Asian Creative Architecture, Art and Design

Integrated Virtual Reality Innovation Furniture Design to Induce Positive Feelings with "Biomimicry" Approach

Naruedee Phurattanarak, Gomesh Karnchanapayap — Tue, 07 Jul 2026 00:00:00 +0700

Rapid urban expansion has increasingly distanced people from nature, resulting in significant impacts on mental health, stress levels, and overall quality of life. The concept of Biomimicry, combined with the use of simulated nature, has therefore been introduced to reconnect urban populations with natural environments through the design of spaces and products inspired by ecological systems. When integrated with Virtual Reality (VR)—a technology capable of reproducing realistic natural images, sounds, and atmospheres—these design approaches provide a powerful tool for mitigating stress and enhancing attention restoration, as both real and simulated nature have been shown to promote psychological well-being. Within this context, the researcher developed an innovative biomimicry-inspired rocking chair integrated with VR, designed to substitute natural experiences for urban residents in their daily lives. The chair's form, materials, structural elements, and rhythmic motion were derived from principles found in nature, while the VR system delivered immersive natural scenes and sounds. Experimental trials conducted in a simulated natural environment demonstrated that users experienced markedly higher levels of relaxation, improved focus, and enhanced positive emotions compared with the use of a conventional chair. These findings indicate that simulated nature and biomimicry-based design function as effective mechanisms for improving urban well-being in a sustainable manner.

This study aimed to design and evaluate an innovative rocking-chair prototype capable of inducing positive emotions by applying biomimicry principles and integrating VR technology. A mixed-methods approach was employed, combining quantitative and qualitative data. The quantitative phase utilized questionnaires administered to 432 participants, examining perceptions toward the biomimicry-based rocking-chair concept integrated with VR. The qualitative phase involved semi-structured interviews with 50 participants who tested the prototype and assessed their emotional responses after use. Primary data were collected from surveys and interviews, while secondary data from theoretical literature enriched the depth and validity of the analysis. The research findings reveal that furniture designed through biomimicry, when combined with VR, effectively enhances users perceived connectedness to nature, reduces stress, and promotes relaxation even within indoor environments or densely populated urban areas with limited green space. Participants also reported significantly higher levels of positive emotions, indicating that simulated natural experiences can partly compensate for the absence of real nature in everyday life. As such, biomimicry offers strong potential for developing furniture innovations that not only meet functional needs but also support mental well-being. When integrated with VR capable of simulating forests, waterfalls, or seaside environments, the therapeutic value of such designs becomes even more pronounced. Accordingly, the results suggest promising applications for commercial product development and service innovations aimed at creating simulated natural environments for urban dwellers—such as relaxation furniture, VR-based therapy rooms, or restorative spaces in organizational settings. The concept also holds potential benefits for older adults and individuals experiencing chronic stress, offering a practical means of emotional restoration and improved well-being. In conclusion, the biomimicry-inspired rocking chair integrated with VR technology demonstrates strong effectiveness in generating simulated natural experiences that enhance positive emotions. The experimental results confirm increased relaxation, reduced stress, and greater perceived connectedness to nature among users, even in closed environments or cities lacking green spaces. This innovation therefore presents significant potential for future development as a therapeutic product or service that supports emotional well-being in urban populations. It can be applied across various settings including homes, hospitals, schools, and workplaces to improve quality of life and promote environments that nurture mental health. Overall, the findings highlight the broad potential of innovative furniture design that brings nature back into urban living in a safe, sustainable, and technologically aligned manner.

The 2D Online Game-Based Design on Gamification Concepts to Enhance the Science Learning Experience for Third Grade Students

Prakatkit Ananlertsakul, Asst. Prof. Dr. — Tue, 07 Jul 2026 00:00:00 +0700

This research and development study addresses challenges in primary-level science instruction in which some learners demonstrate limited motivation and interest and have difficulty connecting abstract scientific concepts with tangible experiences, particularly in lessons that require observation, experimentation, and reasoned thinking. In many classrooms, when learning activities rely mainly on explanation, students may have fewer opportunities to explore phenomena, test ideas, and receive immediate feedback. To respond to these issues, the study applies gamification and game-based learning principles to the design of a digital learning medium in the form of a two-dimensional (2D) online educational game. The intention is to increase learner participation, enhance enjoyment during classroom learning, and support learning by doing through age-appropriate simulated situations that allow students to learn through interaction and repeated practice. This research aimed (1) to analyze learners’ needs as a foundation for designing and developing a gamification-based 2D online science game for Grade 3 primary students, (2) to design and develop the gamification-based 2D online game for use as an instructional medium in science, and (3) to examine the effects of using the developed gamification-based 2D online game on learning achievement and satisfaction with learning through the game among Grade 3 students. A mixed-methods research design was employed, and the study was conducted through sequential steps to ensure alignment between the data collected and each objective. The research process comprised three key phases. Phase 1 focused on pre-prototype data collection. The researchers conducted fieldwork to understand current learning issues and to analyze learners’ needs through an online questionnaire. The instrument gathered information on students’ learning behaviors, interests, and expectations regarding game elements for learning. The resulting data were analyzed and synthesized to clarify learner characteristics and to establish practical requirements to guide subsequent design decisions. Phase 2 involved the design and development of the educational game prototype. Findings from Phase 1 were translated into design requirements and used to determine the game’s structure, learning flow, and core mechanics. The prototype integrated gamification features encourage engagement and persistence, including mission-based play, staged progression, reward mechanisms, and immediate feedback. The interaction design was tailored to Grade 3 learners and school context, with an emphasis on clarity, accessibility, and meaningful learning actions. The game’s mechanics and learning activities were designed to guide learners through content gradually, reinforce key ideas through repetition, and help learners recognize the consequences of their choices during gameplay. Phase 3 consisted of post-development testing of the prototype in real classroom settings under teacher supervision. The prototype was developed as a Grade 3 science lesson titled “The Wonders of Magnetic Force”. Gameplay activities were designed to encourage students to make decisions and test ideas through play. For example, learners completed tasks that required them to classify objects that can or cannot be attracted by magnets, and they explored concepts such as magnetic poles and the uses of magnets through mission-based stages. Immediate feedback was provided when learners responded correctly or incorrectly, supporting gradual conceptual development through repeated practice, problem solving, and observation of outcomes. In addition, the system automatically recorded gameplay and usage data in an online database to support learning follow-up and monitoring.

Participants were 148 Grade 3 students from two schools in Hat Yai District, Songkhla Province, Thailand. A cluster sampling approach was applied in accordance with each school’s participation quota, with classrooms serving as clusters. After classrooms were selected, data were collected from all students in the selected classrooms. Research included (1) a learner-needs questionnaire administered prior to prototype development, (2) a pre-test and post-test using the school’s standardized science test to measure learning achievement, and (3) a four-point satisfaction questionnaire administered after gameplay to capture learners’ perceptions of enjoyment, ease of understanding, interest, and motivation to learn through the game. Qualitative reflections were also collected through open-ended questions to explain learners’ experiences in greater depth.

Quantitative findings indicated that students’ mean post-test score after using the prototype game was significantly higher than the mean pre-test score (𝑀 pre = 7.75, SD = 2.15; 𝑀 post = 8.09, SD = 2.02; t = 3.42, p = .0008) This result reflects an increase in scores within the sample following use of the game and suggests that, in the context of this classroom trial, the prototype may have contributed to supporting students’ understanding and retention of the science content. Satisfaction results also indicated positive perceptions of the prototype. Overall satisfaction averaged 3.67 (SD = 0.67) out of 4, with students particularly highlighting enjoyment, interest, ease of understanding, and motivation to learn through game missions. Qualitative reflections further illustrate how learners experienced the prototype. Some students reported that the visuals were attractive and the animations were smooth, which made the learning activity feel like conducting real experiments in a virtual world. These characteristics were perceived to reduce boredom and to support more self-directed learning through repetition and immediate feedback. Students’ comments also suggested that the mission structure helped them remain focused and encouraged them to try again when they made mistakes. Furthermore, classroom implementation under teacher supervision was noted as a supportive condition that helped the game be used appropriately within time constraints and classroom routines and contributed to a more systematic learning activity within the class time.

In conclusion, the design and development of a gamification-based 2D online educational game can serve as an instructional support medium that promotes learner motivation and supports science learning achievement for Grade 3 students in the context of this implementation. Trial results showed improved post-test scores within the group and high levels of learner satisfaction after using the prototype. However, because the evaluation employed a single-group Pre-test and Post-test design, the findings are intended to describe within-group change and do not claim that the game is superior to traditional instruction. The results can inform further development of digital learning games for other science topics or subject areas and provide practical guidance for teachers and educational media developers who aim to design learner-centered digital learning activities that emphasize hands-on engagement.

The Creating Nature-Inspired Etching Prints with Natural Oil-Based Ink

Vara Chaiyanitaya — Tue, 07 Jul 2026 00:00:00 +0700

This research presents the creation of intaglio printmaking artworks inspired by nature. The study aims to explore the relationship among conceptual frameworks, theoretical foundations, creative processes, and aesthetics that influence the form and expression of intaglio prints; alongside the development of a high quality natural based printing ink designed for safer and more sustainable creative practice. Motivated by concerns regarding the health risks of conventional inks particularly the unavoidable use of turpentine as a toxic solvent, this work focuses on formulating an environmentally friendly ink that enhances user safety without compromising artistic performance. The natural-based ink was developed by using epoxidized soybean oil as the solvent base, epoxidized natural rubber as a binder or main resin, linseed oil and tung oil as drying oils, beeswax as a thickness and rheological modifier, and carbon black as a pigment. The natural base ink was applied in a series of intaglio print artworks inspired by surrounding plant life and the harmonious interdependence found in nature. The artistic component of the study involved analyzing meaning, philosophical value, cultural context, and emotional, highlighting how personal experiences and impressions transform into new visual interpretations of form, light and shadow, texture, and composition. Artworks intentionally employ a black-and-white palette to convey a space between reality and illusion, allowing diverse emotional and philosophical interpretations across individuals and cultures. The developed ink exhibited smooth and uniform consistency, high and stable viscosity was suitable for intaglio printing application. Moreover, the natural base ink has low odor due to the absence of volatile organic solvents like commercial ink. Furthermore, the natural based ink demonstrated stable storage period time behavior without surface hardening for over 120 days and allowed efficient cleaning using water-based detergents without harmful chemicals. The Print quality assessments showed excellent ink transfer, strong tonal reproduction, and deep blacks compared to commercial references, confirming its competitiveness for professional printmaking use. Hence, this work integrates material innovation with artistic expression, using natural-based ink as both a technical and conceptual tool to communicate the beauty of nature through semi-abstract and surrealistic forms. The findings also indicate the potential to further diversify the ink’s color range for use in other printmaking techniques and painting applications.

An Analysis of the Impact of Ramp Designs on Wheelchair Users' Travel Time

Pantapat Boonma — Tue, 07 Jul 2026 00:00:00 +0700

Currently, as Thailand officially has reached the stage of a completely aged society, there is an urgent need to have infrastructure that truly serve the elderly and disables, particularly when it comes to navigating different floor levels that are essential of buildings in terms of safe, equitable, and barrier-free access for all, so that users with limited physical capacity are able to move independently and with dignity within built environments. Beyond daily convenience, these features become a lifeline during emergency evacuations, such as fires or earthquakes under limitation of the physical mobility, when time constraints and physical stress significantly increase, a well-designed ramp is what makes a rapid and safe escape possible for everyone.

The concept of Universal Design has become a cornerstone in creating environments where everyone, regardless of physical ability, can enjoy equal access, emphasizing usability, safety, and inclusiveness throughout the design process. Among various architectural features, ramps stand out as a clear reflection of this inclusive philosophy. Although there are well-defined standards for slope gradients, widths, and landing placements, many ramps in practice still fail to function effectively in terms of moving—a factor that directly impacts the safety and evacuation efficiency of wheelchair users, particularly under continuous movement and emergency conditions. This research, therefore, focuses on analyzing the relationship between ramp configurations and movement to build a comparative body of knowledge as a practical guide for appropriately designing ramps.

The study aims to examine and compare various ramp configurations, specifically focusing on how they influence the moving wheelchair users. The research also seeks to propose design solutions achieving optimal time efficiency while staying true to Universal Design principles and official standards. The study implements an experimental approach through computer simulation, utilizing Pathfinder. This software was selected for its specialized capability to model individual wheelchair movements and account for complex, real-world ramp geometries. This makes it an ideal tool for accurately analyzing movement durations within a controlled, simulated environment.

The study’s sample consists of 81 distinct ramp models, generated through a systematic cross-analysis of four key variables including 1) ramp configuration (straight, L-shaped, and U-shaped), 2) landing placement (at the start, midpoint, and end of the ramp), 3) width (1.50, 1.80, and 2.00 meters), and 4) slope gradient (1:12, 1:13, and 1:14). To ensure the integrity of the comparative analysis, a standard manual wheelchair was used as the baseline for all simulations. Furthermore, specific parameters—namely horizontal speed and downhill speed multipliers—were kept constant across every model. This hard control of variables ensures a standardized environment, allowing for a precise and reliable comparison of how different designs affect movement.

The simulation model is primarily designed to evaluate movement efficiency through a temporal lens. Within the Pathfinder environment, travel paths are calculated based on the central axis of the ramp and landing geometries, strictly following the physical layout without diagonal shortcuts or the inclusion of complex biomechanical factors related to wheelchair handling. Consequently, the simulation results are intended to provide a controlled comparison of time differences across various ramp configurations under identical conditions. The generated data were then analyzed using descriptive statistics and the calculation of an Efficiency Index (EI) to compare the temporal performance of each design. An EI value approaching 100 signifies superior time efficiency relative to other models within the same group, serving as a clear metric for performance evaluation.

The findings revealed that ramp configuration is the most influential factor affecting the movement of wheelchair users. Specifically, L-shaped ramps demonstrated the highest time efficiency with an average EI of 98.7%, followed by straight-run ramps at 96.1%. The U-shaped configuration yielded the lowest efficiency at 91.5%, a result of the 180-degree turns disrupting movement continuity and inherently increase movement duration. Regarding slope gradients, the 1:12 ratio required the least travel time compared to 1:13 and 1:14; however, the efficiency ranking of the ramp shapes remained consistent across all gradient levels. Interestingly, increasing the ramp width from 1.50 to 2.00 meters led to a slight increase in movement across all models—suggesting that while wider paths enhance comfort and safety in practice, they also extend the movement duration. Finally, mid-point landings were found to provide the most balanced and fluid movement rhythm, whereas end-of-ramp landings tended to increase travel time slightly due to the extended travel distance.

In summary, this research highlights that ramp designs featuring continuous pathways, optimal turning angles, and standard-compliant gradients significantly enhance the travel efficiency of wheelchair users within simulated environments. These benefits remain consistent across both routine usage and time-sensitive scenarios. The findings align closely with Universal Design principles, particularly in terms of spatial clarity and accessibility. Ultimately, this study serves as a robust evidence-based resource to support informed design decisions for public buildings and spaces, ensuring they effectively accommodate a diverse range of users and promote a more inclusive built environment.

Integrating Building Information Modeling (BIM) into Public Construction Policy: A Systems-Based Analysis in the Thai Context

kajohnsak chaokromthong — Tue, 07 Jul 2026 00:00:00 +0700

Public construction plays a critical role in national economic and social development; however, in practice, it continues to face persistent structural challenges, including project delays, cost overruns, fragmented coordination, limited transparency in public procurement, and significant environmental impacts. These challenges reflect the limitations of conventional public construction management systems that rely heavily on document-based processes and siloed decision-making. At the same time, global transitions toward digital government and sustainable development have encouraged many countries to adopt digital technologies as policy instruments rather than merely technical tools. Among these technologies, Building Information Modeling (BIM) has gained international recognition for its ability to integrate and manage building data across the entire project life cycle. While BIM was originally developed as a technical solution to improve design and construction processes, several countries have progressively elevated its role to that of a policy instrument and national digital infrastructure for public construction governance. In Thailand, however, BIM adoption remains largely at the project or organizational level, characterized by voluntary use and pilot initiatives rather than systematic integration into public construction policy. This situation reveals a critical research gap concerning the role of BIM as a policy instrument within the Thai public-sector context.

The objectives of this study are threefold: (1) to analyze and synthesize approaches for integrating Building Information Modeling (BIM) into public construction policy frameworks; (2) to conceptualize BIM as a policy instrument that influences public construction governance at the system level rather than merely at the project level; and (3) to propose a conceptual framework and policy recommendations suitable for the Thai context. To achieve these objectives, the study adopts Systems Thinking in conjunction with the Policy Cycle Model as its analytical foundation. This combined framework allows BIM to be examined not only as a technological innovation but also as a subsystem embedded within the broader public policy system, supporting efficiency, sustainability, and regulatory governance throughout the policy cycle.

This research employs a qualitative methodology based on documentary research, content analysis, and comparative analysis. The data sources include academic literature from international databases, public policy documents and legal frameworks related to BIM adoption, international BIM standards such as ISO 19650, IFC, and COBie, and policy-level BIM implementation case studies from selected countries, including the United Kingdom, Singapore, the European Union, and Italy. The analytical process begins with open coding to identify key concepts related to BIM’s policy functions, followed by axial coding to organize these concepts into categories and overarching themes. The findings are then synthesized using a systems-based perspective, in which BIM is conceptualized as a subsystem interacting with legal frameworks, institutional arrangements, digital infrastructure, and policy objectives across different stages of the policy cycle, including agenda setting, policy formulation, implementation, and evaluation.

The results of the study indicate that the integration of BIM into public construction policy can be systematically understood through three interrelated dimensions. The first dimension is Efficiency. At the policy level, BIM functions as a structural mechanism that reduces uncertainty in public decision-making by improving cost control, schedule reliability, and design quality through standardized digital information and coordinated workflows. International case studies demonstrate that efficiency gains are not derived from technology alone but from the enforcement of shared standards and regulatory mandates that embed BIM into routine public-sector practices. The second dimension is Sustainability. BIM serves as a central data infrastructure that enables governments to integrate environmental objectives—such as life cycle assessment, energy performance analysis, and green public procurement—into policy design and monitoring processes. By transforming sustainability from an abstract policy goal into a measurable and operationalized mechanism, BIM supports long-term environmental governance and alignment with global sustainability agendas. The third dimension is Regulatory Compliance and Governance. The findings show that BIM has the potential to shift public construction governance from discretionary, document-based inspection toward data-driven and rule-based regulation. Through automated rule checking, digital submission platforms, and real-time compliance monitoring, BIM strengthens transparency, accountability, and consistency in regulatory oversight.

Overall, the findings suggest that countries with successful policy-level BIM adoption share common enabling conditions, including clear legal mandates, standardized data frameworks, robust national digital infrastructure, and sustained capacity-building initiatives. In contrast, fragmented or voluntary approaches tend to limit BIM’s transformative potential and confine its benefits to isolated projects.

In conclusion, this study argues that Building Information Modeling (BIM) should not be regarded merely as a technical tool for design and construction but as a systemic policy instrument capable of reshaping public construction governance. Integrating BIM into public construction policy enhances efficiency, supports sustainability objectives, and strengthens regulatory compliance through data-driven governance mechanisms. For Thailand, the study proposes that effective BIM integration requires the establishment of a clear legal and regulatory framework, the adoption of international BIM standards as national benchmarks, the development of a National Common Data Environment, and systematic investment in human capacity development. Furthermore, aligning BIM implementation with national sustainability policies and long-term carbon reduction targets can amplify its policy impact. By adopting a systems-based and policy-oriented approach to BIM, Thailand can strengthen transparency, accountability, and performance in public construction governance while advancing toward international standards and sustainable development goals.

Spatial Vulnerability Analysis by using Geographic Information System (GIS) for achieving Healthy Cities

Natcha Khamsaen, Umpiga Shummadtayar, Mishima Nobuo — Tue, 07 Jul 2026 00:00:00 +0700

This article examines the sensitivity of urban residents to health-related vulnerabilities based on spatial physical characteristics, using the case of Saraphi District in Chiang Mai Province. Historically, the area was the settlement of Wiang Kum Kam during the reign of King Mangrai, before large-scale flooding between 1558 and 1774 led to the abandonment of the site and subsequent relocation to establish the Lanna capital, now known as Chiang Mai. With the expansion of Chiang Mai City, a significant number of people have resettled in Saraphi District due to its proximity to both Mueang Chiang Mai District and Mueang Lamphun District. As a result, Saraphi has become a transitional urban zone between the two provinces and currently has the second-highest population density in Chiang Mai Province, following Mueang Chiang Mai District. Despite this urban expansion, the district continues to face recurring flood events in several subdistricts, including Pa Bong, Chomphu, Nong Phueng, Chaiyasathan, and Yang Noeng. In particular, the year 2024 experienced a severe flood disaster, attributable to the district’s topographical characteristics as a basin. Other environmental hazards also persist, such as extremely high temperatures and accumulated fine particulate matter (PM 2.5), which has contributed to Chiang Mai’s highest incidence of lung cancer. These conditions position Saraphi District as a high-vulnerability area in the region. The objective of this study is to investigate physical spatial data and identify factors influencing the health and well-being of residents living in vulnerability area. This assessment supports an analysis of spatial vulnerability and environmental risk within the frameworks of healthy cities, resilient cities, and sustainable urban development. The study employs a process of selecting appropriate indicators in combination with the method of principal component analysis and geographic information system–based spatial mapping to evaluate and classify risk levels. The research involved collecting physical spatial data from multiple sources and analyzing relationships among variables using principal component analysis to reduce redundancy and identify the primary factors contributing to actual spatial risk. The extracted components were then integrated with geographic information system analysis to generate spatial risk maps. This approach enabled the visualization of risk distribution patterns and the identification of areas with heightened sensitivity. The results identified three thematic categories comprising twelve indicators. Theme 1: Urban Development includes (1) population density, (2) building density, (3) historical sites, pagodas, and temples, (4) industrial areas, and (5) agricultural areas. Theme 2: Healthy City includes (1) haze and air pollution, (2) health-promoting public parks, (3) health-promoting schools, and (4) health-promoting hospitals. Theme 3: Resilient City includes (1) slope of terrain, (2) flood-prone areas, and (3) government service areas. Spatial vulnerability analysis classified Saraphi District into five risk levels: Very High Risk (highly sensitive areas): 15.44 square kilometers (13.91 percent), including Chaiyasathan and Yang Noeng Subdistricts. High Risk (moderately high sensitivity): 13.92 square kilometers (12.54 percent), including Tha Kwang and Nong Faek Subdistricts. Moderate Risk (medium sensitivity): 30.04 square kilometers (27.06 percent), including San Sai, Nong Phueng, and Don Kaeo Subdistricts. Low Moderate Risk (moderately low sensitivity): 19.27 square kilometers (17.36 percent), including Chomphu and Pa Bong Subdistricts. Low Risk (least sensitive areas): 32.33 square kilometers (29.13 percent), including Tha Wang Tan, Khua Mung, and Saraphi Subdistricts. The findings reveal significant spatial variation in vulnerability levels across the district. These results provide essential baseline information for prioritizing and planning sustainable urban development, while supporting the creation of a resilient city capable of effectively preparing for and responding to future disasters. Moreover, the outcomes align with provincial and national development strategies, including Sustainable Development Goal 11 on safe and sustainable human settlements, and the principles of healthy cities that emphasize environmental quality, access to health services, green open spaces, and improved air quality. Furthermore, the study’s results can be integrated into practical measures for planning, management, and the design of healthy urban environments that enhance resilience. This contributes to the development of adaptive risk management mechanisms that reflect local spatial contexts, strengthen the district’s capacity to cope with and recover from disasters, and ultimately improve the quality of life for residents in Saraphi District toward becoming a safe, healthy, and sustainable urban community in the long term.

Sign in Communicating Reflections of Chinese Society through Performance Art by Zhang Huan

Naruemon Nawarat, Piyasaeng Chantarawongpaisarn — Tue, 07 Jul 2026 00:00:00 +0700

The transition of Chinese art into the contemporary era became clearly evident during the 1980s, following the end of the Cultural Revolution. The announcement of the “Four Modernizations” policy encompassing agriculture, industry, science and technology, and defense by leader Deng Xiaoping led to an influx of Western knowledge, as well as the learning, imitation, and adoption of Western styles. As China reopened through these reforms, the importation of Western publications and academic efforts to translate documents and introduce Western modern art history and theory expanded the international horizons of contemporary Chinese artists. Performance art in China was seriously explored once again following the 1989 Avant-Garde art exhibition by a collective of young artists at the Beijing East Village. These artists created works outside the reach of government censorship, challenging social perceptions and the strict legal authority of China at the time. They believed that using the body as a medium could be more emotionally provocative than painting or sculpture. In particular, Zhang Huan emerged as a key artist whose prominent work created a significant impact, pioneering a new path for contemporary Chinese art.

This research aims to study the use of semiotics in meaning-making and to analyze Zhang Huan’s performance art as a reflection of Chinese society, focusing on forms, concepts, and methods of content presentation from 1993 to 2005. As a contemporary Chinese artist, Zhang Huan has played a significant role in pushing the boundaries of performance art on an international level. This study employs a qualitative research methodology. Data were collected from various documents and media, such as books, photographs of artists' works published in magazines, journals, and academic articles. This information was then analyzed in conjunction with the study of Chinese society, according to the following steps: 1) gathering data from secondary sources, such as books, multimedia, interviews, and art criticism related to Zhang Huan, along with a compilation of his biography, performance works within the scope of study, and various theories used for analysis; 2) categorizing the obtained data systematically; 3) conducting an in-depth analysis of the artist’s works through the frameworks of “Abjection” and “The Otherness” to understand the development, concepts, forms of work, and communication processes; and 4) synthesizing research findings and providing recommendations. The study utilizes purposive selection to examine twelve of Zhang Huan’s most prominent works over two decades.

The findings indicate that during the period of 1993 – 1998, Zhang Huan’s performance art frequently exhibited violence and challenged the physical limits of the body, the regulatory boundaries of Chinese society, and the traditions of Chinese art rooted in realism and conventional forms. Zhang Huan reflected an attempt to detach himself from “Chineseness,” society, and ancestral cultural beliefs through criticisms expressed in performance art. These expressions utilized semiotic signs linked to Julia Kristeva’s concept of Abjection, such as the naked body, filth, viscous fluids, blood, and white cloth. Subsequently, during 1998 – 2005, the artist’s work transitioned toward an exploration of personal identity and the expression of “The Otherness” within a global arena. Following his relocation to the West, Zhang Huan utilized his own body to explore and reflect his identity (Chineseness) through the Western gaze. Zhang Huan’s performance art served as a semiotic language during this phase, evolving toward the use of cultural symbolic media in its interpretation, such as Ming Dynasty beds, ice mattresses, meat suits, Chinese calligraphy, large cages, and site-responsive locations. This research demonstrates that Zhang Huan’s performance art serves as a crucial tool for exploring and critiquing Chinese identity under the influence of social and political changes both domestically and internationally. Based on the findings, the researcher offers the following recommendations for future research: 1) Zhang Huan has produced numerous other interesting works worthy of further study, particularly his later sculptures and paintings, which have yet to be subjected to in-depth research and analysis; 2) further research should be conducted on performance art within China to gain insight into the concepts and creative processes of other artists in the field.

Using 5K and PPP+P of Chaiyaphruek Model for Furniture Design Course

Tue, 07 Jul 2026 00:00:00 +0700

Rajabhat Rambhai Barni University has implemented a learner-centered instructional development policy aimed at improving the competencies of students and graduates in alignment with the institution’s identity as a knowledge center in the Eastern region and with national higher education standards. In response to university educational strategies promoting quality enhancement and practical learning outcomes, the Chaiyaphruek Model was developed as a best practice derived from authentic teaching contexts. The model categorizes courses into lecture-based and practice-based instruction. Lecture courses employ four instructional approaches: Kaeh Khon Khid Khai Khrob (5K), the Infinity Knowledge Model (IK), the 5B Model, and the Sui Model, while practice-based courses apply four additional approaches, including the PPP+P two-way communication model, KDA, PC, and Share Identity, totaling eight learner-centered instructional innovations. The need for this research arose from an evaluation of student competencies in the Furniture Design course, which revealed that some students struggled to connect theoretical concepts with practical design execution, including challenges in ergonomics, drafting standards, production documentation, cost estimation, and the systematic presentation of design concepts. These issues indicated a disconnect between acquired knowledge and its practical application. Therefore, a new instructional paradigm based on the 5K model combined with the PPP+P two-way communication approach was adopted. The study focused on a 3-credit Furniture Design course (2-2-5), where the researcher served as the course instructor. A preliminary experimental research design was employed, utilizing a foundational knowledge test, a pre-test, and a post-test to assess learning outcomes.

Results showed that before the intervention, students’ fundamental knowledge was moderate, with an average score of 3.42, indicating limitations in technical terminology, ergonomic application, and structured project presentation. After 16 weeks of instruction using the combined model, the average post-test score increased from 3.14 to 4.93, representing a gain of 1.79 points. When compared with traditional instructional approaches, the new model showed an improvement of 0.29 points. A dependent-sample t-test confirmed a statistically significant increase at the 0.05 level. The findings demonstrate that integration of the 5K paradigm and PPP+P communication model effectively enhanced theoretical understanding, practical design application, analytical reasoning, and systematic presentation skills. The Chaiyaphruek Model is therefore validated as a successful learner-centered instructional framework suitable for professional and design-based higher education contexts.

Innovative Design Guideline for Smart Healthcare Products in an Aging Society

Apinantn Sumthumpruek, Chaiwat Suwan-on, Pandin Ounchanum — Tue, 07 Jul 2026 00:00:00 +0700

Entering an aging society is a social dynamic that affects economic structures, quality of life, and public health systems particularly in everyday elderly healthcare, where risks of chronic diseases and accidents increase due to age-related physical decline. Although a wide range of health-monitoring products and smart products are now available, most designs primarily target working-age users or those familiar with technology. This creates a usability gap for older adults who may face limitations in perception, mobility, and digital literacy. This research focuses on identifying suitable attributes of smart health products for older adults and developing industrial design guidelines that integrate functionality, user experience, and aesthetics.

This research has two objectives: 1) to explore the required attributes of smart healthcare products that are appropriate for older adults, and 2) to identify design approaches for smart healthcare products that respond to older adults’ needs. A mixed-methods approach was employed, including in-depth interviews with five healthcare experts, an evaluation of four prototype design approaches by three industrial design experts, and a satisfaction survey with older adults.

The research methodology began with secondary data review and the collection of 24 case studies of smart healthcare products that had been published or received international awards, in order to classify usage formats and types of technology. Research instruments were then developed as in-depth interview protocols, and interviews were conducted with five experts in older adult healthcare to assess the suitability of different smart health product features. A suitability rating criterion was applied to rank these features. Next, the findings were used to develop four prototype concepts, focusing on a body temperature measuring device for older adults as an experimental platform to explore form, grip and handling, light/symbol-based feedback, and overall user experience. Subsequently, three product/industrial design experts evaluated the suitability of the four prototypes across multiple dimensions, including design concept, form/size, color and surface texture, strength/safety, materials, and functional features. In addition, quantitative data were collected from 15 older adults aged 60 and above, following a user-centered approach through direct observation of users’ needs and contexts and prototype testing. Satisfaction was measured using a 5-point Likert scale questionnaire, and the results were analyzed using descriptive statistics.

The research findings indicate that: 1) Based on the analysis of 24 smart healthcare product samples, the products can be classified into three main usage categories: wearable devices, portable devices, and home-based and service devices. Across these categories, commonly observed technologies include sensor systems, connectivity with smartphones or the Internet of Things (IoT), and alert mechanisms for safety or monitoring. 2) Interview results and suitability ratings from five healthcare experts reveal that the most appropriate attributes for older adults are body temperature measurement, blood pressure measurement, heart rate monitoring, activity tracking, blood oxygen measurement, and sleep detection, while fall detection was rated as moderately suitable. In contrast, blood glucose monitoring and gluten detection in food received low suitability ratings. 3) The researcher used these findings to develop four prototype concepts, employing a body temperature measuring device for older adults as a test case to explore form, grip/handling, light or symbol-based information display, and status communication. Evaluation by three industrial design experts across multiple dimensions—concept, form/size, color and surface texture, durability/safety, materials, and functional features—found that Prototype 3 achieved the highest overall suitability. The criterion “the design concept is interesting” was rated at the highest level (x̄ = 5.00, S.D. = 0), while criteria related to appropriate form/size are appropriate and easy to use, colors and texture are attractive, non-hazardous materials, safe durability, and functional usefulness were rated high (x̄ = 4.67, S.D. = 0.58); strength and safety were also rated high (x̄ = 4.33, S.D. = 0.58). 4) Prototype testing with 15 older adults showed that Prototype 4 received the highest satisfaction across nearly all aspects, particularly clear and engaging information display (x̄ = 4.93), technological modernity (x̄ = 4.80), and color/surface texture (x̄ = 4.73). These results suggest that prototypes with clear status communication, reduced learning burden, and appropriate aesthetics are more suitable for older adults’ use. Therefore, classifying smart health products by usage patterns and technologies, together with defining essential and suitable healthcare attributes for older adults, provides a design strategy that links ergonomic principles, light- or symbol-based information communication, material safety, and a balance between aesthetics and usability. The outcomes can be extended as a framework for developing and evaluating smart health products for older adults, contributing to industrial design scholarship and digital health innovation for effective monitoring, follow-up, and risk prevention in aging societies in a sustainable manner.

Factors Influencing the Use of Public Parks by the Elderly in Nakhon Ratchasima Municipality

Nithi Lisnund — Tue, 07 Jul 2026 00:00:00 +0700

Public parks play a vital role in urban communities, as they provide accessible spaces for recreation and relaxation within close proximity to residential neighborhoods and workplaces. Urban residents can choose to use public parks after completing their daily activities in order to escape the congestion and density of city life. Key characteristics of public parks include open green landscapes, natural surroundings, water features, large trees, lawns, and facilities that support a range of recreational and health-related activities. In contemporary urban contexts, public parks are increasingly designed to promote physical exercise and enhance public well-being, particularly among the Elderly, who represent a significant and growing proportion of the urban population and who tend to use parks for physical rehabilitation, leisure, and social interaction. This study aims to compare three public parks located within Nakhon Ratchasima Municipality: Bung Ta Lua Water Park, Phumrak Park 2, and Nong Kae Chang Park. The objectives are (1) to compare the potential of these three parks to accommodate and attract elderly users, and (2) to examine the factors influencing park utilization by the Elderly in the municipal area. The research methodology consists of field surveys of activity areas within each park, preparation of activity zoning and site-use plans, and the collection of 392 questionnaire responses from park users across the three sites. In addition, focus group discussions were conducted with elderly community members, along with interviews with landscape architecture experts. The data were analyzed using statistical methods to assess patterns of space utilization among the Elderly. The findings indicate that: Park Potential for Elderly Users Among the three parks, Bung Ta Lua Water Park demonstrates the highest overall potential in terms of attractiveness and support for elderly activities, followed by Phumrak Park 2 and Nong Kae Chang Park, respectively. This assessment is based on park selection patterns, spatial size, and the comprehensiveness of functional zoning and activity areas. Factors Influencing the Quality of Park Use by the Elderly Three key factors are significantly associated with elderly engagement in exercise and recreational activities: Environmental Factors: These influence both active and passive recreation. Active recreation includes jogging, walking, cycling, using outdoor fitness equipment, and participating in aerobic dance activities. Passive recreation involves enjoying a calm and comfortable atmosphere for sitting, relaxing, and observing surrounding activities. Effective environmental design requires accessible layouts, user safety, and sufficient natural surroundings that create a supportive and restorative setting. Behavioural Factors: Older adults use parks either individually (alone) or in groups (with family or friends). The diversity of spatial zoning and supporting facilities plays a crucial role in attracting both types of users. Individual users require quiet, private, and peaceful zones, whereas group users need spaces that facilitate collective activities and provide inclusive, publicly inviting environments. Social Factors: Social conditions that encourage park use include free access, minimal or no travel cost, availability of free drinking water, and organized recreational programs within the park. These factors foster social interaction and help prevent social isolation among the Elderly, extending their social engagement beyond the home environment. In conclusion, public parks designed for older adults must integrate environmental, behavioral, and social considerations in a holistic manner. The interrelationship among these factors should inform planning and improvement strategies for other urban parks to ensure effective performance, standardized quality, and responsiveness to the needs of elderly users. Ultimately, contemporary urban public parks should function as safe, accessible environments that support relaxation, appropriate physical activity, and enhanced well-being for the aging urban population.

The Development of Para-Rubber Based Art Materials for Creating Innovative Learning in Thai Art

Rattanachada Tiawchamroen, Sirikoy Chutataweesawas, Yeampon Nakaramontri — Tue, 07 Jul 2026 00:00:00 +0700

Thai art is a unique cultural identity that reflects wisdom and Thainess through exquisite artwork, particularly in Thai traditional painting patterns, which are divided into 4 categories: Kanok, Nari, Krabi, and Kacha. As this is a cultural heritage worthy of preservation and transmission to youth, current learning management focuses on developing innovations that promote creative learning. The researcher was interested in developing an innovation for adolescent youth to learn Thai art by integrating knowledge of Art and Science. This involved using Para rubber, a significant natural resource and key economic crop, with the potential to be developed into creative learning materials to create Thai art learning activity kits based on the 4 pattern categories. These kits were designed to be contemporary, easy to understand, practical for hands-on use, and the resulting works can be utilized in daily life. The objectives of this Research and Development (R&D) project were: 1) to study guidelines for developing Thai art learning innovations, 2) to develop 3 types of art materials from Para rubber, and 3) to study the effects and quality of these materials suitable for the target group. The operation consisted of 5 phases: Phase 1 studied data on educational innovation, Thai patterns, and rubber to design the innovation guidelines; Phase 2 designed the Thai patterns; Phase 3 developed the rubber art materials (Rubber paint, Para rubber foam, and Reclaimed rubber) and the activity kits; Phase 4 experimented with the kits to test efficiency and create prototypes; and Phase 5 evaluated the efficiency with the target group and experts. The materials were developed in a laboratory, and data were collected from a trial with 20 students aged 16–18, alongside an efficiency assessment by 3 art education experts. Research tools included a satisfaction assessment form, a focus group interview form, and an expert suitability assessment form.

The results indicated that the development of art materials allowed for the design of 4 art activities: 1) Painting Kanok patterns on hats, 2) Painting Nari category foam dolls, 3) Painting Krabi category glasses, and 4) Crystal sticking on Kacha patterns. The developed rubber art equipment included: 1) Para rubber paint (2 formulas), 2) Para rubber foam for forming 3D dolls and 2D sheets, and 3) Reclaimed rubber sheets from waste tires. This integration of Art and Science allowed for the control of material properties suitable for art usage. Findings on the material properties revealed that all 3 types were suitable for use in the activity kits. Type 1, Para rubber paint, consists of a thick formula (viscous, suitable for various surfaces like fabric, foam, acrylic, and for lining) and a liquid formula (translucent, reflective, suitable for smooth or transparent surfaces like glass and acrylic); both adhere well when dry. Type 2, Para rubber foam, has appropriate density and softness with a smooth surface suitable for painting. Type 3, Reclaimed rubber sheets, are strong, smooth, glossy, and durable, making them suitable as a base for crystal attachment. These results demonstrate that rubber art materials are appropriate for developing Thai art learning kits and serve as alternative materials that promote both creative learning and sustainable resource usage. The evaluation results showed that participant satisfaction was at a good level (x̄ = 4.45, S.D. = 0.697), and experts assessed the suitability of the activity kits at a very good level (x̄ = 4.57, S.D. = 0.288). Focus group results revealed that participants learned the 4 Thai pattern categories while developing creativity, concentration, and brush weight control skills. Participants felt that presenting Thai art through these activities made it more accessible and applicable to daily life. Regarding materials, participants opined that the rubber paint had clear colors and was convenient to use, while the foam dolls were interesting, with a suggestion to reduce the doll size for better handling. In conclusion, this research developed Thai art learning activities through a fun creative process and innovated learning materials from Para rubber. This serves as an alternative material for art creation, adds value to domestic resources, and reuses waste products for sustainable art creation and environmental conservation.

Beyond an Architectural Element: A Case Study of the ceiling Painting in the Renovation of the Faculty of Business Administration, Rajamangala University of Technology Isan, Nakhon Ratchasima

Duangnapa Sinlapasai — Tue, 07 Jul 2026 00:00:00 +0700

This study, conducted by an architect involved in the renovation project, examines 'The Ceiling Painting' initiative—a public art installation integrated into the renovation of the Faculty of Business Administration (BA) Building at Rajamangala University of Technology Isan (RMUTI). This project addresses the purely utilitarian function often ascribed to the built environment, aligning with Norberg-Schulz’s assertion that human-made spaces possess inherent structure and embody profound meanings. The research investigates how public art can significantly impact human experience by fostering identity, culture, and inspiration within an educational context.

Findings indicate that 'The Ceiling Painting' -----an intervention historically reserved for religious structures----- has evolved into an innovative architectural feature that defines the identity and ambiance of the BA Building. Beyond its aesthetic value, this installation actively fosters problem-solving, stimulates collaborative student projects, and drives interdisciplinary engagement. Furthermore, the project’s collaborative implementation has substantially contributed to knowledge management within the university by enhancing decision-making, increasing innovation and efficiency, reducing knowledge loss, and fostering a community of practice.

The study concludes that integrating painting with architectural elements offers a dynamic and enriching design approach that profoundly enhances teaching, practical learning experiences, and community engagement. While providing a robust qualitative analysis, the study highlights the need for further empirical investigation to quantitatively evaluate its specific impact on user learning, behavior, and productivity.

Myth, Origin, and Modernity: Joseph Rykwert’s On Adam’s House in Paradise and the Legacy of the Primitive Hut

Tanakarn Mokkhasmita, Tonkao Panin — Tue, 07 Jul 2026 00:00:00 +0700

This research investigates the role of myth, origin, and the idea of the Primitive Hut through Joseph Rykwert’s On Adam’s House in Paradise: The Idea of the Primitive Hut in Architectural History (1972), a foundational work in the critique of modern architectural theory. Rather than treating architectural origins as an archaeological or empirical problem, Rykwert reframes the “first human dwelling” as a conceptual and symbolic construct that has repeatedly been mobilized to define architecture’s meaning in different historical contexts. Building on this historiographical insight, the present study advances a critical argument: that the Primitive Hut functions not merely as a recurring motif but as a strategic rhetorical instrument through which architects and theorists articulate new cultural, political, and technological beginnings during moments of historical transition.

Within architectural discourse, the question of origin has long played a decisive role in establishing architecture’s legitimacy, authority, and social value. Asking what the first dwelling might have looked like is less an inquiry into factual beginnings than an act of intellectual myth-making. Such myths of origin reveal how societies understand the relationship between nature and culture, necessity and artifice, tradition and innovation. This research situates Rykwert’s contribution within this broader theoretical terrain, arguing that his work demonstrates how origin myths persist precisely because they provide architecture with a narrative framework through which it can repeatedly redefine itself. At the same time, the study distinguishes its own analytical position from Rykwert’s by emphasizing the instrumental and rhetorical deployment of origin myths as tools for legitimizing architectural change.

The core of the investigation focuses on four influential interpretations of the Primitive Hut across Western architectural history: Vitruvius in ancient Rome, Marc-Antoine Laugier in the eighteenth century, Gottfried Semper in the nineteenth century, and Le Corbusier in the twentieth century. These figures are not treated as forming a continuous lineage of direct influence; rather, they are examined as historically situated thinkers who independently return to the question of origins in order to confront the intellectual crises of their own time. Each interpretation is analyzed in relation to its specific social, cultural, and political context, revealing how the myth of the “first house” is reshaped to support new architectural values. The research adopts a historical-analytical methodology that combines close textual analysis of primary theoretical writings with contextual interpretation of the socio-cultural conditions in which those texts were produced. Rykwert’s historiographical framework serves as the primary interpretive lens, providing a coherent structure for understanding the persistence of origin myths. The writings of Vitruvius, Laugier, Semper, and Le Corbusier are examined comparatively, not to reconstruct a factual origin of architecture, but to trace how each thinker mobilizes the idea of origin to articulate a normative vision of architecture. Secondary scholarship is used selectively to situate these arguments within broader debates, while maintaining a clear distinction between Rykwert’s interpretations, the views of later scholars, and the author’s own analytical claims. This methodological clarity is intended to avoid conceptual overlap and to strengthen the critical coherence of the study.

The findings of the research demonstrate that debates surrounding the Primitive Hut are consistently forward-looking rather than retrospective. In Vitruvius’s account, the origin of the house is intertwined with the emergence of language, social cooperation, and political order, reflecting the needs of Augustan Rome to legitimize a new imperial unity. Laugier transforms the Primitive Hut into a moral and aesthetic ideal grounded in Enlightenment notions of nature, reason, and simplicity, using the myth to critique the excesses of Baroque and Rococo architecture and to establish a new standard of architectural purity. Semper, responding to the industrial and technological upheavals of the nineteenth century, reinterprets the hut as a narrative of cultural production rooted in human techniques—particularly textile enclosure—thereby shifting the origin of architecture from natural imitation to cultural practice. Le Corbusier, confronting the demands of mechanized modernity and mass society, constructs a new origin myth oriented toward the future: the house as a “machine for living,” grounded in geometry, proportion, and industrial rationality rather than in nature or craft. Across these cases, the study finds that the Primitive Hut operates as a flexible conceptual device rather than a fixed historical reference. Its meaning changes as architecture negotiates its relationship to society, technology, and culture. While Rykwert’s work powerfully reveals the persistence of this myth across time, the present research extends his argument by showing that each reinterpretation of the Primitive Hut functions rhetorically to legitimize a new architectural paradigm. The origin myth becomes a site of contestation where tradition and modernity confront one another, allowing architects to claim authority by appealing to a foundational moment—even when that moment is entirely reimagined.

The conclusion drawn from this comparative analysis is that the Primitive Hut should be understood as an intellectual mechanism through which architecture repeatedly constructs its own beginnings. Far from being a naïve or nostalgic image of a lost past, the myth of origin serves as a means of negotiating change, crisis, and renewal. By framing new architectural values as returns to an essential beginning, theorists are able to present innovation as necessity and transformation as continuity. In this sense, the Primitive Hut reveals architecture not simply as the art of building, but as a cultural practice deeply involved in the production of social meaning.

Ultimately, this study argues that recognizing the rhetorical function of origin myths has important implications for contemporary architectural theory and practice. As architecture today confronts global challenges—environmental crises, technological transformations, and shifting social conditions—the search for new beginnings continues. The enduring legacy of the Primitive Hut suggests that architecture will once again turn to narratives of origin, not to recover a factual past, but to imagine and legitimize new futures. By clarifying how such myths have operated historically, this research contributes to a deeper understanding of architecture’s capacity to construct meaning across time and underscores the continued relevance of Rykwert’s insights for contemporary theoretical reflection.

Evaluation for the Development of Instruction in the Interdisciplinary Building Technology and Architectural Design Course Based on Architectural Professional Principles and Project-Based Learning

Kraithong Chotivutpattana, Wanutsuda Chaimontri, Pratsanee Meksrisawat — Tue, 07 Jul 2026 00:00:00 +0700

This research originates from the significance of educational development initiated in 2011 when the Department of Architecture and Planning set a primary goal to enhance academic content for courses in architectural design, building technology, and professional support subjects to better align with actual professional practice. This development followed a curriculum revision that shifted the former Building Type–Based Learning approach toward an interdisciplinary course entitled Interdisciplinary Studies in Building Technology and Architectural Design, adopting a thematic interdisciplinary learning model that emphasizes application-oriented integration through Professional Practice–Based Learning to reflect real architectural practice. Additionally, the curriculum incorporated Project-Based Learning as a key instructional method. These pedagogical transitions led to the need for evaluation in order to identify approaches for further improving instructional practices. This research had two main objectives: (1) to evaluate instruction and study the needs and satisfaction of students, and (2) to explore methods for improving and developing teaching in the course Interdisciplinary Building Technology and Architectural Design, based on professional architectural principles and project-based learning. As for Research Methodology, the research employed a quantitative survey design, utilizing five key professional architectural components: content integration, instructional techniques, physical learning environment, instructor personality, and assessment and evaluation. The sample group consisted of 197 students and graduates from the Bachelor of Architecture Program, Faculty of Architecture, King Mongkut’s Institute of Technology Ladkrabang, who took the course during academic years 2015–2018. A questionnaire was used as the research instrument. Statistical methods included frequency, mode, percentage, mean, standard deviation, and content analysis. A developmental evaluation was conducted using a Feedback Loop approach, which involved discussing the development process as a continuous outcome of cyclical evaluation. The process consisted of four stages: (1) collecting feedback data, (2) analysing feedback, (3) responding to the feedback, and (4) monitoring outcomes and returning to collect feedback in subsequent cycles. Data collection was carried out over five academic years (2015–2019), encompassing five evaluation cycles. During this period, project-based learning activities with varying levels of difficulty and complexity were implemented. Different architectural programs were simulated, including large-scale office buildings, large-scale hotels, and large-scale hospitals, with increasing design complexity over the five-year cycle. The results from each cycle were used as feedback inputs for continuous improvement. The results showed that the teaching of the course, based on architectural professionalism and project-based learning, met learners’ needs at a good level (x̄ = 4.18, S.D.= 0.72) Content integration was rated very good (x̄ = 4.24, SD = 0.67); instructional techniques were rated good (x̄ = 4.10, SD = 0.78); the physical learning environment was rated fair (x̄ = 3.42, SD = 1.02); instructor personality was rated very good (x̄ = 4.65, SD = 0.54); and assessment and evaluation were also rated very good (x̄ = 4.49, SD = 0.62). The research also identified the top three areas of improvement desired by students: (1) enhancement of internet connectivity and performance, (2) improvement of collaborative workspaces for meetings and physical model testing, and (3) improvement of classroom facilities to be more convenient, clean, and spacious. These findings align with the principles of professional architectural education and project-based learning, The research results reveal that the most urgent factors requiring development are related to the physical learning environment. In order of priority, the improvement of internet infrastructure to support learning is identified as the highest priority, followed by the development of appropriate spaces for group work and meetings, and the provision of suitable lecture classrooms. These three factors recorded mean satisfaction scores of x̄ = 2.89, 3.54 and 3.81 respectively, with corresponding development percentages of 57.83%, 70.88%, and 76.28%. In terms of teaching and learning factors, the findings indicate a need to improve curriculum integration by reducing both the workload and the level of difficulty and complexity of assignments. With respect to instructional techniques, the results suggest the importance of clearly defining teaching methods that reduce the volume of tasks requiring extensive demonstration of production skills. Notably, the analysis of both closed-ended and open-ended questionnaire data from the 2019 academic year shows consistent results, yielding mean scores of x̄ = 3.77and 3.78 respectively, with development percentages of 75.37% and 75.54%.

The findings of this study indicate that the enhancement of the physical learning environment, the improvement of internet systems, and the provision of efficient group workspaces are critical factors that require increased investment to effectively support learning. In addition, project-based learning instruction should be refined by adjusting the level of difficulty and complexity to an appropriate standard, thereby reducing the range of required operational skills to fit within a reasonable timeframe. These improvements would enable more effective learning in accordance with professional architectural practice and project-based learning principles.

Illustrative Design for Communicating Likay Pa Performance of Thaworn Sunthorn Sin Troupe, Sikao District, Trang Province

Tuangrak Rattanapan, Sutee Sophalang, Chatchawal Rattanapan — Tue, 07 Jul 2026 00:00:00 +0700

Likay Pa, also known as Southern Likay, is a traditional performance art influenced by Central Likay but adapted to the cultural context and way of life of Southern Thailand, with partial roots in Persian devotional chanting. Although its presence today is limited to provinces such as Nakhon Si Thammarat, Krabi, and Trang, its evolution reflects the community’s ability to integrate external cultural influences with local knowledge, creating a valuable art form worthy of preservation. The Thaworn Sunthorn Sin troupe in Sikao District, Trang Province—the only remaining Likay Pa troupe in the area—plays a crucial role in transmitting performance knowledge and skills to youth in community schools. In the digital era, illustration design has become an important medium for cultural communication and can be extended into diverse educational resources. This research highlights the identity and aesthetic of the Thaworn Sunthorn Sin troupe through illustrations inspired by the Khaek Daeng chant, developed as learning materials for community and extended opportunity schools. A review of related literature revealed no prior studies focusing on illustration design as a creative approach to communicating Likay Pa. Thus, character-based illustrations serve as a key tool to simplify learning, engage youth in the digital age, and provide accessible educational resources within community schools—the primary target group for sustaining Likay Pa as a living heritage. This research aims 1) to study the components and the preservation model of Likay Pa performance elements by the Thaworn Sunthorn Sin troupe and 2) to design illustrative media representing the Likay Pa performance of the Thaworn Sunthorn Sin troupe in Sikao District Trang Province. A mixed-method research approach was employed, utilizing data recording forms, interviews, and evaluation forms as research instruments. The study was conducted in three phases 1) a document and literature review to identify key components of Likay Pa performance, 2) in-depth interviews with key informants to validate these components, and 3) the design of educational media through illustrative representations of Likay Pa. Findings revealed five core components from the literature 1) performance venue, 2) performing troupe, 3) musical instruments, 4) vocal performance, and 5) costumes. However, key informants confirmed only three components relevant to the Thaworn Sunthorn Sin troupe 1) performing troupe, 2) musical instruments, and 3) costumes reflecting adaptations influenced by changing social, economic, and technological contexts. The final illustrative design, titled Likay Pa the Andaman Wonder, consists of 14 pages 21 x 29.7 cm and features four character prototypes Khaek Daeng dressed in traditional Indian-Muslim attire, wearing a brimless cap, with a thick beard, long robe, and sarong. Yah Yee a Southern Muslim woman in a Yah Yah outfit, wearing a batik sarong and hijab. Chao Mueang wearing a Raj-pattern collar shirt, jongkraben, and a diagonal sash, with a calm demeanor. Se na dressed in a local patterned sarong, with a shoulder draped pha khao ma, and white clown style makeup. The evaluation of the illustrations by three experts yielded an average score of 4.32, rated at a “good” level. Qualitative feedback highlighted that the content adapted from the Khaek Daeng chant was well-sequenced, clear, and easy to understand, though certain lengthy expressions should be refined for greater conciseness. The content was comprehensive, relevant, and aligned with the illustrations, enabling complete comprehension. The design was considered modern and appropriate for the target audience, while effectively reflecting the local identity of Trang Province, particularly through costume details. The chosen color tones were clear and conveyed the geographical context of the study. The use of rounded-head fonts was deemed suitable for readability and consistent with the medium, with suggestions to add shadow effects for enhanced clarity. The semi-formal language was accessible and well-integrated with the illustrations, and the inclusion of local dialect terms with explanatory notes was recommended to enrich cultural value.

Ghost spirit that appearing in Thai Media in the 21st Century towards a Creative Economy: Case studies of Thai Films and Games

Khae Mungkornwong — Tue, 07 Jul 2026 00:00:00 +0700

In the context of the contemporary creative economy, Thai spirits, folk beliefs, and supernatural traditions have increasingly become recognized as invaluable forms of cultural heritage that possess significant potential for creative adaptation within the entertainment industry. Films and online games, in particular, serve as crucial platforms for transmitting and reinterpreting cultural narratives to both domestic and international audiences. As these media continue to evolve technologically and aesthetically, the processes through which spirits are learned, perceived, and reimagined have grown increasingly important in shaping the cultural and economic value of modern Thai creative productions. The objectives of this study are: (1) to examine and understand the persistence of Thai spiritual and ghost entities through the forms, content, and meanings expressed in 21st-century contemporary media; and (2) to investigate the methods of creatively developing the forms and content of these spiritual entities to achieve international acceptance through films and games, using a case study within the context of the creative economy, specifically, through selected Thai films and video games. The analysis focuses on four works produced between 2012 and 2022: Pee Mak Phra Khanong (2013), The Medium (2021), Araya (2016), and Home Sweet Home 2 (2021).

The research employs a qualitative methodological framework that combines systematic analysis of the form, content, meaning and in-depth interviews with three experts from the Thai film and gaming sectors. This methodological triangulation enables a more comprehensive understanding of both the continuities and transformations that characterize the representation of Thai spirit beliefs in contemporary media. The findings suggest that the portrayal of spirits in Thai films can be understood through two key dimensions: formal characteristics and thematic significance.

In terms of form, spirit characters in the selected films are predominantly female, a pattern that underscores not only cultural familiarity but also the strong visual and emotional impact associated with feminine ghost archetypes in Thai cultural memory. These characters are rendered with notable realism in bodily appearance, movement, and emotional expression, contributing to a heightened sense of believability and immersion. Cinematographic elements—including mise-en-scène, lighting design, color palette, and soundscape—are deliberately orchestrated to create atmospheres of mystery, tension, and supernatural dread. Narrative structures in these films frequently integrate multiple genres such as horror, drama, romance, comedy, and social critique, resulting in hybrid forms that grant spirit characters a more expansive narrative function. Instead of serving solely as frightening supernatural entities, spirit characters emerge as symbolic agents that articulate social issues such as grief, family conflict, communal trauma, and the vulnerabilities experienced by individuals within inequitable social structures.

In Thai online games, the representation of spirits diverges in certain ways while retaining notable similarities with cinematic portrayals. As in film, game ghosts are typically female and visually striking, combining beauty with elements of fear and grotesqueness. However, games emphasize atmospheric realism through detailed environmental design and lighting effects, while sound design tends to be intentionally exaggerated or hyper-real to amplify emotional intensity and enhance player engagement. The thematic content of these games often centers on vengeance, karmic retribution, and relentless pursuit, which together produce a sustained sense of tension throughout the interactive experience. In this context, spirits function not merely as narrative fixtures but as active, dynamic forces that shape gameplay, influencing the player’s psychological state and fostering a more intimate and participatory encounter with the supernatural than is possible in non-interactive media.

A comparative analysis of the film and game cases reveals several shared characteristics that contribute significantly to the global communicability and creative adaptability of Thai spirit traditions. First, both media rely on recognizable ghost archetypes—such as the dancing ghost (phi nang ram), the pregnant ghost (phi tai thang klom), student ghosts, and possession spirits—that carry clear cultural associations while remaining accessible to international audiences. Second, both forms emphasize distinctive aesthetic design, ensuring that ghosts are memorable, visually unique, and symbolically rich. Third, the settings in which these spirits appear—temples, schools, dormitories, rural landscapes—serve as culturally specific environments that effectively communicate Thai identity and localized ways of life. Fourth, both films and games strategically incorporate contemporary storytelling and visual techniques, including influences from Western cinema and global horror conventions, while maintaining links to traditional belief systems. This hybrid strategy supports cross-cultural accessibility without diminishing cultural authenticity.

Overall, the findings demonstrate that the representation of Thai spirits in contemporary media operates on multiple levels: as an entertainment device, as a cultural narrative, and as an economic asset. These representations highlight how traditional beliefs can be reinterpreted in modern contexts while preserving their symbolic significance. By transforming ancestral ghost narratives into creative content that aligns with contemporary media aesthetics and international expectations, Thai films and games reveal the adaptability and enduring relevance of local spiritual traditions. Understanding the roles, forms, and meanings of spirits in modern media is therefore essential, as such representations function as subtle yet powerful channels for conveying Thai beliefs, ways of life, and cultural identity. Moreover, they constitute forms of cultural capital with immense potential to propel the growth and competitiveness of Thai media within the global creative economy.

When Place Tells a Story: The Analysis of the Tha Taphao Riverside Community District through the Cultural Landscape

Vitchakorn Phonkumnerdsub — Tue, 07 Jul 2026 00:00:00 +0700

This research aims to examine the physical characteristics, architectural values, and cultural meanings of the Tha Taphao Riverside Community District in Chumphon Province through the analytical framework of cultural landscape, which conceptualizes the historic urban area as a system of relationships between built structures, people, activities, and the community’s shared memories. The study investigates how this area reflects its historical layers and socio-cultural transformations amid the pressures of contemporary urban development driven by economic expansion and infrastructural change. A qualitative research methodology was employed, incorporating field surveys, participant observation, and in-depth interviews with local residents to understand how the area is perceived from the standpoint of those who inhabit it. The analytical process consisted of site analysis, the creation of mental and perceptual maps, stratified spatial analysis, and cultural landscape interpretation, aiming to synthesize the dynamic interrelations between the physical and symbolic dimensions of the place in a holistic manner. The findings reveal that the Tha Taphao Riverside Community District possesses a distinctive identity derived from its assemblage of built forms spanning multiple historical periods, including Traditional wooden shophouses, Art Deco buildings, Modernist structures, and Contemporary architecture. These elements collectively narrate the transformations of Chumphon over different eras. In parallel, public spaces and religious sites such as the Nia Keng Shrine, Wat Subannanimitr, riverfront piers, local shops, and activity plazas continue to serve as social hubs. These structures and spaces function as cultural mediators, supporting economic, religious, and everyday activities that render the district a living cultural landscape, where continuous place-use practices contribute to the accumulation of shared memories and local identity. In terms of spatial structure, the district’s circulation network includes city-level primary roads namely Poraminmanka Road and Phuwanard Damnoen Road along with neighborhood-level routes connecting internal community spaces, such as Ratwithi Klang Road, Ratwithi Nai Road, and smaller alleys. The riverfront walkways on both sides link the Ratwithi Community with the Wat Subannanimitr Community, creating diverse access routes and facilitating sustained use of the area at various times of day. Mixed-use building functions combining commerce, residential uses, and creative activities generate a rotating daytime and nighttime population, which significantly contributes to the vibrancy of the district. Furthermore, perceptual maps derived from resident interviews show that the places valued by the community are not limited to formally developed sites but include spaces rich in cultural memory such as the Phra Mae Thorani Shrine, formerly a key river pier for goods transportation; informal riverfront gathering nodes; local eateries; Wat Subannanimitr; and the community’s multipurpose plaza. These perceived spaces illustrate a landscape of memory that interweaves the lived experiences of different generations and continues to shape residents deep emotional attachment to the district.

However, the stratified spatial analysis reveals overlapping relationships among economic spaces, religious spaces, traditional residential areas, and the internal circulation network of the community. These spatial layers operate dynamically, and their overlaps reflect the characteristics of a “multi-vocal landscape”, produced by the presence of diverse user groups including long-term residents, business owners, the elderly, youth, tourists, and passersby each of whom perceives and interprets the area in different ways. The analysis also identifies challenges related to changing land use, particularly the conversion of residential spaces into commercial ones. Such transformations may generate feelings of dispossession among certain local groups and lead to forms of cultural power negotiation. Through cultural landscape interpretation, it becomes evident that built structures and everyday activities function as carriers of historical narratives and cultural values. For example, the two-story wooden riverside buildings reflect the district’s former water-based economy; Sino-Thai architecture illustrates the roots of the local Chinese-descendant community; and the adaptation of old buildings for creative businesses signifies the district’s response to emerging economic currents. Based on the overall analysis, this article argues that the Tha Taphao Riverside Community District possesses significant cultural value in terms of architecture, landscape, and collective memory. These values should form the foundation for planning its conservation and development as a historic urban district. Appropriate development strategies include integrating cultural landscape principles into urban planning, designing public spaces through participatory processes, promoting creative economic activities that align with the existing context, and establishing a citywide cultural landscape network. Such approaches would support sustainable development while preserving the district’s identity in the long term.

Designing Loincloth Weaving Patterns Inspired by the Identity Natural Color Palette of “Thung Kula Rong Hai”

Kamolwan Patcharapornpipat Sarasuk — Tue, 07 Jul 2026 00:00:00 +0700

The Roi Rak Community Weaving Enterprise, located in Hong Hae Village, Pathum Rat District, Roi Et Province, is situated on the highland plains of the Thung Kula Ronghai region, an area characterized by a distinctive ecosystem and diverse local flora. The community possesses abundant natural materials, both cultivated and naturally occurring, which underpin long-established indigenous knowledge of natural dyeing. This knowledge has been preserved and transmitted through the production of handwoven textiles adapted to contemporary livelihoods. However, the community faces challenges in developing woven patterns and color combinations that respond to the aesthetic preferences of younger consumers seeking uniqueness alongside local identity. This research proposes the application of place-based identity derived from the Thung Kula Ronghai region through the systematic design of identity-based color palettes and woven patterns. The approach aims to enhance the value and contemporaneity of local handwoven textiles, support community handicraft development, and improve their potential to meet the demands of urban consumer markets while sustaining local wisdom and cultural identity.

This study aims to 1) to analyze traditional Loincloth patterns in Thailand as a conceptual foundation for design development, 2) to design Loincloth weaving patterns derived from the identity-based natural color palette of the Thung Kula Rong Hai region, as practiced by the Ban Roi Rak weaving group in Pathum Rat District, Roi Et Province, and 3) to evaluate the proposed weaving patterns developed from this identity-based natural color system. A mixed-methods research approach was employed. Data were collected from three experts and specialists selected through purposive sampling. The research instrument consisted of an evaluation form assessing the appropriateness of the woven patterns, and the data were analyzed using frequency, mean, and standard deviation.

The research methodology consisted of five stages: 1) Fieldwork to collect community identity data through visual documentation and exploring community identity, 2) Experimental natural dyeing to analyze dye materials and develop identity-based color palettes, which were subsequently applied to the design of Loincloth weaving patterns, 3) Production and expert evaluation of the woven pattern prototypes, 4) Analysis of the evaluation data using basic descriptive statistics, and 5) Final development of Loincloth weaving patterns based on the “Thung Kula Rong Hai” identity color palettes.

The research findings, organized according to the objectives, reveal the following outcomes: 1) The characteristics of Loincloth patterns in Thailand can be classified into eight major forms. These include: Stripe and Sai Pla Lai pattern, Checkerboard Pattern, Small Check Pattern, Sarong or Ta Lo Check Pattern, Double Check or Overlapping Check Pattern, Clustered Check Pattern, Scottish Plaid Pattern, and Special Patterns. 2) The identity-based natural color palette of the Thung Kula Rong Hai region, as employed by the Ban Roi Rak weaving group in Pathum Rat District, Roi Et Province, comprises primary and secondary color groups. The primary identity colors include white, derived from undyed cotton symbolizing rice grains, and yellow, dyed from Terminalia chebula, representing rice panicles. The secondary identity colors consist of brown, dyed from Pterocarpus wood and symbolizing the soil surrounding the paddy fields; green, produced through a combination of Terminalia chebula and indigo, representing trees around the fields; and blue, dyed from indigo, symbolizing the sky. This identity-based color system can be effectively applied to the design of checkerboard pattern, small check pattern and special weaving pattern, building upon the community’s existing technical expertise and traditional craftsmanship. 3) The evaluation revealed that Pattern No. 4, Glorious Thung Kula, received the highest suitability score and was subsequently produced for practical use. The suitability level was rated at a high category (X̅ = 4.40, S.D. = 0.40). It was rated highly across all five criteria: representation of community identity, aesthetic quality, suitability of scale for fashion and lifestyle product development, potential for value addition to community products, and alignment with target market demand and commercial scalability.

This research demonstrates that designing Loincloth patterns based on identity-driven natural color palettes can significantly enhance the value of handwoven textiles, foster community pride in local wisdom, and support the development of commercially viable products that respond to the preferences of contemporary consumers. The synthesized contributions of the study can be articulated across four key dimensions. 1) Economic dimension - The development of new patterns and color groupings grounded in community identity adds tangible value to handwoven textiles and aligns them with contemporary market aesthetics. This has led to commercial weaving orders for the production of modern fashion and lifestyle products, increasing community income, and generating concrete value addition to traditional Loincloth textiles. 2) Environmental dimension - The use of natural dyeing materials reduces reliance on chemical substances and promotes sustainable resource utilization, aligning with the growing environmental awareness and sustainability-oriented consumption behaviours of younger generations. 3) Cultural and knowledge dimension - The resulting patterns and natural colors embody local roots, beliefs, and ways of life, contributing to the preservation of indigenous knowledge in natural dyeing and weaving. This process strengthens cultural continuity while fostering community pride and social cohesion. 4) Academic Value Dimension -This study establishes a systematic framework for developing identity-based natural color palettes grounded in place-based cultural data and local wisdom. The proposed design process advances traditional weaving toward contemporary creative design and can serve as a transferable model for other communities seeking to develop their own identity-driven color systems.

Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat

Thanapon Junkasain — Tue, 07 Jul 2026 00:00:00 +0700

The research article “Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat” is part of the study entitled “Digital painting for Virtual Tour to Buddhist story in the murals of Wat Prasat, Nonthaburi Province.” The objective of this research is to study and analyze information that related to murals in Ubosot of Wat Prasat, Nonthaburi Province and to utilize this information to create “Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat”. This research employs a mixed-methodology approach, involving the study and analysis of data concerning mural paintings in Thailand, the mural paintings within the Ubosot Wat Prasat, relevant artistic concepts and theories, Semiotics, narrative studies, Digital art theories, theories related to the conservation of ancient artworks, and theories on the creation of hypothetical images by ancient Thai art. These foundations support a comprehensive understanding that is essential for creating hypothesized digital paintings that most accurately reflect the original, deteriorated murals. The resulting artworks were then evaluated by a sample group of viewers to assess their effectiveness.

The research findings indicate that the mural of Ubosot Wat Prasat were created around the late middle Ayutthaya period. There are claims that they were commissioned by “King Prasat Thong” during the time before he ascended the throne. The murals were created by artisans of the Nonthaburi school and are considered the oldest surviving mural in Nonthaburi Province. At present, they have significantly deteriorated. The technique used is tempera color mixed with krathin glue. This mural depict narratives related to Buddhist teachings. The mural compositions can be categorized into three major groups: 1) The Past Buddha located on the upper sections of the walls; 2) Thepphanom positioned between the stories of The Ten Great Jatakas murals; and 3) The Ten Great Jatakas murals that painted along the lower wall sections on both the left and right sides of the Ubosot. The spatial arrangement of these mural scenes closely resembles those found in late Ayutthaya and early Rattanakosin temples of the same period, such as Wat Chong Nonsi (Bangkok), Wat Chomphuwek (Nonthaburi), Wat Suwannaram Ratchaworawihan (Bangkok), Wat Bang Yi Khan (Bangkok), and Wat Mai Thepnimit (Bangkok), among others. However, positioning of the murals varies among the temples compared. The arrangement of The Ten Great Jatakas murals at Wat Chong Nonsi appears most similar to that of Wat Prasat, with the primary difference being the order in which the narratives are arranged.

In the Ubosot Wat Prasat, The Ten Great Jatakas stories are depicted across ten panels, of which four have completely faded. The remaining visible panels include: Sama Jataka, Nimi Jataka, Mahosadha Jataka, Bhuridatta Jataka, Vidhura-Pandita Jataka, and Vessantara Jataka. Approximately 20% of the lower portion of every mural have entirely deteriorated. In terms of pictorial characteristics, the depiction of royal attire and the detailed outlining are stylistically similar to mural paintings from the late Ayutthaya period. Most protagonists are adorned in royal regalia, wearing the chada yod chai (victory-topped crown). Some figures wear upper garments while others are bare-chested. Those with upper garments are shown wearing short-sleeved shirts decorated with waist sashes or cloth bands, with the hem of the shirt hanging loose— a stylistic feature rarely seen in other Thai mural paintings from the same period. The sanab phlao (lower garments) are rendered without textile patterns; instead, only contour lines are used to indicate the folds of the fabric. Adornment includes armlets, bracelets, and anklets. For figures without upper garments, additional accessories such as necklaces, chest ornaments, and shoulder bands are depicted. Female figures of high social status are similarly dressed in royal attire, wearing ornate jewelry and a rat klao yot headdress, along with a draped sabais. The depiction of attendants shows various styles: noblemen are shown wearing shirts, some with waist bands and loose hems, and distinctive hats resembling decorated leather caps— a type not found in other mural traditions. Additionally, many figures are depicted with cloth sashes tied around the waist.

Regarding the creative outcomes, the researcher purposively selected four mural samples from the The Ten Great Jatakas: Sama Jataka, Nimi Jataka, Mahosadha Jataka, Bhuridatta Jataka, Vidhura-Pandita Jataka, and Vessantara Jataka to serve as the basis for the creation of the digital paintings in this study. The evaluation results reveal that most participants who viewed the artworks were unfamiliar with, and had never visited, Wat Prasat. Their overall opinion toward the series “Digital Painting Hypothetically Reconstructed from the Murals of the Ubosot Wat Prasat” indicates the highest level of satisfaction. Among the artworks, the Vessantara Jataka digital painting received the highest satisfaction score. In terms of perceived benefits, all aspects received high scores. Most participants agreed that the artworks enhanced their understanding of Buddhist teachings. The next highest-rated benefits were: the contribution of the artworks to the preservation of Thai art and culture, their role in increasing public interest in Wat Prasat, their social and community value, and the potential for further development and application in other forms. These findings demonstrate that the digital media created in this study can serve as an effective approach for the preservation and promotion of knowledge and understanding of Thai mural paintings, as well as a means to doctrine Buddhist narratives.

Direction-awareness in Landscape Architecture Curriculum Design: A Competency-based Analysis of Emerging Needs and Global Trends

kiatkamon nilaponkun, Worameth Sriwanalak — Tue, 07 Jul 2026 00:00:00 +0700

At the present time, the landscape architecture profession plays a critically important role in mediating and balancing the relationship between the built environment and the natural world. However, the global context of the 21^st century has undergone rapid and profound transformations across economic, social, and technological dimensions. Most critically, the escalation of environmental crises has necessitated a paradigm shift in the role of landscape architects. The profession must transition from an explicit focus on creating landscape aesthetics to tackling "real-world problems," such as climate change adaptation, disaster risk reduction, urban water management, and the mitigation of biodiversity loss. This pressing reality mandates that landscape architecture curricula must adapt to these changing dynamics to cultivate graduate competencies that align with future global demands. This review article employs critical review and competency-based analysis methodology to examine the influence of external factors on the landscape architecture profession and curriculum design. These four factors include environmental contexts and societal challenges, expected work skills in the next century, expected competencies of landscape architecture professional organizations, and determination of graduate competencies from local and international landscape architecture curricula. The review of environmental contexts and societal challenges reveals that issues regarding water and food security, human well-being, and disaster risks are increasingly complex and interconnected. These challenges require integrative solutions where landscape architecture can significantly contribute to mitigation and resilience strategies through the design of urban green spaces and built environment. Regarding the expected work skills in the next century, the World Economic Forum identifies three core competencies essential for the future labour market: 1) cognitive agility, 2) emotional & adaptive intelligence, and 3) tech & planet-awareness. Notably, the "environmental stewardship skill" has emerged as a highly demanded skill and is directly linked to the landscape architecture profession, particularly in the design of blue-green infrastructure and ecological restoration programs. For the expected competencies of landscape architect from six professional organizations worldwide. There is a shared emphasis that the landscape architecture profession is a multidisciplinary field, requiring the integration in design, science, and management discipline to achieve sustainability. Therefore, a future landscape architects must possess expertise in ecology and the utilization of advanced digital technologies as well as a strong commitment to environmental ethics. Regarding the determination of graduate competencies from domestic and international landscape architecture curricula, it was found that the United States curricula group focuses on establishing a balance between ecological systems and culture through project-based learning and the utilization of environmental simulation technology to analyse spatial dynamics. Meanwhile, the Asian curricula group highlights the integration of cross-disciplinary knowledge to address complex urban problems within the regional Asian context, emphasizing a robust learning structure and practical application. The group of Thai curricula can be analytically categorized into two main groups: one that emphasizes the well-rounded competencies to prepare graduates for the profession, and another group that emphasizes distinctive competencies, which predominantly highlight cultural heritage, vernacular landscape and local wisdom. This review and competency-based analysis reveal a significant gap in Thai landscape architecture curricula: the intensive lack of a clear focus on landscape ecology, urban ecology, and environmental stewardship when compared to global trends that focus on urgently addressing the climate crisis. Although sustainable development goals, addressed by the United Nations, is mentioned in Thai curricula, it has not yet been pushed as a prominently outstanding core knowledge competency as it should be. Therefore, the direction-awareness in landscape architecture curriculum design in Thailand should bridge these gaps by designing a curriculum that integrates ground-breaking multidisciplinary knowledge to produce graduates who are capable of being "change agents". This involves developing graduate competencies capable of formulating landscape architecture that helps solve real-world problems and mitigate the impacts of climate change to sustain human well-being. The curriculum should focus on concurrently developing both technical or hard skills, and competency or soft skills, especially analytical thinking, complex problem-solving, and the use of technology for sustainable design. Crucially, the curriculum must emphasize environmental stewardship skills and cultivate learner characteristic of global citizenship with a global outlook, planetary citizenship, and being a lifelong learner. The teaching approach should focus on hands-on practice through project-based learning using real-world problems in the site-specific contexts, and promote multidisciplinary collaborative learning at both local and international levels. This is to ensure that graduates are well-prepared for a highly competitive labour market and can truly utilize the landscape architecture discipline to enhance human well-being as well as ecosystem restoration. Additionally, it also responds to the importance of curriculum revision that can truly impact the paradigm shift in student competencies development, preparing them to keep pace with the rising crises and opportunities of the future world. This also ensures that the landscape architecture profession remains relevant and can sustainably make contributions to the society.

An Application of Design Thinking: A Case Study of the 'Klaeng Din' Royal Initiative Project

บุริม โอทกานนท์ — Tue, 07 Jul 2026 00:00:00 +0700

The degradation of soil resources in the southern region of Thailand, specifically the occurrence of severe acid sulfate soils (ASS), represents a multifaceted challenge that aligns with the conceptualization of a “wicked problem.” Such problems are characterized by their extreme complexity, where scientific, economic, and social variables are inextricably intertwined, rendering traditional linear interventions largely ineffective. The complexity of this issue extends beyond the mere chemical transformation of soil; it is deeply embedded within the fundamental economic systems, food security, and social fabric of local farming communities. Scientifically, the root cause of this challenge lies in the accumulation of pyrite (FeS2) within brackish water sediment layers. When peat swamp areas are drained for agricultural expansion, this mineral undergoes a rapid oxidation process upon exposure to atmospheric oxygen and water. This chemical reaction, expressed as 4FeS2 + 15O2 + 14H2O  4Fe(OH)3 + 8H2SO4, results in the formation of sulfuric acid, causing the soil pH to plummet below 4.0. This extreme acidity triggers the dissolution of toxic heavy metals, such as aluminum and iron, while simultaneously locking away essential plant nutrients in insoluble forms. Consequently, these chemical processes transform once-productive agricultural lands into barren wastes, leading to entrenched structural poverty and the displacement of local populations. The primary objective of this study is to analyze the “Klaeng Din” (teasing the soil) Royal Initiative Project through the framework of Design Thinking (DT) to elucidate its human-centered innovation pathway and its inherent flexibility, which distinguish it from conventional linear problem-solving approaches that often fail to address such complexities.

The methodology employed in this study is qualitative, utilizing a systematic literature review and thematic synthesis of data gathered from annual reports, technical documents, research articles, and soil development manuals from key organizations supporting royal initiative projects, including the Office of the Royal Development Projects Board (ORDPB), the Land Development Department (LDD), and the Chaipattana Foundation. These data were analyzed retrospectively to decode the project’s problem-solving process into five distinct stages according to the Design Thinking framework. The process began with the Empathize stage, a critical starting point for innovation, which was exemplified by King Bhumibol Adulyadej’s direct engagement with the people of Narathiwat Province in 1981. By personally observing and listening to the hardships of farmers whose lands had become infertile, the project established a foundation of deep human empathy. This understanding facilitated the Define stage, during which the problem was articulated comprehensively as both a scientific challenge involving pyrite management and a social imperative to restore the dignity and economic security of farmers through land remediation.

The core innovation of the project emerged during the Ideate stage, characterized by a counterintuitive strategy termed the “Aggravate-to-Solve” model. Rather than focusing on temporary and costly pH adjustments through standard liming practices, the Klaeng Din project opted to "tease" or intensify the soil's acidity to its maximum level. This was achieved through accelerated cycles of drying and wetting the soil to force the oxidation of all available pyrite. This stage was followed by the Prototype stage, realized through the establishment of the Pikulthong Royal Development Study Centre as a “living natural museum.” These sites served as experimental fields to test a variety of integrated methods, including leaching, the application of marl for neutralization, and biological solutions such as the planting of vetiver grass to improve soil structure. These large-scale prototypes allowed the research team to identify practical limitations and refine their methods before national implementation.

In the Test and Iteration stage, the project provided empirical validation of its success through dramatic results in actual community farms. For instance, in the Ban Khok Ith–Khok Nai area of Narathiwat, rice yields increased from 5-10 tang per rai to 40-50 tang per rai. In Surat Thani, systematic soil management increased yields from 431 kg/rai to 708 kg/rai. A vital discovery during this stage was that reclaimed land could revert to extreme acidity within just eight months if proper water management was not maintained. This critical feedback led to an iterative refinement of the process, emphasizing the establishment of robust water management systems and ongoing farmer education to ensure long-term sustainability.

In terms of international academic contribution, the study of the Klaeng Din project addresses several key debates in the Design Thinking literature. First, it reinforces the concept proposed by Rittel and Webber (1973) that wicked problems require flexible, non-linear approaches, particularly amid global criticism that modern applications of Design Thinking often degenerate into mere “innovation theater”, characterized by superficial adherence to steps without achieving meaningful change (Schwab, 2023). The Klaeng Din case proves that when DT principles are embraced as a core problem-solving philosophy, they can yield sustainable outcomes in both scientific and social dimensions. Furthermore, the discovery of the “Aggravate-to-Solve” model expands upon Buchanan’s (1992) theory of innovative problem-solving, which emphasizes conceiving what does not yet exist. It demonstrates that groundbreaking innovation may sometimes require a willingness to temporarily intensify a problem to address its root cause permanently, a stance that challenges standard practices focused on incremental improvement.

The retrospective analysis of state-led projects through this framework is invaluable for translating tacit knowledge into explicit, replicable models that can be shared internationally. Theoretically, this article extends the scope of Design Thinking into a retrospective analytical tool for public policy and state-led innovation. Practically, the “Aggravate-to-Solve” model serves as a profound lesson for managing other complex issues, such as urban flood management or the restoration of degraded ecosystems, which demand decision-making rooted in human empathy and flexible experimentation to achieve true sustainability.