由专筑网韩平，刘庆新编译
来自事务所的描述：2015年标志着Andrzej Wajda在《Tygodnik Powszechny》杂志采访中，宣布在克拉科夫建立日本艺术科技博物馆来展览Feliks ‘Manggha’ Jasieński收藏的日本美术品，已经有28年之久。1994年，随着这栋新建筑的开放，没有人会想到这个新设施会彻底煽动一系列艺术家们对克拉科夫新建筑的思考和建设，包括在新的文化和教育机构方面。此后的项目都颠覆着人们的想象力，最具代表性的是由Wajda设计的作品：花园茶馆，日本语言学校，Wyspiański2000年纪念馆，以及最近的新项目——作为Manggha博物馆的展览附馆，称做欧洲——远东美术馆。
From the architect. The year 2015 marks twenty-eight years since the publication of Tygodnik Powszechny magazine’s interview in which Andrzej Wajda announced his intention to create a Museum of Japanese Art and Technology in Kraków – a permanent venue for exhibiting Feliks ‘Manggha’ Jasieński’s collection of Japanese art. In 1994, during the opening of the new building, nobody would have thought that the new facility would initiate a whole series of the artist’s ideas instigating the creation of new architecture in Krakow, along with new cultural and educational institutions. Following that project, which was unprecedented in every possible way, more were launched on Wajda’s inspiration: the Tea Pavilion with a garden, the Japanese Language School, the Wyspiański 2000 Pavilion, and now the most recent development – an exhibition annex to the Manggha Museum called Europe–Far East Gallery.
© Krzysztof Ingarden
© Krzysztof Ingarden
© Krzysztof Ingarden
由于Manggha收购了ul. Konopnickiej附近与它相邻的一小块土地，所以2004年萌生了盖一栋新建筑的想法。恰逢波兰进入欧盟，该项目发起人的主要目的是扩大文化艺术及展览活动的范围，由波日交流扩大为欧洲——远东的交流。新的展览空间主要用于展示欧洲艺术和东南亚，包括印度半岛的文化。美术馆计划为新老艺术都提供展示场所。
新的美术馆有两个展示场所分布在上下两层。正如Manggha博物馆管理者所期望的那样，展览空间都是经典的白色立方体空间，在表达上也尽可能得中立以适应大多数现代艺术多元化的表现形式。
Manggha博物馆非常缺乏这样的空间，因为主要展览空间的特点要与展示历史艺术品的特定要求相匹配，尤其在纸张方面，需要一些特殊要求，使用专用照明，对湿度和温度也要精确控制等。这些特殊要求限制了展示当代艺术的可能性。新建筑打破了以往的限制，使策展人可以更自由地使用空间，组织不同类型的展览活动。
此外，美术馆提供了完善的备展服务设施，包括储藏间，馆长办公室，室内专用停车空间等。
The idea for the new building came up in 2004 in connection with the Manggha Museum’s acquisition of the small plot of land adjacent to its site, along ul. Konopnickiej. The project initiators’ main objective was to broaden the scope of its intercultural artistic and exhibition activities – from Polish-Japanese to European-Far Eastern – which coincided with Poland’s accession to the European Union. The new exhibition space was intended for presentations of European art and the cultures of Southeast Asia, including the Indian Peninsula. The programme of the Gallery provides for shows of old and recent art. The new building has two exhibition rooms on two storeys. As intended by the management of the Manggha Museum, both are classic white cube spaces, as neutral in expression as possible, to allow for the display of various forms of mostly modern art. The Manggha building has keenly felt the lack of this kind of room because the characteristics of its main exhibition space were tailored to the requirements specific to the display of historic art, particularly paper, which called for the use of special showcases, dedicated lighting, and appropriately controlled humidity levels and temperatures. The narrow specification of those conditions limited the possibilities for exhibiting contemporary art. The new building is boosting the scope of potential displays considerably, allowing the curators much greater freedom in terms of use of space and types of exhibition projects. Furthermore, the Gallery is fitted with infrastructure required for the preparation of exhibitions, as well as storage space, offices for curators, and dedicated parking spaces inside the building.
© Krzysztof Ingarden
Floor Plan/平面图
Floor Plan/平面图
Floor Plan/平面图
© Krzysztof Ingarden
© Krzysztof Ingarden
建筑形式
Manggha博物馆的屋顶是基于几何双曲面的几个并列水平抛物线的特殊形式，整个建筑体量比较完整。任何想要补充或扩展原有组合的动作无疑会打破现有的和谐。新的建筑应该努力贴近旧建筑，就我而言，应该尊重并突出主体建筑的独特性，创造一个合理的建筑背景，对外部环境进行补充和引导。
因此，Manggha博物馆在形式和功能上仍处于主导地位，在规模和组合上处于次要地位。新建筑的外形尽可能得远离Manggha博物馆的主入口和基地，以免挡住ul. Konopnickiej现有建筑的景观。新建筑高度与原博物馆起伏的屋顶齐平。设立了单独的入口，入口空间由楼梯、残疾人坡道及一个可以用于建筑室外展览和艺术活动的露台构成。露台的位置突出了Manggha博物馆入口前的公共活动空间，两栋建筑立面分隔的空间也增加了一个城市室内交往空间。露台以下的空间成为室内停车场。美术馆一楼的护墙是对原有博物馆北墙边缘的延续，屋顶的高度——护墙的高度——都在博物馆凸出的天窗之下。建筑立面由简单的玻璃配上砂岩饰面，呼应了Manggha 博物馆现有地外部元素——坡道及楼梯。南立面的上部空间与博物馆前残疾人坡道的栏杆在一条对角线上。通过对建筑平静、简单及含蓄的表达，利用新结构形式为主体建筑提供了严谨的背景，突出了建筑表达形式的特点。
THE FORM OF THE BUILDING
The main building of the Manggha Museum is a composition, with a sophisticated and unique roof form, characterized by a juxtaposition of several planes based geometrically on the hyperbolic paraboloid. Any action seeking to complement or extend this composition would involve the danger of interrupting its unquestionable harmony. New design efforts in the proximity of the main building should, in my opinion, respect and highlight its uniqueness and create merely a reasonably neutral architectural background that complements and orders the surroundings. Thus the Manggha Museum building remains the dominant element in formal and functional terms, and it is to it that the scale and composition of the new building are subordinated. Its shell has therefore been removed as far as possible from the approach to the Manggha’s main entrance and situated so as to prevent it from blocking the view of the existing building from ul. Konopnickiej. The height has been aligned to the scale of the undulating roof of the Manggha. A separate entrance zone has been designed for the Gallery, with its own stairs, a disabled ramp, and a terrace which can be used for exhibition and artistic activities outside the building. The situation of the terrace augments the public space in front of the Manggha and creates an additional urban interior, delimited by the façades of the two buildings. The space under the terrace accommodates an indoor car park. The parapet line of the first floor is a continuation of the edge of the Manggha Museum’s northern wall, and the height of the roof – the parapet of the upper storey – is below the level of the upper part of the skylights in the Museum building. Made up of simple glass and sandstone surfaces, the façades are composed in correspondence with the analogous forms of the existing outdoor architectural elements in front of the Manggha – the ramps and the stairs. The diagonal upper part of the south elevation corresponds to the diagonal lines of the balustrades on the ramps in front of the Museum building. Calm, simple and reserved in expression, the architectural form of the new structure provides a discreet background for the main building, thus foregrounding its characteristic architectural expression.
© Krzysztof Ingarden
从ul. Konopnickiej看过去，建筑外轮廓线与路沿和人行道方向平行，开创了从道路到Dębnicki桥沿街面的先河。建筑北部和东部及两侧坐落着日本语言学校，它是对建筑的延续,由Kyoto-Krakow基金会在2004年筹建。学校护墙的高度与美术馆的立面保持一致。
Along ul. Konopnickiej, the proposed side line of the building corresponds to the direction set by the curb and pavement, initiating a new alignment of the frontage along the street towards the Dębnicki Bridge. To the north and east, the building is flanked by, and constitutes an architectural continuation of, the Japanese Language School, erected by the Kyoto–Krakow Foundation in 2004. The height of the parapet of the School building is continued by the line of the cornice on the adjacent fragment of the proposed Gallery’s façade.
© Krzysztof Ingarden
© Krzysztof Ingarden
结构
该美术馆地上三层，地下一层，功能复杂。该建筑组件的结构布局是复杂和异构的。不仅因为位置及选址的复杂几何地形，还因为建筑本身功能复杂和毗邻现有建筑。主要结构元素有钢筋混凝土板、板和柱。在地下一层，支撑结构是钢筋混凝土墙外的封闭系统，由25厘米厚度及20到25厘米不同厚度额内墙板构成。地下室墙面的布局主要由基础板和“零”板组成箱体将荷载传递到地面，同时将压力传递到外墙。外墙和基础地面由防水混凝土浇筑，具有防水功能。一层的支撑结构由25厘米厚度及20到25厘米不同厚度额内墙板构成。第二层的结构是由25厘米厚的板和外墙及突出的前壁构成。其余的墙,根据其自身高度附加悬臂板成为侧墙的扩展。这种“梁、板、柱”的结构体系，将所有的压力和所需的空间刚度均匀得分到各个结构，并及时转移到地面。
THE STRUCTURE
The Gallery building has three storeys above the ground and one underground level, used for a wide variety of functions. The structural layout of the components making up the proposed facility is complex and heterogeneous. This has been caused by the location and the complex geometry of the site, but also by the multifunctional nature of the facility and the immediate proximity of existing buildings. The main structural elements are reinforced concrete slabs, plates and columns. At the basement level, the supporting structure is provided by a closed system of outer reinforced concrete walls, 25 centimetres thick, and inner walls of varying thickness, between 20 and 25 centimetres. The layout of the basement walls together with the foundation slab and the ‘zero’ deck form a rigid box transferring the load to the ground, as well as conveying the stress from the outer walls. The outer walls and the foundation slab constitute a watertight basin, made of water-resistant concrete. The supporting structure of the first storey (ground floor) comprises the outer walls, 25 centimetres thick, and inner walls of varying thickness, between 20 and 25 centimetres. The structure of the second storey is formed by the 25-centimetre slab and the outer walls, each 25 centimetres thick, and the protruding front wall, also 25 centimetres thick. The latter wall, which is not continued downwards, is attached along its height to cantilever plates, which are extensions of the side walls. This structural system – plates, slabs and columns – has the spatial rigidity required to convey all the stresses and distribute the loads evenly when transferring them to the ground.
© Krzysztof Ingarden
© Krzysztof Ingarden
© Krzysztof Ingarden
© Krzysztof Ingarden
© Krzysztof Ingarden
© Krzysztof Ingarden
© Krzysztof Ingarden
Site Plan/场地平面图
Floor Plan/平面图
Elevation/立面图
Section/剖面图
Sketch/草图
Sketch/草图
© Krzysztof Ingarden
建筑设计：Ingarden & Ewý Architekci
地点：波兰，克拉科夫
合作设计者：Jacek Ewý
面积：2675.0平方米
项目时间：2015年
摄影：Krzysztof Ingarden
IEA建筑师团队：Jacek Dubiel, Piotr Hojda, Sylwester Staniucha, Sebastian Machaj, Piotr Urbanowicz, Bartosz Haduch, Sylwia Gowin, Dariusz Grobelny, Tomasz Żełudziewicz, Enio Ferreira, Jakub Wagner, Jakub Turbasa, Marcin Głuchowski, Michał Konarzewski
室内设计：Ingarden & Ewý Architekci
室内设计师：Agnieszka Cwynar-Łaska, Marta Spodar
景观设计：Land-Arch / Karolina Bober, Małgorzata Tujko
结构工程设计：GSBK Biuro Konstrukcyjne – Mariusz Szefer, Samsoor Shaheed, Przemysław Ruchała
电气安装：Hamel Biuro Projektowe – Stanisław Hamerski, Piotr Kmietowicz, Bogdan Milka, Gabriel Barut, Insap – Arkadiusz Milka, Tomasz Żuk
给排水：Bestpro – Beata Stępień, Tomasz Widuch
暖通空调，中央供暖系统：Introinstal – Ireneusz Doncer, Piotr Petryk, Małgorzata Kurek
道路设计：Zdzisław Krzysztoforski
总承包商：Przedsiębiorstwo Budownictwa Przemysłowego „Chemobudowa – Kraków” SA Wiesław Żurowski, Jerzy Mendel, Kazimierz Łącki, Tomasz Gawor, Ryszard Słowik, Michał Pietras, Robert Poliński
合作工程师：Portico Project Management sp. z o.o. i Wspólnicy sp.k. Zbigniew Boroń, Jurand Podgórny, Agnieszka Jasińska, Bogusław Mróz, Wacław Bednarczyk, Sabina Rzeszutek
Architects: Ingarden & Ewý Architekci
Location: Kraków, Poland
Co-designer: Jacek Ewý
Area: 2675.0 sqm
Project Year: 2015
Photographs: Krzysztof Ingarden
IEA Team of Architects: Jacek Dubiel, Piotr Hojda, Sylwester Staniucha, Sebastian Machaj, Piotr Urbanowicz, Bartosz Haduch, Sylwia Gowin, Dariusz Grobelny, Tomasz Żełudziewicz, Enio Ferreira, Jakub Wagner, Jakub Turbasa, Marcin Głuchowski, Michał Konarzewski
Interior Design: Ingarden & Ewý Architekci
Interior Designers : Agnieszka Cwynar-Łaska, Marta Spodar
Landscaping Design: Land-Arch / Karolina Bober, Małgorzata Tujko
Structural Engineer: GSBK Biuro Konstrukcyjne – Mariusz Szefer, Samsoor Shaheed, Przemysław Ruchała
Electrical Installations: Hamel Biuro Projektowe – Stanisław Hamerski, Piotr Kmietowicz, Bogdan Milka, Gabriel Barut, Insap – Arkadiusz Milka, Tomasz Żuk
Water Supply & Sewerage: Bestpro – Beata Stępień, Tomasz Widuch
HVAC, Central Heating: Introinstal – Ireneusz Doncer, Piotr Petryk, Małgorzata Kurek
Road Design: Zdzisław Krzysztoforski
General Contractor: Przedsiębiorstwo Budownictwa Przemysłowego „Chemobudowa – Kraków” SA Wiesław Żurowski, Jerzy Mendel, Kazimierz Łącki, Tomasz Gawor, Ryszard Słowik, Michał Pietras, Robert Poliński
Contract Engineer: Portico Project Management sp. z o.o. i Wspólnicy sp.k. Zbigniew Boroń, Jurand Podgórny, Agnieszka Jasińska, Bogusław Mróz, Wacław Bednarczyk, Sabina Rzeszutek
出处：本文译自www.archdaily.com/，转载请注明出处。
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