The words you are searching are inside this book. To get more targeted content, please make full-text search by clicking here.
Discover the best professional documents and content resources in AnyFlip Document Base.
Search

บทความวิชาการ

บทความวิชาการ

øĩĚĒĚħāįĘĞīāĩøĩĚċŤĩĐûĞĩĘøŤĩĞĢĐŤĩĎĩþğīĜĒħ ĞĨĉĐďĚĚĘĴĜħøĩĚĤĤøĴđđĚħċĨđāĩČīûĚĨļþĎĬĻ4 ĒĚħÿŀĩĒĊǰ “Transforming the Country through Art, Culture and Innovation” üĆîìĊęǰǰÖøÖãćÙöǰǰ ǰèǰÙèąýĉúðüĉÝĉêøǰÿëćïĆèæĉêóĆçîýĉúðş


ēÙøÜÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉ ÙøĆĚÜìĊęǰ4 ðøąÝĞćðŘǰ2565 õć÷ĔêšĀĆüךĂǰ: ýĉúðąǰüĆçîíøøöĒúąîüĆêÖøøöóúĉÖēÞöðøąđìý (Transforming the Country through Art, Culture and Innovation) ēÙøÜÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉǰ ÙøĆĚÜìĊęǰ4 ðøąÝĞćðŘǰ2565 ÝĆé×ċĚîđóČęĂđðŨîđüìĊĒúÖđðúĊę÷îÙüćöøĎšéšćîñúÜćîÿøšćÜÿøøÙŤøąĀüŠćÜýĉúðŗîǰ ÙèćÝćø÷ŤǰĒúąîĆÖýċÖþćǰìĆĚÜÜćîéšćîýĉúðÖøøöìčÖĒ×îÜǰÜćîÿëćðŦê÷ÖøøöǰĒúąÜćîÖćøĂĂÖĒïïĔî ÿć×ćýĉúðąĂČęî ė õć÷ĔêšĀĆüךĂìĊęÖĞćĀîéĔîĒêŠúąðŘ ēÙøÜÖćøĄ éĆÜÖúŠćüđðŨîñúÿČïđîČęĂÜöćÝćÖÙüćöøŠüööČĂ×ĂÜöĀćüĉì÷ćúĆ÷ìĆĚÜÝćÖõćÙøĆå ĒúąõćÙđĂÖßîìĊęöĊÖćøđøĊ÷îÖćøÿĂîéšćîýĉúðąĒúąÖćøĂĂÖĒïïðøąÖĂïéšü÷ ÙèąýĉúðÖøøö ýćÿêøŤǰöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊǰÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝ ïĆèæĉê÷ŤǰÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ïĎøóćǰĒúąÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰ õćÙĊđÙøČĂ׊ć÷ǰ4U PLUSǰēé÷öĊÝčéöčŠÜĀöć÷×ĂÜēÙøÜÖćøđóČęĂđðŨîđüìĊĔĀšÙèćÝćø÷ŤǰîĉÿĉêǰîĆÖýċÖþćǰ ĒúąïčÙÙúñĎšÿîĔÝǰĕéšîĞćđÿîĂñúÜćîìćÜüĉßćÖćøĒúąñúÜćîÿøšćÜÿøøÙŤéšćîýĉúðÖøøöǰñúÜćîéšćîÖćø ĂĂÖĒïïǰêŠĂÿćíćøèßîǰĔîøĎðĒïï×ĂÜÖćøÝĆéðøąßčöüĉßćÖćøĒúąÖćøÝĆéĒÿéÜîĉìøøýÖćøǰēé÷ ñúÜćîìĊęîĞćđÿîĂĒúąÝĆéĒÿéÜÝąñŠćîÖćøóĉÝćøèćÝćÖñĎšìøÜÙčèüčçĉøąéĆïßćêĉ ÖćøÝĆéìĞćēÙøÜÖćøÙøĆĚÜîĊĚǰîĂÖÝćÖđðŨîÖćøÿøšćÜÙüćöøŠüööČĂ×ĂÜǰ4 ÿëćïĆîĒúšüǰ÷ĆÜöĊ ĂÜÙŤÖøǰÿëćïĆîýĉúðąǰĒúąýĉúðŗîîĆÖĂĂÖĒïïÝćÖêŠćÜðøąđìýìĆĚÜĔîìüĊðđĂđßĊ÷Ēúą÷čēøðÿŠÜñúÜćîđךć øŠüöîĞćđÿîĂǰĂćìĉǰöćđúđàĊ÷ǰĂĉîēéîĊđàĊ÷ǰÿĉÜÙēðøŤǰÝĊîǰÿćíćøèøĆåđÖćĀúĊǰĕêšĀüĆîǰĂĉîđéĊ÷ǰĂĉêćúĊǰĄúĄǰ àċęÜîĆïđðŨîēĂÖćÿÿĞćÙĆâìĊęÝąÖŠĂĔĀšđÖĉéÖćøĒúÖđðúĊę÷îĂÜÙŤÙüćöøĎšǰðøąÿïÖćøèŤǰĒúąüĆçîíøøöǰĔîÖćø ÿøšćÜÿøøÙŤñúÜćîÖćøĂĂÖĒïïĔîúĆÖþèąêŠćÜ ėǰĂĆîÝąđðŨîðøąē÷ßîŤêŠĂÖćøóĆçîćÜćîüĉßćÖćøéšćî ñúÜćîÿøšćÜÿøøÙŤêŠĂĕðĔîĂîćÙê


ÿćøÝćÖĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş ÙüćöøŠüööČĂøąĀüŠćÜÿëćïĆîÖćøýċÖþćĔîîćöõćÙĊđÙøČĂ׊ć÷ǰ4U PLUS àċęÜðøąÖĂïéšü÷ǰ ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊ ǰÙèąýĉúðÖøøöýćÿêøŤǰ öĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť ǰÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ïĎøóćǰĒúąÙèąýĉúðüĉÝĉêøǰÿëćïĆî ïĆèæĉêóĆçîýĉúðşǰøŠüöÖĆîÝĆéēÙøÜÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤ î ćî ć ß ćêĉǰÙ øĆĚÜìĊęǰ ǰ(The 4th National Academic Conference for the Advancement in Art, Culture and Design & the International Arts & Designs Collaborative Exhibition 2022) õć÷Ĕêš ĀĆüךĂǰ: “ýĉúðąǰüĆçîíøøöĒúąîüĆêÖøøöóúĉÖēÞöðøąđìýǰ(Transforming the Country through Art, Culture and Innovation)” ēé÷ĔîðŘǰ2565 îĊĚǰÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰĕéšøĆïđÖĊ÷øêĉ ÝćÖõćÙĊđÙøČĂ׊ć÷ǰ4U PLUS ĔĀšđðŨîđÝšćõćóĀúĆÖĔîÖćøéĞćđîĉîÜćî ÖćøÝĆéÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉÙøĆĚÜîĊĚǰ èǰÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰìĊęĕéšøĆïÙüćöÿîĔÝÝćÖîĆÖüĉßćÖćøéšćîýĉúðąĒúąÖćø ĂĂÖĒïïÿć×ćêŠćÜ ėǰĒúąýĉúðŗîìĆĚÜĔîðøąđìýĒúąêŠćÜðøąđìýǰøüöëċÜýĉúðŗîøĆïđßĉâìĊęöĊßČęĂđÿĊ÷ÜìĆĚÜĔî ðøąđìýĒúąêŠćÜðøąđìýǰÿŠÜñúÜćîđךćøŠüöēÙøÜÖćøǰîĂÖÝćÖîĊĚ÷ĆÜĕéšøĆïÙüćöÿîĆïÿîčîĂ÷ŠćÜéĊ÷ĉęÜÝćÖÿõć ÙèïéĊýĉúðąĒúąÖćøĂĂÖĒïïĒĀŠÜðøąđìýĕì÷ĒúąĕéšøĆïÙüćöđĂČĚĂđôŚŪĂÿëćîìĊęÝćÖöĀćüĉì÷ćúĆ÷ đìÙēîēú÷ĊøćßöÜÙúøĆêîēÖÿĉîìøŤĔîÖćøÝĆéîĉìøøýÖćøñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉǰëČĂđðŨîÖćø×÷ć÷ ×Ăïđ×êÙüćöøŠüööČĂĂĂÖĕðĂĊÖøąéĆïĀîċęÜǰ ÿëćïĆîïĆèæĉêóĆçîýĉúðşĀüĆÜđðŨîĂ÷ŠćÜ÷ĉęÜüŠćēÙøÜÖćøîĊĚÝąðøąÿïñúÿĞćđøĘÝĒúąĕéšøĆïÖćø×÷ć÷ ñúêŠĂ÷ĂéÖšćüĕÖúĂĂÖĕðēé÷úĞćéĆï îćÜîĉõćǰēÿõćÿĆöùìíĉĝ ĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçýĉúðş


ÿćøÝćÖÙèïéĊÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðş õćÙĊđÙøČĂ׊ć÷ÙüćöøŠüööČĂ×ĂÜöĀćüĉì÷ćúĆ÷ÝćÖõćÙøĆåĒúąõćÙđĂÖßîìĊęöĊÖćøđøĊ÷îÖćøÿĂî éšćîýĉúðąĒúąÖćøĂĂÖĒïïǰ õćÙĊđÙøČĂ׊ć÷ǰ4U PLUSǰðøąÖĂïéšü÷ǰÙèąýĉúðÖøøöýćÿêøŤǰ öĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊ, ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť, ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ïĎøóćǰĒúąÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰøŠüöÖĆîÝĆé ēÙøÜÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉǰ The National Academic Conference for the Advancement in Art, Culture and Design & the International Arts & Designs Collaborative Exhibition) öĊÝčéöčŠÜĀöć÷đóČęĂđðŨîđüìĊĔĀšÙèćÝćø÷ŤǰîĉÿĉêǰîĆÖýċÖþć Ēúą ñĎšÿîĔÝĕéšîĞćđÿîĂñúÜćîìćÜüĉßćÖćøĒúąñúÜćîÿøšćÜÿøøÙŤéšćîýĉúðÖøøöǰĒúąñúÜćîéšćîÖćøĂĂÖĒïï êŠĂÿćíćøèßîǰĔîøĎðĒïï×ĂÜÖćøÝĆéðøąßčöüĉßćÖćøĒúąÖćøÝĆéĒÿéÜîĉìøøýÖćøǰēé÷ñúÜćîđĀúŠćîĆĚîñŠćî ÖćøóĉÝćøèćÝćÖñĎšìøÜÙčèüčçĉøąéĆïßćêĉǰàċęÜÝąđðŨîđüìĊëŠć÷ìĂéĂÜÙŤÙüćöøĎšĒúąêŠĂ÷ĂéÜćîìćÜéšćî ýĉúðÖøøöýćÿêøŤǰĒúąóĆçîćñúÜćîüĉÝĆ÷đßĉÜÿøšćÜÿøøÙŤĔĀšÿćöćøëøĆïĔßšÿĆÜÙöĕéšĂ÷ŠćÜ÷ĆęÜ÷ČîǰêúĂéÝîđðŨî ÖćøÿøšćÜđÙøČĂ׊ć÷ÙüćöÿĆöóĆîíŤøąĀüŠćÜÿëćïĆîǰĂĆîÝąđðŨîøćÖåćîĕðÿĎŠÙüćöøŠüööČĂìćÜüĉßćÖćøĀøČĂéšćî ĂČęî ėǰĒÿéÜĔĀšđĀĘîïìïćì×ĂÜñúÜćîìćÜüĉßćÖćøǰñúÜćîÿøšćÜÿøøÙŤĒúąÖćøĂĂÖĒïïìĊęöĊêŠĂÖćøóĆçîć ÿĆÜÙöĒúąðøąđìý×ĂÜöüúöîčþ÷ßćêĉĂ÷ŠćÜĒìšÝøĉÜêŠĂĕðǰ ǰǰǰǰǰǰǰǰǰǰǰǰǰĔîðŘǰ2565 îĊĚǰÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰöĊÙüćö÷ĉîéĊìĊęĕéšøĆïđÖĊ÷øêĉÝćÖõćÙĊ đÙøČĂ׊ć÷ǰ4U PLUS ĔĀšđðŨîđÝšćõćóĀúĆÖĔîÖćøÝĆéÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñú ÜćîÿøšćÜÿøøÙŤîćîćßćêĉÙøĆĚÜìĊęǰ4 ðøąÝĞćðŘǰ2565 The 4th National Academic Conference for the Advancement in Art, Culture and Design & the International Arts & Designs Collaborative Exhibition 2022) õć÷ĔêšĀĆüךĂǰ: “ýĉúðąǰüĆçîíøøöĒúąîüĆêÖøøöóúĉÖēÞöðøąđìýǰ(Transforming the Country through Art, Culture and Innovation)ķǰèǰÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰ ēé÷ĕéšøĆïÙüćöÿîĆïÿîčîĂ÷ŠćÜéĊ÷ĉęÜÝćÖÿõćÙèïéĊýĉúðąĒúąÖćøĂĂÖĒïïĒĀŠÜðøąđìýĕì÷, ÿëćïĆî ïĆèæĉêóĆçîýĉúðşǰĒúąĕéšøĆïÙüćöđĂČĚĂđôŚŪĂÿëćîìĊęĂćÙćøðäĉïĆêĉÖćøýĉúðüĆçîíøøöĂćđàĊ÷îđÞúĉöóøąđÖĊ÷øêĉǰ ÝćÖöĀćüĉì÷ćúĆ÷đìÙēîēú÷ĊøćßöÜÙúøĆêîēÖÿĉîìøŤĔîÖćøÝĆéîĉìøøýÖćøñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉ ÙèąýĉúðüĉÝĉêø×Ă×ĂïóøąÙčèđðŨîĂ÷ŠćÜÿĎÜöćǰèǰēĂÖćÿîĊĚ ǰǰǰǰǰǰǰǰǰǰǰǰǰÖćøÝĆéÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉÙøĆĚÜîĊĚöĊ ñĎšÿîĔÝÿŠÜïìÙüćöüĉßćÖćøéšćîÜćîüĉÝĆ÷ǰïìÙüćöüĉßćÖćøÜćîÿøšćÜÿøøÙŤǰĒúąñúÜćîÿøšćÜÿøøÙŤýĉúðÖøøö ĒúąÖćøĂĂÖĒïïđךćøŠüöēÙøÜÖćøÝĞćîüîöćÖđðŨîĕðêćöđðŜćĀöć÷ǰÙèąýĉúðüĉÝĉêøĔîîćö×ĂÜđÝšćõćóǰ ×Ă×ĂïÙčèĒúą×ĂĒÿéÜÙüćö÷ĉîéĊÖĆïñĎšÿŠÜñúÜćîđךćøŠüöēÙøÜÖćøìčÖìŠćî ñϚߊü÷ýćÿêøćÝćø÷ŤïčâóćéǰÛĆÜÙąöąēîǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰǰ ÙèïéĊÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðş


ÿćøÝćÖÙèïéĊÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť ēÙøÜÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉǰéšćîÙüćöÖšćüĀîšćìćÜýĉúðąǰüĆçîíøøöǰĒúąÖćøĂĂÖĒïï ĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉǰđðŨîēÙøÜÖćøÙüćöøŠüööČĂøąĀüŠćÜ 4 öĀćüĉì÷ćúĆ÷Ĕî đÙøČĂ׊ć÷ǰ4U Plus đóČęĂÿøšćÜđüìĊđñ÷ĒóøŠñúÜćîìćÜüĉßćÖćøĒúąñúÜćîÿøšćÜÿøøÙŤǰǰĂĆîđÖĉéÝćÖÜćîïøĉÖćø üĉßćÖćøǰÜćîüĉÝĆ÷ĒúąÙüćöÿîĔÝ×ĂÜÙèćÝćø÷ŤǰîĉÿĉêǰîĆÖýċÖþćǰñĎšìĊęÿîĔÝĒúąýĉúðŗîìĆĚÜĔîĒúąêŠćÜðøąđìý éšćîýĉúðąĒúąÖćøĂĂÖĒïïǰēé÷ÙüćöøŠüööČĂĔîÙøĆĚÜîĊĚđðŨîÖćøÝĆéÜćîøŠüöÖĆîđðŨîÙøĆĚÜìĊęǰ4 àċęÜĔîìčÖ ė ðŘÖĘ ÝąöĊñúÜćîìĊęÿŠÜöćđךćøŠüöđñ÷ĒóøŠǰēé÷ëĎÖëŠć÷ìĂéñŠćîÖćøÿøšćÜÿøøÙŤÜćîýĉúðąĔîìčÖĒ×îÜǰÙèą ýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷ŤǰĔîåćîąđÝšćõćóøŠüöǰöĊÙüćö÷ĉîéĊìĊęÝąđĀĘîÙüćö÷ĆęÜ÷Čî×ĂÜ ēÙøÜÖćøǰÖćøĒúÖđðúĊę÷îĒîüÙĉéìćÜýĉúðąǰĂÜÙŤÙüćöøĎšǰðøąÿïÖćøèŤǰĒúąüĆçîíøøö ĔîÖćøÿøšćÜÿøøÙŤ ñúÜćîÖćøĂĂÖĒïïĔîúĆÖþèąêŠćÜ ė ĔîüÜìĊęÖüšćÜ×ċĚîǰøüöëċÜÖćøêŠĂ÷ĂéĂÜÙŤÙüćöøĎšđóČęĂߊü÷óĆçîć ÙčèõćóìćÜÖćøýċÖþćéšćîýĉúðÖøøöĔîøąéĆïßćêĉĔĀšđÖĉéÙüćöÖšćüĀîšć÷ĉęÜ×ċĚîêŠĂĕðǰ ×Ă×ĂïÙčèñĎšìĊęđÖĊę÷üךĂÜìčÖòść÷ìĊęøŠüöéĞćđîĉîÖćøĔĀšđÖĉéÖĉÝÖøøöĔîÙøĆĚÜîĊĚǰ×Ă×ĂïÙčèđÙøČĂ׊ć÷ öĀćüĉì÷ćúĆ÷ĒúąýĉúðŗîìčÖìŠćîÿĞćĀøĆïÖćøÿŠÜñúÜćîüĉßćÖćøĒúąÜćîÿøšćÜÿøøÙŤđךćøŠüöđóČęĂĒÿéÜĔĀšđĀĘî ÙčèÙŠć×ĂÜÜćîýĉúðąĔîĒÜŠöčöêŠćÜ ėǰĀüĆÜđðŨîĂ÷ŠćÜ÷ĉęÜüŠćÜćîðøąßčöüĉßćÖćøĒúąÜćîîĉìøøýÖćøÙøĆĚÜîĊĚÝą đðŨîÿŠüîĀîċęÜĔîÖćø×ĆïđÙúČęĂîĔĀšđÖĉéÖćøêøąĀîĆÖøĎšëċÜÙüćöÿĞćÙĆâĔîéšćîýĉúðąǰüĆçîíøøöĒúąÖćø ĂĂÖĒïï÷ĉęÜ ė ×ċĚîĕð ĂćÝćø÷ŤÖöúýĉøĉǰüÜýŤĀöċÖ ÙèïéĊÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť


ÿćøÝćÖÙèïéĊÙèąýĉúðÖøøöýćÿêøŤöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤüĉì÷ćđ×êðŦêêćîĊ îē÷ïć÷×ĂÜøĆåïćúĕéšÖĞćĀîéĒîüÙĉéĔĀšđýøþåÖĉÝÿøšćÜÿøøÙŤ(Creative EconomyĒúą đýøþåÖĉÝéĉÝĉêĂúǰ Digital EconomyǰđðŨîÖúĕÖìĊęÿĞćÙĆâĂ÷ŠćÜĀîċęÜĔîÖćø×ĆïđÙúČęĂîđýøþåÖĉÝ×ĂÜðøąđìýǰ ēé÷öĊîē÷ïć÷ǰThailand 4.0 đðŨîÖøĂïéĞćđîĉîÜćîìĊęÿĞćÙĆâ×ĂÜÖćø×ĆïđÙúČęĂîðøąđìýĕì÷ǰàċęÜõć÷ĔêšÖøĂï ĒîüÙĉééĆÜÖúŠćüîĊĚÖćø×ĆïđÙúČęĂîđýøþåÖĉÝĕéšĂćýĆ÷óČĚîåćî×ĂÜÖćøĔßšĂÜÙŤÙüćöøĎšÙüćöÙĉéÿøšćÜÿøøÙŤǰ ÝĉîêîćÖćøǰĕĂđéĊ÷ĔĀöŠ ėǰĀøČĂìøĆó÷ŤÿĉîìćÜðŦââć×ĂÜðŦÝđÝÖïčÙÙúđßČęĂöē÷ÜđךćÖĆïêšîìčîìćÜÿĆÜÙöĒúą ýĉúðąüĆçîíøøöǰÿĞćĀøĆïóĆçîćđìÙēîēú÷ĊéĉÝĉêĂúǰÿøšćÜîüĆêÖøøöÿöĆ÷ĔĀöŠǰøüöëċÜÖćøÿøšćÜñĎšðøąÖĂïÖćø ĔĀöŠėǰĔĀšÿćöćøëöĊÿŠüîߊü÷×ĆïđÙúČęĂîđýøþåÖĉÝêĆĚÜĒêŠøąéĆïåćîøćÖ×ċĚîĕðÝîëċÜøąéĆïöĀõćÙǰđóČęĂöčŠÜđîšî ÙüćöđðúĊę÷îĒðúÜĒúą÷ÖøąéĆïÖøąïüîÖćøñúĉêĒúąÖćøÿøšćÜöĎúÙŠćđóĉęöìćÜđýøþåÖĉÝìĆĚÜõćÙđÖþêøĒúą ĂčêÿćĀÖøøöĔîöĉêĉêŠćÜ ė ÿĞćĀøĆïēÙøÜÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉǰ ÙøĆĚÜìĊęǰǰðøąÝĞćðŘǰ îĊĚĕéšÝĆé×ċĚîõć÷ĔêšĀĆüךĂǰǰýĉúðąǰüĆçîíøøöĒúąîüĆêÖøøöóúĉÖēÞöðøąđìýǰ (Transforming the Country through Art, Culture and Innovation) àċęÜëČĂđðŨîÖćøêŠĂ÷ĂéÙüćö øŠüööČĂ×ĂÜöĀćüĉì÷ćúĆ÷ìĆĚÜõćÙøĆåĒúąõćÙđĂÖßîìĊęöĊÖćøđøĊ÷îÖćøÿĂîĔîýćÿêøŤìćÜéšćîýĉúðÖøøöǰ ðøąÖĂïéšü÷ ÙèąýĉúðüĉÝĉêø ÿëćïĆîïĆèæĉêóĆçîýĉúðşÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝ ïĆ èæĉ ê ÷Ť ǰ Ù è ą ýĉ ú ð Ö ø ø ö ý ć ÿ ê øŤ ǰ ö Ā ć üĉ ì ÷ ć úĆ ÷ ïĎ ø ó ć ǰ Ē ú ą ǰ Ù è ą ýĉ ú ð Ö ø ø ö ý ć ÿ ê øŤ ǰ öĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤüĉì÷ćđ×êðŦêêćîĊǰ õćÙĊđÙøČĂ׊ć÷ǰU PLUS) đóČęĂđðŨîđüìĊĔĀšÙèćÝćø÷Ťǰîĉÿĉê îĆÖýċÖþćǰĒúąïčÙÙúñĎšÿîĔÝìĆęüĕðĕéšëŠć÷ìĂéĂÜÙŤÙüćöøĎšñúÜćîüĉÝĆ÷ÿøšćÜÿøøÙŤĔîýćÿêøŤìćÜéšćîýćÿêøŤ ýĉúðÖøøöĒ×îÜêŠćÜ ė ĂĂÖÿĎŠÿćíćøèąßîǰĒúąëČĂđðŨîÖćøóĆçîćñúÜćîüĉÝĆ÷đßĉÜÿøšćÜÿøøÙŤĔĀšÿćöćøëøĆï ĔßšÿĆÜÙöĕéšĂ÷ŠćÜ÷ĆęÜ÷ČîǰÿĂéÙúšĂÜÖĆïîē÷ïć÷×ĂÜøĆåïćúǰ ĔîîćöÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊǰêšĂÜ ×Ă×ĂïóøąÙčèÿöćßĉÖõćÙĊđÙøČĂ׊ć÷ǰ4U PLUS ìčÖìŠćîìĊęĕéšøŠüöĒøÜÖć÷ĒøÜĔÝĔîÖćø×ĆïđÙúČęĂîĒúą đúĘÜđĀĘîëċÜñúÿĆöùìíĉĝÿĞćÙĆâĂĆîÝąđÖĉé×ċĚîÝćÖÖćøÝĆéÖĉÝÖøøöēÙøÜÖćøĄĔîÙøĆĚÜîĊĚǰÿŠÜñúĔĀšÖĉÝÖøøö ēÙøÜÖćøĄÿĞćđøĘÝúčúŠüÜĕðĕéšéšü÷éĊǰĒúąĀüĆÜđðŨîĂ÷ŠćÜ÷ĉęÜüŠćĂÜÙŤÙüćöøĎšìĊęđÖĉé×ċĚîÝćÖñúÜćîüĉÝĆ÷/ÿøšćÜÿøøÙŤ ĔîýćÿêøŤìćÜýĉúðÖøøöĒ×îÜêŠćÜ ėǰÝąÖúć÷đðŨîîüĆêÖøøöÿĞćÙĆâÿĞćĀøĆïÖćøóĆçîćðøąđìýßćêĉêŠĂĕð ñϚߊü÷ýćÿêøćÝćø÷ŤýĉøĉßĆ÷ǰóčŠööćÖ ÙèïéĊÙèąýĉúðÖøøöýćÿêøŤöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤ üĉì÷ćđ×êðŦêêćîĊ


ÿćøÝćÖÙèïéĊÙèąýĉúðÖøøöýćÿêøŤöĀćüĉì÷ćúĆ÷ïĎøóć ÖćøðøąßčöüĉßćÖćøéšćîÙüćöÖšćüĀîšćìćÜýĉúðą üĆçîíøøö ĒúąÖćøĂĂÖĒïï øąéĆïßćêĉĒúą ÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉÙøĆĚÜìĊęǰ4 ðøąÝĞćðŘǰ2565 õć÷ĔêšĀĆüךĂǰýĉúðą üĆçîíøøöĒúą îüĆêÖøøöóúĉÖēÞöðøąđìýķǰđðŨîĂĊÖĀîċęÜēÙøÜÖćøìĊęÝąÿŠÜđÿøĉöÙüćöøŠüööČĂøąĀüŠćÜÙèąýĉúðÖøøöýćÿêøŤ öĀćüĉì÷ćúĆ÷ïĎøóć ÖĆï ÿëćïĆîÖćøýċÖþćìćÜéšćîýĉúðąĒúąÖćøĂĂÖĒïïĔîðøąđìýĕì÷Ēúąîćîćßćêĉ àċęÜÖćøÝĆéðøąßčöüĉßćÖćøĒúąîĉìøøýÖćøĔîÙøĆĚÜîĊĚìĞćĔĀšđÖĉéÖćøÿîĆïÿîčîìĆĚÜéšćîÖćøđøĊ÷îÖćø ÿĂî ĒúąÖćøóĆçîćĂÜÙŤÙüćöøĎšìćÜéšćîýĉúðÖøøö ÝċÜîĆïüŠćđðŨîÙüćöøŠüööČĂøąĀüŠćÜÿëćïĆîìćÜ ÖćøýċÖþćìĊęÖŠĂĔĀšđÖĉéðøąē÷ßîŤĀúćÖĀúć÷ ĕöŠđÞóćąĒêŠÙèćÝćø÷Ťýĉúðŗî ĀøČĂîĆÖýċÖþćìĊęđךćøŠüöǰĒêŠ÷ĆÜ ßŠü÷ÿŠÜêŠĂĂÜÙŤÙüćöøĎšĒîüÙĉé ĒøÜïĆîéćúĔÝĔĀšĒÖŠñĎšÙî ßčößî ÿĆÜÙö ðøąđìýßćêĉ ĔîåćîąìĊęđðŨîÿŠüîĀîċęÜ×ĂÜđÙøČĂ׊ć÷ǰ4 Plus óüÖđøćöĊĀîšćìĊęìĊęÿĞćÙĆâĔîÖćøÿŠÜđÿøĉöÙčèÙŠć×ĂÜ ýĉúðąĒúąüĆçîíøøö ÖøąñöøĎšÿċÖđðŨîđÖĊ÷øêĉìĊęĕéšöĊÿŠüîøŠüöĒúąìĞćÜćîøŠüöÖĆïđÙøČĂ׊ć÷ìčÖìŠćîđóČęĂÿøšćÜ ßčößîýĉúðąĔĀšđêĉïēêĂ÷ŠćÜĒ×ĘÜĒÖøŠÜÿĞćĀøĆïðøąđìýßćêĉ Ĕîîćö×ĂÜÙèąýĉúðÖøøöýćÿêøŤöĀćüĉì÷ćúĆ÷ïĎøóć Öøąñö×Ă×ĂïÙčèđÙøČĂ׊ć÷ǰ4 Plus îĆÖüĉßćÖćø ĒúąýĉúðŗîìčÖìŠćîìĊęøŠüöÖĆîìĞćĔĀšÖĉÝÖøøöÙøĆĚÜîĊĚÿĞćđøĘÝúčúŠüÜéšü÷éĊÖøąñöĀüĆÜđðŨîĂ÷ŠćÜ÷ĉęÜüŠć ÖćøðøąßčöüĉßćÖćøøąéĆïßćêĉĒúąîĉìøøýÖćøĒÿéÜñúÜćîÿøšćÜÿøøÙŤîćîćßćêĉÙøĆĚÜìĊęǰ4 ĔîÙøĆĚÜîĊĚÝąđðŨî ÿŠüîñúĆÖéĆîĔĀšÙüćöøŠüööČĂøąĀüŠćÜÙèąýĉúðÖøøöýćÿêøŤ öĀćüĉì÷ćúĆ÷ïĎøóćĒúąÿëćïĆîÖćøýċÖþć ìćÜéšćîýĉúðąĒúąÖćøĂĂÖĒïïĔîðøąđìýĕì÷ĒúąîćîćßćêĉĔĀšóĆçîć÷ĉęÜ×ċĚîĕðǰĒúą×ĂĔĀšÖćøÝĆéÜćîÙøĆĚÜîĊĚ ïøøúčñúÿĞćđøĘÝêćöÙüćööčŠÜĀöć÷ìčÖðøąÖćø øĂÜýćÿêøćÝćø÷ŤǰéøđÿÖÿøøÙŤǰêĆî÷ćõĉøö÷Ť ÙèïéĊÙèąýĉúðÖøøöýćÿêøŤöĀćüĉì÷ćúĆ÷ïĎøóć


ÙèąìĊęðøċÖþć w ĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş (îćÜîĉõćǰēÿõćÿĆöùìíĉĝ) w øĂÜĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş ñϚߊü÷ýćÿêøćÝćø÷ŤðøąüĊîć đĂĊę÷ö÷ĊęÿčŠî) w øĂÜĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş ñϚߊü÷ýćÿêøćÝćø÷ŤóĀú÷čìí Öîĉþåïčêø) w øĂÜĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş (ñϚߊü÷ýćÿêøćÝćø÷ŤĂĞćîü÷ îüúĂîÜÙŤ) w øĂÜĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş (øĂÜýćÿêøćÝćø÷ŤüøĉîìøŤóøǰìĆïđÖêč) w ñϚߊü÷ĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş (îć÷ÿčøĆêîŤǰÝÜéć) w ñϚߊü÷ĂíĉÖćøïéĊöĀćüĉì÷ćúĆ÷đìÙēîēú÷ĊøćßöÜÙúøĆêîēÖÿĉîìøŤ (îć÷üøóÜþŤĂøčèđøČĂÜ) w ÙèïéĊÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðş (ñϚߊü÷ýćÿêøćÝćø÷ŤïčâóćéǰÛĆÜÙąöąēî) w ÙèïéĊÙèąýĉúðýċÖþćǰÿëćïĆîïĆèæĉêóĆçîýĉúðş (îćÜÿćüýĉøĉúĆÖþèŤǰÞúĂÜíøøö) w ÙèïéĊÙèąýĉúðîćäéčøĉ÷ćÜÙŤǰÿëćïĆîïĆèæĉêóĆçîýĉúðş (øĂÜýćÿêøćÝćø÷ŤÝĉîêîćǰÿć÷ìĂÜÙĞć) w ñĎšĂĞćîü÷Öćøüĉì÷ćúĆ÷îćäýĉúð (ñϚߊü÷ýćÿêøćÝćø÷ŤÖĉêêĉǰĂĆêëćñú) w ÙèïéĊÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ïĎøóć (øĂÜýćÿêøćÝćø÷ŤđÿÖÿøøÙŤǰêĆî÷ćõĉøö÷Ť) w ÙèïéĊÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊ (ñϚߊü÷ýćÿêøćÝćø÷ŤýĉøĉßĆ÷ǰóčŠööćÖ) w ÙèïéĊÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť (îćÜÿćüÖöúýĉøĉǰüÜýŤĀöċÖ) w ñĎšĂĞćîü÷ÖćøÿĞćîĆÖÜćîĂíĉÖćøïéĊÿëćïĆîïĆèæĉêóĆçîýĉúðş (îć÷ÿčøĉîìøŤǰüĉĕúîĞćēßÙßĆ÷) w ñĎšĂĞćîü÷ÖćøÿëćïĆîýĉúðąĒúąüĆçîíøøöǰöĀćüĉì÷ćúĆ÷đìÙēîēú÷ĊøćßöÜÙúøĆêîēÖÿĉîìøŤ (ñϚߊü÷ýćÿêøćÝćø÷ŤíÜ Ăčéöñú)


øć÷îćöñĎšìøÜÙčèüčçĉóĉÝćøèćïìÙüćö w ý. éø.ÿĆîêĉ đúĘÖÿč×čö w ýćÿêøđöíĊéø.èøÜÙŤßĆ÷ ðŗãÖøĆßêŤ w ý. éø.ýčõÖøèŤéĉþåóĆîíčŤ w ý. éø.ðćîÞĆêìŤ ĂĉîìøŤÙÜ w øý.ÿøøèøÜÙŤÿĉÜĀđÿîĊ w øý. éø.ßĆ÷ÿĉìíĉĝ éŠćîÖĉêêĉÖčú w øý.ýčõßĆ÷ ÿčÖ×Ċēßêĉ w øý.ðøąđÿøĉå óĉß÷ąÿčîìø w øý. éø.óĉđßþåŤ đðŘ÷øŤÖúĉęî w ý. éø.ÿöóø íčøĊ w øý.ÿĆîêĉøĆÖþŤðøąđÿøĉåÿč× w ñý. éø.ùìíĉøÜÙŤÝčæćóùêĉÖø w ñý.ßĆ÷èøÜÙŤ Ăøĉ÷ąðøąđÿøĉå w éø.ðøĊßćüčçĉ ĂõĉøąêĉÜ w ñý.ÿĉøĉìĆê đêßąóąēúÖčú w éø.ìîÜÝĉê ĂĉęöÿĞćĂćÜ w éø.ßîćÖćîêŤ đøČĂÜèøÜÙŤ w ñý. éø.ðøĊâćîĆîìŤóøšĂöÿč×Öčú w ñý. éø.îĉĂø đêøĆêîßĆ÷ w éø.ĂîčēøÝîŤ ÝĆîìøŤēóíĉĝýøĊ w éø.üĉÝĉêø ĂõĉßćêđÖøĊ÷ÜĕÖø w ñý. éø.đóĉęöýĆÖéĉĝÿčüøøèìĆê w ñý. éø.õćîčÿøü÷ÿčüøøè w ñý. éø.õćÿĉê úĊîĉüć w ñýïčâóćéǰÛĆÜÙąöąēî


ϭ ÿćøïĆâ Face Mask Brace Prototype Design by Recycled Materials .................................... 3 :V1FJǰ,VP BOEǰ9JOH :BOH ÖćøóĆçîćĒîüìćÜÖćøÿĂîĂĂÖĒïïñúĉêõĆèæŤßčößî ēé÷ĔßšĂĆêúĆÖþèŤÝĉêøÖøøöòćñîĆÜǰ “ăĎðĒêšöĂĊÿćî”...................................................................................................................... 4 óßøǰüÜßĆ÷üøøèŤĒúąĂĉîìĉøćǰóøöóĆîíčŤ ÖćøóĆçîćĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤǰüĉßćìĆýîýĉúðşǰ×ĂÜîĆÖđøĊ÷î ßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜ ................................................................. 6 ÿčõĆÿÿøǰĒàŠúĊĚĒúąĂíĉóĆßøŤǰüĉÝĉêÿëĉêøĆêîŤ ÖćøóĆçîćßčéÖĉÝÖøøöýĉúðąêćöìùþãĊÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïǰ đóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćøðøąêĉöćÖøøö ............................. 8 íîóøǰđìóøĆÖþć ĒúąđúĉýýĉøĉøŤǰïüøÖĉêêĉ ÖćøÿøšćÜÿøøÙŤñúÜćîđóúÜìćÜđìÙēîēú÷ĊéšćîéîêøĊ.............................................................. 10 íîąøĆßêŤĂîčÖĎú ÖćøĔßšĒîüÙĉéÖćøĂĂÖĒïïđóČęĂìčÖÙîǰĔîÖćøÿĞćøüÝÿõćóĒüéúšĂöìćÜÖć÷õćó đóČęĂøĂÜøĆïñĎšĔßšøëđ×Ęî ÖøèĊýċÖþć üĆéÿøąđÖý øćßüøöĀćüĉĀćøǰ üĆéõĎđ×ćìĂÜ...................... 11 ĂčÖùþǰüøøèðøąõć ÖćøĂĂÖĒïïĒîüÙĉéøĎðĒïïÖćøìŠĂÜđìĊę÷üđßČęĂöē÷ÜüĉëĊßĊüĉêßčößîĂĞćđõĂđÖćąÝĆîìøŤǰ ĂŠćÜđÖĘïîĚĞćǰøĂïïøĉđüèÙúĂÜĀúüÜøĆßßēúìøǰÝĆÜĀüĆéßúïčøĊ................................................... 13 ß÷ćÖøǰđøČĂÜÝĞćøĎâ ÖćøĂĂÖĒïïĀîĆÜÿČĂÖćøŤêĎîđóČęĂðøąßćÿĆöóĆîíŤĀúĆÖÿĎêø×ĂÜÿć×ćÙĂöóĉüđêĂøŤĒĂîĉđößĆî ĒúąüĉßüúđĂôđôÖêŤǰÙèąéĉÝĉìĆúöĊđéĊ÷ǰöĀćüĉì÷ćúĆ÷ýøĊðìčö................................................. 15 üøćÖøǰĔßšđìĊ÷öüÜýŤ ÖćøÿøšćÜÿøøÙŤñúÜćîýĉúðąǰßčéǰ“üĆäÝĆÖø×ĂÜßĊüĉê”............................................................. 17 đÖøĊ÷ÜĕÖøǰÖÜÖąîĆîìîŤ The study of the development and innovation of public art in Japanese cities........................................................................................................... 18 +JB8FJ รอบบริเวณ อางเก็บน้ำ


Ϯ ÿćøïĆâ êŠĂ Exploring the renovation of old houses in core urban areas based on environmental art design.......................................................................... 19 -Jǰ9JO :V BOEǰ.PLǰ$IVOHǰ'BJ Study on the renovation of old houses in urban core areas under the 14th Five-Year Plan...................................................................................... 20 .Pǰ;IPOHIVJ BOEǰ-Jǰ9JOZV On the flow of women’s skating clothing…………………………..................................... 21 ;IBP+JOH ÝĉîêõćóĒĀŠÜÿć÷Ĕ÷ÙüćöñĎÖóĆî............................................................................................ 22 üĉøć÷čìíǰđÿĊ÷Üđóøćą, ýčõßĆ÷ǰÿčÖ×ĊēßêĉĒúąđöêêćǰÿčüøøèýø øĎðìøÜĒĀŠÜÝĉîêîćÖćø×ĂÜđìÙēîēú÷ĊđךćĒìîìĊęíøøößćêĉ...................................................... 24 óÜýíøǰøĂéÝćÖìčÖ׍, đöêêćǰÿčüøøèýø ĒúąýčõßĆ÷ǰÿčÖ×Ċēßêĉ ĒîüìćÜÖćøĔßšñšć×ćüöšćĔîÖćøĂĂÖĒïïđÙøČęĂÜĒêŠÜÖć÷ĒúąñúĉêõĆèæŤÖĊāćôčêïĂúǰ ǰÖøèĊýċÖþćēÙøÜÖćøñšć×ćüöšćìšĂÜëĉęîǰĀĆêëýĉúðşĕì÷........................................................... 26 ÝĆÖøóĆîíŤǰÿčøąðøąđÿøĉåǰ ÿõćüąÙüćöÖééĆîÝćÖðöðŦâĀćßĊüĉê................................................................................. 28 öîĎâǰüčçĉóÜþŤ, đöêêćǰÿčüøøèýø ĒúąéüÜĀìĆ÷ǰóÜýŤðøąÿĉìíĉĝǰǰǰ øĎðúĆÖþèŤĒĀŠÜÿć÷ÿĆöóĆîíŤøĆÖÝćÖĒöü................................................................................. 30 õćóêąüĆîǰÙčŠ÷Öúĉęî, đöêêćǰÿčüøøèýøǰĒúąýčõßĆ÷ǰÿčÖ×Ċēßêĉ ÝĉîêîćÖćøÿć÷Ĕ÷øĆÖĒĀŠÜÙøĂïÙøĆü.................................................................................... 32 ÖöúøÿǰßĆ÷ýøĊ, ÿøøèøÜÙŤǰÿĉÜĀđÿîĊĒúąđöêêćǰÿčüøøèýø


ϯ Face Mask Brace Prototype Design by Recycled Materials Yu-Pei Kuo* 1 Xing Yang2 ABSTRACT During the pandemic, people wear medical masks to protect themselves, as a common consensus and regulation in most countries. However, as a universal design, medical masks are challenging to fit with individual faces to avoid the gap for viruses. Moreover, the disposable mask produced mass waste and environmental problems. This research aims to develop a sustainable mask brace prototype for improving the face fitting problem and adapt the material and ools into a flexible one capable of suiting local conditions and personal limitations tby rationalizing recycling materials. This research follows the process based on design practice methodology to consist of product problem definition, design rationalization, prototype development, testing, and verification. Research outcomes suggest the designer abandons the solid product design but shares the prototype into the guideline to promote widely within benefit the public. The guideline provides a simple way for the public to produce personal mask braces easily with the reuse of mask ropes. As a feasible, low-cost solution, the flexible prototype of the mask brace enables adaptation to individual needs and functional requirements or to cope with existing site conditions. The coronavirus disease pandemic looks to ease but is unlikely to be put to an end yet, and no one knows when the new infections will arise. The concern motivates the research to seek solutions and coping mechanisms by design to develop knowledge and know-how relevant to today's situation while also preparing for unexpected challenges. KEYWORDS: coronavirus, Mask brace, Reuse, mas rope. Sustainable design, social design  ϭ Lecturer, Dhurakij Pundit University, [email protected] Ϯ Lecturer, Dhurakij Pundit University, [email protected] Yu-Pei Kuo*


ϰ ÖćøóĆçîćĒîüìćÜÖćøÿĂîĂĂÖĒïïñúĉêõĆèæŤßčößî ēé÷ĔßšĂĆêúĆÖþèŤÝĉêøÖøøöòćñîĆÜǰ“ăĎðĒêšöĂĊÿćî” Guideline of Community Product Design Teaching Using Identity of Mural Paintings “Hoop Taem Isan" óßøǰüÜßĆ÷üøøèŤ 1 ĂĉîìĉøćǰóøöóĆîíčŤ2 ïìÙĆé÷ŠĂǰ ÖćøüĉÝĆ÷îĊĚöĊüĆêëčðøąÿÜÙŤǰǰđóČęĂýċÖþćøĎðĒïïĒúąüĉđÙøćąĀŤĀćĂĆêúĆÖþèŤăĎðĒêšöĂĊÿćîǰǰ đóČęĂóĆçîćĒîüìćÜÖćøÿĂîĂĂÖĒïïñúĉêõĆèæŤßčößîēé÷ĔßšĂĆêúĆÖþèŤÝĉêøÖøøöòćñîĆÜăĎðĒêšöĂĊÿćîǰ üĉíĊÖćøüĉÝĆ÷ĒïŠÜđðŨîǰǰøą÷ąǰÙČĂǰǰøą÷ąýċÖþćÿĆÜđÙøćąĀŤĒîüÙĉéìùþãĊðøąÖĂïÖĆïÖćøúÜóČĚîìĊęýċÖþć õćÙÿîćöĒúąÖćøÿĆöõćþèŤñĎšđßĊę÷üßćâǰøą÷ąÖćøóĆçîćĒîüìćÜÖćøÿĂîĂĂÖĒïïñúĉêõĆèæŤ ßčößîǰ×Ăïđ×ê×ĂÜÖćøüĉÝĆ÷ǰÙČĂǰăĎðĒêšöĂĊÿćîÖúčŠöóČĚîïšćîĔîÝĆÜĀüĆé×ĂîĒÖŠîǰ ĒĀŠÜǰéĆÜîĊĚǰǰüĆéĕß÷ ýøĊǰǰüĆéÿîüîüćøĊóĆçîćøćöǰǰüĆéöĆßáĉöüĉì÷ćøćöǰĒúąǰüĆéÿøąïĆüĒÖšüǰñúÖćøüĉÝĆ÷ǰóïüŠćǰ ăĎðĒêšöìĆĚÜǰǰĒĀŠÜǰëĎÖÿøšćÜ×ċĚîÖŠĂîóčìíýĆÖøćßǰǰéšćîđîČĚĂĀćðøćÖäđøČęĂÜøćüđÖĊę÷üÖĆïüøøèÖøøö ìćÜóčìíýćÿîćǰüøøèÖøøöóČĚîïšćî÷ĂéăĉêđøČęĂÜÿĉîĕàǰ ÿĆÜ׍ýĉúðşßĆ÷ǰĒúąÿĂéĒìøÖéšü÷õćóüĉëĊßĊüĉê ×ĂÜÙîĂĊÿćîǰĔîéšćîúĆÖþèąìćÜìĆýîíćêčÝĆéĂ÷ĎŠĔîÖúčŠöăĎðĒêšöóČĚîïšćîàċęÜăĎðĒêšöĔîĒêŠúąßčößîÝą öĊĂĆêúĆÖþèŤìĊęĒêÖêŠćÜÖĆîĕðìĆĚÜøĎðøŠćÜǰÿĊǰúć÷đÿšîìĊęöĊÖćøëŠć÷ìĂéĂ÷ŠćÜêøÜĕðêøÜöćđîšîÙüćöđøĊ÷ï ÜŠć÷ǰĒúąĕöŠđÙøŠÜÙøĆéĔîÖćøÝĆéüćÜĂÜÙŤðøąÖĂïǰÿŠüîĒîüìćÜÖćøÿĂîĂĂÖĒïïñúĉêõĆèæŤßčößîēé÷ ĔßšĂĆêúĆÖþèŤÝĉêøÖøøöòćñîĆÜăĎðĒêšöǰÿćöćøëĒïŠÜÖĉÝÖøøöđðŨîǰǰøą÷ąǰéĆÜîĊĚǰøą÷ąìĊęǰǰýċÖþćÿõćó ðŦâĀćĒúąðøćÖäÖćøèŤðŦÝÝčïĆîǰøą÷ąìĊęǰǰúÜóČĚîìĊęýċÖþćĒúąÿÖĆéĂĆêúĆÖþèŤßčößîǰøą÷ąìĊęǰǰÖćø óĆçîćĒïïøŠüöÖĆîǰĒúąøą÷ąìĊęǰǰîĞćđÿîĂĒúąðøąđöĉîñúǰēé÷ĒîüìćÜÖćøÿĂîìĆĚÜǰǰøą÷ąéĆÜÖúŠćüîĊĚ öĊÖøąïüîÖćøÝĆéÖćøđøĊ÷îøĎšìĊęĔĀšÙüćöÿĞćÙĆâÖĆïÿõćóðŦâĀćđðŨîÝčéđøĉęöêšîǰîĞćĕðÿĎŠÖćøüĉđÙøćąĀŤǰ ÿČïÙšîǰĒúąðøą÷čÖêŤĔߚךĂöĎúĔîÖćøĂĂÖĒïïêŠĂĕð ÙĞćÿĞćÙĆâǰÖćøĂĂÖĒïïñúĉêõĆèæŤßčößî, ăĎðĒêšöĂĊÿćî, ÖćøÿĂîĂĂÖĒïï  1 îĉÿĉêöĀćïĆèæĉêǰÿć×ćüĉßćýĉúðýċÖþćǰÙèąÙøčýćÿêøŤǰÝčāćúÜÖøèŤöĀćüĉì÷ćúĆ÷ǰđ×êðìčöüĆîǰÖøčÜđìóöĀćîÙøǰǰ Email [email protected] 2 ñϚߊü÷ýćÿêøćÝćø÷Ťǰÿć×ćüĉßćýĉúðýċÖþćǰÙèąÙøčýćÿêøŤǰÝčāćúÜÖøèŤöĀćüĉì÷ćúĆ÷ đ×êðìčöüĆîǰÖøčÜđìóöĀćîÙøǰ ǰǰǰEmail [email protected]


ϱ ABSTRACT The objectives of this research are 1) to study the pattern and analyze the identity of Isan mural paintings 2) to develop guideline of community product design teaching model using identity of Isan mural paintings. The research was divided into two phases: 1) Studying and synthesizing concepts, theories, field trips and expert interviews. 2) develop guideline of community product design teaching. The scope of research is traditional Isan mural paintings in Khon kaen province 4 places as follows: Wat Chai Sri, Wat Sanuanwaree Patanaram, Wat Matchim Witthayaram and Wat Sa Bua Kaeo. The results of research as are follows all of isan mural paintings was built in 1957. On the content side, there is a story about Buddhism, folk tales and the life of isan people. In terms of visual elements, It is classified as a local mural paintings group, where each community has a different identity such as shape line or color and focus on simplicity and not strictly in the composition. Next, guideline of community product design teaching model using identity of isan mural paintings, The activities can be divided into 4 phases as follows: Phase 1 study of current problems and phenomena, Phase 2 visit the area to study and extract the identity of the community, Phase 3 collab development and Phase 4 present and evaluate. The teaching guidelines in these four stages have a learning management process that focuses on the problem condition as a starting point. leading to further analysis, search and application of the data in the design. KEYWORDS: Community Product Design, Isan Mural Paintings, Design Teaching


ϲ ÖćøóĆçîćĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤǰüĉßćìĆýîýĉúðş ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜ The Development of Gouache Colour Exercises in Visual Art Subject for Secondary  Students’ Bangpleeratbamrung School ÿčõĆÿÿøǰĒàŠúĊĚ*1 ĂíĉóĆßøŤüĉÝĉêÿëĉêøĆêîŤ2 ïìÙĆé÷ŠĂ ÖćøóĆçîćĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤǰüĉßćìĆýîýĉúðşǰ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰ ēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜǰđðŨîÖćøüĉÝĆ÷ìĊęöĊÝčéöčŠÜĀöć÷đóČęĂǰ ýċÖþćðøąÿĉìíĉõćó×ĂÜĒïïòřÖìĆÖþąÖćø ĔßšÿĊēðÿđêĂøŤ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜǰǰǰđóČęĂýċÖþćìĆÖþąÖćøĔßšÿĊ ēðÿđêĂøŤ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰÖŠĂîĒúąĀúĆÜđøĊ÷îéšü÷ĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ×ĂÜ îĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜǰđÙøČęĂÜöČĂìĊęĔßšĔîÖćøüĉÝĆ÷ǰĕéšĒÖŠǰĒïïòřÖìĆÖþą ÖćøĔßšÿĊēðÿđêĂøŤǰđúŠöǰǰĒúąǰǰöĊđÖèæŤÖćøĔĀšÙąĒîîĒïïøĎïøĉÙÿŤđóČęĂĔßšÿĞćĀøĆïüĆéìĆÖþąÖŠĂîĒúąĀúĆÜǰ ñĎšüĉÝĆ÷öĊüĉíĊÖćøýċÖþćéšü÷ÖćøÖćøìéúĂÜĔßšĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤÖĆïîĆÖđøĊ÷îÖúčŠöêĆüĂ÷ŠćÜǰđðŨî îĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰÝĞćîüîǰǰĀšĂÜđøĊ÷îǰǰÙîǰàċęÜĕéšöćÝćÖÖćøđúČĂÖĒïïđÝćąÝÜǰđîČęĂÜÝćÖđðŨî ĀšĂÜđøĊ÷îìĊęñĎšüĉÝĆ÷đÙ÷ÝĆéÖĉÝÖøøöÖćøđøĊ÷îĔîðŘÖćøýċÖþćÖŠĂîĀîšćĔîøąéĆïßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰñĎšüĉÝĆ÷ éĞćđîĉîÖćøýċÖþćéšü÷ÖćøĔßšĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤđúŠöìĊęǰǰĒúąǰǰÝĆéÖĉÝÖøøöÖćøđøĊ÷îÖćøÿĂî øüöìĆĚÜĀöéǰǰÖĉÝÖøøöǰĔîđüúćđøĊ÷îÙćïúąǰǰîćìĊǰđðŨîđüúćǰǰÿĆðéćĀŤǰÿĆðéćĀŤúąǰǰÖĉÝÖøøöǰñú ÖćøýċÖþćÿćöćøëÿøčðñúÖćøüĉÝĆ÷ĕéšüŠćǰǰĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰ ǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜǰđúŠöìĊęǰǰöĊðøąÿĉìíĉõćóđðŨîǰǰàċęÜÿĎÜÖüŠćđÖèæŤìĊęÖĞćĀîéÙČĂǰ ǰǰĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜǰ đúŠöìĊęǰǰöĊðøąÿĉìíĉõćóđðŨîǰǰàċęÜÿĎÜÖüŠćđÖèæŤìĊęÖĞćĀîéÙČĂǰǰǰǰǰǰîĆÖđøĊ÷îÖúčŠöìéúĂÜìĊę đøĊ÷îēé÷ĔßšĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜǰ öĊÙŠćđÞúĊę÷ìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤĀúĆÜđøĊ÷îöćÖÖüŠćÖŠĂîđøĊ÷îĂ÷ŠćÜöĊîĆ÷ÿĞćÙĆâìćÜÿëĉêĉìĊęøąéĆïǰǰÖúŠćüÙČĂ ñúÿĆöùìíĉĝìćÜÖćøđøĊ÷îĀúĆÜđøĊ÷îéšü÷ĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ×ĂÜîĆÖđøĊ÷îßĆĚîöĆí÷öýċÖþćðŘìĊęǰǰ ēøÜđøĊ÷îïćÜóúĊøćþãøŤïĞćøčÜĂ÷ĎŠĔîđÖèæŤéĊ ÙĞćÿĞćÙĆâ ĒïïòřÖìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ, ìĆÖþąÖćøĔßšÿĊēðÿđêĂøŤ, üĉßćìĆýîýĉúðş  1 ÙøĎǰēøÜđøĊ÷ïćÜóúĊøćþãøŤïĞćøčÜǰĒúąǰ[email protected] 2 ĂćÝćø÷ŤǰéøǰĂíĉóĆßøŤüĉÝĉêÿëĉêøĆêîŤǰĂćÝćø÷Ťÿć×ćüĉßćýĉúðýċÖþćǰÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ýøĊîÙøĉîìøüĉēøçǰ Ēúąǰ[email protected] นิสิตปริญญาโท การศึกษามหาบัณฑิต สาขาวิชาศิลปกรรมศาสตร มหาวิทยาลัยศรีนครินทรวิโรฒ


ϳ ABSTRACT The Development of Gouache Colour Exercises in Visual Art Subject for Secondary 2 Students’ Bangpleeratbamrung School had the Objectives to 1) For Study the efficency of gouache colour in Visual Art subject for secondary 2 students’ Bangpleeratbamrung school 2) For study gouache colour skills of secondary 2 students’ Bangpleeratbamrung school. The research instruments included the gouache colour exercises 1-2 and scoring rubric for measure the skills in the excercises. The Purposive Sampling of this research was a group of 45 students of secondary 2 students, Bangpleeratbamrung school in the first semester of 2021 academic year.The finding were that 1) The gouache colour exercises 1 has efficiency rate 88.55/94.32 2) The gouache colour exercises has efficiency rate 85.68/93.83 3) Student’s learning outcome after using the gouache colour exercises making process was significantly higher than prior to using the gouache colour exercises at .05 KEYWORDS: Gouache Colour Exercises, Gouache Colour Skills, Visual Art Subject


ϴ ÖćøóĆçîćßčéÖĉÝÖøøöýĉúðąêćöìùþãĊÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤï đóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćøðøąêĉöćÖøøö A Set of Art Activities with Kolb's Experiental Learning Theory for Learning Thai Lanna Art History though Sculpture Making Process íîóøǰđìóøĆÖþć 1 đúĉýýĉøĉøŤǰïüøÖĉêêĉ2 ïìÙĆé÷ŠĂǰ ÖćøüĉÝĆ÷ÙøĆĚÜîĊĚöĊÙüćööčŠÜĀöć÷đóČęĂǰǰđóČęĂóĆçîćßčéÖĉÝÖøøöýĉúðąêćöìùþãĊÖćøđøĊ÷îøĎš đßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïđóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćøðøąêĉöćÖøøöǰ ǰđóČęĂĀćðøąÿĉìíĉõćóßčéÖĉÝÖøøöýĉúðąêćöìùþãĊÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïđóČęĂÖćø đøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćøðøąêĉöćÖøøöĔĀšđðŨîĕðêćöđÖèæŤǰǰǰ đðøĊ÷ïđìĊ÷ïñúÿĆöùìíĉĝìćÜÖćøđøĊ÷îÖŠĂîđøĊ÷îĒúąĀúĆÜđøĊ÷îéšü÷ßčéÖĉÝÖøøöýĉúðąêćöìùþãĊÖćø đøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïđóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćø ðøąêĉöćÖøøö ÖúčŠöêĆüĂ÷ŠćÜìĊęĔßšĔîÖćøüĉÝĆ÷ĕéšĒÖŠǰîĆÖđøĊ÷îßĆĚîðŘìĊęǰǰēøÜđøĊ÷îÿĆîêĉÙĊøĊüĉì÷ćÙöǰĂĞćđõĂ ĒöŠôŜćĀúüÜǰÝĆÜĀüĆéđßĊ÷Üøć÷ǰõćÙđøĊ÷îìĊęǰǰðŘÖćøýċÖþćǰǰÝĞćîüîǰǰÙîǰĔßšüĉíĊÖćøÖĞćĀîé êĆüĂ÷ŠćÜēé÷ÖćøđúČĂÖĒïïđÝćąÝÜǰđÙøČęĂÜöČĂìĊęĔßšǰĔîÖćøüĉÝĆ÷ǰĕéšĒÖŠǰǰßčéÖĉÝÖøøöýĉúðąêćöìùþãĊ ÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïǰđóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćø ðøąêĉöćÖøøöǰǰĒïïìéÿĂïüĆéñúÿĆöùìíĉĝìćÜÖćøđøĊ÷îǰüĉđÙøćąĀŤ×šĂöĎúēé÷ĔßšǰÙŠćđÞúĊę÷ǰÿŠüî đïĊę÷ÜđïîöćêøåćîǰÖćøĀćðøąÿĉìíĉõćóǰĒúąÖćøìéÿĂïìĊǰñúÖćøüĉÝĆ÷ÿøčðĕéšéĆÜîĊĚǰǰßčéÖĉÝÖøøö ýĉúðąêćöìùþãĊÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïǰđóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćî ÖøąïüîÖćøðøąêĉöćÖøøööĊðøąÿĉìíĉõćóđìŠćÖĆïǰǰǰàċęÜÿĎÜÖüŠćđÖèæŤìĊęêĆĚÜĕüšǰǰǰ ñúÿĆöùìíĉĝìćÜÖćøđøĊ÷îìĊęđøĊ÷îéšü÷ßčéÖĉÝÖøøöýĉúðąêćöìùþãĊÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤïǰ đóČęĂÖćøđøĊ÷îøĎšðøąüĆêĉýćÿêøŤýĉúðąúšćîîćñŠćîÖøąïüîÖćøðøąêĉöćÖøøöǰĀúĆÜđøĊ÷îÿĎÜÖüŠćÖŠĂîđøĊ÷î Ă÷ŠćÜöĊîĆ÷ÿĞćÙĆâìćÜÿëĉêĉìĊęøąéĆïǰ ÙĞćÿĞćÙĆâǰÖćøđøĊ÷îøĎšđßĉÜðøąÿïÖćøèŤ×ĂÜēÙúŤï, ÖøąïüîÖćøðøąêĉöćÖøøö, ßčéÖĉÝÖøøöÖćøđøĊ÷îøĎš, ðøąüĆêĉýćÿêøŤýĉúðąúšćîîć  1 ÙøĎßĞćîćâÖćøǰēøÜđøĊ÷îđöĘÜøć÷öĀćøćßüĉì÷ćÙöǰĒúąǰ[email protected] 2 ñϚߊü÷ýćÿêøćÝćø÷ŤǰéøǰđúĉýýĉøĉøŤïüøÖĉêêĉǰĂćÝćø÷Ťÿć×ćüĉßćýĉúðýċÖþćǰÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ ýøĊîÙøĉîìøüĉēøçǰĒúąǰ[email protected] นิสิตปริญญาโท การศึกษามหาบัณฑิต สาขาวิชาศิลปศึกษา มหาวิทยาลัยศรีนครินทรวิโรฒ


ϵ ABSTRACT The objective of this research were to 1) develop a set of art activities with Kolb's experiential learning theory for learning Thai Lanna art history thorough sculpture making process 2) to find out its efficiency according to set of 80/80; 3) compare the students’ learning achievements before and after-learning stages when using a set of art activities with Kolb's experiential learning theory for learning Thai Lanna art history thorough sculpture making process for Secondary 2 Students, The purposive sample of this research was a group of 28 students of Secondary 2 Students at Santikhiri Wittayakhom school , Mae Fah Luang District Chiang Rai in their second semester of 2021 academic year. Research tools applied included the develop a set of art activities, a test on students’ learning result. Means, standard deviation, efficiency and t-test were also used to analyze the data.The findings were as follow : 1) A set of art activities with Kolb's experiential learning theory for learning Thai Lanna art history thorough sculpture making process obtained the efficiency of 87.86 /82.74; which was higher than that of defined criteria at 80/80 2) Student’s learning outcome after using a set of art activities with Kolb's experiential learning theory for learning Thai Lanna art history thorough sculpture making process was significantly higher than prior to using learning a set of art activities at .05 KEYWORDS: A set of art activities, Kolb's experiential learning theory, Thai Lanna art history, sculpture making process


ϭϬ ÖćøÿøšćÜÿøøÙŤñúÜćîđóúÜìćÜđìÙēîēú÷ĊéšćîéîêøĊ Sound of DUDE” The loft word in music íîąøĆßêŤǰĂîčÖĎú1 ïìÙĆé÷ŠĂ ñúÜćîÿøšćÜÿøøÙŤǰ“Sound of DUDE” The loft word in music. ñĎšÿøšćÜÿøøÙŤĕéšĒïŠÜ ñúÜćîÿøšćÜÿøøÙŤđðŨîǰ ìŠĂîĀúĆÖñĎšÿøšćÜÿøøÙŤĕéšĒïŠÜìŠĂîǰǰ“Coffee” ìŠĂîǰǰ“Musicafe” ìŠĂîǰ ǰĶLoftronic” îĞćđÿîĂđÿĊ÷Üïøø÷ćÖćý×ĂÜøšćîÖćĒôìĊęĒðúÖĔĀöŠĂĂÖĕðĔĀšđÿĊ÷ÜĕöŠđĀöČĂîđéĉöǰēé÷ ÖćøĔßšüĆêëčéĉïđÿĊ÷ÜìĊęÿøšćÜĕéšÝćÖÖćøßÜÖćĒôǰïøø÷ćÖćýõć÷ĔîøšćîǰđÿĊ÷Ü×ĂÜÖćøïøøđúÜéîêøĊĒúą øšĂÜđóúÜĔîøšćîÖćĒôǰĒúąǰđÿĊ÷ÜñĎšÙîÙč÷ÖĆîǰñĎšÿøšćÜÿøøÙŤĔßšøĎðĒïïÖćøðøąóĆîíŤĒïïöĎÿĉÙÙĂîĒÙøĘê ĒúąĂĉđúĘÖìøĂĂąÙĎÿêĉÖǰÙČĂÖćøîĞćđÿĊ÷ÜìĊęïĆîìċÖĕüšöćìĞćÖćøêĆéǰêŠĂǰÝĆéüćÜĒúąđøĊ÷ïđøĊ÷ÜĔĀöŠǰöć éĆéĒðúÜñÿöñÿćîđÿĊ÷Üéšü÷üĉíĊÖćøìćÜđìÙēîēú÷Ċǰ ÙĞćÿĞćÙĆâ ÖćøÿøšćÜÿøøÙŤñúÜćîđóúÜ, đìÙēîēú÷ĊéšćîéîêøĊ, úĂôìŤ ABSTRACT The creative work “Sound of DUDE” The loft word in music. The composition has divided into 3 sections, section 1 “Coffee”, section 2 “Musicafe”, section 3 “Loftronic” which presents the sound of the coffee shop atmosphere. The sound processing to make the sound is not the same as using the sound of raw materials that can be created from coffee brewing, the atmosphere in the shop, the sound of musicians performing in a coffee shop, and the sound of people talking. The composer uses a Musique Concrète and Electroacoustic composition method by taking the recorded audio to be cut, stitched, rearranged, and processed to newly sound composed with music technology methods. KEYWORDS: creative work, music technology, loft  1 ĂćÝćø÷ŤðøąÝĞćǰÙèąéîêøĊĒúąÖćøĒÿéÜǰöĀćüĉì÷ćúĆ÷ïĎøóć [email protected]


ϭϭ ÖćøĔßšĒîüÙĉéÖćøĂĂÖĒïïđóČęĂìčÖÙîǰĔîÖćøÿĞćøüÝ ÿõćóĒüéúšĂöìćÜÖć÷õćóđóČęĂøĂÜøĆïñĎšĔßšøëđ×Ęî ÖøèĊýċÖþćǰüĆéÿøąđÖýøćßüøöĀćüĉĀćøǰ üĆéõĎđ×ćìĂÜ Implementation of Universal Design concept towards accessibility to physical environment to accommodate wheelchair users Case Study of Wat Saket Ratchaworawihan (The Golden Mountain) ĂčÖùþǰüøøèðøąõć1 ïìÙĆé÷ŠĂǰ ÜćîüĉÝĆ÷îĊĚđðŨîÜćîüĉÝĆ÷đßĉÜÙčèõćóǰöčŠÜđîšîýċÖþćđÖĊę÷üÖĆïñĎšĔßšøëđ×ĘîǰĔîđøČęĂÜ×ĂÜÖćøđךćëċÜ ÿõćóĒüéúšĂö×ĂÜüĆéÿøąđÖýøćßüøöĀćüĉĀćøǰ üĆéõĎđ×ćìĂÜǰĔîđ×êÖøčÜđìóöĀćîÙøǰđðŨîÖćøýċÖþć ëċÜðŦÝÝĆ÷ìĊęÿŠÜñúÖøąìïêŠĂñĎšĔßšøëđ×ĘîǰǰìĆĚÜÙîóĉÖćøǰñĎšÿĎÜĂć÷čǰĒúąđéĘÖǰĔîÖćøđךćëċÜÿõćóĒüéúšĂöìćÜ Öć÷õćóĔîÿŠüîêŠćÜǰėǰõć÷ĔîüĆéǰøüöëċÜÙêĉÙüćöđßČęĂìćÜÖć÷õćóõć÷ĔîüĆéìĊęđðŨîĂčðÿøøÙĔîÖćø đךćëċÜǰēé÷öĊüĉíĊéĞćđîĉîÖćøüĉÝĆ÷ǰǰ×ĆĚîêĂîǰéĆÜîĊĚ×ĆĚîêĂîìĊęǰǰÖćøđÖĘïøüïøüöךĂöĎúǰ×ĆĚîêĂîìĊęǰǰÖćø îĞćךĂöĎúöćüĉđÙøćąĀŤ×ĆĚîêĂîìĊęǰǰÖćøÿøčðñúǰđÙøČęĂÜöČĂìĊęĔßšĔîÖćøüĉÝĆ÷ðøąÖĂïéšü÷ǰǰĒïïÿĆÜđÖê óùêĉÖøøöÖćøĔßšóČĚîìĊęǰǰĒïïÿĆöõćþèŤñĎšđßĊę÷üßćâéšćîÜćîÿëćðŦê÷Öøøöĕì÷ǰÖćøüĉÝĆ÷ĕéš ìĞćÖćøýċÖþćǰĒúąüĉđÙøćąĀŤóïüŠćǰðŦÝÝĆ÷ìĊęÿŠÜñúÖøąìïêŠĂÖćøđךćëċÜÖć÷õćóõć÷ĔîüĆéðøąÖĂïéšü÷ǰ ÿĉęÜĂĞćîü÷ÙüćöÿąéüÖõć÷ĔîüĆéǰøąïïÖćøÖŠĂÿøšćÜĔîÜćîÿëćðŦê÷Öøøöĕì÷ǰĒúąđÝêÙêĉÝćÖñĎšÙî ēé÷øĂïǰîĂÖÝćÖîĆĚî÷ĆÜóïüŠćøąïïÖćøÝĆéÖćøõć÷ĔîüĆé÷ĆÜĕöŠđĂČĚĂêŠĂÖćøđךćëċÜ×ĂÜñĎšĔßšøëđ×ĘîǰĂĊÖ éšü÷ǰóøšĂöìĆĚÜǰÜćîüĉÝĆ÷ÙøĆĚÜîĊĚ÷ĆÜøüöøüöĒïïǰîĞćđÿîĂđóČęĂđðŨîÖćøóĆçîćǰÿõćóĒüéúšĂöÿĉęÜĂĞćîü÷ ÙüćöÿąéüÖõć÷Ĕî×ĂÜüĆéÿøąđÖýøćßüøöĀćüĉĀćøǰ üĆéõĎđ×ćìĂÜǰêćöĒîüÙĉéǰĒîüÙĉéÖćøĂĂÖĒïï đóČęĂìčÖÙî ÙĞćÿĞćÙĆâǰÖćøĂĂÖĒïïđóČęĂìčÖÙî, ÿĉęÜĂĞćîü÷ÙüćöÿąéüÖõć÷ĔîüĆé ABSTRACT This is a qualitative research focusing on wheelchair users in terms of accessibility to Wat Saket Ratchaworawihan (Golden Mountain) in Bangkok. This is a study of factors affecting wheelchair users, including people with disabilities, the elderly and children, in accessing the physical environment in different areas of the  1 ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ťǰ-ǰëîîðøąßćßČęîǰĒ×üÜìčŠÜÿĂÜĀšĂÜđ×êĀúĆÖÿĊęǰÖøčÜđìóĄǰ  E-mail [email protected]


ϭϮ temple, including beliefs in the temple that impede access. There are 3 procedures of research methods as follows: 1) Data Collection; 2) Data Analysis; 3) Conclusion. The research instruments consist of 1) Space utilization questionnaire 2) Interview form with Thai architectural experts. The research conducted the study and analysis and it was found that factors affecting physical accessibility within the temple include internal facilities, construction system in Thai architecture and attitudes from the people around. In addition, it was found that the management system in the temple did not accommodate wheelchair users. This research also included layout to present the development of environment and internal facilities of Wat Saket Ratchaworawihan (The Golden Mountain) according to Universal Design. KEYWORDS: Universal Design, Internal Facilities


ϭϯ ÖćøĂĂÖĒïïĒîüÙĉéøĎðĒïïÖćøìŠĂÜđìĊę÷üđßČęĂöē÷ÜüĉëĊßĊüĉêßčößîĂĞćđõĂđÖćąÝĆîìøŤ øĂïïøĉđüèǰĂŠćÜđÖĘïîĚĞćǰÙúĂÜĀúüÜøĆßßēúìøǰÝĆÜĀüĆéßúïčøĊ Design of Tourism Model Concepts Linking Community Way of Life in Koh Chan District Around The Reservior Khong Luang Ratchalothon Chonburi ß÷ćÖøǰđøČĂÜÝĞćøĎâ1 ïìÙĆé÷ŠĂ ÖćøđÿøĉöÿøšćÜðŦÝÝĆ÷ĒüéúšĂöìĊęđĂČĚĂêŠĂÖćøóĆçîćÙčèõćó×ĂÜÙîǰēé÷ÖćøîšĂöîĞćĀúĆÖ ðøĆßâć×ĂÜđýøþåÖĉÝóĂđóĊ÷Ü×ĂÜóøąïćìÿöđéĘÝóøąðøöĉîìøöĀćõĎöĉóúĂéčú÷đéßǰöćðøą÷čÖêŤĔßšǰ ìĆĚÜĔîđßĉÜøąïïĒúąēÙøÜÿøšćÜ×ĂÜßčößîĔĀšöĊõĎöĉÙčšöÖĆîêŠĂÖćøđðúĊę÷îĒðúÜìĊęÝąđÖĉé×ċĚîǰàċęÜÿĉęÜìĊęÿĞćÙĆâ ìĊęÿčéÙČĂìĆÖþąÖćøđøĊ÷îøĎšǰĒúąÖćøđÿøĉöÿøšćÜðŦÝÝĆ÷ĒüéúšĂöìĊęđĂČĚĂêŠĂÖćøóĆçîćÙčèõćó×ĂÜÙîǰÝąêšĂÜ ĔĀšÙüćöÿĞćÙĆâÖĆïÖćøÿŠÜđÿøĉöÿøšćÜìčî×ĂÜðøąđìýìĊęöĊĂ÷ĎŠĔĀšđךöĒ×ĘÜǰĒúąöĊóúĆÜđóĊ÷ÜóĂĔîÖćø ×ĆïđÙúČęĂîÖøąïüîÖćøóĆçîćìĆĚÜĔîøą÷ąÖúćÜĒúąøą÷ą÷ćüǰĒúąÖćøóĆçîćÙčèõćóßĊüĉê×ĂÜÙîĒúą ßčößîĒïï÷ĆęÜ÷Čî ÖćøĂĂÖĒïïĒîüÙĉéøĎðĒïïìŠĂÜđìĊę÷üđßČęĂöē÷ÜüĉëĊßčößîøĂïïøĉđüèĂĞćđõĂđÖćąÝĆîìøŤ đßČęĂöē÷ÜÖćøìŠĂÜđìĊę÷ü×ĂÜßčößîđךćÖĆïóČĚîìĊęĂŠćÜđÖĘïîĚĞćÙúĂÜĀúüÜǰøĆßßēúìøǰøüöìĆĚÜÖćøîĞćđÿîĂ øĎðĒïïÖćøĔßšÜćîÖćøĂĂÖĒïïìćÜéšćîÿëćðŦê÷ÖøøöǰĔîïøĉđüèóČĚîìĊęđóČęĂđðŨîÖćøéċÜéĎéîĆÖìŠĂÜđìĊę÷ü ĒúąÿøšćÜđĂÖúĆÖþèŤ×ĂÜóČĚîìĊęǰĔîÖćøÝĆéìĞćĒñîìĊęÖćøìŠĂÜđìĊę÷üÖćøđßČęĂöē÷ÜĒĀúŠÜÿĞćÙĆâ×ĂÜßčößîǰ ×ĂÜóČĚîìĊęĔĀšđÖĉéÖćøóĆçîćđýøþåÖĉÝĔîìšĂÜëĉęîǰĔĀšöĊÖćøïøĉĀćøĒúąïøĉÖćøõć÷ĔîßčößîĔĀšÿĂéÙúšĂÜ ÖĆïóùêĉÖøøöǰĒúąøĎðĒïïéĞćđîĉîßĊüĉêǰēé÷ÖćøüćÜĒñîÖú÷čìíŤíčøÖĉÝ×ĂÜßčößîǰđÖĉéÖćøêĂïÿîĂÜ ÙüćöêšĂÜÖćø×ĂÜîĆÖìŠĂÜđìĊę÷üìĊęÝąöĊđךćöćĔîßčößîĔĀšđÖĉéÙüćöóċÜóĂĔÝǰĂĆîÝąÿŠÜñúìĞćĔĀšíčøÖĉÝ ÿćöćøëéĞćđîĉîĕðĕéšĔîøą÷ą÷ćüǰøüöìĆĚÜñĎšÿîĔÝìĆęüĕðÿćöćøëîĞćñúÖćøýċÖþćÙøĆĚÜîĊĚĕðĔßšđðŨîĒîüìćÜ ĔîÖćøüćÜĒñîĒúąóĆçîćĔĀšđÖĉéÖćøìŠĂÜđìĊę÷üĒïï÷ĆęÜ÷Čîõć÷Ĕîßčößî×ĂÜêîĔîĂîćÙêĕéš ÙĞćÿĞćÙĆâǰđßČęĂöē÷ÜüĉëĊßčößî, ßčößîĒïï÷ĆęÜ÷Čî, ÖćøìŠĂÜđìĊę÷üüĉëĊßĊüĉê, đĂÖúĆÖþèŤ×ĂÜóČĚîìĊę, ǰǰÿĉęÜĂĞćîü÷ÙüćöÿąéüÖìćÜéšćîÿëćðŦê÷Öøøö  1 ñϚߊü÷ýćÿêøćÝćø÷ŤǰÙèąýĉúðüĉÝĉêøǰÿëćïĆîïĆèæĉêóĆçîýĉúðş


ϭϰ ABSTRACT Enhancing environmental factors that contribute to human development by adopting the Sufficiency Economy Philosophy of His Majesty King Bhumibol Adulyadej require both the system and the structure of the community to withstand upcoming changes. For this, learning skills is very important. Enhancing environmental factors that contribute to human development must focus on strengthening the existing capital of the country. It also entails enough power to drive the medium-scale and long-term development processes and sustain the development of the quality of life of people and communities. Designing a concept of a tourism model that connects the way of life of the surrounding communities around Koh Chan District, inevitably links the tourism industry of the community with the Khlong Luang Ratchalothon Reservoir. It also requires an architectural design usage pattern for the reservoir to attract tourists and to create a unique identity of the area. In the preparation of tourism mapping, it is essential to link viable community resources to tourism in order to develop the local economy while providing for hospitality services that is not intrusive of the peoples’ behavior and lifestyle. This may be done by planning community business strategies that satisfies the needs of tourists who will come into the community. Eventually, this will result to businesses being able to operate in the long term, thereby benefitting the general public. The results of this study can be used as a guideline for planning and developing sustainable tourism within local communities in the future. Keywords: linking community noms, sustainable community, lifestyle tourism, architectural facilities


ϭϱ ÖćøĂĂÖĒïïĀîĆÜÿČĂÖćøŤêĎîđóČęĂðøąßćÿĆöóĆîíŤĀúĆÖÿĎêø×ĂÜÿć×ćÙĂöóĉüđêĂøŤĒĂîĉđößĆî ĒúąüĉßüúđĂôđôÖêŤǰÙèąéĉÝĉìĆúöĊđéĊ÷ǰöĀćüĉì÷ćúĆ÷ýøĊðìčö Designing a Comic Book as a Promotional Media for Department of Animation and Visual Effect, School of Digital Media, Sripatum University üøćÖøǰĔßšđìĊ÷öüÜýŤ1 ïìÙĆé÷ŠĂǰ ÖćøðøąßćÿĆöóĆîíŤĀúĆÖÿĎêøđðŨîÿŠüîĀîċęÜìĊęÿĞćÙĆâ×ĂÜÖćøøĆïÿöĆÙøîĆÖýċÖþć×ĂÜ öĀćüĉì÷ćúĆ÷đĂÖßîēé÷öĊĀîŠü÷ÜćîñĎšøĆïñĉéßĂïéšćîÖćøðøąßćÿĆöóĆîíŤõć÷ĔîöĀćüĉì÷ćúĆ÷đðŨî ñĎšÝĆéìĞćǰĒêŠđîČęĂÜÝćÖÙèąĔîöĀćüĉì÷ćúĆ÷öĊÙüćöĀúćÖĀúć÷ìĞćĔĀšÖćøĔßšÿČęĂðøąßćÿĆöóĆîíŤ×ĂÜ öĀćüĉì÷ćúĆ÷đóĊ÷ÜĂ÷ŠćÜđéĊ÷üĂćÝÝąĕöŠÿćöćøëÿČęĂÿćøÖĆïÖúčŠöđðŜćĀöć÷×ĂÜĒêŠúąÙèąĕéšêøÜÝčéǰÝċÜ đðŨîìĊęöć×ĂÜÖćøĂĂÖĒïïĀîĆÜÿČĂÖćøŤêĎîðøąßćÿĆöóĆîíŤĀúĆÖÿĎêø×ĂÜÿć×ćÙĂöóĉüđêĂøŤĒĂîĉđößĆîĒúą üĉßüúđĂôđôÖêŤǰđøČęĂÜǰ“öćđðŨîđéĘÖǰAFX ÖĆîđĀĂąķǰàċęÜöĊüĆêëčðøąÿÜÙŤĀúĆÖđóČęĂđñ÷ĒóøŠ×šĂöĎúđÖĊę÷üÖĆï ēÙøÜÿøšćÜĀúĆÖÿĎêøǰøć÷úąđĂĊ÷é×ĂÜøć÷üĉßćĔîĀúĆÖÿĎêøǰĒúąÖćøÝĆéÖćøđøĊ÷îÖćøÿĂîǰēé÷öĊ ÖćøýċÖþćüĉđÙøćąĀŤóùêĉÖøøöñĎšïøĉēõÙ×ĂÜÖúčŠöđðŜćĀöć÷ǰĒîüÙĉéìùþãĊìĊęđÖĊę÷üךĂÜÖĆïÖćøñúĉêÿČęĂ ðøąßćÿĆöóĆîíŤǰÖćøÿČęĂÿćøÖćøêúćéñŠćîÖćøđúŠćđøČęĂÜǰ Storytelling) ĒúąüĉíĊÖćøñúĉêÿČęĂĔîøĎðĒïï ĀîĆÜÿČĂÖćøŤêĎîǰøüöëċÜÜćîüĉÝĆ÷ìĊęđÖĊę÷üךĂÜǰÝîÖøąìĆęÜĕéšñúÿøčðĂĂÖöćđðŨîĒîüìćÜÿĞćĀøĆïĂĂÖĒïï ÿČęĂéšü÷ÖćøĔßšêĆüÖćøŤêĎîîĞćđÿîĂךĂöĎú×ĂÜĀúĆÖÿĎêøñŠćîõćóðøąÖĂïóøšĂöÙĞćóĎéĂíĉïć÷ĔîøĎðĒïï ĀîĆÜÿČĂÖćøŤêĎî×îćéǰAǰđöČęĂÝĆéìĞćĒúšüöĊÖćøîĞćĕðđñ÷ĒóøŠìĆĚÜĔîøĎðĒïïÿČęĂÿĉęÜóĉöóŤĒúąÿČęĂĂĂîĕúîŤǰ ĀúĆÜÝćÖîĆĚîĕéšöĊÖćøðøąđöĉîñúÿČęĂéĆÜÖúŠćüóïüŠćǰéšćîÙüćöđךćĔÝĔîđîČĚĂĀćĀúĆÖÿĎêøĒúąéšćîÙüćö îŠćÿîĔÝ×ĂÜÿČęĂöĊñúðøąđöĉîĂ÷ĎŠĔîøąéĆïéĊöćÖǰÿćöćøëÿøšćÜÙüćöñĎÖóĆîÖĆïĒïøîéŤéšü÷ÖćøÿøšćÜ ÙüćöøĎšÿċÖðøąìĆïĔÝĒúąöĊÿŠüîøŠüöĔîÖćøêĆéÿĉîĔÝđúČĂÖđøĊ÷îĔîøąéĆïéĊöćÖǰĂĊÖìĆĚÜ÷ĆÜđךćëċÜÖćøÿČęĂÿćø ÖĆïÖúčŠöđðŜćĀöć÷ĀúĆÖìĊęđðŨîîĆÖđøĊ÷îöĆí÷öðúć÷ñŠćîìćÜߊĂÜìćÜĂĂîĕúîŤĕéšĂ÷ŠćÜöĊðøąÿĉìíĉõćóĂĊÖ éšü÷ ÙĞćÿĞćÙĆâǰĀîĆÜÿČĂÖćøŤêĎî, ÿČęĂðøąßćÿĆöóĆîíŤ, ÖćøđúŠćđøČęĂÜ  1 ĂćÝćø÷ŤðøąÝĞćêĞćĒĀîŠÜǰÿć×ćÙĂöóĉüđêĂøŤĒĂîĉđößĆîĒúąüĉßüúđĂôđôÖêŤǰÙèąéĉÝĉìĆúöĊđéĊ÷ǰöĀćüĉì÷ćúĆ÷ýøĊðìčöǰ [email protected]


ϭϲ ABSTRACT Public relations is an essential part of the admissions process for private universities and is created by an office of public relations at each university. However, universities have many programs to serve the interests of the various target groups. Using only the university's promotional media may not be able to reach the target group of each program directly. That is main the objective of designing a comic book to promote the BFA in Computer Animation and Visual Effects at the School of Digital Media, "Let's Be an AFX Student." This comic book is focused on communicating information about the curriculum structure, program of study, course description, and course outline. The study analyzes the consumer behavior of the target group, theories and concepts of public relations media production, marketing communication through storytelling, and comic book production, including related research. Then the conclusion came out as a guideline for a promotional media design by using cartoon characters to present the curriculum information in the form of illustrations and text in an A5-sized comic book. Once the production had been completed, it was published in both printed and digital formats. After publishing, the comic book "Let's Be an AFX Student" was evaluated. The results show that the understanding of the curriculum in this promotional media was at a high level and that the target group also had a high interest in the media. Moreover, the media can build strong brand engagement by creating a very good impression of the program and helping in the decision-making on selecting the program. This promotional media also has effective communication with the target group, who are high school students. KEYWORDS: Comic book, Promotional media, Storytelling


ϭϳ ÖćøÿøšćÜÿøøÙŤñúÜćîýĉúðąǰßčéǰ“üĆäÝĆÖø×ĂÜßĊüĉê” The Creation of Fine Arts : Cycles of life đÖøĊ÷ÜĕÖøǰÖÜÖąîĆîìîŤ1 ïìÙĆé÷ŠĂ ñúÜćîßčéüĆäÝĆÖø×ĂÜßĊüĉêǰêšĂÜÖćøĒÿéÜĂĂÖëċÜÿõćüąĂćøöèŤÝćÖÖćøéĞćđîĉîßĊüĉêĔîĒêŠ úąüĆîǰÖćøóïđĀĘîÿĉęÜêŠćÜėǰÖćøđßČęĂöē÷ÜøąĀüŠćÜõć÷îĂÖĒúąõć÷ĔîǰÙüćöøĎšÿċÖ×ĂÜÝĉêìĊęöĊÖćøìĞćÜćî Ă÷ĎŠêúĂéđüúćàċęÜöĊÙüćöÿĆöóĆîíŤÖĆïĂćøöèŤóČĚîåćî×ĂÜöîčþ÷ŤǰÿõćüąêŠćÜėìĆĚÜéšćîïüÖĒúąéšćîúïàċęÜ öĆÖÙøĂïÜĞćÝĉêüĉââćè×ĂÜöîčþ÷ŤǰïćÜÙøĆĚÜÿõćüąéĞćéĉęÜìĊęĂ÷ĎŠĔîĔÝöîčþ÷ŤđðøĊ÷ïđÿöČĂîÿõćüąìĊęÞčé ÖøąßćÖĔĀšêÖêęĞćǰÝöúÜÿĎŠÖšîïċĚÜ×ĂÜÝĉêìĊęđêĘöĕðéšü÷ĂćøöèŤÙüćöøĎšÿċÖêŠćÜėǰđߊîǰÙüćöÖúĆüǰ ĀüćéøąĒüÜǰđ÷ČĂÖđ÷ĘîǰĀîćüđĀîĘïǰÿĆïÿîǰïšćÙúĆęÜǰøšĂîøčŠöǰìčÖÿĉęÜìčÖĂ÷ŠćÜëĎÖĀúĂöøüöđךćéšü÷ÖĆîÝî ĕöŠÿćöćøëĒ÷ÖĂĂÖÝćÖÖĆîĕéšǰøüöìĆĚÜÿĉęÜìĊęđðŨîÿĉęÜñĉéðÖêĉìĆĚÜĂćÝđÖĉé×ċĚîĔîÝĉîêîćÖćøĒúąđÖĉé×ċĚîÝøĉÜ ÙĞćÿĞćÙĆâǰöîčþ÷Ť, Öĉđúÿ, üĆäÝĆÖø ABSTRACT Cycles of life series want to express the emotional state of everyday life, the link between the outside and the inside. The feeling of a constantly active mind that is related to the basic human emotion. Both positive and negative states often dominate the human spirit. Sometimes the status that is deep down inside human mind is the status of being pulled down to the bottom of the mind that is full of emotions such as fear, doubt, coldness, confusion, frenzy and heat. Everything is merged together until they cannot be separated with one another. This also includes unusual things that may occur in the imagination and in reality. Keywords: Human Beings, Lust, Life cycle  1 ÙèąéĉÝĉìĆúöĊđéĊ÷ǰöĀćüĉì÷ćúĆ÷ýøĊðìčö, School of Digital Media, Sripatum University [email protected]


ϭϴ The study of the development and innovation of public art in Japanese cities JiaWei1 ABSTRACT Taking into account the theories and perspectives of different disciplines such as fine arts, sociology, urban design and philosophy of art, this paper takes the historical development and current situation of public art in Japan as the object of study and introduces the principles of public art development in Japan that focus on government action, citizen participation, and cultural preservation, reflecting the modern concept of public art that is systematic, scientific, artistic, recreational and people-oriented. In-depth analysis of the cultural connotations of contemporary Japanese public art and exploration of the relationship between public art and urban public space. The study of public art and urban public space in Japan has important implications for the development of public art in Asian cities, and will also provide an outlook on the future development of public art and public space in China. KEYWORDS: Public Art, Public Space, Public Participation, Japan  1 Director of the Experimental Centre for Art and Design, Tianjin Normal University [email protected]


ϭϵ Exploring the renovation of old houses in core urban areas based on environmental art design Li Xin Yu*1 Mok Chung Fai 2 ABSTRACT Environmental art design includes interior design and outdoor de sign, two branches that encompass all aspects of human living environment design, aiming to improve the overall comfort of residents through a comprehensive design transformation. Under the background of '' no speculation in housing'', it has become the development strategy and key direction of investigation for local governments to maximise the happiness and satisfaction of residents in housing. In this livelihood preject, ''stay, change and demolish'' is gradually becoming the renewal mode of urban area renovation, especially in the core urban areas where various social resources are gathered. However, transformation also means exploration. In order to ensure that the transformation of old houses in core urban areas truly meets the requirements of the residents and creates a more livable ''old and dilapidated'', it is necessary to analyse and study the common problems in transformation, explore t he role of environmental design in the transformation of old houses a nd learn relevant experiences, so as to effectively provide support for the smooth implementation of the transformation of old and dilapidated houses in core urban areas. KEYWORDS: environmental art design, core urban area, old and dilapidated, renovation  1 Tianjin Normal University, Tianjin 300382; [email protected] 2 Tianjin Normal University, Tianjin 300382; [email protected]


ϮϬ Study on the renovation of old houses in urban core areas under the 14th Five-Year Plan Mo Zhonghui*1 Li Xinyu2 ABSTRACT The renovation of old houses is a major topic of scientific research needed for urban development, design and construction in the context of urban upgrading. The study provides research and renovation solutions for the living environment of old houses in the core urban areas of first-tier cities under the 14th Five- Year Plan, analyses the current situation of old houses and the needs of households in China, conducts scientific research on the important factors and key countermeasures for the renovation of old houses in first- tier cities, and looks forward to finding some specific situations and corresponding independent innovative solutions. It is of key practical importance to complete the lean management of new projects for the renovation of old houses, to promote the establishment and guidance of administrative regulations and to build a harmonious society. KEYWORDS: old housing, renovation, innovation, services  1 Tianjin Normal University, [email protected] 2 Tianjin Normal University, [email protected]


Ϯϭ On the flow of women's skating clothing ZhaoJing1 ABSTRACT This paper explores and summarizes the evolution of women's skating costumes in western countries, analyzes the relationship between the evolution of costumes and economic development and immediate needs, interprets the formal evolution of costumes and explores the inherent aesthetic symbols and aesthetic style changes, makes up for the embarrassing lack of literature collection in the evolution of figure skating costumes, and provides a new perspective for the important branch of artistic expression in China's figure skating program - costume and culture. This paper not only collects and analyzes detailed first-hand information on women's skating costumes of various eras, but also uses the competition wear of legendary figures to prove the externalization of costumes in the aesthetic era of the stage, extensively citing Chinese and foreign literature and related reports in the context of each stage, and strives to form a study of women's skating costumes based on historical background. The study of women's skating costumes is based on basic and reference literature, which provides a reference basis for the teaching or selection of costumes by the relevant institutions that offer skating training. KEYWORDS: women, figure skating, costume changes, cultural connotations, western  1 Director of the Department of Fashion Art School of Fine Arts and Design, Tianjin Normal University [email protected]


ϮϮ ÝĉîêõćóĒĀŠÜÿć÷Ĕ÷ÙüćöñĎÖóĆî Imagery of Bonds üĉøć÷čìíǰđÿĊ÷Üđóøćą*1 ýčõßĆ÷ǰÿčÖ×Ċēßêĉ2 đöêêćǰÿčüøøèýø3 ïìÙĆé÷ŠĂ ÿëćïĆîÙøĂïÙøĆüǰđðŨîÿëćïĆîóČĚîåćîìĊęÿĞćÙĆâ÷ĉęÜ×ĂÜÿĆÜÙöǰéĆÜÝąđĀĘîĕéšÝćÖÙøĂïÙøĆüĕì÷ ĔîĂéĊêîĆĚîǰđðŨîÙøĂïÙøĆüĒïï×÷ć÷ǰðøąÖĂïĕðéšü÷ǰðĎśǰ÷Šćǰêćǰ÷ć÷ǰĂ÷ĎŠøŠüöÖĆîǰñĎšÿøšćÜÿøøÙŤđÖĉéĒúą đêĉïēêöćĔîÙøĂïÙøĆüĔĀâŠǰìĞćĔĀšĔîüĆ÷đéĘÖëĎÖĀúŠĂĀúĂööćéšü÷ÙüćöøĆÖÙüćöĂïĂčŠîǰîĆïüŠćÙøĂïÙøĆü öĊÙüćöÿĞćÙĆâêŠĂêĆüñĎšÿøšćÜÿøøÙŤöćÖǰÝćÖðŦâĀćéĆÜÖúŠćüîĞćöćÿĎŠÖćøýċÖþćđóČęĂÿøšćÜÿøøÙŤñúÜćîēé÷Ĕßš đìÙîĉÙÖćøëĆÖǰóĆîǰÿćîǰđÿšîĔ÷íøøößćêĉĒúąđÿšîĔ÷ÿĆÜđÙøćąĀŤÿĊ×ćüǰĒÿéÜĂĂÖĔĀšđĀĘîëċÜÙčèÙŠćÙüćö øĆÖǰÙüćöñĎÖóĆîǰÙüćöĂïĂčŠîĂĆîïøĉÿčìíĉĝìĊęĕéšøĆïÝćÖÙøĂïÙøĆüǰÖćøëĆÖÿćîđÖćąđÖĊę÷üđÿšîĔ÷đÿšîđúĘÖǰėǰ ĒêŠúąđÿšîìĊęöĊÙüćöĂŠĂîîčŠöǰïĂïïćÜǰđöČęĂđÖćąđÖĊę÷üÖĆîđðŨîÝĞćîüîöćÖǰÖĘÿćöćøëÿøšćÜÙüćöĒ×ĘÜĒøÜ ĔĀšÖĆïøĎðìøÜǰðøąéčÝÿć÷ÿĆöóĆîíŤìĊęĒ×ĘÜĒøÜ×ĂÜÙîĔîÙøĂïÙøĆüǰđÖĉéđðŨîñúÜćîðøąêĉöćÖøøöîčŠöǰÝćÖ ÖćøýċÖþćóïüŠćǰìùþãĊÙüćöøĆÖÙüćöñĎÖóĆîîĆĚîǰߊü÷ĔĀšÿćöćøëëŠć÷ìĂéĂćøöèŤÙüćöøĎšÿċÖìĊęĒÿéÜĂĂÖ ĔîéšćîïüÖǰÖćøöĂÜēúÖĔîĒÜŠéĊǰøüöìĆĚÜĔî×ĆĚîêĂîÖćøëĆÖ÷ĆÜߊü÷ÿøšćÜÙüćöÿÜïìćÜĔÝĔîđüúćìĊęÙĉéëċÜ ïšćîǰÖćøÿøšćÜÿøøÙŤñúÜćîßčéîĊĚǰêšĂÜÖćøÖøąêčšîđêČĂîĔĀšñĎšÙîĔîÿĆÜÙöđĀĘîëċÜÙčèÙŠć×ĂÜÙüćöøĆÖÙüćö ñĎÖóĆî×ĂÜÙîĔîÙøĂïÙøĆüǰĂĆîđðŨîóČĚîåćîÿĞćÙĆâĒĀŠÜßĊüĉêǰìĊęÙĂ÷ïŠöđóćąĔĀšÝĉêĔÝĂĉęöđĂöéšü÷ÙüćöøĆÖǰ ÿŠÜñúĔĀšöĊĒîüìćÜÖćøéĞćđîĉîßĊüĉêìĊęéĊÜćöêŠĂĕð ÙĞćÿĞćÙĆâǰǰǰÝĉîêõćó, ÿć÷Ĕ÷ ǰÙüćöñĎÖóĆî ǰðøąêĉöćÖøøöîčŠö ABSTRACT Family institution is the foundation in any given communities. This can also be observed from Thai traditional families which is normally congregated as an extended family consisting of grandfather, grandmother, living together. The creator of  1 îĆÖýċÖþćĀúĆÖÿĎêøýĉúðöĀćïĆèæĉêǰÿć×ćìĆýîýĉúðşǰïĆèæĉêýċÖþćǰÿëćïĆîïĆèæĉêóĆçîýĉúðş Ϯ øĂÜýćÿêøćÝćø÷ŤǰýčõßĆ÷ǰÿčÖ×ĊēßêĉǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ϯ ñϚߊü÷ýćÿêøćÝćø÷ŤǰéøđöêêćǰÿčüøøèýøǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş


Ϯϯ this work was born and raised in an extended family with love and warmth throughout the childhood time. These memoirs greatly affect him and subsequently contribute to the creation of this work. From the aforementioned reason, it led to the in-depth study and the establishment of the work using the techniques of knitting, wrapping and weaving by means of natural fibers and white synthetic fibers. This exhibits the value of love, bonding, and the pure warmth received from the family. Despite the soft and fragile characteristic of fibers, when weaving together, they get strengthened and strong enough that can be made into different forms and shapes. Likewise, this portraits as a strong bond within family members. Thus, the work was born as a soft sculpture. The study found that love and attachment within family significantly contribute to the positivity and optimism. With the knitting process, the creator eventually found peace of mind when being homesick. Lastly, the creation of this work attempts to encourage individuals in the society to see the value of love and family bonds that can be called as the basis of life. As this will fill the mind with love resulting in a decent life. Keywords: imagery, bonding, attachment, soft sculpture


Ϯϰ øĎðìøÜĒĀŠÜÝĉîêîćÖćø×ĂÜđìÙēîēú÷ĊđךćĒìîìĊęíøøößćêĉ The Imagination Form of Technology Replaces Nature óÜýíøǰǰøĂéÝćÖìčÖ׍*1 đöêêćǰÿčüøøèýø2 ýčõßĆ÷ǰÿčÖ×Ċēßêĉ3 ïìÙĆé÷ŠĂǰ ÖćøüĉÝĆ÷ÿøšćÜÿøøÙŤîĊĚöĊüĆêëčðøąÿÜÙŤđóČęĂǰǰđóČęĂÿøšćÜÿøøÙŤñúÜćîĔîĀĆüךĂǰøĎðìøÜĒĀŠÜ ÝĉîêîćÖćø×ĂÜđìÙēîēú÷ĊđךćĒìîìĊęíøøößćêĉǰǰđóČęĂĒÿéÜĂĂÖĔĀšđĀĘîëċÜøĎðìøÜìĊęëĎÖÿøšćÜÿøøÙŤ×ċĚîÝćÖ ÝĉîêîćÖćøÙĉéòŦîìĊęĕöŠöĊĂ÷ĎŠÝøĉÜǰøŠüöÖĆïÖćøýċÖþćìùþãĊÝĉîêîćÖćøǰǰðøąÿïÖćøèŤîĉ÷öĒúąñúÜćî ýĉúðą×ĂÜýĉúðŗîìĊęđÖĊę÷üךĂÜǰǰǰđóČęĂÿøšćÜÿøøÙŤñúÜćîđìÙîĉÙðøąêĉöćÖøøöÿČęĂñÿöǰēé÷Öćø ñÿöñÿćîüĆÿéčìćÜđìÙēîēú÷ĊøŠüöÖĆïüĆÿéčìćÜíøøößćêĉǰǰǰđóČęĂÿøšćÜÿøøÙŤøĎðìøÜìćÜÝĉîêîćÖćøǰìĊę ÖøąêčšîđêČĂîĔĀšñĎšÙîêøąĀîĆÖëċÜÙčèÙŠć×ĂÜíøøößćêĉǰìĊęÖĞćúĆÜëĎÖÖúČîĀć÷ĕðÝćÖÖćøøčÖøćî×ĂÜöîčþ÷Ťǰ ìĞćĔĀšđÖĉéðŦâĀćøąïïîĉđüýîŤ×ċĚîöćÖöć÷ǰĀćÖöîčþ÷ŤĕöŠĀ÷čéÙĉéëċÜðŦâĀćéĆÜÖúŠćüǰíøøößćêĉĂćÝĀöé úÜĂ÷ŠćÜöĉĂćÝôŚŪîÙČîÖúĆïöćĕéšǰ ñúÖćøýċÖþćóïüŠćÖćøÿøšćÜÿøøÙŤñúÜćîéšü÷đìÙîĉÙðøąêĉöćÖøøöÿČęĂñÿöǰǰìĊęđúČĂÖĔßšüĆÿéč đÖĘïêÖĒúąüĆÿéčÿĞćđøĘÝøĎðìĊęøĆïöćÝćÖÖćøñúĉêìćÜđìÙēîēú÷ĊìĊęöĊöćÖúšîđÖĉîÙüćöÝĞćđðŨîǰǰøŠüöÖĆïüĆÿéč ìćÜíøøößćêĉîĆĚîǰǰìĞćĔĀšđĀĘîüŠćüĆÿéčìĊęđðŨî×÷ąìćÜđìÙēîēú÷ĊÿćöćøëîĞćöćÿøšćÜÿøøÙŤðøąÖĂïÿøšćÜ ÝîđÖĉéđðŨîøĎðìøÜìĊęúšĂđúĊ÷îĔÖúšđÙĊ÷ÜÖĆïÿĆêüŤĔîíøøößćêĉĀúć÷ðøąđõìǰǰÿĂéÙúšĂÜÖĆïĒîüÙĉé×ĂÜ ýĉúðąĒîüéćéšćĂĉÿàċöǰǰìĊęöčŠÜđîšîÖćøđÿĊ÷éÿĊǰǰðøąßéðøąßĆîÿĆÜÙöđóČęĂĔĀšđĀĘîëċÜēìþĒúąðŦâĀć×ĂÜ ÖćøïøĉēõÙüĆêëčîĉ÷öÝîđÖĉîóĂéĊǰǰÖŠĂðŦâĀćêŠĂÿõćóĒüéúšĂöÝîÿĆêüŤĀúć÷ðøąđõìëĎÖøčÖøćîĕøšïšćîǰǰ ÝćÖìĊęÖúŠćüöćñĎšÿøšćÜÿøøÙŤÝċÜĕéšĀ÷ĉï÷ÖîĞćĒîüÙĉéîĊĚöćÿøšćÜñúÜćîĔĀšđÖĉéđðŨîøĎðìøÜ×ĂÜÿĆêüŤĔî ÝĉîêîćÖćøìĊęĕöŠöĊĂ÷ĎŠÝøĉÜĔîíøøößćêĉǰǰđÿöČĂîđðŨîÖćøÖúć÷óĆîíčŤÿĂéÙúšĂÜÖĆïýĉúðąĒïïĒôîêćàĊǰǰìĊę öčŠÜđîšîÝĉîêîćÖćøđðŨîÿĞćÙĆâǰǰÖćøÿøšćÜÿøøÙŤñúÜćîßčéîĊĚÝċÜđðŨîđĀöČĂîÖćøÖøąêčšîđêČĂîĔĀšñĎšÙî êøąĀîĆÖëċÜēìþǰǰĒúąÖćøøčÖøćî×ĂÜđìÙēîēú÷ĊìĊęöĊêŠĂíøößćêĉìĊęîĆïüĆîÝąđðŨîðŦâĀćìĊę÷ćÖÝąĒÖšĕ×ǰǰ ÙĞćÿĞćÙĆâǰđìÙēîēú÷Ċ, íøøößćêĉ, ÿĆêüŤĔîÝĉîêîćÖćø, øĎðìøÜĒĀŠÜÝĉîêîćÖćø  ϭ îĆÖýċÖþćǰǰÿëćîìĊęìĞćÜćîǰÿëćïĆîïĆèæĉêóĆçîýĉúðşǰE-mail address [email protected] Ϯ ñϚߊü÷ýćÿêøćÝćø÷ŤǰéøđöêêćǰÿčüøøèýøǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ϯ øĂÜýćÿêøćÝćø÷ŤǰýčõßĆ÷ǰÿčÖ×ĊēßêĉǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş หลักสูตรศิลปมหาบัณฑิต สาขาทัศนศิลป บัณฑิตศึกษา สถาบันบัณฑิตพัฒนศิลป


Ϯϱ ABSTRACT This creative research aims to 1) Tocreate works on the topic the imagination form of technology replaces nature. To express the shape created by the imagination of dreams that do not exist. Together with the study of the theory of imagination Experiences and artworks of related artists. 2) To create works of mixed media sculpture techniques by combining technological materials with natural materials. 3) To create imaginary shapes that encourages people to realize the value of nature that are being swallowed up by human invasion causing many ecological problems If human beings don't stop thinking about such problems nature may inevitably expire. The results of the study showed that creating works with mixed media sculpture techniques. That chooses to use the found objects and the readymade objects obtained from the technological production that is too much than necessary. Together with natural materials. It shows that technological waste materials can be used to create, Assemble, and create a shape that mimics many types of animals in nature. In line with the concept of Dadaism art. Focused on satire. Social sarcasm to see the blame and problems of excessive consumption of materialism. Causing problems to the environment until many types of animals are invaded by the homeless. From the foregoing, the creators have brought up this idea to create works of imaginary animals that do not exist in nature. As a mutation in accordance with fantasy art. Focusing on imagination is important. The creation of this series of works is like a wake-up call to make people aware of the dangers. And the invasion of technology towards nature is an increasingly difficult problem to solve. KEYWORDS: technology, nature, imagination animal, the imagination form


Ϯϲ ĒîüìćÜÖćøĔßšñšć×ćüöšćĔîÖćøĂĂÖĒïïđÙøČęĂÜĒêŠÜÖć÷ĒúąñúĉêõĆèæŤÖĊāćôčêïĂúǰ ǰÖøèĊýċÖþćēÙøÜÖćøñšć×ćüöšćìšĂÜëĉęîǰĀĆêëýĉúðşĕì÷ Guidelines for using loincloth in the design of apparel and football products. ǰCase study of the local loincloth project, Thai handicrafts ÝĆÖøóĆîíŤǰÿčøąðøąđÿøĉå1 ïìÙĆé÷ŠĂǰ ïìÙüćöîĊĚîĞćđÿîĂĒîüìćÜÖćøĔßšñšć×ćüöšćĔîÖćøĂĂÖĒïïđÙøČęĂÜĒêŠÜÖć÷ĒúąñúĉêõĆèæŤ ÖĊāćôčêïĂúǰöĊüĆêëčðøąÿÜÙŤđóČęĂýċÖþćĒîüìćÜÖćøĔßšñšć×ćüöšćĔîÖćøĂĂÖĒïïđÙøČęĂÜĒêŠÜÖć÷Ēúą ñúĉêõĆèæŤÖĊāćôčêïĂúǰēé÷öĊêĆüĂ÷ŠćÜđÙøČęĂÜĒêŠÜÖć÷ÖĊāćìĊęîĞćöćýċÖþćÝĞćîüîǰǰßĉĚîǰêĆüĂ÷ŠćÜ ñúĉêõĆèæŤÖĊāćÝĞćîüîǰǰßĉĚîǰÝćÖǰǰÿēöÿøìĊęđךćøŠüöēÙøÜÖćøñšć×ćüöšćìšĂÜëĉęîǰĀĆêëýĉúðşĕì÷ǰðŘǰ óýǰöĊÙčèÿöïĆêĉêćöđÖèæŤǰÖúŠćüÙČĂǰđðŨîđÙøČęĂÜĒêŠÜÖć÷ÖĊāćôčêïĂúǰĒúąñúĉêõĆèæŤÖĊāćìĊęĔßš ñšć×ćüöšćÝćÖßčößîĔîóČĚîìĊęÝĆÜĀüĆéìĊęÿēöÿøôčêïĂúîĆĚîêĆĚÜĂ÷ĎŠǰēé÷ĔßšĒîüÙĉéÝćÖýĉúðąǰüĆçîíøøöǰ ðøąđóèĊǰÿĆâúĆÖþèŤðøąÝĞćÝĆÜĀüĆéǰĔîÖćøĂĂÖĒïïǰöĊđÙøČęĂÜöČĂĔîÖćøüĉÝĆ÷ÙČĂǰêćøćÜǰMatrix Analysis éĞćđîĉîÖćøüĉđÙøćąĀŤ×šĂöĎúÝćÖÖćøĂĂÖĒïïĒúąÖćøĔßšñšć×ćüöšć×ĂÜñúĉêõĆèæŤêĆüĂ÷ŠćÜǰĒúąÿøčðñú ēé÷Ĕßšÿëĉêĉïøø÷ć÷đðŨîøšĂ÷úą ñúüĉÝĆ÷óïüŠćÖćøĔßšñšć×ćüöšćĔîđÙøČęĂÜĒêŠÜÖć÷ÖĊāćôčêïĂúǰĔîÿŠüî×ĂÜßčéÿĞćĀøĆïĒ׊Ü×Ćî îĆĚî÷ĆÜìĞćĕéšîšĂ÷ǰđóøćąÙčèÿöïĆêĉ×ĂÜñšć×ćüöšć÷ĆÜêĂïÿîĂÜÿŠüîîĊĚĕöŠĕéšǰìĞćĔĀšîĆÖĂĂÖĒïïîĞć ñšć×ćüöšćöćĔßšĔîßčéĒ׊Ü×ĆîĕöŠĕéšǰĒêŠ÷ĆÜÿćöćøëîĞćöćĔßšÖĆïÖćøĂĂÖĒïïđÙøČęĂÜĒêŠÜÖć÷øĎðĒïïĂČęîė ×ĂÜÿēöÿøôčêïĂúĕéšǰĔîÿŠüî×ĂÜÖćøĔßšñšć×ćüöšćĔîñúĉêõĆèæŤÖĊāćóïüŠćÙčèÿöïĆêĉ×ĂÜñšć×ćüöšć êĂïÿîĂÜÖćøĂĂÖĒïïĕéšđðŨîĂ÷ŠćÜéĊǰĂ÷ŠćÜđߊîñúĉêõĆèæŤÖøąđðŞćǰĀöüÖǰñšćóĆîÙĂǰĒúą÷ĆÜÿćöćøë óĆçîćøĎðĒïïêŠĂĕðĕéšĂĊÖöćÖǰÖćøîĞćĒøÜïĆîéćúĔÝÝćÖýĉúðąǰüĆçîíøøöǰðøąđóèĊǰÿĆâúĆÖþèŤðøąÝĞć ÝĆÜĀüĆéǰĒúąÿĊðøąÝĞćÿēöÿøôčêïĂúǰöćĔßšĔîÜćîĂĂÖĒïïìĞćĔĀšđÖĉéÖćøìĂñšć×ćüöšćéšü÷ÿĊìĊęĒêÖêŠćÜ ĕðÝćÖđéĉö ÙĞćÿĞćÙĆâǰñšć×ćüöšć, đÙøČęĂÜĒêŠÜÖć÷ÖĊāćôčêïĂú, ñúĉêõĆèæŤÖĊāć  1 ñϚߊü÷ýćÿêøćÝćø÷ŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť


Ϯϳ ABSTRACT This article presents guidelines for using loincloth in the design of apparel and football products. The objective of this study was to study the guidelines for using loincloth in the design of apparel and football products. 29 samples of sports apparel were included in the study, 2 4 samples of sports products from 4 clubs participating in the local loincloth project, Thai handicrafts in 2021. Qualified according to the criteria, that is, it is a football sport apparel. and sports products using loincloth from the community in the province where the football club is located. Using concepts from arts, culture, traditions, and provincial symbols in the design, the research tool is a Matrix Analysis table. Data was analyzed from the design and use of loincloths of the sample products. and summarize the results using descriptive statistics as a percentage. The results showed that the use of loincloth in football apparel As for the outfits for the competition, it still does little. because the properties of loincloth still cannot meet this part. Causing designers to not be able to use loincloth in competition outfits But it can also be applied to other football club apparel designs. As for the use of loincloth in sports products, it was found that the properties of loincloth were responsive to the design. such as bags, hats, scarves, and can be developed further. Taking inspiration from arts, culture, traditions, provincial symbols and the colors of the football club used in the design, resulting in the weaving of loincloth with different colors from the original. KEYWORDS: loincloth, soccer sports apparel, sports products


Ϯϴ ÿõćüąÙüćöÖééĆîÝćÖðöðŦâĀćßĊüĉê The Stressful State of Life Problems öîĎâǰüčçĉóÜþŤ*1 đöêêćǰÿčüøøèýø2 éüÜĀìĆ÷ǰóÜýŤðøąÿĉìíĉĝ3 ǰǰǰ ïìÙĆé÷ŠĂ ÝćÖÿõćüąìĊęêĆüñĎšÿøšćÜÿøøÙŤđÖĉéĒúąđêĉïēêĔîÖøčÜđìóĄǰìĊęđêĘöĕðéšü÷ÙüćöđÝøĉâÖšćüĀîšć ìćÜđìÙēîēú÷ĊìĊęìĆîÿöĆ÷ǰÙüćöÿąéüÖÿïć÷ǰìĊęöćÖúšîđÖĉîÙüćöóĂéĊǰìĞćĔĀšñĎšÙîđÿóêĉéǰĀúÜ÷ċéêĉé üĆêëčîĉ÷öǰàċęÜêĆüñĎšÿøšćÜÿøøÙŤÖĘêÖĂ÷ĎŠĔîÿõćüąîĆĚîđߊîÖĆîǰÝćÖìĊęÖúŠćüöćîĆĚîǰìĞćĔĀšñĎšÙîĔîÿĆÜÙöĀúÜúČö ÙčèÙŠć×ĂÜÙüćöéĊÜćöǰÖćøĒïŠÜðŦîǰÙüćöÝøĉÜĔÝêŠĂÖĆîǰđÖĉéõćüąëéëĂ÷đøČęĂÜÝøĉ÷íøøöǰĀúÜöĆüđöćĕð ÖĆïÿĉęÜìĊęĕéšøĆïöćÝćÖÿĆÜÙöÝĂöðúĂöìĊęđÿČęĂöëĂ÷ǰñĎšÙîöĆÖöĂÜđĀĘîüŠćÖćøÖøąìĞćñĉéĕöŠĕéšđðŨîÿĉęÜìĊęĀîšć ÖúĆüǰĀúÜÖøąìĞćñĉéĕéšĂ÷ŠćÜÜŠć÷éć÷ǰìĆĚÜìĊęøĎšêĆüĒúąĂćÝĕöŠøĎšêĆüǰàċęÜñúúĆóíŤ×ĂÜöĆîìĊęêćööćÖĘÙČĂ ÖøąïüîÖćøìćÜÖãĀöć÷×ĂÜïšćîđöČĂÜìĊęđךćöćÝĆéÖćøđøČęĂÜøćüêŠćÜǰėđĀúŠćîĊĚÝċÜđðŨîĒøÜïĆîéćúĔÝĔĀšǰ ñĎšÿøšćÜÿøøÙŤìĊęđðŨîïčÙÙúĀîċęÜĕéšđÙ÷ìĞćñĉéóúćéǰÖšćüñĉéìćÜÝîêšĂÜëĎÖêĆéÿĉîĔĀšëĎÖÙčö×ĆÜĔîđøČĂîÝĞć óĉđýþđðŨîøą÷ąđüúćǰǰðŘǰǰđéČĂîǰìĊęđðŨîÙüćöøĎšÿċÖìĊęđÝĘïðüéĕøšàċęÜĂĉÿøõćóĒúąìčÖ׍ìøöćîĔÝĂ÷ŠćÜ ìĊęÿčéǰìĊęêšĂÜĒïÖøĆïÙüćöøĎšÿċÖñĉéĕüšǰĒúą÷ĚĞćđêČĂîêîđĂÜëċÜÙüćöñĉéóúćéìĊęđÖĉé×ċĚîÝîđÖĉéđðŨîðöðŦâĀć õć÷ĔîÝĉêĔÝǰÝî÷ćÖìĊęÝą÷ĂöøĆïǰĒúą÷ĆÜÿŠÜñúđÿĊ÷ĔîĀúć÷ėéšćîÖĆïêĆüñĎšÿøšćÜÿøøÙŤÝîëċÜðŦÝÝčïĆî ÙĞćÿĞćÙĆâǰÙčö×ĆÜ, Ăĉÿøõćó, ðöðŦâĀć ABSTRACT from the state in which the creator was born and raised in Bangkok full of modern technological advancements convenience that is more than enough make people addicted obsessed with materialism In which the creator was in that state as well. from the foregoing causing people in society to forget the value of goodness, sharing, sincerity with each other Ethical recession Obsessed with the benefits of a  1 îĆÖýċÖþćĀúĆÖÿĎêøýĉúðöĀćïĆèæĉêǰÿć×ćìĆýîýĉúðşǰïĆèæĉêýċÖþćǰÿëćïĆîïĆèæĉêóĆçîýĉúðş Ϯ ñϚߊü÷ýćÿêøćÝćø÷ŤǰéøđöêêćǰÿčüøøèýøǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ϯ ñϚߊü÷ýćÿêøćÝćø÷ŤǰéüÜĀìĆ÷ǰóÜýŤðøąÿĉìíĉĝĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş


Ϯϵ declining false society People often see wrongdoing as something to fear. Easily mistaken both consciously and possibly unconsciously The result of it is the legal process of the country to deal with different matters. These are the inspirations. An individual creator has made a mistake. The wrong move led him to be sentenced to five years and six months in a special prison, the most painful feeling of freedom and suffering. to bear the feeling of guilt and reminded himself of the mistake that had occurred until it caused a problem within the mind so hard to accept and also negatively affects many aspects of the creator until now. Keywords: detention, freedom, problem


ϯϬ øĎðúĆÖþèŤĒĀŠÜÿć÷ÿĆöóĆîíŤøĆÖÝćÖĒöü The Image of Relationship from Cat õćóêąüĆîǰÙčŠ÷Öúĉęî* 1 đöêêćǰÿčüøøèýø2 ýčõßĆ÷ǰÿčÖ×Ċēßêĉ3 ïìÙĆé÷ŠĂ ÙüćöøĆÖÙüćöĂïĂčŠîĔîÙĂïÙøĆüđðŨîÿĉęÜÿĞćÙĆâìĊęìĞćĔĀšöîčþ÷ŤéĞćøÜßĊüĉêĕéšĂ÷ŠćÜöĊÙüćöÿč×ǰ ĀćÖðøćýÝćÖÙüćöøĆÖÙüćöĂïĂčŠîǰöîčþ÷Ť÷ŠĂöĒÿüÜĀćÿĉęÜêŠćÜėǰöćìéĒìîÙüćöøĎšÿċÖìĊę×ćéĀć÷ĕðǰ đߊîđéĊ÷üÖĆïñĎšÿøšćÜÿøøÙŤìĊęĕéšóïÖĆïÿĆêüŤđúĊĚ÷ÜìĊęîŠćøĆÖÙČĂĒöüǰìĞćĔĀšĕéšøĎšÝĆÖÖĆïÙüćöøĆÖǰÙüćöĂïĂčŠîǰ đðøĊ÷ïđÿöČĂîĒöüđðŨîÿöćßĉÖĔîÙøĂïÙøĆüÙîĀîċęÜǰĒúąìĞćĔĀšñĎšÿøšćÜÿøøÙŤĕéšöĊÙüćöÿč×ĂĊÖÙøĆĚÜ ñúÖćøýċÖþćóïüŠćǰÙüćöøĆÖǰÙüćöĂïĂčŠîǰÙüćöñĎÖóĆîìĊęđÖĉé×ċĚîøąĀüŠćÜÙîÖĆïÿĆêüŤđúĊĚ÷Üǰ đߊîǰĒöüìĊęöĊ×îîčŠöîüúĂïĂčŠîǰîŠćøĆÖǰ×ĊĚĂšĂîǰìĊęÿćöćøëïĞćïĆéÙüćöđÙøĊ÷é×ĂÜöîčþ÷ŤĕéšĂ÷ŠćÜöćÖǰÖćø ĕéšđúŠîÖĆïĒöüéšü÷ÙüćöøĆÖǰĕéšÿĆöñĆÿǰÖĂéǰúĎïĕúš×î×ĂÜĒöüǰĀøČĂÖćøöĂÜđĀĘîìŠćìćÜǰúĆÖþèąîĉÿĆ÷ǰ ÙüćöîŠćøĆÖÿéĔÿ×ĂÜĒöüîĆĚîǰߊü÷ïøøđìćÙüćöìčÖ׍ĔîÝĉêĔÝúÜĕéšǰÿĂéÙúšĂÜÖĆïìùþãĊÿĆêüŤđúĊĚ÷ÜïĞćïĆéǰ ìùþãĊÖćøïĞćïĆééšü÷ÖćøÖĂéǰìĊęߊü÷Ùúć÷ÙüćöđÙøĊ÷éǰÙúć÷đĀÜćǰÙüćöđĀîČęĂ÷úšćǰēé÷ÖćøĔßšđìÙîĉÙ ðøąêĉöćÖøøöîčŠöēé÷ÖćøĔßšüĆÿéčñšć×îÿĆêüŤǰøŠüöÖĆïđÿšîĔ÷ÿĆÜđÙøćąĀŤóïüŠćǰìĞćĔĀšøĎðìøÜđÖĉéÙüćöøĎšÿċÖ ĂŠĂîîčŠöǰôĎêĆüǰÙúšć÷ĒöüǰÖćøÿøšćÜøĎðìøÜēé÷ĔßšĒîüÙĉéìùþãĊÿĆâúĆÖþèŤîĉ÷öîĆĚîìĞćĔĀšóïüŠćǰđÖĉé øĎðìøÜìĊęĀúčéóšîÝćÖÙüćöđðŨîÝøĉÜđÖĉéđðŨîÿĆâúĆÖþèŤĒìîÙüćöĀöć÷ìĊęÿČęĂëċÜÙüćöøĎšÿċÖ×ĂÜĒöüìĊę îŠćøĆÖǰîŠćÖĂéĒúąđðŨîìĊęøĆÖǰÝćÖìĊęÖúŠćüöćîĆĚîĒöüÝċÜđðøĊ÷ïđÿöČĂîïčÙÙúĔîÙøĂïÙøĆüìĊęÝąĕöŠöĊüĆîìĉĚÜ ÖĆîǰĒúąÝąĂ÷ĎŠĔîĔÝñĎšÿøšćÜÿøøÙŤêúĂéĕð ÙĞćÿĞćÙĆâ øĎðúĆÖþèŤ, ÙüćöîčŠöîüú, ĂïĂčŠî, ÿć÷ÿĆöóĆîíŤøĆÖ, Ēöü ABSTRACT Love, warmth, and warmth are important for humans to live happily. Some may have been given a human to replace lost feelings, just like the creator who met a cat. He has come to know the term love bond of family  1 îĆÖýċÖþćĀúĆÖÿĎêøýĉúðöĀćïĆèæĉêǰÿć×ćìĆýîýĉúðşǰïĆèæĉêýċÖþćǰÿëćïĆîïĆèæĉêóĆçîýĉúðş Ϯ ñϚߊü÷ýćÿêøćÝćø÷ŤǰéøđöêêćǰÿčüøøèýøǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ϯ øĂÜýćÿêøćÝćø÷ŤǰýčõßĆ÷ǰÿčÖ×ĊēßêĉǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ภาพตะวัน คุยกลิ่น*


ϯϭ The study found that love, warmth, and the bond between people and animals such as cats with soft fur, warm and cute. It can greatly treat human stress. playing with cats with love, touching, hugging and petting their fur or seeing beautiful gestures Get to know the cuteness of that cat's bright personality. help alleviate the suffering in the mind. This is in line with the theory of hug therapy Hugging helps relieve stress, fatigue, and loneliness. By using soft sculpture techniques using wool material. together with synthetic fibers. found that it makes the shape feel soft, fluffy, like a cat. constructing shapes using symbolism theory. It was found that the shape that came out of reality was born. the symbol represents the sentiments of a cute cat. cuddly and loving with that said, cats are like family members who will never leave each other and will be in the hearts of creators forever. Keywords: appearance, softness, warmth, love, cat


ϯϮ ÝĉîêîćÖćøÿć÷Ĕ÷øĆÖĒĀŠÜÙøĂïÙøĆü The Imagination of Love in the Family ÖöúøÿǰßĆ÷ýøĊ*1 ÿøøèøÜÙŤǰÿĉÜĀđÿîĊ2 đöêêćǰÿčüøøèýø3 ïìÙĆé÷ŠĂǰ ïìÙüćöüĉÝĆ÷ÞïĆïîĊĚöĊüĆêëčðøąÿÜÙŤǰéĆÜîĊĚǰ1) đóČęĂÿøšćÜÿøøÙŤñúÜćîüĉÝĆ÷ÝĉêøÖøøöǰĔîĀĆüךĂǰ “ÝĉîêîćÖćøÿć÷Ĕ÷øĆÖĒĀŠÜÙøĂïÙøĆüķǰìĊęĒÿéÜĂĂÖĔĀšđĀĘîëċÜǰÙüćöøĆÖǰÙüćöñĎÖóĆîǰÙüćöÙĉéëċÜǰÙüćö ēĀ÷ĀćǰĂšĂöÖĂéǰĂĆîĂïĂčŠîǰõć÷ĔêšÖøĂïìùþäĊõćüąēĀ÷ĀćĂéĊêǰìùþãĊÙüćöøĆÖÙüćöñĎÖóĆîǰìùþãĊ đÖĊę÷üÖĆïÙüćöòŦîĒúąÝĉîêîćÖćøǰÝĉêüĉì÷ćÿĊÖĆïÙüćöøĎšÿċÖǰ2) đóČęĂÿøšćÜÿøøÙŤïìÙüćöüĉÝĆ÷ǰĔîøĎðĒïï ÝĉêøÖøøöǰēé÷ĔßšđìÙîĉÙǰĂĉÜÙŤđÝĘìǰÿĊîĚĞćǰĒúąÿĊĂąÙøĉúĉÙǰïîñšćĔïǰēé÷ÖćøÿøšćÜēúÖÝĞćúĂÜǰõćóđÿöČĂî ÝćÖÝĉîêîćÖćøëċÜÙîĔîÙøĂïÙøĆüĂĆîđðŨîìĊęøĆÖǰēé÷ÖćøýċÖþćìùþãĊÙüćöøĆÖǰÙüćöñĎÖóĆîǰ3) đóČęĂ ÖøąêčšîđêČĂîĔĀšđĀĘîëċÜÙčèÙŠć×ĂÜÙüćöøĆÖÙüćöñĎÖóĆî×ĂÜÿëćïĆîÙøĂïÙøĆüĂĆîđðŨîóČĚîåćîÿĞćÙĆâ×ĂÜ ßĊüĉêöîčþ÷Ťǰ ñúÖćøýċÖþćóïüŠćÖćøÿøšćÜÿøøÙŤïìÙüćöüĉÝĆ÷éšü÷đìÙîĉÙÝĉêøÖøøöîĆĚîǰÿćöćøëëŠć÷ìĂé ÙüćöøĎšÿċÖĕéšéĊđóøćąÖćøĔßšÿĊîĆïđðŨîÿČęĂìĊęëŠć÷ìĂéĂćøöèŤĕéšêøÜêćöĒîüÙĉéǰÖćøýċÖþćìùþãĊìĊęöĊ ÙüćöÿĞćÙĆâìĊęìĞćĔĀšñĎšüĉÝĆ÷đúČĂÖîĞćđĂćÙüćöøĎšÿċÖøĆÖöćëŠć÷ìĂééšü÷ÿĊìĊęĂŠĂîđïćǰđðŨîÖćøĔßšÿĊĀúć÷ ðøąđõìñÿöñÿćîÖĆîÝîđÖĉéđðŨîïøø÷ćÖćýÙúšć÷õćóòŦîÿĂéÙúšĂÜÖĆïÝĉîêîćÖćøĔîÖćøÿČęĂÿćø øĎðìøÜìĊęÝĆéüćÜĒïïúŠĂÜúĂ÷ĕöŠÙĞćîċÜëċÜÙüćöëĎÖêšĂÜǰïìÙüćöüĉÝĆ÷ÞïĆïîĊĚĕéšđðŨîÖćøÝĞćúĂÜÙüćöøĎšÿċÖ øĆÖĒúąÙĉéëċÜǰĕéšĂ÷ŠćÜúÜêĆüǰóøšĂöÖĆîîĆĚîñúÜćî÷ĆÜđêČĂîĔĀšñĎšÙîđĀĘîëċÜÙčèÙŠć×ĂÜÙøĂïÙøĆüĂĆîđðŨîÿĉęÜ ìĊęöĊÙŠćìĊęÿčéĔîßĊüĉêìĊęÙüøéĎĒú ÙĞćÿĞćÙĆâ ÙüćöøĆÖ, ÙüćöñĎÖóĆî, ÙøĂïÙøĆü, ÿć÷Ĕ÷øĆÖ, ÙüćöĂïĂčŠî  1 îĆÖýċÖþćĀúĆÖÿĎêøýĉúðöĀćïĆèæĉêǰÿć×ćìĆýîýĉúðşǰïĆèæĉêýċÖþćǰÿëćïĆîïĆèæĉêóĆçîýĉúðş [email protected] 2 øĂÜýćÿêøćÝćø÷ŤǰÿøøèøÜÙŤǰÿĉÜĀđÿîĊĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş 3 ñϚߊü÷ýćÿêøćÝćø÷ŤǰéøđöêêćǰÿčüøøèýøǰĂćÝćø÷ŤñĎšøĆïñĉéßĂïĀúĆÖÿĎêøǰÿć×ćìĆýîýĉúðşǰïĆèæĉêüĉì÷ćúĆ÷ǰ ǰǰÿëćïĆîïĆèæĉêóĆçîýĉúðş


ϯϯ ABSTRACT The main objectives of this thesis are: 1) to create painting artworks on the theme “The Imagination of Love in the Family,” which expresses love, relationship, remembrance, yearning, and warmth based on the theory of nostalgia, the theory of love and relationship, the theory of dream and imagination, and color psychology; 2) to conduct a research on painting using inkjet, watercolor, and acrylic techniques on canvas and recreate a picture of her beloved family in a virtual world based on the theories of love and relationship; 3) to encourage people to realize the value of love and relationship in the family, which is a fundamental aspect of human life. Results of the thesis revealed that revealed that using painting techniques allows for a better expression of feelings because colors can be manipulated to convey a diverse range of emotions. The theories of nostalgia, love and relationship, led to the choice of soft colors. The theory of dream and imagination led to the idea of freely – without regard for accuracy – combining colors in various hues and weights to create a dreamlike atmosphere. This study perfectly simulates the feelings of love and nostalgia to remind everyone of the value of family, the most valuable thing in life that should be preserved. KEYWORDS: Love, Relationship, Family, Bond of Love, Warmth


ïìÙüćöüĉßćÖćø øĩĚĒĚħāįĘĞīāĩøĩĚċŤĩĐûĞĩĘøŤĩĞĢĐŤĩĎĩþğīĜĒħ ĞĨĉĐďĚĚĘĴĜħøĩĚĤĤøĴđđĚħċĨđāĩČīûĚĨļþĎĬĻǰðøąÝĞćðŘǰ


×Ă×ĂïóøąÙčè ÿõćÙèïéĊýĉúðąĒúąÖćøĂĂÖĒïïĒĀŠÜðøąđìýĕì÷ ÿëćïĆîïĆèæĉêóĆçîýĉúðş öĀćüĉì÷ćúĆ÷ïĎøóć öĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť öĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊ öĀćüĉì÷ćúĆ÷đìÙēîēú÷ĊøćßöÜÙúøĆêîēÖÿĉîìøŤ ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ïĎøóć ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷íčøÖĉÝïĆèæĉê÷Ť ÙèąýĉúðÖøøöýćÿêøŤǰöĀćüĉì÷ćúĆ÷ÿÜ×úćîÙøĉîìøŤǰüĉì÷ćđ×êðŦêêćîĊ ÿëćïĆîýĉúðąĒúąüĆçîíøøöǰöĀćüĉì÷ćúĆ÷đìÙēîēú÷ĊøćßöÜÙúøĆêîēÖÿĉîìøŤ Ùèąýĉúðîćäéčøĉ÷ćÜÙŤǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ÙèąýĉúðýċÖþćǰÿëćïĆîïĆèæĉêóĆçîýĉúðş üĉì÷ćúĆ÷îćäýĉúðǰÿëćïĆîïĆèæĉêóĆçîýĉúðş ñĎšìøÜÙčèüčçĉðøąđöĉîñúÜćîǰüĉì÷ćÖøǰýĉúðŗîøĆïđßĉâĒúąñĎšÿŠÜñúÜćîđךćøŠüöēÙøÜÖćø ñĎšïøĉĀćøǰÙèćÝćø÷ŤǰïčÙúćÖø×ĂÜÿëćïĆîÖćøýċÖþćĒúąÙèąüĉßćìĊęđÖĊę÷üךĂÜ


Click to View FlipBook Version