Prince of Wales Visitors Centre by RMA Architects. ^& i; U1 H, F `6 l2 n
0 a* H; f1 A5 h9 m6 K# y# Z
0 M) i1 f1 |* S; d6 s. j9 @0 D! z
Photographer Edmund Sumner has sent us these images of a shimmering steel visitors centre at a Mumbai museum.
2 s& `# e# N. \
6 B5 m( |7 i4 F' E" O: O' a[/url][url=http://www.rmaarchitects.com/]
! e e; H/ v" |0 e! XRMA 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.
8 O' |: z; i6 C: _! ~
' E3 F4 [( @1 c, [Thin steel columns support a curving roof that overhangs the exterior walls of the centre to shelter a surrounding terrace.
* l/ t8 _5 Z" C" J
4 e0 \8 z# F h) [. KExisting trees grow through holes in this roof, which also shelters a separate circular baggage kiosk.6 C8 d" t3 y% w1 i
4 ^4 g, ]/ O6 K. uThe remaining portion of the visitors centre contains a 200-seat auditorium, a ticket-office, a shop, a cafe and toilets.
/ |$ k$ a. x( _" [! o) M
% k1 p% G; ]! u. j' e9 aEdmund 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.# @1 q4 c9 m+ l& J7 v& D
: J' Z8 h5 V0 K' B4 _The following text is from RMA Architects:2 o) J% c( a8 \# i5 V8 b0 H
A visitor’s center located at the entrance of the Prince of Wales Museum, a Grade I heritage structure in Mumbai., C, d0 z" |2 m5 z1 q
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.
; Q) i5 f' Z8 j) l
% ?. a! t8 V9 i. d$ r2 g. uThe 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.4 ?$ Y# ]/ t4 I# V5 ]2 B
+ n9 z1 R' d; Q, ^) S* `5 E/ y
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.
& L) ?/ f* F8 T. s+ D+ [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.
' i" c% j: V+ V! E% U. L$ z/ A n2 q3 ^% v3 R$ e5 x" C7 |8 _$ S
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.
0 m; q4 h7 L0 Y [Search:DCION
% z% L, `; d3 p; M5 a4 q
( s& O1 [& q0 S1 k# k4 ?( y( G CIntegration 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 `# a! `( A9 ~7 V& f
+ C- E! \4 B0 J1 P
2 `/ c# \, Z$ {9 d |
金属的外壳！怕不怕吸热！{:soso_e122:}