Kantana institute

2013 On Site Review Report by Zainab Faruqui Ali

Kantana Film & Animation Institute Nakhon Pathom, Pathom, Thailand Thailand

Architect Bangkok Project Project Studio, Boonserm Premthada Premthada Client Kantana Group Public Company Design 2008 - 2009 Completed 2011

4193.THA

Kantana Film and Animation Institute Nakhon Pathom, Pathom, Thailand

I.

Introduction

The Kantana Film and Animation Institute is an institute for training undergraduate students in film and animation, and is located in Klong Yong town in Nakhon Pathom Province, Thailand. The facility offers a broad range of filmmaking and animation courses. The building successfully integrates modern materials – concrete and steel – with an extraordinary use of Thailand’s traditional building medium – brick. It is owned by the oldest film production organisation of the country – Kantana Movie Town – and is situated in the latter’s vast lands covering an area of 162 hectares (400 acres), amongst farmlands and villages of Nakhon Pathom. It is 56 kilometres from Bangkok, the capital of Thailand. The architect is a professor of architecture at Chulalongkorn University in Bangkok, and runs a s mall practice in the same city. His designs are innovative and concerned with serving the community in a special way. The Kantana Film and Animation Institute is situated amidst the greenery of vast grasslands and stands out distinctly with its innovative and undulating brick walls and their randomly placed square openings. The reference to traditional material is direct but the expression of the architecture is creative and contemporary. The idea of reviving brick, the lost and forgotten building material in the country, is praiseworthy and is much appreciated by critics as well as the local community. The mere fact that construction of this Institute rejuvenated the business of a large brick factory and created jobs for brick makers from two villages makes an excellent excellent contribution in service of the community. The imposing undulating brick walls and the setting of grassland of the Kantana Institute lets the architecture and nature complement each other. The four walkways, or “forests”, within the Institute are a notable feature of the project and give very special experiences to users. This forest also echoes, in an abstract way, the courtyard of traditional Thai houses. The five different functions of the Institute are planned in a very simple, distinct and organised way. The students and teachers, as well as the administrative staff, find it very comfortable as well as stimulating to work in the special environment created in the building. The Institute was built by both Buddhist and Muslim workers. The architect and the brick-factory owner selected workers with experience in bricklaying at buildings such as temples and mosques. The workers worked for a number of years together. Kantana Institute is already part of the study tours of architecture schools of the country and has been an inspiration to many architects in terms of using brick in their architecture. In this way Kantana is keeping the traditional handmade brick industry of Thailand alive.

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II.

Contextual Information

A.

Brief historical background Nakhon Pathom is a very old province of Thailand. Centuries ago it was a coastal coast al city on the route between China and India. It has been an important Buddhist centre from the 6 th century. Buddhism flourished here in the reign of Dvaravati. When the Tha Chin River, a major river in the country, changed its course, the city lost its main water source and was thus deserted, the population moving to a city called Nakhon Chaisi. In the 19 th century, King Rama IV ordered the restoration of the Pagoda Phra Pathom Chedi, a religious monument that was then in a dilapidated state amidst the jungles of Nakhon Pathom. A city gradually formed around it, bringing new life to Nakhon Pathom. The province experienced a major influx of southern Chinese in the late 1800s and early 1900s. Today the province has its boundaries with Bangkok and is visited by tourists from all over the country for its important religious relics and monuments. Nakhon Pathom has a small Muslim population and there are a few mosques in the province. province.

B.

Local architectural character Nakhon Pathom has mostly villages with farms of rice, vegetables, orchids and coconut groves. The traditional houses have raised floors to protect the house from flooding; the spaces underneath are used for storage or for keeping livestock during the dry season. The houses are usually composed of separate rooms arranged around a courtyard, which generally has a shady tree, and in the towns are mostly made of wood, or of wood and brick. The traditional religious buildings are the Buddhist temples made of handmade bricks or wood with multiple tiered wooden roofs. A complete temple complex has a stupa, Khmer temple, ordination hall, shrine, library, open pavilion, bell tower, school and a crematorium.

C.

Climatic conditions Nakhon Pathom Province is located in the tropical monsoon climate. There are three seasons – summer, rainy season and winter. The average temperature in summer, in the months of February to mid May, is between 28 and 36°C. The average rainfall ranges from 220 millimetres in May to 310 millimetres in October. The average relative humidity in the rainy season is 72%. In winter, during the months of November to January, the average minimum temperature drops to 17.2°C with an average relative humidity of 34–40%. Kantana being located in an open area experiences direct sunshine and breeze all year round, and storms in the monsoon period.

D.

Immediate surroundings of the site The Kantana project is located in a rural area of Nakhon Prathom Province, longitude 13°51’48”N and latitude 100°16’19”E. It is situated in the heart of the Kantana Movie Town property. The area has Rajaphat University in the north, rice fields in the south, a main road in the east and a canal in the west.

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The Kantana site is accessed acces sed by one main road and by boat from the canal. The area is surrounded by rice fields, animal farms, orchards, vegetable farms and orchid farms. The immediate surrounding consists of grasslands and film stage sets made of makeshift temples, sculptures and old-style buildings. The houses along the Jek canal, near the site, are made of wood and arranged around a courtyard or veranda. The houses in the village are scattered. The traditional houses are being gradually replaced by houses with metal walls and metal or tile roofs although wooden houses still exist. There are some two-storey houses where the ground floor is made of hollow concrete blocks and the upper floor with wood or metal sheets. Various types of tropical trees abound throughout the villages and the town. E.

Topography Nakhon Pathom Province is situated in the alluvial plains of the central lowlands of Thailand, and i s drained by the the Tha Chin River, a tributary of the large Chao Phraya River. The capital city of Bangkok has grown until it actually encompasses the provincial border of Nakhon Pathom. It is made of relatively flat land, with a slope of about 1–2 degrees and an average height of about 1–2 metres above sea level. The Kantana Institute is situated on the flood plains area. In 2011, heavy flooding occurred in the area when the water rose to 1.5 metres; but the Kantana site was protected by an earthen dam.

III.

Programme

A.

History of the inception of the project In 2006 the project was initiated by Jareuk Kaljareuk, chairman of Kantana Group Public Company Ltd, one of the top three biggest film and animation production companies in the country. His father and the founder of the company, Pradip Kaljareuk, produced films, each of which bore a good message for society. Thirty years ago he had visualised the concept of a film and animation institute which would give an excellent education as well as contribute to society. His idea was that through a properly designed environment students would learn to make good films and learn to love their country and its traditions, respect the king and uphold family values. In keeping with his ideology, the Institute is now also active in making students aware of environmental issues, global warming, energy efficiency, recycling and so on. The architect conceived the idea of a nature-friendly building with extensive use of handmade brick; and for this an about-to-close brick industry in a nearby province was fully revived.

B.

How were the architect and the specialists chosen? The chairman of Kantana Group Public Company Ltd set up his criteria for selecting an architect in 2006; these strongly suggested an architect with vision and teaching experience, along with

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knowledge of film and animation and, most of all, respect for Thai culture. He interviewed a few professors and selected the architect teaching at the prestigious Chulalongkorn University, whose visions were in tune with his own. During an interview with the reviewer, the chairman revealed that he believed that the architect was passionate about Thai culture and society, was innovative and ready to take challenges, and could also make his father’s dream come true. The structural engineer, selected by the architect, has been working with the architect for the past 15 years. Other engineers were also selected by the architect. The contractor, who had experience in building brick buildings, although not not handmade ones, was selected by the architect. C.

General programme objectives Kantana Film and Animation Institute was envisaged to be a specialised academic institute established for creating professionals in the area of film and animation production. The Institute was also meant to promote Thai culture to the world through film and animation. Being located in a rural setting in Nakhon Pathom Province, it aims to contribute to the town by adopting education as a key strategy for reinforcing the skills of students as well as preserving the environment, local lifestyle and culture. The main objective was that the architecture has to be a source of inspiration for the students while they study in the Institute for four years. Students who study at Kantana come from all parts of Thailand, and are selected through a rigorous admission process. The Institute also provides opportunities for talented students in need of financial assistance. The environment of the complex has to stimulate student behaviour through sensitivity, passion, challenge and innovation. Again, the Institute’s mission should be aligned with the corporate social responsibility of the Kantana Group. And here the architectural environment should play a great role in inspiring the students towards achieving this responsibility. In addition, the architecture should incorporate the local and global issues of the day.

D.

Functional requirements There were five major functional areas to be provided for the Kantana Institute – administration, lecture hall, studio-workshops, library and canteen. The administration offices consisted of the chairperson’s office, the dean’s department office, the head’s department office, the lecturers’ office, a financial office, a registration office, a student affairs office, an academic office, a conference room, bathrooms and a pantry. The lecture hall was to be a 100-seat-large hall that could be divided into two rooms whenever needed.

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The studio needed a film editing room, a sound editing room, a sound mixing room, a recording room, a technical service room, a computer server room, an animation computer laboratory, a fine arts studio, bathrooms and film equipment storage. The library consists of a digital library, bookshelves, a general reading area and a private study room. The canteen needed a dining area, a pantry, a common area and bathrooms. A parking area was to be designated for cars, bicycles and motorcycles. Landscaped areas were to be incorporated into the design.

IV.

Description

Some 56 kilometres away from the capital city of Bangkok, the Kantana Film and Animation Institute has transformed a rural site of paddy fields into a place of learning. The Kantana Institute is situated within an area of 16,000 square metres. It is a seat of education housing five major activities namely: administration, lecture hall, library, studio and a canteen. The single-storey complex is arranged around two prominent axes that serve as the main circulation walkways or, as defined by the architect, the “forests”. The functional spaces are clearly defined by the central circulation walkways. The administration is located in the north-east section, the library in the south-east, the lecture hall in the south-west and the studio in the north-west. The canteen is situated at the end of the south walkway and is semi-open. There are large undulating brick walls defining the walkways as well as bounding various spaces. These walkways define the central circulation and connect the circulation to different parts of the building. There are four distinct parts created by the central walkways that run straight in an east-west direction and are slightly skewed in a north-south direction through the building. This pathway, or the inserted “forest”, is of grey stone and pebbles that form a zigzag pattern. The administration office is a multi-function space containing a chairperson’s office, a programme office and a general office. They are connected to the courtyard, and the sunlight from the court makes these spaces pleasant to work in. The lecture hall and the studio each have their own linear courtyards creating openness within the perimeters of the individual spaces. These courtyards are ideal spaces to relax in between or after lectures. The court of the lecture hall is bounded by a freestanding wall. The library has, in its centre, an open courtyard or a light-and-air well. The daylighting in the library is superb due to the presence of this courtyard and the people can also hear the sounds of nature from it: the trees, the birds and the rain. The studio is designed for experimental activities and is well planned. The workshop is a good example of the interior character of “darkness”. It helps the students st udents to feel peaceful and to focus while producing their film or animation projects.

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The canteen, situated at the end of a pathway, is open towards the south, which gets a good amount of breeze all year round. The openness or the “non-room” quality of the space also makes it a multiuse space. The structural system of the building is a reinforced-concrete frame system. Light and shadow naturally penetrate and animate the building. In the cold and temperate zones, direct light is welcome, but in the tropics, comfort lies in the coolness of the shade, and in the currents of air. Therefore the architect has made the rooms with softer lights that he refers to as “dimness”, which provides enough light and creates an appropriate mood for the function demanded. These shaded spaces are quiet and help students focus on their work. The building is set within vast grasslands that complement the colour and appearance of the brickwork and create a perfect setting for the architecture. The architecture is reminiscent of the historic stupa with its 12 corners and recessed brick walls, but in a very abstract way. It reflects the essence of tradition by being associated with, although abstractly, the stupa and temples of ancient times and, mostly, by using the traditional material – handmade brick – in an innovative way. The Brick Walls and the Walkway, or the inserted “Forest”

The undulating brick walls, made of about 600,000 handmade bricks, are of double layers and have rectangular openings in them. These are 8 metres high and smaller. The walls are made undulating by stacking the bricks in a certain way. Inside the building, the partition walls are made of hollow concrete walls. The architect experimented with different configurations and compositions of the walls. Deriving the shape of the walls from the natural geometries, trying the gravitational forces in different arrangements, considering the play of sun on the walls, the architect has arrived at a perfect solution of pleated brickwork that creates a relationship between the terrain, the architecture and the people. The wall is, again, a link between past and present. The shadows of the trees on the walls make the walls seem active. The receding and protruding nature of the walls and the shadows of the protruding parts of the walls on the walls create a sense of movement in the walls. The walls, apparently massive, seem much lighter when one walks in between them. The zigzag pattern of the walkway and the openings in the walls arouse a certain curiosity as to what lies beyond. The walkway is quite breezy and actually is very quiet. There is a certain kind of agelessness visible in the walls. Within these walls, one can only hear nature: the cuckoo, the murmuring of the swaying leaves. The play of light and shade is amazing in these walls and the walkways. The walls create a meditative mood for users. The windows and the carved-out spaces in the walls are similar and are apparently randomly placed in them. These different-size recessed openings pierce the walls at irregular intervals, bringing light and air into the building. The cut-outs closest to the ground create quiet corners for reading, relaxing and meditating in the shade of the trees. The four directional walkways allow a relationship to be built between people and the building. The students are allowed to think and concentrate while walking through this walkway, or, as the architect named it, the “forest”. At one point in history the land surrounding today’s Institute 6

was all forest, subsequently destroyed for agricultural purposes. The architect thus decided to insert the concept of forests into his design. The repetitiveness, the scale-less appearance and the maze-like quality in these “forests” were intentional because the architect was convinced that the slight feeling of disorientation they induce will activate a sense of curiosity and discovery among users. These walkways are not inside, nor fully outside, but create an architecture of transition. The trees in the walkway will become larger when fully mature, and cover the gap between the walls with their canopy, and thus provide shade for users. The trees are selected so that their foliage will allow light as well as provide shade below. The strategically placed openings provide natural ventilation and light, and double as an intimate nook for student discussion. The building is an example of taking the essence of the past and creating the new. A.

Project data site area:

16,000 square metres

building area:

2,000 square metres

•

average ceiling height:

4 metres

•

height of walkway peeb trees:

10 to 20 metres

• •

The heights of the tree canopy to cover the walkway height of the undulating walls: Depending on the ceiling heights, proportion of walkway space and the shadow of the peeb tree, the heights vary and are of 7.95 metres, 6.40 metres, 5.80 metres and 4.60 metres: •

furniture:

all recycled furniture, except in the studio-workshop and classroom

B.

Evolution of design concepts The architect went through three stages of the process for designing and building the Institute. The first one, spanning two years, was the academic research stage consisting of the programme feasibility study and the curriculum development. 2008 and 2009 were devoted to the second stage, or the architectural design stage, based on the results of the previous research, which aimed at creating architecture that would inspire students to think and create. The third was the construction phase, lasting for a year and a half, and the Institute Institute formally opened in June 2011. About 10 years ago, the architect came across a thesis on brick, the traditional Thai building material, which inspired him to think about using brick in his designs. The architect wanted to return to the basics of Thai architecture, and so the Kantana was to use handmade bricks extensively. An about-to-close brick factory was rejuvenated by producing thousands of handmade bricks for this purpose. The brick selected was of the smaller size, such as those used in the famous Ayutthaya temple.

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The concept for this design was nature, architecture and people. Nature is an integral part of traditional Thai architecture, and in this way the project can be related to being Thai. The architect also was inspired by Islamic architecture and philosophy. He was moved by the quiet meditative quality present in mosques and also by the relationship of human beings and nature in Islamic philosophy. The high wall was meant to be a background for the sun, a tree and a man when they are connected by each other’s shadows. This walkway space is designed in order to stimulate the concentration of the students during their journey to the classrooms. The building is designed on the theme of a “return to basics” construction. It is based on natural craftsmanship. A brick used to be an everyday material in the cultural heritage of Thai society. The architect wanted to transform the simplified form of a brick into a universal geometric space. The brick wall here does not give the sense of solidity but makes a homogeneous surface for the sunlight to play on. The Institute, by being placed in the rural context, was surrounded by trees, fields and farms. The architect wanted the students to be close to nature, amidst the farms, grasslands, animals and birds. This is why the architecture is open to nature – of all kinds. 1.

Response to physical constraints

As described by the architect, the site selected by the owner was an ideal one. It was plain grasslands and paddy fields and so gave a perfect setting for the architecture. Not a single tree from the site was cut for this construction. The architect had to make provisions in the building and the surrounding landscape for flood protection. Nature, including rainstorms and the sun, was to be observed and to be a source of inspiration for students and teachers and the architect intended to provide an environment for that through this design. 2.

Response to user requirements

The main users of the Institute are the students. The functional spaces they are to use most are the lecture hall, studio-workshop and library. As the interviews reveal, these spaces work very well for their functions. The canteen and the walkways, or “forests”, are the other usable spaces. The canteen acts very well as a multi-functional space because of its semi-open nature. The circulation walkway, especially, is a meaningful space that lets students think and concentrate. This walkway separates but at the same time skilfully connects five major zones. The interiors are made dark but with adequate daylight fit for the function. This darkness or “dimness” is essential for physical as well as psychological comfort in the tropics. The library library is well lit for reading purposes.

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3.

Purely formal aspects

Kantana Institute uses brick to its fullest beauty. Form is of simple rectangles but the bounding walls are of undulating, double-layered brick walls that give them their very special look. The building, set amidst the grasslands, appears surreal. The interior walkways or “inserted forests” with trees bordered by the red brick walls create a special environment for students that inspire them, make them concentrate and meditate. A large-scale institution has been broken down to a human scale by these walkways and courtyards that stimulate student interaction. The buildings are rectangular, but somewhat lose their rectilinearity when they come into contact with the walkway containing trees, air and natural light. There is a sense of tranquillity that exists in the walkways. The brick wall is not just a wall but becomes animated by the shadows created by the sun. In the rainy season, the wall changes colour to green due to the growth of moss, common in the tropics. Overall, viewed from a distance the building forms an ageless, scale-less picture in the green landscape. 4.

Landscaping

The site is designed as slightly undulating grassland with a gentle slope. The trees that were on the site were not touched and new trees were planted that are all local. Historical evidence showed that the surroundings had previously been all forest for a long time but it had been destroyed by new settlers’ agricultural activities. The architect planted numerous types of trees in the surroundings so that, when fully mature, they will give the Institute a forest-like appearance. The “forest” concept is also brought back to the Kantana project by inserting tree-lined walkways in the central spaces of the Institute. The walkway is planted with the Indian cork tree or peeb, which grows up to a height of 10 to 20 metres and has fragrant white flowers. All trees – original and newly planted – come from the district and are planted as follows: •

(Teetha) in the south-east Kra-ped (Teetha)

•

(Scholaris) in the south-east Teen-ped (Scholaris)

•

Whaa (Jambolan plum) in the south

•

Pikul (Bullet wood) in the east

•

(Wrightia religiosa) in the east Mook (Wrightia

•

Cha-Hok-Kian (Carmona retusa, Vahl Masam) in the east

•

Coconut in the east

•

Pradoo (Rosewood) in the north-east

•

Raintree in the north-east

•

Intanin (Speciosa) in the north-east

•

Knoi (Siamese rough bush, tooth brush tree) in the north-east

•

Sala (Cannonball tree) in the north

•

Palm in the north-west (planted by the owner)

•

Pradoo (Rosewood) in the west

•

Chai ya pruek (Cassia (Cassia fistula) in the west

•

Krai (Ficus superba) in the south

•

Nok yoog (Flame tree) in the south

•

Two different Lotus in the ponds in the south

•

Peeb (Indian cork tree) in the pathway

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•

Pradoo (Rosewood) in the library courtyard

•

Teen-ped-nam (Scholaris) in the lecture hall courtyard

•

Shanghai silk in the lecture hall courtyard

•

Lamduan (White cheese wood) in the studio courtyard

C.

Structure, materials, technology

1.

Structural system

The building has a reinforced-concrete post and beam frame system. The load of the roof is, in a few instances, carried by the undulating brick walls. 2.

Materials •

structure: reinforced-concrete columns and beams;

•

walls: double-layered brick (exterior), painted hollow concrete blocks (interior), glass with steel frame (exterior);

• •

walkway and courtyard walls: double-layered handmade brick walls; brick walls: more than 600,000 bricks sized 4 x 12 x 24 centimetres were used in this building. Bricks were staggered to make a special receding and protruding surface to the wall, with interior steel supports in horizontal and vertical direction. The double layers have from 90-centimetre to 1.30-metre spaces within them;

•

floor: epoxy mixed cement floors – different colours and patterns for different rooms;

•

roof: corrugated metal roof with sprayed on insulation inside. Library and administration offices have reinforced-concrete roofs;

•

walkway: stone pebbles and blocks make the walkway floor. Width of the north-south walkway is 4.50 metres and the east-west walkway is 2.80 metres.

3.

Technology

Some of the brick makers and masons are trained and come from nearby and from the south of the country. Jobless people from neighbouring villages were trained in the factory and on the construction site. The bricks were handmade in the factory which was, prior to this commission, almost shutting down. Reinforced-concrete construction is prevalent in the province. D.

Origins of technology, materials, labour force, professionals The technology of brick construction is a traditional one in Thailand, although only factorymanufactured bricks are used these days, if any. Handmade bricks were something new for both the contractor and the labour force. Most of the labour force was from nearby villages whereas some trained people came from the south of the country. The contractor brought in a local workforce for the reinforced concrete and steel work.

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The brick was manufactured in a factory in a nearby province. 100 people worked in the factory for 24 hours in two shifts to produce the handmade bricks. Concrete, steel and glass were obtained from Nakhon Pathom and a nearby province. The architect is from Bangkok. The contractor is local. The structural and other engineers are from Bangkok. Landscape design was done by the architect in consultation with local horticulturists.

V.

Construction Schedule and Costs

A.

History of the project The project was initiated by the chairman of Kantana Group Public Company Ltd, as per the wishes of his father, who was the founder of the company:

B.

•

commission of design:

March 2006

•

research period:

March 2006 – March 2008

•

design period:

April 2008 – June 2009

•

construction period:

August 2009 – June 2011

•

occupancy:

June 2011

Total costs and main sources of financing Total costs:

1,000,000 USD

Construction area:

2,000 square metres

The main sources:

the Kantana Group Public Company Limited and the Kantana Foundation

C.

Comparative costs The cost per square metre was lower than that for an office or institutional building being built in the area:

D.

•

Kantana:

•

other similar buildings in the area:

2 500/m USD

1,100/m2 USD

Qualitative analysis of costs Cost/m2: 500 USD, including landscaping and site preparations.

E.

Maintenance costs 20,000/year USD

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F.

Ongoing costs Ongoing costs which are periodical costs of maintenance will not be large compared to other buildings in the province. The materials and the construction methods make the materials quite durable: •

one time ongoing cost:

1,000,000 USD/50 years

•

life performance of building:

50 years

VI.

Technical Assessment

A.

Functional assessment The arrangements of the functional spaces – namely, the lecture hall, studio, administration, library and the canteen – are very straightforward, arranged in the four quadrangles produced by the crisscrossing central circulation walkways. The students get a very special experience when moving from one place to another through the zigzag-patterned floor and tree-shaded circulation gallery, or “forest”. There is ample diffused daylight coming through the random openings on the brick walls as well as through the large glass openings. The feeling is of comfort due to the “dimness” of daylight inside. As revealed from the interviews of the students and teachers, and from the observation of the reviewer, the spaces in the classrooms, studio, workshop, animation lab, administration offices, meeting rooms, canteen and other related spaces function very well. The canteen is a breezy comfortable space and is multi-use.

B.

Climatic performance The building takes into account that it is situated in a tropical climate and thus produces shaded interior spaces for comfort, both physical and psychological. The airspace within the double-layered brick walls provides insulation from tropical t ropical heat for the building and the walkways. This helps in cooling the various spaces. The daylight is well-manipulated through the openings, which bring an adequate quantity indoors. In spring and winter, the rooms can function very well in terms of comfort without air conditioning by keeping all the windows – large and small – open. Being a vast open space, the site brings breeze inside the Institute all year round. The presence of profuse greenery and two water features keeps the microclimate cool.

C.

Response to treatment of water and rainfall The Institute has its water supply from the municipality corporation.

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The slopes and the materials in the courtyards, veranda and roofs are well designed for rainwater drainage. The slope along the site also considers storm-water drainage. The building and the landscaped site are well designed for flood protection. D.

Environmental response By planting numerous trees, the building has replaced much more than the amount of green it had removed through its footprint. The surrounding landscape is designed with grasslands and large and medium-height trees. With the matured trees, the site will be very green and will have a forest-like environment all around the building that will help the microclimate and thus the building will be cooler. The architect wanted to bring the forests back to the site, as his research indicated that at one time the site was, indeed, a forest.

E.

Choice of materials, level of technology Brick was the main material for the building, as desired by the architect, and it fits thegoal perfectly of bringing the traditional Thai material back into contemporary times, and also the goal of reviving the dying handmade brick industry. Many workers were trained in making and laying handmade bricks and this construction gave hundreds of people employment. The contractor used local labourers for the construction of the structure and envelope of the building. The Kantana Institute combines the technology of past and present.

F.

Response to, and planning for, emergency situations In the event of fire the building can be easily evacuated since it is single-storey and has openings on all sides. Besides, there are three systems of fire safety in the Kantana building. There are fire alarms, emergency lights and emergency exit signs. The building has met all the safety regulations of the Ministry of Education, Thailand. For increased safety, fire-hose cabinets are placed in the walkways and the administration offices which, in combination, can reach the whole Institute. In addition, there are ABC fire extinguishers and CO 2 fire extinguishers in every room. The building is raised 1.70 metres from the existing ground for flood protection. The grounds are higher than the road level by 60 centimetres. Again, there is an outer earthen dam to protect the area from a big flood, such as the one that occurred in 2011.

G.

Ageing and maintenance problems The building has aged and weathered well with time. In the rainy season the wall gets mossy and becomes partially green which, as desired desi red by the architect, is a welcome colour made by nature. In summer the brick changes to its natural colour. The floors need washing regularly. As common in the tropics, dampness might be a problem in some places. All materials are selected to withstand the weather and should last for at least 50 years without any major problems.

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H.

Design features The building massing is contemporary and unique. It has a surrealistic ageless, scale-less quality. Forms are simple and rectangular, yet evoke intrigue. The spaces are well defined by the central circulation walkway. The walkway is an outdoor space yet gives the notion of a volume because of the presence of trees and especially the undulating walls on both sides. The walkways are open on all four sides and students can enter from various directions. The architecture is well integrated in the landscape of the site. Its red brick complements the greenery by contrast: the red brick exterior welcomes the green of nature. The walls extend out into the grass and welcome nature inside.

I.

Impact of the project on the site As stated earlier, the building replaces much more than the percentage of greenery its footprint had removed. Students use university transport, motorbikes and cycles. Hence a small parking lot serves the purpose of all vehicles. The Institute uses the existing road of Kantana Movie Town. Hence it is seen that there is no negative impact on the site. In fact, buffaloes, sheep and cats from the nearby village sometimes find their way into the Institute, and roam around in the grounds freely. The planting of trees has brought birds back to the site.

J.

Durability and long-term viability Kantana Institute does not reflect a conventional architecture, but sits comfortably on the site, although in a contrasting way. It is a departure from traditional institutes and is well liked by the users, critics and neighbours. It has gained popularity among students of architecture and architects.

K.

Interior design and furnishing The architect believes in recycling and the Institute uses recycled furniture in every space except for the lecture hall and studio. Both the lecture hall and the studio furniture are simple and locally made. The lecture hall can accommodate 100 people, and can be divided into two classrooms when needed. The recycled furniture was obtained from various organisations of the Kantana Group. Some of the walls in the interior of the building are painted reddish brown, which adds to the dimness and calm of the spaces.

VII.

Users

A.

Description of those who use or benefit from the project The students, the teachers and the staff use the building on a daily basis. The environment of the Institute is such that it enables students to think freely, concentrate, meditate and also interact with others with ease. The staff and the teachers were found to be comfortable with the environment in the designated spaces.

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The Institute is open to visitors from various architecture schools and professions. Students and architects from various parts of the country come to learn more about a contemporary architecture built with handmade brick. The brick factory and its workers benefited greatly from this construction. B.

Response to the project Client

Jareuk Kaljareuk: “I am full of admiration for the main idea behind the design and the completed project. I wanted someone to fulfil my father’s dream of an Institute that will inspire students by interaction with nature and with themselves. That the building helped revive the lost art of handmade bricks is a major contribution to the society, and the students can get inspiration for doing good for society from this example. Kantana films have always left a good moral message for the society and the students should continue doing so. The building comfortably serves the number of students, 60 in total.” BBK Brick Factory, Owner

Suriya Visitsophia: “I was very happy to get the order for handmade bricks, and to know that someone was interested in reviving this industry. I learned brick making in my childhood. Some trained brick makers came from the south and others from nearby. I employed 100 people. It was like a big family, and I felt like a mother to this family. People from whole families worked; children played in the grounds near the factory. The parents and grandparents of these people had worked in this factory a long time ago. I am amazed at the Kantana Institute; my bricks made such a creation! Now I am getting orders for handmade bricks from from other architects too.” Contractor

Polkrit: “I was a bit scared in the beginning. Handmade brick is to be dealt with like handicrafts; my workers had to carefully place them, like they did in the ancient times. The engineering of the brick walls are fascinating – the steel support of the brick walls. I brought my engineer and contractor friends to see this building during and after construction. I employed 70 people for this construction and I am very proud to have built this building. I would like to work on more handmade brick buildings, and possibly with the same architect.” Structural Engineer

Preecha Suvaparpkul: “I have been working with the architect for the past 15 years and there is always good synergy between us. So this work, although very innovative and daring, went fine. Before starting the project, the architect and I had a lot of discussions about the undulating wall. With the steel supports in two directions, it was easy to stagger more to get the effect demanded by the architect. Steel came from SIAM steel, the largest steel company in the country. Many types of

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staggering or undulating patterns were tried out with brick. I like the final product: the architect has here, as always, designed something new and challenging.” Professor, Audio Production

Asadej Lintrakarn: “I am a city boy, so this building looks very different to me, starting from the entry gate. Here one can relax and think. Students are lucky that they have the classrooms everywhere, in the walkways and outdoor landscapes full of sounds of nature. After just a year of training here, students become much more focused and skilled than in any other institutions I have taught. Students can focus on their work because of the ‘remoteness’ created by the architecture.” Lecturer

Xaroj Phrawong: “This building is an experimental type of work; it has an unfinished look, or a nonmachine-made quality. That architecture can create careers for so many villagers has been proven by this project. Now others are interested in this brick and it seems that handmade brick is back in business circulation; this somewhat confuses the students, so then they remember, they meditate. My architect friends want to study the daylighting of this building, and employ similar strategies in their designs.” Students •

Annop: “Kantana has a peaceful, quiet environment. It reminds me of something of the past. Nature helps me think. The lecture hall has multiple use – we use it i t for acting, lectures, watching films, New Year’s party.”

•

View: “The walkway has a tactile quality. Sitting on the openings of the walls is nice, different. The walkway is breezy. To me, at a first look, it seemed as if it has many stories hidden behind the walls.”

•

May: “On my first visit, from outside, it looked small for an institute. But when I walked around inside, I got lost in the crisscrossed walkways, and found that the spaces were large. When stuck with not getting ideas for projects, I come and walk through this walkway and surroundings and get ideas. I would not study at any other institute. We are only 60 students – like a family here. The environment helps bind us together.”

Students of architecture from other universities in Bangkok •

Pariniya: “It is so very different from the pictures I saw in the books. It gives me a feeling of an ancient tropical building. But after looking at it in detail, I can see that the technology is very different. As opposed to traditional classrooms, you can study anywhere here – inside, outside, library, classroom, canteen, walkway, studio. The corridor/walkway is not just for way finding but for freedom – the freedom of thinking.”

•

Chamaiporn: “To me this seems like the articulation of an ancient type of architecture in a new way. Functions are properly arranged – no chaos. This building has created a new order.”

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•

Suchanas: “The feeling I got from standing in the walkway between the two walls – is it inside or outside? I was very curious about discovering all the spaces of the institute. I got a feeling of vernacular architecture here. We have done a case study of this building in our class.”

1.

What do architectural professionals and the cultural “intelligentsia” think about the project?

It was revealed from interviews with architectural and art critics that Thai architects are now interested in brickwork, after seeing this building. Again, this has created an i mmense interest among the students of architecture from all over the country. Editor, art4d and Art Critic Critic

Pratan Teeratada: “This building emerges as a challenge for the architectural profession – it shows that the architect could do something new and different using a traditional medium. I come from central Bangkok, and to me entering into the realm of this place, I felt lost. And I think this is the most important achievement of this project. This is a very modern building yet reminiscent of ancient monuments in terms of feeling. This environment has been extremely influential for the students. This is reinterpreting tradition in a contemporary way – the courtyards, walkways. Many architects now love this place.” Journalist

Suriya Garudabandhu: “Stunning architecture. It is inspiring students of architecture in Bangkok. This is very different from other institutional buildings. Materials, spaces, have their own language. Although contemporary, it provokes us to think about the past. That the studio is dimly lit, works fine for the function – film production. Brick is handled in a very special way, which gives me a feeling of ruins such as Ayutthaya or Sukhothai. In architecture, a pitched roof represents ‘Thainess’, but this building without having a pitched roof is very Thai, in an abstract way.” Photographer and Architectural Critic

Pirak Anurakyawachon: “Here, people and building have a special relationship. Circulation can arouse curiosity in the students. Spaces are poetic. The sun’s work on the walls – shade and shadow – is wonderful. Nature here supports the building. Every time I put my tripod in a place, it has a different view, different colour, mood created by the sun and the tree and the wall. After rainy seasons, the moss gives a tactile quality to the walls. Papers on this project in various journals have created a special interest among architectural professionals to use brick in their architecture.” 2.

What is the popular reaction to this project?

The project attracts many visitors, especially architects and students of architecture. There is a general feeling of awe and amazement. Some stay for the whole day discovering spaces, maze-like walkways, undulating brick walls, trees, landscapes and the functional spaces.

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3.

What do neighbours and those in the immediate vicinity think about the project?

The people from the film industry of Kantana Movie Town want to make it a film set. The officers from the municipal corporation office visited the Institute and were very impressed; and now they have requested the architect to design two of their new buildings in the same province. Neighbouring villagers come to see this building often and they are welcome here. They are mostly impressed by the brickwork, and want to know if there will be other projects like this, and where the factory is located.

VIII.

Persons Involved

Architect:

Boonserm Premthada

Project team:

Ittidej Lirapirom Piiyasak Mookmaenmuan

IX.

Structural engineer:

Preecha Suvapabkul

Mechanical engineer:

Tanete Chaiyaphong

Sanitary system engineer:

Tanete Chaiyaphong

Electrical engineer:

Wittaya Nakasan

Contractor:

Deco Decorate and System

Brick manufacturer:

BBK Brick Factory, Angthong Province

Client:

Kantana Group Public Company Ltd

Bibliography •

Brûlé’, Tyler (ed.), “Candy Eye: Thailand’s Landmark Buildings”, Monocle, issue 54, vol 06, London: winkontent, June 2012, p. 034.

•

Chainarongsingha, Wongthanong (ed.), “Behind the Bricks, A Day”, 140, Bangkok: Daypoets, April 2012, pp. 100–101.

•

Leonardi, Nicola (ed.), “Kantana Film and Animation Institute”, The Plan, 061, Bologna: The Plan Art and Architecture Editions, October 2012, pp. 104–116.

•

Ponganutree, Mongkon (ed.), “Brick Drive”, Art4d , 188, Bangkok: Corporation 4d., Dec 2011– Jan 2012, pp. 54–59,112.

•

R. Angkura,Chaiyong (ed.), “Imagined History”, Wallpaper , 78, Bangkok: Media Expertise international (Thailand), February 2012, pp. 104–109.

•

R. Angkura. Chaiyong (ed.), “Stripe House”, Wallpaper , 84, Bangkok: Media Expertise international (Thailand), August 2012, pp. 138–139.

•

Royal Institute of British Architects, “Storytelling Boonserm Premthada”, What’s on Architecture for Spring 2012, London: RIBA, 2012, p. 8.

•

Slessor, Catherine (ed.), “Film Institute”, The Architectural Review, 1378, London: Emap, December 2011, pp. 42–49.

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•

Suprukpanich, Nuanwan (ed.), “Kantana Institute: Starting with Imagination”, Room, 109, Bangkok: Amarin Printing and Publishing, March 2012, pp. 190–193.

•

Tjokrosaputro, Denise (ed.), “Bit by Bit”, Surface Asia, 10, Singapore: New Media Investments (Asia), 2012, p. 21.

•

Torricelli, Maria Chiara (ed.), “Kantana Film and Animation Institute”, Costruire in Laterizio, 148, Rome: Associazione Nazionale degli Industriali del Laterizio, June/July 2012, pp. 40–43.

•

Urik, Susanne (ed.), “Tegllabyrint Kantana”, TEGL, Copenhagen, September 2012, pp. 40–45.

•

Wongrinthamethee, Vongmethee (ed.), “Boonserm Premthada”, B1, 59, Bangkok: Cypher Communication, August 2012, pp. 120–123.

•

Archinesia, Jakata, Indonesia, 2013.

•

Arquitectura Viva, issue 151 “Poetic Materials”, Arquitectura Viva SL, Madrid: 2013.

Website publications www.architectural-review.com/boonserm-premthada www.inhabitat.com/tag/boonserm-premthada www.architecture.com/whatson/talk/EmergingArchitectureBoonserm www.globalstylesyndicate.com/Boonserm www.archdaily.com/Kantana-Institute-Bangkok www.baunetz.de/boonserm www.ad-Magazine.de/2012/01/Mehr-moderne-in-die-ruinen

Zainab Faruqui Ali April 2013

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The main objective was that the architecture has to be a source of inspiration for the students while they study in the Institute for four years.

The building is set within vast grasslands that complement the colour and appearance of the brickwork and create a perfect setting for the architecture.

The Institute, by being placed in the rural context, was surrounded by trees, elds and farms. The architect wanted the students to be close to nature, amidst the farms, grasslands, animals and birds. This is why the architecture is open to nature – of all kinds.

The single-storey complex is arranged around two prominent axes that serve as the main circulation walkways or, as dened by the architect, the “forests”.

Kantana Institute uses brick to its fullest beauty. Form is of simple rectangles but the bounding walls are of undulating, double-layered brick walls that give them their very special look.

The library has, in its centre, an open courtyard or a light-and-air well.

The daylighting in the library is superb due to the presence of its courtyard and the people can also hear the sounds of nature from it.

The canteen, situated at the end of a pathway, is open towards the south, which gets a good amount of breeze all year round. The openness or the “non-room” “non-room” quality of the space also makes it a multi-use space.

The walls create a meditative mood for users. The windows and the carved-out spaces in the walls are similar and are apparently randomly placed in them. These different-size recessed openings pierce the walls at irregular intervals, bringing light and air into the building.

The cut-outs closest to the ground create quiet corners for reading, relaxing and meditating in the shade of the trees.

4193.THA Add the Project code number HERE

Document B

ARCHITECT’S RECORD

2013 AWARD CYCLE

1.

IDENTIFICATION [ Name of project. If the project has been known by a different or previous name, please indicate this in brackets. Please provide the actual street number or location of the project, even if the correspondence address is different.The longitude and latitude are required so the project can be documented on Google Maps.]

Project Title: Kantana Institute (Kantana Film and Animation Institute) Street Address: 999 Moo 2, Klong Yong, PUTTHAMONTHON City: NAKHON PRATHOM Longitude: 13 51'48"N

II.

Country: THAILAND Latitude: 100 16' 19" E

PERSONS RESPONSIBLE: A.Architect/Planner [ Name Name and address of architect(s), architectural firm(s), or other person(s) responsible for the project; for joint projects, be sure to indicate the name of the principal designer(s) designer(s) at the end of this section. (Other project staff should be listed as project affiliates in section C of the record.)] Name : Bangkok Project Studio

Mailing address : 192-193 SOI SAHAMITR, RIM KLONG PRA-PA ROAD BANGSUE City : BANGKOK Postal code : 10800 Country : THAILAND Facsimile : +662 9104603

Telephone : +6681 8128224, + 6681 836 8224 Email : [email protected]

Principal Designer. BOONSERM PREMTHADA

Website : www.Fecebook.com/bangkokprojectstudio

B.Client [ Name Name of the individual, company or in stitution who commissioned the project. If the project owner is different from the client, or if the current users of the building are not the client, please note their name(s) as project affiliates in section C. If the main client is the local, regional or national government, please indicate the responsible government ministry or department. Where known, please indicate the name of the individual responsible within the ministry or department.] Name : Kantana Institute Mailing address : 999 Moo 2, Klong Yong, PUTTHAMONTHON City : NAKHON PRATHOM Postal code : 73170 Country : THAILAND Telephone : +6634240361-4 Facsimile : +66 3424 0365 Email : [email protected]

C.Project Affiliates/Consultants [Please list the other key people involved in the project and indicate their roles and responsibilities, e.g. engineers, consultants, contractors, economists, master craftsmen, technicians, site supervisors, other architects, clients, etc. who have played a significant role in the project. Please cite their addresses and contact details on a separate sheet.] Name

Ittidej Lirapirom

Piyasak Mookmaenmuan

Role

Architect

Architect

Preecha Suvapabkul

Structural Engineer

Tanete Chaiyaphong

M&E Engineer

Deco Decorate and system

contractors

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III.

TIMETABLE

[Please specify year and month for both commencement and completion of each step in the design and construction processes. For large projects, or for those completed in phases, indicate the dates for the first phase and for each subsequent phase, and clearly note which phases of the project have been completed.] March 2006

A.Commission B.Design

Start March 2006

Completion June 2010 Co

C.Construction

Start August 2010

Completion June 2011

D.Occupancy

June 2011

Remarks:

IV.

AREAS AN AND SU SURFACES

[Please specify in square metres.The total combined floor area should include basement(s), ground floor(s) and any and all upper floors. If you wish to provide details for any particular elements within the overall project, please use and attach a separate sheet .] .] A.Total site area B.Ground floor area

16,000 SQUARE METERS 2,000 SQUARE METERS

2,000 SQUARE METERS C.Total combined floor area (Including basement(s), ground floor(s) and all upper floors) Remarks:

V.

ECONOMICS [Specify the amount, currency and date of transaction. Please indicate the amount both in U.S. dollars and in the local currency, along with the exchange rate used.] Amount in local currency

A.Total initial budget B.Cost of land C.Total actual costs (Without land)

D.Actual cost (Per square metre) Remarks:

Amount in US dollars

30,000,000 Thai baht

1,000,000 USD.


333,333 USD.


1,000,000 USD.

15,000 Thai baht

500 USD.

1 USD = 30 Thai baht

2


VI.

PROJECT DESCRIPTIO DESCRIPTION N [Describe the nature and function of the project. For example, how did the project come about; what was the initial brief from the client; what is the guiding idea behind the project; were there any major constraints on the development of the design? How do you move through the building and how does it relate to its surroundings?] Kantana film and Animation Institute is established for building up the young Thai Artist in the area of film and animation production in a rural area of Thailand. It is a one story building which combines perfectly with natural environment that surround it. The building has an “Inserted forest” with a linear pathway with the north-south axis and the east-west axis. The pathway divides into four blocks with different functions. There are five different area : An administration office, office, A lecture room, a workshop, a library and a canteen. These areas are all linked by an “Inserted forest” in the shape of a long pathway. The pathway is made out of grey stone and the walls are made from hand made bricks. The 8 methers high wall is a background of the sun, a tree, and a man when they are connected by each other’s shadows. This space is designed in order to stimulate the concentration of the student during the cautious walk to the classroom. The Administration office is a multi-function space containing a chairperson’s office, program office and general office. They are connected to the courtyard. The sunlight makes this a very pleasant area. The lecture room is a quiet area surrounded with a brick wall and outdoor living wall. This is the ideal space to relax in between or after lectures. It is a free standing wall without borderline. The workshop is a good example of the interior character “darkness”. It creates the feeling of a dream at night time. It helps the student to feel peaceful and to focus while producing their film or animation projects. The library is a place where the natural sunlight from above, the sound of nature and the darkness that surrounds the courtyard, come together in unison. This room consists of a book walls, a meeting room, a librarian counter, and multimedia area in the center of the room. The canteen is an open air building. building. It is at the end of pathway. To make this a multifunction area for different activities, this space is a “non room”. In regards to materials used : This building is designed on the “return to basics construction”. construction”. It is based on natural craftsmanship. A brick is an everyday material for common cultural heritage of Thai society. The simplified form of the brick is transformed into a universal geometric space. It goes beyond both light and wind which is simple aesthetics sense. It is and easy to understand building where the brick wall does not give the sense of solidity but it gives the surface homogeneous of sunlight.

3


VII.

MATERIALS, CONSTRUCTION AND TECHNOLOGY [ Describe Describe the principal materials used and indicate the basic construction technology. What are the innovative features of the project, if any?] In the past 10 years, it is r are to find a construction with brick which is due to the belief in a research that a brick is a material which stores heat at most. Based on this, the brick is not considered to be used in any major construction impacting the work forces in this area to become jobless. They are forced to turn to work in various industrial estates. In this project, the architect would like to present a different idea from the incomplete research. He uses the handmade brick which size is doubled than the normal one in order to demonstrate the quality of simple but more than 700-year consumed material, human power, diligence and knowledge transfer among generations. The space is surrounded by more than 600,000 handmade bricks and r eveals the surface of each individual handmade brick which is one of its kind after they had been kept beneath the whitewash for a long period of time. The reduction of wall heat is done via the air space within the brick itself which helps reduce the heat flow from the brick to the building. This design indeed depicts the “aesthetics” which is simply missing in the architectural research. The innovation from the combination of engineering and arts is the focus point of the architect in this project. It is constructed by building with calm representing bricks, underlining with various sizes of complex steel structure including the overlapping level of bricks and gravity. The workforce for laying bricks is from the jobless neighborhood and they are taught based on the prototype by the skillful worker. Making the impossible to become possible for constructing the wall structure creates the challenge and passion amongst the engineers, builders, blacksmiths and brick builders. They all play a major role in building up this particular architecture. The use of the brick and the innovation through the construction method are the beginning of lifestyle change from the jobless to become become the knowledge seeker. seeker. This construction construction can be treated treated as a breath keeping keeping action of the local local knowledge from the past prior to its extinction. What they get is not only the wages but also the opportunity that they are neglected from the society. The architect also realizes the use of “mind” and the worthiness of “hand”. The simplicity of the material represents the modesty, tenderness, elaboration and patience. The dimness in the buildings through small skylight on the wall gives the night time mood during hot weather throughout the year.

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VIII. PROJECT SIGNIFICANCE AND IMPACT [ How How would you describe the project’s significance? Describe the project as it is today – who uses it and how is it used? Describe the aspects of the project that represent a particular achievement (e.g. a technical, economic or social achievement or the project’s response to culture, climate etc.)] Today, Kantana Film and Animation Institute is opened Since June 2011. There are a students of 49 who study in the programs Kantana Film and Animation Institute has opened since June 2011. There are students of 49 who study in two programs. They are trained to be leading young animator and Film maker with a Thai cultural spirit under reserving the environment, local lifestyle and culture by architecture. The building itself is designed with the reflection of tranquility, natural landscape and human beings with the linkage of practical usage, forms, materials, construction method, lifestyle and culture. The one storey building with a massive form will protect the users and trees for safety while the windstorm come in the rain season. The various open space of all zones are used as an “outdoor” classrooms for example, the long pathway is use as an outdoor film shooting and outdoor cinema to show the movie for the end of studio project. However the area is still the circulation where where used as a meditation space so as to remind them to concentrate concentrate where they are doing or moving from place to place. The courtyards are relaxing spaces for lectures and students after their finished class. The opening walls are become to a “private room” where is the creative space. In social way, the Kantana project can be treated as a breath keeping action of the local knowledge from the past pior to its extinction what they get is not only the wages but also the opportunity that are neglected from the society. The architect also realize the use use of “mind” and the worthiness of “hand”. The tranquility which which is a root culture within Thai society is intentionally relayed relayed to these building. The wall, shadow, roof and trees generate the peace in mind which is a source of wisdom and new imagination towards the students and the lectures. For this reason, there are many students and lectures in architecture field from other universities, architects, artists, critics, journalists, journalists, and editors have visited to this place as a case study. In critic view, Kantana compose of three valuable characters : Connectedness to place, appropriate use of materials and technology, and the cultivation of environmental and social responsibility. The critic admired the way the plan broke down and humanized a large institution, creating a socialable network of enclaves and courtyards, to nurture and stimulate student interaction. The architect’s inventive inventive use of brick, a traditional, everyday material, to articulate a distinctive architectural language was also noted. And as a confidently handled example of a large and complex project by young architect, it clearly stood out as a valuable social architecture. architecture. All of the above, It is to confirm that. “A Brick is not only an architecture, but It is the Future as well”

5


Permissions Form*

Copyrights Permissions and Confidentiality

Following review by the master jury, the presentation portfolios and submitted materials (including any drawings, images and other materials) will form part of the permanent Award library and are generally not returned. All information will be kept strictly confidential until the announcement of the 2013 shortlisted projects, and may later be used for research purposes purposes and publications or for wider dissemination by the Award. If you do not wish that any particular item of the submitted material be made available, please notify us accordingly. In addition, if you would like any item returned to you, please indicate this when submitting materials. The project nomination and the identity of the project nominator remain strictly confidential. Architects and clients are specifically requested to refrain from making any public announcement that projects with which they are associated have been nominated for the Aga Khan Award for Architecture.

***

I, the undersigned copyright owner of the Materials contained in, and submitted with, the Architect's Kantana Film and Animation Institute, Thailand Record, for ________________ __________________________________ _______________________ _____ [ name of project ] hereby grant the Aga Khan Award for Architecture non-exclusive, royalty-free rights and license for the duration of the legal term of copyright (and all rights in the nature of copyright) to display, reproduce, use, copy, distribute, modify and create derivatives of the Material or licence the reproduction of the same throughout the world.

Name (please print)

BOONSERM PREMTHADA __________________ ____________________________________ _____________________________________ ______________________________ ___________

9 NOVEMBER 2012 Signature__________________________________ Signature________________ ___________________________Date___________ _________Date_____________________________ ____________________ __

*Please note: All candidates for the Award must sign, date and return the Permissions Form to the Award office; the submission of this form is a prerequisite to candidacy for the Award.

6

Kantana Film and Animation Insitute Nakhon Prathom,Thailand Architects

Bangkok Project Studio / Boonserm Premthada Bangkok, Thailand

Client

Kantana Institute

Commission Design Construction Occupancy

2006 2006 2006 - 2010 2010 2010 2010 - 2011 2011 2011

Site Ground Floor Total Floor

16'000m 0 00m 2 2'000 2'000 m2 2 2'000 2'000 m

Costs

US$ 1'000'000

Programme

Massive 8-metre-high handmade brick walls with undulating geometric profiles characterise this undergraduate college. They are supported by a steel inner structure, the cavity between inner and outer skin affording protection against against heat transfer. The complex’s five different areas administration office, lecture room, workshop, library and canteen - are all connected by by an ‘inserted forest’ in the form of a greystone and concrete pathway punctuated by trees, running centrally centrally along a solid east-west and a broken north-south axis. Where this extends beyond the confines of the functional buildings, openings in the walls provide relaxation spaces and a link with the green landscaping beyond.

Building Type 2013 Award Cycle

Higher Education Facilities 4193.THA

02_4193_DR

02_4193_DR

4193 THA-001

4193 THA-002

4193 THA-001

4193 THA-002

4193 THA-003

4193 THA-004

4193 THA-005

4193 THA-006

4193 THA-007

4193 THA-008

4193 THA-009

4193 THA-010

4193 THA-011

4193 THA-012

4193 THA-013

4193 THA-014

4193 THA-015

4193 THA-016

4193 THA-017

4193 THA-018

4193 THA-019

4193 THA-020

4193 THA-021

4193 THA-022

4193 THA-023

4193 THA-024

4193 THA-025

4193 THA-026

4193 THA-027

4193 THA-028

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4193 THA-030

Brick dimension

Brick making process01











Brick wall section

Construction start-Mock up

Exterior view 1

Exterior view 2

Exterior view 3

Exterior view 4

Exterior view 5

Exterior view 6

Exterior view 7

Exterior view 8

In progress01

In progress02

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Interior 1 corridor

Interior 2 teacher court

Interior 3 library

Interior 4 library

Interior 5 mutipurpose

Interior 6 canteen

Interior 7 intersection

Interior 8 lecture

Interior 9 studio court

Interior 9

Interior 10 studio corridor

KTN51

KTN52

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Thailand Kantana (92) - Copy










































Thailand Kantana


Document C

MATERIALS IDENTIFICATION FORM Provide a full list of all material being submitted (CD, DVD, Books, etc.) Description

No.

Remarks

TWO Main A-3 presentation panels

Hard copy

TWO Main A-3 presentation panels

DVD1

A-3 Image Identification Identification panels

19 panels (hard copy) copy)

A-3 Image Identification Identification panels

DVD 2

Curriculum vitae and references

Hard copy

Curriculum vitae and references

CD3

A-3 Additional pre4sentation pre4sentation panels

5 panels (hard copy)

A-3 Additional pre4sentation pre4sentation panels

DVD 4

1 2 3 4 5 6 7 8 Videos presentations

DVD5

Publications Summary

hard copy

Publications Summary

DVD 6

Publications

9 ISSUE (hard copy)

9 10 11 12 Architect's Record Record

hard copy

13 14 15 16 17 18

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Document D

IMAGE IDENTIFICATION FORM For each digital image/slide listed below, specify the name of the photographer and the date of photography. In the space designated « Caption », provide a description of the image in English or in French. Also specify any copyright restrictions in the space designated « Copyright ». You may substitute this form with your own as long as the required information is included.

Filename

Caption

Photographer / Copyright

Date

4193 THA-001

The multi-opening on the thick wall is as a relaxing space after lecture class.

Boonserm Premthada

August 2011

4193 THA-002

Walking over greystone and random concrete slab reflect to a spiritural nature and inspiration from a tranquility place.

Boonserm Premthada

August 2011

4193 THA-003

A view of Inserted forest forest at the north-south axis. axis. This place is a symbolic of meditation for students.

Boonserm Premthada

August 2011

4193 THA-004

A view of the west-east west-east axis. Lead an eyesight eyesight to an outside outside panorama at the end of the wall.

Boonserm Premthada

August 2011

4193 THA-005

A corner of administrations administrations office with inserted forest from the north and the east

Pirak Anurakyawachon

October 2011

4193 THA-006

A panorama view from the the west, taking a greenery greenery ground, Pirak Trees, wind, sunlight, bricks, geometric form and opening come Anurakyawachon to be the simple and honest character of space.

October 2011

4193 THA-007

The darkness surrounds the sunlight court in library. It feel like living between “Interior and exterior” atmosphere.


October 2011

4193 THA-008

The open air canteen as a multifunction for different activities.


October 2011

4193 THA-009

A view of 2 dimensions dimensions studio with a dimness interior interior space.


October 2011

4193 THA-010

More than 600,00 handmade bricks reveals the surface of each each Xaroj prawong individual artisan.

September 2012

4193 THA-011

An entrance of film and sound editing studio studio

Xaroj prawong

September 2012

4193 THA-012

A pre-workshop is a small small courtyard where separate between studio and restrooms.


October 2011

4193 THA-013

A courtyard of Lecture room room entrance

Xaroj prawong

September 2012

4193 THA-014

A horizon view of the the outside of the Library. Library. The semi-opening semi-opening court is composed of the greenery terrace and the sky.


October 2011

4193 THA-015

The north entrance

Wallpaper

January 2012

4193 THA-016

A view of the Dean’s Dean’s office

Wallpaper

January 2012

4193 THA-017

A view of Lecture room entrance and courtyard courtyard


October 2011

4193 THA-018

An administration office’s entrance


October 2011

8

Kantana institute

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