主编寄语

简讯

理事动态

论文

中国后化石燃料时代的城市发展议程：

关于辖区尺度的生态—高效城市与绿色基础设施的新理念

史蒂芬·莱曼，解洪兴

观点与评论

中国特色的建筑节能之路 江亿

从能效城市到能效者—5A规划途径 佩特拉·斯坦宁格

生态低碳城市规划方法 马克·休伊特

当低碳与生态技术遇见景观建造 刘水

最佳实践：中国南方地区首个被动式住宅 彼特·鲁格

为生活而设计 常志刚

原创实践

生态景观技术与艺术探索

—广东省东莞市万科建研中心生态园区 张唐景观

纽约绿色循环堆肥中心 PRESENT建筑设计事务所

荷兰海牙A4能源森林景观 DE URBANISTEN城市研究和设计工作室

香港零碳天地 吕元祥建筑师事务所

土耳其安卡拉市奥斯迪姆生态园技术开发区 ONZ建筑设计事务所

法国电力集团档案中心 LAN建筑设计事务所

河北省固安规划展览馆景观设计 维思平建筑

探索与过程

重叠城市：再定义后化石时代的能源景观 陈忱

社会架构与空间序列—曼谷班库瓦社区 克里斯托夫·吕德尔

009LANDSCAPE ARCHITECTURE FRONTIERS

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ZHANG, Chen ZHAO, Weiyuan ZHENG, Zhihui ZHOU, Yufan ZHU, Yaoguang

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CN 10-1105/TU

ISSN 2095-5405 (Print) 2095-5413 (Online)

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《景观设计学》定位于景观设计的学术研究与设计实践的交叉领域，探

讨如何通过景观设计学途径，解决中国和世界生态与环境问题的新观

念、新理论和新方法 ；通过介绍和推广前沿景观设计实践，倡导有助

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Volume 2 Issue 32014. 06

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Editorial

Brief

Member Updates

Papers

A Post-fossil-fuel Urban Development Agenda for China: New Concepts of

Eco-efficient City and Green Infrastructure at Precinct-Scale Steffen LEHMANN, Tonny XIE

Views and Criticisms

The Road to Energy-smart Buildings with Chinese Characteristics Yi JIANG

From Energy-efficient Cities to Energy-efficient People

— The Five A’s Planning Approach Petra STIENINGER

Eco-low Carbon Urban Planning Methodology Mark HEWLETT

Low-carbon and Ecological Techniques in Landscape Construction Shui LIU

Best Practice: The First Residential Passive House in Southern China Peter RUGE

Design for Life Zhigang CHANG

Original Practices

Art and Eco-technology — Eco-campus of Vanke Architecture Research Center

in Dongguan, Guangdong Z+T STUDIO

Green Loop, New York PRESENT Architecture

A4 Energy Landscape in The Hague, the Netherlands DE URBANISTEN

ZCB Zero Carbon Building, Hong Kong Ronald Lu & Partners

Ostim Eco-park Technology Development Region in Ankara, Turkey ONZ Architects

EDF Archives Center, France LAN Architecture

Landscape Design of the Gu’an Planning Exhibition Hall, Hebei WSP ARCHITECTS

Experiments and Processes

The Overlapped City: Redefining Energy Landscapes in the Post-fossil Era Chen

CHEN

Social Fabric and Spatial Permutation — Ban Krua, Bangkok Christoph LUEDER

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and design practice in landscape architecture, discussing new opinions,

theories and approaches to address environmental and ecological issues

through landscape architecture; advocating new aesthetics and new

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and promoting most recent practice of landscape architecture. It acts as

a bridge connecting research and social needs, science and art, leading

the development of the discipline. Our audience includes researchers and

professional architects, faculties and students, policy makers in related

fields and people who work on the environmental constructions in both

urban and rural areas.

All rights reserved. The contents should not be reproduced in any form, either in whole or in part, without written

permission from the editorial department. The publisher has attempted to trace and acknowledge all sources for

images used in this magazine, and we apologize for any errors and omissions.

Projects on the Cover: EDF Archives Center, France; Ostim Eco-park Technology Development Region in Ankara,

Turkey; A4 Energy Landscape in The Hague, the Netherlands

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Experim

ents and Processes

探

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景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

社会架构与空间序列——曼谷班库瓦社区

Social Fabric and Spatial Permutation — Ban Krua, Bangkok

摘要 ……

曼谷的班库瓦社区位于邻近国家体育场的塞桑运

河沿岸。该社区因成功抵制政府计划修建横穿其中的

高速公路，而在国际上引起反响。一系列学术研究将

他们之前的成功或归功于社区凝聚力推动下的非暴力

不合作策略，或追溯至社区与泰国军方和当局高级官

员之间的渊源。但我们感兴趣的是维系这一非凡凝聚

力的存在于社会架构之间的动态关系，以及由社区所

催生并存在于其中的空间。建筑可以是自生自长的，

并且通常会随时间发生变化。在城市尺度上，社区中

狭窄的巷道网络是家庭空间的直接延伸——社区层面

上的连通性以及由其所触发的城市层面上的隔离性二

者间的动态变化，共同塑造着这一连续的空间序列。

关键词 ……

社会与空间结构；城市与本地关联性；非正规都市

主义；共享空间；边缘化社区

Abstract ...The community of Ban Krua has come to global attention through their successful

resistance against a government proposal for a motorway that would have cut through

their community on the banks of the Saen Saeb canal near Bangkok’s National Stadium.

While academic studies attribute their erstwhile success either to the tactics of non-violent

resistance sustained by community cohesion or to the communities’ longstanding ties

with senior officials in the Thai military and bureaucracy, we were interested in the dynamic

interrelationships between the social fabric that sustains this remarkable level of cohesion,

and the spaces produced and inhabited by the community. Buildings are sometimes

self-constructed and usually transformed over time; at the urban scale of the community

the network of narrow alleyways is a direct extension of domestic space, subject to

continuous permutation through dynamic processes of local connections triggering

disconnection at urban level and vice versa.

Key words ...Social and Spatial Structure; Urban and Local Connectivity; Informal Urbanism; Shared

Space; Marginal Communities

克里斯托夫·吕德尔伦敦金斯顿大学副教授

Christoph LUEDER Associate Professor,

Kingston University London

翻译 Translated by /

陈立欣 Connie CHEN

校对 Proofread by /

陆小璇 Xiaoxuan LU

收稿时间 / Received Date

2014-05-10

中图分类号 / TU982.3/.7

文献标识码 / B班库瓦充满了对比。徜徉于塞桑运河

的游客经常会将其误认为是边缘人群居住

的贫民窟，是一处在快速现代化和全球化

进程中被遗忘的角落。对于参观由丝绸实

业家吉姆·汤普森迁往运河对岸并重新整

合的泰国房屋的游客来说，班库瓦是一个

由柬埔寨占族穆斯林移民组成的丝绸纺织

社区，他们曾在20世纪五六十年代参与手

工丝绸布料的生产。那段经济繁荣的岁月

已是过眼云烟，大部分丝绸纺织厂已经倒

闭或迁离城市，如今只有两家仍在运作。

政治学者将班库瓦社区看作是一个成

功对抗基础设施项目的民间草根组织的实

例。1988年政府决定修建一个能将班库瓦

一分为二的高速路出口坡道，社区组织了

非暴力抗议和象征性的公共行动，并不断

巡视他们的领地，以防止政府实行先前用

于打击民间抵抗的纵火袭击。一系列抵制

运动最终在1993年取得成功，以当局取消

这一计划告终。一些政治学者称，这一胜

利的背后不仅是草根运动，也存在社区与

泰国军方和当局高级官员之间的渊源。

作为建筑师和城市规划者，我们感

兴趣的是一个表现出如此惊人凝聚力的社

区的社会结构，以及其所产生并不断重塑

的公共、共享和私人空间。我们在班库瓦

（1858），规划中一系列房间通过走廊连

接，而绘画中一个男人和一个女人相互远

离。画作中描绘了对于私密性的渴望，而

在规划中则通过走廊实现。埃文斯认为，

建筑设计是对“人性关系的本质”进行描

述。班库瓦社区并非经由规划师之手而形

成，人们看到的居住画面亦未被精心编

排。如果说，罗宾·埃文斯所评述的艺术

家和建筑师们是他们那个时代和社会表达

自我的媒介，那么班库瓦社区则与此形成

鲜明对比——它是一个大型的自我规划与

自我组建的建筑群体，是一个由邻里间点

滴协商而催生的城市法则。

这里展示了班库瓦社区中位于塞桑

运河和达鲁法拉清真寺之间的一段空间序

列的平面布局。在50m长的空间内，包括

沿着小巷布置的三个建筑单体。首先是一

处随着时间被不断改造的传统泰式房屋；

其后方是一处用围栏围合的富有丝绸纺织

者的住宅；住宅后方是一栋新建的高层公

寓建筑。建造之初，这栋泰式房屋的底层

是向四周开敞的，建筑的二层由通透的表

皮所围合，其内部均设有用于分隔空间的

隔板。当政府沿河道安装了水闸后，这一

区域周期性的地表洪涝消失了。泰式房屋

的主人因而将曾经用于烹饪、就餐的底层

社区的实地调研，是一个关注由非同步发

展、在缘化与集中化相互作用下形成的城

市空间的系列研究的一环。此前，这一项

目对贾巴尔奥利雅——一个位于约旦阿曼

的巴勒斯坦难民营进行过研究。目前，对

孟买和智利圣地亚哥的研究正在计划当

中。2014年2月，我和亚历山德鲁·马来

斯库受泰国国立朱拉隆功大学建筑设计国

际项目之邀，与11名在读学生及两名毕业

生（格蕾丝·莎菲塔·茱安娜特拉德、托

普·特西迫·特纳博柴）组成团队，对班

库瓦进行研究。

班库瓦社区展现了社会与空间结构之

间的多层面的类比和多尺度的相互影响。

建筑理论学家罗宾·埃文斯对涵盖了西方

建筑史的一系列类比做出了描述。埃文斯

曾将安东尼奥·达·桑加罗与拉斐尔·桑

西对玛达玛庄园的规划（1518）与拉斐尔

的画作《圣家族》（1514）进行了类比。

规划中勾勒出相互连通的房间矩阵，访客

和住客会穿过阵列般的房间。最大化的连

通性和私密性的缺失在《圣家族》中亦

有所体现，画中人物饱含深情的相视并

有着肢体接触。埃文斯的另一组类比，

是威廉·莫里斯位于贝克斯利希斯的红

房子（1859）和画作《美丽的伊索尔德》

1 2

1. 班库瓦社区鸟瞰图

2. 班库瓦社区在曼谷市的位置

1. Bird's eye view of Ban Krua2. Ground map of Ban Krua in the context of Bangkok.

148 149

Experim

ents and Processes

探

索

与

过

程

景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

社会架构与空间序列——曼谷班库瓦社区

Social Fabric and Spatial Permutation — Ban Krua, Bangkok

摘要 ……

曼谷的班库瓦社区位于邻近国家体育场的塞桑运

河沿岸。该社区因成功抵制政府计划修建横穿其中的

高速公路，而在国际上引起反响。一系列学术研究将

他们之前的成功或归功于社区凝聚力推动下的非暴力

不合作策略，或追溯至社区与泰国军方和当局高级官

员之间的渊源。但我们感兴趣的是维系这一非凡凝聚

力的存在于社会架构之间的动态关系，以及由社区所

催生并存在于其中的空间。建筑可以是自生自长的，

并且通常会随时间发生变化。在城市尺度上，社区中

狭窄的巷道网络是家庭空间的直接延伸——社区层面

上的连通性以及由其所触发的城市层面上的隔离性二

者间的动态变化，共同塑造着这一连续的空间序列。

关键词 ……

社会与空间结构；城市与本地关联性；非正规都市

主义；共享空间；边缘化社区

Abstract ...The community of Ban Krua has come to global attention through their successful

resistance against a government proposal for a motorway that would have cut through

their community on the banks of the Saen Saeb canal near Bangkok’s National Stadium.

While academic studies attribute their erstwhile success either to the tactics of non-violent

resistance sustained by community cohesion or to the communities’ longstanding ties

with senior officials in the Thai military and bureaucracy, we were interested in the dynamic

interrelationships between the social fabric that sustains this remarkable level of cohesion,

and the spaces produced and inhabited by the community. Buildings are sometimes

self-constructed and usually transformed over time; at the urban scale of the community

the network of narrow alleyways is a direct extension of domestic space, subject to

continuous permutation through dynamic processes of local connections triggering

disconnection at urban level and vice versa.

Key words ...Social and Spatial Structure; Urban and Local Connectivity; Informal Urbanism; Shared

Space; Marginal Communities

克里斯托夫·吕德尔伦敦金斯顿大学副教授

Christoph LUEDER Associate Professor,

Kingston University London

翻译 Translated by /

陈立欣 Connie CHEN

校对 Proofread by /

陆小璇 Xiaoxuan LU

收稿时间 / Received Date

2014-05-10

中图分类号 / TU982.3/.7

文献标识码 / B班库瓦充满了对比。徜徉于塞桑运河

的游客经常会将其误认为是边缘人群居住

的贫民窟，是一处在快速现代化和全球化

进程中被遗忘的角落。对于参观由丝绸实

业家吉姆·汤普森迁往运河对岸并重新整

合的泰国房屋的游客来说，班库瓦是一个

由柬埔寨占族穆斯林移民组成的丝绸纺织

社区，他们曾在20世纪五六十年代参与手

工丝绸布料的生产。那段经济繁荣的岁月

已是过眼云烟，大部分丝绸纺织厂已经倒

闭或迁离城市，如今只有两家仍在运作。

政治学者将班库瓦社区看作是一个成

功对抗基础设施项目的民间草根组织的实

例。1988年政府决定修建一个能将班库瓦

一分为二的高速路出口坡道，社区组织了

非暴力抗议和象征性的公共行动，并不断

巡视他们的领地，以防止政府实行先前用

于打击民间抵抗的纵火袭击。一系列抵制

运动最终在1993年取得成功，以当局取消

这一计划告终。一些政治学者称，这一胜

利的背后不仅是草根运动，也存在社区与

泰国军方和当局高级官员之间的渊源。

作为建筑师和城市规划者，我们感

兴趣的是一个表现出如此惊人凝聚力的社

区的社会结构，以及其所产生并不断重塑

的公共、共享和私人空间。我们在班库瓦

（1858），规划中一系列房间通过走廊连

接，而绘画中一个男人和一个女人相互远

离。画作中描绘了对于私密性的渴望，而

在规划中则通过走廊实现。埃文斯认为，

建筑设计是对“人性关系的本质”进行描

述。班库瓦社区并非经由规划师之手而形

成，人们看到的居住画面亦未被精心编

排。如果说，罗宾·埃文斯所评述的艺术

家和建筑师们是他们那个时代和社会表达

自我的媒介，那么班库瓦社区则与此形成

鲜明对比——它是一个大型的自我规划与

自我组建的建筑群体，是一个由邻里间点

滴协商而催生的城市法则。

这里展示了班库瓦社区中位于塞桑

运河和达鲁法拉清真寺之间的一段空间序

列的平面布局。在50m长的空间内，包括

沿着小巷布置的三个建筑单体。首先是一

处随着时间被不断改造的传统泰式房屋；

其后方是一处用围栏围合的富有丝绸纺织

者的住宅；住宅后方是一栋新建的高层公

寓建筑。建造之初，这栋泰式房屋的底层

是向四周开敞的，建筑的二层由通透的表

皮所围合，其内部均设有用于分隔空间的

隔板。当政府沿河道安装了水闸后，这一

区域周期性的地表洪涝消失了。泰式房屋

的主人因而将曾经用于烹饪、就餐的底层

社区的实地调研，是一个关注由非同步发

展、在缘化与集中化相互作用下形成的城

市空间的系列研究的一环。此前，这一项

目对贾巴尔奥利雅——一个位于约旦阿曼

的巴勒斯坦难民营进行过研究。目前，对

孟买和智利圣地亚哥的研究正在计划当

中。2014年2月，我和亚历山德鲁·马来

斯库受泰国国立朱拉隆功大学建筑设计国

际项目之邀，与11名在读学生及两名毕业

生（格蕾丝·莎菲塔·茱安娜特拉德、托

普·特西迫·特纳博柴）组成团队，对班

库瓦进行研究。

班库瓦社区展现了社会与空间结构之

间的多层面的类比和多尺度的相互影响。

建筑理论学家罗宾·埃文斯对涵盖了西方

建筑史的一系列类比做出了描述。埃文斯

曾将安东尼奥·达·桑加罗与拉斐尔·桑

西对玛达玛庄园的规划（1518）与拉斐尔

的画作《圣家族》（1514）进行了类比。

规划中勾勒出相互连通的房间矩阵，访客

和住客会穿过阵列般的房间。最大化的连

通性和私密性的缺失在《圣家族》中亦

有所体现，画中人物饱含深情的相视并

有着肢体接触。埃文斯的另一组类比，

是威廉·莫里斯位于贝克斯利希斯的红

房子（1859）和画作《美丽的伊索尔德》

1 2

1. 班库瓦社区鸟瞰图

2. 班库瓦社区在曼谷市的位置

1. Bird's eye view of Ban Krua2. Ground map of Ban Krua in the context of Bangkok.

150 151

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开放空间围合起来：起初是木板墙，之后

又增加了由混凝土砖修建的卫生间。而二

层空间也随后用板墙划分，以出租给不同

家庭。泰式建筑所显现的逐渐增加的围合

度，也在丝绸纺织者宅邸的围栅建造上得

以体现——他们逐渐将原本开敞的传统泰

式“巷道”转变成“廊道”。而位于这一

空间序列末端的公寓建筑则与廊道之间形

成有序的连结——廊道为处在三个不同楼

层的一系列独立公寓提供了出入口。在这

些住宅依然清晰可见的长年演变的痕迹

中，我们可以看到“巷道”作为记录着曼

谷空间与社会间相互关系的不同案例的目

录，这些案例发生在不同层面且具有不同

的表现方式。

值得注意的是，这些存在着强烈对

比的建筑空间的演变，仍保持着高度的城

市连贯性。由于所有的变化都是基于对共

同主题的强调——巷道与房屋间的各层边

界——所以当人们走在巷道中时感知到的

是整体空间而非割裂的空间碎片：传统泰

3

4

6

7

5

3. 沿巷道布置的被改造的泰式房屋、由围栏围合的富有的丝绸

纺织者住宅、一栋新建公寓

4. 传统泰式房屋的阶段性转变

5. 项目团队在班库瓦社区调研

6. 社区一座留存的丝绸纺织作坊的楼梯

7. 丝绸纺织作坊的首层布局（图中楼梯部分实景见图6）

3. A soi (alleyway) with a transformed Thai house, the fenced in home of a wealthy silk-weaver and a new apartment building

4. The phased transformation of a traditional Thai house5. Ban Krua field research6. Staircase in the house of a remaining silk workshop7. The ground level of the silk workshop building (the picture of

the stairs in this drawing shown as Figure 6)

150 151

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ents and Processes

探

索

与

过

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景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

开放空间围合起来：起初是木板墙，之后

又增加了由混凝土砖修建的卫生间。而二

层空间也随后用板墙划分，以出租给不同

家庭。泰式建筑所显现的逐渐增加的围合

度，也在丝绸纺织者宅邸的围栅建造上得

以体现——他们逐渐将原本开敞的传统泰

式“巷道”转变成“廊道”。而位于这一

空间序列末端的公寓建筑则与廊道之间形

成有序的连结——廊道为处在三个不同楼

层的一系列独立公寓提供了出入口。在这

些住宅依然清晰可见的长年演变的痕迹

中，我们可以看到“巷道”作为记录着曼

谷空间与社会间相互关系的不同案例的目

录，这些案例发生在不同层面且具有不同

的表现方式。

值得注意的是，这些存在着强烈对

比的建筑空间的演变，仍保持着高度的城

市连贯性。由于所有的变化都是基于对共

同主题的强调——巷道与房屋间的各层边

界——所以当人们走在巷道中时感知到的

是整体空间而非割裂的空间碎片：传统泰

3

4

6

7

5

3. 沿巷道布置的被改造的泰式房屋、由围栏围合的富有的丝绸

纺织者住宅、一栋新建公寓

4. 传统泰式房屋的阶段性转变

5. 项目团队在班库瓦社区调研

6. 社区一座留存的丝绸纺织作坊的楼梯

7. 丝绸纺织作坊的首层布局（图中楼梯部分实景见图6）

3. A soi (alleyway) with a transformed Thai house, the fenced in home of a wealthy silk-weaver and a new apartment building

4. The phased transformation of a traditional Thai house5. Ban Krua field research6. Staircase in the house of a remaining silk workshop7. The ground level of the silk workshop building (the picture of

the stairs in this drawing shown as Figure 6)

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与

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景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

Ban Krua is defined by contrasts. Tourists

traveling on the San Saeb canal often

mistake i t for a s lum, inhabited by a

marginal community passed over by rapid

modernization and globalization. To the

visitors of the traditional Thai houses moved

across the canal and re-assembled by the

silk entrepreneur Jim Thompson, Ban Krua

is introduced as a community of Cambodian

Cham Muslim silk weavers who supplied

hand woven silk cloth in the 1950s and

60s. The economic boom that Ban Krua

experienced during this time has passed, most

silk weavers have closed or relocated their

operations to factories far from the city, and

only two workshops remain active today.

Political scientists recognize in Ban

Krua an exemplar of successful grass-roots

opposition against an infrastructure project.

When the government in 1988 decided to

build a highway exit ramp bisecting Ban

Krua, the community organized nonviolent

protests, symbolic public actions, and

patrolled their spaces to guard against arson

attacks, which had previously been used to

break resistance. Erstwhile success came

in 1993 as the authorities abandoned their

plans. Some political scientists argue that

this triumph not solely is one of the grass-

roots campaign, but also of the communities’

longstanding ties with senior members of the

Thai military and bureaucracy.

As architects and urbanists, we are

interested in the relationship between the

social structure of a community which has

demonstrated such remarkable cohesion, and

the public, shared, and private spaces that

it produces and continuously remakes. Our

field work contributes to a research project

on urban spaces resulting from asynchronous

development, from interaction between

marginalization and concentration. The

project previously studied Jabal Al Natheef, a

Palestinian refugee camp in Amman, Jordan;

further exploration in Mumbai and Santiago

de Chile isplanned. Alexandru Malaescu

and I were invited by the INDA program

at Chulalongkorn University in February

2014 to conduct research on Ban Krua in

collaboration with a group of 11 students and

two of its recent graduates, Grace Suthata

Jiranuntarat and Top Tachapol Tanaboonchai.

Ban Krua sugges t s mul t i - l aye red

analogies and multi-scalar interplay between

social and spatial structure. The architectural

theorist Robin Evans has described a

sequence of analogies spanning the history of

Western architecture. Evans paired Antonio

da Sangallo’s and Raphael Sanzio’s plan for

the Villa Madama (1518) with Raphael’s

Madonna del l’Impannata (1514). The

plan delineates a matrix of interconnected

chambers; visitors and inhabitants pass

through an enfilade of chambers. The

式建筑通过在地面层建立的经处理的砖墙

而清晰地划分出界限；丝绸纺织者宅邸则

通过铁质围栏得到区分；而较新的公寓房

屋则是通过各种墙体、围栅和滑动板进行

区分。班库瓦社区的其他住户采用木墙、

波纹金属板、矮木栏，有时甚至仅用晾衣

绳或放在巷道边上的容器进行着空间划

分。这些不同划分方式强调的共同主题是

遮挡——它在非常紧凑的空间中实现了私

密性，同时为穿行于狭窄的巷道之中提供

连贯的体验。在班库瓦社区没有特别大型

的房屋，这增强了社区空间的整体性。富

有的大家族常常居住在由几栋建筑形成的

建筑组团中，而非独栋的大型建筑里。社

区留存的一座丝绸纺织作坊是班库瓦最大

的几栋房屋之一。其通过强调建筑表皮，

从而与巷道系统的韵律相呼应：内进“玄

关”在大部分时间都是面向巷道敞开的，

因而通风良好并可从巷道对其窥视；但亦

可以通过关上铁门而形成封闭空间。大量

的开敞空间能够避免巷道成为夹在空白墙

壁之间的走廊。在相邻的一条巷道中，一

户人家甚至在他们的起居室中开放了一台

面向社区的收费洗衣机——这一改造将房

间变成了巷道的延伸，同时又通过升高平

台的方式使一些区域获得更多的私密性。

从社区的首层平面图来看，班库瓦是

由一系列排列紧凑的独立空间组成的房屋

矩阵。房屋之间的空隙会变成公共巷道、

死胡同或是不对公共开放的封闭空隙。而

诺利式平面（用黑白灰标记空间属性的平

面）则显示了班库瓦社区中的私人住宅

（黑色色块）、共享通道空间（空白）以

及模糊空间（灰色色块）的空间位置。其

中过渡空间（灰色）包括那些在公共通道

中用门隔开的空间，或是房屋间的非通道

间隙空间。社区交通空间的动态适应性变

化，促使我们绘制了班库瓦独特的可达性

与动线图示。局部联通性的变化触发了城

市动线的分割或连接，反之亦然：铁门或

一系列更模糊的软性边界的加建与转变，

使巷道经历着公共化与私密化的交互过

程，从而形成社区中不断变化的动线。本

应笔直的巷道蜿蜒伸展，从中便可窥见这

种集体协商的痕迹。所有的巷道都非常狭

窄，即使是那些用作主要道路的巷道也被

周边住户所占用并被用于储藏日常用品。

因此，连接与割裂永远不是黑白分明的，

而会随着时间相互转换——这一动态特性

在那些空间边界被更严格划定的居住形态

中很难或者根本无法实现。

对居民的走访显示出当地人对班库瓦

空间的高度满意和欣赏；即使是那些能够

在别的地方住得起更大房子的人也对这里

的集体性和社区凝聚力情有独钟。班库瓦

是否能进一步提供一种“发展”的替代性

模式呢？其空间反映了一个“边缘社区”

独特的结构和文化：它们通过宗教信仰与

共同的历史与“主流社会”相分离；他们

抵制线性的改变，甚至是向其他社会文化

背景和发展机制的转变。通过这一研究项

目，我们从复杂和丰富的社会—空间相互

作用中有所感悟，亦认识到班库瓦在适应

过程中保持其凝聚力的能力。

8

9

10

The family rents out the use of its washing machine to neighbours.这户家庭将洗衣机出租给邻居使用。

8. 开放了面向社区的收费洗衣机的一户人家

9. 班库瓦社区首层平面图

10. 班库瓦社区诺利式平面图

8. Home of a family that rents out use of its washing machine to neighbors

9. Ground floor plan of Ban Krua10. Nolli plan of Ban Krua

152 153

Experim

ents and Processes

探

索

与

过

程

景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

Ban Krua is defined by contrasts. Tourists

traveling on the San Saeb canal often

mistake i t for a s lum, inhabited by a

marginal community passed over by rapid

modernization and globalization. To the

visitors of the traditional Thai houses moved

across the canal and re-assembled by the

silk entrepreneur Jim Thompson, Ban Krua

is introduced as a community of Cambodian

Cham Muslim silk weavers who supplied

hand woven silk cloth in the 1950s and

60s. The economic boom that Ban Krua

experienced during this time has passed, most

silk weavers have closed or relocated their

operations to factories far from the city, and

only two workshops remain active today.

Political scientists recognize in Ban

Krua an exemplar of successful grass-roots

opposition against an infrastructure project.

When the government in 1988 decided to

build a highway exit ramp bisecting Ban

Krua, the community organized nonviolent

protests, symbolic public actions, and

patrolled their spaces to guard against arson

attacks, which had previously been used to

break resistance. Erstwhile success came

in 1993 as the authorities abandoned their

plans. Some political scientists argue that

this triumph not solely is one of the grass-

roots campaign, but also of the communities’

longstanding ties with senior members of the

Thai military and bureaucracy.

As architects and urbanists, we are

interested in the relationship between the

social structure of a community which has

demonstrated such remarkable cohesion, and

the public, shared, and private spaces that

it produces and continuously remakes. Our

field work contributes to a research project

on urban spaces resulting from asynchronous

development, from interaction between

marginalization and concentration. The

project previously studied Jabal Al Natheef, a

Palestinian refugee camp in Amman, Jordan;

further exploration in Mumbai and Santiago

de Chile isplanned. Alexandru Malaescu

and I were invited by the INDA program

at Chulalongkorn University in February

2014 to conduct research on Ban Krua in

collaboration with a group of 11 students and

two of its recent graduates, Grace Suthata

Jiranuntarat and Top Tachapol Tanaboonchai.

Ban Krua sugges t s mul t i - l aye red

analogies and multi-scalar interplay between

social and spatial structure. The architectural

theorist Robin Evans has described a

sequence of analogies spanning the history of

Western architecture. Evans paired Antonio

da Sangallo’s and Raphael Sanzio’s plan for

the Villa Madama (1518) with Raphael’s

Madonna del l’Impannata (1514). The

plan delineates a matrix of interconnected

chambers; visitors and inhabitants pass

through an enfilade of chambers. The

式建筑通过在地面层建立的经处理的砖墙

而清晰地划分出界限；丝绸纺织者宅邸则

通过铁质围栏得到区分；而较新的公寓房

屋则是通过各种墙体、围栅和滑动板进行

区分。班库瓦社区的其他住户采用木墙、

波纹金属板、矮木栏，有时甚至仅用晾衣

绳或放在巷道边上的容器进行着空间划

分。这些不同划分方式强调的共同主题是

遮挡——它在非常紧凑的空间中实现了私

密性，同时为穿行于狭窄的巷道之中提供

连贯的体验。在班库瓦社区没有特别大型

的房屋，这增强了社区空间的整体性。富

有的大家族常常居住在由几栋建筑形成的

建筑组团中，而非独栋的大型建筑里。社

区留存的一座丝绸纺织作坊是班库瓦最大

的几栋房屋之一。其通过强调建筑表皮，

从而与巷道系统的韵律相呼应：内进“玄

关”在大部分时间都是面向巷道敞开的，

因而通风良好并可从巷道对其窥视；但亦

可以通过关上铁门而形成封闭空间。大量

的开敞空间能够避免巷道成为夹在空白墙

壁之间的走廊。在相邻的一条巷道中，一

户人家甚至在他们的起居室中开放了一台

面向社区的收费洗衣机——这一改造将房

间变成了巷道的延伸，同时又通过升高平

台的方式使一些区域获得更多的私密性。

从社区的首层平面图来看，班库瓦是

由一系列排列紧凑的独立空间组成的房屋

矩阵。房屋之间的空隙会变成公共巷道、

死胡同或是不对公共开放的封闭空隙。而

诺利式平面（用黑白灰标记空间属性的平

面）则显示了班库瓦社区中的私人住宅

（黑色色块）、共享通道空间（空白）以

及模糊空间（灰色色块）的空间位置。其

中过渡空间（灰色）包括那些在公共通道

中用门隔开的空间，或是房屋间的非通道

间隙空间。社区交通空间的动态适应性变

化，促使我们绘制了班库瓦独特的可达性

与动线图示。局部联通性的变化触发了城

市动线的分割或连接，反之亦然：铁门或

一系列更模糊的软性边界的加建与转变，

使巷道经历着公共化与私密化的交互过

程，从而形成社区中不断变化的动线。本

应笔直的巷道蜿蜒伸展，从中便可窥见这

种集体协商的痕迹。所有的巷道都非常狭

窄，即使是那些用作主要道路的巷道也被

周边住户所占用并被用于储藏日常用品。

因此，连接与割裂永远不是黑白分明的，

而会随着时间相互转换——这一动态特性

在那些空间边界被更严格划定的居住形态

中很难或者根本无法实现。

对居民的走访显示出当地人对班库瓦

空间的高度满意和欣赏；即使是那些能够

在别的地方住得起更大房子的人也对这里

的集体性和社区凝聚力情有独钟。班库瓦

是否能进一步提供一种“发展”的替代性

模式呢？其空间反映了一个“边缘社区”

独特的结构和文化：它们通过宗教信仰与

共同的历史与“主流社会”相分离；他们

抵制线性的改变，甚至是向其他社会文化

背景和发展机制的转变。通过这一研究项

目，我们从复杂和丰富的社会—空间相互

作用中有所感悟，亦认识到班库瓦在适应

过程中保持其凝聚力的能力。

8

9

10

The family rents out the use of its washing machine to neighbours.这户家庭将洗衣机出租给邻居使用。

8. 开放了面向社区的收费洗衣机的一户人家

9. 班库瓦社区首层平面图

10. 班库瓦社区诺利式平面图

8. Home of a family that rents out use of its washing machine to neighbors

9. Ground floor plan of Ban Krua10. Nolli plan of Ban Krua

154 155

Experim

ents and Processes

探

索

与

过

程

景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

maximum of connectivity and absence

of privacy is reflected in the depiction of

Madonna dell’Impannata within a group

of people in affectionate eye contact and

physically in touch. A second pair, William

Morris’s Red House at Bexley Heath (1859)

along side La belle Iseult (1858), delineates

in plan a series of rooms connected via a

corridor, and in painting a man and a woman

turning away from each other. The desire for

privacy is depicted in painting and afforded

negotiations between neighbors.

The scope of floor plan configurations

in Ban Krua is encapsulated in a sequence

of three buildings that line the Soi (Thai,

alleyway), which links the Saen Saeb canal to

Darulfalah Mosque. Within a space of 50 m,

a traditional Thai house, converted over time,

is followed by the fenced-in residence of a

wealthy silk weaver, and then a recently built

tall apartment building. The lower floor plan

of the Thai house had originally been open to

all sides, and the upper floor plan enclosed by

a porous envelope, without internal partition

on either level. After the authorities had

installed floodgates, and periodical flooding

of the ground level had ceased, the owners

of the Thai house enclosed the ground floor

area, previously used for open air cooking

and eating, first with timber walls, and then

added lavatories built with concrete blocks.

The upper level became subdivided to

allow spaces to be rented by more than one

family. This narrative of increasing enclosure

echoes in the fence of the silk weaver’s

residence, gradually transforming the Soi

into a corridor; finally the apartment building

provides a logical conclusion, with corridors

on three levels providing access to a series of

independent studio apartments. As an urban

ensemble and through the traces of a historical

narrative remaining legible in the Thai house,

the Soi embodies a catalogue of differentiated

levels and varied articulations of spatial and

social interconnection.

Remarkably, these quence of contrasting

buildings maintains a high degree of urban

coherence. As one walks along the Soi, the

experience is that of an ensemble, and not one

of fragmentation, as all variations are based

on a shared theme, the articulation of layered

boundaries between Soi and house. The

Thai house articulates boundaries through

the rendered block walls that were added at

ground level, the house of the silk weaver

through a metal fence, and the apartment

house through a combination of wall, fence,

and sliding panels. Other homes in Ban Krua

are shielded by walls of timber, corrugated

metal, low timber rails, sometimes just by

clotheslines, or utensils placed alongside the

Soi. For all its differentiation in articulation,

this shared theme of screens affording privacy

within very tight spaces lends coherence

to the experience of traveling through the

narrow Sois. This is aided by the fact that

none of the houses are very large, as wealthy,

large families inhabit groups of houses rather

than a single, large building. A remaining silk

weaving workshop, one of the largest houses,

responds to the rhythm of the Soi through

the articulation of its facade, with an open

bay that can be closed by a metal gate, but

otherwise is open to ventilation and to views

in from the alley. The generous opening saves

the Soi from becoming a corridor lined by a

blank wall. In the neighbouring Soi, a family

makes available for a fee a laundry machine

in its living room. Thistrans forms the room

into an extension of the Soi, with some areas

being afforded more privacy on a raised

platform.

Drawn as a continuous ground floor

plan, Ban Krua reveals itself as a matrix of

freestanding, tightly spaced houses. Each gap

between houses might become a public Soi, a

in plan by the corridor. Evans concludes that

the architectural plan describes “the nature of

human relationships”. Ban Krua’s urban plan

is not designed, and the scenes of inhabitation

one encounters are not choreographed. In

contrast to Robin Evans’ artists and architects

that act as mediums through which the spirit

of their era and society expresses itself,

Ban Krua is an assemblage of largely self-

planned and self-constructed buildings, and

an urban disposition produced by incremental

blind alley, or an interstitial space that is gated

off from public access. The Nolli plan notates

the location of private houses (solids), shared

access (voids), and renders in gray shades the

ambiguous spaces, such as passages cut off

from public circulation by gates, or interstitial

space left between houses. This dynamic

adaptability of circulation patterns led us to

propose distinct diagrams of connectivity,

and circulation. Local connections trigger

urban disconnection and vice versa, as metal

gates or more subtle soft boundaries privatize

former Sois and alternate public routes are

established. The traces of such collective

negotiation remain visible in the offsets of the

otherwise linear Soi. All Sois are uniformly

narrow, and even those that serve as principal

means of access are inhabited by residents

and used for storage of household items.

Therefore connection and disconnection never

is binary, allowing for permutations over

time, which would be difficult or impossible

to achieve within more rigidly defined

boundaries of inhabitation.

Interviews with various residents revealed

high levels of satisfaction and appreciation

of Ban Krua’s spaces; even those who could

afford larger homes elsewhere chose to stay

for Ban Krua’s communality and community

cohesion. Could Ban Krua even provide

an alternative model for development? As

its spaces reflect the very specific structure

and culture of a marginal community, set

apart from mainstream society by religion

and shared history, they resist linear transfer

or even translation to other socio-cultural

contexts and developmental dynamics. The

lessons we learned are from the complex and

rich interplay between society and space,

and from Ban Krua’s ability to adapt while

maintaining coherence.

13

1514

11. 可达性分析

12. 动线分析

13. 巷道旁通往二层的楼梯

14，15. 共享空间的使用

11. Accessibility analysis12. Circulation analysis13. Staircase to upper level alongside Soi14, 15. Inhabitation of shared spaces

11

Accessible Pathway 通畅道路

Blocked Pathway 拥堵道路

12

Houses with Isolated Circulation 拥有独立动线的房屋Houses with Connected Rooms Circulation 拥有房间相连动线的房屋Housed with Adapted Circulation 拥有协商性动线的房屋

Accessible Pathway 通畅道路Blocked Pathway 拥堵道路House Entrance 住户入口

154 155

Experim

ents and Processes

探

索

与

过

程

景 观 设 计 学 Landscape Architecture FrontiersVolume 2 / Issue 3 / June 2014

maximum of connectivity and absence

of privacy is reflected in the depiction of

Madonna dell’Impannata within a group

of people in affectionate eye contact and

physically in touch. A second pair, William

Morris’s Red House at Bexley Heath (1859)

along side La belle Iseult (1858), delineates

in plan a series of rooms connected via a

corridor, and in painting a man and a woman

turning away from each other. The desire for

privacy is depicted in painting and afforded

negotiations between neighbors.

The scope of floor plan configurations

in Ban Krua is encapsulated in a sequence

of three buildings that line the Soi (Thai,

alleyway), which links the Saen Saeb canal to

Darulfalah Mosque. Within a space of 50 m,

a traditional Thai house, converted over time,

is followed by the fenced-in residence of a

wealthy silk weaver, and then a recently built

tall apartment building. The lower floor plan

of the Thai house had originally been open to

all sides, and the upper floor plan enclosed by

a porous envelope, without internal partition

on either level. After the authorities had

installed floodgates, and periodical flooding

of the ground level had ceased, the owners

of the Thai house enclosed the ground floor

area, previously used for open air cooking

and eating, first with timber walls, and then

added lavatories built with concrete blocks.

The upper level became subdivided to

allow spaces to be rented by more than one

family. This narrative of increasing enclosure

echoes in the fence of the silk weaver’s

residence, gradually transforming the Soi

into a corridor; finally the apartment building

provides a logical conclusion, with corridors

on three levels providing access to a series of

independent studio apartments. As an urban

ensemble and through the traces of a historical

narrative remaining legible in the Thai house,

the Soi embodies a catalogue of differentiated

levels and varied articulations of spatial and

social interconnection.

Remarkably, these quence of contrasting

buildings maintains a high degree of urban

coherence. As one walks along the Soi, the

experience is that of an ensemble, and not one

of fragmentation, as all variations are based

on a shared theme, the articulation of layered

boundaries between Soi and house. The

Thai house articulates boundaries through

the rendered block walls that were added at

ground level, the house of the silk weaver

through a metal fence, and the apartment

house through a combination of wall, fence,

and sliding panels. Other homes in Ban Krua

are shielded by walls of timber, corrugated

metal, low timber rails, sometimes just by

clotheslines, or utensils placed alongside the

Soi. For all its differentiation in articulation,

this shared theme of screens affording privacy

within very tight spaces lends coherence

to the experience of traveling through the

narrow Sois. This is aided by the fact that

none of the houses are very large, as wealthy,

large families inhabit groups of houses rather

than a single, large building. A remaining silk

weaving workshop, one of the largest houses,

responds to the rhythm of the Soi through

the articulation of its facade, with an open

bay that can be closed by a metal gate, but

otherwise is open to ventilation and to views

in from the alley. The generous opening saves

the Soi from becoming a corridor lined by a

blank wall. In the neighbouring Soi, a family

makes available for a fee a laundry machine

in its living room. Thistrans forms the room

into an extension of the Soi, with some areas

being afforded more privacy on a raised

platform.

Drawn as a continuous ground floor

plan, Ban Krua reveals itself as a matrix of

freestanding, tightly spaced houses. Each gap

between houses might become a public Soi, a

in plan by the corridor. Evans concludes that

the architectural plan describes “the nature of

human relationships”. Ban Krua’s urban plan

is not designed, and the scenes of inhabitation

one encounters are not choreographed. In

contrast to Robin Evans’ artists and architects

that act as mediums through which the spirit

of their era and society expresses itself,

Ban Krua is an assemblage of largely self-

planned and self-constructed buildings, and

an urban disposition produced by incremental

blind alley, or an interstitial space that is gated

off from public access. The Nolli plan notates

the location of private houses (solids), shared

access (voids), and renders in gray shades the

ambiguous spaces, such as passages cut off

from public circulation by gates, or interstitial

space left between houses. This dynamic

adaptability of circulation patterns led us to

propose distinct diagrams of connectivity,

and circulation. Local connections trigger

urban disconnection and vice versa, as metal

gates or more subtle soft boundaries privatize

former Sois and alternate public routes are

established. The traces of such collective

negotiation remain visible in the offsets of the

otherwise linear Soi. All Sois are uniformly

narrow, and even those that serve as principal

means of access are inhabited by residents

and used for storage of household items.

Therefore connection and disconnection never

is binary, allowing for permutations over

time, which would be difficult or impossible

to achieve within more rigidly defined

boundaries of inhabitation.

Interviews with various residents revealed

high levels of satisfaction and appreciation

of Ban Krua’s spaces; even those who could

afford larger homes elsewhere chose to stay

for Ban Krua’s communality and community

cohesion. Could Ban Krua even provide

an alternative model for development? As

its spaces reflect the very specific structure

and culture of a marginal community, set

apart from mainstream society by religion

and shared history, they resist linear transfer

or even translation to other socio-cultural

contexts and developmental dynamics. The

lessons we learned are from the complex and

rich interplay between society and space,

and from Ban Krua’s ability to adapt while

maintaining coherence.

13

1514

11. 可达性分析

12. 动线分析

13. 巷道旁通往二层的楼梯

14，15. 共享空间的使用

11. Accessibility analysis12. Circulation analysis13. Staircase to upper level alongside Soi14, 15. Inhabitation of shared spaces

11

Accessible Pathway 通畅道路

Blocked Pathway 拥堵道路

12

Houses with Isolated Circulation 拥有独立动线的房屋Houses with Connected Rooms Circulation 拥有房间相连动线的房屋Housed with Adapted Circulation 拥有协商性动线的房屋

Accessible Pathway 通畅道路Blocked Pathway 拥堵道路House Entrance 住户入口

:llDJlli§ii.t :¥: Landscape Architecture Frontiers

Further Readings

The Overlapped City: Redefining Energy Landscapes in the Post-fossil Era

Howard T. Odum: Environment, Power and Society for the Twenty­

First Century: The Hierarchy of Energy.

Howard T. Odum is a pioneer in the fields of ecological engineering,

ecological economics, and environmental accounting. In this classic

work on the significance of power and its role in society, Odum reminds

us the real basis for industrialization progress and our modern lifestyle

(concentrated cities, work time extension through night lights, etc.) is the

great flux of fossil fuel energies in the past 200 years, not (only) from

human brilliance, dedication and political design as many believe. Cheap

energy is temporary. So is growth. We must use available energies for

cultural conversion to steady state. We must prepare ourselves for the

future: New, miniaturized, dilute, delicate ways of man and nature.

Rania Ghosn: Energy as Spatial Project

Rania Ghosn discusses a temporal positioning of energy relative to socio­

political factors. The (everyday) landscape of energy should be conceived

as a spatial project: how energy- through extraction, production,

distribution, and use - organizes space(s). What is at stake is a deeper

understanding of the correlation between the management of energy as a

commodity and its impact on territories, socially and physically.

S. Julio Friedmann, Thomas Homer-Dixon: Out of the Energy Box

The article discusses the global energy crises and critiques various

alternatives to the use of fossil fuels. Energy is the essence of modern

civilization, and as societies and economies grow, so does their energy

consumption. Neither reducing energy consumption and increasing its

efficient use nor replacing fossil fuels with alternative sources of energy

would be sufficient to solve our current crisis.

Kevin Bullis: A Billion People in the Dark: Solar-powered Microgrids

Could Help Bring Power to Millions of the World's Poorest

Worldwide, one and a half-billion people lack electricity, most of them

rural dwellers. Connecting a remote community to the conventional power

grid, with its large, centralized plants, is expensive and can take more

than a decade. Kevin Bullis argues that hybrid microgrids can provide

dependable electricity by intelligently combining power from multiple local

sources. This decentralized system is reliable, local and cheap.

Social Fabric and Spatial Permutation - Ban Krua, Bangkok

Robin Evans: Figures, Doors and Passages

Evans' seminal essay discusses the history of architectural plans, and

how these describe "the nature of human relationships" in various epochs.

By comparing paintings to architectural plans, the text explores differing

relationships between spatial organization and social arrangements. The

conclusion questions why the corridor model continues to predominate.

Christoph Lueder: Diagram Utopias: Rota and Network as

Instrument and Mirror of Utopia and Agronica

Comparing Thomas More's Utopia of 1516 to Andrea Branzi's Agronica

of 1993, the essay explores the relationships between texts, plans,

diagrams, and cosmographies as models of an ideal society and its

spatial organization. The historical shift from cyclical and centralized rota

to expansive and transient network diagrams is contextualized within

contemporary urban discourses.

Chaiwat Satha-Anand: Defending Community, Strengthening Civil

Society: A Muslim Minority's Contribution to Thai Civil Society

Satha-Anand provides an account of the non-violent struggle of the

community of Ban Krua against a highway exit ramp that would have

bisected their settlement. He explains the roots of Ban Krua's strong

communal sense in its historical origins as a Muslim Community of

Cambodian lineage.

Rajeswary Ampalavanar Brown: Islamic Pluralism and

Transnationalism: The View from the Waqf

Brown examines the role of the Waqf, which are properties such as

cemeteries and mosques held by a charitable trust, in Ban Krua's struggle

against the highway project, and how their status helped to establish links

between Ban Krua's educated middle class and the Thai bureaucracy,

army and politicians.

157