Prince of Wales Visitors Centre by RMA Architects
( U( u; z: H$ u* D$ n/ r. W, t0 ^. A. H7 V4 F- X
* Z l, W* D& x8 F8 O, rPhotographer Edmund Sumner has sent us these images of a shimmering steel visitors centre at a Mumbai museum.: n" J9 F/ k2 O) M J* p" g4 t/ n) I
) @4 ]( M9 V" Y) E[/url][url=http://www.rmaarchitects.com/]& P% G- w, r* B
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.
1 F! `" l8 P; q1 J) \) y
$ A+ X$ l! q+ V$ v) B) D/ kThin steel columns support a curving roof that overhangs the exterior walls of the centre to shelter a surrounding terrace.
- c+ J# U q' z7 ]8 M: r" x _2 S/ ^% Z
Existing trees grow through holes in this roof, which also shelters a separate circular baggage kiosk.
/ V4 I! ^/ |; \" m' B! q9 D' u" y/ N% P
The remaining portion of the visitors centre contains a 200-seat auditorium, a ticket-office, a shop, a cafe and toilets.5 M( E( S* l8 N% N. _# @
2 E: }; ^7 b# g. e
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.
+ D. M% w0 }! L' H' K* m
! \- i. K. r. c1 J3 RThe following text is from RMA Architects:
9 H# j5 w8 {1 K- W/ eA visitor’s center located at the entrance of the Prince of Wales Museum, a Grade I heritage structure in Mumbai.
( V4 [7 @ H0 i- u4 mThe 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./ V+ E, j$ R! X `/ A+ P1 [
/ z/ {* j# ~( B7 d, {& Z
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.
; N. j( I- x5 m& o6 ?3 K
- f/ L# T4 I) h/ A7 T9 LA 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 m4 W/ o* D% z$ P; O0 E4 o
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.
1 W4 H1 K [5 F; s. i" }( p9 j. k
+ s5 P5 I3 J) t9 X2 `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.
6 q F; `. W7 z& ]- T+ N$ H [Search:DCION3 f9 F% O' ~& o3 I
$ F! @9 z$ J! J4 J
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.8 [; ?/ _7 O* o# x9 s. x8 ?5 }
! A3 [( ?7 F1 g. n( m
$ q; O6 f; U/ C' ~) w |
7 U( Z2 |8 H2 [* d" }( Q9 A
% s3 @) \: n- \. p" E* K1 y8 M |
金属的外壳!怕不怕吸热!{:soso_e122:}