A Typical Studio a-typical group of designer who work with a broad range of art form.

28/08/2026

Mnemonic Facade
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70 years ARCH SU
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2025
Sala Thai Ballroom, Marriott Marquis, Bangkok
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Mnemonic Facade
—
70 years ARCH SU
—
2025
Sala Thai Ballroom, Marriott Marquis, Bangkok
—
Mnemonic Facade āđ€āļ›āđ‡āļ™āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢ Interactive Installation āļ—āļĩāđˆāļˆāļąāļ”āļ‚āļķāđ‰āļ™āđ€āļ™āļ·āđˆāļ­āļ‡āđƒāļ™āđ‚āļ­āļāļēāļŠāļ„āļĢāļšāļĢāļ­āļš 70 āļ›āļĩ āļ„āļ“āļ°āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļĻāļēāļŠāļ•āļĢāđŒ āļĄāļŦāļēāļ§āļīāļ—āļĒāļēāļĨāļąāļĒāļĻāļīāļĨāļ›āļēāļāļĢ āđ‚āļ”āļĒāļŠāļ§āļ™āļĻāļīāļĐāļĒāđŒāđ€āļāđˆāļēāđāļĨāļ°āļŠāļĄāļēāļŠāļīāļāđƒāļ™āļŠāļļāļĄāļŠāļ™āļ‚āļ­āļ‡āļ„āļ“āļ°āļāļĨāļąāļšāļĄāļēāļĢāđˆāļ§āļĄāļĢāļ·āđ‰āļ­āļŸāļ·āđ‰āļ™āļšāļĢāļĢāļĒāļēāļāļēāļĻ āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§ āđāļĨāļ°āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļ—āļĩāđˆāđ€āļ„āļĒāđ€āļāļīāļ”āļ‚āļķāđ‰āļ™āļ āļēāļĒāđƒāļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđāļŦāđˆāļ‡āļ™āļĩāđ‰ āļœāđˆāļēāļ™āļ„āļĨāļąāļ‡āļ āļēāļžāļ–āđˆāļēāļĒāđāļĨāļ°āļāļīāļˆāļāļĢāļĢāļĄāļ•āđˆāļēāļ‡ āđ† āļ—āļĩāđˆāļŦāļĨāļēāļĒāļ„āļ™āđ€āļ„āļĒāļĄāļĩāļŠāđˆāļ§āļ™āļĢāđˆāļ§āļĄāđāļĨāļ°āļˆāļ”āļˆāļģāļĢāđˆāļ§āļĄāļāļąāļ™

āļāļīāļˆāļāļĢāļĢāļĄāđ€āļĢāļīāđˆāļĄāļ•āđ‰āļ™āļˆāļēāļāļāļēāļĢāļŠāđāļāļ™ QR Code āđ€āļžāļ·āđˆāļ­āļ—āļģāđāļšāļšāļŠāļ­āļšāļ–āļēāļĄāļŠāļąāđ‰āļ™ āđ† āļ āļēāļĒāđƒāļ•āđ‰āļ„āļģāļ–āļēāļĄāļ§āđˆāļē
“āļ„āļļāļ“āļ„āļīāļ”āļ–āļķāļ‡āļāļīāļˆāļāļĢāļĢāļĄāđƒāļ”āļĄāļēāļāļ—āļĩāđˆāļŠāļļāļ”āđƒāļ™āļŠāđˆāļ§āļ‡āļ—āļĩāđˆāļĒāļąāļ‡āđ€āļĢāļĩāļĒāļ™āļ­āļĒāļđāđˆ?”

āļœāļđāđ‰āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāļŠāļēāļĄāļēāļĢāļ–āļšāļ­āļāđ€āļĨāđˆāļēāļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļ āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģ āđāļĨāļ°āļ­āļąāļ›āđ‚āļŦāļĨāļ”āļ āļēāļžāļ–āđˆāļēāļĒāļ—āļĩāđˆāđ€āļŠāļ·āđˆāļ­āļĄāđ‚āļĒāļ‡āļāļąāļšāļŠāđˆāļ§āļ‡āđ€āļ§āļĨāļēāļ™āļąāđ‰āļ™ āđ€āļžāļ·āđˆāļ­āļĢāđˆāļ§āļĄāļāļąāļ™āļŠāļĢāđ‰āļēāļ‡āļ„āļĨāļąāļ‡āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļ—āļĩāđˆāļŠāļ°āļ—āđ‰āļ­āļ™āļĄāļļāļĄāļĄāļ­āļ‡āđāļĨāļ°āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļ„āļīāļ”āļ–āļķāļ‡āļ—āļĩāđˆāđāļ•āļāļ•āđˆāļēāļ‡āļāļąāļ™āļ‚āļ­āļ‡āđāļ•āđˆāļĨāļ°āļ„āļ™

āđ€āļĄāļ·āđˆāļ­āļ—āļģāđāļšāļšāļŠāļ­āļšāļ–āļēāļĄāđ€āļŠāļĢāđ‡āļˆāļŠāļīāđ‰āļ™ āļĢāļ°āļšāļšāļˆāļ°āļŠāļĢāđ‰āļēāļ‡ Digital Postcard āļ—āļĩāđˆāļšāļąāļ™āļ—āļķāļāļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļ‚āļ­āļ‡āļœāļđāđ‰āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāđ„āļ§āđ‰āđƒāļ™āļĢāļđāļ›āđāļšāļšāđ€āļ‰āļžāļēāļ°āļšāļļāļ„āļ„āļĨ āļŠāļēāļĄāļēāļĢāļ–āđ€āļāđ‡āļšāđ„āļ§āđ‰āļŦāļĢāļ·āļ­āļŠāđˆāļ‡āļ•āđˆāļ­āđƒāļŦāđ‰āđ€āļžāļ·āđˆāļ­āļ™ āļžāļĩāđˆ āđāļĨāļ°āļ™āđ‰āļ­āļ‡ āđ€āļžāļ·āđˆāļ­āļŠāļ§āļ™āđƒāļŦāđ‰āļœāļđāđ‰āļ„āļ™āļāļĨāļąāļšāļĄāļēāļĢāđˆāļ§āļĄāđāļšāđˆāļ‡āļ›āļąāļ™āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āđāļĨāļ°āđ€āļ•āļīāļĄāđ€āļ•āđ‡āļĄāļ„āļĨāļąāļ‡āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļ™āļĩāđ‰āļ•āđˆāļ­āđ„āļ›

āļ āļēāļĒāđƒāļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢ āļ āļēāļžāļ–āđˆāļēāļĒāļ—āļąāđ‰āļ‡āļŦāļĄāļ”āļ—āļĩāđˆāđ„āļ”āđ‰āļĢāļąāļšāļˆāļēāļāļœāļđāđ‰āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāļˆāļ°āļ–āļđāļāļ™āļģāļāļĨāļąāļšāļĄāļēāļˆāļąāļ”āđāļŠāļ”āļ‡āđƒāļ™āļĢāļđāļ›āđāļšāļšāļ‚āļ­āļ‡ Mnemonic Facade — āļŸāļēāļ‹āļēāļ”āđāļŦāđˆāļ‡āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģ āđ‚āļ”āļĒāļŠāļąāļ”āļŠāđˆāļ§āļ™āļ‚āļ­āļ‡āļ āļēāļžāđƒāļ™āđāļ•āđˆāļĨāļ°āļŠāđˆāļ§āļ™āļˆāļ°āđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āđ„āļ›āļ•āļēāļĄ â€œāļĢāļ°āļ”āļąāļšāļ„āļ§āļēāļĄāļ„āļīāļ”āļ–āļķāļ‡â€ āļ—āļĩāđˆāļœāļđāđ‰āđ€āļ‚āđ‰āļēāļĢāđˆāļ§āļĄāđ„āļ”āđ‰āđ€āļĨāļ·āļ­āļāđ„āļ§āđ‰ āļ āļēāļĒāđƒāļ•āđ‰ 7 āļŦāļĄāļ§āļ”āļŦāļĄāļđāđˆāđāļŦāđˆāļ‡āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģ

āļˆāļēāļāļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļŠāđˆāļ§āļ™āļšāļļāļ„āļ„āļĨāļ—āļĩāđˆāļāļĢāļ°āļˆāļąāļ”āļāļĢāļ°āļˆāļēāļĒāļ­āļĒāļđāđˆāđƒāļ™āļŠāđˆāļ§āļ‡āđ€āļ§āļĨāļēāđāļĨāļ°āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđŒāļ—āļĩāđˆāđāļ•āļāļ•āđˆāļēāļ‡āļāļąāļ™ āļ āļēāļžāļ–āđˆāļēāļĒāđ€āļŦāļĨāđˆāļēāļ™āļĩāđ‰āļˆāļķāļ‡āļ„āđˆāļ­āļĒ āđ† āļ–āļđāļāļ›āļĢāļ°āļāļ­āļšāļ‚āļķāđ‰āļ™āđƒāļŦāļĄāđˆāđ€āļ›āđ‡āļ™āļ āļēāļžāļĢāđˆāļ§āļĄāļ‚āļ­āļ‡āļŠāļĩāļ§āļīāļ•āđƒāļ™āļ„āļ“āļ° āđāļĨāļ°āđ€āļ›āļĨāļĩāđˆāļĒāļ™āļŸāļēāļ‹āļēāļ”āļ‚āļ­āļ‡āļ­āļēāļ„āļēāļĢāđƒāļŦāđ‰āļāļĨāļēāļĒāđ€āļ›āđ‡āļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ—āļĩāđˆāļšāļąāļ™āļ—āļķāļāđāļĨāļ°āļŠāļ°āļ—āđ‰āļ­āļ™ āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļĢāđˆāļ§āļĄāļ‚āļ­āļ‡āļœāļđāđ‰āļ„āļ™āļŦāļĨāļēāļĒāļĢāļļāđˆāļ™

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Mnemonic Facade is an interactive installation created to commemorate the 70th anniversary of the Faculty of Architecture, Silpakorn University. The project invites alumni and members of the Faculty community to revisit the atmosphere, experiences, and collective memories associated with their time at the Faculty through an evolving archive of photographs and shared activities.

The experience begins with a QR code–based survey asking participants to identify the activity they miss most from their time as students. Participants are also invited to share personal reflections and upload photographs associated with these memories, contributing to a collective archive that represents diverse perspectives of nostalgia within the Faculty community.

Upon completion of the survey, a Digital Postcard is generated as a personalized record of participation. It can also be shared with friends, seniors, and juniors, extending the invitation for others to contribute their own memories to the growing archive.

Within the exhibition, the submitted photographs are brought together to form the Mnemonic Facade — a facade of memories. The visual composition is determined by the proportion of responses associated with different levels of nostalgia, organized across seven categories of memories.

Through this process, individual photographs and personal recollections are gradually transformed into a collective representation of life within the Faculty, turning the architectural facade into a surface through which memories from different generations can coexist, overlap, and be rediscovered.

01/02/2026
01/02/2026
The Fort’s narrative Banglamphu playing history_Bangkok Design Week 202629 January - 8 February 202618:30-21:30Phra Sume...
01/02/2026

The Fort’s narrative
Banglamphu playing history
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Bangkok Design Week 2026

29 January - 8 February 2026
18:30-21:30
Phra Sumen Fort , Santichaiprakarn Park, Phra Athit Rd
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āļŦāļēāļāļžāļđāļ”āļ–āļķāļ‡āļĒāđˆāļēāļ™āļ—āļĩāđˆāđ€āļ•āđ‡āļĄāđ„āļ›āļ”āđ‰āļ§āļĒāļ„āļ§āļēāļĄāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ—āļąāđ‰āļ‡āļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄ āļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ• āđāļĨāļ°āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄ āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļŠāļ·āđˆāļ­āļ—āļĩāđˆāļŦāļĨāļēāļĒāļ„āļ™āļ™āļķāļāļ–āļķāļ‡āļ„āļ‡āļŦāļ™āļĩāđ„āļĄāđˆāļžāđ‰āļ™ â€œāļšāļēāļ‡āļĨāļģāļžāļđ” āļĒāđˆāļēāļ™āđ€āļāđˆāļēāđāļāđˆāļ—āļĩāđˆāļ”āļđāļ„āļķāļāļ„āļąāļāļ­āļĒāļđāđˆāđ€āļŠāļĄāļ­ āđāļ•āđˆāđ€āļšāļ·āđ‰āļ­āļ‡āļŦāļĨāļąāļ‡āļ„āļ§āļēāļĄāļĄāļĩāļŠāļĩāļ§āļīāļ•āļŠāļĩāļ§āļēāļ™āļĩāđ‰ āļĒāļąāļ‡āļĄāļĩāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ—āļēāļ‡āļ›āļĢāļ°āļ§āļąāļ•āļīāļĻāļēāļŠāļ•āļĢāđŒāļ—āļĩāđˆāļ‹āđˆāļ­āļ™āļ­āļĒāļđāđˆāļ­āļĩāļāļĄāļēāļāļĄāļēāļĒ āđ€āļžāļĢāļēāļ°āļāļ§āđˆāļēāļšāļēāļ‡āļĨāļģāļžāļđāļˆāļ°āļāļĨāļēāļĒāļĄāļēāđ€āļ›āđ‡āļ™āļ­āļĒāđˆāļēāļ‡āļ—āļĩāđˆāđ€āļĢāļēāđ€āļŦāđ‡āļ™āđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™ āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđāļŦāđˆāļ‡āļ™āļĩāđ‰āđ„āļ”āđ‰āļœāđˆāļēāļ™āļāļēāļĢāđ€āļ›āļĨāļĩāđˆāļĒāļ™āļšāļ—āļšāļēāļ—āđ„āļ›āļ•āļēāļĄāļāļēāļĢāļžāļąāļ’āļ™āļēāļ‚āļ­āļ‡āđ€āļĄāļ·āļ­āļ‡āļĄāļēāđ‚āļ”āļĒāļ•āļĨāļ­āļ”
āđ€āļ”āļīāļĄāļ—āļĩāļšāļēāļ‡āļĨāļģāļžāļđāđ€āļ„āļĒāđ€āļ›āđ‡āļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĨāļļāđˆāļĄāļĢāļīāļĄāļ™āđ‰āļģāļ—āļĩāđˆāļĄāļĩāļ•āđ‰āļ™āļĨāļģāļžāļđāļ‚āļķāđ‰āļ™āļ­āļĒāļđāđˆāļ­āļĒāđˆāļēāļ‡āļŦāļ™āļēāđāļ™āđˆāļ™ āļāđˆāļ­āļ™āļˆāļ°āļ–āļđāļāļĒāļāļĢāļ°āļ”āļąāļšāđƒāļŦāđ‰āļĄāļĩāļ„āļ§āļēāļĄāļŠāļģāļ„āļąāļāđƒāļ™āļāļēāļ™āļ°āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĒāļļāļ—āļ˜āļĻāļēāļŠāļ•āļĢāđŒāļ‚āļ­āļ‡āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļžāļĢāļ°āļ™āļ„āļĢāđƒāļ™āļŠāļĄāļąāļĒāļĢāļąāļŠāļāļēāļĨāļ—āļĩāđˆ 1 āļāļēāļĢāļžāļąāļ’āļ™āļēāļ™āļĩāđ‰āļ™āļģāļĄāļēāļ‹āļķāđˆāļ‡āļāļēāļĢāļŦāļĨāļ­āļĄāļĢāļ§āļĄāļ‚āļ­āļ‡āļœāļđāđ‰āļ„āļ™āļŦāļĨāļēāļāļŦāļĨāļēāļĒāļŠāļēāļ•āļīāļžāļąāļ™āļ˜āļļāđŒ āļ—āļąāđ‰āļ‡āđ„āļ—āļĒ āļĄāļ­āļ āļĄāļĨāļēāļĒāļđ āđāļĨāļ°āļˆāļĩāļ™ āļˆāļ™āļšāļēāļ‡āļĨāļģāļžāļđāļāļĨāļēāļĒāđ€āļ›āđ‡āļ™āļĒāđˆāļēāļ™āļŦāļąāļ•āļ–āļāļĢāļĢāļĄāļŠāļąāđ‰āļ™āļŠāļđāļ‡āđāļĨāļ°āļĻāļđāļ™āļĒāđŒāļāļĨāļēāļ‡āļāļēāļĢāļ„āđ‰āļēāļ—āļēāļ‡āļ™āđ‰āļģāļ—āļĩāđˆāļ„āļķāļāļ„āļąāļāđƒāļ™āđ€āļ§āļĨāļēāļ•āđˆāļ­āļĄāļēāđ€āļĄāļ·āđˆāļ­āļŠāļąāļ‡āļ„āļĄāļāđ‰āļēāļ§āđ€āļ‚āđ‰āļēāļŠāļđāđˆāļĒāļļāļ„āļāļēāļĢāļ„āļĄāļ™āļēāļ„āļĄāļ—āļēāļ‡āļšāļ āļšāļēāļ‡āļĨāļģāļžāļđāļāđ‡āļ›āļĢāļąāļšāļ•āļąāļ§āđ€āļ›āđ‡āļ™āļ•āļĨāļēāļ”āļšāļāđāļĨāļ°āļĒāđˆāļēāļ™āļāļēāļĢāļ„āđ‰āļēāļ—āļĩāđˆāļ—āļąāļ™āļŠāļĄāļąāļĒāļ—āļĩāđˆāļŠāļļāļ”āđāļŦāđˆāļ‡āļŦāļ™āļķāđˆāļ‡āđƒāļ™āļĒāļļāļ„āļ™āļąāđ‰āļ™ āļ—āļąāđ‰āļ‡āļĒāļąāļ‡āđ€āļ„āļĒāđ€āļ›āđ‡āļ™āļĻāļđāļ™āļĒāđŒāļĢāļ§āļĄāđāļŸāļŠāļąāđˆāļ™āđāļĨāļ°āļŦāđ‰āļēāļ‡āļŠāļĢāļĢāļžāļŠāļīāļ™āļ„āđ‰āļē āļāđˆāļ­āļ™āļˆāļ°āļĄāļēāļ–āļķāļ‡āļˆāļļāļ”āđ€āļ›āļĨāļĩāđˆāļĒāļ™āļŠāļģāļ„āļąāļāđƒāļ™āļ›āļąāļˆāļˆāļļāļšāļąāļ™ āđ€āļĄāļ·āđˆāļ­āļ–āļ™āļ™āļ‚āđ‰āļēāļ§āļŠāļēāļĢāđāļĨāļ°āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđ‚āļ”āļĒāļĢāļ­āļšāļāļĨāļēāļĒāđ€āļ›āđ‡āļ™ â€œāļžāļ·āđ‰āļ™āļ—āļĩāđˆāļŠāļēāļāļĨ” āļ—āļĩāđˆāļ•āđ‰āļ­āļ™āļĢāļąāļšāļ™āļąāļāđ€āļ”āļīāļ™āļ—āļēāļ‡āļˆāļēāļāļ—āļąāđˆāļ§āđ‚āļĨāļ
āļāļēāļĢāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āđ€āļŦāļĨāđˆāļēāļ™āļĩāđ‰āđ„āļĄāđˆāđ„āļ”āđ‰āļŦāļĄāļēāļĒāļ–āļķāļ‡āļāļēāļĢāļĨāļ°āļ—āļīāđ‰āļ‡āļĢāļēāļāđ€āļŦāļ‡āđ‰āļēāđ€āļ”āļīāļĄ āļ‹āđ‰āļ­āļ™āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāđƒāļŦāļĄāđˆāļĨāļ‡āļšāļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāđ€āļāđˆāļēāļˆāļ™āđ€āļāļīāļ”āđ€āļ›āđ‡āļ™āļ­āļąāļ•āļĨāļąāļāļĐāļ“āđŒāļžāļŦāļļāļ§āļąāļ’āļ™āļ˜āļĢāļĢāļĄāļ—āļĩāđˆāļŠāļąāļ”āđ€āļˆāļ™ āđ€āļŦāđ‡āļ™āđ„āļ”āđ‰āļˆāļēāļāļŠāļļāļĄāļŠāļ™āļšāļ§āļĢāļĢāļąāļ‡āļŠāļĩāļŦāļĢāļ·āļ­āļĒāđˆāļēāļ™āļšāđ‰āļēāļ™āļžāļēāļ™āļ–āļĄ āļ—āļĩāđˆāļĒāļąāļ‡āļ„āļ‡āļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ•āļ”āļąāđ‰āļ‡āđ€āļ”āļīāļĄāļ„āļ§āļšāļ„āļđāđˆāđ„āļ›āļāļąāļšāļ˜āļļāļĢāļāļīāļˆāļ—āđˆāļ­āļ‡āđ€āļ—āļĩāđˆāļĒāļ§āļŠāļĄāļąāļĒāđƒāļŦāļĄāđˆ āļ„āļ§āļēāļĄāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ—āļąāđ‰āļ‡āļŦāļĄāļ”āļ™āļĩāđ‰āđ€āļ­āļ‡āļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļŦāļąāļ§āđƒāļˆāļ‚āļ­āļ‡āļšāļēāļ‡āļĨāļģāļžāļđ āļĒāđˆāļēāļ™āļ—āļĩāđˆāđ€āļ›āļīāļ”āļāļ§āđ‰āļēāļ‡āļ•āđˆāļ­āļ„āļ§āļēāļĄāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡ āđāļĨāļ°āļĒāļąāļ‡āļ„āļ‡āļĢāļąāļāļĐāļēāđ€āļŠāļ™āđˆāļŦāđŒāļ‚āļ­āļ‡āļ„āļ§āļēāļĄāđ€āļ›āđ‡āļ™āļĒāđˆāļēāļ™āđ€āļāđˆāļēāđ„āļ§āđ‰āđ„āļ”āđ‰āļ­āļĒāđˆāļēāļ‡āļ”āļĩ
āđāļĨāļ°āļ”āđ‰āļ§āļĒāļ„āļ§āļēāļĄāļŠāļĨāļąāļšāļ‹āļąāļšāļ‹āđ‰āļ­āļ™āļ‚āļ­āļ‡āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ āļēāļĒāđƒāļ•āđ‰āļ­āļąāļ•āļĨāļąāļāļĐāļ“āđŒāđāļŦāđˆāļ‡āļ„āļ§āļēāļĄāļŦāļĨāļēāļāļŦāļĨāļēāļĒāļ™āļĩāđ‰āđ€āļ­āļ‡ Banglamphu Walking History āļˆāļķāļ‡āļˆāļ°āļžāļēāļ—āļļāļāļ„āļ™āļāļĨāļąāļšāđ„āļ›āļ—āļšāļ—āļ§āļ™āđāļĨāļ°āļ—āļģāļ„āļ§āļēāļĄāļĢāļđāđ‰āļˆāļąāļāđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āđāļĨāļ°āļ§āļīāļ–āļĩāļŠāļĩāļ§āļīāļ•āļ‚āļ­āļ‡āļšāļēāļ‡āļĨāļģāļžāļđāđƒāļ™āļĢāļđāļ›āđāļšāļšāđ€āļāļĄ 8-bit āđ€āļ›āļīāļ”āđ‚āļ­āļāļēāļŠāđƒāļŦāđ‰āļœāļđāđ‰āļŠāļĄāļŠāļ§āļĄāļšāļ—āļšāļēāļ—āđ€āļ›āđ‡āļ™ â€œāļŦāļīāđˆāļ‡āļŦāđ‰āļ­āļĒ” āļ—āļĩāđˆāļĨāļ­āļĒāļŠāļģāļĢāļ§āļˆāļžāļ·āđ‰āļ™āļ—āļĩāđˆ āđ€āļĢāļĩāļĒāļ™āļĢāļđāđ‰āđ€āļĢāļ·āđˆāļ­āļ‡āļĢāļēāļ§āļ‚āļ­āļ‡āļĒāđˆāļēāļ™āļœāđˆāļēāļ™āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄ āļœāļđāđ‰āļ„āļ™ āđāļĨāļ°āļāļīāļˆāļāļĢāļĢāļĄāļ—āļĩāđˆāđ€āļ›āļĨāļĩāđˆāļĒāļ™āđāļ›āļĨāļ‡āđ„āļ›āļ•āļēāļĄāļāļēāļĨāđ€āļ§āļĨāļē āđ‚āļ”āļĒāļŠāļēāļĄāļēāļĢāļ–āđ€āļĨāļ·āļ­āļāđ€āļ›āļĨāļĩāđˆāļĒāļ™ â€œāļ”āđˆāļēāļ™â€ āļ‚āļ­āļ‡āļšāļēāļ‡āļĨāļģāļžāļđāđ„āļ”āđ‰ āļ‹āļķāđˆāļ‡āđāļšāđˆāļ‡āļ­āļ­āļāđ€āļ›āđ‡āļ™ 3 āļĒāļļāļ„āļŦāļĨāļąāļ āļœāđˆāļēāļ™āļāļēāļĢāļŠāļĨāļąāļšāļ•āļĨāļąāļšāđ€āļāļĄāļŠāđ„āļ•āļĨāđŒāļĒāļļāļ„ 90s āļ—āļĩāđˆāđ€āļ•āļĢāļĩāļĒāļĄāđ„āļ§āđ‰āļŠāļģāļŦāļĢāļąāļšāđāļ•āđˆāļĨāļ°āļŠāđˆāļ§āļ‡āđ€āļ§āļĨāļēāļ™āļ­āļāļˆāļēāļāļāļēāļĢāļŠāļģāļĢāļ§āļˆāđāļĨāđ‰āļ§ āļœāļđāđ‰āļŠāļĄāļĒāļąāļ‡āļŠāļēāļĄāļēāļĢāļ–āļĄāļĩāļŠāđˆāļ§āļ™āļĢāđˆāļ§āļĄāđƒāļ™āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ•āļąāļ§āļĨāļ°āļ„āļĢ NPC āđ€āļžāļ·āđˆāļ­āļ™āļģāđ€āļ‚āđ‰āļēāđ„āļ›āļ­āļĒāļđāđˆāđƒāļ™āđ‚āļĨāļāļ‚āļ­āļ‡āđ€āļāļĄ āļ—āļģāđƒāļŦāđ‰āļšāļēāļ‡āļĨāļģāļžāļđāđƒāļ™āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāđāļŦāđˆāļ‡āļ™āļĩāđ‰āđ„āļĄāđˆāđƒāļŠāđˆāđ€āļžāļĩāļĒāļ‡āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļ‚āļ­āļ‡āļ­āļ”āļĩāļ•āļ—āļĩāđˆāļ–āļđāļāđ€āļĨāđˆāļēāđƒāļŦāđ‰āļŸāļąāļ‡ āđāļ•āđˆāđ€āļ›āđ‡āļ™āļžāļ·āđ‰āļ™āļ—āļĩāđˆāļĄāļĩāļŠāļĩāļ§āļīāļ•āļ—āļĩāđˆāđ€āļ›āļīāļ”āđƒāļŦāđ‰āļ—āļļāļāļ„āļ™āđ„āļ”āđ‰āļĢāđˆāļ§āļĄāļŠāļĢāđ‰āļēāļ‡āđāļĨāļ°āļ•āļĩāļ„āļ§āļēāļĄāđƒāļ™āļĢāļđāļ›āđāļšāļšāļ‚āļ­āļ‡āļ•āļ™āđ€āļ­āļ‡āđ„āļ›āļžāļĢāđ‰āļ­āļĄāļāļąāļ™
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When discussing districts brimming with diversity in culture, lifestyle, and architecture, "Banglamphu" inevitably comes to mind a historic neighborhood that remains perpetually vibrant. Yet, behind this liveliness lies a wealth of hidden history. To become the district we see today, Banglamphu has continuously evolved, shifting its role in step with the city’s development.

Originally a low-lying riverside area densely populated with cork trees (Lamphu), the area was elevated to strategic importance during the establishment of the capital in the reign of King Rama I. This development fostered a melting pot of diverse ethnicities—Thai, Mon, Malay, and Chinese—transforming Banglamphu into a hub for high-quality craftsmanship and a bustling center of riverine trade. As society transitioned to the era of land transportation, Banglamphu adapted, becoming a land-based market and one of the most modern commercial districts of the time, once serving as a center for fashion and department stores. This leads to its current significant turning point, where Khao San Road and its surrounding areas have become an "international space" welcoming travelers from across the globe.

These changes do not signify an abandonment of original roots; rather, new memories are layered upon the old, creating a distinct multicultural identity. This is evident in communities like Bowon Rangsi or Ban Phan Thom, where traditional ways of life coexist alongside modern tourism businesses. This diversity is the very heart of Banglamphu—a district that embraces change while successfully preserving the charm of its heritage.

Given the complexity of these stories within this diverse identity, "Banglamphu Walking History" invites everyone to revisit and explore the history and lifestyle of Banglamphu through an 8-bit game format. Visitors are given the chance to take on the role of a "firefly," floating through the area to learn about the district through its architecture, people, and activities as they have changed over time. Players can choose to switch between "levels" of Banglamphu, divided into three main eras, by swapping 90s-style game cartridges prepared for each time period. Beyond exploration, participants can also co-create NPC characters to inhabit the game world, ensuring that the Banglamphu of this exhibition is not merely a space of the past recounted to an audience, but a living space that invites everyone to co-create and interpret the narrative in their own way.

Presented by:
Bangkok Design Week

“The Fort’s narrative”-Banglamphu playing history_Bangkok Design Week 202629 January - 8 February 202618:30-21:30Phra Su...
01/02/2026

“The Fort’s narrative”
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Banglamphu playing history
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Bangkok Design Week 2026

29 January - 8 February 2026
18:30-21:30
Phra Sumen Fort , Santichaiprakarn Park, Phra Athit Rd
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“Banglumphu Playing History” is an interactive exhibition that reimagines the evolution of Bangkok’s historic Banglamphu district through the lens of an 8-bit video game. Tracing the area’s transformation from a riverside area abundant with cork trees and a strategic craft hub to a modern international destination, the project invites visitors to explore three distinct historical eras by switching 90s-style game cartridges. Participants take on the role of a “firefly” to navigate the changing architecture and lifestyles, and can even create their own NPC characters to inhabit the game world, effectively blending the district’s rich multicultural heritage with a participatory, modern storytelling experience.

Sponsored by:


Presented by:

āļ—āļĩāđˆāļ­āļĒāļđāđˆ

14/6 Baromratchachonnee 2/1 Bangbamruh Bangphlat
Bangkok
10700

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