The Kimbell is a unique building which upon first inspection appears rather

simple; however, closer scrutiny of the construction documents and

multitudinous detailed sketches reveals layers of complexity seemingly in

the service of this initial perception of the building.

Which parts of the Kimbell are structural?

The structural impression of the Kimbell encountered by visitors to the site is

of a simple, repetitive rectangular bay system with a vaulted roof. This

observation is misleading because, by and large, vaulted roof structures

organized over a rectangular bay system are supported by massive bearing

walls along their length and at their ends. The requisite long, massive

bearing walls are seemingly present as large, travertine clad partitions which

run directly underneath the springing line of the vault. However, when one

approaches the building it can be seen that entire sections of the supposed

bearing wall are absent.

Then how the structure stands?

The answer to this question is modern concrete technology.

According to the drawings and force diagrams, the only members in the

building which are transmitting load to the foundations vertically are

columns at the extreme four corners of the vaulted roof sections. These

heavily reinforced concrete columns are topped with thickened concrete

arch-caps at either end of the vault which carry the weight of the roof shell

and its underlying beams. The beams in this system are extraordinary as they

are carried by the vaulted roof. The roof is the star of the structural system

because it maintains a thickness of only four inches and integrates several

structural functions into one elegant member.

In actuality, the roof of the Kimbell is not technically a vault because it is a

cycloid in section. A cycloid is the curve traced by a point on the

circumference of a circle that rolls on a straight line. This distinction is

significant structurally because the edges of the cycloid shape which rest on

the beam are tangent to that beam, thus allowing the roof to transmit loads

to the columns via pure compression.

How does the roof function within this structural system?

Structurally, the roof acts as a series of arches repeated in front of one

another along the length of the 102 foot span. The reinforced concrete

partitions between skylights in the apex of the roof complete the arch and tie

the two halves of the shell together into one structural unit. The outward

thrust of these stacked arches is counteracted by another set of arches that

span lengthwise within the concrete via draped posttensioning tendons.

Thrust produced by these longitudinal arches is countered by the tendons

which terminate within the arch-caps on either end of the vault.

The structural function of the roof shell is particularly well suited to the

composite nature of reinforced concrete because the amorphous concrete

can be molded into a relatively thin compressive shell which clings to the

embedded tensional steel reinforcement.

In the Kimbell, the composite properties of reinforced concrete are exploited

so as to resolve this dilemma of missing load bearing walls within the

concrete itself thereby obviating the need for an unsightly, exterior solution.

The response to this problem was to create “hidden” longitudinal arches

within the concrete roof shell which counteract the outward thrust of the

traditional arches and span the length of the vaults (102 feet). These

“hidden” arches were created by placing arch shaped sections of concrete

into compression along the length of the vaults vis a vis the draped post-

tensioning tendons. Holistically, the concrete within the roof shell is

segregated into several strategically placed areas within which varying

degrees of initial compressive stress are stored. An important realization at

this point is that all of the concrete is under some degree of compression,

and all of the tendons are under some degree of tension. The end result of

this structural complexity is a composite structure which integrates several

structural functions into a visually simple form.

How do the beams function within this structural system?

In general, the beams act as structural stabilizers which hang from the

bottom edges of the vaulted shells. These beams are connected to the roof

shell structure by reinforcement bar sticking out of the beam and into the

concrete shell at closely spaced intervals along the entire 102 foot span.

Specifically, the beams act in tension to counteract the tendency of the vault

to bow under its own weight. How can a concrete beam act in tension? As in

the roof shells, the beams are post-tensioned to produce a large compressive

force within the beam prior to loading. This compressive force is lessened

due to the use of the member in tension; however, the net force acting in the

beam after loading is still compressive in nature. Once more, the composite

nature of reinforced concrete is used to allow it to serve a function.

The result is a seemingly monolithic and seamless integration of the beam

and roof to the extent that neither element is visually distinct.

This Building includes galleries

for exhibitions, the museum's

library, an auditorium; capacity

of 180 spectators, an art

library, a laboratory for

conservation of works of art

and a restaurant.

Inside the galleries the

architect included three yards, created from the vaults of the court

Air ducts and mechanical services are located in the spaces where edges of

vaults come close to meeting.

PLAN OF KIMBELL ART MUSEUM

Traventine, concrete and white oak are the major key materials.

The symmetry of design is enhanced by the use of natural materials like

travertine and white oak, combined with glass, concrete, stainless steel and

aluminum.

The finely textured, unblemished surface serves to reduce glare and provide

a glowing interior presence which changes according to season and daily

climate. Bare concrete gives silvery appearance to the natural sunlight.

These skylights were the main focus of design. It creates elegant spaces for

the art it houses. The skylights are made such that it itself divides the

galleries itself into three parts. Skylights are such that they do not allow

direct light to come in but diffused sunlight so that it does not harm the

visitors. These are rimmed with narrow

plexiglass skylights Below these skylights

pierced-aluminum reflectors shaped like

wings hang to diffuse the light.

When light falls smooth surfaces of the concrete vault get illuminated and

provide elegant and enchanting light conditions and give the building its

loftiness as well as its intimacy.

On the front facade three 100-foot bays that are each fronted by a barrel-

vaulted portico comprise the main facade to the west, where the central

entrance is marked by its glazing and recession from the rest of the facade.

Its surrounding ambience, calm facade and beautiful view make it a very

simple, elegant and well-proportioned design. Front has a large water pond

and a suburban park .Porches and reflecting pools look out upon a park

setting, along with intimate courtyards variously adorned with sculpture,

plants, and a fountain, and contribute to the serene atmosphere.

Three courtyards are there which allow more light, air flow inside and bring

exterior inside with natural beautiful elements .GEOMETRY is kept simple

yet elegant. There are grand open courtyards so as to open up the building

and bring in more light and nature. Beautified interiors walls and floor

cladded with Traventine tiles and roof with concrete having glass and

perforated Aluminium fittings. Galleries were kept on the second floor so

that they get more exposed to the light coming from ceilings. Sides were

perforated but not the center so as to avoid UV rays to fall on the people

inside the corridors.

Kahn gave a deep thought to the use of materials. He thought that giving a

rich look on the ceilings will attract eyes of visitors on the ceiling but

ultimately they find nothing much useful there and will shift to the walls

which are not that attractive comparatively and can’t hold gaze for long and

ultimately it shifts to the works kept there.

Served-spaces for gallery, gathering, dining, sales, etc surrounded by the

gentle travertine tile, are more important.

The servant-space used for air conditioning, electric, plumbing, etc. is

enclosed by plain gray concrete, and brushed steel or aluminum fixtures.

It was the new building basically built to provide extra gallery spaces to be

used for classrooms and studios. Auditorium is acoustically impressive and

considerably large. Initially there was an option kept to expand the old

building itself but later on the plan was changed because they did not want

to disturb the unique graceful and the most famous design by Louis I Kahn .

Kahn while designing had never thought of parking space because he never

drove a car and he expected that people will come by foot and will enter

from front side only but later parking was provided on the side garden that

was present there and which directed the entry of people from the rear side.

So to solve the problem Renzo Piano made a building just in front of it and

the parking is provided in between both of these building to guide the entry

as Kahn thought of from the front of both the buildings. Respecting the

Kahn’s design - the front will echo the height, width and the three-bay

structure of Kahn's plan.

The inflexibility of the design of the museum, the design was so rigid

that there was no scope of either horizontal or vertical expansion

In spite of the fact that walls were not load bearing, they were made

permanent. Instead they could have been just temporary partitions

which could be opened at the time of need

Another problem with the old building was with the parking which

was restrained and unplanned. It lead to the entry of the visitors from

the backside instead of front