Rockbund Art Museum 上海外滩美术馆

Following the end of the Cold War in Southeast Asia in the 1980s, Thailand boosted its efforts in industrialization and commercialization. In addition to the mass construction of real estate and office buildings, changes in policies regarding foreign investment and development caused the metropolitan capital of Bangkok to expand both “horizontally” and “vertically”.

Speaking from the “vertical” standpoint, Bangkok’s buildings as practical structures represent the results of urban development and civilization. Such projects include Sumet Jumsai’s Robot Building (Bank of Asia Headquarters) completed in 1986, and Plan Architect’s Baiyoke Tower, which was finished in 1987. With the help of political and economic interventions, these projects incorporated the principles of rationality and universality, and introduced a new and unprecedented way of combining technology, material and structure in building design, as well as standardized design guidelines. From the “horizontal” standpoint, the buildings of Bangkok as theoretical objects integrated both the local culture and climate conditions, which can be seen in the use of space and different venues, examples being the Muang Thai Life Assurance & Phatra Insurance Auditorium by Architects 49 Limited (A49) in 1988 as well as the Ministry of Foreign Affairs building. Both of these examples demonstrate the abstract assimilation of local culture and environmental aesthetics into the spatial vocabulary of architecture.

As the city developed at an ever quicker pace, elements of traditional Thai architecture played a critical role in contemporary designs ── as can be seen in the double-pitched roofs adapted to local climate conditions, in symmetrical and geometric layouts which remind of religious spaces, and in spacious areas of greenery resistant to the abundant amounts of sunshine in Thailand ── these external and easily recognizable “spatial qualities” molded the public’s impression of Thai architecture. Then there are the elements of Thai architecture characteristic to the region, such as large eaves used to create space for cover, window shutters for providing protection from the sun, and railings that feature special handcrafted designs. The natural and easy-to-understand “materiality” of these elements augment one’s understanding of Thai architecture. However, after contemplating the local culture, Thai architects have gradually stopped using elements of traditional Thai architecture simply for the sake of promoting their culture, as they recognized that architecture should not be a plagiarism of tradition but rather a continuation of it, while also reflecting contemporary society and its environment. As such, while their designs incorporated characteristics unique to the region’s rich cultural background, characteristics which haven’t been completely transformed by modernization, they also displayed an awareness of the present and the future while paying homage to tradition.

二十世纪八十年代随着东南亚冷战（Cold War）的结束，泰国社会加快其工业化与商业化的发展，除了房地产和办公楼的大量建设外，对境外投资与开发政策的调整，促使曼谷作为首都大城在“纵向”与“横向”两向度扩张。

从纵向的垂直视角，其建筑作为实践化工具扮演城市发展与文明化成果，包括由Sumet Jumsai于1986年完工的机器人大厦（Robot Building – Bank of Asia Headquarters）和Plan Architect于1987年完工的彩虹云霄大楼（Baiyoke Tower）等现代化实践，这些项目在政权和经济的介入下实现了合理与通用化的结果，开启建筑在结构、技术和材料上不同于过往的结合方式，提供标准化与形式化的设计准则；而从横向的水平视角，其建筑作为理论性工具结合了本土文化与地理气候条件，展现于空间与场所的特征，如Architects 49 Limited（A49）于1988年完工的泰国人寿保险总部（Muang Thai Life Assurance & Phatra Insurance Auditorium）和外交部（Ministry of Foreign Affairs）等案，都反应环境美学与社会文化抽象性地融入空间语汇中。

随著城市加速发展的背景下，传统泰国建筑元素发挥举足轻重的角色──譬如可响应气候特质的双坡屋顶、具宗教仪式感且对称的几何布局、具耐晒植物的大片景观等，这些外向的、易于辨识的“空间性”造就大众对于泰国建筑的印象；另外像是地理特质的热带泰国建筑，如创造遮蔽空间的宽敞大屋檐、向外悬挑制造阴影的百页、表现手作工艺特质的栏杆等，其自然的、易被理解的“材料性”也强化对于泰国建筑的理解。随着本土文化的反思，泰国建筑师逐渐摆脱传统具象形式的外销手法，认为建筑本身不该是抄袭传统，而是延续历史并反映当下社会环境；这些作品反应其丰富的文化背景中所带有的某种地域特色，一种不完全被现代化所改变的特质，并包含赞赏传统、反射当下和批判未来的意图。

在这个传统性与现代性并存的国家中，泰国从早期农业社会逐渐地转型为创意设计与观光导向的结构型态，越来越多的青年建筑师摆脱二十世纪前半叶大批量生产制度下的标准设计框架，取而代之的是结合前人所遗留下来的、具有百年的历史文化脉络和无所不在的手工艺美学。

当我们试问，这些地理的、气候的、社会文化的和美学特性的“泰国性”痕迹中，应该被泰国当代建筑吸收的本质特征究竟是什么？对于这样的特征精神又是否只有一种答案？或者由于泰国文化自身多样性和丰富的特质，它是否也具有一定的多变性质？能将这些抽象性元素成功并诗意地融入现代建筑设计之中，通过形式、空间秩序、建筑细部、符号、材料和建构等实现无穷尽的可能，让当今建筑设计思考进入了新的里程碑。这种多样的形式让当代建筑与环境之间呈现一种融合抑或对比的情况。

HUNG Jenchieh, lead architect for HAS design and research, founder of Chinese-Thai Research Studio, specially appointed advisor in design for the Department of Urban Planning at Tongji University. Previously worked as design manager and project lead at Kengo Kuma and Associates as well as Kris Yao Artech; projects include the Yangcheng Lake Tourist Center in Suzhou and Shipyard 1862 in Shanghai.

Working as an architect with his own practice in both Bangkok and Shanghai, HUNG has researched contemporary architecture in Southeast Asia for several years, and is devoted to the projects in both architecture and culture in China and Thailand. He was invited to curate and review the exhibition THAINESS: Thai Contemporary Architecture, and served as associate editor for the magazine Taiwan Architecture, having written special columns such as “Roaming in Architecture: Globalization and New Approaches to Architecture in China“ as well as “Local Evolution: Leaps and Uncertainties in Contemporary Thai Architecture”. Aside from academia and exhibition curation, Hung has also experimented with architectural theories through participating in international competitions, and his awards include the Young Talent Architectural Design Award for his project “New Taipei City Museum of Art”, which also won First Prize of Young Talent Architectural Design in the same year. His other works have also won first prizes in international competitions hosted by the Association of Siamese Architects and Art4d, as well as the World Architecture Community Award, the iF Concept Award, and the Prix Versailles.

HUNG Jenchieh is also a member of the Architectural Institute of Taiwan, and has published “Generative Surface Design: Experimentation in the Realm of Digital Fabrication through Parametric Modeling”, which won the Paper Award in Architectural Research. He was also invited to be associate editor for the American-based International Journal of Interior Architecture + Spatial. Hung graduated with first honors from Chung Hua University, after which he obtained his master’s at National Cheng Kung University and received a full tuition scholarship for a master’s program at Czech Technical University in Prague.

Kulthida SONGKITTIPAKDEE, lead architect in HAS design and research, specially appointed advisor in design for the Department of Architecture at Xi'an Jiaotong-Liverpool University; previously worked in the positions of assistant manager and project manager at Renzo Piano Building Workshop, Rocco Design Architects, NBBJ, and Architects 49.

As a first-rate, registered architect in Thailand, SONGKITTIPAKDEE was recipient of the Renzo Piano Foundation Scholarship, where she went to work at the Renzo Piano Building Workshop in Paris, France. Projects worked on during the scholarship included Columbia University's Jerome L. Greene Science Center for Mind Brain Behavior and the Los Angeles County Museum of Art. Afterwards she came to China to lead large-scale projects such as the International Metropolitan Plaza in Guangzhou, as well as the third expansion of the Alibaba Xixi Park in Hangzhou. Aside from architectural projects, SONGKITTIPAKDEE has also written critical essays for the Thai magazines art4d and The Cloud, Design Inspiring Node (DIN) and the website Dsign Something; she has also published a book titled Arch: Life and Rhythm with the well-known Thai publishing company Li-Zenn in 2016.

SONGKITTIPAKDEE graduated with honors from Chulalongkorn University in Thailand, after which she obtained her Master’s in Urban Design at the Ecole nationale superieure d'architecture de Paris-La Villette, and also participated in a workshop exchange at Aalborg University in Denmark. She has been invited to give lectures at institutions such as Chulalongkorn University and the American Institute for Architects.

洪人杰先生是HAS design and research主持建筑师、中泰建筑研究室创始人、同济大学建筑与城市规划学院特聘设计导师；曾于隈研吾建筑都市设计事务所、姚仁喜大元建筑工场任职设计经理、项目负责人，完成项目包括苏州阳澄湖旅游集散中心、上海船厂1862。

作为在曼谷、上海两地开业建筑师，他多年研究东南亚当代建筑，受邀担任“泰国当代建筑”策展人与评论家，致力于中泰两国地域建筑与文化实践；曾任《台湾建筑》客座编辑, 出版《浮游建筑论：国际化现象下的新华人建筑观》《本土进化论：泰国当代建筑的跃进与徘徊》等专刊。学术与策展以外，洪先生透过国际建筑竞赛来进行理论实验，作品“新北市立美术馆”获建筑新人奖，同年再获建筑新人奖台湾首奖，并成为该奖项创立20年以来第一位获此荣誉头衔的建筑师。其它作品获泰国暹罗建筑师协会（the Association of Siamese Architects）与《art4d》国际竞赛首奖、World Architecture Community Award、德国iF Concept Award、法国凡尔赛建筑奖（the Prix Versailles）。

洪人杰先生也是台湾建筑学会会员，出版著作如《衍生式皮层设计》获建筑设计理论优良论文奖，并受美国建筑期刊《International Journal of Interior Architecture + Spatial》邀请为客座副主编。他以第一名荣誉学士毕业于中华大学建筑学院，尔后获成功大学建筑硕士，并以全额奖学金赴捷克理工大学（Czech Technical University in Prague）硕士深造。

宋宝庭（Kulthida Songkittipakdee）是HAS design and research主持建筑师、西交利物浦大学建筑学系（Xi'an Jiaotong-Liverpool University ）特聘设计导师；曾于法国伦佐•皮亚诺建筑工作室（Renzo Piano Building Workshop）、香港严迅奇建筑师事务所（Rocco Design Architects）、NBBJ、泰国Architects 49任职协理与项目负责人。

作为泰国一级注册建筑师，曾获普利兹克奖得主伦佐•皮亚诺基金会奖学金至法国巴黎任职，并执行纽约哥伦比亚大学艺术和科学中心（Jerome L. Greene Science Center for Mind Brain Behavior）、洛杉矶艺术博物馆（Los Angeles County Museum of Art）等案。随后来到中国负责广州环球都会广场、杭州阿里巴巴西溪园区四期等大型项目。建筑实践之外，更撰写建筑评论文章于泰国《art4d》、《Design Inspiring Node, DIN》、Dsign Something 和 The Cloud 等，2016年于泰国知名出版社《Li-Zenn》发行《Arch: Life and Rhythm》一书。

她以荣誉头衔毕业于泰国朱拉隆功大学（Chulalongkorn University），随后于法国拉维莱特国立高等建筑学院（Ecole nationale superieure d'architecture de Paris-La Villette）获城市设计硕士，并赴丹麦奥尔堡大学（Aalborg University）建筑与设计学院深造，曾受邀演讲于泰国朱拉隆功大学、美国建筑师协会（AIA）等。