Tibetan Thangka Art Imnyuziyamu ngu-AND Studio

Umdwebo Tibetan Thangka Art Imnyuziyamu ngu-AND Studio ungumnqobi ohlonishwa kakhulu womklomelo odumile we-2024 Umklomelo Wesiliva we-A' Design Award Esigabeni Somncintiswano se-Ukudizayina Ezokwakha, Izakhiwo Nezinhlaka.

IsilivaEzokwakha· 2024

Tibetan Thangka Art Imnyuziyamu

ngu AND Studio

Iklayenti: And Studio

Umnqobi we-Umklomelo Wesiliva we-A' Design Award Esigabeni se-Ezokwakha

28,259

Umnqobi Womklomelo Oqinisekisiwe

Qinisekisa Isimo Somklomelo se-#152344

Buka ku-A' Design Award Isitatimende Sabezindaba Ibheji Yomklomelo

Imibala

Ukuklama

Mayelana ne-Tibetan Thangka Art Imnyuziyamu

I-Lhasa Thangka Museum yimnyuziyamu yobuciko be-Thangka etholakala ezintabeni ezingaphansi kwezintaba eLhasa. Isakhiwo sihlelwe ngendlela yesigodlo saseTibet futhi sakha ingxoxo nentaba kanye nesibhakabhaka. Indlela yangaphandle ikhuphuka phakathi kwezingxenye zesakhiwo futhi iholela esikwelini esiphakeme, kanti indlela yangaphakathi ihlela izikhala zombukiso. Izindonga zamatshe zendabuko ziphinde zahunyushwa kabusha njengezindonga zikakhonkolo eziphindwe kabili ezingenisa umoya, ezithuthukisa ukuvikeleka kokushisa futhi zinciphise ukusetshenziswa kwamandla. Kwasetshenziswa izinto zomdabu zendawo kanye nabasebenzi bendawo. Imnyuziyamu ikhuthaza ubuciko be-Thangka kanye namasiko aseTibet.

Ukuqashelwa

Mayelana ne-Umklomelo Wesiliva we-A' Design Award

Tibetan Thangka Art Imnyuziyamu iwinile uMklomelo Wesiliva we-A' Design Award, ukwaziswa okuhloniphekile ngokungajwayelekile okunikezwa imiklamo esezingeni eliphezulu, ebukekayo nethinta kakhulu. Abawinile beSiliva yimisebenzi egqamile kakhulu nedala kakhulu ebonisa ubungcweti obuphawulekayo, italente nobuhlakani babaklami babo. Tibetan Thangka Art Imnyuziyamu ilindeleke ukuba ibe ngumsebenzi omuhle wesibonelo, onobungcweti obuphawulekayo nezinto ezintsha ezijulile. Lo mklamo owinile uMklomelo Wesiliva we-A' Design Award uyinto entsha ebonakala kakhulu nethakazelisayo esiza futhi isunduza imingcele yobuciko, isayensi, ukuklama nobuchwepheshe. Tibetan Thangka Art Imnyuziyamu iyinto enomhawu omkhulu kuyo evusa izifiso, ilethe imizwa emihle futhi ivuse ukumangala nokuxakeka.

Ngemuva Kokuklama

Iphakheji Yabezindaba

Ama-credit, amalungu eqembu nemininingwane yobuchwepheshe ehlinzekwe ngumklami.

Izici Ezihlukile: 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.
Izilinganiso Nokupakisha: 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.
Amathegi: museum, thangka art, concrete, brass, glass curtain wall
Ubuchwepheshe Bokukhiqiza: 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.
Inselele Yokudweba: 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.
Ucwaningo: 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.
Ugqozi: 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.
Ubude Bephrojekthi: The project started in February 2019 and finished in May 2022 in Lhasa, China
Ukuhamba Kokusebenza: 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.
Amapathenti: Design: AND Studio
Consultant: CSCEC AECOM Consultants Co., LTD
Amalungu Eqembu: Lead Architect: Ning Wang
Lead Architect: Duccio Cardelli
Architect: Tomasso di Francia
Architect: Yutong Ma
Architect: Qinyi Li
Architect: Luca Amighetti
Architect: Dominika Kowalczyk
Amakhredithi Ezithombe: Photo and Video by: Arch-Exist Photography