1_泰国建筑师群像╱Thai Architects（制作╱Diagram：中泰建筑研究室╱Chinese-Thai Research Studio）
泰国建筑师的地域崛起
Towards a Globalized Localism：Thai Architects
HAS design and research主持建筑师
中泰建筑研究室创始人
作为曼谷、上海两地开业建筑师，洪先生透过“设计+研究”并行的方式，探讨亚洲自身的建筑语言；事务所着重于自然与人造自然的结合，通过城市自身的衍生找到另一种“新”自然性。实践之外，他多年研究东南亚建筑，受邀担任"泰国当代建筑"在海外地区的策划执行，撰写大量建筑评论文章与专刊，被泰国外交部表扬是泰国建筑海外重要策划人。近期，洪人杰与Kulthida Songkittipakdee于泰国朱拉隆功大学教授东南亚建筑史，并于《暹罗建筑师协会期刊》发表相关研究论述。
撰文：洪人杰、Kulthida Songkittipakdee、韩嘉琦
Essay：Jenchieh Hung, Kulthida Songkittipakdee, Jiaqi Han
摘要：泰国经历1980年代的冷战与90年代的亚洲金融危机，其开发政策与境外投资虽受经济因素影响，却进而促使内部文化、创意和建筑产业的快速崛起。本文透过八间泰国建筑事务所的实践作品，理解在多元文化背景下新一世代泰国建筑家的崛起（图一）。
Abstract：The Asian cold war in the 1980s and the economic crisis in the 1990s forced Thailand to slow down its pace of development and international investment. However, the creative and architectural industries were boosted by the economic instability. The eight examples in the following are an epitome of what have been achieved by the new-generation architects in this multicultural country in Southeast Asia (Picture 1).
Keywords：Thai contemporary architecture, new-generation Thai architects, Thai-ness
1. Between Local and Global
二十世纪80年代随着东南亚冷战（Cold War）的结束，泰国社会加快其工业化与商业化的发展，除了房地产和办公楼的大量建设外，对境外投资与开发政策的调整，促使曼谷作为首都大城反应在“纵向”与“横向”两向度扩张。从纵向的垂直视角，其建筑作为实践化工具扮演城市发展与文明化成果，包括由Sumet Jumsai于1986年完工的机器人大厦（Robot Building – Bank of Asia Headquarter）和Plan Architect于1987年完工的彩虹云霄大楼（Baiyoke Tower）等现代化实践，这些项目虽受政权和经济介入导致合理与通用化的结果，却开启建筑在结构、技术和材料上不同与过往的结合方式，提供标准化与型式化的设计准则（图二）；而从横向的水平视角，其建筑作为理论性工具结合本土文化与地理气候条件，展现在空间与场所特征，如Architects 49 Limited（A49）于1988年完工的泰国人寿保险总部（Muang Thai Life Assurance & Phatra Insurance Auditorium）和外交部（Ministry of Foreign Affairs）等案，都反应环境美学与社会文化抽象性地融入空间语汇中（图三）。
2_机器人大厦╱Robot Building（设计╱Design：Sumet Jumsai）
Thailand has been expediting its industrial and commercial development ever since the Southeast Asian Cold War in the 1980s. Other than a large amount of office building constructions, Thailand’s adjustments in foreign investment and policy development facilitated Bangkok, the capital of Thailand, to expand both “vertically” and “horizontally.” On one hand, the city’s urban development and modernization are manifested through practices such as the Robot Building – Bank of Asia Headquarter by Sumet Jumsai in 1986, and the Baiyoke Tower by Plan Architect in 1987. Despite the political interference and budget limitation, these projects managed to combine new design, technology, and material to provide a standardized style in architecture (Picture 2). On the other hand, contemporary Thai architecture also presents an integration of architectural theory with the country’s culture and climate. Muang Thai Life Assurance & Phatra Insurance Auditorium and Ministry of Foreign Affairs, designed by Architects 49 Limited (A49) in 1988, are among the examples which perfectly integrate the local environmental and cultural aesthetics into the spatial vocabulary (Picture 3).
3_A49事务所╱A49 Office（设计╱Design：Architects 49 Limited）
纵横两向的发展，开启泰国建筑走向现代化发展与多样化实践的序曲，其中A49更做为先驱，将本土项目做为国际外销的媒介，打开外界对泰国现代建筑的片段认知，并先后由澳大利亚《Images Publishing》发行事务所专辑，尔后再受日本《A+U》专访出版《A49 Progressive Vernacular》，成功塑造世界对于泰国地域性、文化性、装饰性等认知（图四），但随着内在政治型态与外部经济泡沫化影响，1997年的亚洲金融危机（Asian Financial Crises）将泰国建筑推向另一个高度与分水岭。
The two-direction development guided Thai architecture into a new phase of diversity, and the achievement is first introduced to the world through projects designed by a local firm named A49. Images Publishing, an Australian magazine, released an exclusive coverage on A49, followed by an interview from Japan’s A+U, the A49 Progressive Vernacular. Through the media exposures, the unique regionalism, culture, and decorativeness of Thai architecture are introduced to international readers (Picture 4). Moreover, with the Asian Financial Crisis in 1997, the political tumult and the burst of economic bubbles led Thai architecture to a new level.
4_A49出版书籍╱A49 Publishing（制作╱Diagram：中泰建筑研究室╱Chinese-Thai Research Studio）
2. The Rise of New Thai Architecture
随着90年代金融风暴，泰国内部破产企业多达数万家，失业人数更超过270万，为了降低其后续影响，经济策略上不再依赖过往以规模、人工等大批量的生产方式，取而代之由文化创意产业为主、精致制造业与服务业为辅，并开启一连串如时尚、动画、食品、汽车和观光产业等致力于泰国在文化、社会和经济复苏。此发展计划形成双矛头的攻势，对内致力于资源挹注于创意产业，并提携设计行业在细致化、独特化和在地化发展；对外则带动国际市场的涌入，让外资企业也能投入本土设计市场，整合建筑行业在构造技术、软硬件科技、专业人才与世界的衔接升级 。
The economic crisis in 1997 left tens of thousands of companies bankrupted and more than 2.7 million people unemployed. To reduce the impact of the crisis, Thailand's reliance on mass production shifted to a strategy that focuses on creative industry supported by high-end manufacture and services. This economic reform brought a social, cultural, and economic resurgence to various industries, including fashion, animation, food, car, and tourism. On one hand, the government provided abundant resources to creative industries, along with the development of detail, uniqueness, and regionalism into the design industry. On the other, the policies encourage communication between foreign investors and the local design industry to integrate structural technologies, soft and hardware resources, as well as professional expertise in the architecture industry. Such effort successfully gains the country a foothold in today’s international arena of architecture.
前者如1998年于金融危机后创立Duangrit Bunnag Architect Limited（DBALP）的Duangrit Bunnag，在访谈中说道：「很多人不了解为何我要在经济最不理想的状态下成立事务所，但如果对商业运作有理解的话，当在最低谷的时候开跑，情况永远不会再坏。表面看在最糟糕的时候开始创业是不智取的，但对我来说却是最完美的选择，因为随着经济复苏，事务所也会随之上行。所以如果能在金融风暴时创立公司，那必定经历过最坏的情况，那么接下来的日子就不是问题 。」随后DBALP完成Costa Lanta度假酒店，该项目回避传统泰国特色的度假小屋模式，以自然景观为界面并结合材料和构筑，成功开创以感觉为主的“新泰式”高级度假村（图五）。而后者如日本丹下健三（Tange Associates）所设计并在1999年完工的曼谷城市大厦（Bangkok City Tower），以及美国JAHN建筑事务所设计的素万那普国际机场（Suvarnabhumi Airport）；其项目回避传统以经济、效率、功能为导向的办公或交通模式，相反地以采光材料、悬挑结构、循环空间开创以使用者为主的空间体系。从本土的Costa Lanta度假酒店一直到国际化的素万那普国际机场，前后开启泰国建筑师思考透明性、材料性、构筑性、空间性、社会性，并结合本土环境气候所创造之“泰国性（Thai-ness）”建筑，而这种思考的过程衍生多样化实践方式并反应在相异的地域环境下。
Duangrit Bunnag Architect Limited (DBALP) is one of the firms established after the economic crisis. The managing director Duangrit Bunnag stated in an interview: “Many people couldn’t understand why I started a business at the time of economic crisis. But, if you know how business works, you would know that things wouldn’t go worse in that kind of situation. It might look unwise to start a business at a time when the economy is limping; however, to me, it was the best choice I’ve ever made. I had enough confidence that the business would grow along with the recovery of the economy. Those who start a business in an economic downturn encounter the worst situation and will be strong enough to handle any challenges in the future.” In the Costa Lanta project, DBALP chose not to follow the cabin design that is commonly seen in traditional Thai architecture but combines nature with various materials and building techniques to create a luxury “neo-Thai-style” ambient resort (Picture 5). Thailand also attracts many international architects, such as Tange Associates, a Japanese office that designed the Bangkok City Tower built-in 1999; and American JAHN, the designer of the Suvarnabhumi Airport. These projects depart from the conventional emphasis on economical, efficient and function-led design, instead focuses on lighting materials, overhang structure, and circulation system to develop a user-friendly design. From the local Costa Lanta resort followed by the international Suvarnabhumi airport, both inspired Thai architects to further explore transparency, materiality, structure, spatial condition, sociality, as well as “Thai-ness architecture" created by the local climate. Such thinking process produces various pragmatic approaches and can be replicated under different environmental conditions.
5_Costa Lanta度假酒店╱Costa Lanta（设计╱Design：DBALP）
此文以Architectkidd、Bangkok Project Studio、Department of ARCHITECTURE、all(zone)、Walllasia、CHAT architects、Supermachine Studio、Stu/D/O Architects等八间建筑工作室展开的泰国当代实践探索。这些建筑师多半为1970年前后生，毕业于泰国朱拉隆功大学（Chulalongkorn University），尔后至欧美一流学府深造；也有部分从小受西方教育体系，并在海外工作多年，但他们一致以曼谷作为事务所根据地，不局限于区域限制与文化束缚并展现出“谦虚地自主意识”、“平和地设计策略”、“永续地营造思维”等特质。
This passage aims to explore contemporary Thai architecture through analyzing precedents designed by firms including Architectkidd, Bangkok Project Studio, Department of ARCHITECTURE, all(zone), Walllasia, CHAT architects, Supermachine Studio, and Stu/D/O Architects. Most of these architects were born around the 1970s and have completed their education first at Chulalongkorn University then at top institutes in the United States or Europe; others were educated and had been practicing abroad for many years. Despite their differences in background, all of them chose Bangkok as their base. Their ideas are all free of regional and cultural limitation, and contain qualities such as “humble autonomy,” “harmonious design strategy,” and “sustainable construction management.”
3. Thai-ness Architecture in Evolution
传统泰国建筑最突出的特征为可响应气候特质的双坡屋顶、具宗教仪式感且对称的几何布局、具耐晒植物的大片景观等，这些外向的、易于辨识的“空间性”造就大众对于泰国建筑的印象；另外像是地理特质的热带泰国建筑，如创造遮蔽空间的宽敞大屋檐、向外悬挑制造阴影的百页、表现手作工艺特质的栏杆等，其自然的、易被理解的“材料性”也强化对于泰国建筑的理解。随着本土文化的反思，泰国建筑师逐渐摆脱传统具象形式的外销手法，认为建筑本身不该是抄袭传统，而是延续历史并反映当下社会环境；这些作品反应其丰富的文化背景中所带着某种地域特色，一种不完全被现代化所改变的特质，并包含赞赏传统、反射当下和批判未来的意图。
Traditional Thai architecture is known for its unique visual features: climate-adaptive double roof, religious and symmetric layout, and dense tropical plants for shading. These easily recognized spatial conditions promoted the public understanding of Thai architecture. Other Thai-style features include the generous eaves for shading, outward shades that create shadows, and railings that show craftsmanship. These natural, easy-to-comprehend "materiality" also develops the public impression of Thai architecture. However, as the understanding of local culture deepens, Thai architects gradually derive from the literal outlook of traditional Thai architecture. Rather than copying from the traditional form, they believe it is only right to establish a continuation of the past and a reflection of the society. These projects reflect some geographical features from Thailand's diverse culture, reveals a quality that is independent of modernization, including an appreciation of the past, a response to the present, and a critical imagination of the future.
首先在Architectkidd所完成的改造案Now 26集团总部（Now 26）中，材料作为实体物件试图在压抑的都市空间中，创造一种“模糊性”来消除暹罗广场（Siam Square）周边界面的紧张感。其地块处于市中心商业区，在极少户外公众空间与极多交通干道情况下，设计以悬挑的结构楼板、外搭的白色楼梯、漂浮的三向度钢管巧妙地隔绝外部喧嚣，延续与转化周围街屋的“铁窗隔栅”，进而呈现单一元素的重复组合。此立面圆管不仅强化视觉穿透力效果，更结合通风和采光等自然要素，让室内外达到良好的连通效果；而所有的水平与垂直路径都包覆在十九公厘圆钢管中，创造如传统茅草檐口下的步行体验。在滚石美式餐厅（Hard Rock Café）、拉差达购物中心（The Street Ratchada）中，表皮不仅作为传达形式意图，更提供自然与构造物之间过渡的缓冲感（图六、七）。
6_Now 26集团总部╱Now 26（设计╱Design：Architectkidd）
First In Now 26, a renovation by Architectkidd, the material aims to create a physical ambiguity that alleviates the tension of Siam Square. Located in the central business downtown, Siam square is a public transport junction with limited open space; therefore the design employs overhang ceiling, exterior stairway, and three-dimensional steel tubes to isolate the noises from the streets. The visually penetrating tubes also serve as a continuation and transition from the metal window-railing of the surrounding street houses to reveal a repeatable single element composition. The proper ventilation and lighting design further connect the interior and exterior area as a whole. All vertical and horizontal circulations are included in the wall consisting of 19 mm tubes, simulating the traditional pedestrian experience of walking beneath the thatch eaves. In Hard Rock Café and The Street Ratchada, facade not only expresses an intentional form but also provides a buffer zone between nature and architecture (Picture 6, 7).
7_Now 26集团总部╱Now 26（摄影╱Photo：Luke Yeung）
再者从Bangkok Project Studio的大城品酒屋（The Wine Ayutthaya）项目中，胶合木作为半自然材料，在开放的景观要素中，延续并保有与环境的“共时性”。其网格状木板从墙面延伸至屋顶，一致性结合装饰与结构材料；而立面交叉构筑不仅提供多样化开口，更丰富内部光影并框构外部景观。这种以单一元素响应整体形态，并将材料作为一种情绪化、感知化和差异化媒介，最早可回溯到坎塔纳电影动画学院（Kantana Film and Animation Institute）；该项目采用手工红砖作为建筑主材料，并以连续起伏的砖墙，体现当代建筑在传统材料的新应用，复兴本土构筑工艺，进而创造建筑在郊区环境的社会性（图八、九）。
8_大城品酒屋╱The Wine Ayutthaya（设计╱Design：Bangkok Project Studio）
Next In the Wine Ayutthaya, the Bangkok Project Studio uses laminated planks as a semi-natural material to promote the continuation and “synchronization” with the environment in an open landscape. The grid-like wood panels expand from the wall to the roof, combing decorative element with structural support. The criss-cross construction on facade not only provide various openings but also enrich interior shadows and frames the exterior landscape. The use of a single element in dialogue with the overall form, and the use of material as an emotional, perceptional, and various medium can both be traced back to the Kantana Film and Animation Institute. This project employs massive handmade brick walls with undulating geometric profiles to embody a new application of traditional materials. It also indicates a revival of local techniques and an establishment of architectural sociability in a suburban context (Picture 8, 9).
9_大城品酒屋╱The Wine Ayutthaya（摄影╱Photo：Spaceshift Studio）
在Department of ARCHITECTURE的改造案泰国创意与设计中心（Thailand Creative and Design Center）中，透明性和通透性作为材料抽象化表达形式，重塑空间在老邮局（Grand Postal Building）的对比体验。该项目一方面在功能布局中置入交流、办公、展览和阅读来完善原建筑的缺失，另一方面在材料选样上以压克力、玻璃、白色角钢和间接照明来延展空间并模糊边界，进而创造不同功能内存块的“互融性”。在与Amata Luphaiboon访谈时说道：「我们尝试以建筑的方式来呈现物件、空间、景观一直到建筑整体，然而建筑离不开人的介入与感受，因此一体化（Total-ness）地场域效果往往是我们期待的结果。」这样的设计意图产生丰富的视觉并强化功能在场所中的感觉，间接地产生泰国性氛围，在芭堤雅希尔顿酒店（Hilton Pattaya）和Sinthorn住宅（Sinthorn Residence），材料作为酵素整合由外至内等复合元素（图十、十一）。
10_泰国创意与设计中心╱Thailand Creative and Design Center（设计╱Design：Department of ARCHITECTURE）
In the renovation project Thailand Creative and Design Center (TCDC) by the Department of ARCHITECTURE, transparency and permeability of material abstractly express the architectural form and establishes a contrasting experience within the historical Grand Postal Building. On one hand, the renovation employs areas for communication, office use, exhibition, and reading into the functional layout to complete the original design. On the other, acrylic and glass panels connected by white angle steel with the application of indirect lighting give rise to a visual extension effect and a “fusion” of different functional divisions. In the interview with Amata Luphaiboon, the designer said, “We attempt to display the connectedness between object, space, landscape, and the building itself. In fact, architecture is inseparable from human intervention and feelings; therefore, what we are looking for is the field-effect of “Total-ness.” Such design intention creates a diverse visual effect and intensifies the functionality in space, which indirectly creates a “Thai-ness” atmosphere. In Hilton Pattaya and Sinthorn Residence, the material is used as an enzyme to integrate interior and exterior elements (Picture 10, 11).
11_泰国创意与设计中心╱Thailand Creative and Design Center（摄影╱Photo：W Workspace）
最后从all(zone)的MAIIAM当代艺术馆（MAIIAM Contemporary Art Museum）改造案中，镜面砖作为虚体形式，溶解并软化原旧有仓库因功能需求产生的大体量，其材料除了反射和延续周围景观，更创造如光影般的“像素化”效果，围合并释放整体环境产生的动态感。相异尺寸如颗粒感的镜面砖，一方面隐喻传统泰国寺庙砖片在阳光照射下产生多样化的视觉；另一方面以镜面融合建筑与景观两者共存的叠合效果。在金汤普森农场装置（Jim Thompson Farm Installation）、光之宅（The Light House）和北榄府住宅（Phra Pradeang House）中，相异材料建构出像素化、颗粒化、片块化等抽象工艺语汇（图十二、十三）。
12_MAIIAM当代艺术馆╱MAIIAM Contemporary Art Museum（设计╱Design：all(zone)）
At last, in the renovation project of MAIIAM Contemporary Art Museum by all(zone), glossy ceramic tiles convey an abstract form that softens the original vast volume of the warehouse. The tiles not only reflects and extends through the surroundings but also creates a “pixelated” light effect, which embraces the surrounding environment and establishes a sense of movement. These particle-like mirror tiles with differences in scale, on one hand, metaphors the diverse visual effects created by brick tiles under sunlight in traditional Thai temples. On the other, uses the reflective quality of the tile to create an overlapping effect of architecture and landscape. In Jim Thompson Farm Installation, The Light House and Phra Pradeang House by all(zone), the abstract architectural vocabulary of pixelation and fragmentation is achieved through the combination of various materials (Picture 12, 13).
13_ MAIIAM当代艺术馆╱MAIIAM Contemporary Art Museum（摄影╱Photo：Soopakorn Srisakul）
在Walllasia的禅修学堂（Meditation Hub）一案中，设计透过配置、景观、材料与细部等元素，串连并整合建筑从外至内的空间体验。其尊重自然的“环境性”策略，表现在近一百间禅修宿舍被随机并有韵律的散落在四层高的建筑内部中，促使每个居室能直视山景并结合采光通风；而绿植与水池不仅取代传统围篱扶手，更创造如宗教建筑的围合感，进而提升空间的纯粹与神圣感。在Walllasia的代表作僧人宿舍（Buddhist Retreat）、朗经厅（Scripture Hall）、僧侣学校（Pordee Podee School）中，项目因地理位置和工程造价等限制，却展现空间在宽敞与明亮之中独特的包容性，响应宗教场所多样变动的弹性使用；另外结构在轻盈与浮力之间塑造强烈的失重感，进而融合环境条件达到低科技的自然建筑（图十四、十五）。
14_禅修学堂╱Meditation Hub（设计╱Design：Walllasia）
The Meditation Hub designed by Walllasia features a spatial experience integrating the interior and exterior through various design techniques, including space allocation, landscape, material, detail, and other elements. The emphasis on nature as an “environmental” strategy was manifested through approximately a hundred meditation rooms that are organically arranged within the four-story building, which results in a direct view of the mountain, proper ventilation and natural lighting. Moreover, the traditional railings are replaced by hedges and ponds, which mimic the enclosure of religious architecture to promote its pure and sacred atmosphere. Railings are replaced by hedges and ponds, which endow the space a pure and sacred atmosphere. In Buddhist Retreat, Scripture Hall, and the Pordee Podee School, Walllasia successfully achieves functional flexibility and religious inclusiveness within budget and with respect to its location. The light-weighted, floating structure further delivers a sense of weightlessness, with a fusion of environmental features to create a natural low-technology architecture (Picture 14, 15).
15_禅修学堂╱Meditation Hub（摄影╱Photo：Spaceshift Studio）
再者从CHAT architects的萨拉阿丽雅瑜伽住宅（SalaAreeya Residence）中，空间透过公共与私密的冲突组合，保有并提供郊区住宅在封闭的乡村景观中，仍带有邻里客厅“社交性”的场所可能。在Chatpong Chuenrudeemol的实践中，其设计来自在地研究名为“Bangkok Bastards”，其中针对曼谷街头摊贩（Bangkok Street Vendor）、运河上盖社区（Sahm Saen Flood Canal Community）、工人违章住宅（Construction Worker House）进行构成策略与调查分析。从这些研究不难揭露与察觉违章建筑的临时性、混乱性、移动性与需求性，但Chuenrudeemol将这些不具规则且杂交混生的原型转化为空间实践里的共享性、事件性、活动性、功能性；其创造并分化一般建筑空间中僵化的功能布局，取而代之以多样公共活动刺激并持续“衍生”的动态感知，在Ekamai住宅（Ekamai Residence）、南达遗址酒店（Nanda Heritage Hotel）等延续都市涵构进而模糊公私空间（图十六、十七）。
16_萨拉阿丽雅瑜伽住宅╱SalaAreeya Residence（设计╱Design：CHAT architects）
In SalaAreeya Residence, a project designed by CHAT architects combines public and private spaces to provide the possibility of a “public living room” in suburban housing projects. In “Bangkok Bastards,” a local practical consult project by Chatpong Chuenrudeemol, focuses on the construction strategy of the Bangkok Street Vendor, Sahm Saen Flood Canal Community, and the unapproved construction worker houses in Bangkok. The research reveals the temporality, disorder, and mobility of unapproved constructions as well as the needs of the people living in it. However, Chuenrudeemol replaces the conventional, usually rigid space allocation with a design that stimulates and enriches public life. Moreover, he transforms the hybrid, irregularly built clusters into a shared, event-evoking, movable, and functional spatial practice. The idea is further implicated In Ekamai Residence and Nanda Heritage Hotel, where a continuation of urban environment blurs the boundary of public and private spaces (Picture 16, 17).
17_萨拉阿丽雅瑜伽住宅╱SalaAreeya Residence（摄影╱Photo：Ketsiree Wongwan）
接着在Supermachine Studio的十卡塔（10 Cal Tower, The Labyrinth）一案中，空间作为迂回与漫游界面，透过对传统水平向度游乐场的质疑，进而提出“垂直化”供大众在相同场所仍保有巧遇、交流和探索的可能。其向上抬升的垂直性设施与左右悬挑的发散性结构，一方面连接邦盛（Bangsaen）海岸线景观，另一方面创造亲近绿植和眺望风景等附属价值；反映传统海边摊贩在两向度空间的扩张所产生无预期效果，进而让场所因围合效果产生放松感和舒适感。这样藉由日常空间的模拟转化，如Pitupong Chaowakul访谈说道：「我们试图避免延续单一风格在每个案子中，但这些完工项目都透漏一个共同信息─透过观察日常的社会现象，得到极简单的概念发想。」如曼谷大学学生活动中心（Bangkok University Student Activity Center）和Hubba-to共享空间（Hubba-to）等案（图十八、十九）。
18_十卡塔╱10 Cal Tower, The Labyrinth（设计╱Design：Supermachine Studio）
Next, Supermachine Studio’s 10 Cal Tower, The Labyrinth is intended as a place for people to linger and wander around. Challenging the conventional horizontal layout of amusement parks, Supermachine Studio offers a “vertical” design designated for unexpected encounters, communication, and exploration in space. The elevated vertical facilities and the divergent cantilever structure on both sides connect the park with the coastline topography, enabling users to appreciate the surrounding landscape and the scenic Bangsaen coastline. This two-directional expansion reflects an unexpected result of vendor shops along the coast, as well as creating a semi-enclosed space for relaxation. As Pitupong Chaowakul talked about this transition of everyday space in an interview: “Even though we try to avoid repetition in projects, all of our practices reveal a message: an idea usually starts with observing everyday social phenomena.” For example, the Bangkok University Student Activity Center (BUSAC) and the Hubba-to sharing space (Picture 18, 19).
19_十卡塔╱10 Cal Tower, The Labyrinth（摄影╱Photo：W Workspace）
最后由Stu/D/O Architects的那帕艺术中心（Naiipa Art Complex）案中，建筑作为与自然对话的容器，反应在现场被保留的原生树种，进而营造空间与景观间的连续体验。其向上抬升的建筑，制造底层架空的开放空间，一方面创造更多“灰空间”混合并延伸室内外的环境关系，另一方面则对传统泰式房屋多功能“Tai toon”的呼应；而具反射与折射效果的立面材料，则透过功能需求拆解并分散成大小不一的体块，不仅制造倒影效果反映景观特质，更进而提供多样化行走体验，感受自然与建筑共生共存的一体感。其以外部景观作为驱动内部空间的媒介，不免让人联想到早期Kurve 7社区购物中心（Kurve 7）、Nowhere屋顶餐厅（Nowhere）等项目，试图在极小场所中藉由内外错位所带来的空间叠加感受（图二十、二一）。
20_那帕艺术中心╱Naiipa Art Complex（设计╱Design：Stu/D/O Architects）
At last, in Naiipa Art Complex designed by Stu/D/O Architects, architecture acted as a vessel to communicate with nature, where native tree species are conserved to create a connected experience from space to landscape. The public space created by the elevated structure allows more “gray space”, and blurs the boundary between interior and exterior; it also echoes the multi-functional “Tai toon” (A Thai expression for space underneath a raised structure) of traditional Thai architecture. The façade is first constructed with materials that encourage the implication of reflection and refraction of light; then it is cut into various sizes to accommodate functional needs. Such design not only reveals the landscape qualities but also provides a diverse pedestrian experience and the feeling of oneness with nature. The idea of interior design inspired by the surrounding landscape was first demonstrated in projects like Kurve 7 and Nowhere Rooftop Restaurant. Both feature the transposition of interior and exterior in a compact space (Picture 20, 21).
21_那帕艺术中心╱Naiipa Art Complex（摄影╱Photo：Spaceshift Studio）
4. New Localism in a Global Context
在强势的全球化与英美建筑教育的影响下，多数东方国家直接受到西方现代主义的洗涤。泰国作为亚洲少数未被殖民国家，因而保有独特的在地文化与工艺技术；另外作为佛教大国，民众保有纯朴自然的善良本质，并反应在他们投入更多时间在宗教活动与庆典习俗上。在这样的背景下，泰国当代建筑突破建筑美学、建筑语义和意识形态等自我学科的限制，结合相关艺术、文学、科学、社会学、人类学、政治和经济等多种发展，其中这八间事务所不以个人风格作为建筑外销手段，反以自然与日常真实地呈现“新”传统当代历程。在21世纪的今天，当全世界网络媒体以“文化”作为贩售模式时，我们仍可从泰国建筑师的实践下，看到一股不追随国际化潮流，并试图从人为建造来整合跨越文化导向的“泰国性”建筑（图二二、二三）。
22_围墙里的僧舍╱Walled Monks' Cell（设计╱Design：Walllasia）
As it is known, Western modernism has been influential over many Asian architectural practices due to globalization and the trend of studying abroad. Among the few Asian countries which weren’t colonized, Thailand retains a large part of its unique culture and traditional architectural craftsmanship. Moreover, as a Buddhist country, Thai people are known for their friendly and straightforward quality with religious activities and festivals being a significant part of their lives. With these in the background, the cultural, political, and economic development enables contemporary Thai architecture to break through the limitations of conventional aesthetics, semantics, and ideology by incorporating art, literature, social studies, and anthropology. The eight firms mentioned above share the same philosophy of not using personal style as a means of marketing but focus their effort on creating a “new” authentic, natural architecture. As social media around the globe strive to use “culture” as a marketing strategy, this South-Asian country takes another route of building the new “Thai-ness” beyond the superficial stereotypes (Picture 22, 23).
