At the feet of the Laojunshan mountain in the Chinese province of Sichuan is the Xinjin Zhi Museum. Projected by the Japanese studio Kengo Kuma and Associates, it is an example of a building manages to transfer the very essence of Taoism through its own spaces. Situated in a natural environment in which various Budd- hist and Taoist temples are found, this museum, measuring 2353 square metres, has been projected as a space dedicated to holding exhibitions relating to the Taoist religion.
LIGHTS AND SHADOWS
Inside the building, a harmonious mixture of lights and shadows; outside, their explanation – a curtain of glazed tiles on the eastern façade. It is formed by suspended, weightless ceramic pieces, floating in the air through the use of cables, a link which frees these pieces of their weight, in this case, not referring only to the material. The glazed tiles used for this job have been created using materials from the region and worked using traditional methods, all with the objective of achieving balance and a fusion of architecture.
A pool located at the bottom of the eastern façade services as a mirror for the building, multiplying the winding and drawn effect of its silhouette. In the northern area of the construction, we find a pedestrian square from which the museum can be accessed. According to architect, Kego Kuma, the concrete pavilion, with its angled edges, emphasises the fundamental aspects of Taoism: nature and balance. The northern façade, located in front of the square, stands out as being plain and static, while the eastern side provides the dynamism through the use of its interwoven glazed tiles. The southern façade is divided into upper and lower parts and is staggered at different angles. This responds to the idea of not directly confronting a building to the south and the two levels, one pool in front and a street beyond. Inside, we can observe a gallery which rises throughout the three levels of the building. The interior moves in the form of a spiral, illuminated by diffused light thanks to the filter which the glazed tile mosaic makes in the eastern wall, creating a dichotomy of lights and shadows. This is an example of adapting to the natural environment and using elements sustainably.
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