Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie nke AND Studio

Ihe emepụtara bụ Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie nke AND Studio bụ onye meriri a na-asọpụrụ nke ukwuu nke 2024 Ihe Nrite A' Design Award nke Ọlaọcha na Udi Asọmpi Nhazi Ụlọ Owu, Ụlọ na Ihe Owuwu.

ỌlaọchaỤlọ Owu· 2024

Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie

nke AND Studio

Onye Ahịa: And Studio

Onye Meriri Ihe Nrite A' Design Award nke Ọlaọcha na Udi Ụlọ Owu

28,259

Onye Meriri Onyinye A Kwadoro

Nyochaa Ọnọdụ Onyinye maka #152344

Lee na A' Design Award Akụkọ Mgbasa Ozi Akara Onyinye

Agba

Nhazi a

Maka Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie

Ụlọ Ngosi Ihe Mgbe Ochie nke Lhasa Thangka bụ ụlọ ngosi maka nka Thangka nke e wuru n'ala ala ugwu ndị dị na Lhasa. E haziri ụlọ ahụ n'ụdị ebe obibi ndị mọnk nke Tibet, ọ na-emekwa mkparịta ụka n'etiti ugwu na mbara igwe. Ụzọ dị n'èzí na-arịgo n'etiti mpaghara ụlọ ndị ahụ ma na-eduga na ámá dị elu, ebe ụzọ dị n'ime na-ahazi oghere ngosi ihe. E megharịrị mgbidi nkume ọdịnala ka ọ bụrụ mgbidi kọnkịrị abụọ nwere ikuku na-agafe, nke na-eme ka mkpuchi okpomọkụ ka mma ma belata ojiji ike. E jiri ihe ndị a na-enweta n'ógbè ahụ na ndị ọrụ obodo rụọ ya. Ụlọ ngosi a na-akwalite nka Thangka na omenala Tibet.

Nkwanye Ugwu

Maka Ihe Nrite A' Design Award nke Ọlaọcha

Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie meriri A' Design Award nke Ọlaọcha, nnabata dị oke ugwu e nyere design ndị dị n'ọkwa kachasị elu, mara mma ma na-eju anya. Ndị meriri na Ọlaọcha bụ ọrụ na-egbu maramara nke ukwuu ma dị oke nzụlite nke na-egosi ọmarịcha ihe ọmụma, talent na nghọta nke ndị designer ha. A na-atụ anya na Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie ga-abụ ọrụ dị ịtụnanya, ihe nlereanya, nke dị oke ọrụ ma dị omimi n'ihe ọhụrụ. Design a meriri A' Design Award nke Ọlaọcha bụ ihe e mepụtara dị oke ịrịba ama, nke a na-eto nke na-erite uru ma na-ebuga oke nka, sayensị, design na teknụzụ n'ihu. Tibetan Thangka Art Ụlọ Ngosi Ihe Mgbe Ochie bụ ihe e kere eke ọtụtụ ndị na-ekwo ekworo ya nke na-akpali ọchịchọ, na-eweta mmetụta ọma ma na-akpali ịtụnanya.

N'azụ Nhazi a

Ngwugwu Mgbasa Ozi

Nkwurịta okwu, ndị otu na nkọwa teknụzụ nke onye nhazi nyere.

Àgwà Pụrụ Iche: Set against the foothills of the mountains, the Lhasa Thangka Museum is organized in the manner of a Tibetan monastery, with an emphasis on dialogue with the mountain and the sky. The detail design respects the heritage of the local culture and reproduces the traditional artistic features with a modern architectural language.The museum aims to be a window for the dissemination of Thangka art, it will treasure and promote Thangka culture and Tibetan culture.
Nha & Mkpuchi: The main tower is used as an exhibition space, as a vantage point to admire the landscape and at the same time acts as a "wind tower": it creates natural ventilation and cools the building during the very hot summers. The double wall structure guarantees the insulation of the building, the reduction energy consumption for heating and cooling by 30%, and the integration of the technical equipment.
Mkpado: museum, thangka art, concrete, brass, glass curtain wall
Teknụzụ Mmepụta: The project is organized in two paths: the external one, which takes up the path of the Tibetan monastery, a climb between the different volumes, which recalls the ascent of the mountain, to lead to the high square, where During the “Sho Dun” festival, you can admire a large Thangka suspended against the tower; the other interior, which organizes the exhibition spaces and the objects on display following the path of the believer in search of enlightenment. In order to get as close as possible to the zero carbon objective, quite a lot of work has been done on the search for local materials and producers and reducing CO2 production and energy consumption. We convinced our Client not to import materials from elsewhere, avoiding long supply transportation, favoring local manpower and materials. To protect the environment, quarries are now banned in the region. We therefore chose to reinterpret the traditional stone walls with double ventilated concrete walls. We used pressed clay, a local ancestral technique, to create the floor of the exhibition spaces.
Ịma Aka Imepụta: At first we wanted to use the local stone, following the vernacular architecture. However quarrying is now prohibited in this region in order to protect the environment. We have therefore chosen to reinterpret the traditional stone walls with double walls in concrete.
We chose concrete instead of steel and metal cladding in order to avoid any importation of materials.
Nchọpụta: At the genesis of this project, a great collector contacted us to promote and exhibit this art from the Buddhist religion; a cultural and secular approach unprecedented in Tibet. Exploring Lhasa guided by a monk and by the client allowed us to immerse ourselves in this ancestral culture. For us, it was a question here of conceiving a poetic, spiritual project, intimately linked to this context. Through our architect's eyes, we have transcribed our learning of Buddhist culture to create a museum deeply rooted in the local reality; a secular place where the boundaries between art and spirituality merge.
Mkpali: Two years ago we were approached by the largest holder of Thangka art collection in the world to study for a museum project in Tibet. We have the ambition to reconcile modernity and tradition. For this we took an initiatory journey to learn Thangka art, local culture, in its expressions of volumetric and architectural composition. The progression through the Potala Palace inspires the journey around the volumes of our project.
Oge Ọrụ: The project started in February 2019 and finished in May 2022 in Lhasa, China
Usoro Ọrụ: We designed this museum to promote learning and meditation. The light work and scenography are designed to sublimate the centuries-old paintings, which will serve as inspiration and testimony for future generations.
The museum itinerary was designed in collaboration with the curator and a local monk. The use of natural light as an architectural component has guided the design of the spaces. Zenithal light, claustra and fissures occasionally pierce the walls and roofs of the exhibition halls.
Patentị: Design: AND Studio
Consultant: CSCEC AECOM Consultants Co., LTD
Ndị Otu: Lead Architect: Ning Wang
Lead Architect: Duccio Cardelli
Architect: Tomasso di Francia
Architect: Yutong Ma
Architect: Qinyi Li
Architect: Luca Amighetti
Architect: Dominika Kowalczyk
Asụsụ Foto: Photo and Video by: Arch-Exist Photography