Prince of Wales Visitors Centre by RMA Architects. _. o5 \' k; k+ d+ K3 N: M( a# V
E0 @$ M0 B+ D9 z$ z# l9 S9 L
+ Z0 Q0 Y+ W; B8 MPhotographer Edmund Sumner has sent us these images of a shimmering steel visitors centre at a Mumbai museum.( L8 C1 s4 q+ J3 f1 T2 s3 x
, u6 m. ^% w' d: \& i6 y6 ]
[/url][url=http://www.rmaarchitects.com/]" V5 N6 s# q0 f. _5 o" q
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.
% `& r7 i) K) b$ D" Y5 G/ w: V1 c" V U" v$ a
Thin steel columns support a curving roof that overhangs the exterior walls of the centre to shelter a surrounding terrace.5 D" _( [! L5 L ] X5 s$ @
5 `' u5 B% x1 G k' SExisting trees grow through holes in this roof, which also shelters a separate circular baggage kiosk.
! x" a' D- a2 b# K* l+ ?/ Y& v3 C# D3 r3 V
The remaining portion of the visitors centre contains a 200-seat auditorium, a ticket-office, a shop, a cafe and toilets.2 i% z6 o4 P9 K' C/ Q" W1 W
' T8 `( |: J% ?9 H9 r6 vEdmund 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.9 ~& l2 { [; N3 t! }8 S8 o
4 ?" ^( l* [2 r4 H# q* O4 hThe following text is from RMA Architects:
. \! S; _* ]7 _A visitor’s center located at the entrance of the Prince of Wales Museum, a Grade I heritage structure in Mumbai.+ c p5 N) Y9 p" j
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.
! f" \7 B: s2 ], ^3 Y
2 r3 s. Z6 H9 y) p& wThe 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.& z% F3 i7 c) Z! Y% {0 \# B
" T* c' I/ `9 X# J2 L! t& e
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.
% y' l4 {% t6 y4 u1 m: hGlass 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.& x( w$ }0 z. X$ | ?
: `" ~& q! c4 E3 c: G+ _
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.& r ]/ Z% r0 c0 J
[Search:DCION) r( W% N8 p% F
p& \8 o C! x) W: p" K3 L5 `7 W
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.
0 E; H/ D4 L6 l" ^" s$ i* j6 D+ w$ r$ c$ s- \8 `' s
7 o3 O& T% ]+ ]+ m3 d# g
| 0 ~% Y7 K* k) w2 U0 d/ c& f
$ g( ` a3 n, T. o: H6 \
|
金属的外壳!怕不怕吸热!{:soso_e122:}