With eyes on the new glazed pavilion designed by Renzo Piano Building Workshop, here’s a look back at Louis Kahn’s original Kimbell, which put the institution. The Kimbell Art Museum by architect Louis I. Kahn was built in Fort Worth, Texas, United States in Past show featuring works by Louis Kahn at Kimbell Art Museum Fort Worth, Camp Bowie Boulevard Mar 26th – Jun 25th
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Multimillionaire Kay Kimbell wanted to create a public place appropriate for his art collection, primarily consisting of paintings of the seventeenth kmbell eighteenth century. Opening its doors to the public in marked a new milestone in the work of Louis I.
Kahn and introduced a new institution with a considerable presence in Texas and in the art world in general. Each space should be defined by its structure and the nature of its natural lighting. Since its inauguration, the Kimbell Art Museum has gained recognition, for the most part by the notoriety of the building, modern classic, the American architect Louis I.
Kay Kimbell and his wife, who gave name to the museum, established a foundation to build an art museum to house his growing kimbelo. Brown as director of the museum in for the realization of the vision and program design of the institution, as well as to increase its collection.
As with many institutions that built its first building, the program took into account the future objectives of the museum, assigning a large space to the growing collection of louus, thus giving visibility to the institution and become one of the main attractions of the city.
Louis Kahn / Kimbell Art Museum
Kahn, who is never satisfied with easy solutions, took three years to produce four design proposals for the museum. Located in the middle of a park, the site of 3.
As in most of its buildings Kahn managed to develop features that contextualize and give a unique personality to the project. A good example of this are those covered roofs, which make a fine partnership between the structure and what was once the rural setting of Fort Worth. In particular, far away in another time and visible from the site, there was a grain silo, then demolished. Ideologically, we can see and understand better than the overall shape of a grain silo, which consists of a series of vaulted forms separated by a flat surface, which has been conceptually deprived of their vertical and horizontal has been prepared in the landscape can into the structure of the configuration of the roof-deck.
These forms cycloid, and are willing vertically or horizontally, are precisely the kahnn that characterize juseum contextualize the Kimbell Art Muzeum in the Texan landscape to which it belongs.
zrt Kahn who designed a series of galleries oriented north to south with vaulted ceilings, which have a central slit of light. Kelly designed the system of directional light through a sheet of aluminum dome. Through the drill penetrates the daylight, in order to soften the contrast between the reflector and the cement vaulting. It was left without perforating the central part of the aluminum foil, to block the direct daylight.
In areas that did not require protection against ultraviolet radiation, such as the lobby or the restaurant, used a reflector fully perforated. To calculate the contour of the reflector and the properties of light were used and predictable software.
Kahn Building | Kimbell Art Museum
At the bottom of the steering system of daylight were integrated electrified rails and projectors. For patios, Kelly proposed plants in order to soften the light they project to the interior spaces. The construction of the most famous American architect Louis Kahn was the Kimbell Art Museum, consisting of six parallel and great vaults of concrete, like the ceiling, with lights on the ceiling all along its length to create intimate spaces and monumental at the same time, contemporary in its nakedness and intemporal in their references to classical Roman architecture.
The design of the Kimbell Museum of Fine Arts, built between andoffers its linearity in the will of contact with the exterior: The spaces of the galleries do not delineates each individual vault shape but is flowing from one to another as a result of the liberation of space achieved with the removal of walls. Although the creation of a space within, through the light, is achieved by the particularity of the roof to beam the light.
This peculiarity has become the most popular of Kahn, distributors of natural light through a small slot into the sky and along the concrete vault. The museum is surrounded by a forest and a pond that add a suitable environment to the whole ambience of the place.
A simple composition of concrete vaults parallel, is revealed to the visitor before stepping inside the building, with porches, which seem to be an unnecessary continuation of the construction. The space resulting from the union between the curvature of the roof and wall form a crossbar, which allows oblique rays of light in the rooms.
These rhythmic forms of roof, which can be seen in two of the four facades of the building, provide a vivid visual impression when climbing the ramp that leads staggered to the main entrance of the museum.
Kimbell Art Museum
The symmetry of design is enhanced by the kimell of natural materials like travertine and white oak, combined with glass, concrete, stainless steel and aluminum. The narrow skylights that are along the vaults are on the inside of aluminum reflectors, while the galleries provide a diffuse natural light. To express the differences lohis the inherent qualities of materials, the arc of the roof-deck concrete is separated radially from the curve of the adjacent wall covered with travertine.
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Kimbell Art Museum – Data, Photos & Plans – WikiArquitectura