Prince of Wales Visitors Centre by RMA Architects
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2 n) Q. y: J7 CPhotographer Edmund Sumner has sent us these images of a shimmering steel visitors centre at a Mumbai museum.1 ]$ M6 N" ^0 z# b, P
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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.
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Thin steel columns support a curving roof that overhangs the exterior walls of the centre to shelter a surrounding terrace.8 R$ \8 v" t! a. J7 Q c) e, l
4 f+ J5 } a6 r% g5 p, F4 SExisting trees grow through holes in this roof, which also shelters a separate circular baggage kiosk.) g5 N8 C1 x+ t- P0 }
& E5 R5 e3 W5 E/ [6 G2 XThe remaining portion of the visitors centre contains a 200-seat auditorium, a ticket-office, a shop, a cafe and toilets.
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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.+ i6 O# ?# j% S2 \1 `8 x. [
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The following text is from RMA Architects:& t% j) D8 y, o% G9 n1 F
A visitor’s center located at the entrance of the Prince of Wales Museum, a Grade I heritage structure in Mumbai.6 [0 b. D& |+ |. i0 Y. K
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.9 }/ j; H1 e3 n) S* a
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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.
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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.! c1 u0 b) F* z
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.
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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.
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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.9 \# A& X$ p" G9 M9 l3 N% H* W
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金属的外壳！怕不怕吸热！{:soso_e122:}