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Mae On Art Forest
Mae On Art Forest
Mae On District, จ.เชียงใหม่, Thailand
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Mae On Art Forest
Mae On District, จ.เชียงใหม่, Thailand
Firm
STATUS
Built
YEAR
2026
SIZE
3000 sqft - 5000 sqft
BUDGET
$10K - 50K
Mae On Art Forest Museum is located within a teak forest in Mae On District, Chiang Mai. The site serves as both a natural landscape and the working ground of Ajarn Peerapong, a 70-year-old sculptor who relocated from the city to live near a protected forest. The existing house was deteriorated, relying on groundwater and limited electricity typical of hillside conditions. Daily life and artistic practice follow these constraints directly.
As both son and architect, the project became a process of family care and a period of understanding between life, art, and architecture. The former wooden house in the city was completely dismantled, with every component carefully removed without becoming waste, and transported to the forest without prior selection. Materials, memories, and deteriorated elements were gradually separated through use. Some were reintroduced into the architecture, while others were reserved for future artistic work. The process did not begin with a fixed intention to reconstruct the house, but developed through step-by-step decisions based on necessity and lived conditions.
The structural system combines traditional timber craftsmanship with contemporary steel under the constraints of limited access to materials and labor. Timber columns that were too short were extended. Rafters from the old house were paired and reinforced with steel dowels. Steel was introduced only where additional stability was required.
Materials were reused by adapting to their actual condition. Thin wooden wall panels were layered to improve resistance to water and insects. When reclaimed timber was no longer sufficient, wood from temporary structural bracing was reused instead of being discarded. Broken corrugated concrete roof sheets were cut into smaller pieces to allow layering and easier installation along curved walls. Rusted corrugated metal sheets with perforations were used as a sub-layer beneath roofs made of dried leaves collected from surrounding deciduous trees. Some structural posts were sourced from fallen teak trees on site.
Necessary new materials were sourced within a five-kilometer radius to reduce transport. Small steel sections were combined to maintain a lightweight structure. Construction relied largely on local villagers.
All components were sorted and reassigned. Nail marks, weathered surfaces, and irregular coloration remain visible as part of the architectural expression.
The plan is largely open, directly connected to the landscape. Enclosed spaces are reduced to five circular rooms arranged around the building, loosely defining boundaries. Long-span structures support the main working and exhibition areas. Roof height establishes spatial hierarchy: higher volumes for large-scale sculptures and even light distribution, lower volumes for everyday activities at a more human scale.
Sleeping areas are kept to a minimum and can expand to accommodate visiting artists, connecting to semi-outdoor spaces.
The front lawn accommodates works exposed to weather, while the teak forest becomes an exhibition ground at a landscape scale. Movement through the site gradually shifts perception through light, shadow, climate, wind, and time.
Materials that could not be reused in construction were not discarded. Some timber was used as fuel for daily life, providing heat during colder periods and for cooking, allowing materials to remain in use.
Natural stones from the site and nearby areas were used for both structural purposes and sculpture. When not yet in use, they were arranged to form firebreaks during the dry season, stabilize the ground, and define circulation paths.
The project addresses sustainability through the use of available resources, reducing waste, transport, and unnecessary intervention. Unused materials are retained for future use. The site operates as a continuous system.
Within the teak forest, architecture exists alongside sculpture, landscape, and daily life. Visitors experience the space through their own movement and perception.
As both son and architect, the project became a process of family care and a period of understanding between life, art, and architecture. The former wooden house in the city was completely dismantled, with every component carefully removed without becoming waste, and transported to the forest without prior selection. Materials, memories, and deteriorated elements were gradually separated through use. Some were reintroduced into the architecture, while others were reserved for future artistic work. The process did not begin with a fixed intention to reconstruct the house, but developed through step-by-step decisions based on necessity and lived conditions.
The structural system combines traditional timber craftsmanship with contemporary steel under the constraints of limited access to materials and labor. Timber columns that were too short were extended. Rafters from the old house were paired and reinforced with steel dowels. Steel was introduced only where additional stability was required.
Materials were reused by adapting to their actual condition. Thin wooden wall panels were layered to improve resistance to water and insects. When reclaimed timber was no longer sufficient, wood from temporary structural bracing was reused instead of being discarded. Broken corrugated concrete roof sheets were cut into smaller pieces to allow layering and easier installation along curved walls. Rusted corrugated metal sheets with perforations were used as a sub-layer beneath roofs made of dried leaves collected from surrounding deciduous trees. Some structural posts were sourced from fallen teak trees on site.
Necessary new materials were sourced within a five-kilometer radius to reduce transport. Small steel sections were combined to maintain a lightweight structure. Construction relied largely on local villagers.
All components were sorted and reassigned. Nail marks, weathered surfaces, and irregular coloration remain visible as part of the architectural expression.
The plan is largely open, directly connected to the landscape. Enclosed spaces are reduced to five circular rooms arranged around the building, loosely defining boundaries. Long-span structures support the main working and exhibition areas. Roof height establishes spatial hierarchy: higher volumes for large-scale sculptures and even light distribution, lower volumes for everyday activities at a more human scale.
Sleeping areas are kept to a minimum and can expand to accommodate visiting artists, connecting to semi-outdoor spaces.
The front lawn accommodates works exposed to weather, while the teak forest becomes an exhibition ground at a landscape scale. Movement through the site gradually shifts perception through light, shadow, climate, wind, and time.
Materials that could not be reused in construction were not discarded. Some timber was used as fuel for daily life, providing heat during colder periods and for cooking, allowing materials to remain in use.
Natural stones from the site and nearby areas were used for both structural purposes and sculpture. When not yet in use, they were arranged to form firebreaks during the dry season, stabilize the ground, and define circulation paths.
The project addresses sustainability through the use of available resources, reducing waste, transport, and unnecessary intervention. Unused materials are retained for future use. The site operates as a continuous system.
Within the teak forest, architecture exists alongside sculpture, landscape, and daily life. Visitors experience the space through their own movement and perception.
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