Foreign Elements in Siamese/Thai Architecture – The Italians (Part II)

Frankfurt am Main Hauptbahnhof-inspired Hua Lamphong Railway Station (1910–1916)

If you've ever wondered why there are so many classic, Italianate government buildings in the heart of Bangkok, you should read on now…

In a previous article about foreign influences on Siamese/Thai architecture, I discussed the Italian architect and contractor Joachim Grassi. He was not only the first Western architect to work in Siamese service, but also a key figure in the ambitious urban modernization plans of the Siamese king Chulalongkorn (1853-1910). Formally recognized as a sovereign nation in 1896 by an agreement with the colonial powers Great Britain and France, Siam experienced an unprecedented catch-up at the turn of the century. This wave of renewal was stimulated by Chulalongkorn's unbridled drive for administrative rationalization, which was reflected in every branch of the country's government and was intended to raise legislation, education, defence, international policy and economics to a higher, read Western, level. Through the smart use of high tech, innovation and creativity had to be Siam at all costs “be pushed up in the momentum of the nations” as it could be so beautifully formulated at the time.

This profound transformation of the state went hand in hand with the physical transformation of the capital. The first impetus for this was already given in the last years of Chulalongkorn's father, the pro-Western king Mongkut (1804-1868). In 1863, it initiated a large-scale plan for road construction in Bangkok, which was rapidly bursting at the seams. When Chulalongkorn came to power five years later, this plan grew into a real road network that not only opened up the capital functionally, but in fact also offered a fully-fledged alternative to replace the age-old, traditional system of transport over the waterways. In a few years, the young king had managed to change the face of the capital from 'water city' in 'country town'. And it didn't stop there. Chulalongkorn was also determined to redesign the fabric of entire neighborhoods in Bangkok while strengthening infrastructural ties with the rest of the country. A process that was crucial if he wanted his grand modernization plans to have a chance of success.

Milanese engineer Carlo Allegri (1862-1938)

From 1896, work on the organization and especially expansion of the transport network was accelerated. An ambitious operation made possible by a consistent policy of investments in railway construction. An investment plan, which incidentally was discreetly followed up and stimulated by the former Belgian Minister of the Interior, the Ghent lawyer Gustaf Rolin-Jaequemyns (1835-1902), who was Chulalongkorn's most important foreign adviser at the time. And this strategy proved successful. Thanks to the new railways, Siam achieved a key role in trade relations between the British markets in Burma and Malaysia and the French markets in Indochina in a relatively short period of time. A strategy that did Chulalongkorn no harm either, because between 1874 and 1907 the flow of income in the king's treasury rose from 1,6 million baht to a record high of no less than 57 million baht. It was the most glaring proof that his infrastructural modernization, hand in hand with the reforms he had introduced in administration and taxation, had been successful.

These revenues also funded what some historians call the "construction frenzy' that characterized Bangkok at the end of the nineteenth century. And here too, the role of Chulalongkorn and his entourage was unmistakable. The construction and public works markets - for centuries the playground of the 'happy few'— and appoint competent Siamese officials, he not only largely ended arbitrariness and favoritism, but above all brought order to the chaos of private licensing and contracts, often financed by foreign capital. However, it also gave him a firm grip on the construction and management rights that were absolutely necessary to carry out his plans. However, there was a huge problem: Siam might have the money, but he didn't have the means, let alone the 'know how' to realize Chulalongkorn's steep ambitions. There were no technical institutes in the country, let alone higher education for engineers or architects, and to make matters worse, the number of local companies capable of producing non-traditional building materials such as concrete or steel could be counted on the fingers of one hand.

Annibale Rigotti (1870-1968)

And so the Westerners came back in their sights, who did have the knowledge and equipment to make Chulalongkorn's dreams come true. Through the previously discussed Italian architect Joachim Grassi, the monarch had become intrigued in the expertise that the Italians had in the field of two, for that time, very innovative construction techniques, namely the use of reinforced concrete in house construction and steel in supporting structures such as bridges. . Someone who would be of crucial importance in the use of these products in Siam was the Milanese engineer Carlo Allegri (1862-1938). He was a descendant of a family of well-known Northern Italian bridge builders and public works contractors. In 1889, almost immediately after graduating from university, he left for Bangkok to join the firm of Grassi & Brothers. Less than three years later, Allegri spread his wings and founded his own construction company that started working exclusively for the Siamese government.

His work ethic and craftsmanship were noticed by their Siamese clients and in 1895 he was offered a job as chief engineer of the Ministry of Public Works. An offer that he grabbed with both hands, but at the same time also brought with it a great deal of responsibility, because he really had to build his department from scratch. One of the consequences of this problem is that we can still find many Italian-inspired buildings in Bangkok today, because Allegri immediately engaged 35 Italian engineers and architects to come and staff its brand-new service in Bangkok. Among these architects were Annibale Rigotti (1870-1968) and Mario Tamagno (1877-1941) who would become full partners in Allegri's firm.

Chulalongkorn saw no problem with this Mediterranean predominance. Thanks to Grassi, he had learned to appreciate southern architecture and, moreover, the Italians, with whom Siam had concluded a treaty of friendship in 1872, had no colonial ambitions in Southeast Asia, which was also a nice bonus. Allegri was given a free hand by Phraya Yommarat, the powerful Minister of Public Works, and could therefore put his compatriots to work at his own discretion and ability. It was logical that he did not forget his own business interests and his company won a large number of contracts. Grassi & Co. was not only involved in the lucrative construction of the railway and road infrastructure in and around the Siamese capital, but also of the equally necessary bridges such as the Phan Phiphop Lila Bridge (1904) and the Phan Fa Li Bridge (1905). As icing on the cake, he took on a number of large and especially prestigious construction contracts.

The Ananta Samakhom Throne Hall at Thai Royal Dusit Palace, Bangkok

His most notable project was undoubtedly the construction of the Ananta Samakhom Throne Hall, strongly influenced by Renaissance and Neoclassicism, on the grounds of the Dusit Palace. Originally this assignment was assigned to the Prussian architect C. Sandreczki, but he was not very good at it, after which Allegri involved his partners Tamagno and Rigotti in the project. The foundation stone was laid on November 11, 1908, the 40^e anniversary of Chulalongkorn's term, laid by the king. It took just over seven years before the imposing building was finished. It is to this day the most Italian-looking building in the Thai capital. Not only were the contractor and architects of Italian origin, but it was also largely built with Italian Carrara marble that was brought in by shiploads. The sculptors on duty were the Italians Vittorio Novi (1866-1955) - who would later work on the Mahadthai Udthit Bridge - and his cousin Rudolfo Nolli (1888-1963), who later caused a stir in Singapore.

Makkhawan Rangsan Bridge (Idealphotographer / Shutterstock.com)

Allegri's architectural partner Mario Tamagno, like his companion Annibale Rigotti, had graduated as an architect from the Accademia Albertina di Belli Arti, an institution of higher art education in Turin with a venerable history. In the summer of 1900 he ended up in Bangkok. He had a 25-year contract under his belt as an architect for the Allegri-led Department of Public Works. His first project was the construction of the sensuous Makkhawan Rangsan Bridge for which he was inspired by the Pont Alexandre III in Paris.

Bang Khun Phrom Palace (ajisai13 / Shutterstock.com)

Among his most notable creations are the very beautiful neo-baroque pavilion of the Bang Khun Phrom Palace (1901-1902), the renovation and extension of the majestic Oriental Hotel (1903-1904) and the Neo-Renaissance style building on the Hauptbahnhof of Frankfurt am Main-inspired Hua Lamphong Railway Station (1910-1916). All monumental buildings, but personally I think the almost intimate Neilson Hays Library on Surawong Road, which he built together with Giovanni Ferrero, between 1920 and 1920, is his most beautiful design.

Siam Commercial Bank in Talad Noi

Even more than Tamagno, Annibale Rigotti left his mark on Bangkok's street scene. Despite his young age, he had already earned his spurs with large-scale commissions in Turkey and Bulgaria and as an architectural theorist in the L'Artista Moderno, before he set foot in Bangkok in the spring of 1907 to work on the design of the Ananata Samakhom Throne Hall. In 1908 he designed the main building of the Siam Commercial Bank in Talad Noi, a striking three-story building in the eclectic Beaux Arts style. Another striking building that emerged from his drawing pen in that period was that of the headquarters of the powerful East Asiatic Co. Ltd. on Oriental Alley, a very fine example of the Renaissance Revival style.

Government House

In 1909 he returned to Turin to take up a chair of architecture at the Polytechnic University. Between 1923 and 1926, however, he returned to Bangkok and together with his compatriot Ercole Manfredi (1883-1973), also a former student of the Turin Accademia Albertina di Belli Arti, he designed the Villa Norasing, one of the main buildings of Government House and official government residence. This building is regarded worldwide as a textbook example of the so-called Venetian Gothic style. The so-called Phitsanulok House, which Rigotti designed together with Tamagno in 1923, and which I personally consider his most successful creation, is today the official residence of the Thai Prime Minister.

Manfredi, unlike Rigotti, remained in Siam for the rest of his life. He learned Thai, married the Siamese Thongmuan, changed his name to Ekkarit Manfendi and obtained Thai nationality in 1943. He was one of the most important and influential architects of his generation in the country and for many years taught architecture at Chulalongkorn University. His most important buildings include Chakrabongse House on Maha Rat Road, Sa Pathum Palace and the main building of Silpakorn University. Manfredi was also the designer of the country's first Olympic swimming pool constructed in 1932-1933 at the Royal Bangkok Sports Club.

Thai Survey Department (Abbie0709 / Shutterstock.com)

I would like to close this list of important Italian architects with Stefano Cardu (1849-1933). This master builder from Sardinia was one of the first to arrive in Bangkok. In 1879, seven years after pioneer Joachim Grassi arrived in Bangkok, Cardu set foot there. He first drew plans for the Siamese government for two years and then started working on his own account. He designed, among other things, the very beautiful two-storey Author's Wing in the Oriental Hotel and the neoclassical-style Military Academy on Kalayanamaitri Road, which today houses the Thai Survey Department. In 1900 Cardu returned to his native country, but that was not the end of the matter because in 1910 he donated his with great knowledge and patiently compiled collection of Siamese art and antiques to his native city of Cagliari. This resulted in the Museo d'Arte Siamese, a museum that opened its doors in 1918 and contains one of the most interesting collections outside of Thailand.