设计从曼陀罗、浮屠等宗教意向出发，以当代全新的方式诠释了佛文化艺术的精神魅力。 设计借鉴了“塔”这一建筑原型，在大殿中创造了一座空心佛塔，作为立体展陈木佛造像的主要载体。佛塔平面呈椭圆形，共七层，逐层向上收束，汇聚于矩形的佛殿空间顶端。 佛塔首层以6米高的四面千手观音的坐像为中心，周边错叠环绕30尊观音化身立像。结合佛像的尺度和位置设置了特定的佛龛——拱洞开口，以及由塔身延伸出的花瓣形底座来承托木佛。 佛塔也催生了转塔这一具备祈福意味的环游路径。将已有建筑改造为首层、夹层环廊和顶层三个可以供人游走的平台，形成立体环游路径。同时在首层大殿左右两侧设置了6尊观音化身立像供人祭拜。 博物馆两侧的耳殿被定义为讲经堂，是博物馆公共教育活动的重要补充。设计利用镜面反射材料进一步拔高了空间，营造出亦真亦幻、颇具未来感的艺术空间氛围。
Drawing inspiration from religious symbols like Mandala and Bodobudur, the design interprets the spiritual essence of Buddha culture and art in a contemporary and innovative way. The design borrows from the architectural prototype of “pagoda”, creating a hollow Buddha pagoda in the center of the hall as the main carrier for a vertical exhibition of wood Buddha statues. Appearing oval in floor plan, the pagoda has seven layers that grow narrower upwards to meet at the square ceiling of the hall. On the first layer of the pagoda, a thousand-hand Guanyin statue sits in the center, surrounded by 30 varying Guanyin statues arranged in a staggered manner. Specific shrines are set up based on the scales and positions of the Buddha statues. Each with an arched opening, the shrines provide home to the statues situated on petal-shaped pedestals. The pagoda offers visitors the opportunity to engage in a circumambulation, a path that provides prayer experience. The renovation also includes the transformation of three platforms that allow visitors to walk around. These platforms consist of a ground-floor ring corridor, a mezzanine-floor ring corridor, and a top-floor platform, creating a vertical circulation pattern. Six standing Guanyin statues are positioned on both sides of the first layer of the hall for visitors to worship. The side halls in the museum are designated as Sutra Halls, playing a crucial role in the museum's public education activities. The use of mirror-surfaced materials creates an elevated ambience within the space, and imbues it with an otherworldly, futuristic sense of art.