Design Guidelines For Modern Thai Architecture in Resort Contexts

DESIGN GUIDELINES FOR
MODERN THAI ARCHITECTURE

IN RESORT CONTEXTS
By
Khiensak Seangklieng
A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree
DOCTOR OF PHILOSOPHY
Architectural Heritage Management and Tourism

(International Program)
Graduate School
SILPAKORN UNIVERSITY
2005
ISBN 974 -11 - 6493 - 9

The Graduate school, Silpakorn University has approved and accredited the
Thesis title “Design Guidelines for Modern Thai Architecture in Resort Contexts”
submitted by Mr. Khiensak Seangklieng as a partial fulfillment of the requirements for
the degree of Doctor of Philosophy in Architectural Heritage Management and Tourism.
…………………………………………...
( Assoc. Prof. Wisa CHATTIWAT, Ph.D.)
Vice President of Academic Affairs
Acting Dean of Graduate School
……../…………./………
The Thesis Advisor
Professor William R. Chapman, D.Phil.
The Thesis Examination Committee
………………………………………… Chairman
(Professor Trungjai Buranasomphob, Ph.D.)
…………../………………/…………….
………………………………………… Member
(Professor William R. Chapman, D.Phil.)
…………/………………/……………..
……………………………………….. Member
(Professor Vimolsdhi Horayangkura, Ph.D.)
………../………………/……………..
K 45056953: MAJOR: ARCHITECTURAL HERITAGE MANAGEMENT AND TOURISM
KEYWORD: DESIGN GUIDELINES FOR MODERN THAI ARCHITECTURE
KHIENSAK SEANGKLIENG: DESIGN GUIDELINES FOR MODERN THAI
ARCHITECTURE IN RESORT CONTEXTS. THESIS ADVISOR: PROF. WILLIAM R.
CHAPMAN, D.Phil., 408 pp. ISBN 974 – 11 – 6493 – 9.
Resort architecture is found in public buildings with modern functions for tourists and the general
public. Mostly, resort buildings are seemingly created and designed for commercial purposes, and not for
strictly aesthetic or cultural reasons. In addition, the basis and development of Thai character still remain
undefinable—at least in a holistic approach. For these reasons, this research aims to reveal the hidden
architectural ideals reflecting Thai character in resort contexts.
Just before the end of last year the world was shocked by the tsunami disaster affecting to the west
coast of Thailand. As a result of this sad event people and architects have come to be even more concerned
about the importance and re-development of modern Thai architecture in resort contexts. Overall, the
research covered in this dissertation is comprised of several different kinds of data and several distinct
approaches. These include: 1) the results of previous research and related studies, 2) surveys of existing
building environments including architectural style, and 3) the opinions of architects and building dwellers.
This research focuses on many of the leading architects of modern Thai architecture with the aim to
dissecting and identifying the components Thai character for resort architecture and design. To test the
theories implicit in this study, questionnaires were delivered to both architects and the general public, 150
subjects in each group.
The results of the survey show that both architects and the public agree that modern Thai character
in architecture derives principally from the adaptation of traditional Thai architecture and the infusion of
modern technology. The character of modern Thai architecture in resort contexts is defined by and
elaborated through factors such as dimensions, including building organization and grouping; roof profiles
and details; the relationship among buildings and other features, such as floor patterns, ventilation, the ratio
of opening and void, posts and column, brackets, and landscapes. The intangible qualities and values of
modern Thai architecture reveals such factor as qualities of lightness, transparency, tranquility and coolness
and, sense of hospitality. Another factor considered is regional variation. To be “successful” in cultural and
aesthetic terms modern Thai architecture in resort contexts must consider factors of building organization
and grouping, architectural design, landscape features, interiors—all of which must defer as well to, specific
regions and reflect local architectural identities in both tangible and intangible qualities and values. The use
of appropriate materials and construction technology, which can have positive environmental impacts as
well, also have to be considered in architectural design. In addition, as demonstrated by the tsunami disaster,
Thai wisdom needs to be employed and integrated into design solutions. Both architects and the general
public have expressed different points of view on the same issues, due to their varied perception and
experience. Architects must allow the public to participate more fully in the design process, so that their
view point too can be taken into consideration.
________________________________________________________________________
International Program in Architectural Heritage Management and Tourism, Graduate School, Silpakorn university Academic Year 2003
Student’s signature ………………………………………….
Thesis Advisor’s signature………………………………….

Acknowledgements
First and foremost, I would like to express my deep gratitude to my supervisor Professor
Dr. William R. Chapman of the University of Hawi’i at Manoa for his overall guidance
and insights during the entire period of my research.
My gratitude also goes to Professor Dr. Vimolsidhi Horayangura, he was my thesis

advisor at Chulalongkorn University and now at Thammasat University as the Dean of
Faculty of Architecture and Planning. Without his initiative, enthusiasm, and sustained
commitment, this research could not have been conceived or written. Moreover, as my
teacher in research methods during that time, he gave me my first awareness of
responsible writing based on documentation. I have learned more from him in the process
of writing this dissertation.
I would like to express my gratitude to Professor Dr. Trungjai Buranasomphob, Director

of the International Program Architectural Heritage Management and Tourism at
Silpakorn University. Throughout the process, I have valued her thoughtful criticism, her
substantive suggestions for various references and examples, her support and guidance
— all of which has been extremely helpful to my research.
My thanks and gratitude go to all the faculty of the program, Professor Dr. Ross King,
Professor Dr. William Logan, Professor Ken Taylor, and Dr. Russell Staiff for their
invaluable advice on various aspects about architectural heritage managements, cultural
landscape, architectural conservations, and tourism interpretation which together provided
me with a good foundation for my project.
Many thanks also to all architects and building dwellers who are mentioned in chapter 3.
Without their support and thoughtful information this study could not have been
completed.
I have been very fortunate during the course of my academic career to have encountered
many people whose insights at critical moments have contributed greatly to the ideas
presented in this research. First among these are the members of the Faculty of
Architecture and Planning of Thammasat University. Three colleagues in particular, are
Ajarn Too, Ajarn Apinan, and Ajarn Ann, should be singled out for their encouragement,
suggestions for literature, statistical analysis, and constructive criticism. Thanks also go to
the faculty at Silpakorn University in particular Professor Omsiri Panin and Associate
Professor Ruethai Chaichongrak, in supporting the architectural information particular in
traditional Thai architecture as well as their thoughts on what is important in modern Thai
architecture in resort contexts.
Much thanks go to my friends, Look Nam, Ittirit, Somkiet, Boonchai for their kind
hospitality and support.
d
Special thanks are due to Noy, Meo, Poo, Nong Malee, Nong Pom, for their help on
typing the documents.
I acknowledge with sincere thanks the contributions and financial support, P’ King, P’
Joy, Ajarn Stien and P’ Buay, my dearest brothers Pairas, Toom and also my sisters P’
Kin and Nong Rin for their patience and tender care.
Over the last three years, I have both been inspired and provoked by many of my students,
especially during field trips to the North, and also in the intense environment of our design
studios. Their inquiring minds have been thoroughly engaging.
Perhaps most importantly, thanks are also gratefully expressed to the various architects
and all of respondents who have kindly agreed to complete the questionnaires.
And of course, my thanks and love go to my wife, Noppawan “Nok” for her patience,
support, and love.
Lastly, I dedicate my efforts in this dissertation to my dearest father Lom, who first
encouraged my interest in creative ways as an architect, and to my mother for her patience
and endless love.
e
Table of Contents
Chapter Page
1 Introduction…………………………………..……………………... 1
Significance of the Problem……………………………………… 1

Goals and Objectives……………………………………………... 1
Hypothesis……………………………………………………….. 3
Scope of the Study……………………………………………….. 3
Research Methodology………………………………………….. 4
2 Literature Review and Related Studies…………………………….. 8
Tourism Development in a Global Context……………………… 8

Resort Architecture and Tourism………………………………... 10
Resort Design in Global Contexts………………………………... 10
Architectural Identity and Tourism……………………………… 15
Concept of Authenticity…………………………………………. 16
Form and Content in Authenticity……………………………….. 16
Thai Character of Traditional Architecture and its
Transformation……………………………………………… 16
The Transformation of Thai Character for Modern Thai
Architecture in Resort Contexts…………………………….. 17
Thai Character in Tangible Qualities…………………………… 17
Building Organization and Grouping ……………………. 17
Architecture and its Characteristics……………………… 20
Landscape……………………………………………….. 37
Thai Character in Intangible Qualities………………………… 41
A Sense of Lightness…………………………………… 41
A Sense of Transparency………………………………… 44
A Sense of Tranquility and Coolness…………………… 45
A Sense of Hospitality…………………………………… 48
Toward the Creation Modern Thai Architecture in Resort
Contexts……………………………………………….. 50
Building Organization and Groupings……………………………... 52
Architectural Design and Its Characteristics……………………… 53
3 A Survey of the Case Studies ……………………………………… 55
The Four Seasons Resort and Spa (former Regent Chiang Mai) 56
Anantara Resort and Spa, Hua Hin …………………………… 64
Sila Evason Hideaway, Samui………………………………… 71
Le Meridean Baan Taling Ngam, Koh Samui………………… 77
Santi Buri Dusit Resort, Samui………………………………… 82
Banyan Tree Phuket, Phuket…………………………………… 88
Grand Sheraton Laguna Beach, Phuket………………………… 97
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Chapter Page
Amanpuri, Phuket Island……………………………………… 102

Rayavadee premier, Krabi…………………………………….. 107
The Tub-kaak Resort, Krabi ………………………………….. 114
Holiday Inn Resort, Phi Phi Island……………………………. 120
4 Interviewing and Constructing the Questionnaire………………. 125
Interviewing Resort Designers………………………………… 126

Interviewing Leading Architects……………………………… 132
Interviewing Building Users.………………………………… 139
Analysis of the Physical Aspects of Buildings based on
the Case Studies and the Opinions of those Interviewed…….. 141
Analysis of Design Guidelines for Modern Thai Architecture
in Resort Contexts…………………………………………….. 151
Constructing the Questionnaire………………………………. 154
5 Social Analysis of the Respondents……………………………… 157
Social Analysis and Comparative Study— non-architects and

the architects ………………………………………………. 158
Comparative Analysis of Age…………………………………. 158
Comparative Analysis of Gender …………………………….. 158
Comparative Analysis of Educational Level ………………… 159
Comparative Analysis of Occupation………………………….. 160
Comparative Analysis of Income……………………………… 161
6 Analysis of the Results……………………………………………… 163
Patterns of Analysis…………………………………………… 164

Analyzing the Results…………………………………………. 167
The Modern Thai Character in Tangible Quality and Values…… 167
The modern Thai Character in Intangible Qualities and Values… 227
Comparisons of opinion regarding the design guidelines

for modern Thai architecture in resort contexts:
attitudes of architects and non-architects (general people)…… 244
To study the opinions of the respondents regarding

modern Thai architecture in resort contexts using
the simulated-model of the case studies:
attitudes of architects and non-architects (general public)…… 262
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Chapter Page
7 Conclusion and Suggestions………………………………………. 284

Summary of the Findings…………………………………….. 284
The Characteristics of Modern Thai Architecture…………. 284
Design Guidelines for Modern Thai Architecture in Resort
Contexts……………………………………………….. 293
Suggestions for Future Research……………………………….. 301
Applications…………………………………………………… 302
Bibliography……………………………………………………………. 327
Appendix A: The Questionnaire (English) …………………………… 330
Appendix B: The Questionnaire (Thai)……………………………….. 369
Appendix C: The Glossary …………………………………………… 400
Autobiography…………………………………………………………. 406
h
List of Tables
Table Page
1 Responses of the interview groups the specific

characteristics of design quality, both tangible
and intangible: A positive response is indicated
by the number in each column………………………… 142
2 More explanation needed: such as responses to
aspects of feature of resorts based on architectural
guidelines……………………………………………… 151
3 Comparative analysis of age …………………………….. 158
4 Comparative analysis of gender ………………………. 159
5 Comparative analysis of educational level ……………. 160
6 Comparative analysis of occupation …………………… 161
7 Comparative analysis of incomes ………………………. 161
8 Comparative analysis of attitudes between those of architects
and non-architects (general public) towards modern
Thai character on the basis of building organization and
grouping………………………………………………………. 170
and non-architects (general public) towards the importance
for resort architecture and designs on the basis of building
organization and grouping.…………………………………… 173
and non-architects (general public) towards modern Thai
character on the basis of architectural elements—roofs and
roofing…………………………………………………………. 176
and non-architects (general public) towards the importance for
resort architecture and designs on the basis of architectural
elements —roofs and roofing.………………………………….. 179
12 Comparative analysis of attitudes between those of architects and
non-architects (general public) towards modern Thai character
on the basis of architectural elements—connecting spaces.…… 182
elements —connecting spaces.……………………………….. 185
character on the basis of architectural elements—floors and
flooring.………………………………………………………... 187
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elements —floors and flooring.……………………………… 188
character on the basis of architectural elements—wall panels.. 189
elements —wall panels.……………………………………….. 192
character on the basis of architectural elements—openings and
voids.…………………………………………………………. 194
elements —openings and voids.……………………………… 197
character on the basis of architectural elements—free-standing
posts and columns.…………………………………………….. 200
elements —free-standing posts and columns.…………………. 202
character on the basis of architectural elements—brackets…….. 206
elements—brackets.…………………………………………… 206
character on the basis of architectural elements—handrails and
balusters.……………………………………………………… 207
elements —handrails and balusters.…………………………… 209
j
Table Page

character on the basis of landscape—tree locations.………… 212
resort architecture and designs on the basis of landscape —tree
locations ……………………………………………………… 214
character on the basis of landscape waterscape.……………… 216
resort architecture and designs on the basis of landscape —
waterscape.……………………………………………………. 218
and non-architects (general public) towards modern Thai character
on the basis of landscape—sala (Thai pavilion).……………… 220
resort architecture and designs on the basis of landscape—sala
(Thai pavilion).……………………………………………… 222
character on the basis of landscape—elevated walkways…… 224
resort architecture and designs on the basis of landscape —
elevated walkways.…………………………………………….. 226
character on the basis of intangible qualities and values—
a sense of lightness …………………………………………… 227
and non-architects (general public) towards the importance of
intangible qualities and values: A sense of lightness.………….. 230
a sense of transparency.……………………………………….. 232
intangible qualities and values: A sense of transparency.…… 234
k
Table Page

a sense of tranquility and coolness……………………………. 236
intangible qualities and values: A sense of tranquility and
coolness.………………………………………………………. 239
a sense of hospitality …………………………………………. 241
intangible qualities and values: A sense of hospitality.……… 243
and non-architects (general public) towards the design
guidelines for modern Thai architecture relating to the
various aspects of site planning.……………………………… 245
guidelines for modern Thai architecture relating to architectural
characteristics and design.…………………………………….. 248
guidelines for modern Thai architecture relating to the
landscape.……………………………………………………… 251
45 Comparative analysis of attitudes between those of architects and
non-architects (general public) towards the design guidelines for
modern Thai architecture relating to building technology and
construction.…………………… 254
guidelines for modern Thai architecture relating to the interior
architecture and decorations.………………………………… 257
guidelines for modern Thai architecture relating to the laws
and regulations.……………………………………………… 260
character via simulated models regarding the basis of
architectural characteristics and design.…………………….. 264
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Table Page

character via simulated models regarding the original and
simulated-feature.…………………………………………….. 266
architectural characteristics and design.……………………..… 267
simulated-feature.…………………………………………….. 269
architectural characteristics and design.………………………. 270
simulated-feature.……………………………………………… 272
architectural characteristics and design.……………………..… 273
simulated-feature.………………………………………….. 275
architectural characteristics and design.……………………… 276
simulated-feature.…………………………………………. 278
architectural characteristics and design.…………………….. 279
simulated-feature.……………………………………………... 281
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Table Page

architectural characteristics and design.…………………….... 282
61 Summary of the results regarding the basis of building
placement and grouping with the attitudes of
architects and non-architects (general public)……………. 304
62 Summary of the results regarding the basis of
architectural elements—roofs and roofing with
the attitudes of architects and non-architects
(general public) ………………………………………… 305
architectural elements— connecting spaces with
(general public) ………………………………………… 306
architectural elements—floors and flooring with
(general public)………………………………………… 307
architectural elements—wall panels with the attitudes of
architects and non-architects (general public)………… 308
architectural elements—openings and voids with the
attitudes of architects and non-architects
(general public) ………………………………………… 309
architectural elements—free-standing posts and columns
with the attitudes of architects and non-architects
(general public) ………………………………………… 310
architectural elements—brackets with the attitudes
of architects and non-architects (general public)……… 311
landscape—tree locations with the attitudes of
architects and non-architects (general public) ………. 312
landscape—waterscape with the attitudes of
architects and non-architects (general public)………… 313
landscape—sala (Thai pavilion) with the attitudes
of architects and non-architects
(general public) ……………………………………… 314
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Table Page

landscape—bridge walkways with the attitudes

intangible qualities and values—a sense of
lightness with the attitudes of architects and
non-architects (general public)………………………… 316

intangible qualities and values—a sense of
transparency with the attitudes of architects and
non-architects (general public) ……………………… 317

intangible qualities and values—a sense of tranquility
and coolness with the attitudes of architects and
non architects (general public)………………………… 318

intangible qualities and values—a sense of hospitality
with the attitudes of architects and non-architects
(general public) ………………………………………. 319
77 Summary of the results of the design guidelines

for modern Thai architecture regarding the basis
of building placement and grouping with the attitudes
of architects and non-architects (general public) …… 320

of architectural characteristics and design with the
attitudes of architects and non-architects
(general public) ……………………………………… 321

of the landscape with the attitudes of architects
and non-architects (general public)………………… 323
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of building technology and constructions with
(general public)………………………………… 324

of interior architecture and decoration with the attitudes

of laws and regulations with the attitudes of architects
and non-architects (general public)…………………… 326
p
List of Figures
Figure Page
1 The research hypothesis and its process...................................... 2

2 Organization of the seven chapters in this dissertation. ………. 6
3 The Research Process…………………………………………... 7
4 The guestroom spa “The In-Room Spa-tel Concept Plan” …… 11
5 The ecotourist resort perched on water Pangkor Laut Resort,
Lumut, Malaysia. Residing in the thatch-roofed over-water
cabins strung along the winding wood pier, guests enjoy
stimulating exposure to native culture and the wonders of
nature while immersed in the comforts of a luxury resort …….. 13
6 The ecotourist resort of solar, wind, and rainwater Harmony
Maho Bay Camps, US Virgin Islands. Designed to run on
solar and wind power and to leave its hilly oceanfront site
as undisturbed as possible, the resort embraces fundamental
issues of sustainable architecture and eco-friendly technologies
while providing guests with a valuable and entertaining
hospitality experience ………………………………………….. 13
7 The ecotourist resort at the rainforest’s edge Sheraton
Timika Hotel, Irian Jaya, Indonesia. The main lodge housing
reception, lobby, restaurant, meeting rooms, and fitness
center rests on an expressed base of local river stone while the
guestroom bungalows are elevated on stilts above the
rainforest floor, preserving the fragile ecosystem …………….. 15
8 a): An aerial view showing the siting of houses on slightly
elevated ground to avoid flooding
b): An aerial view showing the dense concentration of
dwellings along rivers and tributaries. Access to water
was important for all aspects of Thai life, both domestic and
c): An aerial view showing a loose village arrangement
where each house is surrounded by rice fields …………… 18
9 The walkways were built as the connecting part of the group
of Thai houses at Mahidol University …………………. 19
10 a): Some terraces are extremely spacious and were therefore
used for special events and ceremonies
b): Traditional Thai house of a simple arrangement of
ruen norn, kitchen that connected with the chan (terrace)
for a single family…………………………………….. 21
11 The characteristics of architecture relating to the dressing
and a hat of each nations ………… 22
12 High- pitched roofs are covered with terra cotta tiles ………… 23
13 Stylistic multi-tiered roof and stepped roof structure of
formal architecture…………………………………………….. 24
14 a): A roof with short overhangs of formal architecture of
Sukhothai period
b): A roof with long overhangs ………………………………. 25
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Figure Page
15 The low-pitched roof ………………………………………… 27

16 The various shapes of square-based column with the
indented (blunted)-corners ……………………………………. 28
17 Examples of paneling on a traditional Thai house ……………… 30
18 On the either side of the porch over the steps at
Ruen Tap Khwan are pierced panels for ventilation.
It was built by King Rama VI ………………………………... 30
19 The differing styles of door of traditional Thai architecture …… 31
20 The window styles of traditional Thai architecture ……………. 32
21 Detail showing the sliding panel or fa-lai ……………………... 33
22 Wat Na Phra Meru, the proportion and arrangement of the
opening and void…………………………………………….. 33
23 a) Details of the kalae. The motif, which is believed to
be derived from the horns of the water buffalo, has become
so identified with the northern style that it is oven used as
a symbolic device on modern building
b) Some examples of kalae. The exact significance
of this is unknown, particularly in more elaborately
carved versions like these, but designs often include
the traditional flame motif)……………………………….. 35
24 Some of the most popular forms of na-jua…………………… 36
25 a) and b) Eave brackets ……………………………………… 38
26 The raft-house arrangement in which three separate
houses sit on the same platform and also are connected by
the walkway bridge…………………………………………… 39
27 (a) An analysis of the fundamental approach to the
creation of architectural form in traditional architecture
(Choti Kalyanaitra “Traditional Thai architecture,” in Thai
character (in Thai), Through applying pointed vertical direction
and curvilinear horizontal expression, the Buddhist philosophy
with regards to eternal life is transformed into an inspired
architectural statement in terms of elegance and lightness
(b) Stylistic multi-tiered roof and stepped roof of traditional
Thai architecture………………………………………….. 41
28 The elegant loftiness and lightness of a traditional Thai roof … 43
29 Samui Airport—the use of thatched roofing materials
is a traditional feature of vernacular architecture……………… 43
30 Traditional Thai structures are built over water bodies ………. 44
31 Traditional Thai house with chan and tree …………………… 46
32 Traditional Thai landscape with tree planting within
the house compound ………………………………………….. 47
33 a) The raan nam or water pavilion is a traditional feature
of Northern Thai house. These shelves hold the earthenware
jars and water dippers used to welcome guests
b) The large toen of a kalae house…………………………… 49
34 In search of new creative dimensions ………………………... 51
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Figure Page
35 Site plan of main building of The Four Seasons

Chiang Mai shows the building placement of the main
lobby and restaurant that are adjacent to the water
features and the sala…………………………………………… 57
36 Front elevation and side elevation of main building,
shows the characteristic of Lan na-style northern
Thai architecture ……………………………………………… 58
37 Section of the main building, shows the building placement,
designed to fit with the existing conditions of the
landscape.……………………………………………………… 59
38 Architecture and landscape design of a pavilion
(line drawing by the author).…………………………………. 59
39 Elevation and section of a pavilion with the architectural
elements and ornaments reflecting of Lan na-style
architecture.……………………………………………………. 60
40 Architecture and landscape of The Four Seasons
(line drawing by the author)…………………………………… 61
41 Architecture and Landscape of The Four Seasons. …………… 63
42 Site plan of main building shows the building organization
of the main lobby and restaurant that are adjacent to the
water features and the sala.……………………………………. 65
43 Front elevation, side elevation, and section of the main lobby… 66
44 Plan, elevation, and character of the guests’ pavilion ………… 67
45 Architecture and landscape design. …………………………… 68
46 Interior architecture of the main lobby.………………………. 68
47 Architecture and landscape design of the project.……………… 69
48 Site plan of the main building and villas.……………………… 72
49 Architecture and landscape design of the project.……………... 73
50 Architecture and landscape design of the project …………… 73
51 Architecture and landscape of the project ……………………. 74
52 Architecture and landscape design of the pool villa. ………… 74
53 Architecture and landscape design of the pool villa. …………… 75
54 Architecture and landscape of the project (line drawing by
the author).……………………………………………………... 78
55 Site plan of the resort complex………………………………… 79
56 Site plan of the main building and resort complex.…………… 84
57 Front elevation and back elevation of the main lobby.……… 85
58 Section of the main lobby.………………………….…………… 85
59 Architecture and landscape design of the main lobby.………… 86
(lined- drawing by the author).………………………………… 86
61 Architecture and landscape design of a pavilion.……………… 87
62 Site plan of the main building and the resort complex.……….. 89
63 Floor plan, and sections of the pool villa.…………………….. 90
64 Elevations and section of the pool villa.……………………… 91
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Figure Page
65 Architecture and landscape design of the pool villa

(line drawing by the author). ………………………………….. 92
66 Architecture and landscape design of the pool villa
(line drawing by the author) …………………………………. 93
67 Architecture and landscape design of the project. …………… 93
68 Architecture and landscape design of the project……………… 94
69 Architecture and landscape design of project.………………... 94
70 Architecture and landscape design (line drawing by the author). 95
71 Site plan of the main building and resort complex ………… 98
72 Architecture and landscape design of the project.……………. 99
73 Architecture and landscape design.……………………………. 100
74 Site plan of the main building and resort complex……………. 103
75 Architecture and landscape design (line drawing by the author).. 104
76 Architecture and landscape design of the main building………. 104
77 Site plan of the main building and resort complex.……………… 108
78 Architecture and landscape design of the main building
and pavilions ………………………………………………….. 109
(line drawing by the author).…………………………………… 110
80 Architecture and landscape design of the main building………. 111
81 Site plan of the main building and resort complex …………….. 115
82 Architecture and landscape design of the project. …………….. 116
83 Architecture and landscape design of the project.……………. 117
84 Architectural design and character of the main building………. 118
85 Interior architecture of the main building.…………………….. 119
86 Site plan of the main building and resort complex.…………… 121
87 Architecture and landscape design of the main buildings. …… 122
88 Architecture and landscape of the villas. …………………….. 123
89 The process of constructing the questionnaire………………… 156
90 The comparison of the opinions regarding the modern

Thai character—architects and non-architects ………………… 164
91 Comparison of opinions regarding design guidelines for
modern Thai architecture in resort contexts: attitudes of
architects and non-architects (general public)………………… 165
92 Comparison of opinions regarding modern Thai architecture
in resort contexts using the simulated-models of case studies:
Attitudes of architects and non-architects (general public).…… 166
93 Comparison of opinions regarding modern Thai architecture in
resort contexts using the simulated-models of case studies:
Attitudes of architects and non-architects (general public).… 166
94 Building organization and grouping: Semi-enclosed space
with chan (a central terrace) ………………………………….. 167
95 Building organization and grouping: Uncovered-walkway … 168
96 Building organization and grouping: covered-walkways………. 168
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Figure Page
97 Building organization and grouping: Uncovered elevated

walkway ………………………………………………………. 169
98 Building organization and groping: Covered elevated
walkway………………………………………… 169
99 Traditional Thai house with chan and tree (line-drawing by the
author).……………………… 171
100 The raft-house arrangement in which three separate houses
sit on the same platform and also are connected by the walkway
bridge …………………………………………………………. 174
101 A roof with long overhangs ……….. 177
102 High- pitched roofs are covered with terra cotta tiles ………… 178
103 Building and connecting space with chan (a central terrace)
and palai (covered verandah)………………………… 181
104 Building and connecting space with lan- long (open space)…… 182
105 Some terraces are extremely spacious and were therefore
used for special events and ceremonies ……………… 183
106 Detail showing the sliding panel or fa-lai (ventilating panel).. 191
107 The differing styles of door of traditional Thai architecture … 195
108 Sao-loy with round-shaped profile ……………………………. 199
109 Sao-loy with square-shaped profile ………………………….. 199
110 Sao-loy with indented corners ………………………………... 199
111 Sao-loy with square-bases and tops and with buo- shaped
or lotus-shaped capitals……………………………………….. 199
112 Building with brackets………………………………………… 204
113 Building without brackets……………………………………. 204
114 Eave brackets, architectural element in tangible value …….. 205
115 Tree at center of open space…………………………………. 210
116 Trees adjacent to the building …………………………….. 211
117 Trees not adjacent to the building…………………………….. 211
118 Traditional Thai house with chan and tree
(line-drawing by the author).………………………………… 213
119 Building adjacent to the water feature…………………………. 215
120 Building raised on stilts over the water feature ………........... 216
121 Traditional Thai structures are built over water bodies ……… 217
122 Sala adjacent to the water feature……………………………. 219
123 Sala placed at the middle of the water feature ………………. 220
124 Covered elevated walkway …………………………….. 223
125 Uncovered elevated walkway ……………………… 224
126 The walkways were built as the connecting part of the
group of Thai houses at Mahidol University ………………… 225
127 The elegant loftiness and lightness of a traditional Thai roof . 228
128 Traditional Thai landscape with tree planting within the
house compound (line drawing by the author).…………… 238
u
Figure Page
129 The raan nam or water pavilion is a traditional feature of

Northern Thai house. These shelves hold the earthenware
jars and water dippers used to welcome guests (line-drawing by
the author).………………………………………………... 242
130 (The Banyan tree with aerial roots ………………………… 253
131 A building complex with water pond (original) …………… 263
132 A building complex with lily pond as simulated-feature…. 263
133 A building complex with lawn as simulated-feature …...... 263
134 Roof with gable-end and ornament (original)…………...... 265
135 Roof without gable-end and ornament as simulated-feature … 265
136 Sala with gable-ends and ornaments (original)……………… 268
137 Roof without ornaments as simulated-feature ……………… 268
138 Buildings adjacent to waterscape (original) ………………… 271
139 Buildings not adjacent to waterscape as simulated-feature… 271
140 building complex with kalae and ornament (original)……… 274
141 A building complex without kalae and ornament as
simulated-feature …………………………………………… 274
142 Building with curved-roof and ornament (original)………… 277
143 Building with gable roof as simulated-feature ……………… 277
144 Landscape with lily pond (original)………………………… 280
145 Landscape with walkway as simulated-feature……………… 280
146 Architectural development of modern Thai character
according to the results……………………………………… 292
147 Architectural development of modern Thai character
according to the appropriate designs…………………………. 292
148 The paradigm of design development of modern Thai
architecture in resort contexts…………………………………. 300
149 New paradigm with global concept for the design
development of modern Thai architecture in resort contexts…. 303
v
1
Chapter 1
Introduction
1. Significance of the Problem
Tourism development is experiencing a profound change of direction. Foremost is the

growing concern of both the tourism industry and the public with the ideal of
“sustainable tourism.” Tourism thus encompasses development that can weather the
exigencies of economic and natural disasters to survive in a way that complements
rather than detracting from national cultures and local contexts. Second is the
increasing concern that tourism provides a means of “presenting” a “host culture” and
also offers an opportunity to promote and enhance traditional architecture and cultural
values.
Today 21 million people around the world are employed directly in the travel and
tourism industry. Many more millions are involved somehow in tourism-related
activities whose work bears directly on tourism. One of the most rapidly developing
tourism regions globally is East-Asia and the Pacific area. This wide region has
experienced an average annual growth in tourism of between 6 percent and 9 percent
in recent years. Its rapid economic development has stimulated business travel and
increased holiday travel on an unprecedented scale.
As resort hotels are created for tourism purposes, more and more people are concerned
about new issues of tourism development. Much recent research in the field of
architecture has suggested that for tourism development the concept of tradition and
architectural identity and also authentic cultural value are growing concerns in
architectural design. Because of these two factors—increasing tourism pressure and
more interest within both the tourism and architectural fields. The concept of design
for resort hotels and how this might better reflect tradition, identity and cultural values,
has become a greater issue.
This research aims to investigate the ways that design guidelines for modern Thai
architecture in resort contexts might be better assessed and evaluated in a more
comprehensive and consistent way. Furthermore, this project also looks into the
regional differences and the differences among different types of “users” and
“providers.” It examines, in short, the responses of architects, guests, owner, visitors,
and the general public to variations in design practice as a means of evaluating what is
“good” or “appropriate” and what is not.
2. Goals and Objectives

2.1 To study the concept, characteristics, architectural identity of modern Thai
architecture from related theories and previous research;
2
2.2 To examine the opinions of architects, especially leading architects who have
served as members of ASA award committees, about the concept, and
characteristics of modern Thai architecture in resorts contexts;
2.3 To study the opinions of the building users and owners, including those who are
involved in the selected case study projects, about the concept and characteristics
of modern Thai architecture in resort contexts;
2.4 To evaluate the perception of the concept and characteristics of modern Thai
architecture in resort contexts, on the part of architects and non-architects (general
public); in addition, to compare the opinions of each group.
2.5 To present a summary of “outputs,” based on assessments regarding architecture in

resort contexts.
Figure 1: The research hypothesis and its process

3
3. Hypothesis
Resort hotels are designed seemingly for commercial purposes. They appear to be
more concerned with the direction of tourism development than “higher” motives, such
as aesthetics or heritage. The task of this project is to somehow bridge these two
modes—to bring aesthetic and cultural development together while maintaining
commercial interests in the tourism sector. The hypothesis of this research is mainly to
prove that “at present, Thai architects and non-architects are becoming more
concerned with architecturally responsible design, particular in design for
modern Thai architecture in resort contexts.”
However, architects and non-architects (general public) would be expected to have

different points of view on the same issue due to their own perceptions and
experiences. This project attempts to rely more on public perception than other
approaches, briefly, to allow the average person to have an impact on design.
Overall, this research project is in effort to synthesize “professional” and “lay”

interests in design. It proceeds on the assumption that lay people have perceptions into
their own culture that might at times elude professionals.
The project believes that popular perception and professional perception can be
complementary paths to a new kind of sensitive and appropriate design approach.
4. Scope of the Study

The analysis of appropriate design in resort contexts requires “specificity” as well as
“generality.” To select a range of “test cases” several criteria were employed. Initially,
the test case–referring here to resort hotels—had to be of recognized national
standards. A second criterion would be recognition by the academic establishment—
the place where architecture is taught. The third criterion was that the selected case
study should be a part of a “world class” assemblage, in this instance represented by
known resort companies. Finally, the test case had to possess the quality of having
“attempted” to achieve regional or national associate.
These may be summarized as follows:
4.1 Projects given the ASA (The Association of Siamese Architects Under Royal
Patronage) design award;
4.2 Projects winning conservation awards from Department of Fine Arts;
4.3 Projects associated with leading hotel companies of the world;
4.4 Projects which have expressed value–oriented design reflection of Thai

architecture or vernacular architecture. Typically, these projects have incorporated
traditional motifs and local materials in their design.
The selected projects with the critical criteria as above are:

4
1. The Four Seasons Resort and Spa (former the Regent Chiangmai), Chiangmai;
2. The Anantara Resort(former the Royal Garden Village), Hua-hin;
3. Le Meridean Baan Taling Ngam, Samui;
4. Santi-buri Dusit Resort, Samui;
5. Sila Evason Hideaway, Samui;
6. Rayavadee Premier Resort, Krabi;
7. Holiday Inn Resort, Phi Phi Island, Krabi;
8. The Tub-kaak Resort, Krabi;
9. Grand Sheraton Laguna Beach, Phuket;
10. Banyan Tree Laguna Beach Resort and Spa, Phuket;
11. Amanpuri Resort, Phuket;
5. Research Methodology
The methodology adapted in this study is a combination of literature review, an
examination of existing sites and interviews in conjunction with questionnaires. The
aim has been to develop a consistent and coherent methodology that will help guide
both understanding and decision-making in the context of design. The various steps
may be summarized as follows:
5.1 Examination of previous research and theories;
5.2 Selection of projects for case studies, based on past awards or expressed through
architectural identity and design;
5.3 Survey and analysis of the selected case-study projects using standardized
information and architectural graphic records; the project encompasses interviews
and questions. Ten “users/owners” and ten architects were interviewed.
The interviews touch upon what are identified as the salient characteristics of Thai
architecture;
5.4 Collecting data through interviews with 10 well-known architects;
5.5 Analysis of data and construction of a questionnaire that provide:
5.5.1 Information on specific architectural aspects of resorts by using the survey

of case studies and the interviews includes:
• Data pertaining to related theories and previous research;
• Data based on survey of case studies of selected projects;
• Data produced through interviews with architects, including selected

projects as case studies;
• Data derived from interviews with leading architects;

5
• Data produced by interviews with the hotel owners, and “users,” including
visitors and those living near the sites.
5.5.2 Transferring the qualitative data into the quantitative data to construct the
final questionnaire for use with architects and the public (lay people).
5.6 Constructing the final questionnaire and collecting the data by using the
questionnaire-technique.
5.6.1 Constructing the pre-questionnaire with architectural description; these

include:
• The opinions of architects and non-architects (general public) with

perceptions about the architectural identity of modern Thai architecture in
resort contexts.
• The opinions of architects and non-architects (general public) about design

guidelines for modern Thai architecture in resort contexts.
5.6.2 The pre-questionnaire will be tested with selected architects and non-
architects (general public) by processing the test and re-test of 20 subjects
for each group. The statistic method of “Pearson product moment
correlation” will be applied in reconstructing the comprehensive
questionnaire.
5.6.3 Delivery of the final questionnaire to architects and non-architects (general

public); 150 subjects to be included in each group.
5.7 Analyzing the responses to questionnaires by architects and non- architects (as
pointed in 6.1 and 6.2) and assessing the data by using the statistical method of
Mean, Standard Deviation (SD), T-test, and Chi-square. In addition the comparison
of social characteristics of the respondents are examined with the computerized-
analysis of “SPSS program.”
5.8 Conclusions and Suggestions
5.8.1 General conclusions based on the opinions of architects and general public
on the perception of the characteristics and architectural identity of modern
Thai architecture in resort contexts.
5.8.2 Collection and analysis of opinions of architects and non-architects (general

public) concerning design guidelines.
5.8.3 Suggestions for future design guidelines for modern Thai architecture in
resort contexts. These proposals will be demonstrated through proposed
new designs derived from the findings of the study.
6
Figure 2: Organization of the seven chapters in this dissertation.

7
Figure 3: The Research Process
Formulating the research Analyzing data for Analyzing data of the

problem and dissertation Collecting data using a survey and interviews Analyzing data constructing the results Conclusions and
title questionnaire Suggestions
Statement and Reviewing the literature and related studies

significance of the
problem: Analyzing data of the Constructing pre- Analyzing data Summary on the results:
Within the resort contexts, Collecting data using a survey of the case case studies questionnaire for regarding the opinions A. The characteristics of
the investigation and studies: - Analysis of architects and non- of the questionnaire modern Thai architecture
study through the creative 1. The Four Seasons Resort and Spa, Chiang characteristics of architects, using test and respondents: in resort contexts
dimensions of modern Mai; resort architecture retest procedure with 20 1) Opinions on the B. Design guidelines for
Thai character in both 2. The Anantara Resort, Hou-hin; through physical subjects in each group characteristics of modern Thai architecture
tangible and intangible 3. Le meridian Baan Taling Ngam, Samui; features for reconstructing the modern Thai in resort contexts
qualities and values 4. Santi-buri Dusit Resort, Samui; - Analysis of resort final questionnaire. architecture in resort
including the design 5. Sila Evason Hideaway, Samui; architecture of the contexts.
guidelines still be needed 6. Rayaradee Premier Resort, Krabi; case studies: 2) Opinions on the Suggestion for future
for architects’ design 7. Holiday Inn Resort: Phi Phi Island, Krabi; Interviewing: Delivery the final design guidelines for research
considerations reflecting 8. The Tub-Kaak Resort, Krabi; - Designed-architects questionnaire to modern Thai
the architectural identity 9. Grand Sheraton Laguna Beach, Phuket; - Leading architects architects and non- architecture in resort
and cultural value with the 10. Banyan Tree Laguna Beach Resort and - Building users architects,150 subjects contexts.
dynamism of modern Thai Spa, Phuket; 3) Opinions on the
in each group.
society as well as tourism 11. Amanpuri Resort: Phuket characteristic of modern
development in a global Thai architecture via the
context. Analyzing data of simulated-models of the
Analyzing data of the case studies design guidelines for case studies.
Analyzing the characteristics of modern Thai modern Thai
architecture through a survey, they are: architecture in resort
Hypothesis: Analyzing data of the
A. Thai character in tangible qualities and contexts: Interviewing:
“At the present, Thai results using the
values - Designed-architects
architects are becoming statistical analysis:
1. Building organization and grouping - Leading architects
more concerned with - The social character
2. Architectural components
architecturally responsible 3. Architectural elements and details with respondents using
design, particular in 4. Landscape t-test (age and income),
design for modern Thai B. Thai character in intangible qualities and chi-square (gender,
architecture in resort values Summary the data for
educational level, and
contexts” 1. A Sense of Lightness constructing the
2. A Sense of Transparency
occupation)
questionnaire
3. A Sense of Tranquility and coolness - Comparing the opinion
4. A Sense of Hospitality using the mean rating
Dissertation Title: and standard deviation
Design Guidelines for (SD)
Modern Thai Architecture Collecting data using the interviews - Using t-test comparing
in Resort Contexts - interviewing designed-architects the opinion of architects
- interviewing leading architects and non- architects
1) The opinions on the characteristics of
modern Thai architecture in resort contexts.
2) The opinions and recommendations on Interpreting the results
design guidelines for modern Thai by analyzing with the
architecture in resort contexts. related theories,
- interviewing building users in their opinions previous studies related
on the issue of 1) to the research
8
Chapter 2
Literature Review and Related Studies
1. Tourism Development in a Global Context
Tourism has become one of the most highly developed and fastest growing industries
in the world. In consequence, hotels and resorts are built at an accelerating rate to cater
to holiday-maker typically in search of natural beauty spot. A recent spate of resort
building in Southeast Asia appears poised to follow in the tradition of the ultimate
luxury resort, Eden Roc, on the Cote d’Azur (Beng, 1995: 6). This almost iconic
development has created a virtual template for later development, including hotels in
Thailand.
The rapid growth of tourism internationally has had the effect of increasing the social
and economic importance of the industry, not only in popular tourist destinations but in
the surrounding regions where traditional industrial or agricultural economies often
have declined. In areas blighted by geographical isolation, unemployment and out-
migration, the natural environment and the promotion of ecotourism is often the only
viable alternative for economic regeneration and social improvement (www.world-
tourism.org).
1.1 The Importance of Tourism in the Global Economy:
Prior to September 11th 2001, travel and tourism was the world’s largest, industry
generating $3.6 trillion in revenues, totaling 11 percent of global GDP, employing 200
million people—accounting for one in every 12 jobs and transporting nearly 700
million international travelers per year (www.world-tourism.org).
International tourism arrivals in developing countries have grown by an average of 9.5

percent per year since 1990, compared to 4.6 percent worldwide (Deloitte and Touche,
1999: 1).
The industry makes important contributions to developing country economies,

representing the second largest source of foreign exchange after oil, although these
countries currently have only a minority share of the international tourism market
(approximately 30 percent).
1.2 Ecotourism to “Sustainable Tourism”
The growing awareness of environmental and conservation damage caused by tourism,

in conjunction with the Rio Summit on the environment in establishing the triple
bottom line of environmental, economic and social sustainability—witnessed the
development of new forms of tourism, evolved in response to this more sensitive
9
international climate. “Green” tourism, adventure tourism, nature tourism, community-

based tourism, heritage tourism are all labels that are generally encapsulated in the
“ecotourism” that many consider as on as an alternative to “mass tourism.” These
newer forms of tourism development comprise a market share estimated at
approximately 30 percent. While these newer forms of tourism do bring development
to more remote regions and hence poorer areas, it is not proven that they cause less
damage and provide more benefits than mass tourism (www.world-tourism.org).
“Sustainable tourism development” has been defined as tourism that “maximizes the
potential of tourism for eradicating poverty by developing appropriate strategies in
cooperation with all major groups, indigenous and local communities” (www.world-
tourism.org). This definition builds on, and goes beyond the Western Cape Education
department (WCED), 1987 definition of sustainable development: “development that
meets the needs of the present” without compromising the ability of future generations
to meet their own needs.
“Ecotourism” does not necessarily mean sustainable tourism. Rather, it is a term that is
often used by operations as a marketing tool to promote a product that is perhaps based
in a pristine, rural setting, or an authentic cultural environment. It does not mean that
the product is sustainable in terms of its impact on local community livelihood and
resources.
However, it is the earlier, environmental definitions of sustainable development that

have now been embraced by the global travel and tourism industry. Their
responsibilities to this definition are largely targeted at environmental initiatives.
A final recent distinction needs to be made between “responsible” and “sustainable”

tourism. The current debate on “sustainable tourism” would, some argue make
“sustainable tourism and unachievable ideal, not least because of the significant
contribution that air travel makes to climate changes” (www.world-tourism.org). The
statement continues, “it is there fore more useful to think about “responsible tourism”
with in the context of a wider sustainable development strategies.”
1.3 2004: An Excellent Year for Tourism, but with a Tragic End
Tourism’s evolution has been very positive overall in 2004. This fact is clearly
confirmed by the data collected from the various destinations and source markets and
also by comments made by the World Trade Organization (WTO) Panel of Tourism
experts. As a result travel confidence returned extraordinarily in 2004 and experienced
the highest growth since 1976. SARS was not considered a problem anymore, and the
geopolitical situation had much less impact than before.
However, just before the end of the year the world was shocked by the sad news is an
images of the seaquake and resulting Tsunami in the Indian Ocean, affecting the
northern provinces of the Indonesian Island of Sumatra, the Maldives, the eastern coast
of Sri Lanka and India, the Andaman and Nicobar Island, the west coast of Thailand
and to a lesser extent Malaysia, Myanmar, Bangladesh, Somalia, Tanzania, Kenya, and
Seychelles. The WTO publicly expressed the worlds’ sorrow over the unprecedented
10
damage and loss of life among both local populations and tourists. On its website the
organization expressed its deepest sympathy to the people of the effected countries and
offers its heartfelt condolence to the relatives and friends of all the victims of the
tragedy (www.world-tourism.org/tsunami/eng.html). It was evident that tourism and
the economies surrounding it were going to have to rethink the role that the industry
would play in development in the region and that appropriate design—as well as resort
placement and organization—was going to have to respond to the new needs made
evident by the tsunami disaster.
2. Resort Architecture and Tourism
The tourism industry is an inevitable economic phenomenon, bound to expand

globally. It is the responsibilities of architects, among others, to find a way to make it
sustainable. Architecture can be the first means to link the global dimension of the
phenomenon to its local context.
Paola Deda has stated that “the globalization of smart solutions implies the global
spreading of sustainability principles, the search for practical examples at a local level
and the awareness of being part of the same global market” (1996: 80). In Deda’s view
best practices and success stories could be shared, not to provide a means of “cloning”
them, but as a way to better understand the underlying concepts and logic of designs
and to adapt them to difference local realities.
In the case of resort architecture, it is also the responsibility of the developer to fully
understand the possibility offered by sustainable architecture, opening up the tourism
sector to a new age of cultural discovery and with greater respect of local
environments (Curtis, 2003: 25).
3. Resort Design in Global Contexts
As business and leisure travel become more intertwined, today’s resort hotels must
accommodate the overlapping desirer and needs of the traveler (Rutes, Penner and
Adams, 2001: vi).
Travelers expect hospitality facilities to reflect and enhance the environment in which
they are located. This is especially true with resorts. The architect must understand the
land, site, and environmental consideration in addition to the culture.
3.1 Resort Design and its Trends
3.1.1 Resorts and Spas
Spas are recognized as part of the luxury market in the tourism industry. Traditional
spa treatments have varied in popularity through the ages. With the advent of anti-
11
biotic medicine in the twentieth century, sports, fitness, and hydrotherapy programs
gradually have replaced the use of mineral water in spas.
In addition to the health spa areas, the spa resort provides other luxury
accommodation, including outdoor recreational features similar to beach, golf, and
tennis resorts. But spa resorts serve outside membership and visitors as well as hotel
guests.
Figure 4: The guestroom spa “The In-Room Spa-tel Concept Plan” (Rutes, Penner, and Adams, 2001: 86)
For design considerations, spa buildings are designed for multi-sybaritic experiences,
ranging from tension relieving massages to progressive—resistance exercise and
beauty and fashion consultation. Spa resorts maintain five-star standards and are
among the highest rated in service of any type of resorts, with the exception of the
super-luxury resort hotel category.
A conceptual plan of spa design is shown in figure 2.1, “The guestroom spa, The in-
room spa concept plan.” An exciting concept advancing in the spa resort field includes
a whole town resort in with sophisticated spas in each of its guestrooms. Luxurious
whirlpools and high-tech massaging showers are provided in a special spa room,
offering a varied menu of personalized exercise programs and hydrotherapy massage
12
treatments. While greatly enhancing the function, value, and attraction of the
guestroom, the space required is equivalent to that of the bathroom in many luxury
hotels, combining elements now used on a piecemeal basis in conventional hotels. This
integrated concept is designed to upgrade the guestroom to meet expanding consumer
preferred, thereby raising the hotel’s attraction and rate as a spa resort.
However, it is vital in introducing this new prototype concept, that the design and
detailing of the in-room spa-tel be of the highest quality and the concept include such
features as automated self-cleaning systems in the wet areas and retain wheelchair
accessibility and maneuverability (Rutes, Penner, and Adams, 2001: 86).
3.1.2 Eco tourism Resort
Clearly the problem of man and nature is not one of providing a decorative background
for the human play, or even ameliorating the grim city; it is the necessity of sustaining
nature as source of life, milieu, teacher, sanctum, challenge and most of all of
rediscovering nature’s corollary of the unknown in the self, the source of meaning
(www.world-tourism.org).
The world’s heightened concern for the survival of the planet and a new awareness of
the preciousness of the threatened ecosystems and cultures has fueled the idea over the
past decade of ecotourism as one of the strongest growth areas in the travel industry.
Travelers, from passionate advocates of ecological responsibility to those wanting to
experience unspoiled nature, its wildlife and indigenous cultures up close all share
common concerns for nature and conservation. Most travelers are eager to escape their
homogenized home settings and experience local environments and people.
Ecotourism resorts specialize in catering to these needs in varying degrees (Rutes,
Penner, and Adams, 2001: 103).
Ecotourism, sustainable development, and green architecture are in many ways the
offspring of the environmental movement of the 1960s and 1970s, when “back to
nature” was the call. Over 30 years ago, The Whole Earth Catalog provided a
sourcebook of tools for living off the land for generation who embrace the principles
of ecological responsibility. It provided detailed technical information on alternative
energy and fuel sources, recycling, organic agriculture and other nonpolluting, eco-
friendly technologies.
13
Figure 5: The ecotourist resort perched on water Pangkor Laut Resort, Lumut, Malaysia. Residing in the
thatch-roofed over-water cabins strung along the winding wood pier, guests enjoy stimulating
exposure to native culture and the wonders of nature while immersed in the comforts of a luxury
resort (Rutes, Penner, and Adams, 2001: 103).
Figure 6: The ecotourist resort of solar, wind, and rainwater Harmony Maho Bay Camps, US Virgin Islands.
Designed to run on solar and wind power and to leave its hilly oceanfront site as undisturbed as
possible, the resort embraces fundamental issues of sustainable architecture and eco-friendly
technologies while providing guests with a valuable and entertaining hospitality experience
(Rutes, Penner, and Adams, 2001: 103).
14
Stanley Selengut, a civil engineer who has been called the godfather of ecotourism
resort development, utilized many of the ecological principles of sustainable design in
the creation of an experimental resort that he called Harmony (after the historic estate
on which the small resort is located). This resort was designed to run on solar and wind
power and leave its hilly ocean-front site as undisturbed as possible. Floor tiles were
made from slag and discarded glass, carpeting from last month’s plastic bottles.
Rooftop solar hot-water and photovoltaic collectors augmented by windmills provide
power. Passive systems, such as cross-ventilation, heat-resistant glazing, and a
wind-scoop at the roof peak, help to make the interiors comfortable. Gutters catch
rainwater, which then is stored in cisterns built into the foundations, for later use.
Interior wallpaper is made from recycled newsprint. Occupancy censors detect lack of
motion and turn off power in unoccupied rooms (Zeiher, 1996: 159).
Selengut maintains that ecotourism has much to do with providing a valuable

educational experience to the traveler. According to him, “The qualities needed for
successful ecotourism are more attuned to the entertainment industry than real estate
development. Most resorts try to protect guests from experience, but we try our best to
put them into the experience” (Rutes, Penner, and Adams, 2001: 104).
Also referred to as “soft-path tourism,” an important goal of ecotourism is to provide

experience without disruption. There is a responsibility incumbent on both the
developer and tourist to prevent damage to fragile ecosystems and to avoid negative
influence on indigenous cultures.
For such conservation groups and trade organizations as the Ecotourist Society, the
goal is to set the standards of ecotourism and to support responsible travel to natural
areas where the environment and its wildlife are being conserved and the well-being of
local population is sustained.
This approach usually means encouraging resorts that utilize recycled or locally
produced building materials, employ solar or alternative energies, provide
environmental education, and are designed to blend in with their surroundings.
Futhermore, responsible resorts should donate part of their profits to local conservation
efforts, recycle waste and wastewater, serve locally grown and produced food and
beverages, and sell and display handicraft of artisans (Zeiher, 1996: 160).
.
15
Figure 7: The ecotourist resort at the rainforest’s edge Sheraton Timika Hotel, Irian Jaya, Indonesia. The
main lodge housing reception, lobby, restaurant, meeting rooms, and fitness center rests on an
expressed base of local river stone while the guestroom bungalows are elevated on stilts above the
rainforest floor, preserving the fragile ecosystem (Rutes, Penner, and Adams, 2001: 104)
4. Architectural Identity and Tourism
The influence of Sri Lankan architect Geoffrey Bawa, whose deep concern for an
architecture that is an integral part of the landscape, has been profound, although
largely under-rated. Many architects of these new resorts have been influenced by
Bawa’s corpus of works in Sri Lanka as well as his design at Batujimbar estate in Bali
for the late artist Ronald Friend. This residence is noted for its blend of modern
sensibilities and traditional elements as well as its sequence for carefully composed
vistas. Bawa’s design concept of different pavilions set in a lush landscape has been a
important signpost (Beng, 1995: 8).
The wave of up-market resorts in Southeast Asia, started by the Hong Kong-based
Amanresorts chain, continue unabated in this age of unconstrained mobility. The
pioneering concept of Amanpuri, Amanresorts’ first venture into the boutique hotel
market in the region, has caught on rapidly. Its exclusive villa concept, the brainchild
of hotel developer Adrian Zecha, depends very much on well-crafted architecture in
spectacular settings. Even though the rates are extremely pricey, the concept proves to
be highly popular. Today, major hotel groups such as the Four Seasons/Regent, the
Mandarin Oriental an Singapore-based Banyan Tree Resorts are entering into the same
market niche (Beng, 1995: 10).
16
5. Concept of Authenticity
In Southeast Asia, established locations like Bali in Indonesia, as well as prospective

locations like Langkawi in Malaysia, are earmarked for even more elaborate
development in order to attract the growing share of regional and internal travelers.
Over the last several years, there is without doubt an increasing body of well-crafted
works underway in the resort industry of the region.
However, the issue is really how these buildings contribute to the generation of vital
forms of regional culture, and at the same time, merit claims of authenticity. To attract
the ever-increasing number of tourists, entrepreneurs and tour operators often use
traditions and heritage, both authentic and manufactured, for mass consumption.
Resorts are building types that are precisely tailored to fulfill this need. Being
intrinsically contrived, many of them are now paradoxically marketed for their
architectural merits, which are being hailed for their “authenticity” (Beng, 1995: 12).
.
6. Form and Content in Authenticity
Resorts are essentially luxurious architectural stage-sets. Because of their

manifestations of a unique life-style, they have always served as models of a “filtering
down” effect. Resorts are an important source of inspiration for many subsequent local
works. The moment such highly-designed works are perceived as constituting a
particular style, inspired by the very architecture that was meant the evoke a sense of
locality they possess an ability to create an illusory transcendence of place and time.
When touted as being “authentic,” these consumable styles enter the popular
imagination as “the real thing,” assuming a forceful validity of their own (Beng, 1995:
18).
7. Thai Character of Traditional Architecture and Its Transformation
The concern for traditional Thai architecture and its development is a reflection of a
transformation that took place in both the profession and in architectural education.
However, because of deep-rooted cultural values notable Thai characteristics or “Thai-
ness” can still be found in current Thai architecture, depending on aesthetic and
symbolic needs, as well as the more specific functional purposes (Horayangkura, 2002:
243).
The architectural expression which is reflected to “Thai-ness” are:
1. Thai Character in Tangible Qualities
1.1 Building organization and grouping

1.2 Architecture and its characteristics
1.3 Landscape
17
2. Thai Character in Intangible Qualities
2.1 A sense of lightness

2.2 A sense of transparency
2.3 A sense of tranquility and coolness
2.4 A sense of hospitality
8. The Transformation of Thai Character for Modern Thai Architecture in

Resort Contexts
In many instances public buildings have been modified, particularly at the entrance
porticos, to appropriately express modern Thai character. While many commercial
complexes are superficially decorated or complemented with Thai architectural
elements, resort hotels are designed with more complete or holistic features, both in
tangible and intangible qualities, in an attempt to create and express Thai character —
both social and cultural. Traditional Thai architecture is most commonly expressed in
religious architecture, royal palaces, and older Thai houses. Often commercial
buildings in resort hotels are designed with more impressive character in both tangible
and intangible qualities, all in an effect to produce a more traditional “scenographic”
effect.
A. Thai Character in Tangible Qualities
1. Building Organization and Grouping
Physical environments are important determinants of human settlement. Ruethai

Chaichongrak points out that early Thai settlements tended to originate near khlong or
canals and rivers because the livelihood of their inhabitants developed mainly on water
for domestic and agricultural use as well as for communication (Chaichongrak et al,
2002: 20).
1.1 The Building “without” Covered Walkways
The character of a building group of the single type, lacking covered-walkways, is an

example of human settlement in the past possessing the characteristics of village
settlement and pattern (Chaichongrak, 1996: 7).
18
a) b)
c)
Figure 8:
a): An aerial view showing the siting of houses on slightly elevated ground to avoid flooding
(Chaichongrak et al, 2002: 21).
b): An aerial view showing the dense concentration of dwellings along rivers and tributaries.
Access to water was important for all aspects of Thai life, both domestic and agricultural
c): An aerial view showing a loose village arrangement where each house is surrounded by rice
fields (Chaichongrak et al, 2002: 22).
19
Figure 9: The walkways were built as the connecting part of the group of Thai houses at Mahidol University
1.2 The Building with Covered Walkways
The traditional aspects of buildings with covered walkways can still be found in the
religious buildings and the royal palaces. M.R. Nengnoy Saksri explains that muk-
krasan are the transitional elements commonly used to connect other buildings and
components. Specifically, muk-krasan are employed for royal buildings, such as the
throne halls and palaces (Saksri, 1994: 140).
1.3 The Building with Chan (a central terrace)
Normally the central chan (terrace) of a ruen khahabodi is very large and is designed
in such a way that it blends into the natural surroundings around the house. Typically
balustraded chan take up almost 40 percent of the total floor area. If the verandah
space is included with the terrace, the ratio of total outdoor area to indoor area will
increase 60 percent to 40 percent. Such an emphasis on outdoor space is an obvious
architectural response to the prevailing hot and humid climate (Chaichongrak et al,
2002: 39).
Lifestyles and climatic conditions give rise to a high demand for outdoor living.
Spaces for various functions, such as living, sleeping, dining, etc., are organized
20
around the open terrace called chan, connected by means of roofed verandah. The
verandah becomes an intermediate space between indoor living and the terrace, thus
creating an indoor-outdoor relationship. It should be pointed out that the heart of Thai
house is its terrace, because this forms the spatial organizing core of the entire
dwelling (Horayangkura, 2000: 23).
For a Thai house, a terrace is as essential as a bedroom or kitchen because it provides

much needed ventilation and continuous air circulation. The occupants can look
through the terrace balustrades to the fruit trees surrounding the house and then to
countryside beyond. It is this integration of inside and outside that is a particularly
appealing feature of much tropical architecture. The terrace functions as a multi-
purpose open area, used for relaxing, receiving visitors, organizing traditional
functions like the top-knot cutting ceremony, merit making, offering food to the monks
and weddings (Chaichongrak et al, 2002: 52).
2. Architecture and Its Characteristics
2.1 Roof
2.1.1 Roof Profile
The roof of a traditional Thai architecture is a high-pitched gable form in the manila
style with extended eaves. The high pitch is necessary to prevent leaking, and the
wooden structure was often covered historically with palm leaf thatch or terracotta
tiles. In addition, the elevated roof lets out heat from inside the house, ensuring that the
interior is relatively cool. Wide, lower roof extensions protect the interior from rain
and glare (Chaichongrak et al, 2002: 50).
The high-pitched roof with the graceful lines of a high-peaked bargeboard called pan-
lom and curved feature at lower end know as ngao, together with its ornamented
gables, is impressive and uniquely Thai (Chompunich, 1988: 92)
Tan Hock Beng has explained that Thai architecture is defined through its roof. In Thai
architecture the meeting of roof and sky is given added phenomenological significance
through elaborately caved bargeboards or ridgeboards (1996: 56).
21
a)
b)
Figure 10:
a) Some terraces are extremely spacious and were therefore used for
special events and ceremonies (Chaichongrak et al, 2003: 52).
b) Traditional Thai house of a simple arrangement of ruen norn, kitchen

that connected with the chan (terrace) for a single family (Chaichongrak et al, 2003: 27).
22
Figure 11: The characteristics of architecture relating to the dressing and a hat of each nations (H. Shiranan,
1996: 112).
23
Figure 12: High- pitched roofs are covered with terra cotta tiles (Chaichongrak et al, 2002: 25).
2.1.2 Roof Characteristics and Their Transformation
The predominant forms of curved, pitched-roofs superimposed in multi-tiers with

decorative gables and related roof elements are called lam-yawng. These generally
cover a brick structure, typically rectangular in plan, but in fewer cases, similar to a
Greek cross.
Vimolsidhi Horayangkura referring to Choti Kalyanamitra states that the traditional

identity of the elegantly curving roof in Thai architecture also expresses a kind of
24
aesthetic harmony. The more lavish splendid and stylistic multi-tiered roof structure is
suggestive of more formal architecture (Horayangkura, 2001: 234).
Figure 13: Stylistic multi-tiered roof and stepped roof structure of formal architecture
(Choti Kalyanamitra, 1996: 59).
2.1.3 Roof and Kansart (extended roof or overhang)
A kansart is a low-hanging roof, projecting on sides of the house at a lower level and
with a less inclined slope than the main roof. It provides further protection from the
tropical sun and rain (Chaichongrak et al, 2002: 84).
The steep roof with its long overhangs or kansart, helps protect the inner room from
the heavy rains that come regularly for three or four months out of the year (Warren,
1998:55).
Nukool Chompunitch states that the protective elements of Thai house is its long
overhangs which are the integrated solution of Thai wisdom in Thai architecture. It is
also an appropriate design for tropical architecture as well as helping to define an
architectural identity (Chompunitch, 1987: 81).
25
The steep roof with short overhangs is mostly found in the formal architecture in the
periods of Sukhothai and Auytthaya. Generally, architectural elements, such as eave
brackets, are not used as supports for the lower edges of overhangs; they directly
extend from the wall or the post of the covered verandah (Veerataveemas, 1996: 101).
a)
b)
Figure 14:
a): A roof with short overhangs of formal architecture of Sukhothai period (Chirathasanakul,
2003: 211).
b): A roof with long overhangs (Chaichongrak et al, 2003: 234).

26
2.1.4 Roof and Roof Materials
Langkha refers to roof covering. The roof covering can be made from a variety of
materials, such as tiles, palm leaf thatch and wooden roof shingles. There are many
types of terracotta roof tiles, usually named for their distinctive shapes. These include
krabueng harng mon (round-ended tile) and krabueng harng tat (straight-ended tile).
The ties are roughly 0.05-0.08 cm thick and come in pairs of male/female tiles
Wooden roof shingles are used throughout the Lan na area. In the past there were
many teak plantations in the various provinces of Lan na and wood was plentiful and
cheap, as well as being much harder wearing than grass, leaf or palm thatch
2.1.5 Roof and Roof Colors
The graceful temple roofs of Thai architecture provide a note of fantasy, the abstract
patterns formed by both brightly-hued tiles and simple thatch. The sense of color and
pattern transforms floral decoration into a work of art (Warren, 1998: 23).
- Red: The color of roof-tiles can be found in the terra cotta tiles in
general as well as in Thai painting (Na Paknam, 1975: 130).
- Brown: Mostly found in the color of wooden roof shingles themselves,

used throughout the Lan Na area.
- Yellow: A color of roof-tiles associated traditionally with formal

architecture in the period of Ayutthaya. The roof tiles are
usually named for their distinctive shapes and come in pairs of
male / female tiles (Na Paknam, 1975: 9).
- Green: Mostly found as the color of ceramic roof-ties.
2.1.6 Roof and its Slope
- High-pitched roof
The principal characteristic of Thai architecture in terms of roof and its identity is the
high-pitched roof, with more slope than 45° (Chompunich, 1987:38).
- Low-pitched roof
The characteristic low-pitched roof driven by the forces of colonialism and more
general European influence, derived from the proportion of the classical Greek temple
(Chompunich, 1987: 32-33,38).
27
Figure 15: The low-pitched roof (Warren, 1988: 155).
- Sao-Loy (free-standing posts and columns)
As a result of Thai life ways and climatic conditions, the traditional Thai house in the
central region of Thailand favored houses completely raised up on stilts. However,
there are other practical reasons for raising the house up on stilts, generally 6-8 feet
above the ground. The resulting space beneath the house provides space for storage
and cottage industries as well as an additional living area during the hot season. More
significantly, a house raised on stilts has an amphibious function freeing the occupants
from flooding and dampness. It also provides security and protection from wild
animals (Horayangkura, 2002: 234).
- Round posts and columns
Ruethai Chaichongrak points out that the traditional Thai house—that usually regarded
as “classic” type—kind found throughout the central plains. It was have that the Thai
achieved their greatest power and sense of cultural identity. Their houses have
typically raised on the round posts or extending above the river or canal
(Chaichongrak, 1996: 167).
28
- Square-based column with indented (blunted) corners
No Na Pakmam pointed Art & Architecture Dictionary that the indented-column is the
square-based column, usually blunted (or chamfered) the corner. These types of
columns are still found, particularly in formal architecture (Na Paknam, 1979: 446).
Figure 16: The various shapes of square-based column with the indented (blunted)-corners
(Choti Kahyanamitra, 1996: 48).
29
2.2 Outer Spaces:
For open spaces connected to outdoor spaces, such as open terraces, called chan, palai
(roofed verandah) serve as an intermediate space between indoor living and the terrace,
thus creating an indoor-outdoor relationship.
2.3 Fa (wall panels)
The word fa refers to a variety of wall coverings made of panels of timber, palm leaves
and bamboo fastened to hardwood or bamboo frames. They enclose the interior space
of the house and partition it into different sections. Wall panels on the front elevation
of the house are called fa ud naklong or fa humklong (cross panel) while partitions
between the bedroom the open hall are called fa prajan hong (room panels).
There are many types of wall panels, but the main ones are fa pakon (wooden panels),
fa loog fak (wood panels with a raised centre), fa look fak kradarn jiad, fa sai bua
(slatted wooden panels), fa samruad (with woven split bamboo), fa khat thae (bamboo
panels) and fa kradarn riab (simple wooden boards) (Chaichongrak et al, 2002: 83).
An early form of prefabrication practiced in Thailand centuries before its advantages

were recognized by Western architects, fa are important designing elements in Thai
buildings. Using joints of wood held in place by wooden pegs—never nails in the older
houses—the components are then hung on the pillars. The walls slant outward from the
floor to the lower edge of the roof, which is either tiled, wood-shingled, or thatched
according to the relative wealth of the owner.
The outward-leaning walls are one of the marks that distinguish the northern house
from that of the central plains, in which both the pillars and the walls incline slightly
inward toward the top. This feature adds a graceful suggestion of height and movement
of lightness to the building (Warren, 1998: 50).
2.3.1 Openings and Voids
In traditional Asian dwellings, indoor and outdoor living spaces of resort architecture
often overlap. Sliding doors open onto private gardens, swimming pool and jacuzzi. At
each resort, guests have their own special place to contemplate the natural beauty
around them (Ettensperger, 2001: 28).
2.3.2 Partu (house door).
The width of the doors from the bedroom and kitchen to the verandah is usually three
times the length of the house-owner’s foot. The door is wider at the base and the tapers
inward at the top, as do the all the other uprights within the house structure. Its
components comprise a doorframe, door panels and pins, a threshold, and darn khu
(twin bolt).
30
Figure 17: Examples of paneling on a traditional Thai house (Warren, 1988: 221).
Figure 18: On the either side of the porch over the steps at Ruen Tap Khwan are pierced panels for
ventilation. It was built by King Rama VI (Chaichongrak et al, 2002: 66).
31
For the main door onto the terrace, the width of this door is usually four times the
length of the owner’s foot. A small roof is added over the door frame to protect it from
rain and create a visual emphasis (Chaichongrak et al, 2002: 88).
Figure 19: The differing styles of door of traditional Thai architecture (Chaichongrak et al, 2002: 89).
32
Figure 20: The window styles of traditional Thai architecture (Chaichongrak et al, 2002: 90).
Nathang (windows) of the traditional. Thai house, these openings are cut into the wall
panels to provide light and air and are opened and closed with wooden panels
The windows and doors of Lan na house open inward, with their frame on outside.
They are closed with a single panel, unlike those in the central Thai house, which
always have pairs of panels.
2.3.3 Fa-Lai (ventilating panels)
The side walls of the toen have moveable louver-like panel, called fa lai, to provide
ventilation. These are 0.80-1.20 m high and consist of two panels with vertical slats set
in the grooves of frame. When slid one way, the spaces align and air can flow through;
when slid the other way, the slats alternate with each other way, the slats alternate with
each other and the openings are closed (Chaichongrak et al, 2002: 140).
The walls of the ruen kalae differ from those of the central Thai house. The latter
consist of pre-fabricated panels, each as large as the span between two posts. The kalae
walls, on the other hand, are composed of just one large panel for each side. At the
corners of the house, the panels running the length of the house extend beyond the
ends of those covering the width, whereas, in the central Thai house, the panels
running the width of the house overlap the ends of those running the length. In
addition, northern wall panels do not slope inward (Chaichongrak et al, 2002: 139-
140).
33
Figure 21: Detail showing the sliding panel or fa-lai (ventilation panel) (Chaichongrak et al, 2002: 139).
2.3.4 Proportion and Arrangement of the Opening and Void
Figure 22: Wat Na Phra Meru, the proportion and arrangement of the opening and void (Chiratasanakul,
2003: 224).
34
2.4 Phen (floor)
The floor of traditional Thai house is made of 5x40 - 50 cm teak boards laid on a tong
or rawd. They are joined by one cm diameter wooden dowels at 1.00-2.00 meters
intervals. Terrace floorboards are widely spaced with one-cm gaps for rainwater
drainage in order to prevent the floor from rotting (Chaichongrak et al, 2002: 83).
2.5 Floor Patterns
- Terrace cotta floor tiles are a formal way of covering floors in Thai architecture.
Usually they are characterized by their distinctive shapes and patterns, such as
krabueng na-wao, which follows a large square-shape (Saksri, 2003: 129).
- Nor Na Paknam refers to the floor pattern: Flooring with square-based patterns and
with ties indented at the corners are similarly used in traditional Thai architecture.
2.6 Kalae
The best-known northern-style dwelling today is the one popularly called a Kalae
house.” The name is derived from a prominent v-shaped design formed by extending
the roof supports beyond the ridge-pole of both ends of the structure. Kalae has been
variously translated as “glancing crows” and “glancing pigeons.” Some authorities
believe that its non-structural purpose may have been to discourage crows and other
large birds from lighting on the roof. Others think the feature symbolizes a pair of
horns, citing the fact that in ancient times buffalo horns were often placed on roof-tops
to show the wealth of the family. A number of studies are currently being made on the
subject, but thus far the answer remains a matter of conjecture.
On the simplest houses, especially those made of bamboo, the kalae are nothing more
than rather crude extensions, possibly serving a functional purpose by simplifying
construction and further strengthening the roof. On a house belonging to a more
prosperous family, however, they are often separate pieces, beautifully carved in a
shape that does indeed suggest feathers, or perhaps flickering flames, providing a
decorative effect not unlike the curved finials at either end of Thai temple roofs. Kalae
are also found on houses of some of the hill tribes who live in the northern mountains,
as well as those of the Thai Lu people in southern China and Laos; they are rarely seen
on houses in central and southern Thailand (Chaichongrak et al, 2002: 139).
.
35
a)
b)
Figure 23: a) Details of the kalae. The motif, which is believed to be derived from the horns of the water
buffalo, has become so identified with the northern style that it is oven used as a symbolic device
on modern building (Chaichongrak et al, 2002: 139).
b) Some examples of kalae. The exact significance of this is unknown, particularly in more
elaborately carved versions like these, but designs often include the traditional flame motif
(Warrne, 1998: 223).
36
Figure 24: Some of the most popular forms of na-jua

37
2.7 Na jua (gable end pattern)
Ruethai Chaichongrak mentions that the gable end of a traditional Thai house frahses
an element known as na jua. These are triangular wooden panels constructed in three
different designs that protect the gable ends of the roof structure from the wind, sun,
and rain.
1. Jua loog fak or jua prommaphak. In this instance the gable panel is
constructed from many rectangles of wood, placed in a horizontal and
vertical design very much like the fa pakon wall design.
2. Jua roob phra arthit. This design of this panel has a radiating sunburst
design, in which flat wooden slats are spread out with gaps between the
sunrays for ventilation. This design is popular for kitchens.
3. Jua bai prue. This type of gable panel is made up of horizontally

overlapping small flat planks. It is popular for the main house as well as the
kitchen. When it is used above a kitchen, the top section is usually left open
for ventilation.
2.8 Eave Brackets
Eave brackets, the supporting elements for the lower edges of roof on temples, royal
palaces or traditional Thai houses, appear in a variety of forms. Most commonly they
in corporate floral designs of creatures, both cased on mythological animals or realistic
ones.
3. Landscape
3.1 The Relationship between Buildings and the Waterscape
Ruethai Chaichongrak has pointed out the relationship of Thai people to the water
environment particularly in terms of human settlement. Early Thai settlements tended
to originate near canals and rivers because the livelihood of their inhabitants depended
mainly on water for domestic and agricultural use as well as for communication.
Riverside villages are still common features along most waterways (Chaichongrak et
al, 2002: 20-23).
38
Figure 25: a) and b) Eave brackets (Warren, 1988: 222).
3.1.1 Buildings Adjacent to the Waterscape
Access to water was important for all aspects of Thai life, both domestic and
agricultural. Thai houses in early settlements were erected along the canals. Villages
are arranged where each house is related to the waterscape, as well as each house being
surrounded by the natural environment.
3.1.2 Buildings Raised on Stilts Over the Waterscape
The traditional Thai house with a raised floor provides a sense of security, privacy, and
shelter. Generally, flood evasion was of primary importance.
The characteristics of a traditional Thai houses is the raised floor on posts. This
arrangement protects the house from flooding (Beng, 1996: 55).
3.1.3 Buildings with Lily Pond
Landscaped pools are a typical element in landscape design for traditional and Thai
gardens. Landscaped pools reflect the identity of a Thai garden provide cool sitting
39
areas. In some instances water jars are planted with water lilies and lotus and placed
around the chan (H.Shiranan, 1993: 75).
3.1.4 Sala (pavilions)
In Thai villages one can often see beautiful, small pavilions of many different styles
and sizes. Some are used simply for relaxation, while others have a specific function,
such as protecting a well (Panin, 2002: 151).
The deeply-pitched roofs and open-air pavilions (sala) that characterize traditional
Thai architecture evolved in response to the country’s climate. A high roof creates an
interior with enough space for hot air to rise. The roof overhang keeps the sunlight out.
A second steeped roof promotes ventilation by trapping the hot air in the space above.
In ancient Thailand, sala were open to the outdoors and were where Thai received
guests. People also came to the sala to enjoy the cool outdoor breezes and gaze at the
countryside around them (Ettensperger, 2001: 15-16).
3.2 Building Connection
3.2.1 Uncovered Elevated Walkway
Attached to the front trading section of each shop house is usually a wooden walkway
or bridge, one-meter wide, which connected all the various shop houses in the area
Figure 26: The raft-house arrangement in which three separate houses sit on the same platform and also are
connected by the walkway bridge (Chaichongrak et al, 2002: 42).
40
3.2.2 The Relationship between Buildings and Plantings
Certain trees are recommended for planting in the house compound, and specific
quadrants for their planting are also specified. To the east of the house, bamboo, kum
(Gratavia) and coconut tree are recommended, as these will bring happiness and good
health. To the northeast, the planting of yor (Morinda citrifolia) and saraphi (Mammea
siamensis) is recommended, as these will ward off misfortune. To the south one should
plant mango, maplab or persimmon (Diospy ros lotus), and maprang (Bouea
burmanica) as not only are the fruits delicious but such trees will bring wealth. In the
south-west can be planted chaiyapruek, rajapruek, sadaow (Azadirachta indica),
jackfruit, and pikun (Mimusops elengi). These, as in the northeast section, are chosen
for their ability to ward off misfortune. Similarly in the west, tamarind, mayom
(Phyllanthus a cidus), and putsa (Zizy phus jujube) are recommended to ward off
ill-intentioned people and evil spirits. To the northwest of the house, magrud (Citrus
hystrix) used in tom yum soup, lime, sompoi (Acacia concinna), and ma-ngua (Citrus
medica) trees should be planted. Finally, in the north section, putsa (Zizyphus jjuba)
and variety of sedges, and hemp herbs are recommended to ward off black magic;
certain texts also recommend matoom (Chaichongrak et al, 2002: 79).
3.2.3 Plants at the Center of Open Spaces
A central terrace can often provide the largest uninterrupted space of the whole
complex. Its function is a multi-purposed one: access to the various units, a place to sit
in the shade of a central tree, or to receive visitors, This example is from Ruen Tap
Khwan, Nakhorn Pathom (Chaichongrak et al, 2002: 68).
Large trees with fragrant blossoms are frequently planted in the terrace openings of
Thai houses in order to provide shade and pleasant scent. Ornamental planters with
bonsai trees and an old Thai water jars are planted with water lilies and placed around
the terrace.
3.2.4 Trees Adjacent to the Buildings
Trees were frequently planted around the buildings to provide shade and sense of
coolness. Sometime large trees also provide shade and introduce a natural element as
well.
In some instances large trees are planted in an opening in the middle of the terrace to
provide shade and introduce a quality of nature. Popular trees for these purposes are
chan, champa, champee, jackfruit, and mango. Other corners of the terrace are
reserved for decorative plants like bon (Caladieum), wan (various sedges and herbs),
koson (Codiaeum variegatum), tako dat (trained Dyospyros), and water lilies
(Chaichongrak, 2002: 56).
41
B. Thai Character in Intangible Qualities and Values
1. A Sense of Lightness
Kenneth Frampton, in his incisive book Studies in Tectonic Culture, argues that the
“opposition between the culture of the light and the culture of the heavy will manifest
itself to different degrees in different cultures, with certain societies tending to be
either exclusively stereotomic or exclusively tectonic in character, as in, say, the
pyramids of Mesoamerica in the first instance or the timber building cultures of
Southeast Asia in the second. In many cultures, including that of China, one will find a
typical opposition between a heavyweight masonry podium and a lightweight timber
roof floating over it” (Frampton, 1995: 248).
a) b)
Figure 27:
(a) An analysis of the fundamental approach to the creation of architectural form in traditional
architecture (Choti Kalyanamitra “Traditional Thai architecture,” in Thai character (in Thai), 1982:
345) Through applying pointed vertical direction and curvilinear horizontal expression, Buddhist
philosophy is transformed into an inspired architectural statement in terms of elegance and lightness
(Horayangkura, 2002: 234).
(b) Stylistic multi-tiered roof and stepped roof of traditional Thai architecture (Choti Kalyanamitra,
1996: 54).
42
The wall is generally not an important building element in Southeast Asia. Hence the
use of load-bearing walls, with their resultant stereotomic quality, is uncommon. The
frame system is the main building component that contributes to a general sense of
lightness. The soaring temples of Thailand, with their sweeping, graceful curves, have
an airy sense of lightness, while the raised houses of traditional dwellings in many
parts of Asia have an elegant loftiness. Vertiginous effects are emphasized by the
slenderness of timber supports. The effects of light filtering in from the top also
contribute greatly to the sense of loftiness.
Such “weightless” effects also evoke cosmic and other animistic associations. In many
Southeast Asian societies, the house is seen as an animate entity. Extended ridge-lines
and outward-sloping gable-ends can be commonly found in various dwelling types in
Indonesia. A symbol of the Thai house, which gives it a characteristic sense of
lightness, is the bargeboard—an element that closes off the end of the roof rafters
extending beyond the gable. This is the called pan-lom in Thai, which means “shaping
the wind.” Another recurring feature in Thai architecture are decorative gable-finials,
which can be found in Northern Thailand and Indonesia. The meeting of the roof and
the sky is thus given added phenomenological significance through such elaborately
carved elements (Beng, 1996: 55).
To sum up, a visual relationship between the architectural object and the perceived
subject is set up through three sensibilities: an emphasis on lightweight construction,
the use of materials, and the effects of light on it. Such poetic fusions of light and
materiality provide invaluable lessons for contemporary architects seeking to infuse
their works with a sense of lightness. As Pallasma proposes, “architecture must again
learn to speak of materiality, gravity and the tectonic logic of its own making”
( Beng, 1996: 59).
.
1.1 Roofs and a Sense of Lightness
The soaring temples of Thailand, with their sweeping, graceful curves, have an airy
sense of lightness, while the raised houses of traditional dwellings in many parts of
Asia have an elegant loftiness (Beng, 1996:55).
Ructai Chaichongrak agreed with Tan Hock Beng (1999: 656) that the design and
finish the roof also impart an overall sense of lightness. A typical roof is usually
covered with plant materials like palm leaf thatch, jaak (Nipa fruticans), ya kha grass
thatch (Imperata aundinacea), and faek grass thatch (Vertiveria) are commonly used
for thatching. The elegance and simplicity of these materials have a corporeal impact
43
Figure 28: The elegant loftiness and lightness of a traditional Thai roof (Beng, 1993: 28).
Figure 29: Samui Airport—the use of thatched roofing materials is a traditional feature of vernacular
architecture (Seangklicng.1999: 61).
1.2. Sao-Loy (Free Standing Post/Columns) and a Sense of Lightness
Traditional Thai houses are particularly characterized by the use of stilts. These
dwellings evoke a sense of weightlessness and floatation. They also make full use of
the tectonic expressivity of timber (Beng, 1996:52).
44
Figure 30: Traditional Thai structures are built over water bodies (Beng,1996: 83).
Tan Hock Beng points out that the sense of lightness in traditional Thai architecture is
further reinforced by the relationship between buildings and the use of water features
(Beng, 1996: 54).
The modernist concept of transparency refers to the use of transparent materials, such
as glass, to achieve demarcations in a spatial continuum. But in the traditional
architecture of Southeast Asia, dematerialization of the solid is expressed in many
ways. The important sense of transparency can be achieved through the deliberate
placement of structures, openings, and screens. Many Thai structures are engaged
through recurring themes of spatial layering. Spaces are layered to indicate degrees of
formality or ceremony, yet linked in a visually compelling manner.
The most obvious example is the traditional Thai house, where door and window
openings are often detailed with shutters that allow views into other parts of the
common terrace. Permeable walls and screens also demarcate different spaces, while
allowing a sense of transparency. Space can be inflected, manipulated.
In traditional buildings, such transparency is achieved without eschewing privacy and

enclosure. Screens are treated as interposing elements that accentuate distance and
difference. A sense of transparency is not simply one that reveals everything. Rather, it
suggests an expanse that lies beyond. Space can manipulated to be expanding and
dynamic or controlled and static. Confronted with continuous unfolding of changing
45
perspectives, the viewer experiences the pleasures of containment and revelation

(Beng, 1996: 213).
.
2.1 A Sense of Transparency in Building Grouping: The use of Open Spaces
In Thai architecture, the grouping of buildings within compounds also allows for views
through a series of layered outdoor and indoor spaces.
2.2 A Sense of Transparency through Sao-Loy (free-standing posts and columns)
A traditional Thai house is raised above the ground to just above head height. Houses
with a raised floors provide a sense of transparency, the underside of the house
becomes a useful multi-purpose area. It can be used to store agricultural implements.
The space underneath the house can be used as a living area during daytime, and a
raised house also provides better ventilation than one situated on the ground.
2.3 The Sense of Transparency with the Open Chan (terrace)
Tan Hock Beng strongly agrees with Ruethai Chaichongrak (2002: 52) that the most
obvious example is the traditional Thai house, where door and window openings are
often detailed with shutters that allow views into other parts of the common terrace or
chan (Beng, 1996: 85).
3. A Sense of Tranquility and Coolness
A truly tranquil piece of architecture has a great presence. Another word for this sense
of tranquility is, of course, solitude. As the Mexican poet Octavio Paz asserts:
“Solitude is the profoundest fact of the human condition.” In one of his most important
works, The Labyrinth of Solitude, Paz passionately argues that “Work, the only
modern god, is no longer creative. It is endless, infinite work corresponding to the
inconclusive life of modern society. And the solitude it engenders the random solitude
of hotels, offices, shops, and movie theatres-is not a test that strengthens the soul, a
necessary purgatory. It is utter damnation, mirroring a world without exit” (Beng,
1996: 204).
In architecture, the sense of solitude that is inevitably present is one that “strengthens
the soul.” This sense of solitude, at once affirmative and engaging, makes us aware of
our fundamental existence. It is man’s best companion, and it always evokes a moment
of silence, one in which the viewer hears only his own heartbeat while contemplating a
work of architecture. It allows for reflection of self and contemplation of the work, and
46
is necessary for the disclosure of the poetic moment inherent within architectural
objects.
One of the architect’s tasks is to open up a view into another reality—one of

memories, imagination, and dreams. It is a task that helps us understand who we are.
This is perhaps most aptly illustrated by Noel Arnaund’s remark that “I am the space
where I am” (Beng, 1996: 123). An architecture of tranquility silences everything else
around it while opening up this view into another reality.
In his address upon receipt of the Pritzker Prize for Architecture in 1980, Luis
Barragan asserted that “I have always tried to allow for the interior placid murmur of
silence, and in my fountains, silence sings.” For him, serenity is “the great and true
antidote against anguish and fear. Today, more than ever, it is the architect’s duty to
make of it a permanent guest in the home, no matter how sumptuous or how humble.
Throughout my work I have always strived to achieve serenity, but one must be on
guard not to destroy it by the use of an indiscriminate palette” (Beng, 1996: 135).
M.L. Piyalada Devakula Thaveeprungsriporn states the case of Tub Kwan, where an
actual tree itself stands at the center of the elevated terrace (chan), enriching it with a
cool refreshing sensation—the rom reun sensation (rom reun: a cool, refreshing
sensation commonly associated with tree shades —one of the preferable aspects of a
place for the Thai) (Devakula, 2002: 104-106).
Figure 31: Traditional Thai house with chan and tree (line-drawing by the author).
47
3.1 The Central Terrace with Trees
In a clustered house the various units are formed around a central terrace or chan.
Open space and low balustrades between the houses allow a continuous flow of space.
Sometimes large trees are planted in an opening in the middle of the terrace to provide
shade and introduce a natural element. Popular trees for this purpose are chan,
champa, champee, jackfruit, and mango. Other corners of the terrace are reserved for
decorative plants like bon (Caladieum), wan (various sedges and herbs), koson
(Codiaeum variegatum), tako dat (trained Dyosparons), and water lilies (Chaichongrak
et al, 2002: 56).
Figure 32: Traditional Thai landscape with tree planting within the house compound
(line-drawing by the author).
48
3.2 Trees Adjacent to the Building
Ruethai (2002: 79) and Khaisaeng believe strongly that trees planted within the house
compound be limited to certain trees. Specific quadrants for their planting are also
specified. To the east of the house, bamboo, kum, and coconut tree are recommended,
as these will bring happiness and good health. To the northeast, the planting of yor and
saraphi are recommended as these will ward off misfortune. To the south it is though
that one should plant mango, maplab or persimmon, and maprng as not only are the
fruits delicious but such trees will bring wealth. In the southwest, can be planted
chaiyapruek, rajapruek, sadaow, jackfruit, and pikun which as in the northeast section
are chosen to their ability to ward off misfortune. Similar in the west, tamarind,
mayom, and putsa are recommended to ward off ill-intentioned people and evil spirits.
To the northwest of the house, magrud used in tom yum soup, lime, sompoi, and ma-
ngua trees should be planted. Finally, in the north section, putsa and variety of sedges,
hemp and herbs are recommended to ward off black magic. Certain texts also
recommended matoom (Sukhawattana, 1990: 25).
Besides the delightful sensations they provide, trees bear rich, multifaceted layer of
ideas and meanings. First is the notion of trees as shelter, which is played out in many
ways in the Thai context-physical/formal, sensorial, and conceptual. All of these,
however, seem to revolve around a simple term “kwam rom reun”—a cool, refreshing
sensation commonly associated with tree shade. Here, the term “rom” (umprella,
shade, shaded) denotes the physical/formal aspect of a shelter, while “reun” entails a
delightful sensation in term of sight, sound, and comfort. Together, they sum up in one
word the physiological, psychological, and aesthetic modes of experience (Devakula,
2002: 104-106).
.
4. A Sense of Hospitality
4.1 Toen, Chan, Verandah, and a Sense of Hospitality
On the toen, there is a shelf, khown as the raan nam, about 80 cm above the floor to
hold the dippers and jars of drinking water with which guests are welcomed and
members of the household refresh themselves. The reason the toen is called a multi-
purpose area is that it is a place of relaxation for the family, a reception area for guests,
the sleeping place for the father or sons, and the place where the bodies of family
members are laid out during funerals.
49
a)
Figure 33:
a) The raan nam or water pavilion is a traditional feature of Northern Thai house. These shelves
hold the earthenware jars and water dippers used to welcome guests (Chaichongrak et al,
2002: 118).
b) The large toen of a kalae house (Chaichongrak et al, 2002: 119).

50
Traditional buildings in Asia provide protection from the rain and refuge from the hot
equatorial sun. Because of the tropical climate, buildings in Asia need less glass to
guard against cold weather. Wooden screens, louvered shutters, and chick blinds made
of bamboo strips provide privacy and allow fresh air to circulate throughout the villas.
Since light generates heat, most interiors are dark. Natural materials, such as teak,
rattan, and bamboo, are preferred because they retain opening little heat (or materials
use) (Ettensperger, 2001: 15).
- The main staircase of the house, leading to the upper floor, is covered by extended
eaves. These are supported by two posts, the so called sao laeng ma “the post for tying
the watchdog.”
Traditionally, an earthen jar and dipper are placed at the foot of staircase for
washing one’s feet before entering (Chaichongrak et al, 2003: 113).
The plan of the elevated main level consists of the terrace (chan), the toen (general
purpose area), main house, kitchen, and the store room. Standing at the top of the
staircase the raised terrace extends in front of one. Near the staircase, a jar of cool
drinking water with a cup is provided for guests a Lan na custom showing hospitality.
The jar stands on a shelf which is about one m above the floor and is covered by a
small roof (Chaichongrak et al, 2003: 134).
The deeply-pitched roofs and open-air pavilions (sala) that characterize traditional
Thai architecture evolved in response to the country’s climate. A high roof creates an
interior with enough space for hot air to rise. The roof overhang keeps the sunlight out.
A second steeped roof promotes ventilation by trapping the hot air in the space above.
In ancient Thailand, sala were open to the outdoors and were where Thai people
received guests. They also came to the sala to enjoy the cool outdoor breezes and gaze
at the countryside around them (Ettensperger, 2001: 15-16).
4.2 The Sala and a Sense of Hospitality
In Thai village, one can often see beautiful small pavilions of many different styles and
sizes. Some are used simply for relaxation, while others have a specific function, such
as protecting a well. The entrance to a traditional house, at the top of the stairway
leading to the central platform, is usually covered with a Thai roof. (Warren, 1998:
220)
5. Toward the Creation of Modern Thai Architecture in Resort Contexts
Vimolsiddhi Horayangkura suggests that architects should be concerned architecture

as cultural heritage that architecture can be a significant component of national cultural
heritage. Thus, there should be architecture of high and sustainable value that can be
accepted as cultural heritage. One critical question that should be raised is that the
present architecture of international style can hardly be considered as Thai cultural
heritage. If being so, we are creeping toward self-destruction, as the contexts and other
51
influencing factors are changing rapidly. Eventually, we well come to an end in similar
to the show down of a pendulum in moving as against the inertia. As professor
Sompop Piromya, in referring to Prince Naris’s concept in cultural continuity, has
succinctly pointed put we should not only use up our past heritage, but we should also
create new glories (Horayangkura, 2002: 104-106).
The concept of architecture as a cultural heritage mentioned above as the observing of

Tan Hock Beng has stated that any meaningful direction in contemporary architecture
in Southeast Asia can only evolve if there is a deeper understanding and protracted re-
evaluation of indigenous building traditions in an ever-expanding field of possibilities
than is practiced at the moment. The challenge lies in dismantling many of the existing
false fronts designed to project a superficial reassurance of identity, and seeking
instead new modes of representation. Architects must understand the fundamental
lessons found in the rich local traditions of the region, and learn to synthesize them
into convincing forms determinedly contemporary and appropriate to changing
conditions (Beng, 1995: 216).
IMPELLING FORCES
APPROPRIATE + ADVANCED TECHNOLOGY

+ THAI WISDOM/NEW WAVE CONCEPTS
+ NATIONAL/REGIONAL CHARACTERISTICS
+ SOCIAL/ECONOMIC/CULTURAL/PHYSICAL FACTORS
+ SPECIFIC NEEDS OF SOCIAL GROUPS/USERS
+ CREATION STRATEGIES
MODERN THAI ARCHITECTURE
Figure 34: In search of new creative dimensions (Horayangkura, 2002: 212).

52
Vimolsiddhi Harangkura suggests that the conceptual framework, in terms of the

creative dimension, in the creation of modern Thai architecture, should not be based on
traditional design criteria, features, components, etc. To be more appropriate to the
contexts of modern society, these must be developed through experimental research
efforts. He argues that a notable period of incubation for the development should be
extended to foster more public recognition. Likewise he feels that the creative
endeavor should not simply be base on international or foreign style, without
integration with traditional or regional critter. The approach put forward here is that to
attain a “true” modern Thai architecture is a necessarily creative process. Creative
thinking encompasses multiple contextual factors, the specific needs of various social
and user groups, appropriate and advanced technology that is well integrated with local
wisdoms. A creative approach also includes an understanding of modern Thai
character based on experimental research. Such a global concept, along with the new
wave of “green architecture,” contributes overall to the notion of an “environmental
culture” (Harangkura, 2002: 211).
1. Building Organization and Groupings
1.1 Site Contexts
Laura Zeiher referring to the architect of Harmony resort in St. John, U.S. Virgin
Islands explains that most important and challenging aspect of designing Harmony
was to build in a way that would pose minimal site disturbance. Maintaining the
original natural beauty of the site as the primary goal of Harmony was central to every
other element in the design and construction of the resort. Every effort was made to
avoid excavation and most of the site remains undisturbed. All of the dwellings are
built on piers, and the walkways are raised above the forest floor as well (Zeiher, 1996:
158).
An important aspect of design is to build in a way that would be suited to site context
together with building placement. Thus the architect should understand and be
sensitive to the local climatic conditions (Buranasomphob, 1996: 28).
Yoichi Shimatsu and Stephen Lau suggest that in sustainable resort design the architect
should also be aware of the potential for tsunami disasters and that planning of resorts
should be site sensitive—to this possibility. Investigation, in terms of topography,
geology, types of foundation rock, direction of wave, direction of wind etc, all need to
be considered (Yoichi and Lau, 2005: 5).
Taking, for example, a resort facing directly to the seaside which would receive the
greatest impact from the tsunami. At the same time resorts situated on the two edges
along the coast are less apt to be disturbed. If resorts are well-planned beforehand, with
suitable wave impact studies, the degree of disaster could be greatly minimized.
53
2 Architectural Design and Its Characteristics
Proper architectural design is often concerned with issues of orientation. In order to

gain full view to enjoy waterfront, resorts are usually oriented with wider side facing
the beach. Unfortunately, this kind of orientation makes those resorts more easily
storm damage. It was found in the recent Phuket tsunami that the houses receiving the
least damage had smaller surface areas facing the waterfront. This phenomena could be
explained scientifically through the simple fact that the surface received the fullest
impact of the force if a wider surface was provided. As a result, more damage came to
shore-facing buildings.
If a wider street or passage way could be provided between building, the gap condition
could be changed from semi-permeable to permeable. In this way the mass of water
would not be accumulated nor pass with such high speed. Furthermore, emergency
services could be made more easily accessible (Yoichi and Lau, 2005: 8).
The most appropriate, as well as advanced technology should be employed in the

design and specification of materials, construction techniques, structural systems,
environmental control systems, safety and security systems, etc. To maintain certain
Thai identity does not imply the retention of past technology. High-quality materials,
for example, should be used to reduce maintenance costs (Horayangkura, 2002: 210).
Vimolsiddhi Horayangkura states that continuity of Thai character in architecture

signifies the existence of Thai wisdom. Serious investigations should be made
regarding the development of such ingenuity. The protective character of the Thai roof,
the ventilation panel, the prefabricated components of wooden construction (without
nails) and even the refined decoration are generated through sustainable Thai wisdom
Landscape design can be a part of a built-in safety system—the tree with its trunk and
aerial roofs protected people during the tsunami disaster. Natural landscape on higher
levels also provide safety platforms during tsunami events. Landscaping design could
then be incorporated into the master planning of resort development. It could further
help restore the balance between human and nature (Lau and Yoichi, 2004: 11).
A balance and proper relationship between human needs on the one hand and nature on
the other has always been important in design. The change of architecture has been to
provide pleasant environments and, at the same time, provide temporary shelters in
case of emergency. Linking up resort development with natural landscape on high
level could be a new challenge for resort design. Planting schemes should also be
carefully chosen to fit a site is layout (Lau and Yoichi, 2004: 15).
The tourism industry, despite its technological advances and sophisticated building
methods, turned out to be the most vulnerable sector along the Thailand coast. Resort
designers have a lot to learn from the vernacular architecture of the coastal region.
54
The indigenous people called the Chao Le comprise up to percent of the coastal
population. The predominantly Muslim sea gypsies are a people who have survived “at
the edge” of land and water for many thousands of years.
Traditionally they live in stilt huts along rivers and lagoons. Their houses are structures
designed to withstand the tides and monsoon floods. Posts or pillars are also necessary
to keep away reptiles and insects as well as to avoid the stench of waste.
Lau and Yoichi have suggested design the building to be safe from tsunami disaster
that “the house could be elevated up to provide a space to pass”
In the northern and northeastern regions of Thailand flooding generally comes from
rain-water and storms; while in the central region, it is caused by overflowing rivers
from the north and high sea levels in November and December. People, animals, and
implements can be kept temporarily in the house during the floods (Chaichongrak,
2002: 48).
A traditional Thai house is raised above the ground to a just above head height. The
varying levels of the different sections of the house are determined by the different
functions and create a flow of space which is almost modern in feel.
There are many considerations, which had led to a raised house being highly desirable.
First, house provided security from animal predators and thieves at night. In addition,
the central region of Thailand is situated in low-lying areas inundated by frequent rain
and floods. Other areas are also subject to rainfall and flooding. Houses with a raised
floor provide a sense of security, privacy, and shelter. As a result, flood evasion was of
also primary importance.
Traditional Thai architecture was designed to provide a setting for Thai culture and to
answer to the needs of that culture. Traditional Thai buildings have also come to
incorporate inherent wisdom in their relation to their sites and environment. This
adaptation and evolution needs better to be understood by modern Thai architects, who
can incorporate this wisdom into buildings today.
55
Chapter 3
A Survey of the Case Studies
Chapter Overview
According to the investigation of the design guidelines for modern Thai architecture in
resort contexts, appropriate design for the given region is a critical aspect of reflected
to architectural identity in modern Thailand. This chapter focuses on a survey of resort
architecture. To carry this out the case studies are required to add specificity to the
process. Case studies also help define the criteria for evaluation.
The specific projects chosen were selected onto basis of the following qualifications:
1. Projects given the ASA (The Association of Siamese Architects Under Royal
Patronage) design award;
2. Projects winning conservation awards from Department of Fine Arts;
3. Projects associated with leading hotel companies of the world;
4. Projects which have expressed value–oriented design reflective of Thai
architecture or vernacular architecture. Typically, these projects have
incorporated traditional motifs and local materials in their design.
The selected projects with the critical criteria as explained above are:
1. The Four Seasons Resort and Spa (formerly the Regent Chiang Mai), Chiang
Mai;
2. The Anantara Resort(formerly the Royal Garden Village), Hua-hin;
3. Le Meridean Baan Taling Ngam, Samui;
4. Santi-buri Dusit Resort, Samui;
5. Sila Evason Hideaway, Samui;
6. Rayavadee Premier Resort, Krabi;
7. Holiday Inn Resort, Phi Phi Island, Krabi;
8. The Tub-kaak Resort, Krabi;
9. Grand Sheraton Laguna Beach, Phuket;
10. Banyan Tree Laguna Beach Resort and Spa, Phuket;
11. Amanpuri Resort, Phuket;
56
The Four Seasons Resort and Spa (formerly the Regent Chiang Mai)
A. Project Overview
The Four Seasons Resort Chiang Mai, which opened in April 1995, clearly stands out
as one of the most outstanding projects in the fertile intermundane basin of northern
Thailand. The resort has recognized with conservation awards from Department of
Fine Arts in 1996, it is located on a five-hectare plot in the beautiful Mae Rim Valley
about 20 minutes’ drive north of Chiang Mai International Airport. The Four Season
Resort Chiang Mai pays tribute to the city’s ethnic and cultural heritage. There are
altogether 67 pavilion suites distributed in clusters of two-storey, structures with either
king or twin-bed accommodation, each offering a luxurious 70 square meters of living
space. The pavilions are based on the style of the Lan na kingdom. The architecture
was designed by Arjan Chulatut Kitibutre of Chiang Mai Collaborative, who is a keen
advocate of the preservation of Lan na-style northern Thai architecture.
B. Analysis of Architectural Identity and Characteristics
1. Thai Character in Tangible Qualities and Values
1.1 Building Organization and Grouping
A survey of the site indicates that the resort architecture of The Four Seasons resort
and its surroundings have been designed with a keen sensitivity to the pristine
environment. The building organization follows the concept of an enclosed landscape
overlooking the dramatic Doi Suthep mountains.The raised teak pavilion and main
building are integrated with a five hectare area of rice terraces and lush landscape
gardens. The disposed buildings and are connected through walkways without roof-
covering.
1.2 Architectural Components
1.2.1 Roof Profile:
The high pitched-roof, identified as the Manila-style roof, distinguishes the buildings
of the resort. The material used for roofing is colored teak shingles.
1.2.2 Connecting Spaces:
The open spaces are connected to the outdoor areas of the main lobby and also to each
of the pavilions.
57
1.2.3 Floors and Flooring:
The inner floors of the buildings are mostly of wood; the outer floors, such as the
terraces and walkways, are paved with sandstone.
Figure 35: Site plan of main building of The Four Seasons Chiang Mai shows the building
placement of the main lobby and restaurant that are adjacent to the water features and
the sala.
1.2.4 Wall Panels:
The wall panels of pavilions are divided into two parts. The lower part of the building
is masonry and the upper wall panels are made of wood, generally with a horizontal
pattern as shown in figure 3.5. Consisting of alternating masses, columns, and voids,
the wall design is based on traditional features of Lan na design.
1.2.5 Architectural Elements and Details:

58
Free-standing posts and columns are adapted to serve as the principal architectural
elements in the area of the lobby and restaurant. Traditional designs are also employed
in the square-shaped columns of the pavilion suites.
Figure 36: Front elevation and side elevation of main building, shows the characteristic of
Lan na-style northern Thai architecture.
59
Figure 37: Section of the main building, shows the building placement, designed to fit with the
existing conditions of the landscape.
Figure 38: Architecture and landscape design of a pavilion (line drawing by the author).
60
Figure 39: Elevation and section of a pavilion with the architectural elements and ornaments
reflecting of Lan na-style architecture.
61
Figure 40: Architecture and landscape of The Four Seasons (line drawing by the author)
- Eave brackets
The eave brackets are designed as the supporting element for the lower roof edges with
the wide overhangs.
- Gable ends
The gable end and its patterns employ the bai-prue pattern.
- Handrails and balusters
Handrails are designed as a transparent feature with a vertical pattern.

62
- Kalae
Kalae placed at the top of gable follow a traditional pattern of Lan na-style.
1.3. The Landscape
1.3.1 Landscape and Design:
The relationship between the landscape and the buildings, as defined by the building
organization, emphasizes surroundings such as the waterscape and trees and brings
these within the building group.
1.3.2 Waterscape:
It is noted that the pavilions are not in fact adjacent to the waterscape and swimming
pool.
1.3.3 Lily Ponds:
Lily ponds are found in the areas of main lobby and in open spaces between the areas
of the lobby and restaurant. The landscape is designed with the use of old Thai water
jars planted with water lilies and lotus on the walkways to the pavilions.
1.3.4 Landscape Components:
The landscape of The Four Seasons Chiang Mai is designed by using sala (Thai
pavilions), decks, and walkways as landscape components harmonizing with the
buildings’ context.
2. Thai Character in Intangible Qualities and Values
2.1 A Sense of Lightness:
2.2.1 The Roofs and A Sense of Lightness
The various forms of roof profile, the stepped roofs with spires and ornaments
combine to provide a sense of lightness in the overall complex.
2.2.2 Sao-Loy (free-standing posts and columns)
The free-standing posts in the area of lobby also provide a sense of lightness as well as
that provided by the roof.
63
2.2 A Sense of Transparency:
Overall, a sense of transparency is achieved through the building placement and

groupings.
A sense of transparency is also be expressed through the appearance of traditional

elements such as the free-standing posts.
2.3 A Sense of Tranquility and Coolness:
A sense of tranquility and coolness at The Four Seasons is achieved by means of the
relationship between building placement and site contexts.
2.4 A Sense of Hospitality:
The initial impression by visitors and a sense of a warm welcome is emphasized by the
open-air lobby and restaurant. In addition, the landscape design, including architectural
components such as sala (Thai pavilion) and the entrance porches of the pavilions,
gives expression to a sense of hospitality as well as a sense of place.
Figure 41: Architecture and Landscape of The Four Seasons.

64
Anantara Resort and Spa Hua Hin
A. Project Overview
The Anantara Resort and Spa Hua Hin is located directly on the beach in a secluded
tropical oasis. A uniquely Thai-style village resort set amidst 14 acres of lush gardens,
lotus ponds, and Thai antiques. Anantarara Resort and Spa Hua Hin offers seven
clusters of beautiful, two-story Thai-style villas in a tranquil and serene environment.
The resort’s open-air lobby is filled with turn-of-the-century antiques, which
immediately give the visitor an impression of times gone by. The village offers all the
amenities of a luxury resort. The architecture was designed by Arjan Chulatut
Kitibutre of Chiang Mai Collaborative. Arjan Chulatut who is a conservationist with a
dedication to the preservation of traditional Thai architecture.
The complex is divided into two groups: first, the main lobby and restaurant and
second, the group of the villas. The landscaped ponds with lilies and lotus are placed at
the front of the lobby. The walkways which connect the villas are designed without the
roof-covering.
1.2.1 Roof Profile:
The high pitched-roof identified as a Manila-style roof is used throughout the

complex— terra cotta tiles are used as cladding.
The open space of the interior is connected to the outdoor spaces. These include the
areas of the main lobby and restaurant.
The inner floor of the buildings is mostly of wood, the outer floors are terra cotta and
sand-washed finish.
65
1.2.4 Wall Panels:

The wall panels are mostly designed as painted plastered-walls. The wall panels of the
villas are treated through the use of a combination of wood and siding.
Figure 42: Site plan of main building shows the building organization of the main lobby and
restaurant that are adjacent to the water features and the sala.
66
Figure 43: Front elevation, side elevation, and section of the main lobby.
67
Figure 44: Plan, elevation, and character of the guest pavilions.

68
Figure 45: Architecture and landscape design.
Figure 46: Interior architecture of the main lobby.

69
Figure 47: Architecture and landscape design of the project.
The free-standing columns are found in the areas of lobby and restaurant.
- Eave brackets
The eave brackets are not found on an examination of the project.
Handrails and balusters are designed as a transparent feature with a combination

pattern.
1.3. The Landscape:
The relationship between the landscape and the buildings as defined by the building
placement emphasizes the site’s surroundings. The main lobby is adjacent to the
bodies of water feature of the lily ponds.
70
1.3.2 Waterscape:
On surveying, the building organization of the villas are adjacent to the trees in the
center of the open court.
1.3.3 Lily Ponds:
Lily ponds are found at the front of main lobby. The landscape is also designed by
using an old Thai water jars, planted with water lilies, placed on the walkways to the
villas.
Landscape components of Anantara, include the use of the sala, motif and also
walkways harmonizing with the site. Building placement also contributes to the overall
landscape design.
A sense of lightness is provided by the roof profile, comprised of a high-pitched roof

with attenuated ornaments.
The free-standing columns in the areas of lobby and restaurant provide a sense of
lightness, supplementing that engendered by the roofs.
A sense of transparency is achieved through the building organization and the use of
glass as a wall panels.
A sense of tranquility and coolness is achieved by means of the relationship between

the organization of buildings and the waterscape and trees surrounding them.
Hospitality is conveyed by the openness of the open-air lobby, restaurant, and

interspersed sala.
71
Sila Evason Hideaway, Samui;
A. Project Overview
Sila Evason Hideaway is located on a headland on the northern tip of Samui island,
approximately six kilometers from the airport. It is set amongst 20 acres of indigenous
plantings and offers stunning views of the surrounding sea and outlying islands. All
villas are located amongst natural vegetation, distributed along a gently sloping
headland, which ensures maximum privacy while offering panoramic views.
All villas are split-level in design and have an open-style bathroom. These features
create an atmosphere of space and light in the room, and also help maintain views of
the surrounding sea and islands from almost every location in the villa.
Infinity edge private swimming pools in most of the villas blend into the horizon and
help maintain a feeling of seclusion —even though all of the resort’s facilities are
nearby and servised by Pool Villa Butlers.
Sila Evason Hideaway is managed by Six Senses Resorts and Spas, which also
manages the Evason Phuket Resort and Spa, and Evason Hua Hin Resort and Spa in
Thailand.The Six Senses team has designed the Sila Evason Hideaway to reflect the
same standards that are recognized in these other fine resorts.
On assessing the site, the resort architecture has been designed to respect the physical
conditions. All villas are placed near and surrounded by natural vegetation.
1.2.1 Roof Profile:
The roof profile is a hipped form. The materials used for roofing is ya kha grass thatch
(Imperata aundinacea).
The overall open space is connected to the outdoor spaces between the areas of
restaurant and swimming pool and is also connected between the living space of the
villas and the villa pools.
72
The inner floors of the villas are mostly of wood for the living spaces and bedrooms;
for the area of bathrooms polished cement and ceramic tiles are used. The outdoor
spaces, such as pool decks, are mostly of hard wood with a sand-washed finish.
Figure 48: Site plan of the main building and villas.

73

74
Figure 52: Architecture and landscape design of the pool villa.

75
Figure 53: Architecture and landscape design of the pool villa.

76
1.2.4 Wall Panels:
The wall panels used in the resort are a combination of plaster and painted and
decorated wood.
- Sao-loy (free-standing posts and columns)
The free-standing posts and columns are used as architectural elements in the areas of
the lobby, restaurant, and villas.
- Eave brackets
The eave brackets are not found on an examination of the project.
Handrails and balusters are used with the vertical pattern and adapted with the use of
indigenous materials.
1.3. The Landscape:
The relationship between the landscape and buildings is translated by the building
placement, placing most units adjacent to features such as waterscapes and existing
trees within the building grouping.
1.3.2 Waterscape:
On examination, the villas are generally placed adjacent to the waterscape. The
designers have employed an infinity edge for most water features.
1.3.3 Lily Ponds:
Lily ponds are found at the front of main lobby. The landscape is also designed by
using an old Thai water jars, planted with water lilies, placed on the walkways to the
villas.
The landscape of the Sila Evason Hideaway is emphasized through the use of wooden
decks and uncovered walkways that harmonize with the site context.
77
A sense of lightness is provided by the use of thatched roofs as well as the use of water
features.
The free-standing posts in the areas of the lobby and restaurant also provide a sense of
lightness in addition to that conveyed by the thatched roofs and water features.
A sense of transparency is achieved through the building organization and groupings

associated with the site context.
2.3 A Sense of Tranquility and Coolness
A sense of tranquility and coolness is achieved through the relationship of buildings

and water features and also by existing trees within the surroundings.
All guests are given a sense of welcome primarily through the open-air lobby and
restaurant.
Le Meridean Baan Taling Ngam, Koh Samui
In 1992, RMJM was appointed as architects to masterplan the Baan Taling Ngam
Resort, the Mandarin Oriental’s first foray into the boutique hotel market. Opened in
November 1993, this resort is made up of 40 guestrooms and two suites. It is set on
forested hill-slopes at the southwest corner of Thailand’s most environmentally
protected island. Most of the hotels are located on the east end of the island, on the
famous beaches of Chaweng and Lamai. For the present, Baan Taling Ngam is the
only major development on the west coast.
Of the 42 rooms that are housed on three cliffside levels, six have ten-meter high Thai-
style roofs. All the rooms have generous terraces overlooking the sea. The resort also
has 42 residential villas of varying sizes built on stilts over the precipitous terrain.
They are grouped in clusters and centered around several swimming pools. There is
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also a beach accommodation with seven single-story suites, a beach club, and a
swimming pool.
Baan Taling Ngam translates as “house on a beautiful cliff.” The resort is located on a
truly breathtaking site of more than six hectares. Certainly the most impressive aspect
of the resort is its location. As the management explains, the resort is all about “space,
place and pace.” It is sited on a verdant ridge with spectacular views of the island-
dotted waters of the Samui archipelago. No matter where one is, the aquamarine blue
of the sea remains visible (Tan Hock Beng, 1996: 185).
.
Located about 60 meters above the beach, the resort is accessed from a steep winding
road that makes one anticipate the final approach. However, the design of the entrance
lobby lacks the drama implicit in the approach sequence. One has to enter deep into the
lobby before being confronted by the much anticipated view of the sea. But the
panoramic view is certainly a spectacular sight. There are views of the Gulf of
Thailand as well as the Ang Thong Marine National Park, a protected archipelago of
38 uninhabited islands.
Figure 54: Architecture and landscape of the project (line drawing by the author).
79
Figure 55: Site plan of the resort complex.

80
On examination, the resort architecture of the resort has been designed to improve the
existing conditions of the area. The building organization follows a pattern of
enclosed-spaces in the landscape, harmonizing with the resort’s surroundings.
1.2.1 Roof Profile:
The roof profile is characterized by a high-pitched form of gabled roofs with wide
overhangs. The material used for roofing is Monier roof tiles.
The open space is connected to the outdoor space between the areas of main lobby and
swimming pool.
The inner floors of the villas are mostly of wood. Polished marble and terra cotta floor
tiles are found in the areas of the lobby and restaurant.
1.2.4 Wall Panels:
Wall panels are primarily plastered-wall with covered with paint.
1.2.5 Architectural Elements and details:
- Sao-loy (free-standing posts and columns)
The free-standing posts and columns are found in the areas of main lobby and
restaurant.
- Eave brackets
The eave brackets found at the villas are designed as the supporting elements for the
wide overhangs.
- Gable ends
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The gable ends of the villas are designed with a combination of wood and decorated
stucco ornament.
Handrails and balusters are designed as transparent features and emphasize a vertical
pattern.
1.3 The Landscape:
The relationship between landscape and buildings is articulated by the building

placement and adjacent features, such as the waterscape and plantings.
1.3.2 Waterscape:
The main lobby and restaurant are flanked by a swimming pool and landscape
components.
1.3.3 Lily Ponds:
Lily ponds are found in the areas of main lobby and restaurant.
The landscape consists of a combination of walkways and bridges connecting the villas.
None are covered.
A sense of lightness is provided by the wide overhangs and the use of eave brackets.
The free-standing columns in the areas of main lobby also convey a sense of lightness
in addition to that provided by the wide overhangs.

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A sense of transparency is achieved through the building placement and the building
groupings in association with the site context.

building placement and the adjacent the waterscape and plantings.
A sense of hospitality is conveyed by the open-air lobby and restaurant.
Santi Buri Dusit Resort, Samui;
A. Project Overview
Santi Buri Dusit resort is located on a 23-acre site, faced by a 300 meter beach. The
resort provides guests with privacy and luxury in 59 individual villas and 16 deluxe
Equatorial Suites, each with a private verandah. The individual villas are designed to
suggest a traditional Thai house and are further enhanced by environmentally designed
bathrooms and functional spaces. As with the Villas, all interior furnishings are of
classic Thai design.
Among the extensive recreational and sports facilities offered are a 50-meter
swimming pool, two tennis courts, and an extensive health club with squash court,
aerobics studio, gym room, sauna, and traditional Thai massage. The architecture was
designed by Arjan Thanith Chareonpong, who is a keen advocate of the conservation
of Thai architecture.
On examination, the resort architecture of Santi Buri Dusit resort has been designed to
integrate and improve the existing conditions of the context. The building placement
follows a pattern of enclosed spaces in the landscape harmonizing with the resort’s
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surroundings. The walkways connecting the villas are designed without the roof-
covering.
1.2.1 Roof Profile:
The roof profile is characterized by a high-pitched form of Manila or branor hip-

gabled roofs with wide overhangs. The material used for roofing is terra-cotta roof tiles.
The open space is connected to the outdoor spaces between the areas of main lobby
and swimming pool.
The inner floors of the villas are mostly of wood. Polished marble and terra cotta floor
tiles are found in the areas of the lobby and restaurant.
1.2.4 Wall Panels:
Wall panels are primarily painted plastered-wall.
1.2.5 Architectural Elements and details:
restaurant.
- Eave brackets
The eave brackets found at the villas are designed as the supporting elements for the
wide overhangs.
- Gable ends
The gable end of the villas designed in a combination of wood and decorated stucco
ornament.
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Handrails and balusters are designed as a transparent feature with a vertical pattern.
Figure 56: Site plan of the main building and resort complex.
85
Figure 57: Front elevation and back elevation of the main lobby.
Figure 58: Section of the main lobby.

86
Figure 59: Architecture and landscape design of the main lobby.
87
1.3. The Landscape:
The relationship between the landscape and buildings is translated by the building
placement, placing most units adjacent to features such as waterscapes and existing
trees within the building grouping.
1.3.2 Waterscape:
On examination, the villas are generally placed adjacent to the waterscape. The
designers have employed an infinity edge for most water features.
.
1.3.3 Lily Ponds:
Lily ponds are found in the areas of main lobby and restaurant.
Figure 61: Architecture and landscape design of a pavilion.
The landscape of Santi Buri is emphasized through the use of walkways and bridges,
all lacking roof-covering, which connect the villas.
88
A sense of lightness is provided by the wide roof overhangs and the use of eave
brackets.
The free-standing columns in the areas of main lobby also provide a sense of lightness
complementing that conveyed by the wide overhangs.
A sense of transparency is achieved through the building placement and grouping.
A sense of tranquility and coolness is achieved through the relationship between

building placement and adjacent waterscape and the plantings.
Hospitality is conveyed by the openness of the open-air lobby, restaurant, and

interspersed sala.
Banyan Tree Phuket, Phuket
A. Project Overview
The Banyan Tree is one of the four luxury hotels in Laguna Phuket, Asia’s first
integrated resort. Located within the same three-kilometre stretch of beachland, it
comprises of Banyan Tree Phuket, Dusit Laguna, Laguna Beach Club and Sheraton
Grande Laguna Beach. There are also The Allamanda Apartment Suites, Banyan Tree
Club, an 18-hole championship golf course, and a canal village shopping complex. The
developer Wah Chang bought a very large piece of ravaged tin-mining wasteland in
1984 and transformed it into a large resort complex. A 1977 a United Nations survey
had written off the site as being too environmentally damaged to have any
development potential. The integrated resort now occupies a 400-hectare site,
including six lagoons. Guest activities are integrated and certain core activities such as
laundry operations and waste treatment disposal are centralized.
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Located on Bang Tao Bay on the northwestern coast of Phuket, the Banyan Tree
Phuket is the first of the luxury addition to the Banyan Tree chain. It is in many ways a
showcase for the group’s concept. Its individual guest villas are spread over the vast
landscape, designed around a man-made lagoon. Together they exude a monastic
solemnity. Spread over both sides of the lagoon, the wall-enclosed villas are grouped
in tight clusters, evoking images of Balinese villages, except that they are roofed over
by ostensibly Thai structures.
The 86-villa resort has 52 garden villas and 34 pool villas. The 170-square meter
garden villa contains a private garden within its walled compound, whereas the 270-
square meter pool villas (34 in number) each have a private 9 x 3 meter swimming
pool. Each villa has its own garden and an open-air sunken bath. The Pool Villa also
features a raised Thai-style “sala” and dining area, as well as a paved patio with built-
in barbeque pit.
Figure 62: Site plan of the main building and the resort complex.
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Figure 63: Floor plan, and sections of the pool villa.

91
The resort architecture of Banyan Tree has been designed to improve the existing
conditions of the areas of Laguna. The building organization is designed as an
enclosed landscape harmonizing with its surroundings.
Figure 64: Elevations and section of the pool villa.

92
1.2.1 The Roof Profile:
The roof profile of the villas is a high-pitched roof adapted from traditional Thai
houses, while the roofs of lobby and restaurant are surmounted by stepped-roofs and
multi-tiered roofs.
Figure 65: Architecture and landscape design of the pool villa (line drawing by the author).
93
The open space of the main area is connected to the outdoor spaces between lobby and
main buildings. Each villa also features a raised Thai-style “sala.”
Figure 66: Architecture and landscape design of the pool villa (line drawing by the author)

94
Figure 69: Architecture and landscape design of project.

95
The inner floors of the villas are mostly of wood. The outer floors of the outdoor
terraces are terra cotta with a sand-washed finish.
1.2.4 Wall Panels:
Wall panels are primarily the plastered-walls with paint covering.
Figure 70: Architecture and landscape design (line drawing by the author).
96
The free-standing columns with round-section are used in the areas of the lobby and
main buildings.
- Eave brackets
The eave brackets adapted as the supporting element are used in the areas of main
building and the lobby.
- Gable ends
The gable ends follow designs of the traditional Thai houses, but most are adapted
without patterns.
Handrails and balusters are designed with a combination of patterns, with both
horizontal and vertical features.
1.3. The Landscape:
The landscape complements the building complex. Open spaces are provided adjacent
to buildings.
1.3.2 Waterscape:
The lobby and main building are adjacent to the waterscape features. The same is true
with the private villas, which also feature private swimming pools.
1.3.3 Lily Ponds:
Lily ponds are found in the areas of main lobby and other open spaces.
The landscape in Banyan Tree is organized by means of a sala and walkways. These
components harmonize with the buildings’ context.

97
The various forms of roof profile, such as the multi-tiered roof and stepped-pyramidal
roofs, provide a sense of lightness, as do the wide overhangs.
The free-standing columns in the areas of lobby and main buildings also provide a
sense of lightness as complemented by the roofs.
A sense of transparency is achieved through the building placement and the

arrangement of buildings—to one another.
A sense of transparency also expressed through the use of traditional elements, such as
the free-standing posts.
2.3 A Sense of Tranquility and Coolness
A sense of tranquility and coolness is achieved through the relationship between the
building complex and adjacent waterscape and plantings.
The visual approach welcomes guests, a factor emphasized by the open-air lobby and
restaurant. In addition, the landscape design, with architectural components such as
sala (Thai pavilion) and entrance porch of the pavilions, expresses a sense of
hospitality.
Grand Sheraton Laguna Beach: Phuket
A. Project Overview
Grand Sheraton Laguna Beach Phuket, located in the area of Laguna Phuket-Asia’s
first integrated resort, offers the luxury accommodation, relaxation, and recreational
facilities. Sheraton Grande Laguna Phuket resort is on its own small island in the
middle of a lagoon on the west coast of Phuket. The resort also extends on to the 3.2
km long white sand beach of Bang Tao Bay. The 252 superbly appointed guestrooms
and 83 Grande Villas, feature private balconies and spectacular views ranging from
ocean, lagoon, and garden. The interior designs are decorated and furnished using local
materials and craftmanship. The architecture was designed by Inter Architects, and
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also included the architectural details of Thai architecture by Arjan Ruethai

Chaijongrak.
An examination of the project indicates that the resort has been designed to improve
the existing conditions of the areas of Laguna. The building organization follows the
pattern of enclosed-spaces harmonizing with their surroundings.
99
1.2.1 Roof Profile:
The roof profile of the villas is a high-pitched form adapted from the traditional Thai
house, while the roofs of lobby and restaurant are covered with a stepped-roof and a
multi-tiered roof.
The open spaces are connected directly to the outdoor spaces between the areas of the
lobby and the main buildings.
The floors of the villas are mostly of wood. The outer floors of outdoor terrace are of
terra cotta with a sand-washed finish.
1.2.4 Wall Panels:
Wall panels are plastered and painted.

100
Figure 73: Architecture and landscape design.
The free-standing columns with round sections are used in the lobby and main
buildings.
- Eave brackets
Eave brackets are used as a supporting element in the main building and the lobby.
- Gable ends
The gable ends are designed as the traditional Thai elements, but are adapted with a
unique pattern.

101
Handrails and balusters are designed with a combination of patterns, including both
horizontal and vertical features.
1.3. The Landscape:
The relationship between the landscape and buildings is determined by the building
placement adjacent to its surroundings.
1.3.2 Waterscape:
The placement of the main lobby and the main building are adjacent to the waterscape
as well as the private villas. The villas also feature a private swimming pools.
1.3.3 Lily Ponds:
Lily ponds are found in the areas of the main lobby and the open spaces.
The landscape of the Banyan Tree incorporates sala and walkways as the principal
landscape components harmonizing with the resorts context.
The various forms of roof profile, such as the multi-tiered roof and stepped-roofs,
convey a sense of lightness, as do the wide overhangs.
The free-standing columns in the areas of lobby and main buildings also contribute to a
sense of lightness, in addition that provided by the roofs.
A sense of transparency is achieved through the organization of the buildings and the
overall layout and context.
102
A sense of transparency is also expressed through the use of traditional elements, such
as the free-standing posts.

building placement and the waterscape and plantings.
The initial impression by visitors and a sense of a warm welcome, is emphasized by

the open-air lobby and restaurant. In addition, the landscape design, including
architectural components such as sala (Thai pavilion), give expression to a sense of
hospitality as well as a sense of place.
Amanpuri: Phuket Island
A. Project Overview
Amanpuri, which means “place of peace” in Sanskrit, defies conventional

categorization as a resort hotel. Comprising 40 private pavilions, it was commissioned
to surpass in character and quality normal standards in hotel design.
The client, Adrian Zecha, is an Indonesian-born businessman with substantial

experience in the international hotel field, having been a partner in the Regent Group
of hotels and owner of several hotel chains in Asia. Amanpuri presented a different
challenge; it was conceived from the outset as a place with a home-line, personal, and
uncommercial atmosphere.
The pavilions are located on the -hectare (100 acres) site of a coconut plantation, rising
from Pansea Beach to an elevation of 47 meters. They were inspired by Thai temple
construction; architect Ed Tuttle researched many examples of this traditional building
type, visiting various regions of Thailand. His designs are based on the Ayutthaya
period.
An examination of the site reveals that the resort architecture of Amanpuri and its
surroundings have been designed with respect to the existing conditions. All of the
103
pavilions and even the walkways are raised on the columns to protect the natural
configuration of the land. The buildings are connected by the use of an uncovered
walkway. Most of the existing trees of the plantation have been preserved, and the
pavilions are built around them. From the point of view of planning, the units are
simple and repetitive.
104
Figure 75: Architecture and landscape design (line drawing by the author).
Figure 76: Architecture and landscape design of the main building.

105
1.2.1 Roof Profile:
The roof profile of the Amanpuri is a high-pitched form, with a multi-tiered roof with
the wide overhangs as shown in figure 3.41. The material used for roofing is terra-cotta
roof tiles.
The open spaces are connected to the outdoor space between the reception pavilion
and the villa pavilions. A sala, or covered reception area, is open on all sides, and the
bedroom and bathroom of each pavilion open onto the sala and a large verandah.
The floors of the buildings are mostly of wood; all the floors are of local wood called
tabaek. The floors in outdoor areas are of terracotta floor titles with sand-washed finish.
1.2.4 Wall Panels:
The wall panels are mostly of painted plaster and wooden panels with vertical patterns.
In terms of opening and void, the design is based on the traditional openings of the
Thai house.
1.2.5 Architectural Elements and Details
restaurant.
- Eave brackets
The eave brackets are designed as a supporting element for the lower roof edges with
the wide overhangs.
- Gable ends
The gable ends are simple, lacking in pattern and ornament.
Handrails are designed as a transparent feature, with a strong vertical pattern.
1.3. The Landscape:

106
1.3.1 Landscape and Design
The relationship between the landscape and buildings is emphasized by the building
placement adjacent to reflecting ponds and landscaped pools.
1.3.2 Lily Ponds
Lily ponds are found in the areas of the reception pavilion and the restaurant. The
landscape architect employed old Thai water jars planted with water lilies and lotus in
the open spaces and the walkways leadings to the villa pavilions.
1.3.3 Waterscape
On examination, the reception pavilion and salas are designed and placed adjacent to
the water features of swimming pools and landscaped-ponds.
1.3.4 Landscape Components
The landscape design of the Amanpuri employs sala, decks, and walkways as the
principal components of the resort. These elements are attractive and harmonize with
the buildings and site context.
The graceful Thai rooftops with multi-tiered roofs provide a sense of lightness in the
resort.
The free-standing posts in the areas of reception pavilion and restaurant and the sala
also provide a sense of lightness, in addition to that provided by the roofs.
On examination, a sense of transparency is achieved through the building placement,

the open-air reception pavilions, and raised-sala together these provide a sense of
transparency also conveyed by the free-standing posts of the sala and villa pavilions.
A sense of tranquility and coolness at Amanpuri is enhanced by lotus ponds and water
features surrounding the public pavilions.
107
A sense of hospitality is provided by the architectural design, employing traditional

Thai character through the use of open-air pavilions and sala associated with the
landscape components, such as entrance porches and sitting verandahs. Together these
offer a sense of hospitality in the resort.
Rayavadee Premier, Krabi
The hotel is located 163 kilometres east of Phuket by over land 55 kilometers by sea.
However, the peninsula where the hotel is located is completely cut off from all land
transport by soaring cliffs, necessitating entry by boat. The scenic sea trip takes just
over an hour from Phuket’s Laem Preaw jetty.
The 100-pavilion Dusit Rayavadee Resort, designed by Four Aces Consultants Co.,
Ltd., is located on nine-hectare site that is part of the Had Nopparat Thara National
Park. Raya in Thai means “princess,” while vadee is a village. This “Village of the
Princess” is surrounded on two sides by spectacular limestone outcrops towering
between 150-200 meters. The untamed splendour of the surrounding environment has
a particular potency. Nature dominates, and dominates completely. Wildlife is all
around, as the resort shares its site with troops of macaques and a family of endangered
gibbons.
The resort is built on a headland nestling between three sandy beaches, Nam Mao, Pha
Nang and Ray Lei. The most striking of the three, Phra Nang, is regularly quoted as
being the most beautiful beach in the world. Its powdery soft white sands and crystal-
clear waters are convincing evidence that this is no empty boast. The hotel reception
lounge and central guest area are located in Nam Mao beach, which is not used for
recreation due to the fact that it turns into mangrove flats at low tides. Guest and staff
transfers by boat are handled through this beach.
On arrival by boat, the guests board a timber cart waiting at shallow waters The
ensemble is then dragged onto the beach by a tractor. Since this is a national park, no
jetty is allowed. The pavilions, hidden by dense foliage, are hardly discernible. Set
amidst an existing coconut plantation, they offer wondrous views of the rugged multi-
colored limestone cliffs and weirdly-shaped rock formations jutting above the sea.
Conceptualized by Bangkok-based Thai architect M.L. Chainimit Navarat, the design

aims to make the resort appropriately non-intrusive and visually not apparent when
viewed from the sea, especially along the Ray Lei and Phra Nang beaches. Awarded
the Royal Gold Medal for environmentally sympathetic construction by the
Association of Siamese Architects, the resort demonstrates an earnest concern for and
keen sensitivity to the pristine environment.
108
An obvious architectural treatment is the circular plan used in the design of the
pavilion. A “semi-prefabricated” technique was used in the construction because all
the building materials had to be transported by boat and assembled on site. A fully-
furnished prototype pavilion was even set up in Bangkok to get the specifications as
precise as possible, since it would be difficult to make any adjustments on site.
109
Figure 78: Architecture and landscape design of the main building and pavilions.
110
111
Figure 80: Architecture and landscape design of the main building.
An examination of the project indicates that the project has been designed to respect
the existing conditions of the area. An obvious architectural treatment is the circular
plan used in the design of the pavilion. A “semi-prefabricated” technique was used in
the construction because all the building materials have to be transported by boat and
assembled on site. A fully-furnished prototype pavilion was even set up in Bangkok to
get the specifications as precise as possible, as it would be difficult to make any
adjustments on site.
112
1.2.1 Roof Profile:
The roof profile is characterized of the villas by the high, circular curved-roofs adapted
from architecture of the southern region of Thailand.
Open spaces are connected to the outside between the areas of the lobby and the main
buildings.
The inner floors of the villas are mostly of wood. The outer floors of outdoor are of
terra cotta with sand-washed finish.
1.2.4 Wall Panels:
Wall panels are the plastered and painted.
The free-standing posts and columns are used as architectural elements in the areas of
the lobby, restaurant.
- Eave brackets
—not found—
- Gable ends
The gable ends follow examples of traditional Thai houses, but are adapted without
patterns.
Handrails and balusters are designed in a combination of patterns with both horizontal
and vertical features.
1.3. The Landscape:

113
The relationship between landscape and buildings is defined by building placement

adjacent to the landscape context.
1.3.2 Waterscape:
The same is true of the main lobby area where buildings are adjacent to the waterscape;
the same is true of the private villas.
1.3.3 Lily Ponds:
Lily ponds are found throughout the areas of the main lobby and open spaces.
The landscape design emphasizes water features and walkways as distinct landscape
components harmonizing with the buildings.
The various forms of roof profile, such as the circular curved-roof exemplified at this
resort, provide a sense of lightness, a quality conveyed as well by the wide overhangs.
The free-standing columns in the areas of lobby and main buildings also provide a
sense of lightness, together with that provided by the roofs.
A sense of transparency is achieved through building organization and grouping. A

sense of transparency is also expressed through the appearance of traditional elements
and the use of the free-standing posts.
A sense of tranquility and coolness is achieved by the relationship between building

organization the location of buildings adjacent to the waterscape and plantings.

114
The approach and a sense of welcome is established through the open-air lobby and the
restaurant. In addition, the landscape design, together with architectural components,
such as the entrance porches of the pavilions, expressed a sense of hospitality and a
sense of place.
The Tub-Kaak Resort, Krabi
A. Project Overview
Tub-Kaak, literally means visitor’s cove, a site legendary for decades. This legendary
quality lives on at the Tub-Kaak, a well-located, four star boutique resort of 44
spacious and articulately appointed rooms, a free-form swimming pool, gourmet
restaurant, bars, day spa, also feature a host of leisure and recreational facilities. The
project is designed by the Bangkok-based architects – the 49 Group.
On examination of the site, the resort architecture of The Tub-Kaak Resort can be seen
to have been designed with respect to the physical conditions and existing features of
the environmental context.
1.2.1 Roof Profile:
The high-pitched roof with curved-edge is identified as a form of gable roof. The
material used for the roofs is the terra cotta roof tiles.
Open spaces within the resort are connected to the outdoor spaces between the areas of
main lobby and grouping of the villas.
115
116
The inner floors of the villas are mostly of wood; the outer floors are of terra cotta
floor tiles with a sand-washed finish.
1.2.4 Wall Panels:
The wall panels are divided into two parts, the lower of building is a plastered-wall
finished with a painted surface; the upper level wall panels are made of wood,
generally conforming to a horizontal pattern.

117
The free-standing posts and columns are utilized as the principal architectural elements
used in the areas of the lobby and restaurant.
- Eave brackets
—not found—
- Gable ends
The gable ends feature a combination pattern of wood and grass.

118
- Hands rail and balusters
Handrails and balusters are designed with a vertical pattern.
Figure 84: Architectural design and character of the main building.
1.3. The Landscape:
The landscape and buildings are placed in close proximity to the waterscape and
plankings.
1.3.2 Lily Ponds
Lily ponds are found in the areas of open spaces, situated close to the restaurant.
1.3.3 Waterscape
The main lobby, restaurant, and two-story villas are situated adjacent to the waterscape
and swimming pool.
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The landscape of the Tab-Kaak Resort, utilizes walkways, sala, and decks—all
components harmonizing to the site context.
Figure 85: Interior architecture of the main building.
The high-pitched roofs, with their curved-edges ornaments, contribute to a sense of

lightness.
The free-standing posts and columns in the areas of lobby and restaurant help provide
a sense of lightness together with that provided by the roof.
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A sense of transparency is achieved through building placement and the groupings of

buildings associated in the site context. A sense of transparency is also expressed
through the use of the free-standing posts and columns.
A sense of tranquility and coolness is achieved through the relationship between

building placement and proximity to the waterscape and plantings.
A sense of hospitality is conveyed through the open-air lobby and restaurant. In

addition, the landscape design, utilizating landscape components, such as walkways,
decks, and sala, also provides a sense of hospitality and a sense of place.
Holiday Inn Resort: Phi Phi Island
A. Project Overview
The Holiday Inn Resort is located on the Phi Phi Island, located approximately 45
kilometers from Phuket and Krabi. It is set among 25 acres of indigenous plantings and
offers stunning views of the Andaman sea and Phi Phi Island. All villas are located
amongst natural vegetation, which ensures privacy, while offering unsurpassed
panoramic views. There are altogether 50 villas, each offering a luxurious living space.
The villa designs are based on the example of contemporary vernacular architecture.
The resort architecture of the Holiday Inn Resort has been designed with respect to the
site context and existing conditions. The buildings are connected by bridge-walkways,
lacking roofs. Most of the existing trees of plantation have been preserved, and the
villas are built or raised columns, which helps protect the natural configuration of the
land.
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1.2.1 Roof Profile:
The high-pitched roof takes the form of a “Manila” or blanor roof, a combined hip and
gabled form. The material used for the roofing is asphalt shingles.
The main lobby and swimming pool areas are closely linked to intervening outdoor
spaces.
The inner floors of the buildings are mostly of wood; the outer floors are of terra cotta
floor tiles with a sand-washed finish.
1.2.4 Wall Panels:
On examination, the wall panels of the villas and all buildings consist of plastered-
walls finished with painted surfaces.
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The free-standing posts and columns are found in the areas of the main lobby and
restaurant.
- Eave brackets
—not found—
- Gable ends
The gable ends are mostly designed with a sunburst patterns.
Handrails and balusters are designed as a transparent feature with a combination of

patterns in wood.
Figure 87: Architecture and landscape design of the main buildings.

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1.3. The Landscape:
Generally, building placement is adjacent to trees. The main lobby is adjacent to the
waterscape and lily ponds.
1.3.2 Lily Ponds
Lily ponds are found at the areas of the main lobby and restaurant.
1.3.3 Waterscape
The main lobby and restaurant are adjacent to the swimming pool and lily ponds.
Landscape components of The Holiday Inn Resort make use of the sala and bridge-
walkways that harmonize with the site contexts.
2.1.1 The Roofs and a Sense of Lightness
A sense of lightness is provided by the roof profile, consisting of high-pitched roofs.
Figure 88: Architecture and landscape of the villas.

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The free-standing columns in the areas of the lobby and restaurant help provide a sense
of lightness, together with that provided by the roof.
A sense of transparency is achieved through the building placement and by means of

having villas raised above the existing ground.

building placement and the waterscape and trees within the resort’s surroundings.
Enhancing the visual approach encouraging the feeling of a warm welcome, all guests
are embraced by the distinctive design utilizating the open-air lobby, restaurant, and
sala.
The above examples provide an outline the approach employed in this study for
assessing the character and quality of architecture in resort contexts. Each example has
included an overview of the project and specific analyses of Thai characteristics
employed in each project. These have included aspects of Thai character “in tangible
qualities and values” and character in “intangible qualities and values.” Each of the
projects have been assessed using uniforms standard of assessment. Overall, these
have been exemplary projects that have done much to achieve a quality of regional and
national character. The following chapter will explore the criteria for evaluation in
further detail, with initial attention to the means of constructing a questionnaire for
evaluation.
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Chapter 4
Interviewing and Constructing the Questionnaire
Chapter Overview
This chapter mainly focuses on the architectural and design aspects involved in resort
design and the responses of architects, users, and clients. The evaluation techniques
include both interviews and more formal questionnaires. The interviews have been
conducted with architects involved directly in the design of resorts, as well as better-
known architects from the broader architectural community both in Thailand and
abroad. The clients or “users” of the resort themselves have also been interviewed. The
subsequent application of questionnaires is intended to further refining the contents of
the interviews and create a quantitative basis of evaluation.
The process of interviewing and constructing the questionnaire addresses to the

following steps:
1. The analysis of the opinions of the principal aspects of Thai architectural

character, focusing on interviewing the following three distinct groups:
1.1 Interviewing resort designers;

1.2 Interviewing building users;
1.3 Interviewing leading Thai and international architects.
2. The analysis of the opinions of the interviewees includes:
2.1 The analysis of the characteristics of modern Thai architecture derived

from surveying the physical character of the case studies, and the opinions
regarding the architectural aspects using the interviews;
2.2 The analysis of the opinions of the three groups focusing the proposed
assessment;
3. Constructing the questionnaires;
4. The analysis of the results of both the interviews and the questionnaires.
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• Interviewing Resort Designers
The purpose of this category of interview are mainly focused on the study of concepts,
perceptions, and the opinions of the specific resort designers on their work and those
of other designers.
The resort designers being interviewed are:
1. Julatus Kittibutre ASA., design-architect for The Four Seasons Resort and Spa
and the Anantara Resort;
2. Thanit Chareonpong, Ph.D, ASA., design-architect for Santi-buri Dusit Resort;
3. ThaKoon Suwansukhum, ASA., design-architect for Le Meridien Baan Taling

Ngam;
4. Amata Loopaiboon, ASA., design-architect for Sila Evason Hideaway;
5. Anucha Tangsriviriyakul, ASA., design-architect for Rayavadee Premier

Resort;
6. Prakit Phananuratana, ASA, design-architect for the TubKaak Resort;
7. Phisit Sayampol, ASA., design-architect for the Holiday Inn Resort;
8. Sakao Boonsri, ASA., design-architect for the Grand Sheraton Laguna Beach;
9. Manoon Leeveerapant, ASA., design-architect for the Amanpuri Resort;
10. Pracha Pithayatorn, ASA., design-architect for the Banyan Tree Laguna Beach
Resort and Spa.
1) In your own opinions, what is the modern Thai architecture? And what is
its representation and characteristic?
Initial interviews with the design-architects provide insights into what they consider to
be the most important aspects of Thai architecture. In general, they explain that
modern Thai architecture refers to the design and construction technology of the
present-day architecture within the context of modern society. This includes a concern
with what might be regarded as modern Thai character and the conservation values of
“Thai-ness” as found in traditional Thai architecture. The opinions of design-architects
about modern Thai architecture can be summarized as follows:
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A. Modern Thai architecture in tangible qualities and values
1. Architectural components:
- Roof profiles, multi-tiered roofs and stepped roofs; roofs and their
relations to overhangs, etc.
- Connecting spaces, such as chan (a central terraces), palai (covered
verandahs) etc.
- Floors, including floor coverings and patterns
- Wall panels, including patterns, openings, and ventilating walls (fa-lai)
- Architectural elements and details such as sao-loy (free-standing post
and column), gable ends, eaves’ bracket, handrail and baluster
2. Building organization and grouping:
- Organization of buildings, walkway (covered, uncovered)

- Grouping: including the lay-out spacing, and the relationship among
buildings and landscape features
3. Landscape: including such elements as open spaces, planting and their

relationship to buildings, also landscape components, etc.
B. Modern Thai character in intangible qualities and values
1. A sense of lightness
2. A sense of transparency
3. A sense of tranquility and coolness
4. A sense of hospitality
Architect Anucha Sriviriyakul (2002) states that modern Thai architecture is in fact a
reinvention, when Thai wisdom and modern technology are integrated. He argues that
we should create modern Thai architecture that serves present-day society by focusing
on architectural identity as well as appropriate technology.
2) According to your design-project, what are the constant themes or the

concept of your work? And how did you approach the project regarding the
various architectural contexts?
Design themes and architectural concepts that the design-architects interviewed reveal
predominantly are:
1) The site context and conditions
Architects generally point out that the most important and challenging aspect in
designing resort architecture is to build in a global context and take into account
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tourism and the overall impacts of tourism on sites. Most felt that the principal goal of
the design is to maintain both the site’s context and traditional character. Architect
Anucha Sriviriyakul, who designed the project at Rayavadee, points out that a great
effort there was made to keep as many existing trees as possible. This kind of
environmental consciousness is also reflected in the work of many of other architects
as well (Sriviriyakul, 2005).
Architect Chulatut Kitibutre, who is one of the designers of The Four Seasons Chiang
Mai, also agrees that environmental concerns are paramount. He explained that the
Four Seasons resort is located on a striking terrain, surrounded by existing natural
conditions. The landscape elements offer surprises at every junction. Still, the area for
the part of the property remains devoted to the traditional landscape of rice terraces
and flower fields, both of which reflect the lifeways and identity of Lan na people and
culture (Kitibutre, 2005).
2) Working with the climate
The design-architects interviewed universally point out that the Thai tradition of
designing with the climate to achieve maximum comfort in buildings is critical to
modern approaches. This is accomplished not only in providing overhangs of roofs but
also by understanding the environmental context of the site in the region. The
architects interviewed attempt to work in step with the natural environment rather than
design in conflict with it. Some architects states in addition that in the design of resorts,
appropriate responses have to be made to the tropical climate. Throughout it is evident
that climate is an important consideration and one that architects have to incorporate
into their design decisions.
3) Project requirements
Resort architecture is most often aimed at international standards, especially those

examples that reflect high cultural and architectural values. Tourists generally are
interested more in architecture with cultural values rather than buildings in more
anonymous modern styles. Architect Anucha Sriviriyakul stated that “we should create
modern Thai architecture serving present society and focusing on the integration of
appropriate technology and Thai identity” ( Sriviriyakul, 2005).
4) Reflecting “Thai-ness”
Architects interviewed for this project generally subscribe to the idea that resort
architecture should exhibit regionalism differences. The designs, they suggest, should
make use of indigenous styles and types thereby providing clear regional references.
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- Northern region
Architect Chulatut Kitibutre, who designed the Four seasons Chiang Mai, points out
that his design is based on the traditional craftsmanship and style of the Lan na
Kingdom. Lan na architecture has many distinctive elements that may be incorporated
into modern design.
- Central region
The project of the Anatara Resort and Spa Hua Hin, applies the traditional Thai
dwelling of the kuti (monk’s residence) for the design of main lobby. The building
placement emphasizes open space. This is reflected in both tangible and intangible
qualities and values, through the use of architectural components such as roof profiles,
gable ends, chan, all of which combine to convey a sense of tranquility.
- Southern region
In the example of the Rayavadee Resort, a two-storey design was inspired by

traditional local architecture as well as by the mosques of southern Thailand. The
characteristic feature of gable ends and finials were utilized. The sunburst motif of the
Southern architecture was also used to convey a strong sense of regional identity.
5) Construction technology
The design-architects interviewed point out that the design team not only has to design
the building but also devise the method of construction. Workers also need to avoid
damaging the vegetation and limit the impacts of heavy equipment—another important
consideration. In the project at Rayavadee, a “semi-prefabricated” technique was used
in the construction. This is because all of the building materials have to be transported
by boat and assembled on site. The same circumstances hold for the Holiday Inn
project that is located on Phi Phi Island.
3) Which among your works best represents the characteristics of modern

Thai architecture? And how does the projects fit with the concept of appropriate
design for resort.
In general the architect identifies several salient aspects of architecture which

combined to form appropriate new designs in resort contexts. These can be
summarized as the following “intangible” qualities and values:
- Intangible qualities and values
1) The building placement and grouping, including building placement and

connections. These might include chan (central terraces), buildings connected
by uncovered walkways, buildings connected by elevated walkways, etc.
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2) Architectural components, such as roof profiles, multi-tiered roofs, and

stepped-roofs, overhangs, connecting spaces, floors and flooring, wall panels,
openings, etc.
3) Architectural elements and details such as sao-loy (free-standing columns),

gable ends, eave brackets, etc.
4) Landscape elements including the overall landscape design, the relationship

among buildings, waterscapes and trees, landscape components (“hardscape
and softscape”), and planting schemes.
4) What are your views about the abstract dimensions that identify modern
Thai character?
The following aspects of design summarize the responses of architects

interviewed for the project:
- Lightness
All architects interviewed reveal that a sense of lightness provided by the use of multi-
tiered and stepped roofs, wide overhangs, free-standing posts and columns, raised
floors, and sloped-walls, convey Thai character. Organization of building—adjacent to
waterscape features— also evolved a strong sense of “Thai-ness.”
- Transparency
A sense of transparency in Thai character is provided by the use of a semi-enclosed
space punctuated by chan, free-standing posts and columns.
- Tranquility and coolness
A sense of tranquility and coolness in Thai character is conveyed by the relationship

between buildings and the waterscape or trees.
- Hospitality
A sense of hospitality in Thai character is provided by the use of sala (Thai pavilions),
palai (covered verandahs), chan (open terraces).
5) In your own opinion, how important is it that resorts be designed in

keeping with modern Thai character?
The design-architects interviewed mostly agree that it is important and appropriate that
new resorts be designed in character with Thai design. Specific concerns are that:
- The design of Thai architecture should be relevant to present-day

society and its needs.
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- Design should not only reflect traditional architecture of the past, but
should be relevant to current social and physical contexts.
- Tourists are interested more in architecture of high architectural value

and prefer buildings designed with a sense of cultural identity.
6) In your own opinion, what are the characteristics of modern Thai

architecture in resort contexts?
The design-architects express strong opinions with regards to the characteristics of

modern Thai architecture in resort contexts. These may be summarized as follows:
- Modern Thai architecture should be designed to integrate tropical

design.
- Architecture should also be a response to present-day cultural needs and

the needs of modern Thai society.
- Architecture should respect local customs and regional context, as well

as respecting the hierarchical order of traditional Thai architecture.
7) In case of tsunami disaster on Boxing Day (December 26) 2004, what are
your views about design concept for resort architecture?
All of the design-architects interviewed point out that their designs have not been done
with an eye to safety and protection in the event of a tsunami disaster. This is because
the architects have never experienced a case of natural disaster of this magnitude. The
devastating tsunami which was caused by the 2004 Indian Ocean earthquake struck
many parts of the Asian and Andaman coastline of Thailand. The resulting tidal waves
destroyed not only countless lives, but also affected the tourism industry throughout
the region. The lesson of the tsunami is a clear signal to national and local
governments, developers, planners, and also architects that design principles for
sustainable environmentally conscious design need to be incorporated to resort
architecture. Traditional Thai wisdom and past practice also need to be integrated into
future projects.
8) What in your opinion would be appropriate design guidelines for modern

Thai architecture in resort contexts?
In summary, the following design guidelines are suggested as “good practice” for
architects wishing to apply the appropriate principles to modern Thai architecture in
resort contexts:
- Respect to the site context

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- The appreciation of tradition Thai wisdom as a part of the architectural

design in order to better protect the site from tsunami disasters
- The use of tangible qualities and values in order to better integrate—a

sense of “Thai-ness” into the architectural design
- Emphasis on traditional Thai character in order to be more attractive to

tourists and for commercial purposes
- Use of the intangible qualities and values of Thai character, such as

senses of lightness, tranquility, transparency, and hospitality
- Respect for the concept of authenticity and regional architecture
- Respect for the hierarchical orders of Thai architecture
- Appreciation of the existing conditions of a site and its context in order

to create modern Thai architecture in terms of landscape design and
more economical land-use solutions
- Using materials available in local community
- Using new materials to create modern character such as the gable ends
and components using reflective glass
- Applying traditional Thai wisdom in the use of such features as

ventilation panels and prefabricated systems of wall panels
- Respect for the concept of authenticity and regional architecture for the
interior architecture
- Applying the intangible qualities and values of Thai character such as

senses of hospitality, transparency, and tranquility to create the interior
architecture
- To improve the regulations enacted by local and national authorities in

order to better prepare site planning in the event of future tsunami and
other disasters.
• Interviewing Leading Architects
The purposes of this set of interviews focused primarily on the concepts of

appropriateness and the application of traditional architectural ideals in resort
architecture. The interviewed group includes well-known seniors and architectural
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teachers and also architect practicers. Ten architects were interviewed, eight belong to
Thai nationality, two international architects with considerably experiences in Thailand.
The interviewees are as follows:
1. Onsiri Panin, ASA. Silpakorn University.
2. Pusadee Tiptus, ASA. Chulalongkorn University.
3. Architec Pisit Rochanavanich, ASA.
4. Pinyo Suwankiri, ASA.
5. Ruethai Chaichongrak, ASA. Silpakorn University.
6. Architect Krisada Rochanakorn, ASA.
7. Architect Akkapol Prueksawan, ASA.
8. Architect Mathar Bunnag, ASA.
9. Architect Bill Bensley.
10. Architect Ed Tuttle.
1. The projects of resort architecture as visually presented to you, What are

your opinions on the overall character for the projects in terms of their ability to
convey a sense of modern Thai character?
The interviewed architects agree on several aspects of what constituted modern Thai
character. These may be summarized as follows:
- The resort architecture exemplified by the case studies demonstrates

concern with site conditions and site context
- The architecture displayed by the case studies generally reflects and

expresses “Thai-ness,” conveyed through elements and details
- The intangible qualities and values of Thai architecture are found

mostly in terms of the organization of buildings and their grouping and
the relationship between the buildings and their contexts
- The resort architecture shown in the case studies were designed in

response to the climatic conditions of tropical architecture as well as
more localized regional conditions.
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Several of the architects interviewed reveal that the Amanpuri and Banyan Tree—
projects appropriately use the model of the traditional Thai house but fail to address to
the issue of appropriate regionalism. These design products would no doubt impress
tourists, but on closes scrutiny fail to reflect different local traditions of building.
2. According to the illustrations of the case studies, how well did the projects
selected express modern Thai character?
The leading architects mostly agree that the case studies reflect modern Thai character
in terms of:
- Addressing the needs and expectations of tourists and helping to

promote the overall tourism industry
- Economic conditions of the project investors
- Providing a functional context for the purposes of tourism and visitor.
3. What are the principal ways that the significant characteristics of modern
Thai architecture are conveyed as shown by the illustrations of the case studies?
The chief identifying characteristics represented and expressed by the selected projects
can be summarized as follows:
- Tangible qualities and values
1) Building organization and grouping, including such factors as building

placement, connections by chan (a central terraces), connections by
uncovered walkways, buildings connected by covered walkways, etc.
2) Architectural components such as
- Roofs
Roof profiles, stepped-roofs and multi-tiered roofs, the roof slope,

overhangs, roofing materials and colors
- Connecting spaces
building connected with chan (central terraces), buildings connected

with palai (covered verandahs), and, buildings connected with laan
long (open spaces)
- Floors
Floors and their patterns, floors and their materials

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- Wall panels
Wall panels and their character, wall panels and their patterns, wall
panels and their materials
- Openings and voids
The character of openings and voids, the proportion and arrangement of

openings and voids, materials used
3) Architectural elements and details
- Sao-loy (free-standing columns)
Sao-loy with round-shaped profiles, sao-loy with square-shaped profiles,

sao-loy with indented-corners, sao-loy with square-bases and topped
with buo-shapes
- Bracket: buildings with or without brackets
- Handrails and Balusters
Character and patterns, materials, heights and proportions
4) Landscapes
- Trees and their placement
Trees planted at center of open spaces, trees adjacent the buildings, etc.
- Waterscapes
Buildings adjacent to waterscapes, buildings raised on stilts over

waterscapes
- Landscape components
Sala (Thai pavilions) elevated walkways, water features, etc.
4. What are your views about the intangible qualities and values that help to
identify modern Thai architectural character?
Interviews with academicians and leading Thai and international architects suggest a
strong coalescence of opinion on several significant factors. These are:
- Lightness
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A sense of lightness in Thai architecture is provided by the use of free-

standing posts or columns, raised floors, slant walls, multi-tiered roofs
and stepped-roofs, and the relationship between buildings and
waterscape features.
- Transparency
A sense of transparency in Thai architecture is provided by the use of

free- standing posts or columns, and semi-enclosed spaces.
A sense of tranquility in Thai character is achieved through—the

relationship between buildings and the waterscape and buildings and
trees; buildings, generally, are adjacent to waterscape features, or are
adjacent to trees.
- Hospitality
A sense of hospitality in Thai character is achieved through the use of

sala (Thai pavilions), palai (covered verandahs), and chan (open
terraces).
Architect Matha “Lek” Bunnag explained that “only very few architectural works are
creative outputs which are inherited with high cultural values. The creation of modern
Thai architecture should be developed through the practicing and research-based
design as well as the approach by attaining modern Thai architecture in a creative
dimension.”
5. In your own opinion, how important is it that resorts be designed in

keeping with modern Thai architectural character?
The leading architects that formed the interview base for this section generally have
agreed that it is important and appropriate that resort architecture follows the principles
of modern Thai character in order to express “Thai-ness.” The reasons for this are:
- Tourists are interested more in architecture of high cultural and

architectural value than buildings that possess little architectural
identity.
- Design in resort contexts needs to express traditional aspects of Thai

life in the past; it should also indicate current social and cultural ideals
and point the way to the future.
6. In your own opinion, what are the characteristics of modern Thai

architecture in resort contexts and the design?
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The leading architects interviewed share the common ideas on this topic. In general
they agree that:
- Modern Thai architecture should respect local customs, authenticity,

and regional context.
- Modern Thai architecture should be designed in a way that modern Thai

social and cultural ideals are expressed through the creative mechanism
of architecture.
7. Reflecting upon the tsunami disaster of December 26, 2004, what is you
view about design concepts for resort architecture?
All leading architects point out that the devastating tsunami destroyed and affected the
tourism industry throughout the region. It is evident that architects must rethink the
design principles for sustainable resort architecture. Architect Pisit Rojanavanich
(2005) suggests that architects should integrate traditional Thai wisdom into modern
Thai architecture in resort contexts to help guide against future of tsunami disasters.
8. What do you suggest would serve as useful guidelines for modern Thai
architecture in resort contexts?
Design guidelines for modern Thai architecture in resort contexts recommended by

leading architects include the following considerations:
1. Building organization and grouping
- Respect to the site context
- Using traditional Thai wisdom and design principles to guide building

organization to better protect the sites from tsunami threats
- Applying specific “tangible” steps to landscape design; these include

such features as the waterscape, tree planting, and other “hardscape”
and landscape components.
2. Architectural characteristics and design
- Design with Thai character in order to be attractive to tourists and for

commercial benefit
- Utilizing specific, tangible elements of Thai character, such as sao-loy,

roof profiles, to create a sense of modern Thai architecture
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- Utilizing intangible elements of Thai character, such as a sense of

lightness, tranquility, transparency, and hospitality
- To adapt and create modern Thai architecture in resort contexts in order

to develop sustainable tourism
- Respect for the concepts of authenticity and regional architecture
- Using traditional Thai wisdom and approaches to current building that

together help to reduce the impacts of possible future tsunami disasters
- Respect for the traditional hierarchical order of Thai architecture.
3. Landscape Design
- Using the existing condition of site and its context to create a sense of
modern Thai architecture through the practicality of low costs
- Using landscape components such as sala, lily ponds, and water

features to create the landscape
- Incorporating traditional Thai wisdom and practice, including trees with
aerial covering for the landscape design and also as a protective
measure in case of tsunamis.
4. Building Technology and Construction
- Using materials available in the local community
- Using new materials where appropriate to create Thai character such as

gable ends and other components using reflective glass or other modern
materials
- Using materials which have little impact on the environment
- Incorporating aspects of traditional Thai wisdom such as ventilating

panels, and pre-fabrication systems of wall panels.
5. Interior Architecture and Decoration
- Respect for the traditional hierarchical order of Thai architecture
- Using the completed form of architectural work and structural

aesthetics to set the creative standards for interior architecture
- Respect for the concepts of authenticity and regional architecture and

also apply them to guide the interior architecture
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- Applying the abstract dimensions of Thai character, such as a sense of

transparency, tranquility, and a sense of hospitality to create the interior
architecture in resort design.
6. Laws and Regulations
- To improve the regulations and laws governing new construction in

order to both encourage more cultural awareness of modern Thai
architecture and help protect sites from potential future tsunami
disasters
• Interviewing Building Users.
The interview process was mainly focused on the study of concepts, perceptions, and
opinions of the actual “users”—specifically the clients or owners—of the projects
considered in this study. Interviewees were primarily on-site managers of the resorts—
people who need to live within their newly created environments on a daily basis and
could thus be expected to provide variable insights into the qualities of design and
experience. The interview base was comprised of the following eleven people:
1. Mr. Andrew Harrison, General Manager, The Four Season Resort.
2. Ms. NongKran Chaipanya, General Manager,The Anantara Resort.
3. Mr. Ralf Spresing, Gerneral Manager, Le Meridien Baan Taling Ngam.
4. Mr. Peter Kaelli, General Manager, Santi-buri Dusit Resort.
5. Mr. Eric Halli, General Manager, Sila Evason Hideaway.
6. Mr. Chulabhong Sriaswasdi, Executive Director, Rayavadee Premier Resort.
7. Ms. Petcharat Kiatvoraniti, Hotel Manager, TubKaak Resort.
8. Mr. Michal Zitek, General Manager, Holiday Inn Resort.
9. Mr. Andrew Jessop, General Manager, Grand Sheraton Laguna Beach Resort.
10. Mr. Pancho IIamas, General Manager, Banyan Tree Laguna Beach Resort and
Spa.
11. Mr. Frideric Varnier, General Manager, Amanpuri Resort

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1. On the basis of the pictures representing the several case studies of

resort architecture, how do the project designs seem to appropriately reflect and
express modern Thai character?
The building users generally agree that the designs presented are appropriate to resort
architecture and that they reflect the ideals of to modern Thai character in terms of:
- Answering tourists expectation for a cultural experience and thereby

help promote the tourism industry
- Being satisfied with the economic conditions of the investment
- Providing functionality of building types for the purposes of serving

guests and visitors.
2. What are your views about the intangible qualities and values that
identify modern Thai character?
In general these interviewees agree that the following qualities best conveyed a sense
of modern Thai character and culture are:
- Lightness
A sense of lightness in Thai architecture is provided by these of free-

standing posts or columns, raised floors, slant walls, multi-tiered roofs
and stepped-roofs, and also by the relationship between buildings and
waterscape features.
- Transparency
A sense of transparency in Thai architecture is provided by the use of

free-standing posts and columns, and semi-enclosed spaces.

A sense of tranquility in Thai character is achieved through using the
relationship between buildings and waterscapes and buildings and trees;
generally the buildings should be adjacent to the waterscape features or
adjacent to trees.
- Hospitality
A sense of hospitality in Thai character is achieved through the use of

sala (pavilions), palai (covered verandahs), and chan (open terraces).
3. In your own opinion, how important is it that resorts utilize architecture

with a modern Thai character?
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The building users generally agree that it is important and appropriate for resort
architecture to be designed with a modern Thai character in order to express and reflect
“uniqueness.” Specific concerns included:
- Tourists’ expectations, in that international visitors are especially

interested more in architecture of high cultural and architectural value
than buildings of less distinctive character.
- The belief that modern Thai architecture not only expresses traditional
aspects of the past but should provide guidance for future social and
cultural development.
4. In your own opinion, what are the characteristics of modern Thai

architecture in resort contexts and design?
The building users have their own strong viewpoints about the nature of design and its
relationship to culture and society. The principal concerns are that:
- Modern Thai architecture should respect local customs, the sense of

authenticity, and regional context of its surroundings.
- Modern Thai architecture should be designed with the idea of

integrating the creative aspects of life with the broader interests of
culture and society.
5. Reflecting upon tsunami disaster of December 26, 2004, what is your

view about the relation of design and the evocation of “Thai-ness” to the practical
needs of disaster preparations?
All of the users point out that the devastating tsunami servely affected the tourism
industry throughout the region. The tsunami disaster is a clear signal to architects that
design principles for sustainable resort architecture require a radical rethinking. Those
interviewed suggest that architects should design by integrating traditional Thai
wisdom as a means of helping to mitigate the impacts of major events such as tsunamis.
1. Analysis of the Physical Aspects of Buildings based on the Case Studies

and the Opinions of those Interviewed.
The characteristics of modern Thai architecture from case studies and the
interview can be summarized as follows:
a) Thai character in terms of tangible qualities and values.

b) Thai character in terms of intangible qualities and values.
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Table1: Responses of the interviewed groups concerning the specific

characteristics of design quality, both tangible and intangible: A positive response
is indicated by the number in each column.
A. Thai Character
in Tangible Qualities and Values Number of interviewees
mentioning the following items
design- building leading

architects users architects
Building Organization and

Grouping
-Semi-enclosed space with

chaan (a central terrace) 8 5 10
-Building organization: Uncovered

walkways 3 2 7
-Building organization:
Covered walkways 3 2 5
- Building organization: Uncovered

elevated walkway 7 5 6
- Building organization: Covered

elevated walkway 7 8 5
Architectural Element: Roof
- Roof profiles 8 6 7
- Stepped and multi-tired roofs 6 8 9
- Roofs and their slopes 7 5 7
- Roofs and their overhangs 8 5 6
- Materials and colors 6 7 6
- Roofs and a sense

of “gracefulness” 6 8 7
143
Number of interviewees
mentioning to the following items

Architectural Elements: Connecting spaces
- Connected with chan

(a central terrace) 8 6 10
- Connected with palai

(covered verandah) 6 5 8
- Connected with
lan- long (open spaces) 8 6 7
Architectural Elements:
Floors and Flooring
- Floors and patterns 5 6 5
- Flooring and materials 8 8 7
Architectural Elements: Wall panels
- Wall panels and character 10 6 9
- Solid panels 4 5 4
- Glass panels 5 4 5
- Ventilating panel 9 5 10
- Wall panels and patterns 6 6 7
Architectural Elements: Openings and Voids
- The characteristics of openings and voids

(e.g., awnings, folding doors and windows,
sliding doors and windows, etc.) 7 8 8
144

- The proportion and the

arrangement of openings and voids 8 6 9
- The materials used for

openings and voids 8 8 7
Architectural Elements: Sao-Loy

(free -standing posts and columns)
- Sao-Loy with round-shaped profile 10 6 9
- Sao-Loy with square-shaped profile 6 6 5

145

- Sao-Loy with indented-corners 7 8 7
- Sao-Loy with square-bases and tops and

with bua-shaped or lotus-shaped capitals 7 10 6
Architectural Elements: Brackets
- Building with brackets 7 10 9

146

- Building without brackets 6 4 7
Architectural Elements: Handrails and Balusters
- Character and patterns 6 9 7
- Materials used 7 5 6
- Height and proportion 8 6 9
Landscape: Tree locations
- Tree at the center of open space 7 6 8

147

- Trees adjacent to the building 7 5 8
- Trees not adjacent to the building 4 5 5
Landscape: Waterscape
- Building adjacent to the water feature 8 5 7

148

- Building raised on stilts over the

water feature 10 8 9
Landscape: Sala (Thai pavilion)
- Sala adjacent to the water feature 7 6 7
- Sala placed at the middle

of the water feature 8 10 9
149

Landscape: Elevated walkways
- Uncovered elevated walkway 7 6 7
- Covered elevated walkway 7 8 8
B. Thai Character in Intangible Qualities

and Values
- Overhangs 7 5 8
- Multi-tiered roofs and stepped roofs 8 6 9

150
- Free-standing columns 8 5 8
- Raised floors 8 10 9
- Building adjacent to water features 7 6 8
- Slant walls 7 7 8
- Building placement and grouping

(spacing of the building) 6 6 7
- Building placement within semi-enclosed

space (e.g., building with chan) 8 7 9
- Using glass as a transparent material 6 8 7
- Building raised on stilts 7 9 9
- Building with free-standing columns 8 6 9
- Buildings adjacent to the waterscape 7 8 9
- Buildings adjacent to trees 8 5 7
- Tree planted at the center of the open space 8 8 7

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- Open-air lobby 8 8 9
- Entrance pavilion 6 7 7
- Sala (Thai pavilion) 8 10 9
- Covered verandah 6 7 7
2. Analysis of Design Guidelines for Modern Thai Architecture in Resort

Contexts
Table 2: More explanation needed: such as responses to aspects of feature of resorts

based on architectural guidelines:
1. The Various Aspects of Site Planning
- Respect to the site context 9 - 10
- Low impact on the site 10 - 10
- Using traditional Thai wisdom and design

principles to guide building
organization to better protect
the sites from tsunami threats 7 - 8
- Applying specific “tangible” steps to

Landscape design; these include
such features as the waterscape, tree
planting, and other “hardscape” and
landscape components 8 - 9
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2. Architectural Characteristics and Design
- Design with Thai character in order

to be attractive to tourists and for
commercial benefit 8 - 9
- Utilizing specific, tangible elements

of Thai character, such as sao-loy,
roof profiles, to create a sense of
modern Thai architecture 7 - 7
- Utilizing intangible elements of

Thai character, such as a sense
of lightness, tranquility, transparency,
and hospitality 9 - 10
- To adapt and create modern

Thai architecture in resort contexts
in order to develop sustainable tourism 8 - 9
- Respect for the concepts of authenticity

and regional architecture 10 - 7
- Using traditional Thai wisdom

and approaches to current building that
together help to reduce the impacts of
possible future tsunami disasters 6 - 7
- Respect for the traditional hierarchical

order of Thai architecture. 8 - 10
3. Landscape
- Using the existing condition of site

and its context to create a sense of
modern Thai architecture through
the practicality of low costs 7 - 9
153

- Using landscape components such as

sala, lily ponds, and water features
to create the landscape 8 - 7
- Incorporating tradition the Thai wisdom

and practice, including trees with aerial
covering for the landscape design and
also as a protective measure in case
of tsunamis 6 - 7
4. Building Technology and Construction
- Using materials available

in the local community 8 - 9
- Using new materials where

appropriate to create Thai
character such as gable ends
and other components using
reflective glass or other
modern materials 7 - 8
- Using materials which have

little impact on the environment 9 - 10
- Incorporating aspects of traditional

Thai wisdom such as ventilation
panels, and pre-fabricated systems
of wall panels 7 - 6
5. Interior Architecture and Decorations
- Respect for the traditional hierarchical

order of Thai architecture 8 - 8
- Using the completed form of architectural

work and structural aesthetics to set the
creative standards for interior architecture 8 - 7
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- Respect for the concepts of authenticity

and regional architecture and also apply
them to guide the interior architecture 9 - 8
- Applying the abstract dimensions of

Thai character, such as a sense of
transparency, tranquility, and a sense
of hospitality to create the interior
architecture in resort design. 7 - 5
6. Law and Regulations
- Present-day regulations and laws are not

appropriate for modern Thai architecture
and resort design 10 - 7
- To improve the regulations and laws

governing new construction in order
to both encourage more cultural
awareness of modern Thai architecture and
help protect sites from potential future
tsunami disasters 9 - 8
3. Constructing the Questionnaire
Constructing the final questionnaire and collecting the data by using the questionnaire-
technique.
1. Constructing the pre-questionnaire with architectural description; these include:
• The opinions of architects and non-architects (general public) on the

perceptions about the architectural identity of modern Thai architecture in
resort contexts.
• The opinions of architects and non-architects (general public) about design

guidelines for modern Thai architecture in resort contexts.
155
1.1 The pre-questionnaire will be tested with selected architects and non-architects
(general public) by processing the test and re-test of 20 subjects are to be
included in each group, and the statistic method of “Pearson product moment
correlation” will be applied for reconstructing the comprehensive
questionnaire.
1.2 Delivery the final questionnaire to architects and non-architects (general

public); 150 subjects to be included in each group.
2. Analyzing the responses to questionnaires by architects and non-architects (as

pointed out in 6.1 and 6.2) and assessing the data by using the statistical
method Mean, Standard Deviation (SD), T-test, and Chi-square. In addition the
comparison of social characteristics of the respondents will be examined with
the computerized - analysis of “SPSS program.”
156
Figure 89: The process of constructing the questionnaire

157
Chapter 5
Social Analysis of the Respondents
Chapter Overview
This chapter focuses on the social analysis of the questionnaire respondents, they were
drawn from both non-architecture fields and architecture. The analysis uses the
statistical procedure which is fundamentally important to this study. Controlling the
variables is an essential aspect of the process and for acceptance of the data analysis.
The social variables, which are controlled, can be identified as follows:
1) Extraneous variables: The social characteristics of the respondents

including age, gender, educational level, and occupation (private sector or
governmental)
2) Independent variables: The respondents’ occupations and the character of

their works (non-architects and the architects)
3) Dependent variable: The expression of the respondents’ own opinions and

responses to the questionnaire
The process of collecting the data by means of the questionnaire is divided into two
groups —non-architects and the architects, one hundred fifty subjects are covered in
each group. The analysis of the questionnaire respondents using the statistical
measurement, involves the following:
1) T-test based on the varying significance of age and income level; for ages
of respondents based on real ages and not relative ages.
4) Chi-square based on gender, educational level and occupation (private

sector or government)
The analysis of the respondents covers the aforementioned variables of both non-
architects (general public) and the architects. The comparisons of the controlled
variables include:
1. Analysis of age
2. Analysis of gender
3. Analysis of educational level

158
4. Analysis of occupation
5. Analysis of income
5.1 Social Analysis and Comparative Study —non architects and the architects
5.1.1 Comparative Analysis of Age
The comparative analysis of the age of the respondents, both non-architects (general
public) and the architects, using t-test measurement can be presented as follows:
Table 3: Comparative analysis of age
Respondents Mean Std. Deviation t

(year) (SD)
• Architects 30.17 5.88

0.21
(sig = 0.87)
• Non-architects 30.03 5.51
Table 3 presents data related to the social character: age. The comparison of “mean,”
the average age in which both architects and non-architects (general public) is 30.17
and 30.03 respectively.
Considering “t-test,” p-value indicates no significant differences in terms of age

between architects and non-architects at the statistical significance based on an alpha
of 0.05. As the result, it becomes a controlled variable for further analysis.
5.1.2 Comparative Analysis of Gender
The comparative analysis of the gender of the respondents, both architects and non-
architects (general public), using chi-square measurement can be presented as follows:
159
Table 4: Comparative analysis of gender
Architects Non-architects
Gender
X2
amount percent amount Percent
• Male 110 73.30 103 68.70
0.79
• Female 40 26.70 47 31.30
(sig = 0.68)
Total 150 100 150 100
Table 4 presents data related to the social character: gender. The comparison of
‘mean,’ show the portion of female of the architects is slightly lower than of non-
architects (general public). Percentage of architects and non-architects is 26.70 and
31.30 respectively. For male, the portion of the architects is slightly higher than of
non-architects (general public). That is, the percentage of the architects and non-
architects is 73.30 and 68.70 respectively.
The comparative analysis using chi-square value, indicates no significant differences

in terms of gender at the statistical significance based on an alpha of 0.05. As the
result, the social analysis reveals that gender is under control as an extraneous variable.
5.1.3 Comparative Analysis of Educational Level
The comparative analysis of the educational level of the respondents, both architects
and non-architects (general public), using chi-square measurement can be presented as
follows:
160
Table 5: Comparative analysis of educational level
Educational level X2
amount percent amount percent
• Bachelor 115 76.70 110 73.30
• Master degree 1.22

or higher 35 23.30 40 26.70 (sig = 0.88)
Total 150 100 150 100
Table 5 presents data related to the social character: educational level. The requirement
of professional degree of the architect is bachelor degree. Thus, the minimum
requirement of educational level of non-architects (general public) is also specified at
the same one. The portion of bachelor degree of the architects is slightly higher than of
non-architects. Percentage of architects and non-architects is 80.00 and 74.70
respectively. For the master degree or higher, the portion of the architects is slightly
lower than of non-architects. That is, percentage of architects and non-architects is
20.00 and 25.30 respectively.

in terms of educational level at the statistical significance based on an alpha of 0.05.
As the result, the social analysis reveals that educational level is under control as an
extraneous variable.
5.1.4 Comparative Analysis of Occupation
The comparative analysis of the occupation of the respondents, both architects and
non-architects (general public), using chi-square measurement can be presented as
follows:
161
Table 6: Comparative analysis of occupation
Occupation Architects Non-architects

X2
amount percent amount percent
• Governmental 57 38.00 61 40.70
0.22
• Private sector 93 62.00 89 59.30 (sig = 0.43)
Total 150 100 150 100
Table 6 presents data related to the social character: occupation. The comparison of
‘mean’ show the portion of governmental of the architects is slightly higher than of
non-architects (general public). Percentage of the architects and non-architects is 60.77
and 58.00 respectively. For private sector, the portion of the architects is slightly tower
than of non-architects. That is, percentage of the architects and non-architects is 39.30
and 42.00 respectively.

in terms of occupation at the statistical significance based on an alpha of 0.05. As the
result, the social analysis reveals that occupation is under control as an extraneous
variable
5.1.5 Comparative Analysis of Income
The comparative analysis of the income of the respondents, both architects and non-
architects (general public), using chi-square measurement can be presented as follows:
Table 7: Comparative analysis of incomes
Respondents Mean Std. Deviation

t
(Baht) (SD)
• Architects 21,318.07 7,924.82

1.45
(sig = 0.72)
• General public 19,720.14 10,490.56
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Table 7 presents data related to the social character: income. The comparison of
‘mean,’ the average income of the architects is slightly higher than of non- architects
(general public). The income (in baht) of the architects and non-architects is 21,318.07
and 19,720.14 respectively.
Considering “t-test,” p-value indicates no significant differences in terms of income

between architects and non-architects at the statistical significance based on an alpha
of 0.05. As the result, it becomes a controlled variable in independent analysis.
Summary:
The analysis uses of the statistical procedure which is fundamentally important to this
study. Controlling the variables is an essential aspect of the process and for acceptance
of the data analysis. The social variables of the respondents according to the basis of
age, gender, educational level, occupation, and income are tested by statistical
analysis. As the results, all variables can be controlled in social analysis
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Chapter 6
Analysis of the Results
Chapter Overview
This chapter focuses on the analysis of the results, with architectural interpretation. It is
intended to search for and examine the design guidelines for modern Thai architecture in
resort contexts as set out in this study to better understand the implications of those
guidelines for future applications. Upon processing the data, the descriptive findings are
analyzed more clearly by means of case studies. In addition, related studies, previous
research, and interviews with the building users, design-architects, and leading Thai
architects are included. The data collection, which was derived using methodology
mentioned earlier, will in turn be collected in a comprehensive questionnaire. The purpose
of the questionnaire for both architects and non-architects (general public) is mainly to
investigate the perception and acceptance of architectural ideals for modern Thai character
in general and also specifically for modern Thai resorts. The analysis using statistical
method, is fundamentally important to this study. Controlling the variables is an essential
aspect of the analytical process. The social variables, which are controlled, can be
identified as follows:
1. Extraneous variables: Such as the social characteristics of the respondents,

including age, gender, educational level, occupation (private sector or governmental), and
income.
2. Independent variables: Such as the respondents’ occupations in terms of the

characters of their works, non-architects and architects.
3. Dependent variables: The respondents’ opinions and responses to the

questionnaire.
Based on an alpha of 0.05, the analysis of the social characteristics of the respondents as
summarized in chapter 5 indicated no significant statistical differences.
164
The questionnaire of this study is divided into 3 parts:
Part 1: To study the opinions of the respondents on the characteristics of modern

Thai architecture.
Part 2: To study the opinions of the respondents on the design guidelines for
modern Thai architecture in resort contexts.
Part 3: To study the opinions of the respondents on the characteristics of modern

Thai architecture via the simulated-models of case studies.
In addition, the statistical analysis of this chapter tests the hypothesis that “at present,
Thai architects are becoming more concerned about architecturally responsible
design, particularly the implication of modern Thai character for resort
architecture.” However, architects and non-architects have different points of view on the
same issue due to their different perceptions and experiences.
6.1 Pattern of Analysis
6.1.1 Comparison of opinions regarding the modern Thai character—architects and

non-architects (general public)
The characteristics of modern Thai architecture
architects
non-architects
Figure 90: The comparison of the opinions regarding the modern Thai character—architects and non-architects
The analysis of the modern Thai character covers the architectural aspects in both tangible
and intangible qualities and values, namely:
165

2. Architectural characteristics and design
3. Materials and construction technology
4. Interior architecture and decorations
5. Landscape
6.1.2 Comparison of opinions regarding the design guidelines for modern Thai
architecture in resort contexts: Attitudes of architects and non-architects
(general people).
Design guidelines for modern

Thai architecture in resort contexts.
architects
non-architects
Figure 91: Comparison of opinions regarding design guidelines for modern Thai architecture in resort contexts:
attitudes of architects and non-architects (general public)
6.1.3 Comparison of opinions regarding modern Thai architecture in resort contexts

using simulated-models of case studies: Attitudes of architects and non-architects
(general public).
166
before after
simulated simulated
architects
non-architects
Figure 92: Comparison of opinions regarding modern Thai architecture in resort contexts using the simulated-
models of case studies: Attitudes of architects and non-architects (general public).
before after
simulated simulated
architects
non-architects
Figure 93: Comparison of opinions regarding modern Thai architecture in resort contexts using the simulated-
models of case studies: Attitudes of architects and non-architects (general public).
167
6.2 Analyzing the Results
6.2.1 The comparison of opinions regarding the modern Thai character in architecture—
architects and non-architects (general public)
The data collected from the questionnaires needs to be analyzed and interpreted on the
basis of the level of agreement. Upon processing the data, statistical methods are used to
test and compare the opinions of the respondents. Different levels of opinion are coded
statistically as follows:
1 = strongly disagree
2 = somewhat disagree
3 = neutral
4 = somewhat agree
5 = strongly agree
A. The Modern Thai Character in Tangible Qualities and Values
y Building Organization and Grouping
The attitudes of architects and non-architects (general public) towards the Thai character
on the basis of building organization and grouping:
Figure 94: Building organization and grouping: Semi-enclosed space with chan (a central terrace)
168
Figure 95: Building organization and grouping: Uncovered-walkway
Figure 96: Building organization and grouping: covered-walkways

169
Figure 97: Building organization and grouping: Uncovered elevated walkway
Figure 98: Building organization and groping: Covered elevated walkway

170
Table 8: Comparative analysis of attitudes between those of architects and non-architects (general public)
towards modern Thai character on the basis of building organization and grouping.
Modern Thai character Architects Non-architects

in terms of tangible qualities t
and values: Building (p-value)
organization and grouping mean SD rank mean SD rank
1.1 Building organization:

Semi-enclosed space 3.92 0.61 (1) 3.94 0.73 (3) -0.26
(sig = 0.79)
with chan (a central
terrace)

3.09 0.59 (3) 3.97 0.69 (2) -11.88*
Uncovered walkway (sig = 0.00)

2.89 0.59 (4) 3.32 0.98 (4) -4.55*
Covered walkway (sig = 0.00)

Uncovered elevated 3.83 0.58 (2) 3.99 0.65 (1) -2.16*
walkway (sig = 0.03)

Covered elevated 2.81 0.48 (5) 3.17 0.85 (5) -4.41*
*p-value with significant difference, based on an alpha of 0.05
The “mean” rating in table 8 reveals that architects generally agree on the significant
issues of the modern Thai character on the basis of building organization and grouping.
The significant concerns of the architects are respectively: (1) semi-enclosed space with
chan (a central terrace) (mean rating of 3.92), (2) uncovered elevated walkway (mean
rating of 3.83), (3) uncovered walkway, (4) covered-walkway, and (5) covered elevated
walkway.
Non-architects (general public) generally agree on the significant issues of the modern
Thai character on the basis of building organization and grouping. The significant
concerns of non-architects are respectively: (1) uncovered elevated walkway (mean rating
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of 3.99), (2) uncovered walkway (mean rating of 3.97), (3) semi-enclosed space with chan
(a central terrace), (4) covered-walkway, and (5) covered elevated walkway.
The semi-enclosed space with chan (a central terrace) is relevant to the resort architecture
in that the central terrace (chan) represents a characteristic of Thai architecture which can
often provide the largest uninterrupted space for the whole complex. It is multi-purpose
and accessible from the surrounding units. Architecturally, designers can also integrate its
character to modern Thai architecture in resort designs as well as the tourism development
in a global context. This result also relates to traditional Thai architecture in that the
terrace performs as a multi-purpose open area for relaxing, receiving visitors, organizing
traditional functions like the top-knot cutting ceremony, merit making, offering food to
monks and weddings (Chaichongrak et al, 2002:52). The lifestyle and climatic conditions
give rise to a high demand for outdoor living. Spaces for functions such as living,
sleeping, dining, etc. are organized around the open terrace called chan connected by
means of a roofed verandah. The verandah becomes an intermediate space between indoor
living and the terrace, thus creating an indoor-outdoor relationship. It should be pointed
out that the heart of Thai house is its terrace because it forms the spatial organizing core
for the entire dwelling (Horayangkura, 2000: 23).
172
Considering the statistical analysis using t-test, and the p-value based on an alpha of 0.05.
The p-values obtained through a t-test show that architects and non-architects respond
with no significant difference on the issue of semi-enclosed space with chan (a central
terrace) (t = 0.26).
The areas in which architects and non-architects respond with significant differences are:
(1) uncovered walkway (t = -11.88), (2) covered-walkway (t = -4.55), (3) uncovered
elevated walkway (t = 2.16), and (4) covered elevated walkway (t = -4.41). For the
analysis above, the architects respond with a lower rating.
Summary on modern Thai character in tangible qualities and values: Building

organization and grouping
The architects generally agree that the semi-enclosed space with chan (a central terrace)
indicates the highest degree of the modern Thai character and consider it as the most
significant element. The uncovered elevated walkway was also seen as representing a
high degree of the modern Thai character by the architects while non-architects generally
agree that the uncovered elevated walkway indicates the highest degree of the modern
Thai character and consider it as the most significant element. The uncovered walkway
was also seen as representing a high degree of the modern Thai character by the non-
architects.
Architects and non-architects (general public) respond with no significant difference on

the issue of the semi-enclosed space with chan (a central terrace). In contrast, they
respond with significant difference in the areas of: (1) uncovered walkway, (2) covered-
walkway, (3) uncovered elevated walkway, and (4) covered elevated walkway.
However, architects and non-architects (general public) have responded different points of
view on the same issue due to their different perception and experiences, but architects
should allow the latter to participate in design processes and considerations.
173
towards the importance for resort architecture and designs on the basis of building
organization and grouping.

and values: Building (p-value)
organization and grouping mean SD rank mean SD rank

Semi-enclosed space 4.35 0.76 (3) 4.02 0.62 (3) 4.09*
with chan (a central (Sig = 0.00)
terrace)

2.95 0.52 (4) 3.21 0.92 (5) -3.00*
Uncovered walkway (sig = 0.01)

4.43 0.78 (2) 4.09 0.74 (2) 3.89*
Covered walkway (sig = 0.00)

Uncovered elevated 4.47 0.85 (1) 4.46 0.72 (1) -0.07

Covered elevated 2.89 0.53 (5) 3.50 0.99 (4) -6.58*
issues of the importance for resort architecture and designs on the basis of building
organization and grouping. The significant concerns of the architects are respectively:
(1) uncovered elevated walkway (mean rating of 4.47), (2) covered-walkway (mean rating
of 4.43), (3) semi-enclosed space with chan (a central terrace), (4) uncovered walkway,
and (5) covered elevated walkway.
Non-architects (general public) also generally agree on the significant issues of the
importance for resort architecture and designs on the basis of building organization and
174
grouping. The significant concerns of non-architects are respectively: (1) uncovered

elevated walkway (mean rating of 4.46), (2) covered-walkway (mean rating of 4.09), (3)
semi-enclosed space with chan (a central terrace), (4) covered elevated walkway, and (5)
uncovered walkway.
The uncovered elevated walkway is relevant to the traditional Thai architecture in that it
is “attached to the front trading section of each shop house, and is usually a wooden
walkway or bridge, one-meter wide, which is connected all the various shop houses in the
area” (Chaichongrak et al, 2002: 42).
Figure 100: The raft-house arrangement in which three separate houses sit on the same platform and also are connected
by the walkway bridge (Chaichongrak et al, 2002: 42).
By interviewing, the design-architects mention that for the design of resorts uncovered
elevated walkways are more appropriated than covered ones. They state that the design
constraints include the existing conditions such as the contour, planting, and natural
drainage system.
175
Considering the statistical analysis using t-test, and the p-value based on an alpha of 0.05,
the p-values obtained through a t-test show that architects and non-architects respond no
significant difference on the issue of uncovered elevated walkway (t = -0.07).
(1) semi-enclosed space with chan (a central terrace) (t = 4.09), (2) uncovered walkway (t
= -3.00), (3) covered-walkway (t = 3.89), and (4) covered elevated walkway (t = 6.58).
Summary on the importance for resort architecture and designs: Organization and
grouping
Both architects and non-architects (general public) generally agree that the uncovered
elevated walkway indicates the highest degree of the importance for resort architecture.
They also consider it as the most significant element for the designs. The covered
walkway was also seen as representing a high degree of the importance for resort
architecture and designs.

the issue of uncovered elevated walkway. In contrast, they respond with significant
differences in the areas of: (1) semi-enclosed space with chan (a central terrace), (2)
uncovered walkway, (3) covered-walkway, and (4) covered elevated walkway.
y Architectural Elements
The attitudes of architects and non-architects (general public) towards the Thai character
on the basis of architectural elements:
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towards modern Thai character on the basis of architectural elements—roofs and roofing.

in terms of tangible
t
qualities and values:
(p-value)
Architectural elements— mean SD rank mean SD rank
roofs and roofing
1. Roof profiles
(e.g., gable roof, 3.91 0.70 (3) 4.41 0.83 (1) 5.66*
Manila brano, etc.) (sig = 0.00)
2. Stepped and
3.87 0.71 (4) 3.16 0.86 (5) 7.68*
multi-tiered roofs
(sig = 0.00)
3. Roofs and their slopes 3.93 0.68 (2) 3.17 0.88 (4) 8.54*
(sig = 0.00)
4. Roofs and their

4.44 0.67 (1) 3.91 0.71 (3) 6.59*
overhangs (sig = 0.00)
5. Materials and colors

2.85 0.43 (6) 3.15 0.87 (6) -3.76*
(sig = 0.00)
6. Roof and a sense of

2.86 0.44 (5) 4.40 0.84 (2) -23.20*
“gracefulness” (sig = 0.00)
issues of the modern Thai character on the basis of architectural elements—roofs and
roofing. The significant concerns of the architects are respectively: (1) roofs and their
overhangs (mean rating of 4.44), (2) roofs and their slopes (mean rating of 3.93), (3) roof
profiles, (4) stepped and multi-tiered roofs, (5) roof and a sense of “gracefulness,” and (6)
materials and colors.
Thai character on the basis of architectural elements—roofs and roofing. The
177
significant concerns of non-architects are respectively: (1) roof profiles (mean rating of
4.41), (2) roof and a sense of “gracefulness” (mean rating of 4.40), (3) roofs and their
overhangs, (4) roofs and their slopes, (5) stepped and multi-tiered, and (6) materials and
colors.
The roofs and their overhangs are relevant to the resort architecture in that overhangs
(kansart )represent the characteristic of Thai architecture. A kansart is a low-hanging roof,
projecting on sides of the house at a lower level and with a less inclined slope than the
main roof. It provides further protection from the tropical sun and rain (Chaichongrak et
al, 2002: 84).
The steep roof with its long overhangs or kansart, helps protect the inner room from the
heavy rains that come regularly for three or four months out of the year (Warren, 1998:
55).
Nukool Chompunitch states that the protective elements of Thai house is its long
overhangs which are the integrated solution of Thai wisdom in Thai architecture. It is also
an appropriate design for tropical architecture as well as helping to define an architectural
identity (Chompunitch, 1987: 81).
In contrast, the steep roof with short overhangs is mostly found in the formal architecture
in the periods of Sukhothai and Auytthaya. Generally, architectural elements, such as cave
brackets, are not used as supports for the lower edges of overhangs; they directly extend
from the wall or the post of the covered verandah (Veerataveemas, 1996: 101).
Figure 101: A roof with long overhangs (Chaichongrak et al, 2003: 234).
In addition, the issue on the basis of architectural elements—roofs and roofing in terms
of roofs and their slopes are also relevant to the traditional Thai architecture in that the
178
principal characteristic of Thai architecture in terms of roof and its identity is the high-
pitched roof, with more slope than 45° (Chompunich, 1987:38).
Figure 102: High- pitched roofs are covered with terra cotta tiles (Chaichongrak et al, 2003: 25).
the p-values obtained through a t-test show that the areas in which architects and non-
architects respond with significant differences are: (1) roof profiles (t = 5.66), (2) stepped
and multi-tiered roofs (t = 7.68), (3) roofs and their slopes (t = 8.54), (4) roofs and their
overhangs (t = 6.59), (5) materials and colors (t = -3.76), and (6) roof and a sense of
“gracefulness” (t = -23.20).
Summary on modern Thai character in tangible qualities and values: architectural

elements—roofs and roofing.
The architects generally agree that the roofs and their overhangs indicate the highest
degree of the modern Thai character and consider them as the most significant element.
The roofs and their slopes were also seen as representing a high degree of the modern
Thai character by the architects while non-architects generally agree that the roof profiles
indicate the highest degree of the modern Thai character and consider them as the most
significant element. Roof and a sense of “gracefulness” was also seen as representing a
high degree of the modern Thai character by the non-architects.
Architects and non-architects (general public) respond with significant difference in all
the areas, they are: (1) roof profiles, (2) stepped and multi-tiered roofs, (3) roofs and their
179
slopes, (4) roofs and their overhangs, (5) materials and colors, and (6) roof and a sense of
“gracefulness.”
towards the importance for resort architecture and designs on the basis of architectural
elements —roofs and roofing.
Modern Thai character
in terms of tangible Architects Non-architects
qualities and values: t
Architectural elements— (p-value)
roofs and roofing mean SD rank mean SD rank
1. Roof profiles
(e.g., gable roof, 4.44 0.79 (2) 4.37 0.82 (2) 0.78
(sig = 0.43)
Manila brano, etc.)
2. Stepped and
2.93 0.57 (4) 3.15 0.87 (6) -2.67*
multi-tiered roofs (sig = 0.01)
3. Roofs and their slopes 2.93 0.55 (3) 3.16 0.87 (5) -2.70*
(sig = 0.01)
4. Roofs and their

4.45 0.67 (1) 4.01 0.63 (3) 5.86*
overhangs (sig = 0.00)
5. Materials and colors

3.88 0.68 (5) 3.26 0.90 (4) 6.75*
(sig = 0.00)
6. Roof and a sense of

“gracefulness” 2.85 0.44 (6) 4.40 0.84 (1) -19.92*
(sig = 0.00)

180
issues of the importance for resort architecture and designs on the basis of architectural
elements—roofs and roofing. The significant concerns of the architects are respectively:
(1) roofs and their overhangs (mean rating of 4.45), (2) roof profiles (mean rating of 4.44),
(3) roofs and their slopes, (4) stepped and multi-tiered roofs, (5) materials and colors, and
(6) roof and a sense of “gracefulness.”
importance for resort architecture and designs on the basis of architectural elements—
roofs and roofing. The significant concerns of non-architects are respectively: (1) roof
and a sense of “gracefulness” (mean rating of), (2) roof profiles (mean rating of), (3) roofs
and their overhangs, (4) materials and colors, (5) roofs and their slopes, and (6) stepped
and multi-tiered roofs.
the p-values obtained through a t-test show that architects and non-architects respond with
no significant difference on the issue of roof profiles (t = 0.78).
(1) stepped and multi-tiered roofs (t = -2.67), (2) roofs and their slopes (t = -2.70), (3)
roofs and their overhangs (t = 5.86), (4) materials and colors (t = 6.75), and (5) roof and a
sense of “gracefulness”(t = -19.92).
Summary on the importance for resort architecture and designs: Architectural

elements—roofs and roofing
Architects generally agree that the roofs and their overhangs indicate the highest degree
of the importance for resort architecture. They also consider them as the most significant
element for their designs. The roof profiles were also seen as representing a high degree
of the importance for resort architecture and designs.
Non-architects (general public) generally agree that the roof and a sense of
“gracefulness” indicates the highest degree of the importance for resort architecture.
They also consider it as the most significant element for the designs. The roof profiles
were also seen as representing a high degree of the importance for resort architecture and
designs as well as the opinion of the architects.

the issue of the roof profiles. In contras, they respond with significant differences in the
181
areas of: (1) stepped and multi-tiered roofs, (2) roofs and their slopes, (3) roofs and their
overhangs, (4) materials and colors, and (5) roof and a sense of “gracefulness.”
palai
chan
Figure 103: Building and connecting space with chan (a central terrace) and palai (covered verandah)
182
lan-long
Figure 104: Building and connecting space with lan- long (open space)
towards modern Thai character on the basis of architectural elements—connecting spaces.
connecting spaces mean SD rank mean SD rank
1.Connecting space with

4.42 0.76 (1) 3.92 0.56 (1) 6.47*
chan (a central terrace) (sig = 0.00)

3.93 0.63 (2) 3.89 0.63 (2) 0.55
palai (covered verandah) (sig = 0.59)

lan- long (open space) 2.85 0.44 (3) 2.81 0.53 (3) 0.00
(sig = 0.41)

183
The “mean” rating in table 12 reveals that architects and non-architects (general public)
generally agree on the significant issues of the modern Thai character on the basis of
architectural elements—connecting spaces. The significant concerns of their responses
are respectively: (1) connecting space with chan (a central terrace) (mean rating of 4.42 and
3.92), (2) connecting space with palai (covered verandah) (mean rating of 3.93 and 3.89),
and (3) connecting space with lan- long (open space).
The connecting space with chan (a central terrace) is relevant to the traditional Thai
architecture in that normally the central chan (terrace) of a ruen khahabodi is very large
and is designed in such a way that it blends into the natural surroundings around the
house. Typically balustraded chan take up almost 40 percent of the total floor area. If the
verandah space is included with the terrace, the ratio of total outdoor area into indoor area
will increase 60 percent to 40 percent. Such an emphasis on outdoor space is an obvious
architectural response to the prevailing hot and humid climate (Chaichongrak et al,
2002:39).
Figure 105: Some terraces are extremely spacious and were therefore used for
special events and ceremonies (Chaichongrak et al, 2003: 52).
184
significant difference on the issue of connecting space with chan (a central terrace) (t =
6.47).
The areas in which architects and non-architects respond with no significant differences
are: (1) connecting space with palai (covered verandah) (t = 0.55), and (2) connecting space
with lan- long (open space) (t = 0.00). For the analysis above, the architects respond with a
higher rating.
Summary on modern Thai character in tangible qualities and values: Architectural

elements—connecting spaces
The architects and non-architects generally agree that connecting space with chan (a
central terrace) indicates the highest degree of modern Thai character and consider it as the
most significant element. The connecting space with palai (covered verandah) was also
seen as representing a high degree of modern Thai character.
Architects and non-architects (general public) respond with significant difference on the
issue of connecting space with chan (a central terrace). In contrast, they respond with no
significant difference in the areas of: connecting space with palai (covered verandah), and
connecting space with lan- long (open space).
185
elements —connecting spaces.
connecting spaces mean SD rank mean SD rank
1. connecting space with

3.94 0.64 (2) 4.41 0.82 (1) -5.58*
chan (a central terrace) (sig = 0.00)

2.95 0.52 (3) 3.98 0.64 (2) -15.23*
palai (covered verandah) (sig = 0.00)

3.94 0.63 (1) 3.95 0.73 (3) 0.00
lan-long (open space) (sig = 1.00)
elements—connecting spaces. The significant concerns of the architects are respectively:
(1) connecting space with lan- long (open space) (mean rating of 3.94), (2) connecting
space with chan (a central terrace) (mean rating of 3.94), and (3) connecting space with
palai (covered verandah).
Non-architects (general public) generally agree on the significant issues of the importance
for resort architecture and designs on the basis of architectural elements—connecting
spaces. The significant concerns of non-architects are respectively: (1) connecting space
with chan (a central terrace) (mean rating of 4.41), (2) connecting space with palai (covered
verandah) (mean rating of 3.98), and (3) connecting space with lan- long (open space).
the p-values obtained through a t-test show that architects and non-architects (general
pubic) respond with significant difference in the areas of the connecting space with chan
(a central terrace) (t = -5.58), and the connecting space with palai (covered verandah) (t = -
15.23). In contrast, they respond with no significant differences in the area of the
186
connecting space with lan- long (open space) (t = 0.00). For the analysis above, the
architects respond with a lower rating.

elements—connecting spaces
Architects generally agree that the connecting space with lan- long (open spaces)
indicates the highest degree of the importance for resort architecture. They also consider it
as the most significant element for their designs. The connecting space with chan (a
central terrace) was also seen as representing a high degree of the importance for resort
architecture and designs.
Non-architects (general public) generally agree that the connecting space with chan (a
central terrace) indicates the highest degree of the importance for resort architecture. They
also consider it as the most significant element for the designs. The connecting space
with palai (covered verandah) was also seen as representing a high degree of the
importance for resort architecture and designs.
Architects and non-architects (general pubic) respond with significant difference in the
areas of the connecting space with chan (a central terrace) and the connecting space with
palai (covered verandah). In contrast, they respond with no significant differences in the
area of the connecting space with lan- long (open space). For the analysis above, the
architects respond with a lower rating.
187
towards modern Thai character on the basis of architectural elements—floors and flooring.

t
qualities and values: (p-value)
floors and flooring
1. Floors and patterns 3.91 0.65 (1) 3.16 0.86 (2) 8.58*
(sig = 0.00)
2. Flooring and materials 2.93 0.54 (2) 3.18 0.83 (1) -3.04*
(sig = 0.01)
issues of the modern Thai character on the basis of architectural elements—floors and
flooring. The significant concerns of the architects are respectively: (1) floors and patterns
(mean rating of 3.91) and (2) flooring and materials (mean rating of 2.93).
Thai character on the basis of architectural elements—floors and flooring. The
significant concerns of non-architects are respectively: (1) flooring and materials (mean
rating of 3.18) and (2) floors and patterns (mean rating of 3.16).
The floors and flooring are relevant to the resort architecture in that the floor represents
the architectural element of traditional Thai house which is made of 5 x 40 -50 cm teak
boards laid on a tong or rawd. They are joined by one cm. diameter wooden dowels at
1.00-2.00m intervals. Terrace floorboards are widely spaced with one-cm gaps for
rainwater drainage in order to prevent the floor from rotting (Chaichongrak et al, 2002:
83). Terrace cotta floor tiles are a formal way of covering floors in Thai architecture.
Usually they are characterized by their distinctive shapes and patterns, such as krabueng
na-wao, which follows a large square-shape (Saksri, 2003: 129).
significant difference in the areas of: floors and patterns (t = 8.58) and flooring and
materials (t = -3.04)
188

elements—floors and flooring
Architects and non-architects generally agree that floors and patterns indicate the highest
degree of the modern Thai character and consider them as the most significant element
while non-architects (general pubic) generally agree that flooring and materials indicate
the highest degree of the modern Thai character and consider them as the most significant
element.
Architects and non-architects (general pubic) respond with significant difference in both
areas of floors and patterns and flooring and materials.
elements —floors and flooring.

t
floors and flooring
1. Floors and patterns 2.85 0.43 (2) 3.15 0.87 (2) -3.69*
(sig = 0.00)
2. Flooring and materials 3.95 0.62 (1) 3.17 0.84 (1) 9.10*
(sig = 0.00)
The “mean” rating in table 15 reveals that architects and non-architects (general pubic)
generally agree on the significant issues of the importance for resort architecture and
designs on the basis of architectural elements—floors and flooring. The significant
concerns of the architects and non-architects are respectively: (1) flooring and materials
(mean rating of 3.95 and 3.17) and (2) floors and patterns (mean rating of 2.85 and 3.15).
significant difference in both the areas of floors and patterns (t = -3.69) and flooring and
materials (t = 9.10).
189

elements—floors and flooring
Architects and non-architects (general public) generally agree that flooring and materials
indicate the highest degree of the importance for resort architecture. They also consider
them as the most significant element for the designs.
Both architects and non-architects respond with significant difference in both the areas of
floors and patterns and flooring and materials.
towards modern Thai character on the basis of architectural elements—wall panels.

t
wall panels
1. Wall panels and

4.47 0.67 (1) 3.93 0.62 (3) 7.23*
character (sig = 0.00)
1.1 Solid panels 3.95 0.63 (3) 3.13 0.86 (6) 9.39*
(sig = 0.00)
1.2 Glass panels 2.87 0.42 (6) 3.16 0.86 (5) -3.74*
(sig = 0.00)
1.3 Ventilating panel 4.45 0.67 (2) 4.38 0.83 (1) 0.76
(sig = 0.45)
2. Wall panels and

3.93 0.63 (4) 3.89 0.63 (4) 0.64
patterns (sig = 0.52)
3. Wall panels and 2.87 0.41 (5) 3.99 0.57 (2) -19.54*
materials (sig = 0.00)
*p-value with significant difference based on an alpha of 0.05

190
issues of the modern Thai character on the basis of architectural elements—wall panels.
The significant concerns of the architects are respectively: (1) wall panels and character
(mean rating of 4.47), (2) ventilating panel (mean rating of 4.45), (3) solid panels, (4) wall
panels and patterns, (5) wall panels and materials, and (6) glass panels.
Thai character on the basis of architectural elements—wall panels. The significant
concerns of non-architects are respectively: (1) ventilating panel (mean rating of 4.38), (2)
wall panels and materials (mean rating of 3.99), (3) wall panels and character, (4) wall
panels and patterns, (5) glass panels, and (6) solid panels.
The wall panels and character are relevant to resort architecture in that fa (wall panel)
represents a characteristic of Thai architecture. The word fa refers to a variety of wall
coverings made of panels of timber, palm leaves and bamboo fastened to hardwood or
bamboo frames. They enclose the interior space of the house and partition it into different
sections. Wall panels on the front elevation of the house are called fa ud naklong or fa
humklong (cross panel) while partitions between the bedroom the open hall are called fa
prajan hong (room panels). There are many types of wall panels, but the main ones are fa
pakon (wooden panels), fa loog fak (wood panels with a raised centre), fa look fak kradarn
jiad, fa sai bua (slatted wooden panels), fa samruad (with woven split bamboo), fa khat
thae (bamboo panels) and fa kradarn riab (simple wooden boards) (Chaichongrak et al,
2002: 83).
In additions, ventilating panel is relevant to the traditional Thai architecture in that fa-lai
(ventilating panels) the side walls of the toen have moveable louver-like panel, called fa
lai, to provide ventilation. These are 0.80-1.20 m high and consist of two panels with
vertical slats set in the grooves of frame. When slid one way, the spaces align and air can
flow through; when slid the other way, the slats alternate with each other way, the slats
alternate with each other and the openings are closed (Chaichongrak et al,, 2002: 140).
191
Figure 106: Detail showing the sliding panel or fa-lai (ventilating panel) (Chaichongrak et al, 2002: 139).
significant difference in the areas of: (1) wall panels and character (t = 7.23), (2) solid
panels (t = 9.39), (3) glass panels (t = -3.74), and (4) wall panels and materials (t =
-19.54).
are: (1) ventilating panel (t = 0.76) and (2) wall panels and patterns (t = 0.64). For the
analysis above, the architects respond with a higher rating.

elements—wall panels
The architects generally agree that wall panels and character indicate the highest degree
of the modern Thai character and consider them as the most significant element. The
ventilating panel was also seen as representing a high degree of the modern Thai
character by the architects while non-architects generally agree that ventilating panel
indicates the highest degree of the modern Thai character and considered it as the most
significant element. The wall panels and materials were also seen as representing a high
degree of the modern Thai character by the non-architects.
Architects and non-architects (general public) respond with no significant difference in

the areas of: ventilating panel and wall panels and patterns. In contrast, they respond
with significant difference in the areas of: (1) wall panels and character, (2) solid panels,
(3) glass panels, and (4) wall panels and materials.
192
elements —wall panels.

t
wall panels
1. Wall panels and

3.94 0.62 (3) 3.98 0.68 (3) -0.59
character (sig = 0.59)
1.1 Solid panels 2.93 0.55 (6) 3.17 0.81 (6) -2.90*
(0.01)
1.2 Glass panels 4.45 0.66 (2) 3.91 0.54 (5) 7.79*
(sig = 0.00)
1.3 Ventilating panel 4.46 0.65 (1) 4.02 0.62 (2) 5.86*
(sig = 0.00)
2. Wall Panels and

3.93 0.63 (4) 3.96 0.61 (4) -0.37
3. Wall panels and 3.92 0.62 (5) 4.03 0.61 (1) -1.46
materials (sig = 0.13)
elements—wall panels. The significant concerns of the architects are respectively: (1)
ventilating panel (mean rating of 4.46), (2) glass panels (mean rating of 4.45), (3) wall
panels and character, (4) wall panels and patterns, (5) wall panels and materials, and (6)
solid panels.
193
wall panels. The significant concerns of non-architects are respectively: (1) wall panels
and materials (mean rating of 4.03) (2) ventilating panel (mean rating of 4.02), (3) wall
panels and character, (4) wall panels and patterns, (5) glass panels, and (6) solid panels.
no significant difference in the areas of: (1) wall panels and character (t = -0.59), (2) wall
panels and patterns (t = -0.37), and (3) wall panels and materials (t = -1.46).
(1) solid panels (t = -2.90), (2) glass panels (t = 7.79), and (3) ventilating panel (t = 5.86).

elements—wall panels
Architects and non-architect (general public) generally agree that ventilating panel
as the most significant element for the designs. The glass panels were also seen as
representing a high degree of the importance for resort architecture and designs.
Non-architects (general public) generally agree that wall panels and materials indicate
the highest degree of the importance for resort architecture. They also consider them as the
most significant element for their designs. The ventilating panel was also seen as

the areas of: (1) wall panels and character, (2) wall panels and patterns, and (3) wall
panels and materials.
In contrast, they respond with significant differences in the areas of: (1) solid panels, (2)
glass panels, and (3) ventilation panel.
194
towards modern Thai character on the basis of architectural elements—openings and voids.

t
Architectural elements—
openings and voids mean SD rank mean SD rank
1.The characteristics of
openings and voids
(e.g., awnings, folding
3.92 0.62 (3) 4.01 0.56 (1) -1.35
doors and windows, (sig = 0.18)
sliding doors and
windows, etc.)
2. The proportion and the

arrangement of openings 3.94 0.64 (2) 3.99 0.59 (3) -0.74
(sig = 0.45)
and voids
3. The materials used for

3.95 0.62 (1) 3.99 0.56 (2) -058
openings and voids (sig = 0.56)
issues of the modern Thai character on the basis of architectural elements—openings
and voids. The significant concerns of the architects are respectively: (1) the materials
used for openings and voids (mean rating of 3.95), (2) the proportion and the arrangement
of openings and voids (mean rating of 3.92), (3) the characteristics of openings and voids.
Thai character on the basis of architectural elements—openings and voids. The
significant concerns of non-architects are respectively: (1) the characteristics of openings
and voids (mean rating of 4.01), (2) the materials used for openings and voids (mean
rating of 3.99), and (3) the proportion and the arrangement of openings and voids.
195
Figure 107: The differing styles of door of traditional Thai architecture (Chaichongrak et al, 2002: 89).
The materials used for openings and voids are relevant to the traditional Thai
architecture in that nathang (windows) of the traditional. Thai house, these openings are
cut into the wall panels to provide light and air and are opened and closed with wooden
panels (Chaichongrak et al, 2003: 90).
196
The windows and doors of Lan na house open inward, with their frame on outside. They
are closed with a single panel, unlike those in the central Thai house, which always have
pairs of panels.
Considering statistical analysis using t-test, and the p-value based on an alpha of 0.05, the
p-values obtained through a t-test show that architects and non-architects respond with no
significant difference in the areas of: (1) the characteristics of openings and voids (t = -
1.35), (2) the proportion and the arrangement of openings and voids (t = -0.74), and (3) the
materials used for openings and voids (t = -0.58). For the analysis above, the architects
respond with a lower rating.

elements—openings and voids
The architects generally agree that the materials used for openings and voids indicate
the highest degree of the modern Thai character and consider them as the most significant
element. The proportion and the arrangement of openings and voids were also seen as
representing a high degree of the modern Thai character by the architects while non-
architects generally agree that the characteristics of openings and voids indicate the
highest degree of the modern Thai character and consider them as the most significant
element. The materials used for openings and voids were also seen as representing a
high degree of modern Thai character by the non-architects.

the areas of: (1) the characteristics of openings and voids, (2) the proportion and the
arrangement of openings and voids, and (3) the materials used for openings and voids.
197
elements —openings and voids.

Architectural mean SD rank mean SD rank (p-value)
elements—openings
and voids
1.The characteristics of
openings and voids
(e.g., awnings, folding
4.48 0.65 (1) 3.93 0.51 (3) 8.20*
doors and windows, (sig = 0.00)
sliding doors and
windows, etc.)
2. The proportion and the

arrangement of 3.93 0.68 (2) 3.95 0.59 (2) -0.36
(sig = 0.71)
openings and voids
3. The materials used for

2.95 0.52 (3) 4.05 0.58 (1) -17.10*
openings and voids (sig = 0.00)
elements—openings and voids. The significant concerns of the architects are
respectively: (1) the characteristics of openings and voids (mean rating of 4.48), (2) the
proportion and the arrangement of openings and voids (mean rating of 3.93), and (3) the
materials used for openings and voids.
for resort architecture and designs on the basis of architectural elements—openings and
voids. The significant concerns of non-architects are respectively: (1) the materials used
for openings and voids (mean rating of 4.05), (2) the proportion and the arrangement of
openings and voids (mean rating of 3.95), and (3) the characteristics of openings and
voids.
.
198
The characteristics of openings and voids are relevant to the resort designs in that the
traditional Asian dwellings, indoor and outdoor living spaces of resort architecture often
overlap. Sliding doors open onto private gardens, swimming pool and jacuzzi. At each
resort, guests have their own special place to contemplate the natural beauty around them
(Ettensperger, 200: 28).
significant difference in the areas of: (1) the characteristics of openings and voids (t =
8.20) and (2) the materials used for openings and voids (t = -17.10).
In contrast, architects and non-architects respond with no significant differences in the

area of the proportion and the arrangement of openings and voids (t = -0.36).

elements—openings and voids
Architects generally agree that the characteristics of openings and voids indicate the
highest degree of the importance for resort architecture. They also consider them as the
most significant element for their designs. The proportion and the arrangement of
openings and voids were also seen as representing a high degree of the importance for
resort architecture and designs.
Non-architects (general public) generally agree that the materials used for openings and
voids indicate the highest degree of the importance for resort architecture. They also
consider them as the most significant element for the designs. The proportion and the
arrangement of openings and voids were also seen as representing a high degree of the
199
Figure 108: Sao-Loy with round-shaped profile Figure 109: Sao-Loy with square-shaped profile
Figure 110: Sao-Loy with indented-corners Figure 111: Sao-Loy with square-bases and tops and with buo-
shaped or lotus-shaped capitals
200
towards modern Thai character on the basis of architectural elements—free-standing posts
and columns.

Architectural elements— mean SD rank mean SD rank (p-value)
free-standing posts and
columns
1. Sao-Loy with round-

4.46 0.70 (1) 3.99 0.60 (3) 6.27*
shaped profile (sig = 0.00)
2. Sao-Loy with square-

2.85 0.43 (4) 3.19 0.82 (4) -4.38*
3. Sao-Loy with
3.94 0.64 (2) 4.01 0.56 (2) -1.04
indented-corners (sig = 0.29)

bases and tops and with
3.91 0.64 (3) 4.49 0.74 (1) -7.11*
buo-shaped or lotus- (sig = 0.00)
shaped capitals
issues of the modern Thai character on the basis of architectural elements—free-
standing posts and columns. The significant concerns of the architects are respectively:
(1) sao-loy with round-shaped profile (mean rating of 4.46), (2) sao-loy with indented-
corners (mean rating of 3.94), (3) sao-loy with square-bases and tops and with buo-shaped
or lotus-shaped capitals, and (4) sao-loy with square-shaped profile.
Thai character on the basis of architectural elements—free-standing posts and
columns. The significant concerns of non-architects are respectively: (1) sao-loy with
square-bases and tops and with buo-shaped or lotus-shaped capitals (mean rating of 4.49),
201
(2) sao-loy with indented-corners (mean rating of 4.01), and (3) sao-loy with round-
shaped profile.
Sao-Loy with round-shaped profile is relevant to the traditional Thai architecture in that
traditional Thai houses are particularly characterized by the use of stilts. These dwellings
evoke a sense of weightlessness and floatation. They also make full use of the tectonic
expressivity of timber (Beng, 1996:52).
significant difference in the areas of: (1) sao-loy with round-shaped profile (t = 6.27), (2)
sao-loy with square-shaped profile (t = -4.38), and (3) sao-loy with square-bases and tops
and with buo-shaped or lotus-shaped capitals (t = -7.11).

area of sao-loy with indented-corners (t = -1.04), the architects respond with a lower
rating.

elements—free-standing posts and columns
The architects generally agree that sao-loy with round-shaped profile indicates the
highest degree of the modern Thai character and consider it as the most significant
element. Sao-loy with indented-corners was also seen as representing a high degree of
the modern Thai character by the architects.
Non-architects generally agree that sao-loy with square-bases and tops and with buo-
shaped or lotus-shaped capitals indicates the highest degree of the modern Thai
character and consider it as the most significant element. Sao-loy with indented-corners
was also seen as representing a high degree of the modern Thai character by the non-
architects.
Architects and non-architects respond with significant difference in the areas of: (1) sao-
loy with round-shaped profile, (2) sao-loy with square-shaped profile, and (3) sao-loy with
square-bases and tops and with buo-shaped or lotus-shaped capitals.

area of sao-loy with indented-corners, the architects respond with a lower rating.
202
elements —free-standing posts and columns.

Architectural t
elements—free- mean SD rank mean SD rank (p-value)
standing posts and
columns
1. Sao-Loy with round-

4.43 0.72 (1) 4.01 0.56 (2) 5.49*

2.85 0.46 (4) 3.18 0.82 (4) -4.31*
3. Sao-Loy with
2.86 0.41 (3) 3.98 0.57 (3) -19.33*
indented-corners (sig = 0.00)

3.92 0.70 (2) 4.43 0.77 (1) -6.03*
buo-shaped or lotus- (sig = 0.00)
shaped capitals
elements—free-standing posts and columns. The significant concerns of the architects
are respectively: (1) sao-loy with round-shaped profile (mean rating of 4.43), (2) sao-loy
with square-bases and tops and with buo-shaped or lotus-shaped capitals (mean rating of
3.92), (3) sao-loy with indented-corners, and (4) sao-loy with square-shaped profile.
203
free-standing posts and columns. The significant concerns of non-architects are
respectively: (1) sao-loy with square-bases and tops and with buo-shaped or lotus-shaped
capitals (mean rating of 4.43), (2) sao-loy with round-shaped profile (mean rating of 4.01),
(3) sao-loy with indented-corners, and (4) sao-loy with square-shaped profile.
architects respond with significant differences are: (1) sao-loy with round-shaped profile
(t = 5.49), (2) sao-loy with square-shaped profile (t = -4.31), (3) sao-loy with indented-
corners (t = -19.33), and (4) sao-loy with square-bases and tops and with buo-shaped or
lotus-shaped capitals (t = -6.03).

elements—free-standing posts and columns
Architects generally agree that sao-loy with round-shaped profile indicates the highest
degree of the importance for resort architecture. They also consider it as the most
significant element for their design. Sao-loy with square-bases and tops and with buo-
shaped or lotus-shaped capitals was also seen as representing a high degree of the
Non-architects (general public) generally agree that sao-loy with square-bases and tops
and with buo-shaped or lotus-shaped capitals indicates the highest degree of the
importance for resort architecture. They also consider it as the most significant element.
Sao-loy with round-shaped profile was also seen as representing a high degree of the
Architects and non-architects (general public) respond with significant differences in all
the areas of the free-standing posts and columns.
204
Figure 112: Building with brackets Figure 113: Building without brackets
towards modern Thai character on the basis of architectural elements—brackets.

t
Architectural mean SD rank mean SD rank
elements— brackets
1. Building with brackets 4.45 0.68 (1) 4.43 0.77 (1) 0.24
(sig = 0.81)
2. Building without
2.87 0.41 (2) 3.17 0.84 (2) -3.90*
brackets (sig = 0.00)
The “mean” rating in table 22 reveals that the architects and non-architects (general public)
generally agree that the building with brackets is more appropriate for modern Thai
character than the lacking one.
205
The building with brackets is relevant to the traditional Thai architecture in that eave
brackets, the supporting elements for the lower edges of roof on temples, royal palaces or
traditional Thai houses, appear in a variety of forms. Most commonly they in corporate
floral designs of creatures, both cased on mythological animals or realistic ones (Warren,
1988: 222).
.
Figure 114: Eave brackets, architectural element in tangible value (Warren, 1988: 222).
no significant difference on the building with brackets, the architects respond with a
higher rating (t = 0.24).
In contrast, architects and non-architects respond with significant differences on the

building without brackets, the architects respond with a lower rating (t = -3.90).
206

Architects and non-architects (general public) generally agree that the building with
brackets is more appropriate for modern Thai character than the lacking one.
Architects and non-architects respond with no significant difference on the building with
brackets, the architects respond with a higher rating. In contrast, they respond with
significant differences on the building without brackets, the architects respond with a
lower rating.
elements—brackets.

t
Architectural mean SD rank mean SD rank
1. Building with brackets 3.95 0.63 (1) 4.43 0.75 (1) -6.05*
(sig = 0.00)
2. Building without
2.85 0.43 (2) 3.17 0.82 (2) -4.19*
brackets (sig = 0.00)
generally agree that the building with brackets is more important for resort architecture
and designs than the lacking one.
207
significant difference on both the building with brackets and the lacking one. Architects
respond with a lower rating (t = -6.05and -4.19).

Architects and non-architects (general public) generally agree that the building with
brackets is more important for resort architecture and designs.
They respond with significant difference on both the building with brackets and the
lacking one, the architects respond with a lower rating.
towards modern Thai character on the basis of architectural elements—handrails and
balusters.

Architectural mean SD rank mean SD rank (p-value)
elements—handrails
and balusters
1. Character and patterns 4.47 0.70 (1) 4.02 0.61 (1) 5.85*
(sig = 0.00)
2. Materials used 3.94 0.66 (2) 4.00 0.56 (2) -0.84

(sig = 0.40)
3. Height and
3.90 0.64 (3) 3.98 0.58 (3) -1.12
proportion (sig = 0.26)
architectural elements—handrails and balusters. The significant concerns of the
architects and non-architects are respectively: (1) character and patterns (mean rating of
4.47 and 4.02), (2) materials used (mean rating of 3.94 and 4.00), and (3) height and
proportion.
208
Considering the statistical analysis using t-test, and the p-value based on alpha of 0.05,
significant difference on the issue of character and patterns, architects respond with a
are: (1) materials used (t = -0.84), and (2) height and proportion (t = -1.12).

elements—handrails and balusters
.
Architects and non-architects (general public) generally agree that the character and
patterns of handrails and balusters indicate the highest degree of the modern Thai
character and consider them as the most significant element. The materials used of
handrails and balusters were also seen as representing a high degree of the modern Thai
character.
Architects and non-architects respond with significant difference on the issue of character
and patterns that architects respond with a higher rating. In contrast, the areas in which
architects and non-architects respond with no significant differences are: materials used,
and the height and proportion that architects respond with a lower rating.
209
elements —handrails and balusters.
Modern Thai Architects Non-architects

character
mean SD rank mean SD rank t
Architectural
elements—handrails
and balusters
1. Character and
3.93 0.65 (2) 3.97 0.62 (2) -0.54
2. Materials used 3.89 0.64 (3) 3.99 0.59 (1) -1.31

(sig = 0.19)
3. Height and
4.44 0.67 (1) 3.90 0.50 (3) 7.89*
proportion (sig = 0.00)
issues of the importance for resort architecture and designs on the basis of elements—
handrails and balusters. The significant concerns of the architects are respectively: (1)
height and proportion (mean rating of 4.44), (2) character and patterns (mean rating of
3.93), and (3) materials used.
for resort architecture and designs on the basis of elements—handrails and balusters.
The significant concerns of non-architects are respectively: (1) materials used (mean
rating of 3.99), (2) character and patterns (mean rating of 3.97), and (3) height and
proportion.
significant difference on the issue of height and proportion, architects respond with a
In contrast, the areas in which architects and non-architects respond with no significant
differences are: (1) character and patterns (t = -0.54) and (2) materials used (t = -1.31).
210

elements—handrails and balusters
Architects generally agree that the height and proportion indicate the highest degree of
the importance for resort architecture. They also consider them as the most significant
element for their designs. The character and patterns were also seen as representing a
high degree of the importance for resort architecture and designs.
Non-architect (general public) generally agree that the materials used indicate the highest
degree of the importance for resort architecture. They also consider them as the most
significant element for the designs. The character and patterns were also seen as
.
Architects and non-architects respond with significant difference on the issue of the
height and proportion of handrails and balusters. In contrast, the areas in which architects
and non-architects respond with no significant differences are: the character and patterns
of handrails and balusters and materials used.
y Landscape
Figure 115: Tree at center of open space

211
Figure 116: Trees adjacent to the building
Figure 117: Trees not adjacent to the building

212
towards modern Thai character on the basis of landscape—tree locations.

t
Landscape—tree mean SD rank mean SD rank
locations
1. Tree at the center of

4.44 0.69 (1) 3.99 0.57 (2) 6.10*
open space (sig = 0.00)
2. Trees adjacent to the

3.95 0.62 (2) 4.00 0.57 (1) -0.77
building (sig = 0.44)
3. Trees not adjacent to

2.87 0.41 (3) 3.21 0.80 (3) -4.60*
the building (sig = 0.00)
issues of the modern Thai character on the basis of landscape—tree locations. The
significant concerns of the architects are respectively: (1) tree at the center of open space
(mean rating of 4.44), (2) trees adjacent to the building (mean rating of 3.95), and (3) trees
not adjacent to the building.
Thai character on the basis of landscape—tree locations. The significant concerns of
non-architects are respectively: (1) trees adjacent to the building (mean rating of 4.00), (2)
tree at the center of open space (mean rating of 3.99), and (3) trees not adjacent to the
building.
A tree at the center of open space is relevant to the resort architecture in that the central
terrace represents a characteristic of Thai architecture, the various units of a clustered
house are formed around a central terrace or chan. Open space and low balustrades
between the houses allow a continuous flow of space. Sometimes large trees are planted in
an opening in the middle of the terrace to provide shade and introduce a natural element.
Popular trees for this purpose are chan, champa, champee, jackfruit, and mango. Other
corners of the terrace are reserved for decorative plants like bon (Caladieum), wan
(various sedges and herbs), koson (Codiaeum variegatum), tako dat (trained Dyosparons),
and water lilies (Chaichongrak et al, 2002: 56).
213
significant difference in the areas of: (1) tree at the center of open space (t = 6.10), and
(2) trees not adjacent to the building (t = -4.60).

area of trees adjacent to the building, architects respond with a lower rating (t = -0.77).
Summary on modern Thai character in tangible qualities and values: Landscape—

tree locations
The architects generally agree that a tree at the center of open space indicates the highest
degree of the modern Thai character and consider it as the most significant element. Trees
adjacent to the building were also seen as representing a high degree of modern Thai
character by the architects.
Non-architects generally agree that trees adjacent to the building indicate the highest
degree of modern Thai character and consider them as the most significant element. A
214
tree at the center of open space was also seen as representing a high degree of modern
Thai character by the non-architects.
Architects and non-architects respond with significant difference in the areas of: tree at
the center of open space, and trees not adjacent to the building. In contrast, architects and
non-architects respond with no significant differences in the area of trees adjacent to the
building, architects respond with a lower rating.
towards the importance for resort architecture and designs on the basis of landscape —tree
locations.

t
(p-value)
Landscape—tree mean SD rank mean SD rank
locations
1. Tree at the center of

4.47 0.65 (1) 3.97 0.59 (1) 6.94*
open space (sig = 0.00)
2. Trees adjacent to the

3.94 0.62 (2) 3.94 0.64 (2) 0.00
building (sig = 1.00)
3. Trees not adjacent to

2.87 0.41 (3) 3.19 0.83 (3) -4.19*
the building (sig = 0.00)
generally agree on the significant issues of the importance for resort architecture and
designs on the basis of landscape—tree location. The significant concerns of the
architects and non-architects are respectively: (1) tree at the center of open space (mean
rating of 4.47and 3.97), (2) trees adjacent to the building (mean rating of 3.94 and 3.94),
and (3) trees not adjacent to the building.
215
p-values obtained through a t-test show that architects and non-architects respond with
significant difference in the areas of: (1) tree at the center of open space (t = 6.94), and
(2) trees not adjacent to the building (t = -4.19).

area of trees adjacent to the building (t = 0.00).
Summary on the importance for resort architecture and designs: Landscape—tree

locations
Architects and non-architects generally agree that a tree at the center of open space
as the most significant element for the designs. Trees adjacent to the building were also
seen as representing a high degree of the importance for resort architecture and designs.
Architects and non-architects respond with significant difference in the areas of: tree at
the center of open space, and trees not adjacent to the building. In contrast, architects and
non-architects respond with no significant differences in the area of trees adjacent to the
building.
Figure 119: Building adjacent to the water feature

216
Figure 120: Building raised on stilts over the water feature
towards modern Thai character on the basis of landscape—waterscape.

and values: Landscape— (p-value)
waterscape mean SD rank mean SD rank
1. Building adjacent to the

3.95 0.62 (2) 4.00 0.61 (2) -0.65
water feature (sig = 0.51)
2. Building raised on stilts over

4.46 0.66 (1) 4.45 0.75 (1) 0.08
the water feature (sig = 0.93)

217
generally agree on the building raised on stilts over the water feature is more
appropriate for modern Thai character than the building adjacent to the water feature.
The building raised on stilts over the water feature is relevant to the traditional Thai
architecture in that traditional Thai houses are particularly characterized by the use of
stilts. These dwellings evoke a sense of weightlessness and floatation. They also make full
use of the tectonic expressivity of timber (Beng, 1996:52).
Figure 121: Traditional Thai structures are built over water bodies (Beng, 1996: 83).
no significant difference in the areas of: (1) building adjacent to the water feature,
architects respond with a lower rating (t = -0.65) and (2) building raised on stilts over the
water feature, architects respond with a higher rating (t = 0.08).
218

waterscape
Architects and non-architects (general public) generally agree that the building raised on
stilts over the water feature is more appropriate for modern Thai character than building
adjacent to the water feature.
Architects and non-architects respond with no significant difference in both the areas of
the building adjacent to the water feature and the building raised on stilts over the water
feature.
towards the importance for resort architecture and designs on the basis of landscape —
waterscape.

t
Landscape— mean SD rank mean SD rank
waterscape
1. Building adjacent to
3.93 0.62 (2) 4.02 0.57 (2) -1.35
the water feature (sig = 0.17)
2. Building raised on
stilts over the water 3.94 0.62 (1) 4.45 0.76 (1) -6.28*
(sig = 0.00)
feature
generally agree on the building raised on stilts over the water feature is more
important for resort architecture with modern Thai character than building adjacent to
the water feature.
significant difference on the building raised on stilts over the water feature, architects
respond with a lower rating (t = -6.28).
219
In contrast, architects and non-architects respond with no significant difference on the

building adjacent to the water feature, architects respond with a lower rating (t = -1.35).
Summary on the importance for resort architecture and designs: Landscape—

waterscape
Architects and non-architects (general public) generally agree that the building raised on
stilts over the water feature is more important for resort architecture with modern Thai
character than building adjacent to the water feature.
Architects and non-architects respond with significant difference on the building raised
on stilts over the water feature. In contrast, architects and non-architects respond with no
significant difference on the building adjacent to the water feature.
Figure 122: Sala adjacent to the water feature

220
Figure 123: Sala placed at the middle of the water feature
towards modern Thai character on the basis of landscape—sala (Thai pavilion).
t
sala (Thai pavilion)
1. Sala adjacent to the

3.92 0.62 (2) 3.99 0.64 (2) -0.90
2. Sala placed at the

middle of the water 4.45 0.67 (1) 4.03 0.58 (1) 5.69*
(sig = 0.00)
feature
generally agree on the sala placed at the middle of the water feature is more appropriate
for resort architecture with modern Thai character than the sala adjacent to the water
feature.
221
The sala is relevant to the resort architecture in that the Thai pavilion or sala represents a
characteristic of a traditional Thai architecture. The deeply-pitched roofs and open-air
pavilions (sala) characterize traditional Thai architecture evolved in response to the
country’s climate. A high roof creates an interior with enough space for hot air to rise. The
roof overhang keeps the sunlight out. A second steeped roof promotes ventilation by
trapping the hot air in the space above. In ancient Thailand, sala were open to the outdoors
and were where Thais received guests. They also came to the sala to enjoy the cool
outdoor breezes and gaze at the countryside around them (Ettensperger, 2001: 15-16).
significant difference on the sala placed at the middle of the water feature, architects
respond with a higher rating (t = 5.69).

sala adjacent to the water feature, architects respond with a lower rating (t = -0.90).

Architects and non-architects (general public) generally agree that the sala placed at the
middle of the water feature is more appropriate for resort architecture with modern Thai
character than the sala adjacent to the water feature.
Architects and non-architects respond with significant difference on the sala placed at
the middle of the water feature. In contrast, they respond with no significant difference
on the sala adjacent to the water feature.
222
towards the importance for resort architecture and designs on the basis of landscape—sala
(Thai pavilion).

t
1. Sala adjacent to the

4.47 0.66 (1) 4.03 0.59 (2) 6.05*
2. Sala placed at the

middle of the water 4.03 0.69 (2) 4.15 0.61 (1) -1.68
(sig = 0.09)
feature
The “mean” rating in table 31 reveals that the architects generally agree that the sala
adjacent to the water feature is more important for resort design with modern Thai
character than the sala placed at the middle of the water feature.
.
Non-architects (general public) generally agree that the sala placed at the middle of the
water feature is more important for resort design with modern Thai character than the
sala adjacent to the water feature.
significant difference on the sala adjacent to the water feature, architects respond with a

sala placed at the middle of the water feature, architects respond with a lower rating (t = -
1.68).
223
Summary on the importance for resort architecture and designs: Landscape—

Architects generally agree that the sala adjacent to the water feature is more important
for resort design with modern Thai character than the sala placed at the middle of the
water feature.
.
Non-architects (general public) generally agree that the sala placed at the middle of the
water feature is more important for resort design with modern Thai character than the
sala adjacent to the water feature.
Architects and non-architects respond with significant difference on the sala adjacent to
the water feature. In contrast, they respond with no significant difference on the sala
placed at the middle of the water feature.
Figure 124: Covered elevated walkway

224
Figure 125: Uncovered elevated walkway
towards modern Thai character on the basis of landscape—elevated walkways.
Landscape—elevated (p-value)
mean SD rank mean SD rank
walkways
1. Covered elevated
2.87 0.42 (2) 3.21 0.82 (2) -4.53*
2. Uncovered elevated
3.95 0.63 (1) 4.13 0.66 (1) -2.49*

225
generally agree that the uncovered elevated walkway is more appropriate for resort
architecture with modern Thai character than the covered elevated walkway.
The uncovered elevated walkway is relevant to the front trading section of each shop
house is usually a wooden walkway or bridge, one-meter wide, which connected all the
various shop houses in the area. The traditional Thai architecture that the character of a
building group of the single type, lacking covered-walkways, is an example of human
settlement in the past possessing the characteristics of village settlement and pattern
(Chaichongrak, 1996:7).
Figure 126: The walkways were built as the connecting part of the group of Thai houses at Mahidol
University (Chaichongrak et al, 2002: 67).
significant difference on both the covered elevated walkway and the uncovered elevated
walkway. For the analysis above, the architects respond with a lower rating (t = -4.53 and
-2.49).

bridge walkways
Architects and non-architects (general public) generally agree that the uncovered elevated
walkway is more appropriate for resort architecture with modern Thai character than the
covered elevated walkway.
226
Architects and non-architects respond with significant difference on both the covered
elevated walkway and the uncovered elevated walkway, the architects respond with a
lower rating
towards the importance for resort architecture and designs on the basis of landscape —
elevated walkways.
t
Landscape—elevated mean SD rank mean SD rank
walkways
1. Covered elevated
2.87 0.41 (2) 3.35 0.93 (2) -5.83*
2. Uncovered elevated
2.88 0.41 (1) 4.03 0.60 (1) -18.93*
generally agree that the uncovered elevated walkway is more important for resort design
with modern Thai character than the covered elevated walkway.
architects respond with significant difference are: covered elevated walkway that
architects respond with a lower rating (t = -5.83) and uncovered elevated walkway that
architects also respond with a lower rating (t = -18.93).
Summary on the importance for resort architecture and designs: Landscape—bridge

walkways
Architects and non-architects (general public) generally agree that the uncovered
elevated walkway is more important for resort design with modern Thai character than
the covered elevated walkway.
227
The areas in which architects and non-architects respond with significant difference are:
covered elevated walkway, and uncovered elevated walkway.
towards modern Thai character on the basis of intangible qualities and values—a sense of
lightness

in terms of intangible t
qualities and values: A (p-value)
sense of lightness mean SD rank mean SD rank
3.93 0.63 (5) 4.07 0.60 (1) -2.05*

1. Overhangs (sig = 0.04)
2. Multi-tiered roofs and

3.93 0.62 (4) 4.06 0.61 (2) -1.77
stepped roofs (sig = 0.07)
3. Free-standing columns 4.47 0.67 (1) 4.05 0.63 (3) 5.48*

(sig = 0.00)
4. raised floor 3.92 0.62 (6) 4.01 0.61 (5) -1.30

(sig = 0.19)
4.04 0.68 (2) 4.01 0.63 (6) 0.44
waterscape (sig = 0.66)
6. Slant wall 3.95 0.63 (3) 4.02 0.62 (4) -1.01

(sig = 0.31)
issues of the modern Thai character on the basis of intangible qualities and values—a
228
sense of lightness. The significant concerns of the architects are respectively: (1) free-
standing columns (mean rating of 4.47), (2) building adjacent to waterscape (mean rating
of 4.04), (3) slant wall, (4) multi-tiered roofs and stepped roofs, (5) overhangs, and (6)
raised floor.
Thai character on the basis of intangible qualities and values—a sense of lightness. The
significant concerns of non-architects are respectively: (1) overhangs (mean rating of
4.07), (2) multi-tiered roofs and stepped roofs (mean rating of 4.06), (3) free-standing
columns, (4) slant wall, (5) raised floor, and (6) building adjacent to waterscape.
The free-standing columns are relevant to the traditional Thai architecture in that
traditional Thai houses are particularly characterized by raising them on stilts. These
dwellings evoke a sense of weightlessness and floatation. They also make full use of the
tectonic expressivity of timber (Beng, 1996: 52).
In addition, multi-tiered roofs and stepped roofs are relevant to the traditional Thai
architecture in that the soaring temples of Thailand, with their sweeping, graceful curves,
have an airy sense of lightness, while the raised houses of traditional dwellings in many
parts of Asia have an elegant loftiness (Beng, 1996:55).
Figure 127: The elegant loftiness and lightness of a traditional Thai roof (Beng, 1993: 28).
229
architects respond with significant difference are: (1) overhangs (t = -2.05), and (2) free-
standing columns (t = 5.48).
are: (1) multi-tiered roofs and stepped roofs (t = -1.77), (2) raised floor (t = -1.30), (3)
building adjacent to waterscape (t = 0.44), and (4) slant wall (t = -1.01).
Summary on modern Thai character in intangible qualities and values: A sense of

lightness
The architects generally agree that free-standing columns reflect the highest degree of
the modern Thai character and consider them as the most significant element. The
building adjacent to waterscape was also seen as representing a high degree of the
modern Thai character by the architects while non-architects generally agree that the
overhangs reflect the highest degree of the modern Thai character and consider them as
the most significant element. The multi-tiered roofs and stepped roofs were also seen as
representing a high degree of the modern Thai character by the non-architects.
Architects and non-architects respond with significant difference on the issues of:
overhangs, and free-standing columns. The areas in which architects and non-architects
respond with no significant differences are: multi-tiered roofs and stepped roofs, raised
floor, building adjacent to waterscape, and slant wall.
230
towards the importance of intangible qualities and values: A sense of lightness.

sense of lightness mean SD rank mean SD rank
1. Overhangs 4.44 0.67 (2) 4.08 0.58 (2) 4.95*

(sig = 0.00)
2. Multi-tiered roofs and

3.95 0.63 (3) 4.04 0.60 (3) -1.31
stepped roofs (sig = 0.19)
3. Free-standing columns 3.93 0.61 (4) 4.09 0.59 (1) -2.19*

(sig = 0.02)
4. Raised floor 4.47 0.65 (1) 4.01 0.61 (5) 6.35*

(sig = 0.00)
3.93 0.62 (5) 4.03 0.63 (4) -1.46
waterscape (sig = 0.14)
6. Slant wall 2.87 0.41 (6) 3.15 0.82 (6) -3.80*

(sig = 0.00)
issues of the importance for resort architecture and designs on the basis of intangible
qualities and values—a sense of lightness. The significant concerns of the architects are
respectively: (1) raised floor (mean rating of 4.47), (2) overhangs (mean rating of 4.44),
(3) multi-tiered roofs and stepped roofs, (4) free-standing columns, (5) building adjacent
to waterscape, and (6) slant wall.
for resort architecture and designs on the basis of intangible qualities and values—a
sense of lightness. The significant concerns of non-architects are respectively: (1) free-
standing columns (mean rating of 4.09), (2) overhangs (mean rating of 4.08), (3) multi-
tiered roofs and stepped roofs, (4) building adjacent to waterscape, (5) raised floor, and (6)
slant wall.
231
architects respond with significant difference are: (1) overhangs (t = 4.95), (2) free-
standing columns (t = -2.19), (3) raised floor (t = 6.35), and (4) slant wall (t = -3.80).
are: (1) multi-tiered roofs and stepped roofs (t = -1.31), and (2) building adjacent to
waterscape (t = -1.46).
Summary on the importance of intangible qualities and values—A sense of lightness

for resort architecture and designs:
Architects generally agree that the raised floor is the most important element for resort
architecture. They also consider this element as most significant for their design. The
overhangs are considered the second most important element.
Non-architects (general public) generally agree that free-standing columns are the most
important element for resort architecture. They consider this element as most significant
for the design. The overhangs are considered the second most important element.
Architects and non-architects respond with significant difference in the areas of:
overhangs, free-standing columns, raised floor, and slant wall. The areas in which
architects and non-architects respond with no significant differences are: multi-tiered
roofs and stepped roofs, and building adjacent to waterscape.
232
transparency.

qualities and values: A sense (p-value)
of transparency mean SD rank mean SD rank
1. Building organization—
2.86 0.41 (5) 3.16 0.82 (4) -3.88*
spacing of the building (sig = 0.00)
2. Building organization
within
4.07 0.69 (2) 4.04 0.65 (1) 0.43
semi-enclosed space (e.g., (sig = 0.66)
building with chan)
3. Building raised on stilts 4.44 0.67 (1) 4.01 0.63 (3) -3.44*
(sig = 0.00)
4. Using glass as a
2.87 0.41 (4) 3.13 0.85 (5) 5.66*
transparent material (sig = 0.00)
5. Building with free-

3.92 0.62 (3) 4.03 0.62 (2) -1.47
standing columns (sig = 0.14)
sense of transparency. The significant concerns of the architects are respectively: (1)
building raised on stilts (mean rating of 4.44), (2) building organization within semi-
enclosed space (e.g., building with chan) (mean rating of 4.07), (3) building with free-
standing columns, (4) using glass as a transparent material, and (5) building
organization—spacing of the building.
233
Thai character on the basis of intangible qualities and values—a sense of transparency.
The significant concerns of non-architects are respectively: (1) building organization
within semi-enclosed space (e.g., building with chan) (mean rating of 4.04), (2) building
with free-standing columns (mean rating of 4.03), (3) building raised on stilts, (4) building
organization—spacing of the building, and (5) using glass as a transparent material.
The building raised on stilts is relevant to the traditional Thai architecture in that the
traditional Thai house with a raised floor provides a sense of security, privacy, and shelter.
Generally, flood evasion was of primary importance. The characteristic of a traditional
Thai house is the raised floor on stilts. This arrangement protects the house from flooding
(Beng, 1996: 55).
p-values obtained through a t-test show that the areas in which architects and non-
architects respond with significant difference are: (1) building organization—spacing of
the building (t = -3.88), (2) building raised on stilts (t = -3.44), and (3) using glass as a
transparent material (t = 5.66).
differences are: (1) building organization within semi-enclosed space (e.g., building with
chan) (t = 0.43), and (2) building with free-standing columns (t = -1.47).

transparency
Architects generally agree that the building raised on stilts indicates the highest degree
of the modern Thai character and consider it as the most significant element. The building
organization within semi-enclosed space (e.g., building with chan) was also seen as
representing a high degree of the modern Thai character by the architects while non-
architects generally agree that the building organization within semi-enclosed space
(e.g., building with chan) indicates the highest degree of the modern Thai character and
consider it as the most significant element. The building with free-standing columns
was also seen as representing a high degree of modern Thai character by the non-
architects.
(1) building organization—spacing of the building (2) building raised on stilts and (3)
using glass as a transparent material. In contrast, the areas in which architects and non-
234
architects respond with no significant differences are: (1) building organization within
semi-enclosed space (e.g., building with chan), and (2) building with free-standing
columns.
towards the importance of intangible qualities and values: A sense of transparency.

sense of transparency mean SD rank mean SD rank
1. Building organization—
3.93 0.62 (4) 4.01 0.61 (4) -1.11
spacing of the building (sig = 0.26)
2. Building organization
within semi-enclosed
3.95 0.62 (2) 4.00 0.61 (5) -0.74
space (e.g., building with (sig = 0.45)
chan)
3. Building raised on stilts 4.42 0.67 (1) 4.06 0.58 (1) 4.93*
(sig = 0.00)
4. Using glass as a
2.87 0.41 (5) 4.02 0.60 (3) -19.24*
transparent material (sig = 0.00)
5. Building with free-

3.95 0.63 (3) 4.03 0.61 (2) -1.11
standing columns (sig = 0.26)

235
qualities and values— a sense of transparency. The significant concerns of the
architects are respectively: (1) building raised on stilts (mean rating of 4.42), (2) building
organization within semi-enclosed space (e.g., building with chan) (mean rating of 3.95),
(3 building with free-standing columns, (4) building organization—spacing of the
building, and (5) using glass as a transparent material.
sense of transparency. The significant concerns of non-architects are respectively: (1)
building raised on stilts (mean rating of 4.06), (2) building with free-standing columns
(mean rating of 4.03), (3) using glass as a transparent material, (4) building organization—
spacing of the building, and (5) building organization within semi-enclosed space (e.g.,
building with chan).
Considering statistical analysis with t-test, and the p-value based on an alpha of 0.05, the
architects respond with significant difference are: (1) building raised on stilts (t = 4.93),
(2) using glass as a transparent material (t = -19.24).
differences are: (1) building organization—spacing of the building (t = -1.11), (2)
building organization within semi-enclosed space (e.g., building with chan) (t = -0.74),
and (3) building with free-standing columns, architects respond with a lower rating (t = -
1.11).
Summary on the importance of intangible qualities and values—A sense of

transparency for resort architecture and designs:
Architects generally agree that the building raised on stilts is the most important element
for resort architecture. They also consider this element as the most significant for their
design. The building organization within semi-enclosed space (e.g., building with chan)
is considered the second most important element.
Non-architects (general public) generally agree that the building raised on stilts is the
most important element for resort architecture. They also consider this element as the most
significant for the design. The building with free-standing columns is considered the
second most important element.
236
(1) building raised on stilts, and (2) using glass as a transparent material. In contrast, the
areas in which architects and non-architects respond with no significant differences are:
(1) building —spacing of the building, and (2) building organization within semi-enclosed
space (e.g., building with chan), and (3) building with free-standing columns.
tranquility and coolness

in terms of intangible
t
qualities and values: A mean SD rank mean SD rank (p-value)
sense of tranquility and
coolness

waterscape 3.94 0.62 (1) 4.42 0.73 (1) -6.08*
(sig = 0.00)
2. Building adjacent to trees

2.87 0.41 (2) 4.02 0.56 (2) -20.28*
(sig = 0.00)
3. Tree planted at the center

of the open space 2.87 0.42 (3) 3.21 0.82 (3) -4.84*
(sig = 0.00)
intangible qualities and values—a sense of tranquility and coolness. The significant
concerns of the architects and non-architects are respectively: (1) building adjacent to the
waterscape (mean rating of 3.94 and 4.42), (2) building adjacent to trees (mean rating of
2.87 and 4.02), and (3) tree planted at the center of the open space.
237
The building adjacent to the waterscape is relevant to the traditional Thai architecture in
that the traditional Thai house with a raised floor provides a sense of security, privacy, and
shelter. Generally, flood evasion was of primary importance. The characteristics of a
traditional Thai houses is the raised floor on posts. This arrangement protects the house
In addition, building adjacent to trees is relevant to the traditional Thai architecture in that
M.L. Piyalada Devakula Thaveeprungsriporn states the case of Tub Kwan, where an
actual tree itself stands at the center of the elevated terrace (chan), enriching it with a cool
refreshing sensation—the rom reun sensation (rom reun: a cool, refreshing sensation
commonly associated with tree shades-one of the preferable aspects of a place for the
Thai) (2002: 104-106).
Ruethai Chaichongrak (2002: 79) and Khaisaeng Sukhawattana believe strongly that trees
planted within the house compound be limited to certain trees recommended for planting
in the house compound. Specific qadrants for their planting are also specified. To the east
of the house, bamboo, kum, and coconut tree are recommended, as these will bring
happiness and good health. To the northeast, the planting of yor and saraphi are
recommended as these will ward off misfortune. To the south one should plant mango,
maplab or persimmon, and maprng as not only are the fruits delicious but such trees will
bring wealth. In the southwest, can be planted chaiyapruek, rajapruek, sadaow, jackfruit,
and pikun which as in the northeast section are chosen to their ability to ward off
misfortune. Similar in the west, tamarind, mayom, and putsa are recommended to ward off
ill-intentioned people and evil spirits. To the northwest of the house, magrud used in tom
yum soup, lime, sompoi, and ma-ngua trees should be planted. Finally, in the north
section, putsa and variety of sedges, hemp and herbs are recommended to ward off black
magic. Certain texts also recommended matoom (Sukhawattana, 1990: 25).
238
Figure 128: Traditional Thai landscape with tree planting within the house compound
(line-drawing by the author).
architects respond with significant difference are: (1) building adjacent to the waterscape
239
(t = -6.08), (2) building adjacent to trees (t = -20.28), and (3) tree planted at the center of
the open space (t = -4.84).

tranquility and coolness
Architects generally and non-architects agree that building adjacent to the waterscape
indicates the highest degree of the modern Thai character and consider it as the most
significant element. The building adjacent to trees was also seen as representing a high
degree of the modern Thai character.
building adjacent to the waterscape, building adjacent to trees, and tree planted at the
center of the open space.
towards the importance of intangible qualities and values: A sense of tranquility and
coolness.

in terms of intangible
t
sense of tranquility and mean SD rank mean SD rank
coolness

waterscape 4.47 0.65 (1) 4.02 0.54 (3) 6.51*
(sig = 0.00)
2. Building adjacent to trees 3.94 0.62 (2) 4.05 0.54 (1) -1.57
(sig = 0.11)
3. Tree planted at the center

of the open space 2.87 0.42 (3) 4.03 0.61 (2) -20.83*
(sig = 0.00)

240
qualities and values—a sense of tranquility and coolness. The significant concerns of
the architects are respectively: (1) building adjacent to the waterscape (mean rating of
4.47), (2) building adjacent to trees (mean rating of 3.94), and (3) tree planted at the center
of the open space.
sense of tranquility and coolness. The significant concerns of non-architects are
respectively: (1) building adjacent to trees (mean rating of 4.05), (2) tree planted at the
center of the open space (mean rating of 4.03), and (3) building adjacent to the
waterscape.
architects respond with significant difference are: (1) building adjacent to the waterscape
(t = 6.51), and (2) tree planted at the center of the open space (t = -20.83).

area of building adjacent to trees, architects respond with a lower rating (t = -1.57).

tranquility and coolness for resort architecture and designs:
Architects generally agree that building adjacent to the waterscape is the most important
element for resort architecture. They also consider this element as the most significant for
their design. The building adjacent to trees is considered the second most important
element.
Non-architects (general public) generally agree that building adjacent to trees is the most
important element for resort architecture. They also consider this element as the most
significant for their design. A tree planted at the center of the open space is considered the
building adjacent to the waterscape, and tree planted at the center of the open space.
area of building adjacent to trees.
241
hospitality

sense of hospitality mean SD rank mean SD rank
1. Open-air lobby 3.92 0.62 (4) 4.02 0.59 (4) -1.32

(sig = 0.18)
2. Entrance pavilion 3.93 0.63 (3) 4.05 0.60 (3) -1.58

(sig = 0.11)
3. Sala (Thai pavilion) 4.37 0.69 (1) 4.53 0.73 (2) -1.86
(sig = 0.06)
4. Covered verandah 3.93 0.62 (2) 4.46 0.72 (1) -6.85*

(sig = 0.00)
sense of hospitality. The significant concerns of the architects are respectively: (1) sala
(Thai pavilion) (mean rating of 4.37), (2) covered verandah (mean rating of 3.93), (3)
entrance pavilion, and (4) open-air lobby.
Thai character on the basis of intangible qualities and values— a sense of hospitality.
The significant concerns of non-architects are respectively: (1) covered verandah (mean
rating of 4.46), (2) sala (Thai pavilion) (mean rating of 4.53), (3) entrance pavilion, and
(4) open-air lobby.
242
The sala (Thai pavilion) is relevant to the traditional Thai architecture that the Thai
villages, one can often see beautiful small pavilions of many different styles and sizes.
Some are used simply for relaxation, while others have a specific function, such as
protecting a well. Entrance to a traditional house, at the top of the stairway leading to the
central platform, covered with a Thai roof. (Warren, 1998: 220)
The deeply-pitched roofs and open-air pavilions (sala) that characterize traditional Thai
architecture evolved in response to the country’s climate. A high roof creates an interior
with enough space for hot air to rise. The roof overhang keeps the sunlight out. A second
steeped roof promotes ventilation by trapping the hot air in the space above. In ancient
Thailand, sala were open to the outdoors and were where Thai people received guests.
They also came to the sala to enjoy the cool outdoor breezes and gaze at the countryside
around them (Ettensperger, 2001: 15-16).
In addition, entrance pavilion is relevant to the traditional Thai architecture in that on the
toen, there is a shelf, khown as the raan nam, about 80 cm above the floor to hold the
dippers and jars of drinking water with which guests are welcomed and members of the
household refresh themselves. The reason the toen is called a multi-purpose area is that it
is a place of relaxation for the family, a reception area for guests, the sleeping place for the
father or sons, and the place where the bodies of family members are laid out during
funerals.
Figure 129: The raan nam or water pavilion is a traditional feature of Northern Thai house. These
shelves hold the earthenware jars and water dippers used to welcome guests (line-drawing
by the author).
the p-values obtained through a t-test show that the area in which architects and non-
architects respond with significant difference is seated-verandah (t = -6.85). The areas in
which architects and non-architects respond with no significant difference are: (1) open-
243
air lobby (t = -1.32) (2) entrance pavilion (t = -1.58), and (3) sala (Thai pavilion) (t = -
1.86).

hospitality
Architects generally agree that sala (Thai pavilion) reflects the highest degree of the
modern Thai character and consider it as the most significant element. The covered
verandah was also seen as representing a high degree of the modern Thai character by the
architects while non-architects generally agree that the covered verandah reflects the
highest degree of the modern Thai character and consider it as the most significant
element. The sala (Thai pavilion) was also seen as representing a high degree of the
modern Thai character by the non-architects.
.
The area in which architects and non-architects respond with significant difference is
covered verandah. In contrast, they respond with no significant difference in the areas of:
open-air lobby, entrance pavilion, and sala (Thai pavilion).
towards the importance of intangible qualities and values: A sense of hospitality.

sense of hospitality mean SD rank mean SD rank
1. Open-air lobby 3.93 0.63 (4) 4.01 0.56 (2) -1.15

(sig = 0.24)
2. Entrance pavilion 3.93 0.62 (3) 3.99 0.57 (3) -0.76

(sig = 0.44)
3. Sala (Thai pavilion) 4.47 0.67 (1) 4.46 0.76 (1) 0.16
(sig = 0.87)
4. Covered verandah 3.95 0.62 (2) 3.98 0.59 (4) -0.33

(sig = 0.70)
244
The “mean” rating in table 41 reveals that architects generally agree that certain
architectural elements relating to intangible qualities and values: a sense of hospitality are
important to resort architecture. Priority is given as follows: (1) sala (Thai pavilion) (mean
rating of 4.47), (2) covered verandah (mean rating of 3.95), (3) entrance pavilion, and (4)
open-air lobby.
Non-architects (general public) generally agree that certain architectural elements relating
to intangible qualities and values: a sense of hospitality are important to resort
architecture. Priority is given as follows: (1) sala (Thai pavilion) (mean rating of 4.46),
(2) open-air lobby (mean rating of 4.01), (3) entrance pavilion, and (4) covered verandah.
Based on an alpha of 0.05, the p-values obtained through a t-test suggest that architects
and non-architects respond with no significant differences in all areas.

hospitality for resort architecture and designs:
Architects generally agree that sala (Thai pavilion) is the most important element for
resort architecture. They are also considered as the most significant issue for their designs.
Second, is the covered verandah.
Non-architects (general public) also generally agree on sala (Thai pavilion) as the most
important element for resort architecture. They also consider this element as most
significant for the designs. The open-air lobby was also seen as the second most important
element for resort architecture and designs.
Architects and non-architects respond with no significant difference in all the areas on a
sense of hospitality.
6.2.2 Comparison of the attitudes of architects and non-architects (general people)

towards the design guidelines for modern Thai architecture in resort contexts.
The data from the questionnaires is analyzed and interpreted according to a coding scheme
for the level of agreement. Statistical analysis is used to test and compare the opinions of
the respondents. Different levels of opinion are coded statistically as follows:
3 = neutral
4 = somewhat agree
5 = strongly agree
245
towards the design guidelines for modern Thai architecture relating to the various aspects of site
planning.
1. The Various Aspects t
of Site Planning (p-value)
1. Respect to the site 3.95 0.63 (2) 4.01 0.57 (4) -0.95
context (Sig = 0.34)
2. Low impact on the site 3.92 0.62 (4) 4.03 0.59 (3) -1.51
(Sig = 0.13)
3. Using traditional Thai

wisdom and design
principles to guide
building organization
to better protect the 4.49 0.66 (1) 4.05 0.58 (2) 5.99*
sites from tsunami (Sig = 0.00)
threats
4. Applying specific
“tangible” steps to
landscape design;
these include such
features as the
waterscape, tree
planting, and other 3.93 0.62 (3) 4.05 0.57 (1) -1.65
“hardscape” and (Sig = 0.10)
landscape components
issues of the design guidelines for modern Thai architecture relating to the various aspects
of site planning. The significant concerns of the architects are respectively: (1) using
traditional Thai wisdom and design principles to guide building organization to better
protect the sites from tsunami threats (mean rating of 4.49), (2) respect to the site context
(mean rating of 3.95), (3) applying specific “tangible” steps to landscape design; these
include such features as the waterscape, tree planting, and other “hardscape” and
landscape components, and (4) low impact on the site.
246
Non-architects (general public) generally agree on the significant issues of the design
guidelines for modern Thai architecture relating to the various aspects of site planning.
The significant concerns of non-architects are respectively: (1) applying specific
“tangible” steps to landscape design, these include such features as the waterscape, tree
planting, and other “hardscape” and landscape components (mean rating of 4.05), (2)
using traditional Thai wisdom and design principles to guide building organization to
better protect the sites from tsunami threats (mean rating of 4.05), (3) low impact on the
site, and (4) respect to the site context.
The use of traditional Thai wisdom and design principles to guide building
organization to better protect the sites from tsunami threats is relevant and related to
the concepts of resort architecture that a traditional Thai house is raised just above the
head height. The varying levels of the different parts of the house are determined by the
functions and create a flow of space which is almost modern in design. There are many
considerations, which lead to a raised house being highly desirable. First, a raised house
provided security from dangerous animals and thieves at night. In addition, the central
region of Thailand is situated in low-lying areas inundated with frequent rain and floods.
Other areas are also subjected to heavy rainfall and flooding. A house with a raised floor
provides a sense of security, privacy, and shelter, with flood evasion being a primary
concern.
Landscape design can be a part of a built-in safety system—the tree with its trunk and
aerial roofs protected people during the tsunami disaster. Natural landscape on higher
levels also provide safety platforms during tsunami events. Landscaping design could then
be incorporated into the master planning of resort development. It could further help
restore the balance between human and nature (Lau and Yoichi, 2004: 11).
In addition, respect to the site context is relevant and related to the concepts of resort
architecture in that an important aspect of designing a building is to build it in the way that
suits the site context together with building placement. Thus, the architect should
understand and be sensitive to the local climatic conditions (Buranasomphob, 1996: 28). A
sustainable resort planning process should start with a thorough analysis of the site and its
ecological resources, including local ecology, topography, vegetation, hydrology,
watersheds, solar energy access, and microclimate, this will allow. This identifies most
critical factors and leads to some conclusion regarding design strategies (Deda, 2003: 56)
Based on alpha of 0.05, the p-values obtained from a t-test suggest that architects and
non-architects respond with significant difference on the issue of using traditional Thai
wisdom and design principles to guide building organization to better protect the sites
from tsunami threats (t = 5.99)
247
are: (1) respect to the site context (t = 0.95), (2) low impact on the site (t = -1.51), and (3)
applying specific “tangible” steps to landscape design; these include such features as the
waterscape, tree planting, and other “hardscape” and landscape components (t = -1.65).
Summary on design guidelines for modern Thai architecture: The various aspects of
site planning
The architects generally agree that using traditional Thai wisdom and design principles to
guide building organization to better protect the sites from tsunami threats is the most
important element for modern Thai architecture. They also consider this element as the
most significant design guidelines. Respect to the site context is also considered the
Non-architects generally agree that applying specific “tangible” steps to landscape design;
these include such features as the waterscape, tree planting, and other “hardscape” and
landscape components is the most important element for modern Thai architecture. They
also consider this aspect as the most significant design guidelines. Using traditional Thai
wisdom and design principles to guide building organization to better protect the sites
from tsunami threats is also considered the second most important element.
Both architects and non-architects respond with significant difference on the issue of
using traditional Thai wisdom and design principles to guide building organization to
better protect the sites from tsunami threats.
are: respect to the site context, low impact on the site, and applying specific “tangible”
steps to site planning; these include such features as the waterscape, tree planting, and
other “hardscape” and landscape components.
248
towards the design guidelines for modern Thai architecture relating to architectural
characteristics and design.
2. Architectural Architects Non-architects

Characteristics and t
Design (p-value)
1. Design with Thai character

in order to be attractive to
tourists and for commercial 3.95 0.63 (4) 4.10 0.58 (3) -2.18*
(sig = 0.03)
benefit
2. Utilizing specific, tangible
elements of Thai character,
such as sao-loy, 3.93 0.62 (6) 4.07 0.56 (4) -2.13*
(sig = 0.03)
roof profiles, to create a
sense of modern Thai
architecture
3. Utilizing intangible
elements of Thai character,
such as a sense of lightness, 4.49 0.67 (1) 4.07 0.68 (5) 5.27*
(sig = 0.00)
tranquility, transparency,
and hospitality
4. To adapt and create modern
Thai architecture in resort
3.93 0.63 (7) 3.13 0.78 (7) 9.67*
contexts in order to develop (sig = 0.00)
sustainable tourism
5. Respect for the concepts of
authenticity and regional 3.95 0.62 (3) 4.33 0.76 (2) -4.72*
architecture (sig = 0.00)
6. Respect for the traditional

hierarchical order of Thai 3.93 0.61 (5) 3.17 0.79 (6) 9.18*
(sig = 0.00)
architecture
7. Using traditional Thai

wisdom and approaches to
current building that 4.45 0.66 (2) 4.47 0.78 (1) -0.15
together help to reduce the (sig = 0.87)
impacts of possible future

tsunami disasters

249
issues of the design guidelines for modern Thai architecture relating to the aspects of
architectural characteristics and design. The significant concerns of the architects are
respectively: (1) utilizing intangible elements of Thai character, such as a sense of
lightness, tranquility, transparency, and hospitality (mean rating of 4.49), (2) using
traditional Thai wisdom and approaches to current building that together help to reduce
the impacts of possible future tsunami disasters (mean rating of 4.45), (3) respect for the
concepts of authenticity and regional architecture, (4) design with Thai character in order
to be attractive to tourists and for commercial benefit, (5) respect for the traditional
hierarchical order of Thai architecture, (6) utilizing specific, tangible elements of Thai
character, such as sao-loy, roof profiles, to create a sense of modern Thai architecture,
and (7) to adapt and create modern Thai architecture in resort contexts in order to develop
sustainable tourism.
guidelines for modern Thai architecture relating to the aspects of architectural
characteristics and design. The significant concerns of non-architects are respectively:
(1) using traditional Thai wisdom and approaches to current building that together help to
reduce the impacts of possible future tsunami disasters (mean rating of 4.47), (2)
respect for the concepts of authenticity and regional architecture (mean rating of 4.33), (3)
design with Thai character in order to be attractive to tourists and for commercial benefit,
(4) utilizing specific, tangible elements of Thai character, such as sao-loy, roof profiles, to
create a sense of modern Thai architecture, (5) utilizing intangible elements of Thai
character, such as a sense of lightness, tranquility, transparency, and hospitality, (6)
respect for the traditional hierarchical order of Thai architecture, and (7) to adapt and
create modern Thai architecture in resort contexts in order to develop sustainable tourism
respect to the site context.
Utilizing intangible elements of Thai character, such as a sense of lightness, tranquility,

transparency, and hospitality is relevant to the concepts of resort architecture that modern
Thai architecture in terms of resort contexts should take account of longer term future
development the building be suitable for existing conditions in which both architectural
context and environmental context. Design strategies to create modern Thai architecture
that we might to utilize intangible aspects of traditional architecture to the design solutions
(Suvankiri, 2002).
In addition, using traditional Thai wisdom and approaches to current building that together
help to reduce the impacts of possible future tsunami disasters is relevant to the concepts
of resort architecture that the continuity of Thai character in architecture signifies the
existence of Thai wisdom. Serious investigations should be made regarding the
development of such ingenuity. The protective character of Thai roof, the ventilation
panel, the prefabricated components of wooden construction (without nails) and even the
250
refined decoration are generated through sustainable Thai wisdom (Horayangura , 2002:
210).
Traditional Thai architecture was designed to provide a setting for Thai culture and to
answer to the needs of that culture. Traditional Thai buildings have also to incorporate
inherent wisdom in their relation to their sites and environment. This adaptation and
evolution needs better to be understood by modern Thai architects, who can incorporate
this wisdom into buildings today
non-architects respond with significant difference in the areas of: (1) design with Thai
character in order to be attractive to tourists and for commercial benefit (t = -2.18), (2)
utilizing specific, tangible elements of Thai character, such as sao-loy, roof profiles, to
create a sense of modern Thai architecture (t = -2.13), (3) utilizing intangible elements of
Thai character, such as a sense of lightness, tranquility, transparency, and hospitality (t =
5.27), (4) to adapt and create modern Thai architecture in resort contexts in order to
develop sustainable tourism (t = 9.67), (5) respect for the concepts of authenticity and
regional architecture (t = -4.72), and (6) respect for the traditional hierarchical order of
Thai architecture (t = 9.18).
The area in which architects and non-architects respond with no significant differences is
using traditional Thai wisdom and approaches to current building that together help to
reduce the impacts of possible future tsunami disasters (t = -0.15).
Summary on design guidelines for modern Thai architecture: Architectural

characteristics and design
The architects generally agree that utilizing intangible elements of Thai character, such as
a sense of lightness, tranquility, transparency, and hospitality is the most important
element for modern Thai architecture. They also consider this element as the most
significant design guidelines. Using traditional Thai wisdom and approaches to building
that together help to integrate against the effects of possible future tsunami disasters is
also considered the second most important element.
Non-architects generally agree that using traditional Thai wisdom and approaches to
building that together help to integrate against the effects of possible future tsunami
disasters is the most important element for modern Thai architecture. They also consider
this element as the most significant design guidelines. Respect for the concepts of
authenticity and regional architecture is also considered the second most important
element.
Both architects and non-architects respond with significant difference in the areas of: (1)
design with Thai character in order to be attractive to tourists and for commercial benefit,
(2) utilizing specific, tangible elements of Thai character, such as sao-loy, roof profiles, to
create a sense of modern Thai architecture, (3) utilizing intangible elements of Thai
251
character, such as a sense of lightness, tranquility, transparency, and hospitality, (4) to

adapt and create modern Thai architecture in resort contexts in order to develop
sustainable tourism, (5) respect for the concepts of authenticity and regional architecture,
and (6) respect for the traditional hierarchical order of Thai architecture .
In contrast, the area in which architects and non-architects respond with no significant
difference is using traditional Thai wisdom and approaches to building that together help
to integrate against the effects of possible future tsunami disasters.
towards the design guidelines for modern Thai architecture relating to the landscape.
Architects Non-architects t
2. Landscape
(p-value)
1. Using the existing

condition of site and its
context to create a sense
4.47 0.66 (1) 4.03 0.62 (2) 5.90*
of modern Thai (sig = 0.00)
architecture through the
practicality of low costs
2. Using landscape
components such as sala,
lily ponds, and water
3.91 0.63 (3) 4.41 0.76 (1) -6.12*
features to create the (sig = 0.00)
landscape
3. Incorporating tradition the

Thai wisdom and practice,
including trees with aerial
covering for the landscape
3.91 0.62 (2) 3.20 0.78 (3) 8.71*
design and also as a (sig = 0.00)
protective measure in case
of tsunamis

252
issues of the design guidelines for modern Thai architecture relating to the aspects of the
landscape. The significant concerns of the architects are respectively: (1) using the
existing condition of site and its context to create a sense of modern Thai architecture
through the practicality of low costs (mean rating of 4.47), (2) incorporating tradition the
Thai wisdom and practice, including trees with aerial covering for the landscape design
and also as a protective measure in case of tsunamis (mean rating of 3.91), and (3) using
landscape components such as sala, lily ponds, and water features to create the landscape.
guidelines for modern Thai architecture relating to the aspects of the landscape. The
significant concerns of non-architects are respectively: (1) using landscape components
such as sala, lily ponds, and water features to create the landscape (mean rating of 4.41),
(2) using the existing condition of site and its context to create a sense of modern Thai
architecture through the practicality of low costs (mean rating of 4.03), (3) incorporating
tradition the Thai wisdom and practice, including trees with aerial covering for the
landscape design and also as a protective measure in case of tsunamis.
Using the existing condition of site and its context to create a sense of modern Thai
architecture through the practicality of low costs is relevant to the concepts of resort
architecture that planning the setting is one of the first steps towards sustainable tourism
destinations. Landscaping is essential both to the preservation of local diversities and to
the creation of a sense of place. In several cases, restorative landscaping should be applied
to take the site back to what it once was (Deda, 2003: 57)
In addition, incorporating tradition the Thai wisdom and practice, including trees with
aerial covering for the landscape design and also as a protective measure in case of
tsunamis is relevant and related to the concepts of resort architecture that landscape design
can be a part of a built-in safety system—the tree with its trunk and aerial roofs protected
people during the tsunami disaster. Natural landscape on higher levels also provide safety
platforms during tsunami events. Landscaping design could then be incorporated into the
master planning of resort development. It could further help restore the balance between
human and nature (Lau and Yoichi, 2004: 11).
253
Figure 130: The Banyan tree with aerial roots (Ettensperger, 2001: 1).
non-architects respond with significant difference in the areas of: (1) using the existing
condition of site and its context to create a sense of modern Thai architecture through the
practicality of low costs (t = 5.90), (2) using landscape components such as sala, lily
ponds, and water features to create the landscape (t = -6.12), and (3) incorporating
tradition the Thai wisdom and practice, including trees with aerial covering for the
landscape design and also as a protective measure in case of tsunamis (t = 8.71).
Summary on design guidelines for modern Thai architecture: Landscape
The architects generally agree that using the existing condition of site and its context to
create a sense of modern Thai architecture through the practicality of low costs is the most
important element for modern Thai architecture. They also consider this element as the
most significant design guidelines. Incorporating tradition the Thai wisdom and practice,
including trees with aerial covering for the landscape design and also as a protective
measure in case of tsunamis is also considered the second most important element.
Non-architects generally agree that using landscape components such as sala, lily ponds,
and water features to create the landscape is the most important element for modern Thai
architecture. They also consider this element as the most significant design guidelines.
254
Using the existing condition of site and its context to create a sense of modern Thai
architecture through the practicality of low costs is also considered the second most
important element.
towards the design guidelines for modern Thai architecture relating to building technology and
construction.
3. Building
Technology and t
(p-value)
Construction
1. Using materials available

in the local community 3.93 0.62 (3) 4.08 0.58 (1) -2.10*
(sig = 0.03)
2. Using new materials

where appropriate to
create Thai character such
as gable ends and other
components using 2.87 0.41 (4) 3.22 0.79 (4) -4.84*
reflective glass or other (sig = 0.00)
modern materials
3. Using materials which

have little impact on the 4.47 0.68 (1) 4.08 0.64 (2) 5.06*
environment (sig = 0.00)
4. Incorporating aspects of
traditional Thai wisdom 4.41 0.72 (2) 4.05 0.56 (3) 4.71*
such as ventilating panels, (sig = 0.00)
and pre-fabrication
systems of wall panels
building technology and construction. The significant concerns of the architects are
255
respectively: (1) using materials which have little impact on the environment (mean rating
of 4.47), (2) incorporating aspects of traditional Thai wisdom such as ventilating panels,
and pre-fabrication systems of wall panels (mean rating of 4.41), (3) using materials
available in the local community, and (4) using new materials where appropriate to create
Thai character such as gable ends and other components using reflective glass or other
modern materials.
guidelines for modern Thai architecture relating to the aspects of building technology
and construction. The significant concerns of non-architects are respectively: (1) using
materials available in the local community (mean rating of 4.08), (2) using materials
which have little impact on the environment (mean rating of 4.08), (3) incorporating
aspects of traditional Thai wisdom such as ventilating panels, and pre-fabrication systems
of wall panels, and (4) using new materials where appropriate to create Thai character
such as gable ends and other components using reflective glass or other modern materials.
Using materials which have little impact on the environment is relevant to the concepts of
resort architecture that as far as possible building materials will be locally sourced. They
will be chosen to minimize impact to the site or to minimize embodied energy and
materials involving unsustainably harvested timber or other plant species will be avoided.
Where possible and appropriate recycled and recyclable materials will be used
(Rochanakorn, 2005).
In addition, incorporating aspects of traditional Thai wisdom such as ventilating panels,

and pre-fabrication systems of wall panels is relevant and related to the concepts of resort
architecture that Vimolsiddhi Horayangkura states that continuity of Thai character in
architecture signifies the existence of Thai wisdom. Serious investigations should be made
regarding the development of such ingenuity. The protective character of Thai roof, the
ventilation panel, the prefabricated components of wooden construction (without nails)
and even the refined decoration are generated through sustainable Thai wisdom
non-architects respond with significant difference in the areas of: (1) using materials
available in the local community (t = -2.10), (2) using new materials where appropriate to
create Thai character such as gable ends and other components using reflective glass or
other modern materials (t = -4.84), (3) using materials which have little impact on the
environment (t = 5.06), and (4) incorporating aspects of traditional Thai wisdom such as
ventilating panels, and pre-fabrication systems of wall panels (t = 4.71).
256
Summary on design guidelines for modern Thai architecture: Building technology

and construction
The architects generally agree that using materials which have little impact on the
environment is the most important element for modern Thai architecture. They also
consider this element as the most significant design guidelines. Incorporating aspects of
traditional Thai wisdom such as ventilating panels, and pre-fabrication systems of wall
panels is also considered the second most important element.
Non-architects generally agree that using materials available in the local community is the
most important element for modern Thai architecture. They also consider this element as
the most significant design guidelines. Using materials which have little impact on the
environment is also considered the second most important element.
Architects and non-architects respond with significant difference in the areas of: using
materials available in the local community, using new materials where appropriate to
create Thai character such as gable ends and other components using reflective glass or
other modern materials, using materials which have little impact on the environment,
and incorporating aspects of traditional Thai wisdom such as ventilating panels, and pre-
fabrication systems of wall panels.
257
towards the design guidelines for modern Thai architecture relating to the interior architecture
and decorations.
5. Interior Architecture t
and Decorations (p-value)
1. Respect for the

traditional hierarchical -1.00
4.00 0.32 (2) 4.05 0.56 (2)
order of Thai (sig = 0.31)
architecture
2. Using the completed

form of architectural
work and structural
aesthetics to set the 2.85 0.44 (4) 4.02 0.53 (3) -20.61*
(sig = 0.00)
creative standards for
interior architecture
3. Respect for the concepts

of authenticity and
regional architecture and -6.45*
3.94 0.62 (3) 4.45 0.74 (1)
also apply them to guide (sig = 0.00)
the interior architecture
4. Applying the intangible

qualities and values of
Thai character, such as a
sense of transparency,
tranquility, and a sense 4.45 0.70 (1) 4.00 0.51 (4) 6.37*
(sig = 0.00)
of hospitality to create
in resort design
interior architecture and decorations. The significant concerns of the architects are
respectively: (1) applying the intangible qualities and values of Thai character, such as a
sense of transparency, tranquility, and a sense of hospitality to create the interior
architecture in resort design (mean rating of 4.45), (2) respect for the traditional
258
hierarchical order of Thai architecture (mean rating of 4.00), (3) respect for the concepts
of authenticity and regional architecture and also apply them to guide the interior
architecture, and (4) using the completed form of architectural work and structural
aesthetics to set the creative standards for interior architecture.
guidelines for modern Thai architecture relating to the aspects of interior architecture
and decorations. The significant concerns of non-architects are respectively: (1) respect
for the concepts of authenticity and regional architecture and also apply them to guide the
interior architecture (mean rating of 4.45), (2) respect for the traditional hierarchical order
of Thai architecture (mean rating of 4.05), (3) using the completed form of architectural
work and structural aesthetics to set the creative standards for interior architecture, and (4)
applying the intangible qualities and values of Thai character, such as a sense of
transparency, tranquility, and a sense of hospitality to create the interior architecture in
resort design.
Applying the intangible qualities and values of Thai character, such as a sense of
transparency, tranquility, and a sense of hospitality to create the interior architecture in
resort design is relevant to the concepts of resort architecture that the importance of
modern Thai character in terms of interior design that new resort should be designed in the
concept with intangible qualities and values through integration (Suwankiri, 2005).
In addition, respect for the traditional hierarchical order of Thai architecture is relevant to
the concepts of resort architecture as Vimolsiddhi Horayangkura suggests that architects
should be concerned architecture as cultural heritage that architecture can be a significant
component of national cultural heritage. Thus, there should be architecture of high and
sustainable value that can be accepted as cultural heritage. One critical question that
should be raised is that the present architecture of international style can hardly be
considered as Thai cultural heritage. If being so, we are creeping toward self-destruction,
as the contexts and other influencing factors are changing rapidly. Eventually, we well
come to an end in similar to the show down of a pendulum in moving as against the
inertia. As professor Sompop Piromya, in referring to Prince Naris’s concept in cultural
continuity, has succinctly pointed put that we should hot only use up our past heritages,
but we should also create new glories (Horayangkura, 2002: 104-106).
non-architects respond with significant difference in the areas of: (1) using the completed
form of architectural work and structural aesthetics to set the creative (t = -20.61) (2)
respect for the concepts of authenticity and regional architecture and also apply them to
guide the interior architecture (t = -6.45) (3) applying the intangible qualities and values of
Thai character, such as a sense of transparency, tranquility, and a sense of hospitality to
259
create the interior architecture in resort design (t = 6.37). The area in which architects and
non-architects respond with no significant difference is respect for the traditional
hierarchical order of Thai architecture (t = -1.00).
Summary on design guidelines for modern Thai architecture: Interior architecture

and decorations
The architects generally agree that applying the intangible qualities and values of Thai
character, such as a sense of transparency, tranquility, and a sense of hospitality to create
the interior architecture in resort design is the most important element for modern Thai
architecture. They also consider this element as the most significant design guidelines.
Respect for the traditional hierarchical order of Thai architecture is also considered the
.
Non-architects generally agree that respect for the concepts of authenticity and regional
architecture and also apply them to guide the interior architecture is the most important
element for modern Thai architecture. They also consider this element as the most
significant design guidelines. Respect for the traditional hierarchical order of Thai
architecture is also considered the second most important element.
Architects and non-architects respond with significant difference in the areas of: using
the completed form of architectural work and structural aesthetics to set the creative;
respect for the concepts of authenticity and regional architecture and also apply them to
guide the interior architecture; applying the intangible qualities and values of Thai
character, such as a sense of transparency, tranquility, and a sense of hospitality to create
the interior architecture in resort design. The area in which architects and non-architects
respond with no significant difference is respect for the traditional hierarchical order of
Thai architecture.
260
towards the design guidelines for modern Thai architecture relating to the laws and regulations.
t
6. Laws and Regulations
(p-value)
1. Present-day regulations
and laws are not
appropriate for modern
Thai architecture 3.92 0.66 (2) 3.95 0.50 (2) -0.48
(sig = 0.62)
and resort designs
2. To improve the
regulations and laws
governing new
construction in order
to both encourage more
cultural awareness of 4.43 0.74 (1) 4.00 0.54 (1) 5.67*
modern Thai (sig = 0.00)
architecture and
help protect sites from
potential future
tsunami disasters
generally agree on the significant issues of the design guidelines for modern Thai
architecture relating to the aspects of laws and regulations. The significant concerns of
the architects and non-architect are respectively: (1) to improve the regulations and laws
governing new construction in order to both encourage more cultural awareness of modern
Thai architecture and help protect sites from potential future tsunami disasters (mean
rating of 4.43 and 4.00), (2) present-day regulations and laws are not appropriate for
modern Thai architecture and resort designs (mean rating of 3.92 and 3.95).
To improve the regulations and laws governing new construction in order to both
encourage more cultural awareness of modern Thai architecture and help protect sites
from potential future tsunami disasters is relevant to the concepts of resort architecture
that the limitations of present-day regulations and laws identified with misunderstanding
261
and unsuitable to create modern Thai architecture. The regulation’s articles such as the
portion of height, open spaces, zoning line, set-back regulations are still required to re-
deliberate as well as the regulation of environmental impact assessment (Rochanakorn,
2005)
Based on alpha of 0.05, the p-values obtained from a t-test suggest that architects and non-
architects respond with significant difference in the area of to improve the regulations
and laws governing new construction in order to both encourage more cultural awareness
of modern Thai architecture and help protect sites from potential future tsunami disasters
(t = 5.67). The area in which architects and non-architects respond with no significant
difference is present-day regulations and laws are not appropriate for modern Thai
architecture and resort designs (t = -0.48).
Summary on design guidelines for modern Thai architecture: laws and regulations
The architects and non-architects (general public) generally agree that to improve the
regulations and laws governing new construction in order to both encourage more cultural
awareness of modern Thai architecture and help protect sites from potential future tsunami
disasters is the most important element for modern Thai architecture. They also consider
this element as the most significant design guidelines.
Architects and non-architects respond with significant difference in the area of to

improve the regulations and laws governing new construction in order to both encourage
more cultural awareness of modern Thai architecture and help protect sites from potential
future tsunami disasters. The area in which architects and non-architects respond with no
significant difference is present-day regulations and laws are not appropriate for modern
Thai architecture and resort designs.
262
6.3 To study the attitudes of architects and non-architects (general public) towards modern
Thai architecture in resort contexts using the simulated-models of the case studies.
The data from the questionnaires needs to be analyzed and interpreted on the basis of the
level of agreement. Upon processing the data, statistical methods are used to test and
compare the opinions of the respondents. Different levels of opinion are coded statistically
as follows:
3 = neutral
4 = somewhat agree
5 = strongly agree
Case Study: Banyan Tree Laguna Beach Resort and Spa: Phuket
Banyan Tree Laguna Beach Resort and Spa is selected as the case study. The landscape
represents the building complex and open spaces are provided adjacent to buildings. The
lobby and main building are adjacent to waterscape. The same is true with the private
villas, also featuring private swimming pools. The landscape in Banyan Tree is organized
by means of a sala and walkways. These components are harmonized with the buildings’
context.
The original landscape provides a sense of tranquility and coolness through the use of
water pond adjacent to the building complex as illustrated in figure of 130. Figure 131 and
figure 132 are simulated features which replaced these water ponds with lily pond and
lawn respectively.
263
Figure 131: A building complex with water pond Figure 132: A building complex with
(original) lily pond as simulated-feature
Figure 133: A building complex with lawn as simulated-feature

264
towards modern Thai character via simulated models regarding the basis of architectural
Architectural
t
Characteristics and
(p-value)
Design
• figure 130
(original: Water 3.91 0.63 (2) 4.36 0.74 (2) -5.66*
(Sig = 0.00)
pond)
• figure 131
(simulated-feature: 4.43 0.71 (1) 4.39 0.77 (1) 0.39
(Sig = 0.70)
Lily pond)
• figure 132
(simulated-feature: 2.86 0.43 (3) 4.03 0.53 (3) -20.83*
(Sig = 0.00)
Lawn)
The “mean” rating in table 48 reveals that architects and non-architect (general public)
generally agree on the significant features of the appropriate landscape design for modern
Thai character. The significant concerns of the respondents are respectively: (1) figure 131
(simulated-feature: Lily pond) (mean rating of 4.43 and 4.39), (2) figure 130 (original:
Water pond) (mean rating of 3.91 and 4.36); and (3) figure 132 (simulated-feature: Lawn).
The landscape design features which are significant to the modern Thai character and
related to the traditional Thai architecture are landscaped pools. Landscape pools reflect
the identity of a Thai garden and provide cool sitting areas. In some instances, water lilies
and lotuses are planted in jars and placed around the chan. (H.Shiranan, 1997: 75). The
use of water was also manifested in the layouts of ancient cities and palaces. At times,
entire cities took on an amphibious quality. Sukhothai, an ancient capital of Thailand,
boasted impressive water-bound temples. These temples were designed with elaborate
water features, ponds, and lakes.(Beng, 2003: 234)
265
no significant difference on a building complex with lily pond (t = 0.39).
The features in which architects and non-architects respond with significant differences
are: (1) a building complex with water pond (t = -5.66), and (2) a building complex with
lawn (t = -20.83).
Case Study: Rayavadee Premier Resort: Krabi
Figure 134: Roof with gable-end and ornament Figure 135: Roof without gable-end and ornament
(original) as simulated-feature
266
Rayavadee Premier Resort is selected as the case study. The original roof profile of the
building was designed and inspired by the traditional Thai architecture as well as the
mosques of Southern Thailand. The original feature is curved roof with gable panel, gable-
end, and ornament as shown in figure 133. The figure 134 is the simulated- feature which
roofing without gable panel, gable-end, and ornament.
towards modern Thai character via simulated models regarding the original and simulated-
feature.
Architects t Non-architects t
(p-value) (p-value)
● figure 133
●figure 133 mean SD mean SD
(original:
(original:
Roof with
Roof with
gable-end
gable-end
and
and 3.93 0.64 4.43 0.75
ornament)
ornament)
17.89* 17.39*
• figure 134 (Sig = 0.00)
● figure 134 (Sig = 0.00)
(simulated- (simulated-
feature: Roof feature: Roof
without 2.87 0.41 without 3.02 0.64
gable-end gable-end
and and
ornament) ornament)
Analysis of the attitudes—architects
The mean rating in table 49 reveals that the architects generally find that the original
building with a circular curved roof, gable panel, gable-ends, and ornament is more
appropriate for resort architecture with the modern Thai character.
the p-values obtained through a t-test show that original building and simulated-feature
reflect with significant differences.
267
Analysis of the attitudes—non-architects (general public)
The mean rating in table 49 reveals that the non-architects generally find that the original
building with a circular curved roof, gable panel, gable-ends, and ornament is more
appropriate for resort architecture with the modern Thai character.
the p-values obtained through a t-test show that the original building and simulated-feature
reflect with significant differences.
Architecture and Architects Non-architects

Characteristics t
(p-value)
●figure 133
(original: Roof with 3.93 0.64 (1) 4.43 0.75 (1) -6.17*
gable-end and (Sig = 0.00)
ornament)
• figure 134
(Sig = 0.01)
Roof without gable-
end and ornament)
generally agree on the original building with circular curved-roof, gable panel, gable-ends,
and ornament reflect more appropriate design to resort architecture for modern Thai
character than the lacking one. They also consider as the most significant element in the
designs.
268
public) respond with significant differences in which both the original (t =-6.17) and
simulated model (t = -2.47).
Gable ends and ornaments are relevant to the traditional Thai architecture that Jua roob
phra arthit. This design has a sunburst pattern in which flat wooden slats are spread out to
represent sunrays with gaps in between the sunrays for ventilation. This design is popular
for kitchens. Ruethai Chaichongrak mentions that the gable ends of a traditional Thai
house frahses an element known as “na jua.” This comprises triangular wooden panels
constructed in three different designs that protect the gable ends of the roof from wind,
sun, and rain (2002: 86). In addition, another recurring feature is the decorative gable-
finals found in Thailand. The meeting of the roof and the sky is thus given added
phenomenological significance through such elaborately carved elements (Beng, 2003:
34).
In addition, the characteristics of Southern roofs are the decoration of the gable ends and
the final above the gable (Posayanonda, 2002: 213).
Case Study: Amanpuri Resort: Phuket
Figure 136: Sala with gable-ends Figure 137: Roof without ornaments as simulated-feature
and ornaments (original)
269
Amanpuri Resort is selected as the case study. The original roof’s feature of the building
was designed and inspired by the traditional Thai architecture as well as the traditional
Thai houses. The roof profile of the original is gable-ends with ornament as shown in
figure 135. The figure 136 is simulated feature which roofing without ornament.
feature.
(p-value) (p-value)
mean SD mean SD
●figure 135 ●figure 135
(original: Sala (original: Sala
with gable- with gable-
ends and ends and
ornament) ornament)
4.43 0.70 6.65* 4.47 0.72 7.01*
(sig = 0.00) (sig = 0.00)
• figure 136 • figure 136

feature: Roof 3.92 0.65 feature: Roof 3.97 0.49
without gable- without gable-
ends and ends and
ornament) ornament)
building with roof’s feature of the sala is more appropriate for resort architecture with the
modern Thai character.
the p-values obtained through a t-test show that both original building and simulated-
feature reflect with significant differences (t = 6.65).
270
building with roof’s feature of the sala is more appropriate for resort architecture with the
Architecture and t
Characteristics (p-value)
● figure 135
(original: Sala with
gable-ends and 4.43 0.70 (1) 4.47 0.72 (1) -0.56
(sig = 0.57)
ornament)
• figure 136
(simulated-feature: Roof
without gable-ends and 3.92 0.65 (2) 3.97 0.49 (2) -0.80
(sig = 0.42)
ornament)
generally agree on the original building which roof profile with gable-ends and ornament
reflect more appropriate design to resort architecture for modern Thai character
than the lacking one. They also consider this element for the designs.
Considering on statistical analysis using t-test, and the p-value based on an alpha of 0.05,
the p-values obtained through a t-test show that both architects and non-architects (general
public) respond with no significant differences in which both the original (t = -0.56) and
simulated model (t = -0.80).
271
Gable ends and ornaments are relevant to the traditional Thai architecture that the deeply-
pitched roofs and open-air pavilions (sala) characterize traditional Thai architecture
evolved in response to the country’s climate. A high roof creates an interior with enough
space for hot air to rise. The roof overhang keeps the sunlight out. A second steeped roof
promotes ventilation by trapping the hot air in the space above. In ancient Thailand, sala
were open to the outdoors and were where Thais received guests. They also came to the
sala to enjoy the cool outdoor breezes and gaze at the countryside around them
(Ettensperger, 2001: 15-16).
Case Study: Banyan Tree Laguna Beach Resort and Spa: Phuket
Figure 138: Buildings adjacent to waterscape Figure 139: Buildings not adjacent to waterscape
(original) as simulated-feature
Banyan Tree Laguna Beach Resort and Spa is selected as the case study. The landscape
represents the building complex and open spaces are provided adjacent to buildings. The
lobby and main building are adjacent to waterscapes.
272
The original feature of the landscape provides a sense of tranquility and coolness that
achieved through the relationship between the building complex and adjacent to
waterscapes as shown on figure 137. The figure 138 is the simulated feature which
buildings not adjacent to waterscapes.
feature.
(p-value) (p-value)
● figure 137 ● figure 137

mean SD mean SD
(original: (original:
Building Building
adjacent to 17.74*
adjacent to -19.73*
3.91 0.64 2.97 0.57
waterscape) (sig=0.00) waterscape) (sig=0.00)
• figure 138
• figure 138
(simulated-
(simulated-
feature:
feature: Building 2.83 0.48 4.04 0.52
Building not
not adjacent to
adjacent to
waterscape)
waterscape)
buildings adjacent to waterscape are more appropriate for resort architecture with the
the p-values obtained through a t-test show that both original buildings and simulated-
The mean rating in table 53 reveals that the non-architects generally find that the
simulated-feature which buildings not adjacent to waterscape are more appropriate for
resort architecture with the modern Thai character.
273
the p-values obtained through a t-test show that both simulated-feature and original
buildings reflect with significant differences (t = -19.73).
Architectural Architects Non-architects

Characteristics and t
Design (p-value)
● figure 137
(original: Building 3.91 0.64 (1) 2.97 0.57 (2) 13.29*
adjacent to waterscape) (sig = 0.00)
• figure 138
(sig = 0.00)
Building not adjacent to
waterscape)
The “mean” rating in table 54 reveals that architects generally agree on the original
buildings adjacent to waterscapes reflect more appropriate design to resort
architecture for modern Thai character than the buildings not adjacent to waterscapes.
They also consider this element for their designs.
Non-architects generally agree on buildings not adjacent to waterscapes reflect more

appropriate design to resort architecture for modern Thai character than the original
buildings adjacent to waterscapes.
public) respond with significant differences on the buildings adjacent to waterscapes (t
=13.29 ) and the buildings not adjacent to waterscapes (t = -20.63).
The landscape design in terms of building and waterscape is relevant to the traditional
Thai architecture that Ruethai Chaichongrak has pointed out the relationship of Thai
people to the water environment particularly in terms of human settlement. Early Thai
274
settlements tended to originate near canals and rivers because the livelihood of their
inhabitants depended mainly on water for domestic and agricultural use as well as for
communication. Riverside villages are still common features along most waterways
(Chaichongrak et al, 2002: 20-23). Access to water was important for all aspects of Thai
life, both domestic and agricultural. Thai houses in early settlements were erected along
the canals. Villages are arranged where each house is related to the waterscape, as well as
each house being surrounded by the natural environment.
Case Study: The Four Seasons Resort and Spa: Chiang Mai
Figure 140: A building complex with kalae and Figure 141: A building complex without kalae and
ornament (original) ornament as simulated-feature
The Four Seasons Resort is selected as the case study. The original roof’s feature of the
building complex is designed and inspired by the traditional of Northern architecture. The
original feature is the building complex with kalae including ornament as shown in the
275
figure of 139. The figure 140 is simulated feature—building complex without kalae and
ornament.
feature.
(p-value) (p-value)
mean SD mean SD
(original: A (original: A
building complex building complex
with kalae and with kalae and
ornament) 6.49*
ornament) 20.84*
4.45 0.71 4.43 0.71
(sig=0.00) (sig=0.00)

feature: A feature: A
building complex 3.94 0.62 building complex 3.01 0.59
without kalae and without kalae and
ornament) ornament)
The mean rating in table 55 reveals that the architects generally find that the roof profile of
the original with kalae including ornament is more appropriate for resort architecture with
The mean rating in table 55 reveals that the non-architects generally find that the roof
profile of the original with kalae including ornament is more appropriate for resort
architecture with modern Thai character.
276

t
Characteristics and
(p-value)
Design
● figure 139
(original: A building
4.45 0.71 (1) 4.43 0.71 (1) 0.24
complex with kalae and (sig = 0.80)
ornament)
● figure 140
(simulated-feature: A
building complex 3.94 0.62 (2) 3.01 0.59 (2) 13.22*
without kalae and (sig = 0.00)
ornament)
generally agree on a building complex with kalae including ornament reflect more
appropriate design to resort architecture for modern Thai character than the lacking
one. They also consider this element for their design.
public) respond with no significant differences on a building complex with kalae
including ornament (t = 0.24) and respond with significant differences on a building
complex without kalae and ornament (t = 13.22).
Roof profiles with kalae and ornaments are relevant to the regional Thai architecture that
on the simplest houses, especially those made of bamboo, the kalae are nothing more than
rather crude extensions, possibly serving a functional purpose by simplifying construction
277
and further strengthening the roof. On a house belonging to a more prosperous family,
however, they are often separate pieces, beautifully carved in a shape that does indeed
suggest feathers, or perhaps flickering flames, providing a decorative effect not unlike the
curved finials at either end of Thai temple roofs. Kalea are also found on houses of some
of the hill tribes who live in the northern mountains, as well as those of the Thai Lu people
in southern China and Laos; they are rarely seen on houses in central and southern
Thailand (Chaichongrak et al, 2002: 139).
Case Study: The Tab-kaak Resort: Krabi
Figure 142: Building with curved-roof Figure 143: Building with gable roof as simulated-feature
and ornament (original)
The Tab-kaak Resort is selected as the case study. The original of the roof profile is the
curved-roof including ornament as shown on figure of 142. The figure of 143 is the
simulated-feature—building with gable roof.
.
278
feature.
(p-value) (p-value)
● figure 142 mean SD ● figure 142 mean SD

Building with Building with
curved roof 2.85 0.43 curved roof 3.21 0.80
and ornament) -18.46* and ornament) -11.76*
(sig = 0.00) (sig = 0.00)

feature: 3.94 0.63 feature: 3.97 0.54
Building with Building with
gable roof) gable roof)
The mean rating in table 57 reveals that the architects generally find that the roof profile of
the simulated-feature with gable roof is more appropriate design for resort architecture
with modern Thai character than the roof profile of the original with curved-roof including
ornament.
feature reflect with significant differences (t = -18.46).
The mean rating in table 57 reveals that the non-architects generally find that the roof
profile of the simulated-feature with gable roof is more appropriate design for resort
architecture with modern Thai character than the roof profile of the original with curved-
roof including ornament.
279
feature reflect with significant differences (t = -11.76).

characteristics and design t
(p-value)
● figure 142
(original: Building with 2.85 0.43 (2) 3.21 0.80 (2) -4.79*
curved roof and ornament) (sig = 0.00)
● figure 143
(simulated-feature: 3.96 0.63 (1) 3.97 0.53 (1) -0.19
Building with gable roof) (sig = 0.84)
generally agree on the roof profile of the simulated-feature with gable roof reflects more
appropriate design to resort architecture for modern Thai character than the roof
profile of the original with curved-roof including ornament. They also considered this
element for the designs.
public) respond with significant differences on the roof profile of the original with
curved-roof including ornament (t = -4.79) and respond with no significant differences
on that the roof profile of the simulated-feature with gable (t = -0.19).
The curved roof profile of The Tab-kaak Resort, generally architects and non-architects
generally accept the original feature lower the simulated feature, that is due to the tangible
qualities of traditional Thai architecture still be faced to the perception of the respondents.
280
However, it is irrelevant to the recommendation of the committee of The Association of

Siamese Architects Under Royal Patronage who judged project given the design award.
However, architects, non-architects (general public), and the committee have responded
different points of view on the same issue, but architects should allow the latter to
participate in design processes and considerations.
Case Study: Le Meridean Baan Taling Ngam: Samui
Figure 144: Landscape with lily pond Figure 145: Landscape with walkway as simulated-feature
(original)
Le Meridean Baan Taling Ngam is selected as the case study. The original feature of the
landscape design is to provide a sense of tranquility and coolness through the landscape
with lily pond as shown in figure of 144. The figure of 145 is the simulated feature —the
landscape with walkway.
281
feature.
(p-value) (p-value)
mean SD mean SD
Landscape 4.47 0.66 Landscape 3.98 0.48
with lily pond) with lily pond)
7.03* 16.93*
(sig = 0.00) (sig = 0.00)

feature: 3.95 0.65 feature: 3.01 0.62
Landscape Landscape
with walkway) with walkway)
feature of the landscape with lily pond reflects more appropriate design to resort
architecture for modern Thai character than the simulated feature —the landscape
with walkway.
the p-values obtained through a t-test show that both original landscape and simulated-
feature of the landscape with lily pond reflects more appropriate design to resort
architecture for modern Thai character than the simulated feature —the landscape
with walkway.
282
the p-values obtained through a t-test show that both original landscape and simulated-
Architectural Characteristics t
and Design (p-value)
● figure 144
(original: Landscape with lily 4.47 0.66 (1) 3.98 0.48 (1) 7.36*
pond) (sig = 0.00)
● figure 145
(simulated-feature: Landscape 3.95 0.65 (2) 3.01 0.62 (2) 12.16*
with walkway) (sig = 0.00)
generally agree on the original feature of the landscape with lily pond reflects more
appropriate design to resort architecture for modern Thai character than the
simulated feature—the landscape with walkway. They also consider this element for the
designs.
public) respond with significant differences in which both the original landscape with lily
pond (t = 7.36) and the simulated feature—the landscape with walkway (t = 12.16).
The landscape design is relevant that to access to water was important for all aspects of
Thai life, both domestic and agricultural. Thai houses in early settlements were erected
along the canals. Villages are arranged where each house is related to the waterscape, as
well as each house being surrounded by the natural environment.
283
Landscaped pools are a typical element in landscape design for traditional and Thai
gardens. Landscaped pools reflect the identity of a Thai garden provide cool sitting areas.
In some instances water jars are planted with water lilies and lotus and placed around the
chan. (H.Shiranan, 1994: 75).
284
Chapter 7
Conclusion and Suggestions
Chapter Overview
In the global contexts of tourism and resort development, resort architecture is still to
accommodate of tourists as well as helping to create the destination that attracts
tourists. Thus, the concept of authenticity and cultural values are integrated within
architectural design development. This research studies the creative dimensions of the
characteristics of modern Thai architecture, including design guidelines for modern
Thai architecture in resort contexts. The opinions of architects and non-architects
(general public) can be summarized as follows:
Summary of the Findings
7.1 The Characteristics of Modern Thai Architecture
Both architects and non-architects (general public) accept that Thai character in
architecture can be drawn from the adaptation of traditional Thai architecture in the
past in both tangible and intangible qualities and values.
A Modern Thai Character in Tangible Qualities and Values
7.1.1 Building Organization and Grouping
As presented in chapter 6 on the characteristics of modern Thai architecture in tangible

qualities and values—building organization and grouping, the areas in which architects
respond with lower rating than non-architects (general public) are:
• semi-enclosed space with chan (central terrace);
• buildings with uncovered-walkway;
• buildings with covered-walkways;
• uncovered elevated walkways;
• covered elevated walkways

285
The areas in which architects and non-architects respond with significant

differences are:
• buildings with covered-walkways;
• uncovered elevated walkways;
The area in which architects and non-architects respond with no significant

differences is:
• semi-enclosed space with chan (central terrace)
Design considerations that architects need to consider most for defining modern Thai
character under the heading of building organization and grouping are: semi-
enclosed space with chan (central terrace), and uncovered elevated walkways.
In addition, the results indicate that the most significant aspect of appropriate design
for architects are: uncovered elevated walkways; and buildings with covered-
walkways.
7.1.2 Architectural Elements

qualities and values—architectural elements—the areas in which architects respond
with higher rating than non-architects (general public) are:
• stepped and multi-tiered roofs

• roofs and their slopes
• roofs and their overhangs
• buildings connected with chan (a central terrace)
• buildings connected with palai (covered verandah)
• buildings connected with lan- long
• floors and patterns
• wall panels and character
• solid panels
• ventilating panel
• wall panels and patterns
• sao-loy with round-shaped profile
• building with brackets
• handrails and balusters—character and patterns
The areas in which architects respond with lower rating than non-architects
(general public) are:
286
• roofs and roofing—materials and colors

• roof and a sense of “gracefulness”
• roof profiles
• flooring and materials
• glass panels
• wall panels and materials
• the characteristics of openings and voids
• the proportion and the arrangement of openings and voids
• the materials used for openings and voids
• sao-loy with square-shaped profile
• sao-loy with indented-corners
• sao-loy with square-bases and tops and with buo-shaped or lotus-shaped
capitals
• building without brackets
• building without brackets
• handrails and balusters—materials used
• handrails and balusters—height and proportion

differences are:
• roof profiles
• stepped and multi-tiered roofs
• roofs and their slopes
• roofs and their overhangs
• materials and colors
• roof and a sense of “gracefulness
• buildings connected with chan (central terrace)
• floors and patterns
• flooring and materials
• wall panels and character
• solid panels
• glass panels
• wall panels and materials
• sao-loy with round-shaped profile
• sao-loy with square-shaped profile
• sao-loy with square-bases and tops and with buo-shaped or lotus-shaped
capitals
• building with brackets
• handrails and balusters—character and patterns
The areas in which architects and non-architects respond with no significant

differences are:
287
• buildings connected with palai (covered verandah)

• buildings connected with lan- long
• ventilating panel
• wall panels and patterns
• the characteristics of openings and voids
• the proportion and the arrangement of openings and voids
• the materials used for openings and voids
• sao-loy with indented-corners
• handrails and balusters—materials used
• handrails and balusters—height and proportion
Design considerations that architects should consider with as the most significant
issues for modern Thai character—architectural elements—are: roofs and their
overhangs; roof profiles; roofs and their slopes; roof and a sense of “gracefulness;”
buildings connected with chan (central terrace); buildings connected with palai
(covered verandah); floors and patterns; flooring and materials; uncovered elevated
walkways; wall panels and character; ventilating panel; the materials used for openings
and voids; the proportion and the arrangement of openings and voids; sao-loy with
round-shaped profile; sao-loy with indented-corners; sao-loy with square-bases and
tops and with buo-shaped or lotus-shaped capitals; character and patterns of handrails
and balusters.
In addition, the results of the questionnaire indicates that the following elements are
the most important design consideration: roofs and their overhangs; roof and a sense of
“gracefulness;” buildings connected with lan- long (open spaces); buildings connected
with chan (central terrace) uncovered elevated walkways; ventilating panel; the
characteristics of openings and voids; materials used for openings and voids; sao-loy
with round-shaped profile; and height and proportion of handrails.
7.1.3 Landscape

qualities and values—the landscape—the areas in which architects respond with higher
rating than non-architects (general public) are:
• tree at the center of open space

• building raised on stilts over the water feature
• the sala placed at the middle of the water feature
• trees adjacent to the buildings

• trees not adjacent to the building
288
• building adjacent to the water feature

• sala adjacent to the water feature
• uncovered elevated walkways

differences are:
• tree at the center of open space

• trees not adjacent to the building
• the sala placed at the middle of the water feature

differences are:
• trees adjacent to the building

• building adjacent to the water feature
• building raised on stilts over the water feature
• sala adjacent to the water feature
• uncovered elevated walkways
Design considerations that architects should consider with as the most significant
issues for modern Thai character—landscape—are: tree at the center of open space;
trees adjacent to the building; building raised on stilts over the water feature; building
adjacent to the water feature; and the sala placed at the middle of the water feature.
In addition, the important and appropriate design that the architects should concern
with as the design considerations for modern Thai architecture in resort contexts are:
trees adjacent to the building; building raised on stilts over the water feature; sala
adjacent to the water feature; and uncovered elevated walkways
As presented in chapter 6 on the characteristics of modern Thai architecture in

intangible qualities and values—a sense of lightness—the areas in which architects
respond with higher rating than non-architects (general public) are:
• free-standing columns
• building adjacent to waterscape
289
• overhangs
• multi-tiered roofs and stepped roofs
• raised floor
• sloped-wall

differences are:
• overhangs
• free-standing columns

differences are:
• multi-tiered roofs and stepped roofs

• raised floor
• building adjacent to waterscape
• slant wall
Design considerations that architects should concern with as the most significant issues
for modern Thai character in intangible qualities and values—a sense of lightness are:
free-standing columns; building adjacent to waterscape; overhangs; and multi-tiered
roofs and stepped roofs.
raised floor; overhangs; and free-standing columns.

intangible qualities and values—a sense of transparency, the areas in which architects
• building organization within semi-enclosed space

• building raised on stilts
290
• building organization and grouping

• using glass as a transparent material
• building with free-standing columns

differences are:

• building raised on stilts
• using glass as a transparent material

differences are:
• building organization within semi-enclosed space

for modern Thai character in intangible qualities and values—a sense of transparency
are: building raised on stilts; building organization within semi-enclosed space (e.g.,
building with chan); and building with free-standing columns.
building raised on stilts; building organization within semi-enclosed space (e.g.,
building with chan); and building with free-standing columns.

intangible qualities and values—a sense of tranquility and coolness, the areas in which
architects respond with lower rating than non-architects (general public) are:
• buildings adjacent to the waterscape

• buildings adjacent to trees
• tree planted at the center of the open space
291

differences are:
• buildings adjacent to the waterscape

• buildings adjacent to trees
• tree planted at the center of the open space
for modern Thai character in intangible qualities and values—a sense of tranquility
and coolness are: buildings adjacent to the waterscape; and buildings adjacent to trees.
buildings adjacent to the waterscape; buildings adjacent to trees.

intangible qualities and values—a sense of hospitality, the areas in which architects
respond with lower rating than non-architects (general public) are:
• sala (Thai pavilion)

• covered verandah
• entrance pavilion
• open-air lobby
The area in which architects and non-architects respond with significant

differences is:
• covered verandah

differences are:
• sala (Thai pavilion)

• entrance pavilion
• open-air lobby
for modern Thai character in intangible qualities and values—a sense of hospitality
are: sala (Thai pavilion); and covered verandah.
292
sala (Thai pavilion); covered verandah; and open-air lobby.
Figure 146: Architectural development of modern Thai character according to the results.
Figure 147: Architectural development of modern Thai character according to the appropriate designs.
293
These consistent results suggest four preliminary observations. First, the analysis
shows that both architects and non-architects (general public) have a similar direction
of acceptance regarding to the development of modern Thai architecture by using the
intangible aspects reflecting through traditional Thai architecture.
Second, when Thai characteristics are applied into modern Thai architecture and
design, the style of architecture tends to be more similar to the traditional aspects.
These have obvious implications in terms of expressing Thai character.
Third, tangible qualities and values are still important factors linking the essences of
Thai character expressing through the new functionality of resort architecture.
Fourth, intangible qualities and values express together with tangible aspects. The
architectural characteristics of modern Thai architecture being similar to the traditional
Thai character or not, depend on the purpose of architecture itself.
The in-depth investigations into the impelling factors of national significance reveal
the roles of architecture as Vimolsiddhi Horayangkura suggests that architects should
concern with architecture as cultural heritage because architecture can be a significant
component of national cultural heritage. Thus, there should be architecture of high and
sustainable value that can be accepted as cultural heritage. One critical question that
should be raised is that the present architecture of international style can hardly be
considered as Thai cultural heritage. If being so, we are creeping toward self-
destruction, as the contexts and other influencing factors are changing rapidly.
Eventually, we well come to an end in similar to the slowing down of a pendulum in
moving against the inertia. As professor Sompop Piromya, in referring to Prince
Naris’s concept in cultural continuity, has succinctly pointed out that we should not
only use up our past heritages, but we should also create new glories (Horayangkura,
2002: 104-106).
Tan Hock Beng stated that meaningful direction in contemporary architecture in

southeast Asia can only evolve if there is a deeper understanding and protracted re-
evaluation of indigenous building traditions in an ever-expanding field of possibilities
than is practiced at the moment. The challenge lies in dismantling many of the existing
false fronts designed to project a superficial reassurance of identity, and seeking
instead new modes of representation. Architects must understand the fundamental
lessons found in the rich local traditions of the region, and learn to synthesize them
into convincing forms determinedly contemporary and appropriate to changing
conditions (Beng , 1995: 216).
7.2 Design Guidelines for Modern Thai Architecture in Resort Contexts
The opinions of architects and non-architects (general public) in responding with their
viewpoints on the design guidelines for modern Thai architecture can be summarized
as follows:
294
7.2.1 The Various Aspects of Site Planning
As presented in chapter 6 on the design guidelines for modern Thai architecture in

resort contexts—the various aspects of site planning, the area in which architects
respond with higher rating than non-architects (general public) is:
• using traditional Thai wisdom and design principles to guide building

The areas in which architects respond with lower rating than non-architects (general
public) are:
• respect to the site context

• low impact on the site
• applying specific “tangible” steps to landscape design; these include such
features as the waterscape, tree planting, and other “hardscape” and landscape
components
The area in which both architects and non-architects respond with significant
differences is:
• using traditional Thai wisdom and design principles to guide building


differences are:
• respect to the site context

• low impact on the site
• applying specific “tangible” steps to landscape design; these include such
features as the waterscape, tree planting, and other “hardscape” and landscape
components
Design guidelines that architects should concern with as the most significant issues for
modern Thai architecture in resort contexts—the various aspects of site planning are:
using traditional Thai wisdom and design principles to guide building
organization to better protect the sites from tsunami threats; respect to the site
context; and applying specific “tangible” steps to landscape design; these include
such features as the waterscape, tree plantings and other “hardscape” and
landscape components.
7.2.2 Architectural Characteristics and Design

295

resort contexts—architectural characteristic and design, the areas in which architects
• utilizing intangible elements of Thai character, such as a sense of lightness,

tranquility, transparency, and hospitality
• to adapt and create modern Thai architecture in resort contexts in order to
develop sustainable tourism
• respect for the traditional hierarchical order of Thai architecture
public) are:
• design with Thai character in order to be attractive to tourists and for

commercial benefit
• utilizing specific, tangible elements of Thai character, such as sao-loy, roof
profiles, to create a sense of modern Thai architecture
• using traditional Thai wisdom and approaches to building that together help to
integrate against the effects of possible future tsunami disasters
The areas in which architects and non-architects respond with significant differences
are:
• design with Thai character in order to be attractive to tourists and for

commercial benefit
• utilizing specific, tangible elements of Thai character, such as sao-loy, roof
profiles, to create a sense of modern Thai architecture
• utilizing intangible elements of Thai character, such as a sense of lightness,
• to adapt and create modern Thai architecture in resort contexts in order to
• respect for the concepts of authenticity and regional architecture

differences is:
• using traditional Thai wisdom and approaches to building that together help to
integrate against the effects of possible future tsunami disasters
modern Thai architecture in resort contexts—architectural characteristics and
design are: utilizing intangible elements of Thai character, such as a sense of
lightness, tranquility, transparency, and hospitality; respect for the concepts of
296
authenticity and regional architecture; and using traditional Thai wisdom and
approaches to building that together help to integrate against the effects of
possible future tsunami disasters.
7.2.3 Landscape

resort contexts—landscape, the areas in which architects respond with higher rating
than non-architects (general public) are:
• using landscape components such as sala, lily ponds, and water features to
create the landscape
• using the existing condition of site and its context to create a sense of modern
Thai architecture through the practicality of low costs
The area in which architects respond with lower rating than non-architects (general
public) is:
• incorporating tradition the Thai wisdom and practice, including trees with
aerial covering for the landscape design and also as a protective measure in
case of tsunamis
are:
• using landscape components such as sala, lily ponds, and water features to
create the landscape
• using the existing condition of site and its context to create a sense of modern
Thai architecture through the practicality of low costs
• incorporating tradition the Thai wisdom and practice, including trees with
aerial covering for the landscape design and also as a protective measure in
case of tsunamis
modern Thai architecture in resort contexts—landscape are: using the existing
condition of site and its context to create a sense of modern Thai architecture
through the practicality of low costs; and incorporating tradition the Thai wisdom
and practice, including trees with aerial covering for the landscape design and
also as a protective measure in case of tsunamis.
7.2.4 Building Technology and Construction

297

resort contexts—building technology and construction, the areas in which architects
• using materials which have little impact on the environment

• incorporating aspects of traditional Thai wisdom such as ventilating panels, and
pre-fabricated systems of wall panels
public) are:
• using materials available in the local community

• using new materials where appropriate to create Thai character such as gable
ends and other components using reflective glass or other modern materials
are:
• using materials which have little impact on the environment

• incorporating aspects of traditional Thai wisdom such as ventilating panels, and
• using materials available in the local community
• using new materials where appropriate to create Thai character such as gable
ends and other components using reflective glass or other modern materials
modern Thai architecture in resort contexts—building technology and construction
are: using materials which have little impact on the environment; incorporating
aspects of traditional Thai wisdom such as ventilating panels, and pre-fabricated
systems of wall panels; and using materials which have little impact on the
environment.
7.2.5 Interior Architecture and Decorations

resort contexts—interior architecture and decorations, the area in which architects
respond with higher rating than non-architects (general public) is:
• applying the abstract dimensions of Thai character, such as a sense of

architecture in resort design
298
public) are:

• respect for the concepts of authenticity and regional architecture also to guide
are:
• using the completed form of architectural work and structural aesthetics to set
the creative standards for interior architecture
• respect for the concepts of authenticity and regional architecture also to guide
• applying the abstract dimensions of Thai character, such as a sense of
architecture in resort design

differences is:
modern Thai architecture in resort contexts—interior architecture and decorations
are: applying the abstract dimensions of Thai character, such as a sense of
architecture in resort design; respect for the traditional hierarchical order of
Thai architecture; respect for the traditional hierarchical order of Thai
architecture.
7.2.6 Laws and Regulations

resort contexts—laws and regulations, the area in which architects respond with higher
rating than non-architects (general public) is:
• to improve the regulations and laws governing new construction in order to

both encourage more cultural awareness of modern Thai architecture and help
protect sites from potential future tsunami disasters
299
The area in which architects respond with lower rating than non-architects (general
public) is:
• present-day regulations and laws are not appropriate for modern Thai
architecture and resort designs
The area in which architects and non-architects respond with significant differences
is:
• to improve the regulations and laws governing new construction in order to

both encourage more cultural awareness of modern Thai architecture and help
protect sites from potential future tsunami disasters

differences is:
• present-day regulations and laws are not appropriate to modern Thai

architecture and resort designs
Design guidelines that architects should concern with as the most significant issue for
modern Thai architecture in resort contexts—laws and regulations is to improve the
regulations and laws governing new construction in order to both encourage
more cultural awareness of modern Thai architecture and help protect sites from
potential future tsunami disasters.
300
Figure 148: the paradigm of design development of modern Thai architecture in resort contexts.
The research findings indicate that architects should be concerned and not only with
the highest degree of modern Thai character as apart of the design process, but they
also incorporate the ideals of sustainable architecture into the design considerations as
well. Architects might integrate in the design approach through an understanding of
the tourists’ needs, site context, authenticity of the site, and so forth. They should also
be aware of the practicality for modern Thai architecture in both the Thai and global
context.
Vimolsiddhi Harangkura suggests that the conceptual framework for the creation of
modern Thai architecture should not be based on traditional design criteria, features,
components, etc. To be more appropriate to the contexts of modern society, these must
be developed through experimental researches. He argues that a notable period of
incubation for the development should be extended to foster more public recognition.
Likewise, he feels, the creative endeavor should not simply base on international or
foreign style without any integration with traditional or regional criteria. The approach
put forward here is that to attain a “true” modern Thai architecture is a truly creative
process. Creative thinking encompasses multiple contextual factors, the specific needs
301
of various social and user groups, appropriate and advanced technology that is well
integrated with local wisdoms, including the modern Thai character that has gone
through experimental research. Such a global concept, along the new wave of “green
architecture,” contributes overall to the notion of an “environmental culture”
(Harangkura, 2002: 211).
In addition, sustainable architecture, through the attention and respect of local cultural
traditions and the environmental impact, manages to merge natural and human-made
spaces and contributes to the creation of a sense of place. Architecture can either
facilitate or limit the process of discovery of the local culture, since it is its privileged
means of expression. If built according to vernacular design principles and traditional
style, the resorts become a monument to local architecture (Deda, 2003:57)
Suggestions for Future Research
There are some suggestions for future research in relation to this dissertation. There
will be a great deal of advantage to contribute to the modern Thai architecture in resort
contexts, in particular to resort architecture for tourism development. They are:
1. On regarding the conservation of the uniqueness of Thai architecture by adapting it

into modern Thai character, there is still ambiguity in creating modern Thai
architecture. In order to meet the need of modern living and its context, the traditional
Thai architecture is not the appropriate solution to deal with this problem. Therefore, it
is necessary to investigate modern Thai character which are perceived and accepted by
both architects and non-architects who have different experiences and perceptions.
2. The future research should be conducted concerning theories and relevant topics
together with a survey focusing on the use of physical configuration of both past and
current Thai architecture. The results of survey will be used to make simulated models
to be applied together with questionnaires targeting at architects and general public.
The aim of research will be to compare Thai character and the suitability arising from
using various aspects of Thai character between the actual and virtual perception of
simulated models. It should also be aimed to compare the perception and acceptance of
Thai character between the two groups of the respondents.
3. The future research should be more specific on the architectural identity of regional
architecture in order to investigate the appropriate design for modern Thai architecture
in resort contexts particularly in terms of the architectural identity of authentic
concept.
4. The future research should also look more specifically into the appropriate design
in terms of hierarchical orders of Thai architecture.
5. As the results of this research, both groups of architects and non-architects

(general public) strongly express their own opinions on the tsunami disaster and
302
rethinking the design of resort architecture with appropriate solution that reflects the
Thai wisdom and indigenous architecture. Therefore, the future research should be
more specific in both architectural design and proper structure as well as the
integration through the design of landscaping.
6. Future research should also be more specific concerning the opinions of

international tourist in order to investigate appropriate design for modern Thai
architecture in resort contexts. This is particularly true in terms of the tourists’
responses to the perception of architectural images, for the future design of the
architects, as well as the responses from the two groups of respondents.
Applications
The research findings reveal the design and its trend for modern Thai architecture in
resort contexts which could be the basis of design strategies for architect to consider in
the design process aiming at both of creativity and practicality. They include:
1. Direction and Development of Modern Thai Architecture in Resort Contexts
Modern Thai architecture in resort contexts should follow the concept of integrated
design regarding to traditional Thai character in transforming with a global concept.
In building design, architects could rather apply the modern functions to those
buildings to serve the tourists’ needs and their activities. However, certain modern
Thai character should also be considered and applied through design awareness of non-
architects or general public.
The degree of integration and development of modern Thai architecture depends

strongly on the ideals of the resort design including site context, concept of
authenticity, architectural identity, and several contexts as well as the tourists’
destination.
2. Expression of Modern Thai Architecture
Modern Thai architecture in resort contexts could be expressed in both tangible and
intangible qualities and values. Design criteria including architectural components,
architectural elements and details, landscape, interior architecture and decoration,
building technology and construction, and laws and regulations are incorporated in
design consideration. Architects will be the one to arrange and manage the design
projects into the appropriate solutions for resort architecture. The more they are
designed with modern Thai character, the more they reflect “Thai-ness” as well.
303
3. Integration through Designs
The creation of modern Thai architecture in resort contexts should not be based only
on traditional design criteria or architectural features, but architects and designers must
develop modern Thai architecture through research-based design.
The creative thinking encompasses multiple contextual factors, the specific needs of
various social and users groups, appropriate and advanced technology that is well
integrated with local wisdom, including the modern Thai character that has gone
through experimental research. Such global concept along the new wave “green
architecture” has also brought up the environmental culture (Horayangkura, 2001:
212).
Figure 149: new paradigm with global concept for the design development of modern Thai architecture in resort
contexts.
304
Table 61: Summary of the results regarding the basis of building organization and grouping with the attitudes of architects and non-architects (general public)
Expression of
Modern Thai Character: The appropriate design for resort architecture
modern Thai character
Tangible qualities and
values—building organization remark
Statistical direction Statistical direction
and grouping Comparison Comparison
Non- Non-
Architects Architects
architects architects
1. Building organization and grouping: semi- } 9

enclosed space with chan (a central terrace)
2. Building organization: uncovered walkway } }
3. Building organization: covered walkways } } 9
4. Building organization: uncovered elevated } 9

walkways
5. Building organization: covered elevated

} }
walkways
} = significant difference = no significant difference = expressed with higher rating 9 = to be considered for future design
305
Table 62: Summary of the results regarding the basis of architectural elements—roofs and roofing with the attitudes of architects and non-architects (general
public)
Expression of
The appropriate design for resort architecture
Modern Thai Character: modern Thai character
Tangible Qualities and remark
Values: Architectural elements—roofs
and roofing Comparison Comparison
Non-
Architects Architects Non-architects
architects
1. Roof profiles
} 9
2. Stepped and multi-tiered roofs } }
3. Roofs and their slopes } }
4. Roofs and their overhangs } } 9
5. Materials and colors } }
6. Roof and a sense of “gracefulness } } 9
306
Table 63: Summary of the results regarding the basis of architectural elements— connecting spaces with the attitudes of architects and non-architects (general
public)
Expression of The appropriate design for resort architecture

Tangible Qualities and
remark
Values: Architectural elements—
connecting spaces Statistical direction Statistical direction
Comparison Comparison
Non- Non-
1. Buildings connected with chan (a central

terrace) } } 9
2. Buildings connected with palai (covered

}
verandah)
3. Buildings connected with lan- long

(open spaces) 9
307
Table 64: Summary of the results regarding the basis of architectural elements—floors and flooring with the attitudes of architects and non-architects (general
public)

Values: Architectural elements—floors Statistical direction Statistical direction
and flooring Comparison Comparison
Non- Non-
1. Floors and patterns

} }
2. Flooring and materials

} } 9
308
Table 65: Summary of the results regarding the basis of architectural elements—wall panels with the attitudes of architects and non-architects (general public)
Expression of
Values: Architectural Statistical direction Statistical direction
elements—wall panels Comparison Comparison
Non- Non-

1. Wall panels and character }

1.1 Solid panels } }
1,2 Glass panels } } 9
1.3 Ventilating panel } 9
2. Wall panels and patterns
3. Wall panels and materials }
309
Table 66: Summary of the results regarding the basis of architectural elements—openings and voids with the attitudes of architects and non-architects (general
public)

remark
Values: Architectural
elements—openings and voids Statistical direction Statistical direction
Non- Non-
1. The characteristics of openings and voids } 9
2. The proportion and the arrangement of

9
openings and voids
3. The materials used for openings and voids }
310
Table 67: Summary of the results regarding the basis of architectural elements—free-standing posts and columns with the attitudes of architects and non-architects
(general public)

remark
elements—free-standing Statistical direction Statistical direction
posts and columns
Non- Non-

1Sao-loy with round-shaped profile } } 9
2. Sao-loy with square-shaped profile } }
3. Sao-loy with indented-corners }
4. Sao-loy with square-bases and tops and with

buo-shaped or lotus-shaped capitals } } 9
311
Table 68: Summary of the results regarding the basis of architectural elements—brackets with the attitudes of architects and non-architects (general public)

remark
elements—brackets Statistical direction Statistical direction
Non- Non-

1. Building with brackets } 9
2. Building without brackets }
312
Table 69: Summary of the results regarding the basis of landscape—tree locations with the attitudes of architects and non-architects (general public)
Expression of
remark
Values: Landscape—tree locations
Non- Non-
} } 9
1. Tree at the center of open space
2. Trees adjacent to the building 9
3. Trees not adjacent to the building

} }
313
Table 7 0: Summary of the results regarding the basis of landscape—waterscape with the attitudes of architects and non-architects (general public)

remark
Values: Landscape—waterscape
Non- Non-
1. Building adjacent to the water feature
2. Building raised on stilts over the water feature

} 9
314
Table 71: Summary of the results regarding the basis of landscape—sala (Thai pavilion) with the attitudes of architects and non-architects (general public)

Values: Landscape—sala Statistical direction Statistical direction
(Thai pavilion) Comparison Comparison
Non- Non-
1. Sala adjacent to the water feature } 9
2. The sala placed at the middle of the water

feature }
315
Table 72: Summary of the results regarding the basis of landscape—bridge walkways with the attitudes of architects and non-architects (general public)

remark
Values: Landscape—bridge walkways
Non- Non-
} }
1. Covered elevated walkway
2. Uncovered elevated walkway

} 9
316
Table 73: Summary of the results regarding the basis of intangible qualities and values—a sense of lightness with the attitudes of architects and non-architects
(general public)
Expression of
Modern Thai Character in The appropriate design for resort architecture
Intangible Qualities and
Values: A sense of lightness Statistical direction Statistical direction remark
Comparison Non- Comparison Non-
1. Overhangs } } 9
2. Multi-tiered roofs and stepped roofs
3. Free-standing columns } }
4. Raised floor } 9
5. Building adjacent to waterscape
6. Slant wall }
317
Table 74: Summary of the results regarding the basis of intangible qualities and values—a sense of transparency with the attitudes of architects and non-architects
(general public)
Expression of
Modern Thai Character in
remark
Intangible Qualities and Statistical direction Statistical direction
Values: A sense of transparency Comparison Non- Comparison Non-

}
(spacing of the building)
2. Building placement within semi-enclosed

space (e.g., building with chan) 9
3. Building raised on stilts } } 9
4. Using glass as a transparent material } }
5. Building with free-standing columns
318
Table 75: Summary of the results regarding the basis of intangible qualities and values—a sense of tranquility and coolness with the attitudes of architects and
non-architects (general public)

Modern Thai Character in modern Thai character
Intangible Qualities and
remark
Values: A sense of tranquility
and coolness Statistical direction Statistical direction
Non- Non-
} } 9
1. Buildings adjacent to the waterscape
2. Buildings adjacent to trees } 9
3. Tree planted at the center of the open

} }
space
319
Table 76: Summary of the results regarding the basis of intangible qualities and values—a sense of hospitality with the attitudes of architects and non-architects
(general public)

Modern Thai Character in modern Thai character
Intangible Qualities and remark
Values: A sense of hospitality Statistical direction Statistical direction
Non- Non-
1. Open-air lobby
2. Entrance pavilion
3. Sala (Thai pavilion) 9
4. Covered verandah
} 9
320
Table 77: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of the various aspects of site planning with the attitudes
of architects and non-architects (general public)
Expression of
Design Guidelines for Modern Thai
Statistical direction Statistical direction remark
Architecture: The various aspects of
site planning Comparison Comparison
Non- Non-
1. Respect to the site context - - - 9
2. Low impact on the site - - -
3. Using traditional Thai wisdom and design

principles to guide building organization to - - - } 9
better protect the sites from tsunami threats.
4. Applying specific “tangible” steps to

landscape design; these include such features
as the waterscape, tree planting, and other - - - }
“hardscape” and landscape components
321
Table 78: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of architectural characteristics and design with the
Expression of
Design Guidelines for Modern The appropriate design for resort architecture
Thai Architecture:
Architectural characteristics
and design Comparison Comparison
Non- Non-
1. Design with Thai character in order to be

attractive to tourists and for commercial - - - }
benefit
2. Utilizing specific, tangible elements of

Thai character, such as sao-loy, roof
}
profiles, to create a sense of modern - - -
Thai architecture
3. Utilizing intangible elements of Thai

character, such as a sense of lightness, - - - } 9
322
Table 78: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of architectural characteristics and design with the
attitudes of architects and non-architects (general public) (cont).
Expression of
Design Guidelines for Modern The appropriate design for resort architecture
Thai Architecture:
Architectural characteristics remark
Statistical direction
and design Statistical direction
Non- Non-
4. To adapt and create modern Thai

architecture in resort contexts in order to - - - }
5. Respect for the concepts of authenticity

and regional architecture } 9
- - -
6. Respect for the traditional hierarchical

- - - }
order of Thai architecture
7. Using traditional Thai wisdom and

approaches to building that together help
- - - 9
to integrate against the effects of possible
future tsunami disasters
323
Table 79: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of the landscape with the attitudes of architects and non-
architects (general public)
Expression of
Design Guidelines for Modern
Thai Architecture: The landscape remark
Non- Non-
1. Using the existing condition of site and its

context to create a sense of modern Thai } 9
- - -
architecture through the practicality of low
costs
2. Using landscape components such as sala,

lily ponds, and water features to create the }
landscape
- - -
3. Incorporating tradition the Thai wisdom and

practice, including trees with aerial covering
- - - }
for the landscape design and also as a
protective measure in case of tsunamis
324
Table 80: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of building technology and constructions with the
Expression of
Design Guidelines for Modern Thai
Architecture: Building technology and
constructions Comparison Comparison
Non- Non-
1. Using materials available in the local - - - } 9

community
2. Using new materials where appropriate

to create Thai character such as gable
ends and other components using }
reflective glass or other modern - - -
materials
3. Using materials which have little impact

- - - } 9
on the environment
4. Incorporating aspects of traditional Thai

wisdom such as ventilation panels, and - - - } 9
325
Table 81: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of interior architecture and decoration with the attitudes
of architects and non-architects (general public)
Expression of
Design Guidelines for Modern Thai The appropriate design for resort architecture
Architecture: Interior architecture and
decoration remark
Non- Non-
1. Respect for the traditional hierarchical order of

- - - } 9
Thai architecture
2. Using the completed form of architectural

work and structural aesthetics to set the creative }
standards for interior architecture - - -
3. Respect for the concepts of authenticity and

regional architecture also to guide the interior - - - }
architecture
4. Applying the abstract dimensions of Thai

character, such as a sense of transparency, - - - } 9
tranquility, and a sense of hospitality to create the
interior architecture in resort design
326
Table 82: Summary of the results of the design guidelines for modern Thai architecture regarding the basis of laws and regulations with the attitudes of architects
and non-architects (general public)

Design Guidelines for Modern Thai modern Thai character
Architecture: Laws and regulations
remark
Non- Non-
1. Present-day regulations and laws are not

appropriate for modern Thai architecture - - - }
and resort designs
2. To improve the regulations and laws

governing new construction in order to
both encourage more cultural awareness
} 9
of modern Thai architecture and help - - -
protect sites from potential future
tsunami disasters
327
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330
Appendix 1: The Questionnaire (English)

331
Questionnaire
Design Guidelines for

Modern Thai Architecture in Resort Contexts
332
Faculty of Architecture
Silpakorn University
Graduate School
Dear Questionnaire respondent
My name is Khiensak Seangklieng, I am a student in the Doctor of Philosophy

program in architecture and currently completing a dissertation entitled “Design
Guidelines for Modern Thai Architecture in Resort Contexts” This research aims to
investigate the creative dimension for modern Thai character in resort architecture in
terms of the reinvention approaches.
The information that you have provided in this questionnaire will only be used for the
purpose of this dissertation. They will not be disclosed, under any circumstances, to
the third party.
Thank you very much for your time and assistance.
Sincerely,
Khiensak Seangklieng
Ph. D. Candidate in Architectural
Heritage Management and Tourism.
333
Overview
Resort architecture is public building with modern functions. It is designed for

tourists and the general public. Mostly, resort buildings are created and designed
for commercial purposes not for strictly aesthetic or cultural reasons. In addition,
the basis and development of Thai character remain undefinable—at least in a
complete way. For these reasons architectural ideals reflecting Thai character in
resort contexts still faces significant limitations.
The continuity of creative dimension regarding the conservation of the

uniqueness of Thai architecture by applying its identity into modern Thai
architecture within the context of modern Thai society. Thus, it is necessary to
investigate the characteristics of modern Thai architectural identity that will be
accepted by both general architect and general public who have different
experiences.
Key words:
Modern Thai Architecture, is referred to the design and construction technology of

the current architecture within the context of modern Thai Society. The creation of
modern Thai character regarding the conservation of the uniqueness or “Thai-ness” by
applying its identity based on the traditional Thai architecture.
Resort Contexts, referred to the contexts and their factors which related to resort
architecture such as tourism development, resort design principles, etc.
334
Questionnaire Items
Questionnaires are divided into 4 parts as follows:
Part 1: To study the opinions and perception of modern Thai character in both
tangible and intangible qualities and values which are important and appropriate
design for resort architecture.
Instruction: please indicate the extent to which you agree with each of the following
statements and items by circling the appropriate number.
Coding scheme:
1 = Strongly disagree
2 = Somewhat disagree
3 = Neutral
4 = Somewhat agree
5 = Strongly agree
Example :
Levels of opinion
Expression to modern Thai character Strongly disagree Strongly agree
1 2 3 4 5
Levels of opinion
The appropriate design for resort architecture Strongly disagree Strongly agree
1 2 3 4 5
335
A. Thai character in tangible qualities and values
Levels of opinion
Strongly disagree Strongly agree
1 2 3 4 5
1.1 Building organization and grouping:

Semi-enclosed space with chan (a central terrace)
• Expression to modern Thai character 1 2 3 4 5
• The appropriate design for resort 1 2 3 4 5

architecture
336
Levels of opinion

1 2 3 4 5
1.2 Building organization and grouping: Uncovered walkway
1 2 3 4 5
• Expression to modern Thai character

architecture
337
Levels of opinion

1 2 3 4 5
1.3 Building organization and grouping: Covered-walkways
1 2 3 4 5
• Expression to modern Thai character

architecture
338
Levels of opinion

1 2 3 4 5
1.4 Building organization and grouping: Uncovered elevated walkway
• The appropriate design for resort architecture 1 2 3 4 5

339
Levels of opinion

1 2 3 4 5
1.5 Building organization and grouping: Covered elevated walkway
• The appropriate design for resort

1 2 3 4 5
architecture
340
Levels of opinion

1 2 3 4 5
2. Architectural Elements: Roofs and roofing
Thai character in tangible

qualities and values
Expression to modern Thai The appropriate design for
Character resort architecture
1) Roofs and roofing
1.1 Roof profiles

1 2 3 4 5 1 2 3 4 5
(e.g., gable roof, Manila-
brano, etc.)
1.2 Stepped and multi-

1 2 3 4 5 1 2 3 4 5
tiered roofs
1.3 Roofs and their slopes 1 2 3 4 5 1 2 3 4 5
1.4 Roofs and their

1 2 3 4 5 1 2 3 4 5
overhangs
1.5 Materials and colors 1 2 3 4 5 1 2 3 4 5
1.6 Roof and a sense of

1 2 3 4 5 1 2 3 4 5
“gracefulness”
341
Levels of opinion

1 2 3 4 5
1 2
Figure 1: building connected with chan (central terrace) and palai (covered verandah)
Figure 2: building connected with connected with lan- long (open spaces)
2. Architectural Elements: Connecting spaces

character resort architecture
2) Connecting spaces
2.1 Connected with chan
(a central terrace) 1 2 3 4 5 1 2 3 4 5
2.2 Connected with palai

1 2 3 4 5 1 2 3 4 5
(covered verandah)
2.3 Connected with lan-
long (open spaces) 1 2 3 4 5 1 2 3 4 5

342
Levels of opinion

1 2 3 4 5
2. Architectural Elements: Floors and Flooring

3) Floor & Flooring
3.1 Foors and patterns

1 2 3 4 5 1 2 3 4 5
3.2 Flooring and materials 1 2 3 4 5 1 2 3 4 5
2. Architectural Elements: Wall panels

Expression to modern The appropriate design
Thai character for resort architecture
4) Wall panels
4.1 Wall panels and character 1 2 3 4 5 1 2 3 4 5
- Solid panels 1 2 3 4 5 1 2 3 4 5
- Glass panels 1 2 3 4 5 1 2 3 4 5
- Ventilating panel 1 2 3 4 5 1 2 3 4 5
4.2 wall panels and patterns 1 2 3 4 5 1 2 3 4 5
4.3 Wall panels and materials 1 2 3 4 5 1 2 3 4 5

343
Levels of opinion

1 2 3 4 5
2. Architectural Elements: Opening and Void

5) Opening and Void
5.1 The characteristics of

opening and void
(e.g., awning, folding, 1 2 3 4 5 1 2 3 4 5
sliding, etc.)
5.2 The proportion and

arrangement of 1 2 3 4 5 1 2 3 4 5
opening and void
5.3 The materials used of

opening and void 1 2 3 4 5 1 2 3 4 5
344
Levels of opinion
1 2 3 4 5
1 2 3 4
Figure 1: Sao-loy with round-shaped profile

Figure 2: Sao-loy with square-shaped profile
Figure 3: Sao-loy with indented-corners
Figure 4: Sao-loy with square-bases and tops and with buo- shaped or lotus-shaped capitals
2. Architectural Elements: Sao-loy (free-standing posts and columns)

6) Sao-loy (free-standing
posts and columns
6.1 Sao-loy with round-
shaped profile 1 2 3 4 5 1 2 3 4 5
6.2 Sao-loy with square-

shaped profile 1 2 3 4 5 1 2 3 4 5
6.3 Sao-loy with indented
corners 1 2 3 4 5 1 2 3 4 5
6.4 Sao-loy with square-

buo-shaped or lotus- 1 2 3 4 5 1 2 3 4 5
shaped capitals
345
Levels of opinion
1 2 3 4 5
1 2
Figure 1: Building with brackets Figure 2: Building without brackets
2. Architectural Elements: Brackets

7) Brackets
7.1 Building with brackets 1 2 3 4 5 1 2 3 4 5
7.2 Building without

1 2 3 4 5 1 2 3 4 5
brackets
346
Levels of opinion
1 2 3 4 5
2. Architectural Elements: Handrails and Balusters

8) Handrails and
Balusters
8.1 Character and patterns 1 2 3 4 5 1 2 3 4 5
8.2 Materials used 1 2 3 4 5 1 2 3 4 5
8.3 Height and proportion 1 2 3 4 5 1 2 3 4 5

347
Levels of opinion
1 2 3 4 5
2 3
Figure1: Tree at center of open space
Figure 2: Trees adjacent to the building
Figure 3: Trees not adjacent to the building
3. Landscape: Tree Locations

9) Tree planting
9.1 Tree at the center of

1 2 3 4 5 1 2 3 4 5
open space
9.2 Trees adjacent to the

1 2 3 4 5 1 2 3 4 5
building
9.3 Trees not adjacent to

1 2 3 4 5 1 2 3 4 5
the building
348
Levels of opinion

1 2 3 4 5
1 2
Figure 1: Building adjacent to the water feature Figure 2: Building raised on stilts over the water feature
3. Landscape: Waterscape

10) Waterscape
10.1 Building adjacent to

the water feature 1 2 3 4 5 1 2 3 4 5
10.2 Buildings raised on
stilts over the water

1 2 3 4 5 1 2 3 4 5
feature
349
Levels of opinion

1 2 3 4 5
1 2
Figure 1: Sala adjacent to the water feature Figure 2: Sala placed at the middle of the water feature
3. Landscape: Sala (Thai pavilion)

11) Sala (Thai pavilion)
11.1 Sala adjacent to the

1 2 3 4 5 1 2 3 4 5
water feature
11.2 Sala placed at the

middle of the water 1 2 3 4 5 1 2 3 4 5
feature
350
Levels of opinion

1 2 3 4 5
1 2
Figure 1: Covered elevated walkway Figure 2: Uncovered elevated walkway
3. Landscape: Elevated walkway

12) Elevated walkway
12.1 Covered elevated

1 2 3 4 5 1 2 3 4 5
walkway
12.2 Uncovered elevated

1 2 3 4 5 1 2 3 4 5
walkway
351
Levels of opinion

1 2 3 4 5
What is your point of view to the intangible qualities and values of modern Thai architecture in
terms of a sense of lightness that reflected to modern Thai character? And how is it important
to the resort contexts and the design?
Thai character in
intangible qualities and
values Expression to modern Thai The appropriate design for
1) A Sense of Lightness
1.1 Overhangs 1 2 3 4 5 1 2 3 4 5
1.2 Multi-tiered roofs and

1 2 3 4 5 1 2 3 4 5
stepped roofs
1.3 Free-standing columns 1 2 3 4 5 1 2 3 4 5
1.4 Raised floor 1 2 3 4 5 1 2 3 4 5
1.5 Building adjacent to

1 2 3 4 5 1 2 3 4 5
waterscape
1.6 Slant wall 1 2 3 4 5 1 2 3 4 5

352
terms of a sense of transparency that reflected to modern Thai character? And how is it
important to the resort contexts and the design?
Thai character in
2) A Sense of Transparency
2.1 Building organization

1 2 3 4 5 1 2 3 4 5
and grouping (spacing of
the building)
2.2 Building organization
within semi-enclosed
1 2 3 4 5 1 2 3 4 5
space (e.g., building with
chan)
2.3 Building raised on stilts 1 2 3 4 5 1 2 3 4 5
2.4 Using glass as a

1 2 3 4 5 1 2 3 4 5
transparent material
2.5 Building with free-

1 2 3 4 5 1 2 3 4 5
standing columns
353
Levels of opinion

1 2 3 4 5
terms of a sense of tranquility and coolness that reflected to modern Thai character? And
how is it important to the resort contexts and the design?
Thai character in
values
3) A Sense of Tranquility
and Coolness
3.1 Buildings adjacent to
the waterscape 1 2 3 4 5 1 2 3 4 5
3.2 Buildings adjacent to

1 2 3 4 5 1 2 3 4 5
trees
3.3 Tree planted at the

1 2 3 4 5 1 2 3 4 5
center of the open space
354
Levels of opinion

1 2 3 4 5
terms of a sense of hospitality that reflected to modern Thai character? And how is it
important to the resort contexts and the design?
Thai character in
4) A Sense of Hospitality
4.1 Open-air lobby 1 2 3 4 5 1 2 3 4 5
4.Entrance pavilion 1 2 3 4 5 1 2 3 4 5
4.3 Sala (Thai pavilion) 1 2 3 4 5 1 2 3 4 5
4.4 Covered verandah 1 2 3 4 5 1 2 3 4 5

355
Part 2: To study the opinions on the design guidelines for modern Thai architecture in resort
contexts.
Instruction: Please indicate the extent to which you agree with each of the follow statement
by circling the appropriate number
Levels of opinion

1 2 3 4 5
1. Design Guidelines for Modern Thai Architecture in Resort Contexts: The Various Aspects
of Site Planning
1) Respect to the site context 1 2 3 4 5
2) Low impact on the site 1 2 3 4 5
3) Using traditional Thai wisdom and design

principles to guide building organization to 1 2 3 4 5
better protect the sites from tsunami threats
4) Applying specific “tangible” steps to landscape

design; these include such features as the
waterscape, tree 1 2 3 4 5
planting, and other “hardscape” and
landscape components
356
Levels of opinion

1 2 3 4 5
2. Design Guidelines for Modern Thai Architecture in Resort Contexts: Architectural

characteristics and designs
1) Design with Thai character in order to be

1 2 3 4 5
attractive to tourists and for commercial benefit
2) Utilizing specific, tangible elements of Thai

character, such as sao-loy,
1 2 3 4 5
roof profiles, to create a sense of modern Thai
architecture
3) Utilizing intangible elements of Thai character,

such as a sense of lightness, tranquility, 1 2 3 4 5
transparency, and hospitality
4) To adapt and create modern Thai architecture in

resort contexts in order to develop sustainable 1 2 3 4 5
tourism
5) Respect for the concepts of authenticity and

1 2 3 4 5
regional architecture
6) Respect for the traditional hierarchical order of

Thai architecture 1 2 3 4 5
7) Using traditional Thai wisdom

and approaches to building that together help to
1 2 3 4 5
integrate against the effects of possible future
tsunami disasters
357
Levels of opinion

1 2 3 4 5
3. Design Guidelines for Modern Thai Architecture in Resort Contexts: Landscape
1) Using the existing condition of site and its context

to create a sense of modern Thai architecture 1 2 3 4 5
through the practicality of low costs
2) Using landscape components such as sala, lily

1 2 3 4 5
ponds, and water features to create the landscape
3) Incorporating tradition the Thai wisdom and

practice, including trees with aerial
1 2 3 4 5
covering for the landscape design and also as
a protective measure in case of tsunamis
4. Design Guidelines for Modern Thai Architecture in Resort Contexts: Building Technology
and Construction
1) Using materials available

in the local community 1 2 3 4 5
2) Using new materials where appropriate to create

Thai character such as gable ends and other
1 2 3 4 5
components using reflective glass or other
modern materials
3) Using materials which have little impact on the

1 2 3 4 5
environment
4) Incorporating aspects of traditional Thai wisdom

such as ventilation panels, and pre-fabricated 1 2 3 4 5
systems of wall panels
358
Levels of opinion

1 2 3 4 5
5. Design Guidelines for Modern Thai Architecture in Resort Contexts: Interior Architecture
and Decorations
1) Respect for the traditional hierarchical order of

1 2 3 4 5
Thai architecture
2) Using the completed form of architectural work

and structural aesthetics to set the creative 1 2 3 4 5
standards for interior architecture
3) Respect for the concepts of authenticity and

regional architecture also to guide the interior 1 2 3 4 5
architecture
4) Applying the abstract dimensions of Thai
character, such as a sense of transparency,

1 2 3 4 5
tranquility, and a sense of hospitality to create
the interior architecture in resort design

359
Levels of opinion

1 2 3 4 5
6. Design Guidelines for Modern Thai Architecture in Resort Contexts: Laws and
Regulations
1 Present-day regulations and laws are not

appropriate for modern Thai architecture
and resort designs 1 2 3 4 5
2. To improve the regulations and laws

governing new construction in order
to both encourage more cultural awareness of
modern Thai architecture and 1 2 3 4 5
help protect sites from potential future tsunami
disasters
360
Part 3: To study the characteristics of modern Thai architecture using the simulated-models of
case studies.
Instruction: Please indicate the extent to which you agree with each of the following
statements and items by circling the appropriate number that represent the degree of modern
Thai character in resort contexts.
Coding scheme:
1 = Strongly disagree
2 = Somewhat disagree
3 = Neutral
4 = Somewhat agree
5 = Strongly agree
Example: The figure of building as shown below, to be constructed in city of Phuket, please
indicate the extent to which you agree.
Figure 01:
How did the building express and reflect the authentic architecture?
Levels of opinion
1 2 3 4 5
361
Resort Architecture and Design

Case study: Banyan Tree Laguna Beach Resort and Spa, Phuket
Figure 1 Figure 2 Figure 3
How did the building and its context express and reflect degree of modern Thai character?
Levels of opinion

1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
Figure 3 1 2 3 4 5
362

Case study: Rayavadee Premier Resort, Krabi
Figure 1 Figure 2
How did the building express and reflect the authentic architecture?
Levels of opinion
1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
363

Case study: Amanpuri Resort, Phuket
Figure 1 Figure 2
How did the building express and reflect degree of modern Thai character?
Levels of opinion

1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
364

Case study: Banyan Tree Laguna Beach Resort and Spa, Phuket
Figure 1 Figure 2
How did the building and its context express and reflect degree of modern Thai character?
Levels of opinion

1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
365

Case study: The Four Seasons Resort and Spa, Chiang Mai
Figure 1 Figure 2
Levels of opinion

1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
366

Case study: The Tab-kaak Resort, Krabi
Figure 1 Figure 2
Levels of opinion

1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
367

Case study: Le Meridean Baan Taling Ngam: Samui
Figure 1 Figure 2
How did the landscape express and reflect degree of modern Thai character?
Levels of opinion

1 2 3 4 5
Figure 1 1 2 3 4 5
Figure 2 1 2 3 4 5
368
Please indicate and the following statements and items by 9 in the or fill the information in
the blank.
Name-Last name……… .........................................................................................................................................................

Gender Male Female
Age .........................years
Occupation Architect
Other ..........................................................................................
Division Private Official
Educational Bachelor Higher Other ................................................
Incomes ............................................Baht / Month
Address ..........................................................................................................................................
...............................
Recommend / Suggestions
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________
369
Appendix 2: The Questionnaire (Thai)

370
คณะสถาปตยกรรมศาสตร
บัณฑิตวิทยาลัย
มหาวิทยาลัยศิลปากร
1 มิถุนายน 2548
เรื่อง ขอความรวมมือในการตอบแบบสอบถาม
เรียน ทานผูตอบแบบสอบถาม
ดวยขาพเจา นายเขียนศักดิ์ แสงเกลี้ยง อาจารยประจําคณะสถาปตยกรรมศาสตรและการผังเมือง

มหาวิทยาลัยธรรมศาสตร ศูนยรังสิต และนักศึกษาระดับปริญญาเอก หลักสูตรนานาชาติ การจัดการมรดกทาง
สถาปตยกรรมและการทองเที่ยว บัณฑิตวิทยาลัย มหาวิทยาลัยศิลปากร กําลังจัดทําวิทยานิพนธ เรื่อง “แนว
ทางการออกแบบสถาปตยกรรมไทยสมัยใหม ในบริบทของอาคารประเภทสถานตากอากาศ (Design
Guidelines for Modern Thai Architecture in Resort Contexts) โดยมี Professor William R. Chapman, D. Phi.
เปนอาจารยที่ปรึกษา ในการศึกษานี้ แบบสอบถามเปนขั้นตอนหนึ่งของการเก็บขอมูล
อนึ่ง ขอมูลที่ไดจากแบบสอบถามนี้ จะนําไปใชประโยชนในการศึกษาเทานั้น จึงหวังเปนอยางยิ่งวาจะไดรับ

ความรวมมือจากทานในการตอบแบบสอบถามครั้งนี้
ขอขอบพระคุณอยางมากในความรวมมือจากทาน
ขอแสดงความนับถือ
(นายเขียนศักดิ์ แสงเกลีย้ ง)
371
คําชี้แจง
งานสถาปตยกรรม ประเภทสถานตากอากาศ เชน โรงแรม และรีสอรทตาง ๆ ไดมีการกอสรางเกิดขึ้นเปน
จํานวนมากในชวง 2-3 ปที่ผานมา ทามกลางรูปแบบที่หลากหลาย ยังขาดลักษณะที่เดนชัด และความเหมาะสม
ของประเภทอาคาร และอาคารประเภทสถานตากอากาศดังกลาวขางตน สถาปนิกกําลังคนหารูปแบบไทยสมัยใหม
ที่เหมาะสมและควรจะเปน แตยังขาดความชัดเจน ทั้งรูปแบบแนวคิด รวมทั้งปจจัยตาง ๆ ที่เกี่ยวของ จึงเปนที่มาของ
การศึกษาในหัวขอดังกลาว อันเปนสวนหนึ่งของวิทยานิพนธ จึงหวังเปนอยางยิ่งวาจะไดรับความรวมมือจากทานใน
การตอบแบบสอบถาม
คําสําคัญ :
สถาปตยกรรมไทยสมัยใหม หมายถึง สถาปตยกรรมที่ไดรับการออกแบบและกอสรางเพื่อการใชสอยใน
ยุคปจจุบัน โดยมีพื้นฐานแนวคิดในการออกแบบ หรือแสดงออกถึงรูปลักษณอาคารที่มีลักษณะไทยแบบใหม ซึ่งตาง
จากสถาปตยกรรมแบบไทยเดิม
บริบทของอาคารประเภทสถานตากอากาศ หมายถึง ปจจัยตาง ๆ ที่มีผล และอิทธิพลตออาคารประเภท
ดังกลาว ทั้งปจจัยดานอุตสาหกรรมการทองเที่ยว วัฒนธรรม สังคม สิ่งแวดลอม ภัยธรรมชาติ เปนตน
แบบสอบถาม
ตอนที่ 1 ศึกษาความคิดเห็นเกี่ยวกับ การยอมรับลักษณะไทยสมัยใหมที่เดนชัด ในเชิงรูปธรรม และนามธรรม

ตอไปนี้เปนคําถามเกี่ยวกับความคิดเห็นของทานที่มีตอลักษณะไทยสมัยใหมที่เดนชัด และมีความสําคัญ
มากนอยเพียงใดตอการออกบแบบอาคารประเภทสถานตากอากาศ
โปรดใสเครื่องหมาย Ο ลงในหมายเลข ตามความคิดของทาน โดยพิจารณาถึงรูปแบบตาง ๆ กอนแสดง
ความคิดเห็น
โดยมีเกณฑ ในการแสดงความคิดเห็นดังนี้
1 = นอยที่สุด
2 = นอย
3 = ปานกลาง
4 = คอนขางมาก
5 = มากที่สุด
372
ตัวอยาง :
เห็นดวยนอยที่สดุ เห็นดวยมากที่สุด
ความเปนลักษณะไทยสมัยใหม
1 2 3 4 5
เห็นดวยนอยที่สดุ เห็นดวยมากที่สุด
ความสําคัญตออาคารประเภทสถานตากอากาศ
1 2 3 4 5
ก. ลักษณะเชิงรูปธรรม
ระดับความคิดเห็น
เห็นดวยนอยที่สดุ เห็นดวยมากที่สดุ
1 2 3 4 5
1. การวางผังและจัดกลุมอาคาร
1.1 การจัดกลุมอาคาร แบบใชชานเชื่อม
1.1.1 ความเปนลักษณะไทยสมัยใหม 1 2 3 4 5
1.1.2 ความสําคัญตออาคารประเภทสถานตาก 1 2 3 4 5
อากาศ
373
1 2 3 4 5
1.2 การวางผังและจัดกลุมอาคาร แบบมีทางเดินไมมีหลังคาคลุม
1.2.2 ความสําคัญตออาคารประเภทสถานตากอากาศ 1 2 3 4 5
374
1 2 3 4 5
1.3 การวางผังและจัดกลุมอาคาร แบบทางเดินมีหลังคาคลุม
375
1 2 3 4 5
1.4 การวางผังและจัดกลุมอาคาร แบบมีสะพานเชื่อมทางเดิน
376
1 2 3 4 5
1.5 การวางผังและจัดกลุมอาคาร แบบมีสะพานทางเดินและมีหลังคาคลุม
377
1 2 3 4 5
2. สถาปตยกรรมและการออกแบบ : หลังคา
ลักษณะไทยเชิงรูปธรรม ความเปนลักษณะไทย ความสําคัญตออาคารประเภท
1) หลังคา สมัยใหม สถานตากอากาศ (resort)
1.1 รูปทรงของหลังคา
(เชน ทรงจัว่ มนิลาบรานอ 1 2 3 4 5 1 2 3 4 5
จัตุรมุข เปนตน)
1.2 การลดชั้น และการซอนชั้น
ของหลังคา
(เปนการแตกปริมาตรของ หลังคา 1 2 3 4 5 1 2 3 4 5
ใหดูเบา)
1.3 ความลาดเอียงของหลังคา
(เชน ลาดเอียงมาก 1 2 3 4 5 1 2 3 4 5
ลาดเอียงนอย)
1.4 การยื่นของชายคา
(เชน ชายคายื่นมาก 1 2 3 4 5 1 2 3 4 5
ชายคายืน่ นอย)
1.5 วัสดุมุงหลังคา และสีของ 1 2 3 4 5 1 2 3 4 5
หลังคา
1.6 ความออนชอยของหลังคา 1 2 3 4 5 1 2 3 4 5
378
1 2 3 4 5
พะไล
ชาน
ลานโลง
ภาพที่ 1 การเชื่อมตอดวยชาน พะไล หรือ

ภาพที่ 2 การเชื่อมตอดวยลานโลง
ระเบียง
2. สถาปตยกรรมและการออกแบบ : พื้นที่วางเชื่อมตอภายนอก
2) พื้นที่วางเชือ่ มตอภายนอก สมัยใหม สถานตากอากาศ (resort)
2.1 การเชื่อมตอดวยชาน 1 2 3 4 5 1 2 3 4 5
2.2 การเชื่อมตอดวย พะไล หรือ
ระเบียง 1 2 3 4 5 1 2 3 4 5
2.3 การเชื่อมตอดวยลานโลง 1 2 3 4 5 1 2 3 4 5
379
1 2 3 4 5
2. สถาปตยกรรมและการออกแบบ : พื้น
3) พื้น สมัยใหม สถานตากอากาศ (resort)
3.1 ลักษณะลวดลายพื้น 1 2 3 4 5 1 2 3 4 5
3.2 วัสดุพื้น 1 2 3 4 5 1 2 3 4 5
2. สถาปตยกรรมและการออกแบบ : ผนัง
4) ผนัง สมัยใหม สถานตากอากาศ (resort)
4.1 รูปแบบผนัง 1 2 3 4 5 1 2 3 4 5
- ผนังทึบ 1 2 3 4 5 1 2 3 4 5
- ผนังกระจก 1 2 3 4 5 1 2 3 4 5
- ผนังฝาโหล 1 2 3 4 5 1 2 3 4 5
4.2 ลวดลายของผนัง 1 2 3 4 5 1 2 3 4 5
4.3 วัสดุ 1 2 3 4 5 1 2 3 4 5
2. สถาปตยกรรมและการออกแบบ : ชองเปด
5) ชองเปด สมัยใหม สถานตากอากาศ (resort)
5.1 รูปแบบของชองเปด
(เชน บานเปด บานเฟยม 1 2 3 4 5 1 2 3 4 5
บานกระทุง)
5.2 สัดสวนของชองเปด 1 2 3 4 5 1 2 3 4 5
5.3 วัสดุของชองเปด 1 2 3 4 5 1 2 3 4 5
380
1 2 3 4 5
ภาพที่ 1 ภาพที่ 2 ภาพที่ 3 ภาพที่ 4

เสาลอยแบบกลม เสาลอยแบบเหลี่ยม เสาลอยแบบเหลี่ยมยอมุม เสาลอยแบบมีฐาน และบัวหัวเสา
2. สถาปตยกรรมและการออกแบบ : เสาลอย
6) เสาลอย สมัยใหม สถานตากอากาศ (resort)
6.1 เสาลอยแบบกลม 1 2 3 4 5 1 2 3 4 5
6.2 เสาลอยแบบเหลี่ยม 1 2 3 4 5 1 2 3 4 5
6.3 เสาลอยแบบเหลี่ยมยอมุม 1 2 3 4 5 1 2 3 4 5
6.4 เสาลอยแบบมีฐาน 1 2 3 4 5 1 2 3 4 5
และบัวหัวเสา
381
1 2 3 4 5
ภาพที่ 1 ภาพที่ 2
อาคารมีค้ํายัน อาคารไมมีค้ํายัน
2. สถาปตยกรรมและการออกแบบ : ค้ํายัน
7) ค้ํายัน สมัยใหม สถานตากอากาศ (resort)
7.1 อาคารมีค้ํายัน 1 2 3 4 5 1 2 3 4 5
7.2 อาคารไมมคี ้ํายัน 1 2 3 4 5 1 2 3 4 5
2. สถาปตยกรรมและการออกแบบ : ระเบียง ลูกกรงระเบียง

8) ระเบียง ลูกกรงระเบียง สมัยใหม สถานตากอากาศ (resort)
8.1 รูปแบบและลวดลาย 1 2 3 4 5 1 2 3 4 5
8.2 วัสดุ 1 2 3 4 5 1 2 3 4 5
8.3 ความสูงและสัดสวน 1 2 3 4 5 1 2 3 4 5
382
1 2 3 4 5
ภาพที่ 1 ตนไมอยูกลางลานโลง
ภาพที่ 2 ตนไมอยูใ กลอาคาร ภาพที่ 3 ตนไมอยูหางอาคาร
3. การจัดภูมิทัศน : ตนไม
ลักษณะไทยเชิงรูปธรรม
ความเปนลักษณะไทย ความสําคัญตออาคารประเภท
การจัดภูมิทัศน
สมัยใหม สถานตากอากาศ (resort)
9) ตนไม
9.1 ตนไมอยูก ลางลานโลง 1 2 3 4 5 1 2 3 4 5
9.2 ตนไมอยูใกลอาคาร 1 2 3 4 5 1 2 3 4 5
9.3 ตนไมอยูหางอาคาร 1 2 3 4 5 1 2 3 4 5
383
1 2 3 4 5
ภาพที่ 1 น้ําอยูใกลอาคาร ภาพที่ 2 เสาจุม น้ํา
3. การจัดภูมิทัศน : การใชน้ํา
10) การใชน้ํา
10.1 น้ําอยูใกลอาคาร 1 2 3 4 5 1 2 3 4 5
10.2 เสาจุมน้ํา 1 2 3 4 5 1 2 3 4 5
384
1 2 3 4 5
ภาพที่ 1 ศาลาริมน้ํา ภาพที่ 2 ศาลากลางน้ํา
3. การจัดภูมิทัศน : ศาลา
11) ศาลา
11.1 ศาลาริมน้ํา 1 2 3 4 5 1 2 3 4 5
11.2 ศาลากลางน้ํา 1 2 3 4 5 1 2 3 4 5
385
1 2 3 4 5
ภาพที่ 1 สะพานมีหลังคาคลุม ภาพที่ 2 สะพานไมมีหลังคาคลุม
3. การจัดภูมิทัศน : สะพานทางเดิน
12) สะพานทางเดิน
12.1 สะพานมีหลังคาคลุม 1 2 3 4 5 1 2 3 4 5
12.2 สะพานไมมีหลังคาคลุม 1 2 3 4 5 1 2 3 4 5
ข. ลักษณะเชิงนามธรรม
ตอไปนี้เปนคําถามเกีย่ วกับ ความรูสกึ ในแงมุม ของบรรยากาศที่บงบอกถึงลักษณะไทย ๆ ที่ทานไดสมั ผัส
หรือรูสึกได
386
1 2 3 4 5
1. เบาและลอยตัว
ทานคิดวาบรรยากาศลักษณะไทยที่เกิดจากความรูสกึ เบาและลอยตัว ของลักษณะอาคาร มีลกั ษณะไทย
สมัยใหมมากนอยเพียงใด รวมทัง้ มีความสําคัญตออาคารประเภทสถานตากอากาศมากนอยเพียงใด
1. ความรูสึกเบาและลอยตัว
ลักษณะไทยเชิงนามธรรม ความเปนลักษณะไทย ความสําคัญตออาคารประเภท
1) ลักษณะเบาและลอย สมัยใหม สถานตากอากาศ (resort)
1.1 การยื่นของชายคา 1 2 3 4 5 1 2 3 4 5
1.2 การลดชั้น และการซอนชั้น
ของหลังคา 1 2 3 4 5 1 2 3 4 5
1.3 การใชเสาลอย 1 2 3 4 5 1 2 3 4 5
1.4 การยกพื้นสูง 1 2 3 4 5 1 2 3 4 5
1.5 อาคารอยูใกลน้ํา 1 2 3 4 5 1 2 3 4 5
1.6 ผนังเอียง 1 2 3 4 5 1 2 3 4 5
2. ความรูสึกโปรงโลง
ทานคิดวาบรรยากาศลักษณะไทยที่เกิดจากความโปรงโลง ของลักษณะอาคาร มีลักษณะไทยสมัยใหมมาก
นอยเพียงใด รวมทั้ง มีความสําคัญตออาคารประเภทสถานตากอากาศมากนอยเพียงใด
2. ความรูสึกโปรงโลง
2) ความโปรงโลง สมัยใหม สถานตากอากาศ (resort)
2.1 การจัดกลุม อาคาร
(ระยะหางระหวางกลุม อาคาร) 1 2 3 4 5 1 2 3 4 5
2.2 การจัดกลุม อาคารปดลอม
บางสวน
(เชน การใชชาน) 1 2 3 4 5 1 2 3 4 5
2.3 การใชวัสดุ เชน กระจก 1 2 3 4 5 1 2 3 4 5
2.4 ยกใตถุนสูง 1 2 3 4 5 1 2 3 4 5
2.5 การมีเสาลอย 1 2 3 4 5 1 2 3 4 5
387
1 2 3 4 5
3. ความรูสึกรมรื่น สงบ
ทานคิดวาบรรยากาศลักษณะไทยที่เกิดจากความรมรื่น และสงบ ของลักษณะอาคาร มีลกั ษณะไทย
สมัยใหมมากนอยเพียงใด รวมทัง้ มีความสําคัญตออาคารประเภทสถานตากอากาศมากนอยเพียงใด
3. ความรูสึกรมรื่น สงบ
3) ความรมรื่น และสงบ สมัยใหม สถานตากอากาศ (resort)
3.1 อาคารใกลน้ํา 1 2 3 4 5 1 2 3 4 5
3.2 อาคารใกลตนไม 1 2 3 4 5 1 2 3 4 5
3.3 อาคารมีตนไมอยูกลางลาน 1 2 3 4 5 1 2 3 4 5
4. ความรูสึกอบอุน บรรยากาศตอนรับ
ทานคิดวาบรรยากาศลักษณะไทยที่เกิดจาก ความรูสึกอบอุนบรรยากาศตอนรับ ของลักษณะอาคาร มี
ลักษณะไทยสมัยใหมมากนอยเพียงใด รวมทั้ง มีความสําคัญตออาคารประเภทสถานตากอากาศมากนอยเพียงใด
4. ความรูสึกอบอุน บรรยากาศตอนรับ
4) ความอบอุนบรรยากาศ สมัยใหม สถานตากอากาศ (resort)
การตอนรับ
4.1 โถงตอนรับแบบโลง 1 2 3 4 5 1 2 3 4 5
4.2 ซุมทางเขา 1 2 3 4 5 1 2 3 4 5
4.3 การใชศาลา 1 2 3 4 5 1 2 3 4 5
4.4 ระเบียงแบบนั่ง 1 2 3 4 5 1 2 3 4 5
388
ตอนที่ 2 ศึกษาเกี่ยวกับแนวทางการออกแบบสถาปตยกรรมไทยสมัยใหม อาคารประเภทสถานตากอากาศ

โปรดใสเครื่องหมาย Ο ลงในหมายเลข ตามความคิดของทาน โดยพิจารณาถึงรูปแบบตาง ๆ กอนแสดง
ความคิดเห็น
1 2 3 4 5
1. แนวทางการออกแบบสถาปตยกรรมไทยสมัยใหม : การวางผัง และการจัดกลุมอาคาร
1) การวางผังโดยเคารพตอสถานที่ตั้งและภาพรวมของโครงการ 1 2 3 4 5
2) วางผังและจัดกลุมอาคารใหเกิดผลกระทบนอยที่สดุ ตอกายภาพ
1 2 3 4 5
ที่ตั้งโครงการ
3) ใชภูมิปญญาไทยในอดีต เปนแนวทางพัฒนาการออกแบบในการ
วางผังและจัดกลุมอาคาร เพื่อลดอุบตั ิภยั ทางธรรมชาติ เชน 1 2 3 4 5
คลื่นสินามิ เปนตน
4) ใชลักษณะไทยเชิงรูปธรรมในการวางผังและจัดกลุมอาคาร เชน
1 2 3 4 5
ใชประโยชนจากตนไม และน้ํา เปนตน
2. สถาปตยกรรมและการออกแบบ
1) ออกแบบใหมีลักษณะไทย เพื่อดึงดูดนักทองเที่ยว 1 2 3 4 5
2) ใชองคประกอบเชิงรูปธรรม เชน หลังคา เสาลอย มาใชในการ
1 2 3 4 5
ออกแบบ อาคารประเภทสถานตากอากาศ
3) ใชองคประกอบเชิงนามธรรม เชน ความเบาและลอย ความโปรง
โลง ความรมรื่น สงบ และความอบอุน บรรยากาศตอนรับ มาใช 1 2 3 4 5
ในการออกแบบ
4) ประยุกตสถาปตยกรรมใหมลี กั ษณะไทยสมัยใหม ตามพัฒนาการ 1 2 3 4 5
การทองเที่ยวแบบยั่งยืน
5) มีความเคารพตอสถาปตยกรรมพื้นถิ่น และเอกลักษณดั่งเดิมของ
1 2 3 4 5
พื้นที่
6) เคารพตอฐานานุรูป ฐานนานุศักดิ์ ในสถาปตยกรรมไทย 1 2 3 4 5
7) ใชภูมิปญญาไทยในอดีตมาพัฒนารูปแบบสถาปตยกรรม เพื่อลด
1 2 3 4 5
อุบัติเหตุจากคลืน่ สินามิ
389
1 2 3 4 5
3. ภูมิสถาปตยกรรมและการจัดภูมิทัศน
1) ใชกายภาพดัง้ เดิมของพื้นที่ในการพัฒนาการออกแบบ
1 2 3 4 5
สถาปตยกรรมไทยสมัยใหม เพือ่ ลดตนทุนในการจัดภูมิทศั น
2) ใชองคประกอบตาง ๆ เชน ศาลา สระบัว ประติมากรรม ในการ
พัฒนาการออกแบบใหเกิดลักษณะไทยสมัยใหม ในบริบทของ 1 2 3 4 5
อาคารประเภทสถานตากอากาศ
3) ใชภูมิปญญาไทยในอดีตในการจัดภูมิทศั น รวมทั้งใชตนไมทมี่ ีราก
1 2 3 4 5
อากาศ (aerial roots) เพื่อชวยลดอุบัตภิ ัยคลื่นสินามิ
4. วัสดุและเทคโนโลยีในการกอสราง
1) ใชวัสดุที่หาไดในทองถิ่น 1 2 3 4 5
2) ใชวัสดุสมัยใหม เชน กระจกมาตกแตง หนาปนเปนสวนประกอบ
1 2 3 4 5
เพื่อใหมีลกั ษณะไทยสมัยใหม
3) ใชวัสดุที่ไมสง ผลกระทบตอสภาพแวดลอม แตออกแบบใหมี
1 2 3 4 5
ลักษณะไทยสมัยใหม
4) ใชภูมิปญญาไทยในอดีต เชน ระบบฝาผนังกึ่งสําเร็จรูป ระบบฝา
1 2 3 4 5
ไหล มาประยุกตใชกับอาคารประเภทสถานตากอากาศ
390
1 2 3 4 5
5. สถาปตยกรรมภายใน และการออกแบบตกแตง
1) เคารพตอฐานานุรูป และฐานานุศักดิ์ ในงานสถาปตยกรรม
1 2 3 4 5
ภายใน
2) ใชความสมบูรณ ของงานสถาปตยกรรม เชนความสมบูรณ ของ
งานสถาปตยกรรม เชน โครงสรางหลังคา เสา คาน เปนสวน 1 2 3 4 5
ตกแตงภายใน
3) เคารพความเปนพื้นถิ่น หรือภูมิภาคนิยม ตลอดจนเอกลักษณ
1 2 3 4 5
ดั้งเดิมของพื้นที่ในการออกแบบตกแตงภายใน
4) ใชลักษณะไทยเชิงนามธรรม ความโปรงโลง ความรมเย็น สงบ
ความอบอุนบรรยากาศตอนรับ มาใชในการออกแบบ 1 2 3 4 5
สถาปตยกรรมภายใน
6. กฎหมายที่เกี่ยวของ
1) กฎหมายเดิมไมเอื้อประโยชนในการสรางสรรคสถาปตยกรรมไทย
1 2 3 4 5
สมัยใหม เชน ความสูงของอาคาร การวางผัง พื้นที่โลง เปนตน
2) ควรแกไขกฎหมายใหม ใหเหมาะสมกับเหตุการณปจจุบัน และ
บริบทของการทองเที่ยว เพื่อพัฒนาสถาปตยกรรมไทยสมัยใหม 1 2 3 4 5
และลดอุบัติภยั จากคลื่นสินามิ
391
ตอนที่ 3 การประเมินคายอมรับ ลักษณะรูปแบบสถาปตยกรรมไทยสมัยใหม อาคารประเภทสถานตากอากาศ
ใหทานประเมินคา ลักษณะความเปนไทยสมัยใหมในบริบท อาคารประเภทสถานตากอากาศ โดยพิจารณา

จากภาพประกอบของอาคารตัวอยาง
โดยมีเกณฑในการแสดงความคิดเห็น ดังนี้
1 = นอยที่สดุ
2 = นอย
3 = ปานกลาง
4 = คอนขางมาก
5 = มากทีส่ ดุ
ตัวอยาง: อาคารตามภาพประกอบขางลางนี้ สมมุติวา นําไปสรางบริเวณชายทะเล จังหวัดภูเก็ต ใหทานตอบคําถาม

ตาม ประเด็นขางลางนี้
ภาพอาคารตัวอยาง
จากภาพอาคารตัวอยาง ทานคิดวา สถาปตยกรรมสะทอนถึงเอกลักษณพื้นถิ่นมากนอยเพียงใด

ตัวอยาง : ระดับความคิดเห็น
1 2 3 4 5
392
ภาพที่ 1 สถาปตยกรรม และการออกแบบ

อาคารตัวอยาง โรงแรมบันยันทรี ลากูนา จ.ภูเก็ต
ภาพที่ 1 ภาพที่ 2 ภาพที่ 3
จากภาพประกอบ ทานคิดวา อาคารมีรูปแบบสถาปตยกรรมไทยสมัยใหม มากนอยเพียงใด
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
ภาพที่ 3 1 2 3 4 5
393

อาคารตัวอยาง โรงแรมรายาวดี พรีเมียร รีสอรท จ.กระบี่
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
394

อาคารตัวอยาง โรงแรมอมันบุรี จ.ภูเก็ต
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
395
ภาพที่ 4 ภูมิสถาปตยกรรม และการจัดภูมิทศั น

อาคารตัวอยาง โรงแรมบันยันตรี ลากูนา จ.ภูเก็ต
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
396

อาคารตัวอยาง โรงแรมโพรซีซัน รีสอรท จ.เชียงใหม
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
397

อาคารตัวอยาง โรงแรมเดอะทับแขก จ.กระบี่
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
398
ภาพที่ 7 ภูมิสถาปตยกรรม และการจัดภูมิทศั น

อาคารตัวอยาง โรงแรมเลอ เมอริเดียน บานตลิ่งงาม เกาะสมุย
1 2 3 4 5
ภาพที่ 1 1 2 3 4 5
ภาพที่ 2 1 2 3 4 5
399
แบบสอบถาม
กรุณาตอบแบบสอบถามขางลางนี้ โดยทําเครื่องหมาย 9 ลงใน หรือเติมขอมูลลงในชองวาง

(อานคําถามอยางครบถวน และตอบคําถามอยางรวดเร็ว พรอมทําใจสบาย ๆ)
ขอมูลของผูตอบแบบสอบถาม
ชื่อ – สกุล .........................................................................................................................................................
เพศ ชาย หญิง
อายุ .........................ป
อาชีพ สถาปนิก อื่น ๆ ระบุ ..........................................................................................
หนวยงาน เอกชน ขาราชการหรือรัฐวิสาหกิจ
การศึกษา ปริญญาตรี สูงกวาปริญญาตรี อื่น ๆ ระบุ ................................................
รายได ............................................บาท / เดือน
สถานที่ทํางาน / โทรศัพทตดิ ตอ
.........................................................................................................................................................................
ขอคิดเห็น / เสนอแนะ
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
_______________________________________________________________________________________________
____________________________________________________
ขอขอบพระคุณอยางสูง
400
Appendix 3: The Glossary

401
GLOSSARY
Chan uncovered terrace of a traditional Thai house.
Khlong canal.
Kutti monk’s cell or chamber.
Lan na northern region of Thailand.
Naak or naga (Sanskrit) mythological serpent that lives in water.
Ngao lower end-piece of a bargeboard, usually in a pointed and curved form.
Pan-lom bargeboard.
Phra thinang throne hall, royal pavilion (Chaichongrak et al, 2002: 242).
.
Some trees and plants commonly associated with Thai houses
Bamboo A woody “grass” with an enormous range of traditional uses, from food
production to fences. Many different species occur and some are employed as a
construction material for rice field shacks or roofs in the ruen krueng pook.
Bon Caladium spp. This new world genus has been widely grown and hybridized for
use as an ornamental plant in Thai compounds and gardens.
Breadfruit Artocarpus altilis. A handsome, fast growing tree, producing the famous
sweetly fragrant fruits.
Chaba Hibiscus rosa-sinensis. A popular shrub available in many hybrids but formerly
considered inauspicious.
Chaiyapruk Cassia javanica. This auspicious tree is known for its umbrella-shape and
lovely pink blossoms. The trunk is used ceremonially as the ‘city pillar’ and for victory
flagpoles.
Champa Michelia champaca. A tall tree with fragrant orange flowers.
Champee Michelia longifolia. A close relative of the above with cream flowers.
Chan Dyospyros decandra. An official tree of Nakhon Pathom province.
Chompu Eugenia (Syzygium) jambos. A tall fruit bearing tree known in English as the
‘Rose Apple’. The fruits are pale green tinged with pink.
402
Chuan-chom Adenium obesum (synonym: Adenium coetaneum). A two-metre high

shrub, much used in tropical gardens, although formerly considered as inauspicious
perhaps because it is poisonous.
Coconut Cocos nucifera. The well-know, multipurpose, non-indigenous palm with

edible fruits, fronds usable for thatch and trunks for construction.
Daeng Xylia kerrii. A tree found mainly in mixed deciduous forests; greatly valued
for its hard, reddish wood once widely used in house construction. Now increasingly
rare.
Durian Durio zibethinus. Known as the ‘King of the Fruits’, its strong-smelling, large
fruits are greatly prized throughout Southeast Asia.
Faek Vertiveria spp. ”Vetiver Grass.” Two species are especially important Vetiveria
nemoralis and V. zizanioides, both of which are found in many ecotypes. These grasses
were widely used in thatching but are today harder to find.
Inthanin Lagerstroemia spp.
Jackfruit See Khanun.
Jaak Nipa fruticans. A coastal palm found along estuaries and mangrove swamps, the
fronds of which have been widely used for thatch and matting. Remains and important
coastal industry.
Kankrao Fragraea fragrans. A tree that is popular in parks, garden and compounds.
Khanun Artocarpus heterophylla. Known in English as the “Jackfruit,” this has a

large prickly fruit with strong, sweet segments inside.
Koson Codiaeum variegatum. “Croton,” a genus of the Euphorbia family. An

attractive shrub much used in gardens and compounds.
Kum Crataeva sp.
Laan Corypha lecomtei. A palm, the leaves of which are used for thatch.
Laocha-own Oncasperma tigillana. The “Nibang Palm,” a tall, clumping palm, with
spines all over.
Liphao Lygodium flexuosum. A climbing fern used for making fine basketware but
also for binding together the elements in a ruen krueng pook.
Mafueng Averrhoa carambola. A slow-growing, short-trunked tree, famous for its

orange-yellow fruits which form a star in cross-section.
403
Magrud Citrus hystrix. Considered auspicious in the compound, the leaves of this tree
are used in many Thai dishes.
Makha Afzelia xylocarpa. A beautiful hardwood tree from mixed deciduous forests
used in construction and furniture. Employed in some modern houses for fine
staircases.
Makok Spondias pinnata, the “Hog Palum Tree.”
Mango Mangifera indica. A tall tree which produces the renowned, delicious oval
fruits. Numerous variants are found in Thailand.
Ma-ngua Citrus medica. This small tree was considered auspicious in the compound,
largely because of its medicinal properties.
Maplab Diospyros lotus. The “Date Plum,” an Asiatic persimmon with a small yellow
or purple black edible fruit.
Maprang Bouea burmanica. Considered auspicious in the compound, this tree

produces delicious orange fruit with a “sweet-and-sour” flavor.
Maroom Moringa oleifera. The “Horseradish Tree,” a short, slender, deciduous tree
that is widely used for various food products and can be employed in “live fences.”
Matoom Aegle marmelos. The “Bengal Quince” or “Indian Bael Tree.” A citrus
relative, associated in India with Siva worship. Grown in compounds.
Mayom Phyllanthus acidus. The “Malay or Star Gooseberry.” Another fruiting tree,
considered auspicious in the house compound.
Nipa palm See Jaak.
Payung Dalbergia sp.
Phai sisook Bambusa flexuosa. A species of bamboo.
Pikun Mimusops elengi. A flowering tree grown in compound, and a traditional

medicine.
Pradu Pterocarpus macrocarpus. A tree found widely in savanna and mixed

deciduous forests. It produces a beautiful, hard wood, much valued in construction and
furniture.
Putsa Zizyphus jujuba. A fruiting tree considered auspicious in the compound. The
small acidic fruits are much loved by both adults and children.
Rajapruek Cassia fistula. One of 9 auspicious woods buried in the post hole of central
Thai houses. Known for its wonderful cascades of glorious yellow flowers, it is often
404
planted to mark the birth of a child. The hard wood was traditionally employed for the
spokes of buffalo cart wheels.
Rung Shorea (Pentacme) siamensis. A deciduous hardwood tree characteristic of the

savanna forests of the North and North-East of Thailand. Much used in house
construction.
Sadaow Azadirachta indica. The famous “Neem Tree.” A fruiting tree auspicious in
the compound.
Sakhu Metroxylon sagu. The Sago Palm.
Sak thong Tectona grandis. One of the most celebrated and valuable timbers in the
world ; native to Thailand and Burma. “Golden teak” is used for house construction,
furniture and many decorative purposes.
Salatdai Euphorbia antiquorum. A tree from more seasonal areas of Asia. It has
paired spines and can grow enormous. Inauspicious in the compound.
Samae Avicennia alba. An important, fast-growing, mangrove tree, used in mangrove

reclamation.
Samrong Sterculia toetida. The skunk tree, noted for its distinctive odour.
Saraphi Mammea siamensis. Considered auspicious in the compound.
Sompoi Acacia concinna. Also seen as auspicious in the compound.
Song badarn Cassia surattensis. “The Sunshine Tree” or “Glaucous Cassis.”
Takien Hopea odorata. A tall evergreen tree, much used in construction. A

characteristic species of the semi-evergreen forest, as at Kho Yai National Park.
Taan Borassus flabellifer. Commonly known as the “Sugar palm,” the fruits are used
to make palm sugar and the fronds for thatch or matting.
Tako Dyospyros sp.
Teng Shorea obtusa. A deciduous hardwood tree characteristic of the savanna forests
of the North and North-east. Much used in construction.
Thong larng Erythrina orientalis. “The Coral Tree,” known for its claw-shaped red-
orange blossoms. Not native to Thailand but regarded as highly auspicious and “The
Tree of the Gods.” Its leaves are much used in Thai cooking. Its name means “lots of
gold.”
Wan Sedges widely used for matting.

405
Ya kha Imperator aundinacea. An important grass for thatching.
Yang In general, this term indicates a tree that produces some sort of resin; hence its
use for the rubber tree (Hevea brasiliensis). In Thailand, it is more traditionally
employed as a classifier for a number of important trees used in construction in the
Dipterocarpaceae family.
Yor Morinda citrifolia. A tall tree which is considered auspicious in the compound.
The leaves are used in cooking (Chaichongrak et al, 2002: 243).
406
Autobiography
Name-Surname Khiensak Seangklieng, ASA
Permanent Address 12 Mooban Prangthip, Ladprao rd, Soi 99

Wang Thonglang,Bangkok 10310, Thailand
Contact Address The Faculty of Architecture and Planning,
Thammasat University, Rangsit Campus
Khlong Luang, Pathumthani 12121, Thailand
http://www.arch.tu.ac.th
e-mail: Khiensak@yahoo.com
Educational Background
• M.Arch. (Architecture) Chulalongkorn University

Thesis Title: Architectural Design Guidelines for Sustainable
Tourism
Development: Resort Hotels
• B.Sc.Arch. (Architecture) University of Northern Philippines,
Vigan, llocus sur, Philippines
Thesis Title: The Parliament House of Thailand
Professional Experiences
2003-Current Project Director: Kent Architect

• Proposed The Shaputa Resort and Spa: Langawi, Malaysia
• Proposed Shaputra Private House: Putrajaya, Malaysia
• Proposed Shaputra Krist Museu: Selangor, Malaysia
2003-Current Project Architect: WVK Design Group

• Briza Resort and Spa: Samui, Thailand
• Chedi Phrabudhapath: Wat Khaodin, Chainat Province, Thailand
Project Consultant
• Sukko cultural spa and wellness: Phuket, Thailand
1995-2002 Project Director: Kent Architect

• Ao-nang Princeville Resort: Krabi, Thailand
• The Golden Beach Resort, Krabi, Thailand
• Somkiet Buri Resort, Krabi, Thailand
407
• Peter Cans Residence, Phuket, Thailand

• Dennis’s House, Railay Beach, Krabi, Thailand
• James Cuttler’s Private House: Bali, Indonesia
• Peace Laguna Resort, Krabi, Thailand
• Sri-sukon’s house, Krabi, Thailand
• Hundred Island Resort and Spa, Philippines
• Peter Cans Residence, Maritous
1987-1994 Freelance interior designer

Perspective illustrator
Professional Membership:
Association of Siam Architects (ASA, Thailand)
Registration
Registered Architect, Board of Registration In Architecture, Council
of Thai Architect
Professional Consultant:
Shapadu Corporation SDN BHD (Malaysia)

Shapadu Global Thailand
WVK Design Group Co.,Ltd.
Pornaramitrap Co., Ltd.
Seminars and Research:
• 2001 : Seminar in Asian Vernacular Architecture, University of

Singapore
• Bamboo International Symposium, Chaing-mai, Thailand
• Cultural Identity of Traditional Architecture: Malay Houses
The Collaborative Research with Shan-putra Foundation
Exhibitions:
2001 Leisure Drawings: The Extraordinary of the Bamboo

SNU, Singapore
2000 Leisure Drawings: Vernacular Architecture; The Bamboo
Culture Selangor, Malaysia
408
Teaching Experiences:
2003-Current
• Instructor: Faculty of Architecture, Thammasat University

• Guest Lecturer: Faculty of Architecture, Silpakorn
University
• Co-advisor “The Mechanical Property of Thai Bamboo”
Faculty of Engineering, Thammasat University
Book:
• To be a professional perspective Illustrator: The method
(in progress)

Design Guidelines For Modern Thai Architecture in Resort Contexts

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DESIGN GUIDELINES FOR

MODERN THAI ARCHITECTURE

A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree

Architectural Heritage Management and Tourism

ISBN 974 -11 - 6493 - 9

The Thesis Advisor

Professor William R. Chapman, D.Phil.

The Thesis Examination Committee

Student’s signature ………………………………………….

Thesis Advisor’s signature………………………………….

My gratitude also goes to Professor Dr. Vimolsidhi Horayangura, he was my thesis

I would like to express my gratitude to Professor Dr. Trungjai Buranasomphob, Director

Significance of the Problem……………………………………… 1

2 Literature Review and Related Studies…………………………….. 8

Tourism Development in a Global Context……………………… 8

3 A Survey of the Case Studies ……………………………………… 55

Amanpuri, Phuket Island……………………………………… 102

4 Interviewing and Constructing the Questionnaire………………. 125

Interviewing Resort Designers………………………………… 126

5 Social Analysis of the Respondents……………………………… 157

Social Analysis and Comparative Study— non-architects and

6 Analysis of the Results……………………………………………… 163

Patterns of Analysis…………………………………………… 164

Comparisons of opinion regarding the design guidelines

To study the opinions of the respondents regarding

7 Conclusion and Suggestions………………………………………. 284

1 Responses of the interview groups the specific

15 Comparative analysis of attitudes between those of architects

26 Comparative analysis of attitudes between those of architects

38 Comparative analysis of attitudes between those of architects

49 Comparative analysis of attitudes between those of architects

60 Comparative analysis of attitudes between those of architects

72 Summary of the results regarding the basis of

73 Summary of the results regarding the basis of

74 Summary of the results regarding the basis of

75 Summary of the results regarding the basis of

76 Summary of the results regarding the basis of

77 Summary of the results of the design guidelines

78 Summary of the results of the design guidelines

79 Summary of the results of the design guidelines

80 Summary of the results of the design guidelines

81 Summary of the results of the design guidelines

82 Summary of the results of the design guidelines

1 The research hypothesis and its process...................................... 2

15 The low-pitched roof ………………………………………… 27

35 Site plan of main building of The Four Seasons

65 Architecture and landscape design of the pool villa

90 The comparison of the opinions regarding the modern

97 Building organization and grouping: Uncovered elevated

129 The raan nam or water pavilion is a traditional feature of

1. Significance of the Problem

Tourism development is experiencing a profound change of direction. Foremost is the

2. Goals and Objectives

2.5 To present a summary of “outputs,” based on assessments regarding architecture in

Figure 1: The research hypothesis and its process

However, architects and non-architects (general public) would be expected to have

Overall, this research project is in effort to synthesize “professional” and “lay”

4. Scope of the Study

These may be summarized as follows:

4.2 Projects winning conservation awards from Department of Fine Arts;

4.3 Projects associated with leading hotel companies of the world;

4.4 Projects which have expressed value–oriented design reflection of Thai

The selected projects with the critical criteria as above are: