泰國建筑發(fā)展趨勢：從物質(zhì)性走向精神性

作者：洪人杰 中泰建筑研究室創(chuàng)始人/ Essay by Jenchieh Hung; Founder of Chinese Thai Research Studio Founder of Chinese Thai Research Studio

翻譯：韓嘉琦/ Translated by Jiaqi Han

昨日

Yesterday

2019年5月13日夜晚，英國皇家藝術(shù)學(xué)院公布一年一度的Dorfman建筑大獎(jiǎng)（Royal Academy Dorfman Award 2019 for Architecture），由泰國建筑師Boonserm Premthada所獲得。隨后知名建筑互連網(wǎng)dezeen頭條報(bào)導(dǎo)──誰是Boonserm Premthada？并透過五個(gè)作品讓大眾視角從歐美日轉(zhuǎn)移到東南亞與泰國。

On the night of May 13, 2019, the Royal Academyof Arts announced the annual Royal Academy Dorfman Award 2019 for Architecture, which was won by the Thai architect Boonserm Premthada.Then the well-known architecture and design magazine Dezeen reported on its headline — "Who is Boonserm Premthada?" This article shifted the public's attention from Europe, America, and Japan to Southeast Asia and Thailand through just five works.

事實(shí)上，這并不是泰國當(dāng)代建筑第一次在國際上嶄露頭角。若把視角回朔至2010年前后，不管是位于曼谷市中心的MahaNakhon大廈、Central Embassy商場，或是瑰麗酒店（Rosewood Hotel）、The Met公寓，皆是令人嘆為觀止的國際建筑大師作品；然而就在外部喧囂的吵雜聲中，泰國本土建筑也有著驚人展現(xiàn)并廣泛獲得國際建筑界的注目與關(guān)注，如2016年P(guān)atama Roonrakwit獲得法國可持續(xù)建筑大獎(jiǎng)（Global Award for Sustainable Architecture）、Chatpong Chuenrudeemol于2015年底與日本TOTO聯(lián)合出版《The Asian Everyday: Possibilities in the Shifting World》等皆是明證。

In fact, this is not the first time that contemporary Thai architecture has shined internationally.Looking back to around 2010, whether it is the MahaNakhon Building in downtown Bangkok, the Central Embassy, Rosewood Hotel and The Met, are all remarkable works designed by well-known international architects. However, In the noise of the outsiders, the local architecture of Thailand also has outstanding achievements and has attracted the attention of the international architectural community. For example, Patama Roonrakwit won the Global Award for Sustainable Architecture in 2016, Chatpong Chuenrudeemol at the end of the year 2015 jointly publicized with the TOTOThe Asian Everyday: Possibilities in the Shifting World and etc.

但是，關(guān)于泰國當(dāng)代建筑的發(fā)展究竟要從哪個(gè)時(shí)間點(diǎn)與位置開始閱讀？又要從哪個(gè)分水嶺切入？

However, from which point in time and location should the reading of the development of contemporary Thai architecture begin? Which turning point should one cut into?

按照Pirasri Povatong教授于暹羅建筑師協(xié)會期刊（The Architectural Journal of The Association of Siamese Architects under Royal Patronage）所發(fā)表的論述，現(xiàn)代建筑在泰國并不是一個(gè)自然產(chǎn)生的現(xiàn)象，而是“進(jìn)口的”。最早的現(xiàn)代化建筑運(yùn)動(dòng)，可以回溯到19世紀(jì)80年代，由于皇家策略許多義大利與英國建筑師紛紛來到曼谷建設(shè)，但礙于工業(yè)化與生產(chǎn)技術(shù)的落后，因而造就西方新古典主義與“適應(yīng)熱帶氣候”所結(jié)合成另一種新本土建筑風(fēng)格。Western neo-classicalism and adapting to tropical climate into a new type of regional architecture style.

西方與本土在建筑之間的“嫁接”關(guān)系，在第二次世界大戰(zhàn)后更為明顯。1960年代國際風(fēng)格與現(xiàn)代主義運(yùn)動(dòng)的影響，多數(shù)泰國建筑師至海外留學(xué)并受到法國柯布西耶、巴西或日本等建筑形式啟發(fā)，其中最具代表性的為Chira Silpakanok所設(shè)計(jì)的斯卡拉劇院（Scala Theatre）。該劇院不僅表達(dá)混凝土在20世紀(jì)作為結(jié)構(gòu)與空間的完美結(jié)合，對應(yīng)熱帶氣候的曼谷更采用懸挑屋頂和架空外廊作為遮陽策略。

The "grafting" relationship between the West and the Thai regional architecture was more evident after the Second World War. Influenced by the international style and the modernist movement in the 1960s, many Thai architects studied abroad and were inspired by architectural forms such as from Le Corbusier of France, Brazil, and Japan, the most representative of their works was the Scala Theatre designed by Chira Silpakanok. The theater not only expresses concrete as the perfect combination of structure and space in the 20th century but also adopts a cantilevered roof and an overhead gallery as a shading strategy for the tropical climate of Bangkok.

但真正的泰國當(dāng)代建筑，抑或說能代表泰國本土的、地域的當(dāng)代建筑則以1997年亞洲金融危機(jī)（Asian Financial Crises）這條分水嶺作為界線。受到金融風(fēng)暴影響，泰國工業(yè)化與商業(yè)化開發(fā)瞬間崩盤，房地產(chǎn)、超高層辦公、大型商場等開發(fā)受到直接影響，多數(shù)建筑事務(wù)所停運(yùn)或大量裁員，這個(gè)現(xiàn)象一直到2005年前后社會經(jīng)濟(jì)才逐漸走出陰霾（圖1）。

But the real authentic Thai contemporary architecture, or Thailand's local and modern regional architecture, based on the 1997 Asian Financial Crises as a turning point. Affected by the financial turmoil, Thailand's industrialization and commercial development collapsed instantly. The development of real estate, high-rise office buildings, and large-scale shopping malls was directly affected. Most of the architecture firms were either shut down or laid off a large number of employees. This phenomenon continued until around 2005 when the economy gradually stepped out of the haze (Picture 1).

圖1：泰國當(dāng)代建筑師╱Thai Architects（制作╱Diagram：中泰建筑研究室╱Chinese Thai Research Studio）

According to Professor Pirasri Povatong's article in The Architectural Journal of The Association of Siamese Architects under Royal Patronage, modern architecture is not a natural phenomenon in Thailand, but rather "imported." The earliest modern architectural movement can be traced back to the 1880s. Due to the imperial strategy, many Italian and British architects came to Bangkok to build architecture, but with the backwardness in industrialization and production technology, it combined

圖2：圍墻里的僧舍/ Walled Monks' Cell（攝影/ Photo：Spaceshift Studio）

圖3：曼谷十宅/ TEN House（攝影/ Photo：Spaceshift Studio）

然而，在這個(gè)時(shí)間斷點(diǎn)中，泰國當(dāng)代建筑并非停擺，相反地房地產(chǎn)受經(jīng)濟(jì)影響未介入建筑領(lǐng)域，因而讓本土實(shí)踐有很好的發(fā)揮性。如Suriya Umpansiriratana（圖2）于1999年開始替佛寺（Wat Khao Buddhakodom）修建屋頂與排水系統(tǒng)，后續(xù)更完成僧人宿舍（Buddhist Retreat、Walled Monk’s Cell）、佛學(xué)博物館（Museum）、佛寺學(xué)校（Priest Educational Building）和朗經(jīng)廳（Scripture Hall），其中圍墻里的僧舍（Walled Monk’s Cell）更獲得英國《Architectural Review》的AR 新銳建筑獎(jiǎng)（AR Emerging Architecture Awards）；另外像是Patama Roonrakwit于1996年 成 立Community Architect for Shelter and Environmental（CASE），事務(wù)所致力于改善貧民窟與社區(qū)住房項(xiàng)目，后續(xù)更完成曼谷十宅（TEN House）并獲得泰國文化部所頒發(fā)的Silpathorn建筑獎(jiǎng)（Silpathorn Award）等，皆反應(yīng)泰國當(dāng)代建筑在經(jīng)濟(jì)影響下，建筑師仍獨(dú)樹一幟并建立起與國際對話的實(shí)力（圖3）。

However, in this time breakpoint, the contemporary architecture in Thailand is not a lockout. On the contrary, under the pressure of economics, real estate did not involve in the architecture field, thus providing the architecture industry with the opportunity of developing regional practice.

For example, Suriya Umpansiriratana began to build a roof and drainage system for Wat Khao Buddhakodom in 1999, followed by the Buddhist Retreat, Walled Monk's Cell, Museum, Priest Educational Building, and the Scripture Hall, in which the Architectural Review awards the Walled Monk's Cell the AR Emerging Architecture Awards (Picture 2). Another example is the Community Architect for Shelter and Environmental (CASE) established in 1996 by Patama Roonrakwit, and the firm is committed to improving slum conditions and community housing projects, followed by the completion of the TEN House in Bangkok, and the Silpathorn Award from the Thailand Ministry of Culture (Picture 3). All were reflecting that Thai architects still stand out and possess the strength of dialogue with the international community even under the economic pressure.

今日

Today

泰國建筑不僅獲得歐美建筑學(xué)者的關(guān)注外，在中國也有實(shí)踐與學(xué)術(shù)的同步躍進(jìn)。前者如Spacetime Architects在北京長城腳下的公社所完成大通鋪（Shared House）一案，和近年由Department of ARCHITECTURE在河南省所完成的鄢陵建業(yè)花滿地溫泉酒店（MIST Hot Spring Hotel），皆是從建筑到室內(nèi)一體化的完整設(shè)計(jì)（圖4）；后者如廣州市城市規(guī)劃展覽中心舉辦亞洲至今最大的泰國建筑展──本土進(jìn)化論：泰國當(dāng)代建筑群展（Thainess:Thai Contemporary Architecture Exhibition），總面積700平方米，共12間泰國建筑事務(wù)所、18位建筑師參展（圖5）。

Contemporary architecture in Thailandnot only receives the attention of Western architects but also has a leap forward in practice and academics in China. The former, such as the Shared House at the Commune By The Great Wallin Beijing by Spacetime Architects, and the MIST Hot Spring Hotel, which was completed in Henan by the Department of ARCHITECTURE in recent years,pursued an integration from architecture to interior design (Picture 4). The latter, Guangzhou Urban Planning Exhibition Center hosted the biggest Thai architecture exhibition in Asia — Thainess: Thai Contemporary Architecture Exhibition — with a total area of 700 square meters, 12 Thai architectural firms and 18 architects participated in the exhibition (Picture 5).

在這一系列建筑實(shí)踐與學(xué)術(shù)歷程中，泰國建筑師發(fā)展出兩條清晰的路線。一條是“抽象的社會實(shí)踐主義”，以Theeraphon Niyom、Boonserm Premthada、Patama Roonrakwit、Suriya Umpansiriratana和Chatpong Chuenrudeemol為代表，他們完成老人醫(yī)院、社區(qū)學(xué)校、社會住宅、佛教寺廟、城市空間研究，并透過竹、木、磚、混凝土等當(dāng)?shù)亓畠r(jià)材料展現(xiàn)文化與地域的深層探索。

In this series of architectural practice and academic journeys, Thai architects have developed two clear routes. One is the "social practice" represented by Theeraphon Niyom, Boonserm Premthada, Patama Roonrakwit, Suriya Umpansiriratana, and Chatpong Chuenrudeemol, who completed the spacial analysis of hospitals for the elderly, community schools, social housing, Buddhist temples, as well as urban spaces, and through local, inexpensive materials such as bamboo, wood, brick, and concrete to reveal an in-depth exploration of culture and region.

在這個(gè)群組中，建筑師透過對鄉(xiāng)土的轉(zhuǎn)譯，不管在語匯、風(fēng)格或構(gòu)筑上皆累積足夠的自信與企圖，足以抗衡西方世界所帶來的現(xiàn)代建筑觀。當(dāng)中還包含鮮少以研究為導(dǎo)向的建筑實(shí)踐，譬如Chatpong Chuenrudeemol的曼谷雜種（Bangkok Bastards）──研究記錄非正規(guī)建筑類型，其多數(shù)為臨時(shí)廢棄物所搭建，呈現(xiàn)城市擴(kuò)張或自主需求下的風(fēng)俗特色與行為意識，典型案例包括工人臨時(shí)住宅（Temporary Construction Worker House）、水邊違建棚屋（Waterside Shanties）和窗簾汽車旅館（Curtain Sex Motel）等。研究不僅反應(yīng)曼谷這座城市鮮為人知的一面，還作為設(shè)計(jì)方法體現(xiàn)在不同于歐美日的建筑實(shí)踐，并表現(xiàn)在南達(dá)遺址酒店（Nanda Heritage Hotel）、薩拉阿麗雅瑜伽住宅（SalaAreeya Residence）、薩姆森街酒店（Samsen Street Hotel），建筑作為保護(hù)內(nèi)部空間的軀殼，一方面回避外部吵雜的街道環(huán)境，另方面提供完善社交活動(dòng)作為私人與公共兩者的聯(lián)系（圖6）。

In this group, the architects can accumulate sufficient confidence and attempt in vocabulary, style or construction through the translation of the native land, which is enough to counter the modern architectural concept brought by the Western world. It also contains few research-oriented architectural practices, such as the Bangkok Bastards of Chatpong Chuenrudeemol, which records the types of unconventional architecture, most of which are built from temporary wastes, presenting urban expansion or local customs and behaviors under autonomous demand. Typical examples include the Temporary Construction Worker House, the Waterside Shanties, the Curtain Sex Motel, etc. The study not only reflects the little-known side of the city of Bangkok but also serves as a design method in architectural practice different from that of Europe, the United States, and Japan. Such an idea is shown in the Nanda Heritage Hotel, SalaAreeya Residence, and the Samsen Street Hotel, where the architecture as a shell protects the interior space from the noisy street environment as well as integrates social activities as a linkage between private and public spaces (Picture 6).

另一條是“批判的城市實(shí)用主義”，以Nithi Sthapitanonda、Duangrit Bunnag、Amata Luphaiboon、Vasu Virajsilp、Pitupong Chaowakul為代表，他們項(xiàng)目多半以辦公樓、社區(qū)商場、度假酒店、餐廳酒吧為主。設(shè)計(jì)上不僅滿足業(yè)主需求外，還結(jié)合可被感知的“泰國性（Thai-ness）”氛圍作為空間特徵，并藉由應(yīng)對地理和氣候特性等條件，反應(yīng)在商業(yè)功能和運(yùn)贏技術(shù)要求極高的建筑中，進(jìn)而讓實(shí)用性建筑帶著獨(dú)特型式語匯（圖7）。

The other route is the "Critical Urban Pragmatism," represented by Nithi Sthapitanonda, Duangrit Bunnag, Amata Luphaiboon, Vasu Virajsilp, and Pitupong Chaowakul. Most of their projects are office,community malls, resorts, restaurants, and bars. The design not only meets the needs of the clients but also combines the perceivable "Thai-ness" atmosphere as a spatial feature. Considering the geographic and climate characteristics in the designs of highly demanding architecture with commercial functions and operational strategy, which provides a practical building with a unique typology (Picture 7).

最具代表的是Pitupong Chaowakul的十卡塔（10 Cal Tower, The Labyrinth），該項(xiàng)目打造了一座立體化的社區(qū)配套設(shè)施，讓大人和小孩在參與的過程中獲得交流與玩樂的可能；此設(shè)計(jì)獲選2015年英國《Architectural Review》的AR 新銳建筑獎(jiǎng)外，作為評審的英國建筑師David Adjaye更贊揚(yáng)：“這不僅是個(gè)雕塑，更是以建筑元素詮釋設(shè)計(jì)概念和哲學(xué)理念?！?/p>

The most representative is Pitupong Chaowakul's 10 Cal Tower, The Labyrinth, which creates a three-dimensional community facility that allows adults and children to gain communication and

playfulness in the process of participation; this design In addition to being selected as the AR Emerging ArchitectureAward of the 2015 British Architectural Review, David Adjaye, a British architect who was the judge of the award, praised: "What was very clear is that it wasn't a sculpture - it was actually programmatically aware of using elements of architecture and conceptual and philosophical ideas about architecture."

圖4：鄢陵建業(yè)花滿地溫泉酒店/ MIST Hot Spring Hotel（攝影/ Photo：W Workspace）

圖5：泰國當(dāng)代建筑群展/ Thai Contemporary Architecture Exhibition（設(shè)計(jì)/ Design：HAS design and research）

圖6：薩姆森運(yùn)河棚戶區(qū)/ Samsen Canal Shanty（研究/ Research：CHAT architects）

這個(gè)建筑以強(qiáng)烈的批判性指出為何當(dāng)下社區(qū)配套空間總是乏人問津，其帶著對未來的理解勾勒出豐富的活動(dòng)彈性。著名泰國攝影師Pirak Anurakyawachon也表示：“這是一座在運(yùn)動(dòng)的建筑。該項(xiàng)目不僅增進(jìn)社會關(guān)系，更展示空間的多樣性──不見得僅存在高效的最短路徑，也可以是鼓勵(lì)漫游和散步所帶來的快樂。這是個(gè)可進(jìn)行探索、聚會和共度時(shí)光的場所，在這里建筑具有多種的可能?！?/p>

The building sharply criticized why the current community supporting space is always lacking in interest, and its understanding of the future outlines diverse activity flexibility. The famous Thai architecturalphotographer Pirak Anurakyawachon also commented: "This is an architecture of active movement. It is an architecture that can be used to enhance social interaction and engagement. In this way, the winning project shows us what architecture can be and can promote: not just linear journeys based on the most efficient route or the fastest track, but rather delight in ebb, flow, and meander. It is a place for the community to explore, meet, and spend time together. There is possibilities here."

從抽象的社會實(shí)踐主義到批判的城市實(shí)用主義，反應(yīng)了泰國建筑實(shí)踐越來越重視“思考的過程”。這樣的理解有助于哲理性的設(shè)計(jì)思考與注重實(shí)效性的生產(chǎn)過程相結(jié)合，并發(fā)展出具啟發(fā)的意識型態(tài)。

From social practice to critical urban pragmatism, it revealed that Thai architectural practice is paying more and more attention to the "thinking process." This understanding helps to combine philosophical design thinking with a pragmatic production process and together develop an inspiring ideology.

明日

Tomorrow

2020年泰國創(chuàng)意與設(shè)計(jì)中心（Thailand Creative and Design Center,TCDC）將主辦曼谷設(shè)計(jì)周（Bangkok Design Week）外，也將擴(kuò)展TCDC到其他城市，并透過一系列競賽提升本土設(shè)計(jì)師思考建筑與環(huán)境兩者的平衡性，進(jìn)而發(fā)展出“設(shè)計(jì)外輸”的實(shí)力。除此之外，曼谷也即將開放大規(guī)模的地鐵線并結(jié)合公共建筑與城市開發(fā)，包括由著名開發(fā)商MQDC（Magnolia Quality Development Corporation Limited）與英國建筑師Foster +Partners聯(lián)合規(guī)劃設(shè)計(jì)的The Forestias──結(jié)合森林、養(yǎng)老、住宅、商業(yè)和辦公并串連東部經(jīng)濟(jì)走廊（Eastern Economic Corridor, EEC），從而發(fā)展出“地區(qū)國際化”的潛力。

In 2020, the Thailand Creative and Design Center (TCDC) will host the Bangkok Design Week,which will also expand to other cities and encourage local designers to consider the balance between architecture and environment through a series of competitions, further developing the ability of "design export." In addition, Bangkok is also about to open a large-scale subway line combined with public buildings and urban development, including The Forestias, jointly designed by the famous developer Magnolia Quality Development Corporation Limited (MQDC) and British architect Foster + Partners.Combining forests, pensions, housing, commerce, and office as well as connection to the Eastern Economic Corridor (EEC), to develop the potential for "regional internationalization."

不管是本土發(fā)展所形成的“縱向生長”，抑或是銜接國際所升級的“橫向移植”，基本上反應(yīng)內(nèi)化與外移兩種現(xiàn)象。若先從縱向生長的本土進(jìn)化層面探討，Architects 49 Limited（A49）與Plan Architect無疑是栽培當(dāng)今一批中堅(jiān)建筑師的先驅(qū)，曾在這兩間事務(wù)所任職而后獨(dú)立的包括Duangrit Bunnag Architect Limited（DBALP）、all(zone)、Stu/D/O Architects和M Space、IDIN Architects等。他們作品呈現(xiàn)地域風(fēng)格在時(shí)間向度上的蛻變外，更以“針灸式”設(shè)計(jì)策略活化城市，并介入邊緣獲取從建筑師、業(yè)主到施工單位等三方平行的工作模式（圖8）。

Whether it is the "vertical growth" formed by local development or the "horizontal transplantation"

that is enhanced by the global interaction, it essentially reflects the phenomena of internalization and external migration. If one first explores the local evolutionary aspects of vertical growth, Architects 49 Limited (A49) and Plan Architect are undoubtedly pioneers in the cultivation of today's elite architects in Thailand. Many have served in these two firms and then started independently, including Duangrit Bunnag Architect Limited (DBALP), all(zone), Stu/D/O Architects and M Space, IDIN Architects,etc. Their works reveal not only the transformation of regional style in time dimension but also the"acupuncture-style" design strategy that is adapted to activate the city context and aims to obtain a parallel work pattern from architects, clients to constructions (Picture 8).

譬如A49的廠房改造項(xiàng)目49 HUB中，設(shè)計(jì)透過自然和人造光的結(jié)合，最小化影響舊結(jié)構(gòu)在場地中的歷史感，進(jìn)而讓新生倉庫群相互融合并作為文化地標(biāo)。另外在M Space的DADFA社區(qū)商場（DADFA）也秉持著低技工藝與社區(qū)公園的概念，外墻以穿孔鋁板和預(yù)制磚形成遮陽屏幕，內(nèi)部以樹林與商店交錯(cuò)的方式，塑造具有自明性的社區(qū)商業(yè)。上述之外，Walllasia和IDIN Architects兩事務(wù)所也在偏遠(yuǎn)區(qū)域致力于在地材料的建構(gòu)探索，前者如禪修學(xué)堂（Meditation Hub）采用低技廉價(jià)工人，因而在空間中產(chǎn)生兩種對比效果──粗獷清苦的共享場所與平滑優(yōu)雅的宿舍空間，從而讓冥想的過程得到平和的心靈歸屬。后者譬如位于清萊的翠峰咖啡茶館（Chouifong Tea Café）采用大量本地材料并結(jié)合工人熟識技術(shù)，不僅為當(dāng)?shù)剞r(nóng)民提供工作機(jī)會，讓他們不必遠(yuǎn)離家鄉(xiāng)外，更營造出隨地形起伏的構(gòu)筑物，從而讓人感受到茶園環(huán)境之美。

For example, in the 49 HUB factory renovation project by A49, the design incorporated minimal alteration to the sense of history created by the old buildings on-site through the use of natural and artificial light, which also allowed the new warehouses to merge with the old and serve as cultural landmarks. Moreover, DADFA designed by M Space, also adheres to the concept of low-tech crafts and community parks. The exterior walls are sunshades made of perforated aluminum panels and prefabricated bricks. The interior is a self-evident community business shown through the intertwine of trees and shops.

接著從橫向移植的國際地域化而論，Architectkidd和Studiomake無疑是最具特色的事務(wù)所，他們分別在加拿大與美國完成建築學(xué)業(yè)后來到泰國開執(zhí)業(yè)深耕十多年。工作室從設(shè)計(jì)到制作的流程中，他們結(jié)合獨(dú)特的構(gòu)筑、技術(shù)、材料與工藝，因而發(fā)展出可讓西方閱讀和理解的建筑，但精神本質(zhì)卻是東方的意境（圖九）。在Mega景觀步行橋（Megapark）和中泰合作學(xué)院（Guan Yin Pavilion）中，具節(jié)奏的立面韻律和多變化的材料組構(gòu)讓建筑在城市肌理中，有效模糊周圍人為環(huán)境進(jìn)而創(chuàng)造出鮮明的場所精神；在建筑細(xì)節(jié)上，透過材料加工和預(yù)制模塊化生產(chǎn)，達(dá)到本土與西方在技術(shù)上的雙重結(jié)合，從而發(fā)展出差異且多樣化的建筑表情與構(gòu)筑肌理。

In addition, Walllasia and IDIN Architects are also working on the exploration of construction materials in remote areas. The former, such as the Meditation Hub, use low-tech and cheap workers, resulting in two contrasts in space. The raw and tough shared space versus the smooth and elegant dormitory space to gain a peaceful spiritual belonging in the process of meditation. The latter, such as the Choui Fong Tea Café in Chiang Rai, uses a large amount of local materials combined with workers' familiar skills, not only provide jobs for local farmers, so that they do not have to stay away from home, but also create structures that are undulating with the terrain, which establishes the sense of beauty in tea garden environment.

圖7：普吉島納卡酒店/ The Naka Phuket（攝影/ Photo：W Workspace）

圖8：德卡泊克度假酒店/ De Capoc Resort（攝影/ Photo：Depth of Field, DOF）

Then, from the "horizontal transplant" of global regionalization, Architectkidd and Studiomake are undoubtedly the most distinctive firms. Both completed architecture studies in Canada and the United States and later to Thailand to practice for more than ten years. From the design to the production process, the studio combines unique construction,technology, materials and craftsmanship to develop an architecture that can be read and understood by the West,but with the spiritual essence being the artistic conception of the East (Picture 9). In the Megapark and the Guan Yin Pavilion, the rhythmic facade and various material fabrication allow the building to be in the urban texture, effectively blurring the surrounding humanmade artificial environment and creating a distinct spirit of the place. In the architectural details, through material processing and prefabricated modular production to achieve the dual combination of local and Western technology, thus developing a distinctive and diverse architectural expression and construction texture.

另 外，Spacetime Architects和Research Studio Panin兩間事務(wù)所也在扁平社會中創(chuàng)造“現(xiàn)代鄉(xiāng)土”并存的可能性。前者Spacetime Architects與TK Studio合作的MetroForest項(xiàng)目，在原有垃圾堆填區(qū)中重塑自然森林場景，種植近六萬多株樹木并以當(dāng)?shù)啬鄩K打造高達(dá)8米的夯土墻景觀，塑造同質(zhì)城市中的差異鄉(xiāng)土化；后者如House LT（LT住宅）在無涵構(gòu)的郊野環(huán)境中，以鄉(xiāng)村景觀和老材料建立圍合的記憶場所，營造可被感知的泰國性空間（圖10）。

In addition, Spacetime Architects and Research Studio Panin also create the possibility of "modern rural" coexisting in a flattened society. The former, Spacetime Architects and TK Studiocollaborated on the Metro Forest project to reshape natural forest scenes in the existing landfills, planting nearly 60,000 trees and build up to 8 meters of rammed earth walls with local mud, landscape shapes the differences in the homogeneity of the city; the latter, such as House LT, creates an enclosed memory space with rural views and old materials in an unconstructed country environment, creating a sense of perceivable "Thai-ness" space (Picture 10).

不管在“縱向生長”或“橫向移植”，泰國建筑實(shí)踐展示當(dāng)西方文化輸出到世界各地和東南亞國家時(shí)，建筑不全然成為殖民政策的一部分。此外，在當(dāng)今高度均質(zhì)化發(fā)展的亞洲城市中，曼谷、清邁、大城和芭提雅等地域文化與可持續(xù)發(fā)展的結(jié)合具有優(yōu)異的成就，甚至部分建筑師遠(yuǎn)離首都，轉(zhuǎn)向支持地區(qū)發(fā)展的建筑設(shè)計(jì)，從探索文化進(jìn)而塑立建筑新認(rèn)同。在過去的十多年間，泰國建造了真正具有本體要素且創(chuàng)新的建筑，這些建筑不止于遵循各種法規(guī)的要求，也引導(dǎo)官僚政府的決策準(zhǔn)則，并透過空間語匯、材料構(gòu)筑、建構(gòu)型式來回應(yīng)自然氣候和人為社會等問題。無論這些建筑師的影響力如何，這些建筑都將成為泰國和海外建筑師們的未來指引。

Regardless of "vertical growth" or "horizontal transplant," Thai architectural practice shows when Western culture is exported to all parts of the world and Southeast Asian countries, architecture is not fully part of colonial policy. Besides,in today's highly homogenized Asian cities, the combination of regional culture and sustainable development in Bangkok,Chiang Mai, Ayutthaya, and Pattaya has achieved outstanding achievements. Some architects even moved away from the capital to support the development of regionalism in architectural design, aiming to establish a new identity of architecture through the exploration of culture. Over the past decade or so, Thailand has built architectures that are truly intrinsic and innovative. These buildings not only follow the requirements of various regulations, but also adjust the attitude of developers and government, yet through spatial vocabulary, material construction, and structure to respond to issues such as natural climate and humanmade society, etc. Despite the influence of these architects, the buildings will be the future guide for Thai as well as global architects.

圖9：拉差達(dá)購物中心╱The Street Ratchada（攝影╱Photo：W Workspace）

圖10：LT住宅╱House LT（攝影╱Photo：Spaceshift Studio）