Gold Architecture, Building and Structure Design · 2025
Yan Art Museum
by Guanyu Tao
- A' Design Award 2025 Gold Winner in Architecture, Building and Structure Design
- Awarded April 15, 2025
- CLIENT: Gerry Tao
- Estimated Number of Design Views: 90,885
- Verification code F7F38D60A0 · Verify this award
About Yan Art Museum
Yan Art Museum redefines the relationship between architecture and nature, serving as a cultural hub that celebrates local heritage. Nestled in the rugged landscape of Rushan, Shandong, its deconstructivist design draws inspiration from stony textures and flowing contours. The museum features water encircled plazas, artist studios, dynamic galleries, and performance spaces, all interconnected across levels. Textured concrete mimics natural stone, seamlessly integrating the structure with its surroundings while transforming the sloped terrain into functional pathways and plazas.
Yan Art Museum by Guanyu Tao represents a distinguished achievement in contemporary museum architecture that engages meaningfully with traditions of garden-integrated cultural space while advancing a thoroughly modern spatial vocabulary, the work demonstrates sophisticated understanding of procession and threshold as fundamental architectural experiences, positioning the visitor's journey across water as both practical passage and symbolic transition from everyday consciousness toward heightened aesthetic receptivity, the compositional strategy of fragmenting the building mass into multiple interlocking volumes of varying heights achieves several concurrent objectives including reduction of apparent institutional scale, creation of intimate exterior courtyards, and establishment of dynamic interplay between solid and void that animates the architectural ensemble when viewed from multiple vantage points, the material selection of pale grey stone coursework establishes continuity with regional building traditions while the precise geometric articulation of forms signals contemporary design sensibility, the integration of water elements and botanical plantings demonstrates commitment to biophilic principles increasingly recognized as essential to human wellbeing in institutional settings, particularly notable is the careful choreography of natural and artificial light wherein the warm amber glow from gallery interiors creates magnetic attraction drawing visitors toward cultural encounter while soft diffused daylight bathes exterior spaces in contemplative luminosity, the presence of morning mist rolling across distant forested hillsides situates the museum within broader landscape context suggesting dialogue between contained architectural space and expansive natural environment, this work invites consideration of how contemporary cultural institutions might honor vernacular traditions while serving present needs, what spatial qualities best support transformative encounters with art, and how architecture itself participates in the meaning-making that museums facilitate
Press Kit
- Unique Properties
- Yan Art Museum is a cultural hub that harmonizes architecture with the rugged terrain of Rushan. Unlike traditional museums, it transforms natural slopes into functional elements like pathways, plazas, and viewing platforms. Its dynamic layout fosters interaction between visitors and local artists through integrated studios and galleries. With textured concrete echoing rocky formations, Yan seamlessly blends cultural expression, innovation, and environmental integration.
- Dimensions & Packaging
- Yan Art Museum is situated on a 2,700-square-meter site, with a total building area of 1,650 square meters distributed across three levels. The first floor features a courtyard-style entrance surrounded by scattered artist studios and galleries, creating an inviting and interactive environment. The second floor includes a small open plaza, a compact gallery space, and essential auxiliary facilities. The third floor houses an open-air theater designed for traditional Chinese performances, providing a cultural focal point while blending seamlessly with the natural terrain.
- Tags
- Architecture, Subterranean architecture, Rural architecture, Cultural architecture, Museum
- Production Technology
- Yan employs form board texture reinforced concrete, creating rock-like surfaces while ensuring structural stability during excavation. The design incorporates shallow-rooted plants in the landscaping to safeguard the building's structure and waterproofing. Its three interconnected levels, linked by stairs and elevators, are carefully oriented to harmonize with the site’s layout and ensure accessibility, blending functionality with thoughtful integration into the natural environment.
- Design Challenge
- Addressing the site's varied slopes was challenging. The design cleverly integrates the natural incline to facilitate plazas and pathways, turning elevation changes into advantageous viewing platforms. This strategic use of the landscape not only enhances functionality but also establishes visual corridors that accentuate the architectural form, allowing the building to blend seamlessly with its environment.
- Project Duration
- The concept design was finished in 2024 Sep, with site location at Shandong, Rushan, China.
- Operation Flow
- Upon entering Yan, visitors arrive at a plaza encircled by a pool and walls, leading to artist studios and the main gallery with rotating exhibits. An elevator and external stairs from the main gallery provide access to the second floor’s L-shaped plaza, which connects to the second gallery for permanent exhibitions. Visitors can ascend to the third floor via elevator or plaza stairs to reach the outdoor amphitheater, a venue for traditional performances.
- Research
- Inspired by the deconstructivism movement and the works of Thom Mayne and Zaha Hadid, Yan Art Museum integrates seamlessly into Rushan’s rugged terrain. The research involved site, cultural, and user analysis, employing techniques such as hand-drawing and collage to explore design possibilities. Tools like Rhinoceros, Adobe Suite, and D5 Render were used to refine the dynamic structure, harmonizing architecture with topography and cultural identity while enhancing visitor experiences.
- Inspiration
- The design of Yan Art Museum stems from a deep desire to harmonize architecture with nature while engaging in a meaningful dialogue with the local culture of Rushan. Drawing inspiration from the rugged, dramatic landscape of the Rushan mountain range, the museum reflects the stony textures and flowing contours of the region. Through its loosely arranged, courtyard-style layout, the design pays homage to the organic forms of traditional Chinese villages, weaving cultural heritage into its spatial composition. This approach transforms natural and cultural elements into a dynamic hub for artistic and cultural expression. By intertwining natural forms with human creativity, the museum becomes both a tribute to and an extension of its surroundings, celebrating the beauty of the terrain and the spirit of the community it serves.
- Image Credits
- Image #1: Designer and Photo Rendering Guanyu Tao
Image #2: Designer and Photo Rendering Guanyu Tao
Image #3: Designer and Photo Rendering Guanyu Tao
Image #4: Designer and Photo Rendering Guanyu Tao
Image #5: Designer and Photo Rendering Guanyu Tao - Patents
- Copyrights belong to Guanyu Tao, 2024
Colors of Yan Art Museum
Get Yan Art Museum
Grand Interview about Yan Art Museum
Water is a secondary element in this project, yet it plays a key role in reinforcing the museum’s intention to integrate with nature. The name of the museum, “Yan,” meaning rock, reflects the primacy of the mountain in the design concept. The water-encircled plazas emphasize, both spatially and temporally, the architecture’s respect for the natural environment rather than any intention to overpower it. This decision was informed by an observation of the local terrain, where mountains shape the topography first, and water emerges later through rainfall. This sequence that mountains preceding water represents the actual process of landform evolution. By placing water in the lower areas, it softens the built environment through reflection and enclosure, offering visitors moments of pause and contemplation. This not only responds to the site’s physical condition but also resonates with the traditional Chinese idea of harmony between mountain and water.
The use of concrete in this project was my way of breaking the common dilemma in natural settings where architecture either dominates the landscape or fades away from losing its features. Concrete is a standard material in contemporary architecture, and the textured finish we used is a conventional construction technique. It does not truly replicate stone but subtly recalls its qualities. Concrete itself shares mineral origins with rock. By intentionally applying a poor imitation of stone, I wanted to create a third path, one that neither competes with nature nor fully submits to it. This gesture encourages visitors to reflect on the relationship between the built and the natural, and how architecture can engage with its environment without resorting to mimicry or contrast.
Faced with such a rugged site, we recognized from the beginning that architecture cannot and should not attempt to conquer nature. The core approach was to work with the land rather than impose upon it. I broke down the building mass, lifting or embedding it into different elevations. Slopes that might have been considered obstacles became paths, terraces, and places to pause. Circulation and structure were shaped by the terrain itself, not by pre-set plans forcing the land to adapt. This approach not only generated a richer spatial experience but also preserved a sense of tension and respect between the building and its environment.
This design aimed to support the development of local traditional arts in Rushan, such as woodblock New Year prints and paper cutting. These art forms require a quiet space for creation, yet their small scale and decorative nature also make them suitable for direct engagement with the public, including display and sale. By integrating artist studios with the exhibition areas, we sought to remove the barrier between maker and viewer. Visitors can not only appreciate the finished work but also witness the process behind it. When artists are open to it, we encourage them to engage directly with the public, fostering interaction and exchange. This combination is also rooted in spatial logic. The courtyard-style entrance is where circulation naturally slows, either as people arrive or prepare to leave. It is an ideal place for interaction, observation, and informal encounters. This arrangement offers artists a functional and independent working environment while fostering opportunities for dialogue and sustainable creative practice.
The museum’s three-level organization was initially a response to the site’s natural slope (see Q3 for more on this), but it also draws deeply from Chinese cultural understandings of space and experience. First, the layered arrangement reflects the spatial logic of traditional Chinese ink painting, where depth is created not through linear perspective but through overlapping visual fields. Second, the idea of ascending to gain perspective is rooted in Chinese poetry and philosophy, and the top level’s open-air theater and views echo this cultural motif. Third, the layered circulation resonates with the traditional Chinese practice of emotionally engaging with landscape, guiding visitors through a gradual rhythm of movement and immersion. Additionally, the design references the “progressive spatial sequencing” often found in classical Chinese architecture, such as the Forbidden City or Jiangnan gardens, where each transition introduces subtle spatial variation. This sequential progression enriches the visitor experience, turning the journey through the building into a culturally embedded spatial narrative.
The open-air theater was initially designed for traditional performances, such as local opera and folk music, but we intentionally avoided making it a closed or rigid stage. It is conceived as an open platform, without a strict separation between performers and audience, allowing for flexible use. Cultural preservation is not only about protecting form, but also about creating conditions where traditions can naturally unfold. We see this space as an invitation for younger artists to engage with tradition in new ways, exploring reinterpretation and dialogue. Our goal is not to create a static monument, but a living space that can be continuously used, adapted, and reimagined.
In the early stages of design, I relied heavily on hand-drawing. It allowed for a level of freedom that broke away from rigid, rectilinear conventions and helped me imagine a spatial form that felt more organic and responsive to the landscape. Especially when working with mountainous terrain, this kind of intuitive sketching was essential. While the final output depended on digital tools, the foundational ideas were shaped by the looseness and spontaneity that only hand-drawing could offer. As for collage, although it was not a dominant method throughout the process, it was something I occasionally used during my studies at SCI-Arc when facing creative blocks. It became a way to fragment and reassemble spatial ideas, softening formal boundaries. This technique, rooted in a more contemporary Western design language, was deliberately applied to a project that sought to engage with traditional Chinese architectural sensibilities. I found the combination surprisingly effective in bridging these two worlds.
From an architectural perspective, the integration of shallow-rooted plants was part of a broader effort to balance the hard surfaces of reinforced concrete with existing natural elements, allowing the building to merge more seamlessly with its environment. Technically, these plants help regulate the microclimate. Concrete has a relatively low specific heat capacity, meaning it heats up quickly under sunlight, intensifying surface temperatures in a manner similar to the urban heat island effect. By incorporating vegetation and water features on rooftops and in low-lying areas, the design helps mitigate heat accumulation and creates a more comfortable, ecologically responsive environment. This approach reinforces our commitment to sustainability—not only as a visual gesture, but through measurable environmental impact.
In organizing the exhibition spaces, we followed a widely recognized curatorial principle. Providing both permanent and temporary galleries is a fundamental practice in professional museum design, especially for such a mid-scale institutions. Yan Art Museum includes several galleries arranged with a degree of flexibility, rather than following a rigid or symmetrical plan. This approach responds to the site’s conditions and the desired spatial experience. A service elevator connects the different levels, allowing for the transport of artworks between floors and enabling multi-level exhibition possibilities. While the layout was not designed around a strict curatorial concept, this openness provides curators with spatial freedom to adapt and reorganize exhibitions based on evolving content.
It is an honor to receive the Gold A’ Design Award, and I see Yan Art Museum as an opportunity to continue exploring what makes a cultural building truly resonate with its environment. Rather than positioning the project as a definitive model, I prefer to think of it as a starting point for further reflection, both on my part and within the broader architectural community. Some aspects of its spatial experience, material use, or integration with the landscape may reveal deeper relevance over time, including intentions that may have been formed intuitively rather than consciously. In environmentally sensitive contexts, I hope this project encourages others to see natural constraints not as limitations but as opportunities to create more meaningful and place-specific architecture.