Tibetan Thangka Art Gidan Tarihi daga AND Studio

Zane Tibetan Thangka Art Gidan Tarihi daga AND Studio mai nasara ne mai daraja sosai na 2024 Kyautar A' Design Award ta Azurfa a Rukunin Gasar Gine-gine.

AzurfaGine-gine· 2024

Tibetan Thangka Art Gidan Tarihi

daga AND Studio

Abokin Ciniki: And Studio

Mai Nasarar Kyautar A' Design Award ta Azurfa a Rukunin Gine-gine

27,815

Mai Nasara da Aka Tabbatar

Tabbatar da Matsayin Kyauta na #152344

Duba a A' Design Award Sanarwar Manema Labarai Alamar Kyauta

Launuka

Ƙirar

Game da Tibetan Thangka Art Gidan Tarihi

Gidan Tarihin Thangka na Lhasa gidan tarihi ne na fasahar Thangka wanda ke gindin tsaunuka a birnin Lhasa. An tsara ginin bisa salon gidan ibada na Tibet, kuma yana samar da tattaunawa tsakanin dutse da sararin sama. Wata hanya ta waje tana hawa tsakanin sassan ginin har zuwa wani babban fili mai tsayi, yayin da hanyar ciki ke tsara wuraren baje koli. An sake fassara katangar duwatsu na gargajiya a matsayin bangon kankare mai kafa biyu mai samun iska, wanda ke inganta kariyar zafi da rage amfani da makamashi. An yi amfani da kayan gini na gida da ma'aikatan gida. Gidan tarihin yana inganta fasahar Thangka da al'adun Tibet.

Amincewa

Game da Kyautar A' Design Award ta Azurfa

Zanen Tibetan Thangka Art Gidan Tarihi ya lashe Kyautar A' Design Award ta Azurfa, wata karramawa mai tsananin daraja da ake bai wa zane-zane na matakin koli, masu kyau sosai kuma masu burgewa. Waɗanda suka lashe kyautar Azurfa ayyuka ne masu haske sosai da ƙirƙira mai yawa waɗanda ke nuna ƙwarewa, baiwa da kaifin tunanin masu zanensu. Ana sa ran zanen Tibetan Thangka Art Gidan Tarihi ya zama aiki mai ban mamaki, abin koyi, mai ƙwarewa sosai kuma mai ƙirƙire-ƙirƙire mai zurfi. Wannan zane da ya lashe Kyautar A' Design Award ta Azurfa ƙirƙira ce mai abin lura sosai, da ake sha'awa, wacce ke amfanar da kuma kai iyakokin fasaha, kimiyya, zane da fasahar zamani gaba. Zanen Tibetan Thangka Art Gidan Tarihi ƙirƙira ce da ake yi wa hassada sosai wacce ke tada sha'awa, tana kawo jin daɗi kuma tana haifar da mamaki da al'ajabi.

Bayan Ƙirar

Kayan Manema Labarai

Bayanin ƙungiyar, membobinta da cikakkun bayanai na fasaha da mai ƙirar ya bayar.

Siffofi Na Musamman: 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.
Girma da Fakitin: 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.
Kalmomin Alama: museum, thangka art, concrete, brass, glass curtain wall
Fasahar Samarwa: 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.
Ƙalubalen Zane: 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.
Bincike: 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.
Wahayi: 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.
Tsawon Lokacin Aikin: The project started in February 2019 and finished in May 2022 in Lhasa, China
Tsarin Aiki: 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.
Haƙƙoƙin Ƙirƙira: Design: AND Studio
Consultant: CSCEC AECOM Consultants Co., LTD
Mambobin Ƙungiya: Lead Architect: Ning Wang
Lead Architect: Duccio Cardelli
Architect: Tomasso di Francia
Architect: Yutong Ma
Architect: Qinyi Li
Architect: Luca Amighetti
Architect: Dominika Kowalczyk
Godiyar Hotuna: Photo and Video by: Arch-Exist Photography