Tibetan Thangka Art Tlachializcalli ītēchcopa AND Studio

Tlanāhuatīlli Tibetan Thangka Art Tlachializcalli ītēchcopa AND Studio cē cencā mahuizzō tēmacēhualōni īpan huēyi 2024 Mahuizolli A' Design Award Iztacteocuitlatl īpan Calchihualiztli, Calmanaliztli ihuan Tlatecpanaliztli Tlachihchihualiztli Nēhuilīztli Tlamantli.

IztacteocuitlatlCalchihualiztli· 2024

Tibetan Thangka Art Tlachializcalli

īpal AND Studio

Tlanāhuatīlli: And Studio

Mahuizolli A' Design Award Iztacteocuitlatl Tēmacēhualōni īpan Calchihualiztli Tlamantli

27,815

Tlaneltīlīlli Tēmacēhualōni

Xictlaneltilia Tēmacēhualli ītēchcopa #152344

Xiquitta A' Design Award ītechcopa Āmatl Tēmachiyōtīliztli Tlamachiōtl

Tlapalli

Tlanēxtilistli

Ītechcopa Tibetan Thangka Art Tlachializcalli

Lhasa Thangka Tlachializcalli ce tlachializcalli ipampa Thangka tlahcuilolyotl tlen moquetza itzintlan in tepeme ompa Lhasa. Inin calli mochihchiuhtoc queh ce Tibet teopancalli ihuan quichihua ce tlahtolli ihuan in tepetl ihuan in ilhuicatl. Ce ohtli tlen quiahuac tlehco intzalan in calmimilli ihuan tehuica ce huehcapan tlayahualolli, ihuan ce ohtli tlen calihtic quintlalia in tlanextiloyan. In huehcauh tetl tepamitl omocuepqueh queh ome ehecayoh tepamitl ica cemento, tlen quipatlahua in totonilizpiyaliztli ihuan quitzinquixtia in chicahualiztli tequitiliztli. Omotequitiltihqueh in nican tlamantli ihuan in nican tequitqueh. Inin tlachializcalli quihueyilia in Thangka tlahcuilolyotl ihuan in Tibet tlacayotl.

Tēixīmachōtiliztli

Ītechcopa Mahuizolli A' Design Award Iztacteocuitlatl

Tibetan Thangka Art Tlachializcalli ca in quicuic in Mahuizolli A' Design Award Iztacteocuitlatl, hueyi tlamahuizoliztli tlen momaca in huel yectli, tlanextic ihuan mahuiztic tlachihualli. In quicuicah Iztacteocuitlatl ca cenca cualli ihuan cenca yancuic tlachihualli in quinextia in tlamatiliztli, toltecayotl ihuan ixtlamatiliztli intlachihuanime. Ca quinequi in Tibetan Thangka Art Tlachializcalli ca cenca cualli, cenca motequiuhtia ihuan yancuic. Ni dizayno in quicuic Iztacteocuitlatl quihuelitia in toltecayotl, tlamatiliztli, dizayno ihuan teknolohia. Tibetan Thangka Art Tlachializcalli quiyolchicahua in tlacah, quipaquiltia ihuan quitlamahuiztiltia.

Tlanēxtilistli Ītēixpan

Āmatl Tlanextīliztli

Tlapōhualli, tēquitqueh īwan tēchmachilīztli ōquinmaca in tlanēxtīlīlli.

Cē Zan Ītēchcopa: 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.
Huēyiliztli īhuān Tlacualtepēhualli: 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.
Tōcāitl: museum, thangka art, concrete, brass, glass curtain wall
Tlachīhualiztli Māchiyōtl: 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.
Tlanāhuatīlli Nētēcahuilīztli: 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.
Tlatēmōliztli: 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.
Tēyōllālīliztli: 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.
Tēquitl Cāhuitl: The project started in February 2019 and finished in May 2022 in Lhasa, China
Tēquitl Ōhuitl: 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.
Patentēmeh: Design: AND Studio
Consultant: CSCEC AECOM Consultants Co., LTD
Calpolli Tlācah: Lead Architect: Ning Wang
Lead Architect: Duccio Cardelli
Architect: Tomasso di Francia
Architect: Yutong Ma
Architect: Qinyi Li
Architect: Luca Amighetti
Architect: Dominika Kowalczyk
Īxiptla Tlanēxtīlli: Photo and Video by: Arch-Exist Photography