archido archidon't

‘หนงสอ รวบรวมผลงาน’ นทรรศการสถาปตยปรวรรต 2552 archido-archidon’t

The exhibition’s theme ‘archido-archidon’t’ let the individual investigate their personal view toward the

relationships between our built environment and its users. Examining the role and the rule of spaces,

functions and spatial regulations unfolds the subconscious urge for our everyday environments.

Exhibition space – faculty of Architecture’s building.

Archido-Archidon’t 2010

Contant 00


Illustrated by : Pariwat A-nantachina

Freedom 03

“ People should have freedom to think freely, not the freedom to do anything they like. Architecture is the same.”

- Tadao Ando

Soaring Lotus 05

INTRO: Bm A G Bm (2 ครง) Bm* บวลอยเจาเพอนยาก A G Bmทาไมจากขาเรวเกนไป บวลอยไปอยทไหน A G Bmเคยรบางไหมโหนกคดคานง ถงบวลอยSOLO: Bm A G Bm (2 ครง) Bmบวลอยเขาเปนชายหนม A Bmตาเหล หลงงม เดอๆ ดาๆ รปรางแมไมโสภา A Bmจตใจลาฟาดงสมญาบวลอย D Aเปนเพอนคยยามเพอนวาเหว G Bmเปนพอครวยามเพอนหวโหย D Aเปนหมอใหญยามเพอนโอดโอย G F#7หาหยกยามารกษาบรรเทา Bmบวลอยถงวยเกณฑทหาร A Bmพกลพการยงดหนงประเภทสอง อาสารบใชชาตพนอง A Bmหวใจคบพองกลาหาญอดทน D Aเปนคนหนกเอาเบาส

G Bmอตสาหมานะถอมตน D Aชวยเหลอเพอนๆ ทกคน G F#7รวมแตทกขสขไมสนใจ SOLO: Bm A G Bm (2 ครง) (ซา *) Bmวนหนงมเสยงปนคาราม A Bmบวลอยถกหามมาในเปลผาใบ ยงละเมอหวงวาใครเปนอะไร A Bmคอคาพดสดทายของชายชอบวลอย D Aตงแตวนนนยนวนน G Bmแสงตะเกยงรบหรทบานไรปลายดอย D Aไมมชายคนทชอบวลอย G F#7ความเหงาหงอยคอยเขาปกคลม SOLO: Bm A Bm Bm A Bm D A G Bm D A G F#7 Bm ** โลกนไมสมประกอบ A G Bm เพราะบางคนชอบเอาแตประโยชนสวนตน โลกนมสกกคน A G Bmเปนบวหลดพนดงคนชอบวลอย (บวลอย) (ซา **)SOLO: Bm A G Bm (2 ครง) (ซา **)SOLO: Bm A G Bm (4 ครง)

Computers and all things considered, the fact of the working hardcopy is still apoint of departure where architec-ture is concerned: paper as the means forcommunicating usable information directly and securely to builders is the primary means whereby construction is still made possible. This fact potentially places the size A4 paper sheet at the cutting edge of construction documen-tation for the simple reason of logistics: it is the smallest known, commonly sized sheet deemed acceptable for the transmission of document information by fax machine. The A4 is as readily available as toilet paper in the form of packaged boxes, and as scrap and re-cycled sheets for immediate printing or drawing use.

However, the ubiquitous A4 works most efficiently only through the tai-loring ofdesign development and man-agement to fit. And if it would appear shocking to have the design manage-ment of one’s architectural practice planned around a paper size, the truth of the matter will be found to lie in a deeper understanding of what consti-tutes the clearest method of communi-cating

210x297with builders.Architects are trained to think in plans and sections, and with as much detail as can be fitted into each construction drawing. This commonly results in drawing sheets filled to ca-pacity for any given building scale, to the effect that the need for legibility simply favours larger drawing sizes over smaller sheets. Taking aside the consideration of the few truly large drawings required for the overall lay-out of project masses over large tracts of land, every single other aspect of a project can be made to fit within the happy confines of an A4. The fact is, that as contractors specialise in con-structing, so architects have to provide information as cleanly and clearly to the builders: large drawings require so much deciphering, whole teams are commonly employed by contractors to sort out the informational landmine

Architectural drawings have becomeThe answer requires architects, notcontractors, to coordinate information and to streamline the type of informa-tion in any one drawing to specific trades or conditions it involves reducing

Wednesday, June 23, 2010 at 5:36am

Text by Kevin Mark Low


A4 07

the known quantity of the information desired for communication, to a series of small projects.

Consider.The huge building sections so much a part of our construction process,really boil down to the basic di-mensions for heights between floor levels, of window lintels and sills from floors, and specific information where floors and ceilings meet; all of which can be drawn or diagrammed, for study or record, on an A4. Less rectilinear building forms can be reduced to diagrams and geometries for resolution, and even some of these are superfluous, since structural draw-ings have taken over where architectural form has become too complex. The large drawing sheets used for door and window schedules can be replaced with recycled sheets of A4 size, each sheet correspond-ing to one door or window; large sections can be simply reduced to the junctions where distinct conditions meet, once again, on A4 sized paper. Every bit of information that we have cometo expect to find on large format drawings can, in fact, be reduced or disassembled onto A4 sheets, each containing specific informa-tion of their specific purposes. The rami-fications of this simple operational shift are significant.

With drawing information bro-ken down into packets that can be worked onindependently of com-puter use, the playing field changes completely. Correctionsand amend-ments that can be made directly on easily duplicable A4 sheets are faxed with equal facility, the same fact that eliminates the time incurred by the printing of large-format drawings with a special machine, and subse-quent delivery. Information transfer by fax is unaffected by proximity, rendering a courier service unneces-sary. With the relay of information by manually corrected A4’s, the time saved by eliminating the amend-ments and printing by computer, and delivery of large drawings by hand, equates to weeks, in any construc-tion schedule. The ultimate surprise which the A4 holds for us, however, is the simple fact that by virtue of its size, only select drawing information can ever be recorded in its format, resulting in every individual drawing being claimed for the specificity of each particular detail; simply put, ev-ery design development aspect of a project is given significance with use of the A4, with less, subsequently, being left to chance.

Archido-Archidon’t 2010Archido-Archidon’t 2010

Don’t Look Down 13

The work is a challenge to respond to the statement “We built our buildings - thereafter they shape us.” The idea is make a DON’T do-able where human’s senses to built environment are challenged. This creates an opportunity to experience possibility of the DON’T in ar-chitecture to understand the DO (and the DON’T) more. This is to experience the vulnerable human’s understanding of architecture.


The elevator is the site of the installation. Four components of the work are in-stalled inside this elevator. A piece of mirror mounted under a piece of plexiglass with industrial-strength double-sided tape along its edges and with its backside sealed with a layer of sticker to hold the glass in place in case of the piece is broken into smaller pieces. The second element is a series of white sticker pieces—circles, triangle, and long rectangles which are placed at eye level on three sides of the elevator’s walls (back—the one you face when you walk into the elevation, left, and the door) to direct the partici-pant’s eyes to, first, the elevator’s buttons and then to the third element—the writing on the door which reads “DON’T LOOK DOWN.” The word “DON’T” is split by the door panels creating a duel status—both DO and DON’T. The arrangement of the three words is upward against a normal reading direction. However, there is a flat triangle to lead the eyes and suggest the reading direction–UP. In this situation the writ-ing can be read either “DOWN LOOK DON’T” or “DON’T LOOK DOWN.” Why directing the eyes? You may guest. The full-floor mirror is reflecting whatever is on it! That’s why there is the fourth element—a halogen lamp mounted right in the middle of the elevator’s ceiling—over the head of the person standing right in the middle of the elevator. Will the shadow of the body under this lamp obscure the up-skirt reflec-tion? You must experience this built environment yourself and maybe with your friends.


Don’t Look Down 15

This built environment creates an unstable space of perception, expectation, specula-tion, and imagination. The glass is placed on some dust and dirt grains on slightly undu-lated elevator’s floor. This creates sound and movement of the glass piece when stepped on. Is it safe to stand on this glass floor? Will the glass break? Will things you don’t want to be seen being seen in the reflection? Can you follow the instruction to “DO N’T LOOK DOWN” and keep your head up? Will your friends follow the instruction to “DO N’T LOOK DOWN” to keep your up-skirt exposure unseen? What do you do to not expose yourself to the view? What to do with your dress, your legs, your hands, and your body? Not long after the installation and the opening of the exhibition, unauthorized by the art-ist, the glass piece was removed by an assumed authority. Is this tampering an art work? Is this right? Does s/he have the right to do so? Maybe. Should s/he do that without asking the artist? The glass piece was removed and hidden, but it can be found! It was reinstalled and re-re-moved a few more times. What game is playing now? Is it for security/safety? Is it for moral correction? Is this a power play? Is this what one should do when one doesn’t like an art work?

The installation in this elevator has been tampered twice already. A major piece of work was removed and hidden somewhere by an assumed authority Archi DO Respect other’s work Archi Don’t dare confronting the work at this site? Archi Do remove YOURSELF quickly from the site Archi Don’t remove any piece of the work!

Louis I. Kahn 17Louis I. Kahn 17

A great American poet once asked the architect,‘What slice of the sun does your building have? What light enters your room?’--as if to say the sun never knew how great it is until it struck the side of a building.


In the realm of the incredible standsthe marvel of the emergence of the column.Out of the wall grew the column.The wall did well for man.In its thickness and its strengthIt protected him against destruction.But soon, the will to look outmade man make a hold in the wall,and the wall was very pained, and said,‘What are you doing to me?I protected you; I made you feel secureand now you put a hole through me!’And man said, ‘But I will look out!I see wonderful things,and I want to look out.’And the wall still felt very sad.

. . . The reason for living is to express

. . . to express hate

. . . to express love

. . . to express integrity and ability

. . . all intangible things.

The mind is the soul, and the brain is the instrument from which we derive our singularity, and from which we gather attitude.

. . . In everything that nature makes,nature records how it was made.

In the rock is a record of the rock.In man is a record of how he was made.When we are conscious of this,we have a sense of the laws of the universe.Some can reconstruct the laws of the universefrom just knowing a blade of grass.Others have to learn many, many thingsbefore they can sense what necessaryto discover that order which is the universe.

Louis I. Kahn

Louis I. Kahn 19

The Lamp 25

“ผสรรคสราง” คอสงทเราไดรบรไดเหนไดสมผสจากความคดผาน “ผลงาน”“ผลงาน” คอสงทเราไดรบรไดเหนไดสมผสจากผสรรคสรางผาน “กระบวนการ”“กระบวนการ” คอสงทเราไดรบรไดเหนไดสมผสจากผลงานผาน “ความงาม”“ความงาม” คอสงทเราไดรบรไดเหนไดสมผสจากกระบวนการผาน “ความคด”“ความคด” คอสงทเราไดรบรไดเหนไดสมผสจากความงามผาน “ผสรรคสราง”

อ.พฒนปกรณ ลลาพฤทธ

The Lamp 27


....วาดวยความเพอฝน....

ภาพชวตบางตอน

บางคนอาจจะไดพบเหน...และเขาใจ

บางคนอาจจะไมมโอกาสไดพบเหน

เสนทางยาวเหยยดเบองหนา

มแตคนทเคยเดนทางผานเทานน

ทจะหยงรถงรวรอยขรขระและหลมบอทมอย

ในความหวงเราอาจจะจนตนาการมนขนมาได

Imaginary 29

แตเราไมมสทธทจะเพอฝนเลย

ในความหวงเราอาจจะจนตนาการมนขน

มาได แตเราไมมสทธทจะเพอฝนเลย

เมอเราเผชญกบความเปนจรง

นาในบอเกาสงบนงเพราะไรลม

กบตวนอยกระโดดตมลงไป

ผวนากระเพอมไหว

ขยายวงกวางออก....

และกลบนงในทสด

‘‘ we built our students, thereafter they shape our world. ’’

คณะอาจารย และ นกศกษาทรวมแสดงผลงาน

รศ.วระ อนพนทง

รศ.ชนศกด ตณฑกล

รศ. ฐตพฒน ประทานทรพย

ผศ.ดร. ตนขาว ปาณนท

ผศ.ดร.อภรด เกษมศข

ผศ. ดร. สรพงษ เลศสทธชย

อ.ดร.ธนะ จระพวฒน

อ.พฒนปกรณ ลลาพฤทธ

อ.เจนยทธ ลอใจ

ผศ.จรฐกา จตตรตนากร

อ. จรศกด เกอสมบต

อ. สคตยทธ จารนช

อ. อดศร ศรเสาวนนท

อ.สรพร ดานสกล

ผศ.ดร.โชตมา จตรวงค

อ.ศรนยา โทณสกมาร

อ.ชาญวทย สขพร

อ. ปองพล ยาศร

อ. ดร. องอาจ หดากร

พณารตน รกรวม

จตรเลขา รามพงษา

นชนาถ เชออนตะ

รปเลม

จตว บาลไธสง

สกาวเดอน งามศรอดม

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