History Dissertation

Preserving the threads of Thai Heritage

Through dissecting representations of Jim Thompsons House Museum

Word Count: 5021

Submission date: 20th February 2024

Seminar Group: Rachel Stevenson, Drawing on the Evidence

0.0 TABLE OF CONTENTS

01 / INTRODUCTION

02 / Curation

03 / Structural Relocation

04 / Colonialism

05 / Creative Tourism

06 / Heritage

07 / CONCLUSION

Assessing authenticity

Bibliography

Image Sources

Appendix - Interview with Malina Palasthira

Abbreviations

JTHM - The Jim Thompson House Museum

JTAC - The Jim Thompson Art Centre

01 / INTRODUCTION

The Jim Thompson House Museum, established in 1959 and located in Bangkok’s Pathum Wan district, houses collections of multi-cultural heirlooms and artifacts, aiming to preserve their original forms (see Fig.1). Jim Thompson was a prominent figure throughout the history of Thailand, particularly for his pivotal role in globalising the Thai silk industry.1 Despite this, his legacy continues to spark debate within Thailand’s contemporary political and social discourse, as ethical concerns surrounding the origins of his collections persist.

The dissertation aims to use Jim Thompson’s story to critically examine the historical representation of Thai heritage - exploring ethical preservation, structural relocation, curation, and the impact of creative tourism. It then aims to conclude with a holistic understanding of the varying levels of authenticity within these practices. Following a recent site visit to the Jim Thompson House Museum, the building will be utilised as a primary case study to interlink these thematic elements. A selection of architectural moments within the house will be studied to structure arguments in the dissertation.

Analysing the recently inaugurated Jim Thompson Art Centre (see Fig.2), situated within the same compound as the museum, allows for comparisons to be drawn between current and past examples of curation methodologies and tourism trends. The art centre was finished in 2021, funded by the James

1 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 104–25.

H.W Foundation and designed by the Bangkok-based firm Design Qua.2 The objective is to understand the personal intentions as well as the social and political networking behind the two case studies. Thus, determining whether the preservation methodologies employed can be placed on a relative scale of authenticity.

A two-fold methodology will be used to analyse the theoretical framework of authenticity within preservation. First, secondary research will be conducted. Prominent authors within the research context include William Warren, a friend of Jim Thompson, who published a close account of the social aspect of Jim Thompson's life (predominantly a positive account due to their companionship).3

A contrasting view on Thompson's ethos is provided by Joshua Kurlantzick’s book, The Ideal Man. Kurlantzick is a journalist with extensive experience regarding Asian affairs.4 He writes about Jim Thompson’s life to “broaden

2 Hana Abdel, “Jim Thompson Art Center / Design Qua,” ArchDaily, October 23, 2022, https://www.archdaily.com/990926/jim-thompson-art-center-design- qua#:~:text=With%20 3%2C000%20square%20meters%20dedicated.

3 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 104–25.

4 Kurlantzick, The Ideal Man: The Tragedy of Jim Thompson and the American Way of War.

Fig.1

Exterior of the Jim Thompson House Museum (Source : Jim Thompson House Museum official Website)

Fig.2

Exterior of the Jim Thompson Art Centre (Source : ArchDaily Website)

the story to Thailand’s relations with the United States,”5 in doing so, he is comparatively more critical of Thompson’s American background and delves into themes such as colonialism.

These accounts provide a base understanding of the historical narratives behind the museum, complemented with recent articles and academic papers on the JTAC. The ground research will be developed with publications delving into the broader themes discussed in the essay. An interview with the head architect at the forefront of designing the JTAC, Malinda Palisthara, incorporates her personal perspective on the design decisions that took place, as well as an insight into any future endeavours to expand the project.

The dissertation is also informed by my own enquiries during a visit to the JTHM in 2023, examining self-generated materials including on-site photographs, to add personal depth to the research. It aims to examine my own assumptions surrounding Thai heritage and authenticity, revisiting my original interest in the museum through a structured lens.

5 Joshua Kurlantzick, The Mysterious Jim Thompson, The Silk King of Thailand, interview by Philip Clark, ABC Listen, August 28, 2011, https://www.abc.net.au/listen/programs/ saturdayextra/the-mysterious-jim-thompson-the-silk-king-of/3607962.

02 / CURATION

Jim Thompson, an American businessman, architect, and former intelligence officer, relocated to Thailand after he served for the United States during World War II. He greatly admired Thai culture and decided to build his home in the country, which would contain his growing collection of multi-cultural artefacts.6

William Warren’s publication Jim Thompson The Unsolved Mystery, offers one insight into the origins of specific items within Thompson’s home. His intentions for amassing these collections were addressed in a letter to the governance and population of Thailand: “I know that the museum does not have the funds to buy many of the fine pieces that turn up, and rather than see them leave the country, I have tried to buy the really exceptional ones to keep them here.”

7 This statement outlines Thompson’s intent to aid Thailand and demonstrates his ability to recognise his position of privilege. However, given that this letter was published during a time when his presence in Thailand was being scrutinized, it is possible this gesture was a means to garner positive publicity.8

An altercation regarding a collection of Buddha heads displayed in the house occurred soon after the letter was released to the public (see Fig.3). He also expressed his intention to leave the house to the Siamese people in the letter, however, this was met with an unexpected response from the director general.9 He did not reply to Thompson’s letter, instead chose to send police to his house, tasked with reclaiming the Buddha heads from his acquisitions.

6 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 125.

7 Ibid., 120.

8 Ibid., 124.

9 Ibid., 121.

acquisitions. Despite complying with the demands and giving the artefacts to the National Museum, Thompson was devoid of reimbursement for the artefacts he paid for. He expressed his discontent with the ordeal, “first they decorate me, then they raid me.”10 The personal impact on Thompson was evident, as he had harboured the belief that he was popular amongst the Thai population. However, there was still controversy that persisted, fuelled by scepticism towards a foreigner displaying sacred Buddhist art in his home, and unfounded rumours that his fortune stemmed from trafficking in antiques.11 Thai officials’ scrutiny of the ethics behind Thompson’s acquisition of certain artefacts, already raises questions about the authenticity of his preservation intentions.

The relationship between curation and status is critical in the context of

10 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 121.

11 Ibid., 124.

Fig.3 Bhudda heads seized from Thompson’s home.

authenticity. As colonisation threatened Thailand in the late 19th Century, curation was a practice that incorporated political agendas and aimed to improve the overall status of the country.12 The first museum opened in Thailand during this time and was designed using culture as a ‘tool.’

Meticulously planned by King Rama IV and the ‘elite’, the museum strived to convince colonisers of Thailand’s status within the world.13 On a smaller scale, Jim Thompson’s house served as a venue to display his affluence and social standing to his guests.14 Wooden engravings on the interior walls symbolised prosperity in Thailand during the period. The house obtained these details, reflecting Thompson’s societal status (see Fig.4).15 Alongside this, his grand parties, which served to exhibit his possessions, raise a question regarding the intentions behind curating the artefacts. Did Thompson’s passion for collecting cultural objects stem from an authentic appreciation for the country or from a desire to enhance his status amongst his American peers?

12 Gridthiya Gaweewong, “Contemporary Independent Curatorial Practices as Contested Ground: Tracing Exhibition Histories in Thailand from Court, to State, to Curating for the People,” World Art 10, no. 2-3 (September 1, 2020): 259–77, https://doi.org/10.1080/21500894. 2020.1810754.

13 Ibid.

14 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 111.

15 Kornkamon Kaewprasert, “Symbolic Wood: Language of Wood and Techniques in Thai and British Cultures,” n.d.

Fig.4 Wooden engravings symbolising wealth and status within Thailand.

The Jim Thompson Art Centre provides a contemporary perspective on curatorial practices. Unlike the Jim Thompson House Museum, which serves as a “time capsule,”the art centre draws upon the successful messages within Thompson’s career, to establish a social and cultural space.16 After an interview with the architect of the JTAC, Malina Palisthira, the architectural objectives of the centre became evident. The art centre was once housed within the JTHM, however needed to be relocated to make space for the museum shop, which is currently in use (see Fig.5). Over time the art centre evolved programmatically, influenced by the foundation director’s interest in contemporary art, leading to the inclusion of exhibitions for emerging Thai artistry.17 The JTAC, contrasting with the museum, prioritizes community engagement and maximising the space’s utility, aligning with an intent to serve local interests.

16 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024 17 Ibid.

Fig.5 Interior of JTHM shop.

After reflecting on the interview, it is evident that considering status within the curation of the JTAC remains relevant. The foundation director having full control to alter the building’s trajectory is important to note.18 A singular individual having the ability to change the course of a culturally influential building is interesting, as this introduces the idea of authenticity being linked to social networks and hierarchies. The museum also aims to raise the status of the country, using social media to advertise its qualities globally.19

The William Warren Library situated in the art centre offers a unique lens for analysing curation within the context of preservation (see Fig.6). While other elements in the building are inspired by Jim Thompson’s story, the library stands apart from this, as it existed within the old art centre and was relocated to the current site.20 During the curation of the new William Warren Library, the

18 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024

19 Ibid.

20 Ibid.

Fig.6

Interior of JTAC William Warren Library.

architect prioritized preserving the quality of the scripts, displaying as many books as possible and creating a social space conducive to shared opinions and discussions. This was unanimously preferred within the design team in comparison to a silent library atmosphere. To safeguard rare books and manuscripts, an archive block was built, physically separated from the main library.21 The architectural decisions didn’t just enhance the preservation of curated materials but also contributed to the library’s successful transformation into a dynamic space within the art centre.

Overall, when analysing curation through the lens of authenticity, one must consider the curator’s intention, social hierarchies, the historical context of when the curation took place, as well as what this looks like in today’s climate. These factors combined, allow for a partial understanding of the complex concept of relative authenticity. To further understand authenticity, the concept of cultural hybridity within the framework of structural relocation can be explored.

24 January 2024

21 Malina Palasthira in audio conference with the author, London/Bangkok,

03 / STRUCTURAL RELOCATION

The relocation of cultural objects and structures within a changing environment in the name of preservation, is a recurrent practice. In this case – the relocation of six Thai prefabricated housing structures to create a mansion for Jim Thompson, is a critical moment to analyse (see Fig.7). Two of the main principles within conservation ethics are “minimal intervention” and “authenticity.”22 Minimal intervention states that all relocation possibilities must be considered, and the option with the lowest impact on the original structure should be chosen.23 The specific journey of each prefabricated Thai house cannot be traced, however, there were reportedly routes along the river which caused some damage to the structures, failing to keep their original form.24

“Authenticity” within the contextual framework of conservation ethics discusses the value of preserved objects and their perceived superiority to replicas.25 However, this intrinsic value can be impaired when considering instances where the original form has deteriorated or been changed, therefore are deemed no longer authentic. For example, in the relocation of the Thai houses and their accidental alteration, but also the modifications on-site. Jim Thompson dismantled the obtained parts to enable him to fabricate the structures to suit his needs and fit programmatic endeavours – seemingly using the structures for their usefulness alone. Adding to this argument, the book Archaeological Curatorship states that only a version of an object, or structure in this case, can be preserved – not its “true nature.”26 Jim Thompson

22 Lu Allington Jones, “The Phoenix: The Role of Conservation Ethics in the Development of St Pancras Railway Station (London, UK),” Journal of Conservation and Museum Studies 11, no. 1 (September 2, 2013), https://doi.org/10.5334/jcms.1021205.

23 Ibid.

24 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 106.

25 Lu Allington Jones, “The Phoenix: The Role of Conservation Ethics in the Development of St Pancras Railway Station (London, UK),” Journal of Conservation and Museum Studies 11, no. 1 (September 2, 2013), https://doi.org/10.5334/jcms.1021205.

altered the original meaning and purpose of these structures, so his ‘version’ is preserved, however, one cannot deem this as the authentic form.

Despite most original locations not being identified, there is a singular reported history of one origin story. The most significant section of the house is the drawing room (see Fig.8). It was made from a nineteenth-century house in Ban Khrua, a historic community along The Klong (the riverside). The residence was formerly owned by a weaving family, eventually falling into the possession of five heirs, who eagerly sold the structure and redirected their funds towards the acquisition of contemporary Western architectural models.27 A critical decision made by Thompson when relocating the structure was to reverse the walls, preserving the wooden carvings on the outside panelling. Due to his architect’s eye, he saw value in the facade that many would miss, successfully preserving this small detail. This process exemplifies one of Jim Thompson’s successful methods in preserving the carving’s authentic form in addition to preventing deterioration. However, an argument still opposes this alteration:

26 Paul Katz, “Archaeological Curatorship. Susan M. Pearce. Smithsonian Institutional Press, Washington, D.C., 1991. Xvi + 223 Pp., Figures, Plates, Appendix, Bibliography, Index. ’35.00 (Cloth).,” American Antiquity 59, no. 1 (January 1994): 164–65, https://doi.org/10.2307/3085518.

27 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 104.

Fig.7

Construction process of the JTHM, using prefabricated structures.

Fig.8

The Drawing Room in the JTHM.

every interaction with past events and structures involves an alteration of the true meaning in some way.28

Understanding the origin of the objects on display within the JTHM instigates a discussion surrounding the authenticity of exactly what was being exhibited. Interestingly, not every item in the museum represents Thai heritage exclusively; some objects, such as those originating from China and Western regions, introduce a cross-cultural dynamic (see Fig.9). This amalgamation of cultures can be confusing, particularly when the original intent was to establish a platform primarily focused on Thai culture – something local museums were unable to fulfil.29 In addition to this, cross-cultural collections raise the issue of ethical considerations surrounding display hierarchies.30 The concept of ‘cultural property’ can be linked to this argument.31 Defining cultural property is difficult due to the boundaries of cultural groups being ambiguous, similar to Jim Thompson’s antique collections. Due to these blurred lines, one would find it hard to deem them authentic or inauthentic to their respective origins.

To juxtapose this stance on ownership within a culture, arguments from the philosopher Karen J. Warren can be drawn from. She argues that preservation itself should take priority over questions regarding ownership – and that differing opinions of where objects have originated from can be resolved separately from the act of preserving these artefacts.32 Re-defining the JTHM solely as a space

28 Susan Prendergast Schoelwer, “The Past Is a Foreign Country. David Lowenthal,” Winterthur Portfolio 24, no. 4 (December 1989): 263, https://doi.org/10.1086/496457.

29 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 120.

30 Susan Prendergast Schoelwer, “The Past Is a Foreign Country. David Lowenthal,” Winterthur Portfolio 24, no. 4 (December 1989): 263, https://doi.org/10.1086/496457.

31 Erich Hatala Matthes, Drawing the Line : What to Do with the Work of Immoral Artists from Museums to the Movies(New York: Oxford University Press, 2022).

32 Brian Fagan, The Ethics of Collecting Cultural Property : Whose Culture? Whose Property?, ed. Phyllis Mauch Messenger (Albuquerque: University Of New Mexico Press, 1999).

Japanese carvings

Suspected origin : Angkor City, Cambodia

Amarapura, Burma

Belgian Chandelier

Belgian Glassware

Annamese ceramics

blue and white ceramics from Japan and Anam

Fig.9

Collage of cross-cultural object flows

(Source : the Jim Thompson House Museum website Diagram : by Author)

to learn, allows for a positive view of the space. The combination of cultural objects successfully enables visitors to experience various parts of the world through Thompson’s collections. Once a visitor has understood the context of the museum and views it as a personal collection, whilst simultaneously understanding the Western influences within the architecture, the space can be seen as a deliberate fusion of cultures and personal interests.

The concept of the JTAC was relocated from the museum to its new location. The purpose behind this was to create a project that could possibly expand in the future, to allow for more activities and exhibitions to take place. Relocating in this case was purely for logistical reasons, increasing the profitability of both buildings and allowing for the James.H Foundation to successfully run. More specifically, the relocation of the contents in the old William Warren Library to the new building was done for a different reason. Due to the architecture of the old space, there was a window which allowed direct sunlight to reach the books and scriptures. This was deteriorating the books. Moving the library to the art centre meant the architects could learn from the mistakes of the previous structure and ensure this issue wouldn’t persist.33

While structural relocation offers numerous advantages, including rescuing from demolishment or decay, the amplification of significance within a museum context, and increased accessibility for a broader demographic, it also raises

33 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024.

ethical queries. Positively, this preservation technique gives new life to historical structures and artefacts, repurposing valuable materials. However, these merits prompt critical questions regarding authenticity, the preservation of original meaning and purpose, as well as considering the environmental and historical context to which the parts have been relocated to.34 The sensitivity with which museum contents are presented becomes critical, as there is a common perception that “museums are places of truth.”35 Visitors and tourists typically seek authentic learning experiences, assuming the veracity of the exhibition. Cultural hybridity, as seen in the JTHM within exhibitions can confuse this perception.

34 Keith Eggener, “How Christopher Wren Came to America,” Places Journal, no. 2014 (October 2, 2014), https://doi.org/10.22269/141002.

35 Ibid.

04 / COLONIALISM

The ideas of cultural hybridity showcased throughout the museum can be linked to hierarchies within Thailand, simultaneously identifying traces of colonialism. Revisiting the concept of the ‘elites’ enables a dialogue which could speculate a reverse situation, considering an environment without a social power imbalance.

Taking into account the book, Hybridity in Contemporary Postcolonial Theory, hybridity is sectioned into three broad positions: “hybridity is everywhere,” “hybridity is not everywhere,” and hybridity, when considering material reality, will reveal its history of colonialism.36 Interestingly, under the heading “hybridity is not everywhere,” the argument that “it is only the elite that can afford to talk about hybridity”37 becomes related to Jim Thompson’s narrative. Due to his great success in the business world and being born into a wealthy family, he was able to create moments of cultural hybridity within his home, as he could afford to buy original objects from around the world. This raises the question of whether one can say Thompson acted as a catalyst for the loss of local heritage, due to his early introduction of different cultures within an influential space. This argument is questioned further in R. Radhakrishnan’s book – Diasporic Mediations: Between Home and Location. He considers: “If a minority group were left in peace with itself and not dominated or forced into a relationship with the dominant world or national order, would the group still find the term ‘authentic’ meaningful or necessary?”38 This idea of ‘elites’ imposing

36 Anjali Prabhu, Hybridity: Limits, Transformations, Prospects, Jhu.edu (State University of New York Press, 2012), Chapter 1, 12, https://muse.jhu.edu/book/5174.

37 Ibid.

38 R Radhakrishnan, Diasporic Mediations : Between Home and Location (Minneapolis: University Of Minnesota Press, 1996), 161.

their own creative and cultural thoughts onto a community, introducing the concept of inauthenticity, is particularly relevant in Thailand and in the case of Jim Thompson.

Within Thailand’s social context, elitism is almost embedded into the culture, as the Thai monarchy is worshipped and praised throughout the country. The author Joshua Kurlantzick is relatively critical of Jim Thompson’s social background, especially in comparison to the positive narrative portrayed in William Warren’s discography (the most famous literature covering Jim Thompson). The book The Ideal Man by Kurlantzick acknowledges Jim Thompson’s work In the Thai Silk industry. However, interprets a new meaning to Thompson’s title ‘The Thai Silk King,’ relating to the previous argument about elites changing cultural dynamics. He is critical of the “glitz and glamour” lifestyle led by Jim Thompson and focuses on the “cloak and dagger stuff.”39 Arguing that Thompson’s social status was overpowering, and he was almost taking advantage of the cultural uniqueness of Bangkok, using it for business needs with a lack of sensitivity. These thoughts are further emphasized in the journal: Hybrid Cultures: Strategies for Entering and Exiting Modernity, where it states: ‘the elites take charge of the intersections of different historical temporalities and try to elaborate a global project with them.’40

Kurlantzick also provides an alternate argument, investigating Thompson’s

39 Joshua Kurlantzick, The Ideal Man (Turner Publishing Company, 2011).

40 Wendy A. Weiss et al., “Latin American Intellectuals and the Theoretical Trends They Promise,” Anthropological Quarterly 70, no. 1 (January 1997): 31, https://doi. org/10.2307/3317800.

social and political beliefs. During the war, Thompson was part of the military in the Office of Strategic Services (OSS). The OSS (now known as the CIA), believed in America’s Post-War policy of ‘championing democracy and ridding the world of colonialism.’41 In his book, Kurlantzick covers Thompson worshipping Pridi Banomyong (a statesman in Thailand who was outwardly pro-democracy.)42 This background provides an alternate perspective on his political stance. He was reported to have chosen to move to Thailand due to his profound interest in Thai culture and heritage.43 As mentioned in William Warren’s book, Jim Thompson wrote a letter explaining his decision to move which reads, “I have elected to make Thailand my permanent home, and as I live here and am very interested in the artistic heritage of the country, I have tried to build up as fine as a collection as I can to leave this country.”44 This letter gives the impression that his intentions were perhaps not that of a businessman, but of someone who had a genuine appreciation for the culture he immersed himself in.

Collaboration is also a lens to analyse the JTHM through. When locating the structures and collections, Thompson was often in collaboration with local craftspeople and tradesmen in Thailand.45 There was involvement with silk weavers, as he had already distinguished strong connections in the industry as he endeavoured to revive the practice. Despite his collaboration with the industry, and displaying silks woven by local communities (see Fig.10),

41 Joshua Kurlantzick, The Ideal Man (Turner Publishing Company, 2011).

42 Ibid.

43 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 110.

44 Ibid., 120.

45 Joshua Kurlantzick, The Ideal Man (Turner Publishing Company, 2011).

framing the house primarily as his collection and creation, as opposed to a collaborative effort, is something to consider, as this exaggerates a power imbalance.

Comparing this to the collaborative nature of the JTAC and the purpose of this space, underlines the ability to successfully allow visitors to indulge in a ‘truthful’ experience. Programmatically the centre can be interpreted as a collaborative space, based largely around art and culture activities, with an event space, art galleries and a communal library. This allows for visitors to be involved creatively and use the facilities to enhance their knowledge.46 Gaining an insight into the democratic nature of the design process from the interview with the head architect, the design of the space considers multiple opinions, needs and preferences, which are all credited. Although the art centre is under Jim Thompson’s name, it is detached from the museum, locationally and conceptually.

46 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024.

Fig.10

Jim Thompson inspecting silk as it was being made.

05 / CREATIVE TOURISM

Creative tourism continues to be essential in Thailand’s development as a country, it fosters economic growth, enriches cultural exchange, and elevates Thailand’s global status by offering unique travel experiences within the region.47 Thailand positioned itself as “the first creative tourism destination in Asia.”48 Dating back to the 1920s, tourism has been a prominent presence in the country, however, the push for mass tourism began in the 1950s as the growth of the service sector allowed for this development.49 Creative tourism is evident in both the JTAC and the JTHM, as both spaces initiate creative discussions and display Thai craftsmanship, consequently aiding tourism in the respective areas.

Utilising the culture embedded within the identity of Thailand increases tourism, in Richard’s Cultural Tourism: A Review of recent Research and Trends, he attempts to underline the “uniqueness of Thai culture through the promotion of ‘Thainess.’’’50 This can be assessed through the JTHM, focusing on the traditional Thai roofs (see Figures 11,12). Thompson chose this style due to his admiration of the aesthetic but also saw a challenge in adapting the traditional roofs to fit his contemporary needs.51 The style is similar to the Grand Palace roofing, the most famous palace in Thailand and the “major architectural symbol of the Thai Royal family.”52 This vernacular architecture is attractive to tourists, as they expect to see these kinds of buildings while travelling to the country. However, this category of creative tourism can cause

47 Greg Richards, “Cultural Tourism: A Review of Recent Research and Trends,” Journal of Hospitality and Tourism Management 36 (September 2018): 12–21, https://doi.org/10.1016/j. jhtm.2018.03.005.

48 Ibid.

49 Erkan Sezgin and Medet Yolal, “Golden Age of Mass Tourism: Its History and Development,” April 2012, 2–3.

50 Greg Richards, “Cultural Tourism: A Review of Recent Research and Trends,” Journal of Hospitality and Tourism Management 36 (September 2018): 12–21, https://doi.org/10.1016/j. jhtm.2018.03.005

a decrease in authenticity, Richards and Wilson discuss the concept of “serial reproduction,” outlining the idea that urban areas are all searching for a “uniqueness” which generates popularity.53 Leading to trends based on which styles gain the most traction. These replicas lose the true meaning of why they were built in the first place.

Studying Architecture at the University of Pennsylvania, Thompson’s creative flare was evident in his early years. He designed most of the house alone, utilising his creative background when making preservatory and stylistic decisions within the museum – fusing Thai and Western aesthetics. His technical drawings of the house are on display (see Fig.13), these demonstrate

51 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 115.

52 “The Grand Palace,” www.tourismthailand.org, n.d., https://www.tourismthailand.org/ Attraction/the-grand-palace.

53 David Harrison, “Collective Creativity: Art and Society in the South Pacific,” Annals of Tourism Research 37, no. 4 (October 2010): 1190–92, https://doi.org/10.1016/j. annals.2010.04.008.

Fig.11

A palae (Wat Pho) in Thailand showcasing the Thai roof structure.

Fig.132

A palace (Wat Pho) in Thailand showcasing the Thai roof structure.

his creative skill and passion.

This overarching theme of creativity Jim Thompson manifested, resulted in the idea of having an art centre in the museum. As previously mentioned, this was relocated and evolved into the JTAC which acts as a platform for lessknown creatives. Discussing the success of the art centre within the context of tourism varies slightly from previous analysis and critiques. Its proximity to the museum encourages visitors to explore both buildings (see Fig.14). Most people set out to explore the better-known JTHM, and then coincidentally walk past the art centre.54 Due to the different purposes of the building, the art centre attracts locals more frequently than tourists, however, the JTAC remains a space in which new ideas are developed and showcased. Acting as a catalyst for local creativity, the tourists that do make their way to the

54 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024

Fig.13

Elevation drawing by Thompson exhibited in the JTHM

centre will see contemporary Thai art, gaining insights into the country’s unique creative industries. Daily tours guide visitors through the library, roof gardens and exhibition spaces. Demographically, the space attracts twenty to thirty-year-olds local to the area, looking for a space to relax, or businesses requiring a backdrop for a product photoshoot – this in itself fosters creativity and the spread of creative tourism.55

Both buildings generate creative tourism for different reasons, and despite this increasing the country’s wealth and status, tourism trends can cause a decrease in the originality of local heritage and culture as further discussed in the next chapter.

Jim Thompson Art Centre

Jim Thompson House Museum

55 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024

Fig.14

Proximity map of where the JTAC is in comparison to the JTHM

Preserving the threads of Thai heritage

06 / (THAI)

HERITAGE

The preservation of heritage is of extreme importance, as the era of globalization ensues, there are anxieties surrounding the loss of cultural diversity. The JTHM can be seen as a good example of safeguarding the cultural heritage of Thailand, providing a space where visitors can access information and become immersed in a “time capsule.”56 In Thailand, cultural heritage preservation predominantly centres around safeguarding heritage buildings and their contextual landscapes.57 This type of preservation is difficult for a community to up-hold financially, therefore, to raise the community’s preservation fund, there have been adaptations to historical and cultural heritages to frame them as tourist attractions.58

An example of this is the programmatic elements within the JTHM that have tourist accommodations – the museum shop, café and tourist information centre (see Fig.15,16,17). These additions to the house, successfully generate more income into the community, as well as attracting tourists. Despite this success, researchers Prompayuk and Chairattananon argue that this pushes locals away, as investors offer money for the land where tourism is exponentially growing, consequently, the community is displaced.59 Resulting in the original cultural heritage and ‘uniqueness’ disappearing. This is exemplified in the Amphawa community based in Thailand.60 Demonstrating a community with a local floating market (see Fig.18) being invested in, therefore becoming one of the most popular weekend tourist attractions in the region. However, due to

56 Malina Palasthira in audio conference with the author, London/Bangkok, 24 January 2024

57 Supoj Prompayuk and Panayu Chairattananon, “Preservation of Cultural Heritage Community: Cases of Thailand and Developed Countries,” Procedia - Social and Behavioral Sciences 234 (October 31, 2016): 239–43, https://doi.org/10.1016/j.sbspro.2016.10.239.

58 Mekonnen, Bires, and Berhanu, “Practices and Challenges of Cultural Heritage Conservation in Historical and Religious Heritage Sites: Evidence from North Shoa Zone, Amhara Region, Ethiopia.”

59 Supoj Prompayuk and Panayu Chairattananon, “Preservation of Cultural Heritage Community: Cases of Thailand and Developed Countries,” Procedia - Social and Behavioral Sciences 234 (October 31, 2016): 239–43, https://doi.org/10.1016/j.sbspro.2016.10.239.

60 Ibid.

Fig.15 The museum silk shop, selling original silks.

Fig.16 Museum cafe for visitors.

Fig.17 Information centre for tourists.

the adaptations of local community traditions to fit tourism trends, the original unique heritage of the place has been lost.61

The preservation of the aforementioned contextual landscapes can be seen within the JTHM’s garden and surrounding green space (see Fig.19). Historically, one of the traditional characteristics of Thai housing were lavish gardens with tropical plants and foliage. Jim Thompson describes the surrounding vegetation as a jungle; it consists of lofty palms, golden bamboo, amongst other plants – this garden has been kept almost identical to what it used to be during Thompson’s time.62,63 Another way in which landscaping is

62 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 114.

63 Maria Wulff Hauglann, “A Lovely Museum with a Sad and Mysterious Story - Jim Thompson House Museum, Bangkok,” Nerd Nomads, July 17, 2014, https://nerdnomads.com/jimthompson-house.

Fig.18 Floating market in Amphawa.

connected to heritage, is traditional Thai buildings and their relationship with water. In the past, people chose to build houses by rivers, due to boats being the main mode of transport as well as being a major factor in efficient farming.64 The JTHM is located near the Klong so prefabricated materials could be sourced more efficiently, but also for accessibility reasons.65 Lotus ponds are also a major feature within traditional Thai architecture, it is a tradition that has been passed down for generations, as the symbolisation of the lotus is often seen in images of the Bhudda.66 Jim Thompson installed multiple lotus ponds in the museum, resulting in the preservation of this tradition.

The Jim Thompson Art Centre seldom shows Thai heritage physically, alternatively, it considers the practice of preserving heritage through the generation of new ideas within the creative industry. The space itself does

64 Wattana Boonjub, “The Study of Thai Traditional Architecture as a Resource for Contemporary Building Design in Thailand,” 2009, 35, 99.

65 William Warren, Jim Thompson : The Unsolved Mystery (Singapore: Editions Didier Millet, 1998), 112.

66 Wattana Boonjub, “The Study of Thai Traditional Architecture as a Resource for Contemporary Building Design in Thailand,” 2009, 35, 99.

Fig.19 JTHM garden‘jungle.’

not display many historical Thai design elements, instead, it utilises an environmentally efficient design methodology and ‘on-trend’ details. These typologies attract a large amount of young people within Bangkok to the space.

The curated books on display give a more passive way to learn about Thai heritage. The exhibitions that take place allow local artists to display their work under a famous name (see Fig.20).67 This method allows for Thai heritage to be intertwined with new ideas, arguably allowing heritage to be preserved and interpreted more effectively. However, this way of comprehending heritage allows an abundant amount of room for adaptation, which in turn can be deemed inauthentic to the original meaning.

Notably, ‘authenticity’ was not a criterion whilst the preservation movement was gaining publicity, it was only when the concept of ‘heritage’ came to light in the late 1960s, advocates for authenticity emerged.68 Assessing the level of authenticity an entity holds is almost impossible as discussed in the concluding chapter.

67 “Jim Thompson Art Center,” Jim Thompson Art Center, accessed November 29, 2023, http:// www.jimthompsonartcenter.org/exhibitions.

68 Randolph Starn, “Authenticity and Historic Preservation: Towards an Authentic History,” History of the Human Sciences15, no. 1 (February 2002): 1–16, https://doi.org/10.1177/095269 5102015001070.

Fig.20 Contemporary art exhibition space in the JTAC.

07 / CONCLUSION

ASSESSING AUTHENTICITY

‘Authenticity’ is a term that is applied to various circumstances, objects, and situations. Its relevance to cultural heritage is prominent as “it is through the past that we build a collective version both of society and of individual self.”69

So, if the present social and political environment emerges from events of the past, authenticity of heritage preservation is essential. However, authenticity is a complex concept, and there are unanswered questions regarding who measures it and what constitutes as ‘authentic’, simultaneously one must consider that politics and power contribute to the construction of this concept.70

Cultural heritage however displayed, restored, reconstructed, or celebrated –is fundamental to the well-being of society.71 The overarching conversation of authenticity in these practices is a political discussion. Despite this, it is not solely the responsibility of one institution to uphold an ‘authentic’ representation of a culture, it is a joint, social responsibility.72 Culture can be seen as an exchange, as tourists travel and spread ideas, culture will inevitably change and develop over history.

In this case, Jim Thompson shared Western cultures with Thailand, however also reciprocated this act by globalising Thai traditions through his involvement with the Thai Silk industry. In addition, his museum disperses knowledge to tourists on the various ‘heritage objects’ within it. This interchanging

69 Barbara Wood, “A Review of the Concept of Authenticity in Heritage, with Particular Reference to Historic Houses,” Collections: A Journal for Museum and Archives Professionals 16, no. 1 (March 2020): 8–33, https://doi.org/10.1177/1550190620904798.

70 Ibid.

71 John Bold, P J Larkham, and Rob Pickard, Authentic Reconstruction Authenticity, Architecture and the Built Heritage(London Oxford ; New York Bloomsbury Academic, 2018).

72 Gabi Dolff-Bonekämper, “Cultural Heritage and Conflict: The View from Europe,” Shared Heritage, Shared Future 12 (2010): 14–19.

relationship comes with positives and negatives: ‘Globalisation leads to increased diversity within cultures at the expense of diversity between cultures.’73 The JTAC promotes Thai culture in an alternative way, allowing creatives to use history to construct future creative endeavours. This reinterpretation of heritage and culture, may divert from the original traditions, however it prolongs the dialogue regarding the heritage, simultaneously promoting originality. This is arguably a positive act, opposed to heritage being lost completely, it is being used as inspiration.

To conclude, the dissertation aimed to produce an overview of the intentions and contents of the Jim Thompson House Museum, comparing this through the contemporary lens of the Jim Thompson Art Centre. It then embarked on linking major thematic elements, specifically: curation, structural relocation, colonialism, creative tourism, and heritage preservation, to provide varying contextual ideas when discussing the efficacy and authenticity of preservation methods utilised by the two separate institutions. Considering different parts of the museum and art centre to generate a full overview of both case studies, structured the essay in a way in which all the desired themes could be discussed.

Both museums demonstrate authenticity and inauthenticity within their collections and methodologies of curation and design, but what can we classify

73 Gabi Dolff-Bonekämper, “Cultural Heritage and Conflict: The View from Europe,” Shared Heritage, Shared Future 12 (2010): 14–19.

as ‘inauthentic?’ From this research, one can conclude that authenticity cannot be measured accurately, as the abundance of factors that affect the term is overwhelming. It is intrinsically linked to a network of relationships; the cultural biographies of objects and buildings must be considered.74 Despite this, the ongoing debates of the level of authenticity that institutions should uphold, contribute to the essential understanding of the value in preserving the past.75

74 Siân Jones, “Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation,” Conservation and Management of Archaeological Sites 11, no. 2 (May 2009): 133–47, https://doi.org/10.1179/175355210x12670102063661.

75 Randolph Starn, “Authenticity and Historic Preservation: Towards an Authentic History,” History of the Human Sciences15, no. 1 (February 2002): 1–16, https://doi.org/10.1177/095269 5102015001070.

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Boonjub, Wattana. “The Study of Thai Traditional Architecture as a Resource for Contemporary Building Design in Thailand,” 2009, 35, 99.

Dolff-Bonekämper, Gabi. “Cultural Heritage and Conflict: The View from Europe.” Shared Heritage, Shared Future 12 (2010): 14–19.

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Erich Hatala Matthes. Drawing the Line : What to Do with the Work of Immoral Artists from Museums to the Movies. New York: Oxford University Press, 2022.

Fagan, Brian. The Ethics of Collecting Cultural Property : Whose Culture? Whose Property? Edited by Phyllis Mauch Messenger. Albuquerque: University Of New Mexico Press, 1999.

Gaweewong, Gridthiya. “Contemporary Independent Curatorial Practices as Contested Ground: Tracing Exhibition Histories in Thailand from Court, to State, to Curating for the People.” World Art 10, no. 2-3 (September 1, 2020): 259–77. https://doi.org/ 10.1080/21500894.2020.1810754.

Harrison, David. “Collective Creativity: Art and Society in the South Pacific.” Annals of Tourism Research 37, no. 4 (October 2010): 1190–92. https://doi.org/10.1016/j. annals.2010.04.008.

Hauglann, Maria Wulff. “A Lovely Museum with a Sad and Mysterious Story - Jim Thompson House Museum, Bangkok.” Nerd Nomads, July 17, 2014. https:// nerdnomads.com/jim-thompson-house.

Jim Thompson Art Center. “Jim Thompson Art Center.” Accessed November 29, 2023. http://www.jimthompsonartcenter.org/exhibitions.

Jones, Lu Allington. “The Phoenix: The Role of Conservation Ethics in the Development of St Pancras Railway Station (London, UK).” Journal of Conservation and Museum Studies 11, no. 1 (September 2, 2013). https://doi.org/10.5334/jcms.1021205.

Jones, Siân. “Experiencing Authenticity at Heritage Sites: Some Implications for Heritage Management and Conservation.” Conservation and Management of Archaeological Sites 11, no. 2 (May 2009): 133–47. https://doi.org/10.1179/175355 210x12670102063661.

Kaewprasert, Kornkamon. “Symbolic Wood: Language of Wood and Techniques in Thai and British Cultures,” n.d.

Katz, Paul. “Archaeological Curatorship. Susan M. Pearce. Smithsonian Institutional Press, Washington, D.C., 1991. Xvi + 223 Pp., Figures, Plates, Appendix, Bibliography, Index. ’35.00 (Cloth).” American Antiquity 59, no. 1 (January 1994): 164–65. https://doi.org/10.2307/3085518.

Kurlantzick, Joshua. The Ideal Man. Turner Publishing Company, 2011. The Mysterious Jim Thompson, The Silk King of Thailand. Interview by Philip Clark. ABC Listen, August 28, 2011. https://www.abc.net.au/listen/programs/ saturdayextra/the-mysterious-jim-thompson-the-silk-king-of/3607962.

Prabhu, Anjali. Hybridity: Limits, Transformations, Prospects. Jhu.edu. State University of New York Press, 2012. https://muse.jhu.edu/book/5174.

Prompayuk, Supoj, and Panayu Chairattananon. “Preservation of Cultural Heritage Community: Cases of Thailand and Developed Countries.” Procedia - Social and Behavioral Sciences 234 (October 31, 2016): 239–43. https://doi.org/10.1016/j. sbspro.2016.10.239.

R Radhakrishnan. Diasporic Mediations : Between Home and Location. Minneapolis: University Of Minnesota Press, 1996.

Richards, Greg. “Cultural Tourism: A Review of Recent Research and Trends.” Journal of Hospitality and Tourism Management36 (September 2018): 12–21. https://doi. org/10.1016/j.jhtm.2018.03.005.

Schoelwer, Susan Prendergast. “The Past Is a Foreign Country. David Lowenthal.” Winterthur Portfolio 24, no. 4 (December 1989): 263. https://doi. org/10.1086/496457.

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Weiss, Wendy A., Néstor García Canclini, Christopher L. Chiappari, Silvia L. López, Jesús Martín-Barbero, Elizabeth Fox, Robert A. White, Nestor Garcia Canclini, Silvia L. Lopez, and Jesus Martin-Barbero. “Latin American Intellectuals and the Theoretical Trends They Promise.” Anthropological Quarterly 70, no. 1 (January 1997): 31. https://doi.org/10.2307/3317800.

Wood, Barbara. “A Review of the Concept of Authenticity in Heritage, with Particular Reference to Historic Houses.” Collections: A Journal for Museum and Archives Professionals 16, no. 1 (March 2020): 8–33. https://doi. org/10.1177/1550190620904798.

www.tourismthailand.org. “The Grand Palace,” n.d. https://www.tourismthailand.org/ Attraction/the-grand-palace.

IMAGE SOURCES

Cover Image

Gosal, Kiran. The Jim Thompson House Museum Exterior. 2023. Bangkok. Contents Page Image

Gosal, Kiran. The Jim Thompson House Museum Exterior. 2023. Bangkok.

Fig.1

Exterior of the Jim Thompson House Museum. n.d. https://jimthompsonheritagequarter.com/service/jim-thompson-house-museum/.

Fig.2

Abdel, Hana. Exterior of the Jim Thompson Art Centre. October 22, 2022. https://www.archdaily.com/990926/jim-thompson-art-center-design-qua#:~:text=With%20 3%2C000%20square%20meters%20dedicated,roof%20terraces%20for%20future%20 programming.

Fig.3

Beurdeley, Jean-Michel. Buddha Heads. n.d. https://jimthompsonhouse.org/the-art-collection/.

Fig.4

Wooden Engravings in the Jim Thompson House Museum. December 2021. https://wnfdiary.com/jim-thompson-house-museum/.

Fig.5

Jim Thompson House Museum Shop. n.d. https://jimthompsonheritagequarter.com/service/iconic-retail-store/.

Fig.6

Puttes, Screechai. Interior of William Warren Library. August 22, 2020. https://www.timeout.com/bangkok/attractions/william-warren-library.

Fig.7

Construction of Jim Thompson House Museum. December 2021. https://wnfdiary.com/jim-thompson-house-museum/.

Fig.8

The Drawing Room in the Jim Thompson House Museum. December 2021. https://wnfdiary.com/jim-thompson-house-museum/.

Fig.9

A Series of Antiques within the House (Diagram by Author). n.d. https://jimthompsonhouse. org/the-thai-house/.

Fig.10

Scott, Bruce. Jim Thompson Inspecting Silk with One of the Thai Weavers along the Saen Saep Canal. May 15, 2023.

https://www.prestigeonline.com/th/luxury-brand-guides/thai-brands/how-jim-thompson-iskeeping-thai-silk-weaving-traditions-alive/.

Fig.11

Gosal, Kiran. Wat Pho Exterior. 2023. Bangkok.

Fig.12

Gosal, Kiran. Wat Pho Exterior. 2023. Bangkok.

Fig.13

Gosal, Kiran. Elevation drawing of The Jim Thompson House Museum. 2023. Bangkok.

Fig.14

Gosal, Kiran. Google Earth Screenshot (Diagram by Author). 2023.

Fig.15

Jim Thompson House Museum Shop. n.d.

https://jimthompsonheritagequarter.com/service/iconic-retail-store/.

Fig.16

The Jim Thompson House Museum Cafe. n.d.

https://jimthompsonheritagequarter.comservice/jims-terrace/.

Fig.17

The Jim Thompson House Museum Tourist Centre. n.d. https:// jimthompsonheritagequarter.com/servicejims-terrace/.

Fig.18

Amphawa Floating Market. n.d.

https://www.tourismthailand.org/Attraction/amphawa floating-market.

Fig.19

Gosal, Kiran. Exterior of Jim Thompson House Museum. 2023. Bangkok.

Fig.20

Exhibition Space in the Jim Thompson Art Centre. n.d. https://jimthompsonheritagequarter.com/service/jim-thompson-art-center-1/.

APPENDIX

Interview with Malina Palasthira

Head architect on The Jim Thompson Art Centre

Founding Partner of Bangkok-based firm Design Qua

Wednesday, 24 January 2023

MP: Malinda Palasthira, KG: Kiran Gosal

Introductions

KG: My dissertation tackles Thai heritage preservation and assessing authenticity within this. It uses the art centre and the Jim Thompson house museum as primary case studies to talk about various themes. So, to start with a more general question regarding design methods, just because there isn’t too much information about the process online, how were decisions made? And how did the art centre come about?

MP: So basically we finished the building at the beginning of 2021, but it was launched at the end of 2021, it was actually finished earlier but because of covid we couldn’t open it on the planned day. There are two separate entities surrounding the Jim Thompson buildings, so there’s the Jim Thompson foundation and then there’s the Jim Thompson silk company, so the Art Centre is under the foundation, and the museum, which started soon after JT disappeared, you’ve been there to the house?

KG: Yes, I have, it’s almost like a time capsule.

MP: Yes exactly I always describe it as that, and basically, they had an art centre there before in the building, which is now a shop, so the idea of the art centre has been around before. At first the art centre was more focused on traditional silk and textile art that is all linked to Jim Thompson and traditional craft based. The most recent director of the museum, eric booth, he’s like the director of the foundation as well, and he is a big contemporary art collector, so then the art centre was then veered towards more contemporary art pieces, so it’s no longer – it evolved into something more than textiles and craft, that you would imagine being linked to the house and Jim Thompson himself. As this evolved it’s become quite successful and at some point eric booth approached us because he saw some of the houses we designed and built up north using tropical architecture principles, we are supposed to be doing sustainable architecture and this uses a lot of concrete, however with the budget we had there was not really any other options. Steel would have been an option but since this was going to be a foundation and art centre and museum, we thought something permanent that has character and that will be there for a while will be okay as long as we do everything else sustainable.

So he approached us in 2015, and then we looked at different sites with him like it was going to be in town within the shops, at one point we were going to do a flagship store, there was so many ideas – thinking through different places, the site it Is in now, wasn’t even on the

cards in the beginning, they didn’t have any idea where to put it. Before that the office of the foundation was where the parking lot was – the parking lot is where the art centre is now, so the office of the curator, librarian and director was in the parking lot and the art centre was near the actual museum, so they needed one building to put everything together. So, in the end we started working out this scheme in 2016/2017, we did a schematic design, so eric would give us a programme and we would try to figure out how to put it on the site – and the biggest challenge was to fit sixty cars in there, and it had to happen by law Looking back, I think why the project was so successful for us in the end because the owner he said this is the budget and this is what we need: 1,2,3,4, there was no committee like we had to figure it all out, so we had design freedom – he was very hands off. What was good is that we just did a schematic design and then the foundation says we will find this money for you, their money comes from the tickets from the museum. They went away for like a year, they got the money and then they said we can start developing it.

KG: That’s really helpful in understanding how the art centre was developed, I didn’t know that it was once in the museum.

MP: Yes, its not often talked about actually, or reported, as well as the library because that was also in the museum beforehand.

KG: Actually, my next question was specifically regarding the William Warren library, the design decisions behind this and if you know anything about the curation if the texts.

MP: The William warren building used to be in the other art centre before they were all joined into one, but that building had a lot of glare, and I don’t think it was designed that well, the books always got blasted with light, so the William warren was going to be part of the new art centre. The library is an integral part of the art centre alongside the exhibition spaces, they’ve also got offices for the librarian. They were imagining doing workshops within the library – but because of covid the museum lost of revenue in the two years that it was closed – so they didn’t do that. They had an art show also, they used to have an atrium that looked onto the library which is now blocked off. So then for the curation we had to look at how many books were in the original library, and we wanted to add more but there was not that much space in the end and also not that much budget. So, we kind of accumulated books they already had, plus there’s an archive block as well – so the archives would have the rare books and manuscripts in there. But we also imagined the whole space not being one of these museums feeling they can’t relax, so we almost thought of the art centre as a community centre. And actually, a lot of people just go in to enjoy the AC and look at their phones and on occasion somebody will pick up a book, so it’s kind of a relaxed place. Initially when the stairs were going to go down in the atrium to the space below near the café, we even imagined that the low part of the library would be where you can drink and eat and read magazines. The big thing about the library I think to improve it from the previous library, was to make sure there was no direct sunlight on the books, but we always want natural lighting in our spaces, so we use pendant lights for

general lighting and the rest is natural. The idea of the library is the same as the rest of the building, that it’s not a box, the galleries had to be boxes but that one was going to feel more like pods. We wanted everything to be connected. You can actually watch documentaries in the library too, because they have a really big collection of art documentaries at the Jim Thompson.

KG: It’s interesting that you talk about people coming in to hang out and use the facilities and then almost ‘accidentally’ learn something about the Jim Thompson legacy, I was wondering what the demographic was like. I was discussing with a fellow student who lives near the museum, and she observed that usually tourists will visit the museum and locals will visit the art centre.

MP: You know whenever I go, we give tours almost every other week, so I’d say like especially now in tourist season, people go to the Jim Thompson house museum, then they walk by the art centre and see our building as well. I think your friend is right, mostly there are people in their 20s and 30s who come and take photos for Instagram, and then even go t the roof and take pictures of their products and fashion shoots. But because Bangkok doesn’t have a lot of spaces that you can go to that are outdoor and protected and nice that’s not a mall. So, it’s nice to have a place where they can go and not have to buy anything.

KG: I agree, that’s something I struggled with when I visited Bangkok, we spent a lot of time in malls cooling off. I had a question regarding the relevance of Jim Thompson’s ethos within the building, I know you mentioned Eric Booth was an influential figure programmatically.

MP: I mean, in comparison to the museum itself, we are definitely less involved in his story, like we don’t exhibit his collections or anything. But programmatically as you said, eric booth was very decisive and he did take inspiration from the things in the museum and his story especially in the silk industries, I think you can see that through the exhibitions we hold. But yeah, overall, Jim Thompson was definitely the main inspiration, and we wanted to carry his message of creativity through in the design for sure.

KG: That’s interesting because I’m looking into creative tourism too within my essay, and I think that the idea of his creative ethos feeds into that. I was also researching into future developments, and I know it’s an everchanging and evolving building – but are there any ideas underway that you are allowed to disclose?

MP: We designed it in a way that the two rooftops can be multifunctional spaces, so the one that slightly above has a restaurant right now a Thai barbeque place, we imagine that could even be a sculpture garden, and then the lower one we structured it so that it could hold a whole garden there so there may be a time where that will be a garden space for visitors. I imagine the building to be evolving on for a while as you say, and the director Grithdeya, she’s very active, they’ve had book launch events and channel events on the ramp at the rooftop space and other fashion shows. Because we have to sell the space as well for like weddings and things like that. Actually, the way we had to design the library, next to the library I don’t know if you’ve seen this, above on the left is an event space, its usually left open. There’s an events space that fits about 120 people, but its designed so

that there’s little plants in front of the opening, architecturally I wouldn’t want to put them their id have liked to keep it open, but we had to put it there because when they use the event space for a wedding or lecture or whatever, they want to use the outside space too for the evening, so we had to block it from the library so that Is always public, which we need to block from the private events.

Another thing that’s interesting about doing this building because it’s not a pure museum so to speak, that we also had to think about the commercial side. But even the museums these days have to do the programming to get the funding, so their big thing about getting funding is to rent the building out so it’s quite an important factor – and how that interacts with the library – because people can’t look into the private events. So, we had to think about how it all works, so all these things are really considered how we can split up the space effectively, while still keeping the library public at all times.

Begins speaking about other future developments not to be included in the transcript.

Author ends interview.