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Appreciations towards AND STUDIO for providing the following description:

引子：历史和区域位置
Introduction: history and regional location

2018年底，我和杜秋意外地接到可以为拉萨设计一座唐卡博物馆的机会，第一时间就飞到了成都与投资方和知名喜马拉雅艺术收藏大家登巴大吉先生见了面，投资方拉萨城投公司的负责人对项目提出了极高的要求，希望是一个能够反应西藏文化的传世之作。我们两个人当时极度兴奋，又诚惶诚恐，那个时候，我们俩对西藏历史和唐卡文化都一知半解，懵懵懂懂。

▼项目视频，video

At the end of 2018, Duccio Cardelli and I unexpectedly received an opportunity to design the Thangka Museum in the Tibetan capital Lhasa. We immediately flew to Chengdu to meet with the investors and the renowned Himalayan art collector, Mr. Dengba Daji. The head of Lhasa City Investment Corporation, the project’s investor, set extremely ambitious standards, hoping for a masterpiece that would express the culture of Tibet. We were both extremely excited and terrified, as we knew truly little about Tibetan history and Thangka culture.

▼大鸟瞰，Bird View © 尹明

项目基地位于拉萨市南部彭布山脚下，与雄伟的布达拉宫隔河相望。远离拉萨核心区的场地给建筑师更大的自由度，但是也面临如何突破创新，同时呼应传统，风俗，气候，唐卡艺术等一系列问题。

▼区位图，location © AND Studio

The site of our project is located at the foot of the Pengbu Mountain in the southern part of Lhasa, facing the majestic Potala Palace across the river. Being far away from the core of Lhasa gave us more design freedom, it also presents the challenge of being innovative while simultaneously respecting and reflecting the traditional customs, climate, and Thangka art

▼从基地看向拉萨市区，View from the Site towards downtown Lhasa -tibetan-thangka-art-museum © 存在建筑

▼拉萨市区，Lhasa-tibetan-thangka-art-museum © 存在建筑

我们希望它的外在形式和精神内核是统一的，外表看起来像是一个属于西藏的房子，内在是一个现代的艺术展示空间，这两者不能是割裂的。同时我们也要考虑其所在社区的情况，让本地的使用者能接纳它，去使用它。我们希望它成为一座可以经典传承的作品。这座建筑面积只有8000平方米的房子，从设计到落成用了接近6年的时间，期间经历了各种困难，也得到了太多人的帮助和鼓励。我们作为建筑师始终感到庆幸愉悦，因为我们的付出远没有这个建筑给予我们的启示多，在浩瀚的藏族文化面前，我们对自己的作品依然诚惶诚恐。

We designed the building so that its volume reflected the spiritual essence we wanted to give it. The exterior facades are designed to blend in with the surrounding vernacular architecture, while the interior design reflects a desire for modernity and openness. The two cannot be separated. We also need to consider the context of the community it resides in, ensuring that local users can accept and enjoy it. We aspire for it to become a work of enduring legacy. It took nearly six years from design to completion of these 8,000 squares meter space. . During that time, we experienced all kinds of difficulties, as well as the help and encouragement of so many people. As architects, we always felt fortunate and delighted, as our efforts were far outweighed by the insights this building provided us. The greatest delicacy was required in the face of the immensity of the Tibetan plateaus, which in our eyes constituted a setting as beautiful as it was fragile for this new cultural center.

▼从山上望向唐卡博物馆，view from mountain © 存在建筑

01
场所：面对山与天空
Field: Facing the mountains and the sky

Field ，场所是我们所有设计概念最重要的起点。我们的第一次旅行，两个“外人”花了大量的时间去理解场地和拉萨，因为我们需要建立自己和这座神秘的城市的某种对话，这段经历深深的影响了我们的设计，甚至可以说我们自身的人生观。
原来的规划设计，博物馆是在一个唐卡艺术家小镇的核心位置，地势平坦，被马路环绕。我们坚持修改了整体规划，把博物馆推移到了小区的西侧山脚，这里地势起伏很大。在藏族建筑中，依山而建的传统十份明显，我们也希望这座建筑的背景是雄壮的群山。（拉萨的山因为缺氧少雨的问题，是很少植被的，极其的彪悍，夏天也只是有浅浅的绿色。）

▼左图为更新后总图，右图为原始总图，masterplan and original master plan © AND Studio

The site is the most important starting point for all our design concepts. During our first trip, the two of us, as “outsiders,” spent a considerable amount of time understanding the site and Lhasa because we needed to establish some kind of dialogue between ourselves with this mysterious city. Therefore, the project reflects the spiritual journey we made during the project. Thanks to the companionship of local monks and craftsmen, and the time spent meditating alongside them, the mysteries surrounding this Buddhist art have gradually dissipated. The museography is thus impregnated with newly acquired knowledge.
In the original design scheme, the museum was located at the core of a Thangka artist village, on a flat field surrounded by roads. We insisted on revising the overall plan to move the museum to the western foothills of the neighborhood, where the terrain is very undulating. In Tibetan architecture, it is a tradition to build on mountains, which is why we wanted the mountains to set the backdrop for the building. Lhasa suffers low oxygen level and little rainfall, the mountains have little vegetation and appear extremely rugged, with only a faint touch of green in the summer.

▼冬日街景，Winter Street View © 尹明

新的具有高差的场地，促使我们很快就有了新的灵感，由布达拉宫的建筑原型，还有传统藏族建筑的围院做法，让我们一开始就想设计一个可以环绕和漫游的博物馆。在建筑的整体布局设计上，我们采用了化整为零的手法，将建筑分解为六个体块，沿着坡度将它们相连，形成了一种有机的聚落。同时，我们采取了收分墙体的形式，让建筑物的中心下移，使它无论是在视觉上还是构造上都更加稳固。依托于这种组团结构，我们将展览、会议、休闲等功能空间分别安置在各个体块中，并以它们之间的空间联结排布为核心，作为规划博物馆内外游览动线的依据。

▼形态生成diagram-tibetan-thangka-art-museum © AND Studio

▼功能分区，function- CN-tibetan-thangka-art-museum © AND Studio

The new site, with its varying elevations, immediately sparked innovative ideas. We draw inspiration from the architectural prototype of the Potala Palace and the courtyard style of traditional Tibetan buildings to create a museum that could be explored and wandered through in a circular manner from the very beginning. In the overall layout design, we adopted a strategy of breaking the whole into parts, dividing the building into six sections connected along the slope to create an organic settlement. Furthermore, we employed tapered walls, lowering the center of the structure to enhance its visual and structural stability. We placed the exhibition, conference, leisure, and other functional spaces in each individual block, relying on the overall composition. The spatial connection between them is the core for the planning of the museum’s internal and external travelling routes.

▼从街道上看向博物馆，view from the street towards the museum © 上：存在建筑下：尹明

02
路线：内外两循环
Route: internal and external travelling cycles

“山”对当地居民有很深的精神引导意义。因此，我们设计了一条外部参观路线，游客可以沿着错落有致的平台一级一级地攀登，在山脉和山谷之间感受自然的宁静氛围。最终，这条路通向高处的广场，面对高塔正面巨大的白墙，在“雪顿节”期间，藏民可以在这里祈拜悬挂的巨大唐卡。

▼外部流线，exterial route 拷贝-tibetan-thangka-art-museum © AND Studio

The residents hold profound spiritual significance for the mountains. Therefore, we designed an external tour route where visitors can ascend step by step along terraced platforms, experiencing the serene ambiance between the mountains and valleys. This path ultimately leads to a high plaza facing the large white wall of the main tower. During the “Xuedun” Festival, locals can gather here to worship and pray before the giant Thangka hanging on the wall.

▼外部观景路线起始点，Starting point of the external viewing route © 尹明

▼室外平台阶梯，outdoor platform and stair © 存在建筑

▼中间平台，platform © 尹明

▼顶部平台，high square © 存在建筑

在馆长和一位僧侣的支持下。我们对博物馆和展览空间进行了专门的研究。室内的参观流线不仅呼应西藏寺院的精神逻辑，也遵循现代博物馆的空间组织。从一个展厅进入下一个展厅不断上升的过程，也是一种精神“攀山”的过程。

▼内部参观逻辑示意图，diagram of the internal tour-tibetan-thangka-art-museum © AND Studio

With the support of the curator and a monk, we conducted thorough research on the museum and exhibition spaces. The interior flow reflects the spiritual logic of Tibetan monasteries and follows the spatial organization of modern museums. Moving from one gallery to the next, the ascending journey symbolizes a spiritual “mountain-climbing” process.

▼主要功能区与路线轴测分解示意图，AXO- CN-tibetan-thangka-art-museum © AND Studio

03
空间：与光的对话
III. Space: a dialogue with light

从入口进来，服务空间采用内嵌的手法，用暖木色与主空间分开，尽端的自然光吸引游客到这里的共享展厅。大厅内，屋顶洒下的自然光经过白色丝绸的过渡，洒满地面，引导游客沿着路径参观展览。在这里，参观者可以交流、休息、远眺、冥想，然后再进入下一个展览空间。

Upon entering, the service spaces are embedded and separated from the main space by warm wood tones. The far end is flooded with natural light, drawing visitors to the shared gallery. In the main hall, natural light filters through white silk, spreading across the floor and guiding visitors along the exhibition path. Here, visitors can interact, rest, take in distant views, and meditate before proceeding to the next exhibition space.

▼服务空间，Service © 存在建筑

▼中庭，atrium © 存在建筑

▼中庭天光，atrium skylight © 尹明

而在展厅外，透过楼梯间天窗洒下的光影，游客被引导前往三楼。那里是整个空间的精神核心——观光塔。抬头仰望，可以看到塔内侧挂满了错落旋转布置的黄铜板，层层叠叠一直延伸至塔顶的天窗，赋予了主塔上升的空间感，仿佛通向无尽的宇宙。同时，主塔还具有“风塔”的功能，设计成双扇形形状的双层幕墙系统，使塔内部气候得以控制，实现了自然通风。

▼主塔的手绘图，Tower Sketches © AND Studio

Outside the exhibition hall, visitors are guided to the third floor through the light spilling through the skylight in the stairwell.
The Observation Tower is the spiritual core of the entire space. When you look up, you will see that the inner side of the tower is covered with brass panels arranged in a staggered rotating pattern, with the layers extending to the skylight at the top of the tower. This gives the main tower a sense of rising space, as if it were leading to an endless universe. Furthermore, the main tower serves as a wind tower, with a double-leaf-shaped double-layer curtain wall system that allows for climate control and natural ventilation.

▼楼梯间，stairwell © 存在建筑

▼楼梯间天窗洒下的光影， the light spilling through the skylight in the stairwell © 存在建筑

▼观光塔，The Observation Tower © 存在建筑

▼观光塔细部，The Observation Tower detail © 存在建筑

▼望向塔顶，tower upwards view © 左：尹明右：存在建筑

04
建造：传统与创新
Construction: tradition and innovation

为了环境保护，拉萨市在该地区禁止采石。因此，我们选择使用双层清水混凝土外墙来重新演绎传统的石墙，并将室外的材料延续到室内大厅的墙面和顶面，使得内外空间简洁统一。室外双层墙的设计为建筑提供了更好的保温和隔音效果，成功地减少了一部分供暖和制冷能源的消耗。为了实现一次性成模，我们专门设计了凹凸的木制模板。通过这些木制模板创造的立面纹理，可以在一天中产生不同的光影效果，形成水平线条的轮廓，类似于藏式房屋立面的阴影。

Lhasa has banned quarrying in the area to protect the environment. . Therefore, we chose to reinterpret the traditional stone wall by using a double-layered fair-faced concrete facade and continued the outdoor material to the wall and ceiling of the indoor hall. This makes the inner and outer space simple and unified. The design of the double-layered outdoor wall provides better thermal and acoustic insulation for the building, reducing heating and cooling by a significant amount. We design special convex and concave wooden templates to achieve standardized production. The facade texture created by these wooden templates produces different light and shadow effects throughout the day, forming horizontal contours reminiscent of the shadows on the facades of Tibetan-style houses.

▼建筑外墙，facade wall © 存在建筑

▼走廊内墙，corridor © 存在建筑

▼墙面细部，wall detail © 尹明

这个项目最具挑战性的部分是双层清水混凝土的建造。在此之前，当地的施工队几乎没有混凝土方面的施工经验。因此，我们带领他们前往上海等长三角地区参观类似项目，以便向他们解释相关工艺。在双方共同努力下，将混凝土原始、粗糙的质感最大程度地呈现出来。

▼施工过程图，Construction

The construction of the double-layer clear water concrete was the most challenging part of this project. The local construction team had little experience in concrete construction prior to this. We therefore led them to visit similar projects in the Yangtze River Delta region, including Shanghai, to explain the relevant techniques to them. We maximized the presentation of the concrete’s original and rough texture through joint efforts.

▼高处平台观景点，viewpoint © 尹明

我们汲取了拉萨传统装饰样式的灵感，将其简化并运用现代材料和工艺重新呈现。例如，主入口的门头、立面的窗花、中庭的扶手栏杆等细节，同时，我们邀请了当地的木雕设计师来设计咖啡馆的家具，并采用当地的木画技术绘制会议室的图案。

We drew inspiration from the traditional decorative styles of Lhasa, simplifying them and re-presenting them using modern materials and techniques. For instance, details like the lintels at the main entrance, window patterns on the facade, and handrails in the atrium were all inspired by traditional motifs. Additionally, we collaborated with local woodcarving designers to create furniture for the café and employed local wood painting techniques to adorn patterns in the conference rooms.

▼传统立面窗花的再设计，detail of the decorate © 存在建筑

▼传统主入口门头的现代演绎， close view of the door decorate © 存在建筑

▼大厅栏杆扶手，railing handrail-尹明-tibetan-thangka-art-museum © 尹明

05
室内：展陈的探索
Interior: explorations in exhibition display

博物馆内共设有五个展厅，一层为临时展厅；二层设置三个主题展厅，分别讲述唐卡的历史演变、风格流派与制作工艺；主塔下的第五展厅展示最珍贵的藏品。我们通过错落设置的独立展墙和展柜，形成环绕的路径，来增加展览的长度和数量，希望在有限的空间内能丰富展厅的空间层次。

▼#2展厅观展示意图，No.2 Exhibition Hall © AND Studio

▼#3 展厅观展示意图，No.3 Exhibition Hall © AND Studio

▼#4 展厅观展示意图，No.4 Exhibition Hall © AND Studio

The museum comprises five exhibition halls, including a temporary exhibition hall on the ground floor. On the second floor, you will find three thematic exhibition halls, each focusing on the historical evolution, styles and genres, and production techniques of Thangkas. The fifth exhibition hall under the main tower is home to the most precious collections. We have created a winding path through the exhibition halls by arranging independent display walls and cases in a staggered manner. This increases the length and number of exhibitions and enriches the spatial hierarchy of the halls within the limited space.

▼展览空间2，exhibition space2 © 存在建筑

我们对展厅的光线、展墙的高度、观赏者的视线高度和灯具角度进行了精细的研究，以确保观赏效果最佳。唐卡的传统展陈空间是在寺庙昏暗的空间里，利用高窗的自然光和局部的人工光补充，因此我们设计中，也充分参考了这种展陈方式，并参考法国原始艺术博物馆的展陈设计，在公共空间充分利用天光和自然光和对景开窗，调低展厅内的氛围亮度，把灯光非常精确的聚焦在画作和艺术品上。

▼光线与视线研究分析图，Sight analysis © AND Studio

We conducted meticulous research on the lighting, height of the exhibition walls, viewer’s eye level, and angle of the fixtures to ensure the best viewing experience. The traditional exhibition space of Thangka is in the dim space of the temple, using the natural light from the high windows and local artificial light to supplement. In our design, we fully refer to this kind of exhibition method, and refer to the exhibition design of the French Museum of Primitive Art. We make a full use of the sky light and natural light and the opposite view of the open windows in the public space, toning down the ambient brightness of the showroom, and focusing the light on the paintings and artwork with great precision.

▼展览空间3，exhibition space3 © 存在建筑

为了更好地展示唐卡艺术，我们特别研究和设计了展墙的形式和色彩。我们从藏传佛教和唐卡作品中常见的五种颜色（蓝、白、红、绿、黄）中选取了红色和蓝色作为展墙的主色调。在信息板上，我们采用了木纹装饰纹样，延续了当地传统的装饰风格。

▼展墙示意图，exhibition wall diagram © AND Studio

We have specifically studied and designed the form and color of the exhibition walls to better showcase Thangka art. We selected red and blue as the primary colors for the exhibition walls, as they are the five colors commonly found in Tibetan Buddhism and Thangka artworks (blue, white, red, green, yellow). The information panels, feature wood grain decorative patterns, continuing the traditional local decorative style.

▼展览空间4，exhibition space4 © 存在建筑

作为建筑师，能够在4000米的海拔上的圣城拉萨设计一座博物馆是非常难得的机遇。我们从自己的视角出发，将对当地文化和建筑的理解转换成实际的空间设计，以创造一个深深扎根于本土的现代博物馆。我们希望唐卡博物馆能够成为一个新的场所，让当地居民、游客和唐卡艺术建立起新的联系。这座跨越了时间，空间，和疫情的建筑，也给了我们很多思索自己职业意义的机会。

As architects, we seized the rare opportunity to design a museum in the holy city of Lhasa at an altitude of 4000 meters. We translated our understanding of local culture and architecture into a practical spatial design in order to create a modern museum that is deeply rooted in the local community. We hope that the Thangka Museum can become a new place where residents, tourists, and Thangka art can establish new connections. This building, which transcends time, space, and epidemics, has also given us many opportunities to reflect on the meaning of our profession.

▼展览空间5，exhibition space5 © 存在建筑

▼总平，masterplan © AND Studio

▼一层平面图，1F plan © AND Studio

▼二层平面图，2F plan © AND Studio

▼三层平面图，3F plan © AND Studio

▼剖面图，sections © AND Studio

▼细部构造，detailed section © AND Studio

项目名称：西藏唐卡艺术博物馆
项目类型：博物馆
设计方(建筑设计、室内设计、展陈设计）：AND Studio
公司网站：www.andstudio.net
联系邮箱：communication@andstudio.cn
完成年份：2022.05
主创建筑师：王宁, Duccio Cardelli
设计团队：Tommaso Toraldo di Francia，马宇彤，李沁怡，Luca Amighetti，Dominika Kowalczyk
项目地址：拉萨市中国西藏文化旅游创意园区内
建筑面积：8658㎡
摄影版权：存在建筑、尹明
合作方：同济大学建筑设计研究院（集团）有限公司建筑设计三院、拉萨市设计院
客户：拉萨城投投资有限公司

Project name: Tibetan Thangka Art Museum
Project type: Museum
Architectural Design, Interior Design, Exhibition Design: AND Studio
Website: www.andstudio.net
Contact e-mail: communication@andstudio.cn
Design year: 2018 – 2022
Completion Year: 2022
Lead designer: Ning Wang, Duccio Cardelii
Design Team: Tommaso Toraldo di Francia，Yutong Ma，Qinyi Li，Luca Amighetti，Dominika Kowalczyk
Project location: China Tibet Cultural Tourism Creative Park, Lhasa
Gross built area: 8658㎡
Photo credit: Arch-Exist Photography, Ming Yin
Consultant: Tongji Architectural Design (Group) Co., Ltd.，Lhasa Municipality Design Group Co., Ltd
Clients: Lhasa City Construction Investment and Management Co.,Ltd

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