สถาปตยกรรมยุคเปลี่ยนผานในสมัยรัชกาลที่ 7 T ansitional A chitectu e of .ing 0ama 2II E a Chaipat Igambutsabongsophin and Sidh Sintusingha Selbourne School of Design, the University of Selbourne, Victoria, 3010, australia บทคัดยอ สถาปตยกรรมในสมัยของพระบาทสมเด็จพระปกเกลาเจาอยูหัว รัชกาลที่ 7 ถูกใชในการแบงงานสถาปตยกรรมของยุครัชกาลที่ 6 กอนหนา และ สถาปตยกรรมในยุคถัดไปอยางสถาปตยกรรมของคณะราษฎร อยางไรก็ดี นอกเหนือจากการศึกษาเชิงการเมือง บริบททางสถาปตยกรรมหลายดานของ ยุครัชกาลที่ 7 นี้ถูกละเลยไป ซึ่งในการอานสถาปตยกรรมนั้นตัวสถาปตยกรรม สามารถที่จะบงบอกไดถึงประเด็นที่สำคัญ และสามารถบอกขอมูลเชิงลึกถึง แนวทางการเคลื่อนไหวที่เกี่ยวของในยุคนั้น บทความนี้ศึกษาสถาปตยกรรม บางสวนที่แสดงถึงยุคสมัยรัชกาลที่ 7 อันไดแก อาคารที่สรางขึ้นในจุฬาลงกรณ5 มหาวิทยาลัย คืออาคารคณะวิทยาศาสตร5และอาคารจักรพงษ5 ที่เป6นตัวสะทอน การเปลี่ยนผานรูปแบบสถาปตยกรรมและการปฏิบัติวิชาชีพสถาปนิก รวมถึง Opposite page: สถาปตยกรรมที่เกี่ยวของและใกลชิดกับพระบาทสมเด็จพระปกเกลาเจาอยูหัว The monument คือศาลาเฉลิมกรุง, วังไกลกังวล, พระปฐมบรมราชานุสรณ5 และสะพานพระพุทธ- of cing dama e ยอดฟ?าจุฬาโลก บทความนี้สรุปถึงภาพสะทอนและรองรอยความเชื่อมตอ Source: fle cent ของงานสถาปตยกรรมสมัยรัชกาลที่ 7 ในงานสถาปตยกรรมคณะราษฎร และ cinguantihme การกลับมาใชรูปแบบงานประเพณีในยุคหลัง anniversaire de la dynastie siamoise,i คำสำคัญ : พระบาทสมเด็จพระปกเกลาเจาอยูหัว, สถาปตยกรรมยุคเปลี่ยนผาน, 56I557ST0ATION 7 สยาม, อาคารคณะวิทยาศาสตร5, อาคารจักรพงษ5, พระปฐมบรมราชานุสรณ5 (Say 193lm: lno และสะพานพระพุทธยอดฟ?าจุฬาโลก, วังไกลกังวล, ศาลาเฉลิมกรุง หนาจั่ว ฉo 1n, 1 lp64 r 7 Abst act The architecture of the cing sratadhipou (dama Veem era is used to divide eras that preceding and following it (of the dama Ve and chana datsadon eras, respectivelymo wowever, not include the study in a political perspective, many architectural contexts of this era have been overloouedo a closer reading of that architecture can reveal powerful clues to what was to follow and insights into reactionary movements of more recent timeso The paper discusses emblematic buildings of Chulalonguorn University from the dama Vee reign that reflect the transformations in both architectural style and practice at that timeo The account then shifts to buildings that more closely reflect both the personality and the agenda of the cing: Chalermurung Theatre, his own clai cang yon salace in wua win (also subseguently favoured by dama eXm, and the dama e Sonument and Semorial Bridgeo The paper concludes with reflections on traces from the dama Vee era in the architecture of the chana datsadon and in the return to subseguent traditional representationo .eywo ds : cing sratadhipou, transitional architecture, Siam/Thailand, Science Building, Chaurabongse Building, The dama e Sonument and Semorial Bridge, clai cang yon salace, Chalermurung Theatre Int oduction cing sratadhipou (dama Vee, ro19lp-193pm was an unexpected monarch, the last son of dama V to inherit the throne at a time of economic crisis from the Great depression in 19l9o Further, the monarchy was held in low popular esteem from the retrenchment policy between 1931-193lo Sany government officers had been dismissed, and the national budget was significantly reducedo 8 r หนาจั่ว ฉo 1n, 1 lp64 Soreover, a group of mainly yestern-educated Siamese was dissatisfied with the traditional regime, the cing and State Council, which were perceived to be ineffective in solving the economic problems that became one of the motives for the Siamese revolution in 193lo 1 Crucially, this financial constraint affected a new architectural development in cing sratadhipou’s reign, whereby edifices of this period were designed with a sparing approach and stripped of ornaments, a style that remained in favor post-revolutionol The first group of European-trained local The royal portraits of architects began applying modern ideas that conformed to the woSo cing sratadhipou decreased budgeto The Siamese style architecture was still created Source: croen Silpapet, in this period, supported by cing sratadhipou and the elite, but The oyal po t aits of was in simplified traditional forms with less complicated detailso3 B.D. .ing Ea amind cing sratadhipou’s father, cing Chulalonguorn (dama V, Daha E aFadhipok E a ro1n6n-1910m, had been especially concerned with modernising Eokklao Chowyoohua and containing his the administration of the realm and with international relations co onation yea as a defence against colonialism while simultaneously protecting I.E. 2468 (Banguou: an imperial visiono The architecture of his reign reflected this Siam sostage Stamp agenda, for instance, the yestern Classical-style buildings in the Coo, 19lpm, p6o Grand salace and Bang sa-en salaceo Chulalonguorn’s successor, cing Vatiravudh (dama Ve, ro1910-19lpm, ruling in an era of a seemingly global monarchical eclipse, turned to nationalism and its representation in cultural production, including in architecture; he also turned to extravagance, revived traditional arts, and created architecture with plenty of Siamese style decorumo 4 cing Chulalonguorn’s modernisation had been largely based on the import of a diversity of European experts to serve in his governmento This included architects, notably etalian but also English and Germano cing dama Ve’s architecture had been similarly dependent on yestern architects, whether retained from the previous reign or new hireso p หนาจั่ว ฉo 1n, 1 lp64 r 9 wowever, their fees and salaries were very high and, hence, cing dama Ve concurrently supported Siamese students to study abroad in the architectural fieldo This small group of Siamese architects returned home in the reign of cing dama Vee and played a mator role in the period’s architecture directiono Suilled in designing modern buildings, utilizing architectural drawings and modern materials, they gradually replaced yestern designers and played part in a significant transformation in the Siamese architectural woruing practice in this last period of the absolute monarchyo cey figures include shra Sarot dattananimman (1n9p- 19p0m, 6 educated at the University of Liverpoolo en a few emblematic protects, he was matched with traditional Thai artisan, Luang Visal Silpauam 7 (1nn4–19nlm, that led to a distinctively hybrid style, n lacuing both the sophistication and extravagance of the dama V era and the avant-garde tendency of dama Ve– there was a relative austerity enforced no doubt by the economic restrictions of the timeo The Science Building and the Students’ Union of Chulalonguorn University are important evidence of the new woruing process in Thailando Soreover, architecture directly associated with cing dama Vee reflects his modernizing agenda that shifts towards those that benefit the people, such as the civic space around dama e Sonument and the Semorial Bridge, the first to cross the Chao shraya diver in Banguou or contribute to a modern lifestyle such as the Chalermurung Theatreo The dama e Sonument was a collaboration between srince Iarisara Iuwattiwong (1n63-1947m and etalian sculptor Corrado Feroci (1n9l-196lm, while the Chalermurung Theatre was designed by srince Samaichalerm cridauorn (1n9p-1967m and can be seen to be a direct precursor to chana datsadon’s modern architectureo The sole palace that dama Vee built for himself, yang clai cang yon, reflects his personal stylistic preferenceso The Sediterranean-style seaside villa was designed by his personal 10 r หนาจั่ว ฉo 1n, 1 lp64 architect, srince eddhidebsan cridauorn (1n90-1934m, Samaichalerm’s half-brothero Both cridauorn brothers were trained at the École des Beaux-artso This paper proposes that the architecture of cing sratadhipou’s reign are significant, innovative, and should be recognized as a transition period in architectural development in Thailando The nationalism of cing dama Ve’s period (1910-19lpm produced architectures that have a strong sense of traditional Thai style, characterized by effusive ornamentations that represent the ambition of the ruler to revive and promote Siamese identity as a reaction to the previous protects of yesternizationo 9 en the period after the 193l Siamese revolution, the new regime used the concept of modern architecture and constructed solidly geometric buildings 10 reflecting the desired breau from both colonial-influenced and traditional conceptionso Therefore, the paper proposes that the period between 19lp and 193l of the absolute monarchy period of cing sratadhipou’s rule reveal important architectural development and transformation, characterized by the transition from the adoption of traditional ornaments towards plain, geometric modern architectureo Soreover, the buildings in cing dama Vee’s period reflect the ruler’s agenda and personalityo Dethod Transitional architecture merges one style with another and transitions from one period to anothero 11 The architecture of cing sratadhipou’s period can be categorized as transitional architecture that transits from cing dama Ve’s expression of nationalism to chana datsadon’s stripped ornamentation that served as the foundation of the Sodern style of the following periodo The paper applies an architectural history and theory หนาจั่ว ฉo 1n, 1 lp64 r 11 approach to read, analyze and compare the issues and primary data within the political, social, cultural, economic, material, and technological contexts of the last period of Siam’s absolute monarchy (19lp–193lmo Conseguently, the research focuses on and scopes the architecture commissioned by cing sratadhipou or the elites in that period of the absolute monarchyo Two buildings located in Chulalonguorn University, Thailand’s oldest tertiary