Chatpong Chuenrudeemol, of CHAT Architects, Thailand, is an architect and researcher renowned for what he called “Bangkok Bastards”, a project that investigated unsightly urban areas, such as construction site camps, inner-city slums and retail stalls abandoned and reclaimed by nature. Rethinking them from a new perspective, he was able to restore them to life in an interesting way.
Outstanding products of “Bangkok Bastards” included the Samsen Street Hotel, a downtown lodging inspired by scaffolding wooden planks and metal poles on the outside of a building. Together they gave rise to exciting new design bearing some resemblance to the raised platforms attached to a building during construction.
Samsen Street Hotel / Courtesy of CHAT ArchitectsSamsen Street Hotel / Courtesy of CHAT Architects
In a way, the Samsen Street Hotel is a revelation of previously unseen aspects of building design, a conceptualization that culminates in a thorough change in the form, character and experience in a very open and visible way. Taken as a whole, it’s a piece of architecture designed to promote social interactions, a community hub for hosting events and spaces for people to meet in the Samsen Street neighborhood. That’s not all. He also has other projects in the making, basically focusing on reuse and rethink as ways to create places of higher quality than he found it.
Angsila Oyster Scaffolding Pavilion / Courtesy of CHAT ArchitectsAngsila Oyster Scaffolding Pavilion / Courtesy of CHAT Architects
A little bit about Chatpong Chuenrudeemol
Chatpong is founder of CHAT Architects and winner of the 2020 Silapathorn Award in Architecture.
After completing his master’s degree at Harvard University’s School of Architecture, Chatpong returned to Thailand where he set up a business called CHAT Architects. He was very interested in architectural styles that reflected the true values, experience and the way of life of ordinary people. His research in urban planning and development was inspired by a feeling of wanting to know more about happenings in the street. They included events in the community, construction site camps and deserted retail stalls, to name but a few. Their untidy outward appearances belied the quality of being honest and truthful to others.
Like everything else, the buildings built by non-architects based on local needs and available materials deserved a second chance. So, it’s up to the architect to rethink them from a different point of view and put them to good use once more. After all, there is value in everything.
(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.
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.
/ 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: Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Nantiya June /
Studio Miti is founded by Prakit Kanha and Padirmkiat Sukkan, two architects who have been friends since college. They attended the same school of architecture at a university. Since 2010 the architectural firm has won acclaim for its expertise in materials science skills and ability to integrate knowledge of design with the circumstances that form the setting of worksite surroundings. Having earned many architectural design awards over the years, Studio Miti is clearly living up to his name.
The story of Studio Miti had its beginnings at a workbench inside a rented room that doubled as their humble abode. As the amounts of work increased, the pair thought it wise to move into a decent workplace. They moved several times to different places, among them a rental space on the ground floor of an apartment block that, albeit small, became their first design studio.
The turning point in their career as architects came as the company grew and grew to the point they decided to move again, this time to a permanent home with a brick façade showcasing materials that speak volumes about their ideals and corporate identity.
Studio Miti’s new office showcases the building’s principal face capable of staying open and shut as needed as one of its main design features.
For almost 15 years, Studio Miti has kept firmly to its guiding principle in design, one that combines knowledge of design with an understanding of the context that forms the setting of a place, plus the ability to research the structure and properties of materials used in construction.
In the fewest possible words, it’s about knowing what the materials are made of and how they can be used so as to achieve the best results and aesthetic appeal. Equally important is the ability to create design that’s conducive to improving the quality of life plus charm, good looks that inspire.
The company’s unflinching determination to stand by its design principle and beliefs is reflected in the looks of its new office set amidst the bustle of the Lad Phrao Soi 71 neighborhood in Bangkok where it moved into in 2024.
It’s an old townhouse that has since been lovingly restored as an office. It showcases the front façade covered in lightweight concrete blocks in dark gray that conveys a great deal about Studio Miti’s ideals and in-depth visions guiding its actions.
We have the pleasure of meeting with Padirmkiat Sukkan, co-founder of Sudio Miti, and getting to know more about the company’s design concept, plus taking a tour inside their new office. Join us in discovering the secrets behind the building façade crafted of gray concrete blocks, plus the design concept and beliefs that have put Studio Miti in a class in itself.
Q: Tell us about your journey, design principles and beliefs that guide your actions.
A: “As you know, Studio Miti has moved office several times over the years. Every time we moved, we did some experiments on the materials that we used. We tried to weigh the work we did to determine its essential quality. We believe in using real materials. By that is mean that we use pure materials in their original visual shape, color and texture without over embellishments.”
Flashback: Studio Miti’s old office building showcases brick façade ideas in every direction.Despite its solid brick exteriors, Studio Miti’s old office building feels open and airy, thanks to skylight systems that turn the interior into a well-lighted place.Enclosed workspace inside Studio Miti’s old office provides freedom from external disturbances, making it easy to stay focused during the work day. Plus, it’s adequately lit by overhead skylight systems.
“At our current location, we used mostly bricks as the material of choice. We experimented on brick constructioon as well as bricks and steel. This time, we tried using lightweight concrete blocks as the main material instead.
“In fact, we found it by chance at a worksite. We were using the product and, out of the blue, it broke at the seams at the midpoint. We discovered a curving contour inside it.
“It looked interesting when touched by light. So we took it apart and looked inside it. The effect was good by a touch of light. I thought we could build the entire building facade using this material. And we did. The same applied for other parts of the building, too.”
“We implemented this project, renovating an old townhouse built some 30 to 40 years ago. There were site limitations that we had to deal with. The external envelope was opaque, being built entirely of brickwork. It came with one restriction; a complete teardown was not permitted.
“So we created a building façade that’s capable of being open and shut as needed so as to control the amounts of natural daylight shining into the interior, thereby making it easy to stay focused during the work day.”
“Actually, we are interested in the design process. We look for ways, by which the tools that we use in designing diagrams can also be applicable or relevant to the materials being used as well.
“Oftentimes we put the materials to the test ourselves. It gives us confidence in doing designs, plus the benefits that come from touching it and getting the feel of the materials. It’s an important approach that we use.”
Q: What’s your thought on using real materials and creating Tropical design?
A: “On real materials and Tropical design, I regard the two concerns as being part of one cohesive whole.
“In a warm and humid climate like ours, first, I say we have to understand and be able to use the sun and the winds prevailing in the region to our benefit. It’s very basic to begin with. If we have the opportunity and the owner agrees and likes what we do, then we can develop the materials that we need together.
“And when it comes to using pure materials, I feel they are beautiful without being over embellished. We just need to find out how design can be used to make them look beautiful with little or no modification. To us, understanding the materials and how to them is of the utmost important.”
A meeting room-cum-recreation space on the ground floor feels bright and breezy, plus it’s easily modified to respond quickly to changing needs and activities.A meeting room for receiving clients is glazed using clear glass to admit natural daylight into the interior.
“Speaking of knowledge of a Tropical climate, I feel it’s a must-have for architects. Thai architects, especially, must have a good understanding of sunlight, the heat, humidity and the cold. They are the basics. To create designs, knowing all the basics takes priority over any other matter.
“But more than anything else, me have to make sure the kind of architecture that we create represents the owner. If not, at least it must speak volumes about the place, about the site and the context that forms the setting around it.”
Q: Help me understand some of the work you did in the past? A few examples, perhaps?
A: “To show you some of our past achievements and the results of our experiments, I say we used bricks. Bricks were the material that we used often. As for wood, we used that often, too. We used brickwork mixed with wood in the construction of Athita the Hidden Court Chiang Saen, a boutique hotel in Chiang Saen District of Chiang Rai Province. It’s a hybrid of brick and timber.”
Athita the Hidden Court Chiang Saen, a boutique hotel in Chiang Saen District of Chiang Rai, Thailand’s northernmost province. / Courtesy of Studio MitiAthita the Hidden Court Chiang Saen / Courtesy of Studio MitiAthita the Hidden Court Chiang Saen / Courtesy of Studio MitiAthita the Hidden Court Chiang Saen / Courtesy of Studio Miti
“If I may show you a project built entirely of bricks, or brickwork mixed with steel, it’s the “High Brick House” or “Baan Look Moo”.
High Brick House / Courtesy of Studio MitiHigh Brick House / Courtesy of Studio MitiHigh Brick House / Courtesy of Studio MitiHigh Brick House / Courtesy of Studio Miti
“In fact, we’re working on another one, too. I believe bricks release the heat faster. We’re working on a house project called “Baan Yoo Yen”. It’s built entirely of bricks. The wind blows through it, keeping the interiors nice and coo. It benefits from traditional beliefs about Tropical design. By creating indoor thermal comfort, we can rely less on air conditioning.”
Baan Yoo Yen / Courtesy of Studio MitiBaan Yoo Yen / Courtesy of Studio Miti
“Every piece of work has its distinct character. It’s a quality of being aesthetically pleasing that lies deeper than traditional beliefs per se, even deeper than knowledge of a Tropical climate. I’m referring to an understanding of human nature, and knowledge about the circumstances around a worksite. They are the mystery we’re trying to unravel, leading to further development.”
Q: Tell us about the Goal of Studio Miti, or the object of your ambition.
A: “As for the goal of Studio Mini in ten years from now, I want to provide an idea foundation for younger members on the team today. I believe we have the capacity to develop further.
“There’s still a lot to learn. There’s more to it than design in and of itself. It may involve understanding the context that forms the setting of a place, be it socially or economically. There are lessons to learn going forward. The transmission of knowhow from us to younger members on the team is important. We want to provide the tool they can take with them.”
High ceilinged workspace inside Studio Miti’s new office is well-lit by natural daylight. Among others, the redesigned building facade can open and shut as needed to provide privacy and freedom from external disturbances, making it easy to stay focused on the task at hand.
“If I get lucky, we will move forward together. If I get luckier, they may move on to their future undertakings, where they continue to grow in their line of work. But everyone must have the basic knowledge to begin with, knowledge about the climate prevailing in Thailand, knowledge about the context that forms the setting of a place.
“It’s something that’s more than meets the eye. That’s the basics that will help them grow and mature and, at the same time, give us the old guards at Studio Miti the impetus to grow and develop as well.”
“I believe the future of our office isn’t up to me alone. Rather, it comes from younger members on the team who must understand this, and work together toward a common goal.”
/ Story: MNSD, Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Courtesy of Soar Design Studio /
Ray Chang of Soar Design Studio grew up in a peaceful environment set amid the beauties of nature in Taiwan, an island at the junction of the East and South China Seas. He developed an interest in the Truth of Nature, finding moral strength that lies beyond the realm of capitalism and the increasing globalization of the world economy. It’s a conscious cognitive process that, in a gradual way, enabled him to formulate new thoughts and a sense of perspective different from that of his contemporaries. These qualities are often manifested in his architectural masterpieces and other designs influenced by Eastern philosophy. Obviously they embrace the beauty of change in nature in an era characterized by a whole range of pursuits of certainty in uncertain times.
Through the years Ray Chang has won acclaim for his architectural works, among them the Golden Pin Design Award, one of Asia’s most coveted prizes for best designs. With that being said, he’s one of Taiwan’s up-and-coming, young architects to watch, especially in the residential, commercial, restaurant and café design category.
He founded the Soar Design Studio in 2012, a year notorious for many bad events on a global scale. Amid tumultuous times, Ray even asked himself what was it exactly that he had a passion for.
TERRA Bean to Bar
Wild House
Ri Ri Chun
The following are excerpts from an interview we did recently with Ray. It touched upon his thoughts and philosophy, the attitude and theory he held that guided his many successful designs. They evoke the image of a real architect questing after truth, one inspired by the beauties of nature and the deep meanings it brings. Here’s a glimpse into this thought.
Q: When it comes to creating a design, you often draw an analogy between man-made structures and the workings of nature. Where did you get this idea from?
A: “Living in the countryside, of course nature was part of my growing up. I believe it’s possible to make architecture blend perfectly into its natural surroundings.
“There are plenty building materials and designs all around waiting to be discovered. We only need to pay attention to detail. Focus on feelings and how you react physically and psychologically as you reconnect with nature. And those good feelings should come naturally to you.
“I tried to free myself from the constraint of Western style architecture, preferring instead to pay attention to the ideas and designs that give great aesthetic pleasure from the point of view of Eastern philosophy. To put it simply, I tried to think outside the box, trust my instincts, be honest with my personal ideology and give special importance to the circumstances that form the setting of the project site.”
TERRA Bean to Bar
TERRA Bean to Bar
Q: You said that you wanted to free yourself from the constraint of Western style architecture. Why is that so?
A: “Western style architecture is a branch of knowledge founded on scientific thinking, a set of reasoning processes which is a big help in terms of construction. But we need to have our own design guidelines. In the Eastern world, it’s a crossover between architecture and spirituality. It’s a concept that has implications in design. We focus on feelings, and we listen to our hearts.
“I have a Western style architecture foundation from which I cannot escape. But at least I can make a difference by integrating the two approaches so as to create a successful design. I grew up in a rural area where works of architecture were few and far between. It was a learning environment that made me think differently and hence design things in my own way.
“It’s neither the Japanese style nor the Chinese style. But, taken as a whole, it’s something that epitomizes Eastern philosophy. It’s about making appropriate adaptations to merge into the natural environment, rather than trying to dominate or control it.”
Life in a Treehouse / “It’s this house in the woods that enhanced my childhood experiences. At the time, all I ever wanted was a fun place to live, and this house came in handy to give me the inspiration going forward, a home in nature’s peaceful embrace.”
Q: Is that the reason why you became interested in “Wabi-sabi”, a Japanese aesthetic concept, and the Truth to Materials approach to architecture.
A: “I think “Wabi-sabi” is about natural simplicity. It’s the concept of impermanence and the transience of life.
“Take for example a piece of architecture that I created back in 2016. It was a renovation project aptly named the “Old House in Wabi-sabi”. As I was working on it, I discovered it took on a life of its own. It had a rich history judging from the traces left behind through time and the power of storytelling that came with age. Together they became my front-and-center concerns.
“I refrained from applying new principles to it, but preferred instead to let inspiration happen during the designing process. Long story short, it’s this project that introduced me to Wabi-sabi, the traditional Japanese aesthetics.
The Old House in Wabi-Sabi
“I’ve always been fascinated by the Truth of Nature, which is the core concept of Wabi-sabi. It’s one of several abstract ideas from Eastern philosophy. There are also Chinese belief systems governing how people think and behave, among them a thought credited to Laozi, literally “The Old Master”, and the ancient Chinese text Zhuangzi that deals with the philosophical problem of change.
“Overall, they combine to give me a foundation or moral principles guiding my thoughts and my work.
The Old House in Wabi-Sabi
The Old House in Wabi-Sabi
“Precisely, I’m not in business to build structures or spaces that will last for all eternity. That’s not for me. Rather, I want to create something that’s beautiful in its time.
“So, whether I’m working on an old house or a new one, it’s of the utmost importance to reconnect with nature. When humans are linked with the natural environment, it calls to the conscious mind the image of Wabi-sabi, a piece of architecture that accepts the natural cycle of life. It leaves behind the traces of time that act as a catalyst of change.
“I use the word “complete” to describe the subtleties of change effected on the surface of an old building material. The same textural subtlety cannot be produced again on a new material. Each trace of time is unique and can never be repeated. And that’s the power of storytelling that captivates me.”
Q: Does the context of a project, physical or cultural, have any significant impact on your design? How?
A: “To answer that, I’d rather use the term “neighborhood” or “community” rather than the word “context”.
“In modern urban planning, the original circumstances that form the setting of a place are long gone. Plus, the real estate market has expanded at a faster pace now than ever before. New landmark buildings have mushroomed everywhere. I’ve always thought that the term “neighborhood” or “community” would be more appropriate for the present circumstances.
“Locality” is another word that I’m interested in. In fact, we should pay attention to the “landscape” and try to understand the characteristics of the “people” and their ways of life. This will give us a better understanding of cultures and social interactions in a locality.
“It’s synergy and a sense of belonging that I experienced growing up in rural Taiwan, where neighbors came together, talked together and good times were had by all. Well-thought-out architecture, such as shops, restaurants, café, et cetera, can play a role in bringing back those fond memories.
TERRA Bean to Bar
“I adapted an old house making it suitable for new use and created a welcoming atmosphere in which authentic Taiwanese tea was brewed and served the traditional way. It connected with nature for health and well-being according to Eastern philosophy.
“While doing that, I spent time in that old house every day to get the feel of the place and everything about it from sunshine to surrounding lush green fields. Inspired by the location and the house interior, I changed the floor plan almost weekly until I found the right balance.”
Zhao-Zhao Tea Lounge
Ri Ri Chun / A neighborhood restaurant gives off charming Taiwanese vibes. It’s a design that reflects local culture that seeks reconnections with nature through well-thought-out plans and the use of simple materials. It won the coveted Golden Pin Design Award 2022 in the Spatial Design category.
Q: Your designs are mostly residential and commercial spaces. Will you follow the same principles in doing larger projects?
A: “I’ll give you an example. We’re in the process of developing a large-scale project, the initial phase of which involves transforming a neglected area of grounds into a public park. A tall building will come after that. In Taiwan we have to wait a year or two to catch up on some paperwork and get everything legally approved. While there’s no construction going on, the unused grounds transform into an open public space for people in the neighborhood.
“It’s filled with plants indigenous to Taiwan with a small teahouse in a peaceful country setting. The teashop provides reflections on the Wabi-sabi concept that finds beauty in imperfection and change taking place over time. As soon as construction gets underway, the teahouse will move out to serve a new purpose as school building in a remote area. Every step of the way, people are aware of the cycle of change taking place in the community.”
Q: From then till now, are there any serious challenges preventing Soar Design Studio from achieving its goal?
A: “We established a business offering our design styles in the midst of uncertainty in the real estate market. Like everything else, starting is often the hardest part. There were some clients who didn’t get what we’re trying to achieve. But things have gotten much better lately. We got a lot more work coming in thanks to our ability to get the message across and present our concept and our belief to a wider audience.
“By the way, I’m still a paper-and-pencil man who prefers drawing by hand to using apps. It’s great to begin with hand drawing for it helps me think and discover new, exciting possibilities. The computer comes in next to finish the job. It’s the main tool to get things done and communicate with others. I’m trying to find the right balance even as I speak.”
Soar Design Studio Office
Q: On the design principles that embody Eastern philosophy. How are they catching on among the Taiwanese? Are they well received by the young generation?
A: “They seem to be popular with small social groups outside the mainstream of Taiwanese life. Nowadays, Western cultures still have an influence on the perception of beauty among most people.
“The clients who come to us are mainly those who appreciate beauty from the Eastern perspective. By participating in competitions at the international level, we have been able to create greater awareness of Eastern concepts through our well-thought-out designs.
“In reality, we may not be able to keep Western influences out of designs created by Taiwanese architects. I think that Taiwan being an island is at an advantage. We have long-established cultures and distinct identity of our own, but everything is changing fast. The question is: how can we begin to carry on work at preserving our design principles amidst challenges?
“I’m really pleased that young generation architects have made local values front-and-center concerns in their designs. So Taiwan can expect unique and interesting phenomena in architecture in the foreseeable future. I hope that we’ll be able to strike the right balance between Eastern and Western values.”
/ Story: Story: Lily J. / English version: Bob Pitakwong /
/ Photographs: Courtesy of Jai Baan Studio /
For Supawut Boonmahathanakorn of Jai Baan Studio, it’s easy to get why humans crave the touch of nature in their lives. It shows in what they’ve been doing all along — from ecotourism that combines travel with conservation, to an escape from the hustle and bustle of the city that happens from time to time. Why not? Out in the country the atmosphere is salubrious and the natural landscape pristine. Priceless!
But from the opposite point of view, what’s generally regarded as good also has the potential to inadvertently do harm to nature.
Not to mention the uncontrolled urban growth that can lead inexorably to unwelcome change in such a way as to impair the values and normal function of a rural community.
That’s where the designer group Jai Baan Studio led by Supawut Boonmahathanakorn, comes into play. Interestingly, they are determined to pursue a goal in creating designs that strike the right balance between satisfying basic human needs and protecting nature from harm, thereby adding to its ability to replenish.
To them, it’s a quality achievable through well-thought-out planning, a conception of design that prioritizes wisdom, prudence and function over form that brings aesthetic pleasure.
room and Living Asean have the honor of presenting Supawut Boonmahathanakorn of Jai Baan Studio. It’s a group of architects, planners and thinkers specialized in design that expresses our common humanity and the need to reconnect with the natural environment.
Mr. Supawut will be one of our guest speakers at the annual room X Living Asean Design Talk 2023. The event will take place on Sunday August 6 at the room Showcase zone inside Baan Lae Suan (Home and Garden) Fair Midyear 2023, BITEC Bangna, Bangkok, Thailand.
Q: What’s the basic principle of Jai Baan Studio? In other words, what’s important in the course of action you’re pursuing?
A: We regard restoring nature as the most important endeavor of our time. In doing so, we make every effort to “rewild” of the environment, be it built or natural.
We look for effective ways to restore balance in nature, thereby bringing the ecosystems back to health. In essence, it’s not about designing just to satisfy basic human needs alone. There are other things worthy of consideration, too.
Adishtan House / Here’s a thoughtful residential design that strikes the right balance with nature. It’s not devised as a response to homeowner needs alone. Rather, it’s a house plan that speaks volumes for everything that Jai Baan Studio stands for, an approach that takes the totality of the circumstances into consideration.
In the past, when people built something, they seemed to have a worldview that’s different from ours in this day and age. Back then, people didn’t separate things into different parts as is the case with works of architecture at the present time.
Their perspectives on life are evident in structures that conveyed a great deal about who they were and their relationship with the context of a place. Likewise, that’s what inspires us with a vision to pursue a wide range of contemporary design.
Among other things, we look at creating commercial spaces that are responsive to customer needs. At the same time, we look for design that strikes a balance between human needs and nature conservation. That’s important to us.
Adishtan House
We feel that the world is at a crisis point in history, a period characterized by mass extinction events brought on by the loss of habitats across a wide geographic area. It’s a time of intense difficulty that we are facing.
Yet, we feel that architects, designers and thinkers have a role to play in bringing public attention to the danger in a more perceptible way.
This is because the Earth’s surface, as we know it, has undergone transformation in so many ways. At the same time, human impacts on the environment continue with no end in sight.
Intentionally or not, the spreading of urban developments has had tremendous negative effects on the surroundings, both urban and rural.
Homjai House / By finding a balance between basic human needs and the context that forms the setting of a place, the architects at Jai Baan Studio are able to produce a home plan consistent with community values in society and the natural surroundings.
That said, it’s important for us to be able to speak on behalf of nature — living organisms, humans, animals, insects, plants, and let their voices be heard.
Mind you, the flora and fauna of the land have needs just like we all do. Hence, it’s good to do our share of the joint effort at restoring the balance of nature.
This brings us to the term “rewilding” the environment, which in essence is about restoring ecological systems to a stable equilibrium. That’s the message that we’re reaching out to communicate with our clients.
Homjai House
Q: How do you respond to the rise of urbanization and the consequences of land change in areas where you work?
A: Urbanization is a process that’s happening every day. We’re constantly making partial or minor changes to the city we live in.
Over time, it expands into outlying areas and small towns in the countryside. Even in the remote corners of the country, changes are taking place there, too.
Our office is located in Chiang Mai, but a sizeable proportion of the population is originally from Bangkok and other provinces across the country. They have come to call Chiang Mai home trying to fulfill their dreams of living in close touch with nature.
It’s an interesting phenomenon in which people feel a powerful desire to live a healthy lifestyle embraced by nature. They come in droves, and that’s what gives us architects new challenges.
Nunienoi Wetland / For the architects, designers and thinkers at Jai Baan Studio, animal needs are just as important as those of humans. For this reason, this wetland in Chiang Dao District of Chiang Mai is “rewilded” to its natural uncultivated state. The area is home to birds and animals great and small that are indigenous to this region.
The solution to the problems lies in whether we can find a balance between the form and function that people want on the one hand, and sustainability and quality of life on the other.
Suddenly, it dawns on us that our work can no longer be confined to landscaping design alone. Rather, it has to encompass all aspects of residential planning, environment improvement, and interactions with nature.
Therefore, it’s important to reach out and create an awareness among the residents. In doing so, we are able to offer the kind of thoughtful planning that’s clear and easy for building contractors to follow.
It’s a gradual process. Meanwhile, we must allow nature time to take its course and regain the ability to replenish.
Nunienoi Wetland
Q: In your opinion, how can design or your role as architect help toward community development, and society as a whole?
A: Let me answer in two parts.
First of all, we play an important part in communicating with the public in a respectful and subtle manner.
We don’t just tell people without explanation what good canal design should be and whatnot. Rather, we approach the task from a wider perspective, raising the issue of water pollution and how best to protect and restore the environment to health.
The same applies to other issues that involve public participation to resolve — from problems in the local economy, to impacts on ecosystems, to culture.
It’s about reaching out and talking to people, a role comparable to that of a diplomat, except we speak on behalf of nature. We wear two hats: humans who see things as humans do; and ambassadors of the environment that’s negatively impacted by change brought on by urbanization.
Done right, we can make our community a better place to live, together.
Mae Kha Canal / The Mae Kha Canal, a tributary that flows into the Ping River in Chiang Mai, is restored to a clean and pleasant condition. It’s a welcome change that bespeaks the resilience of nature and a joint effort at improving riparian ecosystems that shape the health the community.
Secondly, in helping toward community development, we collaborate with people from different walks of life.
Unlike old times, today’s architects often find themselves working jointly with people from different fields. Together, we look for an excellent, well-thought-out plan with help from a variety of knowledgeable sources.
It’s a conducive work environment, in which everyone is treated as equal regardless of economic backgrounds or points of view. Good design comes from a nexus of ideas that all parties bring to the table.
Above and beyond anything else, it’s about bringing people together and making success happen.
Mae Kha Canal
Supawut Boonmahathanakorn is one of our guest speakers at the annual room X Living Asean Design Talk 2023. He will touch upon the topic of a balance between human needs and nature conservation. Plus, it’s an opportunity to keep abreast of the latest developments in design, architecture and landscaping. The event will take place on Sunday August 6 at the room Showcase zone inside BaanLaeSuan Fair Midyear 2023 at BITEC Bang Na, Bangkok.
This year’s Design Talk is on the theme of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” Admission is free. Just a friendly reminder, seats are limited. Advance registration is recommended.
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