LIVING WITH THE GLASS | GUARDIAN GLASS
EXAMINE THE THREE HOUSES IN THREE COUNTRIES THAT USE GUARDIAN GLASS FOR CATERING TO VARIOUS PURPOSES, WHETHER IT BE ACCESSING THE OUTSIDE VIEW, ENHANCING NATURAL VENTILATION, OR LESSENING THE INTENSITY OF HEAT AND NATURAL LIGHT IN ORDER TO CREATE A COMFORTABLE SPACE FOR DWELLERS
WARA JITHPRATUCK FROM PLAN ARCHITECT INVITES US TO CONTEMPLATE THE FULLEST POTENTIAL OF GLASS AND SURPASS ITS SUPERFICIAL CHARACTERISTICS. COME UP WITH A SUITABLE DESIGN ALONG WITH THIS MATERIAL IN THE TROPICAL ARCHITECTURE OF THAILAND.
OFFICE BUILDING 01 | GUARDIAN GLASS
EXPLORE THE USE OF GUARDIAN GLASS IN LEADING OFFICE BUILDINGS AS A MATERIAL CATERS TO FUNCTIONALITY AND REFLECTS THE VISION OF ITS OWNER OR ORGANIZATION IT REPRESENTS
KULTHIDA SONGKITTIPAKDEE FROM HAS DESIGN AND RESEARCH REINTERPRETS THE TRANSPARENCY OF SPACE AND MATERIALS AS TOOLS TO DEVELOP AN UNBOUND, MYSTERIOUS, AND INFINITE PERCEPTION TOWARDS ARCHITECTURE
TONKAO PANIN INTRODUCES ARRHOV FRICK, AN ARCHITECTURE PRACTICE FROM SWEDEN WHOSE WORKS ARE DISSOCIATED FROM ‘AESTHETIC MANIPULATION’, PRESENTING STRAIGHTFORWARD ARCHITECTURE BASED ON STRUCTURAL AND CONSTRUCTION LOGIC
LA CASA DEL DESIERTO | GUARDIAN GLASS
AMONG THE EXTREME HEAT OF GORAFE DESERT, LA CASA DEL DESIERTO DESIGNED BY OFIS ARCHITECTS IS CONCEIVED INTO PROMINENT ARCHITECTURE BY USING SUNGUARD EXTRASELECTIVE SUPERNEUTRAL 60 (SNX 60) AND CLIMAGUARD® PREMIUM2 WHICH CONTRIBUTE TEMPERATURE CONTROL AND ALLOW NATURAL LIGHT INTO INTERIOR SPACE
PHOTO: PURIN CHAWARATTANAWONG
(For Thai, press here)
WHO
Buddhaandz
WHAT
A modern art studio inspired by Buddhist mythologies, expressed using various combinations of old and new techniques to cultivate an appreciation in both art and Buddhism.
WHEN
It started with a senior project while I was studying Material and Context base at the Faculty of Architec-ture’s Department of Industrial Design, Chulalongkorn University. The project I did was a continuation of my experimentation on materiality with the help of Assitant Professor Dr. Takerng Pattanopas, Assistant Professor Pim Sudhikam and Assitant Professor Dr. Juthamas Tangsantikul. The work was first shared on my personal social media account and the feedback was quite good so I decided to carry on with the de-velopment.
WHERE
I work at home and at temples at times (when I want to focus on my thoughts) and there may be exhibitions happening in the future.
WHY
Buddhism has always been an integral part of my subconscious since I was young. It has always been a part of the environment I grew up in. I was lucky enough to be able to go to a Sunday Buddhist school when I was a kid. My friends would talk about Conan the Japanese comic and I would picture images of a Chadok tale from the Bhuddha’s teaching, Conandhawisan, in my head.
Then I started to watch a lot YouTube videos and felt inspired by many content creators so I would read the books they recommended and apply what I read to my work. My dad is an avid amulet collector but I wasn’t all that into the conventional stuff. I like art toys. So, the idea of mixing that with Buddhism sort of gives birth to this work that I’m doing.
How would you define creativity?
It’s an application of existing objects and know-how into the development of something useful. It’s some-thing that allows me to practice and learn. At the same time, the creative process helps me meditate and prepare myself to handle changes because once the production process takes place, the reality will be dif-ferent from what you envision in your head. The important thing you can do is to control your emotions at all times because it affects how your work turns out.
Describe your practice in three words?
Dharma l pop culture l ancient processes (it’s like how there’s a specific type of ice cream made with this so-called traditional process but nobody really knows for sure what ‘traditional’ really is).
Where do you go? or what do you do when you get stuck on a project?
When I’m stuck with my thoughts, I would go do something entirely different from the work I was doing. If I want to keep my creative flow, I have to go take a walk outside and take time to observe my surroundings. Listening to hip-hop music helps tremendously with my creative process. Going to temples to make merits also helps me creatively. If I’m too lazy to walk, I would read. I read poetry sometimes. Ideas usually come when I let my mind wander and I would write them down. When there’s a project that comes along, I would match it with one of those ideas.
What project are you most proud of?
The Still Buddha and Cloud Robe. It was magical when I found this part of the Buddha sculpture and it was like I saw this vision of this wave and that I was supposed to create it into a sculpture, and several other works that would follow.
If you could invite any creative out for coffee, who would you choose and why?
Daniel Arsham. I was such a huge fan of him since he wasn’t that very well known but his works have in-spired me so much whether it the actual making process, the thought process, how cool and expensive they are. I was in the Netherlands and saw his works being exhibited with Banksy. Being there and seeing the real thing with my own eyes, I was super impressed. With that work, he played with time and historical objects, and how the present is the past of the future. He signed his signature and dated it a thousand years from now. For example, if it was the year 2022, he would sign 3022. There are actually many crea-tive individuals that I would love to have a drink with because there is so much more for me to learn.
fb.com/Buddhaandz
KARJVIT RIRERMVANICH, EDITOR OF ART4D, INQUIRES INTO THE UNIQUE ASPECT OF MIRROR WHICH IS BOTH VISIBLE AND TRANSPARENT, TANGIBLE AND INTANGIBLE, DEFINITE AND ELUSIVE
WOODDEN COOPERATES WITH PHTAA LIVING DESIGN REIMAGINES AND EXPAND THE POTENTIAL OF TEAK WOOD, A MATERIAL WHICH BEEN A PART OF THAI ARCHITECTURE FROM PAST TO PRESENT, THROUGH EXHIBITION BOOTH AT ARCHITECT ’22
ROYAL PROJECT FOUNDATION | GUARDIAN GLASS
THE AGRICULTURAL RESEARCH AND DEVELOPMENT CENTER OF THE ROYAL PROJECT FOUNDATION IS DESIGNED TO INCORPORATE THE LANNA STYLE INTO THE NEW CONTEXT. USING GUARDIAN GLASS MATERIAL FOR BUILDING’S EFFICIENCY. IN ADDITION TO REPRESENTING THE BUILDING’S CHARACTERISTICS AND THE BUILDING’S IMAGE
