Upon seeing the actual plan, it is very similar to a U-shaped house with open space in the center, while the end of the house is open with two red Butterfly Chairs. Most of the floor space is wood, save for the living room area, where it is polished exposed concrete. The supporting beams are set at a width, where the goal was to maximize on the space in between. However these characteristics did not catch my attention as much as what Aroon told me earier about how his artist friends contributed to the house’s design. 

This inclides that of Mr. Paponsak Laor’s experimentation with the jade-green tilling, the large drawing of a dragon by Professor Kamin, who intended for it to be drawn on the ceiling of the library, and further experimentation in various areas of the structure initiated by Sethotwut Pinyorit, a friend and collaborator of the land. Meanwhile, Taneeya Yuktadatta advised on lighting design for the entire house. The nature of this project allowed Aroon to learn a great deal along the way, encouraging him to break free from his conventional, architectural shell and to shed what he learned in school (the act of design is the equivalent to that of the architectural customs, the accepted and appreciated trend, born from imitating and from a through supervision on the architect’s part). In this case, Rirkrit tried to challenge Aroon, instilling a sense of incompletion, thus opening a different perspective to what beauty is and making way for something else besides control. This ultimately broke down his previous frame of thinking and granted him an alternative viewpoint to draw from. 

Counting from the very beginning, two years have passed and Aroon’s challenging dream plan has now been completed. In my point of view, it was a cooperative effort, working with one another and working through the relationship between architect and artist – beween Aroon and Rirkrit. From another perspective, it is a new work by Rirkrit who worked in a different medium; from cooking and using musical instruments to that of an architectural structure. Further, those come across this new structure and those who were involved in the development have changed. It is with certainty that this time, the efforts were subjected to more restrictions and limitations. However, it is more of a reiteration of the ‘Doing Less’ concept. Moreover, if I were to interpret it differently, presuming that it was ‘loosely controlled’, then Aroon and his friends have become a part of the architectural results. However, looking at it from yet another viewpoint, it is a house that was very thoroughly planned and designed. This is something architects dreams of collaborating with a group of people with a sufficient degree of understanding, working closely with the owner of the house and receiving feedback with efficiency. 

In conclusion, I still can’t shake the Barcelona Pavilion picture from my mind. However, I am able to accept different perspectives that have been born from coming into contact with the conceptual process as well as the plan that is quite unique in its own right. The being of an artist and the working process is born from collaboration and working through relationships, expelling subconsciously, the Pavilion image before me.