本文转载自IMPstudio

二战之前的什切青市归属于德国，如今博物馆所在之地耸立着一座城市街区住宅。建筑在战争中被炸毁，战后城市的归属权移交于波兰，而这片战争废墟渐渐变成了开阔的城市广场。在1970年12月，罢工工人在此与军警发生暴力冲突，并最终导致16名人员伤亡。这些事件赋予了这片土地不一样的政治意义，逐渐变成了人们为自由而战的象征。广场上高耸的纪念碑不断地提醒着民众其意义所在，也使其成为打造什切青市近代历史博物馆的最佳场所。由Estudio Barozzi Veiga所设计的什切青交响乐厅伫立在对侧的街角处，俨然成为了城市的新地标，因而KWK PROMES的建筑师决定退而求其次，以第二方案避免了相邻建筑的针锋相对。

Before the WWII, Szczecin was a german city and location of our museum used to be a urban quarter. During the war, due to air raids, a quarter was destroyed. After war, Szczecin became a polish city, meanwhile an empty square accidentally appeared in place of a former quarter. In December '70, there were bloody clashes against the militia with tragic results of 16 fatalities. Since those events, a square has became a symbol of the fight for freedom, which is commemorated by a monument over there. Thus, an idea of a museum of the latest history of Szczecin in that place came up. Philharmonic Hall, designed by Estudio Barozzi Veiga was meant to be built on the opposite side of the street. Even then, we concluded, that this new building would become the new icon of the city, so we decided to step aside to the second plan with our museum design.

▽ 城市博物馆的起伏广场，A museum in the city center



▽ 教堂、博物馆与交响乐厅，The church, museum and the Philharmonic Hall



方案将这片场地战前住宅群与战后广场两种截然不同的状态糅合在一起，在城市中心创造了一个新的综合体，封闭的围合空间可作为建筑使用，但同时又维持其作为开放空间对城市的宝贵价值。

A building is bringing together two contradictory traditions – prewar urban quarter and postwar square. That is how an urban hybrid was created – it encloses the space as a quarter, keeping the values of an open public space.

▽ 设计概念，Concept



建筑师从原有广场空间出发，希望能够为相邻的交响乐厅与教堂创造与之相配的前景。而与相邻建筑错开的两个对角微微上扬，一侧覆盖着博物馆空间，另一侧则如同山峦般隔开了繁忙的城市街道与广场，在空中划出一道柔和的曲线。

We needed some foreground in front of the philharmonic hall and the church, so that we stayed there on the level of existing square. Former quarter is marked on the opposite corners by smooth uplifts of the square. One of them contains a museum and another one works as a hill, protecting square from the busy street.

▽ 广场的两个对角空间微微上扬，The opposite corners uplift smoothly





如同露天剧场般起伏的广场空间被安置在城市的中心。灰白色的混凝土覆盖了从铺地到立面的每一个角落，单一的材料选择使得这片城市空间更为统一与完整。

As a result, an amphitheatric space of the square was created. To receive a monolithic character of the whole design, we attributed one material – concrete – to it, so on the material division of the square floor go in elevation.

▽ 藏于其下的博物馆空间，One of the uplift contains a museum



▽ 单一的材料选择使得这片城市空间更为统一与完整，The concrete brings a monolithic character of the whole design


   


建筑师突破了竞赛任务书中对场地的限制，将整片广场统一纳入了设计范围之中，也为城市空间带来了更多的可能性。但同时他们也谨遵任务书红线要求，地面一层为入口空间而将面积更大的展览空间置入了地下。

Competition site didn't included whole square, however, we decided to break it to give to the city an added value – a space, which gives brand new opportunities. Outline of the museum came from the competition site. Groundfloor is mainly the entrance zone, underground level became its exhibition space.

▽ 博物馆广场入口，The museum entrance at the square



▽ 通过混凝土板的旋转开启与关闭大门，The gate can be opened by rotation of the concrete slats


   

   


▽ 街道侧建筑入口，Entrance along the street





通向地下展览空间的楼梯仿佛是两个世界的边界，一侧明亮，一侧黯然。这个巧妙的细节来自建造过程中的突发奇想，当建筑师得知室内空间设计将交由另一个公司负责时，他们担心重现的历史氛围将过于压抑，因而也希望借此能够在旅程结束时以强烈的明暗对比卸去参观者的心理负担。

Stairway to the exhibition space is the border between two worlds, due to blackness of the whole underground level. This idea came up during the realization, when it turned out, that we would not design the exhibition space. We were afraid of some overwhelming scenography, which pretends to be the past, so that we wanted to cut off from it by this move.

▽ 通向地下展览空间的楼梯仿佛是两个世界的边界，一侧明亮，一侧黯然，Stairway to the exhibition space is the border between two worlds




   


室内设计师的邀请让建筑师最终得以加入到室内空间的设计中去。他们摈弃了真实的历史照片并以艺术创作作品取而代之，赋予了这座历史博物馆更为强烈的艺术氛围。

However the authors of interior design asked us for consultation and, by then, a collaboration began. As a result, we reject scenography and replace it by art. At the same time historical museum became the museum of art.

▽ 展厅空间，The exhibition hall





此外，设计也突破了条例的限制，在室外打造了一个流畅起伏的地面空间，错落的高差让它成为了滑板、滑冰和雪橇等多种活动的最佳场所，即使在博物馆闭馆期间，广场上仍熙熙攘攘，充满着生活氛围。而广场的象征意义也从未被遗忘，纪念集会每年如期在此举行。此外，露天音乐会、夏季电影活动也不时借用这片场地举行。或欢聚时光、或自我表达，广场成为了什切青人民生活中不可或缺的一部分。

Despite of the ban, we pushed trough a smooth flooring, best for riding and doing sports, therefore, while museum is closed, life is still goes on on a square. Topography of the square encourages to skateboarding, skating or sledding. A square has preserved its symbolic character, this is still a place for annual ceremonies. City authorities began to use sloping surface of the square for openair concerts and summer cinema. Szczecin inhabitants understood, this is their square and now they are gathering there to celebrate as well to manifest and express their opinions.

▽ 广场成为了什切青人民生活中不可或缺的一部分，The square become a part Szczecin inhabitants' lives



▽ 总平面图，Master Plan



▽ 一层平面，First Floor



▽ 地下层平面，Underground Floor



▽ 剖面，Section