華沙現(xiàn)代藝術(shù)博物館

波蘭，2006-2012年

華沙現(xiàn)代藝術(shù)博物館

Museum of Modern Art in Warsaw

波蘭，2006-2012年

該博物館有兩層，每層有一萬平方米。一樓的樓頂由支柱、托梁和水平吊頂構(gòu)成，梁的區(qū)域構(gòu)成了房間的格局，沒有再細(xì)分。內(nèi)部空間完全是向外開放的，所有的墻體都可以移動(dòng)，它們完全沒有承重功能。一些區(qū)域由半透明的墻圍護(hù)，另一些則為家具所分隔。

上層樓面的整個(gè)區(qū)域是完全開放的，使得展覽具有最大限度的靈活性；沒有任何支柱或墻體遮擋這個(gè)開放的區(qū)域。拱形天花板使得建筑物看上去又高又深，有寬有窄，不同的區(qū)域光線有明有暗。一樓的光線變化與建筑整體不可分割，也是獨(dú)立、完美的多樣化空間單元的一部分。主要是博物館的內(nèi)部，而非外墻或建筑的雕塑造型給人以視覺符號(hào)的沖擊。因此，現(xiàn)代藝術(shù)博物館與古老的文化宮殿以及許多其他當(dāng)代博物館建筑都大相徑庭。

The museum consists of two floors, each measuring some 10 000 square metres. The roof of the ground floor consists of supports, joists and a horizontal ceiling. Fields of beams structure the room without subdividing it. The interior is completely open to the outside. All of the walls can be moved; they have no loadbearing function. Some areas are surrounded by translucent walls, others are closed off by furniture.

The entire area of the upper floor is completely open, allowing maximum flexibility for exhibitions; not a single support or wall interrupts the open expanse. The vaulted ceiling creates height and depth, width and narrowness, and areas with varying degrees of light. As on the ground floor, these variations are part of an architectural whole, of a single, seamlessly differentiated spatial unit.

The visual and semiotic impact of the architecture is concentrated on the interior of the museum, not on the exterior shell or sculptural body of the building. Hence, the Museum of Modern Art represents a fundamental departure not only from the old Palace of Culture but also from the architecture of many other contemporary museum projects.