International Journal of Architecture, Art and Design (IJAD)

Preservation of Traditional Culture and Creativity Towards the Future of Hoi An City, Vietnam

Hoi An Creative Team - Hoi An Centre for Culture, Sports, Radio and Television — 2024-07-02

Hội An World Cultural Heritage Site, located on the banks of the picturesque Hoài
River, is considered the “Peaceful Meeting Place” of Central Vietnam because it provides a
sense of comfort and peace, as well as ancient features that may not be found in other cities.
Around the 16th century, Hội An became the major trading port in Cochinchina (the South
of Vietnam) with the exchange of many international merchant ships that created unique
cultural intersections. The Japanese Covered Bridge, the Chinese Fujian Assembly Hall, the
Chăm people's Bá Lễ well, the Vietnamese Trần Family Chapel, and many other historical
relics have made it a lively, colourful museum, bearing the mark of many cultures throughout
the world.
Today, Hội An has a distinctive appearance with lanterns and modern Asian and
European-style coffee shops, as well as a rustic appearance with small alleys and ancient
houses under moss-tiled roofs. The tranquillity of beautiful vestiges from the past is still
preserved here, despite the fast pace of modern life. It is also blessed by nature, as evidenced
by the Chàm Islands, Cửa Đại beach, Hoài river, Bảy Mẫu nipa palm forest, etc. The
friendliness and hospitality in the eyes and smile of the local people, serve to make Hội An,
an even more attractive destination. All create an irresistible attraction to anyone who has
ever set foot in this land. This city's cuisine is also a major drawcard for visitors. Special and
unique specialties with culinary value that cannot be found elsewhere include Cao Lầu,
Quảng noodles, chicken rice, white rose dumplings, wontons, etc. Each dish contains
sophistication in the combination of ingredients and processing along with its long-standing
tradition that will appeal to all diners.

Development of Furniture as Equipment Storage for Rowing Athletes

Singha Prarom — 2024-07-02

The development of furniture as equipment storage for rowing athletes examined and collected data on spatial characteristics, athlete’s behaviors at use of the oar, and participatory investigated their needs, in order to propose guidelines for oar cabinet design. The study suggested 2 types of oar used by the rowing club which include rectangular and Bodhi leaf shapes of oars, both with an adjustable length handle depending on the rower’s arm span. The test with storing oars found that the oars should be placed upright to allow for easy handling and should also be fastened with a tool to prevent the oar blade from twisting. The design process starts with a co-planning of work among teachers, students and the Rowing Club to design the feature and function of furniture as equipment storage for rowing athletes. The Process & Steps for Design Thinking was employed to guide the design respectively as 1. Empathize and Define, 2. Ideate, and 3. Prototype and Testing.

Swan Pattern as in Stucco Decoration on Prang, from Worship Flowers at Wat Chulamani in Phitsanulok Province

Jennet Menlapmo — 2024-07-02

This research was aimed to 1) study the patterns of stucco decorated on Prang of Wat Chulamani, Phitsanulok Province; 2) explore the process of transforming and forming products from worship flowers; and 3) propose a guide to developing souvenir products in the patterns of stucco decorated on Prang, from worship flowers at Wat Chulamani, Phitsanulok Province. It employed a qualitative research including a study of historical information and field records, along with an experimental research on materials. The results revealed that the unique patterns of stucco decorated on Prang at Wat Chulamani is a row of Hong Karb Mala (Swan catching bouquet), appeared by their sides, walking in a row, with a bouquet in their mouth, their tail in Kanok pattern, and a range of flora patterns all around the Prang. The process of transforming and forming worship flowers into products that is suitable for extended development as souvenir products was to bring the completely dried flowers to expriment in the forming process using both the dried flowers or dried flowers powder, idealy with Formula 3 in a ratio of glue powder : water : dried flowers as 10 : 5 : 1. The resulted workpiece had its surface showing clearly the appearance and uniqueness of worship flowers. The SCAMPER technique was applied to design Hong Karb Mala and flora patterns as in the stucco decorated on Prang of Wat Chulamani in Phitsanulok Province, which can be developed as souvenir products. Sketch 2 was found suitable to be developed as souvenirs harmonized with the worship flowers in the forms of decorative picture frame and keychains.

Quality of Mud Fermented Natural Dyeing of Water Hyacinth Strands

Saran Hema — 2024-07-02

The objectives of this research were 1) to test the mud fermented natural dyeing process of water hyacinth strands; 2) to examine the quality of color adhesion of water hyacinth strands after the fermented natural dyeing. The research method consists of 3 steps. Step 1: Preparing water hyacinth strands as raw material by taking 2 forms of water hyacinth strands including round strands and spiral strands from the same source of raw materials to be used as test sample materials. Step 2: Proceeding fermented natural dyeing of water hyacinth strands using 4 kinds of natural materials: mud, dried eucalyptus barks, fresh mango leaves, and fresh avocado leaves; applying cold dyeing process or fermented dyeing process for a period of 7 days at room temperature; randomly collecting the samples every day, cleaning and drying them in a hot air oven at 40°C for 8 hours. Step 3: Measuring colors of the samples with a Colormeter (CIE lab) and recording their colors each day along with the use of systematic photographing techniques to compare color differences after dyeing. Research results reported the quality of fermented natural dyeing of water hyacinth strands with the 4 natural materials using cold dyeing or fermentation dyeing for a period of 7 days that increased fermentation duration resulted in different colors. Fermented in mud, the round strands showed the values of (L*) in a range of 54.58 - 57.10, whereas the spiral strands showed the values of (L*) in a range of 48.10 - 42.60, with (+a*) indicating red,
and (+b*) indicating yellow. Fermented with dye from dried eucalyptus barks, the round strands showed the values of (L*) in a range of 64.15 - 58.10, whereas the spiral strands showed the values of (L*) in a range of 59.51 -. 48.40, with (+a*) indicating red and (+b*) indicating yellow. Fermented with dye of fresh mango leaves, the round strands showed the values of (L*) in a range of 64.82 - 49.28, whereas the spiral strands showed the values of (L*) in a range of 44.40 - 38.91, with (+a*) indicating red and (+b*) indicating yellow. Fermented with dye from fresh avocado leaves, the round strands showed the values of (L*) in a range of 64.28 - 64.20, whereas the spiral threads showed the value of (L*) in a range of 55.23 - 52.03, with (+a*) indicating red and (+b*) indicating yellow.

Illustration Design of Tarot Cards from Thai Literature

Apiwat Puntatong — 2024-07-02

The purpose of this research was three-fold: 1) to explore the ideal patterns of tarot card illustrations from Thai literature; 2) to design and create tarot card illustrations from Thai literature by the forms of representation and congruence with the original tarot cards suit; and 3) to examine the efficiency of tarot card illustrations from Thai literature by collecting data from relevant documents and research works, and developing the patterns of illustrations for 22 tarot cards in the Major Arcana to convey the meaning and to be congruent with the original tarot cards suit, applying the concept of Thai literature. The illustration designs were reviewed and evaluated by 3 specialists to find out the ideal illustrations which were then printed on appropriate print material. For efficiency evaluation of tarot card illustrations from Thai literature, the research sample included 50 people who were interested in tarot card illustration design. The evaluation focused on 3 aspects comprising 1) Material used was appropriate for functioning, 2) Design principles, and 3) Representation of illustrations. The result of efficiency evaluation of tarot card illustrations from Thai literature on the 3 aspect reported the overall mean of 4.00, suggesting a very high level of propriety.