Ng Sek San is a landscape architect famous for his untiring energy and passion that give areas lacking proper care the power of fresh starts. He’s the go-to guy when it comes to creating clean outdoor environments that produce positive effects on society and urban area. His masterpieces consist of a broad range of not-for-profit public space projects. Together they speak volumes for his role as an architect and productive member of the community, especially his native Kuala Lumpur, Malaysia.
He’s currently playing an important role in the restoration of Kebun-Kebun Bangsar, a midtown garden oasis occupying eight acres of land (about 20 Rai) with scenic views of the Kuala Lumpur skyline. Formerly home to thriving community orchards and farms, much of it was left in less than desirable condition when he found it. And that’s precisely what gave rise to a concerted effort to restore it to a good state of repair, thereby creating a public green space for recreational use that’s accessible to everyone.
Kebun-Kebun Bangsar at present provides space and facilities for essential public services ranging from seminars, to workshops for discussing agriculture and ecosystem health, to venues for social gatherings and cultural activities. The story of Kebu-Kebun Bangsar isn’t one without obstacles. Like everything else, there were many challenges that had to be dealt with at various stages of development. In the end, it’s hard work, learning and the ability to create an understanding with the community that led to success. Outside, life goes on as usual. The park now serves as a desirable model of sustainable urban planning.
A little bit about Ng Sek San
A bachelor of civil engineering product of the University of Canterbury, New Zealand, Ng Sek San went on to complete his master’s degree in landscape architecture at Lincoln University, also in New Zealand. He founded his own architectural practice, named Seksan Design Landscape Architecture and Planning, in Kuala Lumpur in 1994. Needless to say, his works represent an amalgamation of 30 years of experience in landscape architecture and design for both residential and commercial projects large and small. Over the past three decades, he has done the work in both design and non-design capacities, a distinguished career in which being earth friendly is among the top priorities. Precisely, it’s about protecting ecosystem health and doing what is right in the best interests of the community as a whole.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
“Reinterpreting Narrowness” is an excerpt from research on the subject of an architectural style ubiquitous in Vietnam by Officine Gặp. Founded in 2021 by Yuri Frassi and Afra Rebuscini, Officine Gặp is a research studio committed to the study of urban planning and development involving people with specialist knowledge in Ho Chi Minh City. It investigates the experience and opinions of local residents in a bid to arrive at conclusive findings about the appearance of design and lifestyles in a given area.
Among other things, it looks into the narrow front row house, aka the “Tube House”, a style of residential architecture prevailing in cities across Vietnam. The research project titled “Reinterpreting Narrowness” examines the facts about how urban populations live, work and play. In essence, it’s about understanding the dynamism of the people’s way of life, culture and relationships with small and narrow living spaces. That is to say, it decodes socioeconomic conditions and architectural language in a way that’s easy to understand, giving rise to exciting new ideas for urban planning and development in future.
Reinterpreting Narrowness
Reinterpreting Narrowness is a long-term project inspired by the appearance of an architectural style commonplace throughout Vietnam. Also known as the “Tube House”, it’s an urban row home plan designed to take up the full extent of an elongated rectangle. The purpose of the project is to encourage conversation among architects about the architectural style and urban landscapes that together have made Vietnam original and unique in its own special way.
The project had its beginnings in Ho Chi Minh City in 2022. Since then it has provided the stimulus for open discussions, workshops and debates attracting more than 20 groups of architects from across the country. The project is currently gradually transforming into a form of print media specialized in design innovations and ideas worth sharing.
Over the course of time, the conversations about the “Tube House” coalesced to form a meeting place where ideas about particular design were exchanged. Together they gave rise to stories about the evolution of contemporary architecture in Vietnam. In a nutshell, it’s about taking measures to deal with the problem of overcrowding and challenge of limited space. The intention is to encourage sustainable development and, at the same time, protect cultural heritage and lifestyles. Circles of architects have a role to play in improving the quality of life and ongoing interactions among people in the city.
Crafting a Sonic City (CASC)
Crafting a Sonic City is a multidisciplinary project designed to research the characteristics of sound in the city for the purpose of urban development and the conservation of features or qualities unique to an area, ultimately safeguarding its intangible cultural heritage. Unbeknownst to us, we have all grown familiar to hearing the usual sound in the neighborhood every day. This research project uses the sonic quality to record the story of a city in a factual and detailed way. In a few words, it’s about creating exciting new ideas for urban planning, using the sound as a means to promote an understanding in society.
The project culminated in a public display of handmade books about the characteristics of sound in Hanoi and Ho Chi Minh City. It happened as part of the Vietnam Festival of Creativity and Design 2022, featuring a multitude of neighborhood sounds recorded by architects and researchers. It provided a forum for an exchange of views with people in the community as well as the Society for the Blind.
The Gặp Series
The Gặp Series is a program dedicated to sharing ideas and stories obtained from visiting design studios and architectural practices across the country. Findings reached as a result of an inquiry are presented in a friendly atmosphere. It’s the intention of Officine Gặp to provide a meeting place where knowledge can be exchanged plus it provides the opportunity of meeting up with the people behind the success of research projects in Vietnam.
Action Research Turtle Lake
Action Research Turtle Lake is a workshop that took place over a period of two months. It was a forum that involved little children. The intention was to explore new possibilities in urban planning and development, especially ideas that we adults would never have thought possible. It invited children at the age 4 and 5 from Little Em’s Preschool to be part of the team.
In joining the research program, the children were encouraged to observe the happenings on the streets around Turtle Lake in Ho Chi Minh City. It’s an urban neighborhood characterized by busy movement and activity, traffic congestions and places where people congregate to eat and drink together.
The children participated in surveying the area; taking photographs, drawing pictures, and talking with locals about things that happened. Officine Gặp designed activities that were easy for the children to do in line with an approach to neighborhood building known as “Tactical Urbanism”.
A little bit about Officine Gặp
Yuri Frassi
Yuri Frassi is pursuing a doctorate at the School of Architecture and Urban Design, Royal Melbourne Institute of Technology (RMIT) University, Australia. His keen understanding of the fabric of urban society is manifested in his research into the socioeconomic conditions affecting people’s way of life in Ho Chi Minh City. His works investigate ongoing relationships and interactions between different narratives about cities and urbanism. Through conversation, complex ideas in architecture and urban design are reinterpreted in a way that’s easy to understand.
Afra Rebuscini
Afra Rebuscini is an architect and independent exhibition curator based in Ho Chi Minh City, Vietnam. Her past experience and research centered around the law of urban planning and the dynamism or complex interplay of relationships between the community and the city. With an aptitude for art making, event organizing, and area knowledge, she has been able to conduct social experiments, ultimately leading to an understanding and civic participation in urban planning and development.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
/ Story: Natthawat Klaysuban / English version: Bob Pitakwong /
/ Photographs: Courtesy of Formzero /
The publishers of room and Living ASEAN have the pleasure of introducing Lee Cherng Yih and Caleb Ong of Formzero, Petaling Jaya, Malaysia, an architectural practice specialized in contemporary Tropical design. The two architects are renowned for their untiring advocate of sustainable residential design and creative ways to decorate with plants. Their eager embrace of green concepts has enabled the works of Formzero to stand out from the crowd. Worthy of attention are homes carefully thought out to blend beautifully with the surroundings and Tropical climates prevailing in peninsular Malaysia. In a few words, it’s about creating urban living spaces where people and greenery thrive in close physical association.
In addition to a distinguished career in design, the pair also teaches architecture at a university in Malaysia. Their working life in academia has given them the opportunity of combining formal knowledge with hands-on experience in the fields. One of their signature works is the “Planer Box House”, a narrow front home in Kuala Lumpur adorned with edible gardens growing luxuriantly from the ground up all the way to the rooftop deck. At the risk of stating the obvious, it’s designed to answer the need of a homeowner who has a preference for growing plants.
Together they give the home instant curb appeal that’s quite a departure from what people expect to see in a residential neighborhood. From architectural perspectives, it’s about finding a balance between sustainable living and overcrowding in the big city. According to the architects at Formzero, it’s a building design, style and classification that “go beyond the typology”.
Lee Cherng Yih and Caleb Ong were among expert guest speakers at the design talk titled (Re)Thinking inside the Box: Vol. 1 Living in Small Urban Spaces. Discussion topics include, among others, the challenges that test the abilities of architects, ways to deal with site constraints and ideas for improving in the quality of urban life. Fundamentally, it’s about raising public awareness of the issue and the importance of well-thought-out design in solving the problem of limited space in the city, especially in Southeast Asia.
Q: Basically, how would you describe Formzero?
Lee Cherng Yih: Formzero is a design studio under the leadership of myself, Lee Cherng Yih, and Caleb Ong. Besides the two of us, we also have a five-strong design team. Established in 2012, our office has been up and running for 12 years now. As an architectural practice, from day one we’ve focused our attention on creating designs that could effectively respond to the challenges of Tropical climates. We looked into how green spaces could be integrated in building design. In central respects, that’s pretty much the heart of our studio.
Q: From your perspective, how would you define Tropical architecture?
Lee Cherng Yih: In my opinion, Tropical architecture can be seen from two different points of view. First, it’s an architectural style that embraces climatic conditions prevailing in the locality. I’m not saying that everyone can live in a place without air conditioning. Rather, I’m talking about finding a balance between sustainability and energy consumption in homes. That said, we need a design that works, one capable of dealing with weather that changes seasonally.
Secondly, we cannot trust everything in the physical world, and the built environment on top of that. As humans, we are part of nature. We should make appropriate adaptations to fit in well with a new environment, rather than trying to change the environment to suit our needs. I think that these two points of view are of the utmost importance as we try to understand and reap the benefits of living in Tropical climates.
The Window House / Photographs: Ronson Lee – Twins Photography
Q: What’s your opinion on urban environments in Southeast Asia? How does the ecosystem of an urban area influence your work as designers?
Caleb Ong: Nowadays, urban areas across the region have become more densely populated, giving rise to the problem of lack of privacy. That said, we have to create spaces where people can live without being constantly observed or disturbed by others. Everybody wants to feel safe and protected from disruptions that come with living in a crowded place.
Lee Cherng Yih: In my opinion, it’s obvious that population growth only exacerbated the problem of overcrowding in urban areas. At the same time, there’s a need to protect the ecological sustainability of the planet. And that’s where well-thought-out design comes into play as we adapt to changes in our lives. It’s a challenge that tests the abilities of architects like us. We have to find a balance between urban living and saving the environment.
Planter Box House / Photographs: Ameen Deen
Q: Can you give a few examples that are the signature of your design studio, either completed or under construction?
Lee Chern Yih: The first project, called Windows House, is a home in Kuala Lumpur. It has double layer façades for two reasons. First, they are designed to keep direct sunlight out of the rooms during the hottest hours. Then, because the homeowners had expressed privacy concerns, we solved the problem for them by putting in architectural elements extending outward from the building facades. As a result, the inner walls perform a dual function providing sun protection while creating semi-outdoor room that’s snug and cozy. Meanwhile, the facades built of perforated materials make the home feel light and airy.
The Window House / Photographs: Ronson Lee – Twins PhotographyThe Window house / Photographs: Ronson Lee – Twins Photography
The second project, known as Vertical Park, is a high-rise building, which we entered into a competition. It’s located in a city where open public spaces are few and far between. So we experimented with the idea of incorporating greenery as the integral part of the building’s communal areas, business spaces, even children’s playgrounds. Together they form the building façade overlooking the street below. It’s an idea that begs the question. What is the façade, anyway? Is it a public space? Or is it a business venue? It’s both. We incorporated fun ideas in the design to invite people to visit for pleasure.
Vertical Park / Courtesy of FormzeroVertical Park / Courtesy of Formzero
The third project, called Planter Box House, is a home adorned with edible landscapes thriving on the front façade and rooftop deck. The principal face of the building holds planter boxes of concrete made for growing vegetables and fruit trees. It’s designed to blend in with other homes in the area, giving rise to conversations and promoting neighborly relationships. Needless to say, it caters to the homeowner who loves growing plants. Like a farm, it even has a place to store water for growing crops.
Planter Box House / Photographs: Ameen DeenPlanter Box House / Photographs: Ameen Deen
Q: To wrap it up, how would you define “sustainability” from your perspective? And how does sustainable design benefit your line of work?
Caleb Ong: I think that, viewed in its essential qualities, sustainable design is about finding ways to reduce energy use and creating a living space that’s easy to care for. In the big picture, sustainable design requires less energy to build and is flexible in terms of building performance. These are qualities that enable the building industry to thrive while causing the least impact on the environment.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
As part of the room X Living ASEAN Design Talk 2024, (RE)Thinking inside the Box Vol. 1 is on the theme of “Living in Small Urban Spaces”. Here, expert guest speakers will discuss ways to create small living spaces and enhance the quality of life, at the same time shedding light on site constraints, challenges, and possibilities for building decent homes in urban areas. In the fewest possible words, it’s about promoting good life and a good living environment.
Showcasing geometry in architecture, an earthenware factory stands enclosed by stunning brick walls in a brownish orange hue. Aptly named the “Terra Cotta Workshop”, it’s unlike anything else out there. The building exuding friendship and goodwill is located in Quang Nam, a city on Vietnam’s Central Coast known for a richness of heritage and vibrant culture. It’s the brainchild of Tropical Space, a design studio acclaimed for its environmental responsibility manifested in the use of common materials, notably bricks made the old-fashioned way. Together they give rise to an architectural style that’s aesthetically pleasing, plus it’s a perfect fit for the humid Tropical climate prevailing in the region.
The building offers 682 square meters of industrial space. It’s a unit of construction added to an existing plant belonging to a ceramic artist. In term of spatial planning and relationship between different elements, the Terra Cotta Workshop is divided into three parts, namely, the observation zone and the earthenware workshop, both of which are disposed on the periphery within the building.
They are connected to the old factory building via an outdoor passage along the side. From here local artisans can be seen going about their specific trades in an area near the river. The third part contains a kiln for firing pottery and baking earthenware, also called terra cotta. The furnace itself is about two decades old. It’s the heart of the studio workshop in which goods are manufactured.
An area map shows the location of the Terra Cotta Workshop in relation to the old studio building. Courtesy of Tropical Space / Courtesy of Tropical SpaceThe first floor plan illustrates spatial arrangements of the workspace enclosed by brick walls made of geometric shapes. / Courtesy of Tropical SpaceA drawing shows the mezzanine floor plan in relation to the furnace located at the center. / Courtesy of Tropical Space.A front elevation view in cross section shows the relationship between buildings that combine with one another to form a whole. / Courtesy of Tropical SpaceAn isometric drawing shows the coming together of the various parts of the circular building housing the kiln for firing pottery. / Courtesy of Tropical Space.
The building’s outstanding features include, among other things, countless rows of openings in the brick walls. Placed at eye level, they afford clear views of every step in the clayware manufacturing process. A good customer experience begins with the corridor paved with the crushed remains of earthenware. It’s a distinctive aspect that provides a glimpse into the world of pottery making industries. Further along the path is the place where the clay is worked into dough with the hands as it transforms into ornamentally shaped outlines ready to be fired into finished products.
A passage paved with the crushed remains of earthenware allows access to different parts of the studio workshop.An earthenware manufacturing zone lies adjacent to a river.
The walls made of quadrangular and circular shapes are designed to enclose and divide an area of land into well-connected workspaces. Apart from providing an uninterrupted view of the manufacturing process, the openings in brick walls allow plenty of natural light into the interior, further enhancing the timeless beauty of brick architecture.
A circular brick wall encloses the kiln for firing pottery that lies at the heart of the Terra Cotta Workshop.
Plus, they promote good ventilation keeping the studio workshop cool. Above and beyond all other consideration, the furnace at the center of the floor plan makes it possible for visitors to observe every step of the process. At the same time, the factory layout is neatly planned to create indoor-outdoor connections while taking every precaution to reduce environmental impacts. This is evidenced by the building’s exteriors made of fired clay that blend beautifully with the surroundings, a distinctive feature that is Tropical Space’s signature.
A mezzanine inside the kiln for firing pottery is illuminated by light streaming in through the rooftop and the perforated wall.Generous openings in the brick walls provide a glimpse into the world of pottery making.
In the big picture, the Terra Cotta Workshop is the story of wisdom traditional to the people of Vietnam, an account of history and culture retold by designers who embrace materials sourced directly from nature. The result is a factory that has a spacious layout with well-proportioned workspaces, plus they make friends with nature and open to welcome visitors with open arms. And that’s precisely the message the design team at Tropical Space is trying to communicate.
A view from a higher angle shows the Terra Cotta Workshop in relation to the old studio building.
/ Story: Kangsadan K. / English version: Bob Pitakwong /
/ Photographs: Courtesy of DRFJ – Design & Research by Fusinpaiboon & Jang /
The commercial row house, aka the shophouse that’s also used as the owner’s residence, is an architectural style akin to the way of life in Southeast Asia. It’s a small component of the larger, more complex urban landscape, a home-cum-business space more important than anyone could have ever imagined. Living ASEAN had the opportunity of interviewing Dr. Hyunju Jang, of the Faculty of Architecture at Chulalongkorn University and cofounder of the design studio DRFJ (Design & Research by Fusinpaiboon & Jang). Asst. Prof. Chomchon Fusinpaiboon, Ph.D, also of Chulalonkorn University, is the joint founder. We discussed the shophouse from historical perspectives, in the meantime examining its subsequent evolution, building performance and factors that contribute to improved quality of life in the city.
The design duo is best known for their project codenamed “Shophouse2Go! Prototypes”, a collection of row house improvement ideas that members of the general public can follow as a model. Dr. Hyunju shared her thoughts and suggestions about a possible of course of action in dealing with the problem of limited space and site constraints. Ultimately, it’s about creating quality living spaces and improvements in the well-being of city dwellers. Here’s what she said.
We recently had the opportunity of interviewing Dr. Hyunju in the lead-up to the Design Talk titled (Re)Thinking inside the Box, Vol. 1 Living in Small Urban Spaces. Conducted in English, the discussion was scheduled for Sunday August 4, 2024. It was a part of the Baan Lae Suan Fair Midyear 2024 at BITEC Bang Na, Bangkok. In essence, it’s about raising public awareness about the problem of limited space in the city and the importance of well-thought-out design in overcoming site constraints, especially in the context of the type of climate most common in Southeast Asia. The following are some insights into her work experience.
Q: What inspired you to set up the design studio? What’s the goal of DRFJ?
A: Prof. Chomchon and I shared the knowledge that we have gained through work experience in architecture. But our technical expertise differed from each other. Prof. Chomchon was skilled in researching into the historical aspects and evolution of contemporary architecture, while I started out working with a green building consulting firm specialized in big development projects requiring large investments. We got to talking about the importance of architecture in people’s lives, which culminated in research into architectural styles closely related to the pattern of behavior of many city dwellers. We started exchanging information and, to make a long story short, we ended up creating the design studio DRFJ with one specific goal in mind: use our skills and knowledge in conjunction with other sciences to improve the quality of living spaces in ways that the general public can follow as a model. At the same time, we respect the historical values and culture prevailing in a particular area or neighborhood.
Q: How does the project or research conducted by DRFJ contribute to improving living conditions in the city?
A: Our office, from the start, has made the shophouse a focus of our attention. Prof. Chomchon published the findings of his research into the improvement of commercial row houses built during the 1960’s and 1970’s. For your reference, the work is officially called “Strategies for the renovation of old shophouses built during the 1960’s and 1970’s in Bangkok, Thailand, for mass adoption and application.” Since then it has been further developed as a model for home improvements that the general public can follow. Apart from that, we’re also working to provide alternative living space designs, making them right and appropriate for different types of the shophouse.
As part of our research, we put a variety of designs to the test, thereby evaluating the convenience and physical comfort that each one of them could provide for the occupants of a building. The thing is that many green building design requirements that I have dealt with are formulated for large buildings by international organizations lacking deep understanding of Thailand’s climates and cultural context. So we’re searching out the best ways to customize international requirements to better fit the small-scale and everyday kind of architecture in the context of Thailand. Our prototype was the result of this testing. It’s a catalogue of works of design intended for customers to pick based on an individual’s preferences. In a nutshell, it’s about making high quality design available at the price that’s right.
Q: In terms of different climates between Thailand and Korea, is there anything of particular interest to you?
A: What I felt the most difficult when I started working in Thailand was that there were no room heaters. Most offices and commercial buildings focused on ways to keep cool in hot weather and reduce the cost of air conditioning at the same time. In Korea, it’s the opposite. Because it was cold there, all the design decisions were made to keep warm and, at the same time, reduce the cost of operating room heaters. For me personally, a design strategy is considered effective if it’s capable of reducing heat gain in the interior, thereby keeping the room cool and comfortable.
Speaking of which, the crux of the matter lies in creating energy efficient design, one that keeps a balance between power consumption and the amounts of daylight streaming into the room. Daylight conditions are of the utmost importance. As for me, I would seek the advice of a consulting engineer in a bid to turn a challenge into a solution.
Daylight analyses of a shophouse interior at different times of day illustrate the amounts and distribution of natural light entering and spreading over an area of a home in a Sukhumvit area prior to undergoing a renovation. / Courtesy of DRFJ – Design & Research by Fusinpaiboon & Jang
Q: For the most part, what are the things that most DRFJ clients want?
A: The Shophouse2Go! Prototypes project had its beginnings in a row house in which we live no So we wore multiple hats as clients, developers, and architects handling varied roles and responsibilites. But it’s a case study because what we want to develop is a platform catalogue that provides various options for customers. Meanwhile, some of our clients who already own a shophouse or a townhouse can expect to have a better environment because there are so many good choices. We think the quality of being different and diverse is very important. In other words, the clients are not interested in just expanding living spaces in their row houses. They are also interested in the things that improve the quality of life, such as green spaces and communal room shared by all family members. As things stand, we know what the clients want for their homes. And that’s what gives us the inspiration going forward.
A glimpse into a home renovation that’s part of the Shophouse2Go! Prototypes project by DRFJ – Design & Research by Fusinpaiboon & Jang.
A glimpse into a home renovation that’s part of the Shophouse2Go! Prototypes project by DRFJ – Design & Research by Fusinpaiboon & Jang.
A glimpse into a home renovation that’s part of the Shophouse2Go! Prototypes project by DRFJ – Design & Research by Fusinpaiboon & Jang.
A glimpse into a home renovation that’s part of the Shophouse2Go! Prototypes project by DRFJ – Design & Research by Fusinpaiboon & Jang.
Q: In your opinion, what are the often-overlooked aspects of urban living that you consider important?
A: I believe that a balance between the various aspects of urban living is something that most people either don’t realize or fail to take notice of. There is no denying that life in the city as a whole is far more complex than that spent in any single building. What we need to do is strike the right balance the two worlds notwithstanding the problem of limited space or site constraints. It’s about finding ways to achieve the best result. Stay focused on raising the quality of life in the city. There is more to a home than just a place of residence.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
As part of the room X Living ASEAN Design Talk 2024, (RE)Thinking inside the Box Vol. 1 is on the theme of “Living in Small Urban Spaces”. Here, expert guest speakers will discuss ways to create small living spaces and enhance the quality of life, at the same time shedding light on site constraints, challenges, and possibilities for building decent homes in urban areas. In the fewest possible words, it’s about promoting good life and a good living environment.
/ Story: Lily J. / English version: Bob Pitakwong /
/ Photographs: Courtesy of Sanuki Daisuke (Sda.) /
Introducing Sanuki Daisuke, a Japanese architect at the design studio Sanuki Daisuke Architect (Sda.), Vietnam. One of expert guest speakers at the room X Living ASEAN Design Talk in Bangkok. Mr. Daisuke is renowned for his creative ways to make the best use of limited space, at the same time creating urban living spaces blend that with their natural surroundings and the general climatic conditions of a place.
We recently had the opportunity of interviewing Mr. Daisuke in the lead-up to the Design Talk titled (Re)Thinking inside the Box, Vol. 1 Living in Small Urban Spaces. Conducted in English, the discussion was scheduled for Sunday August 4, 2024. It was a part of the Baan Lae Suan Fair Midyear 2024 at BITEC Bang Na, Bangkok. In essence, it’s about raising public awareness about the problem of limited space in the city and the importance of well-thought-out design in overcoming site constraints, especially in the context of the type of climate most common in Southeast Asia. The following are some insights into his work experience.
Q: What type of design have you done so far?
A: For the most part, we focus our attention on particular architectural concepts, meanwhile assessing the relationship between designs and people. They include residential projects such as small houses and apartments as well as larger undertakings like hotels and resorts. Looking back over the years, most of the projects I participated in while working in Japan were quite different from those created by other architects. They were projects designed to be built in Vietnam. That was how it all started. Time went by so fast. I have been working in Vietnam for more than 14 years now.
Vom House / Photographs: Hiroyuki Oki
NGA House / Photographs: Hiroyuki Oki
Q: What did you see as the potential or possibility that could be developed or lead to success in Vietnam, or Ho Chi Minh City? At least the environment is different from that in Japan.
A: In terms of the environment, it’s very different from Japan. From my point of view, Vietnam has the potential to develop much further thanks to its cultural diversity and new things coming in the future.
Q: What is it that inspires you or acts as a guiding principle for your work?
A: That’s hard to explain because the nature of work, its intrinsic qualities and characteristics differ greatly from one project to another. Even projects in a rural area are done differently depending on the circumstances that form the setting of a place. First things first, we have to create a theme or the main idea about what we’re trying to accomplish. For example, we may want a design that incorporates the natural environment, or one that has a distinct identity specific to a region. In Vietnam, the uniqueness of a project isn’t limited to just a location. There are plenty of other qualities that can make a project the only one of its kind.
Floating House in Thu Duc / Photographs: Hiroyuki Oki
Floating House in Thu Duc / Photographs: Hiroyuki Oki
Planning that’s right for the climate and the environment is likely to have a profound effect on people’s well-being. Plus, it helps to avoid design repetition. Failure to integrate this quality in the beginning of the thinking process may result in design errors, causing additional work and delays. There is more to architecture than meets the eye. The design process is important too, especially when it comes to creating urban living spaces. Besides good build quality, a home must offer usable areas that are flexible. At the same time, the integration of outdoor spaces in the house plan can make the home feel exceptionally good.
Q: You mentioned the physical environment. And what are your thoughts on culture and the people’s way of life in Vietnam?
A: It’s a different culture, one that’s perhaps influenced by the Tropical climate prevailing in Vietnam. This is evidenced by the fact that a lot of activities happen outdoors. I think street food scenes and wedding celebrations takin place in an outdoor setting can be adapted or made suitable for a new use in Japan or Europe, too. We may want to incorporate different aspects of Vietnamese culture in our design. In my opinion, Thailand has a lot in common with Vietnam in terms of climates. Taking in green spaces as part of a whole can add visual and mental benefits.
Q: Give me a few examples of projects that were inspired by the rationale you just described.
A: In Vietnam, several projects were accomplished by integrating more empty spaces in the house plan. But with land prices constantly on the rise, it makes us think again in order to make changes to spatial arrangements. “Vom House” is a good example of the house plan designed to promote natural air circulation in the interior keeping the home cool and comfortable. Technically speaking, it’s about finding creative ways to bring the outdoors in. Another example is “Vung Tau House” which is a home built on a limited space. Even then, green spaces and semi-outdoor rooms are incorporated in the plan, ultimately resulting in a bright and airy living space.
Q: As an architect, do you have a plan for your studio in the future? Any thoughts on personal ambitions that you may have?
A: I think architectural design offers many interesting perspectives. In other words, there are many ways to solve a problem. I think that if we have a clear idea about what we want to achieve, it makes a job exciting. Personally, I look forward to the opportunity of trying something new, something meaningful and inspiring for up-and-coming young architects. This includes adding new methods to the various stages of design development. It’s a part of our work going forward.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
As part of the room X Living ASEAN Design Talk 2024, (RE)Thinking inside the Box Vol. 1 is on the theme of “Living in Small Urban Spaces”. Here, expert guest speakers will discuss ways to create small living spaces and enhance the quality of life, at the same time shedding light on site constraints, challenges, and possibilities for building decent homes in urban areas. In the fewest possible words, it’s about promoting good life and a good living environment.
/ Photographs: Nantiya June, and corporate public relations documents /
“We live in an age when time is spent searching for a special home life experience more earnestly than any time in the past.” Here are excerpts from an interview with Antoine Besseyre des Horts.
In a time when people yearn for a particular quality that forms their distinctive character, the relentless pursuit of smart home living experiences invites an obvious question that has not been dealt with before. Exactly what kind of products can improve the quality of life? Is it really capable of answering people’s lifestyle needs? Join us on a journey to discover the thoughts and strategies of a design team at a world-class brand targeting consumers in the ASEAN region.
Antoine Besseyre des Horts, Leader of Lixil Global Design Asia
Living ASEAN recently had the opportunity of doing an in-depth interview with Antoine Besseyre des Horts, a person with senior managerial responsibility for LIXIL Global Design’s business in Asia. He’s the one who oversees design and business strategies promoting superlative home product lines, notably American Standard and Grohe. This has enabled us to keep abreast of the latest development in design trends for 2024-2025 and bring you examples of some of the best product designs tailored to the specific lifestyle needs of consumers in the ASEAN region. Speaking of which, let’s take a look at three living trends especially worthy of attention.
Trend 1: The bathroom has taken on a new role as the kitchen steps aside.
“I have talked with people from a number of design companies and discovered that homeowners in this day and age think highly of good bathroom design. Previously they had attached great importance to having a well-thought-out kitchen, but now the bathroom is at center stage. It’s become a part that boosts the home’s resale value. In the big picture, this could have been a long-term effect of the Covid-19 outbreak, which resulted in people spending more time at home, enjoying family life more than ever before. Many people now realize how important the bathroom is in everyday life. It’s a private place that adds overall happiness to the home, offering seclusion in which to relax, refresh and recharge. And the same is true for hotels, where the bathroom is integral to efforts at creating good customer experience.”
Trend 2: Personalization
“Looking at global macro trends, or major shifts in people’s behavior with regard to health and well-being, we discover that consumers have become more discerning and well-informed, having shown good judgement about products and the solutions that they provide. Together they translate into an improvement in home life experiences, providing a reflection of an individual’s distinctive character, taste and inspiration more clearly than any time in the past. Without a doubt, design that’s conducive to change for the better is of the utmost importance at this moment in time. This is also true for Asia, where demands for personalized products are rising at a faster pace than in the US, or in Europe. So to perform well in Asian markets, we have to be able to offer a variety of styles and features that people look for especially.”
“More importantly, this year’s trends are related to a choice of color and texture that pleases the senses and the mind aesthetically, notably shiny smooth gold and matte black. In fact, there’s more to it than meets the eye. Our product lines represent a curious amalgam of color and texture that consumers can feel the difference when using. These are desirable qualities that help when people choose a bathroom product that speaks volumes for their distinctive taste and personality. At the same time, it’s important that the product be made available at accessible prices, which can be quite a challenge from the manufacturer’s standpoint. So it’s about utilizing our full potential and the knowledge we have to achieve the best result.
“Grohe recently unveiled a new collection called ICON 3D. It has been dubbed the Absolute Customization for being the only one of a kind in the world. Like an item of custom made clothing, it’s unique and individualized, made with 3D printing technology out of a special alloy formed into a shape one layer at a time. The result is a product that conveys a great deal about freedom of creativity, a masterpiece that goes beyond imagination.”
“There’s another collection called Multisensory Moments. It’s a system of modular shower heads in various shapes and sizes that can be used interchangeably as designers and architects see fit for their projects. In essence, it’s about creating design that’s right for a specific environment, one that’s capable of answering consumer lifestyle needs and fulfilling an individual’s wishes to the max. There’s also a private collection that allows house occupants to change knobs, handles or other parts in the control mechanism by themselves. The way we show great attention to detail is no different from a skilled jeweler creating a special experience for end users.”
Trend 3: Advocating for Sustainability
“The third trend is quite a challenge. It’s about advocating for the ecological sustainability of the planet Earth. Likewise, we do our part to spread awareness, concern and care of the environment among young people. Our products are made to a high standard to reduce the impact on the surroundings. LIXIL strictly adheres to its statements about vision and value in environmental conservation. All the brands are working jointly toward achieving our goal in sustainability. Take for example the Grohe Everstream, which is a shower system designed to collect, clean and reuse the water over and over in real time. Technically speaking, you can take a shower using only a certain amount of water, thereby reducing waste and keeping the environment healthy.”
“The other challenge that we face lies in the pursuit of sustainable design. Precisely, it’s about finding ways to make our products not only environment-friendly, but also easy to use and capable of water saving. All of this is achievable without the consumer having to compromise on convenience or accept a standard that’s lower than is desirable. This results in good experience in practical contact with the faucet, shower head controls, or the pressure adjuster that’s capable of reducing water use by 30 to 35 percent compared to older models. So that pretty much summarizes the three hot trends in bathroom design at the present time. Ultimately, everything boils down to privacy and environmental sustainability.”
Intuitive and Sophisticated Design
Q: Speaking of good experience design in modern living, what does it mean from LIXIL’s standpoint?
A: “Besides the physical appearance and technology that goes into making a product, we believe it’s important to pay attention to the little things. Together they combine to create a good consumer experience and effectively answer family lifestyle needs. Take for example the design of a mechanism for raising and lowering the shower head. Imagine a family consisting of little children, a wife and a husband. And they are all at different heights. It’s best if everyone can adjust the position of the shower head by himself or herself without needing assistance. And that’s what the consumer wants in everyday life.”
“We’re talking about product psychology here. It’s about creating product design that’s easily understood, making it user friendly. This is especially important in some situations, such as in a hotel room. There’s no experience worse than walking into the shower and standing there not knowing what to do or how to operate the device. Or you see a sensor-controlled water faucet and mistake it for a soap dispenser, even press a wrong button. It’s a bad experience. That’s why our products are made easy to use, so anyone can operate them intuitively. At the same time, it’s sophisticated enough to have pride of place in modern consumer behavior.”
A Focus on the ASEAN
Q: How did findings from consumer behavior research in the ASEAN benefit your product design?
A: “We have worked closely with consumer groups in the region. We currently have our design studios up and running in both Singapore and Shanghai because we want to understand the market and find out what consumer demands are exactly. Plus, we need to understand the culture unique to a locality and its relationship with water. It pays to know how important water is to different cultures in Asia because it’s an important source of energy.”
“With respect to the ASEAN, we discover that water pressures on average are lower compared to other regions. So our products are design to solve these problems, resulting in an improvement in people’s shower experience, ultimately raising the standards of personal hygiene. That’s the reason why we try to put two and two together to be able to produce the kind of design that’s right in the circumstances unique to this region.
“We have design teams numbering more than 100 stationed at eight studios around the world. Our design principles place great emphasis on research and development. We have teams that study all aspects of bathroom use in each and every region. They look into how the bathroom is decorated, when it’s in use, or if it performs as intended. Evening is an important time of day when the bathroom is most in use. As designers, we want to see people return to a home sweet home. It’s time to take a shower and enjoy a good experience, one that’s truly special after a long day at work.”
Antoine Besseyre des Horts, Leader of Lixil Global Design Asia
/ Story: Kangsadan K. / English Version: Bob Pitakwong /
/ Photographs: Kukkong Thirathomrongkiat /
Here’s a restaurant ensconced in lush greenery on the bank of the River Kwai in Kanchanaburi, a province in the western part of Thailand. It got the inspiration from the scenic beauty of a forest landscape and creative use of local materials. The result is an attractive eatery in an idyllic setting, one that speaks volumes for the virtue of humility towards nature.
The color and texture of local building materials blend together beautifully with the natural environment along the River Kwai Yai in Kanchanaburi.
From a distance, a fine view of the restaurant building merges into the lovely canopy of green along the stretch of the river known as Kwai Yai that runs through Kanchanaburi town. Its exteriors in warm shades of brown prove a perfect complement to a bank of earth covered in smooth river rocks that visually connect with the landscape. In a way, it’s an expression of cordial greeting, an invitation for customers to step inside, enjoy good food and take in a pleasing view of the river.
A drawing of the ground floor plan shows restaurant spaces in relation to the retaining wall shaped like the letter U. / Courtesy of PHTTA Living Design
A drawing of the second floor plan shows the location of a gallery along the outside of the wall used for al fresco dining. / Courtesy of PHTAA Living Design
A drawing of the side elevation view in cross section shows the location of a retaining wall in relation to the River Kwai water line up front. / Courtesy of PHTAA Living Design
Technically, the restaurant gets its rich color with a brownish hue from steel frames mixed with timber and other building supplies sourced directly from within the community. It’s thoughtfully devised to fit in well with the embankment situated below that’s built to prevent flooding in the area.
KAAN River Kwai Restaurant is the brainchild of PHTAA Living Design, a Bangkok-based studio renowned for creating architectural language that treats natural features as the integral part of design. The project offers 800 square meters of usable spaces that fuse with the surroundings to form a whole, while the River Kwai Yai provides access via waterborne craft to the shopfront. It’s also accessible by a road on the opposite side of the river.
A wall of earth, concrete and river rocks protects the riverbank from corrosion, meanwhile providing structural support and visually connecting with the natural surroundings.
The riverbank being three meters high from the water line makes it a challenge that tests the abilities of the team of architects. On the one hand, it’s good to be able to get a better view of the surroundings. On the other hand, years of water flowing down from the mountains have left the riverbank in danger of collapse. So a wall of earth covered in thick cement and smooth river rocks has to be built to prevent damage caused by corrosion.
In terms of color and texture, river stones made round and smooth by the action of water and sand perfectly blend with the physical surroundings. More importantly, they are easy to find, strong and water impermeable, making them a material of choice relevant to the context that forms the setting of the project.
A gallery overlooking the beautiful River Kwai is used as dining area.
As the lowest load-bearing part, the wall of earth reinforced by concrete and river rocks is capable of providing structural support for the safety and physical comfort of staff and customers alike. By design, it’s a clean well-lighted and well-ventilated place offering a high standard of performance as one would expect of buildings used for commercial purposes.
Semi-outdoor room for al fresco dining provides visual connections with the serene and peaceful River Kwai.
In a few words, KAAN River Kwai Restaurant is the product of a reinterpretation that treats characteristics unique to a particular area as more important than other things. It involves rethinking the state of affairs at hand and making appropriate adaptations to create exciting, new design, meanwhile showing humility towards nature by subtly blending in with the green of the pristine forest.
The name “Office for Trees” may sound unfamiliar, but that’s precisely what it’s meant to be. Here’s a modern workplace adorned with shade trees, shrubbery and hanging vines strategically placed to keep the heat out and embrace the beauty of every corner of interior design.
Seen from the street, the “Office for Trees” boasts the beauty of a see-through façade overlooking a well-maintained, inviting front yard.
Located in an urban district in Khanh Hoa Province, south central Vietnam, the building bears some resemblance to a solarium from a distance. It boasts a see-through façade made up entirely of glass to admit sunlight. Inside, beautiful workspaces enclosed by glass walls are disposed around a lush interior courtyard filled with trees and a pathway giving access to all the rooms.
Taken as a whole, it’s design that speaks volumes for the concept of the sustainable use of natural resources. While the country’s economy is picking up speed, the hidden danger of rapid urban growth is real. Lack of green spaces in the city and the realities of today’s climatic conditions are permeating all facets of people’s lives, affecting their health and well-being to put it mildly.
Conscious of changes in the environment, Pham Huu Son Architects, a group of young and dynamic architects based in Khanh Hoa, set out to create a different kind of business premises by incorporating the basic elements of nature into building spaces. The result is an ultramodern office providing 650 square meters of work area that’s calm and more conducive to creativity. Plus, it’s capable of carrying out the complete functionality for a variety of business operations.
A drawing of the first floor shows the main entry area (left) in relation to a stepping-stone garden pathway lined with green plants running the entire length of the building. / Courtesy of Pham Huu Son Architects
Nature at work, a drawing of the office’s upper covering illustrates rows of skylights alternating with planter boxes filled with green plants. / Courtesy of Pham Huu Son Architects
Nature at work, a drawing of the office’s upper covering illustrates rows of skylights alternating with planter boxes filled with green plants. / Courtesy of Pham Huu Son Architects
The “Office for Trees” consists of two buildings separated by an inner courtyard. Walk in the door, and you come to an impressive office reception/waiting room connected to the main office space at the rear.
Named the “Model House”, it contains an interior mockup complete with a bedroom, dining room, kitchen and bathroom designed to give customers a feel of how the design works. Between the buildings, a lush courtyard creates a focal point in the outdoors, improves natural ventilation and opens to admit daylight.
But what makes it stand out in a crowd is the glass façade that rises from the floor to the ceiling, resulting in a bright and airy office overlooking a koi pond and a well-kept, inviting front yard.
To reconnect with nature, the reception/waiting area is hemmed in by lush vegetation with a stepping-stone garden pathway connecting the front to the back of the building. Overall the interior is simple, clean and uncluttered with only a few pieces of furniture characteristic of minimalist ideas.
The office reception room up front is glazed using clear glass that stands tall from the floor to the ceiling. The interior is light, airy and uncluttered with a few pieces of furniture characteristic of minimalist design.
Glass walls separate the ”Office for Trees” waiting room from a koi pond in the front yard adorned with lush vegetation.
A design based on mutually beneficial relationships, the “Office for Trees” is able to provide a comfortable work environment. On the outside, green plants thriving vigorously under the big hardwood canopy trees act as engine that drives natural air circulation, keeping the interior workspaces nice and cool throughout the day.
At the same time, an underground water tank keeps the gardens well supplied all year round, resulting in well-maintained landscapes. On the rooftop, solar panels provide clean and green energy, keeping the “Model House” cool and saving electricity costs.
Reconnecting with nature, a stepping-stone garden pathway lined with lush vegetation creates a sense of space in the workplace made light and airy by design.
A park table and benches provide perfect outdoor room to chill out. They sit on the top of an underground water tank, a clever hack to save floor space in the inner courtyard.
A drone’s eye view shows the “Office for Trees” rooftop covered in planter boxes filled with lush foliage alternating with skylights providing ventilation and natural daylight.
Lastly, it’s clear that green spaces, adequate lighting and good ventilation play a vital role in improving health and productivity in the workplace. Together they create an atmosphere conducive to creativity, increased energy and enthusiasm for life. Thanks to well-thought-out design, there are amazing qualities aplenty here at the Office for Trees in Khanh Hoa, Vietnam.
/ Story: Lily J., Kangsadan K. / English version: Bob Pitakwong /
/ Photographs: Kranchanok Boonbamrung /
A brainstorming session took place on May 8, 2024 in what was described as a determined effort to take Thailand’s art and craft industry to the next level, ultimately accessing new markets and expanding their reach globally.
Organized by the Sustainable Arts and Crafts Institute of Thailand, SACIT, led by Ms. Naruedee Phurattanarak, director of research and development for artistic products at SACIT, the conference brought together nine experts from a wide range of disciplines to discuss three hot topics; “Unseen Craft”, “Thainess” or the key attributes of being Thai, and “Craft Power”. The panel speakers included luminaries in the art and craft world, namely Mr. Viboon Leesuwan, Mr. Meechai Taesujariya, Mr. Pairoj Pittayamatee, Mr. Asa Piwkhum, Mr. Phitirat Wongsutinwattana, Dr. Sirikorn Maneerin, Ms. Pawinee Santisiri, Ms. Supavee Sirinkraporn and Ms. Cholada Siddhivarn.
Naruedee Phurattanarak, director of research and development for artistic products at the Support Arts and Crafts International Centre of Thailand (SACIT).
The discussion on the theme of “SACIT Craft Power – The Future of Crafts: Guru Panel” represented a massive drive to assist and inspire craft makers, retailers and brands to go global and unlock the next level of growth for their business. Very briefly, it’s about challenging many popular perceptions that “craft products cannot be used in everyday life”. That being said, it makes perfect sense to try and change the way people think about arts and crafts on the global market by presenting quality craft goods that can be used every day and in so many different ways. Here’s a summary of the spontaneous discussion, one topic at a time.
Unseen Craft:
The first topic of discussion, named “Unseen Craft”, is mainly concerned with the moments of inspiration that go into creating art and craft products. Panel speaker Viboon Leesuwan, a member of the Royal Society of Thailand specialized in visual arts, talked about the enduring allure of Thailand’s traditional crafts. Viboon is an avid art collector with authoritative knowledge of crafts made from locally sourced materials. For many people, these are products that give great aesthetic pleasure and are valued for their usefulness.
Viboon said that for heritage craft skills to continue for a long time to come, it’s imperative that we foster good practice and general knowledge of art and craft among young people. As he put it, the key to success lies in the dissemination of ideas, values and learning to a wide audience.
He said that mentoring and educating young adults in art and craft must go hand in hand with developing awareness about local wisdom, or customs and practices recognized and followed by local communities for many generations. According to Viboon, each craft product bears a geographic indication, or essential qualities and ingredients that tell the story of its origin and the process that goes into making it. Take for example “Pha Gab Bua”, which is a kind of handwoven fabrics made by Meechai Taesujariya, national artist for visual arts (handwoven fabrics category) and winner of a 2016 Master Artisans of Thailand Award.
Pha Gab Bua fabric is made using weaving patterns indigenous to Ubon Ratchathani Province that’s widely acclaimed for its unique design, original material, and the power of storytelling about the weaving technique and area or neighborhood from which it is made. More than anything else, it’s a heritage craft skill that people rely on as a means of securing a livelihood and, at the same time, stimulating the local economy.
Thainess:
The second topic deals with promoting “Thainess”, or qualities that are the key attributes of Thailand’s cultural traditions. From a different perspective, there’s a feeling of accomplishment in the product, something that gives a sense of history and heritage that makes people purchase Thai-made goods. With this knowledge, a craft maker can maximize his business potential, creating products that are trendy, tailoring them to meet the specific needs of young people and, at the same time, incorporating storytelling techniques in craft goods.
Panel speaker Pawinee Santisiri said that art and craft itself is a language that expresses creativity and imagination. And the power of storytelling comes handy as an important tool to communicate the values and usefulness of a product to potential buyers on the global market. To take it to the next level, the craft maker relies on a universal language to present designs and ideas that are easy to understand. The universal language is one of many strategies used to connect buyers and sellers, eventually giving a product the renown of a famous trademark, not to mention enhancing sales and expanding into new markets.
Essentially, art and craft is about conveying an idea, impression and feeling through a physical concrete form. For a product to be successful, it must answer the specific needs of a target group, for example by placing great emphasis on the pride and joy of being Thai and, at the same time, promoting a good understanding about cultural heritage and the craft skills that go into making the product. It’s a series of actions that starts at the early stage of education.
At the risk of stating the obvious, art and craft instructors as well as master artisans, students and designers all have an important role to play in furthering the progress of handicraft skills, ultimately continuing to strengthen and take pride of place in modern society.
Craft Power:
The third and most important topic of discussion has to do with “Craft Power”, which refers to the ability of art and craft to influence public opinion and the behavior of target audiences on the global market. About this subject, the experts concur that for the art and craft industry to prosper, the only way forward is to advocate for sustainability every step of the way.
Interestingly, the tourism industry helps a great deal in raising awareness about art and craft products, resulting in good customer experiences. This eventually translates into higher incomes from craft making, thereby allowing communities to improve conditions of life. Plus, by making design in an integral part of the art and craft industry, the possibilities are endless. Well-thought-out design gives rise to an exciting array of new products. And they can be anything from a variegated color ice-cream to building supplies needed to create beautiful works of architecture.
Technically speaking, the power of craft can come in many different shapes or forms, even starting from scratch. It’s a good place to start where nothing has ever been done before. Take for example creating a work of handicraft using raw materials from agriculture. Done right, it’s a way to help protect the environment by promoting good practices at both the upstream and downstream stretches of the manufacturing process. In the end, the economy, culture and society stand to benefit from it, thanks in part to enduring efforts at making knowledge available to a wide audience. Online platforms are one way of reaching out and connecting with consumers.
The three topics illustrated above lay the groundwork for the development of a generation direction in which Thailand’s art and craft industry is developing in the near future. The ideas generated from this discussion provide the framework for the preparation of a new book titled, “SACIT the Future of Craft, Trend Forecast 2025.” Taken as a whole, they symbolize a vigorous effort for the advancement of all facets of Thailand’s art and craft industry and, at the same time, advocate for sustainability every step of the way.
In order to obtain more information on Sacit Craft Trend Book 2025, please contact Product and Potential Development Division at 0-3536-7054-9 then 1385 or download the E-book at https://www.sacit.or.th/th/detail/2024-06-20-16-40-45
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