When we talk about sustainability, many people may think of reducing waste, recycling, or choosing environmentally friendly materials. For TODA, however, sustainability may begin with a different question:
“How can we build the future without disturbing nature?”
This question became the starting point for “Artificiality is the New Reality,” a concept developed by TODA and design studio Supermachine for its exhibition space at Architect’26. The pavilion went on to receive a Gold Award from the ASA Green Pavilion Awards under the ASA100 Sustainable Goal initiative, as well as the Thematic Pavilion of the Year 2026 award, voted for by visitors to the event.
The achievement was not the result of creating the largest or most complex pavilion. Instead, it came from a design approach that questioned the use of resources at every stage—from material selection and construction to operation and, ultimately, what would happen after the exhibition ended.
At Architect’26, TODA participated as a Thematic Pavilion, one of the event’s key exhibition formats that gives material manufacturers and designers an opportunity to interpret concepts, materials, and innovations through exhibition spaces that go beyond the traditional product booth.
For this edition, TODA collaborated with Supermachine, a design studio known for creating experiences through spatial design and conceptual architecture. The collaboration resulted in TODA ARK, a pavilion that presented the concept of “Artificiality is the New Reality” through a design that explored the relationship between materials, technology, and sustainability in the future.
When Sustainability Begins with Leaving Nature Undisturbed
Thananchai Chunsangchantra, CEO of TODA PVC Leather Co., Ltd., explains that the concept is rooted in the identity of the brand itself.
For more than 42 years, TODA has been operating in the materials industry, initially focusing on materials for the furniture sector before expanding into interior materials in recent years. Interior Film is one of its key products, developed to address pain points in interior renovation, including installation, flexibility, and the ability to transform existing spaces without completely removing what is already there.
This approach reflects TODA’s ongoing search for new alternatives in design, leading to a fundamental question: if we can create materials that meet functional needs efficiently without requiring additional extraction of natural resources, could that also be another form of sustainability?
This idea became the foundation of “Artificiality is the New Reality,” which went on to become the central concept of TODA’s exhibition space at Architect’26.
“If we look at sustainability as not disturbing nature, we believe that creating alternative materials and using them efficiently can also be another way of creating sustainability.”
When TODA began working with Supermachine, the two teams found that their approaches aligned in several ways, particularly around the idea of simplicity.
“Less is More was something we saw very clearly from the first day of the design process all the way through to the actual installation.”
Beneath its seemingly simple appearance, every element was intentionally designed to remain useful in the future. For TODA, sustainability does not end when construction is complete or when the last visitor leaves the exhibition. It needs to continue beyond the closing day.
When Every Component Is Designed to Live On
From the very beginning of the design process, TODA established a clear goal: every element within the exhibition space had to be capable of being genuinely reused.
As a result, 100% of the materials and components used in the exhibition space were given a second life.
The pavilion’s main structure was relocated and installed inside the company’s showroom, while exhibition pieces and decorative elements were distributed for continued use across multiple locations, including TODA’s Thonglor and Rama 2 showrooms, as well as brand activities in different provinces.
Even the pavilion entrance was transformed into product shelving. The lighting system used at the exhibition was brought back into the showroom, while leftover materials from the cutting and fabrication process were collected and developed into material samples for future use.
“For me, we can say that everything in the booth was reused 100%.”
This approach was not something considered only after the event. It had been incorporated into the design and construction process from the beginning.
TODA placed an emphasis on reducing waste at the source. Leftover materials from CNC cutting were repurposed, while the use of pre-finished surface materials helped reduce dust, odors, and on-site processes, allowing construction and installation to generate as little waste as possible.
What is particularly interesting is that TODA does not see a Sustainable Pavilion as something that necessarily requires higher costs. Instead, it depends more on the thinking and design process from the very beginning.
“It is not about whether it is expensive or inexpensive. It is about the interpretation and the way the designer thinks—how they can see the potential of materials and make the most effective use of them.”
This approach allows the exhibition space to continue beyond the closing day, becoming a resource that retains its value and can continue to serve a purpose in real-world use.
More Than a Pavilion: Sustainability in TODA’s Own Way
For Thananchai, participating in the ASA100 Sustainable Goal initiative was more than simply submitting a project for evaluation. It was an opportunity to demonstrate how sustainability can become real through action.
From TODA’s perspective, sustainability is not simply about choosing materials. It also means designing materials with longer lifespans, allowing them to create value continuously and reducing the need for frequent replacement.
Another point Thananchai highlights for exhibitors interested in Sustainable Exhibition Design is the importance of starting with a clear understanding of the brand’s identity.
“Exhibiting today is no longer about being grand or extravagant. It is about communicating the brand’s identity as clearly as possible. When we understand who we are, the design can naturally reflect that.”
This philosophy is clearly reflected in TODA ARK, the pavilion created through the collaboration between TODA and Supermachine as a Thematic Pavilion at Architect’26. Rather than simply showcasing products, the pavilion uses design as a tool to communicate the brand’s ideas.
The pavilion draws inspiration from Noah’s Ark, the vessel that carries life toward the future. TODA ARK takes on a similar role by carrying “the materials of the present” toward the future, through a design approach that sees materials not as single-use products, but as resources that retain value and can continue to benefit many more lives.
If Noah’s Ark is a vessel that carries life beyond the world it once knew, TODA ARK can be seen as a symbol of carrying conventional approaches to design toward a different kind of future—a future in which sustainability is not simply an idea on paper, but something designed into the process from day one and capable of continuing to create value long after an exhibition has ended.
This philosophy has also become an important consideration for the development of TODA’s future exhibition spaces. Materials and components that have already been used and reused are being prepared for further development into new experiences at Architect’27, while maintaining the core principle of sustainability.
And this is another example of what the ASA100 Sustainable Goal initiative aims to encourage within Thailand’s design and exhibition industry: exhibitors who are ready to transform sustainability from an idea into tangible action.
Space reservation for Architect’27 is now open: https://architectexpo.com/space-reservation/
