Almost a year and a half after the tsunami, the plans for Thailand's first-ever memorial museum have been finalised, but they have also sparked controversy among environmentalists and locals still recovering physically and emotionally.

"The museum, which will also be a contemporary architectural landmark, is expected to open within the next two years," Suwat announced on Wednesday at a presentation ceremony at Government House for the winner of the conceptual-design competition for the museum.

The winning design, titled "Mountains of Remembrance", was created by a Spanish design team and submitted by the Thai architectural firm Naga Concepts Company, which also designed the tsunami memorial at Ban Namkhem in Phang Nga.

The selection process, led by the Culture Ministry's Contemporary Arts and Culture Office in conjunction with the Association of Siam Architecture and international museum experts, took more than a year and cost almost Bt50 million. The Spanish firm beat out four other finalists, from Finland, the US, China and Australia.

On Tuesday, Suwat will present the proposal for the project - the winning design and the judges' recommendations - at the weekly Cabinet meeting, and discuss the budget for it.

He did not reveal how much of a budget the project would receive, but experts estimate it will cost at least Bt500 million, possibly more.

Suwat said financial support would come either from the Thai government or through contributions from other countries affected by the tsunami.

"Although Thai Rak Thai is currently the country's caretaker government, I hope we'll be able to approve the funding and construction, because this is an ongoing project, and it's now reaching its final stage," said Suwat.

The government has outlined its aims for the museum, saying it will serve as an educational institute, meeting place for relatives who lost their loved ones and cultural attraction for tourists. But as with other memorial monuments, constructing this ambitious a project, one that is surrounded by significant issues of sensitivity, raises debate.

Some architects, artists, designers, educators and government sectors feel the museum's unspoiled location - in virgin forest, facing the sea - will be perfect for education and contemplation, as well as an ideal location for a landmark of contemporary architecture in the Kingdom. Other parties have raised questions about costs - financial and otherwise.

Environmentalists are concerned that the mega-project will cause ecological problems. During the museum's two-year construction, the surrounding national park will surely be affected. And when the museum finally opens its doors, if all goes to plan, huge numbers of visitors will flock to the national park. Currently, one must trek to the proposed site along a narrow 500-metre path through the forest from the main road, and this will have to be significantly expanded for easier access.

But the Spanish firm says its winning entry was designed specifically in harmony with the natural surroundings. Inspired by Buddhist architecture, the museum will feature seven different structures and resemble a temple, with stupas hidden among the trees. The tranquil natural setting of the park will provide visitors with a symbolic place to meditate about both the tragic events and the powerful forces of nature.

Commenting on the winning entry, selection panel chairman David Stuart Elliott, the British director of Tokyo's Mori Museum, emphasised that the model had been designed to blend in with the park.

However, with its concepts so deeply steeped in sensitive issues - and the numerous practical and emotional concerns of the construction - idealism and realism do not always make easy bedfellows.

Building such a huge structure inside a national park obviously requires extensive research. Minimising damage while creating this wonderful, environmentally friendly piece of architecture is obviously the planner's main goal and a major concern of the government. But the builders must balance the need to respect the deep human emotions surrounding the tragedy with respect for the very source of the tragedy, the epic force of nature itself.

Simple yet weighted with the power of spiritual reverence, the understated tsunami memorial in the little village of Ban Namkhem is a good example of this. A collage of terracotta in earth tones, a small memorial wall displays victims' names and is a deeply spiritual place for local fishermen, whose very way of life is in harmony with nature. The giant wave swallowed their homes and lives, but this little memorial has gone a long way towards the epic task of healing their spirits.

Although the suffering in Phang Nga is now well on the way to recovery, and tourism has picked up, many victims remain in need of financial support.

"Nature is uncertain" was one of the more important lessons the tsunami taught us, and whatever footsteps we take along the path of remembering this message and restoring lost harmony, respecting nature should be of our utmost concern.

Phatarawadee Phataranawik