NAJUA: History of Architecture and Thai Architecture

Rethinking Identity in Contemporary High-rise Architecture in Bangkok

Chalaka Vikum Wijenayake — 2025-06-30

Homogenization is a prominent concern in the discourse on globalization’s impact on architecture, particularly in high-rise buildings. This research explores how architectural identity can address perceptions of homogenization by analyzing the design concepts of three prominent skyscrapers in Bangkok, Thailand—a modern Asian metropolis with a rich history and cultural traditions. Drawing from existing theories and literature, the study examines how these buildings reflect local identity while engaging with global architectural trends.

The case studies—The MET (2005), Central Embassy (2017), and King Power Maha Nakhon (2019)—are evaluated for their ability to convey distinct architectural identities that resonate with the cultural and local context while avoiding overt nationalistic symbolism. The MET reflects tropical identity through design strategies rooted in vernacular architecture, emphasizing climatic responsiveness. Central Embassy reinterprets traditional Thai craftsmanship with modern materials and technology, offering an innovative yet subtle connection to local culture. Maha Nakhon Tower, the most iconic of the three, adopts a bold, pixelated form that engages with Bangkok’s urban scale and morphology, though its local references remain speculative.

The findings suggest that high-rise architecture in Bangkok can incorporate global trends without succumbing entirely to homogenization, limitations notwithstanding. While The MET succeeds in establishing a clear relationship with its tropical context, Central Embassy takes a more experimental approach with uncertain outcomes. In contrast, Maha Nakhon Tower prioritizes urban contextuality but achieves limited success in resisting homogenization due to its ambiguous local references. Together, these cases highlight the possibilities and challenges of integrating cultural identity into high-rise design, emphasizing the need for nuanced approaches to counteract the homogenizing tendencies.

The The Architecture of Imperial Mausoleums: Case Studies from the Early Nguyen Dynasty (1802-1848), Vietnam

Hung Ngoc Vo — 2025-06-30

This research examines the layout and architecture of the imperial mausoleums of the early Nguyen dynasty (1802-1848) in Hue City. The research focuses on three imperial mausoleums: those of Emperor Gia Long, Emperor Minh Mang, and Emperor Thieu Tri. These mausoleums were constructed between 1814 and 1820, 1840 and 1843, and in 1848, respectively. Previous studies have examined the historical and socio-cultural contexts, as well as traditional spiritual practices. However, comprehensive knowledge of the site layout and architectural composition remains limited, leaving gaps in the research. This research employs a methodology consisting of historical document investigation, site surveying, architectural inventory, clarification of terminologies related to mausoleum conceptions, and site plan analysis. The findings indicate that the Nguyen Dynasty’s mausoleums were typically built in the southwestern mountainous area of the Hue Citadel. The imperial mausoleums of Emperors Gia Long, Minh Mang, and Thieu Tri follow three, one, and two axial layouts, respectively. The mausoleums comprise three fundamental architectural components: the Tomb area (A), the Worship Temples area (B), and the Stele Hall area (C). These elements coexist and represent kingship, theocracy, and civil rights, respectively. The Tomb area (A), where the emperors’ remains are interred, is considered the most significant section and is consistently linked with the Stele Hall area (C). The Worship Temples area (B) serves as an intermediary entity and includes key architectural structures, such as the main temple, sub-temples, sub-houses, pavilions, and the main gate. The main temple, located at the center of the worship area, houses the votive tablets of the emperor and queen, where their souls are venerated. This study highlights how the emperors’ mausoleums convey messages from the past, clarifying the connotations of body, soul, and memory as expressed through the architectural entities A, B, and C. The study analyzes architectural terminologies and conceptions, mausoleum layouts and architecture, and architectural types and structures, which were not primarily addressed in previous studies.

Sim Isan: Development and Paradigm on Architectural Studies

Peerawat Saengchalie — 2025-06-30

This article examines the academic discourse and educational development concerning Sim Isan (northeastern Thai ordination halls) through a systematic review of fifty-two academic publications spanning 1982-2024, including monographs, journal articles, and theses. The analysis identifies six primary research paradigms: (1) architectural stylistic analysis, (2) craftsmen's methodologies and artistic influences, (3) stylistic development and transformation, (4) conservation-oriented studies, (5) traditional wisdom and construction techniques, and (6) interdisciplinary approaches.

Based on a chronological analysis of published scholarship, Sim Isan's architectural development can be delineated into five distinct phases: Phase 1, the Lan Chang era, represents the foundational period characterized by architectural transmission influenced by Lan Chang's artistic and cultural traditions; Phase 2, the reign of King Rama III-IV (1824-1857), witnessed an architectural transition from Lan Chang craftsmanship toward vernacular temple typologies; Phase 3, the late reign of King Rama IV to the pre-constitutional era (1858-1931), was characterized by Vietnamese demographic displacement, resulting in Sim Isan forms that incorporated colonial architectural influences alongside Central Thai stylistic elements; Phase 4, the post-constitutional era (1932-1957), reflects state-directed cultural homogenization through nationalist policies that promoted standardized architectural prototypes derived from Central Thai canonical forms. This widespread dissemination of standardized designs consequently reduced traditional Sim Isan numbers through systematic demolition and reconstruction practices; Phase 5, the contemporary era (1958-2024), represents the modernist phase, characterized by the integration of reinforced concrete structural systems. This technological adoption has generated architectural diversification through material innovation, construction methodologies, and symbolic reinterpretation.

The analysis of academic literature reveals that the Sim Isan scholarship has undergone a paradigmatic shift from initial investigations focused exclusively on physical architectural attributes toward interdisciplinary approaches that conceptualize architecture as a manifestation of cultural production processes. Contemporary scholarship examines Sim Isan beyond morphological characteristics, emphasizing the dynamics of transformation resulting from economic, social, and cultural factors that have altered traditional design and construction methodologies from historical practices. Concurrently, the conceptual boundaries of "Isan" have transcended Thailand's northeastern geopolitical demarcation, evolving into a cultural territory characterized by a harmonious way of life through adaptive responses to increasingly complex external influences.

This phenomenon is evident in Sim Isan's architectural evolution across historical periods, demonstrating a transformation from traditional Lan Chang artistic forms to hybrid architectural styles that incorporate colonial influences through Vietnamese artisan techniques, subsequently amalgamating with Central Thai stylistic elements. This evolution has culminated in contemporary Sim Isan employing modern materials and construction methodologies, consequently generating enhanced stylistic diversification. Previous scholarship has demonstrated the complexity of stylistic origins, evolving from traditional Lan Chang temple forms inherited through Tai-Lao and Isan cultural groups across the Mekong River basin toward contemporary pursuits of regional identity and cultural authenticity within current social dynamics. Sim Isan represents one manifestation of this cultural creative process.

“A Kind of Humbleness That Belongs to Us All”: An Interview with Professor Vira Inpuntung

Pinai Sirikiatikul — 2025-06-30

This interview presents the biography, ideas, and intellectual trajectory of Vira Inpuntung, an architect and academic whose work has played a vital role in shaping a strand of contemporary Thai architecture rooted in vernacular traditions. His architectural projects, typically small in scale, are distinguished by their careful attention to detail and a design process that begins with hand sketches, physical modelling, and a search for inspiration grounded in the values of vernacular architecture. The conversation reflects Professor Vira’s belief that good architecture need not be monumental or complex, but should instead respond sensitively to nature, the environment, and the lived realities of people.

The interview also covers a diverse range of his works—from the Sanguan Pho Phra House in Phetchaburi, which received a Gold Medal from the Association of Siamese Architects, to his theoretical concept of rayang, which explores the possibility of developing a new architectural language inspired by natural forms. It also discusses his research into vernacular architecture, which informed his later thinking on “contemporary vernacularity,” as well as his development of the traditional Thein Ot Phein joint system into a refined architectural expression in small-scale constructions.

This interview thus serves as a testament to the view that simplicity, humility, and a deep respect for nature in architectural practice constitute a meaningful stance—one that has significantly contributed to the shaping of Thai architectural history.