波蘭什切青市國家博物館交流中心

KWKPromes 建筑事務所

波蘭什切青市國家博物館交流中心

KWKPromes 建筑事務所

歷史及空間環(huán)境

什切青市（Szczecin）是波蘭歷史上遭受暴力事件最多的城市之一。1945年以前該市屬德國，之后突然被劃歸波蘭。短時間內的人口遷移摧毀了原有的社會結構，改變了城市的原有特征。如今的團結廣場（Solidarno ci Square）在戰(zhàn)前曾是城市的中心舞臺，陳列著具有代表性的住宅，廣場北側被音樂廳所圍合。聯(lián)軍的炸彈襲擊摧毀了城區(qū)及其周邊區(qū)域，形成了城市肌理中的一道裂縫。此外，城市的碎片地帶還被一條交通路線所割裂。1970年，該廣場變成了工人抗議運動的集會場所，在鎮(zhèn)壓過程中，16名抗議者被殘忍地殺害。從那時起，這個場地就被賦予了為自由而戰(zhàn)的象征意義。

多年以來，團結廣場一直是一個徒有虛名的場地——它有著模糊的邊界，開敞的臨街立面和喧囂繁忙的街區(qū)，盡管占據(jù)核心區(qū)位，卻缺少功能定位——為紀念1970年12月發(fā)生的歷史事件，2005年在此處修建了一座紀念碑。在21世紀，這個區(qū)域成為了建筑運動的革命場。2014年，先前的音樂廳被巴羅奇·韋加工作室（Estudio Barozzi Veiga）設計的交響會場所取代。該建筑作為什切青市的新地標，于2015年榮獲密斯·凡德羅獎（Mies van der Rohe award）。

1 平面圖：從圖中可以看出在教堂與音樂廳之間被保留下來的交流路徑Site plan: the drawing shows communication route, preserved between church and philharmonic hall

接下來的計劃是新建國家博物館“突破（Prze?omy）”交流中心，設計著眼于什切青市的城市歷史，改變場地的空間感受。博物館的設計在尊重場地歷史的同時，將附近的城市新地標納入考慮范圍，由此催生了設計構思：將博物館安置在地下，創(chuàng)造一個作為背景的建筑物。

2 一個建筑將二戰(zhàn)前的城市居住區(qū)與戰(zhàn)后的廣場這兩個互相矛盾的歷史聯(lián)系在一起，成為一個城市混合體的塑造——將這片空間圍合成一個住區(qū)，同時保留了開放空間的價值A building is bringing together two contradictory traditions — pre-war urban quarter and post-war square. That is how an urban hybrid was created—it encloses the space as a quarter, keeping the values of an open public space

概念——城市混合功能型建筑

不管是街區(qū)還是廣場，它們作為設計的出發(fā)點，體現(xiàn)著場地上兩個矛盾的傳統(tǒng)。城市混合功能型建筑的設計既將這塊區(qū)域圍合起來形成一個街區(qū)，同時也保留了其公共開放空間的功能。廣場上平坦的部分作為交響會場和教堂的前景，廣場的地面在兩個對角處被抬升，一處作為博物館基礎設施，另一處形成人造山丘，以圍合城市內部空間，隔絕街道的喧囂吵鬧。而建筑與城市之間不存在明確定義的邊界。

3 音樂廳方向的剖面圖Section with the view on philharmonic hall

4 教堂方向的剖面圖Section with the view of the church

建筑物——結構與機制（可移動的墻體）

由于建筑依附地形而建，因此博物館在形式上作為廣場混凝土地面的延續(xù)，覆以長方形的瓦片。在被抬起的一角，這些瓦片聚集在一起構成了三維的體塊。當博物館開放時，整個龐大的建筑體系就會改變其形態(tài)：一些建筑立面上的板塊開始旋轉，形成通向兩個入口的廊道；順應廣場曲率而形成的下挖坡道成為博物館的第3個入口。建筑的地面層作為廣場的延伸，具有入口門廳的作用。

展覽——以藝術的方式講述歷史

展覽空間藏于地下。當人們走下樓梯，來到混凝土磚塊的盡頭，仿佛身處一片黑暗之中，這里展示著自二戰(zhàn)以來什切青市的歷史，講述著當時發(fā)生在波蘭的歷史事件及其與世界的聯(lián)系。在展覽歷史的同時，基于純粹的信息，通過藝術家的杰作，設計添加了一條敘事結構，包括博物館開幕前的作品，以及專為此場地的創(chuàng)作。此舉使展覽變得更豐富廣泛，受眾更普遍。展覽中黑暗的環(huán)境讓人集中注意力于展覽的內容，創(chuàng)新的展示手法將這個普通的歷史博物館變成了一個藝術博物館。

5 底下藏有博物館的被抬起的一側This is the view from the uplifted corner with the museum inside

6 音樂廳與教堂前的前景Foregrounds were created in front of the philharmonic hall and the church

廣場—地形引導了社會的交流與互動

從前，廣場僅作為紀念歷史的場所，而重建工作的開展使得它對于居民來說開始變得具有吸引力，同時鼓勵著人們更好地使用它。人造山丘為人們提供了探索城市的新視角，迎接著前來徒步旅行、享受日光浴的人們。傾斜的地面激發(fā)了多種多樣的活動：對于滑板愛好者來說，這是一個理想的訓練場，冬天，廣場可以作為雪橇的滑行軌道。同時，廣場也保留著它原先的象征意義——每年舉辦慶典活動的時候，紀念碑都能吸引許多老兵，盡管這不作為廣場的主要用途。如今，這片區(qū)域已經(jīng)成為一個讓各個年齡段使用者和不同社會群體共存的友好型城市空間。

(編輯/劉藍藍)

7 從音樂廳的一側看這塊場地，我們可以看到右側山丘將廣場與街道交通隔離開，左側博物館隱藏在廣場抬起的一角下面。廣場與邊角處均有進入博物館的入口Looking from the side of the Philharmonic Hall on the right, we can see a hill, that separates the square from the street traffic, on the left there is smoothly uplifted corner with the museum hidden inside. Entrance from the square as well as from the corner are leading to the museum

設計單位：KWK Promes建筑事務所，建筑師羅伯特·科尼采尼，米歇爾·利辛斯基，多蘿·祖克，卡塔日娜·弗魯卡林斯卡

合作者：建筑師亞歷克桑德拉·斯托爾卡，皮厄特勒·托卡斯基，亞當·拉德齊姆斯基，喬安娜·彼得納，馬格達萊娜·亞當卡扎克

總承包商：斯堪斯卡公司

投資方：什切青市國家博物館

場地面積：9577m2

建筑占地面積：1628m2

可用樓層面積：2117m2

展覽面積：960m2

容積：15845m3

競賽時間：2009年

項目時間：2010—2011年

建造時間：2012年1月—2016年2月

翻譯：陳雨茜

校對：張希

8 由于地形的存在，建筑屋面上吸引了各種各樣活動的發(fā)生，例如騎行、輪滑，甚至是在冬天滑雪橇，因為這是城市中唯一的一塊山丘Due to its topography, the building is also a place for such activities as riding on the bike, skating or, during the winter, riding on a sledge, cause it is the only one hill in the city

9 人們可以從廣場以及邊角兩處入口進入博物館，事實上，整個屋面都是廣場的延續(xù)，是一個巨大的入口空間。有趣的是當博物館關閉時，廣場上的入口變得更加醒目，因為它的存在似乎打斷了廣場整體的結構，而角落的建筑則像一塊單一的墻體It's possible to enter the museum from both sides: square's and corner's because actually the whole ground floor is an extension of the square and one big entrance zone. What's interesting is that once the museum is closed the entrance from the side of the square is more pointed out because it's a cut in its structure while the corner seems to be a monolithic wall

Historical and Spacial Context

Szczecin is one of the largest victims of historical violence in Poland. Until 1945, the city lay within the borders of Germany, after which it was suddenly incorporated into Poland.Instant exchange of its population deconstructed the social fabric and distorted the city’s identity.Before the war, the current Solidarno?ci Square was the showcase of the city, featuring a quarter of representative tenements, enclosed by the Konzerthaus in the North. During bombing raids of the Allied forces the quarter and its vicinity ceased to exist, creating a gap in the urban tissue.Furthermore, this fragment of the city was cut through by a transportation route. This quasisquare became the arena for worker protest in 1970, which was brutally paci fi ed, and 16 protesters were killed. From that moment on, this place became a symbol of fi ght for freedom.

For years, the Solidarno?ci Square had been a square by name only — with vague borders, open frontages, burdensome busy street neighborhood and the absence of a de fi ned function, despite the dominating one — to commemorate the events of December 1970, where the place was provided a monument in 2005. In the 21st century, the area became the arena of significant architectural interventions. In 2014, the former Konzerthaus was replaced by a new philharmonic venue designed by Estudio Barozzi Veiga. The building became the new city icon, winning the main Mies van der Rohe award in 2015.

The next initiative, which contributed to changing the perception of the space was the National Museum’s Dialogue Centre “Prze?omy”,devoted to the history of Szczecin. When designing the Museum we set our mind humble to the history of the place and the new city icon closeby. Thus,the idea to hide the museum underground to create a background architecture.Idea—Urban Hybrid

Two contradictory traditions: of a quarter and of a square were the point of departure for the design, an urban design hybrid which encloses the space as a quarter, while retaining the values of open public space. The flattened areas of the square create foregrounds in front of the philharmonic and the church. The quarter forms in oposite corners as elevated square fl oor. The one elevation houses the museum facillity, the other one is an arti fi cial hill, closing up the urban interior and shielding it from the tumult of the busy street.There is no de fi nite boundary between architecture and ubanism.

Building—Structure and Mechanisms(Movable Walls)

The architecture follows topography, hence the museum’s form is a continuation of the concrete fl oor of the square which is covered with rectangular tiles. In the elevated corner these tiles gain 3rd dimension, becoming cuboidal blocks. The whole makes a monolith that transforms when the museum opens. Some of the vertical plates rotate,thus creating the arcades unveiling two entrances.The third entrance is determined by a ramp carved in the square’s curvature. Ground fl oor is a square’s extension and it functions as an entrance hall.

10 博物館的入口藏在可移動、可旋轉的墻體中，吸引了許多學校前來參觀Entrances to the museum are hidden behind the movable, rotating walls, which, as you can see, are the attraction for the school trip

Exhibition—History Told with Art

The exhibition space is hidden underground.When we go down the stairs the concrete ends and we submerge in blackness that is a background for the tale of Szczecin since the II world war, in a connection of what was happening in Poland and the rest of the world. Simultaneously with the historic exhibition, based on pure information, we add a narration spinned by artists’ masterpieces —both, the works from long before the museum was opened, and the ones intentionally created for this venue. This kind of attempt allowed the exhibition to become wider and more universal. The blackness allows to focus on presented objects while giving the impression of an infinite space. This brand new formula for the exhibition makes a historical museum an art museum as well.

Square—Topography Encouraging Social Interactions

Before, the square was only to commemorate the history — as a result of redevelopment this part of the city became attractive for the other(remaining) habitants. Yet, its open formula encourages its users to express their impact.Artificial hills provide an opportunity for discovering new outlooks on the city, welcome walking tours and invite to sunbathing. The slanted fl oor inspires various activities: for skateboarders,this is the ideal spot to practice. In the winter, the square serves as a sled track. The yard has retained its symbolic dimension — the monument is still attracting veterans during annual celebration events— it is not dominating aspect after all. Today, this urban space is a place of amicable coexistenceof different age and societal groups.

11 門關閉后，我們能感受到建筑巨大、單一的體量After closing, we are getting the impression of monolith

12 當建筑開啟時，部分墻體垂直于建筑立面。從一側觀賞建筑，你僅僅能感受到一個強調入口的巨大的單一體。只有正對著建筑立面站立，你才能發(fā)現(xiàn)墻后裝有玻璃的內部空間Once the buildingis open the walls are brought into a position perpendicular to the elevation.Viewing the building from anangle, especially viewing the corner, you get an impression of a monolith, only with more emphasized entrance. Not until you stand perpendicularly to the elevation you notice that there is a glazed interior hidden behind the walls

13 為了建筑的純凈與統(tǒng)一感，所以所有的出入口都是相同的。它們隱藏在可移動、可旋轉的墻體中，線型上延續(xù)了廣場的鋪裝We cared about the building's purity and homogeneity so all entrances and exits are equivalent. From bothsides, they are hidden behind moveable, rotatable walls continuing squares labs' divisions

14 有時候建筑的屋頂變成一塊巨大的黑板，孩子們在上面留下彩色的圖畫Sometimes the roof of the building turns to be a huge blackboard on which children left some colorful ornaments

Authors of the square: KWK Promes, architects Robert Konieczny, Micha? Lisinski

Authors of the competition entrance:

Robert Konieczny, Dorota Zurek, Katarzyna Furgalinska

Collaboration: architects Aleksandra Stolecka, Piotr Tokarski,Adam Radzimski, Joanna Biedna, Magdalena Adamczak

General contractor: Skanska

Investor: National Museum in Szczecin (Muzeum Narodowe w Szczecinie)

Site area: 9577 m2

Gross covered area: 1628 m2

Usable floor area: 2117 m2

Exhibition surface: 960 m2

Volume: 15845 m3

Competition: 2009

Project: 2010—2011

Construction: January 2012—February 2016

Translator: CHEN Yu-xi

Proofreader: ZHANG Xi

National Museum in Szczecin Dialogue Centre Przelomy

KWKPromes