D17/20 Design in Southeast Asia

DESIGN IN SOUTHEAST ASIA 1
CONTENTS
BANGKOK
THAILAND
CHIANG MAI
BANDUNG
INDONESIA
YOGYAKARTA
HANOI
VIETNAM
18
32
49
65
80
DESIGN IN SOUTHEAST ASIA

4 D17/20
MESSAGE FROM
THE EMBASSY
OF FRANCE
IN THAILAND
6 D17/20
The exhibition D17/20-- Design in Southeast Asia is the result of
a series of encounters between designers who have designed a variety of objects
in Southeast Asia. It is presented for the first time as part of
the Bangkok Design Week organized by the Creative and Economic Agency.
It is with this partner and the Institut français that the French Embassy in Thailand
initiated this exchange between France and Asia.
This exhibition stems from the work produced during 8 workshops that took place in
Thailand, Indonesia and Vietnam between 2017 and 2019. Local and French designers
discussed their techniques, compared their points of view and took into account the
different production and economic models of the companies with which they were
associated. Working in close collaboration with the production units was a must from
the very beginning of the project in order to place the craftsmen/manufacturers at the
heart of the creative process.
43 designers, 17 production units and more than 100 creations: furniture, table-
ware, tapestry, lightings, body ornaments…, designed to be reproducible, these objects
reflect the interplay of the skills of craftsmen and designers where materials find new
functionalities and shapes are renewed.
Major environmental issues are challenging our production methods, prompting
the need to take greater account of sustainability. In today’s world, the creative economy
has become a powerful lever for transformation. It is perhaps more specifically through
the object that our needs, uses and consumption habits are being questioned. The public
is turning towards ecological and quality products, yet, paradoxically, never have crafts-
men and users been so far apart. The designer, tuned to respond to changing consumer
practices and preferences, plays the intermediary with the craftsman who is often isolated
from new markets. Bringing together designers from different backgrounds, engaging
them in dialogue with craftsmen and showcasing their respective talents, such are the
aspirations of D17/20 -- !
The two curators of the project, Céline Savoye and Sarngsan Na Soontorn, both
through their choices and work approaches, explored potential outcomes. By involving
students in these workshops, they also highlighted the emerging issues raised by a new
generation of designers.
Through this project, we sought
to explore the potential answers and the
heterogeneity and ideas behind them, so it
was important to give time and space to this
project. This presentation on the occasion of
this major international design event does
not bring the process to a close; on the con-
trary, it conveys the desire to extend these
exchanges while seeking to recreate more
spontaneous relations between the ecosys-
tems of creation, production and distribution.
I sincerely hope that this project
will pave the way to new enthusiastic and
inspiring collaborations for many designers
from Asia and France.
JAC QUE S L A P OUG E

A M B A S S A D O R O F F R A N C E T O T H A IL A N D

MES S AGE FR OM
THE FRENCH
INSTITUTE
(INSTITUT
FRANÇAIS)
Cooperation and cultural service launched the project in 2017 to enhance SEA
as a place of design.
Dissemination of French culture through collaborative proj-

ect, through mutual goals and reciprocit y is the main action of our
diplomatic action. With this long term project, French
E m b a s s y wants to create strong and sustainable links with ar tis-
tic c o mmuni ti e s . D e s i gn e r s , b u t as we ll f ac to ri e s , c raf t s m e n an d
economic actors wishing a more responsible way of manufacturing and consum-
ing.
NAME SURNAME
W OR K T IT LE

MES S AGE FR OM
GENERAL
CURATORS
Céline Savoye studied simultaneously at Saint-Etienne Higher school of Art & Design
and at the Faculty of arts (history and science of art) and has held various positions:
project manager in charge of the partnership with the public establishment of the
Palace of Versailles at the Museum of Fine Arts in Arras, cultural project manager at
the French Embassy in Tunis, creative project manager at Cité du Design in Saint-Eti-
enne, collection director at Editions Jean-Michel Place, general curator of the 2002
and 2004 editions of the Saint-Etienne International Design Biennial.At the same
time, she is involved in various international expertise in the fields of fashion, design
and craftsmanship. She co-curated Design Made in Africa’s exhibition (production
French Institute 2004-2008), then the exhibition The Collection, new objects from
the craft and design, Tunis, in 2010 as part of her duties at the Embassy of France. In
2013, she has presented the exhibition L’objet d’un dialogue (produced by IRMACC)
for the 8th edition of International Design Biennial Saint-Etienne in 2013. The exhi-
bitions Gooood Food in 2006 and Du militaire au civil in 2002, presented as part of
the 2002 and 2004 Biennales in Saint-Etienne, show a special affection for the most
diverse and little-explored fields. Since 2017, she has been Director of Lille-design, a
platform for economic development through design in Tourcoing (Hauts-de-France).
In 2016, the French Embassy in Bangkok asked Céline Savoye to define a framework
for the promotion of industrial and artisanal know-how in South East Asia through
design. The result is a modus operandi in the form of workshops in companies or
artisanal structures in 3 countries (Indonesia, Thailand, Vietnam), associating French
and local designers with the support of the local French representations and the
French Institute in Paris.
C E LINE S AV OY E
W OR K T IT LE
10 D17/20
Succeeding Celine as General curator of D17/20--, I have, with the French Embassy in
Thailand and the Institute français, selected designers with very different profiles and
know-how while respecting the DNA of the project which mixes the influences and
techniques of artists working in 4 countries. In addition to the production of finished
objects, we were eager to incorporate the research dimension, with work more focused
on the potential new use of materials. We were looking for young designers, recently
graduated from schools to tackle the constraints and even forward-think new ones
in direct relation with the factories.
At the heart of this project is the direct link with the material, the common
thread between the designer and the craftsman and the relationship between designers
and craftsmen; a subject often addressed at major meetings between institutions,
symposia bringing together the professional sphere and public reports such as the
UNESCO guidelines showing how designers can strengthen their interface and inter-
mediary role between craft skills and contemporary creation. This focus is crucial at
a time when it is clear that consumer habits need to be reconsidered. Consumption
goes hand in hand with production. Positive solutions are emerging and designers
are striving to bring about change more than ever.
The issues are complex and the answers, seemingly infinite. Dialogue is
necessary. D17/20 -- humbly nourishes the debate but the will is immense.
Having first joined the D17/20-- adventure as a designer, for the first workshop in
Thailand (Chiang Mai 2017), I was enthused by the energy instilled by the initiators
of the project as well as their partners. Associated as well to a company, I realized
just how much these discussion opportunities, these long periods of immersion in a
production unit, are important.
As the curator of this project and subsequently initiating the designer/man-
ufacturer pairings, I never ceased to be impressed with the quality of the dialogue
and the speed with which ideas and prototypes originated between people who did
not know each other, or often by a few exchanges of emails before the trip.
More than a hundred works have emerged from these 8 workshops. I can
only hope that these exchanges will give birth, through this exhibition, to other col-
laborations and bolster these Design-Craft discussions.
SARNGSAN NA SOONTORN
W OR K T IT LE

1
12
5
D17/20
1 HANOI WORKSHOP
VIETNAM Marie-Aurore Stiker-Métral
Pierre Charrié
Guillaume Delvigne
2 CHIANGMAI 1st WORKSHOP 2nd WORKSHOP

THAILAND Lauriane Beaunier Violette Vigneron
Alexandre Dubreuil Chalermkiat Somdulyawat
Patcharada Inplang & Kawisara Anansaringkarn
Sarngsan Na Soontorn Sanpatong foundry
Teerapoj Teeropas Pauline Bailay
and Aurélien Veyrat Tuangpawn Surintha
Slowstitch Studio
Hugo Poirier
Porameth Takhiao
Sri Pan Krua Community
Florent Revellin
Natthapong Kanchoei
Baan
2nd Tongkai
WORKSHOP
3 BANGKOK 1st WORKSHOP
Anji Dinh-Van
THAILAND Mathilde Bretillot & Rudee Tan-
Patipat Chaipukdee
charoen
Ester Manas &
Balthazar Delepierre
C hris tian G hi o n &
Wisharawish Akarasantisook
Jutamas Buranajade & Piti Amra-
Anji Dinh-Van
ranga
Patipat Chaipukdee
Sandrine Rozier
Camille Khorram & Khanitha Nu-
Namfon Laistrooglai
altaranee
Khon Kaen Indigo
Jean-Baptiste Ricatte & Jirawat
Khamprom
4 BANDUNG WORKSHOP
JAVA Pierrick Romeuf
INDONESIA Iman Setyadi
Kriya Nusantara
Handoko Hadiwijoyo
5 YOGYAKARTA WORKSHOP
INDONESIA Amaury Poudray
Wisnu Purbandara
Raditya Mahardika
Andre Suryaman

14 D17/20
THAILAND
16 D17/20
MES S AGE FR OM
CREATIVE
ECONOMY
AGENCY
Creative Economy Agency (Public Organization): CEA was estab-
lished in accordance with the Royal Decree Establishing the Cre-
ative Economy Promotion Agency (Public Organization), B.E.2561
(2018), to leverage Thailand Creative and Design Center (TCDC)
to become the agency for the development of nation’s creative
economy. The agency is responsible for supporting and developing
3 aspects, namely Creative People, Creative Business, Creative
District with the collaboration between government and private
sectors in both domestic and international level.
Nowadays, creative and learning are progressing with the
integration of various fields: local wisdom, culture, technology and
innovation to create the new experience to the consumers with less
damage to the environment. To create creative personnel in Thailand, it needs to be done with the exchange of
knowledge and perspectives from international agencies. Not only to open up to the world, but it is also to create
opportunities for exhibitions on an international stage. Therefore, the CEA values and is opened to all form of
international cooperation.
In the last decade, many countries in ASEAN have established the agencies that support their creativity
and design, CEA, as a result, is acting as a collaborator that pushes creativity to play a greater role in economic
and social development. Therefore, CEA is playing a role as the collaborator that drives creativity to the same goal.
The workshop is an opportunity for Thai designers to gain experience working with French designers
and local craft makers to get art pieces that will be exhibited in the international stage. So, CEA has searched for
designers with the potential from Chiang Mai and Bangkok to create works that will benefit both parties. 4 teams
were selected and they have worked since Year 2017-2020. Their works were displayed in the D17/20 exhibition
held during Chiang Mai Design Week 2018 between 8-16 December 2018, and will be exhibited in Bangkok Design
Week, 1-9 February 2020 at Marine Police Lodging, and after that, the works will be displayed in Lille, France.
A P IS IT L A IS T R OOG L A I
E X E C U T IV E D IR E C T O R C E A -T C D C

MES S AGE FR OM
SCAC
FRENCH
EMBASSY
This project was launched
on the premises of the Institut français in 2016.
In order to implement it, it was first necessary to clear the ground, gather
opinions and imagine possible relations with other countries in the area. Very
quickly, it became obvious to us that artists should work together on design.
The very first visit to the TCDC in Bangkok, still on the floors of a shopping
mall at the time, offered designers an immense pool of resources, workspaces
and the attentive support of its members. Today, just a few steps away from
the Embassy, the TCDC (Thailand Creative & Design Center), now the CEA
(Creative & Economic Agency), covers more than 8,000 m2 on 5 floors. In
the former Central Post Office of the city, this straight and sturdy building
boasts a well thought-out flow, to think and read on the one hand and work
on the materials and practice on the other, making for distant yet unconfined
spaces. These inspiring layouts made the project perfectly at home in this
great house dedicated to Design: strong relationships sprung from talent,
separated by immense distances where ideas flowed freely, before, during
and after the workshops: Anticipate - build – refine. Never have designers
been so close, exchanges so fluid.
It was in these new premises that the first visit of the then General
Curator, Céline Savoye, took place. Highly professional and extremely pas-
sionate, she advised us on the general outlines of a project and a partnership
designed to be solid and nourishing with the TCDC, the designers, but also
the craftsmen. When Sarngsan Na Soontorn took over this challenging
mission, he added a new dimension to the project: the work of young grad-
uates on the material with new potential uses. Without ever straying from
the factory premises, the work of these young professionals enhances this
exhibition with objects ready for production. This is how all the different
designer profiles have interacted since the genesis of this project. Surprising
creations, the brainchild of well-seasoned artists and those still hesitant to
devote themselves fully to design, have seen the light of day. Often working
18 D17/20
in tandem, they encouraged each other to take risks, sometimes questioning
the use of a material, transforming it and inventing other subtleties.
In Thailand, the creative economy combines rich cultural heritage
and traditional skills with the input and innovations of contemporary cre-
ation, thereby facilitating its development. On the other hand, in France
the threat to know-how was very real, just a few years ago, with massive
industrialization. Whilst fashion has almost always preserved this heritage:
feather work, embroidery and ornaments, design also driven by the luxury
brands and supported by institutions, is no longer outdone.
Thailand has worked closely with the United Nations system to
promote the creative economy and has made it one of the six areas of coop-
eration under the United Nations Partnership Framework for 2011-2016. It has
a long-term commitment to the promotion and development of handicrafts,
which is also reflected in major royal projects.
All these artists, from countries whose policies on and approaches
to craftsmanship have differed, are now coming together on common issues
around creation while respecting the limits of our ecosystem, with sustainable
perspectives in mind. Sobriety, in their eyes, is not synonymous with neutral-
ity, but rather an emphasis on empathetic links between objects and their
users. Designers and craftsmen, so few of whom gave in to the disposable
trend, are seen today as the pioneers of sustainable development. This is
an opportunity! It is the drive behind all these exchanges. We do hope that
there are more great collaborations to come and new links to be forged for
these creative incubators which humbly accelerate synergies between cities,
especially when the current approach is more network-based.
V A N E S S A S I LV Y FA B IA N F OR NI
C U LT U R A L AT TA C H É E C O UNS E LLO R F O R
C O O P E R AT IO N A N D C U LT U R E

M AY 20 18
1 WORKSHOP
st
IN BANGKOK
For this second workshop in Thailand, TCDC Bangkok has selected designers
who, for the most part, run their own workshops. Christian Ghion, Jutamas Bu-
ranajade and Piti Amraranga were the only ones to work in a furniture factory.
The other three pairs worked in immersion in the Thai designer’s stu-
dio. Furniture, jewelry, leather, weaving studios… Different know-how, but the
group decided to give a common thread to their creations, in which one could
feel the city of Bangkok and a common color that comes from the street.
20 D17/20
PARURES
(FRENCH WORD FOR ADORNMENT)
We went walking and talking, getting to know each other

through our creative process, struck by the quietness and the intimacy
offered by the temples.
As we stepped off the busy and noisy streets of Bangkok, we chose to recall
this feeling in our project. The exquisite decorations of the temples and
the refinement of the gold catching the light led us to « Parures »,
jewellery and self-portrait : Mirros, colors and beautiful materials as wood,
oragnaza and hair. The necklaces stand delicatelly around the mirrors offering
the reflection of decorated self-portrait.
MATHILDE BRETILLOT RUDEE TANCHAROEN ATELIER RUDEE
Born in Paris, Mathilde Bretillot began Rudee Tancharoen lives and works in Rudee Tancharoen lives and works in
her career in an international context Bangkok. She is a contemporary jeweller Atelier Rudee is the first and only in-
between Milan, London, and Asia, then and the director of Atelier Rudee, the first ternational academy of contemporary
moved to Paris. She founded Mathilde international academy of contemporary jewellery in Thailand, founded by Rudee
Bretillot Créations in 2010. As a creator of jewellery in Thailand. Rudee graduated Tancharoen. This is a place where art-
both plural and singular artwork, Mathil- in Industrial Design from Chulalongkorn ists, craftsmen, designers, both locals
de Bretillot questions the contemporary University and completed a three-year and foreigners, gather and share their
environment to provide global responses course in Art of Contemporary Jewellery knowledge and experiences. The owner
that are at once lively, sensitive and rea- at Alchimia School in Florence. Since organizes jewelry and other related lec-
soned. As a designer, interior architect 2005, her work has been published and tures and workshops. Atelier Rudee also
and scenographer, her work is based on a exhibited in several countries in Europe, hold prestigious traditional Thai tech-
sustained dialogue with her clients. America, Australia, and Asia. In 2007, she niques workshop instructed by skilled
At the same time, Mathilde won the 2nd prize and The Organizers craftsmen.
Bretillot was a professor at the ESAD in Special Award from Legnica Interna-
Reims for 12 years (1994-2006). As co- tional Jewellery Competition in Legnica,
ordinator of the design department, she Poland. In 2015, she won the Designer of
was then in charge of development and The Year (in jewellery design) award in
of the management of major projects. Thailand.
Since 2006, she has been a member of Besides being a director and
the Mission des Métiers d’Art for the an instructor at Atelier Rudee, she gave
Ministry of Culture and Communication. talks and led workshops related to
She has been teaching at Camondo design and contemporary jewellery for
School since 2008. Since 2014, she has universities and organisations. She also
been co-founder and Creative Director of curates projects and exhibitions related
International Design Expeditions. to art, craft and design.
W W W . M AT H IL D E B R E T IL LOT.C O M W W W . AT E L IE R R U D E E .C O M

THE PROCESS
Designers worked for 2 weeks to purpose

two standing lights for European markets.
The goal they have was to confront design
and local culture. At first, they were looking
for an object that could match Kriya Nusan-
tara’s skills. They ended with a choice of
lightings developments. A good opportuni-
ty to add details and decorative elements
with engraved metal parts. Lamps are
iconic in the sense that they are not only
functional products.
Many trials were done: different concepts

experimented, primar y 3d models and
rendering, size adjustments and several
reviews. We ended up with two products.
22 D17/20
PARURES
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TEAM 2
‘THAÏ-TIE’ / ‘ไทย-ไท’
Armchair + Love Seat
‘thaï-tie’ is the result of the mix between Thai and French culture.
o-d-a offered Christian to discover Thai life and craftsman factories
around Bangkok. They decided together to work with ‘Yothaka’, a
factory specialized in rattan. After a few meetings, they decided
to draw two pieces for a future exhibition. The main idea for each
piece is to introduce a contemporary vision with an old and classic
technic made by Thai craftsman. In this “6-hand work”, o-d-a of-
fered a Thai feeling to Christian, who himself gave a French influ-
ence to o-d-a’s proposal.
CHRISTIAN GHION O-D-A
After graduating from the Charenton School of Architecture Founded by Jutamas Buranajade and Piti Amraranga, o-d-a
with a degree in design, he founded a design studio with Patrick specialises in furniture and utensil design along with other
Nadeau. From the outset, he gained much attention, which led design activities. Wood is the material both designers are most
him to cross the path of Andrée Putmann, Teruo Kurosaki and interested in.
Philippe Starck. O-D-A has won several awards from both local and in-
These experiences and his taste for audacity opened ternational design competitions. Currently, it designs children’s
up new creative horizons for him. In addition to furniture design furniture for the Japanese brand Katoji, but also designs and
(Cappellini, Driade, XO), he created emblematic objects (Daum, manufactures items under their own brand.
Salviati, Nespresso), interior architecture (Pierre Gagnaire
restaurants in Paris, Tokyo and Dubai) and exhibition scenog- W W W . O B J E C T D E S I G N A L L I A N C E . C O M
raphy (Fondation Cartier and Musée des Arts décoratifs). Latest
creations to date: a series of remarkable vases, in crystal paste
for Daum and a new collection of knives for the Forge Laguiole.
W W W .C H R IS T IA N G H IO N .C O M
24 D17/20
YOTHAKA
FEstablished in 1989, Yothaka International Co., Ltd. pioneered

the use of water hyacinth in the Thailand furniture manufac-
turing industry, and has produced a wide range of designer
furnishings catered to the middle-upper class lifestyle. Besides
its extensive range of fine, handcrafted water hyacinth furniture,
the 120- staff company also creates hand-made home accesso-
ries such as table lamp, candle holder and basketry.
Regularly restructuring its collections and constantly
designing new models every year, Yothaka offers a large col-
lection of in-house design furniture and accessories, providing
lifestyle concepts with unique Asian characteristics mixed with
modern design concepts, and created with the most eco-friend-
ly materials.
W W W. A R C HITONIC .C OM/F R/M IC R OS IT E /

Y O T H A K A / 3 1 0 4 1 74 T

26 D17/20
‘THAÏ-TIE’ / ‘ไทย-ไท’
Armchair + Love Seat
‘thaï-tie’ is the result of the mix between Thai and French culture.
o-d-a offered Christian to discover Thai life and craftsman factories
around Bangkok. They decided together to work with ‘Yothaka’, a
factory specialized in rattan. After a few meetings, they decided
to draw two pieces for a future exhibition. The main idea for each
piece is to introduce a contemporary vision with an old and classic
technic made by Thai craftsman. In this “6-hand work”, o-d-a of-
fered a Thai feeling to Christian, who himself gave a French influ-
ence to o-d-a’s proposal.

TEAM 3
CAMILLE KHORRAM KHANITTHA NUALTARANEE
An independent designer since 2011, specializes in furniture, Khanittha Nualtaranee (Bangkok, Thailand, 1983) is a textile artist and
furnishings and objects for the home. She collaborates with designer specialized in surface and woven design. During her Bachelor
publishers such as Cinna and Roche Bobois and participates studies, she was trained as an industrial designer but had developed a
in the furnishing of many residencies in France and abroad, strong interest in textile art and craftsmanship. She decided to pursue
which allows her to work in collaboration with craftsmen and to a Master of Art in textile art and design at Aalto University, School of
question her own practice through the material and their know- Arts, Design and Architecture in Helsinki, Finland, in order to improve
how. She sees design as a fine balance between functionality, her creative handcrafted skill, conceptual thinking, design process and
rationality and sensitivity. Beyond re-questioning existing ones to explore all kinds of experience in the textile field. For each of her
through the prism of new lifestyles, she also questions materi- work, Khanittha develops her own signature by taking a sophisticated
als: their use and their shaping, in order to exceed expectations. technique, various materials and aesthetic of traditional textiles and
She stresses the need for a kind of softness, poetry in the object reinterprets them in a contemporary context.
and seeks to propose solutions for objects that are not only Currently, she is a senior textile designer at Doitung De-
functional, but also pleasant to handle, to look at and even to velopment Project; Royal Initiative Project of Her Royal Highness the
display. Last but not least, she seeks to create objects that are Princess Mother, Mae Fah Luang Foundation and she also founded
better to live with, whether it is today or tomorrow. her textile design studio ‘Kaniit.Textile’ for creative and experimental
projects.
W W W.C A M ILLE K HOR R A M .C OM
W W W . I N S T A G R A M . C O M / K A N I I T .T E X T I L E /
28 D17/20
‘UP-DOWN’
work has been inspired by the idea of contrast in Bangkok that Camille perceived
while we were traveling around the city. As a product designer, Camille created a
continuous shape of Up-Down shelf and I, as a textile designer, designed a weaving
patterns, material and color.
30 D17/20
SHADES / COFFEE TABLE
Though various perspectives and ideas in our collaboration, we

picked up our own classic products such as racing team t-shirts,
denim jackets, jeans and trench coat and combined them with dyed
artisanal indigo, spontaneous dyed and woven sustainable decora-
tions along with deconstruction techniques.
JEAN-BAPTISTE RICATTE JIRAWAT JANSAWADMETHAKUL
Jean-Baptiste Ricatte has been developing a freelance design is an industrial product designer who is interested in developing leather
activity since graduating from the Decorative Arts School in design skills by combining the special interest of materials through
Strasbourg and has specialised in the furniture and interior de- leather craftsmanship techniques and various techniques to make a
sign sector. Based in Lille, he now works with publishers such contemporary work that has its own unique value.
as Cinna and Roche Bobois, but also develops local expertise to
meet the needs of industrial and cultural clients. His work also F B . C O M /J I R A W A T L E A T H E R G O O D S /
includes research into materials, which he questions and exper-
iments during collaborations with a network of manufacturing,
craft or industrial partners. The work carried out during various
recent residencies in France and abroad, Wroclaw in Poland,
and more recently in Bangkok, Thailand, has oriented his ap-
proach towards a practice closer to the know-how. Jean-Bap-
tiste Ricatte also attaches particular importance to integrating
an environmental approach into his projects in order to propose
fair and low-impact objects.
W W W . J E A N B A P T IS T E R IC AT T E .C O M

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32 D17/20
SHADES / COFFEE TABLE
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N OV E M B E R 20 19
2 WORKSHOP
nd
IN BANGKOK
One of the spirits of Thailand is this deep and fascinating color. This series of workshops could not have ended if fashion
and lifestyle designers had not created with indigo. In Thai, Indigo (Indigofera tinctoria) is called khram. In the North,
the manufacture of indigo clothing has become an important source of income for villagers who produce dyed clothing
and cultivate real indigo on a large plantation for domestic use and for sale. The plant is a lifeline for families, and has
become a treasure in many places like Sakon Nakhon, Nakhon Phanom, Baan Don Kao, Bung Kan, Udon Thani ... The
fashion designers Wisharawish Akarasantisook, Ester Manas and Balthazar Delepierre spent 2 days in Surin to discover
Ruenmaii Baimon factory and choose their fabric. They decided to work with an indigo silk woven in a denim style.
Sandrine Rozier and Namfon Laistrooglai went to Inpaeng Indi-
go in Sakon Nakorn (Northeastern province), and selected different fabrics of coton indigo.
This workshop also includes a very sensitive subject at the moment, sustainable development. Working
with factories also engages designers to question mass production and mass production. It is also a subject for
fashion designers ; How to renew shapes and texture with an old fashion jacket ? The second life for all consumer
goods could be our future. Anji Dinh-Van, director of Andrea Crews (Paris) work with Best and Maan of Dry Clean
Only in that way. Associated to Termtem Studio, they gave new shapes to recycled clothes and new indigo colors.
Phraeva Rujinarong, Termtem’s founder, is a textile designer. Originally from Surin, she learned
weaving from her mother and today, with the weavers of the communities; she develops on fabric con-
temporary designs through weaving and dyeing techniques.
34 D17/20
TEAM 1
The collaboration with Wisharawish was an opportunity to confront and

join our approaches to clothing design. After visiting the Surin workshops,
we chose to develop a series of pieces using 100% handmade silk jeans.
Keeping the concern for inclusiveness in the design of our pieces, we have
proposed 3 models inspired by the work overalls offering different possibilities
of sizes and worn. The fabrics and know-how discovered during our Thai
stay are sure to fuel our process of creating our next collections.
ESTER MANAS | BALTHAZAR DELEPIERRE WISHARAWISH AKARASANTISOOK

Ester Manas is a brand created by designers Ester Manas Hailing from the Northeastern province of Buriram, Wisharaw-
and Balthazar Delepierre. They both studied at La Cambre in ish Akarasantisook rises to become one of Thailand’s most
Brussels, completing a five year course that Ester punctuated promising young designers in early 2010s. Amidst the wave of
by traineeships in fashion houses such as Annemie Verbeke, heavy-budgeted fashion stellars, Wisharawish’s approach to
Balenciaga, Paco Rabanne or Acne Studios. design remains utmost fundamental – more a form of self ex-
Ester showcased her latest collection in several pression than business, and rather a creative exploration than
competitions such as the H&M Design Award as well as the a career. He contemplates the abstract, and extracts its very
Festival international de Mode de la Villa Noailles in April 2018. essence into the material form through technical experiment,
Balthazar favours a visual creative approach, collaborating with the latter at times becoming the main narrative of his fashion
magazines, art galleries and museums. design.
Their fashion DNA is: one size fits all and their clothes Championing technical mastery, immaculate handi-
celebrate and reward skills and craftsmanship and empower crafts and intricate details on pattern, Wisharawish plays with
every type of woman. repetition of forms and geometric shapes. His expressive de-
sign oeuvre that engages the viewers’ reaction is an aftermath
W W W.ES TERMA NAS .COM of his background in dramatic arts. Wisharawish’s collections
are a dialogue between designer and his clothes, and then be-
tween the clothes and their viewers. Fashion becomes a narra-
tive, and a platform for all involved to share their interpretations
and understandings.
W W W .W IS H A R AW IS H .C O M

RUENMAII BAIMON
Surin Province
From the past to present, Surin province’s silk and its long heritage has always been recognized for its distinctive characteristics.
Khun Tassanee Surintranont of Ruenmaii Baimon has inherited her family business in 1987. It is the business that could be traced
back to its when it first started its operation since 1925. Up until now, Khun Tassanee’s family has been garnering knowledge and
expertise on silk fabric for almost a century.
Ruenmaii Baimon’s business in its early day only dealt in the trading of handspun silk yarn from villagers and sold the
stock to weaving factories in need before, with the increasing supplies of silk yarn and higher demand for silk fabric in the market,
Ruenmaii Baimon decided to build their own silk weaving factory under the name “Siam Silk” to sell to various silk shops.
Throughout the years of working more closely with villagers, Khun Tassanee also learned more about the problems
villagers have been facing. In an attempt to help them in all stages of the silk production process, she founded another business
called Ruenmaii Baimon in 1995. All this was to facilitate the villagers in procuring tools for silk reeling, silk dying, and silk weaving,
as well as applying new body of knowledge to improve silk production thereby reducing mistakes in the process.
Ruenmaii Baimon also offers free motives and warp
design services for the villagers, leading to the founding of a
learning center for silk-making community to showcase silk
weaving tools of Khmer, Kuy, and Laotian people that acts as a
school to teach natural silk dying and weaving was established
to foster public knowledge and understanding about silk fabric
from the grass roots.
Through this vision, the company has seen its lat-
est innovation with its ground-breaking introduction of ma-
chine-washable denim fabric wholly produced from silk.
W W W.F B .C OM/R UE NM A II
36 D17/20
UNIVERSAL WORKWARE
d o l o r s i t a m e t , c o ns e c te tu r
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TEAM 2
WORK AND INVOLVEMENT
Namfon worked with Sandrine, French textile artist.

They went to Sakonnakorn, a northeastern province in Thailand,
where they learned traditional process in local fabrics. They brought
materials to create some original works: tote bags. This was
a wonderful experience, in which they shared Thai and French
artistic point of view.
SANDRINE ROZIER NAMFON LAISTROOGLAI
Textile artist, Sandrine Rozier is specialized in natural dyes Namfon Laistrooglai works now as the director of River Muse-
and is committed to the revival of vegetable dyes by introduc- um Bangkok at ICONSIAM. Her domain concerns textile and
ing their use in various structures of the living arts:Académie fabric creation. Namfon is known at international level and
Fratellini, Opéra Comique, Festival International d’Art Lyrique she has exhibited her works in many countries: such as, in
d’Aix-en-Provence. A graduate of the IFM, she has travelled China Craft Week, in Textile Art Exhibition on Cultural Weaves
to many countries to build her own know-how where nature, between Thai & Taiwan, Co-Exhibition with globally famous
ethics, science and art are inseparable. In 2007, his approach artists. Because of vast experience in art and history, she be-
received the support of UNESCO’s Division of Arts and Cultural came lecturer in fashion and design, as well as supervisor and
Enterprise. She initiates specific professional training courses curator for different projects both in academic and commercial
at the GRETA de la Création, at Design et des Métiers d’arts purposes. She is also the owner of the shoe brand “Devant”.
and also teaches her ennoblement techniques at the Ecole Na-
tionale Supérieure des Arts Décoratifs. Winner of the Villa Ku-
joyama’s artistic residency program in 2018, she travels around
Japan for 6 months for her research project “Living Colors”
where she practices Kusakizome (vegetable dyeing) in different
workshops.Through immersive chromatic compositions, San-
drine Rozier experiments with temporal and sensory processes
and invites us to take a different look at colour. Her work is built
by the meeting of colouring resources and the chosen supports
and conjures up a structural, vegetal and organic imaginary.
W W W.S A NDR INE R OZIE R .C OM
38 D17/20
INPAENG INDIGO
SAKON NAKORN
Factory: INPAENG INDIGO Sakon Nakhon is famed for its local
wisdom of indigo dye, handed down through the generations.
Many villages, including Ban Non Rua, now thrive on produc-
ing indigo clothes. Some villages have been developing their
dyeing skills to cater for the demands of the textile industry.
Inpaeng Indigo is a new brand, initiated by craftsmen
from the Sakon Nakorn community. Today, the trend to use
green products is increasing. INPAENG INDIGO’s objective is
to create value-added products by combining local know-how
and knowledge. Through its action, Inpaeng is keen to preserve
the patterns of ancient fabrics from the Kaleng and Yor tribes,
the original tribes of the community. Mudmee patterns are re-
adapted to the tastes of the times and sometimes merged with
the original colors and shapes.
F B .C OM/B A A NINPA NG

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usmod tempor incididunt ut labore et dolore magna aliqua. Ut enim
ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut
aliquip ex ea commodo cons
40 D17/20
TEAM 3 WORKSHOP NAME
Though various perspectives and ideas in our collaboration, we

picked up our own classic products such as racing team t-shirts,
denim jackets, jeans and trench coat and combined them with dyed
artisanal indigo, spontaneous dyed and woven sustainable decora-
tions along with deconstruction techniques.
ANJI DINH-VAN DRY CLEAN ONLY TERMTEM STUDIO

is Collection Director and Associate Since childhood, Patipat Chaipukdee has al- was founded by Phreava Rujinarong, textile
Director of the brand and collective ways had imaginary friends. He still converses designer who would like this place to be full-
ANDREA CREWS in Paris, whose work with these dreamlike buddies—some of whom filled her childhood dream of exchanging her
is distinguished by the practice of the are his admired designers, fashion trailblazers aspect of weaving techniques to others by
Upcycling process. Upcycling is the use and offbeat individuals. gaining of knowledge and experiences from
of a product of the textile industry that It was his strong imaginative prow- her studies with many weaving groups in
is consumed and then thrown away as a ess and focused attentions that led him to leave Thai urban area. Besides, she wants to make
raw material for re-creation. Anji contrib- his fashion studies at Bangkok University before valuable Thai traditional fabrics becoming
utes to the valorization of alternatives to graduating to pursue his design dreams. Upon more modern such as dyeing, designing de-
traditional production systems for a new leaving school, Patipat held several paid and velopments also varieties of natural fiber that
sustainability. Also a member of the L140 non-paid fashion industry jobs to learn first is created from Thai urban groups.
collective, she participates in the con- hand. Collaborating with fashion
ceptualization and realization of projects In 2007, with limited funds and a designer, DRYCLEANONLY BKK and
questioning the relationship between Art head full of passions and ideas, Patipat opened ANDREA CREWS, Termtem studio used
and Architecture, in harmony and with Dry Clean Shop in Jatujak market which knowledge craftsmanship skill from indigo
respect for the existing environment. eventually became a haven for fashion editors, dyeing and using JOK (technique for original
designers, stylists and fashion forward dressers. Thai weaving) to create new contemporary
W W W. A NDRE ACRE WS .COM He has since come a long way from that “messy pattern fabric.
little shop”. With relentless energy, flowing and
design innovations, Patipat is a driving force
behind Dry Clean Only’s global recognition.
Dry Clean Only differentiated itself
by emphasising on using specially sought
vintage tees and reworking them by mixing
surprising materials with handicrafted details
to turn them into unique one-of-a-kind pieces
that have conquered the hearts of its loyal
clients for all of the brand’s existence.
W W W . D R Y C L E A N O N LY B K K . C O M

42 D17/20
THE PROCESS THE COLOR OF THE NEXT DAY
This tripartite collaboration has allowed bringing In Thailand, the Indigo color was previously assim-
the creativity and expertise of each in a common ilated to the working class and countryside people
achievement to enhance the craftsmanship of the because it was used there initially for economic
Thai Indigo. reasons but also for natural simplicity. Dyeing con-
As the valorization and transmission is also cealed stains and wear marks on their work clothes
done through images, the whole project was pho- to give them a revived look.
tographed and filmed by the Thai photographer
VINTAGE AND TIE & DIE HIJACKING
and video maker Chantapitch Wiwatchaikamol.
The meeting with Phreava Rujinarong, Indigo, the iconic color of denim clothing, is both
textile designer and founder of Termtem studio, al- the source and the medium that inspired the style
lowed to be initiated to the process and the history of this collection. We have chosen to work from
of this pigment in Thailand. second-hand clothes selected in Bangkok: Racing
T-shirts, Jean jackets and trousers.
Then, through the various knotting and
dyeing techniques practiced by agile hands, pat-
terns are layered, worn t-shirts and jackets are
then deconstructed, redesigned, transformed, and
then re-assembled by the Dry Clean Only work-
shop.
Garment changes dimension,

it is renewed.

44 D17/20
FINAL DESIGN NAME
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commodo cons

DE C E M B E R 20 17
1 WORKSHOP
st
IN CHIANGMAI
2 materials to share knowledge between France and Thailand
Lauriane Beaunier, Alexandre Dubreuil, Patcharada Inplang,

Sarngsan Na Soontorn, Teerapoj Teeropas and Aurélien Vey-
rat worked together in December 2017. Each designers chose
a know-how based on their affinities. They chose after visiting
2 production sites proposed and organized by TCDC Chiang
Mai : Gerard collection and Prempracha.
The designers devoted the first week to understand the local

know-how, the production method, sketches and research.
The last week was dedicated to make quick and effective
choices focusing on 2 to 3 specific projects. All the projects
have been reported in a large document accessible for pro-
ducing companies: dimensioned plans, 3D images, inspira-
tions, steps, illustrations and sketches.
Each designer engaged in a pitch exercise ; presentation of

their project with the documents they produced. Designers,
TCDC team, companies involved in the project attended the
presentation session. This exercise created a real team cohe-
sion and adherence to the global project for the designers. It
was also an important step in the validation of the projects’
feasibility for companies.
46 D17/20
PROJECT DESCRIPTION
BY ALEXANDRE DUBREUIL BY AURÉLIEN VEYRAT
We, both French and Thai designers, explored and The fascinating thing for me in this workshop was
exchanged our views and ideas together all along the chance to experience three different parties
the workshop. For both PREMPRACHA (ceramic) from France, Chiang Mai and Bangkok looking at
and GERARD (bamboo), I developed my designs the same craft. How each individual reflected on it
from details that I ‘ve catched, which revealed a and how they executed it. This experience helped
certain character, logic and beauty, a blend of the me develop my vision in pursuing my goal to con-
spirit of the company, their material and the way tinue working with handicraft.
they work, with my sensibility and reasonning.

ALEXANDRE DUBREUIL AURÉLIEN VEYRAT
After several years working in international renowned design Versatile and open, Aurélien Veyrat’s technical and artistic
agencies, Alexandre Dubreuil founded his own design studio in training has led him since 2006 to develop various projects in
2012. He works on a large range of projects, from industrial de- the fields of design (objects, furniture, spaces) and art (design
sign to limited edition pieces, from art direction to the complete and production of artwork - artistic installations, sculptures
follow-up of space design project. The collaboration and project with contemporary artists, museums and galleries).
diversity leads him to see design in a global way of thinking. He His approach: giving meaning to projects, analysing
focuses on simplifying the interactions between humans and artisanal and technological production processes and creating
spaces or objects. The object speaks by itself, through intuitive with freedom while respecting constraints.
use and obvious shape leading towards the quest of the essen-
tial. His projects are rooted in a responsible approach deeply W W W. A AV R A .C OM
concerned by the reliability and sustainability of the creations.
W W W . A L E X A N DR E -DU B R E U IL .C O M

PROJECT DESCRIPTION
BY LAURIANE BEAUNIER ramics at Prempracha while remaining in a usual

and daily field in the house. I designed a series of
The visit to the Prempracha workshop showed suspensions which was well received by the com-
the company’s many skills and I was particular- pany. Several prototyping phases were necessary
ly impressed by the impression work that was and the follow-up was done after the two-week
carried out with textile elements. I wanted to workshop. The light responds to the surface and
divert this technique by using plastic materials, colours, echoing the luxuriance and melting pot of
symbols of Thai pop culture. The experience Thai markets and living spaces.
naturally led each participating designer to share
and exchange on their creative practices and the
Prempracha teams were very open and curious BY PATCHARADA INPLANG
about the emerging project. Focusing on the
tactile, visual, coloured aspect, globally a search I enjoy using architectural shapes and elements to
for a surface, gave interesting perspectives for the develop ceramic casted technique. This workshop
company which generally works on sensitive and makes me understand the realm of ceramic work
sophisticated surfaces. After this experimentation and I can use it to design my architecture project
phase, I looked for a less developed use of ce- with nice ceramic potential in upcoming future.
LAURIANE BEAUNIER
PATCHARADA INPLANG
For 10 years, Lauriane Beaunier developed her expertise as a
material color designer in the automotive textile industry and Patcharada Inplang is the principle of Sher Maker. She is an architect
then in sports after graduating from EnsAD. She chose to join and maker based in Chiang Mai Thailand interested in the craft method,
the management of the textile and materials department in local material and working process of all design realms. She is the
2013 and to work as a freelancer. She founded the Excla studio co-founder of Dibdee Binder - Hand binding and paperwork studio
in 2017 and equipped herself with various skills as projects in Chiang Mai. Her work focuses on design relevant program, archi-
progressed. Colour, matter and graphics give meaning to all her tecture technique and spatial technology related to specific context,
proposals, whether applied or experimental, and these three construction method, local material and wisdom. Her team is composed
poles are at the centre of her approach, a game between 2D of local makers who are working in varying scales of the design realm
and 3D, space and image. She addresses problems for French and includes architects, designers, local craftsmen.
and international clients in industry, housing, accessories, ta-
bleware... and also explores these fields for more prospective, W W W.S HERMA K ER .COM
obvious and personal projects, under her Addenda label.
W W W.E XCLA .FR
D17/20
PROJECT DESCRIPTION
BY SARNGSAN NA SOONTORN BY TEERAPOJ TEEROPAS
We, both French and Thai designers, explored and The fascinating thing for me in this workshop was
exchanged our views and ideas together all along the chance to experience three different parties
the workshop. For both PREMPRACHA (ceramic) from France, Chiang Mai and Bangkok looking at
and GERARD (bamboo), I developed my designs the same craft. How each individual reflected on it
from details that I ‘ve catched, which revealed a and how they executed it. This experience helped
certain character, logic and beauty, a blend of the me develop my vision in pursuing my goal to con-
spirit of the company, their material and the way tinue working with handicraft.
they work, with my sensibility and reasonning.

SARNGSAN NA SOONTORN TEERAPOJ TEEROPAS
Sarngsan Na Soontorn is an explorer who understands the Teerapoj Teeropas is an industrial designer with an interest in
strength of cross-cultural creativity. His experience and vision craftwork who developed his design practice with the phrase
serves local and international goals in a virtuous circle. “to postpone the lost of traditional values” as the source of
Born and grew up in a crafts trading family, after his inspiration. With a focus on the incorporation of Thai local
studying architecture at Chiang Mai University, he pursued his wisdom into contemporary industrial design, Teeropas aims to
study in industrial design at ENSCI - Les Ateliers, Paris. Having perpetuate the values of traditional knowledge and creation.
gained experience in renowned design studios, Sarngsan Na Teeropas is one of the founders of Issaraphap and was recent-
Soontorn founded his own studio in 2012 and has been bridging ly declared the winner of the furniture design category at the
France and Thailand through different projects ever since. 2017 Designer of the Year Awards.
From design to artistic direction and creative con-
sultancy, from object to exhibition and architecture, from W W W .T E E R A P O J . C O M
commercial to societal issues, Sarngsan Na Soontorn works
on projects of different scales and natures, through which he
always searches for a balanced result. In parallel, since 2012,
he has taught at ENSCI - Les Ateliers, conducted workshops in
Paris and set up workshops taking students to Thailand.
W W W.MOK K A MPOR .COM

GERARD COLLECTION
Gerard Collection specializes in bamboo furniture and home

decor. We are cooperative on your bamboo fantasy to work
through ‘Design + Detail + Build’.
Since 1995, we have more than 20 years of experience
in bamboo furniture, working with architects, interior designers,
furniture designers, carpainters, craftsmen, bamboo lovers, and
you. All the raw materials are from our planted bamboo, the
local species from the upper northern region of Thailand.
Gerard Collection Co. is located in Chiang Mai, Thai-
land. The company is a member of the American Bamboo Soci-
ety. The Gerard Collection is more than a mere line of bamboo
furniture, it is a product of an artist with immense workmanship
capabilities.
W W W .T H A I B A M B O O . C O M
50 D17/20
PREMPRACHA
Established in 1986, Prempracha’s Collection has

continually strived for excellence in design and
quality within the fine art of ceramic. With an in-
ternational design and development team, talented
local artisans and dedicated staff, Prempracha’s
Collection has gained an international reputation as
one of the leaders for fine stoneware ceramic.
Our spacious factory and showroom in
Chiang Mai feature both mould making and hand
forming sections, unsurpassed glazing technol-
ogies as well as hand carving and hand painting
studios. At Prempracha’s, we continuously develop
new concepts and techniques and aim to translate
current fashion and home decor trends into our ev-
er-expanding stoneware range. We are a full service
and well organized factory with over 1000 unique de-
signs including tableware, vases, wall art, decorative
items and garden accessories.
W W W.PREMPR ACHA .COM

FINAL OBJECT
ALEXANDRE
DUBREUIL
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ullamco laboris nisi ut
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cons
52 D17/20
FINAL OBJECT
LAURIANE BEAUNIER
Visiting Prempracha workshop Lauriane discov-

ered the company’s many skills and was partic-
ularly seduced by the impression work on textile
elements. She wanted to divert this technique
by using plastic materials, symbols of Thai pop
culture. The experience naturally led each partic-
ipating designer to share and exchange on their
creative practices and the Prempracha’s team was
very open and curious about the emerging project.
Focusing on the tactile, visual, colored aspect,
globally a search for a surface, gave interesting perspectives for the company whom
generally works on sensitive and sophisticated surfaces. After this experimentation
phase, Lauriane looked for a less developed use of ceramics at Prempracha while re-
maining in a usual and daily field in the house. She designed a series of suspensions,
which was well received by the company. Several prototyping phases were necessary
and the follow-up was done after the two-week workshop. The light responds to the
surface and colors, echoing the luxuriance and melting pot of Thai markets and living
spaces.

FINAL OBJECT
PATCHARADA
INPLANG
Patcharada has enjoyed using

architectural shapes and ele-
ments to develop ceramic casted
technique. Through this work-
shop she understood the realm
of ceramic work and she can use
it now to design her architecture
project with new potentials.
54 D17/20
FINAL OBJECT
TEERAPOJ TEEROPAS
The fascinating thing for him in this workshop was the chance to
experience three different parties from France, Chiang Mai and
Bangkok looking at the same craft. How each individual reflected on
it and how they executed it. This experience helped him to develop
his vision and he is sure now that he wants to pursue working with
craftsmen.

FINAL OBJECT
SARNGSAN NA SOONTORN
Working both with PREMPRA-

CHA (ceramic) and GERARD
(bamboo), Sargsarn tried to de-
veloped his designs mixing the
spirit of the company, its mate-
rial and the way they work, with
his sensibility his reasonning.
Revealing a certain character,
logic and beauty, a blend of from
details that he has catched.
56 D17/20
FINAL OBJECT
AURELIEN VEYRAT
His approach: giving

meaning to projects,
analysing artisanal and
technological produc-
tion processes and
creating with freedom
while respecting con-
straints.

S E P T E M B E R 20 19
2 WORKSHOP
nd
IN CHIANGMAI
The second workshop in Chiang Mai takes a rather specific direction and nature. Instead of finalizing the
propositions for the market, it questions the use, the production, the material, the know-how, the culture,
the dialogue, the meaning of “localness” and “globalness”, the pertinence and the perspective upon these
notions. This workshop also illustrates the R&D aspect of all the workshops of D17/20.
Associated with 4 factories, 5 French designers worked with

5 Thai designers :
Violette Vigneron and Chalermkiat Somdulyawat &

Kawisara Anansaringkarn from COTH studio working
with Sanpatong foundry’s team;
Pauline Bailay and Tuangpawn Surintha working with

Slowstitch Studio on indigo;
Hugo Poirier and Porameth Takhiao working with Sri Pan

Krua Community on coiled bamboo. In the production,
bamboo is shaped, pattern drawn, then coated with “Rak”
natural black lacquer and gold foil. The finished product
is called “Kreung Khern” or lacquerware which is made
with refined skills inherited from generation to generation;
Florent Revellin and Natthapong Kanchoei working with

Baan Tongkai which is the biggest producer of turned
woods in Chiang Mai. Its wood-turning expertise has
been passed on for over 100 years.
Designers are guided by Sumanatsya Voharn, professor at

Faculty of Fine Arts, Design division of Chiang Mai University.
A mutual learning opportunity for the craftsmen and designers to

create prototype products that advance the traditional skill beyond
original equipment manufacturer-based production under the con-
cept of sustainable use of resources.
58 D17/20
BRONZE CASTING RESEARCH
After we conducted a research in traditional bronze casting,

we found an interest in the imperfection along the molding process that
makes each piece have its own unique individuality and value.
Instead of getting rid of imperfection and trying to make the process
more perfect, we chose to rather focus on how the value of imperfection that
the process causes can push the limitation of traditional bronze casting
product out of just a buddha statue. Therefore, we explored on the clay be-
cause the clay mould is the key that makes this traditional process have a
value, or in other word ‘imperfection’. So instead of removing clay after firing,
we tried to find the way in which two different materials (ceramic and bronze)
make sense to be together. Thus, we did it by experimenting various approach-
es and saw the effects that they caused before developing them into final prod-
ucts. For instance, changing the ratio of clay, the position of clay and so on.
CHALERMKIAT SOMDULYAWAT KAWISARA ANANSARINGKARN VIOLETTE VIGNERON
Chalermkiat is a designer who has a deep Kawisara is a multidisciplinary designer Violette Vigneron is a designer. It was
experience in material, construction and who has a broad experience in various at ENSCI-les ateliers in Paris that she
experimentation. He graduated with a design fields. She started in the field of met Sarngsang Na Soontorn who invited
Bachelor ’s degree in industrial design interior architecture - having graduated her to participate in the ASEAN design
from Rajamangala University of Tech- with B.Arch degree in Interior Architec- workshop.
nology Lanna Chiangmai, and Master’s ture from Chulalongkorn University and Her work derives from a par-
degree in product design from Silpakorn having two-year professional experience ticular attention to processes and mate-
University. Although he has a back- as an interior architect at Department of rials. It also comes from the association
ground in product design, he adopts his Architecture Co., Ltd. of ideas and the shifting of contexts, a
skill in design and maker to many fields, After that, she expanded her process in which collaboration with ac-
namely exhibition design, spatial design design expertise by pursuing a Master tors outside the design is essential. The
and lighting installation- where he was degree in Communication andExperi- worshop allowed her to collaborate with
selected as a designer for light projects ence design at Goldsmiths, University of Bhutip Boontunbutr, a carver specialized
at Vivid Sydney. He and Kawisara found- London, before working as an exhibition in bronze casting and the COTH Design
ed a multidisciplinar y design studio designer in the UK. Currently, she works studio based in Bangkok. Together, they
named COTH studio in 2015 with a design as a head designer at COTH studio and developed a shaping technique derived
philosophy based on collaboration, tradi- also a senior experience designer at from the local traditional technique,
tion and experimentation. FireOneOne Co., Ltd. (Innovation Con- where the usually lost ceramic mold is
sultancy). kept here to marry with the bronze. From
this working process results a profuse
production which still continues between
Chiang Mai and Limoges, where Violette
currently devotes her time to ceramics.
W W W.CA R G OC OLLE C T IV E .C OM/

W W W.C OT HS T UDIO.C OM V IOLE T T E V IG NE R ON

CHAROEN FOUNDRY
was founded by Charoen Kaewdoungsang. He followed in his father, Doungchan Ke-

awdoungsang’s footsteps, working with the traditional casting techniques of Chiang
Mai foundry road, inherited from generation to generation for over a century now.
Chiang Saen and Lanna style Buddha images are the main components of his work.
Bhutip Boontanbutr also working at Charoen foundry as a talented sculptor, ran the
workshop with Coth Studio and Violette Vigneron. They experimented to find new
possibilities with bronze.
By working together for more than 2 weeks on design from traditional pro-
cesses, a number of new perspectives and methods emerged. Bhutip discovered how
to create new products using the traditional metal casting process. He is confident
Charoen foundry will explore these new possibilities which could be developed and
extended.
F B .C O M /L A N N AT R A D IT IO N A LC A S T IN G /
PROJECT DESCRIPTION
I am Mr.Bhutip Boontanbutr, a representative of

Mr.Chareon, working with 2 Thai designers, Mr.Ton
and Ms.Pun from Coth Studio and 1 French design-
er Ms.Violette. We have studied the design tech-
niques and have done an experiment to find new
possibilities in design from traditional processes,
working together for more than 2 weeks. This
workshop creates new perspectives and methods
to create new products using the traditional metal
casting process. So I have a feeling and I saw the
results of new possibilities that could be devel-
60
oped and extended. And it’s very interesting.
D17/20
PARURES


INDIGO RESEARCH
BY PAULINE BAILAY BY TUANGPAWN SURINTHA
The two weeks spent in Thailand were rich in During the workshop, I had the opportunity to
encounters, discoveries and experiments. It is visit 4 amazing craftmanship working spaces
through work and material (textile and bamboo) and saw their amazing working processes for a
that we got to know Faai and the craftsmen. This few hours. I have always had a special interest in
encounter brought a new language, another way handmade and craft work. This project encour-
of communicating, using the skills of Slowstich aged me to try and carry out many ideas that
Studio as an alphabet. follow my own interest. There are inspiring ses-
We have, during the research time, imagined oth- sions when all the designers openly share their
er ways of drawing a pattern, by bringing together ideas and working processes, not only to present
the techniques of indigo dyeing and shibori with the ideas to the staff, but also to learn from other
other skills and materials, such as embroidery, designers. The staff even let us steal each other’s
strings or bamboo dye ... ideas if we found them inspiring and want to de-
velop and process them into something more.
PAULINE BAILAY TUANGPAWN SURINTHA
Pauline Bailay is a graduate textile designer from the Boulle Tuangpawn Surintha is a designer based in Chiang Mai,
school and the ENSCI-Les ateliers. Since January 2018, she has Thailand. She studied fashion and textile deisgn at Nuova
been working with Hugo Poirier in the Studio poirier bailay on Accademia di Belle Arti Milado. Currently she is creating and
projects at the crossroads of textile design and product design. designing textiles and clothes for “Hunglei”, which is her own
small clothing brand based in Chiang Mai. She has always had
From interior architecture to textile design, they question, a special interest in traditional craft work and seeks to develop
through their projects, lifestyles as well as current production it in a contemporary style.
and distribution models. Sensitive to working with materials,
the intelligence of the hand and vernacular know-how, they W W W . IN S TA G R A M . C O M /H U N G L E IS T U D IO
devote a significant part of their time to research and exper-
imentation. Through this creative approach, in direct contact
with the territory, the material and the manufacturing process-
es, they see each project as a witness to a place, a know-how
and a particular history.
W W W . P O IR IE R B A IL AY. C O M
62 D17/20
SLOWSTITCH STUDIO
was founded in 2015 as a creative textile collaboration studio

between the Thai textile designer, Kanchalee Ngamdamronk
and the Russian natural dyeing enthusiast, Sergey Tishkin. Af-
ter meeting in 2013 while studying with the same craftsman in
rural Japan, the two co-founders established Slowstitch Studio
in Chiang Mai as a way to explore, document and cultivate their
passion for naturally dyed textiles. With a strong emphasis on
a unique handmade approach and commitment to sustainable
practices, the studio specializes in works that are individually
hand dyed using botanical colors, natural fibers and a blend of
contemporary and traditional dyeing techniques to create con-
temporary textile art and lifestyle products. Most of the works
are inspired from traditional Japanese shibori (stitch-resist) and
other dyeing techniques. All of the work is done in-house with
a small team of full-time assistants at the studio.
For the D17/20 project, Slowtitch helped with the
dyeing of textiles and explored the possibilities of dyeing
non-textile materials such as wood and bamboo.
S LOW S T ITC HS T UDIO.C OM

FINAL DESIGN NAME

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trud exercitation ullamco laboris nisi ut aliquip ex
64
ea commodo cons
D17/20
SPUN BAMBOO RESEARCH
Two weeks is a relatively short time if you want to soak up and be able to understand, if only a little, a
culture and a know-how. This is why this workshop was a particularly rich and intense experience.
Working with the craftsmen of the Sri Pan Krua Community around the very particular techniques of
“coiled bamboo” was a both confusing and extremely rewarding experience. The dialogue with the
craftsmen, due to the language barriers, was carried out through gestures and experiments around
their techniques, hence it is through bamboo that we discovered each other.
The collaboration with Angun, a Thai architect and designer, was thus built on exchange and exper-
imentation, in contact with the craftsmen. This allowed both of us to discover very different ways of
working and visions of creation, and to draw a project step by step.
The challenge for us, through this project, was to enhance the quality of both the techniques and the
material, while offering an offbeat and contemporary reinterpretation of these traditional skills.
HUGO POIRIER PORAMETH TAKHIAO
Hugo Poirier is a product designer who graduated from Boulle Porameth Takhiao is an architect who has been working in
school and ENSCI-Les ateliers. Since January 2018, he has been Architect 49 Chiang Mai for 5 years. After that he founded his
working with Pauline Bailay (biography page XXX / same as own studio named “OUR”.
Pauline). in the Studio poirier bailay on projects at the cross- His work is mainly architecture and interior design,
roads of textile design and product design. and sometimes product design (furniture/packaging design),
From interior architecture to textile design, they for which he showed a lot of passion. He considers that the
question, through their projects, lifestyles as well as current value of the product lies in the craftsmanship. This is why he
production and distribution models. Sensitive to working with seeks to explore new ideas and experiences with craftsmen
materials, the intelligence of the hand and vernacular know- which help him to develop his own work.
how, they devote a significant part of their time to research His lastest product design is the “Tri Rak” Collection,
and experimentation. Through this creative approach, in direct which is a coffee cup set, with which he won the 2nd Prize from
contact with the territory, the material and the manufacturing the Department of Industrial Promotion.
processes, they see each project as a witness to a place, a
know-how and a particular history. W W W . I N S T A G R A M . C O M / O U R _2 0 1 2
W W W . P O IR IE R B A IL AY. C O M
66 D17/20
BAAN SRI PAN KRUA
Baan Sri Pan Krua, Chiang Mai’s spun bamboo craft community,
was originally a Xishuangbanna community which relocated to
Chiang Mai during the reign of Phraya Kawila (since 1796) . In
the past, local villagers earned a living by making traditional
bamboo flower trays and various lacquer wares. Nowadays,
the number of local craftsmen in the community has sharply
decreased, leaving only a few households that are still crafting
spun bamboo.
Soisri Khantima, the heir of a notable master crafts-
man of the Support Arts and Crafts International Center, was
delighted to join this project, with the aim to broaden the
development of contemporary handicraft by cooperating with
national and foreign organizations. This project, in particular,
has provided her with the possibility of collaborating with new
generations. This mutual learning opportunity has created new
and interesting products which became the new alternatives to
the community.
F B . C O M /S R IP U N K R UA -S P U N -B A M B O O
-1 0 8 7 7 9 2 1 7 1 7 1 9 7 0 /

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usmod tempor incididunt ut labore et dolore magna aliqua. Ut enim
ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut
aliquip ex ea commodo cons
68 D17/20
WOOD TURNING RESEARCH
This is a workshop between Baan Tongkai and designers. Baan-

tongkai is a carpenter village that is always open to learn new
things. This workshop was therefore about studying and trying new
things with the villagers through the designers’ point of view. This
workshop was a chance for the villagers to try something new, to
give them more methods for their production. It also helped the
designers understand the village’s production process and the
villagers’ point of view, which would contribute to their design work
in the future.
FLORENT REVELLIN NATTHAPONG KANCHOEI
Graduated from ENSCI (National School for Industrial design) in 2018, Natthapong Kanchoei is a product and furniture designer,
Florent Revellin is interested in industrial shaping processes, through passionate about handicraft, philosophy and culture. He en-
approaches ranging from space design to furniture creation. Very joys telling stories and conveying concepts through his work.
interested in the economy of means, it is with this view that he tries to He believes that every piece of handiwork is special and has
think of objects on the borderline between craftsmanship and industrial stories worth telling.
design, which use clever processes to optimize all available materials in
logic of eco-responsible production. Today, more and more interested F B . C O M /D E S IG N L E A P. O F F IC IA L
in the know-how related to the material wood, he carries out research
work focused on the manufacture of toys.

C A R G OC OLLE C T IV E .C OM/F LOR E NT R E V E LLIN

BAAN TONG KAI’S
WOOD TURNING
Baan Tong Kai, a wood turning handicraft

community in the Northern region of
Chiang Mai has been producing wood-
en trays for over 100 years. It is home
to more than 30 households of wood
turning artisans. In the past, the villagers
worked mainly as agricultural workers
and after the harvest, the sons would
receive wood lathe stations from their
fathers to learn a part-time trade. This
was made up of a foot pedal that could
be dissembled to conveniently transport
to logging sites.
Serial Khumpai, a local crafts-
man specialized in wood turning tech-
niques with more than 60 years of
practice, still spreads his wood turning
knowledge and carries on the traditional
skill while remaining open to new design
challenges. By collaborating with Thai
and foreign designers in this project, he
got to try out new techniques to develop
his work in compliance with the interna-
tional standards while perpetuating the
traditional wisdom and skills.
W W W.FB .COM/
B A A NTONG K A IW OODT UR NING/
70 D17/20
When Sargsan Na Soontorn proposed to Florent to participate in this workshop in Chiang Mai, he was interested
with collaborate with craftsmen on a short period. It was for him rewarding form of work. With Natthapong Kan-
choei, the need to define concise research steps pushed them to make choices and find compromises that brought
a touch of spontaneity to the project. For Florent, teaming up with a designer from Thailand was an opportunity
to put cultural differences and working tools to work in a permanent exchange. Florent enjoyed working with the
master turner Baan Tongkai. He felt he was sharing his expertise with the two designers and, in the same time,
was very open to their proposals.

INDONESIA
72 D17/20
Message from
INSTITUT
FRANÇAIS
Design represents an important economic weight
in Indonesia with an estimated turnover of more than 28 billion euros
and nearly 3,360,000 companies listed in the sector.

This economic performance can be explained by the fact that the
archipelago has a long tradition and a rich diversity of know-how
embodied in the production of textiles, furniture and handicrafts.
The Indonesian authorities, led by President Joko Widodo, himself
a former furniture entrepreneur, quickly understood the economic
potential of the sector by pushing for its national structuring but
also by encouraging various external partnerships likely to enrich the
know-how and offer new outlets for local production.
It was therefore quite natural for the D17/20-- Design in Southeast
Asia project spearheaded by the French Embassies in Thailand, Viet-
nam and Indonesia to be met with an enthusiastic welcome in the
archipelago among craftsmen, professional groups and promotional
events.
Essentially implemented in Bandung, the first city in South-
east Asia to have obtained the “Unesco Design City” label in 2015,
the D17/20-- project enabled three French designers to work to-
gether over a long period of time with the remarkable partnership
of HIMKI (Indonesian association of companies in the furniture and
craft industry), ADPII (Indonesian association of industrial product
designers) and the support of the Cité du Design de Saint Etienne.
The French and Indonesian designers worked during their
residency in Indonesian galleries and production sites but also pre-
sented their creations in international fairs such as IFEX Jakarta (In-
ternational Furniture Fair Export) in March 2019. Our designers have
also made use of their residency to hold conferences and workshops
in universities and cultural spaces, making D17/20-- a global project
supporting the Indonesian production and training eco-system.
Thanks to this project, links are now established between
our artists and their Indonesian counterparts. They are also made
between the Institut français and local partners in a sector that is
booming in both our countries. We would like to warmly thank all
those involved for their creative and logistical support!
74 D17/20
It is moreover on the basis of the success of the D17/20--
project and the economic potential of the activity that design was
recently designated by France as one of the three priority sectors of
the cultural and creative industries for its initiatives in Indonesia.
The spin-offs of this project will be lasting in Indonesia be-
cause beyond its artistic and economic aspect, D17/20- was also
a human project that created strong links between geographically
distant creators and institutions that are not planning to stop there.
Thus, in the coming months, oth-

er cross-residencies are in the
pipeline. Better still, the Band-
ung Design Week, an important
event for the promotion of the
sector in Indonesia, will bolster
further this quest for closer ties
with the Paris Design Week ,
which it hopes to draw inspi-
ration from for its international
development.
The Design adventure
has only just begun! There will
be no shortage of projects in the
future, whether carried by the
Institut français in Indonesia or
directly by the designers who
will have got to know each oth-
er and worked together and all
thanks to D17/20--.
A B D R A M A N E K A M AT E
C U LT U R A L AT TA C H É IF IN D O N E S IA

WORKSHOP
IN YOGYAKARTA
Two designers from Saint-Etienne, Pascaline de Glo de Besses and Pierrick Romeuf,
selected by La Cité du design and Institut Français Indonesia, have been invited to
Indonesia to explore and create alongside Indonesian designers and craftsmen in No-
vember 2018.
The traditional design

of West Java
West Java holds many interesting tradi-

tional design from batik pattern to street
vendor’s design, thus combined with Kriya
Nusantara incredible craftmanship in met-
al works and European style.
Pierrick Romeuf worked with Iman
Setyadi who is junior designer at Kriya Nu-
santara and Handoko Hadiwijoyo, senior
designer at CV Kriya Nusantara.
Indonesia is rich in raw materials with trade open to the world. Discovering new spe-
cies, materials, techniques, manufacturing or printing for example has enriched a vo-
cabulary that, when crossed with my western eyes, founded the basis of the Design
Asean workshop.
The objective was therefore to review the situation, briefly examine the uses and
from the very beginning, intensify exchanges with the craftsmen to seize their potential
and jointly imagine a project with industrial reach.
The workshop consisted in exchanging our experiences, identifying the so-
cio-economic context within which the project would be introduced, collaborating in
the development of the product and fine tuning through manipulation, tests and models
to end up with a prototype.”
76 D17/20
PASCALINE GLO DE BESSES
is graduated from the Saint Etienne School of Art and Design in mainly by hand and with the help of remote-portable tools. The
2002. Since then, she has been working as a freelance product assemblies are made according to the rules of joinery, using
designer, graphic designer and space planner. She works with mortise and joints, and are necessarily glued to meet the con-
companies, communities and individuals. At the same time, she straints of humidity since the furniture is exported to Europe
carries out research projects around the notion of landscape mainly at the rate of one container per month. The major asset
in particular, which give rise to artistic residencies, recently in of this exchange for the company was to analyze the current
Japan and Java/Indonesia, to a self-construction edition, and trend in bathroom furniture in which they specialize. While teak
sometimes to installations, particularly urban installations. wood is very solid, the bathroom trend in Europe is towards
This cross-disciplinary approach to the design and lightness. Materials such as terrazzo used for basins are also
plastic arts professions is constantly enriching her vision and highly appreciated and the “tropical” spirit persists in decora-
perfecting her tools and working methods, thus renewing each tion. I therefore chose to work teak in the form of strips, as is
new project. It also allows him to work on identities in a global done in the construction of boat decks. The rendering is thus
way, and to collaborate with graphic designers, architects, lighter than when you work the wood in its mass.
landscape designers, sociologists, etc.
The experience of this workshop in the Kayumanis
Company in Yogjakarta, Indonesia, was enriching in the knowl- W W W.C ONS T R UC T IF S .C OM
edge of another production model. When mass production in
Europe was industrialized and largely automated, Kayumanis
had about 115 workers in the workshops next to the design of-
77
fice, which itself had a dozen people. The teak wood is worked
DESIGN IN SOUTHEAST ASIA

THE PROCESS
The experience of this workshop in the Kayumanis Company in Yogjakarta, Indonesia, was rewarding in
learning about another production model. When mass production in Europe became industrialized and
largely automated, Kayumanis had about 115 workers in the workshops next to the design office, which
itself had a dozen people. The teak wood is worked mainly by hand and with the use of remote-controlled
portable tools. The assemblies follow the rules of joinery, mortise and tenon joints, and are glued to meet
the constraints of humidity since the furniture is exported to Europe mainly at the rate of one container
per month. The major asset of this exchange for the company was to analyze the current trend in bath-
room furniture in which they specialize. While teak wood is very solid, the bathroom trend in Europe is for
lightness. Materials such as terrazzo used for basins are also highly appreciated and the “tropical” mood
persists in decoration. I therefore chose to work teak in the form of strips, similar to the construction of
boat decks. This results in a lighter effect than working with wood in its mass.
KAYU MANIS
was established in 2001 in Yogyakarta, Indonesia; its first export

market was the cities in Europe, mainly in France. In the early
years, Kayu Manis exported all kinds of indoor furniture such
as cabinets, tables, beds and other items of furniture for living
spaces. Since 2007, Kayu Manis decided to shift the production
more towards bathroom furniture, given the significant growth
in demand for these particular items. When the offer from the
French government to help Kayu Manis by way of design im-
provement training came, the timing could not have been better.
W W W. K AY UM A NIS .C OM
78 D17/20
FERN BATHROOM FURNITURE
With Kayu Manis’ regular European customer base (France, Italy, Netherlands, Germany, Belgium), Pas-
caline’s insight was valuable in helping the Kayu Manis team produce a new line of bathroom furniture
corresponding to Western tastes.
She brought new and fresh insight to our design team. Backed by extensive experiences gained
during her travels through many countries around the world, she shared her knowledge with Kayu Manis
and the Design Department in particular.
Time was too short, as her enthusiasm to help and participate in the making of new and better
products was very inspiring. Kayu Manis would like to continue this collaboration with Pascaline De Glo
De Besses in the future, it would be a great opportunity on both sides.

WORKSHOP
IN BANDUNG
Designers worked for 2 weeks to purpose two standing lights for European markets.
The goal they have was to confront design and local culture. At first, they were looking
for an object that could match Kriya Nusantara’s skills. They ended with a choice of
lightings developments. A good opportunity to add details and decorative elements with
engraved metal parts. Lamps are iconic in the sense that they are not only functional
products.
Many trials were done: different concepts experimented, primary 3d models and
rendering, size adjustments and several reviews.
The team ended up with two products :
- Tahu Gejrot (spicy tofu) inspired by the street vendors instruments. It’s a table
lamp made of wood and copper. At first, you won’t be able to see the pattern, but
when you switch it on, the “motif” appears as a reference to Kriya Nusantara’s
skills. The shape is very simple but contains details of bendung and assembly
subtlety.
- Intensitas is a table lamp offering interactions; it plays with ray and shadow,
in reference to shadow puppets. Its pattern “megamendung” is inspired by ba
tiks from West Java. When you turn the handle, you play with the light intensity.
So the making has to be precise, so that the movement is smooth.
80 D17/20
DESCRIPTION
This is a workshop between Baan Tongkai and designers.

Baantongkai is a carpenter village that is always open to learn
new things. This workshop was therefore about studying and
trying new things with the villagers through the designers’
point of view. This workshop was a chance for the villagers to
try something new, to give them more methods for their pro-
duction. It also helped the designers understand the village’s
production process and the villagers’ point of view, which
would contribute to their design work in the future.
PIERRICK ROMEUF IMAN SETYADI KOMARDI HANDOKO HADIWIJOYO
has a furniture designer’s background studied in Institut Teknologi Bandung Handoko Hadiwijoyo is graduated from
and ar tistic dire c tor. His care er is (ITB) majoring in Product Design in Arts Sepuluh Nopember Institute of Tech-
marked by his professional experiences & Design Faculty. Focused on Furniture nology of Surabaya in Architecture. At
in Finland (Studio Suppanen) and Japan and Ergonomics. Iman have experience Kriya Nusantara, he is Research and De-
(Nendo). Since 2012, he develops his ac- working in Furniture Industry for 7 years. velopment Manager. He contributed to
tivity as a freelance designer by working In this project , Iman involvement is this workshop leading internal designers
with companies in his region (Auvergne more about technical engineering. he and production team whom realized to
and Rhône-Alpes). He receives the Mi- adjusted Pierrick’s design to manufac- prototype with Pierrick. With his 19 years
cro Architecture Excellence Award with ture technology, and helped to realize of product design background, he also
“Chestnut Design Wood” and produces a product that can be perfectly repro- contributed to create the details of the
micro-series of wooden objects with lo- ducible. Therefor Iman recommended lamps drawn by Pierrick.
cal craftsmen. For the last two years he for the ornaments some simple pattern
has been working on the development batik reminding Indonesia heritage into W W W.LINK E DIN .C OM/IN/
of brands and the creation of wood and minimalist design. K E R TA D E S IG N S /
steel furniture collections. In 2019 he de-
velops a new range of furniture in sheet ID.LINK E DIN .C OM/IN/
metal and wood for a young French I M A N -S E T YA D I -K O M A R -
brand that will be launched in 2020. D I -8 7 9 0 9 4 3 7
W W W.P IE R R IC K R OM E UF.C OM

KRIYA NUSANTARA
was founded in 1995 by Abdul Sobur. Concerned with pre-

serving Indonesian know how through contemporary pieces,
his brand highlights craft and uses variety of ornamental as
the power of expression. Modern technology, master-level
expertise help to produce high-quality products. Craft forms
are enriched and sometimes given more luxurious by technical
innovations, but still stay rooted in the strength of a refined
cultural heritage.
Abdul Sobur is an active member of Indonesian Furni-
ture and Craft Industry Association (HIMKI), he is currently the
Chairman of Indonesian Islamic Art Foundation (INISAF) and
member of National Economic and Industrial Committee (KEIN)
W W W . K R I YA N U S A N TA R A . C O M
THE PROCESS
Kriya Nusantara invited Pierrick to work with the designers Iman and Handoko to prototype one or two
lamp models in order to broaden sales possibilities in the European market. The objective was to con-
trast Pierrick’s design vision with local cultural traditions such as Batik, shadow dolls or specific formal
languages. Two different concepts germinated from their exchanges:
82 D17/20
TAHU GEJROT
AND INTENSITAS,
TABLE LAMPS
The first was Tahu Gojerot (Spicy

Tofu), inspired by the street ven-
dors in Bandung who carry their
products on their shoulders with
furniture designed for transport
and traffic. It is a table lamp made
of wood and copper. At first the
motif is not visible questioning
its function, it has a handle and is
made from a material not widely
used in domestic design. When
the light is turned on, the pattern
appears resonating the ornate
products associated with Kriya
Nusantara. The handle is also
decorated with copper, catching
the user’s eye, prompting him/
her to question its function. The
form is simple but includes many
assembly and twisting details.
The second is Intensitas and
plays with rays of light in homage
to the shadow puppet theatre. It
is also made of painted wood and
copper. When the handle rotates,
subtle nuances in the intensity
of the light are visible. This finish
is very difficult to achieve and
requires precision in design and
execution, highlighting the work
of this Indonesian company. The
pattern used here is called Mega
mendung,
it represents a graphic
cloud characteristic of the West
Java region. The playful aspect
of Intensitas makes it particu-
larly suitable for a child’s room
or to decorate a living room. The
design of these two products is a
tribute to the DNA of Indonesian
styling blended with Pierrick’s
forms and aesthetics.

WORKSHOP
IN YOGYAKARTA
In France, the Cité du Design Saint-Etienne selected the designer Amaury Poudray for
this first workshop in Indonesia. ITB selected one of its students, Raditya Mahardika
Siswosuwarno, to follow the process and ADPII (Designers-Product association) se-
lected Wisnu Purbandaru to work with Poudray. They worked together for 2 weeks in
Kasongan with Andre Suryaman. Exploring first the neighboring craft companies, the
rich heritage and the city of Yogyakarta, they also discovered Andre’s work. Himself an
artist, he has been developing products from recycled materials, mainly old bikes, for
some years now. This process appealed to the designer’s team and kick started the P.I.T.
project (recycled alphabet project). The team explored the possibilities offered by the
simple shape of a bike frame and created two different objects: a modular shelf system
(P.I.T shelf) and a small-scale module that can be arranged into any shape to create a
sculpture or a room divider (P.I.T molecule).
84 D17/20
FEEDBACK FROM WISNU
Southeast Asia is a great place for design to grow. This project aims to
unite French designers to affirm their importance and talents. It will follow
a structured process from 2017 to 2019 to reach the goals.
Designers from Thailand, Vietnam, Cambodia, and Indonesia will receive

French designers during 15 days and work together in a craft company.
Their goal is to share and unite to create knowledge, skills, craftsmanship
and uniqueness from both parties. The product will travel all around the
world starting from Southeast Asia. Talks and events will also highlight the
importance of Design.
AMAURY POUDRAY WISNU PURBANDARA
is a furniture and product designer nourished by travels and is graduated from Bandung Institute of Technology in product
discoveries. design. He’s a professional product designer based in Indone-
Networks values local know-how, in France and sia, focusing on product development in the craft industry.
internationnally, through design, with companies, institutions Natural House has wasted bicycle as their signature material.
and managers who contribute to build a better and sustainable With Amaury, they focused on how this product can easily de-
society. We conceive, implement and communicate creative veloped by this company. Since Natural House is a craft industry
projects. Our goal is to design clear and innovative concepts in company focused on export, they decided to design a product
order to enhance specific know-how and historical companies. with easy packaging. They made modular system which can be
Amaury Poudray graduated in 2009 from Ecole Supérieure d’Art arranged to many different kind of products.
et de Design , St Etienne. He also studied in the United States at By collaborate with french designer Wisnu got new
the Rhode Island School of Design. In April 2011, he joined the insights especialy about cultures.
design team of FABRICA, research center and communication
of Benetton Group in Italy, in which he worked one year. IS S UU.C OM/W IS NUP UR B A NDA R U
W W W . A M A U R Y P O U D R AY. C O M /

NATURAL HOUSE HOME DECO
Andre Suryaman studied at ITB (Bandung Institute of Technology) with a specializa-

tion in Fine Arts and Economy and founded Natural House in 1996.
The company initially produced recycled paper (art paper) sold in sheet
form. It then expanded to design functional and finished products: candleholders,
table lamps, mirrors and furniture, etc. Today Natural House has 16 employees and
manufactures handicrafts in terracotta, wood, bamboo, fiber, rattan, sea rush, glass,
aluminum, copper, etc. The main objective of Natural House is to develop the potential
of local industries, particularly in the Kasongan region. The factory is also involved in
an important recycling activity. The material is combined with others and carefully and
neatly decorated with colors and textures. By transforming the product, each piece
becomes a new design piece.
W W W . N AT U R A L H O U S E IN D O N E S IA .C O M
86 D17/20
PIT SHELF
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VIETNAM
88 D17/20
ME S S AGE F R OM
SCAC
Creative Economy Agency (Public Organization): CEA was established
in accordance with the Royal Decree Establishing the Creative Economy
Promotion Agency (Public Organization), B.E.2561 (2018), to leverage
Thailand Creative and Design Center (TCDC) to become the agency for
the development of nation’s creative economy. The agency is responsible
for supporting and developing 3 aspects, namely Creative People, Cre-
ative Business, Creative District with the collaboration between govern-
ment and private sectors in both domestic and international level.
Nowadays, creative and learning are progressing with the integration of

various fields: local wisdom, culture, technology and innovation to create
the new experience to the consumers with less damage to the environ-
ment. To create creative personnel in Thailand, it needs to be done with
the exchange of knowledge and perspectives from international agen-
cies. Not only to open up to the world, but it is also to create opportunities
for exhibitions on an international stage. Therefore, the CEA values and
is opened to all form of international cooperation.
In the last decade, many countries in ASEAN have established the agen-
cies that support their creativity and design, CEA, as a result, is acting
as a collaborator that pushes creativity to play a greater role in economic
and social development. Therefore, CEA is playing a role as the collabo-
rator that drives creativity to the same goal.
NAME SURNAME
W OR K T IT LE

ME S S AGE F R OM
HANOIA
Craftsmanship is a subject of special attention in Southeast Asia, especially
in Vietnam, country rich in handicraft tradition.
On behalf of Hanoia, a renowned luxury craft house with substantial con-

tributions to the development of Vietnamese lacquerware, I would like to
express my gratitude to the Embassies of France in Vietnam and in Thailand
and to Institut Français du Vietnam (IFV) for giving us this chance to be
part of Exhibition D17/20 –Design in Southeast Asia and for supporting
us to realize this project.
Hanoia’s workshop was set up in the late 90’s in the historic lacquer
village located near Saigon, where we discovered the know-how of artisans
with colors, effects, matters, patterns which were reminiscences of past
emotions. One day, the burst of ideas, images and shapes was such that
we felt the need to create a contemporary lacquer brand that would reflect
not only the heritage of ancient know-how but also the latest inspirations
of contemporary design. Together with a team of highly qualified crafts-
men from the Vietnamese lacquer capital, we decided to create and craft
beautiful objects for the world.
Since its establishment, Hanoia has focused on outstanding and
constantly renewed creativity as a key to bring Vietnamese lacquer to
the world. We invited foreign designers from all corners of the world to
contribute their experiences and sensitivity that translated into poetic,
contemporary and distinctive collections. Through art, we wanted to tell
stories of Vietnam in the eyes of foreigners.
90 D17/20
We highly appreciated the cooperation with young talented designers
from France, hoping that their design approach would bring us new ideas
to develop our products and better promote Vietnamese lacquerware.
During a short period of 15 days, 3 French designers and our team have
completed a fabulous work to give birth to 16 exciting prototypes. This is
the result of great efforts from all of both designers and craftsmen since
lacquer has the unfortunate requirement of 12 weeks to produce a final
prototype.
Designers worked for a period of one month before the craftsmen
could finalize the sketches for the proposed designs. Following approval,
craftsmen could work on the prototypes whilst resolving the many technical
issues induced by the originality of the designs. We are confident this col-
laboration opens a promising future between the 3 French designers and
Hanoia in preserving and developing Vietnamese traditional lacquerware.
Craft can’t live without art and design. We rely on our designers to build a
new expression for Hanoia in particular and Vietnamese lacquer in general.
Once again, we would like to thank IFV and the Embassy of France for this
fruitful collaboration and wish the exhibition a great success.
C HR IS T IA N DE R UT Y
C O - F O U N D E R , H A N O IA

O C T OB E R 20 19
WORKSHOP
IN HANOI
92 D17/20
BY GUILLAUME DELVIGNE
The invitation to be part of this adven-

ture was a great opportunity for us. It
allowed us to discover the know-how of
lacquer ware that Hanoia company mas-
ters perfectly. We had carte blanche on
the purely creative part, in order to see
what we could offer without being influ-
enced by their judgment. We initiated the
project upstream, a few days before the
trip. On the basis of our intention draw-
ings, Hanoia’s team made a first series of
raw prototypes. As soon as we arrived, we
discovered with surprise our pieces and
the collaboration started, it was quite eu-
phoric. Our two-week stay was extremely
dense, with visits to workshops, work
meetings, exchanges with craftsmen and
technicians, work on plans, choice of col-
ors, reflection on the effects of materials...
Every day the projects progressed and we
had to make decisions and find solutions
in reaction to the difficulties encountered.
We were really touched by the involve-
ment of the whole team in this project; we
were always well surrounded by people
GUILLAUME DELVIGNE
who were very qualified in their fields.
Hanoia’s level of requirements is very high Guillaume Delvigne studied at the School of Design Nantes
Atlantique and the Politecnico di Milano.
and it’s almost a luxury for a designer to Graduated in 2002, he started working with presti-
be able to work in such conditions. The gious designers such as George J. Sowden and Marc Newson,
inbetween Milan and Paris, while developing personal projects.
workshop allowed us to have a fast-track In 2011, he opened his own studio, inaugurated his
view on all the steps of the lacquering first solo exhibition at the ToolsGalerie and won the Grand Prix
de la Création de la Ville de Paris.
process. Working in fields as varied as furniture, objects, light-
ing and interior design, he works with manufacturers, publish-
ers and craftsmen.
Among his clients are large French houses such as
Hermès, Givenchy, Habitat, Alinea and Tefal, foreign companies
such as Fabbian, Frandsen and Karakter Copenhagen, as well
as young publishers such as La Chance, Hartô and ENOstudio.
W W W . G U I L L A U M E D E LV I G N E . C O M

PROJECT DESCRIPTION
BY MARIE-AURORE STIKER-MÉTRAL
The craft company Hanoia received us in

Vietnam and shared with us its expertise
in lacquer and the manufacture of lac-
querware.
We visited the various workshops and

learned about the different stages and
the multiple possibilities of this long and
meticulous process. On the basis of the
drawings that we had sent a few days
before our arrival, we were able to interact
with all of the Hanoia teams, from collec-
tion managers to artisans and engineers.
Everyone was very available to work on
and develop our projects as much as pos-
sible. Thus surrounded with these teams,
we were able to move forward quickly and
create a first prototype by the end of our
MARIE-AURORE STIKER-MÉTRAL
15-day stay. We also exchanged between
us (the 3 designers) to make the most
Born in Paris, on March 15th 1981, Marie-Aurore Stiker-Metral set relevant choices for our projects. The en-
up her workshop near the Duroc metro in the old shop where
her grandmother was selling furniture and kitchens made by thusiasm, the good understanding and the
her cabinetmaker grandfather during his lifetime, and then quality work of each one allowed to make
kitchen utensils and toys after his death. It was in this particular
place of her childhood that she developed her taste for objects, this stay at the same time very effective
materials and colors.
She graduated from ENSCI-Les Ateliers in December and very pleasant.
2007. She began a training proramme as an industrial designer
after four years of graduate studies in philosophy, including
one year at the University of Urbino in Italy. She works in
various fields such as furniture, lighting, textiles, decoration,
scenography and interior architecture. She collaborates with
publishers such as Ligne Roset, l’Atelier d’études, Oxyo, Toiles
de Mayenne, Ateliers d’Aubusson and scenography and graphic
design agencies such as Nathalie Crinière and C-Album as well
as with institutions such as the Ministry of Culture, the Museum
of Decorative Arts and art centers.
She won several VIA labels, the Audi Talents Awards,
the Pierre Cardin Prize and the Visa for Osaka awarded by the
city of Paris.
In addition to her designer activity, Marie-Aurore
shares her experiences by teaching in different schools such
as the Fine Arts in Rennes, the Camondo School, the ENSAD ...
W W W.M A S T IK E R M E T R A L .C OM
94 D17/20
PROJECT DESCRIPTION
BY PIERRE CHARRIÉ
The workshop was an opportunity to

discover a company (Hanoia) with unique
manual and craft skills applied to mass
production. All of their resources and
skills were mobilized, in terms of staff and
planning, to carry out the projects during
the short duration of the workshop (two
weeks). Being able to benefit from such
a means of production with such high
quality standards was a real chance. We
were also able to propose the projects
freely. The goal was to design industrial-
izable products and not just prototypes.
The classic development process was
accelerated to obtain a total of 15 projects
technically completed within the allocated
time! This is a feat, especially since the
implementation process of the lacquer is
particularly long, the prototypes will hence
be finalized after the end of the workshop.
It was therefore very intense and pushed
us to shake up our work habits in order
to make choices quickly and refine our
proposals. It was a very rewarding expe-
rience, because the means of production
PIERRE CHARRIÉ
made available to our projects were ex-
tremely efficient and the enthusiasm of the After studying at the Fine Arts in Nîmes, Pierre Charrié turned
to design and obtained his diploma at the ENSCI-Les Ateliers
teams was really gratifying. We proposed in 2008. By collaborating with different agencies, he gained
five projects each, their development was experience in product and furniture design. Today he works
as a freelance designer. In 2014, with the VIA, he developed
done in a collegial manner and shared be- the Aérobie air quality detector lamp, which then became part
of the CNAP collection. With the Surfaces Sonores project, he
tween us and the Hanoia teams. This ap- won the Agora Grant in 2013 and the Grand Prix de la Création
proach was very pleasant and particularly de la ville de Paris in 2015. He was named ‘Talent à la Carte’
at Maison & Objet 2016, ‘Young designer of the year’ by Elle
suited to this context where we shared Décoration France in 2017 and received the Kaldewei Future
many things on a daily basis. The finaliza- Award by the German magazine A&W in 2019. His work is edited
by Ligne Roset, Habitat, Mustache, the MICA gallery and the
tion process is now carried out remotely Great Design Gallery.
and we can’t wait to see the result! W W W.P IE R R E C HA R R IE .C OM

ALEXANDRE CHANUDET
Devoted to the meeting between contemporary design and

traditional handicraft techniques and its application on luxu-
ry products, after his graduation from Orleans Art College in
France, Alexandre decided to come back to Vietnam to start his
new chapter of life at Hanoia.
Thanks to academic education, combined with his
sharp observation and imagination, his design always has sto-
ries to tell. It’s not only daily life objects, but also human ges-
tures performed through its shapes, colors, graphics. Moreover,
Alexandre knows how to incorporate new technology crafts into
the traditional handmade method.
96 D17/20
HANOIA
is the leading premium craft house in Vietnam, specialized in lacquer.
Featuring a harmonious blend between West and East, contemporary
design and cultural heritage, special effects and craftsmen devotion,
Hanoia has revived the values of Vietnamese traditions in the world
of today.
Born in 2016, Hanoia has the chance to own two workshops
in the historical lacquer villages in the North and the South of Vietnam.
Together with a team of talented designers, Hanoia has successfully
preserved the traditional legacy left by their ancestors.
WWW

FINAL OBJECT GUILLAME DELVIGNE
This company is also a a brand for the product

of craft with a very distinctive character fea-
tures its variety of ornamental as the power of
expression. The resulting works are produced
by using modern technology and the best
touch of the master-level expertise to pro-
duce high-quality products. Kriya Nusantara
is making very detailed and quality products,
such as perfume boxes, radios, candle hold-
ers, and many more. Its specific qualities are
the work of pattern and metal engraving. Kriya
98 D17/20
FINAL OBJECT MARIE-AURORE STIKER-METRAL
This company is also a a brand for the product of craft with a very
distinctive character features its variety of ornamental as the power of
expression. The resulting works are produced by using modern tech-
nology and the best touch of the master-level ex
100 D17/20
FINAL OBJECT PIERRE CHARRIÉ
This company is also a a brand for the product of craft with a very
distinctive character features its variety of ornamental as the power of
expression. The resulting works are produced by using modern tech-
nology and the best touch of the master-level expertise to produce
high-quality products. Kriya Nusantara is making very detailed and
quality products, such as perfume boxes, radios, candle holders, and
many more. Its specific qualities are the work of pattern and metal
engraving. Kriya

102 D17/20
SPECIAL
THANKS
VIETNAM
104 D17/20
COPRODUCTION
INSTITUT FRANÇAIS INSTITUT FRANÇAIS, BANDUNG
Erol Ok, Director Mélanie Martini-Mareel, Director (2016–19)

Fabrice Rozier, Director, Artistic Development and Aude-Emeline Loriot (2019 - …)
cooperation Abdramane Kamaté, cultural attaché, Institut
Marie-Cécile Burnichon, Deputy Director and Advi- français in Indonesia, Jakarta
sor for Visual Arts and Architecture
Giusi Tinella, in charge of Visual Arts, Design and HIMKI BANDUNG (THE INDONESIAN
Fashion FURNITURE AND CRAFT ASSOCIATION)
FRENCH EMBASSY IN THAILAND Adhi Nugraha, Vice-President for Innovation

and Design
Jacques Lapouge, Ambassador
Fabian Forni, Consellor for Cooperation and Culture ADPII (DESIGNERS-PRODUCT ASSOCIATION)
Vanessa Silvy, Cultural attachée
CITÉ DU DESIGN SAINT-ETIENNE
CEA TCDC BANGKOK
Thierry Mandon, Director
Apisit Laistrooglai, Executive Director Isaabelle Vérilhac, Directrice International
Montinee Yongvikul, Acting Director of Commu- & Innovation
nication and Marketing and Acting Director of Josyane Franc, public and international relations
Business and Innovation Development manager
Pichit Virankabutra, Acting Director of Creative
City Development and Acting Director of Khon INSTITUT FRANÇAIS HANOI
Kaen office
Karin Kungwankitti, Senior Knowledge Manage- Emmanuel Labrande, Director (2016–19)
ment Officer Thierry Vergon, Director (2019–…)
CEA TCDC CHIANG MAI HANOIA
Inthaphan Buakeow, Acting Director of Corporate Chi Le Canh, Business Development Director,
Development and Acting Director of Chiang Mai Openasia Group / Hanoia
office Vy Nguyen Thuy, Collection manager
Imhathai Kunjina, Senior Knowledge Management
Officer
CHIANG MAI UNIVERSITY,

FACULTY OF FINE ARTS, DESIGN DIVISION
Sumanatsya Voharn professor

D17/20 TEAM
CURATORING AND CONCEPT
Céline Savoye (2016–18), Manager and Art Director,

Lille Design
Sarngsan Na Soontorn, Professor at ENSCI and
Designer
Vanessa Silvy, cultural attachée, French Embassy
in Thailand
SCENOGRAPHY
Sarngsan Na Soontorn
Assisted by XXX
WEBSITE
Pierre Hérubel
TRANSLATION
Julie Wang
XXX
SPONSORS
Thaibev’
Perrier
DITP
ACCOR (?)
AIRBUS (?)
106 D17/20
D17/20 CATALOGUE
CATALOGUE
PUBLISHED BY
French Embassy in Thailand
DESIGN BY
Krittin Theerawittayaart
Setapa Prommolmard
PRINTED BY
Plan Printing
TRANSLATION
Julie Wang
XXX
SPACIAL THANKS
Janjira Kingkannak
Julie Wang
Karin Kungwankitti
Mongkol Wangkummun
Thuy Duong Thi
Chi Le Canh
Giusi Tinella
Celine Savoye
Josyane Franc
Mathieu Marchal
Chamapan Rangaratna
Sujira Panyawattana
Pascale Fabre
Sébastien Tayac
Chantapitch Wiwatchaika-
mol ….

FACTORIES
108 D17/20
Full Color
PANTONE 7747 CP
PANTONE 7502 CP
PANTONE 164 CP
PANTONE 732 CP
Sigel Color
LOGO FINAL SIGNATURE DEC 2016
HANOIA LOGO 1
Natural House

110 D17/20
112 D17/20

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DESIGN IN SOUTHEAST ASIA 1

DESIGN IN SOUTHEAST ASIA

JAC QUE S L A P OUG E

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Dissemination of French culture through collaborative proj-

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2 CHIANGMAI 1st WORKSHOP 2nd WORKSHOP

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We went walking and talking, getting to know each other

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Though various perspectives and ideas in our collaboration, we

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sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut

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SANDRINE ROZIER NAMFON LAISTROOGLAI

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DESIGN IN SOUTHEAST ASIA 39

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BY LAURIANE BEAUNIER ramics at Prempracha while remaining in a usual

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Gerard Collection specializes in bamboo furniture and home

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