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Principles of design
The architecture of the new Bamiyan cultural center reflects both connection to the environment and local cultural principles. The design also represent a specific interpretation of the historical context of the World Heritage property together with local landscape, according to this intent following roles had been considered.
Architecture
Inner spaces are drawn following organic shapes containing the different functions: Kakrak Valley caves inspired inner tridimensional geometry of the Center.
The roof has frequently been described as the most important and expressive part of a building. Proportion, curve, and texture define its beauty especially in buildings of monumental size: the shape of the Ancient Buddha's robe inspired the tridimensional roof.
The Center is characterized by a peculiar wide span wooden ceiling and modular facade grids: They represent the main structural elements of an historical Kharga.
Surrounding agricultural landscape had been repeated: Inside and outside the building, forms,materials, and colors are inspired by the surrounding environment. Native grasses and indigenous shrubs and trees are incorporated throughout the site,creating a natural and unstructured landscape.
The design inspires respect for the (enter's functions and cultures it represents and, at the same time, creates a welcoming atmosphere for visitors, academic, cultural, educational, and artistic communities. lt' focal point will be the sharing expertise and training. In all of its activities the Center acknowledges the diversity of the cultures and the continuity of cultural knowledge among people. The inner layout is designed to house exhibition collections, conference and related functions in a manner that is sensitive to both exhibition requirements for access and preservation.
Inner uses
The proposal provides state of the art facilities for exhibition space, conference and performance hall, workshop studios, research and administrative offices, library. The building sits at the edge of a cliff and it is mainly surrounded by uncultivated ground. Design challenge is to provide peculiar spaces for the new functions within a one level system covered by a natural roof while the curving glass of the facade helps the building to recede visually. A full-height atrium forms the focus of the building. lt links the different levels visually,creating a feeling of spaciousness. Natural lighting is used to dramatic effect the exhibition space, hall classrooms and offices. West and east facades are part glazed and incorporate devices to exclude solar gain and glare . North and South porticos are meant to contain further expansions. The most striking element of the building is its roof, made of wooden beams effectively jointed together through concrete structural slab units.
The interior, which primarily uses boards as a surface material, is comprised of independent variable shape volumes serving different functions. They are inserted beneath the great roof and separated from the main structure of wooden columns and beams. Only these interior boxes are completely heated, making the museum more energy efficient while maintaining a proper comfort level for visitors. The building's great sense of openness had been achieved through two main factors. The first is a transparent central volume connecting public and private spaces the second are carefully placed windows and skylights introducing natural light to the inside exhibition and office spaces. Exhibition hall, offices and classrooms, allows for greater use of glass and the loft-like space of the interior suits the communal aspect of the Center. Its north and south facades are puncture only by an entrance vestibule and as well ventilation window, the east and west facades, on the other hand, can open completely. Doors open onto a covered porch so the interior space can expand with views of the river and the Bamiyan Valley.
Landscape
Following surrounding agriculture landscape the cultural center is characterized by a large site which includes a central paved garden laying across the inner public space and main stair, parking lots surrounded by a partially sloping natural grass perimeter. The overall approach is to relate the new design to the agricultural landscape of surroundings.lt is also imperative to create a low maintenance -low water consumption new landscape.The central garden is an abstraction of the natural region with its particular topography and its man-made agricultural development. The design is a clear summary of the physical characteristics of the iconography landscape partially divided in terraces rising to the river level connected to a discrete slope landscape piece at building ground level. The various landscape units are presented in a minimalist way as monochrome abstraction of the plant material or ground conditions typical of each landscape zone. Water is used in traditional creating natural shallow pools and local stone had been used both in the paving and external low walls.
Locally resourced materials
Locally resourced materials had been considered, between them natural insulating panels, concrete walls and pre fabricated ceilings,flooring and wooden facade frames. Conventional PV elements are integrated in the roof.
MVarchitects
Marco Visconti was born in Turin in 1957, a master's degree in architectural composition at UCLA in Los Angeles, he graduated in engineering from the Politecnico di Torino and in architecture at the University of Genoa. He collaborated with Renzo Piano from 1984 to 1986, from 1987 to 2006 works in Turin as the group's director of architecture Fiatengineering.
Founded in January 2007 in Turin MVarchitects office, that deals with sustainability in architecture for tertiary, industry, education and culture, in a bioclimatic passive key. Its work is motivated by the best relationship between needs of man and respect for nature, in a logic of use and understanding of the surrounding environment.
He also worked as visiting professor at the Faculty of Architecture at the Politecnico di Torino and he lectures at numerous Italian and foreign universities. He is author of publications and thematic books and his projects are documented by the most important international architectural reviews.
