Architectural historian and critic, England
Reyner Banham was an iconoclastic British architectural historian and design critic
whose irreverent writings spanned an enormous range of topics and audiences—
everything from traditional architectural history to discipline-bending academic studies,
from advocacy criticism for his avant-gardist contemporaries to journalistic popular
culture reviews. Trained first as an aeronautical engineer and only later as an architectural
historian under Nikolaus Pevsner at the Courtauld Institute in London, Banham was
fascinated by questions of technology and technological expression. Acting something
like modernism’s guilty conscience, he challenged mid-20th-century architecture to
realize its earlier unfulfilled promises of functionalism and machine aesthetics.
Simultaneously, he celebrated the actual technological achievements realized by the
popular cultures of the industrialized world. He turned a sharp eye toward the potato
crisp, cult films, surfboards, California air shows, and London Raves and found in them
the promises and achievements of a culture living at the speed of the machine.
After leaving behind his wartime career as an aeronautical engineer and a short-lived
career as a newspaper art critic, Banham enrolled in the prestigious Courtauld Institute.
There, he quickly won the admiration of Pevsner and within a few short years found
himself in dialogue with London’s most interesting architects and artists and on the staff
of the Architectural Review. Like many around him during the difficult postwar years, Banham developed a
strange joint infatuation—on the one hand obsessed with the inaccessible splendor of
U.S. consumerism and on the other admiring the late Surrealist and Abstract
Expressionist strategies of formlessness and material ineloquence. The fusion of these
two gave rise to the so-called Independent Group in London—a group of Pop-affiliated
artists and architects that included Banham, Peter and Alison Smithson, Eduardo
Paolozzi, Lawrence Alloway, Richard Hamilton, John McHale, and Nigel Henderson,
among others—out of which commenced Banham’s struggle to craft an “architecture autre.” During this
period, he was the studio critic for the movement known as New Brutalism and
passionately endorsed its material and technological facticity and its proto-Pop interests
in American advertising.
With the publication of his doctoral dissertation Theo ry and Des ign in the F irst Machine Age in 1960, Banham
gave academic rigor to his earlier enthusiasms. In a rich and convincing
study, he outlined two competing tendencies within the history of the
Modern movement, one compositional and traditional, the other dynamic
and technological. Upending the familiar arguments, Banham claimed that
the International Style, often considered to be a functionalist architecture,
was in fact essentially a symbolic and aesthetic movement. In
contradistinction, Banham championed the work of the early-20th-century
Italian Futurists and Buckminster Fuller, whom he claimed had more fully
internalized the dynamism of machine-age culture. Quoting Fuller,
Banham characterized technology as “the unhaltable trend to constantly
Entries A–F 191
accelerating change.” He concluded Theory and Des ign with a polemical challenge to the
profession:
The architect who proposes to run with technology knows now that he
will be in fast company, and that, in order to keep up, he may have to
emulate the futurists and discard the whole cultural load, including the
professional garments by which he is recognized as an architect. (Banham,
1960)
Extrapolating from the conclusions of Theo ry and Des ign, Banham wrote a number of essays in the 1960s
that examined the impact of “second” machine-age technologies on architecture. With an
eye toward things such as television, inflatable buildings, demountable geodesic domes,
mobile homes, and “architecture-less” drive-in movie theaters, Banham argued that the
traditional architectural virtues of permanence and monumentality were becoming
increasingly irrelevant. As he put it,
When your house contains such a complex of piping, flues, ducts, wires,
lights, inlets, outlets, ovens, sinks, refuse disposers, hi-fi reverberators,
antennae, conduits, freezers, heaters—when it contains so many services
that the hardware could stand up by itself without any assistance from the
house, why have a house to hold it up?… what is the house doing except
concealing your mechanical pudenda from the stares of folks on the
sidewalk? (Banham, 1960)
This line of argument reached its zenith, at least in an academic sense, with the
publication in 1969 of Banham’s discipline-stretching study The Architecture of the Well Tempe red Envi ronment. Discreetly posing as a
history of environmental technologies (for example, lighting, ventilation, heating, and air
conditioning) and loosely extrapolated from Sigfried Giedion’s canonical Mechanization Takes Command (1950), in
actuality Banham’s argument was a revisionist end run around the genealogy of
modernism, an attempt to imagine (and instigate) an autre architectural future.
However, any description of Banham would be only half complete if it ended with his
vision of the good life lived mechanically in a “polythene bag.” Just as surely as Banham
was a careful reader of science, he was also an enthusiastic reader of science fiction. His
was a pop sensibility as comfortable with robots and Martians and bikini-clad warriors as
with ventilator flows. From his earliest days with the Independent Group, Banham had
celebrated the excessive technological imagery of the American post-war consumer
boom. He wrote lovingly of Detroit’s baroque chrome ornament, the physiognomy of the
American hamburger, drag racing and custom-car culture, Star Wars , ice cream wagons, and even
Disneyland, Coca-Cola, and the Santa Monica Pier. Given these infatuations, it was
probably inevitable that Banham would find himself drawn to the United States, and after
several extended study and research tours in the mid-1960s, he eventually relocated for
good in 1976, first to Buffalo and then to California.
It was with the California dream of a tanned noble savage—that New World polyglot
of surfboards, rock and roll, balloon frames, freeways, “gizmos,” and mad scientists—
that Banham discovered his long-sought synthesis between the cultures of consumerist
affluence and technological potlatch. His brilliant 1971 book Los Angeles : The A rchitecture of Four Ecolog ies paints a celebratory
Encyclopedia of 20th-century architecture 192
picture of a city infused with the rhythms of bodies and cultures in motion. With its
bronzed warriors, endless sunshine, and endless freeways (which necessitated that he
learn to drive in order to “read Los Angeles in the original”), Banham had found at last an
urbanism in which “mobility outweighs monumentality” and that sparkled with the
fantasies of endless self-invention and renewal. For Banham, Los Angeles was “a
reasonable facsimile of Eden” (Banham, 1971).
The impact of Banham’s writings echoed into the second half of the 20th century. If at
times his critique of the profession of architecture seemed totalizing and radically
pessimistic, when he did discover architects whom he liked—figures as diverse as
Archigram, Bruce Goff, the Japanese megastructuralists, or James Stirling—Banham’s
wide-eyed enthusiasms proved disarmingly contagious. His obsessions with hygiene,
waste, and the nonvisual body undoubtedly will only continue to grow in theoretical
importance. His eloquence on behalf of the American techno-vernacular had, with the
exception perhaps of J.B.Jackson, no equal; and, if regrettably some of Banham’s
writings now seem compromised by an irreverent sensibility—long on the furry, the
puerile, and the machismo—the radical character of his scholarship and the eloquence
and playfulness of his pen guarantee that Banham will continue to provoke, please, and
astound.
BANGKOK, THAILAND
With the abrupt change that accompanied the arrival of European art and architectural
styles during the late 19th century, Bangkok of the 20th century emerged as an
international city, emulating Western urban formation and leaving behind its former
structure of canals and teak buildings along the riverside. “Venice of the East” was
effaced; replacing it are layers of different modern architectural styles, in which
“modern” is defined variously according to different contemporaneous Euro-American
architectural currents, imported into Thailand through different means. Over the century,
however, the fabrication of “the East-meets-West” architecture occasionally occurred.
But by the end of the century, the mass of concrete high-rise buildings has become an
unprecedented image of Bangkok’s skyline.
The proliferation of Western influence on Bangkok architecture during the first half of
the century was largely due to the sociopolitical reformation during the late 19th and
early 20th centuries. It began in the last decades of the 19th century when King Rama V
(Chulalongkorn, 1853–1910) officially introduced Western practices of both
sociopolitical structure and city formation. Given the government’s incentive to
modernize Thailand, the imported culture was no longer perceived as foreign practice,
but as fundamental composition of national modernization process, to which Westernstyle
practices were not only imposed on, but also adapted to, the existing condition of
Thai society.
By 1920 neoclassical architecture outshone other types of buildings, particularly in the
heart of the present-day Bangkok’s old town due to the large number of royally imported
Italian artists and architects. The Grand Palace’s new complex, including the
Barommabhiman Palace and the Royal Innercourt division, the Dusit Palace complex,
and a group of Ministries’ buildings along Rajdamnern Road, were among the foremost
evidences. Some of the outstanding Thai and foreign architects of the period included
Prince Narissaranuwattiwongs (Vimanmek Palace and Benjamabopitr temple), Carl
Dohring (Bangkhunprom Palace), and M.Tamanyo (Anantasamakom Palace).
As favor for European-derived architecture grew, foreign artists, architects, and
engineers flooded into the country to design new buildings, while many young Thai
scholars went aboard to study and also to experience the culture of the other hemisphere.
When they returned to Thailand, many of them reset the standard of the Thai lifestyle,
which in turn radically altered Thai mentality and daily life practices, and their influence
could be observed even more clearly in architecture of the later period; Western influence
was manifested not merely by the exterior, but more importantly through the use of space
and the emulation of Western daily life practices inside the building. Consequently, the
development of Thai architectural design from the 191 0s through the 1930s could be
called an experimental period, the moment in which Thai architects attempted to create
space that not only accompanied more “modern/civilized” practices, but also suited
Encyclopedia of 20th-century architecture 186
tropical weather. Different combinations of materials and technology gave rise to various
architectural styles and building forms, as can be seen in the architectural evidences of
the Marukkatayawan and the Klaikangvol Palaces.
Meanwhile, in 1934, seven professional Thai architects, Pra-
Sarojrattananimman, Luang-Burakarmkovit, Nart Pothiprasat,
M.J.Ithithepsan Kridakorn, M.J.Votayakorn Voravan, Sivavong Kunchorn
na Ayudthaya, M.J.Prasomsavat Suksavat, and Chitrasen Sanitwongs,
established the first national association of architectural professionals
under the name of Association of Siamese Architects (ASA). The book Pattanakarn Tang Satapatayakarm,
one of a few comprehensive books on modern Thai architectural history,
mentioned that the designs of these seven architects, exemplifying that of
other contemporaneous Thai architects, were influenced largely by the
concept taught during the early 20th century at the Beaux-Arts School, a
place where many of them were trained. In fact, the omnipresent trend of
the Beaux-Arts school during the early 20th century was known for its
search for national identity within the formation of modern-style
architecture; consequently, an emulating political concept was indeed
gradually implanted and flourished among Thai architects during that
period of time.
Vimanmek Palace, Bangkok, designed
by Prince Narissaranuwattiwongs (c.
1900)
Such political incentive in architectural design became even more solidified through the
rise of different political leaders after the political situations of the 1932 revolution,
which changed the national political structure from absolute monarchy to democracy, and
after the rise of nationalism during World War II. The political fragments unwittingly
geared Thai society toward a search for a unifying discourse, a way to express the
nation’s identity. The idea in designing public buildings shifted from the sole expression
of the government, as had occurred in the dynastic dynamic, to the representation of
collective identity—a “modern” identity of democratic Thailand. The elaborate
decorative styles became outdated as they were seen to symbolize feudalism; modern
architectural style of different trends in Europe were adopted as a solution for an identity
search, a situation resembling that of many other countries at the same period. The use of
simple geometric forms and a playful arrangement of both horizontal and vertical planes
became dominant. Although many of the contemporaneous buildings were destroyed
during the bombing of World War II, one could still find images of buildings built during
this period, such as the shophouse along Rajdamnern Road and that of the adjacent
neighborhoods including the former Chalerm-Thai theater.
Within the decades following, Bangkok grew from a small Asian capital into a
medium-size international metropolitan city. International economic growth during the
1960s and 1970s resulted in a surge of the importation of newer architectural influences
from abroad. The design goal in general was no longer to emulate Western modernity,
but to drive Bangkok to reach “the international standard,” as represented by other
metropolises. Modernism, particularly that of the International Style, became popular
among Thai designers and architects, outdistancing other styles. High-rise buildings with
sun-shading elements and cement blocks took on a major part in changing the cityscape.
New business districts emerged along Sukhumvit, Silom, Rama V, and Sathorn roads,
and the preceding ones around the old town began to fade away. All these changes
affected the general layout of Bangkok, as the city began to grow toward the East and the
North, while its old town, and the western part, including the Thonburi district across the
Chao Phraya River, were left remaining more or less with its former skyline.
Another interesting architectural movement during 1960s was the revival of traditional
Thai-style architecture. Several designs of M.J.Samaichalerm and M.R.Mitrarun for royal
buildings and temporary ceremonial stands reflected the preference of following
traditional architectural grammar, but with an adaptation of material and construction
technology. A similar attempt of Luang Visalsilpakarm could be seen in his designs of
several Buddhist temples, including the elegant Wat Amarintraram. A younger generation
such as Pinyo Suwankiri evoked and grounded concerns for traditional Thai architecture
in many schools of architecture in Bangkok. The design of traditional Thai architecture in
general, however, was utilized quite exclusively for royal and religious ceremonies and
related practices.
Despite the challenges of unstable politics and military interference, the period from
the 1970s to the 1980s was the beginning of the Bangkok real estate boom, which
continued into the next decade before it gradually slowed down by the mid-1990s. Given
the rapid growth of the population and the increasing number of immigrants from the
countryside, housing and land development predominated over other forms of real estate
investment. Agricultural land around Bangkok was developed into residential areas,
particularly that extending from the new business districts on the north and east sides.
Encyclopedia of 20th-century architecture 188
Newly developed and/ or rehabilitated villages sprang up and were eventually integrated
to become the city’s new districts. Consequently, Bangkok kept growing with no fully
restricting zoning control and proper transportation systems. In addition, the design for
Thai suburban real estate development suggested another challenging point in modern
Thai architectural development in that, to begin with, it generally reflected that Thai
architectural realm encompassed the most influential trend of the era, modernism, merely
through the use of materials and through the Western-replicating forms.
A slightly economic decline occurred during the end of 1970s and the beginning of
1980s when fears of Communism throughout Southeast Asia were compounded by
political disturbance, along with the energy crisis. Yet the city kept growing, and the
number of high-rise buildings in business districts eventually increased, following the
strengthening of Thai politics and international connections. By the end of the 1980s,
more than half of today’s high-rise buildings in Bangkok’s downtown were constructed.
The headquarters of banks and financial companies lined Silom, Sathorn, and Sukhumvit
Roads. The offices of Bangkok Bank on Silom Road, designed by Krisda Arunwongs,
and Thai Farmer Bank on Paholyuthin Road, designed by Rangsan Torsuwan, created a
stir in the Thai architectural design movement, as their designs were the very first
recognizable construction of the grand-scale high-rise office buildings. The completion of
an international award-wining robot-shape Asia Bank building, designed by Sumet
Jumsai, enhanced the world’s recognition of modern Thai architecture. The peak moment
of Thai high-rise building culminated with the completion of the one-time tallest
reinforced concrete building in Asia, Baiyoke Building, in 1987, designed in chief by an
architectural team from Plan Architect, underscoring a virtual transformation of
Bangkok’s skyline.
During the late 1980s, flat slab and glass wall construction came into favor in
designing Bangkok’s high-rise architecture. The growth of the Thai concrete and glasswall
industries supported the movement. The general design of the trend’s new high-rise
buildings, such as Thai Airways Building, Sin Asia Building, and Orkarn Building, thus
differentiated itself from its predecessors with the surface design’s material and a more
elaborate interior decoration. To architects, designing with flat slab and glass wall
became, for some time, fashionably intrinsic to high-rise architecture. Yet, to the general
public’s perception, buildings with linear strips such as the two Headquarters of Bangkok
Bank and Shell Gas Company exemplified the majority of Bangkok’s architecture in the
1980s, but the cloud reflection on the mirror wall of the new Thai Airways office
building on Vipavadee Road induced their imagination of the future Bangkok.
Meanwhile, another architectural trend was introduced to Bangkok through the
Postmodernism influence. The neoclassical style Amarintr shopping plaza twisted the
atmosphere of Erawan Square, from a postwar-World War II modern architectural
environment to a reconstructed 19th-century European atmosphere. Yet, as time passed,
the Postmodernist trend lost its popularity among architects, but its influence was rooted
in the design of individual houses, luxurious housing development in particular.
The continuing escalation of the Thai economy during the early 1990s was a key to the
construction of many grand-scale buildings. The National Queen Sirikit Convention
Center, designed by Design 103 Architects firm, purposely built to serve as an
international convention center, shed light on the use of high-span structure and the
concern for energy conservation. The form itself exemplified other buildings in which the
Entries A–F 189
architects attempted to combine the form of traditional Thai architecture, the pointed roof
in particular, with modern architectural elements. Yet, even though the “East-meets-
West” situation has been a longtime concern of modern Thai architects, thus far it has not
yet been fully developed, either in terms of form or concept. The closest was that of Dan
Wongsprasat’s design of Regent Hotel on Sathorn Road; the architect integrated the
design for tropical weather with the simplified form of Thai Panya-roof house into the
design of the hotel building and its interior courts. Similar attempts, for example,
included Sumet Jumsai’s design of the Dome Building at the new campus of Thammasat
University and the Moblex Firm’s design of the Rajmongkol Conference Center inside
the Suang Luang Public Garden.
In contrast to the architects’ struggle in conceptualizing and refining modern Thai
architecture, traditional Thai architecture during the last half of the century is well
regarded and more developed. The complex of Ruen Thai architecture at Chulalongkorn
University, designed by Pinyu Suwankiri, has become a significant prototype for late-
20th-century central-Thai region’s architecture. Its elegant atmosphere and serene
landscape was occasionally epitomized as the essential characters of traditional Thai
architecture. Yet, other variations do exist, such as the sacred complex of the City Shine
in the old town center and the solemn Chalerm-prakiet-King-Bhumipol building in front
of the National Library.
Unlike the beginning of the decade, the economic crisis in 1997 turned Bangkok into
one of the most challenging moments, particularly for that of architectural development.
More than 70 real estate projects in Bangkok have been pending, some were sold to
foreign owners, but many were left with their half-built structure. The city was then
covered with the remains of unfinished construction projects, which yet waited to be
revived in times to come. As many noticed, most interruptions over the 200 years of
Bangkok’s growth often turned the city itself into a newer and better phase of
development.
styles during the late 19th century, Bangkok of the 20th century emerged as an
international city, emulating Western urban formation and leaving behind its former
structure of canals and teak buildings along the riverside. “Venice of the East” was
effaced; replacing it are layers of different modern architectural styles, in which
“modern” is defined variously according to different contemporaneous Euro-American
architectural currents, imported into Thailand through different means. Over the century,
however, the fabrication of “the East-meets-West” architecture occasionally occurred.
But by the end of the century, the mass of concrete high-rise buildings has become an
unprecedented image of Bangkok’s skyline.
The proliferation of Western influence on Bangkok architecture during the first half of
the century was largely due to the sociopolitical reformation during the late 19th and
early 20th centuries. It began in the last decades of the 19th century when King Rama V
(Chulalongkorn, 1853–1910) officially introduced Western practices of both
sociopolitical structure and city formation. Given the government’s incentive to
modernize Thailand, the imported culture was no longer perceived as foreign practice,
but as fundamental composition of national modernization process, to which Westernstyle
practices were not only imposed on, but also adapted to, the existing condition of
Thai society.
By 1920 neoclassical architecture outshone other types of buildings, particularly in the
heart of the present-day Bangkok’s old town due to the large number of royally imported
Italian artists and architects. The Grand Palace’s new complex, including the
Barommabhiman Palace and the Royal Innercourt division, the Dusit Palace complex,
and a group of Ministries’ buildings along Rajdamnern Road, were among the foremost
evidences. Some of the outstanding Thai and foreign architects of the period included
Prince Narissaranuwattiwongs (Vimanmek Palace and Benjamabopitr temple), Carl
Dohring (Bangkhunprom Palace), and M.Tamanyo (Anantasamakom Palace).
As favor for European-derived architecture grew, foreign artists, architects, and
engineers flooded into the country to design new buildings, while many young Thai
scholars went aboard to study and also to experience the culture of the other hemisphere.
When they returned to Thailand, many of them reset the standard of the Thai lifestyle,
which in turn radically altered Thai mentality and daily life practices, and their influence
could be observed even more clearly in architecture of the later period; Western influence
was manifested not merely by the exterior, but more importantly through the use of space
and the emulation of Western daily life practices inside the building. Consequently, the
development of Thai architectural design from the 191 0s through the 1930s could be
called an experimental period, the moment in which Thai architects attempted to create
space that not only accompanied more “modern/civilized” practices, but also suited
Encyclopedia of 20th-century architecture 186
tropical weather. Different combinations of materials and technology gave rise to various
architectural styles and building forms, as can be seen in the architectural evidences of
the Marukkatayawan and the Klaikangvol Palaces.
Meanwhile, in 1934, seven professional Thai architects, Pra-
Sarojrattananimman, Luang-Burakarmkovit, Nart Pothiprasat,
M.J.Ithithepsan Kridakorn, M.J.Votayakorn Voravan, Sivavong Kunchorn
na Ayudthaya, M.J.Prasomsavat Suksavat, and Chitrasen Sanitwongs,
established the first national association of architectural professionals
under the name of Association of Siamese Architects (ASA). The book Pattanakarn Tang Satapatayakarm,
one of a few comprehensive books on modern Thai architectural history,
mentioned that the designs of these seven architects, exemplifying that of
other contemporaneous Thai architects, were influenced largely by the
concept taught during the early 20th century at the Beaux-Arts School, a
place where many of them were trained. In fact, the omnipresent trend of
the Beaux-Arts school during the early 20th century was known for its
search for national identity within the formation of modern-style
architecture; consequently, an emulating political concept was indeed
gradually implanted and flourished among Thai architects during that
period of time.
Vimanmek Palace, Bangkok, designed
by Prince Narissaranuwattiwongs (c.
1900)
Such political incentive in architectural design became even more solidified through the
rise of different political leaders after the political situations of the 1932 revolution,
which changed the national political structure from absolute monarchy to democracy, and
after the rise of nationalism during World War II. The political fragments unwittingly
geared Thai society toward a search for a unifying discourse, a way to express the
nation’s identity. The idea in designing public buildings shifted from the sole expression
of the government, as had occurred in the dynastic dynamic, to the representation of
collective identity—a “modern” identity of democratic Thailand. The elaborate
decorative styles became outdated as they were seen to symbolize feudalism; modern
architectural style of different trends in Europe were adopted as a solution for an identity
search, a situation resembling that of many other countries at the same period. The use of
simple geometric forms and a playful arrangement of both horizontal and vertical planes
became dominant. Although many of the contemporaneous buildings were destroyed
during the bombing of World War II, one could still find images of buildings built during
this period, such as the shophouse along Rajdamnern Road and that of the adjacent
neighborhoods including the former Chalerm-Thai theater.
Within the decades following, Bangkok grew from a small Asian capital into a
medium-size international metropolitan city. International economic growth during the
1960s and 1970s resulted in a surge of the importation of newer architectural influences
from abroad. The design goal in general was no longer to emulate Western modernity,
but to drive Bangkok to reach “the international standard,” as represented by other
metropolises. Modernism, particularly that of the International Style, became popular
among Thai designers and architects, outdistancing other styles. High-rise buildings with
sun-shading elements and cement blocks took on a major part in changing the cityscape.
New business districts emerged along Sukhumvit, Silom, Rama V, and Sathorn roads,
and the preceding ones around the old town began to fade away. All these changes
affected the general layout of Bangkok, as the city began to grow toward the East and the
North, while its old town, and the western part, including the Thonburi district across the
Chao Phraya River, were left remaining more or less with its former skyline.
Another interesting architectural movement during 1960s was the revival of traditional
Thai-style architecture. Several designs of M.J.Samaichalerm and M.R.Mitrarun for royal
buildings and temporary ceremonial stands reflected the preference of following
traditional architectural grammar, but with an adaptation of material and construction
technology. A similar attempt of Luang Visalsilpakarm could be seen in his designs of
several Buddhist temples, including the elegant Wat Amarintraram. A younger generation
such as Pinyo Suwankiri evoked and grounded concerns for traditional Thai architecture
in many schools of architecture in Bangkok. The design of traditional Thai architecture in
general, however, was utilized quite exclusively for royal and religious ceremonies and
related practices.
Despite the challenges of unstable politics and military interference, the period from
the 1970s to the 1980s was the beginning of the Bangkok real estate boom, which
continued into the next decade before it gradually slowed down by the mid-1990s. Given
the rapid growth of the population and the increasing number of immigrants from the
countryside, housing and land development predominated over other forms of real estate
investment. Agricultural land around Bangkok was developed into residential areas,
particularly that extending from the new business districts on the north and east sides.
Encyclopedia of 20th-century architecture 188
Newly developed and/ or rehabilitated villages sprang up and were eventually integrated
to become the city’s new districts. Consequently, Bangkok kept growing with no fully
restricting zoning control and proper transportation systems. In addition, the design for
Thai suburban real estate development suggested another challenging point in modern
Thai architectural development in that, to begin with, it generally reflected that Thai
architectural realm encompassed the most influential trend of the era, modernism, merely
through the use of materials and through the Western-replicating forms.
A slightly economic decline occurred during the end of 1970s and the beginning of
1980s when fears of Communism throughout Southeast Asia were compounded by
political disturbance, along with the energy crisis. Yet the city kept growing, and the
number of high-rise buildings in business districts eventually increased, following the
strengthening of Thai politics and international connections. By the end of the 1980s,
more than half of today’s high-rise buildings in Bangkok’s downtown were constructed.
The headquarters of banks and financial companies lined Silom, Sathorn, and Sukhumvit
Roads. The offices of Bangkok Bank on Silom Road, designed by Krisda Arunwongs,
and Thai Farmer Bank on Paholyuthin Road, designed by Rangsan Torsuwan, created a
stir in the Thai architectural design movement, as their designs were the very first
recognizable construction of the grand-scale high-rise office buildings. The completion of
an international award-wining robot-shape Asia Bank building, designed by Sumet
Jumsai, enhanced the world’s recognition of modern Thai architecture. The peak moment
of Thai high-rise building culminated with the completion of the one-time tallest
reinforced concrete building in Asia, Baiyoke Building, in 1987, designed in chief by an
architectural team from Plan Architect, underscoring a virtual transformation of
Bangkok’s skyline.
During the late 1980s, flat slab and glass wall construction came into favor in
designing Bangkok’s high-rise architecture. The growth of the Thai concrete and glasswall
industries supported the movement. The general design of the trend’s new high-rise
buildings, such as Thai Airways Building, Sin Asia Building, and Orkarn Building, thus
differentiated itself from its predecessors with the surface design’s material and a more
elaborate interior decoration. To architects, designing with flat slab and glass wall
became, for some time, fashionably intrinsic to high-rise architecture. Yet, to the general
public’s perception, buildings with linear strips such as the two Headquarters of Bangkok
Bank and Shell Gas Company exemplified the majority of Bangkok’s architecture in the
1980s, but the cloud reflection on the mirror wall of the new Thai Airways office
building on Vipavadee Road induced their imagination of the future Bangkok.
Meanwhile, another architectural trend was introduced to Bangkok through the
Postmodernism influence. The neoclassical style Amarintr shopping plaza twisted the
atmosphere of Erawan Square, from a postwar-World War II modern architectural
environment to a reconstructed 19th-century European atmosphere. Yet, as time passed,
the Postmodernist trend lost its popularity among architects, but its influence was rooted
in the design of individual houses, luxurious housing development in particular.
The continuing escalation of the Thai economy during the early 1990s was a key to the
construction of many grand-scale buildings. The National Queen Sirikit Convention
Center, designed by Design 103 Architects firm, purposely built to serve as an
international convention center, shed light on the use of high-span structure and the
concern for energy conservation. The form itself exemplified other buildings in which the
Entries A–F 189
architects attempted to combine the form of traditional Thai architecture, the pointed roof
in particular, with modern architectural elements. Yet, even though the “East-meets-
West” situation has been a longtime concern of modern Thai architects, thus far it has not
yet been fully developed, either in terms of form or concept. The closest was that of Dan
Wongsprasat’s design of Regent Hotel on Sathorn Road; the architect integrated the
design for tropical weather with the simplified form of Thai Panya-roof house into the
design of the hotel building and its interior courts. Similar attempts, for example,
included Sumet Jumsai’s design of the Dome Building at the new campus of Thammasat
University and the Moblex Firm’s design of the Rajmongkol Conference Center inside
the Suang Luang Public Garden.
In contrast to the architects’ struggle in conceptualizing and refining modern Thai
architecture, traditional Thai architecture during the last half of the century is well
regarded and more developed. The complex of Ruen Thai architecture at Chulalongkorn
University, designed by Pinyu Suwankiri, has become a significant prototype for late-
20th-century central-Thai region’s architecture. Its elegant atmosphere and serene
landscape was occasionally epitomized as the essential characters of traditional Thai
architecture. Yet, other variations do exist, such as the sacred complex of the City Shine
in the old town center and the solemn Chalerm-prakiet-King-Bhumipol building in front
of the National Library.
Unlike the beginning of the decade, the economic crisis in 1997 turned Bangkok into
one of the most challenging moments, particularly for that of architectural development.
More than 70 real estate projects in Bangkok have been pending, some were sold to
foreign owners, but many were left with their half-built structure. The city was then
covered with the remains of unfinished construction projects, which yet waited to be
revived in times to come. As many noticed, most interruptions over the 200 years of
Bangkok’s growth often turned the city itself into a newer and better phase of
development.
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