Prince of Wales Visitors Centre by RMA Architects* W1 M$ T/ g1 Y P
7 [/ p* E9 |; E" q) a8 Y( N/ X" q' |, Y" Q1 l5 g/ r P
Photographer Edmund Sumner has sent us these images of a shimmering steel visitors centre at a Mumbai museum.) {+ `$ k$ {; G: Z4 b6 U' Q
+ ^" g5 p' C( b' r* ^5 e; Y3 E
[/url][url=http://www.rmaarchitects.com/]1 v9 r' l6 O6 B. p9 h9 N( q$ y
RMA Architects designed the elliptical building at the entrance to the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (formerly the Prince of Wales Museum), where historical Indian artefacts and artworks are exhibited.
/ f# D) V- M( Z3 o5 c; x
& b0 L E9 b. i8 S3 k0 F' kThin steel columns support a curving roof that overhangs the exterior walls of the centre to shelter a surrounding terrace.
' A9 w+ D! B0 ?/ P. l
5 F9 M7 r! a# }! C6 DExisting trees grow through holes in this roof, which also shelters a separate circular baggage kiosk.
: a( O6 G; S6 |# `2 N" J9 {$ ?1 q2 v1 X4 D+ O( W9 P
The remaining portion of the visitors centre contains a 200-seat auditorium, a ticket-office, a shop, a cafe and toilets.8 K4 _, C/ H, j. w; w2 K. w
/ }" X+ p2 J$ p- z9 Y
Edmund Sumner has photographed a number of buildings in Mumbai – see our earlier stories about a corporate office block beside a slum and a wood-clad temple./ r8 L" j( ]7 {4 a! U$ L
* T; C6 Z# P& iThe following text is from RMA Architects:
, W' G1 j/ W: s5 AA visitor’s center located at the entrance of the Prince of Wales Museum, a Grade I heritage structure in Mumbai.
" l& }( f% q7 k0 Q+ I5 \6 P% @The contemporary structure expands upon the footprint of a previously existing multipurpose hall, and is a part of an expansion plan for this prestigious urban landmark.
/ G+ A& M- D3 R% M: F9 m$ i5 b0 x! H, X$ }, I
The center fulfills various programmatic functions, ranging from the integration of baggage collection and storage, to ticketing and security, as well as a museum shop, two hundred seat auditorium, and rest rooms.( b/ W" O" c$ E8 f: [3 ~# m- {
0 i _+ Q9 g# p: H6 L* @
A lightweight, stainless steel clad elliptical roof creates a covered verandah for circulation, integrating disparate visitor programs into a consolidated and modest, yet contemporary form.
$ p# u- e! h. S/ {# i! TGlass and metal surfaces exist as a visual counterpoint to stout basalt stone of local heritage structures. Reflective material planes create a paradoxical visual poetry in which archaic forms of the adjacent museum are recast and distorted in a new perspective.
7 m W$ n$ n& L, H+ k' l7 \7 ^* X0 O, x! [: d
The pre-defined footprint is organically punctured by existing trees that project through openings in the roof, yielding localized deviations in the otherwise low-key scale spaces.
8 d" o3 Q8 y- ?5 Y/ x [Search:DCION: J; w f6 d: x K: T. j# u
1 r4 l9 Y# P: D, H
Integration of natural textures with modern means and materials further expands the defining narrative of the center, that of a culturally meaningful intervention within a monumental historic context.& x1 _9 p, g# h) S
+ v: S% H w9 L* D# v6 G3 v }" @* J/ R: Q3 G8 `
|
: E; W3 ~7 g) d! y$ U# x/ _9 \9 q; u- w, C L' Y
|
金属的外壳！怕不怕吸热！{:soso_e122:}