走向新“泰國(guó)性”建筑

作者：Kulthida Songkittipakdee 泰國(guó)HAS design and research主持建筑師/ Essay by Kulthida Songkittipakdee; Principal Architect of HAS design and research, Thailand

翻譯：鄭鳳珠、韓嘉琦/ Translated by Nancy Zheng, Jiaqi Han

校對(duì)：洪人杰/ Proofread by Jenchieh Hung

圖1：泰國(guó)皇家檔案中心/ Royal Archive Center（攝影/ Photo：Teerawat Winyarat）

圖2：那帕藝術(shù)中心/ Naiipa Art Complex（攝影/ Photo：Spaceshift Studio）

圖3：X2度假酒店/ X2 Kui Buri Resort（攝影/ Photo：W Workspace）

本土與國(guó)際之間

Between Local and Global

二十世紀(jì)80年代隨著東南亞冷戰(zhàn)（Cold War）的結(jié)束，泰國(guó)社會(huì)加快其工業(yè)化與商業(yè)化的發(fā)展，除了房地產(chǎn)和辦公樓的大量建設(shè)外，對(duì)境外投資與開(kāi)發(fā)政策的調(diào)整，促使曼谷作為首都大城反應(yīng)在“縱向”與“橫向”兩向度擴(kuò)張。從縱向的垂直視角，其建筑作為實(shí)踐化工具扮演城市發(fā)展與文明化成果，包括由Sumet Jumsai于1986年完工的機(jī)器人大廈（Robot Building—Bank of Asia Headquarter）和Plan Architect于1987年完工的彩虹云霄大樓（Baiyoke Tower）等現(xiàn)代化實(shí)踐，這些項(xiàng)目雖受政權(quán)和經(jīng)濟(jì)介入導(dǎo)致合理與通用化的結(jié)果，卻開(kāi)啟建筑在結(jié)構(gòu)、技術(shù)和材料上不同與過(guò)往的結(jié)合方式，提供標(biāo)準(zhǔn)化與型式化的設(shè)計(jì)準(zhǔn)則；而從橫向的水平視角，其建筑作為理論性工具結(jié)合本土文化與地理氣候條件，展現(xiàn)在空間與場(chǎng)所特征，如Architects 49 Limited（A49）于1988年完工的泰國(guó)人壽保險(xiǎn)總部（Muang Thai Life Assurance & Phatra Insurance Auditorium）和外交部（Ministry of Foreign Affairs）等案，都反應(yīng)環(huán)境美學(xué)與社會(huì)文化抽象性地融入空間語(yǔ)匯中。

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 inforeigninvestmentand policy development facilitated Bangkok, the capital of Thailand, to expand both “vertically” and “horizontally.”O(jiān)n one hand, the city’s urban development and modernization are manifested through practices such as the Robot Building - Bank of Asia Headquarter by SumetJumsai 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, andmaterialto provide a standardized style in architecture. 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.

縱橫兩向的發(fā)展，開(kāi)啟泰國(guó)建筑走向現(xiàn)代化發(fā)展與多樣化實(shí)踐的序曲，其中A49更做為先驅(qū)，將本土項(xiàng)目做為國(guó)際外銷(xiāo)的媒介，打開(kāi)外界對(duì)泰國(guó)現(xiàn)代建筑的片段認(rèn)知，并先后由澳大利亞《Images Publishing》發(fā)行事務(wù)所專(zhuān)輯，爾后再受日本《A+U》專(zhuān)訪出版《A49 Progressive Vernacular》，成功塑造世界對(duì)于泰國(guó)地域性、文化性、裝飾性等認(rèn)知，但隨著內(nèi)在政治型態(tài)與外部經(jīng)濟(jì)泡沫化影響，1997年的亞洲金融危機(jī)（Asian Financial Crises）將泰國(guó)建筑推向另一個(gè)高度與分水嶺。

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. Moreover, with the Asian Financial Crisis in 1997, the political tumult and the burst of economic bubbles led Thai architecture to a new level.

經(jīng)濟(jì)危機(jī)后的百花齊放

The Rise of New Thai Architecture

隨著90年代金融風(fēng)暴，泰國(guó)內(nèi)部破產(chǎn)企業(yè)多達(dá)數(shù)萬(wàn)家，失業(yè)人數(shù)更超過(guò)270萬(wàn)，為了降低其后續(xù)影響，經(jīng)濟(jì)策略上不再依賴(lài)過(guò)往以規(guī)模、人工等大批量的生產(chǎn)方式，取而代之由文化創(chuàng)意產(chǎn)業(yè)為主、精致制造業(yè)與服務(wù)業(yè)為輔，并開(kāi)啟一連串如時(shí)尚、動(dòng)畫(huà)、食品、汽車(chē)和觀光產(chǎn)業(yè)等致力于泰國(guó)在文化、社會(huì)和經(jīng)濟(jì)復(fù)蘇。此發(fā)展計(jì)劃形成雙矛頭的攻勢(shì)，對(duì)內(nèi)致力于資源挹注于創(chuàng)意產(chǎn)業(yè)，并提攜設(shè)計(jì)行業(yè)在細(xì)致化、獨(dú)特化和在地化發(fā)展；對(duì)外則帶動(dòng)國(guó)際市場(chǎng)的涌入，讓外資企業(yè)也能投入本土設(shè)計(jì)市場(chǎng)，整合建筑行業(yè)在構(gòu)造技術(shù)、軟硬件科技、專(zhuān)業(yè)人才與世界的銜接升級(jí)。

The economic crisis in 1997 left tens of thousands of companies bankrupted and more than 2.7 million people unemployed. Toreduce 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 communicationbetween 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年于金融危機(jī)后創(chuàng)立DuangritBunnag Architect Limited（DBALP）的DuangritBunnag，在訪談中說(shuō)道：“很多人不了解為何我要在經(jīng)濟(jì)最不理想的狀態(tài)下成立事務(wù)所，但如果對(duì)商業(yè)運(yùn)作有理解的話，當(dāng)在最低谷的時(shí)候開(kāi)跑，情況永遠(yuǎn)不會(huì)再壞。表面看在最糟糕的時(shí)候開(kāi)始創(chuàng)業(yè)是不智取的，但對(duì)我來(lái)說(shuō)卻是最完美的選擇，因?yàn)殡S著經(jīng)濟(jì)復(fù)蘇，事務(wù)所也會(huì)隨之上行。所以如果能在金融風(fēng)暴時(shí)創(chuàng)立公司，那必定經(jīng)歷過(guò)最壞的情況，那么接下來(lái)的日子就不是問(wèn)題。”隨后DBALP完成科斯達(dá)蘭塔酒店（Costa Lanta Krabi Resort），該項(xiàng)目回避傳統(tǒng)泰國(guó)特色的度假小屋模式，以自然景觀為界面并結(jié)合材料和構(gòu)筑，成功開(kāi)創(chuàng)以感覺(jué)為主的“新泰式”高級(jí)度假村。而后者如日本丹下健三（Tange Associates）所設(shè)計(jì)并在1999年完工的曼谷城市大廈（Bangkok City Tower），以及美國(guó)JAHN建筑事務(wù)所設(shè)計(jì)的素萬(wàn)那普國(guó)際機(jī)場(chǎng)（Suvarnabhumi Airport）；其項(xiàng)目回避傳統(tǒng)以經(jīng)濟(jì)、效率、功能為導(dǎo)向的辦公或交通模式，相反地以采光材料、懸挑結(jié)構(gòu)、回圈流線開(kāi)創(chuàng)以使用者為主的空間體系。從本土的Costa Lanta度假酒店一直到國(guó)際化的素萬(wàn)那普國(guó)際機(jī)場(chǎng)，前后開(kāi)啟泰國(guó)建筑師思考透明性、材料性、構(gòu)筑性、空間性、社會(huì)性，并結(jié)合本土環(huán)境氣候所創(chuàng)造之“泰國(guó)性（Thai-ness）”建筑，而這種思考的過(guò)程衍生多樣化實(shí)踐方式并反應(yīng)在相異的地域環(huán)境下。

DuangritBunnag Architect Limited(DBALP) is one of the firms established after the economic crisis. The managing director DuangritBunnag 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 n the future.” In the Costa Lanta Krabi Resort, DBALP chose not to follow the 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. Thailand also attracts many international architects, such as Tange Associates, a Japanese office that designed the Bangkok City Tower built-in 1999; and American firm 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 Krabi Resortfollowed 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.

圖4：大城薩拉酒店/ Sala Ayutthaya（攝影/ Photo：W Workspace）

當(dāng)代現(xiàn)象─重回自然

Contemporary Phenomenon - Back to Nature

就在一個(gè)傳統(tǒng)性與現(xiàn)代性的國(guó)家中，泰國(guó)從早期農(nóng)業(yè)社會(huì)逐漸地轉(zhuǎn)型為創(chuàng)意設(shè)計(jì)與觀光導(dǎo)向的結(jié)構(gòu)型態(tài)，越來(lái)越多的青年建筑師擺脫二十世紀(jì)前半葉大批發(fā)制度下的標(biāo)準(zhǔn)設(shè)計(jì)框架，取而代之的是結(jié)合前人所遺留下來(lái)，具有百年的歷史文化脈絡(luò)和無(wú)所不在的手工藝美學(xué)。當(dāng)我們?cè)噯?wèn)，這種透過(guò)地理的、氣候的、社會(huì)文化的和美學(xué)特性的“泰國(guó)性”痕跡，應(yīng)該被泰國(guó)當(dāng)代建筑吸收的本質(zhì)特征究竟是什么？對(duì)于這樣的特征精神又是否只有一種答案？或者由于泰國(guó)文化自身多樣性和豐富的特質(zhì)，它也具有一定的多變性質(zhì)？能將這些抽象性元素成功并詩(shī)意地融入現(xiàn)代建筑設(shè)計(jì)之中，通過(guò)形式、空間秩序、建筑細(xì)部、符號(hào)、材料和建構(gòu)等無(wú)窮盡的可能，這讓當(dāng)今建筑設(shè)計(jì)思考進(jìn)入了新的里程碑。這種透過(guò)多樣的型式，讓當(dāng)代建筑與環(huán)境之間呈現(xiàn)一種融合抑或?qū)Ρ鹊那闆r，筆者將其具泰國(guó)性建筑現(xiàn)象稱(chēng)之為“重回自然”，而重回自然的實(shí)現(xiàn)方式則細(xì)分成以下四種類(lèi)型：（1）敘事空間；（2）情境闡述；（3）詩(shī)性材料；（4）虛幻游離。

In a country of tradition and modernity, Thailand has gradually transformed from an early agricultural society to creative design and tourism orientation. More and more young architects break away from the standardized design system that was first introduced in the early twentieth century under the influence of mass production. This system was replaced by the combination of craftsmanship and artisanship that was handed down generation after generation with history and culture of hundreds of years. When we ask, what is the essential feature of this “Thai-ness” trace that should be absorbed by contemporary architecture in Thailand through the geographical, climatic, sociocultural, and aesthetic characteristics?Is there only one answer to the spirit of such a feature? Or could modern Thai architecture develop multiple features due to the diversity and richness in Thai culture itself? The ability to successfully and poetically integrate these abstract elements into modern architectural design, through the inexhaustible possibilities of form, spatial order, architectural details,symbols, materials, and construction, has made today's architectural design thinking a new milestone. The author refers such idea of revealing integration or comparison between the modern architecture and environment through various methods, as “back to nature.” It was then divided into four distinct operations: (1) Narrative space; (2) Situational Elaboration; (3)Poetic material; (4) Illusory free

（1）敘事空間

(1) Narrative Space

這種實(shí)踐模式更關(guān)注建筑形式與空間操作，設(shè)計(jì)的涵構(gòu)藉由建筑大范圍的配置，進(jìn)而到建筑動(dòng)線與開(kāi)口的比例關(guān)系，操作者將建筑量體透過(guò)幾何韻律的操作，并巧妙結(jié)合空間尺度的美學(xué)。這樣的操作方式，更直接顯示空間與環(huán)境涵構(gòu)的連接性與故事性，將建筑和空間的內(nèi)涵轉(zhuǎn)化成大眾可理解的型態(tài)關(guān)系。如享譽(yù)國(guó)際的A49所設(shè)計(jì)位于曼谷市中心約莫五十公里處的“泰國(guó)皇家檔案中心（Royal Archive Center）”，便是清晰地將三個(gè)獨(dú)立的長(zhǎng)方體透過(guò)開(kāi)放和私密動(dòng)線、機(jī)能需求與物理環(huán)境的多方連接，創(chuàng)造出簡(jiǎn)單又具本土涵構(gòu)的設(shè)計(jì)項(xiàng)目（圖1）。其主立面采取出挑較大的頂棚，一方面阻擋熱帶氣候陽(yáng)光的直射，一方面模擬皇宮夸大比例的入口大門(mén)；而內(nèi)部空間延續(xù)外部的量體分割，讓室內(nèi)空間更自由地以空橋、連廊和走道來(lái)穿越中庭綠化、出挑露臺(tái)和連接性的廣場(chǎng)空間，這些操作方式都顯示泰國(guó)特色在本案的轉(zhuǎn)化應(yīng)用。另一方面，近幾年在泰國(guó)興起的建筑師團(tuán)隊(duì)Stu/D/O Architects所設(shè)計(jì)位于曼谷中心區(qū)域的“那帕藝術(shù)中心（Naipa Art Complex）”，再次顯示當(dāng)代青年建筑師對(duì)于傳統(tǒng)文化和生態(tài)環(huán)境的重視（圖2）。Stu/D/O Architects主持建筑師在成立工作室之前于A49事務(wù)所任職，并參與泰國(guó)首席私人秘書(shū)處檔案館一案。與前案不同之處，那帕藝術(shù)中心的地塊原址上擁有數(shù)棵三十多年的老樹(shù)，因此設(shè)計(jì)的重點(diǎn)不僅是延續(xù)傳統(tǒng)與幾何的操作手法，更是建筑與老樹(shù)之間的一序列的連鎖反應(yīng)。設(shè)計(jì)上采用高反射的強(qiáng)化玻璃，僅可能讓建筑的量體感消失，取而代之的是基地原生老樹(shù)反射在表皮上的倒影，當(dāng)然建筑配置也順應(yīng)打散成較小的單元，讓人可以更自由地游走于室內(nèi)外連廊空間，感受自然與建筑共生共存的一體感。

This practical mode focuses on architectural form and space operation. The design is based on the large-scale configuration of the building, and the proportional relationship between circulation flow and entrance. The operator manipulates the building volume through the geometric rhythm and ingeniously combined aesthetics with spatial scale. This operation more directly shows the connectivity and narration between space and environment, transforming the connotation of architecture and space into a form that the public can comprehend/understand. The “Royal Archive Center”,designed by A49, which is located 50 kilometers from the center of Bangkok, is the clear and transparent three independent cuboids connected through the public and private circulation. The multi-party connection between the functional requirements and the physical environment creates a simple and localized design project(Picture 1). The main fa?ade adopts a relatively large ceiling to block the direct sunlight of the tropical climate. On the one hand, it mimics the exaggerated proportion of the entrance gate of the palace; while the internal space continues the external division of the architectural mass, allowing the indoor space to use the empty bridge freely. The corridors and walkways to cross the atrium greening, the terrace, and the connected plaza space, all of which show the transformation of Thai characteristics in this case. Stu/D/O Architects, a team of architects emerging in Thailand in recent years, designed the “Naipa Art Complex” in the heart CBD of Bangkok, once again showing the respect and emphasis of young architects on traditional culture and ecological environment (Picture2). The leading architect of Stu/D/O Architects worked at A49 before starting the firm and has participated in the case of the chief private secretariat archives in Thailand. Different from the previous example, the site of the Naipa Art Complex has several trees of more than thirty years. Therefore, the design focus is not only to continue the traditional and geometric operations, but also the relationship between architecture and old trees. The design employs high-reflective tempered glass which makes the massiveness of the architecture body disappears at the same time reflects the trees onto the facade. The building configuration is also broken into smaller units, providing users with more freedom to walk around the indoor and outdoor corridors and the sense of unity of nature and architecture.

圖5：Now 26集團(tuán)總部/ Now 26（攝影/ Photo：Luke Yeung）

（2）情境闡述

(2) Situational Elaboration

此種實(shí)踐模式相對(duì)于前項(xiàng)則更關(guān)注建筑的語(yǔ)意內(nèi)涵，更多的是尋求建筑的意義，并同時(shí)表達(dá)設(shè)計(jì)的重點(diǎn)由外在表現(xiàn)轉(zhuǎn)而探求事物內(nèi)在意義。在這樣設(shè)計(jì)轉(zhuǎn)化形式中，結(jié)果往往是選擇性的或發(fā)人省思的，從傳統(tǒng)元素到當(dāng)代意涵，其思考的脈絡(luò)可以被大眾更多元化感知。如泰國(guó)中堅(jiān)世代的事務(wù)所DBALP所設(shè)計(jì)位于曼谷以南約二百公里處的“X2度假酒店（X2 Kui Buri Resort）”便是其中一例（圖3）。X2度假酒店基本上并沒(méi)有明顯的建筑外型，基地周?chē)嗟氖亲匀粯?shù)種和海岸線，因此更多的設(shè)計(jì)概念是源于如何被自然所圍合，使得整體建筑像是消失在純樸的場(chǎng)地當(dāng)中；而設(shè)計(jì)中包含二十四間酒店客房，所有的住宿單元如同建筑整體關(guān)系被原生樹(shù)種所包覆，并透過(guò)錯(cuò)綜單元布局來(lái)達(dá)到如同迷宮般的私密性與親密性，在游走同時(shí)并串連建筑、景觀和自然的意圖語(yǔ)匯。而另一個(gè)由Onion所設(shè)計(jì)位于曼谷以北約七十公里處的“大城薩拉酒店（Sala Ayutthaya）”，從設(shè)計(jì)構(gòu)想便思索著何謂泰國(guó)性建筑（圖4）？該運(yùn)用哪些元素才足以讓人感知到老城中創(chuàng)新的文化內(nèi)涵，且如何在富含歷史的大城中體現(xiàn)傳統(tǒng)與現(xiàn)代之間的過(guò)渡與平衡？最終設(shè)計(jì)呈現(xiàn)與歷史老城相呼應(yīng)的紅磚材料，一方面凸顯傳統(tǒng)地方性的手作技術(shù)，另一方面讓使用者在酒店情境中，更容易感知?dú)v史遺址所帶來(lái)的氛圍闡述。酒店中二十六間客房被分配于紅磚墻的兩側(cè)，住宿者進(jìn)到客房必須從大廳通過(guò)紅磚砌起的曲面墻，再到達(dá)安靜的客房區(qū)，而客房區(qū)則塑造不同于紅磚墻的歷史氛圍，取而代之的是白色為主體的空間和綠色為點(diǎn)綴的地景。情境闡述的設(shè)計(jì)方式不同于以往強(qiáng)而有力的形體表達(dá)，其更多的是可被感知的文化氣息。

This practical mode gives more attention to the semantic meaning compares to the former category. It is more about seeking the meaning of architecture, as well as expressing the design focus from external performance to exploring the internal meaning. In such a form of design transformation, the results are often selective or thought-provoking. From traditional features to contemporary meanings, the context of their thinking can be more diversely perceived by the public. One example is the “X2 KuiBuri Resort” designed by DBALP, a Thaiera firm, located about 200 kilometers south of Bangkok (Picture3). The resort is surrounded by natural trees and coastline with almost no apparent architectural form. Therefore, the design concepts are derived from how the resort could be enclosed by nature, making the architectural body disappear on site. The design contains twenty-four hotel rooms, all follow the same concept of surrounding as the overall architectural form, and through the intricate layout of these rooms to achieve the maze-like intimacy and privacy, while the walking experience aims connect architecture, landscape, and nature into one wholeness.Another example is the “Sala Ayutthaya” designed by Onion, located about 70 kilometers north of Bangkok, is a design concept that considers “Thai-ness” in architecture (Picture4).What elements should be used to make people feel the cultural connotation of innovation in the old city, and how to reflect the transition and balance between tradition and modernity in the history-rich Ayutthaya? The final design presents red bricks material to reinforce the connection with the historic old city. On the one hand, it highlights the traditional local hand-made techniques, and on the other hand, it makes it easier for users to perceive the atmosphere of historical sites in the hotel context. With twenty-six rooms allocated on both sides of the red brick wall, the users must pass through the curved brick wall in the lobby to the guest room area when entering. The quiet guest room area creates white space and a green landscape which replace the historical atmosphere of the brick wall. Instead of using an intensive architectural form of expression, the design mode creates a cultural atmosphere that can be perceived.

（3）詩(shī)性材料

(3) Poetic Material

手工建構(gòu)一直是泰國(guó)最具特色的民俗傳統(tǒng)，而在建筑應(yīng)用像早期許多泰式民居外墻和屋頂便是透過(guò)手作質(zhì)感體現(xiàn)本土材料的多樣性與可能性，這樣的實(shí)踐模式關(guān)注環(huán)境與材料之間的共生關(guān)系，其意涵不僅是材料本身所傳達(dá)的語(yǔ)意，更透過(guò)材料重建的方式表達(dá)當(dāng)代建筑所屬的實(shí)驗(yàn)性質(zhì)。如Architectkidd所設(shè)計(jì)位于曼谷市中心的“Now 26集團(tuán)總部（Now 26）”，便是在現(xiàn)有結(jié)構(gòu)柱保留的情況下，于建筑表皮上以十九公厘的中空鋼管連接室內(nèi)外天花、墻面、樓梯扶手和家具，充分體現(xiàn)工業(yè)化材料經(jīng)手作切割再編織焊接的工藝性（圖5）。此建筑最大的特色，便是以舞動(dòng)的鋼管塑造多變化的建筑表情，同時(shí)結(jié)合其具體功能，讓材料使用擺脫單純裝飾的意圖，進(jìn)而給予使用者更多在材料與空間上的組合體驗(yàn)。另一個(gè)由Bangkok Project Studio所設(shè)計(jì)，并入圍2013年阿卡汗建筑獎(jiǎng)（Aga Khan Award for Architecture）的“坎塔納電影動(dòng)畫(huà)學(xué)院（Kantana Film and Animation Institute）”更是體現(xiàn)當(dāng)代建筑在材料上的應(yīng)用（圖6）。其校園距首都曼谷約莫五十公里，在一片開(kāi)闊的郊區(qū)中，設(shè)計(jì)采用高達(dá)八米、六十萬(wàn)塊的手工紅磚搭建而成的動(dòng)態(tài)墻面，此高碩的墻面不僅拯救了當(dāng)?shù)匾蛔磳㈥P(guān)門(mén)的紅磚廠，更提供附近兩個(gè)村莊約莫一百名砌磚工人就業(yè)機(jī)會(huì)。而造型獨(dú)特且表面起伏的外墻，其內(nèi)部空間是由兩條十字型平面切割出四個(gè)主體空間─演講廳、圖書(shū)館、工作室和辦公空間，十字型的露天走道結(jié)合了泰國(guó)傳統(tǒng)薰香樹(shù)與當(dāng)?shù)厮槭?，讓手砌紅磚最大向度的與自然景觀相互結(jié)合，并提供上下課步行的多重體現(xiàn)。這兩個(gè)項(xiàng)目都以詩(shī)性材料呈現(xiàn)設(shè)計(jì)初始意圖，并相當(dāng)程度結(jié)合了當(dāng)?shù)毓に嚺c材料運(yùn)用，以及真實(shí)提供材料的構(gòu)筑方式來(lái)滿足低建造技術(shù)的實(shí)踐性質(zhì)。

Hand-craft construction has always been Thailand's most distinctive local tradition, and in the early days of architectural applications, many Thai-style residential fa?ades and roofs reflect the diversity and possibilities of local materials through hand-made textures. This practice of poetic material focuses on the inter-growth relationship of environment and materials. The symbiotic relationship between the two is not only the semantic meaning conveyed by the material itself,but also expresses the experimental nature of contemporary architecture through the way of material reconstruction. For example, Architectkidd designed the “Now 26” in the center of Bangkok. With the existing structural columns retained, using 19-mm hollow steel pipes to connect the exterior and interior ceiling, wall, handrail and furniture on the facade, which reflects the craftsmanship of industrialized materials for hand-cutting and re-braiding (Picture5).The most important feature of this building is the use of “dancing” steel pipes to create a variety of architectural expressions, combined with its specific functions to exempt the materials from simple decorative purposes, thus providing the users with more experience in the combination of materials and space. “Kantana Film and Animation Institute”,designed by Bangkok Project Studio and incorporated into the 2013 Aga Khan Award for Architecture, reveals the application of materials in contemporary architecture (Picture6). The campus is 50 kilometers from Bangkok in an open suburb area, and the design constructs a dynamic wall that was produced of hand-made red bricks of up to eight meters and 600,000 pieces. Such design of the wall not only saved an almost closing brick factory but also provided about one hundred employment opportunities to the bricklayer workers in two nearby villages. The exterior wall with unique shape and the undulating surface are divided into four main spaces by two cross-shaped planes — lecture hall, library, studio, and office space. The cross-shaped open walkway combines traditional Thai aroma trees and the local gravel to maximize the fusion of hand-built red bricks and natural landscape, as well as to provide multiple representations of walking up and down the class. Both projects present the original intent of the design in poetic material and combine the local craftsmanship and material application to the extent that the material is realistically constructed to meet the practical nature of low construction techniques.

（4）虛幻游離

(4) Illusory Free

此種實(shí)踐模式更多是反應(yīng)政治、社會(huì)和經(jīng)濟(jì)的狀態(tài)，在二十世紀(jì)末泰國(guó)的政治立場(chǎng)與經(jīng)濟(jì)形勢(shì)成為主要議題，這也讓建筑群體創(chuàng)作中產(chǎn)生更多的不穩(wěn)定性，而建筑師與學(xué)者在此實(shí)踐的語(yǔ)意模式下，不斷地解讀建筑生產(chǎn)的意義，也促使建筑師以更加廣泛的視角來(lái)詮釋社會(huì)現(xiàn)象。如Tonsilp Studio所設(shè)計(jì)位于曼谷市中心約莫五十公里的“瑪希隆大學(xué)音樂(lè)學(xué)院

（College of Music, Mahidol University）”，該項(xiàng)目打破傳統(tǒng)封閉式的教學(xué)空間（圖7），盡可能最大化地讓場(chǎng)所布局與室外環(huán)境結(jié)合，并在步行路徑置入具延展性和連續(xù)性的“灰”空間，而灰空間的出現(xiàn)，反應(yīng)學(xué)校的功能不該只是授課與教學(xué)，更多的是交流與活動(dòng)。這樣的手法一方面反應(yīng)真實(shí)的社會(huì)狀況，另一方面也提供學(xué)生更多的自由，平衡了傳統(tǒng)至高無(wú)上的學(xué)院制度，進(jìn)而創(chuàng)造學(xué)生與老師們之間的互動(dòng)平臺(tái)。接著是由Department of ARCHITECTURE所設(shè)計(jì)位于曼谷市中心的“The Commons商場(chǎng)（The Commons）”，該設(shè)計(jì)打破傳統(tǒng)商業(yè)空間與交流活動(dòng)空間的比例（圖8），提供大于百分之五十的交流場(chǎng)所，讓高檔的消費(fèi)空間更像一個(gè)鄰里活動(dòng)市集，拉近大城市之間人與人的距離感，并有效創(chuàng)造豐富且多元化的活動(dòng)型式。特別的是，該項(xiàng)目最大貢獻(xiàn)是在具有理想的業(yè)主，早期業(yè)主在與政府溝通和銀行貸款時(shí)，便多次試著說(shuō)服各單位打破傳統(tǒng)社會(huì)大眾和經(jīng)濟(jì)趨勢(shì)對(duì)于商場(chǎng)的刻版印象，而設(shè)計(jì)團(tuán)隊(duì)Department of ARCHITECTURE更是在業(yè)主的理念上，豐富了空間的使用模式，讓往后單體商業(yè)店鋪可以被戶外的交流平臺(tái)給延續(xù)與串連。

This mode of practice is more a reaction to the political, social, and economic state. At the end of the twentieth century, Thailand’s political position and the economic trend became the main issues, which also caused more instability in the creation of architectural groups. Yet, under the semantic model of this practice, architects and scholars continue interpreting the meaning of architectural production,which encouraged architects to interpret social phenomena from a broader perspective. For example,Tonsilp Studio designed the "College of Music, Mahidol University", which is located about 50 kilometers from the center of Bangkok. The project breaks the traditional enclosed educational space (Picture7) and maximizes the allocation of architectural space with the outdoor environment, and extends pedestrian walkways with continuous “grey” space, which reflects the function of the school is not only teaching and education, but also communication and activities. On the one hand, this approach demonstrates the real social situation, on the other hand, it provides students with more freedom, balances the traditional supreme academic system, and creates an interactive platform between students and teachers. Followed by the Department ofARCHITECTURE's “The Commons” in downtown Bangkok, which breaks the proportion between traditional commercial space and communication space (Picture8), providing more than 50 percent of communal areas. Let the high-end consumption space more like a neighborhood activity market, brings the distance closer among people in big cities, and effectively create multi-dimensional activity form. In particular, the project's most significant contribution is to have an ideal owner. When the owner communicated with the government and bank loans in the early stages of the project, the owner tried to persuade the people to break the traditional social and economic trends and the impression of the store.The Department of ARCHITECTUREis more in the concept of the owner, enriching the use of space so that the subsequent commercial shops can be extended and connected by the outdoor communication platform.

圖6：坎塔納電影動(dòng)畫(huà)學(xué)院/ Kantana Film and Animation Institute（攝影/ Photo：Spaceshift Studio）

圖7：瑪希隆大學(xué)音樂(lè)學(xué)院/ College of Music, Mahidol University（攝影/ Photo：Srirath Somsawat）

國(guó)際化現(xiàn)象下的新土本建筑觀

New Localism in a Global Context

在強(qiáng)勢(shì)的全球化與英美建筑教育的影響下，多數(shù)東方國(guó)家直接受到西方現(xiàn)代主義的洗滌。泰國(guó)作為亞洲少數(shù)未被殖民國(guó)家，因而保有獨(dú)特的在地文化與工藝技術(shù)；另外作為佛教大國(guó)，民眾保有純樸自然的善良本質(zhì)，并反應(yīng)在他們投入更多時(shí)間在宗教活動(dòng)與慶典習(xí)俗上。在這樣的背景下，泰國(guó)當(dāng)代建筑突破建筑美學(xué)、建筑語(yǔ)義和意識(shí)形態(tài)等自我學(xué)科的限制，結(jié)合相關(guān)藝術(shù)、文學(xué)、科學(xué)、社會(huì)學(xué)、人類(lèi)學(xué)、政治和經(jīng)濟(jì)等多種發(fā)展，其中這些事務(wù)所不以個(gè)人風(fēng)格作為建筑外銷(xiāo)手段，反以自然與日常真實(shí)地呈現(xiàn)“新”傳統(tǒng)當(dāng)代歷程。在21世紀(jì)的今天，當(dāng)全世界網(wǎng)絡(luò)媒體以“文化”作為販?zhǔn)勰Ｊ綍r(shí)，我們?nèi)钥蓮奶﹪?guó)建筑師的實(shí)踐下，看到一股不追隨國(guó)際化潮流，并試圖從人為建造來(lái)整合跨越文化導(dǎo)向的“泰國(guó)性”建筑（圖9）。

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,andeconomic development enables contemporary Thai architecture to break through the limitationsof conventional aesthetics, semantics, and ideology by incorporating art, literature, social studies, and anthropology. These 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 Southeast Asia country takes another route of building the new “Thai-ness” beyond thesuperficial stereotypes (Picture 9).

圖8：The Commons商場(chǎng)/ The Commons（攝影/ Photo：W Workspace）

圖9： MAIIAM當(dāng)代藝術(shù)博物館/ MAIIAM Contemporary Art Museum（攝影/ Photo：Soopakorn Srisakul）