thingsmatter

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"Live to Work", Dwell's profile of thingsmatter and aTypical Shophouse.
thingsmatter is an art and architecture collective led by Savinee Buranasilapin and Tom Dannecker. The partners grew up in urban Thailand and rural America, respectively. They met in architecture school at the University of Wisconsin-Milwaukee, then attended Princeton University and eventually established their practice in Bangkok.

The studio’s early work included a series of temporary interventions in commercial spaces, offering a critique of the consumer culture that hosted them, while celebrating the opportunity for communication with a diverse audience and the material extravagance uniquely provided by shopping malls and trade shows. Their work evolved, extending the working methods, tactility, and human scale of event architecture to more permanent buildings, including private residences.

A growing preoccupation with delicate, indeterminate structures and unfinished materials, alongside an interest in the cultural status of building as a process, has led thingsmatter to shift focus from conventional buildings toward constructed artworks, which remain anchored in an expanded field of architecture.

In Bangkok, they've taught, lectured, and conducted workshops at Chulalongkorn, Silpakorn, Kasetsart, Rangsit, and Bangkok Universities. Overseas, they've lectured about their work at Princeton, Harvard, and Columbia, and several international conferences.
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studio location
thingsmatter co. ltd,
50/1 Soi Sukhumvit 63 (Ekkamai)
Prakanong Nua, Wattana
Bangkok 10110
THAILAND

(+66) 89 925 2516

info@thingsmatter.com

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Fire Inside

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Fire Inside forms an improbable link between Minimalism and the adhoc street architecture of Southeast Asia. Two generations ago, local chang began transforming banal office lighting into expressions of joy—hanging fluorescent tubes in trees and wrapping them with colored gels. Then bending them, and making them move. Today, a thriving industry produces kinetic light sculptures for weddings and temple fairs.

Transposition to a white-walled gallery reveals visceral and atmospheric affects that were previously underappreciated. Rough-and-ready mechanical details come into focus: it’s no longer a pretty figure made of lights in the sky. There’s a layer of delicate, insectile metal tubes, wires, and plastic ties. Oil-slicked cogs, shiny brass sliprings, hand-ground welds, dangling plugs—it’s cobbled together like a street vendor cart: self-evident, unpretentious, and clever.

Hyper-saturated lights perpetually revolve in opposing directions, going nowhere. Colors inter-mesh hypnotically, and paint the walls in a smooth, barely pulsing gradient. Look away and realize that you’ve lost track of what “white” means.

It’s fragile; the light tubes tremble as they rotate, slender enough to bend with gravity.    Butterfly wings.

It’s sinister; sharp-edged, autonomously moving, and visibly electrified.     Butterfly proboscises.

Pretty is complicated.