Design for HiveHaus, a modular home featured on the UK television show "George Clarke's Amazing Spaces". Image via Hivehaus
With that in mind, what can the Tiny House movement do to
fulfill its apparent destiny? Despite the overwhelming differences in
approach, what can postwar housing teach our current crop of housing
visionaries? 1. Systematize
For
the most part, the Tiny House movement has so far been led by brave
individuals, who have designed and constructed their own home from
scratch, often using little more than trial and error as a guide. On one
hand, this has allowed homeowners the opportunity to build the
pleasing neo-colonial pastiche of their dreams, but on the other hand it
serves as a deterrent to many others who don't have the courage to take
that leap of faith.
For governments, the appeal of
postwar housing largely lay in the fact that it was systematic: it
required that you take certain elements and combine them in a certain
way, and individuals are no different. They want detailed instructions,
and preferably previous examples to follow. Attempts by projects such as
WikiHouse to turn DIY construction into a simple system are welcome, but for DIY building to make a difference, they need to be more prevalent.
3. Don't build to last
If
there's one thing that postwar housing has shown us it's that once a
crisis is over, the solution to that crisis may no longer be needed -
and it's inconvenient if you built that solution out of millions of tons
of reinforced concrete. We have no way of knowing whether there will be
a future market for today's radical DIY constructions; it's also almost guaranteed that unless current housing crises persist, once the owners of Tiny Houses have children and move to a larger home, there will be noone looking to buy their old place.
Site plan of Olli Enne's prototype showing how it fits within gaps
in the existing neighborhood fabric. Image Courtesy of Olli Enne
With current urban planning theory pointing towards a need for
dense, diverse communities, the opportunity to fill in the gaps of
existing neighborhoods - as with Enne's proposal - seems much more
appealing than the prospect of monocultural Tiny House neighborhoods.
Neighborhood integration, however, will require community integration
on the part of the incoming residents. While postwar housing could
afford to be obviously radical, DIY and Tiny Houses
will require at least a veneer of conservatism. Again, this is apparent
in Enne's housing proposal, with a pitched roof and timber facade that
conceals the unconventional plywood staircase and a slatted upper floor
that allows extra light through to the ground level. The design is also
prefabricated in just four parts, meaning that construction
requires almost no disruption to surrounding residents.
Elevation of Olli Enne's prototype. Image Courtesy of Olli Enne
Currently, advocates of Tiny Houses and DIY
Houses have not managed to fulfill all of these requirements. But with
more and more architects getting involved in these increasingly popular
movements, new and innovative proposals - from the WikiHouse, to the HiveHaus,
to Olli Enne's small prototype - we could be getting ever closer to a
radical solution that finally makes a noticeable difference to the
world's many housing crises.
"The Rendering View," is a new monthly column on ArchDaily by PiXate Creative founder Jonn Kutyla which will focus on hints, tips, and wider discussions about architectural rendering.
As
an architect you have spent countless hours designing, modifying, and
refining what you believe to be the very best possible layout for a
building. The numerous projects you have imagined, designed, and then
seen as a finished building have given you the ability to visualize it with incredible accuracy. Unfortunately, your clients often lack the ability to visualize a space before it is built.
3D rendering seeks
to solve that problem by accurately depicting what a building will look
like with photo-realistic quality long before it exists – but there is a
huge difference between showing your building and selling the concept
of your building. Showing your building does just what the name implies:
generally the camera is pulled back and the focus is on the entire
building. When you want to sell the concept of a building you want to
focus on a very small aspect of the building that is incredibly
interesting to look at.
At this point you are probably thinking to
yourself: “The whole building is interesting to look at, I spent a lot
of time on the design”. Your thinking is correct. Remember though, when you are trying to sell the concept, details are crucial. As 3D rendering
artists, we should think of ourselves as photographers. We do not
actually compete with architectural photographers as what we seek to
“photograph” doesn’t exist. We are however attempting to accomplish the
same thing, which is framing the building is such a way that the viewer
can emotionally connect to the image. In order for a viewer to connect
with an image, you need to tell a story with your renderings just as
photographers tell a story through photos.
While
renderings help you connect with the emotions of your clients the
development of renderings is built upon art and based in science.
Choosing the right POV can make a drastic difference in the quality of architectural photography and the same holds
true for renderings. As rendering artists we should look to
photographers and study their techniques to improve our work. While
doing some research I ran across Heather Conley Photography and was rather impressed with the extensive DIY (Do-it-Yourself) vs. PRO section
on her website. Below is a great example from her work of the
difference between a photo that tells a story and one that does not.
On the left you see a boring image that does
not help you envision the use of space. On the right you see a couple of
people walking together and the possibilities of what they could be
doing are near endless. More so, it tells a story about the station that you as the viewer can relate to and imagine yourself in. The
POV for the shot focused on the overall mode of transportation and
composing it with a strong leading line element that draws your eye
along the side of the rail car to the commuters in it. Aside from that
you also notice a significant difference in the lighting of the two
images. What story is the Amtrak bulletin board dotted with lens flare
saying? It isn’t telling one. Without a story the connection with the
viewer is lost and with it, the ability to evoke strong emotions are
greatly reduced.
As
with photography, selecting a proper POV for an architectural rendering
is crucial. It allows the viewer to envision themselves in a space,
enabling them to fill in the details of their story with the space. When
you are setting up the POV for your rendering here are some tips to
help your renderings connect viewers to the space.
When
a viewer looks at your rendering it should be as if they are standing
in the building. Placing the camera at around 5’ 8” (1.73 meters) or
within a 6” height variation will provide an accurate perspective for a
person of average height. In addition to selecting a proper height, you
should avoid tilting the camera left or right. If you need to show off a
detail at a higher or lower height, instead of tilting the camera up or
down, using lens shift will allow you to have straight vertical lines.
In MODO this is called film offset.
Another setting in MODO
that will help your renders is focal length. Using a lens focal length
of 28MM or higher reduces the occurrence of perspective distortion
in your images. Perspective distortion is especially harmful to
renderings as it will prevent an accurate representation of the space.
Thinking Like a Photographer
In
order to create a great-looking 3D rendering we must also get in the
mindset of an architectural photographer. Here are three basic rules
that you should be aware of:
The Rule of Thirds
- This rule is one of the most basic fundamentals of photography. The
purpose of it is to create a balanced photo. In order to do so,
photographers generally break down the photo into 3 vertical and 3
horizontal segments, essentially creating a 9 box grid over any photo.
In addition to creating balance, placing focal points at grid line
intersections is supposed to create a focus. In regards to renderings,
you should place areas that you want the viewer to focus on in the
intersection.
Golden Ratios - While the
golden ratio is certainly not exclusive to photography, it plays a very
important role in creating great images. The golden ratio has appeared
throughout history in architecture, math, and even in nature. Much like
the rule of thirds, the golden ratio is all about creating balance. The
golden ratio is a very interesting subject, and while it is too complex
to discuss in detail here, taking the time to learn more about it could
make a big difference in the quality of your renderings.
Leading Lines -
Wouldn’t it be great if you could tell people exactly where to look in
your photo or rendering? Well, you can and leading lines are how.
Leading lines generally start in the foreground and on the outer edges
of an image. The purposes of these lines is to guide the viewer’s eye to
certain points in the photo. In an architectural rendering, you could
incorporate a leading line that draws the viewer to a fireplace, which
is a great way to help them visualize themselves using the space.
Telling a Story
- Remember, the very reason we create renderings is to help viewers
connect with a space that does not yet exist. If you were selling your
house, you would stage it in such a way that helps the potential buyers
visualize their families using a space, sitting around a table, or
gather at the kitchen island. If you wanted to sell a car, you would
highlight the features of the car that meet the needs of the potential
buyer and allow them to picture themselves in it. The exact same
approach needs to be incorporated into renderings. Think about the
features shown in your rendering and add details that make those
features come to life.
Combining the basic rules of photography with storytelling will allow you to make a rendering come to life for the viewer. The
same subtle details that make a world of difference in photos are also
very important to consider when creating a rendering. While you
shouldn’t limit your imagination with those rules, they serve as a solid
starting point for any rendering or photo shoot.
Jonn Kutyla is the founder of PiXate Creative, a company that specializes in creating compelling 3D visualizations.
Futurism began its transformation of Italian culture on February 20th, 1909, with the publication of the Futurist Manifesto, authored by writer Filippo Tommaso Marinetti.
It appeared on the front page of Le Figaro,
which was then the largest circulation newspaper in France, and the
stunt signaled the movement's desire to employ modern, popular means of
communication to spread its ideas. The group would issue more manifestos
as the years passed, but this summed up their spirit, celebrating the
"machine age", the triumph of technology over nature, and opposing
earlier artistic traditions. Marinetti's ideas drew the support of
artists Umberto Boccioni, Giacomo Balla, Gino Severini, and Carlo Carrà,
who believed that they could be translated into a modern, figurative
art which explored properties of space and movement. The movement
initially centered in Milan, but it spread quickly to Turin and Naples,
and over subsequent years Marinetti vigorously promoted it abroad.
Concepts and Styles
The Italian group was slow to develop a distinct
style. In the years prior to the emergence of the movement, its members
had worked in an eclectic range of styles inspired by Post-Impressionism, and they continued to do so. Severini was typical in his interest in Divisionism,
which involved breaking down light and color into a series of stippled
dots and stripes, and fracturing the picture plane into segments to
achieve an ambiguous sense of depth. Divisionism was rooted in the color theory of the 19th century, and the Pointillist works of painters such as Georges Seurat.
In
1911, Futurist paintings were exhibited in Milan at the Mostra d'arte
libera, and invitations were extended to "all those who want to assert something new,
that is to say far from imitations, derivations and falsifications."
The paintings featured threadlike brushstrokes and highly keyed color
that depicted space as fragmented and fractured. Subjects and themes
focused on technology, speed, and violence, rather than portraits or
simple landscapes. Among the paintings was Boccioni'sThe City Rises
(1910), a picture which can claim to be the first Futurist painting by
virtue of its advanced, Cubist-influenced style. Public reaction was
mixed. French critics from literary and artistic circles expressed
hostility, while many praised the innovative content.
Boccioni's
encounter with Cubist painting in Paris had an important influence on
him, and he carried this back to his peers in Italy. Nevertheless, the
Futurists claimed to reject the style, since they believed it was too
preoccupied by static objects, and not enough by the movement of the
modern world. It was their fascination with movement that led to their
interest in chrono-photography. Balla
was particularly enthusiastic about the technology, and his pictures
sometimes evoke fast-paced animation, with objects blurred by movement.
As stated by the Technical Manifesto of Futurist Painting, "On
account of the persistency of an image upon the retina, moving objects
constantly multiply themselves; their form changes like rapid vibrations
in their mad career. Thus a running horse has not four legs, but
twenty, and their movements are triangular." Rather than perceiving an
action as a performance of a single limb, Futurists viewed action as the
convergence in time and space of multiple extremities.
Later Developments
In 1913, Boccioni used sculpture to further articulate Futurist dynamism. Unique Forms of Continuity in Space
(1913) exemplifies vigorous action as well as the relationship between
object and environment. The piece was a breakthrough for the Futurist
movement, but after 1913 the movement began to break apart as its
members developed their own personal positions. In 1915, Italy entered
World War I; by its end, Boccioni and the Futurist architect Antonio Sant'Elia perished. Following the war, the movement's center shifted from Milan to Rome; Severini
continued to paint in the distinctive Futurist style, and the movement
remained active in the 1920s, but the energy had passed from it.
Nevertheless,
Futurism sparked important developments outside Italy. A synthesis of
Parisian Cubism and Italian Futurism was particularly influential in
Russia from around 1912 until 1920, inspiring artists including Kazimir Malevich, Liubov Popova, Natalia Goncharova and David Burliuk.
The developments in Russia made the movement very distinct from the
Italian strain, and different aspects of it are often described as Rayonist, or Cubo-Futurist. Cubo-Futurism was also an influence on English art, where it gave rise to the Vorticist movement, which embraced philosopher T.E. Hulme, poet Ezra Pound, and artists Christopher Nevinson, Wyndham Lewis, David Bomberg and Jacob Epstein. Although the impact of Italian Futurism was concentrated in the visual arts, it did inspire artists in other media: Vladimir Mayakovsky
was important in developing a Futurist literature in Russia; the
Italian architect Antonio Sant'Elia developed a Futurist architecture,
and is said to have penned a manifesto on the subject (his designs may
have influenced the sets of Ridley Scott's film Bladerunner
(1982)); and Luigi Russolo shifted from painting to creating musical
instruments, and later wrote the manifesto "The Art of Noises" (1913),
which has been a significant reference point for avant-garde music ever
since. Although much of the energy had left the movement by the 1920s,
the Futurist aesthetic also became part of the mix of modernist styles
that inspired Art Deco.
Art Nouveau (the "new art") was a widely
influential but relatively short-lived movement that emerged in the
final decade of the 19th century and was already beginning to decline a
decade later. This movement - less a collective one than a disparate
group of visual artists, designers and architects spread throughout
Europe was aimed at creating styles of design more appropriate to the
modern age, and it was characterized by organic, flowing lines- forms
resembling the stems and blossoms of plants - as well as geometric forms
such as squares and rectangles.
The advent of Art Nouveau can be traced to two distinct influences: the first was the introduction, around 1880, of the Arts and Crafts
movement, led by the English designer William Morris. This movement,
much like Art Nouveau, was a reaction against the cluttered designs and
compositions of Victorian-era decorative art. The second was the current
vogue for Japanese art, particularly wood-block prints, that swept up
many European artists in the 1880s and 90s, including the likes of Gustav Klimt, Emile Galle and James Abbott McNeill Whistler.
Japanese wood-block prints contained floral and bulbous forms, and
"whiplash" curves, all key elements of what would eventually become Art
Nouveau.
It is difficult to pinpoint the
first work(s) of art that officially launched Art Nouveau. Some argue
that the patterned, flowing lines and floral backgrounds found in the
paintings of Vincent van Gogh and Paul Gauguin represent Art Nouveau's birth, or perhaps even the decorative lithographs of Henri de Toulouse-Lautrec, such as La Goule at the Moulin Rouge
(1891). But most point to the origins in the decorative arts, and in
particular to a book jacket by English architect and designer Arthur Heygate Mackmurdo for the 1883 volume Wren's City Churches.
The design depicts serpentine stalks of flowers coalescing into one
large, whiplashed stalk at the bottom of the page, clearly reminiscent
of Japanese-style wood-block prints.
Concepts and Styles
Although Art Nouveau has become the most
commonly used name for the movement, its wide popularity throughout
Western and Central Europe meant that it went by several different
titles. The most well-known of these was Jugendstil (Youth Style), by which the styles was known in German-speaking countries. Meanwhile in Vienna - home to Gustav Klimt, Otto Wagner, Josef Hoffmann and the other founders of the Vienna Secession - it was known as Sezessionsstil (Secession Style). It was also known as Modernismo in Spain and stile Liberty in Italy (after Arthur Liberty's fabric shop in London, which helped popularize the style). It also went by some more derogatory names: Style Nouille (noodle style) in France, Paling Stijl (eel style) in Belgium, and Bandwurmstil (tapeworm style) in Germany, all of which made playful reference to Art Nouveau's tendency to employ sinuous and flowing lines.
Art
Nouveau's ubiquity in the late 19th century must be explained in part
by many artists' use of popular and easily reproduced forms such as
graphic art. In Germany, Jugendstil artists like Peter Behrens
and Hermann Obrist, among many others, had their work printed on book
covers and exhibition catalogs, magazine advertisements and playbills.
But this trend was by no means limited to Germany. The English
illustrator Aubrey Beardsley,
perhaps the most controversial Art Nouveau figure due to his
combination of the erotic and macabre, created a number of posters in
his brief career that employed graceful and rhythmic lines. Beardsley's
highly decorative prints, such as The Peacock Skirt (1894), were both decadent and simple, and represent the most direct link we can identify between Art Nouveau and Japonisme.
The Architecture of Europe
In addition to the graphic and visual arts, any
serious discussion of Art Nouveau must consider architecture and the
vast influence this had on European culture. In urban hubs such as
Paris, Prague and Vienna, and even in Eastern European cities like Riga,
Budapest, and Sveged, Hungary, Art Nouveau-inspired architecture
prevailed on a grand scale, in both size and appearance.
Turn-of-the-century buildings, like the Museum of Applied Arts in
Budapest and the Secession Building in Vienna, are prime examples of Art
Nouveau's decorative and symmetrical architectural aesthetic. The
arrival in the same period of urban improvements such as subway lines
also provided an important outlook for Art Nouveau designers. Hector
Guimard's designs for entrances to the Paris subway (c.1900) are
particularly fondly remembered examples of the style.
The Vienna Secession
No other group of artists did more to popularize
and spread the Art Nouveau style than the Vienna Secessionists, the
collective of visual artists, decorators, sculptors, architects and
designers, who first banded together in 1897 to promote their own work
and organize exhibitions that resisted the conservatism that still
prevailed in so many of Europe's traditional art academies. Arguably the
most prolific and influential of the secessionists was painter Gustav
Klimt, creator of such definitive examples of early modernism as Hope II and The Kiss
(both 1907-08). The elaborate decorations in his paintings, including
gold and silver leaf, and rhythmical abstractions, make them some of the
most widely revered examples of the style.
Later Developments
Despite its popularity - both in terms of its
geographical spread and its influence on the creation of so many media -
Art Nouveau enjoyed very few moments during its heyday when all
artistic elements came together to be recognized as a coherent whole.
One exception was the 1900 World's Fair in Paris (Exposition Universelle),
where the Art Nouveau style was present in all its forms. Of particular
note was the construction and opening of the Grand Palais in 1900, a
building which, although in the Beaux Arts
tradition, contained an interior glass dome that clearly adopted the
Art Nouveau decorative style. Other exhibitions took place throughout
the continent during this time, but none could claim to be celebrating
Art Nouveau in such a comprehensive manner as had the Paris Expo.
If
Art Nouveau quickly stormed Europe in the late 19th century, artists,
designers and architects abandoned it just as quickly in the first
decade of the 20th century. Although the movement had made the doctrine
that "form should follow function" central to their ethos, some
designers tended to be lavish in their use of decoration, and the style
began to be criticized for being overly elaborate. In a sense, as the
style matured, it started to revert to the very habits it had scorned,
and a growing number of opponents began to charge that rather than
renewing design, it had merely swapped the old for the superficially
new.
Victor Horta - The Belgian architect Victor Horta was the initiator and leading
exponent of Art nouveau in Belgium. In Brussels Victor Horta built a
great many private houses as well as public buildings, which are among
the most important examples of Art nouveau. Born the son of a shoemaker
in Ghent in 1861, Victor Horta began studying architecture at the
Académie des Beaux-Arts in Ghent; from 1874 until 1877 he attended the
Royal Atheneum there. In 1878 Victor Horta went to Paris, where he
worked until 1880 in the studio of the interior decorator Jules
Debuyson. Victor Horta would later write in his memoirs: "My stay in
Paris, the walks I took, the monuments and museums I visited, awakened
my artistic sensitivity. No academic education could have inspired me so
strongly and lastingly as "reading" monuments." In 1881 Victor Horta
moved to Brussels and finished his studies there at the Académie des
Beaux-Arts. From 1881 Victor Horta also worked in the practice of the
Neo-Classical architect Alphonse Balat. Victor Horta was particularly
inspired by the French architect and theorist Eugène Viollet-le-Duc. On
the one hand, Viollet-le-Duc clamored for protecting and restoring
medieval buildings; on the other he was a passionate advocate of the new
engineering in architecture and was committed to the use of the new
building materials, particularly cast iron, and modern building
techniques. In "Entretiens sur l'architecture" (published 1863 and 1872)
Viollet-le-Duc drew a comparison between the Gothic skeletal method of
construction and 19th-century cast-iron construction, emphasizing the
close relationship between them. From 1892 Victor Horta designed
several houses and public buildings in Brussels, for which he used cast
iron for structural and decorative reasons. In 1892-93 Hôtel Tassel was
built, with an interior featuring exposed cast-iron construction and
glass elements. Further, it was notable for the richness of its
decoration, shaped by organic forms and soft lines. In 1893 Victor Horta
built Maison Autrique, which was followed in 1895-96 by Maison
Winssinger and, from 1895-1900, Hôtel Eetvelde, buildings Victor Horta
conceived as total works of art in the Art nouveau style. Between
1896 and1899 Victor Horta designed Maison du Peuple, the headquarters of
the Belgian Socialist party, with a façade entirely constructed of
cast-iron and glass - the first of its kind in Brussels. In 1900-01 "À
l'Innovation", a department store, was built, for which Victor Horta
also used the Art nouveau style. From 1912 Victor Horta taught at the
Académie des Beaux-Arts in Brussels and was director of it from 1913
until 1915 . Between 1916 and 1919 Victor Horta lived in London and the
United States of America. In subsequent years, Victor Horta distanced
himself from Art nouveau, now designing buildings in a more
Neo-Classical formal language featuring straight lines, as exexmplifed
by the Palais des Beaux-Arts in Brussels, built between 1922 and 1928 Tassel House - 1893-1895
The Industrial Revolution, which happened in the latter half of the
18th century, brought about a number of changes in the architectural
scenario all over the world.
The world turned greatly towards Greek and Roman forms of
architectural design. It was considered fashionable, and rightly so, to
borrow from various types of architectural designs. The Greek designs
were what dominated the architectural designs that were taken up, right
till the 19th century.
Because the Industrial Revolution also saw advancement in technology and
manufacturing facilities, architecture became popular and it became
easier to design the buildings. New architectural designs were
incorporated with easeas one adapt one’s own designs on the
architectural designs from over the world, giving an edge to almost all
works produced after the Industrial Revolution. It was during the
Industrial Revolution that the textile industry also boomed. Because of
this development, architectural designs introduced fabrics like velvet
and silk. This brought about the concept of interiors being incorporated
into the architectural designs, making them interestingly different
from all the designs known to exist before this era.
Many who have studied architecture would probably agree that because
these architectural designs were drawn by the same contributing factors,
they seemed to lack imagination and style. However, not a person can
deny that these architectural designs were practical, lasting, and only
got better with other accompanying advancements.
Advancements in the Industrial Revolution also contributed greatly in
the evolution of architectural design as we see them today. At the
height of the Industrial Revolution, architecture celebrated both the
ornamental and the unadorned and embraced mass production in an almost
unbelievable display of goods and resources.
The heavy industry growth brought about a flood of new building
materials such as cast iron, steel, and glass, with which architects,
with the help of engineers devised structures of or sizes bigger than
before, of forms better than before, and fit to perform functions which
were not possible before.
Apart from architectural designs flourishing with respect to housing
and commercial buildings, architecture also saw a boom with respect to
other forms of infrastructure such as canals, tunnels, bridges and the
likes.
The Industrial Revolution brought about a number of changes in the
way architecture was perceived post 18th century. Architectural design
took a huge turn and all for the better. Access to better resources,
more material, better techniques; all were contributing factors to
architecture becoming a full-blown and still flourishing industry today.
Built beside a lily pond on the outskirts of Bangkok,
these two adjoining houses both feature prominent gable walls that
prompted neighbours to name the property Triangle House (+ slideshow).
Thai architect Phongphat Ueasangkhomset designed the two buildings to
provide a combined residence for a single family in Nakorn Pathom. Both
structures sit on the northern side of the pond, separated by a central
courtyard.
The clients requested a straightforward layout, with all rooms on one
level to make it easier for elderly members of the family to move
around.
To achieve this, Ueasangkhomset created one rectangular and one L-shaped building, both with a typical pitched roof.
Each house has its own living room, kitchen and dining space. There are two bedrooms in one and three in the other.
"I wanted the houses to be simple and modest, yet still have their
own character," the architect told Dezeen. "With the 45-degree-sloped
symmetrical and triangular roof shape, they are suited to the local
climate."
"Since built, it's been called 'the triangle house' by the neighbourhood," he added.
The site itself is also triangular, which created opportunities for several gardens around the edges of the site.
The two houses sit on opposite sides of the paved courtyard. Glass
walls run along both courtyard-facing facades, so residents can open
their living rooms out to the space.
This allows it to become a central meeting place, and also makes the residence "party friendly".
"The living space and terrace of both houses are facing each other,
visibly connected with large folding glass doors," said Ueasangkhomset.
"They stay open most of the day."
Inside, the slope of the roof allows generous ceiling heights in
these rooms, as well as in the adjoining kitchens. The architect said
this was "because the family love to cook and spend most of the time
here preparing the food, receiving family and friends".
All of the bedrooms are located on the eastern side of the site, as far away as possible from the noise of the road.
Triangle House was completed in 2013. Similar suburban properties in Thailand include a house featuring seven-metre-high doors by TACHA_Design and a family home by all(zone) that reinterprets standardised housing.
Photography is by Chaovarith Poonphol Project credits:
Architects: Phongphat Ueasangkhomset
Interior designer: Parnduangjai Roojnawate
Lighting designer: Phongphat Ueasangkhomset, Parnduangjai Roojnawate