Tibetan Thangka Art Hale Hōʻikeʻike na AND Studio

ʻO Tibetan Thangka Art Hale Hōʻikeʻike na AND Studio he mea lanakila hanohano loa o ka 2024 A' Design Award Kala ma ka Māhele Hoʻokūkū Hoʻolālā Hale, Kūkulu a me Hōʻuluʻulu.

KalaHoʻolālā Hale· 2024

Tibetan Thangka Art Hale Hōʻikeʻike

na AND Studio

Mea Kūʻai: And Studio

Mea Lanakila A' Design Award Kala ma ka Māhele Hoʻolālā Hale

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Mea Lanakila i Hōʻoia ʻIa

Hōʻoia i ke Kūlana Makana no #152344

Nānā ma A' Design Award Hoʻolaha Nūhou Hōʻailona Makana

Nā Waihoʻoluʻu

Ka Hoʻolālā

E Pili Ana iā Tibetan Thangka Art Hale Hōʻikeʻike

ʻO ka Hale Hōʻikeʻike Thangka o Lhasa he hale hōʻikeʻike no ke kiʻi hana noʻeau Thangka i kūkulu ʻia ma ke kumu o nā mauna ma Lhasa. Ua hoʻonohonoho ʻia ka hale e like me ke ʻano o kahi hale monakele Tibet a hana ia i kamaʻilio me ka mauna a me ka lani. Piʻi kekahi ala o waho ma waena o nā ʻāpana hale a alakaʻi i kahi kahua kiʻekiʻe, a ʻo kekahi ala o loko e hoʻonohonoho i nā wahi hōʻikeʻike. Ua wehewehe hou ʻia nā paia pōhaku kuʻuna ma ke ʻano he mau paia puna pālua i hoʻokahe ʻia ka ea, e hoʻomaikaʻi ana i ka pale wela a e hōʻemi ana i ka hoʻohana ʻana i ka ikehu. Ua hoʻohana ʻia nā lako kūloko a me ka poʻe hana kūloko. Hāpai ka hale hōʻikeʻike i ke kiʻi hana noʻeau Thangka a me ka moʻomeheu Tibet.

Ka Hoʻomaikai

E Pili Ana i ka A' Design Award Kala

Ua lanakila ka hoʻolālā Tibetan Thangka Art Hale Hōʻikeʻike i ka A' Design Award Kala, he ʻike hoʻohanohano nui loa i hāʻawi ʻia i nā hoʻolālā kiʻekiʻe loa, nani a kupaianaha. He mau hana ʻālohilohi loa a hana noʻeau nui nā lanakila Kala e hōʻike ana i ka loea, ka makakoho a me ka ʻoi aku o ka noʻonoʻo o kā lākou poʻe hoʻolālā. Manaʻo ʻia ʻo ka hoʻolālā Tibetan Thangka Art Hale Hōʻikeʻike he hana kupaianaha, kūlana ʻoi aku, ʻoihana kiʻekiʻe a hou loa. ʻO kēia hoʻolālā i lanakila i ka A' Design Award Kala he mea hoʻokumu kūpono loa, mahalo ʻia e hāʻawi i ka pōmaikaʻi a hoʻoneʻe i nā palena o ka hana noʻeau, ka ʻepekema, ka hoʻolālā a me ka ʻenehana. He mea i ʻeleu ʻia e nā mea he nui ka hoʻolālā Tibetan Thangka Art Hale Hōʻikeʻike e hoʻāla i ka makemake, lawe mai i nā manaʻo maikaʻi a hoʻāla i ka kamahaʻo a me ka mahalo.

Ma Hope o ka Hoʻolālā

ʻEke Nūhou

Nā hōʻoia, nā lālā hui a me nā kikoʻī ʻenehana i hāʻawi ʻia e ka mea hoʻolālā.

Nā ʻAno Kūʻokoʻa: 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.
Nā Ana a me ka Hoʻopili: 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.
Nā Lepili: museum, thangka art, concrete, brass, glass curtain wall
ʻEnehana Hana: 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.
Pilikia Hoʻolālā: 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.
Noiʻi: 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.
Hoʻoulu Manaʻo: 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.
Ka Lōʻihi o ka Papahana: The project started in February 2019 and finished in May 2022 in Lhasa, China
Kaʻina Hana: 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.
Nā Palapala Kuleana: Design: AND Studio
Consultant: CSCEC AECOM Consultants Co., LTD
Nā Lālā Hui: Lead Architect: Ning Wang
Lead Architect: Duccio Cardelli
Architect: Tomasso di Francia
Architect: Yutong Ma
Architect: Qinyi Li
Architect: Luca Amighetti
Architect: Dominika Kowalczyk
Nā Kuleana Kiʻi: Photo and Video by: Arch-Exist Photography