NAJUA: History of Architecture and Thai Architecture

Phuttha (buri) monthon: Buddhism and the Communication of Political Ideology after the 1932 Revolution

Touchaphong Srisuwan — 2024-06-22

Phutthamonthon was one of the large-scale planning projects initiated by Field Marshal Plaek Phibunsongkhram. In 1944, Phibun had to resign when two government bills mandating the construction of Phutthaburimonthon (a Buddhist city in Saraburi) and the new capital at Phetchabun were defeated in the National Assembly. The field marshal returned as prime minister in 1948, a turbulent year for Thailand. He had to deal not only with the spread of communism in Thailand but also vicious political struggles among various elitist groups, especially between the palace and the executive branch of government. Phibun attempted to maintain stability and consolidate his power against conservative groups by using cultural policy and Buddhism as political tools. The Phutthaburimonthon project was revived under the name Phutthamonthon, and it became one of the most significant features of the 25th Buddhist century celebrations in 1957.

This research article examines and analyzes the design concept and development of the Phutthamonthon construction project from the reign of Field Marshal Phibunsongkhram to its completion in the reign of General Prem Tinsulanonda, the 16th prime minister of Thailand. This study was carried out by collecting primary evidence, including photos, minutes of meetings, and various design documents of Phutthamonthon’s master plan, as well as secondary historical textual data such as funeral memorial books, master’s theses, and published articles. According to the literature reviews, the developments of Phutthamonthon can be divided into four periods: Phutthamonthon for the 25th Buddhist century celebrations (1952–1960); Phutthamonthon after Field Marshal Plaek Phibunsongkhram lost his power (1957–1977); Phutthamonthon under the royal patronage of His Majesty the King for the celebration of the 200th anniversary of Rattanakosin (1978–1982); and Phutthamonthon in honor of His Majesty the King (1983–1987). The results indicate that the construction project Phutthamonthon initiated by Field Marshal Plaek Phibunsongkhram was a continuation of the idea of Phutthaburimonthon, a Buddhist city in Saraburi. It was planned based on the City Beautiful idea, similar to the new city plan of Saraburi. Phutthamonthon was a collection source of Buddhist history and disciplinary rules and a place where inscriptions of Thai political history were exhibited. Nevertheless, the construction of Phutthamonthon project proceeded very slowly after Field Marshal Plaek Phibunsongkhram lost his power due to the instability of Thai politics. At the same time, the conservative-royalist forces tried to transform Phutthamonthon into a sacred platform to gain the political support of the Thai people, who have subsequently all but forgotten the monument’s original purpose.

Beliefs and Meanings in Architecture: Three Temple Towers in Northeastern Thailand

Wiroj Sheewasukthaworn — 2024-06-22

The three temple towers are a distinctive feature of ancient Khmer architecture, created to pay homage to Shiva, Vishnu, and Brahma (the Hindu Trimurti or Trinity). This architectural style was first developed in Angkor during the Kulen period in the 14th Buddhist century. The style gained popularity and evolved into community deity shrines in the northeastern region of Thailand during the 16th to 17th Buddhist centuries.

This article aims to explore the development of the design of three temple towers found in the northeastern region of Thailand from the 16th to the 18th Buddhist centuries. It examines the significance of architectural elements by comparing them with the step pyramid architectural forms. The article also discusses the changes in the architectural meaning of the three temple towers by studying various aspects, such as historical information, architectural styles, and religious beliefs, from case studies across different areas. This analysis seeks to interpret the concepts behind the architectural design of the three temple towers.

The study found that the three temple towers in the northeastern region of Thailand were constructed between the 16th and 17th Buddhist centuries as ceremonial centers for the community. The choice of the three temple towers as the community’s sacred site may stem from various reasons. Firstly, architectural dignity played a role, as most temples built in the capital city featured a multi-tiered base style exclusively reserved for royal institutions. This style symbolized governance, status, and the replication of the cosmic order, establishing a traditional concept of regality. As a result, the three temple towers were widely adopted by commoners with a lower status than royalty as ceremonial venues within their communities. Secondly, the simplicity of the three temple towers was a key factor. Its straightforward design, lacking the complexity of the multi-tiered base temples, made it easier and faster to construct, allowing for convenient construction in remote areas.

When the influence of Mahayana Buddhist beliefs began to reach northeastern Thailand around the 18th Buddhist century, the style was adapted to align with religious beliefs, transitioning from deity sanctuaries to fully-fledged Buddhist sites.

The Design of the Nakhon Nan History Museum

Siripat Sriworasa — 2024-06-22

Museums in Thailand have official evidence dating back to the reign of King Rama IV, primarily in the form of private museums with limited access to specific groups. These museums gradually spread out from the central areas of governance over time to the present day. They can be divided into two categories: science museums and cultural museums. The latter type is popular in Thailand and often appears in Thai or vernacular architectural styles. This aspect is interesting in terms of architectural style, functionality, and prevailing trends that have persisted up to the present and are expected to continue in the future.

This research study focuses on collecting, studying, and classifying information related to the process of establishing museum projects. It does this through case studies of history museum projects in Thailand that have incorporated elements of Thai architecture and vernacular architecture from 1857 to the present. In the early period, museums in Thailand were primarily private collections of the elite and national museums. These included both newly constructed projects and projects that revitalized historical sites and buildings for reuse. This led to the spread of museum popularity and awareness from central administrative areas to key provincial towns through government policies and actions, establishing regional museums. Subsequently, the development of ideas and perceptions led to the establishment of local museums and tourism-oriented museums alongside the trend of establishing memorial museums. These memorial museums often involved adapting or replicating religious sites to show reverence and worship, evolving into commemorative museums for various significant occasions over time. The study results, and classification of data through case studies can explain the factors influencing the choice of Thai and vernacular architectural styles in historical museum buildings in Thailand. These factors include 1) The context and location of the project, 2) the creation and simulation of the atmosphere, 3) concrete expression, and 4) symbolic expression.

The results of using these factors as guidelines in the experimental design of the "Nakhon Nan History Museum" aim to create a project that meets the activities and needs by constructing and simulating an atmosphere of the past to enhance and create user experiences. This is done alongside showcasing the local identity that aligns with the surrounding context. The guidelines from this study can be adapted for designing other types of buildings in the future, which aim to present an image or promote the content and objectives of the project through Thai and vernacular architectural styles.

Prince Naris’ Designs: Memories of Birth in Monuments of Death

Atipat Swaengphol — 2024-06-22

His Royal Highness Prince Narisaranuvattiwongse’s design works for funeral ceremonies are a unique blend of artistic typologies, ranging from royal crematoria to Buddhist monks’ talipot fans. These are what can be aptly termed as “monuments of death.” Prince Naris infused these monuments with a personal touch, drawing from Thai beliefs associated with the day of the deceased’s birth. He devised a system of signs that encapsulate these memories of birth. This body of work has not only left a lasting impression but has also served as a guiding light for contemporary architects and artists involved in the design of royal crematoria.

This article delves into the intricate ‘memory system’ of Prince Naris’ works and its continued influence since his passing. It approaches the study of these ‘monuments of death’ from three distinct theoretical frameworks: the collective memories of contemporary societies, the role of memory in linguistics, and the influence of memory on contemporary cultures. By employing these diverse theories of memory, the article aims to provide a comprehensive analysis of the art of architecture and its impact on contemporary culture, transcending the boundaries of time and nationality.

Previous studies on Prince Naris have often focused on the physical aspects of his ‘memory’ signs. However, our understanding of these signs is far more nuanced. To address this, a thorough review of literature on the subject of memory, as well as on Prince Naris himself, is necessary.

This article draws extensively from primary sources, meticulously preserved by government sectors and private collections. Additionally, interviews with contemporary architects and artists from the Fine Arts Department, Thailand, provide valuable insights into the continued influence of Prince Naris’ designs.

Three of Prince Naris’ works are analyzed, which clearly demonstrate his thinking about signs: first, the H.R.H. Prince Itsariyaphon monument; second, the Queen Mother Si Phatcharinthra crematorium and the talipot fans designed for her funeral ceremony; third, the design of a mythical creature, called “singha face,” at Benchama Bopitr Temple, which marks the position of H.M. King Chulalongkorn’s ashes. Prince Naris’ designs point to Thai beliefs in art and society. They are influenced by the treatise of Daksha (a form of astrology), which was popularly revised and published during the reigns of King Mongkut and King Chulalongkorn. This treatise outlined a system of belief regarding the day of birth (Monday, Tuesday, etc.), describing one’s fortune in relation to a specific day. Prince Naris’ designs intensify collective memories of the dead in built forms. He personalized monuments of death. This element of Prince Naris’ designs was a novelty, yet after his life, the repetition of memories gradually became popular amongst contemporary artists and architects. His designs perhaps marked the introduction of Thai tradition into the practice of memorializing the dead.

Historic Prison - Wiang Kaeo Palace, Overlapping Cultural Heritage of Two Eras

Panithipat Rakwongphaya — 2024-06-22

The Wiang Kaeo Khuang Luang Development Project in Chiang Mai Province encompasses the historic prison and Wiang Kaeo Palace, exhibiting a complex interplay of positive and negative historical significance within the same locale. Initially serving as a revered landmark within the sacred city, Wiang Kaeo Palace transformed into a prison during the transition from Lanna to Siam, thereby acquiring divergent connotations in local Lanna beliefs. Consequently, a contentious debate has arisen regarding the complete demolition and relocation of the historic prison to restore the cultural value of Wiang Kaeo Palace to the local community.Conversely, the prison has garnered positive appraisal as a national heritage site symbolizing judicial history, resulting in its designation as a historic monument—a designation that remains firmly entrenched in history.

Employing the People-Centered Approach within contemporary conservation theory, this study scrutinizes and dissects the cultural heritage of both the historic prison and Wiang Kaeo Palace. Through literature reviews, participatory observation, and content analysis, the research delves into four key issues: 1) ascribing value and significance to social, cultural, historical, and archaeological dimensions; 2) interpretation; 3) utilization; and 4) participation. Despite embodying both positive and negative values and meanings, the historic prison suffers from a shortage of positive social, cultural, and communal significance. Nevertheless, a discernible trend exists towards collaborative progress in integration and development. Nonetheless, a desire persists to dismantle the prison and apprehensions regarding its preservation and portrayal as a monument. Positive engagement entails preserving the prison in tandem with Wiang Kaeo Palace. Reverence for local communities and the fostering of their active involvement emerge as pivotal elements in conservation efforts and people-centered development, thereby nurturing the well-being of both heritage sites and communities.

Revive Bangkok: Designing Digital Game-Based Learning for Bangkok History

Chatri Prakitnonthakan — 2024-06-22

This research aims to experiment with digital game design to promote historical learning, a prevalent issue in many countries but relatively new in Thai society. Several studies have suggested that the "play and learn" or "play-based learning" method is effective for children and young people. This method involves creating or simulating game-based scenarios in various ways, including online games.

Despite their design efforts, most historical games have been unsuccessful in Thai society. A few historical games did achieve success, but they were not designed for learning history. This research identifies a significant academic gap in history teaching, which should receive more attention.

To address this gap, this research integrates historical knowledge, archaeological evidence, architecture, and various art forms, including written documents, old photographs, artifacts, and maps, into the design of the digital game "Revive Bangkok."

The primary target audience is high school and university students between the ages of 13 and 25, the primary age group for learning history through the formal education system. The game's design is based on three key concepts: the "overlay of Bangkok city area," which is a theme in historical studies; "fun, suspense, and questioning," which combines historical learning with gaming; and "the beauty of scene and character," which is crucial for engaging players.

"Revive Bangkok" is an educational digital game that teaches the history of the city in the form of a "Role-Playing Game" (RPG) in the "Puzzle Adventure" genre. The main storyline involves players collecting antiques and solving various puzzles in the old city of Bangkok, both in the present and the past, to solve the city's flooding problem, as predicted by ancient scripture.

The mission encourages players to ask questions about Bangkok's history, which is the primary goal of the game's design. It aims to provide a different perspective on learning history, creating a comprehensive and new "past" pattern with a rich and holistic "new" perspective. It also stimulates the imagination, promoting an understanding of history beyond mere memorization and fostering a foundational thought process that can lead to other ideas in the future.