Thailand (Lonely Planet, 13th Edition) - China Williams [44]
The architectural symbolism of these temple buildings relies heavily on Hindu-Buddhist iconography. Naga, the mythical serpent that guarded Buddha during meditation, is depicted in the temple roofline where the green and gold tiles are said to represent the serpent’s scales (others say that the tiles represent the land and the king) and the soaring eaves represent its diamond-shaped head. On the tip of the roof is the silhouette of the chôr fáh: often bird-shaped decorations the colour of gold. Rooflines are usually tiered into three levels, representing the triple gems of Buddhism: the Buddha, the dhamma (Buddhist philosophy) and the sangha (the Buddhist community).
The lotus bud is another sacred motif that is used to decorate the tops of the temple gates, veranda columns and spires of Sukhothai-era chedi. Images of the Buddha often depict him meditating in a lotus blossom–shaped pedestal. The lotus bud was extensively used before the introduction of monk-like figures depicting the Buddha. It carries with it a shorthand reminder of the tenets of Buddhism. In a practical sense, the lotus plant can create a dramatic flower even in the most rancid pond – a natural phenomenon reminding the faithful of religious perfection. Many Thai markets sell lotus buds, which are used solely for merit-making in Thailand not as secular decorations.
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‘The architectural symbolism of these temple buildings relies heavily on Hindu-Buddhist iconography’
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Contemporary Architecture
Thais began mixing traditional architecture with European forms in the late 19th and early 20th centuries, as exemplified by Bangkok’s Vimanmek Teak Mansion (Click here), and certain buildings of the Grand Palace (Click here).
The port cities of Thailand, including Bangkok and Phuket, acquired fine examples of Sino-Portuguese architecture – buildings of stuccoed brick decorated with an ornate facade – a style that followed the sea traders during the colonial era. In Bangkok this style is often referred to as ‘old Bangkok’ or ‘Ratanakosin’.
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HEAVEN ON EARTH
Wander into a temple and you might think that the layout is as haphazard as everything else in Thailand. But if you had a bird’s-eye view, you’d look down on an ancient and sacred mandala based on the Hindu-Buddhist belief of a universe composed of different vertical and horizontal planes roughly corresponding to heaven, earth and hell. In the centre of the universe is Mt Sumeru (or Mt Meru in Hindu texts), where Brahma and other important deities reside and around which the sun and moon orbit. Mt Sumeru is often symbolised by a central chedi with minor chedi placed at the cardinal points to represent minor peaks and oceans encircling Sumeru. The central chedi in a Thai temple is often one of the most revered structures and displays distinct characteristics that have defined the various artistic periods (see opposite for more information).
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Buildings of mixed heritage in the north and northeast exhibit French and English influences, while those in the south typically show Portuguese influence. Shophouses (hôrng ta·ou) throughout the country, whether 100 years or 100 days old, share the basic Chinese shophouse design, where the ground floor is reserved for trading purposes while the upper floors contain offices or residences.
In the 1960s and ’70s the trend in modern Thai architecture, inspired by the European Bauhaus movement, shifted towards a stark functionalism – the average building looked like a giant egg carton turned on its side. When Thai architects began experimenting with form over function during the building boom of the mid-1980s, the result was high-tech designs such as ML Sumet Jumsai’s famous Robot Building on Th Sathon Tai in Bangkok. Rangsan Torsuwan, a graduate of Massachusetts Institute of Technology (MIT), introduced the neoclassic (or neo-Thai) style. A traditional-building specialist,