Kimbell Art Museum Design Analysis
Kimbell Art Museum Design Analysis
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INTRODUCTION Researchdefinition 1
The Kimbell Art Museum is built in a park environment together with other Every space beside the utilitarian surfaces is unprogrammed: voids,
prominent museums. This Museum is built for the private art collection attics, circulation space, shafts, splits, structure material.
of the Kimbell family. Louis Kahn has made the design and the opening
of the museum was in 1972. Kahn was influenced by the Romanesque
architecture of the Renaissance. So here he used long tunnel vaults and
integrated the golden section and proportions which are repeated in
the building design. The plan of the building is symmetric. The museum
consists of three series of tunnel vaults. The two outer rows consist of
Researchdefinition 2
six vaults and the middle row consists of four vaults. Each vault has Every space that can be erased, without affecting the original program
KIMBELL ART MUSEUM - LOUIS KAHN
a size of 7x30 meters. Since the middle row is located back from the or function from functioning, is unprogrammed.
front elevation, it creates a courtyard garden. From this garden is the
main entrance to the building. The building can be accessed from the
adjoining paths / roads. At the rear of the building at basement level is
a parking space, with a additional access to the building that leads to
the lobby area.
The Kimbell Art Museum is a large and spacious building. The main TIMELINE
function of the building is an art museum. The ground floor includes
a large entrance hall, a library, a bookshop, a kitchen, an auditorium 1966 Mr. and Mrs. Kimbell give Louis I. Kahn the assignment to
and several art galleries. In the basement a small portion is divided
Forth Worth, Texas - 1972
photos by www.flickr.com
photos by www.flickr.com
278 | THE UNPROGRAMMED THE UNPROGRAMMED | 279
ORIGINAL DRAWING GROUND FLOOR ORIGINAL DRAWING - GROUND FLOOR
+6000 +6000
+3700 +3700
+2900 +2900
0 0
-3800 -3800
SECTION A SECTION A
01 5 10 20 01 5 10 20
+6000 +6000
+3700 +3700
0 0
-3800 -3800
SECTION B SECTION B
01 5 10 20 01 5 10 20
C D E C D E
D E D E
+3700 +3700
+2900 +2900
0 0
-3800 -3800
SECTION C SECTION C
01 5 10 20 01 5 10 20
+6000 +6000
+3700 +3700
+2900 +2900
0 0
-3800 -3800
SECTION D SECTION D
01 5 10 20 01 5 10 20
+6000 +6000
+3700 +3700
0 0
-3800 -3800
SECTION E SECTION E
01 5 10 20 01 5 10 20
Programmed Programmed
space: space:
71% 99%
Area: 7840m²
Area: 9560m²
Growth: 22%
(Un)Programmed space. This concept can be defined in several ways. When an oversized height in a building is designed without a specific function
When analyzing the Kimbell Art Museum, I therefore had to make several or purpose, my opinion notes this as useless space, so unprogrammed. That’s
considerations in order to determine what is, or is not programmed space. actually the same as we discovered in the analyses about surfaces. If there is
In these analyses we only assumed surfaces. In many buildings, height, of a certain area without any purpose, we call this unprogrammed. It does not
course, also plays an important role in the experience of the space. Think for had to be there to fulfill any particular goal. That’s why I think programmed
example of churches or theaters with huge high ceilings which are made for space cannot only be defined on surfaces, but also with the height or space.
acoustic reasons/purposes. In the Kimbell Art Museum, there is made use of There will always be some exceptions, but nonetheless the definition if it’s
special vault-shaped roofs in order to bring daylight within the building on programmed or not, it have to be declared with a kind of reason why its so.
a special way. These roofs create a special space on the ground floor, but The school of architecture in Nantes for instance uses many oversized spaces.
also have a decent height of about 6 meters. When these spaces have no Those spaces were designed for future reasons to expand the school. At the
function, it would spontaneously creates enormous empty spaces. In the art time these big spaces were designed, and they still are, they had no function.
gallery, the vaults provide a special indirect daylight that is essential to the Therefore I define this as unprogrammed space because they could have
works of art in the art gallery. been kept away from the program.
What can be inferred is that the high vault-shaped space at the art Museums many times use enormous rooms for galleries. Also the Kimbell Art
galleries are therefore primarily functional, and so we could interpret this as Museum uses the high vault-shaped spaces. These spaces in museums are
programmed. On the other side we could look at similar projects like the mostly designed to fulfill a purpose to let the artworks be seen by the public.
Kimbell Art Museum, to compare the use of high spaces, the function as People want to walk around works of art. Stand in front of them, walk away
museum or the use of vault-shaped spaces. Buildings like the Pantheon or from them, see it from above. That’s why museum spaces mostly are very big.
the Mezquita in Cordoba were used for religious reasons. Nowadays these It also could be for lighting reasons. The works of art have high demands for
kind of architecture is mostly monumental, and therefore used as a tourist incoming light. Mostly daylight will therefore be used on special ways in these
attraction. As I mentioned, these kind of buildings used high spaces for museums.
acoustic or religious reasons. So the height was also programmed. As a tourist My conclusion to programmed space: programmed space is every space
attraction these high spaces or enormous domes like the Pantheon are just that is designed to fulfill a specific premeditated purpose within the function
so impressive that tourists want to experience this space and enjoy it. In this of the building.
case you still could consider this as a programmed empty space.