Thangka Art Museum by AND Studio is ‘a vibrant manifesto of local culture’

Set against the imposing, jagged faces of the Himalayas, the white volumes of the Thangka Art Museum feel like they’ve been carved out of the hills. Taking inspiration from the local architecture of Tibet, the cultural centre dedicated to regional art forms was designed by architectural practice AND Studio to celebrate and disseminate local culture, while becoming a vital public space for the community. As the architects elaborate on the conceptual underpinnings of the project, “We wanted to reconcile modernity and tradition. [To this end], we embarked on a journey of initiation to learn about and understand Thangka art and local architecture, particularly in terms of its volumetric composition.” The structure, made up of multiple volumes instead of a single mass, draws on the form of the Potala Palace, which has been the winter residence of the Dalai Lama since the 7th century.

Apart from the reference to vernacular architecture—also evident in the use of sloping walls—the guiding principle for the composition and overall scheme of the museum design was the creation of two narrative journeys for the visitor, which are unravelled externally and internally. These proverbial journeys, which the architects hoped would emulate the path towards nirvana were crucial in showcasing an architectural reinterpretation of Thangka art, which typically depicts religious scenes, mandalas, or Buddhist deities. Considered to be the visual representation of a higher reality, the regional art form transcends the idea of a mere object of aesthetic value and is considered more in the vein of religious practice. The museum architecture is in deference to this sanctity.

The external path stimulates stages of Tibetan pilgrimages in the mountains, with the ascent ending in a square. Here, visitors can gather to admire the almost 15 metre-long Thangka that is displayed twice a year during the Sho Dun festival, an annual festival held at Norbulingka or “Jewel Park” palace. Similarly, the interior route—designed under the supervision of a local monk—is organised around the wind tower (the highest volume of the structure) with the exhibition spaces and the objects on display assembled so as to follow the narrative journey of the believer in his search for enlightenment.

As one enters the museum, they are greeted with a double height lobby with a grand staircase leading to art galleries upstairs. The ground level houses galleries as well as a conference area, offices, a café, and a lounge, extending the functions of the art museum. As the architects mention, the design intention has been to “disseminate Thangka art well beyond the borders of Tibet and to promote Tibetan culture in the broader sense.” Hence, the inclusion of the auditorium and a cafeteria within the initial programme allows the cultural architecture to become a place for knowledge-sharing between monks and the general public. The architects go on to note that workshops and classrooms on the artform are now conducted in this space, making the public building a catalyst for the surrounding area.

The overall design for the museum was the result not only of the architects’ ingenuity but a dedication to respecting local culture. The architects not only consulted local monks for the circulation design but also spent time living in a monastery to understand Buddhist culture. This care and attention is further highlighted in the considered approach to incorporating local craftsmanship.

Tibetan artists were engaged to design and execute specific elements in the interior design such as sculptures and paintings on wood. The interiors also reflect specific gestures and moods through the use of colour and light. Colours typically associated with Buddhism (‘Tibetan blue’, yellow and red) adorn the galleries, with bronze being used for embellishment. The decorative elements take inspiration from traditional motifs and artefacts such as the ‘gompa’, traditional silk lanterns found in monasteries. Further, the architects point out that natural light within the museum is employed as an architectural component. Overhead lights, claustra and cracks that let in soft daylight pierce the walls of the exhibition spaces, lending an ethereal quality and quietude to the building.

AND Studio were also conscious of using local resources and vernacular building practices in the museum’s construction. While the building is made of concrete to avoid excavating quarries, which is now prohibited because it disfigures the landscape, a double wall structure ensures the building is passively insulated, with a 30 per cent reduction in energy consumption for heating and cooling. The central wind tower further creates natural ventilation within the structure. Pressed rammed earth is used for the floors of the museum.

To the architects, the museum represents “a vibrant manifesto of local culture” with a holistic approach to embedding the museum into its landscape. Not only does the form reflect respect for tradition, but it updates it to create an immersive experience that understands the essence of a vital part of Buddhist culture. The interpretation of this narrative as a journey allows the architects to transcend typical museum functions while creating a space where visitors can connect not only to the art but its spiritual realm.

Project Details

Name: Thangka Art Museum
Location: Lhasa, Tibet, China
Design team:
Lead Architects: Ning Wang, Duccio Cardelli
Design team: Tomasso di Francia, Yutong Ma, Qinyi Li, Luca Amighetti, Dominika Kowalczyk
Main Contractor: Lhasa City Investment Financial Investment Holding Group Co., Ltd.
Consultants: Tongji Architectural Design (Group) Co., Ltd.
Gross Floor Area: 8658 sqm
Year of Completion:  2022