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However at the Chikatsu-Asuka Museum, the enclosing device is somewhat different. Approaching this archaeological history museum designed by Ando within a dense forest outside Osaka, one passes through a series of plum trees, a reminiscent of the torii gates in front of Shinto shrines , . Further on, one passes through another gate and then mount a staircase, flanked by concrete walls but open to the sky, to the front door, which is on the level of the second story. Here one must go around another obstructing wall before finally reaching the entrance

The museum site has one of the best collections of Kofuni , or burial mounds, in Japan, with over two hundred of them, including four imperial tombs. To integrate the museum with the burial mounds, Ando conceived the museum as a stepped hill lifted tectonically from the natural terrain, from where one could view the entire burial mound group. Its roof, which is really a large stepped plaza, will be used for drama and music festivals as well as lectures and other performances. Conversely inside the building, the display areas are enclosed with darkness and sparse artificial lighting, as exhibits are displayed as they were found in tombs.

Ando decisively situated the museum on the severe slopes to make it a “quiet building standing quietly in nature” Ando, a: . One can relate this to Frampton’s criteria for critical regionalism: ‘a direct dialectical relation with nature’ Frampton, : , a dialogue with the environment that Ando’s architecture embodies in the articulation of structure through the changing impact of terrain. In Chikatsu-Asuka Museum, the work is characterised by the valley which surrounds the site. In contrast to the modernist clean slate approach of levelling the site, Ando’s approach is in true adherence to the spirit of wabi-sabi of preserving the tectonic quality of the nature.

Furthermore, it can also be argued that, in abidance to the tenets of wabi-sabi, Ando is seeking to tackle the tactile range of human perception. This romanticised emotion of wabi-sabi can be seen in the way Ando describes his buildings and context, which he refers to as ‘cruel urban surroundings’ Ando, :. As discussed earlier, within his territorial walls and spatial enclosure, Ando is determined to establish a natural, Zen-like relationship between the person, material and natural phenomena. His works are designed to be experienced in ‘body and spirit’. eds. Knabe & Noennig, :

Materials.In the last chapter of his book, Koren ascribes the material qualities of wabi: the suggestion of ‘natural process’, ‘unpretentious’, ‘earthy’, and ‘murky’ Koren,: . One must note however that this description is not exclusively that of wabi-sabi aesthetics. They underlay a number of Japanese artistic design principles, ranging from ‘obeying the request’ of garden materials in pruning trees, arranging rocks, and designing the layout of a Japanese ga本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。