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马尼萨解放博物馆丨土耳其丨Yalin Architectural Design

2025/12/17 07:00:00

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马尼萨解放博物馆（MKM）被构想为一处记忆空间，用以传达1918年至1923年间，在马尼萨地区脱离中央权力而独立发展起来的平民大众运动。

Liberation Museum of Manisa (MKM) was conceived as a memory space to convey the civilian popular movement that developed independently of central authority in the region of Manisa between 1918 and 1923.

▼项目概览，overview of the project©Hacer Bozkurt

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▼鸟瞰，aerial view ©Hacer Bozkurt

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▼顶视，top view ©Hacer Bozkurt

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▼局部顶视，part top view ©Hacer Bozkurt

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设计将火灾后遗存的承重砌体、石材与砖结构痕迹，与马尼萨自古典时期延续至今的地方砖构传统相结合。14个完全采用承重结构建造的独立砖室，以连续的空间序列呈现不同时刻的历史片段。

The design merges the traces of the surviving load-bearing masonry, stone, and brick structures post-fire with Manisa’s local brick tradition, which stretches back to archaic periods. The 14 independent brick chambers, constructed entirely using the load-bearing technique, present different historical moments as a sequential experience.

▼建筑外观，building appearance ©Hacer Bozkurt

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▼项目周边，surrounding of the project ©Hacer Bozkurt

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这一序列通过强化各个空间独特的情绪状态，体现特定的历史转折节点。砖拱、穹顶、拱顶及帐篷状覆盖体共同营造出明暗、狭阔、高低等多重空间张力。每个房间的几何形态均由其独特细部所塑造。由此，参观者不仅通过阅读理解历史事件，更通过身体感知体验空间所承载的历史。▼手绘，sketch© Yalin Architectural Design

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This sequence embodies specific historical turning points by foregrounding the distinct emotional state of each space. Brick arches, vaults, domes, and tent-shaped coverings create varying spatial tensions such as dark–light, narrow–spacious, and low–high. The geometry of each room is shaped by unique details. In this way, visitors experience the period’s events not just by reading, but by physically sensing the embodied nature of the space.

▼入口，entrance ©Hacer Bozkurt

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▼主入口大厅，the main entrance hall ©Hacer Bozkurt

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在建造过程中，首先为各个空间建立混凝土基础，随后采用两种不同尺寸的砖块进行砌筑。接着制作木质模具，并在最后阶段于模具之上砌筑承重砖墙。在这些拱顶、帐篷形或穹顶空间中，当模具被拆除时，砖砌内表面的节奏首次完整显现，为建造过程赋予了一种独特而富有惊喜的品质。

In the construction process, a concrete base was first established for the chambers, which were built with two different brick dimensions. Following this, wooden molds were prepared, and in the final stage, the load-bearing brick walls were laid over these molds. In these vaulted, tent, or dome-shaped rooms, the rhythm of the brickwork on the inner surfaces was fully revealed for the first time when the molds were removed, lending a uniquely surprising quality to the construction process.

▼砖拱，vaults©Hacer Bozkurt

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▼穹顶空间，vaults space©Hacer Bozkurt

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▼穹顶，vaults©Hacer Bozkurt

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人们通过一条三岔坡道下行进入这一半地下的近历史叙事空间。主入口大厅被设计为一种半椭圆、边界不明确的空间形态。混凝土拱板与砖拱共同构成这一入口空间，其形态令人联想到鲸鱼腹腔。该核心空间作为一个大型前厅，连接至多个不同区域。从这里出发，围绕马尼萨从第一次世界大战、焚毁直至重建的连续历史进程，通过9个具有不同情绪强度的叙事空间展开。▼剖面手绘，section sketch© Yalin Architectural Design

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One descends into this semi-underground near-history narrative space via a three-pronged ramp. The main entrance hall was designed as a semi-elliptical, undefined form. Concrete vault slabs and brick arches characterize this entrance, reminiscent of a whale’s belly. This central space serves as a large foyer connecting to various other areas. From here, the continuous process of Manisa—from the context of World War I to its burning and subsequent reconstruction—is narrated across 9 different story rooms with varying emotional intensities.

▼展览空间，exhibition space©Hacer Bozkurt

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建筑的上部完全由承重砖构成，被设计为一处公共公园空间。穿行其间的市民或许并未察觉脚下所承载的沉重历史叙事。然而，构成博物馆的空间以土丘与障碍物的形式在公园中显现，使整个公园转化为一个具有内部空间分隔的花园。

The upper level of the structure, which is entirely load-bearing brick, was designed as a public park space. The city dwellers moving through this park may be oblivious to the weighty historical narrative beneath them. However, the spaces that form the museum emerge within the park as mounds and obstacles, transforming the park into a garden with its own internal compartmentalizations.

▼花园，park©Hacer Bozkurt

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博物馆的核心目标，是将马尼萨在不久前经历的巨大创伤与重生历程传达给各年龄层的市民与访客。为此，设计运用了多样的建筑与空间叙事手段，从以信息传达为主的展厅，到具有强烈感官体验的空间，再到强调装置性表达的叙事方式，构建出丰富的体验谱系。▼轴测手绘，axonometric sketch© Yalin Architectural Design

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The primary goal of the museum is to transmit the immense trauma and the saga of resurgence that Manisa, continuing its life right next door, experienced in the very recent past, to citizens and visitors of all ages. Diverse architectural and spatial narrative devices were utilized for this conveyance, spanning a spectrum from information-focused rooms to spaces with high sensory tones, and narratives where the character of an installation is prominent.

▼承重砖墙，load-bearing brick walls ©Hacer Bozkurt

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▼走廊，corridor©Hacer Bozkurt

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马尼萨解放博物馆可被视为一种多层次、半古典气质的建筑介入，它试图在过去、现在乃至未来之间建立联系。

The MKM can be described as a multi-layered, semi-archaic architectural insertion that strives to forge connections between the past, the present, and even the future.

▼平面手绘草图，plan sketch© Yalin Architectural Design