ARCHITECTURE OF LANNA

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To Commemorate the 720th Anniversary of Chiang Mai City

ARCHITECTURE OF LANNA

9 786167 800189

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Nithi Sthapitanonda In cooperation with the Faculty of Architecture & the Faculty of Fine Arts, Chiang Mai University

Front cover: Wat Pa Daeng Luang, Chiang Mai

Line drawing by Nithi Sthapitanonda Back cover: Wat Phra That Lampang Luang, Lampang

Photo by Rungkit Charoenwat

16-3-26 上午11:39

Contents Preface

11 xxx

Acknowledgements

13 xxx

Chapter 1

Lanna Chronology

28 14

Chapter 2

Lanna Glory

40 22

Chapter 3

Development of the Ancient Lanna Cities

48 28

Chapter 4

The Architecture

54 36

Chapter 5

Architectural Elements

122 86

Chapter 6

Architectural Ornaments

154 122

Chapter 7

Foreign and Immigrant Influences

196 152

Chapter 8

Public Buildings

216 170

Chapter 9

Commercial Buildings

230 184

Chapter 10 Lanna Hybrid & Modern Lanna Architecture

242 196

Chapter 11 The Rise of Modernism

280 224

Index

304 xxx

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Wat Lai Hin Luang.

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Wat Phra That Lampang Luang Located in Wat Phra That Lampang Luang (1449) in Lampang, the ancient chedi is said to be built in the reign of Jamadevi of Hariphunchai and restored by the royal governor of Lampang in the golden period of the Lanna Kindom. The plan of Buddhawas zone was reorganised according to the local belief of Chakrawal Khati.

Many beautiful architectural structures were created in this period.

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Architecture in Buddhawas Zone Pagoda (That Chedi, known in short as chedi) is a building in which Buddha relics are enshrined. It was the centre of the Buddhawas zone, especially in Wat Luang. Some private temples did not have this kind of pagoda. Lanna pagodas in the past consisted of unique characteristics which will be discussed in the next chapter.

Buddhist Chedi Top

Here, only That Chedi is discussed*.This is a clear example of Lanna’s unique architecture of the past, and, in fact, still exists today. The form and concept of That Chedi construction in Southeast Asia was influenced by India. In Indian architecture, the stupa was built for permanently keeping relics and as a way of remembering important people who passed away before Buddhist time.

Components of Chedi Chedi has three main components. The “base” is large with many layers supporting “Ruaen That”. The “top” becomes slender to form a conical spire. Each part of chedi has a balanced geometric plan, including circular, square, and polygonal shapes.

Ruaen That is the middle part of the chedi. Its shape plays a vital role in determining the form of the chedi. For example, “castle-shaped” has niches on each side containing Buddha images, while “bell-shaped” looks like a bell facing down.

Each of the three main components may have more details in each facet of the square plan; for examples, Yokket adds edges of each side in descending layers, while Yo-ket decreases the right angle of the square plan and makes different small right angles.

Ruaen That

Changing plans to another shape in higher layers is called “facet adaption”, such as the changing from a square plan to an octagonal plan and a circular plan respectively.

“That Chedi” in Buddhism means a building for enshrining Lord Buddha’s relic or a respectful person.The one containing Lord Buddha’s relic is likely to be called “Phra Borommathat” or “Phra That”.The term “chetiya” is used in Lanna legends and ancient inscriptions. It came from Pali and Sanskrit language that referred to object, place, or respectful person. It is called “Chedi” in Thai or “That”. There is also a “Ku”, which refers to chedi in northern and north-eastern Thai dialects.

*

Base

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Construction of Buddhist Chedi in Lanna In the ancient Lanna kingdom, the construction of relic pagodas started in the Yonok-Hiran Ngoenyang kingdom. The location of relic pagodas being built on mountains outside the city began in the Yonok kingdom. At present, there are not many original pagodas left, either because of natural ruination over time or they were replaced by new ones. Relic pagodas built during Viang Pruksa city and Hiran Ngoenyang city still remain as historical monuments in Chiang Rai city. The pagoda that King Mangrai built at Doi Tung, however, has been replaced by a new one.

The pagodas built during Hariphunchai kingdom were castle-shaped pagodas that were clearly influential to the construction of pagodas in the early Lanna kingdom.Temples were built to surround the pagoda. Most relic pagodas were covered by the re-building of new ones from Lanna kingdom onwards.The three important forms of pagodas remained the same as they were built during prosperous times (11th-13th centuries) of the Hariphunchai kingdom. These three became the key models for chedi construction in early Lanna.

During the golden period of Lanna, the construction of temples and relic pagodas was booming. This included the renovation of religious places that existed before in Chiang Rai, Lamphun, and Lampang.

The form of pagodas in early Lanna was constantly developed from the key model, which was a castle-shaped pagoda in Hariphunchai, combined with influences from neighbouring regions like Pagan and Sukhothai. Later, in the golden period of Lanna, the forms of pagodas evolved and were improved with local characteristics. They included a castle-shaped pagoda, which had a connection with early Lanna as well as bell-shaped pagodas.The last form had two types: Pagan-related and Sukhothai-related pagodas. When the kingdom expanded, the influence of this architecture spread to other cities of Lanna, including Lan Xang kingdom.

Wat Chiang Man, Chiang Mai.

During the late golden period, another form of pagoda was developed. It was called Chedi Plong which was similar to a castle-shaped pagoda with a circular plan. It also looked like the stupa of Chinese pagodas that was called “Ta”.

After the golden period, the existing pagodas were renovated by either building new ones over the old ones or decorating moulding. In the later stage under Burmese colonial rule, traditional Lanna pagodas were changed in the size and ornamental decorations.

During the late 19th century, the traditional Lanna style was coming back. Most pagodas that were renovated and rebuilt were bell-shaped ones. They remained the same form of pagodas from Lanna’s golden period, however, the ratio of the bases were heightened and strengthened by reinforced concrete.

From the late 20th century onward, working spaces have been added inside the pagodas for more function apart from containing the Lord Buddha’s relics, for instance, using as a viharn or a museum. The size of the pagodas is thus bigger. The traditional forms of bell shape and castle shape remain while there is also an applied design that simplifies and reduces the details to a geometric form.

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A

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A ) Suwan Chang Kote Chedi, Wat Jamadevi, Lamphun.

B ) Chedi Ku Kham, Wat Chedi Liam, Chiang Mai. C ) Chedi Wat Umong Suan Phuttatham, Chiang Mai. D ) Chedi Wat Suan Dok, Chiang Mai. E ) Ratana Chedi, Wat Jamadevi, Lamphun.

F ) Chedi Klom, Wat Inthakin Sadue Mueang, Chiang Mai. G ) Chedi Wat Pan Sao, Chiang Mai. H ) Chedi Chiang Yuen, Wat Phra That Hariphunchai, Lamphun.

I ) Chedi Wat Pa Sak, Chiang Rai. J ) Chedi Phra Hariphunchai, Lamphun.

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A C B

A ) Wat Ton Gwain, Chiang Mai. B ) Wat Phumin, Nan. C ) Wat Pong Sanook, Lampang.

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Wat Pong Yang Khok Wat Pong Yang Khok, Amphoe Hang Chat, Lampang, was built in the Hariphunchai period. However, Viharn Phra Mae Chao Jamadevi might have been built later, during the recovery in 1759.

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A ) Wat Dong Rusi, Lamphun.

B ) Wat Pa Puay, Lamphun.

C ) Wat Uh Sai Kham, Chiang Mai. D ) Wat Saen Fang, Chiang Mai. E ) Wat Chiang Man, Chiang Mai. F ) Wat Pratu Pa, Lamphun.

Ho Dhamma in Lanna dialect means a hall of Tripitaka. It is a small two-storey building. The upper floor was used to keep palm leaf manuscripts, such as Buddha’s teachings, Buddhist scriptures, and Tripitaka. There were different types of roof.The trend of staircases was to use a temporary stepladder, or in some cases, lime staircases. Some halls were built in the middle of water in order to prevent termites. In some temples, Ho Dhamma was located in the Sanghawas zone.

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Rice Barn Lanna people called a rice barn “Long Khao”. There was a barn in every house in agri-cultural communities, both in rural towns and cities, lowlands and highlands, peasants’ and the noblemen’s houses. In fact a rice barn is also normally found outside the Lanna Kingdom, such as in other parts of Thailand, neighbouring countries in Southeast Asia, China, and Japan.

Usually, Long Khao was built in the front of the house for convenient transportation. Its size depended on the size of land and economic status of the owner. Some barns were not enclosed by panels, but had a big cylindrical container called “Sa-wien”. Sa-wien is made of 1x1.5 metre woven bamboos coated with cattle droppings mixed with soil and water.

The bottom of Sa-wien was woven loosely.

Traditional Lanna Long Khao was usually a stilt building. There were two styles of buildings and roofs. The first one was a gable-roof building with panels on the inside of the column lines. The other, very unique and existing only in the Lanna region, had an open or closed balcony around the building, extended from the column lines with a gable roof covering all four sides.

Lanna Long Khao’s columns were arranged in two lines, with 1-5 bays.

Often, the ends were circular and large while the capitals leaned toward each other and extended to support the gable roof. Also, both ends of floor beams (Waeng) jutted out. It was this that strengthened the structure.

Consisting of eaves or free-standing columns that supported the ends of eaves, the gable roof could be decorated with Kalae. The roofs were covered with thatch made from dry teak leaves or blade grass, Din Khor tiles, or other types of tiles in later periods.

The space under Lanna Long Khao was high, so it was airy and suitable for preventing humidity and termites. In ancient times, this could house large animals like elephants as well. The space could be used for parking carts and the columns could be used to chain cattle.

The building was inside the column lines and divided into two rooms.

The large room was the main room called “Long Khao Luang” for storing paddy for selling and consuming. Dates for moving the paddy in and out of this room were considered auspicious. However, some paddy was stored separately in another small room called “Long Khao Moh” or “Long Phrang”, for emergency use without having to wait until auspicious days.

The panels were boarded up on every side or covered with battens on the upper, and there was only one entrance in the front. There were two ways to build this entrance. One was to gouge the frame to put pieces of board in. Numbers were written on each board to measure the amount 116

of paddy in the room.The other way was putting smooth materials in, such as a board, woven bamboo, or, as is done in current times, an iron sheet.

In the front of this entrance, wooden pad called “Pakkhatuen Pheekin” was hanged. It was a calendar stating the auspicious and inauspicious days.

It was believed that on inauspicious days, ghosts would come to eat the paddy. On auspicious days, however, there would be no ghosts.

Around the two paddy rooms, the floor was extended to the outside of the column line to make balcony on both sides. The balcony were used for keeping harvesting equipment and quality seeds for the next season.

The balcony could be open or blocked by boards. The enclosure could be stifling or open with bars or fretworks. It could be decorated freely without a strict pattern. The balcony with eaves could prevent the rain from getting into the paddy rooms. Moreover, the lack of permanent stairs helped prevent thieves. One had to bring a bamboo ladder or “Guen” to lean temporarily on the building to climb up the barn.

Nowadays, though the necessity of Long Khao has become less than before, there are still some left in agricultural villages in the countryside, both in the lowlands and the highlands. In cities, there are only the ones preserved in some areas or museums. Moreover, many people buy old Long Khao from villagers to modify or construct Long Khao-like buildings for commercial uses, such as guesthouses, resort hotels, or restaurants.

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The Traditional Na Bun. A ) Viharn, Wat Inthakin Sadue Mueang, Chiang Mai. B ) Viharn, Wat Bupparam, Chiang Mai. C ) Viharn, Wat Pratu Pong, Lampang.

D ) Viharn, Wat Phra That Pha Ngao, Chiang Rai. E ) Viharn, Wat Pratu Pa, Lampang.

The Na Bun on the gabled porch.

F ) Viharn, Wat Buag Khrok Luang, Chiang Mai. The Na Bun in the whole triangular gable frame.

G ) Viharn, Chaturamuk, Wat Phumin, Nan. H ) Viharn, Wat Sri Khom Kham, Phayao.

I ) Viharn, Wat Hua Khuang, Nan. J ) Viharn, Wat Duang Dee, Chiang Mai. K ) Viharn, Wat Sri Chum, Lampang.

L ) Viharn, Wat Phra That Suthon Mongkol Kiri, Phrae.

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Arch and Guardians Arch and ornaments for emphasising entrance area and protecting the places were built with stucco masonry. Sum Khong arch was not only used for chedi decoration, but also for the entrance doors of viharn and ubosot, and the decoration of gandhakuti (abode of Lord Buddha) within the viharn.

The ornament was developed from perforated ornamental relief, for instance, floral motif, Lanna Kanok motif, cloud motif, Himavanta animals, as well as Naga-Kiao motif (binding Nagas) used to decorate the arch frame.

Important entrances were emphasised by round reliefs that were believed to be cosmological guardians of religious places. For example, double Singha were located on each side of the entrance to the shrine and in front of the arch.

On the other hand, a Naga staircase leading to important pieces of architecture, such as chedi, temple, ubosot, and chamber was decorated with Naga stucco or Mom stucco.

Sum Khong arch was decorated with stucco motifs, especially Naga-Kiao motif that was used for the arch frame. The decoration of the surface in the arch above Sum Khong entrance contained, for example, Dhammachakra (one of the Buddhism symbol) and Puranakata (a pattern of pots, referring to abundance, wisdom and peace, mostly used to worship Buddha images or sacred things).

The staircase decoration of Naga stucco, Mom stucco, and double Singha round reliefs continued to feature in Lanna temples. Shape and decoration were changed through time. The staircase was decorated with Naga stucco that crawled along both sides of handrails and coiling on the floor. New decorating styles included the decoration of the front staircase with Naga’s head and body, while the rear staircase featured Naga’s tail or Lanna Kanok motif. Some places were ornamented by Puranakata at the entrance.

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A ) Wat Phra That Lampang Luang.

B ) Wat Phra Kaew Don Tao Suchadaram, Lamphun.

C ) Wat Phra Singh, Chiang Rai. D ) Wat Phra That Choh Hae, Phrae.

E ) Wat Suan Dok, Chiang Mai. F ) Wat Pong Sanook, Lampang.

G ) Wat Lai Hin Luang, Lampang.

H ) Wat Pratu Pong, Lampang.

I ) Wat Analayo Thipayaram, Phayao.

J ) Wat Phra That Chom Ping, Chiang Rai.

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Tuay Naga Tan: wood corbels jutting from columns to carry weight of the eaves.

In the golden period the corbel was normally carved with Phaya Luang pattern. The mythical creature looks like a dragon with horns and wings.

After the golden period, there are more patterns which include Naga-Kiao (entwined serpents) and Devata (god), which may be blended with standard motifs like Kanok and Mek Lai (clouds).

Interestingly, the decorative patterns in viharns and ubosots are often found repeatedly but differently even in the same building, depending on the design of the craftsmen.

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A ) Wat Phra Kaew Don Tao Suchadaram, Lampang.

B ) Wat Luang, Phrae.

C ) Wat Ketakaram, Chiang Mai. D ) Wat Phra That Choh Hae, Phrae.

E ) Wat Luang, Phrae.

F ) Wat Lai Hin Luang, Lampang.

G ) Wat Sri Chum, Lampang.

H ) Wat Lai Hin Luang, Lampang.

I ) Wat Ketakaram, Chiang Mai. J ) Wat Hua Viang, Mae Hong Son. K ) Wat Pa Daeng Luang, Chiang Mai. L) Wat Phra That Choh Hae, Phrae.

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Chapter 7

Foreign and Immigrant Influences

From Hariphunchai’s golden period to Lanna’s golden period, foreign arts from Dvaravati and Pagan Kingdoms were very influential. Religious architecture, especially chedis, were influenced by foreign art styles and then localised by Lanna people. There were also some other different forms of chedis that represented unique foreign-influenced arts, for example, Indian and Sukhothai chedis. Still, there was not that many in Lanna.

In the age that Lanna was a Burmese colony, many temples were built by Burmese, Mon, Tai, and other nationalities living in Lanna.

This style of construction was also applied to royal residences, wealthy people’s houses, and Western-influenced public and commercial buildings. Some were blended with local Lanna, Burmese, Mon, Tai, and Chinese styles.

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Temples in Mixed Styles: Lanna, Burma, theWest, China andTai Lue A ) Wat Phra Keaw Don Tao Suchadaram, Lampang.The Mondop, which is the building containing the Buddha image, was built in Burmeses style, with mixed style of ornamental decoration.

B ) Wat Katakaram (Sa Kate), Chiang Mai. The Ubosot was built and decorated with mixed style, especially Lanna and Chinese style of ornamental motifs, reliefs and sculptures around the building.

C ) Wat Chedi Luang, Chiang Mai.Viharn Chaturamuk Burapachan (Viharn Si Kru Ba), built in later period, adopted and developed the style from Viharn Pra Cho Pan Ong at Wat Pong Sanook, Lampang.

D ) Viharn Pra Cho Pan Ong,Wat Pong Sanook, Lampang.

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A ) Dara Pirom royal residence, Chiang Mai. The royal residence of Chao Dara Rasami, one of King Rama V’s wives from Lanna, is now used as a museum. The building was built in Tudor style.

Royal Residence Lanna regained its independence after being dominated by Burma and then became a part of the Siam Kingdom. The status of the king was thus reduced to city governor. The residence of the governor was called Khum Chao and varied in forms of construction. Due to a good relationship with Bangkok, Lanna governors were exposed to contemporary Western architectural influences. During the reign of King Rama VI of Rattanakosin, this Western influence could be seen in residences of governors and royal family members, as well as common people’s houses and public buildings in Lanna’s provinces.

Most Khum Chao’s were two-storey buildings.

Some were built with teakwood, while some concrete buildings used teakwood only for the inside structure. The obvious difference between the new and old style was the roof shape, which had either a simple symmetrical structure or a complex structure. For example, a layered roof with Western-influenced porches was adopted, especially houses with Victorian and Tudor styles. This was the style of the Phrae governor house, Lamphun governor house, and Dara Pirom royal residence.

Some buildings blended Western and Lanna styles together, for example, Burirat governor house and Nan Ho Kham. Also, some buildings, such as the royal residence on the Ping river side, adopted complex roof structures, but has since been removed.

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House of the Wealthy Western-influenced Houses From the reign of King Rama IV to VI (18511925), the kingdom was economically prosperous. Western architectural style, especially Victor ian, was popular and applied in both royal and common people’s houses. This was the change of architecture style in Khum Chao. Both concrete buildings and half-concrete half-wood buildings adopted Western plans. Brick wall bearing methodology and arch construction was used. There was the combination of Victorian “gingerbread” house style and local wooden house or Lanna half-concrete half-wood house (so-called Saranai house); for instance, the building had a hip roof and horizontal louvered wooden partitions, panel doors and windows, as well as mouldings along the building. Parts of the roof, such as eaves, gables, and the top, were decorated with carved or perforated wood. The gable end was decorated with sharp-end lathed wood.

Even real wooden houses of Tai Yong and Tai Lue people adopted this style. Although some features remained similar to the traditional houses of Tai Yuan and Luo (Lawa) people, there were some noticeable differences on the roof. There were triangle roofs, hip roofs, and Manila (hipped-gable) roofs. The roof was not very steep. Louvered wooden partitions and perforated wooden motifs were also used.

Burmese-influenced House In the 19th century, logging concessions in natural forest were granted and the business grew successfully. Many large teak houses for wealthy people were built; for examples, Sao Nak House in Lampang and a 140year house in Chiang Mai. Differently from Lanna traditional and Saranai houses, the Burmese-influenced style has perimeter wall and columns extending outwards to support the eave trim.

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A, C ) Ruen Luang Sri Nakaranukul, Phrae.The two-storey Saranai mansion of a rich Chinese merchant, Luang Sri Nakaranukul, was built in a style influenced by the Victorian Gingerbread houses.

It was inspired by Vimanmek Palace (in Bangkok) and other architectural styles in the reign of King Rama VI of the Rattanakosin period.

B ) Baan Khomsan in an old market community (Gaad Kongta), Lampang, was built by a wealthy Chinese on the Wang River. It shows the popular designs of that time, such as the hip roof with cut-top gable and the stucco mouldings.The later renovation includes lifting the ground floor (as a tilt house) to the same level of Rasada Phisek Bridge nearby to avoid flood damage.

D ) Baan Sinanon in the old market community (Gaad Kongta), Lampang, was owned by Luang Wanishkamchorn, a wealthy Chinese ancestor of Sinanon family. The building was influenced by the early Western style of construction, with the two-storey reinforced concrete building and a tetrahedron roof and a sharp-cut gable.

E ) Ruen Lung Que, Chiang Mai. The building is located in the Lanna Traditional House Museum, the centre for the promotion of arts and culture, of Chiang Mai University.The two-storey concrete building with a Western-style hip roof was first owned by Arther Lionel Queripel, the first person to introduce strawberry planting inThailand.

F , G, H ) 137 Pillars House, Chiang Mai. The private house was owned by Louis T Leonowens, son of Anna Leonowens who taught members of royal family during the reign of King Rama V. The house was built at the same time as his office of British Borneo Company in Chiang Mai. After World War II, the house was abandoned for a period. It was then renovated and had additional buildings to be used as a boutique hotel named “137 Pillars House�.

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Nakhon Lampang Railway Station

Chiang Mai Railway Station

Transportation system During the reign of King Rama V of Ratanakosin, the northern railway from Bangkok was constructed, together with stations in Lampang in 1916 and Chiang Mai in 1921. This brought substantial change to the local economy.

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Saranai Commercial Buildings Early commercial buildings in Lanna were owned by overseas Chinese.

They settled in groups, mostly on a river side, and pioneered in trading.

This area then became a trading community and a port.Their commercial buildings were half-wood half-concrete structure.The design was a mix between Chinese and early Victorian (Gingerbread House) architectural styles with carved wood decorations.The unique permanent buildings called Saranai (or Salanai) were terraced homes with front folding doors that allowed full-width opening. Along the eave boards and long vents above the doors were decorated with carved wood.The riverside commercial communities where beautiful and well-preserved buildings could be found include: the community at Wat Kate on Charoenrat road and on the east bank of the Ping river in Chiang Mai, later expanding to Tha Phae and Wichaya roads; and the community at Chinese market (Gaad Kongta/Konta community) on Talad Kao road which lies along the south of the Wang river.

Chinese Market Community or Gaad Kongta (a market on the road to the pier), in Lampang, was situated on an old small road at the east-west bank of the Wang river. It was the centre of water transportation where at first was occupied by the powerful Burmese workers of a British forestry company. Then came Chinese traders.

Many of them were appointed by Siam to be tax collectors.The number of the Chinese increased till forming a Chinese Market Community.

Currently, the place becomes a walking street market on every weekend from the evening till late night. The commercial buildings in this area are both half-wood half-concrete and whole reinforced concrete constructions. Some are decorated in Burmese style and some with western stucco.

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Baandam Museum Baandam Museum in Tambon Nanglae, Amphoe Mueang, Chiang Rai was built in 1976 by Thawan Duchanee, the 2001National Artist in Visual Arts (painting). Over 40 buildings were built through years (1976-2009) in the initiator’s style for various functions, such as the artworks exhibition, living places, guest houses, activities, multi-purpose buildings. Most buildings are black, with other natural colours of materials, such as wood, Clay tiles, and cement (painted white).

3. Wood structures developed from Kalae houses and rice barns, or relocated old houses with some adjustment in form and proportion. There are six buildings used for residences, a restroom with art decorations and ancestors’ ash storage.

4. Brick and wood structures developed from residences and other buildings in the local area. Some are decorated with Kalae. This group includes the style of Long Khao (rice barn) and livestock houses. There are sixth The architectural forms of Baan dam can be divided into six categories: buildings used for guest residences, multi-purpose function, art exhibition, 1. Wood structures developed from various styles of viharns, such as tra- painting studios. Besides are restroom and parking lot. ditional Lanna, Lan Xang and the neighbouring countries like Myanmar, Tai Yai and Chiang Tung.The distinctive elements include the multi-tiered gable 5. Sculptural structures, with forms developed from a charcoal stove and roof and the carved wood ornaments. that was adjusted to be slimmer containers like Oub. This group consists of four white stucco Oubs (Oub proportion. There are eight buildings in this category used mostly for dif- Mung/Umong) for art exhibitions and one for a residence. ferent specific art exhibitions.

6. Modern buildings in a plain geometric form. There are two of them 2. Wood structures with a mixture of later period of Lanna styles with in- consisting of the Baandam Gallery, as the information centre and souvenir fluences from Burma, Tai Yai, Lanna and the central plain of Thailand. There shop, and a restroom. are seven buildings used for art exhibitions and other functions, such as residences and restrooms, or multi-purpose.

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The Rachamanka The Rachamanka cultural boutique hotel is located directly in the centre of Chiang Mai, in the old town area.

It was designed by Ong-ard Satrabhandhu, who was praised as the 2009 National Artist in Contemporary Architecture. The idea of this contemporary Lanna hotel is based on the combination of ancient Lanna style and the modernism to make it stand harmoniously in the big city. The integration of local Lanna arts as found also in Myanmar, Laos and China and contemporary style decoration gives visitors a feeling of comfort, warmth and relaxation.The pleasant shady courtyard surrounded with the hotel buildings enhances the cosiness.

Sibsan Luxury Hotel Rimping Rawee Waree Luxury Hotel

Sibsan Luxury Hotel Rimping (previously named Ravee Waree Luxury Hotel), in Tambon Phee Suea, Amphoe Mueang, Chiang Mai was built in 2009 and renovated in 2013. It is a boutique hotel situated on the Ping river with Doi Suthep mountain in the background. The design by Lanna Architect is inspired by Lanna style of the later period (renewal

Luxury Hotel Chiang Mai.indd 40-41 LIZ024_001_288.indd 40

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of Chiang Mai) when Tai ethnic groups immigrated to the city, such as Tai Yai, Tai Lue, Tai Yong, and Tai Khuen. The multi-tiered roofs of different designs that represent the unique old Lanna-style living that is harmoniously mixed with new functions of the luxury hotel.

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Sala Lanna Sala Lanna is a small, exclusive boutique brand hotel on Tha Phae commercial road, in the centre of Chiang Mai. It was designed by an architect company Anupap Design Practice. The main design is based on local architecture; such as the white-painted masonry wall and the wood that shows natural texture.

Modern materials and form were also blended to enhance the outstanding characteristics of local architecture, such as a large window glass, the simple geometric shapes and the pattern of woven bamboo that was adapted to the furnishing.

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