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The Museum of Wood (Tadao Ando)

 

Looking deeper will expose that the silhouette of this fazade appears to be a stump of a gigantic tree, which is horizontally lapped with wooden planks giving it a rough texture similar to that of tree bark. In the center of the stump is an opening and the entrance or main doorway to the structure. It may look as if it is the dwelling of some fairy-tale forest creature resides in this part of the building. This amusing but intentional concept may have been part of Ando's scheme to fuse the building into its environment.
             How ever interesting the fazade may seem, the site plan is quite absorbing itself. From the main structure, a straight, narrow path juts out to the North-West. This trail leads to an observatory station, about an eighth in size relative to the main building. In contrast to the pruned cone, the observatory station is a small cuboid annexe.1 Looking from above, the Museum of Wood has a very modern and seemingly technology advanced appearance, high tech and somewhat computerized with its concentric circles, defining straight lines, and right angles. Nonetheless, from a more romantic approach, it can be depicted that the walkway is a delicate stem and from it a sole fruit or a flower blossoms. Looking from the plane view the observer is guided towards the exit of the museum to an elevated walkway. Curiosity may first intrigue the viewer to take the walkway, but a long route is then exposed as he exits the building. The viewer finds that he has no other choice but to walk the dreary distance. He soon realizes that the narrowness of the path and his curiosity may push him to walk even faster. When he reaches the observatory station he is finally rewarded and his curiosity lightened with awe striking views of the forest. Ando defines his center points clearly, making no confusion in where a start begins and a finish ends. His use of space to distinguish this is evident and his understanding of the reaction of certain geometries is quite clear in the museum.


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