(Re)Creating Tangible Heritage "In Situ"

Architecture
Through an examination of the site’s architectural history, we explore how events during the time of Rama IV (1851-1868) affected one of the most significant narrative shifts that changed the space within the Front Palace.

Looking back at the unique narrative shift within the Front Palace, HRH Prince Damrong Rajanubhab reflected on the reason for the addition of these nearly mirrored structures:

“…To summarize, what there were to glorify the King, he would want the Second King to be honoured in exactly the same manner most, if not all of the time.”

- Tamnan Wang Na (The Legend of the Front Palace), HRH Prince Damrong Rajanubhab

Kotchakampravet Prasat

A prasat (a multi-tiered structure over the roof) is a Thai architectural element reserved for a building used by a King.

A structure with a prasat had never previously existed at the Front Palace, but Kotcakampravet Prasat was built for Second King Pinklao, and was typically used ceremonially, and its proportions were similar to that of the equivalent Amporn Phimok at the Grand Palace.

Similar to the High Pavilion of the Front Palace, the Grand Palace's Sutthaisawan Prasat had formerly been built as an open pavilion; however, the roof of the open pavilion was re-modeled into a prasat style by King Rama III.

The outer façade of Isara Winitchai Throne Hall (3)
during the reign of Rama VII, a period in which the throne hall had become an exhibition hall within the National Museum Bangkok

Deterioration of Ekalongkot Pavilion (3.1)
during the reign of King Rama VII.

The remaining duplicate, Mangkhalaphisek Pavilion (3.1),
As it exists today in Bangkok.

Sanamchan Pavilion (3.2)
Seen here at the Front Palace during the reign of First King Monkut and Second King Pinklao.

Jarupatcha's work is meant to recall curtains which once served as a demarcation of space, namely of a King’s personal and public space within a Throne Hall.

The curtains were also inspired by gold leaf dharma book chests which were present when Jarupatcha first visited Mukkrasan. Under the light, the pattern and texture of the gold leaf lacquer on the dharma book chest seemed to have peeled off into layers. Time had worked its way on the gold leaf surface, pressing its existence as an ongoing progress of gold rust.Modern techniques were utilized to replicate this wear and tear, or battle scars, of objects for the curtains in Mukkrasan.

Suwicha Dussadeewanich, a sculptor, works with three-dimensional installation art that applies working methods and thinking processes of traditional Thai craftsmen, that he blends with expertise of the functionality of shapes, structures,materials, and tools.

Here, Suwicha drew inspiration from traditional Thai homes in order to create a seating area which is both relaxed and inviting.

In integrating past and present, function and art, Thai culture and history will be able to evolve and take on different forms which allow for continuity.