Rab-A-Bit is a small community restaurant in Mae Rim, a district to the north of downtown Chiang Mai. Originally a café, the building is tastefully renovated as a restaurant exuding an air of tranquility with spectacular rice fields and a rich cultural tapestry. Built mostly of local materials, it’s a design that embraces a humble appearance and follows the principles of long-term sustainability.
Housescape Design Lab, a Chiang Mai-based architecture firm, is tasked with renovating the building belonging to Prof. Chunlaporn Nuntapanich. The professor himself is an architect renowned for his many masterpieces that blend with the environment and embrace the local culture.
In this particular case, the original architectural plan remains intact. The interior is restored to all its former glory, while a stunning open-concept layout brings a refreshing change. As a result, more square footage is gained without changing the floor plan. Plus, a roof inspection and repair ensures there are no leaks.
The project was completed in a short space of time to minimize disruption’s impact on business. This was achieved by careful planning in the pre-construction phase whereby all the necessary materials were gathered and prepared to ensure a smooth building process.
Plus, there was no need for a complete teardown to make room for an entirely new building. For strength and durability, the architect preferred instead to reinforce the timber framing in existence at the time with steel structural members. This gave him plenty of time to incorporate additional spaces and functions into the design. They included a customer waiting area inside the building, dust control measures plus safety and protection in bad weather.
There is beauty in simplicity and strategies to meet customer expectations. Rab-A-Bit is built to last a very long time with all functional areas working effectively from the dining room to the kitchen and prep stations. All in all, the pleasant atmosphere makes the restaurant stand out as a peaceful destination for lovers of nature. For others, it’s a green space to spend time and enjoy the sight, hearing, taste, smell and touch of the countryside. From business perspective, it’s thoughtfully devised to attract and keep repeat customers.
Rab-A-Bit is an intriguing combination of the culinary delights and crafts indigenous to the area. It’s built of solid natural wood by local artisans skilled in traditional carpentry. Walk in the door, and you come into a room bedecked with handicrafts of the Northern Region that give the restaurant its character. Together they blend perfectly with nature, becoming one with the rice fields around.
Clearly noticeable is the restaurant’s clean, simple appearance and attention to detail, while its flagship products are mainly authentic Thai dishes on a no-fuss menu. The restaurant owner’s specialties include shrimp fried rice that’s uncomplicated, easily accessible and very popular among the locals as well as foreigners.
Rab-A-Bit is the story of a passion for doing small things with great love. It’s about the power of determination. As its name suggests, this place has enjoyed a good reputation that’s built bit by bit over the years, ultimately resulting in a piece of architecture that harmoniously blends with elements of the everyday landscapes in Chiang Mai.
Underneath it all is a design approach that seeks to minimize negative impacts on the environment, the society and the local economy as the region is tackling the problem of air pollution caused by seasonal slash-and-burn agriculture.
It’s obvious that sustainable design is the only way forward as shown in this restaurant that’s built of local materials by local people. It makes certain that a heritage of exquisite artisanship lives on. Add a unique dining experience, a welcoming atmosphere, and tasty healthy lunches and dinners to the list, and it’s easy to get why many come away impressed. Drop into Rab-A-Bit next time you’re in the area.
“Reinterpreting Narrowness” is an excerpt from research on the subject of an architectural style ubiquitous in Vietnam by Officine Gặp. Founded in 2021 by Yuri Frassi and Afra Rebuscini, Officine Gặp is a research studio committed to the study of urban planning and development involving people with specialist knowledge in Ho Chi Minh City. It investigates the experience and opinions of local residents in a bid to arrive at conclusive findings about the appearance of design and lifestyles in a given area.
Among other things, it looks into the narrow front row house, aka the “Tube House”, a style of residential architecture prevailing in cities across Vietnam. The research project titled “Reinterpreting Narrowness” examines the facts about how urban populations live, work and play. In essence, it’s about understanding the dynamism of the people’s way of life, culture and relationships with small and narrow living spaces. That is to say, it decodes socioeconomic conditions and architectural language in a way that’s easy to understand, giving rise to exciting new ideas for urban planning and development in future.
Reinterpreting Narrowness
Reinterpreting Narrowness is a long-term project inspired by the appearance of an architectural style commonplace throughout Vietnam. Also known as the “Tube House”, it’s an urban row home plan designed to take up the full extent of an elongated rectangle. The purpose of the project is to encourage conversation among architects about the architectural style and urban landscapes that together have made Vietnam original and unique in its own special way.
The project had its beginnings in Ho Chi Minh City in 2022. Since then it has provided the stimulus for open discussions, workshops and debates attracting more than 20 groups of architects from across the country. The project is currently gradually transforming into a form of print media specialized in design innovations and ideas worth sharing.
Over the course of time, the conversations about the “Tube House” coalesced to form a meeting place where ideas about particular design were exchanged. Together they gave rise to stories about the evolution of contemporary architecture in Vietnam. In a nutshell, it’s about taking measures to deal with the problem of overcrowding and challenge of limited space. The intention is to encourage sustainable development and, at the same time, protect cultural heritage and lifestyles. Circles of architects have a role to play in improving the quality of life and ongoing interactions among people in the city.
Crafting a Sonic City (CASC)
Crafting a Sonic City is a multidisciplinary project designed to research the characteristics of sound in the city for the purpose of urban development and the conservation of features or qualities unique to an area, ultimately safeguarding its intangible cultural heritage. Unbeknownst to us, we have all grown familiar to hearing the usual sound in the neighborhood every day. This research project uses the sonic quality to record the story of a city in a factual and detailed way. In a few words, it’s about creating exciting new ideas for urban planning, using the sound as a means to promote an understanding in society.
The project culminated in a public display of handmade books about the characteristics of sound in Hanoi and Ho Chi Minh City. It happened as part of the Vietnam Festival of Creativity and Design 2022, featuring a multitude of neighborhood sounds recorded by architects and researchers. It provided a forum for an exchange of views with people in the community as well as the Society for the Blind.
The Gặp Series
The Gặp Series is a program dedicated to sharing ideas and stories obtained from visiting design studios and architectural practices across the country. Findings reached as a result of an inquiry are presented in a friendly atmosphere. It’s the intention of Officine Gặp to provide a meeting place where knowledge can be exchanged plus it provides the opportunity of meeting up with the people behind the success of research projects in Vietnam.
Action Research Turtle Lake
Action Research Turtle Lake is a workshop that took place over a period of two months. It was a forum that involved little children. The intention was to explore new possibilities in urban planning and development, especially ideas that we adults would never have thought possible. It invited children at the age 4 and 5 from Little Em’s Preschool to be part of the team.
In joining the research program, the children were encouraged to observe the happenings on the streets around Turtle Lake in Ho Chi Minh City. It’s an urban neighborhood characterized by busy movement and activity, traffic congestions and places where people congregate to eat and drink together.
The children participated in surveying the area; taking photographs, drawing pictures, and talking with locals about things that happened. Officine Gặp designed activities that were easy for the children to do in line with an approach to neighborhood building known as “Tactical Urbanism”.
A little bit about Officine Gặp
Yuri Frassi
Yuri Frassi is pursuing a doctorate at the School of Architecture and Urban Design, Royal Melbourne Institute of Technology (RMIT) University, Australia. His keen understanding of the fabric of urban society is manifested in his research into the socioeconomic conditions affecting people’s way of life in Ho Chi Minh City. His works investigate ongoing relationships and interactions between different narratives about cities and urbanism. Through conversation, complex ideas in architecture and urban design are reinterpreted in a way that’s easy to understand.
Afra Rebuscini
Afra Rebuscini is an architect and independent exhibition curator based in Ho Chi Minh City, Vietnam. Her past experience and research centered around the law of urban planning and the dynamism or complex interplay of relationships between the community and the city. With an aptitude for art making, event organizing, and area knowledge, she has been able to conduct social experiments, ultimately leading to an understanding and civic participation in urban planning and development.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
/ Story: Natthawat Klaysuban / English version: Bob Pitakwong /
/ Photographs: Courtesy of Formzero /
The publishers of room and Living ASEAN have the pleasure of introducing Lee Cherng Yih and Caleb Ong of Formzero, Petaling Jaya, Malaysia, an architectural practice specialized in contemporary Tropical design. The two architects are renowned for their untiring advocate of sustainable residential design and creative ways to decorate with plants. Their eager embrace of green concepts has enabled the works of Formzero to stand out from the crowd. Worthy of attention are homes carefully thought out to blend beautifully with the surroundings and Tropical climates prevailing in peninsular Malaysia. In a few words, it’s about creating urban living spaces where people and greenery thrive in close physical association.
In addition to a distinguished career in design, the pair also teaches architecture at a university in Malaysia. Their working life in academia has given them the opportunity of combining formal knowledge with hands-on experience in the fields. One of their signature works is the “Planer Box House”, a narrow front home in Kuala Lumpur adorned with edible gardens growing luxuriantly from the ground up all the way to the rooftop deck. At the risk of stating the obvious, it’s designed to answer the need of a homeowner who has a preference for growing plants.
Together they give the home instant curb appeal that’s quite a departure from what people expect to see in a residential neighborhood. From architectural perspectives, it’s about finding a balance between sustainable living and overcrowding in the big city. According to the architects at Formzero, it’s a building design, style and classification that “go beyond the typology”.
Lee Cherng Yih and Caleb Ong were among expert guest speakers at the design talk titled (Re)Thinking inside the Box: Vol. 1 Living in Small Urban Spaces. Discussion topics include, among others, the challenges that test the abilities of architects, ways to deal with site constraints and ideas for improving in the quality of urban life. Fundamentally, it’s about raising public awareness of the issue and the importance of well-thought-out design in solving the problem of limited space in the city, especially in Southeast Asia.
Q: Basically, how would you describe Formzero?
Lee Cherng Yih: Formzero is a design studio under the leadership of myself, Lee Cherng Yih, and Caleb Ong. Besides the two of us, we also have a five-strong design team. Established in 2012, our office has been up and running for 12 years now. As an architectural practice, from day one we’ve focused our attention on creating designs that could effectively respond to the challenges of Tropical climates. We looked into how green spaces could be integrated in building design. In central respects, that’s pretty much the heart of our studio.
Q: From your perspective, how would you define Tropical architecture?
Lee Cherng Yih: In my opinion, Tropical architecture can be seen from two different points of view. First, it’s an architectural style that embraces climatic conditions prevailing in the locality. I’m not saying that everyone can live in a place without air conditioning. Rather, I’m talking about finding a balance between sustainability and energy consumption in homes. That said, we need a design that works, one capable of dealing with weather that changes seasonally.
Secondly, we cannot trust everything in the physical world, and the built environment on top of that. As humans, we are part of nature. We should make appropriate adaptations to fit in well with a new environment, rather than trying to change the environment to suit our needs. I think that these two points of view are of the utmost importance as we try to understand and reap the benefits of living in Tropical climates.
Q: What’s your opinion on urban environments in Southeast Asia? How does the ecosystem of an urban area influence your work as designers?
Caleb Ong: Nowadays, urban areas across the region have become more densely populated, giving rise to the problem of lack of privacy. That said, we have to create spaces where people can live without being constantly observed or disturbed by others. Everybody wants to feel safe and protected from disruptions that come with living in a crowded place.
Lee Cherng Yih: In my opinion, it’s obvious that population growth only exacerbated the problem of overcrowding in urban areas. At the same time, there’s a need to protect the ecological sustainability of the planet. And that’s where well-thought-out design comes into play as we adapt to changes in our lives. It’s a challenge that tests the abilities of architects like us. We have to find a balance between urban living and saving the environment.
Q: Can you give a few examples that are the signature of your design studio, either completed or under construction?
Lee Chern Yih: The first project, called Windows House, is a home in Kuala Lumpur. It has double layer façades for two reasons. First, they are designed to keep direct sunlight out of the rooms during the hottest hours. Then, because the homeowners had expressed privacy concerns, we solved the problem for them by putting in architectural elements extending outward from the building facades. As a result, the inner walls perform a dual function providing sun protection while creating semi-outdoor room that’s snug and cozy. Meanwhile, the facades built of perforated materials make the home feel light and airy.
The second project, known as Vertical Park, is a high-rise building, which we entered into a competition. It’s located in a city where open public spaces are few and far between. So we experimented with the idea of incorporating greenery as the integral part of the building’s communal areas, business spaces, even children’s playgrounds. Together they form the building façade overlooking the street below. It’s an idea that begs the question. What is the façade, anyway? Is it a public space? Or is it a business venue? It’s both. We incorporated fun ideas in the design to invite people to visit for pleasure.
The third project, called Planter Box House, is a home adorned with edible landscapes thriving on the front façade and rooftop deck. The principal face of the building holds planter boxes of concrete made for growing vegetables and fruit trees. It’s designed to blend in with other homes in the area, giving rise to conversations and promoting neighborly relationships. Needless to say, it caters to the homeowner who loves growing plants. Like a farm, it even has a place to store water for growing crops.
Q: To wrap it up, how would you define “sustainability” from your perspective? And how does sustainable design benefit your line of work?
Caleb Ong: I think that, viewed in its essential qualities, sustainable design is about finding ways to reduce energy use and creating a living space that’s easy to care for. In the big picture, sustainable design requires less energy to build and is flexible in terms of building performance. These are qualities that enable the building industry to thrive while causing the least impact on the environment.
(Re)Thinking inside the Box is a series of discussion events focusing on the issues abovementioned. It’s all a matter of perspective about what can be done to address the problem of limited living space in the city. It’s a forum for people to explore new possibilities and look at the problem from within, thereby turning a challenge into a solution. Hence, the title is (Re)Thinking inside the Box, as an alternative to outside-the-box thinking.
As part of the room X Living ASEAN Design Talk 2024, (RE)Thinking inside the Box Vol. 1 is on the theme of “Living in Small Urban Spaces”. Here, expert guest speakers will discuss ways to create small living spaces and enhance the quality of life, at the same time shedding light on site constraints, challenges, and possibilities for building decent homes in urban areas. In the fewest possible words, it’s about promoting good life and a good living environment.
The name “Office for Trees” may sound unfamiliar, but that’s precisely what it’s meant to be. Here’s a modern workplace adorned with shade trees, shrubbery and hanging vines strategically placed to keep the heat out and embrace the beauty of every corner of interior design.
Located in an urban district in Khanh Hoa Province, south central Vietnam, the building bears some resemblance to a solarium from a distance. It boasts a see-through façade made up entirely of glass to admit sunlight. Inside, beautiful workspaces enclosed by glass walls are disposed around a lush interior courtyard filled with trees and a pathway giving access to all the rooms.
Taken as a whole, it’s design that speaks volumes for the concept of the sustainable use of natural resources. While the country’s economy is picking up speed, the hidden danger of rapid urban growth is real. Lack of green spaces in the city and the realities of today’s climatic conditions are permeating all facets of people’s lives, affecting their health and well-being to put it mildly.
Conscious of changes in the environment, Pham Huu Son Architects, a group of young and dynamic architects based in Khanh Hoa, set out to create a different kind of business premises by incorporating the basic elements of nature into building spaces. The result is an ultramodern office providing 650 square meters of work area that’s calm and more conducive to creativity. Plus, it’s capable of carrying out the complete functionality for a variety of business operations.
The “Office for Trees” consists of two buildings separated by an inner courtyard. Walk in the door, and you come to an impressive office reception/waiting room connected to the main office space at the rear.
Named the “Model House”, it contains an interior mockup complete with a bedroom, dining room, kitchen and bathroom designed to give customers a feel of how the design works. Between the buildings, a lush courtyard creates a focal point in the outdoors, improves natural ventilation and opens to admit daylight.
But what makes it stand out in a crowd is the glass façade that rises from the floor to the ceiling, resulting in a bright and airy office overlooking a koi pond and a well-kept, inviting front yard.
To reconnect with nature, the reception/waiting area is hemmed in by lush vegetation with a stepping-stone garden pathway connecting the front to the back of the building. Overall the interior is simple, clean and uncluttered with only a few pieces of furniture characteristic of minimalist ideas.
A design based on mutually beneficial relationships, the “Office for Trees” is able to provide a comfortable work environment. On the outside, green plants thriving vigorously under the big hardwood canopy trees act as engine that drives natural air circulation, keeping the interior workspaces nice and cool throughout the day.
At the same time, an underground water tank keeps the gardens well supplied all year round, resulting in well-maintained landscapes. On the rooftop, solar panels provide clean and green energy, keeping the “Model House” cool and saving electricity costs.
Lastly, it’s clear that green spaces, adequate lighting and good ventilation play a vital role in improving health and productivity in the workplace. Together they create an atmosphere conducive to creativity, increased energy and enthusiasm for life. Thanks to well-thought-out design, there are amazing qualities aplenty here at the Office for Trees in Khanh Hoa, Vietnam.
/ Story: Lily J., Kangsadan K. / English version: Bob Pitakwong /
/ Photographs: Kranchanok Boonbamrung /
A brainstorming session took place on May 8, 2024 in what was described as a determined effort to take Thailand’s art and craft industry to the next level, ultimately accessing new markets and expanding their reach globally.
Organized by the Sustainable Arts and Crafts Institute of Thailand, SACIT, led by Ms. Naruedee Phurattanarak, director of research and development for artistic products at SACIT, the conference brought together nine experts from a wide range of disciplines to discuss three hot topics; “Unseen Craft”, “Thainess” or the key attributes of being Thai, and “Craft Power”. The panel speakers included luminaries in the art and craft world, namely Mr. Viboon Leesuwan, Mr. Meechai Taesujariya, Mr. Pairoj Pittayamatee, Mr. Asa Piwkhum, Mr. Phitirat Wongsutinwattana, Dr. Sirikorn Maneerin, Ms. Pawinee Santisiri, Ms. Supavee Sirinkraporn and Ms. Cholada Siddhivarn.
The discussion on the theme of “SACIT Craft Power – The Future of Crafts: Guru Panel” represented a massive drive to assist and inspire craft makers, retailers and brands to go global and unlock the next level of growth for their business. Very briefly, it’s about challenging many popular perceptions that “craft products cannot be used in everyday life”. That being said, it makes perfect sense to try and change the way people think about arts and crafts on the global market by presenting quality craft goods that can be used every day and in so many different ways. Here’s a summary of the spontaneous discussion, one topic at a time.
Unseen Craft:
The first topic of discussion, named “Unseen Craft”, is mainly concerned with the moments of inspiration that go into creating art and craft products. Panel speaker Viboon Leesuwan, a member of the Royal Society of Thailand specialized in visual arts, talked about the enduring allure of Thailand’s traditional crafts. Viboon is an avid art collector with authoritative knowledge of crafts made from locally sourced materials. For many people, these are products that give great aesthetic pleasure and are valued for their usefulness.
Viboon said that for heritage craft skills to continue for a long time to come, it’s imperative that we foster good practice and general knowledge of art and craft among young people. As he put it, the key to success lies in the dissemination of ideas, values and learning to a wide audience.
He said that mentoring and educating young adults in art and craft must go hand in hand with developing awareness about local wisdom, or customs and practices recognized and followed by local communities for many generations. According to Viboon, each craft product bears a geographic indication, or essential qualities and ingredients that tell the story of its origin and the process that goes into making it. Take for example “Pha Gab Bua”, which is a kind of handwoven fabrics made by Meechai Taesujariya, national artist for visual arts (handwoven fabrics category) and winner of a 2016 Master Artisans of Thailand Award.
Pha Gab Bua fabric is made using weaving patterns indigenous to Ubon Ratchathani Province that’s widely acclaimed for its unique design, original material, and the power of storytelling about the weaving technique and area or neighborhood from which it is made. More than anything else, it’s a heritage craft skill that people rely on as a means of securing a livelihood and, at the same time, stimulating the local economy.
Thainess:
The second topic deals with promoting “Thainess”, or qualities that are the key attributes of Thailand’s cultural traditions. From a different perspective, there’s a feeling of accomplishment in the product, something that gives a sense of history and heritage that makes people purchase Thai-made goods. With this knowledge, a craft maker can maximize his business potential, creating products that are trendy, tailoring them to meet the specific needs of young people and, at the same time, incorporating storytelling techniques in craft goods.
Panel speaker Pawinee Santisiri said that art and craft itself is a language that expresses creativity and imagination. And the power of storytelling comes handy as an important tool to communicate the values and usefulness of a product to potential buyers on the global market. To take it to the next level, the craft maker relies on a universal language to present designs and ideas that are easy to understand. The universal language is one of many strategies used to connect buyers and sellers, eventually giving a product the renown of a famous trademark, not to mention enhancing sales and expanding into new markets.
Essentially, art and craft is about conveying an idea, impression and feeling through a physical concrete form. For a product to be successful, it must answer the specific needs of a target group, for example by placing great emphasis on the pride and joy of being Thai and, at the same time, promoting a good understanding about cultural heritage and the craft skills that go into making the product. It’s a series of actions that starts at the early stage of education.
At the risk of stating the obvious, art and craft instructors as well as master artisans, students and designers all have an important role to play in furthering the progress of handicraft skills, ultimately continuing to strengthen and take pride of place in modern society.
Craft Power:
The third and most important topic of discussion has to do with “Craft Power”, which refers to the ability of art and craft to influence public opinion and the behavior of target audiences on the global market. About this subject, the experts concur that for the art and craft industry to prosper, the only way forward is to advocate for sustainability every step of the way.
Interestingly, the tourism industry helps a great deal in raising awareness about art and craft products, resulting in good customer experiences. This eventually translates into higher incomes from craft making, thereby allowing communities to improve conditions of life. Plus, by making design in an integral part of the art and craft industry, the possibilities are endless. Well-thought-out design gives rise to an exciting array of new products. And they can be anything from a variegated color ice-cream to building supplies needed to create beautiful works of architecture.
Technically speaking, the power of craft can come in many different shapes or forms, even starting from scratch. It’s a good place to start where nothing has ever been done before. Take for example creating a work of handicraft using raw materials from agriculture. Done right, it’s a way to help protect the environment by promoting good practices at both the upstream and downstream stretches of the manufacturing process. In the end, the economy, culture and society stand to benefit from it, thanks in part to enduring efforts at making knowledge available to a wide audience. Online platforms are one way of reaching out and connecting with consumers.
The three topics illustrated above lay the groundwork for the development of a generation direction in which Thailand’s art and craft industry is developing in the near future. The ideas generated from this discussion provide the framework for the preparation of a new book titled, “SACIT the Future of Craft, Trend Forecast 2025.” Taken as a whole, they symbolize a vigorous effort for the advancement of all facets of Thailand’s art and craft industry and, at the same time, advocate for sustainability every step of the way.
In order to obtain more information on Sacit Craft Trend Book 2025, please contact Product and Potential Development Division at 0-3536-7054-9 then 1385 or download the E-book at https://www.sacit.or.th/th/detail/2024-06-20-16-40-45
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