PEOPLE / Living ASEAN - Inspiring Tropical Lifestyle

Antonius Richard Rusli, RAD+ar: Integrating Nature with Design from the Perspective of Tropical Architecture

By livingasean
July 27, 2023
CULTURE,PEOPLE,room x Living Asean Design Talk 2023,SPECIAL SCOOP

/ Jakarta, Indonesia /

/ Story: Kor Lordkam / English version: Bob Pitakwong /

/ Photographs: Courtesy of RAD+ar /

For Antonius Richard Rusli, founder of the Jakarta-based designer group RAD+ar (Research Artistic Design + architecture), the totality of the circumstances and the Tropical climate characteristic of the Indonesian archipelago present both opportunities and challenges that test the abilities of architects, designers and thinkers. The group’s outstanding achievements, both completed and experimental, encompass a wide range of property developments design, from residential real estate, to offices, to café and restaurants, even mosques to name but a few. Interestingly, they share a set of common attributes that speak volumes for a determination to reconnect with the surroundings and harness the healing power of nature.

Hence, it’s no surprise that nature permeates through their design, forming in a distinctive element in everything they have accomplished. Yet, it’s incorporated precisely and delicately.

In a rich and subtle way, it reflects a belief that well-thought-out design is a must-have strategy needed to overcome the challenges. Plus, it comes from a vision that looks deep into nature for a possible course of action that bodes well for a sustainable future.

Here’s a glimpse into his biophilic design reconnecting people with the environment and nature through architecture. Antonius Richard Rusli is one of the distinguished guest speakers at the annual room x Living Asean Design Talk 2023.

This year’s conversation event is on the theme of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” It’s taking place at the room Showcase zone inside Baan Lae Suan Fair Midyear 2023 on Sunday August 6 at BITEC Bang Na, Bangkok, Thailand.

Q: First of all, how would you describe your work style compared to others in your professional circle?

A: Strictly speaking, I call our approach the Decentralization of Sustainable Architecture.

In this particular case, it’s about creating property planning well suited to the Tropical Developing Economy of Indonesia. It involves identifying potential in outlying areas that can be developed and blend harmoniously with the natural surroundings.

By devising a plan that’s fit for the context of a place and the ways of life of people in a community, we stand a good chance of making it a success.

Take for example small business enterprises, such as café and restaurants. To assess whether a design will perform as intended in real life, we start out with a prototype of the small business, much like those sustainable housing designs that can be built over and over by the private sector. That’s the way I see it.

Antonius Richard — Refraction House / Photographs: William Sutanto

Q: What’s your perspective on Tropical Architecture? Any thoughts on that?

A: To answer, let me call your attention to two premises set out to describe our approach to Tropical Architecture.

First, to some extent, it’s easy or perhaps the easiest to bring about sustainable living in the Tropical Belt environment.

For the most part, the Region only consists of a rainy season and a dry season. The differences in temperature extremes in the Tropics are not great, although water scarcity issues can happen from time to time.

We receive plenty of sunlight to illuminate the home during the daytime plus heat that comes with solar radiation. You put plants in the ground and they grow very well, thanks to the consistency in natural light and thermal energy that’s a gift from nature.

That being said, sustainable living in the Tropics can be achieved simply by creating well-thought-out design that’s fit for the context or the setting of a place.

Refraction House / Living spaces seeking reconnections with nature represent both the objective and design principles of the atelier RAD+ar of Indonesia. / Photographs: William Sutanto

Secondly, the Tropics and Subtropics are home to more than one-third of the world’s population. As to be expected, increases in the population have become a factor that impacts our ecosystems, not to mention the extraction of resources from the environment at a fast pace to the extent that it undermines the Earth’s ability to replenish.

Besides promoting sustainable living among the population, everyone can contribute his share of a joint effort at preventing environmental degradation.

Ironically, it’s easy to make sustainable living by being more sensitive to the environment. It’s also easy to choose not to do it. For us architects, it’s an opportunity to focus on carefully thought-out design that’s suitable for the circumstances.

The key to success lies in research to identify architectural design strategies that work in the context of a location. At RAD+ar, we do our part by building a prototype of the project and putting it to the test in real-life situations. In the end, a design that’s right for a place will give us the inspiration we need going forward.

Q: As an architect, what are the things you want to do to bring about positive change in urban and rural developments.

A: In the short term, we will focus on furthering the progress of the Decentralization of Sustainable Architecture to ensure it fits in with the context of both urban and rural developments at least for the next five years. Our priorities include:

1. The integration of passive cooling technologies as key elements in Tropical vernacular design. This is particularly true with respect to commercial spaces.

2. A strict adherence to our Nature First policy, under which the preservation of the world’s natural resources takes precedence before others.

3. Creating prototypes of sustainable housing design that’s easy to follow for both new and renovated home projects.

4. Staying focused on mosque architecture with a view to incorporate sustainable features in the design. This is particularly important because it’s the style of building design and construction that speaks to the hearts and minds of the followers of Islam across Indonesian society.

Bioclimatic Community Mosque of Pamulang / Carefully thought-out materials paired with the right form, color and texture result in an appearance that blends perfectly with the cultural context of a landscape. / Photographs: William Sutanto

Q: Give me a few examples that speak volumes for RAD+ar thoughts, identity and experience.

A: Tanatap Ring Garden Coffee Shop. It’s a carefully planned design experiment aimed at evaluating the performance of a commercial space in real-life situations.

In this particular design, a small restaurant serving coffee and light meals in the garden is enclosed inside a building envelope made of glass blocks for maximum daylighting. The small café per se hides in plain sight, beautifully ensconced by a grassy knoll that’s the centerpiece of the interior landscape.

The atmosphere is made attractive by split-level outdoor rooms that connect to every sequential space and function in the design. The result is a playful yet relaxed rendezvous for socializing with friends and loved ones.

We want it to be a refreshing, dynamic civic space, one that’s positive in attitude and full of energy. Designed with nature in mind, it’s a sustainable commercial space that fulfills people’s needs in Jakarta, where occasionally government-built public spaces may not be consistently good.

An exciting new alternative, Tanatap Ring Garden Coffee Shop is just one of many design experiments being undertaken by RAD+ar.

Tanatap Ring Garden Coffee Shop / For the architects, designers and thinkers at RAD+ar, natural features are as important as the design of a place, perhaps even more. Their notions about the role of nature are clearly manifested in this project named, “Tanatap Ring Garden Coffee Shop,” situated in Jakarta, Indonesia. / Photographs: KIE, Mario Wibowo

Discover new ideas in design, architecture and useful pieces of advice similar to the above-mentioned projects at the upcoming room X Living Asean Design Talk 2023. It’s an opportunity to meet up with Antonius Richard, architect and founder of the design atelier RAD+ar of Indonesia, along with a panel of experts from three ASEAN countries.

This year’s conversation event is on the theme of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” The Talk is scheduled for Sunday August 6 at the room Showcase zone inside BaanLaeSuan Fair Midyear 2023. Admission is free. Just a friendly reminder, seats are limited. Hope to see you there!

For more details: https://livingasean.com/special-scoop/room-x-living-asean-design-talk-2023-urban-fusion-rural-flourish-interweaving-urban-and-rural-designs/

Register to attend at: https://amarinfair.com/booking/room-x-living-asean-design-talk

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M.L. Varudh Varavarn, Vin Varavarn Architects: Innovative Design Strategies Can Contribute to Narrowing Rural-Urban Development Gaps

By livingasean
July 25, 2023
CULTURE,PEOPLE,room x Living Asean Design Talk 2023,SPECIAL SCOOP

/ Bangkok, Thailand /

/ Story: Urawan Rukachaisirikul / English version: Bob Pitakwong /

/ Photographs: Courtesy of Vin Varavarn Architects /

The following are excerpts from an interview with M.L. Varudh Varavarn, founder and CEO of the Bangkok-based architectural practice Vin Varavarn Architects. We had a chance to get his thoughts on design and development models. Precisely, we asked him if architectural design can bring about solutions to our social problems. Here’s some useful information he shared with us.

By means of introduction, M.L. Varudh Varavarn has received wide acclaim for his commitment to innovative design and developments well suited to the place or type of the surroundings.

He has had many outstanding achievements to his credit. They range from family homes, to large residential apartment projects, to schoolhouses, hotels, vacation resorts and other establishments in the hospitality industry.

Asked what was the most difficult task in his career as architect, he said that developing a project that would play a part in resolving social problems was the biggest challenge. To a great extent there were many hurdles to overcome.

Paradoxically, it’s the challenges that make a project interesting and capable of performing as intended. Even better if it could achieve successful change for a better society.

To put it in a nutshell, it’s up to the architect to turn challenges into positive possibilities.

Let’s catch a glimpse of his ideas before listening to him speak at the upcoming room x Living Asean Design Talk 2023 on the theme of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” The conversation event will take place on Sunday August 6 at the room Showcase zone inside Baan Lae Suan Fair Midyear 2023 at BITECT Bang Na, Bangkok.

Q: To begin with, how would you define your work in design and architecture?

A: All the time, I have tried to avoid defining the nature of my design. As far as I am concerned, it’s entirely up to the viewer to reflect and form an idea about what they see.

Speaking of my approach to the job, it’s not about drawing attention to the feature or quality that identifies us at Vin Varavarn Architects. Rather, the design of everything should be perceived or interpreted for the story it tells, the meaning it conveys and what purpose it serves. That’s the way I see it.

Above all else, we will do our design based on the totality of the circumstances and with a view to solve problems that come with it.

The challenges that we face oftentimes will inspire innovative ideas to create a well-thought-out form that works. This is the feature clearly evident in the designs that we have done up until now.

There is more to it than trying to achieve the pleasing aesthetic alone. Rather, it’s about presenting a quality that’s original and unique in every project that we do.

I’m referring to the distinctive attribute that’s consistent with the context of a place, the environment, and the project’s ability to fulfill user needs.

Varudh Varavarn — The Low-cost Micro Dwellings Project for Klong Toey Community / M.L. Varudh is known for being design tool savvy when it comes to adapting to change and the context that forms the setting of a place. This is manifested in the designing of the Low-cost Micro-houses Project for Klong Toey Community in Bangkok, Thailand. Characterized by fresh new looks and geometric forms with various configurations and colors, the tiny home project is eye-catching and capable of answering homeowner needs despite multiple site limitations.

Q: What is your perspective about Tropical Architectural Design?

A: I see it as the concept of central importance that every architect should follow. It’s a crucial stage in deciding upon the look and functioning of a development project.

In this day and age, Tropical design isn’t an option anymore. Rather, it’s a must-have. And this is particularly true not only in Thailand but also across Asia, even in other parts of the world that share similar prevailing weather conditions. It’s a responsive design that solves problems in the environment, using materials sourced directly from a locality and well suited to local lifestyle needs.

The Baan Klong Bon School Project / Baan Klong Bon School is a schoolhouse project designed to perform well in the climate of a place. It offers plenty of open, flexible spaces to support multiple uses. Magnificent double-height rooms and under-floor space reserved for school activities are well suited to the warm and humid conditions of the area. / Photographs: Ketsiree Wongwan

Q: Give me a few examples that speak volumes for your design studio, be it completed or experimental.

A: Certainly. Every project we’ve done is unique in its own special way. Some are created because we want to build them, in a way contributing to society. Others are experiments aimed at assessing certain features of design.

First, the Ban Huay San Yaw Withaya School. In this development project, we faced countless obstacles to begin with.

After a site analysis, looking into the geographical and infrastructural context of the place, we were able to successfully turn crisis into opportunity, at least from the point of view of architecture.

Then, there’s PANNAR Sufficiency Economy and Agriculture Learning Center, an experiment undertaken to spread information about a modest but sufficient scale of living. It was a cross-sector collaboration involving members of the community, project owners, architects and building contractors.

The result was a building in which scientific knowledge combines with local experience in Tropical design. In other words, it’s a hybrid of technological innovations and good judgement in the locality.

Vin Varavarn Architects — PANNAR Sufficiency Economy and Agriculture Learning Center / An architectural design experiment, the PANNAR Sufficiency Economy and Agriculture Learning Center represents a series of connections between modern technologies in building construction and local experiences passed down through generations in a community. For M.L. Varudh, it’s a task that tests his ability having to navigate different hurdles within the design profession. With skill and the imagination, he integrates indigenous materials in the plan and harnesses the expertise of local builders to create a responsive design – one that takes into account the effect of soil, amounts of natural daylight, and prevailing weather conditions. The result is a conducive learning environment that cares about nature. / Photographs: Ketsiree Wongwan

Q: In your view as an architect, what do you think will bring a positive change in society as well as urban and rural development?

A: From my point of view, I want to make progress, not change. But if we’re happy doing our work and be a part of the solution, then we can make a positive change in our community, given the still wide social gap.

An architect has a role to play toward reducing social gaps by creating well-thought-out design that brings benefits to people in every sector of the economy and society as a whole.

Nonetheless, getting started is the hardest part in helping society. But once you get your foot in the door, get involved in your community and do your shares of a joint activity, then it’s more fun.

It brings meaning and purpose in life, and whatever you do soon become less difficult. There may still be minor issues along the way, but hey, that’s perfectly normal. Just fix it and move on.

Find out more about public space design architecture and ideas for a possible course of action toward narrowing social gaps similar to the above-mentioned projects at the upcoming room X Living Asean Design Talk 2023.

It’s an opportunity to meet up with M.L. Varudh Varavarn, founder and CEO of the architectural firm Vin Varavarn Architects of Thailand, and a panel of experts from three ASEAN countries.

This year’s conversation event is on the theme of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” The Talk is scheduled for Sunday August 6 at the room Showcase zone inside BaanLaeSuan Fair Midyear 2023. Admission is free. Hope to see you there!

By the way, seats are limited.

For more details: https://livingasean.com/special-scoop/room-x-living-asean-design-talk-2023-urban-fusion-rural-flourish-interweaving-urban-and-rural-designs/

Register to attend at: https://amarinfair.com/booking/room-x-living-asean-design-talk

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Low-Cost Micro Dwellings for Klong Toey Community: Housing Opportunities Aimed at Bridging the Gap between Urban Developments

Shunri Nishizawa, Nishizawa Architects: Reflections on Design within the Context of the Climate and Site Limitations

Shunri Nishizawa, Nishizawa Architects: Reflections on Design within the Context of the Climate and Site Limitations

By livingasean
July 21, 2023
CULTURE,PEOPLE,room x Living Asean Design Talk 2023,SPECIAL SCOOP

/ Ho Chi Minh City, Vietnam /

/ Story: Wuthikorn Sut /English version: Bob Pitakwong /

/ Photographs: Hiroyuki Oki, NISHIZAWAARCHITECTS /

Mention the Tropical climate, and it calls to the mind the image of wind, sunshine after the rain and a comfortable atmosphere. But hey, what do we know? As architecture continues to advance into a fascinating modern age we live in, oftentimes these key attributes that constitute a gift from nature are sadly disregarded. Shunri Nishizawa of Nishizawa Architects looks at things from a different perspective, one that appreciates the qualities and features inherent in the natural conditions of a place. And he is able to incorporate them in the design in such a manner as to achieve a desired result. It’s a new design possibility that gives rise to the Modern Tropical style as we know it.

Here’s a glimpse into his ideas before listening to him speak at the upcoming room x Living Asean Design Talk 2023. This year’s theme is on the topic of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” It will take place at the room Showcase zone inside BaanLaeSuan Fair Midyear 2023 at BITEC Bang Na, Bangkok on Sunday August 6.

Q: Tell me, Shunri. From your point of view, how would you define Tropical architectural design?

A: Up until now, I’ve felt the role of an architect is to understand and give dignity to all the entities around.

I’m referring to things with distinct and independent existence. Any entity, including humans, animals, plants, space, buildings, you name it. They should feel welcomed and appreciated for being there.

Shunri Nishizawa — Thong House / Living in a semi-outdoor room is a way to establish a good rapport with the surroundings and realize the importance of connections between nature and

For me, the definition isn’t confined to just Tropical architecture per se. Such is also true for Asian architecture.

I’m referring to time-honored architectural design that has existed or been a part of Asian history in general for a very long time. In essence, it’s about creating design well suited to living with nature, and with water as to be expected.

Architecture that embraces Western values may not have been done in the same way as that of Asia. So the focus of attention isn’t just humans or urban developments alone.

In a nutshell, Tropical architectural design is the kind that’s done within the context of the surroundings. Everything about a culture and natural features also play a role in the design process.

Q: What identifies you in architectural design? What’s your signature?

A: It’s Asian architecture. Not Tropical architecture. Throughout its long history, Asian architecture has developed in close association with nature, especially with water.

No doubt about that. On the other hand, I feel that modern architecture has developed in a manner consistent with Western values. It’s design that focuses too much on humans and urban developments.

To me as an architect, it’s my duty to understand the results of all actions that take place. I take them into consideration during the design process, treat them with respect and equally. They include humans, animals, the natural environment and the context or circumstances that form the setting of a location.

In this manner, a well-planned piece of architecture is created in a warm and welcoming environment. It’s a situation where good design proves a perfect complement to the surroundings. That’s my signature.

Q: Can you give me an example or work that speaks volumes for the definition you just mentioned?

A: The “House in Chau Doc” project, our most recent product. It’s one that conveys a great deal about our commitment to designs that sync with the context of a location.

The house is built on a budget. Planned by careful thought, it merges into the surrounding countryside and performs in agreement with natural events regarded as normal in the locality.

It fits the definition. Open design facilitates comfortable living with nature. The house is built with vernacular materials readily available in the area.

Basically it’s about promoting a lifestyle by which humans and the environment are all connected. Plus, it’s beautifully devised to blend the conveniences of urban living with the rural ways of life.

Q: Last question. About the pressure to adapt to change that comes with expanding urban developments. What is your take on that?

A: From an ethical point of view, the architect and society both have to understand the importance of living in close touch with nature.

Its positive effects on our mental and physical wellbeing are of great value. Like so, an architect does his part in helping people reconnect with the natural environment through well-thought-out design.

However, in reality, some of us may be more interested other things; insects, fishes, animals, plants, and whatnot. No one should be busy making a living to the point he forgets to make a life.

That’s why I want to broaden people’s perception of architecture and encourage fellow architects to love nature more by devoting time and effort toward the conservation of our precious natural resources. Nature-inspired design is one way of helping to achieve a common goal.

Find out more about architectural design in sync with nature, as well as ideas for a possible course of action within the context of nature, climate and culture from Shunri Nishizawa, architect and founder of Nishizawa Architects, Vietnam, at the upcoming the “room X Living Asean Design Talk 2023.”

It’s an opportunity to meet up with a panel of experts comprising four distinguished architects from three ASEAN countries. This year’s event is on the theme of “URBAN FUSION / RURAL FLOURISH: Interweaving Urban and Rural Designs.” The Talk is scheduled for Sunday August 6 at the room Showcase zone inside BaanLaeSuan Fair Midyear 2023, BITEC Bang Na, Bangkok. Mark your calendar!

For more details: https://livingasean.com/special-scoop/room-x-living-asean-design-talk-2023-urban-fusion-rural-flourish-interweaving-urban-and-rural-designs/

Register to attend at: https://amarinfair.com/…/room-x-living-asean-design-talk

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A Glimpse into the World of Rare Foliage Plants, Beautiful Garden by Bensley Design Studios

By livingasean
August 19, 2021
CULTURE,GARDEN,LIVING,PEOPLE

Bensley Design Studios is a design firm with many world-class hotels to its credit. Notable among these are the Four Seasons Tented Camp, the Four Seasons Koh Samui, the Kempinski Udaipur, the Siam, and the Indigo Pearl to name a few. Founded by Bill Bensley, who collabed with business partner Jirachai Rengthong, the firm has won acclaim for outstanding works in architecture, interior decoration, garden design and landscape development.

“Botanica Garden” is a nursery in Chiang Mai that’s home to hundreds of leaf plant species that Jirachai, an avid horticulturist, has cultivated over many years. It’s an oasis of beautifully maintained greenery that proves a perfect complement to the works of Bensley Design Studios. Some of the young plants grown here are offered for purchase at Kham Thiang Market, Chiang Mai’s largest botanical marketplace.

Bensley Design Studios, Botanica Garden, Beautiful Garden, Chiang Mai, Thailand — Sunlight gives bromeliad plants their bright color and beautiful form. Bromeliad requires direct sun for only half a day. In a nursery, mesh fabric capable of 50 to 60 percent protection will suffice.

For several decades Jirachai has nurtured and grown foliage plants and tropical species from across the globe at this nursery. He started out with varieties of bromeliad, cordyline or good luck plants, philodendron, aglaonema, anthurium, calathea, and agave before moving on to a detailed study in plant behavior and the breeding of plant specimens by natural processes.

As Jirachai put it, “Normally, after we buy unfamiliar species native to the equatorial climate zone, we try propagating them from the parent stock and observe how they respond to new environments. Every detail counts. Some species perform better in Chiang Mai producing brighter color leaves than they do in Bangkok. Interestingly, others fare badly when planted in the ground. Some species thrive in full sun, while others can tolerate partial shade. We also discover that cordyline or good luck plants perform better in soil than in organic coconut husk pieces. They don’t shed leaves when planted in soi, but they do when put in coconut husk.”

Offering an open view of the surrounding area, the nursery is canopied by black mesh fabric that gives protection from the sun. Plants that thrive in partial sun are grown here. They are safe in the hands of experienced gardeners.

“Propagation by air layering is a method that should be used in a bid to prevent plants from shedding leaves. Once roots have sufficiently developed, the stem can be cut from the parent plant and potted up. This allows the new plant to grow into naturally beautiful form. As for philodendron, coconut husk pieces are preferred over soil,” Jirachai explained. Apart from the propagation of plant species for decoration and sale, the nursery also specializes in cross breeding to produce desirable features in one offspring. Some young plants are so original and unique that they can fetch as much as a million baht.

“Caring for plants the right way, only Osmocoat fertilizer is added to soil once every three months, while 16-16-16 fertilizer is used once a month. As for bromeliad, ferns, and philodendron, Osmocoat alone will suffice. This fertilizer is effective in stimulating growth in potted plants. The same applies to ferns, but it should be diluted with water and given using sprayers.”

“Pests that attack these plants aren’t many. They include varieties of coccidae, or scale insects, and fungal infections that happen in the rainy season. Sprayed insecticides will likely stay long enough to have effect. Philodendron and anthurium can be raised as indoor houseplants. Give them just enough water and avoid being waterlogged. Place containers where it’s well ventilated. To protect against fungal infections, avoid moist or wet locations.”

That concludes our handy hints and a guide to leaf plant care. For more information, drop by Botanica Garden, or give them a visit at Kham Thiang Market next time you’re in Chiang Mai.

Story: Panchach
Photographs: Sitthisak

Behind the Success of Café Business in Thailand: An Interview with Suparat Chinathaworn, Founder of party / space / design

By livingasean
June 25, 2021
CULTURE,DESIGN,PEOPLE

BANGKOK / It’s fair to say that, without considering disruptions brought on by the coronavirus pandemic, café and restaurant businesses had ranked with fast-growing industries in Thailand. They could survive the tough competition from established and new players in the marketplace. Besides good food and drinks, design has played a crucial role in business. By knowing their market niche and formulating a unique business plan, they were able to attract more consumer love to their brands.

party / space / design, or p / s / d for short, is a design studio behind the sweet smell of success of leading café and restaurants in Thailand. Led by Suparat Chinathaworn, founder and CEO, the company has drawn on years of experience in business and design in creating restaurant spaces that are not only different, but also exceptionally good. It was a pleasure to have interviewed Suparat Chinathaworn. And here are his views, goals, and experience over the past ten years.

Q: What is it that’s inspired p / s / d to make a difference?

A: “Within the past two years we have focused on making hands-on practice available to our colleagues. USB Café is in fact a Coffee Lab and training grounds where baristas exercise and perfect their skill from actually doing it instead of reading about it or seeing it being done. It’s about doing real work under real pressure and be able to meet consumer needs. We aren’t just designers. We must strive to produce outcomes that are different from everything else on the market.”

USB Café, the coffee room that’s part of the p / s / d office space, is used for smart business experiments. Test results provide the basis for a good working environment.

Q: Opening a shop isn’t the finish line, but the beginning of growth. Can you elaborate on that?

A: “I believe that consumer behavior is a very important thing you need to know in running a business. It’s a relationship based on mutual understanding. After a shop is opened, I always ask my clients if everything is going well. It’s a way to find out if the model that we’ve designed is working or not. Often we will choose a business plan that’s doable within their powers. This means that the clients have a pretty good understanding of how a restaurant works. Plus, they love doing it and are ready to give their time and resources to it. A start-up isn’t the finish line, only the beginning. They have to think long-term.”

Q: Beyond design, it’s experience. What’s your thought on that?

A: “Restaurants and cafés are public spaces. So we have to make them special or otherwise different from the place where one lives. We have to make sure that people come away impressed with what they’ve experienced and want to come back. We don’t just focus on design. Instead, we pay particular attention to the kind of experience that people get. It’s comparable to movie making, in which stories are told through a series of film footage of various events that have taken place. We’re like the movie producer who has to envisage the entirety of future events – everything from people arriving to entering by the front door, from making orders to drinking, taking photos, and checking things out on social media. You name it. We look thoughtfully at it in order to ensure a pleasant experience for everyone.”

Q: What do you mean by younger yet more in-depth?

A: “Ten years had passed since we opened our office. And we felt like kids again. We went back to playing toys and enjoyed having fun. Meanwhile, we’re spending a lot of time deep in our thoughts. We’ve come to appreciate of the atmosphere of a place that’s the quintessence of Thainess. We’ve found the right balance between business owners and the general public. Our design isn’t about just being cool. Rather, it’s the quality of forming a pleasing environment and a space that’s different, unique, and easily understood.”

Q: How do you see p / s / d ten years from now?

A: “Now we’re interested in the concept of Specialty Coffee. People say it’s a stage in the learning process of how to effectively run a restaurant business. It’s like climbing a three-step staircase, starting with Specialty Coffee before moving on to Hidden Bar, and Fine Dining. We expect the latter options will follow in the next ten years. For the future the focus of attention may switch from restaurants and cafés to consulting business. I have fun doing analyses for the purpose of presenting new ideas and new experience to people. It’s something I always enjoy doing.”

Q: In your view, what does the future look like for restaurant business?

A: “In the big picture, the food and beverage industry is growing at a fast pace. Eating and drinking is the reality of life that cannot be replaced by online activities. It’s like living in two worlds where we cannot have one without the other. Thais in general treat eating and drinking as being very important and deserving attention. Many actually enjoy restaurant hopping to try out new items on the menu. It’s not about telling good restaurants apart from bad ones. Rather, it’s about discerning differences among them. Some places are preferred for their pleasant atmosphere that’s attractive in photographs, while others may be famous for good food and friendly people. This has resulted in us having to keep abreast of changes to be able to design an “experience space” that finds the right balance. All things considered, it’s an on-going development.”

Find out more about p / s / d at: www.partyspacedesign.com

Contact info:
party / space / design
34 Thonglor 20 (Chamchan) Room 23A-26A,
Sukhumvit 55, North-Klongton, Wattana,
Bangkok 10110 Thailand
Email: info@partyspacedesign.com
Story: Wuthikorn Sut
Photographs: Anupong

For the design duo Jutamas Buranajade and Piti Amraranga, the power of interest drives learning that culminates in in-depth knowledge of the technique, design and function.

By livingasean
April 12, 2021
BAANLAESUAN CLASSROOM,DESIGN,PEOPLE,SPECIAL SCOOP

Jutamas Buranajade and Piti Amraranga are designer laureates and founders of the studio “o-d-a”, which is short for “Object Design Alliance”. They’re widely regarded for their original and unique creativeness.

Jutamas, who specializes in product design, is a graduate of Silpakorn University, while Piti did his graphic design degree at the Faculty of Decorative Arts, the same alma mater.

For the design duo, their career is a continuous journey to experience every aspect of art and design. Piti started out as a complete novice in the field of woodworking. But it’s the power of interest that’s led to more effective learning and eventually culminated in in-depth knowledge in the technique, design and function.

Over the years they’ve learned the trade from various master craftsmen including Phisanu Numsiriyothin, who clearly had a good influence on them, Their chief asset lies in the use of the imagination and original ideas that keep everything simple yet attractive.

It’s a subtle approach to keeping a balance between the processing of raw materials and industrial manufacture without sacrificing quality and uniqueness. Along this line of thinking, Jutamas and Piti proudly present the Rush Chair, a collection of woven rush chairs and stools made from green wood.

It’s a design that speaks for the trees, thereby saving them from harm and destruction. Precisely, if a seat can be made out of wooden sticks, then there’s no need to cut down any tree, a win-win situation for both humans and forests.

As Piti put it, “For the most part, designers have a good knowledge of lumber yard timber that’s been sawn into planks or partially prepared for construction. But we think it’s time to change the way we do things. The making of furniture from wooden sticks presents several challenges that must be overcome, ranging from debarking to reducing moisture content in wood.”

The stick chair with woven seat made of hyacinth fiber from Ayutthaya comes in handy as the prototype of the Rush Chair series. It’s become the inspiration for anyone wanting to try their hand at simple furniture making. Plus, it requires only a few hand tools, while the wooden sticks and rush used in seat weaving vary widely from one area to another. Together, they bring the power of storytelling that adds value to local products.

He said, “We view easy yet stylish furniture making with optimism. Anyone can do his or her own DYI furniture project. It’s a way to self-reliance and taking care of the surroundings. It’s different from commercial furniture, which requires a lot of energy and resources to manufacture. As for Rush Chair, if you make it, you can fix it. One day when it’s not repairable, you can discard it without harming the environment because everything about it is biodegradable.”

Jutamas Buranajade and Piti Amraranga of the o-d-a studio are among subject matter experts being featured in an online course of study titled “A Passion for Woodworking.” It’s part of BaanLaeSuan Classroom, a collaboration with CEA, or the Creative Economy Agency (Public Organization). The program is designed for people interested in woodworking and those looking to acquire basic carpentry skills through furniture making using basic tools and community resources, plus plenty of tips for developing a career in creative business. The show is hosted by Jeremiah Pitakwong, Editor of BaanLaeSuan Magazine. Start learning today at LivingASEAN.com.

Source:
https://www.baanlaesuan.com/online-program/classroom/215127.html
https://www.baanlaesuan.com/78250/design/design-update/product/rush-chair
https://www.baanlaesuan.com/69289/baanlaesuan-fair/o-d-a

Suppapong Sonsang; A Furniture Designer Who Grows Forests to Fulfill His Timber Needs

By livingasean
March 4, 2021
BAANLAESUAN CLASSROOM,CULTURE,PEOPLE,SPECIAL SCOOP

Some ten years ago, Suppapong Sonsang rose to fame as a laureate of the Designer of the Year award. Apparently content with living a green lifestyle, he kind of vanished from the limelight and got into a different field, something more upstream.

He brought 70 rai of destroyed forest land back to life in a bid to generate enough timber supplies for Jird Design Gallery, his very own furniture brand. Committed to sustainable growth, he viewed the mammoth undertakings as crucial for the future of his career as designer.

Lesson 2 Understanding Wood / Learn from Suppapong Sonsang, a furniture designer of Jird Design Gallery.

In a recent meet-up with room Magazine, he said: “The design profession is dependent upon purchase orders and customer hiring contracts. To do a good job or run a business well, skill alone isn’t enough. You also need a readiness to accomplish the task, reliable resources, even luck, et cetera. So I set out to find a green route for business to continue to perform for a long time; meanwhile, relying less on hiring contracts and more on selling direct to end-users. I viewed the practice of growing and caring for timber forests as a basic occupation with some hope for the future.”

Suppapong started his first new growth forest at Kamphaeng Phet Province in lower northern Thailand and gradually expanded to Nong Pho, Ratchaburi. The latter has since served as his headquarters with storage facilities for partly prepared timber and logs. There’s a sawmill with 4-5 types of machinery, where logs are cut, sawn into lumber and packaged ready for delivery. As business grew, he converted his humble abode in the forest into a showroom.

As he put it, “Timber is a valuable resource. So I focus on planting only trees that have economic importance. Little by little, I searched for knowledge and experimented with various methods in a bid to achieve the desirable outcome. Eventually, I obtained not only the resources needed for furniture making, but also a workplace with the atmosphere of a nature reserve. Before anything else, it’s about the better quality of life.”

Suppapong’s forests are home to valuable ecosystems. Apart from hardwood trees that are grown for timber, he also set aside some areas for planting crops. His work on the farm encompasses three aspects of product manufacturing, including design, human resources, and forest resources management.

Sharing his work experience, Suppapong said: “I’m responsible for design while others are busy taking care of things, ranging from caring for the forest floor and planting new trees, to grafting branches and growing plants from seeds in nurseries. Everyone deserves a good quality of life. For people in the community who’re working with us, it’s an opportunity to learn new skills in carpentry and agriculture. The knowledge that they gain as apprentices will be an asset beneficial to their future career.

“Meantime, the forests that we grow ensure that our furniture business will be adequately resourced for a long time to come, in other words until death do us part. It will be another 20 to 30 years down the road before some of the trees become fully grown and ready for harvesting. That said, it’s a guarantee that our community will still have timber supply lasting us a hundred years, or after old growth forests have been depleted.”

“While others invest in big manufacturing facilities and expensive machines, we put our money in land that we need to grow forests for timber. Oftentimes, people asked why we chose land covered with trees and undergrowth instead of beautiful pieces of property elsewhere. Well, it may be of little value to them. But it’s a great asset both for us and for the community 20 years down the road. We will have access to timber that our business needs. To begin with, it’s about growing healthy forest ecosystems. That means you need the initial capital, and patience. You have to give it all your energy to succeed. Been there, survived that. And now the rest is easy,” said Suppapong laughing.

“From then until now, little went as planned. Success came from resilience and the ability to adapt to new challenges. The workers that we hired from the community had no carpentry skill. So we started training them while the trees still had a long way to grow and mature. We believe that by the time our forests are ready for harvesting, our helping hands will have become well versed in woodworking. In the meantime, we just have to keep up with design trends. Together, they constitute parallel paths to future growth.”

Above, a bench seat from the KOOPREE collection by Suppapong Sonsang is made of timber from KrathinThepa (scientific name: Acacia mangium) a species of fast growing tree in the pea family Fabaceae. Harvested at 7 years of age, the tree provides an alternative to hardwood commonly used in furniture making.

Suppapong Sonsang of Jird Design Gallery is one of subject matter experts being featured in an online curriculum titled, “A Passion for Woodworking”. It’s part of Baan Lae Suan Classroom, a collaboration with the Creative Economy Agency (Public Organization), or CEA. The program is designed for people interested in woodworking and those looking to acquire basic carpentry skills through furniture making using basic tools and community resources. Plus, it provides tips for developing a career in creative business. The program is hosted by Jeremiah Pitakwong, Editor of Baan Lae Suan Magazine.

In the previous video, we presented a lesson on the Milking Stool by distinguished designer/carpenter Phisanu Numsiriyothin. In this episode, Suppapong Sonsang shows the steps in transforming homegrown timber into a beautiful bench seat.

Source:
https://www.baanlaesuan.com/online-program/classroom/215124.html
https://www.baanlaesuan.com/181474/design/design-update/people/jird

Phisanu Numsiriyothin Master Woodworker Who Cares about Forests

By livingasean
February 16, 2021
BAANLAESUAN CLASSROOM,CULTURE,PEOPLE,SPECIAL SCOOP

A designer who’s passionate about all things made of wood, Phisanu Numsiriyothin has grown familiar with using woodworking tools at home since a very young age.

Let’s begin with building a cow milking stool. Learn from Phisanu Numsiriyothin, master woodworker and professional carpenter. / Lesson 1 Getting Started in Woodworking

Upon graduation with a degree in Visual Arts, he led a self-indulgent life for a time pushing himself beyond the limits only to find it had taken a toll on his body and mind. He soon learned that life didn’t get much better than spending the day in a woodworking studio. Life took a turn for the better after his exposure to works of outstanding artistry by big names such as George Nakashima, Sam Maloof, James Krenov, and master craftsman Saiyart Sema-ngern. Only then did his career in woodworking begin in earnest.

In a recent interview with room magazine, Phisanu said his belief in the value of woodworking came from experience that spanned more than a decade. “A designer may have considerable knowledge of chair making. But if he’s unfamiliar with splintering or tear-out, has never done wood planing or used joinery tools, then he’s only thinking of two parts of the entire process — design proportions, and graphic visuals or style. In the end, beautiful design is achieved, but it may not be the best choice for wood. Plus, ill-conceived design could result in a lot of waste that compounds the world’s garbage problem.”

The world that he alludes briefly to is one in which a woodworker exists in harmony with natural woodlands. It’s a world where people harvest trees for timber responsibly and at the same time allow time for forests to thrive. Such an ideology can translate into a physically concrete form as is the case with “Rush Chair” by Phisanu in collaboration with the design duo, Jutamas Buranajade and Piti Amraranga, of o-d-a. They use small pieces trimmed off large trees to build the chair frame using traditional methods of wood joinery, while the seat is made of woven natural fibers dyed different shades of indigo.

If sustainable design refers to a piece of furniture that’s comfortable to sit on, easy to fix using parts sourced directly from nature, and capable of reducing negative impacts on the environment, then Rush Chair would fit that definition, a chair that’s eco-friendly in every sense of the word.

As Phisanu puts it, “If we design without focusing on just our needs and start paying attention to the environment, the result will be very different. As for me, I focus not only on the production technique, but also on the wood being used, the tools needed to perform the task, and everything that combines to add value to woodwork.”

Rush Chair

For the time being, Phisanu has relocated his fully equipped studio from Bangkok’s Buddha Puja area to Kuchinarai District in Kalasin. Here, he established a field workshop to make furniture from locally sourced materials. The villagers were available to work after the annual rice growing season had passed. So he persuaded them to join in making the Rush Chair based on design improved in conjunction with o-d-a. By making seat furniture from tree branches found in the area, Phisana subtly communicated the need to protect and preserve the environment among participating villagers. He has discovered the astounding connection between people and trees, and used it wisely promote nature conservation in the long term.

“I believe that between the chair and the trees, our home planet prefers more trees. They are crucial to the physical surroundings, far more important than my designing achievements. By realizing the importance of each and every tree, we are motivated to come up with good design and elaborate manufacturing process, and the resulting effect is worth a try.”

Phisanu Numsiriyothin is one of subject matter experts being featured in an online curriculum titled, “A Passion for Woodworking”. It’s part of BaanLaeSuan Classroom, a collaboration with the Creative Economy Agency (Public Organization), or CEA. The program is designed for people interested in woodworking and those wanting to acquire basic carpentry skills through furniture making, plus ideas about using local materials and tips for developing a career in creative business. It’s hosted by Jeremiah Pitakwong, Editor of BaanLaeSuan Magazine.

Phisanu said: “A stool for milking dairy cows. It’s a basic stool, very basic and easy to build. It’s lightweight and portable. A first for anyone wanting to try his hand at woodworking. Plus it’s come a long way in terms of design history. It depends on the material we can find, or the purpose of use. This one isn’t made of wood sticks. I made it instead from a solid tree trunk. And this one from wood slabs. The method differs occasionally. Sometimes we use leftovers or cut wide planks to make legs. We’re talking about using one type of material.”

Milking stool

Let’s begin with building a cow milking stool. Learn from Phisanu Numsiriyothin, master woodworker and professional carpenter. Click this link to get started https://dai.ly/x7zc9y1

Source:
https://www.baanlaesuan.com/102470/design/design-update/people/phisanunumsiriyothin
https://www.baanlaesuan.com/online-program/classroom/215121.html

SACICT CRAFT TREND TALK Four experts touch upon what’s trending in handicraft in the Digital Age

By baangroup
September 21, 2020
CULTURE,PEOPLE,SACICT Craft Trend 2021,SPECIAL SCOOP

SACICT Craft Trend Talk // Here’s a glimpse of art and craft ideas coming to you online. In these video clips, four experts, creatives and designers closely connected to Thai craft industries touch upon topics pertaining to the environment, culture, and technology. Plus, hear their views on what’s trending for 2021. Hosted by the SUPPORT Arts and Crafts International Centre (Public Organization), the discussion offers advice to craft makers in search of the right design and product in sync with global trends. The three thought-provoking topics to watch are:

CRAFT CIRCULARITY

Handicrafts from Reusable Resources

Environmental issues touch the lives of people across the globe. They are problems even for experienced craft makers. To achieve a contemporary aesthetic, preserving of the natural processes and handiwork is extremely important going forward.

In this video clip, Markus Roselieb, an expert in bamboo architecture and founder of Chiang Mai Life Construction (CLC), touches upon sustainable architecture built with the use of earth and bamboo. Plus, he talks about the concept of Craft Circularity that’s aimed at reducing waste and using natural resources in craft making.

He also gives a tour around Panyaden International School, where buildings are made out of bamboo to increase an appreciation of nature among schoolchildren. They are the hope and future of the world, and ambassador of the Environment.

CRAFT CITIZENS

Handicraft Knows No Bounds

Technology has transcended geographic borders, giving rise to a blend of cultures and enabling us to tap almost limitless knowledge. Here, two distinguished designers explain why craft still matters in a digital world. Let’s hear their views on the latest trends in craft design and the benefits that technology brings.

Suwan Kongkhuntian is a celebrated designer and founder of the modern furniture brand Yothaka. He touches upon some of the factors that have earned Thai products global recognition, plus the roles of designers in product development going forward.

Teerapoj Teeropas is a highly motivated, young designer and director of the Kitttakhon brand. He also wears another hat as researcher at Sao+D Social Cultural Innovation Lab at KMIT Thonburi, and collaborates with Asst. Prof. Nanthana Boonla-or on a Karen handicraft development project. He talks about traditional knowledge revival in the Digital Age.

CRAFT CLOUD

Bodies of Knowledge Made Easily Accessible

The COVID-19 pandemic has wreaked havoc on people’s health, causing a devastating blow to world economy. It also led to high growth in online learning through various platforms. Julian Huang, a university lecturer and cofounder of the Weave Artisan Society, recently opened a craft space in Chiang Mai, paving the way for idea sharing in design and craft making in the Digital Age.

To hear his views on what’s trending in arts and crafts, get yourself a free copy of “SACICT Craft Trend 2021”. Contact by Product Development and Potential Enhancement. Tel. 0-3536-7054-9 Ext. 1385. Or read the e-book version online at https://www.sacict.or.th/th/detail/2020-09-09-11-30-23

#SACICTCraftTrend2021 #SACICTTheValueOfBeingThai

Are We Living Life, or Just Playing Parts? In Conversation with Marina Abramovic

By livingasean
January 23, 2019
ART,Bangkok Art Biennale 2018,CULTURE,PEOPLE,SPECIAL SCOOP,SPOTLIGHT

A large crowd of art lovers queued up to get into Siam Pavalai, the Royal Grand Theater at Siam Paragon. Like everyone else, I had my ticket to the event ready for inspection. I could sense the atmosphere was filled with enthusiasm and energy. People were excited about the prospect of a vis-à-vis with Marina Abramovic, the icon of live performance art and living legend. Dubbed one of the most influential personalities to date, the 72-year-old Serbian artist and writer apparently was doing extremely well.

/// THAILAND ///
Story : Singhanart Nakpongphun /// Photography: Anupong Chaisukkasem

Inside, the sound of Clair de Lune by Claude Debussy brought the Royal Grand Theater to life. As the beautiful piano music played, a slide show evoked the images of museumgoers taking it in turns to sit across the table from Marina Abramovic and look her in the eye. The artist was still and silent for the duration of the marathon live performance. The show brought a series of flashbacks of “Marina Abramovic: The Artist is Present”, her solo exhibition hosted by the Museum of Modern Art (MoMA), New York back in 2010.

Taking a quick look around, I saw people both local and foreign gradually being ushered to their seats while dimming lights signaled that something was about to happen. Clair de Lune, French for moonlight, seemed quieter now setting the scene for the show.

Lights were back on as Prof. Dr. Apinan Poshyananda, Chair and Artistic Director of the Bangkok Art Biennale 2018, appeared on stage to deliver a speech making the opening of the show. He said the event coincided with one of the most important public holidays on Thailand’s calendar.

October 23, known as King Chulalongkorn Day, is observed nationwide in loving memories of the fifth monarch of the House of Chakri, who passed in 1910. The day also remembers his first official visit to Europe that took place 121 years ago. It was with mixed emotions knowing the journey also took him to Venice, Italy back in the day. Nowadays the “City of Canals” is home to one of the most celebrated art destinations in the world. La Biennale di Venezia, or the Venice Biennale, was founded in 1895 and have since become the model for other shows worldwide.

Out in the streets, it was raining heavily, but inside the Royal Grand Theater was filled to capacity to the point extra seats had to be provided to accommodate larger-than-expected crowds of art lovers. The Kingdom’s inaugural art festival, known as the Bangkok Art Biennale 2018, began on 19 October and would run until 3 February 2019. The period saw more than 200 masterpieces by 75 renowned artists both local and international being on display at 20 landmark destinations throughout the city.

No stranger to Thailand’s artists circle, Abramovic was a visiting lecturer at Chulalongkorn University back in 2000 and since then has become fascinated with Thai culture. She was among the first world famous artists to accept the invitation to partake in the Bangkok Art Biennale 2018. Abramovic began her art career in the early 1970’s in Belgrade, in what was then Yugoslavia. Active for nearly 50 years, she won the Golden Lion Award for Best Artist at the 1997 Venice Biennale for her video installation titled “Balkan Baroque”.

The 2018 art festival in Bangkok offered the opportunity of experiencing the amazing works of Marina Abramovic, which included “Standing Structures for Human Use”, a live installation exhibit that looked into the power of silent communication and invited viewer participation. The other show, known as “Method”, was an experimental piece about the state of being present in time and space. It was presented by a team of artists from the Marina Abramovic Institute (MIA), which focused on durational works.

“Standing Structures for Human Use” is a collection of five wood poles in the upright position and adorned with crystals, each one unique in its own special way. Intended for viewers to practice meditation, the live installation is happening daily at BAB Box @ One Bangkok on Rama V Road now until February 3, 2109.

The artist said that a lot of work had gone into the making of the exhibit. There was a time she traveled as far away as Brazil to search out crystals that would be the most suitable for a show, in which she wanted viewers to participate. She could still recall many long hours sleeping on a bench inside a remote Brazilian mine. She searched among the rocks looking for clear minerals believed to have healing powers. The rest of the time was spent searching out new ideas for future art making. In retrospect, the long, arduous travel into the woods has had far-reaching effects on her art. It was a spiritual journey that went beyond traveling to work.

The fun started here. The moment Marina Abramovic entered the stage, she asked people in the audience to close their eyes and breathe in and out normally in sync with the rhythm she was giving. After 12 times, she told everyone to slowly open their eyes. Like a wow moment, it felt like the beginning of a new day, one that culminated in a rendezvous with a celebrity artist.

“Welcome to the present,” said the artist. A succinct opening remark directed the audience attention to something like we’ve got far better things to do than dwell in the past. Neither would we think about the future still to come. Marina Abramovic proceeded to outline three activities she wanted to talk about in that evening conversation. As she spoke, eight young performers who had undergone training with MAI appeared on stage. Like a scene of walking meditation, they lined up one after another behind her and began treading very slowly without making a sound. And it went on for the duration of her talk.

Abramovic speaks as young performers tread the stage slowly and quietly behind her.

Abramovic said the eight performers had successfully completed training at an MAI workshop aimed at getting their minds ready for show. Like a long, arduous journey, they gave live performances eight hours daily and the exhibit continued for three weeks at the Bangkok Art and Culture Center (BAAC). It began on 19 October and ended on 11 November as part of the Bangkok Art Biennale 2018. From a wide field of hundreds of applicants, Abramovic handpicked only eight, among them Thai performance artist Thavisak Moolasawat.

The crux of the matter was a workshop on performance and material art, which the artist referred to as “Cleaning the House”. During training, participants went through different phases of intense activity. Some exercises involved the practice of walking very slowly that could go on for several hours. The focus was on breathing, motion, stillness and concentration of the mind, a method developed over several decades to prepare a select group of performers for long durational art exhibits.

Performance art is an exhibit presented to an audience within a fine art context. It can be performed live or shown via media. Abramovi said durational performances required a lot of physical and mental strengths and willpower to succeed. She said performance art, which could be art of any discipline, was different from acting or playing parts in stage or other productions, where actors and actresses assumed a different persona or put on a disguise. Quite the contrary, performance art was about living life and being who you were and what you stood for. A durational art performer was not performing a fictional role in any stage or screen production. The Cleaning the House workshop is about resetting the body, the fresh-and-blood living being, and preparing the mind to face the challenges in life.

Abramovic explains the idea behind the Cleaning the House Workshop.

The slow walking exercise soon changed to stillness where performers paired up and looked each other in the face. It was soundless, motionless and without response of any kind. They tried not to blink, because any shutting and opening of the eyes could result in losing a focus on the matter at hand. The show was modelled on a previous performance by Abramovic titled “The Artist is Present”, which was hosted by the Museum of Modern Art (MoMA), New York in 2010.

Then came the moment of Abramovic’s work of a lifetime. A public declaration of her life and works appeared on the screen behind her. The artist said the formal announcement and listing of works she has performed from the past to the present has meant a lot to her. The same applied to any career, whether it be singer, songwriter, or authors and whatnots. Her life manifesto just went to show who she was and what she believed in.

After asking the performers to change from looking each other in the face to standing still with their eyes closed, Abramovic began reading her life manifesto clearly and slowly one item at a time. Some items were repeated many times over, especially ones that said an artist shouldn’t behave like a star, and that depression had no benefit for anyone pursuing an art career.

There was a big round of applause when she said: “Never should an artist fall in love with another artist.” She was speaking from life experience, subtly alluding to a romantic relationship with Uwe Laysiepen, also known as Ulay, her German partner and artistic collaborator. It was one of the most meaningful aspects of life and sources of deep fulfilment and companionship that had strong influence on her art during the 1980’s.

The meeting concluded with a Q&A session, in which the artist invited people to ask about anything. Sure enough, there were a lot of questions from members of the audience, both local and international. One of them harked back to a witty remark Abramovic had made earlier in the show, which said: “Never should an artist fall in love with another artist?”

To which, she answered from experience that apparently artists tended to have a lot in common. Their spirits and natural instinctive states of mind tended to be too similar. It was especially good from the get-go. Two artists could be ideally suited to each other, but rarely did it translate into living life together happily ever after. Exceptions were few and far in between. This writer thought the same applied to relationships in other professions, too. Don’t you think? Click this link to share your thoughts with us.

Without a doubt, Abramovic has been held in high esteem the world over. The long spiritual journey to respect and admiration must have taught her something. This writer finally got around to asking her what was it that had the most influence on her art.

This writer stands up for vis-à-vis with Marina Abramovic.

Abramovic answered: “It was Rhythm 0.” She was referring to a solo live performance she staged at age 23. She could still recall it was one of the most challenging performances in her lifetime as artist. It was a test of the limits of the relationship between performer and audience. Between the artist and members of the audience, there were 72 objects that she put on the table. People were allowed to use any one of them in any way they chose, among them a rose, a feather, honey, scissors, a knife, even a pistol loaded with one bullet. The performance last six hours, during which her body sustained several injuries that brought out the dark side of human nature. Needless to say she felt really violated. Since then, Abramovic has spent more than four decades researching and developing spiritual and material art as tools to promote the positive traits of humankind.

The inaugural art festival saw the icon of live performances work non-stop for more than three weeks in Thailand, the longest visit she has ever made to a country she has grown fondest of.

The Bangkok Art Biennale 2018 began on 19 October and runs until 3 February 2019. There are 20 locations city-wide that play host to more than 200 masterpieces from all disciplines. In all, 75 artists from 34 countries across the globe are taking part in a joint effort to turn Bangkok into one of the world’s most sought-after art destinations.

The moment this writer has been waiting for, the opportunity of meeting the artist up-close and picking up a book with her autograph on it. | Photo courtesy of the Bangkok Art Biennale 2018

This writer told Marina Abramovic that he wanted more than just an autograph. He would really appreciate an inspiration, especially to do something creative. And the artist scribbled something resembling two mathematical expressions being equal. This writer then asked her what she meant by it. With a smile, she answered in a clever and amusing way: “Infinity plus infinity, then on one knows the answer.” Aha! I’ve got it.

Blog : PEOPLE

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Behind the Success of Café Business in Thailand: An Interview with Suparat Chinathaworn, Founder of party / space / design

For the design duo Jutamas Buranajade and Piti Amraranga, the power of interest drives learning that culminates in in-depth knowledge of the technique, design and function.

Jutamas Buranajade and Piti Amraranga are designer laureates and founders of the studio “o-d-a”, which is short for “Object Design Alliance”. They’re widely regarded for their original and unique creativeness.

Suppapong Sonsang; A Furniture Designer Who Grows Forests to Fulfill His Timber Needs

Some ten years ago, Suppapong Sonsang rose to fame as a laureate of the Designer of the Year award. Apparently content with living a green lifestyle, he kind of vanished from the limelight and got into a different field, something more upstream.

Phisanu Numsiriyothin Master Woodworker Who Cares about Forests

SACICT CRAFT TREND TALK Four experts touch upon what’s trending in handicraft in the Digital Age

Are We Living Life, or Just Playing Parts? In Conversation with Marina Abramovic

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