波兰团结广场博物馆，历史与艺术的交融

© Juliusz Sokołowski

c.Juliusz Sokołowski

架构师提供的文本描述。Szczecin是波兰历史暴力的最大受害者之一。直到1945年，这座城市一直位于德国境内，此后它突然并入波兰。人口的即时交换破坏了社会结构，扭曲了城市的身份。战前，目前的Solidarnoś词广场是这座城市的橱窗，有四分之一的代表公寓被北方的Konzerthauss所包围。在轰炸盟军部队期间，该地区及其附近地区不复存在，在城市组织中形成了一条鸿沟。此外，这一城市的碎片被一条交通路线切断。1970年，这个准广场成了工人抗议的场所，遭到残酷的镇压，16名抗议者被打死。从那一刻起，这个地方就成了为自由而战的象征。

Text description provided by the architects. 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 Solidarności 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 quasi-square became the arena for worker protest in 1970, which was brutally pacified, and 16 protesters were killed. From that moment on, this place became a symbol of fight for freedom.

© Juliusz Sokołowski

c.Juliusz Sokołowski

© Jakub Certowicz

c.Jakub CerTowicz

多年来，团结广场(Solidarności Square)一直只是一个名义上的广场-边界模糊，边界线开阔，街道繁忙，尽管有着主导的功能，但却没有明确的功能来纪念1970年12月的事件，在那里，这个地方在2005年获得了一座纪念碑。在21世纪，该地区成为重要的建筑干预的舞台。2014年，由Estudio Barozzi Veiga设计的新爱乐场馆取代了前Konzerthausus。这座建筑成了新城市的标志性建筑，并在2015年获得了主要的米斯·范德洛奖(Mies Van Der Rohe)。

For years, the Solidarności Square had been a square by name only – with vague borders, open frontages, burdensome busy street neighborhood and the absence of a defined 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.

© Juliusz Sokołowski

c.Juliusz Sokołowski

© Juliusz Sokołowski

c.Juliusz Sokołowski

下一项有助于改变空间观念的倡议是国家博物馆的对话中心“przełom”，致力于Szczecin的历史。在设计博物馆时，我们对这个地方的历史和这座新城市的标志性建筑-近距离建筑-保持着谦卑的态度。于是，把博物馆藏在地下，创造出一种背景建筑。

The next initiative, which contributed to changing the perception of the space was the National Museum's Dialogue Centre “Przełomy”, 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.

© Juliusz Sokołowski

c.Juliusz Sokołowski

两个相互矛盾的传统：四分之一和广场是设计的出发点，一个城市设计的混合体，把空间作为四分之一，同时保留开放公共空间的价值。广场被夷为平地，在爱乐乐团和教堂前形成了森林。该季度形成在斜面角作为高架方形地板。其中一处是博物馆的立面，另一处是一座人造山丘，关闭了城市内部，并保护它免受繁忙街道的喧嚣。建筑和乌班主义之间没有明确的界限。

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 floor. The one elevation houses the museum facillity, the other one is an artificial hill, closing up the urban interior and shielding it from the tumult of the busy street. There is no definite boundary between architecture and ubanism.

© Juliusz Sokołowski

c.Juliusz Sokołowski

Courtesy of KWK Promes

KWK Promes提供

建筑遵循地形图，因此博物馆的形式是广场混凝土地板的延续，广场上覆盖着长方形的瓷砖。在高架角，这些瓷砖获得了三维，成为立方体块。当博物馆开放时，整个建筑形成了一个巨石。一些垂直板旋转，从而创造了两个入口的拱廊揭幕。第三个入口是由刻在广场曲率上的坡道决定的。一楼是广场的延伸部分，用作入口大厅。

The architecture follows topography, hence the museum's form is a continuation of the concrete floor 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 floor is a square's extension and it functions as an entrance hall.

展览空间隐藏在地下。当我们走下楼梯，混凝土的尽头，我们淹没在黑暗中，这是自第二次世界大战以来，在波兰和世界其他地方发生的故事的背景。在历史展览的同时，我们以纯粹的信息为基础，增加了艺术家杰作的叙事-既包括博物馆开放前的作品，也包括有意为这座博物馆创作的作品。这种尝试使展览变得更广泛和更普遍。黑度允许集中在呈现的物体上，同时给人无限空间的印象。这个全新的展览模式也使历史博物馆成为艺术博物馆。

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.

© Juliusz Sokołowski

c.Juliusz Sokołowski

Floor Plan

© Jakub Certowicz

c.Jakub CerTowicz

在此之前，广场只是为了纪念历史-由于重建，这部分城市对其他(剩余的)居民变得有吸引力了。然而，开放的公式鼓励用户表达他们的影响。人造山丘提供了一个机会来发现城市的新景色，欢迎步行游览，并邀请参加日光浴。倾斜的地板激发了各种各样的活动：对于滑板运动员来说，这是练习的理想地点。冬天，广场就像雪橇一样。院子里保留着它的象征意义-这座纪念碑在每年的庆祝活动中仍然吸引着老兵-毕竟它并不是占主导地位的地方。今天，这个城市空间是不同年龄和社会群体友好共存的地方。

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 floor 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 coexistance of different age and societal groups.

Courtesy of KWK Promes

KWK Promes提供

Architects KWK Promes

Location Szczecin, Poland

Category Public Architecture

Competition Entry Lead Architects Robert Konieczny, Katarzyna Furgalińska, Michał Lisiński, Dorota Żurek

Square and Building Lead Architects Robert Konieczny, Michał Lisiński

Area 1628.0 m2

Project Year 2016

Photographs Juliusz Sokołowski, Jakub Certowicz

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