/ Story: Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Hiroyuki Oki /
A brick hotel in warm, earthy orange hues rises above the lush orchards and bountiful farms of Ben Tre, a charming coastal city on the Mekong Delta two hours’ drive from Ho Chi Minh City, Vietnam. Once a sleepy little town surrounded by rice fields and coconut groves, Ben Tre is emerging as a destination for eco-tourism. New hotel openings tell the story of travel trends in the region where fresh water and shorelines merge with the ocean, astonishingly beautiful by any standards.
The Ben Tre Hotel is located on an oblong piece of ground measuring 28 by 128 meters, with the narrow frontage abutting on a major thoroughfare. As might be expected, the unusually long hotel building extends almost entirely over the rectangle-shaped land and still leaves plenty of room for lush lawns, side gardens, ample parking garages and service areas.
The restaurant also has semi-outdoor room for guests who prefer dining al fresco.
The hotel lobby lies upfront on the ground floor, while a restaurant is located at the midpoint of the elongated floor plan. To avoid a monotonous regularity in the design, the team of architects came up with zigzag design, featuring abrupt alternate left and right turns all the way to the end.
Semi-outdoor stairs afford an expansive panorama of lush landscapes, making every day a breath of fresh air.
There’s a refreshing change every step of the way. For relaxation, an array of cozy nooks adds visual interest to the corridor designed to soak up the view of dense green orchard landscapes.
A square opening in the perforate shell affords a vista of lush landscapes clearly visible from within the room.
The long passage along the outside of the building, aka the “single-load corridor”, means that hotel guests can enjoy the utmost privacy since there’s no unit situated directly across. It’s a thoughtfully devised building access arrangement, whereby all the rooms are placed only on one side. The same applies to the stairs that are semi-outdoors for better ventilation and lighting.
To add a rustic appeal, the hotel’s external envelope is built of handmade bricks sourced from within the locality. Bricklaying with openings in the walls, aka the perforate façades, offers many benefits. It allows for the expansion and contraction of the bricks when temperature changes.
A conceptual illustration portrays the layout of the building arranged in a zig-zag pattern across the site, harmonizing with the natural landscape by aligning itself with pre-existing trees and gardens. / Courtesy of Sanuki Daisuke ArchitectsThe ground floor plan presents the usable public area of the building. / Courtesy of Saniki Daisuke ArchitectsThe upper floor plans present the typology of guestrooms. / Courtesy of Sanuki Daisuke Architects
Plus, the perforate shell adds an aesthetic appeal to exterior walls and reduces the impact of outside noise, resulting in a more pleasant indoor environment.
An aerial view shows the hotel location amidst nature’s pristine environment on the Mekong Delta.
/ Story: Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Courtesy of Supergreen Studio /
Like going back in time, a new boutique hotel has opened in beautiful small town Uthai Thani, one of the last few unspoiled places in the countryside. Named “Uthai Heritage”, it’s an off-the-beaten-track place of accommodation nestled in a peaceful neighborhood untouched by urban development.
Formerly the home of “Uthai Withayalai School”, the property was tastefully renovated as a boutique hotel in a class of its own. It was meant to be an alternative travel destination for those wishing to escape the popular tourist traps. An amazing hidden place people often miss, Uthai Thani lies to the north of Kanchanaburi and west of Nakhon Sawan, a major city 250 km north of Bangkok.
By way of introduction, the school was fully operational from 1957 until 1995. The difficulties that ensued from a decline in economic activity and environmental neglect resulted in it gradually falling into disrepair. But the owner was determined to keep the two-story buildings on the property in working order by checking and repairing regularly.
The owner felt a sentimental attachment to the wooden schoolhouse. After everything has changed, he thought it wise to give it a complete makeover, transforming it into a boutique hotel. In a way, it contributed significantly to the preservation of the historic identity of his neighborhood and, at the same time, attracted new tourists to the area by providing affordable hotel accommodations.
It was a metamorphosis of purpose that saw most of the classrooms transform into hotel rooms while others were remade as reception halls and venues for social activity, including a café and nearby cozy swimming pool.
Architecturally speaking, the renovation project was thoughtfully devised to ensure the old wooden structure remained intact. At the same time, a solid framework of steel was added for long-term strength and durability performance.
To showcase the small town’s history and cultural identity, old building parts were kept in perfect conditions, including door and window shutters as well as the old school flagpole and the signboard at the front. At the same time, they were meticulous about making the strengthening structure and materials fit right in with the original wooden buildings.
The overall effect is impressive. For increased privacy and soundproof qualities in the rooms, the walls are built of brickwork and plastered to form a neat, smooth surface. The new boutique hotel boasts the simplicity of a U-shaped floor plan with lush green lawns at the center hemmed in by native plants and well-designed corridors and connecting spaces.
Time has left its imprint. A friendly message on the stairway wall calls to the mind fond memories of old school days.
Because heritage matters, the old flagstaff remains where it has always been as storytelling artifact. Where necessary, new units of construction are added to the existing building plan to support and facilitate new business operations. They include new hotel rooms and hallways providing access to places on the premises.
Parts of the original framework are preserved for their power of historic and cultural storytelling.
It’s a comfortable place, allowing people to feel relaxed and at home. Air conditioning is there, although it’s used very little by guests who prefer reconnections with nature and the sound effect produced by rain and leaves rustling in the breeze. If a journey in time is your cup of tea, you’ve come to the right place.
Like a journey through time, the U-shaped schoolhouse transforms in to an attractive boutique hotel with lush green lawns hemmed in by native plants.
/ Story: Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Hoang Le /
The Flying Block is a hotel project in a class of itself. The low-rise, six-story tower in a beach-inspired sandy brown is located in the heart of Phu My, a town in Ba Ria-Vung Tau Province bordering on Ho Chi Minh City. Only recently the coastal province has grown to become one of Vietnam’s economic powerhouses with busy sea ports, factories and industrial estates. Also known as the Cay Vang Hotel, it’s festooned with lush green foliage on balconies that provides effective window treatments and reduces summer heat gain, keeping the interior cool and comfortable.
But why Phu My? The answer lies in location, location, location. Ba Ria-Vung Tau is also renowned for its rich ecosystems with lots of sunshine and great views plus tourist destinations attracting travelers from across the globe. So it’s all about being in the right place at the right time.
Children’s drawings illustrate the multiple-use concept of box-shaped balcony design. / Courtesy of TAA DesignA diagrammatic representation shows the welcome lobby and hotel rooms on Floor 1 [above], and more hotel rooms in relation to greenery-filled balconies on Floors 2 to 4 [below]. / Courtesy of TAA DesignA diagram of hotel rooms on Floors 3 to 5 [above], and the penthouse on the top floor [below] / Courtesy of TAA DesignAn axonometric projection illustrates the three stages of design development, from a bare building outline, to the addition of rooms with balconies, to the final image of tree-filled facades. / Courtesy of TAA Design
The main idea is that, with an increase in industrial activity, more housing demand and land becoming pricy, the only way to build now is upwards. At the same time, the natural environment must be preserved so as to enhance the quality of life, housing and lodging accommodations for locals as well as visitors.
The result is a tree-covered vertical living model aptly called the “Flying Greenery Blocks”. In essence, it’s the coming together of box-shaped balconies with trees secured firmly in ultra-deep planters. The rectangular platforms on the outside of the building vary in size from 2 to 3.5 meters wide.
The extra-large balconies among them even have a trough for growing decorative plants at the edges. Together they serve multiple purposes, as a charming garden space for green thumbs, a place for physical fitness exercises and a landmark clearly visible from a distance.
A spacious balcony serves multiple purposes, as a quiet reading nook with a view and room for gardening as a pastime.
Take a look inside, and you find a spacious hallway that’s a breath of fresh air. Uncluttered and arranged in an orderly way, it leaves a very good first impression.
Plus, the entryway feels light and airy, thanks to the stack ventilation effect that allows hot air to rise while low pressure draws fresh outdoor air into the interior. In a few words, there’s no lack of air circulation and hence no need for air conditioning.
On the whole, it’s about integrating urban green spaces in modern design to create indoor thermal comfort all year round. Psychologically, it provides an escape from the hustle and bustle of the city undergoing fast economic development. The bottom line. Every greenery-filled space matters when it comes to improving the quality of life in an urban area.
The Flying Block in a lovely light sand tone stands silhouetted against the emergence of new industries in Phu My town, Ba Ria-Vung Tau Province, Vietnam
/ Story: Phattaraphon / English version: Bob Pitakwong /
/ Photographs: Nguyen Duy Hoach /
Fresh brewed coffee smells like heaven, or so they say. And if you have a chance to swing by the beautiful central coast of Vietnam, get yourself a good strong cuppa at CoCo Cha Taiwan Tea & Coffee located at Phan Rang-Thap Cham in Ninh Thuan Province. Find pleasure in the timeless atmosphere where the classic meets the modern. Here, lush green color paired with earth-toned brown turns a cute coffeehouse into a Shangri-La making every day a perfect day.
Seen from across the street, the coffeehouse façade features a beautiful mix of classic and modern architectural styles.
From architectural perspectives, it’s about creating a design that embraces the beauty of works of art that have become classics and, at the same time, make use of modern materials that are right for prevailing weather conditions on the ocean front.
The front façade is built of glass bricks, a classic material designed to admit light, turning the coffeehouse into a well-lighted place.
The Tropics is warm all year as we know it, and the city of Phan Rang-Thap Cham is no stranger to intense sunlight and strong winds. For this reason, the storefront has to be made impervious to storm water.
Plus, it must be capable of keeping the heat out and, at the same time, letting natural light in. Rising to the challenge, the architects at PT Arch Studio chose glass bricks for the façade, and it works perfectly.
Aa axonometric projection shows interior space arrangements with a rooftop layout in relation to two glass dome skylights over the stairwell and seating areas. / Courtesy of PT Arch Studio
Downstairs floor plan with the terrace storefront. / Courtesy of PT Arch StudioUpstairs floor plan. / Courtesy of PT Arch Studio
In cross section, a diagrammatic representation shows the side elevation and space arrangements in relation to the glass dome skylight at the midpoint. / Courtesy of PT Arch Studio
The coffeehouse features large lounges typical of classic restaurant interior design. To make customers feel comfortable, the seating areas and coffee nooks are arranged in neat, attractive order.
Both downstairs and upstairs rooms are well-lit and well-ventilated, thanks to a stack ventilation system that uses temperature differences to move air. The rooftop has two glass dome skylights that allow natural light streaming inside and double as engine driving cross ventilation forcing warm and stale air to exit through the rooftop.
A set of stairs enclosed by glass brick walls gives access to the second floor. Along the outer circumference, round benches with coffee trays come in handy when the house is full and no seats available. Good thinking!Lit up by a rooftop skylight, the spiral stairs enclosed by glass brick walls provide access to seating areas on the second floor.
As is the case with business buildings across Vietnam, CoCo Cha Taiwan Tea & Coffee is situated on an elongated rectangle with a narrow frontage abutting on the street. Originally, it was a design lacking fresh air and ventilation, an unpleasant situation that had to be dealt with from the start.
The team of architects at PT Arch Studio solved the problem by integrating natural elements into the plan as much as possible. And glass bricks came in handy to avoid the interior becoming a stuffy, overcrowded space. Overhead, a pair of rooftop skylights let natural light shine into both downstairs and upstairs.
An open concept floor plan makes the interior space feel spacious, airy and comfortable.
A tree thrives under the glass dome skylight illuminating the interior in muted green hues and earth-toned brown.
Precisely, it’s a layout that effectively harnesses the feel-good benefits of nature to make the business space feel comfortable, warm and welcoming. Where necessary, glass mirrors are added to give the impression of ample space in the interior.
A glass dome skylight illuminates the stairwell connecting the first and second floors.
In terms of building performance, walk in the door and you find a beautiful, large coffee bar illuminated by natural light streaming in from above. At the midpoint, a spiral staircase enclosed by glass brick walls provides access to seating areas on the second floor.
Small bench seats with coffee trays along the outside of the circular wall add visual interest to interior design. They serve a useful purpose as extra seating when the house is full and no seats available. Every step of the way, signature interior furnishings in cool-toned earthy green and brown promote positive thinking and peace of mind.
A glass brick enclosure holds the spiral staircase illuminated by a rooftop skylight. Nearby, a large mirror on the wall creates a sense of space.Upstairs seating arrangements showcase the signature cool green hues mixed with earth-toned brown.
Two glass dome skylights illuminate the stairwell and seating areas in cool green and earth-toned brown.
Taken as a whole, the interior is spacious and neatly arranged. The stuffiness of the unusually long and narrow space is nicely compensated for by well-thought-out design, building strategies and creative use of modern materials.
And the result of all this? CoCo Cha Taiwan Tea & Coffee capable of fulfilling a role for which it is intended – a place that’s convenient, neat and clean plus coffee smells like fresh brewed heaven. And, the price is right, too. Looking for a good strong cuppa? Well, you get the idea.
/ Story: Phattaraphon / English version: Bob Pitakwong /
/ Photographs: Duc Nguyen /
A green school that creates a healthy learning environment and advocates an interest in nature is making good progress in Vietnam. Here, a desire to connect with the natural world, hands-on experience growing up in the outdoors and nurturing a relationship with Mother Earth are of the utmost importance.It’s named My Montessori Garden in honor of Maria Montessori (1870-1952), an Italian educator who advocated a child-centered approach to education.
The green school is located at Ha Long, a coastal city that’s part of Quang Ninh Province about an hour’s drive from Hanoi. It embraces the Montessori Method of teaching and learning that has become popular in this region of Vietnam in recent years.
In essence, it’s about answering individual children’s learning needs and getting outside into nature, thereby developing a sense of responsible stewardship of the environment as they grow. And it’s a good idea to start early with kindergarten children, who are curious to learn and inquire about everything around them.
Needless to say spending time in nature offers lasting psychological benefits. It’s a way to build a good inner foundation for life in the process of growing up into responsible adulthood. More so than anything else, there is no forced learning taking place. It’s a curriculum by which no child is left behind, and no one is forced to learn anything regardless of his or her own wishes.
The schoolhouse design is a creation by a team of architects at HGAA, a Hanoi architectural practice, who successfully translated the ideas about alternative approaches to education into a reality. It’s a work of architecture founded upon an understanding of child behavior and nature of human learning. The result is a healthy environment conducive to learning, one that’s tailored to the specific needs of individual children.
Although small in size, My Montessori Garden makes the most effective use of space, with easy traffic patterns designed with the little children in mind.
How did they do it? To begin with, a design that’s plain and simple takes precedence here. The schoolhouse is built of steel structural framing. Dry construction was cost effective and took less time to build without causing negative impacts on the environment or inconveniences to community
In future, when the land lease expires and cannot be renewed, the whole project can simply be taken apart and moved to a new location.
A diagrammatic representation shows the built environment in relation to the school yard filled with green foliage and a corridor system between buildings. / Courtesy of HGAAA diagrammatic drawing illustrates traffic patterns on the ground floor. / Courtesy of HGAAA diagrammatic representation illustrates traffic patterns on the footbridge system. / Courtesy of HGAAA side elevation drawing shows the trees, the footbridge system with mesh wire railing and, beyond, winged roofs with the center gutters for carrying off rainwater, a thoughtful design that prevents storm water from splashing onto neighboring homes. / Courtesy of HGAAA cross section drawing shows winged roof ideas with the center channels for conveying rainwater away from the building. / Courtesy of HGAAA simplified drawing illustrates the angle at which sunlight strikes, and the direction from which the wind enters and exits, creating indoor thermal comfort. / Courtesy of HGAA
My Montessori Garden sits on a small area of ground, only 600 square meters in all. For child safety, the overhead footbridge among the trees has wire mesh railing infills designed to protect against slip and fall accidents.
Surrounded by trees and shrubbery, a footbridge system has wire mesh railing infills that protect against slip and fall accidents. It’s also an extra outdoor room for children to play in.
Although small in size, natural elements are generously integrated into the plan in a way that pleases the senses and the mind.
There are two kinds of green space on the premises. On the ground, the school yard provides ample room with raised beds for growing vegetables, in-ground plants and shade trees. Above the ground, climbing vines and edible vegetation thrive on trellises and walls producing colorful flowers that give off good vibes.
Children chat with friends as they tend leafy vegetables in raised beds and climbing vines producing flowers and edible fruits.
For the architects, it’s about designing an environment conducive to learning and, at the same time, promoting positive thinking, interactions with nature and socialization processes among kids. And it’s happening all day and every day, indoors and outdoors.
Nature is the best classroom. To protect the little children from the elements, the entire wall of the building is glazed using clear glass with sliding doors that separate indoors from outdoors.
In a few words, well-thought-out design matters. For My Montessori Garden, it’s a design that fulfills the purpose for which it’s intended, one that’s easily to understand and presenting no difficulty. In the end, it boils down to one thing — nature is the best classroom.
/ Story: Ektida N. / English version: Bob Pitakwong /
/ Photographs: Trieu Chien /
Like the green roofs in times past, a quintet of community center buildings stands sentinel over the rice fields in Vinh, a small farming town in Vietnam’s Nghe An Province. Officially named “The Park” it looks out over a calm and peaceful lake and, beyond, long lines of mountains and hillsides can be seen from miles around.
No doubt, the heavenly morning mist and respect for nature combine to give a team of architects the inspiration they need going forward. The Park is the brainchild of the MIA Design Studio, an architectural firm based in Ho Chi Minh City. And the end result is a delightful a group of public space buildings that blends perfectly into the natural environment.
Technically speaking, it’s a design that takes into account the circumstances that form the setting of the area. And that’s exactly the quality that puts the small town’s community center in a class of its own. The five-building civic center is a great addition to the neighborhood. Among other things, it attracts townspeople, provides community services, and promote community fitness.
A three-stage diagrammatic representation shows a quintet of civic center buildings placed along different imaginary lines to take in different views of surrounding landscapes. / Courtesy of MIA Design StudioA diagrammatic representation illustrates the location of the civic center quintet in relation to the waterfront. / Courtesy of MIA Design Studio
Their waterfront facades afford a view of the lake surrounded by lush green paddies and mountain ranges to the far side. The exterior walls are built of engineered wood textured and stained to look like real timber set at intervals to allow natural light and fresh outdoor air into the interior.
Designed to merge into surrounding landscapes, the principal facades overlooking the road in front lie hidden under grass roofs set at an angle of 45 degrees gently rising from the ground up to culminate at the apexes.
The five buildings are symmetrical solids set on different axes to take in different views of the calm and peaceful countryside. They are connected with each other by a system of corridors, which in tern leads to a jetty at which boats come to dock and be moored. In a way that’s uncomplicated and easy to understand, each building serves its specific functions providing public services to people in the community.
Openings in the external envelope allow light and fresh outdoor air into the interior, strategies that prevent it from becoming a stuffy, overcrowded space.Like historic roofing making a comeback, the five buildings are roofed over with lush green lawns resembling grassy knolls overlooking the road in front. Shed roofs covered with earth and vegetation create a superior thermal mass that absorbs and transfer less heat from the sun into the interior.
On approaching the civic center, you only see what looks like a few grassy knolls gently rising to the summits that are the focal points of the design. It’s visual experience that excites the imagination and creates a good first impression on people passing by. For a warm and friendly atmosphere, the main entry area is flanked by a welcome building and a restaurant building linked by a hallway. The other three buildings that lie a little further away contain a sauna, fitness center, and changing rooms plus other amenities, respectively, for privacy.
With nature as the first priority, the architects chose only simple building materials for interior decorating. It falls into a line of thought that the beautiful view outside takes precedence over any other consideration. At the same time, it is built strong and capable of carrying and transferring loads down onto the foundations. The facades overlooking the lake are covered in frameworks of wooden bars with awnings built of composite wood to keep the sun and rain off the building faces.
A fascinating array of lattices built of engineered wood is set at different angles to provide shade and create an aesthetic appeal to the over design.
Step inside, and you find the ceilings covered in engineered wood paneling. This material is chosen for its beautiful, authentic look that connects with the outdoors. The interior walls are covered in indoor tiles for a neat appearance, while the external envelope is adorned with faux wood lattices for a relaxing outdoor ambience.
Because it’s a public green space, natural features take precedence here. They’re considered more important than other things. In essence, it’s designed to reap the full benefits of nature, be it lighting or ventilation. Plus, well-thought-out design reduces the need for electromechanical air condition, which saves big on electricity costs.Seen from the water, each building has its lakefront façade facing a different direction to take in a different angle of view of the waterscape. The principal face of the building is covered in frameworks of wooden bars with awnings to keep the sun and rain out.
Designed as a landmark easily seen from a distance, the quintet of civic center buildings is all aglow in the nighttime, thanks to an orchestra of electric lights shining through hundreds upon hundreds of small openings in wooden latticework. Like a chandelier shimmering in the dark of night, they create stunning reflections on water and an indelible impression on people going past this area.
/ Story: Wuthikorn Sut, Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Courtesy of Rumbá Bor /
“There is no escape from plastic as long as we can’t decide, once and for all, to stop using it. If a product works great made of plastic, at least we should make it strong and long-lasting. That’s basically where design comes in handy to achieve desired results – good quality products that can be used over and over again.”
So said Rumpa Paweenpongpat, designer and founder of the Rumbá Borbrand. Rumpa likes to be referred to as a curator rather than designer. Only recently she stumbled across an injection mold used to make plastic stools at a factory manufacturing household goods.
The factory owner who originally created the intricate design had since stopped making the product. But for Rumpa, it was a real treasure, a work of tasteful aesthetic design deserving serious attention.
Her success was no fluke. Rumpa soon made a refreshing change from what we’ve seen before. By switching to a new material, repacking and rebranding strategies, she turned an ordinary stool into an exciting new experience, a good quality product under brand name “Choei”.
Now it can be found practically everywhere, albeit different in appearance thanks to the new improved material being used. Plus, there’s an artistic flair in the product that allows it to blend perfectly into the circumstances and ideas at the present time.
The first collection of the Choei brand comes in two different colors depending on the materials used in the making. One model is named “Sakoo” for its off-white color resembling the creamy chewy tapioca balls in Thai-style rice pudding. It’s made of a mix containing 50 percent recycled polyethylene plastic, aka PP for short.
The “Sakoo” model comes in off-whites with a yellowish tinge resembling the creamy tapioca balls in Thai-style rice pudding. – from Choei.
The other model, named “Kathi” for its coconut milk color with a gray tinge, is made of 100 percent recycled polyethylene. It’s the material of choice for obvious reasons. Polyethylene is tough, abrasion-resistant, and capable of withstanding wear and tear over a long period of time.
The “Kathi” model boasts the calm of coconut milk color, a beautiful white with a gray tinge. – from Choei.
Sharing her inspiration, Rumpa said: “It makes perfect sense to switch to PP for it’s the most common type of recycled plastic. In comparison with other types of plastic, polyethylene requires less energy to recycle and it gives stronger, better quality products.
“The Choei stool is a piece of decoration you can sit on. It might seem self-contradictory to say that from the start it wasn’t meant to be used for sitting. Rather, it represents a revival, an improvement in the condition and strength, which gives it a value that’s original and unique in its own special way.
“You can test it, or give it a twist. But front and center it’s about aesthetic pleasure. From the design point of view, it’s challenging and rewarding to be able to turn a mass-produced good into a product that has found a niche in the market, a specialized segment of the market, so to speak.”
Choei is the first product line from Rumbá Bor. On one hand, it seems quite a departure from the norm. On the other hand, it’s so ordinary that’s out of the ordinary, a quality that people tend to overlook. It’s exactly the message that the brand is trying to get across, to make people understand.
As Rumpa puts it: “We are interested in ordinary everyday things. Even mundane objects have the power or quality of giving delight. The point is that there is beauty in simplicity and mundaneness, too. There is always kitsch, or sentimentality, about a simple product that most people don’t see.
“It’s run-of-the-mill things we see every day that intrigue us. Examples include breeze blocks, even those balusters on staircase railings in people’s homes, to name but a few. The Choei stool belongs in that same category oftentimes regarded as old-fashioned and out of style.
“But, we can take it out of its humdrum existence simply by applying a new coat of paint and making the intricate design details stand out again. In this way, the improved product will emerge a refreshing change worthy of serious attention.
“Ordinary things can be adapted for a new purpose and made more attractive in ways that people can relate to. The Choei stool has that intricate detail and potential that people seem to have overlooked.”
In essence, the Choei brand is about appreciating of the good qualities and value of the resources that we have and being able to use them wisely. Original design can be adapted to suit new circumstances. A product can be made tough and long-lasting by using a better quality material.
The Choei brand isn’t about trying to change the world overnight. Rather, it’s taking one baby step at a time. Already, this little round-top stool with flowy design legs has sparked up a conversation about it, apparently a step in the right direction going forward.
Hush-hush! There’s a currently circulating story that Choei is coming up with a new set of colors soon. So stay tuned.
/ Story: Kanamon Najaroen / English version: Bob Pitakowng /
/ Photographs: Mario Wibowo /
As its name suggests, Stalk Jakarta, affectionately known as the Tree-Hugger Bar, has environment protection as its front-and-center concerns. It’s a design that integrates the relationships between all things as the primary framework before additional tasks can be taken. The result is an enchanting restaurant and bar amid an oasis of lush greenery in a busy area of the city.
The building is roofed over with a tensile fabric cover supported by membrane structures resembling the coming together of five huge bell marquees. There are openings at the apexes to let tall trees grow through reaching up some 30 meters into the sky.
Stitched together so that they become a whole, the five bell tents work in tandem to protect the place of business underneath from severe weather. At the same time, tree crowns and overhanging branches cast shadows on the fabric cover, creating visual interest with contrast in design.
From a distance, a combination of huge bell marquees rises among the treetops creating a visual blend with the natural surroundings and buildings in the background.
The completely tented restaurant space may seem incompatible with other buildings in the neighborhood. But from the parametric design perspective, it’s a sustainable architectural approach that makes sense in every possible way.
In essence, it’s about trying to minimize any negative impact on the environment. And in this particular case, saving all the existing trees on the premises is of the utmost importance. It’s a noble thing to do to leave the trees where they have always been and let them thrive.
From the look of things, it’s thoughful and unique design that puts Stalk Jakarta, the Tree-Hugger Bar, in a class of its own. It’s the product of step-by-step planning that results in a situation, in which each side benefits in some way.
The restaurateurs get the perfect space they need to do business, while the trees get a new lease on life. On the whole, completely tented design provides a commercial space that’s eye-catching, while shady tree canopy ideas make customers feel calm and peaceful away from noise and distractions outside.
Stitched togethered so that they become a whole, bell-shaped tensile fabric tents have openings at the apex to let trees grow through the roof keeping the restaurant space in shade.
In the big picture, it reflects the design team’s vision of creating a piece of architecture that’s inextricably linked with the environment and the circumstances that form the setting of a place. Especially for Stalk Jakarta, it’s the team’s intention to try out new design possibilities to ensure the viability of the project.
They also plan to share their experience with business property developers with a way to reduce negative effects on the environment and, at the same time, maintain the existing state of affairs and physical features of the land. In this way, property value in the central business area will not be negatively impacted.
A drawing of the first-floor layout shows the welcome area leading to clearly defined VIP rooms and semi-outdoor dining rooms embraced by lush greenery. / Courtesy of RAD+arThe open concept second floor holds a restaurant and bar in nature’s peaceful embrace. / Courtesy of RAD+ar
A side elevation drawing shows spatial relationships between shade trees, tensile membrane structures, and restaurant spaces. / Courtesy of RAD+ar
Stalk Jakarta, the Tree-Hugger Bar, consists of two floors. The first floor holds a number of drinking and dining rooms for private parties, aka VIP rooms. To get conversation going upon arrival, there’s a spacious welcome area decorated with plants with an inverted bell-shaped canvas roof serving as the focal point in the room.
From here, the dining hall on the second floor can be accessed via a ramp that winds around the upside-down bell curve at the center.
A ramp winding around the inverted bell-shaped fabric roof cover provides access to the upstairs dining hall.
The second floor contains a restaurant and bar, 750 square meters in extent. It’s roofed over with a combination of huge tensile fabric tents with openings at the apexes to allow shady trees to literally go through the roof reaching up for the sky above.
The thick fabric cover and the canopy of the tall trees protect the restaurant interior from heat during the daytime. In a way that arouses interest, overhanging brances cast shadows of the fabric cover creating a light and shadow play that changes in length and direction over the course of a day.
After sunset, beautiful chandeliers turn the dining hall into a well-lighted place with easy listening music provided by a live band.
An intriguing combination of color and texture makes the VIP room feel warm and welcoming.
Return to the first floor, and you find several VIP rooms clearly defined and separated from one another for privacy. Metal wall panels hammered to look like water surfaces and sandy soil add visual interest to the rooms.
At a glance, it’s a sight that evokes pleasant memories of a journey deep into the forest where the sun shines dimly and slightly, thanks to strategically placed lights in the interior.
An intriguing combination of color and texture makes the VIP room feel warm and welcoming.
All things considered, the high tension membrane roof cover comes in handy for the team of architects at RAD+arto create an outstanding piece of parametric architecture. It looks the epitome of elegant design and an interesting amalgam of the built environment and the lush green surroundings.
What makes it the perfect rendezvous is the open concept layout that provides good natural ventilation, keeping the interior cool and calm with the sound of leaves rustling in the wind.
Without unsightly solid walls, the restaurant and bar space feels bright and breezy, thanks in part to the tensile membrane structure that performs two functions simultaneously, as fabric roof covering and semi-outdoor enclosure.
In the fewest possible words, it’s the best example of design that’s good for people living in the big city, and good for the environment, too.
/ Story: Kor Lordkam / English version: Bob Pitakwong /
/ Photographs: Trieu Chien /
Greetings from Soc Son, a village near Hanoi that’s home to a museum nestled in an old orchard. Known as Đạo Mẫu Museum, it stands on 5,000 square meters (about an acre) of land surrounded by lush woodlands and rolling hills. In recent years, the area has attracted many travelers, thanks to beautiful scenery and unspoiled landscapes.
Dominated by a boundary wall and towering structures covered in reclaimed clay tiles, the welcome area is a garden path leading to the main museum area at the far end.
The Đạo Mẫu is a museum and a home in one. Xuan Hinh, the owner/artist who created it, lives on the project, which conveys a great deal about his unwavering commitment to preserving the architectural heritage and folk traditions unique to this part of the country.
Among them is the traditional veneration of deities of Vietnam’s folk religion that’s gradually disappearing from modern society.
By definition, the term Đạo Mẫu is Vietnamese for mother goddesses, or deities in folk religion treated with reverence and adoration since the dawn of time.
It’s part of the ancient Vietnamese belief system that seeks communications with supernatural beings, especially the goddesses or female deities and a fascinating aura of mystery that locals adhere to and observe in everyday life.
It’s not clearly understood how such belief systems came into being. Only that female deities were worshipped for thousands of years since the earliest times. This is especially true across Southeast Asia, where female divinity is mostly concerned with the life-giving and nurturing aspects of nature.
Understandably, the power of nature is personified as a woman symbolizing a creative and controlling force, and hence the term Mother Nature as we know it.
Long story short, it’s the line of thought mentioned above that inspired Xuan Hinh to join forces with ARB Architects, an architectural practice based in Hanoi, in creating an architectural masterpiece in this regard. It serves as a vehicle to express ideas about the preservation of the folk culture that’s rooted deeply in the belief systems about the force of Mother Nature.
The result of all this is a group of towering structures covered in vintage clay tiles reaching for the sky through the void of space among the fruit trees on the property. The idea is to avoid coming into contact with surrounding lush foliage and let nature permeate.
Philosophically, it’s a reflection on the importance of the need to live a conscious lifestyle and make the world a better place for all living things.
An opening in the boundary wall covered in old clay tiles provides a pleasing view of the old orchard.
The Đạo Mẫu Museum has two parts. First, the welcome area is a long garden path that runs along the boundary wall marked with towering structures at intervals. There are five of them in all that serve as the focal points to get people’s attention.
A drawing of the floor plan shows the old orchard up front and the museum/residential area with a water pond at the rear. / Courtesy of ARB Architects
The rustic garden path leads to the main area consisting of a place of residence and a museum at the rear of the property. There are service areas and smaller buildings nearby. The old house where the owner/artist lived previously now provides space for collectibles connected with the veneration of Đạo Mẫu, the female goddess.
Elsewhere, new buildings merge into the darkness of the fruit orchard. Or it can be said that the trees blend beautifully with the built environment. Either way, it looks the epitome of a perfect picture, in which all things in the universe are inextricably linked.
More so than anything else, every square inch of the towering structures and boundary walls is covered in vintage clay tiles in varying shades of earth tones. They are reclaimed construction materials that the owner/artist had kept in his collections over many years.
The tiles were recycled from much older homes across the Northern Region of Vietnam, more than one hundred of them in all. He collected them over time when the old homes were either renovated or dismantled as a result of the increasing globalization of the economy.
For Xuan Hinh and the design team of ARB Architects, the discarded objects are priceless works of art. They are man-made artifacts whose value cannot be determined, plus they provide a reflection on the ways of life of the people of Vietnam in times past.
It’s the opportunity to adapt them for a new use, thereby upcycling them into something of higher quality and value. And from the cultural perspective, it’s about showing respect for the past, celebrating the present and inspiring the future.
/ Story: Phattaraphon / English version: Bob Pitakwong /
/ Photographs: Anupong Chaisukkasem /
It was a journey back in time as we visited U-Thong, home of the Pusayapuri Hotel that has become a new landmark in the western part of Suphan Buri Province. The town in itself is rich in history, having been the origin of the Ayutthaya Kingdom dating back more than 2,000 years. It became a district of Suphan Buri during the reign of King Rama V in 2448 B.E. (1905), formerly known as Chorekhe Sam Phan and later renamed U-Thong in 1939.
The Pusayapuri is the brainchild of EKAR Architects, a Bangkok-based architectural practice led by Ekaphap Duangkaew. The design thinking process took Ekaphap and his team to U-Thong countless times, during which useful data were collected culminating in a piece of contemporary architecture that’s worth remembering and unique in its own special way.
Sharing his work experience with us, Ekaphap said: “The thinking process that went into designing this hotel came as the result of systematic investigations into the town’s history.
“U-Thong was an ancient state that flourished in this part of peninsular Southeast Asia a very long time ago. Most people seem to have overlooked important facts about it. So, we reached out to connect with the locals and got to know a lot about its history through seeing, hearing and visiting places.”
“There are museums containing relics that provide an insight into the history of U-Thong, among them a stone Buddha image carved into cliff face that has become a tourist attraction. It’s the work of local artisans,” Ekaphap continued.
“Other places of interest include ruins of dome-shaped brickwork structures erected as Buddhist shrines in the past. Not many of them remain to be seen today. It’s these historic sites built of bricks that inspired us to try and revive old brick masonry to all its former glory. One of the results of all this is evident in the façade of the Pusayapuri Hotel in U-Thong.”
In essence, it’s about building a hotel façade with the power of telling a story about life in U-Thong in former times. Thanks to their understanding of architectural heritage, the architects were able to create a new hotel that stood out from the rest in terms of color, texture and design, and yet no old-fashioned bricks were used.
The Pusayapuri is built using innovative materials including glass reinforced concrete, or GRC, that’s lightweight but tough making it an ideal material to use on a variety of structures. It can be dyed to resemble brickwork or concrete surfaces.
Sections can be prefabricated from the factory to enable quick and easy assembly on site. Plus, GRC helps reduce weight on building foundations, saves construction time, and is unaffected by environmental conditions.
In the case of the Pusayapuri, the GRC façade sections arrived ready to be installed on site as soon as concrete frame construction was completed. It’s a dry construction system that’s suitable for all buildings or portions of buildings such as balconies with a variety of window bench seating designs. On the outside, they perform a dual function as façades and awnings used to protect against sun and rain.
The Pusayapuri’s 56 spacious guest rooms provide a comfortable retreat in a historic town style setting. All of them are designed to create a light and airy atmosphere. Where appropriate, guest rooms are taken out to create a void of space for lighting and ventilation.
The void of space starts from the first floor all the way to the roof top resembling a well-lit staircase when seen from a distance in the nighttime. Together, they ventilate the building by drawing fresh outdoor air inside and force warm air to exit through rooftop vents. The hotel loses some rooms, but it gains comfort from good ventilation. Plus, it’s a feature that adds rustic appeal to the overall design.
The Pusayapuri presented both challenges and opportunities even for the experienced designers at EKAR Architects. The team was tasked with creating a hotel with the power of storytelling about the history and architectural heritage of U-Thong, plus turning it into an important landmark in the lives of all concerned.
What makes it original and unique is the hotel façade that bears the imprints of time and a civilization of years gone by — a masterpiece that creates a sense of calm in architecture and indoor thermal comfort. Swing by the Pusayapuri next time you sojourn in this part of Thailand.
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The Pusayapuri Hotel: Redefining U-Thong Architecture from a Modern Perspective 
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