英语论文网

rden to ‘listening to the pine tree’ and ‘entering into the bamboo’ when composing a haiku a form of Japanese poetry about them, from retaining and enhancing the fresh taste, texture, shape, and colour of each ingredient in cooking to the celebration, rather than shunning, of recently manufactured materials such as concrete and plastic by contemporary architects De Mente, : .

 

Traditional Japanese architecture often employs unfinished logs, simply split bamboo, and walls made of clay with an admixture of chopped straw, as in Katsura’s tea-ceremony hut . Okakura argues that the use of materials without finishes is deliberate to create ‘an aesthetically pure, ideal world of sobriety, calm and refined rusticity’. From Katsura one discerns that the designers of tea-ceremony architecture often carefully select only those materials conducive to production of a microcosm compatible with the aesthetics of wabi.

 

Designers of such architecture tend to use natural materials, to have them look as natural as possible, and to employ muted -almost monochrome - colour schemes. It is observed that many of Ando’s works severely limits the range of interior colours. There are often entirely unfinished concrete with the exception of floors and furnishings, which are of natural materials. Window sashes, which, though steel, are always painted gray, never bright self-assertive colours. Baek argues that this approach used both by designers of tea ceremony buildings and by Ando, is determined by a concern for the materials themselves and for spatial composition.

 

Tadao Ando’s work reveals an architect’s efforts to keep the intrinsic properties of architecture intact with meanings. His work encourages a viewer to make an interpretation that is anchored in the piece’s physical properties more than anything, and that allows the piece to be significant, in the fullest sense of this word, to the interpreter with or without reference to a convention.

 

In Sayamaike Historical Museum, Osaka , as in many other buildings by Ando, one encounters a carefully selected, limited number of building materials treated to their physical extreme. The intention is to present the materials in their utmost essence. Ando tries ‘to choose materials as a poet chooses words and to give them the most appropriate forms of Expression’. For example, Ando insists on concrete mixture so hard that it is almost impossible to distribute the material between panels. As a result, his concrete walls are dense and solid to the extreme limit. By pushing the material’s physical properties almost to the impossible, the architect intends to create a structure that by itself evokes the non-physical.

 

Written by Tadao Ando, the introductory paragraph in the visitors’ pamphlet for _ Design Sight exhibition showroom reads: ‘The golden age of Japanese architecture was made possible in the s by craftsmen who were totally dedicated to their work’ reads _ Design Sight, . The pamphlet also highlighted the sophi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。