Tibetan Thangka Art Falemata'aga e AND Studio

O le mamanu Tibetan Thangka Art Falemata'aga e AND Studio o se manumalo maualuga tele o le fa'ailoga mamalu 2024 A' Design Award Ario i le Vaega Tauva Mamanu Fausaga Fale.

ArioFausaga Fale· 2024

Tibetan Thangka Art Falemata'aga

na mamanuina e AND Studio

Tagata Fa'atau: And Studio

Manumalo o le A' Design Award Ario i le Vaega Fausaga Fale

27,815

Manumalo Fa'ailoga Fa'amaonia

Fa'amaonia le Tulaga o le Fa'ailoga mo #152344

Va'ai i le A' Design Award Fa'asalalauga Pailesi o le Fa'ailoga

Lanu

Le Mamanu

E Uiga ia Tibetan Thangka Art Falemata'aga

O le Falemata'aga o Thangka i Lhasa o se falemata'aga mo faatufugaga Thangka o loo tu i le auvae mauga i Lhasa. O le fale ua fausia i le faiga o se monaseri Tibet ma e fatuina ai se talanoaga ma le mauga ma le lagi. O se auala i fafo e a'e i le va o vaega o le fale ma taitai atu i se lotoa maualuga, a'o se auala i totonu e faatulaga ai avanoa o faaaliga. O puipui maa masani ua toe faauigaina e avea ma puipui sima faalua e ulufale ai le ea, lea e faaleleia ai le puipuiga o le vevela ma faaitiitia ai le faaaogaina o le malosiaga. Sa faaaogaina meafaitino faalotoifale ma tagata faigaluega faalotoifale. E faalauiloa e le falemata'aga faatufugaga Thangka ma le aganuu Tibet.

Le Fa'ailogaina

E Uiga i le A' Design Award Ario

O le A' Design Award Ario na manumalo ai Tibetan Thangka Art Falemata'aga, o se faamaoniga matuā mamalu e tuuina atu i mamanu sili ona lelei, matagofie ma mataʻutia. O ē manumalo i le Ario o galuega susulu tele ma fatufatuaʻi e faaalia ai le poto, le taleni ma le atamai o tagata mamanu. E faamoemoeina Tibetan Thangka Art Falemata'aga e avea ma galuega matagofie, o se fesuiaiga mo isi, e iloga i le tomai faapolofesa ma mea fou loloto. O lenei mamanu na manumalo i le A' Design Award Ario o se mea e iloga, ua mataʻina e aogā ma tuleia atu tapulaʻa o le faatufugaga, saienisi, mamanu ma tekonolosi. Tibetan Thangka Art Falemata'aga o se mea e fiafia i ai le toatele, e fafagu ai manaʻoga, aumaia ai lagona lelei ma tupu ai le ofo.

I Tua o le Mamanu

Pepa Fa'asalalau

Fa'amaoniaga, sui o le 'au ma fa'amatalaga fa'atekinisi na saunia e le tagata mamanu.

Uiga Fa'apitoa: 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.
Fua & Fa'apipi'i: 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.
Fa'ailoga: museum, thangka art, concrete, brass, glass curtain wall
Tekonolosi Gaosiga: 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.
Lu'itau o le Mamanu: 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.
Su'esu'ega: 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.
Fa'aosofia: 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.
Umi o le Poloketi: The project started in February 2019 and finished in May 2022 in Lhasa, China
Fa'agasologa o Galuega: 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.
Pateni: Design: AND Studio
Consultant: CSCEC AECOM Consultants Co., LTD
Sui o le 'Au: Lead Architect: Ning Wang
Lead Architect: Duccio Cardelli
Architect: Tomasso di Francia
Architect: Yutong Ma
Architect: Qinyi Li
Architect: Luca Amighetti
Architect: Dominika Kowalczyk
Fa'aaloaloga o Ata: Photo and Video by: Arch-Exist Photography