Vasinth's Proposal: Gender Junctions

    On the contrary of a typical public bathroom convention, 'Gender Junctions' challenges and exhibits a different perspective of the bathroom experience.  Unlike a two-by-two meter bathroom installed in a house, the unisex bathroom design is maximized into the shophouse typology context, whilst bathroom components: sinks, bathroom stalls, urinals, baby changing facilities, men's locker room, women's makeup/dressing room; are arranged in different floors according to the user's gender.

  

A transparent water reservoir serves as a supplier for the bathroom, somewhat as well as an 'imaginary boundary' that segregates the gender's bathroom components.  In a shape of a trapezoid, the reservoir consumes up the spaces; as the users escalates up the bathroom shophouse, the more privatized/personal the spaces become (in a sense feminine or masculine).

Inside the reservoir are channels/stair circulation of the shophouse.  The intertwined connection of this transparent tunnel allows an ephemeral moment when the two genders meet.  As the main objective was concerning privacy and publicity in space conventions, the bathroom contains a constant shift in private and public space through its transition circulation.  The idea was inspired by the constant alteration of space dispersions in Leng Buay Eia at certain times of the day.

  

 Its infrastructure is composed of leg channels that transfer flow of water into different parts of the shophouse, connecting to a supply line and drain line that is installed as part of the reservoir component as well.

The whole 'bathroom' shophouse can be perceived as somewhat both a public bathroom located in a park, and a private bathroom in a hotel, since there is a combination of both convention elements installed in the same place.  Parts of the exterior are transparent glass walls, louvers/jalousie', or otherwise open, to challenge the context of an asian bathroom as boundless and exposed.

The renderings of the shophouse are transparent, according to its materiality, demonstrating the moments of these experiences, taboos, and how culturally both gender bathroom conventions are supposed to be separated/avoid physical contact from each other, but have a glimpse of this blur visual accessibility about the activities happening.  In which a person has the opportunity to experience a private space that in a sense is also public, or a bare perception one might see, but is unable to reach.

Vasinth's Site Research: "Yaowaraj 6: Leng Buay Eia"

LENG BUAY EIA @ YAOWARAJ

Diagramming Yaowaraj: Leng Buay Eia Site Analysis

The Erotic Field: Leng Buay Eia Region

The typical Yaowaraj image we commonly understand is somewhat a community or gathering site fulfilled with the enrichment of culture, tradition, and the preserved/repetitive environment of bangkok in the old ages when Chinese civilization was majorly influenced.  On the contrary however, another perspective of Yaowaraj can be perceived as a community that lacks of 'control' or management; Unorganized, crowded, hectic, air/noise pollution, and the ongoing conversations of neighboring shophouse vendors just distracts you to enjoy your trip.  To perceive a site that possesses such contrast of negativity in its physicality, but somehow in turn positive in its culture, creates a harmony in its overall impression/identity.  Leng Buay Eia, a small district located at Yaowaraj 6, exhibits the characteristics of a paradox of utmost culture/tradition and poorly organized patterns.  Consisting of multiple markets occurring and an old shrine nearby, the site builds up its originality through the influence of several factors and resources. 

Previously, on the subject of eroticism, my concept refers to a 'hidden reality/truth', an object/person of which secretes a truth behind (or something in contrast to what we perceive), and to dig into it is considered erotic.  The site, Leng Buay Eia, consists of a slow but gradual routine and constant change through a shift of time.  Its physical appearance in shophouses, the flow of activity, and the blend of public/private spaces creates a pattern on how and why its potential is hidden from our general understanding, but emerges its true existence at certain time shifts.  The diagrams are categorized into holistic and ecological forms.

Circulation and Interaction Within Site: Demonstration of possible interactions and general activities of passersby, vehicles and localists acting on Leng Buay Eia, such as the sidewalk (orange), the Yaowaraj Road (pink), and residence area (blue).

Space Expansion/Contraction in Certain Areas: At certain times during the day, most of the spaces as well as the activeness of Leng Buay Eia tend to variate back and forth; the 'flow' of activity exchanges with the opposite soi, which is known as the 'old market'.  At dusk, the activeness and use of these penetrated private-to-public spaces are emphasized along the Yaowaraj road.

Flow of Activity: The diagrams above demonstrates a sequence of activities occurring in morning, afternoon, evening, and night times.  It becomes evident how and when Leng Buay Eia gradually becomes emphasized in the daytime, and inactive during night time, whilst vice versa compared to the Yaowaraj road and the 'old market'.

Visual Accessibility: When a pedestrian sees Leng Buay Eia from a distance, it seems hard to distinguish which shophouse is which, since the overuse of spaces from private dispersed to public sort of 'blend' and 'unite' through all the product displays and obstacles, which at least I perceive the Leng Buay Eia shophouses as a 'whole' community, rather than separate.  The diagram above explains how the shophouses blend (through space dispersions) during the day, and how the separated they gradually become during the night.

Union of First Floor Programs: As mentioned before, all the shophouses in Leng Buay Eia are somewhat a community rather than working as individual shophouses.  The shophouse typologies in the area are completely different from one another (in terms of floors, facades, structure) but the program and activities on the first floor mainly are similar.

Site Documentation: Photos taken at the same positions of the site (10 paces, 1 photo), but in different times.

Leng Buay Eia as an 'Industry': As to explain how these activities and spaces in front of the Leng Buay Eia shophouses blend together, I simply perceived my site visit as a tour through a continuous manufacturing industry/factories.  The drawing consists of vegetable farms, mass-produced factories, water power plants, local markets, fish markets, slaughter houses, rice fields, etc. of which resembles the programs of shophouses in particular areas.  I sense a harmony in Leng Buay Eia, in how the organization of things they sell are slightly connected, compared to how a global industry proceeds. 

Psychogeographical Analysis: In an attempt to analyze and diagram through my memories of the site visit, a psychogeographical drawing map was constructed to recall and recapture the moments of Leng Buay Eia based on the site documentation method (10 paces, 1 photo).  The drawings locate where and what types of activities are happening in chunking areas of the site.

History of Leng Buay Eia: Yaowaraj's feng shui is based on the 'golden dragon'.  In its ecological aspect, Leng Buay Eia lies on the stomach (bringing luck in local businesses), which consequently is why the market is settled here in particular.

Origins & Surrounding Influences: Leng Buay Eia absorbs its resources from different nearby aspects/places and based on different times (such as cultural events in particular).  Markets, Shrines, and neighboring shophouses constitutes Leng Buay Eia as a communal gathering and a basis of Yaowaraj's identity.

Vasin's Shophouse Research: "Modular Aggregation and Partition"

CH04: The Shophouse Aggregation from Vasinth Ratanaphaithun on Vimeo.

The research in my shophouse investigation emphasizes the generation of a single modular space, that gradually builds up a significant role of dividing zones of public and private expanses. Objects, furniture, partitions and such obstacles in each module as you walk deeper into the building becomes more dense and crowded, that each shophouse possesses a different public/private zone, circulation and activity. The video displayed examines the case of an old drug store-shophouse, in which how the dense arrangement of partitions regulates the activity of the patient and doctor; sit-and-wait to be called, doctor inspects patient, doctor finds appropriate prescription, prescription received/paid, patient leaves.

Vasinth's Documentation and Post-Analysis on 'I wanna DELVE into You'

DURING AND AFTER THE INSTALLATION

Setting up the installation was a difficulty to my intention, since the fabric was too heavy to withstand.  The fabric was a bit loose due to the mass and the amount of tension wasn't enough for a single person to stretch.  Even if there was enough tension, the fabric sheet wasn't thick enough when tying the strings, so it tore off immediately.  But that didn't stop the installation from continuing, since stretching the installation was a small factor, while the messages were the main purpose of the installation.  Luckily, I was able to tie one sheet as an example, while I display the other sheets with the help of my friends.

Since the installation was set at the entrance of the faculty, passersby were curious and looking down  on the installation if there was something inside the fabric.  But I couldn't tell if the thoughts of the audience after experiencing and reading the messages changed.  For some reason, I had a feeling that the messages were questioning life issues of the audience, whether choosing to study architecture would alter the future. 

After all the sheets have been pulled down

After the Installation

Second layer of fabric

Overall it was an ok presentation, but it was disappointing that the installation didn't turn out to be as expected.  I wouldn't blame that the lights were shut down during the review, but somehow it kind of ruined everyone's mood.

Vasinth's Installation Drawing: I wanna DELVE into you

I WANNA DELVE INTO YOU: QUESTIONS OF 'DOUBT'?

Here is a brief layout of how the installation will be regulated and interact with the audience.  If I were to 'reveal' Chula from it's concealment, I compared as if you were with a stripper trying to unstrap the corset off her body.  The features for stationing the fabric to occupy the spaces in between the pillars was using strings to create tension and prevent from loosening the fabric's hold.  Simply if a shoe or corset is untied, you couldn't wear into them well, so tying the strings to connect the ends of the fabric together tight enough would cover the inner layers, unable to read the messages unless it has been cut through.  

Axonometric drawing displaying installation plans

The installation consists of four layers of black fabric, each one containing a different message. The messages, challenges the thoughts of audience (especially INDA students) whether studying here was a rightful decision, questioning whether the audience's definition and expectations of a college/university life matches with what reality has given them.  The messages on these fabric sheets include (from first till last):

"WE EXPECT HIGH ON WHAT COLLEGE LIFE WOULD BE...."

"IF ARCHITECTURE WAS A TORTURE TO YOU, WHY DID YOU CHOOSE TO STAY?"

"THE WORLD BECOMES MORE COMPETITIVE, WILL YOU EVEN GET A JOB?"

"IS ARCHITECTURE YOUR ESSENCE?"

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INTENDED EFFECTS

My intention for this installation wasn't aiming to see how visitors would react physically to the installation, but rather in a sense the cognitive thought of visitor's perspective at first compared to what thoughts have changed after experiencing the installation (if any).  Cutting through the fabric and exposing/peeling off the layers was a strategy relating to my concept of searching, investigation and delving in to the core, with the help that curiosity motivates to act.  The diagram below demonstrates the instructions of how the installation and audience should circulate:

Phase 1                                       Phase2                                                 Phase 3                                                  Phase 4

Phases 2 and 3 are repetitive as the layers unfold.  While all the fabrics layers have been unwrapped, the final layer (Phase 4) remains, while the message can only be read at the inner side of the space.

Vasinth's Installation Development: I wanna DELVE into You

I WANNA DELVE INTO YOU: DEVELOPMENT & PROCESS

DEVELOPMENT #I: WHAT IS EROTICISM? MOVIES AND ARTISTS COMPARISON

Eroticism is the expression caused from a emotional collision between multiple contrasting factors/variables/feelings, in which the process gradually becomes more intense.  My definition derives from the comparison and relationship of Abramovic and Elmgreen & Dragset.  Somehow both concepts of their artworks contribute to one another like a rhythm, that curiosity brings the attention in elmgreen & Dragset's installations while Abramovic's extreme performances becomes gradual but unforeseen.  

I was also assigned to watch films as a head start to define eroticism.  Apparently, there are relationships to the artist's analysis as well.  The movies 'Babel' and 'Amores Perros' were directed from the same person.  What I find interesting is the plot structures in the movies tend to be separated but simultaneous stories, but are slightly connected.  The intention of this is to leave confusion to the audience, but later the plot threads become more evident and make sense (similar to the concept of revealing).

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DEVELOPMENT #II: CONCEPT GATHERING/THREADS

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DEVELOPMENT #III: STRATEGIES OF EXECUTING THE INSTALLATION

To me, an installation can be executed in different methods and can express a sense of revealing in various ways.  I keep questioning myself which type of installation would convey the message of revealing the faculty the most.  I decided to look into three categories: media that is interactive, sculptural or visual(illusional).  Personally, I preferred an installation that is tangible and the audience can interact, while the installation is also a symbolic figure.  The key words I thought of and want to emphasize in my installation was the act of 'peeling' or divulging off the layers, or as if the installation  proceeds sequentially through a number of layers.  Here are some sketches of the possibilities of the installation I had in mind during the process.  Each sketch resembles an element of revealing, that consist of what is perceived and the hidden reality that gradually exposes, but are executed using different media.

My first idea developed from my understanding and previous research on the concept of 'reveal' was a performance.  I define revealing as reaching out to investigate until you reach the core.  In this case, I intend to make the audience perform in the installation, to find out for themselves what the messages are referring.  The diagram below demonstrates a scenario of the installation layout:

The concept of Revealing through shirts, while the audience cuts through the shirts to read the message

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DEVELOPMENT #IV: CHOOSING A SITE

Main Faculty Entrance

Aj Nart's monument & สถ tiles

 Choosing a site for the installation must consist of a representation of the whole faculty, an identity that has the potential to reflect and 'wear' the installation, since a site as generic wouldn't have a clear connection and significance to the installation itself as much as an altar.  I chose Aj Nart's hall as my site since I feel it might be interesting and contradicting to conceal the hall with messages but simultaneously reflects to the courtesy of Aj Nart and the faculty as well.  I perceive the hallway as the 'core'/heart of the faculty since being the main entrance as well, the space creates itself the obligation that visitors must pay respect before walking pass this hallway.

The Hallway contains four pillar columns in which spaces of the monument and flooring tiles can be manipulated.  If that space were to be concealed, it may be as if the hallway was under construction, which may lead to curiosity of visitors in which they would attempt to peek in.

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DECISION AND MATERIALS

The idea of revealing messages through shirts was further developed into a larger scale which makes use of the space, since I thought there was no relevance of using shirts as a medium if it does not symbolize anything related to the message.  Instead, using sheets of fabric seems more appropriate, since it creates a temporary (kissing) boundary, unlike walls that creates a new space but placed on the site (which I feel ruins the 'kissing' relationship of installation and site).

Similar to a curtain, fabric easily conceals and separates space from one another

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HOW DOES IT RELATE TO EROTICISM?

If I were to revise and compare, eroticism can comprise of various factors, whether it is about essence of tangibility, the impulse of pleasure, or mystery and allure.  Somehow the installation would be erotic in an indirect way, rather than literal, since the installation aims to dig into the minds of audience to wonder and to leave behind a thought to consider.  Metaphorically, I wouldn't say the installation is kissing our faculty, but more like 'stripping' the faculty, revealing the ugly truth that our faculty tends to avoid.

Vasinth's Research on Marina Abramovic and Elmgreen & Dragset

MARINA ABRAMOVIC

"Physical and Mental Limits"

As a performance artist, Abramovic attempts to explore the explanation of human endurance through
physical and mental aspects.  She claims that the human body is somehow a wonderful 'gift' that possesses the capabilities of performing almost anything, which inspired her to experiment on the
constraints and limitations of the physical body and the human mind, in which she considers a form of performance art.  Using herself as a medium, most of her experimentation/artwork deals with the psychology, intuition, action/reaction, and the situation of the audience and herself while the performance proceeds.

In her beginning art pieces, such as her 10-phase collection series of "Rhythm", all of her performances investigates through an extreme process.  Variables such as inflicting pain from lacerating, burning, weaponry, etc. are used against her, while the documentation, reactions, and the intensification towards the audience are the piece of the artwork itself.

The Dream House, Tokamachi, Niigata Japan, 2000

Apart from the extreme performances and experimentation, I personally was interested in this particular installation she designed in a classic japanese house. The Dream House was somehow unique compared to other works she performed, in which this artwork mentally challenges the limits of perception of the unconscious, or perhaps the imaginative dreams of the audience.  The installation comprises of recipes and messages on walls in which the audience are engaged to reading then are subjected to record their dreams after their sleep.  I find the text interesting since the messages are embedded to the mind and are synchronized into images, perceptions, and memories, that reminds the audience to picture or question later during the process.  The purpose of this installation was that modern japanese designs tend to become more interested with 'experimenting' living spaces, in this case, is a living space for dream documentation.

As to my understanding towards eroticism, it can be compared that most of her performance art exposes the extreme feeling of intensification, that the performance gradually becomes more vigorous and violent, until it reaches the end, which is the apex of the performance.  Somehow it resembles the similarities of the process of sexual intercourse and orgasms.  I also find it intriguing that all her art is risky, that the end of the performance is uncertain and unrevealed, that it cannot be concluded.

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ELMGREEN & DRAGSET

"Powerless Structures"
Elmgreen and Dragset, unlike Abramovic, illustrates art through installations, use of spaces and architecture, and sculptural design.  Their concepts tend to have a variety, since most artworks are executed through different media and materials.  Some of their artworks involve adopting and extracting art styles from other artists to manifest a new story or definition to it, which to me is considered to be a form of art, not imitating.  However, the most interesting series of work to me was called 'Powerless Structures'.  To further explain this concept, Elmgreen and Dragset have the ability of  utilizing simple icons and objects to convey a powerful message to it.  'Powerless Structures', displays representations of simple everyday objects, installed into certain locations or in certain positions, in which communicates the audience in a different perspective or idea.

Powerless Structures fig. 101, Fourth Plinth Trafalgar Sq.,UK, 2012

One of the most successful 'Powerless Structures' is located on the fourth plinth of Trafalgar Square, which was a site for political and community gatherings.  Elmgreen and Dragset installed a bronze sculpture of a child riding a toy horse.  You might have suggested that a statue of an adult would be more preferable to a site like this but the symbolism of this patriotic figure conveys the dream and ambition of a child is more grand than an adult's physique and strength.  It may seem inappropriate to place a statue at a political conference building but the message is certainly critical to me.

Comparing to eroticism, curiosity is what makes their artworks interesting and mysteriously worth to investigate.  We might wonder why they would install an artwork in this particular site, and what meanings or messages does it change if compared to where the artwork should actually be placed.  The act of alienating an object from its position to somewhere else entirely changes the whole story of the object, but leaves clues to wonder, which intuitively causes us to search or reveal it.

I wanna DELVE into you

Meet me at the Faculty Entrance.

15/02/13

The work of Vasin - Vasinth Ratanaphaithun

Chulalongkorn University: Faculty of Architecture

As for a close-up photo, I attempt to investigate eroticism in objects and things we

use in daily life.  Pointy structures, Hollows and punctures in these egg cartons can be identified in several obvious ways or as well human body parts.

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 BACC (Bangkok Art and Cultural Center)

Symmetry can sometimes become an evident component to eroticism.  I perceive

letters or shapes that characterize 'V' or 'X' structures as erotic, since not only its shape can visualize the image of an opening from a point but symbolically the letters itself can be easily recognized as women's genitals or something pornographic (X-rated).

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 Home

This photo was taken under a lamp that is placed in the small dining room of my

house.  The repetitive patterns of the lamp design meets to a point.  The lines and movement in the photo gives a sense of being driven, like a vortex, which I feel brings

curiosity. 

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BACC (Bangkok Art and Cultural Center)

The photo was taken at a corner of a void space, something like an interior

balcony.  Though very minimalistic, the photo somehow shows the depth and the

warm tone of the curvature.  Even the ceiling seems structurally round but is

delusively flat.

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The work of Vasinth - Vasinth Ratanaphaithun