The traditional habitat
Houses are usually built of bamboo, mounted on wooden stilts. The living room is therefore systematically raised. These houses have steep thatched roofs and verandas. They range from 5 to 12 metres in height depending on how old they are: floors can be added over time. The highest are therefore also the oldest. Under the house, the family usually places the animals and various utensils, such as large wooden mortars or looms. Near the house is traditionally a rice loft, a vegetable garden or orchard... The quality of the habitat is generally more dilapidated in mountainous areas than in the plains of the South.
There are several ethnic groups in the country, each of which has developed its own architectural style according to the climatic and geographical conditions of the place where they live. The Hmong have roofs recognizable by their large wooden tiles, also found in southern China. The Iu Mien build houses that are not, for their part, built on stilts. They are distinguished by roofs that sometimes reach down to the ground, to protect against the cold, since they are found in the mountains of the North, where temperatures are particularly low during the winter season.
The Lao Loum, "Lao from below", are a predominantly Lao people living at low altitudes in the Mekong Valley or along its tributaries. The stilts of their houses allow them to live above the muddy ground during the rainy season. Depending on the wealth of the families, the floors and walls can be made of woven bamboo or wooden planks. The roofs are made of thatch, bamboo, wood shingles or corrugated iron for the newer ones. In older, richer villages, clay tiles are used, but this style has been less and less common since the end of the 20th century
The houses in the northeast of the country resemble Thai houses. Also built on stilts, their roofs are gently sloping, as the region is less rainy. Thatch and corrugated iron are more common in the Isaan region than elsewhere in the country. The houses are built in modules: a first hut to which new ones are added over time and as needs arise, in the idea of a modular and precarious architecture.
The construction of the houses is done collectively: the owner first gathers the necessary materials, always locally, before asking his neighbours and other villagers to build the structure with him. Once the shell is finished, the owner takes care of the finishing touches himself. At the end of the work, he invites all those who helped him over a festive and hearty meal. This tradition of collective construction is disseminated among the ethnic groups of Southeast Asia.
A myriad of regional styles
Lao architecture is mainly reflected in Buddhist religious art. Thus, the vat, (or wat), monastery temples, and the stūpa(stupa, or that), Buddhist architectural structures, are very numerous
The vat are scattered throughout the country in a wide variety of architectural styles that correspond to three distinct regions: Luang Prabang, Vientiane and Xieng Khuang.
The style of Luang Prabang is characterized by the interlocking of wide curved roofs that reach almost to the ground. The Vat Xieng Thong is a good example with a pediment decorated with numerous motifs and windows protected by magnificent carved wooden sashes. It gives an impression of harmony.
The Vientiane style has been influenced by Thai influences, with a high roof perched on a pointed ridge. These rectangular-shaped buildings are the highest in the country. They are built on a pedestal and some, such as the Vat Ho Phra Keo, even have a covered terrace surrounding the main building, recalling the appearance of the temples of Bangkok. The stairs leading to the main entrance are framed by nāgas, a typical Buddhist snake-shaped sculpture.
The style of Xieng Khouang appears to be a mixture of the previous styles and is characterized by a large, continuous, gabled roof, which reaches down to the ground, like those of the Luang Prabang temples. The sanctuary, or sim, is raised on several levels, as in Vientiane. But the exterior aspect is more compact. Within the enclosure of these temples, there are also that(stūpa), dormitories, and libraries. Unfortunately, the legacy of this architecture is not very visible today because most of the temples were destroyed during the Vietnam War. One can perhaps hope to see this style reborn as part of the renovation of religious sites in Xieng Khouang province.
The stūpas are mounds of earth, brick or stone used to commemorate the life of Buddha, and sometimes to preserve relics. They are found throughout India, where they originated, and in Southeast Asia. The word stūpa comes from Sanskrit and means "reliquary". In Laos, they are called that. National emblem, the Pha That Luang ofVientiane is the great Stūpa sacred. Dome-shaped and with a quadrangular structure, it serves as a model for others stūpas throughout the country. Traditionally, Theravada Buddhists burned their dead and deposited their bones in stūpass, which were placed around the wats.
French colonial architecture
As elsewhere in Indochina, colonial architecture is still very present in Laos. Like in Vietnam and Cambodia, the French colonists had the firm intention to build permanent cities, whereas the Lao people used masonry only for religious buildings. Nowadays, we can see that French colonial architecture in Laos is disappearing. In addition to the architectural heritage of Luang Prabang which was saved by UNESCO by classifying it as a World Heritage Site, the buildings and other colonial villas of Vientiane, Thakhek, Savannakhet and Pakse are for the most part in poor condition. At present, colonial architecture has suffered several fates. First ofall, this heritage is less concentrated throughout the country than in the royal capital Luang Prabang, and is therefore more scattered. Some old administrative buildings have been restored and re-occupied by the current regime, others, which became villas during the period of the Kingdom of Laos, were unfortunately destroyed after having remained unoccupied for several decades and therefore difficult to restore. The former Colonial Commissariat, which hasserved as the National Museum for the past fifteen years, is the most imposing building in the capital and is in danger of being demolished in favour of a new hotel complex. For the luckiest, around the main Lane Xang Avenue, several colonial houses have been restored and serve as headquarters for NGOs or foreign banks. There remain the houses that are occupied by private individuals but very poorly maintained, with an uncertain future. Sometimes destroyed and sometimes completely restored, it is difficult to know what fate the owners will have in store for them until government protection measures come into force
One of the finest architectural examples from the colonial period is the site of the present French Embassy at the corner of Mahoso and Samsenthai Streets. This complex was built at the beginning of the 20th century as the headquarters of the Directorate of Public Works, when the decision was taken to build the European city. It then became the headquarters of the General Commissariat of Planning, and later of the topographical services of Laos, which moved into the annexed villas that make up the present diplomatic campus. In 1956, the French government became the owner of the quadrilateral. In 1999, a complete restoration was carried out to restore the façades and the roof to their original state. In addition to the Residence de France and its pavilion, several villas were built at the same time in the embassy grounds.
After the revolution: contemporary and neo-traditional architecture
The civil war between the Kingdom of Lao and the Lao Pathet lasted for almost two decades and ended with a ceasefire treaty signed in 1973 by both parties. The situation turned to the advantage of the Lao Pathet which took power in 1975. Post-revolutionary architecture is characterized by borrowings from socialist realism as well as contemporary forms of architecture inspired by ancestral forms, defining the neo-traditional style.An emblematic example of the latter is the LouangPrabang International Airport
(1997), where even the control tower appears as a white pagoda in front of the runways. The proportions of the building make it a giant temple, its scale being disproportionate to accommodate the boarding lanes. Its stylized red roof with white spikes gives it a certain elegance, as do its canopies, the interior of which imitates bamboo braiding and behind which are the large glass canopies that go around the structure. A curious mix indeed! , this building is certainly worth a visit. Both the Assembly and the Airport are the work of the architect Dr Hongkad Souvannavong, also known in Laos for his musical talents. Tothe neo-traditional style works can be added the splendid National Cultural Hall, also located in Vientiane. Inaugurated in 2000, the building was largely financed by the People's Republic of China, as were several buildings in the country. On four levels, its façade has impressive ornate and gilded columns and its entrance door is decorated with carved wood. It thus stands out strongly from the other buildings nearby.
