KIMBELL ART MUSEUM
The Kimbell art museum built-in 1972. The museum was erected to house Kay Kimbell’s art collection. Kimbell was a wealthy businessman from Fort Worth and was married to a woman named Velma Fuller. Both were extremely passionate about art and set up the Kimbell Art Foundation and collected one of the most extensive art collections in Southwest America. Kimbell passed away in 1964 and left most of his estate to the foundation, leaving a last request to “build a museum of first-class”. The director of the project wished for the building itself to be a work of art and thus employed Louis khan in 1966 to design it. It was decided from the beginning that the main focus of the design was the element of natural light to enhance the experience within the building as visitors visit the collection. (12) (15)
The design that Kahn eventually settled on has a simple plan based on classical proportions, repetition and variety. The building evolved from the beginning idea which was a long room shaped like a cycloid barrel vault into a family of rooms similar to this main concept with an adjacent entrance portico. The cycloid shape was chosen as Kahn felt it to be more subtle than a semi-circular vault when inside the room. The cycloid vault has gently sloping sides lending to its enormous presence while not overpowering the art on the interior. Each vault is supported by four corner columns measuring two square feet each. Khan then introduced this shape and theme into the entire design but in different variations. In the west of the building, there is an entrance portico which is the visitor’s first introduction to the vault and demonstrates the vaults versatility. In the museum, the vaults stretch and cover the galleries, auditorium and restaurant. Within the plan, there are two courtyards. The largest in the north stretching up to 12.5 meters squared and the smaller one in the south which is half that size. The museum was designed to be easily altered by curators for exhibitions. Moveable walls can be placed in the underside of the ceiling between the vaults to change the shapes of the galleries. (12)(15)
Khan aimed to use little material in the project. The building is made from travertine, white oak, concrete, steel and glass. He felt passionate that the main source of light in the building should be natural. In many of Kahn’s previous buildings, he was very dedicated to the utilisation of natural light in the design. Khan believed that the introduction of natural light into a space was necessary for the occupant to completely experience the environment. He also felt strongly that as he was designing a building to house art, and given that most paintings are completed in natural light, they should then be viewed in the same light to fully communicate the artist’s intentions. The vaults are rimmed with thin plexiglass skylights allowing light to flood into the space. The next challenge was to minimise the glare from the light in the building. Khan worked closely with the lighting designer Richard Kelly to design light reflector-diffusers that would be used to reduce glare. These were pierced aluminium reflectors in wing shapes that hang below the skylights. These illuminated the concrete walls of the vault while providing effective light conditions for the art. As the primary source of light in the museum is natural light, it lends a very unique characteristic to the room. The gallery never quite looks the same as the light is always changing with the season and the weather. The incorporation of courtyards and the portico also allow light to penetrate through the thick concrete facade while increasing the airflow through the galleries and creating a strong relationship between the interior and the exterior. When measuring the intensity of light in the room the result is quite low for a museum and gallery. However when in the area, visitors have said it feels quite bright as the light is diffused evenly throughout the vaults. (13) (14)
The usage of daylight design in this building is extremely unique. The techniques Kahn and Kelly used were revolutionary for architecture at the time and this building still is renowned for its efficient and successful light design. The harsh texas sunlight is converted into a cool light that is consistent through the year. Simulations and tests were carried out on the design and it was discovered that even if this museum was located in a different climate with different weather systems eg. Singapore or Norway, the light intensity in the room would not differ, as the diffusers are engineered to always emit a certain amount of light that is appropriate for the paintings. This is truly an extraordinary feat of design. Khans design approach towards the gallery was so specific and unique. He ensured that the building was functional, while also keeping in tune with the ethos of the design and art collection. Just like the paintings the museum houses, Louis Kahn’s building is truly a work of art. (11) (14)
References
11. Kaçel S, Lau B. Louis I. Kahn and Richard Kelly: collaborative design in creation of the luminous environment. Architectural Engineering and Design Management. 2017;14(4):306-316.
12. Kimbell Art Museum by Louis Kahn in Texas | ArchEyes [Internet]. ArchEyes. 2020 [cited 24 October 2020]. Available from: https://archeyes.com/kimbell-art-museum-louis-kahn/
13. [Internet]. Digital.library.unt.edu. 2020 [cited 24 October 2020]. Available from: https://digital.library.unt.edu/ark:/67531/metadc504059/m2/1/high_res_d/1002772806-Connally.pdf
14. AD Classics: Kimbell Art Museum / Louis Kahn [Internet]. ArchDaily. 2020 [cited 24 October 2020]. Available from: https://www.archdaily.com/123761/ad-classics-kimbell-art-museum-louis-kahn
15. Kimbell Art Museum [Internet]. En.wikipedia.org. 2020 [cited 24 October 2020]. Available from: https://en.wikipedia.org/wiki/Kimbell_Art_Museum
