 Hello everyone both here in Avery and those that are following us elsewhere or in the future It's a great honor to be here welcoming Bonser, Prentada and Pola and Michael Wan Bonser It's I'm so honored that it's you giving the the inaugural lecture of these 2023 spring semester at G-SAP and also because Bonser and it's teaching here an advanced studio And we're very honored that you're here as part of our gang Bonser is very well known He's the founder of the Bangkok project studio together with Pola and Pola's partner of the of the of the office And but and and he there's so many distinctions that he's basic that are the credentials of the work that that he's been doing and the studio has been doing and The Royal Academy Dorfman award in 2019 from the Royal Academy of Arts in London the Silpa Hawthorne award in 2019 the Unesco Global Award for Sustainable Architecture in 2018 we could go on and on there's a very long list also the publication Some on his work and the work of his office The the huge impact of his interviews the films about his work the exhibitions around the world by annuals that have been Focus on on his work, but I want to say and of course that's something that we can easily find anywhere online So I'm not going to to dedicate too much time to go through the huge huge list actually we would take the entire Evening to do that, but I want to say that in my opinion the work that that that Project studio has been doing is been really enriching the culture of architecture and allowing it to understand itself differently We understand architecture differently because of your work. We understand it differently Two projects that have allowed to see architecture something that could be all doing other things other things that they're Intrinsically connected to what ecology means now ecology not necessarily as the culture of efficiency and and Sustainability but much deeper beyond that a deep understanding of how species Exist and what we can learn from each other and how Ontologies are being challenged by a notion of going beyond Anthropocentrism and that's something that is not only about Humans relating to other forms of being but also the way humans understand what it means to be in the world Not necessarily transforming it, but actually attuned to it And I want to mention projects that are basically Dealing with the capacity with architecture to make it possible for humans to attune with the environment like the walk At the wonderful festival these passages that allowed humans to be placed in a setting Where the sensitivities can expand expand and understand what it means to be part of the world now of the world That is not only constructed by humans by but many other forms of life and existence Or for instance projects that are thinking of materiality not as a given not as something that can be extracted But something that is part of cycles of life and that are Eventually the result of relationship between different actors and that's something that for instance We could find in the elephant in the elephant theater in these bricks that are actually related with the material cycles By which life is enacted collectively and of course we have Lola Ben-Alon here That is a good expert on this that it's obviously conversation So actually this work are resonating with the world and with the way architecture is understood differently now And I also think that the work that boom sir is doing and his office is doing is about empowerment With a very very light touch. It's a project of empowerment soft empowerment And I'm thinking for instance of a project that was incredibly celebrated around the world and incredibly beautiful like the Woman restaurant And that got all these awards because of the beauty of its design But beyond that it was a project of empowering community of women that could do this restaurant Design the way they were part of societies and ecosystems and definitely The the capacity of architecture to produce interspecies alliances So moving away from a culture of exploitation and extraction Where humans are using and defining the others as Sacrificable but the culture that basically there's an understanding that different species can work and need to Live to live and certainly live together and I'm thinking of the Elephant Museum and the Elephant Study Center at Surin All these are fundamental projects that are expanding the way we understand ecology not as a project of let's say respond to a Contingent crisis of basically lack of resources or a problem or something like that But understanding that those Crises are indicating the failure of a system that is placing humans at the center is setting the rest as Available for exploitation and I think this is a fundamental transformation That goes not only about the notion of materiality, but also even the way through our bodies the way that we can as humans sense What it means to be part of a world that is constructed collectively and these capacity of architecture to span Sensorial the sensorial capacity to understand that is it's really an ontological relational Political project with architecture is part of it not just the functional one The one that has to do with how our ecosystems are collectively Producing what are the ideologies and the values that we insert in these alliances is what the architect What makes the architecture of boom certain print harder and the Bangkok project studio so important I think we're very lucky to have you here And it's a great opportunity to reflect on these and I'm also very happy that After boom sons Lecture Michael one will be responding and moderating a debate with everyone here and And I want to also mention how lucky we are to have Michael one teaching here At this point the school and there's Michael It's for me one of the most relevant artists now and also thinkers and doers and Practitioners working the intersection. I would say of our ecological practices in architecture And I want to and I want to mention that the work that Michael is doing understanding that life is enacted also in the entanglement of biology technology Finances infrastructures is crucial and understand what means life in the in in the in this tension of the of the probably failure I would say of Advanced capitalism and and understanding what that how that Christ those crises are informed from the specific forms of life It's very much connected to the work that that bullson is doing. I want to read a sentence that Boonson said in a recent interview About his architecture an architecture that takes into consideration The environmental and natural resources social structure and at other times the infrastructure I think that this is intrinsically one of the challenges that as a school of architecture We are now building on the move from a culture of abstraction where architectures understood as an object as Objectual things that live on their own to understand that what we're working with is the entanglement of architecture with complex systems of life ecology finances technologies cultures and those are the and in that conflict is where the work of boom sir and Discussion with with Michael one makes the best so with this I I want you to join me in welcoming boom sir and to the Hello everyone and Thank you so much for and Dean and dress and the G stop to have you me it for and pick in tonight and this is and The speaking is and it talk about and The The my experience that I want to share you to and it and the work in the past and the recent work So and at first it and when I work it and I don't have any theory I Don't have the philosophy is and I just did the work with and my attitude This is and one of and it's important of the core of the work that I I always think about that and It's my back out and I Have the hearing problem It's an my ear is and have the problem about and my left side and I Cannot hear 0% and and left side I I can't hear only and 30% that it means it's lying and I almost depth it and when I was born So and this is why my work is related to about and the sensation this is and and the first the first work is and we start in 2011 in an a film school and the school is and I want to and make something like and the student who come to study in this school and We use use it lie and the fundamental of the same it's like and say saying it's hearing smelling and temperature and spirit so and I think I think that is and when it's and the people with It's lost and once and it's maybe it's in hand to other sense So and this is and the first it for and teach the students It understand about and how to living with the nature by using that lie and the small courtyard to connected between and the outside and the classroom and In fact this and when I decided I think about and how to create that the ambient or the atmosphere like I decide the wind, dimness, silence and shadow it and the pleasure I want to and the student will learn about and The sense of the human because it and this is and one of the process of the film study if you have it and the sense and the feeling It may lie and you still alive. It is my architecture is one again. It reminds you that you are still a human and After that it's and I got the scholarship. It's for and making the research The research topic that is the one of it related to my life I call it this research lie and the salvage The salvage research is about and the sound in architecture in and the past it The case study that I research it lie it and my first work is the container team school and the second is and the temple and The first one is a brick clean and the fourth one is and it's in the temple also, but it's a different so and the first Research that I call light is the sound Sound of the silence in the film school because it when we walk in the pathway of the film school When you clap the hand with the sound it like the amplify it the reflected so and the second second place it and I call light and and Mysterious style in and the seachum temple that north of the Thailand This is another seven hundred years ago of the temple the temple has to and the the biggest Inmate Buddha to and situated to inside the temple is it and The first that we can we have to light the hidden star because we have to the small it's and Small cup that is light and a pathway in between in the wall and I come to and to see the inside and And bring the people to know about and what it and the secret sound is come from the image Buddha in the past This is and diagram is a study about and when I walk through and the step to in the wall and the people is and Come to in it look like and a small hole is near it like and the mouth of the image Would die it look like and the image with dark and stick by by himself and another one is and I study about the Salsillation is an in the big clean the plate it look like and architecture is for and five big that is related to and My work, but the one thing that is very interesting because it and this architecture is and start from and use a three finger and to contract it to stacking and the The big layer it becomes to the dome So and when it is south inside it have to and the south is different And the first one is and the south shape is an in and may young temple This this place is like it's a long part where it and the wall is very low So and when the people to walk through inside they can hear it the south from the outside and and then they can hear the south inside at the same time so it Like and and this place is very miracle to me. It's about to connected when the sound outside inside In this research that I have learned that it's at the silence and tell the everything And then it's and in 2021 and in I Work with and some with and the woman and we call like the woman just along in and a Uteya Provin the place that is and It it's like and you have to the tree thing But it's the hidden element. It's like the hidden place the hidden people and a hidden recipe The place is and situated in and a small village. It looks like the middle of nowhere I usually ice and light and the world holiday side But this side is it far from the world holiday side. It is not the tourist spot so and this page it complies The old lady is some that we don't some that unmarried Lady every morning and the old lady and Come to see the temple and then They bring the force and to keep to the monk and This is and daddy life up and the the old lady in this place the force it Very interesting. So I try to and being it and the hidden food to become to and the one off and the intelligence interesting force it and for the architecture I make the architecture it Look like it and like the food it isn't so the architecture is to play the hidden in in the village also and we call the name and we separated it in the five buildings and We keep the name. It's like the can ma can thong it can my name or it's and The name of the can ma is like it let's make them that and one of the important people It and a place it for and the people can be visited and Inside room we use it and the material that is combined between and the the focus in material right and the glass box and mixed with and the wood it and used and the lock window to open it like and to to ventilation Because it and along in the front of and the building is and if and the liver They use it and the glass box would come by with and the wood and so it's and when in the daytime it and The sunlight is come in the inside And it's a nice time. It looks like and a lot in in the past it and The clan ma is the trip and 14 money allowance from the government it equal about and two and half big matter per a month that is very very very very It's less money, you know, it's and every in very difficult to to like it, but it's like now it and Their life is and a better so and it's one can ma is can He don't go to the school Have to have no educated cannot like the letter. So and he tried to start to write a letter and In Thai it means thank you for the everyone to visit that this and and and then it's and This is and my Ask installation. It's not about and architecture, but it's a cool letter. It's a look at me like and Asked and architect so and This is and the project is and that she she want me to and Make something in the soul that is and I Call life is and this is and the life tower is in the Thailand Ben Ali. It's a color so and the This project is and I want to to express the something about and the art it can be send the masses how to awareness to and The ecology or the environmental so and then I think about and in the size is really interesting because it is and the size specific art so and The size and the complex animal So and the animal in the soul you have to and the different because this so it and animal kind of walk allow Would not live in the cell so and the one thing did it and related to our culture is the rice the rice is and it and the food for and the human and The right is the food for the animal also so I try to be and this culture and this Environmental to combine together it become to the odd piece I Recycle with rice barn Because it this life barn is and It right now and the owner is Don't don't want to a life bar because it is look all the one to a life bar for the new that made by the method sheet so it's life bar it was it and I bring the life bar and to study about and the component and then it's being the fight life bar and take off it and Comprise if the new one is become to the tower it and it's the place it's in and Light an animal. It's like and the deer the people or and the bird if it can it and youth and this place and leaving this place it and Then we start to and the sketch visit the light and the quick sketch for and this idea and Selected the size and Make it a drawing it for it like it and the cloth with the cloth food for Make it the structure is a strong and then make it a drawing for and the Contractor can make it and after that is and the tower it was a install And make it like it the tower the tower is like the old worship and we and make it like the stock head It's like it and supported through the tower and when the place that the animal is found nearby the site it's from the free fall and dear and When the deer to come to inside to eat the rice and The bird it's come and the kid can also and can look and climb the star and come to see the animal to inside and Maybe he can come to inside It's a daytime and the place it fall and the human at the night time it an animal if you come to this place It it's like and the place for the animal and the human is separated in the time and It to me I think in the art function as and reflected to the society It's reflecting and emphasizing important issue that the artist wish to convey And the lifestyle work is welcome to visitor to 24 hours a day no matter how big or small this is under Kobe and and then it's and we work with and the big animal it and This and elephant and we call like the elephant water project the idea is and we We try to think about the animal first Because it's the animal in Thailand. It's an symbol of and our country so and we let's take the animal it's like it's the sum of and The the important animal it's like and the spiritual animal So and this project is situated in the Surin not eastern of the Thailand We start the project from in 2015 and finish in 2020 normally it's and the Human is an always think about themselves. So and with the non-human center that is We we try to think about everyone is equal and everyone is important So it's an my architecture is less the question how the human nature and other living species It lives together Both architecture is created for the human the elephant world project is type and not a human centralized approach Amplified humanity by showing the empathy for the elephant The project is and situation in and the place That is we call like the cool cool people. This is and the native people in this village 400 year ago And now they live there Elephant in Thailand they are not slum of Our forced labor but elephant in deep village it look like and the part of the community It look like in the family in this project is and We have to and a place is very interesting. It look like and when elephant died We send the elephant to the graveyard when the elephant Born or we have to Calamity and Elephant and the human will come to the temple And we have to and the pond for the elephant to take a bath or an elephant walkway We have to add a house or and the spiritual up and the people and Elephant can live together It's up one time it's and when When the urban life has taken away the forest and the tradition way of the living It cost us and the difficulty to grow the elephant food The fallacy what they tried they have no choice so and The keeper the elephant have to go to and in the city like a tourist city On the way they have to accident Sometime they die the project it is commissioned by a local government to Do you want to create to the new home it for and the elephant and It want to restore it the destroy to for later. I Start it and the idea with it like and the first get to try to understand about and like and the elephant It's like a human, you know so we try to make them to Understand it's like the characteristic of the elephant It's like and the elephant movement It's like and the comparison is between and human and elephant safety Even then we study about the elephant vision. In fact, the elephant is and different of the human they lie and and You call it a bike color, so they can see it's like and the clear color one thing that elephant is and It's very good. It smells of smell ability, you know, it they can smell about and Maybe almost a 20 kilometer. You can smell about the water. That's why it's an elephant it you call right and the animal who is an umbrella species so and When the elephant died, we bring the elephant and to and the grave yard This project and we have to and the tea facility It and the first is an big observation tower. The second is an a cultural courtyard And the first one is an elephant museum We try to and integrated in and exiting related The first building is and the tower The tower is and what the design is by is and Connected with the sky and the cloud. It looks like and the place of the landscape It's not the vertical. It's horizontal in the skyline mostly and we decide it and the tower It wants to last the people to the top it to me I think it and every every story is very interesting And so I want to the people to walk and climb up the star and just it and slow down to spend the time in every floor and In this place it and very good ventilation. So and the building it and decide lies and Like and use it the air the natural air to blow even if and the structure and the floor and the status This is and the place before and the wind can blow it one thing in this place it the Wind velocity is really interesting. So and when the people to and climb up to the top it I use and The wind velocity reply and wind speed is about 25 to 30 kilometer per hour to and use and to hold it and Apitonsies and can't brode apitonsies. It looks like and the helicopter wings so and when we brought it and that is why we We make it a tower in this area because it and the forest was destroyed We want to make the something why an observation tower is not only the tower But it's the first tree that it give birth to the other tree in the area In the future, we cannot see the architecture. We will see the tree recover in this architecture This is and my proposal The architecture is not only the architecture, but it's a path up and the landscape The another building is and a cultural courtyard We aim to and use and this courtyard is for the recreation and cultural event and religious ceremony The idea is and come from it and the village people how it's a good house I interesting about at the column and and the footing and Try to study about the good thing in this village so and one thing it and like the collector it and the cable roof the elephant and people it lives together in this house so and we try to Make it the space it like it make it and the sloping on and Make it a bench for the people and the plant pot it for and the native tea to be planted and The idea is and make it a big roof the big roof with and We cut it in the in the middle. It's a big hole and then it and we cut with a small hole and let the sunlight in from the outside to inside and make and The theater it for and the people it can sit there and This is and while you ask the whole off from the roof and be Being and the elephant to walk it like and it's like a pathway It's normally it's and the elephant it it's like the animal so and They like it and freedom to walking so and I decide like it and the the theater it look like and free chapter but elephant is some time we have to to To be careful because it's an elephant is and the big animal is some time They test it so we have to and like it It's a less light is it and a bodily it's a bodily to the safety But I don't want to make it like the rail to protect it so I make it I being the The stone is a big stone that will come from that area to light it and bodily It's between the human and the elephant the pet is for and the human The place is for and The elephant also and we compare between and human scale and the elephant scale and we We look at it as something the lifestyle of the elephant is sometimes the elephant is itchy they use and their body and to and Like it and a scratch on the column So and in this building we make it like and the the column that the elephant transcribe it the Architecture is not only about architecture. I try to think about architecture. Maybe it become to the infrastructure Elephant need the water in this area. It's very hot sometime some In the summer in the summer time and we lock up and the water It's a long time so and I I pick the soil and Make the pond and then I bring the soil to berm the theater This is and the idea that I try to make it bring the natural result that we come to the architecture This is and the way that is and if we the elephant have to fire the water they have to use about and the It's a very very party. So if we make it like and The the pond the new pond is that it close to an elephant can use it So an elephant is happy to take a bath in the pond About and the museum This museum is and it different form and the museum in Thailand because it normally in Thailand You'd like to make the museum like a multimedia Museum so and it's very trendy in in Thailand so and to me I think about and in this place it's like in middle of nowhere So the museum it should be it look like and the place it's for the elephant It's like and the people can use in this museum or so so and this museum it look like it's a part of and The museum in and in the village The idea is and the come from and the quick house The quick house have no door So and we just happy they just with the design like and the wall So and I being at this idea is to come to and the elephant museum They have no door so and when the elephant come to and this pathway It's like it's a place for an elephant and when the people come to and this museum So you have to and found the elephant to walk to inside It's sometime it's make and the people to feel like it's a surprise It's like me in when the first time that I visited the site I Found the elephant in the forest so it is and it surprised me so and For this museum I I think about and normally it's and the museum if you have to put The the object to inside but it's to me I think it's the object is to the outside the people Choose and leave the inside so and the place is like and the people look at the elephant It's outside and the people it look like the animals in the room so and the museum is and I Want to and the people to know about and cool people if that story and form them out because it and This is and the museum of and the related it lies and this uncle and This uncle is an his son was killed by his elephant and so and I will ask him about and what would you like to do and For your elephant after it your son was killed by your elephant and he said that and Do you want me to bring my elephant to call the police that the cause Do you want me to call the police to bring my elephant to go to the cell and He said that no, no, I cannot that my elephant is one of my son They are the my family This is and the story is formed and the people who live there This is I want the visitor to come here and listen about and their story form them out It's a place it's like I call it like and like museum and Make it new skyline and look like and the look safe In fact it and I decide in this project only 50% The less is fulfilled by the nature This is and my local spirituality Of the odd skill level are the longest imperfect mistake and the price My architect get a perform a tree function be serving the culture reviving the forest and build a safe southern community when it the project is starting and The first day of the construction is until the project was finalized and during it a call with 19 panamics this architecture was the elephant back home and Go people with and put down the sticker and start to and the whole the selfie stick to boss cut the Lifestyle to the people with the world Respect to each other is very important When this project is I have learned that with some time the animal can transform the city Being hope and pie to the human Humanity is not just about the human relationship We are dead our humanity through our relationship with other living creatures on the planet The aspect and the content we show to water anymore reflected the value of art as a human list after that is and Be caught in my form and was I been a lay so and the one thing that is and I have to affiliated why I Work in an elephant will project it so it and this is under one of and my develop of and the idea normally it's an elephant food in they they are and and and They eat and the Like it to classic for example, it's like and the Napier class banana class and sugar created So and the elephant eat a lot when they eat it I found some proof with that the proof with and It every place in the house in the pathway in and a fall exit So and I think the proof is a lot So and I try to think about and how to use and the proof or the down from the elephant to like to make it and why lose material and Then we make it and the big more it like the round big more Next ball and the elephant down big the big is and the matter one by one we make light and the elephant down and The small cement to mix together This is not a five big step it is and this is and the add dry big and it's become two and the big that we Start to keep and the idea to make and the pavilion In and the website that situated in and the King the King of Versailles in and Versailles palace the dunk will form with and The village that it become to and situated in the palace in the in Versailles we produce and this pavilion in Thailand and chip To the website and you start by it and the club man chip We have to only and true club man chip and we have to only and seven day and for install and this installation and The you start is finished it and we color belated with and the last step who in Versailles The we keep it light and the the name of and the class that the elephant eat and the last step who is try to compare about and the class that is the animal can eat is the same So this is and the place for light and we call light and a living architecture that is a place for and light and animal to can live to inside and Being the sum of and the final task is for that it look like the our spirituality We normally we use and like the magic color linen it to and like and the tie in the tree It may lie and we we want to to protect the tree so and this idea it become to the final track it make and the space to have to Like it and play it for the spirituality And this is an opening there for and the people to come the elephant down it and not only make the pavilion is make up to and the good health it's like in and I Try to and being the knowledge from the global South It's like and the material and know how and the culture from the our country to chair and the people in front especially with the future generation to learn it and at the same year is an I got invite from and the lawyer Academy of Art Summer exhibition in London so and The collector is one two and one me two and to make the elephant down again so and then I Try to make there's something but this way is different from in the west side The west side is made from the Thailand, but it's an in in In UK it and they want we want me to and give the knowledge to chair for and the young generation so and the down is and can make it from and Cocheter so because it and in cocheter so we have to and a tool elephant and so we can and produce and the down with and Make from the London so this and I think that is and very good to chair and idea from and in UK and so and The young generation is and makes like the sum of the student with some of and young architect who make it a workshop and I send the mall and from the Thailand to them The down is and this time if it make from light and alarm Make with and the down it and so this big it lighter than it and the tie elephant tongue elephant down from tidy when we started and We make it like it's a tower and when it and the critic Come to see and keep and the comment is for and keep and the idea for and this work it and Make it the final touch it the final touch it to me in this Places, I want to show about how and the cold attack to the down So it and did it one of and my master to send to and the people to see the art installation it's like and I think that in you loaded is and the developed religion with the cuddle of the scientific as one like the thinker like and the philosopher and asked it Is for my work it I want to reflect it a person who come from and the earlier With an list natural resorted with by the people are kind humble Rely on the instinct to survive it in the mindset of the limit station. I Hope to keep and a new perspective that the people in you loaded will be able to learn from it and And another project is and I Call light and the never meet the never meet it and the one up and the building in and Waterfall festival the waterfall festival is and it's a festival is about and a certain ability so and in this year is and I Decide the one part weird. It looked like that the town hall. It's like and a multi-purpose in the area the idea is and Related to about and I want to show about when in the past The human use the animal to pull it's like and the The vehicle so in this Never meet them It's different. I want and the human to put the structure and it looks like and the animal in the past So this structure is very happy about and 52 times. So and We spent around and 60 people to put this the structure to move it when we put it This structure because it's an in in in the background. You will see it light and the fall at it so if you put In the front it you have to more space it. I want to talking about and This pavilion it not only the pavilion, but it took light it and the back state up and the show Normally we have to the state is like in the front in the background of and the state but I think it's like and when we use it like and The state is like and a perspective. So and this is and the idea that we want to Related and I want to and off track the wheel up and the fall it at the back state and The loop it and we decide it like it and the loop this kind of ventilation It's like a stack loop, but it we have to and the the gap it fall the wind it can blow the so and this pavilion is It's warm. It's very cool in the daytime and the night time As best before and the people can leave and enjoy in the activity for the 24 hours and the detail of the structure in fact is and The nelemid is a lot and I think it and it is a lot in Humility and Let's take fall and nature In the same first world and I have to another building. So and the building is and the main form like and the The old wood is like the recycled wood This plate you call like the open kitchen the space for and kitchen from and like the grandmother who and being and the food and the kitchen to make inside it so and Selected the wood the wood it form and The old tobacco factory. So like now they don't do they don't use the bullshit. So I try to bring in recycled wood and Selected and build and become to the new one. I I created for and the light is the big window it for and open and close it and Sometimes when we work it would have to other side and Have it and the Worker to install and the big window is what open When we open really keep and the wind blow so and at night and month Many people is and come to and on the second floor and sleep there So and they don't want to go back to and a hotel it and place it for and We try to use and the wood and light and make it and the new compost for the new structure and We have to and a small building that is related to an open kitchen I call light and the first care because it and this is and the building is related to an and to Purdue and recipe is Purdue and the some up and the plan. So and it's light and the The insect hotel So I make it does I bring it the recycle would it make it for the insect hotel Or the chicken cool or the compost bin This is and a one of the part that I call the first kid in this project and The last one this is and the house the house is and In the project it and we call life in the back of the house normally it we decide the house if it's like it and We like to show with the front of the house because if the house is and Interlacing when we look from and the roasted. So what is it and my idea? I want to and The house is reverted the stream like the teacher did so and like it and The inside is invisible on the outside This is and the fun of the house that there is and I Decide it's light and the house look like it's a solid just to have to the small door on the small window because it and in this house and In the front we have nothing to see because it the the house is stretching to and the towel house So if the towel house don't want to see and the people in the opposite side So it I think the people in the house don't want to see the towel house also So and we make it the house it's like it's a solid but in the back of the house It's very good. It's very good view and very good Very good temperature because it's a win it blow it from the south this and This back of the house and it's oriented and to and the south So and we open The house at the south side and make it light and that I have said that it's an imperfection it's like and when we Be stacking we mentally it's like at the motor so it's and one thing that isn't normally it and the motor It's like it's like that it's not in front but inside So I think it's and maybe it's really interesting. It's to me. I want to show that this one So and when the people come with it and When we come to inside the space in front it look like it's solid it look like the closet but for the inside we open it to and the light and we open to and The wind to come to inside and make it like the easy That the structure it make from the concrete But with the some part it might form the small level it like and they help me and lighter it can come by together and use the brick Almost almost everywhere in this place and this is on the second floor we always use and the big window and to and open for and Requeves the wind from an outside. It's like it's back of the house It's very good because it looks like the four layers in the city and Next line and the The one of the path of the element if you come to the not the building structure But it look like and one of the part of the element of the architecture it will come to the furniture and This is and the third floor light and the workplace This is and the back of the house The house is not perfect when we decide the houses we confront with something like and when we use Yes, and we have to something like the mid-takes and this picture isn't my son and my doctor. It's try to try to and Protect the land it form and the outside because it and did Decide it and the water it leak it because it and the land are coming so and Did it and the life? This is my house and I work the house This house is and that's driving me to to to be and To be it and the quality of work. So and I Think it's and I make the house. I want to warning myself About and never forget Where I come from in the past This is and the way of the thinking and the first question That asked me about who am I? Yes, right now. I am a human. Thank you so much Thank you so much when Sam and Paula for sharing that work. There were so many just incredibly beautiful and poignant projects and I kept thinking how I wished I could really be in those spaces and experience them But because of the way you describe them there there's so much more than visual experiences that they're There's this element of sound and of touch and also something so relational about those projects like being in relationship with other people and with other species with the plants and materials that Make up these projects And but I was also thinking that even if I were to go to these places that to really Experience them and to really be a part of them I would have to kind of be engaged in all the processes that make up those spaces like whether those are like The lifespan of an elephant and to kind of experience the death of an elephant at that site Or just the day-to-day rhythms of sort of living way than caring for these other creatures Or even like the digestive cycles that make up the elephant Bricks and so I was thinking it was something to kind of an architecture that actually even if I were to go to I wouldn't fully experience so I'm wondering if you can just talk about some of those different kind of temporal and kind of Process-based dimensions of these works and how you think about kind of engaging with those different temporalities at a particular site Climate In the project it be it's like and in Thailand We live it's like and if you see the project it's like and middle of nowhere It then normally it and the project situation in the local area It then we don't have the project in and the city even it and my house so and then We we think about and when we decide and the project that we try to understand about and What you call life and the size of it It's like the artist, you know with a size specific it and talking about not only about and the content but it related to about and The nature Related about the climate related about and the season also because it's and and Every place is happy different so and and my project is and when We talk about and the temperature in light and in the film school When you come to inside and I decide to slide the pathway So it's a pathway not only about the sound But the pathway is related about the wind blow So and this is and like and the the way that that I try the people to like the People the connected people to when out of the room and come to use and this pathway It's still like and the people to come to the outside at first it and the client is delighted yeah The client the professor The students don't like it because it when it's a rainy come so and keep They ask me that if what happened when the rain come You have to know roofed it so I said that yes when the land come you will wet it He says it why I I said why because it and We are that human you know and You you will be it and film director you will be and Like you work it's like and the film the film is the outdoor It's the land come how do you stop the problem? This is and the way that it and we work it like this ready for our The free school lighted asses like the architect so and we have to strong so if light is the place if there's The professor asked me about with the floor. It's not smooth it because it has to the small stone a lot So I said that if you set up The plight is the camera. You have to think because when you go to outdoor shooting The outdoor shooting it the floor is not smooth so you have to think before you set up and The camera fan so it's like and another project in in Surin province and the the big tower This is very good I used in the wind to blow up it on so because it and I Don't know it and normally why we have to Make it and a high-rise tower for what? but in this area I use the high-rise power is for Planetary Planetary And so you said you like difficulty and so part of that is kind of encouraging these kinds of encounter these sensory encounters that you might otherwise Avoid and you're kind of forcing an encounter with these more difficult sensory experiences When you you talked about this important site specificity when you are kind of in a site like how do you actually go about engaging with that site and kind of Forming these Collaboration with all of the kind of agents and living things and materials that you're going to work with like how do you establish those? relationships and kind of select your like kind of the Co-conspirators and kind of creating a place You know The nature and the spiritual is the same It's like we call in Thailand we call it and that the liver In Thai we call a liver you call man Ma it means mother now it's been water so and we call light and manner is mean the culture and Nature it can come by together So this is and everything you have to the spiritual it's like if you see the tree that we that I use and color linen is tight for the tree the people is and believe that if You use and this linen to cover the tree It means you cannot talk it because we have to an assumption pretty to have to the cost to inside So this is and the way often how to protect the tree in this in this country so it's like and if we let that to about and the culture and The nature we cannot You kind of you're able to enter through those different dimensions But the kind of spiritual dimension because it's one and the same with these sort of material and living dimensions of the site You talked about this idea of living architecture And there is a sense that so many of these buildings and projects they they have this more Active kind of performative Dimension that they they're not static there like the forest continues to grow as people kind of ascend that tower and spread the seeds Or even I imagine some of these kind of experimental materials They probably will change over time like imagine the the dung bricks change over time So what is that? How do you kind of choreograph or think about the way that the building or the larger site evolves? When we and when we and take about a fly and everything is and It depends on life and Like the time It depends on life and the situation I come from and and the the working class, you know be and My family teaches me about everything it's important so and I Think it's and everything it we can use it Even it unvalue it become it something it unvalue to and to the other people But the people from the working class that everything is very well So the time we don't understand about the recycle for the 50 year we never heard about and The word is that tenability in our country we never heard it but we This is an hour behavior When I want to when we want to and make the clothes We just it and grow you fly and the seal With the warm like to make the seal so when we When we have the food But the food it and it remains with a lighter way for that we bring the food with two and the pick chicken to eat and So and we we we try to look everything to make like it and it benefits for the life It's like if you see it and My work isn't that you see you see like it once get that I get to a recycle paper it in a lie and the the life tower I Want to show that if I leave my to myself when I was young So we have no paper It's just only about and the painting So and the paper is a recycle paper is come from the newspaper So that's why we draw the something on the newspaper to learn it by myself and this in this way is remind me in the past so and like now if I Become to use and the idea When I was young to become to like now and I try to like because in Thailand have to the money crisis As you know that it and like and research on economy 20-year ago So everything the bankrupt everything People lost the job. So we try to we try to Think about and if we can use the thing It's far right and everything is important There's yeah, there's something that sense of kind of regeneration is sort of using existing materials and the kind of Yeah, the kind of thriftiness that's embedded in that seems really important. I'm wondering if it's also Tied to the the kind of rural context that you're often working in that kind of need to kind of use Everything at hand and kind of think about the full kind of life cycle of the materials and of the Of the kind of buildings themselves and in a way you talked about kind of decentering The human but I also felt there's some kind of like decentering the urban in the work and it sort of focused on these world sites I think we cannot have supported about and With everything in the world I Think it's and everything this kind of combo. We have to listen to the combo the elephant The human look at them like the animal If the elephant asked Me back there the elephant look at me like what I think they don't think about They don't look me like a human They look at me like something It's like and something like Control you know But it's an if you keep and the feeling to the elephant It's like an elephant. It's like and play Sun This is and it makes the animal understand Like and you have to pet it so if you and Sometime you and angry your pet you hit But in this building it look like it They don't want to to hit Because it and did it and different way because it you have the one thing this lie and Maybe just one last thing and then I'll open it up. You mean you've talked a lot about The value of what is hidden or of things that are mysterious about fully known and I almost think the way you're talking about The gaze of the elephant if you can't ever fully know the kind of mind of the elephant to Maybe you can talk about how you value things that are not Entirely revealed or entirely known Oh In Thailand, you know Elephant for the wall if you see it in the picture so and In Thailand we respect the elephant because it the wall is like it and They can protect the country The elephant it look like a soldier Who come to fight in the wall so and the people is less so and it's not look like and for the the the culture it's like and We bring the elephant to light a symbol like if you see it and The former flag in Thailand we use an elephant to die a symbol and We use the elephant to and light and some of the local of the beer In Thailand, so it's very famous beer and It's the same we use and The the lion in the beer also So you you know and it's that why it's the reason that and the people In Thailand So and I think it's and this is and the traditional Form the answer We try to and Like to understand about and yes, it may be it's and it look surprised for a foreign people but I think this is and our way to and One listen we try to protect The animal So in a way, you don't need to the elephant world is sort of a microcosm for this larger world But the elephant is already a part of it's already this sort of potent symbol and kind of a part of Almost a kind of an everyday life world All this is and like and the elephant is standard The biggest animal In our country, so and then like now the elephant is You know, it's very difficult difficult to find Elephant have to and long life so It's normally it's an elephant about and 80 or and 100 year old you die so and the elephant is like and the The animal is and it's not different from the the small animal so and elephant is like it's related before As you said that it's related to and the Thai culture and we let that to the Thai spirituality Oh This is and in the elephant world is when It's different because it and this will let it and 400 year code They live with and people together not to play Yes, it's normally it's and in then I don't know it and other places and other country The the the feet the elephant will have to lie under the care for the elephant can lift it But if you see in this picture the elephant elephant is live in the one house That we separated in the one part is the human and another part is for the elephant can't live there and This is and the elephant is a domestic People Comment about why we don't Let that the elephant in the fall I said that this is and this is elephant in this process and They're familiar to and the human So the human is left them is like a family So and if they left if you let let them to in the fall they don't know how to fight It's finally it's like and if you go to if the elephant will go to in the fall so You will see like and the another elephant That live in the fall So the elephant will fight It took life and you have it like the mafia In the fall that it will the pulley if you are a dramatic elephant Yeah, so they have this kind of Mutual dependency between the people and they're with us We try to make it and the quality of place for and dramatic We try to make two and people to understand about the way of the living The elephant in Thailand is different elephant in the world different from the elephant and another part or then Another continent. Yeah, so it's why this museum is so it's not replicable in a way It's like very specifically rooted to this relationship in this particular place and time I wanted to open it up and see if there were other questions Thank you. Thank you so much for your Really beautiful work and humble work And I want to ask something about The exercise you did with the elephant dung because it seems that you did a Even a perceptual exercise or act of using dung From the raw material to placing it in an installation and then in a gallery space so with all the understandings of what how dung is part of kind of a bodily Waste or fluid or it has different enzymes and right. I know dung is not usually not smelly for Elephants so it probably doesn't have odor but still the notion so I wanted to ask you How do well you said how you overcome? Variability with dung in one place in Thailand then versus dung in the UK and the difference in their Weight and how you added lime to the dung from the UK But how did you encounter the perceptual exercise working with students? When you send them the mold and They use the dung with curators with other designers with visitors with regulators right inserting variable materials or geological or waste materials to gallery space, you know can Occurring different reactions and then yeah, so how how was your work on that kind of lands of Perception on the material Thank you and the dung Dung in Versailles and as you know that we make from and the Thailand so and the Because it and the curator the curator is one that everything made from the original Everything is the light and the peace it must come from the original country made from and native people so and the the way of and the curator that think about and if and The the people in France if they want to know They want to know about and if and the blitz it form and my country is set up in In this palace So and what happened because it and this big is an account Can situated in the outside in the courtyard but in lawyer Academy they use it like and I Coralize the experimental but I cannot it's and the Quality control to them But it took light and experimental it's about between and Seaman alarm because it and if you care you think about and the cement is It's like and the material is and it's like and what it carbon Make the carbon dioxide even if you think a little bit but so they try to make an another way and Give me to open it about and if we change from the cement if we come to the lamp It's better. I said that it's okay. It's not better Because it and the lamp is like an okay. It's and a GO material It's lighter, but it's not strong in and In the we call either where side big the Test is the complex it is the strength to test it and the song in a standard Completed but in in in London and it is not the standard for this for the strong so and This is and the way is different but it's and the the food form and the Elephant in Thailand the The elephant eat the classic so it's like it may be a classic and the class is very strong but it's in Coachella to it and the elephant eat and like the the apple The banana so it's and The recipe is different so and the strongest off and the down is different So did it and but by the way, then I think it's and We can't share about and no less because it and to me it and certain ability is It's challenge. You can a challenge in the world because it and we have no secret about that because it can be We can fall in the same problem like now So but we have to use it the same language to solve the problem the start ten ability It's the same language that we can use that even it's like in the people who come to and money can't be used and this play Right now, but you cannot you cannot use and this play Like it and start ten ability But it's to me that ten ability it's me like when You see it light and responsibility for and our world To the adults have a question I think over here. I mean first of all, thanks for for this Refreshing lecture. It was it's incredible to see like buildings addressing these like notions of more than human Projects or more than human context however, I would like to To ask you about the the role of the of the buildings Like in these specific context in these specific areas since you know, like basically The act of the act of construction is is violent sometimes, you know, like in even in the forest is even more violent So I Just wonder. I mean, I would like to ask you what do you think about the future of the building? And you know like about the future of the act of construction like in in these new idea and these new paradigm of how we We need to learn how to, you know, like relate with more than human species Thank you, I think stand with the photo and we have to money way We have to money way many way to and to build the building So but we have to another way to unbuild we have to think before you build it, you know, and It's not important to build not build It's just innovation In the future you ask me and you just look and something it's important to do that It's important if you need actually you can do you do If not important to do that, okay, you can wait Wait, what did you build to master, you know the architect architect that is produced to and university It and maybe you build too much for them in Thailand even build everything that sometimes it I Very confused about and why you build this one in Thailand if we have to Right now money festival Build a lot that when you build a lot that the festival Make it like the waste material after the festival finish We have to think about and after We build it where the building will go so it and I Don't know I answer your question, but it's and I think it's and Yeah, something that I like deeply appreciated in the work you showed was just how permeable a building is it's sort of both the building and the landscape and the inhabitants and the visitors and the microbes and the creatures that live and Pass through and kind of make up this kind of larger network of Experiences that kind of surround the building and I think this sort of before and after the building is also something that you're very Kind of attentive to and kind of you know the building puts these tendrils into Sort of all the domains that kind of surrounded touch on it This is and I think you see in the way off and it's my opinion is it and The way off and the poor technique for people like and we If we don't have the money why you have to Try to fire the money to build it, okay We just it and look at the something We keep it Just do only it if it's necessary Not necessarily don't do it Okay, I think unless there are any other pressing questions one more. We'll take one more only if there is go ahead if there's room Svartika I I think this was an extraordinary moving Not even just body of work, but series of questions that you shared and I I would just love to Violence which I like Love so much in in terms of also how You contextualize your work or how your work contextualizes itself in terms of the kind of entanglement That was mentioned or detanglement at the at the beginning and I guess what I'm specifically asking for is what What do you think and and how would you think about? Scaling your work if this is If this is not too basic of a question also in terms of like what makes your work so specific I'm not even just talking about that human non-human context with the elephant and Natural versus the artificial environment, but I'm also talking about that the kind of Question of how can we locally learn like even within the Thai context of not making the kind of global mistakes of what My dear friend was speaking about in terms of violence when you drive through Chiang Mai or Krabi or Fouquette or Patong and you see like the same type of 30 50 million bad Type of like houses that people like kind of built their own totally closed off villages that could very much be in Scotland or Northern England or like Eastern Germany were in fact a lot of people relocate, right like and kind of Set up camp, but they also bring financial architectural environmental Tool sets with them from places like oftentimes like the European context not understanding the kind of Local one that you are introducing With your work and with the materiality and with I think also the typologies that you're introducing without I guess Relying on that cookie cutter notion and like influx of really like money from other places Like to Thailand kind of almost like replacing what's so locally available, which is what you're working on so Like do you see is there any hope I guess like from the inside out like like Locally kind of populating that global question of how do I how do I resist in a way? That influx of both money and then also a particular type of living the same type of materials and windows and like Kind of that repetition that then becomes its village within a village versus like I guess like what what what you are So successfully and movingly push for that kind of coexistence Yes, maybe and you know it's like and okay, it's a certain ability. It's not only about architecture. I I Understood but certain ability is and related to about the economy also But how how can we balance it between and the economic architecture so and that's why I answer things about and Because it and you know it and it's my country in fact We we have to do a lot of the proper So and then the problem sometime I cannot talk it so and this is and yes, if we look at in and about and The global economic it's like it's an hour for late that you see in and the ceiling when the economic the economic is called the Environment the and will the fall it what they throw it this is and the the We have to plan you have to rethink about them how to make them you can leave it and the grown economy But you can protect with our environmental together You started your talk with the word attitude and I feel like what your work does so incredibly is kind of models other attitudes other attitudes towards living Together with other beings other way the sort of living on this planet and I think So many of the projects just sort of they put forward this kind of lived Version of that it what does it mean to live those attitudes and give form to those attitudes? Even it's like it and when this Literally start what they're trying it's right now Naturally start Maybe it's situated in Thailand But you know, it's not this is This is not the Thailand, but this is natural resort of the world It's not only to my my my country is the world Like it and the world property If we and you you destroy the natural resort in this place Effect tool and the world That's why it's and the time It's not an about and non-human center that I talked it is like now and How and where we call after the non-human center? I would like to say that now this is an earth center. Thank you