different aspects to the general public. 

In addition to the name, the venue where the 

annual event is held has also changed, depending on 

the suitability of the time and situation with the first 

Architect Festival being held at Siam Square Department 

Store and, over subsequent years, changed to 

Intra Hotel, Silpa Bhirasri Gallery, Ministry of Industry, 

Siam Intercontinental Hotel, Dusit Thani Hotel, Central 

Ladprao Department Store, Queen Sirikit National 

Convention Center, and Impact Muangthong Thani 

Exposition Hall, respectively. With the event growing 

larger in scale, the Architect Festival has in the past 

recent years been held at the Challenger Hall of 

Muangthong Thani. Apart from architectural products 

and services, the festival also showcases projects of 

Thai architecture firms and independent architects as 

well an exhibition of the association’s activities and 

projects over the past year. ASA is also a platform where 

interesting issues in the local architectural industry are 

discussed through workshops, seminars and lectures 

held with the goal of creating a more dimensional and 

comprehensive body of knowledge within Thailand’s 

architectural industry. Architects from all over the world 

are invited to present their projects and architectural 

philosophy allowing for members and interested parties 

to learn about different aspects of architecture in addition 

to the country’s own architectural environment and 

tendencies. 

02 

 

 

 

 

 

 


ARCHITECT’14 

OVERVIEW 

01 


TEXT 

Xaroj Phrawong 

PHOTOS 

Kitti Naksuk 

01-02 

 

Another year has gone by for ASA’s annual Architect 

Expo and Architect’14 came with a mysterious numeric 

theme ‘18/80,’ a pun intended to celebrate the time 

when the association was first established on August 

18, 1934. From that day on to today, ASA has now 

reached its 80th birthday. If it were a person, it would 

be a veteran individual with incredible life anecdotes. 

ASA’s experiences are translated into the theme of 

Architect’14 where different exhibitions are held within 

one unified space. This year is particularly different, 

with the association’s exhibition and activity ground 

being placed together at the main entrance instead of 

being scattered across different parts of the exhibition 

hall like last year. Such spatial allocation allows for the 

dynamics of the activities to be more fluid and continual 

and, most importantly, it lessens the unavoidable 

physical encounter of exhibitors’ booths that try their 

best to attract the spectators’ interests. The content 

creatively fabricated by this year’s working committee 

proposes the definition of an architect on the association’s 

80 th anniversary which can be categorized as 

follows: 

The first part is the exhibition, ‘80 th Anniversary of 

The Association of Siamese Architects + The Architecture 

Chronology.’ Simply presented through video 

footage featuring interviews of former presidents and 

members of previous working committees regarding 

the history of the association as an introduction, the 

main exhibition unfolds the association’s biography 

into a timeline with the use of infographics to make 

the content easier to understand, especially for people 

who might not have an architectural background or 

knowledge. This particular exhibition was designed to 

be the most content-driven section, with its location 

being situated right in the center, covering a particularly 

large space where the main content of this year’s 

event was presented. 

02 

 



03 - 

Practical 

Design Studio 2 

04 

ASA-CAN Workshop 

 

‘80 th Anniversary of 

The Association of Siamese Architects + The Architecture 

Chronology’ 

 

 

 

 

timeline 

infographic 

 

 

‘ ’ 

‘ASA Change 

‘ 

 

 

 

’-’ 

 

2 - 

 

( 

+) 

Design for Disasters (D4D) 

 

 

 

 

 

 

 

 

‘ ( 

+)’ 

 

 

 

 

CASE 2 

 

CASE 

 

‘ ( 

+)’ 

 

‘ (+)’ Openbox Architects - 

 

 

 

 


Not too far away one will find ‘ASA Change,’ an 

exhibition conceived from the concept of architects 

serving as thinkers who do not only design to serve 

the capitalistic world, but also to guide the society 

through their design thinking and creations. An 

ongoing activity from last year, the exhibition, which 

signifies the relationship between ASA and change, is 

created out of cardboard boxes (with an approximate 

height of two meters) with the formed space functioning 

as a canvas where the content displaying architectural 

solutions from participating architects and designers 

is presented. The first work, ‘Home’ (Home + disaster 

victims) by Suriya Umpansiriratana in collaboration with 

Design for Disasters (D4D) came up with different 

prototypes for disaster homes that are affordable and 

easy to build maintaining an efficient and economical 

use of materials with only necessary and functional 

spaces being included. The results resemble a type of 

residence that is pretty much a continual reconciliation 

of Suriya’s own home in Chonburi, but with a presentation 

of details that are easier for the general public to 

understand such as simplified floor plans and models 

that showcase the house’s structure and surface 

textures. The content of the exhibition is installed on a 

series of waist-high boxes making it more convenient 

for the viewers’ visual perception. Another interesting 

project is ‘Canal (San+Sab),’ a proposed solution for 

the disturbance caused by the canal waves that are 

deteriorating the banks of the San Sab canal with the 

houses in the community being significantly affected. 

CASE Architect reconciled the dilemma through the 

installation of a row of two-meter-high boxes simulating 

a new bank along the canal being built from construction 

waste. CASE’s idea was to recycle construction waste, 

which would be contained in a steel sieve to lessen 

the force of destruction on the bank and pier. Moving 

on to the next work, ‘Road (Intersection+Kind) is an 

exhibition by Kochakorn Woraakhom that raises ideas 

regarding the coexistence of nature and the city. Last 

but not least is ‘Tree (Garden+) by Openbox Architects 

who present interactions between community, people, 

city and nature. There is a noticeable tendency in the 

works featured in this exhibition and that is the simplification 

of things and a coexistence between nature 

and the works’ highly urbanized contexts. 

Another annual event of ASA is the ‘Experimental 

Design Competition’ exhibition that comes with an 

experimental topic inspired by this year’s theme — ‘80’ 

cubic meters. The unavoidable question here is ‘Why 

80 cubic meters?’ How is the subject of the competition 

related to human’s fundamental needs? With such 

challenging questions posed to answer, the qualified 

young designers and architects propose some interesting 

solutions and, following the presentation, it has 

become a tradition of sorts that the winners of the competition 

are announced and the seven finalists are required 

to present their ’80 cubic meter disaster shelters’ in 

front of the judging panel before the work with the 

best concept and solution is selected and named as 

the winner. The first prize of the ‘Experimental Design 

Competition’ 2014 was awarded to Ratchakrit Techaprapawit, 

whose work explores and searches for the 

fundamental residential needs of one living unit that 

will naturally expand into a community with multiple 

living units. The first runner-up award was granted to 

Direk Wongpanitkrit, who proposed the participation 

of disaster victims in his work. The special distinction 

award went to Chanachol Meepien, with a modular 

system where each unit shelter was created out of 

a simple structure and the fundamental shape of a 

triangle, all of which could be connected physically and 

expanded into a community. Another special distinction 

award was also given to the work of Krissanan 

Weerawan, Salayawate Prasertwittayakarn and Atiwit 

Kulngamnatre, a team that utilized modular coordination 

to expand the community of disaster victims while 

minimizing pollution as much as possible. 

A very unorthodox project has to be the one of 

Thanakorn Wattanachote, Thanwa Chantarasena and 

Santi Aramwiboon who suggested the concept of 

floating architecture or a ‘Cloud at Last,’ a community 

that is designed to float in the air, somewhat of a nice 

reminiscence of the movie ‘Elysium.’ If we really look 

at it, the interesting point of the work lies in the diversity 

of ideas employed as solutions, but what makes 

it a memorable project is the sense of understanding 

that the team has for the program. In addition to the 

‘Experimental Design Competition,’ there is also a continuum 

exhibition being held as a part of the competition. 

‘Art Competition’ is an exhibition that showcases 

art works of various artistic media from photography 

to mixed media under the topic ‘Life of an Architect.’ 

The works vary in style and technique and range from 

painting to poetry. The winner of this year, Apinai Tassanopas 

and his ‘Becoming an Architect’ piece depict 

the process and activities that an architecture student 

must go through using the technique of image superimposition 

as medium. As for the three dimensional 

media category, the winning project went to Suwapa 

Kajornrit whose work ‘Mano’ (imagine) presents 

‘sections’ as images circling in an architect’s head. 

04 

 


’Experimental 

Design Competition’ 

80 

 

80 

 

young architects 

 

 

 

7 

 

- 

80 7 

 

 

 

 

2 

 

80 

 

 

 

 

shelter 

 

 

 

06 

‘Cloud at 

Last’ 

Elysium 

 

 

 

 

‘Art Competition’ 

 


‘’ 

2 

‘’ 

 

 

3 

 

 

 

 

 

‘’ - 

 

 

‘ASA Sketch’ 

 

 

sketch battle 3 

KK-Ch’ng Kiah Kiean 

 

 

05 


CI-Corporate Identity 

Practical Design Studio 

 

 

 

 

 

 

 

 

 

‘’ 

 

 

 

 

 

 

ASA101 

 

‘ 

?’ 

 

? 

? 

1 

 

2 

3 - 

 

05 

ASA 

CHANGE 

06 ASA Sketch 

07 

 

07 

Despite the increasing role of the computer as a 

design tool that is beginning to replace the ‘handmade’ 

details of modern-day works, and the fact that it appears 

that we are moving forward, there are certain aspects 

of the past that simply allow for us to better understand 

the beauty of the working process in the old days. 

‘ASA Sketch’ turns its focus back, featuring sketches 

of artists and architects working in a range of different 

styles. However, putting the past aside, the key activity 

of this section was undeniably the ‘sketch battle’ 

between KK-Ch’ng Kiah Kiean from Malaysia and Hong 

Tae from Thailand that was held on May 3 rd at the activity 

ground. 

This year, a great deal of emphasis was placed on 

the creative and design process of the event’s CI- 

Corporate Identity as well. Practical Design Studio was 

chosen to oversee all the graphic works, which tend 

to reflect the daily life of an architect. The exhibition 

itself was also designed in the form of a graphic piece, 

depicting the process on the elevated boxes with 

some of the content being hidden at the back of the 

walls. To access this part of the information, one must 

duck inside to see what’s behind the walls that cannot 

be seen from the outside and, once on the other side, 

we are cut out from the surrounding chaos of people 

walking around as we begin to subsume the content 

with a more focused mind. 

In the early days, Architect Expo was basically a 

platform that showcased the works of local architectural 

institutions. In recent years, the presentational style 

has shifted to the presentation of concepts, ideas and 

solutions rather than the event being solely dominated 

by the exhibition of architectural projects. With Surasekk 

Yuthiwat supervising the organization of the event for 

the last two years, the ASA 101 concept has been proposed 

in new and interesting ways. This year, educational 

institutes were challenged with the question, 

‘Why study architecture?’ and this question was 

thrown directly at those best posed to answer - the 

architecture students. The given guidelines considered 

how an architect serves as a social thinker and how 

an architect could contribute their knowledge to the 

society and the betterment of people’s lives? The 

winning answer went to the Faculty of Architecture 

and Urban Planning, Thammasat University, while the 

first runner-up was awarded to the Faculty of Architecture, 

Silpakorn University, and the Faculty of Architecture of 

Chiang Mai University brought home the third prize. 

Despite the architect’s image as a modern individual, 

‘Thai Vernacular Architecture Photography’ that 

documents the Lanna vernacular architecture fieldtrip 

through the lens of Pathom Puaphansakul, portrays 

vernacular architecture at its purest—through the beauty 

of life and shadow. The photographs are in a scale that 

is big enough to capture the details of people, architecture 

and tradition coexisting. Furthermore, the black 

and white tone intensifies the calm and mystical ambience, 

uniquely affecting the aesthetic appreciation of 

the works. 

 


’ Thai Vernacular Architecture 

Photography’ - 

 

 

 

 

 

 

 

 

 

 

’ ASA Student Workshop’ 

 

 

100 

 

 

 

 

 

 

‘ASA Conservation 2014’ 

 

 

 

 

 

 

 

 

‘ASA Universal Design TOWNHOUSE’ 

 

 

 

 

 

 


 

 

 

 

 

08 

 

09 

 

10 

11 

 

10 


09 

08 

11 

The ASA Student Workshop is an exhibition that 

showcases the students’ architectural design activities 

at Nan Water Source Community. The collaborative 

project, which gathers the lives of over 100 students 

and teachers, brings about solutions conceived directly 

from the students’ onsite researches and experiences. 

The obtained architectural solutions highlight the 

significance of locality and the use of natural materials 

available in the area that reside together in the world 

of architectural conservation. With old values and 

wisdoms gradually disappearing, ‘ASA Conservation 

2014’ is an exhibition that was initiated to show the 

public the association’s conservation projects, one of 

the most talked about being the conservation of an 

excavation site in Amornpura, Myanmar searching for 

and verifying royal relics of an Ayutthaya king named 

King Uthumporn. The site was almost torn down due 

to the changing social and economical context of 

the area and the exhibition presents a collaboration 

between the Association of Siamese Architects and 

the Myanmar authority in the revival of the area as a 

cultural tourism site. Other projects include the ‘ASA 

Universal Design TOWNHOUSE’ featuring how design 

can be employed to existing townhouse buildings in 

Thailand to optimize the everyday-life conveniences of 

users of all ages and physical body conditions such as 

the addition of ramps and handrails. A wheelchair test 

ride session was even held as a part of the exhibition 

to give spectators a firsthand glimpse of the experience 

of trying to commute while in a wheelchair. 

Every exhibition at Architect’14 shares one common 

thinking process, an attempt to make the role and life 

of the architect more accessible and relatable to the 

public and refute ideas that the profession works only 

to serve the capitalistic world. The next installment will 

be more challenging than ever, trying to figure out where 

and how architects wish to be located and recognized 

in the society. 

 


ASA FORUM 2014 

DECENTERING ARCHITECTURE 

01 



Toyo Ito 

‘Initiative 

for Tomorrow’s Architecture’ ‘ - 

’ Ito 

Sendai Mediatheque 

2554 - 

 

Thoku 

Ito 

 

Ito 

 

 

 

 

 

Ito ‘Home for All’ 

 

Miyagino-ku Rikuzentaka 

 

 

 

 

 

 

 

Toyo Ito 


Ito 

2 

Sendai Mediatheque 

Minna-no-Mori Gifu 

Media Cosmos 

 

 

 

 

Taichung Metropolitan Opera House 

Ito 

 

 

 

Ito 

 

 

 

 

 

Andreas G. 

Gjertsen TYIN tegnestue Architects 

 

 

 

TYIN Gjertsen 

Yashar Hanstad TYIN 

Gjertson 

 


04 

 

 

 

Gjertsen 

- 

 

 

 

 

TYIN 

(restlessness) 

 

TYIN - 

(creative) 

(pragmatic) 

- 

 

 

 

Florian Idenburg Jing Liu SO-IL (Solid- 

Objectives – Idenburg Liu) 

‘To be determined…’ 

‘....’ 

 

 

- 

 

The Pole Dance P.S.1 

MoMA 

In the second part of his lecture Ito brought up two 

projects that were presently under construction and 

both of which had very interesting design perspectives 

that were in line with Sendai Mediatheque. In the library 

project Minna-no-mori Gifu Media in Japan, the main 

functions were arranged under internal roofs, all of which 

were shaped like a dome or an inverted funnel with their 

tops opening up to the external roof. This design allowed 

for the setting up of specific activity areas and also enabled 

the control of a suitable environment at various points. 

As for the Taichung Metropolitan Opera House in Taiwan, 

Ito designed the building’s structure like caves that overlapped 

and extended higher, the space and form becoming 

opaque and perforating all at the same time. 

In the question and answer session, the audience 

asked how these vastly different types of projects could 

be compared when they were so different from each 

other. Ito replied that the mega projects were often 

complex and created many headaches while, on the 

opposite side, he gained so much happiness from 

working with the communities – the buildings that were 

constructed had a emotive value that wasn’t necessarily 

concerned with issues of beauty. 

03 Andreas G. Gjertsen 

TYIN tegnestue Architects 

04 Old Market Library 

TYIN tegnestue 

05 Kukje Art Gallery 

SO-IL 

05 

10 

 


48 ASA THEME 

06

07 

DBALP 

ASA Forum 

 

 

 

(ontology) 

 

- 

 

 

 

 

 

 

DBALP 4 

Venice Biennale - 

- 

 

The Jam Factory Meditation Center 

 

 

The Naka Phuket 

 

08 

06 

 

07 

 

08 

09 

 

09 

 


10 

11 


12 

10 House D 

Bevk Perovi arhitekti 

11 

DBALP 

12 Hotel De La Paix 

DBALP 

 

- 

 

 

Accepting various conditions that were continuously 

changing was also the perspective presented by Bevk 

Perovi arhitekti which included Matija Bevk and Vasa 

Perovi. Perovi, who represented the office, explained 

the importance of the context of architecture in various 

dimensions – such as history, urbanity, building types, 

functions, etc. He emphasized that an in-depth analysis 

of these elements would assist in finding the right 

answer for creating specific designs. Perovi presented 

many interesting works including completed projects 

such as House D, House R, Student Housing Poljane and 

KSEVT and competition projects such as the National 

and University Library Ljubljana. Most of the projects, 

when seen from the outside, look rather simple but at 

the same time contain quite a complex system concealed 

within, a result yielded to particular requirements and 

analyses. Another thing that was interesting in the works 

of Bevk Perovi arhitekti was the effort to create a 

‘collective’ public space that respected the diversity of 

the users while also allowing for the different groups to 

interact and mingle. 

Other than the points of working with the community 

and dealing with various uncertainties, the relationship 

between architecture and nature was another issue 

that was brought up. The lecture by the architect Pei Zhu 

presented designs that had been inspired by nature. He 

explained that Chinese paintings, drawings and poems 

always communicate the beauty of nature and Chinese 

architecture also has a firm connection to the natural 

environment. The designs at Studio Pei Zhu were hence 

almost all reflecting of this characteristic. As for the 

Performing Art Centers at Dali and Xishuangbanna and 

the Guggenheim Pavilion in Dubai they were examples 

of works that set a system for spatial organization derived 

from the environment through consideration of elements 

such as the climate, seasons or even various forms of 

nature. As for the projects that were situated in the cities, 

Pei Zhu is interested in architectural typologies that have 

evolved with a connection to nature. The Chinese Courtyard 

House is a great example, a structure that encircles 

and protects the residents – no different from a bird’s 

nest or a cave. An interesting application is found at the 

Blur Hotel, a refurbishment project of an older building 

that looked very grim and solid, where Pei Zhu employed 

the characteristic of the Chinese Courtyard House and 

created many small open areas inside the building. These 

open spaces were enclosed in a similar fashion to the 

traditional house mentioned before. 

The lecture by Duangrit Bunnag from DBALP 

helped in making the ASA Forum even more interesting 

because it was not only a presentation of architectural 

projects but also a kind of psychoanalytic session. 

Duangrit allowed the audience to test itself by asking an 

ontological question regarding the relationship between 

the architect and architectural work. The lecturer then 

suggested that architectural works of the past often did 

not represent the architect who created the work – at 

least not directly. Duangrit believes that an architect 

should take a step back from the notion of attachment 

of who he is and what kind of work he should be doing. 

As for this point, its clarity could be seen in the second 

part of the lecture, as the projects presented were very 

diverse. Duangrit presented only four important works 

of DBALP including a model of a wooden puzzle presented 

at the Venice Biennale, which looked very simple 

but could be put into various different shapes and forms. 

For the realized projects, these were the regeneration 

of old complex factory buildings which were to become 

The Jam Factory and the Meditation Center in Khao Yai 

that was inspired by the transparency of the Borubudur 

stupas in Indonesia. The last project presented was a 

resort project, The Naka Phuket, which literally emphasized 

the concept of architecture meeting with nature 

and utilized a cantilevered structure. 

All the lectures at the ASA Forum, Architect’14, 

encompassed a vast variety of issues, however the 

diversity was pointing to a few conclusions. Toyo Ito and 

Andreas G. Gjertsen from TYIN described to us their 

happiness and experiences gained from working with 

communities. Florian Idenburg and Jing Liu from SO-IL 

together with Vasa Perovi from Bevk Perovi arhitekti 

smiled when faced with uncertainties surrounding architecture. 

Pei Zhu emphasized the reflection of architectural 

works to the systems of nature, while Duangrit 

Bunnag from DBALP advised architects to take a position 

of emptiness so as to open themselves up to opportunities 

and creativity. All these diverse ideas seem to 

be critically moving ‘architecture’ from its center point 

– our familiarity that architecture has an importance 

beyond people, symbolizes absolute perfection and be 

independent of nature or a mere representation of the 

architect. 

 



TALKATIVE 

01 

02 


 

 

ASA Forum 

(ASA Talkative) 

 

 

 

 

 

 

 

3 . 

. 

 

 

 

 

 


. 

 

. 

 

 

 

 

LEED 

(Leadership in Energy and Environmental Design), 

BIM (Building Information Modeling), Architecture 

Business Management 

 

 

 

 

7 

 

 

. 

‘’ 

 

 

Integrated 

Design Ofce 

 

 

 

 

Bauhaus 

 

 

 

 

 

 

 

 

 

 

- 

A49 

A49 Phuket A49 HD 

 

 

 

 

 

 

A49 

TEXT 


PHOTOS 


Srirath Somsawat 

01 

 

 

02-03 

 

At Architect ’14, in addition to the interesting 

exhibitions organized by the Association of Siamese 

Architects, architecture firms and students, the event 

also highlighted the ASA Forum featuring an academic 

seminar session, ASA Talkative, which was equally as 

interesting as other segments of the fair for its discussions 

on design, architectural conservation, building 

technologies and many others issues of various topics. 

There is a future 

The talk revolved around the visions and professional 

approaches of three architects, Dr. Ponn Virulrak, Boonchai 

Tienwang and Chana Sumpalang and welcomed Tawan 

Wongsawan as the seminar host. With a casual vibe, 

the talk was filled with interesting ideas and laughter 

and a full house was in attendance. The speakers shared 

their life anecdotes, all different and unique but equally 

interesting. 

Dr. Ponn Virulrak discussed what someone who 

possesses a mediocre ability in design could do in this 

line of work. Speaking through first hand experience, 

Dr. Ponn discussed his current career path that, despite 

still being closely involved with the architectural profession, 

doesn’t exactly concern the aspect of design or 

stamping drawings. His definition of what his company 

is doing is helping with the management aspect of the 

business, which mainly deals with things like LEED 

(Leadership in Energy and Environmental Design), BIM 

(Building Information Modeling), Architecture Business 

Management, management of an organization’s body 

of knowledge and building laws and regulations research. 

The diverse and vast professional landscape he has 

maneuvered is the result of the experiences and knowledge 

he has gained and accumulated throughout his 

career. Having been both right and wrong in design 

and marketing, and after seven years of experience 

working in the States, he finally came to a realization 

that it is not design he is after or prefers to do. And 

as a result of that, his multidisciplinary business was 

conceived. Dr. Ponn succinctly defines his profession 

as the ‘seller’ who is ready to contribute and explore 

every task and story coming his way, both professionally 

and personally. 


 


Junior 

architect, Senior architect, Associates, Partner 

Manager 

 

 

 

- 

 

A49 

3 

 

 

 

 

 

 

 

 

 

 

 

1 0 5 1 

 

 

 

 

7 

 

 

 

 

 

 

 

Kabuto 

 

 

 

 

 

- 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

( 

) 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

- 

 

 

 

ICU 

 

 

‘’ 

 

 

 

- 

 


04 

 


The next speaker was Boonchai Tienwang, the 

founder of Integrated Design Office who shared some 

interesting stories and points of view about what many 

of us architects have experienced at one point in our 

career—working without getting paid. But ‘not getting 

paid’ in Boonchai’s sense refers to the works where 

he intentionally contributes his physical and mental 

efforts without anyone hiring him. Having practiced 

professionally as an architect in Singapore, studied at 

the Bauhaus and been an exchange student in China, 

Boonchai has always been an enthusiastic traveller. 

He loves to stroll in local markets of different countries 

and has a special bond with Thailand’s famous Jatujak 

Market. Seeing markets in other places of the world, 

he looked back to Thailand’s ‘world’s biggest outdoor 

market’ and began the study of his own personal design 

project. Without any client or prospective financial 

support, the project is pretty much a work on paper and 

the chance of it actually happening remains doubtful, 

but Boonchai has shown how the creation of good 

architecture doesn’t necessarily need to have money 

as a key factor. 

The last speaker of the day was Chana Sampalang, 

one of the frontmen behind the success of the prominent 

architecture firm A49 and the current executive of 

A49 Phuket and residential project specialist unit A49 

HD. While most people have a preconceived notion 

of an architect’s career path ending up by the opening 

of his or her own office following completion of their 

studies and a considerable amount of time put in and 

experience gained working in architecture firms, Chana 

has never moved to any other offices throughout his 

career. For Chana, the pattern may be different, but the 

outcome is just as successful. Initially beginning as an 

intern working at A49, Chana has progressed professionally 

from the position of a Junior Architect to Senior 

Architect, Associate, Partner and finally Manager. 

Each step requires a specific set of qualifications and 

responsibilities and, while professional security and 

his love for design are also important, what’s equally 

meaningful to him is the sense of connection and 

responsibility he has for the work he has done that has 

made A49 to be like a family to him. 

In many aspects, the thoughts and reflections 

of these three architects may remind a good deal of 

people of themselves, as well as open new facets for 

the architect as a profession with new possibilities not 

yet framed to certain conventions or approaches. 

04 

 


Philosophy Aesthetic Secret and Way of Tonsilp 

Studio 

Chatree Ladalalitsakul is the founder and the one 

and only architect of Tonsilp Studio. For the new generation, 

his name may not be widely known, but within 

the architectural community, the level of recognition 

for his works is second to none and his latest project, 

where he served as one of the members of the 

S A N G O B 1 0 5 1 team who won the new Parliament 

Building design competition, has brought him back 

into the spotlight once again. 

Chatree shares the story of his life that has led 

to what and who we know him as today. Not many 

people may know that, right after graduation, he spent 

seven full years in Nongkhai working as a volunteer 

teacher. “I think the time when I was a volunteer graduate 

was incredibly valuable. I learned to think about 

others, to live for others. I got to see the diversity in 

people’s ways of life. It makes me think differently 

from most architects. It’s still a good thing, even when 

I weigh what I’ve gained and lost, and to think that I 

started my career almost a decade later than others.” 

Some of the first projects he had his hands on 

were those such as the Chiang Mai City Arts & Cultural 

Centre, Tang Seng Jua Pastry Shop, Kabuto Japanese 

Restaurant, The Grey House of Gugu and the interior 

design of Bangkok Hospital that earned Tonsilp Studio a 

reputation they still hold today of being one of Thailand’s 

most proficient firms in hospital design. Other distinctive 

projects that the studio has done were mostly 

undertaken through design competitions, whether it 

be the College of Music at Mahidol University Salaya 

Campus, Siriraj Piyamaharajkarun Hospital or the new 

Parliament Building. 

“After a certain period, I felt that working as a small 

organization, I couldn’t really survive in the current economic 

system so I took a step back and opened Tonsilp 

Studio. With me as the only employee, I can choose 

to actually build my career from the works that I have 

done. I think a good piece of architecture takes time to 

build. Win the competition with your work not the size 

of your organization,” said Chatree regarding this turning 

point in the early days of his career. Despite having 

only one employee, Tonsilp Studio is well organized 

in both the studio’s readiness and the efficiency of its 

collaborators. In many cases, the constructor, engineer 

and architect learn and experiment with new things 

together along the way. Solutions that are conceived 

onsite bring about unexpectedly beautiful results. 

The stonewalls of Gugu House were something that 

the constructor had never done before but following 

experiment after experiment, the massive stone walls 

were created. For the elevation of the columns and 

construction of the stonewalls of Choen Jai Residence 

(the Residence of the Tang Seng Jua family), the constructor 

skillfully used the house’s old wooden columns 

and, by cutting and extending the length, the columns 

were recycled 100% as the house’s new architectural 

composition. At several times, dilemmas turned into 

interesting architectural phenomena. One of the 

factors of success working toward each project is 

maintaining effective communication with the owner 

and having a mutual understanding of what good architecture 

is really all about. It reflects that the architect’s 

intention is invested in the work, through the concept 

of his design. Chatree and Tonsilp Studio have been 

very fortunate to work with great teams and owners 

who are willing to create ‘good architecture’ with him. 

“Many people have asked me what I have done to 

be able to work with such great clients. The key is how 

you deal with people. To me, that’s equally important 

to the design. I do best with design because I’m the 

one who does it and I understand budget control, 

construction, management and when you have such 

a comprehensive understanding, you automatically 

become the best person to handle the explanation and 

create a mutual understanding with your clients.” 

The interesting thing is how the concepts of most 

of the works revolve around an architectural spirit and 

phenomena. Chatree talks about the background of 

how each project got started, reflecting the design 

concepts that contributed a great deal of importance to 

the aesthetic achievement of the works. The grey area 

that signifies the division of interior and exterior spaces 

of the College of Music Building gives a sense of spatial 

ambiguity between what’s inside and outside. The 

definite boundary is blurred and can be varied to suit 

desired functionalities. For Siriraj Piyamaharajkarun 

Hospital, he located the garden right next to the ICU 

unit, using the trees to convey the cycle of life where 

leaves bloom and fall down to the earth. The design of 

the new Parliament Building where he named ‘Sappayasapasathan’ 

as the conceptualization and architectural 

materialization of the ‘Three Worlds’ philosophy 

signifies the building as a land where good deeds take 

place through the combined aesthetic of Buddhism 

and Oriental beauty. 

“Architecture is not only important to you physically… 

good architecture can communicate with your soul. 

If we were to believe this saying, setting an objective and 

attempt for architecture to convey something abstractly 

profound would be at the heart of a true architectural 

expression… Architecture is complex. It exists between 

the conditions that can overcome limitations and 

imagination. In the world of freedom, architecture will be 

glorified through the unity of these two things. Limitation 

is the mechanism that makes architecture so complex 

while imagination is the reflection of the striving intent. 

Once the creator of architecture stands on the edge of 

the cliff and limitations are what he has battled and won, 

before him lies the infinite sky and an abyss of freedom. 

Those who cannot be unleashed from the physicality of 

objects will be imprisoned at the edge of the freezing cliff. 

To conquer limitations demands the acknowledgment of 

reason and a scientific mind, to overcome the freedom 

starts from within,” concluded Chatree in regards to the 

meaning of architecture from his personal understanding. 


01 


CHANGE 


TEXT 


PHOTOS 

Courtesy of ASA Change 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


04 

CASE 

 

 

 

 

 

 

 

 

 

 

‘’ 

 

 

 

‘’ 

 

 

 

 

 

 

 

02 

01 

02 


04 

This year ‘ASA-Change’ continues to convey the 

same message as before - designing to solve social 

problems and increase interaction with people through 

an exhibition that was organized very simply and 

utilized surplus materials such as paper boxes as the 

presentation technique. There were four parts to the 

exhibition: House, Klong, Road, and Tree, including 

functional and usable projects, some of which had 

been under development for a period of years prior to 

their presentation at the exhibition, that were developed 

through the collaboration and joint efforts of designers 

and independent organizations. The designs were actually 

constructed, hence problems that appeared were solved 

too. 

Houses - The ‘Pordee Pordee’ house was created 

through the cooperation of Suriya Umpansiriratana 

(Walllasia), Design for Disasters and various experts. 

The ‘Pordee Pordee’ project was initiated during the 

flood crisis of 2011 with an aim to assist the victims. 

The perspective was very simple, starting with an 

understanding of what a ‘residence’ is and the different 

environments as well. Suriya talked about the comforts 

of living that affected the design, for example the climate 

in Thailand requiring a lot of windows for ventilation and 

a longer roof’s eave for needed protection from the 

sunlight. As for the level of the house, it was elevated 

around two meters as risk aversion for floods. The 

houses had basic functions but aesthetics had to be 

added too - added in a manner however that didn’t 

require altering the external image or using expensive 

materials, but rather an allocation of everything 

appro-priately to make it ‘Pordee Pordee’ (fit well and 

adequately) by choosing simple materials, controlling 

the budget and ensuring that the design was meticulous. 

Materials needed to be used well and to their full 

potential value resulting in minimal construction waste 

as well, a requirement that called for consideration of 

simplicity as well as utilization of time and labor. The 

‘Pordee Pordee’ Homes included an area below the 

house, a bedroom, bathroom, kitchen, and a multi-purpose 

room - just right for a small family, not too big and 

not too so small. This type of home had already been 

built at Wachirabunpot Temple, Chonburi province, and 

the houses reflect the ‘just right’ approach through many 

aspects including the construction, price and pleasantness 

of inhabiting the homes. In a just and appropriate 

way, this example can be considered testing for further 

development and actual use during the time of a flood. 

Khlong (Canal) - An incident where a passenger 

express boat on the Khlong Saen Saep was speeding 

and created a huge wave that crashed onto the banks, 

causing great inconvenience for houses in the area and 

also for passengers who were standing on the boat 

pier, prompted Patama Roonrakwit and CASE to draw 

upon their process of design to solve the problem of 

waves in the Khlong. The designers saw that there 

were many factors creating the giant waves including 

the speeds of the boats, the impact of waves upon 

waves, and even the materials used for the embankments 

or the piers. Therefore, a scientific solution had 

to found firstly through initial research and the design 

had to meet the challenge of an additional problem 

that arose as well – that there was no budget available. 

CASE found that the design could still be constructed, 

 


Landprocess 

. 

 

 

 

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06 

 

 

 

 

Openbox Architects 

 

 

 

 

 

 

 

 

 

Big Trees 

 

 

 

 

 

 

 

 

‘ – ’ 

 

 

 

 

 

 

 

 

 

05 


through the use of any excess materials that were 

available. The idea came from the olden days when 

houses that were located close to the banks of the 

khlong, where there were no embankments at the 

time, utilized a protective device that was made from 

the clumps of the ‘khaem’ plants that were floating in 

the water. These plants were able to absorb the impact 

of the oncoming waves before they struck the banks. 

This design became the inspiration and prototype to be 

used for building a wall that would lessen the impact 

of the waves through the utilization of simple materials 

such as nets, wires, and various plastic bottles that 

were waste products or surplus materials that could 

act as a floating partition right next to the embankments. 

However, when the prototype was actually 

installed, it was found that a stronger type of netting 

was required for a more durable design that could be 

used long into the future. A very good example of solving 

the problem in a simple and easy way without the 

need for a large budget, this project proves that 

everyone can start by doing simple things by themselves. 

Roads - The definition of ‘roads’ here does not 

mean only the various highways or soi’s that are used 

as a thoroughfare for cars, but also includes the roads 

that people walk on as well. Kotchakorn Vora-akom 

from Landprocess, together with Thai Heath Promotion 

Foundation (Sor.Sor.Sor.), pushed the project of reconstructing 

the roads in the Siam Square area creating 

an area where people could walk more conveniently. 

Kotchakorn talked about the present perspective of 

Siam Square, how it was deteriorating and had many 

stuffy corners that were essentially un-walkable and 

hence, the project ‘Art -Build- Siam’ was born. Through 

a survey of the users Kotchakorn could see the 

problems - there were too many cars in the area and 

the surrounding areas were not catered toward people 

walking. The original Siam Square was compared to a 

‘horizontal’ shopping mall and the designers started to 

adjust the land area so that there could be some continuity 

in the footpath walking areas. They also re-built 

the Siam Square plaza and added art, such as graffiti, 

all around Siam Square by inviting famous artists and 

designers to create their works throughout the area 

of the project in an attempt to change the scenery of 

the stuffy corners, nooks and crannies of the buildings. 

This act also changed the lifestyles of the users, including 

both the shop owners and people who frequented 

the area, creating a sense of more activity and an 

increase in lively scenery. This project continues to 

develop today, adjusting and changing, and the increased 

efficiency of the roads can now be seen very clearly. 

Siam Square is slowly changing as the various events 

held there are making people see that it is an area 

open for walking and even events during Songkran and 

various Music festivals are held there, the roads and 

parking lots being closed to cars and traffic and instead 

used for various walker-friendly purposes. 

Trees - The riverside area between the corner of 

Khao Laam Road cutting through to Khlong Padung 

Krungkasem is the equivalent to an ‘entrance’ to the 

Samphanthawong area, as it welcomes people to the 

community. Following a fire that took place at the end 

of 2012 in what was once known as the Trok Khao 

Laam Community, the locals in the Samphanthawong 

area presented a plan to the district office to reconstruct 

and develop the area into a common space for 

the community, an exercise area, a library and a public 

park, a proposal which initiated the development of 

the project. Ratiwat and Wanporn Suwannatrai architects 

from Openbox Architects took on the role of 

presenting their perspectives to develop the area with 

a new image different from its original one, and to 

allow the area to become more efficient as well. They 

also collaborated with the Arsomsilp Institution, who 

were already connected with the development of the 

community in the Talad Noi area and Samphanthawong 

areas as they had been talking with the people of the 

community previously to exchange ideas and were 

therefore prepared to help develop the project hand in 

hand. Other than the fact that the area was being 

developed jointly by the designers, users and the group 

Big Trees, they also created activities for people of the 

community to plant trees around the area and create 

a park for the future, an act that allowed for them to 

feel as if they had truly lent a hand in developing their 

own community. The design process had already been 

developed through a mutual understanding, therefore 

the next step wouldn’t be too difficult, if the people of 

the community could join hands and actually help to 

create the common area as well. If we are lucky we 

will soon see ‘an entrance door’ that is new and inviting, 

welcoming us to come and view the Talad Noi and 

Samphanthawong areas that, to this day, maintain a 

sense of community charm. 

Even though the exhibition ‘ASA-Change’ has 

closed, what has been established will not stop here, 

each party will not only move forward, successfully 

completing what they set out to do but also remain 

willing to develop their ideas further, serving as good 

examples for organizations, communities, and others 

as well. To contemplate on the point of view that through 

collaboration we can solve problems for societies together, 

from their houses to the surrounding areas and even 

the public areas, collaboration and hope can one day 

change a society by strengthening it and making it a 

more livable place to be. 

05 

06 

 

 

 

 

 

 

 

 

 

 



01 

02 

ARCHITECTURAL 

AWARD 

2014 

05 

04 

06 




TEXT 

ASA Team 

PHOTOS 

Courtesy of ASA Award 

except as noted 

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98 

2557 

24 2 

1. (Gold 

Medal Awards) 7 2. - 

(Citation Awards) 17 

 

 

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Every two years the Association of Siamese 

Architects appoints a selection of architectural works 

they feel has worked to promote and push forward 

Thai architectural projects to grow, progress and meet 

international standards. As for this year, 98 projects 

participated and the selection process included 24 

projects for the ASA Awards 2014 that were divided 

into two categories 1. Best Architecture award (Gold 

Medal Awards) with seven awards granted and 2. Best 

Architecture award for projects that should be publicized 

(Citation Awards) with 17 awards granted. Projects of 

both new and old generation architects were awarded, 

showing a variety of designs and, when compared to 

the 2012 competition where only three projects won 

the Best Architecture awards, this year is clearly a sign 

that the architectural projects of Thai architects are 

continuing to develop and improve. 

The results of the ASA Awards 2014 selection of 

seven projects out of nine categories of buildings 

included ’Baan Ton Silpa,’ designed by Chatree Ladalalitsakul, 

which received the best architectural award in 

the category of house. ‘Baan Ton Silpa’ was designed 

as a residence and music studio for Ladalalitsakul’s 

wife who teaches music as well as a working studio 

for Mr. Chatree himself. The perspective was ‘Hearn 

Mai Khon Meung’ or ‘Wooden Houses for the Urban 

People’ with a hint of the local northern house style 

coming through and referencing the regional birthplace 

of the architect. Combined with modern architecture, 

the main structure was concrete but the main component 

added to decorate the design was actually wood. 

Both old wood and teak wood were used and original 

craftsmanship was utilized to aesthetically create a 

warm feeling resulting in an architecture that appeared 

both regional and modern as well. 

As for the award for the condo category, Baan Lux 

08 

 

09 

 

Sathon of TM Design Company Limited was selected, 

a small condominium building located in the central 

Sathorn area. Each unit was designed as a Duplex type 

with a private garden and swimming pool. The designers 

emphasized privacy, an element that can be seen 

right away when one enters the parking lot located at 

the bottom of the building where a private lift leads 

to each of the units above. Externally it is designed to 

look like it is one building but internally it is designed 

so that the units are completely separated from one 

another. The façade is designed to conform to the 

garden and swimming pool, creating both an open and 

closed effect further allowing for each unit to maintain 

its privacy. With all the details reflected in the project, 

one can say that a very novel approach was taken in 

designing this type of building. 

Nat Motors Head Office received the award for 

commercial buildings and was designed by M Space 

Company Limited. Located at the ring road intersection, 

Udon Thani, which is close to the international 

airport and the first link to enter the city, the building 

looks as though it is floating upwards, an outstanding 

feature amplified further by the bottom part of the 

building that is elevated and creates an empty space 

below the structure. This empty space, made at an 

angle and serving as a passageway for cars, functions 

further as a footpath, encircling the building and 

thereby creating continuity between the building and 

its surrounding landscape. This open area also allows 

space for various shows to be held. The shape of the 

building is actually a replica of a road that is folded 

upwards and forms the structure of the 3 buildings, 

creating a building shape that is outstanding and eyecatching 

as well. With an interesting layout of space 

throughout, the structure’s all around perspective 

creates links between the three buildings. 

09 

 


(Negative space) 

(Grey space) 

 

 

 

 

 

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Walllsia 

 

 

 

 

 

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6 

 

 

 

 

 

2 2 

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Prince Mahidol Hall 49 

Natural Acoustic 

 

2,000 

 

 

 

 

 

 

 

 

 

 

 

10 


Ketsiree Wongwan 

11 

As for the category of institution or religious buildings, 

two projects were chosen to receive the Best 

Architecture award which were the ‘College of Music, 

Mahidol University - West Side’ by Chatree Ladalalitsakul 

and Walled Monk’s Cell, Wat Khao Buddhakodom 

by Suriya Umpansiriratana. As for the College of Music 

- West Side, it is just one of the many buildings located 

at Mahidol University and proceeded from a vision 

to create a ‘Vibrant and Lively Music Community.’ 

The significance of the project lies in the linking of 

architecture, empty spaces, the serenity of the woods 

and people together. The buildings located on the west 

side include a building used for music practice, a coffee 

shop, an artist’s residence space and a Music Arboretum. 

The entire scheme was created through the use of the 

existing trees where some areas were reduced to build 

various structures in combination with careful preservation 

of empty spaces as well. The buildings were 

constructed by utilizing materials whose outer surfaces 

would fall in harmony with the natural surroundings. 

As for the other project, Walled Monk’s Cell, Wat 

Khao Buddhakodom by Suriya Umpansiriratana from 

Walllasia, it started from a perspective of trying to 

solve the issue of actually reaching the premises of the 

temple, as the surrounding area consisted of a chaotic 

jungle of buildings and a little peace and quiet was 

definitely needed. Therefore, a wall was constructed to 

solve the problem and an architectural structure was 

formed. The temple wanted to construct more dwelling 

places (houses) for the monks as well as maintain a 

level of peace and space; the wall therefore had many 

aspects and goals to accomplish and in many ways 

acted as a structure to separate the land - a room wall, 

a bathroom wall, a place to store water - it became a 

part of the landscape covered in Mexican daisy plants 

(coat buttons) that complimented the simple design 

of the monk’s dwelling places and fell in harmony with 

the existing environment. 

The award for the category of a special structure 

went to the Prince Mahidol Hall project designed 

by Architects 49 Company Limited. The project was 

designed by utilizing the educational perspective 

of natural structure systems, including the human 

physique, and combining these aspects together with 

abstract uses of symbols and elements of Thai culture. 

Both the structures of a leaf and the human body 

were used to design the empty spaces of the building. 

Serving as a new landmark for Mahidol University, the 

structure reflects the splendor of being both the center 

for the medical field and musical fields. The design of 

the building was inspired by the skeletal structure of 

the human body and also took into account the sound 

systems and stage systems needed to create perfection 

for all musical performances held there. 

12 

 


32 - 

10 - 

Stage 

Equipment, Stage Lighting, Sound and Communication 

Acoustic 

 

- 

Displacement Ventilation 

 

 

 

Natural Acoustic 

 

 

Nuzen Backpackers 

Hostel 5 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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ce 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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The last category was for improvement/ reformation 

of an original structure and the project ‘Thrive The 

Hostel’ by Prachya Sukkaew from Nuzen took home 

the award. The task was to design a backpackers’ 

hostel but, because the row of five shop houses was a 

rented property, the reformation was limited by capital 

constraints. The main goal was maintained, the original 

structure was conserved, and the area that was demolished 

became a component of the main structure 

itself. The Hostel utilized an organic form creating a 

different perspective for each room allowing for visitors 

to have something of a new experience at every visit. 

Other than the projects that received the ASA Awards 

2014, additional awards were granted for projects that 

were to be promoted for publicity, with their own interesting 

designs and techniques, many projects were 

selected this year to be shared and pushed forward, 

celebrating Thai architecture and aiding in its continual 

development. 

14 

Citation Awards 

Category 1: House 

• Baan Dumnern 

Mr. Methas Srisuchart 

• Rendevous80 

Architects 49 House Design Company Limited 

• S-House 

Architects 49 House Design Company Limited 

Category 2: Condo 

• Siamese Giola 

Somdoon Architect Company Limited 

Category 3: Commercial 

• Sonic Vision Office Building 

Mr. Aphichart Srirojpinyo 

• King Power Srivaree Complex 

Architects 49 Company Limited 

• Vanachai Office 

Openbox Company Limited 

• The Grand Pinklao Clubhouse 

Office A.T. Company Limited 

Category 4: Resort and Hotels or Recreational 

Building 

• Hua Chang Heritage Hotel 

Plan Architects Company Limited 

• Renaissance Phuket Resort & Spa 

Architects 49 Company Limited 

• MOCA -Museum of Contemporary Art 

Wannaporn Pornprapha, Suthee Rojnotama, 

Revaree Nophaket, Benjaporn Taphaanwong 

Category 5: Institution or Religious Building 

• Kaoyai Meditation 

Duangrit Bunnag Company Limited 

• Meditation Shelter and Female Domitory 

Suriya Umpansiriratana 

• Arsom Silp Institution 

Arsom Silp Institute of Arts 

• Mahidol-Srinakarin Building 

Chatree Ladalalitsakul 

Category 6: Special Structure Buildings 

• Honda P Thailand 

M Space Company Limited 

Category 7: Industrial Building 

- 

Category 8: Green Building. 

- 

Category 9: Renovate Building 

The Jam Factory: Duangrit Bunnag Company Limited 

 



CONSERVATION 

AWARD 

2014 

01 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

TEXT 


PHOTOS 

Courtesy of ASA Conservation 

Award Committee 

01 

 

02 


 

04 

 

05 

06 

 

ASA Conservation Awards 2014 is one of interesting 

exhibition. There are 23 buildings award in this year, 

divide into six types i.e. 1. Insitution and Public Building 

2. Commercial 3. Residential 4. Religion Building 

5. Individual 6. Organization. 

Pongkwan Sukwattana Lassus talk about support 

in ASA Conservation Awards "Moreover award and 

exhibition in Architect’14 The Association of Siamese 

Architect are working to bring history and photograph 

to create book for architecture that had been award. 1 st 

book ‘174 Heritage Architecture in Thailand’ is awarded 

buildings from 1982 – 2002 and 2nd book ‘183 Heritage 

Architecture in Thailand’ is for 2003 – 2012.” 

“And The Association of Siamese Architect is 

expanding career of conservative architecture by 

participate in international career with do.co.,mo.mo. 

(Documentation and Construction of Buildings, Sites 

and neighborhoods of Modern Movement). There is 

in process about information of building in Thailand, 

prepare for official attend. And also join conference at 

South Korea this year.” Pongkwan said. 



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EXPERIMENTAL 

DESIGN 

COMPETITION 

2014 

ASA Experimental Design Competition 2014 

 

 

Experimental Design ’57 

‘80 ..’ 

 

 

116 

7 - 

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PHOTOS 

Courtesy of Architects 

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modular unit 3 

 

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Space Truss 

 

 

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From the 116 works submitted to the ASA 

Experimental Design Competition 2014, ASA’s judging 

committee selected seven finalists to present their 

works in the final stage. 

The 1 st Prize was granted to a project from Ratchakrit 

Techapaphawit that focused on the development of 

a living structure for victims of disasters. From the design 

process, construction process and transportation 

to the management of all logistical aspects, the design 

concept utilized a system of space management divided 

into three sections - the residential area, public area 

and service area. 

A project by Direk Wongpanitkrit awarded the 

2 nd Prize represented a tropical design well suited for 

Thailand’s climate. The spaces were divided into eight 

boxes with one box being designated for a neighbor, 

representing a way of living and sharing that could help 

to solve a bad situation. 

In the selection of honorable mention, five works 

were chosen, each of which represented various 

interesting ideas such as placing focus on Thai architecture 

as applied within a living space. Other selected 

projects looked toward ideas for developing a living 

unit that would be easy to build and use while some 

explored more experimental ideas for creating new 

ways to think about and approach the concepts of 

structures and living units. While each unique in its 

own way, all projects similarly represented interesting 

approaches toward solving problems regarding living 

with disaster. Noteworthy today, these works will also 

serve as sources of inspiration for designers looking to 

help the people of the future as well. 


CONVERSATION 

ASA & COMMUNITY ACT NETWORK (CAN) 

PARTICIPATORY DESIGN WORKSHOP 

AT KLONG TAKOK COMMUNITY 

01 

ORGANIZED DURING 14-30 MARCH 2014, THIS WORKSHOP IS A COLLABORATION OF ASA, CAN, 

ARCHITECTKIDD, SHMA, OPENSPACE, FACULTY OF ARCHITECTURE, SILPAKORN UNIVERSITY, SOOK ARCHI- 

TECTS AND ARSOMSILP, ALONG WITH THE PARTICIPATION OF 14 ARCHITECTURAL STUDENTS FROM 

DIFFERENT UNIVERSITIES. 

THIS WORKSHOP IS THE FIRST OF ITS KIND FOR THE COMMITTEE OF THE ARCHITECTS FOR THE 

COMMUNITY, AND IT STRIVES TO INVITE PROFESSIONAL ARCHITECTS, COMMUNITY ARCHITECTS AND 

STUDENTS TO WORK TOGETHER. WE SELECTED THE KLONG TAKOK COMMUNITY AS IT NOW HAS A 

STRONG COMMUNITY ORGANIZATION- WHEREAS IT WAS PREVIOUSLY NOT AS STABLE PRIOR TO ENTERING 

THE 'BAAN MANKONG PROJECT' (STABLE HOUSE PROJECT), THAT ORGANIZED ISSUES SUCH AS LAND 

RIGHTS, MANAGING THE COMMUNITY ORGANIZATION ITSELF, AND ALSO THE PHYSICAL COMPONENTS 

OF THE COMMUNITY. THE HOUSES THAT HAVE BEEN REFORMED AND ALSO THE NEWLY CONSTRUCTED 

ONES HAVE BEEN COMPLETED AND THE COMMUNITY CENTER AND PLAYGROUND ARE NOW TO BE 

MADE. THE AIM OF THIS WORKSHOP WAS TO USE A DESIGN PROCESS THAT WOULD ALLOW THE INPUT 

OF VARIOUS PARTIES AND AN EXCHANGE OF IDEAS WHERE PARTICIPANTS COULD LEARN FROM EACH 

OTHER. PARTICIPANTS INCLUDE THE COMMUNITY ITSELF, STUDENTS AND ARCHITECTS. THE RESULTS 

OF THE WORKSHOP WOULD BE SOMETHING CONCRETE IN WHICH EVERYONE HAD AN OPPORTUNITY 

GIVE THEIR OWN INPUT AND VARIOUS DESIGNS WOULD BE PRESENTED IN ORDER TO TRY AND REQUEST 

SPONSORS FOR THE FUTURE AS WELL. 

TEXT 

Supitcha Tovivich 

PHOTOS 

Courtesy of the workshop 

participants and staff 

Community Act Network (CAN) 

14 – 30 2557 

OPENSPACE 

14 

 

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82 ASA CONVERSATION

: 

 

 

 

 

 

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THE INITIAL FEELINGS REGARDING INTERACT- 

ING WITH A COMMUNITY. 

PRATCHAYA: I feel that the community has a very strong leader, 

and a conducive environment including a flourishing mangrove forest 

nearby. 

NAMCHAI: I also feel the same way, the community is well organized 

and they work well collectively together, there is a garbage collection 

system and also the community has a zoning system as well. 

YOSSAPON: I also agree, but when I was walking in that area I felt 

that there were things challenging the community, the environment 

was changing, factories with foreign workers were now around and 

I was a bit amazed as I did not expect to see that the environment 

was being threatened like this. For me, it was a bit conflicting, as 

from the outside it didn't look very systematic but internally the 

system was quite well organized. 

PRAPAN: Really, on the first day I could not even imagine what it 

would be like, as I had never worked with a community before. When 

I came to listen to the brief I found out that the Asorn Silpa Institute 

had already been working with this community for a while now, such 

as setting the community plan for the colony of houses - therefore 

the community is headed in the right direction. 

Shma Architectkidd 

 

? 

: 

 

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02 

INTERVIEWEES 

Shma 

(Namchai Saensupha) 

(Prapan Napawongdee) 

(Yossapon Boonsom) 

Architectkidd 

(Pratchaya Lertrucksadee) 

Openspace 

(Kasama Yamtree) 

Faculty of Architecture, Silpakorn University 

(Supitcha Tovivich) 

 

CONVERSATION ASA 83

ORIGINALLY SHMA AND ARCHITECTKIDD WERE 

NOT WORKING PRIMARILY ON COMMUNITY 

PROJECTS, WHEN GIVEN THE OPPORTUNITY 

HOW DID YOU FEEL ABOUT IT? 

NAMCHAI: At first I was excited, but later I started getting more 

concerned, as it took a very long time for us to understand what 

mapping was.(laughter) 

PRAPAN: Actually, in our profession we have the word mapping, but 

it is not used in the same way that Supitcha and Kasama used it, 

their definition was much comprehensive. When we work there is 

a brief from the customer and we just carry it out, but when we are 

working with a community the method of working has to change as 

well, there is a process of mapping and there are the needs of the 

community so we cannot present our requirements directly as well. 

PRATCHAYA: When we first discussed this at the office, I was a little 

confused, how much could we really help them, as our office had 

never actually done work like this, but we tried to exchange ideas. It 

was like we were learning how to design in a different way. 

KASAMA: As for openspace, I am already in this line of work, at first 

it was not so exciting, and I was quite used to it. But as we walked 

to survey the area I felt that there were many points and details to 

be noted, such as the mechanisms of the ecosystem, the birds, and 

the trees. A person in the community said "Here is where the birds 

come in the morning to greet us at 6 O'clock , and at 6 O'clock in the 

evening they come back to us to tell us where they went." Therefore, 

we believe these mechanisms can make the actual design create 

something livable too. 

YOSSAPON: And when the children made us walk in the mangrove 

forest, we were really surprised because we saw that there were a 

lot of really good things hidden there. Because the community 

people have always been living with nature, hence they had a different 

set of ideas altogether. 


WHAT WERE THE STEPS IN CARRYING OUT THE 

WORKSHOP? 

THE PEOPLE WHO 

CAN GIVE US THE 

BEST ANSWERS ARE 

THE MEMBERS OF 

THE COMMUNITY. 


 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SUPITCHA: Mainly it was divided into two parts, the first part was 

related to the process itself and the second part to the actual designing. 

One week was assigned for each part. The first day was a day 

of introductions - getting to know each other, there was a drawing 

workshop so as to be able to use it for mapping and discovering the 

needs within the area of the community center and the playground 

for the children as well. Both the adults and children came to draw 

their ideas. After that, the students who joined in the workshop were 

asked to divide the drawings into categories. From the first mapping 

they wanted a swimming pool, football field, car racing track and a 

Likay stage for general performance practices. That it is why we had 

to bring back all these ideas and recheck whether they really wanted 

all these things or not. 

KASAMA: Side by side, we also trained the students about collecting 

information from the community, as they may not be used to collecting 

information through just discussions or questions and answers. 

PRAPAN : As from our side, the designers, we were quite amazed 

that we could actually bring out the ideas of the community into 

something concrete. 

SUPITCHA: After the first week we concluded 'The Tools' so that 

the design process could be done together, and we had to then carry 

out more work, questioning how we could organize their requirements 

into categories so we could create a design brief as quickly as 

possible. As for the 'tools,' there were three groups - the group who 

would be making the Community Center, they would make a model 

of the structure that would have a basic framework such as a floor 

slab, walls and roof and would be made of various materials. The 

advantages and disadvantages of each would be written on a piece 

of paper, so that the members of the community could select which 

type they would like to use - hence this would be used as a tool to 

convey basic information to them. 

Another group was the group that would define the size of the 

activity area for the children's playground. They would let the children 

play football, run around, and hence could estimate how much space 

would actually be needed. They would then understand and adapt 

their needs, and know that we actually could not build everything - 

they needed to compromise as well. The other group emphasized 

working with the maids who wanted to remain slim and slender and 

needed an area to exercise as well. The students set up an activity 

of measuring their waists and used it for mapping. The daily health 

activities of the maids also inspired the community to take care of 

their health as well. 

PRAPAN: During that time we would recheck the designs every evening, 

and it took a very long time to actually summarize everything 

into these three main topics - as sometimes the students did not 

know what needed to be prioritized. 

03 

 

 

 

 

 


interact 

 

sensitive 

 

requirement 

tool 

 

2 

 

 

 

 

 


 

mapping role play 

commercial one-way communication 

marketing requirement 

 

 

 

 

 

present 

 

 

AFTER THE COLLECTION OF INFORMATION, 

WHAT DID YOU LEARN? 

YOSSAPON: From the first week we learned that the community 

had a very wide variety of needs, hence, amongst our group, we had 

to discuss what had to be cut out and what could remain. When we 

actually interacted with the community we got to find out who was 

sensitive about what points. We had to filter out the limitations and 

yet emphasize that a job that had many limitations could also turn out 

beautifully and creatively as well. 

PRATCHAYA: When we first went to collect the information, it was 

as if there was a social status tied to what they required and if they 

had that, it would be good. Even for the swimming pool, car racing 

track, or the Likay stage - but after using all the tools they also 

learned what they really needed, such as whether they really needed 

a swimming pool or not as they were already very close to the sea. 

KASAMA: As for the designing we assisted the community in understanding 

that some of the things could be used together, and they 

would not know how to manage all these things in a limited area. 

NAMCHAI: We collected a lot of information but we were still unable 

to see the bigger picture of how the community would jointly use 

them so Supitcha and Kasama suggested to the people attending 

the workshop that they participate in a role play, becoming a person 

in each of the groups of the community. The results of this were a 

clearer picture of the actual users and how each group would be able 

to use the areas. 

PRAPAN: Now we also use role play in our office as well (laughter) 

WE WERE QUITE AMAZED THAT 

WE COULD ACTUALLY BRING OUT 

THE IDEAS OF THE COMMUNITY 

INTO SOMETHING CONCRETE. 

 

 

 

 

 

 

energy 

 

 

 


04 

 

 

 

05 

 

 

 

 

AFTER PASSING THROUGH THE VARIOUS PRO- 

CESSES, WHAT WAS THE FINAL RESULT AND 

HOW DID IT TURN OUT? 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

04 

YOSSAPON: There was quite a lot of anticipation, even though at 

the beginning it seemed to be quite ordinary. When we started to 

question the results again and adjust them to be appropriate for the 

community’s needs, taking into consideration areas with a mangrove 

forest such as the children's playground, a question arose as to 

whether we had to fill up the land or not, and in the end we decided 

to fill up only half of the area, with the rest being left as a field so that 

people could interact with the environment or study the behavior 

of the children and see what they were playing. Both Supitcha and 

Kasama would always caution us to be sensitive about the information 

collected. 

PRATCHAYA: As for the library, when they were in the designing 

stage, the students were still stuck on the requirements of the 

community members, but when they used the information from the 

Tool, a different picture could be seen, as there were factors such as 

the skills of the local people and materials available that had to be 

considered as well. 

KASAMA: At the beginning we were looking at it as though there 

were two projects that were the playground and the community 

center, but in the end we saw it as just one project and we tried to 

allow their usage to promote/support each other. For example, with 

the Community Center we made it into a two-storey building, one 

side was open and faced the children's playground so the parents 

could actually watch their children play. 

NAMCHAI : Other than the concrete results received by Shma and 

Architectkidd by joining the workshop, they also learned how to work 

with communities as well, starting with the collection of information, 

mapping and role playing. Normally, when a commercial work is received, 

the work often fosters one-way communication, that is due to 

the fact that the marketing department or customer would have clear 

requirements. But, with this project, it was like we were connecting 

with each other. As for the students, they developed very quickly and 

were able to think of tools and also filter out information very well. 

PRAPAN: And they also presented it very well too. 

YOSSAPON: The people who can give us the best answers are the 

members of the community, we also hoped that our last presentation 

would be received well, as they were excited too and at least they 

learned that there were now many ways to manage what they 

wanted. 

05 

 


DID THE RESULTS MEET UP TO YOUR EXPECTA- 

TIONS? 

Architectkidd 

 

 

 

 

 

 

 

‘’ 

 

 

 

 

 

 

 

06 

KASAMA: Actually, we are very confident that the results turned out 

well, but what we were concerned about was the learning process 

of the students. At first we thought it would happen very quickly, but 

then even wondered whether we may have to increase the amount 

of time. We really did not expect the kids to be so magnificent, they 

were able to filter out things very well together and with their energy 

averaged out amongst them, the picture looked very bright indeed. 

SUPITCHA: Everyone worked well as a team. Though I have to 

admit that at the beginning we were not sure if we could work with 

the professional architects smoothly and in a fun way. But, when 

we actually got down to work, we knew that if our question was 

'people,' no matter what, we could work together and complement 

each other too - as we did not know anything about the materials, 

framework, different plants or trees, hence we had to let the professional 

architects take care of these things. There is one thing that I 

do not agree with and that is that the outcome does not have to be 

beautiful - this is not true at all, in fact beauty is created by solving 

problems creatively and it is an inspiration for people to carry on with 

their lives and really, for us, (students and architects) we didn't actually 

help anybody but we learned from them (the community). We did not 

see anyone as higher or lower than anyone else - we were there to 

exchange ideas and knowledge. 

PRAPAN: At first we did not think that it would be so tiring, because 

we had two weeks, with so many people, but when we had to 

actually start working in a process that we were not familiar with, 

with the students, collecting information - it took longer than usual 

before we could actually conclude anything. In fact, we adapted this 

process and started to use it at our office as well. It may make us 

work a bit slower, and pay attention to the actual process, but the 

people at the office like it as everyone has a hand in it. 

PRATCHAYA: As for Architectkidd we actually wanted to learn, as 

we are not experts in any particular field, that we can comment on 

anyone, but in fact it is a way of sharing information. The members 

of the community also benefitted and learned how to manage community 

resources as well. 

YOSSAPON: At first I wanted to try working in this area as well, as it 

is something of great value, but I could not figure what sort of design 

would turn out from the results. However, when I got the 

opportunity, I started to understand more, and the most difficult 

aspect was to work with 'people' – figuring out what process we 

would use to get something that was appropriate for them and in the 

end the workshop opened doors for our design company to be able 

to work with a community and assist them. This group of students is 

really very lucky and we hope that we will now have many community 

architects. 

NAMCHAI: As for knowledge, we really got what we expected, but 

I didn't ever think that working with a community could make us feel 

this good. 


Openspace, 


 

 

 

 

 

DIRECTION OF DEVELOPING PROJECTS IN THE 

FUTURE. 

KASAMA: Actually the community labor will carry out everything 

themselves, except they may need people to support them. 

PRAPAN: The community was already ready and all we had to do 

was provide them with the tools. 

SUPITCHA: We would like the Association of Siamese Architects 

to continue to push such projects, because it is an opportunity for 

architects to play a wider role in society and can be displayed in a 

very clear way. 

YOSSAPON: I think it would be great if we could have something 

like this next year as well, so that the professionals can get a feel for 

this type of work. 

PRAPAN: At our office there are so many people who are interested 

as well. 

PRATCHYA: I also agree with this, as many students do not know 

much about community architects. 

PRAPAN: Actually, participants don’t necessarily have to be like 

Openspace, Shma or Architectkidd, if anybody puts their heart into it, 

they can do it as well. 

KASAMA: I really want it to be built within a shorter period of time, 

because I want the people who were involved in the workshop to 

join in too, therefore we have to use the polices of the Association to 

encourage such projects. 

BEAUTY IS CREATED BY SOLVING 

PROBLEMS CREATIVELY AND IT IS AN 

INSPIRATION FOR PEOPLE TO CARRY 

ON WITH THEIR LIVES AND REALLY, 

FOR US, WE DIDN'T ACTUALLY 

HELP ANYBODY BUT WE LEARNED 

FROM THEM. 

06 

 

 

07 

 

 

 

07 

 


ASEAN 

 

Archifest 2012-2013 

 

 

ADIB JALAL’S INTERVIEW 

THE MAN BEHIND THE ARCHIFEST 

2012-2013 

90 ASA ASEAN

TEXT 


PHOTOS 

Courtesy of the architects 

ADIB JALAL IS AN ARCHITECT, URBAN ACTIVATOR, 

CURATOR, AND WRITER. HE SERVED AS FESTIVAL 

DIRECTOR OF ARCHIFEST IN 2012 AND 2013, AND 

IS INVOLVED WITH VARIOUS PROJECTS AND 

ORGANIZATIONS EXPLORING THE ACTIVATION 

OF URBAN SPACES THROUGH CREATIVE CUL- 

TURAL PROJECTS WITH THE COMMUNITY IN 

SINGAPORE. 

COULD YOU SHARE WITH US A SHORT HISTORY 

OR BACKGROUND OF ARCHIFEST, AND HOW 

YOU GOT INVOLVED WITH THE EVENT DURING 

2012-2013? 

Archifest is organized by the Singapore Institute 

of Architects and was started in 2007 as a way to 

champion & promote architectural excellence and 

discussion. For the first five years, it was run by members 

of the Institute and upon entering its 6 th year, 

I was approached to bring fresh ideas to it. With that, 

I assembled a team, rebranded the Festival as a Festival 

of Ideas For the City and shifted the programming 

lineup to work with an even larger creative community 

while introducing a lifestyle angle to how we discuss 

and appreciate the built environment. All of this was 

done in an attempt to reach a larger audience comprising 

not only architects but also the general public. 

WHAT WERE THE THEMES OF ARCHIFEST 2012 

AND 2013 AND WHAT ARE THE AGENDA BEHIND 

THEM? 

Archifest 2012 was themed ‘Rethink Singapore’ 

and with it, we dissected and explored various facets of 

urban life such as architecture, landscape, transportation, 

play spaces and even architecture photography. With 

the reimagination of the festival and a new team at its 

helm, we wanted to take this opportunity to start the 

conversation about design from a very macro viewpoint, 

almost as a framework for future editions. 

In 2013, we then decided to go the opposite direction 

from 2012, going micro with the theme ‘Small is 

Beautiful’. If 2012 was looking at architecture through 

a telescope then this was the year we put it under a 

microscope. In this edition, we decided to explore and 

celebrate projects, design studios, communities and 

ideas that might be small by choice and circumstance 

but are large in ambition and impact. Essentially, it 

asks visitors and guests to pause and notice the small, 

humble and respectful things around us that make 

living in the city wonderful. 

Adib Jalal 

Festival Director Archifest 

2012 2013 

 

 

Archifest 

2013-2013 ? 

Archifest 2007 

 

5 6 

 

 

 

 

 

Achifest 2012 2013 ? 

Achifest 2012 ‘Rethink Singapore’ - 

 

- 

 

 

 

2013 2012 

‘Small is Beautiful’ 2012 

 

 

 

 

 

 

ASEAN ASA 91

WHAT ARE THE ACTIVITIES, EVENTS AND HIGH- 

LIGHTS? 

The 2012 edition saw me restructure the festival 

so that the pillars were clear. We had the first ever 

Archifest Pavilion designed by a local architect, the 

Architours where we bring public to see good architecture, 

School of Urban Ideas where we conducted 

various workshops for all ages with topics related to 

design and architecture, the Conference where we 

invite industry thinkers to present their ideas and the 

Fringe where we house an assortment of exhibitions 

and collaborations. 

For both editions, we made sure we pushed the 

concept of architecture. We had a music and architecture 

collaborative feature in 2012 and then presented 

a fashion and architecture collaboration in 2013. We 

have also had lots of programmes and exhibitions put 

up by the design schools and last year, we helped 

Singapore University of Technology and Design (SUTD) 

to develop and implement a prototype to test an idea 

for a better crossing system in the neighbourhood. 

This project is an attempt for us to take city-making 

to another level. We have also had indoor and outdoor 

film screenings, lego competitions to attract families 

to talk about building things, 3D printing competitions, 

and more! Too many interesting things going on! 

 

Archifest 2012-2013 

 

 

WHICH EVENTS/ACTIVITIES ARE THE MOST 

POPULAR LAST YEAR? 

Each pillar of the festival targets a different 

segment of the crowd so it is hard to define ‘most 

popular’. The Conference targeted the industry and 

had the largest attendance in the history of Archifest. 

School of Urban Ideas which houses the workshops 

also had record-breaking attendance as we really 

managed to attract families and kids so that was a 

very engaging experience. Similarly, we had so many 

Fringe Events reaching out to not only architects but 

also non-architects so by sheer numbers, that had the 

most turn-out. 

HOW DID YOU CHOOSE THE SPEAKERS FOR THE 

FORUM? 

Based on the theme, sub-themes are crafted and 

we scan the industry for suitable speakers. There was 

a consideration on how engaging a speaker is, suitably 

to the regional context and how each one of them 

adds a different dimension to the topic in discussion. 

Eg: During Small is Beautiful, we had Chang Yong Ter 

represent the small firms in SG while Luke of ArchitectKidd 

(Thailand) brought the perspective of looking 

at small things differently and working with small, 

refined details. 

 

2012 

Archifest 

School of 

Urban Ideas 

 

 

 

2 

2012 

2013 

Singapore University 

of Technology and Design (SUTD) - 

Crossing system 

 

 

3D printing 

 

 

 

School of urban ideas 

 

 

 


Small is Beautiful Chang Yong Ter 

Luke Yeung ArchitectKidd 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

- 

 

 

 

WHAT ARE THE OBSTACLES FROM THE PAST 

YEARS? 

As with any programmes, it is always a matter of 

juggling resources and impact; not an obstacle but 

rather a challenge that comes with the brief. Also, with 

so many design events happening, creating something 

special and meaningful for the design landscape is a 

challenge as we are all targeting very similar audiences. 

IN YOUR POINT OF VIEW, TO WHAT EXTENT AND 

IN WHICH WAY ARCHITECTS CONTRIBUTE OR 

SHAPE THE CITY OF SINGAPORE? 

Architects are not only responsible for how a city 

looks but through their input to the planning authorities 

and input to land owners, they too, in some ways, 

affect how a city works. However in my opinion, the 

shaping of a city like Singapore is more than just the 

domain of the architects. Every single urban resident 

has a role to play in shaping the city. It is through what 

the residents demand that architects then help to give 

shape to these ideas. For example, when urban residents 

demand for more sustainable and more efficient 

buildings, developers listen and then architects will 

get to design and build it. Similarly, imagine if there 

is a strong demand for more compact planning to 

reduce vehicle travel or for better conservation of our 

heritage, these will really change the way Singapore 

looks. 

 

Archifest 

Pavilion 

 

 

 

 

 

ASEAN ASA 93

.. 

 

 

art4d 

 

 

 

Archifest 

Pavilion 

 

 

 

 

HOW HAS SINGAPORE CHANGED AS A CITY SINCE 

THE FIRST ARCHIFEST AND WHAT IS THE MESSAGE 

WHICH ARCHIFEST WOUD LIKE TO ADDRESS IN 

THE NEAR FUTURE? ANY CHALLENGES? 

I cannot speak for SIA who are the organizers 

of the festival since 2007. But from someone who 

have worked on it for the 2012 and 2013 edition and a 

supporter of past editions, I think Archifest has really 

expanded the appreciation and conversation of architecture 

in the country. There is definitely a lot more 

to be discussed as the role of architects change, the 

shape of our urban environments change, the global 

challenges change. Archifest must continue to remain 

relevant and continue to engage as broad an audience 

as possible in order to make the discussion on our 

urban environment richer. 

WHAT DO YOU THINK ABOUT ASEAN CITIES? 

I am very excited about regional collaboration as 

that is something that has not been fully explored and 

it is potential tapped. With better transport linkages 

across ASEAN, tighter trade and economic relations 

and populations become more mobile, the various 

ASEAN cities will find themselves operating more and 

more like a region and less like separate countries or 

cities. With that, the way we understand our cities and 

hence design it must change. Not only the hardware 

of the city must adapt, but the way we programme 

the ‘software’ of our cities must evolve accordingly. 

Archifest 

Archifest ? 

2007 

2012-2013 

Achifest 

 

Archifest 

 

 

? 

 

 

 

 

 

 

 

 


PROFESSIONAL 

TEXT 

Assistant Prof. Atch Sreshthaputra, Ph.D. 

TO GREEN 

OR NOT TO 

GREEN 

01 

 

 

 

Green BIM 

It can be quite shocking if one day we all wake up to find that the 

world has changed completely. What the global community is expecting 

from the constructional and architectural profession are environmentally 

friendly buildings, energy saving architecture, as the world 

is demanding to see the construction of High performative buildings 

funded by big corporations who are making ample profit and desiring 

to keep up with the good-guy image. THAT and the worsening energy 

crisis and the fact that building a dam may not be as easy as it used 

to sum up the demands for supplies from the manufacturers in high 

performance materials and systems that come with complex specifications 

and usually expensive in price. It’s the same comparative 

analogy as buying a computer and a pair of jeans. 

The resultant outcomes are the requirement for architects to 

design buildings with high consideration in the performance of construction 

materials. The decision used to be based on beauty or price 

of materials, according to one’s taste or budget, but today, choosing a 

type of glass, heat insulation, light bulbs, sun protection panels or air 

conditioner requires a great deal of calculation. With increasing complication, 

the use of computer programs to make things a bit easier is 

unavoidable. Known as BIM or Building Information Modeling, or the 

more specific name as Green BIM, the program can calculate Daylight 

simulation, Computational Fluid Dynamics, etc. For Thailand, the 

problem lies in the limited use mainly due to the lack of know-how 

and basic knowledge, as well as experts who can analyze the data 

generated by the programs. What is also absent from the scenario 

GREEN BIM 

 

O5 

 

 

 

 

 

 

 

 

 

 

 

 

 

96 ASA PROFESSIONAL

01 

 

 

 

02 

 

 

 

 


 

 

 

 

is the ability to develop a program that can be used by the people 

within the local industry, which consequentially forces us to spend an 

incredible amount of money on programs created by foreign developers 

(and most importantly, no one really cares!! just as the long the 

building looks nice when photographed and published in magazines, 

the awards will come eventually…it doesn’t matter if users complain 

about the building’s thermal comfort, or how enormous the utility 

bills is…judging panels of architectural and design awards never have 

to know about that…) Nonetheless, the study about these programs 

are included in several architectural courses in Thailand, mostly in 

the master degree class building technology curriculum since it 

requires a considerable amount of time to understand the usage 

and data analysis comprehensively and precisely. To think about it, 

these programs work both ways, both the good and the bad. If used 

without proper knowledge, the damage can be rather dramatic like 

the expression ‘garbage in garbage out’. Those who know how to use 

the programs don’t necessarily have a comprehensive understanding 

about the retrieved simulation data, whether it’s the Why, the What 

or the How. A true green building project still needs experts in green 

technology who can offer both comprehensive knowledge and solutions 

(I’m talking about the experts who can really handle onsite solutions 

not one of those walking textbooks…). Unfortunately, Thailand 

still lacks of quality personals in the field. 

02 


 

PROFESSIONAL ASA 97

International Green Standards 

There’s nothing new about Thailand’s adoption of international 

green standards, concepts and other things considering how we 

have adopted several thing from religions, governing system, economic 

system, modern art, advance technologies, etc. throughout the 

history of our country. Here are certain observations that I pick up on. 

1) We adopt things without a good sense of control 2) We tried 

to pick up on the good things even though we didn’t really know 

whether they would suit us or not. 3) We intentionally employ the 

bad things for certain agendas. Personally, I don’t really believe that 

there will be or ever has been any set of international standard that 

can be used by every country on this planet, and truthfully, there isn’t 

any international standards that can be effectively and sustainably used 

in Thailand. Same story goes with International green standards. 

Several sets of standards we picked up on are created by European 

countries and the United States AKA the developed industrial countries. 

Naturally,Thai entrepreneurs who want to do business with the big 

league have to take things up a notch and try harder than usual. The 

use of these international standards by the construction industry 

in Thailand eventually brings about issues involving maintenance, 

management, services, which are, most of the time, attached to the 

materials’ standard throughout the building’s longevity. The construction 

price may not seem that much different at first, but the cost of 

post-sale services can be quite a burden. Examples can be seen in a 

case of a building with complex glass structure; the design with the 

look and feel like one of those award-winning buildings you see from 

architectural books of international publishers. With its glass exterior, 

mechanical arm system had to be installed in order for the building’s 

shell to be cleaned. As a result, tens of millions were spent only to 

come to the conclusion that the building did not have the kind of facility 

management that the developed countries have, or the budget for 

maintenance and services. Time passed with the mechanical arms 

left unused and no maintenance was done to it. It didn’t take long 

for the system to lost its safety standard and ended up being just a 

piece of sky scraping steel junk because the owner felt too burdened 

to demolish it. 

Same thing with International Green Standards in some countries 

where there are requirements for buildings to have equipments such 

as indoor air quality meter, motion sensor lighting, carbon dioxide 

detecting sensor. Although no building in Thailand has ever been 

detected for toxic indoor air quality, mainly because the most popular 

solution Thai people use to fix polluted air issues is ‘opening the windows 

and let the air ventilated’ just like how the French teaches their 

kids to ‘open your windows for two hours a day to keep the sickness 

away’. Those who take the bait of such marketing prey can end up 

buying a whole bunch of electronic equipments that they can’t afford 

to maintain or fix. It’s version after version of the mechanical arms 

story of the Green Building Cemetery Saga. 

This is just the tip of the iceberg. There are several other international 

green standards for interior materials, such as the toxic free 

adhesive certified by an organization called SCAQMD, which stands 

for South Coast Air Quality Management District. For all I know, this 

SCAQMD can be founded by some folks from one of the seaside 

Subdistrict Administrative Organizations in Thailand. Now, if you’re 

curious enough to question where exactly does this SCAQMD come 

from, and take a wild guess that it might be established somewhere 

in the US., but then you wonder which South Coast area it is because 

you’re really not that well informed about geography of the United 

States. But what the hell, let’s use it, the label looks way cooler than 

one of those Thai green labels anyway. And that’s how international 

green labels become flourishing in Thailand as Thai manufacturers 

jump on the bandwagon to have their products tested and certified 

and haven’t got a clue that the stuffs they’re selling never have 

those types of toxic anyway. In a nutshell, Thai Green standards and 

Thai Green levels are perceived as something far less valuable than 

the ones issued by an organization in a seaside state of the United 

States of America. There you have it, folks. 

INTERNATIONAL 

GREEN 

STANDARDS 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

O 

 

 

 

 

 

 


CERTIFIED 

GREEN 

MATERIAL 

 

 

 

 

 

 

‘’ 

 

2 

 

 

 

- 

 

 

 

SCAQMD 

South Coast Air Quality Management District 

. 

 

 

 

 

 

SCAQMD 

 

 

 

 

6 

. 

 

 

 

Blue Angel 

(Thai 

Green Label) 

ISO 14000 

ISO 

 

 

 

 

‘’ 

(ISO 14021: Selfdeclaration) 

Eco Value SCG 

(… 55555 ???) 

 

Green Label, CRI 

(Carpet & Rug Institute), Green Seal, Greenguard 

 

 

 

 

 

 

- 

 

(…) 1) 

 

2) 

- 

 

3) 

( 

) 

 

4) 

 

 

 


Certified Green Materials 

The first certification system of green materials is initiated in 

Germany. It comes with a ‘Blue Angel’ label that has been widely 

used in countries around the world. Thai Green Label bases its standardization 

criteria on ISO 140000 while ISO itself varies in different 

levels. The most intensive level is the one that inspects the sources 

of materials all the way to the manufacturing process, waste manage 

ment, transportation process and requires a serious evaluation done 

by the third party. With such exceptional requirements, none of Thai 

products have been certified for this level of ISO. However, there is 

ISO 14021: Self-declaration, which is a less intensive level used by 

SCG’s Eco Value products. 

There are several other construction materials certified by other 

institutions and organizations such as Green Label, CRI (Carpet & 

Rug Institute), Green Seal, Greenguard, Surely, most of them are 

imported products since the credential of Thai green labels is considered 

just a baby step in the world of eco product certification. Locally 

manufactured products may be green in quality but without the certification, 

they cannot be standardized as green materials. So it is quite 

common that when the issue of imported green materials is brought 

up, some patriotic architects would strongly oppose the idea as environmental 

issues and the country’s balance of trade are put together 

under the same context. This particular subject requires a careful 

consideration (and try to throw away the hyper nationalistic attitude) 

because 1) We should encourage and advocate Thai manufacturers 

to improve the standard of their products in order for them to be able 

to compete with other materials in the international market. 2) The 

internationally standardized Thai products can potentially enhance 

environmental awareness among Thai people. 3) Some construction 

materials, if manufactured in Thailand can be quite damaging to the 

environment (take Map Thaphut for example), so better to just have 

them manufactured in the countries where environmental policies 

are strictly controlled; for the sake of the earth. 4) If other counties 

can do a better job manufacturing the materials that are better in 

O7 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

quality, cheaper in price (even with the transportation cost and all), 

with cleaner production process, we should support them for the 

advantage of our own people. It’s simply the free trade principle that 

every consumer can be benefited from. 

Japan exemplifies and interesting case study. The country once 

had a policy against imported wood from the US., advocating its own 

construction industry to use only locally grown wood. The problem 

was the wood processed in Japan used oil as the manufacturing 

energy, while the United States used leftover wood chips. So even 

the fuel price used for transporting the wood from America to Japan 

was added to the production’s energy usage, the Japanese wood 

still used more energy for the production, while the CO 2 

emission 

caused by local manufacturing process was also higher than the CO 2 

emission caused by the imported wood. What I’m trying to say is, to 

design and construct a green building using low Carbon materials, 

you must know where to put the focus on, otherwise, you can end 

up with a not-so-green building that helps protecting unstandardized 

local manufacturers from being overthrown by the green materials 

with better quality from international manufacturers. In this case, 

nationalism doesn’t really save the country from CO 2 

emission not 

to mention how taxpayers’ money has to be spent on CO 2 

reduction 

schemes. In many cases, ‘Green’ can be used to set a political 

agenda just like what had happened in the United States where the 

Republican Government represented the anti-Green movement, oil 

merchants, and automobile companies who want to keep the oil 

price as low as possible in order for them to keep manufacturing lowquality 

cars for American consumers to continue buying, dwindling 

the chance for Japanese fuel-efficient cars (the hybrids) to prosper in 

the United States. What happened next was American citizens had to 

sit and watch their Government spend their money fighting the Gulf 

War in order for the country to continue monopolizing cheap oil for as 

long as it could. So think carefully about who you’re advocating. Just 

because they have the same nationality as you doesn’t mean they’re 

worth your support. We are already living in the borderless world 

after all. 

 

 

 

 

 

 

 

 

 

 

 

 

04 


GREEN 

SPECIFICATION 

 

1) Suppliers Green 

2) Supplier 

Green 

 

 

 

(Certicates) 

(Lab test data) 

 

 

 

 

 

 

(HCHO) 

 

3 

 

 

 

 

 

 

2 

Suppliers 

LEED AP 

 

USGBC 

LEED 

USGBC (… 

…) 

 

 

 

04 

 

 

 

 

 

 

 

Green Specification 

This particular dilemma can be observed in different aspects. 

1) Suppliers hire salespersons who do not have the knowledge in 

Green innovation whatsoever. 2) Suppliers hire salespersons who do 

not have sufficient knowledge or information to fool designers, so 

in the first case, designers who have experts as consultants usually 

know the tricky business salespersons try to impose. It is also a fact 

that green materials have to come with certificates or Lab test data 

because without them, product description is nothing but an ordinary 

advertising pamphlet anyone can write pretty much anything about 

the genius of the materials. Several time when asked about the 

percentage of recycled materials in a product’s content, no one can 

really give a satisfying answer. Often time we are told that the people 

who have the information we’re looking for are the folks at the factory, 

which is probably located somewhere in China and cannot provide 

any usable information anyway. In some cases, when asked about 

HCHO quantity in materials, no one seems to know what it is, what 

it does, where does it put in, in what quantity or why does it have 

to be put in after all? All these questions are often left unanswered, 

otherwise you might have to wait for another three months when 

the information is provided by international sources. When architects 

or designers ask for these documents before making the purchase or 

to compare the price with other materials, salespersons can’t really 

get you one because they don’t know anything about it. The material 

might have never been tested before, hence, no documentation can 

be provided. Often times we designers and architects are accused of 

getting commission fees from manufacturers with our design specifications 

when we ask this kind of questions. 

In the second case where designers don’t have any knowledge 

about green building while suppliers eagerly send their personals 

for training or taking green building exams such as the LEED AP. 

Salespersons with such knowledge and experience have their way 

in persuading and sometimes fooling the inexperienced designers 

and architects. They would tell you that their products are certified 

by USGBC and how the use of the products can grant you extra 

LEED points. The thing is what they tell you isn’t true since USGBC 

has never (publicly) allowed any products to use its name for such 

marketing. When the specifications are made without the true 

knowledge about the materials, the building will naturally fail to get 

the points the owner’s expectation is left unmet. 

One of the biggest issues is ‘specification’. For an ordinary building, 

specification doesn’t have to consider the materials’ efficiency as 

much as it has to when it comes to green building. Once the manufacturers 

are asked for additional data, comes the problem about 

the specification proposal. From my personal experience, there 

were times when I asked for energy efficiency rate of Low-E glass 

(such as SHGC, U, VLT and RHG) along with the quotation of each 

model of the glass in order to calculate for energy efficiency rate and 

economic cost benefit before the owner can make the final decision 

and some manufacturers would whisper the commission I would get 

if I were to include their products in the specification. The commission 

that would be included in the quotation and paid by the clients… 

This brought me to a realization that the price of green material isn’t 

as high as you think if you deduct the shady commission fee paid to 

designers and contractors. Well, some of them of course. 

O8 


‘’ 

- 

 

 

 

 

 

Low-E ( SHGC U VLT 

RHG) 

 

 

 

 

… 

 

 

() 

 

 

 

 

 

(Green Label) (Reuse) 

 

() 

LEED Gold TOR 

 

 

 

‘’ 

‘’ 

 

 

05 

 

 

 

 

 

 

 

 

BENEFIT TO 

OWNERS 

 

 

 

 

 

 

TEEAM 

 

 

 

 

 

 

LEED 

 

 

 

 

- 

 

 

(… 

 

 

…) 

05 


‘ 

’ 

- 

 

 

 

 

 

 

 

(Carbon Tax) 

 

 

(Life Cycle Cost) 

 

Polluters Pay 

 

 

() 

 

(FAQ) 

‘ ’ 

 

 

 

 

() ‘ 

’ ‘ 

?’ 

O9 

 

 

‘’ 

There are times when controlled specification can be a good 

thing. However, it is almost impossible for Thailand to use such 

method and get the materials with the best green quality especially 

the projects that have government agencies as the owners, because 

such specification (to use specific green labelled products or reused 

products) can be considered a corruption. I had experienced a case 

where the building’s owner (a government agency) informed the 

architects that the building had to be granted LEED Gold label as 

specified in TOR submitted during the pitching competition. However, 

the agency prohibited the architects from using the selected green 

materials specified in the proposal since it is considered a predetermined 

specification. If you want only a green building label installed 

at the entrance of your building rather than the actual green building, 

there’s a very little chance for government buildings in Thailand to 

actually ‘go green’ unless they adjust this twisted ideology. 

Benefit to owners 

‘…an award or a label isn’t edible. We got plenty of them. Why 

do we need another one?…’ These words came from the mouth 

of a building owner who tried to construct a green building despite 

knowing that it would be more expensive with the hope for it to be 

granted a green label. From the day TEEAM label issued by the Minister 

of Energy was initiated up until today, no governmental mechanism 

has yet publicly advocated the construction of green buildings. 

The selling price and tax of green materials stay the same if not 

increasing. I used to discussed the issue where the US. Government 

was sued for spending taxpayers’ money on government’s support 

on LEED buildings that eventually failed to meet the standardized 

criteria. The buildings weren’t really green; they didn’t save energy 

in the level they had claimed and they didn’t help reducing carbon 

emission as stated in the objective when the financial support was 

granted. This story falls into the same ideology, in which there is an 

attempt to cheapen the value of high-quality products that usually 

come with expensive price and are used only within a limited group 

of people. Such approach is against the law of basic economy in the 

capitalized world such as today, which explains why it’s impossible 

for the attempt to happen in reality because the market’s mechanism 

is twisted to the very core, because frankly speaking, a chance to 

construct an affordable green building is slim to none (…however, 

this doesn’t mean that the normal buildings will be cheaper in construction 

cost. They are cheap because the projects receive financial 

support from people in the society…) 

It is very unlikely for the idea of cheaper green buildings to be 

actually happen in reality, so why not changing our way of thinking to 

something like ‘How to make the non-green buildings more expensive?’. 

And by ‘cheaper’ I didn’t mean the deviation of market’s mechanism 

but to get the construction cost and expense of non-green 

building management to reflect the actual environmental capital. Tons 

of buildings have questionable standards since they weren’t designed 

to follow the proper energy saving and environmentally friendly criteria. 

The construction of these buildings was done based on limited 

budget, meaning the construction cost had to the cheapest possible. 

This is because utility bills are distorted from actual production cost 

of electricity generation and environmental management that is to 

follow. If Carbon tax is collected or if the utility bills are charged using 

the standard rate basing on the actual production cost, the non-green 

buildings won’t be able to survive because the continual increase of 

Life Cycle Cost. Such environmental mechanism known as Polluters 

Pay allows environmentally friendly buildings to be created and live 

on even with only few supports from the government. If only the 

Government would stop helping the wrong people, the situation can 

really be improved. 

 

PROFESSIONAL ASA 103

CAPITALISM 

& SELF- 

SUFFICIENCY 

 

As for the FAQ from the owners about the benefits of green 

buildings, I don’t think that it’s exactly the architects’ responsibility to 

be answering these questions. Deep down we all know the benefits 

environmentally friendly buildings have for the world and for every 

living creature living in it. I think the owners ask this kind of question 

simply because they expect a little support from the governmental 

sector (which is actually tax money), so the right question should be 

‘what would be the disadvantages if we don’t go green?’ or ‘What 

will we end up losing if we go green after our competitors?’. One 

thing for sure is the money spent on the competitors who jump on 

the green bandwagon with the financial support form the government 

in their hands. It’s like buying a car with the first-time car buyer 

tax rebate program and willingly refusing to get the incentive. 

Capitalism & Self-sufficiency 

The self-sufficient architectural philosophy revolves around the 

ideas of financial efficiency, rationality, self-immunity and intellectually 

and morally-led ways of thinking and actions. Together, these things 

work as the core principle of the creation of sustainability employed 

to the development of the country. Such notion of sustainability can 

be conceived from 1) Environmental sustainability 2) Social sustainability 

and 3) Economic sustainability. In the past several decades, 

the country’s development took on the Capitalism approach that 

highlights the importance of ‘commerce’ rather than ‘making a living’. 

And for that matter, the development of the construction industry, 

which has significantly contributed to the country’s economic growth, 

cannot overlook the promotion of commercial activities that are at 

times rather excessive. Same thing with green buildings. There are 

several occasions we have to look back and reconsider the alternatives 

of green building construction that sometimes is not only derived entirely 

from environmental promotion, but also driven by commercial 

mechanism with the green industry being tagged along. Designing 

of a self-sufficient, affordable, and comfortable green building rarely 

gets the support it needs comparing the a green building project 

equipped with technologically advance equipments. This type of 

building might be more expensive to construct but it often receives 

abundant supports from the governmental sector. It is quite ironic 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 


1O 

 

 

 

 

 

 

 

CSR (Corporate 

Social Responsibility) 

 

 

 

- 

 

 

 

 

 

 

 

 

 

10 

- 

 

 

 

80 

 

20 

Passive 

Active 

 

how a building conceived from a well-thought of passive design 

approach fails to gain any support while the building that uses air 

conditioners with Label Number 5 (certified by the Electricity Generating 

Authority of Thailand(EGAT)) gets a whole bunch of tax rebate, 

all because it helps advertising appliances with EGAT’s No.5 Label. 

Building owners, architects and designers need to understand and 

accept the fact that a green building is no different from a campaign 

advocating the green industry as a whole. Sometimes, what the 

owner gains and loses from the construction of a green building is 

not just about the physical presence of an architectural creation but a 

donation made to clean energy, to environmentally friendly materials, 

forest industry, to the people with low income who make a living 

from collecting and selling recyclable materials to factories. Some 

of these things may not be considered a direct advantage but they 

manifest what a green building can do for the society it is a part of. 

It is reasonable to look at green buildings as a form of CSR (Corporate 

Social Responsibility), pretty much like when we buy stuffs 

from traffic light street vendors even though we didn’t want them 

simply because we think the money we spent can be used to pay 

the vendors’ kids’ tuition. There were times we doubted whether the 

money was going to be spent on booze, while many people refuse to 

buy because they’re not interested in the products and since it is not 

their responsibility to pay for anyone’s tuition. I guess this is the issue 

we all need to think about thoroughly and critically. 

All and all, this article is my attempt to analyze and summarize 

all the issues and dilemmas of green building design and construction 

I have come across in the past 10 years. New problems emerge 

through time as buildings’ owners, architects and designers become 

more (and in some cases less) knowledgable. It is our job to help figuring 

out why we still can’t make green buildings happen in Thailand 

despite the 80 years it has been taught in architecture schools, not 

to mention the government’s advocation on the matter in the past 20 

years through building and environmental laws. In other countries, 

the issue has long been widely discussed to the point where green 

building is just another common thing in the construction industry. 

In the mean time, Thailand is still arguing about Passive or Active, 

and continuing to create trade barriers to keep out foreign products 

and services from the market. No wonder why we have grown to 

become so weak. 

 


REVIEW 

 

 

TITLE 

 

 

WRITER 

Rawiwan Oranratmanee 

PAGE 

362 pp. 

LANGUAGES 

Thai 

ISBN 

9789746728140 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

108 ASA REVIEW

01-02 

 

 

 

01 

02 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

110 ASA REVIEW

ELITE DECOR

PRODUCT 

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DIMET WATTYL I.D 

STONE EFFECT 

 

 

 

 

 

 

 

 

http://www.dimetsiam.com 

 

T : +662 323 2800-6 

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E : contact@dimetsiam.com 

W : dimetsiam.com 

02 

 

T : +662 459 1052 

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W : interface.com 

 

T : +662 301 2100-1 

F : +662 398 1301 

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