m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   

m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   

m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   m͎e͎a͎n͎.͎.   

(🖒^_^)🖒

ヾ( ์ ω ์ )

architectural designs & others

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The experimental Bio-structural designs from bacteria behaviour_
Bacteria Factory project, 2015, KMITL, BKK, Thailand

Ḩ̷̛̬͖͎̜̺͇̝̟̦̀̈́̈̎̎̌͑ḙ̵͕̮̳̫̠̭̈́̓l̷̠̲̗̆̒̍̏̋̐͘̚͠͠ͅl̵̩͛̉ǫ̷̢͚̜͉͈̯̖̌̍͗̄̅̅̉̓ ̴̡̗̥͘!̶̢̡̻̫͙̱̯͈͉̟̽ ̷̧̢̪͉͈̖̦́̎͜i̸͇͓̗͉̫̰͓̇̂͋̏ ̵̛͉͈͖̜̌̓͑̆̌͋͊̕a̵̱̣̖͙̻͎̓̾͌͆͋͝m̵̛̞̫̋́͗̇̈́͘ ̴̲͎͈̥̀̀͝͝ͅM̸̢̻̖͖̘̜̙̼̃͛ͅĔ̵̝͎͉͖̲̟͎̯̆͑̈́̂͆͊͝A̶̛̦̻͎̗̹̓̕Ñ̶̡͕͉̠̜͚̻̑̐̅̊ͅ

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On the eastern shore of the Dead Sea

What transpires when the time is ceased, and you can optically discern and touch the waves for a while?

The photo here shows how experimental modelling generated from fluid dynamics in different pressures can transform a natural space into an incipient kind of architectural art space. With the advancement of current technology, we have presented the possibility of implementing advanced concrete 3d printing. Additionally, the designer's perspective is to show the inherent resplendence of nature and how it can coalesce with architecture to engender a recreational area impeccably.

 

¯\_(ᵔ︣ ͜ʖ ᵔ᷅)_/¯

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+。:.゚ヽ(´∀`。)

ドキ(゚∀゚*)三(*゚∀゚)ドキ

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Evolution of Domino House
applied design concept,-ism

人( ᐛ

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ᵘ ꒳ ᵘ )

MoMAS is a network of installations, art galleries, and spaces for artists to create — proposed as an expansion of the public space around New York’s shoreline. Using sound as the connective tissue – it embodies the ambition of creating a languageless communication between the different components that compose the art world. The project not only accommodates sound related installations, but it is an instrument capable of producing and manipulating sound, with its design based upon sound visualisation methods derived from the research of physicist and musician Ernst Chladni.
With cohabiting spaces for artists New York is kept available for a diverse population. The spaces open for social interactions, encouraging discourse and cross-disciplinary collaborations through constantly transforming the adjoining public areas. It is an interconnected collection of spaces created to support, display, and integrate art and artists into the fast paced and quite challenging life of the city.

ʏǟɢɢɖʀǟֆɨʟ

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ᵘ ꒳ ᵘ )

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ドキ(゚∀゚*)三(*゚∀゚)ドキ

“The Hope” is designed to reunite human, community, architecture and nature through the principle that contribution of humans means so much to community and nature. No matter how advanced technology has become in the future, robots can never replaced humans and so technology can never replaced nature. A perfect life is a life where humans live and here, human will live once again. Varieties of interactive programs such as social hub, park, agriculture field, library, sharing space, auditorium, third place, restaurants, market and etc enhance face to face interaction between humans rather than using technology to connect to each others. energy in architecture comes from human heat transmission, sound and live load, the more humans gather, the more energy is stored to run “the hope”.

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人( ᐛ

ʕ•́ᴥ•̀ʔっ

Neu-life : Mental Health Data Center

Mental Health is plaguing the world faster than any other disease and its impact is affecting the physical well being and happiness of the worlds inhabitants. Mental healths connection with physical ailments and didease. How can we change this? Neu-Life is a data centre that downloads human brain data from EEG and MRI machines and uses machine learning to give a digital diagnosis and prognosis basis and millions of peoples collected brain activity. The building aims to aid in prevention rather than reparation of mental health in humans leading to newer and happier lives.

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̑̑ෆ(⸝⸝⸝◉⸝ 。 ⸝◉⸝⸝⸝)

Engendering a frame for yourself or negative emotions. It is like locking yourself in a room that doesn't have a door or window. 

Don't let time pass by ceasing your ingenuity.

Witchaya Jingjit

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