Luke Yeung เป็นสถาปนิกผู้ก่อตั้ง Architectkidd ซึ่งเป็นสตูดิโอออกแบบในกรุงเทพฯ เขาทำงานออกแบบสถาปัตยกรรม ควบคู่ไปกับการถ่ายภาพสเปซที่สะท้อนถึงผู้ใช้งานและวัฒนธรรมของสถานที่ที่ได้เดินทางไป
Normally the line that separates nature and architecture is a clear and distinct one. We travel and visit the great outdoors to escape congested cities and enjoy the natural scenery. But the more I visit these landscapes, the more I see spaces within them and think of different possibilities. Can the dichotomy between nature and built environment be blurred? Perhaps architecture can also exist in nature and can flow through it.
Architecture that can be experienced like light hovering in forests, or nature that can carve spaces from geological formations. Is it possible to create architecture that emphasizes natural phenomenon? Perhaps the goal is to design not for the built environment but rather for nature.
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Luke Yeung is principal of Architectkidd, a Bangkok-based design studio. Working in architecture and photography, he captures spaces to reflect people and culture of the place.
In Praise of Shadows เป็นชุดภาพถ่ายที่อุทิศให้แก่หนังสือชื่อเดียวกันเป็นการกักเก็บช่วงเวลาและค้นหาฉากตอนบางอย่างในชีวิตประจำวันการเลือกถ่ายภาพสัดส่วนแบบไวด์สกรีนเปลี่ยนมุมมองของภาพชีวิตปกติสามัญให้มีความคล้ายคลึงกับซีนจากภาพยนตร์ใดสักเรื่องหนึ่งภาพชุดนี้เป็นเพียงจุดเริ่มต้นของโปรเจ็คต์ที่จำนวนภาพกำลังเพิ่มตัวขึ้นเป็นรากฐานบางอย่างเป็นประกายจุดๆหนึ่งที่กำลังพัฒนาตัวเองเป็นโปรเจ็คต์อื่นต่อไป
An ongoing series that captures the mundane events in Japan. Upon reading ‘In Praise of Shadows’, an essay written by Junichiro Tanizaki, I have become engrossed in the tinge of darkness acting as an opposition to the more brighter side of life. The darkness brings immutable tranquility and I have always been drawn to its depth. Were it not for them, beauty would seem perhaps too polished, too glaring.
Within the essay, Tanizaki compares the contrast of light at darkness used in Western and Eastern cultures. The west, whilst striving for progress, continues to search for light and clarity, whilst the subtle shadows relates more to the oriental art and literature.
“A phosphorescent jewel gives off its glow and color in the dark and loses its beauty in the light of day. Were it not for shadows, there would be no beauty.” – Junichiro Tanizaki
The series aims to act as a photo essay, a tribute to the book with the same name to the series. It also explores imageries as poetic seizures of moments, finding a cinematic quality in the everyday life. The usage of the widescreen ratio enables the scene captured to be perceived more as a film still than an image. As said before, the series is an ongoing process and is ever-expanding. Therefore, the series may act as a starting point, foundation or an inspiration for a project in the near future.
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Pam Virada is an artist and graphic designer interested in the contextualised notions of architectural spaces, collective memory, and personal memory. She works primarily with photography, moving images, writing, and installation art.
Living in the city of Bangkok and, at times, its outer district, especially as an office worker, the images of animals appear in the viewfinder give me a strange feeling.
On a Sunday morning in the final month of the year when the sun is heavily filtered by a restless mass of dust flown from some unknown places, I stop and stand still in middle of this foyer.
I see her long neck and she looks bigger than an ordinary duck would. Her muscles accentuate the volume of her feathers, making them look more dimensional somehow. And if those two legs were here hands, I figure they would have gone through quite a journey. Without having to go to a gym, the six packs on her stomach are clearly visible. A couple of stems of hay are on her feathers. When our eyes meet, I don’t see myself in her vision. I listen to the sounds from the back and everything seem normal outside. Her mouth continues to move when I hear the ruins of tiles move underneath my feet.
Just in case you don’t know, I am here to photograph the building whose renovation set to commence on the next day would eventually turn the place into a boutique hotel. It has been said that a design reaches a more dimensional level once it connects itself to the past. If you were able to fly high enough, you would see an arm reaching out with a hand grabbing on to the present. And if the past of this place was built upon words, the language it spoke would be made up of our uttered voices.
Nearby, the stout figures start to move from their position. The stalagmites on the ceiling begin to fall on their crumpled heads as the folded tummies stretch out. But even with the entire flock now moved, it didn’t go that much farther from the existing burnt surface.
On the walls of the cave of silence, the camera’s sensor operates and records the sounds of the animals. The mirror reflects an image, but I still can’t see myself in it. I discharge the lock of the tripod, raise the camera to be in the same level as the bird’s eyes, but it doesn’t make me go any higher than the shadow of the groundhog.
A bowl of burned out incense sticks is placed at the front of the staircase. Space erupts like blazing lava. I see the headless bird, the snake with saliva spreading across the door frame, the limbless bamboo rat at the staircase’s landing, the four or maybe five rectangle-face creatures whose bodies merge almost seamlessly into the surface of the wall. On the top floor, I inhale the smell of the city with exhausting pants, ears listening to the outside noises. Everything is the same. The silence is still there; like it always has been throughout these past nine years.
“Animal”, the photo exhibition by Soopakorn Srisakul. Set to open on 22nd June 2019, the exhibition will take place at Window gallery and cafe until 4th August 2019.
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Soopakorn Srisakul Photographer of Home and Garden and Room magazine who takes picture of, not just beautiful works of architecture, but everything around him (his girlfriend, for example) with exhibitions at galleries here and there. This series of photo essay captures the inside of a building burnt down during an incident that took place in Bangkok 9 years ago.
The New Potential ชุดภาพถ่ายบิลบอร์ดระหว่างการพักคอยโฆษณาแผ่นใหม่ ภาพเก่าที่เหลื่อมซ้อนทับกันบนผิวป้ายเชื้อเชิญให้เราพิจารณาร่องรอยของสิ่งที่เคยเกิดขึ้น เพราะในความไม่ปรากฏของภาพ มีบางอย่างที่ปรากฏขึ้นมาแทนที่นั่นคือโอกาสที่เราจะได้มองบิลบอร์ดในฐานะอื่นมากกว่าการเป็นแค่ป้ายโฆษณา
เราจะเห็นบิลบอร์ดเหล่านี้ได้ตามปลายขอบฟ้า บนระนาบนั้นมี เส้น สี และคราบเปื้อนที่แต่งเติมเข้ามาโดยบังเอิญซึ่งทำให้บิลบอร์ดกลุ่มนี้ต่างไปจากป้ายโฆษณาทั่วไป ทุกวันนี้เราใช้ชีวิตอยู่ในยุคที่แทบจะเป็นไปไม่ได้ที่จะหลบสายตาจากป้ายโฆษณาที่ปรากฏทุกหนทุกแห่ง The New Potential อาจมีนัยเชิงต่อต้าน เพราะมันกำลังเสนอภาพที่ไม่ใช่ภาพ ไม่เกี่ยวข้องกับบางสิ่ง ทว่าเป็นความเป็นไปได้บางอย่างที่มากเกินกว่าสิ่งที่รู้ นั่นคือประสบการณ์
The New Potential presents images of billboards captured between advertisements, when remnants of previous adverts are exhibited upon their facades. Overlapping and layering in configurations that welcome what was to float back into focus, the compositions reveal rather than conceal the potential for new relevance and meaning to be communicated.
Prominently displayed across our horizons and built by color, line and happenstance, the only characteristic of their disposition that differs from that of typical billboard advertisements is the nature of their imagery. Our visual culture is one of excess, crowded with infinite content of material plenitude. The New Potential, in contrast and perhaps protest, proposes images that are not of or about something, but are something. What they offer is therefore the potential to have, rather than know of, an experience.
A means of encounter – signs of life.
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Rebecca Vickers (B. 1981, Madison, WI, USA) is a visual artist based in Bangkok, Thailand. She received her Bachelor of Science in Fine Art and graduated with academic honors from the University of Wisconsin-Madison in 2007, and an MFA in Visual Arts from the Faculty of Painting, Sculpture and Graphic Arts, Silpakorn University in 2014.She is a co-founder of LIV_ID collective, teaches visual art at Mahidol University International Demonstration School and plays guitar in the indie-pop band VIPED.
ปัจจุบันเป็น Design Director ให้กับ THE UNI_FORM สตูดิโอออกแบบที่เขาร่วมก่อตั้งกับ วุฒิภัทร สมจิตต์ คู่ขนานไปกับการทำงานศิลปะในแบบฉบับของตัวเองด้วยความแช่มช้าอย่างต่อเนื่อง มีแสดงงานในต่างประเทศบ้างประปราย
A guardhouse can either be viewed as small-scale architecture or as a large-scale art installation. Sometimes guardhouses are meticulously designed to physically and visually correspond with the spaces and the main buildings they are part of. It’s also very common to see factory-made or prefabricated structures, as well as those built by contractors, carpenters, steelworkers, or anyone who possesses the skill and experience to construct a simple structure. There are plenty of guardhouses that have been thoughtlessly set up using scrap wood and steel, resulting in those funny looking structures that seem out of place and unexpectedly amazing all at the same time.
While some guardhouses show evidence of thoughtful design and attentive construction, not all of them are able to satisfy everyones needs. Perhaps that’s why, under those security uniforms, we see the instinct of an interior decorator expressed in the ways that the space has been brought to life. Everyday objects can be found, from batons to fans, chair, calendars, ice coolers, kettles, rice cookers, and chess boards, etc. It isn’t surprising for a guardhouse to appear like a large-scale art installation, bringing a smile to one’s face thanks to the miscellaneousness of the everyday objects that it’s made up of.
This small space isn’t just somewhere one works, rests, eats, and sleeps; it reflects Thai identity and ordinary peoples way of life, doing their jobs and living their lives.
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Graphic designer and independent artist, Pariwat Anantachina had dreamt of becoming an architect since he was a student, but hadn’t been able to pursue his dream.
He’s currently the Design Director of THE UNI_FORM, the design studio he co-founded with Wutthipat Somjit, while at the same time he slowly and steadily works on his art and overseas exhibitions.
The birth of “Equilibrium” photo essay came from the photographer’s 7-year-long observation of a tree standing in the flooded land of Srinakarin dam.
The passing of time gradually deteriorates the tree’s once leafy stems. But what changes in the mind of the photographer after another encounter with the tree is a greater sense of tranquility.
Nature is telling us about the ephemeral existence of things.
Architectural photographer, Weerapon Singnoi of facebook page foto_momo and the explorer of old Modernist buildings tirelessly searches and observes large timbers with bizarre figures and unusual surroundings, and recorded are the empty spaces underneath those trees.
Obscure – people without faces, a photo set collected over 3 years of practicing photography by Piti Amraranga, an independent designer of o-d-a.
Removing the subject’s face is a technique that provokes the sense of surprise and is quite popular amongst street photographers. I am quite sure that photographers must have at least one collection of faceless people that were taken in their own style, perspective and point of view. It is a kind of a universal topic that I believe will last forever as per this quote “to enchant something is to partially hide it from seeing”
“Yonder” conveys a viewpoint of meaningful context surrounding architecture. It is an idea generated behind the photo shoot of Ketsiree Wongwan, art4d architectural photographer.
The photo essay represents three contrast situations in different contexts. The first set is titled ‘Bangkok-Periphery-Khon Kaen,’ a simple sequence of the similar angles of view in different places. The second “Mom-Dad-Kid” reflects the living of two different generations in the same fence of an extended family. The last titled ‘Intervenor’ brings you to a life of newcomers in an old context and, at the same time, to imagine when the old context would turn into a new context in the near future.
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