บทความทางวิชาการ .

เรื่อง ' Regaining Spiritual Experience : Conserving Sacred Architecture by Intuitive Method

โดย' วรนันท โสวรรณีการเผยแพร+ 1. ตีพิมพใน Proceeding

Waranan Sowannee. (2008). Regaining Spiritual Experience: Conserving Sacred Architecture by Intuitive Method,  The ICOMOS Thailand International

Conference 2008 and ICOMOS Thailand Annual Meeting “Conservation and

Management of Sacred Places”. Bangkok : -. page 312-319.

+ 2. นำเสนอในที่ประชุมวิชาการระดับนานาชาต ิThe ICOMOS Thailand International Conference 2008 “Conservation and

Management of Sacred Places” and ICOMOS Thailand Annual Meeting

at Wang Ladawan Conference Hall, the Crown Property Bureau, Bangkok

7-9 February 2008

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Regaining Spiritual Experience: Conserving Sacred Architecture by Intuitive Method 

Waranan Sowannee

AbstractSacred place cannot be measured by any tool even if by a language of a secular object. However, we can perceive it by individual inner sense. The aim of this paper is to propose a new path to protect sacred architecture by regaining spiritual experiences. Referring to intention, sacred architecture is a medium used in interpreting the ultimate truth by manifesting abstract meaning through myths, the sacred space, the metaphoric materials and the motif of elements that affect our senses.

The sacred architecture cannot be conserved by any secular-based methods. Also it cannot be judged by any sort of figuring or calculating. A way forward is to enhance senses by using consecrated mind as well as relying on cognitive avidity to experience the notion of its phenomena that are beyond visual sensation. The more it is perceived and comprehended, the more clearly intuitive methods and alternative ways to protect the sacred place are. Using a sacred architecture case study, the paper illustrates the idea assumed. 

Key word    Sacred Architecture, Experience

Definition ' Experience + The accumulation of knowledge or skill that results from direct

participation in events or activities.+ Intuitive Method The way in which sacred place is attached through intuition rather

than reasoning or observing an attitude.+ + Architecture + Inner and outer space, interior space and decoration are also + + included.  

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1. Introduction

Conservation Philosophy has evolved from physical monument to intangible inheritance. In addition to the most recent concept is the dynamic perception of the association between the physical object and the mental. It also includes the relationship between the tangible and the intangible and between the spirit and the place.1 Thai cultural heritage mostly concerns religious places, temples, shrines, places of worship and holy areas that are considered ‘sacred’.

In Thailand, the management and the conservation method of sacred places have been widely examined in various aspects. There have been many proposals on the management plans, policies and guideline. Nevertheless, these conventional practices seem to have some limitations in pragmatic sense. Thus it may require an extreme degree of re-understanding and re- thinking the approach to sacred places. This paper advocates an alternative method called “Intuitive Method”, which could be developed to safeguard and protect the sacred place.

MethodologyThe “Intuitive Method” is the way to understand places through a natural tendency or intuition rather than reasoning or observation.

This method is derived from (a) learning teaching techniques of Assistant Prof. Payoon Mosikarat of Interior Design Department, Faculty of Decorative Art, Silpakorn University and Assistant Prof. Woralun Boonyasurat of Chiang Mai University, (b) experiencing sacred space as a tourist, a scholarly person and a pilgrim, and (c) experiencing inner space to understand the aggregate of life and mental states and emotions of human beings. All of these practices will be decoded and applied in teaching a group of students in the Interior Design Department.

231 Icomos .(2008). 16th general assembly and international scientific symposium (september 29th to october 4th 2008). ICOMOS International.

The critical tensions of this paper are individual perceptions, experiences, opinions and attitudes of

researchers, especially of readers. 

2. Architecture as Sacred Place

Sacred places are a manifestation of beliefs and aspirations of humankind.2 They present abstract

meanings. In one sacred place, it may consist of various mediums that interpret abstract meanings to

people such as mythical deities, colors, rocks, trees and mountains 3. It demonstrates the position of

humans and the relationship between humans. A sacred place is a semiotic arena where humans feel

related with the nature and spirits adjoins the material world.

Sacred architecture is a medium that serves as a ‘bridge to connect abstract meaning and common

people’. It is arranged for different levels of human intellect. It carries the sacredness into a place,

making it more accessible to common people.  Historians focus on history. Architects see only space, form and functions while engineers pay attention

to construction. Even the study of architecture has various aspects, for example, Architectural History 4,

Diagram 1 Triangulation approaches to create “Intuitive Method”

Investigation teaching techniques

Experiencing inner space

Experiencing sacred space

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2 This definition cited in Icomosthailand .(2008). The icomos thailand international conference 2008 and icomos thailand annual meeting. ICOMOSThailand. See sacred space concept in Eliade, M. (1959). The sacred and the profane: The nature of religion, (W. R.Trask, Trans.) . New York : A Harvest Harcourt Brace Jovanovich.3 Eliade, M. (1985). Symbolism, the sacred, and the arts . New York : Crossroad.4 The study of history that focuses on an architectural style in a particular period

Philosophy Belief and Tradition 5, Architectural Styles 6, Conservation7, Style Adaptation 8 9 . In order to discover the true meaning of sacred architecture, it is essential to change the approach by looking beyond the conventional academic classification of the subjects so that they will not become obstacles to the study.

The approach to the “Intuitive Method” necessitates a new view to sacred architecture, which is a multi-disciplinary approach within systematical scholastics (as architecture, history, engineering…etc.), aesthetics and holism combined with experiences of ordinary humans. From this view, architecture is a medium that communicates the intangible or the abstract through tangible or physical appearances. It is a medium used in expressing and explaining a philosophy for people with different levels of intellect. It manifests abstract meaning through myths, the sacred space, metaphoric materials and the motif of elements that affect our sense.  

3. Spiritual Method

Wat Pongsanuk as the epitomeIn 2004, Assistant Professor Woralun Boonyasurat of Chiang Mai University addressed me to Viharn Pra Chao Pun Ong at Wat Pongsanuk in Lampang Province. I appreciated her approach to conserve this place that comprise educate, crate awareness and participant. I got the key, which is to attach sacred place through the mind. Every time that I investigated the conservation project of Viharn Pra Chao Pun Ong at Wat Pongsanuk, it gave the inspiration to seek a new view to sacred architecture as explained above and Assistant Professor Woralun Boonyasurat transmitted the idea for me to seek a new way to

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5The study that investigates the cause of the architectural creativity 6The study of the architectural design, including the layout plan, space management, space and shape, component, structure, materials, construction method and decoration7 The thorough study in various aspects of architecture, including the assessment of architectural value and physical conditions of the buildings, in order to determine a guidance for conservation8 The study of architectural style in order to obtain basic knowledge that will be applied in the new design of architecture or the study of the change of architectural design. 9 Panin Ornsiri, Inpuntung Veera, Dankittikul Chaiyasit & Manop, I. (-).The evaluation of the state of thai studies in architecture, art and crafts (โครงการประมวลองคความรู เรื่อง การประเมินสถานภาพไทยศึกษาสถาปตยกรรม ศิลปกรรม และหัตถกรรม). Bangkok : The Thailand Researcch Fund.

interpret ‘sacred architecture’ (including Thai cultural heritage and Thai decorative art) as will explain in the following part.

Hypothesis and Model to Create the ImpressionHypothesisSacred architecture possesses a holy and eerie quality that can be felt without description or thoughts. 10 Seeing the inner quality of sacred architecture with our own eyes helps us gain complete and lively experience. Experiencing the sacredness is a matter of our mind. It does not depend on time and place. If the situation is right, everyone can attain this experience.

Common FactorsWe can attain sacred experience through internal sense fields such as eyes, ears, nose, body and mind

11. These common sense fields are the internal factors.

Another factor is External Factors. They consist of (a) external sense-fields such as visible objects, sounds,  smell, touch and mind-objects.12 Whenever the internal sense fields experience something, only one internal sense field can experience that object. For example, when the eye sense field experiences an object, it causes an instance of ‘seeing’. When the ear sense field experiences sounds, it causes an instance of ‘hearing’. 13 These particular experiences are called “consciousness”; it is a clear consciousness that experiences the object. Other external factors include (b) the Environment, (c) the physical conditions of a sacred architecture used as a medium and (d) the Interpreter. The last factor is Uncontrollable Factors such as individual intentions and habits. If all of these factors are happening in the right condition, it will help us gain a quality experience.

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10 John, L. (2005). The living tree, (K. Sodsai, Trans.) . Bangkok : Foundation For Children Publishing house.11 Payutto , P. A. (-). Dictionary of numerical dhammas (พจนานุกรมพุทธศาสตร หมวดธรรม). Bangkok : Mahachulalongkornrajavidyalaya University. P.202-20312 the tongue and taste are in sense-fields but more studies are needed. 13 Payutto , P. A. (-). Dictionary of numerical dhammas (พจนานุกรมพุทธศาสตร หมวดธรรม). Bangkok : Mahachulalongkornrajavidyalaya University. p.25

From Idea to Tested ModelThere are many ways for guidance of sacred experience. Hinduism trains the control of the body and the mind, called yoga. Some start with the experimental union of the individual and the divine14. In Buddhism, there are various levels of contemplation.  

The following example will show an interpretation of sacred architecture by using the internal sense-fields (eyes, ears, nose, body and mind) that are equipped in all human beings. In this study, we will experience a sacred place as an ordinary human being.

Example: Create the Impression through mind at Wat Ton KwenThe intuitive method model was tested at Wat Ton Kwen. The authentic elements of the temple such as Viharn (an assembly hall), Lan-Sai, three sides’ cloisters and Sala were well conserved. The ambience of sacredness and the serenity amidst the morning sunlight that started to shine slowly are the right factors that are in favor for the mind to be ready for a new experience that is sacred experience.

The method began with a narration of the story of the sacred place, the history, values, the association between human and the nature, human and the temple. It is aimed to tell students that ancient people had a complex culture and wisdom that permeated their ways of life, which can be a good example for those who know how to interpret it. In the beginning, the stories are narrated in a way that connects with common experiences of students. After that, the students listened to the description of the significance of the place and had a moment of reflection in front of the place.

When everyone was ready, they started to walk into the temple. Then they shared their feelings and discussed why each person felt this way. They also discussed the elements of the place that made these impressions. Afterwards, they were given an instruction to carefully contemplate things as they really are and always use consciousness to control behaviors and actions. Every step on fine grains of sand. The languid morning wind touching the skin, the gaze at the building whose bendable glass or Juen glitters in sunlight, the flowing shadow of carved wood, the delicate curves of the building and

2714 William, J. (2002). Varieties of religious experience: A study in human nature. London : Routledge. p 400.

etc, all of these factors are blended in perfect harmony. They follow the characteristics and forms in accordance with a custom that indicates the sacredness and the reverence. It is a form of physical appearance that allows humans to experience beauty and reminds us of another world that is more real than our daily life.

The students had a moment to absorb the inside of the Viharn before starting the discussion about the inner space that attached to the senses. During the discussion, it is noted that students were instantly aware that they should behave by not making noises but keeping their voice down. They acted in a respectful way. Some of them knelt down and calmly put their hands together and bowed to show respect to the place. John Len (2005) in his book about art and sacred said that these actions are the natural reactions to the sacredness and the mystery.15 It is a sign and a code of conduct that show that we are facing the sacredness in any form.

The “Intuitive Method” can be adapted to different situations and conditions. It may be concluded that the intuitive method is a way to practice the divine consciousness and the conception concerning visual forms, noise, smell, body and mind. The practice of the eye faculty concerns seeing the object not only with eyes but also ‘mind’. The practice of the ear faculty trains to listen carefully to the message conveyed by the speaker and to listen deeply to the context of the message. The practice of the body faculty enables to experience the world carefully and calmly so that it will the development of the wholesome wisdom. The practice of the mind faculty teaches to be mindful and train their consciousness with the conscience. When the mind experiences something, the mind should respond with mindfulness and calm16 so that it understands the objective of the sacred architecture. 

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15 John, L. (2005). The living tree, (K. Sodsai, Trans.) . Bangkok : Foundation For Children Publishing house. p.14816 สวัสดิรักษาคำกาพย cited in Sutthiwong, P. (1999). Buddhism methodology for social science research (ทฤษฎีการวิจัยทางสังคมศาสตรตามแนวพุทธศาสตร), Bangkok, The Thailand Research Fund.

4. Adaptation of mind method for interpreting Sacred Place

Experimental to create the impression and resultsAt the Department of Interior Design, Faculty of Decorative Arts, Silpakorn University, there is a study about Thai arts and architecture called the Survey of Thai Art 17 , Thai Decorative Art I18, II19, Oriental Decorative Art20 and Thai Motif in Interior Design21. It is a study about traditions, designs and decorative arts in furniture, tools, motif and building components, and the Thai contemporary arts in materials and production process. The students learn about design and Thai decorative arts. They can combine the knowledge from these subjects and the practice of the mind experience to express Thai arts. This way, the students can experiment with their experiences by using the sacred architecture as a model. They can change the conventional learning pattern to the new approach of the mind experience. Then they will realize the authentic values of sacred architecture and not stop concentrating only external aspects but also start searching for the hidden meanings, values and spirits of that sacred architecture.

As a result, the students not only realize the significance of sacred architecture but also the value of living cultural heritage.

“ Making us appreciate Thai arts more than before. It really makes us see the real beauty of Thai arts……When I visit the temple, I can see more than the beauty of the temple. My emotion built up as I was listening to teacher giving an explanation about the temple. It gives me goosebumps.”

Pornnipa Wongpraowmas.

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17 A brief study of the characteristics and style of Thai arts in two and three dimensions so that it can be applied in the design and the field trip 18 The study of the making of Thai furniture and tools in terms of characteristics and traditions19 The study of the decoration of Thai architecture in terms of characteristics and traditions20 The study of various styles of the decorative arts in Asia such as China, Japan and other countries, especially furniture, tools, motif and building components that are beneficial to the contemporary work of interior design. 21 The study and on-the-job training of the making of furniture, tools and interior decoration by investigating the design in terms of contemporary utility, Thai arts design and local crafts. It also includes the study of Thai contemporary arts for materials, the traditional production process, the local production process, the international production process as well as field trips. The designs originated from these studies will be adapted for modern use while maintaining the characteristics of Thai arts.

“There’s a change in me….I can relate to people’s attitude toward their works. It made me realize its value..... I didn’t think about it much in the past. But now I am aware of its significance because I know its value……this change affects my study and the decision on the topic of my thesis. It is accumulated.” 

Narawadee Kajornchaikul 

In short term, this method has an impact on the attitudes of the students. They are inspired to work on Thai arts. Particularly, there are more design works that are influenced by cultural heritage. Some students change their focus from western-style luxury to simple and oriental styles using natural materials such as the Chinese Martial Art Center by Narawadee Kajornchaikul is a good example of this style shift. There is a presentation on a design project that pays attention to the intangible values and spirituality rather than the physical appearance; for instance, the design contest that emphasizes community participation and the co-operation of students in the group.

For individual project and art thesis, there is a student who chooses the design project on the sacred place such as the “Religious Retreat in a Shopping Mall” project by Pornnipa Wongsepraomas. Many students are interested in the design projects that involve their native communities such as the Interior Design Proposal Project for “Bann Samui Resort” by Sayaporn Aporntip. This project aims to use local resources, apply local architecture and wisdom in Samui Island and create a sustainable development within the community. The Interior Design Proposal Project for Petchaburi Resort by Karnchanok In-Prung, which is inspired by local architectural in Petchaburi Province, the Interior Design Proposal Project for “NakornSri: The Gallery Hotel” by Katesarin Duangjit, which is inspired by local history of Nakhon Srithammarat Province, the Interior Design Proposal Project for “The Raintree Chiangrai” of Cholatorn Chamchan, the Interior Design Proposal Project for the hotels in Pom Prakarn Community by Pornnipa Wongsepraomas, which is initiated by the realization of the value of living heritage in Bangkok that is threatened. There is also a proposal of some challenging project such as the Thai Literature Amusement Park by Karnchanok In-Prung.  

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In Long Term, this method has just been tested on two groups of student (approximately 20 students).

Therefore, it is too early to conclude that this method will have a lasting impact on their choice of

career. However, some students hope to work in an interior design company that specializes in oriental

design or further their study in Thai design.

In the future, if the Intuitive Method can be used early and continually in teaching students about the

sacred place, Thai cultural heritage, Thai decorative arts and Thai architecture, it may help students

realize the value of Thai cultural heritage more deeply, creating more tangible results. Additionally,

students can apply this method with the contemporary interior design and produce the work of arts

that are modern while maintaining the characteristics of Thai arts.

5. Conclusion

It is difficult to rediscover the dimensions of the sacredness for non believers who reject the spiritual

aspect and accept only the profane physical existence. Each person has his/her own intentions. We

cannot make everyone see the value of the sacred place in the same direction. The students who

appreciate the sacred architecture at those days graduated and have their own way in order of the

‘profane’ carriers.  Perhaps this story is similar to what Assistant Prof. Payoon Mosikarat said that “One day in the future,

when these students have to work with the sacred place and the Thai cultural heritage…….then they

will think back about those feelings that they used to have.....” And that is when the intuitive method

will be recalled. 

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6. References

Eliade, M. (1959). The sacred and the profane: The nature of religion, W. R.Trask, Trans. . New York : A

Harvest Harcourt Brace Jovanovich.

Eliade, M. (1985). Symbolism, the sacred, and the arts, New York : Crossroad.

Icomos. (2008). 16th general assembly and international scientific symposium september 29th to

october 4th 2008. ICOMOS International.

Icomosthailand. (2008). The icomos thailand international conference 2008 and icomos thailand annual

meeting. ICOMOSThailand.

John, L. (2005). The living tree, (K. Sodsai, Trans.) Bangkok : Foundation For Children Publishing house.

Panin Ornsiri, Inpuntung Veera, Dankittikul Chaiyasit & Manop, I. (-). The evaluation of the state of thai studies in architecture, art and crafts (โครงการประมวลองคความรู เรื่อง การประเมินสถานภาพไทยศึกษาสถาปตยกรรม ศิลปกรรม และหัตถกรรม). Bangkok : The Thailand Research Fund (กองทุนสนับสนุนการวิจัย - สกว.).

Payutto , P. A. (-). Dictionary of numerical dhammas (พจนานุกรมพุทธศาสตร หมวดธรรม). Bangkok,:

Mahachulalongkornrajavidyalaya University.

Sutthiwong, P. (1999). Buddhism methodology for social science research (ทฤษฎีการวิจัยทางสังคมศาสตรตามแนวพุทธศาสตร). Bangkok : The Thailand Research Fund.

William, J. (2002). Varieties of religious experience: A study in human nature. London : Routledge.

AcknowledgementI would like to thank Assistant Prof. Payoon Mosikarat of Interior Design Department, Faculty of

Decorative Art, Silpakorn University and Assistant Prof. Woralun Boonyasurat of Chiang Mai University

who transpire this idea. Also thanks to the students of Interior Design Department, Faculty of Decorative

Art, Silpakorn University who are good company for their well participates that support my work.

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Regaining'Spiritual'Experience:' Conserving*Sacred*Architecture*by*(so6called)*Intui:ve*Method**or*“Mind”'Method

'Waranan''Sowannee*Lecturer*of*Department*of*Interior*Design,*Faculty*of*Decora:ve*Arts,*

Silpakorn*University

Sacred*space*and*place*in*Thai*contexts

Scope&on&Buddhist&Sacred&Architecture

Outer'Space

Inner*Space*or*‘the'Mind’

Picture*from*Blog_hJpchitasangvaro.mul:ply.comphotosalbum77#1

Inspira?on*

• Inves:ga:on*teaching*techniques*of*Assistant*Professor*Woralun*Boonyasurat*of*Chiang*Mai*University*

Pic*by*Ji:ma**

• Inves:ga:on*teaching*techniques*of*Assistant*Prof.*Payoon*Mosikarat*,*Ajan*Somprasong*Chaw6na6rai**Silpakorn*University,*

* Ajan*Kir:khacara*Jayadhira*of*** Chiang*Mai*University*

• Experiencing*Sacred*Places** as*

– Pilgrim*– Student*– Tourist

Triangula?on'Methodologies

Inves:ga:on*teaching*techniques

Experiencing*Inner*Space

Experiencing*Sacred*Space

•''ABaching'sacred'place'through'the'mind'*•''Focusing'on'individual'experience'

Sacred'Architecture*

‘Defini?on’'of'Sacred'Architecture

• Various*Aspect*of*the*‘Architectural'Study’*

• Architectural*History*• *Style*Adapta:on*• Architectural*Styles*• Philosophy*Belief*and*Tradi:on*• Management*• Technology*• Conserva:on**• Architectural*Heritage*Management

Adapted*from*Panin*Ornsiri,*Inpuntung*Veera,*DankiZkul*Chaiyasit*&*I.*Manop,*The&Evalua6on&of&The&State&of&Thai&Studies&in&Architecture,&Art&and&Cra:s&,&Bangkok:*The*Thailand*Researcch*Fund

The*word*‘Experience’

From*– Chris:an*Norberg6Schulz*

• ‘Inten:on*of*Architecture’*– Anada*Ken:sh*Coomaraswamy**

• ‘the*Transforma:on*of*Nature*in*Art’,**• ‘The*Dance*of*Shiva’,**• ‘Source*of*Wisdom’,*…*etc.**

– Stella*Kramrisch*• a*metaphysical*approach*to*understand*Indian*sacred*architectures*both*sacred*and*

scien:fic*dimensions.*– Somprasong*Chaw6na6rai*(Thai*Ar:st)*– Kir:khacara*Jayadhira*(*Thai*researcher)*

Etc.

Sacred'Architecture'as'a''‘'Medium'’'*

• A*‘bridge*to*connect*abstract*meaning*and*common*people’.*

• Communicates*the*intangible*or*the*abstract*through*tangible*physical*appearances.

' Buddhist'Sacred'Architecture*

• the*space*of*Buddhism*precepts.*• a*medium*to*interpret*virtue*codes*of*moral,*the*doctrine,*or**the*ul:mate*truth

Buddhist'Sacred'Architecture'*– manifes:ng*abstract*meaning……*through**• the*myths,**• the*space,**• the*metaphoric*materials,**• the*mo:f*of*elements*….*Etc.*

Human*Sensa:ons

The'Implementa?ons'to'ABach'Sacred'Architecture

The'right'condi?ons'of,'*

• Internal*sense*fields*• External*sense6fields*• the*Environment*• the*Physical*Condi:ons*of*a*sacred*architecture*• the*Interpreter*• Individual*Inten:ons*

Mind NoseEyes

Body

Ears

Sound

Smell

Tangible*contact

Forms

External*sense6fields

Sensory*Gates

Environment

Individual*Inten:ons*

The'cri?cal'tensions'

• Individual*percep:ons,**• Experiences,**• Opinions**• AZtudes*• Limits*of*intellect**

of*Researcher…..Myself,**especially*Visitors,*Reader,*Audience*or*…….Yourself.

The'Process'of'Mind

Visible*objects*Sounds*Smell*Touch*

Individual*percep:ons,**Experiences,**Opinions**AZtudes**Limits*of*intellect*

Eyes*Nose*Ears*Body

Mind

Consciousness

Internal*World

External*World

Consciousness

Percep?on

Mental'Cooking

Mental'Feeling

Posi?ve

Neutral

Nega?ve

The'Process'of'Mind

Mental*Feeling Posi:ve

Neutral

Nega:ve

Right'Understanding

No*Significance

The*Law*of*Dependent*Origina:on*(Pa:cca6samuppada)

Adapted*from*Buddhadasabhikkhu,*Pa:cca6Samuppada*and*Phra*Bhasakorn*Bhavilai,*Karma*for*today’s*traveller**Picture*:*Buddhadasabhikkhu,*Pa:cca6Samuppada*

Right'View

Wrong'View

– To*prac:ce*the*eye*faculty*concerns*seeing*the*object*not*only*with*eyes*but*also*with*‘mind’.*

– To*prac:ce*of*the*ear*faculty*trains*to*listen*carefully*to*the*message*conveyed*by*the*sacred*circumstance*

– To*prac:ce*of*the*body*faculty*enables*to*experience*the*world*carefully*and*calmly*

– The*prac:ce*of*the*mind*faculty*teaches*to*be*mindful*and*train*individual*consciousness

Picture:*Monastery,*A.*R.*B.,*(2007).*Forest*Sangha*Calendar*2007,**Herfordshire:*Aruna*Publica:ons.

While*looking,*to*prac:ce*the*eye*faculty*concerns*seeing*the*object*not*only*with*eyes*but*also*with*‘mind’.*

While*moving,*to*prac:ce*of*the*body*faculty*enables*to*experience*the*world*carefully*and*calmly*so*that*it*will*develop*the*wholesome*wisdom.*

* Always*prac:ce*the*divine*consciousness*and*the*concep:on*concerning*visual*forms,*noise,*smell,*body*and*mind*in*every*the*units*of*‘Mind’.

From'the'Idea'to'Tested'Model'and'Results

• Department*of*Interior*Design,*Faculty*of*Decora:ve*Arts,*Silpakorn*University

The*prac:ce*of**‘the'mind'experience’

Create'the'Impression'through'mind'at'Wat'Ton'Kwen*The*authen:c*elements*of*the*temple*such*as*Viharn*(an*assembly*hall),*Lan6Sai,*three*sides’*cloisters*and*Sala*were*well*conserved.

• As*a*result,*the*students*not*only*realize*the*significance*of*sacred*architecture*but*also*the*value*of*living*cultural*heritage.*

• Inspired*to*work*on*Thai*arts*• more*design*projects*that*are*influenced*by*cultural*heritage.*

Picture*:*Art*Thesis*by*Chonlatorn*Cham6Chan,*Interior*Design*Dep.,*SU.*Picture*:*Art*Thesis*by*Chonlatorn*Cham6Chan,*Interior*Design*Dep.,*SU.*

“Religious'Retreat'in'a'Shopping'Mall”'project'by*Pornnipa*Wongsepraomas.*

'Thai'Arts'and'Inspira?on'to'Design.

by*Sayaporn*Aporn:p*and*Supot*Buayu,*Interior*Design*student,*Faculty*of*Decora:ve*Arts,*Silpakorn*U.

By*Sayaporn*Aporn:p*and*Supot*Buayu

by*Sayaporn*Aporn:p*

Na?ve'Communi?es''Awareness

Interior*Design*Proposal*Project*for*“Bann*Samui*Resort”**and*“The*Island*Cruise”*by*Sayaporn*Aporn:p.

Highly*individual*‘Inner'Sense’*and*‘Aesthe?c'Sense’'*Use*‘Feeling'Approach’'to*aJach*place

Design*Development*of*Sayaporn*Aporn:p.

Interior*Design*Proposal*Project*for*“Bann*Samui*Resort”**and*“The*Island*Cruise”*by*Sayaporn*Aporn:p.

Interior*Design*Proposal*Project*for*“Bann*Samui*Resort”**and*“The*Island*Cruise”*by*Sayaporn*Aporn:p.

Thai*Literature*Amusement*Park*by*Karnchanok*In6Prung.**

*Art*Thesis*by*Chonlatorn*Cham6Chan,**Interior*Design*Dep.,*SU.*

*Art*Thesis*by*Chonlatorn*Cham6Chan,**Interior*Design*Dep.,*SU.*

* Each*person*has*‘Own'Inten?ons’.**

*Each*person*has*‘Different'levels'of'intellect’.****We*cannot*make*everyone*understand*the*value*of*the*sacred*place*in*the*same*direc:on.

It'long'for'the'individual'aWtude….............It'long'for'Individual'‘Sacred'Mind’

หลักฐานการตีพิมพเผยแพร การบรรณาธิการและตรวจสอบคุณภาพ

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