尼斯·斯他比達(dá)農(nóng)達(dá)/Nitis Sthapitanonda

路培 譯/Translated by LU Pei

走向未來

尼斯·斯他比達(dá)農(nóng)達(dá)/Nitis Sthapitanonda

路培 譯/Translated by LU Pei

本文對(duì)泰國(guó)建筑的發(fā)展進(jìn)行了宏觀式的回顧，闡釋了泰國(guó)建筑的演變與其所屬社會(huì)文化背景之間的關(guān)系。在廓清泰國(guó)建筑歷史脈絡(luò)的同時(shí)，提出了影響當(dāng)今泰國(guó)建筑業(yè)背后的文化和經(jīng)濟(jì)動(dòng)因。立足過去與當(dāng)下，本文試圖在亞洲建筑這一更大的背景下思考泰國(guó)建筑的未來。

建筑與文化，建筑歷史，建筑與社會(huì)

昨天

由于泰國(guó)古代遺跡大多源于公元7世紀(jì)左右，泰國(guó)建筑的歷史因此可追溯至1000多年以前。人們至今可以看到以磚、石為材料的古代宮殿和神廟的遺跡。

然而，當(dāng)我們依循時(shí)光追溯泰國(guó)建筑的歷史，我們發(fā)現(xiàn)某些歷史的片段已然不復(fù)存在。由于大多數(shù)泰國(guó)古代建筑均由木材和其他有機(jī)材料建成，不足以抵抗歲月的侵蝕。除去石質(zhì)宮殿和神廟所遺留下來的石頭外，我們?nèi)鄙僖粋€(gè)完整的古代建筑的譜系以供研究或繼承。

外來建筑的影響在泰國(guó)建筑的發(fā)展和演變過程中扮演了重要的角色。高棉建筑、中國(guó)建筑和歐洲建筑都曾在泰國(guó)建筑的歷史上留下過各自的印記。眾多各異的建筑風(fēng)格，從古典、現(xiàn)代、后現(xiàn)代、解構(gòu)，到當(dāng)代建筑與熱帶建筑，均可在泰國(guó)找見。因此，多樣性一直以來都是泰國(guó)文化不可或缺的要素之一，它對(duì)泰國(guó)當(dāng)代建筑的影響也是顯而易見的。

為了理解一個(gè)國(guó)家及其建筑的發(fā)展軌跡，我們需要考慮諸多因素。這個(gè)國(guó)家的核心價(jià)值觀是什么？國(guó)民性如何？局限又有哪些？在城市規(guī)劃與建筑發(fā)展的語境下，這些問題經(jīng)常被忽略。

過去，泰國(guó)建筑的理論主要基于宗教與藝術(shù)。時(shí)至今日，情況已有了較大改變。當(dāng)代建筑的演進(jìn)已逐漸圍繞著技術(shù)、生活方式和市場(chǎng)展開。宗教、藝術(shù)、文化這些構(gòu)成人類文明的重要組成部分，如今對(duì)建筑的影響力已經(jīng)越來越小。在未來社會(huì)的發(fā)展中，以經(jīng)濟(jì)為驅(qū)動(dòng)的泰國(guó)建筑正陷入岌岌可危的境地。

政治也在泰國(guó)社會(huì)和其建筑的發(fā)展中起著十分關(guān)鍵的作用。在泰國(guó)，政治動(dòng)亂已持續(xù)了近10年，整個(gè)國(guó)家都處在壓力之中。創(chuàng)意經(jīng)濟(jì)的發(fā)展速度也有所下降。對(duì)于當(dāng)下的泰國(guó)人而言，終極問題是“從這里該走向何處”。

今天

當(dāng)今的泰國(guó)是各種社會(huì)文化相互作用的混合體。盡管有著較強(qiáng)的農(nóng)業(yè)傳統(tǒng)，泰國(guó)不同層次的經(jīng)濟(jì)體依然有賴于自然資源的供給。熱帶氣候?yàn)槲覀儙沓渑娴慕涤旰蜏嘏奶鞖猓魏芜m合熱帶氣候的作物均可以種植。我們有著豐富的土地和水資源；幾乎沒有自然災(zāi)害；生活成本也比較低。在所有這些條件的共同作用下，形成了泰國(guó)人淳樸、樂觀、隨和的性格。除去生活瑣事之外，泰國(guó)人愿意在藝術(shù)和手工藝上花費(fèi)時(shí)間和精力，也因此成就了泰國(guó)藝術(shù)與建筑獨(dú)一無二的特性。

泰國(guó)精致的手工藝加之相對(duì)廉價(jià)的勞動(dòng)力成本，使得外國(guó)投資者對(duì)泰國(guó)趨之若鶩。從邏輯上講，泰國(guó)是其所處地區(qū)（東南亞）的中心，這使得泰國(guó)更具吸引力。在魚米之鄉(xiāng)廣闊的田野上，工業(yè)化和城市化正如火如荼地進(jìn)行著。然而，由于深厚的農(nóng)耕傳統(tǒng)，泰國(guó)人的思維方式缺乏系統(tǒng)性。我們習(xí)慣于順其自然。我們傳統(tǒng)的房子非常簡(jiǎn)單，幾乎像是一座原始棚屋。隨著家庭人口數(shù)量的增長(zhǎng)，房子也隨之變大。

這種不系統(tǒng)的組織方式體現(xiàn)在諸多方面，從大型的城市規(guī)劃到小規(guī)模的住宅區(qū)規(guī)劃，曼谷就是其中一例。由于整座城市里河渠縱橫交錯(cuò)，曼谷曾被稱作“東方威尼斯”。后來，這些河渠被人為地填成了公路，整座城市的肌理也就自然而然地形成了，但對(duì)于今天這樣一個(gè)有著800萬人口的城市卻是不適用的。

如果談及泰國(guó)的建筑設(shè)計(jì)，我們的理論曾植根于宗教信仰和自然。然而，從那萊大帝統(tǒng)治期間（1656-1688）外國(guó)建筑師進(jìn)入泰國(guó)的時(shí)候起，泰國(guó)本土的建筑師開始學(xué)習(xí)西方建筑，事情便隨之有了變化。傳統(tǒng)的理論只適用于傳統(tǒng)建筑，而現(xiàn)當(dāng)代建筑的理論又多種多樣，如何抓住泰國(guó)建筑的實(shí)質(zhì)，一直以來困擾著我們并讓我們?yōu)橹畳暝?。?dāng)今的泰國(guó)建筑缺乏特性，我們城市的天際線已模糊不清。

明天

東南亞國(guó)家聯(lián)盟（ASEAN）將于明年開放其領(lǐng)地，允許成員國(guó)之間進(jìn)行某些貨物和服務(wù)的自由交易，這樣一來，整個(gè)市場(chǎng)將實(shí)現(xiàn)10倍的擴(kuò)充。同時(shí)，每個(gè)成員國(guó)也都將獲得發(fā)展的機(jī)會(huì)，但問題在于“該如何發(fā)展”。

首先，我們必須清楚我們是誰？我們有何局限？當(dāng)我們把這些問題想清楚之后，進(jìn)步便不難實(shí)現(xiàn)了。

對(duì)于有著閑散生活方式的泰國(guó)建筑師而言，我們習(xí)慣做中小尺度的建筑，我們喜歡專注于細(xì)節(jié)和有著復(fù)雜功能的房子，比如，私人住宅、度假酒店、溫泉浴場(chǎng)等。但這并不意味著我們不能做大尺度的項(xiàng)目。泰國(guó)建筑中最具吸引力的仍是那些大型的項(xiàng)目，我們同樣可以把這些大型建筑做得很好。然而，現(xiàn)在的問題在于，為了獲得良好的國(guó)際聲譽(yù)，我們付出了太多努力，從而忘記了我們真實(shí)的身份。對(duì)于泰國(guó)建筑師而言，當(dāng)務(wù)之急是要對(duì)“泰國(guó)性”一詞的內(nèi)涵進(jìn)行集體反思。我們勢(shì)必要找回自己的身份，創(chuàng)造屬于這個(gè)時(shí)代的新泰國(guó)魅力。缺失了身份，我們的城市將會(huì)淪為一座僅供旅游觀光的文化鬼城；而我們這一代人的不作為將給泰國(guó)建筑的歷史帶來無法彌合的文化斷層?！?/p>

Yesterday

The history of Thai architecture can be traced back over a thousand years, with our most ancient ruins dating back to around the 7thcentury. Traces of ancient palaces and temples, constructed from masonry or stone, can still be seen today.

Yet as we trace our architectural history back through time, we realize that parts of this history have been lost. A vast range of ancient Thai architecture was made of wood and other organic materials, and has not survived. Beyond the stonework of masonry palaces and temples, we do not have a complete ancient tectonic repertoire to study or develop from.

Foreign influences have also played an important role in the development and transformation of Thai architecture. Khmer, Chinese and Europeans have all had a part in the history of Thai architecture. Different architectural styles-Classical, Modern, Post-Modern, Deconstructivist, Contemporary and Tropical-can all be seen in Thailand. This kind of diversity has always been an important part of our culture and it is prominently reflected in our architecture today.

In order to understand how a country and its architecture develop, many factors need to be looked at. What are the core values of that country? What is the nature of its people? What are the constraints on them and the place? These issues are usually left out of discussions of urban planning and architectural development.

In the past, Thai architectural thinking was based primarily on religious beliefs and arts. But a lot have changed since then. Architecture today has evolved from and revolved around technology, life style and market driven initiatives. Religious, artistic and cultural appreciation of the arts, which are a vital part of any civilization, have become less and less important. Economy driven architecture is leaving Thailand in a very vulnerable position vis a vis the development of its future society.

Politics also play a significant role in the development of Thai society and its architecture. Political disorder has been going on for almost a decade. Stress fills the nation. And our creative economy is not moving forward as fast as it should.The ultimate question for Thais nowadays is "where can we go from here".

Today

Thailand today is a mixture of various sociocultural conditions. We are strongly agricultural and our natural resources still serve different levels of economic strata. The tropical climate gives us plenty of rain and, with warm weather, we can still grow almost anything. Our land and water are full of resources. Natural disasters are rare and the cost of living is low. Together these conditions have madeThais happy and easygoing. Beyond everyday affairs, there is time and effort to be spent on arts and crafts, a factor in the unique characteristics of our art and architecture.

Our delicate craftsmanship and relatively low labor costs have lured foreign investors. And since, logistically, Thailand is in the center of the region, the country is even more attractive. Industrialization and urbanization are gaining ground over the rice fields. But because of our deep agricultural background, we Thais are not very systematic. We tend to let things go, to grow naturally. Our traditional house is very simple. It almost resembles a primitive hut. When the family grows, the house grows with it.

Unsystematic ways of organization can be perceived through many aspects, from large scale urban planning to small-scale residential layouts. A prime example is Bangkok. In the past, Bangkok was called the "Venice of the East" because so many canals threaded through the city. With time, we filled in those canals to make roads. Our urban planning followed what was and not necessarily what should be and also not necessarily suitable for the population of 8 million we have today.

In terms of architectural design, our theory used to be based on religious beliefs and was rooted in nature. But after foreign architects started to enter the Kingdom around the time of King Narai the Great (1656-1688), Thai architects began to learn about Western architecture and both things and thinking started to change. Traditional theory seems only to fit traditional buildings. The field of modern and contemporary architecture is so diverse in terms of theory that we are confused and struggle to grasp where the "Thai-ness" of Thai architecture lies. Our architecture is losing its identity and our skylines are becoming a "blur-line".

Tomorrow

Next year, ASEAN nations will open up their territories to allow their member states to trade certain goods and services freely, thus expanding market as a whole tenfold. Each ASEAN country will have a change to move forward but the question is "how".

First, we have to know who we are, what our constraints are. Once we do it will not be difficult to progress.

As for Thai architects, with our laidback lifestyle, we are comfortable making small to medium sized architecture. We love to work on fine details and intricate programs such as private residences, resorts, spas and the like. This does not mean that we cannot do large scale projects. All of our major attractions are large scale and we can do them beautifully. The problem is, we try too hard for international recognition and forget who we actually are. What Thai architects need to do collectively is to revisit the word "Thai-ness". We must bring back our own identity and create new Thai attractions of and for our time. Without identity, our cities will just be cultural ghost towns dedicated to the tourist. If, as a generation, we fail there will be a cultural gap in the history of Thai architecture. □

Towards Tomorrow

This essay gives a broad overview of Thai architectural discourse. It explains the socio-cultural background of the transformation of Thai architecture. Providing an outline of Thai architecture in the past, the essay also examines the cultural and economic logics behind the production of Thai architecture today. Drawing from the past and present, the essay concludes with a question regarding the future of Thai architecture in relation to a larger context of Asian architectural production.

architecture and culture, architectural history, architecture and society

建筑師，Architects 49有限公司副總裁。美國(guó)哥倫比亞大學(xué)建筑學(xué)碩士，佛羅里達(dá)大學(xué)建筑學(xué)學(xué)士。/Architect and Deputy Managing Director of Architects 49 Ltd. M.A., Columbia University and B.A., University of Florida, USA

2014-04-26