Prince of Wales Visitors Centre by RMA Architects
, S1 S. @, W' p6 H) w5 S0 C; M: u; a, Y& V$ q
3 L- X' a% {! F4 r) e2 APhotographer Edmund Sumner has sent us these images of a shimmering steel visitors centre at a Mumbai museum.( ?4 J( c- _) J
! J5 D Y) R: g K7 T
[/url][url=http://www.rmaarchitects.com/]
: u, W2 O8 E0 l7 U1 L e% ]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.* X- a2 M5 x8 P; k) d+ H
% D/ a; ]7 t# `# |Thin steel columns support a curving roof that overhangs the exterior walls of the centre to shelter a surrounding terrace. w0 W4 _" b& {1 @8 S
! R P! ^; k5 d6 u
Existing trees grow through holes in this roof, which also shelters a separate circular baggage kiosk.) P) g3 |" A; q" d
$ k3 E* ]9 q( P' ?
The remaining portion of the visitors centre contains a 200-seat auditorium, a ticket-office, a shop, a cafe and toilets.+ p* V6 x$ y4 T: ~
0 K5 v0 F3 e$ P- {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.) V. N% X6 f3 N
! G% R' e$ s5 @6 B% B- b
The following text is from RMA Architects:' V* o- Z' I3 H6 P( Y
A visitor’s center located at the entrance of the Prince of Wales Museum, a Grade I heritage structure in Mumbai.) x$ z* |0 e" q- Y! A: Z' ` G
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 Q% e; L' t' ]/ M. ]* Y
3 I* K- R. r3 d! R+ j" S; ]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.( W. v; J$ C( E! a9 l
5 c/ _1 Z6 W$ c& U: A0 f" a
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.4 J- g, q& }, w# T9 K
Glass 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.
. B! n! N* D% Y4 N) _2 L8 }4 S u, C/ E
" S2 _0 e* S: r m cThe 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 h7 e/ C% u* G [Search:DCION" H% {2 P3 l0 p& e w7 f
3 d- Z+ U( {# P+ o# K$ i _+ {
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.7 G" i5 n3 a' S
/ T5 b; f# _ N2 r2 A* P& P5 p4 P% i3 O8 g9 Z9 a
|
3 C$ C+ Z. K, B5 o5 N; b2 O6 d' ?
; M: V, p4 v" i; ^( y3 q8 F |
金属的外壳！怕不怕吸热！{:soso_e122:}