If a country were a body, culture would be its soul, and infrastructure its veins, essential for vitality and growth. When reflecting on Cambodia’s cultural renaissance, the Golden Era of the 1960s consistently stands as a notable chapter. This decade witnessed an explosion of creativity spanning art, literature, music, and architecture. At the centre of this flourishing period was New Khmer Architecture - a design movement that became both a reflection of Cambodia’s aspirations and a cornerstone of its development.
Emerging in the wake of nearly a century of colonial rule, New Khmer Architecture was much more than an aesthetic style. It was a declaration of independence and a quest for a unique identity in a rapidly modernising world. Under the leadership of King Norodom Sihanouk, and propelled by the Sangkum Reastr Niyum movement (1955–1970), architects like Vann Molyvann, Lu Ban Hap, and Ung Krapum Phka contributed to a design movement that honours Cambodian heritage while acknowledging international modernist principles.
This was architecture with a purpose - not only to uplift aesthetics but to physically and metaphorically shape a new Cambodia. It aimed to move the country beyond its agrarian roots, envisioning it as a thriving, progressive society. Yet, as Cambodia rose to prominence, it was also swept into the geopolitical currents of the Cold War, culminating in the tragedy of the Khmer Rouge regime.
Much of this architectural legacy was lost to conflict and neglect. However, through the perseverance of researchers and advocates, incredible initiatives are piecing together the fragments of this visionary era. In collaboration with the Vann Molyvann Project and New Khmer Architecture (NK-A), Raintree proudly presents Modern Architecture: Echoes + Reflections, an exhibition that invites audiences to explore the fascinating heritage of New Khmer Architecture and its lasting impact through a contemporary lens.
Entrance to Modern Architecture: Echoes + Reflections at Raintree
The exhibition presents rare materials from the Vann Molyvann Private Collection and over a decade of research and documentation work by both the Vann Molyvann Project and NK-A. The ground floor features rare materials, including archival journals, films, and stamps, capturing the vibrant colours of Cambodia’s Golden Era. Across the lift lobbies, from the first floor to the rooftop, eight projects by nine prominent architects are showcased, with over 40 architectural drawings, 40 sketches, 100 photographs, and 7 contemporary art interpretations of these works.
The White Building, conceptual drawings of the Archaeological Museum by Vann Molyvann, and Lyrical Construct (2024), a steel sculpture inspired by Sihanoukville Train Station by Prak Dalin
Team Raintree had the privilege of co-curating this exhibition and deepening our understanding of New Khmer Architecture. Here, we present ten key highlights that shed light on the lesser-known facets of Cambodia's modernist legacy.
1. New Khmer Architecture: A Movement Built on Collaboration
Photo courtesy of the Vann Molyvann Private Collection.
For the general Cambodian public, including architecture students who often lack access to comprehensive research materials about the country’s modernist movement, New Khmer Architecture is often perceived as a distinctly Khmer phenomenon. Familiarity with only a handful of architects—such as Vann Molyvann, Lu Ban Hap, and Ung Krapum Phka—has led to the assumption that this movement was exclusively the work of Khmer architects.
However, researchers and scholars of Cambodia’s modernist movement understand New Khmer Architecture as a collaborative endeavour. Far from being the vision of a single individual, the movement was shaped by a dynamic partnership among architects, engineers, urban planners, policymakers, and politicians, all working towards the creation of a modern Cambodia. Figures like Vann Molyvann, Lu Ban Hap, Ung Krapum Phka, Georges Kandracki, and Guy Lemarchand exemplify this collective effort, incorporating local ingenuity with international expertise to establish a unique modern architectural vernacular.
This spirit of collaboration is vividly reflected in the projects featured in this exhibition, such as the White Building and Grey Building, showcased on the rooftop floor, and Sihanoukville train station, displayed on the second floor.
2. Sangkum Reastr Niyum: The Call to Rebuild
Image courtesy of the Vann Molyvann Private Collection.
Sangkum Reastr Niyum—translated variously as the People’s Socialist Community on Norodom Sihanouk’s website, the People’s Royal Socialist Buddhist Community by Kambuja Magazine, and the Popular Socialist Community by Cambodge d’Aujourd’hui—or simply "Sangkum," was more than a political movement; it was a national awakening. In the aftermath of independence, King Norodom Sihanouk approached Cambodia’s development and modernisation with a vision for both speed and scale. However, the country lacked the necessary experts and specialists to achieve this ambitious transformation.
Determined to maintain Cambodia’s neutrality as a non-aligned nation, King Sihanouk sought to limit reliance on foreign experts. Instead, he issued a call to Cambodian students and intellectuals studying abroad—in institutions across Europe, the United States, Australia, and the Soviet Union—to return home and contribute to rebuilding the nation. This call to action inspired several Khmer architects to leave behind promising careers overseas to help reshape their homeland. Their return sparked an influx of talent that would profoundly influence Cambodia’s modernist movement.
3. King Norodom Sihanouk: Master of Press
Kambuja magazine journals featuring New Khmer Architecture
King Norodom Sihanouk was more than a political leader—he was a cultural architect. Through publications like Le Sangkum and Kambuja, which he personally directed, he positioned Cambodia as a cultural and intellectual beacon in Southeast Asia. Rare editions of these publications, featuring his editorials, are displayed on the ground floor of our building and included in our exhibition catalogue.
The roots of this publishing legacy can be traced back to Cambodge d’Aujourd’hui, established in the 1950s by the Ministry of Information. This publication celebrated Cambodia’s achievements during the 1960s, promoting government activities. However, in 1965, when Sihanouk severed ties with the United States due to the Vietnam War, Cambodge d’Aujourd’hui ceased operations.
In its place, the King launched two influential journals: Le Sangkum and Kambuja. Kambuja showcased the King’s—and by extension, the country’s—achievements, while Le Sangkum focused on geopolitics and diplomacy, promoting Cambodia’s neutral foreign policy on the global stage. Both were directed by Sihanouk himself, with contributions from an elite circle of writers and editors aligned with the Sangkum Reastr Niyum movement.
4. The Cinematic Glory of the 1960s
Images are from Theatres-Cinema au Temps du Sangkum Reastr Niyum (1997)
In the 1960s, Phnom Penh was a burgeoning cultural hub, boasting over 30 cinemas according to the Rong Kon Project. At the time, the city had a much smaller footprint, with anything south of Mao Tse Tung Boulevard considered suburban. From grand theatres to films directed by King Norodom Sihanouk himself, cinema became a powerful medium for cultural expression.
According to Culture of Independence: An Introduction to Cambodian Arts and Culture in the 1950s and 1960s by Reyum Publishing and The Prince Claus Fund, King Sihanouk played a pivotal role in promoting film as an art form. In the late 1960s, Phnom Penh hosted a series of film festivals under his initiative, showcasing both Cambodian and international works. In 1968, the city held its first International Film Festival, where King Sihanouk’s own film, Le Petit Prince, won the first prize.
This cinematic landscape also served as a striking backdrop for modernist buildings, many of which featured prominently in films of the era. Notable examples include Cambodge 1965 and Femme Cambodgienne 1965, both of which are displayed on the ground floor of this exhibition
5. Women Pioneers in Industry
Images are from Femme Cambodgienne (1965)
In 1960s Cambodia, women began to take on roles in society that were previously unavailable to them, supported by scholarships to study abroad in fields such as engineering and architecture. Upon their return, many assumed key positions in government. In the film Femme Cambodgienne 1965, a woman is shown at her desk signing an official document—she was a minister at the time. The film also highlights women in architecture, with scenes of them drafting designs. Lu Ban Hap recalled a female landscape designer, whom he referred to as “the gardener” (a likely direct French-to-English translation), responsible for citywide landscaping and urban planning within the municipality of Phnom Penh.
This transformation was part of a broader societal shift championed by King Norodom Sihanouk. Inspired by the accomplishments of his daughter, Princess Bopha Devi, particularly her contributions to classical dance, the King actively encouraged women’s participation across various fields, including education, manufacturing, and urban development. His progressive vision extended to cinema, where women’s evolving roles were often depicted.
One such example is the King’s own film, Apsara, featuring Princess Bopha Devi, which celebrated Cambodian artistry and female empowerment. The film was prominently featured in Kambuja magazine (June 15, 1966) and on the cover of the Nokor Khmer Quarterly Review (October–December 1969). Both publications are on display on the ground floor of this exhibition, offering a glimpse into a pivotal era of cultural and social change in Cambodia.
6. Kirirom Mountain’s Hidden Retreat
Image courtesy of Lu Ban Hap.
Kirirom Mountain, home to the "Tioulongville" holiday retreat, served as an escape for civil servants and state employees during the Sangkum era. The retreat’s name honours General Nhiek Tioulong, a key figure in infrastructure development, who earned the nickname “General Tractor” for his role in building roads and developing Kirirom into a premier destination.
Kirirom also held political and cultural significance as a venue where King Norodom Sihanouk hosted heads of state for meetings and leisure. This is evidenced by the now-debilitated State Residence, designed by Vann Molyvann, and the housing for employees of the National Bank of Cambodia, which remains largely intact, preserving much of its original structure.
A notable modernist contribution to Kirirom is the house designed by Lu Ban Hap. Created as a tranquil getaway, the house still stands today despite the loss of its original fixtures, which were looted and repurposed in the post-Khmer Rouge period. Its enduring design, however, remains a powerful testament to the architectural innovation of the time. Original photographs of the house, along with its architectural plan—surveyed and drawn by the New Khmer Architecture (NK-A) team in 2020 —are on display on the first floor of the exhibition.
7. RUFA: Cambodia's Pioneer in Architectural Education
Ros Borath, Chou Leang, Ung Chau Nam, and Sieu Eng Keat. All drawings are reproduced from Cambodge Nouveau, No. 15 (October-November 1917)
In 1918, French painter George Groslier expressed concern that Cambodian art was deteriorating and being destroyed daily without anyone to safeguard it. Aspiring to become a guardian of Cambodia’s artistic heritage and craftsmanship, he founded the School of Cambodian Arts, known locally as “សាលារចនា” (Sala Rachana). This school was part of a three-part "art body" institute under government governance, which included the Museum of Cambodia (displaying antiquities and works created by Sala Rachana), Sala Rachana as the production house, and an office dedicated to selling its creations.
After independence, in 1965, Cambodia’s focus on higher education development led to the establishment of the Royal University of Fine Arts (RUFA) under the direction of Vann Molyvann. Tasked by the government, Molyvann envisioned RUFA as a university responsible for preserving, safeguarding, and advancing Khmer art. RUFA initially offered five faculties: Architecture and Urbanism, Archaeology and Dance, Choreographic Arts, Music, and Plastic Arts (sculpture studies). It also became home to Cambodia’s first architecture degree programme, shaping the nation's creative and built environments.
The exhibition showcases a 1971 group thesis project by the inaugural cohort of RUFA architecture students—Ros Borath, Chou Leang, Ung Chau Nam, and Sieu Eng Keat—on the third floor of the building. Their project reimagines the RUFA campus as a modernist masterpiece, underscoring the crucial role of education in shaping Cambodia’s infrastructure and creative future. Despite being woefully underfunded, RUFA continues to uphold its mission of nurturing artistic and architectural innovation.
8. The White Building: A Social Housing Revolution
Images courtesy of the Vann Molyvann Project.
In response to Phnom Penh’s rapid population growth, including the influx of rural-to-urban migration, the Royal Government of Cambodia sought a new social housing strategy, with the Municipality Apartment—commonly known as the “White Building”—serving as the first pilot of this experiment. The White Building redefined social housing in Cambodia through its pioneering design, development, and financing.
Designed by Lu Ban Hap, the second most renowned architect of the time after Vann Molyvann, and engineer Vladimir Bodiansky, a Ukraine-born Russian engineer who worked alongside Le Corbusier and on many other renowned global projects, the White Building drew inspiration from a honeycombed building in Casablanca, Morocco, in which Bodiansky had been involved.
The building consists of six blocks, each embodying the concept of collective living, with references to the structure of a Cambodian countryside village. Each block is connected by a staircase, which doubles as a communal space for residents.
Offering affordable, high-quality living for civil servants, the White Building became an internationally recognised model for social housing. Though it was demolished recently, its legacy continues to influence urban housing discussions around the world. Details about the apartment's design, layout, photographs, films, and contemporary artwork inspired by the White Building are on display in the exhibition on the rooftop floor or can be explored in the Genealogy of Bassac.
9. The Grey Building: Evolution of a Landmark
Images courtesy of the Vann Molyvann Private Collection.
In the 1960s, Cambodia emerged as a modern nation by establishing some of Asia's most innovative social and cultural spaces to showcase its modernity. One such initiative was Front du Bassac, a project that came to fruition in 1962, timed with the plans for the Southeast Asia Games. Under the leadership of Vann Molyvann, a collaborative team of international architects, engineers, and urbanists—including Lu Ban Hap, Gerald Hanning, Vladimir Bodiansky, Robert Hansberger, Gyoji Banshoya, and Nobuo Goto—was assembled to design, plan, and construct this ambitious development.
The Olympic Village, known as the "Grey Building," was part of the larger Front du Bassac development along the Bassac River, designed to provide recreational spaces for the people of Phnom Penh, as well as additional social housing and cultural precincts. Originally built to house athletes during the Southeast Asian Games, the Grey Building was completed in 1963, and later accommodated foreign experts before becoming informal settlements after the fall of the Khmer Rouge. Though it is now unrecognisable from its original form, it stands today as a redeveloped commercial space—a testament to Phnom Penh's evolving urban landscape. Details about the apartment's design, layout and photographs are on display in the exhibition on the rooftop floor.
10. The Vann Molyvann Project and NK-A: Guardians of Legacy
Images courtesy of the Vann Molyvann Project and New Khmer - Architecture (NK-A).
The Vann Molyvann Project and NK-A have painstakingly surveyed surviving buildings and documented Cambodia’s modernist legacy, one project at a time, over a decade. Featuring drawings, photographs, and research materials, this exhibition draws heavily from their archives, offering invaluable insights into this pivotal era. These archives are a bridge between the past and future, sparking dialogue on preservation and re-invention. Only a portion of their incredible work are showcased in the exhibition. The projects continue to document and archive the extraordinary works of Cambodia’s modernist architects, providing valuable resources for ongoing research and study by scholars and students both in Cambodia and internationally.
Reconnecting with Cambodia’s Creative Confidence
The story of New Khmer Architecture is one of ambition, resilience, and reinvention. It reminds us of the power of design to shape not just spaces but identities.
Don't miss the opportunity to see these highlights and more, as the exhibition is in its last week! We invite you to explore Modern Architecture: Echoes + Reflections at Raintree exhibition and explore Cambodia’s architectural heritage, open until 6th December.
Download the exhibition catalogue for deeper insights and rare materials, or reach out to us at hello@raintreecambodia.com to collaborate on meaningful initiatives that foster civic participation in the arts or push the creative industry forward.
Together, let’s ensure Cambodia’s creative spirit continues to thrive.
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About the Vann Molyvann Project and New Khmer - Architecture (NK-A)
The Vann Molyvann Project is a collaborative team of architects, students, and researchers dedicated to documenting the legacy of Vann Molyvann and other modernist architects in Cambodia. Our mission is threefold: to enhance the accessibility of architectural archives, elevate the profile of New Khmer Architecture, and foster collaboration between Cambodian and international architects. Through exhibitions and publications, we strive to connect diverse audiences with Cambodia’s rich modern heritage and develop educational resources for future generations.