All living beings must adapt to survive. Throughout history, the cycles of nature have continually manifested change. But when the selection pressures come from our fellow humans, how do we adapt?
Christmas in England is our main holiday and celebration of the year. In the dark winter months it’s something to look forward to, a chance to spend time with family and loved ones. People celebrate, rest and reflect on the year that’s gone by, and the one that’s about to start.
I spent Christmas 2022 & 23 in Thailand, and was fascinated by how enthusiastic Thai people were about it. From giant shopping mall displays, to office Christmas parties and secret Santa’s between friends, so many of the traditions were embraced fully or altered to fit Thai culture. It was interesting to see Christmas interpreted through a different culture and I hope my project shows the spirit of Christmas in Thailand.
In Thailand the phrase ‘Everything jingle bell’ (pronounced ‘everything jinga bew’) means ‘a lot of things’ or ‘everything’. They use this because Jing rhymes with things, not because it’s related to Christmas. It’s used the whole year round, showing another way Thai’s adopt culture.
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Barry Macdonald (b. 1984) is a photographer from London, England. He started off shooting musicians and found out about the enjoyment of travelling from going on tour with bands around Europe and the USA. He progressed into shooting a hybrid of street and documentary. He is interested in sociology and tries to look at culture and human nature through his photography. He has lived in Bangkok since 2022.
‘Gain in entropy always means loss of information and nothing more.’ – G. N. Lewis 1930
All living beings must adapt to survive. Throughout history, the cycles of nature have continually manifested change. But when the selection pressures come from our fellow humans, how do we adapt?
Everything humans create—whether to fulfill dreams, meet personal needs, satisfy others, or seek profit—inevitably struggles to remain unchanged over time. Change is inherent in all things. The dreams we sketch for the future seldom align perfectly with reality. Consequently, we begin to dismantle the old and construct the new, striving to bring forth an ideal future, even though we know the future remains perpetually unpredictable.
Conversely, many of humanity’s creations face countless forces aiming to bring them down. Yet no matter how deteriorated and decayed they become, we stubbornly protect and preserve the things we attached ourselves to. We do this regardless of how much of the future we sacrifice or how briefly we can hold onto it, simply to retain fragments that represent an ideal version of the past.
Information theory and the second law of thermodynamics teach us that entropy—or disorder—increases over time, making the prediction of future events progressively complex. To shape the future or enhance system efficiency, we must employ ever more powerful algorithms. Paradoxically, when a system becomes highly ordered, it conveys less information, and there are also systems where the more chaotic they are, the more incomprehensible they become. These two seemingly opposing extremes intriguingly lead us to the same point: a reduction in our ability to understand.
Transformation Theory is, therefore, an exploration of two locales—Chiang Mai and Bangkok—caught between the desire to cling to the past and the drive to advance into the future. By reconstructing fragments of photographs anew, this work poses the question: Does human development truly lead us to the ideals we envision?
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Sirawit Kuwawattananont is a physics tutor who embarked on his journey eight years ago by photographing clouds and stars to educate his students. His passion for photography has since led him to curate exhibitions that convey stories lingering in his mind—encompassing photographic techniques, science, love, and the intricate relationships between society, humanity, and nature.
Every day I go out to take photos, I choose to look for the ordinary but with a special feeling. I connect nature and human creations through a street minimalist perspective, transforming what we usually see. By viewing the vast city from small angles, we may discover hidden beauty in the corners of buildings, alleys, or on the streets. Perhaps this beauty is not concealed; rather, we often overlook it ourselves.
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Kroekrit Nopphagao is a wedding photographer with an interest in street and contemporary photography.
If our eyes glance at something, our perception always attempts to find an explanation of anything we witness. When we pass by quarters of Bangkok roads by walking from BTS stations to various destinations, our time to consider the surroundings seems to slow down. We begin to notice the differences and inconsistencies from normality, as well as the societal and economic developments which are reflected in the structures of buildings, residences and streets that act as a historical record of the city and places well.
‘TWO THINGS ON THE WAY’ is a photo collection which records the exploration of multicultural districts. These include alleys of Song Wat Road, Soi Nana including department stores, public parks and main landmarks on Banthat Thong Road and Naradhiwas Road that present the technological change of everyday life through the residential and economic areas called ‘ancient districts’ and ‘modern districts’, composed of diverse lifestyles and generations.
The photo collection takes us on a journey to explore the connection of an object in the form of the MEX CRAVE Series water heater. It is a symbol of the innovative technology and digital systems with exposed curvature like three dimensional tiles that are brilliantly reflect sunlight.
The MEX CRAVE Series water heater embraces modern lifestyles with smart technology. Water temperature control system ‘Smart Electronic Control’ and ‘Rapid Preheat’ system can be utilized by sensory touch input. The functions of the water temperature control adjusts temperature promptly, meet demands effectively and accurately. A new edition produced under the concept ‘DIGITAL IS NOW’ twhich offers both dark emerald and metallic red versions. Prepare to reserve your purchase from November 15th 2024 – March 31st 2025.
Bangkok stands out as one of the most fun cities in the world, well-known for its rich cultural mix and vibrant environment. A key element that sets Bangkok apart is its explosion of color, which defines the city’s unique character both day and night.
Color in Bangkok is not just a detail; it plays a crucial role in shaping the city’s atmosphere and identity. The city’s bright colors are evident everywhere, such as advertising signs, street fabric, colorful vehicles, fashion, buildings, and its people. Red, yellow, and blue are among the most prominent, popping up everywhere throughout the city, along with many other exceptional colors.
In street photography, color becomes one of the first elements I look for. It can create a visually striking photo when combined with the right composition. Vibrant colors can also make for a more interesting storytelling narrative in the shot.
This set of photographs shows a striking color scheme while capturing the unique quality of Thainess. Each image reflects how Bangkok’s colors contribute to its lively street scenes and cultural identity, offering a glimpse into the city’s soul through its colorful environment.
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Julachart Pleansanit, Bob, is an event designer based in Bangkok. About a year ago, he took up street photography as a serious hobby. Since then, he’s been capturing the streets of Bangkok through his own perspective. He believes that every street has its own uniqueness. It’s like a treasure hunt for him, in which he tries to find the hidden gems that are hiding in plain sight.
‘The Fabric of Society’ is a metaphor that refers to the underlying structure, relationships and interconnectedness that hold a society together. Just as fabric is made up of individual threads, woven together to create a cohesive whole, the Fabric of Society is composed of various elements such as shared values, norms, laws, institutions, and cultural practices. These bind individuals and groups together, and make us all a part of the common thread of society as a whole.
Phaa Bai (blue & white plastic tarp) is the flag of the working class, but everyone’s life depends on it. Every meal we eat, the food is grown, fished, transported, sold, cooked or eaten with Phaa Bai being involved somehow in the process. All construction, plumbing and electrical work will rely on this versatile material, every building has needed it at some point. All of the things that we buy might have used Phaa Bai for the transportation, storage or even making entire market stalls. Floor, table, walls, roof and all. From simple objects on the street to the most precious Buddhist Statues in a temple, Phaa Bai is trusted to protect them all.
This project is about Phaa Bai, but is also about society as well. Through focusing on Phaa Bai you can see globalisation and homogeny of design, with everyone using the same products from the same suppliers. Environmental issues of plastic production, reuse and upcycling, as well as the Thai flair for improvising materials into new forms and functions. It is also linked to issues with migrant workers and the trades they take up in Thailand, and how they sometimes live in housing constructed with Phaa Bai.
Without it the country would not be able to function, It is literally the embodiment of the social fabric.
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Barry Macdonald (born in 1984) is a freelance photographer from London, England. He started off shooting musicians and found out about the enjoyment of travelling from going on tour with bands around Europe and the USA. His work has evolved into a hybrid of street and documentary. He is interested in sociology and tries to look at culture and human nature through his photography. He has lived in Bangkok since 2022.
When an urban futsal field, renovated by ANANDA and partners in collaboration with the Bangkok Metropolitan Administration, was adorned with vivid graphics, the space transformed into a dynamic canvas of art.
The beauty of this series of photographs’ closely mirrors the simplicity of minimalist photography. Yet, each color on the field carries its own message. Designed as a public art space for urbanites, the design team embedded each section with meaning and inspiration—not merely visuals. For instance, the use of blue evokes openness and freshness, symbolizing the concept of ‘Inspire & Urban,’ while red, representing ‘Power & Energy,’ ignites enthusiasm.
The meanings embedded in these patterns are further complemented by the lines marked to define the field’s operational boundaries. Some of these lines signify the field’s midpoint, while others distinguish its outer limits. Players crossing these outer boundaries will find themselves out of play, according to the game’s rules. Whether for aesthetics or functionality, these elements blend seamlessly into a graphic masterpiece that has resulted in a perfectly functional futsal field, a piece of public art, and a communal space for the local community to engage in activities and social gatherings, enriching the neighborhood’s options for fitness and interactions.
In Thai architecture and that of neighboring countries, the addition of intricate details might seem like mere decoration intended to display opulent beauty. However, personally, I find these details not only serve to beautify but also play a functional role in reducing the bulkiness of buildings and softening the stark interactions between various architectural elements. I began to capture these architectural nuances whenever opportunities arose. During my architectural studies, modern architecture of that era utterly captivated us students. But the traditional Thai architecture I grew up seeing in temples did not catch my interest as much. Over time, through work experience and travel, my appreciation for the craftsmanship and aesthetics involved has grown significantly. Undeniably, my camera is now filled with images of architectural details from Thailand and neighboring countries, from close-ups of window ledges to colored glass installations.
I enjoy capturing these details in a single frame, typically not showing the larger view of the building. Often, these details themselves become the architectural forms. For instance, the edges of temple rows merge together, offering a view that resembles fabric patterns or graphic designs typical of specific eras. These observations have influenced my own design work at JUTI architects, from directly using patterns and scales to subtly incorporating specific edges or lines in architecture, interior design, and furniture design. The details that were once considered merely decorative now hold value for their proportional rhythm and contemporary artistic merit.
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Juti Klipbua, founder and design director of JUTI architects, extends his interests beyond his professional architecture career to include product design, automotive design, and photography. His primary hobby currently involves experimenting with abstract photography, capturing familiar everyday scenes such as construction sites, city traffic, and natural surroundings at construction sites in rural areas.
The Architecture Studio Atlas opens access, going behind closed doors to reveal the process and working practice of the studio today. Tracing a path that connects the dots between 20 European cities, plus Tokyo, Seoul, Taipei, Beijing, Shanghai, Los Angeles, Panama City, Mexico City, and Sao Paulo, these pictures focus on key practices of the studios ranging from niche startups to starchitects of today depicted in eye-catching and present enlightening, intriguing images of people and places at work. These range from the serious and sober to the more ludic. The Architecture Studio Atlas is a permanent open house making studios that are kept tightly under wraps available to the general public. It makes architecture more open, accessible, and equitable.
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Marc Goodwin is an architectural photographer, writer, teacher, and founder of Archmospheres. He was born in London and currently divides his time between Europe, the Americas, the Middle East, and Asia. His doctoral thesis – architecture’s discursive space, photography – investigates the components of conventional architectural photography and opposes them to a system of atmospheres. Since completion of his doctorate he has been traveling the globe non-stop working for clients and producing the architecture studios atlas.
Before I set out on foot and began my photographic journey to various locales, I established a thematic foundation centered on the concepts of ‘reflection’ and ‘duality.’ Each time I encountered scenes that embodied these concepts, I captured them, preserving these moments for further introspection. For instance, reflections in water that distort and invert reality reminded me of the theory of parallel worlds. Similarly, images of lotus leaves overlapping with concrete structures brought to mind how humans, like the mythological Lotus Eaters, are ensnared in the capitalist cycle. Photographs of butterflies fluttering within cages led me to ponder the notion of human freedom—trapped in the cyclical nature of existence yet possessing a spirit that soars and dreams of liberty. This thematic foundation provoked deeper reflections on the philosophies of existence as seen through the mundane moments of my daily life.
Freedom in The Cage
The butterfly may be physically confined to a cage, yet its mind freely wanders to distant places, mirroring the human quest for freedom and the deeper meanings of life. Even while constrained by societal constructs, rules, and the sheer dimensions of our existence, along with the cycles of samsara, we remain driven to define our purpose and uncover the essence of our lives.
The Reversed World and The Lotus Eater
This concept speaks to living within an endless cycle of rebirth and an ever-expanding parallel world. In any realm, we might become Lotus Eaters—those from Greek mythology who, in their quest for happiness, consumed lotus flowers and forgot all else in life. We endlessly pursue desires and materialism, a ceaseless chase that only halts when we grasp the true essence and profound meaning of existence.
The Other Me (s)
The Dividing between the Two Worlds
The Other Me (s) and The Dividing between the Two Worlds
Every reflection I see in water or mirror always has my mind wondering about the myriad dimensions that ripple through this universe. I believe these mirrored selves are echoes of us in multiple realms. Yet, no matter the world we inhabit, we still strive tirelessly towards our deepest desires, ascend towards our dreams, relentlessly developing in pursuit of perpetual growth.
The Encounter
This image unfolds into various imaginable interpretations. To some, it reveals the intricacies of a brain; to others, the vital breath of lungs. Yet through my eyes, it portrays two masked figures in silent confrontation. It bears a dual significance: masks grant us the liberty to assume any guise and skins that are not our own. Simultaneously, these masks form a veil, a sacred space where we can retreat into our truest selves, resonating with our innermost truths.
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Natthakorn Choonhavan is the founder and designer of the jewelry brand Middle M Jewelry. He enjoys capturing images with a film camera during his walks, as this allows him to observe more closely the stories of the people around him. Natthakorn frequently employs light, shadows, and reflections to add depth to his photographs, transforming ordinary scenes into extraordinary snapshots. In documenting everyday life through film photography, he consistently infuses his techniques with emotion and interpretive meanings, carefully selecting angles, distances, and timings for his shots.
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