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āļŠāļļāļĢāļīāļĒāļ°āđ„āļ”āđ‰āļĢāļąāļšāļĢāļēāļ‡āļ§āļąāļĨāļĻāļīāļĨāļ›āļīāļ™āļĻāļīāļĨāļ›āļēāļ˜āļĢ āļŠāļēāļ‚āļēāļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄ āļ›āļĩ '57

Suriya received Sillapathorn Award (2014) : Architecture,

Ministry of Culture, Thailand

āđāļĨāļ°āļˆāļąāļ”āđāļŠāļ”āļ‡āļ™āļīāļ—āļĢāļĢāļĻāļāļēāļĢāđ€āļœāļĒāđāļžāļĢāđˆāļœāļĨāļ‡āļēāļ™āđƒāļ™āđ‚āļ­āļāļēāļŠ 10 āļ›āļĩāļĻāļīāļĨāļ›āļēāļ˜āļĢ

āļĢāļ°āļŦāļ§āđˆāļēāļ‡āļ§āļąāļ™āļ—āļĩāđˆ 17 - 27 āļāļĢāļāļŽāļēāļ„āļĄ 2557 āļ“ āļŦāļ­āļĻāļīāļĨāļ›āđŒāļĢāđˆāļ§āļĄāļŠāļĄāļąāļĒāļĢāļēāļŠāļ”āļģāđ€āļ™āļīāļ™



āļ—āļĢāļĢāļĻāļ™āļ°āļ‚āļ­āļ‡āļĻāļīāļĨāļ›āļīāļ™āļĻāļīāļĨāļ›āļēāļ˜āļĢ āļ›āļĩ 57 āļŠāļļāļĢāļīāļĒāļ° āļ­āļąāļĄāļžāļąāļ™āļĻāļīāļĢāļīāļĢāļąāļ•āļ™āđŒ āļŠāļēāļ‚āļēāļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄ āļŠāļ–āļēāļ›āļ™āļīāļāđāļ–āļ§āļŦāļ™āđ‰āļēāđƒāļ™āđ€āļĄāļ·āļ­āļ‡āđ„āļ—āļĒ āđ„āļ”āđ‰āļĢāļąāļšāļĢāļēāļ‡āļ§āļąāļĨāļĄāļēāļāļĄāļēāļĒāļ—āļąāđ‰āļ‡āđƒāļ™āđāļĨāļ°āļ•āđˆāļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻ āļ—āļĩāđˆāļŠāļģāļ„āļąāļāđ€āļ‚āļēāļ—āļģāļ‡āļēāļ™āļ­āļ­āļāđāļšāļšāļ§āļąāļ”āļ§āļēāļ­āļēāļĢāļēāļĄāđ‚āļ”āļĒāđ„āļĄāđˆāđ„āļ”āđ‰āđ€āļ™āđ‰āļ™āļ„āļ§āļēāļĄāļ§āļīāļˆāļīāļ•āļĢāļ‡āļ”āļ‡āļēāļĄāđ€āļŦāļĄāļ·āļ­āļ™āļ§āļąāļ”āļ—āļąāđˆāļ§āđ„āļ› āđāļ•āđˆāđƒāļŠāđ‰āļ­āļ‡āļ„āđŒāļ›āļĢāļ°āļāļ­āļšāļ˜āļĢāļĢāļĄāļŠāļēāļ•āļī āđāļŠāļ‡ āđ€āļ‡āļē āļ§āļąāļŠāļ”āļļāļžāļ·āđ‰āļ™āļ–āļīāđˆāļ™āļ­āļĒāđˆāļēāļ‡āļĢāļđāđ‰āļ„āļļāļ“āļ„āđˆāļēāđāļĨāļ°āđ€āļāļīāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒāļŠāļđāļ‡āļŠāļļāļ” āđ€āļŠāđˆāļ™āļ—āļĩāđˆāļ§āļąāļ”āđ€āļ‚āļēāļžāļļāļ—āļ˜āđ‚āļ„āļ”āļĄ āļ­.āļĻāļĢāļĩāļĢāļēāļŠāļē āđāļĨāļ°āļ§āļąāļ”āļ›āđˆāļēāļ§āļŠāļīāļĢāļšāļĢāļĢāļžāļ• āļ­.āđ€āļĄāļ·āļ­āļ‡ āļˆ.āļŠāļĨāļšāļļāļĢāļĩ āđ„āļ”āđ‰āļĢāļąāļšāļĢāļēāļ‡āļ§āļąāļĨāđ€āļŦāļĢāļĩāļĒāļāļ—āļ­āļ‡āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļ”āļĩāđ€āļ”āđˆāļ™ āļ›āļĢāļ°āđ€āļ āļ—āļ­āļēāļ„āļēāļĢāļ›āļĢāļ°āļŦāļĒāļąāļ”āļžāļĨāļąāļ‡āļ‡āļēāļ™ āļāļĨāđˆāļēāļ§āļ„āļ§āļēāļĄāļĢāļđāđ‰āļŠāļķāļāļĢāļēāļ‡āļ§āļąāļĨāļĻāļīāļĨāļ›āļēāļ˜āļĢāļ§āđˆāļē


“āļ‚āļ­āļšāļ„āļļāļ“āļ—āļĩāđˆāļŠāļąāļ‡āļ„āļĄāļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āļ„āļļāļ“āļ„āđˆāļēāđƒāļ™āđ‚āļ„āļĢāļ‡āļāļēāļĢāļ•āđˆāļēāļ‡āđ† āļ—āļĩāđˆāđ„āļ”āđ‰āļ—āļģāļĄāļēāļ­āļĒāđˆāļēāļ‡āļ•āđˆāļ­āđ€āļ™āļ·āđˆāļ­āļ‡āļĒāļēāļ§āļ™āļēāļ™āļ™āļąāļšāļŠāļīāļšāļ›āļĩ āļĢāļđāđ‰āļŠāļķāļāļ”āļĩāļ—āļĩāđˆāđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āđ€āļŠāļĢāļīāļĄāļāļģāļĨāļąāļ‡āđƒāļˆāđƒāļ™āļāļēāļĢāļ—āļģāļ‡āļēāļ™ āđāļĄāđ‰āļ§āđˆāļēāļāļēāļĢāļ—āļģāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļˆāļ°āļĄāļĩāļ­āļļāļ›āļŠāļĢāļĢāļ„āđāļĨāļ°āļ„āļ§āļēāļĄāļĒāļēāļāļĨāļģāļšāļēāļāļĄāļēāļāļĄāļēāļĒ āđāļ•āđˆāļŠāļīāđˆāļ‡āļ—āļĩāđˆāđ„āļ”āđ‰āļāļĨāļąāļšāļĄāļēāļĄāļąāļ™āļ„āļ·āļ­āļ„āļ§āļēāļĄāļŠāļļāļ‚


āļˆāļļāļ”āđ€āļĢāļīāđˆāļĄāļ•āđ‰āļ™āļ„āļ·āļ­ āļāļēāļĢāđ„āļ”āđ‰āļŠāļĢāđ‰āļēāļ‡āļāļļāļāļīāđƒāļŦāđ‰āļāļąāļšāļ§āļąāļ”āđ€āļ‚āļēāļžāļļāļ—āļ˜āđ‚āļ„āļ”āļĄ āļ—āļĩāđˆāļŦāļĨāļēāļ™āļŠāļēāļĒāļšāļ§āļŠ āđ‚āļ”āļĒāđƒāļŠāđ‰āļ§āļąāļŠāļ”āļļāļ—āļĩāđˆāļŦāļēāđ„āļ”āđ‰āđƒāļāļĨāđ‰āļ•āļąāļ§ āđāļĨāļ°āļ‚āļ­āļ‡āđ€āļāđˆāļēāļĄāļ·āļ­āļŠāļ­āļ‡āļ™āļģāļĄāļēāļ›āļĢāļąāļšāđƒāļŠāđ‰āļ­āļĒāđˆāļēāļ‡āļĨāļ‡āļ•āļąāļ§ āļˆāļ™āđ€āļāļīāļ”āļāļļāļāļīāļŦāļĨāļąāļ‡āđāļĢāļ āđƒāļ™āļĨāļąāļāļĐāļ“āļ°āļ‡āļēāļ™āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļŠāļĩāđ€āļ‚āļĩāļĒāļ§ āļ‹āļķāđˆāļ‡āļ„āļģāļ™āļķāļ‡āļ–āļķāļ‡āļ āļđāļĄāļīāļ›āļĢāļ°āđ€āļ—āļĻ āļ„āļģāļ™āļķāļ‡āļ–āļķāļ‡āļ—āļēāļ‡āļ™āđ‰āļģāđ„āļŦāļĨāđāļĨāļ°āđ„āļĄāđˆāđ€āļšāļĩāļĒāļ”āđ€āļšāļĩāļĒāļ™āļ•āđ‰āļ™āđ„āļĄāđ‰ āļŦāļĨāļ§āļ‡āļžāđˆāļ­āļ—āđˆāļēāļ™āđ€āļŦāđ‡āļ™āļ–āļķāļ‡āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđŒ āļˆāļķāļ‡āđ„āļ”āđ‰āļ›āļĢāļķāļāļĐāļēāđāļĨāļ°āļŠāļĢāđ‰āļēāļ‡āļāļļāļāļīāļŦāļĨāļąāļ‡āļ­āļ·āđˆāļ™āđ† āđ‚āļ”āļĒāļ­āļēāļĻāļąāļĒāļ›āļąāļˆāļˆāļąāļĒāļˆāļēāļāļœāļđāđ‰āļĄāļĩāļˆāļīāļ•āļĻāļĢāļąāļ—āļ˜āļēāļ—āļģāļšāļļāļāđāļĨāļ°āļ–āļ§āļēāļĒāđƒāļŦāđ‰āļāļąāļšāļ§āļąāļ” āļ™āļąāđˆāļ™āļ„āļ·āļ­āļāļēāļĢāļ—āļģāļ‡āļēāļ™āļĻāļīāļĨāļ›āļ°āļ—āļĩāđˆāđ€āļĢāļīāđˆāļĄāļ•āđ‰āļ™āļ”āđ‰āļ§āļĒāļ„āļ§āļēāļĄāļĻāļĢāļąāļ—āļ˜āļēāđ€āļ›āđ‡āļ™āļ—āļĩāđˆāļ•āļąāđ‰āļ‡


āļ‡āļēāļ™āļŠāļĢāđ‰āļēāļ‡āļāļļāļāļī āđ€āļ™āđ‰āļ™āļ„āļ§āļēāļĄāļžāļ­āđ€āļžāļĩāļĒāļ‡ āļ„āļ§āļēāļĄāļĒāļąāđˆāļ‡āļĒāļ·āļ™ āļ‹āļķāđˆāļ‡āđ€āļ›āđ‡āļ™āļĄāļīāļ•āļĢāļ•āđˆāļ­āļŠāļĢāļĢāļžāļŠāļīāđˆāļ‡āđƒāļ™āđ‚āļĨāļ āđāļĨāļ°āđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āļ—āļĩāđˆāļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāļŠāļĩāđ€āļ‚āļĩāļĒāļ§āđ„āļ”āđ‰āļ–āļđāļāļāļģāļŦāļ™āļ”āđ„āļ§āđ‰āđ€āļ›āđ‡āļ™āļžāļąāļ™āđ† āļ›āļĩ āļ āļēāļĒāđƒāļ•āđ‰āļŦāļĨāļąāļāļ›āļĢāļąāļŠāļāļēāļžāļļāļ—āļ˜āļĻāļēāļŠāļ™āļē āļ‡āļēāļ™āļ—āļĩāđˆāļ—āļģāđƒāļŦāđ‰āļāļąāļšāļ§āļąāļ”āđāļĨāļ°āļĻāļēāļŠāļ™āļēāļĄāļĩāļ„āļ§āļēāļĄāļĨāļķāļāļ‹āļķāđ‰āļ‡āļāļ§āđˆāļēāļ‡āļēāļ™āđ‚āļ”āļĒāļ—āļąāđˆāļ§āđ„āļ› āđ€āļ›āđ‡āļ™āļāļēāļĢāļĢāļ§āļĄ Landscape āđāļĨāļ°āļ‡āļēāļ™āļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄāđ€āļ‚āđ‰āļēāļ”āđ‰āļ§āļĒāļāļąāļ™ āļ™āļ­āļāđ€āļŦāļ™āļ·āļ­āļˆāļēāļāļ„āļ§āļēāļĄāļ‡āļēāļĄāļ•āđ‰āļ­āļ‡āļ„āļģāļ™āļķāļ‡āļ–āļķāļ‡āđ€āļ™āļ·āđ‰āļ­āļŦāļēāļ›āļĢāļ°āđ€āļ”āđ‡āļ™āļŦāļĨāļąāļ āļšāļēāļ‡āļ—āļĩāđ€āļĢāļēāļ­āļēāļˆāđ„āļĄāđˆāļ•āđ‰āļ­āļ‡āđƒāļŠāđ‰āļ‚āļ­āļ‡āđ‚āļšāļĢāļēāļ“ āđāļ•āđˆāļāđ‡āļĢāļąāļāļĐāļēāļ„āļ§āļēāļĄāļŠāļ‡āļšāđ„āļ§āđ‰āđ„āļ”āđ‰āđ€āļŦāļĄāļ·āļ­āļ™āđ€āļ”āļīāļĄ


āļ•āļ­āļ™āļ™āļĩāđ‰āļĄāļĩāđ‚āļ„āļĢāļ‡āļāļēāļĢāļŠāļĢāđ‰āļēāļ‡āļ­āļēāļ„āļēāļĢāđ€āļāđ‡āļšāļ‚āļ­āļ‡āđāļĨāļ°āļ­āļēāļ„āļēāļĢāļ›āļāļīāļšāļąāļ•āļīāļ˜āļĢāļĢāļĄāļ‚āļ™āļēāļ”āđƒāļŦāļāđˆāļ—āļĩāđˆāļ§āļąāļ”āļ›āđˆāļēāļ§āļŠāļīāļĢāļšāļĢāļĢāļžāļ• āļˆāļąāļ‡āļŦāļ§āļąāļ”āļŠāļĨāļšāļļāļĢāļĩ āđ‚āļ„āļĢāļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļšāļšāđ‰āļēāļ™ “āļžāļ­āļ”āļĩ āļžāļ­āļ”āļĩ” āđ€āļžāļ·āđˆāļ­āļŠāđˆāļ§āļĒāđ€āļŦāļĨāļ·āļ­āļœāļđāđ‰āļ›āļĢāļ°āļŠāļšāļ āļąāļĒāļ™āđ‰āļģāļ—āđˆāļ§āļĄāļ—āļēāļ‡āļ āļēāļ„āđƒāļ•āđ‰ āđāļĨāļ°āļ­āļ­āļāđāļšāļšāļšāđ‰āļēāļ™āđ€āļžāļ·āđˆāļ­āļ›āđ‰āļ­āļ‡āļāļąāļ™āđāļœāđˆāļ™āļ”āļīāļ™āđ„āļŦāļ§āļ—āļĩāđˆāļˆāļąāļ‡āļŦāļ§āļąāļ”āđ€āļŠāļĩāļĒāļ‡āļĢāļēāļĒ”


āļŠāļļāļĢāļīāļĒāļ° āļĻāļīāļĨāļ›āļēāļ˜āļĢāļŠāļ–āļēāļ›āļąāļ•āļĒāļāļĢāļĢāļĄ āđƒāļŦāđ‰āđāļ‡āđˆāļ„āļīāļ”


“āļœāļĄāđ€āļŠāļ·āđˆāļ­āļ§āđˆāļēāļĄāļ™āļļāļĐāļĒāđŒāļ—āļļāļāļ„āļ™āđ€āļāļīāļ”āļĄāļēāđāļĨāđ‰āļ§āļ•āđ‰āļ­āļ‡āđƒāļŠāđ‰āļŠāļĩāļ§āļīāļ•āļ­āļĒāđˆāļēāļ‡āļĄāļĩāļ„āļ§āļēāļĄāļŠāļļāļ‚ āđāļĨāļ°āđ„āļĄāđˆāđ€āļšāļĩāļĒāļ”āđ€āļšāļĩāļĒāļ™āļāļąāļ™ āļŠāļīāđˆāļ‡āļŠāļģāļ„āļąāļāļ•āđ‰āļ­āļ‡āļĄāļ­āļ‡āļŦāļēāđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāđƒāļŦāđ‰āļāļąāļšāļ•āļ™āđ€āļ­āļ‡āļ­āļĒāļđāđˆāđ€āļŠāļĄāļ­ āļœāļĄāđ„āļ”āđ‰āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāļĄāļŦāļēāļĻāļēāļĨāļĄāļēāļāļˆāļēāļāļ•āđ‰āļ™āđ„āļĄāđ‰ āļ•āđ‰āļ™āļŦāļāđ‰āļēāļ—āļĩāđˆāļ‡āļ­āļāļ‡āļēāļĄāļ‚āļķāđ‰āļ™āļˆāļēāļāļāđ‰āļ­āļ™āļ­āļīāļāļĢāļīāļĄāļ–āļ™āļ™ āļĢāļīāļĄāļŸāļļāļ•āļšāļēāļ˜ āļ‹āļ­āļāļ•āļķāļ āļ‚āđ‰āļēāļ‡āļāļģāđāļžāļ‡āđ‚āļšāļŠāļ–āđŒ āđ€āļ›āđ‡āļ™āļŠāļīāđˆāļ‡āļĄāļŦāļąāļĻāļˆāļĢāļĢāļĒāđŒāļ—āļĩāđˆāļĄāļēāļŠāđˆāļ§āļĒāđ€āļ•āļīāļĄāđ€āļ•āđ‡āļĄāļŠāļĩāļ§āļīāļ•āđāļĨāļ°āļāļēāļĢāļ—āļģāļ‡āļēāļ™āđƒāļŦāđ‰āļāļąāļšāļœāļĄ āđ€āļžāļĢāļēāļ°āđāļĢāļ‡āļšāļąāļ™āļ”āļēāļĨāđƒāļˆāļĄāļĩāļ­āļĒāļđāđˆāđƒāļ™āļŠāļĩāļ§āļīāļ•āđ€āļĢāļēāļ—āļļāļāļ„āļ™ āļ—āļļāļāđ†āļ—āļĩāđˆ āļ—āļļāļāđ†āļ§āļąāļ™ āđāļ•āđˆāļ„āļļāļ“āļˆāļ°āļĄāļ­āļ‡āđ€āļŦāđ‡āļ™āļĄāļąāļ™āļŦāļĢāļ·āļ­āđ€āļ›āļĨāđˆāļēāđ€āļ—āđˆāļēāļ™āļąāđ‰āļ™āđ€āļ­āļ‡â€



'WALLED MONK'S CELL' Wat Khao Buddhakodom, Sriracha, Chonburi, Thailand

Renowned architect Suriya Umpansiriratana, winner of the Silpathorn Award in 2014 for Architecture, and the holder of other national and international awards, doesn’t just rely on the beauty of structures alone, but on a conscious blend of natural elements, such as light and shadow, and locally-sourced materials. His highly-admired work includes the Walled Monk’s Cell at Wat Khao Buddha Kodom in Sri Racha district and the Women’s Dormitory and Meditation Building at Wat Pa Wachirabanpot in Muang district, both in Chon Buri. The former was awarded a gold medal and the latter a silver medal by the Association of Siamese Architects’ in 2014.


“Thank you for recognizing the values of the projects that I have worked on over the past 10 years. [Being awarded] is a great honor and also gives me great moral support. Despite obstacles and hardships while working in art, it always brings happiness at the end of the day,” said Suriya Umpansiriratana after receiving his awards.


“It all started when I built monk’s cells for Wat Khao Buddha Kodom where my nephew was ordained. Built from locally-sourced or used materials within the community, the first cell became green architecture, where the geography, natural water flow, and locations of the trees were taken into account. The abbot realized the benefits of the structure that respects nature and asked me to build more cells in the temple. The construction budget pours in from donations by faithful followers. Like any art work, it can never be completed without faith from the artist.


“The concept of the Walled Monk’s Cell was based on sufficiency, sustainability and environment-friendliness – the theory of green architecture that has been practiced under Buddhism. Architecture for religious purposes is usually profound because it needs to blend the structure into an old environment. Function is also a priority, apart from the beauty. Most importantly, modern materials have been carefully seclected to maintain serenity and a peaceful atmosphere.


“Currently, I’m working on various projects, which include a large-scale storage and meditation building at Wat Pa Wachirabanpot in Chon Buri, a 'Pordee Pordee' house for flood victims in the South of Thailand, and a new design for earthquake-resistant houses for residents in Chiang Rai, the earthquake-prone area.”


Suriya Umpansiriratana added: “I believe human beings wish to live a happy life and, at the same time, not exploit others. The most important thing in life is to always seek life motivation. I’ve been largely inspired by trees or green grass that grows from under stones on pavements, out of building nooks or the wall of a church. These are the miracles that fulfill my life and work. Life inspiration is with us everywhere and every day, whether you can see it or not.”


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