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TCDC profile‡ √ “ °â “ « ¡ “ ‰ ° ≈ · §à ‰ À π„ π À π÷Ë ß ªï ∑’Ë ºà “ π ¡ “

creativityim

aginationdesign activities

perspectiveculture

knowledge

HOW FAR HAVE WE COME IN THE PAST

YEAR?

“ √ ∫— ≠ C o n t e n t s

∑ ” ‰ ¡ μâ Õ ß ®— ¥ μ—È ß T C D C W h y w a s T C D C e s t a b l i s h e d ?02

∫ √‘ ° “ √ ¢ Õ ß T C D C T C D C S e r v i c e s

À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿ â 1 Ye a r o f m a s t e r c l a s s

§ « “ ¡ ‡ ªì π ¡ “ ¢ Õ ß T C D C T C D C B a c k g ro u n d

IN ORDER TO MAINTAIN COMPETITIVENESS IN THE GLOBAL MARKET, THAILAND CAN NO LONGER EXPECT TO COMPETE WITH OTHER COUNTRIES MERELY IN TERMS OF LOWER LABOUR COSTS.THAILAND NEEDS TO CAPITALIZE ON ITS CREATIVITY IN DESIGNING PRODUCTS AND SERVICES TO BETTER MEET MARKET REQUIREMENTS.

ª √ – ‡ ∑ » ‰ ∑ ¬ ‰ ¡à “ ¡ “ √ ∂ · ¢à ß ¢— π „ π μ ≈ “ ¥ ‚ ≈ ° ¥â « ¬ ° “ √ „ ™â · √ ß ß “ π μâ π ∑ÿ π μ Ë” Õ’ ° μà Õ ‰ ª

‡ √ “ μâ Õ ß „ ™â ª √ – ‚ ¬ ™ πå ® “ ° § « “ ¡ §‘ ¥ √â “ ß √ √ §å„ π ° “ √ Õ Õ ° · ∫ ∫ ‘ π §â “ · ≈ – ∫ √‘ ° “ √ ∑’Ë ¡’ §ÿ ≥ ¿ “ æ

‡ æ◊Ë Õ μ Õ ∫ π Õ ß § « “ ¡ μâ Õ ß ° “ √ ¢ Õ ß μ ≈ “ ¥ ‰ ¥â ¡ “ ° ¢÷È π

Pansak Vinyaratn, Chairman of Thailand Creative & Design Center

æ— π »— ° ¥‘Ï « ‘≠ ≠ √— μ πå ª √ – ∏ “ π ° √ √ ¡ ° “ √ ” π— ° ß “ π »Ÿ π ¬å √â “ ß √ √ §å ß “ π Õ Õ ° · ∫ ∫

W H Y W A S T C D C E S T A B L I S H E D ? ∑ ” ‰ ¡ μâ Õ ß ®— ¥ μ—È ß T C D C

Creativity is one of the last remaining legal ways of gaining an unfair advantage over the competition.

Ed Mccabe, Copywriter

+ ‡ ¡◊Ë Õ ‡ ∑ § ‚ π ‚ ≈ ¬’ ¡’ ° “ √ æ— ≤ π “ ‰ ª ¡ “ ° ¢÷È π ºŸâ º ≈‘ μ ‘ π §â “ · ≈ – ºŸâ „ Àâ

∫ √‘ ° “ √ μà “ ß °Á · ¢à ß ¢— π °— π ¬ “ ° ¡ “ ° ¢÷È π ∑—È ß „ π ‡ √◊Ë Õ ß √ “ § “ · ≈ – §ÿ ≥ ¿ “ æ

‡ æ √ “ – ∑ÿ ° ∑’Ë μà “ ß °Á ¡’ § « “ ¡ “ ¡ “ √ ∂ „ π ° “ √ º ≈‘ μ Õ ¬à “ ß ¡’ §ÿ ≥ ¿ “ æ ¥â « ¬

μâ π ∑ÿ π ∑’Ë μ Ë” º ≈ ∑’Ë ‡°‘ ¥ ¢÷È π §◊ Õ ° “ √ ∂Ÿ ° ¥Ÿ ¥ ° ≈◊ π ‡ ¢â “ ‰ ª „ π «— ß « π ¢ Õ ß ° “ √

· ¢à ß ¢— π μ— ¥ √ “ § “ ° “ √ ≈ ¥ μâ π ∑ÿ π ¥â « ¬ ° “ √ · « ß À “ ‡ ∑ § ‚ π ‚ ≈ ¬’ ¡— ¬ „ À ¡à

· ≈ – ° “ √ ¬â “ ¬ ∞ “ π ° “ √ º ≈‘ μ + ¿ “ ¬ „ μâ ∑ √— æ ¬ “ ° √ ∑’Ë ® ” °— ¥ · ≈ – ° “ √

‡ ® √‘ ≠ ‡ μ‘ ∫ ‚ μ ∑ “ ß ‡ » √ … ∞ °‘ ® ¡ “ ¬ “ « π “ π ∑ ” „ Àâ ª √ – ‡ ∑ » ‰ ∑ ¬ ‰ ¡à “ ¡ “ √∂ ∑’Ë

® – ¬◊ π À ¬— ¥ · ¢à ß ¢— π ≈ ¥ μâ π ∑ÿ π °— ∫ ª √ – ‡ ∑ » Õ◊Ë π Ê ‰ ¥â Õ’ ° μà Õ ‰ ª · ≈ – ® ” ‡ ªì π μâ Õ ß

°â “ « ® “ ° ° √ – ∫ « π ° “ √ º ≈‘ μ ∑’Ë æ÷Ë ß æ “ · √ ß ß “ π · ≈ – ∑ √— æ ¬ “ ° √ ∏ √ √ ¡ ™ “ μ‘

‡ ªì π À ≈— ° ‰ ª Ÿà ° “ √ „ ™â ∞ “ π § « “ ¡ √Ÿâ „ π » “ μ √å μà “ ß Ê ¡ “ º ¡ º “ π

°— ∫ § « “ ¡ §‘ ¥ √â “ ß √ √ §å „ Àâ ° ≈ “ ¬ ‡ ªì π ° √ – ∫ « π ° “ √ Õ Õ ° · ∫ ∫ · ≈ –

æ— ≤ π “ º ≈‘ μ ¿— ≥ ±å ∑’Ë “ ¡ “ √ ∂ μ Õ ∫ π Õ ß § « “ ¡ μâ Õ ß ° “ √ ¢ Õ ß ‚ ≈ ° ‰ ¥â

With rapid advancements in technology, i t is increasingly d i ff icu l t for manufacturers and serv ice prov iders wor ldwide, to compete on pr ice or qual i ty a lone. The constant pursui t of new technology to reduce cost, and the re locat ion of manufactur ing base pure ly on cheaper product ion; i t is re lat ive ly easy for every country to manufacture qual i ty products at low cost. The resul t is a vortex of cut-pr ice compet i t ion g lobal ly dr iv ing export margins down.

+ ¥â « ¬ § « “ ¡ ‡ ™◊Ë Õ ∑’Ë «à “ ß “ π Õ Õ ° · ∫ ∫ π—È π ‰ ¡à “ ¡ “ √ ∂ ¥ ” √ ß Õ ¬Ÿà ‰ ¥â ‚ ¥ ¬

ª √ “ » ® “ ° √ “ ° ∞ “ π ∑ “ ß «— ≤ π ∏ √ √ ¡ · ≈ – ° “ √ —Ë ß ¡ ∑ “ ß ªí ≠ ≠ “ ¢ Õ ß

— ß § ¡ T C D C ®÷ ß °à Õ μ—È ß ¢÷È π ‡ æ◊Ë Õ º π « ° § « “ ¡ ‡ °à ß © ° “ ® ¢ Õ ß — ß § ¡ · ≈ –

«— ≤ π ∏ √ √ ¡ ‰ ∑ ¬ ‡ ¢â “ °— ∫ § « “ ¡ √Ÿâ · ≈ – ‡ ∑ § ‚ π ‚ ≈ ¬’ ¡— ¬ „ À ¡à Õ— π ® – π ” ‰ ª Ÿà

· √ ß ∫— π ¥ “ ≈ „ ® „ π ° “ √ √â “ ß √ √ §å ‘ π §â “ · ≈ – ∫ √‘ ° “ √ „ À ¡à Ê ∑’Ë ¡’ ‡ Õ °≈— ° … ≥å

‡ © æ “ – μ— « · ≈ – ‡ ªì π ∑’Ë ¬ Õ ¡ √— ∫ „ π √ – ¥— ∫ “ ° ≈ + ° “ √ π ” " ‘ π ∑ √— æ ¬å

∑ “ ß «— ≤ π ∏ √ √ ¡ " ¡ “ √â “ ß §ÿ ≥ §à “ · ≈ – ¡Ÿ ≈ §à “ „ Àâ °— ∫ ‘ π §â “ · ≈ – ∫ √‘ ° “√

∑ ” „ Àâ ‡ √ “ “ ¡ “ √ ∂ √â “ ß § « “ ¡ · μ ° μà “ ß „ Àâ °— ∫ ‘ π §â “ ¢ Õ ß ‰ ∑ ¬ · ≈ –

· ¢à ß ¢— π‰ ¥â ‚ ¥ ¬ ‰ ¡à μâ Õ ß μ— ¥ √ “ § “ ÷Ë ß √ – ∫ ∫ ‡ » √ … ∞ °‘ ® ∑’Ë æ÷Ë ß æ “ ° √ – ∫ « π

° “ √ º ≈‘ μ ∑’Ë Õ ¬Ÿà ∫ π æ◊È π ∞ “ π ¢ Õ ß ° “ √ √â “ ß §ÿ ≥ §à “ · ≈ – ¡Ÿ ≈ §à “ · ∫ ∫ π’È

‡ √’ ¬ ° ‰ ¥â «à “ ç ‡ » √ … ∞ °‘ ® · ∫ ∫ √â “ ß √ √ §å ¡Ÿ ≈ §à “ é ( V a l u e C r e a t i o n

E c o n o m y )

To this end, TCDC's mission is to be a learning center to stimulate the Thai people in recognizing the wealth of Thai values and understand how Thai society has evolved over time and blend our knowledge with creativity and high quality production in order to create additional value for Thai products and services.

With the belief that unique design cannot exist without an under-standing of cultural roots and a body of social wisdom, TCDC was established to fuse the ingenuity of Thai society and culture with modern knowledge and technology, thereby providing the inspiration to create new products and services that are distinctively original and internationally recognized.

With its l imited resources and in the face of continual global economic growth, Thailand is incapable of competing entirely on price. It must move forward from a manufacturing economy that rel ies heavily on labour and natural resources to the “Value Creation Economy” that is not entirely based on technology or mass labour, but on an innovative blend of capital, creativity combined with our cultural assets and unique skil ls that create distinctive and diff icult to imitate products that can satisfy the needs of world markets.

W H Y W A S T C D C E S T A B L I S H E D ? ∑ ” ‰ ¡ μâ Õ ß ®— ¥ μ—È ß T C D C

+ ° “ √ √â “ ß √ – ∫ ∫ ‡ » √ … ∞ °‘ ® · ∫ ∫ √â “ ß √ √ §å ¡Ÿ ≈ §à “ ( V a l u e

C r e a t i o n E c o n o m y ) ‰ ¡à ‰ ¥â Õ ¬Ÿà ∫ π æ◊È π ∞ “ π¢ Õ ß ‡ ∑ § ‚ π ‚ ≈ ¬’ ∑’Ë

∑— π ¡— ¬ À √◊ Õ · √ ß ß “ π ® ” π « π ¡ “ ° · μà ‡ ªì π ° “ √ π ” " ∑ÿ π " ¡ “ ∫ « °

°— ∫ " § « “ ¡ §‘ ¥ √â “ ß √ √ §å " · ≈ – º “ π ‡ ¢â “ °— ∫ " ‘ π ∑ √— æ ¬å ∑ “ ß

«— ≤ π ∏ √ √ ¡ " · ≈ – " ∑— ° … – ‡ © æ “ – μ— « " Õ— π ‡ ªì π ® ÿ¥ · ¢Á ß ¢ Õ ß ª √ – ‡ ∑ »

‰ ∑ ¬ ∑’Ë ¬ “ ° μà Õ ° “ √ ≈ Õ ° ‡ ≈’ ¬ π · ∫ ∫ ¡ “ √â “ ß §ÿ ≥ §à “ · ≈ – ¡Ÿ ≈ §à “ „ Àâ °— ∫

‘ π §â “ · ≈ – ∫ √‘ ° “ √ + ¿ “ √ °‘ ® À ≈— ° ¢ Õ ß T C D C ®÷ ß ‡ ªì π ° “ √ √â “ ß

· À ≈à ß ‡ √’ ¬ π √Ÿâ · ≈ – ° √ – μÿâ π „ Àâ § π ‰ ∑ ¬ ‰ ¥â μ √ – À π— ° ∂÷ ß §ÿ ≥ §à “ ¢ Õ ß — ß § ¡

‰ ∑ ¬ ∑’Ë ¡’ § « “ ¡ ‡ § ≈◊Ë Õ π ‰ À « ¡ “ μ—È ß · μà Õ ¥’ μ ® π ∂÷ ß ªí ® ®ÿ ∫— π „ Àâ ° ≈ “ ¬

‡ ªì π ∑ √— æ ¬ “ ° √ § « “ ¡ √Ÿâ ∑’Ë ® – º π « ° ‡ ¢â “ °— ∫ § « “ ¡ §‘ ¥ √â “ ß √ √ §å · ≈ –

° √ – ∫ « π ° “ √ º ≈‘ μ ‘ π §â “ · ≈ – ∫ √‘ ° “ √ ∑’Ë ¡’ §ÿ ≥ ¿ “ æ ‡ æ◊Ë Õ √â “ ß §ÿ ≥ §à “

· ≈ – ¡Ÿ ≈ §à “ „ Àâ °— ∫ ‘ π §â “ · ≈ – ∫ √‘ ° “ √ ¢ Õ ß ‰ ∑ ¬

value creation

cultural assets

skill

technology

Governments worldwide have therefore prioritized design as a crucial strategy in industrial development and economic improvement. National and local policies place increasing emphasis on design skills as an important tool for sustaining economic growth and increasing economic competitive advantage.

Th is phenomenon has led to the prominence of “design” as a driving force in the growth of economies and industries. Both public and private sectors have recognized that the key to economic success, the new breed of businesses that will lead to employment and future prosperity, is the right blend of creative ideas and culture. Utilizing design, not only to improve products or production process, but also to develop an entirely new business model is the current paradigm.

The 21st century has seen numerous changes that have had significant impact on countries around the world. Product ion costs r ise with higher wages, raw materials and oil prices. The expansion of information technology and biotechnology along with the birth of a new consumption culture, where consumers are better informed and demand high quality products that better cater to individual preferences, has caused a fundamental shift in how products are produced.

ª√“°Ø°“√≥åπ’È∑”„Àâ çß“πÕÕ°·∫∫é ‚¥¥‡¥àπ¢÷Èπ¡“„π∞“π–æ≈—ß¢—∫‡§≈◊ËÕπ„Àâ‡»√…∞°‘®·≈–Õÿμ “À°√√¡‡®√‘≠‡μ‘∫‚μ ∑—Èß¿“§√—∞·≈–‡Õ°™π μà“ß¬Õ¡√—∫«à“ ∏ÿ√°‘®∑’Ë „™â§«“¡§‘¥ √â“ß √√§å∑’Ëº ¡º “π‡¢â“°—∫«—≤π∏√√¡ ´÷Ëß‰¡à‰¥â§√Õ∫§≈ÿ¡·§à°“√ÕÕ°·∫∫‡æ◊ËÕæ—≤π“º≈‘μ¿—≥±å À√◊Õ°“√ ª√—∫ª√ÿß°√–∫«π°“√º≈‘μ„Àâ¥’¢÷Èπ ·μà¬—ß√«¡∂÷ß°“√ÕÕ°·∫∫·∫∫®”≈Õß∑“ß∏ÿ√°‘®·π«„À¡à ®–‡ªìπ°ÿ≠·® ”§—≠∑“ß‡»√…∞°‘®∑’Ë®–°àÕ„Àâ‡°‘¥°“√ ®â“ßß“π·≈–§«“¡¡—Ëß§—Ëß„πÕπ“§μ

√—∞∫“≈À≈“¬ª√–‡∑»®÷ß®—¥≈”¥—∫„Àâ°“√ÕÕ°·∫∫‡ªìπ°≈¬ÿ∑∏å ”§—≠„π°“√æ—≤π“·≈–¬°√–¥—∫Õÿμ “À°√√¡ æ√âÕ¡°—∫®—¥∑”π‚¬∫“¬°“√ÕÕ°·∫∫ ∑—Èß„π√–¥—∫™“μ‘·≈–√–¥—∫¿Ÿ¡‘¿“§ ∑’Ë¡ÿàß‡πâπ„Àâ∑—°…–°“√ÕÕ°·∫∫‡ªìπ‡§√◊ËÕß¡◊Õ‡æ‘Ë¡§«“¡ “¡“√∂„π°“√·¢àß¢—π·≈–√—°…“°“√‡μ‘∫‚μ∑“ß‡»√…∞°‘®

Design and the Global Situation

‚ ≈ ° „ π » μ « √ √ … ∑’Ë 2 1 ‰ ¥â ¡’ ° “ √ ‡ ª ≈’Ë ¬ π · ª ≈ ß ∑’Ë à ß º ≈ ° √ – ∑ ∫ μà Õ ª √ – ‡ ∑ » μà “ ß Ê ∑—È ß „ π ¥â “ π μâ π ∑ÿ π

° “ √ º ≈‘ μ ∑’Ë Ÿ ß ¢÷È π ∑—È ß §à “ · √ ß · ≈ – √ “ § “ π È” ¡— π ° “ √ ∂◊ Õ ° ” ‡ π‘ ¥ ¢÷È π ¢ Õ ß ‡ ∑ § ‚ π ‚ ≈ ¬’ “ √ π ‡ ∑ »

· ≈ – ‡ ∑ § ‚ π ‚ ≈ ¬’ ™’ « ¿ “ æ μ ≈ Õ ¥ ® π — ß § ¡ ° “ √ ∫ √‘ ‚ ¿ § · ∫ ∫ „ À ¡à ∑’Ë ºŸâ ∫ √‘ ‚ ¿ § ¡’ § « “ ¡ √Ÿâ · ≈ –

μâ Õ ß ° “ √ ‘ π §â “ §ÿ ≥ ¿ “ æ ∑’Ë “ ¡ “ √ ∂ μ Õ ∫ π Õ ß § « “ ¡ μâ Õ ß ° “ √ à « π ∫ÿ § § ≈ ‰ ¥â ¡ “ ° ¢÷È π

° “ √ Õ Õ ° · ∫ ∫ °— ∫ ∂ “ π ° “ √ ≥å ‚ ≈ °

asia

europe

africa

australia

nor th america

south america

FTSE100

Design Council ®—¥∑”¥—™π’«—¥º≈ ”‡√Á®¢Õß∫√‘…—∑∑’Ëπ”°“√ÕÕ°·∫∫¡“„™â„π ∏ÿ√°‘® ‚¥¬§”π«≥®“°√“§“Àÿâπ¢Õß 63 ∫√‘…—∑„À≠à æ∫«à“¡’º≈ª√–°Õ∫°“√ ¥’°«à“¥—™π’μ≈“¥Àÿâπ≈Õπ¥Õπ FTSE 100 ∂÷ß 200% A study (Design Index) carr ied out by Design Counci l found that 63 companies ident i f ied as effect ive users of design out-per formed the FTSE 100 by 200%

DESIGN-PORTFOLIO

1000

1500

500

2000

2500

3000

3500

4000

INDEX

94 95 96 97 98 99 00 01 02 03 YEAR

√— ∞ ∫ “ ≈ Õ— ß ° ƒ … ‰ ¥â ∑ ” ° “ √ ” √ « ® ºŸâ ª √ – ° Õ ∫ ° “ √ „ π ª √ – ‡ ∑ » · ≈ – æ ∫ «à “ Õÿμ “À°√√¡ à«π„À≠à¢ÕßÕ—ß°ƒ…¡’°“√≈ß∑ÿπ¥â“π°“√ÕÕ°·∫∫„πÕ—μ√“∑’ËμË” ¥—ßπ—Èπ‡æ◊ËÕ‡ªìπ°“√ √â“ß»—°¬¿“æ„π°“√·¢àß¢—π„ÀâÕÿμ “À°√√¡¢ÕßÕ— ß ° ƒ … √— ∞ ∫ “ ≈ ®÷ ß ¡ÿà ß ‡ πâ π ° “ √ ™— ° π ” „ Àâ ¿ “ § ∏ÿ √ °‘ ® À— π ¡ “ ‡ ÀÁ π § « “ ¡ ” §— ≠¢ Õ ß ° “ √ Õ Õ ° · ∫ ∫ ∑’Ë “ ¡ “ √ ∂ º ≈— ° ¥— π „ Àâ º ≈ ª √ – ° Õ ∫ ° “ √ ¥’ ¢÷È π √ « ¡ ∂÷ ß ° “ √ √â “ ß § « “ ¡ ‡ ™◊Ë Õ ¡ ‚ ¬ ß √ – À «à “ ß ß “ π Õ Õ ° · ∫ ∫ ¥â « ¬ °— π „ Àâ ¡ “ ° ¬‘Ë ß ¢÷È π

¥—ßπ—Èπ√—∞∫“≈Õ—ß°ƒ…®÷ß‰¥â®—¥μ—Èß‚§√ß°“√∑’Ë àß‡ √‘¡„ÀâºŸâª√–°Õ∫°“√·≈– π—°ÕÕ°·∫∫‰¥â√à«¡¡◊Õ°—π¡“°¢÷Èπ ‚¥¬¡’°≈‰°À≈—°Õ¬à“ß Design Council ∑”Àπâ“∑’Ë „π°“√ª√– “π„ÀâºŸâª√–°Õ∫°“√‡¢â“„®·≈–‡ÀÁπ§«“¡ ”§—≠¢Õß ß“πÕÕ°·∫∫ μ≈Õ¥®πÕ”π«¬§«“¡ –¥«°„π°“√æ—≤π“∫ÿ§≈“°√¥â“π °“√ÕÕ°·∫∫‡æ‘Ë¡‡μ‘¡®“°°“√»÷°…“πÕ°√–∫∫∑’Ë¡’Õ¬Ÿà∑—Ë«‡°“–Õ—ß°ƒ…

The British government through a survey of local entrepreneurs has found that the majority of British businesses invest very little in design. Determined to advance the role of design to increase profits and enhance competitiveness, the British government has set up projects to promote cooperation among entrepreneurs and designers. The Design Council plays a major role in helping entrepreneurs to understand and recognize the importance of design, as well as facilitating the development of design professionals by offering additional resources aside from informal training that is already available throughout the country.

√—∞∫“≈·≈–¿“§‡Õ°™π¢Õß‡°“À≈’ „μâμà“ßμ√–Àπ—°«à“ ß“πÕÕ°·∫∫‡ªìπ ªí®®—¬ ”§—≠¢Õß°“√∑”∏ÿ√°‘® ¥—ßπ— Èπ√—∞∫“≈‡°“À≈’ „μâ®÷ß‰¥â®—¥∑”·ºπ àß‡ √‘¡°“√ÕÕ°·∫∫‡æ◊ËÕæ—≤π“Õÿμ “À°√√¡ªï æ.». 2536-2540 ∑”„Àâ¡’ π—°ÕÕ°·∫∫·≈–∫√‘…—∑ÕÕ°·∫∫‡°‘¥¢÷Èπ‡ªìπ®”π«π¡“° ¢≥–‡¥’¬«°—π ∫√‘…—∑¢π“¥°≈“ß·≈–¢π“¥‡≈Á°°ÁÀ—π¡“„Àâ§«“¡ ”§—≠°—∫°“√≈ß∑ÿπ ‡ æ◊Ë Õ ° “ √ Õ Õ ° · ∫ ∫ ¡ “ ° ¢÷È π ‡ ¡◊Ë Õ ‡ °‘ ¥ «‘ ° ƒ μ ‡ » √ … ∞ °‘ ® „ π ªï æ . » . 2 5 4 0 Õÿμ “À°√√¡‡°“À≈’ „μâμâÕß‡º™‘≠°—∫·√ß°¥¥—π„π°“√ª√—∫μ—«‡™‘ß§ÿ≥¿“æ Õ’°§√—Èß √—∞∫“≈‡°“À≈’ „μâ®÷ß‰¥â®—¥∑”·ºπ àß‡ √‘¡°“√ÕÕ°·∫∫‡æ◊ËÕæ—≤π“ Õÿμ “À°√√¡ªï æ.». 2541-2546 ¢÷Èπ ‡æ◊ËÕ àß‡ √‘¡„Àâ‡°‘¥°“√æ—≤π“ ß“πÕÕ°·∫∫‡™‘ß§ÿ≥¿“æ¡“°¢÷Èπ Õ—ππ”‰ª Ÿà°“√‡æ‘Ë¡¢’¥§«“¡ “¡“√∂ „π°“√·¢àß¢—π¢Õßª√–‡∑»

The government and private sectors of South Korea both recognize that design is a critical factor in business. The Korean government launched a 5 year industrial design promotion and development plan in 1993, leading to the emergence of a large number of designers and design firms. At the same time, small and medium size businesses became more aware and focused on design investment. When the 2003 economic crisis forced South Korean industry to improve its product quality once more, the government responded with an industrial design promotion and development plan for the years 1998-2003 to promote higher quality design that will enhance the country's competitive advantage.

UK:G o o d D e s i g n = G o o d B u s i n e ssÕ— ß ° ƒ … : ß “ π Õ Õ ° · ∫ ∫ ¥’ ∏ÿ √ °‘ ® ‰ ª √ Õ ¥

South Korea:Eco n o m i c Re co v e r y b y D e s i g n‡ ° “ À ≈’ „ μâ : æ ≈‘ ° øóô π ‡ » √ … ∞ °‘ ® ¥â « ¬ ß “ π Õ Õ ° · ∫ ∫

°“√°â“«¢÷Èπ Ÿà°“√‡ªìπºŸâº≈‘μ ‘π§â“√“§“∂Ÿ°√“¬„À≠à¢Õß‚≈° ∑”„Àâª√–‡∑»®’π ‡ªìπª√–‡∑»∑’Ë¡’Õ—μ√“°“√‡μ‘∫‚μ∑“ß‡»√…∞°‘® Ÿß∑’Ë ÿ¥„πªí®®ÿ∫—π ·μà‡ªÑ“À¡“¬ ¢Õß®’π‰¡à‰¥âÀ¬ÿ¥Õ¬Ÿà·§àºŸâº≈‘μ ‘π§â“ çMade in Chinaé ·μàμâÕß°“√¢¬—∫¢÷Èπ ‡ªìπºŸâÕÕ°·∫∫ ‘π§â“ çDesigned in Chinaé ‡æ◊ËÕ‡æ‘Ë¡ à«πμà“ß°”‰√·≈– §√Õß à«π·∫àßμ≈“¥‚≈°¥â«¬º≈‘μ¿—≥±å∑’Ë¡’∑—Èß§ÿ≥¿“æ·≈–°“√ÕÕ°·∫∫∑’Ë¥’ ªí®®ÿ∫—π ‘π§â“¢Õß®’π°â“«‰°≈‰ª¡“° Õ“∑‘ ‡§√◊ËÕß„™â‰øøÑ“ §Õ¡æ‘«‡μÕ√å œ≈œ ∑’Ë‰¡à‡æ’¬ß·μà√“§“¬àÕ¡‡¬“ ·μà¬—ß¡’§ÿ≥¿“æ∑’Ë‰¥â¡“μ√∞“π “°≈·≈–°≈“¬‡ªìπ μ√“ ‘π§â“™—Èππ”¢Õß‚≈°

In its role as the largest low-cost manufacturing hub for the world, China has emerged as the highest economic growth country today. But China aims at not merely being producers of “Made in China” products, but to become producers of “Designed in China” products, in order to increase margins and dominate world markets with quality and design. Today, Chinese products have come a long way. Appliances and computers, for instance, are not only low-priced, but also meet high international standards of quality and are recognized as global brands.

¥â«¬‡ªÑ“À¡“¬„π°“√æ—≤π“‡»√…∞°‘®·≈–º≈—°¥—π„ÀâÕÿμ “À°√√¡¢ÕßÕ‘π‡¥’¬ “¡“√∂·¢àß¢—π‰¥â „πμ≈“¥‚≈° √—∞∫“≈Õ‘π‡¥’¬®÷ßμ√–Àπ—°∂÷ß§«“¡ ”§—≠¢ Õ ß ° “ √ Õ Õ ° · ∫ ∫ · ≈ – ° “ √ ª √ – ¥‘ … ∞å §‘ ¥ §â π ®÷ ß ¡ÿà ß æ— ≤ π “ ° “ √ Õ Õ ° · ∫ ∫ μ√“ ‘π§â“ ·≈–∑√—æ¬å ‘π∑“ßªí≠≠“„Àâ‡ªìπ®ÿ¥·¢Áß¢ÕßÕÿμ “À°√√¡°“√º≈‘μ ‘π§â“·≈–∫√‘°“√¢ÕßÕ‘π‡¥’¬„π¬ÿ§»μ«√√…∑’Ë 21 π’È

√—∞∫“≈Õ‘π‡¥’¬®÷ß‰¥â√à“ßπ‚¬∫“¬°“√ÕÕ°·∫∫·Ààß™“μ‘ (National Design

Policy) ¢÷Èπ ‚¥¬¡’‡ªÑ“À¡“¬„ÀâÕ‘π‡¥’¬‡ªìπ ç·À≈àßÕÕ°·∫∫é (Design

Provider) ·≈– çºŸâº≈‘μ∑’Ë √â“ß √√§åé (Creative Manufacturer) ∑’Ë¡’ ‡Õ°≈—°…≥å¢Õß‚≈° ºà“π°“√ àß‡ √‘¡«—≤π∏√√¡·≈–Õÿμ “À°√√¡§«“¡§‘¥ √â“ß √√§å„Àâ‡ªìπæ◊Èπ∞“π¢Õß°“√»÷°…“¥â“π°“√ÕÕ°·∫∫ ‡æ√“–«—≤π∏√√¡ ·≈–§«“¡§‘¥ √â“ß √√§å®–‡ªìπ ‘Ëß∑’Ë √â“ß§«“¡·μ°μà“ß„Àâ°—∫ ‘π§â“·≈– ∫√‘°“√¢ÕßÕ‘π‡¥’¬ ¢≥–‡¥’¬«°—π°Á°√–μÿâπ„ÀâºŸâº≈‘μ ‘π§â“·≈–ºŸâ „Àâ∫√‘°“√ ‚¥¬‡©æ“–ºŸâª√–°Õ∫°“√¢π“¥‡≈Á°‰¥âμ√–Àπ—°∂÷ß§«“¡ ”§—≠¢Õß°“√ ÕÕ°·∫∫·≈–π”¡“„™â„π°“√ª√–°Õ∫∏ÿ√°‘®

With the goal to develop the economy and, to strengthen its competitiveness in the world market, the Indian government realizing the importance of design and innovation has placed strong emphasis on developing innovative design, effective branding, and intellectual property, in the effort to make them the vanguard of Indian manufacturing and service industries in the 21st century.

To that end, the Indian government has drafted a National Design Policy, aiming to position India as a primary “design provider” and “creative manufacturer” in world markets and to strengthen cultural and creative industries as a backdrop to design education, since culture and creativity form the base for “differential creativity” the essence of design advantage. The policy also seeks to raise awareness among manufacturers and service providers, particularly small-scale enterprises, about the competitive advantage of original design and to encourage greater use of design in all products.

China:D e s i g n e d i n C h i n a®’ π : ¥’ ‰ πå „ π ‡ ¡◊ Õ ß ®’ π

India:Po o l of t h e C re a t i v e G u r uÕ‘ π ‡ ¥’ ¬ : · À ≈à ß √ « ¡ °Ÿ √Ÿ ¥â “ π ¥’ ‰ πå

creativityjobs and income.

expressions

create

Though creative thinking economics

appear to be separate matters,and

New

we must put them together.

Thaksin Shinawatra , Pr ime Min ister of Thai land (2001-2006) ∑— ° …‘ ≥ ™‘ π «— μ √ π “ ¬ ° √— ∞ ¡ π μ √’ ( 2 5 4 4 - 2 5 4 9 )

ª Õ ° ‡ ª ≈◊ Õ ° √ “ ° ‡ À ßâ “ √ π‘ ¬ ¡ + À “ ° ¡ Õ ß ‰ ª ∑’Ë «— ≤ π ∏ √ √ ¡ ª √ – ‡ æ ≥’

ª √ – «— μ‘ » “ μ √å »‘ ≈ ª – ∂ “ ªí μ ¬ ° √ √ ¡ « √ √ ≥ ° √ √ ¡ ¥ π μ √’ ÷Ë ß

· ¥ ß Õ Õ ° ® “ ° § « “ ¡ ‡ ªì π ¡ πÿ … ¬å Õ “ ® æ ∫ «à “ À “ ° ® – ‡ ¢â “ „ ® · ≈ – √Ÿâ ®— °

§ « “ ¡ À ¡ “ ¬ ¢ Õ ß ‘Ë ß √â “ ß √ √ §å ‡ À ≈à “ π—È π ‡ √ “ μâ Õ ß ¢ÿ ¥ §ÿâ ¬ ≈ ß ≈÷ ° ∂÷ ß

√ “ ° ‡ À ßâ “ ¢ Õ ß § « “ ¡ À ¡ “ ¬ «‘ ∏’ ° “ √ § « “ ¡ §‘ ¥ ‡ æ◊Ë Õ ∑’Ë ® – §â π æ ∫ §ÿ ≥ §à “

® “ ° ª √ – ∫ ° “ √ ≥å ∑’Ë · ∑â ® √‘ ß + À π÷Ë ß „ π ª √— ™ ≠ “ ¢ Õ ß TCDC §◊ Õ

° “ √ ç ° √ – μÿâ π é ° “ √ §â π À “ ° – ‡ ∑ “ – ‡ ª ≈◊ Õ ° · ° – ‡ π◊È Õ „ π √ “ ° ‡ À ßâ “

· Àà ß § « “ ¡ ” ‡ √Á ® · ≈ – ™◊Ë π ™ ¡ ‘Ë ß ” §— ≠ ∑’Ë à Õ π Õ ¬Ÿà ¿ “ ¬ „ π ‡ ªî ¥ „ Àâ

‡ ÀÁ π ª √ – ‚ ¬ ™ πå „ ™â Õ ¬ · ≈ – ‡ À μÿ º ≈ ¢ Õß ° “ √ Õ Õ ° · ∫ ∫ · ≈ – § « “ ¡ § ‘ ¥

√â “ ß √ √ §å ºà “ π º ≈ ß “ π ° “ √ Õ Õ ° · ∫ ∫ ¢ â Õ √ÿ ª ‡ À ≈à “ π—È π ∑ÿ ° § π “ ¡ “ √ ∂

‡ ° Á ∫ ‡ °’Ë ¬ « ‰ ¥ â ® “ ° TCDC

Deconstruct ing the Origin of Taste Examin ing cu l ture, t rad i t ion, h is tory, ar ts, arch i tecture, l i te rature, music or any human express ion, we might f ind that in order to understand and grasp the core meaning of each creat ion, we must scrut in ize, exp lore, d ig deeply in to the roots of concept ion, process, and thought deve lopment, to d iscover the t rue va lue. Fundamenta l to TCDC’s ph i losophy is “s t imulat ing” the explorat ion of creat iv i ty by unfo ld ing and unve i l ing the roots of creat ive success, as wel l as promot ing the appreciation of the core creative concept by demonstrating the function and rationale of des ign and creat ive th ink ing through the d isp lay of wel l -des igned objects.

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T C D C ‡ ™◊Ë Õ «à “ ®‘ π μ π “ ° “ √ · ≈ – · √ ß ∫— π ¥ “ ≈ „ ® ‡ ªì π ∑’Ë ¡ “ ¢ Õ ß § « “ ¡ §‘ ¥ √â “ ß √ √ §å

‡ ¡◊Ë Õ π ” ¡ “ º ¡ ‡ ¢â “ °— ∫ » “ μ √å „ π “ ¢ “ μà “ ß Ê ® – ‡ ªì π ° √ – ∫ « π ° “ √ ∑’Ë ” §— ≠ Õ ¬à “ ß ¬‘Ë ß

„ π ° “ √ æ— ≤ π “ ∑ √— æ ¬ “ ° √ ¡ πÿ … ¬å ¢ Õ ß ª √ – ‡ ∑ »

TCDC ®÷ß‡ª√’¬∫‡À¡◊Õπ ç¡À√ æ∑“ßªí≠≠“é ∑’Ë®–®ÿ¥ª√–°“¬§«“¡§‘¥ √â“ß √√§å„Àâ‡°‘¥¢÷Èπ„π —ß§¡‰∑¬ ·≈–°√–μÿâπ„Àâ§π‰∑¬μ√–Àπ—°∂÷ß§ÿ≥§à“ ¢Õßß“πÕÕ°·∫∫ ‚¥¬ºà“π°√–∫«π°“√„Àâ§«“¡√Ÿâ§«“¡‡¢â“„®·∫∫ “°≈ μ—Èß·μà°“√®—¥π‘∑√√»°“√ °“√∫√√¬“¬ —¡¡π“‡™‘ßªØ‘∫—μ‘°“√ ‰ª®π∂÷ß °“√ √â“ß·À≈àß§âπ§«â“ ÷Ëß‰¡à‡æ’¬ß„Àâ§«“¡√Ÿâ·μà¬—ß„Àâ§«“¡∫—π‡∑‘ß·≈–ª√– ∫°“√≥å∑’Ëπ”‰ª Ÿà§«“¡§‘¥ √â“ß √√§å∑’ËÕ¬Ÿà∫πæ◊Èπ∞“π¢Õß§«“¡√Ÿâ√Õ∫¥â“π

TCDC believes that imagination and inspiration are the sources of creativity. Blending these skills with the sciences in various fields catalyses the critical process in the development of the country's human resources.

The TCDC is a “theatre of the mind”, aspiring to trigger creative thinking in Thai society and to encourage Thai people to recognize the value of design. From exhibitions, lectures and workshops, to research facility development, these activities are not merely educational, but also entertain and provide experiences that will lead to imaginative thinking based on well-rounded knowledge.

5. ∫√√¬“°“» √â“ß √√§å„πÀâÕß ¡ÿ¥A creative atmosphere in TCDC Resource Center

6. π‘∑√√»°“√ ç°—π¥“√§◊Õ ‘π∑√—æ¬å: Õ’ “πéThe exhibition “ISAN RETROSPECTIVE:

Deprivation, Creativity and Design”

7. The Shop@TCDC8. π‘∑√√»°“√ çμâÕß¡’Õ–‰√∂÷ßÕÕ°·∫∫‰¥âé

The exhibition “What is Design?”

9. The Member Lounge

1. π‘∑√√»°“√ ç«‘‡«’¬π ‡« μå«Ÿ¥éThe exhibition “Vivienne Westwood”

2. ÀâÕß ¡ÿ¥‡©æ“–¥â“π°“√ÕÕ°·∫∫TCDC Resource Center

3. ÀâÕß™¡¿“æ¬πμ√åMultimedia room

4. ÀâÕß ¡ÿ¥«— ¥ÿ‡æ◊ËÕ°“√ÕÕ°·∫∫Material ConneXion® Bangkok

T C D C S E R V I C E S∫ √‘ ° “ √ ¢ Õ ß T C D C

“Dance with your imagination and change your life.”ç ‚ ≈ ¥ · ≈à π ‰ ª °— ∫ ®‘ π μ π “ ° “ √ ‡ æ◊Ë Õ ‡ ª ≈’Ë ¬ π ™’ «‘ μ §ÿ ≥ é

æ—π»—°¥‘Ï «‘≠≠√—μπå ª√–∏“π°√√¡°“√ ”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ Pansak Vinyaratn, Chairman of Thailand Creative & Design Center

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T C D C S E R V I C E S∫ √‘ ° “ √ ¢ Õ ß T C D C

Exhibitions The 800 square-metre exhibition area designed to international museum standards is divided into:

The Permanent Exhibition (What is Design?) within a 300-square-metre ga l lery, exp lores d iverse subjects per ta in ing to the soc ia l , cu l tura l , economic, and political contexts that are influential factors having an impact on the creativity of 10 countries known for their innovative design. In addition, it illustrates the changes in consumer behaviour over time throughout modern history.

Temporary Exhibitions housed in a 500 square-metre gallery, present TCDC and other international exhibitions. Their goal is to foster design knowledge and to stimulate inspiration among visitors by showcasing internationally acclaimed design work combined with detailed descriptions of their concept and origin.

· À ≈à ß ° √ – μÿâ π ®‘ π μ π “ ° “ √ √â “ ß · √ ß ∫— π ¥ “ ≈ „ ®A P l a ce to I g n i t e Yo u r I m a g i n a t i o n a n d I n s p i ra t i o n

π‘ ∑ √ √ » ° “ √æ◊Èπ∑’Ë· ¥ßπ‘∑√√»°“√¢π“¥æ◊Èπ∑’Ë°«à“ 800 μ“√“ß‡¡μ√ √â“ß¢÷Èπμ“¡¡“μ√∞“π¢Õßæ‘æ‘∏¿—≥±å √–¥—∫‚≈° ·∫àßÕÕ°‡ªìπ

π‘∑√√»°“√∂“«√ (çμâÕß¡’Õ–‰√∂÷ßÕÕ°·∫∫‰¥âé À√◊Õ çWhat is Design?é) ∫πæ◊Èπ∑’Ë¢π“¥ 300 μ“√“ß‡¡μ√ π”‡ πÕ‡√◊ËÕß√“«∑’ËÀ≈“°À≈“¬ ∑—Èß¥â“π —ß§¡ «—≤π∏√√¡ ‡»√…∞°‘® ·≈–°“√‡¡◊Õß Õ—π‡ªìπªí®®—¬ ”§—≠∑’Ë àßº≈°√–∑∫μàÕ§«“¡§‘¥ √â“ß √√§å¢Õß 10 ª√–‡∑»ºŸâπ”¥â“π°“√ÕÕ°·∫∫ √«¡∂÷ß· ¥ß‡π◊ÈÕÀ“∑’Ë –∑âÕπ∂÷ßæƒμ‘°√√¡ºŸâ∫√‘‚¿§∑’Ë‡ª≈’Ë¬π·ª≈ß‰ª„π·μà≈–™à«ß‡«≈“

π‘∑√√»°“√À¡ÿπ‡«’¬π ∫πæ◊Èπ∑’Ë¢π“¥ 500 μ“√“ß‡¡μ√ ®—¥· ¥ßπ‘∑√√»°“√®“°∑—Ë«‚≈°·≈– ∑’Ë®—¥∑”¢÷Èπ‚¥¬ TCDC ¡’«—μ∂ÿª√– ß§å‡æ◊ËÕ‡μ‘¡‡μÁ¡æ◊Èπ∞“π§«“¡√Ÿâ¥â“π°“√ÕÕ°·∫∫·≈– √â“ß ·√ß∫—π¥“≈„®„Àâ·°àºŸâ™¡ ¥â«¬μ—«Õ¬à“ßº≈ß“π°“√ÕÕ°·∫∫∑’Ë¡’™◊ËÕ‡ ’¬ß„π√–¥—∫ “°≈ æ√âÕ¡§” Õ∏‘∫“¬∂÷ßª√—™≠“ ·π«§‘¥ ·≈–∑’Ë¡“¢Õßß“πÕÕ°·∫∫

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1. ºŸâ¡“‡¬’Ë¬¡™¡π‘∑√√»°“√ "«‘‡«’¬π ‡« μå«Ÿ¥" Visitors to the exhibition “Vivienne Westwood”.

2. §≥–π—°‡√’¬π‡¢â“‡¬’Ë¬¡™¡π‘∑√√»°“√ çμâÕß¡’Õ–‰√∂÷ßÕÕ°·∫∫‰¥âé A group of students made a tour of the exhibition “What is Design?”.

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MINI TCDC The idea behind establishing MINI TCDC is to provide the opportunity for the public throughout the country to have easy access to design knowledge. To that end, TCDC has set up the MINI TCDC to offer students in other provinces the similar learning opportunity to those in Bangkok.

The MINI TCDC is an adjunct l ibrary containing 200 design-related books that circulate between universities nationwide. To assure that diverse and up-to-date knowledge is available outside Bangkok, the MINI TCDC offers a combination of new books and selected titles from the main TCDC Resource Center. In addition, the MINI TCDC prov ides a computer, describing TCDC activities as well as online databases to supplement education and research.

· À ≈à ß §â π § «â “ ‡ æ◊Ë Õ μà Õ ¬ Õ ¥§ « “ ¡ §‘ ¥ √â “ ß √ √ §åRe s e a rc h C e nt e r fo r t h e G ro w t h of C re a t i v i t y

TCDC Resource CenterÀâÕß ¡ÿ¥‡©æ“–¥â“π°“√ÕÕ°·∫∫∑’Ë „À≠à∑’Ë ÿ¥·ÀàßÀπ÷Ëß„π‡Õ‡™’¬ ‡ªìπ∑’Ë√«∫√«¡Àπ—ß ◊Õ·≈– ◊ËÕ¡—≈μ‘¡’‡¥’¬ª√–‡¿∑μà“ßÊ °«à“ 15,000 √“¬°“√ æ√âÕ¡¢âÕ¡Ÿ≈¢à“« “√¥â“π —ß§¡ «—≤π∏√√¡ ‡»√…∞°‘® ·≈–°“√‡¡◊Õß Õ—π‡ªìπªí®®—¬·«¥≈âÕ¡ ∑’ËÀ≈àÕÀ≈Õ¡®‘πμπ“°“√·≈–§«“¡§‘¥ √â“ß √√§å „Àâ°≈“¬‡ªìπº≈ß“π·≈–·π«∑“ß°“√ÕÕ°·∫∫∑’Ë·μ°μà“ß°—π‰ª„π·μà≈–ª√–‡∑» πÕ°®“°π’È TCDC Resource Center ¬—ß¡’∫√‘°“√‡ √‘¡ ‡™àπ ÀâÕßÕà“πÀπ—ß ◊Õ ÀâÕß™¡¿“æ¬πμ√å ∞“π¢âÕ¡Ÿ≈ÕÕπ‰≈πå ·≈–°“√∫√√‡≈ß¥πμ√’·®ä „π«—πÀ¬ÿ¥ ÿ¥ —ª¥“Àå

Material ConneXion® Bangkok ÀâÕß ¡ÿ¥«— ¥ÿ‡æ◊ËÕ°“√ÕÕ°·∫∫·Ààß·√°¢Õß ‡ Õ ‡ ™’ ¬ ‡ ªî ¥ ‚ Õ ° “ „ Àâ π— ° Õ Õ ° · ∫ ∫ π— ° ‡ √’ ¬ π π—°»÷°…“‰¥â —¡º— «— ¥ÿ∑’Ëπ—°ÕÕ°·∫∫√–¥—∫‚≈°„™â„π°“√ √â“ß √√§åº≈ß“π ‚¥¬√«∫√«¡«— ¥ÿ∑’Ë „™â„π°“√º≈‘μ‡æ◊ËÕ°“√ÕÕ°·∫∫°«à“ 3,000 ™‘Èπ ‡æ◊ËÕ„Àâ ¡“™‘° TCDC ‰¥â∑—πμàÕ§«“¡‡ª≈’Ë¬π·ª≈ß „π‚≈°¢Õß«— ¥ÿ‡æ◊ËÕ°“√ÕÕ°·∫∫ ∑—Èßπ’È Material ConneXion® Bangkok ‡ªìπ “¢“¢Õß Material

C o n n e X i o n ® ÷Ë ß ªí ® ®ÿ ∫— π ¡’ 4 “ ¢ “ ‰ ¥â · °àπ‘«¬Õ√å° ¡‘≈“π ‚§‚≈≠ ·≈–°√ÿß‡∑æœ ‚¥¬ Material ConneXion® Bangkok ‡ªìπ·Ààß„À¡à ≈à“ ÿ¥

TCDC Resource CenterNotably one of Asia’s largest design libraries, the TCDC Resource Center houses over 15,000 volumes in print and multimedia. The library makes available information and news on social, cultural, economic, and political issues from around the world and related subjects that help translate imagination and creativity into a variety of design works and concepts. In addition, the TCDC Resource Center offers facilities and services such as reading rooms, multimedia rooms, online databases, and weekend jazz recitals.

MINI TCDC ·π«§‘¥ ”§—≠¢Õß°“√®—¥μ—Èß TCDC §◊Õ°“√ √â“ß ‚Õ°“ „π°“√‡¢â“∂÷ß§«“¡√Ÿâ¥â“π°“√ÕÕ°·∫∫ T C D C ®÷ ß ®— ¥ „ Àâ ¡’ M I N I T C D C ¢÷È π ‡ æ◊Ë Õ „ Àâπ— ° »÷ ° … “ „ π μà “ ß ®— ß À «— ¥ ‰ ¥â ¡’ ‚ Õ ° “ §â π § «â “ À“§«“¡√Ÿâ‡™àπ‡¥’¬«°—∫π—°»÷°…“„π°√ÿß‡∑æœ

MINI TCDC ‡ªìπ™—ÈπÀπ—ß ◊Õ∑’Ëª√–°Õ∫¥â«¬ Àπ—ß ◊Õ¥â“π°“√ÕÕ°·∫∫ 200 ‡≈à¡∑’ËÀ¡ÿπ‡«’¬π‰ªμ“¡ ∂“∫—π°“√»÷°…“∑—Ë«ª√–‡∑»∑—ÈßÀπ—ß ◊Õ „À¡à·≈–Àπ—ß ◊Õ∑’Ë¡’Õ¬Ÿà·≈â«„π TCDC Resource

Center ‡æ◊ËÕ √â“ß§«“¡À≈“°À≈“¬·≈–∑—π ¡—¬ „ Àâ °— ∫ M I N I T C D C π Õ ° ® “ ° π’È ¬— ß ®— ¥ „ Àâ ¡’ § Õ ¡ æ‘ « ‡ μ Õ √å ∑’Ë √ « ∫ √ « ¡ § « “ ¡ √Ÿâ ® “ ° °‘ ® ° √ √ ¡ μà“ßÊ ¢Õß TCDC √«¡∂÷ß∞“π¢âÕ¡Ÿ≈ÕÕπ‰≈πå ‡æ◊ËÕ„™âª√–°Õ∫°“√‡√’¬π·≈–°“√∑”«‘®—¬

Material ConneXion® Bangkok Asia’s first innovative design materials l ibrary offers designers, students and manufacturers the chance to explore materials used by leading international designers. Material ConneXion® contains over 3,000 material samples used in the production of products to keep the TCDC members abreast of new developments in the world of design materials. Material ConneXion® Bangkok is the fourth branch of Material ConneXion® and the latest addition to the existing branches in New York, Milan, and Cologne.

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T C D C S E R V I C E S∫ √‘ ° “ √ ¢ Õ ß T C D C

‡ « ∑’ § « “ ¡ §‘ ¥ ‡ ÀÁ π · ≈ – ‡ § √◊ Õ ¢à “ ¬ ¥â “ π ° “ √ Õ Õ ° · ∫ ∫S et t i n g t h e S t a g e fo rC re a t i v e T h i n k i n g a n d D e s i g n N et w o r k

· À ≈à ß ∫à ¡ ‡ æ “ – ¢ Õ ß ∏ÿ √ °‘ ®B u s i n e ss Fo st e r i n g G ro u n d

ß “ π Õ Õ ° · ∫ ∫ ∑’Ë ¥’ ™à « ¬ „ Àâ ∏ÿ √ °‘ ® ª √ – ∫ § « “ ¡ ”‡√Á® ‡æ√“–‰¡à‡æ’¬ß·μà √â“ß‡Õ°≈—°…≥å·≈– §ÿ≥¿“æ„Àâ°—∫ ‘π§â“·≈–∫√‘°“√ ·μà¬—ß∑”„Àâ ¢“¬‰¥â „π√“§“∑’Ë Ÿß¢÷ÈπÕ’°¥â«¬ ¢≥–‡¥’¬«°—π ºŸ âº≈‘μ·≈–ºŸ âª√–°Õ∫°“√°Á‡ªìπ à«π ”§—≠ ∑’Ë∑”„Àâ§«“¡§‘¥ √â“ß √√§å¢Õßπ—°ÕÕ°·∫∫ ‡ªìπ®√‘ß‰¥â ¥—ßπ—Èπ‡ªÑ“À¡“¬ ”§—≠¢Õß TCDC §◊Õ °“√ª√– “π„ÀâºŸ âº≈‘μ·≈–π—°ÕÕ°·∫∫ ‰¥â√à«¡¡◊Õ°—πº≈‘μ ‘π§â“·≈–∫√‘°“√∑’Ë¡’§ÿ≥¿“æ ‡æ◊ËÕ √â“ß∏ÿ√°‘®∑’Ë·¢Áß·°√àßÕ—π®–π”‰ª Ÿà√–∫∫ ‡»√…∞°‘®∑’Ë¡—Ëπ§ß„π∑’Ë ÿ¥

Creativity often sparks from studying the experiences of others. One of the most important TCDC activities is therefore to provide a forum for in ternat iona l and loca l des igners t o s h a re e x p e r i e n c e s a n d f i n d inspiration from each other. This dialog aids the progress of creativity, and the transformation of design concepts into reality. The introduction to, and the cooperation among designers will foster a creative network that is one of the keys to concrete success. This interaction promotes the recognition of value and talent throughout the network, which will in turn facilitate the creation of design thinking through coordination and collaboration.

∫à Õ ¬ § √—È ß ∑’Ë § « “ ¡ §‘ ¥ √â “ ß √ √ §å ‡ °‘ ¥ ¢÷È π ® “ ° °“√‡√’¬π√Ÿâª√– ∫°“√≥å¢ÕßºŸâÕ◊Ëπ ¥—ßπ—ÈπÀπ÷Ëß„π °‘®°√√¡∑’Ë ”§—≠¢Õß TCDC §◊Õ°“√ √â“ß‡«∑’ „Àâ°—∫π—°ÕÕ°·∫∫√–¥—∫‚≈°·≈–π—°ÕÕ°·∫∫ ‰ ∑ ¬ ‰ ¥â · ≈ ° ‡ ª ≈’Ë ¬ π ª √ – ∫ ° “ √ ≥å · ≈ – §â π À “ · √ ß ∫— π ¥ “ ≈ „ ® √ – À «à “ ß °— π ‡ æ◊Ë Õ „ Àâ · π « §‘ ¥ ∑’Ë √â“ß √√§å¡’§«“¡°â“«Àπâ“ ∑”„Àâß“πÕÕ°·∫∫ ‡ °‘ ¥ ¢÷È π ® √‘ ß · ≈ – ‡ ªì π ª √ – ‚ ¬ ™ πå Ÿ ß ÿ ¥ · °à π—°ÕÕ°·∫∫ ÷Ëß°“√‡ªî¥μ—«·≈–√à«¡¡◊Õ°—π¥â«¬ »—°¬¿“æ¢Õßπ—°ÕÕ°·∫∫®–∑”„Àâ‡°‘¥‡§√◊Õ¢à“¬ §«“¡§‘¥ √â“ß √√§å Õ—π®–‡ªìπ°ÿ≠·® Ÿà§«“¡ ”‡√Á®Õ¬à“ß‡ªìπ√Ÿª∏√√¡ ‡°‘¥°“√¬Õ¡√—∫°—π ¥â«¬§ÿ≥§à“·≈–§«“¡ “¡“√∂ ‡æ◊ËÕ √â“ß √√§å ß“πÕÕ°·∫∫ºà“π§«“¡√à«¡¡◊Õ·≈– π—∫ πÿπ°—π„π‡§√◊Õ¢à“¬·«¥«ß°“√ÕÕ°·∫∫

Good design brings business success, s ince i t not on ly creates un ique product character and quality, but also commands a higher price. At the same time, manufacturers and entrepreneurs are in tegra l to the actualization of designers’ creative work. With this understanding, TCDC’s primary goal is to act as the bridge between entrepreneurs and designers so that they can co-develop quality products and services, thereby building a stronger industry leading to enhanced economic stability.

www.lockstockandbarrel.comTCDC ®—¥∑”‡«Á∫‰´μå www.lockstockand

barrel.com ‡æ◊ËÕ√«∫√«¡√“¬™◊ËÕπ—°ÕÕ°·∫∫‰∑¬ „π “¢“μà“ßÊ √“¬™◊ËÕºŸâº≈‘μ μ≈Õ¥®πºŸâ „Àâ ∫√‘°“√Õ◊ËπÊ ∑’Ë‡°’Ë¬«¢âÕß°—∫°“√æ—≤π“º≈‘μ¿—≥±å ‡ «Á ∫ ‰ μå · Àà ß π’È ¬— ß ∑ ” À πâ “ ∑’Ë ‡ ªì π ™ÿ ¡ ™ π ° “ √ ÕÕ°·∫∫‚¥¬®—¥„Àâ¡’‡«Á∫∫Õ√å¥‡æ◊ËÕ‡ªìπæ◊Èπ∑’Ë „ π ° “ √ · ≈ ° ‡ ª ≈’Ë ¬ π § « “ ¡ √Ÿâ · ≈ – ∑ √ √ » π – ¥â “ π °“√ÕÕ°·∫∫ πÕ°®“°π’È¬—ß√«∫√«¡¢à“« “√ π«—μ°√√¡·≈–°√–· §«“¡π‘¬¡¢Õßμ≈“¥‚≈° μ≈Õ¥®π∫∑§«“¡∑’Ë‡°’Ë¬«¢âÕß°—∫ß“πÕÕ°·∫∫ ·≈–§«“¡§‘¥ √â“ß √√§å‡æ◊ËÕ„ÀâºŸâª√–°Õ∫°“√·≈–π—°ÕÕ°·∫∫‡°‘¥·√ß∫—π¥“≈„®„π°“√ æ—≤π“ ‘π§â“·≈–∫√‘°“√¢Õß‰∑¬„Àâ “¡“√∂ ·¢àß¢—π‰¥â„πμ≈“¥‚≈°

w w w.lockstockandbarrel.comA TCDC website providing a directory of Thai designers from all fields, as well as manufacturers and other production-related service providers. This website also serves the design community by providing a discussion board for exchanging knowledge and opinions. Here can also be found the latest news and trends from around the world, along with articles related to design and creativity that will inspire Thai entrepreneurs and designers to develop products and services that can compete in the world market.

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1 2 3

1. The Shop@TCDC2. Bharani@TCDC3. DoiTung@TCDC

· À ≈à ß ∫— π ‡ ∑‘ ßE nt e r t a i n m e nt C e nt e r

The Shop@TCDC The Shop@TCDC hand-picks products and design objects from around the world that express creativity, functionality, and innovative production techniques. This shop is the door that opens up the world of creative design and makes it possible to have it for one's own.

Bharani@TCDC Serving traditional home-style cuisine for over 50 years, the Bharani restaurant offers a variety of scrumptious dishes ranging from Thai specialities to inter-national favourites.

DoiTung@TCDC Managed by the royally initiated DoiTung Development Project, DoiTung Coffee serves 100% Arabica coffee, grown, roasted, ground and quality-controlled by hill tribes who once had to depend on opium cultivation for income. DoiTung Coffee offers not only satisfaction from the mug, but a more lasting satisfaction from knowing that the profits generated improve the welfare of rural Thai people.

The Shop@TCDC √√À“ ‘π§â“¥’‰´πå®“°∑—Ë«‚≈°∑’Ë ◊ËÕ∂÷ß§«“¡§‘¥ √â “ ß √ √ §å ª √ – ‚ ¬ ™ πå „ ™â Õ ¬ · ≈ – ‡ ∑ § π‘ § °“√º≈‘μ∑’Ë™“≠©≈“¥ √â“π§â“¢π“¥‡≈Á°·Ààßπ’È ®÷ ß ‡ ª √’ ¬ ∫ ‡ ¡◊ Õ π ª √ – μŸ ∑’Ë ‡ ªî ¥ Ÿà ‚ ≈ ° · Àà ß ° “ √ ÕÕ°·∫∫

Bharani@TCDC √â “ π ¿ √ ≥’ ‡ ®â “ μ ” √— ∫ § « “ ¡ Õ √à Õ ¬ · ∫ ∫ ‚ Œ ¡ ‡ ¡ ¥ ∑’Ë¬“«π“π¡“°«à“ 50 ªï ¥â«¬‡¡πŸ∑’ËÀ≈“°À≈“¬μ—È ß · μà Õ “ À “ √ ‰ ∑ ¬ √ ™ “ μ‘ ° ≈ ¡ ° ≈à Õ ¡ ‰ ª ® π ∂÷ ß Õ“À“√π“π“™“μ‘

DoiTung@TCDC √â “ π ° “ · ø ∑’Ë ∫ √‘ À “ √ ß “ π ‚ ¥ ¬ ‚ § √ ß ° “ √ æ— ≤ π “ ¥ Õ ¬ μÿ ß ( æ◊È π ∑’Ë ∑ √ ß ß “ π ) Õ— π ‡ π◊Ë Õ ß ¡ “ ® “ ° æ√–√“™¥”√‘‡æ◊ËÕ‡ªìπ™àÕß∑“ß„π°“√®”Àπà“¬ ° “ · ø ¥ Õ “ √ “ ∫‘ °â “ 1 0 0 % ∑’Ë ª ≈Ÿ ° §—Ë « ∫ ¥ ·≈–¥Ÿ·≈§ÿ≥¿“æ‚¥¬™“«∫â“π∑’Ë‡§¬ª≈Ÿ°Ωîòπ ‡ ªì π √ “ ¬ ‰ ¥â À ≈— ° ° “ · ø ∑’Ë √â “ π ¥ Õ ¬ μÿ ß § Õ ø øïò ®÷ß‰¡à‰¥â „Àâ§«“¡ ÿ¢∑’Ë°“√¥◊Ë¡‡∑à“π—Èπ ·μà‡ªìπ §«“¡ ÿ¢∑’Ë¬—Ëß¬◊π°«à“®“°°“√„Àâ·≈–‰¥â√—∫

Gooddesign

aestheticseasier to use.

It is a central part ofthe business process,

adding valuecreating

new market.

∑’Ë ™à « ¬ ‡ æ‘Ë ¡ ¡Ÿ ≈ §à “

„ Àâ °— ∫ ‘ π §â “ · ≈ –

√â “ ß μ ≈ “ ¥ „ À ¡à

is not simply about

ß “ π Õ Õ ° · ∫ ∫ ∑’Ë ¥’

‰ ¡à ‰ ¥â ® ” °— ¥ Õ ¬Ÿà · §à ‡ √◊Ë Õ ß

§ « “ ¡ « ¬ ß “ ¡

or making a productÀ √◊ Õ ° “ √ Õ Õ ° · ∫ ∫

‘ π §â “ „ Àâ „ ™â ß “ π

ßà “ ¬ ¢÷È π

· μà ß “ π Õ Õ ° · ∫ ∫

‡ ªì π à « π ” §— ≠

¢ Õ ß ° “ √ ∑ ” ∏ÿ √ °‘ ®

to products and

Tony Blair, Prime Minister of the United Kingdom‚ ∑ π’ · ∫ ≈ √å π “ ¬ ° √— ∞ ¡ π μ √’ ¢ Õ ß À √ “ ™ Õ “ ≥ “ ®— ° √

π‘ ∑ √ √ » ° “ √ ç μâ Õ ß ¡’ Õ – ‰ √ ∂÷ ß Õ Õ ° · ∫ ∫ ‰ ¥â é π ” ‡ πÕº≈ß“πÕÕ°·∫∫ ÿ¥§≈“ ‘° μ—Èß·μà™à«ß ª Ø‘ «— μ‘ Õÿ μ “ À ° √ √ ¡ „ π » μ « √ √ … ∑’Ë 1 9 ¬ÿ § ∑’Ë ‡§√◊ËÕß®—°√‰ÕπÈ”‡¢â“¡“·∑π∑’Ë·√ßß“π ¡“®π ∂÷ßªí®®ÿ∫—π∑’Ë‡∑§‚π‚≈¬’™à«¬ √â“ß √√§åº≈ß“π∑’Ë√«¡‡Õ“ª√–‚¬™πå „™â Õ¬·≈–§«“¡ «¬ß“¡‡ ¢â “ ‰ «â ¥â « ¬ °— π º ≈ ß “ π ∑’Ë π ” ¡ “ ®— ¥ · ¥ ß ≈â « π –∑âÕπ ùÕ—®©√‘¬¿“æ·Ààß∑âÕß∂‘Ëπû (ùgenius lociû) ¢Õß 10 ª√–‡∑»ºŸâπ”¥â“π°“√ÕÕ°·∫∫ ´÷Ëß∂Ÿ°À≈àÕÀ≈Õ¡¥â«¬‡ß◊ËÕπ‰¢ ’Ëª√–°“√ ‰¥â·°à °“√· ¥ßÕÕ° ÷Ëß§«“¡‡ªìπμ—«μπ¢Õß·μà≈–™“μ‘ —ß§¡·≈–™ÿ¡™π ‘Ëß·«¥≈âÕ¡ ·≈–ª√–«—μ‘»“ μ√å

π‘ ∑ √ √ » ° “ √ ç μâ Õ ß ¡’ Õ – ‰ √ ∂÷ ß Õ Õ ° · ∫ ∫ ‰ ¥â é ®–æ“§ÿ≥∑àÕß‰ª„π‚≈°¢Õß°“√ÕÕ°·∫∫„π∑’Ë∑’Ë —ß§¡ °“√‡¡◊Õß ‡»√…∞°‘® ¿Ÿ¡‘ª√–‡∑»·≈– ¿“æÕ“°“» μ≈Õ¥®π»“ π“≈â«π¡’Õ‘∑∏‘æ≈ μàÕ§«“¡§‘¥ √â“ß √√§å

The “What is design?” exhibition showcases the 20th century industrial design classics, which ref lects the talent of the place – what many call ‘genius loci’ – of ten different countries. These ‘talents of the place’, when expressed in designs, respond to the four contextual conditions, from the personal, communal, and environ-mental, to the historical.

μâÕß¡’Õ–‰√∂÷ßÕÕ°·∫∫‰¥â

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74,115®”π«πºŸâ‡¢â“™¡ (§π)Visitors

14 æƒ»®‘°“¬π 2548 - æƒ»®‘°“¬π 255114 November, 2005 - November, 2008

®”π«π«—π®—¥· ¥ß 256 «—πDuration: 256 days

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ E X H I B I T I O N S π‘ ∑ √ √ » ° “ √

çÕ’ “πé ¥‘π·¥π¿“§μ–«—πÕÕ°‡©’¬ß‡Àπ◊Õ ¢Õßª√–‡∑»‰∑¬ ·∑∫®–‰¡à¡’Õ–‰√„π “¬μ“ ¢Õß§π∑—Ë«‰ª ‡æ√“–§«“¡·Àâß·≈âß°—π¥“√ · μà ° ≈— ∫ ¡’ ‘Ë ß ∑’Ë ‡ ªì π ∞ “ π § « “ ¡ §‘ ¥ √â “ ß √ √ §å ∑’Ë ”§—≠¢Õßª√–‡∑»∑’Ë‡√’¬°«à“ ç ‘π∑√—æ¬å∑“ß «—≤π∏√√¡é Õ—π¡’‡Õ°≈—°…≥å

ç°—π¥“√§◊Õ ‘π∑√—æ¬å: Õ’ “πé ®÷ß‰¡à„™àπ‘∑√√»°“√ ‡æ◊ËÕ· ¥ß§«“¡ «¬ß“¡À√◊Õª√–«—μ‘»“ μ√å ¢Õß»‘≈ª«—≤π∏√√¡¿“§Õ’ “π ·μàμâÕß°“√ · ¥ß„Àâ‡ÀÁπ«à“ «‘∂’™’«‘μ∫π§«“¡·√âπ·§âππ—Èπ ‡ªìπ√“°∞“π§«“¡§‘¥ √â“ß √√§åÕ—π·¢Áß·°√àß∑’Ë “¡“√∂ √â“ß§«“¡ ”‡√Á®·≈–√“¬‰¥â „Àâ°—∫ ª√–‡∑» ∂â“À“°‡√“§âπÀ“¢âÕ‰¥â‡ª√’¬∫·≈– ‡Õ°≈—°…≥å∑“ß«—≤π∏√√¡ ·≈–μàÕ¬Õ¥„Àâ°≈“¬ ‡ªìπº≈ß“πÕÕ°·∫∫∑’Ë¡’§ÿ≥¿“æ¢Õß‰∑¬

How has one of Thailand’s most looked-down upon regions generated so much of its success? Mention the northeastern region of Isan, and most Thais think of barren lands, scarcity and hardship. Yet Isan is known for its people, sense of humour, food, service and relaxed lifestyle.

Whether it is spa specialists or sushi chefs, the invasion of ‘somtam’ papaya salad into global fusion cuisine, or the worldwide box-office success of the Isan fi lm genre, the region has proven itself a rich source of creativity and inspiration.

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ E X H I B I T I O N S π‘ ∑ √ √ » ° “ √

22,032®”π«πºŸâ‡¢â“™¡ (§π)Visitors

14 æƒ»®‘°“¬π - 31 ∏—π«“§¡ 2548 14 November - 31 December, 2005

®”π«π«—π®—¥· ¥ß 40 «—πDuration: 40 days

+ Understand your life + Know how you think+ Build on what you have + Reinterpret yourself + Think out of the box

+ ”√«® —ß§¡·≈–μ—«‡Õß + §âπÀ“§«“¡‚¥¥‡¥àπ + ‡μ‘¡§«“¡§‘¥ √â“ß √√§å + μ’§«“¡„À¡à‡æ◊ËÕ„Àâ‡¢â“°—∫μ≈“¥ + §‘¥πÕ°°√Õ∫

§ÿ≥§à“∑“ß«—≤π∏√√¡·≈–ª√–«—μ‘»“ μ√åÕ–‰√ ∫â“ß∑’Ë¡’ à«πº≈—°¥—πß“πÕÕ°·∫∫Õÿμ “À°√√¡ ¢Õß≠’ËªÿÉπ

®“°‡§√◊ËÕß‡¢‘π·∫∫‚∫√“≥‰ª®π∂÷ßÕÿª°√≥å Õ‘‡≈Á°∑√Õπ‘° å≈È” ¡—¬ ß“πÕÕ°·∫∫¢Õß≠’ËªÿÉπ‚¥¥‡¥àπ¥â«¬√Ÿª·∫∫‡©æ“–μ—«∑’Ë‡¢â“∂÷ß§«“¡ √Ÿâ ÷°‰¥â≈÷°´÷Èß·≈–‡μÁ¡‰ª¥â«¬ª√–‚¬™πå „™â Õ¬ π‘∑√√»°“√π’È¡ÿàß ”√«® ç “¬æ—π∏ÿ°√√¡é À√◊Õ ç¥’‡ÕÁπ‡Õé ¢Õßß“πÕÕ°·∫∫≠’ËªÿÉπ 15 ª√–°“√ ‡æ◊ËÕ‡ªî¥‚Õ°“ „ÀâºŸâ‡¢â“™¡‰¥â ◊∫À“√“°‡Àßâ“ ¢Õß·√ß∫—π¥“≈„®‡À≈à“π—Èπ

π‘∑√√»°“√ ç∂Õ¥√À— ≠’ËªÿÉπé ‡ªìπ§«“¡√à«¡¡◊Õ √–À«à“ß TCDC ·≈–Õß§å°“√ àß‡ √‘¡°“√§â“ μà“ßª√–‡∑»·Ààß≠’ËªÿÉπ (JETRO)

What historical and cultural values drive Japanese industrial design?

From traditional lacquer ware to the latest electronic gadgets, Japanese design is marked by definite style, sensibility and functionality. The ‘DNA’ of Japanese creat iv i ty is explored through 15 core Japanese cultural values, inviting the audience to question the roots of its own inspirations.

A collaboration between TCDC and Japan External Trade Organization (JETRO)

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24,234®”π«πºŸâ‡¢â“™¡ (§π)Visitors

4 °ÿ¡¿“æ—π∏å - 31 ¡’π“§¡ 2549 4 February - 31 March, 2006

®”π«π«—π®—¥· ¥ß 51 «—πDuration: 51 days

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ E X H I B I T I O N S π‘ ∑ √ √ » ° “ √

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∑à“¡°≈“ß§«“¡∫Õ∫™È”®“° ß§√“¡·¬àß¥‘π·¥π ·≈– ß§√“¡‚≈°§√—Èß∑’Ë 2 ≈“¬æ‘¡æåºâ“∑’Ë‚¥¥‡¥àπ ¥â«¬ ’ —π¢Õß¡“√’‡¡°‚°–‡ª√’¬∫‡ ¡◊Õπ«—π∑’Ë · ß·¥¥‡ªìπ„®·≈–∑ÿàß¥Õ°‰¡â ÿ¥≈Ÿ°ÀŸ≈Ÿ°μ“ ‡æ√“–Õ–‰√∫√‘…—∑¡“√’‡¡°‚°–®÷ßÕÕ°·∫∫ ≈“¬ºâ“∑’Ë ¥„ ¡’™’«‘μ™’«“‰¥â¡—¥„®§π∑—Èß‚≈° ∑—ÈßÊ ∑’Ëøîπ·≈π¥å‡ªìπ¥‘π·¥π·ÀàßπÈ”·¢Áß·≈– §«“¡Àπ“«‡ÀπÁ∫ ¡“√’‡¡°‚°–¡’¥’μ√ß‰Àπ ®÷ß·∑√°μ—«‡¢â“‰ªÕ¬Ÿà „π∫â“π¢Õß™“«øîπ·≈π¥å ∑—Ë«∑ÿ°Àπ·Ààß ∑”‰¡·®Á°‡°Õ≈’π ‡§π‡π¥’È Õ¥’μ μ√’À¡“¬‡≈¢Àπ÷Ëß¢Õß À√—∞Õ‡¡√‘°“´÷Ëß ‡§¬‡ªìπºŸâπ”·ø™—Ëπ¢Õß‚≈° ∂÷ß‰¥â‡≈◊Õ° «¡ ™ÿ¥°√–‚ª√ßÀπâ“√âÕπ¢Õß¡“√’‡¡°‚°–¢÷Èπª° π‘μ¬ “√ Sports Illustrated

Marimekko is one testament that Finland is not just some faraway country buried in snow. To the fashion world today, this Finnish textile design company is not simply a brand, but an archetype.

In the face of post-war Finland and its uncertainties, Marimekko arose self-assured. It released designs of radiant colours and bold patterns, derived from bleak and wintry Finnish grounds.

Marimekko has long since become a Finnish household brand, as well as a cosmopolitan name. For Jacqueline Kennedy’s Sports Illustrated cover photo, she chose a Marimekko summer dress.

How did a modest company grow into the pride of Finland? A collaboration between TCDC and Design Museum, F in land, the exhib i t ion uncovered the Marimekko success story, from marketing visionaries to realized designs in fabrics, fashion and architecture for the home.

∫√‘…—∑¢π“¥‡≈Á°Õ¬à“ß¡“√’‡¡°‚°–‡μ‘∫‚μ·≈– °≈“¬‡ªìπ∫√‘…—∑™—Èππ”∑’Ë √â“ß™◊ËÕ‡ ’¬ß„Àâ°—∫ ª√–‡∑»øîπ·≈π¥å‰¥âÕ¬à“ß‰√ §âπÀ“§”μÕ∫‰¥â „ππ‘∑√√»°“√ ç¡“√’‡¡°‚°–: ·≈âß Àπ“«... ·μà‡√â“„®é ‚¥¬§«“¡√à«¡¡◊Õ√–À«à“ß TCDC ·≈– æ‘æ‘∏¿—≥±å°“√ÕÕ°·∫∫øîπ·≈π¥å ´÷Ëß®–‡º¬ ‡∫◊ÈÕßÀ≈—ß§«“¡ ”‡√Á®¢Õß∫√‘…—∑¡“√’‡¡°‚°– ºà “ π º ≈ ß “ π ° “ √ Õ Õ ° · ∫ ∫ ‘Ë ß ∑ Õ ‡ ◊È Õ ºâ “ ∂“ªíμ¬°√√¡ ·≈–¢Õß„™â¿“¬„π∫â“π æ√âÕ¡ π”‡ πÕ«‘ —¬∑—»πå∑“ß°“√μ≈“¥¢ÕßºŸâ∫√‘À“√μ—Èß·μà¬ÿ§°àÕμ—Èß®π∂÷ßªí®®ÿ∫—π

24,108®”π«πºŸâ‡¢â“™¡ (§π)Visitors

4 æƒ…¿“§¡ - 18 ¡‘∂ÿπ“¬π 2549 4 May - 18 June, 2006

®”π«π«—π®—¥· ¥ß 40 «—πDuration: 40 days

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ª√–‡∑»Õ—ß°ƒ…„π∑»«√√… 1970 «‘°ƒμ ‡»√…∞°‘®°àÕ„Àâ‡°‘¥Õ—μ√“§π«à“ßß“π∑’Ë Ÿß∑’Ë ÿ¥ ‡ªìπª√–«—μ‘°“√≥åπ—∫μ—Èß·μà ß§√“¡‚≈°§√—Èß∑’Ë 2 Àπÿà¡ “«™π™—Èπ·√ßß“πæ≈Õ¬‰¥â√—∫º≈°√–∑∫π’È‰ª¥â«¬ æ«°‡¢“‡°‘¥§«“¡√Ÿâ ÷°·ª≈°·¬° ®“° —ß§¡ ¥â«¬‡∫◊ËÕ«—≤π∏√√¡¢Õßæ«°Œ‘ªªïô ‰ ¡à · ¬ · § ” ¢ «— ≠ ª √ – ‡ ¿ ∑ ç — π μ‘ ¿ “ æ · ≈ – § « “ ¡ √— ° é · ≈ – ∑ π ‰ ¡à ‰ ¥â °— ∫ ¥ π μ √’ ¥‘ ‚ °â Àπÿà¡ “«¢∫∂‡À≈à“π’ÈªØ‘‡ ∏∑’Ë®–‡¥‘πμ“¡§π √ÿ àπ‡°à“·≈–À“∑“ß√–∫“¬§«“¡§—∫·§âπ„® ºà“π¥πμ√’æ—ß°å∑’Ë¡’®—ßÀ«–°√–·∑°°√–∑—Èπ·≈– ‡π◊ÈÕÀ“°√àπ¥à“ —ß§¡

«‘‡«’¬π ‡« μå«Ÿ¥ “«πâÕ¬™π™—Èπ°√√¡“™’æ °Á‡ªìπ§πÀπ÷Ëß∑’Ë‰¡àæÕ„® ¿“æ·«¥≈âÕ¡√Õ∫μ—« ‡∏ÕÕÕ°·∫∫·ø™—Ëπ·π«æ—ß°å μ—Èß·μà‡ ◊ÈÕ¬◊¥ ¢“¥«‘Ëπ∑’Ë¬÷¥‰«â¥â«¬‡¢Á¡°≈—¥ æ√âÕ¡°—∫§”¢«—≠ ∑’Ë¡’‡π◊ÈÕÀ“ª≈ÿ°√–¥¡ μ≈Õ¥®π·®Á°‡°ÁμÀπ—ß ªí°À¡ÿ¥ ‰ª®π∂÷ßÕ“¿√≥å¢Õßæ«°∑’Ë¡’√ π‘¬¡ ∑“ß‡æ»‚≈¥‚ºπ‡æ◊ËÕ‡ªìπ™àÕß∑“ß· ¥ßÕÕ° „π°“√À“æ◊ Èπ∑’ Ë¬◊π„π —ß§¡Õ—ß°ƒ… ´÷ Ëß∂Ÿ° ≈âÕ¡°√Õ∫¥â«¬√–∫∫™π™—Èπ·πàπÀπ“

·μàμàÕ¡“ ·ø™—Ëπæ—ß°å∑’Ë‡« μå«Ÿ¥‰¥â √â“ß √√§å ‰«â‰¥â°√–‡æ◊ËÕ¡ÕÕ°‰ª®π°≈“¬‡ªìπ«—≤π∏√√¡°√–· À≈—° ‡∏Õ°Á‰¡à‰¥âÀ¬ÿ¥π‘ËßÕ¬Ÿà°—∫∑’Ë ‡« μå«Ÿ¥ §âπÀ“μ—«‡ÕßÕ’°§√—Èß¥â«¬°“√»÷°…“ª√–«—μ‘»“ μ√å ·≈–»‘≈ª–Õ¬à“ß®√‘ß®—ß ‡∏Õ¥÷ß√“¬≈–‡Õ’¬¥ ∑’Ë πà “ π „ ® Õ ¬à “ ß ° √ – ‚ ª √ ß ÿà ¡ ‰ °à · ≈ – ™ÿ ¥ ™—È π „ π √—¥√Ÿª®“°Õ¥’μ¡“„™â ·μà·∑π∑’Ë®–≈Õ°‡≈’¬π¡“ ‚¥¬μ√ß ‡« μå«Ÿ¥‡≈◊Õ°∑’Ë®–π”¡“ª√—∫‚©¡„À¡à ·≈–„ à§«“¡·À«°·π«μ“¡·∫∫©∫—∫¢Õßμ—«‡Õß ≈ß‰ª®π‰¥âº≈ß“πÕÕ°·∫∫∑’Ë‰¡à‡À¡◊Õπ„§√ §ÿ ≥ ¡ ∫— μ‘ π’È ‡ Õ ß ∑’Ë π ” æ “ „ Àâ «‘ ‡ «’ ¬ π ‡ « μå «Ÿ ¥ °â“«¢÷Èπ Ÿà°“√‡ªìπ¥’‰´πå‡πÕ√å™— Èππ”¢Õß‚≈° ®«∫®πªí®®ÿ∫—π

π‘ ∑ √ √ » ° “ √ ç «‘ ‡ «’ ¬ π ‡ « μå «Ÿ ¥ é ‡ ªì π § « “ ¡ √à « ¡ ¡◊ Õ √ – À «à “ ß T C D C · ≈ – æ‘ æ‘ ∏ ¿— ≥ ±å «‘ ° μ Õ ‡ √’ ¬ · Õ π ¥å Õ— ≈ ‡ ∫‘ √å μ – ∑â Õ π „ Àâ ‡ ÀÁ π æ— ≤ π “ ° “ √ „ π º ≈ ß “ π √â “ ß √ √ §å ¢ Õ ß ‡ ∏ Õ ´÷Ëß·∫àßÕÕ°‰¥â‡ªìπ “¡¬ÿ§ μ—Èß·μà‡ ◊ÈÕºâ“·π« ªØ‘«—μ‘„π¬ÿ§ 70 ‡√◊ËÕ¬¡“®π∂÷ß¬ÿ§ 80 ∑’Ë‡∏Õ ‰ ¥â √â “ ß √ √ §å · ø ™—Ë π ç π’ ‚ Õ ‚ √ · ¡ π μ‘ ° é ÷Ë ß ‰ ¥â · √ ß ∫— π ¥ “ ≈ „ ® ® “ ° ‡ § √◊Ë Õ ß · μà ß ° “ ¬ „ π Õ ¥’ μ ® π ≈à « ß ‡ ¢â “ Ÿà ¬ÿ § 9 0 ∂÷ ß ªí ® ®ÿ ∫— π ∑’Ë Ωï ¡◊ Õ ° “ √ ÕÕ°·∫∫¢Õß‡∏Õæ—≤π“¡“®π¡’‡Õ°≈—°…≥å ‡©æ“–μ—«·≈–‰¥â√—∫°“√¬°¬àÕß‰ª∑—Ë«‚≈°

In 70s Britain, the economic recession led to highest unemployment rates since World War II. Working class youth came out of school to discover that they couldn’t find jobs or even opportunities. They felt alienated from their own country. They were tired of hippie culture, indifferent to “peace and love” slogans of the previous generation, and hated disco music. These rebellious young people rejected existing rules, while venting their frustration through punk–a type of fast, loud and aggressive rock music.

Vivienne Westwood, a disaffected working class gir l , ran a clothing shop that introduced punk fashions such as ripped T-shirts with safety pins bearing anti-establishment slogans, studded leather jackets and fetish wear, as a way to express herself and build her own community in a British society so divided by class.

When punk was embraced by the main-stream, Westwood carried out extensive research into history and art. Instead of imitation, she parodied aristocratic beauty, converting Victorian crinolines into sexy but childish mini-skirts, and corsets into outerwear. Westwood’s unique creativity has taken her to the forefront of the international fashion industry.

A collaboration between Thailand Creative & Design Center and the Victoria & Albert Museum, the “Vivienne Westwood” exhibition reflected the evolution of her designs–from the outrageous punk rock style of the 70s, to the “neo-romantic” designs inspired by classical costumes during the 80s, and then the one-of-a-kind elegant style since the 90s to the present day, which has earned her world acclaim.

44,075®”π«πºŸâ‡¢â“™¡ (§π)Visitors

22 °√°Æ“§¡ - 24 °—π¬“¬π 2549 22 July - 24 September, 2006

®”π«π«—π®—¥· ¥ß 51 «—πDuration: 51 days

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ E X H I B I T I O N S π‘ ∑ √ √ » ° “ √

“I didn’t know how a working-class girl like mecould possibly make a living in the art world.”

ç ‰ ¡à √Ÿâ «à “ ‡ ¥Á ° “ « æ◊È π ‡ æ ™ π ™—È π ° √ √ ¡ ° √ Õ ¬à “ ß ©— π ® – ¡’ ªí ≠ ≠ “∑Ì “ ¡ “ À “ °‘ π Õ – ‰ √ „ π ‚ ≈ ° »‘ ≈ ª – é

«‘‡«’¬π ‡« μå«Ÿ¥Vivienne Westwood

π‘ ∑ √ √ » ° “ √ ç «‘ ∂’ ™’ «‘ μ «— ≤ π ∏ √ √ ¡ ° “ √ °‘ π °— ∫ ° “ √ Õ Õ ° · ∫ ∫ é ®— ¥ · ¥ ß ‡ § √◊Ë Õ ß „ ™â ∑’Ë ‡°’Ë¬«¢âÕß°—∫Õ“À“√ ‚¥¬¡’®ÿ¥¡ÿàßÀ¡“¬‡æ◊ËÕ àß‡ √‘¡§«“¡ “¡“√∂æ‘‡»…Õ¬à“ßÀπ÷Ëß¢Õß ™“«Õ‘μ“≈’ π—Ëπ§◊Õ°“√ª√ÿßÕ“À“√·≈–»‘≈ª–

π‘ ∑ √ √ » ° “ √ ç «‘ ∂’ ™’ «‘ μ «— ≤ π ∏ √ √ ¡ ° “ √ °‘ π °—∫°“√ÕÕ°·∫∫é ‡ªìπ‚§√ß°“√¢Õß Guzzini ºŸâº≈‘μ‡§√◊ËÕß„™â„π§√—«™—Èππ”®“°ª√–‡∑»Õ‘μ“≈’ ´÷Ëß‰¥âÕ—≈‚¥ ‚§‚≈‡πμμ‘ ºŸâÕ”π«¬°“√π‘μ¬ “√ ÕÕ°·∫∫ Ottagono ¡“‡ªìπ¿—≥±“√—°…å ºŸâ§«∫§ÿ¡√Ÿª·∫∫¢Õßß“π ‚¥¬ ‘Ëß∑’Ëπ”¡“®—¥ · ¥ß¡’μ— Èß·μàÕÿª°√≥å°“√®—¥‡μ√’¬¡Õ“À“√ ¿“™π–∑’Ë „™â„π°“√√—∫ª√–∑“π ‰ª®π∂÷ß¿“™π– ®—¥‡°Á∫Õ“À“√

π‘∑√√»°“√π’È‰¥âπ—°ÕÕ°·∫∫∑’Ë¡’™◊ËÕ‡ ’¬ßÀ≈“¬§π Õ “ ∑‘ ‡ ÕÁ μ ‚ μ ‡ √à Õ μ μå “ √ Õ π Õ “ √ “ ¥∑Õ¡ ¥‘°´—π §“√‘¡ √“™‘¥ ·≈–√Õ ‡≈‘ø‚°√ø ¡“ √â“ß √√§å‡§√◊ËÕß„™â∑’Ë‡°’Ë¬«¢âÕß°—∫Õ“À“√ ´÷Ëßº “πª√–‚¬™πå „™â Õ¬·≈–§«“¡ «¬ß“¡ ‡¢â“‰«â¥â«¬°—π Õ—π‡ªìπ Ÿμ√ ”‡√Á®¢Õßß“π ÕÕ°·∫∫™—Èπ‡¬’Ë¬¡

The “Multipli di Cibo, 100 Projects of Foodesign Guzzin i” exhib i t ion presented food and k i tchenware utensils. Guzzini’s Foodesign project aimed to enrich one of Italy’s most strategically important aspects–food and art.

The Foodesign project by Guzzini, one of the Italy’s leading manufacturers of kitchenware, showcased a diverse range of food utensils. The exhibition identified new paths in the relationship between form and function in the three basic stages of the world of food: preparation, preservation and service. Director of an Italian design magazine Ottagono, Aldo Colonetti had been in charge of curatorship. Internationally acclaimed designers, such as Ettore Sottsass, Ron Arad, Tom Dixon, Karim Rachid and Ross Lovegrove, etc. had been invited to create food objects of everyday use, which were functional and aesthetic, the main ingredients for good design.

7,449®”π«πºŸâ‡¢â“™¡ (§π)Visitors

20 ¡‘∂ÿπ“¬π - 16 °√°Æ“§¡ 2549 20 June - 16 July, 2006

®”π«π«—π®—¥· ¥ß 21 «—πDuration: 21 days

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ E X H I B I T I O N S π‘ ∑ √ √ » ° “ √

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6 μÿ≈“§¡ - 12 æƒ»®‘°“¬π 25496 October - 12 November, 2006

®”π«π«—π®—¥· ¥ß 34 «—πDuration: 34 days

∂â“§π®’π´◊ÈÕ ‘π§â“¢Õß§ÿ≥‡æ’¬ß§π≈–Àπ÷Ëß™‘ÈπμàÕªï ∏ÿ√°‘®¢Õß§ÿ≥®–√ÿàß¢π“¥‰Àπ

À ≈— ß ® “ ° Õ ¬Ÿà ¿ “ ¬ „ μâ ° “ √ ª ° § √ Õ ß ¢ Õ ß æ √ √ § §Õ¡¡‘«π‘ μå∑’Ë¡’‡À¡“‡®ãÕμÿß‡ªìπºŸâπ”μ—Èß·μàªï §.». 1949 ª√–‡∑»®’π∂Ÿ°ª≈ÿ°®“°§«“¡≈â“À≈—ß ¥â«¬π‚¬∫“¬ ’Ë∑—π ¡—¬¢Õß‡μ‘Èß‡ ’Ë¬«º‘ß„π §.». 1978 Õ—ππ”‰ª Ÿàπ‚¬∫“¬‡ªî¥ª√–‡∑»∑’Ë àß‡ √‘¡ °“√§â“°“√≈ß∑ÿπ àßº≈„ÀâÕ—μ√“°“√‡®√‘≠‡μ‘∫‚μ ∑“ß‡»√…∞°‘®æÿàß¢÷ÈπÕ¬à“ß√«¥‡√Á«

„π«—ππ’È ®’π‰¥âºß“¥¢÷Èπ Ÿà°“√‡ªìπºŸâº≈‘μ ‘π§â“ àßÕÕ°√“¬„À≠à¢Õß‚≈° ´÷Ëßπ“π“ª√–‡∑»¡’ §«“¡À«“¥À«—ËπμàÕ»—°¬¿“æ∑“ß°“√º≈‘μ·≈– àßÕÕ°¢Õß®’π ·μà¡’„§√∫â“ß∑’Ë®–¡Õß¬âÕπ°≈—∫ ‰ª¬—ß°”≈—ß°“√∫√‘‚¿§¢Õßª√–™“°√®’π∑’Ë¡’ ®”π«π¡“°°«à“ 1,300 ≈â“π§π

π‘∑√√»°“√ çæ≈—ß°√√¡“™π®’π ‡¡◊ËÕ‡À≈à“ À“¬ °≈“¬‡ªìππ—°™ÁÕª!é ÷Ëß‡ªìπ§«“¡√à«¡¡◊Õ√–À«à“ß ”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ (TCDC) ·≈– ”π—°ß“π∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ ( O K M D ) ‰ ¥â π ” ‡ π Õ √Ÿ ª · ∫ ∫ ° “ √ „ ™â ™’ «‘ μ · ≈ – «‘ ∂’ ° “ √ ∫ √‘ ‚ ¿ § ¢ Õ ß § π ®’ π ÷Ë ß ®— ¥ ‡ ªì π ≈Ÿ ° §â “√“¬„À≠à∑’Ë ÿ¥¢Õß‚≈° ‡æ◊ËÕ √â“ß·√ß∫—π¥“≈„®„ Àâ π— ° Õ Õ ° · ∫ ∫ · ≈ – ºŸâ ª √ – ° Õ ∫ ° “ √ ‰ ∑ ¬ ‡ °‘ ¥§«“¡§‘¥ √â“ß √√§å „π°“√æ—≤π“º≈‘μ¿—≥±å‡æ◊ËÕ àßÕÕ°‰ª¢“¬„πμ≈“¥®’πμàÕ‰ª

How much impact would China have on your business i f each Chinese buys your product only once per year?

After years of Communist rule under Mao Zedong’s leadership since 1949, China was remodelled by the Four Modernizations policy under Deng Xiaoping in 1978. A subsequent open-China policy which promoted trade and investment, gave rise to rapid economic growth in China.

Today, China has become one of the world’s major exporters. Many countries are in awe of China’s productivity and export potential. However, does everyone understand the consumption power of a Chinese population of over 1.3 bil l ion?

The exhibition “WORKERS (WITH MONEY) UNITE! China’s Shopping Revolution”, a collaboration between Thailand Creative & Design Center (TCDC) and the Office of Knowledge M a n a g e m e n t a n d D e v e l o p m e n t (OKMD), i l l us t ra ted l i fes ty les and consumption behaviours of the world’s b i g g e s t c u s t o m e r s , a s k i n g T h a i designers and entrepreneurs what they might create for China’s markets.

11 ,411®”π«πºŸâ‡¢â“™¡ (§π)Visitors

° “ √ ∫ √ √ ¬ “ ¬ · ≈ – ° “ √ ™ÿ ¡ πÿ ¡ ∑ “ ß § « “ ¡ §‘ ¥ ª √ – ® ” ªï

L e c t u re s & A n n u a l S y m p o s i u m

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ

°≈¬ÿ∑∏å°“√ÕÕ°·∫∫‡æ◊ËÕ√—∫¡◊Õ°—∫»μ«√√…∑’Ë 21„π≠’ËªÿÉπDesign Strategy forthe 21st Centuryin Japan

‚¥¬ ¡“√å‡´≈ «“π‡¥Õ√å by Marcel Wanders

‚¥¬ ‡§’¬« ‚∑‚¬°Ÿ®‘ by Kyo Toyoguchi

ª√–‡æ≥’·≈– ÿπ∑√’¬ —¡º— ¢Õß≠’ËªÿÉπç·√ß∫—π¥“≈„®„π°“√º≈‘μ ‘π§â“ ”À√—∫„™â„π™’«‘μª√–®”«—πéJapanese Traditionand Aeshetic Sense“Inspiration of Product Makingin Our Lifestyles”

‚¥¬ ¥√. Œ‘‚√¡ÿ ‚Õ´“«“ by Dr. Hiromu Ozawa

¡“√å‡´≈ «“π‡¥Õ√å ‡«‘√å° ! Marcel Wanders Works!

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∫∑∫“∑¢Õß°“√ÕÕ°·∫∫º≈‘μ¿—≥±åThe Role ofProduct Design

‚¥¬ ‡∑Áμ ÷∑“‚√ π“°“∫“¬“™‘ by Tetsutaro Nakabayashi

·π«§‘¥∑’ËÕ¬Ÿà‡∫◊ÈÕßÀ≈—ßº≈ß“π°“√ÕÕ°·∫∫¢Õßøÿ¡‘‡Õ– ™‘∫“μ–The Thoughtsbehind My Designs

‚¥¬ øÿ¡‘‡Õ– ™‘∫“μ– by Fumie Shibata

º≈ß“π°“√ÕÕ°·∫∫Õÿμ “À°√√¡∑’Ë «¡„ à‰¥âIndustrial Designto Wear

‚¥¬ π“‚Õ‚°– Œ‘‚√μ–by Naoko Hirota

® ” π « π ºŸâ ‡ ¢â “ øí ß ( § π ) Audience

130

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15.11.05 04.02.06 04.02.06 12.02.06 19.02.06 12.03.06

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§âπæ∫»—°¬¿“æ¢Õß°“√ÕÕ°·∫∫Discoveringthe Potential ofDesign

‚¥¬ ∑“°ÿ ´“‚μ– by Taku Sato

® ” π « π ºŸâ ‡ ¢â “ øí ß ( § π ) Audience

130

ªØ‘«—μ‘Àÿàπ¬πμå:§«“¡°â“«Àπâ“·≈–∫∑∫“∑∑’Ë‡æ‘Ë¡¢÷ÈπRobots Get Closerto Humans

‚¥¬ ¥√. ‚Õ´“¡“ §“∑‘ª by Dr. Oussama Khatib

® ” π « π ºŸâ ‡ ¢â “ øí ß ( § π ) Audience

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®—∫°√–· ‚≈°:æƒμ‘°√√¡¢ÕßºŸâ∫√‘‚¿§„πÕπ“§μTrend Evolution:Future GlobalConsumer Behaviour

‚¥¬ ·Õπ ‰≈ å ·§√å by Anne Lise Kjaer

‡Õ°≈—°…≥å¢Õßß“πÕÕ°·∫∫Ω√—Ëß‡» Identity of French Design

‚¥¬ ·Õ√å«—π ∫Ÿ√Ÿ≈‡≈Á° by Erwan Bouroullec

‚¥¬ ·Õπ‚∑π’ ·«π ‡¥π ∫Õ å™by Anthony Van Den Bosche

°“√™ÿ¡πÿ¡∑“ß§«“¡§‘¥ª√–®”ªï 2006-07‡»√…∞°‘®·∫∫ √â“ß √√§å¡Ÿ≈§à“›§“∂“‡√’¬°‡ß‘π «‘∏’§‘¥∑’ËºŸâª√–°Õ∫°“√·≈–π—°ÕÕ°·∫∫‰∑¬μâÕß√ŸâAnnual Symposium 2006-07Creativities Unfold, Bangkok 2006-07Perspectives on Value Creation

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19.03.06 25.03.06 07.04.06 08.08.06 06.10.06-08.10.06

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TCDC ·≈– Material ConneXion® Bangkok ®—¥°“√∫√√¬“¬ ç¡“√å‡´≈ «“π‡¥Õ√å ‡«‘√å° !é ‚¥¬ ¡“√å‡´≈ «“π‡¥Õ√å π—°ÕÕ°·∫∫ ™“«¥—μ™å ∑’Ë¡’§«“¡§‘¥ √â“ß √√§å„π°“√ª√–¬ÿ°μå„™â«— ¥ÿ «“π‡¥Õ√å ‡ªìπ ºŸâ°”°—∫»‘≈ªá „Àâ Moooi ·≈–∑”‚§√ß°“√æ—≤π“«— ¥ÿ√à«¡°—∫ Material

ConneXion® Õ¬à“ßμàÕ‡π◊ËÕß πÕ°®“°π’È‡¢“¬—ßÕÕ°·∫∫º≈‘μ¿—≥±å „Àâ°—∫∫√‘…—∑μà“ßÊ ‰¡à«à“®–‡ªìπ Cappellini, MandarinaDuck, DroogDesign, Flos, Boffi ·≈– Magis πÕ°®“°π’È‡¢“¬—ß∑”Àπâ“∑’Ë ∫√√≥“∏‘°“√¥Ÿ·≈‡π◊ÈÕÀ“„π International Design Yearbook 2005 Õ’°¥â«¬TCDC, in cooperation with Material ConneXion® Bangkok, presented “Marcel Wanders Works!”, a lecture by Dutch designer, Marcel Wanders. Wanders is acknowledged as one of the world's most talented designers, with remarkable material uti l ization skil ls. He is an art director with the well-known Dutch creative house Moooi, and consults regularly with Material ConneXion®. His works include product designs for Cappell ini, MandarinaDuck, DroogDesign, Flos, Boffi and Magis. He is also an editor of International Design Yearbook 2005.

¡ “ √å ‡ ≈ « “ π ‡ ¥ Õ √å ‡ «‘ √å ° !M a rce l Wa n d e r s Wo r k s !

‚ ¥ ¬ ¡ “ √å ‡ ≈ « “ π ‡ ¥ Õ √å by Marcel Wanders

·Õπ ‰≈´å ·§√å ºŸâ°àÕμ—Èß·≈–ºŸâÕ”π«¬°“√ kjaer global ∫√‘…—∑∑’Ë¡’ §«“¡™”π“≠„π°“√§“¥°“√≥å·π«‚πâ¡°“√μ≈“¥·≈–æƒμ‘°√√¡¢Õß ºŸâ∫√‘‚¿§®“°≈Õπ¥Õπ ª√–‡∑»Õ—ß°ƒ… ‰¥â°≈à“«∂÷ßªí®®—¬μà“ßÊ ÷Ëß àßº≈ ∂÷ß°√–· ‚≈° ∑‘»∑“ß°“√„™â™’«‘μ¢ÕßºŸâ∫√‘‚¿§„πÕ’° 10 ªï¢â“ßÀπâ“ μ≈Õ¥®πμ—«Õ¬à“ß¢Õß°“√π” ‘Ëß∑’Ë‰¥â®“°°“√«‘‡§√“–Àå¡“ª√—∫„™â°—∫ ‘π§â“ ·≈–∫√‘°“√¢Õßμπ

Anne Lise Kjaer, Founder and Director of kjaer global, a London-based trend forecasting agency del ivered a lecture, highlighting the crucial factors in global trends and macro trends from 2010 on, as wel l as l inking these trends to opportunities as demonstrated by actual cases.

®— ∫ ° √ – · ‚ ≈ ° :æ ƒ μ‘ ° √ √ ¡ ¢ Õ ß ºŸâ ∫ √‘ ‚ ¿ § „ π Õ π “ § μTre n d E v o l ut i o n : Fut u re G lo b a l C o n s u m e r B e h a v i o u r

‚ ¥ ¬ · Õ π ‰ ≈ å · § √å by Anne Lise Kjaer

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ L ECT U R E S ° “ √ ∫ √ √ ¬ “ ¬

550®”π«πºŸâ‡¢â“øíß (§π)Audience

7 ‡¡…“¬π 25497 Apri l , 2006

550®”π«πºŸâ‡¢â“øíß (§π)Audience

15 æƒ»®‘°“¬π 2548 15 November, 2005

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TCDC ·≈– ∂“π∑ŸμΩ√—Ëß‡» ®—¥°“√∫√√¬“¬ ç‡Õ°≈—°…≥å¢Õßß“πÕÕ°·∫∫Ω√—Ëß‡» é ‚¥¬ ·Õ√å«—π ∫Ÿ√Ÿ≈‡≈Á° ·≈–·Õπ‚∑π’ ·«π ‡¥π ∫Õ å™

·Õ√å«—π ∫Ÿ√Ÿ≈‡≈Á° ‡ªìπ¥’‰´πå‡πÕ√åπâÕß™“¬ ¢Õß ‚√πÕß ∫Ÿ√Ÿ≈‡≈Á° Õßæ’ËπâÕßπ—°ÕÕ°·∫∫ ™“«Ω√—Ëß‡» ∑’Ë √â“ß √√§å‡§√◊ËÕß‡√◊Õπ‡§√◊ËÕß„™â„Àâ∫√‘…—∑™◊ËÕ¥—ßÕ¬à“ß Vitra ·≈– Cappellini ·Õ√å«—π‡ªìπºŸâ∫ÿ°‡∫‘°°“√ÕÕ°·∫∫º≈‘μ¿—≥±å∑’Ë “¡“√∂ª√—∫‡ª≈’Ë¬π√Ÿª·∫∫°“√„™â‰¥âÀ≈“¬Õ¬à“ß „π°“√∫√√¬“¬§√—Èßπ’È ·Õ√å«—π ∫Ÿ√Ÿ≈‡≈Á° ‰¥â∫ Õ ° ‡ ≈à “ · π « §‘ ¥ · ≈ – ª √ – ∫ ° “ √ ≥å „ π ∞ “ π – ∑’Ë ‡ ªì π π— ° Õ Õ ° · ∫ ∫ ™ “ « Ω √—Ë ß ‡ » ∑’Ë ‰ ¥â √— ∫ ° “ √ ¬Õ¡√—∫„π√–¥—∫π“π“™“μ‘

à«π·Õπ‚∑π’ ·«π ‡¥π ∫Õ å™ π—°¢à“« ·≈– π—°«‘®“√≥å Õ¥’μ∫√√≥“∏‘°“√π‘μ¬ “√ Paris

Design ‰¥âπ”‡ πÕ¡ÿ¡¡Õß∑“ßª√–«—μ‘»“ μ√å ºà“ππ—°ÕÕ°·∫∫∑’ Ë¡’™◊ ËÕ‡ ’¬ß¢ÕßΩ√— Ëß‡» √«¡∂÷ß«‘‡§√“–Àå·≈–«‘®“√≥åß“πÕÕ°·∫∫ √à«¡ ¡—¬¢ÕßΩ√—Ëß‡»

TCDC, in cooperation with the Embassy of France, presented “Identity of French Design”, a lecture by Erwan Bouroullec and Anthony Van Den Bossche. French designer Erwan Bouroullec is one of the Bouroullec brothers, Erwan and Ronan, who have created utensils and furniture for Vitra and Cappellini. Erwan is a pioneer in highly flexible, modularized product design. In this lecture, Erwan shared his ideas and experiences as an internationally acclaimed French designer.

Journalist and critic Anthony Van Den Bossche, the former editor of the magazine Paris Design, conveyed his historical perspective through the great names of French design, as well as analyze and review French contemporary design.

‡ Õ ° ≈— ° … ≥å ¢ Õ ß ß “ π Õ Õ ° · ∫ ∫ Ω √—Ë ß ‡ » I d e nt i t y of Fre n c h D e s i g n

‚ ¥ ¬ · Õ √å «— π ∫Ÿ √Ÿ ≈ ‡ ≈Á °· ≈ – · Õ π ‚ ∑ π’ · « π ‡ ¥ π ∫ Õ å ™ by Erwan Bouroullec and Anthony Van Den Bossche

720®”π«πºŸâ‡¢â“øíß (§π)Audience

8 ‘ßÀ“§¡ 2549 8 August, 2006

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°“√ºπ÷°°”≈—ß¢Õß ÿ¥¬Õ¥π—°§‘¥ ºŸâ°”Àπ¥ π‚¬∫“¬√–¥—∫™“μ‘ π—°ÕÕ°·∫∫ §√’‡Õ∑’ø ºŸâ‡™’Ë¬«™“≠„π°“√§“¥°“√≥å°√–· ‚≈° ·≈– ºŸâ∫√‘À“√∏ÿ√°‘®À≈“¬·¢πß®“°∑—Ë«‚≈°¡“‡ªìπ «‘∑¬“°√„π°“√√–¥¡§«“¡§‘¥·≈–·≈°‡ª≈’Ë¬ππ“π“∑—»π–∑’Ë¡’μàÕ Value Creation ∑—Èß„π·ßà §«“¡À¡“¬·≈–§«“¡ ”§—≠ °“√π”‰ªª√–¬ÿ°μå „™â°—∫°“√º≈‘μ ‘π§â“·≈–°“√„Àâ∫√‘°“√ °“√À“ ·À≈àß‡ß‘π∑ÿπ °“√º “π§«“¡§‘¥ √â“ß √√§å ‡¢â“°—∫‡∑§‚π‚≈¬’ °“√ÕÕ°·∫∫‡æ◊ËÕ √â“ß¡Ÿ≈§à“ °“√ √â“ß √√§å«—≤π∏√√¡·π«„À¡à „ÀâÕß§å°√ °“√·ª≈ßº≈ß“πÕÕ°·∫∫„Àâ‡ªìπ¡Ÿ≈§à“∑“ß ∏ÿ√°‘® ·≈–À—«¢âÕ∑’Ëπà“ π„®Õ◊ËπÊ Õ’°¡“°¡“¬

Topics for discussion encompassed everything from rationale behind the Value Creation Economy, applications of Value Creation, Loan syndications, s t rateg ic fus ion of creat iv i ty and technology, design with values, to innovation culture, commercialisation of cultural assets, and many more. International speakers included thinkers, policy makers, creative professionals, designers, CEOs, and global trend analysts.

‡ » √ … ∞ °‘ ® · ∫ ∫ √â “ ß √ √ §å ¡Ÿ ≈ §à “ – § “ ∂ “ ‡ √’ ¬ ° ‡ ß‘ π « ‘∏’ §‘ ¥ ∑’Ë ºŸâ ª √ – ° Õ ∫ ° “ √ · ≈ – π— ° Õ Õ ° · ∫ ∫ ‰ ∑ ¬ μâ Õ ß √Ÿâ

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ A N N UA L S Y M P O S I U M° “ √ ™ÿ ¡ πÿ ¡ ∑ “ ß § « “ ¡ §‘ ¥ ª √ – ® ” ªï

1500®”π«πºŸâ‡¢â“øíß (§π)Audience

6 - 8 μÿ≈“§¡ 2549 6 - 8 October, 2006

8. ∑Õ¡ ‡§≈≈’Ë ºŸâ®—¥°“√∑—Ë«‰ª ‰Õ¥’Õ’‚ÕTom Kelley, General Manager of IDEO

9. ºŸâ‡¢â“øíßª√–°Õ∫¥â«¬π—°»÷°…“π—°ÕÕ°·∫∫®“° “¢“μà“ßÊ √«¡∂÷ßºŸâª√–°Õ∫°“√√ÿàπ„À¡à

Audience included students, designersfrom all fields and young entrepreneurs.

10. ø√“π‡™ ‚§ ‚¡√“‡™ ·≈–≈Ÿ‡™’¬ ‚§√‡¡μ´°“®“° øî«‡®Õ√å §Õπ‡ Áªμå ·≈Á∫ ¡‘≈“π

Francesco Morace and Lucia Chrometzka,Future Concept Lab, Milan

11. √Ÿ‡∫π ∑Õ√—≈ ºŸâÕ”π«¬°“√ΩÉ“¬°“√μ≈“¥‚√ßæ¬“∫“≈∫”√ÿß√“…Æ√å Õ‘π‡μÕ√å‡π™—Ëπ·π≈

Ruben Toral, Group Marketing Directorof Bumrungrad International

12. ‡§Õ‘μ– π‘™‘¬“¡“ Õ“®“√¬åæ‘‡»… ¡À“«‘∑¬“≈—¬™Ÿ‚Õ·≈–√‘™“√å¥ ‰æ«‘ √Õßª√–∏“πÕ”π«¬°“√ ’·Õ≈‡Õ ‡Õ ŒàÕß°ß

Keita Nishiyama, Visiting Professor atChuo University and Richard Pyvis,

Deputy Chief Executive Officer, CLSA Hong Kong

1. ∫√√¬“°“»§÷°§—°„πß“π™ÿ¡πÿ¡∑“ß§«“¡§‘¥ª√–®”ªïA lively atmosphere at the annual symposium

2. ™Ÿ¿—ß§“√å ‡√¬å ºŸâÕ”π«¬°“√ΩÉ“¬ √â“ß √√§å ∫√‘…—∑·§¡‡ªÕ√åShubhankar Ray, Creative Director of Camper

3. ·´¡ ∫—°´åμ—π π—°ÕÕ°·∫∫º≈‘μ¿—≥±åSam Buxton, Product Designer

4. ‡Õ√‘° ‡§ ‡´≈ å ºŸâÕ”π«¬°“√ΩÉ“¬ √â“ß √√§å‚¶…≥“∫√‘…—∑‡§ ‡´≈ å‡§√‡¡Õ√å

Erik Kessels, Creative Director of KesselsKramer

5. Õ’ø ∫’Œ“√å π—°ÕÕ°·∫∫Õÿμ “À°√√¡ºŸâ°àÕμ—Èß∫√‘…—∑ øî« å‚ª√‡®°μå

Yves Behar, Industrial DesignerFounder of Fuseproject

6. ¥√Õ√å ‡∫π‡™∑√‘μ π—°ÕÕ°·∫∫ / ºŸâ°àÕμ—Èß μŸ¥‘‚Õ ¥√Õ√åDror Benshetrit, Designer / Founder of Studio Dror

7. ·°√‘° ‚®π å ∑’Ëª√÷°…“¥â“π∏ÿ√°‘®°“√ √â“ß √√§å ‡¥Õ– ≈Ÿ¥‘§ °√ÿäªGarrick Jones, Creative Business Enabler,

The Ludic Group

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C re a t i v i t i e s U n fo l d , B a n g ko k 2 0 0 6 - 0 7Pe r s p e c t i v e s o n Va l u e C re a t i o n

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The “Isan Materials & Design Exploration” workshop encourages designers to make use of natural materials which can ref lect the cultural genius (genius loci) of the northeastern region of Isan in design.

—¡¡π“‡™‘ßªØ‘∫—μ‘°“√ “Isan Materials & Design Exploration” ®—¥¢÷Èπ‡æ◊ËÕ°√–μÿâπ„Àâπ—°ÕÕ°·∫∫À—π¡“„™â«— ¥ÿ®“°∏√√¡™“μ‘∑’Ë –∑âÕπ Õ—®©√‘¬¿“æ·Ààß∑âÕß∂‘Ëπ (genius loci) ¢Õß¿“§Õ’ “π „π°“√ÕÕ°·∫∫ √à«¡ ¡—¬Õ¬à“ß √â“ß √√§å ‚¥¬¡’ Õÿ¥¡ Õÿ¥¡»√’Õπ—πμå π—°ÕÕ°·∫∫ ™“«‰∑¬∑’Ëª√– ∫§«“¡ ”‡√Á®Õ¬à“ß Ÿß„π°“√„™â«— ¥ÿ∏√√¡™“μ‘„π°“√ √â“ß √√§åº≈ß“π·≈–‰¥â√—∫√“ß«—≈¡“°¡“¬®“°À≈“¬ª√–‡∑»¡“‡ªìπ «‘∑¬“°√μ≈Õ¥‚§√ß°“√

Thai food is internationally popular for its distinguished flavours. But Thai kitchenware remains undeveloped, functionally as well as aesthetically. The Thai Kitchenware Competition was intended to encourage designers to improve the Thai kitchenware in terms of its functions, materials, shapes and packaging. Participants were required to submit 3 kitchen design works, of which one must be a ‘mortar’. Finalists were supported to have their prototypes built and exhibited at TCDC.

Õ“À“√‰∑¬¡’√ ™“μ‘‡ªìπ‡Õ°≈—°…≥å‚¥¥‡¥àπ·≈– √â“ß™◊ËÕ‡ ’¬ß„Àâ·°àª√–‡∑» ¡“™â“π“π ·μà‡§√◊ËÕß§√—«‰∑¬°≈—∫‰¡à‰¥â√—∫°“√æ—≤π“„Àâ Õ¥§≈âÕß°—∫ ° “ √ „ ™â ß “ π „ π ¬ÿ § ªí ® ®ÿ ∫— π ‡ ∑à “ ∑’Ë § « √ T C D C ®÷ ß ‰ ¥â ®— ¥ ‚ § √ ß ° “ √ T h a i

Kitchenware Competition ‡æ◊ËÕ„Àâπ—°ÕÕ°·∫∫‰¥âæ—≤π“‡§√◊ËÕß§√—«‰∑¬ ∑—Èß„π·ßà¢Õß°“√„™âß“π «— ¥ÿ √Ÿª∑√ß ·≈–∫√√®ÿ¿—≥±å ºŸâ‡¢â“√à«¡°“√ ª√–°«¥μâÕßÕÕ°·∫∫‡§√◊ËÕß§√—«‰∑¬ 3 ™‘Èπ ‚¥¬Àπ÷Ëß„π “¡μâÕß‡ªìπ ù§√°û ‚¥¬ºŸâ‡¢â“√Õ∫ ÿ¥∑â“¬®–‰¥âπ”º≈ß“π¡“®—¥· ¥ßπ‘∑√√»°“√∑’Ë TCDC

‚ § √ ß ° “ √ ª √ – ° « ¥ Õ Õ ° · ∫ ∫· ≈ – æ— ≤ π “ ‡ § √◊Ë Õ ß § √— « ‰ ∑ ¬T h a i K i tc h e n w a re C o m p et i t i o n

I s a n M a t e r i a l s & D e s i g n E x p l o r a t i o n

‚ ¥ ¬ Õÿ ¥ ¡ Õÿ ¥ ¡ » √’ Õ π— π μå by Udom Udomsrianan

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ C O M P E T I T I O N ‚ § √ ß ° “ √ ª √ – ° « ¥ Õ Õ ° · ∫∫

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ W O R K S H O P S — ¡ ¡ π “ ‡ ™‘ ß ª Ø‘ ∫— μ‘ ° “ √

∏—π«“§¡ 2548December, 2005

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TCDC, in cooperation with the Royal Col lege of Art (RCA) and the Arts Counc i l , Un i ted K ingdom hos ted “Northern Craft: Endless Possibilities”, a group workshop encouraging Thai designers and RCA students to explore possibilities in using Northern Thailand materials and craft ski l ls in designs that were produced and retai led in exclusive shops both in Thailand and the UK. The workshop was held in Bangkok, Chiangmai, Chiangrai and London.

TCDC √à«¡°—∫ Royal College of Art (RCA) ·≈– Arts Council ª√–‡∑»Õ—ß°ƒ… ®—¥ —¡¡π“ ‡™‘ßªØ‘∫—μ‘°“√ çÀ—μ∂°√√¡∑“ß¿“§‡Àπ◊Õ °—∫§«“¡‡ªìπ‰ª‰¥â‰¡à√Ÿâ®∫é ‡æ◊ËÕ‡ªî¥‚Õ°“ „Àâ π—°ÕÕ°·∫∫‰∑¬·≈–π—°»÷°…“ “¢“°“√ÕÕ°·∫∫ ®“° RCA ‰¥â√à«¡°—π§âπÀ“§«“¡‡ªìπ‰ª‰¥â¢Õß °“√π”«— ¥ÿ·≈–∑—°…–„πß“πÀ—μ∂°√√¡∑“ß ¿“§‡Àπ◊Õ¢Õßª√–‡∑»‰∑¬¡“„™â„πß“πÕÕ°·∫∫ μ≈Õ¥®ππ”‰ªº≈‘μ®√‘ß·≈–®—¥®”Àπà“¬μ“¡ √â“π§â“™—Èππ”„πª√–‡∑»‰∑¬·≈–Õ—ß°ƒ… ‚¥¬ ®—¥¢÷Èπ∑’Ë °√ÿß‡∑æœ ‡™’¬ß„À¡à ‡™’¬ß√“¬ ·≈– ≈Õπ¥Õπ

À— μ ∂ ° √ √ ¡ ∑ “ ß ¿ “ § ‡ À π◊ Õ°— ∫ § « “ ¡ ‡ ªì π ‰ ª ‰ ¥â ‰ ¡à √Ÿâ ® ∫N o r t h e r n C ra f t : E n d le ss Po ss i b i l i t i e s

æƒ…¿“§¡ - ¡‘∂ÿπ“¬π 2549May - June, 2006

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ

√ “ ß «— ≈ · Àà ß § « “ ¡ ” ‡ √Á ®A w a rd s a n d M e d i a C o v e ra g e

BK Magazine ®—¥„Àâ°“√‡¢â“‡¬’Ë¬¡™¡ TCDC ‡ªìπÕ—π¥—∫ 7 ¢Õß ç50 ‘Ëß∑’ËμâÕß∑”„π°√ÿß‡∑æœ °àÕπμ“¬éTCDC has been ranked Number 7 in “50 things to do in Bangkok before you die” by BK Magazine.

1. TCDC ‰¥â√—∫§–·ππ‡ ’¬ß®“°ºŸâÕà“π BK Magazine „Àâ‡ªìπ çBest GalleryéTCDC has been honoured with People’s Choice Award “Best Gallery” category by BK Magazine.

2. π‘μ¬ “√ Wallpaper (Thai Edition) ®—¥„Àâ TCDC ‡ªìπ çFirst Class Art OrganizeréTCDC has been awarded “First Class Art Organizer” by Wallpaper (Thai Edition).

π‘μ¬ “√ Crafts ©∫—∫‡¥◊Õπæƒ»®‘°“¬π/∏—π«“§¡ 2006 μ’æ‘¡æå∫∑§«“¡‡°’Ë¬«°—∫ ‚§√ß°“√ çÀ—μ∂°√√¡∑“ß¿“§‡Àπ◊Õ°—∫§«“¡‡ªìπ‰ª‰¥â‰¡à√Ÿâ®∫é ∑’Ë‡ªìπ§«“¡√à«¡¡◊Õ √–À«à“ß TCDC ·≈– Royal College of Art (RCA) ·≈– Arts Council ª√–‡∑»Õ—ß°ƒ… The article about “Northern Craft: Endless Possibil it ies” – a collaborative workshop by TCDC and the Royal College of Art (RCA) and the Arts Council, United Kingdom – appeared in the November/December 2006 issue of Crafts.

6.π‘μ¬ “√ Wallpaper (Thai Edition) ®—¥„ÀâÀπ—ß ◊Õª√–°Õ∫π‘∑√√»°“√ ç°—π¥“√§◊Õ ‘π∑√—æ¬å: Õ’ “πé ‡ªìπ çFirst Class Graphic DesignéTCDC has been awarded “First Class Graphic Design” for the exhibition catalog “ISAN RETROSPECTIVE: Deprivation, Creativity and Design” from Wallpaper (Thai Edition).

‡√◊ËÕß√“«¢Õß TCDC ‰¥â√—∫§«“¡ π„®®“° ◊ËÕ¡«≈™πμà“ßª√–‡∑» TCDC has received widespread international media coverage.

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Àπ—ß ◊Õ 12,792 √“¬°“√Books

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π‘∑√√»°“√ 215,000 §π / §√—ÈßExhibitions

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°‘®°√√¡ —¡¡π“·≈–∫√√¬“¬ 6,000 §π / §√—ÈßEducational programmes

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¡ “ ™‘ ° T C D C

¡“™‘°¢Õß TCDC ·∫àßÕÕ°‡ªìπ 3 ª√–‡¿∑ §◊Õ æ√’‡¡’¬¡ ´‘≈‡«Õ√å ·≈–·æ≈μ‘π—¡ ´÷Ëß π—∫μ—Èß·μà‡ªî¥¥”‡π‘π°“√„Àâ°—∫ª√–™“™π‡¡◊ËÕ «—π∑’Ë 15 æƒ»®‘°“¬π æ.». 2548 ®π∂÷ß«—π∑’Ë 15 æƒ»®‘°“¬π æ.». 2549 ¡’ ¡“™‘°®”π«π ∑—È ß ‘È π 8 , 6 1 3 § π ‚ ¥ ¬ ¡’ — ¥ à « π ¢ Õ ß ∫— μ √ ª√–‡¿∑æ√’‡¡’¬¡√âÕ¬≈– 84 ´‘≈‡«Õ√å√âÕ¬≈– 8 ·≈–·æ≈μ‘π—¡√âÕ¬≈– 8

TCDC Members TCDC membership is divided into 3 categories: Premium, Silver, and Platinum. Since the public opening on 15 November 2005, through 15 November 2006, TCDC has 8,613 members. Premium members account for 84% of the total, Silver 8%, and Platinum 8%.

® ” π « π À π— ß ◊ Õ « “ √ “ √· ≈ – ◊Ë Õ ¡— ≈ μ‘ ¡’ ‡ ¥’ ¬ ÀâÕß ¡ÿ¥‡©æ“–¥â“π°“√ÕÕ°·∫∫‰¥â√«∫√«¡ Àπ—ß ◊Õ «“√ “√ ·≈– ◊ËÕ¡—≈μ‘¡’‡¥’¬®“°∑—Èß„π ·≈–μà“ßª√–‡∑»‡æ◊ËÕ„Àâ∫√‘°“√ ¡“™‘° ‚¥¬ ≥ «—π∑’Ë 15 æƒ»®‘°“¬π æ.». 2549 ÀâÕß ¡ÿ¥ ¡’ ® ” π « π ◊Ë Õ ‡ æ◊Ë Õ „ Àâ ∫ √‘ ° “ √ ∑—È ß ‘È π ® ” π « π 15,228 √“¬°“√

Collection TCDC Resource Center offers members a comprehensive collection of books, magazines, and multimedia both local and international. As of 15 November 2006, the library’s collection houses 15,228 titles.

® ” π « π ºŸâ ‡ ¬’Ë ¬ ¡ ™ ¡ T C D C

TCDC ‡ªî¥„ÀâºŸâ∑’Ë‡ªìπ ¡“™‘° ·≈–‰¡à„™à ¡“™‘° ¡“„™â∫√‘°“√μà“ßÊ μ—Èß·μà°“√™¡π‘∑√√»°“√ °“√¡“‡¬’Ë¬¡™¡ÀâÕß ¡ÿ¥·≈–‡¢â“√à«¡°‘®°√√¡ ¢Õß TCDC ÷Ëß ≥ «—π∑’Ë 15 æƒ»®‘°“¬π æ.». 2549 ‰¥â¡’®”π«πºŸâ¡“‡¬’Ë¬¡™¡ TCDC ∑—Èß ‘Èπ 303,000 §π/§√—Èß

TCDC Visitors TCDC is open to the public. Visitors can explore the exh ib i t ions and the l ibrary, or take par t in TCDC educational programmes. As of 15 November 2006, TCDC has received 303,000 visitors / visits.

∂‘ μ‘ „ π 1 ªï ¢ Õ ß T C D C S t a t i st i c s o v e r O n e Ye a r of TC D C

1 Y E A R O F M A S T E R C L A S S À π÷Ë ß ªï · Àà ß ° “ √ à ß μà Õ § « “ ¡ √Ÿâ

TowardsA New Era:

DESIGN

TECHNOLOGYMARKETING &

As Equal Partners.

‡ ¡◊Ë Õ °â “ « ‡ ¢â “ Ÿà ¬ÿ § „ À ¡à ° “ √ Õ Õ ° · ∫ ∫ ° “ √ μ ≈ “ ¥ · ≈ – ‡ ∑ § ‚ π ‚ ≈ ¬’ ‡ ªì π Àÿâ π à « π ∑’Ë ‡ ∑à “ ‡ ∑’ ¬ ¡ °— π

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§≥–√—∞¡πμ√’¡’¡μ‘‡ÀÁπ™Õ∫„Àâ®—¥μ—Èß ”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ (Thailand Creative & Design Center: TCDC) ‡¡◊ËÕ«—π∑’Ë 2 °—π¬“¬π æ.». 2546 ´÷Ëß„π¢≥–π—Èπ‰¥â¡’‚§√ß°“√æ—≤π“∫ÿ§≈“°√‡°‘¥¢÷ÈπÀ≈“¬‚§√ß°“√ Õ“∑‘ ‚§√ß°“√æ—≤π“‡¥Á°ºŸâ¡’§«“¡ “¡“√∂æ‘‡»… ‚§√ß°“√Õÿ∑¬“π °“√‡√’¬π√Ÿâ ¥—ßπ—Èππ“¬°√—∞¡πμ√’®÷ß‰¥â —Ëß°“√„Àâ√«∫√«¡‚§√ß°“√·≈–®—¥μ—ÈßÀπà«¬ß“π‡æ◊ËÕ°“√æ—≤π“∑√—æ¬“°√¡πÿ…¬å¢÷Èπ‡ªìπÕß§å°“√¡À“™π §◊Õ ”π—°ß“π∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ (Õß§å°“√¡À“™π) (Office of Knowledge Management and Development: OKMD) μ“¡æ√–√“™ °ƒ…Æ’°“®—¥μ—Èß ”π—°ß“π∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ (Õß§å°“√¡À“™π) æ.». 2547 ‡¡◊ËÕ«—π∑’Ë 4 æƒ…¿“§¡ æ.». 2547 ‡æ◊ËÕ‡ªìπÀπà«¬ß“π∑’Ë ∑”Àπâ“∑’Ë „π°“√®—¥∑”¬ÿ∑∏»“ μ√å‡æ◊ËÕ°“√æ—≤π“∑√—æ¬“°√∫ÿ§§≈ ‚¥¬°“√ √â“ß∞“π§«“¡√Ÿâ „π¥â“πμà“ßÊ ∑’Ëπ”‰ª Ÿà°“√æ—≤π“·≈–¬°√–¥—∫»—°¬¿“æ °“√·¢àß¢—π¢Õßª√–‡∑»‰∑¬ ·≈–π”‚§√ß°“√æ—≤π“∫ÿ§≈“°√μà“ßÊ ¡“‡ªìπÀπà«¬ß“π¿“¬„μâ°“√°”°—∫¥Ÿ·≈¢Õß OKMD

TCDC ®÷ß‰¥â√—∫°“√ª√–°“»®—¥μ—ÈßÕ¬à“ß‡ªìπ∑“ß°“√„π«—π∑’Ë 18 ¡‘∂ÿπ“¬π æ.». 2547 „Àâ‡ªìπÀπà«¬ß“π∑’ËÕ¬Ÿà¿“¬„μâ°“√°”°—∫¥Ÿ·≈¢Õß ”π—°ß“π ∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ (Õß§å°“√¡À“™π) —ß°—¥ ”π—°π“¬°√—∞¡πμ√’ ·≈–‰¥â√—∫ π—∫ πÿπß∫ª√–¡“≥ª√–®”ªï®“° ”π—°ß∫ª√–¡“≥

The establishment of the Thailand Creative & Design Center (TCDC) was approved by the Thai cabinet on 2 September 2003. As one of the human resources development projects, such as the National Center for the Gifted and Talented and the Thai Knowledge Park, that were being initiated at that time, the Prime Minister established the Office of Knowledge Management and Development (OKMD), according to the Royal Decree Establishing the Office of Knowledge Management and Development (Public Organization) B.E. 2547 issued on 4 May 2004. The OKMD is responsible for devising human resources development strategic plans, by building the knowledge base that will lead to the enhancement of Thailand's competitive advantage, and managing human resource development projects.

TCDC was officially established on 18 June 2004 as an organization under the aegis of the Office of Knowledge Management and Development (Publ ic Organizat ion) under the Off ice of the Prime Minister and funded by the Bureau of the Budget.

„πªí®®ÿ∫—π OKMD ¡’Àπà«¬ß“π‡©æ“–¥â“π‡æ◊ËÕ„Àâ∫√‘°“√·°àª√–™“™π ª√–°Õ∫¥â«¬Àπà«¬ß“π¥—ßμàÕ‰ªπ’ÈAt present, OKMD serves the publ ic wi th 8 specia l ized organizat ions:

‚ § √ ß √â “ ß Õ ß §å ° √ · ≈ – § ≥ – ºŸâ ∫ √‘ À “ √O r g a n i z a t i o n a l S t r u c t u re + M a n a g e m e nt Te a m

”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ ( »∫.)Thailand Creative & Design Center (TCDC)www.tcdc.or.th

Õÿ∑¬“π°“√‡√’¬π√Ÿâ ( Õ√.)Thai Knowledge Park (TK Park)www.tkpark.or.th

∂“∫—πæ‘æ‘∏¿—≥±å°“√‡√’¬π√Ÿâ·Ààß™“μ‘ ( æ√.)National Discovery Museum Institute (NDMI)www.ndmi.or.th

»Ÿπ¬å°“√‡√’¬π√Ÿâ ICT ·Ààß™“μ‘National ICT Learning Center (ICT)www.ictlearning.or.th

T C D C B A C K G R O U N D§ « “ ¡ ‡ ªì π ¡ “ ¢ Õ ß T C D C

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π“¬æ—π»—°¥‘Ï «‘≠≠√—μπå ª√–∏“π°√√¡°“√Mr. Pansak Vinyaratn Chairman

‡≈¢“∏‘°“√ ”π—°ß“π§≥–°√√¡°“√æ—≤π“°“√‡»√…∞°‘®·≈– —ß§¡·Ààß™“μ‘ ( »™.) °√√¡°“√Secretary of the Office of the National Economic and Social Development Board (NESDB) Committee

Õ∏‘∫¥’°√¡ àß‡ √‘¡°“√ àßÕÕ° °√–∑√«ßæ“≥‘™¬å °√√¡°“√Director of Department of Export Promotion, Ministry of Commerce Committee

ºŸâÕ”π«¬°“√ ”π—°ß“π àß‡ √‘¡«‘ “À°‘®¢π“¥°≈“ß·≈–¢π“¥¬àÕ¡ ( «.) °√√¡°“√Director of the Office of Small and Medium Enterprises Promotion (OSMEP) Committee

π“¬∑√ß»—°¥‘Ï ‡ª√¡ ÿ¢ °√√¡°“√Mr. Songsak Premsuk Committee

π“¬ ¡™“¬ àß«—≤π“ °√√¡°“√Mr. Somchai Songwattana Committee

¡.≈. ¿“«‘π’ —πμ‘»‘√‘ °√√¡°“√ML. Pawinee Santisiri Committee

π“¬‰™¬¬ß √—μπÕ—ß°Ÿ√ ºŸâÕ”π«¬°“√ ”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ °√√¡°“√·≈–‡≈¢“πÿ°“√Mr. Chaiyong Ratana-Unggoon, Managing Director of the TCDC Committee and Secretary

√ “ ¬ ™◊Ë Õ § ≥ – ° √ √ ¡ ° “ √ ” π— ° ß “ π »Ÿ π ¬å √â “ ß √ √ §å ß “ π Õ Õ ° · ∫ ∫B o a rd of t h e TC D C

∂“∫—π«‘∑¬“°“√°“√‡√’¬π√Ÿâ ( «√.)National Institute for Brain-based Learning (NBL)www.nbl.or.th

»Ÿπ¬å àß‡ √‘¡ºŸâ¡’§«“¡ “¡“√∂æ‘‡»…·Ààß™“μ‘ ( ¡æ™.)National Center for the Gifted and Talented (NGT)

»Ÿπ¬å§«“¡‡ªìπ‡≈‘»¥â“π™’««‘∑¬“»“ μ√å¢Õßª√–‡∑»‰∑¬ (»≈™∑.)Thailand Center of Excellence for Life Sciences (TCEL)www.tcels.or.th

»Ÿπ¬å àß‡ √‘¡·≈–æ—≤π“æ≈—ß·ºàπ¥‘π‡™‘ß§ÿ≥∏√√¡ (»Ÿπ¬å§ÿ≥∏√√¡) Center for the Promotion of National Strength on Moral Ethics and Values (Moral Center)www.moralcenter.or.th

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T C D C B A C K G R O U N D§ « “ ¡ ‡ ªì π ¡ “ ¢ Õ ß T C D C

à « π ß “ π ¢ Õ ß T C D CTC D C D e p a r t m e nt s

◊Ë Õ “ √ ° “ √ μ ≈ “ ¥ · ≈ – ª √ – ™ “ — ¡ æ— π ∏å M a r ket i n g & C o m m u n i c a t i o n s

≈Ÿ ° §â “ — ¡ æ— π ∏å V i s i to r S e r v i ce s

π ‚ ¬ ∫ “ ¬ · ≈ – æ— ≤ π “ Po l i c y & D e v e lo p m e nt

°‘ ® ° √ √ ¡ · ≈ – π‘ ∑ √ √ » ° “ √ Events & Exhibitions

æ—≤π“·≈– √√À“Õß§å§«“¡√Ÿâ®“°∑—Èß„π·≈–μà“ßª√–‡∑» ‡æ◊ËÕ¡“∂à“¬∑Õ¥‡ªìπß“ππ‘∑√√»°“√¢Õß TCDC Brings in bodies of knowledge from around the country and around the world and presents them in TCDC exhibitions.

∫ √‘ À “ √ Õ ß §å § « “ ¡ √Ÿâ Knowledge & Curatorial

ÕÕ°·∫∫ ∫√‘À“√ ·≈–®—¥∑”π‘∑√√»°“√„Àâ‡ √Á® ¡∫Ÿ√≥åμ“¡°”Àπ¥‡«≈“Designs, oversees and organizes TCDC exhibitions as scheduled.

®—¥∑”·ºπª√–™“ —¡æ—π∏å°‘®°√√¡¢Õß TCDC ‡æ◊ËÕ àß‡ √‘¡·≈–°√–μÿâπ„Àâ¡’ºŸâ¡“„™â∫√‘°“√ TCDC Õ¬à“ßμàÕ‡π◊ËÕßDevelops and executes public relations campaign to promote TCDC and attract continuing visitors.

¥Ÿ·≈æ◊Èπ∑’Ë·≈–Õ”π«¬§«“¡ –¥«°„π°“√„™â∫√‘°“√„Àâ°—∫ºŸâ¡“‡¬’Ë¬¡™¡ TCDCProvides onsite services to ensure convenient and enjoyable experience for TCDC visitors.

®—¥∑”·ºπ°“√¥”‡π‘πß“π· «ßÀ“§«“¡√à«¡¡◊Õ·≈–√“¬‰¥â‡æ◊ËÕπ”¡“„™â„π°“√¥”‡π‘π°‘®°√√¡¢Õß TCDCDevelops the operating plan and seeks cooperation and funding for TCDC activities.

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‡ ∑ § ‚ π ‚ ≈ ¬’ “ √ π ‡ ∑ » · ≈ – Õ “ § “ √ I T & Fa c i l i t i e s

Õ ” π « ¬ ° “ √A d m i n i st ra t i o n

√â “ π §â “ T C D CT h e S h o p @ TC D C

à ß ‡ √‘ ¡ · ≈ – æ— ≤ π “ ° “ √ Õ Õ ° · ∫ ∫ D e s i g n A d v i s o r y

Àâ Õ ß ¡ÿ ¥ «— ¥ÿ ‡ æ◊Ë Õ ° “ √ Õ Õ ° · ∫ ∫ M a t e r i a l C o n n e X i o n ® B a n g ko k

∫√‘À“√®—¥°“√ÀâÕß ¡ÿ¥‡©æ“–¥â“π°“√ÕÕ°·∫∫„Àâ‡ªìπ·À≈àß¢âÕ¡Ÿ≈¥â“π°“√ÕÕ°·∫∫∑’Ë§√∫«ß®√Oversees the administration of the design library to serve as a one-stop design resource center.

®—¥°‘®°√√¡∑“ß«‘™“°“√ ∑—Èß°“√∫√√¬“¬·≈– —¡¡π“‡æ◊ËÕ™à«¬‡ √‘¡ √â“ß§«“¡√Ÿâ·≈–∑—°…–¥â“π°“√ÕÕ°·∫∫Organizes educationalactivities such as lectures and seminars, to enhance design knowledge and skills.

∫√‘À“√®—¥°“√ÀâÕß ¡ÿ¥«— ¥ÿ‡æ◊ËÕ°“√ÕÕ°·∫∫„Àâ‡ªìπ·À≈àß¢âÕ¡Ÿ≈«— ¥ÿ∑’Ë∑—π ¡—¬ ·≈–‡º¬·æ√à«— ¥ÿ¢Õß‰∑¬‰ª¬—ßμà“ßª√–‡∑»Oversees the administration of the design materials library to serve as an innovative design materials resource center, and to promote Thai materials at an international level.

®—¥‡μ√’¬¡ ∂“π∑’Ë ”À√—∫°‘®°√√¡μà“ßÊ ·≈–∫√‘À“√®—¥°“√√–∫∫‡∑§‚π‚≈¬’ “√ π‡∑»¢Õß TCDCPrepares the site for various activities and oversees the administration of TCDC information technology system.

∫√‘À“√®—¥°“√Õß§å°√∑—Èß„π à«π¢Õß∫ÿ§≈“°√ °“√∫√‘À“√∑—Ë«‰ª ·≈–°“√‡ß‘π¢Õß TCDCOversees the administration of TCDC in the area of personnel, general administration, and finance.

∫√‘À“√√â“π§â“„Àâ Õ¥§≈âÕß°—∫«—μ∂ÿª√– ß§å·≈–°“√®—¥°‘®°√√¡¢Õß TCDC Manages The Shop@TCDCin line with TCDC objectives and activities.

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T C D C B A C K G R O U N D§ « “ ¡ ‡ ªì π ¡ “ ¢ Õ ß T C D C

29.01.2003 ”π—°ß“πª√–∏“π∑’Ëª√÷°…“π‚¬∫“¬¢Õßπ“¬°√—∞¡πμ√’‰¥â‡ πÕ‚§√ß°“√®—¥μ—Èß»Ÿπ¬åÕÕ°·∫∫„Àâ§≥–°√√¡°“√ ”π—°ß“π«‘ “À°‘®¢π“¥°≈“ß·≈–¢π“¥¬àÕ¡æ‘®“√≥“‚§√ß°“√ ÷Ëß∑’Ëª√–™ÿ¡¡’¡μ‘‡ÀÁπ™Õ∫„Àâ·μàßμ—Èß§≥–Õπÿ°√√¡°“√»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫¢÷Èπ ‚¥¬¡’π“¬æ—π»—°¥‘Ï «‘≠≠√—μπå ª√–∏“π∑’Ëª√÷°…“π‚¬∫“¬¢Õßπ“¬°√—∞¡πμ√’ ‡ªìπª√–∏“π ‡æ◊ËÕ°”Àπ¥√Ÿª·∫∫·π«∑“ß„π°“√®—¥μ—Èß·≈–∫√‘À“√»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ (Creativity & Innovation Center) ‚¥¬¡’ºŸâ·∑πÀπà«¬ß“π∑’Ë‡°’Ë¬«¢âÕß√à«¡‡ªìπÕπÿ°√√¡°“√·≈–ºŸâÕ”π«¬°“√ ”π—°ß“π àß‡ √‘¡«‘ “À°‘®¢π“¥°≈“ß·≈–¢π“¥¬àÕ¡‡ªìπÕπÿ°√√¡°“√·≈–‡≈¢“πÿ°“√¢Õß§≥–Õπÿ°√√¡°“√»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ ‡æ◊ËÕ®—¥∑”¢âÕ‡ πÕ‚§√ß°“√»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫¢÷ÈπThe Office of Chief Policy Advisor to the Prime Minister proposed the Design Center Establishment

Project to the Executive Board of the Office of Small and Medium Enterprises Promotion (OSMEP).

The meeting approved the appointment of a Creativity & Innovation Center Subcommittee; with

Mr. Pansak Vinyaratn, the Chief Policy Adviser to the Prime Minister, as Chairman. The purpose

was to set up guidelines for the establishment and administration of the Creativity & Innovation

Center. The Subcommittee consisted of representatives from relevant agencies, with the OSMEP

Director as member and secretary. The Subcommittee then prepared the Creativity & Innovation

Center project proposal.

02.09.2003 §≥–√—∞¡πμ√’¡’¡μ‘‡ÀÁπ™Õ∫‚§√ß°“√»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ ‚¥¬„Àâ§≥–°√√¡°“√π‚¬∫“¬»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ ¿“¬„μâ ”π—°‡≈¢“∏‘°“√π“¬°√—∞¡πμ√’ ¥”‡π‘π‚§√ß°“√μàÕ‰ª The Cabinet approved the Creativity & Innovation Center project and the Creativity & Innovation

Center Policy Committee under the Secretariat of the Prime Minister was assigned to continue

the project.

11.08.2003 §≥–°√√¡°“√π‚¬∫“¬»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫‰¥â√—∫°“√®—¥μ—Èß·≈–®—¥„Àâ¡’ª√–™ÿ¡‡¡◊ËÕ«—π∑’Ë 21 ‘ßÀ“§¡ æ.». 2546 ‡æ◊ËÕ®—¥∑”·π«∑“ß·≈–ß∫ª√–¡“≥°“√¥”‡π‘π‚§√ß°“√»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫‡æ◊ËÕ‡ πÕ§≥–√—∞¡πμ√’„Àâ§«“¡‡ÀÁπ™Õ∫The Creativity & Innovation Center Policy Committee was appointed. A meeting was held on

21 August 2003 to set up the Creativity & Innovation Center project guidelines and budgets,

which would be submitted to the cabinet for approval.

°à Õ π ® – ¡ “ ‡ ªì π T C D C TC D C S to r y

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13.01.2004

18.06.2004

04.10.2004

§≥–√—∞¡πμ√’‰¥â¡’¡μ‘‡ÀÁπ™Õ∫ ‚§√ß°“√ÀâÕß ¡ÿ¥‡©æ“–¥â“π°“√ÕÕ°·∫∫·≈–æ—≤π“º≈‘μ¿—≥±å¿“¬„μâ»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ (Design Reference Library Project)

”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ (Thailand Creative & Design Center: TCDC) ‰¥â√—∫°“√ª√–°“»®—¥μ—Èß„ÀâÕ¬Ÿà¿“¬„μâ°“√°”°—∫¥Ÿ·≈¢Õß ”π—°ß“π∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ (Õß§å°“√¡À“™π) (OKMD)

The Cabinet approved the Design Reference Library Project.

04.05.2004 ”π—°ß“π∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ (Office of Knowledge Management and Development: OKMD) ‰¥â√—∫°“√®—¥μ—Èß¢÷Èπ‡ªìπÕß§å°“√¡À“™π ¿“¬„μâæ√–√“™°ƒ…Æ’°“®—¥μ—Èß ”π—°ß“π∫√‘À“√·≈–æ—≤π“Õß§å§«“¡√Ÿâ æ.». 2547 ·≈–„Àâ‚Õπ¬â“¬ß∫ª√–¡“≥·≈–∑√—æ¬å ‘π¢Õß»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫‰ª‰«â∑’Ë OKMD

The Office of Knowledge Management and Development (OKMD) was established as a public

organization by Royal Decree establishing the Office of Knowledge Management and Development

(Public Organization) B.E. 2547, and the Creativity & Innovation Center's budget and assets were

to be transferred to OKMD.

14.11.2005 TCDC ‡ªî¥Õ¬à“ß‡ªìπ∑“ß°“√ ‚¥¬¡’ æ—πμ”√«®‚∑ ∑—°…‘≥ ™‘π«—μ√ π“¬°√—∞¡πμ√’‡ªìπª√–∏“π„πæ‘∏’‡ªî¥ ·≈–‡ªî¥„Àâ∫√‘°“√·°àª√–™“™πμ—Èß·μà«—π∑’Ë 15 æƒ»®‘°“¬π æ.». 2548 ‡ªìπμâπ¡“The official TCDC opening ceremony, presided over by Prime Minister Thaksin Shinawatra, took

place on 14 November 2005. TCDC has been open to the public since 15 November 2005.

The Thailand Creative & Design Center (TCDC) was founded under the supervision of the OKMD.

§≥–°√√¡°“√ ”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫‰¥â¡’¡μ‘„Àâ‡™à“æ◊Èπ∑’Ë™—Èπ 7 Õ“§“√‡ÕÁ¡‚æ‡√’¬¡∑“«‡«Õ√å ‡æ◊ËÕ„™â‡ªìπ ∂“π∑’Ëμ—Èß ”π—°ß“π»Ÿπ¬å √â“ß √√§åß“πÕÕ°·∫∫ ·≈–‡√‘Ë¡¥”‡π‘π°“√°àÕ √â“ß„π«—π∑’Ë 4 ¡‘∂ÿπ“¬π æ.». 2548The Thailand Creative & Design Center Committee agreed to lease the 7th floor space in

the Emporium Tower for the location of Thailand Creative & Design Center. TCDC construction

work commenced on 4 June 2005.

4 4

ºŸâ ∫ √‘ À “ √Management

π“¬‰™¬¬ß √—μπÕ—ß°Ÿ√Chaiyong Ratana-unggoon

¡.√.«. æ—π∏ÿå¥‘» ¥‘»°ÿ≈M.R. Pandis Diskul

π“¬Õ¿‘ ‘∑∏‘Ï ‰≈à —μ√Ÿ‰°≈Apisit Laistrooglai

π“¬¿“√«’ «ß»å®‘√–™—¬Paravi Wongchirachai

π“¬πæ¥≈ «’√°‘μμ‘Noppadol Weerakitti

π“¬°‘μμ‘√—μπå ªîμ‘æ“π‘™Kittiratana Pitipanich

π“ß¬ÿ«√’¬å æß»“ πÕß°ÿ≈Yuwaree Pongsasanongkul

∑’Ë ª √÷ ° … “ · ≈ – ºŸâ ‡ ™’Ë ¬ « ™ “ ≠Consultants and Specialists

´’¥“√å ‰√≈å≈’ËSridhar Ryalie

‡¥«‘¥ ∫‘Í°‡π≈≈åDavid Bicknell

π“ß “««’≥“ ÕàÕß®√‘μVeena Ongcharit

√‘™“√å¥ Õ≈—π ‰μπåRichard Alan Stein

π“¬¿—∑√æ≈ ®—π∑√å§”Pattarapol Chantkam

ΩÉ “ ¬ π ‚ ¬ ∫ “ ¬ · ≈ – æ— ≤ π “Policy & Development

π“ß “«¡π±‘≥’ ¬ß«‘°ÿ≈Montinee Yongvikul

π“ß “«»‘√‘Õ√ À√‘Ë¡ª√“≥’Siriorn Hrimpranee

π“ß “«»√‘π∑‘√“ ªí∑¡“§¡Sarintira Patamakhom

‡® ‡ªπ‡´Õ√åJay Spencer

π“ß “«¿“ ‘π’ ≠“‚π∑—¬Phasinee Yanotai

π“ß “««√æ‘™≠“ √–‡∫’¬∫‚≈°Vorapitchaya Rabiablok

ΩÉ “ ¬ ‡ ∑ § ‚ π ‚ ≈ ¬’ “ √ π ‡ ∑ » · ≈ – Õ “ § “ √IT & Facilities

π“¬»—°¥‘Ï™—¬ ‡¡◊Õß»√’πÿàπSakchai Srimuangnoon

π“¬∏’√æß»å ‰™¬¡—ß§≈–Teerapong ChaimungKla

π“¬√«‘π ÿ¢æŸ≈Rawin Sukhpool

π“¬‡°√’¬ß»—°¥‘Ï ÿ∑∏‘π√“∏√Kriengsak Suthinarathorn

π“¬¶ƒ≥ °—ß«“π°‘μμ‘Karin KungwanKitti

π“¬¡πμ√’ ¿Ÿ·≈àπ§ŸàMontri Phulanku

π“¬‡¡∏’ —πμ‘¿“ææß»“Methee Santipharpphongsa

π“¬æ‘ ‘∞ ¡—™¨‘¡“Pisit Machima

π“¬«√™“μ‘ °√’ª√–°Õ∫Worachat Kreprakobπ“¬∏πŸ °√‘¡‡¢’¬«Tanu Krimkeaw

π“ß ÿ¿“æ√ ¡®‘μμåSupaporn Somjit

π“¬‡≈Õ™“μ‘ ∏√√¡∏’√‡ ∂’¬√Lerchart Thamtheerasathian

π“ß “«»»‘‡°μÿ °≈“ßÀπÕß· ßSasikate Klangnongsang

π“ß “«‡∫≠®«√√≥ √–ß—∫¿—¬Benjawan Rangabpai

π“¬∏√√¡πŸ≠ ‘πæ‘∫Ÿ≈¬åTummanoon Sinpibul

π“ß “« ‘√‘√—μπå ‘√‘¿—°¥‘ÏSirirat Siripak

π“ß “«°ƒ…≥“ ‡∑«°ÿ≈Krisna Devakul

Àâ Õ ß ¡ÿ ¥ «— ¥ÿ ‡ æ◊Ë Õ ° “ √ Õ Õ ° · ∫ ∫Material ConneXion® Bangkok

π“ß “«™¡æŸπ ÿ™ « ’√° ‘μμ ‘Chompoonuj Weerakiti

π“ß “«¥“√“√—μπå ‡¡¶‡°√’¬ß‰°√Dararat Mekkriengkrai

π“ß “«≠“¥“ ¡À“¡ß§≈Yada Mahamongkol

π“ß “«®‘πμπ“ ™Ÿæ√¡«ß…åJintana Choopromwong

π“ß “«»ÿ®‘°“ ™◊Ëπ„®Sujiga Chuenjai

ΩÉ “ ¬ ≈Ÿ ° §â “ — ¡ æ— π ∏åVisitor Services

π“ß “«æ—π∏‘μ√“ ‘πæ‘∫Ÿ≈¬åPantitra Sinpibul

π“ß “«¡π ‘™“ ¡∫Ÿ√≥å ‘πMonsisha Somburanasin

π“¬μâπΩπ ∑√—æ¬åπ‘√—π¥√åTonphon Sapnirund

π“ß “«À≠‘ß · à≈’ÈYing Lee

√â “ π §â “ @ T C D CThe Shop@TCDC

π“ß “«¢«—≠À∑—¬ μ—≥±å‡°¬Ÿ√Kwanhatai Tankeyul

π“ß “«∞‘μ‘¡“ æ«ß·°â«Thitima Puangkaew

π“ß “«π«√—μπå º“μ–ππ∑åNawarat Patanon

ΩÉ “ ¬ ◊Ë Õ “ √ ° “ √ μ ≈ “ ¥ · ≈ – ª √ – ™ “ — ¡ æ— π ∏å Marketing and Communications

π“ß “«°π°æ√ ‡°’¬√μ‘»—°¥‘ÏKanokporn Kiattisak

π“ß “««√“¿√≥å «»‘π —ß«√Waraporn Wasinsangworn

π“ß “«Õ“√¬“ »√’»‘≈ªá‚ ¿≥Araya Srisilpsophon

π“¬æ®πå Õß§å∑«’‡°’¬√μ‘Pod Ongtaweekiat

π“ß “«®‘μμ‘¿“ ∞“π–»‘√‘æß»åJittipa Tanasiripong

π“¬‡Õ°√‘π∑√å ÿ¢ «à“ßEkarin Sugsawang

π“¬ ÿ√‘¬ß§å ¢”≈–‡Õ’¬¥Suriyong Khamlaiad

ΩÉ “ ¬ ∫ √‘ À “ √ Õ ß §å § « “ ¡ √ŸâKnowledge & Curatorial

π“ß “«»ÿ¿¡“» æ–Àÿ‚≈Supamas Phahulo

π“ß “«®√‘π∑‘æ¬å ™ŸÀ¡◊Ëπ‰«¬Charintip Choomuenwai

π“ß “«∑√ß«“¥ ÿ¢‡¡◊Õß¡“Songwad Sukmaungma

ΩÉ “ ¬ °‘ ® ° √ √ ¡ · ≈ – π‘ ∑ √ √ » ° “ √Events & Exhibitions

π“ß “«¥«ßæ√ »√’ ÿ‚¢Duangporn Srisukho

π“¬√—∞»‘√‘ æ≈°ÿ≈Ratthasiri BalaKul

π“¬™ÿμ‘¬‡«™ ‘π∏ÿæ—π∏åChutayaves Sinthuphan

π“ß “«æ‘¡æ√√≥ —ß¢å°√≥åPimpun Sungkorn

ΩÉ “ ¬ à ß ‡ √‘ ¡· ≈ – æ— ≤ π “ ° “ √ Õ Õ ° · ∫ ∫Design Advisory

π“ß “«∑“√‘°“ ≈‘È¡ «— ¥‘«ß»åTarika Limsavadiwong

π“ß “«π—π∑‘¬“ ‡≈Á° ¡∫Ÿ√≥åNantiya Leksomboon

π“¬æ‘™‘μ «’√—ß§∫ÿμ√Pichit Virankabutra

π“ß “«Õπ—πμ“ Õ‘π∑√Õ—°…√Anunta Intra-Aksorn

π“ß “«®√‘¬¥’ ∏√√¡«‘∑¬åJareyadee Thamavit

π“¬Õ‘π∑ππ∑å ®—π∑√å∑‘æ¬åIntanon Chantip

ΩÉ “ ¬ Õ ” π « ¬ ° “ √Administration

π“ß “«æ—™√“¿√ ∑Õßª√–‰æPatcharaporn Thongprapai

π“ß “«æÿ≤»√’ “¡’Puhtasri Samee

π“ß “«Õÿ≈—¬√—μπå ‡°μÿ≈”Ulairat Ketlam

π“ß “«ª√‘≠¥“ ‡™◊ÈÕ°≈“ßParinda Chuaklang

π“ß “«®μÿæ√ ®ÿâ¬„®ß“¡Jatuporn Juyjingam

π“ß “« ÿ¥“√—μπå ªíπμ“∑’Sudarat Pantatee

π“ß “««π‘¥“ »√’‰™¬“Wanida srichaiya

π“ß “«¢«—≠À∑—¬ æ√À¡≈“¬π“§Khwanhatai Promlainak

π“ß “« ÿ√’¬å ·æ∑¬åª√–‡ √‘∞Suree Patprasert

§ ≥ – ∑ ” ß “ π T C D CTC D C Te a m M e m b e r s

∂“π∑’Ëμ‘¥μàÕ /Address»Ÿπ¬å √â “ß √√§åß“πÕÕ°·∫∫™—Èπ 6 ¥‘ ‡ÕÁ¡‚æ‡√’¬¡ ™ÁÕªªîô ß §Õ¡‡æ≈Á°´å 6 2 2 ÿ¢ÿ¡«‘∑ 2 4 °√ÿß ‡∑æœ 1 0 1 1 0 ‚∑√ . : ( 6 6 ) 2 6 6 4 8 4 4 8Thailand Creative & Design Center (TCDC)

6th Fl. The Emporium Shopping Complex 622 Sukhumvit 24, Bangkok 10110 Thailand Tel. : (66) 2 664 8448

‡«≈“∑Ì“°“√/Opening hoursÕ—ß§“√ - Õ“∑‘μ¬å ( ªî¥«—π®—π∑√å ) 1 0 . 3 0 - 2 1 . 0 0 π.Tuesday - Sunday (closed on Monday) 10.30 a.m. - 9.00 p.m.

www.tcdc.or.th