Synopsis: Robert Sukrachand has been on a mission exploring Thailand’s craft and furnishings design communities. Here he tells the tales of six leaders in the nation’s woodworking renaissance. Their tales are as numerous as their furnishings designs.

Having cut up time between the United States and Thailand as a child, I’ve all the time appeared out for tactics the 2 locations relate. When I discovered them, these moments made my two properties really feel nearer to 1 one other. This was the kind of connection I used to be looking for in 2017 when, as a Brooklyn, N.Y.–based mostly woodworker and furnishings designer, I set out on a visit to Thailand to start collaborating with the nation’s resurging craft and furnishings design communities.

In the years since, I’ve discovered precisely these moments of connection in my visits to the studios of Thailand’s new crop of woodworking furnishings designers. The connections began in Bangkok, the nation’s capital. Then, as I transitioned to dwelling half-time in Thailand, my very own work in the nation as a designer led me farther afield to rural reaches and the nation’s northern cultural capital, Chiang Mai. 

Below are the various tales of six leaders in the nation’s woodworking renaissance. Far from a monolith, this cohort of up to date Thai makers parallels a broader Thai society continually in flux—completely modernized and in contact with the West on one hand, but additionally more and more introspective as many younger Thais look to rekindle a contact of the previous and a standard, slower lifestyle. 

thailand-mapA wealth of woodworking expertise

  1. Nucharin Wangphongsawasd
  2. Charnon Nakornsang
  3. Nanu Youttanakorn
  4. Phakphoom Wittayaworakan
  5. Thamarat Phokai
  6. Moonler Collection Co.


Moonler Collection Co.

Moonler Collection Co.About 15 kilometers exterior of Chiang Mai’s metropolis heart, Moonler Collection’s sprawling workshop vibrates as the corporate’s 30-plus workers flip native charmchuri lumber into elegant tables and chairs. Having nicknamed themselves the Charmchuri Wood Whisperers, Moonler’s workforce of designers and craftsmen deal with elevating this missed species.

Moonler’s proprietor, Phuwanat Damrongporn, moved to Chiang Mai in 2008 to collaborate with native craftspeople. Visiting the craft village of Baan Tawai, Phuwanat was disillusioned in the standard of the furnishings he discovered. Knowing that he might enhance on it, he employed his first and longest-serving worker, Kur, and the 2 started constructing furnishings—at first with minimal instruments, as they couldn’t afford a full store.

Phuwanat and Kur discovered an abundance of wooden to work with. In the neighboring provinces of Lampang and Phrae, native entrepreneurs depend on the charmchuri tree to reap the shellac excretions from the Kerria laca bug. The quick-rising bushes finally cease attracting the bug and are felled, creating ample provide of the lumber.

“At this time, Thai people only wanted to buy furniture built out of teak and rosewood. They were not interested in charmchuri furniture because the material was traditionally seen as cheap and only used for woodcarving,” explains Phuwanat, who noticed an inherent magnificence in the grain and adaptability in the dimensions and shade variation. Sensing alternative abroad, the younger model exhibited its first assortment on the Thailand International Furniture Fair in 2010, discovering ample curiosity from consumers in Singapore and Japan. The furnishings is now exported throughout Asia and North America, and most of Moonler’s new collections are designed by Thailand’s prime impartial design studios. The Moonler workforce nonetheless sticks to its roots, constructing every part in-house.

brown chair shelves


Nucharin Wangphongsawasd

Nucharin WangphongsawasdEver since she was an undergrad learning industrial design on the King Mongkut Institute of Technology, Nucharin Wangphongsawasd, who goes by Nuch, has had an curiosity in designing her personal furnishings. But, as she explains, “traditionally in Thailand we have carpenters who build houses, and then designers who work with fabricators. I wasn’t even familiar with the concept of a woodworker who both designed and built their own furniture.”

Nuch, 37, started exploring this idea in earnest in 2009 after being accepted into the furnishings design program on the Rochester Institute of Technology. “I had no clue what I was getting myself into,” Nuch explains. “I remember the first day when my mentor told me what tools we needed to buy for our projects, and I had never even heard of them before. I was scared at that time, but I knew all I could do was give it a try.” That openness and lack of rigidity appears to have contributed to Nuch’s signature model of free-flowing furnishings and wooden objects. Rarely static, her technically advanced works sway by way of the considerate use of bent-laminated and kerf-bent parts. 

bent tabletop

After returning to Bangkok and organising her personal workshop, Nuch was promptly awarded a Wingate Residency on the Center for Art in Wood, in Philadelphia. There in 2016 her woodworking vocabulary additional shifted. “The older I’ve grown the more delicate my work has become.” That growth will be seen in her current sequence of delicately bent tabletop objects, which she hopes gradual the viewer down in order to totally respect them. Now Nuch focuses totally on educating younger individuals at native universities and deepening her exploration of her most popular bending methods. “How far can you push it? That’s what excites me now.”

bent tabletop wood project flowing wood objects


Charnon Nakornsang

Charnon NakornsangIn Charnon Nakornsang’s residence studio on the outskirts of Bangkok, there’s little separation between his work and residential. His small woodshop is filled with the nice and cozy and beautiful particulars many woodworkers save for his or her most refined items of furnishings. Just steps away, coming into the entrance door of his residence, a customer’s jaw is more likely to drop on the grace of his furnishings, the visible steadiness in which he shows his work, and the mesmerizing gentle.

Charnon, 34, got here to woodworking after 10 years as a graphic designer in Bangkok. “Growing up, I didn’t get to see furniture with real wood, just built-ins and plastic and metal things,” Charnon says whereas explaining his transfer into woodworking as a profession. While watching the movie The Great Gatsby, he was enchanted by the walnut clock, wooden particulars, and heat palette of Tobey Maguire’s cottage. “I started researching this idea of living with wood all around you, and that’s when I discovered Nakashima, Krenov, and Esherick.”

Charnon was taken with the workshops and hand instruments of those artisans as a lot as with their furnishings. After taking a category in utilizing hand instruments to construct a chair, he was hooked. “It turned a full-time passion and I started to promote some items. After work and on the weekends, I might work on my furnishings tasks at any time when I had time.”

wooden table wooden shelf

Around the time of Thailand’s first COVID-19 lockdown in 2020, Charnon left graphic design behind and commited to furnishings full time. He continues to make his residence life and workshop mix seamlessly, constructing furnishings for each day use, comparable to a step stool for his daughter who loves to assist in the kitchen. Taking a second to understand the high-quality joinery and particulars in Charnon’s work, principally made out of American hardwoods like walnut and cherry, one is struck by the best way that wooden data and aesthetics journey internationally. Indeed, atop considered one of his finely completed tables lies a duplicate of Krenov’s A Cabinetmakers Notebook, whose philosophy is as elemental to Charnon’s woodworking model as it’s to any pupil in the Redwoods.

wooden chair, dresser, and lamp wooden hightop bar and stools

wooden tabletop


Nanu Youttanakorn

Nanu YouttanakornIn 2012, after 10 years as a graphic designer in Bangkok that he describes as “draining,” Nanu Youttanakorn determined it was time for a change. He was accepted into the grasp’s of social design program at Design Academy Eindhoven, in the Netherlands. Knowing that his research would primarily be workshop based mostly, Nanu needed to clean up his making expertise. So he approached Phisanu Numsuriyothin, mentor to many Bangkok-based furnishings makers. “Phisanu got me hooked on woodworking,” explains Nanu, 39. 

“Even though at Eindhoven we were doing workshops in all kinds of materials, whenever I returned to Thailand, it felt like I was always surrounded by wood.” His mom collects outdated doorways and home windows from throughout the Thai countryside, instilling in Nanu an appreciation for discovered and reclaimed supplies. Determining tips on how to work with these supplies, preserving natural kinds whereas leaving his personal imprint, has been a core pursuit for Nanu. “I’m trying to find the balance between control and letting go,” he says. “I only want to insert my intention where I need to, for example for a wood joint. It’s the contrast between natural and manmade.” An instance of this distinction is his current fee for the British ambassador’s residence in Thailand, a pair of benches constructed from a charmchuri log that grew on the British embassy’s former grounds. 

a pair of benches built from a charmchuri log that grew on the British embassy’s former grounds

His work has a touch of historical past and nostalgia. “The old way of life in Thailand was tied to wood materials: tools, transportation, buffalo carts, barges,” Nanu says. “These pieces have been worn and contain layers of time and texture. For me, it’s all about adding more and more layers in my furniture designs.” 

split log sculpture log with drawers and cabinet


Phakphoom Wittayaworakan

Phakphoom Wittayaworakan‘The world was spinning, and different individuals have been working. Meanwhile, I used to be doing this work,” says Phakphoom Wittayaworakan, 43, as he explains the identify of his studio, Meanwhile Woodwork. His open-air woodshop, which evokes the sensation of coming into a rural Thai rice barn, has turn out to be a spot for “thinking about what’s going on between body and soul,” he says. “Woodwork gave me the time to explore the inside, and to have a peaceful moment.”

Phakphoom, who goes by Pop, grew up in this identical village in Buriram Province situated about 4 hours northeast of Bangkok. After learning to be a veterinarian, Pop moved to the capital and opened a clinic. During the 2011 monsoon season, now known as the Big Flood, unusually intense rains made life insufferable for a lot of Bangkokians and stirred Pop to return to his childhood residence.

room with wood carvings and chair

The land that now homes his workshop and fruit and vegetable orchards was then sprawling rice fields owned by his mom. Settling in, Pop constructed his studio from scratch, slept in the loft above, and started experimenting in making small items of furnishings and wood tabletop designs. Carving expressive bowls and trays quickly turned his focus. “Using hand tools was shaping me, or tuning me, to be more peaceful and calm. If I used a power tool, it had the opposite effect. The noise made me feel more aggressive,” Pop explains. The calm of his studio makes it a frequent pilgrimage level for a lot of of his woodworking compatriots, together with the momentous Found Wood workshop in 2015.

“As a kid, I never had a chance to work with tools, build things, or experiment with wood,” an expertise lots of at present’s woodworkers can absolutely establish with. “I had a feeling that there was something lost,” Pop says, “and I had to go and find it.” 

wooden plate wooden stool

Thamarat Phokai

Thamarat Phokai with chairIn 2000, Thamarat Phokai, then a primary-12 months portray main on the Silapakorn University arts program, was strolling residence as he handed Wat Phra Kaew, Bangkok’s well-known Temple of the Emerald Buddha. Landscapers have been felling tamarind bushes, slicing the logs into small items, and discarding them. Instinctively, he grabbed as many sticks as he might maintain, and introduced them again to his studio.

“I thought it would be fun to experiment with wood, because no one else in my program was using the material,” he says. Thamarat started carving small toys out of wooden for enjoyable. The subsequent summer season, whereas spending time with household in Sing Buri Province, he was taken by the kraat, a standard Thai software shaped out of wooden into an elongated arc used for steering buffalo by way of rice fields. Returning to his college, Thamarat started adapting this arc kind into his personal wood sculptures.

After dwelling in Bangkok for 14 years, Thamarat bought a small plot of land in the mountainous northern area Chiang Dao. Building a small home and separate workshop, he started specializing in working with wooden. Thamarat’s furnishings and murals are constructed fully by hand with chisels and handsaws. The solely electrified software he owns is a rusty bandsaw, which not often will get turned on.

closeup of chair

“My inspiration comes from the natural materials around me that I live with everyday. Just like a stone in the riverbed here has texture, the pieces of wood that I work with have unusual character,” he says. Rather than eradicating that character, Thamarat preserves it. Averse to connect and sandpaper, he builds each considered one of his chairs to knock down into particular person parts. His work life blends seamlessly with the studio environment and mountain hamlet. “Even the leaves that I look at outside of my workshop every day provide inspiration,” Thamarat explains. 

When he’s not constructing furnishings, you would possibly discover Thamarat carving an enormous wood totem or, as he was on my go to, chiseling conventional finial parts for the native temple. 

wooden chair closeup of wooden chair

Robert Sukrachand is a woodworker based mostly in New York, N.Y.; and Chiang Mai, Thailand.

Contemporary Wood Working in Thailand pdf sprd imageFrom Fine Woodworking #298

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