around is conceived as a listening interior where music is not only presented as an event, but stayed with more slowly. It offers a place to sit, read, browse, wait, gather, or remain close to a performance as it unfolds. Positioned between a book library, a sound library, an archive, and a small performance ground, the project allows these uses to overlap. A visitor may become a listener, a reader, a browser, a participant, or simply someone passing through. Along the curve, the perimeter thickens into an inhabitable edge: at once wall, seating, archive, and acoustic surface.

For the Singapore Pavilion at the 61st International Art Exhibition, La Biennale di Venezia, Amanda Heng presents works shaped by everyday gestures of walking, waiting, sitting, and pausing. Her practice looks to the body as a site of lived experience, formed through repetition, attention, and time.

In dialogue with Heng and curator Selene Yap, sp/n developed a site-specific intervention within the Sale d’Armi at the Arsenale. The architecture extends these gestures into the space, inviting movement and rest, and allowing the pavilion to be inhabited rather than only observed.

Pratchaya Phinthong’s work at Thailand Biennale Phuket, sp/n developed a quiet architectural intervention within the former Yi Teng Complex, working with the abandoned market’s existing condition rather than covering it over. Simple wooden structures are inserted lightly into the open concrete building, creating places for sound, movement, waiting, and possible inhabitation. The design supports the artist’s interest in value, ecology, labour, and forms of cohabitation, allowing the work to remain closely connected to the site, its weathered surfaces, and the life gradually returning around it. Architecture here becomes a modest support system, holding space for the artwork while letting the building continue to feel open, unfinished, and alive.

Pratchaya Phinthong’s /|~~~~~~~~~~~~~~~~~~||/|, 2025, at Bangkok CityCity Gallery, sp/n developed the project through the deconstruction and reassembly of the gallery’s existing glass window system into a water tank installation. The design began by carefully dismantling the original window components and constructing them back into a new spatial and material arrangement, allowing the glass to shift from an architectural enclosure into a vessel. Through this process, the work draws attention to transformation, labour, and value, while keeping the material continuity of the site present within the installation. Rather than introducing a separate display structure, the project works from what is already there, turning an existing element of the gallery into the basis of the work itself.

For Spatial-Temporal, 2025, sp/n constructs a live image system between two floors, where the present is continuously layered with its own delay. A camera placed on the ceiling of the first floor looks upward, while a screen set into the floor of the second floor receives the image from below, combining the live feed with traces from 1.5 and 3 minutes earlier. Presence, traces, and absence appear together in the same frame, allowing movement to remain visible even after the body has passed. The work treats space and time as materials of architecture, connecting two separated floors through looking, waiting, and delayed memory. In this quiet overlap, time looks up from below, while space looks down from above.

For Pratchaya Phinthong’s solo exhibition at SCAI PIRAMIDE, Roppongi, Tokyo, sp/n contributed the spatial design, working quietly with the existing space to support the placement, atmosphere, and experience of the works.

Urban Bed / Minute Pocket is a temporary public installation that reconsiders an idle urban plot as a small pocket of rest within the city. Set close to the ground, the project offers a simple surface for pausing, lying down, gathering, and being with the surrounding neighbourhood in a slower way. Rather than treating temporary land as empty or inactive, the work asks how a brief occupation can create care, softness, and public value in everyday urban life. The project was selected as a Mark Winner of the Golden Pin Design Award 2025 in Spatial Design, and was also chosen for the iF Design Trend Report 2025 as a best practice under Unfolding City.

A site-specific sound installation created by Tulapop Saenjaroen in collaboration with SP/N for the 7th Bangkok Experimental Film Festival.

Emanations transforms space into a dynamic, site- responsive encounter where sound, movement, and perception remain in flux. By taking the 7th Bangkok Experimental Film Festival as both its context and generative space, semi-movable structures act as shifting frames, shaping how bodies navigate the environment. Instead of a fixed composition, the installation unfolds in real time—blurring the line between production and experience.

For Pratchaya Phinthong’s No Patents on Ideas at Singapore Art Museum, sp/n designed an inclined slope that slowly brings visitors upward toward the hanging illuminated photograph and moving image. The spatial design creates a gradual movement through the exhibition, allowing the body to approach the works through a change in height, distance, and pace. Rather than placing the works on a flat viewing plane, the slope becomes a simple architectural gesture that shapes how the images are encountered, making the act of looking feel slow, physical, and suspended.

For Dalla Corte at Thailand Coffee Festival 2024, sp/n designed a temporary pavilion that turns the booth into a strong, illuminated presence within the busy fair environment. A large black outer volume frames a bright translucent interior, creating a clear contrast between the exhibition hall and the warm working space inside. The angled wall and lightbox-like surface carry the Dalla Corte identity at an architectural scale, while the coffee counter remains open and direct for demonstration, service, and conversation. The project treats the booth not only as a display area, but as a compact stage for coffee culture, where machines, baristas, visitors, and brand atmosphere come together within one simple spatial gesture.

For F.I.X Coffee Bangna, sp/n developed the architectural design as a small café that holds two different atmospheres together. From the outside, the building appears as a quiet white volume, with simple walls, folding doors, and a recessed outdoor area that creates a calm threshold from the street. Inside, the space shifts into a more vivid condition, where colour, furniture, lighting, and the coffee bar create a lively everyday setting. The project balances restraint and playfulness, allowing the café to feel both minimal and open from the outside, while becoming warm, energetic, and social within.

Elevated Ground begins with the idea of a “Liveable Scape”, testing how the garden of Bangkok City Hall can become a public space beyond its usual operating hours. The pavilion temporarily opens the enclosed green area to the surrounding city, creating a place for meeting, conversation, information exchange, rest, and small public activities. Its roof is covered with patches of grass taken from the same language as the existing lawn, lifting the ground upward to form a light canopy that filters sunlight during the day and allows artificial light to pass through at night. As the grass dries and changes over time, the roof becomes more porous, shifting the atmosphere of the space throughout the event. Beneath it, free-form circular seating of different sizes and distances creates flexible areas for people to gather, separate, pause, or take part in discussions, allowing the pavilion to support many forms of public life in a simple and temporary way.

‘A place, a situation and the negotiation of flow(s)’ is a commentary relationship between city residents and public spaces and how people's movements can impact these spaces. The intervening space between abandoned water tank symbolizes this interplay, with the public able to define their own boundaries and flow based on personal factors like proximity and ownership. The ambiguity lines tethering the water tanks highlight this idea reflect the flow, with its fluctuation between stillness and movement and also creating a visual representation of the flow of water. After the event, all materials will be compressed into a cubic box which will serve as a chair for public spaces.

STORAGE is an artist-initiated space in Bangkok, first conceived as a private artwork storage facility before gradually expanding into a more open and versatile platform for contemporary art. Developed together with its founders, Atit Sornsongkram and Prae Pupityastaporn, sp/n designed the physical space to support temporal exhibitions, events, discussions, and art-related projects. Rather than fixing the space to a single function, the architecture allows STORAGE to shift between storage, display, gathering, and exchange, creating a flexible setting for both local and international artists and for broader conversations within the art community.

Zero Stage looks at the hotel room as a space that is repeatedly prepared, occupied, erased, and reset. Before each guest arrives, the room is arranged into a ready condition, with every object placed, cleaned, and made to appear untouched. During a stay, small traces begin to appear: a shifted chair, a mark on a surface, opened packaging, a changed TV channel, or other quiet signs of use. After check-out, these traces are removed, and the room is returned to its default state for the next visitor. The project makes this cycle visible by holding the room in an in-between condition, where presence and absence, use and erasure, preparation and memory are compressed into one stage.

Sathit’s Willing Suspension of Disbelief at Gallery VER, sp/n developed the spatial design as an immersive field of light, line, and tension. Metal slings are stretched across the room, forming shifting layers of perspective between the works and the visitor’s body. Rather than guiding movement through walls or partitions, the design uses density and transparency to create a space that feels both drawn and suspended. Visitors move through a condition where depth becomes uncertain, and the act of seeing is held between physical structure and illusion.